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Lot 79: ALEXANDER KEIRINCKX (1600-1652)

Est: €30,000 EUR - €40,000 EURSold:
Bernaerts AuctioneersAntwerp, BelgiumFebruary 16, 2021

Item Overview

Description

A wooded landscape with the good Samaritan (Luke 10: 25-37), c. 1620.
Monogrammed in the lower left ‘AK’ (entangled).
Panel.

Provenance:
Cologne, collection Schmidt;
Cologne, collection Mengelberg;
Amsterdam, Frederik Muller and Cie, 18-21.06.1957;
Amsterdam, collection Freling 1958;
Amsterdam, Sotheby’s, 08.10.1973, lot 160;
Honourable private collection Belgium

Alexander Keirincx is born in the year 1600 in the city of Antwerp. He is a pupil of the landscape painter Abraham Govaerts. Already at the age of 18, he obtains the title of Master at the Saint Lukes guild, allowing him to sign and sell his work under his own name. Keirincx’s early work – such as this painting – is characterised by a complex composition depicted in vibrant colours typical for the Antwerp mannerist style. The religious scenes are portrayed by small figures who move in the woods. This type of landscape paintings is reminiscent of the work of Jan Bruegel (1568-1625) and Gillis van Coninxloo (1544-1606/07) who have greatly influenced the work of Abraham Govaerts.
After 1618, Keirincx will paint in Antwerp for ten years. In 1629 he moves to the north where he is mentioned in Amsterdam and Utrecht while collaborating with the renowned staffage painter Cornelis van Poelenburch (1594-1667). Influenced by the Dutch landscape tradition, he develops a more realistic style using more earthy tones. From 1637 onwards, he continues his search for realism in England, where he works for Charles I (1600-1649), painting ten of his castles and estates in the north of England and Scotland.

This monogrammed landscape with the Good Samaritan (Luke 10: 25-37) dates back to the first years of his career in Antwerp. The letter ‘A’ on the verso of the panel stands for the years of the Saint Lukes guild of 1619-20 and 1621 and 1622.

The dimensions of this panel are exceptionally large compared to other panel paintings in Keirincx’s oeuvre. Furthermore, a panel was an expensive support. That is why cabinet pieces on panel were often produced in a smaller size, which also made them more suitable for the smaller houses of the recently developed citizenry. The exceptionally large size may indicate that this landscape was painted on commission for a wealthy client who supplied the expensive panel in advance. Only in-depth archival research may provide more information on the commission of this artwork.

A dense forest with two rows of gnarled trees with elaborately painted foliage is the setting for the parable of the Good Samaritan. In the background, the priest and the Levite continue their way without taking care of the wounded. According to Ursula Härting, the figures in the foreground were painted by Keirincx himself. Frank Huygens and Constant Coone, however, attribute these figures to an anonymous master in which Keirincx only painted the priest and the Levite in the background. In addition, the group of figures appears a second time in Keirincx's oeuvre (('Forest landscape with the Good Samaritan', oil on panel, 69.5 x 118 cm, Palais des Congrès (Paris), 10.5.1975, lot 60; Drouot (Paris), 2.12.1975; Sotheby's (Monaco), 2-3.12.1988, lot 626; Lit.: Huygens 1989, cat. 7; Coone 2013, cat. B. 15; Harting 2018, cat. 166). We also find the figures in smaller works by an . It is precisely exceptional that groups of figures were reused as a kind of 'cut-and-paste work' in various landscapes.

This exceptional panel painting illustrates one of the highlights of a landscape tradition that had been developing since the beginning of the 16th-century. Landscape paintings were an important artistic export product of the region of Flanders. When artists emigrated to the north in the aftermath of the 80-year war, they took their skills with them, where the genre continued to flourish during the Dutch Golden age.
Description FR
Paysage forestier avec le bon Samaritain (Luc 10: 25-37).
Panneau. Monogrammé 'AK'.

Provenance: Cologne, collection Schmidt; Cologne, collection Mengelberg; Amsterdam, Frederik Muller et Cie, 18-21.06.1957; Amsterdam, collection Freling 1958; Amsterdam, Sotheby's, 08.10.1973, lot 160; collection privée, Belgique

Alexander Keirincx est né à Anvers en 1620 et a été formé par le peintre paysagiste Abraham Govaerts (1589-1626). A dix-huit ans, il obtient la maîtrise à la Guilde de Saint Luc et commence à signer ses toiles. Ses premières œuvres se caractérisent par une succession de repoussoirs en forme d'arbres noueux. Ceux-ci sont représentés avec une palette de couleurs maniéristes, entre lesquelles se déplacent de petites figures mythologiques ou bibliques. À cette époque, son style subissait encore l'influence des pièces de cabinet de Jan Bruegel (1568-1625) et de Gillis van Coninxloo (1544-1606 / 07), qui ont également influencé le style d'Abraham Govaerts.

