THREE

Old Master & 19th Century Paintings and Drawings 23 May 2016, Amsterdam

55 A n d r e a s

Schelfhout–

P.80

Art Europe Old Master & 19th Century Paintings and Drawings Art Europe May 23, 2016 Amtrium RAI Amsterdam

Old Master & 19th Century Paintings and Drawings Auctions & Times Monday 23 May 2016, 1pm, Lots 1 - 190 Viewing days Thursday 19 May 2016 Friday 20 May 2016 Saturday 21 May 2016 Sunday 22 May 2016

11am – 10pm 11am – 10pm 10am – 5pm 10am – 5pm

Auction & viewing location Amtrium RAI Amsterdam, Europaplein 22, 1078 GZ Amsterdam The entrance of the Amtrium is to the left of the Roast Room Restaurant, Europaplein 2, 1078 GZ Amsterdam. For parking, please refer to the website of RAI Amsterdam, www.rai.nl.

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94 H e n d r i k

Willebrord Jansen–

P.117

“Art is not

what you see but what you make others see ” - Edgar Degas (1834-1917)

Old Master & 19th Century Paintings and Drawings

Something very interesting is stirring in our appreciation and enjoyment of the periods preceding contemporary art. Where we once were mesmerized by the shiny and new, we are slowly moving towards a renewed appreciation of the patina and quality of the masters of the Golden Age and 19th Century Romanticism. And this is exactly what you will find in this catalogue of our third sale, appropriately named T H R E E. This collection of Old Master and 19th Century Paintings, including a few early modern pictures, shall be exhibited and sold on May 23, 2016, in RAI AMTRIUM in Amsterdam, the city so abundantly depicted in many lots in this sale. These works give an overview of over three hundred years of art history, many of which reflect our rich Dutch heritage. From the colorful still lives of the Golden Age to the charming landscapes of Dutch Romanticism and the tonal beauty of the Hague School works; it is time for a renewed acquaintance. Lose yourself in a romantic city view of Rotterdam around 1900, or think about a gorgeous “Pronkstilleven� to brighten up any room.

Pictures say more than a thousand words, and nothing beats the thrill of a visit which allows one to discover the piece of art you always wanted to own yourself. We cordially invite you to come to our viewing days and the auction itself in order to discover the works of art that you can not resist and which could grace your walls in a matter of days.

On behalf of the whole Art Europe team we thank you for your interest in our sales. We look forward to have you joining us, whether it is during viewing days or through written or telephone bids, or on-line bidding. We hope you will not hesitate to share your thoughts or ask any of us for information, be it a request for a condition report or a more detailed photograph.

We feel that art can enrich your life, and sharing our passion is one of the things we like doing best.

We therefore hope to meet you personally in our sale room and share the excitement and thrills of a live auction with you!

Peter Paul Guthman Managing Director

P.S. Come and Buy Your Own Beautiful Piece of History!

15 W i l l e m

K o e k k o e k – P.24

1 German School, circa 1620 A Design for the Lid of a Silver(?) Casket with Nymphs and Putti with Fruit Garlands, and Grotesque Masks Black chalk, pen and brown ink and wash 288 by 439 mm.

This drawing shows either a single or two alternative designs for the lid of a probably silver casket; the design could also have been executed in (box)wood.

€ 2.000–3.000

2 Jan Pynas

Alkmaar 1583–1631 Amsterdam

Joseph Distributing the Corn Pen and brown ink and grey wash(?)

198 by 152 mm.

Jan Pynas was one of the so–called Pre–Rembrandtists who worked in Amsterdam, Leiden and made two long study trips to Italy.

€ 1.500–2.500

Art Europe | Old Masters | 1

3 Netherlandish School, p r o b a b ly l a t e 1 6 t h C e n t u r y o r e a r ly 1 7 t h C e n t u r y An Allegory of Acqua, One of the Four elements Black chalk, pen and brown ink and blue wash 173 by 227 mm.

After the engraving by Adriaen Collaert (c.1560–c.1618) of 1580–1584, done after an initial design by Maerten de Vos (1532–1603) showing one of the Four Elements, ‘Acqua’ (New Hollstein Dutch 1287–1(3). We see a naked woman with her hair covered with water–plants, in her hands she has a ship’s model and a compass, her right arm resting on a flask with fish flushing out, her left hand resting on a conch with water flowing, shells and fish in the foreground. A wide rainbow surrounds Acqua on the horizon.

€ 1.500–2.000

Art Europe | Old Masters | 2

4 Follower of Abraham Govaerts Vertumnus and Pomona in a Garden Setting with Fruits, Vegetables, and Exotic Animals and Birds such as a Macaw and a Monkey: an Allegory of Harvest or Plenty Oil on panel, gessoed on the reverse 42.8 by 64.6 cm.

The original of this composition by the Antwerp painter Abraham Govaerts (1589–1626), dated 1620, is recorded in a French private collection (signed and dated 1620, oil on copper, 37.5 by 54 cm.; see U. Härting and K. Borms, Abraham Govaerts: der Waldmaler (1589–1626), Schoten 2004, pp. 34, 83, no.

17, p. 107, reproduced). Vertumnus and Pomona proofed a popular composition as several studio variants exist. A similar work to the present painting, also on panel, was sold, Christie’s New York, 26 May 2000, lot 28 (41.5 by 64,4 cm, as cooperation between Abraham Govaerts, Frans Francken II and studio of Jan Brueghel II).

€ 12.000–18.000

Art Europe | Old Masters | 3

5 17th Century Follower of Pieter Brueghel the Younger A Wedding Dance in the Open Air with a Bagpipe Player oil on panel 40.5 by 71.3 cm.

€ 6.000–8.000

Art Europe | Old Masters | 4

Art Europe | Old Masters | 5

verso

6 School of Bruges, circa 1585/90 The Wing of an Altarpiece (a Triptych) Showing Three Male Donors Said to Be from the De Clercq Family from Bruges Verso: Saint Nicholas and Saint Catherine, en grisaille Oil on panel 132.6 by 74.2 cm.

The stylistic features of the sitters in this portrait are close to those by the Bruges painter Antonie Claeissens (c. 1536/41– 1613). Claeissens was the official painter of the city of Bruges from 1570 until 1581, when his brother, Pieter II, succeeded him.

The second half of the 16th century in Bruges was marked by an economic recession: the important textile market stagnated, the price of grain rose and many foreign merchants left the town for Antwerp. Still Bruges kept its international prestige, especially among the Spaniards, who kept exporting their wool through Bruges for a long time.

Between 1578 and 1584 Bruges followed the example of Ghent, Antwerp and Brussels: a Protestant, Calvinist government reigned the town. But just as in these other Flemish towns this revolution did not last very long. In May 1584 the town surrendered to Alexander Farnese (1545–1592), the governor of the Habsburg Netherlands. Its population was struck by poverty and by the plague.

Although Bruges had suffered very little from the Iconoclastic Fury (“Beeldenstorm”) of 1566 its churches and monasteries were being restored and important orders were given to the Claeissens family. Bruges’ reintegration into the Spanish Catholic Netherlands had to be affirmed. A damaged Last Supper, painted by Pieter Pourbus the Elder for the Church of Our Lady, was restored by Antoon Claeissens.

As to new works of art: there was a return to the traditional, recognizable forms of art; this way triptychs and existing iconografical models became a weapon of the Catholic Counter–Reformation. It resulted in lots of religious commissions and paintings.

The two saints portayed en grisaille on the verso of this painting are Saint Nicholas, the bishop of Myra in present–day Turkey, and Saint Catherine of Alexandria, one of the most important saints of the Catholic world during the Late Middle Ages. Since the Middle Ages girls stood under the protection of Saint Catherine, while boys enjoyed protection of Saint Nicholas.

€ 15.000–20.000

Art Europe | Old Masters | 6

7 F o l l o w e r o f H e n d r i c k G o lt z i u s The Martyrdom of Saint Sebastian Oil on panel, lozenge–shaped 59 by 59.5 cm.

Provenance: Family Behr, Amsterdam, by whom given tot their neighbours, the family Boot in 1945; Mr van der Schaaf, Haarlem (a neighbour of the Boot family in 1995).

€ 6.000–8.000

Art Europe | Old Masters | 7

8 Ma n n e r o f L u c a s v a n Va l k e n b o r g h A Mountainous Landscape with an Elegant Couple in the Foreground, a River with Villages Beyond Oil on panel 44.7 by 41.7 cm.

Provenance: Jacques Hedeman, Almelo; Thence by descent.

₏ 1.000–1.500

Art Europe | Old Masters | 8

9 School of Bruges, circa 1540 A Portrait of a Gentleman, Bust Length, Wearing a Black Beret and Coat with White Shirt, Against a Green Background Oil on panel 48.1 by 35.5 cm.

Until 1957 this interesting portrait was always considered to be by the Bruges painter Ambrosius Benson (1490–1550). At the end of 1956 it was also sold as such in Brussels, accompagnied by a certificate of Prof. Dr. M.J. Friedländer. However, in 1957 in his monograph on Ambrosius Benson (see Literature below) Georges Marlier refuted this attribution, cataloguing it together with a group of 23 other paintings as having been painted by one or several unidentified painters active in Bruges, and positioned stylistically in between Ambrosius Benson and Adriaen Isenbrandt. According to Marlier the present portrait lacks a certain stiffness, which is typical of Benson, especially in the figure’s hand.

Provenance: Collection Brugnain–Milday, London, 1892; Collection Fontaine Flament, Paris, 1903; Sale, Paris, Galerie Charpentier, 28 March 1955, lot 36 (as attributed to Benson); Sale, Brussels, Galerie Trussart, 19 November 1956, lot 41 (as Ambrosius Benson; with certificates of Prof. Dr. Max Jacob Friedländer and of Mr. Robert Lebel); Charles Spaens, Brussels, by 1957.

Literature: G. Marlier, Ambrosius Benson et la peinture à Bruges au temps de Charles–Quint, Damme 1957, pp. 327–328, no. 197 (as part of a group of 23 other paintings having been painted by one or several unidentified painters active in Bruges, standing stylistically in between Ambrosius Benson and Adriaen Isenbrandt).

€ 40.000–60.000

Art Europe | Old Masters | 9

Art Europe | Old Masters | 10

10 Jan Jacob Spohler (Dutch 1811-1866)

A River Landscape with a Moored Sailingboat Signed lower left Oil on panel 35 by 43 cm.

Provenance: Sale, Munich, Ketterer Kunst, 27 October 2011, lot 133

€ 8.000–12.000

Art Europe | 19th Century | 11

11 Albert Roosenboom (Belgian 1845–1875)

Two Children in an Interior Signed lower left Oil on canvas 27 by 21 cm.

€ 2.000–3.000

Art Europe | 19th Century | 12

12 chArles–léon cArdon (Belgian 1850–1920)

The Bouquet of the Admirer Signed upper right Oil on canvas 56 by 46 cm.

€ 3.000–5.000

13 sAlomon leonArdus verveer (Dutch 1813–1876)

Figures in a Boat near a Town Signed lower left Watercolour and sepia 31 by 42 cm.

€ 8.000–12.000

Art Europe | 19th Century | 13

14 Petrus Gerardus Vertin (Dutch 1819–1893)

A View of a Town in Summer Signed lower right Oil on canvas 28 by 38 cm.

Provenance: Sale, Munich, Hampel Fine Art Auctions, 30 June, 2011, lot 391

€ 14.000–18.000

Art Europe | 19th Century | 14

Art Europe | 19th Century | 15

15 Willem Koekkoek (Dutch 1839–1895)

A View of the Koepelkerk in Amsterdam Signed lower right Oil on canvas 55 by 71 cm.

Provenance: Sale, London, Christie’s, 26 March 1999, lot 26; Sale, Munich, Hampel Fine Art Auctions, 27 March 2009, lot 425

€ 50.000–70.000

Art Europe | 19th Century | 16

16 Hendrik Reekers (Dutch 1815–1854) A Hunting Still Life Signed lower right Oil on panel 46 by 37 cm.

€ 10.000–12.000

Art Europe | 19th Century | 17

17 Johannes Josephus Destrée (Dutch 1827–1888)

A dune Landscape with a man resting, mills and a church tower on the horizon Signed lower right Oil on panel 31 by 49 cm.

Provenance: Mrs. G.J.H. de Bordes– van Heel, The Hague; Thence by descent.

€ 3.000–5.000

Art Europe | 19th Century | 18

Art Europe | 19th Century | 19

18 Charles Leickert (Dutch 1816–1907)

A View of a Town Covered with Snow Signed lower left Oil on panel 21 x 16 cm.

Provenance: Private Collection, the Netherlands

€ 12.000–16.000

Art Europe | 19th Century | 20

19 Wouterus Verschuur (Dutch 1812–1874)

Watering Horses near a Ruin Signed lower left Oil on panel 25 by 31 cm.

Provenance: Sale, Amsterdam, Christie’s, 26 April 2005, lot 145; Sale, Amsterdam, Sotheby’s, 14 April 2008, lot 214 Private collection, the Netherlands

€ 35.000–45.000

Art Europe | 19th Century | 21

20 Jan Jacob Spohler (Dutch 1811–1866)

Skaters on the Ice in a Winter Landscape Signed lower left Oil on canvas 58 by 80 cm.

Provenance: Private collection, Germany

€ 10.000–15.000

Art Europe | 19th Century | 22

Art Europe | Old Masters | 23

21 Pieter de Molijn London 1595–1661 Haarlem

A Wooded Landscape with Travellers on a Path Signed and dated lower left: PM (in compendium) olyn/1644 Oil on panel 42.5 by 65 cm.

Dr. Hans–Ulrich Beck confirmed the attribution verbally to the current owner and considers this painting to be similar to other works of this date, the mid–1640s.

Provenance: Sale, Cologne, Kunsthaus Lempertz, November 17 2012, lot 1159.

23

€ 8.000–12.000

Pieter Symonsz. Potter Enkhuizen circa 1597/1600–1652 Amsterdam

A ‘Kortegaardje’, a Guardroom Scene with an Officer Seated Surrounded by Soldiers and Women in Colourful Dress

22 Roelof Koets the Elder Haarlem 1592/93–1654/55

Signed and dated lower right: P.Potter F: 1635 Oil on panel 37 by 47.8 cm.

A Still Life with Quinces, Grapes and an Apple in and Around a Wicker Basket

€ 7.000–9.000

Oil on panel 46.5 by 65 cm.

Fred G. Meijer kindly confirmed the attribution to Roelof Koets the Elder (private communication to the current owner, April 2008).

Provenance: Sale, Vienna, Dorotheum, 11 December 2007, lot 222; Sale, Cologne, Carola van Ham, 19 November 2010, lot 494.

€ 7.000–9.000

Our painting is close in style to another early work by Pieter Potter, a Requisite Scene on the Treshing Floor of a Barn, of 1632, in the Museum Boijmans van Beuningen, Rotterdam (inv. no. 1679, signed and dated 1632, oil on panel, 37 by 47.5 cm.); the figure types of the main group around the seated officer, whose armoured breastplate and musket are on the floor next to him, are similar. Potter made several of these so–called ‘kortegaardjes’, the first dates from 1630, and artists like Pieter Codde and Willem Duyster produced these as well, but a bit later (see A. Janssen, in: F. Lammertse, Nederlandse Genreschilderijen uit de zeventiende eeuw. Eigen collectie Museum Boijmans van Beuningen, Gent 1998, pp. 143–144, under cat. no. 49).

Art Europe | Old Masters | 24

24 Jacob Bellevois Rotterdam 1620/21–1676

Dutch Men–o’–War and a Wijdschip in Choppy Waters, with Officers in a Rowing Boat Being Brought Aboard their Vessel, with a View of a Town on the Horizon Oil on panel 73.4 by 95 cm.

Bellevois regularly painted this subject of officers in a rowing boat heading for their ship, with a town in the background. He often represented their ships flying the huge red war flag or ensign. This is not the case in our painting. The big stern flag with the climbing lion is the flag of the states–general (“Staten– Generaal”) of the Dutch Republic (so one can call it the parliamentary flag of Holland). Seeing the large number of flagged ships, should one maybe think of festivities on the occasion of peace or of an important victory perhaps. Stylistically our painting seems to date from the 1640s.

The town which can be seen on the horizon here is not Amsterdam but has not been identified as yet. We are grateful to Laurens Schoemaker of the RKD for his help.

Provenance: Sale, Vienna, Dorotheum, 12 October 2011, lot 737.

€ 15.000–20.000

Art Europe | Old Masters | 25

Art Europe | Old Masters | 26

25

26

Joost Cornelisz. Droochsloot

Circle of Michiel Simons the Younger

Utrecht 1586–1666

A Still Life with Pears, Apples and Peaches in a Wicker Basket, Grapes, Apricots, Figs and Cherries in a Wan–li bowl, Together with a Parrot Eating Cherries, and a Melon and Hazelnuts on a Table, a Partial View of a Window on the Left

Cavaliers Pillaging a Village Signed with monogram centre right: J.DR SL Oil on panel 31.7 by 40.8 cm.

Oil on canvas 72 by 98 cm.

€ 5.000–7.000

€ 6.000–8.000 We are basically looking here at a recording of a part of our national history: local population, especially the farmers, suffered heavily during the Eighty Years’ War. Plundering of farms and of small villages in enemy territory occurred regularly and was fairly easy. Soldiers and mercenaries were allowed to loot, but each day they were obliged to sell whatever they had stolen to merchants who would be at the centre of their encampment.

Both enemy sides, the Spanish and the Dutch, used numerous mercenaries: Flemish, Walloon, German, French, English, Irish, Scottish, Welsh, even Croatian and Polish soldiers. A common element in all of Droochsloot’s village scenes with soldiers who are plundering is the nationality of the enemies: they are all Spanish, identified by the red colour of their scarfs.

Art Europe | Old Masters | 27

27 Follower of Frans van Mieris the Elder ‘Wine is a mocker’: a Fool is Placing a Chamber Pot on a Drunken Woman’s Head Oil on canvas 27.5 by 24.5 cm.

Provenance: Collection Van Lanschot (according to information provided by the current owner).

€ 3.000–4.000 This is an early copy after an engraving by Hendrick Bary (1640–1707; Hollstein 11) of 1670 done after a drawing by Frans van Mieris the Elder (1635 –1681) of 1664. Bary’s engraving is indirectly based on a long–lost drawing by Van Mieris. Naumann lists a drawn copy and no fewer than fourteen painted versions (see O. Naumann, Frans van Mieris the Elder (1635–1681), vol. II, Doornspijk 1981, pp. 155–156, under no. C 62).

The title is taken from Proverbs 20:1 (Wine is a Mocker). The sleeper is ridiculed as a drinker. The owl in the print, which is missing in the present painting, recalls two proverbs: ‘Drunk as an Owl’, and “What use are candles and spectacles is the owl will not see?” The fool–mocker pours his piss–pot (to invoke the 17th Century expression) on the drunken women, who is both blind to this act and degraded as well.

Art Europe | Old Masters | 28

Art Europe | Old Masters | 29

28 Nicolaes Molenaer Haarlem circa 1626–1676

A Winter Landscape with Figures Enjoying Winter around the Walls of a Town, and Figures on the Ice in the Foreground Oil on panel 39.5 by 56 cm.

Provenance: Sale, Zürich, Galerie Koller, 20 March 1997, lot 31 (sold for CH 45.000, ca. $ 31.000); With Hoogsteder & Hoogsteder, The Hague, 1997 (as signed K. Molenaer lower right), from whom acquired by the late father of the present owner in 1997 (for Dfl. 325.000).

Literature: The Hoogsteder Journal, no. 3, December 1997, p. 5, reproduced.

Registered at the RKD under number 33291 (as unsigned).

