I just discovered on August 3rd, 2013 that
the Vancouver Museum has been trying to
flip (sell) the models it owns
at Sotheby's auction house in New York in Jan 13,
However, Sotheby "experts" have
determined that the pieces were
actually made by Dutch artist
Johan Gregor van der Schardt
and valued the
collection at just $200,000 to $300,000.
(instead of $31 million in tax credits)
The pieces failed to sell at auction
and are still owned by the Museum of Vancouver.
These 9 models were sold to the
Rijksmusuem for $999k in 201?.
The Rijksmuseum is the Dutch national museum on Amsterdam, Holldand
The Rijksmusuem collects the work of fellow dutch Johan Gregor van der Schardt.
I am very greatful that 9 models of the LeBrooy collection did not end up in private hands
and locked away in some bank vault for the next 100 years.
The Vancouver museum plans to sell the other 9 models
in 2016 when the 10-year waiting period expires.
I don't know what happened to these models.
Johan van der Schardt.specialized in making terracotta portraits.
His self portrait in terracotta is displayed on this page.
Read this detailed biography
Getty bio This bio states that he made a reputation in Italy for making
small terrocotta models of "famous larger works from antiquity"
It sounds like he did not make contemporary copies of Michelangelo works.
A "arm" from the Rome Pieta would not sell very well as would a complete
copy of M's work.
See more of Johan Schardt's work here As you can see here Schardt's work
doesn't look anything like the models. Schardts works look wooden and stiff not
alive like M.
Johan Schardt was Active in
Rome 1560 - 1568 copied after the antique
Venetië 1568 - 1569
first half of 1569
Wenen 1569-06-16 - 1570
Venetië 1571 - 1572
Neurenberg 1572 - 1577
maybe in Regensburg
Helsingør 1577-05-01 - 1579
active in Kronborg Castle for King Frederick II; till fall 1579
Neurenberg 1579 - 1581
from winter of 1579/1580 at least till 1581
As you can see from his work history he was only in Italy for about 10 years
According to Giorgio Vasari Johan Gregor van der Schardt
was a sculptor extraordinaire. Also known as Jan Gregor van der Schardt,
the master sculptor produced elaborate bronze sculptures in line to
Roman antiquity. The terracotta busts created by van der Schardt continue
to enamour everyone more than four hundred years after they have been
conceived. He also sculpted one of the first known self–portraits in
terracotta for any sculptor.
Read Flip story here
Provenance according to Sotheby's January 2013 sale
Read more here
Read more here
This reappraisal of the models by Sotheby
that the models were made by Johann Gregor Van der Schardt and not by
Michelangelo is ridiculous IMHO for the following
1)Der Schardt IMHO, is a minor artist
and is and was
incapable of making the Vancouver models.
Furthermore, one of der Schardt's
doesn't look anything like the
work of the masters models he is said to have made.
IMHO, the Vancouver models
breath the feeling of the master. As you can see
sculpture by der Schardt. His model does not have the
look or the feel of a
real Michelangelo's "David" or
his "Pieta". A feeling that you experience
only when you
looking at a real Michelangelo.
Der Schardt was known for making small terracotta copies of
classical greek and roman statues in Rome. complete statues not just parts of the statue.
The Vancouver models are "working models" that Michelangelo used
to make his statues and paintings. There are several models in the
Vancouver collection that are not complete models
but just and
foot, (with a hook hanging out from it too!
or a arm.
Which Michelangelo used in other
projects and some in reverse image.
Why would Der Schardt make a study of just the
left arm of the dead christ
in the Pieta in St. Peters in Rome? If had done it he would have made
a copy of the complete statue.
See all the
Vancouver models in Michelangelo's statues and paintings
The terracotta sculptures are still considered historically significant,
described by Sotheby’s as “rare examples of study-models of
Michelangelo’s work by a talented younger artist.”
The disembodied bits of human anatomy purchased by Wolfe
“enjoyed the attentions of ambitious scholars in the
19th and 20th centuries,” Schwartz observed. And while
“six of the nine models offered here are recognizable
as studies after anatomical elements seen in famous
monuments sculpted by Michelangelo Buonarotti,”
the models now credited to van der Schardt remain
significant examples of how such artists “
learned by copying their immediate predecessors
and contemporaries, particularly the works of great masters.”
