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Vincent Adriaenssens (1595 - 1675)

Lot 610: 17th Century Oil Painting by Flemish Old Master Vincent Adriaenssen Leckerbetien (Il Manciola) Entitled “Cavalry Battle Scene”

Worthington Galleries

May 19, 2018
Gallatin (Nashville), TN, US

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Description

Very Impressive 17th Century Oil Painting by the Flemish Old Master Vincent Adriaenssen (name variations: Vincent Adriaensz, Vincent Adriani, Vincenz Leckerbetien, Vincent Leckerbeetjen, nicknames: le Manchole, Il Manciola, Il Manciolla en Il Mozzo di Anversa) (1595, Antwerp – 1675, Rome) | Entitled “Calvary Battle Scene” | Oil on Canvas | Dimensions: 26.75″ x 34.5″ | Old inventory number on verso in lower left: 211 | Provenance: Purchased from Private London Collection (Has previous Sotheby’s Label on verso). Condition Report: The painting is in remarkable Condition for its age. It has previously been professionally repaired and restored. Dimensions: 34.5" x 26.75" x 2" Artist or Maker: Vincent Adriaenssen Leckerbetien (1595, Antwerp – 1675, Rome), called le Manchole or Il Manciola Medium: Oil on Canvas Date: 17th Century Condition Report: Excellent Literature: Vincent Adriaenssen Leckerbetien (Il Manciola) was a Flemish Baroque painter who spent the majority of his artistic career in Paris and Rome where he was especially renowned for his landscapes, battle and hunting scenes. He was born into an artistic family in Antwerp. His father Emanuel Adriaenssen was a prominent lutenist and composer. His older brother Alexander Adriaenssen was a successful painter specializing in still lifes and his younger brother Niclaes Adriaenssen was a portrait painter. He later became the father-in-law of the painter Jan de Momper. It is believed that he received his first art training from his brother Alexander. He is traceable in Rome from 1625 to about 1645. He worked also on projects in Paris from 1642 to 1645 and then again in 1648 where he worked for Cardinal Mazarin and Cardinal Richelieu. He is recorded in Rome from 1661 onwards until his death. There are indications that he was missing his right arm and right hand from around 1663. This explains his French and Italian nicknames le Manchole, Il Manciola and Il Manciolla, which all mean ‘the cripple’. Why he is also called by the nicknames ‘’Leckerbeetjen’’or ‘’Leckerbetien’’ is unknown. These names mean gourmet or gourmand but may also be a reference to the nickname of the Brabantine hero Gerard van Houwelingen. It is unknown whether or not he joined the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome who had the custom of giving their members a nickname (the so-called bentname). The Flemish landscape painter Jan de Momper who was active in Rome married his daughter Agnes Vincentii (died in Rome on 19 April 1684). Adriaenssen was also Jan de Momper’s early mentor in Rome. He was the teacher of Michelangelo Cerquozzi in Rome and Luigi Garzi during his residence in Paris. Vincent Adriaenssen was a very productive battle painter. This genre was very popular around the middle of the 17th century in Rome. His style situates itself between that of the late Cavalier d’Arpino and Tempesta and the more Baroque touch of Rubens and the Baroque innovations of the leading battle painter in Rome, the Frenchman Jacques Courtois, known as “ll Borgognone”. These qualities are evident in his Battle with cavalry on a bridge (At Hampel on 1 July 2015 in Cologne lot 705). In this work Adriaenssen achieves a vivid portrayal of a cavalry engagement on a bridge. The numerous horses and riders in the scene have dynamism and a striking gesture as if they had been artificially brought to a standstill in their movement. Vincent Adriaenssen Biography - Calvary Battle Scene Painting Vincent Adriaenssen Biography - Calvary Battle Scene Painting Provenance: Purchased from Private London Collection through Sotheby’s London.

Dimensions

34.5" x 26.75" x 2"

Artist or Maker

Vincent Adriaenssen Leckerbetien (1595, Antwerp – 1675, Rome), called le Manchole or Il Manciola

