Theo Daatselaar Catalogue 2014 by Daatselaar

Fine Arts and Antiques | Certified Appraiser

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is a joy forev eauty er b f o

Fine Arts and Antiques | Certiﬁed Appraiser

CINOA

t is our great pleasure to present you our catalogue 2014.

As generalists we always strive to present a varied and high end collection of Fine Arts and Antiques, primarily puchased from notable private collections. It is our privilege to be surrounded by these exceptional objects daily, which are part of our history. The craftsmanship they were made with can be detected in these unique pieces. Each item has its own story and is reminiscent of the past. We often wonder about our objects: “Who used to light the candles in the candelabra?”(p.66). “What sort of letters have been written at the bureau and by whom?”(p.78). “How many people dreamed away by the ceiling painting?”( p.12). With this catalogue we want to give you an impression of some highlights in our collection and share our love for the Fine Arts and Antiques. We are looking forward to welcome you in our gallery or at TEFAF Maastricht and PAN Amsterdam, the fairs we participate in. Please, feel free to contact us for any additional information by phone 0031 (0)6 54 39 4 108 or by email info@daatselaar.com.

Theo & Ilse Daatselaar

A DUTCH HALL BENCH 1st quarter 18th century | oak | 125 x 215 x 45 cm

This beautifully carved hall bench with symmetrical decorative scrolls, latticework and leaf and flower motifs with pomegranates, is centred by a crowned medallion with a man on horseback. The armrests are adorned with fauns and acanthus leaves, terminating in mermen with curled tails. The majestic crown at the top of the back forms the completion of the decorative bench. Around 1690, hall benches came into fashion due to changes in the Dutch interior. The bench was intended for the hall, a broad aisle which functioned as a reception room, where the first impression of the ownerâ&#x20AC;&#x2122;s status was revealed. These wooden benches with beautifully carved backs fitted well against the white stucco walls and marble floors. The colour of the bench, then, matched that of the doorframes to the adjacent rooms. This type of bench presumably was commissioned by the owners of the house.

The ornamentation of the back of the bench was derived from designs by Daniël Marot as published in Marot’s Nouveau Livre d’Appartement (1703). The maker of this hall bench used special designs by Marot for the central motif of a cavalier and crown. These designs were made for William III, King of England. They were used for tiles in Hampton Court. Several of these tiles are now in the collection of the Rijksmuseum. Daniël Marot was the son of Jean Marot (1619-1679), a French architect and a Hugenot. He designed several interiors in Holland. He lived in The Hague and his influence on designs in the Louis XIV style in the first quarter of the 18th century was enormous. His designs for the gardens of the palace Het Loo in Apeldoorn (the Netherlands) are famous. There are striking similarities between this finely carved oak bench, not the easiest wood type to handle, and the carvings found in several Amsterdam Houses designed by Ignatius van Logteren (?-1732) and his son Jan (17091745) and manufactured in their workshop. Especially the interiors of Meer and Berg in Heemstede are closely tied to the maker of this magnificent hall bench. For example, the garden bench which is now in the collection of the Rijksmuseum, the wooden chest at Herengracht 168 and the carvings for Oostermeer in Ouderkerk aan de Amstel show similar features.

Provenance: Salomon Stodel Antiquites, circa 1977 Duth private collection Associated literature: P.M.Fischer, Ignatius en Jan van Logteren beeldhouwers en stuckunstenaars in het Amsterdam van de 18de eeuw.

MATTHEUS TERWESTEN (1670-1757) and GASPAR PEETER VERBRUGGEN II (1664-1730) CEILING PAINTING WITH PUTTI AND FLOWERS 1st quarter 18th century | oil on canvas | 284 cm diameter This attractive circular ceiling painting shows a clouded sky with three putti , supporting a basket with flowers. The clouded sky is surrounded by a stone balustrade, consisting of four protruding parts, alternating rows of terra-coloured balusters. Above the balustrade a fourth putto can be seen. The baskets on the balustrade contain various flowers like roses, peonies, garden anemones, marigold, amaranthus, hibiscus, poppies, nasturtium, chestnut and orange blossoms with oranges. The ceiling painting is of the hand of The Hague painter Mattheus Terwesten. After his education Terwesten left for Rome ,where he became a member of the Bentvueghels, with the name Eagle. The Bentvueghels (Dutch for “Birds of a Feather”) was a society of mostly Dutch and Flemish artists active in Rome from about 1620 till 1720. They are also known as the Schildersbent (“painters’ clique”). The members, who were painters, etchers, sculptors and poets, all lived in different parts of the city and gathered for social and intellectual reasons. Its members were amongst others Jan Asselyn, Jan van Bijlert (one of the founders), Jacob Jordaens, Isaac de Moucheron, Jacob Toorenvliet and his brother Augustinus Terwesten with the name “Patrysvogel” (“Partridge”). The journey brought Mattheus Terwesten through Berlin, where his brother, Augustinus Terwesten (1649-1711), was successful as court painter of Frederik I of Prussia. Mattheus also painted some works here. After his return to The Hague in 1699 he became a sought-after painter of ceilings and other decorative works. According to the 18th-century artists biographer Johan van Gool there was ‘in den Haeg nauelyks een aenzienlyk huis, of het praelt met zyne Kunstwerken’, meaning that in almost every prominent house a painting by Mattheus Terwesten could be found. Of these paintings, only a handful has remained intact. For example the ceiling painting in Koepel van Fagel, found in the gardens of Palace Noordeinde; the painting in the old City Hall located at the Groenmarkt; and the one found in Huis Schuylenburch, currently the residence of the German ambassador. The success of Terwesten was not limited to The Hague only. He had commissions throughout The Netherlands. The flowers and fruit in the painting are attributed to the Antwerp painter Gaspar Peeter Verbruggen II, who stayed in The Hague from 1706 till 1723. He became master of the Antwerp Guild of St. Luke in 1677, when he was only aged 13, and became its deacon in 1691. He worked frequently with Mattheus Terwesten. Verbruggen also painted the flower garlands in the earlier mentioned Koepel van Fagel. Since the 17th century balustrades have been a frequently used motif in the Netherlands. In 1622 it was firstly used in ceiling paintings by the Utrecht painter Gerard van Honthorst (1592-1656), of which one is now on display in the Paul Getty Museum in Los Angeles.

In 1622 Van Honthorst had just returned from his journey to Italy, where he must have seen those balustrades. This motif quickly followed the example, as can be seen in the Honselaersdijk palace in Naaldwijk. This palace was commissioned by stadtholder Frederik Hendrik in the 1630s. In the 19th century this palace was demolished, but thanks to the designs it is known that the great hall had a ceiling painting with a trompe lâ&#x20AC;&#x2122;oeil balustrade. The balustrade stayed in fashion till the first half of the 18th century, as this ceiling painting of Terwesten shows us. Picture of the ceiling painting in its original setting in 1908 at Hooglandse Kerkgracht 22, Leiden.

