Abraham I Van Stry

Author : Strij, Abraham van Dordrecht 1753 - 1826 titolo : View of a Kitchen. description : Signed lower left: A. van Strij. Chalk and India ink on paper. 27,5x 23,5cm. Reverse side: Hand signed inscription of artist and collector's stamp. Provenance: Private collection, Hesse, acquired in 1942 at Sale 206C.G. Boerner, Lot 561, as part of the Hofstede de Grootcollection. category : Arbeiten auf Papier

Measurements note 37.7 by 31.1 cm. DESCRIPTION signed upper left: AVan Strÿ. fe and inscribed on thebooks upper left: Kamer/ Noties/ 1721/ Kamer/ Noties/ 1722,the reverse with several coat-of-arms and inscribed with theidentity of the sitter oil on canvas Quantity: 2 CATALOGUE NOTE Offered together with a miniature portrait on panel of CasparJacob van Citters, by Abraham van Strij, signed centre right.

Abraham van Strij (Dordrecht 1753-1826) A rider with his horse in a landscape indistinctly signed 'A VAN S..' (lower centre) oil on canvas 31.2 x 37.8 cm. Provenance A. Staring, Vorden, 1961, and by descent to Mrs. Staring- de Mol van Otterloo, De Wildenborch, Vorden; Christie's, Amsterdam, 11 November 1996, lot 95, where purchased by the present owner. Literature J.M. de Groot, 'Traditie en vernieuwing in de kunst van Abraham en Jacob van Strij', in In helder licht. Abraham en Jacob van Strij, Dordrecht, Enschede and Zwolle, 2000, p. 29 and 33, illustrated. Exhibited Dordrechts Museum, De Gebroeders van Strij, 9 October-25 November 1996, no. 3.

measurements note 34.3 by 28.8 cm. DESCRIPTION signed lower left: A . Van.Stry. CATALOGUE NOTE In this 18th Century interior scene of a maid eavesdropping onan amorous couple, we can see to what extent Abraham van Strij wasinspired by the masters of the 17th Century, especially by theinteriors of Pieter de Hooch (1629-1683/4). He was already comparedto De Hooch by an English art lover in 1819 who, when visiting VanStrij's workshop, described him thus: '[ he ] may justlybe called the modern Peter de Hoog' . 1 It was notonly Van Strij's choice of subject matter that was influenced by DeHooch, but also his use of light. The bright, light atmosphere inthis scene is very typical of both artists, as is the compositionwith the see-through into the courtyard. Besides De Hooch, VanStrij may also have looked at his former townsman Nicolaes Maes(1634-1693) who painted the same subject of a maid eavesdropping ona staircase more than 100 years earlier. 1. See E.J. Sluijter in: In helder licht, Abraham en Jacobvan Strij, Hollandse Meesters van landschap en interieur omstreeks1800 , Zwolle 2000, p. 119, note 46.

Pen and gray and black ink and watercolor; signed in brown wash, on the door-way, lower right: A V. stry PROVENANCESale, Amsterdam, Christie's, 1 December 1986, lot 103 LITERATURE AND REFERENCES F. de Graaf et al, In helder licht, Abraham en Jacob van Strij, Hollandse meesters van laandschap en interieur omstreeks 1800, exhibition catalogue, Dordrechts Museum 2000, p. 130, reproduced p. 135, fig. 204 CATALOGUE NOTE After the painting of the same subject by Jacob Ochtervelt of circa 1665-70, in the Mauritshuis, The Hague. This copy provided van Strij with a starting point for his own painting depicting the entrance of a fish-seller into a similar house, now in a private collection, Arlesheim.1 1. See F. de Graaf, Literature, respectively figs. 193 and 296.