Jan I Brueghel

Belgium (15681625 ) - Artworks Wikipedia® - Jan I Brueghel
BRUEGHEL Jan I A Coastal Landscape With Fish Market

Palais Dorotheum /Oct 21, 2014
200,000.00 - 300,000.00
237,063.00

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Variants on Artist's name :

Breughel Jean Dit De Velours

Bruegel Jan I

Brueghel Jan, The Elder

 

Artworks in Arcadja
240

Some works of Jan I Brueghel

Extracted between 240 works in the catalog of Arcadja
Jan I Brueghel - Paradise Landscape With The Animals Entering Noah's Ark

Jan I Brueghel - Paradise Landscape With The Animals Entering Noah's Ark

Original 1596
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Gross Price
Lot number: 54
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Jan Brueghel the Elder BRUSSELS 1568 - 1625 ANTWERP PARADISE LANDSCAPE WITH THE ANIMALS ENTERING NOAH'S ARK signed and dated lower left: BRVEGHEL 1596 also signed or inscribed by scratching into the copper on the reverse of the plate: 1596/Brueghel oil on copper 10 3/8 by 14 in.; 26.5 by 35.6 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Acquired by the father of the present owner in Milan in the 1950s; Thence by descent to the present owner. Exhibited Antwerp, Koninklijk Museum voor Schone Kunsten, Pieter Breughel le Jeune (1564-1637/8) – Jan Brueghel l'Ancien (1568-1625): Une famille des peintres flamands vers 1600, 3 May - 26 July 1998, no. 35. Literature K. Ertz, in Pieter Breughel le Jeune (1564-1637/8) –Jan Brueghel l'Ancien (1568-1625): Une famille des peintres flamands vers 1600, exhibition catalogue, Antwerp 1998, pp. 124-126, no. 35, reproduced p. 127. K. Ertz and C. Nitze-Ertz, Jan Brueghel der Ältere (1568-1625), Kritische Katalog der Gemälde, Lingen 2008-2010, vol. II, p. 454, no. 196, reproduced p. 455. This highly finished and beautifully preserved copper is an important and rare work from very early in Jan Brueghel’’s career, dating to just before his return to Flanders from Italy. It is one of the artist's earliest "Paradise landscapes," and one of the finest examples of a genre that he was to pursue throughout his career. Very much a product of his sojourn in Italy, it is a combines Italian theology with the northern landscape tradition, and the result is a delightful interpretation of this Old Testament subject. The present work is, in fact, Brueghel’’s first known painting in which he sets the scene from Genesis 7:1-4, in which the animals are called to Noah's ark in an Eden-like paradise. It is dated 1596, so he either painted it while in Milan with his patron Cardinal Federico Borromeo, or shortly after on his return to Antwerp in October of that year. As the work comes from a Milanese collection, it is most likely that Brueghel painted it in Italy and left it there when he returned to the Netherlands. In depicting the plenitude and beauty of God’’s creation with such evident delight, he marries the Cardinal’’s religious views to his own artistic preferences and in doing so creaties a painting of beguiling charm and beauty. While the concept of God revealing himself through his natural creations can been seen in the Kunst- and Wunderkammer of Northern Europe, and indeed in the paintings of Jan’’s father Pieter Bruegel the Elder, it was in Italy that the younger artist’’s religious outlook was molded. He stayed with Cardinal Borromeo in Rome and Milan from 1592 to 1596, and his time there had a profound effect on him for his entire career and on the development of the paradise landscape itself. Borromeo was steeped in the teaching of the Counter-Reformation whereby all of God's creation had value and was worthy of contemplation and he, himself, particularly emphasized the beauty and diversity of the animal world. 1 In I tre libri delle laudi divine (published only posthumously in 1632) he writes: “Looking then with attentive study at animals’’ construction and formation, and at their parts, members, and characters, can it not be said how excellently divine wisdom has demonstrated the value of its great works?” 2 What Borromeo describes in words, Brueghel does so here in oil on copper. He lovingly depicts the variety of creatures waiting to enter the ark, though contrary to the Biblical story in only a few cases are they in pairs. He is mainly concerned with presenting the animals from a characteristic viewpoint so as to be easily identified; thus two delightful peacock-like birds float in the sky as if the wind under their exotic tails were keeping them aloft rather than their wings. The lion and leopard are each in profile, perhaps to clearly distinguish one from another, and a doe and stag are pictured with their heads turned in so that the male's antlers can be clearly seen. In the lower left corner, closest to the viewer, is a lovely dapple grey horse who, for some reason, has his tongue sticking out. Brueghel painted the present work only two years after his very first Paradise Landscape, now in the Doria Pamphilij, Rome. That picture incorporates a small vignette with the Creation of Man in the background, but the main focus is on the animals and the landscape itself. The earlier painting is organized around a large tree filled with birds at the center of the composition, while in the present work a similar tree is moved to the right to create a path for the animals waiting to enter the ark. The overall structure of both paintings, with their relatively high point of view and aerial perspective is still grounded in the 16 th century Flemish model, though in later paintings the artist evolved a more naturalistic approach to the landscape. In the middle distance of the present work members of Noah’’s family dressed, in vaguely biblical clothes, are walking toward the ark accompanied by some of their domestic animals. In the background are scenes of villagers eating and dancing, presumably part of the population of sinners about to be lost in the coming flood. However, they are in 16 th century dress and are set in what appears to be a contemporary village. This combination of biblical subjects with scenes taken from contemporary Flemish life is one of the most characteristic elements of Brueghel’’s composition and can be seen in his work throughout his entire career. So, too, is his combining of events taking place at different times into a single composition: here pairing a scene from Paradise with Noah’’s ark. The Paradise Landscape was to be one of Brueghel’’s favored subjects earning him the nickname Paradise Brueghel. He continued refining his treatment of the subject throughout his career, but this early example with its gentle touch and somewhat whimsically depicted animals is among the finest examples of his artistry. 1. A.F. Kolb, Jan Brueghel the Elder: The Entry of Noah’’s Animals into the Ark, Los Angeles 2005, p. 50. 2. Ibid. p. 51.
Jan I Brueghel - Allegory Of Water

