Loading
Cattle near the Maas, with Dordrecht in the distance
Aelbert Cuyp17th century
Dulwich Picture Gallery
London, United Kingdom
Formerly catalogued as Cuyp, DPG144 may be based on a Cuyp composition, but no certain original is known. The church is seen from the opposite direction in two pictures in the National Gallery (nos 961 and 962).
Show lessRead more
Details
- Title: Cattle near the Maas, with Dordrecht in the distance
- Creator Lifespan: 1620 - 1691
- Date: 17th century
- Physical Dimensions: w1064 x h762 cm
- Type: Painting
- Medium: Oil
- null: Formerly catalogued as Cuyp, but this attribution rejected by Chong. DPG144 may be based on a Cuyp composition, but no certain original is known. Chong regards a version in the Boymans-van Beuningen Museum, Rotterdam (HdG384) as 'conceivably a damaged original'.The church is seen from the opposite direction in two pictures in the National Gallery (nos 961 and 962). Versions: HdG nos 384 and 385 are at Rotterdam, Boymans-van Beuningen Museum, and San Diego, MFA. A drawing of the town and boat was sold London, Sotheby's, 21 Oct. 1963. Another, related to the National Gallery pictures is in the British Museum.
- Work Nationality: Dutch
- Support: Panel
- Provenance: ?London, Noel Desenfans, 1785-1807: ?London, Christie's, Desenfans sale, 11-14 May 1785, lot 68 ('A capital landscape with cattle and figures'); ?London, Christie's, Desenfans private sale, 8ff Apr. 1786, no. 90 (repeats 1785 description: 'A capital landscape with cattle and figures'); London, Sir Francis Bourgeois, by 1811; Bourgeois Bequest, 1811; 1813 inv. no. 168.
- Inscriptions: A. cuyp
- Further Information: The verso has a white gesso priming overpainted in brown, with underlying traces of drawing. It has been suggest that the panel has been cut at the bottom and possibly on the right. Only the head is completely finished. The attribution has been disputed but, since cleaning c.1950, is now generally accepted. A chalk study for DPG143 in the Albertina, Vienna, bears an old inscription identifying the sitter as Catherine Manners. The reliability of this inscription is questionable since the sitter does not resemble Catherine Manners as she is shown in other portraits. However, Rubens would not have been working from life and may have been misled by his source.
- After: Cuyp, Aelbert
- Acquisition Method: Bourgeois, Sir Peter Francis (Bequest, 1811)
Get the app
Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more
You are all set!
Your first Culture Weekly will arrive this week.