27 May 2026 - Old Masters, 19th Century & Early Modern Art

De catalogus van de halfjaarlijkse veiling van Old Masters, Nineteenth Century & Early Modern Art op 27 en 28 mei 2026.

O ld Masters, N ineteenth Century & E arly Modern Art Including a selection of Indonesian Fine Art

Live Online Auction Part I

Wednesday 27 May 2026 7 PM | Lot 1 – 88

Online Only Auction Part II

Closing on Thursday 28 May 2026 from 7 PM onwards | Lot 101 – 325 Closing on Wednesday 3 June 2026 from 2 PM onwards | Lot 401 – 439

Indonesian Fine Art Online Only Auction

Viewing Days

Thursday 21 - Sunday 24 May 2026 10 AM – 5 PM

Online catalogue www.venduehuis.com

Viewing days and auction at Venduehuis Auctioneers The Hague Nobelstraat 5, 2513 BC | The Hague | The Netherlands

Venduehuis Auctioneers The Hague

Catalogue

Design Monica Kuiper

Nobelstraat 5 2513 BC The Hague The Netherlands +31 (0)70 365 88 57 info@venduehuis.com www.venduehuis.com

Press Daan van Leeuwen

Photography Amber Rouw Thom van Rijckevorsel

Additional Texts Sophie Hemels

Chamber of Commerce No. 27145264

Advisor Old Master Drawings Charles Dumas

VAT No. NL 802493580B01

Logistics Jan-Dirk Adams Thom van Rijckevorsel Alex Webber

Bank Account Venduehuis der Notarissen ABN AMRO NL12 ABNA 0608886513 BIC/SWIFT code: ABNANL2A

Print MediaCentre Rotterdam

Specialists of Old Masters, Nineteenth Century & Early Modern Art | Indonesian Fine Art

Chris Vellinga

Marjolein Regout

Dolf Heyselbergs

Anna van Till

Front cover lot 60; Inside cover lot 80 Back cover lot 49; Inside cover lot 58

lot 9

For more information on Droit de suite see page 172.

lot 81

Old Masters, Nineteenth Century & Early Modern Art Live Online Auction | Part I 27 May 2026 | 7 PM Lot 1 - 88

lot 66

1 Attributed to Gerard Donck (1600-1640) Full-length portrait of a young gentleman oil on panel, 53x41 cm

€2,000 - €3,000

2 Abraham Susenier (1620-1666)

Still life with a ham on a Wanli ‘kraak’ dish and with a silver beaker, mustard jar and grapes oil on panel, 46,5x63 cm

€4,000 - €6,000

Exhibited: -Laren, Singer Museum, ‘Kunstbezit rondom Laren 13de-20ste eeuw, schilderijen, beeldhouwwerken’, 3 July-31 August 1958, no. 69, as: ‘A. van Beyeren’ and ‘gesigneerd’ (label attached to the reverse). Provenance: -Collection E. Pfeiffer, Hannover, 1953, as: ‘P. Claesz’. -With Kunsthandel P. de Boer, Amsterdam, 1957, as: ‘Abraham van Beyeren’ (label attached to the reverse).

We are grateful to Dr Fred G. Meijer, who examined the painting first-hand, for confirming the attribution.

3 Jan Hendricksz. van Zuylen (Active Circa 1644-1645) Vanitas still life with a silver plate, tin pot, books, red wax seal and skull

Provenance: -Collection Hendrik Petrus Berlage (1856-1934), thence by descent to the present owner.

We are grateful to Dr Fred G. Meijer, who examined the painting first-hand, for confirming the attribution.

signed ‘JHV Zuijlen fc’ (upper right) oil on canvas, unframed, 63x58,5 cm

Please compare this lot to a similar vanitas still life of the artist in the collection of the Museum voor Schone Kunsten, Ghent, inv. no. 1940-A.

€8,000 - €12,000

4 Circle of Master of Delft (1480-1520) Virgin and Child with Saint Anne oil on panel, 42x31 cm

5 After Raphael and Giulio Romano (Circa 1600)

Holy Family under an oak tree oil on copper, 35,5x25,5 cm

€2,500 - €3,500

€2,000 - €3,000

Literature: -J.B. van Stolk, ‘Catalogue des sculptures, tapis etc. fromant la collection d’objects d’art du Musée Van Stolk, Jansstraat 50, Harlem’, The Hague 1912, ill. p. 68, no. 67. Provenance: -Collection J.B. van Stolk, Haarlem; His auction, ‘Musée van Stolk: 300 sculptures et tableaux Xe - XVIe siècles, objets de vitrine, art textile, etc.’, Mensing, Amsterdam, 8/9 May 1928, lot 384 (for 400 Dfl.), where acquired by the family of the present owners.

Exhibited: -Utrecht, Aartsbisschoppelijk Museum (on loan).

Provenance: -In the collection of the family of the present owners for at least 100 years. Please compare to the original painting by Raphael (1483-1520) and Giulio Romano (1499-1546), in the collection of the Museo del Prado in Madrid, inv. no. P000303.

6 After Tiziano Vecellio, called Titian (Circa 1600) Danaë oil on canvas, 123x172 cm

€5,000 - €8,000

Please compare to the original painting by Titian (1485/90-1576) in the collection of the Museo e Real Bosco di Capodimonte in Naples, inv. no. Q 134 .

7 David Teniers II (1610-1690) Tronie of a man with a glass signed with monogram ‘DT’ (upper left) oil on panel, 13x10 cm

€3,000 - €5,000

Provenance: -With Dowdeswell & Dowdeswell Ltd., London (according to a label attached to the reverse). -With Kunsthandel, The Hague (according to an annotation at the RKD, The Hague).

8 David Teniers II (1610-1690) Tronie of a man with a pipe signed with monogram ‘DT’ (upper left) oil on panel, 13x10 cm

€3,000 - €5,000

Provenance: -With Dowdeswell & Dowdeswell Ltd., London (according to a label attached to the reverse). -With Kunsthandel, The Hague, circa 1940 (according to an annotation at the RKD, the Hague).

9 Nicolas Robert (French, 1614-1685) Crotalaria, Tulipa clusiana and Linaria genistifolia with later annotations of the names of the

10 Nicolas Robert (French, 1614-1685) Iris planifolia, Tulipa viridiflora and Iris persica with later annotations of the names of the flowers and numbers (lower left) watercolour, gouache and pencil, on vellum, unframed, 37x24,5 cm

flowers and numbers (lower left) watercolour, gouache and pencil, within gold framing lined, on vellum, unframed, 31,5x21,5 cm

€5,000 - €7,000

The present lot has been authenticated by Sam Segal in a letter to Sotheby’s Amsterdam, dated 7 May 1983. The present lot is accompanied by a copy of this letter.

