.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
This charming panel displays the inventive compositional effects for which Esaias van de Velde is best remembered. The clump of trees at left and the ruined tower at right act as coulisses framing the flat landscape beyond. The neat rows of farm plots are the only clue to the vanishing point, just to the right of the church in the far distance. Despite being on an intimate scale, these motifs, together with the winding path and the wisp of trees along the horizon, all work in concert to convey a deep sense of space.
This characteristic work by van de Velde was acquired from the celebrated collection of Linda and Gerald Guterman by the New York based conservator Gustav Berger and his wife Mira. Berger began his career as a conservator in the studio of Julius Lowy, later working for Kress conservator Mario Modestini, for whom he built one of the first hot tables in America. While working as an assistant for William Suhr, conservator at The Frick Collection, he was challenged to invent a new adhesive and BEVA 371 (Berger ethylene vinyl acetate) was created. BEVA quickly became the favored adhesive among conservation professionals and is still in use today.
This characteristic work by van de Velde was acquired from the celebrated collection of Linda and Gerald Guterman by the New York based conservator Gustav Berger and his wife Mira. Berger began his career as a conservator in the studio of Julius Lowy, later working for Kress conservator Mario Modestini, for whom he built one of the first hot tables in America. While working as an assistant for William Suhr, conservator at The Frick Collection, he was challenged to invent a new adhesive and BEVA 371 (Berger ethylene vinyl acetate) was created. BEVA quickly became the favored adhesive among conservation professionals and is still in use today.