Jan Asselijn Paintings & Artwork for Sale | Jan Asselijn Art Value Price Guide

Nov. 27, 2024
JAN ASSELIJN (attr. a)
Est: €2,000 - €3,000
(Dieppe, 1610 - Amsterdam, 1652) Veduta della campagna romana con il monte Soratte sullo sfondo Olio su tela, cm 76,5X92 Provenienza: Genova, collezione privata Dopo il suo apprendistato con Esaias van de Velde, Asselyn si trasferì a Roma dal 1635 al 1644 dove, oltre all'influenza della pittura bambocciante, il pittore fu influenzato in modo particolare da Claude Lorrain. In quegli anni insieme ad altri artisti come Jan Both, Karel Du Jardin, Adam Pynacker, Nicholas Berchem e Jan Baptist Weenix, Asselijn divenne uno dei paesaggisti più rappresentativi di quel gusto italianizzante che si diffuse in tutta Europa. Suo tema prediletto era la campagna romana interpretando magistralmente la luce 'mediterranea'. Queste caratteristiche si percepiscono bene nell'opera in esame, che descrive con straordinaria efficacia la campagna romana e il monte Soratte, ma l'aspetto più sorprendente è il modo in cui l'artista evoca la visione 'controluce' e il suo effetto abbacinante con esiti affini all'arte di Claude Lorrain, ma conseguiti con una sensibilità personalissima e prettamente nordica. Bibliografia di riferimento: A. C. Steland-Stief, Jan Asselyn, Amsterdam 1971, ad vocem P. Schatborn, Drawn to Warmth. 17th century Dutch artists in Italy, Amsterdam 2001, pp. 100-109 Inspired by Italy. Dutch landscape painting 1600-1700, catalogo della mostra a cura di L. B. Harwood, with contributions by Christopher Brown and Anne Charlotte Steland, London 2002, pp. 119-129
Wannenes Art Auctions
Nov. 13, 2024
Asselijn, Jan (attr.)
Est: €3,000 - €5,000
Asselijn, Jan (attr.) Dieppe um 1610 - Amsterdam 1652 75 x 109 cm View of the Lucano bridge and the Tomb of the Plautii at Via Tiburtina near Tivoli at evening light. Oil/canvas, relined. German private collection. The Ponte Lucano is one of the four bridges over the Aniene River between Rome and Tivoli, not far from Hadrian's Villa. Asselijn, Jan (attr.) Dieppe um 1610 - Amsterdam 1652 75 x 109 cm Blick auf den Ponte Lucano und das Grabmal der Plautier an der Via Tiburtina bei Tivoli im Abendlicht. Öl/Lwd., doubl. Deutsche Privatsammlung. Der Ponte Lucano ist eine der vier Brücken über den Fluss Aniene zwischen Rom und Tivoli, unweit der Villa des Hadrian.
Nagel Auction
Sep. 12, 2024
Jan Asselijn: Verfallene Brücke in der Umgebung von Lyon (Chaponost?)
Est: CHF2,000 - CHF2,500
Jan Asselijn (Diepen 1610 - 1652 Amsterdam) Verfallene Brücke in der Umgebung von Lyon (Chaponost?) Pinsel in grauer Tusche, über leichter Graphit-Vorzeichnung auf Bütten mit Wasserzeichen "Traube" (ähnlich Heawood 2100, dort für Paris, 1644 dokumentiert) / Brush in grey ink, over a light graphite preparatory drawing on laid paper with watermark "Grape" (similar to Heawood 2100, where recorded for Paris, 1644) Um 1644-45 26,2x37,6 cm, Blattgrösse / 26.2x37.6 cm, sheet size Provenienz / Provenance Slg. Christian Hammer (1818–1905), Stockholm, Lugt 1237 Slg. Jakob Schröfl (1850–1921), Wien, Lugt 4433 Paul Prouté, Dezember 1995 (dort als "attribué à Jan Asselyn" angeboten) Slg. Eberhard W. Kornfeld, Bern, Lugt 913b Christian Hammer Collection (1818-1905), Stockholm, Lugt 1237 Collection Jakob Schröfl (1850-1921), Vienna, Lugt 4433 Paul Prouté, December 1995 (offered there as "attribué à Jan Asselyn") The Eberhard W. Kornfeld Collection, Bern, Lugt 913b Literatur / Literature Lisa Oehler, Rom in der Graphik des 16. bis 18. Jahrhunderts, Berlin 1997, pag. 134f., Anm. 19 Lisa Oehler, Rom in der Graphik des 16. bis 18. Jahrhunderts, Berlin 1997, p. 134f., note 19 Zustand / Condition Vertikale Mittelfalte entlang der alten Trockenfalte des Papierbogens; vereinzelt blass fleckig, insgesamt aber schön und frisch Vertical centrefold along the old dry fold of the paper sheet; occasional pale stains, but overall nice and fresh Erläuterungen / Comments Jan Asselijn, geboren in Diepen nach 1610, war als "Bentvogel" ab ca. 1638 bis ca. 1644 in Rom. Er hielt sich 1644 bis 1645 in Lyon, 1646 in Paris auf und ist ab 1647 in Amsterdam nachweisbar, bis zu seinem Tode 1652. Das Blatt wurde bislang für eine Darstellung des Ponte Rotto in Rom gehalten. Annemarie Stefes lokalisiert die Szenerie hingegen mit guten Gründen in die Umgebung von Lyon. Dort wurde ein ähnliches Bauwerk aus entgegengesetzter Perspektive von Frederic de Moucheron (1633-1685/86) gezeichnet (Paris, Fondation Custodia, Inv. Nr. 9334, vgl. Stijn Alsteens, Hans Buijs, Paysages de France, Paris 2008, Nr. 87), das als die Brücke von Chaponost bei Lyon identifziert wird. Stefes vermutet, dass es sich um das gleiche Bauwerk handeln könnte, falls Asselijn "sich in der Wiedergabe der räumlichen Situation künstlerische Freiheiten erlaubt haben sollte". Sie schreibt desweiteren: "Ohne figürliches Beiwerk, wird diese Brückenansicht vor Ort entstanden sein. Das Wasserzeichen lässt sich gut mit einem Frankreich-Aufenthalt in Verbindung bringen. Jan Asselijn, dem das Blatt zugeschrieben wird, reiste über Lyon nach