5839 - 6022 FINE ARTS - 16th-19th CENTURY DRAWINGS, WATERCOLOURS and PAINTINGS
- Trifle foxed; remnants of small ticket in corner of lower cartoon; sm. pinholes in blank margins.
= A small wedding procession led by a trumpet player, with a bride looking none too happy, the woman behind her stepping on the bride's veil, causing a row between the groom and the party members. The bride takes her chance and elopes with the trumpeter.
- The first 5 lvs. w. oblique fold through middle of leaf and w. very vague waterstain; sl. dampstained in inner margin; one landscape drawing lacking sm. portion in lower margin; some spotting/ sl. staining throughout; upper hinge weak. Binding worn/ dam.
= Contains 10 detailed landscapes/ village views/ farmhouses (5x identified in pencil on verso), 17 detailed figure studies/ portraits and some smaller (detailed) sketches (i.a. cows). The views i.a. "Buiten de Leidschepoort op het Leidenburgerpad", "Aan den Amstel bij de Rijnspoorweg", "Aan de Sloterweg (achter het huis de Waag)" and "Aan de Straatweg te Midlum boven Harlingen". SEE ILLUSTRATION PLATE C.
- Sl. yellowed and foxed.
- A few sm. stains and rubbed spots.
- Pinkish stain in lower right corner, just touching the image.
- Sl. foxed/ browned.
- Revarnished; sl. craquelure all over; a few sm. imperfections to the surface (varnish) in lower left corner.
= SEE ILLUSTRATION PLATE CI.
- Tipped onto (contemp.) paper along upper margin. = Verso w. the beginning of another drawing.
AND an anonymous late 18th(?) cent. profile portrait of a boy (charcoal, 12x10 cm.).
- A few brown spots in the sky.
- Browned/ foxed.
- Probably doubled; sm. brownish stains in upper left corner; outer margins strengthened w. paper on verso.
= With a watermark showing the Paschal lamb (cf. Hinterding p.332-333). With the collector's mark of P. Crozat (Lugt 474) in lower right corner recto. With a copy of a letter by Werner Sumowski, identifying the artist as 'school of Rembrandt'. SEE ILLUSTRATION PLATE CI.
= With autograph dedication "à Monsieur G. Leclerq".
- Browned. = Nice drawing deserving a restoration.
= SEE ILLUSTRATION PLATE CII.
Idem. (Farmyard with playing child). Drawing, pencil, 25x36 cm., monogrammed (later) "HR" and "Vught 1836".
- Yellowed/ spotted; lower left blank corner sl. dam.
- A few sm. brown stains; sm. closed hole in upper right corner; cut on/ just outside the borderline.
= With part of a watermark showing a large crown. Provenance: Bassenge, May 1997. SEE ILLUSTRATION PLATE CII.
- Yellowed and some (damp)stains in the sky area.
= Nice view of boats in the harbour and at sea on a calm day.
= An extraordinarily rich collection of drawings by Abraham Rutgers, a prolific and skillful amateur draughtsman who earned his living as a textile merchant, and whose drawings are notable for at least two reasons according to B. Broos: their strong emphasis on well defined lines that lead to the vanishing point and their topographical specificity (Broos, Rembrandt en tekenaars uit zijn omgeving p.195). As is known from a collection of drawings by Rutgers which is kept in the Museum Mr. Simon van Gijn in Dordrecht, Rutgers divided his drawings into three different types: "Principale" (after nature), "Inventive" (the artist's own invention) and "Copijen" (copies after drawings and etchings by other artists). Rutgers found great inspiration in the drawings of his fellow artist Jacob Esselens and in the etched work of Allart van Everdingen: 43 drawings in this collection are copies of etchings by Van Everdingen, often altered slightly, with original additions to/ extensions of the image at left and/ or right margin, or on a different scale. About eight drawings show (the surroundings of) an unidentified (existing?) walled town with a castle and a church on a broad river (Mosel? Rhine?) in a vast, hilly but also partly flat landscape. There are several other (mountainous) landscape views (occasionally with travellers), a Dutch river view with many mills, and approximately eight views of most probably the river Vecht. Rutgers also travelled abroad: four drawings of the village of Tonbridge (in Kent) are included, each titled on verso: "Tombrits van de hoogte in Engelant", "Tombrits van d'and Zyde int Dorp", "Tombrits noch van een ander Seyde", as well as a view of "S'gravesend Van de hoogte" (Gravesend, also in Kent), and a view of the outer walls of "Winsor Castel". Two drawings show buildings on an unidentified (Dutch) estate(?), titled by the artist on verso "t'groot huys inde Tuyn" and "t'klyn huijs inde Tuyn genaamt de Loots". Another drawing shows the garden wall of the same premises from the outside, bordering on a river. He also drew "T'huys in portenge [= Portengen, in the Vechtstreek] het ploegie van binnen" and a view of "Aernhem" (both also titled on verso by the artist), and made a sweet drawing of a cat named Piet titled on verso by the artist: "Piet slaapt bijt Vier [= bij 't vuur] op 27 Xber [October] 85 getekent AR", making this the only drawing in the collection bearing the draughtman's monogram. SEE ILLUSTRATIONS ON FRONTCOVER and PLATE CIII.
****** SOLD FOR € 420.000 ******
= With manuscript annotation in pencil on verso: "Bought from Leigh, Sotheby & Wilkinson's Sale 20 July 1833 (? Wellesley's Collection)". Sandby also created a series of prints on the encampments in Hyde Park.