11 Gabriel Gaspard Gresly (French, 1712-1756)

On a spur wood plank we see the ‘Almanch du solitaire anné 17’. It is hanging from a nail above a framed drawing depicting a sitting figure, and a fly. Below, a paper is hanging with folded corners depicting a drawing of a wooded river landscape signed ‘Perrelle’. This could be Gabriel Perelle (1604-1677) or one of his children Nicolas Perelle (1631-1695) or Adam Perelle (1640-1695), who were all French painters and engravers of topographic views and landscapes. A white quill pen has been slid under a partially torn corner of the paper which is fixed with red wax seals to the wooden plank. To the right, a fly crawls on the wooden plank. This trompe-l’œil deceives us as viewers by making us think that the painted objects are real. Numerous correspondences can be observed between the present trompe-l’œil and other works by the painter Gabriel Gaspard Gresly, several of these date from around 1740. First of all, we frequently see a somewhat battered ‘Almanach du solitaire décrépi’, hanging by a small cord from a nail fixed into a pinewood board marked with streaks and knots. In other trompe-l’œil compositions, engravings by Perelle likewise appear, attached to the board with red wax seals. Torn, crumpled, folded, or rumpled papers are likewise elements that emphasize the symbolism of vanity, while at the same time creating the illusion of a real physical presence. By seeming to detach themselves from the pictorial surface and project into the viewer’s space, these motifs create a pronounced sense of three-dimensionality, effectively substituting for a conventionally constructed perspective.

Spur wood plank with a trompe l’œil of an almanac, drawings, goose quill, red wax seal and a two flies oil on canvas, unframed, 47x36 cm

€5,000 - €7,000

Provenance: -Collection of the painter Louis Wijmans (1905-1994) since at least the 1950s, thence by descent to the present owner.

We are grateful to Dr Fred G. Meijer, who examined the painting first-hand, for confirming the attribution.

12 Rembrandt Harmensz. van Rijn (1606-1669) Woman reading signed and dated in the plate ‘Rembrandt. f 1634’ (upper centre) etching, 12,3x10,1 cm

13 Willem van de Velde II (1633-1707) Action of Michiel Adriaensz. de Ruyter at Bergen in Norway, aboard the ‘Wapen van Medemblik’ annotated and dated ‘op vrijdag nade middag des 21 augusty 1665 soo/de ‘ vloot is [...] als seijet de z.z.o.’ (upper left); annotated ‘Medenblik’ (lower centre); remnants of a signature (lower right) pencil and grey wash on paper, 26x79 cm

Provenance: -With Kunsthandel S. Nijstad, The Hague, where acquired by the family of the present owner. The National Maritime Museum in Greenwich (part of the Royal Museums) holds 31 drawings relating to this campaign, the ones dated are between August 5 and September 9.

€6,000 - €9,000

Provenance: -Collection, Josef Camesina de Pomal (1765-1827), Vienna (L429). -Possibly collection J.E. Marcus.

€4,000 - €6,000

Bartsch 345-2(3); Hollstein Dutch 345-2(3); New Hollstein Dutch and Flemish (Rembrandt text) 345-2(3)

14 Attributed to Aert Anthonisz. (1579/80-1620) Battle by the shore with several Spanish

three-masters and a galley oil on canvas, 115x169 cm

€8,000 - €12,000

15 Attributed to Jan Claesz. Rietschoof (1652-1719)

This present lot depicts the Gouden Leeuw on the left of the fleet, the flagship of Admiral Cornelis Tromp (1629-1691), one of the most well-known naval commanders of the Dutch Republic and son of the famous Admiral Maarten Tromp (1598-1653). Cornelis Tromp played a prominent role during the first three conflicts of the Anglo-Dutch Wars (1652-1674), served under the famous Admiral Michiel de Ruyter (1607-1676), and later served in the Danish navy, achieving international recognition. The Gouden Leeuw, richly decorated and carrying the Dutch flag, functioned as both a military command vessel and as a symbol of Dutch maritime power. This large painting reflects Rietschoof’s characteristic style: a balanced and dynamic composition, a warm use of colours in the sky, and a sense of movement across the water and the breeze in the sails. The work captures the grandeur and strength of the Dutch maritime world of the 17th century, making it an example of Rietschoof’s atmospheric, engaging, and historically attractive art.

Flagship De Gouden Leeuw of Admiral Tromp lying at anchor, with a flag at the masthead, a dinghy in the foreground oil on canvas, 114x155 cm

€25,000 - €30,000

16 Attributed to Esaias van de Velde (1587-1630) I. Two elegant couples standing near a boat and a moated castle; II. Haymaking before a village both oil on panel, tondo, Ø 17,5 cm

€12,000 - €18,000

Literature: -George S. Keyes, ‘Esaias van den Velde 1587-1630’, Doornspijk 1984, plate no. 119, no. 151, as: ‘Esaias van de Velde, Two couples standing before an arboured boat before a moated castle (spring?)’; plate no. 117, no. 152, as: ‘Haymaking before a village (summer?)’; both measured Ø 16,5 cm. Provenance: -Auction, Christie’s, London, 1 November 1968, lot 129, bought with its pendant by Perman. -The property of a Dutch collector.

Both tondos are each companion piece. Keyes (1984) has mentioned them as ‘whereabouts unknown’.

Please compare II. ‘Haymaking before a village’ to a painting by the artist with a very similar composition, formerly in the Habich collection, and mentioned in: Keyes 1984, plate no. 118, no. 162, as: ‘Haymaking before a village (summer?)’, not signed or dated, and which had as companion piece: Keyes 1984, no. 103, ‘Frozen river to the left of a farm’, which is signed and dated 1618.

17 Dirck van Hoogstraten (1596-1640) Bearded man reading signed with monogram ‘DvH’ (upper right) oil on panel, 71,5x61 cm

Literature: -F.G. Meijer, ‘Jan Olis (c. 1610-1676) as a painter of larger figures’, in ‘Oud Holland’, 118 (2005), no. 1-2, pp. 99-100, ill. no. 16. Provenance: -Collection Mr Carl Denner, U.S.A. -Collection L. Bendix, New York, since 1924. -With Kunsthandel D. Katz, Dieren. -Auction, Sotheby’s, Amsterdam, 14 May 2002, lot 39. -Auction, Christie’s, Amsterdam, 6 May 2008, lot 56.

€8,000 - €12,000

RKD image no. 61507.

18 Simon Hardimé (1672-1737) Fountain covered with flowers signed ‘S. Hardime’ (lower left) oil on canvas, 162x90 cm

€4,000 - €6,000

19 Jan ten Compe (1713-1761)

View of Buitenplaats Groeneveld on the river Holendrecht between Ouderkerk aan de Amstel and Abcoude signed and dated ‘J. Ten Compe F./1753.’ (lower left) oil on panel, 45,5x62 cm

€4,000 - €6,000

Exhibited: -London, Royal Academy of Arts, ‘European masters of the eighteenth century’, 27 November 1954- 27 February 1955, no. 608 (label attached to the reverse). -Laren, Singer Museum Laren, ‘Kunstbezit Rondom Laren, 13de-20ste eeuw: schilderijen, beeldhouwwerken’, 3 July-31 August 1958’, no. 157 (label attached to the reverse). Provenance: -Collection Mr Frits Lugt (1884-1970), Maartensdijk, 1928. -With Kunsthandel Gebr. Douwes, Amsterdam, 1950. -Collection Mr Henri Theodoor Cox (1868- 1935), Amsterdam, director of the Hollandsche Stoombootmaatschappij Amsterdam, thence by descent to the present owner.

