EVERT JAN LIGTELIJN The Netherlands, 1893-1975 Interior scene with a mother and her children gathered around a table. Signed lower right "E. Ligtelijn".
Evert Jan Ligtelijn (1893-1975) Dutch polder landscape with cow and a church in the distance, signed and dated l.r. 1929, oil on canvas, 38,5 x 75,5 cm
Evert Jan Ligtelijn (1893-1975) “Composition after a painting by A.W. van Voorden with a lady near the so called Vierleeuwenbrug in Rotterdam”, signed ‘E.J. Ligtelijn’ lower right,
Evert Jan Ligtelijn (1893-1975) Zonnig gezicht op Loenen aan de Vecht, gesigneerd r.o., olieverf op doek, 73,5 x 100,5 cm -signatuur mogelijk aangezet-
(Amsterdam 1893 - Laren (NH) 1975) View of the Dorpsbrug and Church of Loenen Along the River Vecht Signed lower left Oil on canvas, 60.4 x 90.4 cm Provenance: - Private collection, the Netherlands - Auction AAG Auctioneers, Amsterdam, 15 June 2019, lot 89 - Private collection, the Netherlands Please note: condition reports and additional photos are available upon request: info@aagauctioneers.com / +31 (0) 20 30 12 950.
LIGTELIJN, J. (19th/20th c., probably EVERT JAN LIGTELIJN, Amsterdam 1893-1975), painting: "Autumnal forest with snipe", oil on canvas on cardboard, signed on the lower right "J. Ligtelyn". Summarized and impasto worked hunting painting with so-called "snipe stroke". 40 x 30 cm. LIGTELIJN, J. (19./20. Jh., wohl EVERT JAN LIGTELIJN, Amsterdam 1893-1975 ebd.)., Gemälde: "Herbstlicher Wald mit Schnepfe", Öl auf Leinwand auf Karton, u. r. signiert "J. Ligtelyn". Summarisch und pastos gearbeitetes jagdliches Gemälde mit sogenanntem Schnepfenstrich. 40 x 30 cm.
LIGTELIJN, J. (19th/20th c., probably EVERT JAN LIGTELIJN, Amsterdam 1893-1975), painting: "Autumnal forest with snipe", oil on canvas on cardboard, signed on the lower right "J. Ligtelyn". Summarized and impasto worked hunting painting with so-called "snipe stroke". 40 x 30 cm. LIGTELIJN, J. (19./20. Jh., wohl EVERT JAN LIGTELIJN, Amsterdam 1893-1975 ebd.)., Gemälde: "Herbstlicher Wald mit Schnepfe", Öl auf Leinwand auf Karton, u. r. signiert "J. Ligtelyn". Summarisch und pastos gearbeitetes jagdliches Gemälde mit sogenanntem Schnepfenstrich. 40 x 30 cm.
LIGTELIJN, J. (19th/20th c., probably EVERT JAN LIGTELIJN, Amsterdam 1893-1975), painting: "Autumnal forest with snipe", oil on canvas on cardboard, signed on the lower right "J. Ligtelyn". Summarized and impasto worked hunting painting with so-called "snipe stroke". 40 x 30 cm. LIGTELIJN, J. (19./20. Jh., wohl EVERT JAN LIGTELIJN, Amsterdam 1893-1975 ebd.)., Gemälde: "Herbstlicher Wald mit Schnepfe", Öl auf Leinwand auf Karton, u. r. signiert "J. Ligtelyn". Summarisch und pastos gearbeitetes jagdliches Gemälde mit sogenanntem Schnepfenstrich. 40 x 30 cm.
LIGTELIJN, J. (19./20. Jh., wohl EVERT JAN LIGTELIJN, Amsterdam 1893-1975 ebd.)., Gemälde: "Herbstlicher Wald mit Schnepfe", Öl auf Leinwand auf Karton, u. r. signiert "J. Ligtelyn". Summarisch und pastos gearbeitetes jagdliches Gemälde mit sogenanntem Schnepfenstrich. 40 x 30 cm. LIGTELIJN, J. (19th/20th c., probably EVERT JAN LIGTELIJN, Amsterdam 1893-1975), painting: "Autumnal forest with snipe", oil on canvas on cardboard, signed on the lower right "J. Ligtelyn". Summarized and impasto worked hunting painting with so-called "snipe stroke". 40 x 30 cm.
