Jan Muller / Arts & Antiques – 2020 Winter Catalogue
2020 – Winter Catalogue
Jan Muller / Arts & Antiques Burgstraat 24 9000 Gent, Belgium +32 (0)496 26 33 24 info@janmullerantiques.com
Winter Catalogue 2020
Emile Claus
Sint-Eloois-Vijve 1849 – 1924 Astene
◀ The Leye h|w
41 x 58,5 cm work
Oil on canvas Signed lower right
◀ The Leye – 1912 h|w
43 x 59,5 cm work
Oil on canvas Signed lower left verso: ‘Juny A.B.E.C.’
2
â–² Cows in the meadow h|w
65 x 92 cm work
Oil on canvas Signed lower left
3
Anna De Weert Gent 1867 – 1950 Gent
Hawthorn snow h|w
51 x 51 cm work
Oil on canvas Signed lower right and dated in the back ‘Afsnée mei 1916, 2de oorlogsjaar’
4
▼ The little peach tree, 1915 h|w
46,5 x 35,5 cm work
Oil on canvas Signed right below
▲ The poppies h|w
50,2 x 34,3 cm work
Oil on canvas Signed lower left
5
Leon De Smet
Gent 1881 – 1966 Deurle
Autumn H|w
57,5 x 43 cm
6
work
Oil on canvas Signed left below with cartouche ‘LDS 1914’
▶ The Leye H|w
100,5 x 120 cm work
Oil on canvas Signed lower right ‘Saverys’
Albert Saverys
Deinze 1886 – 1964 Petegem
Modest Huys
Olsene 1874 – 1932 Zulte
◀ Autumn H|w
50,5 x 64 cm work
Oil on canvas Signed lower right ‘Modest Huys’
7
▲ Two women bathing in a river h|w
100 x 130 cm work
Alfons van Beurden junior Antwerp 1878 – 1962 Antwerp
8
Oil on canvas Signed lower left ‘van Beurden’ LIterature
Arte / Plastische kunst in België, p. 419
▲ Streetview in Paris h|w
40 x 50 cm work
Oil on panel Signed lower right
Fernand Toussaint
Brussels 1873 – 1956 Elsene
9
Paul Hermann Wagner
Rothenburg 1852 – 1937 Kochel am See
▲ Mother with daughter on a summer’s day H|w
70 x 101 cm work
Oil on canvas Signed lower left ‘Paul Wagner München Kochel’
10
Henri Houben
Landarbeid
work
Oil on canvas Signed lower right ‘H Houben 1889’
Antwerp 1858 – 1931 Antwerp
h|w
This majestic agricultural scene can be seen as a post-impressionist masterpiece in the oeuvre of the Antwerp artist Henri Houben. Houben was educated at the Academy under the direction of Charles Verlat and is known for his portraits, landscapes and genre scenes, for which he found inspiration in the Kempen and Zeeland. In 'Landarbeid' he shows how his work was influenced by the modern developments of late 19th century painting, with Emile Claus' naturalistic impressionism at the forefront. Realism had entered the art of painting since the mid-19th century. Away from the prevailing romantic and classicist ideals of painting, the realistic artists chose scenes from everyday life, which they displayed in large formats. They went to the countryside where they painted reality as they saw her in the open air. In painting, this realism evolved into naturalism, with the aim of painting 'after nature' or, as Zola described it, 'la nature vue à travers un tempérament'. Although daily life seems to be idealized, an objective approach to the rural (or urban) context always prevailed, as a search for the reality of the countryside. In addition, these artists often relied on photographs, which resulted in an even greater objectivity. Certainly in Belgium, the naturalists did not adopt a moralistic attitude: genre pieces in which realism predominated.Through Emile Claus, the figurehead of impressionism in Belgium, the French influences also seeped into the Antwerp painting school in the period 1885-1890,
which at that time was still the most influential in Flanders. Houben must have known Claus, since they lived in the same city for more than ten years, were educated at the same Academy (although with a few years difference) and Claus moved into a studio in Antwerp where he remained until 1889. Early masterpieces by Claus and Vlaswieden in Flanders from 1887 and 'De Bieten' harvest from 1890 are both thematically and stylistically very close to 'Landarbeid' van Houben. Depicted is the reality of the day after work, where the landscape is not a stage piece and the characters are not extras, but people of flesh and blood in their daily environment. The beauty lies in the anecdotal of everyday life. The artist does not want to glorify, but there is a tendency towards monumentization: not only because of the chosen format, but also because of the prominent placement of the characters, full of feet and against a high horizon. Finally, the choice for the time of day, sunset, also fits in perfectly with the spirit of that times, in which experiments with color and light would increasingly determine the new impressionistic visual language. Agricultural labor offers a beautiful tranche de vie from times long gone by now. And yet it is also a modern time document, both stylistically and formally, created in a period in which international trends gave the Antwerp, and by extension Belgian, school of paint a new impetus.
