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拍品专文
Prized for his atmospheric moonlit riverscapes and picturesque winter landscapes, the present work is a departure from Aert van der Neer's most familiar scenes. Despite its uncharacteristic subject matter, however, the painting in some ways follows the artist's typical approach to landscape composition, painted from a slightly elevated vantage point, with an area of land stretching across the foreground populated with figures, riverbanks dotted with architecture, flanking a river which recedes into the distance.
A note on the provenance
Lots 119 and 120 are from the collection partly inherited and partly formed by Patrick Lindsay and arranged with characteristic taste by Lady Amabel, whom he married in 1955, in their house in Lansdowne Road. Brought up with great works of art, Patrick spent some time with his father’s friend, Bernard Berenson, before becoming a director of Christie’s in 1955. As head of the picture department, he made a very significant contribution to the post-war revival of Christie’s. No one who knew him will forget his instinctive response to great works of art, the conviction with which this was expressed, or the flair with which he pursued the interests that mattered to him.
The present work was one of a large group of Old Masters acquired en bloc in 1846 from the highly esteemed collection of the late collector Baron Johan Gijsbert Verstolk van Soelen in The Hague. Sold via John Chaplin in London, the buyers were a consortium comprising Samuel Jones Loyd, Humphrey St. John-Mildmay (1794-1853) and Thomas Baring, M.P. (1799-1873). The catalogue of the Verstolk van Soelen collection, annotated with the purchasers of each work, was prepared by Albertus Brondgeest and is dated 29 June 1846.
A note on the provenance
Lots 119 and 120 are from the collection partly inherited and partly formed by Patrick Lindsay and arranged with characteristic taste by Lady Amabel, whom he married in 1955, in their house in Lansdowne Road. Brought up with great works of art, Patrick spent some time with his father’s friend, Bernard Berenson, before becoming a director of Christie’s in 1955. As head of the picture department, he made a very significant contribution to the post-war revival of Christie’s. No one who knew him will forget his instinctive response to great works of art, the conviction with which this was expressed, or the flair with which he pursued the interests that mattered to him.
The present work was one of a large group of Old Masters acquired en bloc in 1846 from the highly esteemed collection of the late collector Baron Johan Gijsbert Verstolk van Soelen in The Hague. Sold via John Chaplin in London, the buyers were a consortium comprising Samuel Jones Loyd, Humphrey St. John-Mildmay (1794-1853) and Thomas Baring, M.P. (1799-1873). The catalogue of the Verstolk van Soelen collection, annotated with the purchasers of each work, was prepared by Albertus Brondgeest and is dated 29 June 1846.