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Abraham Bloemaert (1566-1651), Liberalitas

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Abraham Bloemaert (1566-1651)

Liberalitas

oil on canvas, 70x59,5 cm

Literature:-Marcel G. Roethlisberger, ‘Abraham Bloemaert and his sons, Paintings and prints', Doornspijk 1993, Vol. I, p. 264, no. 396, ill. Vol. II, ill. no. 559.Provenance:-Bought at a Dutch auction in the late 19th century by the ancestor of the present owner.

Please note that Abraham's son Cornelis Bloemaert (1603-1692) made an engraving after this painting, which is in the collection of the Centraal Museum in Utrecht, inv. no. 6688. Abraham Bloemaert (25 December 1566 -27 January 1651) hailed from a lineage of artistic excellence, being the son of Cornelis Bloemaert, a revered sculptor, architect, and engineer. Besides his father, he had no fewer than six teachers of little renown, including the Utrecht artists Gerrit Splinter and Joost de Beer. His artistic journey took him for some years to Paris in 1581, where he worked (among others) together with Hieronymus Francken I. Returning briefly to assist his father in Amsterdam in 1591, Abraham established his own studio there, showcasing his early works in the style of the Haarlem Mannerists. However, by the turn of the 17th century, he seamlessly transitioned to the emerging Baroque style.After his father's passing, Abraham permanently settled in Utrecht in 1593. In 1600, he married Gerarda de Roij, daughter of a local brewer, and together they had eight children, four of whom—Hendrick, Cornelis, Adriaen, and Frederick—followed in their father's artistic footsteps. Abraham's influence extended beyond his immediate family, as he mentored numerous pupils, many of whom rose to prominence in the Utrecht School. Throughout his prolific career, Abraham Bloemaert garnered widespread acclaim, earning visits from notable figures like, in 1626, Elizabeth Stuart, former queen of Bohemia, and a year later Peter Paul Rubens. His diverse body of work encompassed paintings, engravings, and drawings, often depicting religious, mythological, and genre themes set against elaborate landscapes.The present lot is certified by a print executed by Abraham's son, Cornelis Bloemaert (Utrecht 1603-Rome 1692). This print is engraved at the top: ‘LIBERALITAS’, and in the margin: ‘A Bloemaert. Pinxit / C Bloem: Sculp et ex: 1625’. In the lower centre we read the inscription: ‘En potum dat largamanus panesq[-] petenti / Porrigit, et nimias temnere novit opes’. Translated: ‘Here is the generous hand that gives drink and offers bread to the demander and knows to despise excessive wealth’. The print captures the essence of the painting, showcasing a scene where generosity and abundance prevail. Cornelis reproduced his father's work in the same direction, imbuing it with subtle variations in detail.This captivating artwork seamlessly blends realistic, genre elements with allegorical symbolism. The central figure, a woman offering bread and drink to a child, exudes a sense of nurturing generosity, emphasized by her partial nudity and graceful demeanor. She is dressed in fancy, classicising clothing and her head is elegantly turned towards the spectator. This allegorical portrayal, reminiscent of Bloemaert's Arcadian shepherdesses, underscores themes of abundance and benevolence.Paintings depicting personifications of Liberality are rare, making this lot a unique addition to any collection. The theme forms a plausible, although not traditional, pair with the similarly titled ‘Avaritia’, which was likewise engraved by Cornelis Bloemaert in 1625. Everything suggest that the two paintings, ‘Liberalitas’ and ‘Avaritia’ were conceived as a pair. We are delighted to present this exquisite piece of art, 'Liberalitas', which has remained in the possession of the same family since the late 19th century, in our upcoming auction.Sources:-National Gallery of Art, Washington https://www.nga.gov/collection/artist-info.2384.html -Marcel Roethlisberger and Marten Jan Bok, ‘Abraham Bloemaert and his sons, paintings and prints', Doornspijk 1993, Volume I, p. 264.

