Lot 155
Old Masters, Nineteenth Century & Early Modern Art | 18 May 2022
Jan Sluijters (1881-1957)

The Rokin in Amsterdam by snow

signed and dated 'Jan Sluijters/1922' (upper right)

oil on canvas, 96x127 cm

-Possibly Amsterdam, Stedelijk Museum, 'Tentoonstelling van het levenswerk van Jan Sluijters', 5-29 December 1931, no. 60, as: 'Stadsgezicht bij sneeuw'.
-Possibly Maastricht, Bonnefantenmuseum, 'Jan Sluijters', 8-30 March 1947, no. 4, as: 'Amsterdam bij sneeuw'.
-Liège, Musée des Beaux-Arts de Liège, ‘Salon triennal de Belgique 1947, rétrospective Jan Sluyters, Robert Crommelynck’, 12 April-11 May 1947, no. 12.
-Groningen, Kunstcentrum Prinsenhof, ‘Jan Sluijters’, 2-24 November 1947, no. 9.
-Arnhem, Gebouw Kunstoefening, ‘Jan Sluijters’, 29 July-1 September 1950, no. 18.
-Appingedam, Noordelijke Kunsthof, ‘Tentoonstelling Jan Sluyters en tijdgenoten: werken uit het Stedelijk Museum te Amsterdam’, 3-19 November 1955, no. 9.
-Velsen-Zuid, Hoogovens, 21 December 1955-21 February 1956.
-Assen, ’t Zaaltje, ‘Tentoonstelling van werken van wijlen Jan Sluyters’, 20 July-15 September 1957, no. 15.
-Groningen, Pictura Groningen, ‘Eretentoonstelling van werken van Jan Sluijters’, 6-28 October 1957, no. 17.
-Hoensbroek, Kasteel Hoensbroek (30 May-30 June 1958)/Den Bosch, Museum Bethaniëstraat (7-27 July 1958)/Helmond, Kasteel-raadhuis Helmond (30 July-10 August 1958)/Breda, Cultureel Centrum De Beyerd (12-31 August 1958)/Tilburg, Paleis-Raadhuis Tilburg (5-28 September 1958), ‘Jan Sluijters: herdenkingstentoonstelling 1881-1957’, no. 7.
-Kiel, Kunsthalle zu Kiel, ‘Holländische maler im 20. Jahrhundert: Appel, Benner, Corneille, Lataster, B. van der Leck, Mondrian, Sluyters, Ch. Toorop, Wagemaker, Wiegers, Wolvecamp’, 21 June-26 July 1959, no. 36.
-Possibly Den Helder, Raadzaal Den Helder, 'Jan Sluijters en tijdgenoten', 12-27 July 1959.
-Tiel, Politiebureau, 'Van Impressionisme tot Expressionisme', 1 May-7 June 1964, no. 27.
-Amsterdam, Museum Fodor, 'Tentoonstelling Museum Fodor', 10 November-16 December 1964.
-Laren, Singer Museum, 'Jan Sluijters (Laren 1966-1967)', 17 December 1966-12 february 1967, no. 93 (a label attached to the reverse).
-Amsterdam, Rijksakademie van Beeldende Kunsten Amsterdam, 'De onbekende Jan Sluijters', 9 January-9 February 1969.
-Amsterdam, Museum Fodor, 'Amsterdamse stadsgezichten', 25 May-14 July 1974.
-Amsterdam, Van Gogh Museum, 'Halte 75', 14 August-14 September 1975.
-Heerlen, Raadhuis Heerlen, 'Jan Sluijters', 7 September-October 1977, no. 18.
-Woudrichem, Galerij Brabant, 'Jan Sluijters', 3-27 November 1978.
-Laren, Singer Museum, ‘Jan Sluijters: schilder met verve’, 31 January-25 April 1999, no. 80.

-Jan Juffermans, Noortje Bakker, ‘Jan Sluijters, schilder’, Mijdrecht: Tableau, 1981, ill. no. 63.
-Jacqueline de Raad, digital catalogue raisonne ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998, as: 'Het Rokin gezien vanuit Arti'. -Dominique Colen, Jacqueline de Raad, ‘Jan Sluijters: schilder met verve’, Zwolle 1998, ill. p. 53, no. 69.

-Private collection Jan Sluijters Jr., son of the artist, Hilversum.
-With Kunsthandel G.J. Scherpel BV, Bussum, acquired from the above (with invoice dated 21 July 1997).
-Collection of family Mr G.J. Scherpel, thence by descent to the present owner.

Jan Sluijters’ stay in Paris 1906 was a turning point in his career. There he came into contact with modern French art, the methods of the Neo-Impressionists and Fauvists, which fascinated him greatly. He deeply shocked the established order by his new modern approach, and the reviews were damning; however, Sluijters continued to work imperturbably in the way he thought best. By 1910, his work was more appreciated, given the growing number of exhibitions in museums and at art dealers.

The 1920s saw various artistic highlights for Jan Sluijters (’s-Hertogenbosch 1881 - Amsterdam 1957). During this period, he distanced himself from the avant-garde, and from the earlier fierceness that characterized his earlier work. After World War I, more modernists returned to a more moderate and classical realism. Yet Sluijters’ disposition will always be that of the lyrical luminist. Colour is his means of expression and despite the partial return to tradition, he remains a fantastic colourist. Sluijters did not enjoy travelling, preferring to stay in his home environment. For this assiduous hardworker, painting is a daily labour from nine to half past three, an almost physical activity also and a struggle with matter - the paint. During this period, he looks for his subjects close to home. He said once that ‘all the subjects he painted could be found within twenty-five metres around him’. The themes were predominately of female nudes, portraits (usually commissioned) and (flower) still lifes. In addition, he also painted cityscapes of Amsterdam’s Damrak and Rokin.

With a distinctive brushstroke and a few paint splotches, Sluijters certainly shows his temperament in his wildly painted ‘The Rokin in Amsterdam by snow’ (1922). About his use of colour, a critic noted in pen a note in the margin line of one of the catalogs: ‘ Breitner-like in colour, with some lights’.

Most of his extensive oeuvre was created in his studio: till 1930 he lived in the Lomanstraat, after that year his studio was an upper floor of his house at the Olympiaplein in Amsterdam. In contrast, ‘The Rokin in Amsterdam by snow’ was painted from the window of his beloved Arti et Amicitiae club, where he could be found almost every day in the afternoon, for instance to play a game of billiards. According to an accompanying text of one of the many exhibitions where this painting was shown (Assen, 1957), it was painted in a single day. Whether this is indeed the case is not certain. Generally, he explored all the possibilities of paint, but at the same time was also a toiling artist, not easily satisfied with a result and endlessly polishing and retrying . The cityscape was a favourite theme of his in this period and, unlike before, he worked on large canvases. He wanted among other things to show the sensation of the metropolis, the lights and thereby express the noise of the traffic. ‘The Rokin in Amsterdam by snow’ gives an impression of the bustling streets: city people walking to the tram, a passing cyclist and a bus, colourful with light accents of melting snow. A representation of the Rokin in the days when the canal had not yet been filled in.

Voor deze kunstenaar is volgrecht van toepassing vanaf een hamerprijs van € 2400.

€ 40.000,00
€ 60.000,00
€ 30.000,00

Hamerprijs: € 30.000