Master Paintings Part II

Master Paintings Part II

View full screen - View 1 of Lot 370. Pastoral landscape  .

Property from the Collection of Gerald E. Rupp

Gaspard Dughet

Pastoral landscape

Lot Closed

January 28, 04:10 PM GMT

Estimate

10,000 - 15,000 USD

Lot Details

Description

Property from the Collection of Gerald E. Rupp

Gaspard Dughet

Rome 1615 - 1675

Pastoral landscape


oil on canvas

canvas: 20 by 26 in.; 50.8 by 66 cm.

framed: 26 by 32½ in.; 66 by 82.6 cm.

Thomas Walker, London, 1741;

Colonel R.E.K. Leatham (1885-1946), London;

With Colnaghi, London, 1960;

Mrs. T.G. Winter, London, by 1986;

Thereafter acquired.

J. Stewart Byrne, "Gaspar Dughet and XVIIIth century England, " M.A. thesis, New York University 1942, p. 41;
D. Sutton, "Gaspard Dughet: some aspects of his art," in Gazette des Beaux-Arts CIV (June-August 1962) p. 300, reproduced fig. 32;
D. Posner, Art in Italy 1600 - 1700, exhibition catalogue, Detroit 1965, under no. 24;
M.-N. Boisclair, "Gaspard Dughet: une chronologie révisée," in Revue de l'Art, no. 34 (1976), p. 52;
L. Salerno, Pittori di paesaggio del Seicento a Roma, vol. II, Rome 1977 - 1978, p. 526, reproduced fig. 86.18;
M.-N. Boisclair, "Gaspard Dughet: étude de sa vie et da son oeuvre," Ph.D. diss., Paris-Sorbonne 1978, pp. 142-143, 221, cat. no. 329;
A. French, in Gaspard Dughet called Gaspar Poussin 1615 - 1675. A French landscape painter in seventeenth century Rome and his influence on British art, exhibition catalogue, London 1980, p. 52, under no. 46;
M.-N. Boisclair, Gaspard Dughet: sa vie et son oeuvre (1615 - 1675), Paris 1986, p. 286, cat. no. 384, reproduced fig. 420.


The first documented owner of this landscape was Thomas Walker (fl. 1711 - 1739), a civil servant and member of the Society of the Virtuosi of St. Luke, a group of London elites who met to discuss art and taste. According to George Vertue, the Society's archivist, Walker advised other members of the group on their acquisitions of Italian paintings. Boisclair dates the present pastoral scene to the last years of Dughet's career, when his style became more evocative of form rather than descriptive.