zugeschrieben. Joseph gibt sich seinen Brüdern zu erkennen. -- Feder in Braun, braun und grau laviert. 14,1 x 18,8 cm. Verso mit einer alten Zuschreibung an "G. Van Eeckhout" und einer undeutlichen Sammlerparaphe und der Chiffre "1744". -- -- Für freundliche Hinweise danken wir Peter Schatborn, Amsterdam. -- -- - 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.
Joseph gibt sich seinen Brüdern zu erkennen. -- Feder in Braun, braun und grau laviert. 14,1 x 18,8 cm. Verso mit einer alten Zuschreibung an "G. Van Eeckhout" und einer undeutlichen Sammlerparaphe und der Chiffre "1744". -- -- Für freundliche Hinweise danken wir Peter Schatborn, Amsterdam. -- -- - 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.
Satirisch Genrestuk met een Quakervrouw en het Zelfportret van de Schilder (Satirical Genre Painting with a Quaker Woman and the Self-Portrait of the Painter) Oil on panel, 24 x 20.6 cm Provenance: Private collection, The Hague Faults or imperfections are not recorded in the lot description. We encourage you to inspect the lots during our viewing days. Condition reports are available upon request.
Philips Koninck (Amsterdam 1619-1688) >An antique sacrifice <br>pen and brown ink, brown wash, watermark countermark IFD >7½ x 7 in. (19.2 x 17.5 cm.) <br>
THE PROPERTY OF A PRIVATE COLLECTOR AMSTERDAM 1619 - 1688 A HUNTER SEATED IN A TAVERN INTERIOR signed and dated on the stool, lower centre: P Koninck / 1649 oil on oak panel 36.4 by 29 cm..; 14 1/4 by 11 3/8 in.
FOLLOWER OF PHILIPS KONINCK (dutch 1619-1688) PANORAMIC LANDSCAPE WITH FIGURES Unidentifiable stamp on verso, oil on canvas 22 1/2 x 32 1/4 in. (57.2 x 81.9cm) provenance: Private Collection, New York, New York. By descent in the family. Private Collection, New York, New York.
Philips Koninck Amsterdam 1619 - 1688 Company of peasants with a violinist in a tavern Signed and dated 1650 on the stool l.r. Oil on panel, 45.2 x 57.4 cm Provenance: - Auction Uppsala Auktionskammare, 25 May 2003, lot 47 (ill). - Private collection, Göteborg. - Auction Crafoord Auktioner, Lund, 8 May 2010, lot 12 (ill). - Private collection, The Netherlands. N.B.I: Registered with the RKD (Netherlands Institute for Art History) under the above mentioned description, artwork number 56391. N.B.II: Philips Koninck received his education from his brother Jacob Koninck in Rotterdam. Circa 1640, the year he married, he moved to Amsterdam. It is possibly he was active in the studio of Rembrandt. He almost certainly belonged to his circle of friends. In his early works the influence of rembrandt is clearly visible. Koninck is nowadays mainly known for his landscapes, although in his own time his genre works and portraits were more popular. His portraits were praised for their likeness and vivacity.
PHILIPS KONINCK AMSTERDAM 1619 - 1688 CHRIST PREACHING IN THE WILDERNESS Pen and brown ink and wash, within brown ink framing lines 147 by 108 mm; 5 3/4 by 4 1/4 in
PHILIPS KONINCK (Dutch 1619-1688) Seated man at desk sharpening quill, watercolor, signed center right P. Koning P. On old mount. Contained in a wide molded ebonized wood frame under glass. Condition: signature added at a later date, no visible defects. Dimensions: 5 7/8'' X 5'', frame 13 1/4'' X 12 1/2''. Provenance: Sir Robert Peel Collection, purchased at Christies, London circa 1980, Collection of Graham Shearing.
