2039
Philips WouwermanEine elegante Gesellschaft und eine Kutsche am Flussufer
Beschreibung
Philips Wouwerman
Eine elegante Gesellschaft und eine Kutsche am Flussufer
Öl auf Holz. 48,5 x 58 cm.
Monogrammiert unten rechts: PLS W (ligiert).
Provenienz
Sir Godfrey Macdonald of the Isles, Thorpe Hall, 1935. - Auktion Christie´s, London, 22.2.1935, Lot 50. - Duits & Co., Dordrecht, Amsterdam, London. - R. Dreesmann, Zeist, 1936. - Als Leihgabe im Centraal Museum, Utrecht, 1936. - Privatsammlung, Großbritannien. - Hans Cramer, Den Haag, 1973-1976. - Privatsammlung, London. - Richard Green, London. – Südwestdeutsche Privatsammlung. - 802. Lempertz-Auktion, Köln, 19.5.2001, Lot 1155. – Deutsche Privatsammlung.
Literatur
Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII Jahrhunderts, 10 Bde., Esslingen und Paris, 1910-28, Bd. 2, Esslingen und Paris 1908, S. 358, Nr. 379. - Burlington Magazine XCV, Nr. 489, Dezember 1973, supplement “Notable Works of Art”, S. 842, Abb. XXXVI. - Galerie Cramer, Den Haag, Katalog XIX, 1974, S. 26, Nr. 14. - Kurt J. Müllenmeister: Meer und Land im Licht des 17. Jahrhunderts, 3 Bde., Bremen 1981, Bd. 3, S. 108, Nr. 566. - Birgit Schumacher: Philips Wouwerman (1619-1668). The Horse Painter of the Golden Age, 2 Bde., Doornspijk 2006, Bd. 1, S. 325, Nr. A392, Bd. 2, Farbtafel 55, Abb. 364.
„Wouwerman war der bedeutendste Pferdemaler des niederländischen Barock“ (Müllenmeister a.a.O., S. 100) - Philips Wouwerman war aber noch viel mehr: das ausnehmend feine, silbrige Kolorit und die strahlende Leuchtkraft seiner Farben, die hochelegante Staffage mit zahlreichen kleinen Bilderzählungen sowie die Meisterschaft der Komposition, mit der Wouwerman die zahlreichen Figuren und Tiere harmonisch in seine Landschaften einbettet - dies alles sind Qualitäten, die über das Stereotyp des Pferdemalers weit hinausreichen. Das vorliegende Gemälde ist ein herausragendes Beispiel für all diese besonderen Merkmale der Kunst Wouwermans.
Leicht aus der Mittelachse nach rechts gerückt bilden zwei mit außerordentlicher Präzision wiedergegebene Bäume das Zentrum der Komposition. Rechts davon sind aus einer Kutsche mehrere Reisende ausgestiegen, denen sich ein Reiter zu Pferde nähert. Links der Bäume findet sich in leuchtendem Weiß das Markenzeichen Wouwermans, ein Schimmel. Das gesattelte Tier schlägt nach hinten aus, ein kleiner Junge und ein Hund laufen ängstlich davor weg. Am linken Bildrand tränkt ein Reiter zwei Pferde in einem Fluss, dahinter nehmen einige Personen ein Bad. Die reichhaltige Figurenstaffage ist damit noch keineswegs ausgeschöpft: Wouwerman zeigt uns weitere Figuren hinter den Bäumen und bei dem Schimmel sowie einen sitzenden Mann, der sich die Schuhe bindet, ein bis in die Antike zurückreichendes Motiv.
Wouwerman war schon zu Lebzeiten höchst erfolgreich und zählte, wie Houbraken berichtet, zu den wohlhabenden Bürgern Haarlems. Im 18. Jahrhundert gehörte er neben Nicolaes Berchem zu den beliebtesten niederländischen Künstlern, seine Werke wurden von bedeutenden Sammlern gesucht, darunter der Zarin Katharina II., dem Kurfürsten von Sachsen oder dem Landgrafen von Hessen-Kassel. Ein Zeichen der besonderen Wertschätzung ist auch die Serie von 100 Kupferstichen, die der französische Kupferstecher Jean Moyreau (1690-1762) nach Gemälden Wouwermans anfertigte.
