拍品专文
Interest in depicting (ruined) castles, churches, abbeys and other buildings of importance increased in Roghman's period, and became for the first time an independent subject rather than a background decoration of a landscape, often in a biblical or mythological scene. Not only Hercules Seghers, Claes Jansz. Visscher and Pieter Saenredam, but also their Flemish counterparts such as David Vinckboons and Roelant Saverij (a cousin of Roghman's mother, a daughter of Jacques Saverij) went into the countryside of Holland to make such views 'naer het leven' in the first decades of the 17th Century. Rembrandt and Jan Lievens soon followed this example, while Aelbert Cuyp, Jan van Goyen and Jacob van Ruisdael among others developed this tradition.
Roelant Roghman's famous series of originally 245 drawings of castles in Holland and Utrecht is the first known and the only one of such number and importance created in the 17th Century. The drawings are generally dated to 1646-7, while some may have been drawn slightly later. It is not known who commissioned them, nor can the purpose of the series be stated with certainty. Only one contemporary etching by the artist's sister Geertruyd Roghman, after the view of the castle of Zuylen, is known, and no pictures after any of the drawings are recorded. Despite Roghman's young age when drawing the series - he was about twenty years old when starting it - this group may be regarded as his greatest artistic achievement. He drew some 150 castles, some from different viewpoints, apparently regardless of their age, importance, ownership or condition during several trips in the countyside, all in black chalk, sometimes reworked with grey wash or even pen and ink later.
Most of the drawings bear inscriptions identifying the views on the verso in at least five different hands, often several together, which range in date from the 17th through to the 19th Century, the earliest of which may be that of Roghman, while the later inscriptions cannot be linked to the successive owners with certainty. Several drawings still bear the artist's signature, sometimes somewhat cut, and often an arrow indicating the north, which have been added by Roghman later.
The group is first recorded in a list by the Rotterdam historian Cornelis van Alkemade in 1708 in the sale of Hildebrand Bentes (1677-1708), who had probably inherited the series from his father, the Amsterdam collector Albert Bentes (1643-1701). The list is now in the Rijksprentenkabinet, Amsterdam (Van der Wyck, Niemeijer, op.cit., pp. 1-5). Several drawings from the series were engraved by Jacobus Schijnvoet (1685?-after 1733) for Ludolf Smids' Schatkamer der Nederlandse Oudheden; of Woordenboek behelsende Nederlands steden en dorpen, kastelen, sloten en heeren huysen ... Vercierd met LX verbeeldingen van soo geheele als vervallene heeren huysen, sloten en kastelen, meerendeels geteekent door Roelant Roghman..., Amsterdam, 1711, when the drawings were owned by Christiaen van Hoek, who had probably acquired them in the Amsterdam sale following Hildebrand Bentes' death in 1708. At that time they were also listed by the artist Abraham de Haen, and later they were part of the famous Ploos van Amstel Collection, that was sold in 1800 (see Provenance). Many of the drawings are now in museums, including 45 in the Rijksprentenkabinet, Amsterdam, 58 in the Teyler Museum, Haarlem and 10 each in the Museum Boymans-van Beuningen and the Municipal Archives, Rotterdam.
The drawings are of exceptional importance for the architectural and topographical history of the Netherlands, and they are the precursor for similar series drawn by 18th Century artists like Abraham de Haen (who presumably copied several Roghman drawings, see also lot 129 in this sale), Abraham Rademaker (see lots 125-6 in this sale), Jan de Beyer (see fig. 1), Cornelis Pronk and Dirk Verrijk, who met a demand for such drawings that continues to this day. The Rijksprentenkabinet, Amsterdam devoted an exhibition to the artist's work, especially the series of drawings of castles, in 1990.
The castle of Wijnestein was constructed originally in circa 1300. The first owners were called Van Jutfaes van Wijnestein. When owned by Floris van Jutfaes van Wijnestein it was demolished during the war in 1481. Some years later Adriaen van Ryn van Rynhuizen rebuilt it for his daughter Mechteld, married to Dirck van Eck, whose family resided there until Wijnestein was sold to the Van der Burch family in 1606. By 1753 it was largely ruined (see fig. 2) and sold to Jan Jacob de Geer van Rynhuizen for Fl. 2.350, who had it demolished completely. A.J. van der Aa, Aardrijkskundig Woordenboek der Nederlanden, Gorinchem, 1849, XII, p. 430, mentions that another house was built in its place, but no such building is otherwise recorded. The grounds, including the moat and the isle, are still extant today.
We are grateful to R.A. de Graaf of the Topographical Department at the Rijksbureau voor Kunsthistorische Documentatie, The Hague, for his help in researching the topographical history of Wijnestein
fig. 1: Jan de Beyer (1703-1780), inscribed 'Het Huys Wijnestein, dt. 27 August.1744' (verso); watercolour, 135 x 199 mm.
