Sepia and Pencil on Paper Mounted on Panel Signed: Bottom right and signed again on the back Dimensions: 28.9 x 20.9 cm Provenance: Private Collection, Israel Condition: For a detailed condition report, please contact us at info@hammersite.com
BAUMLANDSCHAFT MIT KÜHEN UND SCHAFEN AN EINEM TÜMPEL Öl auf Holz. 48 x 63 cm. Rechts unten signiert. Beiliegend eine Expertise von Marijke C. de Kinkelder, Curator Old Nederlandish Paintings, vom 28. Mai 2009, in Kopie. Die Stimmung zeigt ein beruhigendes Spätnachmittagslicht, das sich am Horizont gelblich verfärbt und in der Talsenke dem kleinen Tümpel Lichteffekte verleiht. Daneben leuchtet einzig das Weiß des Rindes am Teichufer aus der Schattenzone, in der links davon ein rastender Bauer mit seinem Hund zu erkennen ist. Somit ist der Eindruck von Ruhe das eigentlich beherrschende Thema des Bildes. Insgesamt kann festgestellt werden, dass neben der Exaktheit der landschaftlichen Elemente bei Salomon Ruysdael das Stimmungsvolle ein charakteristisches Element in etlichen seiner Werke darstellt.Zwei feine vertikale Plattenrisse. Der holländische Maler war der Onkel des niederländischen Landschafts- und Marinemalers Jacob van Ruisdael. Vermutlich wurde er bei Esaias van de Velde (1587/91 - um1630) ausgebildet, ab 1623 war er Mitglied und 1648 Vorstand der Haarlemer Malergilde. Anmerkung: In der beiliegenden Expertise wird die Entstehung des Bildes in die Mitte der 1660-er Jahre datiert und verglichen mit einem Werk (bei Van Diemen, Amsterdam ca. 1940, sowie bei Xaver Scheidwimmer, München 1874) Zudem wird bemerkt, dass sich die ausgeschriebene Signatur – entgegen dem zumeist verwendeten „JvR“ Monogramm – auch noch in weiteren Werken Ruysdaels finden ließ (Sotheby´s London, 7 Juli 1976, lot 69; sowie 12. Dez. 1990, lot 204). (1420211) (11) Salomon van Ruysdael, Ca. 1602 Naarden – 1670 Haarlem TREE LANDSCAPE WITH COWS AND SHEEP BY A POND Oil on wood. 48 x 63 cm. Signed lower right. Accompanied by an expertise by Marijke C. de Kinkelder, Curator Old Nederlandish Paintings, dated 28 May 2009, in copy.
Circle of Salomon van Ruysdael, Dutch c.1602-1670- Figures seated under a tree, by a cottage door; oil on canvas, 66.5 x 52 cm. Provenance: Private Collection. Note: The present work recalls Van Ruysdael's tranquil pastoral landscapes, often executed in muted colours, populated by small, solitary figures and livestock in a landscape, dwarfed by towering trees.
Monogrammed on the leeboard of the sailing boat: S. vR 1647 With the seal of Galerie Sedelmeyer, Paris, on the reverse. In his monograph on Salomon van Ruysdael, Wolfgang Stechow aptly described the essence of his marine paintings, which is particularly evident in the present work: ‘Ruysdael knows neither the stormy “dramatic” nor the “historical” nor even the “representative” marine painting, but only the “present” one; the clear calm and pure atmosphere, the “sober poetry” that avoids all sentimentality and splendour, finds its most perfect expression in some of these paintings’. (W. Stechow: Salomon van Ruysdael, kritisches Oeuvreverzeichnis, Berlin 1975, p. 111). Salomon van Ruysdael is the painter of the watery Dutch landscape. In this light-flooded depiction of the Wjkermeer, the focus is on the clouds and water. Ships sail peacefully into the distance under a high and imposing cloudy sky, which Ruysdael uses to create an immense sense of space in a small area. The painting is a testament to his skilful technique, in which he used wet-on-wet brushwork to create wonderfully atmospheric colour effects. In this work from 1647, Ruysdael departs stylistically from the broad painterly strokes of his tonal landscapes of the 1630s. He turns to a chiaroscuro with lighter and more varied colours, emphasises the clouds more strongly and shows larger areas of water. Abrupt discontinuities of light and shadow create depth both below and above the water, with the foreground obscured by a seemingly dark cloud that fades into the luminous distance and is bathed in soft atmospheric half-light. Marine paintings, inspired by Jan van Goyen, only appear in Ruysdael's œuvre from the beginning of the 1640s. Unlike his contemporary Simon de Vliegher, for example, Ruysdael was not interested in depicting the open sea. His paintings depict the typical Dutch landscape of the 17th century, which was characterised by inland lakes and extensive estuaries that often no longer exist today. The present painting obviously also depicts such an inland lake, as the distant strip of shore along the horizon suggests. A spit of land with farmhouses also appears in the centre left. The view of Beverwijk housed in the Mauritshuis in The Hague is considered to be a later, portrait format version (fig. 1). The outline of a pointed church spire that appears in the background is depicted from a shorter distance away and can therefore be identified as the tower of the church of Beverwijk on the Wijkermeer. This explicit topographical reference can be seen in connection with the interest of wealthy citizens of Amsterdam who had their weekend homes in this village not far from Haarlem. The main motif is a Kaag in the foreground, a typical sailing boat used in these Dutch inland waterways. These ships were used among other things as ferries to connect the large cities with one another. On calm waters, the single-masted vessel glides diagonally into the right towards the depths of the painting. The wind coming from astern makes for a pleasant journey, which is probably why the majority of travellers have stayed on deck. As Wolfgang Stechow noted, the compositional principle of emphasising just one ship goes back to Jan van Goyen, who in turn followed the example of Jan Porcelli. By emphasising the other motifs, Ruysdael binds them together and creates a greater illusion of space. By matching a single-masted ship of the same type in the distance to the large ferryboat, he masterfully creates a perspectival reference system.
