Lot 60: f - Dirck van der Lisse The Hague 1607 - 1669 , an extensive Italianate landscape with a bacchanale, other bacchantes on a bridge in the background near ruins on a hill

bears Poelenburch-monogram lower centre oil on panel

measurements note 78.8 by 148.8 cm.

Northridge, California State University, Baroque Masters from the J. Paul Getty Museum , 1973, no. 33 (as by Poelenburch).

Possibly M. le Chevalier Sébastien Erard, Passy, Boulogne, until 1832,
His sale, Paris, Lacoste/Henry, 23 April 1832, lot 110, for 1.050 Francs;
Mrs. van Alphen- Hovy, The Hague;
Francois Delahaye, 1904,
His sale, Antwerp, Verlat, 6/7 June 1904, lot 70, reproduced (as signed with monogram P.C.);
Private collection, The Hague,
By whom (anonymously) sold, The Hague, Kleykamp, 6 November 1917, lot 70, reproduced (all the above as by Poelenburch);
Collection Mees van Alphen, 1918 (according to a note in the R.K.D.);
With D. Hermsen, The Hague, circa 1930;
With E. Speelman, London, by 1971, from whom bought by the J. Paul Getty Museum in 1972 (inv. no. 72.PB.12).

SOLD BY THE J. PAUL GETTY MUSEUM TO BENEFIT FUTURE PAINTING ACQUISITIONS

While the traditional attribution to Poelenburch is understandable - sufficiently so to explain why at some point in its history it acquired a Poelenburch signature - this picture is a distinctive work by his pupil in Utrecht, Dirck van der Lisse, who was, especially in larger works such as this one, equally indebted to their townsman Bartholomeus Breenbergh. In scope (as well as in physical size) Van der Lisse's multi-figure compositions tend to be markedly more monumental than those of his teacher; a characteristic he may well have absorbed from Breenbergh. Breenbergh also composed his larger-scale works on a diagonal, often formed by a valley receding to the left, as here, with ruins to the right and in the distance, and the main figure groupings in the left foreground. Such pictures date from circa 1630 and the following decade, after Breenbergh had returned to Utrecht from Italy, and when the much younger Van der Lisse would have been at his most impressionable. Ultimately, Van der Lisse's pictures are more refined than those of Breenbergh, particular after his move to The Hague, and his figures remain more closely modelled on those of Poelenburch.