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Friedrich DÜRCK

... stria, and later specialized in genre subjects and scenes of children.LITERATUREHuber 2001;1 RKDartists&, no. 25020: https://rkd.nl/en/explore/artists/25020 (Nov. 22, 2017)....
... ings: after Francesco Guarino, St Agatha (DPG644); British School, Landscape (DPG646), and British School, The South Downs, with the Belle Tout Lighthouse (DPG647).3 This bequest is likely to have come through Sir Gerald Kelly when he was the Royal Academy’s representative on the Governing Body. No correspondence exists between him and the donor. How a picture by this German painter came into the possession of Miss Davies is a mystery.4 There is a small possibility that this picture was accepted by the Governors because it shows a superficial similarity to Rembrandt’s Girl (DPG163), in the way the sitters look at the viewer, the way they hold their arms, and the necklace....

Notes
... is mentioned as Dürck's teacher in Leipzig; however that was Hans Veit Friedrich, the father of Julius, who was in Rome...
... p. 230, both as Unknown British artists. ...
... in 1868 was bequeathed to the V&A, 1538-1869: see https://artuk.org/discover/artworks/the-vesper-bell-the-young-reapers-31965 (Dec. 18, 2017). ...
Dirck van DELEN

... he became master of the toll-house, and served frequently on the town council, mostly as burgomaster, from 1628 until his death. He is recorded as a member of the Middelburg painters’ guild from 1639 until 1665....
... 2–73), Jan Olis (c. 1610–76), and Dirck Hals (1591–1656). But co-signing was not generally common in 16th- and 17th-century Netherlandish art, so the absence of signatures is not indicative of the number of artists responsible for a painting.1...
... similar to the views of churches by his contemporary Bartholomeus van Bassen. There are many other architectural sources in his later works....
... Late Baroque style of architecture.2 Later his architecture became more modern, based on prints; his figures à la mode are based on those in prints by other painters, including Abraham Bosse (1602/...
... 93 (as Dirck Christaensz. van Delen; April 7, 2020); RKDartists&, no. 21682: https://rkd.nl/en/explore/artists/21682 (April 7, 2020)....
... re von Delen);6 Richter & Sparkes 1880, p. 49, no. 258 (Dirk van Deelen); Havard & Sparkes 1885, p. 245, no. 258; Richter & Sparkes 1892, p. 125 (not exhibited); Richter & Sparkes 1905, p. 133 (not exhibited); Jantzen 1910, p. 161, no. 129; Cook 1914, p. 260, no. 470; Cook 1926, p. 242, no. 470; Cat. 1953, p. 17; Blade 1980, p. 242, no. 81, fig. 165 (figures probably by David Teniers II); Murray 1980a, p. 49 (Van Delen); Murray 1980b, p. 12; Beresford 1998, p. 86; Jonker & Bergvelt 2016, p. 68; RKD, no. 287554: https://rkd.nl/en/explore/images/287554 (29 Dec...

Notes
... ll for it)] a few years ago, the name was exposed to view. It is dated 1654. His pictures are rare, particularly in England. Mr Hope however has a beautiful...
... is might be more truly described as a tinted perspective drawing than a picture.’ ...
Aelbert Cuyp DPG96, DPG124

