Jan de Beyer Paintings & Artwork for Sale | Jan de Beyer Art Value Price Guide

May. 30, 2010
JAN DE BEYER (DUTCH 1703-1785). DUTCH MARKET SQUARE.
Est: -
JAN DE BEYER (DUTCH 1703-1785). DUTCH MARKET SQUARE. Watercolor on paper, heightened with white, 10 3/8 x 9 1/2 inches. The mat affixed with handpainted cartouche inscribed "DE MARKT IN DE GRAAV / J. de Beyer ad. viv. delint. 1773."
Bourgeault-Horan Antiquarians
Mar. 08, 2009
JAN DE BEYER (1703-1785), 'Gezigt op de nieuwe
Est: £80 - £150
JAN DE BEYER (1703-1785), 'Gezigt op de nieuwe brug en toren der oude herke', engraving, 27cm x 34.5cm, plus one other. (2)
Lots Road Auctions
Sep. 25, 2002
A verre eglomise depicting a horseman
Est: $2,463 - $3,448
By Jonas Zeuner (1727-1814), late 18th Century Within a landscape, signed Zeunerinv, losses, in a later stained wood frame 32cm. high x 26cm. wide NOTES Zeuner, born in Kassel, arrived in Amsterdam around 1750. His first known work dated from circa 1770. His oeuvre consists mainly of views of Amsterdam an other towns, country houses and landscapes, but even of portraits and battle scenes. These are generally based on drawings and engravings of contemporary artists such as Jan de Beyer (1703-1780) and Wiebrand Hendriks (1744-1831) See illustration.
Christie's
Apr. 16, 2002
A Dutch-engraved composite-stemmed topographical goblet
Est: $10,560 - $15,840
Circa 1775 The funnel bowl engraved with four figures at discussion in a formal landscape before a moated castle and with two figures crossing a bridge, within a rococo scroll cartouche, the reverse inscribed 't His te Doorn in 't Sticht (The House at Doorn in the Sticht region) within a similar cartouche, supported on a waisted airtwist section above an inverted baluster stem with basal knop, on a conical foot 21.5 cm. (8 in.) high PROVENANCE Collection Gu‚pin; Christie's, Amsterdam, 5 July 1989, lot 111. With F. Lam‚ris Antiquair, Amsterdam, 1998, acquired by Dr Anton C.R. Dreesmann (inventory no. H-61). LITERATURE H.E. van Gelder, Glas, in Th. H. Lunsingh Scheurleer, Sprekend verleden, Amsterdam, 1959, fig. 63. D. Bolten, Een glasie van vriendschap. De glazen van de collectie Gu‚pin, Museum Het Prinsenhof, Delft, 1969, pl. 35. Th. H. Lunsingh Scheurleer, Huis Doorn, Abridged illustrated guide, Doorn, 1981, fig. p. 5. EXHIBITION Delft, Museum Het Prinsenhof, 1969, no. 122. NOTES The Huis-te-Doorn (or Slot-te-Doorn) at Doorn in the province of Utrecht (or "Het Sticht") was founded in the 14th century. Now open to the public, the present mansion dates from 1780 when the original, as portrayed on this goblet, was almost entirely rebuilt. Kaiser Wilhelm II, who had fled from Germany in November 1918, purchased the house in 1919 and from 1920 onwards lived there in exile until his death in 1941. The engraving on this goblet is a copy of a print by Hendrik Spilman (1721-1784), based on a drawing by Jan de Beyer (1703-1785), as published in Het verheerlijkt Nederland, vol. 8, no. 112 (1773).
