5793 - 6157 FINE ARTS - 16th-19th CENTURY DRAWINGS, WATERCOLOURS and PAINTINGS
- Laid down on modern paper; various dam. and overpainted spots and sections, mostly along the edges; sl. frayed (mostly in the right edge).
- On woven paper. = Attribution in pencil on verso. Perhaps by Hermanus Numan.
= Showing i.a. windmill 'De Liefhebber', with the skyline of Haarlem with the St. Bavo church in the background.
- Upper right corner trifle creased and trifle foxed.
- A few sm. dents/ stains in upper part; nevertheless an attractive drawing.
= Supplied w. a photograph of the Bottelpoort in Nijmegen, showing some ressemblance.
= Artist identified on passepartout frame.
- A few vague foxed spots; trifle yellowed. = SEE ILLUSTRATION PLATE CXXXIII.
- Lacks upper left blank corner (repaired); some foxing/ soiling.
= Outside the central composition also a small sketch and some ink blotting lines. The artist became an American citizen in 1880 and died in 1911 in the Bronx.
- Small stain in centre; sl. yellowed. = Attribution on passepartout.
= Provenance: the collection of J. and C. Ulmann.
= From the collection of I.G. van Regteren Altena.
- With red chalk grid; large closed tear in the upper right corner; central vertical fold; sm. section strengthened along upper edge; sl. frayed; some dustsoiling, mostly near outer edges and sm. scattered inkstains.
= A grisaille painting by Lairesse was sold in March 2021 at Koller with the exact same composition (authenticated by Alain Roy), measuring 88x144 cm. (2 and 1/3 times larger). Perhaps this is the design for that painting and the grid was used as a tool for enlarging. Or this drawing was copied from that painting. There are a few differences, most notably the flowers beneath the tambourine and foot of Herakles, which are not present in the painting, as well as the branch growing between the personification of Virtue and Herakles. On laid paper with watermark of a crowned coat of arms with a French lily, beneath the monogram WR and below that the monogram "cVI".
= With the collector's mark of J.G.L (1817-1898) and J.M.A. Rieke (1851-1899) (Lugt 2138d, auctioned in 1899 at R.W.P de Vries) and collector's annotation and monogram in pencil: "gek. veiling R.W.P. de Vries Jan. 1925 f30 Hft".
- Somewhat browned; vague waterstains in the sky.
= A very vague monogram in the lower right corner "AD" or "AL" Cf. Welcker 1933, p.288 (kopieen). From the collection of J.I. van Doorninck. For a similar drawing by Lamberts, see the drawing in the Royal museum Brussels ("Visbanken bij de Grote Kerk in Naarden". SEE ILLUSTRATION PLATE CXXXIII.
- Two diagonal creases in lower half.
- Closed hole and chip; soiled, w. (sm.) stains and w. worn spots.
= In 1986 Sotheby's Amsterdam sold a similar, but smaller, drawing with almost exactly the same composition. Part of a series of drawings made by Hendrik de Leth on a voyage along the Rhine in 1763. Later a series of prints was published by F.W. Grebe after the drawings by De Leth and engraved by the same. The print differs from the original smaller Sotheby's drawing; the print has added figures and foliage in the foreground, which are present in our larger drawing. According to the Rijksmuseum the prints were after drawings by Cornelis Ploos van Amstel, but he only created the title print of the series. From the collection of "W. Hendriks" with his annotation (and incorrect attribution to Jan Asselijn) on verso. SEE ILLUSTRATION PLATE CXXXIV.
- Some offsetting from former passepartout along edges.
- Sl. foxed.
AND 4 other sm. drawings (by the same?), showing chicken, swine, a wagon and a plow.
- Sl. browned.
= See Het Utrechts Archief for an almost identical drawing by Lutgers, with several small variants (one of the boys in the foreground is seated, the dog is absent and the farmer is working the field instead of leaning on his scythe).
= Probably the preliminary drawing for the mirrored engraving from the Mortier print bible (1700). Provenance: the collection of J. and C. Ulmann.
- Yellowed; upper right corner dam.
= Provenance: both from the collection of J. and C. Ulmann.
- A few spots and fingersoiled.
= With annotation on verso: "A Mauve gek. veiling R.W.P. de Vries mrt 1921, no.79a" and collector's monogram "Hft" (Hooft) in pencil.
AND 4 other drawings with studies of cows (1x w. drawing of a sm. bridge on verso) by the same, all from the same lot sold in 1921.
- Vague remnants of former mount on verso; sl. fingersoiled, mostly along edges.
= With contemporary annotation on verso: "BredeRoode huijs Haarlem" in pen and ink and "A Milatz" in pencil. SEE ILLUSTRATION PLATE CXXXIV.
- Initial "F." of Milatz's first name cut off (only the dot is visible). Three trifle yellowed spot (in lower margin, right margin and upper left corner).
- Some foxing. = Printed ticket w. attribution (by K.G. Boon) on verso passepartout.
- Laid down on mount; sl. yellowed/ soiled.
= With signed annot. by the author S.T. BINDOFF on verso: "I think that this is a view of Snowdon (the highest peak) and Llivedd (to the right) taken from the south-west (...)" (Wales).
= "JC" might be the monogram of J.C.W. Cossaar.
= "JC" might be the monogram of J.C.W. Cossaar.
= "JC" might be the monogram of J.C.W. Cossaar.
= "JC" might be the monogram of J.C.W. Cossaar.
= "JC" might be the monogram of J.C.W. Cossaar.
- Slightly yellowed; trifle foxed; outer margins trifle worn.
= Provenance: the collection of J. and C. Ulmann.
- Laid down on mount; upper margin lacks portion (sky area); sl. browned/ faded.
= For the printed invitation see the RKD, Zeegezicht met bomschuiten.
Under passepartout with 2 other (illegibly signed) marine drawings.
- With various parts retouched or repainted and probably revarnished (w. craquelure). In need of some restoration.
= A good late 17th or 18th century copy in almost the same dimensions as the original in the Staatliche Sammlungen Dresden.
- A few shallow cuts in left part; slightly soiled; a few tiny closed marginal tears; paper sl. wobbly.
= SEE ILLUSTRATION PLATE CXXXV.
- Laid down on later laid paper, closing a few sm. holes and weak spots; sl. fingersoiled and w. few sm. stains; corrections (by the same artist?) in centre.
= Near the lower edge in the left part seems to have a very vague (later?) annotation or signature. With the small collector's mark of Emile Wauters (Lugt 911) on recto. On laid paper with bunch of grapes watermark. SEE ILLUSTRATION PLATE CXXXV.
- Two professional restorations on verso; superficial damage from siverfish; agetoned, mostly in the sky.
= Manuscript collector's mark "C.G. 't Hooft" in pencil on verso and a vague erased one (unread) and "Hft" (Hooft) in pencil on mount. Attractive view of part of the harbour of Den Helder, the naval buildings can be seen in the background. In 1827 Simon Ottes appeared as a witness to a marriage at the age of 29, described as painter, in 1831 declared bankrupt, described as a painter, glass maker and shopkeeper of office supplies and writing utensils in Den Helder. Again declared bankrupt as a house and carriage painter, shopkeeper and glassmaker in Purmerend in 1847, mentioned in 1856 as deceased in the death certificate of his son. SEE ILLUSTRATION PLATE CXXXVI.