拍品 26
26
SALOMON VAN RUYSDAEL (NAARDEN 1600/03-1670 HAARLEM)
SALOMON VAN RUYSDAEL (NAARDEN 1600/03-1670 HAARLEM)
Salomon van Ruysdael (Naarden 1600/03-1670 Haarlem)
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SALOMON VAN RUYSDAEL (NAARDEN 1600/03-1670 HAARLEM)

A village landscape with travelers resting near a stream

细节
SALOMON VAN RUYSDAEL (NAARDEN 1600/03-1670 HAARLEM)
A village landscape with travelers resting near a stream
signed and dated 'SvRuysdael 166[3]' ('SvR' linked, lower left)
oil on canvas
31 ½ x 41 5/8 in. (80 x 105.7 cm.)
来源
Mrs. Murray Baillie, London, and by whom sold
[The Property of a Lady]; Christie’s, London, 28 July 1922, lot 56 (480 gns. to Sargent).
with M. Knoedler & Co., New York.
Adolf Mayer, The Hague and New York, by 1936.
with Dr. Karl Lilienfeld, New York.
with Dr. Otto Wertheimer, Paris, by 1959.
Private collection, Switzerland, until 2003.
with Johnny van Haeften, London, where acquired by the present owner in 2004.
出版
‘A Loan Exhibition of Dutch and Flemish Paintings: The Collection of the Late Adolf Mayer’, Allen Memorial Art Museum Bulletin, V, January 1948, pp. 6-7, 17, no. 11, illustrated.
W. Stechow, Salomon van Ruysdael, Berlin, 1975, p. 93, no. 165, fig. 68, plate 49.
P.C. Sutton, The Martin and Kathleen Feldstein Collection, privately published, 2020, pp. 72-73, no. 18, illustrated.
展览
The Hague, Gemeentemuseum, Oude kunst uit Haagsch bezit, 12 December 1936-31 January 1937, no. 171, as dated 166[1] and with erroneous dimensions.
Detroit, Detroit Institute of Arts, Masterpieces of Art from Foreign Collections: European Paintings from Two World’s Fairs, 10 November-10 December 1939, no. 35.
Oberlin, Allen Memorial Art Museum, A Loan Exhibition of Dutch and Flemish Paintings: The Collection of the Late Adolf Mayer, January 1948.

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拍品专文

Between 1635 and 1667, Salomon van Ruysdael treated the subject of the halt before a country inn in nearly twenty extant paintings. In this mature example, Ruysdael has turned away from his earlier tonal tendencies in favor of a colorful palette and monumental design consistent with the then-fashionable ‘classical’ phase of Dutch landscape painting. Though the last digit is unclear, the painting likely dates to 1663 on account of its affinity with works such as Ruysdael’s View of a village from that year (Rijksmuseum, Amsterdam). The church tower and other buildings in this painting are also nearly identical with those that feature in Ruysdael’s Village festival beneath a Maypole of 1655 (fig. 1; Kunsthistorisches Museum, Vienna).

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