Matthieu van Plattenberg, called Monsù Montagna (1608-1660)

細節

Matthieu van Plattenberg, called Monsù Montagna (1608-1660)

A Storm on a rocky Coast with Ships in Distress

with inventory numbers 81 (white) and 208 (red); with inscription on the relining canvas 'M: Montagnia.P N 81'
50.5/8 x 76¾in. (128.5 x 195cm.)

來源

Ferdinando Carlo Gonzaga, 10th and last Duke of Mantua (1652-1708), Mantua and subsequently Venice; one of two paintings by the artist (for the pendant see note below) listed in the inventory drawn up in 1706 by the painters Giovanni Canti and Antonio Calabrò of part of the collection of pictures in the Palazzo Ducale, Mantua: 'Un quadro di due braccia di lunghezza con sopra una tempesta di mare fatta da Monsù Montagna' (see Meroni, op. cit., p. 55); both are listed in the inventory of works of art in the ducal residence in Venice, the Palazzo Michiel alle Colonne, drawn up by the painter Niccolò Cassana and dated 1 January 1709: 'Un quadro senza soaza di quarte otto e quarte tredici fortuna di mare di mano di Monsù Montagna.. Un quadro senza soaza di quarte nove e quarte tredici, fortuna di mare di mano di Monsù Montagna' (see Meroni, op. cit., p. 60).
Probably one of the two 'marine' by the artist from the Duke of Mantua's collection offered for sale in London in 1715-16 by Count Giacomo Querini, secret agent of the Venetian Republic (see Querini, loc. cit.).
Giovanni Battista Santi Rota, a Venetian lawyer who in 1712 was acting as 'agente et economo' to Duke Léopold Joseph I of Lorraine, chief inheritor of Ferdinando Carlo's estate; Santi Rota's entire collection was put up as collateral on 15 April 1723 against a loan of 4,000 ducats from Field Marshal Count Johann Matthias von der Schulenburg (1661-1747); eighty-five paintings, including the present picture, two drawings and a relief were deeded by Santi Rota to Schulenburg on 12 October 1724, presumbly due to his inability to repay the loan.
Sent by Schulenburg to Berlin in April 1738 (see Binion, op. cit., 1990, p. 265).
Bequeathed to his nephew Adolph Friedrich von der Schulenburg, Berlin, and by descent to the present owner.

出版

Stima de'quadri della Galleria di S.A. Ser.ma fatta dai pittori Canti, e Calabrò per ordine della medesima A.S., 1706, Ms., Accademia Virgiliana, Mantua (published by Meroni, op. cit., 1976, p. 55).
Inventario de' mobili et altri efetti di ragione del quondam Duca di Mantova, 1 January 1709, Ms., Archivio di Stato, Verona, Antico Archivio del Comune, reg. 609 (see Meroni, op. cit., 1976, p. 60).
(Probably) Count G. Querini, Lista de quadri dell'Eredità del Def. Duca di Mantoa, accompanying a letter to Procurator Venier dated 7 October 1715, no. 30 or no. 36, each described as 'marina di Monsr Montagne' (see Hardy, loc. cit.).
Inventario Generale della Galleria di S: Eccellza Felt Marescial Conte di Sculembourgh..., 30 May 1738, 'Monsieur Montagna - Due Quadri compagni con cornici dorate Rappresentano Borrasche di Mare con Nave, alti 8, lar:11' (see Binion, op. cit., 1990, p. 195).
Inventario Generale della Galleria di S.E. Maresciallo Co: di Schulemburg..., Venice, 30 June 1741 (see Binion, op. cit., 1990, p. 224).
Inventaire de la Gallerie de Feu S. e. Mgr. le Feldmarechal Comte de Schulenburg - Tableaux de f.c. à Berlin, c. 1750, no. 81 (see Binion, op. cit., 1990, p. 276).
(Probably) T.D. Hardy, Report... Upon the Documents and Public Libraries of Venice, London, 1866, p. 103.
Hehlen Inventory, 1957, no. 13.
A. Binion, From Schulenburg's Gallery and Records, The Burlington Magazine, CXII, no. 806, May 1970, p. 297.
Lettere e altri documenti intorno alla storia della pittura raccolte di quadri a Mantova nel sei-settecento, ed. U. Meroni, Monzambano, 1976, pp. 55 and 60.
E. Antoniazzi Rossi, Ulteriori considerazioni sull'inventario della collezione del maresciallo von Schulenburg, Arte Veneta, XXXI, 1979, pp. 129-30.
R. Pallucchini, La pittura veneziana del seicento, Milan, 1981, I, p. 316
A. Binion, La Galleria scomparsa del maresciallo von der Schulenburg, Milan, 1990, pp. 133, 195, 224, 265 and 276.
M. Eidelberg and E.W. Rowlands, The Dispersal of the last Duke of Mantua's Paintings, Gazette des Beaux-Arts, May-June 1994, pp. 245, 277, note 187, 279, note 204, and 282, notes 243-5.

拍品專文

The present picture was formerly accompanied by a pendant, which was sold from the Schulenburg Collection at Sotheby's, 10 December 1986, lot 105 (#4,000), see Eidelberg and Rowlands, op. cit., p. 244, fig. 36. Although only one painting is mentioned in the inventory of 1706, both are listed together in all subsequent inventories, the pendant being no. 80 in the Schulenburg inventory of 1774 and no. 14 in the Hehlen inventory of 1957. The artist was incorrectly identified by Meroni and Antoniazzi Rossi, loc. cit., as Renaud de la Montagne, il Montagna (d. 1644). Although Pallucchini, loc. cit., makes a distinction between the two artists, he mistakenly identifies the present picture and its pendant with two pictures by Renaud de la Montagne in the Museum in Hanover. Professor Marcel Roethlisberger, who also makes a distinction between the two artists but discusses Renaud de la Montagne under the heading of Monsù Montagna, gives a brief biography of Plattenberg and discusses the differences between the two artists in Cavalier Pietro Tempesta and his Time, Haarlem, 1970, pp. 90-2. Plattenberg was a pupil of Eertvelt and lived only for a short time in Italy, leaving for Paris before 1630; there he was appointed peintre du Roy pour les mers, and stayed until his death in 1660. According to Roethlisberger several dozen widely scattered paintings of sea storms traditionally attributed to him - of which none are signed - form a reasonably consistent group, combining Flemish types with a broad painterly treatment resembling the work of Rosa. Roethlisberger was then unaware of the present picture and its pendant, both of which are documented as his work as early as 1706. He suggests that as Plattenberg left Italy before Rosa began to paint, the influence, if any, was from the former to the latter. Roethlisberger also points out Plattenberg's influence on the work of Tempesta who, he believes, must have seen his works in Italy as well since Plattenberg's paintings anticipate more directly than any other artist Tempesta's early sea storms. Plattenberg also executed three dozen engravings (Roethlisberger, op. cit., p. 90).