[Fire fighting]. Heyden, Jan van der (1637-1712). "Afbeelding van Brandt ontstaan den 5 December 1658. op d'Oude Schans; vertoonende het neerstorten van de Geevel, op de Oude Spuiten en mensen die daar aan arbeyde (...)." Etching w. engraving, 35x23 cm. (incl. captions), with engraved captions in Dutch and French below, from Beschryving der nieuwlyks uitgevonden en geoctrojeerde Slang-Brandspuiten (...), 1735. - Narrow margins; trilfe frayed. = Hollstein 16; F.M. 2301, 4. "Afbeelding van den Brand van den Schouwburg te Amsterdam, den 11den May, 1772." "Afbeelding van de Schouwplaats gedurende den Brand (...)." Two engravings by Cornelis BOGERTS after Pieter BARBIERS, 21x33,2 cm., with engraved captions in Dutch and French below, Amst., T. Crajenschot, 1772. - Both fine. = F.M. 4252-a/3. AND 7 others similar, i.a. a series of 4 engravings of different phases of a fire in Leyden (by Noach VAN DER MEER, Leyden, C. van Hoogeveen, 1766) and a large engraving of the ruïns of the powder factory De Munnik in Purmerend (by Cornelis BOGERTS after Hendrik DE KEUN, Amst., J. Smit en zonen, ±1780).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
BLICK AUF EINEN HOLLÄNDISCHEN KANAL Öl auf Holz. 23 x 31 cm. Verso auf Holz alter Aufkleber mit Künstlernennung. In dekorativem Rahmen. Blick über einen Kanal mit Boot und Zugbrücke auf die von der Sonne beschienenen, geklinkerten Häuser einer holländischen Stadt, vor denen ein breiter Weg aus Kopfsteinpflaster verläuft, auf dem einige elegant gekleidete Figuren zu erkennen sind. Im Hintergrund unter hohem hellblauen Himmel ragt der Turm einer Kirche in die Höhe. (13810519) (18)
[Fire fighting]. Heyden, Jan van der (1637-1712). "Afbeelding van den Brand van den Schouwburg te Amsterdam, den 11den May, 1772. Van de Keizersgracht te zien." Nicely handcol. engraving by Cornelis BOGERTS after Pieter BARBIERS, 21x33,2 cm., with engraved captions in Dutch and French below, Amst., T. Crajenschot, 1772. - Vague oblique fold mainly in blank margin lower right corner. = F.M. 4252-a/3.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Heyden, Jan van der Gorinchem 1637 - Amsterdam 1712 21,5 x 22 cm Blick auf einen großen Stadtplatz. Öl/Lwd./Holz. Der Kirchturm rechts zeigt Ähnlichkeiten mit dem Willibrordi-Dom in Wesel. Niederländische Privatsammlung. Lit.: Publiziert in: Hofstede de Groot, 1907-1927 (engl. Ausgabe) Nr. 179a (?); Helga Wagner, Jan van der Heyden 1637-1712, Amsterdam-Haarlem 1971, WVZ S. 90, Nr. 106 mit Abb. auf S. 151. Das Gemälde ist ferner im RKD, Den Haag unter der Nr. 64918 registriert, dort die Figurenstaffage Adriaen van de Velde (1636-1672) zugeschrieben. Heyden, Jan van der Gorinchem 1637 - Amsterdam 1712 21,5 x 22 cm View of a large town square. Oil/canvas/panel. The steeple on the right side shows similarities to Willibrordi Cathedral, Wesel. Dutch private collection. Lit.: Published in: Hofstede de Groot, 1907-1927 (English edition) no. 179a (?); Helga Wagner, Jan van der Heyden 1637-1712, Amsterdam-Haarlem 1971, catalogue raisonné p. 90, no. 106 with ill. on p. 151. The painting is further registered in the RKD, The Hague, under no. 64918, there the staffage figures attributed to Adriaen van de Velde (1636-1672).
[Firefighting]. Heyden, J. van der (1637-1712). Lot of 13 engraved plates, from Beschryving der nieuwlyks uitgevonden en geoctrojeerde Slang-Brand-Spuiten (...), various sizes, Amst., 1735. - All plates tipped onto mounts at corner(s) or along one side; most plates without the plate number that was engraved on a separate plate above the image; one plate discoloured/ sl. stained; one plate sl. dam. along left margin (strengthened). = Comprises the following plates: F.M. 2301, 1a, 4a, 5a, 6, 9a, 11a, 13a, 14a, 16, 19a, 22c, 24c and 25.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
[Firefighting]. Heyden, J. van der (1637-1712). "Afbeelding van Brandt ontstaan den 5 December 1658. op d'Oude Schans; vertoonende het neerstorten van de Geevel, op de Oude Spuiten en mensen die daar aan arbeyde (...)." "Afbeelding van Brand, op de Leidze Graft ontstaan den 12de January 1684, in zeer harde Vorst (...)". Two etchings w. engraving, both ±35x25 cm., with engraved captions in Dutch and French below, from Beschryving der nieuwlyks uitgevonden en geoctrojeerde Slang-Brandspuiten (...), 1735/ 1690. = Hollstein 16 and 20; F.M. 2301, 4 and 16.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
[Heyden, J. van der]. Wagner, H. Jan van der Heyden 1637-1712. Amst./ Haarlem, Scheltema & Holkema, 1971, 183p., col. tipped-in frontisp., 218 ills., orig. cl., 4to. = Fine copy of the first ed. of the paintings catalogue of Jan van der Heyden, painter and inventor of the improved fire hose.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
[Firefighting]. Heyden, J. van der (1637-1712) (attrib.). "Swaaren Brandt tot Amsterdam, tusschen d'Elands graft en Straat op den 27 July 1679 (...)". Etching, 1690, 28,5x41 cm. (image), caption below, framed. - Small tear in caption. = Hollstein ; F.M. 2301-8a (before the caption above).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
