Naval Battle, Cornelis De Wael, Workshop

Total Page:16

File Type:pdf, Size:1020Kb

Naval Battle, Cornelis De Wael, Workshop anticSwiss 25/09/2021 22:30:54 http://www.anticswiss.com Naval battle, Cornelis de Wael, workshop FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Antichità Castelbarco Riva del Garda Style: Rinascimento, Luigi XIII +39 0464 973235 393494296409 Height:83cm Width:98cm Material:Olio su rame Price:6800€ DETAILED DESCRIPTION: Cornelis de Wael (Antwerp 1592 - Rome 1667), workshop Night battle between the fleets of the Dutch Republic and England (during the Anglo- Dutch wars) oil on copper, cm. 59 x 74 with frame cm. 83 x 98 Details of the work: https://www.antichitacastelbarco.it/it/prodotto/dipinto-su- rame--scontro-navale-notturno-tra-inglesi-ed-olandesi- The proposed high quality painting, depicting a naval battle between the English and Dutch fleets, can be compared to the copious production with a similar subject made by the flourishing workshop of the painter of Flemish origins, but naturalized Genoese, Cornelis De Wael (Antwerp 1592 - Rome 1667) . Specialized in `` bamboccianti '' and everyday life scenes, characterized by careful observations on the customs and habits of his time, the painter equally adhered to a figurative repertoire that earned him the reputation of virtuoso of battles not only in Italy, but also at the Spanish court. On the other hand, there are numerous examples relating to this part of his activity, always supported by his characteristic ability to animate highly intricate groups of figures, with such inventive ease, that he is not forced to resort to repetition or self- copying. Naval battles are therefore one of the recurring oars in his works, so much so that if Genoa, in the mid-seventeenth century, presents itself as the place in Italy where the maritime figurative culture is most felt, it is due precisely to De Wael's workshop. 1 / 4 anticSwiss 25/09/2021 22:30:54 http://www.anticswiss.com The proposed scene is intensely dramatic and vivid, with a cold, lunar light filtering through the dark clouds and fumes spread by a ship's fire, which accentuate and contribute to the overall sense of competitive vigor in the painting. The background tones of the entire composition, dark but at the same time intense and bright, accentuated by the intense red spots that characterize the drafting, increase the terrible nature of this nocturnal clash. The particular copper support then allows you to fully savor the palette in its chromatic and luministic values, characterized by great intensity. In illustrating episodes like this, albeit with an always appreciated compositional fantasy, the painter often linked himself to the most famous maritime battles. In addition to the famous battle of Lepanto (from 1571, between Christians and Ottomans), painted many times by De Wael, in our case we see depicted one of the battles of the war between the Dutch, then the Republic of the Seven United Provinces, and Great Britain, fought by two powers for the maritime commercial domination of the colonies, from 1652 to 1784. The work is presented in an excellent state of conservation, facilitated by the copper support, completed by a valuable gilded frame made to measure, not contemporary with the painting. Complete painting with certificate of authenticity in accordance with the law. For any information, do not hesitate to contact us. https://www.anticswiss.com/en/fine-art-antiques/naval-battle-cornelis-de-wael-workshop-22419 2 / 4 anticSwiss 25/09/2021 22:30:54 http://www.anticswiss.com Gallery 3 / 4 anticSwiss 25/09/2021 22:30:54 http://www.anticswiss.com 4 / 4 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).