Evert Jan Ligtelijn (Dutch,1893-1975). Antique oil painting on board. Depicting a figural interior room scene with a mother, and three small children. Artist signature to the lower right corner. Housed in a ornate antique washed wood frame. Work Size: 25 x 20 in. SHIPPING Hill Auction Gallery will not ship. Gallery will refer a local shipper for international buyers. Purchaser pick up available upon request. Got something to sell? Contact us at HillAuctionGallery.com.
Evert Jan Ligtelijn (1893-1975, Dutch), "Interior with Mother and Children," 20th c., oil on panel, signed lower right, presented in a polychromed gilt and gesso frame, H.- 23 1/2 in., W.- 19 in.
Ligtelijn, Evert J. (1893–1975). Per Spoor naar Bos en Heide. Circa 1938. Lithograph in colors depicting a young woman and her dog exploring the dense forest. 42 x 31”. Few horizontal creases to lower image area. Linen backed. A-/A.
Evert Jan Ligtelijn (1893-1975, Dutch), "Interior with Mother and Children," 20th c., oil on panel, signed lower right, presented in a polychromed gilt and gesso frame, H.- 23 1/2 in., W.- 19 in.
Evert Jan Ligtelijn, Nächtliche Toreinfahrt nächtlicher Blick auf einen mit Schnee bedeckten Innenhof mit Durchgang zur Straße, leicht pastose Malerei in fein abgestimmter, gedeckter Farbigkeit, Öl auf Sperrholz, 1. Hälfte 20. Jh., links unten signiert „E. Ligtelijn“, Malschicht partiell berieben, gerahmt, Maße 60 x 50,5 cm. Künstlerinfo: niederl. Maler (1893 Amsterdam bis 1975 Laren), Quelle: Internet.
ARTIST: Evert Jan Ligtelijin (Netherlands, 1893 - 1975) NAME: Interior Scene with Mother and Child YEAR: 1929 MEDIUM: oil on canvas CONDITION: Minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 24 x 36 inches / 60 x 91 cm FRAME SIZE: unframed SIGNATURE: lower right SIMILAR ARTISTS: Evert Moll, Adriaan Herman Gouwe, Frans Langeveld, Anton Pieck, Willem Maris, Jan Hillebrand Wijsmuller, Johannes Hilverdink, Johann Hendrick van Mastenbroek, Louis Soonius, Willy Sluiter, Frederik Jacobus Du Chattel, Jan Johannes Theodorus Toorop, Willem George Frederick Jansen, Constant David Ludovic Artz, Piet Van Wijngaerdt, William Carel Karel Nakken CATEGORY: antique vintage painting SKU#: 116616 WARRANTY: 7 days returns accepted if item doesn't match description US Shipping $120 + insurance. BIOGRAPHY: Evert Jan Ligtelijn was a highly respected Dutch painter whose skillful versatility across a broad spectrum of subjects and styles, as well as his renowned depictions of the historically significant River Vecht, have secured him an enduring spot in the rich artistic pantheon of his native country. Born and raised in the capital city of Amsterdam, Ligtelijn was a self-taught artist steeped in the knowledge of, and profoundly influenced by, the centuries-old artistic traditions of the Netherlands. Drawing on this heritage, he applied his considerable innate talent to a variety of genres and settings; his body of work included landscapes, figure paintings, still-lifes, and portraits. Moreover, as an extensively well-traveled artist, his painting sojourns took him to nearly all the regions of his native land (in particular the historic towns of Naarden, Gorssel, and Kortenhoef), as well as Europe, the Americas (North, South, and Central), the Caribbean (Aruba and Curacao), and the Canary Islands. His early cityscapes of Amsterdam and scenes of the surrounding countryside established his use of the naturalistic, en plein air painting technique handed down by his mid-19th century Hague School predecessors, and employed the low-keyed, muted colors preferred by Dutch painters dating back to the 17th century. From the outset of Ligtelijn's long career (he began exhibiting at age 17), his aptitude with a brush was in evidence: what has often been described as his strikingly smooth brush strokes led to a capacity for representing the stillness of water in a manner strongly suggestive of a reflecting pool, replete with mirror-images on the water's surface; applying this ability to his views of the River Vecht, he produced a series of paintings featuring the river and the historic structures built upon its embankment that remain enduringly popular. His