102 x 149 cm
11
◀ Watching the moonlight h|w
82 x 60 cm
Alfred Stevens
Brussels 1823 – 1906 Paris
12
work
Oil on canvas Signed lower left ‘Alfred Stevens 84’
Jozef Israels
Groningen 1824 – 1911 The Hague
▶ Portrait of a young girl h|w
50,8 x 34,3 cm work
Oil on panel Signed lower left provenance
Collection of Edward Clarke Cabot, 1818 – 1901
13
circle of
Jan Mertens van Dornicke Antwerp circa 1470 – 1527
â–ś A triptych: The adoration of the Magi, The Nativity and The flight into Egypt h|w
80 x 114 cm open work
Oil on panel provenance
Douwes, Amsterdam 1984
14
15
Dirk Jacobsz was probably born in Amsterdam circa 1496/7 and buried there on September 9, 1567. His father acquired a house in Amsterdam in 1500. He was a pupil and later a collaborator of his father Jacob Cornelisz. Van Oostsanen, who’s workshop he inherited after the latter’s death in 1533. He married Marritgen Gerritzsdr, which whom he had two children. While his father’s studio was specialized in religious history paintings, Dirk became a renowned portrait painter in Amsterdam. In his early years he was also influenced by the draftmanship, color and painting strategy of his lifetime friend Jan van Scorel (1498-1562), who was also a pupil of Jacob Cornelisz. Van Oostsanen. Some ‘Schutterstukken’ for corporations are extant in the Amsterdam townhall (dated 1556), the Rijksmuseum (dated 1529, another 1563) and the Hermitage (dated 1532, another dated 1561). The well-drawn hands and dynamic attitudes of the figures by Dirk Jacobsz. differentiate him of van Scorel. Jacob Cornelisz van Oostsanen ran a successful studio with a great number of assistants. It allowed him and his studio to produce many smaller devotion pieces after his prestigious ‘standard models’. The nativity scene in the present painting is such a serial studio product. It repeats a great many of elements after the artist’s Adoration of the Shepherds, dated 1512 (Museo Nazionale di Capodimonte, Napels). Many versions with variations of this scene exist, all done in collaboration with skilled assistants. Sotheby’s Parke Bennet New York sold December 2, 1976 such a version in which Adriaan Isenbrant collaborated (panel 97,5 x 75,5 cm, Friedländer nr 254). The portraits of the donors in the present painting are of a fine execution, allowing in the present author’s opinion an attribution to the young Dirk Jacobsz, active in his father’s workschop. The hands, the folds in the cloths are well painted The facial expression of each of the eight members of this family is sensitive. The painting style is still somewhat reminiscent of that of his friend van Scorel. All stylistic the elements in this painting are in accordance with the date on the stone cradle: 1526. — Text by Prof. Dr. Jan De Maere
attributed to
The Adoration of the shepherds with donors
provenance
Amsterdam 1496 – 1567
h|w
•
and the studio of
work
Dirk Jacobsz
Jacob Cornelisz van Oostsanen Oostsanen before 1470 – 1533 Amsterdam
16
73 x 55,3 cm Oil on panel Dated 1526 central panel
collection Compte de Fursac, Brussels 1923. Brussels as Thierry Cornelisz. • The Ehrich Galleries, New York • collection Nico Cevat, Amsterdam • collection José Fernández, Madrid • collection Juan A. Maragall, Barcelona •
Frans I Pourbus
Bruges 1545 – 1581 Antwerp
▶ Portrait of a woman with a lace ruff H|w
38 x 27 cm work
Oil on panel We thank Dr. Koenraad Jonckheere for this attribution after inspection of the original.
17
h|w
41 x 32 cm Flemish school,probably Ghent, circa 1500
The adoration
18
work
Oil on panel
Willem Benson
attributed to Bruges 1521 – Middelburg 1574
Virgin and Child with angel and bowl of cherries
h|w
79 x 66,5 cm work
Oil on panel
19
Jan Rombouts the Younger Leuven c. 1505 – 1559 Leuven
▶ Susanna and the Elders h|w
105 x 134,5 cm work
Oil on panel Signed and dated with monogram IRO lower right 1543 Expertise by Dr. Jan de Maere, 2019
He was the son , pupil and collaborator of Jan Rombouts the Elder (Louvain c. 1480-1535). His father, listed in Louvain as ‘Johannes Rombouts pictor’, is the grandnephew of the Louvain glasspainter Claes Rombouts. Jan the Elder 1 was dean of the Louvain city administration from 1519 until his death in 1535 and served as one of the governors of an Antonine chapel2. He married Barbele Roelants with whom he had two children. Their daughter Marie married Jan Willems, a painter in Louvain. Jan the Younger worked in his father’s workshop and later as an independent free master in Louvain, where he held public offices and served as alderman of the painters guild. Both father and son were painters and glass painters. Their complex and colorful compositions, inspired by the Antwerp Romanists and Italianate examples of pseudo-Renaissance architectural elements, introduced in their home town the stylistic innovations realized by Albrecht Durer, Lucas van Leyden and Bernard van Orley. The father was more restrained in his draftsmanship and closer to the Renaissance style, as we see in his wing ‘Saint Margaret of Antiocha’ of the monogrammed altarpiece ‘The Conversion of Saint Paul’ in the M-museum Louvain, His son was more extravagant in an exuberant mannerist style, as seen in the present painting. This ‘Susanna and the Elders’ is an important discovery for early Mannerist painting in Louvain in the first part of the sixteenth century. In the nineteenth century, the city archivist of Louvain Edward van Even read the monogram of the works of Jan Rombouts the elder as ‘IVR’, wrongly identifying the author as the Louvain painter Jan van Rillaer. The latter was only born in 1520/25. Therefore it is obvious that it is in fact the monogram of Jan Rombouts the Elder , active and documented as a free master already in 1520-1525. — Text by Prof. Dr. Jan De Maere 1
