George Hendrik Breitner (Rotterdam 1857-1923 Amsterdam)

Rokin with the Nieuwezijdskapel, Amsterdam

Details

George Hendrik Breitner (Rotterdam 1857-1923 Amsterdam)
Rokin with the Nieuwezijdskapel, Amsterdam
signed 'G.H. Breitner' (lower left)
oil on canvas
70.5 x 81 cm.
Painted circa 1904.

Provenance

with Kunsthandel E.J. Van Wisselingh & Co., Amsterdam, 1910-1913, nos. 2194 and 3423X.
F.J.G. Bosman.
E.A. Veltman, Bloemendaal, 1928.
H.P. Doodeheefver, Hilversum, 1947.
Anonymous sale; Christie's, Amsterdam, 26 April 2005, lot 184, where aqcuired by the present owner.

Literature

A. Pit (ed.), George Hendrik Breitner. Indrukken en Biografische Aanteekeningen: 90 photogravures naar zijne werken, Amsterdam, circa 1902, p. 173, ill.
A. Venema, G.H.Breitner, 1857-1923, Amsterdam, 1981, p. 302.

Exhibited

Rotterdam, Rotterdamsche Kunstkring, Tentoonstelling van werk van G.H. Breitner, 5 February-13 March 1910, no. 44.
Amsterdam, Kunsthandel E.J. van Wisselingh & Co, Tentoonstelling van schilderijen en aquarellen door G.H. Breitner, September-October 1916, no. 28.
The Hague, Gemeente Museum, Breitner Tentoonstelling, 10 November-9 December 1928, no. 162.
Amsterdam, Stedelijk Museum, Breitner en Amsterdam, October-November 1947, no. 138.
The Hague, Gemeente Museum, Breitner, 23 December 1947-19 January 1948, no. 96.
Rotterdam, Museum Boymans, Breitner, March-April 1954, no. 58b.
Laren, Singer Museum, Kunstbezit rondom Laren, 3 July-31 August 1958, no. 205, as: Rokin Amsterdam.

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Lot Essay

The Rokin in Amsterdam is a recurring theme in Breitner's oeuvre. Following his move to Amsterdam in 1886, Breitner was often to be found roaming the city centre. Not only was the gallery Van Wisselingh & Co. situated in this area, also his artist's society 'Arti et Amicitiae' was located on the Rokin and is visible in the background of the present lot. It was painted at the height of his career as Breitner had already been honoured by a major retrospective exhibition at 'Arti et Amicitiae' in 1901, which confirmed his position as a leading artist of his time. In 1903 Breitner had moved from Amsterdam to Aerdenhout, inspired by his friend Marius Bauer (1876-1932) who had done the same. Despite this move, Breitner's fascination with Amsterdam's street life never diminished and he moved back to Amsterdam in 1906. This exceptional painting bears witness to Breitner's proclivity for city life, displaying the characteristic tension between impression and expression for which his work so highly appreciated.

The Nieuwezijdskapel, also known as the Heylighe Stee, is visible on the right of the composition. This chapel was built in 1345 to commemorate a miracle which occurred on this spot. Notwithstanding
many protests, the building was demolished in 1908, only four years after Breitner painted this composition.

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