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Lot Essay
These two landscapes were purchased from the artist in 1818 by Richard Le Poer Trench, 2nd Earl of Clancarty, British ambassador to the Netherlands and created 1st Marquess of Heusden in 1815, as a set of four paintings, depicting the four seasons. When they were sold by his descendants at Christie's in 1892, the four paintings were still together. Today, only the Summer and Winter remain.
Andreas Schelfhout was originally trained to follow in his father's footsteps as a housepainter and frame maker. Though, at age 22, guided by his tutor Johaness Henricus Breckenheijmer (1741-1805), Schelfhout began studying the Old Masters, working outdoors practicing sketching from nature, and ultimately discovering his passion for fine art.
Schelfhout was influenced by the Italian-style of painting by Dutch landscape painters such as Nicolaas Berchem (1620-1683). From the studio sale in 1870, we know that Schelfhout owned a significant collection of Old Master prints, drawings and paintings, among others by Antonie Waterloo (1610-1690) and Jan Both (1618-1652). Schelfhout's landscape compositions strongly convey both these influences, as well as his own unique talent.
Summer portrays a gathering of buildings surrounding a tranquil stream by a footbridge. An afternoon is depicted, and a maid is in quiet conversation with a passing shepherd, whose flock is scattered over the path, blanketed in an almost Italian, golden light. The central scene is beautifully accentuated by the long shadows in the foreground and the fuzziness of the distant landscape. Winter explores a similar atmosphere. The canal has frozen over, and is inhibited by a pleasant community, clearly enjoying a sunny winter's day. Food and drink are being shared, and a dog is cheerfully barking at an elegant couple skating by. The sun casts long shadows on the ice in the left foreground that adequately contrast with the brick wall of the building, catching the last rays of sun.
Already during his lifetime Schelfhout's work was well received by critics and it has since then been highly sought after by international collectors. This pair is a beautiful example of his early work and in pristine condition and can be truly called unique.
Andreas Schelfhout was originally trained to follow in his father's footsteps as a housepainter and frame maker. Though, at age 22, guided by his tutor Johaness Henricus Breckenheijmer (1741-1805), Schelfhout began studying the Old Masters, working outdoors practicing sketching from nature, and ultimately discovering his passion for fine art.
Schelfhout was influenced by the Italian-style of painting by Dutch landscape painters such as Nicolaas Berchem (1620-1683). From the studio sale in 1870, we know that Schelfhout owned a significant collection of Old Master prints, drawings and paintings, among others by Antonie Waterloo (1610-1690) and Jan Both (1618-1652). Schelfhout's landscape compositions strongly convey both these influences, as well as his own unique talent.
Summer portrays a gathering of buildings surrounding a tranquil stream by a footbridge. An afternoon is depicted, and a maid is in quiet conversation with a passing shepherd, whose flock is scattered over the path, blanketed in an almost Italian, golden light. The central scene is beautifully accentuated by the long shadows in the foreground and the fuzziness of the distant landscape. Winter explores a similar atmosphere. The canal has frozen over, and is inhibited by a pleasant community, clearly enjoying a sunny winter's day. Food and drink are being shared, and a dog is cheerfully barking at an elegant couple skating by. The sun casts long shadows on the ice in the left foreground that adequately contrast with the brick wall of the building, catching the last rays of sun.
Already during his lifetime Schelfhout's work was well received by critics and it has since then been highly sought after by international collectors. This pair is a beautiful example of his early work and in pristine condition and can be truly called unique.