Joos de Momper

W. J. H. Furnée collection, The Hague, from around 1958;
Herbert Girardet, Essen, by 1970;
Thence by inheritance to the present owner.

Cologne, Wallraf-Richartz Museum, 24 January – 30 March 1970; Rotterdam, Museum Boymans-Van Beuningen, 24 April – 7 June 1970, Sammlung Herbert Girardet: Holländische und flämische Meister, no. 32.

H. Vey, Sammlung Herbert Girardet: Holländische und flämische Meister, exhibition catalogue, Cologne 1970, no. 32, reproduced;
R. Klessmann (ed.), Herzog Anton Ulrich-Museum, Braunschweig: Die Holländischen Gemälde, Brunswick 1983, p.214;
K. Ertz, Josse de Momper de Jüngere (1564-1635): Die Gemälde mit kritischem Oeuvrekatalog, Freren 1986, pp. 350, 519, cat. no. 187, reproduced p. 352, fig 450.

The panel has been cradled and is stable. There is an old horizontal join, running 28 cm from the upper edge. Overall the paint surface appears in very good condition, with only minor signs of wear in the sky, in and some the middle distance detail. Inspection under ultra violet light is impeded by a thick varnish layer, but a certain degree of restoration should be presumed, for example along the join and to parts of the sky. The remains even throughout. There is a tiny dent in the paint surface in the sky. Offered with a modern stained wood frame in good condition.
"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.
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Joos de Momper was enrolled as a master in the Antwerp guild as early as 1581. It is now certain that he went to Italy, where he painted frescoes in Rome, probably sometime in the 1580s. Klaus Ertz published this picture with a group of works he believes to be early in date, identifying in all of them the stylistic influence of both Gillis van Coninxloo and David Vinckboons.¹ S. J. Gudlaugsson attributed the figures to David Vinckboons, although this was rejected in the exhibition catalogue of 1970 (see Exhibited) on the grounds that the picture would then predate 1591, when Vinckboons moved to Amsterdam. On close inspection however, there is a strong case to be made for Vinckboons’ hand, see for example the quality of the horse and rider lower right, and the train of figures on the left which are closely related to the picture by Vinckboons now in the Herzog Anton Ulrich-Museum, Braunschweig.² The arrangement of the wooden bridge at an angle in the foreground, steep slopes rising on the left, and the opening up of the landscape into a brightly-lit basin in the right background also relate directly to the picture in Braunschweig, which argues for Ertz's early dating of this work.

1. See Ertz, under Literature, pp. 350-363.
2. Mountain landscape with a jolly wedding party, oil on oak panel, 56.4 by 94.8 cm. See Klessman, under Literature, p. 214, cat. no. 91, reproduced.