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5.5.5 Louis de Caullery

Four paintings in the Winter Room  can be related to the studio of Louis de Caullery (c. 1580-1621). Three of them represent the triumphs of Venus, Ceres and Bacchus [i][i][i]. The pictures of the three deities are placed next to each other in the centre of the south wall and illustrate a symbolic indication that behind the south wall lay the private chambers of Christian IV's beloved Kirsten Munk. A fourth painting in the style of De Caullery is the above mentioned Venetian harbour scene with Commedia dell’arte figures bearing the date 1613 [i].

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  studio of Louis de Caullery, The triumph of Venus, c. 1617-1620

  studio of Louis de Caullery
The triumph of Venus c. 1617-1620
oil paint / panel (oak), 51 x 66 cm
The Royal Danish Collection - Rosenborg Castle, Copenhagen




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  studio of Louis de Caullery, The triumph of Ceres, c. 1617-1620

  studio of Louis de Caullery
The triumph of Ceres c. 1617-1620
oil paint / panel (oak), 53 x 68 cm
The Royal Danish Collection - Rosenborg Castle, Copenhagen




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  studio of Louis de Caullery, The triumph of Bacchus, c. 1617-1620

  studio of Louis de Caullery
The triumph of Bacchus c. 1617-1620
oil paint / panel (oak), 52,5 x 68,2 cm
The Royal Danish Collection - Rosenborg Castle, Copenhagen



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  follower of Louis de Caullery, Venetian harbour scene with Commedia dell’arte jogglers and strollers dressed op for carnival, dated 1613

  follower of Louis de Caullery
Venetian harbour scene with Commedia dell’arte jogglers and strollers dressed op for carnival dated 1613
oil paint / panel (oak), 50,8 x 66,5 cm
The Royal Danish Collection - Rosenborg Castle, Copenhagen



Two more paintings outside the Winter Room must have been a part of the delivery of paintings from Antwerp.6 They are inserted at the inside of the door of the Studiolo.  In the upper part of the door we find  another work of De Caullery or his studio, showing the Canale Grande, the Square of St Marc and the Palace of the Doges in Venice [i]. Although the artist, a pupil of Joos de Momper, probably never visited Italy, his composition (based on prints) of Venice was succesfull and repeated many times [i][i][i].

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  studio of Louis de Caullery, The Canale Grande, the Square of St Marc and the Palace of the Doges in Venice, 1616-1620 or 1618-1623

  studio of Louis de Caullery
The Canale Grande, the Square of St Marc and the Palace of the Doges in Venice 1616-1620 or 1618-1623
oil paint / panel, 53 x 73 cm
The Royal Danish Collection - Rosenborg Castle, Copenhagen




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Louis de Caullery, Capriccio view of the Bacino di San Marcoin Venetië on Ascension's Day

Louis de Caullery
Capriccio view of the Bacino di San Marcoin Venetië on Ascension's Day (1597 - 1621)
oil paint / panel, 49 x 67 cm
London (England) (Sotheby's), 2000-12-14, no. 5



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Louis de Caullery, Capriccio view of Venice with the Bucintoro

Louis de Caullery
Capriccio view of Venice with the Bucintoro (1594 - 1621)
oil paint / panel, 50 x 72 cm
art dealer  Johnny Van  Haeften (London), London



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Louis de Caullery, Capriccio view of the Bacino di San Marco in Venice on Ascension Day

Louis de Caullery
Capriccio view of the Bacino di San Marco in Venice on Ascension Day (1594 - 1621)
oil paint / panel, 52,9 x 74,4 cm
in verso :  L. de Caullery
London (England) (Sotheby's), 2001-11-01, no. 5



The lower part of the door contains a view of the Rialto bridge in Venice by an unidentified Antwerp painter  [i]. It shows a remarkable resemblance to a drawing attributed to Jan Brueghel I that might have been a (probably indirect) source for the composition [i].

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Anonymous, Harbour scene with view of the Rialto bridge in Venice, 1616-1620 or 1618-1623

Anonymous
Harbour scene with view of the Rialto bridge in Venice 1616-1620 or 1618-1623
oil paint / panel, 57 x 89 cm
The Royal Danish Collection - Rosenborg Castle, Copenhagen



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  attributed to Jan  Brueghel (I), The Rialto bridge in Venice

  attributed to Jan  Brueghel (I)
The Rialto bridge in Venice (1589 - 1596)
pen in brown ink / paper, 190 x 253 mm
Kupferstichkabinett der Staatlichen Museen zu Berlin, Berlin, no. 1588




 



[6]

I thank Juliette Roding for the attribution of both paintings.

Datum laatste wijziging: Mar 26, 2015 11:57 AM