ALTES BAUERNHAUS, UM 1625 – 1635 Öl auf Holz. 32,6 x 32,5 cm. In dekorativem Rahmen. Das Gemälde ist im RKD, Den Haag als ein eigenhändiges Werk von Salomon van Ruysdael archiviert unter der Bild-Nr. 311529. Blick auf ein altes, mit Brettern verkleidetes Gehöft, dessen Frontseite mit geöffneter Tür und geöffnetem Fenster von der Sonne beschienen wird, während die rechte Seite mit einem weiteren Gemäuer verschattet bleibt. Vor einer kleinen Wäscheleine, auf einer Bank sitzend, ein Paar, während zwei weitere Figuren dabei sind zwei Fässer in den Hauseingang zu rollen. Links des Gebäudes fällt der Blick auf ein kleines Wäldchen mit alten knorrigen und weit verzweigten Bäumen in bräunlichem Herbstlaub, darüber der graue, fast wolkenlos wirkende Himmel. Qualitätvolle harmonische, überwiegend tonige Malerei mit gekonnter Licht- und Schatteninszenierung. (1411071) (1) (18) Salomon van Ruysdael, ca. 1602 Naarden – 1670 Haarlem LANDSCAPE WITH OLD FARMHOUSE AND FIGURES Oil on panel. 33 x 32.5 cm. The painting registred at RKD, The Hague as an autograph work by Salomon van Ruysdael, image no. 311529.
Salomon van Ruysdael (1602-1670) Scène de chasse près du bosquet, huile sur panneau, circa 1640, 43x54 cm. Littérature: Inclus dans C. Hofstded de Groots: catalogue des oeuvres de Jan van Goyen sous le numéro 316; W. Stechow: correctement inclus dans le catalogue des oeuvres de Salomon van Ruysdael (1938) sous le numéro 130. Provenance: vente Lempertz, 25 novembre 1925, no 114 comme Ian van Goyen; Galerie Rochlitz, Berlin; vente Anderson galleries New York, 22 janvier 1931, no 33; Madame Marion Cartier puis par descendance
SALOMON VAN RUYSDAEL (Naarden circa 1600–1670 Haarlem) River landscape with a ferry. 1649. Oil on panel. Signed and dated lower centre: S. VRuysdael. 1649. 60.4 × 90.8 cm. Provenance: - Collection of Frederick Arthur Heygate Lambert (1857–1929), before 1926. - Sale Sotheby's, London, Sammlung Heygate Lambert, 21.4.1926, Lot 66. - With Douwes, Amsterdam, 1926. - Collection of Dr Heilgendorff, Berlin, 1938. - Collection of Heinz Kuckei, Berlin. - By descent, European private collection. Literature: Wolfgang Stechow: Salomon van Ruysdael, Berlin 1975, p. 124, no. 360. --------------- SALOMON VAN RUYSDAEL (Naarden um 1600–1670 Haarlem) Flusslandschaft mit einer Fähre. 1649. Öl auf Holz. Unten mittig signiert und datiert: S. VRuysdael. 1649. 60,4 × 90,8 cm. Provenienz: - Sammlung Frederick Arthur Heygate Lambert (1857–1929), vor 1926. - Auktion Sotheby's, London, Sammlung Heygate Lambert, 21.4.1926, Los 66. - Kunsthandel Douwes, Amsterdam, 1926. - Sammlung Dr. Heilgendorff, Berlin, 1938. - Sammlung Heinz Kuckei, Berlin. - Durch Erbfolge, europäische Privatsammlung. Literatur: Wolfgang Stechow: Salomon van Ruysdael, Berlin 1975, S. 124, Nr. 360. Das hier angebotene Gemälde ist ein charakteristisches Beispiel für Ruysdaels Stil in den späten 1640er-Jahren. Insbesondere im Jahr 1649 erreicht die Flusslandschaft im Œuvre Ruysdaels "seine klassische Höhe und Vollendung", wie Stechow schreibt. Die Ruhe in der Komposition und der Farbigkeit tritt in diesem Reifewerk an Stelle der dynamischen Tiefenwirkung, welche noch in frühen Gemälden des Malers vor 1643 dominierte. "Das Grün der Bäume fordert wieder sein Recht", so Stechow, die Konturen werden im leichten Dunst am Horizont verschleiert, die verschiedenen Landschaftsteile werden zusammen mit den Booten und Fussgängern am Flussufer zu einer Einheit. Die Gemälde aus dieser Schaffensphase entstanden meist im Atelier des Künstlers und sind somit keine topographischen Abbilder der Natur, sondern vereinen charakteristische Elemente der holländischen Landschaftsmalerei zu einer idealen Wirklichkeit. Vergleichbare Kompositionen befinden sich unter anderem im Rijksmuseum in Amsterdam (Inv.-Nr. SK-C-1698) und im Städel Museum in Frankfurt (Inv.-Nr. 100). Salomon van Ruysdael gehörte mit Esaias van de Velde (1587–1630), Pieter de Molyn (1595–1661) und Jan van Goyen (1596–1656) zu den Gründern der frühen naturalistischen holländischen Landschaftsmalerei und zu den wichtigsten holländischen Landschaftsmalern des 17. Jahrhunderts überhaupt. Er lebte bis zu seinem Tod als wohlhabender Bürger in Haarlem. Seine Landschaften zeigen eine ruhige, stille Welt, die ihm in ihrer Vollendung Gleichnis für die Harmonie der Schöpfung sind, wie in dem hier angebotenen Gemälde auf besondere Weise ersichtlich ist. ---------------
HOLLÄNDISCHE WEITE FLUSSLANDSCHAFT MIT WINDMÜHLEN, WOHL MIT ANSICHT VON DEVENTER Öl auf Holz. 47 x 72 cm. Blick über ein schmales Ufer mit kleiner Kuhherde auf einen breiten Fluss mit mehreren Booten sowie einem rechtsseitig am Ufer stehenden Boot, auf das bereits ein Paar zur Flussüberfahrt wartet. Linksseitig am Flussufer zwei Windmühlen und dahinter die Silhouette einer großen Stadt, unter hohem blauen Himmel mit großen dicken weiß-grauen Wolkenformationen, die fast drei Viertel der Bildfläche einnehmen. Malerei in der typischen Manier des Künstlers in zurückhaltender Farbgebung. Vereinzelt rest. (13902741) (18)
