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... ision of Country Life in the Paintings of David Teniers II, Ann Arbor 1975 [PhD, Columbia University 1975]...
... ist as seigneur: chateaux and their proprietors in the work of David Teniers II’, AB 60 (1978), pp. 682–703...
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... ish Painting, Sixteenth to Nineteenth Centuries, Florence 1990 (The Hermitage Catalogue of Western European Painting, x...
... ists and the art of the past, Denver/New Haven/London 2007 [exh. High Museum of Art, Atlanta/Denver Art Museum/Seattle ...
... isseurship. Essays in honour of Fred G. Meijer, Leiden 2020...
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Studio of David Teniers II DPG614, DPG35
... ion, Wroclaw (Breslau) (formerly Count Brabeck; Count zu Stolberg-Stolberg, Söder (Hanover); photo RKD; probably Fischer, Lucerne, 24–28 Nov. 1970, lot 2435; photo RKD).Other artists5) David Teniers I, The Seven Works of Mercy, 1637, panel. Museum Wuyts-Van Campen and Baron Caroly, Lier.2736) Frans Francken II, The Seven Works of Mercy, signed and dated D (n Jong) (the young) francis franck. INVENTOR ET f. Ao 1617, panel, 99 × 148 cm. Kunstmuseum, Basel, 1142 [4].2747) Mattheus van Helmont, The Seven Works of Mercy, signed and dated M. V. Hellemont f 1650, canvas, 86.6 × 117 cm. Present whereabouts unknown (Sotheby’s, 7 July 1999, lot 503).2758a) David Rijckaert III, Country Fair (or Farmers’ Joy), signed and dated Davide Ryckaert Fecit Antwerpiae C. 1649, canvas, 120 × 175 cm. KHM, Vienna, 729.2768b) David Rijckaert III, Pillage (or Farmers’ Grief), signed and dated David Ryckaert Fecit Antwerpiae 1649, canvas, 121 × 177 cm. KHM, Vienna, 733.2779) Master of Alkmaar, Polyptych with the Seven Works of Mercy, 1504, panel, 7 panels, each 101 × 54–55.5 cm. RM, Amsterdam, SK-A-2815.27810a) (preparatory drawing) Pieter Bruegel I, Charity, signed and dated BRUEGEL 1559, pen and dark brown ink, 224 × 299 mm. On permanent loan to BvB, Rotterdam, N 18.27910b) Philips Galle after Pieter Bruegel I, Charity, c. 1559, engraving, 224 × 289 mm. BM, London, 1873,0510.224.28011) Pieter Brueghel II, The Seven Acts of Mercy, signed P.BREVGHEL, panel, 43.1 × 57.5 cm. Christie’s, 9 July 2003, lot 11.28112) Pieter Aertsen, The Seven Acts of Mercy, dated 1573/29 ME, panel, 111.5 × 144.1 cm. Muzeum Narodowe, Warsaw, M.Ob.2183.28213) Joost Cornelisz Droochsloot, The Seven Works of Mercy, monogrammed and dated Jco. fecit Ao 1618, canvas, 189 × 295 cm. Centraal Museum, Utrecht, 2528.283...
... d to perform good deeds. In the 16th century lay involvement in the care of the poor and needy was necessary, and it increased, certainly in the Protestant North, where the churches and religious establishments that had performed those duties were abolished, and their tasks were taken on by secular individuals or municipal institutions.The Corporal Works of Mercy were popular in art from the Middle Ages onwards.289 In 1504 the Master of Alkmaar (active c. 1490–1510) painted an altarpiece for the church of St Laurence, with seven separate paintings set in a single frame (Related works, no. 9). The first artist to combine the Seven Works in a single scene was Pieter Bruegel I, about 1560, in a drawing and a print (Related works, nos 10a, 10b). After that, painted versions were made by Pieter Brueghel II (1564–1638; Related works, no. 11) and by Pieter Aertsen (c. 1508–75) in 1573, who placed his Seven Works in a Renaissance architectural setting (Related works, no. 12). Probably inspired by Pieter Bruegel I rather than Aertsen, the Francken family developed the theme in a more ‘realistic’ way (Related works, no. 6) [4]; the earliest dated version is of 1608. There seems to have been a kind of competition between the Francken and Teniers ‘factories’, with the former generally taking the lead; but where the Teniers paintings always depict a crowd that is calm, thankful for what is offered to them, the Francken paintings show aggressive and desperate beggars.The subject was apparently appealing in Utrecht: in the collection where the Teniers was mentioned in 1646, there was also a painting of the Seven Works of Mercy by Joost Cornelisz. Droochsloot (1586–1666).290 Droochsloot tended to use the same scheme for every event involving a crowd in a village or city setting, as in his Seven Acts of Mercy dated 1618 (Related works, no. 13)....