[Firefighting]. Heyden, J. van der (1637-1712) (attrib.). "Afbeelding van een rang huizen op de Heere gragt: in welks middelste, tussen den 25 en 26sten 1683, 's middernachts, een zwaaren brandt ontstondt (...)". Handcol. engraving, 35,3x22,7 cm., w. Dutch and French 4-line caption below. - Closed tear in right blank margin. = From J. van der Heyden, Beschryving der nieuwelyks uitgevonden en geoctrojeerde Slang-Brand-Spuiten en haare wyze van Brand-Blussen (...) (Amst., 1690). Hollstein 14. Attractive vibrant colouring.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
[Firefighting]. Heyden, J. van der (1637-1712). Lot of 13 engraved plates, from Beschryving der nieuwlyks uitgevonden en geoctrojeerde Slang-Brand-Spuiten (...), various sizes, Amst., 1735. - All plates tipped onto mounts at corner(s) or along one side; most plates without the plate number that was engraved on a separate plate above the image; one plate discoloured/ sl. stained; one plate sl. dam. along left margin (strengthened). = Comprises the following plates: F.M. 2301, 1a, 4a, 5a, 6, 9a, 11a, 13a, 14a, 16, 19a, 22c, 24c and 25. SEE ILLUSTRATION PLATE CIII.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
[Firefighting]. Heyden, J. van der (1637-1712). "Afbeeldinghe van de Nieu geinventeerde en geoctroyeerde Slang-Brandspuyten. Vertoonende des selfs Figuur en manier van gebruyck. Nieuwelyck uytgevonden, in Practyck gebragt, en naar alle gelegenheeden van Plaats en Waateren bequaamelyk geschikt door Jan vander Heyde, en Jan vander heyde [sic] de Jonge, Generaale Brand Meesters der Stad Amsterdam." Large broadside, totally measuring 59x46 cm. (leaf), the upper half consisting of an etching (29,5x45 cm.) showing fire fighting operations in an Amsterdam setting w. engr. title in Dutch and French, with a strip (6,3x45 cm.) with engr. explanatory text (in Dutch and French) and 4 small engrs., the lower half with 4 columns letterpress in Dutch and French (2 columns each), without address. - Browned; white mouldy(?) spot in French title. = F.M. 2301, 30c, 2nd state: "De personen bij spuit A, B, C, E, F zijn geëtst door J.v.d.Heide." Muller supposes: "(...) een plein met een groot gebouw in brand, (het Zeeregt? aan de Buitenkant) en eene kerk (Oudezijds Kapel?) en toren (Montelbaans?- doch dan verkeerd geteekend)".
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
(Gorkum 1637–1712 Amsterdam) Strassenszene vor der Kirche Sankt Severin, Köln. Öl auf Holz. Verso Etikett von D.A. Hoogendijk & Co., Amsterdam und Wachssiegel "ogni medaglio ha il suo reverso". 32,3x43,5 cm.
Jan Van Der Heyden Dutch 1637-1712 An Imaginary View of a Town with Elegant Figures Strolling and Conversing on a Square Oil on panel Signature l.l. 13" x 15.5" actual Provenance: Private Collection France, Sotheby's "Old Master Paintings" Lot 64, Amsterdam, May 9th, 2006, Private Collection San Francisco, California Other Notes: Will be published in the upcoming catalogue raisonné by Dr. Peter C. Sutton.
(Gorkum 1637–1712 Amsterdam) Strassenszene vor der Kirche Sankt Severin, Köln. Öl auf Holz. Verso Etikett von D.A. Hoogendijk & Co., Amsterdam und Wachssiegel "ogni medaglio ha il suo reverso". 32,3x43,5 cm.
(Gorkum 1637–1712 Amsterdam) Strassenszene vor der Kirche Sankt Severin, Köln. Öl auf Holz. Verso Etikett von D.A. Hoogendijk & Co., Amsterdam und Wachssiegel "ogni medaglio ha il suo reverso". 32,3x43,5 cm.
Jan van der Heyden (Gorinchem 1637-1712 Amsterdam) A townscape with figures promenading, a church beyond oil on panel 15 ¾ x 19 1/8 in. (40 x 48.6 cm.)
JAN VAN DER HEYDEN (1637-1712), VIEW OF A JESUIT CHURCH-DÜSSELDORF important oil painting on canvas, with a seal stamp at the back, from an unidentified collection. It is one of two works by the painter on this church. Origin: Private Collection. This work was displayed ath the Lemperdz-Köln, in 20/11/2010, and at the
Attributed to Pierre Patel the Younger Cappriccio of Antique Ruins with Figures and a Fountain Gray wash on paper, squared for transfer 9 1/2 x 6 1/4 inches (24 x 16 cm); Together with Jan van der Heyden, Dutch, 1637-1712, Studies of Figures: a double-sided drawing, black chalk on paper, 4 x 9 inches (10.1 x 22.8 cm) For comparison to this sheet, see K.G. Boon and P. Schatborn, Dutch Genre Drawings of the Seventeenth Century (New York, Boston and Chicago, 1971-73), no. 50. C
Attributed to Jan van der Heyden (Gorinchem 1637-1712 Amsterdam) A sheet of studies of figures with barrels and packages with inscriptions 'J Berckheyde' and 'Beerstraaten' (verso) graphite, brown ink framing lines, watermark three circles surmounted by a cross 5¾ x 7½ in. (14.6 x 18.9 cm.)
Jan Van der Heijden (Heyden) (1912- ), Dutch MOLEN AARLANDERVEEN, NETHERLANDS; Oil on canvas; signed lower right, titled to the stretcher 15.75" x 11.75" - 40 x 29.8 cm. Provenance: Gebr. Koch Kunsthandel, Den Haag
Boek: Jan van der Heyden (1637-1712), 1735 "Beschrijving der Nieuwlyks Uitgevonden en Geoctrojeerde Slang- Brand-Spuiten" en haare wijze van brand-blussen, tegenwoordig binnen Amsterdam in gebruik zijnde tweede druk voor de Erfgenaamen van Jan van der Heyden
JAN VAN DER HEYDEN GORINCHEM 1637 - 1712 AMSTERDAM VIEW OF GOUDESTEIN WITH A WOMAN AND CHILD WALKING BESIDE A DYKE signed with monogram: JVH oil on panel 9 by 11 1/4 in.; 23 by 28.5 cm.
attrib. JAN VAN DER HEYDEN (Dutch, 1637-1712) view of Amsterdam unsigned, o/c (19th c. reline), 23.5 by 29 in., good gilt frame with fruit corners From an old South Shore family. Condition: dirty needs cleaning: craquelure through out; some paint loss around edges; black lights fine. Lighter area in sky left spot cleaned.
