LOT DETAILS

Materials:

oil on oak panel

Measurements:

25.24 in. (64.10 cm.) (height) by 35.04 in. (89.00 cm.) (width)

Markings:

signed and dated lower left: Isack van Ostade/ 1644

Exhibited:

Munich, Königlichen Pinakothek, and subsequently Alte Pinakothek, until 1940; Delft, Museum Het Prinsenhof, XIXe Oude Kunst- en Antiekbeurs, 22 June - 12 July 1967 (exhibited by Gebr. Douwes); Cologne, Wallraf-Richartz-Museum, 24 January - 30 March 1970; Rotterdam, Museum Boymans-van Beuningen, 24 April - 7 June 1970, Sammlung Herbert Girardet, no. 39; The Hague, Mauritshuis, Terugzien in bewondering. A Collector's Choice, 19 February - 9 March 1982, no. 64; Amsterdam, Rijksmuseum, 2 October 1987 - 3 January 1988; Boston, Museum of Fine Arts, 3 February - 1 May 1988; Philadelphia, Museum of Art, 5 June - 31 July 1988, Masters of 17th Century Dutch Landscape Painting, no. 64; Madrid, Museo Thyssen-Bornemisza, The Golden Age of Dutch Landscape Painting, 1994, no. 42; The Hague, Mauritshuis, Holland Frozen in Time. The Dutch Winter Landscape in the Golden Age, 24 November 2001 - 25 February 2002, no. 19.

Literature:

G. von Dillis, Verzeichnis der Gemaelde in der königlichen Pinakothek zu München, Munich 1838, p. 569, no. 251 (reprinted in Böttger below); Verzeichnis der Gemälde in der Königlichen Pinakothek zu München, Munich 1838, 1839, 1845, p. 220, 1853, p. 205, 1856, p. 204, 1865, p. 183, always as no. 251; G. Waagen, Handbuch der Geschichte der deutschen und niederländischen Malerschulen, Stuttgart 1862, p. 150; Th. Gaedertz, Adriaen van Ostade, sein Leben und seine Kunst, Lübeck 1869, p. 135 (as Isack van Ostade); R. Marggraff, Die ältere königliche Pinakothek zu München. Verzeichnis und Beschreibung.. von Prof. Dr. Rudolf Marggraff, Munich 1872 (3rd ed., 1st. ed., 1865), p. 175/6, no. 843 (251 in the Dillis catalogue); Die Ältere Königliche Pinakothek zu München, Munich 1879, 1881, p. 148, 1884, 1886, p. 81, always as no. 378; Katalog der Gemäldesammlung der Königlich Älteren Pinakothek, Munich 1884, revised ed., 1886, 1888, 4th ed., 1891, p. 81, 1893, p. 81, 1896, 7th ed., 1898, 8th ed., 1901, revised ed., 1904, p. 90, 10th ed. 1908, p. 88, 1911, p. 110, always as no. 378; G. Hirth & R Muther, Der Cicerone in der Königlichen Pinakothek zu München, Munich 1888, p. 163; A. Rosenberg, Adriaen und Isack van Ostade, Bielefeld & Leipzig 1900, p. 100; C. Hofstede de Groot, A Catalogue Raisonné.., vol. III, London 1910, p. 463, no. 83 (German ed., Beschreibendes und kritisches Verzeichnis.., vol. III, Esslingen 1910, p. 483, no. 83); A. von Wurzbach, Niederländisches Künstler-Lexikon.., Vienna & Leipzig 1910, vol II, p. 288; Th von Frimmel, Lexikon der Wiener Gemäldesammlungen, Munich 1913, pp. 416, 420; I. Errera, Répertoire des Peintures datées, Brussels 1920, p. 240; Katalog der Älteren Pinakothek zu München, 1922, p. 110, 1925, p. 111, 1928, p. 101, 1930, p. 117. 1936, p. 180, always as no. 1037; W. Stechow, "Bermerkungen zu Jan Steens künstlerischer Entwicklung," in Zeitschrift für bildende Kunst, vol. 62, 1928, p. 173, repriduced p. 175; W. Martin, De Hollandsche Schilderkunst in de 17 éeuw, vol. I, Frans Hals en zijn tijd, Amsterdam 1935, 1943, p. 404, reproduced p. 405, no. 244; Weltkunst, vol. XXXVI, no. 20, 15 October 1966, p. 939; The Burlington Magazine, December 1966, Supplement (Notable Works of Art now on the Market), reproduced plate XII; J.R. Kist, "De 19de Antiekbeurs," in Toeristenkampioen (NAWB), 1 July 1967, pp. 424-5, no. 13, reproduced; H. Vey, Sammlung Herbert Girardet. Holländische und Flämische Meister, exhibition catalogue, Cologne 1970, (unpaginated), no. 39, reproduced; P. Böttger, Die Alte Pinakothek in München. Mit einem Anhang: Abdruck des frühesten Gemäldeverzeichnisses der Pinakothek aus dem Jahre 1838 von Georg von Dillis. Nach den heutigen Inventarnummern identifiziert von Gisela Scheffler, Munich 1972, p. 569 (republishing Von Dillis' inventory; Scheffler identified the painting as inv. no. 1037); E. Bénézit, Dictionaire critique et documentaire de Peintres.., 1976, p. 48; Meisterwerke der Malerei in Deutschen Museen, vol. II, Biberach 1977, under I. von Ostade; B.D. Kirschenbaum, The Religious and Historical Paintings of Jan Steen, Oxford 1977, p. 35, reproduced p. 168, fig. 23; K. Braun, Jan Steen, Rotterdam 1980, p. 86, under no. 11, reproduced p. 87, no. 11a; K.J. Müllenmeister, Meer und Land im Licht des 17. Jahrhunderts, vol. 3, Bremen 1981, pp. 17, 18, no. 292, reproduced fig. 292; W.L. van de Watering, in H.R. Hoetink (ed.), Terugzien in bewondering/A Collectors Choice, exhibition catalogue, The Hague 1982, p. 168, reproduced p, 169; A. Chong, in P.C. Sutton, Masters of 17th Century Dutch Landscape Painting, exhibition catalogue, London 1988, pp. 392-4, no. 64, reproduced, and in colour plate 46; P.C. Sutton, The Golden Age of Dutch Landscape Painting, exhibition catalogue, Madrid 1994, p. 160, no. 42, reproduced in colour; C. Steeb, Die Grafen von Fries.., doctoral dissertation, Graz 1996, pp. 257-8; A. van Suchtelen, Holland Frozen in Time. The Dutch Winter Landscape in the Golden Age, exhibition catalogue, Zwolle 2002, (partly unpaginated), no. 19, & pp. 162-3, no. 19, reproduced in colour.