Till 1917 this ceiling painting hung in the inner chamber of the mansion Hooglandse Kerkgracht 22 in Leiden, the Netherlands. The painting was mounted in a stucco ceiling which was applied shortly after 1751, regarding its rococo style. In 1751 the house came into possession of Michiel van Bommel (1669-1763). Another ceiling painting by Terwesten, depicting Aurora, adorned the front room of the house. Since 1956 it can be found in one of the rooms of the Ontvangershuis of the Drents Museum Assen, the Netherlands. Because the flowers of the inner chamber ceiling painting are attributed to Caspar Peeter Verbruggen II, who stayed in The Hague till 1723 and passed away in 1730, this ceiling painting can be dated before the applied stucco ceiling. If the painting had already been mounted in Hooglandse Kerkgracht 22 before Michiel van Bommel moved in, is unknown. What is known, is that older ceiling paintings were often surrounded by contemporary stucco in the 18th century. For a long time Mattheus Terwesten was not identified as the artist of the two ceiling paintings of Hooglandse Kerkgracht 22. In 1915 this ceiling painting was attributed to Jacob de Wit, and the ceiling painting with Aurora was attributed to Gerard de Lairesse (16401711). In 1917 the house came into possession of Constant Willem Lunsingh Scheurleer, then professor in Greek archeology in Leiden. Almost immediately he removed the two paintings from the house, as it was said to, preserve them for posterity. Two years later the house was sold again. Before 1961-1962 the painting was acquired by Cornelis Johannes baron Schimmelpenninck van der Oye (1906-1987) as an anonymous work and was rolled up. Schimmelpenninck van der Oye was a stock broker and an art collector. The new owner had the ceiling painting restored by Pieter de Dood in Amsterdam, and finally had it hung in his study in his house Hofstetten in Ellecom, the Netherlands.

Provenance: Hooglandse Kerkgracht 22, Leiden, the Netherlands. In 1751 the ceiling painting was placed in a rococo ceiling by Michiel van Bommel (1669-1763); â&#x20AC;Ś ; 1917, Constant Willem Scheurleer (1881-1941) removed the painting from the house; â&#x20AC;Ś ; before 1961/1962 acquired by Cornelis Johannes baron Schimmelpenninck van der Oye (1906-1987) in Amsterdam.

A SET OF TEN DUTCH LOUIS XVI CHAIRS circa 1790 | mahogany A Dutch set of mahogany chairs inspired by the French type of chairs known as Chaise en Cabriolet. Characteristic for cabriolet chairs is the hallowed back. The chairs are beautifully carved with at the top of the back a bow and in the seat trail an ornament. The legs are finely carved as well and the arm rest is bent like a shepherdâ&#x20AC;&#x2122;s crook. These Dutch chairs were described as French chairs in the late 18th century. Provenance: Dutch private collection

LODEWIJK FRANCISCUS HENDRIK (LOUIS) APOL (The Hague 1850 - 1936) A RIVER LANDSCAPE IN WINTER oil on canvas | 100 x 136 cm

Louis Apol was famous for his winter scenes. This painting is a great example of his skills. A wintery sun shines through the trees. On the flat river a boat is pulled by a horse, walking on the snowy path next to the water. Behind the path full of trails in the snow are houses behind trees. On the opposite side of the river is a mansion and in the distance a windmill. In everything this picture reminds us of the river Vecht between Loenen and Maarssen. Louis Apol had his breakthrough at the age of 24 with a winter landscape at an exhibition of living masters in Amsterdam. His winter paintings were such a success and so real that he was invited to paint on the scientific expedition of the ship Willem Barendsz to Nova Zembla in the summer of 1880. All the watercolors and drawings he made on this journey were a great source of inspiration throughout his career. He painted a panorama of Nova Zembla with a stuffed polar bear and wooden huts near Artis, the Amsterdam zoo. This panorama was on view for many years and a great success. For his forest scenes and other winter scenes he used photos of snow and snowy landscapes. His photos enabled him to paint snow in a very natural way in all its varieties. Drifts against some reeds, snow lying on a pole or on a branch or trampled snow on a path. Even in this painting all these various types have been painted to perfection. This painting used to belong, probably even from its origin, to D.J. van Houten (1861-1939), a chocolate factory owner in Weesp. Member of parliament Van Houten lived in the Villa Casparus in Weesp. This huge mansion with 99 rooms was constructed between 1887 and 1901 after a design by the Amsterdam architect Abraham Salm. When van Houten died in 1939, his furniture and paintings including this painting by Apol were put up for auction Provenance: Collection D.J. van Houten Sr., Weesp His auction October 3-6 1939, Olthoff Waltmann and Co Hilversum, lot no. 877 Private collection Auction December 10-13 1974, A. Mak Dordrecht, lot 3 Private collection Literature: P.A. Scheen, Honderd jaren Nederlandsche Schilder- en Teekenkunst, Den Haag 1946, plate 262

A CAPE CABINET last quarter 18th century | stinkwood, amboina, satin wood, oak and pine | silver escutcheons and handles by DANIEL HEINRICH SCHMIDT (1741-1811) | 255 x 180 x 75 cm

A Cape cabinet with the original silver escutcheons and handles is rather rare. The fact that its maker is Daniel Heinrich Schmidt makes this cabinet even more special, since he was one of the leading silversmiths in the Cape. Cabinets or armoires as they are called in the Cape, are the finest pieces of furniture made in the Cape, on par with anything made in Amsterdam or Germany at that time. That is where most cabinetmakers in the Cape probably came from, but only a few names of these craftsmen are known. From the mid-18th till early 19th century a typical Cape style in houses, mainly farms, and in cabinets evolved, showing an interesting fusion of styles from Europe and the Cape. Daniel Heinrich Schmidt was born in Strelitz, Germany. He arrived in the Cape as soldier in 1768 and served as a sword-cutler in the service of the VOC (Dutch East India Company). In 1778 he received his burgher rights as a silversmith. Schmidt was one of the most important silversmiths in the Cape at the end of the 18th century. For his makerâ&#x20AC;&#x2122;s marks see Welz, 152, nos. 108, 109, 110. Another Cape cabinet with silver fittings by Daniel Heinrich Schmidt is in the collection of the Koopmans de Wet Huis in Cape Town. Provenance: Dutch private collection Literature: Stephan Welz Cape Silver and Silversmiths

A DUTCH SILVER SALVER ANTHONY DE ROOY | Amsterdam 1752 | 29,1 x 29,1 cm | 723 grams

This square shaped silver serving tray with bevelled corners and moulded rim was made by the Dutch silversmith Anthony de Rooy. Anthony de Rooy was born in Arnhem in 1702 and died in Amsterdam in 1754. De Rooy became a master silversmith in 1731. The salver is decorated with scrolls and rest on four scroll supports, which are decorated with an embossed ornament.