Jan Van der Heyden (after) Dutch (1637-1712) DUTCH HARBOR SCENE oil on panel, framed, unsigned H20" W32 1/2" Provenance: Property deaccessioned from the Centennial Museum at the University of Texas at El Paso to benefit the Museum Collections Fund. (Accession #78.33.268)
Circle of Jan van der Heyden (Gorinchem 1637-1712 Amsterdam) The outskirts of a town with cottages and a castle, a church and a windmill beyond oil on canvas 85 x 113.3 cm.
Jan van der Heyden (Gorinchem 1637-1712 Amsterdam) A wooded landscape with a figure in a park indistinctly signed 'V.D.H.' (lower right) oil on panel 6¾ x 9 1/8 in. (17.2 x 23.2 cm.)
SOLD BY THE J. PAUL GETTY MUSEUM TO BENEFIT FUTURE PAINTING ACQUISITIONS THE INN OF THE ZWARTE VARCKEN ('BLACK PIG'), MAARSSEVEEN measurements note 18 1/4 by 23 3/4 in.; 46.4 by 60.3 cm. signed on the upper wooden beam of the lock: VHeyde (VH in compendium) oil on panel PROVENANCE Jan van der Heyden (1637-1712) and by inheritance to his wife, Sara Tiel on his death in 1712 (mentioned in the will as "8. de Vegt met de Herberg vant Swarte Varke...80" (8. The Vecht with the Inn of the Black Pig. 80 [guilders]); Sara Tiel, and by inheritance to her son, Samuel van der Heyden, on her death in 1712; Samuel van der Heyden, and then by inheritance to his sister, Sara, on his death in 1729; Sara van der Heyden, and then by inheritance to the husband of her niece, Jan Brants, on her death in 1738; Jan Brants, and by inheritance to his son, Jan Jacob Brants; Jan Jacob Brants, by whom possibly sold to Alexandre Joseph Paillet through Jan de Bosch Jerzυ.1; Alexandre Joseph Paillet (1743-1814), Paris; His deceased sale, Paris, Paillet, June 2, 1814, lot 8, to A.J.E. Lerouge, for 672 or 677 francs; A.J.E. Lerouge (died 1833); Imported to England by Clifford Waterman Chaplin (a dealer and friend of John Smith) between 1834 and 1842; Private Collection, M. F...; His sale, Paris, Galerie Petit, May 21, 1928, lot 25 ('L'Auberge au bord du canal'), through M. Eknayan to Nicolaas Beets; Nicolaas Beets, Amsterdam, until at least 1935; H.P. Doodeheefver, The Netherlands, by 1937 (according to H. Wagner, see Literature); Herberg van der Wacht; Anonymous sale, London, Sotheby's, June 24, 1959, lot 82 (as 'The Toll House as Maarsen'; the figures attributed to Adriaen van de Velde), where acquired, through Erik Estorick, by J. Paul Getty for £7,800; J. Paul Getty, Sutton Place, Surrey, and donated by his estate to the J. Paul Getty Museum, California, in 1978, no. 78.PB.200. EXHIBITED Brussels, Cinq siècles d'art. Exposition Universelle et Internationale, May 24-October 13, 1935, no. 735 ('Auberge au bord du Vescht', where lent by Nicolaas Beets); Amsterdam, Sint Anthoniswaag, Jan van der Heyden: beschrijving van de tentoonstelling in het Amsterdamsch Historische Museum, 1937, no. 8. LITERATURE J. Smith, Supplement to the Catalogue Raisonné..., vol. IX, London 1842, p. 647, no. 19; C. Blanc, Le Trésor de la Curiosité, vol. II, Paris 1858, p. 301 (as with figures by Van de Velde); C. Hofstede de Groot, A Catalogue raisonné..., vol. VIII, London 1927, p. 417, no. 319 (The bank of a canal with an Inn...); Probably A. Bredius, "De Nalatenschap van Jan van der Heyden's weduwe", in Oud Holland, 1912, p. 135, no. 8 ('De Vegt met de Herberg vant Swarte Varke'; 'The Vecht with the Inn of the Black Pig'); H. Wagner, Jan van der Heyden 1637-1712, Amsterdam 1971, no. 181 (figures by Van de Velde); G. Schwartz, "Jan van der Heyden and the Huydecopers of Maarsseveen", in The J. Paul Getty Museum Journal, 1983, pp. 197-220; G. Schwartz, "The need for art: a critical view", in Dutch Heights, 1987, p. 25; D. Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Los Angeles, 1997, p. 59, reproduced; W.S. Gibson, Pleasant Places: The Rustic Landscape from Brueghel to Ruisdael, Berkeley/ Los Angeles 2000, pp. 109-113, 216 note 105, reproduced plate 7; P.C. Sutton, Jan van der Heyden (1637 - 1712), exhibition catalogue, Bruce Museum, Greenwich 2006, p. 24. NOTE Jan van der Heyden painted fourteen views of Maarssen and its daughter village Maarsseveen in the 1660s and 1670s, yet no other painter is recorded as having worked there. At this time, the lordship of Maarsseveen was held by the second Joan Huydecoper (1625-1704), a member of an extremely powerful family of Amsterdam burgomasters and a great patron of the arts in that city.υ1 The Huydecopers, who owned the building depicted in the present work, and used it as the administrative seat of their heerlijkleid, or manor,υ2 turned Maarsseveen from a sleepy farming village into a highly sophisticated country retreat for the Amsterdam rich. Some of Van der Heyden's paintings of the village were no doubt used by the family for propogandist purposes. Van der Heyden painted the Huydecoper's estate at Goudestein on the river Vecht near Maarssen on numerous occasions; see, for example, the view sold New York, Sotheby's, January 12, 1989, lot 118, or that in London, Apsley House, no. 1501. In Amsterdam Huydecoper appointed Van der Heyden supervisor of both streetlighting and, with his brother Nicolaas, of the city fire pumps; as a result the city bought all of its firefighting equipment from the brothers which, together with the large accompanying salaries, rendered their personal wealth considerable. The sign shown on the inn displays the arms of the Maarsseveen and here the local officials would meet to administer justice and law. The exact site is today easily identifiable. Van der Heyden chose the spot where the Vecht joins the Dipendaalse Dijk. The Vecht, seen beyond the inn, bends sharply at this point so that, were the barge directly beneath the sign to start in motion, it would disappear to the right before reappearing in front of the distant stone gate, moving right to left. The vaart in the foreground where the women are washing clothes runs for only a few hundred yards north-eastwards where it joins another canal, the Zogwetering. One of the vaart's functions was to drain water from the Zogwetering to the Vecht, via the lock. Today, in place of the inn stands a house. The lock has been modernised but maintains its old shape, and a road now passes along the bank between the water and the building. The stone gate in the distance, which served as the entrance to Otterspoor or Gansenhoef, no longer exists. 1 According to Gary Schwartz ("Jan van der Heyden and the Huydecopers of Maarsseveen", in The J. Paul Getty Museum Journal, 1983, pp. 198-200), Brants sold at least one other painting by Van der Heyden to Paillet through Jan de Bosch Jerz. (View of the Dam in the Louvre, Paris, for which Paillet paid 6,000 guilders) and so this work may have taken the same route to him. 2 P.C. Sutton, op. cit., p. 24.