Salomon van RUYSDAEL Naarden, vers 1600 - Haarlem, 1670 Le passage du bac Huile sur panneau parqueté Monogrammé sur le bac en bas vers la gauche (Restaurations) The ferry, oil on panel, monogrammed, by S. van Ruysdael h: 70,50 w: 64 cm Provenance : Chez A. Reyre à Londres ; Chez F. Kleinberger, Paris, 1930 ; Chez le marchand Capdevielle au début des années 1930 ; Acquis auprès de ce dernier par Monsieur et Madame Edmé Renaudin en 1932 ; Par descendance à leurs petits-enfants ; Collection particulière, Paris Bibliographie : Wolfgang Stechow, 'Salomon van Ruysdael. Eine einführung in seine kunst, mit kritischem katalog der Gemälde', Berlin, 1938, p. 76, n° 69 Commentaire : Salomon van Ruysdael est avec Jan van Goyen un des grands représentants du paysage naturaliste de la première moitié du XVIIe siècle en Hollande. Membre d'une célèbre dynastie de peintres, il est le maître de son neveu Jacob van Ruisdael. Né à Haarlem, Salomon devient membre de la guilde des peintres de Haarlem en 1623. A l'instar de Jan van Goyen, il est marqué par l'œuvre d'Esaias van de Velde, actif à Haarlem de 1610 à 1618. Peintre prolifique, il se spécialise dans les paysages de rivière et d'estuaire dont le premier exemple apparaît en 1626. Dans un format portrait, Salomon van Ruysdael représente ici le passage du bac sur une eau calme où vaches, chien et hommes partagent le temps de la traversée une même embarcation. La technique consistant à signaler la distance en représentant une langue de terre traversant le panneau en diagonale et s'amenuisant peu à peu est propre au peintre, comme la palette employée ici composée de tons de gris, verts et bruns doux et sourds. Estimation 20 000 - 30 000 €
Caspar Auer (1795 Nymphenburg - 1821 Munich) after Salomon van Ruysdael (around 1600 Naarden - 1670 Haarlem): Night hike with two hunters in a forest landscape with a body of water, 19th century, Lithography Technique: Lithography on Paper Inscription: On the left the figures of two hunters, their dogs chasing across the meadow. Signed and dated on the left and right below the image. In the centre the printer's name: Josef Selb. The print is part of the publication series 'Königlich Baierischer Gemälde-Saal zu München und Schleissheim'. This publication summarises the royal collection in Munich lithographically. Date: 19th century Description: View of a forest landscape at night with a clearing illuminated by the moon. Keywords: Moonlight night, landscape, forest landscape, hunter, deciduous tree, 19th century, Romanticism, Landscape, Germany,
Property from the Collection of J.E. Safra Salomon Van Ruysdael Naarden 1600 or 1603 - 1670 Haarlem Ships on the Boven-Merwede with Gorinchem in the Distance signed on the gunwale of the foreground vessel: SVR dated on the leeboard of same vessel: 1659 oil on panel panel: 16 ½ by 14 ⅝ in.; 41.9 by 37.1 cm. framed: 22 by 20 in.; 55.9 by 50.8 cm.
SALOMON VAN RUYSDAEL (NAADEN 1600⁄03-1670 HAARLEM) A wooded landscape with the Concubine carried by the Levite from Gibeah oil on canvas 40 ½ x 53 5⁄8 in. (103 x 136.2 cm.)
Attribué à Salomon VAN RUYSDAEL Naarden, 1602 - 1670, Haarlem Vue d'un moulin avec l'église Saint-Bavon d'Harlem au loin Huile sur toile Monogrammée en bas à gauche 60 x 86 cm View of a Mill with Saint Bavo's Church in Harlem in the Distance Oil on canvas Monogrammed lower left 23 5/8 x 33 7/8 in.
Tableaux VAN RUYSDAEL Salomon (1600 - 1670). (?). Huile sur toile marouflée sur toile "Paysage boisé animé". Monogrammé en bas à droite SVR pour Salomon van Ruysdael (?) et daté 1653 (?). Ecole hollandaise. Epoque : XVIIème. Dim. : +/- 68x82 cm.
Ruysdael, Salomon van (im Stil von). Bukolische Landschaft mit Kühen und Pferdepflug. Öl auf Holz. 18. Jahrhundert. Maße: 27,5 x 39,5 cm. Gerahmt: 40 x 52 cm. Stimmungsvolle Vedute mit bäuerlicher Staffage im Stil des niederländischen Pioniers barocker Landschaftsmalerei Salomon van Ruysdael (um 1600-1670). - Verso gestochenes Etikett eines Kardinalswappens mit drei Rosen und schwarzen und roten Siegelresten sowie mit einem weiteren Besitzetikett von "S. Pugh à Baden-Baden" (?). - Firnis nachgedunkelt, vereinzelte kleine, teils retouchierte Farbabplatzungen, die Malschicht entlang der Ränder sowie im Bereich neben der links stehenden Dreiergruppe etwas berieben; der goldgefasste Stuckrahmen mit größeren Ausbrüchen in den Ecken.
Salomon van Ruysdael (Dutch, circa 1602-1670) Livestock and Figures by a Well monogrammed and dated 'SvR / 1642' (lower left center) oil on panel 29.8 x 42.3 cm (11 3/4 x 16 5/8 in). framed 43.5 x 55.8 x 4.5 cm (17 1/8 x 21 15/16 x 1 3/4 in).
