Lievens, Jan (1607-1674). Buste of a young woman in profile to the left. Etching, 7,6x6 cm. - Some grey, weakly printed areas, i.a. in the face and in the lower left corner; paper agetoned. = Hollstein 63, 2nd state of 3; state after the 2nd state as noted by the Rijksmuseum, but before the heavily reworked 3rd state (as noted by the British Museum, part of the series Diverse Tronikens, cf. B.M. S.96).
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Lievens, Jan (1607-1674). Bust of a young man in profile, facing right. Etching, ±1630-1632, 15,5x13,2 cm., monogrammed "IL" and w. the address of Franc v. Wijn in the plate in lower right corner. - Mediocre copy. Foxed; new margins; dam. spot (silverfish?) in left margin (touching the image), in right blank margin and in lower right corner (just touching letter). = Hollstein 34, the 3rd state (of 4).
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CIRCLE OR SCHOOL OF JAN LIEVENS ('Also Lievens de Oude, Livius le Vieux or Johannis Livens') 24 October 1607 Leiden - 4 June 1674 Amsterdam SAINT MATTHEW Oil on canvas (old relined). 118 x 100 cm (F. 130 x 111 cm). Part. slightly old rest. Frame. Provenance: South German private collection. JAN LIEVENS (UMKREIS/SCHULE) ('Auch Lievens de Oude, Livius le Vieux oder Johannis Livens') 24. Oktober 1607 Leiden - 4. Juni 1674 Amsterdam HEILIGER MATTHÄUS Öl auf Leinwand (altdoubl.). 118 x 100 cm (R. 130 x 111 cm). Part. leicht altrest. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Jan Lievens (1607 - 1674) , cerchia di Testa di vecchio Olio su tela 44,8 x 50,8 cm Provenienza: Christie's Londra, 18.2.1998, lotto 171 (Seguace di Jan Lievens) Stato di conservazione. Supporto: 70% (stato frammentario; rintelo) Stato di conservazione. Superficie: 85% Il dipinto è stato restaurato, con pulizia e rintelo, da Donatella Zari e Carlo Giantomassi. I restauri hanno messo in evidenza una testa di fanciulla, a fianco al volto di anziano, parzialmente resecata, e permesso di comprendere come la tela facesse parte di un quadro di grandi dimensioni, probabilmente per arredo di un ambiente sacro.
(1607 Leiden - Amsterdam 1674). Brustbild eines bärtigen orientalischen Mannes mit Turban. Bl. 2 (v. 7) aus der Folge "Diverse tronikens geets van J. L.". Radierung auf Bütten mit WZ "Krug mit Buchstaben LM", ca. 1630-32. Plgr. 16 x 14,5, Blgr. 16,7 x 15 cm. Mit dem Monogr. i.d. Platte. B. 18. Ho. 35. Vgl. Rijksmuseum RP-P-OB-12.553. - Re. ob. Eckabriss (ca. 9,5 x 6,5 cm) mit ähnlichem Bütten angerändert. Stellenw. etw. flau. Aus den Slgn. Ines-Beckendorf-Kaps (L. 3575), Ines Kaps (L 3551), Hillinger (L. 4334) u. ein uns nicht bekannter St. - Bust of a Bearded Oriental Man with Turban. R
Jan Lievens Leiden 1607–1674 Amsterdam Saint Francis in Ecstasy oil on canvas unframed: 96.1 x 79.6 cm.; 37⅞ x 31⅜ in. framed: 130.3 x 114.3 cm.; 51¼ x 45 in.
Property from the Ehlen Collection Jan Lievens (Leiden 1607 – 1674 Amsterdam) Farm buildings on a wooded riverbank, with a fisherman mending nets Pen and brown ink and wash; bears numbering in black chalk, upper left: N 23 250 by 372 mm
Jan Lievens (1607-1674), copy after "Portrait of a Man with a Cap", anonymous copy around 1900 in oil on canvas, unsigned, 43 x 38 cm, framed 60 x 55 cm
Jan Lievens (1607-1674). A 17th Century Dutch Engraving: Portrait of the writer and playwright Joost van den Vondel (1587-1679) Circa 1644-50.12¾'' x 9¾'' (32.5 cm x 24.5 cm). Set in a beaded & ribbon-twist carved gilt frame 18½'' x 14½'' (47 cm x 37 cm).
Büste eines orientalischen Mannes. Radierung. In der Platte sign., bei F. van den Wyngaerde in Antwerpen, nicht dat. (um 1630). 27,5 x 22,6 cm. - Auf Trägerpapier mont. - Hollstein XI, S. 29, 30, III (mit Abb.). Dutuit 13, II. Rovinski (Elèves de Rembrandt) 13, III.