Italien und heiratete dort, auf dem Rückweg im Jahre 1644, die Tochter eines flämischen Kaufmanns. [...] Nicht bestätigen lässt sich dagegen der verso notierte Hinweis auf [Guilliam] de Heusch (1612-1692)." Wir danken Frau Dr. Annemarie Stefes für ihre Beurteilung der Zeichnung auf der Grundlage einer Bilddatei. Jan Asselijn, born in Diepen after 1610, was in Rome as "Bentvogel" from around 1638 to around 1644. He stayed in Lyon from 1644 to 1645, in Paris in 1646 and is documented in Amsterdam from 1647 until his death in 1652. The sheet was previously thought to be a depiction of the Ponte Rotto in Rome. Annemarie Stefes, however, locates the scene with good reason in the neighbourhood of Lyon. A similar structure was drawn there from the opposite perspective by Frederic de Moucheron (1633-1685/86) (Paris, Fondation Custodia, inv. no. 9334, cf. Stijn Alsteens, Hans Buijs, Paysages de France, Paris 2008, no. 87), which is identified as the bridge of Chaponost near Lyon. Stefes surmises that it could be the same structure if Asselijn "took artistic liberties in the rendering of the spatial situation". She also writes: "Without any figurative additions, this view of the bridge must have been created on site. The watermark can easily be linked to a stay in France. Jan Asselijn, to whom the sheet is attributed, travelled to Italy via Lyon and married the daughter of a Flemish merchant on his way back in 1644. [...] However, the reference to [Guilliam] de Heusch (1612-1692) noted on the verso cannot be confirmed." We would like to thank Dr Annemarie Stefes for her assessment of the drawing on the basis of an image file. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 20:15 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Galerie Kornfeld Auktionen AG
Jun. 26, 2024
Asselijn, Jan (attr.)
Est: €3,000 - €5,000
Asselijn, Jan (attr.) Dieppe um 1610 - Amsterdam 1652 75 x 109 cm View of the Lucano bridge and the Tomb of the Plautii at Via Tiburtina near Tivoli at evening light. Oil/canvas, relined. German private collection. The Ponte Lucano is one of the four bridges over the Aniene River between Rome and Tivoli, not far from Hadrian's Villa. Asselijn, Jan (attr.) Dieppe um 1610 - Amsterdam 1652 75 x 109 cm Blick auf den Ponte Lucano und das Grabmal der Plautier an der Via Tiburtina bei Tivoli im Abendlicht. Öl/Lwd., doubl. Der Ponte Lucano ist eine der vier Brücken über den Fluss Aniene zwischen Rom und Tivoli, unweit der Villa des Hadrian.
Nagel Auction
May. 28, 2024
Jan Asselijn (c. 1610-1652), the preaching of John the Baptist, 1646, oil on canvas 60 x 46 cm. (23.6 x 18.1 in.)
Est: €1,500 - €2,000
Jan Asselijn (c. 1610-1652), the preaching of John the Baptist, 1646, oil on canvas Signed and dated to the bottom right corner.
Carlo Bonte Auctions
May. 16, 2024
Jan Asselijn, attributed to, Southern Landscape with two Hunters and Ancient Temple Ruins
Est: €3,000 - €3,500
Jan Asselijn, attributed to, Southern Landscape with two Hunters and Ancient Temple Ruins
Kunsthaus Lempertz KG
Mar. 20, 2024
Jan ASSELIJN Dieppe, 1610 - Amsterdam, 1652 Bergers et leur troupeau à Tivoli Huile sur cuivre
Est: €30,000 - €40,000
Jan ASSELIJN Dieppe, 1610 - Amsterdam, 1652 Bergers et leur troupeau à Tivoli Huile sur cuivre Shepherds and their flock in Tivoli, oil on copper, by J. Asselijn h: 19 w: 30 cm Provenance : Collection Jurriaans ; Sa vente, Amsterdam, Van de Schley, Roos and De Vries, 28 août 1817, n° 1 (250 florins à Van Howter) ; Probablement collection du Dr. H. J. Schulte-Brader, Neumünster, en 1975 ; Vente anonyme ; Londres, Sotheby's, 3 mai 2017, n° 132 ; Collection particulière, Paris Commentaire : Mentionné dans le catalogue de vente de Juriaans en 1817 accompagné de son pendant figurant un clair de lune1 (fig. 1), notre petit cuivre de Jan van Asselijn représente une vue de Tivoli à l'aube. La lumière douce et chaude de la Péninsule éclaire ce paysage arcadien composé de bergers et de leur troupeau à droite et d'une cascade à gauche. Sur un éperon rocheux apparaît une tholos, sans doute le temple de la Sibylle, qui situe la scène à Tivoli. Né à Dieppe vers 1610, Jan Asselijn travaille en Italie entre 1635 et 1644. Il fait partie à Rome de la communauté des Bentvueghels, groupe d'artistes originaires des Pays-Bas installé dans la Ville Eternelle, et prend le surnom de 'crabbetje' (le petit crabe) en raison de la maladie dont il était atteint, l'ectrodactylie, qui se caractérise par une absence de plusieurs doigts de la main. Lors de son séjour ultramontain, il est profondément marqué par les paysages de Tivoli dont il fait plusieurs dessins (voir par exemple une vue de Tivoli conservée à Hambourg)1. 1. Voir vente anonyme ; Londres, Sotheby's, 11 décembre 1996, n° 117 2. 'Vue de Tivoli', vers 1650 - 1660, 266 x 412 mm, Hamburger Kunsthalle, Kupferstichkabinett, n° d'inv. 1963-116 Estimation 30 000 - 40 000 €
Artcurial
Nov. 18, 2023
Jan Asselijn, Landscape in the Campagna
Est: €6,000 - €8,000
Jan Asselijn, Landscape in the Campagna
Kunsthaus Lempertz KG
Nov. 09, 2023
Asselijn, Jan (attr.)
