Amsterdam 1627 – 1692 Amsterdam
High trees by a river with a town in the distance
Pen and brush in brown and gray ink on light brown paper; dark brown ink framing lines.
247 x 299 mm (9-3/4 x 11-3/4 in).
|WATERMARK:||Strasbourg lily with a six-petaled flower below,
nearly identical to Heawood no. 1746 (Amsterdam, dated 1647). (R24)
|CHAIN LINES:||horizontal, 24 mm.|
|INSCRIPTIONS:||signed R. Roghman. at lower left (pen in brown ink); verso, at lower left C.I.(?) 185 and 5-5 (pen in brown ink), and a little to the right o32 and 30 (light pencil).|
|PROVENANCE:||R. Collins, England.
R. Peltzer (1825-1910), Cologne (L. 2231), his sale, Stuttgart, H. G. Gutekunst, 13-14 May 1914, lot 332.
Toni Straus-Negbaur (L. 2459a), her sale, Berlin, Cassirer, 25-26 November 1930, lot 88.
N. Beets, his sale, Amsterdam, 9-11 April 1940, lot 147.
Bernard Houthakker (L. 1272), his sale, Amsterdam, Sotheby Mak van Waay, 18 November 1975, lot 101.
Galerie Julia Kraus, Paris.
Sale, Amsterdam, Christie’s, 26 November 1984, lot 67, acquired at the sale.
|LITERATURE:||Sumowski 1992, vol. 10, pp. 5076-7, no. 2248.|
|EXHIBITIONS:||Cat. Amsterdam 1956, no. 81.
Cat. Amsterdam 1964, p. 33, no. 85 (illus.).
Cat. Paris 1977, no. 38.
Robinson, Franklin W. and Peck, Sheldon. Fresh Woods and Pastures New: Seventeenth-Century Dutch Landscape Drawings from the Peck Collection. Chapel Hill/ Ithaca/ Worcester. 1999-2001. Published catalogue.
This drawing is even looser and more summary in its treatment of the landscape, and especially the trees, than in the previous drawing by Roghman. Before, the foliage was defined by clusters of spots in gray wash, while here, a series of arched scribbles defines its outside edges. In both drawings, the center foreground is occupied by a single traveler, seen from behind, with a pack on his back and his right foot forward. A drawing with trees arranged in this system of “shelves” is in the Witt Collection, London, dated 1652.
Roghman’s paintings, also exclusively landscapes, are characterized by a loaded brush, thick impasto, and individually visible brush strokes that recall similar effects in his drawings.