KONINCK, PHILIPS, 1619-1688 Glatt sällskap på värdshus. Signerad och daterad 1650. Pannå, 45x56. Målningen registrerad på RKD nr 56391. Philips Koninck hade nära band till Rembrandt och är huvudsakligen känd för sina storslagna panoramalandskap. Som innehavare av färgelinjen Rotterdam-Amsterdam hade han goda tillfällen att studera folklivet i färjestationernas värdshus. Där hämtade han inspirationen till de betydligt ovanligare genremålningarna.
Philips Koninck (Amsterdam 1619-1688) Portrait of Professor Franciscus van Schooten, half-length, holding a pocket watch indistinctly signed and dated '**k 1656' (center left) oil on canvas 40 x 34½ in. (102.5 x 87.5 cm.)
PHILIPS KONINCK (Dutch 1619-1688) Seated man at desk sharpening quill, watercolor, signed center right P. Koning P. On old mount. Contained in a wide molded ebonized wood frame under glass. Condition: signature added at a later date, no visible defects. Dimensions: 5 7/8'' X 5'', frame 13 1/4'' X 12 1/2''. Provenance: Sir Robert Peel Collection, purchased at Christies, London circa 1980, Collection of Graham Shearing.
Philips de Koninck (Amsterdam 1619-1688) Portrait of a gentleman, half-length, in a black mantle with a lace collar and cuffs, his hat and gloves on the table behind him signed and dated 'P_. Koninck 1656' (centre left) oil on canvas 38½ x 33 in. (97.8 x 83.8 cm.)
Omgeving Philips Koninck Amsterdam 1619 - Amsterdam 1688 Salome ontvangt het hoofd van Johannes de Doper Bruine inkt op papier, 15 x 12 cm. Herkomst: Collectie H. van Leeuwen: veiling Christie's Amsterdam, 24 november 1992, lot 118
KONINCK, PHILIPS (1619-1688), copy after Christus with five disciples. Pen in brown. 23.2 x 20 cm. Provenance: - collection of Paul von Schwabach (1867-1938), Berlin - since then in a family collection KONINCK, PHILIPS (1619-1688), Kopie nach Christus mit fünf Zuhörern. Feder in Braun. 23,2 x 20 cm.
Philips Koninck (Amsterdam 1619-1688) Group portrait of a gentleman and a lady with their children in an extensive wooded landscape indistinctly signed 'P.Koning.' (lower left) oil on canvas 41¼ x 50½ in. (104.8 x 128.3 cm.)
Philips Koninck (Amsterdam 1619-1688) A young woman leaning out of a window, holding a pearl necklace signed and dated 'P koninck 1664' (lower right) oil on canvas 80.3 x 66.2 cm.
PROPERTY FROM THE COLLECTION FORMED BY THE LATE MR. ENRICO FATTORINI, LATELY THE PROPERTY OF HIS DAUGHTER, MRS. A.E. ROACH. SOLD BY ORDER OF THE TRUSTEES. A PANORAMIC RIVER LANDSCAPE WITH DROVERS IN THE FOREGROUND measurements note 58.5 by 78 cm.; 23 by 30 3/4 in. brushed on the reverse in an old hand: MB 133 (MB in ligature) oil on panel PROVENANCE Talbot collection, Margam Castle (purchased in 1836 as Rembrandt); Margam Castle sale, London, Christie's, 29 October 1941, lot 399 (as Rembrandt); Enrico Fattorini, Bradford; Thence by descent. EXHIBITED Liverpool, City School of Art, Exhibition of Works by Dutch Masters of the 17th Century, 1944, no. 17 (as Hercules Seghers); London, Arts Council of Great Britain, Dutch Painting of the 17th Century, 1945, no. 34 (as Seghers); London, Royal Academy of Arts, Dutch Painters 1450-1750, Winter Exhibition 1952-53, no. 280 (as Philips Koninck). NOTE This unpublished picture would appear to be an early work, painted while Koninck was still strongly influenced by Rembrandt. By comparison with similar landscapes in Manchester, City Art Gallery, dated 1648, and New York, Metropolitan Museum, dated 1649, a date in the very late 1640s or circa 1650 seems plausible for this picture, as Werner Sumowski has kindly confirmed (see W. Sumowski, Gemälde der Rembrandt-Schüler, Landau/Pfalz 1983, vol.III, pp. 1544-5, nos. 1044, 1046, reproduced pp.1594, 1596). When this picture was last cleaned, the faint outline of the head and shoulders of a boy was detectable in the sky. Werner Sumowski has kindly informed us that he believes this may be the same model depicted in a work signed and dated 1650 formerly in the A. Schloss collection, Paris (op. cit., p. 1539, no. 1016, reproduced p.1566). This provides further evidence for a dating of the Fattorini picture circa 1650.
