Old Masters, Nineteenth Century & Early Modern Art Nov 2025

De catalogus van de halfjaarlijkse veiling van Old Masters, Nineteenth Century & Early Modern Art Part 1 & Part 2 op 18 en 19 november 2025.

Old Masters, Nineteenth Century & Early Modern Art

18 & 19 November 2025

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

Viewing days and auction at Venduehuis der Notarissen Nobelstraat 5 2513 BC The Hague

Live Online Auction Part I

Tuesday 18 November 2025 7 PM | Lot 1 – 97

Online Only Auction Part II

Closing on Wednesday 19 November 2025 from 8 PM onwards | Lot 101 – 365

Viewing Days

Thu 13 - Sun 16 November 2025 10 AM – 5 PM

Online catalogue www.venduehuis.com

Venduehuis der Notarissen

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

Additional Texts Madalin Ciobotaru

Chamber of Commerce No. 27145264

Advisor Old Master Drawings Charles Dumas

VAT No. NL 802493580B01

Print MediaCentre Rotterdam

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

Specialists of Old Masters, Nineteenth Century & Early Modern Art

Chris Vellinga

Marjolein Regout

Dolf Heyselbergs

Anna van Till

Front cover lot 44; Back cover lot 3 Inside cover left lot 31; Inside cover right lot 45 (part lot)

For more information on Droit de suite see page 170.

lot 81

Old Masters, Nineteenth Century & Early Modern Art Live Online Auction | Part I 18 November 2025 | 7 PM Lot 1 - 97

lot 42

1 Hendrick Martensz. Sorgh (1609-1670) Man refilling his wine signed and dated ‘HM Sorg 1669’ (upper right) oil on panel, 25,5x19 cm

€4,000 - €6,000

2 Circle of Willem van de Velde II (1633-1707) Battle ships at sea oil on panel, 39x59 cm

€5,000 - €7,000

Provenance: -With J.F. Minken, London, as: ‘W. van de Velde II’.

Please compare to a painting with a similar composition, probably by Charles Brooking (English, 1723-1759), a follower of Willem van de Velde II, in: M.S. Robinson, ‘The Paintings of the Willem van de Veldes, A catalogue of the paintings of the Elder and the Younger Willem van de Velde’, Greenwich 1990, Vol. II, ill. p. 613, no. 356-2. Please also compare to a painting with a similar composition by Peter Monamy (English, 1681-1749), sold at: Auction, Sotheby’s, London, 13 July 1994, lot 1.

3 Follower of Hans Memling (First Half 16th Century)

Several of Hans Memling’s (1430–1494) altarpieces depict the Virgin and Child enthroned before a sumptuous gold-embroidered hanging, flanked by distant landscapes and attendant angels. Please compare to a painting by Memling with a similar compositon: on the right, an angel dressed in luminous blue robes delicately plays a harp, enhancing the scene’s serene harmony and devotional intimacy, in the National Gallery of Art, Washington, inv. no. 1937.1.4.

Provenance: -Collection Dr Wilhelm Alexander Freund (1833–1917), Berlin. -With Galerie Theodor Fischer, Lucerne, by 1930. -With Edouard Lucas-Moreno, Paris. -Possibly private collection, Paris, by December 1935 (according to an inscription at the RKD, The Hague). -Possibly with Dr Curt Benedict and Co., Paris, by November 1945 (according to an inscription at the RKD, The Hague).

The Virgin and Child enthroned with angelic musicians, set against a distant landscape oil on panel, 77x56 cm

€20,000 - €30,000

-Private collection, Wassenaar, by 1973, thence by descent to the present owner.

4 Circle of Hendrick Vroom (1562-1640) I. French pinnace; II. Beurtvaart ship adrift in a raging storm both with copper plate maker mark ‘KW’ (on the reverse) both oil on copper, 11,5x18,3 cm (2)

€3,000 - €4,000

Provenance: -With Gallery Rob Kattenburg, Heiloo, 2011, where acquired by the family of the present owner, as: ‘Hendrick Vroom (1562-1640)’.

5 Hendrick Staets (1600/26-1659/79) Sailing vessels on a stormy sea oil on panel, 24x31 cm

€3,000 - €4,000

Provenance: -Auction, Christie’s, Amsterdam, 7 March 1980, lot 160, as: ‘Jan Porcellis’. -With Dr A. Wieg Fine Art, Amsterdam, 2005, thence by descent to the present owner.

6 Adam Willaerts (1577-1664) Coastal scene with lively fishermen on shore signed with initials ‘AW’ (lower left) oil on panel, 18,5x36 cm

€10,000 - €15,000

Provenance: -With Agnews Gallery, London, 1964.

-With Evert J.M. Douwes, Amsterdam, until 1993. -Collection Dr Anton C.R. Dreesman, inv. no. A-79; His auction, Christie’s, London, 4 April 2002, lot 551 (sold for £28.000). -With Dr A. Wieg Fine Art, Amsterdam, 2005, where acquired by the family of the present owner.

7 Meindert Hobbema (1638-1709) Landscape with travellers and a watermill indistinctly signed (lower right) oil on panel, 23x30 cm

This unique panel, painted with crystalline clarity and understated refinement, stands as a testament to Meindert Hobbema’s consummate mastery in capturing both the grandeur of nature and the tranquil poetry of rural life. The great age of Dutch landscape painting extended roughly from 1640 to 1680. More monumental than Van Goyen’s modest tonal scenes -like the painting now up for auction (lot 8) - these so-called classic landscapes were typically structured around clearly defined focal points, such clusters of trees, farm buildings, or gentle hills, animated by dramatic contrasts of light and shadow and by expanses of billowing cloud. Among the leading exponents of this genre, Jacob van Ruisdael (1628-1682) and his pupil Meindert Hobbema stand pre-eminent as the finest landscapists of the Dutch seventeenth century. Hobbema’s idyllic views are carefully composed, displaying his meticulous handling of twisted foliage and his sensitive articulation of light across the undulating terrain. Unlike his master, who revelled in nature’s wild splendour, Hobbema preferred the quiet intimacy of rural scenes, of sun-dappled countryside, tree-lined paths, and humble buildings. While Hobbema softened Ruisdael’s dramatic conception of landscape, he retained a sense of inventive grandeur in his depictions of the Dutch countryside. The subtle chromatic restraint of cool blues, silvery greys, and mossy greens reflects the influence of Jacob van Ruisdael, Hobbema’s teacher, yet the mood is Hobbema’s own: less dramatic, more reflective, imbued with a gentle lyricism that evokes of the Dutch countryside as a place of enduring peace. In this composition, Hobbema achieves the serene equilibrium between natural grandeur and pastoral intimacy that marks his finest period of the 1660s and 1670s. The setting recalls the landscape scenes painted by artist’s circle in the eastern Netherlands, possibly inspired by the countryside around Gelderland or Overijssel, regions he is known to have visited. Beneath a vast and luminous sky, punctuated by drifting cumulus clouds and two birds gliding in the distance, unfolds a scene of rural life. The viewer’s gaze follows a sandy track curving gently through the foreground, catching a delicate play of sunlight before descending toward a shaded hollow. Along this path rides a solitary horseman, observed closely by a second, fainter silhouette who appears to pause, almost as if to hail him. The two are calmy embraced between a dense stand of trees to the right and, a building with a watermill to the left. Watermills feature in some thirty-five of Hobbema’s paintings, many derived from drawings made either by the artist himself or by contemporaries such as his teacher Ruisdael. Beyond the mill, in the centre, a church tower rises above the horizon’s line, as a quite sentinel observing the daily rhythms of the mundane life. The trees, rendered short, rhythmic brushwork, display a variety of greens and ochres. Their leaves catch the changing light, while their trunks and branches form a counterpoint of structure against the sky. The play of shadow and sunlight across the earth; those soft, dappled patches of ochre and umber are quintessentially Hobbema, balancing precision of observation with painterly delicacy.