3)According to Paul Lebrooy's
was the last to own them before they were sold to
the "silk king" Von Praun.
Other artists like Jan Brueghel the Elder, and Tintoretto
seen or may have acquired them after Vasari's death.
Both Jan Brueghel the Elder
made a studies of the clay models.
of the Day now in the Louvre from the
clay model and not
from the statue which is incomplete.
4) If der Schardt was a admirer of Michelangelo
that he made minatures of his works then he sould be
a friend of Michelangelo.
I cannot find him in Michelangelo's
friend list. Nor, have I ever heard his name mentioned
with Michelangelo's name.
5)Just because Der Schardt was present in the
time frame and was known for working
in terracotta and for making small copies of
classical statues does not mean that the
Vancouver models were made by him.
6)It is well documented that the Lebrooy models were
in the VonPraun collection from 1616 to 1803. Von Praun was
a rich silk merchant who acquried every renowned
artwork that he could buy up..
Paul Lebrooy reports in his book that it was Varsari
who was a famous artist that was the last
person to acquire the models. And it was Vasari's
heir, Chevalier George Vasari
who sold the model collection
the rich Silk king
Paul Van Pruan(1548-1616) in Bologna, Italy.
As a very rich man he was advised by the
best artists of the day
who would klnow the difference between
a real Michelangelo and a fake copy.
(probably Michelangelo's students)would have advised
him that the models were indeed by the master
himself which they saw in the masters studi.
One such artist was the sculptor
Giovanni de Bologna
who was a close friend of Vassari and a student
Von Praun collectin
It existed from 1616 to 1801 in Nuremberg, Germany. The collection
included 4,700 copper and wood engravings and 122 bronzes.
It included 104 coper plates and 350 prints from wood-cuts by Durer.
Von Praun bought it from the heirs of Wencslas Jammitzer who obtained
them directly from Durer and from his younger brother Andre.
The collection also included a large number of drawings by: 18 by Michelangelo
3 by Denis Calvaret, 5 by annibale Carracci, 4 by Domenichino, 8 by
Dosso Dossi, 30 by Guilo Romano, 4 by Andrea Mantega, 29 by Raphael 15 by Albrecht
Durer, 4 by A ndrea del Sarto , 4 by Albrecht Altdorfer, 12 by Pamigianino,
4 by Lucas Cranach, 15 by Martin Schongauer, 5 by Tintoretto, and many others
by Vasari, Lucas van Leyden, Guercino, Primaticcio, Correggio, Titian. There are
presently in the Budapest Museum of Fine Arts
many fine drawings from the von Praun Collection, and foremost among them
are some drawings from scongauer's workshop, including "Annunciation",
2 sketches by Durer, Baldung Grien and Altdorfer.
The Von Praun collection formed the basis of modern art
museums in Europe. When Von Praun's collection was sold in
1803 it was sold to
the roality of Europe. The roral collection later
public Art Museums.
7) Art experts are not artists they are "wanabee
artists". When a art expert tries to confirm a
work is by a artist they look for similarities
in the artists past work to the work in question.
IMHO, all the Sootheby's art experts did was find a
terracotta artist known for making models of
classical statues from antiquity and from the
time and era and eurka they found the
artist responsible for making the models.
8) Most of the models in the Vancouver collection
are partial models of the foot, arm, leg, and
shoulder and not miniature copies of the statues. The partial
The partial models would have been helpful to Michelangelo
in making his sculptures. Michelangelo also used the
same model hand or leg in different sculptures
or paintings or
in the same sculpture.
9)I am sure Paul Lebrooy found documentation
showing that Vasari's heir sold them to
Von Praun. It is said that Paul Lebrooy had
extensive documentation for the book he wrote
which was turned over to the Vancouver museum.
Furthermore, since Vasari was a very famous
artist and person it should be quite simple to
verify that his heir was responsible for selling
the models to von Praun and not der Schardt.
Sotheby's does not furnish proof that the models were
sold by der Schardt. Sotheby's only says
in its press release that it is
that the models were sold by der Schardt
to von Praun which is questionable in my view.