Jan I Brueghel - Allegory Of Water

Original -
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Lot number: 151
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Lot Description Jan Bruegel the Elder (Brussels 1568-1625 Antwerp) Allegory of Water traces of black chalk, pen and brown ink, black ink framing lines, watermark posthorn (?) 7 1/8 x 11½ in. (17.9 x 28.9 cm.) Literature M. Winner, 'Neubestimmtes und Unbestimmtes im zeichnerischen Werk von Jan Brueghel d. Ä', Jahrbuch der Berliner Museen, XIV, 1972, p. 142, pl. 21. K. Ertz, Jan Brueghel der Ältere (1568-1625): Die Gemälde mit kritischem Oeuvrekatalog, Cologne, 1979, p. 607, under no. 302. K. Ertz and C. Nitze-Ertz, Jan Brueghel der Ältere (1568-1625): Kritischer Katalog der Gemälde, Lingen, 2008-10, III, 'Blumen, Allegorien, Historie, Genre, Gemäldeskizzen', p. 1050, fig. 499/1. Exhibited Brussels, Palais des Beaux-Arts, Brueghel. Une dynastie de peintres, 1980, no. 164 (catalogue entry by M. Winner). View Lot Notes >
Jan I Brueghel - A River Running Through A Small Town, With A Cattle Ferry On The Water And Rowing Boats Setting Off From The Left Bank

Jan I Brueghel - A River Running Through A Small Town, With A Cattle Ferry On The Water And Rowing Boats Setting Off From The Left Bank

Original
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Gross Price
Lot number: 27
Other WORKS AT AUCTION
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Jan Brueghel the Elder BRUSSELS 1568 - 1625 ANTWERP A RIVER RUNNING THROUGH A SMALL TOWN, WITH A CATTLE FERRY ON THE WATER AND ROWING BOATS SETTING OFF FROM THE LEFT BANK signed lower right: BRVEGHEL oil on copper 18.3 by 22.9 cm.; 7 1/4 by 9 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private collection, England; Anonymous sale, London, Sotheby's, 21 March 1973, lot 78, to Koetser for £28,000; With Leonard Koetser, London,1973; Private collection, Germany; With David M. Koetser, Zurich, 1977; Acquired from the above by the late owners in April 1979 for 750,000 Swiss francs. Literature K. Ertz, Jan Brueghel der Ältere, Cologne 1979, p. 573, cat. no. 96, reproduced fig. 30; K. Ertz and C. Nitze-Ertz, Jan Brueghel der Ältere, vol. I, Lingen 2008, p. 298, cat. no. 139, reproduced.
Jan I Brueghel - A Coastal Landscape With Fish Market

