Lot 215
  • 215

Attributed to Horatius de Hooch

Estimate
7,000 - 9,000 GBP
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Description

  • Horatius de Hooch
  • Path through a rugged wood
  • Pen and brown ink and wash;
    bears attribution, lower left: L. carache

Provenance

Charles Molinier, Toulouse (L.2917)

Condition

Laid down. Ink has eaten into paper in a few of the darkest areas. Some minor abrasions, particularly towards right and left edges. Minor losses in corners. some light staining and foxing throughout. Image none the less still very strong and powerful.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

This dashing landscape can plausibly be attributed to the rare Utrecht artist Horatius de Hooch. Relatively little is known about de Hooch's career, but he is thought to have studied in Rome with Cornelis van Poelenburch.  As Peter Schatborn has described, a group of six landscape drawings in the Landesmuseum, Mainz, form the core of his known work as a draughtsman.1  Though slightly smaller in scale than the present sheet they are all characterised by a very similar, extremely broad use of wash (in four cases grey and in the other two brown).2  Particularly similar in technique to this is the Road through a Wood with a House in the Background, in which, as here, the artist has not made any use of an initial black chalk sketch.

1.  P. Schatborn, Drawn to Warmth, 17th-century Dutch artists in Italy, Amsterdam 2001, pp. 140-143.

2.  Ibid, p. 143, fig. G