ADRIAEN VAN DER KABEL | AN ITALIANATE VILLAGE STREET WITH A HORSE, GOATS, AND MAN ON A DONKEY
ADRIAEN VAN DER KABEL | AN ITALIANATE VILLAGE STREET WITH A HORSE, GOATS, AND MAN ON A DONKEY
ADRIAEN VAN DER KABEL | AN ITALIANATE VILLAGE STREET WITH A HORSE, GOATS, AND MAN ON A DONKEY
ADRIAEN VAN DER KABEL | AN ITALIANATE VILLAGE STREET WITH A HORSE, GOATS, AND MAN ON A DONKEY
ADRIAEN VAN DER KABEL | AN ITALIANATE VILLAGE STREET WITH A HORSE, GOATS, AND MAN ON A DONKEY
ADRIAEN VAN DER KABEL | AN ITALIANATE VILLAGE STREET WITH A HORSE, GOATS, AND MAN ON A DONKEY
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ADRIAEN VAN DER KABEL | AN ITALIANATE VILLAGE STREET WITH A HORSE, GOATS, AND MAN ON A DONKEY

Estimate: 8,000 - 12,000 GBP

ADRIAEN VAN DER KABEL | AN ITALIANATE VILLAGE STREET WITH A HORSE, GOATS, AND MAN ON A DONKEY

Estimate: 8,000 - 12,000 GBP

Lot Details

Description

Property from the SØR Rusche Collection

ADRIAEN VAN DER KABEL

Rijswijk 1630/1 - 1705 Lyon

AN ITALIANATE VILLAGE STREET WITH A HORSE, GOATS, AND MAN ON A DONKEY


signed with monogram lower left: AVK. (AV in ligature)

oil on oak panel

unframed: 52.7 x 44 cm.; 20¾ x 17¼ in.

framed: 73.5 x 65 cm.; 29 x 25½ in.


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Condition Report

The panel is uncradled flat, and stable. The paint surface is clean, and the varnish is clear and even. Inspection under ultraviolet light reveals very little intervention save for a handful of spot retouchings in the sky. In overall very 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.

Cataloguing

Provenance

Charles Scarisbrick (1801–60), Scarisbrick Hall and Wrightington Hall, Lancashire;

His posthumous sale, London, Christie's, 11 May 1861, lot 192 (as Jan Asselijn);

J. Tayleur, Buntingsdale Hall, Market Drayton;

By whose Executors sold, London, Christie's, 13 April 1923, lot 42, for 16 Guineas to Duits;

Private collection, Canada;

Whence sold, London, Christie's, 21 May 1976, lot 106 (as Jan Asselijn);

With Brod Gallery, London, 1976:

F.C. Butôt, Sankt Gilgen, Austria;

His posthumous sale, Amsterdam, Sotheby's, 16 November 1993, lot 45, when acquired.

Exhibited

Munich, Sotheby’s, A selection of paintings and drawings from the Collection of F.C. Butôt, June 1989, no. 61;

Schieder-Schwalenberg, Robert-Koepke-Haus, Wege durch das Land - Inventar der Landschaft. Niederländische Landschaftsschilderungen vom 16. bis 18. Jahrhundert, June - August 2000, no. 21;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 67.


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

Literature

A.C. Steland-Stief, Jan Asselijn nach 1610 bis 1652, Amsterdam 1971, p. 132, cat. no. 60 (as Jan Asselijn);

K.J. Müllenmeister, Meer und Land im Licht des 17. Jahrhunderts, Bremen 1981, vol. II, p. 19, cat. no. 5, reproduced (as Jan Asselijn);

L.J. Bol, G. Keyes and F.C. Butôt, Netherlandish paintings and drawings from the collection of F.C. Butôt by little-known and rare masters of the seventeenth century, London 1981, p. 156, cat. no. 61, reproduced in colour (as Jan Asselijn);

G.L. Gordon, Supplement to the Catalogue of Netherlandish Paintings and Drawings from the Collection of F.C. Butôt, London 1989, cat. no. 61;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 2, Genre, Münster/Hamburg/London 1996, pp. 144–47, cat. no. 34, reproduced in colour;

Wege durch das Land - Inventar der Landschaft. Niederländische Landschaftsschilderungen vom 16. bis 18. Jahrhundert, exh. cat., Schwalenberg 2000, cat. no. 21;

W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 79, cat. no. 67, reproduced in colour.

Catalogue Note

Adriaen van der Kabel was a Dutch artist who, having studied with one of the greatest and most quintessentially Dutch landscapists - Jan van Goyen, travelled to Rome and spent the rest of his career in Southern Europe, influenced by the work of painters such as Claude Lorrain, Pier Francesco Mola and Salvator Rosa.


Van der Kabel specialised in pastoral landscapes, characterised by soft, Mediterranean light, often including towers such as that found in the present painting, where a concern for the depiction of the form and texture of such structures belies his Dutch training. This work was most probably painted in Rome, before he moved to Lyon in 1668 until his death.


Formerly believed to be by Jan Asselijn, Frans C. Butôt identified drawings with the same AVK monogram, and proved Van der Kabel to be the author of this work.

The SØR Rusche Collection Online
Online bidding closed10 May 2019 | 03:42 PM GMT