14 November 2012
Jan Josefsz. van Goyen (Leiden 1596-1656 The Hague)
A river landscape with figures outside an inn
signed and dated 'VGoyen. 1632' (lower centre)
oil on panel
42.5 x 64.8 cm.
Alexander Dennistoun, removed from Golfhill; Christie's, London, 9 June 1894, lot 68 (65 gns. to M. Colnaghi).
Max Kann, Paris.
Charles Sedelmeyer, Paris; Lepke, Berlin, 16 November 1897, lot 14 (Mk. 2100).
Marcus Kappel, Berlin, 1908.
with M. Feilchenfeldt, Zürich, 1958.
Ernsts Rathenau, till 1987.
Contact Client Service
New York +1 212 636 2000
London +44 (0)20 7839 9060
Asia +852 2760 1766
Dr. H.U. Beck, Jan van Goyen 1596-1656, Amsterdam, 1973, II, p. 277, no. 609.
Dr. C. Hofstede de Groot, Jan van Goyen, London, 1923, vol. 8, p. 182, no. 735.
Jan van Goyen was one of the greatest and most prolific 17th Century Dutch landscapists. Prior to 1626 his early works closely resembled those of his teacher Esaias van de Velde. From the 1630s onwards, Van Goyen and his famous Haarlem colleagues, Salomon van Ruysdael, Pieter de Molijn and Jan Porcellis, developed a new tonal manner, with an almost monochrome palette.
The present lot, which is dated 1632, is an early and beautiful example for the change in van Goyen's approach to landscape design towards an unified structure and palette. The view of a calm river landscape under an overcast sky describes a low horizontal line which falls away into the distance to the right. Human figures are reduced in scale and number and play a more subordinated role whilst the attention is given to the depiction of space, light and atmosphere. The earth colors are muted and limited in their range of value but the palette is not yet almost monochrome like in the later works of this period.
Come with us to to Copenhagen to learn more about the contemplative scenes painted in muted tones by this Danish artist, whose works rarely come to market
Highlights from a New York auction of exceptional pieces by the top Parisian ateliers of the 19th century
Specialist Sarah Reynolds on the women whose work made waves in Victorian Britain, from Emma Sandys to Laura, Lady Alma-Tadema
Artists, patrons and critics have argued for centuries over the right way to frame a painting. Ultimately, it’s a matter of personal taste, says Andrew Graham-Dixon
As an iconic 1972 model is offered online, we explain why this pioneering steel sports watch is so prized by collectors
Socialite and reality TV star Mark-Francis Vandelli brings his unique sense of theatre to The Collector auctions