Painted circa 1670-1680.

€30,000 - €40,000

Literature: -Dr C. Hofstede de Groot, ‘Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler’, Vol. IV, p. 409, no. 111, as: ’Schönes Werk’. Provenance: -Collection Robert Geelhand, Antwerpen, 1888. -Collection M. Edmond Huybrechts, Antwerp; His auction, Antwerp, 12-15 May 1902, lot 89 (with ill.). -Collection M. Leroy, Brussels, 1902. -Auction, ‘Collectie van wijlen mevrouw weduwe H.S. te Brussel’, Frederik Muller & Cie., Amsterdam, 19 June 1913, lot 129 (with ill.). -Acquired at the above by Kunsthandel J. Goudstikker, Amsterdam, 1913.

-Collection A.F. Philips 1913, Eindhoven, thence by descent to the present owner.

8 Jan van Goyen (1596-1656) Frozen river with horse-drawn sleds on a bank, cottages beyond oil on panel, 28,5x43 cm

Several men push along a sledge carrying people, which is being pulled by a horse up a gentle slope, figures skate on the frozen water, and a few houses on the riverbank with smoke rising from its chimneys. This evocative winter landscape captures the quiet rhythm of Dutch winter life. Painted with Van Goyen’s characteristic tonal restraint, the scene unfolds beneath a vast sky of soft browns and greys, where light breaks faintly through the clouds and reflects off the icy surface. The painting unites the everyday and the atmospheric - a humble yet poetic evocation of a season, a place, and a way of life. Jan van Goyen was a remarkably versatile artist within the landscape genre of seventeenth century art. His oeuvre encompasses an impressive range of subjects - from river and village views to marines, dunes, forests, and cityscapes, rendered in both summer and winter light. He proved to be one of the most influential figures of his time, and played a central role in the development of the tonal landscape, in which naturalism, atmosphere, and unity of tone replaced the colourful artificiality of earlier traditions. Van Goyen studied with several masters, yet his apprenticeship in Haarlem in 1617 under Esaias van de Velde (1587–1630) proved most influential. There, he absorbed Van de Velde’s fresh and naturalistic approach to landscape painting, which he would later refine into a more restrained and distinctive style. Although his paintings did not command high prices during his lifetime, Van Goyen balanced his finances by producing prolifically - painting thinly and efficiently with a limited palette. His early works of the 1620s, strongly inspired by Van de Velde and still rich in colour and contrast, gradually gave way after 1627 to a more limited palette of muted harmonies in ochres, browns, and greens. This transition may have been driven in part by economic necessity, yet it resulted in one of the most recognisable visual idioms of the seventeenth century. Technically, Van Goyen was both methodical and inventive. He typically painted on thin oak panels, prepared with several layers of animal hide glue to seal the surface. Over this, he would spread a thin coating of tinted white lead to create a smooth ground, often coloured in a light brown or ochre tone. Upon this base, he sketched the composition rapidly, drawing from his many outdoor studies. Though Van Goyen worked from life, his finished paintings were seldom literal transcriptions of specific sites; rather, they were carefully composed syntheses of motifs observed during his travels across Holland, the Southern Netherlands, and the area around Cleves. The present composition likely reflects this approach - combining different scenes into a balanced and harmonious whole. After outlining the composition, Van Goyen would prepare a neutral selection of pigments on his palette, whose earthy tones reflected the very materials from which they were made. Applying these in thin, transparent layers, he achieved an extraordinary sense of atmosphere and spatial depth. In this painting, that technique yields a strikingly realistic yet poetic vision: the gentle gleam on the ice, the figures animated by quiet labour and leisure, and the enveloping winter air that binds them together. Van Goyen executed many winter landscapes throughout his career, around one hundred paintings of this theme are known today. ‘Winter Landscape with Figures on the Ice’ encapsulates Van Goyen’s mature style - restrained, balanced, and deeply attuned to the nuances of light and weather. In his hands, the landscape becomes not merely a subject, but a living presence: an enduring reflection of nature’s calm grandeur and the simple dignity of everyday life.

€35,000 - €45,000

Exhibited: -New York, Metropolitan Museum of Art, 1969-1974 (on loan). -Amsterdam, Waterman Gallery, ‘Jan van Goyen 1596-1656: Conquest of Space’, 12 March-12 April 1981 (not in catalogue). Literature: -Nystad Antiquairs Lochem, ‘Vier generaties Nystad 1862-1962: jubileum-uitgave’, The Hague 1962, illustrated. -Hans-Ulrich Beck, ‘Jan van Goyen. Ein Oeuvreverzeichnis’, Voll. II, Amsterdam 1973, ill. p. 44, no. 83, as ‘signed with monogram VG and dated 1653 lower left’. Provenance: -Auction, Berlin, 9 March 1949, lot 123. -Munich Art Market, 1952. -With Dr Curt Benedict, Paris, 1952. -With Saam Nijstad (1922-2011), The Hague/Lochem, circa 1953. -Collection F.H. Fentener van Vlissingen, Vught/Worth Rheden. -Collection H. Lepow, New York; His auction, Christie’s, New York, 9 January 1981, lot 119. -With Leger Galleries, Londen, exhibited at Pictura Maastricht, May 1981, no. 1. -Auction, Sotheby’s, New York, 4 June 1987, lot 67. -Private collection, New York, 1987-2005. -Auction, Sotheby’s, New York, 27 January 2005, lot 172 (sold for $150.000). -With Dr A. Wieg Fine Art, Amsterdam, 2005, where acquired by the parents of the present owner.

