Johannes Lingelbach

Johannes Lingelbach (Frankfurt am Main 1622-1674 Amsterdam) A Mediterranean port with an elegant couple and travelers resting by the quay signed and dated 'I: LINGELBACH 1665' (lower right, on the stone) oil on canvas 72.1 x 81.3 cm. Anonymous sale; Sotheby's, London, 5 April 1995, lot 91. with Frye & Sohn, Münster, by 2001. with Noortman, Maastricht, from whom acquired by the present owner. PROPERTY OF A PRIVATE COLLECTOR Following in the footsteps of earlier generations of Northern European artists, Lingelbach traveled to Italy and returned home to find success in creating paintings for Dutch connoisseurs that evoked the warmth and exoticism of Italy. Born in Frankfurt am Main, Lingelbach moved with his family to Amsterdam by 1634, training there as an artist before leaving for Paris in 1642 and arriving in Rome two years later. In Rome, he resided on the Strada Paolina delli Greci and later on the Horto di Napoli and joined the city's lively and close-knit community of Northern European artists. Although Pieter van Laer had departed Italy to return North five years earlier, Lingelbach adopted the Bamboccianti scenes that were still highly popular in this milieu. He returned to Amsterdam by 1653, where he continued to produce Italianate scenes. The frequency with which Lingelbach signed and dated works, in contrast to many of his peers, aids in tracing his artistic trajectory. It can be determined, for example, that he painted a scene of the Piazza del Popolo, Rome, now in the Akademie der bildenden Künste, Vienna, in 1664, a year before the present work. In the 1660s, Lingelbach produced a number of port scenes, including the present one, looking perhaps to the work of Jan Baptist Weenix and his son Jan Weenix. In this painting, the cool tones of the sky and water serve as a hazy backdrop, while a jagged horizon line composed of rocks, stone structures and ships frames the crowded shore. The composition evokes that of a theater stage, fitting for the range of character types occupying the port, which include an aristocratic couple at left, a variety of merchants and sailors, and Turks wearing turbans. This port scene, while a generalized view, is somewhat reminiscent of Livorno, the Medici port city on the west coast of Tuscany. The cylindrical stone building resembles the tower of the Fortezza Vecchia, the 16th-century fortress still situated near the city's port. Lingelbach included the same fountain adorned with a statue of a boy seated on a goose in a 1661 painting of Livorno in a private collection (see L. Harwood, Inspired by Italy: Dutch landscape painting 1600-1700, London, 2002, no. 49).

Johannes Lingelbach (Frankfurt am Main 1622-1674 Amsterdam) Soldiers resting at camp oil on panel 18 x 13¾ in. (45.7 x 35 cm.) Anonymous sale; Christie's, London, 7 May 1923, lot 222 (14 gns. to Wolff). J.P. Murpurgo; Sotheby's, New York, 25 May 2000, lot 173. Born in Frankfurt am Main in 1622, Johannes Lingelbach moved with his family to Amsterdam by the time he was twelve years old. In 1642, he left for France and Italy, working in Rome until 1650 and embracing the low-life imagery of Pieter van Laer (1599-1642[?]). Upon returning to Amsterdam, Lingelbach became increasingly influenced by the work of Philips Wouwerman (1619-1668). In the present work, soldiers relax under a tent in the Dutch countryside. At center, a young woman lifts her glass towards a handsomely dressed solider, holding it delicately from the base with an exaggerated politeness at odds with her humble surroundings. In a manner reminiscent of Wouwerman, the bright costumes of the central figures contrast starkly with the muted tones of the landscape. Lingelbach also incorporated into the scene still-life elements such as the pile of armor and boots at lower right, demonstrating his mastery in capturing a range of materials and textures.

