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Cattle and Sheep in a River Landscape
Adriaen van de Velde (Dutch, 1636–1672)
1663
Medium/Technique
Oil on canvas
Dimensions
52.7 x 70.8 cm (20 3/4 x 27 7/8 in.)
Credit Line
Ernest Wadsworth Longfellow Fund
Accession Number50.864
NOT ON VIEW
CollectionsEurope
ClassificationsPaintings
InscriptionsLower right: A. V. Velde. f / 1663
ProvenanceBy 1834, Anna Louisa Agatha van Loon-van Winter (b. 1793 – d. 1877), Amsterdam [see note 1]; 1877, collection sold en bloc by the heirs of Anna Louisa Agatha van Loon-van Winter to Alphonse, Gustave, Edmond, Lionel and Ferdinand de Rothschild (acting in syndicate) [see note 2]; assigned to Baron Ferdinand de Rothschild (b. 1839 - d. 1898), Waddesdon Manor, Buckinghamshire, England; given by Ferdinand de Rothschild to his sister, Baroness Mathilde von Rothschild (b. 1832 - d. 1924), Frankfurt [see note 3]; 1903, given by Mathilde von Rothschild to her daughter, Minna Caroline von Rothschild (b. 1857 - d. 1903), Frankfurt; 1903, by inheritance to her husband, Baron Maximilian von Goldschmidt-Rothschild (b. 1843 - d. 1940), Frankfurt; November 11, 1938, sold by force to the city of Frankfurt (no. GR600) and accessioned by the Städtische Galerie im Städel (inv. no. 865) [see note 4]; February 26, 1949, restituted by the city of Frankfurt to the estate of Maximilian von Goldschmidt-Rothschild; about 1949/1950, consigned by the Goldschmidt-Rothschild estate to Rosenberg and Stiebel, New York; 1950, sold by Rosenberg and Stiebel to the MFA for $3500. (Accession Date: May 11, 1950)
NOTES:
[1] In the Van Loon collection according to John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, vol. 5 (London, 1834), p. 212, no. 127.
[2] Michael Hall, "Le Gout Rothschild: The Origins and Influences of a Collecting Style," in British Models of Art Collecting and the American Response (Surrey, 2014), p. 110.
[3] According to a letter from Saemy Rosenberg of Rosenberg and Stiebel to W.G. Constable of the MFA (May 16, 1950).
[4] Maximilian von Goldschmidt-Rothschild lent this painting to the "Ausstellung von Meisterwerken alter Malerei aus Privatbesitz," Frankfurt, Städelsches Kunstinstitut, 1925, cat. no. 221. In November 1938 Nazi authorities forced him to sell his art collection to the city of Frankfurt. Upon his death in 1940, the objects were transferred to and accessioned by various city museums. After the war, his heirs succeeded in legally voiding the 1938 sale and recovering the collection, which was sent to the United States. See Matthias Wagner K and Katharina Weiler, eds., "The Collection of Maximilian von Goldschmidt-Rothschild" (exh. cat., Museum Angewandte Kunst, Frankfurt, 2023), pp. 107-154, and for details on the provenance of this painting, pp. 378-379, cat. no. 600.
NOTES:
[1] In the Van Loon collection according to John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, vol. 5 (London, 1834), p. 212, no. 127.
[2] Michael Hall, "Le Gout Rothschild: The Origins and Influences of a Collecting Style," in British Models of Art Collecting and the American Response (Surrey, 2014), p. 110.
[3] According to a letter from Saemy Rosenberg of Rosenberg and Stiebel to W.G. Constable of the MFA (May 16, 1950).
[4] Maximilian von Goldschmidt-Rothschild lent this painting to the "Ausstellung von Meisterwerken alter Malerei aus Privatbesitz," Frankfurt, Städelsches Kunstinstitut, 1925, cat. no. 221. In November 1938 Nazi authorities forced him to sell his art collection to the city of Frankfurt. Upon his death in 1940, the objects were transferred to and accessioned by various city museums. After the war, his heirs succeeded in legally voiding the 1938 sale and recovering the collection, which was sent to the United States. See Matthias Wagner K and Katharina Weiler, eds., "The Collection of Maximilian von Goldschmidt-Rothschild" (exh. cat., Museum Angewandte Kunst, Frankfurt, 2023), pp. 107-154, and for details on the provenance of this painting, pp. 378-379, cat. no. 600.