Adriaen Hendriksz Verboom (1627/28-1673) and Johannes... Lot n° 10

Adriaen Hendriksz Verboom (1627/28-1673) and Johannes Lingelbach (1622-1674), An Italianate Landscape with travellers, signed 'A Verboom f' (lower left), oil on canvas, 85,5x102 cm Painted in the 1660s. Provenance: -Diederik Baron van Leyden van Vlaardingen (1695-1764), Leiden. -Auction, Paillet/Delaroche, Paris, 7 November 1804, lot 1021. -Acquired from the above by Guillaume-Jean Constantin (1755-1816). -Collection Caillard; His auction, J.-B. P. Lebrun/Jaluzot, Paris, 2 May 1809, lot 862. -Acquired from the above by Laurent-Eléonore Doncoeure (1770-1832). -Auction, Henry/Lacoste, Paris, 4 March 1818, lot 593, acquired by ‘Sully’. -Collection Mr. Hendrik Croese. -Auction, Roos/Brondgeest. Amsterdam, 27 May 1818, lot 534. -Auction, Bukowski, Stockholm, 26-29 October 1982, lot 529, as: 'Frederick de Moucheron'. -Auction, Christie's, London, 20 July 1984, lot 138. -With Sheppard & Cooper Gallery, London, 1985. -Auction, Lempertz, Cologne, 25-27 June 1987, lot 142. -With Noortman Master Paintings, Maastricht, 2003. -Private collection, Spain. Travellers make their way through a woody, mountainous landscape, crossing a stream over a wooden bridge, with a monastery on a hilltop and rushing waterfalls beyond. Adriaen and his younger brother Willem (1640-1718) both were landscape specialists of note during their lifetime. The Amsterdam city doctor Jan Sysmus, who, around the early 1660s compiled a list of the most respectable Dutch artists of the moment, mentions them both, calling Adriaen the more talented. Roughly of the same generation, Adriaen often took his cue from the landscape style of Jacob van Ruisdael (1628-1682). His influence can be observed in Verboom’s preference for cleverly structured forest scenes with a high degree of detail, especially in the sensitively rendered foliage, and above all a strikingly realistic depiction of atmospheric effects, all hallmarks in evidence in our painting as well. In addition to forest scenes with dense woodland, Verboom also painted panoramic views. Italianate views such as the present, are rare. Here, Verboom was also inspired by the Italianate landscape painter Jan Both (1618/22-1652). The subtle, southern sunlight harks back to Both. Furthermore, the device of closing off the composition on one side with a monumental hill and motives such as the waterfall and bridge are a lesson learnt from this master. Verboom united all of these features into a sunny setting. His colleague, Johannes Lingelbach, enlivened it with various figures. Lingelbach spent years in Rome, building up a massive repertoire of Italianate stock figures, and here did an excellent job of enhancing the Mediterranean charm of Verboom’s landscape by adding suitable staffage. This painting is a superb example of Verboom’s art.