Description
BAREND GAEL (Haarlem, 1630 - Amsterdam, 1688) Merry company in front of a village inn Signed B Gael at lower right Oil on panel, 39.5X43 cm Provenance: London, Christie's, June 29, 1979, lot 92 London, Sotheby's, April 8, 1981, lot 68 Maastricht, Robert Noortman Gallery Vienna, Dorotheum, March 6, 1996, lot 86 Vienna, private collection Vienna, Dorotheum, December 16, 2021, lot 171 Italy, private collection Bibliography: RKD: https://rkd.nl/imageslite/434958 The panel is a fine evidence of Barend Gael's production, probably made around 1660, when the painter's style seems to be breaking free from that of the master Philips Wouwerman, as was documented by A. Houbraken (De Groote Schouburgh der Nederlantse Konstschilders en Schilderessen etc., vol. III, 1753, p. 321). His elegant compositions, with their precise depictions of horses and the landscape, often reach a quality level similar to that of the master, as is clearly perceptible in the painting under review. Reference bibliography: I. van Thiel Stroman, Barend Cornelisz Gael, in Painting in Haarlem 1500-1850. The collection of the Frans Hals Museum, Gent-Haarlem 2006, pp. 154-155 W. G. M. Cerutti, Het huys daer Daphne uythangt. Geschiedenis van Gedempte Oude Gracht 41, Haarlem 1600-2010, Haarlem 2010, p. 12
155
BAREND GAEL (Haarlem, 1630 - Amsterdam, 1688) Merry company in front of a village inn Signed B Gael at lower right Oil on panel, 39.5X43 cm Provenance: London, Christie's, June 29, 1979, lot 92 London, Sotheby's, April 8, 1981, lot 68 Maastricht, Robert Noortman Gallery Vienna, Dorotheum, March 6, 1996, lot 86 Vienna, private collection Vienna, Dorotheum, December 16, 2021, lot 171 Italy, private collection Bibliography: RKD: https://rkd.nl/imageslite/434958 The panel is a fine evidence of Barend Gael's production, probably made around 1660, when the painter's style seems to be breaking free from that of the master Philips Wouwerman, as was documented by A. Houbraken (De Groote Schouburgh der Nederlantse Konstschilders en Schilderessen etc., vol. III, 1753, p. 321). His elegant compositions, with their precise depictions of horses and the landscape, often reach a quality level similar to that of the master, as is clearly perceptible in the painting under review. Reference bibliography: I. van Thiel Stroman, Barend Cornelisz Gael, in Painting in Haarlem 1500-1850. The collection of the Frans Hals Museum, Gent-Haarlem 2006, pp. 154-155 W. G. M. Cerutti, Het huys daer Daphne uythangt. Geschiedenis van Gedempte Oude Gracht 41, Haarlem 1600-2010, Haarlem 2010, p. 12
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