Etching on laid paper. (c. 1638). 24.6 x 37.3 cm (sheet). Very fine, strong impression with the address Franc v. Wijngaerdes lower right. Influenced by Adriaen Brouwer, Lievens created this subject of rough peasants as a reaction to the devastating plague that was raging in the Netherlands at the time. The realisation that death could strike at any time and unexpectedly weighed heavily on the population and Lievens, like other Dutch and Flemish artists, reacted to this deadly reality in a haunting manner. Wide margins, with the scoop margin on two sides - Paper with tiny brown stains and a faint light stain. Former small remnants of mounting on verso, otherwise in good condition.
LIEVENS, JAN 1607 Leiden - 1674 Amsterdam Title: The Repentant Peter. Date: Ca. 1625. Technique: Oil on wood. Measurement: 49.5 x 38cm. Frame: Framed. Expertise: Listed on the online databank of the RKD, The Hague, under the ill. no. 297658. Literature: B. Schnackenburg: Jan Lievens: Freund und Rivale des jungen Rembrandt: mit einem kritischen Katalog des Leidener Frühwerks 1623-1632, Petersberg 2016, no. 13, p. 173. Provenance: Possibly Johan van der Burgh Collection, The Hague (the widow's catalogue lists a painting described as "Petrus, geschildert door Jan Lievensz." in 1741; Art dealer Jack Kilgore, New York 2012; Private ownership, Germany until 2019; Art dealer Bijl-Van Urk, Alkmaar 2019; Private ownership, Germany. Jan Lievens, a native of Leiden, was an exceptionally precocious artist - even by the standards of the time. He learnt the profession of a painter from the age of nine: first in his home town under Joris van Schootel, then from 1618 to 1620 in Amsterdam under Pieter Lastman. Back in Leiden, he shared a studio for five years from 1625 with Rembrandt Harmenszoon van Rijn, who also came from Leiden and was around the same age. Rembrandt had also learnt under Pieter Lastman - albeit somewhat later than Lievens and for only six months. The two painter friends specialised in portraits and history paintings and sometimes worked closely together. To this day, art historians often struggle to clearly attribute their unsigned works. Around 1632, Jan Lievens initially went to England for three years, where he had contact with the court and was possibly influenced by Anthonis van Dyck. This was followed by periods in Antwerp, where he joined the Guild of St Luke in 1635 and was granted citizenship in 1640, in Amsterdam, The Hague, Berlin (Oranienburg Palace) and finally, from 1655, permanently back in Amsterdam. Lievens received important public and private commissions and was an extremely successful artist. However, the painter does not appear to have had any commercial talent and his many moves are also explained by his occasional flight from creditors. Jan Lievens died impoverished in Amsterdam in 1674. It was probably around 1625 - i.e. during the period in which he shared a studio with Rembrandt in Leiden - that Jan Lievens painted the devotional painting presented here of the penitent St Peter, the patron saint of his home town of Leiden (the keys of St Peter still adorn the city's coat of arms to this day). In the New Testament, Peter plays a special role among Jesus' disciples. He is the first disciple to follow Jesus, is chosen by him to be a fisher of men and is always at his master's side. Peter is the rock on which the Son of God wants to build his church and he is promised the keys to the kingdom of heaven by Jesus. One who was so close to the Savior himself, who is himself a saint, could be an unattainable example for believing Christians. But Peter describes himself as a "sinful man" even when he is called. He does not live up to his courageous announcement that he will fight for Jesus and die with him. Rather, all the Gospels describe that Peter, as Jesus predicted, cowardly denied his affiliation with his master three times when he was brought before the high priest Caiaphas. When the rooster crows, Peter realizes that the prophecy has come true "and weeps bitterly." The disciple, despairing of himself, his infidelity and his cowardice, dissolved in tears is a motif that artists have repeatedly depicted since the Renaissance and especially in the Baroque period. The image type "Peter in lacrima" was able to show ordinary mortals that even the first of Jesus' disciples was weak and all too human. The exemplary recognition of man's inevitable sinfulness and his surrender to God's grace made the figure of Peter a motif in the Protestant Netherlands that could mediate between old and new faith. This painting shows Peter, following the pictorial tradition, almost bald. However, his full, dark beard, with only a few light strands running through it, makes him appear younger than is usually the case with this type of image. The face is also distorted and wrinkled because of the strong emotions. But his hands folded in imploring prayer, holding the key as an attribute, belong to a man who is in the middle of life; a weather-beaten fisherman, such as the Dutch painter may have observed among the people. Jan Lievens had already come into contact with influences from Italy through his teacher Pieter Lastman. Since around 1615, however, the Utrecht Caravaggists who returned from Rome had brought completely new artistic impressions and stylistic devices to the Netherlands, which also find their way into Lieven's present painting. The strong lighting that hits the praying saint coming from the upper left corner of the picture is just as much a part of it as the realistic portrayal of personality described. The strong, pasty application of paint, the modeling of the wrinkles and, particularly strikingly, the hands also show the similarity between the personal styles of Lievens and Rembrandt. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Jan Lievens The Netherlands Rembrandt School 17th C. Old Masters Framed Saints Painting