Recommended publications
  • Het Gulden Cabinet Van De Edel Vry Schilderconst Cornelis De Bie, Het Gulden Cabinet Van De Edel Vry Schilderconst 244
    Het gulden cabinet van de edel vry schilderconst Cornelis de Bie bron Cornelis de Bie, Het gulden cabinet van de edel vry schilderconst. Jan Meyssens, Juliaen van Montfort, Antwerpen 1662 Zie voor verantwoording: http://www.dbnl.org/tekst/bie_001guld01_01/colofon.php © 2014 dbnl 1 Het gulden cabinet vande edele vry schilder-const Ontsloten door den lanck ghevvenschten Vrede tusschen de twee mach- tighe Croonen van SPAIGNIEN EN VRANCRYCK, Waer-inne begrepen is den ontsterffe- lijcken loff vande vermaerste Constminnende Geesten ENDE SCHILDERS Van dese Eeuvv, hier inne meest naer het leven af-gebeldt, verciert met veel ver- makelijcke Rijmen ende Spreucken. DOOR Cornelis de Bie Notaris binnen Lyer. Cornelis de Bie, Het gulden cabinet van de edel vry schilderconst 3 Den geboeyden Mars spreckt op d'uytleggingh van de titel plaet. WEl wijckt dan mijne Macht, en Raserny ter sijden? Moet mijne wreetheyt nu dees boose schant-vleck lijden? Dat ick hier ligh gheboyt en plat ter aert ghedruckt, Ontrooft van Sweert en Schilt, t'gen' my is af-geruckt? Alleen door liefdens kracht, die Vranckrijck heeft ontsteken, Die door het Echts verbont compt al mijn lusten breken, Die selffs de wreetheyt ben, wordt hier van liefd' gheplaegt, Den dullen Orloghs Godt wordt van den Peys verjaeght. Ach! d' Edel Fransche Trouw: (aen Spaenien verbonden:) Die heeft m' allendigh Helt in ballinckschap ghesonden. K' en heb niet eenen vriendt, men danckt my spoedigh aff Een jeder my verstoot, ick sien ick moet in't graff. Nochtans sal menich mensch mijn ongeluck beclaghen Die was ghewoon door my heel Belgica te plaeghen, Die was ghewoon met my te liggen op het landt Dat ick had uyt gheput door mijnen Orloghs brandt, De deught had ick verjaeght, en liefdens kracht ghenomen Midts dat mijn fury was in Neder-landt ghecomen Tot voordeel vanden Frans, die my nu brenght in druck En wederleyt mijn jonst, fortuyn en groot gheluck.
    [Show full text]
  • Artistic Relations Between Antwerp and Genoa, 1550-1650 (Antwerp, 20 Sep 19)
    Artistic relations between Antwerp and Genoa, 1550-1650 (Antwerp, 20 Sep 19) Rubenianum, Antwerp Registration deadline: Sep 13, 2019 Carolyn Krekels ARTISTIC RELATIONS BETWEEN ANTWERP AND GENOA, 1550-1650 Antwerp and Genoa share a similar history as important trade centres in the early modern period. The Rubenianum is pleased to announce a symposium on September 20th about the artistic con- nections between Antwerp and Genoa in the late 16th and early 17th centuries. A select number of specialists will present papers on the many connections between the harbour cities, including an active art trade, Genoese patronage of Flemish artists in both Genoa and Antw- erp, and cross-pollination between Flemish and Genoese artists, of which the Genoese sojourns of Rubens and Van Dyck are without doubt the best-known examples. PROGRAMME 9.00 | Registration and coffee 9.30 | Welcome and introduction by Lieneke Nijkamp (Rubenianum) and Emiliano Manzillo (La Dante di Anversa) Session 1 Chair: Christopher Brown, The Ashmolean Museum, University of Oxford 9.45 | Maria Clelia Galassi, Università degli Studi di Genova, The Presence of Antwerp Painters and their Works in Genoa before the Age of Rubens 10.15 | Anna Orlando, Independent Scholar, Guilliam van Deynen in Genoa before Rubens and the De Waels: the Beginning of a Flemish Court Painter’s Career in a Republican European Capital 10.45 | Coffee 11.15 | Giorgio Tosco, European University Institute, Economic Relations between Genoa and Antwerp in the 17th Century 11.45 | Ivo Raband, University of Hamburg, Trade and Triumph: The Genoese Nation in Antwerp's Joyous Entries 12.15 | Rieke van Leeuwen, RKD - Netherlands Institute for Art History, Gerson Digital: Italy 12.30 | Lunch Session 2 Chair: Francesca Cappelletti, Università degli Studi di Ferrara 1/2 ArtHist.net 14.00 | Piero Boccardo, Musei di Strada Nuova, Genoa, I Ritratti di Genovesi di Rubens: Contesto e Aggiornamenti 14.30 | Timothy J.
    [Show full text]
  • The Collecting, Dealing and Patronage Practices of Gaspare Roomer
    ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze.
    [Show full text]
  • Exhibition Checklist: a Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022
    UPDATED: 8/11/2020 10:45:10 AM Exhibition Checklist: A Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022 The exhibition is curated by Jonathan Bober, Andrew W. Mellon Senior Curator of Prints and Drawings National Gallery of Art; Piero Boccardo, superintendent of collections for the City of Genoa; and Franco Boggero, director of historic and artistic heritage at the Soprintendenza Archeologia, Belle Arti e Paesaggio, Genoa. The exhibition is organized by the National Gallery of Art, Washington, and the Scuderie del Quirinale, Rome, with special cooperation from the City and Museums of Genoa. The exhibition is made possible by the Robert Lehman Foundation. Additional funding is provided by The Exhibition Circle of the National Gallery of Art. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Press Release: https://www.nga.gov/press/exh/5051.html Order Press Images: https://www.nga.gov/press/exh/5051/images.html Press Contact: Laurie Tylec, (202) 842-6355 or [email protected] Object ID: 5051-345 Valerio Castello David Offering the Head of Goliath to King Saul, 1640/1645 red chalk on laid paper overall: 28.6 x 25.8 cm (11 1/4 x 10 3/16 in.) National Gallery of Art, Washington, Rosenwald Collection Object ID: 5051-315 Giovanni Benedetto Castiglione The Genius of Castiglione, before 1648 etching plate: 37 x 24.6 cm (14 9/16 x 9 11/16 in.) sheet: 37.3 x 25 cm (14 11/16 x 9 13/16 in.) National Gallery of Art, Washington, Gift of Ruth B.
