Joos de Momper II (Antwerp 1564-1635)
Property from a Belgian Private Collection
Joos de Momper II (Antwerp 1564-1635)

An extensive mountainous landscape with travellers

Joos de Momper II (Antwerp 1564-1635)
An extensive mountainous landscape with travellers
oil on canvas
45 3/8 x 80 ¼ in. (115.3 x 203.9 cm.)
Princess Hatzfeldt, Villa le Brises, Paris.
Anonymous sale; Hôtel Drouot, Paris, 17 February 1960, lot 122.
Countess de Lalaing, Belgium, by 1960.
with Terry- Engell Gallery, London, by 1961.
Anonymous sale [The Property of a Lady]; Sotheby's, London, 7 July 1976, lot 65.
J. Massard, ‘Il paesaggio nei Paesi Bassi da Breugel a Rubens’, Emporium, CXXXVIII, 1961, p. 195.
K. Ertz, Josse de Momper der Jüngere (1564-1635): Die Gemälde mit Kritischem OEuvrekatalog, Lingen, 1986, pp. 159 and 540, no. 254, fig. 147.
Breda, Cultureel Centrum de Beyerd; and Ghent, Museum voor Schone Kunsten, Le paysage aux Pays-Bas de Bruegel a' Rubens (1550-1630), 16 December 1960-27 March 1961, no. 46.

Lot Essay

Painted on an impressive scale, this work epitomises the atmospheric, sweeping grandeur of de Momper’s landscapes, which earned him the epithet ‘pictor montium’ beneath his portrait in Anthony van Dyck’s Iconographia (fig. 1).

The staffage in this painting may have been executed by Jan Breughel the Younger. The close relationship between de Momper and the Breughel family has been well documented: Jan Breughel the Elder, who referred to de Momper as 'Mio amico Momper' in a letter to Sir Peter Paul Rubens, was collaborating with the artist as early as 1612, painting the figures for a series of the Four Seasons in circa 1620 (K. Ertz, Jan Breughel der Ältere (1568-1625), Cologne, 1979, p. 470, note 832). De Momper likely met Breughel the Younger in the early 1620s when he was active the workshop of his father, before the latter’s departure for Italy in 1622. While de Momper worked together with numerous other painters, the work he did with Jan Breughel the Younger constitutes the most important collaboration of de Momper’s artistic maturity. Ertz tentatively dates this painting to the 1620s (op. cit., 1986, p. 540).

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