Christie's
Apr. 16, 2002
Jan de Beyer (Aarau 1703-c. 1785 Cleves)
Est: $39,600 - $66,000
The Nieuwe Kerk, Amsterdam, with the Nieuwezijds Voorburgwal and the Donkere Sluis, the construction of the Tower of the Nieuwe Kerk beyond signed with monogram and dated 'IDB 1759' (lower left) oil on panel 29 x 38.9 cm. (11 3/8 x 15 3/8 in.). PROVENANCE W.J.R. Dreesmann, Amsterdam; Frederik Muller & Cie., Amsterdam, 22 March 1960, lot 39. B. De Geus van den Heuvel, Nieuwersluis; Mak van Waay, Amsterdam, 26 April 1976, lot 90. With D. Koetser, Zrich, 1994, acquired by Dr Anton C.R. Dreesmann (inventory no. A-59). LITERATURE Verzameling Amsterdam W.J.R. Dreesmann, Amsterdam, 1942, vol. I, p. 5, illustrated. M. van Waay & H.S. Nienhuis, Verzameling B. De Geus van den Heuvel, Nieuwersluis, Amsterdam, 1963, I, p. 63, no. 90; II, fig. 90. H. Romers, J. de Beyer - Oeuvrecatalogus, The Hague, 1969, p. 84, no. 1017. H. Romers, Achttiende-eeuwse gezichten van steden, dorpen en huizen naar het leven getekend door J. de Beijer, IV, Alphen aan den Rijn, 2000, no. 1017, illustrated. EXHIBITION Amsterdam, Rijksmuseum, Jan de Beyer en Amsterdam 1703-1785, 12 May 7 June 1953, no. 45. Laren N.H., Singer Museum, Keuze uit de collectie B. de Geus van den Heuvel, 1964, no. 1. NOTES A native of Switzerland, De Beyer moved to Amsterdam in circa 1750, where he is believed to have been trained by Cornelis Pronk and J.M. Quinkhard. Few of his paintings have been preserved, and the artist is primarily known for his drawings. The present lot, with its linear style and carefully depicted reflections in the water, shows the artist's training as a draughtsman. His views of Amsterdam mostly date from the years between 1754 and 1768. The Nieuwe Kerk was built as a result of the shortage of churches in Amsterdam at the end of the fourteenth century in response to the rising population. In 1408 the bishop of Utrecht granted official permission to build a second parish church within the city boundaries, although in actual fact the 'New Church' had been under construction since the 1380s. The site, once an orchard, was made available by Willem Eggert, a rich sponsor who could afford such a substantial donation. Eggert was immortalised by having a street on the north-eastern side of the church named after him. Soon after the bishop had granted permission, the building was consecrated as the church of Our Lady, although Saint Catherine was subsequently added as a second patron saint. In the course of time the building was enlarged step by step: in circa 1435 the construction of the nave was begun, while the late fifteenth century saw the addition of a number of chapels, causing the clerestory to be added shortly afterwards, due to the fact that the chapels blocked most of the incoming daylight. In spite of the fact that a tower had been planned for and the foundations had been laid as early as 1565, the base of the tower on the Nieuwezijds Voorburgwal is all that remains today of this ambitious project. The iconoclastic fury and the ensuing 'Alteratie', as a result of which a Protestant city administration came into power, resulted in the abortion of the project. The new rulers did not particularly enjoy the idea of having a prestigious church spire surpassing the glory of their new town hall, the stronghold of civilian authority, which was right next door; in addition it seems unlikely that the city could afford both projects simultaneously. By way of a concession the new town hall was built as far back as possible so that the facade of the southern transept of the church came to face the Dam Square. As a result, although the construction work began in 1646, by 1653 all activities had come to a standstill. The rudimentary tower was demolished in 1783. Several designs survive today. Jacob van Campen, the founding father of Dutch Classicism, was responsible for the design that was ultimately selected, based on Gothic architecture.
Christie's
Apr. 16, 2002
Jan de Beyer (Aarau 1703-c. 1785 Cleves)
Est: $352 - $616
An extensive view of Arnhem, from inland inscribed 'Arnhem van de Landdiyck' pencil, watermark fragmentary Strasburg lily 208 x 499 mm. (81/4 x 19 5/8 in.). PROVENANCE With Gebr. Douwes, 1973, acquired by Dr Anton C.R. Dreesmann (inventory no. B-36).
