Old Masters, 19th Century and Impressionist Art

OLD MASTERS &
19TH CENTURY
ART
INCLUDING
DUTCH IMPRESSIONISM
AMSTERDAM 25 & 26 NOVEMBER 2014
OLD MASTERS &

19TH CENTURY ART
INCLUDING DUTCH
IMPRESSIONISM
TUESDAY 25 & WEDNESDAY 26 NOVEMBER 2014
International Old Master & 19th Century Art Department

& Auction Calendar
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14/10/2014
AUCTION CALENDAR 2014

TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE.
CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
27 OCTOBER
19TH CENTURY EUROPEAN ART
NEW YORK
30 OCTOBER
OLD MASTER & BRITISH PAINTINGS
LONDON, SOUTH KENSINGTON
9 DECEMBER
19TH CENTURY EUROPEAN ART &
ORIENTALIST ART
LONDON, KING STREET
2
Subject to change.
25 & 26 NOVEMBER
OLD MASTER, 19TH CENTURY &
IMPRESSIONIST PAINTINGS
AMSTERDAM
3 DECEMBER
OLD MASTER & BRITISH DRAWINGS
& WATERCOLOURS
LONDON, SOUTH KENSINGTON
2 DECEMBER
EVENING SALE
LONDON, KING STREET
10 DECEMBER
VAN REGTEREN ALTENA
PART II
AMSTERDAM
3 DECEMBER
DAY SALE
LONDON, KING STREET
Old Masters & 19th Century Art

including Dutch Impressionism
Tuesday 25 & Wednesday 26 November 2014

AUCTION
Tuesday 25 November 2014
at 2.00 pm Lots 1-145 and
Wednesday 26 November 2014 at 2.00 pm Lots 150-339
Cornelis Schuytstraat 57,
1071 JG Amsterdam
under the aegis of
Mr M.J. Meijer c.s. Notarissen.
VIEWING
Friday
Saturday
Sunday
Monday
21 November
22 November
23 November
24 November
10.00 am - 5.00 pm
10.00 am - 5.00 pm
10.00 am - 5.00 pm
10.00 am - 4.00 pm
AUCTIONEERS
Henry Pettifer, Jop Ubbens and Sophie Bremers
AUCTION CODE AND NUMBER
CONDITIONS OF SALE
In sending absentee bids or making

enquiries, this sale should be referred to as
AMS-3050
This auction is subject to

Important Notices,
Conditions of Sale and to Reserves
AUCTION RESULTS
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[21]
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Front cover: Lot 292
Back cover: Lot 139
Inside cover: Lot 42
Inside back cover: Lot 300
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COPYRIGHT NOTICE
No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means,
electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christies.
COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2001)
OLD MASTERS
TUESDAY 25 NOVEMBER 2014 AT 2.00 PM
LOTS 1-145
1
Egbert van Heemskerck II (Haarlem c.1676-1744)
Peasants selling fruits and vegetables before a stall
oil on canvas
31.9 x 41.6 cm.
2,500-3,500
US$3,200-4,400
The present painting depicts an unusual subject within the oeuvre of Van
Heemskerck II. Fred Meijer of the RKD, The Hague, proposes that the display of
various vegetables and fruits may have been inspired by works of his fellow artist
Pieter Angellis, who was also active in London.
!2
Alida Withoos (Amersfoort 1659/60-1730 Hoorn)
A forest foor with aquilegia, various other fowers, butterfies and
a lizard
signed Alida:Withoos (lower right)
oil on canvas
44.7 x 33.9 cm.
7,000-10,000
US$8,900-13,000
PROVENANCE:
Anonymous sale; Drouot, Paris, 19 December 2010, lot 202.
Anonymous sale; Dorotheum, Vienna, 12 October 2011, lot 704 (Euro 12.500).
The female artist Alida Withoos trained with her father Matthias as a botanical
painter. In the years around 1690 she worked in the service of Agnes Block (16291704) at the country estate Vijverhof in Loenen aan de Vecht, where Alida, among
other botanical artists such as Maria Sibylla Merian and Pieter Holsteyn II, depicted
the exotic plants in Blocks garden, brought to Holland by the Dutch East India
Company.
OLD MASTERS & 19 th CENTURY ART
PROPERTY FROM THE COLLECTION OF THE LATE

MR. H.M. VEHMEIJER (LOTS 3, 6, 48, 104A)
4
Pieter de Putter
(The Hague/Middelburg 1580/1610-1659 Beverwijk)
3
Pieter de Neyn (Leiden 1597-1639)
A river landscape with fshermen, elegant fgures in a ferry, a village and
sailing vessels in the distance
with indistinct signature (lower centre)
oil on panel
33.2 cm x 54.7 cm.
4,000-6,000
A barn interior with a seated fsherman smoking and drinking, various

fsh at his feet
signed PDvtw. f (PD linked, lower right)
oil on panel
49.6 x 71.8 cm.
6,000-8,000
US$7,700-10,000
US$5,100-7,600
PROVENANCE:
PROVENANCE:
Anonymous sale; Cassirer-Helbing, Berlijn, 23 November 1927, lot 100, as Salomon van
Ruisdael.
with Douwes, Amsterdam, where acquired by the late Mr. H.M. Vehmeijer, by 1970.
Anonymous sale; Bangel, Frankfurt, 25 April 1928, lot 170, as H. Sorgh.

Anonymous sale; Internationales Kunst- und Auktions-Haus, Berlin, 14 March 1934, lot 93,
as H. Sorgh.
Anonymous sale; Christies, Amsterdam, 7 December 1982, lot 141.
5
Pieter de Putter
(The Hague/Middelburg 1580/1610-1659 Beverwijk)
Various fsh on a terra-cotta strainer, together with a fshing net on a
table
signed with initials PD vt . f (PD linked, lower centre)
oil on panel
42.4 x 55.7 cm.
5,000-7,000
PROPERTY FROM THE COLLECTION OF THE LATE

