Jan Anton Garemijn (Bruges, 1712-1789): 'Putto with Parrot', oil on canvas, 18th C. Dim.: 87,5 x 127 cm (the frame) Dim.: 75 x 114 cm (the work) This painting has been described in the article 'Een salonstuk van Jan Garemijn met putto, papegaai en vruchten' by art historian Dr. Ronald van Belle in Biekorf: West-Vlaams Archief voor Geschiedenis, Archeologie, Taal- en Volkskunde, Episode 2, 2024. Below is the translation of the article: A Salon Piece by Jan Garemijn with Putto, Parrot, and Fruits THE BACKSTORY About thirty years ago, I came into contact with a noble family with Bruges roots. This connection developed into a long-lasting friendship. Among the antiques passed down through generations, there was one painting that particularly caught my attention (fig. 1). The canvas, depicting a putto and fruits, bore no signature; it was painted in a style that pointed to Bruges and reminded me of the 18th-century Bruges painter Jan Garemijn. This was confirmed by the owner. Originally, there were two paintings that were closely related; the second painting was signed by Garemijn. When the parents passed away, the antiques were divided between two heirs, and thus the canvases became separated. Some time later, my mother spoke with the owner of the signed piece about my interest in antiques and the signed Garemijn. I was invited for supper and received an extensive guided tour of the antique collection, from the ground floor to the upstairs rooms. Indeed, there was the signed Garemijn, proudly displayed in the bedroom above the owner's bed. The owner insisted on staying in touch. My busy professional life, with many trips abroad, made time fly, and the plan to take a photo of the painting never materialized. A few years later, both owners passed away. After some time, the heir who had become the owner of the unsigned work considered selling it. I was asked for advice and, in that context, I mentioned the other painting that does bear Garemijn's signature. This was unknown to him, and the idea grew to reunite the two paintings. I then contacted the heirs of the Garemijn-signed canvas. Their surprise was great: they were unaware of this painting, and there was no trace of this 'Garemijn' anymore. The villa had remained unoccupied for months after the death of the owner of the signed piece, who had no children. Only a few people had access at the time. It took months for all the formalities to be completed and for the distribution to take place, but there was no longer any sign of the signed Garemijn. It remains a mystery what happened to this piece. The owner who had received me years earlier had stated that he was attached to the beautiful piece and that upon his death, 'the Garemijn would go to his nephew and nieces, who would then have to decide its fate.' It's not surprising that the canvas was completely unknown, even to the family, as it was hung in the privacy of the owner's bedroom. The Reunion of both Garemijn Paintingsis not possible Reuniting the two Garemijn paintings is no longer possible. Nevertheless, the unsigned piece has since received a thorough cleaning, further showcasing the great talent of Jan Garemijn as a painter of salon pieces. During the cleaning, it was discovered that beneath the current image, there is a hidden portrait of a woman. The owner has now decided to offer the piece at a public auction. BRIEF BIOGRAPHY OF JAN ANTOON GAREMIJN Jan Antoon Garemijn was born on April 15, 1712, in Bruges, as the son of the early-deceased cooper Frans Garemijn and Magdalena Missiaens. He quickly demonstrated exceptional drawing talent and became a prominent Bruges painter and draftsman. At the age of seven, he began his apprenticeship with the sculptor Rochus Aerts and later studied at the newly established art academy. Unlike most of his contemporary painters, he did not travel to Rome or Paris. Instead, he completed his training in Bruges under Hendrik Pulinx, Lodewijk Roose, and Jacob Beernaert. Matthias de Visch introduced him to Italian painting and also acquainted him with the refined salon art of Jean Antoine Watteau and François Boucher. As an art teacher and director at the Academy of Bruges, he