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Franz Christoph Janneck (Graz 1703-1761 Vienna) The Adoration of the Magi; and Christ amongst the Doctors (2) the former bears inventory no. 'No: 8'; and the latter 'No:6' (each on reverse) image 1
Franz Christoph Janneck (Graz 1703-1761 Vienna) The Adoration of the Magi; and Christ amongst the Doctors (2) the former bears inventory no. 'No: 8'; and the latter 'No:6' (each on reverse) image 2
Franz Christoph Janneck (Graz 1703-1761 Vienna) The Adoration of the Magi; and Christ amongst the Doctors (2) the former bears inventory no. 'No: 8'; and the latter 'No:6' (each on reverse) image 3
Franz Christoph Janneck (Graz 1703-1761 Vienna) The Adoration of the Magi; and Christ amongst the Doctors (2) the former bears inventory no. 'No: 8'; and the latter 'No:6' (each on reverse) image 4
Lot 33

Franz Christoph Janneck
(Graz 1703-1761 Vienna)
The Adoration of the Magi; and Christ amongst the Doctors (2) the former bears inventory no. 'No: 8'; and the latter 'No:6' (each on reverse)

7 December 2011, 14:00 GMT
London, New Bond Street

Sold for £38,450 inc. premium

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Franz Christoph Janneck (Graz 1703-1761 Vienna)

The Adoration of the Magi; and Christ amongst the Doctors
the former signed 'F. C. Janneck' (lower right)
a pair, oil copper
32.4 x 42.5cm (12 3/4 x 16 3/4in).(2)
the former bears inventory no. 'No: 8'; and the latter 'No:6' (each on reverse)

Footnotes

Given the inventory numbers on the reverse of these two copper panels, they may form part of a larger series of works from the Life of Christ. Two other pictures which may be part of this group were with the H. Barthy-Wehrenalp Gallery, Vienna, 1961. These two, also on copper, and depicting Christ healing the blind man and Christ healing the bleeding woman were of very similar dimensions to the present works.

Having initially trained in Graz as a pupil of Matthias Vangus, Janneck established himself in Vienna in the 1730s - although he is known to have travelled elsewhere in Austria and southern Germany. Like his friend, Johann Georg Platzer, he painted cabinet pictures illustrating conversation scenes and religious, secular and mythological themes. In his style he fused elements derived partly from Watteau, partly from seventeenth-century Netherlandish painting and partly from the Venetian sixteenth-century tradition, reflecting the principal artistic enthusiasms of Austrian eighteenth-century collectors, who greatly prized his works for their 'Dutch taste'.

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