LIEVENS, JAN 1607 Leiden - 1674 Amsterdam Title: Susanna and the Elders. Date: Ca. 1630/31. Technique: Oil on wood. Measurement: 50 x 42cm. Frame: Framed. Verso: On the plate old collection seal Buchenau as well as labels Kunsthandel Agnew & Sons, London. Certificate: Dendrochronological investigation by Prof. Klein, University of Hamburg 27.03.2023: The earliest date on which the tree was felled is given as 1627, which, together with the time the wood was stored, gives a date of origin for the painting of 1629. Exhibition: "Rembrandts Social Network", Museum Het Rembrandthuis, Amsterdam 01.02.-19.05.2019. Provenance: Private ownership, Germany, since 2023; Private ownership, Germany, since 1994; Auction Dorotheum, Vienna 01.03.1994, lot 124; Kunsthandel Agnews London; Auction Christie's, New York, Sale Mrs H.A Brooks et al. 02.06.1998, lot 86; Kunsthandel Agnews London, 1980, cat.no. 2; Private collection Switzerland, since 1969; Wildenstock Gallery, New York, 1959; Buchenau Collection, Niendorf/Lübeck; Galerie Haberstock, Berlin; Hermine Reuss zu Greiz Collection (1887-1947), second wife Wilhelm II. Literature: B. Schnackenburg: Jan Lievens: Freund und Rivale des jungen Rembrandt: mit einem kritischen Katalog des Leidener Frühwerks 1623-1632, Petersberg 2016, no. 154, p. 335ff with ill.; D. de Witt: Rembrandt and the Climate of religious Conflict in the 1620s. In: Jahrbuch der Berliner Museen, NF 51, 2009, enclosed booklet, p. 19ff, ill. 3; W. Sumowski: Gemälde der Rembrandtschüler, Landau 1983, vol. III, cat. no. 1192, p. 1781, ill. p. 1831. (here listed as work by Jan Lievens and with old cited literature in which the painting is listed as Rembrandt's work); R. Klessmann: Katalogtexte zur Ausstellung "Lievens, ein Maler im Schatten Rembrandts", Ausst. Braunschweig 1979, p. 228, comm. 1 (as work by Jan Lievens ca. 1630/31). The painting is registered under ill. no. 309004 at the online data base of the RKD, The Hague. The climax of Susanna's story is depicted as if on a stage, illuminated by bright spotlights: The beautiful young woman, Susanna, is sexually assaulted by two old men - who also happen to be two judges - while being groomed. Susanna is able to fend them off and screams loudly for help. She will be able to preserve her virtue as the story progresses. The wise young prophet Daniel will convict the two lechers, who will use all their power to slander the victim. But here the screaming Susanna is still defending herself to the best of her ability, grabbing the beard of one of the attackers with her right hand, while her left hand tries to push the other man's arm away. All three people are clearly looking towards the right edge of the picture. Is the help that Susanna's scream has summoned already approaching? The setting in which the action takes place is not easy to grasp; so dark is the space surrounding Susanna's light-coloured nudity and her white scarf, which the man on the left has seized. A stream of water gushes in the left foreground; glittering jewellery and a metal jug lie on the floor. The background is closed off at the left edge of the picture by a round arch through which a landscape at dusk can be seen. At the right-hand edge of the picture, the grotto-like space appears to be bordered by a tree. A bouquet of flowers stands out in this unusual place, illuminated by the grazing light. For a long time, this panel was considered an authentic work by Rembrandt and was in imperial possession. However, art historical research (including R. Klessmann and Werner Sumowski) finally recognised this painting as the work of the Leiden painter Jan Lievens and dated it to the early 1630s. An existing dendrochronological expertise can support this date. Jan Lievens is known as an exceptionally precocious artist. He learnt the profession of a painter from the age of nine: first in his home town, then from 1618 to 1620 with Pieter Lastman in Amsterdam. Back in Leiden, Jan Lievens formed a studio partnership with the only slightly younger Rembrandt Harmensz. van Rijn from 1625. The latter was also from Leiden and had also studied with Pieter Lastman - albeit somewhat later than Lievens and for only six months. The two young artists worked together for around five years and influenced each other's work. Both specialised in portraits and history paintings and occasionally worked closely together. To this day, art historians often struggle to clearly categorise the works created during this phase. The contrast between light and dark in the present work, as well as the way in which the female body is depicted, are very similarly familiar from certain Rembrandt paintings. According to the assumed dating, the painting was probably created immediately after the period in which Jan Lievens and Rembrandt shared a studio in Leiden and influenced each other stylistically. After the end of the studio partnership, around 1632, Jan Lievens initially went to England for three years. There he came into contact with the royal court and was probably also influenced by Anthonis van Dijck. He returned to Antwerp in 1635 and was granted citizenship there in 1640. His career also took him to Amsterdam, The Hague, Berlin (Oranienburg Palace) and finally back to Amsterdam in 1655. Jan Lievens was a very successful artist who received important public and private commissions. However, the painter does not appear to have any commercial talent and his occasional need to flee from creditors may also be a reason for his many relocations. Jan Lievens died impoverished in Amsterdam in 1674. In 2022, the 'Wallraf-Richartz-Museum' in Cologne reappraised the biblical story of Susanna as a pictorial theme in a major exhibition and examined it with a contemporary, critical eye. The panel on display here shows an almost 400-year-old depiction of the roles of power and powerlessness of the sexes that is currently so topical. This work from Lieven's best creative period, which has now reappeared in a private collection after 30 years, is one of the far rarer figurative paintings, alongside the many high-quality portraits, which hardly ever appear on the market as they are in permanent collections or museum collections. Estimated shipping costs for this lot: Arrangement after the auction. Explanations to the Catalogue Jan Lievens The Netherlands Rembrandt School 17th C. Old Masters Framed Saints Painting Nude
(1607 Leiden - Amsterdam 1674). Brustbild eines alten Mannes mit Schnurrbart u. Pelzkragen. Radierung auf feinem Bütten mit WZ um 1620. Plgr. 16,4 x 14,4 cm. Mit dem Monogr "IL" mittig links u. Nrr 5 ob re. Unter Passep. mont. B. 21. Stellenw. flauer Druck des Zustands III (v. III). Sehr gut erhalten.
