Sotheby's /Apr 22, 2015
€296,713.89 - €445,070.84
Artworks in Arcadja151
Some works of Meindert HobbemaExtracted between 151 works in the catalog of Arcadja
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Meindert Hobbema (Amsterdam 1638–1709)A landscape with a bridge,oil on panel, 50 x 75 cm, framed Provenance:Galerie Frans Buffa en Zonen, Amsterdam, June 1925;sale, Dorotheum, Vienna, 18 May 1989, lot 651;Morat-Institut für Kunst und Kunstwissenschaft, Freiburg imBreisgauLiterature:G. Broulhiet, Meindert Hobbema, Paris, 1938, p. 433, no. 423, ill.p. 313When the present painting was sold in these rooms in 1989, it wasaccompanied by a written report by Christopher Wright from 21January 1987. Christopher Wright wrote: ‘In my opinion, thisbeautiful landscape with a bridge is an excellently preservedexample of the artist’’’’s mature style. It was painted around 1663,when Hobbema broke free from Jacob Ruisdael’’’’s tutelage anddeveloped into a painter of greater independence. The watermill atthe centre is familiar to us from many compositions by this master.The painting will be included as an autograph work by Hobbema in myforthcoming catalogue raisonné.’’’’ The works of the landscapistMeindert Hobbema, who was trained by Jacob van Ruisdael, differfrom those of his teacher in their more pronounced impasto, theirstronger chiaroscuro, and through a wealth of subtly finisheddetail. Rendering the shimmering, reflecting sunlight, Meindertresorted to a palette that contained more yellows, greens, andbrowns, as opposed to Van Ruisdael’’’’s, which was dominated byshades of grey. The staffage, fused in their surroundings, was, asa rule, painted by Hobbema’’’’s own hand.
Auction: Sotheby's -Dec 9, 2015 - LondonLot number: 33
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Meindert Hobbema AMSTERDAM 1638 - 1709 A HAMLET IN A WOODLAND GLADE OF OAKS signed lower left: m Hobbema oil on oak panel 37 by 48.5 cm.; 14 1/2 by 19 1/8 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance A.N. Garland, 15 Queen's Gate, London; By whom (anonymously) sold, London, Christie's London, 25 April 1903, lot 47, for 410 Guineas to Gribble; With P. & D. Colnaghi, London; Oscar Huldschinsky, Breslau, by 1906; His sale, Berlin, Paul Cassirer und Hugo Helbing, 10 May 1928, lot 14, for 65,000 Reichsmarks to Böhler; With Julius Böhler, Munich; Leo van den Bergh, Wassenaar; His sale, Amsterdam, S.J. Mak van Waay, Amsterdam, 5 November 1935, lot 11, for 12,000 Florins; Otto Wertheimer, Paris; Dr Max Schmidheiny, Heerbrugg; Anonymous sale ('The Property of a Gentleman'), London, Christie's, 6 July 1990, lot 118, for £550,000; With Noortman, Maastricht, By whom sold to a private collector, U.S.A., by 2003; Anonymous sale ('The Property of a Gentleman'), New York, Christie's, 23 January 2004, lot 28; With Noortman Master Paintings, Maastricht; From whom acquired by the present owner. Exhibited Berlin, Former gräflich Redern'schen Palais, Unter den Linden 1, Ausstellung von Werken alter Kunst aus dem Privatbesitz der Mitglieder des Kaiser Friedrich-Museums-Vereins, 27 January - 4 March 1906, no. 63; Rotterdam, Museum Boijmans van Beuningen, Meesterwerken uit Vier Eeuwen 1400-1800, 25 June - 15 October 1938, no. 90; Greenwich, Connecticut, The Bruce Museum, The Pleasures of Collecting - Part 1, Renaissance to Impressionist Masterpieces, 21 September 2002 - 5 January 2003, p. 27. Literature E. Michel, Hobbema et les Paysagistes de son Temps en Hollande, Paris 1890, reproduced p. 33; C. Hofstede de Groot, A Catalogue Raisonné..., vol. IV, London 1912, p. 396, no. 126; W. von Bode, Collection d'Oscar Huldschinsky, Berlin 1909, no. 14; W. von Bode, Meindert Hobbema, Berlin 1909; E. Michel, Meindert Hobbema, Paris 1927; G. Broulhiet, Meindert Hobbema, Paris 1938, p. 399, no. 178, reproduced p. 191; Meesterwerken uit Vier Eeuwen 1400-1800, exhibition catalogue, Rotterdam 1938, vol. I, p. 23, no. 90, reproduced vol II, p. 100, plate 155; P.C. Sutton, The Pleasures of Collecting - Part 1, Renaissance to Impressionist Masterpieces, exhibition catalogue, Greenwich 2002, p. 27. Catalogue Note This is a highly characteristic work of Hobbema's early maturity, datable circa 1663. Hobbema trained with Jacob van Ruisdael shortly after the latter had moved from Haarlem to Amsterdam in the 1650s, but remarkably, Ruisdael's influence on the younger painter is not apparent until the beginning of the next decade, in circa 1662. He achieved maturity with astonishing speed in the ensuing few years, and his fame rests on a group of landscapes painted between 1662 and 1668, most of which are composed along similar lines to the present example, with a hamlet of thatched timber-framed farmhouses nestling