Null Bambocciant, possibly Norbert "Il Bamboccio" van Bloemen, 1670 Antwerp - 17…

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Bambocciant, possibly Norbert "Il Bamboccio" van Bloemen, 1670 Antwerp - 1746 Amsterdam, oil on canvas, mounted on stretcher, canvas relined, late 17th/early 18th century, View of Rome and St. Peter's Basilica with prominent figures in the foreground, "Bamboccianti" is the name given in art history to a group of mainly Flemish and Dutch old masters who became known for their genre scenes of the common people in Italianate landscapes and thus opposed Baroque classicism, unsigned, partial age-related cracks in the paint layer in the upper half of the canvas as well as craqueleur, 38.5 cm x 47.5 cm, in decorative frame

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Bambocciant, possibly Norbert "Il Bamboccio" van Bloemen, 1670 Antwerp - 1746 Amsterdam, oil on canvas, mounted on stretcher, canvas relined, late 17th/early 18th century, View of Rome and St. Peter's Basilica with prominent figures in the foreground, "Bamboccianti" is the name given in art history to a group of mainly Flemish and Dutch old masters who became known for their genre scenes of the common people in Italianate landscapes and thus opposed Baroque classicism, unsigned, partial age-related cracks in the paint layer in the upper half of the canvas as well as craqueleur, 38.5 cm x 47.5 cm, in decorative frame

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估价 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.

估价 50 - 100 EUR

Richard Van Orley (1663-1732). Guarini, "Il pastor fido", etching, 30/23cm.

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