Caspar Auer (1795 Nymphenburg - 1821 Munich) after Salomon van Ruysdael (around 1600 Naarden - 1670 Haarlem): Night hike with two hunters in a forest landscape with a body of water, 19th century, Lithography Technique: Lithography on Paper Inscription: On the left the figures of two hunters, their dogs chasing across the meadow. Signed and dated on the left and right below the image. In the centre the printer's name: Josef Selb. The print is part of the publication series 'Königlich Baierischer Gemälde-Saal zu München und Schleissheim'. This publication summarises the royal collection in Munich lithographically. Date: 19th century Description: View of a forest landscape at night with a clearing illuminated by the moon. Keywords: Moonlight night, landscape, forest landscape, hunter, deciduous tree, 19th century, Romanticism, Landscape, Germany,
Johann Jakob von Dorner jun. (1775 Munich - 1852 ibid.) after Salomon van Ruysdael (around 1600 Naarden - 1670 Haarlem): River landscape with cows on a ferry crossing the river, 1817, Lithography Technique: Lithography on Paper Inscription: Dated below and signed left and right Date: 1817 Keywords: River landscape, cows, river crossing, ferry, 19th century, Baroque, Landscape, Germany,
Salomon van Ruysdael (Naarden circa 1602-1670 Haarlem) A river landscape, with figures in boats casting a fishing net signed and dated 'S.VR/ 1635' (lower left, the V and R in ligature) oil on panel, tondo 38.2cm (15 1/16in). diameter
(Haarlem circa 1601–1670) A winter landscape with figures on the ice, signed and dated lower centre: S. V. Ruyesdael, oil on panel, oval, 29.5 x 38.5 cm, framed Provenance: sale, Roos & Co, P. C. Haemacher, F. L. Berré, Amsterdam, 30 November 1897, lot 96; Duchessa Marie di Bojano, née Countess of Schönborn-Wiesentheid (1848–1929), Florence; Constantin Georges Nano (1870–1952), Berlin; his sale, Lepke, Berlin, 3 April 1928, lot 200; sale, Drouot, Paris, 15 December 1980, lot 36; with Galerie Müllenmeister, Solingen; Rhenish private collection; sale, Lempertz, Cologne, 17 May 2014, lot 1141; where acquired by the present owner Literature: W. Stechow, Salomon van Ruysdael, Berlin 1938, pp. 68, 78–79, nos. 4 and 96; W. Stechow, Salomon van Ruysdael, Berlin 1975, pp. 68, 82, nos. 4 and 96 We are grateful to Ellis Dullart for confirming the attribution of the present painting to Salomon van Ruysdael. The present wintery scene, with figures swaddled against the cold beneath a grey blue sky, is a typically vivid and brisk depiction of the countryside around Haarlem by Salomon van Ruysdael. The lilac and white contrasting tones of the sky give way to the weak sunlight modelling the fenced windmill that closes off the composition to the left. The low horizon is typically Dutch and shows the innovative realism of landscape painting in the Gouden Eeuw, as developed by van Ruysdael and his contemporary Jan van Goyen from the pioneering works of Esais van de Velde. In the present, oval shaped panel, the curved format compliments the meandering, serpentine lines of the river, snaking into the distance, while the scene is enlivened by the peasant girl beside the windmill who watches the boys treading unsteadily out onto the ice. Salomon van Ruysdael, uncle of the even more renowned painter Jacob van Ruysdael, was registered at the Guild of Saint Luke in Haarlem under the name Salomon de Goyer in 1623. At some point the family changed their name to Ruysdael, apparently after a castle of that name in the Gooiland that may have been a historic family seat. The present work, signed and dated: S.V. Rueysdael 1629, is from a phase in Ruysdael’s oeuvre between 1628–31 when he wrote his surname with an extra ‘e’ in the middle, and shows the master at the peak of his powers.
Salomon van Ruysdael (1602-1670)-attributed, boats with peasants and houses at a waterfront, oil on oak panel, probably remains of signature bottom right, described on the reverse, framed, 24 x 37 cm
Caspar Auer (1795 Nymphenburg - 1821 Munich) after Salomon van Ruysdael (around 1600 Naarden - 1670 Haarlem): Night hike with two hunters in a forest landscape with a body of water, 19th century, Lithography Technique: Lithography on Paper Inscription: On the left the figures of two hunters, their dogs chasing across the meadow. Signed and dated on the left and right below the image. In the centre the printer's name: Josef Selb. The print is from the publication series 'Königlich Baierischer Gemälde-Saal zu München und Schleissheim'. This publication summarises the royal collection in Munich lithographically. Date: 19th century Description: View of a forest landscape at night with a clearing illuminated by the moon. Keywords: Moonlight night, landscape, forest landscape, hunter, deciduous tree, 19th century, Romanticism, Landscape, Germany,
Johann Jakob von Dorner jun. (1775 Munich - 1852 ibid.) after Salomon van Ruysdael (around 1600 Naarden - 1670 Haarlem): River landscape with cows on a ferry crossing the river, 1817, Lithography Technique: Lithography on Paper Inscription: Dated below and signed left and right Date: 1817 Keywords: River landscape, cows, river crossing, ferry, 19th century, Baroque, Landscape, Germany,
Salomon van Ruysdael River Landscape with two farm wagons under tall trees c. 1635/40 oil on panel 68.5 x 92 cm (oval) F. Kleinberger, Paris by 1924; Sale, Paris, Huet, 14 June 1961, lot 51; Sale, Paris, 14 March 1970, lot 20; Galerie St. Lucas, Vienna 1974-75; collection Erna Weidinger (1923-2021) Winter 1974/75 Vienna, Galerie St. Lucas, old master paintings, no. 7 Wolfgang Stechow, Salomon van Ruysdael, Berlin 1938, cat. no. 109; Wolfgang Stechow, Salomon van Ruysdael, Berlin 1975, p. 84, cat. no. 106A In the present painting, the idyllic shore is painted in atmospheric autumn colours. Two loaded wagons stand near a hut visible between tall trees, in front of which the horses are being fed. Above the lifelike shimmering reflections in the calm water, several boats are floating along the shore. River scenes were Salomon van Ruysdael's main subject - he created more paintings on this theme than on any other landscape subject. For the present depiction, he used an oval horizontal format, which further emphasises the aesthetic impression of the landscape view. In the 1630s, the floating nature of the representational prompted the artist to use this format more frequently for his constantly varied river landscapes, for example in his "Baumreiches Flussufer" ("Wooded River Bank") in the Gemäldegalerie Dresden (c. 1633, inv. no. 1384). Above the obliquely receding river view, the trees on the bank form a diagonal line which connects foreground and background and creates a unified pictorial space. Above the low-set horizon, space is given to the impressive depiction of the sky and clouds. This allowed the artist to capture the reflections of the sky and trees in the water. In this complementary treatment of water and sky, Salomon van Ruysdael is unsurpassed among his compatriots. In this sense, the interacting, transient natural phenomena that Ruysdael presents in his depiction of water, light and air are probably the real protagonists of this outstanding landscape. Together with Jan van Goyen (1596-1656), Salomon von Ruysdael belonged to the group of Haarlem artists who were to revolutionise Dutch landscape painting from the 1620s onwards. Through their mutual influence, they developed a naturalistic style of painting that focused on the peculiarities and ephemeral details of nature and atmospheric effects.