Est: €6,000 - €10,000
Asselijn, Jan (attr.) Dieppe um 1610 - Amsterdam 1652 75 x 109 cm View of the Lucano bridge and the Tomb of the Plautii at Via Tiburtina near Tivoli at evening light. Oil/canvas, relined. German private collection. The Ponte Lucano is one of the four bridges over the Aniene River between Rome and Tivoli, not far from Hadrian's Villa.
Nagel Auction
Jul. 07, 2023
JAN ASSELIJN (DIEPPE AFTER 1610-1652 AMSTERDAM) A military skirmish in a wo
Est: £7,000 - £10,000
JAN ASSELIJN (DIEPPE AFTER 1610-1652 AMSTERDAM) A military skirmish in a wooded landscape oil on panel 15 7/8 x 28 1/8 in. (40.3 x 71.4 cm.)
Christie's
Jun. 21, 2023
ASSELIN JAN (C. 1610 - C. 1652) HUILE SUR TOILE MAROUFLÉE SUR TOILE "LA PRÉDICATION DE SAINT JEAN-BA
Est: €1,800 - €2,000
Huile sur toile marouflée sur toile "La Prédication de saint Jean-Baptiste". Signé en bas à gauche J. Asselin et daté 1646. Ecole hollandaise. Dim.:+/-60x45cm.
Vanderkindere
Mar. 30, 2023
Jan Asselijn (1610-1652)- attributed
Est: €300 - €600
Jan Asselijn (1610-1652)- attributed, Elegant riders in landscape , 68x100 cm .oil on canvas, framed
Deutsch Auktionen
Nov. 17, 2022
JAN ASSELYN (Dieppe, 1610 - Amsterdam, 1652), ATTRIBUTED TO
Est: €2,500 - €3,500
Landscape with cave and figures Oil on panel, cm. 21,5x37,5. PROVENANCE: Private collection, Rome.
Bertolami Fine Art s.r.l.
Mar. 22, 2022
Attributed to Jan Asselijn, Dutch c.1610-1652- Travellers by an aqueduct; oil on canvas, 60 x
Est: £1,500 - £2,500
Attributed to Jan Asselijn, Dutch c.1610-1652- Travellers by an aqueduct; oil on canvas, 60 x 73 cm. (VAT charged on hammer price). Provenance: Anon. sale, Christie's, London, 24 February 1984, lot 173. Note: As in much of Asselijn's oeuvre, the present work recalls, in subject, composition and the dramatic contrast of the light sky against the darker foreground, the evocative scenes of landscapes by Claude Lorraine. Trained by the landscape painter Esaias van de Velde, Asselijn is perhaps best known for his painting of 'The Threatened Swan', widely regarded as one of the most important works in the collection of the Rijksmuseum in Amsterdam [SK-A-4]. Please refer to department for condition report
Roseberys
Mar. 15, 2022
JAN ASSELIJN (attr. a)
Est: €800 - €1,200
(Dieppe, 1610 - Amsterdam, 1652) Paesaggio con ponte Olio su tela, cm 43X57 L'atmosfera chiara e ariosa, la pausata articolazione del paesaggio, la delicata armonia cromatica e la luminosità suggeriscono che l'autore fosse a conoscenza dei testi pittorici del paesismo mediterraneo diffuso nei Paesi Bassi da Bartholomeus Breenbergh, Nicolaus Berchem e Jan Both. La fortuna iconografica di queste tematiche si deve altresì a Philips Wouwerman e ai pittori bamboccianti, assai apprezzati dal collezionismo dell'epoca, inoltre non si deve dimenticare la notevole diffusione di disegni e stampe che ispirarono l'arte fiamminga e olandese. I caratteri di stile del dipinto evidenziano le strette analogie con le opere di Jan Asselijn, pittore che dopo il suo apprendistato con Esaias van de Velde, si trasferì a Roma dal 1635 al 1644, dove rimase influenzato dal classicismo di Claude Lorrain. In quegli anni insieme ad altri artisti come Jan Both, Karel Du Jardin, Adam Pynacker, Nicholas Berchem e Jan Baptist Weenix, divenne uno dei paesaggisti più importanti, rappresentante di quel gusto italianizzante che si diffuse in tutta Europa. Tema prediletto del pittore era il ritrarre la campagna romana con le sue rovine esprimendo una sensibilità luministica peculiare, interpretando al meglio quella luce mediterranea che seduceva gli artisti del nord. Queste caratteristiche si percepiscono bene nell'opera qui presentata, che descrive un paesaggio puro e preso dal vero, caratterizzato da una pervasa luminosità estiva. Bibliografia di riferimento: A. C. Steland-Stief, Jan Asselyn, Amsterdam, 1971 G. Capitelli, Il paesaggio italianizzante, in La Pittura di paesaggio in Italia, Il Seicento, a cura di L. Trezzani, Milano, 2004, pp. 213-230
Wannenes Art Auctions
Dec. 09, 2021
Jan Asselijn (1610 - 1652), zugeschrieben und Willem Schellinks (1623 - 1678), zugeschrieben
Est: €7,000 - €9,000
HAFENLANDSCHAFT MIT ERHABENER ARCHITEKTUR Öl auf Leinwand. Doubliert. 112 x 113 cm. In profiliertem bronziertem Rahmen. Bei niedrigem Horizont, weit in den Vordergrund gerückt, eine sich keilförmig in den Mittelgrund schiebende felsige Uferumrandung mit emporstrebendem Turm, der durch einen Seilzug und durch auf ihm wachsender Vegetation charakterisiert wird. Weit im Vordergrund Figurenstaffage mit Vieh und Booten, deren Takelage sich fein von dem abendlichen Himmel abzeichnet. Ein sehr ähnliches Gemälde, welches ebenfalls einen solchen Turm zeigt, bei ähnlicher Stimmung, wird beim RKD unter der Inv.Nr. 114438 registriert. Eine seitenverkehrte Darstellung, ebenfalls mit einer Turmarchitektur, wurde am 24.01.2002 bei Sotheby's, New York, als Lot 214a angeboten. (12903114) (13)
Hampel Fine Art Auctions
Nov. 03, 2021
JAN ASSELIJN (Dieppe 1610-1652 Amsterdam) A Group of Horses and Riders on the Outskirts of a Village.
