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.

Starting price 500 GBP

G. GIGANTE (1806-1876), Cave of Seiano (Posillipo), 1827, Etching Giacinto Gigante (1806 Naples - 1876 ibid.): View of the sea from the hill of the Grotta di Seiano (Posillipo), 1827, Etching Technique: Etching on Paper Inscription: lower left signed in the printing plate: "Gigante". Inscribed by another person: "Fuori Grotta". lower left dated: "1827". Date: 1827 Description: The Gulf of Naples, with its azure waters and volcanic rocky landscape, has long attracted artists and pleasure travellers to its shores. In addition to Naples and Sorrento, it was the small coastal town of Posillipo in particular that Romantic artists favoured in the 1930s. To the west and east, the slopes there offer stunning views of Naples, Mount Vesuvius and the islands and peninsulas near the coast. Depending on the location, a forest landscape and the architecture of a small settlement could even come into view, as in this brochure, while the sweeping bay of the famous gulf remains visible on the horizon. A group of landscape artists centred around Anton Smick van Pitloo (1790-1837), whose pupil was Giacinto Gigante, settled in Posillipo and founded the so-called "Posillipo School". The paintings of this group were characterised by their detailed and realistic depiction of the landscape in the Gulf region. One looks in vain for heroic exaggerations in the vedute of the "School of Posillipo", and instead finds harbour views with fishermen and country folk going about their daily lives. In view of our etching, which, apart from the prominent friar in the foreground, is sparsely populated but contains many scenic details, it is hardly surprising that Gigante also worked as a topographer during his training. The precise understanding of topographical features, the location and course of coasts and roads, as well as the accurate depiction of towns and landscape markers, were important foundations for the artist's work, whose vedutas became increasingly picturesque and romantic as he grew older. Keywords: Naples, Posillipo, Grotto, Sea, Italy, Etching, 19th century, Romanticism, Landscape, Italy, Size: Paper: 27,3 cm x 37,7 cm (10,7 x 14,8 in), Plate: 22,2 cm x 29,0 cm (8,7 x 11,4 in), Depiction: 18,4 cm x 26,1 cm (7,2 x 10,3 in)

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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