Dan Ewing, Review of Uvette Bruynen, Jan Rombouts: The Discovery of an
Early Sixteenth-Century Master in Louvain, Ars Nova 16, Brepols Turnhout 2011, Historians of Netherlandisch Art, vol 30, nr 2, November 2013, pp 35-36. http://hnanews.org/hnar/jan-rombouts-discovery-early-sixteenth-centurymaster-Louvain-ars-nova-16 2
Jan Rombouts I: RKD files: http://explore.rkd.nl/artists/67879
20
21
Adriaen van Stalbemt Antwerp 1580 – 1662 Antwerp
▲ Descent of Christ into hell h|w
34 x 47 work
Oil on panel provenance
International Art Center of Roerich Museum, New York (as Jan Brueghel and Rottenhammer) Noortman and Brod Gallery London 1982 as Jan Brueghel the younger • certified by Dr. Ertz, 2018 • •
literature • •
Jan Brueghel II cat. 136 Adriaen van Stalbemt p. 414 add. 7 to be dated during the 1620’s
22
Flemish school, 17th century
The last judgement
h|w
53,5 x 40,5 cm
work
Oil on panel
23
Pieter Claeissens the Younger & Antoon Claeissens 1500 – 1576 Bruges & 1536 – 1613 Bruges
▲ The banquet of the gods h|w
37,6 x 47,2 cm work
Oil on copper Signed lower left
24
circle of
Bartholomäus Bruyn Cologne 1494 – 1555
▼
Portrait of Charles V at the age of 44
h|w
Ø 44 cm work
Oil on panel
25
Jacob Bouttats
attributed to Antwerp, before 1660 – c. 1700
â–˛ Noah and his family entering the ark together with the animals
26
h|w
39,5 x 50 cm
work
Oil on copper
Roelandt Savery
Courtrai 1576 – 1639 Utrecht
A horse in a landscape h|w
17 x 25 cm work
Oil on panel Signed right above
27
David Vinckboons Antwerp 1601 – 1677
We are gratefull to Dr. Klaus Ertz and to Dr. Ursula Härting for confirming the attribution of the present painting to David Vinckboons. He dates it in the early years of the artist, circa 1605. David Vinckboons’ painted oeuvre, for which the first catalogue was compiled by Korneel Goossens in 1954 and for which K. Ertz and C. Nitze-Ertz published a new one in 2016, consists mostly of histories and genre scenes in landscape settings. The style, composition and light heartedness of these works recall Flemish painting of the 16th century, albeit in a less overtly moralising manner. The present composition with its turbaned figure in the foreground may allude to a biblical setting. The figure is shown leading a small boy and the presence of a flock of lambs, with their sacrificial connotations, may allude to The Binding of Isaac. David Vinckboons was born into a family of artists in Malines in 1576. His grandfather Gillis had settled there in 1489 and had opened a studio of painting in watercolour on canvas – a Malines specialty continued by his son Philip (1545–1601). Due to the political and religious situation of the day, Philip moved his business to Antwerp in 1579, where he is recorded from 1580 until 1586. As the situation deteriorated for the reformed community to which the Vinckboons belonged, in late 1586 Philip travelled to the North with 185 other Antwerp families under safe conduct granted by the Duke of Leicester. Here he first settled in Middelburg and from 1591 in Amsterdam. With other religious immigrants from the South, such as Gillis van Coninxloo and Hans Bol, the Vinckboons family formed a tight artistic community in Amsterdam and continued their businesses as before. Thus David received his training from his father and first specialised in paintings in watercolour on canvas, such as his forebears had done. Later he took up painting in oil, mostly on smaller formats, which Karel van Mander praises as having considerable merit. His compositions must have been popular since they were frequently engraved.
▶ An extensive wooded landscape with biblical staffage h|w
111 x 170 cm work
Oil on canvas
Accompanied by a written certificate by Dr. Ertz (March 2019)
and also by a written certificate of Dr. Ursula Härting (January 2020)
28
29
Jan Breughel the Younger Antwerp 1601 – 1677
▼ A village scene
H|w
45 x 73 cm
work
Oil on panel authenticity issued by Dr. Luuk Pijl, 12 June 2018, certificate nr VII8/377
Jan Brueghel the Younger was born in Antwerp in 1601 and being Jan Brueghel the Elder’s first child he must have felt his destiny to continue the artistic tradition of his family very strongly. He started to work in his father’s workshop at the tender age of ten. As his father had done in the 1590’s, he went to Italy, in 1621. In Milan he stayed with Cardinal Federico Borromeo, who was arguably the most important patron to his father. He went as far as Sicily where he is documented in 1623 and 1624. In Palermo he spent much time with his friend Antony van Dyck, who was two years his senior. Early 1625 he learned of the death of his father and three brothers and sisters, all whom had been victim to a cholera epidemic raging in Antwerp. Jan set out for home instantly but the journey took much longer than expected. By August 1625 he felt the responsibility of
30