MR. H.M. VEHMEIJER (LOTS 3, 6, 48, 104A)
6
Jan Josefsz. van Goyen (Leiden 1596-1656 The Hague)
Fishermen on a beach, fgures loading a boat beyond
signed with initials and dated VG 1652 (lower right)
oil on panel
18.5 x 27.9 cm.
7,000-10,000
US$8,900-13,000
US$6,400-8,900
PROVENANCE:
PROVENANCE:
J.C. Traas, The Hague, 1936.
LITERATURE:
H.P. Bremmer (ed.), in: Beeldende Kunst, 24, 1938, 11, no. 84.
with Douwes, Amsterdam, by 1967, where purchased by the late Mr. H.M. Vehmeijer.
LITERATURE:
H.-U. Beck, Jan van Goyen 1596-1656, II, Amsterdam, 1973, p. 434, no. 964, ill, as signed and
dated VG 16(3)2.
THE PROPERTY FROM A DECEASED DUTCH PRIVATE COLLECTOR (LOTS 7-24)
~7
Adriaen van Stalbemt (Antwerp 1580-1662)
An Allegory of Summer; A hilly landscape with fgures returning to a village and fgures harvesting
in the near distance, a windmill to the left
oil on copper
10 x 13.5 cm.
15,000-25,000
US$20,000-32,000
PROVENANCE:
Private collection, Paris, as Jan Breughel I.
with Alfred Brod, London, 1963, as Jan Breughel I.
Private collection, The Netherlands.
with Douwes, Amsterdam, where bought in 1993 by the late owner.
EXHIBITED:
Paris, Galerie Heim-Gairac, Exposition de Paysages Flamands: Herri met de Bles Jan Breughel, 18 April - 15 May 1953, no. 9, as
Jan Breughel I.
After the fall of Antwerp in 1585, the Protestant Stalbemt family moved to Middelburg. Adriaen van Stalbemt
later returned to Antwerp, becoming a master in the St. Lukes Guild around 1609. He is documented as having
spent almost a year in England (1633-34), where he painted two views of Greenwich with King Charles I and
Queen Henrietta Maria (still in the Royal Collection). His eclectic style reveals the infuences of Jan Breughel I,
Hendrick van Balen, Paul Bril and Adam Elsheimer, to whom a group of Stalbemts pictures had previously been
given (see K. Andrews, A Pseudo-Elsheimer Group: Adriaen van Stalbemt as Figure painter, in: The Burlington
Magazine, CXV, 1973, pp. 301-6).
This beautifully preserved painting exhibits Stalbemts characteristically meticulous brush technique and the
extent of the infuence by Jan Breughel I. A copper plate with the same measurements, depicting An Allegory of
Winter sold with Christies, Amsterdam, 13 November 1990, lot 207, may well have been a pendant to the present
composition. A nearly identical pair of pictures by Adriaen van Stalbemt, larger and on panel, is recorded to have
been with De Jonckheere in the past.
11
8
Abel Grimmer (Antwerp 1570/3-1610/30) and
Attributed to Hendrick van Steenwijck I (Kampen 1540/60-1603 Frankfurt am Main)
The interior of a Gothic church with fgures walking through the isle, probably a christening
procession, other fgures praying in the background
indistinctly signed (?) and dated twice 1586 (lower centre)
oil on panel
31.6 x 46.8 cm.
15,000-20,000
US$20,000-25,000
PROVENANCE:
Dr. H. Wetzlar, Amsterdam, by 1952 until at least 1960, as Hendrick van Steenwijck I.
F.C. Butt, Amsterdam, as Hendrick van Steenwijck I.
R. de Boer, Laren, as Hendrick van Steenwijck I.
with P. de Boer, Amsterdam, where purchased by the late owner in 1993, as Hendrick van Steenwijck I and Abel Grimmer.
EXHIBITED:
Zrich, Kunsthaus, Unbekannte Schnheit, 9 June - 30 June 1956, p. 84, no. 241, as Hendrick van Steenwijck I.
Laren, Singer Museum, Modernen van Toen, 15 June - 1 September 1963, p. 30, no. 145, as Hendrick van Steenwijck I.
LITERATURE:
M.J. Friedlnder, Collection Dr. H. Wetzlar, Amsterdam, 1952, p. 30, no. 89, ill., as Hendrick van Steenwijck I.
E. Plietzsch, Hollndische und Flmische maler des XVII. Jahrh., Leipzig, 1960, p. 119, fg. 200, as Hendrick van Steenwijck I.
A few, almost identical, versions by Hendrick van Steenwijck I of the present composition exist, such as the one
in the Museum Catherijneconvent, Utrecht (inv. nr. 1987, also on panel and with identical measurements). The
fgures in the present picture are painted by Abel Grimmer.
9
Circle of Jacopo Negretti, called Palma il Giovane (Venice 1544-1628)
A male saint; a fragment
oil on canvas
76.2 x 63.3 cm.
5,000-7,000
US$6,400-8,900
PROVENANCE:
with P. de Boer, Amsterdam, where bought by the father of the late owner in 1939, as Jacopo Tintoretto.
EXHIBITED:
Amsterdam, P. de Boer; Rotterdam, Rotterdamse Kunstkring, Tentoonstelling van oude schilderijen der collectie N.V.
Kunsthandel P. de Boer, 18 February - 13 March 1939, no. 63, as Jacopo Tintoretto.
13
10
Cologne School, c. 1500
The Mocking of Christ
oil on panel
14.1 x 11.1 cm.
4,000-6,000
US$5,100-7,600
PROVENANCE:
with P. de Boer, Amsterdam, where acquired in 1951 by the father of the
late owner.
10
11
School of Bruges, c. 1500-1520
Christ appearing to Mary
oil on panel, oval
22.3 x 18.3 cm.
2,000-3,000
US$2,600-3,800
PROVENANCE:
CUT OUT
with P. de Boer, Amsterdam, where purchased in 1950 by the father of the late
owner.
EXHIBITED:
Laren, Singer Museum, Nederlandse Primitieven uit Nederlands particulier
bezit, 1 July - 10 September 1961, no. 87.
11
12
12
Attributed to Esaias van de Velde
(Amsterdam 1587-1630 The Hague)
13
Quiringh Gerritsz. van Brekelenkam
(Zwammerdam 1622/30-1669/79 Leiden)
A dune landscape with fgures resting under a tree, a meadow with

cattle and farmhouses beyond
Portrait of a little girl eating porridge, in a feigned oval
signed and dated E.V. VELDE / 1625 (strengthened, lower centre)

