Johan van Hell (Dutch 1889 - 1952) Window cleaner at work, 1927 oil on canvas signed and dated 'Johan van Hell 1927' (lower right) image size 100 x 75 cm., frame size 125 x 100 cm.
Johan van Hell (1889-1952), 'De maaier', oil on canvas, 150x140 cm, Exhibited: -Amsterdam, Stedelijk Museum, 'Johan van Hell, Christiaan Schaaf, Sarah de Vries, Pau Wijnman', 1924, no. 43. -Arnhem, Museum voor Moderne Kunst, 'Van de Straat. Het sociaal engagement van Johan van Hell (1889-1952)', 12 November 2005-12 February 2006. Literature: -'Johan van Hell', in Nieuwe Rotterdamsche Courant, 14 September 1924. -Caroline Roodenburg-Schadd, Tineke Reijnders a.o., 'Van de Straat. Het sociaal engagement van Johan van Hell (1889-1952)', Warnsveld 2005, p. 22, ill. no. 27, inv. no. S52. -Caroline Roodenburg-Schadd, Tineke Reijnders a.o., 'Johan van Hell 1889-1952', Houten 2016, p. 22, ill. no. 33, inv. no. S52. Provenance: -Auction, Van Zadelhoff, Hilversum, February 2005. -Private collection, the Netherlands., signed and dated 'Johan van Hell./1921' (lower left), Socialist first The multi-talented artist Johan van Hell was a graphic artist, painter, watercolourist, draftsman, lithographer, muralist, designer of book bindings and a professional musician. After WWII he became an almost forgotten artist, until the large exhibition of 1976 his work, organized in ‘t Coopmanshûs in Franeker (Friesland), put Johan van Hell back on the map and gave him a well-deserved place among the pre-war Dutch avant-garde artists. Further exhibitions in principal museums would follow and with every new exhibition, newly found works would be added: paintings, lithographs, posters and ex-libris designs. His esteem as a significant modern artist of the interbellum has grown ever since, along with an increasing interest in his powerful paintings. After having finished his artistic education at the Rijksacademie in Amsterdam, we find Van Hell still searching for his own visual vocabulary and style. In the 1910s he is experimenting with colour and topics and with various styles, but he only seems to find his true artistic bearings in the 1920s. His best - and best-known - work from the 1920s and 1930s shows topics that instantly reveal his social engagement and social-political views as being the chief impulse for his work. It conveys an abundance of hard-working people, like for example a fishmonger, a petrol man, street musicians, marching young socialists, market merchants, a window cleaner, in short, daily life in a typical working-class Amsterdam neighbourhood. These people are all depicted in a direct, almost monumental style with sharply delineated geometrical forms; sometimes these segments are filled in with subdued grey tones but often with hard undiluted colours. Van Hell was evenly committed to his two great passions: music and the visual arts. He could not live from either one, and he did not want to solely commit to only one passion, as giving up one obsession for the other would have been devasting for his artistic being. He worked like a mad man to earn his daily bread by teaching music, giving drawing lessons and by playing the clarinet as an interim at the Concertgebouw orchestra. But having a job at all, and especially one in your own field of interest, was already a privilege at the time. We are talking about the 1930s, with a looming economic crisis and numerous unemployed people, an unsteady period that did not allow for spending time on non-lucrative activities. Johan van Hell’s work would be part of many joint exhibitions during the interbellum; sometimes as part of the Amsterdam The Brug group, or as a member of the so-called ‘Positionists’, a group of young idealistic artists that would aim to make ‘understandable’ art for all people, as opposed to those artists who would make either unrelatable art (too bourgeois) or incomprehensible art (too modern). The art reviews of the 1920s and 1930s often mention Van Hell together with his contemporaries, like Bart van der Leck and Peter Alma. His work, whether it concerns his posters for the socialist party, his murals or his paintings, does indeed show similarities to that of his avant garde art colleagues, both in subject choice and in style, but Van Hell’s work is always recognizable as being the product of the socialist first, and then that of the artist. The first exhibition he participated in was held in Rotterdam in 1921 at the Rotterdamse Kunstkring. His contribution was small, with the majority of his paintings depicting farmers’ life in Brabant as the direct result of the 20 months he spent in Brabant during the mobilisation of 1917-1918. The reviewer of the show praises him sky-high for his emphatic portrayal of the Brabant farmers whom Van Hell – according to the art critic – paints in such a way that also their spiritual inner life, is well represented. More interestingly, this same critic relates how, in Brabant, Van Hell once came across a group of communist farmers: “Daar