Jan Lievens (1607 - 1674), cerchia di Testa di vecchio Olio su tela 44,8 x 50,8 cm Provenienza: Christie's Londra, 18.2.1998, lotto 171 (Seguace di Jan Lievens); collezione privata Stato di conservazione. Supporto: 70% (stato frammentario; rintelo) Stato di conservazione. Superficie: 85% Il dipinto è stato restaurato, con pulizia e rintelo, da Donatella Zari e Carlo Giantomassi. I restauri hanno messo in evidenza una testa di fanciulla, a fianco al volto di anziano, parzialmente resecata, e permesso di comprendere come la tela facesse parte di un quadro di grandi dimensioni, probabilmente per arredo di un ambiente sacro.
Lievens, Jan (Dutch 1607-1674) Black and white etching on wove paper. 'St. Lucas'. From series 'The Four Evangelist'. No printing en verso. The bearded saint sits writing in book, a bull or ox behind him. According to notations, final state. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints whose collection has appeared in dozens of museums and exhibits over the last four decades. Weight: Approx. 0.5lbs Measurements: Approx. sheet 3.75" x 5.375", Mat board 11" x 16" Condition: Excellent condition condition to the print. (PH396). Domestic Shipping:$40
Jan Lievens 1607 - 1674 Attributed Oil on paper on wood 20.2 x 16.5 cm, with frame 40.5 x 37.5 cm An etching by Jan Lievens from 1630/32 - bust portrait of an old man with a cap is probably directly related to our oil painting here. Literature: See: Stephanie S. Dickey (ed.), Rembrandt and his circle Insights and Discoveries, Amsterdam, 2017, fig. 16.10.
Jan Lievens (Dutch, 1607-1674) Jacob Anointing the Stone signed in the plate with intials to the stone etching, circa 1625-6 second state (of two) with publisher's name (Frans van den Wyngaerde) 20 x 16cm Literature: Hollstein 4
Jan Lievens (1607 - 1674), cerchia di Testa di vecchio Olio su tela 44,8 x 50,8 cm Provenienza: Christie's Londra, 18.2.1998, lotto 171 (Seguace di Jan Lievens); collezione privata Stato di conservazione. Supporto: 70% (stato frammentario; rintelo) Stato di conservazione. Superficie: 85% Il dipinto è stato restaurato, con pulizia e rintelo, da Donatella Zari e Carlo Giantomassi. I restauri hanno messo in evidenza una testa di fanciulla, a fianco al volto di anziano, parzialmente resecata, e permesso di comprendere come la tela facesse parte di un quadro di grandi dimensioni, probabilmente per arredo di un ambiente sacro.
Jan Lievens oder Nachfolge, Auferweckung des Lazarus biblische Darstellung der wundersamen Auferweckung des Lazarus von Betanien von den Toten, hierzu berichtet das Johannesevangelium der Bibel, dass Lazarus mit seinen Schwestern Martha und Maria enge Freunde von Jesus gewesen seien, während einer Abwesenheit Jesu von Bethanien verstarb Lazarus jedoch und war bereits vier Tage begraben, als Jesus am Grab des Freundes eintraf, die folgende – im Bild festgehaltene – Begebenheit schildert das Johannesevangelium wie folgt (Joh.: 11,41–44) "... Da nahmen sie den Stein [vom Grab] weg. Jesus aber erhob seine Augen und sprach [zu Gott]: "Vater, ich danke dir, dass du mich erhört hast. Ich wusste, dass du mich immer erhörst; aber wegen der Menge, die um mich herumsteht, habe ich es gesagt, damit sie glauben, dass du mich gesandt hast." Nachdem er dies gesagt hatte, rief er mit lauter Stimme: "Lazarus, komm heraus!" Da kam der Verstorbene heraus; seine Füße und Hände waren mit Binden umwickelt und sein Gesicht war mit einem Schweißtuch verhüllt. ...", Lievens schildert die biblische Erzählung in geradezu expressiver Weise als ein dramatisches Ereignis voll Mystik und Schauer und entführt den Betrachter in eine dunkle Grabeshöhle mit geöffnetem Sarkophag tief im Erdboden, nur spärliches Licht liegt in der Szene, Jesus steht mit Nimbus und zum Himmel gerichtetem Blick betend am Grab, während eine dunkelhäutige Dienerin ein überdimensioniertes weißes Leichentuch aus dem Grab zu ziehen scheint, aus dem sich unheimlich zwei Hände gen Jesu erheben und Lazarus´ Erweckung symbolisieren, hinter der Dienerin sind zwei weitere Gestalten klar und deutlich erkennbar, ganz links am Bildrand zeigt der Maler einen alten Juden, ungläubig staunend, mit weit geöffneten Augen, neben ihm scheint eine der Schwestern des Lazarus, als bekennende Jüngerin Christi, in inniges Gebet versunken, alle anderen Figuren der Komposition bleiben schemenhaft im Hintergrund angedeutet, effektvoll betont der Künstler das Grabtuch, welches das Gemälde kaltweiß leuchtend vor der allgemeinen Finsternis dominiert, Lievens hält so gekonnt den Betrachter des Gemäldes die Botschaft "Memento Mori" vor Augen, er komponiert die Darstellung geschickt, indem Jesus, Lazarus und das Leichentuch ein Dreieck bilden und symbolisiert damit Glauben, Tod und Auferstehung als Verheißung christlichen Lebens, das vorliegende Motiv scheint Lievens um 1630 – unter dem direkten Einfluss Rembrandts in ihrer gemeinsamen Werkstatt – mehrfach und auch spiegelverkehrt gemalt zu haben, so wird ein 107 x 114 cm großes Leinwandgemälde aus dem Jahre 1631 mit großer Ähnlichkeit zur vorliegenden Szene im Art Gallery and Museum Brighton/Großbritannien verwahrt, im Unterschied zu diesem Gemälde und zur kurz darauf erschienenen seitenrichtigen Radierung von der Hand Lievens wurde bei unserem Gemälde ein deutlicher hochrechteckiges Format gewählt (ähnlich wie beim Nachstich um 1650 von Jacob Louy, verlegt bei Clement de Jonghe), darüber hinaus sind rechts und links neben Jesus deutlich – wohl lediglich in der Unterzeichnung ausgeführte – Figuren zu erkennen, die bei allen anderen Versionen völlig fehlen, möglicherweise könnte es sich hier um eine Vorstudie Lievens handeln, dünn lasierende religiöse Genremalerei, Öl auf Holzplatte, unsigniert, rückseitig alte Restaurierungsnotiz eines Dessauer Kunstmalers und Restaurators "Restauriert 1924 14/5. H. [Heinrich] Schmidt-Rom – Dessau Askanischestr. 38", Malgrund leicht verzogen, restauriert, geringe Altersspuren, gerahmt, altes Rahmenschild mit irrtümlicher Zuschreibung "Govert Flinck", Falzmaße ca. 40,5 x 26 cm. Künstlerinfo: auch Lievens de Oude, Livius Johanis le Vieux oder Johannis Livens, Lievens, Lieversz, Lieverszoon, Lyrins, oder Leyrens, niederländischer Maler, Zeichner und Radierer (1607 Leiden bis 1674 Amsterdam), 1616–18 Schüler von Joris van Schooten, 1618–20 Schüler von Pieter Lastman in Amsterdam, hier Bekanntschaft mit seinem Mitschüler Rembrandt Ha