oil on panel
12.6 x 25.9 cm.
5,000-8,000
indistinctly signed with initials and dated Q (?) VB / 1649. (lower right)
oil on panel
21.7 x 18.8 cm.
8,000-12,000
US$11,000-15,000
US$6,400-10,000
PROVENANCE:
PROVENANCE:
C. Muntz, Rotterdam, as Esaias van de Velde.
with P. de Boer, Amsterdam, where purchased by the father of the late owner in 1953, as
Esaias van de Velde.
EXHIBITED:
Leiden, Stedelijk Museum de Lakenhal, Kunstbezit van Oud-Alumni der Leidse Universiteit ,
June 1950, p. 22, no. 54, as Esaias van de Velde.
Breda, de Beyerd; Ghent, Museum voor Schone Kunsten, Landschap in de Nederlanden
1550/1630, 16 December 1960 - 27 March 1961, no. 69, as Esaias van de Velde.
LITERATURE:
G.S. Keyes, Esaias van den Velde, Doornspijk, 1984, p. 152, no. 118, as Esaias van de Velde.
Although published in the monograph by Keyes as painted by Van de Velde, the

attribution is questioned by the RKD, The Hague, who propose an alternative
attribution to Reyer Claesz. Suycker (Haarlem 1590/1600-1653).
Collection Lrmann, Bremen.

with P. de Boer, Amsterdam, where acquired by the father of the late owner in 1938, as dated
1645.
This hithero unknown portrait sheds a new light on the relatively early oeuvre
of Van Brekelenkam. Its pendant, Portrait of a boy, holding a slice of bread, in a
feigned oval (fg. 1), formerly in the Dr. Anton C.R. Dreesmann Collection (19732002), in 1938 also with P. de Boer, Amsterdam (see: Oude Schilderstukken uit
vele scholen in kunsthandel P. de Boer: Een zoo juist verworven collectie, in : De
Telegraaf, 26 August 1938, the present lot illustrated), and sold with Christies,
London, 11 April 2002, lot 540, was dated by Lasius to circa 1660 (see: A. Lasius,
Quiringh van Brekelenkam, Doornspijk, 1992, pp. 146-7, no. 234). However, with
the present picture dated 1649, this pair follows the earliest dated picture of 1648
(Domestic Cares, Museum De Lakenhal, Leiden, inv. no. 47), which, in turn, shows
a strong debt to Gerard Dou.
The present work is a particularly charming example of Brekelenkams style painted with typically broad and fuent brushstrokes, in brownish tones, depicting
a single fgure - perhaps one of his children - with a high degree of warmth and
feeling, often lacking in the works of his Leiden contemporaries.
15
13
Little is known of Brekelenkams career, which seems to have been for the most
part spent in relative poverty. The frst mention of him is by Jacob Weyerman (De
Levens-beschryvingen der Nederlandsche Konstschilders en Konst-schilderessen,
2, The Hague, 1729), which related that Jan Steen opened up an inn or rather a little
pub ... He had plenty of business but his customers seldom paid up promptly, as
most were penniless painters. Frans van Mieris, Ary de Vois, Quiring Breekelekamp
[sic] and Jan Lievens were his daily customers and came at all hours of the day
and night... Similarly, an unknown author reviewing Gerard Hoets 1752 Catalogus
of naamlyst van schilderyen (quoted by Lasius, op. cit., p. 11): The painters of his
time, who called him simply Quiringh, often sought his company, as he was very
witty and funny, having as well the gift of being able to imitate everyones speech
and mannerisms. He was a little man, had many children and domestic cares and
very little means....
Fig. 1. Q.G. van Brekelenkam, pendant to lot 13.
14
14
Circle of Aert van der Neer (Gorichem 1603-1677 Amsterdam)
15
Maria van Oosterwijck (Nootdorp 1630-1693 Uitdam)
View of a lakeside town at dusk, with sailing boats and a ferry crossing
the water
Tulips, lilies, roses, an iris and other fowers in a glass vase, on a

marble ledge
with monogram AV DN (lower left)

oil on panel
16.9 x 24.9 cm.
signed MARIA VAN OOSTERWYK. (lower right)

oil on panel
19.6 x 16 cm.
4,000-6,000
US$5,100-7,600
30,000-50,000
PROVENANCE:
PROVENANCE:
with P. de Boer, Amsterdam, by 1941 (according to W. Schulz, op. cit.).

R.G. de Boer, by 1972, as Aert van der Neer.
with P. de Boer, Amsterdam, where bought by the late owner in 1991, as Aert van der Neer.
Anonymous sale; Sothebys, London, 30 October 1985, lot 77.