    [Show full text]
  • De Vlaamse Kunstenaar in Het 17E -Eeuwse Rome
    Augustus 2010 MASTERSCRIPTIE RENAISSANCESTUDIES DE VLAAMSE KUNSTENAAR IN HET UNIVERSITEIT 17E -EEUWSE ROME. UTRECHT Beschrijving van de economische, sociale en historische context. Pauline Rebel Begeleider: dr. G.J.P. Kieft De Vlaamse kunstenaar in het 17e-eeuwse Rome. Afbeelding titelpagina: Jan Asselijn, Schilder en tekenaar in de natuur, roodbruin en zwart krijt, penseel in grijs, 187 x 237mm, Staatliche Museen zu Berlin, Berlijn. 2 De Vlaamse kunstenaar in het 17e-eeuwse Rome. “Want Room is de stadt, daer voor ander plecken, Der Schilders reyse haer veel toe wil strecken.” Karel van Mander (1604) 3 De Vlaamse kunstenaar in het 17e-eeuwse Rome. 4 De Vlaamse kunstenaar in het 17e-eeuwse Rome. Inhoud Voorwoord .............................................................................................................................................. 7 1. Inleiding ............................................................................................................................................... 9 2. De Identiteit van de Vlaamse kunstenaar ......................................................................................... 15 Opleiding ........................................................................................................................................... 15 Een plek op de arbeidsmarkt ............................................................................................................. 17 3. De reis naar Italië ..............................................................................................................................
    [Show full text]
  • Sir Anthony Van Dyck
    CO N T E N T S k B H u h k e s Sir Anthony Van Dyc . y g St o ‘ List of su c h of the principal w ork s of Van Dyck as are in public Galleries L I ST O F I L L U ST R A T I O N S Portrait of T homas of Savoy Fron t zspzece T he R Coronation of St . osalie by the Child Jesus Minerva at the Forge of Vulcan T h e Virgin and Child with St . Joseph Saint Francis listening to Celestial M usi c Portrait of Prince Rupert of the Palatinate Portrait of Maria Louisa De T a s sis Christ on the Cross T h e Lamentation over Christ J esus bearing the Cross S h his n aint Sebastian , wit angels removing the arrows from wou ds T he Virgin and Child with two Donors Rinaldo and Armida P I ortrait of Charles . Portraits of Prince Charles Louis and Prince Rupert of B avaria Portrait of T h e Duk e of Richmond T h e Virgin and Child with the M agdalen Christ crowned with T horns P S his W Son ortraits of ebastian Leerse , ife and Saint Jerome T h e Drunk en Silenus H M l I enrietta aria , Queen to Char es . Portrait of the Painter P M R t W the ortrait of ary u hven , ife of Artist Portrait of an Artist T h e E mperor T heodosius refused admission 1rto the Church a n Portrait of Cornelius .
    [Show full text]
  • Washington Post EZ EE E5
    sunday, february 2, 2020 . the washington post EZ EE E5 spring arts preview | exhibitions Musei di Strada Nuova, Palazzo Bianco, Genoa “The Prodigal Son Expelled From the Tavern” (1630/1635), by Cornelis de Wael, a Flemish artist whose series based on the story of the prodigal son will be on view at the exhibition. Baroque gems of Genoa National Gallery show spotlights works of artists attracted to the wealthy city in its golden age BY PHILIP KENNICOTT in Genoa, 1600-1750” will survey the golden “My elevator pitch for this was: This is the rugged-looking David will be on view along age of its banking wealth, when all the most spectacular early European art you don’t with Orazio Gentileschi’s erotically charged ander through the world, especial- conditions were right for it to become an know,” he says. It is as rich and exuberant as “Danae and the Shower of Gold.” ly the world of art and architec- artistic power as well as a financial one. other baroque styles, but it was driven by Genoa produced its own artists, some of ture, and Genoa keeps cropping “They are the sole bankers of the Holy reticent oligarchs competing among them- whom, like Bernardo Strozzi, worked outside up. Roman Empire,” says Jonathan Bober, senior selves. the city and became internationally re- WAt a 2016 exhibition of Anthony van Dyck’s curator of prints and drawings at the gallery. “Genoese baroque is as extravagant and nowned. But the exhibition promises an intro- portraits at the Frick Collection in New York Genoa, like Venice, was also a republic, and an spectacular as the Roman, but it is private,” he duction to local artists who remain relatively City, some of the most sumptuous work on oligarchy.
