18th Century Oil Painting Marine Seascape by Peter Monamy

View Similar Items

Cristofano Roncalli - 16th Century by Cristofano Roncalli Saint Catherine of Siena Oil on Canvas

Felice Torelli - 17th Century by Felice Torelli Hagar and the Angel Oil on Canvas

Giuseppe Antonio Pianca - 18th Century by Giuseppe Pianca Shepherd with Goat and River Oil on Canvas

Giovan Battista Discepoli, detto lo Zoppo da Lugano - 17th Century by Giovan Battista Discepoli Coronation of Thorns Oil on Panel

James Ward - Village Scene Figures & Animals - British Old Master exh pastoral oil painting

Nicolaes Berchem - Shepherd with Animals in Landscape - Dutch Old Master art pastoral oil painting

(Attributed to) Isaac de Mucheron - Old Master Dutch Female Nude Arcadian Landscape - 19th century art oil painting

Jean François Millet - Diana Hunting in Wooded Landscape - 17thC Old Master French art oil painting

Philippe Budelot - Figures and Cattle on Woodland Path - French figurative landscape oil painting

Willem van Nieulandt II - Laban Demanding the Return of the Teraphim from Rachel - Dutch Old Master art

Thomas van Apshoven - Villagers in a Landscape - Flemish 17thC art figurative landscape oil painting

James Arthur O'Connor - Old Master Wooded Landscape - Irish 1830 art woodland oil painting

Want more images or videos?

Request additional images or videos from the seller

1 of 9

Peter Monamy
18th Century Oil Painting Marine Seascape by Peter Monamy
c. 1740

Name: 18th Century Oil Painting Marine Seascape by Peter Monamy
Brand: Peter Monamy
Rating: 5 (7 reviews)

