Simon de Vlieger (Rotterdam 1600/01-1653 Weesp)
The Collection of Dr. J.A.M. Smit (Lots 52-71)
Simon de Vlieger (Rotterdam 1600/01-1653 Weesp)

View of a village road with a well by a church

细节
Simon de Vlieger (Rotterdam 1600/01-1653 Weesp)
View of a village road with a well by a church
with number '80' (recto)
black chalk, grey wash, watermark fleur-de-lys, black chalk framing lines
8 x 12¼ in. (20.5 x 31.2 cm)
来源
The Duke of Gotha; C.G. Boerner, Leipzig, 27 November 1935, lot 527 (part lot).
Richard Holtkott (1866-1950), Bedburg (L. 4266).
Anonymous sale; Christie's, Amsterdam, 1 December 1986, lot 85.
with C.G. Boerner, Düsseldorf, 1987, no. 19, ill. and 1993, no. 99, ill.
Anonymous sale; Christie's, Amsterdam, 8 November 2000, lot 70.

拍品专文

One of the most accomplished landscapists active in a country and a time where great landscapists abound, Simon de Vlieger’s drawings are still often confused with those of others, especially Anthonie Waterloo. His compositions are more structured, his style is more regular than Waterloo’s, as can be seen in a sheet signed with De Vlieger’s monogram at the Albertina (inv. 9168). The site represented in that drawing could be the same as the one in the drawing offered here, seen from a different direction; it has been proposed that the church is that of Eikenduinen, near The Hague, but that building was already a ruin by the time De Vlieger would have drawn it. A second version of the composition, of lesser quality but close in style to De Vlieger, was formerly with R.W.P. de Vries (Dessins de maîtres anciens et modernes, no. 1, Amsterdam, 1929, p. 215, ill., as Roelant Roghman); another version, probably the work of another hand, is at the Victoria and Albert Museum (inv. DYCE.547; see J. Shoaf Turner and C. White, Dutch & Flemish drawings in the Victoria and Albert Museum, London 2014, I, no. 413, ill., as possibly by Simon de Vlieger). A drawing formerly with Theo Laurentius, representing a farm house with a bridge near a river, is of the same size and in the same style and technique as the present sheet, and is also framed by the artist with a chalk line, suggesting they were made at the same time, possibly as a kind of series.

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