€ 12.000–18.000

Art Europe | Old Masters | 30

29 Circle of Cornelis S y m o n s z . B e e lt Haarlem in Winter with Skaters on the Spaarne River, and a View of St. Bavo Cathedral Beyond and the Duckling Gate at Left Oil on canvas 63.4 by 75.4 cm.

€ 8.000–12.000

Art Europe | Old Masters | 31

30 Willem Ormea

Probably born in Utrecht circa 1611–1673 Utrecht and

at t r i b u t e d t o A b r a h a m W i l l a e r t s Utrecht 1603–1669

A Fish Still Life on a Beach with a Turbot, Haddocks, and Some Sea Shells, Dutch Shipping and a Coastline Beyond Signed and dated lower left: W. Ormea./1640.

Oil on canvas 48.1 by 66 cm.

Utrecht was an important centre for the fish still life production in the Northern Netherlands in the 17th Century. Willem Ormea, son of the fish still life painter Marcus Ormea, was a prolific painter of still lifes. (See essay L.M. Helmus under Literature below.) In his works he often collaborated with members of the Willaerts family–father Adam and his two sons, Abraham and Isaac–who executed the backgrounds, here the sea with the sailing vessels. While Willem Ormea usually signed his works, the Willaerts family rarely signed these collaboration pieces.

Although Ormea lived and worked in Utrecht, which is some 70 km from the sea, he always painted saltwater fish rather than freshwater fish. The fish and probably the smallest shell are indigenous of the North Sea. The largest shell is exotic; it might come from the shores of Africa, from the Mediterranean or even from the Indian Ocean. Ormea is known for his limited number of varieties that he represented in his pictures. He regularly made variations on the same composition. The present painting dates from 1640, and Ormea executed a similar composition in 1646, which is in the Wakefield Art Gallery in Great Britain.

Literature: L. M. Helmus in exhibition catalogue, Utrecht, Centraal Museum, Fish–still lifes by Dutch and Flemish Masters 1550–1700, 2004, pp. 47–48, and 418, reproduced fig. 31.

€ 10.000–15.000

Art Europe | Old Masters | 32

Art Europe | Old Masters | 33

31 A t t r i b u t e d t o N i c o l a e s Ma e s Dordrecht 1634–1693 Amsterdam The Poultry Vendor oil on canvas 74.5 by 92.1 cm.

Following his training with Rembrandt in Amsterdam in the early 1650s and before devoting himself exclusively to portraiture after c.1660, Maes executed an important series of genre scenes in the mid and late 1650s. The majority of these are domestic subjects and several depict vendors at the doors of wealthy homes or on the street such here. The identification of his genre scenes between 1656 and 1660 has proven extremely difficult, in view of the fact that Maes’ style changes fundamentally; Maes’s earliest works have religious subjects and exhibit a strong Rembrandtesque style, his genre scenes are much more idiosyncratic and individualistic in execution and style. Although the domestic intimacy as well as the warm colours and strong lighting of these works still seem to reflect the legacy of Rembrandt.

The opinions of the experts on Maes’s late genre scenes tend to diverge: Werner Sumowski who wrote the six volume–“bible” on the Rembrandt pupils, published our painting in 1994 as Maes. In 2000 Krempel publishes the present painting as a Nicolaes Maes in his monograph devoted to Maes. Fred Meijer considers this work to be a work from the studio or direct circle of Maes with also the possibility that it is a collaboration between Maes and a (young) Justus de Gelder (1650– after 1707), Maes’s stepson. De Gelder was three and half years old when his mother married Maes, and must have been a pupil of his stepfather. Apparently De Gelder did not settle as a painte and there is only one signed painting known

by De Gelder, Children on a bridge, dated 1671; see under Literature below, Krempel 2000, p. 40, reproduced fig. 439).

A nice detail is the highly fashionable street saleswoman on the right: she is sporting a black round dot on her left cheek. The placing of these false beauty marks, or patches, on the face began in ancient Rome, and became a widespread fad across Europe from the late 1500s through the 1600s. A dark mole that occurs naturally on the face is sometimes called a beauty mark. Fashionable men and women imitated this natural mark by sticking black beauty patches on their faces. The fashion is thought to have originated as a way of disguising pox scars and other blemishes, but gradually developed coded meanings. Subtle signals to others at parties and other social events: A patch near the mouth signified flirtatiousness; one on the right cheek denoted marriage; one on the left cheek announced engagement, maybe this is the case for the woman in the painting here, etc.

Provenance: Sale, London, Sotheby’s, 3 July 1997, lot 11 (as attributed to Nicolaes Maes); With Gebr. Douwes Fine Art, Amsterdam, by 1998 (as Justus de Gelder, exhibited at TEFAF 1998 as such).

Exhibited: Hoorn, Westfries Museum, Food for thought: food and drink in seventeenthcentury Dutch art and life, 10 December 2010 – 13 March 2011, p. 61, reproduced on p. 60 (as Nicolaes Maes, circa 1659).

Literature: W. Sumowski, Gemälde der Rembrandt-Schüler, Landau/Pfalz 1983, vol. VI, p.

3731, no. 2374, reproduced p. 3985 (as Nicolaes Maes, c. 1656/58); W. W. Robinson, The early works of Nicolaes Maes, 1653 to 1661, Ph. Diss.

Harvard University, Cambridge, Massachusetts 1996, no. C24, reproduced (as ‘Follower of Nicolaes Maes’); L. Krempel, Studien zu den datierten Gemälden des Nicolaes Maes (1634-1693), Petersberg 2000, p. 355, no. D7, and p. 356, reproduced fig. 59, and under cat. no. D11 (under ‘undated early works by Maes - c. 1653-1662’; as Nicolaes Maes, c. 1659’).

€ 60.000–80.000

Art Europe | Old Masters | 34

32 C h a r l e s

Leickert–

P.46

Art Europe | 19th Century | 37

32 Charles Leickert (Dutch 1816–1907)

Figures on a Frozen River in a Dutch Landscape Signed and dated ‘65 lower right Oil on canvas 95 by 152 cm.

Provenance: Sale, Cologne, Kunsthaus Lempertz, 15 May 2010, lot 1922; Sale, Munich, Hampel Fine Art Auctions, 23 March 2012, lot 553; Private collection, the Netherlands

€ 80.000–120.000

Art Europe | 19th Century | 38

33 Charles Rochussen (Dutch 1814–1894)

Figures Standing next to a Carriage Signed with the monogram lower left Oil on panel 19 by 32 cm.

€ 5.000–7.000

Art Europe | 19th Century | 39

34 F r e d e r i k H e n d r i k Ka e m m e r e r (Dutch 1839–1902)

A Confidential Conversation Signed lower left Oil on canvas 40 by 25 cm.

€ 14.000–18.000

Art Europe | 19th Century | 40

Art Europe | 19th Century | 41

35 Henriette Ronner–Knip (Dutch 1821–1909) Après le Déjeuner Signed lower right Oil on panel 48.5 by 65 cm.

Provenance: Sale, Amsterdam, Sotheby’s, 16 October 2007, lot 189 Literature: Harry J. Kraaij, Henriette Ronner–Knip (1821–1909). Een virtuoos dierschilderes, Schiedam 1998, p. 86, no. 75 illustrated

€ 20.000–30.000

Art Europe | 19th Century | 42

36 J a n J a c o b C o e n r aa d S p o h l e r (Dutch 1837–1922) Boats in a Canal Indistinctly signed lower right Oil on panel 14 by 20 cm.

€ 2.000–3.000

Art Europe | 19th Century | 43

37 At t r i b u t e d t o J u l e s C o i g n e t (French 1798 –1860) Reichembach Falls Oil on paper laid down on canvas 43.2 by 34.4 Inscribed on the verso on the stretcher: Cascade de Reichembach–Juin par Coignet Provenance: With Stair Sainty Matthiesen Inc., New York (as Léon Coignet)

€ 4.000–6.000

Art Europe | 19th Century | 44

38 Geraldine van de Sa n d e Ba k h u y s e n (Dutch 1826–1895)

Pink and White Roses in the Forest with a Butterfly on the Left Signed lower left Oil on panel 47 by 64 cm.

Provenance: Sale, Vienna, Dorotheum, 12 October 2010, lot 56 Private collection, the Netherlands

€ 45.000–55.000

Art Europe | 19th Century | 45

Art Europe | 19th Century | 46

39 Huib van Hove (Dutch 1814–1864) The Inundation Signed on a statement of authenticity by the artist, dated April 1861, on the verso Oil on panel 66 by 88 cm.

With an expertise label by Charles Frowein, signed and dated 25 March 1863, on the verso Provenance: George Perkins, Esq.; His sale, London, Christie’s 12 March 1887, lot 151 Private collection Sale, Amsterdam, Christie’s, 26 October 1999, lot 185; Sale, Munich, Hampel Fine Art Auctions, 21 September, 2007, lot 570 Private collection, the Netherlands Literature: Christel Leenen, Nelly de Zwaan, “Nederland uit de Kunst, 365 dagen kijken en lezen”, Warnsveld 2006, Terra Lannoo BV, illustrated

€ 5.000–7.000

Art Europe | 19th Century | 47

40 Na r c i s s e V i r g i l e D i a z d e l a P e n a (French 1807–1876) Fleurs Diverses Signed lower right Oil on panel 33 by 24 cm.

Provenance: With Kunsthandel E.J. Van Wisselingh, Haarlem, no 6972; With Douwes Fine Art, the Netherlands; Private collection, the Nethelands Exhibited: Leeuwarden, Fries Museum, Van Jan Steen tot Jan Sluijters. De smaak van Douwes,1998–1999

€ 6.000–8.000

Art Europe | 19th Century | 48

41

Charles Leickert

– P.60

Art Europe | 19th Century | 51

41 Charles Leickert (Dutch 1816–1907)

Figures and Boats in a River Landscape, The Hague Signed lower left Oil on panel 29 x 40 cm.

Provenance: With Kunsthandel A.H. Bies, Eindhoven (according to the exhibition catalogue from 2002) Exhibited: Ijsselstein, Stadsmuseum Ijsselstein, ‘Zomerse Taferelen’–Rivierlandschappen uit de Romantische en Haagse School, 15 June–20 September 2002.

Literature: Exhibition catalogue, Stadsmuseum Ijsselstein, ‘Zomerse Taferelen’–Rivierlandschappen uit de Romantische en Haagse School, 15 June–20 September 2002, p. 9, illustrated in colour.

€ 45.000–50.000

Art Europe | 19th Century | 52

Art Europe | 19th Century | 53

42 H e r m a n F r e d e r i c k Ca r e l t e n Ka t e (Dutch 1822–1891)

The Painter at the Inn Signed lower right Oil on panel 43 by 50.5 cm Provenance: Sale, Munich, Hampel Fine Art Auctions, March 23, 2012, lot 579

€ 18.000–25.000

43 César de Cock (Belgian 1823–1904)

A Sunny Morning Walk in the Forest Signed lower right Oil on canvas 33 by 47 cm.

€ 4.000–6.000

Art Europe | 19th Century | 54

44 Frans Wouters Lier 1612–1659 Antwerp

Perseus Freeing Andromeda Oil on canvas 103 by 135 cm.

On his journey home Perseus passed the kingdom of Ethiopia, and came upon the beautiful and helpless maiden Andromeda, chained to the rocks waiting to be devoured by a sea monster. The beautiful Andromeda was the daughter of the Ethiopian king Cepheus and queen Cassiopeia. One day, the vain queen had bragged that her daughter Andromeda was more beautiful than the Nereids, the sea nymphs. The sea nymphs fell angry to hear that and complained to Poseidon, the god of the sea. A furious Poseidon unleashed the sea monster Cetus to frequently ravage the coast and devastate the land of Ethiopia in order to avenge the insult to his wards, the Nereids. The desperate king Cephus appealed Zeus, who suggested the sacrifice of Andromeda as the only way to appease the wrathful Poseidon. Thus it was that our hero Perseus found himself face to face with the beautiful Andromeda chained helplessly onto the rocks, awaiting her doom. Perseus immediately fell in love with the lovely maiden and promptly killed Cetus the beast, who had been licking his lips at the prospect of having a delicious meal. Perseus slew the monster and, setting her free, claimed her in marriage. Wouters has depicted here the moment where Perseus freeing Andromeda after he has killed the monster.

The Antwerp painter Frans Wouters was a productive 17th Century man; he not only painted landscapes, portraits, and mythological scenes such as the present Perseus and Andromeda but was also active as an art dealer and even as art expert.

Shortly before he was a Master in the Antwerp Painters’ Guild of Saint Luke, Wouters joined Sir Peter Paul Rubens’studio, first as a pupil in 1634 and once a Master in 1635, as a proper collaborator. He assisted Rubens in the decoration of the city for the grand Joyous Entry of the new governor of the Spanish Netherlands, the Cardinal–Infante Ferdinand of Austria on April 17th 1635.

In 1636 Wouters was appointed painter to another Ferdinand and zealous Catholic, the Holy Roman Emperor, Ferdinand II (1578– 1637) in Vienna.

Already in April 1636 he escorted Ferdinand’s ambassador to England.

Following the emperor’s death in February 1637 Wouters stayed in London until 1641 at the court of King Charles I (1600–1649). Wouters returned to Antwerp in 1641, where he remained until his death in 1659.In 1641 Wouters assisted with the valuation of the paintings from Rubens’ estate; his former master had passed away in May 1640. Wouters died tragically in 1659 at the age of only 47 as a result of an accidental gun shot.

€ 18.000–25.000

Art Europe | Old Masters | 55

Art Europe | Old Masters | 56

45 Nicolaes van Verendael Antwerp 1640–1691

A Flower Still Life with Roses, a Carnation, a Parrot Tulip and Other Flowers, All in a Glass Vase oil on canvas, a fragment 42.5 by 37 cm.

€ 5.000–7.000 Fred Meijer has kindly confirmed the attribution to Van Verendael (e–mail communication to the present owner, November 2015). In his opinion this work is a fragment, with the glass vase possibly added at a later stage (perhaps already in the early 18th Century). A comparable, characteristic work is for example a signed Cartouche decorated with flowerfestoons, of circa 1671–1675, in the Staatliche Kunsthalle Karlsruhe; the handling of the flowers is very similar.

46 Follower of Pierre Gobert A Portrait of an Elegant Lady on Her Way to a Ball, Small Full Length, Holding a Mask and Fan, Traditionally Identified as the Marchioness D’Espinouse Inscribed with the possible name of the sitter upper left: Marquise d’Espinouse/fille du comte du Luc Oil on unlined canvas 41 by 29.5 cm.

€ 4.000–6.000

Art Europe | Old Masters | 57

47 Follower of Christoffel J a c o b s z . v a n d e r La e m e n An Interior with Elegant Figures Making Merry: The Prodigal Son Feasting with the Prostitutes in a Brothel Oil on panel 54 by 63 cm.

€ 4.000–6.000 The subject of this painting is less innocent as the traditional title of this painting, ‘An Elegant company Merry Making’ seems to implicate. The gesture of the man, who cuddles the woman’s chin is not really current in polite society. At the same time, an old crone behind him puts up a little boy to pick his pockets, while the pages to the right look into the wine jug, clearly indicating the Dutch saying ‘When the wine is in the man, the wisdom is in the jug’. All this suggests a brothel scene.

We are grateful to Jan Kosten of the RKD for his help in identifying the subject matter.

Various versions of this composition exist, all vary in quality. One, attributed to Van der Laemen was sold, Christie’s New York, 5 October 1995, lot 127. They sometimes also show the next moment in the story of the Prodigal Son: when all his money is squandered, the Prodigal Son is chased away by the harlots.

Art Europe | Old Masters | 58

Art Europe | Old Masters | 59

48 Flemish School, circa 1650–1660 A Family Portrait with an Elegant Couple and Their Daughter Standing and the Grandparents Seated, All Together with Dogs, Small Full Length, in an Architectural Decor Setting Oil on canvas 51 by 76 cm.

The name of the painter of this elegant and refined group portrait remains elusive for the moment. It must be an artist working in the vicinity of painters like for example the Antwerp preferred elite portraitist, Gonzales Coques (1614–1684). These small–scale group portraits, so–called conversation pieces, proofed to be a popular genre in the second half of the 17th century. They show families or groups in a landscape context or against the backdrop of a refined architectural setting, such as here (see e.g. K. Van der Stighelen, Portretkunst in Vlaanderen van 1420 tot nu. Hoofd en Bijzaak, Zwolle 2008, pp. 156–163).

Provenance: The Lords Leigh, Stoneleigh Abbey, Kenilworth, Warwickshire.

€ 8.000–12.000

Art Europe | Old Masters | 60

49 folloWer of dAvid teniers the younGer A Guardroom with a Soldier and a Peasant Lighting up a Pipe, a Still Life of Armour on the Left, and Soldiers and Peasants at a Table near a Fireplace in the Back Oil on panel 59.6 by 83 cm.

This is a variant, with some differences to the composition, of a signed painting by the artist, a Guardroom with Soldiers and Peasants, datable to circa 1640–1645 (oil on canvas, 61.6 by 76.8 cm.); this work was sold at Christie’s New york on 12 January 1996, lot 77.

€ 10.000– 15.000

Art Europe | Old Masters | 61

50 Peter van de Velde Antwerp 1634–1723/4

Ships in Front of the Harbour of Hoorn: a Meeting Between the Dutch Man–of–War ‘De Roode Leeuw’ and a Spanish Galley, and Figures in a Rowing Boat and on a Quay in the Foreground Oil on canvas 65.8 by 83.7 cm.

€ 7.000–9.000

Art Europe | Old Masters | 62

51 Etienne Allegrain Paris 1644–1736

The First Frost: an Animated Village Scene in Autumn Oil on canvas, in a carved and giltwood (original?) frame 60 by 68.5 cm.

The Parisian painter Etienne Allegrain was the founder of a dynasty of painters and sculptors; for example his son Christophe–Gabriel Allegrain became a famous sculptor. Etienne Allegrain was formally admitted to the Académie Royale in 1676. He received numerous royal commissions, providing pictures for the Trianon palace and for the menagerie at Versailles. Allegrain’s works were much appreciated by the general public and were greatly in demand.

Allegrain was a follower of the two great classical landscape painters of 17th century France: Claude Lorrain and Nicolas Poussin (1594–1665). Lacking the intellectual and philosophical content of the heroic, classical style of Poussin, Allegrain’s “tableaux champêtre” or rural scenes such as the present were painted in a light and free manner. They were meant to be decorative, not moralistic. They were perfectly suited for decorating Parisian hotels and the country houses of the aristocracy.

The foreground of our carefully constructed composition is animated with everyday activities of several figures in a French small town of South-East France. The composition then follows the winding perspective of the river, which is then blocked in several layers into the distance: first by a bridge and several buildings, further by a bucolic hillside landscape. The scene here announces winter: the first frost has arrived, giving the painting a touch of magic. It was probably painted in the early 1690s.

Provenance: Sale, Vienna, Dorotheum, 18 April 2012, lot 553.

€ 12.000–18.000

Art Europe | Old Masters | 63

Art Europe | Old Masters | 64

52 A t t r i b u t e d J a n Pa u w e l Gillemans the Younger Antwerp 1651–1704 Amsterdam

Putti Decorating a Classical Garden Ornament with a Festoon of Flowers in a Landscape Oil on canvas 64.5 by 76.4 cm.

€ 6.000–8.000

Art Europe | Old Masters | 65

53 Pseudo–Simons

Unidentified Flemish painter from Antwerp, circa 1650–1680 A Still Life with Grapes, Peaches and Cherries, All on a Stone Ledge Oil on canvas 33.5 by 41.7 cm.