THE PROPERTY OF A LADY A PANORAMIC RIVER LANDSCAPE measurements note 33 by 47 1/2 in.; 86 by 121 cm. Indistinctly signed lower right: Koninck oil on canvas PROVENANCE Bought by Henry, 2nd Viscount Palmerston in May 1788, for £38; Henry, 3rd and last Viscount Palmerston, K.G. who married Emily Mary, Countess Cowper; Her second son by her first marriage, William Francis, 1st and last Lord Mount Temple (of the 1st creation); His nephew, the Hon. Evelyn Ashley; His son Wilfred William, 1st and last Lord Mount Temple (of the 2nd creation); His elder daughter Edwina Ashley, Countess Mountbatten of Burma; Sold by the Trustees of the Estate of The Rt. Hon. the Earl Mountbatten of Burma, KG, GCB, OM, GCSI, GCIE, GCVO, DSO, PC, London, Sotheby's, December 9, 1992, lot 20 (£990,000); With Heide Hübner, Würzburg, 1993; Private collection. EXHIBITED London, British Institution, 1843, no. 103; London, Royal Academy, Exhibition of the Works by the Old Masters..., Winter 1876, no. 165; London, Royal Academy, Exhibition of 17th Century Art in Europe, 1938, no. 162; London, Hampshire Red Cross Exhibition, 1957; Cologne, Wallraf-Richartz-Museum, Fondation Corboud, on long-term loan until 2005 (inv. no. Dep. 0823); Stuttgart, Staatsgalerie, Die Entdeckung der Landschaft, October 2005 - January 2006, no. 48. LITERATURE H. Gerson, Philips Koninck, 1935 (reprinted 1980), p. 104, no. 14; H. Gerson, in Maendblad voor Beeldenden Kunsten, no. 15, 1938, p. 108; E. Plietszch, Holländische und Flämische Maler des XVII. Jahrhundert, Leipzig 1960, p. 225, reproduced plate 4; R. Russell, "A Connoisseur's Taste, Paintings at Broadlands-1", in Country Life, January 28, 1982, pp. 224-5, reproduced fig. 4; W. Sumowski, Gemälde der Rembrandt-Schuler, Landau/Pfalz 1983 and subsequently, vol VI (1994), p. 3723, no. 2340, reproduced p. 3946; Sotheby's, Art at Auction, The Art Market Review 1992-3, London 1993, p. 63 reproduced; E. Wiemann, Die Entdeckung der Landshaft, exhibition catalogue, Stuttgart 2005, pp. 135-6, 268, no. 48, reproduced in colour p. 134. NOTE According to Houbraken, Philips Koninck was a pupil of Rembrandt in Amsterdam. There is no other documentary evidence to support this, but nonetheless, his landscapes, in particular early ones such as the present work, have their origins in Rembrandt's work, particularly in the thick brushwork and broad handling, and are unimaginable without his influence. As a specialist in panoramas, both real and imaginary, Koninck developed and expanded many of the ideas that Rembrandt explored in his few landscape paintings. The mysterious landscape paintings and prints of Hercules Seghers must also have had an impact on Koninck, particularly in the handling of distances (for example the rows of trees and hedges on the low hills to the right in the present work). As with the landscapes of Rembrandt and Seghers, Koninck's work is at a remove from the mainstream of Dutch landscape painting, and harks back to an earlier, Flemish tradition. In their seemingly limitless extension of space rendered with subtle and repeated gradations of tone, his panoramas may be seen as interpretations of the imaginary landscapes of Joos de Momper and his contemporaries. They are composed, however, of elements that are entirely Dutch; the hills to the right in the present painting may appear at first glance not to belong to the flat Dutch countryside, but on closer examination they reveal themselves to be enlarged sand dunes with which Koninck, who is not believed to have travelled outside the Netherlands, would naturally have been familiar. The topography is also reminiscent of the landscape in Gelderland near Arnhem and Cleve, where the table-land of the Hoge Veluwe gives way to the broad flood-plains of the branches of the Rhine. This area was certainly a source of inspiration in Koninck's later works, and also seems so here, though it is not clear whether he had journeyed there by this time, or depended on the depictions of others. The mass of buildings in the centre of the picture would appear to be a capriccio of the Zwanenburg at Cleve seen from the Galgenberg. As a relatively early work, the present picture retains a greater variety of colour than Koninck's panoramas of the 1650s, in which greens and browns predominate. The stronger hues found here, for example the blue in the sky are