CORNELIS BISSCHOP (DORDRECHT 1630-1674)
CORNELIS BISSCHOP (DORDRECHT 1630-1674)
CORNELIS BISSCHOP (DORDRECHT 1630-1674)
CORNELIS BISSCHOP (DORDRECHT 1630-1674)
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CORNELIS BISSCHOP (DORDRECHT 1630-1674)

A maid pumping water in a kitchen interior

細節
CORNELIS BISSCHOP (DORDRECHT 1630-1674)
A maid pumping water in a kitchen interior
oil on canvas
28 x 33 in. (71 x 84 cm.)
來源
Jacob Hoopman; Roos and de Vries, Amsterdam, 19 October 1818, lot 29, as 'Nicolaes Maes', 330 florins to,
Jan Hulswit, possibly the artist (1766-1822).
Ralph Bernal (1784-1854); his sale, Christie's, London, 8 May 1824, lot 24, as 'Nicolaes Maes' (80 gns. to Silvester).
Philip Hollingworth; his sale (†), Leifchild & Snelling, London, 13-21 May 1828, lot 226, as 'Nicolaes Maes' (36 gns.).
Thomas Hamlet (1793-1842), by 1829.
Westall sale, London, 1833.
Adrian Hope (1811-1863); his sale (†), Christie's, London, 30 June 1894, lot 38, as 'Nicolaes Maes' (2,860 gns. to A. Nattali).
Alphonse de Rothschild (1827-1905), Paris.
with Wildenstein, Paris.
Samuel Montagu, 1st Baron Swaythling (1832-1911), 12 Kensington Palace Gardens, London and thence by descent.

出版
J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, etc., London, 1833, IV, p. 246, no. 12, as Nicolaes Maes.
Inventory of Works of Art settled as heirlooms by Montagu, First Lord Swaythling, 1911, reprinted 1919, prepared by Christie, Manson & Woods, p. 10, no. 34, as 'Nicolaes Maes'.
C. Hofstede de Groot, A Catalogue Raisonné of the works of the most eminent Dutch Painters of the Seventeenth Century, London, VI, 1915, p. 490, no. 55, as 'Nicolaes Maes'.
'Dutch Masterpieces of the 17th Century', The Burlington Magazine for Connoisseurs, LXXXVII, July 1945, p. 176, as 'Nicolaes Maes'.
E. Plietzsch, 'Reijnier Covijn', Zeitschrift für Kunstwissenschaft, IV, 1950, pp. 77-79, fig. 11, as 'Reijnier Covijn?'.
C. Briére-Misme, 'Un petit maitre hollandais: Cornelis Bisschop (1630-1674)', Oud-Holland, LXV, 1950, pp. 238-240, fig. 8.
展覽
London, British Institution, Pictures by Italian, Spanish, Flemish, Dutch, and English Masters, June 1829, no. 111, as 'Nicolaes Maes'.
London, Royal Academy, Exhibition of Works by the Old Masters and Deceased Masters of the British School, Winter 1910, no. 71, as 'Nicolaes Maes'.
Manchester, Manchester City Art Gallery, Dutch Old Masters, 27 March-4 May 1929, no. 42, as 'Nicolaes Maes'.
London, Royal Academy, Exhibition of Dutch Art, 1450-1900, 1929, no. 271, as 'Nicolaes Maes'.
London, Royal Academy, Exhibition of 17th Century Art in Europe, 3 January-12 March 1938, no. 242, as 'Nicolaes Maes'.
London, Eugene Slatter, Masterpieces of Dutch Painting in the Seventeenth Century, 27 June-28 July 1946, no. 23, as 'Nicolaes Maes'.

榮譽呈獻

Charlotte Young
Charlotte Young Associate Director, Specialist

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拍品專文


This remarkable painting was universally regarded as a masterpiece by Nicolaes Maes until the middle of the last century and was exhibited as such in several seminal exhibitions held at the Royal Academy and Manchester City Art Gallery between 1910 and 1938. Doubts about the traditional attribution were first raised by Eduard Plietzsch, who proposed an alternative attribution to Maes' Dordrecht follower, Reynier Covyn (op. cit.). In the same year, Clotilde Briére-Misme perceptively suggested the painting was instead the work of Cornelis Bisschop, on account of an early watercolour copy by Johannes Pieter de Frey, said to be after Bisschop, which featured in auctions held in Amsterdam in 1789 and 1814 (op. cit.).
A further painted copy, said to be by Bisschop after Maes and with differences, was with H. Schlichte Bergen in 1969.

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