being the head of a large family. Successfully he sold paintings made by his father and also completed unfinished works in order to sell them. He took over his father’s studio with his contacts throughout Europe. In the same year he became a master in the St Lucas Guild and during the season 1630-31 he was even head of this institution. He managed to secure important assignments for the French Royal house and the Austrian Court. In 1626 he married Anna Janssens daughter of the well-known history painter Abraham Janssens. The couple were to have no less than eleven children. We are luckily well informed about his Italian trip, his personal life, his financial affairs and his social life since his journal, which ends in 1651, is being preserved. He died in Antwerp in 1678 at the age of 77. →
← The painting under discussion is known through a handful versions, almost identical in seize (Klaus Ertz, Josse de Momper der Jüngere, Freren 1986, pp. 392-95). Two versions (Ertz 1986, op cit, cat. nos. 380 and 381) show in the front a cart pulled by a horse which is omitted in the present version. A version in the Louvre in Paris also omits the cart (Jacques Foucart, Catalogue des flamands et hollandaises du musée du Louvre, Paris 2009, p. 109). Ertz attributes the landscape parts of this small group to Joos the Momper, but they should be given on stylistic grounds to Jan Brueghel the Younger, as did Jacques Foucart in his excellent catalogue of the Dutch and Flemish painting in the Louvre (vidi sopra). The present version is outstanding in terms of condition, color and modeling of the figures. A drawing recorded in Russia (Ertz 1986, op. cit, p. 395, fig. 502) shows a very similar composition. It seems that this drawing, which omits the simple wooden bridge, is copied after one of the paintings and that it played no part in the creative process leading to one of the painted versions. It is remarkable how very few drawings, that were used as aids in the daily studio practice, have survived from the several Brueghel workshops. Being not considered works of art in own right, most of them are now lost. The composition is Jan Brueghel the Younger´s own invention, it does not rely on a painting or drawing by his father. A date during the late 1630´s seems most likely in the light of the master´s stylistic development. This fine and original composition provides a beautiful glimpse into rural life in seventeenth century in Flanders. To the best of my knowledge and in good faith, I remain, Dokkum, The Netherlands, May 7th 2019 — Text by Dr. Luuk Pijl, 2019
Jan Brueghel the Younger Brussels 1601 – 1678 Antwerp
▲ Village scene with a drift of pigs H|w
5,8 x 7,4 cm work
Oil on copper Expertise present by Dr. Luuk Pijl, 2019
The present, miniature like, oval on copper shows a village street with a herdsman directing a drift of pigs. In the middle distance three carts are parked in front of an inn. A couple is leaving the inn, while a rider on horseback, accompanied by a footman, is entering the scene from the far distance. This fine and original composition provides a beautiful glimpse into rural life in seventeenth century in Flanders. The details and the colorful palette provide the image with a sparkling presence. The paint is preserved very well, allowing us to enjoy the beautifully painted details, especially in the figures and the rendition of the foliage of the trees. Also the sky is in fine condition, it imbues the landscape with great transparency. The composition is clearly inspired by the works of Jan Brueghel the Elder, but no drawn or painted prototype by the elder Brueghel is extant. Shortly after his return from Italy Jan junior worked in a style strongly reminiscent of his father. Therefore the present work should be dated between 1625 and 1630. Not a single work made by Jan the Younger from his Italian period is known today. During the second part of the 1620’s and the early 1630’s he worked strongly in his father’s highly detailed style catering the strong demand for these type of works. From the early 1640’s onwards Jan started to use a more personal manner as can be seen in the so called Adam cycle, a series made on large copper plates which he painted for the French Royals. To the best of my knowledge and in good faith, I remain, Dokkum, The Netherlands, 19 November 2019 — Text by Dr. Luuk Pijl, 2020
31
Marten Ryckaert
Antwerp 1587 – 1631 Antwerp
▲
Mountain landscape with Christ on his way to Emmaus
32
Marten Ryckaert was certainly the most important master in Antwerp to cater the strong demand for Paul Bril- and Jan Brueghel-like landscapes. He learned with Tobias Verhaeght, who was also the master of Rubens and Josse the Momper. It has often been stated that Ryckaert travelled to Italy around 1605-10, but no such trip is documented. The assumption that he travelled south bound comes from his emulation of the work of Paul Bril, who worked in Rome for more than five decades. However, Paul Bril´s paintings were present in Antwerp collections early on and Ryckaert could have studied Bril´s work in his native town. Ryckaert was registered in the Antwerp guild of Saint Luke in 1611 as 'the painter with one arm'. Despite this handicap he was highly prolific and gained a solid reputation for his landscapes with ruins, mountains, waterfalls and pleasant valleys. Anthony van Dyck painted his impressive portrait, today in the Prado in Madrid.