... opy: Ralph Cockburn, A Landscape, c. 1816–20, aquatint, 129 x 181 mm (Cockburn 1830, no. 35), DPG [5].294.The very poor condition of this painting – rubbed, and with most of the top layers lost – makes its appreciation difficult. In the early 19th century nobody doubted the attribution, and it was even selected by Cockburn to be reproduced in aquatint (Related works, no. 1) [5]. Murray in 1980 was the first to question it: he thought it was ‘probably an 18th-century pastiche’. In 1998 Beresford suggested that it was by an imitator. It seems however possible that DPG35 is essentially a real, but battered, Teniers. It contains many elements found in his œuvre, such as the placing of the figures and the inn on a slightly raised area in the foreground, and the stumpy doll-like bodies of the peasants. A very similar pointing figure appears on the right in The Seven Corporal Acts of Mercy, from Teniers’ studio (DPG614)....
Notes
... ...
... bouts unknown (A. Baring 1831; Edward Gray; Buchanan, Talleyrand 1817; Le Brun 1809). Smith 1829–42, vi (1835), p. 260, no. 5: David Teniers II, The Seven Works of Mercy, canvas, 2 ft 3 in. by 2 ft 6¾ in. (c. 68.6 × 78.1 cm); pres...
... ...
... ...
... burg, at the Hague, in 1735, 860 flo, 77 l.’ RKD, no. 102611: https://rkd.nl/en/explore/images/102611 (May 30, 2018); Joconde (25 Sept. 2012). Provenance: Victor-Amédée de Carignan (1610–1741), ...
... ...
... 8–9, no. 3, and on Klinge 1980, p. 263, no. 196. Prov.: Lt Col. Sir Jo...
... Jacques-Philippe Le Bas (1707–83); according to Atwater (1989, pp. 1410–11, no. 1750) it is Carl Weisbrod (1743– c. 1806); Jonker & Bergvelt 2016, p. 263, fig. 8, under DPG614. ...
... reproduction it looks like a crude blend of Joost Cornelisz. Droochsloot (figures) and David Teniers II (architec...
... (July 7, 2018); see also https://www.britishmuseum.org/collection/search?keyword=18...
... -Kubes & Kloek 1986, pp. 407–8, no. 298 (J. C. H. Buis). ...
... probably Joost Cornelisz. Droochsloot]: op den 6 Augusti 1646 gekocht inde kermis tot Utr[echt] een stuck schilderij geschildert bij David Teniers, schilder t...
... 263, no. 196. ...
... one of the Five Senses in the Harold Samuel collection (Sutton 1992, pp. 200–206, no. 67). It is also possible that Teniers’ collaborators painted a portrait of their master. ...
... 26 Muller 1985; Bühren 1998; Botana 2011. ...
... ee pictures by Teniers in Cat. 1817 is DPG35: p. 3, no. 10 (‘FIRST ROOM ...
... ame page Haydon comments on nos 17 (DPG49), 19 (DPG146), 20 (DPG33), and 21 (DPG35 or DPG52): ‘The foregoing five little pictures are exquisite examples of truth of colouring, drawing, and composition.’ ...
... h of three pictures by Teniers is DPG35: p. 3, no. 10 (Cottage...
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David Teniers II DPG95, DPG76
... amp;c (comp: to 10 [= DPG76]) C[anvas] Teniers’; 5'2" × 6'10").REFERENCESCat. 1817, p. 8, no. 115 (‘SECOND ROOM – West Side; A Landscape, with Portraits of Teniers and his Wife; Teniers’); Haydon 1817, p. 380, no. 115;188 Cat. 1820, p. 8, no. 115; Patmore 1824b, pp. 33–4, no. 123;189 Cat. 1830, p. 8, no. 139; Jameson 1842, ii, p. 465, no. 139;190 Ruskin 1843, pt ii, sec. iv, ch. iv (Of the Foreground), pp. 313–14;191 Bentley’s 1851, p. 347;192 Denning 1858, no. 139 (‘portraits of Teniers himself and his wife, his wife’s page and his gardener […] his Chateau at Perk’); Denning 1859, no. 139 (‘It is a fine landscape’); Sparkes 1876, p. 173, no. 139; Richter & Sparkes 1880, pp. 163–4, no. 139 (D. Teniers II; ‘The gentleman represented in this picture is not Teniers himself’); Richter & Sparkes 1892 and 1905, p. 24, no. 95; Thompson 1910–12, iii (1912), fig. 11; Cook 1914, pp. 56–7, no. 95; Cook 1926, p. 54; Hennus 1936, pp. 169 (fig.), 170;193 Cat. 1953, p. 39 (David Teniers II); Morawińska 1974, p. 42, no. 29; Dreher 1978, pp. 697–8 (fig. 12); Murray 1980a, p. 126; Murray 1980b, p. 28; Waterfield, Plender & Spring 1995b; Beresford 1998, pp. 230–31; Buvelot, Hilaire & Zeder 1998, p. 213, under no. 58 (Related works, no. 3a) [5]; White 2007, p. 331, under no. 101 (Related works, no. 6) [9]; Jonker & Bergvelt 2016, pp. 256–7, 266; RKD, no. 230512: https://rkd.nl/en/explore/images/230512 (May 30, 2018)....