... ard & Sparkes 1885 (‘first-rate example of this painter’); Richter & Sparkes 1892 and 1905, p. 24, no. 96; HdG, ii, 1908, p. 126, no. 434 (Engl. edn 1909, pp. 132–3);99 Cook 1914, p. 57, no. 96; Cook 1926, p. 54, no. 96; Cat. 1953, p.17; Reiss 1975, pp. 194, 208 (not Cuyp, ‘agreeable but insipid’); Murray 1980a, p. 47 (Cuyp);100 Murray 1980b, p. 12; White 1982, p. 35, under no. 38; Chong 1992, n.p., no. C 14; Chong 1993, p. 442, no. B 18 (‘may be a work of a pupil under Cuyp’s supervision or tutelage’); Beresford 1998, p. 81 (Cuyp);101 Jonker & Bergvelt 2016, pp. 62, 66; RKD, no. 225943: https://rkd.nl/en/explore/images/225943 (Dec. 9, 2017)....
... 26, no. 99; Williamsburg/Fresno/Pittsburgh/Oklahoma City 2008–10, pp. 56–7, no. 14 (I. A. C. Dejardin).TECHN...
... 45–6, no. 163;122 Richter & Sparkes 1892 and 1905, p. 32, no. 124; HdG, ii, 1908, pp. 126–7, no. 435 (Smith 72: Engl. edn 1909, p. 133); Cook 1914, pp. 72–3, no. 124; Cook 1926, pp. 68–9, no. 124; Country Life 1928, p. 250; Whitley 1928a, p. 32 (?); Reiss 1953a, p. 33, no. 159 (final period, 1660–65); Reiss 1953b, p. 46 (final period, 1660–65); Cat. 1953, p. 17; Paintings 1954, pp. 7, [59]; Burnett 1969, p. 380; Binney 1970, p. 234; Białostocki & Kołoszyńska 1974, p. 42, no. 35, fig. 48; Reiss 1975, pp. 181, 208, no. 138 (mid-1650s); Murray 1980a, pp. 47–8;123 Murray 1980b, p. 12; Chadwick 1981, p. 6 (fig.); White 1982, p. 32, under no. 35; Moore 1988, pp. 51–2, fig. 38 (as the ‘Landscape with figures’ lent to the RA in 1816 and 1817);124 Chong 1992, n.p., no. 173; Chong 1993, pp. 424–5, no. 170; Chong 1995, p. 47; Lindsay & Reeve 1995; Chong 1996b, p. 297: ‘The composition and the crystalline Italianate light are derived directly from the work of Jan Both’; Powell 1998, pp. 58–9 ...
... 26 London 1903, p. 25, no. 93; London/Leeds 1947–53, n.p., no. 5; London 1952–3, p. 37, no. 159 (ill. in Illust...
... work, probably c. 1660. The raking evening light and silhouetted trees, and the division of the landscape into two sections, reveal an appreciation of Jan Both, who had returned to the Netherlands from Italy in 1641. Similar effects can be seen in Cuyp’s Evening Landscape of about the same date (Related works, no. 1) [8]. The buildings on the far side of the lake also appear in Cuyp’s Page with Two Horses of the mid-1650s (Related works, no. 2).It has not proved possible to trace the provenance of DPG124 before its appearance in Desenfans’ ‘Polish’ sale in March 1802....

Notes
... ight green, a jewel truly’. The Barnard sale in 1798, which Murray 1980 mentions, probably never existed. ...
... -shine, for which this master is so famous, is particularly fine in this picture.’ In the collection of John Barnard, Berkeley Square. ...
... , and contains more variety of objects than this artist usually introduced; but they are all blended tog...
... rgins (by E. or C. Carson), from two to five. This work gets four crosses. ...
... ke, and G. Hibbert, Esq., 1802. 160 gs.’; p. 360, no. 261: ‘This beautiful scene is excellently engraved by ...
... tains more variety of objects than this artist usually introduced, but they are all bl...
... is also a good picture by the master. (No. 141.)’ ...
... cture sold at Christie’s on 14 May 1802. This is incorrect: see note 6 above. ...
... iss rejects the attribution.’ ...
... picture is by a pupil working under Cuyp’s supervision.’ ...
... iss 1975, p. 195, no. 155; Chong 1993, p. 442, no. C 31, ‘Paintings incorrectly attributed to Cuyp. Rejected work...
... e/images/291423 (Sept. 23, 2018); Reiss 1975, p. 180, no. 137; Chong 199...
... e/images/291425 (Sept. 23, 2018); Reiss 1975, p. 189, no. 144 (studio); ...
... /art/online/?action=show_item&item=434 (July 20, 2020); Reiss 1975, p. 174, no. 131; Chong 1993, p. 445, no. C 2. ...
... iss 1975, p. 155, no. 114; Chong 1993, pp. 387–8, no. 144 (Sm 241; HdG 550). ...
... tanislaus Augustus Poniatowski, but there is no firm evidence. ...
... s surrounded with sheep and their dogs – the left is enriched with shrubs and bushes, lining the bank of a river which is on the other side of the road, and in which two men thrown rather into the back-ground, are angling. At some little distance from them, are other figures at the door of a cottage beautifully surrounded by trees. The next objects are some mountains, which are detached with a masterly hand from a warm and silvery sky of the most fascinating effect. On canv...
... 26 ‘Ditto [= Albert Cuyp]. Ditto [= Landscape], with Figures and Animals’. ...
... ding one [Patmore’s no. 3, DPG128]; but there is not that mysterious and poetical character ...
... rom two to five. Like An Evening Ride near a River (DPG96), this work gets four crosses. ...
... etching away into the distance, and misty with heat, the hills seeming to quiver through the mist, as objects so that you see beyond an open space of sand and earth, from which the heat is rising; while over the mountain’s head a few fleecy clouds are hovering, as if they loved it and longed to rest upon it.’ ...
... the stalk is seen on the left; it might just as well have been on the other side, for any connection the leaves have with it. As the leafage retires into distance, the Dutch painters merely diminish their scale of touch. The touch itself remains the same, but its effect is falser; for though the separate stains or blots in Fig. 2, do not rightly represent the forms of leaves, they may not inaccurately represent the number of leaves on that spray. […] But in distance, when, instead of one spray, we have thousands in sight, no human industry, nor possible diminution of touch can represent their mist of foliage, and the Dutch work becomes doubly base, by reason of false form, and lost infinity.’ ...
... ion respecting the first importation of Cuyp’s works into this country.’ ...
... ist, conspicuous by its broad and skilful execution’. ...
... is a similar picture in the Royal Collection.’ ...
... is more plausible, however, that that was Herdsmen with Cows, DPG128: see note DPG128, note 59 above. ...
... ...
... pp. 425–6, no. 171; White 1982, pp. 32–3, no. 35; Reiss 1975, p. 176, no. 133. ...
... 1; Chong 1993, pp. 394–5, no. 150; White 1982, pp. 33–4, no. 37; Reiss 1975, p. 154, no. 113. ...
... in those years: see notes DPG128, note 59 and this page, note 36. ...
Joos van CLEVE