LIEVENS, JAN 1607 Leiden - 1674 Amsterdam Title: River Landscape with Tree and Cross. Date: Ca. 1655-65. Technique: Pen drawing on pergament. Mounting: Mounted. Measurement: 10 x 16.4cm. Frame: Framed. Expertise: Listed on the online databank of the RKD, The Hague, under the ill. no. 300246. Literature: Jan Lievens (1607-74) Prenten and Tekeningen/Prints and Drawings. Exhib.Cat. Rembrandthuis Amsterdam 1988/89, p. 18; H.Schneider: Jan Lievens, sein Leben und seine Werke, Haarlem 1932, p. 73 R.E.O Ekkart: Lievens als Zeichner. In:Jan Lievens ein Maler im Schatten Rembrandts, Exhib.Cat. Brunswick 1979, p. 27. Provenance: Finance Council H.W. Campe (1771-1862) Leipzig; Privy Councillor E.H. Ehlers (1835-1925) Göttingen; Sold C.G. Boerner, Leipzig, 10.5.1930, under no. 550; Katrin Bellinger art dealer, Old Master Drawings May 1995; Private collection, South Germany; Private collection, Germany. Bernhard Schnackenburg wrote about this work in an email to the previous owner in September 2020: "The work before me is truly a masterfully beautiful drawing that is a joy to behold! The quality is equally good in all parts and the style clearly speaks in favour of Jan Lievens! The richness of the graphic formal language with which the old tree trunk in the foreground is characterised is unmistakable. Gnarled old tree trunks are a favourite motif of the landscape artist Lievens and are the focus of several drawings (sheets in Dresden, Rotterdam and London, British Museum). For these drawings, the catalogue of the Lievens exhibition in Washington 2008 suggested 1655-1665, which could also apply to your drawing. The unusually small format is probably due to the piece of vellum available to Lievens. This use is extremely rare." It is a wonderful coincidence that this catalogue contains both a painting and a drawing by Jan Lievens, thus presenting the artist's work in two media. Dr Bernhard Schnackenburg dates this small landscape drawing to around 1655 - 1665, i.e. after Lievens' return to Amsterdam. A wide river landscape lies before the viewer, whose eye can follow the path coming from the lower edge of the picture, further below the edge of the embankment into the depths. On closer inspection, two people and perhaps a dog can be recognised on the path. The mighty tree trunk overlapping the upper edge of the picture intercepts the strong line of the embankment on the left. A cross at the edge of the path is another landmark. An architectural ensemble with a square tower can be seen behind the bend in the river. On the far right at the edge of the picture, in the distance, a church tower rises in the haze. Above this landscape, composed as it were of many triangles and angles, the wide sky takes up about three quarters of the small-format drawing. Jan Lievens had a preference for gnarled tree trunks as a motif for his drawings. Such wide panoramic landscapes, however, are extremely rare in his drawings. The use of vellum instead of the Japanese or laid paper he usually used also makes this autonomous drawing a rarity in the artist's oeuvre. The use of parchment, which hardly absorbs the ink, makes a completely different drawing technique possible. In the area of the tree trunk, the artist has scratched and hatched into the still wet ink. The cross at the edge of the path has also been modelled in this way. The appeal of a drawing that is conceived as an autonomous work of art also lies in the fact that it allows the artist's handwriting and technique to be experienced undisguised. This is particularly impressive in Jan Lievens' present work on parchment. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Jan Lievens The Netherlands Rembrandt School 17th C. Watercolour / Drawings Framed Landscape Drawing Netherlands
Lievens, Jan (1607-1674) (after). "De Hr. Johan van Galen, Admiraal van alle de Oorlog Schepen in dienst van de Hog. mog. Heeren Staten inde Middelandsche Zee." Engr. oval portrait by M. MOUSYN, within dec. border w. military attributes after H. VAN ALDEWERELD and with a naval battle-scene by R. NOOMS (monogrammed "ZM") in lower margin w. engr. caption below ("Ick heb mijn vlijt gedaan, u cierlijck af te maalen, Tot lof der Helden trou en 't Puijck der Admiraalen" and w. publ. address of L. Lodewijcksz, 31x21 cm., Amst., framed. - Doubled, closing a horizontal tear in right margin of image; trimmed to/ just within the border line; sl. dam. in lower left corner (just touching Zeeman's monogram). = Hollstein (Mousyn) 87; cf New Hollstein (Lievens) 39 and F.M. Portretten 4633 ff. Apparently published by Lodewijcksz in a series of similar portraits of famous admirals, all with the same naval battle-scene in lower margin. For the naval battle by Nooms see New Hollstein (Zeeman) 12. Very rare portrait (as are all of this series). Gole, Jacob (±1660-1737). "Cornelis Tromp." Oval portrait, mezzotint, 18,7x14 cm., w. engr. 4-line caption below image and address of Gole below. - Fine copy. = Hollstein 123; F.M. Portretten 5424. ADDED: 3 other small portraits, i.a. of Mercator and Plancius.