Jan Lievens (Leiden 1607 – 1674 Amsterdam) Portrait of a man Black chalk; bears inscription in brown ink to the old backing, lower center: IL VIS AVEC LANOY. 182 by 152 mm; 8 ⅛ by 6 in. (oval)
Lievens, Jan (Dutch 1607-1674) Black and white etching on wove paper. 'St. Lucas'. From series 'The Four Evangelist'. No printing en verso. The bearded saint sits writing in book, a bull or ox behind him. According to notations, final state. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints whose collection has appeared in dozens of museums and exhibits over the last four decades. Weight: Approx. 0.5lbs Measurements: Approx. sheet 3.75" x 5.375", Mat board 11" x 16" Condition: Excellent condition condition to the print. (PH396). Domestic Shipping: $50
Landschaft mit badenden Nymphen. Öl auf Leinwand, doubliert. 56,5 x 58 cm. Um 1657/1660. Diese stimmungsvolle Waldlandschaft, die vor einigen Jahren in einer rheinischen Privatsammlung wiederentdeckt wurde, ist zweifellos mit dem Gemälde von Jan Lievens identisch, das in dem 1704 von der Witwe von Gerrit Cloppenburgh erstellten Inventar aufgeführt ist. Dieses Inventar wurde zum ersten Mal 1915 von Abraham Bredius in seinen Künstler-Inventaren veröffentlicht. Hans Schneider und Rudolf Ekkart führen in ihrem Catalogue raisonné das im Inventar erwähnte Gemälde, dessen Verbleib bisher unbekannt war, unter der Nummer 334 auf: „Landschaft mit Akt“. Das Wiederauftauchen dieses Gemäldes ist eine wichtige Entdeckung, die unser Wissen über das malerische Werk dieses niederländischen Künstlers, der während seiner frühen Jahre in Leiden mit Rembrandt befreundet war, vervollständigt. In seiner Landschaftsmalerei zeigt sich der Leidener Künstler vor allem durch die flämische Malerei inspiriert, wenngleich Waldlandschaften im Werk von Jan Lievens nur selten anzutreffen sind. Von 1635 bis 1643 lebte Lievens in Antwerpen, wo ihn die Werke von Adriaen Brouwer und Peter Paul Rubens stark beeinflussten. Zu den charakteristischen Merkmalen der Landschaften aus dieser Zeit gehört ein breiter, pastoser Farbauftrag, bei dem die Palette dunkler Farben in wirkungsvollem Kontrast zu den lichten Tönen steht. Die vorliegende Landschaft, die aus den letzten Lebensjahren des Künstlers datiert, zeigt deutliche Anzeichen für den Einfluss der venezianischen Maler des Cinquecento, insbesondere des späten Tizian. Die subtil abgestuften, samtigen Grün- und Blautöne sind eine eindeutige Reminiszens an Tizian. In der Dämmerung nehmen Nymphen ein Bad in einem Waldteich, die Strahlen der untergehenden Sonne illuminieren den Himmel und schaffen ein grandioses Farbschauspiel. Auch die lyrisch-pastorale Atmosphäre der geheimnisvollen Waldlandschaft und die freie, grob skizzierte Behandlung der Figuren sind unmittelbar auf den Einfluss des großen venezianischen Vorgängers zurückzuführen. Im Spätwerk von Lievens finden sich mehrere Beispiele, die der vorliegenden Landschaft ähneln, so etwa das Gemälde "Waldweg mit Wanderer" in der National Gallery of Scotland in Edinburgh (Schneider/Ekkart Nr. 302) und die "Waldlandschaft mit Hagar und dem Engel" im Musée des Beaux-Arts in Rouen (Schneider/Ekkart Nr. 377). Vergleichbare Details in der Behandlung der Tannenbäume finden sich auch im Landschaftshintergrund des Gemäldes "Christus und der Hauptmann von Kapernaum", das auf 1657 datiert ist. Die stilistische Nähe zu den vorgenannten Landschaften spricht dafür, dass das vorliegende Bild zwischen 1657 und 1660 entstanden ist. Eine zusammenhängende Gruppe von Zeichnungen mit pastoralen Landschaften stammt ebenfalls aus dieser Zeit, was die Datierung unterstützt (siehe Ausst.Kat. Jan Lievens. A Dutch master rediscovered, von Arthur K. Wheelock, National Gallery of Art, Washington 2008, Nr. 126 ff, mit Abb.). Reine Landschaften bilden jedoch eine Ausnahme im malerischen Œuvre dieser Periode. In seinem Spätwerk konzentrierte sich Lievens vor allem auf Allegorien und antike Historienbilder, von denen einige im Auftrag des niederländischen Hofes in Den Haag und des Kurfürsten Friedrich Wilhelm von Brandenburg entstanden. Gegen Ende seines Lebens tat sich Lievens auch als Porträtist hervor. Dr. Lloyd DeWitt, Kurator für europäische Kunst am Chrysler Museum of Art in Norfolk, Virginia, hat nach Begutachtung des Originals bestätigt, dass Jan Lievens der Autor dieses Werks ist, das er auf die späten 1650er Jahre datiert. - Provenienz: Gerrit Cloppenburgh, Amsterdam, erwähnt im Inventar seiner Witwe, 1704. Zuletzt Privatsammlung Rheinland. - Literatur: Inventar der Witwe Gerrit Cloppenburgh in Amsterdam 1704, in: Abraham Bredius: Künstler-Inventare: Urkunden zur Geschichte der holländischen Kunst […], Bd. I, Den Haag, 1915, S. 220. Hans Schneider, Rudolf Ekkart: Jan Lievens: sein Leben und seine Werke, Amsterdam 1973, S. 168, Nr. 334. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lievens, Jan (1607-1674). Buste of a young woman in profile to the left. Etching, 7,6x6 cm. - Some grey, weakly printed areas, i.a. in the face and in the lower left corner; paper agetoned. = Hollstein 63, 2nd state of 3; state after the 2nd state as noted by the Rijksmuseum, but before the heavily reworked 3rd state (as noted by the British Museum, part of the series Diverse Tronikens, cf. B.M. S.96).