20 Jan Jacob Spohler (1811-1866) Figures on the ice with a ‘koek-en-zopie’ by a city wall signed ‘JJ Spohler f’ (lower left) oil on panel, 28,5x38,5 cm

21 Adrianus Eversen (1818-1897) Many figures near boats moored by a city bridge

oil on panel, unframed, 30x41 cm signed ‘A Eversen’ (lower right)

€5,000 - €7,000

€3,000 - €5,000

Provenance: -Auction, Christie’s, Amsterdam, 11 May 2011, lot 88. -Private collection, Ireland.

22 Andreas Schelfhout (1787-1870) Fisherfolk in the dunes signed ‘A. Schelfhout f’ (lower left) oil on panel, 20x26 cm

23 Hermanus Koekkoek I (1815-1882) Ship wreck by a rocky coast signed ‘H: Koekkoek’ (lower right) oil on canvas, 67x101 cm

Literature: -Evelien de Visser, ‘Collecting contemporary art in Rotterdam between 1870 and 1892: the international taste of Fop Smit Jr (1815-1892)’, in Oud Holland 2023. Provenance: -Collection Fop Smit Jr (1815-1892), Rotterdam, until 5 February 1892.

€3,000 - €5,000

€6,000 - €9,000

Provenance: -Auction, Christie’s, Amsterdam, 24 October 2000, lot 183.

RKD image no. 303143, as: ‘Johannes Hermanus Koekkoek’.

24 Barend Cornelis Koekkoek (1803-1862) Panoramic landscape with the artist B.C. Koekkoek sketching in the surroundings of Beek near Nijmegen signed ‘BC Koekkoek f’ (lower left) oil on canvas, 49,5x72,6 cm

Barend Cornelis Koekkoek, in his time also known as ‘De prins der landschapschilders’ is considered one of the most important Dutch romantic landscape painters. The fundamentals of painting were taught to him by his father, the marine painter Johannes Hermanus Koekkoek (1778-1851). At the same time, the young Koekkoek attended lessons at the Middelburg Academy. From 1822 to 1825, B.C. Koekkoek continued his training at the academy in Amsterdam. His extraordinary artistic talent and inspiration made him a highly successful and renowned landscape painter. This painting belongs to a small group of works that B.C. Koekkoek created during his first stay in Beek near Nijmegen in 1826. What is particularly noteworthy is that Koekkoek has also depicted himself as a landscape painter within this composition. As viewers, we see B.C. Koekkoek from behind, wearing a beret, at work on a landscape study. Such drawn landscape studies were sometimes used in his studio as inspiration for oil paintings. The collection of the Rijksprentenkabinet includes a drawn self-portrait of B.C. Koekkoek, likely created in 1825 shortly after his time at the Amsterdam Academy, in which he wears a similar beret (inv. no. RP-T-1907-15). The present painting has been personally examined and authenticated by Drs Guido de Werd. It is recorded and illustrated in his new catalogue raisonné of B.C. Koekkoek (1803-1862), inv. no. BCK(26)50.

Painted circa 1826.

€15,000 - €25,000

Provenance: -With Alex Fraser Galleries, Vancouver. -Auction, New York, Sotheby’s, 6 June 1986, lot 159, as: ‘bears apocryphal signature’. -Private collection.

25 Petrus Johannes Schotel (1808-1865) Three-master in an estuary signed ‘PJ Schotel’ (lower right) oil on canvas, mounted on panel, 64,5x81,5 cm

26 Johannes Christiaan Schotel (1787-1838) Dutch sailing yacht on choppy seas signed and dated ‘JC Schotel f 1829’ (lower left) oil on canvas, 71,5x93,5 cm

Literature: -Pieter A. Scheen, ‘Lexicon Nederlandse Beeldende Kunstenaars 1750-1880’, The Hague 1970, ill. no. 231. -J. Erkelens, ‘Een onsterfelijk zeeschilder, J.C. Schotel (1787-1838)’, Zwolle 1989, p. 132, ill. no. 64a, no. 16. Provenance: -With Kunsthandel Pieter A. Scheen, The Hague. -Auction, Venduehuis, The Hague, 26 May 2021, lot 60. -With Kunsthandel Simonis & Buunk, Ede. -Private collection, the Netherlands.

€5,000 - €8,000

€8,000 - €12,000

Provenance: -Auction, Christie’s, Amsterdam, 16 November 1982, lot 94. -Auction, Christie’s, Amsterdam, 29 April 1998, lot 326. -Auction, Christie’s, Amsterdam, 24 October 2000, lot 22.

27 Wouterus Verschuur (1812-1874) Horses in the stable after unsaddling signed ‘W. Verschuur.’ (lower left) oil on panel, 40,5x51 cm

€12,000 - €18,000

Provenance: -Auction, Christie’s, London, 7 May 1971, lot 75. -Auction, Christie’s, Amsterdam, 18 November 2008, lot 452.

28 Andreas Schelfhout (1787-1870) Summer landscape with farmers by the barn signed ‘A Schelfhout f’ (lower left) oil on panel, 55x70 cm

€12,000 - €18,000

29 Charles Leickert (1816-1907) Sunny cityscape with activity along and on the canal

Charles Leickert was born in Brussels and grew up in The Hague, where he began taking drawing lessons at the Hague Academy of Fine Arts at the age of eleven. He learned to paint under the guidance of the cityscape artist Bartholomeus Johannes van Hove (1790-1880), while the advice of fellow painter Wijnand Nuijen (1813-1839) also played an important role in his artistic development. Shortly after Nuijen’s early death, Leickert was given the opportunity to become a pupil of the artist Andreas Schelfhout (1787-1870). Leickert specialised in landscape painting, but he is also well known for his views of cities and villages. Between 1841 and 1848, he lived and worked in The Hague, and from 1849 to 1861 in Amsterdam. In 1856, he was appointed a member of the Royal Academy of Fine Arts in Amsterdam. Although Leickert left behind a substantial body of work, his finest paintings in terms of technique were produced between 1850 and 1860. This lively and richly detailed cityscape, painted in 1857, is a fine example from that period.

signed and dated ‘Ch. Leickert f/1857’ (lower left, above the door); signed and dated again ‘Ch. Leickert f 57’ (lower right) oil on canvas, 60,5x86 cm

€15,000 - €25,000

Provenance: -Private collection.

Please compare to a painting by the artist with a similar composition, in the collection of the Hermitage, St Petersburg, inv. no. ГЭ-7623.

