拍品 133
133
HENDRICK VAN STEENWIJK I (KAMPEN C. 1550-1603 FRANKFURT AM MAIN)
HENDRICK VAN STEENWIJK I (KAMPEN C. 1550-1603 FRANKFURT AM MAIN)
HENDRICK VAN STEENWIJK I (KAMPEN C. 1550-1603 FRANKFURT AM MAIN)
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HENDRICK VAN STEENWIJK I (KAMPEN C. 1550-1603 FRANKFURT AM MAIN)

The interior of Antwerp Cathedral with figures attending a Mass

细节
HENDRICK VAN STEENWIJK I (KAMPEN C. 1550-1603 FRANKFURT AM MAIN)
The interior of Antwerp Cathedral with figures attending a Mass
oil on panel
28 ½ x 39 ¼ in. (72.4 x 100 cm.)
with date of '1587' (lower centre, on the tomb; see Lot Essay)
来源
with Brian Koetser, London, 1969.
出版
Trafalgar Galleries at the Royal Academy IV, exhibition catalogue, London, 1985, p. 15, under no. 3, fig. 4, illustrated.
T. Fusenig, 'Neeffs und Co. - Die Antwerpener Architekturmalerei im frühen 17. Jahrhundert', in H. Borggrefe and V. Lüpkes (eds.), Studien zur Kultur der Renaissance, III, Marburg, 2005, pp. 145 and 150, where erroneously described as on canvas.
J. Howarth, The Steenwyck Family as Masters of Perspective, Turnhout, 2009, pp. 108 and 390, no. 1.15, illustrated, as 'whereabouts unknown'.
B. G. Maillet, Intérieurs d'Églises, 1580-1720: La Peinture Architecturale des Écoles du Nord, Wijnegem, 2012, p. 376, no. M-1194.

荣誉呈献

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Day Sale
+44 207 752 3074

拍品专文


The interior of Antwerp Cathedral was one of van Steenwijk’s most popular and frequently painted subjects. The present work shows this site full of life, with worshippers, priests and visitors populating the cathedral during a religious celebration. The tomb inscribed ‘1587’ in the foreground, lower centre, has previously been interpreted as a date of creation, but may simply be a portrayal of a tomb on the floor of the Cathedral. As Howarth discusses, the altarpiece on the right of the composition, under which the priest is officiating mass, appears to resemble Wenzel Coebergher’s Preparations for the Martyrdom of Saint Sebastian, dated 1599 (Musée des Beaux-Arts de Nancy, inv. no. 92), which would give the present work a terminus post quem of the same year (op. cit., p. 105).

A very similar painting by van Steenwijk’s pupil, Pieter Neefs, was sold at Christie’s, London, on 19 May 1989, presumably derived from the present work.

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