$23,710List Price

About the Item

Peter MONAMY (1681-1749, English) After the Storm c. 1740 Oil on canvas Framed in a carved and gilded period frame Framed 33 ¼ x 48 ¾ inches Provenance: Christie’s 1972 Peter Monamy was baptised at the church of St Botolph's-without-Aldgate, London, England, on 12 January 1681. He was the last of the five known children, all born in London, of Pierre, or Peter, Monamy, born circa 1650 in Guernsey, and his English wife, Dorothy Gilbert; and the grandson of André Monamy, 1612–1680, who had been a strongly committed Commonwealth Parliamentarian, and one of Guernsey's Governors, during the 1650s. Dorothy Gilbert, born 1660 in London, was the daughter of James Gilbert, who had been Master of the Worshipful Company of Gunmakers in 1670 and 1672. A marriage allegation, dated 22 October 1675, records the union of Peter Mon-Amy, of St Martin's in the Fields, and Dorothy Gilbert, of St Trinity in the Minory, with her father's consent, at All Hallowes in the Wall, London. Peter (Pierre) Mon-Amy's age is given as "abt 23", and Dorothy Gilbert's age as "abt 18". Their actual ages appear to have been 25 and 15. The Monamy family had been prominent merchants and residents of Guernsey since the 1560s, and in the Channel Islands since at least the 1530s. The painter's father, Pierre, who appears to have died in about 1685, had a brother named André, or Andrew, who was active in London as a merchant trader in salt and wool, during the late 17th and early 18th centuries. In December, 1696, Andrew Monamy, together with his cousin, Daniel Le Febvre, is described as "guardian" of the children of Peter (Pierre) Monamy, deceased. Andrew Monamy is also named in Admiralty archival records as having served as boatswain in 1710 on a 20 gun privateer named "La Chasse", owned by a syndicate of Guernsey merchants. Later in the same year Andrew is recorded as lieutenant on another privateer owned by Daniel Lefebvre and Andrew Mesurier of Guernsey. The gunner on this vessel, named "The Revenge of the Flying Sloop", was an Andrew Clark. On 3 September 1696, Peter Monamy, aged 15, was bound as an apprentice for seven years by indenture to William Clark, a former (1687) Master of the Worshipful Company of Painter-Stainers, one of London's ancient guilds of craftsmen. Clark is recorded in several capacities in the London of the late 17th century, as a constable and juryman, with premises in Thames Street, and on London Bridge, and practised as what would today be called an interior decorator, with a thriving business. House decoration comprised a wide range of activities, including the provision of paintings as overdoors and overmantels, and on panelling, house murals on canvas as well as decorative sign-boards for trade establishments. William Clark died before January, 1704, when his will was proved. Monamy was made free of his apprenticeship on 1 March 1704 (new style), the same day as James Thornhill, a fellow Painter-Stainer, who later became the first native English painter to be knighted, and whose major work is the decoration of the Painted Hall of the Greenwich Naval Hospital, celebrating English naval prowess and the Protestant monarchy. In "Wine and Walnuts", William Henry Pyne mentions that Monamy served his apprenticeship on London Bridge, and that he exhibited his works in the window of his shop. There is no indication that Monamy worked for anyone other than his master, William Clark, and the very strong likelihood is that he succeeded to Clark's practice at his death, and continued in the same business. This supposition is reinforced by the birth and baptism of his first child at St Olave's Church, Southwark in the vicinity of the south end of London Bridge. On 17 April 1706, a daughter of Peter Monamy, painter, and Margaret, is recorded as baptised with the name of Margaret, at St Olave's, near London Bridge, on the south bank of the Thames. The child's death is registered on 7 May, and it must be assumed that her mother also died. On 9 January 1707 (new style), Peter Monamy is recorded as marrying Hannah Christopher, at Allhallows, London Wall. Three children were born to Peter and Hannah Monamy in rapid succession: Andrew, baptised on 15 December 1708, at St Botolph's; Hannah, baptised on 5 March 1710, at St Mary's, Whitechapel; and another Andrew, baptised on 11 August 1712, also at St Mary's. As there is no further record of these children it must be assumed that all three died young, or in infancy. In 1708 the baptismal register records the couple, or the mother, as living in the Minories, near St Botolph's; and in 1712 in Red Lion Street, near St Mary's. The Minories was an area noted for its gunsmiths. On 6 October 1708, Monamy registered an apprentice, Henry Kirby, who was bound to him for seven years by indenture. Kirby was the son of Henry Kirby, citizen and gunmaker of London, and a member of the Company of Gunmakers. A further child, named Robert, is recorded as born to Peter and Hannah on 12 May 1720, and registered at St Saviour's, Southwark, Surrey. This suggests that Peter had returned to live on London Bridge, having previously had an interim London address in Red Lion Street. There is no further known record of this child. The next confirmed biographical item of Monamy comes from the Westminster Poor Rate Book, which lists "Peter Monyman" as living in Fish Yard, off St Margaret's Lane, from 1723 to 1729. Fish Yard was almost within the precincts of Westminster Hall, the seat of government, very close to Westminster Abbey, and St. Margaret's, Westminster, which is still the parish church of the House of Commons. A daughter, Anne, of Peter and Hannah Monamy, was baptised at St Margaret's, Westminster, on 3 September 1725. At present it can only be conjectured what Monamy's whereabouts may have been during the years between about 1714 and 1720. It is not impossible, however, that he spent some time in Cork, Ireland, which at this time was a hive of activity for English, and particularly Huguenot, craftsmen. There are two notable paintings by Monamy depicting yachts of the Royal Cork Yacht Club, which are still owned by the Club. Charles Brooking, father of the highly regarded marine