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Hendrick Martensz SorghMarkt am Hafen
Beschreibung
Hendrick Martensz Sorgh
Markt am Hafen
Öl auf Holz. 44 x 62,5 cm.
Signiert und datiert unten links (auf der Schubkarre): HM Sorgh 1655.
Provenienz
Robert Napier (1791-1876), West Shandon, Dunbartonshire. – Auktion seiner Sammlung, Christie’s, London, 11.4.1877 (an Colnaghi). – Galerie Colnaghi, London.
Ausstellungen
Holländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie Staatliche Museen Preußischer Kulturbesitz, 1984, Nr. 65.
Literatur
John Charles Robinson: Catalogue of the Works of Art forming the Collection of Robert Napier of 1821, Shandon 1865, Nr. 488. – Jan Kelch: Ausst.-Kat. „Holländische Malerei aus Berliner Privatbesitz", Berlin 1984, S. 132-3, Nr. 65, mit Abb. – Christiane Stukenbrock, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 236-238, Nr. 94, mit Abb.
Die Darstellung von Marktszenen hat in der niederländischen Kunst eine lange Tradition, die bis ins 16. Jahrhundert zurückreicht. Bei Pieter Aertsen (1508-1575) und seinem Neffen Joachim Beuckelaer (1533-1575) boten zumeist noch biblische Geschichten oder moralisierende Botschaften den Vorwand für die Wiedergabe lebhaften Markttreibens und opulent ausgebreiteter Nahrungsmittel, die zudem einen wichtigen Beitrag für die Entwicklung der Stillleben darstellten. Hendrick Martensz. Sorgh hat dieses Sujet ab den frühen 1650er Jahren in Rotterdam wieder aufgegriffen, wobei er auch einen biografischen Bezug zu diesem Thema hatte, war er doch wie bereits sein Vater Betreiber eine Schifffahrtslinie im Güterverkehr zwischen Rotterdam und Dordrecht. Als solcher ist er 1638 erstmals dokumentiert und scheint diese Tätigkeit neben seiner künstlerischen Karriere bis zu seinem Lebensende ausgeübt zu haben. Die Marktbilder von Sorgh „stehen am Beginn eines neu erwachten Interesses an diesem Thema, mit dem sich u. a. auch seine Zeitgenossen Gerard Dou, Adriaen van Ostade und Quirin van Brekelenkam in den 60er Jahren des 17. Jahrhunderts auseinandersetzten“ (Christiane Stukenbrock, op. cit., S. 238).
Unser 1655 datiertes Gemälde ist eine charakteristische, frühe Marktszene von Sorgh. Im Vordergrund rechts sitzt eine Händlerin an ihrem Gemüsestand und bietet einer Dame im roten Kleid einen Teller wohl mit Kräutern an. Ergänzt wird diese Gruppe detailreich wiedergegebener Figuren durch einen Jungen mit einem Korb mit Fischen und einem großen Hut, einem vornehm gekleideten Herrn, einem Kind und einem älteren Fischer. Die kunstvoll arrangierten Nahrungsmittel des Gemüsestands, darunter verschiedene Kohlsorten, Möhren und Artischocken, geben Sorgh die Möglichkeit, seine Meisterschaft in der Stilllebenmalerei unter Beweis zu stellen. Dies trifft genauso auf die silbrig schimmernden Fische zu, die ein Händler am unteren Bildrand ausbreitet. Bereits weiter in den Mittelgrund gerückt ist ein zweiter Marktstand vor einer offenen Säulenhalle am linken Bildrand, an dem eine Frau gebratene Eier feilbietet. Eine Besonderheit unseres Gemäldes ist der Ausblick auf den Hafen mit zahlreichen Schiffen, deren präzis wiedergegebene Masten und Segel einen reizvollen Hintergrund für die Marktszene bilden.