€ 6.000–8.000

Art Europe | Old Masters | 66

Art Europe | Old Masters | 67

54 Andries de Coninck

Probably born in Antwerp circa 1625–1659 Antwerp A ‘Pronkstilleven’: a Sumptuous Still Life of a Lobster, a Pie and Various Fruits in Blue and White bowls and on Pewter Plates, Together with a Basket of Bread, a Wine Glass, a Gilt Goblet, a Pewter Flagon, Oysters and a Fig on a Table Draped with a Red Velvet Cloth Oil on canvas 113.5 by 159 cm.

This rather grand and eloborate still life is by a very rare Flemish painter, Andries de Coninck and dates from the middle of the 17th century, the 1650s.

There are only four other monumental pronk still lifes known by this painter. All show a similar compositional scheme: an elaborate still life on a draped table with a window opening out to a landscape on the left.

In 1643 De Coninck was inscribed as a pupil of Jan Thomas van Yperen (1617– 1678) in the Guild of Saint Luke in Antwerp. In 1645 De Coninck become a Master in the Antwerp Guild as a painter; he was also inscribed as an art dealer.

De Conick died fairly young, he was probably not even 35 years old. That is probably the reason why his paintings are so rare, as he did not get a chance to paint a lot. Another reason could be that he eventually stopped painting to concentrate solely on his business as an art dealer: just before his death, in the Guild lists of the year 1658/1659 he is only listed as an art dealer and no longer as a painter.

He seems to have been strongly influenced by the works of Jan Davidsz. de Heem (1606–1684), who was one of the most important still life painters of the 17th century in the Low Countries. Following his early years in Leiden De Heem is documented from 1636 in Antwerp. He probably returned to his birthplace Utrecht in the early 1660s, but left again for Antwerp in 1672. In the 1640s de Heem was at his best, producing magnificent, monumental luxury still lifes that strongly influenced not only Andries de Coninck, but also De Coninck’s brother–in–law Andries Benedetti.

These ostentatious parade still lifes show next to fruits also luxurious objects: Chinese Wan–li porcelain, Venetian glassware, silver plates and gilt goblets.

They were fashionable around the middle of the 17th century, during the 1640s and 1650s, when they were painted both in Flanders and in Holland, in Antwerp, Amsterdam and Utrecht. Not only did they reflect the status of their owners, they also held a moral lesson, warning again the emptiness of wealth and possessions.

Andries de Coninck’s ambitious, sumptuous still lifes were strongly influenced by those of the early 1640s by De Heem, but also by the early paintings of Andries Benedetti. It is actually very hard to differentiate the artistic production of both brothers–in–law.

Fred Meijer of the RKD has kindly confirmed the attribution to De Coninck and suggests a comparison to another ‘pronkstilleven’ formerly in the collection of The J. Paul Getty Museum, Los Angeles which was offered for sale at Sotheby’s New York, 26 January 2007, lot 132 (and sold for $504,000).

Provenance: Sale, London, Sotheby’s, 10 April 2003, lot 52.

€ 18.000–25.000

Art Europe | Old Masters | 68

55 A n d r e a s

Schelfhout–

P.80

55 Andreas Schelfhout (Dutch 1787–1870)

Skaters on a Frozen River, near a Mill and a Donjon Signed and dated 1835 lower left Oil on canvas 67.5 by 89 cm It is not for nothing that the Dutch Romantic painter Andreas Schelfhout was called “the Claude Lorrain of the winterlandscape”. Building on a grand tradition that had blossomed in the 17th century, Schelfhout acquired international fame with his perfectly balanced compositions, superb brushwork and masterful depiction of ice and sky. In his winters, the flat landscape of Holland serves as the décor for overpowering skies over a low horizon, staffaged with skating figures pushing sledges or gathered around a ‘koek and zopie’. One can practically hear the crackling of the ice and the feel the sub–zero air against ones skin.

Born as the son of a gilder and frame maker, Schelfhout worked in his father’s business up to the age of 24. In 1811 he started training with Johannes Breckenheimer, who encouraged him to study the Old Masters. He started working outdoors while practicing sketching from nature and ultimately discovering his passion. He was greatly influenced by 17th century Dutch landscape artists such as Meindert Hobbema (1638–1709), Jacob van Ruisdael (1629–1682) and Nicholaas Berchem (1620–1683). From his studio sale in 1870 we know that Schelfhout owned a significant collection of Old Master prints, drawings and paintings, among which works by Antonie Waterloo (1610–1690) and Jan Both (1618–1652). Schelhout’s landscape compositions show both these influences as his own unique talent.

In 1815 he set up his own workshop and soon became immensely successful. He exhibited extensively, won many prizes and enjoyed royal patronage.

During his lifetime he was well received by critics, which was confirmed by numerous Golden Medals at the annually held Tentoonstelling van Leevende Meesters, an exhibition instigated by the Dutch King Willem III. He has been highly sought after by international collectors ever since.

This large canvas is a wonderful example of Schelfhout’s virtuosity. It shows a classical skating scene, with a horse–drawn sledge being loaded to the left and figures around a koek and zopie, with the typical red, white and blue Dutch flag, in the background. The superb depiction of the sky and ice are hallmarks of the artist’s talent. The treatment of the ice is unsurpassed: the cratches, tears and floes are depicted with a great natural quality, effortlessly, sometimes only hinting at it with the back of the brush. The lively scene is seen under a cloudy but translucent sky and the eye of the beholder can travel for miles, from the windmill in the foreground to the ruin in the distance.

The present lot indicates perfectly why Schelfhout was crowned ‘leader’ of the Dutch romantic landscape painting by the art magazine Kunstkronijk in 1857.

Provenance: G. Stern Collection, Colorado, U.S.A; Sale, New York, Sotheby’s, 12 May 1975, lot 112; Sale, London, Sotheby’s, June 11, 2012 lot 85; Private collection, the Netherlands Literature: W. Laanstra, Andreas Schelfhout (1787–1870), Amsterdam 1995, p. 72, no. W 1835–1, illustrated in colour.

€ 125.000–145.000

Art Europe | 19th Century | 71

Art Europe | 19th Century | 72

Art Europe | 19th Century | 73

56

58

Albert besnArd

frAncois blinn

(French 1849–1934)

(French 1827–1866)

At the Riverside

A Summer Landscape

Signed lower right Oil on canvas 21 by 47.5 cm.

Signed lower right Oil on panel 18.5 by 28 cm.

€ 3.000–5.000

€ 2.000–3.000

57 louis henri sAintin (French 1846–1899) View of a Village Signed lower left Oil on panel 15 by 23.5 cm.

€ 2.000–3.000 Art Europe | 19th Century | 74

The Property of a Dutch Private Collector

T h r e e t o w n v i e w s b y J o h a n n e s C h r i s t i aa n Ka r e l K l i n k e n berg The Hague painter Johannes Christiaan Karel Klinkenberg acquired great fame with his sunny town views. Although he continued a tradition that was established by Cornelis Springer, Willem Koekkoek and Adrianus Eversen , his own highly individual, bright palette and well–balanced compositions bring a great originality to his work.

Klinkenberg started his training at the age of fourteen at the Drawing Academy in The Hague. After completing his studies, he took lessons from the highly reputed, Romantic marine painter Louis Meyer. Even more important were his years as an apprentice in the studio of Christoffel Bisschop, a genre painter from whom he adopted his preference for strong effects of light and dark and the heavy, slab–like application of paint. Following in the footsteps of his teacher, Klinkenberg started his career as a painter of historical subjects. Not much later he shifted his attention to townscapes, which became his specialisation from 1876 onwards.

Klinkenberg depicted many Dutch towns, highlighting architectural details and the ever changing play of shaded and sunlit areas. He mostly stuck to topographical correct depictions, although he sometimes made use of the so–called capriccio or fantasy interpretation of a city. Figures were mere staffage; the leading part was for the typical gabled Dutch houses, with their typical white sandstone and red bricks, often reflected in the city canals. The sunlight sparkling on the water was a result of his bright and attractive palette; Klinkenberg stood out from his contemporaries of The Hague school because of the remarkable use of colour in his work. Where works of other artists are often dominated by tonality in browns and greys, Klinkenbergs oeuvre is rather French orientated with bright and vivid colours, often highlighted with pure white daubs of paint.

What made his works so unique was the way he portrayed the sunlight in his town views. “Klinkenberg really owes his reputation to the sun, which he so curiously succeeds in inviting to his canvasses” wrote the art critic Johan Gram in in his Schildersboek (published in 1898).

Art Europe | 19th Century | 75

59 J o h a n C h r i s t i aa n Ka r e l Klinkenberg (Dutch 1852–1924)

A Winter View of the Singel with the Lutherse Kerk in Amsterdam Signed lower right Oil on canvas 51 by 71 cm.

Provenance: With van Marle & Bignell, ‘s–Gravenhage, 6 October, 1974, lot 154; Collection H. Thornton Ellis, Sankt Moritz; Sale, Rotterdam, Vendu Notarishuis, 19 June 1986, lot 50; With kunsthandel Simonis & Buunk, Ede Private Collection, the Netherlands

In October 1887 Klinkenberg moved to Amsterdam, to live on the Weesperzijde, not coincidentally close to the water. He was impressed by the beauty of “Venice of the North”, with its Golden Age architecture of gabled houses and wonderful canals. The Singel was one of his favourite waterways and he depicted her both during summer and winter.

Literature: W. Laanstra, Johannes Christiaan Karel Klinkenberg (1852–1924) de meester van het zonnige stadsgezicht, Laren, 1999, p.169, cat. O/51–4 illustrated

€ 30.000–40.000

In this wintry scene, with the snow covered barges bathing in a dusty pink light, his incredible talent becomes apparent. The contours of the cupola of the Lutherian church can be discerned just above the horizon and the branches of the trees in the foreground are laden with snow. The whole scene is painted in loose, impressionist brush strokes and the atmosphere of a wintry afternoon in Amsterdam at just before dusk is almost palpable.

Art Europe | 19th Century | 76

60 J o h a n C h r i s t i aa n Ka r e l Klinkenberg (Dutch 1852–1924)

A View of the Leuvehaven with the Laurenskerk in the Distance, Rotterdam Signed lower right Oil on canvas 50.5 by 70.5 cm.

Although Klinkenberg travelled extensively and also painted foreign cities such as Bruges and Nurnberg, he clearly favoured Dutch town scenes. He was fascinated by the city of Rotterdam, which, with its typical harbour and busy daily activities on the quay, proved a great inspiration. He was especially fond of the diverse architecture of the city.

Here, he has taken a viewpoint seen from the water, where the cupola of the Lutherian church is just visible above the tops of the trees. In the distance, the tower of the Laurenskerk can be seen. The Leuvehaven is the oldest dug–out harbour in Rotterdam. During the 19th century it was a centre of activity, with many breweries, the fish market and the Van Nelle factory located there. The buildings around the Leuvehaven were destroyed during the bombardment of Rotterdam in 1940. In that sense, the current lot is a unique document of the situation a hundred years ago.

Provenance: With kunsthandel D. Sala en Zonen, Leiden; Collection of Mr. L.F.H Apol, The Hague; Anonymous sale, The Hague, Koninklijke Kunstzaal E.J. Kleykamp, 4 May 1937, lot 347; Collection Drs. E.C. Visser, Amsterdam; Anonymous sale, Laren, Loth Gijselman, 10 May 1989, lot 1544, shown as: De Leuvehaven in Rotterdam met op de achtergrond de Laurenskerk; With Leslie Smith Galleries, Wassenaar; Sale, Amsterdam, Sotheby’s, 26 April 1999, lot 272; Private Collection, the Netherlands Literature W. Laanstra, Johannes Christiaan Klinkenberg 1852–1924 de meester van het zonnige stadsgezicht, Laren, 1999, p. 167, no. O/51–1, illustrated

€ 40.000–60.000

Art Europe | 19th Century | 77

Art Europe | 19th Century | 78

Art Europe | 19th Century | 79

61 J o h a n C h r i s t i aa n Ka r e l Klinkenberg (Dutch 1852–1924)

A View of ‘Het grote Kerkplein’ in Dordrecht Signed lower right Oil on canvas 59 by 78,5 cm.

Klinkenberg’s preference for strong chiaro–scuro effects becomes very clear in this beautiful view of Dordrecht’s Great Church. The sunlight dapples through the leafs of the trees and leaves bright spots of colour in the grass before the entrance. The white veils of the ladies entering the church are accentuated by these rays of sun, which gives an almost pointillist effect. In a way, this is one of Klinkenberg’s most artistic works, making it very much about the composing of light and shadow as opposed to a mere depiction of a building. The way he has painted the stained–glass windows, with the light falling through the window on the other side, only serves to underline his masterly technique.

Provenance: Sale, Amsterdam, Mak van Waay, 1 October 1973, lot 219 Private collection, the Netherlands Literature: W. Laanstra, Johannes Christiaan Karel Klinkenberg (1852–1924), De meester van het zonnige stadsgezicht, Laren, 1999, p.179, cat. nr. O/59–2, illustrated

€ 9.000–12.000

Art Europe | 19th Century | 80

Art Europe | 19th Century | 81

62 R C o r n e l i s Raa p h o r s t (Dutch 1875–1954)

Kittens by a Birdcage Signed lower right Oil on canvas 81 by 101 cm.

Provenance: Sale, Amsterdam, Mak van Waay, 1 October 1973, lot 219 Sale, Amsterdam, Sotheby’s, 17 October 2006, lot 80; Private collection, the Netherlands

€ 15.000–20.000

63 R C o r n e l i s Raa p h o r s t (Dutch 1875–1954)

64 Da v i d A d o l p h C o n s t a n t A r t z (Dutch 1837–1890)

Kittens

Ducklings near the Water

Signed lower left Oil on canvas 24 by 30 cm.

Signed lower left Oil on panel 18 by 24.5 cm.

€ 2.000–3.000

€ 800–1.200

Art Europe | 19th Century | 82

Art Europe | 19th Century | 83

65 G e r a l d i n a v a n d e Sa n d e Ba k h u y s e n (Dutch 1826–1895)

Still Life with Apples and Grapes Signed lower left Oil on canvas 49 by 66 cm.

Provenance: Sale, Vienna, Dorotheum, 12 April 12, 2011, lot 50

€ 20.000–30.000

Art Europe | 19th Century | 84

66 At t r i b u t e d t o A d a m P i j n a c k e r Schiedam 1620–1678 Amsterdam A Study of a Tree Black chalk, pen and black, ink, grey and green wash (possibly coloured in later) 273 by 208 mm.

€ 1.000–1.500

Art Europe | Old Masters | 85

67 At t r i b u t e d t o N i c o l aa s S t r u y c k Dutch, active 1699–1719

Two Butterflies and Three Moths, Including a Nocturnal Blue-Coloured Hawk Moth Watercolour 270 by 385 mm.

€ 1.000–1.500

Art Europe | Old Masters | 86

68 folloWer of mAriA sybillA meriAn A Study of Insects, Snails, Butterflies and Lizards Including a Dragonfly and a Spider, All Together with a Gila Monster Watercolour and pen and ink; the gila monster was probably added at a later stage Recto: indistinctly inscribed lower centre (in mirror writing): Merian ….(?) and L.533a.

244 by 175 mm.

This drawing has the collector’s mark of Charles E. Duits. Born in Amsterdam in 1882, Duits moved to London when he was just about eighteen years old and set up shop as a paintings dealer in 1901. He went on to become one of the best–known specialist dealers of the Dutch School. From about 1914 onwards he also became a voracious drawings collector just for his own pleasure and connoisseurship, and again mainly specializing in Dutch and Flemish drawings of the 17th Century like Rubens and Rembrandt, but also Cuyp, and Jan van Goyen, furthermore 18th Century and the The Hague School of the late 19th Century.

Provenance: Charles E. Duits (1882–1969), London (L.533a).

€ 2.000–3.000

69 folloWer of mAriA sybillA meriAn A Study of Two Beetles and a Green Lizard Watercolour and pen and ink 116 by 194 mm.

€ 1.200–1.800

Art Europe | Old Masters | 87

70 At t r i b u t e d t o A d a m v a n B r e e n Probably Amsterdam circa 1585–after 1642 Norway Two Elegant Couples Picknicking in the Fields Inscribed on the picknick cloth in between the figures: AD and M Pen in brown ink with blue and brown wash 165 by 260 mm.

Datable to circa 1615.

In his article of 1932 J.G. van Gelder writes the following about this drawing: “De wijze van teekenen met de eigenaardige spikkeltjes en het tegen de lucht afteekenen van de silhouetjes, het voor van Breen typeerend los verband tusschen de figuren onderling, maakt een toeschrijving aan den schilder wel aanneemelijk” (translated: “The manner of drawing with the characteristic specks and the little silhouettes set against the sky, the loose connection between the various fixtures typical for Van Breen, all help to make an attribution to this painter very acceptable.”). In a more recent article of 1998 by Dieter Beaujean, it was suggested that the drawing may be attributable to Louis de Caullery (c.1580–1621). In our opinion however, an attribution to Adam van Breen is more accurate

Provenance: M.J. Kneppelhout; his deceased sale, Amsterdam, R.W.P. de Vries, 9 March 1920, lot 572 (as D. Vinckboons, sic.); Sale (A. Prince zu S(olms)–B(raunfels) a.o.), Amsterdam, R.W.P. de Vries, 24 January 1922, lot 593 (as David Vinckboons) Dr. N. Beets, Amsterdam, by 1932; his deceased sale, Amsterdam, Mensing/ Fred. Muller, 9 April 1940, lot 18 (as Adam van Breen); Private collection, the Netherlands; Sale, Amsterdam, Sotheby’s, 9 November 1999, lot 41 (as Adam van Breen); With Gebr. Douwes, Amsterdam/London, by 2000 (as Adam van Breen).

Literature: J.G. van Gelder and N.F. van Gelder–Schrijver, ‘Adam van Breen, Schilder’, in: Oudheidkundig Jaarboek, vol. 1, 1932, pp. 112 and 116, no. 31, reproduced plate XXX, fig. 3 (as in the collection of Dr. N. Beets); D. Beaujean, ‘Louis de Caulery as a Draftsman’, in: Master Drawings,1998, vol.

36, pp. 404–406, and p. 408, note 23, reproduced p. 406, fig. 9 (as ‘attributed to Louis de Caulery’, sic.).

€ 5.000–7.000

Art Europe | Old Masters | 88

71 Willem vAn de velde the elder Leiden circa 1611–1693 London

A Ship’s Portrait of a Dutch Merchantman Inscribed on the verso, in pen and ink: ii9 (119), and further inscribed with pencil on the verso: W.v.d.Velde.d.A. and 293/44/29 and L.2603b Pen and brown ink on vellum 128 by 164 mm.

This intimate and delicate drawing of a ship is drawn in pen and brown ink on a piece of vellum (parchment made from calf skin); admire especially the wonderful details of the ship, a Dutch merchantman, sailing in coastal waters, with her crew hoisting up a sail, we see the rigging clearly, as well as the details of its cannons on the side. On the right the same merchantman is depicted, but then as seen from its stern, sailing away from us. These kind of drawings were called ‘ship’s portraits’, a portrait of a ship depicted from various angles, and this is made by one of the best marine artists of the 17th Century, Willem van de Velde the Elder.

As described by Martin Bijl in a recent article, Van de Velde’s earliest dated works bear the dates 1638 and 1639. Recently a group of small works including the present drawing, all in pen and ink on vellum or prepared paper, which have always been credited to De Heer, have been convincingly (re–)attributed to Van de Velde the Elder. These are dated around 1635 and are predominantly portraits of ships. It is probably one of Van de Velde’s earliest attempts to produce his drawings on a more stable material than ordinary paper (see M. Bijl, ‘Willem van de Velde. Marine draughtsman’, in: The Rijksmuseum Bulletin, no. 58, 2010, pp. 191 and 197, under note 3). This drawing, together with a few other drawings, represents an important transitional phase in the development of the innovative technique re–invented by Van de Velde in the 1640s, known as ‘pen painting’ or penschilderij (pen and ink on a panel or canvas prepared with a white ground; see also R. Daalder, Van de Velde & Son. Marine Painters, Leiden 2016, pp. 42–50).