9 Christian Wilhelm Ernst Dietrich (German, 1712-1774) Raising of Lazarus oil on canvas, 91,5x76,5 cm

€4,000 - €6,000

10 Klaes Molenaer (1626-1676) Skaters on the ice near a village oil on panel, 47x63,5 cm

€8,000 - €12,000

Exhibited: -Leiden, Stedelijk Museum de Lakenhal, ‘Het Hollandse 17de eeuwse landschap’, 20 October-26 November 1972, no. 28. -Alkmaar, Stedelijk Museum Alkmaar, ‘Koud tot op het bot. Winterlandschappen in de 16de en 17de eeuw’, 1977-1978, no. 16. Literature: -Rijksdienst Beeldende Kunst, ‘Old Master Paintings. An Illustrated Summary Catalogue’, Zwolle/The Hague 1992, ill. p. 210, no. 1779. Provenance: -With Kunsthandel Jacob Stodel, Amsterdam, 1940. -With Kunsthandel J. Goudstikker, Amsterdam, 25 October 1940, inv. no. 5986 (label attached to the reverse). -Collection Heinrich Hoffmann (1885-1957), Munich, 11 December 1940. -Collection Reich Chancellery, Berlin, 16 December 1940. -Collection Führermuseum, Linz, 16 December 1940, inv. no. 84 (annotation on the reverse). -Collection Rijksdienst Beeldende Kunst, The Hague, after 5 May 1945 until 2005, inv. no. NK 2736 (label attached to the reverse), where restituted to Kunsthandel Jacob Stodel, Amsterdam. -With Salomon Lilian Dutch Old Master Paintings, Amsterdam, 2005, where acquired by the family of the present owner.

11 Adam Willaerts (1577-1664)

Ships off a coast with fish sellers at the beach signed with initials and dated ‘A.W. 1634.’ (lower centre) oil on panel, 50,5x89,5 cm

€12,000 - €18,000

12 Salomon van Ruysdael (1600/03-1670) Ferry crossing the river and fishers by the water signed ‘S. vRuysdael’ (on the boat, lower right) oil on canvas, 62,5x100 cm

A river landscape unfolds beneath a vast, cloud-laden sky where streaks of bright blue break through the drifting masses, filling the scene with the warm hues of light. In the centre, a ferry is pushed steadily across the river’s surface, laden with people, livestock, and two rowers who steer it along the gentle current. Such vessels, busy with trade and travel, form a quiet emblem of daily life on the Dutch waterways, their movement mirrored by other boats passing upstream and down. On the near bank, two groups of fishermen occupy the foreground: to the left, two figures sit quietly with their backs turned, absorbed in their work; to the right, a more animated cluster strains to moor their boats, their gestures caught in mid-action. To their left, the distant church tower rises delicately above the trees, its silhouette marking the edge of a tranquil settlement and anchoring the broad horizon. With a subtle palette of silver greys, warm browns and cool blues Salomon van Ruysdael evokes the freshness of the air, while the still reflections on the river he lends the composition a meditative calm. Through his sensitive treatment of light and atmosphere, he transforms an ordinary riverside view into a quiet hymn to nature and the enduring rhythm of human life within it. Salomon van Ruysdael was a prominent 17th century landscape painter, celebrated for his sensitive and atmospheric depictions of rivers, dunes, coastal scenes, and winter landscapes. Born in Naarden at the beginning of the seventeenth century, he was the youngest of four sons of Jacob Jansz de Gooyer, a prosperous Mennonite cabinetmaker, and his wife. Following his father’s death in 1616, Salomon and two of his brothers, Isaack and Jacob, adopted the surname Van Ruysdael, derived from a country estate near Blaricum. Salomon established himself in Haarlem, joining the Guild of St. Luke in 1623, and over the course of his career became a leading figure in the city’s artistic life, serving multiple times as warden and as dean of the guild. Van Ruysdael’s earliest works, produced in the mid-1620s, show the influence of the tonal approach common among Haarlem landscape painters, such as de Pieter de Molijn (1595- 1661) and Jan van Goyen (1596-1656), whose works were characterised by a limited colour palette and a focus on mood and atmospheric nuance; a defining feature of early Dutch realism. By the 1630s and 1640s, Ruysdael emerged as a leading figure among the tonal painters. He developed a particular interest in riverscapes, depicting waterways with silvery light and delicate reflections, often enlivened by small boats, inns, or figures engaged in daily activity. As seen in this painting, his compositions were carefully structured, frequently employing diagonal lines to guide the eye across the landscape, while clouds and skies are rendered with growing individuality and sensitivity. By the mid-1640s, van Ruysdael’s style evolved further, embracing richer colour contrasts, broader brushstrokes, and a greater sense of monumentality. His later landscapes reveal an almost Italianate grandeur, with dramatic skies, pronounced architectural elements, and carefully modelled trees that lend a sculptural quality to the composition. Van Ruysdael’s innovations in style, keen observational skill, and atmospheric subtlety mark van him as one of the most important figures of the Dutch Baroque landscape tradition.

Painted circa 1650.

€30,000 - €50,000

Literature: -W. Stechow, ‘Salomon van Ruysdael, eine Einführung in seine Kunst’, Berlin, p. 132, no. 404. Provenance: -Collection Roth, Vienna. -With Galerie Sanct Lucas, Vienna (invoice to Dr A.F.P. Philips, Eindhoven, dated 10 December 1934). -With Arnot, London, 1926 (according to Stechow). -Collection Ir P.F.S. Otten, Eindhoven. -Collection A.E.C. Otten-Philips, Valkenwaard, thence by descent to the present owner. On the invoice from Galerie Sanct Lucas in Vienna to Dr A.F.P. Philips in Eindhoven, letters of authenticity by Dr Gustav Glück, Vienna (5 May 1925) and Max J. Friedländer, Berlin (16 October 1934) are included. These letters and invoice are not included in this lot.

13 Charles Leickert (1816-1907) Returning boats on the beach, a church in the distance signed and dated ‘Ch Leickert. f 51’ (lower left) oil on panel, 36,5x50 cm

14 Charles Leickert (1816-1907) Boats on the river IJ, Amsterdam in the distance signed and dated ‘Ch. Leickert f 54’ (lower right) oil on panel, 67x97,5 cm

€5,000 - €7,000

€7,000 - €9,000

Exhibited: -’s-Hertogenbosch, Noordbrabants Museum, ‘Romantische en Haagse School: een Bossche collectie’, 28 January-28 February 1983. Literature: -Pieter A. Scheen, ‘Lexicon Nederlandse Beeldende Kunstenaars 1750-1880’, The Hague 1981, no. 253. Provenance: -Auction, Christie’s, London, 5 June 1970, lot 270. -With Kunsthandel Pieter A. Scheen, The Hague, 1970.

Literature: -Pieter A. Scheen, ‘Lexicon Nederlandse Beeldende Kunstenaars 1750-1880’, The Hague 1981, no. 251. Provenance: -With Kunsthandel Pieter A. Scheen, The Hague, April 1955, as: ‘View on the IJ, Amsterdam’. Please compare to a smaller painting by the artist with a similar composition, sold at: Auction, Sotheby’s, Amsterdam, 20 April 2004, lot 168.

