Null Circle of Petrus van Schendel,
Dutch/Belgian 1806-1870-

A moonlit landscap…

Description

Circle of Petrus van Schendel, Dutch/Belgian 1806-1870- A moonlit landscape with figures and cottages by a river; oil on canvas, 70.3 x 92.2 cm. Provenance: Property from a European Private Collection.

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Circle of Petrus van Schendel, Dutch/Belgian 1806-1870- A moonlit landscape with figures and cottages by a river; oil on canvas, 70.3 x 92.2 cm. Provenance: Property from a European Private Collection.

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Estim. 7 000 - 8 000 GBP

JOOST CORNELISZ DROOCHSLOOT (Holland, 1586-1666). "Kermesse". Oil on oak panel. Cradled. Signed in the central area. Measurements: 48,5 x 64 cm. This is a work attributed to the Dutch painter Joost Cornelisz, whose productive corpus echoed the achievements of genre painting during the Dutch Golden Age. It is a theme frequently treated by the artist (a lively village view), achieving here to integrate with masterful naturalness the lively human groups in different levels of depth, through a skillful handling of lights and chromatic sieves, proportions and perspective. The houses, some of them stately, are lined up on both sides of the street to escape towards a cloudy horizon. With descriptive eagerness, peasants and bourgeois are typified, thus distinguishing their different social backgrounds. Liveliness animates gestures and gestures. Joost Cornelisz was a painter of the Dutch Golden Age. It is believed that he was born in Utrecht. It is possible that he spent some years in The Hague. The documentation starts in 1616 when he was enrolled as a master in the guild of St. Luke in Utrecht, of which in 1623, 1641 and 1642 he was elected dean. A respected member of his community, in 1638 he was elected regent of the Sint Jobs hospital, deacon of the Reformed Church in 1642 and officer of the schutterij or urban militia in 1650 and 1651. In addition, from 1665 to 1666 he was a painter at the University of Utrecht. Prolific painter, the first known works, such as the Good Samaritan of the Centraal Museum of Utrecht, signed and dated 1617, in which it is clear the knowledge of the work of Jan van Scorel of the same subject, or The Seven Works of Mercy of the same museum, dated 1618, are great historical compositions of religious subject, a genre that he would never abandon (parables of the useless servant and the guest at the wedding, 1635, Centraal Museum; new version of the Seven Laws of Mercy, 1644, The Hague, Museum Bredius), but what is most repeated in his production are the urban landscapes or those located in small villages, with a wide avenue arranged diagonally and directed towards the depth, serving as a framework for the development of festive and market scenes or, more occasionally, with motifs of current events and battles. In this order, influences of the Flemish masters, both Pieter Brueghel the Elder and Pieter Brueghel the Younger, and his compatriot David Vinckboons, have been pointed out, although the finish of the works of this type of painting is not always the same as that of the Flemish masters.

Estim. 2 000 - 2 500 GBP

Circle of JOSÉ ANTOLÍNEZ (Madrid, 1635-1675). "Purísima". Oil on canvas. Relined. Size: 141 x 96 cm; 163 x 118 cm (frame). José Antolínez was one of the most interesting artists of his generation who, due to his early death, could not reach the splendid maturity that his training foreshadowed. This does not prevent him from being considered a great representative of the full Baroque current that renewed painting at the Spanish court during the third quarter of the 17th century. In his work we can perceive the exquisite sensitivity for the recreation of Titian's manners - always so present in the Spanish painting of his time - combined with the reception of the elegant painting of the Nordic masters Rubens and Van Dyck, and the capture of the atmosphere of Velázquez. In this way, his technique is loose and vibrant, singularly seductive in the use of cold tones, which unfold in compositions full of vigorous movement and unstable activity. We know of his father's work as an artisan carpenter, when the family was established in Madrid's Calle de Toledo, although with a manor house in the village of Espinosa de los Monteros in Burgos. Palomino has conveyed to us the image of a person of a haughty and conceited nature, so aware of his own worth that he was often arrogant, an attitude that was to cause him a great deal of friction and quarrels with other colleagues. He was a pupil of Francisco Rizi, with whom he also fell out, although this did not prevent his painting from being highly appreciated by his contemporaries. He cultivated all genres: religious painting, landscape painting - of which there are no surviving examples - mythology, portraiture and genre painting. Also worthy of note in the field of portraiture are the two children's portraits in the Museo del Prado. These are works that show both the truthful closeness of the figures and the capturing of the atmosphere that surrounds them, to such an extent that they were considered works by Velázquez until recently when they were attributed to Antolínez by Diego Angulo. Of the canvases in the Prado Museum, "The Transit of the Magdalene" and the two children's portraits come from the royal collections and two of the Immaculate Conception belonged to the Museo de la Trinidad, while the third was acquired in 1931 from the funds bequeathed by Aníbal Morillo y Pérez, 4th Count of Cartagena.

Estim. 600 - 800 GBP

Circle of Jan Griffier (act.1738-1773) Dutch. Figures in an Extensive Landscape, Oil on canvas, 19" x 23" (48.2 x 58.3cm)

Estim. 100 - 200 GBP

Circle of Kate Gilbert (1843-1916) British. A Horse and Rider in a Moonlit Landscape, Oil on board, Indistinctly inscribed and dated 1893 verso, unframed 9" x 11.75" (22.8 x 29.8cm)

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