Est: $1,500 - $2,500
JAN ASSELIJN (Dieppe 1610-1652 Amsterdam) A Group of Horses and Riders on the Outskirts of a Village. Brush and ink and wash on cream laid paper. 290x432 mm; 11 1/2x17 inches. Honig watermark. Provenance: Private collection, New York. Asselijn was a prominent landscape painter and draughtsman in the Dutch Italianate tradition. Born in the French town of Dieppe, as a child Asselijn moved with his family to Amsterdam in 1621. There he studied with Jan Martszen the Younger (circa 1609–after 1647), a specialist in battle scenes, and produced two cavalry scenes, dated 1634 and 1635. Like many Dutch painters seeking to perfect their art, Asselijn traveled to Italy after his early training, probably after November 1635. The experience would influence his painting for the rest of his career. In Rome, he became a member of the Bentvueghels (Dutch for "Birds of a Feather"), an association of northern artists who painted views of the sun-drenched Roman countryside, as well as picturesque scenes of everyday urban life. The group bestowed the nickname Crabbetje, or "little crab," on Asselijn because of his deformed left hand. Asselijn returned to the Netherlands by way of Lyon, France, where he married Antoinette Huart around 1644. He also stayed briefly in Paris, and made paintings for the Hôtel Lambert with Herman van Swanevelt (circa 1600-1655). While there, he also created preparatory drawings for three series of etchings of Roman ruins by Gabriel Perelle (1603-1677). By 1647, Asselijn had returned to Amsterdam, where Rembrandt made a portrait etching of him (Bartsch 277). Asselijn painted Italianate landscapes for the remaining five years of his short life.
Swann Auction Galleries
Nov. 02, 2021
Tableaux ASSELYN Jan (c. 1610 - 1652). (?).
Est: €1,800 - €2,400
TABLEAUX Huile sur toile marouflée sur toile "La halte des cavaliers devant la cascade sur fond de paysage italianisant". Monogrammé en bas à droite J.(...) fecit pour Jan Asselyn (?). Ecole hollandaise. Epoque: XVIIème. Dim.:+/-66x73cm. ASSELYN Jan (c. 1610 - 1652)
Vanderkindere
Oct. 16, 2021
Asselijn, Jan
Est: €180 - €270
(1610 Dieppe - Amsterdam 1652). 4 Radierungen, 17. Jh. Vue du Collisee. Perelle nach J. Asselijn bei Nicolas Langlois, Paris. Plgr. 27 x 18,7 cm. Titel, Sign. in der Platte. - Vue Fontaine proche de Lorette, Ruyine de S.te Croix de Ierusalem, La Grotte d'Avafarelle iu Charles le Quint fit dresser une table. Plgr. jew. ca. 27, 5 x 18, 7 bzw. 21,5 x 25,7 cm. Teilw. leicht braunfleckig. R
Kiefer Buch- und Kunstauktionen
Oct. 16, 2021
Asselijn, Jan
Est: €140 - €210
(1610 Dieppe - Amsterdam 1652). Temple de la ville Adrianne. Radierung. Perelle nach J. Asselijn bei P. Ferdinand. Paris. 17. Jhd. Plgr. 22,8 x 25,7 cm. In der Platte sign. Ein kl. brauner Fleck. ╔Dabei╗:Romantische Landschaft. Adam Perelle zugeschr. 17. Jhd. Plgr. 11 x 17,5 cm. Unter Passep. - Seelandschaft, mit Hirten und Herde. Radierung. Perelle. 10,5 x 21,4 cm. R
Kiefer Buch- und Kunstauktionen
Oct. 02, 2021
Jan Asselijn (1610-1652) - attributed to, Harbour with a Watchtower in the Evening
Est: €8,000 - €10,000
Jan Asselijn left the Netherlands via France for Rome at the end of 1635 and stayed in Rome until 1644. In Rome, he joined a Dutch painters' association - the Schildersbent. His return journey also took him via France, where he made stays in Lyon and Paris. In Paris, he painted landscapes with other artists for the Hôtel Lambert. Jan Asselijn is one of the most important Italian landscape painters; that is to say, the Dutch painters who painted Italian landscapes. In the middle distance, a watchtower rises dominant in the evening backlight, at a natural harbour on the southern coast. Behind it, the masts of two ships stand out. The view glides over the water surface of the bay to the horizon. On the right, houses of a settlement adjoin the rock with the tower. A fortress sits enthroned on the mountain. The left foreground is occupied by the bank with staffage. A boat is being unloaded. A group of young women next to a white horse and a bearded man on a horse are highlighted in terms of colour and light.
