Circle of Nicolai Abraham Abildgaard,
Danish 1743-1809-

Orpheus and Eurydice;

…

Description

Circle of Nicolai Abraham Abildgaard, Danish 1743-1809- Orpheus and Eurydice; oil on canvas, 64.8 x 54.9 cm. Provenance: Property from a European Private Collection. Note: Abildgaard often depicted scenes from Classical mythology and literature, with highly muscular figures lit by a dramatic chiaroscuro, typically in a swirling, circular composition. Abilgaard's style was shaped by his travels to Rome, where he studied the work of artists such as Annibale Carracci (1560-1609) and Michelangelo (1475-1564), and where he met Henry Fuseli (1741-1825). Fuseli's influence on Abildgaard was immense, and can be seen particularly in the somewhat grotesque, nightmarish figures which occupy many of his scenes, of which the demons in the present painting are highly reminiscent. The pose of the central figures, with Orpheus clasping Eurydice to his chest, is almost identical to that in Abilgaard's painting of 'Catullus and Lesbia' which is now held in the Nivaagaard Collection in Denmark [0194NMK].

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Circle of Nicolai Abraham Abildgaard,

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Estim. 2 800 - 4 200 GBP

Baroque still life after Martinus Nellius The 17th century brought the Netherlands unexpected economic and cultural prosperity. Thanks to favourable conditions, the 17th century brought the Netherlands an unprecedented economic and cultural boom - it went down in history as the so-called "Golden Age of the Netherlands", a prosperous economy brought the young republic widespread prosperity and abundance, and artistic production in particular took on unprecedented proportions, with over 300 painters and graphic artists working in Antwerp at one point alongside 78 butchers and 169 bakers, The new self-image of the wealthy Protestant bourgeoisie demanded new pictorial themes that were able to represent the wealth and lifestyle of this broad class, resulting in magnificent table still lifes that displayed valuable tableware, exotic animals and fruit alongside an abundance of fine foods, among other subjects, Today's famous masters such as Frans Snyders, Willem Kalf, Abraham van Beijeren, Cornelis de Heem and Willem Claeszoon Heda competed for the public's favour; the present motif probably originates from the circle of Martinus Nellius (1621-1716), who artfully layered his arrangements in front of the viewer's eyes against a dark background; next to the central - almost obligatory - forest glass roaster with a berry stem, there is a lobster, oysters, grapes, a bowl of cherries, figs, pomegranates, peaches and skilfully peeled lemons. Some of the objects depicted can also be found in Nellius's secured works, for example the bowl of cherries with other fillings can be found in various paintings by the artist, but the most characteristic feature is the lemon peel hanging out of the wine glass, which the painter usually depicts as here or with an attached lemon in the centre. placed in the Roman with an attached lemon, effective baroque still life painting, oil on coarse canvas, 17th century, indistinctly monogrammed probably "F. v. E. SA. f." lower left on the table edge, old owner's label of the von Nell family "H. v. N. Perl." on the stretcher verso, craquelure, old relining and restoration, somewhat in need of restoration, provenance according to previous owner: Palais von Nell in Perl/Saarland, framed in old moulding in second use, rebate dimensions approx. 90 x 81.5 cm.

Estim. 550 - 1 100 GBP

Frans Snijders (Snyders) and Paul de Vos (1579 Antwerp - 1657 ibid. and 1591/95 Hulst - 1678 Antwerp respectively) Perimeter Wolf hunt with horsemen and pack of hounds In the middle ground a wide scene with a stag hunt. A vividly depicted Baroque hunting scene influenced by Snijders and de Vos. Both artists not only chose similar motifs, but were also closely intertwined stylistically and personally: Snijders married de Vos' sister in 1611, who in turn trained and worked in his brother-in-law's workshop himself. In 1620, de Vos joined the Guild of St. Luke as a master and preferred to paint animal and hunting scenes for aristocratic patrons, which were strongly influenced by Frans Snyders. The two artists also influenced subsequent generations of painters such as Jan Fyt and Abraham Hondius. Oil on canvas, double; 86 cm x 140 cm. Frame. Circle of Frans Snijders (1579 - 1657) and Paul de Vos (1591/95 - 1678). Oil on canvas, relined.

Estim. 2 800 - 5 600 GBP

Nicolas de Largillière (1656 Paris - 1746 ibid.) Circumference Portrait of a young nobleman Representative, courtly half-profile bust portrait with a long, gray allonge wig, dressed in a red coat and gracefully holding his fine, white lace jabot with his left hand. In terms of composition, style and coloring, this artistically high-quality painting with its lively characterization shows obvious parallels to the works of Nicolas de Largillière. Alongside Hyacinthe Rigaud, he is considered the most important portraitist of his time in France, from King Louis XIV to the reign of Philippe d'Orleans and King Louis XV; Largillière became professor in 1705, director in 1738 and chancellor of the Paris Academy in 1743. Oil on canvas, double; slip mounted to stretcher with reproduction of the sign. with date 1709 formerly verso on the original canvas. 117 cm x 104 cm. Frame. Circle of Nicolas de Largillière (1656 - 1746). Oil on canvas, relined. Mounted note inscribed in pencil rendering the signature and date 1709 on the reverse of the original canvas.

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