- 174
Jan Weissenbruch
Estimate
20,000 - 30,000 EUR
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Description
- Jan Weissenbruch
- a view of amersfoort
- signed l.r.
- oil on canvas
- 46 by 73 cm.
Provenance
Sale Amsterdam (C.F. Roos), 25 October 1892, lot 142
The Hague, Kunsthandel P.A. Scheen, 1958
Collection Leo Teulings,
's Hertogenbosch
Sale Amsterdam (Sotheby's), The Leo Teulings Collection, 26 October 1998, lot 185, illustrated
The Hague, Kunsthandel P.A. Scheen, 1958
Collection Leo Teulings,
's Hertogenbosch
Sale Amsterdam (Sotheby's), The Leo Teulings Collection, 26 October 1998, lot 185, illustrated
Exhibited
's Hertogenbosch, Noordbrabants Museum, Romantische en Haagse School. Een Bossche collectie, 28 January-27 February 1983, no. 12
Literature
Kunsthandel P.A. Scheen, The Hague, Catalogue XVI, 1958, no. 47, illustrated
H.C. de Bruyn, 'Jan Weissenbruch: exponent van het Hollandse realisme', Op den Uitkijk, 1960, p. 285
Trouw, 11 January 1969, illustrated
P.A. Scheen, Lexicon Nederlandse Beeldende Kunstenaars 1750-1850, The Hague 1970, illustration 212
W. Laanstra, Johannes (Jan) Weissenbruch, schilder-graficus 1822-1880, Amsterdam 1986, no. 0/46, illustrated in colour on p.109
H.C. de Bruyn, 'Jan Weissenbruch: exponent van het Hollandse realisme', Op den Uitkijk, 1960, p. 285
Trouw, 11 January 1969, illustrated
P.A. Scheen, Lexicon Nederlandse Beeldende Kunstenaars 1750-1850, The Hague 1970, illustration 212
W. Laanstra, Johannes (Jan) Weissenbruch, schilder-graficus 1822-1880, Amsterdam 1986, no. 0/46, illustrated in colour on p.109
Condition
The canvas has been relined. A few old retouches to the roofs and sky along the left edge. Retouches to the dark tones of the figures on the left. 3 minor retouches in the centre of the sky. Minor retouch to the upper left corner of the tree.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Jan Weissenbruch owes his reputation to his sunny views of Dutch towns. Following in the footsteps of his teacher, Salomon Verveer, he rendered cities like The Hague, Amsterdam and Amersfoort with a fine eye for light and space. His work fits in well with a Dutch tradition of seventeenth century masters like Pieter de Hooch, G. Berkheyde and Jan van der Heijden, painters Weissenbruch admired.
Although most of Weissenbruch's town views depict existing cities, topographical verisimilitude remained secondary to pictorial considerations. Weissenbruch had a strong preference for ordered compositions, clear colours and strong effects of light and dark. In 1857 he won a gold medal at the exhibition of Living Masters in The Hague. A commentator called the play of light in his town views 'masterful', singling out his clear and powerful colours. He was sometimes criticized for this, conservative forces judging his colours and brightness too audacious.
Although most of Weissenbruch's town views depict existing cities, topographical verisimilitude remained secondary to pictorial considerations. Weissenbruch had a strong preference for ordered compositions, clear colours and strong effects of light and dark. In 1857 he won a gold medal at the exhibition of Living Masters in The Hague. A commentator called the play of light in his town views 'masterful', singling out his clear and powerful colours. He was sometimes criticized for this, conservative forces judging his colours and brightness too audacious.