ATTRIBUÉ À JAN BRUEGHEL L`ANCIEN (BRUXELLES 1568-1625 ANVERS)

Lot 23
26.03.2025 15:00UTC +02:00
Classic
Vendu
€ 25 200
AuctioneerCHRISTIE'S
Lieu de l'événementFrance, Paris
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ID 1390003
Lot 23 | ATTRIBUÉ À JAN BRUEGHEL L'ANCIEN (BRUXELLES 1568-1625 ANVERS)
Valeur estimée
€ 25 000 – 35 000
ATTRIBUÉ À JAN BRUEGHEL L'ANCIEN (BRUXELLES 1568-1625 ANVERS)
Paysage avec moulins, des calèches et un village à l'arrière-plan
numéroté ‘n° 10’ (verso)
pierre noire, plume et encre brune, lavis brun et bleu
24,4 x 33,3 cm (9 5/8 x 13 1/8 in.)




Provenance

M. et Mme Francis Springell; Sotheby's, Londres, 30 Juin 1986, lot 25.
Vente anonyme; Christie's, New York, 26 janvier 2011, lot 268.
Vente anonyme; Sotheby's, New York, 29 janvier 2014, lot 12.



Literature

F. Davis, The Illustrated London News, Londres, 24 octobre 1959, p. 489, ill.
K. Ertz, Jan Brueghel der Ältere, Die Gemälde, Cologne, 1979, p. 165; p. 521, sous le n° 157; p. 583, sous le n° 151.
Bruegel: une dynastie de peintres, cat. exp., Bruxelles, Palais des Beaux-Arts, 1980, p. 192
D.J. Johnson, Old Master Drawings from the Museum of Art, R.I.S.D., Providence, Rhode Island, 1983, p. 213, sous le n° 75.
K. Ertz, Jan Brueghel der Ältere: Die Gemälde, Lingen, 2008, p. 320, sous le n° 152.



Exhibited

Londres, Royal Academy, Flemish Art 1300-1700, 1953-4, n° 547.
Londres, P. & D. Colnaghi and Co.; Newcastle Upon Tyne, Hatton Gallery, Loan Exhibition of Drawings by Old Masters from the Collection of Dr. and Mrs. Francis Springell, 1959, n° 40, pl. XVII.
Edimbourg, National Gallery of Scotland, Old Master Drawings from the Collection of Dr. and Mrs. Francis Springell, 1965, n° 23, ill.



Further details

ATTRIBUTED TO JAN BRUEGHEL THE ELDER, LANDSCAPE WITH WINDMILLS AND CARRIAGES, A TOWN BEYOND, BLACK CHALK, PEN AND BROWN INK, BROWN AND BLUE WASH

This drawing can be compared to a painting of 1607 by Jan Brueghel the Elder (1568-1625), now in the Galeria Spada in Rome (inv. 167; fig. 1). The son of Pieter Brueghel the Elder (d.1569), Jan reworked and updated many themes initiated by his famous father. While Pieter inaugurated the symbolic image of the mill in The Procession to Calvary (1664, Vienna, Kunsthistorisches Museum, inv. GG 1025), Jan took it up again, integrating it into paintings of the ‘flat country’ that were particularly innovative for their time: here, there is no succession of elements, instead the viewer's gaze runs towards the horizon over a vast plain, whose depth is reinforced by the recurrence of mills (K. Ertz, Jan Brueghel der Ältere: kritischer Katalog der Gemälde, Vol.I: Landschaften mit profanen Themen, Lingen, 2008, p. 320). The attention to detail is evident in every element of the composition: the carts, the animals, and the man busily working in front of his house on the left or in front of the mill to the centre. As L. Prosperetti writes, in reference to the present composition, ‘Brueghel was the acknowledged master of pingere rura and the purveyor of rural views, that were prized trophies in the cabinets of Christian philosophers’ (L. Prosperetti, Landscape and Philosophy in the Art of Jan Brueghel the Elder (1568-1625), London, 2009, p. 116).
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