拍品 3039 - A200 大师画作 - Freitag, 01. April 2022, 02.00 PM
JAN BRUEGHEL the Elder
(Brussels 1568–1625 Antwerp)
Harbour scene with fish market. 1605.
Oil on copper.
Signed and dated lower left: BRVEGHEL 1605.
17.4 × 27.3 cm.
Certificate:
Dr Klaus Ertz, 14.10.2021.
Provenance:
Private collection, Switzerland, for several generations.
This splendidly preserved museum-quality work by Jan Brueghel the Elder was kept for several generations in private collection and was only recently discovered. It is most likely the model for the painting of the same subject, which can be seen in the Staatliches Museum in Schwerin and to which Dr Ertz also refers in his certificate (see Klaus Ertz and Christa Nitze-Ertz: Jan Brueghel der Ältere (1568–1625). Kritischer Katalog der Gemälde, Lingen 2008, pp. 26–27, cat. no. 127 and Jan Brueghels Antwerpen- die flämischen Gemälde in Schwerin, Ausst.-Kat. Staatliches Museum Schwerin, 2003, no. 14, p. 34). As Dr Gero Seelig correctly recognises, the group of four ships on the right of the picture can also be found in Jan Brueghel's large fish market of 1603 and the small one of 1605, both in the Pinakothek in Munich (see ibid.). While the religious element is still present in the works in Munich, in our painting this has been abandoned in favour of a purely genre-like everyday subject matter. This also demonstrates the progressive way in which independent landscape painting was developing.
The composition of the fish market is fundamentally influenced by the artist’s journey to Italy, where he stayed from 1589 to 1596 and from which a drawing, now privately owned, has survived (see ill.1 taken from Brueghel. Gemälde von Jan Brueghel d.Ä. Bayerische Staatsgemäldesammlung, München, edited by Mirjam Neumeister, Munich 2013, cat.-no. 44, p. 253). While the large fish market of 1603 in Munich still juxtaposes southern architectural motifs, such as the Castel dell'Ovo or St Peter's Basilica, with building types from Antwerp, in our scene we find a purely domestic backdrop, proof that the artist had arrived back home from Italy. However, he did not completely jettison his experiences and impressions from there. The influence of his contemporary Paul Bril (1554–1626), with whom he worked in Italy, also remains noticeable in his work.
Dr Klaus Ertz, 14.10.2021.
Provenance:
Private collection, Switzerland, for several generations.
This splendidly preserved museum-quality work by Jan Brueghel the Elder was kept for several generations in private collection and was only recently discovered. It is most likely the model for the painting of the same subject, which can be seen in the Staatliches Museum in Schwerin and to which Dr Ertz also refers in his certificate (see Klaus Ertz and Christa Nitze-Ertz: Jan Brueghel der Ältere (1568–1625). Kritischer Katalog der Gemälde, Lingen 2008, pp. 26–27, cat. no. 127 and Jan Brueghels Antwerpen- die flämischen Gemälde in Schwerin, Ausst.-Kat. Staatliches Museum Schwerin, 2003, no. 14, p. 34). As Dr Gero Seelig correctly recognises, the group of four ships on the right of the picture can also be found in Jan Brueghel's large fish market of 1603 and the small one of 1605, both in the Pinakothek in Munich (see ibid.). While the religious element is still present in the works in Munich, in our painting this has been abandoned in favour of a purely genre-like everyday subject matter. This also demonstrates the progressive way in which independent landscape painting was developing.
The composition of the fish market is fundamentally influenced by the artist’s journey to Italy, where he stayed from 1589 to 1596 and from which a drawing, now privately owned, has survived (see ill.1 taken from Brueghel. Gemälde von Jan Brueghel d.Ä. Bayerische Staatsgemäldesammlung, München, edited by Mirjam Neumeister, Munich 2013, cat.-no. 44, p. 253). While the large fish market of 1603 in Munich still juxtaposes southern architectural motifs, such as the Castel dell'Ovo or St Peter's Basilica, with building types from Antwerp, in our scene we find a purely domestic backdrop, proof that the artist had arrived back home from Italy. However, he did not completely jettison his experiences and impressions from there. The influence of his contemporary Paul Bril (1554–1626), with whom he worked in Italy, also remains noticeable in his work.
CHF 300 000 / 400 000 | (€ 309 280 / 412 370)
以瑞士法郎銷售 CHF 741 300 (包含買家佣金)
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