played an important role in reviving local art activity in Bruges. This brought him into contact with many influential clergy, nobility, and wealthy citizens who supported the academy and commissioned works from him. Jan Garemijn is best known for his light-hearted depictions of daily life in Bruges, as well as his landscapes, religious scenes, portraits, allegories, and salon pieces. These salon pieces were often commissioned as decorative panels for salons and dining rooms. Garemijn was a highly productive artist. When he died on June 23, 1799, he left behind many works: numerous drawings of his own, as well as those of other artists, along with seven sketchbooks. A significant auction followed, featuring his painted and drawn works, as well as art and prints by other artists that he had collected during his life. Several of Garemijn's paintings and drawings are now housed in Musea Brugge. Although much has been published about Garemijn and his oeuvre, and exhibitions have been held, he seems to have fallen somewhat into obscurity in recent times. THE SALON PIECE WITH PUTTO PLAYING WITH A PARROT AND WITH FRUITS The unsigned painting (dimensions with frame 87.5 x 127 cm, the canvas without the frame 75 x 114 cm) depicts a putto near a pile of fruits, playing with a parrot (fig. 1). The chubby putto holds a vine twig, and the scarlet parrot—an ara, likely originating from South America—grasps the twig with its beak. The fruits include blue and white grapes, a pomegranate, a pumpkin, and apples, along with a few blossoms. In the background, there is a pseudo-antiquated marble structure, crowned with a series of statues. The adjoining marble wall features volute motifs and an antique medallion surrounded by palmettes, with a bust-like figure in the centre. The painting signed by Garemijn was a variant of this one. Other putto-themed works by Garemijn are also known. For instance, on October 29, 2023, a canvas signed by him and dated 1783 was offered for sale at Sotheby's in New York under the title "Allegory of Autumn" (fig. 2). In 2012, a signed and 1778-dated canvas titled "Sleeping Cupid Tormented by Putti" was sold at the Dorotheum in Vienna (fig. 3). Other examples could be cited as well. Fig. 2: Jan Garemijn, Allegory of Autumn, 1783, Sotheby's. Fig. 3: Jan Garemijn, Sleeping Cupid Tormented by Putti, 1778, Vienna, Dorotheum. An interesting aspect of the genesis of works featuring putto and parrot is that Garemijn created many preparatory drawings for his paintings. Several drawings of cherubic heads have been preserved in the Print Room of Musea Brugge (fig. 4). It is also clear that Garemijn's putti were heavily influenced by those of his teacher Matthias de Visch. An example of this are the plump cherubs in De Visch's Allegory of the Goldsmith's Art (1758), which is also housed in Musea Brugge (fig. 5). Fig. 4: Jan Garemijn, Children's Heads, Musea Brugge, Steinmetz Collection. Fig. 5: Matthias de Visch, Allegory of the Goldsmith's Art, 1758, Musea Brugge. Also particularly interesting is a parrot and its counterpart with the inscription "papegary, 12 xbre [December] 1769" (fig. 6), preserved in the Print Room of Musea Brugge. Another drawing shows a parrot's head drawn from various angles. The inscription clarifies the circumstances in which the drawing was made: "drawn after the parrot of Mr. de Burghm. Pardo de Fremicourt on August 16, 1773." Ignace Pardo, Lord of Fremicourt, regularly served on Bruges' city council from 1743 to 1789, as a councilor, first alderman, and mayor of the commune (1772-1788). He died in 1792 as the last male bearer of his name. These parrot drawings are likely preparatory studies for the discussed painting. Additional insights on the discussed work Equally intriguing in relation to the work discussed here are the mentions in the previously referenced catalog of the auction following Garemijn's death. Among the artworks listed, there is mention of No. 33, Man with Fruit, and No. 34, Woman with Fruit. No. 46 is recorded as Playing with a Parrot. Fig. 6: Drawing by Jan Garemijn of a parrot from life, with its counterpart, dated 1769. Musea Brugge, Steinmetz Collection, inv. no. 