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Lievens, Jan (1607-1674). Bust of a young man in profile, facing right. Etching, ±1630-1632, 15,5x13,2 cm., monogrammed "IL" and w. the address of Franc v. Wijn in the plate in lower right corner. - Mediocre copy. Foxed; new margins; dam. spot (silverfish?) in left margin (touching the image), in right blank margin and in lower right corner (just touching letter). = Hollstein 34, the 3rd state (of 4).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
CIRCLE OR SCHOOL OF JAN LIEVENS ('Also Lievens de Oude, Livius le Vieux or Johannis Livens') 24 October 1607 Leiden - 4 June 1674 Amsterdam SAINT MATTHEW Oil on canvas (old relined). 118 x 100 cm (F. 130 x 111 cm). Part. slightly old rest. Frame. Provenance: South German private collection. JAN LIEVENS (UMKREIS/SCHULE) ('Auch Lievens de Oude, Livius le Vieux oder Johannis Livens') 24. Oktober 1607 Leiden - 4. Juni 1674 Amsterdam HEILIGER MATTHÄUS Öl auf Leinwand (altdoubl.). 118 x 100 cm (R. 130 x 111 cm). Part. leicht altrest. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Jan Lievens (1607 - 1674) , cerchia di Testa di vecchio Olio su tela 44,8 x 50,8 cm Provenienza: Christie's Londra, 18.2.1998, lotto 171 (Seguace di Jan Lievens) Stato di conservazione. Supporto: 70% (stato frammentario; rintelo) Stato di conservazione. Superficie: 85% Il dipinto è stato restaurato, con pulizia e rintelo, da Donatella Zari e Carlo Giantomassi. I restauri hanno messo in evidenza una testa di fanciulla, a fianco al volto di anziano, parzialmente resecata, e permesso di comprendere come la tela facesse parte di un quadro di grandi dimensioni, probabilmente per arredo di un ambiente sacro.
(1607 Leiden - Amsterdam 1674). Brustbild eines bärtigen orientalischen Mannes mit Turban. Bl. 2 (v. 7) aus der Folge "Diverse tronikens geets van J. L.". Radierung auf Bütten mit WZ "Krug mit Buchstaben LM", ca. 1630-32. Plgr. 16 x 14,5, Blgr. 16,7 x 15 cm. Mit dem Monogr. i.d. Platte. B. 18. Ho. 35. Vgl. Rijksmuseum RP-P-OB-12.553. - Re. ob. Eckabriss (ca. 9,5 x 6,5 cm) mit ähnlichem Bütten angerändert. Stellenw. etw. flau. Aus den Slgn. Ines-Beckendorf-Kaps (L. 3575), Ines Kaps (L 3551), Hillinger (L. 4334) u. ein uns nicht bekannter St. - Bust of a Bearded Oriental Man with Turban. R
Jan Lievens Leiden 1607–1674 Amsterdam Saint Francis in Ecstasy oil on canvas unframed: 96.1 x 79.6 cm.; 37⅞ x 31⅜ in. framed: 130.3 x 114.3 cm.; 51¼ x 45 in.
Property from the Ehlen Collection Jan Lievens (Leiden 1607 – 1674 Amsterdam) Farm buildings on a wooded riverbank, with a fisherman mending nets Pen and brown ink and wash; bears numbering in black chalk, upper left: N 23 250 by 372 mm
Lievens, Jan (Dutch 1607-1674) Black and white etching on wove paper. 'St. Lucas'. From series 'The Four Evangelist'. No printing en verso. The bearded saint sits writing in book, a bull or ox behind him. According to notations, final state. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints whose collection has appeared in dozens of museums and exhibits over the last four decades. Weight Approx., 0.5lbs Measures Approx.: sheet 3.75 inches x 5.375 inches , Mat board 11 inches x 16 inches . Domestic Shipping: $50
Jan Lievens (1607-1674), copy after "Portrait of a Man with a Cap", anonymous copy around 1900 in oil on canvas, unsigned, 43 x 38 cm, framed 60 x 55 cm
Jan Lievens (1607-1674). A 17th Century Dutch Engraving: Portrait of the writer and playwright Joost van den Vondel (1587-1679) Circa 1644-50.12¾'' x 9¾'' (32.5 cm x 24.5 cm). Set in a beaded & ribbon-twist carved gilt frame 18½'' x 14½'' (47 cm x 37 cm).
