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Jacob Philipp HackertLandscape with Motifs from the English Garden in CasertaOil on canvas (

In Kunst des 19. Jahrhunderts

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Jacob Philipp Hackert
Landschaft mit Motiven des Englischen Gartens in Caserta

Öl auf Leinwand (doubliert). 66,5 x 97,5 cm.
Signiert und datiert unten links: Filippo Hackert dipinse 1797.

Gutachten
Dr. Claudia Nordhoff, Rom 15.3.2020.

Provenienz
Prinz Adalbert von Preußen (1884-1948), Bad Homburg. - Christie´s New York 31.05.1989, Lot 87. - Slg. Nancy Richardson. - Christie´s New York 27.05.2017. - Skandinavische Privatsammlung.

Literatur
C. Nordhoff, H. Reimer: Jacob Philipp Hackert /1737-1807). Verzeichnis seiner Werke, 1984, Bd. 2, Nr. 265.

Der Landschaftsmaler Jakob Philipp Hackert hatte sich nach einer Lehrzeit in Berlin (1753-1762) und einem längeren Aufenthalt in Paris (1765-1768) im Winter 1768 in Rom niedergelassen; hier arbeitete er mit stetig steigendem Erfolg für vornehme Rombesucher aller Nationen sowie den römischen Adel und Klerus. 1786 erreichte ihn ein Ruf des Bourbonen-Königs Ferdinand IV. an den Hof von Neapel, wo er in den folgenden Jahren in den glänzendsten Umständen lebte. In dieser finanziell hochdotierten Stellung gedachte der Maler sein Leben zu vollenden, doch sah er sich durch die französische Besetzung der Stadt 1799 unter Zurücklassung fast aller seiner Habe zur Flucht gezwungen. Hackert ließ sich in Florenz nieder, wo er mit der für ihn typischen Zielstrebigkeit begann, sein Leben und seine Karriere erneut aufzubauen. Unvermindert tätig für internationale Auftraggeber, erwarb er 1803 einen kleinen Gutshof in Careggi bei Florenz und widmete sich zusätzlich zu seiner Malerei auch der Landwirtschaft. Er starb kinderlos und unverheiratet in Florenz am 28. April 1807 und ist auf dem protestantischen Friedhof in Livorno begraben.

Im selben Jahr 1786, als Hackert nach Neapel umzog, begann der König mit der Gestaltung neuer Anlagen im weitläufigen Schlossgarten von Caserta, und zwar im Englischen Stil. Hackert verfolgte diese "modernen" Anlagen mit großem Interesse, nicht zuletzt weil diese ihn auch bei der Fortentwicklung seines eigenen Landschaftskonzeptes halfen. Hauptinitiator des Englischen Gartens in Caserta war der gut mit Hackert befreundete britische Gesandte bei Hof, Sir William Hamilton (1730-1803), auf dessen Betreiben im April 1786 der Gärtner John Andrew Gräfer (1746-1802) angestellt wurde; auch mit ihm war Hackert bald in Freundschaft verbunden.
Hackert widmete dem Garten schon 1788 drei Zeichnungen, die bereits fertiggestellte Teilbereiche zeigen, weitere Zeichnungen datieren von 1793 und 1794. 1792 entstand sodann ein großformatiges Gouache-Gemälde im Auftrag Ferdinands IV., das einen weiten Blick in südliche Richtung über den Garten bis zum Vesuv und links dem Ort Maddaloni auf dem Monte San Michele präsentiert. 1795 variierte Hackert die Parklandschaft erneut. Nun erblickt man im Bildmittelgrund einen kleinen Weiher, an dessen Ufer wieder eine Trauerweide wächst; Pinien, Eichen und Zypressen erscheinen zwanglos nebeneinander.
1797 schließlich widmete Hackert dem „neuen Genre“ weitere vier Gemälde, von denen eines das hier vorliegende ist. Der Betrachter blickt auf einen Fluss, der aus dem Mittelgrund nac



Jacob Philipp Hackert
Landscape with Motifs from the English Garden in Caserta

Oil on canvas (relined). 66.5 x 97.5 cm.
Signed and dated lower left: Filippo Hackert dipinse 1797.

