From the Century before Ridinger
3 Stations — 3 Pictures — 3 Real White Gold Frames
The Meeting for the Hunt
The Progress to the Hunt
The Event of the Hunt
1 Special Price for a Friend
Just come in again three former acquaintances which a few years ago a shipbuilder with farther spread interests purchased in high-class real white gold frames made here – black covering, museum wire hanging, 19¾ × 26⅜ in (50 × 67 cm) height before width – for his second domicile. The latter now given up due to age, they came back here, welcomed yet also with a runny eye, for to the mail order company framings behind glass are not particularly the greatest thing since sliced bread. Yet the ensemble’s appearance on the wall — far to fine to be disturbed!
So then his offer , glass or no glass , as as-in-out-again, at the risk here in justified good trust in niemeyer’s shipping qualities. Matted unstretched under acid-free boards, the sheets themselves – 12⅝ × 18-18⅛ in (32-32.2 × 45.7-46 cm) – on heavy laid paper with margins up to 9 and 9.5 cm wide and varied watermark Large Crowned Double Eagle similar to Briquet 943 and THD with helmet (?) above the H (Départ sheet) resp. Preservationwise, conservationally well-hanged, unchanged: evenly faintly browned, partial faint tidemark in the wide white margin.
In-and-out-again special price for a friend of the set of three (sold)
Since 1664 court painter to Louis XIV
Meeting and Departure of the Large Hunting Party
“ AF. (ligated) Vandermeulen jn. et exc cum priuil. Regis /
I.V.HB. (ligated) f. ” / followed by old written T.3 45.
– Still with the writing lines –
Préparatif de la Chasse
The Hunting Party arrived in the Grounds
“ AF. (ligated) V. Meulen jn. et ex cum priuil. Reg. /
AF. (ligated) B. f. ” / followed by old written T.3.7
– With the original Bauduins monogram –
“ The inscription ‘Baudouins’ … only shows in the later impressions, in which the writing has been engraved anew and modified for the larger part and the year 1685 added to the address ” (Th.-B.).
“ AF. (ligated) V. Meulen, jn. et. exc. cum priuil. Reg. /
AF. (ligated) B. f. ” / followed by old written T.3.6
– With the original Bauduins monogram as above –
3 sheet etchings from the early 1670s
(actually Adriaen Frans Boudewyns)
(1644 Brussels 1711)
Nagler, Monogrammisten, I, 562 & III, 687 (variant). – Signed and monogrammed resp. in the plates, see above. – With royal privilege.
Splendidly composed sheets full of atmosphere
in rendering worthy to their models, the intimate knowledge of the work of which both etchers owe to their direct cooperation with van der Meulen.
Bauduin(s), as he spelled himself, on which the splitting of persons in the older literature is based, came to Paris in the late 60s, where in 1670 he married in second marriage van der Meulen’s sister, only to return to Brussels after her decease in 1674.
“ Many of the large tapestries which van der Meulen produces for the glorification of Louis XIV’s deeds at war as of the life at the court then
B. etched in a sturdy , effective manner ,
in this with great care , especially in the foliage …
All these extensive etchings … were published in van der Meulen’s publishing house. The plates, purchased by the French state after the latter’s death along with his other funds, are preserved in the chalcography of the Louvre ” (Thieme-Becker IV , 437 f.).
Huchtenburgh – present rich sheet of the departing hunting party – was active in Paris from 1667-1670. His particular familiarity with van der Meulen’s works for once is based on his intermittent training with this, yet foremost also corresponded with his own style “in the taste of Audran’s school”. And what Nagler records for the latter – “painted as it were with the needle and the chisel” – then also constitutes the graphic charm of present sheet, the excellent drawing of the horses of which – especially characteristic also for Huchtenburgh’s painterly œuvre – shall be pointed out specifically:
“ H. is highly proficient in the lively depiction of moved horses ”
(Ulla Heise, Allgemeines Künstler-Lexikon LXXV , p. 303).
And Watelet emphasizes Huchtenburgh’s manner of landscape characteristic for van der Meulen, which was distinguished
“ by the ease of the foliage ,
the briskness of the landscape ,
and the fortunate allocation of the masses .”
Van der Meulen himself finally, by recommendation of the great Le Brun engaged by Chief Minister Colbert to Paris in 1664, got into the Paris Academy of Painting in 1673 without cradle piece, in which he rose to councilor in 1681 and 1686 First Councilor.
“ Before his move to Paris a battle painter in the manner of Snayers, in the service of the French king M. became a delineator of the sieges and campaigns he took part in his suite.
As good a landscapist
as a horse and figure painter
M. has also painted views of French castles, hunt pictures, travels, ceremonial trains and the like. Frequently in these small-figured pictures the persons of Louis XIV and the queen appear; also the other figures partly show the characteristics of portraits ” (Th.-B. XXIV , 450 f.).
On van der Meulen in the king’s employ in general see J. Guiffrey, Van der Meulen, Mémoire des ses travaux pour le Roy depuis le 1er avril 1664: Inventaire de tableaux et dessins trouvés chez lui, aux Gobelins, le 6 mars 1691, in Nouvelles Archives de l’Art français, 2nd series, I (1879), 119-145.
And as Le Brun’s collaborator G. Briere, Van der Meulen, collaborateur de Le Brun, in Bulletin de la Société d’Histoire de l’Art Français (1930), 150-155. Both sources after Michel Gareau, Charles Le Brun, First Painter to King Louis XIV, 1992, bibliography pp. 227 f.
Here then three examples of his pictorial craft
in adequate rendering and framing
as offer for a friend of a roundabout noble matter .
“ I receives them today in very good condition, thank you and dont forget to tell me about … items, best regards ”
(Sign. L. B., April 5, 2002)