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Abraham Bloemaert (1566-1651)

Liberalitas

oil on canvas, 70x59,5 cm

Literature:-Marcel G. Roethlisberger, ‘Abraham Bloemaert and his sons, Paintings and prints', Doornspijk 1993, Vol. I, p. 264, no. 396, ill. Vol. II, ill. no. 559.Provenance:-Bought at a Dutch auction in the late 19th century by the ancestor of the present owner.

Please note that Abraham's son Cornelis Bloemaert (1603-1692) made an engraving after this painting, which is in the collection of the Centraal Museum in Utrecht, inv. no. 6688. Abraham Bloemaert (25 December 1566 -27 January 1651) hailed from a lineage of artistic excellence, being the son of Cornelis Bloemaert, a revered sculptor, architect, and engineer. Besides his father, he had no fewer than six teachers of little renown, including the Utrecht artists Gerrit Splinter and Joost de Beer. His artistic journey took him for some years to Paris in 1581, where he worked (among others) together with Hieronymus Francken I. Returning briefly to assist his father in Amsterdam in 1591, Abraham established his own studio there, showcasing his early works in the style of the Haarlem Mannerists. However, by the turn of the 17th century, he seamlessly transitioned to the emerging Baroque style.After his father's passing, Abraham permanently settled in Utrecht in 1593. In 1600, he married Gerarda de Roij, daughter of a local brewer, and together they had eight children, four of whom—Hendrick, Cornelis, Adriaen, and Frederick—followed in their father's artistic footsteps. Abraham's influence extended beyond his immediate family, as he mentored numerous pupils, many of whom rose to prominence in the Utrecht School. Throughout his prolific career, Abraham Bloemaert garnered widespread acclaim, earning visits from notable figures like, in 1626, Elizabeth Stuart, former queen of Bohemia, and a year later Peter Paul Rubens. His diverse body of work encompassed paintings, engravings, and drawings, often depicting religious, mythological, and genre themes set against elaborate landscapes.The present lot is certified by a print executed by Abraham's son, Cornelis Bloemaert (Utrecht 1603-Rome 1692). This print is engraved at the top: ‘LIBERALITAS’, and in the margin: ‘A Bloemaert. Pinxit / C Bloem: Sculp et ex: 1625’. In the lower centre we read the inscription: ‘En potum dat largamanus panesq[-] petenti / Porrigit, et nimias temnere novit opes’. Translated: ‘Here is the generous hand that gives drink and offers bread to the demander and knows to despise excessive wealth’. The print captures the essence of the painting, showcasing a scene where generosity and abundance prevail. Cornelis reproduced his father's work in the same direction, imbuing it with subtle variations in detail.This captivating artwork seamlessly blends realistic, genre elements with allegorical symbolism. The central figure, a woman offering bread and drink to a child, exudes a sense of nurturing generosity, emphasized by her partial nudity and graceful demeanor. She is dressed in fancy, classicising clothing and her head is elegantly turned towards the spectator. This allegorical portrayal, reminiscent of Bloemaert's Arcadian shepherdesses, underscores themes of abundance and benevolence.Paintings depicting personifications of Liberality are rare, making this lot a unique addition to any collection. The theme forms a plausible, although not traditional, pair with the similarly titled ‘Avaritia’, which was likewise engraved by Cornelis Bloemaert in 1625. Everything suggest that the two paintings, ‘Liberalitas’ and ‘Avaritia’ were conceived as a pair. We are delighted to present this exquisite piece of art, 'Liberalitas', which has remained in the possession of the same family since the late 19th century, in our upcoming auction.Sources:-National Gallery of Art, Washington https://www.nga.gov/collection/artist-info.2384.html -Marcel Roethlisberger and Marten Jan Bok, ‘Abraham Bloemaert and his sons, paintings and prints', Doornspijk 1993, Volume I, p. 264.

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Time, Location
28 May 2024
Netherlands, Hague
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