Certificate
Dr Claudia Nordhoff, Rom 15.3.2020.

Provenance
Prince Adalbert of Prussia (1884 - 1948), Bad Homburg. - Christie´s New York 31.05.1989, lot 87. - Collection of Nancy Richardson. - Christie´s New York 27.05.2017. - Scandinavian private collection.

Literature
C. Norhoff/H. Reimer, Jacob Philipp Hackert /1737 - 1907). Verzeichnis seiner Werke, 1984, II, no. 265.

Following his artistic training in Berlin (1753-1762) and a longer stay in Paris (1765-1768), the landscape painter Jakob Philipp Hackert settled in Rome in the winter of 1768. There, he established a successful career painting works for elegant international visitors to Rome, as well as for the city's aristocrats and clerics. In 1786, he was called to the Neapolitan court by the Bourbon King Ferdinand IV, where he stayed in luxurious circumstances for several years. The painter planned on remaining in this privileged position for the rest of his life, but he was forced to flee the city during the French occupation of 1799, leaving behind almost everything he owned. Hackert settled in Florence, where he began to rebuild his life and career with characteristic tenacity. He continued to work for international patrons and was soon able to purchase a small manor house in Careggi near Florence, where he began to take an interest in agriculture alongside painting. He died in Florence, unmarried and without offspring, on 28th April 1807 and is buried at the Protestant cemetery in Livorno.

King Ferdinand VI began laying out spacious new grounds at the palace gardens of Caserta in 1786, the same year that he called Hackert to Naples. The new gardens were carried out in the English style. Hackert followed their construction with great interest, not least because they helped inspire the development of his own landscape compositions. The main initiator of the English gardens at Caserta was Hackert's friend, the British envoy Sir William Hamilton (1730-1803). In April 1786 he instigated the employment of the gardener John Andrew Gräfer (1746-1802), whom Hackert soon also befriended.

The artist made three drawings of the gardens in 1788, showing parts that were already completed, there are also later drawings dated 1793 and 1794. At the king's behest, Hackert painted a large work in gouache in 1792 showing a panoramic view of the gardens looking towards Mount Vesuvius in the south and showing the town of Maddaloni on Monte San Michele on the left. He painted a further variation of the park landscape in 1795, this time depicting a small pond with a weeping willow in the mid-ground flanked by pine trees, oaks, and cypress trees planted casually side by side.

Hackert finally painted four more works in this “new genre” in 1797, of which the present canvas is one. The viewer looks out across a river flowing from the mid-ground to the fore. Trees line its banks, and once again we recognise several weeping willows. A round temple with a statue on a plinth is shown nestled among the pine and cypress trees on the river's right bank. The scene is highly reminiscent of the English gardens at Caserta, where Hackert's friend, the architect Carlo Vanvitelli (1740-1821), constructed a small round temple in the centre of a labyrinth at the king's request in 1792 (not a typical element of a landscape garden, but it was the king's wish). The temple can also be seen in Hackert's 1792 gouache, but the statue - presumably depicting Flora or Venus - is an addition by the artist.

In the right foreground of the work, two elegantly dressed ladies recline together with a small girl and a dog on a well-kept lawn. They represent the park element of the gardens, whereas the cows in the left foreground evoke a rural atmosphere. The way in which the two aspects meld seamlessly into each other recalls Goethe's remark that the area around Caserta was one immense garden.

In the distance we see a settlement with a fortified tower on a hill. The motif is reminiscent of the small town of Maddaloni on the Tifatina hills at the foot of Monte San Michele which borders the plain of Caserta in the south. The town can also be seen in the left background of the gouache depiction of the English gardens from 1792.

We would like to thank Dr Claudia Nordhoff for her kind support in cataloguing this piece. The present catalogue entry is a heavily abridged version of her detailed expertise for this painting.

