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拍品專文
The attribution to Jan Breughel I and Josse de Momper II has been confirmed by Dr. Klaus Ertz on inspection of the original.
This is the only certain collaboration with Jan Breughel I of the three known versions of the composition. The other two are known only from old photographs: that listed by Klaus Ertz in his 1986 monograph and catalogue raisonné of de Momper's works as being formerly in the Borg de Balzan collection, Florence (Josse de Momper der Jüngere, Freren, 1986, p. 573, no. 385, illustrated p. 574); and that exhibited in Belfast in 1961 as from the collection of the Rev. W. Dolan, P.P. (Witt library photograph). Of those, the former is dated by Ertz to the late 1620s, with figures therefore either from Jan I's studio or by his son, Jan Breughel II; the latter was exhibited as 'Attributed to Jan Brueghel, 1568-1625', but to judge from the Witt photograph the quality of the staffage in the present picture seems superior, suggesting that the Dolan picture was also a studio or Jan II collaboration.
The composition is one of the most elegant of all the village and town landscapes of Jan II and de Momper. Although undated, the importance of the buildings within the composition suggest a date late in Jan's life, circa 1620. That date would make it contemporaneous with others of the later town scenes, in which the buildings begin to take the dominant place over the landscape element, such as the Village landscape in winter with skaters of the late 1610s (Hamburg, Kunsthalle, inv. no. 663) or the Village landscape in winter with Antwerp Cathedral of circa 1620 (private collection; see Ertz, op. cit., p. 580, no. 415, fig. 208). Similarly, the slightly ornate architecture recalls such works as the Village landscape in winter with a mooring place and the Village landscape in winter with a tower, both of 1615-20 (both private collection; see ibid., p. 576, nos. 391-2, figs. 221-2).
These later village scenes are amongst the finest of the collaborative paintings of Breughel and de Momper; as with the examples above, they are almost all set in winter landscapes, so the appearance of this new example, the probable prototype for the known versions by Josse and Jan II, represents an important addition to their shared oeuvre.
This is the only certain collaboration with Jan Breughel I of the three known versions of the composition. The other two are known only from old photographs: that listed by Klaus Ertz in his 1986 monograph and catalogue raisonné of de Momper's works as being formerly in the Borg de Balzan collection, Florence (Josse de Momper der Jüngere, Freren, 1986, p. 573, no. 385, illustrated p. 574); and that exhibited in Belfast in 1961 as from the collection of the Rev. W. Dolan, P.P. (Witt library photograph). Of those, the former is dated by Ertz to the late 1620s, with figures therefore either from Jan I's studio or by his son, Jan Breughel II; the latter was exhibited as 'Attributed to Jan Brueghel, 1568-1625', but to judge from the Witt photograph the quality of the staffage in the present picture seems superior, suggesting that the Dolan picture was also a studio or Jan II collaboration.
The composition is one of the most elegant of all the village and town landscapes of Jan II and de Momper. Although undated, the importance of the buildings within the composition suggest a date late in Jan's life, circa 1620. That date would make it contemporaneous with others of the later town scenes, in which the buildings begin to take the dominant place over the landscape element, such as the Village landscape in winter with skaters of the late 1610s (Hamburg, Kunsthalle, inv. no. 663) or the Village landscape in winter with Antwerp Cathedral of circa 1620 (private collection; see Ertz, op. cit., p. 580, no. 415, fig. 208). Similarly, the slightly ornate architecture recalls such works as the Village landscape in winter with a mooring place and the Village landscape in winter with a tower, both of 1615-20 (both private collection; see ibid., p. 576, nos. 391-2, figs. 221-2).
These later village scenes are amongst the finest of the collaborative paintings of Breughel and de Momper; as with the examples above, they are almost all set in winter landscapes, so the appearance of this new example, the probable prototype for the known versions by Josse and Jan II, represents an important addition to their shared oeuvre.