Willem van de Velde was born in 1611 in Leiden into a Flemish seafaring family. At the age of twelve he already boarded a ship captained by his father. Seventeenth–century documents generally refer to him as ‘Const ende Scheepsteijkenaer’, indicating that he was both an artist and a drawer of ships. Van de Velde’s maritime drawings may be divided roughly into two groups: those which record events at sea or off the coast–such as naval battles–and those which portray ships. In most cases he was actually present at the battles he depicted, so that these drawings may be considered as eye–witness reports; he was effectively one of the first ‘embedded’ war correspondents. It was probably around 1634 that Willem van de Velde the Elder moved from his native Leiden to Amsterdam together with his young family, including his son, Willem van de Velde the younger (1633–1707), who would later become a famous marine painter in his own right.

As we can deduce from the collector’s mark on the reverse of the drawing, this drawing was once in the collection of Dr. Walter Beck. Dr. Beck, who was a surgeon in Berlin from 1926 onwards, assembled a fine and representative collection of 17th–century Dutch drawings with a focus on Jan van Goyen. This collection clearly left an indelible impression on his son, Hans–Ulrich Beck who not only inherited the drawings but devoted his energies as an art historian to Jan van Goyen, Pieter Molyn, and a galaxy of lesser known masters working in the manner of Van Goyen (see F.L. Lugt, Les marques de collections de dessins & d’estampes [reprint], The Hague 1956). Eduard Trautscholdt of C.G. Boerner in Leipzig was Dr. Beck’s advisor for acquisitions in the graphic domain.

Provenance: Probably with C.G. Boerner, Leipzig; Dr. Walter Beck, Berlin (1895–1968), Berlin (Lugt 2603b); Probably by descent to his son, Dr. Hans–Ulrich Beck (1930–2010).

Anonymous sale, Zürich, Schuler Auktionen, 6 December 2010, lot 4620 (all the above as Margaretha de Heer); With Rob Kattenburg, Bergen (NH).

€ 12.000–18.000

Art Europe | Old Masters | 89

Art Europe | Old Masters | 90

72 W i l l e m

Koekkoek–

P.102

72 Willem Koekkoek (Dutch 1839–1895)

A View of Gouda with the Townhall Signed lower left Oil on canvas 77.4 by 113 cm.

Willem Koekkoek was born in Amsterdam on 13th January 1839, the son of Hermanus Koekkoek (1815–82), a name synonymous with 19th century Dutch painting. Willem was grandson of Jan Hermanus Koekkoek (1778–1851) and nephew to Barend Cornelis (1803–1862) and Marinus Adrianus (1807–1868) while Johannes Barend Cornelis (1840–1912) was a first cousin.

Willem Koekkoek studied under his father Hermanus, a well–known marine painter. Soon Willem found his own niche though, with the painting of town scenes.

His fame grew quickly and in 1859, at the age of twenty, he had his first exhibition in Leeuwarden. From that time on he frequently took part in various exhibitions in Amsterdam, Rotterdam and The Hague. In the 1880’s he started to exhibit internationally. His younger brother, Hermanus Koekkoek jr (1836–1909), had successfully started an art gallery in London, where he introduced his brother’s work with his English collectors. The market for Dutch town scenes flourished in The Netherlands and Great Britain, where a demand for Dutch paintings had existed since the 17th century. With the industrialisation, a growing affluent middle–class provided strong demand during the 19th century, so Willem Koekkoek soon became very successful.

Like his competitors in his genre, such as Cornelis Springer (1817–1891) and his pupil Adrianus Eversen (1818–1897), Willem travelled extensively, in search of commissions and subject matter. He was not solely interested in topographical correctness; very often he adapted the scenes so they became more picturesque, a practice known as cappricio. In Gouda he was inspired by the town’s beautiful, 15th century Gothic city hall. One of the oldest Gothic town halls, it here is the sunlit centre of the composition. The surrounding market square is depicted according Koekkoek’s own fantasy, with buildings and trees arranged into a pleasing composition–a typical capriccio view.

The detailing in the scene is remarkable, from the life–like masonry of the houses on the right to the carefully painted individual figures. The busy market is filled with tradesmen, maidservants and elegant shoppers.

The carefully crafted composition, the attention to detail and the masterfulful play of sunlight and shadow attest to Koekkoek’s talent. His work can be found in museums in London, Amsterdam, Cleves and Montreal. The National Gallery in London acquired a composition by Willem Koekkoek in 1982.

Provenance: M. Newman Ltd., London; Sale, London, Christie’s, 17 June 2004, lot 5; With Kunsthandel Simonis en Buunk, Ede Private collection, the Netherlands Sale, Amsterdam, Christie’s, 27 October 2007, lot 261 Sale, Munich, Hampel Fine Art Auctions, 27 March 2009, lot 422; Private collection, the Netherlands

€ 90.000–120.000

Art Europe | 19th Century | 93

Art Europe | 19th Century | 94

73 J o h A n n e s tA v e n r A At (Dutch 1809–1881) A Landscape Signed lower left Oil on panel 30 by 40 cm.

€ 1.800–2.500

74 At t r i b u t e d t o A d r i A n u s vAn der kooGh (Dutch 1796–1831)

Wood Gatherers with a Horse Drawn Sleigh and a Hunter in a Wintry Forest Oil on canvas 102 by 127 cm.

€ 5.000–7.000

75 p i e t e r t e n c At e (Dutch 1869–1937) Roses in a Basket Signed lower left Oil on canvas 60 by 80 cm.

€ 3.000–5.000

Art Europe | 19th Century | 95

76 Willem bodemAn (Dutch 1806–1880)

A Hilly Landscape with a Watermill and a Shepherd Boy and his Flock Signed and dated 1839 lower left Oil on canvas 77 by 97 cm.

€ 9.000–12.000

Art Europe | 19th Century | 96

Art Europe | 19th Century | 97

77 Petrus van Schendel (Dutch 1806–1870) The Indiscretion Provenance: Sale, Munich, Hampel Fine Art Auctions, 16 September 2011, lot 01105 Private Collection, the Netherlands Exhibited: Breda, Breda’s Museum, Petrus van Schendel. Meester van het Avondlicht, 11 November–17 February 2013; Luxembourg, Villa Vauban, The Colours of Night: The Painter Petrus van Schendel (1806–1870), 9 March–16 June 2013.

Literature: M.M. de Meere, Petrus van Schendel (1806–1870). Een leven tussen licht en donker, Amersfoort 2012, p. 193, no. 323 illustrated; Exhibition catalogue, Breda’s Museum, Petrus van Schendel. Meester van het Avondlicht, p. 50 illustrated in colour.

€ 65.000–75.000

Art Europe | 19th Century | 98

78 Henriette Ronner–Knip (Dutch 1821–1909) The Guitar Lesson Signed lower right Oil on panel 53 by 71 cm.

When Henriette Knip was 11 years old she was given an easel by her father the Dutch painter Josephus Augustus Knip (1777–1847). This was the auspicious start of a successful career as a painter. At the age of fifteen she had already sold her first painting at an exhibition in Düsseldorf. Trained by her father, who specialised in historical works and portraits, she focussed more on landscapes and animals.

In 1850 she married Feico Ronner and together they moved to Brussels, where they raised their family of six children. Although she continued painting, her real break–through came when the Queen of Belgium commissioned her to paint two of her favourite lapdogs in 1876. This led to many more commissions for depicting domestic animals, including from important patrons the King of Hanover, Emperor Wilhelm I of Prussia and the Princess of Wales.

From 1877 onwards she started to paint her famous compositions of furry, cuddly cats and kittens in playful and mischievous poses. She placed them in rich, contemporary interiors with all the accoutrements of the moneyed classes for which she painted: silver plates, Chinese porcelain, chairs and stools covered in velvet, musical instruments and Persian carpets. Her cats climbed over richly carved wooden chairs or played with antique books and globes.

Her fabulous technique created life–like animals, with soft furs and individual expressions revealing independent characters. Although each cat is painted with great precision and eye for detail, it is the loose and lively brushstrokes she used that convey the playful and natural feel of each painting. She became internationally famous, to such an extent that an English critic once wrote: “The artists that who have succeeded in rendering the cat may be counted on the fingers of one hand–the Japanes Hokusai, the Swiss Mind, the English Burbank, the French Lambert, and the Dutch Mme. Ronner– and the greatest of these, the one who has succeeded absolutely and all round, is the last, the lady”. (from: Harry Kraay, Henriette Ronner–Knip 1821–1909: Een virtuoos dierenschilderes, Schiedam 1998, p.9) Provenance: Sale, Amsterdam, Sotheby’s 23 April 2002, lot 138 Sale, Amsterdam, Sotheby’s, 19 April 2005, lot 271 A European collection

€ 80.000–120.000

Art Europe | 19th Century | 99

Art Europe | 19th Century | 100

79 Alexandre Francia (French 1815 / 1820–1884)

Dutch Coast with Cattle and Ships at Low Tide Signed and dated 1842 lower left Oil on panel 39 x 55 cm.

Note: The son and pupil of the emigré French watercolourist Francois Louis Francia, Alexandre Francia, travelled extensively throughout Europe, particularly in Scotland and the Low Countries, and eventually settled in Brussels. He specialized in marine subjects, notably views of ports, fishing scenes and storms. He made his Salon debut in 1835, and was to exhibit in Paris, London, Antwerp and Brussels throughout his career, receiving numerous honours and prizes.

Provenance: Sale, Cologne, Kunsthaus Lempertz, 19 May, 2007, lot 1504 Sale, Lokeren, de Vuyst, 14 May 2011, lot 8 Private collection, the Netherlands

€ 4.000–6.000

Art Europe | 19th Century | 101

80 Josephine Fesser (French 1819–1891) A River View Signed and dated 1887 lower left Oil on canvas 27 by 42.5 cm.

Provenance: Sale, Amsterdam, Sotheby’s, 20 April 2004, lot 73 Private collection, the Netherlands

€ 7.000–10.000

Art Europe | 19th Century | 102

81 J o h a n Ba r t h o l d J o n g k i n d (Dutch 1891–1891) Près de Grenoble Signed lower left, inscribed and dated ou la Romanche se jette dans le Drac, près de Grenoble, pont de Claix, 25 sept. ‘83 lower right; with an unfinished landscape sketch on the verso Watercolour and pencil on paper 17 by 52 cm.

Art Europe | 19th Century | 103

Provenance: Private collection, the Netherlands Exhibited: Zeist, Slot Zeist, Jongkind: een Hollander in Frankrijk, 10 December 1991–16 February 1992, cat. no. 54 Literature: Catalogue exhibition, Zeist, Slot Zeist, Jongkind: een Hollander in Frankrijk, 10 December 1991–16 February 1992, cat. no. 54 , p. 59 illustrated

€ 20.000–30.000

Art Europe | 19th Century | 104

82 folloWer of WolfGAnG heimbAch Two Men Reading a Letter by Candlelight at Night, an Amourous Couple in the Background in Another Room, Partially Covered by a Curtain Oil on canvas 73.1 by 57.5 cm.

A similar scene by the German painter Wolfgang Heimbach (c.1613–after 1678), showing Two Men reading a letter by Candlelight, is in the Galleria Borghese, Rome (inv. no. 257; signed, oil on canvas, 45 by 35 cm.; see C. Morsbach, Die Genrebilder von Wolfgang Heimbach (um 1613–nach 1678), p.

153, cat. no. AI 18, reproduced p. 155).

€ 2.000–3.000

Art Europe | Old Masters | 105

83 folloWer of Gillis Gillisz. de berGh A Still Life with Oysters and a Lemon Oil on panel 39.5 by 55.5 cm.

€ 4.000–6.000

84 At t r i b u t e d t o J A c o b ferdinAnd sAeys Antwerp 1658–in or after 1726 Vienna

An Italianate Capriccio of a Palace near a Mediterranean Harbour Oil on canvas 103 by 93 cm.

€ 4.000–6.000

Art Europe | Old Masters | 106

85 folloWer of AdriAen pietersz. vAn de venne A Cavalcade of the Princes of Oranje–Nassau and their Family, with the Winter King and Queen, and the Duke of Braunschweig, All Riding in a Wooded Landscape oil on panel 92.6 by 156.3 cm.

This impressive and large panel shows a so–called cavalcade–a procession of people on horseback–of a 17th century royal company in the woods. To the left of the scene, at the front of the cavalcade, are the Princes of Orange: Maurits (1567–1625) riding a spirited white horse, Philips Willem (1554–1618) and Frederik Hendrik (1584–1647). The heads of Willem Lodewijk (1560–1620), Johan Ernst (1582–1617) and Johan Lodewijk (1590–1653), Princes of Nassau, may also be identified. Many variant copies of this group are known, such as the large–scale painting in the Rijksmuseum, Amsterdam (inv. no. A445) but compositions that include the figures to the right, the Winter King and Queen, Frederick V, Elector Palatine of the Rhine (1596–1632) and his wife, Elizabeth Stuart (1596–1662), are far less common. Frederick V, whose short reign of only one year as protestant king of Bohemia earned him the nickname ‘the Winter King’, fled his home country in 1620 after the revolt against the Catholic Holy Roman Emperor Matthias went wrong. Frederick eventually found refuge in The Hague, which is where he also became acquainted with the Princes of Orange–Nassau at the Dutch court.

This work is painted after Van de Venne’s small painting on copper, executed in 1621, now in the Hessisches Landesmuseum, Darmstadt, which was also engraved by Willem Jacobsz. Delff (see L.J. Bol, Adriaen Pietersz. Van de Venne, Doornspijk 1989, pp. 68–69, reproduced fig. 58.) It probably dates from somewhat later in the 17th Century. In the present painting the Winter King, Winter Queen and the Duke of Braunschweig also are depicted; they are missing in the print by Delff. A similar composition is in the Museum des Siegerlandes, Oberes Schloss in Siegen.

Provenance: Private collection, The Hague, 1982; Thence by descent.

€ 20.000–30.000

Art Europe | Old Masters | 107

Art Europe | Old Masters | 108

86

Traditionally attributed to the Rotterdam painter Jan van de Velde the Younger (c.1593–1641) this nice winter scene in fact reproduces an early landscape by Van Goyen of 1624; the original is listed as in the collection of Baron van Dedem in 1981 and is of a smaller size than the present painting.

Some small differences can be detected.

Circle of Jan van Goyen Leiden 1596–1656 The Hague

A Winter Landscape with a Ferry Transporting a Horse–drawn Wagon over an Ice Opening, and Figures on Skates and Playing Kolf on the Ice Indistinctly inscribed with initials on the ferry lower right (I.V.V. or I.V.S.) oil on panel 30.5 by 43.5 cm.

€ 6.000–8.000

Datable to circa 1630 according to a note in the RKD files.

We are grateful to Ellis Dullaart of the RKD for her help in cataloguing this lot.

Provenance: With Fritz Rothmann (1893–1983), London, sold to De Boer in December 1938 (probably as Pieter de Neyn); With Kunsthandel P. de Boer, Amsterdam, sold to Mrs. De Bordes–van Heel in November 1939 (as Jan van de Velde the Younger); Mrs. De Bordes–van Heel, The Hague (as Jan van de Velde the Younger); Thence by descent (as Jan van de Velde the Younger).

Literature: J.G. van Gelder, ‘Jan van de Velde 1593–1641, teekenaar–schilder. Addenda I’, in: Oud Holland, vol. 70 (1955), pp. 36–37, reproduced fig. 20 (as Jan van de Velde and as signed I.V.V.); H.U. Beck, Jan van Goyen 1596–1656, Doornspijk 1987, vol. III, p. 142, under no. 34a (as a copy).

Art Europe | Old Masters | 109

87 Circle of Adriaen Pietersz. van de Venne Delft 1589–1662 The Hague

An Elegant Couple on Skates in a Winter Landscape Oil on panel 51 by 39.5 cm.

€ 6.000–8.000

Art Europe | Old Masters | 110

Art Europe | 19th Century | 111

88 H e n d r i k Ma t t h e u s H o r r i x (Dutch 1846–1923) At the Fair Signed lower left Watercolor heightened with white 35.5 by 50 cm.

€ 22.000–25.000

Art Europe | 19th Century | 112

89 n i c o l A A s vA n d e r W A Ay (Dutch 1855–1936)

Amsterdam Orphan Girls Signed lower right Pencil on paper 70 by 49 cm.

€ 1.800–2.200

Art Europe | 19th Century | 113

90 R

R

Ma r i e v a n R e g t e r e n A l t e n a (Dutch 1868–1958)

Bowl and a String of Beads

91

J o Ba u e r – S t u m p f f (Dutch 1873–1964) A Kitchen Still Life

Signed lower right Oil on canvas 40 by 50 cm

Signed lower left Oil on canvas 82 by 102 cm.

€ 800–1.200

€ 1.000–1.500

Art Europe | 19th Century | 114

92 G e r a l d i n a v a n d e Sa n d e Ba k h u y z e n (Dutch 1826–1895)

Wild Flowers: Searoses and Daisies along a riverbank Signed lower right Oil on canvas 80 x 100 cm.

Provenance: Sale, Munich, Hampel Fine Art Auctions, 3 December, 2010, lot 438

â‚Ź 15.000-20.000

Art Europe | 19th Century | 115

93 W i l l e m Ca r e l Na k k e n (Dutch 1835–1926) Ponies in a Stable Signed and dated 1907 lower right Oil on canvas 46 by 64 cm.

€ 9.000–12.000

Art Europe | 19th Century | 116

Art Europe | 19th Century | 117

94 Hendrik Willebrord Jansen (Dutch (1855–1908)

View of Amsterdam: the Oude Kerk Signed lower right Oil on canvas 125 by 183 cm.

Provenance: Sale, Amsterdam, Frederik Muller & Co, 1910.

Exhibited: Katwijk, Katwijks Museum, Van Kattenburg tot Katwijk–Hendrik Willebrord Jansen (1855–1908), 2009.

Literature: Exhibition catalogue, Van Kattenburg tot Katwijk, Hendrik Willebrord Jansen (1855–1908), 2009, no. 36, illustrated in colour p. 38 and 39.

€ 30.000–40.000

Art Europe | 19th Century | 118

Art Europe | 19th Century | 119

95 R

97

Ma r i e v a n R e g t e r e n A l t e n a

Floris Verster

(Dutch 1868–1958)

(Dutch 1861–1927)

A Still Life with Fruit in a Basket

“Koolsnijdster”

Signed lower right Oil on canvas 44 by 47.5 cm.

Signed and dated 89 lower right Oil on canvas 38.5 by 48.5 cm.

€ 1.000–1.500

Provenance: Collection Mrs. Verbeek van den Sande Fangman, Dordrecht; Sale, Amsterdam, Christie’s, 24 May 2011, lot 135; Private Collection, Belgium Exhibited: Leiden, De Lakenhal, Floris Verster, 2 April–15 May 1927, no. 21

96 R Ludwig Muhrmann (German 1886–1970)

Literature: W. Scherjon, Floris Verster 1861–1927. Volledig geïllustreerde catalogus van zijn schilderijen, waskrijt–en waterverfteekeningen, en grafisch werk, Utrecht, 1928, no. 44, p. 54 (illustrated).

Christiaan Vogelaar, Floris Verster, Leiden, 2002, no. 44, p. 112 (illustrated)

Still Life with Bell–glass, Leek and Wine Bottle

€ 15.000–20.000

Signed and dated 1920 upper left Oil on canvas 61.5 by 74.5 cm.

€ 800–1.200

Art Europe | 19th Century | 120

98 AnGlo–dutch school, mid–17th century A Portrait of a Lady, Bust Length, Traditionally Identified as Mary Cropper, in a Black Dress with White Lace Collar and Cap Engraved with inscription ‘Mary Cropper /AE tat. 36/ 1673’ (to the reverse of the copper) Oil on copper, oval 10.7 by 8.8 cm.