15 Bartholomeus Johannes van Hove (1790-1880) Sunny day at the Buitenhof in The Hague with a view of the Binnenhof across the Hofvijver

dated ‘1837’ (lower left) oil on panel, 67x86 cm

€8,000 - €12,000

Provenance: -In the collection of the family of the present owner for over 70 years.

In the distance, the building of the Sint Sebastiaansdoelen is depicted, now the Haags Historisch Museum.

16 Andreas Schelfhout (1787-1870) Fishermen and skaters on the ice near a farm house signed ‘A. Schelfhout f’ (lower right) oil on panel, 40,5x51 cm

€12,000 - €18,000

Provenance: -Auction, Uppsala Auktionskammare, Uppsala, 25 May 2003, lot 57.

17 Willem Koekkoek (1839-1895) Everyday life along the canals of a Dutch town signed ‘W. Koekkoek’ (lower right) oil on canvas, 38x56,5 cm

18 Willem Koekkoek (1839-1895) Snowy view of a Dutch town signed ‘W. Koekkoek’ (lower right) oil on canvas, 35,5x55,5 cm

€7,000 - €10,000

€8,000 - €12,000

Provenance: -Auction, Mak van Waay, Amsterdam, 2-15 June 1970, lot 326.

Provenance: -With W.H. Patterson Fine Arts Ltd., London, 1987, where acquired by the family of the present owner.

-With W.H. Patterson Fine Arts Ltd., London, 1987, where acquired by the family of the present owner.

19 Cornelis Springer (1817-1891) Horse riders on the Herengracht and the Warmoesgracht in Amsterdam in the second half of the 17th century signed and dated ‘C Springer 1881.’ (lower right); authenticated by the artist ‘De ondergeteekende verklaart/dat deze schilderij voorstellende, Gezicht/op de Heerengracht bij de Warmoesgracht/te Amsterdam in de 2e helft der 17e eeuw/door hem is vervaardigd./ Amsterdam/13 Maart 1881 C Springer’ (on a label attached to the reverse with two red wax seals by the artist) oil on panel, 49,5x5x62,5 cm

€40,000 - €60,000

Literature: -Willem Laanstra, H.C. de Bruin and Dr. J.H.A. Ringeling, ‘Cornelis Springer (1817-1891)’, Utrecht 1984, p. 204, no. 81-2. Provenance: -Acquired directly from the artist by Ms G.H. Matthijsen, Leeuwarden, in February 1881 (sold for Dfl. 1.000). -Private collection, the Netherlands. Please compare this lot to a preliminary drawing executed in black chalk, in: Willem Laanstra, ‘Cornelis Springer, Geschilderde steden’, Amsterdam 1994, ill. p. 151, no. T80-2.

20 Andreas Schelfhout (1787-1870) Panoramic landscape featuring a shepherd with his flock in a valley signed and dated ‘A. Schelfhout 58’ (lower left); annotated ‘Toebehoorende aan/Catharina Schelfhout/geschonken op hare ver/jaaring op 25 october 1858/door mij A. Schelfhout’ (artist’s own annotation on a handwritten label

21 Andreas Schelfhout (1787-1870) Ships on rough seas signed ‘A. Schelfhout’ (lower left) oil on panel, 21x26,5 cm

€4,000 - €6,000

Exhibited: -Rotterdam, Kunsthal, ‘Meesters van de Romantiek: Nederlandse kunstenaars 1800-1850’, 8 October 2005-8 January 2006, no. 285. Literature: -Ronald de Leeuw, Jenny Reynaerts and Benno Tempel (ed.), ‘Meesters van de Romantiek: Nederlandse kunstenaars 1800-1850’, Zwolle 2005, ill. p. 301, no. 285. Provenance: -With Leslie Smith Galleries, Wassenaar, 1986. -Private collection. -Auction, Sotheby’s, Amsterdam, 23 April 2001, lot 41. -With Kunsthandel Simonis & Buunk, Ede, by 2001, inv. no 5962. -Private collection.

attached to the reverse) oil on panel, 17x22,5 cm

€4,000 - €6,000

Provenance: -Collection Catharina Adriana Johanna Schelfhout (1819-1884), as a birthday present from her father (according to the label attached to the reverse). -Private collection. -Auction, Christie’s, Amsterdam, 6 May 2009, lot 126. -Private collection. During his lifetime, landscape painter Andreas Schelfhout gave several paintings as gifts to his daughter Catharina. This is one of them, as indicated at the label on the reverse, handwritten by the artist himself.

22 Johan Barthold Jongkind (1819-1891) Figures near a shed in the dunes signed and dated ‘JB Jongkind ft 45’ (lower right) oil on panel, 23x29 cm

Provenance: -With Kunsthandel Huinck, Utrecht, November 1925. -Acquired from the above by J. van Hoey Smith, Rotterdam. -Private collection.

Exhibited: -Rotterdam, Museum Boymans, ‘Kersttentoonstelling van oude en moderne meesters uit particuliere verzamelingen’, 23 December 1942-1 February 1943, illustrated in the exhibition catalogue, no. 23. Literature: -H.P. Bremmer, ‘Beeldende Kunst’, 2, Vol. XIII, 1925, ill. no. 9. -Victorine Hefting, ‘Jongkind: Sa Vie, Son Oeuvre, Son Époque’, Paris 1975, ill. p. 62, no. 7 (mentioned with wrong measurements and date). -A. Stein, S. Brame, F. Lorenceau and J. Sinizergues, ‘Catalogue critique de l’Oeuvre de Jongkind, Volume 1: Peintures’, Paris 2003, ill. p. 64, no. 4. -Maarten van der Schaft and Martha Vollering, ‘Schilders aan de Nieuwe Waterweg. 150 jaar Hoek van Holland’, Rijswijk 2014, ill. p. 121, no. 151.

The present lot is an early work by the painter and dates from Jongkind’s first years in The Hague.

€10,000 - €15,000

23 Cornelis Springer (1817-1891) City hall of Veere

signed and dated ‘C Springer 16 Dec 71’ (lower right); annotated ‘Veere’ (lower left) charcoal, heightened in white, on paper, 59x46,5 cm

€3,000 - €5,000

Please note that the present lot is a preliminary drawing for an oil on panel by the artist with the same composition and measurements, in: W. Laanstra, H.C. de Bruijn and Dr. J.H.A. Ringeling, ‘Cornelis Springer (1817-1891)’, Utrecht 1984, ill. p. 175, no. 72-1.

24 Otto Eerelman (1839-1926) Official portrait of King William III of the Netherlands signed and dated ‘O. Eerelman 1868’ (lower left) oil on canvas, 95x75 cm

€5,000 - €7,000

Literature: -Harry J. Kraaij, ‘Otto Eerelman, Groninger kunstenaar 1839-1926’, Schiedam 2012, ill. p. 37, no. 39, as: ‘whereabouts unknown’.

