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Philips Wouwerman
A QUAYSIDE SCENE WITH TRADERS UNLOADING GOODS
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Philips Wouwerman
A QUAYSIDE SCENE WITH TRADERS UNLOADING GOODS
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拍品詳情

Old Master & British Works on Paper

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Philips Wouwerman
1619 - 1668年,哈倫
A QUAYSIDE SCENE WITH TRADERS UNLOADING GOODS
Point of the brush and grey wash over black chalk, within pen and black ink framing lines;
signed with the artist's monogram:  PHLW and bears lettering in brown ink, verso: f.
196 by 265 mm
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來源

G. Braamcamp,
his sale, Amsterdam, de Bosch, 29 February 1768, lot 304 (according to a note on the reverse);
Fürst Hohenzollern, Schloss Sigmaringen,
his sale, Bern, Jürg Stuker AG, 5-16 May 1977, lot 2698;
F.C. Butôt (1906-92), Sankt Gilgen, Austria,
his posthumous sale, Amsterdam, Sotheby’s, 16 November 1993, lot 84 (as Attributed to Philips Wouwerman)

出版

L.J. Bol, G.S. 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, 1981, pp. 29-30, no. 109

相關資料

Although many paintings by Wouwerman are known, his drawings are very rare; the most significant examples of his works to be found in public collections are the small but fine groups in the Teyler Museum, Haarlem, the British Museum, and the Fodor Collection at the Amsterdam Museum.  In the last twenty years, only two other significant drawings by the artist have appeared on the market: the Horse being schooled, now in the Metropolitan Museum of Art, New York1, and A Rider about to mount a Piebald Horse, a Boy Holding the Bridle, in the Clement C. Moore Collection.2  

Described by Keyes (loc. cit.) as ‘one of the most fluent and engaging studies by him to have survived,’, this drawing treats a theme that Wouwerman depicted on various occasions, in paintings as well as drawings.  In handling, this drawing most closely resembles the Encampment, in the Lugt Collection.3  As regards paintings, the closest in composition to the present drawing is a panel in a German private collection, which Birgit Schumacher dates to the first half of the 1660s.4

As Frits Duparc pointed out in his recent essay on Wouwerman's drawings (the only publication to date on this subject), the elaborate form of the artist’s monogram that we see here is typically only found in his later works, dating from the later 1640s and thereafter.5  The prominent signature, completeness of composition, and lack of a direct link with any surviving painting, all suggest that the drawing was most likely made as a finished work, for sale, rather than as a study for a painting.

1.  Sold, London, Sotheby's, 4 July 2012, lot 91; Metropolitan Museum inv. no. 2013.144

2.  Sold, London, Sotheby’s, 8 July 2015, lot 93

3.  Paris, Fondation Custodia, Frits Lugt Collection, inv. 6507

4.  B. Schumacher, Philips Wouwerman, The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006, vol. I, pp. 354-5, no. A464, reproduced vol. II, plate 434

5.  F. Duparc and Q. Buvelot, Philips Wouwerman (1619-1668), exhib. cat., Kassel, Gemäldegalerie Alter Meister, and The Hague, Mauritshuis, 2009-10, pp. 38-41

Old Master & British Works on Paper

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