(Brussels 1568–1625 Antwerp)
A crowded harbour scene on the Scheldt near Antwerp,
indistinctly inscribed lower left: Nullus labor amor(?),
oil on copper, 38 x 52 cm, framed

With the panel maker’s mark of Pieter Stas (active in Antwerp 1587–1610) and the Antwerp hand on the reverse (see fig. 1).

A certificate issued by Klaus Ertz (November 2015) is available.

Klaus Ertz writes: “In this small harbour scene, Jan Brueghel the Elder’s mastery as a painter once more fully comes into its own. The present depiction is probably the ‘precursor’ of the artist’s version in the museum of Schwerin, for which he revisited the subject in 1605. In addition to the framing element on the left – the dark triangle of soil supporting Cupid, next to whom, on the right-hand side, shells lie scattered on the ground, and which was discarded as a repoussoir motif later on – the elevated vantage point attests to an early period of execution, which I believe was in the 1590s. The familiar repertoire known from 1602 onwards and used for the painter’s peasant scenes did not yet exist at this earlier of time. The present picture contains the unmistakable features typical of Jan’s harbourscapes: a brilliant blue sky with the sun mostly covered by clouds on the left; the fishermen on the beach, recurring with minor variations in many of his harbour paintings; the meticulously painted details of shells, fishes, ships, and foliage; and the church spire of the city of Antwerp, which frequently appears in the left background.”

The copper panel used for the present painting was made in Antwerp around 1587. It was inspected for its quality and then shipped to Italy. The sign of the hand, the mark of the City of Antwerp, confirms that the required export taxes were paid. The painting using this copper panel as a support thus dates from Jan Brueghel’s stay in Italy and was painted around 1590.

Additional image:
The panel maker’s mark of Pieter Stas and the Antwerp hand (detail on the reverse)

With the panel maker’s mark of Pieter Stas (active in Antwerp 1587–1610) and the Antwerp hand on the reverse (see fig. 1).

A certificate issued by Klaus Ertz (November 2015) is available.

Klaus Ertz writes: “In this small harbour scene, Jan Brueghel the Elder’s mastery as a painter once more fully comes into its own. The present depiction is probably the ‘precursor’ of the artist’s version in the museum of Schwerin, for which he revisited the subject in 1605. In addition to the framing element on the left – the dark triangle of soil supporting Cupid, next to whom, on the right-hand side, shells lie scattered on the ground, and which was discarded as a repoussoir motif later on – the elevated vantage point attests to an early period of execution, which I believe was in the 1590s. The familiar repertoire known from 1602 onwards and used for the painter’s peasant scenes did not yet exist at this earlier of time. The present picture contains the unmistakable features typical of Jan’s harbourscapes: a brilliant blue sky with the sun mostly covered by clouds on the left; the fishermen on the beach, recurring with minor variations in many of his harbour paintings; the meticulously painted details of shells, fishes, ships, and foliage; and the church spire of the city of Antwerp, which frequently appears in the left backgroun.”

The copper panel used for the present painting was made in Antwerp around 1587. It was inspected for its quality and then shipped to Italy. The sign of the hand, the mark of the City of Antwerp, confirms that the required export taxes were paid. The painting using this copper panel as a support thus dates from Jan Brueghel’s stay in Italy and was painted around 1590.