under oak trees growing in thin, sandy soil. Hobbema's low viewpoint allows the viewer to see between the trunks of the oaks; a higher viewpoint would be obscured by foliage. His subject matter is reminiscent of the drawings made by Ruisdael in the Eastern Netherlands in the early 1650s and the paintings that followed, but his own familiarity with this landscape, evident in many of his paintings, suggests that he may have visited the area himself, doubtless inspired by his teacher. Several paintings by Hobbema incorporating depictions of actual watermills on the estate of Singraven near Denekamp in the wooded province of Overijssel support the likelihood that he too travelled in this region. Hobbema seems to have painted very little after his marriage in October 1668, but the magisterial Avenue at Middelharnis in the National Gallery, London, very different in character to his wooded landscapes of the mid-1660s, is a glorious exception. It is unusual to apply the term ````early maturity```` to an artist whose career started a decade earlier, but whose full maturity is reached over the next two or three years, and who virtually ceased to paint within five years. His compositions of the mid-1660s are very similar in type to the present work, which anticipates them in a sense of monumentality that belies its small scale, but he paints with an increased freedom with the brush, especially in his skies, where he sometimes uses almost vertical brushstrokes, and the sandy ground is more frequently lit by dappled sunlight. Perhaps too he becomes more at ease with larger works, generally on canvas. 1 His strong sense of understanding of a very specific type of open oak woodland domesticated by farmhouses rarely alters, however. This painting, and the vast majority of his works from the mid-1660s (including those with watermills), give the viewer the impression that they are sites near each other in the same forest.
Auction: Lempertz -Nov 14, 2015 - CologneLot number: 1538
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Lot 1538: Meindert Hobbema, Watermill and Village in a Wooded Landscape Meyndert Hobbema (1638-1709) Signed and dated centre left: MHobbema 1684CertificateHeinrich Zimmermann, Berlin, 7.2.1951.The Amsterdam landscape painter Meindert Hobbema was a pupil of Jacob van Ruisdael. Based on the works of his teacher, he quickly established his own unique style and set of motifs, mainly painting wooded landscapes, often opening onto bright, sunny valleys speckled with little houses, windmills, watermills and calm ponds. The works evoke an atmosphere of peace and tranquillity, which is accentuated by the serene way in which the figures who populate them go about their daily activities. Hobbema's oeuvre is not especially large and he is known to have lived in relatively modest circumstances. He took up a position as municipal wine gauger in 1668 and apparently rarely painted after this. Notes: VAT: Margin scheme 89 x 116 cm Artist or Maker: Meindert Hobbema Literature: Georges Broulhiet: Meindert Hobbema, Paris 1938, p. 386, no. 67, illus. p. 135. Medium: Oil on canvas (relined)
Auction: Sotheby's -Apr 22, 2015 - New-yorkLot number: 52
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Meindert Hobbema AMSTERDAM 1638 - 1709 A COTTAGE AT THE EDGE OF A WOOD signed twice, lower left: MH (in ligature) obbema and lower right: MH (in ligature) obbema oil on panel 10 3/4 by 13 in.; 27.2 by 33 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Dorothee Henriette Marie-Louise, Baroness van Tuyll van Serooskerken née Baroness de Pagniet (1751-1836); Her posthumous sale, Utrecht, Notaris G.H. Stevens, 26 July 1836, lot 7, for 402 florins (to Gruijter); W. de Gruijter, Amsterdam, 1882; His posthumous sale, Amsterdam, Roos, 24-25 October 1882, lot 36; Edward Warneck, 1911; His sale, Paris, Galerie Georges Petit, 27 May 1926, lot 49; Anonymous sale ("The Property of a European Noble Family"), London, Christie's, 5 July 1996, lot 22; David Koetser, 1999. Exhibited Paris, Musée du Jeu de Paume, Exposition des grands et petits maîtres hollandais du XVIIe siècle organisée sous le haut patronage de sa majesté la Reine des Pays-Bas par la revue "L'Art et les Artistes", 28 April - 10 July 1911, p. 14, cat. no. 71; Baltimore 1999, no. 23A. Literature A. Dayot, Grands & petits maîtres hollandais, Paris 1911, p. 130, no. 72, reproduced between pp. 24 and 25; C. Hofstede de Groot, A Catalogue Raisonné...,vol. IV, London 1912, p. 372, cat. no. 60a; G. Broulhiet, Meindert Hobbema, Paris 1938, p. 398, cat. no. 172, p. 398, reproduced, p. 188; W. Stechow, "The Early Years of Hobbema", in The Art Quarterly, 22, Spring 1959, p. 16, footnote 5; Baltimore 1999, cat. no. 23A.
