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Lot Essay
A sparkling late work by Nicolaes Berchem, this picture has long been praised for its graceful evocation of the Italian countryside. Gustav Waagen considered it ‘a particularly rich and careful picture of the later time of the master’ when he saw it at Wrotham Park in the mid-nineteenth century, after John Smith had already described it as ‘delightful – rendered additionally interesting by the warmth of a brilliant sun-set’.
Berchem began to paint Italianate landscapes, strongly influenced by the work of Jan Asselijn, in the 1650s. Although he is not actually documented in Italy, it is thought he might have travelled there in the mid-1640s with his friend Jan Baptist Weenix, who is recorded in Rome in 1645. Certainly the rich effect of this picture leaves little doubt as to Berchem’s affinity with the golden light and atmosphere of the Roman campagna. For a note on the provenance see the previous lot.
Berchem began to paint Italianate landscapes, strongly influenced by the work of Jan Asselijn, in the 1650s. Although he is not actually documented in Italy, it is thought he might have travelled there in the mid-1640s with his friend Jan Baptist Weenix, who is recorded in Rome in 1645. Certainly the rich effect of this picture leaves little doubt as to Berchem’s affinity with the golden light and atmosphere of the Roman campagna. For a note on the provenance see the previous lot.