Nicolaes Pietersz. Berchem

Nicholas van Bremen;
His sale, Amsterdam, 15 December 1766, lot 54;
Sir Robert Price, Bt., M.P., by 1837;
His sale, Foster's, London, 11 June 1856 (235 gns. to Smith for Oppenheim);
Johann Mortiz Oppenheim, Cannon St. West, London;
His sale, Christie's, London, 4 June 1864, lot 39 (175 gns. to Holloway);
E.N.F. Loyd, London;
His sale, London, Christie's, 30 April 1937, lot 86 (90 gns. to Vicars);
With Vicars Brothers, London;
Anonymous sale, London, Christie's, 9 December 1988, lot 97 (£90,000);
Anonymous sale ("The Property of a Private Collector"), New York, Sotheby's, 23 January 2003, lot 38, ($344,000);
Anonymous sale ("The Property of an Estate"), New York, Christie's, 8 June 2011, lot 19 ($302,500).

London, British Institution, 1837, no. 47.

J. Smith, A catalogue raisonné, etc., IX (supplement), London, 1842, p. 609, cat. no. 48.
C. Hofstede de Groot, Verzeichnis der Werke, etc., IX, London, 1926, p. 85, cat. no. 126;
Connoisseur Magazine, April 1939, reproduced plate 100.

The canvas has a firm relining, the paint surface is clean and stable, and the varnish is clear and even. There is only a very minor degree of wear in some of the darker tones, and no major damages visible to the naked eye. Inspection under ultraviolet light reveals an area of retouching to either an old tear or surface scratch, approx. 3 in. long, which runs vertically through the cliff and the tower in the centre of the background. There are minor, well-executed, cosmetic retouchings scattered throughout the painting, most of which are confined to the sky, particularly along the upper margin and in the upper right-hand corner. The figures in the lower half of the painting remain relatively untouched. In overall very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This dramatic painting, dating from late in Berchem’s career, is a rare historical subject by the artist.  Berchem gained great popularity during his lifetime as a painter of pastoral scenes, hunting parties and seaports, many of which show the influence of his sojourn in Italy.  However, in a departure from his usual subject matter, the artist here depicts the epic Battle of the Hydaspes which took place in 326 B.C. between the armies of Alexander the Great and Porus, a powerful Indian king. The Battle of the Hydaspes, one of Alexander’s greatest victories, occurred in what is now the Punjab province of Pakistan.  His army crossed the river Jhelum (known to the Greeks as the Hydaspes) to meet Porus’ forces, which outnumbered Alexander's and included a cavalry of fearless war elephants.  Despite these seeming advantages, Porus was defeated and captured.  Alexander, having been impressed by his bravery in battle, allowed Porus to continue governing his territory.  One particularly tragic aftermath of the battle was the death of Alexander’s beloved horse Bucephalus, who had carried him into every one of his battles in Greece and Asia.  Alexander was so grief stricken that he named a city in India, Bucephalia, in his honor.  In Berchem’s depiction of this historic event, he brilliantly depicts the frenzied action at the peak of battle, demonstrating his skill at portraying a highly complex composition with dynamic equestrian groupings.  Berchem must have been pleased with his work given the detailed and large-scale signature at the lower right of the canvas.

Another important historic battle painting depicting The Israelites Capture of Judea, also datable to later in Berchem’s career, is in the Dunkirk Museum.