Medium

Oil on Canvas

Date

17th Century

Literature

Vincent Adriaenssen Leckerbetien (Il Manciola) was a Flemish Baroque painter who spent the majority of his artistic career in Paris and Rome where he was especially renowned for his landscapes, battle and hunting scenes. He was born into an artistic family in Antwerp. His father Emanuel Adriaenssen was a prominent lutenist and composer. His older brother Alexander Adriaenssen was a successful painter specializing in still lifes and his younger brother Niclaes Adriaenssen was a portrait painter. He later became the father-in-law of the painter Jan de Momper. It is believed that he received his first art training from his brother Alexander. He is traceable in Rome from 1625 to about 1645. He worked also on projects in Paris from 1642 to 1645 and then again in 1648 where he worked for Cardinal Mazarin and Cardinal Richelieu. He is recorded in Rome from 1661 onwards until his death. There are indications that he was missing his right arm and right hand from around 1663. This explains his French and Italian nicknames le Manchole, Il Manciola and Il Manciolla, which all mean ‘the cripple’. Why he is also called by the nicknames ‘’Leckerbeetjen’’or ‘’Leckerbetien’’ is unknown. These names mean gourmet or gourmand but may also be a reference to the nickname of the Brabantine hero Gerard van Houwelingen. It is unknown whether or not he joined the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome who had the custom of giving their members a nickname (the so-called bentname). The Flemish landscape painter Jan de Momper who was active in Rome married his daughter Agnes Vincentii (died in Rome on 19 April 1684). Adriaenssen was also Jan de Momper’s early mentor in Rome. He was the teacher of Michelangelo Cerquozzi in Rome and Luigi Garzi during his residence in Paris. Vincent Adriaenssen was a very productive battle painter. This genre was very popular around the middle of the 17th century in Rome. His style situates itself between that of the late Cavalier d’Arpino and Tempesta and the more Baroque touch of Rubens and the Baroque innovations of the leading battle painter in Rome, the Frenchman Jacques Courtois, known as “ll Borgognone”. These qualities are evident in his Battle with cavalry on a bridge (At Hampel on 1 July 2015 in Cologne lot 705). In this work Adriaenssen achieves a vivid portrayal of a cavalry engagement on a bridge. The numerous horses and riders in the scene have dynamism and a striking gesture as if they had been artificially brought to a standstill in their movement. Vincent Adriaenssen Biography - Calvary Battle Scene Painting.

Provenance

Purchased from Private London Collection through Sotheby’s London.

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Shipping: Worthington Galleries provides in-house shipping at additional costs. We will separately invoice all winning bidders for packing, shipping, handling, and insurance costs. Please contact us to make shipping arrangements. If for whatever reason a winning bidder chooses not to use our in-house shipping, we will be happy to provide names of carriers and shippers. Should Purchaser choose to use a third-party shipper, Purchaser agrees that packing and shipping is done solely at the purchaser's risk and that the Purchaser will pay for all packing expenses, materials, carrier fees and insurance charges. Worthington Galleries will have no liability for any loss or damage to shipped items. Items must be paid for in full before they will be shipped. Any shipping estimates given are only estimates and cannot be construed as the final shipping cost. All property should be removed from the auction site premises at the auction's conclusion unless prior arrangements have been made with Worthington Galleries. Purchased items not picked up or shipped within ten business days of the auction will be assessed a storage fee of $10.00 per day. If the purchaser fails to have their item(s) removed from the Auction Site 30 days after the auction, Worthington Galleries reserves the right to take possession of the item(s) and dispose of them at their discretion to recoup storage costs.
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All Sales Are Final. We accept the following forms of payment: Cash (In House Only), American Express, Discover, MasterCard, Money Order / Cashier's Check, Visa, and Wire Transfer. All winning bids must be settled by the end of sale. If we do not hear from you within 5 business days from the auction date, a credit card may be charged through invaluable. Purchaser is responsible for all bank fees incurred for wire transactions. Payment may be made by cash (In House Only), wire transfer, certified funds, credit card or other form approved by Worthington Holdings, LLC ("Worthington Galleries") in writing. We reserve the right to require payment by wire transfer or certified funds. Payments from outside the United States and Canada should be made by wire transfer. Credit cards will not be accepted for international transactions. Checks may take up to three weeks to clear and be verified. Buyers not known to us presenting a check must provide a "letter of guarantee" from a bank officer on original stationery to Worthington Galleries. This letter should state an exact amount of funds guaranteed and should be presented to the cashier at time of registration. Credit arrangements must be made by the Friday prior to the day of auction so bank statements or letters of guarantee can be verified. We reserve the right to not issue a bidder number or to withhold merchandise if appropriate credit has not been established. Worthington Galleries reserves the right to hold all merchandise until receipt of funds is verified. A $50.00 service charge will be assessed when a check fails to clear the purchaser's bank. In addition to this returned check administrative fee, late payment fees may be assessed. We require cash, cashier's check or wire transfer to replace the returned check and any service fees.

Shipping

Worthington Galleries provides in-house shipping at additional costs. We will separately invoice all winning bidders for packing, shipping, handling, and insurance costs. Please contact us to make shipping arrangements. If for whatever reason a winning bidder chooses not to use our in-house shipping, we will be happy to provide names of carriers and shippers. Should Purchaser choose to use a third-party shipper, Purchaser agrees that packing and shipping is done solely at the purchaser's risk and that the Purchaser will pay for all packing expenses, materials, carrier fees and insurance charges. Worthington Galleries will have no liability for any loss or damage to shipped items. Items must be paid for in full before they will be shipped. Any shipping estimates given are only estimates and cannot be construed as the final shipping cost. All property should be removed from the auction site premises at the auction's conclusion unless prior arrangements have been made with Worthington Galleries. Purchased items not picked up or shipped within ten business days of the auction will be assessed a storage fee of $10.00 per day. If the purchaser fails to have their item(s) removed from the Auction Site 30 days after the auction, Worthington Galleries reserves the right to take possession of the item(s) and dispose of them at their discretion to recoup storage costs.

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