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ISAAC DE MOUCHERON | A shepherd with his flock sheltering from a storm among antique ruins
估價
12,000 - 15,000 USD
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招標截止
描述
- Isaac de Moucheron
- A shepherd with his flock sheltering from a storm among antique ruins
- Pen and black ink and gray wash, within black ink framing lines and broad original margins;signed in black ink, lower centre: I. Moucheron. fecit and bears numbering, verso: 10
- 200 by 312 mm; 7 7/8 by 12 1/4 in
來源
Pieter van den Brande or Johan Pieter van den Brande, Middelburg,
by descent to E.C. Baron van Pallandt,
his sale, Amsterdam, Mak van Waay, 26 September 1972, lot 358;
H.R. Bijl, The Hague,
his sale and others, Amsterdam, Sotheby's, 17 November 1993, lot 31,
where acquired by the present owners
by descent to E.C. Baron van Pallandt,
his sale, Amsterdam, Mak van Waay, 26 September 1972, lot 358;
H.R. Bijl, The Hague,
his sale and others, Amsterdam, Sotheby's, 17 November 1993, lot 31,
where acquired by the present owners
出版
A. Busiri Vici, Andrea Locatelli e il paesaggio romano del Settecento, Rome 1976, p. 201 and 288, p. 203, fig. 248, reproduced;
A. Busiri Vici, "Fantasie Grafiche Romane d'Isaac de Moucheron", L'Urbe: rivista romana di storia, arte, lettere, costumanze, March-April 1981, fig. 248;
N. Wedde, Isaac de Moucheron (1667-1744): His Life and Works with a Catalogue Raisonné of his Drawings, Watercolours, Paintings & Etchings, 2 vols., Frankfurt-am-Main 1996, vol. I, p. 270, no. D101, reproduced vol. II, pl. 47;
W. Robinson, Bruegel to Rembrandt: Dutch and Flemish Drawings from the Maida and George Abrams Collection, exhib. cat., Cambridge, MA, Harvard University Art Museums, 2002, p. 178, under no. 76 and p. 256, under no. 76, footnote 3;
W. Robinson and S. Anderson, Drawings from the Age of Bruegel, Rubens, and Rembrandt: Highlights from the Collection of the Harvard Art Museums, Cambridge, MA, Harvard University Art Museums, 2016, pp. 207-209, under nos. 60a, b and c, fig. 1, reproduced
A. Busiri Vici, "Fantasie Grafiche Romane d'Isaac de Moucheron", L'Urbe: rivista romana di storia, arte, lettere, costumanze, March-April 1981, fig. 248;
N. Wedde, Isaac de Moucheron (1667-1744): His Life and Works with a Catalogue Raisonné of his Drawings, Watercolours, Paintings & Etchings, 2 vols., Frankfurt-am-Main 1996, vol. I, p. 270, no. D101, reproduced vol. II, pl. 47;
W. Robinson, Bruegel to Rembrandt: Dutch and Flemish Drawings from the Maida and George Abrams Collection, exhib. cat., Cambridge, MA, Harvard University Art Museums, 2002, p. 178, under no. 76 and p. 256, under no. 76, footnote 3;
W. Robinson and S. Anderson, Drawings from the Age of Bruegel, Rubens, and Rembrandt: Highlights from the Collection of the Harvard Art Museums, Cambridge, MA, Harvard University Art Museums, 2016, pp. 207-209, under nos. 60a, b and c, fig. 1, reproduced
Condition
Hinge mounted in two places along the upper edge to a modern cream mount. There are two light brown stains to the upper right border and a small gray stain to the lower left border. The image itself remains in superb condition throughout, with the medium strong and crisp. Sold unframed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
The dramatic scene portrayed in this finely preserved sheet, in which a herdsman raising his staff to admonish his herd, is lashed by a driving wind, as he seeks shelter among the undergrowth and architectural fragments is, as Nina Wedde (see Literature) notes, an unusual subject matter for Moucheron. Moucheron typically specialized in Italian views, Arcadian landscapes and idealized gardens and parks, however the influence of Gaspard Dughet, an artist whose work Moucheron closely studied during a visit to Italy, circa 1695 to 1697, is perhaps most clearly evident in this drawing, with its dynamic, stormy atmosphere.
Stylistically this sheet can be closely compared with three similar drawings by Moucheron that remained together from the first half of the 18th Century, until their dispersal via auction in Amsterdam, in 1972 (see Provenance), before subsequently being reunited in the collection of the Harvard Art Museums, Cambridge, MA.1 All four drawings are not only united by their shared provenance, but also the manner in which they have been executed in the same media and technique, on sheets of nearly identical size. Robinson notes that all are similarly signed in the lower margin and inscribed with the number 10 on the verso and makes special mention of how all four sheets retain their ample margins and the original owner's black framing lines.2
Robinson goes on to hypothesize that the four drawings, with their common history and close relationship in format, style, and technique, could also share an iconographic connection, most plausibly the Seasons, however he notes that all four sheets differ from traditional images of the Seasons and that this idea, must remain speculative.3
1. W. Robinson and S. Anderson, op. cit., pp. 207-209, nos. 60a, b and c, all reproduced; Cambridge, MA, Harvard University Art Museums, inv. nos. 2011.518, 2013.42 and 2004,93
2. W. Robinson, op. cit., p. 178
3. Ibid.
Stylistically this sheet can be closely compared with three similar drawings by Moucheron that remained together from the first half of the 18th Century, until their dispersal via auction in Amsterdam, in 1972 (see Provenance), before subsequently being reunited in the collection of the Harvard Art Museums, Cambridge, MA.1 All four drawings are not only united by their shared provenance, but also the manner in which they have been executed in the same media and technique, on sheets of nearly identical size. Robinson notes that all are similarly signed in the lower margin and inscribed with the number 10 on the verso and makes special mention of how all four sheets retain their ample margins and the original owner's black framing lines.2
Robinson goes on to hypothesize that the four drawings, with their common history and close relationship in format, style, and technique, could also share an iconographic connection, most plausibly the Seasons, however he notes that all four sheets differ from traditional images of the Seasons and that this idea, must remain speculative.3
1. W. Robinson and S. Anderson, op. cit., pp. 207-209, nos. 60a, b and c, all reproduced; Cambridge, MA, Harvard University Art Museums, inv. nos. 2011.518, 2013.42 and 2004,93
2. W. Robinson, op. cit., p. 178
3. Ibid.