GILLIS NEYTS | A LANDSCAPE WITH THE RUINS OF CÉSAR CASTLE AT VAULX-LEZ-TOURNAI
GILLIS NEYTS | A LANDSCAPE WITH THE RUINS OF CÉSAR CASTLE AT VAULX-LEZ-TOURNAI
GILLIS NEYTS | A LANDSCAPE WITH THE RUINS OF CÉSAR CASTLE AT VAULX-LEZ-TOURNAI
GILLIS NEYTS | A LANDSCAPE WITH THE RUINS OF CÉSAR CASTLE AT VAULX-LEZ-TOURNAI
GILLIS NEYTS | A LANDSCAPE WITH THE RUINS OF CÉSAR CASTLE AT VAULX-LEZ-TOURNAI
GILLIS NEYTS | A LANDSCAPE WITH THE RUINS OF CÉSAR CASTLE AT VAULX-LEZ-TOURNAI
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GILLIS NEYTS | A LANDSCAPE WITH THE RUINS OF CÉSAR CASTLE AT VAULX-LEZ-TOURNAI

Estimate: 10,000 - 15,000 GBP

GILLIS NEYTS | A LANDSCAPE WITH THE RUINS OF CÉSAR CASTLE AT VAULX-LEZ-TOURNAI

Estimate: 10,000 - 15,000 GBP

Lot Details

Description

Property from the SØR Rusche Collection

GILLIS NEYTS

Ghent 1623 - 1687 Antwerp

A LANDSCAPE WITH THE RUINS OF CÉSAR CASTLE AT VAULX-LEZ-TOURNAI


signed and dated lower left: G. Nyts.f. / 1666.

oil on oak panel

framed: 70 x 102 cm.; 27½ x 40¼ in.

unframed: 53.2 x 85.3 cm.; 21 x 33½ in.


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Condition Report

The panel is uncradled, flat and stable. The paint surface is relatively clean, and the varnish clear. There is surface cracking from a knot in the panel in the cloud centre left, with associated visible retouching and faint cracking. There is also visible retouching along a repaired horizontal split which runs the width of the panel, just below centre. The paint surface surrounding this split seems to have tented in the past, but is now stable; there is however a small associated loss in the trees, centre right. Inspection under ultraviolet light confirms all this, and reveals an opaque varnish underneath which it is difficult to discern previous restoration, save for some retouching in the sky, upper centre and upper left, probably to previous flaking - two tiny areas of current flaking remain, however these seem stable. There are also scattered small spots of retouching in the sky, and some retouching in the darker wooded area, lower right. The painting is in overall fair condition, and ready to hang.


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

Possibly sale, Brussels, Galerie Fievez, 16 June 1931, lot 114;

Possibly sale, Brussels, Galerie Fievez, 27–28 April 1934, lot 391;

M. Try-Reiss;

His sale, London, Robinson & Fisher, 10 March 1938, lot 79;

Anonymous sale, London, Christie's, 26 March 1965, lot 80;

With Silvano Lodi, Munich, 1965;

Lucerne art market, 1969;

F.C. Butôt, Sankt Gilgen, Austria, by 1972;

His posthumous sale, Amsterdam, Sotheby's, 16 November 1993, lot 10, when acquired.

Exhibited

Salzburg, Museumpavillon im Mirabellgarten, 12 July – 12 September 1972; Münster, Westfälisches Landesmuseum, 26 September 1972 – 14 January 1973, Niederländische Kunst aus dem Goldenen Jahrhundert, unnumbered;

Rotterdam, Museum Boymans-van Beuningen, Hollandse en Vlaamse Kunst uit de 17e eeuw, 16 February – 1 April 1973, unnumbered;

Munich, Sotheby's, Netherlandish Paintings and Drawing from the Collection of F. C. Butôt, June 1989, no. 19;

's-Hertogenbosch, Noordbrabants Museum, Panorama op de wereld: het landschap van Bosch tot Rubens, 17 March – 10 June 2001, no. 100.


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

Literature

Niederländisches Kunst aus dem Goldenen Jahrhundert--Gemälde und Zeichnungen im Umkreis grosser Meister aus der Sammlung F.C. Butôt, exh. cat., Salzburg 1972, pp. 96-97, reproduced in colour;

Hollandse en Vlaamse kunst uit de 17e eeuw: hoogtepunten van minder bekende meesters: schilderijen en tekeningen uit de verzameling F.C. Butôt, exh. cat., Rotterdam 1973, pp. 98–99;

W. Bernt, Die Niederländischen Maler und Zeichner des 17. Jahrhunderts, Munich 1979, vol. II, reproduced pl. 913;

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. 72, cat. no. 19, reproduced;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 3, Landschaften und Seestücke, Münster/Hamburg/London 2001, pp. 202–05, cat. no. 51, reproduced in colour;

P. Gustot, Gillis Neyts. Un Paysagiste Brabançon en vallée Mosane au XVIIe siècle, Namur 2008, pp. 78–79, cat. no. P29, reproduced in colour.

Catalogue Note

A preparatory sketch for the castle ruins depicted in this picture is in the Rijksmuseum, Amsterdam. [1] In contrast to his numerous small drawings on paper or vellum, Neyts' painted œuvre is very small.


1 inv. no. RP-T-1901-A-4498; https://www.rijksmuseum.nl/en/collection/RP-T-1901-A-4498

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Online bidding closed10 May 2019 | 03:42 PM GMT