The present set of paintings are showing a landscape with Christ on his way to Emmaus and a landscape with three watermills omitting religious content. The lion share of Marten Ryckaert’s output is dependent on inventions by Paul Bril and Jan Brueghel the Elder. However, the compositions of the present paintings are dependent on the inventions of Tobias Verhaeght and Joos de Momper, both never worked on copper support and in oil on such a small scale. Not just the general layout, but also the way the architecture – such as the watermills, bridges, houses, castle and church – is included in the scenery is especially inspired by the works of De Momper. Furthermore the color scheme, with bright greens and blues, derives from the older master´s paintings. These fine and well preserved paintings are fully executed in Marten Ryckaert´s characteristic handling, with strong local colors and dot-like high lights. A date of execution around 1620 is feasible for these works. To the best of my knowledge and in good faith, I remain, Dokkum, The Netherlands, January 2nd 2020 — Text by Dr. Luuk Pijl, 2020
▼ Landscape with three watermills h|w
18 x 23 cm work
Oil on copper
33
▲ h|w
Sebastiaen Vrancx
50 x 81,5 cm
The passage of the army troops
Oil on panel
Antwerp 1573 – 1647 Antwerp
34
work
Sebastiaen Vrancx
Antwerp 1573 – 1647 Antwerp
▲ The battle of Lekkerbeetje at Vught, 5 February 1600. h|w
50 x 81,5 cm work
Oil on panel
35
Théobald Michau
Doornik 1676 – 1765 Antwerp
▲ Tradesmen along a river h|w
17 x 24 cm work
Oil on copper Signed lower left
36
Gerard Thomas
Antwerp 1663 – 1721 Antwerp
▼ The workshop of a sculptor h|w
68 x 85 cm work
Oil on canvas
37
Rubens
circle of Flemish school, 17th century
38
â–² The death of Cleopatra
h|w
work
99 x 76 cm Oil on canvas
Probably Dutch school, 17th century
â–² The inferno h|w
79 x 110 cm work
Oil on canvas
39
Cornelis Liefrinck II Leiden 1574 – 1652 Wurfbain
▶ Bacchus h|w
73 x 63 work
Oil on canvas Signed and dated above the shoulder to the right ‘J V D f 1662’ ▲ Skaters on a Dutch canal h|w
67 x 98 cm work
Oil on panel Signed and dated to the left 1642
40
Jan van Dalen
Active Antwerp, 1632 – 1670
41
Huybrecht Beuckelaer (or Beuckeleer) 1535/39 – after 1602
The younger brother, presumably, of the well-known painter Joachim Beuckelaer, Huybrecht Beuckelaer remained unknown to art history until only recently. His rare paintings, due to their signature, were initially classified as by a monogrammist Hb, until a full signature was discovered under a layer of overpaint on one of them. This newly discovered market scene is thus the second fully signed work by the artist to come to light. The previously known monogrammed paintings by the artist, history and genre scenes, are stylistically related to those of his brother and to work by their teacher and uncle, Pieter Aertsen. Huybrecht is also known to have painted portraits and believed to have worked as Anthony Mor’s assistant in about 1560. By 1586, he had settled in Greenwich, where he was recorded in that year as ‘Hubert Buchler’. He is believed to be the painter ‘Hubbert’ who had painted portraits of and for Robert Dudley, Earl of Leicester, by 1583 and by whom several works were recorded in the Earl’s inventory in 1584. Formerly, the date on this painting has been read as 1585, but it turns out that, sadly, it was too much abraded in the past to be properly legible. It may even be that the first two digits read as 16, suggesting that it was painted in or after 1600. In any case, this appears to be a later work by Huybrecht Beuckelaer, it was most likely done after his move to England. In it, he has acquired a more individual style and manner than in the earlier works that make up his known oeuvre. As such it may serve as a firm stepping stone for recognition of more works by the artist. In theme and composition, this market scene is reminiscent of work by Joachim Beuckelaer, but it breathes a somewhat more modern atmosphere, also, and particularly, in the attire of the maid. The handling, particularly that of the animals, fruit and vegetables is quite detailed and refined, not as bold as in Joachim’s paintings. Without the signature – which is absolutely genuine – the painting might not have been connected to Huybrecht Beuckelaer. However, the basket is very similar in its rendering to the one in a painting convincingly attributed to Huybrecht in the Royal Museum of Fine Arts in Antwerp (inv. no. 863). As usual in such paintings, the theme is not simply that of a maid shopping at the market. Her intimate approach of the seller suggests that she is looking for more than just food for the stomach. Specific elements, such as the rooster and the hen together in the basket, may indeed well allude to a sexual connotation of the scene. — Text by Dr. Fred Meijer
42
▶ A fruit and vegetable, poultry game seller with a town beyond. h|w
135 x 101 cm work
Oil on canvas Signed and dated lower left 'Huberius Beuckelaer.'
43
Pieter Claesz
Haarlem 1597 – 1660 Haarlem
▼ A still-life with a pewter jug, a glass of beer; a cooked ham, a bread roll on a pewter plate, together with other objects, all placed on a table draped with a white cloth
Pieter Claesz’s handling of the brush became broader, without losing his sense of accuracy and detail, however. He worked rapidly, without layering his paint very much – as such his manner reminds of that of his famous fellow townsman Frans Hals.
Pieter Claesz. was the most prominent and prolific painter of still lifes in Haarlem in the seventeenth century. Between 1621 and his death in December 1660, he painted probably more than 300 still lifes, mainly of meals displayed on a table. With Willem Claesz. Heda (1594-1680), he was the main protagonist of what has been called the Haarlem ‘monochrome banketje’ (the monochromatic banquet still life). Particularly in the 1630s, they painted still lifes in a restricted and subdued palette. In the 1640s, Claesz.’s work gradually became more colourful again, although this work from 1648 still largely adheres to the monochromatic idiom. Also in the course of the 1640s,
Claesz. often repeated motifs in his still lifes, such as the wrinkled white cloth, the shape of which he varied endlessly. A bread roll, a ham, and a pre-cut herring were also favourites on which he liked to vary. This still life is a rare example in which he combined a ham and a fish, usually he included only one of the two. In the back, there is dark (probably rye) bread, there are onions to go with the herring, mustard for the ham in the small German stoneware jar, a sauce (vinaigrette?) in the dish of Chinese Wanli porcelain, some walnuts and hazelnuts, and of course a glass of ale, poured from the pewter tankard to the left. — Text by Dr. Fred Meijer
44
Adriaen Jansz. Kraen Haarlem 1619 – 1679 Haarlem
h|w
36 x 32,5 cm
◀ H|w
52 x 70 cm work
Oil on panel Signed with monogram and dated PC/1648 middle left Expertise by Dr. M. Brunner-Bulst, 31/03/2009
work
▲ Breakfast still life with a ham, a breadroll, wan-li porcelain, silverware and a Rembrandt jug.