with D. Koetser, Zrich, by 1987.
with P. de Boer, Amsterdam, where bought in 1997 by the late owner.
EXHIBITED:
Amsterdam, P. de Boer, Nederland water/land: De relatie tussen land en water in de
Nederlandse schilderkunst van 1500 tot nu, 13 January - 19 February 1972, as Aert van der
Neer.
LITERATURE:
W. Schulz, Aert van der Neer, Doornspijk, 2002, p. 280, no. 624, as probably by Anthonie van
Borssom.
The rich impasto in the lower right foreground might suggest that the panel was
used earlier by the artist for a diferent, unfnished composition: seen top right, this
passage represents a cloudy blue sky.
US$39,000-64,000
The present picture, depicting no less than eighteen diferent fower types
in a glass vase, is the smallest painting known by this artist (see: N. Janssen,
Paintings of Maria van Oosterwijck, part 2 Flower still lives, no. B25; http:/www.
mariavanoosterwijck.nl/B25). The small size of the panel may suggest that it was
painted as a showpiece: a virtuoso demonstration of the artists skill at depicting
diferent fowers. Indeed, the presence of Van Oosterwijcks signature on such a
large scale, carved in marble and somewhat disproportionate to the composition
itself, suggests that she was particularly proud of this painting.
Maria van Oosterwijck was the daughter of a wealthy clergyman, whose frst studio
was said to be in her grandfathers vicarage in Delft. The still life artist Willem van
Aelst courted her, but she never married. Her paintings were eagerly collected and
her patrons included Louis XIV of France, Emperor Leopold I and Stadholder-King
William III.
17
15 (actual size)
16
School of Rotterdam, c. 1650
A couple seated at a table, eating oysters
oil on panel
24.5 x 18.9 cm
2,000-3,000
US$2,600-3,800
PROVENANCE:
with C.P.A. & G.R. Castendijk, Rotterdam, where purchased by the father of the late
owner in 1971, as Jan Olis.
16
17
Antwerp School, late 16th Century
The Adoration of the Magi
oil on panel
35.4 x 26.7 cm.
4,000-6,000
US$5,100-7,600
PROVENANCE:
with P. de Boer, Amsterdam, where purchased by the father of the late owner in 1963, as
Follower of Jan Provoost.
17
19
18
Attributed to Gillis Peeters (Antwerp 1612-1653)
A mountainous river landscape with cattle, a farm house
and travellers beyond
oil on panel, stamped on the reverse with the clover leaf panel
makers mark of Michiel Claessens (active in Antwerp c.
1590-1637)
75.2 x 35.2 cm.
3,000-5,000
US$3,900-6,400
PROVENANCE:
with P. de Boer, Amsterdam, where bought by the father of the late owner in
1953, as Gillis Peeters.
18
19
Attributed to Mattheus Adolfsz. Molanus
(Frankenthal 1590/4-1645 Middelburg)
A wooded landscape with travellers and a horse drawn
wagon by a pond
oil on copper, stamped on the reverse with the makers mark of
Pieter Stas (active in Antwerp c. 1587-1610)
16.3 x 21.9 cm.
2,500-3,500
US$3,200-4,400
PROVENANCE:
with P. de Boer, Amsterdam, where acquired by the father of the late owner
in 1939, as Mattheus Molanus.
19
20
School of Middelburg, 1619
A wooded landscape with travellers on a sandy track, a
village beyond
indistincly signed and dated ...nanc inv. Ao 1619 / Aug (lower
centre)
oil on copper
13.7 x 16.4 cm.
2,000-3,000
US$2,600-3,800
PROVENANCE:
with P. de Boer, Amsterdam, where purchased in 1994 by the late owner, as
Flemish School, 17th Century.
20
21
Abel Grimmer (Antwerp 1570-1610/30)
An Allegory of Summer; A fte champtre
before a moated castle
signed and indistinctly dated ABEL GRI.. FECIT
1611(?) (lower centre)
oil on panel, a tondo
13.2 cm. diam.
30,000-50,000
US$39,000-64,000
PROVENANCE:
Collection Warneck, Leo Schidlof, Vienna, 18 November
1926, lot 42, as Abel Ort, sold together with An Allegory of
Spring (lot 43).
with P. de Boer, Amsterdam, 1930s, where acquired by the
father of the late owner probably before 1935.
EXHIBITED:
Vienna, Palais Pallavicini, Die jngeren Brueghel und ihr
Kreis, 16 March - 15 April 1935, no. 82, exhibited together with
the Allegories of Spring, Autumn and Winter.
Laren, Singer Museum, Modernen van toen 1570 - 1630,
15 June - 1 September 1963, no. 82, as dated 1611.
LITERATURE:
R. de Bertier de Sauvigny, Jacob et Abel Grimmer, Brussels,
1991, p. 229, no. LVI, as dated 1607.
With its charming navet the present summer scene is a typical example of Abel Grimmers art. In
paintings such as the present one, Abel continued the successful landscape formula invented by his
father and teacher Jacob Grimmer (c. 1525/6-1589/1609). The Grimmers specialized in small landscapes
and their paintings often constitute sets of the Four Seasons, as is the case with the present work, or
the Twelve Months of the Year.
Both father and son favoured the tondo shape. These circular paintings owe their popularity to the
unmistakably decorative efect, to which their distinctly schematic layout contributes as well. However,
on close inspection, they are surprisingly sophisticated in terms of composition and colouring. This is
beautifully demonstrated in the present painting, which, dated 1611, is a mature production of the artist.
Grimmer cleverly exploits the round format to create a varied composition with a convincing sense of
space and atmosphere, and replete with lively detail. The view accommodates a veritable fte champtre
on the verdant slope in the foreground, followed by middle zone with a castle in a pond and a gondola
approaching. A sandy road emerges beyond, the shallow curve it makes past a farmhouse faintly echoing
the round outlines of the painting. Clumps of lush green trees and hills further harmoniously balance
the composition.
Bertier de Sauvigny (op.cit.) lists another, unsigned version of this composition on panel, 12 cm. diameter
(no. 15, p. 263 and reproduced in colour on p. 344, pl. 87).
21
(actual size)
22
Jacob Grimmer
(Antwerp 1525/6-1589/1609)
An Allegory of Summer; A summer landscape
with fgures haying, a village beyond
oil on panel, tondo
16.3 cm. diam.
25,000-35,000
US$32,000-44,000
PROVENANCE:
L.A. Stroink, Enschede, 1936, as Abel Grimmer.
(Possibly collection Fraeylemaborg, Slochteren or
anonymous sale); Mak van Waay, Amsterdam, 10 May 1971,
lot 67a, sold together with An Allegory of Winter (lot 67b)
(Df. 28.000).
with Vanderkar Gallery, London, June 1972.
(Probably) with P. de Boer, Amsterdam, (where) bought by
the late owner in 2001.
EXHIBITED:
Enschede, Rijksmuseum Twenthe, 1928, no. 17.
Enschede, Rijksmuseum Twenthe, Tentoonstelling van 15e
en 16e eeuwsche schilderijen afkomstig uit Enschedeesch
privaatbezit, 20 - 30 October 1938, no. 18, together with an
Allegory of Winter and Spring.
LITERATURE:
R. de Bertier de Sauvigny, Jacob et Abel Grimmer, Brussels,
1991, p. 100, no. 9.
Jacob Grimmers art represents a break with the traditional landscapes by the masters of the older
generations, who painted extensive panoramic views with steep, formidable mountains. Grimmer
instead depicted his own rural environment. Novel in his peaceful Flemish landscapes is the high
degree of realism, which is borne out in a sensitive rendition of the atmosphere and of the scenery. His
works earned him a reputation well beyond the borders of Flanders already during his lifetime and he
was praised as one of the best landscapists of his time by Giorgio Vasari and, later, Karel van Mander.
Grimmers landscapes are still noted for their charming navet and refned execution.
Typical for Grimmer in the present summer scene, is the slightly elevated vantage point and fat,
uninterrupted view from foreground to background. It provides the setting for farmhouses and
numerous, tiny fgures. The latter not only ofer a pretext for colourful accents to the muted palette
of greens, they make up amusing scenes of their own. The immediate foreground shows a pond with
a family of ducks and in the right foreground a group of peasants enjoys a picnic. One peasant is busy
harvesting wheat, a traditional emblem of summer, and sheaves of wheat are scattered across the middle
zone. Across from an amorous scene against one of the sheaves, a couple is angling on the verge of the
brook to the left. The skyline of a town can be glimpsed in the distance, where an onion shaped spire
rises up.
The tondo shape was a trademark of Jacob Grimmer and he often used it for series of the Four Seasons,
such as in the case of the present work, or of the Twelve Months of the Year. Grimmer masterfully used
the round form as an aid to shape the composition. The present painting is probably a mature production
by the artist.
23
(actual size)
23
23
Circle of Paul Bril (Antwerp/Breda 1553/4-1626 Rome)
A mountainous river landscape with travelers crossing a bridge, a town
on the mountainside to the right
dated 1603 (lower right)
oil on copper, stamped on the reverse with the coat-of-arms of the city of
Antwerp and the makers mark of Pieter Stas (active in Antwerp c. 1587-1610)
21.7 x 28.2 cm.
6,000-8,000
24
Attributed to Marcellus Coffermans
(active in Antwerp 1549-1575)
The Nativity; The Three Warriors before David with Water from the
Well near the Gate of Bethlehem; and The Adoration of the Magi
oil on panel
13.8 x 8.8 cm.; 13.7 x 9.5 cm.; 13.7 x 9.6 cm.
15,000-20,000
(3)
US$20,000-25,000
US$7,700-10,000
PROVENANCE:
PROVENANCE:
Anonymous sale; Phillips, London, 5 July 1994, lot 67, as Paul Bril.
with P. de Boer, Amsterdam, where acquired by the late owner in 1995, as Paul Bril.
This composition is a liberal adaption of Brils print from 1590, which was part
of a series of two prints. The makers mark of Stass excludes Bril as the artist: he
remained to work in Rome for over fve decades, from 1582 onwards. The 1603
date appears to be accurate and authentic, as many Bril replicas on copper were
produced shortly after 1600.
with P. de Boer, Amsterdam, where purchased by the late owner in 2001, as Marcellus
Cofermans.
The compositions appear to be partly based on existing compositions by the