Birgit Schumacher hat unser Gemälde in ihrem Werkverzeichnis zum Künstler mit einer Farbtafel abgebildet und in die zweite Hälfte der 1650er Jahre datiert, als der Künstler auf dem Höhepunkt seinen Schaffens stand.
Philips Wouwerman
Elegant Company in a Carriage by a Riverbank
Oil on panel. 48.5 x 58 cm.
Monogrammed lower right: PLS W (conjoined).
Provenance
Sir Godfrey Macdonald of the Isles, Thorpe Hall, 1935. - Auctioned by Christie´s, London, 22.2.1935, lot 50. - Duits & Co., Dordrecht, Amsterdam, London. - R. Dreesmann, Zeist, 1936. - On loan to the Centraal Museum, Utrecht, 1936. - Private collection, Great Britain. - Hans Cramer, Den Haag, 1973-1976. - Private collection, London. - Richard Green, London. - Southwest German private collection. - Lempertz auction 802, Cologne, 19.5.2001, lot 1155. - German private collection.
Literature
Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII Jahrhunderts, 10 vols., Esslingen and Paris, 1910-28, vol. 2, Esslingen and Paris 1908, p. 358, no. 379. - Burlington Magazine XCV, no. 489, December 1973, supplement “Notable Works of Art”, p. 842, ill. XXXVI. - Galerie Cramer, The Hague, Catalogue XIX, 1974, p. 26, Nr. 14. - Kurt J. Müllenmeister: Meer und Land im Licht des 17. Jahrhunderts, 3 vols., Bremen 1981, vol. 3, p. 108, no. 566. - Birgit Schumacher: Philips Wouwerman (1619-1668). The Horse Painter of the Golden Age, 2 vol., Doornspijk 2006, vol. 1, p. 325, no. A392, vol. 2, colour plate 55, ill. 364.
“Wouwerman was the most important horse painter of the Dutch Baroque” (Müllenmeister, op. cit., p. 100) - Philip Wouwerman was however much more than that: the exceptionally fine, silvery colouring and the radiant brilliance of his colours, the highly elegant staffage with numerous small pictorial narratives and the mastery of the composition with which Wouwerman embedded the numerous figures and animals harmoniously in his landscapes - these are all qualities that far surpass the stereotype of the horse painter. The present painting is an outstanding example for all these special characteristics of the art of Wouwerman. Slightly right of the central axis, two trees, produced with extraordinary precision, form the centre of the composition. On their right, several travellers climb down from a carriage, approached by a rider on horseback. To the left of the trees is found Wouwerman's trademark, a bright white horse. The saddled animal kicks out behind and a small boy and a dog run away in fear. On the left edge of the picture, a rider is watering two horses at a river, behind which a few people are bathing. This in no way exhausts the rich figural staffage: Wouwerman shows us further figures behind the trees and near the white horse as well as a seated man tying his shoes, a motif that goes back to antiquity. Wouwerman was already highly successful during his lifetime and, as Houbraken reported, counted amongst the wealthiest of Haarlem's citizens. In the 18th century he belonged, alongside Nicolaes Berchem, to the most popular Dutch artists. His works were sought after by significant collectors including Tsarina Katharina II, the Elector of Saxony or the Landgrave of Hessen-Kassel. A sign of their value is a series of 100 copper engravings produced by the French copper engraver Jean Moyreau (1690-1762) after Wouwerman's paintings.
Birgit Schumacher has illustrated our painting in her catalogue raisonné of the artist and dated it to the second half of the 1650s, when the artist was at the peak of his career.