30 Johannes Evert Hendrik Akkeringa (1861-1942) Two girls in white dresses walking in a dune landscape signed ‘J. Akkeringa’ (lower right) oil on panel, 27,5x39 cm

31 Johannes Evert Hendrik Akkeringa (1861-1942) Family with their dog in the dune forest, Wassenaar signed ‘J Akkeringa’ (lower right) oil on canvas, 34,5x42 cm

Exhibited: -Katwijk, Katwijks Museum, ‘J.E.H. Akkeringa (1861-1924), schilder van het onbezorgde leven’, 9 March-5 June 2010 (label attached to the frame). -Amsterdam, Christie’s, ‘Wintertentoonstelling J.E.H. Akkeringa (1861-1942), Tuin & Duin: Schilder van de huiselijke sfeer’, 6-14 January 2005, no. 62 (label attached to the reverse). Literature: -Sarah de Clerq, ‘J.E.H. Akkeringa (1861-1924): schilder van het onbezorgde leven’, Schiedam 2010, ill. p. 103, no. 120.

€4,000 - €6,000

Provenance: -Collection of the family of the artist.

32 Evert Pieters (1856-1932) Fisherman with his daughter on the beach in Katwijk signed ‘E. Pieters.’ (lower left) oil on canvas, 120x90 cm

Exhibited: -Amsterdam, Arti et Amicitiae, ‘Gooise en Haagse schilders’, 20 April-5 May 1974, no. 38, illustrated in the exhibition catalogue on p. 5. Provenance: -With Kunsthandel G.J. Scherpel, Bussum, exhibited at ‘Arti et Amicitiae’, Amsterdam, 20 April-5 May 1974 (label attached to the stretcher).

€8,000 - €12,000

On the reverse an oil sketch of a ploughing farmer.

33 Bernardus Johannes Blommers (1845-1914)

Children playing in the breach signed ‘Blommers’ (lower left) oil on canvas, 92x116,5 cm

Bernardus Johannes Blommers was a leading figure of the Hague School and was celebrated for his sensitive depictions of coastal life in the Netherlands. Based in The Hague, he developed a characteristic painterly touch and a refined awareness of light and tone, capturing interior scenes of fishermen’s families and sentimental beach scenes. Blommers moved within a distinguished artistic circle that included Jozef Israëls (1824- 1911) and Anton Mauve (1838-1888), sharing their focus on everyday subjects. Whereas Israëls focused on the realism of everyday fishermen’s hardships, Blommers depicted mostly joyful scenes, creating an idealistic view of life along the Dutch coast. His works were widely exhibited during his lifetime, and they continue to appeal today for their seemingly simple charm and enduring attractive character. The present painting is a compelling and attractive example of Blommers’ oeuvre, depicting children gathered at the shoreline. The simple happiness and joy of the children show an idyllic scene. Set in pastel colours of blue and pink, Blommers depicts a group of children standing on a self-constructed raft. Wave by wave, the water surrounds the raft, creating an ‘island’ in the surf. Three little girls are standing dry on the pile of sand and seaweed, while a young boy, still holding his shovel, looks at the spectacle with his feet in the water. It is the sheer enthusiasm of children playing at the beach that makes this painting so timeless and attractive. It makes us dream about simpler times, about childhood, when happiness was just ‘a sunny day spent at the beach’.

€30,000 - €50,000

Literature: -Eigen Haard, 25 November 1916.

Provenance: -Collection J.M. van der Meulen, Amsterdam. -Private collection, the Netherlands.

34 Jan Hendrik Weissenbruch (1924-1903) Polder workers by a windmill and cows resting in the shade signed ‘J.H. Weissenbruch f’ (lower left) watercolour on paper, 51x65 cm

€5,000 - €8,000

Literature: -Willem Laanstra, ‘Johan Hendrik Weissenbruch 1824-1903’, Amsterdam (Tableau) 1992, ill. p. 196, no. OA/51-1. -Eddy Schavemaker, Noortman Master Paintings, ‘One hundred master paintings’, Zwolle 2007, ill. p. 347, as: ‘whereabouts unknown’. Provenance: -With Kunsthandel E.J. van Wisselingh & Co., Amsterdam (label attached to the frame). -Auction, Mak van Waay, Amsterdam, 9 November 1961, lot 772 -With Kunsthandel Pieter A. Scheen, The Hague. -Auction, Van Marle & Bignell, The Hague, 14 March 1976, lot 357, where acquired by the family of the present owner. Please compare to two oil paintings by the artist with the same composition, illustrated in: Laanstra 1992, nos. O16-1 and O/101-1.

35 Jacob Maris (1837-1899) Mill along the water side in winter signed ‘J Maris’ (lower right) oil on canvas, 125,5x93 cm

€10,000 - €15,000

Exhibited: -London, French Gallery, ‘Ninety-seventh exhibition at the French Gallery, 120, Pall Mall, London, S.W., of selected works by James Maris, Anton Mauve, H. Fantin Latour’, 1910-1911, no. 24. -Kikcaldy, Kirkcaldy Art Gallery, ‘Inaugural loan exhibition’, 1925, no. 22 (label attached to the frame). -The Hague, Gemeente Museum, ‘Maris tentoonstelling’, 8 February 1935-8 March 1936, no. 71a (label attached to the frame). -Aberdeen, Aberdeen Art Gallery and Museums, ‘Paintings from North East Homes’, 1951-52. -The Hague, Gemeente Museum, ‘Meesters van de Haagse School’, 18 June-13 September 1965, no. 48 (label attached to the frame).

Literature: -The Connoisseur, June 1910.

-James L. Caw, ‘The collection of pictures of the British, French and Dutch Schools belonging to John Reid’, Glasgow 1913, ill. p. 161. Provenance: -Auction, C.F. Roos, Amsterdam, 21 March 1899, lot 61. -With Kunsthandel Frans Buffa & Zonen, 1899. -Collection J.B. Bennett & Sons Ltd., Glasgow. -Collection Sir John Reid, Glasgow, by 1913. -Collection Mrs E.M. Salvesen, Glasgow, by 1935. -Auction, Christie’s, Amsterdam, 18 April 2000, lot 225. Please compare to another painting by the artist with the same composition, but set in summer, sold at: Auction, Christie’s, Amsterdam, 2 May 1990, lot 157. Also, please compare to a watercolour by the artist with a similar composition where the trees in the foreground have been omitted, in the collection of Kunstmuseum, The Hague, inv. no. 0512739.

36 Gerhard Arij Ludvig Mogenstjerne Munthe (1875-1927) Fisherwoman waiting for the beached bomschuit signed and dated ‘G. Morgenstjerne Munthe 21.’ (lower left) oil on canvas, 75x57,5 cm

€5,000 - €7,000

37 Gerhard Arij Ludvig Morgenstjerne Munthe (1875-1927) Bomschuiten in the breakers signed and dated ‘G. Morgenstjerne Munthe 24.’ (lower left) oil on canvas, 61x100,5 cm

€10,000 - €15,000

Provenance: -Auction, Venduehuis, The Hague, 31 October 2000, lot 462. -Auction, Sotheby’s, Amsterdam, 24 April 2006, lot 114, where acquired by the present owner.

