Jan Harmensz. Vijnck

N. Jacobsson,
From whom purchased by P. de Boer, November 1940;
With P. de Boer, Amsterdam (as Cornelis Vroom),
By whom sold to M. Onnes van Nyenrode, October 1942.

H.-U. Beck, Künstler um Jan van Goyen. Maler und Zeichner, Doornspijk 1991, p. 421, no. 1200, reproduced.

The actual painting is less red and a lot greener and more colourful in tone than the catalogue illustration suggests. The octagonal panel seems to consist of one plank. The panel is flat and stable, and has been cradled. The panel is enlarged with small strips of wood of approx. 4 mm. on all sides, possibly to fit the frame. One tiny fleck of paint loss is visible along the upper right edge, as well as another one along the right edge. Otherwise, no damages seem to be apparent. A somewhat crude spot of retouching is visible along the upper edge. Tiny discoloured retouchings are visible in the sky throughout, as well as some strengthening in the flock of sheep in the foreground. The paint surface is covered with a dirty layer of varnish. Inspection under ultra violet light is partially impeded by the dirty varnish layer, but does confirm the retouchings as mentioned above. Offered in a decorative carved and gilt wood frame, in good condition. (MW)
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Although recorded under Vijnck by Dr. Hans-Ulrich Beck in 1991 (see Literature) who published about two dozen works by him, it is through W.L. van de Watering's research in 1989 that we know slightly more about this obscure artist. Beck still called him Joost Vinck (Vynck), but Van de Watering found him to be named Jan Harmensz. Vinck (Vijnck). He must have been active in Rotterdam, as he is recorded to be married and had baptized four children there. In 1649 he is recorded to be travelling outside of Holland, but nothing more is known. The artist Crijn Hendricksz. Volmarijn is listed to have had 84 paintings by Vijnck.¹ We do not know who his teachers were, but many of his paintings are reminiscent of the Jan van Goyen-school. This work too is clearly influenced by paintings of  that master, as the colour scheme and the representation of the trees, with their detailed foliage, clearly attest. He is also known to have been painting in a more Italianate manner.

1. N. Schadee, (ed.), Rotterdamse meesters uit de Gouden Eeuw, exhibition catalogue, Rotterdam 1994, Zwolle 1994, pp. 239, 305.