Hendrick Avercamp

Follow the artist with our email alert
Netherlands ( 1585 - 1634 ) - Artworks Wikipedia® - Hendrick Avercamp

AVERCAMP Hendrick A Man And An Eating Child In A Landscape, A Village To The Left

Auction House:
Sotheby's / Jan 23, 2008
Estimate:€8,233.84 - €12,350.76
Price:€8,624.26

Find artworks, auction results, sale prices and pictures of Hendrick Avercamp at auctions worldwide.

Go to the complete price list of works

Along with Hendrick Avercamp, our clients also searched for the following authors:
Antonio Possenti, Pier Francesco Mola, Caspar Netscher, Filippo De Pisis, Roberto Gaetano Crippa, Mario Sironi, Renato Guttuso, Francesco Paolo Michetti, Ubaldo Gandolfi, Juan De Arellano Y Francisco Camilo, Giovanni Battista Salvi Il Sassoferrato

Artworks in Arcadja

Some works of Hendrick Avercamp

Extracted between 49 works in the catalog of Arcadja

Hendrick Avercamp - A Winter Landscape With Figures On The Ice

Original

Estimate:

Price:

Auction: Christie's - Jul 3, 2012- London

Lot number: 19
Other WORKS AT AUCTIONDescription:

Lot Description Hendrick Avercamp (Amsterdam 1585-1634 Kampen) A winter landscape with figures on the ice by a koek-en-zopie tent oil on panel 9½ x 15½ in. (24 x 39.2 cm.) In an early seventeenth-century, possibly the original, Dutch cassetta frame with an ogee frieze. Provenance Private collection, France. with Noortman, Maastricht, from whom acquired, on 29 October 1998, by Pieter and Olga Dreesmann (inventory no. B1). Pre-Lot Text THE PIETER AND OLGA DREESMANN COLLECTION OF DUTCH OLD MASTER PAINTINGS Literature Q. Buvelot, H. Buijs and E. Reitsma, A Choice Collection. Seventeenth-Century Dutch Paintings from the Frits Lugt Collection, exhibition catalogue, Zwolle, 2002, pp. 46-7, under no. 2, fig. 2e. P. Roelofs, et al., Hendrick Avercamp -- Master of the Ice Scene, exhibition catalogue, Amsterdam, 2009, pp. 62-5, and 176, figs. 63 and 68. Exhibited Amsterdam, Rijksmuseum; and Washington, National Gallery of Art, Hendrick Avercamp -- Master of the Ice Scene, 21 March 2009-5 July 2010, no. 63. View Lot Notes › Hendrick Avercamp was baptised in the Oude Kerk in Amsterdam in 1585, the eldest son of Barent Avercamp, a Frisian teacher at the local Latin school, and Beatrix Vekemans, the daughter of the school's Flemish rector. He grew up in Kampen, a small harbour town on the eastern shore of the Zuiderzee, that was to provide the setting for virtually all of his artistic output. In or around 1607, the young artist returned to Amsterdam for his apprenticeship, probably under the portraitist and history painter Pieter Isaacsz. (1568/9-1625). However, Avercamp's main formative influence was the Flemish landscape tradition and he must have become familiar in these early years with the imagery of Hans Bol, Pieter Brueghel and David Vinckboons. Back in Kampen, Avercamp set out on his own, rapidly evolving his highly distinctive style and establishing himself as the first North Netherlandish artist to specialise in winter landscapes. Little is known about his life in Kampen or his working practice, but much is made of the fact that he was mute and possibly also deaf (he was known as 'de stomme') and thus, by inference, that he was blessed with a heightened sensitivity to the visual world. His mother, in her will of 1633, referred to her eldest unmarried son as 'mute and miserable' though his paintings, by contrast, are invariably joyous without any brooding undertones. The Dreesmann picture, which is a relatively new addition to the Avercamp oeuvre, adopts as its subject an expansive view over the ice on a freezing winter's day. Travellers on the ice are assembling at a koek-en-zopie tent for refreshments and smoke billows out invitingly into the chilled air. The fishermen, who have recently opened a hole in the ice, appear to have abandoned their work and also made for the warmth of the tent. In the foreground, an elderly couple are seen pushing a tethered calf (perhaps sickly) across the ice on a hand-sled. The slightly lowered and advanced viewpoint, that places greater emphasis on the figures, suggests a likely date of circa 1620-25. This dating is supported by a dendrochronological analysis of the panel, carried out by Dr Peter Klein in 2009, which establishes a likely date of 1610 onwards for use of the support for painting (report available on request). It was typical, particularly with his output from this date, for Avercamp to incorporate in his paintings elements drawn from a large repertoire of drawings. In the present work, the couple in the foreground recur in a drawing of A duck-hunter and Figures on the Ice in the Rijksprentenkabinet, Amsterdam (figs. 1 and 2), in which they are seen pushing a barrel on their sled. In the right background of the same sheet is the crouching figure with a bird-trap that appears in approximately the same position in the Dreesmann painting. In another sheet in the Rijksprentenkabinet, a horse is drawn eating from a sleigh in much the same manner as that seen outside the tent in the present work. The hole in the ice with the displaced chunk, the bucket and the axe next to it, all appear in another drawing in the Kupferstichkabinett, Hamburg. The same sheet also includes the crouching figure with the bird-trap and a horse-drawn sleigh carrying three figures moving away into the distance, who are also seen in the centre right background of this painting. The pose of the horse, with front leg raised, is identical. Hans Buijs (op. cit.) was the first to suggest that the present work may originally have formed the pendant to the Riverscape at Kampen in the Frits Lugt Collection, Fondation Custodia, Paris (fig. 3). As well as being consistent from a stylistic point of view, both panels share exactly the same dimensions and the horizon lines correspond precisely, making it tempting to consider that the two pictures were conceived as a pair representing Summer and Winter.

