Jan Steen

(Leiden 1626Leiden 1679 ) - Artworks
steen jan Travellers Halting Outside An Inn

Christie's /Dec 3, 2013
179,072.41 - 298,454.02
655,882.50

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Variants on Artist's name :

Steen Jan Havicksz.

 

Artworks in Arcadja
230

Some works of Jan Steen

Extracted between 230 works in the catalog of Arcadja
Jan Steen - A Kitchen Interior With A Little Boy Saying Grace

Jan Steen - A Kitchen Interior With A Little Boy Saying Grace

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Lot number: 51
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Jan Havicksz. Steen (Leiden 1626-1679) A kitchen interior with a little boy saying grace signed 'JSteen' (lower right) oil on canvas 13 x 10 3/8 in. (33 x 26.4 cm.) Johan Diederik Meerdervoort, burgomaster of Dordrecht, and Jan van Huysum (+), painter; Amsterdam, Verkolje/Bosch, 14 October 1749, lot 36 (Dfl. 30). Charles Alexandre de Calonne, minister, Paris; (+), Skinner & Dyke, London, 26 March 1795, lot 37 (£40). Christie's, London, 1831 (36 gns.), according to Hofstede de Groot. George Morant, London; Phillips, London, 18 May 1832, lot 42 (£53). Earl of Clare; (+), Christie's, London, 17 June 1864, lot 27 (74 gns. to Ripp). Thomas Howard, London; (+), Christie's, London, 10 May 1873, lot 76 (184 gns. to F. Niewenhuys). Comte Henri Greffulhe (1848-1932), 1872; sold by order of the Comtesse Greffulhe and the Duc & Duchesse de Gramont, Sotheby's, London, 22 July 1937, lot 94 (£1,250 to Matthiesen). with D. Katz, Dieren, 1938. Hendrikus Egbertus ten Cate collection, Almelo. Sidney James van den Bergh, Wassenaar, 1953. Heinrich Becker, Dortmund, by 1960. with Pieter de Boer, Amsterdam (according to a label on the reverse). Anonymous sale; Sotheby's, London, 8 July 1999, lot 25 (£276,500 to the following). with Johnny van Haeften, London, where acquired in 1999 by the present owner. Please note that under Provenance for lot 51, the 1831 sale should read: 'Anonymous sale [Josiah Taylor]; Christie's, London, 28 May 1831, lot 57 (34 gns. to Norton).' PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTION J. Smith, A catalogue raisonné..., IV, London, 1833, p. 18, no. 57, as 'a highly finished work'. T. van Westrheene, Jan Steen, The Hague, 1856, p. 158, nos. 355 and 432. C. Gueullette, 'Les Cabinets d'Amateurs à Paris: La collections de M. H. de Greffulhe, Gazette des Beaux-Arts, series II, XV, 1877, pp. 159, 166. C. Hofestede de Groot, A catalogue raisonné..., I, London, 1907, pp. 101-102, no. 383. Sammlung Becker, Dortmund, 1967, no. 84, [n.p.]. K. Braun, Jan Steen, Rotterdam, 1980, no. B-104, under rejected attributions. (Possibly) London, British Institution, 1838 (Probably) London, British Institution, 1839, no. 26 Amsterdam, May-June 1938, no. 82. Laren, Singer Museum, Kunstchatten, Twee Nederlandse collecties schilderijen uit de vijftiende tot en met de zeventiende eeuw, 14 June-16 August 1959, no. 76, fig. 39.
Jan Steen - Pinksterbloem

