Adriaen van de Velde

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Adriaen van de Velde

1636-1672.

Pastoral Scene at a Waterfall

1662

Point of brush, black ink and wash, on paper.

9 1/2 x 13 15/16 inches (242 x 354 mm)

Purchased by Pierpont Morgan (1837-1913) in 1909.

I, 149

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Inscription:

Signed and dated at lower left, in brown ink, "A.V.Velde. F / 1662". On the verso, numbered at upper left margin, in graphite, "8"; inscribed at the lower left corner, in graphite, with dealer's code, "dJ / JLS-LOS-:"; and below that, in another hand, in graphite, "LfJ".

Provenance:

Jonkheer Johan Goll van Franckenstein the Younger (1756-1821), Amsterdam (his N 4025 in brown ink on the verso; Lugt 2987); Jonkheer Pieter Hendrik Goll van Franckenstein (1787-1832), Amsterdam; his sale, Amsterdam, de Vries...Roos, 1 July 1833, Album T, lot 1 (to Woodburn for 900 fl.); Samuel Woodburn (1786-1853), London (no mark; see Lugt 2584); C.J. Nieuwenhuys (1799-1883), Brussels, Belgium, and Oxford Lodge, Wimbledon, England (according to Fairfax Murray); Robert Stayner Holford (1808--92), London and Westonbirt, Gloucestershire. (Lugt 2243); his sale, London, Christie's, 11-14 July 1893, lot 676 (to Salting for £46.0.0); George Salting (1835-1909), London (no mark; see Lugt 2260-61); Charles Fairfax Murray (1849-1919), London and Florence; from whom purchased through Galerie Alexandre Imbert, Rome, in 1909 by Pierpont Morgan (1837-1913), New York (no mark; see Lugt 1509); his son, J. P. Morgan, Jr. (1867-1943), New York.

Bibliography:

Collection J. Pierpont Morgan : Drawings by the Old Masters Formed by C. Fairfax Murray. London : Privately printed, 1905-1912, I, 149, repr.
Stampfle, Felice. Rubens and Rembrandt in Their Century: Flemish and Dutch Drawings of the Seventeenth Century from The Pierpont Morgan Library. New York : Pierpont Morgan Library, 1979, no. 123, repr.
Jane Shoaf Turner, with contributions by Felice Stampfle, Dutch Drawings in the Pierpont Morgan Library: Seventeenth to Nineteenth Centuries, New York, 2006, cat. no. 295.

Notes:

This highly finished modello served as the basis for van de Velde's painting dated a year later, in 1663, formerly in the collection of Baron Heinrich Thyssen-Bornemisza, Lugano, and later in that of his daughter Baroness Gabrielle Bentinck, Paris.

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