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Lievens, Jan (1607-1674). Buste of a young woman in profile to the left. Etching, 7,6x6 cm. - Fine impression, cut on/ just inside the borderline. = Hollstein 63, 2nd state of 3; state after the 2nd state as noted by the Rijksmuseum, but before the heavily reworked 3rd state (as noted by the British Museum, part of the series Diverse Tronikens, cf. B.M. S.96).
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Certificate Dendrochronological examination report: Prof. Dr. Peter Klein, Universität Hamburg, 16.11.2016. Jan Lievens and Rembrandt – of this Constantijn Huygens had no doubt – represented the glorious future of Dutch painting. In his memoirs, the eruditerepresented the glorious future of Dutch painting. In his memoirs, the erudite secretary to the stadtholder in The Hague praised the "two outstanding young men from Leiden" and saw them at a young age already competing with the great masters such as Rubens and Titian. Jan Lievens and Rembrandt, almost the same age, were talented, inquisitive and full of ambition. They shared a workshop, tried their hand at the same themes and inspired each other. This went so far that even their contemporaries confused their works (Rembrandt's "Rape of Proserpina" was listed in the inventory of the court in The Hague as a work by Jan Lievens). Art historical research would fare no better a few hundred years later, as the numerous corrections of attribution show. A testimony to this unique friendship as well as to the chequered history of many of the two artists' works is this painting, a self-portrait by Jan Lievens from 1628 (Schnackenburg, op. cit., passim). The artist looks at the viewer with an intense gaze, a dark hood covers his head. His mouth is slightly open, as if he is speaking to us, or as if he is astonished by something. A narrow moustache graces his countenance. His face is lit from the left, as is usual in self portraits by right-handed artists, while the right half of his face is correspondingly shadowed. The painterly execution in the face is "grainy, dense and naturalistic in the rendering of the skin texture" (Schnackenburg), while the part of the shoulder is only indicated with broad, dry brushstrokes. When the painting was rediscovered, it was initially attributed to Rembrandt (Bredius, op. cit.). A self portrait by Rembrandt from 1628 served as a reference, as it is comparable in terms of the position of the head and the slightly open mouth (fig. 1; Indianapolis Museum of Art, inv. no. 2023.4). However, doubts about the attribution soon arose. Rosenberg, Gerson and Bauch relegated the painting to the dubious works of Rembrandt in their catalogue raisonnés. Finally, the Rembrandt Research Project considered it to be merely the work of a later follower (which was to be refuted by dendrochronological analysis). When reviewing the literature, it is noticeable that art historians have only ever dealt with the question of whether or not this is a work by Rembrandt. The question of the actual creator of this self portrait was only addressed by Schnackenburg, who recognised the painting as a self portrait by the artist and included it in his monograph on Jan Lievens. Schnackenburg's attribution of the painting to Jan Lievens has subsequently been confirmed by a number of renowned experts after examining it in flesh. Schnackenburg emphasises the "portrait-like character" of the painting and sees the "typical facial features of Jan Lievens", "his slightly protruding eyes with accentuated lower eyelids, the pointed nose and chin in comparison with Rembrandt and, as a special distinguishing feature, the thin moustache" (Schnackenburg, op. cit., p. 251). Thereby he refers to another self portrait by Jan Lievens (Copenhagen, Statens Museum for Kunst, inv. no. KMSsp413) and the portrait of the artist in Anthony van Dyck's Iconography (fig. 2). His attribution is supported by a dendrochronological analysis: The wood of the panel comes from a tree felled around 1622 and used after 1626. And not only that: Wood from the same trunk was also used as a support for a number of other works by Rembrandt and Jan Lievens, including Rembrandt's