... That picture also includes, in the distance, Het Steen, the château of Rubens, no doubt an example that Teniers wished to follow both socially and artistically. Other recognizable views by Teniers include Het Sterckshof, in the National Gallery (Related works, no. 2) [2].Others châteaux by Teniers seem to be imaginary, but no doubt had some basis in reality. A picture in Montpellier (Related works, no. 3a) [3], for example, derives from a drawing of an unidentified château (Related works, no. 3b) [4], but it is notable that in the painting the artist has added a bridge and omitted the buildings visible to the right in the drawing. That could be the case for DPG95 as well. Unidentified castles frequently appear in the background of his peasant scenes, for example in DPG31, Gipsies in a Landscape. Interestingly, the composition of the castle is similar, in reverse: high main building, twin round towers in front. Unfortunately it has not proved possible to identify the castle shown in DPG95.The figures in DPG95 have traditionally been said to be Teniers and his wife, but that seems fanciful. The man in the red cloak and the elderly workman appear in different poses in a number of other works (e.g. Related works, nos 2, 3a, 4, 5) [2-3, 5-6]. The pair also appear in larger groups, as in the Village Feast in the Prado (Related works, no. 6) [7]. The boy and the dogs, too, recur again and again. No doubt they were stock figures. As the paintings vary considerably in size, it does not seem that they were intended to be part of a coherent series.Interestingly, DPG95 is not the only picture of a castle by Teniers that Desenfans owned: in 1786 he offered a similar picture at auction, probably selling it to Lord Lansdowne in the early 1790s.201...
... isDPG76 – Peasants Conversing, a Church in the Background...
... entre left: DT.FThe added pieces are almost certainly by Sir Francis Bourgeois....
... [= A large landscape] with Cattle – Ditto [= Teniers]. £300’); Bourgeois Bequest, 1811; Britton 1813, p. 23, no. 222 (‘Drawing Room / no. 10...
... ’ œuvre. And the two pictures have many characteristic elements of Teniers’ mature style – a pointing figure, silvery skies, an earthy palette, and a shepherd leaning on his staff in the distant background. A drawing on the London art market (Related works, no. 1) [8] was thought to be Teniers’ first attempt at the central figure grouping, with two men talking and one urinating. The group in the drawing is facing in the opposite direction and with the middle figure with his back to the viewer (instead of walking to the left in the picture); however it is not in Teniers’ usual drawing style, and seems likely to be a copy after a Teniers design, be it in reverse. A more convincing drawing has a similar group of three men, but with a castle rather than a church in the background (Related works, no. 2) [9]. The figure of the urinating man appears in another picture (Related works, no. 3).If the additions are taken away, the width is more than twice the height [11], an unusual format for a landscape, though not in Teniers’ œuvre (Related works, no. 5); a picture in Mannheim (Related works, no. 6) [10] had later been divided into two more conventional landscape shapes.209It is unclear when DPG76 entered Bourgeois’ collection. The Evening Mail inventory of 1790–91 mentions ‘A landscape with figures’ and ‘A ditto with cattle and figures’, both by Teniers, in the Drawing Room; elsewhere in the inventory these are called ‘two large pictures’, and they are not in the Teniers Room. They may be DPG76 and DPG95.210...
Notes
... him; two other figures and sheep are on different planes. The main figures are 11 inches [French dimensions] high. This picture is admirably executed and is distinguished by other superior qualities; it is painted on canvas 3 feet 5 inches high and 5 feet 3 inches wide.) Foucart & Lacambre 1977, p. 230, thought that this picture was now in Montpellier (Related works, no. 3a). The most recent catalogue of the Montpellier museum, however, gives a different provenance, with no mention of the Sollier sale (Buvelot, Hilaire & Zeder 1998, p. 213), and there are no sheep in that picture. ...
... is castle, in which he has introduced himself and family, on canvas, 3'6" h × 4'’ (includes the frame)....
