ALLART VAN EVERDINGEN
105 Mountain Landscape,
Peasants in a Clearing
near a Waterfall*
Landscape Sketch
v
Brush and black ink, gray and brown wash, touches of
blue and red wash in figures (recto); black chalk (verso);
H: 36.9 cm (14^ in.); W: 52.3 cm (2O^9 /i6in.)
84.00.50
MARKS AND INSCRIPTIONS: (Recto) at bottom left cor-
ner, collection mark of E. Calando (L. 837); at bottom
right corner, signed A.V.E. on rock in black chalk;
(verso) collection mark of Neville D. Goldsmid
(L. 1962).
PROVENANCE: Neville D. Goldsmid, The Hague; E.
Calando, Paris; private collection (sale, Palais Galliera,
Paris, July 3, 1975, lot 7); Davenport collection, Kent; art
market, London.
EXHIBITIONS: Old Master Drawings, Brian Koetser Gal-
leries, London, 1976, no. 43.
BIBLIOGRAPHY: None.THIS LARGE SHEET FIRST APPEARED AT A PARIS SALE
(1975, lot 7) with an attribution to Savery that was fully
understandable in light of its clear relationship to his
work. The attribution to Everdingen was first proposed
a year later (Koetser Galleries 1976, no. 43), and in spite
of occasional suggestions of Waterloo as its author, this
proposal is certainly correct, as has been confirmed by E.
Haverkamp-Begemann.^1 The basic format recalls several
of Everdingen's paintings made soon after his return
from Scandinavia, with a richly foliated mountain set-
ting animated by a waterfall.^2 The reduction of figures to
a very small scale and the assertiveness of the landscape
are characteristic of his work from the period around
i647.^3 The drawing compares closely in some details
with another of a rocky landscape with trees (Cam-
bridge, Fitzwilliam Museum, inv. PD. 697-1963),^4 for-
merly attributed to Savery but now given to Waterloo by
J. Spicer,^5 who has associated the latter with drawings by
Waterloo that depend on Savery. Rather than indicating
Waterloo's authorship of the Museum's drawing, this
hypothetical attribution of the Fitzwilliam sheet simply
serves to confirm the close association of both drawings
to the precedent of Savery's Alpine landscapes. It is in-
teresting to note in this context the close graphic simi-
larity between the left foreground of the Museum's land-
scape and the same sections of two Savery drawings in
the Rijksmuseum, Amsterdam, and Kupferstichkabi-
nett, Berlin (inv. 31:182, Kdz 40I7),^6 which Spicer con-
siders to have been reworked by Everdingen in those
areas. A drawing similar in scale, medium, and style by
Everdingen was sold at Sotheby's, Amsterdam, on No-
vember 26, 1984, as lot 65.1. Conversation with the author, Malibu, 1986.
2. A. Davies, Allart Van Everdingen (New York, 1978), nos. 22-
24, esp. no. 24.- Ibid., pp. 107-108.
- M. Cor mack and M. D. Robinson, European Drawings from
the Fitzwilliam Museum, University of Cambridge, exh. cat., Pier-
pont Morgan Library, New York, and other institutions, New
York, 1976, no. 90. - J. Spicer-Durham, "The Drawings of Roelandt Savery,"
unpub. Ph.D. diss., Yale University, 1979, vol. i, p. 71. - Ibid., vol. 2, nos. c I9F2O, c 2OF2I.
236 DUTCH SCHOOL • EVERDINGEN