Travellers by a well
- oil on wood panel
- 23.7 × 34.0 cm
- Accession Number
- International Painting
- Credit Line
- National Gallery of Victoria, Melbourne
Presented through The Art Foundation of Victoria by Dr Orde Poynton CMG, Fellow, 1980
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Ms Carol Grigor through Metal Manufactures Limited
- Gallery location
- Not on display
Collection of Protheroe (?), until 1810; included in the sale of property of the 6th Earl of Coventry and others, Christie’s, London, 16-17 February 1810 (sold 17 February), no. 94 as Jan Both (style of); bought by Sale (?); collection of Verdi Killicoat Burmeister (1894–1956), Unley, Adelaide, South Australia, by 1956; by whom bequeathed to the Art Gallery of South Australia, 1956; subsequently sold, Theodore Bruce (auction house), Adelaide, 14 June 1957, lot no. undetermined; bought from this sale by Dr John Orde Poynton (1906–2001); his collection, Melbourne, 1957–80; by whom donated, through The Art Foundation of Victoria, to the NGV, 1980.
 Burmeister is buried at West Terrace Cemetery, Adelaide. He was the son of Charles Frederick Burmeister (1857–1941) and Marion Maude Burmeister (1868–1932, nee Killicoat), and grandson of Heinrich Wilhelm Burmeister (1818–1907).
 Objects from the bequest were deemed unsuitable for the Art Gallery and, with the agreement of the family (possibly sister Daisy Maud Salotti, nee Burmeister, d. 1970), were sold at auction. Some pictures were retained, including Flemish, Peasants dancing, oil on panel, Bequest of V. K. Burmeister, 1957; a portrait of Louis XIV; Quayside, by Frances Hodgkins. See Bulletin of the National Gallery of South Australia, vol. 18, no. 4, 1957.
 Proceeds from the sale formed AGSA’s VK Burmeister Bequest Fund and used for acquisitions. The sale catalogue contains very few details and descriptions of lots. Both painting could be Lot 1, Dutch Oil; Lot 7, Small oil on Wood, or; Lot 76, Dutch School.
- After artistic training in their native Utrecht, Andries Both and his brother Jan travelled to Italy in the early 1630s. They established themselves in Rome painting bambocciate, a new genre being developed there by Dutch, French, Flemish and German artists. Bambocciate were small cabinet pictures of ‘low’ life in the Roman Campagna, painted with Northern realism and infused with recognisably Italian light. The amusing and rustic character of these simple vignettes was relished by Roman aristocratic and bourgeois collectors. This particular scene, showing travellers paused for refreshment, might well have been observed during the Both brothers’ journeys.