... ish painter...
... ppears from the records of the Guild of St Luke, and it seems likely that for at least some of this time he was in France in the employ of François Ier de France (1494–1547).1 He was probably also in Italy, and he is mentioned in London in 1535/6. On his return to Antwerp he resumed his long and successful career.LITERATUREHand 1980; Scailliérez 1991; Hand 1996; Ekkart 1998c; Simonetti & Zanelli 2003a and 2003b; Hand 2004; Leeflang 2007; Van den Brink, Taatgen & Becker 2011; Ecartico, no. 1814: http://www.vondel.humanities.uva.nl/ecartico/persons/1814 (Feb. 15, 2018); RKDartists&, no. 17248 https://rkd.nl/en/explore/artists/17248 (Feb. 17, 2018)...
... 32).92a) Quinten Massijs I, The Virgin in Prayer and Christ as Saviour, diptych, panel, 40.9 x 30.6 and 40.9 x 30.8 cm. KMSKA, Antwerp, 241 and 242 [6-7].10 2b) Attributed to Quinten Massijs I or circle of Quinten Massijs I, Salvator Mundi, 1491–1507, panel, 53.3 x 36 cm. North Carolina Museum of Art, Raleigh, 60.17.62 [8].11DPG271 is probably a 16th-century copy made in the workshop of Joos van Cleve of the autograph Salvator Mundi, painted c. 1516–18, now in the Louvre (Related works, no. 1a) [5]. The extensive underdrawing is an indication that it is not a slavish copy. Like many early Netherlandish works, in the 18th century it was attributed to Holbein, and it is as such that it was first listed in Britton’s 1813 inventory of the Bourgeois collection. Whether it was originally part of a diptych, combined with a praying Madonna (like the Prado version, Related works, no. 1b), or of a triptych, is uncertain; if the original frame survived it could provide evidence. Such small paintings were used at home for private devotion....
... ing finger and little finger are bent together, indicating the divine and human natures of Christ, while the forefinger and slightly bent middle finger are held upright. John Oliver Hand has noted that the features of Joos’s Christ are softer and more forgiving than its predecessors, and the artist of DPG271 has taken this even further.14 He has also simplified the intricate golden embroidery of Christ’s mantle and its fastener....

Notes
... n of the picture, that it is the work of a Northern artist. The features of Christ, the tone of the colours, and the singular glassy look of the eyes, are qui...
... Foucart-Walter 2009, p. 27, no. R.F. 187; Hand 2004, pp. 49, 121, no. 13. It has been suggested that a possible pendant is Joos van Cleve, The Virgin in Prayer (panel, 56.5 x 43.5 cm, Museo Nazionale di Palazzo Spinola, Genoa, GNPS 62): see...
... h; see RKD, no. 232905: https://rkd.nl/en/explore/images/232905 (Feb. 17, 2018). See also Neumeister 2009, pp. 196–7, and Van Suchtelen & Van Beneden 2009, p. 24, fig. 5. ...
Quiringh van BREKELENKAM

