Lot 69: Laurent de la Hyre , Paris 1605 - 1656 Landscape with Two Women at a Fountain, a Herd of Cows at a Stream and Travellers on Horseback oil on canvas

signed and dated upper left L. de la Hyre. in & ft/ 1653 oil on canvas

measurements note 25 1/2 by 35 in.; 64.8 by 88.9 cm.

Paul Henreid, Vienna, then Los Angeles;
By whose Estate sold ("Property from the Estate of Paul Henreid"), New York, Sotheby's, May 20, 1993, lot 7, for $415,000;
Anonymous sale ("Property of a Private Collector"), New York, Sotheby's, January 24, 2002, lot 26.

PROPERTY FROM AN AMERICAN COLLECTION
Laurent de la Hyre grew up in a family of painters. He studied at the château of Fontainebleau between 1622 and 1625, copying works by Francesco Primaticcio among other artists, and then in the celebrated studio of Georges Lallemant, where Nicolas Poussin and Michel Dorigny also studied. He received his first important commissions from the Paris house of the Capuchins in the Marais for their chapel of St. Francis. These works were well received and brought him further employment, and this may explain why he was not tempted to go to Italy to complete his artistic education, but preferred to remain in Paris. From 1635 to 1637, La Hyre executed paintings for the "Mays" of Notre Dame de Paris (pictures presented annually by the Paris Goldsmiths' Corporation). By the end of the 1630s, La Hyre was well known as a painter and greatly in favour with various religious orders, having Cardinal de Richelieu as his fervent protector. When the Académie Royale de Peinture et de Sculpture was founded in 1648, La Hyre was appointed one of the twelve "Anciens," or professors, taking an active part in the current debate about perspective. During the late 1640s and the 1650s, La Hyre had many private patrons including financiers, members of the Paris Parlement and royal officials, producing some of his most important masterpieces. La Hyre's painted landscapes all appear to have been executed in the last decade of his career. Their intimate scales (rarely are they over a meter in width) suggest that there was a demand for them from private collectors which continued throughout what remained of his life. From 1647 onwards, he painted a succession of exquisite landscapes among which are the (unusually) large Laban Searching for his Idols (dated 1647, Musée du Louvre, Paris), Landscape with Swineherd (dated 1648, Musée des Beaux-Arts, Montreal), Landscape with Shepherds Watering their Flock (dated 1656, Sale: New York, Sotheby's, January 22, 2004, lot 36) and Landscape with Bathers (dated 1653, the same year as present painting, Musée du Louvre, Paris). As in the present composition, classical ruins are usually grouped to one side, a solitary tree defines the foreground on the other, and a path or running water leads the eye into the distance, which opens up onto a wooded vista. Charles Sterling, the eminent French art historian, wrote of La Hyre: "He was a subtle painter, with a light brushstroke, a sense of delicate atmospheric values, and skill in combining bright, unusual colors. La Hyre heralds the French eighteenth century, foreshadowing both Boucher's grace and the affected Neoclassical sobriety of the pupils of David."υ1 A note on the Provenance
Paul Henreid (1908 - 1992)
Paul Henreid's sophisticated charm and continental elegance were forever immortalized in celluloid with the release of two films made in 1942 by Hal Wallis for Warner Brothers. Playing Victor Lazlo opposite Ingrid Bergman in Michael Curtiz's Casablanca and Bette Davis' lover, Jerry, in Irving Rappner's Now, Voyager, Henreid's imperturable urbanity and impeccable demeanor with the opposite sex became the envy of all women and the emulation of young men for more than a generation. His effortless lighting and exchange of cigarettes in Now, Voyager is one of the iconic, sexually charged moments in all of film history. Henreid, Viennese by birth, had been recruited by Otto Preminger when just out of actor's school for Max Reinhardt's repertory Vienna Theatre. He soon appeared regularly in both plays and films in Austria, later in England after he moved there in 1935, and, of course, in Hollywood where he emigrated in 1940 and remained for the rest of his life. In addition to acting, he produced and directed television, film and theatre right into the 1970s. Although less well known, Henreid, as the grandson of a professional artist, also attended the Akademie der bildenden Künste in Vienna. And, his marriage to Elizabeth, the daughter of Gustav Glück, Director of the Kunsthistorisches Museum in Vienna from 1911 - 1931, provided further impetus to his interest in art and collecting. Henreid and his wife brought their collection with them when they moved to America and lived surrounded by it until his death in 1992 and his wife's the following year. 1. See P. Rosenberg and J. Thuillier, Laurent de La Hyre, 1606 - 1656: L'homme et l'oeuvre, exhibition catalogue, Geneva 1988, p. 110.