famous Nuremberg Self Portrait (ill. 3; Germanisches Nationalmuseum), his "Andromeda" and "Samson and Delilah" (both Gemäldegalerie, Berlin) as well as Jan Lievens‘ Half-length Figure of an Old Woman with Hooded Cloak (Gemälde Alte Meister, Dresden), among others. (1) Portraits and self portraits form a central body of works in the oeuvre of the two young artists from their Leiden period. They portrayed themselves and each other grinning, laughing, and with astonished or sceptical expressions. They often wore armour, fanciful robes and exotic headgear. The paintings served as studies for the use of light and the depiction of emotions. Strictly speaking, the early portraits and self portraits by Rembrandt and Lievens belong to the genre of tronies, small- and medium-format head studies that originated in Flemish workshops and developed into an independent highly succesful genre in Holland. Schnackenburg assumes that Lievens realised during the execution of this self portrait that "Rembrandt's method of mimicing self portraits in front of the mirror was not his way," which explains the sketchy execution of the area of the shoulders. As was customary in the workshop, copies of the present self portrait were made, one of which is attributed to Dirck Lievens, the artist's brother (Rouen, Musée des Beaux-Arts, inv. no. 1975.4.77; Schnackenburg, op. cit., p. 251). Schnackenburg describes the years around 1628 as a "period of intensive exchange" and "symbiotic co-operation" between the two artists. The "two outstanding young men from Leiden" shared a studio, materials and ideas for their paintings; this close artistic exchange can be seen in the present self portrait of Jan Lievens. Soon each would go his own way, Rembrandt moved to Amsterdam, Jan Lievens went to London and later to Antwerp – but both were to fulfil Constantijn Huygens' high expectations. Footnote 1: On the other paintings by Jan Lievens and Rembrandt using panels from the same tree cf. the various volumes of the Rembrandt Research Project and, for example, Christiaan Vogelaar: Ten Years of Struggle, Rembrandt in Leiden and Amsterdam, 1624-1634, in: Exhib. cat. Leiden 2019: The Young Rembrandt, Leiden 2019, p. 19-20; Schnackenburg, op. cit., p. 75.
Jan Lievens (1607 - 1674) , cerchia di Testa di vecchio Olio su tela 44,8 x 50,8 cm Provenienza: Christie's Londra, 18.2.1998, lotto 171 (Seguace di Jan Lievens) Stato di conservazione. Supporto: 70% (stato frammentario; rintelo) Stato di conservazione. Superficie: 85% Il dipinto è stato restaurato, con pulizia e rintelo, da Donatella Zari e Carlo Giantomassi. I restauri hanno messo in evidenza una testa di fanciulla, a fianco al volto di anziano, parzialmente resecata, e permesso di comprendere come la tela facesse parte di un quadro di grandi dimensioni, probabilmente per arredo di un ambiente sacro.
JAN LIEVENS (1607 Leiden - 1674 Amsterdam) Radierung, "Büste eines alten Mannes mit dicken Lippen" (um 1640, hier wohl später), verso 2x gestempelt "EK", auf Montierungsgrund bezeichnet (u.a. "gereinigt und aufgezogen"), 7,2x5,9cm, ungerahmt (am oberen Rand auf Karton montiert)
JAN LIEVENS Bust of a Bearded Oriental Man with Turban. Etching, circa 1630-31. 161x145 mm; 6½x5¾ inches, thread margins. Second state (of 2). A very good impression of this extremely scarce, early etching. This introspective portrait of an old man in exotic costume is an early work by Lievens (1607-1674) from a series of etched imaginary heads from around 1630-32. It was executed at the time when Lievens was working in close collaboration with Rembrandt (1606-1669) in Leiden and when the two young artist's mutually influenced each other's work. Lievens was inspired by Rembrandt's contemporary etched portraits of men in oriental dress when he created this bust of an aged man wearing an unusual fur cap bound by a strip of cloth. Rembrandt in turn etched copies of this subject and two others from a series in 1635 (Hollstein 286-88; New Hollstein 149-151). Rembrandt added the etched inscription to his copy of this Bust of an Oriental Man, Facing Right (The Third Oriental Head)--"Rembrandt geretuckert"--as in "retouched or improved by Rembrandt." Hollstein 35.