... painter, paying his guild fees until 1667. His last known painting, a portrait, is dated 1669....
... their careful finish. They also refrain from explicit symbolism, and do not idealise their subjects....
... ...
... ritsz.van Brekelenkam; April 2, 2020); RKDartists&, no. 12321: https://rkd.nl/en/explore/artists/12321 (April 2, 2020)....
... mp), then ascribed to Dou until 1892, when it was given back to Brekelenkam. The attribution, however, was rejected by Angelika Lasius in her dissertation on the painter. She considers the style gröber und flüchtiger (coarser and more sketchy) than in comparable paintings by him (she mentions Related works, nos. 1b and 1d) [2];21 she repeated her opinion without further argument in her monograph on the artist.22 Again, the condition must have been influential, since the painting itself offers enough reasons for an attribution to Brekelenkam, also made by Fred Meijer of the RKD in 1997.23From the 1630s the Leiden painter Gerard Dou popularised genre scenes of elderly women sitting in kitchens, and even sometimes eating porridge (Related works, no. 2a) [3]. A number of painters adopted the theme, among them Brekelenkam, who used it from his earliest dated work, the Woman delousing a Child of 1648, which shows a very similar old woman (Related works, no. 1a) [1], to the early 1660s.24 Gabriel Metsu (1629–67) also painted this type of scene (Related works, no. 2b) [4].In 1842 Mrs Jameson, who still believed in the attribution to Dou, noted that it was said to show the artist’s mother, a common statement about images of elderly women in Dutch and Flemish paintings.In 1885 the Dutch scholar Gerrit Pieter Rouffaer, comparing a painting in Geneva by Brekelenkam with DPG50 (assumed by him to be by Nicolaes Maes; Related works, no. 1b), considered the Dulwich painting to be by far the better of the two.25 Rouffaer’s point of reference was probably the painting by Brekelenkam from the La Caze collection in the Louvre, that was – and is – falsely signed N. Maes 1648 (Related works, no. 1c). Richter and Sparkes in 1880 also considered the possibility that DPG50 was by Maes.26 Were they in contact with Rouffaer?This painting was a favourite at Dulwich. In the 19th century it was lent for study to the Royal Academy three times (in 1829, 1845 and 1875), and at the beginning of the 20th century it was chosen by the Dulwich Gallery to be illustrated in the Princess Victoria Series with highlights of the gallery....

Notes
... be the same picture. (2) In the DPG50 file is a note by Murray: ‘?Des[enfans]. Priv[ate]. Sale 8ff.iv.1786 (35) Brekelemkemp poss. (Conversation) = 50’. It is however unlikely that Desenfans would call a painting of a single old woman ‘Conversation’. (3) GPID (6. Dec. 2017). The picture may have been acquired via Kirkman: his sale, Christie’s, 28 Aug. 1797 (Lugt 5561), lot 87 (‘G. Dow – An old woman eating soup’), bt Mitchell for £11 0s. ...
... bility of extreme old age. It is however one of the early pictures of Gerard Douw, for notwithstanding its high finish, we easily recognise the school of Rembrandt, whose manner he then followed.’ ...
... owing the victuals contained in the spoon; the head is cleverly painted, and better than most of Douw’s....
... strated catalogue of the collection in the Palais Royal (Fontain & Couché 1786–1808, vol. 3 (unpaginated)), the Dou picture engraved by ‘J. J. J. Huber à Paris’ is different (‘Haut 1 pied sur 9 pouces’). ...
... master, Rembrandt. It is said to be a portrait of the artist’s mother.’ ...
... not made up his mind yet in this entry]. Descamps (vol. iii, p. 143) says that there was “A Paris, chez M le Duc d’Orleans, au Palais Royal Une femme qui mange de la soupe.” This was by Godfrey Schalken.’ Indeed this picture was mentioned by Descamps under Schalcken. ...
... . But in a MS list of his pictures dated 1804 it is attributed to Brakelenkamp. This must mean Quirinus Brekelenkamp, who flourished about the year 1650, and was a pupil, [sic] of Dow.’ ...
... lery in 1798: it is engraved.’ The Orléans collection reference seems to be a mistake: see note 2 above. ...
... 93. In his first period this painter was under the influence of Rembrandt, but later on, during his stay at Antwerp, he was influenced by the Flemish School. As, however, sufficient proofs for fixing the authorship of this very interesting picture are still wanting, its traditional name may still be kept, but not without reserve.’ ...
... Rembrandt. “The Old Woman eating near a Fireplace” is a good specimen of his realism enlivened by a reminiscence of the Rembrandt touch.’ ...
... is a similarity to Brekelenkamp in the figure of the woman and in the subject, cf. cat. nos 110 and 112. The style of painting is however coarser and more sketchy. That is evident in the pot standing on the floor and in the woman’s hands). ...
... (DPG50 file); he added copies of two index cards by Cornelis Hofstede de Groot, who saw the picture in 1914 and 1919,...
... 26 See note 10 above. ...
Richard BRAKENBURGH

