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Lot 62: Govert Dircksz Camphuyzen, An Amorous Couple in a Barn with Herdsman at the Door

Est: $40,000 USD - $60,000 USDSold:
Arader GalleriesNew York, NY, USJanuary 24, 2015

Item Overview

Description

CAMPHUYZEN, Govert Dircksz ( Gorinchem 1623/4 - 1672 Amsterdam) An Amorous Couple in a Barn with Hersman at the Door, c. 1650. Oil on Panel. Panel size 23 7/8 x 21 3/8 inches. Signed lower right G. Camphuysen. Provenance: Pieter Cornelis, Baron van Leyden and Heer van Vlaardingen (1717-1788), by whom bequeathed to his son, Diderick, Baron van Leyden and Heer Vlardingen (d. 1811), Huis met de Hoofden, Amsterdam, by whom sold, with the rest of his father?s painting collection, for 100,000 florins to a consortium formed by L.B. Coclers, Alexander Joseph Paillet and A. de Lespinasse de Langeac; sale, Paillet-Delaroche, Paris, 7[=3rd day] November 1804 (delayed from 5ff. June 1804), lot 14; sold to Hypolite Delaroche on behalf of Bonaparte, according to an annotated copy of the sale catalogue); Lucien Bonaparte, Prince de Canino (1775-1840); Alexandre Joseph Paillet (1743-1814); sale, Paillet-Chariot, Paris, 2 [=1st day] June 1814, lot 3; sold to Charles Paillet or Antoine de Sauzay; Adolphe Schloss (1842-1910), Paris, from whose heirs confiscated from the Château de Chambon, near Tulle, April 1943; pre-empted from export to Germany by the Louvre, Paris, and subsequently restituted by the Louvre in 1945 to the heirs of Adolphe Schloss; sale, Galerie Charpentier, Paris, 1951, lot 8; sold to Professor René Küss. This very well-preserved panel is an exceptional example of Govert Dircksz Camphuyzen?s oeuvre. The artist is best known for paintings reminiscent of the work of Paulus Potter (of whom the artist was a contemporary) as well as landscapes influenced by Aert van der Neer. The present work, however, is one of a small group of scenes of taverns and barns that recall more the work of Isack van Ostade. Very many Dutch paintings filter the perception of reality through the lens of moral sensibility and Camphuyzen?s panel is a superb example of this. His picture is in effect a catalogue of vices, the well-maintained farm turned upside down by a moment of sensual indulgence. As the pot boils on the fire in the background, the maiden enjoys the fleshly attentions of a farm worker. Her basket of carrots and jug lay overturned at her feet. As in so many other genre paintings of this kind, the action functions as an exemplary charade, acting out the anthology of proverbs and epigrams to which the Dutch were so devoted. Johan de Brune?s Emblemata had warned that ?een hoeren schoot is duyvel?s boot? (the lap of a whore is the devil?s barque), and the bawdiness of this scene is further enhanced by the strategically placed carrot upon the wench?s lap, resting just below the opening of of worldly pleasure over domestic purity. As if to heap more scorn on the maiden?s virtue, one of the herdsmen to the right of the scene, scoops cow dung into a wheel barrow. In addition to the superior quality of this work, the present picture has a particularly notable provenance, having formerly belonged to the famous seventeenth-century collector, Pieter Cornelis, Baron van Leyden and Lord of Vlaardingen (1717-1788). Van Leyden is best known as the greatest of all Dutch print collectors, whose collection forms the basis of the Rijksprentenkabinett; he came from a family of noted collectors - his parents were patrons of Van Mieris - and began to collect as a young man, his first purchases dating from the 1730s. The print collection soon became famous throughout Europe, and several accounts survive of academics? visits to Van Leyden; one of these, that of the Dresden scholar Heinecken, mentions the collection of paintings, but gives no details, as it appears that they were not for public view. This is confirmed by Pieter Cornelis?s son?s introduction to the 1804 sale. Consequently, few details beyond the catalogue are known of Van Leyden?s art collection, which in 1804 consisted of 116 works, practically all of them by Northern and Southern Netherlandish artists, and which was divided between his two houses, no. 48 Rapenburg, Leiden (which still stands today), and Abtspoel Castle, near Leiden. Van Leyden?s son and heir, Diderick, moved the collection to Amsterdam and, when sold, most of the works were unrestored and still in their original frames. Most were said to have been acquired directly from the artists by Van Leyden?s ancestors, and the rest to have come from Europe?s leading collections. The corpus of Camphuyzen?s works has only relatively recently been reconstructed, as during the nineteenth century much of it was given to Camphuyzen?s father, Dirck Rafelsz. (1586-1627), who initially worked as a painter, but aged eighteen gave up art to become a cleric and poet. Only in 1903 did Ernst Moes and Abraham Bredius distinguish between the various oeuvres of the Camphuyzen family.

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Auction Details

American and European Art

by
Arader Galleries
January 24, 2015, 01:00 PM EST

1016 Madison Avenue, New York, NY, 10075, US

Terms

Buyer's Premium

30.0%

Bidding Increments

From:To:Increment:
$0$299$25
$300$999$50
$1,000$1,999$100
$2,000$4,999$250
$5,000$9,999$500
$10,000$19,999$1,000
$20,000$49,999$2,000
$50,000$99,999$5,000
$100,000$199,999$10,000
$200,000+$25,000

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