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PROPERTY FROM A EUROPEAN PRIVATE COLLECTION
MICHIEL VAN MUSSCHER (ROTTERDAM 1645-1705 AMSTERDAM)
A portrait of the artist in his studio
Details
MICHIEL VAN MUSSCHER (ROTTERDAM 1645-1705 AMSTERDAM)
A portrait of the artist in his studio
signed and dated 'M. v. Musscher Pinxit . / 1670.' (lower centre, on the easel)
oil on canvas
29 ¼ x 25 in. (74.4 x 63.5 cm.)
A portrait of the artist in his studio
signed and dated 'M. v. Musscher Pinxit . / 1670.' (lower centre, on the easel)
oil on canvas
29 ¼ x 25 in. (74.4 x 63.5 cm.)
Provenance
The artist's estate sale; Jan Pietersz Zomer, Amsterdam, 12 April 1706, lot 11, as 'a Painter in his room, very beautiful' (f 100).
Anonymous sale; Amsterdam, 21 January 1733, lot 22.
Anonymous sale; Haring v.d. Land, Amsterdam, 2 April 1734, lot 22.
H. Esser; De Ruelles, Amsterdam, 19 October 1774, lot 17.
Daniel Marsbag; Ploos van Amstel a.o., Amsterdam, 30 January 1775, lot 74 (f 20 to van der Schley), catalogued as on panel and with dimensions of 15 x 22 in.
Anonymous sale; Ploos van Amstel a.o., Amsterdam, 19 October 1778, lot 133.
Private collection, Basel, between at least 1919 and 1974.
Anonymous sale; Phillips, London, 12 August 1992, lot 39, as dated 1690.
with Noortman Master Paintings BV, Amsterdam and London, where acquired on 8 February 1993 by the father of the present owners.
Anonymous sale; Amsterdam, 21 January 1733, lot 22.
Anonymous sale; Haring v.d. Land, Amsterdam, 2 April 1734, lot 22.
H. Esser; De Ruelles, Amsterdam, 19 October 1774, lot 17.
Daniel Marsbag; Ploos van Amstel a.o., Amsterdam, 30 January 1775, lot 74 (f 20 to van der Schley), catalogued as on panel and with dimensions of 15 x 22 in.
Anonymous sale; Ploos van Amstel a.o., Amsterdam, 19 October 1778, lot 133.
Private collection, Basel, between at least 1919 and 1974.
Anonymous sale; Phillips, London, 12 August 1992, lot 39, as dated 1690.
with Noortman Master Paintings BV, Amsterdam and London, where acquired on 8 February 1993 by the father of the present owners.
Literature
(Probably) 1699 inventory of the collection of Michiel van Musscher and his second wife, as ‘Het pourtrait van den rendant in syn schilderkamer' (The portrait of the account holder in his studio), cited in A. Bredius, Künstler-Inventare, III, The Hague, 1917, pp. 987-99.
(Probably) 1705 inventory of the collection of Michiel van Musscher, cited in A. Bredius (ibid.).
H. Schneider, 'Ein Atelierbild des Michiel van Musscher', Monatshefte für Kunstwissenschaft, XII, 1919, pp. 130-1, pl. 47, fig. 1, erroneously dated 1690.
A.B. de Vries, Jan Vermeer van Delft, Basel, 1945, fig. 27.
H. van Hall, Portretten van Nederlandse Beeldende Kunstenaars: Repertorium, Amsterdam, 1963, p. 223, no. 9, erroneously dated 1690.
P.J.J. van Thiel, 'Michiel van Musscher's vroegste werk naar aanleiding van zijn portret van het echtpaar Comans', Bulletin van het Rijksmuseum, XVII, 1969, p. 32, no. 16, erroneously dated 1690.
P.J.J. van Thiel, 'Andermaal Michiel van Musscher: zijn zelfportretten', Bulletin van het Rijksmuseum, XXII, 1974, pp. 135, 139 and 144, fig. 7, erroneously dated 1690.