fame arising from these efforts gave rise to the nickname De Vechtschilder (The Vecht Painter), a designation still in evidence today. A notable example of this major thematic current running through Ligtelijn's work is View of the River Vecht with the Manor House Rumplemonde. Painted in 1921, it was reviewed in a January 11, 2011, entry of Lot-Art, a platform for serious collectors of art. Following an historical overview of the manor house, the website offered this analysis: The house is one of the finest examples of retreats built along the River Vecht, which was also noted by various artists. For example, Jan Hillebrand Wijsmuller (1855-1925) and Nicolaas Bastert (1859-1934) painted the river and this gem of a building, but none as artfully as Evert Jan Ligtelijn was able to. As Ligtelijn matured, his palette began to brighten and his works took on a newfound immediacy a move in the direction of impressionism to best reflect his expanding subject-matter, which came to include the sunny, vibrant settings of the Mediterranean, the Canary Islands, the Caribbean, and South America. In July 2016, the Dutch art and design website Kunstveiling called Ligtelijn's Cityscape La Guernica Venezuela a particularly beautiful oil painting and explained that he started to paint more colorfully at a later age. Additionally, the size of his canvasses grew; Cityscape La Guernica Venezuela measures 40 x 50 inches, and was the result of a commission the artist received while under contract to a famous gallery in The Hague. Ligtelijn was known to accept such traveling commissions from various sources, and often used pseudonyms such as Pe Lucia or Luciente while painting in Central and South America under these circumstances. Critical attention has also been focused on Ligtelijn's landscapes produced in the Caribbean: The September 27, 2013, entry of De Maarchalk (The Marshal) a Dutch-based website providing commentary on Netherlands art adjudged that Ligtelijn composed several beautiful canvasses of the bays of Curacao. Moreover, during his time on Curacao, Ligtelijn executed a large diorama for public display. His stylistic evolution also extended to his cityscapes of Amsterdam, interpreted by many art historians as a transition to a moody, atmospheric impressionism," which conceivably was impacted by his time spent in the town of Bergen in the company of Dutch scholar and impressionist painter Harry Kuyten. Several of Ligtelijn's cityscapes of this nature were selected for a highly publicized and well-received April 2017 exhibition titled Holland's Impressionism: Work by Well-Known Dutch Impressionists, which took place at Kortenhoef's De Olde School,a famous exhibition space operated by a private foundation that holds nationally renowned exhibitions of Dutch art. Ligtelijn's work was held in high enough esteem to be displayed alongside that of other noted Dutch impressionists such as Hendrik Jan Wolter, Cornelis Vreedenburgh, Willem Alexander Knip, Arie Johannes Zwart, and Ben Viegers. Of the group, only Ligtelijn was singled out for special mention, earning a citation in the promotional materials as “the painter of the Vecht. Another significant portion of Ligtelijn's oeuvre consisted of figure paintings; though his work in this area was spread across a variety of media and settings from richly colored canvasses of women in tropical villages deftly balancing items atop their heads to intricate drawings of silhouetted individuals walking along Europe's cobblestone streets arguably his best-known figural compositions were oil paintings whose settings were generally the tight, dimly lit interior spaces of modest Dutch residences, perhaps examples of what art historian J.J.M. Timmers called “an interpretation of the domestic interior with its special quality of light (sought after by Dutch artists since the Golden Age of the 17th century). Ligtelijn fashioned these scenes using an interplay of diffused light and shadow, with the threadbare rooms only source of illumination provided by the natural light seeping through an often unseen solitary window. In most of these works Ligtelijn imparted his own uniquely personal, expressively