EMANUEL MURANT | VILLAGE LANDSCAPE WITH FIGURES BESIDE A RIVER, A TREE SILHOUETTED AGAINST THE SKY
EMANUEL MURANT | VILLAGE LANDSCAPE WITH FIGURES BESIDE A RIVER, A TREE SILHOUETTED AGAINST THE SKY
EMANUEL MURANT | VILLAGE LANDSCAPE WITH FIGURES BESIDE A RIVER, A TREE SILHOUETTED AGAINST THE SKY
EMANUEL MURANT | VILLAGE LANDSCAPE WITH FIGURES BESIDE A RIVER, A TREE SILHOUETTED AGAINST THE SKY
EMANUEL MURANT | VILLAGE LANDSCAPE WITH FIGURES BESIDE A RIVER, A TREE SILHOUETTED AGAINST THE SKY
EMANUEL MURANT | VILLAGE LANDSCAPE WITH FIGURES BESIDE A RIVER, A TREE SILHOUETTED AGAINST THE SKY
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EMANUEL MURANT | VILLAGE LANDSCAPE WITH FIGURES BESIDE A RIVER, A TREE SILHOUETTED AGAINST THE SKY

Estimate: 10,000 - 15,000 GBP

EMANUEL MURANT | VILLAGE LANDSCAPE WITH FIGURES BESIDE A RIVER, A TREE SILHOUETTED AGAINST THE SKY

Estimate: 10,000 - 15,000 GBP

Lot Sold:10,000GBP
(1 bid, reserve met)

Lot Details

Description

Property from the SØR Rusche Collection

EMANUEL MURANT

Amsterdam 1622 - 1690 Leeuwarden

VILLAGE LANDSCAPE WITH FIGURES BESIDE A RIVER, A TREE SILHOUETTED AGAINST THE SKY


oil on oak panel

unframed: 41.9 x 49.1 cm.; 16½ x 19⅜ in.

framed: 58.5 x 65.5 cm.; 23 x 25¾ in.


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Condition Report

The panel is uncradled flat and stable. The paint surface is relatively clean and the varnish very slightly discoloured. There are discoloured retouchings visible in the sky upper right and some of the pigments, particularly in the sail of the boat, have thinned slightly. Inspection under UV light confirms the aforementioned retouchings and also reveals fine, sensitively-executed horizontal dashes of retouching to disguise the appearance of the wood grain, predominantly in the upper half of the sky. The foreground appears to be almost entirely untouched.


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

Mrs. Borough, London;

With Julius Böhler, November – December 1960 (when advertised in Pantheon);

With Colnaghi, London, 1964;

With P. de Boer, Amsterdam, 1969;

With Galerie Kurt J. Müllenmeister, Solingen, 1969;

Carl Schünemann, Bremen, 1974;

From whom acquired in 1975.

Exhibited

London, Colnaghi, Paintings by old masters, 28 April – 22 May 1964, no. 19;

Amsterdam, P. de Boer, Catalogue of Old Pictures, Winter 1969 – 14 June 1970, no. 30;

Munich, West German Art Fair, 1969;

Solingen, Galerie Müllenmeister, Gemälde und Zeichnungen alter Meister. Spezialgebiet: Niederländische & Vlämische Meister des 17. Jahrhunderts, Collection ‘69/‘70, 1969 – 1970, no. 14;

Münster, Landesmuseum, on loan, 1981–85;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 62.


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

Literature

K.J. Müllenmeister, Meer und Land im Licht des 17. Jahrhunderts. Seestücke und Flußlandschaften niederländischer Maler des 17. Jahrhunderts in privaten Sammlungen, vol. I, Bremen 1973, p. 150, reproduced;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 3, Landschaften und Seestücke, Münster/Hamburg/London 2001, pp. 188–91, cat. no. 47, reproduced in colour;

W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 77, cat. no. 62, reproduced in colour.

Catalogue Note

Little is known of Emanuel Murant’s life, though the Dutch biographer Arnold Houbraken states that he was a pupil of Philips Wouwerman in Haarlem, and it is also thought that he knew Jan van der Heyden and Jan van de Cappelle. Murant specialised in village scenes and ruined farm buildings, executed with minute accuracy - a trait that may have developed through friendship with Van der Heyden. Indeed, Houbraken writes that one can 'count the stones of the masonry' ('dat men de steenen van 't muurwerk konde tellen') in Murant's paintings - certainly true of the building in the present work, which rewards close scrutiny. The composition of this painting is particularly striking in the stark silhouette of the tree, right, meaning that the impact of this image is as powerful from afar as it is close to. 


Another painting in the SØR Rusche Collection, to be offered in September, forms a panoramic river landscape together with this work.


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