Provenance: -Auction, Mak, Dordrecht, 18 December 1979, lot, 67.

Although primarily recognised for his portrayals of dogs and horses, Otto Eerelman was also an accomplished portrait painter. He captured many of his relatives in paint and produced this copy of King William III of the Netherlands, based on the 1856 state portrait by Nicolaas Pieneman (1809–1860).

25 Jan Willem van Borselen (1825-1892) Woman doing the laundry at the riverside signed ‘J.W. van Borselen. ft’ (lower left) oil on canvas, 66x106 cm

26 Louis Apol (1850-1936)

Gathering wood in a snowy forest signed ‘Louis Apol f’ (lower left) oil on panel, 25x35,5 cm

€5,000 - €7,000

Provenance: -With Kunsthandel Caramelli & Tessaro, Amsterdam, inv. no. 440 (label attached to the reverse).

27 Johan Hendrik van Mastenbroek (1875-1945) Voorhaven in Delfshaven, near Rotterdam signed and dated ‘J.H. v. Mastenbroek 1905’ (lower right) oil on canvas, 65x91 cm

€6,000 - €8,000

Literature: -A. Glavimans, ‘J.H. van Mastenbroek vertelt zijn herinneringen ter gelegenheid van zijn zeventigsten verjaardag. Aangevuld met een beschouwing over zijn werk door A. Glavimans met 153 reproductie’s’, Rotterdam 1946, ill. no. 18. Provenance: -With Kunsthandel I.P.L. Bouwman, The Hague (stamp on the stretcher). -Collection Shell Plc., The Hague.

28 Louis Apol (1850-1936)

Shipping in the harbour of Dordrecht signed ‘Louis Apol f’ (lower left) oil on canvas, 60x100 cm

€10,000 - €15,000

Literature: -The Hague, Pulchri Studio, ‘Eere-tentoonstelling Louis Apol’, 6-25 September 1930, no. 3, as: ‘Aan de Maas’. Provenance: -With Kunsthandel Jan J. van Waning, Rotterdam, inv. no. 8603 (with gallery stamp and label attached to the reverse). -Collection Shell Plc., The Hague.

29 Paul Joseph Constantin Gabriël (1828-1903) Turf barge in a Dutch peat landscape, possibly near Kortenhoef signed ‘Gabriel f’ (lower left) oil on canvas, 66x100 cm

€10,000 - €15,000

Please compare to a smaller painting by the artist with a similar composition, dated 1879, sold at: Auction, Sotheby’s, London, 20 June 1984, lot 256, as: ‘near Kortenhoef’.

30 George Hendrik Breitner (1857-1923) Yellow riders resting by their horses signed ‘G.H. Breitner’ (lower right) oil on canvas, 62,5x100 cm

Literature: -P.H. Hefting, ‘G.H. Breitner in zijn Haagse tijd’, Proefschrift Rijksuniversiteit Utrecht, 1970, ill. no. 91. Provenance: -Auction, C.F. Roos & Cie, Amsterdam, 5 April 1892, lot 14. -Collection J.H.C. Heyse; His auction, Frederik Muller & Co., Amsterdam, 29 April 1914, lot 37. -Collection H.A.J. Stenger, The Hague, 1943. -Auction, Sotheby Mak van Waay, Amsterdam, 28 October 1980, lot 181. -Auction, Sotheby Mak van Waay, Amsterdam, 17 November 1981, lot 220. -With Kunsthandel E.J. van Wisselingh & Co, Haarlem, 1999. -With Van Voorst van Beest Gallery, The Hague (label attached to the stretcher). -Private collection Jan Sierhuis (1928-2023).

€14,000 - €24,000

Please compare to a painting by the artist with a similar composition in the collection of the Rijksmuseum, Amsterdam, inv. no. SK-A-3583. Please also compare to a smaller painting, possibly a study for the current painting, sold at: Auction, AAG, Amsterdam, 2 December 2019, lot 146.

31 Jacob Maris (1837-1899) Italian beauty watching the butterflies signed ‘J Maris fc’ (lower left) oil on panel, 32,5x20,5 cm

Painted circa 1867-1868.

€30,000 - €50,000

Exhibited: -Laren, Singer Museum, ‘Maris, een kunstenaarsfamilie’, 13 January-10 March 1991, no. 6. Literature: -Jacqueline de Raad and Trudy van Zadelhoff, ‘Maris, Een kunstenaarsfamilie’, Zwolle 1991, ill. p. 25. no. 17. -Marjan van Heteren, ‘Jacob Maris (1837-1899), Ik denk in mijn materie’, Zwolle 2003, ill. p. 62, no. 49. Provenance: -With The French Gallery, London, by 1867-1868, inv. no. 27749, as: ‘Italian peasant girl’ (label attached to the reverse). -Auction, Frederik Muller, Amsterdam, 12 November 1912, lot 106 (sold for Dfl. 3,600). -With Kunsthandel R. Polak, The Hague. -Acquired from the above by the Hofland family. -Collection Hofland; Their auction, Christie’s, Amsterdam, 7 October 2014, lot 3, where acquired by the present owner.

32 Hendrik Willem Mesdag (1831-1915) Bomschuiten and horses on the snowy beach of Scheveningen signed and dated ‘HW Mesdag 1874’ (lower left) oil on canvas, 122x162 cm

This painting exemplifies Hendrik Willem Mesdag’s mastery of tonal contrast and atmospheric effect, capturing the interplay between the grey sky and the bright, snow- covered beach. It is one of the few winter seascapes by the artist and demonstrates his ability to balance realism with mood, offering a compelling and evocative view of the Dutch coast. Painted in the winter of 1874, the present work captures several Bomschuiten on Scheveningen beach, set to embark on their daily fishing routine. The composition is anchored on the left by a prominent hull, while other boats are prepared along the distant horizon. Fishermen secure their horses to pull the vessels into the cold sea, while the snow- blanketed beach, rendered in Mesdag’s subdued whites and greys, conveys the sharp chill of winter. The frozen sand stands in contrast to the grey-pink sky, which occupies more than two-thirds of the composition. This haze casts a delicate yet haunting light over the scene, intensifying the fishermen’s struggle against the relentless cold of the North Sea. Born in Groningen in 1831, Mesdag began his artistic training in Oosterbeek, a small village on the Veluwe known as the ‘Dutch Barbizon.’ During this period, he met the landscape painter Gerard Bilders (1838–1865), whose devotion to capturing nature firsthand strongly influenced his approach. Later, he studied in Brussels under Willem Roelofs (1822–1897) and was inspired by contemporaries such as Paul Gabriël (1828–1903) and his cousin Sir Lawrence Alma-Tadema (1836–1912). In 1868, he exhibited for the first time at the Société Libre des Beaux-Arts, an artists’ association that encouraged freedom from the rigid rules of the Academy of Brussels. It was on a visit to Norderney in 1866 that Hendrik Willem Mesdag discovered the subject that would shape his artistic career: the sea. Captivated by its changing moods, he began sketching waves and coastal scenes, soon recognizing that daily proximity was necessary to capture its full essence. This led him to settle in The Hague, where he built a home on the Laan van Meerdervoort (the present site of Museum De Mesdag Collectie) and later rented rooms on Scheveningen beach, for example in Villa Elba, allowing him to observe the sea in all weather conditions throughout his life. Mesdag’s international recognition came with the Paris Salon of 1870, where he was awarded the Gold Medal for ‘Les Brisants de la Mer du Nord’ (now in the Van Gogh Museum), displayed alongside Gustave Courbet’s (1819-1877) ‘La Vague’. The influence of Courbet is evident in Mesdag’s handling of the sea, and this accolade confirmed his lifelong commitment to seascapes. He continued to exhibit at the Salon over the next forty years, earning distinction as a leading member of the Hague School. In France, he was celebrated as ‘le poète de la Mer du Nord’ for his romantic vision of the North Sea. Drawing on his daily observations of Scheveningen’s boats and fishermen, he transforms this winter scene into a composition that balances precise realism with a subtle impressionistic sensibility. The arrangement of Bomschuiten on the snow-blanketed beach, the poised horses, and the expansive grey-pink sky evoke both the material realities of coastal labour and the ephemeral qualities of winter light, demonstrating Mesdag’s mastery of tonal refinement, atmosphere, and mood.