... Dutch painter of genre scenes, history pieces and portraits, als...
... . He seems to have returned to Leeuwarden intermittently. He had a small collection of paintings by French and Italian masters, auctioned after his death. Using subjects like those of Jan Steen, his works comprise a variety of low-life scenes in taverns, domestic interiors with a doctor’s visit or festive occasions such as births or the feast of St Nicolas, a few portraits, and also views of Mediterranean ports....
... ersons/1353 (30 Nov. 2017); RKDartists&, no. 11962: https://rkd.nl/en/explore/artists/11962 (30 Nov. 2017)....
... nt. Durantini cites the belief in folklore that twins were the fruit of sex with two different men,7 in which case we might be intended to see the mother as a libidinous contrast to the Virgin.The birth of twins was a popular subject in the work of Brakenburgh, who painted at least ten versions of the theme.8 Jan Steen, earlier, also painted the celebration of the birth of a child. In one of his pictures the father is openly ridiculed: the young man behind him makes a gesture, giving him horns – the sign of the deceived husband (Related works, no. 1) [2]. While Brakenburgh’s painting is decidedly less blatant, it is likely that there is a connection between Steen’s picture, though it shows only one baby, and Brakenburgh’s depictions of twins, playing on the proud new father as an object of ridicule.9A similar interior appears in Brakenburgh’s Workhouse Scene (Related works, no. 4). He returned to the theme of the celebration of a birth in another signed picture, which also features twins (Related works, no. 2a) [3]. The woman with a white cap sitting to the left of the father here is shown standing in the middle of a picture of a Country Inn in Amsterdam (Related works, no. 5) [4]....

Notes
... after Claude, DPG623; attributed to Abraham Pether, DPG624). For DPG 624 see Ingamells 2008, p. 215. Nothing is known of their earlier provenance. ...
... had been made to the Picture Gallery in the Will of Miss Gibbs of Clifton House, Datchet.’ ...
... is subject in the 17th century. ...
Christoffel van den BERGHE

... ish painter and draughtsman of still lifes and landscapes...
... dentified. Van den Berghe may have been a pupil of the Middelburg flower painter Ambrosius Bosschaert I (1573–1621).4 In addition to still lifes, he painted winter landscapes that recall those of Hendrick Avercamp (1585–1634) and Adam van Breen (c. 1585–after 1642); in general his landscapes resemble those produced in Antwerp. Already before 1625 the Prince of Wales, later King Charles I (1600–49), owned a still life with six dead birds by him.5...
... vondel.humanities.uva.nl/ecartico/persons/912 (April 26, 2016); RKDartists&, no. 7190: https://rkd.nl/...
... istoffel van den BergheDPG514 – A Winter Scene on the Ice...
... ed. The worst area of damage in the right foreground of the painting again corresponds to the knot. The paint film is thin and worn overall. The right side of the sky and the trees are especially abraded; these areas and the worn figures on the right have been retouched. It seems that a strip of c. 3 cm is missing at the bottom. Previous recorded treatment: 1817, Robert Brown; 1953–5, Dr Hell; 1990, consolidated with wax/resin, revarnished, N. Ryder; 2002, conserved, N. Ryder....
... (Related works, nos. 2a, 2b). Those are more delicate and colourful, but that might be explained by their material (copper) and their very small dimensions. Liedtke also made a comparison with an ice scene in Antwerp by Van den Berghe (Related works, no. 3) [2].Of the works by the other artist mentioned by Jansen, an ice scene attributed to Adam van Breen (Related works, no. 4) [3] comes closest to DPG514 and the New York painting, but the low viewpoint and both the stiffness and the larger scale of the figures suggest another hand.13DPG514 depicts a winter scene in a town or village with richly dressed people, some of whom are skating on the ice. At the far left is a tavern with the sign of a swan – a common indicator of a bordello,14 seen for instance in scenes of the Prodigal Son; in one such image (Related works, no. 5) [4] there is also a wreath, like the two in DPG514, but nothing else seems to indicate that DPG514 illustrates that parable....

Notes
... nl/ecartico/persons/912 (April 26, 2016). Sometimes (as in Sau...
... tps://rkd.nl/en/explore/images/273926 (April 5, 2016). For Los Angeles...
... er, ‘Christoffel van den Berg’) and 261 (name as dean, ‘Christoffel van ...
... n der Borght’, which Talley interpreted as ‘Christoffel van den Berge (active 1568–after 1637)...
... pp. 23–4, fig. 61; Hofstede de Groot 1893b, pp. 5 and 52 (Monogrammist CvB). ...
... en/explore/images/4861 (April 26, 2017); formerly Stichting ...
... . 8, 2019); for a copy in the BM, London, 2002,1130.17, see https://www.britishmuseum.org/collection/object/P_2002-1130-17 (June 29, 2020); see also De ...
... e Kinkelder (RKD) to Nicola Kalinsky, 26 Aug. 1987 (DPG514 file). ...
... ky. Other suggestions were made by Christopher Brown, who mentioned A. van B...
... 12287: https://rkd.nl/en/explore/artists/12287 (Nov. 8, 2019). ...
Dirck van (den) BERGEN