zag hij de toekomstboer en ook deze wil hij eenmaal op doek brengen” (“There he saw the farmer of the future, and he wants to put this farmer on canvas as well one day”). It is likely that the present lot proves he actually did just that! The painting was not yet part of his first exhibition, but appears on the 1924 exhibition at the Stedelijk Museum in Amsterdam. Here again the reviews are flattering and art critics especially praise his brilliant use of colour. The painting on hand is in all aspects impressive indeed: We see a sturdy looking farmer harvesting wheat with the use of a sickle. The dominating colours are the yellows of the wheat and the exuberant blues of the sky that looms over the farmer as a dome. Some poppies, rendered in big red dots, peep out of the wheat in the foreground to break the almost monotonous yellow strokes. The few blue cornflowers work in the same way, with the same blue used for the sky. Also the sickle itself mirrors the same hues of the sky. But all seems to be just a décor for the star of the show, the rugged farmer in the right-hand side in the foreground. With his luxuriant mop of orange hair and beard, his sturdy features and his open collared white shirt, he is the epitome of labour, honest real manual labour that is. In fact, the whole painting might be considered a direct and distinctive ode to the labourer, with the sickle as an obvious reference to proletarian solidarity. With the surroundings of Brabant, farmers’ life and the use of strong colours in mind, it is an easy step to Van Gogh and he was initially, a great example to Van Hell indeed. Even the orange hair seems to be a nod to his predecessor, although self-portraits of the young Van Hell also display the same distinctive orange hair and beard. More importantly, with this very painting of 1921 Van Hell shows to have found not only his own distinctive style, but also the subject matter for which he would become known best, that of the working man, be it the labourer in the field at the beginning of his career, or the hard-working man in the streets of Amsterdam, later on. Sources: -Tineke Reijnders a.o., ‘Johan van Hell: 1889-1952’, Arnhem 2005. -Vera Illés, ‘De herontdekking van Johan van Hell’, in: NRC Handelsblad, 16 January 1976. -‘Stedelijk Museum, Johan van Hell’, in: Nieuwe Rotterdamsche Courant, 14 September 1924.
Johan van Hell (1889-1952), The interior of the living room of the artist, oil on canvas, 125x160 cm, Exhibited: -Alkmaar, Stedelijk Museum, 'Huwelijk of Kunst? Het onbekende talent van Alida Pott (1888-1931) en Pau Wijnman (1889-1930)', 30 May-12 October 2009. Literature: -Vera Illès, 'De herontdekking van Johan van Hell' in NRC Handelsblad, 16 January 1976. -Caroline Roodenburg-Schadd, Tineke Reijnders a.o., 'Van de Straat. Het sociaal engagement van Johan van Hell (1889-1952)', Warnsveld 2005, p. 15, ill. no. 18, inv. no. S34. -Caroline Roodenburg-Schadd, Tineke Reijnders a.o., 'Johan van Hell 1889-1952', Houten 2016, p. 15, ill. no. 23, inv. no. S34. Provenance: -Collection Mr H.F. Wijnman, Amsterdam. -Collection Wijnman-Jacobs., signed and dated 'Johan van Hell '19' (lower left), The present lot depicts the living room of the artist and his wife Pau van Hell-Wijnman on the Majubastraat in Amsterdam. A painting of Pau is hanging on the right wall. On the left wall, there are some landscapes of Johan van Hell, amongst others the painting 'De Spitters'.
Hell, J.G.D. van (1889-1952). (Portrait of a working man). Woodcut, 44,5x27,5 cm., signed "Johan van Hell" and "handdruk" in pencil, on Chinese. - Two holes affecting image. = Very rare, not in De Cort. AND a woodcut by H. HENRIET, (Still life with flowers) (on Chinese, laid down on mount).
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Hell, J.G.D. van (1889-1952). "Kooplui". Lithograph, 1926, 30x19,5 cm., "Litho door Johan van Hell" and titled on the stone (below image). = De Cort L6.
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Walcheren Signed and dated 1942 lower right Oil on panel, 50.5 x 60.3 cm Provenance: - Auction De Oprechte Veiling, Haarlem - Collection Erik P. Löffler, Utrecht/Voorburg - Kunsthandel Jan Juffermans, Utrecht (1996-2001) - Auction Sotheby's, Amsterdam, 3 December 2001, lot 188 - Auction Christie's, Amsterdam, 5 June 2007, lot 30A - Private collection, the Netherlands Literature: T. Rijnders, B. de Cort a.o., Johan van Hell 1889-1952, Warnsveld, 2005, p.93, no. 117 (ill.) Note: Registered at the RKD - Netherlands Institute for Art History in The Hague under number 241672, as Walcheren with in the Background Domburg. Although the title of the work mentions the town of Domburg, the church in the background more likely corresponds to the Grote Kerk in Veere. Van Hell possibly depicted Veere, seen from the Domburg dunes. Faults or imperfections are not recorded in the lot description. We encourage you to inspect the lots during our viewing days. Condition reports are available upon request.
