Property from the SØR Rusche Collection
Deventer 1598 - 1657 Amsterdam
An Italianate landscape with ruins
oil on copper
11.8 x 22.6 cm.; 4⅝ x 8⅞ in
The copper plate is flat and stable. The paint surface is secure and clean with a clear and even varnish There are no damages visible to the naked eye. Inspection under ultraviolet light reveals some patches of restoration in the sky and to the left of the bridge, as well as some other scattered, more minor retouchings. In overall very good condition.
"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."
With Brian Koetser, London, 1964;
Malcolm R. Waddingham, London, 1990;
Anonymous sale, London, Sotheby’s, 12 December 1990, lot 42;
Anonymous sale, London, Sotheby’s, 7 December 1994, lot 261, when acquired.
Rotterdam 2008, no. 96.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
M. Roethlisberger, Bartholomeus Breenbergh. The paintings, Berlin and New York 1981, p. 53, cat. no. 110, reproduced;
Raupp 2001, pp. 44–47, cat. no. 5, reproduced in colour;
Rotterdam 2008, p. 99, cat. no. 96, reproduced in colour.
Breenbergh moved from Amsterdam to Rome in 1619, where he came under the spell of the Italianate landscapes of Cornelis van Poelenburgh. He was one of the founders of the Roman society of Dutch and Flemish painters – the Bentveughels. Scholars have proposed differing dates for this painting. Roethlisberger compares it both to works dating from circa 1630, when Breenbergh was back in Amsterdam, and to the end of his Roman period in 1627; in a letter dated 12 August 1994, Malcolm Waddingham proposes an earlier date of circa 1625. The right-hand part of the ruin appears in a signed drawing by Breenbergh, which Roethlisberger also dates to circa 1630.(1)
1 See Roethlisberger 1981, p. 53, cat. no. 111, reproduced fig. 111.