Lot Description Johannes Lingelbach (Frankfurt am Main 1622-1674 Amsterdam) A Mediterranean port with an elegant couple and travelers resting by the quay signed and dated 'I: LINGELBACH/1665' (lower right, on the stone) oil on canvas 28 3/8 x 32 in. (72.1 x 81.3 cm.) Provenance Anonymous sale; Sotheby's, London, 5 April 1995, lot 91. with Noortman Master Paintings, from whom acquired by the present owner. Pre-Lot Text PROPERTY OF A PRIVATE COLLECTOR View Lot Notes › Lot Notes Following in the footsteps of earlier generations of Northern European artists, Lingelbach traveled to Italy and returned home to find success in creating paintings for Dutch connoisseurs that evoked the warmth and exoticism of Italy. Born in Frankfurt am Main, Lingelbach moved with his family to Amsterdam by 1634, training there as an artist before leaving for Paris in 1642 and arriving in Rome two years later. In Rome, he resided on the Strada Paolina delli Greci and later on the Horto di Napoli and joined the city's lively and close-knit community of Northern European artists. Although Pieter van Laer had departed Italy to return North five years earlier, Lingelbach adopted the Bamboccianti scenes that were still highly popular in this milieu. He returned to Amsterdam by 1653, where he continued to produce Italianate scenes. The frequency with which Lingelbach signed and dated works, in contrast to many of his peers, aids in tracing his artistic trajectory. It can be determined, for example, that he painted a scene of the Piazza del Popolo, Rome, now in the Akademie der bildenden Künste, Vienna, in 1664, a year before the present work. In the 1660s, Lingelbach produced a number of port scenes, including the present one, looking perhaps to the work of Jan Baptist Weenix and his son Jan Weenix. In this painting, the cool tones of the sky and water serve as a hazy backdrop, while a jagged horizon line composed of rocks, stone structures and ships frames the crowded shore. The composition evokes that of a theater stage, fitting for the range of character types occupying the port, which include an aristocratic couple at left, a variety of merchants and sailors, and Turks wearing turbans. This port scene, while a generalized view, is somewhat reminiscent of Livorno, the Medici port city on the west coast of Tuscany. The cylindrical stone building resembles the tower of the Fortezza Vecchia, the 16th-century fortress still situated near the city's port. Lingelbach included the same fountain adorned with a statue of a boy seated on a goose in a 1661 painting of Livorno in a private collection (see L. Harwood, Inspired by Italy: Dutch landscape painting 1600-1700, London, 2002, no. 49). Related Features Media Highlight: Old Masters on Sale at Christie's New York [ Video ]

Johannes Lingelbach (Frankfurt 1622-1674 Amsterdam) An Italianate harbour with an elegant couple promenading near a statue of Neptune, and workmen unloading the docks signed and dated: 'J.LINGELBACH 1671' (centre right) oil on canvas 62.4 x 78.5 cm. (Possibly) D. Mansfeld; his sale; Van Schley, Amsterdam, 13 August 1806, lot 95 (Dfl. 100,-). Anonymous sale; Roos, Amsterdam, 16 July 1819, lot 96 (Dfl. 79,- to De Vries). M. Wolff; his sale, Berlin, 25 May 1857, lot 277. J. Porgés, Paris; his sale; Cassirer & Helbing, Berlin, 7 December 1926, lot 82. Anonymous sale; Weinmüller, Munich, 9-10 December 1954, lot 527. with 'La boîte aux rêver', Paris, 1958. Anonymous sale; Weinmüller, Munich, 15 May 1957, lot 1112. Anonymous sale; Leo Spik, Bad Kissingen, 10 June 1960, lot 123. with A. Gebhart, Munich, 1960. C. Burger-Wegener, Johannes Lingelbach, 1622-1674, Berlin, 1976 (unpublished dissertation, typescript), pp. 272-3, no. 95.

Lot 59 Johannes Lingelbach Dutch, 1622-1674 A Naval Battle between Europeans and Turks Inscribed on the verso with the artist's name and thesubject Seegefecht Oil on canvas 10 1/8 x 13 inches (26 x 33 cm) Lingelbach painted several scenes of naval battles betweenEuropeans and Turks around 1671, which were thought to commemoratethe centennial of the Battle of Lepanto. In that historicengagement in 1571, the fleet of the Holy League (Venice, Spain,the Papacy, and Genoa) defeated the Ottoman navy, thus seizingcontrol of the Mediterranean and preventing further Turkish advanceinto Europe. Lepanto was the last major sea battle to be foughtwith oar-powered galleys. C Estimate $6,000-8,000 Glue relined. Scattered inpainting in the sky. Otherwise ingood condition. Any condition statement is given as a courtesy toa client, is only an opinion and should not be treated as astatement of fact. Doyle New York shall have no responsibility forany error or omission. The absence of a condition statement doesnot imply that the lot is in perfect condition or completely freefrom wear and tear, imperfections or the effects ofaging.