Nicolaes Pietersz. Berchem

Pieter Rainer, by 1834;
H. Wetzlar, Amsterdam.

C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke..., vol. IX, Esslingen/Paris 1926, p. 138, cat. no. 300.

The actual painting is softer in tone and a little less red than the catalogue illustration suggests. The single panel is very lightly bowed, and bevelled on all but the right sides. No damages seem to be apparent. The paint surface is slightly abraded in places, mainly in the centre background, in the rock formations and in the sheep lower left. In these areas the woodgrain becomes discernible. A few small retouchings can be observed in the rocks in the centre background, in the red dress of the standing lady, and in the sky. Although largely impeded by the dirty varnish layer, inspection under Ultra-Violet light does reveal very tiny retouchings in the goat and sheep on the left, in the rocks on the right, and in the cows. The paint surface is under a discoloured layer of varnish and there's some surface dirt. Offered in a decorative carved and gilt wood frame, with a few paint losses and some tiny holes. (MW)
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

It is not known for certain if Berchem ever visited Italy as so many of his fellow painters did. The present composition is clearly reminiscent of the landscape of Italy, with familiar pine and cypress trees near a great farm estate. Another signed version of this composition, with minor differences, was recorded in the Alte Pinakothek, Munich, by 1904 (inv. no. 598) and is currently located in Bamberg, Bavaria.¹ However, of the two, only the present work is dated. In the same year, Berchem painted another quite similar composition now in the Gemäldegalerie Alte Meister, Dresden.² This large painting shows a a shepherdess herding her cows and goats, but with the castle of Bentheim in the background. Many contemporaries such as Jacob van Ruisdael (1628/29-1682) visited Bentheim and used it as the centre of their work. As this work bears the same date, one is inclined to think that Berchem repeated these greater compositions on a smaller scale with a new Italianate tone, following the fashion of the day.

1. See C. Hofstede de Groot, under Literature, cat. no. 289.
2. See P. Biesboer, et.al., Nicolaes Berchem, In het licht van Italië, exhibition catalogue, Haarlem 2007, p. 42.