so-called Pseudo-Blesius.
25
24
26 OLD MASTERS & 19 th CENTURY ART
25
Joachim von Sandrart I (Frankfurt 1606-1688 Nuremberg)
Salome with the Head of Saint John the Baptist
oil on canvas
117.2 x 99.3 cm.
12,000-18,000
US$16,000-23,000
PROVENANCE:
Private collection, Germany.
Anonymous sale; Lempertz, Cologne, 16 May 1998, lot 1127.
Anonymous sale; Koller, Zrich, 8 September 1999, lot 30.
Anonymous sale; Lempertz, Cologne, 17 November 2007, lot 1299.
EXHIBITED:
Munich, Haus der Kunst, Die Nacht, 1 November 1998 - 7 February 1999, no. 92.
Although a very famous painter in his lifetime, Joachim von Sandrart is now mostly admired for his writings.
His Teutsche Akademie is a compendium of artists biographies and comparable to the standard works of
Giorgio Vasari and Karel van Mander. Sandrart often based his pictures on Sir Peter Paul Rubens monumental,
passionate examples. The present lot is inspired by Rubens Judith with the Head of Holfernes in the Herzog
Anton Ulrich Museum, Braunschweig.
This lot is ofered with a copy of certifcate from Professor Werner Sumowski, who dates it to the 1640s
(Stuttgart, 7 May 1981).
27
26
Antwerp School, late 16th Century
Ecce Homo
oil on panel
16.7 x 13.3 cm.
6,000-8,000
US$7,700-10,000
PROVENANCE:
Gifted to the late owner by Arthur de Heuvel (b. 1887), Brussels.
26
27
Follower of Martin Schongauer
Christ and Saint Veronica on the way to Calvary
oil on panel
14.1 x 13 cm.
4,000-6,000
US$5,100-7,600
PROVENANCE:
The present picture is based on a print of Martin Schongauer (see:

Hollstein, tome 49, no. 26) and can be dated to the second half of the
16th century. An attribution to Marcellus Cofermans, who worked after
Schongauers prints multiple times, has been suggested.
27
28
28
Flemish School, c. 1530
29
Follower of Rogier van der Weyden
Saint John the Baptist
The Lamentation of Christ
oil on panel
37.7 x 34.4 cm.
oil on panel, transferred onto a canvas

122.3 x 102.6 cm.
7,000-10,000
US$8,900-13,000
40,000-60,000
US$51,000-76,000
PROVENANCE:
PROVENANCE:
In the possession of the present owners family for at least 100 years.
The Metropolitan Museum of Art, New York, purchased in 1871;

