PIETER DE MOLIJN (LONDON 1595-1661 HAARLEM)
PIETER DE MOLIJN (LONDON 1595-1661 HAARLEM)
Pieter de Molijn (London 1595-1661 Haarlem)
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This lot is offered without reserve.
PIETER DE MOLIJN (LONDON 1595-1661 HAARLEM)

A river landscape with rowers in the foreground

細節
PIETER DE MOLIJN (LONDON 1595-1661 HAARLEM)
A river landscape with rowers in the foreground
oil on panel
11 x 17 in. (28 x 43 cm.)
with an early stenciled inscription ‘PEINT PAR P./MOLYN. pit/EN 1.6.2.0./cabinet de M.’ on the reverse
來源
Freiherr von der Ropp, Château Schadow, Kurland; his sale, Heberle, Cologne, 11 November 1890, lot 54.
Stefan Carl Michel, Mainz; his sale (†), Lepke, Berlin, 27 February 1917, lot 52, Tafel 32, as Pieter Nolpe.
with Richard Feigen, New York, where acquired by the present owner in 1990.
出版
C.M. Dozy, ‘Pieter Nolpe, 1613/14-1652/53: I’, Oud Holland, XV, 1897, p. 29, no. 13, as Pieter Nolpe.
C.M. Dozy, ‘Pieter Nolpe, 1613/14-1652/53: IV’, Oud Holland, XV, 1897, p. 243, no. 1, as Pieter Nolpe.
P.C. Sutton, The Martin and Kathleen Feldstein Collection, privately published, 2020, pp. 38-39, no. 8, illustrated.
展覽
Boston, Museum of Fine Arts, Prized Possessions: European Paintings from Private Collections of Friends of the Museum of Fine Arts, Boston, 17 June-16 August 1992, no. 90.
注意事項
This lot is offered without reserve.

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拍品專文

While the present painting previously bore attributions to Jan van Goyen, Pieter de Neyn and Pieter Nolpe – an artist otherwise unknown as a painter – and was deemed by Cornelis Hofstede de Groot at the time of the 1917 sale to be the work of an artist ‘very close to Jan van Goyen’, an early stenciled inscription in French on the reverse of the panel suggests it was executed by Pieter de Molijn in 1620. Molijn had already become a master in Haarlem’s painters guild in 1616, though no dated works by him before 1625 are known.
Reconstruction of Molijn’s earliest activity as a painter is inhibited by the infrequency with which he signed or dated the monochrome landscapes he produced for the open market and his relatively consistent approach to his subjects throughout his career (see M. Boers, ‘Pieter de Molijn (1597-1661): A Dutch Painter and the Art Market in the Seventeenth Century,’ JHNA, 9:2, Summer 2017). However, as Peter Sutton has recently noted, the execution and tonality of this painting are entirely consistent with Molijn’s paintings later in the decade (loc. cit.). Moreover, the dynamic diagonal composition and characteristic pronounced nose of the rower in red likewise feature in Molijn’s earliest dated works.

更多來自 馬丁·費爾德斯坦珍藏: 荷蘭黃金時期藝術

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