View full screen - View 1 of Lot 522. Venus and Adonis resting in an extensive landscape, with Cupid and hunting dogs and their quarries.
522

Roelandt Savery | Cornelis Cornelisz. van Haarlem

Venus and Adonis resting in an extensive landscape, with Cupid and hunting dogs and their quarries

Estimate:

150,000

to
- 200,000 USD

Property from the Estate of Paul Kasmin

Roelandt Savery | Cornelis Cornelisz. van Haarlem

Roelandt Savery | Cornelis Cornelisz. van Haarlem

Venus and Adonis resting in an extensive landscape, with Cupid and hunting dogs and their quarries

Venus and Adonis resting in an extensive landscape, with Cupid and hunting dogs and their quarries

Estimate:

150,000

to
- 200,000 USD

Lot sold:

151,200

USD

Property from the Estate of Paul Kasmin

Cornelis Cornelisz. van Haarlem, Roelandt Savery

Haarlem 1562 - 1638

Venus and Adonis resting in an extensive landscape, with Cupid and hunting dogs and their quarries


signed with monogram and dated on the bank: CvH / 16[...]0

oil on oak panel

panel: 29 1/8 by 40 1/8 in.; 74 by 101.8 cm.

framed: 36 1/2 by 47 in.; 92.7 by 119.4 cm. 

The support consists of two panels: a smaller, thinned panel at center containing the figures has been inset into the larger overall oak panel, which itself consists of 3 planks supported by bars along the joints. An additional smaller bar reinforces an older crack in the top right corner. The recto of the panel presents a beautiful image with colors and details nicely preserved. The smaller panel is only noticeable in raking light and the painting has been seamlessly blended around the smaller scene to integrate it into the larger scene. Under UV inspection, some retouching is visible in the dark shadows and some parts of the flesh tones in the original smaller panel. The dark area of vegetation to the left of the larger dog in the small panel fluoresces as an area of repair. There is also a short slanting scar (about 4cm long) to the lower right of Apollo just above his drapery on the seat. The larger landscape scene shows very little restoration, apart from retouching along the panel joins and some recent strengthening of shadows on the leaves, especially along the left side. The painting presents very well and is ready to hang in its present state. Offered in a simply carved wooden frame.


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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Possibly private collection, Amsterdam, 1633;1
Anonymous sale, Berlin, Leo Spik, 18 September 1950, lot 300;
Anonymous sale, Berlin, Leo Spik, 24 November 1951, lot 265 (as 'Diana and Actaeon');
On the art market, Paris, 1969;
Anonymous sale, London, Sotheby's, 24 June 1970, lot 81, for £7,000, to Lady P. Cator (as dated 1608);
With David Carritt Ltd., London, 1971;
Anonymous sale, London, Christie's, 28 June 1974, lot 62 (as 'Mars, Venus and Cupid', datable to the early 1620s), where acquired by the late father of the previous owner;
By whom sold, London, Sotheby's, 7 December 2016, lot 36;
There acquired by Paul Kasmin.
M. Díaz Padrón et al., Pedro Pablo Rubens (1577–1640): exposición homenaje, exh. cat., Madrid 1977, p. 138, cat. no. 127, reproduced p. 253, fig. 127 (as dated 1600);
K. Ertz, Jan Brueghel the Younger (1601–1678). The paintings with œuvre catalogue, Freren 1984, pp. 70–71 and 422–23, cat. no. 262, reproduced p. 423 (as Jan Brueghel the Younger);
E.J. Sluijter, De 'Heydensche Fabulen' in de noordnederlandse schilderkunst, circa 1590–1670. Een proeve van beschrijving en interpretatie van schilderijen met verhalende onderwerpen uit de klassieke mythologie, doctoral diss., Leiden 1986, pp. 39, 125 and 136, reproduced fig. 66 (as dated 1622);
P.J.J van Thiel, Cornelis Cornelisz van Haarlem, 1562–1638: a monograph and catalogue raisonné, Doornspijk 1999, pp. 125, 136, and 362, cat. no. 172, reproduced plate 203.
Madrid, Palacio de Velázquez, Pedro Pablo Rubens (1577–1640): exposición homenaje, December 1977 – March 1978, no. 127.

Collaborative works were not uncommon in early seventeenth-century Netherlandish art and some artists were regular partners, such as Denijs van Alsloot and Hendrick de Clerck, or Jan Brueghel the Elder and Hendrick van Balen, but a work such as this, where one major artist has, some eight years later, taken the work of another major artist and extended it, is exceptional. The result is poetic, with the lithe, smoothly painted figures of Venus and Adonis reclining in a landscape busy with all the naturalistic detail we expect in Savery's best works.


This painting was first conceived by van Haarlem alone as a much smaller panel, measuring 35 x 57 cm. (13 3/4 x 22 3/8 in.), extending from the figure of Cupid in the lower left corner, to Adonis' left hand in the upper right corner. This composition was enlarged considerably by Roelant Savery who extended Adonis' lance, added the cave and woods behind the couple and the deer in the lower left corner, as well as the hunting dogs and the extensive landscape.


The date of the original panel is difficult to discern, but the third figure – the least legible – most probably reads as a '1'. A date of 1610 is also loosely supported by the fact that Venus' pose here is almost identical to that of the figure of the goddess in Cornelis' Venus and Mars, in the National Museum, Warsaw, which is dated 1609.2


The extension of the panel is most likely to have occurred in 1618, when Savery worked briefly in Haarlem before moving to Utrecht later that year. Savery frequently collaborated with other artists to people his landscapes, but only one other example of a partnership with Cornelis is known: The Fall of Man, signed by Savery and dated 1618.3


1. According to information from Jan Briels, a painting described as 'Venus and Adonis', with figures by Cornelis and landscape by Savery is recorded in an Amsterdam inventory of 1633; see K.J. Müllenmeister, in Roelant Savery in seiner Zeit (1576–1639), exhibition catalogue, Cologne 1985, p. 36 (incorrectly identified with cat. no. 90 in that catalogue).

2. Inv. no. 137; see Van Thiel 1999, pp. 125 and 366, cat. no. 184, reproduced plate 201.

3. Present whereabouts unknown; see Van Thiel 1999, pp. 136, 183 and 292, cat. no. 3, reproduced plate 236.