Bonaventura Peeters
[Saleroom Notice]![Bonaventura Peeters - Dipinti antichi I Bonaventura Peeters - Dipinti antichi I](/fileadmin/lot-images/38A220511/normal/bonaventura-peeters-8051013.jpg)
(Antwerp 1614–1652 Hoboken)
A fortified harbour with a Galleon and Galley at anchor,
signed and dated lower right: Peeters 1639,
oil on canvas, 77 x 118 cm, framed
We are grateful to Maarten Bassens for suggesting that elements of the present work are derived from Jan Peeters’s circa 1655 drawing of the port of Tripoli conserved in the Fitzwilliam Museum, Cambridge (inv. no. PD.576-1963). Tripoli, then capital of the eponymous Ottoman Eyalet, is in present day Lebanon.
Provenance:
with Galerie Finck, Brussels, 1967; sale, Cornette de St. Cyr, Paris, 28 November 2017, lot 18;
Private collection, Belgium
The present scene of an Oriental port, guarded by a three tiered bastion, with dark skinned figures on the foreshore to the right and a galleon and galley at anchor behind is a typically capricious and carefully executed work from the hand of Bonaventura Peeters, arguably the foremost Flemish marine artist of the mid-seventeenth century. The present scene reflects the contemporary Antwerp collecting taste for the exotic, at a time when fashionable Wunderkammer (such ‘cabinets of curiosities’ having first been depicted in 1599) were full of foreign species samples and artefacts. Here the magisterial forms powerful warships lying becalmed, rendered with luminosity beneath a dramatically clouded sky, show the versatility of an artist particularly noted for his dark, stormy vistas and foaming seas.
The soaring mountain behind may be derived from Scandinavian examples which the master may have seen on his sea voyages – Peeters once painted a purported view of the port of Archangel in the far North of Russia, while his brother Jan had travelled in the Mediterranean and may have shown Bonaventura prospects of southern ports. The bastion in the present work appears in other Bonaventura compositions, and may be based on an actual fortification.
Bonaventura came from an accomplished family of Antwerp painters. His siblings, the aforementioned Jan the Elder, Gillis the Elder and Catharina were also artists of relative renown, mainly specialising in marine pictures. In addition to his carefully registered views of ships and ports, Peeters was employed by the city of Antwerp to make maps recording military engagements such as the Siege of Kallo.
Esperto: Damian Brenninkmeyer
Damian Brenninkmeyer
+43 1 515 60 403
old.masters@dorotheum.com
11.05.2022 - 16:00
- Prezzo realizzato: **
-
EUR 57.600,-
- Stima:
-
EUR 30.000,- a EUR 50.000,-
Bonaventura Peeters
[Saleroom Notice](Antwerp 1614–1652 Hoboken)
A fortified harbour with a Galleon and Galley at anchor,
signed and dated lower right: Peeters 1639,
oil on canvas, 77 x 118 cm, framed
We are grateful to Maarten Bassens for suggesting that elements of the present work are derived from Jan Peeters’s circa 1655 drawing of the port of Tripoli conserved in the Fitzwilliam Museum, Cambridge (inv. no. PD.576-1963). Tripoli, then capital of the eponymous Ottoman Eyalet, is in present day Lebanon.
Provenance:
with Galerie Finck, Brussels, 1967; sale, Cornette de St. Cyr, Paris, 28 November 2017, lot 18;
Private collection, Belgium
The present scene of an Oriental port, guarded by a three tiered bastion, with dark skinned figures on the foreshore to the right and a galleon and galley at anchor behind is a typically capricious and carefully executed work from the hand of Bonaventura Peeters, arguably the foremost Flemish marine artist of the mid-seventeenth century. The present scene reflects the contemporary Antwerp collecting taste for the exotic, at a time when fashionable Wunderkammer (such ‘cabinets of curiosities’ having first been depicted in 1599) were full of foreign species samples and artefacts. Here the magisterial forms powerful warships lying becalmed, rendered with luminosity beneath a dramatically clouded sky, show the versatility of an artist particularly noted for his dark, stormy vistas and foaming seas.
The soaring mountain behind may be derived from Scandinavian examples which the master may have seen on his sea voyages – Peeters once painted a purported view of the port of Archangel in the far North of Russia, while his brother Jan had travelled in the Mediterranean and may have shown Bonaventura prospects of southern ports. The bastion in the present work appears in other Bonaventura compositions, and may be based on an actual fortification.
Bonaventura came from an accomplished family of Antwerp painters. His siblings, the aforementioned Jan the Elder, Gillis the Elder and Catharina were also artists of relative renown, mainly specialising in marine pictures. In addition to his carefully registered views of ships and ports, Peeters was employed by the city of Antwerp to make maps recording military engagements such as the Siege of Kallo.
Esperto: Damian Brenninkmeyer
Damian Brenninkmeyer
+43 1 515 60 403
old.masters@dorotheum.com
Hotline dell'acquirente
lun-ven: 10.00 - 17.00
old.masters@dorotheum.at +43 1 515 60 403 |
Asta: | Dipinti antichi I |
Tipo d'asta: | Asta in sala con Live Bidding |
Data: | 11.05.2022 - 16:00 |
Luogo dell'asta: | Wien | Palais Dorotheum |
Esposizione: | 30.04. - 11.05.2022 |
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