364 KIKIRPA M15134. Furthermore, interior paintings offer additional clues. A. Janssens de Bisthoven mentions five overdoor pieces in an upper room of the former house of Prince Maurice de Broglie, Bishop of Ghent (1807-1821). These pieces are possibly identifiable with those listed by Pieter Ledoulx as "five pieces representing the five senses by children," which were painted by Garemijn in 1778 for a room belonging to the Baron of Nevele in Ghent. These overdoor pieces depicting the five senses are defined as: Taste: putti with grapes Touch: putti with birds and fishing Hearing: music-making putti Sight: putti with a mirror Smell: putti in front of a flower vase. Fig. 7: Drawing by Jan Garemijn of a parrot's head from life, showing different angles, with a counterpart, dated 1773. Musea Brugge, Steinmetz Collection, inv. no. 37 KIKIRPA M. The motifs in the painting of the putto with the parrot align with the iconography found in various paintings, drawings, and preparatory studies by Jan Garemijn. The work is undoubtedly by his hand. The meaning of the work is multi-layered. The parrot might symbolize the element of air as one of the four classical elements, but it could also refer to the sense of touch. Meanwhile, the putto with grapes might symbolize taste or the element of earth. In any case, the Putto with Parrot is a playful artwork that, nearly 250 years later, still charms us. Hopefully, this brief study will contribute to tracking down the signed version of the painting. Ronald Van Belle __PRESENT __PRESENT __PRESENT __PRESENT __PRESENT __PRESENT __PRESENT __PRESENT __PRESENT __PRESENT
Gemäldepaar mit MarktszenenMUSCHELVERKAUF IN EINER FLÄMISCHEN STADT sowieVERKAUF VON TÖPFERGESCHIRR VOR ANTIKEN RUINEN Öl auf Leinwand. Je 62 x 80 cm. In prächtigen vergoldeten Rahmen Die beiden Gemälde zeigen jeweils ähnliche Marktsituationen in unterschiedlichen Ländern. Doch sind die Szenen sehr ähnlich komponiert, so läuft das Leben im Süden wie im Norden sehr entsprechend ab. Kauflustige gruppieren sich jeweils vor einem Pferde- oder Eselkarren, von dem herab Waren angeboten werden. Im erstgenannten Bild spielt sich die Szene auf einem Platz vor einer Kirche ab, die Leute dicht gedrängt, eine zertretene Muschel liegt auf dem Pflaster. Hinter dem Bottich aus dem die Muscheln genommen werden, der Pferdekarren. Als Hauptereignis wird gezeigt, wie ein junger Mann sich der Verkäuferin allzu liebevoll zuwendet, die Hand bereits auf ihrer Schulter, während ihr Ehemann auf dem Wagen sichtlich in Eifersucht seinen Arm drohend ausstreckt. Im Gegenstück spielt sich das ebenfalls kleine Marktgeschehen am Fuße eines italienischen Hügels ab, der von einer ruinösen Tempelanlage bekrönt wird. Hier ist es ein Esel, der den Karren zieht. Ein Mann mit geschultertem Korb, mit Töpfergeschirr gefüllt, ist hier wohl als Hausierer zu sehen, der die Ware in die Stadt im Hintergrund trägt. Garemyn war ein Schüler von Louis Boons und Mathias de Visch aus dessen Hand wir in dieser Auktion ebenfalls ein Gemälde anbieten. Neben Altarbildern für Brügge und Courtrai wirkte er mit Kopien von Rembrandt und Teniers, schuf aber auch Radierungen zu einem Zyklus für die „Cronyke van Vlaenderen“, 1736 erschienen. An der Brüsseler Akademie wurde er zum Professor ernannt. A.R. (1370742) (2) (11) Jan Anton Garemyn, 1712 Bruges – 1799, attributed A pair of paintings with market scenes A MUSSEL SELLER IN A FLEMISH TOWN and A CERAMICS SELLER IN FRONT OF ANCIENT RUINS Oil on canvas. 62 x 80 cm each.
Attribué à Jan Antoon Garemyn (Bruges, 1712-1799) Les vendanges Toile transposée sur toile. Haut. 80 Larg.108 cm. (restaurations anciennes) Provenance : grand château du Blésois, collection de la marquise de X. A painting attributed to Jan Antoon Garemyn depicting the grape harvest. Canvas on canvas.
Dessins GAREMYN Jan Anton (1712 - 1799). Attribué à. "Portrait de femme" crayon sanguine rehaussé de craie blanche sur papier collé sur papier. Attribué à Jan Garemyn. Ecole flamande. Epoque: XVIIIème. (Petits trous d'accrochage en bas à droite). Voir au dos un document manuscrit de 1974 et une étiquette de la collection E. van Damme - Claessens. Dim.:+/-31,8x215mm.
