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Jan I Brueghel

Belgium (15681625 ) - Artworks Wikipedia® - Jan I Brueghel
BRUEGHEL Jan I Woodland Road With Wagon And Travelers

Sotheby's /Apr 22, 2015
370,892.37 - 519,249.31
434,694.80

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Variants on Artist's name :

Breughel Jean Dit De Velours

Bruegel Jan I

Brueghel Jan, The Elder

 

Artworks in Arcadja
257

Some works of Jan I Brueghel

Extracted between 257 works in the catalog of Arcadja
Jan I Brueghel - The Vision Of Saint Hubert

Jan I Brueghel - The Vision Of Saint Hubert

Original
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Lot number: 43
Other WORKS AT AUCTION
Description:
Jan Brueghel the Elder BRUSSELS 1568 - 1625 ANTWERP THE VISION OF SAINT HUBERT oil on copper 20.1 by 23.5 cm.; 7 7/8 by 9 1/4 in. Provenance The Vischer-Sarasin family, Basel; The Estate of Maria Sarasin, 1908, according to a label on the reverse; Anonymous sale, Zurich, Koller, 18 March 2008, lot 3029, where acquired by the present owner. Literature K. Ertz, Jan Brueghel der Ältere (1568–1625), Lingen 2008–10, vol. II, pp. 634–36, no. 303, reproduced. Catalogue Note Klaus Ertz dates this painting to the beginning of the 1590s, when Brueghel was in Rome, although he raises the possibility that it might have been painted slightly earlier, just before the artist left Flanders. The luminous handling of the foliage and the tree trunk is however entirely consistent with Brueghel's work in Rome in the early 1590s. The influence of Gillis van Coninxloo's forest landscapes is palpable in this and Brueghel's other woodland settings. Brueghel may have met Coninxloo in Frankenthal when he was en route from Antwerp to Italy. In many of Jan Brueghel's narrative subjects set in wooded landscapes from later in the 1590, the figures are painted by other artists, for example Hans Rottenhammer, with whom Brueghel worked from about 1595 onwards, but at the start of the decade he had yet to develop contacts with such collaborators. The wooded landscape and the foliage in the present work, as well as the figure type and the hound are notably similar to other early wooded landscapes with hunting scenes on copper, such as the one in Schloss Ambras, Innsbruck, a wooded landscape with a stag hunt dated by Ertz circa 1593. Saint Hubert, Bishop of Maastricht and later Liège in the early eighth century, had in his younger days been confronted by a stag with a crucifix between its antlers while out hunting. This brought about his conversion to Christianity. He is patron saint of hunters, and as here is clad in hunter's clothes. The subject is very similar to the Vision of Saint Eustace, but the latter is generally shown wearing armour. 1.Vienna, Kunsthistorisches Museum (inv. no. 458), on long-term loan to Schloss Ambras; see K. Ertz, Jan Brueghel der Ältere 1569-1625, vol. I, Lingen 2008, p. 194, no. 75, reproduced. For autograph variants also dated by Ertz to the same period, see pp. 196-202, nos. 77 - 80, all reproduced.
Jan I Brueghel - Hans Efterföljd

Jan I Brueghel - Hans Efterföljd

Original c.1600
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Lot number: 12
Other WORKS AT AUCTION
Description:
Katalogtext Konditionsrapport Jan Brueghel I Flandern 1568-1625. Hans efterföljd, 1600-tal. Väderkvarnar i ett holländskt landskap. Olja på kopparplåt, 11 x 14. Follower of, 17th century. Oil on copper, 11 x 14 cm. För konditionsrapport, vänligen Kontakt
Jan I Brueghel - The Deer Park Of The Château Of Mariemont

Jan I Brueghel - The Deer Park Of The Château Of Mariemont

Original
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Lot number: 136
Other WORKS AT AUCTION
Description:
Lot Description Jan Brueghel the Elder (Brussels 1568-1625 Antwerp) The deer park of the Château of Mariemont with inscription '3697 / cad. Gercherain (?) X' (verso) pen and brown ink, brown, green, and blue wash, brown ink framing lines 21.2 x 24.6 cm. Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Emile Calando (1840-1899) (L. 837), with his inscription '1928B' and '1193-6', by descent to Emile Calando jr. (d. 1953); Hôtel Drouot, Paris, 17-18 March 1927, lot 179 ('Genre de Gillis Neyts, Le parc aux biches, plume et aquarelle, monture ancienne, 213 x 245'; sold for 150 francs to an anonymous buyer). possibly with Hevesi, Vienna; from whom purchased by I.Q. van Regteren Altena in December 1929 for 100 guilders (Inventory book: 't. 844. Brueghel en Claude landschap'). Literature E. Haverkamp Begemann and A.M.S. Logan, European Drawings and Watercolours in the Yale University Art Gallery 1500-1900, New Haven and London, 1970, I, p. 286, under no. 524, note 2. M. Winner, 'Neubestimmtes und Unbestimmtes im zeichnerischen Werk von Jan Breughel d. Ä', Jahrbuch der Berliner Museen, XIV, 1972, pp. 155-157, pl. 35. K. Ertz, Jan Brueghel der Ältere (1568-1625): Kritischer Katalog der Gemälde, Lingen, 2010, III, p. 1220, under no. 563, fig. 563/1. Exhibited Rotterdam, Museum Boijmans Van Beuningen, Paris, Fondation Custodia, and Brussels, Bibliothèque Albert 1er, Le Cabinet d'un Amateur: Dessins flamands et hollandais des XVIe et XVIIe siècles d'une collection privée d'Amsterdam, 1976-77, no. 35, pl. 102 (catalogue by J. Giltaij). View Lot Notes >
Jan I Brueghel - Woodland Road With Wagon And Travelers