The present portrait stylistically appears to date to the 1640s, and therefore the insription on the reverse identifying the sitter as Mary Cropper in 1673 is likely to have been added later. The Croppers were Quaker farmers in the parish of Ormskirk, Lancashire (U.K.), and the aforementioned Mary, daughter of Hamlet Cropper, was baptised on 30 July 1637. Given the present portrait descended directly within the Cropper family until the 19th Century, it is likely that the sitter was indeed a member of the Cropper family, though presumably of the generation before the Mary recorded in the inscription. It is possible that the sitter was in fact Mary, daughter of Ferdinando Cropper, baptised 9 October 1607, or Mary, daughter of Peter Cropper, baptised 9 June 1608, both at Ormskirk.

Provenance: By descent to Henry Smith Cropper, by 1881; Their sale(?), London, Christie’s, 23 April 2009, lot 34 (as ‘Circle of Cornelius Johnson’).

€ 6.000–8.000

Art Europe | Old Masters | 121

99 Circle of Willem Cornelisz. Duyster A Theatrical Musical Company Wearing Masks Performing their Act for Spectators Oil on canvas 51.5 by 63 cm.

€ 5.000–7.000

Art Europe | Old Masters | 122

100 Jan van Goyen Leiden 1596–1656 The Hague

A River Landscape with Figures Working in Lime Kilns near Haarlem and Peasants Resting near a Cottage Signed with monogram and dated lower centre: VG 162(?)9 Oil on panel 38.2 by 61.5 cm.

Pieter Biesboer has kindly identified the location of the lime kilns as near the town of Haarlem on the borders of the Zuiderbuitenspaarne, which is situated to the west of Haarlem (looking towards the southeast).

Provenance Possibly Charles Leeming, his sale, London, Christie’s, 18 February 1916, lot 43 (to Lewis); With J. Goudstikker, Amsterdam, 1916; Pieter Smidt van Gelder (1878–1956), Amsterdam/Antwerp; With Gebr. Douwes, Amsterdam, 1918; With Duits & Co., Amsterdam, by 1923; Professor Dr. G.W.J. Bruins, Wassenaar, 1926 and by descent to Mrs. A.C. Bruins–van der Hoop, Wassenaar; Thence to Mrs. C. Bruyns, Leiden, 1968; With Nijstad, The Hague; With P. de Boer, Amsterdam, by 1987; Private collection, the Netherlands; Sale, Amsterdam, Christie’s, 10 November 2008, lot 88 (as dated 162..).

Literature C. Hofstede de Groot, A Catalogue Raisonné etc., London 1927, vol. VIII, pp.128–9, no. 499; A. Dobrzycka, Jan van Goyen, Posen 1966, no.82; H.U. Beck, Jan van Goyen, Amsterdam 1973, vol. II, p. 478, no.1078, reproduced.

Exhibited Amsterdam, Stedelijk Museum, Catalogus der internationale economisch– historisch tentoonstelling, 4 July–15 September 1929, p. 6, no. 32; Leiden, Stedelijk Museum De Lakenhal and Arnhem, Gemeentemuseum, Jan van Goyen, 4 June–26 September 1960, p. 22, no. 21 (as dated 1639); Osaka, Sapporo, Yokohama, Saga, Hokkaido, Osaka, etc.

The Barbizon School. Dutch Collections, 21 March–5 May 1987, pp. 123–4, no. 4 (as dated 1629).

€ 30.000–40.000

Art Europe | Old Masters | 123

Art Europe | Old Masters | 124

101 H e n d r i k Maa r t e n K r a b b é (Dutch 1868–1931) Three Children Signed upper right Pastel on paper 59 by 47.5 cm.

€ 1.500–1.800

Art Europe | 19th Century | 125

102 G e o P o gg e n b e e k (Dutch 1853–1903) A Cow Signed lower right Oil on canvas laid down on board 16 by 25.5 cm Provenance: Private collection, the Netherlands

€ 500–700

Art Europe | 19th Century | 126

103

H e n d r i k W i l l e m M e s d ag –

P.138

103 H e n d r i k W i l l e m M e s d ag (Dutch 1831–1915)

Signaling the Boats, Scheveningen Signed lower right Oil on canvas 120 by 90 cm.

Hendrik Willem Mesdag was one of the key members of ‘The Hague School’, a movement which swept Dutch painting in the last quarter of the 19th century. Mesdag was born into a wealthy family and seemed destined to become a banker. However, Mesdag had other plans for his future, and having benefited from an inheritance he was able to follow his preferred path. Mesdag turned to his cousin Sir Lawrence Alma Tadema for advice, who suggested he serve his apprenticeship with Willem Roelofs–the famous Dutch landscape artist. As a result, Mesdag stayed in Brussels for four years and under Roelof’s guidance he adopted a broad, distinctive style of painting en plein air.

In the summer of 1868 Mesdag visited the German island of Norderney; here he became fascinated with the sea. Contrary to the minutely detailed seascapes of the Romantic School, Mesdag’s seascapes were painted with brutal realism. His unbiased depiction of the sea seemed to come straight from nature and Mesdag thus created a new standard for Dutch painting.

In 1859 Mesdag settled in The Hague, which enabled him to work upon the sands of Scheveningen. The present lot is one of Mesdag’s many seascapes painted at Scheveningen. Ships are sailing on the far horizon, as well as nearer to the shore and landing on the beach. There was no harbour in Scheveningen until 1894, so the flat bottomed boats were moored on the beach. The man waving a blue flag is actually signalling the incoming ships. The horseman near the beached bomschuit is ready to bring the anchor to the beach, then to immediately return to pick up the steersman. The painting is a wonderful example of Mesdag’s seascapes.

The success of Mesdag’s seascapes was secured after he won a gold medal at the Paris Salon (1870) with a large seascape, Les Brisants de la Mer de Nord, which was applauded by Jean–François Millet, Félix Ziem and Charles Chaplin (who actually bought the painting).

Provenance: Edward Fox White, London, by 1891, his deceased sale, Christie’s, London, 24 March 1900, lot 132 to Boussod (180 gns.); Boussod, Valadon & Cie, London, 1900; With The Holland Fine Art Gallery, London, no. 123 (according to a label on the reverse); Sale, Amsterdam, Sotheby’s, 7 November 1978, 339 Sale, Amsterdam, Christie’s, 21 November 2013, lot 344 Private collection, Belgium Exhibited: Arnhem, Gemeente Museum (on loan), no. 12.

Literature: J. Poort, Hendrik Willem Mesdag (1831–1915), Wassenaar, 1989, p. 398, no. 34.01.

J. Poort, Hendrik Willem Mesdag 1931–1915 Oeuvre catalogus in beeld, Wassenaar, 2001, p. 58, no. 922 (erroneously illustrated)

€ 150.000–200.000

Art Europe | 19th Century | 129

Art Europe | 19th Century | 130

Art Europe | 19th Century | 131

104 Pieter Stortenbeker (Dutch 1828–1898) Cows in a Pasture Signed lower left Oil on panel 45 by 31.5 cm.

€ 900–1.200

105 V i c t o r Ba u f f e (Dutch 1849–1921)

Fisherman next to a Windmill in a Polder Landscape Signed lower right Watercolour heightened with white 24.5 by 35.5 cm.

€ 1.200–1.500

Art Europe | 19th Century | 132

Art Europe | 19th Century | 133

106 J a c o b Ma r i s (Dutch 1839–1899)

A View of the Buitenkant with the Schreierstoren in Amsterdam Signed lower left Oil on canvas 22.5 by 36 cm.

Painted circa 1875.

Please compare this lot to a watercolour by the same hand (dated 1875) in the collection of the Rijksprentenkabinet, Rijksmuseum Amsterdam (inv. no.

SK-A-2478) Provenance: Sale, Amsterdam, Sotheby’s, 22 April 1997, lot 46 Sale, Amsterdam, Christie’s, 21 November 2013, lot 330 Private collection, Belgium

€ 15.000–20.000

Art Europe | 19th Century | 134

Art Europe | 19th Century | 135

107 Théophile de Bock (Dutch 1851–1904)

A Figure walking among Birch Trees Signed lower right Oil on panel 28.5 by 37 cm.

€ 1.500–2.000

109 I s aa c I s r a e l s

108 J a c o b Ma r i s (Dutch 1837–1899)

(Dutch 1865–1934)

Dancing in Amsterdam (recto) a Woman’s Head and a Couple Dancing– sketches (verso) Signed on the verso Charcoal and pastel on paper 25 by 27.5 cm.

Dunes Signed lower right Oil on panel 18.5 by 36.5 cm.

Provenance: H.P. Bremmer, The Hague; Sale, Amsterdam, Christie’s, 19 October 1993, lot 300 Sale, Amsterdam, Christie’s, November 21 2013, lot 365 Private collection, Belgium

Provenance: Private collection, the Netherlands

€ 2.500–3.000

€ 5.000–7.000

Art Europe | 19th Century | 136

111 N i c o l aa s Ba s t e r t (Dutch 1854–1939) Huis te Rijswijk Signed lower right Oil on canvas 105 by 71 cm.

€ 3.000–5.000

110 J o h a n n e s Ka r e l L e u r s (Dutch 1865–1938)

Shepherd with Sheep in a Sunny Pasture Signed lower left Oil on canvas 57 by 73 cm.

€ 2.000–3.000

Art Europe | 19th Century | 137

Art Europe | 19th Century | 138

112 Dutch School, circa 1680 A Boy in Classical Costume Holding a Goat by its Horns in a Park Setting, with a Fountain in the Background Indistinctly signed or inscribed lower right (in black chalk): Willem Goo…(?)

Red chalk 333 by 305 mm.

The classical costume the boy is wearing would point to a contemporary of Gerard de Lairesse (1641–1711).

€ 1.000–1.500

Art Europe | Old Masters | 139

113 At t r i b u t e d t o J a n d e M o m p e r III Antwerp 1617–after 1687 Two Ships under Repair Black chalk, pen and brown ink and grey wash; bears attribution on verso: Pietro Ciafferi called Smargiasso, Livorno 1610 and numbered: 1918 in black ink 256 by 454 mm.

Compare with a drawing by the same hand from the Unicorno collection, sold Amsterdam, Sotheby’s, 19 May 2004, lot 107.

€ 1.800–2.500

Art Europe | Old Masters | 140

Art Europe | Old Masters | 141

114

116

Willem van Bemmel

Jan Goerée

Utrecht 1630–1708 Neurenberg

Middelburg 1670–1731 Amsterdam

A Classical Landscape with Roman Ruins

The Preparation of the Sacred Furnishings for the Tabernacle

Drawn with the brush in grey, grey wash 295 by 396 mm.

Pen and grey ink and wash and brown ink and grey wash over red chalk, indented for transfer 134 by 205 mm.

€ 1.200–1.800

Provenance: Sale, Amsterdam, Christie’s, 26 November 1984, lot 121 (with four others); Anonymous sale, Amsterdam, Sotheby’s, 12 November 1996, lot 84; Sale, London, Sotheby’s, 3 July 2013, lot 144.

The Tabernacle of the Congregation may be the greatest of the biblical types of God’s plan of redemption in Christ. The last half of the Book of Exodus describes the construction of the Tabernacle, and references to the Tabernacle and its furnishings are found throughout the Scriptures.

115 Johann Philip Lemke Neurenberg 1631–1711 Stockholm

A Military Scene with a Cavalier Pointing his Sword to Another Cavalier Signed lower left with pen and brown ink: Lemkere(?)

Recto: collector’s mark in blue at lower left (RR?) Black chalk, grey wash 197 by 308 mm.

There are seven holy furnishings of the Tabernacle. One of the most important of them was the Altar of Burnt Offers which was quite large. This altar, seen here in the centre of the drawing as still being constructed, dominated the Courtyard area as well as the countryside adjacent to the Tabernacle because of the ceaseless activity of the priests, Levites, worshipers, animals.

€ 1.500–2.500

€ 1.200–1.800

Art Europe | Old Masters | 142

Art Europe | Old Masters | 143

117 At t r i b u t e d t o p i e t e r m u l i e r the younGer, cAlled il c A v A l i e r t e m p e s tA Haarlem 1637–1701 Milan

Dutch and Spanish Ships in Distress in a Heavy Gale near a Rocky Coast, a Rowing Boat with Crew in the Foreground Oil on canvas 93 by 133 cm.

Pieter Mulier the younger, also called il Cavalier Pietro Tempesta, was born in Haarlem in 1637. There he was trained by his father, the marine painter Pieter Mulier the Elder (c.1600–1659), and in circa 1656 emigrated for life to Italy.

There he worked in Rome, Genoa, Venice, various cities in Lombardy and lastly Milan where he died in 1701. Tempesta did not exactly lead what you call ‘a boring artist’s life’: he was convicted for the murder of his wife, spent the next eight years in prison, enjoyed the protection of the highest Italian nobility and kept a zoo in his garden in Milan. For more information on this colourful artist and his artistic output, please refer to the monograph of 1970 (M. Roethlisberger–Bianco, Cavalier Pietro Tempesta and his Time, Haarlem 1970).

Painting dramatic and energetic sea scenes, such as the present, were Tempesta’s trademark, but he also executed Italianate landscapes and animal pieces. During his lifetime and for a century afterwards, Tempesta was extremely famous. The reason is easy to understand: he was a splendid and prolific painter whose landscapes and marines appeal immediately to the eye.

€ 15.000–20.000

Art Europe | Old Masters | 144

118 Follower of Simon de Vlieger

119

A River Landscape with a Dutch Sailing boat and Fishermen Throwing out Their Nets from a Rowing boat, a View of a Village on the Coast Beyond

G e r r i t Ba t t e m Rotterdam circa 1636–1684

oil on panel 24 by 35 cm.

A Deer Hunt in a Wooded Landscape with a Waterfall Signed lower right: Battem Oil on canvas 67.3 by 81.1 cm.

€ 1.500–2.000

€ 4.000–6.000

Art Europe | Old Masters | 145

120 North Netherlandish School, second half of the 17th Century The Oyster Meal oil on canvas 25.5 by 21 cm.

This painting has an illustrious provenance as it was once included in the famous 18th Century collection of Pieter van Winter in Amsterdam. His daughter, Lucretia van Winter, inherited it in the beginning of the 19th Century, and in 1822 she married Jonkheer Hendrik Six. Our painting then enters the Six collection. In 1928 some of the collection is being sold in lieu of succession rights.

The sitters were traditionally identified as the Amsterdam painter Bartholomeus van der Helst and his wife, and as also painted by Van der Helst (as remarked in the 1928–sale catalogue).

We are grateful to Wite van Haersma Buma for his help in cataloguing the provenance of this lot.

€ 7.000–9.000

Provenance: Johan van der Marck Aegidiusz. (1707-1770), his deceased sale, Amsterdam, Yver, 28 August 1773, lot 121, as Bartholomeus van der Helst, sold for Dfl. 500 to Jan Wubbels; Jan Jacob de Bruyn (1720-1792), his deceased sale, Amsterdam, Van der Schley, 12 September 1798, where acquired for Dfl. 460 by Pieter van Winter (1745–1807), Amsterdam; by descent to his daughter, Lucretia Johanna van Winter (1785–1845), Amsterdam; by descent to her sons, Jan Pieter Six van Hillegom (1824–1899) and Pieter Hendrik Six van Vromade (1827–1905), Amsterdam; by descent to Jan Pieter Six van Hillegom’s son Jan Six van Hillegom (1857–1926), Amsterdam (inv. no. 52); by whose descendants sold in lieu of succession rights, sale, Amsterdam, Fred.

Muller, 16 October 1928, lot 24 (as ‘Les amateurs d’huîtres’); Bought by Cohen van Deventer in 1928; Probably Mrs. De Bordes–van Heel, The Hague; Thence by descent.

Literature: O. Naumann, Frans van Mieris the Elder (1635–1681), Doornspijk 1981, vol. 1, p. 157, no. C 70, as ‘a painting loosely based on the Mauritshuis pendants by a mediocre contemporary.’; S. Avery–Quash, ‘The Travel Notebooks of Sir Charles Eastlake’, in: The Walpole Society 73 (2011) vol. 1, p. 555.

Art Europe | Old Masters | 146

121 Pieter Wouwerman Haarlem 1623–1682 Amsterdam

A Cavalry Battle Scene between Polish Hussars and Ottoman forces Signed with monogram lower centre: PW Bears two red wax seals with coat–of–arms on the reverse of the stretcher Oil on canvas 52.8 by 61.9 cm.

Pieter was born into a Haarlem family of painters: he was the son of Pauwels (1585–1642), and the brother of Philips (1619–1668) and of Jan (1629–1666) Wouwerman.

Pieter signed his paintings with a monogram ‘PW’, whereas his elder brother, Philips, signed his works with an intertwined ‘PHILS’ (in compendium) for Philips, followed by a ‘W’. Pieter was trained by his father Pauwels, by his elder brother Philips and possibly also by the landscape painter Roelant Roghman (1627–1691). In 1646 Pieter became a member of the Painter’s Guild of Saint Luke in Haarlem, where he was active until circa 1657. After that he moved to Amsterdam, where he worked until his death in 1682.

Pieter Wouwerman was a very skilled painter of horses, as we can see here.

The present painting represents a clash between Polish Hussars, also called Winged Hussars (red flags and red sashes worn around the middle) and Ottoman forces.

€ 12.000–18.000

Art Europe | Old Masters | 147

Art Europe | Old Masters | 148

122 Thomas Heeremans Haarlem 1641–1694

Women Selling Ducks and Poultry near a Group of Houses signed and dated lower right: TH (in compendium) MANS/–1672– oil on canvas, in an imitation tortoiseshell frame 58.8 by 82.3 cm.

€ 6.000–8.000

Art Europe | Old Masters | 149

123 Ludolf de Jongh

Rotterdam–Overschie 1616–1679 Rotterdam–Hillegersberg A ‘Kortegaardje’: an Officer Entering a Guardroom and Soldiers Playing Cards at a Table Signed centre right: LD (in compendium) Jongh Oil on panel 43 by 62.3 cm.

€ 7.000–9.000

Ludolf de Jongh is considered to be one of the most versatile Dutch painters of the 17th century producing portraits, genre scenes, guardroom scenes, landscapes, hunting scenes, town views and biblical and mythological themes. In fact most known paintings by De Jongh belong to his Rotterdam years, set between 1642 and the early 1660s. Over these twenty years our painter evolved from peasant, tavern and guardroom scenes to elegant, even aristocratic subjects, which he must have painted in Hillegersberg. During the 1650s de Jongh was one of the leading painters of Rotterdam. After 1660 it is thought that he painted less and less due to his other activities, first as a businessman, later as an officer (major) in the local home guard and finally as sheriff in Hillegersberg.

Most Dutch guardroom scenes show soldiers either ‘killing time’ (playing cards or dice, or smoking a pipe, sleeping or drinking), flirting with prostitutes, inspecting their weapons or showing their booty to a superior. In French a guardroom is called ‘un corps–de–garde’, which in Dutch evolved towards ‘een kortegaerden’ or ‘kortegaardje’.

Our painting was unknown to Roland E. Fleischer, author of the monograph on de Jongh (1989). Actually the author knew of only one guardroom scene by de Jongh, so our painting is an important addition. The author dated that painting also to circa 1642/45. Both that and our guardroom scene clearly show the influence of Anthonie Palamedesz.

Art Europe | Old Masters | 150

124 Dirk

Utrecht 1615–1686 The Rest of a Falconry Hunting Party near an Inn Signed and dated lower right: Stoop F.164(1?)

Oil on panel 68.7 by 87.8 cm.

Provenance: Sale, London, Christie’s, 7 July 1972, lot 23.