Fine Antiques Prague s.r.o.
Sep. 26, 2021
Jan Asselyn (Netherlands, France, 1610 - 1652)
Est: $1,000 - $2,000
Jan Asselyn (Netherlands, France, 1610 - 1652) Ink wash drawing of an Italianate landscape with figures. Signed lower left. Provenance: Dr. George Kofas collection, former professor of fine arts; University of Maryland overseas division, as well as a fine arts instructor for the Department of Defense. Sight Size: 8.75 x 6.75 in. Overall Framed Size: 15.5 x 14 in.
Helmuth Stone
Sep. 18, 2021
Jan Asselijn (1610-1652) - attributed to, Harbour with a Watchtower in the Evening
Est: €8,000 - €10,000
Jan Asselijn left the Netherlands via France for Rome at the end of 1635 and stayed in Rome until 1644. In Rome, he joined a Dutch painters' association - the Schildersbent. His return journey also took him via France, where he made stays in Lyon and Paris. In Paris, he painted landscapes with other artists for the Hôtel Lambert. Jan Asselijn is one of the most important Italian landscape painters; that is to say, the Dutch painters who painted Italian landscapes. In the middle distance, a watchtower rises dominant in the evening backlight, at a natural harbour on the southern coast. Behind it, the masts of two ships stand out. The view glides over the water surface of the bay to the horizon. On the right, houses of a settlement adjoin the rock with the tower. A fortress sits enthroned on the mountain. The left foreground is occupied by the bank with staffage. A boat is being unloaded. A group of young women next to a white horse and a bearded man on a horse are highlighted in terms of colour and light.
Fine Antiques Prague s.r.o.
Mar. 13, 2021
LANDSCHAFT MIT KAVALIER UND EINER DAME ZU PFERD. AM WEGESRAND ZWEI BAUERN MIT SCHAFEN AUF EINEM KURVENREICHEN WALDWEG
Est: €1,200 - €2,400
RefOld4321 JAN ASSELYN (ATTR.) About 1610 Dieppe (France) - September 28th, 1652 Amsterdam LANDSCAPE WITH A CAVALIER AND A LADY ON HORSEBACK. AT THE ROADSIDE TWO PEASANTS WITH SHEEP ON A WINDING ROAD Oil on canvas (relined). 43 x 48 cm (F. 56,5 x 61 cm). Signed lower left: 'JA (alloyed) sselin'. Verso: Stretcher with old paper label inscribed: '47 ASSELYN A landscape with a cavalier and lady on horseback, and two peasants with sheep on a winding road. From Mr. Cankrien' Collection'. Part. slightly old restored. Frame. Provenance: European Collection. Previously (probably): Bernardus Ewoud Cankrien Collection (Rotterdam).
Hargesheimer Kunstauktionen Düsseldorf
Feb. 10, 2021
Attribué à Jan Asselyn (1610-1652) Un cavalier demandant son chemin à deux moines
Est: €600 - €800
2. Attribué à Jan Asselyn (1610-1652) Un cavalier demandant son chemin à deux moines Huile sur toile 39 x 47 cm. Estimation : 600 / 800
Coutau-Begarie
Jan. 19, 2021
"Vue d'une porte le long d'une muraille à Rome" plume d'encre grise, lavis
Est: €500 - €700
"Vue d'une porte le long d'une muraille à Rome" plume d'encre grise, lavis et rehauts d'encre brune sur papier vergé filigrané partiellement collé. Attribué à Jan Asselyn. Ecole hollandaise. Voir en bas à gauche le cachet sec de collection du comte Moriz von Friez (Lugt 2903). Voir au dos plusieurs inscriptions dont la marque au crayon de F. W. Fink (Lugt 928) et celle au cachet de Carl Ritter von Zepharovich (Lugt 2675). (Légères déchirures). Dim.:+/-315x240mm.
Vanderkindere
Nov. 14, 2020
Jan Asselijn, Two Figures by Ancient Ruins
Est: €14,000 - €18,000
Monogrammed on the column: JA (conjoined)
Kunsthaus Lempertz KG
Oct. 17, 2020
JAN ASSELIJN, gen. CRABBETJE Dieppe um 1610 - 1652 Amsterdam: Bäuerliche Reisende in einer Felsgrotte, im Hintergrund der Blick auf eine Stadt.