Hendrick Avercamp - Winterlandschaft

Original

Estimate:

Price:

Auction: Lempertz - May 12, 2012- Cologne

Lot number: 1215
Other WORKS AT AUCTIONDescription:

HENDRICK AVERCAMP (1585 Amsterdam - 1634 Kampen) WINTERLANDSCHAFT Monogrammiert unten links: HA (ligiert) Öl auf Holz. 31 x 52,5 cm. Provenienz Auktion Amsterdam, 6.10.1801, Nr. 1. - A. Katz, Dieren (vor 1940). - Slg. J. L. ten Bos, Almelo, 1949. - Slg. E.H.F.W. van Schaeck Mathon, Aerdenhout. - Slg. K. L. Sander, Bloemendaal, 1963. - Slg. Wiggin Prescott. Versteigerung dieser Slg. bei Christie´s New York 9.1.1981, Nr. 21. - David Koetser, Genf. - Deutsche Privatsammlung. Ausstellungen "Avercamp", Rathaus Kampen 9.7.-13.8.1949, Nr. 5.- "Hendrick Avercamp - Barend Avercamp. Frozen silence." K. V. Waterman, Amsterdam 1982, Nr. 3. Clara Johanna Welcker: Hendrick Avercamp, Doornspijk1979, S. 205, Nr. 514.6. Hendrick Avercamp stammte aus einer angesehenen Bürgerfamilie aus Kampen. Sein Großvater mütterlicherseits war der bedeutende Gelehrte Petrus Meerhoutanus. Nach seiner Ausbildung in Amsterdam zog er sich zurück in seine Heimatstadt an der Mündung der Ijssel, wo er bis zu seinem Lebensende blieb. Wegen seiner angeborenen Stummheit wurde er "Der Stumme von Kampen" genannt. Schon zu seinen Lebzeiten waren seine Bilder bei Sammlern sehr begehrt. Avercamp ist ein außergewöhnlicher Künstler am Beginn der Blütezeit der holländischen Kunst. Er war einer der ersten niederländischen Maler, die sich auf eine naturgetreue Darstellung der heimatlichen Landschaft spezialisierten. Von besonderem Reiz sind seine mit unzähligen Menschen bevölkerten Winterlandschaften, die sogenannten "Wintertjes", einer Bildgattung, zu der auch unser Bild gehört. Aufgrund seiner malerischen Qualitäten stellt es ein herausragendes Werk im Schaffen des Künstlers dar. Es zeigt einen zugefrorenen Fluss, auf dem sich zahlreiche Figuren tummeln und unterschiedlichen Tätigkeiten nachgehen: Manche fahren Schlitten, schnüren - sitzend oder stehend - Ihre Schlittschuhe, andere unterhalten sich oder gehen spazieren. Wolfgang Stechow hat die Winterlandschaft als holländische Landschaft par excellence bezeichnet, weil andere Kunstnationen diese eigentlich nicht kennen (W. Stechow: Dutch Landscape Painting of the Seventeenth Century, Edinburgh 1962, S. 82). Mit Hendrick Averkamp löst sich die Winterlandschaft zu Beginn des 17. Jahrhunderts vom Kontext der Jahreszeitendarstellungen, wie sie Pieter Breughel d. Ä. in großartigen und großformatigen Bilder überliefert hat. Damit gilt er als der eigentliche Begründer dieser Bildgattung, die in der niederländischen Malerei bis ins späte 19. Jahrhundert fortgeführt wurde. Von Breughel übernahm Averkamp den hohen Horizont, der ihm eine tiefe Bühne ermöglichte. Auf dieser schildert er mit großer narrativer Kraft und anekdotischer Fülle, ebenso wie mit sicherer Hand und großartigem Farbgespür was die Menschen seiner Zeit an den kalten Wintertagen trieben. Seine Bilder haben immer eine heitere Feiertagsstimmung, von der später die Bezeichnung Eisvergnügen für diese Bilder abgeleitet wurde. LANDSCAPE IN WINTER This winter landscape by Hendrick Avercamp is an outstanding work by the painter because of the artistic quality. The painting shows a frozen river where numerous figures are moving about engaged in various activites: some are sleigh-riding, are fastening their ice skates - either sitting or standing - others are talking to one another or are walking around. Wolfgang Stechow has described the winter landscape as Dutch landscape par excellence, insofar as other art nations do not know this genre (W. Stechow: Dutch Landscape painting of the seventeenth Century, Edinburgh 1962, p. 82). Through Hendrick Avercamp the winter landscape separates itself at the beginning of the 17th century from the context of the seasons' paintings such as those interpreted by Pieter Brueghel the Elder with his outstanding, large-scale works. Therefore, Hendrick Avercamp is the actual founder of this genre that continued into Dutch painting to the late 19th century. From Brueghel he learned the wide horizon that allowed for a deep stage. On that stage he describes with great narrative energy and anecdotal richness what people in his time were doing in cold winter days. Avercamp's paintings always possess a festive mood, later the description Eisvergnügen (fun on ice) was used for this style of painting.

