Live Auction 17293Old Master Paintings and Sculpture
Jan van Goyen (Leiden 1596-1656 The Hague)
Lot 133

Jan van Goyen (Leiden 1596-1656 The Hague)

A river landscape with fishermen in a boat before a village jetty

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GBP 60,000

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Jan van Goyen (Leiden 1596-1656 The Hague)
A river landscape with fishermen in a boat before a village jetty
signed with artist's monogram and dated: 'VG 1643' (lower right. on the boat)
oil on panel
15 ¼ x 23 ¾ in. (38.7 x 60.3 cm.)

Robert Ansell, Margaret Street, Cavendish Square; Christie’s, 11 February 1769, lot 10: ‘VANGOEN  A Sea-Port with Shipping, &c.’, or lot 11: ‘Ditto  A ditto, its Companion’, sold for 6 and 7 gns. respectively to the following,
Sir Joshua Vanneck, 1st Bt. (d. 1777), Roehampton Grove, Putney, and by descent through his son,
Sir Gerard Vanneck, 2nd Bt. (d. 1781), Heveningham Hall, Suffolk, to his brother,
Sir Gerard Vanneck, 3rd. Bt. (d. 1791), and to his son,
Joshua Vanneck, 1st Lord Huntingfield (1745-1815), to the latter’s great-grandson,
Joshua Charles Vanneck, 4th Baron Huntingfield (1842-1915), Heveningham Hall, Yoxford, Suffolk; his sale (†), Christie's, London, 25 June 1915, lot 86 (210 gns. to Field).
(Possibly) George Butler, 5th Marquess of Ormonde (1890-1949), Kilkenny Castle, Ireland.
with D. Katz, Dieren, by 1934.
A. Holle; his sale, Hôtel Drouot, Paris, 23 June 1953, lot 3 (1,100,000 FF).
Graf Jean de Bousies, Brussels; his sale, Galerie Charpentier, Paris, 24 March 1953, lot 14 (1,100,000 FF).
with P. de Boer Amsterdam, by 1954.
Waldo Ewing Stewart (d. 2003), Dallas; (†) Christie's, New York, 23 January 2004, lot 27.

Specialist note

As became so characteristic of his mature work, in this picture, dated 1643, van Goyen employs a low horizon line, devoting more than two-thirds of the composition to the cloud-filled sky. The delicately rendered effects of light across the panel enliven the landscape and figures, accentuated by luminous hues of yellow, orange and brown. This carefully modulated tonality is heightened by van Goyen’s skilful use of a highly efficient method of painting, allowing the ground remain visible in places. The freely painted tower, which is depicted with remarkably loose strokes of paint, is demonstrative of the increased emphasis on architecture which began to characterise the artist's works from the 1640s onwards.