Jacob Philipp Hackert
Landschaft mit Motiven des Englischen Gartens in Caserta

Öl auf Leinwand (doubliert). 66,5 x 97,5 cm.
Signiert und datiert unten links: Filippo Hackert dipinse 1797.

Gutachten
Dr. Claudia Nordhoff, Rom 15.3.2020.

Provenienz
Prinz Adalbert von Preußen (1884-1948), Bad Homburg. - Christie´s New York 31.05.1989, Lot 87. - Slg. Nancy Richardson. - Christie´s New York 27.05.2017. - Skandinavische Privatsammlung.

Literatur
C. Nordhoff, H. Reimer: Jacob Philipp Hackert /1737-1807). Verzeichnis seiner Werke, 1984, Bd. 2, Nr. 265.

Der Landschaftsmaler Jakob Philipp Hackert hatte sich nach einer Lehrzeit in Berlin (1753-1762) und einem längeren Aufenthalt in Paris (1765-1768) im Winter 1768 in Rom niedergelassen; hier arbeitete er mit stetig steigendem Erfolg für vornehme Rombesucher aller Nationen sowie den römischen Adel und Klerus. 1786 erreichte ihn ein Ruf des Bourbonen-Königs Ferdinand IV. an den Hof von Neapel, wo er in den folgenden Jahren in den glänzendsten Umständen lebte. In dieser finanziell hochdotierten Stellung gedachte der Maler sein Leben zu vollenden, doch sah er sich durch die französische Besetzung der Stadt 1799 unter Zurücklassung fast aller seiner Habe zur Flucht gezwungen. Hackert ließ sich in Florenz nieder, wo er mit der für ihn typischen Zielstrebigkeit begann, sein Leben und seine Karriere erneut aufzubauen. Unvermindert tätig für internationale Auftraggeber, erwarb er 1803 einen kleinen Gutshof in Careggi bei Florenz und widmete sich zusätzlich zu seiner Malerei auch der Landwirtschaft. Er starb kinderlos und unverheiratet in Florenz am 28. April 1807 und ist auf dem protestantischen Friedhof in Livorno begraben.

Im selben Jahr 1786, als Hackert nach Neapel umzog, begann der König mit der Gestaltung neuer Anlagen im weitläufigen Schlossgarten von Caserta, und zwar im Englischen Stil. Hackert verfolgte diese "modernen" Anlagen mit großem Interesse, nicht zuletzt weil diese ihn auch bei der Fortentwicklung seines eigenen Landschaftskonzeptes halfen. Hauptinitiator des Englischen Gartens in Caserta war der gut mit Hackert befreundete britische Gesandte bei Hof, Sir William Hamilton (1730-1803), auf dessen Betreiben im April 1786 der Gärtner John Andrew Gräfer (1746-1802) angestellt wurde; auch mit ihm war Hackert bald in Freundschaft verbunden.
Hackert widmete dem Garten schon 1788 drei Zeichnungen, die bereits fertiggestellte Teilbereiche zeigen, weitere Zeichnungen datieren von 1793 und 1794. 1792 entstand sodann ein großformatiges Gouache-Gemälde im Auftrag Ferdinands IV., das einen weiten Blick in südliche Richtung über den Garten bis zum Vesuv und links dem Ort Maddaloni auf dem Monte San Michele präsentiert. 1795 variierte Hackert die Parklandschaft erneut. Nun erblickt man im Bildmittelgrund einen kleinen Weiher, an dessen Ufer wieder eine Trauerweide wächst; Pinien, Eichen und Zypressen erscheinen zwanglos nebeneinander.
1797 schließlich widmete Hackert dem „neuen Genre“ weitere vier Gemälde, von denen eines das hier vorliegende ist. Der Betrachter blickt auf einen Fluss, der aus dem Mittelgrund nac



Jacob Philipp Hackert
Landscape with Motifs from the English Garden in Caserta

Oil on canvas (relined). 66.5 x 97.5 cm.
Signed and dated lower left: Filippo Hackert dipinse 1797.

