A Romanesque Ruin

Prints and Drawings

1650–51

Jan van Goyen
Dutch, 1596-1656

Five drawings (1961.378-1961.382) were once bound in a small sketchbook of approximately 200 pages. Because it was light and portable, Jan van Goyen could tuck it into his pocket while walking in search of inspiration. Sketchbooks allowed the artist to quickly delineate sand dunes and architectural structures in the vicinity of his residence in The Hague and farther afield. These landscape sketches in black chalk and ink wash relate—directly and indirectly—to compositions the artist later realized in oil paintings.

Status: Currently Off View
Department: Prints and Drawings

Artist: Jan van Goyen
Title: A Romanesque Ruin
Place: Netherlands (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1650–1651
Medium: Black chalk, with brush and gray wash, on ivory laid paper
Inscriptions: Inscribed recto, upper right, in pen and light brown ink: "75"
Dimensions: 9.8 × 15.8 cm (3 7/8 × 6 1/4 in.)
Credit Line: Worcester Sketch Fund Income
Reference Number: 1961.380
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/20160/manifest.json

Verslagen omtrent’s Rijks Verzamelingen van Geschiedenis der Kunst XVIII (1895/96), pp. 64–65.
Campbell Dodgson, “A Dutch Sketchbook of 1650,” The Burlington Magazine for Connoisseurs 32 (June 1918), pp. 234–240.
Abraham Bredius response to Campbell Dodgson, “A Dutch Sketchbook of 1650,” The Burlington Magazine for Connoisseurs 33 (1918), p. 112.
Campbell Dodgson, “A Dutch Sketchbook of 1650,” The Burlington Magazine for Connoisseurs 66 (1935), p. 284.
Hans-Ulrich Beck, “Jan van Goyens Handzeichnungen als Vorzeichnungen,” Oud-Holland 72 (1957), pp. 241–50.
Friedrich Gorissen, Conspectus Cliviæ (Kleve: Boss, 1964), p. 85–86.
Hans-Ulrich Beck, “Jan van Goyen am Deichbruch von Houtewael,” Oud-Holland 81 (1966), pp. 20–23. [seems to describe sheets from the same sketchbook but not those in AIC collection]
Hans-Ulrich Beck, Ein Skizzenbuch von Jan van Goyen (The Hague: L. J. C. Boucher, 1966), p. 5.
Hans-Ulrich Beck, Jan van Goyen, 1596–1656 (Amsterdam: Van Gendt, 1972), 1: 285–86, 293, 297, 313, nos. 847/42, 75, 220A, 221, and 270A.
Important Old Master Paintings and Drawings, auc. cat. (New York: Sotheby Parke-Bernet, Jan. 9, 1980), lot. 50.
Edwin Buijsen, The Sketchbook of Jan van Goyen from the Bredius-Kronig Collection (The Hague: Foundation Bredius Genootschap, 1993), p. 12.
Christiaan Vogelaar, Jan van Goyen (Zwolle: Waanders Uitgevers, 1996), p. 28.

Leiden, Stedelijk Museum, Jan van Goyen, June 4–July 27, 1960, cat. 107; also Arnheim, Gemeentemuseum, July 31–Sept. 26, 1960.
The Art Institute of Chicago, “Rubens, Rembrandt, and Drawing in the Golden Age”, September 28, 2019 - January 5, 2020, pp. 250, 252 (ill.), 300, cat. 98, cat. by Victoria Sancho Lobis, et. al.

Possibly A. Geddes; sold Christie’s, April 1845, lot 361 [Dodgson 1935]. Private collection, England, 1879 [Gorissen 1964]. Johnson Neale, London, by 1895 [Gorrisen 1964]; Thomas Mark Hovell (1853–1925), London [Dodgson 1918]. Sold, Sotheby’s, London, July 3, 1918, lot 124, to P. and D. Colnaghi, London [Sotheby Parke Bernet, 1980]. W. M. Mensing [or Anton Mensing? ](1866–1936), Amsterdam; sold, Frederick Muller, Amsterdam, Apr. 27–29, 1937, lot 218. Hirschmann (probably Otto Hirschman, born 1889) [Gorissen 1964]. A. Mayer, New York [Gorissen 1964]. Possibly C. F. Louis deWild (1900–1987), New York [according to Beck]. Sold by Lilienfeld Galleries, New York, to the Art Institute of Chicago, 1961.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.