Jan Asselijn

Anonymous sale, Zurich, Koller, 25/26 May 1978, lot 5009.

Munich, Residenz., Wittelsbach und Bayern, 10 June - 19 October 1980.

The actual painting is a bit less red and deeper in tone than the catalogue illustration would suggest. The panel, which consists of three horizontal planks, is bevelled on all sides and is flat and stable. The middle plank however, has a crack, running from the left edge towards the centre, as can be seen in the catalogue illustration, which requires attention. The paint surface seems to be in excellent condition, with the impastos nicely preserved. Just a few tiny paint losses can be seen along the afore mentioned crack. The paint surface is under a very fine and dense craquelure pattern and has a slightly discoloured varnish layer. Inspection under Ultra Violet light is partly impeded by the varnish, but does reveal a retouched surface scratch next to the tree upper left. Some tiny retouchings are visible in the sky, along the upper edge and a larger area of retouching can be seen in the upper right corner. Offered in a plaster gilt frame with harp decorations, a few chips. (ML)
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As a pupil of the battle scene painter Jan Martszen the Younger (circa 1609- after 1647) it is not surprising that Jan Asselijn mainly painted cavalry subjects at the beginning of his career. Born in Dieppe, France, Asselijn's family moved to Amsterdam as early as 1621, and it was here that he was apprenticed to Martszen in the 1630s.¹ 

This work is typical of these early works, which are generally dated around 1634/35.  Asselijn's style shows a strong dependence on his master, essentially continuing the tradition established by the latter's uncle Esaias van de Velde (1587-1630). Asselijn's compositional scheme here, framed by a large tree on the left side, is derived from Van de Velde's compositions. Although no Swedish flags are shown, this picture certainly depicts the battle of Lützen on 16 November 1632 in which Gustavus Adolphus met his death. The Battle of Lützen was one of the most important battles of the Thirty Years' War. Although there were in fact more casualties on the Protestant side and it cost the life of the Swedish King, the Protestant armies succeeded in forcing the Imperial troupes to retract. The battle was thus considered a Protestant Victory and became a favoured subject among artists in Protestant Holland. Another version is in the Statens Museum for Kunst, Copenhagen (inv. no. Sp.370), dated 1634, which does show the royal flag, and the identical appearance and features of the King in both pictures is clear.²

After 1635, Asselijn travelled to Rome, after which he moved away from battle scenes and started painting landscapes in an Italianate manner.

1. See A.C. Steland-Stief, Jan Asselijn, nach 1610 bis 1652, Amsterdam 1971, p. 31.
2. op.cit., pp. 20-1, p. 123, cat. no. 6, reproduced plate III. The work in Copenhagen is on panel, 71 x 93 cm., signed and dated 1634.