LOT DETAILS

Materials:

oil on oak panel

Size Notes:

Probably acquired from John Smith (1781-1855), London, in 1825 by

Edition:

The single piece of oak panel is bevelled on all sides. The painted surface seems to be in good condition. No major damages seem to be apparent. Some minor damages due to the framing can be seen on the left edge. A fine repaired horizontal crack of circa 13 cm can be seen in the lower right corner. Tiny discoloured retouchings can be observed in the sky area in the upper right corner. UV: the varnish layer fluoresces completely showing only a few retouchings in the white horse and the paint losses along the left edge. Frame: black veneer wooden frame ribbed frame

Description:

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Markings:

signed lower left: NBerchem (NB in ligature)

Condition:

The single piece of oak panel is bevelled on all sides. The painted surface seems to be in good condition. No major damages seem to be apparent. Some minor damages due to the framing can be seen on the left edge. A fine repaired horizontal crack of circa 13 cm can be seen in the lower right corner. Tiny discoloured retouchings can be observed in the sky area in the upper right corner. UV: the varnish layer fluoresces completely showing only a few retouchings in the white horse and the paint losses along the left edge. Frame: black veneer wooden frame ribbed frame The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Literature:

Catalogue of the pictures belonging to Lord Francis Leveson Gower, 1830, no. 184; J. Smith, A catalogue raisonn of the works of the most eminent Dutch, Flemish, and French painters, vol. V, London 1834, pp. 90-91, no. 284; C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten Hollndischen Maler des XVII. Jahrhunderts, Esslingen 1926, vol. IX, p. 96, no. 159; P. Humfrey, The Stafford Gallery. The greatest art collection of Regency London, Norwich 2019, p. 239 and p. 316, Appendix D ('Paintings added to the Bridgewater Collection by Lord Francis Egerton)', no. 5 (with erroneous Bridgewater inventory number and Sutherland provenance).

Provenance:

Sale (W. Smits and others), The Hague, 18 May 1785, lot 168, for 42.15 Dutch Florins to Spruyt; Probably acquired from John Smith (1781-1855), London, in 1825 by Lord Francis Egerton, later 1st Earl of Ellesmere (1800-57), Bridgewater Gallery, Bridgewater House, London, and sold by him after 1834 and before 1851; With Kunstzaal St. Lucas, The Hague, by 1953 (when exhibited at the antique fair, Delft); Private collection, Sweden; Anonymous sale, Stockholm, Bukowskis, 30 October 1990, lot 228, to De Boer; With Kunsthandel P. de Boer, Amsterdam, from whom acquired for the Wieg collection in 1994.