Oil on panel Signed central left provenance
Galerie Jürg Stucker, Bern, Auktion-Nr. 20, 1949
45
Vincent Laurensz van der Vinne Haarlem 1628 – 1702 Haarlem
46
Jacques de Claeuw
Dordrecht 1623 – 1694 Leiden
▼
Vanitas still life with skull and violin h|w
37 x 47 cm work
◀ Vanitas still life with a crown, an hour glass, documents and a print with Julius Caesar h|w
73 x 63 cm work
Oil on canvas Signed VCL Vandervinne upper right
Oil on panel RKD nr 61139 To be dated late forties Letter dated 2007 by Dr. Fred Meijer provenance
private collection Edmond du Robert, Nancy Johnny van Haeften, London • Otto Naumann, New York • •
47
work
Pieter Gallis
Enkhuizen 1633 – 1697 Hoorn
48
▲ A hanging garland of fruit
h|w
51 x 40 cm
Oil on canvas Signed lower left
â–ź An orange, roses, partially peeled lemon, strawberries on a stone ledge, before a sculpted urn, a statue of Fortuna in a garden beyond
Jan Mortel
Leiden 1650 – 1719
h|w
50 x 38 cm work
Oil on panel Signed on the ledge
49
This still life of flowers in a vase is clearly signed ‘Suchtelen’, but the initial is complex and indecipherable. No professional painter by that name is registered, but an informed guess as to the painter’s identity can be made. Stylistically, this floral still life is related to examples by Jacob Rotius (1644-1681/82), a painter from Hoorn, who was influenced by Jan Davidsz. de Heem (1606-1684) for such work. The van Suchtelen family was important in Hoorn, so we may assume that the painter belonged to that family. The most likely candidate is Nicolaas van Suchtelen, who was a magistrate and later in life also a burgomaster of Hoorn. The complex initial may, in fact, well include an N. When the estate of Nicolaes van Suchtelen was auctioned in 1715, it included several still lifes, among others by Rotius and by de Heem, as well as ‘his own portrait, life size, painted by himself ’, which indicates that he was indeed a(n amateur) painter. The present painting may not have been the only flower piece he painted, as a garland of flowers in the manner of de Heem and also dated 1675 was auctioned in 1811 (as by C. van Suchtelen) and a ‘beautiful flower piece by van Zuchtelen’ was auctioned in Gouda in 1792. — Text by Dr. Fred Meijer
◀
Tulips, roses, carnations and other flowers in a glass vase on a window ledge, with snail, butterflies and other insects. h|w
62 x 52 cm work
attributed to
Nicolaes van Suchtelen Dutch school, 1656 – 1715
50
Oil on canvas Signed and dated on the table ledge 'Súchtelen ƒe: 1675' provenance
Sale Paris, Drouot – Le Blanc, 4 February 1991 (not numbered)
Johannes Hannot Leiden 1633 – 1684 Leiden
▼ Flowers and fruits in a vase on a table ledge
provenance
h|w
•
53 x 40,5 cm
collection S. Buchenan (Niendorf) 1977. Koller Zurich • 1990. Koller (as J. Dz. De Heem)
work
literature
Oil on panel Signed with monogram and dated 1669
•
• •
Weltkunst 1/05/1977 Exposition 'Het stilleven' with Goudstikker in 1933 (as J. Dz. De Heem)
51
Jan van den Hecke I
Quaremonde 1620 – 1684 Antwerp
â—€ A basket of flowers on a stone table ledge h|w
39 x 27,5 cm work
Oil on panel Authenticity confirmed by Dr. Fred Meijer
52
Ambrosius Bosschaert the Younger Arnemuiden 1609 – 1645 Utrecht
h|w
▼ Pink and white roses in a glass vase with fruit and frog on a draped table
work
76 x 63,5 cm Oil on canvas Signed and dated left on the ledge 1638
provenance • •
Christies 1990. lot 142 Christies 1995. lot 18
literature
RKD image number 1001255382
53
Mathys Schoevaerts Brussels 1665 – 1702
◀ Two animated town-landscapes h|w
22 x 30 cm work
Oil on panel
54
Johann Christian Vollerdt 1708 – 1769
▶ ▼ A summer- and winter landscape h|w
35 x 43 cm work
Oil on panel Signed and dated lower left 1743
55
Jan Anthonisz van Ravesteyn (possibly Abraham Blyenberch)
workshop van The Hague 1572 – 1657 The Hague
56
Hendrik van Minderhout Rotterdam 1632 – 1696 Antwerp
◀ Portrait of a man with a wedding medal of Frederick V (Elector of the Palatinate) and Elizabeth Stewart. The wedding medal by Jan de Bommaert. h|w
62 x 49 cm work
Oil on panel The wedding medal is a reminder of the events of the anti-Habsburg Czech uprising (1618-1620) and the Thirty Years War (1618-1648) The medal that the portrayed person wears is the wedding medal by Friedrich von der Pfalz and Elisabeth Stuart by Jan de Bommaert from 1613. This indicates a European event that is closely linked to the Thirty Years' War. In 1618, predominantly Protestant Bohemia experienced revolts against the Catholic Habsburgs. The Prague threw the hated governor of the Habsburg emperor out of the
window of the Prague castle and crowned the Protestants Friedrich von der Pfalz and his wife Elisabeth Stuart king and queen. In doing so, Bohemia wanted to ensure the support and protection of other protestant kings, including that of Elizabeth's father, the King of England. This went too far for the Holy Roman Emperor and he declared war on Bohemia. Just one year after their coronation, Frederick and Elizabeth's reign as kings of Bohemia ended with the defeat of the Battle of the White Mountain. The royal couple went down in history as winter kings (for only one winter). They fled to the United Netherlands and brought religious tensions to a region in which the ceasefire with Spain was already very fragile, with which the war continued.
