LOT 106
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JACOB VAN RUISDAEL (HAARLEM 1628/29-1682 AMSTERDAM) A waterfall with travellers on a footbridge and a castle beyond
作品估价：GBP 60,000 - 80,000
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图录号：
106
拍品名称：
JACOB VAN RUISDAEL (HAARLEM 1628/29-1682 AMSTERDAM) A waterfall with travellers on a footbridge and a castle beyond
拍品描述：
JACOB VAN RUISDAEL (HAARLEM 1628/29-1682 AMSTERDAM)
A waterfall with travellers on a footbridge and a castle beyond
signed 'RuisDaeL' (lower right, on the rock)
oil on canvas
26 3/8 x 21 1/8 in. (67 x 51 cm.)(Possibly) Prince Galitzine, Paris.
M. Auguiot, Paris; his sale (†), Drouot, Paris, 1 March 1875, lot 26 (7,650 FF).
Max Kann, Paris.
Maurice Kann (1839-1906), Paris.
with Charles Sedelmeyer, Paris, 1890.
Rodman Wanamaker (1863-1928), Philadelphia, by 1898.
Eugène Fischoff (1853-1926), Paris; his sale, Galerie Georges Petit, Paris, 14 June 1913, lot 62.
Baron Marczell von Nemes (1866-1930), Munich; his sale, Frederik Muller & Cie, Amsterdam, 13 November 1928, lot 63.
Anonymous sale; Frederik Muller & Cie., Amsterdam, 28 November 1939, lot 980 (f 6,000 to W. Kock).
Anonymous sale; Christie's, Amsterdam, 7 May 1996, lot 81, where acquired by the present owner.Catalogue of 300 Paintings, exhibition catalogue, Paris, C. Sedelmeyer, 1898, p. 208, no. 187, illustrated.
C. Hofstede de Groot, A Catalogue Raisonné of the works of the most eminent Dutch painters of the seventeenth century, London, 1912, IV, p. 92, no. 284.
J. Rosenberg, Jacob van Ruisdael, Berlin, 1928, p. 87, no. 240.
N. Büttner and G. Unverfehrt, Jacob von Ruisdael in Bentheim: ein niederländischer Maler und die Burg Bentheim im 17. Jahrhundert, Bielefeld, 1993, pp. 48, 49 and 105, no. 20, fig. 30.
S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, London and New Haven, 2001, p. 613, no. dub5, expressing reservations about the attribution.
Q. Buvelot, Jacob van Ruisdael paints Bentheim, The Hague and Zwolle, 2009, pp. 48, 52 and 53, fig. 53, as 'After Jacob van Ruisdael?'.The attribution of this painting, which passed through the hands of a number of leading collectors in the nineteenth and early twentieth centuries, was never questioned until Seymour Slive expressed reservations in his 2001 catalogue raisonné. Slive, who found the ‘cotton-like effect of the agitated water’ unusual, may never have known the painting at firsthand and his reservations do not withstand further scrutiny (
op. cit.).
Slive was equally noncommittal on the identification of the structure as Bentheim Castle in western Germany, an idea which has more to recommend it. Ruisdael, who had visited the castle with Nicolaes Berchem in the early 1650s, painted it on several occasions following his return to the Netherlands, including in examples today in the National Gallery of Ireland, Dublin (inv. no. NGI.4531) and Rijksmuseum, Amsterdam (inv. no. SK-A-347). As Slive has pointed out, Ruisdael would at times take liberties with the castle’s architectural details, but several factors argue against its identification with Bentheim here. The view would be from the southeast, not unlike that seen in a painting of Bentheim in the National Gallery, London, which the museum gives to an imitator of Ruisdael but Slive thought was almost certainly by Jan van Kessel (
op. cit.). However, unlike the London painting, there is no evidence of the spire of the Catherina Church, which rises prominently above the walls in the London painting. Similarly, the high ‘Pulverturm’ visible in Ruisdael’s other depictions of the castle is squatter here.