A PAIR OF CHIEN LUNG TUREENS China, 18th century | blue and white porcelain | 22 x 26 x 24 cm

This pair of tureens with covers and dishes date from the Chien Lung period (17361795) and have a dĂŠcor of a Chinese river landscape. This dĂŠcor is repeated all over the tureens, dishes and the covers.

A DUTCH LOUIS SEIZE SÉCRÉTAIRE À ABBATANT circa 1785 | oak frame veneered with satinwood, amaranth, sycamore, mahogany, bois teinté. With Chinese lacquered panels, gilt bronze and a Brèche d’Aleppe marble top | 147 x 93 x 45 cm A Dutch Louis Seize sécrétaire à abattant with lacquered panels. This secretaire is of the “à abattant” type which was immensely popular in the last quarter of the eighteenth century. A abbatant is derived from the French word abattre, which means “to put horizontal”. The secretaire stands on four tapered feet of which the front ones are canted and decorated with ‘bois teinté’ panels. Under the marble top and the dentilled cornice a drawer with a lacquered panel. The fall-front and the lower part with doors are enriched with three panels; a lacquered one in the middle flanked by inlayed shells within a lozenge shape. The fallfront encloses a fitted interior with drawers.

A DUTCH WALNUT LONGCASE CLOCK WITH SHIPS AUTOMATON ‘SCHEEPJESMECHANIEK’ RUTGERUS VAN MEURS | signed on the dial | 3rd quarter 18th century | oak frame veneered with walnut | height 295 cm

A Dutch long case clock with ships automaton and alarm signed by Rutgerus van Meurs Amsterdam. The clock has an 8-day movement with quarter striking, full calendar, moonphases and ships automaton. Rutgerus van Meurs was born in Amsterdam in 1738 as the son of Otto van Meurs. Just like his father he was a member of the well-known Amsterdam clockmakers family Van Meurs and produced mainly Amsterdam longcase clocks. The case of typical form, the trunk door and plinth with fruitwood inlay, the double arched hood with sound frets to the sides, surmounted by gilt wood figural finials. In the background of the ships automaton the story of Perseus and Andromeda is depicted. Provenance: Since 1900 Dutch private collection

The story of Perseus and Andromeda Andromeda was the daughter of the Ethiopian king Cepheus and queen Cassiopeia. Cassiopeia announced that she was more beautiful than all the Nereids. The Nereids were the daughters of the gentle sea god Nereus. The daughters requested Poseidon, the not so gentle sea god, to send a flood to the land together with an enormous sea snake. The king and queen visited an oracle who told them that the monster would retract if they offered Andromeda to him. They could not see another way out and Andromeda got fastened to the cliff. When Andromeda was fastened, Perseus flew by. He had just defeated Medusa, the woman with snakes in her

hair. One immediately turned to stone after glancing at her. Perseus carried the head of Medusa with him in a bag, along with winged sandals, a helmet that makes the wearer invisible, a reflecting shield and a sword. When Perseus saw Andromeda he immediately fell in love with her. He spoke to the parents and was promised Andromeda if he saved her. Perseus would combat the sea snake and defeat it with his sword. Perseus and Andromeda got married and festivities took place. However, Andromeda had promised to her elder uncle Phineus who claimed her back. A fight occured

between the two parties and when Perseus stood there all alone in front of his enemies, he pulled out Medusaâ&#x20AC;&#x2122;s head and they turned to stone. This entire story is depicted on this clock, made by Rutgerus van Meurs. Behind the moving ships Andromeda is fastened to the rocks. The sea snake is approaching; Perseus flies in the top left corner on Pegasus. In the iconography of the arts, Pegasus and the winged sandals are alternately used.

standing, on the right Poseidon. Top left is Apollo with his harp and on the right is Pallas Athena. Before his fight with Medusa, Perseus received help from Pallas Athena and Hermes and was given the reflecting shield and a sword. On the background of the clock the Ethiopian coast is depicted the fighting scene on the beach, where a figure is already on the verge of transitioning into stone.

The scene is being watched by two mermen who show up from the moving waves. On the left side Hermes is

A DUTCH DOUBLE-DOME CABINET 1st quarter 18th century | oak frame veneered with walnut | 228 x 185 x 60 cm

This type of cabinet with a double dome is quite rare. The hood has five platforms on which China could be displayed. The two doors are simple and straight in contrast to the curved lower part of the cabinet. The lower part is divided into three rows of drawers. The upper row has two drawers with a small secret one in the middle. The other rows consist of one large drawer. The cabinet rests on spherical supports. Typical features that can be found in this cabinet are the symmetrical shell forms, the scale motif and the curled acanthus leaves. Its fine proportions and its beautiful patina make this cabinet a very attractive one. Provenance: collection van Lawick, Den Haag

RADEN SYARIF BUSTAMAN SALEH

(Semarang 1811 â&#x20AC;&#x201C; Buitenzorg 1880) JAVANESE LANDSCAPE signed and dated lower right | oil on panel | 26 x 36 cm Raden Syarif Bustaman Saleh is one of the most esteemed painters from Indonesia. This landscape clearly shows the spirit and style of Raden Saleh. Especially the treatment of the sky is typical for his style. This painting leads you into the mountains of West Java with its rich colors and powerful appearance. Most probably the mountains in the distance on the right are Mount Gede and Mount Pangerango in West Java. Raden Saleh was born into a noble Javanese family. Young Raden Saleh was first taught in West Java by the Belgian

artist A.J. Payen. Payen acknowledged the youthâ&#x20AC;&#x2122;s talent and persuaded the colonial government of the Netherlands to send Raden Saleh to the Netherlands to study art. He arrived in Europe in 1829 and began to study under Cornelius Kruseman and Andreas Schelfhout. With Kruseman Raden Saleh basically studied portraiture, whereas in the studio of Schelhout he acquired his skills in landscape painting. From 1839, he spent five years in Dresden and Coburg. In Coburg he stayed with his friend Ernst II, Duke of Saxe-Coburg-Gotha, who became an important patron. There he met numerous members of top European aristocrats and most importantly Leopold I, King of

Belgium and even Queen Victoria. Raden Saleh visited several European cities and stayed in Paris for a longer period. Many of his paintings were in the possession of royal families, especially the Dutch. The artist returned to Indonesia in 1852 after having lived in Europe for 23 years. Here, he worked as curate for the colonial collection of governmental art. He continued painting portraits of the Javanese aristocracy and of Dutch colonial officials. But his real passion was the Javanese landscape.

