J. Smith, A Catalogue Raisonné..., vol. VI, London 1835, p. 101, no. 321;
G. Waagen, Galleries and Cabinets of Art in Great Britain, vol. IV, London 1857, p. 509 ("An excellent and careful picture of his earlier time");
C. Hofstede de Groot, A Catalogue Raisonné..., vol IV, London 1912, p. 41, no. 110;
A. Graves, A Century of Loan Exhibitions, vol. III, London 1914, pp. 1180-1, 1183;
J. Rosenberg, Jacob van Ruisdael, Berlin 1928, p. 77, no. 77;
S. Slive, Jacob van Ruisdael. A Complete Catalogue of His Paintings, Drawings and Etchings, New Haven & London 2001, p. 116, no. 88, reproduced in colour, and p. 511, under no. D23.
"A landscape, represented under the aspect of a fine summer's day, and during harvest time. this excellent picture is chiefly composed of a large sloping field, covered with sheaves of wheat, over a portion of which, and the adjacent meadow, glides the shade of a passing cloud". Thus did John Smith, based on another's account, describe this picture, which then hung in the Breakfast Room of the Duke of Newcastle's seat at Clumber Park in Nottinghamshire.
This is a work of Ruisdael's early maturity, dated by Seymour Slive circa 1655. The half-timbered house and the steep hill with out-crops of rock rising from a flat landscape recall the topography of Bentheim and environs, and appear to be inspired by Ruisdael's visit to that region, probably at the beginning of that decade. No topographically identifiable drawings made by Ruisdael on his Bentheim journey survive, but the present work is clearly based in part on a drawing in Berlin, Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett (see Fig. 1) (no. 3129; see Slive under Literature, p. 511, no. D23, reproduced). Slive dates the drawing to the same time as the painting, however, so that like the present painting partly based on it, it is probably a reminiscence of Bentheim, not a record made at the time.
This picture is recorded in the Breakfast Room at Clumber Park whenin the possession of the 4th Duke of Newcastle in 1835. It is not known whether he or one of his forbears acquired it, but it may well have been his grandfather, Henry Clinton, 2nd Duke of Newcastle, who built Clumber (see Fig. 2) in the 2nd half of the 18th Century, and who amassed much of the picture collection.
A copy by a weaker hand is in the Philadelphia Museum of Art.
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale