Jacob Henricus Maris, Dutch 1837-1899- Dutch canal with sailing boats by a windmill; oil on canvas, signed 'Jacob Maris.' (lower left), 46.5 x 81.2 cm. Provenance: Private Collection, UK. Note: Maris was a central member of The Hague School of...
Jacob Henricus Maris, Dutch 1837-1899- Dutch canal with sailing boats by a windmill; oil on canvas, signed 'Jacob Maris.' (lower left), 46.5 x 81.2 cm. Provenance: Private Collection, UK. Note: Maris was a central member of The Hague School of painters, along with his brothers Willem and Matthijs. He developed a formidable reputation as one of the key landscape painters of the 19th-century Netherlands, building on the developments of 17th-century artists including Jan van Goyen (1596-1656) and Jacob van Ruisdael (1628-1682), whilst also clearly indebted to the contemporary Impressionist movement, particularly in his loose application of paint.
The canvas is taut on the stretcher and sits well within the frame. Appears unlined. The paint surface is stable on the support. Very fine and settled craquelure throughout, with some slightly more heightened horizontal craquelure in places, including one area of horizontal craquelure approx. 4 cm. in between the two masts of the boats. Areas of impasto are well-preserved. Minor marks and some surface dirt generally. Under UV light inspection no evidence of retouching.
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Jacob Henricus Maris, Dutch 1837-1899- Dutch canal with sailing boats by a windmill; oil on canvas, signed 'Jacob Maris.' (lower left), 46.5 x 81.2 cm. Provenance: Private Collection, UK. Note: Maris was a central member of The Hague School of painters, along with his brothers Willem and Matthijs. He developed a formidable reputation as one of the key landscape painters of the 19th-century Netherlands, building on the developments of 17th-century artists including Jan van Goyen (1596-1656) and Jacob van Ruisdael (1628-1682), whilst also clearly indebted to the contemporary Impressionist movement, particularly in his loose application of paint.
The canvas is taut on the stretcher and sits well within the frame. Appears unlined. The paint surface is stable on the support. Very fine and settled craquelure throughout, with some slightly more heightened horizontal craquelure in places, including one area of horizontal craquelure approx. 4 cm. in between the two masts of the boats. Areas of impasto are well-preserved. Minor marks and some surface dirt generally. Under UV light inspection no evidence of retouching.