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Philips Wouwerman
Eine elegante Gesellschaft und eine Kutsche am Flussufer
Öl auf Holz. 48,5 x 58 cm.
Monogrammiert unten rechts: PLS W (ligiert).
Provenienz
Sir Godfrey Macdonald of the Isles, Thorpe Hall, 1935. - Auktion Christie´s, London, 22.2.1935, Lot 50. - Duits & Co., Dordrecht, Amsterdam, London. - R. Dreesmann, Zeist, 1936. - Als Leihgabe im Centraal Museum, Utrecht, 1936. - Privatsammlung, Großbritannien. - Hans Cramer, Den Haag, 1973-1976. - Privatsammlung, London. - Richard Green, London. – Südwestdeutsche Privatsammlung. - 802. Lempertz-Auktion, Köln, 19.5.2001, Lot 1155. – Deutsche Privatsammlung.
Literatur
Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII Jahrhunderts, 10 Bde., Esslingen und Paris, 1910-28, Bd. 2, Esslingen und Paris 1908, S. 358, Nr. 379. - Burlington Magazine XCV, Nr. 489, Dezember 1973, supplement “Notable Works of Art”, S. 842, Abb. XXXVI. - Galerie Cramer, Den Haag, Katalog XIX, 1974, S. 26, Nr. 14. - Kurt J. Müllenmeister: Meer und Land im Licht des 17. Jahrhunderts, 3 Bde., Bremen 1981, Bd. 3, S. 108, Nr. 566. - Birgit Schumacher: Philips Wouwerman (1619-1668). The Horse Painter of the Golden Age, 2 Bde., Doornspijk 2006, Bd. 1, S. 325, Nr. A392, Bd. 2, Farbtafel 55, Abb. 364.
„Wouwerman war der bedeutendste Pferdemaler des niederländischen Barock“ (Müllenmeister a.a.O., S. 100) - Philips Wouwerman war aber noch viel mehr: das ausnehmend feine, silbrige Kolorit und die strahlende Leuchtkraft seiner Farben, die hochelegante Staffage mit zahlreichen kleinen Bilderzählungen sowie die Meisterschaft der Komposition, mit der Wouwerman die zahlreichen Figuren und Tiere harmonisch in seine Landschaften einbettet - dies alles sind Qualitäten, die über das Stereotyp des Pferdemalers weit hinausreichen. Das vorliegende Gemälde ist ein herausragendes Beispiel für all diese besonderen Merkmale der Kunst Wouwermans.
Leicht aus der Mittelachse nach rechts gerückt bilden zwei mit außerordentlicher Präzision wiedergegebene Bäume das Zentrum der Komposition. Rechts davon sind aus einer Kutsche mehrere Reisende ausgestiegen, denen sich ein Reiter zu Pferde nähert. Links der Bäume findet sich in leuchtendem Weiß das Markenzeichen Wouwermans, ein Schimmel. Das gesattelte Tier schlägt nach hinten aus, ein kleiner Junge und ein Hund laufen ängstlich davor weg. Am linken Bildrand tränkt ein Reiter zwei Pferde in einem Fluss, dahinter nehmen einige Personen ein Bad. Die reichhaltige Figurenstaffage ist damit noch keineswegs ausgeschöpft: Wouwerman zeigt uns weitere Figuren hinter den Bäumen und bei dem Schimmel sowie einen sitzenden Mann, der sich die Schuhe bindet, ein bis in die Antike zurückreichendes Motiv.
Wouwerman war schon zu Lebzeiten höchst erfolgreich und zählte, wie Houbraken berichtet, zu den wohlhabenden Bürgern Haarlems. Im 18. Jahrhundert gehörte er neben Nicolaes Berchem zu den beliebtesten niederländischen Künstlern, seine Werke wurden von bedeutenden Sammlern gesucht, darunter der Zarin Katharina II., dem Kurfürsten von Sachsen oder dem Landgrafen von Hessen-Kassel. Ein Zeichen der besonderen Wertschätzung ist auch die Serie von 100 Kupferstichen, die der französische Kupferstecher Jean Moyreau (1690-1762) nach Gemälden Wouwermans anfertigte.
