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Ludolf De Jongh

Belgium (1616 -  1679 )
de JONGH Ludolf Paying The Hostess

Christie's
Jan 30, 2013
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Variants on Artist's name :

Ludolph De Jongh

 

Artworks in Arcadja
48

Some works of Ludolf De Jongh

Extracted between 48 works in the catalog of Arcadja
Ludolf De Jongh - An Interior With A Maid Holding A Jug And Three Men Beside A Fire

Ludolf De Jongh - An Interior With A Maid Holding A Jug And Three Men Beside A Fire

Original
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Gross Price
Lot number: 27
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Description:
Ludolph de Jongh AN INTERIOR WITH A MAID HOLDING A JUG AND THREE MEN BESIDE A FIRE OVERSCHIE 1616 - 1679 HILLEGERSBERG signed and dated center right, above the door: L.D. Jongh/Ao.1668 oil on panel 27 3/8 by 33 in.; 69.5 by 83.8 cm. Provenance WithJacques Leegenhoek, Paris, by 2011; Anonymous sale, New York, Christie's, 5 June 2013, lot 68; Where acquired. Catalogue Note De Jongh was a leading painter in Rotterdam and one of the most versatile painters of his time, producing portraits, landscapes, hunting scenes and genre pictures, such as the present work. According to his biographer, Arnold Houbraken, he studied with Cornelis Saftleven in Rotterdam, Anthonie Palamedesz. in Delft, and Jan van Bijlert in Utrecht, after which he spent a seven year sojourn in France before returning to Rotterdam in 1643. He quickly established himself as one of that city\’s most important painters, exerting a strong influence on such younger artists as Pieter de Hooch and Jacob Ochtervelt. Though there is a scarcity of signed works by De Jongh, this painting is prominently signed and dated 1668, making it an important work in determining the artist\’s artistic evolution. Lighter in tonality than his earlier interiors, the composition is punctuated throughout by the bright reds of the figures\’ various garments and the curtains at left. The setting appears to be the interior of a tavern or inn, with figures gathered near a blazing fire. A young maid stands at center holding a jug in her right hand, her left hand on her hip. She does not interact with the three male figures, but directs her gaze towards the empty chair at left. An older man seated at center looks out knowingly at the viewer as he lifts his glass, while in the background a grinning young man emerges from a back room with his shirt untucked, implying that likely more than just drinking by the fire is going on. In spite of the merrymaking under way, there may be a moralizing message implied by the bunch of turnips depicted at lower right. In Netherlandish prints and literature of the period a pun was made on the Dutch word for turnip (raap) and the verb toscrounge(rapen), and turnips were sometimes used to signify greedy or distasteful behavior.1 Infrared reflectography of this painting reveals changes made to the lower left quadrant of the painting, in the area where the figure of the maid is gazing (fig. 1). The outlines of a jug and broom can be seen in the extreme lower left corner, and a draped table with the carcass of a duck, its head hanging limply over the near side of the table, can be seen where the chair is now positioned. 1. W. Gibson, Figures of speech: picturing proverbs in renaissance Netherlands, Berkeley 2010, pp. 59-60, 74-77. Fig. 1 Infrared Reflectography of the present lot (detail)
Ludolf De Jongh - An Italianate Landscape

Ludolf De Jongh - An Italianate Landscape

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Lot number: 98
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Lot Description

Ludolf de Jongh (Overschie 1616-1679 Hillegersberg)

An Italianate landscape with elegant figures on horseback and beaters with hunting dogs near the ancient ruins of Trofeo di Mario, herdsmen with their cattle beyond

signed 'L. D. Jongh' (lower centre)

oil on panel

59.2 x 82 cm.

with an old inventory number 'N°. 37' on the reverse

Lot Condition Report

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Provenance

M.G. Collins; his sale; Christie's, London, 29 April 1935, lot 68 (£15.15.0 to C.H. Schwagermann, Schiedam).

Acquired by the father of the present owner before 1937.

Literature

R.E. Fleischer,
Ludolf de Jongh (1616-1679): painter of Rotterdam
, Doornspijk, 1989, p. 50, fig. 44.

