2
2
Adam Pynacker
A PEASANT PLAYING WITH HIS DOG WHILE RESTING AT THE MARGIN OF A WOOD
Stima
120.000160.000
Lotto. Venduto 481,250 GBP (Prezzo di aggiudicazione con commissione d'acquisto)
VAI AL LOTTO
2
Adam Pynacker
A PEASANT PLAYING WITH HIS DOG WHILE RESTING AT THE MARGIN OF A WOOD
Stima
120.000160.000
Lotto. Venduto 481,250 GBP (Prezzo di aggiudicazione con commissione d'acquisto)
VAI AL LOTTO

Details & Cataloguing

Old Master and British Paintings Evening Sale

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Londra

Adam Pynacker
SCHIEDAM NEAR ROTTERDAM 1620 (?) - 1673 AMSTERDAM
A PEASANT PLAYING WITH HIS DOG WHILE RESTING AT THE MARGIN OF A WOOD
signed lower right on the rock: APynacker (AP in compendium)
oil on canvas
66 by 75.5 cm.; 26 by 29 3/4 in.
Leggi la scheda di conservazione Leggi la scheda di conservazione

Provenienza(e)

Jacob Boreel, The Netherlands;
His deceased sale, Amsterdam, Van den Bergh, 21 April 1746, lot 14, for 180 fl;
The Dowager Lady Stuart, London, by 1835;
Her deceased sale, London, Christie's, 15 May 1841, lot 62, to Nieuwenhuys for £189;
With Niewenhuys;
William Delafield, London;
His deceased sale, London, Christie's, 30 April 1870, lot 73, for £99-15-0, where purchased by Hibbert;
Colonel Oberst Hibbert, Birtles Hall, Cheshire;
Dr. C.Th.F. Thurkow, The Hague;
Acquired by Saam and Lily Nijstad by 1982.

Esposizione

The Hague, Mauritshuis, Terugzien in bewondering. A Collector's Choice, 19 February-9 March 1982, cat. no. 68.

Bibliografia

G. Hoet, Catalogus of naamlyst van schilderyen, met derzelver pryzen zedert een langen reeks van jaaren zoo in Holland als op andere plaatzen in het openbaar verkogt, vol. II, 'sGravenhage 1752, p. 185, cat. no. 14;
J. Smith, A Catalogue Raisonné of Works..., London 1835, vol. VI, p. 299, cat. no. 47;
J. Smith, A Supplement to the Catalogue Raisonné..., London 1842, p. 754, cat. no. 15;
G. Redford, A History of Sales of Pictures and other works of Art, London 1888, vol. II, cat. no. 315;
C. Hofstede de Groot, Holländische Maler..., Eelingen 1926, vol. IX, p. 561, cat. no. 184;
J. Walsh Jr and C. Schneider, A Mirror of Nature: Dutch Paintings from the collection of Mr and Mrs Edward William Carter, Los Angeles 1981, p. 80 and footnote 1;
Terugzien in bewondering. A Collector's Choice, exhibiton catalogue, The Hague 1982,  pp. 176-7, no. 68, reproduced;
L.B. Harwood, Adam Pynacker, Doornspijk 1988, p. 61, cat. no. 31, reproduced plate 31.

ENGRAVED
Anonymous, undated, as The Humane Traveller.

Nota a catalogo

Laurie Harwood dates this picture circa 1652-3.  She notes that it "is characterized by the high degree of refinement in the minute rendering of details used to describe staffage, foreground trees and bracken, although fully reminiscent of his earlier representations of trees in sunlight."  More than any of the other Dutch Italianate painters, Pynacker was more than anything a masterful painter of sunlight.  As Dr Harwood goes on to observe, here he "has fully exploited the effects of the oblique angle of the late afternoon's rays of sun as they strike the craggy branches of the great oak, and pick out details in the foreground."

Unusually, Pynacker has used a strong colour in the centre of the composition, perhaps as a compositional anchor, where he has given the man playing with his dog a crimson coat.  Apart from the cool blue of the fellow's breeches, this is the only colour that is not a yellow or green in the entire composition.  This is the first occasion in which Pynacker did this, and the most striking, but he does use strong colours, usually red or blue, in some of his pictures from later in the 1650s.

Pynacker is linked on strong grounds of style with the Dutch Italianate painters, and his first biographer Houbraken claimed he spent three years in Italy.  There is no documentary proof of such a trip, but if he did go, it is most likely to have been between 1645-8, when there are no records of his presence in Holland.  By the time he painted the Nijstad picture, he was living in Schiedam or Delft, where he remained until circa 1661. 

The subject of this picture has caused some head-scratching in the past.  We see a man resting under an oak tree by a forest path, playing with his dog who is partly turned on his back.  Next to them is a basket, and the goats grazing indicate that he is a goatherd.  The composition was engraved with the enigmatic title The Humane Traveller, and it has been suggested that the picture may depict a Biblical subject such as the Parable of the Good Shepherd.  It may well be however that it is merely a particularly charming genre picture.   

Old Master and British Paintings Evening Sale

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Londra