Unserem Gemälde sehr nahe steht eine kleinere, ein Jahr vor unserem Werk entstandene Darstellung eines „Holländischen Fischmarkts“ in der Kasseler Gemäldegalerie Alte Meister (Inv.-Nr. GK 286), in der sowohl das Hafenbecken - noch mit deutlich weniger Schiffen - als auch die aus Stein errichtete offene Säulenhalle in der linken Bildhälfte vorgebildet ist. Darüber hinaus verbindet die beiden Werke der sich in ähnlicher Weise zu seinen am vorderen Bildrand ausgebreiteten Fischen herunterbeugende Händler. Zum Kasseler Gemälde des Fischmarkts gehört ein Pendant mit der Darstellung eines „Holländischen Gemüsemarkts“ (Inv.-Nr. GK 285). Hier wie auch bei anderen vergleichbaren Arbeiten Sorghs im Rotterdamer Boijmans Van Beuningen-Museum (Inv.-Nr. 1818) oder im Amsterdamer Rijksmuseum (Inv.-Nr. A 717) werden allein Gemüsestände wiedergegeben. Unser Gemälde dürfte das einzige Marktstück im Oeuvre Sorghs sein, das einen Gemüsestand mit der Darstellung von Fischen kombiniert.
Hendrick Martensz Sorgh
A Market in a Harbour
Oil on panel. 44 x 62.5 cm.
Signed and dated lower left (on the wheelbarrow): HM Sorgh 1655.
Provenance
Robert Napier (1791-1876), West Shandon, Dunbartonshire;
His deceased sale, Christie’s, London, 11 April 1877 (to Colnaghi);
With Colnaghi, London.
Exhibitions
Holländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie, 1984, no. 65.
Literature
John Charles Robinson: Catalogue of the Works of Art forming the Collection of Robert Napier of 1821, Shandon 1865, no. 488;
Jan Kelch: Holländische Malerei aus Berliner Privatbesitz. Berlin 1984, exhib. cat., pp. 132-3, no. 65, reproduced;
Christiane Stukenbrock, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 236-238, no. 94, reproduced.
The depiction of market scenes has a long history in Dutch painting, dating back to the 16th century. In the works of Pieter Aertsen (1508-1575) and his nephew Joachim Beuckelaer (1533-1575), Biblical narratives and moral messages usually served as a pretext for the depiction of lively market scenes and opulent arrays of food and wares. Their works also formed an important contribution to the later development of the still life genre.
Hendrick Martensz. Sorgh picked up this same subject in the early 1650s in Rotterdam. He had a biographical connection to the motif since, like his father before him, he was also the owner of a shipping line ferrying goods between Rotterdam and Dordrecht. He was first documented as such in 1638 and appears to have continued this work alongside his artistic career until the end of his life. Sorgh's market still lifes “appear at the beginning of a renewal of interest in this motif, which was also a subject in the works of his contemporaries Gerard Dou, Adriaen van Ostade and Quirin van Brekelenkam throughout the 1660s“ (Stukenbrock, op. cit., p. 238).
The present work, dated 1655, is a characteristic and early market scene of Sorgh. In the foreground on the right, we see a trader sitting at her vegetable stall offering a plate probably of herbs to a lady in a red dress. This detailed group of figures is accompanied by a boy in a broad-brimmed hat carrying a basket of fish, a nobly dressed gentleman, a child, and an older fisherman. The artistically arranged wares on the vegetable stand, which include various types of cabbage, carrots and artichokes, provide Sorgh with ample opportunity to demonstrate his mastery of still life painting. The same applies to the shimmering silver scales of the fish being laid out by a merchant on the lower edge of the image. Further into the mid-ground we see a second market stall in front of an open arcade on the left edge of the picture, where a woman is offering fried eggs for sale. A special feature of this painting is the addition of a view over the numerous ships moored in the harbour, whose precisely reproduced masts and sails form a charming background for the market scene in the foreground.
A work which can be closely compared to the present canvas is a small depiction of a Dutch fish market painted one year prior to it currently housed in the Kassel Gemäldegalerie Alte Meister (inv. no. GK 286). The piece also depicts a view of the harbour
Full description on lot-tissimo.com
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Hendrick Martensz Sorgh
Markt am Hafen
Öl auf Holz. 44 x 62,5 cm.