M. Russell, 'The Artist in his Studio: A Self-Portrait by Michiel van Musscher', Apollo, CXXVII, January 1988, pp. 11-12, fig. 3, erroneously dated 1690.
E.J. Sluijter, ‘Vermeer, Fame, and Female Beauty: The Art of Painting’, in Vermeer Studies, I. Gaskell and M. Jonker eds., New Haven and London, 1998, pp. 266-7, fig. 2, erroneously dated 1690.
A. Vergara, ed., Vermeer y el interior holandés, exhibition catalogue, Madrid, 2003, p. 91, fig. 18, as erroneously dated 1690.
W. Franits, Vermeer (Art & Ideas), London, 2015, p. 219.
Y. Hadjinicolaou, Denkende Körper - Formende Hände: Handeling in Kunst und Kunsttheorie der Rembrandtisten, Berlin, 2016, pp. 129-30, fig. 55.
A.E. Waiboer, ed., Vermeer and the Masters of Genre Painting: Inspiration and Rivalry, exhibition catalogue, New Haven and London, 2017, pp. 17 and 276, no. 57.
Y. Hadjinicolaou, Thinking Bodies - Shaping Hands: Handeling in Art and Theory of the Late Rembrandtists, Leiden and Boston, 2019, pp. 105-106, fig. 53.
(Probably) 1705 inventory of the collection of Michiel van Musscher, cited in A. Bredius (ibid.).
H. Schneider, 'Ein Atelierbild des Michiel van Musscher', Monatshefte für Kunstwissenschaft, XII, 1919, pp. 130-1, pl. 47, fig. 1, erroneously dated 1690.
A.B. de Vries, Jan Vermeer van Delft, Basel, 1945, fig. 27.
H. van Hall, Portretten van Nederlandse Beeldende Kunstenaars: Repertorium, Amsterdam, 1963, p. 223, no. 9, erroneously dated 1690.
P.J.J. van Thiel, 'Michiel van Musscher's vroegste werk naar aanleiding van zijn portret van het echtpaar Comans', Bulletin van het Rijksmuseum, XVII, 1969, p. 32, no. 16, erroneously dated 1690.
P.J.J. van Thiel, 'Andermaal Michiel van Musscher: zijn zelfportretten', Bulletin van het Rijksmuseum, XXII, 1974, pp. 135, 139 and 144, fig. 7, erroneously dated 1690.
M. Russell, 'The Artist in his Studio: A Self-Portrait by Michiel van Musscher', Apollo, CXXVII, January 1988, pp. 11-12, fig. 3, erroneously dated 1690.
E.J. Sluijter, ‘Vermeer, Fame, and Female Beauty: The Art of Painting’, in Vermeer Studies, I. Gaskell and M. Jonker eds., New Haven and London, 1998, pp. 266-7, fig. 2, erroneously dated 1690.
A. Vergara, ed., Vermeer y el interior holandés, exhibition catalogue, Madrid, 2003, p. 91, fig. 18, as erroneously dated 1690.
W. Franits, Vermeer (Art & Ideas), London, 2015, p. 219.
Y. Hadjinicolaou, Denkende Körper - Formende Hände: Handeling in Kunst und Kunsttheorie der Rembrandtisten, Berlin, 2016, pp. 129-30, fig. 55.
A.E. Waiboer, ed., Vermeer and the Masters of Genre Painting: Inspiration and Rivalry, exhibition catalogue, New Haven and London, 2017, pp. 17 and 276, no. 57.
Y. Hadjinicolaou, Thinking Bodies - Shaping Hands: Handeling in Art and Theory of the Late Rembrandtists, Leiden and Boston, 2019, pp. 105-106, fig. 53.
Exhibited
Basel, Galerie M. Schulthess, Meisterwerke holländischer Malerei des 16. bis 18. Jahrhunderts im Kunstmuseum, 23 June-19 August 1945, no. 55.
Brought to you by
Maja Markovic
Director, Head of Evening Sale