Keirincx ne reste que dix ans à Anvers. En 1629, il se rend à Amsterdam et à Utrecht où il collabore à plusieurs reprises avec le célèbre peintre de figures Cornelis van Poelenburch (1594-1667). Influencé par la tradition paysagère hollandaise, il développera un style plus réaliste avec une tonalité tamisée. Il poursuit ce penchant pour le réalisme en Angleterre, où il réside à partir de 1637 et peint une dizaine de châteaux et domaines à la demande du roi anglais Charles Ier (1600-1649) dans le nord de l'Angleterre et en Écosse.

Ce paysage monogrammé avec le Bon Samaritain (Luc 10: 25-37) date probablement des premières années de sa carrière, vers 1620 (Härting 2018, p. 192, cat.167). Les dimensions de ce panneau sont exceptionnellement grandes par rapport à la taille moyenne des panneaux utilisés par Keirincx. En outre, de tels panneaux étaient fort coûteux. C'est la raison pour laquelle ils sont plus souvent fabriqués en plus petit format, ce qui les rendait plus adaptés aux petites maisons de la nouvelle bourgeoisie. Le grand format peut indiquer que ce paysage a été commandé par quelqu'un qui a payé d'avance le panneau coûteux. Seules des recherches approfondies pourraient éclaircir ce point.

Deux rangées de vieux arbres noueux sous une canopée de feuilles denses des deux côtés d'un ruisseau forestier sont le décor de l'histoire du Bon Samaritain. A l'arrière-plan, le prêtre et le lévite continuent leur chemin sans regarder le nécessiteux. Le contraste est frappant entre les troncs de chêne massifs, avec leur structure de branche torsadée, et la canopée transparente de l'arbre mince à droite. Au premier plan, les berges du ruisseau sont couvertes d'une flore luxuriante, entre laquelle un héron attend patiemment le passage d'un poisson.

Selon Ursula Härting, les personnages du premier plan ont été peints par Keirincx lui-même. Cependant, Frank Huygens et Constant Coone attribuent ces figures à un maître anonyme, Keirincx n'étant responsable que du prêtre et du lévite à l'arrière-plan. Par ailleurs, le groupe de personnages se retrouve dans une autre œuvre de Keirincx ('Paysage forestier avec le bon Samaritain', huile sur panneau, 69.5 x 118 cm, Palais des Congrès (Paris), 10.5.1975, lot 60; Drouot (Paris), 2.12.1975; Sotheby's (Monaco), 2-3.12.1988, lot 626; Lit.: Huygens 1989, cat. sept; Coone 2013, cat. B. 15; Harting 2018, cat. 166). On retrouve également ces figures dans des oeuvres de dimensions plus petites d'un . Il est tout simplement exceptionnel que des groupes de figures aient été réutilisés comme une sorte de 'couper-coller' dans des paysages différents.

Ce panneau exceptionnel illustre un des points forts d'une tradition paysagère qui s'était déjà développée depuis un siècle dans les Pays-Bas Septentrionaux. Le paysage était le produit d'exportation artistique par excellence de cette région. Les artistes émigrants ont ainsi importé leurs qualités artistiques dans les Pays-Bas Méridionaux.

Beschrijving NL
Boslandschap met barmhartige Samaritaan die de gewonde reiziger verzorgt, ca. 1620.
(Lukas 10: 25-37). Linksonder gemonogrammeerd 'AK' (verstrengeld).
Paneel (geparketteerd op verso). Op verso gemerkt met het Antwerpse stadswapen en de jaarletter 'A' die staat voor de (gilde)jaren tussen 1619/20 en 1621/22.


Herkomst:
Keulen, verzameling Schmidt;
Keulen, verzameling Mengelberg;
Amsterdam, Frederik Muller en Cie, 18-21.06.1957;
Amsterdam, verzameling Freling 1958;
Amsterdam, Sotheby’s, 08.10.1973, lot 160;
Private collectie, België

Alexander Keirincx wordt in 1600 te Antwerpen geboren en geniet zijn opleiding bij landschapsschilder Abraham Govaerts (1589-1626). Op 18-jarige leeftijd behaalt hij het meesterschap bij de Sint-Lucasgilde en begint hij zijn schilderijen te signeren. Zijn vroeg oeuvre wordt gekenmerkt door een opeenvolging van repoussoirs in de vorm van knoestige bomen. Deze zijn met een maniëristisch kleurenpalet weergegeven, waartussen kleine mythologische- of Bijbelse figuren bewegen. Op dat moment is zijn stijl nog schatplichtig aan de kleinere kabinetstukken van Jan Bruegel (1568-1625) en Gillis van Coninxloo (1544-1606/07) die ook Abraham Govaerts’ stijl beïnvloed hebben.

Keirincx schildert slechts tien jaar in de Scheldestad. In 1629 trekt hij naar Amsterdam en Utrecht waar hij verscheidene keren zal samenwerken met de vermaarde figurenschilder Cornelis van Poelenburch (1594-1667). Onder invloed van de Hollandse landschapstraditie zal hij hier een meer realistische stijl ontwikkelen met een getemperde tonaliteit. Deze hang naar realisme zet hij voort in Engeland waar hij vanaf 1637 vertoeft en in opdracht van Charles I (1600-1649) tien van zijn kastelen en landgoederen in het noorden van Engeland en Schotland schildert.