... is castle, in which he has introduced himself and family (companion to lot 40).’ Lot 40 was ‘Mountainous landscape wit...
... [copy in Courtauld Institute, London]; In this the artist has lost his usual silvery tone & run into the Iron grey – The whole is heavy & colourless. Believe it genuine.’ [from the second copy in RKD]. NB: The information between the round brackets above...
... e mentioned, DPG76 and DPG95; each is valued at £300. ...
... pe, with Figures of Teniers and his Wife. Beautiful.’ ...
... es, the two principal of which are portraits of Teniers and his wife. The merit of this class of Teniers’ works consists almost entirely in the air of unaffected truth which they possess; for there is no skill, because there is no choice, shewn in the composition of them; and the scenery which they represent can seldom boast any other beauty than that of simplicity. Still they are highly interesting, from their purity of tone and facility of hand...
... that, and does not pass from one to another without being able to stop, drawn on by the continuity of line; neither is there any undulation or furrowing of watermark, nor in one spot or atom of the whole surface, is there distinct explanation of form to the eye by means of a determined shadow. All is mere sweeping of the brush over the surface with various ground colours, without a single indication of character by means of real shade.’ ...
... by Teniers, in which the artist has introduced his own portrait and the portrait of his wife.’ ...
... ne 19, 2018); Klinge & Lüdke 2005, pp. 266–7, no. 84; Klinge 1991, pp. 214–15, no....
... 998, pp. 213–14, under no. 58 (Related works, no. 3a). It appears in an undated list of pictures offered to Lord Lansdowne as ‘a capital Landscape with a view of ...
... nlivening that part of the landscape; on [sic] the fore ground stands a Flemish farmer, pointing to the place where his men are to lay down their burthen; the figures well planted, and touched with great spirit and freedom of pencil; ...
... scape with Figures. A most exquisite picture.’ ...
... ers. This is an admirable picture. The sky, the distance, and the picturesque château, are marvell...
... 26 RKD, no. 31275: https://rkd.nl/en/explore/images/31275 (June 30, 2018) ...
... 5, pp. 296–7, no. 95. As is clear from the inventory numbers, this picture was divided into two parts (after 1854), which were r...
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David Teniers II DPG146, DPG142
... nt is driving his two pigs through a winter landscape (Related works, no. 1) [1].DPG146 seems to have a distinguished provenance. It seems to be first recorded in the collection of the French statesman Charles-Alexandre de Calonne (1734–1802) in 1788. It definitely appears in 1801 in the sale of the collection of François-Louis-Joseph de Laborde-Méréville (1761–1802), formerly Conseiller du Roi and Garde du Trésor Royal, whose aunt, Madame d’Harvelay, had married Calonne in 1788. Might Calonne have given her the Sow picture? In 1791 Laborde-Méréville purchased many of the works in the collection of Louis-Philippe-Joseph, Duc d’Orléans II (1747–93), to prevent their export from France, but had to sell them in England when he was forced into exile in 1792.133 The picture is presumably ‘A Landscape with Pigs’ purchased by Bourgeois at that sale in 1801.This painting is one of fifty works in the collection chosen to be reproduced in a series of coloured aquatints published between 1816 and 1820 by Ralph Cockburn (Related works, no. 2) [2], artist and first keeper of the Gallery. It is also one of the few reproduced on a much larger scale, showing the appreciation that contemporaries had for this painting. Furthermore, the painting was still prized in 1905 when it was described in the Gallery’s catalogue (first published in 1880) as ‘the most brilliant and glowing in colour’ of all of Teniers’ paintings in the collection. ...
... cutter: DPG142, and two pictures by Caspar Netscher (c. 1636–84), who is otherwise known for his images of the higher classes.151 In one, in Philadelphia, we see the chaff-cutter on a farm, with figures who are probably his family (Related works, no. 2a) [4]; the other, in the Rijksmuseum, concentrates on the figure itself (Related works, no. 2b). In both the worker looks out at the viewer. Kettering places these pictures in a tradition of farm scenes with working people that started in Rotterdam and spread southwards. Netscher had probably been inspired by an earlier image by his master Gerard ter Borch II (1617–81) depicting another modern mechanical device, The Knife-grinder’s Family (Related works, no. 2c). Lüdke suggests that Netscher’s picture may have an allegorical meaning, alluding to the saying ‘separating the wheat from the chaff’.152 In that case the working farmer would represent Prudence.153 Gudlaugsson connected the image by Ter Borch of a grey horse in a stable, loosened from its bridle and being brushed (Related works, no. 3), to a 1601 German book which gives the meanings of animals. There a saying by Seneca is quoted: a golden bridle does not make a horse more noble than it is by itself.154 No one should dress up or be proud of their ancestors. Applied to the Ter Borch picture, where the horse’s coat is being brushed, it could mean that the brushing is done to bring out the horse’s inner nobility, and also be an admonition to modesty. Is The Chaff-cutter primarily a charming picture of idealized peasant life, or does it have a meaning comparable to that of the Ter Borch picture? Teniers is known to have moralizing messages hidden in his pictures, and the bridle lies very prominently on the foreground. However in the other picture the horse is being brushed, whereas in DPG142 it is just eating its fodder....