Jan Steen - Pinksterbloem

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Lot number: 133
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Dr. Johan Pieter Wierman, Leiden; His sale, Amsterdam, van der Land, 18 August 1762, lot 47, for 31 florins; Pieter de la Court; His sale, Amsterdam, de Winter Cok, 17 September 1766, lot 57, for 41 florins; With M. Meffre, Paris; His sale, Paris, 25 February 1845, lot 88, for 538 Francs (as La petite Queteuse); Baron E. de Beurnonville; His sale, Paris, Pillet, 9 May 1881, lot 480, to Holbacher (as La Fête-Dieu); Johannes Wesselhoeft (1816-1903), Hamburg (the Hudtwalcker-Wesselhoeft collection, started by Nikolaus Hudtwalcker (1794- 1863); Acquired from the above by the Hamburg Kunsthalle in 1888, until circa 1930; With Karl Haberstock, Berlin by 1931; With Kunsthandel P. de Boer, Amsterdam, 1956 - 1957; H. Becker, Dortmund, by 1967; With Hans M. Cramer, The Hague, by 1974, from whom acquired by the present owner. Hamburg, Kunsthalle, from 1888-1930, inv. no. 168; Amsterdam, Kunsthandel P. de Boer, Wintertentoonstelling, Winter 1956 - 1957; Delft, Stedelijk Musem Het Prinsenhof, Delft Masters.Vermeer's contemporaries, 1 March - 2 June 1996, unnumbered. 133 PROPERTY FROM A EUROPEAN PRIVATE COLLECTION Jan Havicksz. Steen LEIDEN 1626 - 1679 PINKSTERBLOEM (THE WHITSUN BRIDE), A PROCESSION OF CHILDREN STANDING BEFORE THE DOOR OF A HOME signed lower left: JS (in compendium) teen oil on oak panel 36 by 28.5 cm.; 14 1/8 by 11 1/4 in. Estimate 70,000 - 100,000 GBP Print Please notify me when the condition report is available
Jan Steen - Figures Before An Inn, Merry-making And Playing A Game Of Kolfspel

Jan Steen - Figures Before An Inn, Merry-making And Playing A Game Of Kolfspel

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Lot number: 33
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Provenance Prof. Dr. Jan Bleuland, Utrecht (1756-1838); His deceased sale, Utrecht, Lamme, 6 May 1839, lot 309 for 880 florins; Municks van Cleef, Utrecht; His deceased sale, Utrecht, Paris, 4 April 1864, lot 88, for 3,350 francs; With D. Katz, Dieren; Mrs. A. Ongering-Schwarte (1890-1967), by 1958; By whom sold, London, Sotheby's, 26 March 1969, lot 81, for £20,000 to Tan Bunzl; Miss A. C. Innes; Sold by order of her Executors, London, Christie's, 7 July 1972, lot 26, for 30,000 Guineas to Jermyn; Mrs. George F. Getty II; By whom sold, London, Christie's, 28 November 1975, lot 87 for £26,000; Private Collection, New York, until sold, New York, Sotheby's, 12 January 1979, lot 126 for $85,000; With Richard Green, London by 1980; Acquired by the parents of the present owners in the early 1980s. Exhibited Haarlem, Frans Hals Museum, 1922; St. Louis, Art Museum, on loan 1973-5. 33 THE PROPERTY OF A FAMILY Jan Havicksz. Steen LEIDEN 1626 - 1679 FIGURES BEFORE AN INN, MERRY-MAKING AND PLAYING A GAME OF KOLFSPEL signed lower right: JS (in compendium) teen oil on oak panel 49.7 by 67.5 cm.; 19 5/8 by 26 1/2 in. Estimate 300,000 - 500,000 GBP Print The following condition report is provided by Sarah Walden who is an external specialist and not an employee of Sotheby's: This painting is on an oak panel with one joint at lower centre, which has been cradled long ago, possibly in the late nineteenth century. There has been one rather later crack running straight across in the sky quite near the top. Fairly old retouching remains all along the original joint while the upper crack has just a minimal narrow line of recent retouching. The panel does however appear otherwise extremely stable, with no trace of movement within the paint, past or present. There has been a little minor recent restoration over a rather older varnish. The signature on the barrel at the right base corner is slightly indistinct, with traces of far older varnish and a little old retouching nearby at the edges of the barrel, but it is nevertheless evident with careful scrutiny and magnification. Occasional old retouching can be seen but the only retouchings clearly visible under ultra violet light are minute superficial touches along the grain in the upper sky. There are some older retouches along the very top edge and a tiny sprinkling of older touches around the chimney of the cottage. The lower sky has remained immaculately pure and untouched. Occasional parts of the foliage against the sky are faintly thin but the only serious retouching in the entire painting is along the original joint. One little apparent pentiment appears to have been touched out long ago, the arm of the man reaching into the bodice of the shrinking girl on the right seems to have had his reach reduced more discreetly by some, now darkened, old retouching. Essentially however the figures, the sky in general, the landscape and cottage throughout is in beautifully intact condition, calmly unworn and undisturbed. This report was not done under laboratory conditions.
Jan Steen - Travellers Halting Outside An Inn