JAN LIEVENS Bust of a Man in Profile to the Left Etching. 163x143 mm; 6½x5⅝ inches. Second state (of 2). Double-headed eagle watermark. Trimmed on or just inside the plate mark. A very good impression of this extremely scarce etching, with strong contrasts and no sign of wear. We have found only 3 other impressions at auction in the past 30 years. Bartsch 15; Hollstein 32.
JAN LIEVENS The Hermit. Etching. 123x93 mm; 4¾x3⅝ inches, thread margins. Second state (of 2). A very good impression of this exceedingly scarce etching. We have not found another impression at auction in the past 30 years. Bartsch 7; Hollstein 16.
JAN LIEVENS St. Anthony. Etching, circa 1630. 255x205 mm; 10x8⅛ inches, small margins. Fourth state (of 4). Crowned letters GR in circle watermark. A very good impression of this extremely scarce etching. Provenance: W. E. Drugulin, Leipzig, with the ink stamp verso (Lugt 2612). Bartsch 8; Hollstein 14.
JAN LIEVENS St. Jerome. Etching, circa 1631. 243x212 mm; 9⅝x8¼ inches, thread margins. Third state (of 5). A superb, dark, richly-inked and early impression of this very scarce etching. According to the National Gallery Prague, where there is another similar impression of this etching, "A successful artist himself, Lievens was a close friend of Rembrandt's. Together, they shared an art studio in Leiden in their early career (1625-1631), where the artists influenced and inspired one other. However, in 1631, they parted ways; Rembrandt settled in Amsterdam and Lievens left for England. Through the use of the dramatic tenebrism (dramatic dark chiaroscuro), this image showing the penitent St. Jerome reflects the artist's admiration for the Utrecht Caravaggisti." Lievens (1607-1674) likely based this etching on a painting of the same subject, from circa 1630, now in the Stedelijk Museum De Lakenhal, Leiden. Bartsch 5; Hollstein 15.
ATTRIBUÉ À JAN LIEVENS (LEYDE 1607 – 1674 AMSTERDAM) Couple debout devant un homme assis dans un intérieur (recto); Homme assis... plume et encre brune 10,5 x 16,7 cm (4 1⁄8 x 6 ½ in.)
Jan Lievens (1607-1674) The Hermit (Hollstein 17) signed with initials in the plate etching, eighth state (of eight) 20 x 14cm Provenance: Alan Barlow (1926-2005), Thence by descent to the present vendor 43 x 33cm framed
CIRCLE OR SCHOOL OF JAN LIEVENS ('Also Lievens de Oude, Livius le Vieux or Johannis Livens') 24 October 1607 Leiden - 4 June 1674 Amsterdam SAINT MATTHEW Oil on canvas (old relined). 118 x 100 cm (F. 130 x 111 cm). Part. slightly old rest. Frame. Provenance: South German private collection. JAN LIEVENS (UMKREIS/SCHULE) ('Auch Lievens de Oude, Livius le Vieux oder Johannis Livens') 24. Oktober 1607 Leiden - 4. Juni 1674 Amsterdam HEILIGER MATTHÄUS Öl auf Leinwand (altdoubl.). 118 x 100 cm (R. 130 x 111 cm). Part. leicht altrest. Rahmen. Provenienz: Süddeutsche Privatsammlung.
LEIDEN SCHOOL IN THE CIRCLE OF JAN LIEVENS ('Also: Lievens de Oude, Livius Johanis le Vieux, or Johannis Livens') 24 October 1607 Leiden - 4 June 1674 Amsterdam APOSTLE PETRUS Oil on oak panel. 64.5 x 48.5 cm (F. 78 x 63 cm). Part. slightly old rest., min. old retouching. Frame. Provenance: South German private collection. LEIDENER SCHULE IM UMKREIS VON JAN LIEVENS ('Auch: Lievens de Oude, Livius Johanis le Vieux, oder Johannis Livens') 24. Oktober 1607 Leiden - 4. Juni 1674 Amsterdam APOSTEL PETRUS Öl auf Eichenholztafel. 64,5 x 48,5 cm (R. 78 x 63 cm). Part. leicht altrest., min. Altretuschen. Rahmen. Provenienz: Südeutsche Privatsammlung.
Jan Lievens (1607 - 1674) , cerchia di Testa di vecchio Olio su tela 44,8 x 50,8 cm Provenienza: Christie's Londra, 18.2.1998, lotto 171 (Seguace di Jan Lievens) Stato di conservazione. Supporto: 70% (stato frammentario; rintelo) Stato di conservazione. Superficie: 85% Il dipinto è stato restaurato, con pulizia e rintelo, da Donatella Zari e Carlo Giantomassi. I restauri hanno messo in evidenza una testa di fanciulla, a fianco al volto di anziano, parzialmente resecata, e permesso di comprendere come la tela facesse parte di un quadro di grandi dimensioni, probabilmente per arredo di un ambiente sacro.
