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Horatius De Hooch

Netherlands (1652 -  1686 )
DE HOOCH Horatius Horseman On Path On The Banks

Palais Dorotheum
Apr 13, 2011
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Variants on Artist's name :

Hoogh De Horatius

 

Along with Horatius De Hooch, our clients also searched for the following authors:
Andrea Sacchi, Ferdinand Bol, Simon Vouet, Giovanni Francesco Barbieri, Mattia Preti, Matteo Rosselli, Giuseppe Bartolomeo Chiari
Artworks in Arcadja
25

Some works of Horatius De Hooch

Extracted between 25 works in the catalog of Arcadja
Horatius De Hooch - Southern Landscape

Horatius De Hooch - Southern Landscape

Original
Estimate:

Price:

Gross Price
Lot number: 715
Other WORKS AT AUCTION
Description:
Horatius de Hooch
(d. 1686 in Utrecht)

Southern landscape with a creek and travellers,

signed and illegibly dated lower right: Hooch....,

oil on canvas, 100 x 130 cm, framed

Horatius de Hooch became president of the Utrecht Painter\’\’\’\’s Guild in 1669. He produced Italianate landscapes depicting ancient buildings and ruins, mainly in cool, grey-green colours.
Horatius De Hooch - Campagna Landscape With Horsemen And Shepherds In Front Of An Inn Set Within A Ruin

Horatius De Hooch - Campagna Landscape With Horsemen And Shepherds In Front Of An Inn Set Within A Ruin

Original
Estimate:

Price:

Lot number: 717
Other WORKS AT AUCTION
Description:
Horatius de Hooch (Utrecht before 1650–1686)
Campagna landscape with horsemen and shepherds in front of an inn set within a ruin, lower left indistinctly signed, oil on panel, 49 x 64 cm, framed,

This painting is a typical work by the Utrecht artist. Its details and the subtle use of lighting make it likely that de Hooch spent some time in Italy.
Horatius De Hooch - Horseman On Path On The Banks

Horatius De Hooch - Horseman On Path On The Banks

Original -
Estimate:

Price:

Lot number: 561
Other WORKS AT AUCTION
Description:
Horatius de Hooch (Utrecht before 1650–1686)
Horseman on path on the banks of a riveroutside a town in the Roman Campagna,

oil on canvas,
57 x 77 cm,

framed,

Horatius de Hooch,

director of the Guild ofSt. Luke in Utrecht,

spent a period of time in Italy. Heproduced Italianate landscapes depicting ancient buildings andruins. There is a comparative river landscape in theStaatsgalerie,

Stuttgart. As is the case in thatpainting,

we see in the present picture his fine capturingof light,

which,

together with the southernarchitecture,

make it probable that the artist spent sometime in Italy. We are grateful to M. de Kinkelder of the RKD,
The Hague,

who has identified the painting as aninteresting,

as yet unpublished painting by the Utrechtmaster (correspondence dated February 2011).
Horatius De Hooch - A View Of Bomarzo

Horatius De Hooch - A View Of Bomarzo

Original 1652
Estimate:

Price:

Gross Price
Lot number: 195
Other WORKS AT AUCTION
Description:
bears old signature in pen and brown ink:
g. Van Vitelli
fecit

pen and brown ink and gray and black wash

CATALOGUE NOTE
Until very recently, Horatius de Hooch was known only from a
number of signed paintings dated between 1652 and 1686, and from
the fact that he is recorded as a member of the Utrecht painters'
guild in 1669. Peter Schatborn has, however, recently attributed a
group of stylistically consistent landscape drawings in the
Landesmuseum, Mainz, to De Hooch, on the basis of a clear
connection between one of the studies, apparently depicting the
Aurelian Wall in Rome, and a signed painting of the same subject,
now in Copenhagen (see P. Schatborn, Drawn to Warmth.
17th-century Dutch artists in Italy, Amsterdam, Rijksmuseum,
2001, pp. 140-3). The very distinctively handled combination of a
rather spare brown ink sketch and fairly heavy and architectonic
gray washes, as seen particularly in the Mainz study of a
Natural Arch in a Rock (Schatborn, op. cit., p.
141, fig. B), is extremely similar in style to the present drawing,
which is therefore a significant addition to Schatborn's initial
group of drawings by the artist. Now that the artist's
characteristic drawing style has been identified and published,
further additions to his drawn oeuvre will surely follow.
In terms of dating, Schatborn suggests that drawings such as this,
in which the pen plays such a significant role, were executed from
the life, while the artist was actually in Italy, where he probably
studied with Cornelis van Poelenburch. This view can be compared
with two drawings of Bomarzo by Breenbergh (see M. Rothlisberger,
BartholomäusBreenberghHandzeichnungen,
Berlin 1969, cat. nos. 38, 39)
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