Hell, J.G.D. van (1889-1952). "Huizen". Two drawings, both watercolour and black crayon, 22,8x29,3 cm., both signed "Johan van Hell", titled and "24 aug. 1950" in pencil.
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Transvaalplein, Amsterdam Signed and dated '16 lower right Oil on canvas, 50.2 x 58.3 cm Provenance: - Collection mr. H.F. Wijnman - Collection J. Vecht, Amsterdam - Collection Meentwijck, Bussum - Auction Sotheby's, Amsterdam, 3 June 1997, lot 575 - Van der Hoop Bankiers, Amsterdam Exhibited: Amsterdams Historisch Museum, Amsterdam vereeuwigd 1901-2001, 1 June - 2 September 2001 Literature: T. Reijnders a.o., Johan van Hell 1889-1952, Terra / Lannoo, Warnsveld, 2005, p. 79 (ill) Note: The houses depicted on this painting were designed in 1912 by the prominent Dutch architect H.P. Berlage, commissioned by the Algemene Woningbouw Vereniging (‘general housing association’). Upon the completion of this painting the so-called ‘Transvaal’ neighbourhood was very modern and until 1940 it was regarded as a typical Jewish working-class neighbourhood. The church tower in the background of the painting belongs to the Reformed Rehoboth Church. The church was located on the Zacharias Jansestraat (formerly called Paul Krugerstraat) and Willem Beukelsstraat (at the time of the painting it was still the M.A. de Ruijterstraat) and dates from 1907-1908, however was demolished in 1972. From 1915 to 1927, Johan van Hell and his wife lived close to Transvaalplein in Majubastraat 27-III. In 1916 the area around this church was mostly undeveloped land. Van Hell overlooked the Transvaalplein from his dwelling and in the further distance the tower of the Rehoboth Church.
Hell, J.G.D. van (1889-1952). Verderop. Lithograph, 34x26,5 cm., signed "Johan van Hell" and "30/40" in pencil. - Yellowed; three foxed spots; mounted along margin under passepartout. = De Cort L 10. SEE ILLUSTRATION PLATE XVI.
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Hell, J.G.D. van (1889-1952). Straatmuzikanten (Ocarinaspeler, accordeonist en drummer). Lithograph, 32,9x21 cm., signed "Johan van Hell" and "84/175" in pencil. - Yellowed; mounted along margins under passepartout. = De Cort L 5. Idem. "Kerstmarkt". Lithograph, 31,3x19,8 cm., signed "Johan van Hell" and titled and "16/50" in pencil. - Browned; doubled; mounted along margins under passepartout. = De Cort L 8.
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Hell, J.G.D. van (1889-1952). "Ars Longa Vita Brevis" (Het Mannenkoor). Lithograph, 31x21 cm., signed "Johan van Hell" and ""8/60" in pencil, titled on the stone. = De Cort L 16.
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String quartet Signed and dated '32 lower centre Oil on canvas, 60.4 x 75.5 cm Provenance: Private collection, the Netherlands Note: Johan van Hell was a Dutch artist and musician. He was a dedicated socialist and a man with a highly developed social conscience. Many of his later works depict the struggles and plight of ‘the man in the street’. His art oeuvre is varied, ranging from oil paintings, watercolours, wood cuts and lithographs to political posters, ex-libris, magazine and book covers and illustrations. He also received regular commissions from the City of Amsterdam for monumental art. His music was at least as important to him as his art. His instrument was the clarinet, but he also played the oboe. He regularly performed with Amsterdam’s Concertgebouw Orchestra, but refused a permanent position.
Hell, J.G.D. van (1889-1952). "1841 Caecilia 1941". Lithograph, 35,6x23,5 cm., titled on the stone. = De Cort L14. AND 19 other lithographs published as Bijvoegsel van de Nieuwe Amsterdammer/ de Groene Amsterdammer by JAN SLUIJTERS (16x) and P. VAN DER HEM.
