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Lot Essay
While Victorine Hefting tentatively confirmed the attribution to Jongkind in 1983, Saskia de Bodt has, on the basis of a photograph, kindly confirmed the attribution.
Jongkind grew up in Vlaardingen, where his father was a civil servant. He worked there and in The Hague until 1845, followed by Paris until 1855. Since than he frequently alternated his residence varying between Holland and France, including Rotterdam, Dordrecht, Delft, Klaaswaal, Paris, Le Havre, Honfleur, Nevers, Geneva, La Pupetire and Cote St. Andr, where he died. Impressions from these stays frequently reoccur in his work, sometimes using only specific topographical elements such as towers or mills.
This view of Overschie may be compared to the artist's watercolour of similar format, dated 6 November 1856, and to Jongkind's picture dated to the same year, both taken from the same view point as the present lot (V. Hefting, Jongkind, sa vie, son oeuvre, son poque, Paris, 1975, pp. 106-7, nos. 155 and 159). Overschie remained a popular subject for Jongkind, depicting it several times again in the 1860s and 1870s (Hefting, op.cit., nos. 286, 288, 302, 374, 401, 412, 417, 593 and 618)
Jongkind grew up in Vlaardingen, where his father was a civil servant. He worked there and in The Hague until 1845, followed by Paris until 1855. Since than he frequently alternated his residence varying between Holland and France, including Rotterdam, Dordrecht, Delft, Klaaswaal, Paris, Le Havre, Honfleur, Nevers, Geneva, La Pupetire and Cote St. Andr, where he died. Impressions from these stays frequently reoccur in his work, sometimes using only specific topographical elements such as towers or mills.
This view of Overschie may be compared to the artist's watercolour of similar format, dated 6 November 1856, and to Jongkind's picture dated to the same year, both taken from the same view point as the present lot (V. Hefting, Jongkind, sa vie, son oeuvre, son poque, Paris, 1975, pp. 106-7, nos. 155 and 159). Overschie remained a popular subject for Jongkind, depicting it several times again in the 1860s and 1870s (Hefting, op.cit., nos. 286, 288, 302, 374, 401, 412, 417, 593 and 618)