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Lot Essay
The present unpublished landscape by Aelbert Cuyp was painted circa 1644. The same view of Dordrecht is found in two other works by the artist: in a long horizontal drawing (formerly in the collection of Eric Sexton, Maine, 159 x 503 mm.) which, however, lacks the Grote Kerk at the right edge; and in the panorama found in two landscapes which may have once been a single painting (Los Angeles County Museum of Art; and Museum der bildenden Kunste, Leipzig; see J.G. van Gelder and I. Jost, Doorzangen op Aelbert Cuyp, in Nederlands Kunsthistorisch Jaarboek, 23, 1972). The sailboat at the right distance in the present lot is repeated in the painting in Leipzig.
Stylistically, the present painting belongs to a group of early Italianate landscapes painted by Cuyp circa 1644, which display a characteristic smoky, hazy sunlight, often with the setting sun casting long shadows over the landscape. Characteristic too are the graceful, flowing foliage of the trees. Other examples of works by the artist from this period are in the Rijksmuseum, Amsterdam (S. Reiss, Aelbert Cuyp, 1975, no. 37); private collections, Netherlands (ibid., no. 35); Dulwich Picture Gallery (ibid., no. 42); private collection, Britain (ibid., no. 59); and Melbourne (ibid., no. 60), among others. This is one of the very few paintings of this period which shows Cuyp's native city of Dordrecht and importantly, it shows Cuyp beginning to apply an idealized Italianate style to the familiar aspects of his local environment, an idea that would take on enormous importance later in his career.
There is a similarly composed scene in the Frick Collection, New York (ibid, no. 94) which also shows Dordrecht from the north, as well as wares being unloaded from a small barge at the left. The present painting is probably the source for the Frick painting, which is likely by a follower of Cuyp.
We are grateful to Alan Chong for the above entry. He has examined the painting in the original and believes it to be an autograph work by Cuyp, and will include it as such in his forthcoming monograph on the artist.
Stylistically, the present painting belongs to a group of early Italianate landscapes painted by Cuyp circa 1644, which display a characteristic smoky, hazy sunlight, often with the setting sun casting long shadows over the landscape. Characteristic too are the graceful, flowing foliage of the trees. Other examples of works by the artist from this period are in the Rijksmuseum, Amsterdam (S. Reiss, Aelbert Cuyp, 1975, no. 37); private collections, Netherlands (ibid., no. 35); Dulwich Picture Gallery (ibid., no. 42); private collection, Britain (ibid., no. 59); and Melbourne (ibid., no. 60), among others. This is one of the very few paintings of this period which shows Cuyp's native city of Dordrecht and importantly, it shows Cuyp beginning to apply an idealized Italianate style to the familiar aspects of his local environment, an idea that would take on enormous importance later in his career.
There is a similarly composed scene in the Frick Collection, New York (ibid, no. 94) which also shows Dordrecht from the north, as well as wares being unloaded from a small barge at the left. The present painting is probably the source for the Frick painting, which is likely by a follower of Cuyp.
We are grateful to Alan Chong for the above entry. He has examined the painting in the original and believes it to be an autograph work by Cuyp, and will include it as such in his forthcoming monograph on the artist.