Jan Lievens (Leida, 1607 - Amsterdam, 1674) Lotto di due incisioni - uomo dalle spesse labbra - cm 8x7 ( condizioni: incollata su cartoncino nero) - giovane donna - cm 7,5x6 ( condizioni: incollata su cartoncino nero
(1607 Leiden - Amsterdam 1674). Büste eines älteren bärtigen Mannes. Clair-obscur Holzschnitt in Dunkelgrün und Ocker auf Bütten, um 1650. 17,6 x 13,6 cm. Bis zur Einfassungslinie beschnitten. Am linken Rand auf Kart. mont. Hollstein XI, 77, 106. Rovinsky Eleves 38,70. - Seltener Holzschnitt von Lievens, Jugendfreund von Rembrandt, mit dem er zusammen ab 1625 zeitweise eine Werkstatt hatte. R
Lievens, Jan (1607-1674). Ephraim Bonus, physician. Etching, 33,7x26,8 cm. - Sl. browned; ample (partly browned) margins, well outside the platemark. = Hollstein 20, 8th state, the address erased. SEE ILLUSTRATION PLATE CIV.
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Lievens, Jan (1607-1674). Bust of an old woman, facing left [Rembrandt's mother]. Etching, 12,4x10,7 cm. (leaf 11,7x11,7 cm.). - Small repaired spot in outer lower margin (sl. affecting image); some foxing/ dustsoiling. = Hollstein 49, the 1st state (of 2), before the signature. SEE ILLUSTRATION PLATE CIII.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Dessins LIEVENS jan (1607 - 1674). Attribué à. Lot de quatre dessins à la plume d'encre grise, brune et lavis sur papier représentant "Ascension du Christ", une "Allégorie de la Justice", une "Scène portuaire animée". Ainsi qu'un "Paysage". Attribué à Jan Lievens. Ecole italienne, française et hollandaise. Epoque: XVIIème et XVIIIème. (* pour un). Dim.:+/-100x265mm, 118x165mm,140x200mm et 280x195mm.
JAN LIEVENS Bust of a Young Woman in Profile to the Right. Etching, circa 1660. 148x125 mm; 5 7/8x4 7/8 inches. Second state (of 3). Trimmed on or just inside the plate mark. A very good impression of this scarce etching. Provenance: Carl Theodor Thiemann, Dachau (Lugt 642c, verso). Lievens (1607-1674) shared a studio with Rembrandt from 1625 to 1631 and they remained close friends throughout their lives. During the late 1620s they often collaborated on paintings and sketched together: the Portrait of a Child in the Rijksmuseum, Amsterdam, is inscribed "Lievens retouched by Rembrandt." Bartsch 27; Hollstein 45.
JAN LIEVENS Bust of a Man Wearing a Fur Coat: Profile. Etching, circa 1650. 165x145 mm; 6 1/2x5 3/4 inches, narrow to thread margins. Third state (of 3). A very good, strong impression of this scarce etching, with strong contrasts and no sign of wear. We have found only five other impressions at auction in the past 30 years. Bartsch 24; Hollstein 42.
JAN LIEVENS Bust of a Young Woman with Loose Hair (Saskia van Uylenburgh). Etching, circa 1630. 165x147 mm; 6 3/4x6 inches, narrow to thread margins. Second state (of 2), with the address of Wyngaerde. Partial indiscernible watermark fragment. Provenance: Kupferstickabinett der Staatlichen Museen, Berlin (Lugt 1606, verso); Karl Ferdinand Friedrich von Nagler, Berlin (Lugt 2529, verso). Lievens (1607-1674) shared a studio with Rembrandt (1606-1669) in Leiden from 1625 to 1631 and they remained close friends throughout their lives (even after Lievens had moved to London and Antwerp and Rembrandt had established himself for his career in Amsterdam; in 1656 Rembrandt still owned paintings by Lievens). During the late 1620s, they often collaborated on paintings, of which more than twenty survive in addition to a handful of drawings and etchings: Portrait of a Child, an oil painting in the Rijksmuseum, Amsterdam, is inscribed "Lievens retouched by Rembrandt." Around the same time as the current etching, Lievens also made an etched portrait of an older woman, presumed to be Rembrandt's mother (see Hollstein 49). Saskia and Rembrandt met soon after he moved to Amsterdam at the end of 1631 and in 1634 the couple married. Saskia's first cousin, and an early supporter of Rembrandt, was the influential Dutch art dealer Hendrick van Uylenburgh. Bartsch 25; Hollstein 43.