€ 12.000–18.000

Art Europe | Old Masters | 151

Art Europe | Old Masters | 152

125 At t r i b u t e d t o J a c o b B e l l e v o i s Rotterdam 1620/21–1676

Shipwrecking off a Rocky Coast Oil on panel, oval 61.4 by 77.1 cm.

Nothing is known about Bellevois’ education but his monochrome paintings of vessels in a calm sea indicate the influence of Jan Porcellis, the local artist from Rotterdam of great repute, and of his son Julius Porcellis. His stormy seas are influenced by works by Simon de Vlieger, who stayed for some time in Rotterdam. Bellevois was a rather prolific painter specializing in marines, as there are some 200 paintings known by him.

Bellevois regularly painted ships in peril, one of his favourite subjects are shipwrecks on cliffs, such as shown in the present painting.

In just a few of these paintings, including this one, Bellevois used the motif of a man hanging from a rope just under the bowsprit. Bellevois did not invent this motif himself: the eldest representation of it, dating from 1629, can be found on a painting by Willem van Diest, in the Walters Art Gallery in Baltimore.

€ 6.000–8.000

Art Europe | Old Masters | 153

126 Jan Theunisz. Blanckerhoff Alkmaar 1628–1669 Amsterdam

A Dutch Ship Leaving a Mediterrenean Harbour Oil on canvas 74.4 by 104.7 cm.

€ 7.000–9.000 The painter of this marine, Jan Theunisz. Blanckerhoff, became a member of the Painter’s Guild of Alkmaar in 1649. After this date he left for Italy: according to Houbraken he was twice or even three times in Rome.

In Rome he was member of the “Schildersbent” (a group of Nordic painters, all of them active in Rome. It was founded in or circa 1623. Its members were called the “Bentvueghels’”. Although created as a support for compatriots it soon became more well known for its rather convivial meetings; thus, in 1720, this joyful society was forbidden by papal decree as too many feasts had ended in the greatest disorder. Every member of the Schildersbent received a surname, a so–called “Bentname”. Blanckerhoff was nicknamed “Jan Maat” that is “Jan Friend”, but it can of course also refer to him having been a sailor, a ship’s mate.

In 1659 Blanckerhoff returned to Holland: he married that same year in Amsterdam. The next years he probably lived in Amsterdam and in 1663 he became member of the local Painter’s Guild. During the Second Anglo–Dutch War (1664–1667) Blanckerhoff accompanied the Dutch fleet as an artist twice, in 1665 and 1666, both in the service of the Amsterdam Admiralty.

In the spring of 1669 Blanckerhoff left with the Dutch fleet to chase the Ottomans from Crete and its capital Heraklion (then called Candia); however, the Ottomans were ultimately victorious despite Crete’s unprecedented resistance.

Blanckerhoff unfortunately perished in the Battle of Heraklion (and was buried on 2 October 1669 in Amsterdam.

Art Europe | Old Masters | 154

Art Europe | Old Masters | 155

127 Pieter Gerritsz. van Roestraeten Haarlem 1630–1700 London

A Still Life with a Parrot, Grapes, a Peach and an Elaborate Italian Silver Ewer Decorated with Hercules Fighting the Nemean Lion Signed lower right: P. Roestraeten Oil on canvas 76.2 by 62.7 cm.

Interestingly enough Van Roestraeten started out as a portrait painter, and was a pupil of Frans Hals between circa 1646 and 1651. Later he moved to nearby Amsterdam where he remained until 1659. In the early 1670s he moved to London.

There he was probably introduced to King Charles II by Sir Peter Lely (1618–1680). Lely, who was of Dutch origin (his real name was Pieter van der Faes), was the preferred English portrait painter. Apparently afraid of competition in the area of portraiture, Lely had offered to introduce Van Roestraeten to the King on the condition that he ceased painting portraits.

Van Roestraeten presumably kept his promise, for there are no further late portraits known by him, other than self portraits.

It seems the King also encouraged Van Roestraeten to paint still lifes, at first strongly influenced by Willem Kalf. Van Roestraeten was successful and his pictures fetched high prices. Hence he remained in London until his death in 1700, and was buried in Saint Paul’s in Covent Garden in London.

Although Pieter van Roestraeten was born in Haarlem and probably received his education there, his still lifes bear little resemblance to the work of the more typical Haarlem artists such as Pieter Claesz. and Willem Claesz. Heda. The atmosphere in Van Roestraeten’s still lifes more recalls the work of Willem Kalf, although his interpretation of the genre is highly personal.

Van Roestraeten specialized in the very detailed representation–almost portrait–like portrayal– of precious objects on a dark background. These prized possessions often have a Vanitas content.

The magnificent piece of silverware, a silver ewer decorated with Hercules fighting the Nemean lion. This was Hercules’ First Labour: killing the Nemean lion. The region of Nemea in the northeastern part of the Peloponnese had been terrorised by a lion with a golden fur, which was so strong that it could not be killed by any mortal weapons. According to the sources Hercules either strangled it or shot an arrow in its beak.

A smaller and simpler version of our painting, also with grapes and the parrot (in the same pose) but without the silver ewer, was sold, Sotheby’s London, 13 December 2001, lot 138. Fred Meijer from the RKD has kindly confirmed the attribution.

€ 12.000–18.000

Art Europe | Old Masters | 156

128 Anthonie Jacobsz. van der Croos Alkmaar(?) 1606/07–1662/63 The Hague

The Ruins of Egmond Castle in a Wooded Landscape Signed lower right: Croos Oil on canvas 66.2 by 82.4 cm Van der Croos spent the larger part of his career in The Hague, and some of it in the northern town of Alkmaar. He was one of the most talented followers of Jan van Goyen (1596–1656) who, according to some sources, was his neighbour in The Hague. In 1656 Anthonie van der Croos was one of the founders of the confraternity Pictura in The Hague, which tried to be an alternative for the Painter’s Guild of Saint Luke. Typical of van der Croos’s style is his love of featherlike foliage, almost as if every leaf is lit individually.

In the present picture we see the ruins of the Castle of Egmond. The Castle of Egmond (and the Abbey) were popular subjects for painters, most of them from near by Alkmaar. Both were situated on the inner dunes between Egmond aan Zee and Alkmaar. Egmond Castle (also known as “Slot op den Hoef”) was founded in 1129; its tutor (‘Voogd’) had to represent the Count of Holland, protect the abbey and collect its rents. As one can imagine there was an immense power (and money) struggle between the abbots of the Abbey and the tutor of the Castle of Egmond.

The Dutch Revolution was of course first and foremost the Protestant uprise of the so–called Beggars (‘Geuzen’) against the Catholic Spanish oppressor.

Shortly after execution of Egmond and Horne in June 1568 William the Silent had the (Catholic) abbey dissolved.

In 1572 it was integrated in the defensive system of Alkmaar. In February 1573 the last monks left. On June 7th 1573, when Spanish troops threatened to take Alkmaar, Diederik Sonoy had both the abbey and the castle set on fire to prevent the Spaniards getting some strategic advantage from the buildings. The rich content of the Abbey financed partly the creation of the university of Leiden. And its stones were used to enforce the walls of Alkmaar. In 1671 the mayor of Amsterdam was able to prevent its final destruction, for it served as an important landmark for shipping (and also as a prison). The last ruins of the abbey were finally broken down by 1800. The castle or what remained of it was also demolished at that same time.

Van der Croos executed three more views from the same angle of Egmond Castle. Here he exaggerated the small slope on which the castle was built, to create a more dramatic effect. It is almost a magnificent Baroque ode to the romantic ruins of Egmond Castle lit by the warm sunlight of a late summer afternoon.

€ 10.000–15.000

Art Europe | Old Masters | 157

129 Anthonie Leemans

The Hague 1630–1671/73 Amsterdam(?)

A Trompe l’oeil Still Life of Hunting Paraphernalia Signed upper left: A Leemans / F. Oil on panel 62.8 by 46.7 cm.

This still life can be dated to circa 1660 (RKD, The Hague).

In this trompe l’oeil still life the following hunting paraphernalia can be recognized: two hunting horns, two small falcon caps, a game bag, wooden sticks to tie a net for bird hunting and a leash for a dog, all of them attached to a nail in the wall.

Provenance: Sale, Vienna, Dorotheum, 17 April 2013, lot 648; With Rafael Valls Gallery, London.

€ 10.000–15.000

Art Europe | Old Masters | 158

130 R Willem Roelofs (Dutch 1822–1897)

Drachenfels by the Rhine Signed and indistinctly titled Drachenfels op Nonnenwert Rolandseck Jun lower left Oil on paper laid down on canvas 24 by 43.5 cm.

Note: This oil sketch was made when Roelofs travelled with his mentor Hendrik van de Sande Bakhuyzen to the Koenigswinter area in Germany, presumably in 1841. Tourism began here in the last decades of the 18th century with travellers from England following a route up the river Rhine. It is still very much in the romantic tradition. Willem Roelofs chose a spot on the mythical Drachenfels mountain looking down onto the isle of Nonnenwerth, on which a 12th century convent was located, and towards the town of Rolandseck and the mountains beyond.

Provenance: Studio Sale of Willem Roelofs, Pulchri Studio The Hague, no. 43. (Sold for ƒ 100 to W.E. Roelofs) Sale, Amsterdam, Christie’s, 1 July 2003, lot 91 Private collection, The Netherlands Exhibited: The Hague, Pulchri Studio, “Willem Roelofs”, October 1907, no. 7; Oss, Museum Jan Cunen, “Willem Roelofs, 1822–1897, de adem der natuur”, November 26–February 25, 2007, cat. no. 36; Rotterdam, Kunsthal, “Willem Roelofs, 1822–1897, de adem der natuur”, March 17–May 13, 2007, cat.no. 36.

Literature: H.P. Bremmer, “Willem Roelofs, 100 lichtdrukken naar zijn werken”, Amsterdam 1909, no.6, illustrated; Marjan van Heteren, Robert–Jan te Rijdt, “Willem Roelofs, 1822–1897, de adem der natuur”, Bussum 2006, p. 128, illustrated in colour.

€ 6.000–8.000

Art Europe | 19th Century | 159

R

132

G e r a r d J o h a n n e s D e l f gaa u w (Dutch 1882–1947)

131

Windmill in a Polder Landscape

W i l l e m Ca r e l Na k k e n

Signed lower right Oil on canvas 65 by 101 cm.

(Dutch 1835–1926) A Horse

Signed and inscribed ‘lijst met vier studies (fransche paarden)’ on the reverse Oil on panel 22.5 by 33 cm.

€ 1.500–1.800

Art Europe | 19th Century | 160

€ 1.200–1.600

Art Europe | 19th Century | 161

133

135 R

Bernard de Hoog

C o r N o lt e e

(Dutch 1866–1943)

(Dutch 1903–1967)

Mother with Children in Interior

A Farmer Plowing the Field

Signed lower right Oil on canvas 64 by 76 cm.

Signed lower right Oil on canvas 30 by 50.5 cm.

€ 4.000–6.000

€ 800–1.200

134 W i l l e m Ca r e l Na k k e n (Dutch 1835–1926)

A Cow with a Towcart Signed lower right; dated 70 and inscribed Calmphout on the reverse Oil on panel 23 by 33 cm.

€ 1.000–1.200 Art Europe | 19th Century | 162

Art Europe | 19th Century | 163

136 R H e n d r i k J a n W o lt e r (Dutch 1873–1952) Zaandam–Huisje With the studio stamp on the reverse; inscribed on the verso Atelier H J Wolter Zaandam huisje ca. 1917 and with an additional inscription by an unknown hand.

Oil on board 21 by 26.5 cm.

€ 1.000–1.500

137 A n t o n Ma u v e

138 R

(Dutch 1838–1888) At the Cowshed

Cornelis Vreedenburgh

Signed lower right Oil on canvas laid down on panel 31.5 x 39 cm.

A Study of the ‘Montelbaanstoren’ in Amsterdam

Provenance: Sale, Amsterdam, Christie’s, 19 September 2006, lot 288

(Dutch 1880–1946)

Signed lower right; with two studio stamps on the stretcher Oil on canvas 38 by 59.5 cm.

€ 3.500–5.000

€ 4.000–6.000

Art Europe | 19th Century | 164

Art Europe | 19th Century | 165

139 Ma r i u s Ba u e r (Dutch 1867–1932)

“Oosterse Feestganger” Signed lower left Oil on canvas 135 by 75.5 cm.

Provenance: With Kunsthandel E.J.van Wisselingh, Amsterdam nr. 3896, 1918; Sale, Amsterdam, Frederik Muller, 6 April 1921; Sale, Dordrecht, Mak, 3 February 1941; Private collection, Europe Exhibited: Venice, XIII Esposizione Internazionale d’Arte della Città di Venezia, 15 April–31 October 1922, no. 605; Amsterdam, Stedelijk Museum, Ere tentoonstelling Marius Bauer, 11 March–6 April, 1933, no. 251; Laren, Singer Museum, Marius Bauer (1867–1932), January 19–April 20, 2007; Literature: A. Kraayenga, Marius Bauer (1867–1932), Oogstrelend Oosters, Zwolle, 2007, p. 141, no. 119 illustrated in colour (exhibition catalogue)

€ 30.000–50.000

Art Europe | 19th Century | 166

140 H e n d r i k J a n W o lt e r (Dutch 1873–1952) Camogli Marked with the studio stamp lower left, titled lower centre Charcoal on paper 27 by 20 cm.

€ 800–1.200

Art Europe | 19th Century | 167

141 Louis Apol (Dutch 1850–1936)

Willows by a Farmhouse Signed lower right Oil on canvas laid down on panel 28 by 39.5 cm.

Provenance: Sale, Amsterdam, Christie’s, 19 September 2006, lot 322

€ 3.000–5.000

Art Europe | 19th Century | 168

142 Jacobus van Looy (Dutch 1855–1930)

Asters, Michaelmas Daisies and Pears Signed lower left Oil on panel 50 by 25 cm.

Note The current lot depicts van Looy’s garden in Haarlem at the Kleine Houtweg, where he had moved in 1913. He used his backgarden for a series of paintings depicting the fruits and flowers growing there. This resulted in a series of wonderful, close–up paintings that van Looy liked so much that he did not sell them but used to decorate his house.

Provenance: Sale, Amsterdam, Christie’s, January 18, 2000, lot 395 Sale, Amsterdam, Christie’s, 21 November 2013, lot 371 Private collection, Belgium Literature: Joyce van der Smit–Meijer, Chris Will, Jacobus van Looy 1855–1930, Niets is zo mooi als zien…, Zwolle 1998, p. 167, no. 182 illustrated. J. Bela a.o., Jacobus van Looy 1855–1930, Zwolle, 1998, p. 167, no 182.

€ 15.000–20.000

Art Europe | 19th Century | 169

Art Europe | 19th Century | 170

143 pieter christoffel Wonder Utrecht 1777–1852 Amsterdam

A Portrait of a Gentleman, Bust Length, Wearing a Black Coat with a White Chemise; A Portrait of his Wife, Bust Length, Wearing a Black Satin Dress with White Lace Collar and Bonnet, and a Kashmir Shawl Both signed with monogram upper right: P.C.W.F. a pair, both oil on canvas, marouflé (laid down on board) each: 63 by 52 cm.

(2)

€ 6.000–8.000

According to the latest fashion of the second quarter of the 18th Century, the lady here is wearing a ‘neepjesmuts’ and an exotic colourful wool Kashmir shawl.

As described by Rosalie Sloof in her essay of the recent monographic exhibition on the artist in Utrecht, P.C. Wonder had a marvellous eye for fashion. These exotic Kashmir shawls, of which the most beautiful examples were manufactured in India, caused a true fashion hype after the empress Josephine de Beauharnais turned out to be a great lover of these ‘cachemires de l’Inde’. These kind of precious shawls were even given as exclusive marriage gifts, and they were highly praised and flaunted by the ladies of the higher society (R. Sloof, in exhibition catalogue, Utrecht, Centraal Museum, P.C. Wonder (1777–1852): een Utrechter in Londen, 19 December 2015–13 March 2016, pp. 125–126).

ionable at that time. Both portraits are datable to circa 1825–1849, and they may represent an English couple, as from 1823 to 1831, P.C. Wonder worked in England; there he became well–known as a portrait painter.

The recent exhibition in the Centraal Museum, Utrecht (op.cit.) on the artist highlighted the fact that P.C. Wonder was largely self–taught. As an autodidact he taught himself how to paint by making copies of Old Masters in various collections at that time.

Both works are registered at the IB (Iconographical Bureau) of the RKD under nos.

83976 and 83977 as portraits of an unknown man and woman by P.C. Wonder.

Also her husband sports a nice set of side–whiskers, which were highly fash-

Art Europe | Old Masters | 171

144 AbrAhAm vAn striJ the elder Dordrecht 1753–1826

The Poultry Seller in a Gateway Signed lower left: A. van Stry Oil on panel 49.5 by 40.5 cm.

Provenance: With Dirven, Eindhoven, late 1960s, where bought by the father of the present owner.

€ 4.000–6.000

Art Europe | Old Masters | 172

145 At t r i b u t e d t o J e a n François Eliaerts Deurne/Antwerp 1761–1848 Antwerp

A Sumptuous Flower Still Life with a Crown Imperial, Poppy Anemones, Irises, Tulips, Auricular, Morning Glory and Other Flowers in a Stoneware Vase, Together with Butterflies and a Pineapple on a Marble Ledge Oil on canvas 117 by 89.5 cm.

This highly decorative still life with its abundance of colourful flowers, such as an imperial crown at the top together with the flamed (parrot) tulips, shows the stylistic influences of the most celebrated Amsterdam still life painter of the first half of the 18th Century, Jan van Huijsum (1682–1749). Van Huijsum also had a great following in Flanders later in the 18th Century with painters such as Eliaerts. The painter included a piece of exotic ‘new’ fruit here too, a pineapple. While fruits in general – fresh, dried, candied and jellied – were the major attractions of the community’s appetite and dining practices, the pineapple was the true celebrity. Its rarity, expense, reputation and striking visual attractiveness made it the ultimate exotic fruit.

Provenance: Anonymous sale, Munich, Hampel, 27 March 2009, lot 428; Sale, Munich, Hampel, 3 December 2010, lot 437.

€ 15.000–20.000

Art Europe | Old Masters | 173

Art Europe | Old Masters | 174

146 m At t h e u s i G n At i u s v A n b r e e Antwerp 1773–1839

An Allegory of Faith: an Elegant Lady in Classical dress, Standing with a Dog and a Stone Tablet, Possibly a Design for a Sculpture Inscribed on a stone tablet the figure is holding in pen and brown ink: Fidelité au Roi pen and brown ink over black chalk 342 by 194 mm.

This is a design for a sculpture showing a female figure standing in classical dress on a pedestal, she holds a large key in her right hand, and her left is supporting a tablet with the text ‘Fidelité au Roi’ (fidelity to the king), and just next to her is a dog (one of the ancient symbols of fidelity). Whether this sculpture was ever actually executed is not known.

Provenance: With J. Schreuder, Amsterdam, by 2013.

€ 1.000–1.500

147 d u t c h s c h o o l , l At e 1 8 t h c e n t u r y A Study of a Brown Butterfly; a Study of a Moth; and a Study of a Brown Butterfly Watercolour A set of 3, each circa 115 by 141 mm., sold together with a study of another butterfly (of similar dimensions, in a gold frame) (4)

€ 1.500–2.000

Art Europe | Old Masters | 175

148 thomAs robins the elder Cheltenham 1715–1770 Bath

A Study of Himantoglossum Hircinum Signed lower centre in pen and black ink: T. Robins Pinxt Watercolour and bodycolour over pencil, on vellum 415 by 299 mm.

This plant, which is still a considerable British rarity, was first recorded in 1641 by the great botanist Thomas Johnson (d.