Jan Anton Garemyn (Flemish, 1712-1799) Allegory of summer; Allegory of fall (a pair) one signed and dated 'J. Garemyn jns et pinx 1783.' (lower right) both oil on canvas each 36 x 42 1/2in (91.5 x 108cm)
Vaas met bloemen en cupido in landschap Olie op doek (138 x 80 cm), niet gesigneerd maar toegeschreven aan Garemyn. Ingelijst in een zwarte gesculpteerde eiken lijst met gouden randje en ornament met hoofdje uit de tijd. Goed bewaard zonder zichtbare restauratie Dit salonstuk stelt een vaas met bloemen en aan de voet een zittend cupido voor in een landschap. Garemijn specialiseerde zich in de kleurrijke weergave van o.a. het volkse dagelijkse leven zoals hij het rondom zich zag. Als directeur van de academie (1765) van Brugge was Garemijn ook leraar voor het tekenen naar het naakt mannelijk model. Garemijn was een zeer productieve kunstenaar van wie het devies was 'Nulla dies sine linea'. Herkomst: Brugse adellijke familie
Jan Anton GAREMYN (1712-1799) 'Projet De Plafond' a drawing for a ceiling decoration project in Bruges, Belgium. Drawing on paper. 18th century. (58 x 69cm)
A collection of four drawings attributed to Jan Anton Garemyn, 12,3 x 19,2 - 24,5 x 42,5 cm A collection of four drawings attributed to Jan Anton Garemyn (1712-1799): - No visible signature, the study of a farmer's tronie, sanguine drawing, heightened with white chalk on paper, 24,5 x 42,5 cm - No visible signature, a study drawing of children's hands, dated 'April 1732', sanguine drawing on paper, 12,3 x 19,2 cm - No visible signature, the study of an apostle, sanguine drawing on paper, 15,1 x 19 cm - No visible signature, the study a boy, black chalk, heightened with white chalk on paper, 21,5 x 24,4 cm
Modellen academie 1765 Eerste notitieboekje van Garemijn als directeur van de Brugse Academie. Elk van deze boekjes bevat notities van één schooljaar. In deze boekjes tekende hij de houdingen waarin hij de mannelijke naaktmodellen deed poseren, evenals allerlei inlichtingen betreffende zijn onderricht, zoals de namen van studenten en modellen, betalingen, uren ea. Dit boekje bevat 42 blz met 26 tekeningen in sanguine en houtskool van vooral mannelijke naakten. Orig. blauwpapierkaftje. Ex-libris Flori Van Acker en G. Michiels. Ref.: Tentoonstelling 'Drie Vlaamse meesters van de XVIIIe eeuw', Stadshallen Brugge (1955) nr. 228. - Bea De Prest 'Directeur Jan Garemijn als Kunstschilder', in Schone Kunsten te Brugge 1717-1967, (1970), p. 132-140. - 'Jan Antoon Garemijn, Geen dag zonder lijn', Garemijnzaal Stadshallen (8.12.1999 - 16.1.2000) - Museumbulletin, 19e jrg, nr. 6 (dec. 1999) cat. nrs 17 en 22 Garemijn specialiseerde zich in de kleurrijke weergave van het volkse dagelijkse leven zoals hij het rondom zich zag. Als directeur van de academie (1765) van Brugge was Garemijn ook leraar voor het tekenen naar het naakt mannelijk model. Garemijn was een zeer productieve kunstenaar van wie het devies was 'Nulla dies sine linea'. Dit notitieboekje met tekeningen is het enige boekje van Garemijn dat zich niet in de collectie van de Brugse Stedelijke Bibliotheek of Museum bevind.
Large Painting Oil on Canvas by Jan Anton Garemyn, Belgium / Flemmish (1712-1799). Titled "Allegory of Summer". Condition: Generally Good Condition. Dimensions: Sight-42" x 36", Frame-50"x44". Provenance: From a Manhattan, NY Townhouse. Please note the absence of a condition report does not imply that there are no condition issues with this lot. Please contact us for a detailed condition report.
