- 48
Jan Asselijn Dieppe after 1610 - 1652 Amsterdam
bidding is closed
Description
- Jan Asselyn
- figures in an outdoor tavern and another near a well
- bears inscription, possibly in the hand of Willem Schellinks, in brown ink, verso: Asselijn.
- black chalk and brown wash on blue paper, within brown ink framing lines
Provenance
Inscribed with an unidentified collector's mark, verso, in red chalk: W.M;
With Bernard Houthakker, Amsterdam, 1972;
Hans van Leeuwen, Amerongen (L.2799a),
his sale, Amsterdam, Christie's, 24 November 1992, lot 3;
Sale, Amsterdam, Christie's, 13 November 1995, lot 107.
Exhibited
Amsterdam, Rijksmuseum, De Verzameling van H. van Leeuwen, 1975-6, cat. no. 6;
Utrecht, Centraal Museum, Nederlandse Tekeningen uit drie Eeuwen, 1978, cat. no. 4;
Bremen, Kunsthalle; Braunschweig, Städtisches Museum; Stuttgart, Galerie der Stadt Stuttgart, Meisterzeichnungen aus drei Jahrhunderten, Niederländische Handzeichnungen des 17. bis 19 Jahrhunderts aus der Sammlung Hans van Leeuwen, 1979-80, cat. no. 6;
Fribourg, Musée d'Art et d'Histoire; Passau, Oberhausmuseum; Trier, Städtisches Museum; Nuremberg, Dürerhaus, Meisterzeichnungen aus drei Jahrhunderten.., 1982-4, cat. no. 3.
Utrecht, Centraal Museum, Nederlandse Tekeningen uit drie Eeuwen, 1978, cat. no. 4;
Bremen, Kunsthalle; Braunschweig, Städtisches Museum; Stuttgart, Galerie der Stadt Stuttgart, Meisterzeichnungen aus drei Jahrhunderten, Niederländische Handzeichnungen des 17. bis 19 Jahrhunderts aus der Sammlung Hans van Leeuwen, 1979-80, cat. no. 6;
Fribourg, Musée d'Art et d'Histoire; Passau, Oberhausmuseum; Trier, Städtisches Museum; Nuremberg, Dürerhaus, Meisterzeichnungen aus drei Jahrhunderten.., 1982-4, cat. no. 3.
Literature
Anne-Charlotte Steland, Die Zeichnungen des Jan Asselijn, Fridingen, 1989, p. 95, 207, cat. no. 2, reproduced plate 114
Catalogue Note
This belongs to a stylistically fairly consistent group of landscape drawings on blue paper, which Steland accepted unequivocally as the work of Asselijn, but about which Schatborn has some reservations (see A.C. Steland, op. cit., pp.79-125, and P. Schatborn, Drawn to Warmth, 17th-century Dutch artists in Italy, Amsterdam 2001, pp.108-109). Several of these drawings bear either Asselijn's name or his guild nickname, Crabbetje, inscribed in a seventeenth-century hand, and it is possible that some of these inscriptions, including that on the present drawing, are actually by Willem Schellinks; it therefore seems justified to retain the traditional attribution to Asselijn in the case of the present work and the others with which it can be associated.