Notes
... h we see a sow with five piglets; a tub & a bowl embellish the left side of this picture, of which the background to the right is closed with peasants’ houses & four figures. This piece, of a distinctive character, is painted transparently & with beautiful colour; on panel 9 × 12½ [French] inches). ...
... ...
... ording to GPID (10 Jan. 2014): Traupaud, Plaistow or others sale, Phillips, 30 Jan. 1810...
... d 21 (DPG35 or DPG52) and concludes: ‘The foregoing five little pictures are exquisite examples of truth of colouring, drawing, and composition.’ ...
... Of all pictures by Teniers in this Gallery, the most brilliant a...
... l-known bust of him by Nollekens, of which many versions exist, seems to have been commissioned by a political ally, not by himself. So any collection is likely to have been minor.’ Email from Peter Humfrey to Ellinoor Bergvelt, 28 June 2018 (DPG142 file), for which many thanks. ...
... 26 Sept. 2018): Teniers; ‘A Flemish Farm Yard with the White Horse, one of the finest silver-toned Pictures of thi...
... the flying chaff from the chaff engine, &c. are nature itself, painted at once in a most powerful and effective style; the picture is as fine a production of the pencil as ever was seen.’ ...
... most striking or ambitious) picture of Teniers in this collection’. ...
... ife are actually in motion; there is evidently not a breath of wind stirring, or you might expect to see them blown away as they fall! The purity and sweetness of tone which pervades this picture is also delightful; and it may altogether be offered as a most characteristic piece of the master.’ ...
... “Chaff-cutter” (No. 156 [should be no. 185]; it is in his latest manner.’ ...
... istic of the master. (see No. 46). It was bought from the collection of Rich. Walker, Esq., in 1803, for 110 guineas.’ ...
... is beautiful example of Tenier’s [sic] later work was bought from the collection of Richard Walker, Esq., in 1803...
... .philamuseum.org/collections/permanent/102335.html?mulR=1026729562|1 (July 12, 2020); Sweeny 1972, pp. 64–5, no. 544...
... 4, under no. 35a. There a comparison is made with Albrecht Dürer’s Little ...
... 26 See DPG57 for brick-making, and its Related works, nos 2–6, for other depictions of p...
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Abraham STORCK
... ised in the Noorderkerk, 17 April 1644–Amsterdam, buried 8 April 1708Dutch painter, draughtsman and prin...
... arge workshop, shows the influence of Ludolf Bakhuizen (1630–1708), Jan Abrahamsz. Beerstraaten (1622–66), and Willem van de Velde II (1633–1707).LITERATUREBol 1973, pp. 315–23, 338–9 (notes 564–91); Dudok van Heel 1982; Russell 1996b; Giltaij & Kelch 1996, p. 387; Jonker & Bergvelt 2016, pp. 236–7; Van der Veen 2019e; Wegener 2020; Ecartico: http://www.vondel.humanities.uva.nl/ecartico/persons/7174 (March 17, 2017); RKDartists&, no. 75515: https://rkd.nl/en/explore/artists/75515 (March 19, 2017)....
... ish Yacht saluting a Dutch Man-of-War in the Port of Rotterdam...
... y 1980b, p. 27; Beresford & Plender 1995; Beresford 1998, p. 226; Jonker & Bergvelt 2016, pp. 236–7; RKD, no. 104890: https:...
Notes
... the class of paintings by Storck associated, probably wrongly, with Marlborough. The composition is close to one called Harbour of Amsterdam in Dresden, signed and dated 1689 [Related works, no. ...
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Karel SLABBAERT
... 84, p. 115; Van der Willigen & Meijer 2003, p. 181; not in Saur; Ecartico, no. 6836: http://www.vondel.humanities.uva.nl/ecartico/persons/6836 (May 6, 2017); RKDartists&, no. 72964: https://rkd.nl/en/explore/artists/72964 (May 7, 2017)....
