The works of Joos de Momper II (Antwerp, 1564–1635) are, not entirely by coincidence, highly attractive landscapes featuring mountain views and winter scenes. They were produced for Antwerp’s urban bourgeoisie, a clientele accustomed to buying on the basis of quality, recognisability, scale and reputation.
Especially sought after are appealing compositions with numerous figures, firmly anchored in the literature and supported by solid provenance. Collaborations with other painters and unusual subjects, such as series of the seasons and winter landscapes, are also highly desirable. Works with decorative appeal but of lesser significance within the artist’s oeuvre are generally found in the lower price ranges.
His paintings vary widely in both quality -workshop, follower, attributed- and format, and this determines value to a considerable extent. Auction results therefore differ greatly, and it pays to bring a work to market properly.
Market analysis: a quick decision tree
- Is the work a memorable composition of convincing quality, or a repetitive variant lacking tension?
- Are the figures and animals an added bonus, or a central component of the work, particularly in collaborations? This can make a painting more collectible by creating an “enhanced narrative”.
- How firmly is the work anchored in the literature, provenance and certification? The more extensive the documentation, the higher the estimate is likely to rise.
- What is the condition? Is the painting still clearly recognisable as an autograph work by de Momper, or has its condition effectively lowered it into another category?
As will become clear later in this essay, it pays to bring a painting by Joos de Momper to market in the right way. As a collaborative group, we are of course happy to assist with this. Thorough research, provenance research and establishing a work’s position within the oeuvre are all important factors in determining value. We provide an example in which a careful restoration, enhancing the intended atmospheric effect, resulted in a significant revaluation, combined with a renewed attribution concerning the collaboration represented on the panel.
Attractive atmospheric panoramas and recognisable variations
His paintings are best known for their highly marketable panoramic views, with a strong sense of depth in which the warmer tones of the foreground contrast with cooler backgrounds, often featuring blue-green skies. His works consequently appeal to a broad audience.
They also perform well on the market because of the recognisable variation in subject matter. Routes populated by travellers, bridge scenes, rock and cave motifs, and bends in rivers recur frequently. This variety involves relatively little risk for auction houses because, even where attribution may be qualified, the works still tend to look unmistakably like Joos de Momper.
Landscapes regularly appear in which the figures and animals were painted by other artists. In the case of Joos de Momper the Younger, this is not a marginal phenomenon but a frequent feature, especially in works from the upper end of his market.
A high viewpoint, broad and sweeping brushwork, and the division of the landscape into two zones — warmer tones in the foreground and cooler colours in the distance — are characteristic features of de Momper’s mature style in the 1620s. This was also his strongest period.
Workshop and distinctions in quality
As with many better-known artists, the market contains a substantial supply of works with varying degrees of authorship and differing subject matter.
First are the monumental panoramas with travellers. These can be considered the core product: broad mountain and river valleys, often viewed from a high vantage point. Paths, bridges, caravans, elegant companies and merchants alternate throughout the compositions. This category enjoys stable supply and demand on the market.
Works that differ somewhat in format or composition and possess a more iconic appearance can be especially attractive at auction. Ideally, the viewer’s eye is guided through the image in successive layers, while the figures, genre scenes and animals are painted by another recognised artist.
Auction results also depend heavily on how firmly a work is anchored in the literature, including catalogue references, exhibition history and certification by recognised connoisseurs or experts.
Less desirable are works of lower quality, with simple compositions and standardised or mediocre figure painting. Heavily restored paintings in which weaknesses are visible in the skies or foregrounds also tend to perform less well.
Sought-after exceptions: winter landscapes
There is strong demand for de Momper’s winter landscapes. A catalogue published in 1986 lists only around sixty among a total of approximately six hundred works. They are highly decorative and immediately recognisable to a Northern European audience. The highest prices are achieved by the rarer variants — the true masterpieces.
These are the works with crisp lighting effects and convincing scenes. Less sought after are examples with repetitive figures and weak compositions. Paintings densely populated with figures and animals, by contrast, often perform well at auction.
The seasons: absolute highlights within the oeuvre
Series of the seasons and complete sets of paintings occupy the very top of Joos de Momper’s oeuvre from an art-market perspective. One might think, for example, of the four seasons or another clearly recognisable sequence of panels. In such cases, the buyer is not acquiring merely a painting, but an entire artistic concept. Once again, rarity, provenance and references in the literature all drive demand upwards.
A niche market: caves, rocks, pilgrims, coastal and harbour scenes
This group of works is interesting because its dramatic compositions and chiaroscuro-like rock formations appeal not only to decorative buyers, but also to collectors interested in devotional themes. The less specialist knowledge required to understand the subject, the better. The quality of the rock formations also plays an important role, as obvious workshop productions are less desirable in this category.
Coastal and harbour scenes are less common within de Momper’s oeuvre and therefore occupy a distinct niche with a clearly defined market value.
Collaborators, workshop, circle and followers
As a highly sought-after painter, de Momper also has a large lower tier within his market, including many followers. Quality, however, is still appreciated in this segment. Here, decorative value matters more than the precise placement of a work within the artist’s oeuvre. If a painting is attractive but not autograph, there can still be considerable demand.
De Momper is rarely presented on the market in isolation; he is often placed within a broader Antwerp context. One important connection is the Brueghel line, through his collaboration with Jan Brueghel the Elder and later with Jan Brueghel the Younger. This makes his works collectible by a broader audience and can lead to stronger auction results.
Collaboration with other painters, such as Sebastiaen Vrancx, can shift the atmosphere from idyllic to narratively dramatic, attracting a different type of buyer, such as collectors interested in military campaigns and convoys.
Factors determining price within the market
The market pays for autograph authorship and firm documentation in the literature, precisely because the supply is so extensive. Studio and workshop works can be highly decorative and certainly attract interest when their quality is strong. There is also demand for works from his circle and by followers.
Collaborations with other painters add further collectible value. Auction houses therefore often emphasise such collaborations explicitly in order to stimulate interest. The partnership between de Momper and Brueghel is regarded as particularly successful and is associated with a high level of quality. Such attributions are frequently supported by stylistic arguments, including the use of colour and the handling of figures, and are often accompanied by expert opinion.
Support, condition and supply
The support also has some influence on value. Paintings on canvas can be large in scale, but they are also more vulnerable and may display more pronounced craquelure, which can result in a degree of deformation. Works on panel, particularly smaller examples, can retain a level of detail, luminosity and sharpness that collectors find especially attractive.
Condition and restoration are major components of value. Over-restored skies or details that have been abraded through cleaning can reduce the eventual result. Such paintings may still be stylistically convincing, but the market often places them, almost imperceptibly, into a lower price bracket.
The most expensive works within de Momper’s oeuvre are generally offered by the major international auction houses. Works from the workshop, circle and followers are more commonly found at national or regional auction houses. These are sought after by interior buyers or dealers looking for an attractive decorative painting rather than, at that particular moment, a firmly established attribution to Joos de Momper himself.
Do you have a particular interest in this artist or in this subject?
Do you follow this artist, or have you come across a work you would like to know more about? We regularly research works appearing on the market and are always happy to exchange views on quality, provenance, art-historical context and previous auction results. You can contact us directly via info@antonello.art.