Johan Barthold Jongkind - Harbour Entrace at Antwerp
Johan Barthold Jongkind
Harbour Entrace at Antwerp
Oil on canvas (relined). 50.5 x 80 cm.
Signed lower left: jongkind.
Jongkind grew up by the water near Maassluis. Ships and the humid climate of the Netherlands always attracted and inspired him. The ever-changing clouds and misty landscape, the movement of the ships and the changing seasons were a constant challenge and source of inspiration for the painter. The vivid depiction of the reflection of light on the water is one of Jongkind's greatest merits. His painterly technique with bold brushstrokes and subtle, atmospheric colour palette were much appreciated by his colleagues. Along with Eugène Boudin (1824-1898), Jongkind is considered the most important forerunner of the French school of Impressionism.
Jongkind spent most of his life in France, but also lived in Rotterdam for several years and visited his home country several times. From September to October 1866 he stayed in the Flemish port city of Antwerp, which he also visited for the next four years. Jongkind captured the ships on the Scheldt in numerous watercolours. He later used these quick impressions from nature in his studio paintings. This undated canvas was probably created in this context. Stylistically and compositionally closely related to it is a small-format view of the Scheldt with Antwerp in the background, dated 1867 (see Victorine Hefting: Jongkind, sa vie, son ouevre, son époque, Paris 1975, p. 190, no. 422). The time between 1860 and 1875 is considered the most important period in the artist's oeuvre. In colour, texture and atmosphere, it contains all the elements of the famous artist's creative hand.
We would like to thank Jeroen Kapelle of the RKD, The Hague, for kindly providing information on the provenance of the painting.
Provenance
Auctioned by Louis Sarlin, Paris (Galerie Georges Petit), 2nd March 1918, no. 55 (with illustration). - Art dealership Hector Brame, Paris, until 31st July 1924. - Art dealership E. J. van Wisselingh, Amsterdam, no. 4750, with the title "l'Escault" (the Scheldt). Sold to John Gleeson on 28th October 1924. - Collection of John Gleeson, Ottawa from 28th October 1924 to 5th October 1928. - Art dealership E. J. van Wisselingh, Amsterdam, no. 5186, entitled "De Schelde". Purchased by John Gleeson on 5th October and sold to Y. S. Southham on 20th October 1928. Collection of Y. S. Southham, Ottawa, since 20th October 1928. - Koller auction house, Zurich, 1981. - In German private ownership since 1981.
Literature
M. F. Hennus: J. B. Jongkind (Palet Serie), Amsterdam (H.J.W. Becht) [1945], p. 41 (illus.). - Adolphe Stein, Sylvie Brame, Francois Lorenceau, Janine Sinizergues, Jongkind, catalogue critique de l'ouevre. Peintures I, Paris (Brame & Lorenceau Editions) 2003, p. 234 (illus.).
Johan Barthold Jongkind
Harbour Entrace at Antwerp
Oil on canvas (relined). 50.5 x 80 cm.
Signed lower left: jongkind.
Jongkind grew up by the water near Maassluis. Ships and the humid climate of the Netherlands always attracted and inspired him. The ever-changing clouds and misty landscape, the movement of the ships and the changing seasons were a constant challenge and source of inspiration for the painter. The vivid depiction of the reflection of light on the water is one of Jongkind's greatest merits. His painterly technique with bold brushstrokes and subtle, atmospheric colour palette were much appreciated by his colleagues. Along with Eugène Boudin (1824-1898), Jongkind is considered the most important forerunner of the French school of Impressionism.
Jongkind spent most of his life in France, but also lived in Rotterdam for several years and visited his home country several times. From September to October 1866 he stayed in the Flemish port city of Antwerp, which he also visited for the next four years. Jongkind captured the ships on the Scheldt in numerous watercolours. He later used these quick impressions from nature in his studio paintings. This undated canvas was probably created in this context. Stylistically and compositionally closely related to it is a small-format view of the Scheldt with Antwerp in the background, dated 1867 (see Victorine Hefting: Jongkind, sa vie, son ouevre, son époque, Paris 1975, p. 190, no. 422). The time between 1860 and 1875 is considered the most important period in the artist's oeuvre. In colour, texture and atmosphere, it contains all the elements of the famous artist's creative hand.
We would like to thank Jeroen Kapelle of the RKD, The Hague, for kindly providing information on the provenance of the painting.
Provenance
Auctioned by Louis Sarlin, Paris (Galerie Georges Petit), 2nd March 1918, no. 55 (with illustration). - Art dealership Hector Brame, Paris, until 31st July 1924. - Art dealership E. J. van Wisselingh, Amsterdam, no. 4750, with the title "l'Escault" (the Scheldt). Sold to John Gleeson on 28th October 1924. - Collection of John Gleeson, Ottawa from 28th October 1924 to 5th October 1928. - Art dealership E. J. van Wisselingh, Amsterdam, no. 5186, entitled "De Schelde". Purchased by John Gleeson on 5th October and sold to Y. S. Southham on 20th October 1928. Collection of Y. S. Southham, Ottawa, since 20th October 1928. - Koller auction house, Zurich, 1981. - In German private ownership since 1981.
Literature
M. F. Hennus: J. B. Jongkind (Palet Serie), Amsterdam (H.J.W. Becht) [1945], p. 41 (illus.). - Adolphe Stein, Sylvie Brame, Francois Lorenceau, Janine Sinizergues, Jongkind, catalogue critique de l'ouevre. Peintures I, Paris (Brame & Lorenceau Editions) 2003, p. 234 (illus.).
