AN ITALIANATE LANDSCAPE WITH A RUINED ARCH
Bears attribution to Jan Both to reverse of support
Pen & ink with grey wash on laid paper (laid to support)
18 x 24cm
Adriaen van der Kabel was an artist heavily influenced by Nicolaes Berchem, to whom the present work's subject and manner is indebted. The figure wearing a hat on the donkey, to the right of the foreground, could even be taken directly from several of Berchem's own works (and their subsequent engravings by Johannes Gronsveld).Van der Kabel is documented as being in Rome in the 1660's, and it is likely that the present work dates from this period, with its typically Italianate subject (likely a capriccio).
This work is most closely comparable with van der Kabel's most Italianate works, largely rendered in the same media, a number of which can now be found in the collections of the Louvre, Paris (e.g. INV 23446, INV 23356, INV 22516, INV 22563).
For further comparable views, see Travelers in a storm in a wooded river landscape, sold at Christie's, King Street, 29.01.2015, Lot 73; Landscape with Herdsmen & Cows, sold at Millon, Paris Millon, 04.02.2011, Lot 107; Fountain & Fruit Trees, Musée Atger, Montpellier (inv. no. MA 470).
Adriaen van der Kabel was born in Rijswijk, near the Hague, and is thought to have been born Ary van der Touw, changing the name when his first teacher Jan van Goyen told him it was not a 'grand' enough surname (according to Houbraken). Van der Kabel moved to Lyon as a young man, and spent much of the rest of his life in the French city. It was in Lyon that Johannes Glauber, another prolific landscapist, encountered the older Dutchman and may have worked alongside him for a brief period. His most prominent pupil was a Lyonnaise artist called Adrian Manglard, who would go on to supersede his teacher's reputation in Rome, becoming one of the most prominent landscape artists of his time.
Van der Kabel moved to Rome in c.1659, staying until 1666, and his works from this period onwards are increasingly Italianate, particularly his drawings (such as the present work). He was a natural fit for the Bentvueghels (Dutch expatriate artists in the city), who already had a reputation for carousing, public brawling and general misbehaviour, and found himself in trouble with the Roman authorities on at least two occasions.
He spent the final two decades of his life in Lyon, where his younger brother Engel (also an artist) had emigrated. Here he offered a welcome to any Dutch artists travelling through France on their way to Italy (for example Jan Frans van Bloemen) and provided them with a foretaste of Italianate landscape composition. Van der Kabel's oils are less distinctive than his drawings and are often bustling harbour or port scenes. Many of van der Kabel's works were engraved by an N. Robert, a Lyonnaise engraver, and examples can be found in the British Museum.