▲ View of Oostende with ships in the foreground h|w
75 x 124 cm work
Oil on canvas Signed lower centre ‘Minderhout’ We like to thank Mr. Laurens Schoemaker for the identification of the city of Oostende
We thank Marina Aarts and Eric Domela Nieuwenhuis for the valuable information regarding the medal and the attribution.
57
Jan Abrahamsz. van Beerstraten
Amsterdam 1622 – 1666 Amsterdam
▶ View on Weesp, skaters on the ice on the Vecht river h|w
85 x 123 cm work
Oil on canvas Signed and dated on the sled at the right 1657. We like to thank Mr. Laurens Schoemaker for the identification of the city of Weesp. provenance
Willem Mengelberg (1871-1951) 1952 S. J. Mak van Waay (Amsterdam) • 1965 Mak van Waay (Amsterdam) • 1967 Dennis Vanderkar Gallery London • private collection Italy untill 2019 • •
58
59
Gerrit Van Honthorst Utrecht 1592 – 1656 Utrecht
60
Bonaventura Peeters Antwerp 1614 – 1652 Hoboken
◀ work
Portrait of a man in black with a white lace collar, head and shoulders, holding a hat, long bust length, aged 39 signed "G Honthorst" left of the sitter's shoulder and inscribed "Aet 39/1642" upper right oil on panel, in a painted oval. h|w
74,5 x 59 cm provenance
Dullingham House, Newmarket
▲ Ships before the town of Dordrecht h|w
37,5 x 59 cm work
Oil on panel Signed with monogram B.P. below right
61
◀ Still life with pomegranates, lemons, oysters and a hanap h|w
55,5 x 41,5 cm
work
Cornelis Mahu Antwerp 1613 – 1689
62
Oil on panel Signed and dated top right: ‘M HV 1647’ We thank Dr. Fred Meijer who confirmed the authenticity of this painting
â–˛ Still life with flowers and architectural fragments on a terrace h|w
97 x 116 cm work
Oil on canvas We thank Dr. Fred Meijer who confirmed the authenticity of this painting.
Jean-Baptiste Monnoyer
Lille 1636 – 1699 London
63
◀ Still life of a thistle, a snake, a lizard, butterflies, a caterpillar and other insects with a landscape beyond h|w
39 x 41 cm
J R Le Blan
Flemish School, 18th century
64
work
Oil on canvas Signed and dated ‘JR Le Blan 1720’
â–ś A forest floor still life with snakes, butterflies, snails, a grasshopper, and a lizard h|w
47,5 x 34 cm work
Oil on panel We thank Dr. Fred Meijer who confirmed the authenticity of this painting.
Carl Wilhelm de Hamilton Brussels 1558 – 1754 Augsburg
65
William James active 1754 – 1771
▲ The grand canal, Venice h|w
63 x 41 cm work
Oil on canvas
66
Giovanni Battista Salvi 'Sassoferrato' Sassoferrato 1609 – 1685 Rome
▲ The Virgin in prayer h|w
45 x 36 cm work
Oil on canvas literature
We like to thank Sir François Macé de Lépinay for the confirmation after inspection of this painting.
67
Georges Croegaert Antwerp 1848 – 1923 Paris
◀ A cardinal and bishop enjoying liqueur and cigars h|w
33 x 41 cm work
Oil on panel Signed lower left ‘Georges Croegaert Paris’ provenance
Mac Connal-Mason, Duke Street, London
▶ Writer’s block h|w
22 x 27 cm work
Oil on panel Signed lower left ‘Georges Croegaert Paris’
68
Charles Brias
Mechelen 1798 – 1884 Brussels
▲ Le marché au beurre à Bruxelles h|w
67 x 86 cm work
Oil on panel Signed and dated Ch Brias 1831 provenance
Chairman of the Humor Society Mr Hans Ericson, Stockholm, Sweden (1903-1971), inherited to the current owner. exhibitions
1836 Exposition Bruxelles (our painting) • Extrait de Histoire de l'art moderne en Allemagne par le comte Athanase Raczynski , T III 1841 « Excursion en Belgique » •
69
▲ Ships before the port of Oostende h|w
76 x 126 cm
François-Etienne Musin
Oostende 1820 – 1888 Sint-Joost-ten-Node
70
work
Oil on canvas Signed lower right
Eugène Verboeckhoven Warneton 1798 – 1881 Schaarbeek
▶ A white stallion resting h|w
17,5 x 22 cm work
Oil on panel Signed right below and dated 1850
Wouterus Verschuur
Amsterdam 1812 – 1874 Vorden
▶ Preparing for departure h|w
14,6 x 19 cm work
Oil on panel Signed lower left
71
Basile de Loose
Zele 1809 – 1885 Brussels
▲ A village school h|w
68,5 x 80,5 cm work
Oil on panel Signed, inscribed and dated upper left ‘B. DE LOOSE. Brux.s 1864’
72
Basile de Loose
Zele 1809 – 1885 Brussels
▲ A classroom h|w
84 x 111 cm work
Oil on canvas Signed right below ‘B DE LOOSE BRUXELLES’
73
Gérard Portielje
Antwerp 1856 – Remich 1929
▲
Le commencement de la fin h|w
57,5 x 74,5 cm work
Oil on canvas Signed and inscribed lower right ‘Gerard Portielje Antwerpen’