Certificate
Dr Claudia Nordhoff, Rom 15.3.2020.

Provenance
Prince Adalbert of Prussia (1884 - 1948), Bad Homburg. - Christie´s New York 31.05.1989, lot 87. - Collection of Nancy Richardson. - Christie´s New York 27.05.2017. - Scandinavian private collection.

Literature
C. Norhoff/H. Reimer, Jacob Philipp Hackert /1737 - 1907). Verzeichnis seiner Werke, 1984, II, no. 265.

Following his artistic training in Berlin (1753-1762) and a longer stay in Paris (1765-1768), the landscape painter Jakob Philipp Hackert settled in Rome in the winter of 1768. There, he established a successful career painting works for elegant international visitors to Rome, as well as for the city's aristocrats and clerics. In 1786, he was called to the Neapolitan court by the Bourbon King Ferdinand IV, where he stayed in luxurious circumstances for several years. The painter planned on remaining in this privileged position for the rest of his life, but he was forced to flee the city during the French occupation of 1799, leaving behind almost everything he owned. Hackert settled in Florence, where he began to rebuild his life and career with characteristic tenacity. He continued to work for international patrons and was soon able to purchase a small manor house in Careggi near Florence, where he began to take an interest in agriculture alongside painting. He died in Florence, unmarried and without offspring, on 28th April 1807 and is buried at the Protestant cemetery in Livorno.

King Ferdinand VI began laying out spacious new grounds at the palace gardens of Caserta in 1786, the same year that he called Hackert to Naples. The new gardens were carried out in the English style. Hackert followed their construction with great interest, not least because they helped inspire the development of his own landscape compositions. The main initiator of the English gardens at Caserta was Hackert's friend, the British envoy Sir William Hamilton (1730-1803). In April 1786 he instigated the employment of the gardener John Andrew Gräfer (1746-1802), whom Hackert soon also befriended.

The artist made three drawings of the gardens in 1788, showing parts that were already completed, there are also later drawings dated 1793 and 1794. At the king's behest, Hackert painted a large work in gouache in 1792 showing a panoramic view of the gardens looking towards Mount Vesuvius in the south and showing the town of Maddaloni on Monte San Michele on the left. He painted a further variation of the park landscape in 1795, this time depicting a small pond with a weeping willow in the mid-ground flanked by pine trees, oaks, and cypress trees planted casually side by side.

Hackert finally painted four more works in this “new genre” in 1797, of which the present canvas is one. The viewer looks out across a river flowing from the mid-ground to the fore. Trees line its banks, and once again we recognise several weeping willows. A round temple with a statue on a plinth is shown nestled among the pine and cypress trees on the river's right bank. The scene is highly reminiscent of the English gardens at Caserta, where Hackert's friend, the architect Carlo Vanvitelli (1740-1821), constructed a small round temple in the centre of a labyrinth at the king's request in 1792 (not a typical element of a landscape garden, but it was the king's wish). The temple can also be seen in Hackert's 1792 gouache, but the statue - presumably depicting Flora or Venus - is an addition by the artist.

In the right foreground of the work, two elegantly dressed ladies recline together with a small girl and a dog on a well-kept lawn. They represent the park element of the gardens, whereas the cows in the left foreground evoke a rural atmosphere. The way in which the two aspects meld seamlessly into each other recalls Goethe's remark that the area around Caserta was one immense garden.

In the distance we see a settlement with a fortified tower on a hill. The motif is reminiscent of the small town of Maddaloni on the Tifatina hills at the foot of Monte San Michele which borders the plain of Caserta in the south. The town can also be seen in the left background of the gouache depiction of the English gardens from 1792.

We would like to thank Dr Claudia Nordhoff for her kind support in cataloguing this piece. The present catalogue entry is a heavily abridged version of her detailed expertise for this painting.

Kunst des 19. Jahrhunderts

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