... rks, no. 1a) [2]; he finally concluded that it was a copy after a Dutch work of the years c. 1645–65.8 In 1983 Christopher Wright thought it was even earlier, of the 1630s–40s, by an English artist.9 This shows how intricate the relations were between the Netherlands and England: we know that a lot of minor Dutch and English painters were working in London, taking Dutch pictures and prints as their models.10 Most convincing seems to be the attribution to Karel Slabbaert (Related works, no. 1b) [3] or an English copyist after his work. Stylistically it is not unlike the work of artists such as the Rotterdam painter Olivier van Deuren (1666–1714), a pupil of Peter Lely (1618–80; Related works, nos 2a, 2b), and Arnold Houbraken (1660–1719) from Dordrecht (Related works, no. 3), but their late dates of birth (1660 and 1666) almost seem to rule them out, since the picture was part of the Cartwright bequest of 1686.The soldier looks like a civic guard with his sabre, finely dressed (see his linen collar). A simple piece of bread is on the table. The image might be didactic: the figure is depicted as a kannekijker, a ‘tippler’ or ‘soak’, peering into the dregs of the jug, a symbol of gluttony; the image is reminiscent of a painting by Frans Hals (1582/3–1666) that shows a laughing boy looking into a jug, which was interpreted by Van Thiel as a personification of Gluttony (Related works, no. 4).11 It could also be meant to represent Sight, one of the Five Senses.12...
Notes
... of Paulus, was then living not in Leiden but in Amsterdam. Perhaps Slabbaert met Pieter Potter there, since he is mentioned in Amsterdam in 1645? Pieter Potter II, son of Pieter I and brother of Paulus, was only born in 16...
... l 1983. Flemish quality – English artist 1630s/40s’. ...
... g. DPG413 (after a print by Cornelis Visscher II; RKD, no. 281756: https://r...
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Gerard SANDERS
... 1940.2 He left a collection of drawings, prints, and some paintings.3LITERATUREVan Gool 1750–51, ii (1751), pp. 304–7; Staring 1921; Thieme-Becker, xxix, 1935, p. 394; Niemeijer 1969, pp. 60, 73, 81, 93, 95, 110, 111; Mandle 1971, pp. 89–90, no. 73 (fig. 40); not in Ecartico (July 10, 2020); RKDartists&, no. 69569: https://rkd.nl/en/explore/artists/69569 (May 8, 2020)....
... turned to London in the 1680s, leaving debts behind. Archibald returned to Rotterdam, however, and established a successful trading and shipping business with links to England, Ireland and Scotland, and in 1694 he married his fellow Mennonite Anna Claus, from Amsterdam. Their sons were spectacularly successful, establishing the Hope Bank in Amsterdam, one of the most famous merchant banks before the time of Napoleon, which existed until the late 20th century as the Bank Mees en Hope N.V., now part of ABN-AMRO.13Several of Archibald’s family members were notable culturally, both in the Netherlands and in Great Britain: his grandson Henry built Pavilion Welgelegen near Haarlem, a magnificent Neoclassical country house where his collection of old master paintings could be admired; it is now the seat of the government of the Province of North Holland.14 John, another grandson, formed another important collection of Dutch and Flemish paintings and sculpture with his uncle Adrian.15 In 1794 in fear of the French occupation of the Netherlands the family fled to England, and there Thomas Hope of The Deepdene, a son of John and great-grandson of Archibald, became an influential art collector, Neoclassical theorist and interior decorator.16An inscription in pencil on the stretcher reads ‘Bought at the Sale at Rushton Hall, Kettering’. The hall, dating from the 15th century, was acquired by Thomas Hope in 1828 and remained in the family until 1854.17...
Notes
... al handbooks of the time they were regarded as Dutch artists; Knolle 2008. ...
... as not published at the time, was a Mrs Booth from Bury St Edmunds.’ Information in an email from Lynda McLeod (Christie’s Archives, London) to Ellinoor Bergvelt, 28 Oct. 2020 (DPG577 file), for which many thanks. The date of the ...
... ish painter George Sanders (1774–1846), an error corrected in the 1926 edition. ...
... is only a black and white photograph by ‘C. Gray’, and no other information. The photograph was probably taken from Stari...
... ist 1974, p. 4. ...
... ist 1974, p. 541 (note 2). ...
... ist 1974, pp. 4–11; also https://en.wikipedia.org/wiki/Hope_%26_Co. (July 10, 2020). ...
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Herman SAFTLEVEN
... he travelled to Basel in Switzerland. For Dutch collectors, c. 1663–6 he drew 37 sheets for the Atlas of Laurens van der Hem (1621–78) and made drawings of flowers and plants in the collection of Agnes Block (1629–1704) at her country estate, Vijverhof (1680 and 1682–4). Jan Vorstermans (1643–after 1693) was one of his pupils. Saftleven was very famous during his lifetime, and influenced several German 18th-century landscape painters.LITERATURENieuwstraten 1965; Klinge-Gross 1976; Schulz 1982; Sutton 1987e; Schulz 1996; Bok 1997d; Saur, c, 2018, p. 345 (I. M. Veldman); Ecartico, no. 6522: http://www.vondel.humanities.uva.nl/ecartico/persons/6522 (Herman Saftleven III); RKDartists&, no. 69247: https://rkd.nl/en/explore/artists/69247 (Herman Saftleven II; Nov. 6, 2017)....