... He visited England briefly, during which period he painted overdoors and overmantels for Ham House (c. 1673). After that he returned to Haarlem, where his work sold well....
... ersons/901 (May 20, 2017); RKDartists&, no. 7086: https://rkd.nl/en/explore/artists/7086 (Nov. 7, 2019)....
... dated D [v?] Bergen/1690, canvas, 36.2 x 48.7 cm. Kunst Palast, Düsseldorf, M 1970–72.43) Dirck van Bergen, Landscape with Cattle and Shepherd, canvas, 29.7 x 37.8 cm. Gemäldegalerie, Berlin, III.439.54) Dirck van Bergen, Landscape with Cattle and Shepherds, signed D. v. Berghen, canvas, 39 x 59 cm. Kunsthistorisches Museum, Vienna, 660 [1].65) Dirck van Bergen, Landscape in the Campagna with Shepherds at a Fountain, Cows and Sheep, canvas, 37 x 47 cm. Private collection, Mainz.76) Copy: Ralph Cockburn, Landscape (as A. Vandervelde), 1816–20, aquatint, 117 x 178 mm (Cockburn 1830, no. 30), DPG [2].8This was regarded as a work by Adriaen van de Velde until the Richter and Sparkes catalogue of 1880, and then as a work after him, but an original was never found. It is, rather, a typical landscape by Dirck van Bergen, whose work is very often confused with that of Adriaen van de Velde and Nicolaes Berchem (1621/2–1683).9 Characteristic elements are the rather clumsy figures, which are not in scale with the cattle. There are paintings by the same hand in Cherbourg (Related works, no. 1), Düsseldorf (no. 2), Berlin (no. 3), Vienna (no. 4) [1], and in a private collection in Mainz (no. 5). The last depicts an Arcadian landscape with a fountain, as in DPG166 by Nicolaes Berchem....

Notes
... ar her, dressed in red; a light brown cow is drawing towards them, apparently lowing. At a little distance, another cow, and some sheep are reclining on a mossy bank, while the scene is greatly heightened by a grey cow, in the natural action of rubbing herself against one of the trees, in the more retired part of the picture. On canvas.’ Also in GPID (20 Sept. 201...
... wever, it is possible that no. 65 (P. Potter) in these three early catalogues is DPG177: Cat. 1817, p. 6, no. 65 (‘FIRST ROOM – East Side; A Landscape, with...
... ise von der Hand des Dirk van Bergen’ (Possibly painted by Dirk van Bergen). ...
... ile), but we consider that Van (den) Bergen is the correct attribution. ...
Nicolaes Berchem DPG166, DPG157