The more likely seller IMHO was
Vasari's heir Chevalier George Vasari
which is probably backed up by documents
that Paul Lebfrooy found and copies
are in the possession
of the Vancouver Museum
LeBrooy's Book he found proof that
the art historian Christophe Theophile Murr (1733-
1811), stated in his 1797 catalogue of the von Praun Collec-
tion that von Praun had acquired in Bologna at the end of the six-
teenth century, famous Vasari Collection of drawings which Vasari's
nephew and heir, Chevalier George Vasari,
had brought from Rome.
Lebrooy also states that Henry Thode's and Professor
Lehnert's claim that in a privately published
42 page book in 1913
that Vasari kept a catalogue
that was published after his death that
stated his heir
Chevalier George Vasari
had sold the models to Von Praun in 1598"
11)So why would the art experts claim that the models
are not by Michelanglo? What have they to gain
by doing so? The answer is their "reputations"
are on the line.
Art experts" need
to protected and guard their "rep" above everything.
Experts are "experts" because they do not make
mistakes. If you make a mistake then you are not
Art experts, IMHO, are wanabee artists
they are not artists mst cannot not even
draw a "straight line" I bet.
To verify a painting is
by a certain artist they look for similarities to
pass works by the artist. Whereas, a real
just look at the painting and tell if it had
the look and feel of a original. Based on hours of
studying and copying the artists works so as
to duplicate them.
Art experts also become experts by studying what
other art experts throug out time have said. So to say one of
your teachers is wrong is saying he is not
To become a Michelangelo expert
the "wanabee artist" studies his statues and all the
Michelangelo experts dating back to Vasari.
Whereas, a artist like myself would skip the
experts opinions and their words and just
study the paintings
and sculptures images.
Artists traditionally learn
from making copies of the masters works.
how we learn from what the masters have to
teach. Thus by copying a master work you learn
learn the masters style and technique. A Michelangelo
art expert can not do this because they art
not artist. They probably can't even draw a straight
line or a convincing portrait or even make a
workable composition or color scheme!
For example, look at this terracotta model
The art expert Thode in his 1913 article on
the Haehnel Collection (Von Praun) did
not consider the this to be by the hand of
Michelangelo. Thode stated: "the muscles were
to strong and too unpleasant - exaggerated
in the manner of the sculptor Bandinelli
The exaggerated muscles on were probably
done intentionally by Michelangelo so
they would show up on the tiny plaquette.
If the muscles were highly finished your
probably would not be able to see the muscles.
But since they are raised, as this is a
bas-relief, you are able to see there
are muscular men in the plaque.
Which was Michelangelo's intention,
since he was trying to depict the muscular
Hercules and Atlas holding up the world.
To lift up the planet you need some big
muscles to do the job. But then again,
Mr. Thode would not have known
this since he was not a artist,
but a art expert, a wanabee artist.
In 2013 the curator of the museum where
the terracotta plaque is displayed still concurs with
Thodes 1913 assessment. Because he is a
art expert and I am not. This is insane.
But, necessary to maintain your credentials
as a "art expert".
12) In Soehby's auction of 2012 the provenance states that
Paul von Praun (1548-1616), Nuremberg,
probably acquired from the estate of the artist Johann
Gregor Van der Schardt as part of the contents of his studio,
Schardt and Von Praun were friends in Nuremberg both had lived
in Italy. Von Praun acquired Schardt's estate after his death in 1591.
of Schardt in the von Prauns collection:
including: portrait mecdallion, terracota portrait
busts and portritw or Schardt by other artists.
Im a paper on Schardt
"The moment of self-portraiture in sculpture" by Frits Scholten on page 201
Scholten shows a terracotta model of the day foot that was
made by Schardt and was acquired by Von Praun from Schardt's estate..
However, in the le Brooy book "Michelangelo's Model's (pg 15) this model was
acquired by Alessandro Vittorio (1528-1608), a former favorite student,.
in 1563 from a Bologna
art dealer named Nicolo Zolfino for three Venetian skudi.
Victorio and Schardt were friends in Italy and created similar works
according to Frutus Scholten. Schardtt probably acquired the day foot
model from Victorio.
One good outcome is this model the
which is listed by LeBrooy as
missing is recorded by Frits Scholten as being in a private USA
collection in 2008. Yikes, another Michelangelo model found!
Unfortunately, it is probably locked away in a safe deposit box
which is almost as good as "lost".