painter, also named Charles (1723–1759), has left a record of his presence in Ireland; and William van der Hagen, another painter-decorator, and occasional marine painter, is also associated with the city of Cork. Another possibility is of a period of residence in Plymouth, where Charles Brooking Senior was involved in furbishing Rudyard's Eddystone Lighthouse. There is a striking painting of Henry Winstanley’s earlier Eddystone lighthouse by Peter Monamy, now in the Plymouth Museum. A second painting of Winstanley's lighthouse, as well as one of Rudyard's, both by Monamy, are also known. During these years it may reasonably be conjectured that another daughter, Mary, would have been born to Peter and Hannah. There is no known record of her birth in London, but she later married Francis Swaine, on 26 June 1749, at Allhallows, London Wall. From the above records, and subsequent comments, it can reasonably be surmised, as mentioned above, that Monamy set up in business on his own account, both as a decorator and easel painter, quite soon after being made free in 1704. He is repeatedly mentioned in later accounts as having owned a shop on London Bridge. William Henry Pyne, an artist and raconteur (1769–1843) mentions that "Monamy, the marine painter, some of whose pictures were scarcely inferior to Vandevelde's, served his apprenticeship on London Bridge, and exhibited his works in the window of his shop, to the delight of the sons of Neptune, men and boys, who were seen in crowds gazing at his wondrous art." On taking up residence as a studio painter, in Westminster in the early 1720s, Monamy's practice to all appearances entered a new and prosperous phase. His standing as a Liveryman of the Painter-Stainer's Company in 1726 was cemented by the donation to Painter's Hall of what was subsequently described by Thomas Pennant as "a fine piece of shipping", which is still in situ. Five large paintings, one dated 1725, were produced for George Byng, 1st Viscount Torrington, (1663–1733) First Lord of the Admiralty from 1727, commemorating his naval triumphs. In "Southill: A Regency House", 1951, Sir Oliver Millar mentions that three of these paintings are signed, that they are executed "in a very cartographic manner", and "are of considerable historical interest". While establishing himself as London's pre-eminent marine painter, Monamy will have continued to undertake commissions as a house decorator. There is extant a marine overmantel firmly attributable to him in a house in Old Burlington Street, near Bond Street, London, which is datable to 1728. During the decade from 1730 to 1740 Monamy would have found that his practice became increasingly hard-pressed, as it met with the censure of groups of self-appointed arbiters of taste, and the importation of quantities of old master paintings from Italy and France, as well as of artists and aesthetic concepts from the continent. These were sufficiently detrimental to native English practitioners to drive William Hogarth, Monamy's close contemporary, to expressions of near-fury. Hogarth is credited with hitting upon the idea of using the re-opening in 1736 of Vauxhall Gardens, a pleasure resort for Londoners, as a show-place for native English paintings. Monamy supplied at least four prominently displayed naval scenes for the Gardens. These are now lost, but known from engravings. In a review for the "Times Literary Supplement", 27 January 2012, of Coke and Borg's "Vauxhall Gardens", John Barrell points out that "a national art in the making was reinforced by a number of modern history paintings by Peter Monamy, of English naval victories". Two of these paintings (the Algerine Pirates and Sweet William's Farewell, both engraved by Paul Fourdrinier, who since about 1900 has also been mistakenly referred to as Peter, or Pierre, Fourdrinier) appear to have been on display prior to the war with Spain, which began in 1739. A substantial number of prints, in mezzotint and line, after Monamy's works, were produced in the years from about 1730 until just before his death in 1749. These continued to be reproduced and copied, in some quantity, until well into the 19th century. Those engravings executed during Monamy's lifetime are an excellent guide to the genuine manner of his oeuvre. During his final years a significant number of Monamy's paintings can be closely associated with the naval exploits of several English fleet officer members of the Durell family of Jersey, and the de Sausmarez family of Guernsey, who were themselves linked by multiple marriage ties. In the period preceding Britain's crucial first bid for global naval supremacy, at Porto Bello in 1740, and during the mounting opposition to the appeasement policies and other political measures of Robert Walpole, England's long-serving Premier Minister, these sea-captains were among the most active and vociferous of his opponents. Monamy painted numerous versions of Admiral Vernon's capture of Porto Bello, including a canvas for public display at Vauxhall Gardens. It was reported in The Daily Post, a London newspaper, of Tuesday, 20 May 1740, that the Prince of Wales and Princess Augusta had selected "the Picture representing the taking of Porto Bello" for particular inspection during a visit to the Gardens the previous evening. Frederick, Prince of Wales, 1707–1751, was at that time publicly heading the political opposition to Robert Walpole. Monamy continued as the marine painter most esteemed by active serving seamen, even during his slow financial decline and loss of aristocratic patronage, and for many decades after his death. In 1749 George Vertue expressed this reputation: "his industry and understanding in the forms and buildings of shipping with all the tackles ropes & sails &c which he thoroughly understood made his paintings of greater value; besides his neatness and clean pencilling of sky and water by many was much esteemed, especially sea-faring people, officers & others, merchants &c." Joseph Highmore noted, in 1766, that "A sailor … is a better judge of the principal circumstances which enter into the composition of a sea-piece, than the best painter in the world, who was never at sea." Vertue goes on