    [Show full text]
  • Van Dyck's Hosts in Genoa
    Van Dyck's Hosts in Genoa Lucas and Cornelis de Wael's Lives, Business Activities and Works ISBN: 9782503531755 (hb) by Alison Stoesser PRICE: DESCRIPTION: $325.00 (hb) Long overshadowed by the brilliance of their close friend, Anthony van Dyck, Lucas and Cornelis de Wael, active as artists and dealers in Antwerp, Genoa and Rome, have largely been ignored in PUBLICATION DATE: Flemish art historical literature. No monograph on them has appeared since 1925. This book aims to 17 June 2018 (hb) rectify this situation by giving a global overview of their wide-ranging pursuits. However, before assessing their personal histories it first examines the historical context, particularly with respect to BINDING: the 17th-century art market in these three cities, with special attention given to its structure in Genoa, Hardback so far neglected in surveys of the Italian markets. A fresh appraisal of information from archival and other sources in each city has been undertaken to give a revealing up-to-date insight into their lives, PAGES: trading activities in goods ranging from art works to second-hand clothing and hides, as well as their 1028 extensive network of friends and clients stretching from the Northern Netherlands to Sicily, including their close business association with the prominent Flemish art dealer Matthijs Musson and the ILLUSTRATIONS: Moretus family, owners of the Plantin-Moretus publishing house. Their own contribution to the art Illus. world is not neglected, with a full discussion of their works and an accompanying catalogue raisonné, which, in Cornelis de Wael's case, includes his extensive oeuvre of paintings, drawings PUBLISHER: and prints.
    [Show full text]
  • Rubenianum Fund
    2019 The Rubenianum Quarterly 1 Rubenianum and RIHA With its mission of facilitating and initiating art- historical research, the Rubenianum is anything but an isolated institute, even less so when in 2014 we became part of an organized network: RIHA, the International Association for Research Institutes in the History of Art. Founded in 1998, RIHA today unites thirty- three institutes from twenty-one countries in Europe, the United States, Russia and Australia. With newly admitted institutes from Latvia and Georgia, the network is still expanding. In principle, the association welcomes research institutes that operate independently from museums or universities, while preferably limiting the number of member institutes per country to two. The Rubenianum became the second Belgian member institute, after the Royal Institute for Cultural Heritage in Brussels, and thus is the only Flemish member. Among the founding and more recent member Rubens’s garden screen and loggia restored institutes are major (inter)national players, such as the Zentralinstitut für Kunstgeschichte The standing Rubens acquired in his lifetime can still be gleaned today from the exterior in Munich, the RKD – Netherlands Institute for of his house. In 1608 the artist returned to the North after spending eight years in Italy. Art History in The Hague, INHA in Paris, or even He was then in his early thirties and on the threshold of a brilliant European career. the State Institute of Art Studies in Moscow, Back in Antwerp, he soon succeeded in establishing a large studio that was impressively employing some 250 researchers and staff productive. By 1610 he could afford not only to buy a house but also to undertake members! Yet, the differences in scale between extensive renovations based on his own designs, turning the property into a dazzling members do not make our exchanges less relevant mansion with a garden that scarcely had its equal in the Low Countries.
    [Show full text]
  • The Leiden Collection Catalogue, 2Nd Ed
    Jan Brueghel the Younger (Antwerp 1601 – 1678 Antwerp) How to cite Bakker, Piet. “Jan Brueghel the Younger” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/jan-brueghel-the-younger/ (archived June 2020). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. Jan Brueghel the Younger belonged to the third generation of a famous dynasty of painters. He was baptized in the St George Church in Antwerp on 13 September 1601. His parents were Jan Brueghel the Elder (1568–1625), also known as “Velvet Brueghel,” and Isabella de Jode, daughter of the engraver Gerard de Jode.[1] His father was a famous and exceptionally successful painter who purchased a splendid house on the Lange Nieuwestraat in 1604. By that time, though, Jan had lost his mother, who had died the previous year. Soon thereafter his father took a second wife, Katharina van Marienberghe (d. 1627). Among the couple’s children was Ambrosius Brueghel (1617–75), who would also become a painter, and Anna Brueghel (1620–56), the future wife of the famous artist David Teniers the Younger (1610–90). Jan Brueghel the Younger would father Jan Pieter (1628–78) and Abraham Brueghel (1631–97), who constituted the fourth generation of this remarkable family of painters. Given his background it is hardly surprising that Brueghel became a painter. He received his first lessons from his father at the age of ten.
