ALEXANDER KEIRINCX | Landscape with a herder and his cows on the edge of a wood, with a mother and child feeding chickens beside a building

Joseph-Marie-François de Lassone (1717–88), Paris;

His sale, Paris, Paillet, 5 March 1789, lot 30, (as Keirincx, with figures and animals by Hans Jordaens) for 42 Livres;

On the Paris art market;

With Galerie Louis J. van Wachem, Voorburg, 1958;

F.C. Butôt, Sankt Gilgen, Austria;

His deceased sale, Amsterdam, Sotheby's, 16 November 1993, lot 4, when acquired.

L.J. Bol et al., Nederlandse landschappen uit de 17e eeuw, exh. cat., Dordrecht 1963, p. 26, cat. no. 58, reproduced fig. 19;

Salzburg / Münster 1972–1973, p. 58, reproduced;

Rotterdam 1973, p. 60, reproduced;

Bol & Keyes 1981, p. 70, cat. no. 18, reproduced in colour;

Gordon 1989;

O. Le Bihan, L’or et l’ombre. Catalogue critique et raisonné des peintures hollandaises de 17ième et de 18ième siècles, conservées au Musée des Beaux-Arts de Bordeaux, Bordeaux 1990, p. 170, note 23;

P.H. Janssen et al., Panorama op de wereld. Het landschap van Bosch tot Rubens, exh. cat., Zwolle 2001, p. 188, cat. no. 95, reproduced;

Raupp 2001, pp. 108–11, cat. no. 23, reproduced in colour;

Rotterdam 2008, p. 78, cat. no. 64, reproduced in colour.

Dordrecht, Dordrechts Museum, Nederlandse landschappen uit de 17e eeuw, July – August 1963, no. 58;

Salzburg / Münster 1972–1973, unnumbered;

Rotterdam 1973, unnumbered;

Munich 1989;

Schieder-Schwalenberg 2000, no. 6;

‘s-Hertogenbosch, Noordbrabants Museum, Panorama op de wereld. Het landschap van Bosch tot Rubens, 17 March – 10 June 2001, no. 95;

Rotterdam 2008, no. 64.

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Keirincx was a Flemish painter whose early works were informed by the examples of artists such as Jan Brueghel the Elder and Gillis van Coninxloo. This painting probably dates to the 1620s, when Keirincx was working in Antwerp. The recession of the landscape achieved through alternating light and dark tones and the feathery foliage are particularly reminiscent of his Flemish forebears.

Joseph-Marie-François de Lassone, the first documented owner of this painting, was the personal physician to Louis XVI and Queen Marie Antoinette.