to relate that "he lived some years latter part of his life at Westminster near the river side, for the conveniency in some measure of viewing the water & sky; though he made many excursions towards the coasts and seaports of England to improve himself from nature [...] thus having run thro' his time [...] being decayed and infirm some years before his death, which happened at his house at Westminster the beginning of Feb 1748/9 [...] leaving many paintings begun and unfinished, his works being done for dealers at moderate prices [...] kept him but in indifferent circumstances to his end.” Monamy was buried in St Margaret's Church on 7 February 1749. These "indifferent circumstances", which only apply to his last two or three years, have been over-stressed in many later accounts of Monamy's life. Well over a year after his death, on 26 July 1750, his studio possessions, pictures, prints, drawings, ship models, furniture and collection of china were auctioned, the sale lasting a full day. His house, which he must have moved into from Fish Yard some time after 1730, was described in the auctioneer's advertisement as "next to King Henry VIIth’s Chapel, in Old Palace Yard", at the east end of Westminster Abbey. The building is noticeable in an engraving of the Abbey by Samuel Wale included in Volume 1 of Robert Dodsley’s London and its Environs Described, 1761. However, it is clear that Monamy’s two daughters, Mary and Ann, and more particularly his widow, were left in financial difficulties. Ann Monamy had married Thomas Cornwall, an apothecary, on 14 February 1745, at St George’s Chapel, Mayfair, and their eldest son, Peter Monamy Cornwall, was baptised on 20 January 1747, at St Margaret’s, Westminster. Four months after Peter Monamy’s death Mary Monamy married Francis Swaine, 1725–1782, on 29 June 1749, at Allhallows, London Wall. Their second child, and only known son, was baptised Monamy Swaine on 27 February 1753, at St Dunstan’s Stepney. Monamy Swaine followed his father and grandfather as a marine painter. The range of Monamy’s painting oeuvre is remarkably wide and varied, and it is apparent that in his prime he must have headed a considerable studio, and that a number of younger and older assistants would have participated in studio productions during his 45 year career. It is very possible that Charles Brooking was one of these, during the 1740s. Francis Swaine, who became a highly regarded marine painter from about 1758 onwards, is explicitly referred to as "Old Swaine, pupil of Monamy", in a memoir of Admiral Sir George Young, who had taken part in the second Capture of Louisbourg, Nova Scotia, 1758. In Mark Noble's Biographical History of England, 1806, under the entry for Monamy, it is stated that "Swaine, of Stretton Ground, Westminster, his disciple, and bred under him, was an excellent painter of moon-light pieces." Throughout the 18th century, and well into the 19th, Monamy was consistently described in all references as "famous", even by Horace Walpole, although Walpole added that "he had little reason to expect his fame", because of his training as an apprentice, and "the views of his family". Later art-historical comment, partly influenced by Walpole, but especially during the 20th century, has tended to disparagement. In some cases these later accounts of Monamy's career, including the entry written by Lionel Cust in the first edition of the Dictionary of National Biography, 1885-1900, are wildly inaccurate. Although the entry for Monamy in E.H.H.Archibald's 1980 edition of his "Dictionary of Sea Painters" correctly gives Monamy's city of birth as London, it is otherwise riddled with a number of inexplicable errors. Notable among earlier inventive fabrications is an article which appeared in the Mariner's Mirror of April 1911, purporting to describe his life and work. Even this fantasy, however, does not suggest that Monamy was ever employed by the van de Velde family of marine painters, an unsupported assumption which first appeared in about 1950. Since about that time, or a little earlier, there has been a flow of paintings entering the market, and now forming parts of otherwise reputable collections, which can only be described as pastiches, detectable as inauthentic when compared with works that have solid 18th century provenance. In spite of the progressive adulteration of the Monamy oeuvre, and before the 20th century, it was nevertheless still possible for Julian Marshall to quote, in his "Catalogue of Engraved National Portraits" in the South Kensington National Art Library, 1895, that after completing his apprenticeship, Monamy had been "reckoned the finest painter of shipping in England." A tendency of later critics and art historians is to suppose that Monamy experienced little competition as a marine painter, following the death of the Younger van de Velde in 1707. The truth, however, is that there were several native rivals in the marine genre, including Isaac Sailmaker (after 70 years in England he can be counted a virtual Englishman); Francis Place; the Vale brothers, Humphrey and Robert; Thomas Baston; J.Boon; Robert Woodcock; and later J.Cook; Samuel Scott; Thomas Mellish; Thomas Allen; and others active during Monamy's final two decades. As an indication of the esteem in which Monamy was held by a significant group of his fellow-Londoners, both as a person and as a practitioner of his craft, the following anonymous obituary, from "The London Gazetteer" of 9 February 1749, says: "Yesterday Evening was buried at St. Margaret's Westminster, Mr.Peter Monamy, greatly eminent for his Skill in Painting Sea Pieces; in which Art, as he was not equall'd by any of his Cotemporaries [sic], neither was he excell'd by many of the Ancients; but his Name and Character are too well known and establish'd among the Curious to need any artful Commendation to set them in greater Light to advance his Merit; neither can the warmest Praise add to his Fame when dead, who, in his Life, was the greatest Enemy to Adulation; and tho' some Notice is due to the Memory of so celebrated an Artist in Painting, yet his own Performances, which are extant in the World, will prove his most lasting Monument."