JAN VAN DER HEIDEN BESCHRYVING DER NIEUWLYKS UITGEVONDEN EN GEOCTROJEERDE SLANG-BRAND-SPUITEN AMSTERDAM, JAN RIEUWERTSZ (1690) in-folio (430 x 253 mm) de 4 ff., 50 pp., et un f. (recto "Naberigt" ; verso : blanc), vélin ivoire, jeux d'encadrement de filets à froid sur les plats, grand écoinçon central, fer à froid en angles, dos muet à nerfs, tranches mouchetées (reliure de l'époque). ÉDITION ORIGINALE du plus beau livre consacré aux incendies. Exemplaire de choix, réunissant deux des rarissimes placards publicitaires édités par la firme van Heiden, ainsi que certaines des planches de la seconde édition. Petite déchirure consolidée en marge de la planche 6, et des pages 5, 15 et 19. -- Un mors restauré. PROVENANCE F.C. Koch (ex-libris). LITERATURE Hyatt Mayor, Print & People, Metropolitain Museum of Art, 1971, 447 ("The first manual of fire fighting") ; Hollstein, IX, p. 24, n° 1 à 19 ; H. Wagner, Jan van der Heyden, Amsterdam, 1971 ; Benezit, VII, p. 26. NOTE Les van der Heiden, Jan (1637-1712) et Nicolaas (1640-1682), hydrauliciens reconnus, furent successivement responsables du service de lutte contre l'incendie de la ville d'Amsterdam. Utilisant jusqu'alors un matériel rudimentaire, ils créèrent en 1672 une pompe portative munie dans sa partie aspirante et refoulante d'un "boyau" ou tuyau, permettant dans un premier temps de pomper depuis n'importe quel point d'eau (canaux, réservoirs...) et donc de se passer du sceau de cuir, et deuxièmement, de pouvoir accéder avec plus d'efficacité aux foyers éloignés. Leur invention fut saluée partout en Europe. François du Mouriez des Periers en introduisit l'usage en France au début du XVIIIe siècle, lorsqu'il fut chargé de créer et d'organiser le premier corps de pompiers à Paris. 19 fantastiques planches gravées, ici en premier tirage, accompagnent le texte. À simple ou double page, elles mettent en scène les différents incendies qui ravagèrent certains quartiers et édifices d'Amsterdam en 1652 et 1684, donc avant et après l'invention de cette fameuse pompe. Les planches sont légendées en hollandais et en français. Bien qu'anonymes, Hollstein les attribuent à Jan van der Heiden, qui fut également un célèbre peintre d'architecture, notamment reconnu pour la qualité de la couleur de ses clairs-obscurs. Au moment de la reliure, son premier propriétaire a enrichi l'exemplaire des pièces suivantes : 1 - "De Nieuw Geinventeerde Slang-Brandspuyten", "Les Pompes à boyaux". Placard publicitaire (circa 1680 ?), gravé par Stoopendael d'après Jan van der Heyden. Privilège par Jean van der Heyde, le Père et le Fils. Texte sur deux colonnes à 39 lignes, français et hollandais. 56,4 x 45,7 cm. Gravure : 35,5 x 45,8 cm. Petite déchirure considérée. Hollstein, XXVIII, p. 136, n° 1. 2 - "De Nieuw Geinventeerde Slang-Brandspuyten", "Les Pompes à boyaux". Placard publicitaire. Privilège par Jean van der Heide, le Père et le Fils. Texte sur deux colonnes à 37 lignes, français et hollandais. 56,4 cm x 43,1. Gravure anonyme : 31,9 x 42,1 cm. Déchirure restaurée atteignant la gravure. 3 - "Albeelding van der DAM, ... en de Oude-Kercks-Toonen Van Amsterdam". Gravure de Jan van Vianen d'après Jan van der Heiden. 58,7 x 69,5 cm. Petites cassures dans les plis. Hollstein, XXXV, p. 182 n° 10 et IX, p. 25, 15. 4 - 2 gravures, réenmargées au format du livre, de Laurens Scherm, ayant servi à l'illustration de l'édition de 1735. Hollstein, XXIV, p. 168, n° 1 et p. 169, n° 2 (État avant la lettre). 5 - Une gravure non signée, au format de celles du livre. "... Brood-bakery op Vloonburg... 13 april 1682...", "... boulangerie à Vloonburg...". Elle est placée après la pl. 12. 6 - 4 gravures ("... van verscheyde brandspuyten...", "... exercitie der Slangbrandspuyten...", "... Amsterdam, aan de Wester Tooren...", "... torren Van Andwerpen..."). Elles sont réenmargées au format du livre. La dernière est signée Scherm. 7 - Une planche, non signée, figurant un matériel de lutte contre l'incendie. 13,1 x 19,4 cm.