Est: - €3,500
JAN ASSELIJN, gen. CRABBETJE Dieppe um 1610 - 1652 Amsterdam Bäuerliche Reisende in einer Felsgrotte, im Hintergrund der Blick auf eine Stadt. Oel auf Holz. Steland-Stief 89. - Verso auf Klebeetikett von J. M. Heberle (Lempertz Söhne, Köln) bezeichnet (teils typographisch) „Auction Wirt, etc.“, „No. 12“ und „Ankäufer: Dullens“, auf separatem Klebetikett nochmals mit der typographischen Katalognummer sowie auf weiterem Klebeetikett auf dem Spannrahmen in brauner Feder bezeichnet „F. S. 3., Asselyn, Landschaft mit Staffage“. 27,5 x 33,5 cm. Mit 2 Ausbrüchen im Malgrund am linken bzw. unteren Rand. Mit vereinzelten Bereibungen und winzigen Farbabsplitterungen. Gerahmt. [bg]
Winterberg-Kunst
Sep. 25, 2020
Jan Asselijn, um 1610 – 1652, Nachfolge des
Est: €3,000 - €5,000
FLUSSLANDSCHAFT Öl auf Holz. 18 x 23,5 cm. Rechts unten Signatur. Blick von erhöhtem Standpunkt aus auf eine an Felsmassiven liegende Flusslandschaft. Rechts des reißenden Stroms eine alte Hütte und ein Schäfer mit seiner Herde am Uferrand. Die linke Flussseite wird ganz eingenommen von zwei großen Felsblöcken, davon auf einem eine kleine Kapelle stehend, im warmen Licht der untergehenden Sonne. Feine Malerei in zurückhaltender Farbigkeit. (12414811) (18)
Hampel Fine Art Auctions
Sep. 23, 2020
JAN ASSELIJN (attr. a)
Est: €30 - €50
(Dieppe, 1610 - Amsterdam, 1652) Paesaggio con rovine e armenti Olio su tavola, cm 68X61 Dopo il suo apprendistato come pittore di paesaggi e battaglie con Esaias van de Velde, Asselyn si trasferì a Roma dal 1635 al 1644, dove rimase influenzato dal classicismo di Claude Lorrain. In quegli anni insieme ad altri artisti come Jan Both, Karel Du Jardin, Adam Pynacker, Nicholas Berchem e Jan Baptist Weenix, divenne uno dei paesaggisti più importanti, rappresentante di quel gusto italianizzante che si diffuse in tutta Europa. Tema prediletto del pittore era il ritrarre la campagna romana con le sue rovine esprimendo una sensibilità luministica peculiare, interpretando al meglio quella luce 'mediterranea' che seduceva gli artisti del nord. Queste caratteristiche si percepiscono bene nell'opera qui presentata, che descrive uno scorcio rurale con gli animali in primo piano, un pastore a cavallo e sul fondale antiche colonne e montagne, il tutto fuso in una soffusa ambientazione. Bibliografia di riferimento: AC Steland-Stief, Jan Asselyn, Amsterdam 1971, ad vocem
Wannenes Art Auctions
Jun. 19, 2020
JAN ASSELIJN
Est: CHF2,000 - CHF3,000
JAN ASSELIJN (Dieppe, c. 1610 - 1652 Amsterdam) River landscape with rocks and bridge. Black chalk, brush and grey ink. The framing line in pen and brown ink. 19 x 30 cm. Provenance: - Christian Hammer (1818-1905), Stockholm, Lugt 1238. - Private collection, Switzerland. --------------- JAN ASSELIJN (Dieppe, um 1610 - 1652 Amsterdam) Stromlandschaft mit Felsen und Brücke. Schwarze Kreide, Pinsel in Grau. Die Einfassungslinie mit brauner Feder. 19 x 30 cm. Provenienz: - Christian Hammer (1818-1905), Stockholm, Lugt 1238. - Privatbesitz Schweiz.
Koller Auctions
May. 28, 2020
A gentleman with a Grey Horse in a Cavernous Landscape
Est: €25,000 - €30,000
ASSELIJN, JAN ca. 1610 Dieppe - 1652 Amsterdam Title: A gentleman with a Grey Horse in a Cavernous Landscape. Technique: Oil on canvas. Mounting: Relined. Measurement: 75,5 x 95cm. Frame/Pedestal: Framed. Literature: - C. Blanc: Le trésor de la curiosité tiré des catalogues de vente de tableaux, Paris 1858, vol. I, p. 223; - C. Blanc: Histoires des Peintres, Paris 1863, vol. I, p. 4 with ill.; - I. Ledermann: Beiträge zur Geschichte des romantischen Landschaftsbildes in Holland und seines Einflusses auf die nationale Schule um die Mitte des 17. Jahrhunderts, Dissertation, Berlin 1920, p. 38; - A.C. Steland-Stief: Jan Asselijn, Amsterdam 1971, p. 91 and 138, cat. no. 94 (listed here with unknown location); - H.-J. Raupp (ed.): Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 2, Genre, Münster/Hamburg/London 1996, pp. 24-27, cat. no. 3 with ill.; - J.M. Kilian: The Paintings of Karel Du Jardin, Amsterdam und Philadelphia 2005, p. 287, cat. no. E6; - W. Pijbes, M. Aarts und M. J. Bok et al: At Home in the Golden Age. Exhibition catalogue Zwolle 2008, p. 76, cat. no. 61 with ill. Exhibitions: - "Art Treasures of Great Britain". Exhibition Manchester, 05.05. - 17.10.1857; - "At Home in the Golden Age". Exhibition Kunsthalle Rotterdam, 09.02. - 18.05.2008, no. 61. Provenance: - Collection Johan van der Marck (1707-72), Amsterdam; - Estate auction Hendrik de Winter and Jan Yver, Amsterdam, 