... is on the reverse...
... t (Related works, nos 1a, 1c) [1-2]. Q12 was also used for a print by Jan or Johannes [de] Visscher (1633/6–92/1712; Related works, no. 1b). These two drawings are probably not studies, but independent works for the market.A drawing in The Hague, dated 1655 (Related works, no. 1d), shows the same fountain with different staffage, and was also the model for an etching. The woman on the left in DPG166 reappears, with a basket, in a drawing which is study for another etching, in the Dutuit collection (Related works, no. 1e). The woman milking appears in another picture by Berchem in Amsterdam (Related works, no. 1h).The fountain is of an antique type of which a good example, in the Roman Forum, was sketched by Jan Asselijn (Related works, no. 2a). The same fountain as in DPG166, or a very similar one, seems to be shown from the back in a painting by Asselijn (Related works, no. 2b) [3].DPG166 was long thought to form a pair with DPG157, but the two pictures differ in both style and size.54 DPG166 may be first recorded in the collection of Marc-René, Marquis de Voyer d’Argenson (1722–88), c. 1750;55 there a pair is noted, featuring a man on an ass and a woman carrying laundry on her head. The pictures next feature in 1769 in the posthumous sale of the collection of Louis-Jean Gaignat (1697–1768), where they were bought by the engraver Johann Georg Wille (1715–1808), who retained them until 1784. While they were in Wille’s possession they were engraved by François Dequevauvillier (1745–c. 1807/9); and Carl Weisbrod (1743–c. 1806), and published by Wille as Le Midi and Le Soir (Related works, nos 3a, 3b) [4-5], as part of a set of four (with Le Matin and L’Après-midi). DPG166 next appears in the posthumous inventory of Bourgeois’ collection in 1813, without its pair. Smith incorrectly proposed that its pair was DPG157, that both had featured in the sale of the collection of Louis-Jean Gaignat in 1769, and that the Dequevauvillier engraving repeated the composition of DPG157 – errors repeated by all subsequent authors.DPG166 elicited much enthusiasm in the 19th century. Waagen found that ‘The bright light of the sun at noon-day is here expressed with extraordinary skill. The colouring is equally deep and clear, the execution of wonderful precision and elegance.’ To Mrs Jameson it was ‘A brilliant and beautiful little picture’....
... Soir”, but less important than it’); Richter & Sparkes 1892 and 1905, p. 41, no. 157; Cook 1914, p. 97, no. 157;62 HdG, ix, 1926, pp. 160–61, no. 380; Cook 1926, p. 97, no. 157; Cat. 1953, p. 10; Murray 1980a, p. 28 (‘These two paintings have been regarded as a pair since the 18th century, but they are not the same size and are first recorded together in the Gaignat sale in 1768’); Murray 1980b, p. 7; Beresford 1998, p. 40; De Marchi & Van Miegroet 2006, pp. 396–7, fig. 26; Jonker & Bergvelt 2016, pp. 28–9, 31; RKD, no. 225975: https://rkd.nl/en/explore/images/225975 (June 28, 2017).EXHIBITIONSHouston/Louisville 1999–2000, pp. 180–81, no. 61 (D. Shawe-Taylor); Williamsburg/Fresno/Pittsburgh/Oklahoma City 2008–10, pp. 32–3, no. 2 (I. A. C. Dejardin)....
... tones and in the middle distance. Previous recorded treatment includes: 1952–3, cleaned and restored, Dr Hell; 2002, local consolidation of raised paint, cleaned and restored, S. Plender....
... or late afternoon.Since Britton’s inventory of 1813 DPG157 has been mistakenly paired with DPG166, Le Midi (their dimensions are in fact different), and called Le Soir. Adding to the confusion, Smith stated that both pictures had been in the sale of the Gaignat collection in 1769, and that an engraving made by Dequevauvillier repeated the composition of DPG157. In the engravings, however, DPG166 is paired with a different painting (see under DPG166, Related works, nos 3a, 3b) [4-5], which has confusingly similar motifs....

Notes
... le marquis de Voyer’), fol. 13. The information about Marc-René, marquis de Voyer d’Argenson (1722–82), comes from Anne Leclair (see also Lec...
... woman milking a goat, another behind her, a third getting linen out of the basin of a fountain on which she has climbed up; two cows, a goat and her kid, a dog and four sheep; mountains and landscape in the distance. The second picture shows a woman bringing cows to drink in the river near some rocks crowned with trees, a man on a donkey, a dog and two goats; in the distance a woman carries linen on her head, a sheep is next to her.) The description of the last picture shows that it was not DPG157; so DPG157 was not in the Gaignat collection; see also the letter by Anne Leclair to DPG, 27 April 2004 (DPG166 file). ...
... u midi & soir. Ils sont du meilleur temps du Maître, riches de composition & de la plus parfaite conservation peints sur bois de 18 pouces, sur 14 de haut. (Berghem – Two landscapes, with ruins intermingled, ornamented with various figures and animals: i...
... f Le Midi and Le Soir […] Collection of M. de Gaignat, Paris, 1786, 4001fs. 160l. Now in the Dulwich Gallery. (Pair) Worth 400 gs.’ See DPG157, in note 32 below: Smith no. 17 is DPG166, but his no. 18 is not DPG157. ...
... p and clear, the execution of wonderful precision and elegance […] The distance and sky of this gem are unhappily much injured.’ ...
... is one of the best of Berchem’s Campagna scenes. It was sold in Paris in 1768 for £160.’ ...
... isscher: see Schuckman 1992b, p. 72, no. 104. ...
... 1997, p. 68, no. 40; Biesboer & Pijl 2006, pp. 134–5, no. 3: in this later drawing Berchem repeated the motifs of DPG166, the fountain an...
... is the first print of the series: see Schuckman 1992b, pp. 48–9, nos 58–61. ...
... ers this drawing to be a preliminary study for DPG166. Plomp suggests that she confuses this with the other Teyler drawing (Related works, no. 1a , see note 11 above). ...
... model for the print by Cornelis (de) Visscher II (c. 1628/29–58) of the same ...
... for the undated print by Jan or Johannes de Visscher after Nicolaes Berchem, see Schuckman...
... s/16996 (June 28, 2017); the fountain is different from the one in DPG166 (w...
... 926-0331-651 (June 28, 2020); first published in Hall 1846–7, i, with text on pp...
... 26 DPG166: 2' x 2'2"; DPG157: 2'4" x 2". ...
... is also said on the GPID website: see above under DPG166, note 2. The description of the other picture does not m...
... o. 19 in the room (DPG166) is this painting's companion, bu...
... drinking; and on her right are a dog and two goats. A woman with linen on her head, and a sheep, are seen in the distance.’ See also note 5 above. Smith’s no. 17 is DPG166, but his no. 18 is not DPG157. ...
... lds every object. Here, too, the distance is unfortunately much defaced by cleaning....
... is a view in Northern Italy or South Tyrol; a clear western light illumines the whole scene with a summer evening’...
Francis BARLOW