A LANDSCAPE WITH CATTLE GRAZING IN AN OPEN FIELD BEFORE A MANOR HOUSE, A MILKMAID AT WORK A LANDSCAPE WITH CATTLE GRAZING IN AN OPEN FIELD BEFORE A MANOR HOUSE, A MILKMAID AT WORK measurements note 32 by 39.5 cm.; 12 1/2 by 15 1/2 in. bears initials lower right: JH with inventory number 24 on an old label adhered to the reverse oil on oak panel PROVENANCE Rolin Robert Collection; With Edward Speelman, London; From whom acquired by the late father of the present owners in 1960. LITERATURE H. Wagner, Jan van der Heyden, Amsterdam & Haarlem 1971, p. 108, no. 183, reproduced p.167 NOTE As pointed out by Dr. Peter Sutton (written communication, 6 February 2006), to whom we are grateful, this landscape reveals the initial influence of Adriaen van de Velde on the work of Jan van der Heyden. In type and handling it can be compared closely to Van der Heyden's similar horizontal view of a country house today in the National Gallery, London (see H. Wagner, under Literature, p. 108, no. 184, reproduced p. 168), which along with the present work can be dated circa 1670. Although best known as a painter of townscapes, Van der Heyden also specialised in the depiction of rural scenes, which range from 'pure' landscapes (of which some forty examples survive), through agrarian scenes with manor houses (such as the present work), to views of the grand country houses of the wealthy Dutch merchant class, such as his view of the house at Goudstein, painted for his patron Joan Huydecoper II, today at Apsley House, London (see op. cit., p. 95, no. 125, reproduced p. 155).
PROPERTY FROM A PRIVATE COLLECTION AN IMAGINARY VIEW OF A TOWN WITH ELEGANT FIGURES STROLLING AND CONVERSING ON A SQUARE measurements note 33.3 by 39.8 cm. signed lower right: JVH (in ligature) eyden. oil on panel NOTE Jan van der Heyden started his professional life, according to Houbraken (see A. Houbraken, De Groote Schouburgh der Nederlandsche Konstschilders en Schilderessen, Amsterdam 1721, vol. III, ed. P.T.A. Swillens, Maastricht 1944, p. 63) in the studio of an anonymous glass engraver, where he learned to create mirrors. His interest in the optical possibilities of mirrors was long-lasting, and is to be noted in a number of his compositions. One example is his series of views of the Groote Kerk at Veere (see H. Wagner, Jan van der Heyden 1637-1712, Amsterdam 1971, p. 83, cat. nos. 74 and 75, reproduced) in which he reversed the buildings to either side of the square. Another is a painting with a View of a small town square with figures promenading (sold London, Sotheby's, 7 December 2005, lot 14). A slightly different version of this composition, in the collection of the Duke of Buccleuch at Drumlanrig Castle, shows a high square building with two chimneys which Van der Heyden reused in mirrored appearance for the present lot. Moreover, there are also two other buildings used in mirrored position, that appear in his view of the Dom and Domhof in Cologne in The Wallace Collection, London(ibid., p. 77, cat. no. 45). As it is in relation with the Buccleuch and Wallace paintings, we can carefully date this painting to the early 1660s. Please Note:
PROPERTY FROM THE COLLECTION OF DR. PAUL STERN OF FRANKFURT-AM-MAIN THE HOFSTEDE WOLF EN HOECK ON THE PURMER THE HOFSTEDE WOLF EN HOECK ON THE PURMER measurements note 13 3/8 by 15 1/2 in.; 33.8 by 39.7 cm. signed lower left VH (in ligature) eyde and inscribed on lintel OVer oil on panel PROVENANCE Probably anonymous sale, Amsterdam, September 8, 1773, lot 32, for 59 florins to Van der Hoop; Léopold Double (bears his lable affixed to the reverse with his coats-of-arms and inscription: EX MUSEO [D]OUBLE; His sale, Paris, Ch. Pillet, May 30, 1881, lot 13; Adolphe Jos. Bösch; His sale, Vienna, P. Kaeser, April 28, 1885, lot 24, for 5,000 florins to Kohlbacher; Dr. Paul Stern, Frankfurt-am-Main; Acquired by the Städel, Frankfurt from his estate with subsidy from the Schaub-Stiftung, 1941 (as by Jan van der Heyden and Adrien van de Velde); Städelsches Kunstinstitut, Frankfurt-am-Main, inv. 1126, 1941-2005; Restituted to the heirs of Dr. Paul Stern, 2005. EXHIBITED Frankfurt, Städelsches Kunstinstitut, 1941-2005. LITERATURE C. Hofstede de Groot, A Catalogue Raisonné of the Most Eminent Painters..., vol. VIII, London 1927, p. 407, no. 271 (as by van der Heyden with figures by A. van de Velde); E.H. (ed.), Städelsches Kunstinstut. Verzeichnis der Gemälde..., Frankfurt 1971, p. 28; H. Wagner, Jan van der Heyden, Amsterdam & Haarlem 1971, p. 101, no. 149; Städelsches Kunstinstitut. Verzeichnis der Gemälde..., Frankfurt 1987, p. 54; J. Sander and B. Brinkmann, Niederländische Gemälde vor 1800 in Städel, Frankfurt 1995, p. 35, reproduced plate 71. NOTE As well as his famous townscapes, Van der Heyden also specialized in painting portraits of country houses in the Provinces of North and South Holland, many of them on the River Vecht between Amsterdam and Utrecht, the Huis ten Bosch near The Hague, or in the environs of Haarlem. While Van der Heyden may have painted capriccio views of imaginary houses, the inscription above the door: OVer; makes it unlikely in this case. We are grateful to Dr. Peter Sutton for pointing out that the country house depicted here is thought to be the Hofstede Wolff en Hoeck on the river Purmer near Purmerend in the Province of Noord Holland, to the north of Amsterdam. In front of it is a trekvaart, or horse-drawn passenger ferry which, along the Purmer, connected Amsterdam with the Zuider Zee port of Hoorn. This house was built by Peter de Wolf, nephew of Joost van den Vondel, the famous Amsterdam poet. The name of the house was chosen after Wolf's second marriage with Suzanna van Hoeck in 1677. There is a painting after Jan van der Heyden reproduced in J.F.M. Sterck, Hoofdstukken over Vondel en zijn kring, Amsterdam 1923, p. 126-31, that Sterck identifies as the Hofstede Wolff en Hoeck. The house in Sterck's reproduction, however, can be positively identified with the Hofstede Goudestein on the Vecht river (see H. Wagner, Jan van der Heyden, 1637-1712, Amsterdam 1971, p. 95) and it is thus still possible, with Sterck's misidentification in mind, that the present picture does indeed depict the Hofstede Wolff en Hoeck. This panel is enlivened by the presence of six small-scale