Creator:
Peter Monamy (1681 - 1749, British)
Creation Year:
c. 1740
Dimensions:
Height: 33.25 in (84.46 cm)Width: 48.75 in (123.83 cm)
Medium:
Oil
Movement & Style:
Old Masters
Period:
Mid-18th Century
Condition:
Gallery Location:
London, GB
Reference Number:
1stDibs: LU67337502032

More From This Seller

View All

Grand 19th Century English Marine Painting in Stunning Light

By John Wilson Ewbank

Located in London, GB

John Wilson Ewbank (1799 - 1847) Shipping in the Harbour, South Shields Oil on canvas 39.5 x 58 inches unframed 47.75 x 66.5 inches framed Provenance: Christie's October 2002; Lot 11. Fine Art Society; Private Collection This marvellous up to scale Ewbank is full of light and warmth and almost certainly his greatest work of the sort rarely - if ever - seen on the market. John W. Ewbank (4 May 1799–28 November 1847), was an English-born landscape and marine painter largely operational from Scotland. The Humber river is a large tidal estuary on the east coast of Northern England. Life Ewbank was born at Darlington on 4 May 1799, the son of Michael Ewbank, an innkeeper. He was adopted as a child by a wealthy uncle who lived at Wycliffe, on the banks of the River Tees, in the North Riding of Yorkshire. Intended for the Roman Catholic priesthood, he was sent to Ushaw College, from which he absconded. In 1813 Ewbank was apprenticed to Thomas Coulson, an ornamental painter in Newcastle. In around 1816 he moved with Coulson to Edinburgh, where he had some lessons with Alexander Nasmyth. He found work both as a painter and a teacher. He was nominated in 1830 one of the foundation members of the Royal Scottish Academy. In 1833 he is listed as living at 7 Union Street on the eastern fringe of the New Town in Edinburgh. Works His sketches from nature were especially admired, and a series of 51 drawings of Edinburgh by him were engraved by W. H. Lizars for James Browne's Picturesque Views of Edinburgh (1825). He also made a reputation with cabinet pictures of banks of rivers, coast scenes, and marine subjects. As an illustrator he illustrated some early editions of Scott's Waverley Novels and one edition of Gilbert White...

Category

19th Century Old Masters Figurative Paintings

Materials

Oil

John Wilson Ewbank
Grand 19th Century English Marine Painting in Stunning Light, 1823

$197,809

Free Shipping

18th Century Neoclassical Oil Painting of the Trojan War: Briseis & Achilles

By James Thornhill

Located in London, GB

James Thornhill (1674-1735) Oil on canvas 12 x 14 inches; 16 ½ x 18 ½ in. Inc. frame The subject matter and inclusion of herms on both sides shows the influence of Louis...

Category

Early 18th Century Old Masters Figurative Paintings

Materials

Canvas, Oil

James Thornhill
18th Century Neoclassical Oil Painting of the Trojan War: Briseis & Achilles, circa 1710

$24,387

17th Century Classical Oil Painting - Diana With Her Attendants in a Grotto

By Abraham van Cuylenborch

Located in London, GB

Abraham van CUYLENBROCH (1620-1658) Diana With Her Attendants in a Grotto 1651 signed oil on panel 12.2 in x 15.7 inches, inc. frame; 31 x 40 cm Provenance: Sale of Sotheby's Lo...

Category

17th Century Old Masters Figurative Paintings

Materials

Oil

Abraham van Cuylenborch
17th Century Classical Oil Painting - Diana With Her Attendants in a Grotto, 1651

$7,858

A Beautiful and Large Marine - A Ship in Two Positions Off Dover

By William John Huggins

Located in London, GB

William John Huggins (1781-1845) A Ship in Two Positions Off Dover oil on canvas Unsigned 33 x 45 inches, inc. frame William John Huggins, of wh...

