The Friesian Horse |
In 1652, Paulus Potter (1625-1654) produced a series of five prints of horses in landscapes.[1] In 1974 Jan Verbeek suggested that these prints represent different seasons, namely spring, late spring, summer, autumn and winter, and that the demeanour and the condition of the animals correspond to the stages in human life.[2]
The Album |
The album in our collection contains remarkable copies of the second and third states of this well-known series by Potter. It is highly likely that these etchings were made by Ignace-Joseph de Claussin (France, 1766-1844). De Claussin was an amateur engraver who travelled through England and the Netherlands. He etched an impressive number of copies – more than 200 – after the most famous Dutch masters in his collection: Rembrandt, Potter, Berchem, Du Jardin. From literature we know that he definitely copied Potter’s Vaches et taureaux.[3]
The Worn-out horse |
The album is bound in blue paper, with an annotation on the front: “Vente de Rigal en 1817 (...)” and a note pasted in the doublure with a brief description of the volume in French. These prints are best seen in their original setting, in their frail but at the same time effective binding. The plates however do not follow the order proposed in 1974 by Jan Verbeek. Although he suggested that the prints should have been read as a progression, from the young and healthy horse to the worn-out and dead ones, the album is not in the order as proposed by Verbeek which is: 1) the healthy clean Friesian; 2) the Neighing horse; 3) the Cropped horse; 4) the Plough horse; and finally 5) the Worn-out horse. In the album however, the Worn-out horse is placed between the first two plates and the Cropped horse is located at the end.
The Cropped horse |
The symbolism of decay was not taken into consideration in this album. Instead, we think that the copyist arranged the prints according to the order of another album of originals by Potter that he might have seen previously. However, this remains speculation.
The Neighing horse |
The etchings
are very sharp, so they might be from among the first pressed. Overall the
plates are somewhat smaller than the originals, but they preserve the same
direction and the copyist carefully transcribed the date and the signature of
Potter on each plate. The etcher did his best to copy the originals faithfully,
yet his skills did not allow him to obtain the same successful results of
Potter. For example in the Neighing horse the head of the
animal is very dark and flattened, especially in the neck area. Either the
etcher etched too deeply in the plate and his scratches are too close to each
other, or he did not know how to handle the mordant and its timing. Similarly,
the landscapes in the background suffer de Claussin’s inexperience. Potter was
able to create a thick atmosphere between the foreground with scant vegetation
beside the horses and the villages in the distance, whereas in the plates by
the French master the sense of a three-dimensional space is less perceivable,
due to the sharpness of the contours of the houses in the background.
The Plough horse |
What is
further interesting is that we know that the album was sold at the sale of the
Count of Rigal in 1817 as a suite of copies.[4]
In the sale catalogue these prints are praised for their similarity to the
originals: it is noted that they preserve the same direction but are smaller in
size.
by Anna Bianco
Ref. nr. 60561
by Anna Bianco
Ref. nr. 60561
[1] Hollstein, F.W.H. Hollstein's Dutch and Flemish Etchings,
Engravings and Woodcuts, Ca. 1450-1700. Vol.
XVII. Amsterdam: Van Gendt &, 1976. Print. Andries Pauli (Pauwels) -
Johannes Rem. “Series of Horses” 9-13, pp. 216-218.
[2] Verbeek, Jan. “Vroege staten van de etsen van Paulus
Potter. 1625-1645”.
Antiek vol. 10 (1974), pp. 854-861.
In the same school of thought is the article by Alexandra Turnbull ‘The Horse
in Landscape: Animals, Grooming, Labour and the City in the Seventeenth-Century
Netherlands’ included in Shift: Queen’s
Journal of Visual & Material Culture, no. 3 (2010), pp. 1-24, available
online (link).
[3] Treydel, Renate. "Claussin, Ignace Joseph de" Allgemeines Künstlerlexikon. Berlin, Boston: K.
G. Saur. 2015.
[4]Catalogue Raisonné Des Estampes Du Cabinet De M. Le
Comte Rigal. Paris: Chez L'auteur,
1817. Print., lot 635, p. 288-289.