Provenance: Dutch private collection by descent

A PAIR OF ELEPHANTS CARRYING A PAGODA Japan, Edo-period 19th century | bronze | 162 x 117 x 46 cm These two Japanese elephants with large trunks, large hanging ears and two large tusks were Buddhist objects of worship and served as temple decoration. The earliest examples of such elephants probably date from the Tang period. The elephants are carrying a three-storied pagoda on their back. Each level has its own arcade-gallery with flower knobs. The windows are filled with various types of birds which are engaged in varied actions. There are birds sitting on a tree branch, some are flying through the air and others are depicted between flowers. Above these windows dragons are displayed. All the ornamentation and animals are in high-relief. Similar elephants are to be found in the collection of Museum Volkenkunde in Leiden. Provenance: Dutch private collection

GABRIEL HENRIQUES DE CASTRO (1808-1853)

FLOWER STILL LIFE signed and dated 1840 lower right | oil on canvas | 84 x 71 cm

This colourful flower still life shows peonies, roses, tulips and other flowers. At the right side we can see into a far distant landscape. Gabriel Henriques de Castro painted this still life in a very refined manner and true to nature. Gabriel Henriques de Castro was the son of David Henriques de Castro and Rachel da Costa Gomes de la Penha and the uncle of David Henriques de Castro (1826-1898). He was born in Amsterdam in 1808 and was member of the wealthy and prominent Portuguese-Jewish family De Castro. De Castro was a student of Arnoldus Bloemers (1792-1844), who specialised in painting flower still lives. Bloemers cultivated the flowers he painted himself. In 1835 De Castro became a member of the Royal Academy in Amsterdam. Gabriel Castro painted mainly still lives with flowers, fruits and dead animals. Provenance: Dutch private collection

A LOUIS XV COMMODE signed ‘JG’ for the Amsterdam St-Joseph guild | circa 1770 | oak frame veneered with amaranth, rosewood, sycamore and violet; gilt bronze and a Rance marble top | 81 x 83 x 50 cm

The commode has an oak frame veneered with amaranth, rosewood, violet and sycamore. Beneath the Rance marble top are two undulating drawers ‘ sans travers’ with fire gilt bronze fittings. The marquetry shows a bouquet of flowers. The curved sides are veneered in the shape of lozenges and the corners of the drawers are fitted with gilt bronze chutes. The whole rests on curved saber legs terminating in ormolu sabots. Underneath the marble top is the brand of the Amsterdam Joseph guild. The popularity of imported French furniture was experienced as a major thread by the Amsterdam guild of cabinetmakers. Strict prohibitions were issued in 1741, 1770 and another was determined on January 29, 1771, when it was forbidden to sell foreign furniture in Amsterdam. A transition period of three months was set for the dealers to sell their stock. They were, however, obliged to brand these pieces of furniture with the JG-mark of the St-Joseph Guild. Most of the furniture with the JG brand was of French origin. However, a small amount of Dutch furniture has the brand too. Provenance: Auction Mak van Waay, Amsterdam 1972, lot no. 3400 Staal Antiquairs Amsterdam 1972 Private collection The Netherlands 1972-2006 Associated literature: Th. H. Lunsigh Scheurleer, ‘Het Amsterdamsche St. Josefsgilde in het bijzonder met betrekking tot de meubelmakers’, Historia Vol. 8 (1942), pp. 33-45.

PORTRAIT OF A PATRICIAN FAMILY with an unidentified monogram/coat of arms and star on the blade of the knife | circa 1610 | oil on canvas | 152 x 101 cm

This portrait of a patrician family, seated around the table, is a rare and important piece within the art history of the early 17th century. It can be dated circa 1610, on the basis of its stylistic features and the presented objects. Only a few family portraits, with the family members gathered around a table, are known from the first quarter of the seventeenth century. This painting has been in the possession of a distinguished Dutch family for centuries. The family portrait shows a wealthy family, who are seated at a lavishly set table. The husband and wife are seated at the most prominent places of the painting, according to traditional conventions. The father, as head of the family, confidently raises his berkemeier, a typical glass, which is mounted on a so -called bekerschroef. His wife is holding two cherries and a broken krakeling. Even though the children take in a central place in the painting, there is a hierarchy within the family. It was rather unusual for children to be seated at the table. They were expected to remain standing, as depicted here. Furthermore, from a hierarchical point of view, the boy was painted next to his father and the girl next to her mother. The rich clothing, abundance of food and the precious objects that were placed on the table are means to impress the beholder. The exotic fruits, sweat meat, olives and salt were costly products, imported from distant countries. The silverware and delicate glasses are likely to have been part of the family estate. The silver salt cellar in this painting is very exceptional. It occurs in paintings by Osias Beert (1580-1624) and Clara Peeters (1594-1657), but has not been found in literature on antique silver yet. The clothing, with fine lacework and gilt-thread embroidery conveys the message of wealth and abundance. The painter managed to capture this special moment for posterity and this portrait was without doubt the show piece of the family. Provenance: Dutch private collection by descent

A WALNUT MARQUETERY LONGCASE CLOCK JAMES MARKWICK | London late 17th century walnut and marquetery| 208 (with raised hood 235) x 45 x 24 cm

A rare late 17th century walnut and marquetery inlaid long case clock of one month duration and twelve inch dial. The rising hood has an overhanging cornice over an inlaid entablature which is supported by tapering spirally twisted columns. The long door is inlaid with flowers, birds and an urn of foliage, all on a matching base. The 12 inch square brass dial with cruciform half hour markers subsidiary seconds and calendar aperture to the matted centre, the gilt cherub and foliage spandrels on a silvered ground, signed “Markwick Londini” on the silvered Roman chapter ring. The Markwick family is known as one of the earliest of London’s clockmakers. James Markwick was admitted to the Freedom of the Clockmakers’ Company in 1692. His father’s business succeeded that of Samuel Betts, one of the great early clock makers. He later went into business with his son-in-law, Robert Markham and was very highly regarded in the London market and eventually gained an excellent reputation in the Ottoman Empire. Markwick was made Master of the Worshipful Company of Clockmakers in 1720. Marquetery is the art of applying pieces of veneer to a structure to form decorative patterns, designs or pictures. The veneers used are primarily woods. Many exotic woods as well as common European varieties can be used. Techniques of wood marquetery were developed in Antwerp and other Flemish centres of luxury cabinet-making during the early 16th century. Marquetery was introduced to London furniture at the Restoration of Charles II in 1660, and was the product of immigrant Dutch ‘inlayers’, whose craft traditions owed a lot to Antwerp. Panels of elaborately scrolling “seaweed” marquetery of box or holly contrasting with walnut appeared on table tops, cabinets, and long case clocks.

