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Philips Wouwerman (Haarlem 1619-1668)

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THE PROPERTY OF A GENTLEMAN 
Philips Wouwerman (Haarlem 1619-1668)

The departure of a hunting party

Details
Philips Wouwerman (Haarlem 1619-1668) The departure of a hunting party signed 'PHILS W' (PHILS in monogram, lower right) oil on panel 20½ x 26 3/8 in. (52 x 67 cm.)
Provenance
Jeanne-Baptiste d'Albert de Luynes, comtesse de Verrue (1670-1736), Paris, before 1734; (+) Paris, 27 March 1737, lot 103, with pendant, sold 2500 francs.
Pierre-Louis-Paul Randon de Boisset (1710-1776), Receveur général des Finances; (+) Remy-Juilliot, Paris, 27 February 1777, lot 89, with pendant, 'Deux tableaux très riches de composition, d'une belle exécution, & dont le merite est très remarquable', sold for 10,660 francs to the following.
Nicolas Poullain; Le Brun, Paris, 15 March 1780, lot 56, with pendant, 'Ces deux-ci sont aussi recommandables dans leur genre que le premier. Ils sont du meilleur tems de de Maître...', sold for 12,100 francs to Du Lac.
Louis duc de Noailles, maréchal de France, Paris, 1781.
De Montribloud collection, Paris; Paris, 9 February 1784, lot 54, with pendant, 'Il n'est pas possible de trouver deux Tableaux, & plus riches, & d'une touche plus fine & plus précieuse....Ils sont bien conservés, & d'un meilleur temps du Maître, qui paroit s'être plu à en faire deux chefs d'oeuvre...', sold for 452 francs to Pouillet.
Peter Burrell, Lord Gwydir, Grimsthorpe Castle, Lincolnshire, and Whitehall, London; (+) Christie's, London, 9 May 1829, lot 74, 'The Return from the Chase - this exquisite chef d'oeuvre is from the cabinet of Monsieur Poullain', sold for 680 gns. to Richard Foster.
Richard Foster, from whom acquired by
Henry Bevan, London, for £1000, 1829.
A. Rofe, Esq.; Sotheby's, London, 8 July 1859, lot 52, sold to Manning.
with Leonard Koetser Gallery, London, 1959, where purchased by the father of the present owner.
Literature
J. Moyreau, Oeuvres de Philips Wouwerman, Hollandais, Gravées d'après ses Meilleurs Tableaux qui sont dans les plus beaux cabinets de Paris et ailleurs, Paris, 1737-1762, no. 16.
J. Smith, A catalogue raisonné..., etc., I, London, 1829, p. 204, no. 10; IX, 1842, p. 139, no. 3.
C. Blanc, Histoire des Peintres de toutes les écoles, Paris, 1861-1876, I, p. 8 and pp. 356-7; II, p. 88.
C. Hofstede de Groot, A catalogue raisonné..., etc., II, London, 1908, p. 427, no. 568.
B. Schumacher, Philips Wouwerman: The Horse Painter of the Golden Age, Doornspijk, 2006, I, pp. 261-2, no. A226; II, fig. 208 and pl. 29.
Q. Buvelot, in the catalogue of the exhibition, Philips Wouwerman, Zwolle, 2009, pp. 130-33, no. 30, illustrated.
Exhibited
London, Leonard Koetser Gallery, Winter Exhibition, 1959, no. 14.
Kassel, Gemäldegalerie Alte Meister, and The Hague, Mauritshuis, Philips Wouwerman, 1 July 2009-28 February 2010, no. 30.
Special Notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.
Please note Payments and Collections will be unavailable on Monday 12th July 2010 due to a major update to the Client Accounting IT system. For further details please call +44 (0) 20 7839 9060 or e-mail info@christies.com

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Lot Essay

Recognised since the eighteenth century as one of Philips Wouwerman's 'chefs-d'oeuvre', the importance of this picture was signalled most recently by its selection for the first major monographic exhibition of the artist's work held at the Mauritshuis in 2009-10.

This is a quintessential example of Wouwerman's most refined late style, generally dated to the last few years of his life (1665-8). Given the great extent of Wouwerman's painted oeuvre (over six hundred works have been attributed to him), it is often forgotten that he died relatively young, before he reached the age of fifty. Hunting scenes featuring richly attired figures attended by pages, grooms and dogs provided the artist with a favourite source of subject matter during the 1650s and '60s, and this is one of his most eloquent treatments, which amply illustrates his versatility as an outstanding painter of architecture and landscape in addition to his pre-eminence as a horse painter. The main action is overlooked by a party on a terrace, attended by musicians and pages serving food. A courting couple are shown on a balcony below, alongside a monkey who signifies their amorous intentions. The group on the terrace, together with the figures on the steps below, occur, in the reverse sense, in a sheet in the British Museum, thought to be a counter-proof of a preparatory study in red chalk (see fig. 1).

Pictures of this type by Wouwerman were especially prized in France in the eighteenth century, and this example has the distinction of having been owned successively by the two most illustrious French collectors of this artist--Jeanne-Baptiste d'Albert de Luynes, comtesse de Verrue (1670-1736) and Pierre-Louis-Paul Randon de Boisset (1710-1776). The former, who was among the earliest collectors in France to buy Dutch pictures, owned more than a dozen paintings by Wouwerman, the majority of which are now housed in museums, including five in the Gemäldegalerie, Dresden, and such masterpieces as the Stag Hunt (Louvre, Paris), Horses watering (Rijksmuseum. Amsterdam) and the Horse Fair (Wallace Collection, London; for a full account of her collecting, see J. Scott, 'The Comtesse de Verrue: A lover of Dutch and Flemish Art', Apollo, January 1973, pp. 20-4). The comtesse's prediliction for Wouwerman was disseminated by virtue of engravings made by Jean Moyreau after some of her best works by Wouwerman, and the present picture was among the first to be reproduced in this way in 1734 (see fig. 2). Her taste helped inspire unparalleled levels of interest in the artist and no doubt influenced the taste of Randon de Boisset, who acquired the present work at, or soon after, the comtesse de Verrue's estate sale in 1737. His own sale, held after his death forty years later, contained twelve paintings by Wouwerman, of which this picture achieved the highest price.

Until 1784, this painting was always sold with another, on canvas, described as its pendant; but, as Quintin Buvelot has recently made clear, this owed simply to the fashion for presenting Wouwerman's paintings as pairs, made easy by the frequent similarity of size and subject in his oeuvre (see Buvelot, op. cit., pp. 131-2).

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