Aelbert Cuyp (Dordrecht 1620-1691)
These lots have been imported from outside the EU … Read more PROPERTY OF A GENTLEMAN (LOTS 144 and 154)
Aelbert Cuyp (Dordrecht 1620-1691)

An Italianate landscape with shepherds by a grotto

Aelbert Cuyp (Dordrecht 1620-1691)
An Italianate landscape with shepherds by a grotto
signed 'A. cuÿp' (lower centre)
oil on panel
18 x 25 ½ in. (45.7 x 64.7 cm.)
Evelyn Hugh John Boscawen, 8th Viscount Falmouth (1887–1962); Christie's, London, 29 November 1957, lot 8, as 'Dutch School' (1,050 gns.), when acquired by the following,
with Duits & Co., London, from whom acquired by the present owner.
S. Reiss, Aelbert Cuyp, Boston, 1975, no. 36, illustrated.
A. Chong in C. Brusati,, De Zichtbaere Werelt: Schilderkunst uit de Gouden Eeuw in Hollands oudste stad, exhibition catalogue, Dordrecht, 1992, p. 120, fig. 1.
A. Chong, Aelbert Cuyp and the Meanings of Landscape, PhD dissertation, New York University, 1992, p. 322, no. 78.
Cardiff, National Museum of Wales, Ideal and Classical Landscape, 6 February-3 April 1960, no. 29.
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

Lot Essay

This Italianate landscape can be dated alongside a small group of works painted by Aelbert Cuyp in around 1645, placing it at the very beginning of the painter’s artistic maturity. It is at this time that he became increasingly influenced by the sun-drenched effects of light, typical of Dutch Italianate landscape painters like Jan Both, Cornelis Saftleven and Herman van Swanevelt. As with many of the painter’s early Italian landscapes, the scene here is cast with a hazy orange sunlight, and shows shepherds and herdsmen with their livestock occupying a prominent place in the composition. The natural rock arch to the right is the only known instance of this motif in Cuyp’s work, though the device does appear in the work of his contemporaries, like Cornelis van Poelenburgh. Later in his oeuvre, from circa 1650 onwards, Cuyp began to simplify his landscapes, with his compositions often focusing on idyllic views of river banks, populated by herds of cattle.

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