38 Willem Bastiaan Tholen (1860-1931) Frozen moat by a manor signed ‘WB Tholen’ (lower right) oil on canvas, 58x98 cm

39 George Hendrik Breitner (1857-1923) Snowy view of the Teertuinen in Amsterdam, seen from the artist’s studio signed ‘GH Breitner’ (lower left) oil on canvas, 59x90 cm

Provenance: -Auction, Sotheby Mak van Waay, Amsterdam, 28 October 1975, lot 16. The present lot depicts a view from the artist’s studio on the Prinseneiland in Amsterdam. Breitner moved to this address in 1898 and remained in this studio on the Prinseneiland until 1914. We would like to refer to an original photograph of George Hendrik Breitner depicting the Nieuwe Teertuinen, in the collection of the RKD, The Hague, RKD image no. 0000269557 (this photograph is not included in this lot).

€7,000 - €10,000

€10,000 - €15,000

Provenance: -Auction, Christie’s, Amsterdam, 27 April, 1999, lot 245.

40 Johan Barthold Jongkind (1819-1891) Country church at sunset in the Nivernais signed and dated ‘Jongkind 1862’ (lower left) oil on canvas, 34x57 cm

Provenance: -Collection Mr Alexandre Blanc; His auction, Galerie Petit, Paris, 3 December 1906, lot 65. -Auction, Hotel Drouot, Paris, 20 February 1908, lot 24. -Collection Alfred Baillehache; His auction, Hotel Drouot, Paris, 23 May 1922, lot 31. -With Hirschl & Adler Galleries, New York. -Auction, Sotheby’s, Amsterdam, 24 April 2006, lot 199, where acquired by the present owner.

Exhibited: -Paris, Galerie Georges Petit, ‘J.B. Jongkind’, 4-23 November 1921 (according to a handwritten label attached to the reverse). Literature: -Victorine Hefting, ‘Jongkind, Sa vie son oeuvre son époque’, Paris 1975, ill. p. 130, no. 242. -Adolphe Stein, Sylvie Brame, François Lorenceau and Janine Sinizergues, ‘Jongkind, Catalogue critique de l’oeuvre, Peintures I’, Paris 2003, ill. p. 145, no. 280.

€35,000 - €45,000

This lot this will be included in the catalogue critique under preparation by the Comité Jongkind, Paris-La Haye, archive no. H0193.

41 Marius Bauer (1867-1932) The Scheveningen Pier and Paviljoen seen from the terrace of the Palace Hotel signed with initials ‘MB’ (lower right) watercolour on paper, 28,5x23 cm

€3,000 - €4,000

Provenance: -With Kunsthandel E.J. van Wisselingh & Co., Haarlem, by 1919, inv. no. 4138 (label attached to the reverse). -Collection Jan Michiel Pieter Glerum, Amsterdam, acquired from the above on 2 September 1919 (for 200 Dfl.). -Collection Mr H. Nijgh, Rotterdam, thence by descent to the present owner. Henricus (Han) Nijgh J. Czn. (Rotterdam 1873-1948) worked at Nijgh & Van Ditmar’s Uitgevers Maatschappij and was director of the Nieuwe Rotterdamsche Courant. He was an art collector of among others works by W.B. Tholen, G.H. Breitner and I. Israels. The first pier of Scheveningen, named ‘Wandelhoofd Koningin Wilhelmina’ opened in 1901. The wooden structure was built on a steel foundation directly in front of the Kurhaus hotel.

RKD image no. 250790.

42 Johan Barthold Jongkind (1819-1891) Lighthouse of Honfleur signed, annotated and dated ‘Jongkind Honfl. 23 Sept 65’ (lower right) charcoal and watercolour on paper, 30,5x44 cm

€4,000 - €6,000

Provenance: -Auction, Galliera, Paris, 23 March 1977, lot 5. -Auction, Paul Brandt, Amsterdam, 1977. -With Kunsthandel, Rotterdam, 1977, exhibited at ‘Pictura’, Maastricht, June 1977 (according to an inscription at the RKD, The Hague). -Auction, Van Marle & Bignell, The Hague, 10 September 1979, lot 621.

43 Isaac Israels (1865-1934)

Busy day in the Bois de Boulogne, Paris watercolour and charcoal on paper, 31x39,5 cm

€7,000 - €10,000

Provenance: -Inherited from the artist by the grandparents of the previous owner. -Auction, Sotheby’s, Amsterdam, 19 October 2004, lot 152, where acquired by the present owner.

44 Isaac Israels (1865-1934) Portrait of a woman signed ‘Isaac Israels’ (lower right) watercolour, heightened in white, on paper, 43x35 cm

€5,000 - €8,000

45 Isaac Israels (1865-1934) Portrait of Johannes Evert Hendrik Akkeringa signed ‘Isaac Israels’ (upper right) oil on canvas, 50x40 cm

Exhibited: -Amsterdam, Christie’s, ‘Wintertentoonstelling J.E.H. Akkeringa (1861-1942): Tuin & Duin: Schilder van de huiselijke sfeer’, 6-14 January 2005, no. 75 (label attached to the reverse). -Katwijk, Katwijks Museum, ‘J.E.H. Akkeringa (1861- 1924): schilder van het onbezorgde leven’, 9 March- 5 June 2010, no. 57 (label attached to the reverse).

Literature: -Sarah de Clerq, ‘J.E.H. Akkeringa (1861-1924): schilder van het onbezorgde leven’, Schiedam 2010, ill. p. 131, no. 155. Provenance: -Collection of the family of Johannes Evert Hendrik Akkeringa (1861-1924).

€4,000 - €6,000

46 George Hendrik Breitner (1857-1923) Woman behind the window signed ‘GH Breitner’ (lower left) chalk, pencil and watercolour on paper, 28,5x20,5 cm

€2,500 - €3,500

Exhibited: -Amsterdam, Gemeente Musea van Amsterdam, ‘Bewaring’, no. 11 (label attached to the reverse). -Berlin, Deutsche Akademie der Künste zu Berlin, ‘George Hendrik Breitner: Gemälde aus holländischem Besitz’, 25 November 1960-10 January 1961 (label attached to the reverse). Provenance: -With Gallerie Georges Giroux, Brussels, inv. no. 2620 (label attached to the reverse). -Collection G.H.J. van der Laan, Amsterdam.

47 Floris Arntzenius (1864-1925)

Market on the Prinsengracht, The Hague signed ‘Fl. Arntzenius’ (lower right) watercolour and gouache on paper, 31x43 cm

€5,000 - €7,000

Provenance: -Collection of the artist’s sister Charlotte Arntzenius (1863-unknown), thence through descent in the collection of the present owner.

