Due to the composition,quality and time of creation we attributed our battle scene to the hand of Jan van Huchtenburg ( 1647 Haarlem - 1733 Amsterdam), the famous Dutch and battle painter, like Esaias van de Velde and Philip Wouwermans. For comparison with famous paintings by Huchtenburg see following link:
He was first taught by Thomas Wijck. On his way to visit his brother in Rome, he may not have got further than Paris, where he served under Antony Francis van der Meulen in the Manufacture des Gobelins employing him for illustrating, sketching or designing.In 1670 he settled at Haarlem, where he married Elisabeth Mommes. It seems he practised and kept a dealers shop in Haarlem or in the Hague. His style had now merged into an imitation of Wouwerman and Van der Meulen, which could not fail to produce pretty pictures of hunts and robber camps, the faculty of painting horses and men in action and varied dress being the chief point of attraction. Huchtenburg assisted Gerrit Berckheyde and painted his people and horses.Later Huchtenburg ventured on cavalry skirmishes and engagements of regular troops generally, and these were admired by Prince Eugene of Savoy and King William III, who gave the painter sittings, and commissioned him to throw upon canvas the chief incidents of the battles they fought upon the continent of Europe. When he died at Bloemgracht in the Jordaan in 1733, Huchtenburg had done much by his pictures and prints to make Prince Eugene, King William and Marlborough popular. Though clever in depicting a mile or a skirmish of dragoons, he remained second to Philip Wouvermans in accuracy of drawing, and inferior to Van der Meulen in the production of landscapes. But, nevertheless, he was a clever and spirited master, with great facility of hand and considerable natural powers of observation.Siege of Namur (1695) by Jan van HuchtenburgBattle of Chocim 1673? by Huchtenburg ?Henry Casimir II, Prince of Nassau-Dietz (1692)The earliest date on his pictures is 1674, when he executed the Stag-Hunt in the Museum of Berlin, and the Fight with Robbers in the Liechtenstein Museum at Vienna. A Skirmish at Fleurus (1690) in the Brussels gallery seems but the precursor of larger and more powerful works, such as the Siege of Namur (1695) in the Belvedere at Vienna, where William III is seen in the foreground accompanied by Max Emmanuel, the Bavarian elector. Three years before, Huchtenburg had had sittings from Prince Eugene and William III.After 1696 he regularly served as court painter to Prince Eugene, and we have at [a] Galleria Sabauda a series of ten or eleven canvases, all of the same size depicting the various battles of the great hero, commencing with the Battle of Zenta (1697), Battle of Chiari (1701), Battle of Luzzara (1702), Battle of Blenheim (1704), Battle of Cassano (1705), Battle of Turin (1706), Battle of Oudenaarde (1708), Battle of Malplaquet (1709), Battle of Petrovaradin (1716) ending with the Battle of Belgrade (1717). Had the Duke of Marlborough been fond of art he would doubtless have possessed many works of our artist. All that remained in 1911 at Blenheim Palace, however, was a couple of sketches of battles, which were probably sent to Churchill by his great contemporary.In 1911, the pictures of Huchtenburg were not very numerous in public galleries. There was one in the National Gallery, London, another at the Louvre. But Copenhagen had four, Dresden six, Gotha two, and Munich had the well-known composition of Tallart taken Prisoner at Blenheim in 1704.
Literature: Artist lexicons by Thieme/Becker, Benezit and others.
Technique: oil on canvas, antique frame.
Measurements: unframed 25 1/4" x 20 3/4(64 x53cm) framed 30 3/4" x 25 1/4" (78 x 64) cm
Condition: good, old relining of canvas.