- Roelandt Savery
- Alpine landscape with torrent and hunter;
Alpine landscape with three hunters
- the former signed lower left: R. SAVERY/FE
- a pair, both oil on copper
Thence by descent;
Anonymous sale, (“The Property of a Gentleman”), London, Christie’s, 10 April 1981, lot 37;
David Koetser, 1983.
Baltimore 1999, nos. 48a and 48b.
T.DaCosta Kaufmann, The School of Prague, Painting in the Court of Rudolf II, Chicago 1988, p. 236, under cat. no. 19.22;
K.J. Mullenmeister, Roelant Savery, Freren 1988, pp. 76, 211-213, cat. nos. 48 and 48A, and under cat. no. 49, reproduced p. 212;
Vienna, Kunsthistorisches Museum, Prague um 1600, Kunst und Kultur am Hofe Rudolfs II, exhibition catalogue, Essen 1988, pp. 259-60, under cat. no. 144;
E. Fucikova, ed., Rudolf II and Prague, the Court and the City, exhibition catalogue, Prague 1997, pp. 401-2, under cat. nos. I.63 and I.64;
New Orleans 1997, pp. 125-128, cat. nos. 49a and 49b, reproduced pp. 126-127;
Baltimore 1999, pp. 112-115, cat. nos. 48a and 48b, reproduced pp. 112-113;
S. Bartilla, in Roelandt Savery, A Painter in the Services of Emperor Rudolf II, exhibition catalogue, Prague 2010, p. 280, under cat. no. 32/a.
The present pair is very close in composition to two other pairs of paintings, both on copper and dated 1608, and of almost identical size, in the Niedersächsische Landesgalerie, Hanover and in a private collection, New York.2 The difference between those pairs and the Weldon pair resides mainly in the staffage. In the Weldon versions, a single hunter is featured in the Landscape with Torrent, and a group of three hunters is depicted in the pendant. The other pairs both depict peasant figures rather than a hunter in the torrent landscape, and a hermit in a rustic shelter is depicted in their pendant landscapes.
A drawing by Savery (in horizontal format, signed and dated 1608) in the Fondation Custodia, Paris, is remarkably close to the Weldon Landscape with Three Hunters, particularly in the details at the left side, notably the positions of the three figures and the broken trees (fig. 1). The drawing was used as a basis for an engraving made by Aegidius Sadeler in 1609 which was part of a cycle titled Six Mountainous Landscapes (in Tirol).3
1. J. von Sandrart, Teutsche Academie der Bau-, Bild-und Mahlerey-Künste, Nürnberg 1675-1680, p. 305.
2. See T. DaCosta Kaufmann, under Literature, pp. 234-236, cat. nos. 19.19 – 19.22, reproduced.
3. See S. Bartilla, under Literature, pp. 280-281, reproduced.