Category

19th Century Old Masters Figurative Paintings

Materials

Oil

William John Huggins
A Beautiful and Large Marine - A Ship in Two Positions Off Dover, circa 1820

$14,903

Free Shipping

Oil Painting of Landscape with 'The Papal Palace at Avignon'

By Pieter Bout

Located in London, GB

Provenance: Sotheby’s December 5th 2006, Lot 388 Bout was a Flemish painter, draughtsman and etcher. He is known mainly for his landscapes, city, coast and country views and archite...

Category

Early 18th Century Old Masters Landscape Paintings

Materials

Oil

Pieter Bout
Oil Painting of Landscape with 'The Papal Palace at Avignon', c.1700

$20,322

18th Century Lanscape Oil Painting of Matlock High-Torr

By Thomas Smith (b.1720)

Located in London, GB

Thomas Smith of Derby Matlock High-Torr Landscape Oil on canvas 27 x 34.5 inches unframed 34 x 41.5 inches including frame Thomas Smith of Derby (died 12 September 1767) was an Engl...

Category

18th Century Old Masters Landscape Paintings

Materials

Oil

Thomas Smith (b.1720)
18th Century Lanscape Oil Painting of Matlock High-Torr, circa 1750

$24,387

16th Century Old Masters Landscape Paintings

Materials

Cotton Canvas, Canvas, Oil

Cristofano Roncalli
16th Century by Cristofano Roncalli Saint Catherine of Siena Oil on Canvas, Late 16 Century

$38,266 Sale Price

20% Off

17th Century by Felice Torelli Hagar and the Angel Oil on Canvas

Located in Milano, Lombardia

Felice Torelli (Verona, Italy, 1667 - Bologna, Italy, 1748) Title: Hagar and the Angel Medium: Oil on canvas Dimensions: without frame 41 x 116 cm - wit...

Category

Late 17th Century Old Masters Landscape Paintings

Materials

Cotton Canvas, Canvas, Oil

Felice Torelli
17th Century by Felice Torelli Hagar and the Angel Oil on Canvas, Late 17th Century

$17,952 Sale Price

20% Off

18th Century by Giuseppe Pianca Shepherd with Goat and River Oil on Canvas

Located in Milano, Lombardia

Giuseppe Antonio Pianca (Agnona di Borgosesia, Italy, 1703 - Milan, Italy, 1762) Title: Shepherd with Goat and River Medium: Oil on canvas Dimensions: without frame 49 x 57 cm - wit...

Category

18th Century Old Masters Landscape Paintings

Materials

Cotton Canvas, Oil, Canvas

Giuseppe Antonio Pianca
18th Century by Giuseppe Pianca Shepherd with Goat and River Oil on Canvas, Middle of 18th Century

$22,109 Sale Price

22% Off

17th Century by Giovan Battista Discepoli Coronation of Thorns Oil on Panel

Located in Milano, Lombardia

Giovan Battista Discepoli, also called the "Zoppo from Lugano" [Castagnola (Lugano), Switzerland, 1590 - Lugano, Switzerland, 1654] Title: Coronation of Thorns Medium: Oil on panel D...

Category

Early 17th Century Old Masters Landscape Paintings

Materials

Panel, Oil

Giovan Battista Discepoli, detto lo Zoppo da Lugano
17th Century by Giovan Battista Discepoli Coronation of Thorns Oil on Panel, Early 17th Century

$29,526 Sale Price

20% Off

Village Scene Figures & Animals - British Old Master exh pastoral oil painting

By James Ward

Located in London, GB

This stunning British Old Master exhibited pastoral oil on panel is by noted artist James Ward. Painted circa 1815 with superb provenance, it was e...

Category

1810s Old Masters Animal Paintings

Materials

Oil

James Ward
Village Scene Figures & Animals - British Old Master exh pastoral oil painting, Circa 1815