Exhibited

Rotterdam, Museum Boymans,
Vermeer: oorsprong en invloed Fabritius, De Hooch, De Witte
, 9 July-9 October 1935, no. 61, pp. 26-7.
View Lot Notes >
Ludolf De Jongh - Portrait Of A Gentleman

Ludolf De Jongh - Portrait Of A Gentleman

Original 1661
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Gross Price
Lot number: 40
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Description:
Ludolf de Jongh (Rotterdam 1616-1679)

Portrait of a gentleman, half-length, wearing a black costume with a white collar and a black beret; and Portrait of his wife, half-length, wearing a black dress with a white lace collar, cuffs and a bonnet

the first signed and dated 'L D. Jongh / A 1661' (upper right)

oil on canvas

74 x 59.3 cm.; and 73.5 x 59.8 cm.

(2)a pair
Ludolf De Jongh - An Interior

Ludolf De Jongh - An Interior

Original
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Gross Price
Lot number: 68
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Description:
Ludolf de Jongh (Overschie 1616-1679 Hillegersberg) An interior with a maid holding a jug and three men beside a fire oil on panel 32 7/8 x 27½ in. (83.5 x 69.7 cm.)
After studying with Cornelis Saftleven in Rotterdam, Anthonie Palamedesz. in Delft, and Jan van Bijlert in Utrecht, Ludolf de Jongh spent seven years in France, where, as colorfully recounted by his biographer Arnold Houbraken, he adapted to French life so completely that his parents were forced a hire a translator upon his return to the Netherlands around 1642 (A. Houbraken, De groote schouburgh, 1718-21/1976, II, pp. 33-34). Once back in his native Rotterdam, De Jongh produced a diverse body of work that included portraits, landscapes and historical subjects as well as genre and guardroom scenes that would strongly influence younger artists Pieter de Hooch (1629-1684) and Jacob van Ochtervelt (1634/5-1682-1710). The dearth of signed works by De Jongh, compounded by close similarities of his pictures with those of De Hooch, has led to the entangling of their oeuvres. An interior with a maid holding a jug and three men beside a fire, however, bears a prominent signature and date of 1664 above the doorway at right, making this painting key to understanding De Jongh's oeuvre and artistic evolution.

Brighter than his earlier guardroom scenes of the 1640s, the setting of the present work is perhaps an inn or tavern, a neatly appointed interior with carved woodwork and carefully arranged furniture. The perspective created by the diagonals of the floor tiles, window panes and ceiling beams recalls De Hooch's interiors of around the same time, as do the vibrant terra-cotta color of the floor and bright light streaming through the window with trees beyond. Yet the somewhat coarse, bawdy figures in De Jongh's scene are quite different from the more decorous inhabitants of many of De Hooch's interiors. At the center of the room stands a voluptuous maidservant in a seductive pose, which, like the vessel in her hand, emphasizes her hourglass figure. Lascivious or otherwise immoral maids were frequent figures in 17th-century literature, and appear regularly in Dutch art of the period. Gerrit Dou made a specialty of maidservants surrounded by erotically-charged household objects such as Girl chopping onions of 1646 in the Royal Collection (inv. 406358), in which the onions symbolize lust, while Nicolaes Maes made an overt example of a lazy maid in The Idle Servant of 1655 now in the National Gallery, London (inv. NG207).

Adding to the dissolute atmosphere of the scene are the men drinking and smoking nearby. Beside the maid, a seated man with a red-tipped nose, circles under his eyes and a drooping sock has clearly been enjoying himself, as has the broadly smiling man stoking the fire. In the room beyond, a man stands accompanied by a dog, of which only the hind-quarters are visible, adding a note of raffish, off-color humor. The man seated at center directs his glance at the viewer, as if inviting us into the scene as participants. Such figures recur often in De Jongh's pictures, such as Paying the Hostess, sold in these rooms on 30 January 2012, lot 5. While we are thus invited to join the merrymaking, a moralizing message is nonetheless implied by the pile of turnips at lower left. The Dutch word for turnip ('raap') is a pun with the verb to scrounge ('rapen'), and in prints and literature of the period turnips were associated with distasteful, greedy behavior (W. Gibson, Figures of speech: picturing proverbs in renaissance Netherlands, Berkeley, 2010, pp. 74-77). In De Jongh's world, even the vegetables are up to no good.
Ludolf De Jongh - Paying The Hostess

Ludolf De Jongh - Paying The Hostess

Original
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Gross Price
Lot number: 5
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Description:
Lot Description

Ludolf de Jongh (Overschie 1616-1679 Hillegersberg) Paying the hostess signed indistinctly 'L D Jongh' (on the seat of the overturned stool, lower center) oil on panel 26 3/8 x 25½ in. (67 x 64.8 cm.)