A PAIR OF FRENCH EMPIRE CANDLESTICKS CARRIED BY THREE CARYATIDES circa 1810 | gilt bronze | 28,5 x 14 x 14 cm A caryatid is a sculptured female figure serving as an architectural support, taking the place of a column or a pillar, supporting an entablature on her head. The Greek term caryatides literally means ‘maidens of Caria’. The term ‘caryatides’ is first mentioned by Vitruvius in his De architectura, in which he tells the story of the Greek men who came and took over the city of Caria and captured the women. He states that the Greek then used female figures as columns in temples to exemplify the servitude of these women from Caria. Provenance: Dutch private collection

ISAAC ISRAËLS (1865-1934)

CAFÉ SCENE signed lower left | oil on canvas | 58 x 49 cm

This painting by Isaac Israëls shows a woman sitting in a café at night. She smokes a cigarette and still has her hat on, which was common in those days. The effect of the light behind her with the hat putting her face in the shadow gives her daring pose a more intriguing look. Isaac Israëls (1865-1934) was one of the most renowned Dutch painters of the Amsterdam Impressionists. His technique secured the everlasting fame of the Amsterdam Impressionists. Isaac Israëls was trained in the workshop of his father Jozef Israëls (1824-1911), a prominent member of the The Hague School. Between 1880 and 1882 he studied at the Royal Academy of Art, The Hague. In 1886, Israëls lived in Amsterdam and became lifelong friends with George Breitner and Willem de Zwart. Together with Breitner he registered at the Academy of Amsterdam, but soon it became clear that he was far beyond the level of education offered there. Isaac Israëls became a painter of streets, cafes, and cabarets. He painted the nightlife with quick, impressionistic, brushstrokes. Towards the end of the century, Israëls was introduced by his friend and portrait painter Thérèse Schwartze to the Amsterdam fashion scene. Israëls portrayed the whole range of the world of haute couture, from wealthy clients to toiling seamstresses, gaining access even to the dressing-rooms. Israëls moved to Paris in 1904, establishing his studio near Montmartre and just yards away from the studio of Henri de Toulouse-Lautrec whom he admired, as he did Edgar Degas. As in Amsterdam, he painted the Parisian specific motifs: the public parks, cafes, cabarets and bistros, as well as subjects as fairgrounds and circus acrobats. Likewise he frequented the fashion houses to continue his studies of the world of fashion. Between 1913 and 1915 he was living in London, where he found new subjects in horse-riding at Rotten Row and in ballerinas and boxers. He spent the years 1921 to 1922 travelling in India and the Dutch East Indies, sketching and painting the vibrant life of South East Asia. At the age of 63, he won a Gold Medal at the 1928 Olympic Games for his painting Red Rider, an art competition then being part of the games. Provenance: auction Mak van Waay Amsterdam, 15 december 1970 Private collection The Netherlands

A LOUIS XV CONSOLE CLOCK ‘GRAND CARTEL’ signed on the dial ‘olin à paris’ | 3rd quarter 18th century | 150 x 61 x 30 cm A Louis XV ormolu mounted vernis Martin console clock, ‘grand cartel’, signed on the white dial ‘olin à paris’. White enamel chapters surround the centre pierced ormolu hands. The case is decorated overall Vernis Martin with flowers and on the console is depicted a scene taken from ‘Fables de La Fontaine’, ‘Le coq et le renard’. In French interior design, vernis Martin is a type of imitation lacquer named after the French brothers Guillaume and Etienne-Simon Martin. It imitated Chinese lacquer and European subjects and was applied to a wide variety of items, from furniture to coaches. It is said to have been made by heating oil and copal and then adding Venetian turpentine. Jean-Charles Olin’s (d. after 1789) name is associated with a number of examples. Notably a Louis XV gilt bronze mounted Meissen porcelain pendule ‘à l’éléphant’ in the Rijksmuseum, Amsterdam and another clock housed at Schloss La Fasanerie, Fulda. Olin first worked as an ouvrier libre but was received as a maître-horloger in October 1776. He served as deputé of his guild later in 1777. Olin used some of the best Parisian case makers. They included the ébéniste Antoine Foullet, the ébéniste doreur Jean Goyer and the esteemed bronzier Jean-Joseph de Saint-Germain. Jean de La Fontaine was a French poet and fabulist, who lived and worked during the 17th century. For special contributions to French literature he was elected to the French Academy of Sciences in 1684. Published in 1668, the collection of fables brought La Fontaine international fame. The works of the ancient Greeks, Indian storytellers, other fabulists and folk tales about animals serve as a source of inspiration for the author. Drawing motives from these works, La Fontaine brought new life to the fable genre.

The Cock and the Fox. Upon a tree there mounted guard

But, first, let’s seal the bliss With one fraternal kiss.”

A veteran cock, adroit and cunning;

“Good friend,” the cock replied, “upon my word,

When to the roots a fox up running,

A better thing I never heard;

Spoke thus, in tones of kind regard:-“Our quarrel, brother, ‘s at an end; Henceforth I hope to live your friend; For peace now reigns Throughout the animal domains. I bear the news:--come down, I pray, And give me the embrace fraternal;

And doubly I rejoice To hear it from your voice; And, really there must be something in it, For yonder come two greyhounds, which I flatter Myself are couriers on this very matter. They come so fast, they’ll be here in a minute. I’ll down, and all of us will seal the blessing

And please, my brother, don’t delay.

With general kissing and caressing.”

So much the tidings do concern all,

“Adieu,” said fox; “my errand’s pressing;

That I must spread them far to-day. Now you and yours can take your walks Without a fear or thought of hawks. And should you clash with them or others,

I’ll hurry on my way, And we’ll rejoice some other day.” So off the fellow scamper’d, quick and light, To gain the fox-holes of a neighbouring height,

In us you’ll find the best of brothers;--

Less happy in his stratagem than flight.

For which you may, this joyful night,

The cock laugh’d sweetly in his sleeve;--

Your merry bonfires light.

‘Tis doubly sweet deceiver to deceive.

A DUTCH LOUIS XVI CABINET circa 1790 | oak frame veneered with satinwood | 260 x 180 x 58 cm

During the 18th century the cabinet remained to be the favourite piece of furniture for storage. This two-door cabinet with three drawers was made in the fourth quarter of the 18th century and has typical classical features. The frieze of the cabinet consists of triglyphs and gutae, and metopes with sculpted flowers. On top is a broken pediment with dentil moulding. The broken pediment was already applied in ancient architecture during the Hellenistic period. In England this broken pediment was applied in cabinets and other storage furniture throughout the 18th century. In the Netherlands this type was frequently used between 1780 and 1800. Two Corinthian columns are flanking the cabinet. The sculpted sunflower is a recurring motif, it is found in the frieze, on the doors, underneath the columns, and in the fittings on the drawers. The keyholes are surrounded by an ancient Greek vase and festoons ending in a bow, surrounding a portrait medallion.

A PAIR OF FRENCH EMPIRE CANDLESTICKS circa 1810 | gilt bronze | 28.5 x 13 x 13 cm This pair of candlesticks, made of gilt bronze, is richly decorated with palmettes on the foot. The stem is in the form of an elegant baluster. Two winged figures functioning as caryatids, are representations of the Goddess Nike. In

Greek mythology, Nike was a goddess who personified victory, also known as the Winged Goddess of Victory. The candleholder is decorated with an abundance of flowers and garlands.