48 Isaac Israels (1865-1934)

The present work depicts Sophie de Vries and belongs to a particularly intimate group of portraits in Isaac Israels’ oeuvre. Sophie de Vries was his companion and muse, being a never-ending source of inspiration to Israels. Their relationship, formalised after her separation from her husband, infused Israels’ portraits of her with a rare intimacy and tenderness. In comparison to his other artworks, these portraits stand out not only for their painterly brilliance but also for their emotional depth, offering a glimpse into the personal life of the artist. In this nude portrait, Israels adopts a more atmospheric approach. Rather than defining every detail with precision, he builds her likeness through loose, expressive brushstrokes and a nuanced interplay of light and shadow. In his typical style of ‘sketching with paint’, Israels manages to capture the character of his muse. Her dignified pose, with her back straight, hands folded, and composed expression, radiates elegance and gracefulness. This chic appearance is accentuated by her golden earrings, long necklace, and fashionable Japanese robe that partially covers her lap. Painted with swift brushstrokes in a muted palette, the portrait balances between intimacy and stateliness.

Nude portrait of Sophie de Vries signed ‘Isaac Israels’ (lower left) oil on canvas, 100x65 cm

€40,000 - €60,000

Provenance: -Collection Jan Michiel Pieter Glerum, Amsterdam; His auction, Mak van Waay, Amsterdam, 26 September 1933, lot 134, where acquired by Heerdt Brumel. -Collection Zwart, the Netherlands.

RKD image no. 250037, mentioned with different measurements (100x85 cm).

49 Hendrik Willem Mesdag (1831-1915) Fishing boats at sea, Scheveningen signed and dated ‘HW Mesdag 1898’ (lower right) oil on canvas, 110x80 cm

In this atmospheric seascape, Hendrik Willem Mesdag depicts three bomschuiten setting out to sea, evoking the rhythm of daily life along the Dutch coast. The presence of seagulls in the sky and the suggestion of wind and salt-laden air lend the scene its characteristic Scheveningen atmosphere. This artwork, executed in 1898, is exemplary of Mesdag’s maritime oeuvre of the late 19th century. Born in Groningen in 1831, Mesdag did not begin his artistic career until his thirties. Initially inspired by the style of the French Barbizon School, he painted landscapes before almost exclusively moving to marine subjects. Mesdag lived with his wife, Sientje Mesdag- van Houten (1834-1909), in The Hague, while maintaining a studio in Scheveningen to observe the North Sea on a daily basis. His seascapes and beach scenes are dominant in his oeuvre and beloved by art enthusiasts and collectors of the Hague School. Mesdag’s international reputation was firmly established at the Paris Salon of 1870, where he received a gold medal for the large painting ‘Les brisants de la Mer du Nord’. From that moment on, Mesdag devoted himself to depicting the North Sea, became even more productive, and developed his own recognisable style. The present lot, formerly on long-term loan to Het Scheepvaartmuseum in Amsterdam, is a fine example of Mesdag’s mature style. The composition is structured around the three bomschuiten, with additional vessels in the distance to create depth and emphasize the vastness of the sea. The North Sea has its own character and is always the main subject in his paintings. The water is not blue or green but painted in a restrained colour palette of browns, greys, and whites. Broad, confident brushstrokes are characteristic of Mesdag’s seascapes. They are a convincing depiction of movement, underscoring Mesdag’s mastery in capturing the ever-changing conditions of the sea. Waves splash against the ships, sails are being hoisted, seagulls soar in the sky; one could almost hear the sea and feel the fresh breeze through the wild brushstrokes of Hendrik Willem Mesdag.

€60,000 - €90,000

Literature: -Johan Poort, ‘Hendrik Willem Mesdag 1831-1915, Oeuvrecatalogus’, Wassenaar 1989, ill. p. 258, no. 1898.9. Provenance: -With Kunsthandel A. Preyer, Amsterdam/The Hague, inv. no. 2723, as: ‘Pinken voor anker’ (label attached to the stretcher).

-Auction, Drouot, Paris, 21 April 1904, lot 4. -With Kunsthandel Scholtens, Groningen. -Private collection, the Netherlands.

50 George Hendrik Breitner (1857-1923) Labourers pulling a heavily laden cart on the Jacob van Lennepkade, Amsterdam signed ‘G.H. Breitner’ (lower left) oil on panel, 18,5x28,5 cm

51 Pierre Puvis de Chavannes (French, 1824-1898) Slippers on a stool

Exhibited: -Ottawa, National Gallery of Canada, ‘Puvis de Chavannes 1824-1898’, March-April 1977, no. 35. Literature: -Louise d’Argencourt, ‘Puvis de Chavannes 1824-1898’, Ottawa 1977, p. 54, ill. p. 56, no. 35. -Aimée Brown Price, ‘Pierre Puvis de Chavannes’, New Haven 2010 Vol 1, ill. p. 66, no. 81. Provenance: -Collection of the family of the artist. -With Gallery Alsace, Paris. -With Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague, where exhibited in 1968 (label attached to the reverse).

annotated, dated and signed with initials ‘Paint avec conviction et reconnaissance/le 6 mai

1861/P.P.C.’ (upper right) oil on panel, 20,5x27 cm

Painted circa 1900.

€5,000 - €7,000

€7,000 - €10,000

Provenance: -With Kunsthandel E.J. van Wisselingh & Co., Naarden, inv. no. S 6408* (label attached to the reverse). Please compare to a larger watercolour with a similar composition, in the collection of the Rijksmuseum, Amsterdam, inv. no. RP-T-1978-88.

According to a catalogue entry in d’Argencourt 1977, the family of Puvis de Chavannes, who sold the work, maintained that the artist gifted the work to his wife, the Romanian princess Marie Cantacuzène (1820-1898). The annotation ‘paint avec conviction et reconnaissance’ would refer to some event in their intimacy.

Adriaan Lubbers (Amsterdam 1892 - New York City 1954) situates the viewer in the midst of a wintry Central Park, New York (1929). The paint is handled in a pronounced impasto, and, in an impressionistic idiom, we see monumental skyscrapers rise towards the sky. Lubbers originally trained as a mechanical engineer. Largely self- taught as a painter, he developed his artistic practice with the encouragement and advice of fellow artists, among them the innovative modernist Leo Gestel. A cosmopolitan and indefatigable traveller, Lubbers journeyed to South America following his studies, and subsequently visited Germany, Italy (in the company of Gestel), and Paris, where he became friends with Piet Mondriaan. New York in particular, where he arrived by steamship in 1916, made a lasting impression and remained his primary source of inspiration. A renewed stay in the Big Apple followed in the late 1920s. His paintings are notable for the dominant linearity of skyscrapers and bridges, as well as for their depiction of industrialization, automobiles, and bustling urban activity. Although Lubbers’ work attracted considerable attention in France and the United States, he remained comparatively little known in the Netherlands for an extended period. A series of later exhibitions contributed to a reassessment of his oeuvre.

52 Adriaan Lubbers (1892-1954) Winter in Central Park, New York oil on canvas, 81x60 cm

Literature: -Gemeentemuseum De Wieger, ‘Adriaan Lubbers (1892- 1954) : ...zie hier mijn nieuw adres...’, Deurne 1988, p. 49, ill. no. 40, as: ’Central Park, 1929, olieverf op doek 81x60 cm, Coll. J. Vecht, Amsterdam’; included in catalogue list on p. 68, no. 36 (ill. no. 40). -Ann Blokland, ‘Adriaan Lubbers (1892-1954), tussen Nederland en New York’, Laren 1999, p. 75, no. 22, as: ‘Central Park, 1929, private collection’. Provenance: -With Frans Buffa & Zonen, Amsterdam (stamp on the reverse), 1933, no. 5 or 6 in the exhibition list, both as: ‘Central Park’. -With Kunsthandel J. Vecht, Amsterdam, by 1988. -With Kunsthandel Hasenbos, Eindhoven (label attached to the reverse), where acquired by the present owner in circa 1995.