Hendrick Avercamp - A Fisherman Mending His Nets

Original

Estimate:

Price:

Auction: Christie's - Jan 24, 2008- New York

Lot number: 139
Other WORKS AT AUCTIONDescription:

Hendrick Avercamp (Amsterdam 1585-1634 Kampen) A fisherman mending his nets with inscription 'Stom van Kampen' black chalk, pen and brown ink, watercolour, pen and brown ink framing lines on three sides, black chalk framing lines at the top 5 x 3½ in. (125 x 90 mm.) Provenance K.E. von Liphart (cf. L. 16887-9); C.G. Boerner, Leipzig, 26 April 1898, lot 32 (as Stehender Fischer bessert sein Netz aus). Oscar von zur Mühlen, St. Petersburg; Amsler & Ruthardt, Berlin, 5 June 1912, lot 7. A. Koster; C.G. Boerner, Leipzig, 13 November 1924, lot 58. Anonymous sale [Dr Arthur Feldmann, Brno]; Gilhofer & Ranschburg, Lausanne, 28 June 1934, lot 8 (unsold). Hilda and Victor Haida, New York, before 1938 and thence by descent to the present owner. Literature C.J. Welcker, Hendrick Avercamp (1585-1634), Doornspijk, 1979, nos. T586 and T600.2. Lot Notes Fishermen about their varying tasks was a favorite theme of Avercamp's, along with ice-skaters and peasants. These single figure studies were probably for Avercamp's own use, unlike his finished landscape drawings which the artist created to sell to collectors. This drawing was once in the collection of the Czech lawyer Dr. Arthur Feldman and was included in his sale in Lausanne in 1934, although it remained unsold. While much of Dr. Feldman's celebrated collection was confiscated by the Nazis in 1939, a group of drawings, including the Avercamp escaped confiscation.