1644). It has a striking appearance and can grow to over a metre tall! Until the beginning of the 20th century it was only to be found in Kent (U.K.). A monographic exhibition of Robins’ botanical watercolours was held at the Royal Institute of British architects (Heinz Gallery) in 1975: Gardens of delight: the art of Thomas Robins.

Provenance: Sale (‘The Property of a Gentleman’), London, Sotheby’s, 4 July 2012, lot 179.

€ 2.000–3.000 Art Europe | Old Masters | 176

149 Dutch School, 18th Century Six Butterflies Depicting Three Different Species, Both Male and Female All butterflies are inscribed underneath with pen and ink: A, B, C Watercolour 404 by 241 mm.

Depicted here are three different species of butterflies, of which we see both the female and male variant.

Provenance: Johannes le Francq van Berkhey (1729–1812), his sale, Amsterdam, Blinkvliet/De Winter a.o., 29 March 1785 (unknown lot), which included anatomical and national history prints, books, prints and watercolours.

This charming butterfly drawing has an illustrious provenance. It was once in the collection of Johannes le Francq van Berkhey, who was a doctor of medicine and natural history at Leiden University. He is however best known for his illustrations of natural history objects and was a voracious collector of these objects as well. As attested by the sale of (a part of) his collection in 1785 which contained 4470(!) lots and was subdivided in such categories as mammals, birds, amphibians, exotic shells etc., and even little dragons (‘Draco, Draakjes’ sic.)! This drawing may have been intended as a preliminary design for an engraving in Albertus Seba’s Thesaurus, vol. IV (the last two of the four volumes were published after Seba’s death, in 1759 and 1765). See note in Sotheby’s Amsterdam sale, 17 November 1993, under lot 181.

€ 2.000–3.000

Art Europe | Old Masters | 177

150 Ma t t h e u s Ig n a t i u s v a n B r e e Antwerp 1773–1839

A Sketch of a Greek Street Vendor, at Half–Length Inscribed in pen and ink at upper left: Portrait van een Greekschen Koopman and further inscribed in pen and ink with a description of the colours of his clothing and shoes along the right side Pen and brown ink 251 by 200 mm.

Born in Antwerp, Matthieu Ignatius van Bree was already a very famous artist in his own time. He first trained with Petrus van Regemorter and later with Francois Vincent in Paris, where he initially starting out in a French style with themes inspired by antiquity; he changed after the expulsion of the French in 1813 to painting historical pictures based on Dutch and Flemish history. He was also a counrt painter of the empress Joséphine Bonaparte in Paris. He later returned to Antwerp to become the director of the Antwerp Academy in 1827. Van Bree was one of the founders of the historical school of painting in Belgium and played an important role as a teacher in the development of 19th Century Belgian art.

His historical paintings were often of large dimensions and earned him a high reputation in his lifetime. He also painted more small–scale and colourful oil sketches and it is these works that are now most esteemed. He also made a few sculptures.This drawing was probably a study for a figure in one of Van Bree’s large scale paintings, as it indicates in detail the different colours of the man’s Greek costume. This detailed description also tells us that it was surely drawn after a actual model.

The sale of his estate took place in 1840 in Amsterdam and Van Bree had a considerable collection of paintings of both contemporaries, like B.C. Koekkoek and Van Regemorter (his teacher) and their predecessors of the 17th Century Willem van de Velde the Elder.

Provenance: Matthieu Ignatius van Bree, Antwerp, estate of the artist (L.1881; see F.L. Lugt, Les Marques des Collections de Dessins et d’Estampes, Amsterdam 1921 and 1956).

€ 1.000–1.500

Art Europe | Old Masters | 178

151 H e n d r i k ja n W o l t e r (Dutch 1873–1952)

View of a Harbor with Fishing Boats Signed lower left Oil on canvas 36.5 by 45 cm.

Provenance: Galerie Leffelaar, Haarlem; Private collection, the Netherlands

€ 4.000–6.000

Art Europe | 19th Century | 179

152 R Willem van den Berg (Dutch 1886–1970)

A Farmer Working the Land Oil on board 34 by 39.5 cm.

€ 5.000–7.000

153 Cornelis Albertus Johannes Schermer (Dutch 1824–1915)

Hussars in a Village Signed lower right Oil on canvas 63 by 107 cm.

€ 4.000–6.000

Art Europe | 19th Century | 180

154 Antonie Derkinderen (Dutch 1859–1925)

Announcement of a Marriage Signed and dated 1916 lower right Pastel and pencil on paper 51 by 90.5 cm.

€ 3.000–4.000

Art Europe | 19th Century | 181

155 Armand Guillaumin (French 1841–1927) St. Mammes Signed, titled and dated July 22 lower left Pastel and pencil on paper 23 by 31 cm.

Provenance: Private collection, the Netherlands

€ 5.000–7.000

Art Europe | 19th Century | 182

156 Henri Moret (French 1856–1913) La Côte de Nevez Signed, titled and dated ‘90 lower right Oil on canvas 51 by 62 cm.

This work will be included in the catalogue raisonné being prepared by Jean– Yves Rolland.

Henry Moret was a post–Impressionist painter of French origin, active in the Parisian art scene at the turn of the 19th century. He was a member of the Pont–Aven School and is best known for his vividly coloured landscapes of Brittany in Northern France.

Henry Moret was born in the port city of Cherbourg in Normandy in winter 1856. He was trained by the marine painter Ernest Corroller. Under Corroller’s guidance, Moret learnt the technique of painting ‘en plein air’ as perfected

by Jean–Baptiste–Camille Corot and Gustave Courbet and enrolled at the Ecole des Beaux–Arts in Paris in 1876, studying under Jean–Leon Gerome, Jean–Paul Laurens and Rudolf Lehmann. In 1880, he exhibited his work at the Salon in Paris, debuting with “La Plage de Locqueltas a Maree Basse; Cote de Bretagne.”

After completing his course at the Ecole des Beaux–Arts, Moret divided his time between the French capital and the picturesque Brittany, where he would frequently return to visit his friend and mentor, Corroller.

In 1888, he settled in Pont–Aven, home to a number of the era’s avant–garde artists including Emile Jourdan, Ernest de Chamaillard and Paul Gauguin.

Moret moved into the near by commune of Le Pouldu (now known as Clohars– Carnoet) which soon became the centre of creative activity for the Pont–Aven group, and became particularly close to Gauguin, whose Symbolist influence is apparent in Moret’s work from that period. Though he remained focused on marine landscapes and the grassy hillsides and cliffs of France’s Brittany Coast, his compositions began incorporating figurative elements missing in his earlier pieces. This can be seen in the current lot, Côte de Nevez, which is dated ’90 and typical for that period. The broad brushstrokes and contrasting colours bring the work to life, while the tiny figure, most probably a woman in the typical black–and–white Breton dress standing on the top of the cliff, seems small against the elements.

After Gauguin left the region in 1891, Moret returned to his original style, embracing nature as a force, capturing the dramatic scenes of the isolated coasts and valleys of Brittany.

Provenance: Galerie Abels, Cologne, where bought by the current owner in the 1960’s

€ 70.000–100.000

Art Europe | 19th Century | 183

Art Europe | 19th Century | 184

157 Gerrit Willem Dijsselhof (Dutch 1866–1924) A Parrot Fish Oil on panel 13 by 18 cm.

€ 900–1.200

Art Europe | 19th Century | 185

158 R frederic luce (French 1896–1974)

A portrait of the Painter Maximilien Luce behind his Easel Signed and dated 1929 lower right Oil on canvas 92 by 73.5 cm Exhibited: Paris, Galerie Berri–Raspail, shown as no. 67, Maximilien Luce. Portrait de M. Luce par Frederic Luce (according to a label on the reverse)

€ 6.000–8.000

Art Europe | 19th Century | 186

159 J a n A d r i aa n A n t o n i e d e L e l i e Amsterdam 1788–1845

A Couple in a Kitchen with a Woman Peeling Apples, and a Man Holding up a Piece of Salmon Signed and dated upper left: Jan de Lelie Ft 1816.

Oil on canvas 49 by 42.5 cm.

Provenance: Sale, Amsterdam, Fred. Muller, 5–11 May 1953, lot 372.

Exhibited: Amsterdam, Internationaal Cultureel Centrum, 1950–51 (according to 1953–sale catalogue; catalogue not found).

€ 3.500–4.500

Art Europe | Old Masters | 187

160 French School, 19th Century The Death of Adonis with the Three Graces Oil on canvas 34 by 38 cm.

Provenance: With Dirven, Eindhoven, late 1960s, where bought by the father of the present owner.

€ 1.000–1.500

161 F r e n c h o r G e r m a n S c h o o l, 18th Century A Still Life with a Candlestick, a Set of Dice, Playing Cards and a Glass of Beer Oil on canvas 29 by 23 cm.

€ 3.000–4.000 Art Europe | Old Masters | 188

162 A t t r i b u t e d t o J o h a n n i s d e B l aa u w Amsterdam 1712–1776

A Coastal Landscape with Dutch Sailing Ships Being Offloaded near the Beach, Other Ships Firing Salutes in the Background Indistinctly signed or inscribed lower right on piece of wood oil on canvas laid down on canvas 56.5 by 70 cm.

Provenance: Sale, Cologne, Lempertz, 17 November 2012, lot 1246.

€ 7.000–9.000

Art Europe | Old Masters | 189

163 Ba l t h a s a r Pa u l O m m e ga n c k Antwerp 1755–1826

A Shepherd and his Flock of Sheep and Goats Resting near Some Trees in a Panoramic Landscape at Sunset indistinctly signed lower left : B. Omme… oil on panel 53.8 by 69 cm.

€ 5.000–7.000

Art Europe | Old Masters | 190

164 At t r i b u t e d t o G e r r i t z e G e l A A r Loenen aan de Vecht 1719–1794 Wageningen

A Woman Nursing her Child in a Kitchen Interior near a Window Watercolour and bodycolour over pencil, on vellum 370 by 296 mm.

Gerrit Zegelaar was an 18th Century painter from Loenen aan de Vecht. This appears to be a personal copy by Zegelaar after a signed painting in the Städel Museum, Frankfurt am Main of circa 1774 (inv. no. 644; signed, oil on panel, 37.5 by 28.6 cm.; see M. Neumeister, Holländische Gemälde im Städel Museum 1550–1800. Band 3: Künstler geboren nach 1630, Petersberg/Frankfurt am Main 2010, pp. 564–570). According to Neumeister (see Literature below) this could a personal copy or replica by Zegelaar of the Städel painting.

An interesting article appeared in 2002 on Zegelaar and his oeuvre, see E. Munnig Schmidt, ‘Gerrit Zegelaar. Een 18e–eeuwse kunstschilder uit Loenen a/d Vecht’, in: Jaarboekje van het Oudheidkundig Genootschap ‘Niftarlake’, 2002, pp. 62–84.

Provenance: Sale (‘Intérieurs’), Paris, Christie’s, 23 April 2008, lot 68 (as Gerrit Zegelaar; as ‘signed and dated Gerrit Zegelaer Pinx & Deli: A 1774’ on the reverse of the mount’).

Literature: M. Neumeister, Holländische Gemälde im Städel Museum 1550–1800. Band 3: Künstler geboren nach 1630, Petersberg/Frankfurt am Main 2010, pp.

568–569, under note 18.

€ 800–1.200

165 french school, 1788 A Festive Trophy of Musical Instruments, Masks and Flowers, Designed for a Ball (Invitation?)

Inscribed an dated in red chalk: Paris 1788, inscribed in red chalk upper right: attribut d’un bal and again lower centre: Trophée/attribut d’un bal Red chalk over traces of pencil on bluish paper 356 by 201 mm.

€ 1.200–1.500

Art Europe | Old Masters | 191

166 Hermanus van Brussel Haarlem 1763–1815 Utrecht

A Study of a Seated Woman, Sleeping Black chalk 244 by 133 mm.

€ 1.200–1.800

Art Europe | Old Masters | 192

167 french school,18th century An Allegory of the river Nile with the Pyramids of Gizeh and the Sphinx Red chalk 240 by 208 mm.

Provenance: Sale, Dordrecht, A. Mak, 21 March 1989, lot 8.

₏ 1.500–2.000

Art Europe | Old Masters | 193

168 dutch school,18th century A Study of Nine Sea Shells, Including Murex Shells Watercolour and pen and ink 210 by 332 mm.

€ 4.000–6.000

Art Europe | Old Masters | 194

169 Da n i e l d e K e i j z e r Middelburg 1739–1809

A Costume Design Showing a Couple with the Woman Holding a Basket: ‘Nee Jekemine, als jij joe beuter en eijers te mert gebrogt hebt, zullen wi te geeren Annetieliesjes mert gaen houden’.

And Dirck van Oosterhoudt Tiel 1756–1830

A Costume Design Showing a Couple: ‘A Geldersche Farmer and his Wife Returning from Milking’ Both in pen and black ink and watercolour A set of two, each: 187 by 144 mm.

(2) These are elaborate colourful costume designs for an early 19th Century costume book, showing the various dress traditions of the provinces. It was compiled and edited by E. Maaskamp: Afbeeldingen van de Kleeding, Zeden en Gewoonten in de Bataafse republiek, Amsterdam 1808, plates 12 (Oosterhoudt) and 13 (De Keijzer).

Provenance: Sale, Amsterdam, Sotheby’s, 10 November 1998, lots 215 and 217.

€ 1.000–1.500

Art Europe | Old Masters | 195

170 F r a n z Xa v e r P e t t e r Vienna 1791–1866

A Blue and Yellow Tulip Dated and inscribed in black ink lower right: Wien den 17 März 1812 Watercolour 340 by 242 mm.

€ 800–1.200

Art Europe | Old Masters | 196

R

171

Georg Rueter (Dutch 1875–1966)

Still Life with Apples and Pears Signed upper right Oil on panel 38 by 55 cm.

€ 400–600

172 Edith Amy Hope (Australian 1870–1942)

Flower Still Life with A Green Mug and Porcelain Parrot Signed lower left Oil on canvas 61 by 51 cm.

€ 800–1.200

Art Europe | 19th Century | 197

173 R Otto van Rees (Dutch 1884–1957) A Flower Still Life Signed and dated ‘42 lower left Oil on board 51.5 by 41 cm.

€ 3.000–5.000

Art Europe | 19th Century | 198

174 R JAcob dooiJeWAArd (Dutch 1876–1969)

“Under the Umbrella” Signed and dated 1927 lower left Oil on canvas 86 by 80 cm.

It has been suggested that the lady portrayed is Mrs. Dooijewaard, during a stay with William and Anna Singer in Norway Provenance: With Kunsthandel Frans Buffa & Zonen, Amsterdam, no.

6164 (as “De Parapluie”) Private collection, The Netherlands

€ 5.000–7.000

Art Europe | 19th Century | 199

R

175

W i l l e m D o o y e waa r d (Dutch 1892–1980)

A Ballerina Lost in Thought Signed lower right Oil on canvas 101 by 50.5 cm.

Provenance: Sale, Amsterdam, Christie’s, 24 January 2006, lot 226

€ 4.000–6.000

176 R Leo Eland (Dutch 1884–1952) Rice Fields Signed lower right Oil on canvas 40 by 80 cm.

€ 1.500–1.800

Art Europe | 19th Century | 200

177 R JAAp GArdenier (Dutch b. 1930) “Zonnebloem” Signed with monogram lower right; signed again on the reverse: ‘Gardenier’ Oil on canvas 65 by 81 cm.

Provenance: With Kunsthandel M.L de Boer Amsterdam, no. 6881 Private collection, the Netherlands Exhibited: Amsterdam, Kunsthandel M.L de Boer, exhibition May–June 1966 as Zonnebloem (according to a label on the reverse)

€ 2.000–3.000

178 simon mAris (Dutch 1873–1935) Eef Signed, titled, dated March 1913 and inscribed Instantané upper right Oil on canvas 82 by 57 cm.

€ 2.000–3.000

Art Europe | 19th Century | 201

179 R Piet van der Hem (Dutch 1885–1961)

Portrait of Frans Hogerwaard (1882–1921) Oil on canvas 65.5 by 51 cm.

Literature: Elsevier’s Geïllustreerd Maandblad, 1939, illustrated on p.229

€ 4.000–6.000t

180 R Jan Sluijters Sr. (Dutch 1881–1957)

A Still life with Orchids in a Vase Signed upper left Oil on canvas 50 by 40 cm.

Provenance: Mrs. G.J.H. de Bordes–van Heel, The Hague; Thence by descent.

Exhibited: Kunstzaal van Lier, Amsterdam, no. 7. (T. J Sl. ‘ 40, inscribed on the label on the reverse); The Hague, Gemeentemuseum, Jan Sluijters, December 1941–January 1942, p. 28, no. 140 (both the above according to labels on the reverse).

€ 4.000–6.000

Art Europe | 19th Century | 202

181 R Ma r i e La u r e n c i n (French 1883–1956) Les Cavalieres Signed upper left Watercolor on paper 28 by 24 cm.

€ 16.000–20.000

Art Europe | 19th Century | 203

Art Europe | 19th Century | 204

Art Europe | 19th Century | 205

182 R A d r i aa n L u b b e r s (Dutch 1892–1954)

Snow in Central Park Titled and numbered I/XXV lower left, signed, inscribed and dated Paris 1900 lower right Lithograph 13 by 18 cm.

€ 400–500

183 R Willem Minderman (Dutch 1910–1985)

“Ontginning te Ruurlo” Signed, titled, dated 1942 and inscribed (v. Velzen) lower left Oil on canvas 88 by 113 cm.

€ 4.000–6.000

Art Europe | 19th Century | 206

78 H e n r i e t t e

Ronner–Knip–

P.108

Experts for THREE

O l d m a s t e r & 1 9 t h c e n t u r y pa i n t i n g s a n d d r a w i n g s

Ba u k j e c o e n e n

Hélène van der Ven

Old Master Paintings & Drawings

19th Century Paintings

Baukje has been in the art business for over 20 years, as an Old Masters specialist. She completed her MA in Art History at the University of Amsterdam in 1996, specializing in paintings and drawings from the 15-18th Century. Starting in the Old Master Paintings Department at Sotheby’s, New York followed by Sotheby’s, London, Baukje was appointed Head of the Old Master Paintings and Drawings department in the Amsterdam office in 1997, conducting sales in Amsterdam and also contributing to several important Old Master Paintings sales in London, New York and Paris.

Hélène has more than twenty years of experience in the art world. After finishing her MA in Art History at the University of Leiden, she worked for more than 15 years as a Senior Paintings Specialist at Sotheby’s London and Sotheby’s Amsterdam. Her areas of expertise include both 19th Century European Paintings and Modern and Contemporary art. She has contributed to many important sales, including the Collection of Koninklijke Bijenkorf Beheer KBB.

In 2007 Baukje left Sotheby’s to pursue her career as a certified appraiser, and researching Old Master paintings and drawings for private and institutional collections. She has also written publications on 17th Century Dutch drawings.

At present Baukje works as an independent consultant, providing appraisal and research services to privates and international art advisory firms such as Pall Mall Art Advisors (London) and as an auction expert for Art Europe Auctions (Amsterdam).

Art is not just her work, but very much her passion, as her children can testify… :) She loves quality in every aspect of art & life.

In 2010 she started her own firm Hélène van der Ven Fine Art Consultancy. As an independent consultant, she advises international private and institutional collectors on buying and selling fine art and creating rounded, high quality collections. She also provides appraisals and research services. With her clients she visits international fairs, including Frieze London, Art Dubai and Tefaf Maastricht. She regularly lectures and conducts masterclasses on the topic of collecting and writes a monthly column about art for Residence magazine.

For Art Europe Auctions she is auction expert in the field of fine art.

Her secret tip when buying art? “A pair of lovely, flat shoes, making all this walking around at fairs and auctions a walk in the park”.

