Cornelius Johnson (1593-1661), Cerchia di - Ritratto di Nobiluomo
Ancient painting, oil on canvas applied on wood, dating back to the first part of the 17th century, depicting a Portrait of a Nobleman.
This refined canvas appears to be attributable to an artist of the Dutch school active during the first part of the 17th century, with stylistically similar results to the production of artists such as Cornelius Johnson (London, 1593 – Utrecht, 1661) , a painter who was born to Dutch parents in London.
Johnson may have studied in the Netherlands, perhaps under Michiel Jansz. van Mierevelt, and was certainly influenced by other Flemish artists of the time, his early works indeed following the style and teachings of the Dutch Golden Age school.
On his return to England in 1619 he painted many portraits of the emerging English nobility, becoming one of the most gifted and prolific portrait painters practising in England in the 1620s and 1630s. His works can be found in major collections throughout the United Kingdom and abroad.
His style was conservative, although it varied considerably throughout his career, being able to assimilate new influences without any discordant effect. He was particularly influenced by Mytens, Van Dyck and William Dobson. His late Dutch portraits show a different style that reflected contemporary portraiture. Following the Dutch tradition, he was particularly careful and detailed in the depiction of clothing and as a result, his portraits are particularly useful for costume historians.
Johnson was one of the few artists of the period who consistently signed his work. In his early years, his standard way of signing portraits was the phrase "Fecit C J", although the 1619 portrait entitled "The Countess of Arundel" is signed "Cornelius Johnson Fecit" and many later works also have a full signature.
This signature, accompanied by the date 1617, although quite worn and with parts that are difficult to read, would also appear to be present on our canvas, as can be seen from the photos of the ticket in the hands of the portrayed subject.
In good general condition considering the age of the painting, some small restoration points are noted scattered in addition to some light peeling and cracking of the painted surface, nothing really significant however. No conservation problems are evident. The original canvas appears to be applied on an oak board, which does not appear to have structural defects or noteworthy curvatures; on the back various reinforcement pieces applied to it are visible. A fine craquelè related to the age is visible.
Framed in a beautiful posthumous frame, which has slight defects and restorations.
Painting size: 127 x 99 cm. Frame size: 150 x 121 cm.
Work accompanied by a photographic certificate of authenticity, as per current legislation.
Shipping via insured express courier and packaging carried out with the utmost care.
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Ancient painting, oil on canvas applied on wood, dating back to the first part of the 17th century, depicting a Portrait of a Nobleman.
This refined canvas appears to be attributable to an artist of the Dutch school active during the first part of the 17th century, with stylistically similar results to the production of artists such as Cornelius Johnson (London, 1593 – Utrecht, 1661) , a painter who was born to Dutch parents in London.
Johnson may have studied in the Netherlands, perhaps under Michiel Jansz. van Mierevelt, and was certainly influenced by other Flemish artists of the time, his early works indeed following the style and teachings of the Dutch Golden Age school.
On his return to England in 1619 he painted many portraits of the emerging English nobility, becoming one of the most gifted and prolific portrait painters practising in England in the 1620s and 1630s. His works can be found in major collections throughout the United Kingdom and abroad.
His style was conservative, although it varied considerably throughout his career, being able to assimilate new influences without any discordant effect. He was particularly influenced by Mytens, Van Dyck and William Dobson. His late Dutch portraits show a different style that reflected contemporary portraiture. Following the Dutch tradition, he was particularly careful and detailed in the depiction of clothing and as a result, his portraits are particularly useful for costume historians.
Johnson was one of the few artists of the period who consistently signed his work. In his early years, his standard way of signing portraits was the phrase "Fecit C J", although the 1619 portrait entitled "The Countess of Arundel" is signed "Cornelius Johnson Fecit" and many later works also have a full signature.
This signature, accompanied by the date 1617, although quite worn and with parts that are difficult to read, would also appear to be present on our canvas, as can be seen from the photos of the ticket in the hands of the portrayed subject.
In good general condition considering the age of the painting, some small restoration points are noted scattered in addition to some light peeling and cracking of the painted surface, nothing really significant however. No conservation problems are evident. The original canvas appears to be applied on an oak board, which does not appear to have structural defects or noteworthy curvatures; on the back various reinforcement pieces applied to it are visible. A fine craquelè related to the age is visible.
Framed in a beautiful posthumous frame, which has slight defects and restorations.
Painting size: 127 x 99 cm. Frame size: 150 x 121 cm.
Work accompanied by a photographic certificate of authenticity, as per current legislation.
Shipping via insured express courier and packaging carried out with the utmost care.
Sale price
Estimate
Time, Location
Auction House