A DUTCH WALNUT SIDE TABLE circa 1740-1750 | oak frame veneered with walnut and burr-walnut | 74 x 71,5 x 50 cm

This side table stands on cabriole-legs which end in ball and claw feet and are carved with asymmetrical volutes at the knees. The table is slightly curved at the front and has two drawers with gilt bronze fittings. The fittings consist of a symmetrical composition of leaf and flower tendrils. The table top is curved like the front of the table and has been carved at the height of the knees and the front matching with the lower carvings. In the 18th century side tables were mainly used for candelabra and candlesticks to be placed upon. Often a mirror was positioned above the table to reflect the light from the candles. In this way the room was fully lit. This particular side table reflects the typical modest elegance from the Dutch. Provenance: Dutch private collection

HENDRIK WILLEM MESDAG (1831-1915)

FISHING BOATS AT SUNRISE signed lower right | oil on canvas | 34 x 26 cm

This painting shows fishing boats at sunrise. From 1850 onward these boats with flat keels, called ‘bomschuiten’, were used for fishing. They were pulled up onto the beach by horses to bring their catch on shore and if there was no fishing going on they used to lay on the beach. In almost all of his paintings the “bomschuit” figures prominently and yet not two paintings are the same. In this one, Mesdag shows that he is a true master. H.W. Mesdag was the seascape painter of the The Hague School. Relatively late in life he chose to become a painter. Mesdag’s father, a merchant and banker, was an amateur painter who saw to it that his two sons were also educated in the art of painting. After leaving school, Mesdag was employed by his father’s company for some 16 years. During that period he was educated in the art of drawing, stimulated by his wife Sientje van Houten, whom he married in 1856. When her father died in 1864 and left a considerable inheritance, Mesdag could afford to retire from the firm and devote himself entirely to painting. Mesdag moved to Brussels where he served an apprenticeship with the painter Willem Roelofs. In 1868 Mesdag and his brother Taco visited the German island of Norderney and got fascinated by the sea in such a way that a year later he decided to move to The Hague, where he could observe and paint the sea and the beach every day. He was captivated by the beach, sea and lives of the fishermen in nearby Scheveningen. Using quick, informal brushstrokes and an infinite variety of browns, golds and greys he applied these motifs to the canvas. In 1870 he contributed two paintings for the Paris Salon and as a complete outsider he won the gold medal for his Les Brisants de la Mer du Nord (the Breakers of the North Sea). This marked his breakthrough and with his commercial spirit he succeeded in establishing himself at home and abroad.

A FINE ENGLISH FAUX TORTOISESHELL LACQUERED MUSICAL LONGCASE CLOCK WITH CHINOISERIE DECORATION WILLIAM HARRIS | London, 1st half 18th century | 277 x 52 x 31 cm

The clockwork of this longcase clock has an eight day movement with ‘anchor’ escapement. Striking train chimes full on the hour. Plays on 14 bells 2 melodies on reversible playroll: ‘Lilliburlero’ and ‘She got Money’. The case of this clock is Japanned and decorated with figures, birds and flowers in a landscape. Japanning involved applying coats of coloured varnish over a gesso (whiting paste) base layer, which was often built up in relief for a three-dimensional effect. The tall, flat surfaces of long-case clocks provided an ideal opportunity to add such decoration. Provenance: Dutch private collection

A PAIR OF FRENCH EMPIRE FIVE-LIGHT CANDELABRA circa 1810 | gilt and patinated bronze | 69 x 31 cm These large candelabra made of patinated and gilt bronze depict two winged angels, carrying the candleholders. The female figures are representations of the Goddess Nike. In Greek mythology, Nike was a goddess who personified victory, also known as the Winged Goddess of Victory. She is dressed in classical clothing that is blown against her figure, wearing a gilt belt around her waist. The goddess stands on a globe and holds a wreath in her hands. Dolphins reach down from the candleholders to the wreath and are supporting the candles.

Provenance: Dutch private collection

A DUTCH SILVER GILT TAZZA J.H. CARSTENS | Amsterdam 1845 | 16,5 x 15,5 cm

A tazza is a shallow saucer-like dish either mounted on a foot or on a stem and foot. The word has been generally adopted by archaeologists and connoisseurs for this type of vessel, used either for drinking, serving small items of food, or just for display. This particular tazza was made by J.H. Carstens in 1845 in Amsterdam and consists of a stem and foot. The stem consists of various segments , decorated with four cartouches with embossed figures.

A FRISIAN CUPBOARD â&#x20AC;&#x153;KEEFTKASTâ&#x20AC;? 17th century | oak and ebony | 195 x 165 x 62 cm

This richly carved Frisian Keeftkast, with ebony details, dates from the seventeenth century. The oversailing cornice above a carved frieze and a pair of arched panelled doors carved with putti, birds and flowers, flanked and divided by fluted pilasters. The name Keeftkast originates in the Old Frisian language and was the common name for a cupboard. The word keeft can probably be associated with the word kievit (pewit), a bird species, whose image was used to adorn cupboards like this one. In the interior of this keeftkast there are two fretwork-carved doors with pewits used as ornamentation. Provenance: Dutch private collection

A DUTCH SILVER TEA KETTLE ON STAND DIRK VAN DER GOORBERGH | Delft 1761 | 33 x 21 cm

This silver tea kettle on stand, a so-called bouilloire, has been made by the Delft silversmith Dirk van den Goorberg. Dirk van der Goorbergh (c.1723-1816) was the first member of his family to become a master silversmith in Delft. He entered the Guild in 1747. He held the position of assay master and deken of the Guild for many years. His son and pupil Adam van der Goorbergh (1752 - 1812) followed in his fatherâ&#x20AC;&#x2122;s footsteps and became a master silversmith in Delft in 1776. He was also appointed assay master( in 1779/83/87) and deken ( in 1782/1786) of the Guild. Willem van der Goorbergh, Dirkâ&#x20AC;&#x2122;s other son and pupil, became a master silversmith and retailer in Leiden in 1779. Between 1784 and 1796 he was appointed assay master and deken of the Guild in Leiden. Dirk van der Goorbergh was a very skillful master, whose work could compete with the silversmiths from The Hague. He adopted the typical The Hague rocaille style, sometimes adding a personal touch. Another tea kettle on stand, made by the same master in 1774, was shown at the exhibition Rococo in Nederland in the Rijksmuseum in 2001. (cat. nr. 87, p. 164, 165). Provenance: Dutch private collection Associated literature: Exhibition catalogue, Rococo in Nederland, Amsterdam, 2001, ill. P. 165

A CHASSINET WITH PASTORAL LANDSCAPE 2nd half 18th century | wooden frame with painted woven iron threads | 77 x 154 cm

The chassinet was placed in front of the window and made of woven iron threads. Most of the time, chassinets did not stand the test of time. That this chassinet did is quite remarkable. The chassinet has a carrier of woven iron threads and is painted with a pastoral landscape. In the front cattle is grazing, apples are being picked and a girl is milking the goat. At the back presumably Huis te Maarssen. Huis te Maarssen has a long history that goes back to the 11th century. In 1672 the mediaeval castle was destroyed by the French. In 1710 a new residence in the French style, with one long faรงade with eleven windows, was built at this location. Around 1900 this residence was also demolished. This chassinet with pastoral landscape can be dated in the second half of the 18th century. Because Huis te Maarssen had been destroyed in 1672, presumably the maker made use of prints of this residence for the chassinet.

