Summer
Adriaen van de Velde
(Dutch, 1636–1672)
1661
Medium/TechniqueOil on canvas
Dimensions36.8 × 47.6 cm (14 1/2 × 18 3/4 in.)
Credit LinePromised gift of Susan and Matthew Weatherbie, in support of the Center for Netherlandish Art
Accession numberL-T 198.12.2022
On View
Not on viewClassificationsPaintings
Collections
ProvenancePossibly Jan van der Heyden (b. 1617 - d. 1712), Amsterdam; 1712, possibly by inheritance to his daughter, Sara van der Heyden (d. 1738) [see note 1]. By about 1755, Heinrich Graf von Brühl (b. 1700 – d. 1763), Dresden; 1768, sold by the Brühl heirs to Andre Belosselsky (b. 1735 – d. 1776) on behalf of Empress Catherine II of Russia (b. 1729 – d. 1796), Pavlovsk Palace, St. Petersburg [see note 2]; 1917, Pavlosk Palace converted into a public museum (inventory no. 259) [see note 3]; deaccessioned by the Pavlosk Museum for sale; June 4, 1929, Leningrad Museums and Castles sale, Lepke, Berlin, lot 88, sold for M 13,500, probably to Galerie Van Diemen, Berlin, Amsterdam, and New York [see note 4]. 1933, Adolf Mayer, The Hague [see note 5]; until at least 1948, his sons, Adolf Mayer and H. Herbert Mayer [see note 6]. J. H. Borghouts (dealer), Utrecht [see note 7]. By 1955, Johannes Carel Hendrik Heldring (b. 1887 – d. 1962), Oosterbeek; March 27, 1963, posthumous Heldring sale, Sotheby's, London, lot 23, sold to Thomas Agnew and Sons, London, on behalf of an English private collector; until 2006, by descent within the family; February 2006, sold by a private collector, through Agnew, London to Susan and Matthew Weatherbie, Boston.
NOTES:
[1] Bart Cornelis, Adriaen van de Velde: Dutch Master of Landscape (London, 2016), p. 73, cat. no. 9 suggests this painting may be the "Koore acker" (cornfield) by Adriaen van de Velde listed in the estate of painter Jan van der Heyden and inherited by his daughter. This cannot be verified, as no other identifying details are provided, but this is the only extant painting in van de Velde's body of work to feature a cornfield. For the inventory, see A. Bredius, "De nalatenschap van Jan van der Heyden's weduwe," Oud Holland 30, no. 3 (1912): 136, no. 6.
[2] Pierre Chenue made an engraving after this painting around 1755, at which time it was in the Brühl collection.
[3] After his death, Heinrich von Brühl’s property was sequestered for five years, pending an investigation into alleged misappropriation, for which he was later cleared. See Susan Jacques, The Empress of Art: Catherine the Great and the Transformation of Russia (New York, 2016), pp. 71-81.
[4] Illustrated in an advertisement for Van Diemen in Burlington Magazine 55 (September 1929): p. xiv. According to photo documentation held by the RKD, The Hague, the painting was still with Van Diemen in 1932. Many thanks to Diteke de Ruijter-Ekema of the RKD for this information.
[5] According to photo documentation held by the RKD. Mayer lent the painting to the exhibitions "Oude Kunst uit Haagsch Bezit" (Gemeente Museum, The Hague, 1936-1937), cat. no. 199, and "Loan Exhibition of Dutch Landscape Paintings" (Detroit Institute of Arts, February 3-26, 1939), cat. no. 40.
[6] Included in "A Loan Exhibition of Dutch and Flemish Paintings: The Collection of the Late Adolf Mayer" (Allen Memorial Art Museum, Oberlin, OH, 1948), cat. no. 15.
[7] According to D. Hannema, Catalogue Raisonné of the Pictures in the Collection of J.C.H. Heldring (Rotterdam, 1955), cat. no. 32a.
NOTES:
[1] Bart Cornelis, Adriaen van de Velde: Dutch Master of Landscape (London, 2016), p. 73, cat. no. 9 suggests this painting may be the "Koore acker" (cornfield) by Adriaen van de Velde listed in the estate of painter Jan van der Heyden and inherited by his daughter. This cannot be verified, as no other identifying details are provided, but this is the only extant painting in van de Velde's body of work to feature a cornfield. For the inventory, see A. Bredius, "De nalatenschap van Jan van der Heyden's weduwe," Oud Holland 30, no. 3 (1912): 136, no. 6.
[2] Pierre Chenue made an engraving after this painting around 1755, at which time it was in the Brühl collection.
[3] After his death, Heinrich von Brühl’s property was sequestered for five years, pending an investigation into alleged misappropriation, for which he was later cleared. See Susan Jacques, The Empress of Art: Catherine the Great and the Transformation of Russia (New York, 2016), pp. 71-81.
[4] Illustrated in an advertisement for Van Diemen in Burlington Magazine 55 (September 1929): p. xiv. According to photo documentation held by the RKD, The Hague, the painting was still with Van Diemen in 1932. Many thanks to Diteke de Ruijter-Ekema of the RKD for this information.
[5] According to photo documentation held by the RKD. Mayer lent the painting to the exhibitions "Oude Kunst uit Haagsch Bezit" (Gemeente Museum, The Hague, 1936-1937), cat. no. 199, and "Loan Exhibition of Dutch Landscape Paintings" (Detroit Institute of Arts, February 3-26, 1939), cat. no. 40.
[6] Included in "A Loan Exhibition of Dutch and Flemish Paintings: The Collection of the Late Adolf Mayer" (Allen Memorial Art Museum, Oberlin, OH, 1948), cat. no. 15.
[7] According to D. Hannema, Catalogue Raisonné of the Pictures in the Collection of J.C.H. Heldring (Rotterdam, 1955), cat. no. 32a.
Adriaen van de Velde
Willem van de Velde the Younger
about 1672
Adriaen van de Venne
K. van Velde
Marie Diéterle Van Marcke de Lummen