figures, among which are a man and woman walking in front of the house, whom Hofstede de Groot identifies as its owners (see Literature below). The staffage has been traditionally attributed to Adriaen van de Velde. Peter de Wolf celebrated his twenty-sixth birthday at the Hofstede Wolff en Hoeck, where he had his lambs, water sources and his famous orangerie. Vondel wrote a poem on this occasion, in which the country house has a prominent place; Op het verjaeren van Peter de Wolf. Cingite fronde comas et pocula porgite dextris Verheught u, Amsterdammers: Het is een blyde tyt. DE WOLF weit by de lammers. Hier valt geen twist noch stryt. De waterbronnen springen. Oranjen bloeien schoon. Nu laet ons vrolyk zingen. De maetzang spann' de kroon. Viert d'uur van myn geboorte, Die heden weêr verjaert. De zon uit d'ooster poorte Zich helder openbaert, Na zesentwintigh ronden. Bekranst uw hooft met blaên. Drinkt wyn gelyk gezonden: Hier magh een dronk op staen. De cimbel laet zich hooren, En mengt zich in 't gezang. De jeught wort weêrgeboren. Wien valt de tyt te lang! Apol, de zangbeleier, Met blyschap herwaert spoe, Nu drinkt den berkemeier Elkandren vrolyk toe. Joost van den Vondel (free translation) On the birthday of Peter de Wolf Surround your locks with laurel and place full cups in your right hands Rejoice, oh people of Amsterdam These are happy times The Wolf grazes with the lambs Here's no dispute, nor twist The springs are full in flow The orangerie is blossoming Now let us sing with joy Rhythm wears the crown Celebrate the hour of my birth Which expires as we speak The sun from the eastern gate Brightly revealing After twenty six rounds Crown thy selves with laurel Drink wine as it arrives This calls for a toast The harpsichord plays And mingles with the songs Youth is reborn For whom does this take too long? Apollo, the head chorister, Hurried with joy Now the Berkemeiers drink Joyful to each other. J.v. Vondel
JAN VAN DER HEYDEN GORINCHEM 1637 - 1712 AMSTERDAM PROPERTY FROM AN ENGLISH PRIVATE COLLECTION A VIEW OF A SMALL TOWN SQUARE WITH FIGURES PROMENADING measurements note 31.7 by 40.5 cm.; 12 1/2 by 16 in. oil on oak panel PROVENANCE Probably Petronella de la Court (widow of Adam Oortmans), her sale, Amsterdam, 19 October 1707, lot 20 or 34 (with pendant); The Duc de Choiseul (1719-1785), by 1771, His sale, Paris, 6 April 1772, lot 75 (with pendant), for 3,900 livres to the Prince de Conti; The Prince de Conti (1717-1776), his (deceased) sale, 8 April-6 June 1777, lot 433 (with pendant), for 4,950 livres to Desmarest; Anonymous sale, Paris, Delessert, 15 March 1869, lot 31, for 16,500 francs; Henry Say, his sale, Paris, 30 November 1908, lot 11, for 22,500 francs; J. Simon, Berlin; With Asscher and Koetser, Amsterdam, 1920; Baron Thyssen, Rohoncz Castle, Hungary, by 1930, and then transferred in 1932 to Villa Favorita, his property in Lugano, Switzerland. The painting appears in the 1937 catalogue as no. 187. From 1937 to 1952 there were no catalogues produced for the collection, and the present work does not appear in the 1952 publication; it therefore left the collection some time between 1937 and 1952; With Dennis Vandekar Gallery, 1967; Fom whom acquired by the father of the present owners. EXHIBITED Munich, The Collection of Rohoncz Castle, Hungary, 1930, no. 150. LITERATURE J. Smith, A Catalogue Raisonné..., London 1834, Part V, p. 378, cat. no. 23; C. Hofstede de Groot, A Catalogue Raisonné..., London 1927, p. 354, cat. no. 83; H. Dattenberg, Niederrheinansichten holländischer Künstler des 17. Jahrhunderts, Dusseldorf 1967, no. 244; H. Wagner, Jan van der Heyden, Amsterdam and Haarlem 1971, p. 90, no. 102, reproduced, as in a private collection, England; J. Ingamells, The Wallace Collection Catalogue of Pictures, Dutch and Flemish, vol. IV, London 1992, pp. 145 and 146 (note 5), under cat. no. P195. Engraved: By George Petit, in 'Recueil d'Estampes d'après les tableaux de Monsieur Le Duc de Choiseul', Paris 1771, no. 76. NOTE This is a relatively early work by Van der Heyden, displaying the characteristics of pictures produced in the early 1660s, with its light, airy tonality and the absence of strong shadows. It has strong parallels with the View of the Westerkerk, Amsterdam, signed and indistinctly dated - probably 1660 - in the National Gallery, London (see N. MacLaren and C. Brown, The National Gallery Catalogues - The Dutch School 1600-1800, London 1991, vol. I, p. 557, vol. II, supplement plate B), which also has a similar dry, minute execution, a rather bleached palette and shadowless spaces, and probably pre-dates the Architectural Capriccio, signed and dated 1663, in the Harold Samuel Collection, Guildhall, London (see P.C. Sutton, Dutch and Flemish seventeenth-century paintings. The Harold Samuel collection, Cambridge 1992, pp. 84-86, cat. no. 27, reproduced in colour). The present picture has a most distinguished 18th-century provenance and formed part of the celebrated collection of Dutch cabinet pictures of the Duc de Choiseul, Louis XV's Minister of War and Foreign Affairs, and subsequently that of another leading figure at the French court, the Prince de Conti, whose substantial collection was dispersed following his death in 1776. At this time the painting was paired with a Street scene in Cologne but the two pictures became separated before 1802, the Cologne view subsequently entering the Wallace collection in London (inv. no. P195). Although they are of identical dimensions, it seems unlikely that the pictures - one seemingly imaginary, the other in large part topographically accurate - were conceived as pendants. Another version of the composition of almost identical size but with different staffage is in the Buccleuch collection at Drumlanrig Castle (see H. Wagner, Jan van der Heyden, Amsterdam and Haarlem 1971, p. 90, no. 103). The staffage in the present work has traditionally been attributed to Adriaen van de Velde but is more likely to be by Van der Heyden himself. We are grateful to Peter Sutton for endorsing the attribution to Van der Heyden, following first-hand inspection, and for suggesting a date in the early 1660s. Dr Sutton will include the picture in his forthcoming catalogue raisonné of the artist's works (currently in preparation).