Signiert und datiert unten links (auf der Schubkarre): HM Sorgh 1655.
Provenienz
Robert Napier (1791-1876), West Shandon, Dunbartonshire. – Auktion seiner Sammlung, Christie’s, London, 11.4.1877 (an Colnaghi). – Galerie Colnaghi, London.
Ausstellungen
Holländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie Staatliche Museen Preußischer Kulturbesitz, 1984, Nr. 65.
Literatur
John Charles Robinson: Catalogue of the Works of Art forming the Collection of Robert Napier of 1821, Shandon 1865, Nr. 488. – Jan Kelch: Ausst.-Kat. „Holländische Malerei aus Berliner Privatbesitz", Berlin 1984, S. 132-3, Nr. 65, mit Abb. – Christiane Stukenbrock, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 236-238, Nr. 94, mit Abb.
Die Darstellung von Marktszenen hat in der niederländischen Kunst eine lange Tradition, die bis ins 16. Jahrhundert zurückreicht. Bei Pieter Aertsen (1508-1575) und seinem Neffen Joachim Beuckelaer (1533-1575) boten zumeist noch biblische Geschichten oder moralisierende Botschaften den Vorwand für die Wiedergabe lebhaften Markttreibens und opulent ausgebreiteter Nahrungsmittel, die zudem einen wichtigen Beitrag für die Entwicklung der Stillleben darstellten. Hendrick Martensz. Sorgh hat dieses Sujet ab den frühen 1650er Jahren in Rotterdam wieder aufgegriffen, wobei er auch einen biografischen Bezug zu diesem Thema hatte, war er doch wie bereits sein Vater Betreiber eine Schifffahrtslinie im Güterverkehr zwischen Rotterdam und Dordrecht. Als solcher ist er 1638 erstmals dokumentiert und scheint diese Tätigkeit neben seiner künstlerischen Karriere bis zu seinem Lebensende ausgeübt zu haben. Die Marktbilder von Sorgh „stehen am Beginn eines neu erwachten Interesses an diesem Thema, mit dem sich u. a. auch seine Zeitgenossen Gerard Dou, Adriaen van Ostade und Quirin van Brekelenkam in den 60er Jahren des 17. Jahrhunderts auseinandersetzten“ (Christiane Stukenbrock, op. cit., S. 238).
Unser 1655 datiertes Gemälde ist eine charakteristische, frühe Marktszene von Sorgh. Im Vordergrund rechts sitzt eine Händlerin an ihrem Gemüsestand und bietet einer Dame im roten Kleid einen Teller wohl mit Kräutern an. Ergänzt wird diese Gruppe detailreich wiedergegebener Figuren durch einen Jungen mit einem Korb mit Fischen und einem großen Hut, einem vornehm gekleideten Herrn, einem Kind und einem älteren Fischer. Die kunstvoll arrangierten Nahrungsmittel des Gemüsestands, darunter verschiedene Kohlsorten, Möhren und Artischocken, geben Sorgh die Möglichkeit, seine Meisterschaft in der Stilllebenmalerei unter Beweis zu stellen. Dies trifft genauso auf die silbrig schimmernden Fische zu, die ein Händler am unteren Bildrand ausbreitet. Bereits weiter in den Mittelgrund gerückt ist ein zweiter Marktstand vor einer offenen Säulenhalle am linken Bildrand, an dem eine Frau gebratene Eier feilbietet. Eine Besonderheit unseres Gemäldes ist der Ausblick auf den Hafen mit zahlreichen Schiffen, deren präzis wiedergegebene Masten und Segel einen reizvollen Hintergrund für die Marktszene bilden.