A DUTCH DISPLAY CABINET 18th century | padauk | 228 x 185 x 60 cm

This display cabinet has been made of padauk, a tree that grows in Africa and for that reason the cabinet is quite rare. This type of wood is solid and is not likely to deform. The cabinet has a undulating arched corniche with a carved rocaille ornament and c-motifs. The fittings consist of classical motifs such as the garland and the ram. The fitting at the bottom shows a classical scene topped with a bow terminating in garlands. The function of the cabinet was for displaying precious collections of Eastern porcelain and Delftware. China was immensely popular during the 17th century and the love for it did not restrict itself to porcelain. It was only after 1750 that the interest in Eastern porcelain decreased and fewer cabinets were made. Provenance: Dutch private collection

GASPARE TRAVERSI (Napoli c. 1722 – Roma 1770)

THE PRESENTATION OF THE WEDDING CANDIDATES 18th century | oil on canvas | each 75 x 101 cm The two paintings depict the proposal for a marriage. Each oval shaped portrait displays a wedding candidate. The young man and the young woman point at themselves like they are saying: “Is that the one for me?” This unique pair of paintings have been separated for a long time, but could be reunited after our discovery in two different collections. The pair was painted by Gaspare Traversi (c.1722-1777). Traversi was an Italian Rococo painter, active mostly in Naples and later in Rome. He was undoubtedly the leading genre painter in eighteenth-century Naples. His pictures, parodying the pastimes of the noble classes, are particularly striking for their emphatic naturalism and biting wit. Traversi can be described as a Neapolitan Hogarth, working in a Caravaggist style. He was a pupil of Francesco Solimena and a contemporary of other Solimena pupils like Francesco de Mura and Guiseppe Bonito. Traversi’s subjects of paintings were greatly influenced by the popular genre of the Opera Buffa. This opera genre came up in Naples in the early 18th century. At first it was intended as a short and happy intermezzo during the break of an opera seria. Later it became a complete opera. The subjects of these comical operas were placed in a daily setting, with normal people. This made their story realistic and comprehensible for common people. This is in contrast with the opera seria in which the theme was often mythological. The opera buffa was lively and lightly and self-mockery was very important. Gaspare Traversi used diverse elements, postures and models several times in his paintings. His models were like stock characters. The attributes like the hat of the elegantly dressed young boy were probably part of his workshop inventory, since the hat has also been painted in a picture in The Wadsword Atheneum in Hartford Connecticut. The beautiful pearl earring was also used in the two related Drawing lessons in the Nelson Atkins Musem in Kansas City and the Musee Magnin in Dijon. Gaspare Traversi made several pairs and series in his oeuvre of which the drawing and music lesson in the Nelson Atkins Museum in Kansas City are the most famous outside Italy. The Metropolitan Museum, The Louvre and the Hermitage also have important paintings by this master. The subject of these wedding candidates is very attractive for a pair, since we can see who is presented to whom. In the opinion of Dr. Nicola Spinosa, Director of the Capodimonte Museum Naples, an expert on 18th century Neapolitan painting, these are early paintings by Gaspare Traversi, painted in Naples, before the artist moved to Rome.

A DUTCH BUREAU 3rd quarter 18th century | oak frame veneered with rosewood and amaranth | 108 x 112 x 55 cm

The Bureau has an oak frame veneered with rosewood with an inlay of amaranth in a Greek meander motif. The Bureau has two large drawers, covering the whole width of the piece. The fold leaf is supported by two smaller drawers. The interior displays eleven drawers, one of which is placed behind the doors. Below the door is a secret compartment a so called â&#x20AC;&#x2DC;keldertjeâ&#x20AC;&#x2122;. This bureau with its elegant shape was inspired by French examples, regarding the short legs and fire-gilt sabots.

PIETER GALLIS (1633-1697) STILL LIFE WITH FLOWER AND FRUIT GARLAND Signed P. Gallis | 17th century | oil on canvas | 51 x 46 cm

This painting by Pieter Gallis depicts a garland of fruit and flowers tied at the ends with blue satin ribbons. There are some small creatures like a caterpillar, butterfly and a snail, creeping and crawling among the fruit and flowers. The vibrant colours that Pieter Gallis used for this painting emerge in a blaze of colour from the dark background. Pieter Gallis was a Dutch Golden Age painter, who specialized in still lives consisting of flowers, fruit and other

items. Gallis was active in Enkhuizen, in Purmerend from 1679â&#x20AC;&#x201C;1683, and in Hoorn from 1683 until his death. There are about 30 known paintings by Gallis.

Provenance: Duth private collection Associated literature: A. van der Willigen, F. Meijer, A Dictionary of Dutch and Flemish Still-life Painters Working in Oils 1525-1725, Leiden 2003, p.87, 88.

A PARQUETERY SECRETAIRE À DOUCINE FRANÇOIS BAYER | French 3rd quarter 18th century | oak frame veneered with mahogany, amaranth, satin | 133 x 77 x 35 cm

This secretaire à doucine has been manufactured by François Bayer, who became Maître in 1764. François Bayer was famous for his marquetery inlayed furniture and has produced multiple elegant desks and dressing tables. This sécretaire is called à doucine, because of its shape. Doucine is the French word for the ogee shape: a double curve that results in a s-form. Parquetry is a geometric mosaic of wood pieces used for decorative effect. The two main uses of parquetry are as veneer patterns on furniture and block patterns for flooring. Parquet patterns are entirely geometrical and angular—squares, triangles, lozenges. The word derives from the Old French parchet (the diminutive of parc), literally meaning “a small enclosed space”. Large diagonal squares known as parquet de Versailles were introduced in 1684 as parquet de menuiserie (“woodwork parquet”) to replace the marble flooring that required constant washing. This secretaire has been stamped F-Bayer and stamped by the St Josef Guild Amsterdam. Provenance: Dutch private collection

A FRENCH THREE-PIECE CLOCK GARNITURE circa 1810 | gilt bronze Mantel clock with a pair of covered vases with classical and mythological scenes. Applied with griffins on the bases. Under the dial a head of a putto, the dial is flanked by caryatides with wings holding a garland. The mantel clock is surmounted by a bird resting on foliage. 8-day going movement with half hour striking. Chapter ring with Roman numerals.