Jan I Brueghel - Woodland Road With Wagon And Travelers

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Lot number: 27
Other WORKS AT AUCTION
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Jan Brueghel the Elder BRUSSELS 1568 - 1625 ANTWERP WOODLAND ROAD WITH WAGON AND TRAVELERS signed and dated lower left: BRVEGHE[L]/160(9?) oil on copper, mounted on panel 3 5/8 by 5 7/8 in.; 9.2 by 14.9 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Possibly Major Allnutt, Clapham Common, London; His deceased sale, London, Christie’’s, 18-20 June 1863, lot 338 (described as Brueghel, A Landscape, with post-wagons and figures on a road, for 2.15.0 guineas); or lot 395 (described as Brueghel, A Landscape, with figures and post-wagons, for 3.10.0 guineas to Naters (?); Miss Grace Shearer, 1987; Thence by inheritance until sold anonymously, (“ Property of a Lady” ), London, Christie’’s, 10 April 1987, lot 20; David Koetser, 1992. Exhibited New Orleans 1997, no. 11; Baltimore 1999, no. 9. Literature New Orleans 1997, pp. 26-28, cat. no. 11, reproduced; Baltimore 1999, pp. 21-23, cat. no. 9, reproduced; K. Ertz, Jan Brueghel der Ältere (1568-1625), Kritischer Katalog der Gemälde, vol. I, Lingen 2008, p. 184, cat. no. 70, reproduced p. 185 (as dated 160[9]).
Jan I Brueghel - Rest By A Windmill

Jan I Brueghel - Rest By A Windmill

Original
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Lot number: 53
Other WORKS AT AUCTION
Description:
Jan Brueghel I (Brussels 1568–1625 Antwerp) Rest by a Windmill, oil on panel, 36.2 x 48.9 cm, framed Provenance: Sale Ader, Picard, Tajan, Paris, 14 April 1989, lot 242 (as Jan Brueghel II); Galerie d’’’’Art Saint Honoré, Paris (1990); Sale Sotheby’’’’s, New York, 17 January 1992, lot 32; Sale Christie’’’’s, New York, 26 January 2011, lot 23 Literature: K. Ertz, C. Nitze-Ertz, Jan Brueghel der Ältere, Die Gemälde, vol. I, Lingen, 2008, p. 326, no. 156 In his monograph on Jan Brueghel I, Klaus Ertz writes about the present painting: ‘Jan Brueghel the Elder seems to have painted this previously unknown version of the subject around the same year as the two variants Broad Landscape with Windmills in Munich (cat. 155) and Dresden (cat. 163), both of which date from 1611. Similar to the Munich version, the painter explicitly concentrated on the atmospheric mood expressed by effects of light and dark in the sky, which are also reflected on the earth. Jan had used the motif in the right foreground of the peasant in a red doublet bridling a horse two years earlier in the composition Resting at the Mill (cat. 154). ’’’’In his certificate of 1990, Ertz commented upon the present painting: ‘The painting can be said to be excellently preserved. The paint layers, applied in overlapping, transparent glazes – a method typical of Jan Brueghel the Elder – thus lending the scene its peculiar three-dimensionality, have survived in perfect condition. The unmistakable jewel-like colours glow in a way I only know from the master’’’’s originals. I could not detect any retouches or overpainting […].’’’’ Ertz continues: ‘The stylistic features typical of this artist can also be found in the present painting: The overall impression achieved by the handling of the colours – one of the most important criteria in the identification of works by the hand of Jan the Elder – entirely complies with the characteristic pattern of Brueghel’’’’s “wide landscapes” from his later period. Foreground, middle ground, and background seamlessly blend in with each other. The division into the three colour zones of brown, green, and blue and the staggered planes of earlier compositions have given way here to a holistic perception of space and colour. However, the brushwork is still extremely delicate. Tracing each and every form with painstaking meticulousness and technical brilliance, Jan Brueghel the Elder has created here an almost unsurpassable small masterpiece of supreme quality in terms of both technique and artistic invention. Although Jan I treated the motif of the “broad landscape with windmills” in several variants, each of them is a fantastic and technically accomplished little masterpiece in its own right that exemplifies Flemish painting during the early 17th century.’’’’ In order to corroborate his attribution and the present painting’’’’s date of origin in the first decade of the 17th century, Ertz compares it to the following secure works by Jan Brueghel the Elder: (1) Country Road with Windmills (Palazzo Spada, Rome, inv. no. 138, signed and dated 1607); (2) Wide Plain with Windmills (Staatliches Museum, Schwerin, inv. no. 138. G 23, c. 1607); (3) Broad Landscape with Windmills (Alte Pinakothek, Munich, inv. no. 1892, signed and dated 1611); (4) Broad Landscape with Windmills (Gemäldegalerie, Dresden, inv. no. 886, war loss, signed and dated 1611) Klaus Ertz concludes: ‘All of the paintings mentioned belong to the same type of “broad landscape” as the one to be assessed here. The beholder’’’’s eye glides across the picture without being “arrested”. Horizontals dominate over verticals, and there is only the separation between “sky and earth” . These paintings present themselves to us as flat landscapes in their purest form, which later culminated in the monochrome flat landscapes of Jan van Goyen or Salomon van Ruysdael in the Netherlands. Hence Jan Brueghel the Elder is the inventor proper of the flat landscape, regardless of the small size of his pictures, which were nevertheless seminal for the development of landscape painting. This underscores the artist’’’’ s significance for art history, as well as that of the painting in question.’’’’
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