... 6; on back: Rij zoons3 [should this be in italic?]...
... Until 1880, when the monogram was correctly interpreted, DPG44 was thought to be by Saftleven’s pupil Johannes or Jan Vorstermans, although Denning in his 1858 catalogue had already suggested Saftleven; he gave biographies of both Vorstermans and Saftleven.As Schulz noted, the setting has not been identified, and it is possible that it is an imaginary landscape. Remmelt Daalder identified the long ships on the river Rhine and on the shore as samoreuzen: used for transport on that river, they were pulled upstream and sailed back.11 The painting was made soon after Saftleven began to produce Rhineland scenes c. 1650; the golden light of late afternoon in the sky reveals his assimilation of the Dutch Italianate school, most notably Jan Both, but his technique is far more detailed. Several paintings by Saftleven dating from the 1650s are compositionally quite similar to DPG44; perhaps the closest is one dated 1654 (Related works, no. 1) [2].12...
Notes
... ists three Desenfans sales with five Vorstermans paintings, which probably refer to only two paintings, one smaller (no...
... rial perspective, the misty appearance of nature, is well preserved.’ ...
... the Dresden Gallery contains some beautiful pictures of this master. […] Formerly in the possession Mr Moses Vanhaus...
... remarkable for the exquisite finish of the minutest details in this very rich composition.’ NB: Board Minutes, 11 March 1879: ‘Dr....
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François RYCKHALS
... ised 3 May 1609–Middelburg, buried 29 July 1647Dutch painter and draughtsman...
... 1917b; Klinge-Gross 1976, pp. 88–91; Bol 1982, pp. 21–9; Buma 1994; Meijer 1995; Van der Willigen & Meijer 2003, p. 174; Heyning 2018, pp. 62–63; Ecartico, no. 6485: http://www.vondel.humanities.uva.nl/ecartico/persons/6485 (May 1, 2017); RKDartists&, no. 66930:https://rkd.nl/en/explore/artists/66930 (May 2, 2017)....
... is Ryckhals DPG515 – Interior of a Barn...
... Sparkes 1892, p. 141, no. 101; Richter & Sparkes 1905, p. 143, no. 101; Cook 1914, p. 257, no. 515 (A Dutch Interior; Artist unknown); Cook 1926, p. 277, no. 515; Cat. 1953, p. 48; Murray 1980a, p. 303 (Dutch School); Beresford 1998, p. 296; Jonker & Bergvelt 2016, p. 315 (Dutch Schoo...
... is RyckhalsDPG516 – Interior of a Barn...
... s, is unknown.There has been considerable debate about the authorship of the pair, which have remained largely unpublished.11 Christopher Brown proposed Arent or Abraham Diepraam (1622–70), a Rotterdam artist, or Egbert van Heemskerck I (1634–1704), who had worked in London, some of whose paintings were in Cartwright’s collection.12 However in their pictures the still lifes seem to be subordinate to the figures, while here it is the other way round. J. Nieuwstraten of the RKD proposed a follower of Cornelis Saftleven (1607–81), the brother of Herman; Nicola Kalinsky noted similarities in the extremely uneven œuvre of Pieter de Bloot, possibly the master of Ryckhals; and Guido Jansen suggested Hendrick Martensz. Sorgh (c. 1609/11–70).13 All of these artists, however, are considerably superior to the author of DPG515 and DPG516. It is tempting to speculate that these may be English pictures in a Dutch style, by someone such as Egbert van Heemskerck II (c. 1666/86–1744), although no still lifes by him are known. It is perhaps significant that they are unattributed in Cartwright’s inventory, though examples of the work of Heemskerck I were in his collection.We think the attribution to Ryckhals is more convincing, when we compare DPG515 and DPG516 with two very similar works by that artist (Related works, nos 3 and 4) [3-4]....
Notes
... l from Johnny Van Haeften to Hettie Ward, 26 Sept. 2013 (DPG515–6 file): the picture...
... ; Buvelot 2004, p. 280, no. 929; Buma 1994, p. 26 (fig. 25). ...
... ht inventory, nos 23 and 24. None of his Heemskercks made it to the Dulwich ...