Provenance

Dr. Bragge, London; sale, John Prestage, London, 19-21 March 1751, lot 41, as 'De Jonge, An officer paying his Landlady', where purchased by Sir William Beauchamp, and by descent to Jocelyn Beauchamp, Langley Park, Norwich; Sotheby's, London, 11 July 1956, lot 117, as 'Gillis van Tilburg' (£170 to Sabin). Emile Wolf, New York; Sotheby's, New York, 28 January 2000, lot 28 .

Literature

R.E. Fleischer, 'Ludolf de Jongh and the Early Works of Pieter de Hooch', Oud Holland, XCII, 1978, pp. 60-61, 63, 65, fig. 20. P.C. Sutton, Pieter de Hooch, Oxford, 1980, p. 141, no. D20, pl. 182. P.C. Sutton, in Masters of Seventeenth Century Dutch Genre Painting, exhibition catalogue, Philadelphia/Berlin/London, 1984, p. LI, fig. 88. R.E. Fleischer, Ludolf de Jongh, Doornspijk, 1989, p. 69, pl. 80. R.E. Fleischer and S. Reiss, 'Attributions to Ludolf de Jongh, some old, some new', The Burlington Magazine, CXXXV, no. 1087, October 1993, p. 668, fig. 1. W. Franits, Dutch Seventeenth-Century Genre Painting, New Haven, 2004, pp. 193, fig. 178.

Exhibited

Waltham, Massachusetts, Rose Art Museum, 17th Century Paintings from the Low Countries, 27 February-27 March 1966, no. 19, as 'Pieter de Hooch'. Norfolk, Virginia, The Chrysler Museum; Providence, Rhode Island, Museum of Art, Rhode Island School of Design; Tampa, Florida, The Tampa Museum, The Discovery of the Everyday: Seventeenth Century Dutch paintings from the Wolf Collection, 1982-1983, no. 21, as 'Pieter de Hooch'. Tokyo, Tokyo Metropolitan Museum of Art, Vermeer and the Delft Style, 2 August-14 December 2008, no. 24.

View Lot Notes ›
In the 18th century, this painting was attributed to Ludolf de Jongh, but in following years it has occasionally been given to other artists, including Pieter de Hooch. This confusion occurred in part because the painting bore a false signature of 'P d. hooch' on the overturned stool in the foreground until a recent cleaning revealed the original signature, 'L.D. Jongh'. Paintings by De Jongh have been common targets for such subterfuge in part because of the artist's own chameleon-like ability to create works in a variety of styles and subjects. De Jongh's facility at producing a range of hunting and riding scenes, portraits, courtyard views, as well as cityscapes and landscapes, likely stemmed from his diverse training. According to biographer Arnold Houbraken, De Jongh studied in Rotterdam with Cornelis Saftleven, who specialized in peasant scenes and landscapes, in Delft with Anthonie Palamedesz, who was primarily a specialist in guardroom paintings, and in Utrecht with Jan van Bijlert who produced life-size history paintings and genre scenes as well as cabinet pictures, often in a Caravaggesque idiom. In addition, De Jongh spent seven years in France before returning in 1642 to Rotterdam, where over time he became one of the city's most successful painters.

The present work was most likely executed in the first half of the 1650s, when De Jongh was at his most productive. The scene depicts a stable or barn with an officer and serving woman standing together in conversation; their hunched bodies suggest they are involved in a dispute. Presumably they are arguing over the cost of his stay and quartering of his horse, as such temporary accommodations were common during the war for independence in the United Provinces. The officer, wearing an armored chest plate and buff jerkin, has one hand in his pocket, the other resting on the wrist of the tavern hostess, who stands waiting with open palms.

A figure sits before the quarreling couple, wearing a floppy red beret, red shirt, sash and coat. He holds a small liquor bottle in one hand and a clay pipe in the other, smiling over his shoulder at the viewer. Common in Dutch genre paintings by Jacob Duck and Nicolaes Maes, this figure may have its origins in theater, acting as an intermediary between the audience and the stage. In the present work, this mischievous character puts his finger to the side of his nose, pulling down the lower lid of his right eye--a humorous gesture visible in the satirical works of Jan Steen as well as in Karel Dujardin's Morra Players in the Louvre (inv. R.F. 2002-1, see Tokyo, op. cit., p.161).

An addition of approximately fifteen centimeters on the top converted the panel from a horizontal stable scene to the upright format that came into fashion in the early to mid-1650s (Tokyo, loc. cit.); De Jongh likely changed the format of the panel himself in order to create a more dramatic perspective.
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