Unserem Gemälde sehr nahe steht eine kleinere, ein Jahr vor unserem Werk entstandene Darstellung eines „Holländischen Fischmarkts“ in der Kasseler Gemäldegalerie Alte Meister (Inv.-Nr. GK 286), in der sowohl das Hafenbecken - noch mit deutlich weniger Schiffen - als auch die aus Stein errichtete offene Säulenhalle in der linken Bildhälfte vorgebildet ist. Darüber hinaus verbindet die beiden Werke der sich in ähnlicher Weise zu seinen am vorderen Bildrand ausgebreiteten Fischen herunterbeugende Händler. Zum Kasseler Gemälde des Fischmarkts gehört ein Pendant mit der Darstellung eines „Holländischen Gemüsemarkts“ (Inv.-Nr. GK 285). Hier wie auch bei anderen vergleichbaren Arbeiten Sorghs im Rotterdamer Boijmans Van Beuningen-Museum (Inv.-Nr. 1818) oder im Amsterdamer Rijksmuseum (Inv.-Nr. A 717) werden allein Gemüsestände wiedergegeben. Unser Gemälde dürfte das einzige Marktstück im Oeuvre Sorghs sein, das einen Gemüsestand mit der Darstellung von Fischen kombiniert.
Hendrick Martensz Sorgh
A Market in a Harbour
Oil on panel. 44 x 62.5 cm.
Signed and dated lower left (on the wheelbarrow): HM Sorgh 1655.
Provenance
Robert Napier (1791-1876), West Shandon, Dunbartonshire;
His deceased sale, Christie’s, London, 11 April 1877 (to Colnaghi);
With Colnaghi, London.
Exhibitions
Holländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie, 1984, no. 65.
Literature
John Charles Robinson: Catalogue of the Works of Art forming the Collection of Robert Napier of 1821, Shandon 1865, no. 488;
Jan Kelch: Holländische Malerei aus Berliner Privatbesitz. Berlin 1984, exhib. cat., pp. 132-3, no. 65, reproduced;
Christiane Stukenbrock, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 236-238, no. 94, reproduced.
The depiction of market scenes has a long history in Dutch painting, dating back to the 16th century. In the works of Pieter Aertsen (1508-1575) and his nephew Joachim Beuckelaer (1533-1575), Biblical narratives and moral messages usually served as a pretext for the depiction of lively market scenes and opulent arrays of food and wares. Their works also formed an important contribution to the later development of the still life genre.
Hendrick Martensz. Sorgh picked up this same subject in the early 1650s in Rotterdam. He had a biographical connection to the motif since, like his father before him, he was also the owner of a shipping line ferrying goods between Rotterdam and Dordrecht. He was first documented as such in 1638 and appears to have continued this work alongside his artistic career until the end of his life. Sorgh's market still lifes “appear at the beginning of a renewal of interest in this motif, which was also a subject in the works of his contemporaries Gerard Dou, Adriaen van Ostade and Quirin van Brekelenkam throughout the 1660s“ (Stukenbrock, op. cit., p. 238).
The present work, dated 1655, is a characteristic and early market scene of Sorgh. In the foreground on the right, we see a trader sitting at her vegetable stall offering a plate probably of herbs to a lady in a red dress. This detailed group of figures is accompanied by a boy in a broad-brimmed hat carrying a basket of fish, a nobly dressed gentleman, a child, and an older fisherman. The artistically arranged wares on the vegetable stand, which include various types of cabbage, carrots and artichokes, provide Sorgh with ample opportunity to demonstrate his mastery of still life painting. The same applies to the shimmering silver scales of the fish being laid out by a merchant on the lower edge of the image. Further into the mid-ground we see a second market stall in front of an open arcade on the left edge of the picture, where a woman is offering fried eggs for sale. A special feature of this painting is the addition of a view over the numerous ships moored in the harbour, whose precisely reproduced masts and sails form a charming background for the market scene in the foreground.
A work which can be closely compared to the present canvas is a small depiction of a Dutch fish market painted one year prior to it currently housed in the Kassel Gemäldegalerie Alte Meister (inv. no. GK 286). The piece also depicts a view of the harbour
Full description on lot-tissimo.com
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