Cornelis van Poelenburch (1586–1667)

Ancient painting, oil on canvas, 17th century, depicting Arcadian landscape with six nymphs bathing and classical ruins, accompanied by a historical-artistic appraisal by Professor Giovanni Felice Rossi, dated January 29, 1971, with authenticated and signed photograph. Large-format painting depicting a suggestive Arcadian landscape with six nymphs bathing, immersed in lush and wild nature, among spectacular rock formations, monumental trees, and ruins of classical architecture. In the background, an intricate hilly and mountainous panorama opens under a bright sky, contributing to depth and the expansive breath of the composition. The scene unfolds through a succession of landscapes, from foreground vegetation to the rocks and background architectures, following an ideal conception of nature in which elements of the landscape fuse with the repertoire of classicism. The female figures, distributed along the course of the water, introduce a mythical and pastoral element that gives the view the character of an timeless Arcadia. The work is accompanied by documentation of particular historical interest, consisting of an appraisal dated Piacenza, January 29, 1971, drawn up by Professor Doctor Giovanni Felice Rossi, director of the Alberoni Gallery and archivist of the Alberoni College of Piacenza, accompanied by an authenticated and signed photograph. The painting had previously been attributed to Michelangelo Cerquozzi. After a thorough examination, Professor Rossi explicitly rejected that attribution, recognizing in the work stylistic and painterly characteristics different from those of the Roman painter. His analysis includes close observation of the painting surface, examination of the previous restoration, the use of a magnifying lens, and ultraviolet examination, as well as comparison with other reference works and paintings. At the end of this examination, Rossi attributed the painting to Cornelis van Poelenburch (Utrecht, 1586–1667), recognizing in him the sensibility of an artist specialized in Arcadian landscape and in the depiction of mythological figures set in classical-inspired scenes. The appraisal emphasizes the fineness of details, the softness of light effects, the delicacy of touch, meticulous rendering of trees and vegetation, and the ability to describe with naturalistic attention rocks, waters, and ruins. The professor also highlights the particular executive sensitivity, characterized by patient and accurate painting, capable of combining analytical description of natural elements with the construction of an idealized landscape. Rossi also notes the significant presence of ruins, a recurring element in the painter’s poetics, and cites a comparison with a classical landscape exhibited at the Paestists and View-painters in Rome in the 1600s and 1700s, held at Palazzo Barberini in 1956, then attributed to Sebastiano Bourbon and, in his view, instead attributable to Poelenburch. Dutch painter trained in Utrecht and active in Rome and Florence in the early 17th century, Cornelis van Poelenburch was one of the leading figures in the diffusion of Italianized landscape in Northern painting. His oeuvre is characterized by idealized views, ruins of antiquity, rocky formations, and small mythological or pastoral figures, often bathed in luminous and contemplative atmospheres. The combination of nymphs bathing, wild nature, and classical architectures that characterizes the painting fits fully within the thematic repertoire associated with his production. The 1971 documentation thus constitutes a specific historical attribution reference, which accompanies and motivates the attribution proposal to this important interpreter of 17th-century Arcadian landscape. In his appraisal, Rossi also notes that the artist is relatively rare in Italian collections and hypothesizes a possible execution of the painting in Italy, linking this supposition to the painting’s dimensions and the frame then under consideration. The work is presented in good overall condition, with signs of time consistent with its age. Some scattered restoration points are visible, along with old varnish and varnish crazing of the paint film and sporadic tiny losses of color, visible as small dots distributed over the surface. The surface preserves an old slightly yellowed and oxidized varnish, which gives the whole a warm tone and a patina coherent with the antiquity of the work. The composition remains fully legible and appreciable in its chromatic values and in its landscape construction. The craquelure is homogeneous and attributable to the period, with no signs of active detachment. The original canvas has a good-condition lining that ensures proper support and tensioning. The wooden frame appears to have been replaced at the time of the lining. Overall, the work presents as solid, well-preserved, with a coherent historical patina that testifies to its authenticity and natural conservation evolution over time. The painting is presented within a splendid Salvator Rosa authentic period frame, in gilded wood, of notable aesthetic impact and perfectly coherent with the classical character of the painting. The mounting shows a beautiful antique patina and preserves its original charm, with slight defects and localized restorations, but is overall in excellent conservation condition. The complete frame enhances and magnificently valorizes the work, giving it an appearance of great elegance and collectible relevance. The frame itself is included as a courtesy and is not an integral part of the artwork; any damage to it will not constitute grounds for complaint or cancellation of the order. Dimensions of the painting: 80 x 130 cm - Frame dimensions: 98 x 146.5 cm Work accompanied by a photographic certificate of authenticity, as required by current law. Shipment with insured express courier and packaging executed with maximum care.

Schätzpreis:€3,000

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