ATTRIBUTED TO PIETER WOUWERMAN | SOLDIERS AND THEIR HORSES RESTING BY RUINS IN A RIVER LANDSCAPE, WITH FIGURES BATHING
Estimate: 8,000 - 12,000 GBP
Property from the SØR Rusche Collection
ATTRIBUTED TO PIETER WOUWERMAN
Haarlem 1623 - 1682 Amsterdam
SOLDIERS AND THEIR HORSES RESTING BY RUINS IN A RIVER LANDSCAPE, WITH FIGURES BATHING
oil on oak panel
unframed: 47.2 x 63.8 cm.; 18½ x 25 in.
framed: 61.5 x 77.5 cm.; 24¼ x 30½ in.
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The panel is cradled, flat and stable. The paint surface is clean and the varnish is clear and even. There is retouching to a horizontal split or join in the panel which runs through the centre of the picture, and is visible in raking light. Inspection under ultra violet light reveals some spot retouchings in the sky and in the foreground lower right but little other intervention. In overall fair 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.
Anonymous sale, Frankfurt, Bangel, 17 October 1928, lot 302 (as Pieter Wouwerman);
Anonymous sale, Heidelberg, Tenner, 22 May 1965, lot 3188 (as Circle of Johannes Lingelbach and described as monogrammed; when advertised in Die Weltkunst, 15 May 1965, p. 417);
With Galerie Kurt J. Müllenmeister, Solingen;
Carl Schünemann, Bremen, 1968, from whom acquired.
Münster, Westfälisches Landesmuseum, on loan, 1977–85;
Schieder-Schwalenberg, Robert-Koepke-Haus, Wege durch das Land - Inventar der Landschaft. Niederländische Landschaftsschilderungen vom 16. bis 18. Jahrhundert, 2000, no. 20;
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 34 (as Lingelbach).
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
C. Burger-Wegener, Johannes Lingelbach, doctoral diss., Berlin 1976, p. 333, cat. no. 213 (as Lingelbach);
K.J. Müllenmeister, Meer und Land im Licht das 17. Jahrhunderts, Bremen 1981, vol. II, p. 90, cat. no. 231, reproduced (as Lingelbach);
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 2, Genre, Münster/Hamburg/London 1996, pp. 152–55, cat. no. 36, reproduced in colour (as Lingelbach);
Wege durch das Land - Inventar der Landschaft. Niederländische Landschaftsschilderungen vom 16. bis 18. Jahrhundert, exh. cat., Schwalenberg 2000, cat. no. 20;
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 54, cat. no. 34, reproduced in colour (as Lingelbach).
Many artists followed the example of Philips Wouwerman, including his younger brother Pieter. Hailing from Haarlem, the Wouwermans were influenced by the work of the Dutch Italianate bamboccianti, following the tradition of Pieter van Laer. From executing genre scenes they went on to paint equestrian scenes, hunting parties, cavalry battles and military encampments - Philips Wouwerman's skill in depicting horses was highly prized both during his lifetime and by collectors through the 18th and 19th centuries, and his works were emulated by numerous followers.
This painting reflects the influence of the bamboccianti in the use of light and strong shadows, but the imaginary setting includes quintessentially Dutch details, such as the windmill visible in the distance.