(1607 Leiden - Amsterdam 1674). Büste eines älteren bärtigen Mannes. Clair-obscur Holzschnitt in Dunkelgrün und Ocker auf Bütten, um 1650. 17,6 x 13,6 cm. Bis zur Einfassungslinie beschnitten. Am linken Rand auf Kart. mont. Hollstein XI, 77, 106. Rovinsky Eleves 38,70. - Seltener Holzschnitt von Lievens, Jugendfreund von Rembrandt, mit dem er zusammen ab 1625 zeitweise eine Werkstatt hatte. R
‘Een apostel of een geleerde in overpeinzing’, draagt signatuur ‘A.G. Kallenbach’ en gedateerd ‘1773’. Naar een schilderij van Jan Lievens (1607 - 1674) in The Latvian Museum of Foreign Art, Riga, inv./cat.nr 124 (cat. 1906).
Jan Lievens, Männerkopf & bärtiger Orientale, zwei Radierungen um 1630/40 Jan Lievens, 1607 Leiden - 1674 Amsterdam, bedeutender niederländischer Maler, Zeichner und Radierer, der eng mit Rembrandt zusammen arbeitete und oft mit diesem verwechselt wird, hier: Brustbild (Tronie) eines jüngeren Mannes mit langen Haaren nach rechts (Selbstporträt ?), Radierung, 7,5 x 6 cm, sowie Brustbild (Tronie) eines bärtigen Orientalen nach rechts, 7,5 x 6,5 cm, beide mit breiten Plattenrändern. Lievens wurde geboren als Sohn eines Posamentierers. Er lernte 1616-1618 bei Joris van Schooten und 1618-1620 bei Rembrandts Lehrer, dem Historienmaler Pieter Lastman in Amsterdam. Als er 14 war, kam er zurück nach Leiden. Ab 1625 hatte er zusammen mit Rembrandt eine Werkstatt. Constantijn Huygens wurde auf die beiden Maler aufmerksam und lud sie ein, um ein Werk zu malen. Lievens bildete sich unter dem Einfluss Rembrandts weiter aus, aber Rembrandt ahmte ihn auch mehrere Male nach. Von 1632 bis 1635 arbeitete er in England, wo er König Karl I., die Königin und viele Vornehme malte. Jan Lievens, Male Head & Bearded Oriental, two etchings c. 1630/40 Jan Lievens, 1607 Leiden - 1674 Amsterdam, important Dutch painter, draughtsman and etcher, who worked closely with Rembrandt and is often confused with him, here: Half-length portrait (tronie) of a younger man with long hair on the right (self-portrait ?), etching, 7.5 x 6 cm, and half-length portrait (tronie) of a bearded Oriental on the right, 7.5 x 6.5 cm, both with wide platemarked margins. Lievens was born the son of a posamentier. He studied with Joris van Schooten in 1616-1618 and with Rembrandt's teacher, the history painter Pieter Lastman in Amsterdam in 1618-1620. When he was 14, he returned to Leiden. From 1625 he had a workshop together with Rembrandt. Constantijn Huygens became aware of the two painters and invited them to paint a work. Lievens continued to train under Rembrandt's influence, but Rembrandt also imitated him several times. From 1632 to 1635 he worked in England, where he painted King Charles I, the Queen and many nobles.
Property from a Collection formed by Dr Hinrich Bischoff Jan Lievens Leiden 1607–1674 Amsterdam Portrait of a boy, head and shoulders, wearing a gorget oil on oak panel unframed: 50.3 x 38.9 cm.; 19¾ x 15¼ in.
JAN LIEVENS (Leyde 1607-Amsterdam 1674) LE RÊVE DE JOSEPH Encre sur papier Monogrammée en bas à droite Un angle restauré. Taches. Joseph's dream, ink on paper, monogram on the lower right, a restauration on one angle, stains 9 x 12,30 CM - 3,5 x 4,8 IN.
CIRCLE OF JAN LIEVENS (DUTCH 1607-1674)HEAD OF AN APOSTLEOil on panelRemains of a red wax seal (on the reverse)61 x 46.5cm (24 x 18¼ in.)Provenance:Sale, Christie's, South Kensington, July 5, 2013, lot 68
![Lievens, Jan (1607-1674). Bust of an old woman, facing left [Rembrandt's mother].](https://stageimg.invaluable.com/housePhotos/bubbkuyper/39/759039/H3721-L352985243.jpg)