    [Show full text]
  • J.A.L. Velle Collection Antwerp
    J.A.L. Velle Collection Antwerp INVENTARIS NEHA Bijzondere Collecties 471 2.1. Mining - 2.2. Industry - 2.3. Services - 2.4. Shipping 2.1. Mining Silver mine "Bernias" , Spain, 1612-1621 2.1.1.1 Prospectus for the silver mine "Bernias" in the dehesa Villagutieres in Spain with a copy of a Spanish estimation of costs and profits dated 18 September 1615, 1621. 2.1.1.2 Assay with caption: "Assayen van de pelluren". Inside are two little bags with a monster of the metal and a monster after melting, 1612. 2.2. Industry Beer , Brussels 1441 2.2.1.1 Extract from the "Bouck metten Haire" of the consent by Mayors and Aldermen of Brussels to the cloister of Sint Elisabeth int Warmoesbroeck dated 22 June 1441 to brew tax-free hopped beer for their own use. Franciscus van der Sanden , vinegar, Duffel 1776 2.2.2.1 Permit by the States of Brabant for Franciscus van der Sanden to brew 7 tuns of vinegar beer in the brewery of the widow De Noter in Duffel. Rumpst, 12.05.1776. Sugar refinery , Amsterdam 1746 2.2.3.1 Estimate of the inventory of a sugar refinery by Arnoldus Pacheman and Christiaan Muller, Amsterdam 19.02.1746. Maria and Tresia Bucquoi , salt refiners?, Bruges 1699 2.2.4.1 Tax stamp of 4 Schelling accompanying a copy of the royal ordinance on the refining of salt dated 13 April 1699 annex to a petition by Maria and Tresia Bucquoi from Bruges. Thirion Maes Woutersz. and Joris Blieck , drapers?, Lierre 1564 2.2.5.1 Thirion Maes Woutersz.
    [Show full text]
  • Misericordiævultus Capolavori Fiamminghi Del Banco Popolare Misericordiævultus Capolavori Fiamminghi Del Banco Popolare
    MisericordiæVultus Capolavori fiamminghi del Banco Popolare MisericordiæVultus Capolavori fiamminghi del Banco Popolare Romano di Lombardia 3 aprile - 10 luglio 2016 Lodi 17 settembre - 30 ottobre 2016 Curatori Angelo Piazzoli Tarcisio Tironi Testi Angelo Piazzoli Francesca Rossi Tarcisio Tironi Collaborazioni Museo d’Arte e Cultura Sacra Romano di Lombardia (BG) Museo Diocesano d’Arte Sacra, Lodi Fotografie Pietro Parmiggiani, Correggio (RE) © Banco Popolare Progetto grafico Drive Promotion Design Art Director Giancarlo Valtolina Indicazioni cromatiche VERDE BLU ROSSO C100 M40 Y100 C100 M80Y20 K40 C40M100 Y100 PANTONE 349 PANTONE 281 PANTONE 187 R39 G105 B59 R32 G45 B80 R123 G45 B41 MisericordiæVultus Capolavori fiamminghi del Banco Popolare 1 Misericordiæ Vultus Capolavori fiamminghi del Banco Popolare Per l’anno 2016, la Fondazione Credito Bergamasco – in collaborazione con la Fondazione Banca Popolare di Lodi, il Banco Popolare e il M.A.C.S. (Museo d’Arte e Cultura Sacra) di Romano di Lombardia – intende proporre, a credenti e non, una riflessione tramite l’Arte sul Giubileo della Misericordia (8 dicembre 2015 - 20 novembre 2016) voluto da Papa Francesco. Così, tra l’altro, scrive il Papa: “È mio vivo desiderio che il popolo cristiano rifletta durante il Giubileo sulle Opere di Misericordia corporale e spirituale. Sarà un modo per risvegliare la nostra coscienza spesso assopita davanti al dramma della povertà e per entrare sempre di più nel cuore del Vangelo, dove i poveri sono i privilegiati della misericordia divina.” (Misericordiæ Vultus, Bolla d’Indizione del Giubileo Straordinario della Misericordia, 15). Le Opere di Misericordia, come le conosciamo fino ai nostri giorni, hanno un fondamento nella Sacra Scrittura.
    [Show full text]