Jan I Brueghel - A Coastal Landscape With Fish Market

Original
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Gross Price
Lot number: 41
Other WORKS AT AUCTION
Description:
Jan Brueghel I. (Brussels 1568–1625 Antwerp) A coastal landscape with fish market, oil on panel, 15.5 x 18.5 cm, framed Provenance: Cassans Collection (according to a paper label on the reverse); Sir Thomas Fermor-Hesketh (1881–1944), Rufford New Hall, Lancashire; Frederick, 2nd Lord Hesketh (1916– 1955), Easton Neston, Northamptonshire; and by descent; sale Sotheby’’’’s, London, 3 December 2008, lot 8; European private collection Literature: K. Ertz, Jan Brueghel der Ältere, Lingen, 2008–2010, Add. 10, pp. 1642/43 The present painting is accompanied by an extensive certificate by Klaus Ertz (2009). Ertz writes in his monograph: ‘I believe that this delicately painted small wooden panel was painted before 1600, after Jan’’’’s return from Italy and follows on from his Italian copper panels, and that it may be regarded as a precursor, an ´exercise´, so to speak, for his large Munich Sermon by the Sea, his masterpiece, by which Jan, in 1597, demonstrated the entire spectrum of his skills. The boats, which are of Flemish origin, suggest that the painting was executed after his Italian journey, while the depiction of the market on the coast might still be a reminiscence of Italy.’’’’ In his certificate, Ertz writes: ‘The paint layers typical of Jan Brueghel the Elder, with their overlapping and transparent glazes, lending the depiction a unique and peculiar sense of three-dimensionality, are preserved in perfect condition. The unmistakable, jewel-like colours emanate a glow I only know from the master’’’’s autograph works and give the impression as if the painting had only been painted a short while ago. The pointed brush is extremely precise and traces the tiniest details […].
Jan I Brueghel - The Garden Of Eden With The Fall Of Man

Jan I Brueghel - The Garden Of Eden With The Fall Of Man

Original 1616
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Lot number: 19
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Description:
Pietro (1760–1833) and Vincenzo (1771–1844) Camuccini, Rome; Acquired with the Camuccini collection by Algernon Percy, 4th Duke of Northumberland (1792–1865) in 1853; Thence by descent. Barnard Castle, The Bowes Museum, From Northern Collections. Dutch and Flemish Painting of the 17th Century, Pottery and Porcelain, 7 June – 12 August 1963, no. 4; Newcastle-upon-Tyne, Hatton Gallery, Festival of Britain Exhibition, 1951, no. 3. Earls and Dukes of Northumberland, The House of Percy SOLD BY ORDER OF THE 12TH DUKE OF NORTHUMBERLAND AND THE TRUSTEES OF THE NORTHUMBERLAND ESTATES Jan Brueghel the Elder BRUSSELS 1568 - 1625 ANTWERP THE GARDEN OF EDEN WITH THE FALL OF MAN signed and dated lower left.: ...EGHEL 1613 oil on copper 23.7 by 36.8 cm.; 9 1/2 by 14 1/2 in. The following condition report is provided by Sarah Walden who is an external specialist and not an employee of Sotheby's: Jan Brueghel the Elder. The Garden of Eden. Signed and dated 1613. This painting is on a fine copper panel, with no sign of dents. The detail is beautifully preserved throughout, down to the most minute frond or feather, without wear or lost flakes. There has just been some slight retouching in the uppermost blue sky near the top right corner and between the little clouds. There might have been a small scratch, although this is always a vulnerable place, however the painting is exquisite condition overall. This report was not done under laboratory conditions. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
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