Their sale, Christies, New York, 18 June 1982, as School of Rogier van der Weyden, where
acquired by the present owner.
This remarkable painting, which is based on Rogier van der Weydens composition
in the Mauritshuis, Royal Cabinet of Paintings, The Hague (inv. no. 264), can
be dated to circa 1510-20, placing it among the very rare early copies after the
celebrated composition. While the depiction of the fgures in the foreground
closely follows Van der Weydens Lamentation, the background with its detailed
view of a medieval town, is a novel element. The three fgures to the right side in the
The Hague prototype, St. Paul, St. Peter and the Bishop of Arras, have been omitted
in the present composition, which is more horizontal in format.
A small size copy, dating to the frst quarter of the 16th century, is in the Museum
Catharijneconvent, Utrecht (inv. no. RMCCs190).
29
30
31
31
30
Studio of Sir Peter Paul Rubens (Siegen 1577-1640 Antwerp)
31
Circle of Sir Anthony van Dyck (Antwerp 1599-1641 London)
A bust of Christ, in three quarter profle
An Allegory of Peace; Venus disarming Mars after his return from war
oil on panel, arched top, stamped on the reverse with the coat-of-arms of the
city of Antwerp and the clover leaf panel makers mark of Michiel Claessens
(active c. 1590-1637)
56.5 x 45.8 cm.
oil on canvas
151.4 x 190 cm.
30,000-50,000
US$39,000-64,000
PROVENANCE:
Private collection, Brussels, circa 1900-10, as Sir P.P. Rubens, from whom bought by a
Brussels art dealer; thence by descent to his grandchild, from whom acquired by the
present owner.
The robust and powerful depiction of Christ was most likely originally
accompanied by a pendant of the Virgin, facing left. Several other versions are
known, which are considered to be copies from the workshop and otherwise, of
the presumed lost original pair or diptych which Rubens probably executed for
Balthazar I Moretus in Antwerp, and which Dr. Hans Vlieghe dates to circa 1615-20
(see: H. Vlieghe, Corpus Rubenianum Ludwig Burchard. Saints, VIII, I, London, 1972,
pp. 32-33, plates 12 and 13).
The present panel originally had a retangular shape like the other versions. In
details and quality it is comparable with the Christ, which was sold at Sothebys,
London, 8 July 2010, lot 116. Dr. Hans Vlieghe, to whom we are grateful, attributes
the present painting to the studio of Sir Peter Paul Rubens after frst hand
inspection, and dates it to the frst half of the 1620s.
15,000-20,000
US$20,000-25,000
PROVENANCE:
Collection of Prince Orlof (according to Galerie Jean Neger).
with Jean Neger, Paris, where acquired in 1955 by the father of the present owner.
32
32
Circle of Giuseppe Recco (Naples 1634-1695 Alicante)
Fish, lobsters, squid, a snail, onion, pomegranates and mushrooms on a
rocky shore
oil on canvas
57.3 x 96.3 cm.
with an old inventory number 496 on the reverse
3,000-5,000
US$3,900-6,400
33
Follower of Joannes Fijt
Two dogs resting in an Italianate mountainous landscape
oil on canvas
105.6 x 73.9 cm.
5,000-7,000
33
US$6,400-8,900
33
34 (a pair)
34
Circle of Jasper van der Lanen (Antwerp c. 1585-after 1624)
A wooded landscape with elegant fgures strolling; and A landscape
with travellers on a sandy path, a town beyond
oil on copper
38.5 x 31.2 cm.; 38.6 x 31.1 cm.
a pair (2)
4,000-6,000
US$5,100-7,600
Both copper plates once probably decorated the doors of a Flemish cabinet.
35
Follower of Sir Peter Paul Rubens
Madonna and Child surrounded by Putti
oil on canvas
121.7 x 91.7 cm.
6,000-8,000
US$7,700-10,000
PROVENANCE:
Purchased by the grandfather of the present owner in the 1960s in an anonymous sale; Palais
des Beaux Arts, Brussels.
After a composition by Rubens in the Muse du Louvre, Paris (inv. no. 1763).
35
36
Attributed to Thomas van Apshoven
(Antwerp 1622-1664)
Travellers resting by a creek in a rocky
landscape
oil on panel
25.7 x 36.6 cm.
4,000-6,000
US$5,100-7,600
PROVENANCE:
Collection Paul Bureau: His sale; Lair Dubreuil & Baudoin,
Paris, 20 May 1927, lot 37, as David Teniers (to Brenner).
Gifted to the late owner by Arthur de Heuvel (b. 1887),
Brussels..
36
37
Circle of Abraham Govaerts
(Antwerp 1589-1626)
A wooded landscape with Mary and Child with
the Infant Saint John the Baptist
oil on panel
41.4 x 70.1 cm.
6,000-8,000
US$7,700-10,000
37
38
Gillis Gillisz. de Bergh
(Delft 1590/1610-1669)
A fruit seller and a young woman in a blue
dress at a fruit stall in a crowded marketplace
oil on canvas
109 x 154.8 cm.
5,000-7,000
US$6,400-8,900
PROVENANCE:
Anonymous sale; Christies, Amsterdam, 29 November
1988, lot 57.
with S. Lilian, Amsterdam, 1989.
We are grateful to Fred Meijer of the RKD, The Hague,

for confrming the attribution upon inspection of the
original painting.
38
35
!39
Jan Philip van Thielen (Mechelen 1618-1667 Booischot)
A stone cartouche with Mary and Child surrounded by foral garlands
and butterfies
signed and dated I.P. Van. Thielen. F. Ano 1649 (lower left)
oil on panel, laid down on panel
73.7 x 52.3 cm.
10,000-15,000
US$13,000-19,000
PROVENANCE:
Anonymous sale; Dorotheum, Vienna, 23 March 1965, lot 118.
with H. Cramer, The Hague, by 1968.
Anonymous sale; Sothebys, London, 19 February 1986, lot 41.
with Douwes, Amsterdam, by 1987.
with Walter Andreas Hofer, Munich, by 1970.
with Galerie Mllenmeister, Solingen.
Anonymous sale; Sothebys, Amsterdam, 8 May 2001, lot 185.
Anonymous sale; Koller Auktionen, Zrich, 1 April 2011, lot 3070.
40
Attributed to Frans Francken II (Antwerp 1581-1642)
An Allegory of the Golden Age
oil on panel, stamped on the reverse with the coat-of-arms of the city of Antwerp and with the panel makers
mark of Michiel Vriendt (active in Antwerp 1615-1637)
44.4 x 57.3 cm.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Collection Schpke, Switzerland, by at least 1976, as Frans Francken II.
Anonymous sale; Sothebys, London, 11 December 1985, lot 152, as Frans Francken II.
Anonymous sale; Eberhart Auktionen, 28-30 May 1990, lot 149, as Frans Francken II.
with Jan Roelofs, Millen-Riemst and Amsterdam, where acquired in 1999 by the present owners.
EXHIBITED:
The panel makers mark of