25.08.1773, lot 2 (as Asselijn), for 540 Francs; - Collection Jan Danser Nyman; - Auction Philippe van der Schley, Amsterdam, 16.08.1797, lot 1 (as Asselijn), for 112 Francs; - Private collection, Great Britain (1857/58); - Collection Grégoire Koucheleff-Besborodko (1832-70); - Auction Durand-Ruel, Paris, 05.06.1869, lot 15 (as Karel du Jardin); - Auction ChristieÂ´s, New York, 03.06.1987, lot 120 (as Asselijn), acquired there. "Bilder, die sich am realen Leben orientieren, müssen nicht zwangsläufig alltäglich sein. Dies zeigt in exzeptioneller Weise Jan Asselijns brillantes Genregemälde. Ein vornehmer Herr hat in einer Felsenkluft Rast eingelegt, um sich und seinem nicht weniger vornehmen Pferd ein wenig Erholung am Brunnen zu verschaffen. Nur partiell beleuchtet erschließt sich dem Betrachter der verschlungene, höhlenartige Schauplatz, in dem noch andere Figuren ihren unterschiedlichen Tätigkeiten nachgehen. Detailgenau und von nahezu illusionistischer Malweise wird die Szenerie dem Betrachter vor Augen gestellt. Die offensichtliche Darlegung beschränkt sich jedoch ausschließlich auf die malerische Form. Das Rätsel des wohlhabenden Herrn in prächtiger Reisegarderobe wird hinter den perfekt gemalten Stofflichkeiten verborgen. Was dieser mit seinem nicht minder edlen Reittier in der düsteren Gegend treibt, bleibt weiterhin sein Geheimnis, das nicht gelüftet wird. Technisch ähnlich virtuos auf der Klaviatur der künstlerischen Verrätselung spielt auch der Ausnahmekünstler Nicola Samori in seinen Gemälden. Schemenhaft wird im vorliegenden Werk die Silhouette einer Frau mit glattem gescheiteltem Haar sichtbar, wobei sich das Aussehen der Dame weniger erkennen als erahnen lässt. Sachte wendet sie sich dem Betrachter zu. Vermutlich ist es nicht nur der Sehnsucht unseres Auges geschuldet, dass man ergründen möchte, wer denn diese in ihrer Dunkelheit so zauberhaft stille Schönheit nun ist. Lediglich durch den schmalen Farbstreif, der sanft ihr Antlitz berührt, scheint sie sich der Wirklichkeit zu nähern, um ihr sogleich wieder zu entschwinden. Als hätte er über sein eigenes Werk einen zarten dunklen Schleier gelegt, verbirgt Nicola Samori partiell dem Betrachter, was er ihm eigentlich offenbaren möchte. Ähnlich dem niederländischen Maler spielt auch der italienische Künstler im 21. Jahrhundert mit dem nie aus der Mode kommenden Interesse des Publikums nach der Erkenntnisdimension, die sich hinter dem Sichtbaren verbirgt. Je mehr sich diese entzieht, desto neugieriger bleibt der Betrachter zurück." Prof. Dr. Teresa Bischoff The sale of the SØR Rusche Collection is a concept auction, creating a dialogue between paintings by Old Masters and works by contemporary artists. Presented in pairs, the artworks communicate with each other, though each single piece is on offer as a separate lot. The present lot corresponds with lot no 1562.
Van Ham Kunstauktionen
Feb. 04, 2020
Jan Asselijn (ca. 1610-1652) (entourage de / omgeving van)Paysage italianisant avec personnages et troupeaux
Est: €1,200 - €1,500
Huile sur toile.
Brussels Art Auctions
Dec. 04, 2019
Attributed to Jan Asselijn (Dieppe after 1610-1652 Amsterdam) - An Italianate landscape with figures feeding their dogs
Est: £5,000 - £8,000
Attributed to Jan Asselijn (Dieppe after 1610-1652 Amsterdam) An Italianate landscape with figures feeding their dogs oil on canvas 20 x 17 in. (50.8 x 43.2 cm.)
Christie's
Jul. 04, 2019
Jan Asselijn (Dieppe after 1610-1652 Amsterdam) An Italianate landscape with travellers by a stream with cattle oil on canvas, unframed 22 x 26 1/8 in. (55.8 x 66.3 cm.)
Est: £200,000 - £300,000
Jan Asselijn (Dieppe after 1610-1652 Amsterdam) An Italianate landscape with travellers by a stream with cattle signed with monogram 'JA' (lower right) oil on canvas, unframed 22 x 26 1/8 in. (55.8 x 66.3 cm.)
Christie's
May. 22, 2019
Jan Asselijn (circa 1610-1652)
Est: €4,000 - €6,000
An italianate landscape at sunset with Tobias and the fish oil on copper mounted on panel, 15x26 cm signed with monogram (lower right)
Venduehuis der Notarissen
May. 22, 2019
Jan Asselijn (circa 1610-1652)
Est: €4,000 - €6,000
Herdsmen with their flock in an italianate grotto oil on copper mounted on panel, 15x25,5 cm signed with monogram (lower right)
Venduehuis der Notarissen
May. 01, 2019
Jan Asselijn (Dieppe 1610-1652 Amsterdam) A military skirmish in a wooded l
Est: $7,000 - $10,000
Jan Asselijn (Dieppe 1610-1652 Amsterdam) A military skirmish in a wooded landscape oil on panel 15 7/8 x 28 1/8 in. (40.3 x 71.4 cm.)