Atlas Munniks van Cleef, no. 836, Archives of the Royal Family, reproduced with gracious permission of Her Royal Highness Princess Juliana of the Netherlands
fig. 2: J.J. de Lorme (active 18th Century), signed and dated '1750' (verso); pen and grey ink, grey wash, 165 x 220 mm., private Collection, on loan to the Rijksbureau voor Kunsthistorische Documentatie, The Hague
Roelant Roghman's famous series of originally 245 drawings of castles in Holland and Utrecht is the first known and the only one of such number and importance created in the 17th Century. The drawings are generally dated to 1646-7, while some may have been drawn slightly later. It is not known who commissioned them, nor can the purpose of the series be stated with certainty. Only one contemporary etching by the artist's sister Geertruyd Roghman, after the view of the castle of Zuylen, is known, and no pictures after any of the drawings are recorded. Despite Roghman's young age when drawing the series - he was about twenty years old when starting it - this group may be regarded as his greatest artistic achievement. He drew some 150 castles, some from different viewpoints, apparently regardless of their age, importance, ownership or condition during several trips in the countyside, all in black chalk, sometimes reworked with grey wash or even pen and ink later.
Most of the drawings bear inscriptions identifying the views on the verso in at least five different hands, often several together, which range in date from the 17th through to the 19th Century, the earliest of which may be that of Roghman, while the later inscriptions cannot be linked to the successive owners with certainty. Several drawings still bear the artist's signature, sometimes somewhat cut, and often an arrow indicating the north, which have been added by Roghman later.
The group is first recorded in a list by the Rotterdam historian Cornelis van Alkemade in 1708 in the sale of Hildebrand Bentes (1677-1708), who had probably inherited the series from his father, the Amsterdam collector Albert Bentes (1643-1701). The list is now in the Rijksprentenkabinet, Amsterdam (Van der Wyck, Niemeijer, op.cit., pp. 1-5). Several drawings from the series were engraved by Jacobus Schijnvoet (1685?-after 1733) for Ludolf Smids' Schatkamer der Nederlandse Oudheden; of Woordenboek behelsende Nederlands steden en dorpen, kastelen, sloten en heeren huysen ... Vercierd met LX verbeeldingen van soo geheele als vervallene heeren huysen, sloten en kastelen, meerendeels geteekent door Roelant Roghman..., Amsterdam, 1711, when the drawings were owned by Christiaen van Hoek, who had probably acquired them in the Amsterdam sale following Hildebrand Bentes' death in 1708. At that time they were also listed by the artist Abraham de Haen, and later they were part of the famous Ploos van Amstel Collection, that was sold in 1800 (see Provenance). Many of the drawings are now in museums, including 45 in the Rijksprentenkabinet, Amsterdam, 58 in the Teyler Museum, Haarlem and 10 each in the Museum Boymans-van Beuningen and the Municipal Archives, Rotterdam.
The drawings are of exceptional importance for the architectural and topographical history of the Netherlands, and they are the precursor for similar series drawn by 18th Century artists like Abraham de Haen (who presumably copied several Roghman drawings, see also lot 129 in this sale), Abraham Rademaker (see lots 125-6 in this sale), Jan de Beyer (see fig. 1), Cornelis Pronk and Dirk Verrijk, who met a demand for such drawings that continues to this day. The Rijksprentenkabinet, Amsterdam devoted an exhibition to the artist's work, especially the series of drawings of castles, in 1990.
The castle of Wijnestein was constructed originally in circa 1300. The first owners were called Van Jutfaes van Wijnestein. When owned by Floris van Jutfaes van Wijnestein it was demolished during the war in 1481. Some years later Adriaen van Ryn van Rynhuizen rebuilt it for his daughter Mechteld, married to Dirck van Eck, whose family resided there until Wijnestein was sold to the Van der Burch family in 1606. By 1753 it was largely ruined (see fig. 2) and sold to Jan Jacob de Geer van Rynhuizen for Fl. 2.350, who had it demolished completely. A.J. van der Aa, Aardrijkskundig Woordenboek der Nederlanden, Gorinchem, 1849, XII, p. 430, mentions that another house was built in its place, but no such building is otherwise recorded. The grounds, including the moat and the isle, are still extant today.
We are grateful to R.A. de Graaf of the Topographical Department at the Rijksbureau voor Kunsthistorische Documentatie, The Hague, for his help in researching the topographical history of Wijnestein
fig. 1: Jan de Beyer (1703-1780), inscribed 'Het Huys Wijnestein, dt. 27 August.1744' (verso); watercolour, 135 x 199 mm.
Atlas Munniks van Cleef, no. 836, Archives of the Royal Family, reproduced with gracious permission of Her Royal Highness Princess Juliana of the Netherlands
fig. 2: J.J. de Lorme (active 18th Century), signed and dated '1750' (verso); pen and grey ink, grey wash, 165 x 220 mm., private Collection, on loan to the Rijksbureau voor Kunsthistorische Documentatie, The Hague