1 Allaert van Everdingen Alkmaar 1621 – Amsterdam 1675 Landscape painter, a student of Pieter de Molijn and Roelandt Savery. Active in Utrecht, Haarlem and Amsterdam. He visited Norway and Sweden in 1644 and was back in Haarlem in February 1645. #1 A Harbour on the Norwegian Coast Pen and grey ink, grey wash, 115x176 mm. NM 851/1938 Ruled framing lines in black ink. Watermark: Fleur-de-lys. Chain lines: 29 mm. Signed at the lower left AVE, pen and grey ink. Inscribed on the verso Oostrysen in Noorwegen, pencil. Inscribed on the old mount Collection Cohssault de Huchnaer mort a Boste le Duc en 1792. Provenance: Cossault de Huchnaer?; Auction F. W. H. Hollstein, Amsterdam 1938. Bibliography: K. E. Steneberg, “Allart van Everdingen”, Svenskt konstnärslexikon, Malmö 1953, II, p. 169; K. E. Steneberg, Kristinatidens måleri, Malmö 1955; A. I. Davies, Allart van Everdingen. First Painter of Scandinavian Landscape, Dornspijk 2001, pp. 26, 165, fig. 15. 2 Exhibitions: Stockholm 2005, no. 248. Einar Perman owned a larger and more detailed drawing of the same place, seen from the same spot, but with a different staffage, inscribed on the recto Oostfrijsen in Noorwegen 1644. This place was identified by K. E. Steneberg as Österrisör, now Risör, on the south coast of Norway.1 According to Houbraken the artist was driven to the Norwegian coast by a storm, on board a ship that sailed from a Baltic port. However there is no evidence of a visit to the Baltic, but the Dutch traded timber in the Norwegian ports on a regular basis.2 1 Cf. Sthlm 1953, p. 70, under no. 232. An old debate about Everdingens travels to Sweden and Norway is well summarized by Davies, op.cit., pp. 163ff. 2 3 [Everdingen] #2 Waterfall at Mölndal in Sweden Pen and water-colour, 197x 194mm. Mölndals kommun Laid down. Inscriptions and Collectors Marks: Signed AVE, pen and grey ink. Inscribed on the verso molendael buyten gothenburgh na t’leven. Provenance: E. Perman. Bibliography: J. S. Held, “Ett bidrag till kännedomen om Everdingens skandinaviska resa / New facts about Everdingen’s Scandinavian journey”, Konsthistorisk Tidskrift, 1937, p. 42. K. E. Steneberg, “Allart van Everdingen”, Svenskt konstnärslexikon, Malmö 1953, II, p. 169, repr.; K. E. Steneberg, Kristinatidens måleri, Malmö 1955, pp. 118ff; A. I. Davies, Allart van Everdingen. First Painter of Scandinavian Landscape, Dornspijk 2001, pp. 26f, 164, fig. 17. B. Fredlund, “En bastion med utblick mot världen. Konsten i Göteborg under 1600och 1700-talets första hälft”, Konstens Göteborg. Nedslag i fyra sekel, Göteborg 2002, p. 9. 4 Exhibitions: Sthlm, 1953, no. 233. This study from life was used in two painting both dated 1670, where Everdingen added a moutainous backdrop. One painting is in a private collection, the other in the museum at Rouen.3 Throughout his life Everdingen used Scandinavian motifs for his copositions, often combining them freely with other motifs. 3 Davies, op.cit., cat 45 and 46. 5 [Everdingen] #3 Rocky Landscape with some Cottages Black chalk, pen and brown ink, brown and grey wash, 142x174 mm. NM 416/1917 Ruled framing lines in black ink. Watermark: Foolscap. Signed at the bottom left AV. EVERDINGEN, pen and brown ink. Provenance: Gift from Mrs. Olof Granberg, 1917 Exhibitions: Stockholm 1953, no. 228. This and the following drawing do not differ in style from the previous drawing. They are finished and signed drawing, small in size, and similar to the series of small etchings Everdingen published. Olof Granberg, who owned the drawing, was curator at the Nationalmuseum and the author of the first monograph of the artist (O. Granberg, Allart van 6 Everdingen och hans “norska” landskap, det gamla Julitta och Wurmbrandts kanoner, Stockholm 1902). 7 [Everdingen] #4 Northern Landscape with a Watermill Black chalk, pen and brown ink, brown and grey wash, 117x165 mm. NM 850/1938 Ruled framing lines in brown ink. No watermark. Chain lines: 25 mm. Inscriptions and Collectors Marks: Signed at the lower left AVE, pen and brown ink. Provenance: Auction F. W. H. Hollstein, Amsterdam 1938. Exhibitions: Stockholm 1953, no. 229; Stockholm 1967, no. 255; Stockholm 2005, no. 247.