Christie's
Apr. 10, 2019
Jan Asselijn (Dieppe circa 1610-1652 Amsterdam) An Italianate landscape with a shepherd before classical ruins, possibly the Baths of Diocletian
Est: £8,000 - £12,000
Jan Asselijn (Dieppe circa 1610-1652 Amsterdam) An Italianate landscape with a shepherd before classical ruins, possibly the Baths of Diocletian signed and dated 'Jean Aslein/ 1641' (on rock, lower left)oil on canvas51.7 x 67.8cm (20 3/8 x 26 11/16in). Provenance: Private Collection, Lyon
Bonhams
Mar. 27, 2019
Jan ASSELYN Dieppe, vers 1600 - Amsterdam, 1652 Vue d'un pont en Italie Lavis gris sur trait de crayon
Est: €800 - €1,200
Jan ASSELYN Dieppe, vers 1600 - Amsterdam, 1652 Vue d'un pont en Italie Lavis gris sur trait de crayon Annoté 'Porte Longano' en haut au centre et 'Asselin' sur le montage en bas à gauche A view of an Italian bridge, grey wash and black chalk, inscribed, by J. Asselyn h: 21,30 w: 34 cm Estimation 800 - 1 200 €
Artcurial
Dec. 06, 2018
JAN ASSELIJN | Two cavalry skirmishes
Est: £8,000 - £12,000
both oil on oak panel, oval
Sotheby's
Dec. 05, 2018
Jan Asselijn (Dieppe circa 1610-1652 Amsterdam) Peasants merrymaking among ruins, an Italianate landscape beyond
Est: £12,000 - £18,000
Jan Asselijn (Dieppe circa 1610-1652 Amsterdam) Peasants merrymaking among ruins, an Italianate landscape beyond signed with monogram 'JA' (lower right)oil on canvas61.2 x 50.8cm (24 1/8 x 20in). Provenance: Sale, Bonhams, London, 14 December 1978, lot 30With Rafael Valls, London, 1979 Private Collection, Germany, 1986 (according to literature)Sale, Sotheby's, New York, 25 January 2001, lot 108ExhibitedCologne, Wallraf-Richartz Museum, I Bamboccianti. Niederländische Malerrebellen im Rom des Barock, 28 August- 17 November 1991, cat. no. 1.1Utrecht, Centraal Museum, I Bamboccianti. Niederländische Malerrebellen im Rom des Barock, 6 December 1991 - 9 February 1992, cat. no. 1.1LiteratureWeltkunst, vol. 49, no. 13, 1 July 1979, p. 1630A-C. Steland-Stief, in D. Levine & E. Mai (ed.), I Bamboccianti. Niederländische Malerrebellen im Rom des Barock, exh. cat. 1991, pp. 114-116, cat. no.1.1, ill., p.115Anne-Charlotte Steland-Stief suggests that the present work dates from Asselijn's early Italian period, circa 1639-40 (see Literature). During this period Asselijn was influenced by a group of Dutch Italian artists, including Pieter van Laer, known collectively as the Bamboccianti.The motif of peasants and animals in Roman ruins was a popular subject for Asselijn, and one that he repeated throughout his Italian period and continued to do so after his return to The Netherlands. A similar work, also dated to Asselijn's early period in Rome, is in the Wadsworth Atheneum, Hartford (inv. no. 1917.1).
Bonhams
Jul. 05, 2018
JAN ASSELYN | The Battle of Lützen, 1632, with King Gustav Adolf II of Sweden
Est: £20,000 - £30,000
oil on oak panel
Sotheby's
Oct. 25, 2017
Jan Asselijn (Dieppe circa 1610-1652 Amsterdam) An Italianate landscape w
Est: £8,000 - £12,000
Jan Asselijn (Dieppe circa 1610-1652 Amsterdam) An Italianate landscape with a shepherd before classical ruins, possibly the Baths of Diocletian
Bonhams
Jun. 10, 2017
ATTRIBUTED TO JAN ASSELIJN (DUTCH, 17TH CENTURY) ITALIANATE LANDSCAPE WITH FIGURES IN THE FOREGROUND Oil on canvas: 13 x 15 1/2 in.
Est: $4,000 - $6,000
ATTRIBUTED TO JAN ASSELIJN (DUTCH, 17TH CENTURY) ITALIANATE LANDSCAPE WITH FIGURES IN THE FOREGROUND Oil on canvas: 13 x 15 1/2 in. Framed; verso inscribed: par/Asselyn
Potomack Company
May. 03, 2017
JAN ASSELYN | The Waterfalls at Tivoli
Est: £15,000 - £20,000
oil on copper
Sotheby's
May. 21, 2016
Jan Asselijn, Gustavus Adolphus of Sweden at the Battle of Lützen
Est: €40,000 - €50,000
Signed and dated lower right: Jan.aslein. 1635 The battle of Lützen in the year 1632 was one of the most significant military events of the Thirty Years' War. The young Jan Asselijn depicted it in this large-format painting just three years later. The viewer's gaze is led from the large tree in the foreground on the left across an expansive plane with the silhouette of the town of Lützen in the distance. The centre of the composition is occupied by a group of cavalrymen, within which one figure in a broad brimmed hat and blue sash features particularly prominently. The figure in question is Gustavus Adolphus II of Sweden who, although he died in this battle, is here depicted as a dynamic commander. The dead soldiers and animals in the foreground represent the horrors of war, and the extent of the battle becomes clear when we observe the myriad of mounted soldiers in the background of the image. Jan Asselijn follows a composition scheme for battle scenes developed in the 1620s by Esaias van de Velde. The tree on the left side of the work, the corpses in the foreground and the group of riders attacking were all elements already found in the works of van de Velde as well as other military painters such as Asselijn's tutor Jan Martsen. Whereas most contemporary Dutch “battaljes” showed single skirmishes, Jan Asselijn extends the composition into an expansive military scene with Gustavus Adolphus as an identifiable figure amid a mass of cavalrymen and foot soldiers. With Albrecht von Wallenstein on the side of the emperor and Gustavus Adolphus II of Sweden leading the Protestant faction, the battle of Lützen brought together two main protagonists of the Thirty Years' War as opponents on the field. The Protestants were able to force the imperial army into a retreat, but Gustavus Adolphus fell in the battle. Asselijn glorifies the Swedish king as the leader of the Protestant army for the art patrons of the northern Netherlands, who naturally supported this cause. The artist left for Italy just one year after the completion of this painting, where he henceforth devoted himself entirely to the depiction of Italianate landscapes.
Kunsthaus Lempertz KG
Apr. 28, 2016
JAN ASSELYN Landscape with a Shepherd on a Path.
Est: $1,000 - $1,500
JAN ASSELYN Landscape with a Shepherd on a Path. Pencil and brown and black chalks on cream laid paper. 207x321 mm; 8 1/4x12 3/4 inches. Purchased Jerrold Morris Gallery, Toronto, 1969.
Swann Auction Galleries