Jan Steen - Travellers Halting Outside An Inn

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Lot number: 14
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Lot Description Jan Steen (Leiden 1626-1679) Travellers halting outside an inn signed 'Jan Steen' (lower right) oil on canvas 28½ x 23¼ in. (72.5 x 59 cm.) Provenance The Right Hon. Viscount Stratford de Redcliffe, K.G., G.C.B.; Christie's, London, 29 June 1878, lot 40 (70 gns. to Lesser). Étienne-Edmond Martin, Baron de Beurnonville (1825-1906); his sale, Féral, G. Petit, C.P. Pillet, Paris, 9-16 May 1881 (= 5th day) lot 476 (6,000 ff to Brault), where acquired by an ancestor of the present owner. Pre-Lot Text PROPERTY FROM A EUROPEAN PRIVATE COLLECTION (LOTS 14 & 15) Literature C. Hofstede de Groot, A catalogue raisonné etc., I, London, 1908, p. 170, no. 650. Karel Braun, Alle tot nu toe bekende schilderijen van Jan Steen, Rotterdam, 1980, pp. 172-3, under no. B-174, illustrated, under rejected attributions. W. Kloek, 'Twee Haagse voorbeelden voor Jan Steen', in the Fetschrift for Marijke de Kinkelder, due for publication in 2014. Engraved Boulard. View Lot Notes > Untraced since its last appearance on the art market in 1881, this is an important re-discovered work by Jan Steen, painted around the time that he moved to Delft in 1654. Scenes of village life were a constant theme of Steen's early output, inspired by the work of both Adriaen van Ostade, under whom Steen is thought to have trained in the early 1640s, and Adriaen's younger brother Isaac van Ostade. The setting for this example is the outside of a ramshackled inn, accessed through a ruined archway which forms the backdrop to the composition. By Steen's standards the pervading mood is relatively restrained. In the foreground he depicts a rich array of travellers, soldiers, servants and children going about their chores in a series of delightful vignettes. Wouter Kloek (loc. cit.) has shown how the young Steen drew inspiration for these vignettes from a highly sophisticated and diverse range of visual sources. In the right foreground a gentleman bends down to offer an elegantly dressed lady a drink in a scene reminiscent of Gerard Terborch and Gabriel Metsu. In the centre, a boy lying on the floor looks up to the viewer in a pose that derives from Abraham Bloemaert. On the far left, a seated man crosses his legs to removes his shoes and socks, a motif borrowed from the antique Spinario statue of the boy removing a thorn from this foot. Both of these motifs recur in Steen's paintings, the Spinario figure can be seen for instance, albeit in a slightly differentpose, in the Figures by a Stream (National Museum, Warsaw), also an early picture from 1650-1653. Both figures feature in a later picture from 1670-72, the Landscape with skittle players (Kunsthistorisches Museum, Vienna). In the left background, as Kloek has also pointed out, the standing figure with a rifle, is clearly indebted to Jacques de Gheyn II's engravings from the Wapenhandelinghe, first published in 1607 (see The New Hollstein - The De Gheyn family. Part II, Rotterdam, 2000, pp. 159-207). Elsewhere in Steen's composition, the mother and child on horseback, seen from behind, echo traditional depictions of the Flight into Egypt. In this picture Steen brings together these various motifs in a cohesive and highly original manner at a time when he was establishing his artistic identity and defining his unrivalled talent as a narrator of genre subjects. Both this and the following lot once belonged to Baron de Beurnonville, whose collection in Paris was one of the most distinguished formed in France in the second half of the nineteenth century. Dispersed in sales between 1872 and 1906, it comprised more than 1,000 paintings, besides drawings and works of art. The majority were of the northern schools of the fifteenth, sixteenth and seventeenth centuries, including pictures by Jan van Eyck, Hugo van der Goes, Rogier van der Weyden, Hans Memling, Jan Gossaert, Hendrick Goltzius, Rubens and Ruisdael, as well as Rembrandt’’’’s Landscape with an Obelisk of 1638 (Boston, Isabella Stewart Gardner Museum). French painting was represented by such works as Drouais’’’’ s Portrait of Madame de Pompadour (London, National Gallery) as well as examples of Chardin, Fragonard, Ingres and Delacroix, whilst works by Italian artists included Tiepolo’’’’s Apotheosis of Aeneas (Boston, Museum of Fine Arts) and Triumph of Flora (San Francisco, Fine Arts Museums, M.H. de Young Memorial Museum). Both this painting and that by Willem van de Velde (lot 15) were acquired in the May 1881 Beurnonville sale by Léon Emile Brault (1825-1910), and have remained in the latter’’’’s family ever since. Brault, shown here in a photograph taken by Nadar, was from a prosperous Parisian family and he cultivated a refined taste for 17th and 18th century paintings. His collection included fine works by Ruisdael, Hubert Robert, Largillière and Hutin.
Jan Steen - A River Landscape With Figures Resting And Unloading A Wagon At The Outskirts Of A Village