SALOMON VAN RUYSDAEL (NAARDEN ?1600/3-1670 HAARLEM) A wooded landscape with a herdsman on horseback driving his cattle and... oil on panel 13 1/2 x 24 7/8 in. (34.2 x 63.1 cm.)
Attribuito Salomon van Ruysdael (Naarden 1600 circa - Haarlem 1670) Paesaggio fluviale Olio su tavola 17,5 x 26,2 cm Un buon confronto è riscontrabile osservando l’opera River Landscape del 1649, presente alla National Gallery of Art, Washington, D.C.; oppure A riverscape with Muiden Castle in the background, presente al Musée des Beaux-Arts di Strasburgo. Inizialmente le opere di Salomon van Ruysdael risentono dell'influenza di Esaias van de Velde e di Pieter Molyn, di cui probabilmente fu allievo. Salomon non inventò paesaggi ideali o idealizzati, come era di moda in Italia: egli preferì ispirarsi al vero immortalando angoli di Arnhem, Dordrecht e Utrecht. I suoi primi paesaggi fluviali risalgono al 1630, caratterizzati dalla visione trasversale, e mostrano come Salomon fosse edotto di quanto andava dipingendo il famoso paesaggista contemporaneo Jan van Goyen. Caratterizzò i suoi paesaggi con la presenza di alberi dipinti minuziosamente, la linea dell'orizzonte molto abbassata per dar spazio, luce espressività al cielo e alle sue varianti atmosferiche. Attributed to Salomon van Ruysdael (Naarden ca. 1600 - Haarlem 1670) River landscape Oil on panel 17,5 x 26,2 cm A good comparison can be found by observing the artwork River Landscape of 1649, present at the National Gallery of Art, Washington, D.C .; or A riverscape with Muiden Castle in the background, present at the Musée des Beaux-Arts in Strasbourg.
Salomon van Ruysdael (1601 Naarden - 1670 Haarlem) Umkreis Flusslandschaft mit rastenden Figuren Blick auf eine sommerliche Flusslandschaft mit baumbestandenem Ufer und befestigtem Gebäude, im Vordergrund eine Gruppe von drei rastenden Männern im Gespräch mit einer Magd. Das atmosphärisch gestimmte, fein lasierend gemalte Tafelbild zeigt kompositorisch und stilistisch in vielfältiger Hinsicht eine Reihe von Bezügen zu den bekannten vielen Flusslandschaften Ruysdaels, die das Hauptsujet des Künstlers bildeten. 46,5 cm x 65 cm. Öl/Eichenholztafel. Circle of Salomon van Ruysdael (1601 - 1670). River landscape with resting figures. Oil on oak panel.
Salomon van Ruysdael (Dutch, B.C. 1602–1670) Sailing by the Old Dutch Town Oil on cradled panel 9 7/8 x 13 1/2 in. (25.1 x 34.3cm) Executed circa 1645-1650. Provenance Collection of Mrs. Michel van Gelder, Uccle (near Brussels), Belgium, 1914. John Mitchell Gallery (now John Mitchell Fine Paintings), New York, New York, May 1950. Collection of E. A. Jyost, 1952. Christie's, New York, sale of January 29, 1998, lot 116 (sold as A River Landscape with Sailing Boats by a Village). Acquired directly from the above sale. Richard Green Ltd., London, United Kingdom. Acquired directly from the above. Private Collection, Massachusetts. By descent in the family to the present owner. Footnote: Literature Wolfgang Stechow, Salomon van Ruysdael, Berlin, n.p., 1938, no. 474, p. 142 (as Ruderboot Mit Sechs Mann i.e. The Six-Man Rowing Boat). Note Salomon van Ruysdael is one of the important links in a generation of Ruysdael artists that started with his father, Jacob Jansz de Gooyer and ended with his own nephew, Jacob van Ruysdael. Born in Naarden around 1601, Ruysdael spent most of his career in Haarlem, where he joined the Guild of St. Luke in 1623. While his early work resembled that of Esaias van de Velde and Pieter de Molijn (landscapes of modest size and subject, mostly dunes and trees set in the environs of Haarlem, set in a restricted color palette), his work took a serious turn after 1645, his compositions becoming more spacious, featuring cloud-filled skies and broad expanses of water. As exemplified by the present oil, the artist employs a bolder (yet tonal) color palette, which not only makes a coherent, well-balanced picture plane, but also accentuates the perspective of the scene as it eases the viewer's eye progression into the distance. Our vision is indeed first directed towards the quintessential ferry boat at bottom left, a motif which Ruysdael so frequently employed in his paintings, before being attracted by the high church steeple on the right-hand side of the composition, and finally set back into the background where boats of various sizes stretch into the horizon. While the deep blues of the sky and sea offer a warm, charming contrast with the sand-colored buildings of the town on the river bank, the savant use of black throughout the composition, to outline the silhouette and shadows of the main figures, anchors the scene and gives it a sense of floating stability. It is with such atmospheric and finely detailed works (see the stork's nest on top of the church) that Ruysdael became one of the leading landscape painters of his generation, one of the most fervent tenant of Dutch realism, which inspired a fruitful generation of artists after him such his nephew, but also Meindert Hobbema and Aelbert Cuyp. We wish to thank the Rijksbureau voor Kunsthistorische Documentatie, also known as R.K.D, for confirming the authenticity of the present work.
