A haywain under trees, with farm buildings to the right and beyond at left

A haywain under trees, with farm buildings to the right and beyond at left
pen and brown ink, possibly fragmentary watermark lion on a circle with a crown (cf. Heawood no. 3136)
5 7/8 x 7 ½ in. (14.8 x 19 cm)
Sir Thomas Lawrence, P.R.A. (1769-1830), London (L. 2445).
Samuel Woodburn (1785-1843), London (according to the 1908 sale catalogue).
William Esdaile (1758-1837), London (L. 2617, twice, recto and verso [partial mark], with remnants of associated inscription [now illegible]); Christie’s, London, 18-25 June 1840, possibly part of lots 1057, 1058 or 1059.
Robert Prioleau Roupell (1798-1886), London (L. 2234); Christie’s, London, 12-14 July 1887, lot 1104 (as Rembrandt, A woody landscap, with a waggon’) (2.5s. to Knowles).
Mountmaker’s mark, probably of Alexandre Jouanest (active 1888-1911) or Maurice Hauët (born 1869), Paris (L. 3536).
Sir James Thomas Knowles (1831-1908), London; Christie’s, London, 27-29 May 1908, lot 81 (£11 to Colnaghi).
Anton Wilhelmus Mari Mensing; Frederik Muller, Amsterdam, 29 April 1937, lot 344 (288 guilders; bought by Nicolaas Beets for Franz Wilhelm Koenigs).
Franz Wilhelm Koenigs (1881-1941), Haarlem; thence by descent to the present owners.
H.D. Schneider, Jan Lievens. Sein Leben und seine Werke, Haarlem, 1932, no. Z. 388.
H.D. Schneider, Jan Lievens. Sein Leben und seine Werke, R.E.O. Ekkart, ed., Amsterdam, 1973, no. Z. 388, p. 376.

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Lot Essay

While landscapes make up a small part of Lievens’ painted œuvre, the form the largest group in the corpus of his drawings. And while the paintings owe much to the example of Flemish predecessors, in particular to Peter Paul Rubens (A.K. Wheelock Jr. and L. DeWitt in Jan Lievens. A Dutch Master Rediscovered, exhib. cat., Washington, National Gallery of Art, Milwaukee Art Museum, and Amsterdam, Rembrandthuis, p. 15, nos. 38, 42, 43, ill.), the main body of Lievens’ drawn landscapes, which must date from after his return to Amsterdam in 1644, bring to mind the contemporary explorations of the genre by Rembrandt – without it being possible, as Gregory Rubinstein has noted, ‘to establish precisely the direction in which any influence may have flowed between these two strong artistic personalities’ (ibid., p. 73). Compared to some of his larger and more finished drawings, the present sheet has an immediacy and simplicity of composition that could indicate it was drawn from life. It can be compared to such sheets as the view of the ‘Roomhuis’ in the Frits Lugt Collection, Paris, inv. 1411 (W. Sumowski, Drawings of the Rembrandt School, VII, no. 1670, ill.; P. Schatborn, Rembrandt and his circle. Drawings in the Frits Lugt Collection, Bussum, 2010, no 118, II, ill.); and even more closely to a drawing at the British Museum, inv. 1960,0616.59 (Sumowski, op. cit., no. 1682, ill.).

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