Continental painting, landscape with village, figures, cows in river, distant mountains, unsigned, oil on canvas, attribution verso to Jan Van der Heyden, Dutch, 1637-1712, and to Adriaen Van de Velde, Dutch, 1636-1672, extensive flaking with associated repaint primarily in mountains and sky, lower left and upper right corners about 40 percent retouch, loss to tacking edge, removed from stretcher, crackle, indistinct inscriptions verso, 21-7/8 x 27-5/8", under glass, repainted gilt wood frame
A pavilion in the garden of Goudesteyn on the Vecht, Maarssen signed and dated 'JVDHeyde.A 01666' (JVDH in monogram, centre right, on the fence) oil on panel 22.2 x 28.7 cm. (83/4 x 111/4 in.) PROVENANCE A. Henderson, 3 Montague Street, London, by 1857, and by descent to J. Henderson; Christie's, London, 16 February 1882, lot 384, 'The Garden of a Dutch Chateau with two figures near a dovecote' (27 guineas to Pool j[unior?]). Maurice Kann, Paris, 1911; Georges Petit, Paris, 9 June 1911, lot 28, 'Le Jardin Potager. Au milieu, au premier plan, une paysanne est agenouill‚e et travaill‚ … une plate-bande de l‚gumes, sous le regard attentif d'un personnage en habit brun, qui se tient debout pr‚s d'elle; celui-ci est coiff‚ d'un chapeau noir … larges bords et s'appuie des deux mains sur sa canne. Derri‚re eux, il y a une all‚e qui longe une cl“ture en charpentes de bois et un pavillon rectangulaire de briques dont le toit de tuiles est surmont‚ d'un petit belv‚dŠre o— doivent fr‚quenter les pigeons. Vers la gauche, plus loin que le potager et plus loin qu'un pr‚, on aper‡oit, parmi de grands arbres aux frondaisons ‚paisses, d'autres constructions de briques. Au-devant du ciel blue, il y a toute une chevauch‚e de grands nuages gris. Sign‚ … droite, vers le bas, sur la cl“ture en charpente: V.D.Heyde, 1666. (Les trois lettres VDH sont organis‚es en monogramme.). Panneau. Haut., 22 cent. 1/2; larg., 31 cent.' (21.500 francs to Frederik Muller). A.W.M. Mensing, Amsterdam; Frederik Muller & Cie., Amsterdam, 15 November 1938, lot 48 (3,100 florins to Rosenberg). Anonymous sale; Sotheby's, London, 11 July 1973, lot 40 (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. A-6). LITERATURE G.F. Waagen, Galleries and Cabinets of Art in Great Britain, London, 1857, p. 210, in the Drawing-Room, 'On the left is a summer-house and a wall, on the right a garden, with a building in the distance with trees before it. At one of the garden-beds is a woman stooping, and a man. The sky is very transparent. Signed. This beautiful little picture is especially attractive for delicacy and harmony of chiaroscuro'. C. Hofstede de Groot, A Catalogue Raisonn‚ etc., VIII, London, 1923, pp. 377-8, no. 58, as depicting Elswout near Haarlem. H. Wagner, Jan van der Heyden 1637-1712, Amsterdam/Haarlem, 1971, pp. 45, 61 and 96, no. 129, fig. 129. G. Schwartz, 'Jan van der Heyden and the Huydecopers of Maarsseveen', The J. Paul Getty Museum Journal, II, 1983, pp. 215 and 217, note 62. EXHIBITION Amsterdam, Historisch Museum, Jan van der Heyden, 1937, no. 5. NOTES Jan van der Heyden is generally regarded as the most important founder and representative of the genre of the independent city-view in the second half of the seventeenth century. Already highly praised by Houbraken in his Groote Schouburgh of 1721, Van der Heyden has been consistently renowned for his ability perfectly to paint buildings and houses down to the mortar between the bricks. Unusually, he is famous not only for his views of Amsterdam canals but also for his inventions, notably the fire-hose and the street-lighting, and also for his cityscapes, most notably his views of the Amsterdam canals and the Cologne church-squares. A considerable part of his oeuvre consists of views on country estates comparable to the present lot. The colour schemes in Van der Heyden's works are often rich, with deep blues and warm reds, as are to be found in the present picture, that create a distinctively warm atmosphere. Although the delicately rendered masonry and the detailed rendering of the buildings in general would suggest topographical accuracy, Van der Heyden's views are not always true to life. He would frequently combine elements of different views in order to enhance his compositions, or make small amendments as he did in the present lot where the mansion of Goudesteyn has been slightly altered. As noted by H. Wagner ( op. cit., pp. 44-6), his views of country houses were often made to glorify the country life enjoyed by the wealthy merchantmen and noblemen living in the city. For Amsterdam merchants the favorite areas were the Beemster and the river Vecht, where Maarsseveen is located. Goudesteyn (Golden Farm) was bought in 1608 by the Amsterdam merchant Jan Jacobsz. Huydecoper (1541-1624). He converted the farmhouse into a modest country place, which he left to his son Joan (1599-1661). Joan on his turn, had Goudesteyn extensively restored with the addition of a new wing - possibly using Jacob van Campen as his advisor - between 1627 and 1629, transforming Goudesteyn into the first true country estate on the Vecht. The Huydecopers were an extremely powerful family, and Joan Huydecoper I and II both served as Burgomasters of Amsterdam between 1651 and 1693. The sophisticated estate on the Vecht served to underline the family's status and wealth and was highly praised by poets such as Barlaeus and Joost van den Vondel. Constantijn Huygens spent three days in Goudesteyn in 1656 and thanked Huydecoper for his hospitality in three flattering short poems, published in 1658 in Korenbloemen, pp.768-9. When Van der Heyden painted the present lot, in 1666, Goudesteyn was owned by Joan Huydecoper II (1625-1704). As pointed out by L. de Vries, ( Jan van der Heyden, 1984, p. 36), Van der Heyden painted no less than six view of Goudesteyn between 1666 and 1674, not all of them topographically accurate.