Dit gemonogrammeerde landschap met de Barmhartige Samaritaan (Lucas 10: 25-37) stamt uit de eerste jaren uit zijn prille carrière omstreeks 1620 (Härting 2018, p. 192, cat. 167). De jaarletter ‘A’ op de verso van het paneel, duidt gildejaren 1619-1620 en 1621-1622. De afmetingen van dit paneel zijn uitzonderlijk groot in vergelijking met de gemiddelde grootte van de door Keirincx gebruikte panelen. Bovendien was een paneel een dure drager. Daarom werden kabinetstukken op paneel vaak op kleiner formaat vervaardigd, wat hen ook meer geschikt maakte voor de kleinere woningen van de recent ontwikkelde burgerij. Het uitzonderlijk grote formaat kan er op wijzen dat dit landschap in opdracht werd geschilderd voor iemand die op voorhand het dure paneel voor de jonge kunstenaar bekostigde. Alleen diepgaand archiefonderzoek kan hier meer zekerheid in verschaffen.

Twee rijen knoestige bomen met gesloten bladerdek aan beide oevers van een bosbeek zijn het decor voor het verhaal van de Barmhartige Samaritaan. Op de achtergrond vervolgen de priester en de leviet hun weg zonder naar de behoeftige om te zien. Opvallend is het contrast tussen de massieve eikenstammen, met hun kronkelende takkenstructuur, en het helder doorzichtige bladerdak van de ranke boom rechts. Op het voorplan zijn de oevers van het beekje begroeid met een weelderige flora, waartussen een reiger geduldig op een visje wacht.

Volgens Ursula Härting zijn de figuren op de voorgrond door Keirincx zelf geschilderd. Frank Huygens en Constant Coone schrijven deze figuren echter toe aan een anonieme meester waarbij Keirincx enkel de priester en de leviet in de achtergrond voor zijn rekening nam. Daarnaast komt de figurengroep nog een tweede keer terug in Keirincx’ oeuvre (‘Boslandschap met de Barmhartige Samaritaan’, olieverf op paneel, 69.5 x 118 cm, Palais des Congrès (Parijs), 10.5.1975, lot 60; Drouot (Parijs), 2.12.1975; Sotheby’s (Monaco), 2-3.12.1988, lot 626; Lit.: Huygens 1989, cat. 7; Coone 2013, cat. B. 15; Harting 2018, cat. 166). We treffen de figuren ook aan in kleiner werk van een . Het is net uitzonderlijk dat figurengroepen als een soort ‘knip-en-plakwerk’ in verschillende landschappen hergebruikt werden.
Dit uitzonderlijke paneel illustreert één van de hoogtepunten in een landschapstraditie die in de Zuidelijke Nederlanden reeds een eeuw in ontwikkeling was. Het landschap was één van de artistieke exportproducten bij uitstek in deze regio. Emigrerende kunstenaars namen zo hun kunde mee naar de Noordelijke Nederlanden en deden daar het genre verder floreren.

Dimensions

140 x 180 cm(162.5 x 202 cm)

Artist or Maker

Literature

Frank Huygens, Alexander Keirincx (1600-1652). Een Antwerps landschapsschilder in Amsterdam, ongepubliceerde masterthesis, Universiteit Leuven, 1989, cat. 29, pp. 128-130; Rick Constant Coone, ‘Alexander Keirincx’ (1600-1652) leven en werk’, ongepubliceerd proefschrift voor de Open Universiteit, 2013, p. 195, cat. A13; Ursula Härting, Richard P. Townsend en Rick C. Coone, ‘Alexander Keirincx (1600-1652). Der Baummaler – Die Gemälde’, Antwerpen, BAI, 2018, p. 192, cat. 167.

Payment & Shipping

Payment

Accepted forms of payment: MasterCard, Visa, Wire Transfer

Shipping

For smaller items we can assist you in packaging and shipping. For larger or valuable pieces we kindly request you to organize your own transport.
However, we can recommend you some shipping companies.
The costs and risks for packaging and shipping are always your responsibility. Please contact shipping@bernaerts.be.

Auction Details

Wintertales Part I - Old & Romantic Masters

by
Bernaerts Auctioneers
February 16, 2021, 02:00 PM CET

Verlatstraat 16-22, Antwerp, Antwerp, 2000, BE

Terms

Buyer's Premium

28.0%

Bidding Increments

From:To:Increment:
€0€5€1
€6€9€2
€10€99€10
€100€399€20
€400€999€50
€1,000€1,999€100
€2,000€4,999€200
€5,000€9,999€500
€10,000€19,999€1,000
€20,000€49,999€2,000
€50,000+€5,000

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Shipping Terms

For smaller items we can assist you in packaging and shipping. For larger or valuable pieces we kindly request you to organize your own transport.
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