Barend Cornelis Koekkoek

Private collection, Germany (since the second half of the nineteenth century in the same family for 6 generations)
On loan to the Städtisches Museum Haus Koekkoek Cleves, from 1973 till 1990
Private collection, Germany, since 1990

Dordrecht, Dordrechts Museum, Barend Cornelis Koekkoek (1803-1862). Prins der Landschapschilders, 18 May-31 August 1997, cat.no. 45
Cleves, Museum Haus Koekkoek, Barend Cornelis Koekkoek (1803-1862). Prinz der Landschaftsmaler, 5 October-7 December 1997, cat.no. 45

G. de Werd, A. Nollert, Barend Cornelis Koekkoek (1803-1862). Seine Familie, seine Schule und das B.C. Koekkoek-Haus in Kleve, Cleves 1994, p. 27, colour illustration 26
A. Nollert, Barend Cornelis Koekkoek (1803-1862). Prins der Landschapschilders, Zwolle 1997, pp. 53, 57, 126, illustration 59, cat.no. 45
G. de Werd, A. Nollert, Barend Cornelis Koekkoek (1803-1862). Seine Familie, seine Schule und das B.C. Koekkoek-Haus in Kleve, Cleves 2000, p. 109, illustrated

The canvas has been relined. There is some very minor craquelure visible to the trees on the right and some minor craquelure centrally in the sky. 3 minor retouched spots near the upper left corner. A few retouches along the lower left and right edge due to frame abrasion. Otheriwse this work is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Barend Cornelis Koekkoek (1803-1862) is by far the most important landscape painter of Dutch romanticism. During his lifetime he came to be known as the 'prince of landscape painters'. Up to this day, his reputation as one of the finest and most gifted landscape painters remains unchallenged.

Koekkoek was the eldest son of the renowned marine painter Johannes Hermanus Koekkoek (1778-1851), from whom he received his earliest tuition. In 1822, at the age of 19, he was granted a scholarship by King Willem I, which enabled him to study at the Royal Academy of Arts in Antwerp, where he received lessons from Jan Willem Pieneman and Auguste Daiwaille. Already at that time, Koekkoek voiced a firm ambition to become a painter of landscapes. A two year stay in Hilversum (1826-1827), housing an artist colony of landscapists and cattle painters, strengthened this decision. The landscapes he painted in the rural surroundings of Hilversum were received favourably and earned him a gold medal in 1829. This indicates that his unique talent was recognised at a very early stage.

The Dutch countryside failed to keep Koekkoek's romantic soul satisfied. 'To be sure', he wrote in 1841, 'Our fatherland boasts no rocks, waterfalls, highs mountains or romantic valleys. Proud, sublime nature is not to be found in our land'. Therefore his move to Germany in the early 1830's didn't come as a surprise. He travelled along the river Ahr, Rhine and Ruhr, finally settling in Cleves in 1834, where he stayed the rest of his life. The impressive river valleys and age-old woods surrounding Cleves, attracting Dutch artists since the seventeenth century, matched his romantic ideals perfectly. From that moment large, gnarled oak trees, winding paths, panoramic vistas and medieval ruins filled his compositions with an artful blend of minute detail and atmospheric mood.

Under Koekkoek's leadership Cleves became the breading ground for a new and influential school of landscape painting. As a consequence of his growing fame, many young artists came to Cleves, wishing to be tutored by the revered master. For this reason Koekkoek founded his own academy in 1841, instructing his students to follow the rules of landscape painting as described in his book 'Memoirs and reports of a landscape painter' (Herinneringen en mededeelingen van eenen landschapschilder), published that same year. Among his students were talented landscapists like J.B. Klombeck, A.J. Daiwaille, F.M. Kruseman, L.J. Kleijn and M.A. Koekkoek, to name just a few.

The late 1840's and early 1850's are generally regarded as Koekkoek's most fruitfull years. During this period he received international acclaim and was awareded with numerous decorations. Stylistically he sought to intensify his earlier forms of landscape painting by refining the details even further and, at the same time, strengthening the composition, as can be best seen in the sweeping panoramic views. He often chose a high vantage point, from which the beholder is 'drawn' into an immeasurable depth. Medieval ruins, castles and towns play an important part in his compositions. The landscapes from the 1850's were elemental in the development of 'Cleves romanticism', which fuses realism (the sincere study of nature) with romanticism (a tendency to idealise nature).

The present lot, showing a breathtaking view of a river valley, is a wonderful example of Koekkoek's unsurpassed virtuosity. It contains all the elements for which his art became famous. On the right foreground, we see a group of travellers at rest. As if standing next to the group, we are overlooking the wonderful panoramic landscape with a river meandering through lowlands, hills extending far beyond. Several medieval castles and towns render a timeless quality to the picture. One can't stop admiring the richness of the painting: from the sweeping panoramic vista, divided into various levels, to even the smallest detail, like the leafs and blades of grass, each depicted with almost botanical accuracy.

According to Guido de Werd, curator of the Städtisches Museum Haus Koekkoek, the present lot can most probably be associated with the group of nine Luxemburg landscapes which King Willem II commissioned in 1845. 'Not only the measurements, which are the same as the other paintings in the series, but also the motif of the painting points in this direction',  thus Guido de Werd writes in 1994.

The fact that King Willem II commissioned Koekkoek to depict the most pleasing sites of his newly acquired territory speaks for the reputation the artist had achieved by then. The Dutch magazine 'Kunstkronijk' wrote that Koekkoek had accompanied Willem II on a tour through the Grand Duchy of Luxemburg, taking the opportunity to make sketches in the open air. From these drawings, which he showed Willem II on 23 December 1845, the King chose 9 subjects for the series of Luxemburg landscapes. Six days later, on 29 December 1845, Koekkoek send him a written confirmation with the prices for the 9 paintings he planned to paint, as well as a detailed description of their subjects and measurements. From the dates of the paintings we can deduce that Koekkoek painted the series in 1846-1848. After completion Koekkoek presented the nine paintings as a group to Willem II. The King showed himself extremely pleased with his acquisition, which he quite rightly regarded as one of the highlights in his large collection. The series was most probably exhibited as a sequence in the King's palace in The Hague.

In August 1850, a year after the death of King Willem II, the collection was sold at auction in Amsterdam, including the 9 Luxemburg landscapes, which came into the hands of different owners. From the nine paintings as described in the catalogue of King Willem II's estate sale, 8 have been identified. The present lot, which always remained in private hands, could very well be the missing painting.

Besides the almost identical sizes and topographical aspect, the Luxemburg paintings stand out for their absolutely brilliant execution. All pictures are conceived as sweeping panoramic views. The beholder is viewing the landscape from a high vantage point, like the travellers on the foreground. The tiny human figures clearly underline the majesty of the landscape, while the age-old oaks along the path symbolise the divine power of creation. Through the use of many different levels in the landscape and a clever distribution of sunlit and shaded areas, the Luxemburg paintings posses a spaciousness as seen never before. The eye of the beholder needs to 'travel' through the landscape before grasping its vast scope completely. No wonder the Luxemburg series is generally regarded as the artist's pièce de résistance.

This painting comes with a photo certificate of authenticity by Guido de Werd, director of the Städtisches Museum Haus Koekkoek, dated 8 February 1994. According to Mr.De Werd, the present lot can be ranged amongst 'den bedeutenden Kunstwerken Koekkoeks, in denen kompositorische Könnerschaft sich an malerische Virtuosität paart'.