Null Bouman, Johan (attr.)
Straßburg um 1601 - Amsterdam (nach/after) 1635

59 x…

Description

Bouman, Johan (attr.) Straßburg um 1601 - Amsterdam (nach/after) 1635 59 x 84 cm Still life of fruits in a Delftware dish on a pedestal with a parrot. Oil/panel. A still life in the style of the Bosschaert School, which is extremely characteristic of Bouman's work and also shows influences from Balthasar van der Ast, his later works are more reminiscent of Jan van de Velde III. Cf. the quasi mirror-imaged painting in the Flehite Museum, Amersfoort (inv. no. 1905-002, registered in the database of the RKD, The Hague, as no. 7567), which, despite its slightly different dimensions, could possibly have been conceived as a counterpart to the present painting. Bavarian private collection.

3706

Bouman, Johan (attr.) Straßburg um 1601 - Amsterdam (nach/after) 1635 59 x 84 cm Still life of fruits in a Delftware dish on a pedestal with a parrot. Oil/panel. A still life in the style of the Bosschaert School, which is extremely characteristic of Bouman's work and also shows influences from Balthasar van der Ast, his later works are more reminiscent of Jan van de Velde III. Cf. the quasi mirror-imaged painting in the Flehite Museum, Amersfoort (inv. no. 1905-002, registered in the database of the RKD, The Hague, as no. 7567), which, despite its slightly different dimensions, could possibly have been conceived as a counterpart to the present painting. Bavarian private collection.

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Starting price 8000 EUR

China Imperial Chinese Mission to Europe in 1866. Collection of three original photographs, a handwritten calligraphic poem in Chinese by Chief Envoy Binchun and an original drawing. China Imperial Chinese Mission to Europe in 1866. Collection of three original photographs, a handwritten calligraphic poem in Chinese by Chief Envoy Binchun and an original drawing. Contains three carte-de-visite portrait photographs (10.3 x 6.2 cm) by the Amsterdam photographer H. C. Donk, showing three of the Chinese delegates, with handwritten captions. Captions. The photographs spot-mounted on a support together with a photograph of the poem on a printed card with a Dutch and English translation, produced by F. Günst in Amsterdam. The calligraphic poem by Binchun about the mission's visit to the Netherlands from June 25 to July 1, 1866 on a folded sheet (approx. 40 x 30.5 cm). Furthermore, an original ink drawing of a Chinese mandarin, signed in Chinese and with an English handwritten inscription "London - 1851". - Although Qing China was still quite strong, in 1860 it did not have the necessary means to resist the demands of the Western powers. The Chinese military focused on problems inside the country rather than on the coasts, which meant that the allied British and French forces were able to defeat the Qing army. China was forced not only to recognize the European powers as equals, but also to adapt to European forms of diplomacy. The Han bannerman and former magistrate Binchun (1804-1871) led the fact-finding mission to Europe requested by Zongli Yamen, the government body responsible for foreign policy. Binchun was aware of the historic nature of his journey and modeled his diplomatic appearance on that of great envoys. He was accompanied on the seven-month trip by three Chinese foreign language students, his son, the Englishman Edward Bowra and the Frenchman Emile Dechamps, who acted as interpreters and tour guides. During their stay in the Netherlands, their constant companion was the civil engineer J. F. W. Conrad (1825-1902), to whom the poem and the photographs were presented. Although this first mission was an exploratory trip with no clear status, the group met several heads of state, including Queen Victoria. - With slight signs of age and wear. Overall well preserved. Imperial Chinese mission to Europe in 1866. Collection of contemporary photographs, a manuscript calligraphic poem in Chinese by the mission's chief envoy Binchun, all related to their visit of the Netherlands from 25 June through 1 July 1866, and an original drawing. - Three carte-de-visite portrait photographs by the Amsterdam photographer H. C. Donk, showing 3 of the Chinese delegates, with manuscript captions on mounts. One photograph of the poem pasted onto a printed porcelain card, including a Dutch and English translation, manufactured by F. Günst in Amsterdam. The original Chinese calligraphic poem by Binchun on a folded sheet (ca 400 x 305 mm) and an original ink drawing of a Chinese mandarin signed in Chinese and with an English manuscript caption "London, 1851". - Qing-China, although still rather strong, did not possess in 1860 the necessary means to deny the demands of the Western powers since it was under pressure from all sides. During the early years of the 19th century, Chinese military was concentrated in internal areas rather than at the coasts, which meant that the allied British and French troops were this time able to defeat the Qing army. China was forced not only to recognize the European powers as equal, but also to adapt to European forms of diplomacy. After 1860 this became particularly important, when the most-favored nation clause was eliminated from the treaties with Beijing. Ostensibly an investigation tour demanded by the Zongli Yamen, the government body in charge of foreign policy, was headed by the Han bannerman and former magistrate Binchun (1804-1871). Aware of the historic nature of his journey, Binchun crafted his diplomatic persona after that of the great envoys of the Han. He was accompanied by 3 Chinese foreign language students, his son and with the Englishman Edward Bowra and the Frenchman Emile de de Champs acting as interpreters and tour managers, the group traveled Europe for seven months. During the sojourn in the Netherlands their constant companion was the civil engineer J. F. W. Conrad (1825-1902), to whom the poem and the photographs had been presented. Although this first mission was exploratory and did not have a clear status, the party met several heads of states, including Queen Victoria

