JACOB SIBRANDI MANCADAN | SHEPHERDS WITH LIVESTOCK BY CLASSICAL RUINS IN AN EXTENSIVE LANDSCAPE, WITH A YOUTH PLAYING A PIPE IN THE FOREGROUND
Estimate: 15,000 - 20,000 GBP
Property from the SØR Rusche Collection
JACOB SIBRANDI MANCADAN
Minnertsga 1602 - 1680 Tjerkgaast
SHEPHERDS WITH LIVESTOCK BY CLASSICAL RUINS IN AN EXTENSIVE LANDSCAPE, WITH A YOUTH PLAYING A PIPE IN THE FOREGROUND
signed lower centre: JMancadan (JM in ligature)
oil on oak panel
unframed: 56 x 99.9 cm.; 22 x 39¼ in.
framed: 74 x 117 cm.; 29¼ x 46 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 are no major damages visible to the naked eye. Inspection under ultraviolet light reveals two campaigns of restoration, largely concentrated in the same areas, most notable of which are: a line of retouching running the width of the panel through the centre to an old split; in the two upper corners in the sky and along the upper margin; to a vertical line running the height of the panel 2 inches from the right-hand margin. Other small retouchings are scattered throughout. None of these distract from the image, and it is ready to hang. 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.
With Jacques Goudstikker (1897–1940), Amsterdam, from 1914–19;
With D.A. Hoogendijk, Amsterdam, 1920;
Harold Petri, Antwerp;
His sale, Amsterdam, Frederik Muller, 30 November – 3 December 1926, lot 83;
With Jacques Goudstikker, Amsterdam, 1926;
Looted by the Nazi authorities, 7 July 1940;
Recovered by the Allies, 1945;
In the custody of the Dutch Government, inv. no. NK2602;
Restituted in February 2006 to the heir of Jacques Goudstikker;
Their sale ('Important Old Master Paintings Including Property From the Collection of Jacques Goudstikker'), New York, Christie's, 19 April 2007, lot 34, for $96,000, when acquired.
Rotterdam, Rotterdamsche Kunstkring, Collection Goudstikker d'Amsterdam, 11 – 26 June 1927, no. 43;
Bolsward, Stadhuis Bolsward, Italië in de toets der Gouden Eeuw, June – August 1964, no. 33;
Utrecht, Centraal Museum, Nederlandse 17e eeuwse Italianiserende landschapschilders, 10 March – 30 May 1965, no. 42;
Dordrecht, Dordrechts Museum, Meesterlijk vee. Nederlandse veeschilders 1600–1900, 25 September – 20 November 1988, no. 14;
Leeuwarden, Fries Museum, on loan, 1948 – 2 February 2006;
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 139.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
120e Verslag van het Fries Genootschap voor Geschied-, Oudheid - en Taalkunde te Leeuwarden over het jaar 1948, Dokkum 1949, p. 14;
H.J. Ronday, Italië in de toets der Gouden Eeuw, exh. cat., Bolsward 1964 , cat. no. 33;
Centraal Museum, Nederlandse 17e eeuwse Italianiserende landschapschilders, Utrecht 1965, cat. no. 42, reproduced fig. 47;
L.J. Bol, Holländische Maler des 17. Jahrhunderts nahe den grossen Meistern, Brunswick 1969, p. 195;
L. Salerno, Pittori di paesaggio del Seicento a Roma, Rome 1977–80, vol. 1, p. 290, cat. no. 52.3;
C. Boschma and F. Grijzenhout, Meesterlijk vee: Nederlandse veeschilders 1600–1900, exh. cat., Zwolle and Waanders 1988, cat. no. 14;
F.J. Duparc and L.L. Graif, Italian recollections: Dutch painters of the Golden Age, exh. cat., Montreal 1990, p. 43, reproduced fig. 23;
Old Master paintings: An illustrated summary catalogue, Rijksdienst Beelende Kunst (The Netherlandish Office for the Fine Arts), The Hague 1992, p. 187, cat. no. 1578, reproduced;
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 126, cat. no. 139, reproduced in colour.
Typical of Mancadan's landcapes, the composition is separated into two distinct parts: the foreground with a herd of cattle and goats resting before ruins, flanked in sharp contrast by an extensive, distant view of a valley and mountain beyond. The subdued, limited palette, the unusual posture of the figures and the detailed brushwork are characteristic of the artist's highly individual style.
A government official who served as the burgomaster of Franeker and Leeuwarden, Mancadan is not thought to have started painting until he settled in Leeuwarden in 1645, a move presumably inspired by the Frisian scenery around his farm at Siegerswoude.