Kunsthandel Ralph R. Haugwitz

03/08/2026

Bavarian painter active around 1610–20, who blended Flemish and Italian stylistic elements
Vision of the Mythical Wedding of Saint
Catherine of Siena
Oil on copper, 240 x 188 mm
On the reverse are remnants of inscriptions
Provenance: Württemberg nobility

Saint Catherine of Siena (1347–1380) was a prominent mystic who served as a political advisor and played a decisive role in bringing the papacy back to Rome from its exile in France.
The subject of the painting is Catherine’s piety, which consisted of a passionate, mystical love for Christ. She spoke of a “mystical marriage” with Christ and of receiving the stigmata (the wounds of Christ).
The composition is based on a red chalk drawing by Francesco Vanni (1563, Siena–1610). See the appendix for a full view and a mirrored detail.
A possible model for the painting is the 1612 print by Pieter de Jode I, which shows only the central composition in a modified form.
Another engraving shows the entire drawing.
(not shown)
This painting was intended for private devotion. It differs from the (possible) print model: for example, a small fortress in a landscape can be seen in the lower right corner. With the exception of Mary, the faces display a certain animated individuality.

03/08/2026

Bavarian painter, c. 1610–20. His style is characterized by both Flemish and Italian stylistic features.
Vision of the Mythical Wedding of Saint
Catherine of Siena
Oil on copper, 240 x 188 mm; remnants of inscriptions are visible on the reverse. Provenance: the high nobility of Württemberg

Saint Catherine of Siena (1347–1380) was a prominent mystic who served as a political advisor and played a decisive role in bringing the papacy back to Rome from exile in France.
The subject of the painting is Catherine’s piety, which consisted of a passionate, mystical
love for Christ. She spoke of a “mystical marriage” with Christ and the reception of the stigmata (the wounds of Christ).
This composition is based on a red chalk drawing by Francesco Vanni (1563, Siena–1610). A full view and a mirrored detail can be found in the appendix.

However, the 1612 engraving by Pieter de Jode I is a more likely model for the painting, as it reproduces only the central composition in a modified form.
Another engraving shows the entire drawing.
(not shown)
This painting on copper, intended for private devotion, measures 240 x 188 mm. It differs from the possible engraving model: for example, a small fortress in a landscape can be seen in the lower right corner. With the exception of Mary, the faces display a certain lively individuality.

23/07/2026

Not very far from the German capital, yet completely different—a sleepy, rural area, densely forested, and mountainous: the Eulengebirge

18/04/2026

RICHARD PüTTNER (1842 Wurzen - 1913 Munich)
POSITANO (18-)96
Black Chalk
350 x 410 mm
Signed, inscribed, and dated lower right:
“R. Püttner” “POSITANO / 96”

The image shows POSITANO, founded in Magna Graecia, when it was a relatively unknown fishing village, long before it became the fashionable seaside resort it is today.

03/04/2026