Estim. 20 - 30 EUR

Hendrik Mommers, attr., Bucolic Scene Evening summer village view with peasant woman milking the cows and peasant with jug in the barge, slightly impasto genre painting, oil on oak panel joined in three parts, unsigned, various, partly fragmentary labels on the reverse, here once uninspected attribution "No 91 Mommers ...", old retouches, in need of restoration, unframed, dimensions approx. 58.5 x 83 cm. Artist information if Mommers: also Hendrik Momers, Dutch landscape and genre painter and draughtsman (1620 Haarlem to 1693 Amsterdam), imitator of Nicolaes Berchem (1620-1683), his works were often confused with paintings by Albert Cuyp (1620-1691) and attributed and re-signed accordingly, travelled to Italy and stayed in Rome probably before 1647, member of the Dutch painters' association "Schildersbent [Engl.: band of painters]", was given a nickname as usual, "Slempop [Eng.: drunkard]", according to other sources "Meleager", 1647 admitted to the Haarlem painters' guild, 1654 dean of the Haarlem painters' guild, trained several famous painters such as Richard Brakenburgh, Dirk Maas, Jan Visser and Bernard van Schendel, 1665 last mention in Haarlem, active in Amsterdam from 1665, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Müller-Singer, Seubert, Müller-Klunzinger, Nagler, Houbraken, Füssli and Wurzbach "Niederländisches Künstlerlexikon".

Estim. 1 200 - 1 800 EUR

Jacob de Heusch, Italian River Landscape Colourful, summery hustle and bustle on the river with a fishing boat moored, in front of an imposing mountain landscape with partly ruinous architecture, in the light of the late summer sun, the exquisitely composed romantic landscape transports the viewer of the painting into a tranquil world of contemplation and sublime grace and still today evokes a longing for Arcadian southern climes, Heusch's stay in Italy was of formative importance for the artist, as it suited his carefree nature very well, as Houbraken reported in 1719 "... He was a versatile young man, brilliant, not lacking in understanding, he spoke well, was bold and witty in his answers, always cheerful in character and popular in every society. ... After practising art in Venice and Rome for several consecutive years and spending many cheerful evenings with the Bentvogels, he returned to Utrecht ...", the same carefree cheerfulness can also be seen in the present painting, which was probably created after his time in Rome as a reminiscence; Heusch drew on his wealth of Italian motifs until the end of his life, as Nagler notes (1838): "... He came to Rome early on, where the Schilderbent gave him the nickname "Affdruck" (Contre Épreuve), because his works perfectly resemble those of Wilhelm de Heusch. Only Jacob is even more perfect, both in the drawing and in the truth of the depiction. His colouring is vivid, and his figures, animals, etc. reveal a witty artist. He painted many pictures in Rome and Venice, and after his return he still painted mostly for Italian lovers. ...", his paintings found their way into important art collections, so there is a great similarity to the painting of almost the same size in the St. Petersburg Hermitage by Heusch. Petersburg Hermitage by Heusch, "Italian Harbour", from 1697, which mirrors the present motif and shows a morning river landscape as a counterpart, finely glazed landscape and genre painting in finely coordinated colours, oil on canvas, signed and dated "JdHeusch f. 1696", older printed label "Jacob de Heusch ..." verso on stretcher, minor craquelure, relined, old retouching, in need of minor restoration, framed in a beautiful Wilhelminian-style gilt stucco frame, rebate dimensions approx. 53 x 72 cm. Artist information: also Jakob de Heusch resp. de Heus, called Giacomo de Heusch in Italy, Dutch genre and landscape painter, draughtsman and etcher (1656 Utrecht to 1701 Amsterdam), pupil and faithful imitator of his uncle, the landscape painter and etcher Willem de Heusch (1625-1692), like the latter, Heusch was a follower of the art of Jan Both and an "Arcadian", travelling to Rome in 1675 and becoming a member of the Dutch artists' society "Bentvueghels" [Bentvueghels] there under the nickname "Afdruk", "Afdruck" or "Affdruck".Gleich und gleich gesellt sich gern]" also known as "Schildersbent [Engl.: Painters' Clique]", with whose members he also painted in Venice, influenced in Italy by Salvator Rosa and collaboration with Pieter van Bloemen, registered in Rome until 1692, later returned to Utrecht and probably in 1698, through the mediation of his Bentvueghel friend Johan Teyler, Appointed to the court in Berlin, where he only stayed for a short time, then freelanced in Utrecht, represented in collections in Vienna, Helsingborg, Brunswick, Venice, Rouen, Meiningen, London, Mainz, Stuttgart, Frankfurt/Main and St. Petersburg. Petersburg, active in Utrecht, died on a trip to his Amsterdam Bentvueghel friends Albert van Spiers and Jan van der Keere as a result of an accident in Amsterdam, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Wurzbach, Müller-Singer, Müller-Klunzinger, Seubert, Nagler, Houbraken "De groote schouburgh der Nederlantsche konstschilders en schilderessen", Walther Bernt "Die Niederländischen Maler des 17. Jahrhunderts" and Wikipedia.

Estim. 40 - 50 EUR

[FOURNEL (Jean-François)]. Essai sur les probabilités du somnambulisme magnétique pour servir à l'histoire du magnétisme animal. Amsterdam, et se trouve à Paris, chez les marchands de nouveautés, 1785. In-8, fawn basane, ornate smooth spine, framed roulette and fleuron at the corners of the boards, red edges (period binding). [Bound with:] - PUYSÉGUR (Maxime de). Rapport des cures opérées à Bayonne, par le magnétisme animal. Bayonne, et se trouve à Paris, Prault, 1784. - MONTRAVEL (A. A. Tardy de). Journal du traitement magnétique de madame B..... Strasbourg, librairie académique, January 1787. A good copy. Some wear to binding.

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