€50,000 - €70,000

Exhibited: -The Hague, Panorama Mesdag, ‘Mesdags uit de familie, werken uit familiebezit’, 29 March-4 October 2015. Literature: -Johan Poort, ‘Hendrik Willem Mesdag 1831-1915, Oeuvrecatalogus’, Wassenaar 1989, ill. p. 395, no. 33.02. -Evelien Visser and Suzanne Veldink, ‘Mesdags uit de familie, werken uit familiebezit’, The Hague 2015, ill. pp. 22 and 52, no. 19. Provenance: -Collection Panorama Mesdag, The Hague, April 1917, no. 40 (label attached to the stretcher). -Private collection, the Netherlands. -Auction, Christie’s, Amsterdam, 15 November 2015, lot 214, where acquired by the present owner.

33 Johan Barthold Jongkind (1819-1891) Horse in the meadow by Overschie signed with stamp ‘Jongkind’ (lower left); dated ‘18 sept 1867’ (lower right) pencil and watercolour, heigtened in white, on paper, 17,5x28,5 cm

€2,500 - €3,500

Exhibited: -Amsterdam, Rijksmuseum (March-April 1930)/

The Hague, Pulchri Studio (March-April 1930), ‘Nederland- Frankrijk: Tentoonstelling Jongkind (1819-1891)’, no. 90. -Paris, Galerie Charpentier, ‘Cent chefs-d’oeuvre de l’art français, 1750-1950’, 1957-1958, no. L. -Paris, Daber, ‘Jongkind, 1819-1891: peinture et aquarelle’, 11 May-4 June 1960, no. 39. -Paris, Galerie Schmit, ‘Exposition Jongkind 1819-1891’, 4 May-4 June 1966, no. 92. -Paris, Institut Néerlandais, ‘Aquarelles de Jongkind’, 30 January-14 March 1971, no. 61. Literature: -Claude Roger-Marx, ‘Jongkind’, Paris 1932, ill. no. 38. -George Besson, ‘Johan-Barthold Jongkind 1819-1891’, Paris, ill. no. 35. -Adolphe Stein, ‘Jongkind 1819-1891’, Paris 1996, ill. p. 46, no. 21. -Victorine Hefting, ‘Jongkind: Sa Vie, Son Oeuvre, Son Epoque’, Paris 1975, ill. p. 196, no. 441. -François Auffret, ‘Johan Barthold Jongkind 1819-1891: héritier contemporain & précurseur: biographie illustrée’, Paris 2004, ill. p. 301. Provenance: -With Durand-Ruel et Cie, Paris, where exhibited in 1938. -Collection Mr Claude-Roger Marx (1888-1977), Paris. -Auction, Hôtel des ventes, Honfleur, 16 August 1992, lot 96. -Private collection, France. -Private collection, the Netherlands. This lot is accompanied by the previously mentioned book Stein 1996 and the research findings by the ‘Société des Amis de Jongkind’ of 14 June 2001.

34 Eugène Boudin (French, 1824-1898) Bomschuiten on the beach of Scheveningen

signed ‘E. Boudin’ (lower right); signed with initials ‘E.B’ (in blue pencil lower right); annotated and dated ‘Schéveningue 76.’ (lower left) watercolour and pencil on paper, 21x30 cm

€2,500 - €3,500

Provenance: -With Kunsthandel Scherpel, Bussum, exhibited at ‘Verkoop-tentoonstelling in Pulchri Studio’, 6-15 October 1978 (label attached to the reverse). According to an annotation at the RKD, The Hague, the present lot will be included in Robert Schmit’s catalogue raisonné of Boudin’s watercolours and drawings. 35 Armand Guillaumin (French, 1841-1927) View on a Dutch town with a mill signed and dated ‘Guillaumin 1904’ (lower right) pastel on paper, 29x41,5 cm

€4,000 - €6,000

Remnants of an old auction description ‘Vente à Hôtel Drouot 43’ (on the reverse).

This lot is accompanied by a certificate, dated 1 October 1988, which states that this work will be included in the second volume of the catalogue raisonnée of Armand Guillaumin by D. Fabiani.

36 Isaac Israels (1865-1934) Sleeping beauty

37 Hendrik Willem Mesdag (1831-1915) Bomschuiten in the breakers signed ‘HW Mesdag’ (lower left) watercolour on paper, 32x69,5 cm

signed ‘Isaac Israels’ (lower right) watercolour on paper, 27x45 cm

€10,000 - €15,000

€12,000 - €18,000

The presented nude might be Sjaantje van Ingen, a famous model Israels often depicted.

38 Cornelis Vreedenburgh (1880-1946) Farmhouses by the waterside, with a horse and cart passing signed ‘C. Vreedenburgh.’ (lower left) oil on canvas, 50,5x71 cm

€5,000 - €7,000

39 Ben Viegers (1886-1947)

Moored boats in Volendam harbour signed ‘B. Viegers’ (lower right) oil on canvas, 101x80 cm

€4,000 - €6,000

Exhibited: -Nunspeet, Noord-Veluws Museum, ‘Door de ogen van Ben Viegers’, 1 November 2014-12 April 2015. Literature: -Williëtte Wolters-Groeneveld, ‘Door de ogen van Ben Viegers’, Harderwijk 2014, ill. p. 74.

Provenance: -Collection Shell Plc., The Hague, acquired in 1961.

Ben Viegers’ brother-in-law, Gerrit van Kranen, worked for Shell until his retirement in 1961. He served as the connecting link between Shell and the artist Ben Viegers.

