- 129
Jan Josefsz. van Goyen Leiden 1596 - 1656 The Hague
bidding is closed
Description
- A winter landscape with skaters on a frozen lake
Indistinctly signed and dated lower left: IVGOIEN 1627
- oil on oak panel
Provenance
Possibly anonymous sale, Berlin, 7 February 1911, lot 138;
With Galerie P. de Boer, Amsterdam, 1952-4;
Henri Leroux, Paris;
Anonymous sale, Paris, Musée Galliéra, 23 March 1968, lot 51;
Paul Salmon, Paris;
With Waterman, Amsterdam, by whom sold to the Herwegs on 28 August 1975, for 150,000 DM.
With Galerie P. de Boer, Amsterdam, 1952-4;
Henri Leroux, Paris;
Anonymous sale, Paris, Musée Galliéra, 23 March 1968, lot 51;
Paul Salmon, Paris;
With Waterman, Amsterdam, by whom sold to the Herwegs on 28 August 1975, for 150,000 DM.
Exhibited
Amsterdam, Galerie P. de Boer, 1952, no. 24;
Amsterdam, Galerie P. de Boer, Summer 1954.
Amsterdam, Galerie P. de Boer, Summer 1954.
Literature
Possibly C. Hofstede de Groot, A Catalogue Raisonné..., vol. VIII, London 1927, p. 301, no. 1194a;
H.U. Beck, Jan van Goyen 1596-1656, vol. II, Katalog der Gemälde, Amsterdam 1973, p. 22, no. 42, reproduced;
Weltkunst, 15 December 1980, p. 3705, reproduced;
H.U. Beck, Jan van Goyen 1596-1656, vol. III, Ergänzungen..., Doornspijk 1987, p. 143, no. 42.
H.U. Beck, Jan van Goyen 1596-1656, vol. II, Katalog der Gemälde, Amsterdam 1973, p. 22, no. 42, reproduced;
Weltkunst, 15 December 1980, p. 3705, reproduced;
H.U. Beck, Jan van Goyen 1596-1656, vol. III, Ergänzungen..., Doornspijk 1987, p. 143, no. 42.
Catalogue Note
This is a typical early winter landscape by Van Goyen. A similar picture from the same year was formerly with De Boer, Amsterdam (see Beck, under Literature, no. 41), and is very similar in style and composition. The two paintings are of remarkably similar diagonal construction, such that Van Goyen manipulates the movement of the viewer's eye from the lower left to the centre right, beginning at the group of skaters on the left, through a pair of snow covered trees in the very centre leaning in opposite directions, and to a small cluster of dilapidated peasant dwellings to the right. Thence to the far left distance by a line, in both cases a road, moving lower right to centre left. Perspective is thus achieved by a series of diagonals, a technique employed through the 1620s and 1630s in particular by Van Goyen, Pieter Molyn and Esaias van de Velde.
Jan van Goyen had formerly been under the tutelage of Esaias in 1618-19, and it is not surprising that an early work such as this should manifest his master's influence. Van Goyen's much used compositional model mentioned above is, furthermore, one also used again and again by Esaias (see, for example, River landscape with a ferry, Chantilly, Musée Condé, inv. no. 347 bis/IV) and indeed, there is evidence of their close working relationship in 1627 when comparing the present lot to a drawing in Copenhagen, Statens Museum for Kunst, inv. no. 7360, Farms to the left of a frozen canal, also dated 1627, which corresponds extremely closely both stylistically and in composition, although in reverse.
This picture was stolen from the Herwegs in 1980, when advertised in Weltkunst (see Literature), but was, fortunately, recovered.
Jan van Goyen had formerly been under the tutelage of Esaias in 1618-19, and it is not surprising that an early work such as this should manifest his master's influence. Van Goyen's much used compositional model mentioned above is, furthermore, one also used again and again by Esaias (see, for example, River landscape with a ferry, Chantilly, Musée Condé, inv. no. 347 bis/IV) and indeed, there is evidence of their close working relationship in 1627 when comparing the present lot to a drawing in Copenhagen, Statens Museum for Kunst, inv. no. 7360, Farms to the left of a frozen canal, also dated 1627, which corresponds extremely closely both stylistically and in composition, although in reverse.
This picture was stolen from the Herwegs in 1980, when advertised in Weltkunst (see Literature), but was, fortunately, recovered.