Büste eines orientalischen Mannes. Radierung. In der Platte sign., bei F. van den Wyngaerde in Antwerpen, nicht dat. (um 1630). 27,5 x 22,6 cm. - Auf Trägerpapier mont. - Hollstein XI, S. 29, 30, III (mit Abb.). Dutuit 13, II. Rovinski (Elèves de Rembrandt) 13, III.
Etching on laid paper. (c. 1638). 24.6 x 37.3 cm (sheet). Very fine, strong impression with the address Franc v. Wijngaerdes lower right. Influenced by Adriaen Brouwer, Lievens created this subject of rough peasants as a reaction to the devastating plague that was raging in the Netherlands at the time. The realisation that death could strike at any time and unexpectedly weighed heavily on the population and Lievens, like other Dutch and Flemish artists, reacted to this deadly reality in a haunting manner. Wide margins, with the scoop margin on two sides - Paper with tiny brown stains and a faint light stain. Former small remnants of mounting on verso, otherwise in good condition.
LIEVENS, JAN 1607 Leiden - 1674 Amsterdam Title: The Repentant Peter. Date: Ca. 1625. Technique: Oil on wood. Measurement: 49.5 x 38cm. Frame: Framed. Expertise: Listed on the online databank of the RKD, The Hague, under the ill. no. 297658. Literature: B. Schnackenburg: Jan Lievens: Freund und Rivale des jungen Rembrandt: mit einem kritischen Katalog des Leidener Frühwerks 1623-1632, Petersberg 2016, no. 13, p. 173. Provenance: Possibly Johan van der Burgh Collection, The Hague (the widow's catalogue lists a painting described as "Petrus, geschildert door Jan Lievensz." in 1741; Art dealer Jack Kilgore, New York 2012; Private ownership, Germany until 2019; Art dealer Bijl-Van Urk, Alkmaar 2019; Private ownership, Germany. Jan Lievens, a native of Leiden, was an exceptionally precocious artist - even by the standards of the time. He learnt the profession of a painter from the age of nine: first in his home town under Joris van Schootel, then from 1618 to 1620 in Amsterdam under Pieter Lastman. Back in Leiden, he shared a studio for five years from 1625 with Rembrandt Harmenszoon van Rijn, who also came from Leiden and was around the same age. Rembrandt had also learnt under Pieter Lastman - albeit somewhat later than Lievens and for only six months. The two painter friends specialised in portraits and history paintings and sometimes worked closely together. To this day, art historians often struggle to clearly attribute their unsigned works. Around 1632, Jan Lievens initially went to England for three years, where he had contact with the court and was possibly influenced by Anthonis van Dyck. This was followed by periods in Antwerp, where he joined the Guild of St Luke in 1635 and was granted citizenship in 1640, in Amsterdam, The Hague, Berlin (Oranienburg Palace) and finally, from 1655, permanently back in Amsterdam. Lievens received important public and private commissions and was an extremely successful artist. However, the painter does not appear to have had any commercial talent and his many moves are also explained by his occasional flight from creditors. Jan Lievens died impoverished in Amsterdam in 1674. It was probably around 1625 - i.e. during the period in which he shared a studio with Rembrandt in Leiden - that Jan Lievens painted the devotional painting presented here of the penitent St Peter, the patron saint of his home town of Leiden (the keys of St Peter still adorn the city's coat of arms to this day). In the New Testament, Peter plays a special role among Jesus' disciples. He is the first disciple to follow Jesus, is chosen by him to be a fisher of men and is always at his master's side. Peter is the rock on which the Son of God wants to build his church and he is promised the keys to the kingdom of heaven by Jesus. One who was so close to the Savior himself, who is himself a saint, could be an unattainable example for believing Christians. But Peter describes himself as a "sinful man" even when he is called. He does not live up to his courageous announcement that he will fight for Jesus and die with him. Rather, all the Gospels describe that Peter, as Jesus predicted, cowardly denied his affiliation with his master three times when he was brought before the high priest Caiaphas. When the rooster crows, Peter realizes that the prophecy has come true "and weeps bitterly." The disciple, despairing of himself, his infidelity and his cowardice, dissolved in tears is a motif that artists have repeatedly depicted since the Renaissance and especially in the Baroque period. The image type "Peter in lacrima" was able to show ordinary mortals that even the first of Jesus' disciples was weak and all too human. The exemplary recognition of man's inevitable sinfulness and his surrender to God's grace made the figure of Peter a motif in the Protestant Netherlands that could mediate between old and new faith. This painting shows Peter, following the pictorial tradition, almost bald. However, his full, dark beard, with only a few light strands running through it, makes him appear younger than is usually the case with this type of image. The face is also distorted and wrinkled because of the strong emotions. But his hands folded in imploring prayer, holding the key as an attribute, belong to a man who is in the middle of life; a weather-beaten fisherman, such as the Dutch painter may have observed among the people. Jan Lievens had already come into contact with influences from Italy through his teacher Pieter Lastman. Since around 1615, however, the Utrecht Caravaggists who returned from Rome had brought completely new artistic impressions and stylistic devices to the Netherlands, which also find their way into Lieven's present painting. The strong lighting that hits the praying saint coming from the upper left corner of the picture is just as much a part of it as the realistic portrayal of personality described. The strong, pasty application of paint, the modeling of the wrinkles and, particularly strikingly, the hands also show the similarity between the personal styles of Lievens and Rembrandt. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Jan Lievens The Netherlands Rembrandt School 17th C. Old Masters Framed Saints Painting