40 Maurice Sijs (Belgian, 1880-1972) Tjalks setting sail on a winter morning signed ‘Maurice Sijs’ (lower right) oil on canvas, unframed, 107x140 cm

€7,000 - €9,000

41 Hendrik Willem Mesdag (1831-1915) Shell fishermen’s family by the sea in the late afternoon signed ‘HW Mesdag’ (lower right) oil on panel, 72x66 cm

€8,000 - €12,000

Provenance: -Private collection, Germany. -Auction, AAG, Amsterdam, 17 June 2019, lot 72, where acquired by the present owner.

42 Frans Helfferich (1871-1941) The Hague at night with elegant ladies strolling past illuminated shop windows signed ‘Frans Helfferich’ (lower left) oil on canvas, 70x157 cm

43 Frans Helfferich (1871-1941) Lange Poten by night, The Hague signed ‘Frans Hellferich’ (lower right) oil on canvas, 141x100 cm

€10,000 - €15,000

€12,000 - €18,000

Provenance: -In the collection of the family of the present owner for circa 80 years.

An old photograph of the Lange Poten in the direction of Plein, dated 1915, in the collection of Haags Gemeentearchief, inv. no. 5.17173.

44 Isaac Israels (1865-1934) ‘Coiffer Sainte Cathérine’ signed with the artist’s studio stamp ‘Atelier

In ‘Coiffer Sainte Cathérine’, Isaac Israels opens a window onto the refined yet lively world of a Parisian fashion atelier. The painting captures an intimate moment: a seamstress stands behind a young woman, carefully adjusting a hat on her hair. Soft afternoon light filters through large windows, illuminating the warm tones of the crowded studio. It is a scene of craftsmanship and ritual, grounded in the long-standing Parisian tradition of Sainte Catherine and the ‘Catherinettes’. The ‘Fête de Sainte Catherine’, held annually on 25 November, celebrates Saint Catherine, the patron saint of unmarried women. Since the Middle Ages, women had been under her protection. Members of guilds devoted to Saint Catherine were tasked each year with ‘capping’ her statue, adorning it with a newly made headdress. Unmarried women would leave the group once they married, and so ‘coiffer Sainte Catherine’ came to mean ‘still being single at or after the age of twenty-five’. By the late nineteenth century, the custom survived primarily in the Parisian trades of millinery and dressmaking. On Saint Catherine’s Day, unmarried seamstresses - Catherinettes - would attend a ball wearing exuberant hats in the saint’s symbolic colours, yellow and green. This ritual became both a celebration of craftsmanship and a light-hearted declaration of independence, deeply rooted in the life of the fashion ateliers. Israels depicted this festivity on several occasions. The present composition, showing a young woman - presumably of 25 years old - being fitted with a traditional headpiece, is a striking example. The scene unfolds with quiet tenderness and painterly vibrancy, as Israels translates the custom into a modern impression of feminine grace and creative industry. Isaac Israels and some of his contemporaries in Amsterdam distanced themselves from the traditional conventions of academic art dominant by the end of the nineteenth century, aligning instead with the ‘Tachtigers’ - a circle of writers and painters who believed that form must follow feeling, and that emotionally charged subjects demanded an equally expressive technique. Shaped by this philosophy, Israels turned his gaze to the modern city, capturing the pulse of everyday life in streets, cafés, cabarets, and studios with loose, spirited brushstrokes that conveyed the immediacy of experience. His technique, strongly influenced by French Impressionism, led to the enduring renown of the so-called Amsterdam Impressionists, whose work fused metropolitan vibrancy with a distinctly Dutch sense of atmosphere and humanity. Unlike many of his contemporaries, Israels did not paint out of financial necessity but from genuine curiosity and artistic drive. He chose his subjects freely - people at work and at leisure, in parks, on boulevards, or in fashion ateliers - always drawn to the vitality of the human figure in motion. In the absorbed gesture of the seamstress and the quiet anticipation of the sitter, ‘Coiffer Sainte Cathérine’ reveals the harmony between artistry and ritual, between the traditions of the past and the fleeting modernity of Israels’s time. Towards the end of the nineteenth century, Israels was introduced by his childhood friend, the portrait painter Thérèse Schwartze (1851-1918), to the Amsterdam fashion house Hirsch & Cie at the Leidseplein. There, he was granted access to the world of haute couture, observing the full spectrum of its activity - from the quiet diligence of the seamstresses to the poised elegance of wealthy clients in the fitting rooms. Israels began sketching and painting these scenes around 1900, fascinated by the interplay of fabric, form, and human presence. In 1904, Israels moved to Paris, establishing his studio at 10 rue Alfred Stevens. As in Amsterdam, he immersed himself in the rhythm of the city, painting its parks, cafés, cabarets, bistros, and fairgrounds, while also frequenting the leading couture houses like Paquin. It was in this environment that he deepened his exploration of the fashion world - a domain that perfectly matched his interest in movement, colour, and the fleeting vitality of modern life. ‘Coiffer Sainte Cathérine’ exemplifies Israels’s painterly immediacy. With vigorous brushwork and a warm, broken palette, he captures the fleeting rhythms of light and gesture. The figures emerge through broad, confident strokes, rendered with economy yet great sensitivity. Israels’s style here reflects his deep engagement with modern life - depicting not idealised beauty, but the beauty of ordinary moments. Through this painting, Israels transforms a simple act of preparation into a timeless celebration of womanhood, craft, and light. It stands as both a portrait of Paris at its most elegant and a testament to Israels’s enduring ability to find beauty in the everyday.

Isaac Israels’ (lower right) oil on canvas, 74x61 cm

€40,000 - €60,000

Provenance: -With Kunsthandel G.J. Scherpel, Bussum, exhibited at ‘Verkoop-tentoonstelling in Pulchri Studio’, 6-15 October 1978 (label attached to the reverse).

45 Hendrik Willem Mesdag (1831-1915) Evening mood, the return of the fishing boats signed and dated ‘HW Mesdag 1897’ (lower right) oil on canvas, 140x181 cm

In this atmospheric seascape from 1897, Hendrik Willem Mesdag, one of the foremost masters of the Hague School, captures the quiet majesty of the North Sea under the spectral glow of the moon. The painting, executed on a monumental scale, reveals Mesdag at the height of his mature powers, fusing realism with poetic introspection. Mesdag’s lifelong fascination with the sea was rooted in personal experience. Having settled in The Hague in the late 1860s, he devoted himself to depicting the Scheveningen coast, where he observed the tireless rhythm of fishing life and the shifting moods of water and sky. In contrast to his bright, wind-swept scenes, this work immerses us in the profound stillness of twilight. The moon diffuses its light through a veil of clouds, tinting the sky with copper and greenish-grey hues. The reflective surface of the water becomes a mirror of subdued luminosity, uniting sky and sea in a continuous expanse of muted light. At the painting’s centre, a cluster of fishing boats, meshed with shadows yet animated by flickering lamps, anchors the composition. Mesdag’s meticulous rendering of the vessels’ rigging and their ghostly reflections testifies to his deep technical understanding of maritime craft. Yet the scene transcends the documentary. The boats seem almost suspended between worlds: between labour and rest, light and darkness. By the late nineteenth century, Mesdag had become internationally acclaimed, exhibiting in Paris, London, and Berlin, and receiving high honours for his panoramic visions of the sea. Yet works like this one show him not as a painter of spectacle but as a contemplative observer of nature’s transitions. The vastness of the seascape, the humility of the human presence, and the enveloping quietness all speak to the existential themes that preoccupied the Hague School, the insignificance of man before nature, the passage of time, and the beauty of impermanence. The present lot stands as a meditation on light and solitude. Mesdag’s sea is not merely a subject but a state of mind, a realm of eternal movement and stillness. In this twilight vision, the viewer becomes a witness to the fleeting harmony between nature’s forces and human endeavour, suspended in the delicate threshold between day and night.

