Leo Swane, A Catalogue Raisonné of the Works of Dankvart Dreyer, 1921, no. 199. Suzanne Ludvigsen, A Catalogue Raisonné of the Works of Dankvart Dreyer, 2008, no. 274.

Exhibited: Kunstforeningen, “Udstilling af Dankvart Dreyers Arbejder”, 1912 no. 107. Kunsthallen Brandts Klædefabrik, “Hist hvor vejen...”, 1996 no. 44, ill. p. 30. Kunsthallen Brandts Klædefabrik, “I begyndelsen var Fyn”, 2005, p. 24. Fyns Kunstmuseum & The Hirschsprung Collection, “Naturfortrolighed. Dankvart Dreyer 1816–1852”, 2006–2007 no. 72, ill. p. 79. Museum Vestfyn, “Dreyer - Liv og Landskab”, 2016 no. 29, ill. p. 44.

Literature: Leo Swane, “Dankvart Dreyer 1816–1852”, 1921, mentioned p. 123, ill. p. 118. Suzanne Ludvigsen, “Maleren Dankvart Dreyer”, 2008, vol. I, ill. and mentioned p. 274. Here the painting is described as follows: “In the small study of a landscape with Barløse Church [...], another motif from the area right around Dreyer's farm, it turns out [...] that he has been more concerned with capturing whole unbroken surfaces than by details. Looking beyond the foreground's myriad of late summer growths in brown and green colours, two extensive image planes are depicted in a mutual dialogue. We see a ripe grainfield, embraced by the wind, which so-to-speak calls out to a hazy white-grey sky. The air borrows from the colours of the field, which is so golden that it appears as lighted from within. In the distant village, the church building rises on the horizon as an echo of the painter's thoughts.”

Provenance: The painter Vilhelm Hammershøi (1912). His wife Ida Hammershøi (1921). Kunsthallen auction 23 February 1935 no. 96. The painter Julius Paulsen, his estate auction at Kunsthallen 4 June 1940 no. 44, ill. p. 15. Kunsthallen auction 415, 1992 no. 56, ill. p. 9. The art historian Hans Edvard Nørregård-Nielsen (1945–2023).

It is suggested by Suzanne Ludvigsen that the work may come from the Dreyer family in Assens through the art dealer W. Schou.