in his later works supplanted by more muted tones applied with a more thickly loaded brush. The date of this picture, traditionally read as 1648, is no longer legible, but there is no reason to doubt it, since it is entirely consistent with his landscapes of this time (Horst Gerson (see Literature) was unable to inspect this picture in the original, and was unaware of the signature and date). It comes just before his panoramic landscape dated 1649 in New York, Metropolitan Museum of Art. Elsbeth Wiemann, writing in the catalogue of the current Stuttgart landscape exhibition in which this picture is included, points out that no other landscape by Koninck is so Flemish in its character. Dr. Wiemann partly ascribes this to the influence of Hercules Seghers already noted above - perhaps through direct knowledge of his River Valley of circa 1615-20 in the Rijksmuseum, Amsterdam - but also perhaps to the presence in Amsterdam in 1648-50 of Joos de Momper's son Frans. The monumentality of the present picture - in both overall size and in conception - has scant precedent in Dutch 17th Century landscape painting, including Seghers, but has clear antecedents in the numerous large panoramas of De Momper. However, as Dr. Wiemann also acknowledges, in other respects the present work is far removed from the Flemish tradtion. Koninck uses atmospheric conditions to unify the compostiion, which is held together by a pattern of strong sunlight and shade created over the landscape by the jostling clouds. To the right a grey rain-bearing cloud lowers over the ground beneath, so that the patch of sunlight in the foreground where the figures appear on the road is all the stronger by contrast, while further away, and to the left, a gentler weather pattern predominates, with larger parts of the plain bathed in warm sunlight. The use of light and colour clearly demonstrates the influence of Rembrandt, whose artistic authority seems to have been unquestioningly accepted by Koninck during his early phase of self-discovery. Nevertheless, the present picture among others already demonstrates a personal style: the sharp ochre and brown tones contrast with the blue-grey of the sky and pools; the direction of the light and the contrast between light and dark. Rembrandt's handling of light and content was specific to the particular chosen landscape, and therefore became part of the story the picture told. Koninck, however, subordinated the distribution of light and shade into a schematic, horizontally aligned organising principle. The harmonious layering of space, which is visible in the sequence of city line-silhouettes, underscores Koninck's structural concepts. The works of the best Dutch landscape painters always reveal a deeply personal response to the landscape of Holland. Koninck's panoramas convey a unique vision of his native land, one that stresses its airy distances, in which towns, villages, rivers and all signs of human activity are encompassed in a broad sweep. In the landscapes of de Momper and his contemporaries, man is set against landscape, but in the panoramas of Koninck, he is placed firmly within it. Provenance Throughout his life, Henry Temple, 2nd Viscount Palmerston (1739-1802), was a gregarious and cultivated man, who enjoyed the company of others distinguished in the arts and sciences, and whose friends included Gibbon, Johnson, Voltaire, Garrick and Reynolds. He began to collect seriously on his Grand Tour of 1763-4, during which he made his first purchases. He remained a keen traveller, returning often to the continent, and making extensive purchases on each occasion. As well as patronizing Angelica Kauffmann, Richard Wilson, Gavin Hamilton, Reynolds and Wright of Derby, and collecting antiquities, sculpture, prints and watercolours, Palmerston put together a highly distinguished collection of Old Masters which included works by Cuyp, Vermeer and Claude. The present picture is one of two works by Koninck that he owned. He bought it in May 1788 at Christie's, the auctioneer describing it with a rare lack of hyperbole as "equal to his master Rembrandt". As Russell (see Literature) observed, "With its gathering storm clouds and the brilliant effect of light on the meandering river in the distance, this is among the most moving and perfectly preserved of all the painter's small landscapes.