Hendrick Avercamp - A Man And An Eating Child In A Landscape, A Village To The Left

Original

Estimate:

Price:

Auction: Sotheby's - Jan 23, 2008- New York

Lot number: 172
Other WORKS AT AUCTIONDescription:

Black chalk and pen and brown ink with watercolour; bears pencil inscription on mount: Stomme van Kampen CATALOGUE NOTE The same two figures reappear, more sketchily drawn and accompanied by a woman, in a fragmentary study sheet that is one of the 50 or so drawings by Avercamp in the Royal Collection, Windsor Castle.1 Neither drawing seems, however, to relate to a figure group in any of the artist's known paintings. Only relatively few drawings by Avercamp survive -- the Windsor group comprises nearly one third of the known sheets -- and many of those that do are simple figure studies, often apparently cut from larger sheets, and without any indication of a setting. There are also a certain number of landscapes, some of them more precisely drawn, elaborate works that were made either as finished watercolours or as preparatory studies for prints, and others rather less formal. The sketchily drawn background seen here, with the fine line work in chalk and pen, emphasised with touches of watercolour and bodycolour, is typical of Avercamp's approach in this second, less formal type of landscape drawing, and in the occasional drawings where he places figures or groups of figures in a loosely indicated setting. The drawings at Windsor include several works where the handling in the landscape is extremely comparable.2 The inscription on the mount, 'Stomme van Kampen,' records Avercamp's nickname, which refers to the fact that he seems to have been a deaf mute. 1. Inv. RL 6496; C. White & C. Crawley, The Dutch and Flemish Drawings....at Windsor Castle, Cambridge 1994, cat. no. 270, reproduced 2. e.g. White & Crawley, op. cit., cat. nos. 240, 244, 248, 250

Hendrick Avercamp - Small Vessels On A Calm Sea, With A Jetty To The Left And A Town On The Horizon

Original

Estimate:

Price:

Auction: Sotheby's - Jan 25, 2007- New York

Lot number: 71
Other WORKS AT AUCTIONDescription:

HENDRICK AVERCAMP (1585-1634) - SMALL VESSELS ON A CALM SEA, WITH A JETTY TO THE LEFT AND A TOWN ON THE HORIZON
Mis:
bears attribution in brown ink on old mount: Breugel develours;. pen and brown ink and watercolor, over traces of black chalk

PROVENANCE
Guichardot collection, according to note on old mount (now lost);. sale, New York, Swann Galleries, 24 January 2005, lot 122 (as Flemish School, 17th Century)

CATALOGUE NOTE
One of AvercampÂ’s most remarkable achievements as a landscape draughtsman was to create a highly convincing sense of space, atmosphere and weather through a very spare, almost minimalist drawing style. A few of his contemporaries Â– most notably Rembrandt Â– were also capable of capturing the most subtle effects of light through very few strokes of the pen or brush, but only Avercamp worked in the very specific way seen in this superbly atmospheric drawing: he has started from the basis of a painstaking, in places even naí¯ve, pen drawing, but has then transcended the limitations of this pen-work with the subtlest touches of coloured wash. The key to this drawingÂ’s compelling atmosphere lies in the contrast and dialogue between the strong, rather literal depiction of the central boat and its heavy sail, and the faint, misty buildings and ships on the far horizon, constructed with the merest dabs of the brush. In many of AvercampÂ’s other landscape drawings with a similarly complete composition, the entire composition is described more precisely, and with a more homogenous technique, than here. In this drawing, however, the emphasis seems to be more on atmosphere than on composition, and there are striking technical contrasts between foreground and background. The closest parallels to this approach amongst Avercamp's other known drawings are to be found in certain sheets from the large group of drawings by the artist now in the Royal Collection at Windsor Castle. In particular, one study of A Sailing-Barge moored on the River, comes extremely close to this in all these respects (see C. White and C. Crawley, The Dutch and Flemish DrawingsÂ…at Windsor Castle, Cambridge 1994, p. 178, cat. no. 286). In that drawing, the handling in the sails and the hull of the boat are extremely close to what we see here, and the light indications of background motifs, drawn only in brush and wash, are very similar. Also in some ways comparable, though rather more complete in composition, is the drawing of a Landscape (near Ouderkerk?) with a Fisherman, in the Abrams Collection (see W.W. Robinson, Bruegel to Rembrandt. Dutch and Flemish Drawings from the Maida and George Abrams Collection, exhibition catalogue, London, British Museum, et al., 2002-3, cat. no. 8). It is worth noting that only a relatively small number of drawings by Avercamp survive: the group of 47 studies in the British Royal Collection represents almost one third of his known output as a draughtsman, as described by Clara J. Welcker in her 1933 monograph (Hendrick Avercamp..en Barent Avercamp.."Schilders tot Campen", 1st edn 1933, rev. ed., Doornspijk 1979). It is very likely that his stylistic range may well have been slightly broader than the evidence of the surviving works might suggest, and the emergence and identification of this fine study is therefore an important addition to our knowledge of AvercampÂ’s drawings.