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Lot Essay
In a letter dated 21 January 1999, Willem van de Watering identifies the source for the present view as Rembrandt's etching of the Goldweigher's Field, dated 1651 (Bartsch no. 234; see fig. 1). As observed by Van Regteren Altena (Oud Holland, 1954, p. 1), Rembrandt's view was taken from Het Kopje, a high point at the beginning of the dunes outside Haarlem, with Bloemendaal church on the right and the towm of Haarlem in the left background. The house in the left middle ground he identifies as Saxenburg.
Van Lint, who was in Rome by 1710, where he remained for the rest of his life, was no doubt in need of Northern visual references. An Zwollo identifies within his oeuvre a View of Castle Liesvelt derived from a work by Anthonie Waterloo and a Mountainous Landscape with a Bridge after Jan Both (see A. Zwollo, Hollandse an Vlaamse veduteschilders te Rome, Assen, 1973).
Van Lint employed the same Rembrandt etching in another picture, signed and dated 1741, in the Galleria Pallavicini, Rome, with numerous differences in the foreground (see A. Busiri Vici, Peter, Hendrik e Giacomo van Lint, Rome, 1987, p. 134, no. 147, illustrated). The present work can be dated to around the same time.
Van Lint, who was in Rome by 1710, where he remained for the rest of his life, was no doubt in need of Northern visual references. An Zwollo identifies within his oeuvre a View of Castle Liesvelt derived from a work by Anthonie Waterloo and a Mountainous Landscape with a Bridge after Jan Both (see A. Zwollo, Hollandse an Vlaamse veduteschilders te Rome, Assen, 1973).
Van Lint employed the same Rembrandt etching in another picture, signed and dated 1741, in the Galleria Pallavicini, Rome, with numerous differences in the foreground (see A. Busiri Vici, Peter, Hendrik e Giacomo van Lint, Rome, 1987, p. 134, no. 147, illustrated). The present work can be dated to around the same time.