A group portrait of a gentleman and a lady with their children in an extensive wooded landscape indistinctly signed 'P. Koning.' (lower left) oil on canvas 41 1/4 x 50 1/2 in. (104.8 x 128.3 cm.)
An extensive landscape with a lake in the foreground, a mill in the middle distance and a town beyond pen and brown ink, brown wash on brown paper 4 1/8 x 9 3/4 in. (104 x 250 mm.)
bears inscription on the verso, lower left (indistinctly visible through the backing sheet): By Dord**** (possibly Dordrecht) PANORAMIC LANDSCAPE WITH THE MOUTH OF A RIVER
The Presentation in the Temple pen and brown ink, brown wash heightened with white (partly oxidized), watermark Arms of Amsterdam 145 x 136 mm. PROVENANCE Sir Charles Howard Hodges. With The Goodman Walker Gallery, Boston. Anonymous sale; Sotheby Mak van Waay, Amsterdam, 15 November 1983, lot 231 (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. B-108). LITERATURE H. Gerson, Philips Koninck, Berlin, 1935, pp. 80 and 152, no.Z145. W. Sumowski, Drawings of the Rembrandt School, New York, 1982, 6, no. 1449x. NOTES Both Professor Sumowski and Wilhelm Gerson place the present drawing among Koninck's later work. Professor Sumowski further suggests that the sheet can be related to the Lamentation datable to 1671 in the Herzog Anton Ulrich Museum, Brunswick, W. Sumowski, op. cit., no. 1354. This relationship can be seen particularly in the sharp angularity of line which defines the figures. The composition is derived from a drawing by Rembrandt belonging to Atherton Curtis, Paris, O. Benesch, The Drawings of Rembrandt, London, 1973, V, no. 986.
The bleaching fields near Haarlem with sportsmen in the foreground, a view of St. Bavo's beyond signed and indistinctly dated 'P konin.../167.' (lower right) oil on canvas 281/2 x 42 in. (72.5 x 106.5 cm.) PROVENANCE with W. E. Duits, Amsterdam. with Galerie Sankt Lucas, Vienna. Dr. A. Singer, Vienna, 1935. with E. Gans, Neuchƒtel, 1949. LITERATURE H. Gerson, Philips Koninck, Berlin, 1980, pp. 110-1, no. 59. NOTES During his own lifetime Koninck was chiefly known as a painter of genre scenes and portraits, rather than the landscapes for which he is most celebrated today. Around seventy of his landscapes have survived, all of which are indebted in some way to the panoramic views of Hercules Seghers and Rembrandt's landscapes of the late 1630s. Remarkably, Koninck confined himself to just one type of landscape: the idealized panorama. This is a characteristic late work by the artist. The raised viewpoint and the use of a strong diagonal in the foreground against a straight horizon are all typical compositional devices employed by Koninck. It compares closely in these respects with the only other known dated work from the 1670s, the panorama of 1676 in the Rijksmuseum, Amsterdam (inv. no. A 206). Unusual for the artist, however, is the specific nature of the view, in which Haarlem is viewed from the south with St. Bavo's breaking the skyline in the distance and the bleaching fields seen in the middle ground. Almost all of his other panoramas are thought to be imaginary. We are grateful to Marijke de Kinkelder of the RKD for confirming the attribution on the basis of a transparency. She reads the date as 1677 rather than 1670 or 1678 as proposed by Gerson ( loc.cit.).
