Philips Wouwerman (Haarlem 1619-1668)
Philips Wouwerman (Haarlem 1619-1668)

A military encampment with cavaliers

Details
Philips Wouwerman (Haarlem 1619-1668)
A military encampment with cavaliers
signed with monogram 'PHSL W' ('PHSL' linked, lower left) and bears the coat-of-arms of Queen Isabella of Spain on the reverse
oil on panel
146 x 16¼ in. (35.7 x 40.9 cm.)
Provenance
Elizabeth Farnese (1692-1766), Queen of Spain, second wife of King Philip V of Spain (her coat-of-arms stencilled on the reverse).
Jan Block, Ghent, from whom purchased for 300 florins.
Willem Lormier (1682-1758), solicitaire militaire, collector and dealer, The Hague; (+) sale, Francken, The Hague, 4 July 1763, lot 333 (1000 florins to Voet).
George Morant, London, by 1829; sale, Phillips, London, 18-21 May 1832, lot 126 (130 gns.).
Henry Bevan, London, by 1842.
Sir Edward J. Dean Paul, London; (+) Christie's, London, 27 June 1896, lot 126 (480 gns. to Sedelmeyer).
with C. Sedelmeyer, Paris (Catalogue of 100 Paintings, 1896, no. 51).
E. Arnold, Berlin by 1909.
with Eugene Slatter, London (Exhibition of Dutch and Flemish Masters, 25 April-14 July 1956, no. 28, illustrated).
with Leonard Koetser, London (Tenth annual Autumn Exhibition: Flemish, Dutch and Italian Old Masters, 23 October-1 December 1962, no. 24).
Anon. Sale, Christie's, New York, 12 January 1994, lot 56 (withdrawn).
Literature
P. Terwesten in G. Hoet, Catalogus of Naamlyst van Schileryen met derzelver pryzen zedert een lange reeks von Jaaren zoo in Holland als op andere plaatzen in het openbaar verkogt, Gravenhage, 1770, III, p. 335, no. 330.
J. Smith, A Catalogue Raisonné, etc., I, London, 1829, p. 307, no. 373, an 'excellent picture', and possibly p. 219, no. 62; and Supplement, 1842, p. 229, no. 263.
G.F. Waagen, Treasures of Art in Great Britain, London, 1854, II, p. 252.
C. Hofstede de Groot, A Catalogue Raisonné, etc., II, London, 1909, p. 530, no. 844.
Engraved
Johannes Visscher (Hollstein, XLI, pp. 27-28, no. 26).

Lot Essay

As Smith points out (op. cit., 1829) Wouwerman replaced a lying dog in the foreground, known only from Visscher's engraving, with the standing dog in the finished composition.

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