A COIFFEUSE FELIX REMOND | 1823 | signed ‘Remond fecit 1823’ in handwriting on the wooden panels under the marble top | oak veneered with mahogany , solid mahogany , gilt bronze mounts , white marble top, mercury mirror | 145,5 x 80 x 45,5 cm

An empire table with a white marble top, on which a round folding mirror is mounted, finished with ormolu mounts . The coiffeuse emerged in the early 19th century from the ‘psyche’, a mirror which could be put on a table. The combination of mirror and table is referred to as ‘coiffeuse’ . Several famous furniture makers developed the coiffeuse in the first quarter of the 19th century, both for the court and for the bourgeoisie. One of them was Felix Remond (1779-1860), possibly a pupil of Riesener, who, after the restoration of the monarchy in 1815, received many commissions from the Bourbons . The Musée des Arts Décoratifs in Paris has a larger coiffeuse of Remond with similar mounts at the corners. The Victoria & Albert Museum in London has a very similar unsigned coiffeuse from the estate of Lord Stuart de Rothesay, the British ambassador in Paris in the period 1815-1824 and 1828-1830. Associated literature: D. Ledoux - Lebard, Le mobilier Français du XIX siècle, Paris, 2000, p. 545-548.

ROBERTO SANTO (New York, 19 October 1953) BRONZE SCULPTURE ‘DIANA’ signed and dated 2007 | edition 2/8 | bronze | 234 cm height (including marble basement)

In the tradition of the great artists of the Renaissance, Santo is passionate about the human form. Like Michelangelo and Bernini, he has devoted himself to its exploration in bronze and marble, often working in monumental size. Embracing the time-honored tradition of figurative sculpture, Santo believes that his art celebrates the past while allowing it to transcend into the present. His approach is unique, as he often leaves evidence of the actual casting process in his finished work. He insists on hand- crafting every piece, while so many other artists of his caliber depend on a corps of assistants. His time-transcending work has been internationally recognized and heralded. In the nearly 40 years since beginning his creative journey, Santo has been awarded more than 50 internationally recognized citations for his impressive work in film, photography, graphic design, painter and sculptor. He was even commissioned by the United States Postal Service to design a stamp series, which remains one of the top selling issues of all time. He has garnered commissions from major corporations including Microsoft, Nike, Toys ‘’R’’ Us, and Paramount Pictures, and has become the core of many private collections. Most recently, the Boca Raton Museum’s Acquisition Committee voted to purchase Santo’s monumental work ‘’Eternal Transition’’ for its permanent collection.

Provenance: acquired directly from the artist’s studio by the previous owner

HENDRIK JAN WOLTER (1850 - 1952) RECLINING NUDE oil on canvas | 100 x 136 cm Hendrik Jan Wolter was a Dutch painter influenced by impressionism and luminism. In 1895 he was accepted at the AcadĂŠmie des Beaux Arts in Antwerp. It took him only one year to proceed to the Institut SupĂŠrieur, where he worked for three years, and was rewarded with the Willink van Collen award. During his college time at the academy Wolter got acquainted with the works of Claude Monet and Alfred Sisley, two French impressionists. Also, he became friends with the Belgian luminist Emile Claus. Hendrik Jan Wolter is often called the only real Dutch Impressionist. However, his Belgian training is one of the most plausible explanations for his typical manner of painting, which is rather unlike the Dutch way of painting.

In 1899 Wolter settled in Leusden near Amersfoort, married Popkolina van Hoorn in 1904, and moved to Laren with her. Wolter has lived in Laren and Amsterdam and has built his own house with a studio in the garden in Laren. Wolter often painted fast with quick brushstrokes and sometimes made use of the white of the canvas. Wolter specialized in cityscapes, portraits and genrescenes. This exotic beauty is a remarkable painting in his oeuvre with dripping paint and explicit colours. It was one of the favourite pictures of Alfred Heineken, who has had this painting in his possession for a long time. Provenance: private collection of the late Dr. Alfred H. Heineken

A CUP AND SAUCER with the coat of arms of the Luls family | China |circa 1765

This cup and saucer, with the head of a Moor against a yellow background, crowned and flanked by two bears, was ordered by the Luls family in ca. 1765. Gerard Luls began his career as mayor of Wijk bij Duurstede, a place near Utrecht, but left in 1700 for Curaçao where he became commander and governor. The family held the plantation Vriendenwijk here. The son of Gerard, Maurits Luls, became mayor of Wijk bij Duurstede too. The grandson, Jan Luls, succeeded his grandfather at Curaçao and continued the plantation. The coat of arms of the Luls family can be found on the 1769 “Wapenkaart van Utrecht”.

On this map all coat of arms of important families were depicted. This coat of arms is a simpler version of the one on the cup and saucer. Maurits added the two bears to the coat of arms. The Moor was considered a symbol of status and showed the wealth of the family. The Moor was used in coat of arms, jewels and furniture. Also, the Moor was depicted in portraits to stress the high status of the portrayed. This cup and saucer with the Luls coat of arms is the only one known still excisting at the moment. Asscociated literature: Dr. J. Kroes, Chinese armorial porcelain for the Dutch market, Zwolle, 2007, p. 380, 381

A TOBACCO BOX Dutch 1st half 18th century | brass and copper | 3 x 12,5 x 5,5 cm

This tobacco box, made of brass and copper, dates from the eighteenth century. It is elaborately engraved. On the front and back are two slides with scenes depicting a hunter, dogs and hares. It has two Dutch sayings engraved. On the front Veel honden is

den haasen doodt; meaning that one has to succumb to supremacy. On the back Met onwillige honden is quaat haase te vangen; meaning that it is difficult to cooperate with people who do not wish to participate.

Underneath the slides are scenes in silvered copper on velvet. One shows the story of Abrahamâ&#x20AC;&#x2122;s ordeal, described in Genesis 22. Abraham has to offer his only son to God to show his faith in him. In the background

we can already see the ram that will be offered after the angel stopped Abraham in offering his son. On the sides of the scene Hope with an anchor and Faith with the cross are seated.

The other scene probably depicts the wedding at Cana. This is a story told in the Gospel of John 2. At this wedding Maria, the mother of Jesus, and Jesus and his disciples are guests. At one point they run out of wine and Jesus tells the servants to fill the jugs

with water and then bring a cup to the master of the feast. It turns out that the water has turned into wine. This was the first miraculous sign of Jesus.

The interior of the tobacco box is also decorated and has two engraved doors in the lid that opens to reveal two couples sitting and fishing in the forest, engaged in conversation. Provenance: Dutch private collection

Colophon Publisher: Theo Daatselaar Antiquairs BV Research, writers and editors: Theo Daatselaar Ilse Daatselaar Marius van Dam Margriet Slippens Photography: Albertine Dijkema Design: www.A10design.nl Printing: Ten Brink, Meppel ÂŠ March 2014 No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher.

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