... in St Margaret’s Church, WestminsterEnglish painter, etcher, draughtsman and sta...
... sae avium species, c. 1654–8, was etched after drawings by Barlow by Wenzel Hollar (1607–77) and Richard Gaywood (fl. 1644–68). Barlow published Aesop’s Fables with his own illustrations (1666 and later editions). He also produced numerous sets of playing cards, and was one of the first political satirists....
... wo overdoor paintings still in situ is dated 1673.LITERATURECroft-Murray & Hulton 1960, i, pp. 96–7; Hodnett 1978; Talley 1983, p. 164; Mitchell 1985, pp. 105–6; Waterhouse 1988, p. 18 and colour frontispiece; Frank 1993 (with several errors); Jeffree 1996; Dethloff 1996a, p. 141; Griffiths 1998, pp. 140–41; Flis 2011; Flis & Hunter 2011; Grove Art Online (March 1, 2016); RKDartists&, no. 4511: https://rkd.nl/en/explore/artists/4511 (Nov. 20, 2019)....
... is BarlowA Hen and her Chicks...
... D, no. 270132: https://rkd.nl/en/explore/images/270132 (Nov. 6, 2019).EXHIBITIONLondon 1987–8, pp. 23, 78–9, no. 74 (N. Kalinsky; Artist unknown).TECHNICAL NOTESThe canvas has an old lining. The varnish has yellowed, but the appearance is acceptable. Some discoloured restoration can be seen in the background. Previous recorded treatment: 1815, Robert Brown, see under References; 1952–5, Dr Hell....
... (Related works, no. 2) [3].Barlow worked on large projects as well: three canvases, each c. 2.5 x 3.5 m, painted between 1667 and 1681, originally at Pyrford Court, Surrey, and later at Clandon Park, Surrey, include birds by the same hand as DPG425 425 (Related works, no. 3) [4]. Yet significantly John Ingamells chose not to include DPG425 in his 2008 catalogue of British pictures at Dulwich, presumably considering it the work of a Dutch artist – hence its inclusion in this catalogue.13...

Notes
... in Britain, 1600-1730: new directions in research) in the British Museum on 25 June 2018 (letter in DPG425 file). ...
... un before Charles II, of 1687, is the first single-sheet print...
... training with Sheppard is supposed to have continued until 1652/53. No record of this apprenticeship has been found: Flis 2011, p. 480. ...
... g to Neve was ‘in the Hague from 1645 to 1650’. There is however no proof that Barlow ever left the British Isles (Flis 2011, p. 483). Moreover, the royalist Faithorne seems to have been in Paris during the years 1645–51. No traces of William Faithorne or Francis Barlow in the Netherlands have been found by Marten Jan Bok, Nadine Akkerman or Jaap van der Veen; many thanks to them for emails 2016 and 2020 (DPG425 file). ...
... lisz. d’Hondecoeter, Melchior’s father and teacher, who also painted pictures with poultry); Flis 2011, pp. 482 (Boel), 488 (De Gheyn, Goltzius and Bloemaert), 491 (Callot and Hollar). ...
... is quote it seems that Barlow had finished his pictures by that date. ...
... ere comparable prints and drawings by Barlow can also be found; Flis 2011, pp. 491–3, 529 (note 58), fig. 24 (A Covey of Partridges)...
... 2658 (Nov. 6, 2019); Flis 2011, pp. 492, 529 (note 59), fig. 25. See https://www.tate.org.uk/art/artworks/barlow-pat...
... 28, 2020); Croft-Murray & Hulton 1960, p. 99, no. 4; also Flis 2011, pp. 508–9, 530 (note 93), fig. 53. ...
... lections.org.uk/object/1441516; saved), and Landscape with Birds and Fishes, signed and dated F. Barlow 1667, 254 x 345.5 cm (http://www.nationaltrustcollections.org.uk/object/1441518; destroyed). For all three paintings see also Flis & Hunter 2011, pp. 7–12, who argue that the first and last probably had a political meaning. For the other paintings, Ostrich and Cassowary (before 1676, each 254 x 122 cm; http://www.nationaltrustcollections.org.uk/object/14...

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