74
provenance
Anon. sale, Sotheby's, London, 22 June 1988, lot 374. MacConnal-Mason & Son Ltd., London. Private collection, UK
▲ A Thankful Gesture h|w
40 x 32 cm work
Oil on panel Signed left below ▶ The clumsy cook h|w
36 x 29 cm work
Oil on panel Signed lower right and with a wax seal on the back
75
Edward Portielje
Antwerp 1861 – 1949 Antwerp
▶ Reading a letter in the artists’ workshop h|w
65,5 x 91,7 cm
work
Oil on canvas Signed lower left ‘mon Atelier Edward Portielje’
Henri Bourse
Antwerp 1826 – 1899 Antwerp
76
▼ Family time on the beach h|w
59 x 100 cm
work
Oil on panel Signed and dated lower left 1877
David de Noter & Jules-Adolphe Goupil Gent 1818 – 1892 Algiers – 1883 Neuilly-sur-Seine
▼ A young lady arranging flowers h|w
81 x 65 cm work
Oil on panel Signed by both artists lower right
77
Charles van Den Eycken Antwerp 1859 – 1923 Brussels
▼ In the artist's studio; A mischevious game h|w
69,5 x 94,5 cm work
Oil on canvas Signed and dated lower left 1903
78
▼ Motherhood h|w
68,5 x 95,5 cm
Charles van Den Eycken Antwerp 1859 – 1923 Brussels
work
Oil on canvas Signed and dated lower right 1907 provenance
Willow Gallery
79
Eugène Verboeckhoven Warneton 1798 – 1881 Schaarbeek
▼ Sheep and chickens in a barn h|w
60,5 x 83,5 cm work
Oil on canvas Signed lower left and dated 1877 and dated on the reverse
80
Eugène Verboeckhoven Warneton 1798 – 1881 Schaarbeek ▲
A shepherd and his flock outside a barn h|w
41 x 51 cm work
Oil on panel Signed lower left literature
E. J. Verboeckhoven, H. De Vilder / K. V. de Ven p. 193
81
Charles van Den Eycken Antwerp 1859 – 1923 Brussels
◀ Interesting reading h|w
36,5 x 27,5 cm work
Oil on panel Signed above left
Henriette Ronner
Amsterdam 1821 – 1909 Elsene
▶ Family-time H|w
33 x 45 work
Oil on panel Signed lower left
82
Charles van Den Eycken Antwerp 1859 – 1923 Brussels ▶
Playfull kittens h|w
45 x 33 cm work
Oil on canvas Signed and dated lower right 1904
Henriette Ronner
Amsterdam 1821 – 1909 Elsene
◀ The hunter h|w
28,5 x 41 cm work
Oil on panel Signed lower left
83
Théodore Gudin
Paris 1802 – 1880 Boulogne
▶ Constantinople, an animated view on the Bosphorus h|w
76 x 120 cm work
Oil on canvas Signed and dated below right 1857
84
85
Johann Christian Berger Linköping 1803 – 1871 Uppsala
▲ View of the Royal Palace, Stockholm h|w
42 x 65 cm work
Oil on canvas Signed lower left
86
Edouard Frédéric Wilhelm Richter French school, 1844 – 1913
▼ In the harem h|w
73 x 92 cm work
Oil on canvas Signed below left ‘E. Richter 1875’
87
Arthur Trevor Haddon London 1864 – 1941
▼ Arab horsemen before a town gate h|w
87 x 114 cm work
Oil on canvas Signed lower right ‘TREVOR HADDON’
88
Mariano Barbasán
Zaragoza 1864 – 1924 Madrid
Josep Tapiró Baró Reus 1836 – 1913 Tangier
▼ A berber drinking tea w|h
32 x 20 cm work
Oil on panel Signed above right and dated 1884
▲ Two tribesmen making music in front of a cave h|w
20 x 13,5 cm work
Oil on panel Signed lower right ‘J. Tapiro Roma’ Exhibited at the Metropolitan Museum of Art, New York 1881 - 1883 work
•
from Levi Z. Leiter Collection 1934 • The Barry Collection 1934 - 1948 • The Barnes Collection
89
Franz Auguste Rezia Italian, 1857 – 1906
▲ On the Bacino de San Marco, Venice, 1891 h|w
74,3 x 116,5 cm work
Oil on canvas Signed lower left F.A. Rezia and dated 1891 provenance
Property from the Collection of Tony Florian, Springfield, Illinois
Thomas Mostyn
Liverpool 1864 – 1930 Manchester
▶ Venice h|w
128,5 x 101,5 cm work
Oil on canvas Signed lower left
Alfred Pollentine
English school, 1836 – 1890
▲ Venice with a view of the Doge’s palace
Jules-Romain Joyant English school, 1836 – 1890
h|w
75,5 x 127 cm work
Oil on canvas Signed lower left ‘Pollentine’
▶ The palace of the doges H|w
46 x 59,5 cm work
Oil on canvas Signed lower left and dated 1853
91
Jan Muller Antiques bvba Fine Art Paintings © 2020 Jan Muller Antiques
Burgstraat 24 9000 Gent Belgium
Published by Jan Muller Antiques January 2020
info@janmullerantiques.com www.janmullerantiques.com
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Jan Muller / Arts & Antiques – 2020 Winter Catalogue
2020 – Winter Catalogue
Jan Muller / Arts & Antiques Burgstraat 24 9000 Gent, Belgium +32 (0)496 26 33 24 info@janmullerantiques.com
