GERRIT JANSZ. VAN BRONCKHORST | A classical landscape with a woman and shepherd sitting next to an obelisk and fountain 
GERRIT JANSZ. VAN BRONCKHORST | A classical landscape with a woman and shepherd sitting next to an obelisk and fountain 
GERRIT JANSZ. VAN BRONCKHORST | A classical landscape with a woman and shepherd sitting next to an obelisk and fountain 
GERRIT JANSZ. VAN BRONCKHORST | A classical landscape with a woman and shepherd sitting next to an obelisk and fountain 
GERRIT JANSZ. VAN BRONCKHORST | A classical landscape with a woman and shepherd sitting next to an obelisk and fountain 
GERRIT JANSZ. VAN BRONCKHORST | A classical landscape with a woman and shepherd sitting next to an obelisk and fountain 
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Property from the SØR Rusche Collection

GERRIT JANSZ. VAN BRONCKHORST | A classical landscape with a woman and shepherd sitting next to an obelisk and fountain 

Estimate: 3,000 - 4,000 GBP

Property from the SØR Rusche Collection

GERRIT JANSZ. VAN BRONCKHORST | A classical landscape with a woman and shepherd sitting next to an obelisk and fountain 

Estimate: 3,000 - 4,000 GBP

Lot Sold:6,000GBP

Lot Details

Description

Property from the SØR Rusche Collection

GERRIT JANSZ. VAN BRONCKHORST

Utrecht 1636/8 - 1673

A CLASSICAL LANDSCAPE WITH A WOMAN AND SHEPHERD SITTING NEXT TO AN OBELISK AND FOUNTAIN 


signed on the pedestal of the obelisk: G v bronchorst. f:

oil on oak panel

unframed: 47.5 x 36.5 cm.; 18¾ x 14 in.

framed: 56.6 x 45.5 cm.; 22⅛ x 17⅞ in.


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Condition Report

Property from the SØR Rusche Collection is available to view at Sotheby’s, New Bond Street, 13 – 18 September (weekdays 9am – 4.30pm; weekend 12-5pm).


The panel is uncradled, flat, and stable, and it is bevelled on three margins. The paint surface is relatively dirty and the thick clear varnish is slightly discoloured. There is some finely patterned craquelure along the right edge that is not too distracting. Some scattered old retouching is visible in the figures and animals in the foreground, such as the calf at lower left and in the face of the seated woman, as well as in the foliage beyond the fountain. Inspection under UV reveals a thick opaque varnish as well as the aforementioned retouches. Additional scattered retouching is visible scattered throughout, for example along the lower and upper margins, around the fountain, in a small area of the lower left sky to address vertical wood grain, and in and around the obelisque, most notably along the upper edge. In overall good condition.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.


Please note, Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.

Cataloguing

Provenance

Nikolaus Baranowsky, Vienna, by 1828 (according to Raupp, see Literature);

Sale, Vienna, 4 February 1828, lot 15 (according to Raupp, see Literature);

Anonymous sale, Amsterdam, Sotheby Mak van Waay, 26 November 1984, lot 22;

Anonymous sale, Amsterdam, Christie's, 9 November 1998, lot 22, where acquired.

Exhibited

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

Literature

T. von Frimmel, Lexikon der Wiener Gemäldesammlungen, Munich 1914, vol. I, p. 87;

T. Döring, Studien zur Künstlerfamilie van Bronchorst, Alfter 1993, p. 242, cat. no. C12, reproduced p. 414;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 4, Historien und Allegorien, Münster/Hamburg/London 2010, pp. 80-83, cat. no. 7, reproduced in colour.


Catalogue Note

Gerrit Jansz. van Bronckhorst was the younger brother of Johannes Jansz. van Bronckhorst, sons of the artist Jan Gerritsz. van Bronckhorst. The brothers travelled to Rome together, where Johannes is documented between 1648 and 1650. This work was clearly inspired by, if not painted in, Italy, and Gerrit would go on to work in the style of Cornelis van Poelenburch, another Utrecht artist active in Rome.

Old Masters Online | Part I: Property from the SØR Rusche Collection | Part II: Property from Various Owners
Online bidding closed19 Sep 2019 | 05:42 PM GMT