Ruysdael, Salomon van Haarlem 1600 - 1670 41 x 35,5 cm River Landscape with a Fortified Tower and a Fortress. Oil/panel, on the defence wall monogrammed and dated SvR 1662. Benedict, Paris Nijstadt, Den Haag, 1957 Sale Gemeentenmuseum Den Haag, April 1972, No. 68 Private Collection Solingen Exhibited: Delft, Het Pinsenhof, Kunst en Antiekbeurs 1957 Lit.: published in: Kurt J. Müllenmeister, Meer und Land im Licht des 17. Jh., 1973, vol. 1, no. 112, XXVII. Wolfgang Stechow, Salomon van Ruysdael. Eine Einführung in seine Kunst . Mit kritischem Katalog der Gemälde., 1975, no. 34A. In the large Ruysdael family of painters probably Salomon was the most down-to-earth and wealthy who spent his life almost exclusively in Haarlem. He was chairman of the painters' guild and held a honorary position in the city. His closeness to the works of Jan van Goyen, especially to his river landscapes, is obvious. Kurt Muellenmeister also devotes an entire section to Ruysdael in his three-volume publication "Meer und Land im Licht des 17. Jh." (in 1973 and two years before Stechow's catalogue raisonné is published): "(...) The tone in Ruysdael's pictures goes (...) over gray and green into silver gray and later in a shade of brown with black undertones. A good example from this period is the River Landscape shown under number 112 from 1662. Ruysdael's great painterly ability gives us these masterful works of the late period (...)". The small oak panel is in very good condition, hardly worn or retouched. The structure of the wood shimmering through here and there in the sky (in earlier times often as a loss of a strong cleaning viewed) is thus deliberately designed by the painter and makes the special charm of the sky part.
FOLLOWER OF SALOMON VAN RUYSDAEL (DUTCH 1602-1670) Countryside Stroll , oil on panel 29 x 25 cm (11 3/8 x 9 7/8 in.) CONDITION Observed in frame, the painting appears in age-appropriate condition. The painting has previously been clean, apparent to the figures. Inspection under UV light shows no apparent sign of restoration. framed dimensions: 43 x 40 cm (16 7/8 x 15 3/4 in.) Kindly note, the auction is comprised of two sessions: Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331 Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827 N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Salomonsz VAN RUYSDAEL père (Naarden 1602- Haarlem 1670) "Paysage Arboré et Animé" huile sur toile monogrammé SVR en bas à droite en noir et daté 1663. Cadre ancien en bois sculpté doré. Une étude scientifique par le laboratoire d'étude des œuvres d'art de Louvain la Neuve est fournie, qui permet de voir les repeints et les parties originales, et qui conclue: "L'analyse par microfluorescence du berger et son troupeau dans un paysage boisé indique l'emploi de pigment compatible avec une palette du XVIIe siècle" Restauration d'usage et d'entretien, réentoilé. Epoque XVIIème siècle Dimensions à vue : H: 90; L: 109 cm Les historiens d’art conviennent que c’est après 1645 que l’artiste a développé son sens du paysage ; il s’oriente vers des compositions avec à l'avant plan des grands arbres d’ancrage d’un côté et de l’autre des vues lointaines qui attirent l’œil avec de vastes nuages en jouant sur l’utilisation de la couleur pour ceux-ci. Le peintre affectionne alors tout particulièrement des œuvres monumentales en format et conception avec effet d’atmosphère. C’est le cas de la grande toile présentée avec au centre un massif d’arbres, à droite un chemin entrant dans la forêt et à gauche une trouée avec un fleuve vers la ligne d’horizon.
SALOMON VAN RUYSDAEL (NAARDEN 1600/1603-1670 HAARLEM) A landscape with figures on a bank by a windmill oil on panel, oval 11 5/8 x 15 1/8 in. (29.4 x 38.3 cm.)
Salomon van Ruysdael (1600-1670), after, ''River Landscape with Ferry'', copy circa 1900 after the original in the Alte Pinakothek Munich, oil on canvas, unsigned, inscribed on verso, 65 x 93 cm, framed 78 x 106 cm
Dessin double-face "Paysage animé", pierre noire et sanguine sur papier. Attribués à Salomon van Ruysdael. Ecole hollandaise. On y joint un certificat de J.P. Meulemeester à Bruxelles daté 1982. Dim.:+/-164x220mm.
Attributed to Salomon van Ruysdael (1602/03-1670, Dutch) Figures walking along a country road Oil on panel Signed lower left: S Ruysdael 15.75" H x 19.25" W
Pencil on paper Inscribed "Ruysdael" (on the reverse). 15 x 21 cm Provenance: Collection of Prof. J. Leski (Professor of Astrology, University of Cracovia), according to a declaration from the Administration of the Museum of the Princes of Lubomirski, Lwow, 1923. Family of Elena Parys Feldberg by descent to the present owner. Notes: Catalogued as "Ruysdael" by the Museum of the Princes of Lubomirski, Lwow, 1923. Catalogued as van Bloemen, by Dr. Dagmar Hnikova, expert from the "Kunsthaus Zurich" Museum, Zurich, September 1975. Appraised by Sotheby's, New York, 24.1.1985 as "Cornelis Saftleven" and estimated as $1500-2000.
Black chalk on paper 15.5 x 21 cm Various inscriptions (on the reverse). Provenance: Collection of Prof. J. Leski (Professor of Astrology, University of Cracovia), according to a declaration from the Administration of the Museum of the Princes of Lubomirski, Lwow, 1923. Family of Elena Parys Feldberg by descent to the present owner. Notes: Catalogued as by the Museum of the Princes of Lubomirski, Lwow, 1923 as Ruisdael Catalogued by Dr. Dagmar Hnikova, expert from the "Kunsthaus Zurich" Museum, Zurich, September 1975 as Ruisdael
Salomon van Ruysdael (1600-1670), after, ''River landscape with ferry'', copy from around 1900 after the original in the old Pinakothek in Munich, oil on canvas, unsigned, inscribed on the reverse, 65 x 93 cm, framed. 78 x 106 cm
VAN RUYSDAEL, Salomon (Dutch 1602-1670) Dutch River with Ferry Boats Artist's monogram lower centre - colour separation image of the signature available (Museum of Applied Arts, Ultimo, Sydney). Also available, infra-red image & provenance/condition report. Provenance: likely Stanley Lipscomb, Sydney art dealer, thence Dr John Andersson, Swedish consul to Australia, son of I Andersson, consul general to Australia from c1880, Ashfield (Sydney); Mr Paul Pribila 1991 (purchased William S Ellenden auctions - Dr Andersson estate sale). Oil on Canvas 42x51cm
SALOMON VAN RUYSDAEL (NAARDEN 1600/1603-1670 HAARLEM) A river landscape with a boat signed and dated 'S.v. Rvysdael 1653' (lower left, on the boat) oil on panel 293⁄8 x 413⁄4 in. (74.6 x 106 cm.) Please note this lot is the property of a private individual. Provenance Dr. Edward Beith; his sale (†), London, Christie's, 8 April 1938, lot 51 (758 gns. to Katz). with P. de Boer, Amsterdam, from whom acquired in October 1938 by the following, K. Jonas and E. Hesselman, Storängen, Sweden. with S. Nystad, The Hague, where acquired in 1967 by, Toledo Museum of Art, Toledo, Ohio; Sotheby's, New York, 25 January 2007, lot 63. with Galleria Caretto, Turin, where acquired by the present owner.
