107
107

PROPERTY FROM THE SØR RUSCHE COLLECTION

Adam van Breen
AN ELEGANT COMPANY BANQUETING ON A TERRACE
Estimation
60 00080 000
ACCÉDER AU LOT
107

PROPERTY FROM THE SØR RUSCHE COLLECTION

Adam van Breen
AN ELEGANT COMPANY BANQUETING ON A TERRACE
Estimation
60 00080 000
ACCÉDER AU LOT

Details & Cataloguing

Old Masters Day Sale

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Londres

Adam van Breen
THE HAGUE 1590-1645
AN ELEGANT COMPANY BANQUETING ON A TERRACE
signed and dated lower left: .A. v. breen 1614
oil on oak panel
34.7 x 61.4 cm.; 13 5/8  x 24 1/8  in.
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Provenance

H.C. du Bois, The Hague;
His sale et al., Amsterdam, Frederik Muller, 27 November 1906, lot 189 (as Abraham van Vinck);
Anonymous sale ('The Property of a Gentleman'), London, Christie's, 5 July 1907, lot 144 (as J. Vink), for £4–14s.–6d. to Wharton;
Anonymous sale ('M...'), Brussels, 23 December 1907, lot 37 (as J. Vinck);
Dr Moritz Julius Binder (1877–1947), Berlin, 1932;
With Silvano Lodi, Munich and Milan, 1963;
With Brod Gallery, London, 1964 (when advertised in Weltkunst, 1 April 1964, p. 226a);
With Gebr. Douwes, Amsterdam, Summer 1964 (when exhibited at Oude Kunst- en Antiekbeurs, Delft);
F.C. Butôt (1906–92), Sankt Gilgen, Austria, 1964;
His posthumous sale, Amsterdam, Sotheby's, 16 November 1993, lot 46, for 57,500 Dutch Guilders, when acquired.

Exposition

London, Brod Gallery, Annual spring exhibition of old master paintings, 12 March – 24 April 1964, no. 19;
Salzburg, Museumpavillon im Mirabellgarten, 12 July – 12 September 1972; Münster, Westfälisches Landesmuseum, 26 September 1972 – 14 January 1973, Niederländische Kunst aus dem Goldenen Jahrhundert;
Rotterdam, Museum Boymans-van Beuningen, Hollandse en Vlaamse Kunst uit de 17e eeuw, 16 February – 1 April 1973;
Munich, Sotheby’s, A selection of paintings and drawings from the Collection of F.C. Butôt, June 1989;
Osnabrück, Kunsthalle Osnabrück, Schöne Landschaft - Bedrohte Natur: Alte Meister im Dialog mit zeitgenössischer Kunst. Landschaftsbilder aus der SØR Rusche Sammlung Oelde/Berlin, 9 June – 13 October 2013;
Nuremberg, Auf AEG, Gute Kunst? Wollen!, 19 September – 17 October 2015.

Bibliographie

A. von Wurzbach, Niederländisches Künstler-Lexikon, vol. II, Vienna 1910, p. 790 (as Abraham Vinck);
J.G. van Gelder, 'Adam van Breen, schilder', Oudheidkundig Jaarboek, 1, 1932, p. 114, cat. no. 7, reproduced plate XXXI, fig. 5;
F. Würtenberger, Das holländische Gesellschaftsbild, Schramberg 1937, p. 42, n. 1;
Niederländisches Kunst aus dem Goldenen Jahrhundert--Gemälde und Zeichnungen im Umkreis grosser Meister aus der Sammlung F.C. Butôt, exhib. cat., Salzburg 1972, pp. 22–23, reproduced;
Hollandse en Vlaamse kunst uit de 17e eeuw: hoogtepunten van minder bekende meesters: schilderijen en tekeningen uit de verzameling F.C. Butôt, exhib. cat., Rotterdam 1973, pp. 22–23, reproduced;
L.J. Bol & G. Keyes, Netherlandish Paintings and Drawings from the Collection of F.C. Butôt, London 1981, p. 232, cat. no. 99, reproduced;
G.L. Gordon, Supplement to the Catalogue of Netherlandish Paintings and Drawings from the Collection of F.C. Butôt, London (Sotheby’s) 1989;
G.S. Keyes, Esaias van de Velde: 1587–1630, Groningen 1984, p. 84, n. 36;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 2, Genre, Münster/Hamburg/London 1996, pp. 60–63, cat. no. 12, reproduced in colour;
E. Buijsen, Haagse Schilders in de Gouden Eeuw. Het Hoogsteder Lexicon van alle schilders werkzaam in Den Haag 1600–1700, exh. cat., The Hague and Zwolle 1998, p. 107, reproduced fig. 6.

Description

This scene has the feeling of a stage set, fit to transport the viewer into the opulence of the Dutch Golden Age. The figures seated at their banquet are wearing luxurious outfits, reflecting the sartorial taste of Adam van Breen’s most fashionable contemporaries: tall hats, voluminous knickerbockers and small ruffs for the men, and high, stiff lace collars for the women.

This is one of the earliest examples of the ‘buitenpartij’ (literally ‘outside party’) genre – a theme that was taken up by artists such as David Vinckboons and Esaias van de Velde shortly after the present painting, dated 1614. These subjects on the one hand celebrate the rich attire, feasts and accoutrements of the imaginary staffage in their idyllic settings, and on the other, convey an admonition not to indulge in frivolity and licentiousness, hinted at by the overturned drinking vessels, playing cards and oysters scattered on the terrace (probably to be devoured by the dog once he has finished gnawing his bone). Such merry companies have a comic tone, at some remove from Van Breen's pioneering winter landscapes.

Another similar painting by Van Breen was sold at Sotheby’s, London, 8 December 1993, lot 203: not signed or dated, it is likely to date from around the same time.

Old Masters Day Sale

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Londres