Michiel Vriendt (active Antwerp
16151637)
Chur, Bndner Kunstmuseum, Thun, Thunerhof, Flmische und Niederlndische Malerei des 17. Jahrhunderts, 5 September - 14
November, 1976, on loan from Mr. and Mrs. Schpke, as Frans Francken II.
37
41
Studio of Jan Breughel II (1601-1678)
A wooded landscape with a peasant family resting under a tree
oil on panel, stamped on the reverse with the coat-of-arms of the city of
Antwerp and the panel makers mark of Michiel Vriendt (active in Antwerp
1615-1637)
57.3 x 44.2 cm.
30,000-50,000
US$39,000-64,000
PROVENANCE:
Collection Graf von Brockdorf-Rantzau, Berlin.
Collection M.-Ant. W.M. Mensing; Frederik Muller, Amsterdam, 15 November 1938, lot 17.
Private collection, Enschede, from whom acquired in 1991 by the present owners.
LITERATURE:
K. Ertz, Jan Brueghel der ltere, Die Gemlde, mit kritischem Oeuvrekatalog, Cologne,
1979, p. 211.
K. Ertz, Jan Breughel the Younger (1601-1678), Freren, 1984, I, p. 186, under no. 5.
The view, also regarded as an Allegory of Laziness or the Parable of the Wheats
and Tares (Matt. XIII; 24-30), depicts a summers day with peasants resting in the
shade of the foliage, at the edge of a wood. A plough sits abandoned in the soil
before them and most farm workers, including a mother, child, and their dog, are
fast asleep. To the right two horses are visible and birds muster in the ploughed
feld on the left hand side. In the distance, just before the valley below, one farmer
is working the land, likely referring directly to Matt. XIII, verse 25.
Although Dr. Klaus Ertz (1979, op. cit. and 1984, op. cit., nos. 5-7) lists three other
versions of this composition following Jan Breughel the Elder, a painted prototype
by the artist appears no longer to exist. A drawing in a private Dutch collection formerly in the collection of J.A. Duval le Camus (1814-1878), Paris - and a gouache
on vellum, in 1997 with Johnny van Haeften, both attributed to Breughel the
Elder, do however depict the exact same scene as the present picture, but both
are rather independent art works and not studies for a painting or a modello for
the studio. Of the versions mentioned by Ertz in his monograph on Jan Breughel
the Younger, the one in the Granata collection in Rovigo, is closest to the present
composition (see: Ertz, 1984, op. cit., p. 187, no. 6).
THE PROPERTY OF MR. AND MRS. W.J.G.M. WAANDERS, ZWOLLE

(LOTS 42, 143)
42
David Teniers II
(Antwerp 1610-1690 Brussels)
The Miraculous Draught of Fishes
signed DTeniers (lower center)
oil on canvas
76.5 x 110 cm.
70,000-100,000
US$89,000-130,000
PROVENANCE:
Mr. Arthur B. Nixon; Christies, London, 13 November 1936,
lot 113 (16.16s to Mr. Perspisil).
Collection Geri; His sale, Milan, 17 November 1938, lot 79.
Private collection, England.
Anonymous sale; Sothebys, London, 26 April 2001, lot 67.
with Noortman, Maastricht, 2001, where acquired by the
presenty owners in 2003.
EXHIBITED:
Maastricht, Noortman Master Paintings, One Hundred
Master Paintings, (catalogue by E. Schavemaker) 2003,
nr. 4, ill.
Karlsruhe, Staatliche Kunsthalle, David Teniers der Jngere
1610-1690: Alltag und Vergngen in Flandern, Karlsruhe,
2005, pp. 280-1, nr. 89, ill.
LITERATURE:
M. Klinge & D. Ludke, David Teniers der Jngere 1610-1690:
Alltag und Vergngen in Flandern, Karlsruhe, 2005, pp. 280-1,
nr. 89, ill.
The Miraculous draught of fshes is a subject taken from St. John (21; 1-8), that represents a pivotal moment
in the early history of Christianity.1 The episode evolves around Christs appearance after his resurrection
to his disciples and highlights Saint Peters future leading role in spreading the Christian faith.
When the disciples did not immediately recognized Christ, he asked them: Friends, havent you any
fsh? After their confrmation they had not, Christ replied: Throw your net on the right side of the boat
and you will fnd some. Upon doing so, they were unable to haul the net in because of the large number
of fsh. Teniers selected the emotionally charged moment when Christ is recognized and Peter steps
into the water to meet Christ. The meeting of the calm and dignifed Saviour with the devout Saint Peter
is purposefully contrasted and subtly isolated from the rest of the scene with the other disciples, who
are struggling to secure their catch.
Teniers rarely painted religious or mythological themes although there are examples from every phase
of his career. 2 The Miraculous draught of fshes is a subject he painted on one more occasion, which is a
slightly bigger version of our painting only known through an etching by Thomas Major (1714 or 1720-1799),
published in 1752 in a John well-known print series called The Most Capital Paintings in England (fg. 1). 3
Because this type of theme is quite uncommon for Teniers and both treatments are executed on
relatively big dimensions, the paintings may well have been commissions. Teniers religious scenes are
mostly styled as genre pieces or they are set outdoors with the landscape taking precedence over the
actual subject. Although the latter is not the case in the present work, Teniers did seize the occasion to
explore the landscape motif here, while at the same time enlivening it with anecdotal, genre-like detail
of which the lovely scene in the background is a fne example. The sweeping seascape and beautiful sky,
with its arresting atmospheric efects, such as the bundle of concentrated sunlight breaking through
the cloud formations, are superbly executed and heighten the drama of the religious scene. Margret
Klinge (op. cit.) dates the present painting to the end of the 1650s, when the artist was living in Brussels.
This painting is to be included in the forthcoming monograph with catalogue raisonn, currently in
preparation by Dr. Margret Klinge, Dsseldorf.
1. This subject is the so-called second Miraculous draught of fshes, not to be confused with the more frequently depicted frst
story related by Luke (5; 1-11), which took place before Christs death on the cross and which contains the well-known passage in
which he tells his pupils: from now on you will be fshers of men.
2. For Tenierss history paintings see: J.P. Davidson, Religious and mythological paintings by David II Teniers, (PhD thesis University
of Kansas) Ann Arbor (MI), 1975.
3. See for this painting and the mention of the print: J. Smith, A Catalogue Raisonn of the Works of the Most Eminent Dutch, Flemish,
and French Painters, London, 1834, vol. 3 (1831), nr. 407, p. 367.
Fig. 1 - Thomas Major after David Teniers the Younger,

The Miraculous draught of fshes, etching, 495 x 605 mm.
39
43
A DISTINGUISHED PRIVATE AMERICAN