A view of a canal with a village beyond, possibly the Vecht near Maarssen oil on panel 18 1/8 x 231/2 in. (46 x 59.7 cm.) PROVENANCE Marquis de Montesquiou; Lebrun, Paris, 9 December 1788, lot 93. Anonymous Sale; Palais Galli‚ra, Paris, 14 March 1970, lot 14, as Attributed to Jan van der Heyden. F. Mont, New York, by 1971. With Xavier Scheidwimmer, Munich, 1974. Anonymous Sale; Sotheby's, London, 20 April 1988, lot 76 (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. A-68). LITERATURE H. Wagner, Jan van der Heyden, Amsterdam and Haarlem, 1971, p. 107, no. 178A, illustrated. NOTES Van der Heyden was one of the first Dutch painters, and perhaps the greatest, to specialize in painting townscapes, although he also painted village streets, country houses and some forty landscapes. Unusually for an artist, Van der Heyden is also remembered as an inventor and engineer: he designed, amongst other things, a comprehensive street-lighting scheme for Amsterdam and a fire-engine fitted with pump-driven horses, and much of his independent wealth derived from that aspect of his career. Painting, by contrast, was almost a secondary interest, although one that he maintained throughout his life. Van der Heyden's townscapes are frequently only loosely based on actual views, topographical accuracy being the least of his concerns; despite his naturalistic style, Van der Heyden strove to present idealized depictions of his surroundings above the absolute reproduction of nature. Van der Heyden's principal subjects were Amsterdam and the region near the Dutch-German border, which he visited for business and recreation. In addition, however, he also painted several views of country estates and houses, probably, as Helga Wagner suggested ( op. cit., pp. 44-6), commissioned to glorify the rural life enjoyed by the wealthy merchantmen and noblemen living in the city. Favorite areas for Amsterdam merchants were the Beemster and the river Vecht, where Maarsen is located; the latter is the site suggested by Wagner for the present view. It is interesting to note that, amongst Van de Velde's other works, are a group of fourteen paintings connected with that village, of which some or all were made for Joan Huydecoper II, the Amsterdam burgomaster who developed real estate around that village. In 1674 the latter commissioned Van der Heyden to execute paintings of his house and estate at Goudstein, including the painting to be sold from the Dreesmann collection, Christie's, Amsterdam, 16 April 2002, lot 1227.
An extensive landscape with a walled town, a hawking party in the foreground oil on panel 161/2 x 213/4 in. (42 x 55.2 cm.) PROVENANCE E.J. Wythes, Copt Hall, Epping, Essex, as Jan van der Heyden. Anonymous Sale; Sotheby's, New York, 7 June 1984, lot 123, as Jan van der Heyden (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. A-52).
![[Fire fighting]. Heyden, Jan van der (1637-1712). "Afbeelding van Brandt ontstaan den 5 December 1658. op d'Oude Schans; vertoonende het neerstorten v](https://stageimg.invaluable.com/housePhotos/bubbkuyper/09/781909/H3721-L388529764.jpg)
![[Fire fighting]. Heyden, Jan van der (1637-1712). "Afbeelding van den Brand van den Schouwburg te Amsterdam, den 11den May, 1772. Van de Keizersgracht](https://stageimg.invaluable.com/housePhotos/bubbkuyper/39/759039/H3721-L352985064.jpg)
![[Firefighting]. Heyden, J. van der (1637-1712). Lot of 13 engraved plates,](https://stageimg.invaluable.com/housePhotos/bubbkuyper/20/735620/H3721-L309473277.jpg)
![[Firefighting]. Heyden, J. van der (1637-1712). "Afbeelding van Brandt ontstaan den 5 December 1658. op d'Oude Schans; vertoonende het neerstorten van](https://stageimg.invaluable.com/housePhotos/bubbkuyper/20/735620/H3721-L309473276.jpg)
![[Heyden, J. van der]. Wagner, H. Jan van der Heyden 1637-1712.](https://stageimg.invaluable.com/housePhotos/bubbkuyper/03/735603/H3721-L309461163.jpg)
![[Firefighting]. Heyden, J. van der (1637-1712) (attrib.). "Swaaren Brandt tot Amsterdam, tusschen d'Elands graft en Straat op den 27 July 1679 (...)".](https://stageimg.invaluable.com/housePhotos/bubbkuyper/71/724171/H3721-L290061904.jpg)
![[Firefighting]. Heyden, J. van der (1637-1712) (attrib.). "Afbeelding van een rang huizen op de Heere gragt: in welks middelste, tussen den 25 en 26st](https://stageimg.invaluable.com/housePhotos/bubbkuyper/71/724171/H3721-L290061895.jpg)
![[Firefighting]. Heyden, J. van der (1637-1712). Lot of 13 engraved plates,](https://stageimg.invaluable.com/housePhotos/bubbkuyper/71/724171/H3721-L290061887.jpg)
![[Firefighting]. Heyden, J. van der (1637-1712). "Afbeeldinghe van de Nieu geinventeerde en geoctroyeerde Slang-Brandspuyten. Vertoonende des selfs Fig](https://stageimg.invaluable.com/housePhotos/bubbkuyper/71/724171/H3721-L290061896.jpg)
