FRANS DE MOMPER | WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING

E. Bolton, London, 1927;

Anonymous sale, London, Christie's, 4 July 1927, lot 105, for £60–180s. to Douwes;

With Gebr. Douwes, Amsterdam;

With Abels, Cologne, 1938;

With Silvano Lodi, Munich;

Emde collection, Monheim;

With Alfred Brod Gallery, London, 1965;

With Galerie Kurt J. Müllenmeister, Solingen, 1968;

Carl Schünemann, Bremen, 1972, from whom acquired.

Schieder-Schwalenberg, Robert-Koepe-Haus, Inventar der Landschaft. Niederländische Landschaftsschilderungen vom 16. bis 18. Jahrhundert, August 2000, no. 5;

's-Hertogenbosch, Noordbrabants Museum, Panorama op de wereld: het landschap van Bosch tot Rubens, 17 March – 10 June 2001, no. 83;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 141.

The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.

W. Bernt, Die Niederländischen Maler und Zeichner des 17. Jahrhunderts, Munich 1979, vol. III, reproduced pl. 848;

H.-U. Beck, Künstler um Jan van Goyen, Doornspijk 1991, pp. 294–95, cat. no. 820, reproduced in colour fig. XLV;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 3, Landschaften und Seestücke, Münster/Hamburg/London 2001, pp. 174–77, cat. no. 43, reproduced in colour;

W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 128, cat. no. 141, reproduced in colour.

Frans de Momper, nephew of Joos de Momper, became a master in the Antwerp Guild of St. Luke in 1629. In 1646 he moved to The Hague and was recorded two years later in Haarlem. Here he came into contact with the work of Jan van Goyen and his circle, which was to influence him throughout the rest of his career.