Lot 84
  • 84

Pieter van Bloemen, called Standaard

Estimate
12,000 - 18,000 GBP
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Description

  • Pieter van Bloemen, called Standaard
  • a roman landscape with horsemen and bathers at a watering hole, architechtural ruins beyond
  • signed with monogram and dated on the rock lower right: PVB (in ligature)/1698
    indistinctly inscribed on the reverse of the relining canvas in and old: no 21 Pierrière(?)
  • oil on canvas

Provenance

Anonymous sale, Rome, Finarte, in the early 1990s;
Anonymous sale ("The Property of a Gentleman"), London, Sotheby's, 11 December 2003, lot 232, where acquired by the present owner after the sale for £17,500 .

Condition

The canvas has quite a firm relining but the paint surface is not overly flattened as a result. The paint surface is secure and clean. Inspection under UV light reveals scattered, non-obtrusive retouchings and strengthenings. Overall the painting is in good condition and could be hung straight away. Offered in a carved gilt wood frame in fair condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Pieter van Bloemen was the brother of the landscape painter Jan Frans van Bloemen (called Orizzonte), with whom he often collaborated in the role of figurista in his brother's vedute. Van Bloemen specialised in painting horsemen in italianate landscapes but this is an exceptionally ambitious example of his work.  The setting is no doubt inspired by the architectural ruins he would have seen first hand whilst residing in Rome between 1685 and 1694. The present work dates from shortly after van Bloemen's departure from Rome, and the fact that it is actually dated is a rare ocurrence in his oeuvre, as noted by Salerno (L. Salerno, Pittori di paesaggio del seicento a Roma, vol. II, Rome 1977, p. 856).