€80,000 - €120,000

Literature: -Johan Poort, ‘Hendrik Willem Mesdag (1831-1915), Oeuvrecatalogus’, Wassenaar 1989, ill. p. 231, no. 1892.7, as: ‘Avondstemming, terugkeer van de vissersboten’. Provenance: -Collection H.W. van Bruggen, Dordrecht, until 1988. -Collection Shell Plc., The Hague.

Indonesian Fine Art

A selection of Indonesian Fine Art

Indonesian Fine Art

46 Raden Saleh (Indonesian, circa 1811-1880)

Portrait of Dirk Cornelis Noordziek (The Hague 1816-1864 Madiun) oil on panel, 36x31 cm

Sarib Saleh (Raden is a Javanese title), who called himself Raden Saleh Sarif Bastaman when he was in Europe, was born into the noble family of the Regent of Semarang. Endowed with an artistic talent encouraged by his family from his early youth, Saleh was entrusted to the circle of the Governor General in Buitenzorg (Bogor). The government’s landscape painter Antoine A.J. Payen (1797-1853) took the gifted boy under his wing and became his tutor and teacher for five years. In 1829, a stroke of luck provided Raden Saleh with the opportunity to travel to Europe in the company of the colonial civil servant Jean Baptiste De Linge, who offered him passage to the Netherlands in exchange for lessons in Malay and Javanese. Instead of going back to Java with De Linge as planned, Raden Saleh moved to The Hague after his request to complete his education was granted by King William I. In The Hague he became a pupil of the renowned portrait, genre, and history painter Cornelis Kruseman (1797-1857), and of the romantic landscape painter Andreas Schelfhout (1787-1870). A diligent student, Raden Saleh naturally adopted Kruseman’s neoclassical academic style. He quickly proved himself to be a skilled portraitist who had mastered the technique of oil painting on canvas and panel by 1832, judging by the dated paintings that have survived. Jean Chrétien Baud (1789-1859), colonial administrator and politician, who became Saleh’s “fatherly tutor,” expressed his satisfaction in 1832, stating that “he had already achieved a greater than average level as a portraitist.” Thanks to introductions to wealthy bourgeois and patrician circles, Saleh was commissioned to paint many portraits, among others portraits of adolescents and young adults. One of them is the portrait of Dirk Cornelis Noordziek, born in The Hague in 1816 to Paulus Mattheus (ca. 1780-1836) and Johanna Geel (1782-1833). An assiduous pupil of the Latijnsche School (Grammar School), he was a classmate of Willem Baud (1816-1879), Jean Chrétien’s eldest son, who probably introduced him to Raden Saleh at the time his father was interim Governor General of the Dutch East Indies (1833-36). Moreover, both were students in Leiden at the same time, a status symbolised by the book Noordziek is holding in his right hand. It should be noted that Saleh also depicted a book in three other portraits of young men who were students in Leiden at about that time. The good-looking Noordziek is represented seated on an upholstered chair in front of a tied-back red drapery. He is smartly dressed like a gentleman following the fashion trends of the time. In the conservative, puritan Dutch society, it was strongly recommended to be properly dressed (deftig; we would now say “posh”). He is wearing a black tailcoat with a black velvet collar and wide dark green lapels, a white shirt enhanced by two black star-shaped buttons, a plain white waistcoat, and black trousers. Also typical of the trendy fashion, a long, narrow black scarf is tied around the raised collar of his shirt, highlighting even more his cheerful face with rosy cheeks and his blond hair. Saleh captured in a masterly way the clear gaze of the grey-eyed sitter who seems to stare at the onlooker. However, the latter does not let himself, or herself, be hypnotised, and is soon distracted by the composition depicted on the right side of the sitter. We can see an opening onto a landscape delimited by the red drapery, part of a column and its base, and a low wall by way of a balustrade. The fictional landscape, depicted under a large cloudy sky at sunset, is crossed by a meandering river and closed by hills and a high mountain. The previously undisclosed charming portrait of the young Dirk Cornelis Noordziek is an illustrative example of the early 19th-century neoclassical portrait painting tradition represented by Raden Saleh’s teacher Cornelis Kruseman. More than twenty years later, the Javanese painter would still adopt this (then-outdated) style of composition when he painted in Batavia (post-1945 Jakarta) the portrait of Elisabeth Boutmy-Ament (1857) that was auctioned in these rooms in 2017. Both portraits show an “imitation” of Kruseman’s composition by Saleh, evident not only in the red curtain but also in the column separating the room from the fictional landscape. The portrait presented is neither signed nor dated. It was very probably painted in 1835 or early 1836. Noordziek embarked for the Dutch East Indies in late spring 1836. In Java, where he married Martina Cornelia MacDonald in 1843, he pursued an honourable career in the colonial administration, climbing the ladder from simple clerk to Resident of the Madiun Residency (East Java), his last assignment at the

€5,000 - €8,000

Provenance: -Collection of Dirk Cornelis Noordziek’s eldest daughter Jeanne Pauline Cornelie Kleijn van Willigen- Noordziek, thence by descent in the family and later gifted from the family to the present owner. The portrait of Dirk Cornelis Noordziek will be included in Marie-Odette Scalliet’s forthcoming Catalogue raisonné of Portraits by Raden Saleh.

Gravestone of Dirk Cornelis Noordziek, in Madiun

Raden Sarief Bastaman Saleh (1811-1880), portrait of Elisabeth Sophia Catharina Boutmy-Ament (1830-98), oil on canvas, laid on panel, 57x47 cm (1857), sold at: Auction, Venduehuis, The Hague, 20 September 2017, lot 90 (sold for € 58,000)

Dr Marie-Odette Scalliet

Cornelis Kruseman (1797-1857), portrait of Jan Bondt (1766-1845), oil on canvas, 90x78 cm (1833), Collection Stichting Kunst & Historisch Bezit ABN AMRO, Amsterdam, inv. no. KR00002

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