$130,057 Sale Price

20% Off

Shepherd with Animals in Landscape - Dutch Old Master art pastoral oil painting

By Nicolaes Berchem

Located in London, GB

This lovely Dutch Old Master oil painting is attributed to noted Dutch artist Nicholaes Berchem. Painted circa 1665 it is a charming pastoral scene of a shepherd and his animals including sheep, goats, donkey and cows and of course his trusty dog. They are all resting beneath trees while he looks on attentively. The light in the sky and the light and shadows on the animals is beautiful. A really superb example of Dutch Old Master art with great detail. Provenance. Surrey estate. Christies stamp verso. Condition. Oil on canvas, 38 inches by 32 inches and in good condition. Frame. Housed in a complementary gilt frame, 46 inches by 30 inches and in good condition. Nicolaes Pieterszoon Berchem (1620-1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures (staffage) in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Pieter de Grebber, Jan Baptist Weenix, Jan Wils and Claes Cornelisz. Moeyaert. According to Houbraken, Carel de Moor told him that Berchem got his name from two words "Berg hem" for "Save him!", an expression used by his fellows in Van Goyen's workshop whenever his father chased him there with the intent to beat him. No trip or Grand Tour by Berchem was documented by Houbraken though he mentioned another story about the "Berg hem!" nickname which came from Berchem's conscription as a sailor; the man in charge of impressment knew him and sent him ashore with the words "Save him!". Today his name is assumed to come from his father's hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, whom he called his cousin, in 1642–5. Works by him are signed both as "CBerghem" and "Berchem". In 1645 he became a member of the Dutch reformed church and married the year after. According to Houbraken he married the daughter of the painter Jan Wils, who kept him on a short allowance, but to finance his collection of prints he would borrow money from his pupils and colleagues and pay them back from the proceeds of paintings that he didn't tell her about. Around 1650 he travelled to Westphalia with Jacob van Ruisdael, where a dated piece showing Burg Bentheim is recorded. Maybe Berchem went to Italy after this trip and before he moved to Amsterdam - he is not clearly documented in the Netherlands between 1650 and 1656. Around 1660 he worked for the engraver Jan de Visscher designing an atlas. In 1661-1670 he is registered in Amsterdam and in 1670 he moved back to Haarlem, but was living back in Amsterdam by 1677, where he died in 1683. He was a popular teacher and his pupils were Abraham Begeyn, Johannes van der Bent, his son Nicolaes, Isaack Croonenbergh, Simon Dubois, Karel Dujardin, Johannes Glauber, Pieter de Hooch, Jacob van Huchtenburg, Justus van Huysum...

Category

17th Century Old Masters Landscape Paintings

Materials

Oil

Shepherd with Animals in Landscape - Dutch Old Master art pastoral oil painting, Circa 1665

$15,174 Sale Price

20% Off

More Ways To Browse

Henry William Standing

Hogarth Engravings

Peter Lane

Portrait Antique Pre 1900 Paintings

Antique Mirror Auction

Antique Wine Corks

Augustas John

Pirate Ship

Used Furniture Nova Scotia

Burlington House Furniture

Robert St Pierre

English Regency Portrait

John Noble Print

Peter Storm

Antique Picture Frames Ireland

Bound Newspaper

Kirby Oil Painting

Nova Scotia Antique Furniture

18th Century Oil Painting Marine Seascape by Peter Monamy

View Similar Items

Peter Monamy
18th Century Oil Painting Marine Seascape by Peter Monamy
c. 1740

About the Item

Peter Monamy

More From This Seller

19th Century Old Masters Figurative Paintings

John Wilson Ewbank
Grand 19th Century English Marine Painting in Stunning Light, 1823

Early 18th Century Old Masters Figurative Paintings

James Thornhill
18th Century Neoclassical Oil Painting of the Trojan War: Briseis & Achilles, circa 1710

17th Century Old Masters Figurative Paintings

Abraham van Cuylenborch
17th Century Classical Oil Painting - Diana With Her Attendants in a Grotto, 1651

19th Century Old Masters Figurative Paintings

William John Huggins
A Beautiful and Large Marine - A Ship in Two Positions Off Dover, circa 1820

Early 18th Century Old Masters Landscape Paintings

Pieter Bout
Oil Painting of Landscape with 'The Papal Palace at Avignon', c.1700

18th Century Old Masters Landscape Paintings

Thomas Smith (b.1720)
18th Century Lanscape Oil Painting of Matlock High-Torr, circa 1750

You May Also Like

16th Century Old Masters Landscape Paintings

Cristofano Roncalli
16th Century by Cristofano Roncalli Saint Catherine of Siena Oil on Canvas, Late 16 Century

Late 17th Century Old Masters Landscape Paintings

Felice Torelli
17th Century by Felice Torelli Hagar and the Angel Oil on Canvas, Late 17th Century