Christie's
Apr. 16, 2002
Jan de Beyer (Aarau 1703-c. 1785 Cleves)
Est: $3,520 - $6,160
A view of the Nieuwe Brug on the Damrak, the Texelse Kade to the right, the tower of the Oude Kerk to the left signed with monogram and dated 'JDB: 1729' pencil, pen and grey ink, grey and brown wash, grey ink framing lines, watermark I VILLEDARY 261 x 345 mm. (101/4 x 13 5/8 in.). PROVENANCE Probably J.H.H. Leonhardt (1833-1904). Probably G. Leonhardt (1866-1943). G.J.G. Leonhardt (1901-1981), thence by descent to Mrs. G.E.A.M. Leonardt-Pilz van Wernhof; Christie's, Amsterdam, 20 November 1989, lot 177. Anonymous sale; Christie's, Amsterdam, 15 November 1993, lot 140, acquired by Dr Anton C.R. Dreesmann (inventory no. B-134). ENGRAVED For J. Wagenaar, Amsterdam in zijn opkomst, aanwas, geschiedenissen..., Amsterdam, 1765, II, p. 70-1. LITERATURE H. Romers, J. de Beyer Oeuvrecatalogus, The Hague, 1969, no. 1008. EXHIBITION Amsterdam, Rijksmuseum, Jan de Beyer en Amsterdam 1703-1785, 12 May 7 June 1953, no. 16. NOTES A watercolour by De Beyer of the same subject is in the Gemeentearchief, Amsterdam, B. Bakker, Amsterdam in the achttiende eeuw, Delft, 1974, no. 23, illustrated. This view shows the Nieuwe Brug from the harbour, from a point now occupied by the artificial island on which the Central Station stands. The building on the right is the celebrated Huis met het Torentje, demolished in 1889 and now the site of the Victoria Hotel.
Christie's
Jun. 27, 2001
A verre eglomise depicting Keizersgracht LL nr. 225 and its garden
Est: $30,400 - $45,600
By Jonas Zeuner (1727-1814), circa 1780 Signed and dated Zeuner Inv. 1780, in an ebonised and parcel-gilt frame 50cm. high x 63cm. wide (excl. frame) PROVENANCE Probably J. de Groot (d. 1801) and by descent to D.C. de Groot Jamin (d. 1814) and by descent to J.G. de Groot Jamin Jr. (d. ?). Acquired by Robert Hall McCormick II (d. 1917) and by descent to Robert Hall McCormick III (d. 1963) and by descent to Eleanor Morris McCormick Collier (d. 1998) and by descent to the present owner. LITERATURE J. Sprenkels-ten Horn et. al., Jonas Zeuner 1727-1814, Zijn wereld weerspiegeld in zilver en goud, Abcoude, 1994, cat. nr. 162. Jaarverslag Koninklijk Oudheidkundig Genootschap, Amsterdam, 1896, p. 61. EXHIBITION Amsterdam, O– mannenhuis, Historische Tentoonstelling van Amsterdam 1876, cat. nr. 3479. NOTES This magnificent verre ‚glomis‚, engraved in gold and silver, represents a tantalising new addition to the oeuvre of Jonas Zeuner. Born in Kassel, Zeuner arrived in Amsterdam around 1750, although his first known work dates from circa 1770. His oeuvre consists mainly of views of Amsterdam and other towns, country houses and landscapes, but even portraits and battle scenes. These are generally based on drawings and engravings of contemporary artists such as Jan de Beyer (1703-1780) and Wiebrand Hendriks (1744-1831). The present verre ‚glomis‚ depicts the garden of Keizersgracht LL nr. 225, a mansion owned by the wealthy merchant J. de Groot during the last decades of the 18th Century. It is a fantasised view of the canal house as the neighbouring buildings have been omitted, giving the impression of an aristocratic country seat with extensive formal gardens. The house and art collection were inherited by de Groot's only daughter and son-in-law. The latter adopted that name and subsequently became known as D.C. de Groot Jamin. The Keizersgracht mansion remained in the family until 1878. From 1879 it housed the Burgerziekenhuis (hospital) and offices until it was demolished in 1896. It is unclear when the verre ‚glomis‚ by Zeuner was sold. It was still owned by J.G. de Groot Jamin Jr. when it was exhibited at the Historische tentoonstelling Amsterdam 1876. The Chicago industrialist Robert Hall McCormick II, president of the McCormick Harvesting Machine Company and grandson of Robert McCormick, the founder of the 'McCormick reaper', was educated at the University of Chicago and joined the family company in the early 1870s. He married Sarah Lord Day in 1871 and with her travelled extensively through Europe. A passionate collector, he made several important puchases of British Art at the London sales around the turn of the Century and at celebrated dealers, some of which are now in The Chicago Art Institute. How he purchased the verre ‚glomis‚ by Zeuner is sadly unknown, but it may have been through the intermediary of one of these dealers, who were known to visit the Netherlands as a hunting ground for their art purchases. See illustration.
Christie's