SALOMON VAN RUYSDAEL (Narden circa 1603–1670 Haarlem) Landscape with a group of trees, herd of cows, herdsmen and the Abbey of Egmond in the distance, circa 1660. Oil on panel. 76.5 × 115 cm. Provenance: - Collection of John Howard Galton, Hadzor (Worcestershire), 1854 and 1857–1858 (verso with label). - Collection of Adolf P. Vischer-Boelger, Basel. - Collection of Vischer-d'Assonleville, Basel, 1975. - Swiss private collection. Exhibited: Manchester 1857, The Art Treasures of the United Kingdom Collected at Manchester, Art Treasures Palace, 1857–1858, Cat. No. 1008. Literature: - Gustav Friedrich Waagen: Treasures of Art in Great Britain, London 1854, Vol. III, p. 220. - Exh. cat. The Art Treasures of the United Kingdom Collected at Manchester, Art Treasures Palace, 1857–1858, London 1857, p. 70, No. 1008. - Wolfgang Stechow: Salomon van Ruysdael, Berlin 1975, p. 101, No. 218 B. Salomon van Ruysdael is one of the most important landscape painters of the Dutch Golden Age. The painting presented for sale here, recently rediscovered in a Swiss private collection, is a characteristic example of the artist’s late period, which can be described stylistically as his classic phase. While at the beginning of his career, Salomon van Ruysdael turned to a rather monochrome palette of brown tones, his late work is characterised by a variety of colour and rich contouring, as is clearly demonstrated in this example. Stylistically this picture can be compared with the landscape "Les treillis" at the Musées Royaux des Beaux-Arts in Brussels (Inv. No. 3421), which is dated 1659, so that it can be assumed that the present landscape dates to the second half of the 1650s. Ellis Dullaart of the RKD, The Hague, who has confirmed the authenticity of this painting on the basis of a photograph and whom we thank for her help in cataloguing this work, points out that the ruins in the distance can be identified as the Abbey of Egmond. The motif appears several times in the oeuvre of Salomon van Ruysdael, for example in the painting "The watering place" from 1660 at the Rijksmuseum in Amsterdam (Inv. No. SK-A-352). Born in Naarden in Gooiland, as Salomon de Go(o)yer, he only later called himself Salomon van Ruysdael, as did his brother Isaack (1599–1677), probably in reference to the Ruijschdaal castle, which lay close to his father’s home. He was the uncle of probably the most famous landscape painter of the 17th century, Jacob Isaacksz van Ruisdael (1628–1682). About his artistic education nothing has been recorded. In 1623 he joined the Guild of St Luke of Haarlem and his earliest dated work is from 1626, in which we clearly see the influence of Esias van der Velde (1587–1630), who was active in Haarlem from 1609 to 1618. Moreover, his early work is also characterised by his study of the work of Jan van Goyen (1596–1656) and Pieter de Molijn (1595–1661). Although Salomon van Ruysdael was to remain in Haarlem until the end of his life, his landscapes, including the present one, prove that he must have visited Leiden, Utrecht, Amersfoort, Arnhem, Alkmaar, Rhenen, Dordrecht and Egmond. Also of note is the recorded provenance of this painting, which stretches back to the 19th century. The art historian and director of the Berlin Gemäldegalerie Gustav Friedrich Waagen, whose appointment as professor at the University of Berlin represented the first time that art history had been recognised as a discipline at university level, published three volumes after his travels through England and France: "Kunstwerke und Künstler in England und Paris" (Berlin 1837–1839), and the English edition "Treasures of Art in Great Britain" in 1854 (with a supplementary volume "Galeries and Cabinets of Art in Great Britain in 1857). In his publication Waagen also mentions the painting offered here, which he had seen in the dining room of the art collector John Howard Galton during a personal visit, and which he highlights as a work of especially high quality because of the brilliant colours and excellent execution (Waagen 1854, p. 220). The painting is archived at the RKD. --------------- SALOMON VAN RUYSDAEL (Narden um 1603–1670 Haarlem) Weite Landschaft mit Baumgruppe, Kuhherde, Hirten und der Abtei Egmond im Hintergrund. Öl auf Holz. 76,5 × 115 cm. Provenienz: - Sammlung John Howard Galton, Hadzor (Worcestershire), 1854 und 1857–1858 (verso mit Etikett). - Sammlung Adolf P. Vischer-Boelger, Basel. - Sammlung Vischer-d'Assonleville, Basel, 1975. - Schweizer Privatsammlung. Ausstellung: Manchester 1857, The Art Treasures of the United Kingdom collected at Manchester, Art Treasures Palace, 1857–1858, Kat.-Nr. 1008. Literatur: - Gustav Friedrich Waagen: Treasures of Art in Great Britain, London 1854, Bd. III, S. 220. - Ausst.-Kat. The Art Treasures of the United Kingdom collected at Manchester, Art Treasures Palace, 1857–1858, London 1857, S. 70, Nr. 1008. - Wolfgang Stechow: Salomon van Ruysdael, Berlin 1975, S. 101, Nr. 218 B. Salomon van Ruysdael zählt zu den bedeutendsten Landschaftsmalern in den Niederlanden des Goldenen Zeitalters. Das hier zum Verkauf stehende Gemälde, welches kürzlich in einer Schweizer Privatsammlung wiederentdeckt wurde, ist ein charakteristisches Beispiel aus dem Spätwerk des Künstlers, das als seine klassische Stilphase zu bezeichnen ist. Während sich Salomon van Ruysdael zu Beginn seiner künstlerischen Laufbahn einer eher monochromen brauntonigen Farbpalette zuwandte, zeichnet sich das Spätwerk durch eine Farbvielfalt und konturenreiche Malweise aus, wie dies auch bei diesem Beispiel deutlich zum Ausdruck kommt. Stilistisch ist vorliegende Darstellung besonders mit der Landschaft "Les treillis" in den Musées Royaux des Beaux-Arts in Brüssel (Inv.