Auction: Lempertz -May 12, 2012 - CologneLot number: 1269
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MEINDERT HOBBEMA (1638 Amsterdam - 1709 Amsterdam) LANDSCHAFT MIT BAUERNHAUS Signiert und datiert unten rechts: M. Hobbema 1659 Öl auf Holz. 34,5 x 43,5 cm. Gutachten Christopher Wright, 18. August 1980. Provenienz S. van der Stel, Amsterdam (1781). - J. R. Mills (1879). - Sotheby´s London (1973). - Deutsche Privatsammlung. Ausstellungen London, Royal Academy: "17th Century Art in Europe", 1938, Nr. 251. C. Hofstede de Groot, Bd. IV, 1911, S. 386, Nr. 49 h. Unser Gemälde ist ein frühes Werk des gerade 21jährigen Meindert Hobbema. Als er es 1659 malte, arbeitete er noch unter der Leitung von Jacob van Ruysdael. Dennoch ist bereits die Handschrift des bedeutenden Landschaftsmalers so weit entwickelt, dass sie vollends erkennbar ist. Dabei fällt insbesondere die horizontale Gliederung der Bildfläche auf, bei der sich helle Partien von dunklen absetzen. Häufig malt Hobbema unter den Bäumen gedrungene Gebäude wie hier die grau-braune Kate. Charakteristisch ist auch die sparsame Staffage, die in diesem Fall aus einem einsamen Bauernpaar besteht. Dieses ist sehr ähnlich mit dem auf dem großen Bild aus der Sammlung des Fürsten Liechtenstein von 1655 - wo es allerdings in die entgegengesetzte Richtung geht. Wie auf vielen und auch späteren Werken führt ein sandiger Weg von der vorderen linken Ecke diagonal in das Bild hinein. Von wenigen Ausnahmen abgesehen sind die datierten Werke Hobbemas alle zwischen 1658 und 1668 entstanden. Dies war zweifellos das Jahrzehnt seiner größten Produktivität und schöpferischen Kraft. Die bereits früh ausgeprägte Landschaftsauffassung seiner bewaldeten Dünenlandschaften hat über Generationen die Betrachter seiner Bilder begeistert. So schreibt etwa John Constable 1824: "Wenn es die Seestücke van de Veldes, die Wasserfälle Ruysdaels und die heimischen Wälder Hobbemas nicht gäbe: wäre die Welt nicht um viele charakteristische Kunstwerke ärmer?" This painting is an early work from the 21 year old Meindert Hobbema. Whilst painting it in 1659 he was still working under the tutelage of Jacob van Ruisdael. However, the style of this important landscape artist was already so far developed that it is fully recognisable in the picture. In particular, the horizontal structure of the picture surface stands out, where the light areas contrast with the dark. Hobbema often painted squat buildings under the trees, such as the grey-brown cottage here. The minimal number of decorative figures is also typical, in this case consisting only of a farming couple. This is comparable to the large picture from the Fürsten Liechtenstein collection of 1655, although they are depicted coming from the opposite direction. As seen in many works, including later examples, a sandy path leads diagonally into the scene from the lower left corner. Apart from only a few exceptions, all the dated works from Hobbema are from between 1658 and 1668. This decade was without doubt his most productive and creative. With an early developed, distinctive landscape concept, his wooded dune landscapes have inspired viewers of his pictures over the generations. John Constable wrote in 1824: 'What if Vander Velde had quitted his sea pieces, or Ruysdael his waterfalls, or Hobbema his native woods. The world would have lost so many features in art?'