FRANS DE MOMPER | WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING
FRANS DE MOMPER | WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING
FRANS DE MOMPER | WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING
FRANS DE MOMPER | WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING
FRANS DE MOMPER | WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING
FRANS DE MOMPER | WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING
232

FRANS DE MOMPER | WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING

Estimate: 8,000 - 12,000 GBP

FRANS DE MOMPER | WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING

Estimate: 8,000 - 12,000 GBP

Lot Details

Description

Property from the SØR Rusche Collection

FRANS DE MOMPER

Antwerp 1603 - 1660

WIDE RIVER LANDSCAPE WITH A CHURCH, A WINDMILL AND A MONASTERY, WITH FIGURES RESTING ON A BANK AND FISHING


indistinctly signed lower centre: Fdm.

oil on oak panel

unframed: 45.8 x 91.4 cm.; 18 x 36 in.

framed: 66.5 x 112.5 cm.; 26¼ x 44¼ in.


Please see shipping calculator link: click here.

Condition Report

The panel is uncradled, flat and stable. The horizontal panel join runs through the centre. The paint surface is clean, and the varnish is clear and uneven. Inspection under ultraviolet light reveals a fine line of retouching along the panel join, and small retouchings scattered in the sky, with slightly more concentrated areas just left of centre in the sky, and in the centre of the lower margin. 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.

Cataloguing

Provenance

E. Bolton, London, 1927;

Anonymous sale, London, Christie's, 4 July 1927, lot 105, for £60–180s. to Douwes;

With Gebr. Douwes, Amsterdam;

With Abels, Cologne, 1938;

With Silvano Lodi, Munich;

Emde collection, Monheim;

With Alfred Brod Gallery, London, 1965;

With Galerie Kurt J. Müllenmeister, Solingen, 1968;

Carl Schünemann, Bremen, 1972, from whom acquired.

Exhibited

Schieder-Schwalenberg, Robert-Koepe-Haus, Inventar der Landschaft. Niederländische Landschaftsschilderungen vom 16. bis 18. Jahrhundert, August 2000, no. 5;

's-Hertogenbosch, Noordbrabants Museum, Panorama op de wereld: het landschap van Bosch tot Rubens, 17 March – 10 June 2001, no. 83;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 141.


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

Literature

W. Bernt, Die Niederländischen Maler und Zeichner des 17. Jahrhunderts, Munich 1979, vol. III, reproduced pl. 848;

H.-U. Beck, Künstler um Jan van Goyen, Doornspijk 1991, pp. 294–95, cat. no. 820, reproduced in colour fig. XLV;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 3, Landschaften und Seestücke, Münster/Hamburg/London 2001, pp. 174–77, cat. no. 43, reproduced in colour;

W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 128, cat. no. 141, reproduced in colour.

Catalogue Note

Frans de Momper, nephew of Joos de Momper, became a master in the Antwerp Guild of St. Luke in 1629. In 1646 he moved to The Hague and was recorded two years later in Haarlem. Here he came into contact with the work of Jan van Goyen and his circle, which was to influence him throughout the rest of his career. 


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