rendered interpretations of the interactions between a mother and her small children, or a female figure seated at a table and intently staring into an open book, the latter motif frequently reproduced on the Women Reading and Reading and Art websites. Ligtelijn also added floral still lifes to the background of many of these figure paintings, his technique perhaps augmented by his lifelong friendship with the painter Nico Bruynestein, who, along with his artist wife Fia van Driel (who generally used the pseudonym Tilly Moes when signing her work), achieved notoriety as a result of their collaboratively produced still-lifes, primarily featuring sunflowers and poppies. Furthermore, owing to his respected status in Dutch art circles, Ligtelijn's commissions often involved the production of portraits of notable Dutch citizens, as well as portraits of high-ranking officers staffing the ships of the major Dutch shipping concern, KNSM (the Royal Dutch Steamboat Company), for whom he also painted seascapes while on board their freighters. One of his paintings done for KNSM a group portrait of a captain and two other officers on the deck of a ship, with a blue expanse of ocean in the background is on public display as part of the permanent collection of the Maritime Museum of Rotterdam. According to the museum's website, the painting also graced the cover of a privately published book of maritime art that the company placed in the passenger cabins of their ships. As his career progressed, the ever-evolving and inquisitive Ligtelijn began to experiment with elements of post-impressionism, using highly expressive colors and forms. These paintings benefited from Ligtelijn's well-known expertise with the painter's knife, whose use is strikingly evidenced in many of his landscapes, particularly those produced in the Mediterranean region, wherein the viewer's sightline is focused through an archway toward the primary subject matter of the painting, an early, foresightful application of the view through the window framing device. Evert Jan Ligtelijn died in 1975 in the Northern Holland town of Laren. Much of his work produced abroad has remained in private hands, with collectors noticeably reluctant to part with it. Publicly, selections from his oeuvre can be viewed at the aforementioned Maritime Museum of Rotterdam, as well as the National Maritime Museum in Amsterdam and the Streekhistorisch Museum Tweestromenland (the Regional History Museum of Treestromenland), the latter venue having been made the beneficiary of Ligtelijn's classic but long unseen work from 1942, Kasteel Hernen en de Sneeuw (Castle Hernen in the Snow). The transfer of the painting from the Historical Society of Tweestromenland to the Regional History Museum was chronicled in an article appearing in the September 23, 2013, issue of the Dutch periodical West Maas en Wall 4All, which referenced the painting having undergone a major restoration prior to its conveyance, with the substantial cost borne by the Historical Society as a 25th Anniversary gift to the museum.
Evert Jan Ligtelijn (Dutch, 1893-1975) 'Seated Woman near Fire' Oil on Board Undated, signed lower left, Dutch interior scene in the manner of the 17th century Old Masters, in a cream and gold Baroque style frame Condition: Very Good, three 2-inch scratches at left center, multiple light scratches overall, rubbed edges from framing; some age cracks / separation of gesso on frame Height: 19.75 inches, Width: 16.00 inches (board size) Frame Size: 28.00 inches by 24.00 inches Category: Fine Art > European Paintings Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping quote. Approximate Sale Time: 12:25 pm CST Links to High Resolution Images: Image #1 Image #2 Image #3 Image #4 Image #5 Image #6
An Italian harbour, signed lower right, 50 x 40 cm. Olieverf op paneel. E.J. Ligtelijn onder pseudoniem: Pé Lucia (1893 - 1975). Italiaans havenstadje. Gesigneerd rechtsonder. 50 x 40 cm.
Evert Jan Ligtelijn (1893-1975) 'Tusschen Boompjes en Scheepmakershaven'. Signed lower left. Dated verso Rotterdam 1941. Provenance: purchased in 1993 at art dealer Koch, Rotterdam. Doek 38,5 x 58,5 cm.