LIEVENS, JAN 1607 Leiden - 1674 Amsterdam Title: River Landscape with Tree and Cross. Date: Ca. 1655-65. Technique: Pen drawing on pergament. Mounting: Mounted. Measurement: 10 x 16.4cm. Frame: Framed. Expertise: Listed on the online databank of the RKD, The Hague, under the ill. no. 300246. Literature: Jan Lievens (1607-74) Prenten and Tekeningen/Prints and Drawings. Exhib.Cat. Rembrandthuis Amsterdam 1988/89, p. 18; H.Schneider: Jan Lievens, sein Leben und seine Werke, Haarlem 1932, p. 73 R.E.O Ekkart: Lievens als Zeichner. In:Jan Lievens ein Maler im Schatten Rembrandts, Exhib.Cat. Brunswick 1979, p. 27. Provenance: Finance Council H.W. Campe (1771-1862) Leipzig; Privy Councillor E.H. Ehlers (1835-1925) Göttingen; Sold C.G. Boerner, Leipzig, 10.5.1930, under no. 550; Katrin Bellinger art dealer, Old Master Drawings May 1995; Private collection, South Germany; Private collection, Germany. Bernhard Schnackenburg wrote about this work in an email to the previous owner in September 2020: "The work before me is truly a masterfully beautiful drawing that is a joy to behold! The quality is equally good in all parts and the style clearly speaks in favour of Jan Lievens! The richness of the graphic formal language with which the old tree trunk in the foreground is characterised is unmistakable. Gnarled old tree trunks are a favourite motif of the landscape artist Lievens and are the focus of several drawings (sheets in Dresden, Rotterdam and London, British Museum). For these drawings, the catalogue of the Lievens exhibition in Washington 2008 suggested 1655-1665, which could also apply to your drawing. The unusually small format is probably due to the piece of vellum available to Lievens. This use is extremely rare." It is a wonderful coincidence that this catalogue contains both a painting and a drawing by Jan Lievens, thus presenting the artist's work in two media. Dr Bernhard Schnackenburg dates this small landscape drawing to around 1655 - 1665, i.e. after Lievens' return to Amsterdam. A wide river landscape lies before the viewer, whose eye can follow the path coming from the lower edge of the picture, further below the edge of the embankment into the depths. On closer inspection, two people and perhaps a dog can be recognised on the path. The mighty tree trunk overlapping the upper edge of the picture intercepts the strong line of the embankment on the left. A cross at the edge of the path is another landmark. An architectural ensemble with a square tower can be seen behind the bend in the river. On the far right at the edge of the picture, in the distance, a church tower rises in the haze. Above this landscape, composed as it were of many triangles and angles, the wide sky takes up about three quarters of the small-format drawing. Jan Lievens had a preference for gnarled tree trunks as a motif for his drawings. Such wide panoramic landscapes, however, are extremely rare in his drawings. The use of vellum instead of the Japanese or laid paper he usually used also makes this autonomous drawing a rarity in the artist's oeuvre. The use of parchment, which hardly absorbs the ink, makes a completely different drawing technique possible. In the area of the tree trunk, the artist has scratched and hatched into the still wet ink. The cross at the edge of the path has also been modelled in this way. The appeal of a drawing that is conceived as an autonomous work of art also lies in the fact that it allows the artist's handwriting and technique to be experienced undisguised. This is particularly impressive in Jan Lievens' present work on parchment. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Jan Lievens The Netherlands Rembrandt School 17th C. Watercolour / Drawings Framed Landscape Drawing Netherlands
Lievens, Jan (1607-1674) (after). "De Hr. Johan van Galen, Admiraal van alle de Oorlog Schepen in dienst van de Hog. mog. Heeren Staten inde Middelandsche Zee." Engr. oval portrait by M. MOUSYN, within dec. border w. military attributes after H. VAN ALDEWERELD and with a naval battle-scene by R. NOOMS (monogrammed "ZM") in lower margin w. engr. caption below ("Ick heb mijn vlijt gedaan, u cierlijck af te maalen, Tot lof der Helden trou en 't Puijck der Admiraalen" and w. publ. address of L. Lodewijcksz, 31x21 cm., Amst., framed. - Doubled, closing a horizontal tear in right margin of image; trimmed to/ just within the border line; sl. dam. in lower left corner (just touching Zeeman's monogram). = Hollstein (Mousyn) 87; cf New Hollstein (Lievens) 39 and F.M. Portretten 4633 ff. Apparently published by Lodewijcksz in a series of similar portraits of famous admirals, all with the same naval battle-scene in lower margin. For the naval battle by Nooms see New Hollstein (Zeeman) 12. Very rare portrait (as are all of this series). Gole, Jacob (±1660-1737). "Cornelis Tromp." Oval portrait, mezzotint, 18,7x14 cm., w. engr. 4-line caption below image and address of Gole below. - Fine copy. = Hollstein 123; F.M. Portretten 5424. ADDED: 3 other small portraits, i.a. of Mercator and Plancius.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Lievens, Jan (1607-1674). Buste of a young woman in profile to the left. Etching, 7,6x6 cm. - Fine impression, cut on/ just inside the borderline. = Hollstein 63, 2nd state of 3; state after the 2nd state as noted by the Rijksmuseum, but before the heavily reworked 3rd state (as noted by the British Museum, part of the series Diverse Tronikens, cf. B.M. S.96).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Certificate Dendrochronological examination report: Prof. Dr. Peter Klein, Universität Hamburg, 16.11.2016. Jan Lievens and Rembrandt – of this Constantijn Huygens had no doubt – represented the glorious future of Dutch painting. In his memoirs, the eruditerepresented the glorious future of Dutch painting. In his memoirs, the erudite secretary to the stadtholder in The Hague praised the "two outstanding young men from Leiden" and saw them at a young age already competing with the great masters such as Rubens and Titian. Jan Lievens and Rembrandt, almost the same age, were talented, inquisitive and full of ambition. They shared a workshop, tried their hand at the same themes and inspired each other. This went so far that even their contemporaries confused their works (Rembrandt's "Rape of Proserpina" was listed in the inventory of the court in The Hague as a work by Jan Lievens). Art historical research would fare no better a few hundred years later, as the numerous corrections of attribution show. A testimony to this unique friendship as well as to the chequered history of many of the two artists' works is this painting, a self-portrait by Jan Lievens from 1628 (Schnackenburg, op. cit., passim). The artist looks at the viewer with an intense gaze, a dark hood covers his head. His mouth is slightly open, as if he is speaking to us, or as if he is astonished by something. A