JACOB BOGDANI (ANGLO-HUNGARIAN 1658-1724), AN ASSEMBLY OF BIRDS IN

objekte/jacob bogdani anglo hungarian 1658 1724 an assembly of birds in wVvQ9Hk 625978406 / Zum Verkauf

objekte/jacob bogdani anglo hungarian 1658 1724 an assembly of birds in wVvQ9Hk 625978406

Zum VerkaufPreishistorie

objekte/jacob bogdani anglo hungarian 1658 1724 an assembly of birds in wVvQ9Hk 625978406

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JACOB BOGDANI (ANGLO-HUNGARIAN 1658-1724), AN ASSEMBLY OF BIRDS IN

JACOB BOGDANI (ANGLO-HUNGARIAN 1658-1724) AN ASSEMBLY OF BIRDS IN A PARKLAND LANDSCAPE, INCLUDING PEACOCKS, GUINEA-FOWL, A BARBARY COAST DUCK, RED LORY AND GREAT GREEN MACAW oil on canvas Signed J Bogdani (lower left) 176 x 150cm (69¼ x 59 in.) In a period carved and gessoed frame, probably original to the painting Provenance: Probably purchased by Sir Ernest Salter Wills for the Boudoir at Littlecote House and thence by descent Saleroom Notice: Please note that this cataloguing has been updated to reflect that this work is signed J Bogdani (lower left) and is in a period carved and gessoed frame, probably original to the painting. Bogdani worked in the Netherlands and in England. Little is known about his early life or artistic education, he was born in Eperjes in Hungary into a Protestant gentry family and by 1684 he had moved to Amsterdam, where he worked as a still-life painter by possibly to escape catholic persecution. He lived with the German still-life painter Ernst Stuven (1657-1712), and produced austere still-life groupings of fruit in the Dutch tradition, but it was while in Amsterdam that he first encountered the work of the celcebrated bird painter Melchior de Hondecoeter (1636-1695), who was to influence his work. By 1 June 1688 he was settled in London and in 1691 he described the pattern of his work, '[I] paint in the Spring flowers & in the Somer [sic] flowers & Fruits when they are out Lobsters and oyster pieces, In the Windter pieces of Fowell & plate'. In 1694, in conjunction with Grinling Gibbons (1648-1721) , he painted a set of flower-pieces for Queen Mary's 'Looking Glass Closet' in the Water Gallery at Hampton Court. He also supplied paintings for King William's palace at Dieren, Holland, and in 1698, accepted a commission from the Duke of Devonshire for a series of flower-pieces to decorate Chatsworth which was then being built. His interest in bird painting increased from circa 1703 when he was allowed access to the aviary of Admiral George Churchill (1652-1710), the Duke of Marlborough's younger brother at the Little Park at Windsor. The Admiral became one of his most important patrons and invited Bogdani to study and paint the many exotic species of bird in his aviary. Some of the large number of Bogdani pictures that the Admiral acquired were purchased after his death by Queen Anne for Hampton Court. Bogdani's success enabled him to purchase property at Finchley, London, and Spalding, Lincolnshire, and he became Lord of the Manor at Hitchin, Hertfordshire. Condition Report: The canvas appears to be unlined and examination under ultra violet light reveals an opaque varnish which makes the painting difficult to read, particularly in the darker background areas. There is a small repair to the right of the left hand bird and a repaired hole in between the two peacocks and in the background in the trees. There is some wear to the paint surface in places, commensurate with a work of this age, and some strengthening to the thinner areas and infilling to the craquelure Condition Report Disclaimer, JACOB BOGDANI (ANGLO-HUNGARIAN 1658-1724), AN ASSEMBLY OF BIRDS IN A PARKLAND LANDSCAPE, INCLUDING PEACOCKS, GUINEA-FOWL, A BARBARY COAST DUCK, RED LORY AND GREAT GREEN MACAW, oil on canvas, Signed J Bogdani (lower left), 176 x 150cm (69¼ x 59 in.), In a period carved and gessoed frame, probably original to the painting, Provenance:, Probably purchased by Sir Ernest Salter Wills for the Boudoir at Littlecote House and thence by descent, Saleroom Notice:, Please note that this cataloguing has been updated to reflect that this work is signed J Bogdani (lower left) and is in a period carved and gessoed frame, probably original to the painting. Bogdani worked in the Netherlands and in England. Little is known about his early life or artistic education, he was born in Eperjes in Hungary into a Protestant gentry family and by 1684 he had moved to Amsterdam, where he worked as a still-life painter by possibly to escape catholic persecution. He lived with the German still-life painter Ernst Stuven (1657-1712), and produced austere still-life groupings of fruit in the Dutch tradition, but it was while in Amsterdam that he first encountered the work of the celcebrated bird painter Melchior de Hondecoeter (1636-1695), who was to influence his work. By 1 June 1688 he was settled in London and in 1691 he described the pattern of his work, '[I] paint in the Spring flowers & in the Somer [sic] flowers & Fruits when they are out Lobsters and oyster pieces, In the Windter pieces of Fowell & plate'. In 1694, in conjunction with Grinling Gibbons (1648-1721) , he painted a set of flower-pieces for Queen Mary's 'Looking Glass Closet' in the Water Gallery at Hampton Court. He also supplied paintings for King William's palace at Dieren, Holland, and in 1698, accepted a commission from the Duke of Devonshire for a series of flower-pieces to decorate Chatsworth which was then being built. His interest in bird painting increased from, circa, 1703 when he was allowed access to the aviary of Admiral George Churchill (1652-1710), the Duke of Marlborough's younger brother at the Little Park at Windsor. The Admiral became one of his most important patrons and invited Bogdani to study and paint the many exotic species of bird in his aviary. Some of the large number of Bogdani pictures that the Admiral acquired were purchased after his death by Queen Anne for Hampton Court. Bogdani's success enabled him to purchase property at Finchley, London, and Spalding, Lincolnshire, and he became Lord of the Manor at Hitchin, Hertfordshire. Condition Report:, The canvas appears to be unlined and examination under ultra violet light reveals an opaque varnish which makes the painting difficult to read, particularly in the darker background areas. There is a small repair to the right of the left hand bird and a repaired hole in between the two peacocks and in the background in the trees. There is some wear to the paint surface in places, commensurate with a work of this age, and some strengthening to the thinner areas and infilling to the craquelure, Condition Report Disclaimer

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