Art Europe | Old Master & 19th Century Paintings and Drawings | 209

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Frans Leidelmeijer Design & Applied Arts

Christiaan van Rechteren Limpurg Furniture & Decorative Arts Rob Sneep Modern & Contemporary Hélène van der Ven European Paintings

Index A Allegrain, Etienne, 51 Anglo-Dutch School, 98 Artz, David Adolph Constant, 64 B Bastert, Syvert Nicolaas, 111 Battem, Gerrit, 119 Bauer-Stumpff, Jo, 91 Bauer, Marius, 139 Bauffe, Victor, 105 Beelt, Cornelis Symonsz., 29 Bellevois, Jacob, 24, 125 Bemmel, Willem van, 114 Berg, Willem van den, 152 Bergh, Gillis Gillisz. de , 83 Besnard, Albert, 59 Blaauw, Johannis de, 162 Blinn, Francois, 58 Bock, Theophile de, 107 Bodeman, Willem, 76 Bree, Mattheus Ignatius van, 146, 150 Breen, Adam van, 70 Brussel, Hermanus van, 167 C Cardon, Charles-Léon, 12 Cate, Pieter ten, 75 Cock, César de, 43 Coignet, Jules, attributed to, 37 Coninck, Andries de, 54 Coques, Gonzales, 48 Croos, Anthonie Jacobsz. van der , 128 D Delfgaauw, Gerard Johannes, 132 Derkinderen, Antonie, 154 Destrée, Johannes Josephus, 17 Diaz de la Pena, Narcisse Virgile, 40 Dijsselhof, Gerrit Willem, 157 Dooijewaard, Jacob, 174 Dooyewaard, Willem, 175 Droochsloot, Joost Cornelisz., 25 Dutch School, 112, 147, 149, 168 Duyster, Willem Cornelisz., 99 E Eland, Leo, 177 Eliaerts, Jean François, 145 Fesser, Josephine, 80 F Flemish School, 48 Francia, Alexandre, 79 French School, 160, 165, 167, G Gardenier, Jaap, 177 German School, 1, 161, Gestel, Leo, 184 Gillemans, Jan Pauwel, 52 Gobert, Pierre, 46 Goerée, Jan, 116 Goltzius, Hendrick, 7 Govaerts, Abraham, 4 Goyen, Jan van, 86, 100, 185 Guillaumin, Armand, 155

H Heeremans, Thomas, 122 Heimbach, Wolfgang, 82 Hem, Piet van der, 179 Hoff, Jan Theunisz., 126 Hoog, Bernard de, 133 Hope, Edith Amy, 172 Horrix, Hendrik Mattheus, 88 Hove, Huib van, 34 I Israels, Isaac, 109 J Jansen, Hendrik Willebrord, 94 Jongh, Ludolf de, 123 Jongkind, Johan Barthold, 81 K Kaemmerer, Frederik Hendrik, 34 Kate, Herman Frederick Carel ten, 42 Keijzer, Daniel de, 169 Klinkenberg, Johan Christiaan Karel, 59, 60, 61 Koekkoek, Willem, 15, 72 Koets, Roelof, 22 Koogh, Adrianus van der, 74 Krabbé, Hendrik Maarten, 101 L Laemen, Christoffel Jacobsz. van der, 47 Laurencin, Marie, 181 Leemans, Anthonie, 129 Leickert, Charles, 18, 32, 41 Lelie, Jan Adriaan Antonie de, 159 Lemke, Johann Philip, 115 Leurs, Johannes Karel, 110 Looy, Jacobus van, 142 Lubbers, Adriaan, 183 Luce, Frederic, 158 M Maes, Nicolaes, 31 Maris, Jacob, 106, 108 Maris, Simon, 178 Mauve, Anton, 137 Merian, Maria Sybilla, 68, 69 Mesdag, Hendrik Willem, 103 Mieris the Elder, Frans van, 27 Minderman, Willem, 183 Molenaer, Nicolaes, 28 Molijn, Pieter de, 21 Momper III, Jan de, 113 Moret, Henri, 159 Muhrmann, Ludwig, 96 Mulier the Younger, Pieter, 117 N Nakken, Willem Carel, 93, 131, 134 Netherlandish School, 3, Noltee, Cor, 135 North Netherlandish School, 120 O Ommeganck, Balthasar Paul, 163 Oosterhoudt, Dirck van, 70 Ormea, Willem, 30

P Petter, Franz Xaver, 170 Pijnacker, Adam, 66 Poggenbeek, Geo, 102 Potter, Pieter Symonsz., 23 Pseudo-Simons, 53 Pynas, Jan, 2 R Raaphorst, Cornelis, 62 Reekers, Hendrik, 16 Rees, Otto van, 174 Regteren Altena, Marie van, 90, 95 Robins the Elder, Thomas, 148 Rochussen, Charles, 33 Roelofs, Willem, 130 Roestraeten, Pieter Gerritsz. van, 127 Ronner-Knip, Henriette, 35, 78 Roosenboom, Albert, 11 Rueter, Georg, 171 S Saeys, Jacob Ferdinand, 84 Saintin, Louis Henri, 57 Sande Bakhuysen, Geraldina van de, 38, 65, Schelfhout, Andreas, 55 Schendel, Petrus van, 77 Schermer, Cornelis Albertus Johannes, 153 School of Bruges, 6 Simons, Michiel, 26 Sluijters, Jan, 181 Spohler, Jan Jacob, 10, 20, Spohler, Jan Jacob Coenraad, 36, Stoop, Dirk, 124 Stortenbeker, Pieter, 104 Struyck, Nicolaas, 67 T Tavenraat, Johannes, 73 Teniers the Younger, David, 49 V Valkenborgh, Lucas van, 8 Velde the Elder, Willem van de, 71 Velde, Peter van de, 50 Venne, Adriaen Pietersz. van de, 87 Verendael, Nicolaes van, 45 Verschuur, Wouterus, 19 Verster, Floris, 97 Vertin, Petrus Gerardus, 14 Verveer, Salomon Leonardus, 13 Vlieger, Simon de, 118 Vreedenburgh, Cornelis, 138 W Waay, Nicolaas van der, 89 Wolter, Hendrik Jan, 151 Wonder, Pieter Christoffel, 143 Wouters, Frans, 44 Wouwerman, Pieter, 121 Z Zegelaar, Gerrit, 164

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G LOSS A RY OF C A T A LO G UIN G TERMS

Art Europe Auctions, the auctioneers, are always pleased to discuss individual lots with prospective purchasers prior to the auction and will provide condition reports on request. If you require clarification of any terms employed in the catalogue please do not hesitate to seek advice. e auctioneers are also pleased to discuss lots which may have been altered, repaired or restored.

The term basically used in conjunction with a date (ie. basically 18th century) indicated that, in our opinion, the item may have undergone restoration, repair, or alternation. It also indicates that only an element of the piece may date from the period stated in the description. e absence of the term basically does not imply that an item is without restoration, repair, or alternation. e use of inverted comas around the work or phrase (ie. “pearl”) indicates that the piece, or object, may not be what it is purporting to be (ie. a simulated pearl). If you are in doubt out specialists are available prior to the auction to o er guidance and advice.

Care is taken to ensure that any statement as to authorship, attribution, origin, date and provenance is reliable and accurate, but all such statements are statements of opinion and are not to be taken as statement or representations of fact.

ART EUROPE AUCTIONS reserve the right, in forming their opinion, to consult and reply upon any expert or authority reasonably considered by them to be reliable. Descriptions of property in this catalogue do not always indicate condition, repair or damage. Buyers are earnestly advised to inspect personally any lot they intend to purchase. Weights and measurements are approximate and should be verified by intending purchasers.

P A INTIN G S , DR A W IN G S A ND PRINTS

* A work catalogued with the forenames(s), surname and dates of recognized designation of an artist is, in our opinion, a work by the artist, e.g. REMBRANDT HARMENSZ. VAN RIJN * Attributed to REMBRANDT HARMENSZ. VAN RIJN... in our opinion a work of the period of the artist which may be in whole or in part the work of the artist. * Studio of REMBRANDT HARMENSZ. VAN RIJN ... in our opinion a work by an unknown hand, which may have been executed in the studio of the artist. * Circle of REMBRANDT HARMENSZ. VAN RIJN ... in our opinion a work from the period of the artist and showing his in uence. * Follower of REMBRANDT HARMENSZ. VAN RIJN ... in our opinion a work executed in the style of the artist but not necessarily by a pupil. * Manner of REMBRANDT HARMENSZ. VAN RIJN ... in our opinion a work of the artist but of a later date. * After REMBRANDT HARMENSZ. VAN RIJN ... in our opinion a copy of any date after a work by the artist. * Signed/inscribed/date REMBRANDT HARMENSZ. VAN RIJN ... in our opinion the work has been signed/ inscribed/ dated by the artist. * Bears signature/inscription/date REMBRANDT HARMENSZ. VAN RIJN ... in our opinion the signature/inscription/date are probably not by the hand of the artist. * e addition of a question mark (?) after any of the catalogue terms in the above glossary indicates an element of doubt. * e term ‘ascribed to’ may in certain cases be used to denote a traditional attribution based on style.

* A work catalogued as ‘School’ accompanied by the name of a place or country and a date mean that in our opinion the work was executed at that time and in that location, e.g. Dutch school, circa 1700.

All reference to signatures, inscriptions and dates refer to the present state of work, i.e. as at the time of inspection for the purpose of cataloguing. e use of inverted comas around the name of an artist, or date, in connection with a signature, or inscription (ie. Signed “REMBRANDT HARMENSZ. VAN RIJN”) indicates that the signature, or inscription, may have been added by another hand.

FOR FURNITURE A ND OB J ECTS OF A RT A LOUIS XIV WALNUT MARBLE TOP COMMODE, EARLY 18TH CENTURY This heading, with the inclusion of the date, means that in Art Europe’s opinion the piece is of that period and has not been significantly altered or restored A LOUIS XIV WALNUT MARBLE TOP COMMODE This heading, without the date included, means that in Art Europe’s opinion the piece is basically of the period and has been significantly restored or altered.

A LOUIS XIV STYLE WALNUT MARBLE TOP COMMODE This heading, with the word “STYLE” included, means that in Art Europe’s opinion the piece is an intentional reproduction of an earlier style.

Art Europe does not accept liability for failing to describe any alteration or addition to a Lot which is concealed by upholstery, gilding or painted decoration and could only be detected by physically dismantling the Lot.

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Conditions of Business for Buyers 1. Introduction Art Europe Auctions B.V. (AEA or the Company) carries on business, including the conduct of Auctions, on the following general conditions.

2. definitions` * Bidder is any person making, attempting or considering making a bid * Buyer is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent * Seller is the person offering a lot for sale, including their agent, or executors * AEA means Art Europe Auctions B.V. registered KNSM Laan 121, 1019 LB Amsterdam, The Netherlands * Buyer’s Expenses are any costs or expenses due to AEA from the Buyer * Buyer’s Premium is the commission payable by the Buyer on the Hammer Price at the rate set out in the Guide for Prospective Buyers * Hammer Price is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price * Purchase Price is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses. * Reserve Price is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT where applicable.

3. examination of lots AEA’s knowledge of lots is partly dependent on information provided by the Seller and AEA is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of AEA’s opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at AEA’s absolute discretion.

4. Exclusions and limitations of liability to Buyers AEA shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of AEA’s Authenticity Guarantee. Subject to this neither AEA nor the Seller: *is liable for any errors or omissions in any oral or written information provided to Bidders by AEA, whether negligent or otherwise ** gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded other than the express warranties given by the Seller to the Buyer under the Conditions of Business for Sellers *** accepts responsibility to Bidders for acts or omissions by AEA in connection with the conduct of auctions or for any matter relating to the sale of any lot.

Without prejudice to the above Condition any claim against AEA and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot.

Neither AEA nor the Seller shall be liable for any indirect or consequential losses.

5. bidding at auction AEA has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as AEA requires.

Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case AEA’s prior and express consent must be obtained). AEA advises Bidders to attend the auction, but AEA will endeavour to execute absentee written bids provided that they are, in AEA’s opinion, received in sufficient time and eligible form. When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to AEA’s other commitments; AEA is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. When available online bidding is offered as a free service via our website arteuropeauctions.com or via other online platforms like www.invaluable.com or www. thesaleroom.com . For further information we refer to the additional terms and conditions for online bidding published on our website.

6. Import, Export and Copyright Restrictions a. AEA and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other license required by law, including licenses required under the Convention on the International Trade in Endangered Species (CITES).

7. Conduct of the Auction a. The auctioneer has direction to refuse bids, withdraw re-offer lots for sale (including after the fall of the hammer) if he believes that there may be an error or dispute, and may also take such other action as he reasonably deems necessary. b. The auctioneer will commence and advance the bidding in such increments as he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. c. Subject to Condition, the contract between the Buyer and the Seller is concluded on the striking of the auctioneer hammer. d. Any post-auction sale of lots shall incorporate these Conditions of Business.

8. Payment and Collection a. Unless otherwise agreed in advance, payment of the Purchase Price is due in euros immediately after the auction (the “Payment Date”) b. Title in a lot will not pass to the Buyer until AEA has received the Purchase Price in cleared funds. AEA will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price as above. c. The refusal of any license or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8a. d. On receipt of cleared funds, the buyer may collect lots from the saleroom during the

auction and immediately after its completion. (see Important Notice for Bidders and Buyers).

Thereafter all purchased lots will be transferred to AEA’s appointed shippers and independent storers, details of which are printed in the auction catalogue or available on request. Purchased lots in the possession of the appointed company will be subject to their own Conditions of Business and insurance arrangements. e. All packing and handling of lots is at the Buyer’s risk. AEA will not be liable for any acts or omissions of third party shippers, storers or packers.

9. REMEDIES FOR NON PAYMENT Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, AEA may in its sole discretion exercise one or more of the following remedies: a. store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; b. cancel the sale of the lot c. set off any amounts owed to the Buyer by AEA against any amounts owed to AEA by the Buyer for the lot; d. reject future bids from the Buyer; e. charge interest at a rate equal to the legal interest rate from the moment he is in default. f. re-sell the lot by auction or privately, with estimates and reserves at AEA’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale, including any shipping, storing, packing, insurance and handling fees owed to third parties; g. commence legal proceedings to recover the Purchases Price for the lot, plus interest and legal costs proceedings.

10. Data Protection AEA will use information supplied by Bidders or otherwise obtained lawfully by AEA for the provision of auction related services, client administration, marketing and as otherwise required by law.

11. Miscellaneous a. All images of lots, catalogue descriptions and all other materials produced by AEA are the copyright of AEA. b. All notifications and communications to AEA shall be made in writing. c. These Conditions of Business shall be interpreted in accordance with Dutch Law. Art Europe Auctions B.V. Authenticity Guarantee If AEA sells an item of Property which is later shown to be a “Counterfeit” subject to the terms below AEA will rescind the sale and refund the Buyer the total amount paid by the Buyer to AEA for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

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I m p o r ta n t I n f o r m at i o n f o r B i d d e r s a n d B u y e r s CONDITION OF BUSINESS All lots are offered subject to Art Europe Auctions B.V. Conditions of Business which are printed in the catalogue.

BUYERS PREMIUM & VAT A buyer’s premium of 24,2% is applicable to all lots in this sale. The buyer’s premium is including VAT (currently 21%). Lots are normally offered for sale under the auctioneer’s Margin Scheme. This means that VAT is charged only over the buyer’s premium.

Lots which are marked with a VAT Symbol (V) indicate that VAT is payable by the purchaser at the standard rate (21%) on the hammer price as well as being an element in the buyer’s premium.

Lots which are marked with a double VAT symbol (VV) indicate that the lot has been imported from outside the European Union. VAT charges on these lots always include the hammer price as well as the buyer’s premium.

ARTIST’S RESALE RIGHT Purchase of lots marked with the following symbol R will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows: Royalty 4.00% up to 50.000 3.00% between 50.000 and 200.000 1.00% between 200.000 and 350.000 0.50% between 350.000 and 500.000 0.25% in excess of 500.000 The Buyer agrees to pay AEA an amount equal to the resale royalty. Resale royalty applies where the price realized (Hammer and Premium) is 3,000 Euro or more.

BIDDING IN PERSON To bid with us you must register to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity and you will be given a paddle number. All lots sold will be invoiced to the name and address in which the paddle has been registered and may not be transferred to other names and addresses.

If you instruct an agent to bid on your behalf you will need to provide a letter of authority and they will also need to provide proof of identity. AEA reserves the right to refuse bids.

ABSENTEE BIDS Art Europe Auctions will be pleased to execute bids on behalf of those clients unable to attend the sale in person. All bids must be submitted in writing in good time and lots will always be purchased as inexpensively as possible (depending on any other bids received, reserves & competition in the salesroom). It will be possible to arrange auction room telephone bidding, but subject always to availability. These services are offered free of charge and are subject to our Conditions of Business.

their paid purchases at the place of sale, Amtrium RAI Amsterdam, Europaplein Amsterdam during the sale or immediately after.

Collection is not possible on Tuesday the 24th of may. Purchases not directly collected on the 22nd of may or 23rd of may will be collected by our preferred shippers and stored at their warehouses (see below). As from the 25th of may your purchased lot can be collected at the premises of our preferred Art Shippers. From this moment onwards, their general terms and conditions will apply.

PAYMENT Payment is due in Euro’s immediately after the sale and before purchases can be released.

Payments in person can be made in the saleroom on the day of the auction in cash, debit Card or Credit Card.

Paintings and drawings Art Handling Services B.V. Haverstraat 7 2153 GB Nieuw-Vennep T: +31 (0)252-674040 @: info@arths.nl Open every weekday Opening Hours: 10:00 - 17:00

Credit Card We are pleased to accept all major credit cards. A surcharge will be made to cover the charge made to us by the creditcard company or bank.

Debit Card We accept Debit Card payments. Their is no charge for payment by Debit Card.

Cash Cash payments will not be accepted above 10.000 Euro’s.

Shortly after your successful bid in the auction you will receive an email with: The Invoice (hammerprice, buyer’s premium and applicable taxes); Payment instructions, property collection notice and shipping information.

Electronic transfers may be sent directly to our bank: ABN AMRO Bank Leidseplein 29 Amsterdam The Netherlands IBAN: NL31ABNA0453211550 BIC Number: ABNANL2A Account name: Stichting Derdengelden Art Europe Auctions COLLECTIONS AND SHIPPING Buyers are urgently requested to pay and collect

Decorative art and furniture Neumann & Vettin Langs de Werf 18-20 1185 XT Amstelveen T: +31 (0) 20- 6407584 @: info@neumannenvettin.nl Open every weekday Opening Hours: 10.00 - 17:00 Jewellery For collecting your purchased lot(s) an individual appointment must be made. Please contact our office for further information.

Storage costs will be charged for purchased lots from the 1st of june 2016. * Fixed fee for warehousing and administration: €15,00 per lot * Storagecharges per day: € 1,50 per lot Above mentioned prices are excluding VAT (21%) and payable in advance by bankwire.

Art Handling Services B.V. and Neumann & Vettin can arrange delivery for purchased lots.

Please contact them directly at above mentioned phonenumber or emailaddress.

A r t E u r o p e A u c t i o n s B . V. A u t h e n t i c i t y G u a r a n t e e If AEA sells an item of Property which is later shown to be a “Counterfeit” subject to the terms below AEA will rescind the sale and refund the Buyer the total amount paid by the Buyer to AEA for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in AEA reasonable opinion is an imitation created with intent to deceive. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/ or modification work. To claim under this Guarantee, the Buyer must notify AEA in writing within one month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and return the Property to AEA in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale. AEA may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognized experts in the relevant field.

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100 J a n

v a n G o y e n – P.132

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