narrow moustache graces his countenance. His face is lit from the left, as is usual in self portraits by right-handed artists, while the right half of his face is correspondingly shadowed. The painterly execution in the face is "grainy, dense and naturalistic in the rendering of the skin texture" (Schnackenburg), while the part of the shoulder is only indicated with broad, dry brushstrokes. When the painting was rediscovered, it was initially attributed to Rembrandt (Bredius, op. cit.). A self portrait by Rembrandt from 1628 served as a reference, as it is comparable in terms of the position of the head and the slightly open mouth (fig. 1; Indianapolis Museum of Art, inv. no. 2023.4). However, doubts about the attribution soon arose. Rosenberg, Gerson and Bauch relegated the painting to the dubious works of Rembrandt in their catalogue raisonnés. Finally, the Rembrandt Research Project considered it to be merely the work of a later follower (which was to be refuted by dendrochronological analysis). When reviewing the literature, it is noticeable that art historians have only ever dealt with the question of whether or not this is a work by Rembrandt. The question of the actual creator of this self portrait was only addressed by Schnackenburg, who recognised the painting as a self portrait by the artist and included it in his monograph on Jan Lievens. Schnackenburg's attribution of the painting to Jan Lievens has subsequently been confirmed by a number of renowned experts after examining it in flesh. Schnackenburg emphasises the "portrait-like character" of the painting and sees the "typical facial features of Jan Lievens", "his slightly protruding eyes with accentuated lower eyelids, the pointed nose and chin in comparison with Rembrandt and, as a special distinguishing feature, the thin moustache" (Schnackenburg, op. cit., p. 251). Thereby he refers to another self portrait by Jan Lievens (Copenhagen, Statens Museum for Kunst, inv. no. KMSsp413) and the portrait of the artist in Anthony van Dyck's Iconography (fig. 2). His attribution is supported by a dendrochronological analysis: The wood of the panel comes from a tree felled around 1622 and used after 1626. And not only that: Wood from the same trunk was also used as a support for a number of other works by Rembrandt and Jan Lievens, including Rembrandt's famous Nuremberg Self Portrait (ill. 3; Germanisches Nationalmuseum), his "Andromeda" and "Samson and Delilah" (both Gemäldegalerie, Berlin) as well as Jan Lievens‘ Half-length Figure of an Old Woman with Hooded Cloak (Gemälde Alte Meister, Dresden), among others. (1) Portraits and self portraits form a central body of works in the oeuvre of the two young artists from their Leiden period. They portrayed themselves and each other grinning, laughing, and with astonished or sceptical expressions. They often wore armour, fanciful robes and exotic headgear. The paintings served as studies for the use of light and the depiction of emotions. Strictly speaking, the early portraits and self portraits by Rembrandt and Lievens belong to the genre of tronies, small- and medium-format head studies that originated in Flemish workshops and developed into an independent highly succesful genre in Holland. Schnackenburg assumes that Lievens realised during the execution of this self portrait that "Rembrandt's method of mimicing self portraits in front of the mirror was not his way," which explains the sketchy execution of the area of the shoulders. As was customary in the workshop, copies of the present self portrait were made, one of which is attributed to Dirck Lievens, the artist's brother (Rouen, Musée des Beaux-Arts, inv. no. 1975.4.77; Schnackenburg, op. cit., p. 251). Schnackenburg describes the years around 1628 as a "period of intensive exchange" and "symbiotic co-operation" between the two artists. The "two outstanding young men from Leiden" shared a studio, materials and ideas for their paintings; this close artistic exchange can be seen in the present self portrait of Jan Lievens. Soon each would go his own way, Rembrandt moved to Amsterdam, Jan Lievens went to London and later to Antwerp – but both were to fulfil Constantijn Huygens' high expectations. Footnote 1: On the other paintings by Jan Lievens and Rembrandt using panels from the same tree cf. the various volumes of the Rembrandt Research Project and, for example, Christiaan Vogelaar: Ten Years of Struggle, Rembrandt in Leiden and Amsterdam, 1624-1634, in: Exhib. cat. Leiden 2019: The Young Rembrandt, Leiden 2019, p. 19-20; Schnackenburg, op. cit., p. 75.
Jan Lievens (1607 - 1674) , cerchia di Testa di vecchio Olio su tela 44,8 x 50,8 cm Provenienza: Christie's Londra, 18.2.1998, lotto 171 (Seguace di Jan Lievens) Stato di conservazione. Supporto: 70% (stato frammentario; rintelo) Stato di conservazione. Superficie: 85% Il dipinto è stato restaurato, con pulizia e rintelo, da Donatella Zari e Carlo Giantomassi. I restauri hanno messo in evidenza una testa di fanciulla, a fianco al volto di anziano, parzialmente resecata, e permesso di comprendere come la tela facesse parte di un quadro di grandi dimensioni, probabilmente per arredo di un ambiente sacro.
JAN LIEVENS (1607 Leiden - 1674 Amsterdam) Radierung, "Büste eines alten Mannes mit dicken Lippen" (um 1640, hier wohl später), verso 2x gestempelt "EK", auf Montierungsgrund bezeichnet (u.a. "gereinigt und aufgezogen"), 7,2x5,9cm, ungerahmt (am oberen Rand auf Karton montiert)
JAN LIEVENS Bust of a Bearded Oriental Man with Turban. Etching, circa 1630-31. 161x145 mm; 6½x5¾ inches, thread margins. Second state (of 2). A very good impression of this extremely scarce, early etching. This introspective portrait of an old man in exotic costume is an early work by Lievens (1607-1674) from a series of etched imaginary heads from around 1630-32. It was executed at the time when Lievens was working in close collaboration with Rembrandt (1606-1669) in Leiden and when the two young artist's mutually influenced each other's work. Lievens was inspired by Rembrandt's contemporary etched portraits of men in oriental dress when he created this bust of an aged man wearing an unusual fur cap bound by a strip of cloth. Rembrandt in turn etched copies of this subject and two others from a series in 1635 (Hollstein 286-88; New Hollstein 149-151). Rembrandt added the etched inscription to his copy of this Bust of an Oriental Man, Facing Right (The Third Oriental Head)--"Rembrandt geretuckert"--as in "retouched or improved by Rembrandt." Hollstein 35.
