Property from the SØR Rusche Collection
JACOB VAN DER CROOS
1630/36 - after 1691, active in Amsterdam
LANDSCAPE WITH A VIEW OF HUIS TEN BOSCH PALACE
signed and dated lower centre: JV CROOS 1656
oil on oak panel
unframed: 47.1 x 65.4 cm.; 18½ x 25¾ in.
framed: 62 x 81 cm.; 24½ x 32 in.
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The panel is uncradled, flat and stable. The paint surface is clean and the varnish slightly discoloured. There are tiny spots of visible retouching scattered throughout the sky. Inspection under ultraviolet light reveals this fairly extensive campaign, as well as fine horizontal lines which follow the grain of the panel, most notably in the clouds (center left). Retouchings are also visible along the upper and left margins, in the foreground (lower center and lower left), and in the house (center right). In overall fine 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 J. Borghouts, Amsterdam, 1943 (as Jan van Goyen, dated 1633);
Private collection, Brussels, 1954;
With Galerie Kurt J. Müllenmeister, Solingen, 1965-66 (when advertised in Die Weltkunst, vol. 35, no. 18, 1965, p. 766, as Anthony van der Croos);
Carl Schünemann, Bremen, 1967;
Acquired for the SØR Rusche collection by 1985.
Solingen, Galerie Müllenmeister, Gemälde und Zeichnungen alter Meister, Collection 1965, 1965-66, unnumbered (as Anthonie van der Croos);
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 99.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
C. Dumas, Haagse stadsgezichten 1550-1800. Topografische schilderijen van het Haags Historisch Museum, Zwolle 1991, p. 364, reproduced fig. 3;
H.-U. Beck, Künstler um Jan van Goyen, Doornspijk 1991, p. 114, cat. no. 292 A8, reproduced in colour p. 115, plate XVI;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 3, Landschaften und Seestücke, Münster/Hamburg/London 2001, pp. 58-61, cat. no. 9, reproduced in colour;
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 101, cat. no. 99, reproduced in colour.
Though Jacob van der Croos is known to have moved around various cities in The Netherlands he painted several views of The Hague and its surrounding area.
The Huis ten Bosch Castle still functions as the residence of the Dutch royal family, although the building's appearance has changed somewhat. It was first built in 1645 as a summer residence for Frederick Henry, Prince of Orange (1584-1647) and his wife, Amalia von Solms (1602-75). After the Stadtholder's death, Amalia dedicated the palace to him and commissioned leading artists of the day, including Honthorst, Jordaens and Lievens, to decorate the Orangezaal ('Orange Hall') with paintings glorifying the late prince.
This painting was executed just over ten years after construction of the palace began. The view is taken from the east, but Croos has adapted certain elements to suit his composition, which is bathed in late afternoon, golden sunlight. In fact he follows the prototypes painted by his father, Anthonie van der Croos (author of the View of Leiden, offered on 8 May, lot 44), which served as a model for several artists' depictions of the palace, testament to the enduring popularity of the view. The palace is not portrayed as an isolated seat of power, but is rather depicted in harmony with the surrounding landscape of Southern Holland.
1 Helsinki, Sinebrychoff Art Museum, Finnish National Gallery, inv. no. A I 390.