JACOB VAN RUISDAEL (HAARLEM 1628⁄9-1682 AMSTERDAM)
JACOB VAN RUISDAEL (HAARLEM 1628⁄9-1682 AMSTERDAM)
JACOB VAN RUISDAEL (HAARLEM 1628⁄9-1682 AMSTERDAM)
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JACOB VAN RUISDAEL (HAARLEM 1628⁄9-1682 AMSTERDAM)
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PROPERTY FROM THE STERN COLLECTION : LES STERN - UNE FAMILLE DE COLLECTIONNEURS (LOTS 8 & 9)
JACOB VAN RUISDAEL (HAARLEM 1628⁄9-1682 AMSTERDAM)

A wooded landscape with cottages, villagers and a dog beyond

Details
JACOB VAN RUISDAEL (HAARLEM 1628⁄9-1682 AMSTERDAM)
A wooded landscape with cottages, villagers and a dog beyond
signed and dated 'JvRuisdael / 1648' (lower left, 'JvR' in ligature)
oil on panel
23 x 28 1⁄8 in. (58.5 x 71.3 cm.)
Provenance
(Probably) Baron François-Benjamin-Marie Delessert (1780-1868), 21 rue Raynouard, Paris; his sale (†), Petit & Pillet, Paris, 16 March 1869 (=2nd day), lot 81, as ‘Paysage. Une route sablonneuse ombragée d’un grand arbre, trois chaumières et une mare d’eau sur le devant’ (2,600 FF).
Edgard-Salomon Stern (1854-1937) and Marguerite Stern née Fould (1866-1956), Château de Villette, Pont-Sainte-Maxence, Oise.
Confiscated from the above by the Einsatzstab Reichsleiter Rosenberg following the Nazi occupation of France in May 1940 (ERR no. ST 68).
Acquired by Hermann Göring (1893-1946) from the above, 8 December 1941 (RM no. 1120).
Recovered by the Monuments, Fine Arts and Archives Section from Berchtesgaden, Austria, and transferred to the Munich Central Collecting Point, 29 July 1945 (MCCP no. 5819 with frame, MCCP no. 6453).
Returned to France on 18 April 1946 and restituted to the Stern family on 21 May 1946.
Maurice Stern (1888-1962), 5 avenue George V, Paris, where recorded in his posthumous inventory of 1962, and by descent.
Literature
(Probably) ‘Catalogue de la collection de tableaux de MM. Delessert (1),’ Bulletin des Arts, IV, 1845, p. 47, no. 106.
(Probably) Notice sur la collection de tableaux de MM. Delessert, Paris, 1846, p. 59, no. 455.
(Probably) C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the 17th Century, London, 1912, IV, p. 266, no. 854.
Succession de Monsieur Maurice Stern: Inventaire, objets d’art, Tapisserie, Tableaux et Miniatures garnissant un appartement sis à Paris, 5 avenue George V, December 1962, p. 9, listed in the dining room.
S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven and London, 2001, pp. 404-5, no. 566, fig. 566, with incorrect dimensions.
N.H. Yeide, Beyond the Dreams of Avarice: The Hermann Goering Collection, Dallas, 2009, pp. 163 and 375, no. A1135, illustrated.
J.-M. Dreyfus, Le catalogue Goering, Paris, 2015, pp. 494-5, no. RM1120, F850, illustrated.

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Lot Essay

This elegantly composed picture was executed in 1648, the year Jacob van Ruisdael, the greatest of all Dutch landscapists, joined the Haarlem Guild of Saint Luke. Barely twenty years of age at the time of execution, here Ruisdael demonstrates his innate talent and instinctive feel for compositional harmony and poetic mood. A master at evoking light and atmosphere, Ruisdael’s ground-breaking paintings from before 1650 constitute, in the words of Peter Sutton, ‘some of his most beautiful and subtle works that had a lasting influence in the history of art’ (Old Master Paintings from the Hascoe Collection, exhibition catalogue, Greenwich, CT, 2005, under no. 8).

In these early years, Ruisdael took particular inspiration from the countryside in and around his native Haarlem. These rustic views of tumbledown cottages along a diagonally oriented dirt path in the dunes around Haarlem poetically capture a sense of harmony between man and nature. A handful of solitary figures rest or go about the day’s activities, their presence dwarfed by one or more majestic trees whose canopy pierces an atmospheric, cloud-filled sky. The composition of this painting is notably similar to that of Ruisdael’s Wooded landscape with a man and two dogs on a path, a cottage beyond, a panel of similar scale dated to the same year that sold in these Rooms on 7 July 2022 for a world auction record of £3,382,500.

Though unknown to Slive, this painting was probably the last of three landscapes by Ruisdael that belonged to the banker Baron François-Benjamin-Marie Delessert and featured in his 1869 estate sale. These include another dune scene, likewise datable to the 1640s, in the Philadelphia Museum of Art (Slive, op. cit., no. 613) and a waterfall formerly in the collection of George Spencer Spitz in Vienna that last sold at Christie’s, New York, 27 April 2017, lot 154 (ibid., no. 290). Delessert possessed an extraordinary collection of paintings, augmented in no small part by works owned by his elder brother and fellow banker, Jules-Paul-Benjamin Delessert (1773-1847). Among the highlights of the Delessert collection were Raphael’s Orléans Madonna (Chantilly, Musée Condé), Pieter de Hooch’s The Visit (New York, The Metropolitan Museum of Art) and a large-scale Fish market by David Teniers the Younger, each of which fetched the extraordinary price of 100,000 francs or more at his estate sale.

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