GAREMYN, Jan (1712-1799) Hoofd van oude man (1745) Tekening (30.5 x 25.5 cm) in houtskool en wit krijt op blauw/grijs handgeschept papier, gedateerd '26 november 1745' links boven. Ingelijst Uit de collectie Louis Reckelbus, veiling Palais des Beaux-Art, Bruxelles (13/15-11-1962) lot 396
GAREMYN, Jan (1712-1799) Hoofd van oude man (1741) Tekening (30.5 x 24.5 cm) in houtskool en wit krijt op blauw/grijs handgeschept papier, gedateerd '28 january 1741' rechts boven. Ingelijst Uit de collectie Louis Reckelbus, veiling Palais des Beaux-Art, Bruxelles (13/15-11-1962) lot 395
Olie op doek (45 x 62 cm), titel en monogram van Garemyn in het midden onderaan. Ingelijst in een zwarte lijst met gouden randje uit de tijd. Goed bewaard zonder zichtbare restauratie Het tafereel stelt drie figuren voor die rondgaan met een ster om te zingen voor Driekoningen. Garemijn specialiseerde zich in de kleurrijke weergave van het volkse dagelijkse leven zoals hij het rondom zich zag. Als directeur van de academie (1765) van Brugge was Garemijn ook leraar voor het tekenen naar het naakt mannelijk model. Garemijn was een zeer productieve kunstenaar van wie het devies was 'Nulla dies sine linea'
JAN ANTON GAREMYN (Bruges 1712-1799 Bruges) A Head and Shoulders Study of an Older Man. Black and white chalks on grayish tan laid paper. 447x271 mm; 17 3/4x10 3/4 inches. Ex-collection private collection, London.
Attribué à Jan Antoon GAREMIJN (1712-1799) La halte sur le chemin Attr. to J.A. Garemijn, A halt on the path, canvas. 31 7/8 X 24 IN. €1,500-2,000 ATTRIBUE A JAN ANTOON GAREMIJN (1712-1799) LA HALTE SUR LE CHEMIN Toile Restaurations anciennes 81 X 61 CM
Garemijn, Jan Anton (Bruges, 1712-1789): Les Musiciens Ambulans, oil on canvas, signed and dated 1785 Dim.: 84,5 x 68,5 cm (the frame)Dim.: 59,5 x 43,5 cm (the painting) Provenance: A private collection, Bruges, Belgium. Titled 'Les Musiciens Ambulans' in the lower middle section, followed by the monogram JG. Dated 1785 beneath the tavern's sign. Johannes Antonius Garemijn, born in Bruges in 1712 as a child of a middle-class family was sent to writing school as soon as he was four. The many doodles and sketches that served to decorated his schoolbooks, soon caught the attention. From the age of seven he was taught by the sculptor Rochus Aerts, and at nine he started going to the Bruges drawing academy, which he attended for three years. Garemijn was further instructed in the art of painting and drawing by Hendrik Pulinx and, later on, Lodewijk Roose. In 1765 he became a teacher and headmaster at the Bruges academy, a position which he held for ten years. Garemijn produced paintings and drawings in many genres, including portraits, genre scenes, landscapes as well as several religious works – the latter mostly commissioned by the local church authorities. He was also known as a fine decorateur, for instance in designing triumphal arches for local processions and festive entries. However, today he is mostly admired for his qualities as a draughtsman, for it is in his drawings that Garemijn truly excels. His dedication to drawing is evident from the fact that he added his motto “Nulla dies sine linea” (No day without a line) to his earliest, now lost, self-portrait. After leaving the academy, his focu shifted from mainly sanguine drawings towards genre scenes. It's in this context that the present work was created. The scene appears to be inspired on the 'Driekoningen' tradition, where groups of dressed up children walk from door to door, singing for candy. Although he never travelled, preferring to stay in his native Bruges, he was stylistically greatly influenced by great French rococco artists such as Boucher, Fragonard and Greuze.