JAN LIEVENS Bust of a Man in Profile to the Left Etching. 163x143 mm; 6½x5⅝ inches. Second state (of 2). Double-headed eagle watermark. Trimmed on or just inside the plate mark. A very good impression of this extremely scarce etching, with strong contrasts and no sign of wear. We have found only 3 other impressions at auction in the past 30 years. Bartsch 15; Hollstein 32.
JAN LIEVENS The Hermit. Etching. 123x93 mm; 4¾x3⅝ inches, thread margins. Second state (of 2). A very good impression of this exceedingly scarce etching. We have not found another impression at auction in the past 30 years. Bartsch 7; Hollstein 16.
JAN LIEVENS St. Anthony. Etching, circa 1630. 255x205 mm; 10x8⅛ inches, small margins. Fourth state (of 4). Crowned letters GR in circle watermark. A very good impression of this extremely scarce etching. Provenance: W. E. Drugulin, Leipzig, with the ink stamp verso (Lugt 2612). Bartsch 8; Hollstein 14.
JAN LIEVENS St. Jerome. Etching, circa 1631. 243x212 mm; 9⅝x8¼ inches, thread margins. Third state (of 5). A superb, dark, richly-inked and early impression of this very scarce etching. According to the National Gallery Prague, where there is another similar impression of this etching, "A successful artist himself, Lievens was a close friend of Rembrandt's. Together, they shared an art studio in Leiden in their early career (1625-1631), where the artists influenced and inspired one other. However, in 1631, they parted ways; Rembrandt settled in Amsterdam and Lievens left for England. Through the use of the dramatic tenebrism (dramatic dark chiaroscuro), this image showing the penitent St. Jerome reflects the artist's admiration for the Utrecht Caravaggisti." Lievens (1607-1674) likely based this etching on a painting of the same subject, from circa 1630, now in the Stedelijk Museum De Lakenhal, Leiden. Bartsch 5; Hollstein 15.
ATTRIBUÉ À JAN LIEVENS (LEYDE 1607 – 1674 AMSTERDAM) Couple debout devant un homme assis dans un intérieur (recto); Homme assis... plume et encre brune 10,5 x 16,7 cm (4 1⁄8 x 6 ½ in.)
Jan Lievens (1607-1674) The Hermit (Hollstein 17) signed with initials in the plate etching, eighth state (of eight) 20 x 14cm Provenance: Alan Barlow (1926-2005), Thence by descent to the present vendor 43 x 33cm framed
CIRCLE OR SCHOOL OF JAN LIEVENS ('Also Lievens de Oude, Livius le Vieux or Johannis Livens') 24 October 1607 Leiden - 4 June 1674 Amsterdam SAINT MATTHEW Oil on canvas (old relined). 118 x 100 cm (F. 130 x 111 cm). Part. slightly old rest. Frame. Provenance: South German private collection. JAN LIEVENS (UMKREIS/SCHULE) ('Auch Lievens de Oude, Livius le Vieux oder Johannis Livens') 24. Oktober 1607 Leiden - 4. Juni 1674 Amsterdam HEILIGER MATTHÄUS Öl auf Leinwand (altdoubl.). 118 x 100 cm (R. 130 x 111 cm). Part. leicht altrest. Rahmen. Provenienz: Süddeutsche Privatsammlung.
LEIDEN SCHOOL IN THE CIRCLE OF JAN LIEVENS ('Also: Lievens de Oude, Livius Johanis le Vieux, or Johannis Livens') 24 October 1607 Leiden - 4 June 1674 Amsterdam APOSTLE PETRUS Oil on oak panel. 64.5 x 48.5 cm (F. 78 x 63 cm). Part. slightly old rest., min. old retouching. Frame. Provenance: South German private collection. LEIDENER SCHULE IM UMKREIS VON JAN LIEVENS ('Auch: Lievens de Oude, Livius Johanis le Vieux, oder Johannis Livens') 24. Oktober 1607 Leiden - 4. Juni 1674 Amsterdam APOSTEL PETRUS Öl auf Eichenholztafel. 64,5 x 48,5 cm (R. 78 x 63 cm). Part. leicht altrest., min. Altretuschen. Rahmen. Provenienz: Südeutsche Privatsammlung.
Lievens, Jan (Dutch 1607-1674) Black and white etching on wove paper. 'St. Ioannes'. From a series 'The Four Evangelist' No printing en verso. According to notations, final state. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints whose collection has appeared in dozens of museums and exhibits over the last four decades. Weight Approx., 0.5lbs Measures Approx.: sheet 3.875 inches x 5.375 inches , mat board 11 inches x 16 inches . Domestic Shipping: $15
Lievens, Jan (Dutch 1607-1674) Black and white etching on wove paper. 'St. Lucas'. From series 'The Four Evangelist'. No printing en verso. The bearded saint sits writing in book, a bull or ox behind him. According to notations, final state. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints whose collection has appeared in dozens of museums and exhibits over the last four decades. Weight Approx., 0.5lbs Measures Approx.: sheet 3.75 inches x 5.375 inches , Mat board 11 inches x 16 inches . Domestic Shipping: $15
Jan Lievens (Dutch 1607-1674) Black & White Etching on Paper, 'The fourth Evangelist' Initialed. Portrait of the bearded saint in profile, w/ pen in hand, lion in the background. Weight Approx., 0.5lbs Measures Approx., Image 3.75 inches x4.875 inches ; sheet 4 inches x5.5 inches ; mat 11 inches x16.25 inches . Domestic Shipping: $15
Jan Lievens (1607 - 1674) , cerchia di Testa di vecchio Olio su tela 44,8 x 50,8 cm Provenienza: Christie's Londra, 18.2.1998, lotto 171 (Seguace di Jan Lievens) Stato di conservazione. Supporto: 70% (stato frammentario; rintelo) Stato di conservazione. Superficie: 85% Il dipinto è stato restaurato, con pulizia e rintelo, da Donatella Zari e Carlo Giantomassi. I restauri hanno messo in evidenza una testa di fanciulla, a fianco al volto di anziano, parzialmente resecata, e permesso di comprendere come la tela facesse parte di un quadro di grandi dimensioni, probabilmente per arredo di un ambiente sacro.
