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Quarterly
Number Eighteen - 1961

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AUCKLAND CITY ART GALLERY

QUARTERLY

NUMBER EIGHTEEN —196 1
EDITORIAL

WE MUST APOLOGISE for the late issue of this Quarterly. However, it includes information on some of the Old Master acquisitions made this year. Others will be noticed in the following issue.
   The Mackelvie Trustees have added the BRUEGHEL THE YOUNGER — an example of the Trust's interest in acquiring important works for the collection.
   We also have to thank Mr N. B. Spencer once more for the generous gift of the Paolini. We hope his example may be followed by other private individuals interested in augmenting the collection with paintings of quality.
   Most of these new acquisitions are the re- sult of the Director's recent visit to Europe.
PIETER BRUEGHEL THE YOUNGER (1564-
1638) Flemish
A VILLAGE FAIR (Cover)

(Festival in honour of St Hubert & St
Anthony)
Oil on panel 44 x 65 ins
Signed P. (?) BRUEGHEL
Purchased by the Mackelvie Trust, 1961
This painting was formerly in the collection of
Dr C. J. K. van Aalst which was sold at Chris- ties in 1. 4. 60 (14). It was in that collection certainly from Feb 1931 (inventory ticket on the stretcher) while a certificated photograph by Gustav Gliick is dated 1929?

   There are several versions of this painting all of which seem to vary in detail. The best known, dated 1632 is in the Fitzwilliam (1192) (rpr Catalogue of Paintings 1. 1960. P1.8) an-

other in the Hermitage (rpr A Short Guide 1955 P1.66). The Auckland version differs principally in the absence of the group fighting in the bottom left hand corner. Other versions in public collections are at Perth, Scotland and in the Gemalde Gallery, Vienna, while other variants have appeared from time to time in the European art market.
   Gerson (Art and Architecture in Belgium 1600-1800 Pelican p. 56) refers to two series of variants—one with the stage on the left f Amsterdam 425a) is often attributed to Pieter Balten. The dates of the versions range between 1624 to 1635.

   Although Pieter II often made use of his father's compositions, his VILLAGE FAIR is considered to be his own invention.

   Pieter Brueghel was five when his eminent father died, so that he received no training from him. He became a master in 1585 in Antwerp after being a pupil of van Coninxloo and probably P. Goetkint.

   Pieter II shows little sign of development in his painting, working as he did in the transitional period before Northern Baroque seriously evolved under Rubens. Although he lacked the profundity of his father, he was capable of making similar comments on human behaviour and attitudes as an examination of his painting will show. Particularly pointed is the attention being given to the play —a Flemish comedy Een Clayte van Playerwater (the Trick Water Farce) and the lack of interest in the procession carrying the effigies of St Hubert and St Anthony.

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