Painted in 1929.

€10,000 - €15,000

Exhibited: -Deurne, Gemeente Museum de Wieger, ‘Adriaan Lubbers (1892-1954), …zie hier mijn nieuw adres…’, 20 May-17 July 1988, no. 36. -New York, Museum of the City of New York, ‘Adriaan Lubbers in New York’, 10 March-23 August 1992 (label attached to the reverse). -Laren, Singer Museum, ‘Adriaan Lubbers (1892-1954), tussen Nederland en New York’, 28 November 1999-20 February 2000, no. 22.

53 August Willem van Voorden (1881-1921) Hustle and bustle on the Oostplein near the Marinierskazerne, Rotterdam signed ‘August. W.v. Voorden’ (lower left); annotated and signed again ‘Oostplein te

Rotterdam’ (on the stretcher) oil on canvas, 81x126,5 cm

€10,000 - €15,000

54 George Hendrik Breitner (1857-1923) Horse and carriage on a bridge of the Damrak, Amsterdam signed ‘GH Breitner’ (lower left) watercolour and gouache on paper, 51,5x73 cm

Provenance: -With Kunsthandel E.J. van Wisselingh & Co., Amsterdam, inv. nos. 368x, 1748x and 3978 (labels attached to the reverse). -Collection Dr Paul Majofski, 1911. -Collection J. v.d. Weijden Boogaerts, 1919. -Collection Sigmund and Emmy Menko-van Dam, Enschede, 1925. -With Kunsthandel Sala & Zn., The Hague, 1936. -Collection Karel and Hedda Magnus-Menko, Zeist, 1962. -Private collection, the Netherlands. -With Kunsthandel Hein A.M. Klaver, Baarn, 2013, where acquired by the family of the present owner.

€20,000 - €30,000

RKD image no. 112612.

55 Hendrik Willem Mesdag (1831-1915) Ships at anchor on a calm Summer evening signed and dated ‘HW Mesdag 1889’ (lower right) oil on canvas, 90x70 cm

Literature: -Johan Poort, ‘Hendrik Willem Mesdag 1831-1915, Oeuvrecatalogus’, Wassenaar 1989, ill. p. 223, no. 1889.3. Provenance: -With Scholiens & Loon, Groningen (label attached to the stretcher). -Auction, Van Marle & Bignell, The Hague, 1 June 1930, lot 77. -Private collection, U.S.A. -Auction, Sotheby’s, New York, 24 April 2009, lot 94.

€40,000 - €60,000

56 Edward Cucuel (American, 1875-1954) ‘New York Harbor’ signed ‘Cucuel’ (lower left); with annotation of the artist’s name, address and German title (on a label attached to the reverse); titled (on a label attached to the reverse) oil on cardboard, 53x71 cm

57 Gustave de Smet (Belgian, 1877-1943) Harvesting farmer in the fields oil on board, 40x50 cm

€3,000 - €4,000

Provenance: -Private collection, U.S.A. -With Kunsthandel Simonis & Buunk, Ede.

€7,000 - €10,000

Provenance: -Acquired by the grandfather of the present owner in the 1930s.

58 Ferdinand Hart Nibbrig (1866-1915) Blossoming tree in front of the artist’s house in Laren, North-Holland signed ‘Hart Nibbrig’ (lower right) oil on canvas, 61,5x53,5 cm

Literature: -M.E.Th. Estourgie-Beijer, Dominique Colen and Denise Willemstein, ‘Ferdinand Hart Nibbrig 1866-1915’, Zwolle 1996. Provenance: -Acquired directly from the artist by Ir A.J. Korthals (1869-1932), thence by descent to the present owner.

Exhibited: -Laren, Singer Museum, ‘Ferdinand Hart Nibbrig 1866-1915: overzichtstentoonstelling’, 27 May- 9 July 1967, no. 56 (label attached to the frame). -Laren, Singer Museum, ‘Ferdinand Hart Nibbrig 1866-1915’, 25 August-3 November 1996 (label attached to the frame).

€25,000 - €3,5000

59 Ferdinand Hart Nibbrig (1866-1915) Neeltje Melis knitting in the dunes of Zoutelande signed ‘Hart Nibbrig’ (lower right) oil on canvas, 80,5x80,5 cm

Exhibibted -Laren, Singer Museum, ‘Ferdinand Hart Nibbrig 1866-1915: overzichtstentoonstelling’, 27 May-9 July 1967, no. 49. Provenance: -Acquired directly from the artist by Ir A.J. Korthals (1869-1932), thence by descent to the present owner.

Painted circa 1911-1915.

€30,000 - €50,000

60 Isaac Israels (1865-1934)

The twin sisters Helena (1895-1964) and Geertuida Wehmann (1895-1975), also known as Ippy and Gertie, have been an important source of inspiration to Isaac Israels. Between 1916 and 1918, they worked as models for the Dutch fashion house Hirsch & Cie., appearing frequently in fashion publications associated with the fashion house. During this period, Isaac Israels painted the sisters several times, often together. A defining and sought-after aspect of Israels’ oeuvre is his engagement with the world of fashion and the modern woman. Around the turn of the century, painter Thérèse Schwartze (1851-1918) introduced him to the leading fashion house Hirsch & Cie., located on the Leidseplein in Amsterdam. Because of this introduction by Schwartze, Israels gained exclusive insight behind the scenes of the world of haute couture, by all means not evident for a male artist at the time. This privilege was later extended to Parisian fashion houses, including Paquin and Drecoll. Here, he depicted the full spectrum of couture life: from seamstresses at work to elegantly dressed clients, transforming scenes of dress fittings and private interiors into compelling compositions. This fascination aligns with the broader Impressionist interest in modernity, where clothing, gesture, and environment together convey the spirit of modern times. The present work exemplifies this interest in fashion and models. The composition, a juxtaposition of a seated and a standing female figure, demonstrates Israels’ ability to combine portraiture with a sense of spontaneity. While the seated model in the foreground waits patiently for the artist to finish, her twin sister appears to walk into the composition and could be leaving at any moment. The contrast between the standing and sitting twin sisters, also visible in Israels’ use of colour, the richly coloured dress stands out against the sober black dress. In this composition, Israels demonstrates his painting skills. The faces and expressions of the models are handled with absolute care and finesse. Yet, with loose and vibrant brushstrokes in the purple-coloured dress, Israels shows his masterly Impressionist approach. His fascination with Ippy and Gertie is evident in several large portraits. These exquisite portraits feature as highlights in Israels’ oeuvre. Comparable compositions, also depicting the elegantly dressed twin sisters, appeared at auction at Christie’s, Amsterdam, in November 2012 (lot 52). Another painting depicting the sisters was sold at Christie’s, Amsterdam, in October 2012 (lot 52). The present lot exemplifies Israels’ enduring fascination with modern femininity and the fashions of his time.