Jan Steen - A River Landscape With Figures Resting And Unloading A Wagon At The Outskirts Of A Village

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Lot number: 66
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Jan Steen (Leiden 1626-1679) A river landscape with figures resting and unloading a wagon at the outskirts of a village signed 'JSteen' (JS linked, lower centre) oil on canvas 62.8 x 86.8 cm. (Possibly) Nicolaes van Suchtelen, Burgomaster of the town of Hoorn; His sale, Hoorn, 17 April 1715, lot 4 "Een Capitael Stuk, verbeeld' eenige Reyigers seer konstig geschildert door Jan Steen" (150 florins). with P. de Boer, Amsterdam, 1934. with F.H. Minken, Amsterdam, 1935. Dr. Wilhelm Mautner, Amsterdam, by 1938, his forced sale after May 1940. with D. Katz, The Hague, 1943; (probably) sold through Keisinga, The Hague, to Bernhard Böhmer, Güstrow, by whom sold to "Sonderauftrag Linz", 5 January 1944 (Inv. No. 3435); recovered by the Western Allies, and transferred to The Munich Central Collection Point on 10 October 1945, no. 8576, and transferred to Instituut Collectie Nederland, The Netherlands (formerly the Stichting Nederlands Kunstbezit) on 15 April 1946, no. NK 2655; restituted to the heirs of Dr. Wilhelm Mautner, December 2012. (Possibly) C. Hofstede de Groot, A Catalogue Raisonné of the works of the Most Eminent Dutch Painters of the Seventeenth Century, I, London, 1907, p. 177, no. 679b. H. Gerson, 'Landschappen van Jan Steen', in Kunsthistorische Mededelingen van het Rijksbureau voor Kunsthistorische Documentatie 's Gravenhage, IV, The Hague, 1948, pp. 51-6, ill. 2. K. Braun, Het Komplete Werk van Jan Steen, Rotterdam, 1980, no. 42, illustrated on p. 91. The Netherlandish Office for the Fine Arts, Old master paintings. An illustrated summary catalogue, The Hague, 1992, p. 281, no. 2473. Remarkably, given the meager living he made from art, Jan Steen was the humorist among Dutch painters. He persevered, creating nearly eight hundred pictures, most with a moral beneath the wit. A prosperous brewer's son, Steen enrolled in Leyden University in 1646, but by 1648 he was helping to found the Leyden Guild of Saint Luke. Steen was not one to stay put; he lived in The Hague, Haarlem and Leyden. He married Jan van Goyen's daughter in The Hague in 1649, of whom he became a student one year before. The present lot belongs to a group of early landscapes by Jan Steen, which he executed at the beginning of his career and which precede less or more his well-known moralizing work. As none of them is dated, H. Gerson suggested them to be executed in the late 1640s under influence of Utrecht painters like Jan Both and Joost Cornelis Droochsloot (op. cit.). Even though a sojourn of Jan Steen in Utrecht is not exactly documented, these compositions refer more to the latter than to Steen's teacher Jan van Goyen. On the other hand, Braun (op. cit.) and also Wouter Kloek (verbal communication 14 June 2013) believe the present work to be dated later, to circa 1652-54. As one might expect, given Jan Steen's training, this picture shows also the influence of the Haarlem School of painters. Several of the foreground figures remind of Van Ostade, but also of Italianate artists like Pieter van Laer, most notably the horseman and his old mare. With its figures unloading a barrel of beer the present painting is known as 'De Brouwerij' ('The Brewery'), although there is no other sign of activities concerning a beer brewery. Brown (op. cit.) presumes Steen depicted a tavern and a ferry house with its vicinity to the river. Gerson (op. cit.) -relating the present lot to the Utrecht School of painting- suggests that the Bijlhouwerstoren on the city wall of Utrecht may have been a source of inspiration for the motive of the tavern. Surely, Steen must have been familiar with the characteristic semi detached towers of Utrecht, since he likely spent an apprenticeship there with Nicolaus Knüpfer. The theme of this painting may also conveys Steen's private life; the son of a brewer, who rented the inn and brewery 'De Slange' (or brewery 'Roskam') on the Oude Delft in 1654 for six years. Thus the activities depicted in this painting would be familiar reoccurring events for the artist. A very similar and also undated early composition Bij de Stadswal (By the City Wall) could be its pendant (with an art dealer, Berlin, by 1948, see: H. Gerson, op. cit., p. 50, fig. 1), depicting comparable architectural elements to the left hand of a hilly landscape.
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