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Follower of Rubens DPG165
... of 1613 (Related works, no. 4). That shows Jupiter (disguised as Diana) and Callisto, one naked and the other half-naked, over life size. The same is true of another painting by Rubens in Kassel of about the same period, showing Bacchus, Cupid, and the two goddesses Ceres and Venus, Sine Cerere and Baccho friget Venus (‘Without Ceres and Bacchus Venus would freeze’; Related works, no. 3). There is a clear similarity to the life-size nude bodies of gods and goddesses in the paintings of Hendrick Goltzius, who Rubens had just visited in Haarlem in 1612 (see for instance the picture on loan to the National Gallery, London: Jupiter and Antiope, Related works, no. 10), and those of another Haarlem master, Cornelis Cornelisz. van Haarlem (1562–1638), who painted pictures of this type earlier, in the 1580s (see NG1893). Cornelis Cornelisz. could have seen such compositions in the works of Frans Floris I (1515/20–70) and Michiel Coxie I (1497/1501–85) in Antwerp, where he was in 1581–3, and Rubens himself could have seen them there.A print after a Rubens drawing, with Venus nursing small cupids under the title Crescetis Amores (Loves will grow; Related works, nos 2a–b) [2], has been proposed to show a pair to the Vienna painting: in both compositions Venus is seated under a rosebush, facing in opposite directions in the two, and in both cases she has an unnaturally narrow neck.742The picture’s iconography is of the ‘Venus frigida’, a theme derived from a saying recorded by the 2nd-century BC Roman dramatist Terence (The Eunuch, 732), that Sine Cerere et Libero friget Venus, meaning that without the company of Ceres (goddess of agriculture and fertility) and Liber or Bacchus (god of wine), Venus and Cupid will grow cold and have to keep warm by making a fire as shown here. It implies that love can only flourish with food and wine. Since the end of the 16th century this was a popular theme in the Netherlands,743 in both texts and images.744 In texts the message was mainly negative, but in images the harmony between the gods and goddesses was emphasized. Usually all four were depicted, Ceres, Bacchus, Venus and Cupid, as in the print by Jan Saenredam after Abraham Bloemaert (1566–1651) and the drawing by Hendrick Goltzius (Related works, nos 7 and 9), and in Rubens’s picture in Kassel (Related works, no. 3). A print by Jan Harmensz. Muller after Bartholomeus Spranger (1546–1611) shows Ceres and Bacchus walking away, hand in hand, leaving Venus and Cupid to keep themselves warm, as they try to do with a fire (Related works, no. 8) [4]. It seems that Rubens has singled out this scene in the background, with Venus and Cupid by a fire. He chose it as a subject at least twice – in the 1614 picture in Antwerp, called Venus frigida (Related works, no. 5) [3], and in the painting of which DPG165 is the modello, if Rubens was indeed the author....
Notes
... , although of the school of Rubens; perhaps by one of his pupils, after him, and touched upon by his great master.’ ...
... y stands out against a blackened background of trees. She faces us and looks at the fire that Cupid has lit, and which he is going to feed with the wood that he is carrying. On the right, water, trees.) ...
... t la main sur le dos (depicting crouching Venus and Cupid. The little cupid, freezing cold, hides his hands between his knees; Venus places her hand on his back). ...
... ...
... Büttner 2018a, i, pp. 361–8, no. 47, ii, figs 226, 229); McGrath 2016, p. 394–5, under no. 40. ...
... (Aug.16, 2019); see also https://www.britishmuseum.org/collection/object/P_1910-020...
... 989, pp. 184–5, no. 196; Schnackenburg 1996a, i, p. 260, ii, pl. 37. ...
... /en/explore/images/46666 (Aug. 26, 2020). See also Related wor...
... Büttner 2018a, i, pp. 387–96, no. 50, ii, fig. 253; Vander Auwera, Van Sprang & Rossi-Schrimpf 2007, p. 273, no. 115 (B. Schepers and H. Dubois); Jaffé 1989, p. 228, no. 429A; KMSKB 1984, p. 253, no. 1372. For an image of what the scene originally looked like see RKD, no. 72069: https:/...
... ishmuseum.org/collection/object/P_1928-1212-116 (Aug. 2, 2020). ...
... (Aug. 31, 2019); see also https://www.britishmuseum.org/collection/object/P_1853-031...
... . Another grisaille picture at Aix-en-Provence repeats the present drawing in reverse and is probably a copy from Saenredam's engraving. Lit.: Reznicek 1961, i, pp. 287–8, cat...
... is verdict, based on a photograph: ‘The figures may have been copied from a Rubens, but I can’t think of a specific picture...
... is likely to be after an Italian example by Agostino Carracci (B. 115, probably before 1590): see Renger 1981, p. 110....