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Core Record

Title A Cavalier with a Grey Horse
Collection English Heritage (Wellington Museum, Apsley House)
Artist Kalraet, Abraham Pietersz. van (Dutch painter, 1642-1722)
Date Earliest about 1665
Date Latest 1722
Signed yes
Description A cavalry trooper, wearing the buff leather jerkin typical of seventeenth-century military garb, adjusts the bridle of his horse. Beyond is an encampment with numerous soldiers and in the distance a church. Kalraet was born in Dordrecht, where he spent most of his life, and was probably a pupil of Aelbert Cuyp. He was apparently also active as a sculptor, although none of these works have survived.
Current Accession Number WM 14901948
Inscription front ur 'AC'
Subject figure; military and war; animal (horse); landscape; building and gardens
Measurements 32.0 x 38.7 cm
Material oil on canvas
Notes The AC signature both on paintings of this kind and on still lifes was generally accepted as being that of Aelbert Cuyp, and it was as Cuyp that this picture was catalogued by Evelyn Wellington and by Hofstede de Groot (190827, II, no. 555). In 1916, Bredius ascribed the still-life paintings with the AC signature to Calraet (Kalraet) a proposition which led to a lively controversy with Hofstede de Groot in the pages of Oud Holland (191516, I, pp. 90, 143, 186, 241, 293, 314, 386; also Bredius in The Burlington Magazine, XXX, 1917, p. 172). For the group of AC pictures of horses a further stage was reached when the Horses in a Stall in the Museum Boijmans van Beuningen, Rotterdam (inv. 1395), was found to bear the signature of APvK, which was read as Abraham Pietersz van Kalraet. Hofstede de Groot (Thieme, Becker 1926) accepted that if this was indeed the correct reading, it followed that a whole series of related paintings with the AC signature including the one in the Wellington Collection would have to be given to Kalraet. This argument was endorsed by J.G. van Gelder, who singled out a painting virtually identical to WM1490 in the Alte Pinakothek, Munich (no. 879), as definitely by Kalraet, on the grounds of its similarity to a painting in St Petersburg which in turn could be firmly linked with the Rotterdam Kalraet (Kunsthistorische Mededelingen, I, 1946, pp. 7ff. repr.). The Munich version, which lacks the arrangement of bones at lower left, remains identified as by Kalraet and the Wellington picture must be given to the same artist. His indebtedness to his master can be demonstrated by the similarity with Cuyp's Cavalry Trooper decorating his Dappled Grey Horse in the Royal Collection (canvas, 116.8 x 148.5 cm; White 1982, p. 34). For Kalraet see exh. cat., Dordrechts Museum, De zichtbaere Werelt: schilderkunst uit de Gouden Eeuw in Hollands oudste stad, 1992, pp. 10613.
Rights Owner Copyright English Heritage
Author C.M. Kauffmann, revised by Susan Jenkins



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