Property from the SØR Rusche Collection
JAN COELENBIER | River landscape with a windmill, a port building, and sailing vessels
Estimate: 4,000 - 6,000 GBP
Property from the SØR Rusche Collection
Kortrijk circa 1610 – 1680 Haarlem
RIVER LANDSCAPE WITH A WINDMILL, A PORT BUILDING, AND SAILING VESSELS
possibly indistinctly signed lower centre, on the beam: J [....] R
oil on oak panel, oval
unframed: 47 x 63.1 cm.; 18½ x 24¾ in.
framed: 59.8 x 75.5 cm.; 23½ x 29⅝ in.
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Property from the SØR Rusche Collection is available to view at Sotheby’s, New Bond Street, 13 – 18 September (weekdays 9am – 4.30pm; weekend 12-5pm).
The panel is uncradled, flat and stable, and it appears to be joined horizontally across the center. There is evidence of old supportive resin across this join, and in four other horizontal bands, which do not, however, appear to correspond to other horizontal splits. The paint surface is slightly dirty and the varnish is slightly discoloured. Small discoloured retouches scattered in the sky are visible to the naked eye, notably in the centre. Inspection under UV confirms these and further reveals small retouchings in the sails at centre right, in the facade of the building at right, and scattered in the foreground beside the figures. The majority of the intervention appears to be in the sky, while the remainder of the foreground is largely untouched.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Please note, Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
With P. de Boer, Amsterdam, 1967;
Anonymous sale, London, Christie's, 11 April 1975, lot 71 (as Wouter Knyff);
With Thomas Agnew & Sons, London;
Willem, Baron van Dedem (d. 2015), Zeist, 1976;
Carl Schünemann, Bremen, from whom acquired in 1976.
's-Hertogenbosch, Noordbrabants Museum; 's-Gravenhage, Museum Bredius; Assen, Drents Museum, Meesters en molens: van Rembrandt tot Mondrian, 27 January - 9 December 2007, no. 21 (as signed J. Coelen...);
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 72.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
H.-U. Beck, Künstler um Jan van Goyen, Doornspijk 1991, p. 64, cat. no. 106, reproduced in colour, p. 59, plate IX;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 3, Landschaften und Seestücke, Münster/Hamburg/London 2001, pp. 50-53, cat. no. 7, reproduced in colour;
W. Pijbes, M. Aarts, M.J. Bok et al, At Home in the Golden Age, exh. cat., Zwolle 2008, p. 82, cat. no. 72, reproduced in colour.
Jan Coelenbier was a follower of Jan van Goyen. He was active for much of his career in Haarlem, where he joined the Guild of Saint Luke in 1632, and his output consisted primarily of river landscapes inspired by van Goyen and occasionally by Salomon van Ruysdael. In the present view, a quiet river landscape expands beneath a clear sky with billowing clouds. This landscape can likely be dated between 1642-51, a period from which a number of signed and dated paintings by Coelenbier are known.