View of the ruin of the abbey of Rijnsburg seen from the west; and View of the ruin of the abbey of Rijnsburg seen from the north

Details

Pieter Barbiers I (Amsterdam 1717-1780)
View of the ruin of the abbey of Rijnsburg seen from the west; and View of the ruin of the abbey of Rijnsburg seen from the north
inscribed 'Een gedeelte van de Abtdij / te Rhynsburg naar 't Leeven / getekend door / P:? Barbiers Bz: Ao 1812 Zedert vernietigd' (1); and 'Een gedeelte van de Abtdij / van Rhynsburg naar 't Leeven / getekend door / P:? Barbiers Bz: Ao 1812 Zedert vernietigd' (2)
watercolour, black ink framing lines, indented for transfer (2), one with partial watermark L & Co
27 x 36.6 cm.; and 26.5 x 36.8 cm.
(2)2

Provenance

Collection Engelbrechts, 1837 (according to the 1942 exhibition catalogue).
Possibly Jan Six van Hillegom, 1837 (according to the 1994 article, and an inscription on the verso of the first drawing).
D.C. Meijer Jr.; R.W.P. de Vries, Amsterdam, 12-14 December 1910, lot 1133 ('Afbeelding van de Kerk en de ruïne der Abdy. Twee fraaie teekeningen in kleuren door P. Barbiers.').

Literature

R. van den Eynden and A. van der Willigen, Geschiedenis der vaderlandsche schilderkunst, sedert de helft der XVIII eeuw, Haarlem, 1820, II, p. 497, III, p. 165.
J. Immerzeel, De levens en werken der Hollandsche en Vlaamsche kunstschilders, beeldhouwers, graveurs en bouwmeesters, van het begin der vijftiende eeuw tot heden, Amsterdam, 1842-43, p. 30.
J. Bolten, et al., 'De ruïne van de voormalige abdij van Rijnsburg in prent en tekening 1600-1812', Delineavit et Sculpsit, XIII, 1994, nos. 146 and 150.

Exhibited

The Hague, Gemeentemuseum, Nederlandsche aquarellen van 1780-1830, 1942, nos. 8 and 9 (catalogue by D.J. Balfoort and K.G. Boon).
Amsterdam, Universiteit van Amsterdam (?), De Verdraagzaamheidsgedachte, 1949 (according to a note in the collection files).

Engraved

by Johannes Pieter Visser Bender (1785-1813) (2)

Special notice

This lot is offered without reserve.

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Lot Essay

Although the inscriptions by Barbiers on the verso of each drawing suggest that they were drawn from life ('naar 't Leeven'), it is more likely the artist made them from sketches of the same subjects (Bolten, op. cit., pp. 111-14). The view of the abbey from the north was engraved by Visser Bender in 1812. In the same year Visser Bender also made an engraving which is very close to the view of the abbey from the west by Barbiers. That engraving was published as after Visser Bender's own invention, but it was probably derived from a version of the view showing the abbey from the west by Barbiers (Bolten, op. cit., 145).

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