Jan Anton GAREMYN (Bruges 1712 – 1799) Scène de taverne Aquarelle et gouache 21 x 24,5 cm Signé et daté en haut au centre JA Garemyn / 1770 watercolor, gouache on paper; signed upper in the center : JA Garemyn / 1770; 8 1/4 x 9 7/16 in
"Putti debout avec études diverses", sanguine sur papier. Attribué à Jan Garemyn. Ecole flamande. (On y joint un certificat signé par Anny M.F. Van Damme le 28 décembre 1981). (*). Dim.:42.5x26cm.
GAREMIJN, Jan Anton (Flemish 1712 - 1799). Portrait of a boy. Oil on paper, framed under passe-partout behind glass. Several thin vertical creases (without loss of paint), two small scratches at the forehead and a small tear at the left edge.
ANONYMOUS XVIII (neighborhood Jan Garemijn (1712-1799) ?) ANONYMOUS XVIII (circle Jan Garemijn (1712-1799)?) Pastoral scene. Canvas. Relined. 55.5 x 55.5 Dutch Text: ANONIEM XVIII (omgeving Jan Garemijn (1712-1799) ?) Pastorale scène. Doek. Verdoekt. 55.5 x 55.5 French Text: ANONYME XVIII (omgeving Jan Garemijn (1712-1799) ?) Scène pastorale. Toile. Rentoilée. 55.5 x 55.5
Toeschrijving volgens oude nota, bijgevoegd bij schilderij. Olie op doek (85 x 102 cm), gedubbeld, met waarschijnlijk wat restauratie. Oude lijst met zwart en goud
JAN ANTON GAREMYN (flemish 1712-1799)/span ALLEGORY OF SUMMER; ALLEGORY OF FALL Pair oils on canvas Allegory of Summer signed and dated lower center 'J. Garemyn inv. et pinx. 1783' Allegory of Summer: 35 x 40 in. (89 x 101.6cm); Allegory of Fall: 36 1/4 x 42 1/2 in. (92.7 x 108 cm) (2) provenance: /spanSotheby's, New York, sale of June 5, 2008, lot 104. Private Collection, New York. note:/span Jan Anton Garemyn's depictions of picturesque landscapes and townscapes made the 18th-century Flemish artist highly sought after for both public and private commissions. Garemyn's career coincided with the stylistic shift from late Baroque classicism to Rococo frivolity. The present pair of allegorical paintings are clearly presented in the light hearted style of the Rococo--pastoral landscapes populated by lively putti and rendered in a delicate palette. The iconography for "Allegory of Fall" is quite clear, as representations of of autumn were invariably associated with the vine from the 15th well into the 18th-century. "Allegory of Summer' features putti playing the lute and flute, while another records the verse.
Jan Anton GAREMYN (Bruges 1712-1799) Drawings Deux feuilles d’étude de mains avec leur contre épreuve Sanguine et contre épreuve de sanguine ... Jan Anton GAREMYN (Bruges 1712-1799) Deux feuilles d’étude de mains avec leur contre épreuve Sanguine et contre épreuve de sanguine 22 x 36 cm chacune Pliure centrale pour la contre épreuve Dessins doublés d’un papier japonais : déchirures et petits manques restaurés
Jan Anton GAREMYN (Bruges 1712 – 1799) Drawings Homme tenant une pince à feu avec reprise a gauche de la main et du bras Sanguine 17,5 x 15,5... Jan Anton GAREMYN (Bruges 1712 – 1799) Homme tenant une pince à feu avec reprise a gauche de la main et du bras Sanguine 17,5 x 15,5 cm Petites pliures et petites taches
Garemijn, Jan Anton Bruges before 1712 - 1799 Cherubs. Signed and dated lower left: J. Garemijn jnv:et pinx 1778. Oil on canvas. Relined. 100 x 138cm. Framed. Provenance: Private collection, Kassel.
Jan Anton Garemyn (Bruges 1712-1799) Portrait of an old lady, bust-length, wearing a bonnet red chalk 9 7/8 x 7 7/8 in. (251 x 200 mm.); and two drawings formerly attributed to G.D. Tiepolo and Parmigianino (3)
A seated figure playing a violin, half-length; and A figure gesticulating, half-length red chalk, pen and brown ink framing lines 100 x 88 mm. (a pair) (2)