Birgit Schumacher hat unser Gemälde in ihrem Werkverzeichnis zum Künstler mit einer Farbtafel abgebildet und in die zweite Hälfte der 1650er Jahre datiert, als der Künstler auf dem Höhepunkt seinen Schaffens stand.
Philips Wouwerman
Elegant Company in a Carriage by a Riverbank
Oil on panel. 48.5 x 58 cm.
Monogrammed lower right: PLS W (conjoined).
Provenance
Sir Godfrey Macdonald of the Isles, Thorpe Hall, 1935. - Auctioned by Christie´s, London, 22.2.1935, lot 50. - Duits & Co., Dordrecht, Amsterdam, London. - R. Dreesmann, Zeist, 1936. - On loan to the Centraal Museum, Utrecht, 1936. - Private collection, Great Britain. - Hans Cramer, Den Haag, 1973-1976. - Private collection, London. - Richard Green, London. - Southwest German private collection. - Lempertz auction 802, Cologne, 19.5.2001, lot 1155. - German private collection.
Literature
Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII Jahrhunderts, 10 vols., Esslingen and Paris, 1910-28, vol. 2, Esslingen and Paris 1908, p. 358, no. 379. - Burlington Magazine XCV, no. 489, December 1973, supplement “Notable Works of Art”, p. 842, ill. XXXVI. - Galerie Cramer, The Hague, Catalogue XIX, 1974, p. 26, Nr. 14. - Kurt J. Müllenmeister: Meer und Land im Licht des 17. Jahrhunderts, 3 vols., Bremen 1981, vol. 3, p. 108, no. 566. - Birgit Schumacher: Philips Wouwerman (1619-1668). The Horse Painter of the Golden Age, 2 vol., Doornspijk 2006, vol. 1, p. 325, no. A392, vol. 2, colour plate 55, ill. 364.
“Wouwerman was the most important horse painter of the Dutch Baroque” (Müllenmeister, op. cit., p. 100) - Philip Wouwerman was however much more than that: the exceptionally fine, silvery colouring and the radiant brilliance of his colours, the highly elegant staffage with numerous small pictorial narratives and the mastery of the composition with which Wouwerman embedded the numerous figures and animals harmoniously in his landscapes - these are all qualities that far surpass the stereotype of the horse painter. The present painting is an outstanding example for all these special characteristics of the art of Wouwerman. Slightly right of the central axis, two trees, produced with extraordinary precision, form the centre of the composition. On their right, several travellers climb down from a carriage, approached by a rider on horseback. To the left of the trees is found Wouwerman's trademark, a bright white horse. The saddled animal kicks out behind and a small boy and a dog run away in fear. On the left edge of the picture, a rider is watering two horses at a river, behind which a few people are bathing. This in no way exhausts the rich figural staffage: Wouwerman shows us further figures behind the trees and near the white horse as well as a seated man tying his shoes, a motif that goes back to antiquity. Wouwerman was already highly successful during his lifetime and, as Houbraken reported, counted amongst the wealthiest of Haarlem's citizens. In the 18th century he belonged, alongside Nicolaes Berchem, to the most popular Dutch artists. His works were sought after by significant collectors including Tsarina Katharina II, the Elector of Saxony or the Landgrave of Hessen-Kassel. A sign of their value is a series of 100 copper engravings produced by the French copper engraver Jean Moyreau (1690-1762) after Wouwerman's paintings.
Birgit Schumacher has illustrated our painting in her catalogue raisonné of the artist and dated it to the second half of the 1650s, when the artist was at the peak of his career.
Alte Kunst / Old Masters
Auktionsdatum
Lose: 2000 - 2155
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Köln
50667
Germany
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Takuro Ito, Kilian Jay von Seldeneck, auctioneers