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Hell, J.G.D. van (1889-1952). "Kooplui". Lithograph, 1926, 30x19,5 cm., "Litho door Johan van Hell" and titled on the stone (below image). - AND 1 other lithograph by the same, "1841 Caecilia 1941". = De Cort L6 (note) and L14.
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'Vondelpark - ingang van Eeghenstraat' / Vondelpark in Amsterdam signed lower right in initials, and dated on the reverse 1920 oil on board, 30,5x43,5 cm Provenance: By inheritance within the family of the painter in possession of the present owner
'Kalfjeslaan, Amstelveen' signed lower left in initials, and dated on the reverse 1920 watercolour on paper, 31x38,5 cm Provenance: By inheritance within the family of the painter in possession of the present owner
Hell, J.G.D. van (1889-1952). Laarzen. Lithograph, 24,5x19 cm., signed "Johan van Hell" and "17/50" in pencil, "1940" on the stone, framed. = De Cort L 13.
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Hell, J.G.D. van (1889-1952). "1841 Caecilia 1941". Lithograph, 35,6x23,5 cm., signed "Johan van Hell" and "4/50" in pencil, titled on the stone. - Scratch in yellow pen in upper blank margin. = De Cort L14.
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Hell, J.G.D. van (1889-1952). Straatmuzikanten (zanger en accordeonist). Lithograph, 1925, 27x19,5 cm., signed "Johan van Hell" and "26/50" in pencil. - Sl. yellowed/ dustsoiled; sm. tear and some very vague creases in right blank margin. = De Cort L4.
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Hell, J.G.D. van (1889-1952). Kooplui. Lithograph, 27,8x19,4 cm., signed "Johan van Hell" and "28/50" in pencil. - Sl. yellowed and dustsoiled; (broad) margin cut irregularly, just touching the signature below. = De Cort L6.
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Hell, J.G.D. van (1889-1952). "Johan van Hell. 16 jan. 22 feb. Museum Coopmanshûs Franeker". Lithogr. exhibition poster, 78x53,5 cm. - Mounted on board; tiny portion lower left corner torn off; sl. foxed/ waterst. (mainly in lower half). = Not in De Cort.
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GRAZENDE PAARDEN 60,5 by 80 cm. signed and dated 1926 oil on canvas EXHIBITED Amsterdam, Stedelijk Museum, De Brug, 1926, no. 83 Arnhem, Museum voor Moderne Kunst Arnhem, Johan van Hell 1889-1952, November 2005-February 2006, no. S83, p. 87, illustrated in colour
VUURPOT 98 by 78 cm. signed and dated 1941 oil on panel EXHIBITED Amsterdam, Rijksmuseum,Kunst in Vrijheid, September-October 1945, no. 275 Arnhem, Museum voor Moderne Kunst, Johan van Hell, no. S115, p. 93, illustrated in colour and no. 49, p. 32, illustrated in colour
MELKMEISJES (WALCHEREN) MELKMEISJES (WALCHEREN) 61 by 85 cm. signed and dated 1925 oil on canvas EXHIBITED Amsterdam, Stedelijk Museum, De Brug, 1926, no. 77 Amsterdam, Stedelijk Museum, Architectuur, Schilderkunst en Beeldhouwkunst, 1928, no. 105 Amsterdam, Academie van B.K. en T.W., De Brug, 1928, no. 15 Rotterdam, Rotterdamsche Kunstkring, Johan van Hell, J.J. Moolhuizen, Wim Oepts, Wout Schram, 1930 Arnhem, Museum voor Moderne Kunst, Johan van Hell 1889-1952, November 2005-February 2006, cat. no. S81, p. 87, illustrated in colour
Acrobats on a terrace signed and dated lower left Johan van Hell 1935 oil on canvas, unframed 90.5 x 67 cm PROVENANCE Christie's Amsterdam, 22 mei 1991, lot 495 Kunsthandel Jan Juffermans, Utrecht LITERATURE C. Blotkamp en Y. Koopmans, Magie en zakelijkheid, realistische schilderkunst in Nederland 1925-1945, Arnhem 1999, p. 172, note 49 EXHIBITION De Populisten, Kunstzaal Gerbrands, Utrecht, 1936 Uitwissel-tentoonstelling Antwerpen-Amsterdam, Stadsfeestzaal Meier, Antwerpen, 1938 De Brug, Stedelijk Museum, Amsterdam, 1939 Onze Kunst van Heden, Rijksmuseum, Amsterdam, 1939-1940 Magie en Zakelijkheid, Realistische schilderkunst in Nederland 1925-1945, Museum voor Moderne Kunst, Arnhem, 2000.
