Null MATTHIEU VAN PLATTENBERG
(Antwerp, 1608-Paris, 1660)
Fortune of the Sea
Oil…

Description

MATTHIEU VAN PLATTENBERG (Antwerp, 1608-Paris, 1660) Fortune of the Sea Oil on canvas, cm 31.5X50 Provenance: Milan, private collection See card at previous lot.

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MATTHIEU VAN PLATTENBERG (Antwerp, 1608-Paris, 1660) Fortune of the Sea Oil on canvas, cm 31.5X50 Provenance: Milan, private collection See card at previous lot.

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Fr. VAN BECK (19th century). Oil on canvas: Good fortune. Signed and dated: Fr. van Beck 1847. Size: 45 x 28.5 cm.

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FLEMISH SCHOOL, late 17th century, follower of Anton van DYCK The Deploration of the Dead Christ Canvas 43 x 51 cm Faded Remake of the painting by Anton van Dyck, in the collections of the Musée des Beaux Arts d'Anvers (see E. Larsen, L'opera completa di van Dyck, 1626 - 1641, tome II, Milan, 1980, no. 648, reproduced) RM

Estim. 5 000 - 6 000 EUR

Flemish school; first half of the 17th century. "Naval scene". Oil on canvas. Relined. It has slight Repainting. Measurements: 58 x 93 cm; 69 x 104 cm (frame). In this canvas is reproduced in detail, a naval scene starring four large ships located in different planes. We see two of the ships placed in parallel, the third in the center and the largest one on the left side of the composition. To accentuate the drama of the scene, the painter plunges the foreground into darkness, giving the waters of the sea a dark and ominous tone, which lightens in the background, reinforcing the construction of space in depth in a scene that lacks spatial references, since it is the open sea delimited by the coast. The masts, sails and flags of the ships in the foregrounds also contribute to this construction of the scenery, which follow one after the other in depth, worked in a precise, draftsmanlike style. In fact, the scene in general is treated with a descriptive and highly narrative language. This is due to the genre itself, since the main purpose of this painting is to relate a historical fact, and not to capture the beauty of nature. The work follows the models of the artist Matthieu Van Plattenberg (1608 - 1660), who specialized in depicting brightly colored storms with turbulent, foamy seas. Van Plattenberg rarely signed or dated his works. Van Plattenberg influenced the marine painter Allessandro Grevenbroeck, a painter of Dutch descent who was active in northern Italy between 1717 and 1747. He is also considered an important precursor of Pieter Mulier, known in Italy, where he was active most of his life, as "Cavalier Pietro Tempesta". Mulier was especially known for the stormy skies of his seascapes, and Plattenberg's paintings are thought to anticipate Tempesta's early sea storms. Tempesta must have seen van Plattenberg's works in Italy. Some of Matthieu van Plattenberg's works have in the past been attributed to Mulier. Van Plattenberg should also be distinguished from Montagne of Venice (or Rinaldo della Montagna), who was also a marine painter mentioned by Cesare Malvasia in his biography of Guido Reni. It presents slight Repainting.

Estim. 12 000 - 14 000 EUR

JAN VAN KESSEL (Antwerp, 1626-1679). "Flower garland with the Virgin". Oil on copper. Adjunta informe escrito por el Dr. Klaus Ertz (junio de 2017). Measures: 32 x 26 cm; 53.5 x 48.5 cm (frame). This work follows a very popular tradition in 17th century Baroque painting. Although, due to the importance of the flowers and the fruits, it is possible to speak of a still life, the religious scene they frame means that it should be considered as part of a line of paintings that is very common in both the Spanish and Flemish schools. The central theme was painted in grisaille, imitating sculpture, or in color, and although this used to be religious, it is not entirely exceptional to find mythological themes or even an element of still life; and he surrounded himself with a garland, sometimes run and sometimes divided, made in full color. Jan van Kessel "the Elder", was an active Flemish painter in Antwerp in the mid-17th century. Versatile artist who practiced in many genres, including insect studies, floral still lifes, Marines, river landscapes, heavenly landscapes, allegorical compositions, animal scenes, and genre scenes. An offspring of the Brueghel family, many of his themes were inspired by the work of his grandfather Jan Brueghel the Elder, as well as the previous generation of Flemish painters such as Daniel Seghers, Joris Hoefnagel and Frans Snyders. Jan van Kessel the Elder was born in Antwerp as the son of Hieronymus van Kessel the Younger and Paschasia Brueghel (the daughter of Jan Brueghel the Elder). He was, therefore, Jan Brueghel, the grandson of the Elder, Pieter Bruegel, the great-grandson of the Elder and the nephew of Jan Brueghel the Younger. His direct ancestors in the line of the van Kessel family were his grandfather Hieronymus van Kessel the Elder and his father Hieronymus van Kessel the Younger, who were both painters. Very little is known about the work of these van Kessel ancestors. At the age of just 9, Jan van Kessel was sent to study with the history painter Simon de Vos. He also trained with family members who were artists. He was a student of his father and his uncle Jan Brueghel the Younger. In 1644 he became a member of the Antwerp Guild of Saint Luke, where he was registered as a "blomschilder" (flower painter). He married Maria van Apshoven on June 11, 1646. The couple had 13 children, of whom two, Jan and Ferdinand, were trained by him and became successful painters. He was captain of a local schutterij (civil guard) in Antwerp. Jan van Kessel was financially successful as his works demanded high prices. He bought in 1656 a house called Witte in Roode Roos (White and Red Rose) in the center of Antwerp.

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