Provenance:

Graf Josef Fries (d. 1788), Vienna; His son, Reichsgraf Moritz Christian Fries (1777-1826), where displayed in the Erste Zimmer of the Graf Fries Palais (Josephsplatz, today Palais Pallavicini), in Vienna until circa 1821; Bought by King Maximilian I Joseph of Bavaria (d. 1825) in circa 1821 for his "Privat Gemälde Sammlung" (Private Collection of paintings), and kept at the Residenz, Munich; In an inventory of his collection drawn up by Georg von Dillis in 1823-5, as No. 98; His deceased sale, Munich, 5ff December 1826; There acquired with several other paintings for the Königliche Gemäldegalerie and exhibited at the Pinakothek (now Alte Pinakothek) from 1836, as part of the Zentralgemäldedirektion, and subsequently the Bayerische Staatsgemäldesammlungen (from 1856 onwards as inv. no. 1037); By whom deaccessioned in 1940 (approval given by the Bavarian State Ministry on 16th January 1940) and sold by exchange to Walter Andreas Hofer, Berlin; Adalbert Bela Mangold, Cannes, until 1966; With H. Terry Engell, London, 1966-7 (included in his catalogue of Important Old Master Paintings, 1966, no. X, reproduced); With Gebr. Douwes, Amsterdam, 1967, by whom exhibited in the Delft Fair in that year; Herbert Girardet, Kettwig, by whom bought in 1967, until 1978, when acquired by the present owner. 1. Peter Sutton (writing in the catalogue of his 1988 exhibition; see Literature, pp. 391-2, no. 63, reproduced in colour plate 45) dates the Paris picture circa 1644-7, while Alan Chong, in the following entry for this picture (see under Literature, 1988, p. 393) thinks that present work immediately post-dates the Paris painting. 2. Baron Rutger von Essen, Skokloster; see E. Runia, in A. van Suchtelen, under Literature, 2001, reproduced in colour facing page; Chong, under Literature, 1988, p. 393, where reproduced fig. 2, and Sutton, 1994; also Kirschenbaum, 1977 & Braun, 1980, p. 86, no. 11, reproduced fig. 11. 3. Chong, under Literature; see B. Schnackenburg, Adriaen van Ostade, Isack van Ostade. Zeichnungen und Aquarelle, Hamburg 1981, vol. 1, p. 172, no. 479 (verso), reproduced vol. 2, p. 200. Schnackenburg connected the drawings with a different landscape by Isack van Ostade.