-Nr. 3421) zu vergleichen, welche 1659 datiert ist, sodass von einer Datierung unserer Landschaft in die zweite Hälfte der 1650er-Jahre ausgegangen werden kann. Ellis Dullaart vom RKD, Den Haag, die die Autorschaft anhand einer Fotografie bestätigt und der wir für ihre Hilfe bei der Katalogisierung danken, weist darauf hin, dass die Ruinen in der Ferne als Abtei von Egmond zu identifizieren sind. Das Motiv findet sich mehrmals im Oeuvre von Salomon van Ruysdael wie beispielsweise in dem Gemälde "The watering place" im Rijksmuseum in Amsterdam (Inv.-Nr. SK-A-352). Geboren in Naarden in Gooiland als Salomon de Go(o)yer nannte er sich erst später, wie auch sein Bruder Isaack (1599–1677), Salomon van Ruysdael, wohl in Anlehnung an die Burg Ruijschdaal in der Nähe des väterlichen Wohnorts. Er war der Onkel des wohl berühmtesten Landschaftsmalers des 17. Jahrhunderts, Jacob Isaacksz. van Ruysdael (1628–1682). Über seine künstlerische Ausbildung ist nichts überliefert. 1623 trat er der Haarlemer Lukasgilde bei und sein frühstes datiertes Werk stammt von 1626, in welchem der Einfluss von Esias van der Velde (1587–1630), der von 1609 bis 1618 in Haarlem tätig war, deutlich wird. Ferner zeichnet sich sein Frühwerk durch die Auseinandersetzung mit dem Oeuvre von Jan van Goyen (1596–1656) und Pieter de Molijn (1595–1661) aus. Obwohl Salomon van Ruysdael Haarlem bis an sein Lebensende nicht mehr verlassen sollte, belegen seine Landschaften, wie auch die vorliegende, dass er Leiden, Utrecht, Amersfoort, Arnhem, Alkmaar, Rhenen, Dordrecht und Egmond besucht haben muss. Bemerkenswert ist auch die überlieferte Provenienz unserer Landschaft, die bis ins 19. Jahrhundert zurückreicht. Der Kunsthistoriker und Direktor der Berliner Gemälde Galerie Gustav Friedrich Waagen, dessen Berufung als Professor an die Universität Berlin die erstmalige Anerkennung der Kunstgeschichte als universitäre Disziplin bedeutete, veröffentlichte im Anschluss an seine Reisen durch England und Frankreich drei Bände "Kunstwerke und Künstler in England und Paris" (Berlin 1837–1839), und eine englische Ausgabe "Treasures of Art in Great Britain" (1854, mit Ergänzungsband "Galeries and Cabinets of Art in Great Britain, 1857). Dort erwähnt Waagen auch das hier angebotene Gemälde, welches er bei einem persönlichen Besuch des Kunstsammlers John Howard Galton in dessen Esszimmer gesehen hatte, und das er aufgrund seiner Farbbrillanz und exzellenten Ausführung als qualitativ besonders hochwertig hervorhob (Waagen 1854, S. 220). Das Gemälde ist im RKD archiviert.
Salomon van RUYSDAEL Naarden, vers 1600 - Haarlem, 1670 Scène de bataille sur un pont Huile sur toile Signée et datée ''ASRVYSDAEL / 1658'' en bas à droite Battle scene on a bridge, oil on canvas, signed and dated, by S. van Ruysdael h: 89 w: 104 cm Provenance : Vente anonyme ; Enkhuizen, 10 août 1825, n° 71 ; Vente anonyme ; Paris, Hôtel Drouot, 14 mai 1877, n°50 ; Vente anonyme ; Paris, 27 janvier 1882, n° 62 ; Vente anonyme ; Paris, 20 mars 1883, n° 45 ; Galerie Lawrie, Londres ; Sa vente, Londres, Christie''s, 28 janvier 1905, n°108 ; Chez Kleinberger, Paris, en 1911 ; Vente anonyme ; Paris, galerie Charpentier, Me Rheims, 31 mars 1960, n° 30 ; Acquis lors de cette vente par la famille de l''actuelle propriétaire ; Collection particulière, Suisse Expositions : Galerie Lawrie, Londres, 1903, n° 21 ''150 Old Masters from the Kleinberger Galleries'', Paris - New York, 1911, n° 68 Bibliographie : Wolfgang Stechow, ''Salomon van Ruisdael'', Berlin, 1938, p. 82, n° 125 et réed. 1975, p. 86-87, n° 125 Commentaire : Peint en 1658, notre ambitieuse bataille est une œuvre de maturité de l''artiste qui révèle l''immensité de son talent dans des registres aussi divers que la subtilité du rendu des bouquets d''arbre, la lumière en arrière-plan sous l''arche du pont, le caractère anecdotique - et parfois truculent - des attitudes des personnages ou encore le rendu de l''agitation complexe de la scène. Son splendide état de conservation permet de profiter pleinement des richesses des détails. Ce tumultueux combat opposant un groupe aux couleurs bleues à un autre paré de rouge ne semble pas se rattacher à un événement précis même s''il n''est pas sans rappeler les combats dont sont émaillées les régions du Nord pendant la guerre de Trente ans. Le point de vue ''di sotto in su'' fut sans doute inspiré à l''artiste par les différentes représentations de la bataille du pont Milvius qui opposa Maxence à Constantin en 312 et qui de Giulio Romano à Charles Le Brun inspira nombre d''artistes ayant les faveurs du pouvoir. Salomon van Ruysdael pu sans doute admirer le tableau de Pierre-Paul Rubens puisqu''il reprit le même angle de vue ainsi que la figure du personnage se retenant au pont par les deux bras. Ce motif du personnage se retenant au parapet avait déjà été utilisé par Ruysdael et se retrouve dans un petit panneau peint par l''artiste sept ans auparavant (Vente anonyme; Londres, Christie''s, 22 avril 1988, n° 51, huile sur panneau, monogrammé et daté 1653, 40,5 x 52 cm.).
Attributed to Salomon van Ruysdael (1602/03-1670 Dutch) Figures walking along a country road Oil on panel Signed lower left: S Ruysdael 15.75" H x 19.25" W
