Johan Barthold Jongkind

Johan Barthold Jongkind The harbor entrance of Antwerp Oil on canvas (relined). 50.5 x 80 cm. Signed lower left: jongkind. Provenance Auction Louis Sarlin, Paris (Galerie Georges Petit), 2.3.1918, no. 55 (with illus.). - Art dealer Hector Brame, Paris, until 31.7.1924 - Art dealer E. J. van Wisselingh, Amsterdam, no. 4750, with the title "l'Escault" (the Scheldt). Sold to John Gleeson on 28.10.1924. - Collection John Gleeson, Ottawa, until 5.10.1928. - Art dealer E. J. van Wisselingh, Amsterdam, no. 5186, with the title "De Schelde". Bought by John Gleeson on 5.10. and sold to Y. S. Southham on 20.10.1928. Collection Y. S. Southham, Ottawa, since 20.10.1928. - Auction Koller, Zurich, 1981 - In German private ownership since 1981. Literature M. F. Hennus: J. B. Jongkind (Palet series), Amsterdam (H.J.W. Becht) [1945], p. 41 (illus.). - Adolphe Stein, Sylvie Brame, Francois Lorenceau, Janine Sinizergues: Jongkind, Catalogue critique de l'Œuvre. Peintures I, Paris (Brame & Lorenceau Editions) 2003, p. 234 (ill.). Jongkind grew up by the water near Maassluis. Ships and the humid climate of the Netherlands have always attracted and inspired him. The constantly changing clouds and the misty landscape, the movement of the ships and the changing seasons were a constant challenge and source of inspiration for the painter. The vivid depiction of the reflection of light on the water is one of Jongkind's greatest achievements. His painterly technique with bold brushstrokes and his subtle, atmospheric color palette were highly appreciated by his colleagues. Alongside Eugène Boudin (1824-1898), Jongkind is considered the most important pioneer of the French school of Impressionism. Jongkind spent most of his life in France, but also lived in Rotterdam for several years and visited his home country several times. From September to October 1866, he stayed in the Flemish port city of Antwerp, which he also visited over the following four years. Jongkind captured the ships on the Scheldt in numerous watercolors. He later used these quickly sketched impressions of nature in his studio paintings. The present undated canvas painting was probably created in this context. Closely related in style and composition is a small-format view of the Scheldt with Antwerp in the background, dated 1867 (see Victorine Hefting: Jongkind, sa vie, son œuvre, son époque, Paris 1975, p. 190, no. 422). The period between 1860 and 1875 is considered the most important period in the artist's oeuvre. In terms of color, texture and atmosphere, it contains all the elements of the famous artist's creative hand. We would like to thank Jeroen Kapelle of the RKD, The Hague, for information on the provenance of the painting.