18th Century Old Masters Landscape Paintings

Giuseppe Antonio Pianca
18th Century by Giuseppe Pianca Shepherd with Goat and River Oil on Canvas, Middle of 18th Century

Early 17th Century Old Masters Landscape Paintings

Giovan Battista Discepoli, detto lo Zoppo da Lugano
17th Century by Giovan Battista Discepoli Coronation of Thorns Oil on Panel, Early 17th Century

1810s Old Masters Animal Paintings

James Ward
Village Scene Figures & Animals - British Old Master exh pastoral oil painting, Circa 1815

17th Century Old Masters Landscape Paintings

Shepherd with Animals in Landscape - Dutch Old Master art pastoral oil painting, Circa 1665

Recently Viewed

More Ways To Browse

18th Century Oil Painting Marine Seascape by Peter Monamy

View Similar Items

Peter Monamy18th Century Oil Painting Marine Seascape by Peter Monamyc. 1740

About the Item

Peter Monamy

More From This Seller

19th Century Old Masters Figurative Paintings

John Wilson EwbankGrand 19th Century English Marine Painting in Stunning Light, 1823

Early 18th Century Old Masters Figurative Paintings

James Thornhill18th Century Neoclassical Oil Painting of the Trojan War: Briseis & Achilles, circa 1710

17th Century Old Masters Figurative Paintings

Abraham van Cuylenborch17th Century Classical Oil Painting - Diana With Her Attendants in a Grotto, 1651

19th Century Old Masters Figurative Paintings

William John HugginsA Beautiful and Large Marine - A Ship in Two Positions Off Dover, circa 1820

Early 18th Century Old Masters Landscape Paintings

Pieter BoutOil Painting of Landscape with 'The Papal Palace at Avignon', c.1700

18th Century Old Masters Landscape Paintings

Thomas Smith (b.1720)18th Century Lanscape Oil Painting of Matlock High-Torr, circa 1750

You May Also Like

16th Century Old Masters Landscape Paintings

Cristofano Roncalli16th Century by Cristofano Roncalli Saint Catherine of Siena Oil on Canvas, Late 16 Century

Late 17th Century Old Masters Landscape Paintings

Felice Torelli17th Century by Felice Torelli Hagar and the Angel Oil on Canvas, Late 17th Century

18th Century Old Masters Landscape Paintings

Giuseppe Antonio Pianca18th Century by Giuseppe Pianca Shepherd with Goat and River Oil on Canvas, Middle of 18th Century

Early 17th Century Old Masters Landscape Paintings

Giovan Battista Discepoli, detto lo Zoppo da Lugano 17th Century by Giovan Battista Discepoli Coronation of Thorns Oil on Panel, Early 17th Century

1810s Old Masters Animal Paintings

James WardVillage Scene Figures & Animals - British Old Master exh pastoral oil painting, Circa 1815

17th Century Old Masters Landscape Paintings

Shepherd with Animals in Landscape - Dutch Old Master art pastoral oil painting, Circa 1665

Recently Viewed

More Ways To Browse

Peter Monamy
18th Century Oil Painting Marine Seascape by Peter Monamy
c. 1740

John Wilson Ewbank
Grand 19th Century English Marine Painting in Stunning Light, 1823

James Thornhill
18th Century Neoclassical Oil Painting of the Trojan War: Briseis & Achilles, circa 1710

Abraham van Cuylenborch
17th Century Classical Oil Painting - Diana With Her Attendants in a Grotto, 1651

William John Huggins
A Beautiful and Large Marine - A Ship in Two Positions Off Dover, circa 1820

Pieter Bout
Oil Painting of Landscape with 'The Papal Palace at Avignon', c.1700

Thomas Smith (b.1720)
18th Century Lanscape Oil Painting of Matlock High-Torr, circa 1750

Cristofano Roncalli
16th Century by Cristofano Roncalli Saint Catherine of Siena Oil on Canvas, Late 16 Century

Felice Torelli
17th Century by Felice Torelli Hagar and the Angel Oil on Canvas, Late 17th Century

Giuseppe Antonio Pianca
18th Century by Giuseppe Pianca Shepherd with Goat and River Oil on Canvas, Middle of 18th Century

Giovan Battista Discepoli, detto lo Zoppo da Lugano
17th Century by Giovan Battista Discepoli Coronation of Thorns Oil on Panel, Early 17th Century

James Ward
Village Scene Figures & Animals - British Old Master exh pastoral oil painting, Circa 1815