Ippy and Gertie at Hirsch, Amsterdam signed ‘Isaac/Israels’ (lower right) oil on canvas, 127x78 cm

€100,000 - €150,000

Exhibited: -The Hague, Gemeentemuseum Den Haag, ‘Isaac Israels in de mode’, 7 December 2002- 9 March 2003 (label attached to the stretcher). Literature: -Hans te Nijenhuis and Ietse Meij, ‘Isaac Israels: mannequins en mode’, Wijk en Aalburg 2002, ill. p. 153. Provenance: -With Kunsthandel Gebr. Douwes, Amsterdam, exhibited in November 1965, no. 34.

Auction, Christie’s, Amsterdam, 20 November 2012, lot 52.

Auction, Christie’s, Amsterdam, 7 October 2014, lot 52.

61 Geer van Velde (1898-1977) Bouquet of flowers next to a mirror signed with initials ‘G.v.V.’ (lower right) oil on canvas, 61x82 cm

€5,000 - €7,000

On the reverse an oil study of nudes.

The present lot is accompanied by a certificate of authenticity from Mr Piet Moget, dated 2 November 2004.

62 Jan Sluijters (1881-1957) Still life with flowers in a vase and a pewter plate signed ‘Jan Sluijters’ (lower right) oil on canvas, 60x72 cm

€6,000 - €9,000

Exhibition: -Amsterdam, Stedelijk Museum Amsterdam,

‘Jan Sluijters Eere-tentoonstelling’, 4 May-5 November 1941, no. 30.

Literature: -Jacqueline de Raad, Digital catalogue raisonné, ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998, where dated circa 1925. Provenance: -Collection Jan Sluijters, Amsterdam, at least until 1941. -Private collection, Hilversum. -With Kunsthandel Studio 2000, Blaricum, 1999, where acquired by the family of the present owner.

RKD image no. 100735.

63 Jan Sluijters (1881-1957) Flower still life signed ‘Jan Sluijters’ (lower right) oil on canvas, 105x80 cm

Provenance: -Directly acquired from the artist, thence by descent to a private collection, until 26 May 1993. -Auction, Christie’s, Amsterdam, 8 December 1993, lot 229.

Literature: -Jacqueline de Raad, Digital catalogue raisonné, ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998, as: ‘Gemengd boeket met lelies in blauwe vaas’, where dated circa 1925.

RKD image. no. 100938.

€15,000 - €25,000

64 Modest Huys (Belgian, 1874-1932) Walk in the park signed ‘MHuys’ (lower right) oil on canvas, 37x45 cm

65 Modest Huys (Belgian, 1874-1932)

‘Bords de la Lys Vyve St Eloy’ / ‘Leie boorden Sint-Eloois-Vijve’ signed with initials ‘MH’ (lower right); titled ‘Leie Boorden/Bords de la Lys/Vyve St Eloy’ (on the reverse) oil on panel, 36x38,5 cm

€6,000 - €8,000

Provenance: -Auction, De Vuyst, Lokeren, 12 December 1987, lot 185, as: ‘Paris-Plage, Le Touquet’.

€6,000 - €8,000

66 Anna de Weert (Belgian, 1867-1950) Rowboat in Afsnee on the river Lys (Leie)

surrounded by water lilies on a summer’s day signed ‘A. de Weert’ (lower left); signed again, annotated and dated ‘Afsnee/Juli/1911’ (on the reverse) oil on canvas, 38,5x56 cm

€12,000 - €16,000

Afsnee is a village near Ghent in East Flanders, Belgium. It is situated at the banks of the river Lys. Anna de Weert had a studio in a farmhouse known as Hof Ter Neuve along the Leie in Afsnee, which she and her husband Maurice bought in 1895. This farm and the landscape appeared in several of her paintings.

68 Leo Gestel (1881-1941) Mother and child oil on canvas, 91x75 cm

67 Geert Grauss (1882-1929) Elegant ladies in the garden signed and dated ‘Grauss ‘16.’ (lower right) oil on canvas, 75x100 cm

Provenance: -Collection Paul Rijkens, Surrey (label attached to the stretcher). -With Kunsthandel Ivo Bouwman, The Hague, inv. no. 17, exhibited 3 October-2 November 1981. -Auction, Sotheby’s, Amsterdam, 3 October 1988, lot 57.

€30,000 - €40,000

€10,000 - €15,000

RKD image no. 228723.

Leo Gestel ranks among the leading pioneers of early twentieth-century Dutch modernism, alongside Piet Mondriaan (1872-1944) and Jan Sluijters (1881-1957). Before his departure to Mallorca, Gestel had already established himself as one of the most progressive figures within Dutch modernism. In these formative years, his work reveals a continuous search for renewal, moving away from academic naturalism towards a more expressive visual language: vibrant, often contrasting colours, fluid brushwork, and an increasing simplification of form. During his stay in Mallorca in 1914, his artistic style underwent a transformation. Confronted by the intense Mediterranean light, his palette became brighter and more vivid, while forms were further reduced to structured, almost geometric shapes. His compositions gained in rhythm and balance, reflecting a more pronounced engagement with Cubism. In this period, Gestel largely abandoned figural subjects, focusing instead on landscapes and harbour scenes, executed in loose brushstrokes and broad areas of colour. These works demonstrate a combination of Cubist form and Fauvist colour, signalling a new level of abstraction in his oeuvre. This intimate depiction of a mother and child, executed circa 1913, illustrates Gestel’s move towards a more expressive and modern style just before his Mallorca period. The composition is compact, with defined forms, strong brushwork, and the contrasting blue and red colours creating visual focus. The simplified forms reveal Gestel’s interest in abstraction, resulting in a work that balances tenderness with modernity, marking a crucial moment just before the artist’s stylistic transformation.

Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108 Page 109 Page 110 Page 111 Page 112 Page 113 Page 114 Page 115 Page 116 Page 117 Page 118 Page 119 Page 120 Page 121 Page 122 Page 123 Page 124 Page 125 Page 126 Page 127 Page 128 Page 129 Page 130 Page 131 Page 132 Page 133 Page 134 Page 135 Page 136 Page 137 Page 138 Page 139 Page 140 Page 141 Page 142 Page 143 Page 144 Page 145 Page 146 Page 147 Page 148 Page 149 Page 150 Page 151 Page 152 Page 153 Page 154 Page 155 Page 156 Page 157 Page 158 Page 159 Page 160 Page 161 Page 162 Page 163 Page 164 Page 165 Page 166 Page 167 Page 168 Page 169 Page 170 Page 171 Page 172 Page 173 Page 174 Page 175 Page 176 Page 177 Page 178 Page 179 Page 180 Page 181 Page 182 Page 183 Page 184 Page 185 Page 186 Page 187 Page 188

Made with FlippingBook. PDF to flipbook with ease