COLLECTION (LOTS 43, 188, 215, 218)
!43
Hendrik van Steenwijck II
(Antwerp 1580-1649 Leiden or The
Hague)
The interior of a Gothic church with
gentlemen conversing
signed H V S (centre right, on the hatchment)
oil on panel
29.5 x 41 cm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
Anonymous sale; Christies, London, 9 December 1994,
lot 234.
with R. Green, London, 1995, where acquired by the present
owner.
44
Pieter Gallis
(Hoorn or Enkhuizen 1633-1697 Hoorn)
45
Hendrick Bloemaert
(Utrecht c. 1601-1672)
A melon, peach, plum, pommegranate and

grapes on a stone ledge
An Allegory of Justitia protecting Innocence

from Calumny, Treachery and Deceit
oil on canvas, laid down on panel

34.4 x 50.2 cm.
signed and dated HBloemaert fc. / 1638 (HB

linked, lower right, on the pedestal)
oil on canvas
85.5 x 110.3 cm.
3,000-5,000
US$3,900-6,400

for endorsing the attribution to the still life artist
Pieter Gallis after inpection of the original painting.
12,000-18,000
US$16,000-23,000
PROVENANCE:
H. Hoogers, Nijmegen, 7 June 1816, lot 6, as Cornelis
Bloemaert.
J. Brolsma, Ede, 1957.
with Baer, The Hague, 1960.
Collection Hirschberg, The Hague.
Anonymous sale; Heerlen, 10 April 1962, lot 121 (as
measuring 68 x 108 cm.).
LITERATURE:
Marcel Roethlisberger, Abraham Bloemaert and his sons, I,
Doornspijk, 1993, pp. 475-6, no. H73, fg. H75.
The subject of this painting is considered to be

the only allegorical painting within the oeuvre of
Hendrick Bloemaert.
41
44
45
46
47
43
48
PROPERTY FROM THE COLLECTION OF

THE LATE MR. H.M. VEHMEIJER
(LOTS 3, 6, 48, 104A)
46
Gerrit Battem (Rotterdam 1636-1684)
47
Dirck Hals (Haarlem 1591-1656)
A town in winter with numerous fgures on a

frozen canal skating, sleighing and conversing
An interior with an elegant company making

merry
indistinctly signed Battem (lower left)

oil on panel
46 x 63.1 cm.
signed twice and dated twice DHALS / 1640 (DH

linked, middle right)
oil on panel
39.7 x 60.6 cm.
7,000-10,000
US$8,900-13,000
7,000-10,000
48
Attributed to Pieter Mulier
(Haarlem 1600/15-1659)
A two-master and smaller sailing vessels in
rough waters
oil on panel
37.5 x 52.9 cm.
5,000-7,000
US$6,400-8,900
US$8,900-13,000
Britta Nehlsen-Marten mentions a panel of the same

size, also dated 1640, which might have belonged to
a same series of interiors as the present picture (see:
B. Nehlsen-Marten, Dirck Hals 1591-1656: Oeuvre
und Entwicklung eines Haarlemmer Genremalers,
Weimar, 2003, p. 299, no. 269).
PROVENANCE:
with Douwes, Amsterdam, where acquired by the late
Mr. H.M. Vehmeijer, by 1970, as Simon de Vlieger.
We are grateful to Prof. Jan Kelch for endorsing the

attribution to Pieter Mulier on the basis of a photograph
(written communication, 8 October 2014).
49 No Lot
50
Adriaen van de Venne (Delft 1589-1662 The Hague)
Dartel arm: A man and a female fghting with other fgures watching
oil on panel
51 x 36.7 cm.
inscribed with title (lower left)
6,000-8,000
US$7,700-10,000
PROVENANCE:
Anonymous sale; Frederik Muller, Amsterdam, 20 June 1928, lot 52.
LITERATURE:
A. Plokker, Adriaen Pietsz. van de Venne (1589-1662) de grisailles met spreukbanden, Leuven,
1984, p. 81, no. 25, together with the pendant.
The pendant to the present painting, A dancing couple with a fute player and other
fgures making merry (present location unknown, formerly ofered at Sothebys,
Amsterdam, 14 November 2006, lot 80), is also inscribed with the text Dartel Arm,
which is a wordplay. The word dartel can mean jumping as well as foolish, and
thus can be applied in diferent scenes, as is done in this picture and its pendant.
50
51
Studio of Michel Jansz. van Mierevelt (Delft 1566-1641)
Portrait of Willem I De Zwijger of Orange-Nassau, bust-length, in
armour and with a ruf
57.8 x 46.5 cm.
oil on panel
6,000-8,000
PROVENANCE:
with K. Muller, Lokeren.
51
US$7,700-10,000
45
52
52
Dutch School, third quarter of the 17th Century
Portrait of a gem dealer, half-length, in a black costume, white chemise
and collar, seated on a balcony before a curtain, holding a box of
precious rings in his right hand.
oil on canvas
103.8 x 86.4 cm.
6,000-8,000
US$7,700-10,000
53
Nicolaes Molenaer (Haarlem 1626/9-1676)
A winter landscape with a fortifed town and fgures on a frozen
waterway
signed K. Molenaer (lower left)
oil on panel
36.7 x 32 cm.
5,000-7,000
US$6,400-8,900
53
54
54
Joost Cornelisz. Droochsloot
(Utrecht 1585-1666)
55
Salomon van Ruysdael
(Naarden 1600/3-1670 Haarlem)
Peasants making merry outside an inn
A view of Egmond aan Zee, a horsedrawn cart

and fgures resting in the foreground
indistinctly signed with initials and dated

Jc:D DS : 1645. (Jc and DS linked, lower left)
oil on canvas
71.5 x 101.5 cm.
40,000-60,000
US$51,000-76,000
signed with monogram and dated SVR / 1643

(lower right)
oil on panel
34.6 x 53.8 cm.
15,000-25,000
US$20,000-32,000
PROVENANCE:
Anonymous sale; Galerie Fischer, 29 May - 1 June 1979, lot 287.
Anonymous sale; Dorotheum, Vienna, 15-19 September
1980, lot 356.
Anonymous sale; Kinsky, Vienna, 14 October 2008, lot 14,
where acquired by the present owner (Euro 60,000).
Joost Cornelisz. Droochsloot was born in Utrecht in

1586, little is known of his life. He was admitted to the
Utrecht Guild of St. Luke in 1616 at the age of forty and
was active in the city until 1660. He served as dean of
the Guild in 1623-4. Droochsloot is known primarily
for genre scenes, but he also painted landscapes and
historical subjects.
PROVENANCE:
with van Diemen, The Hague.
with P. de Boer, Amsterdam, 1939.
Anonymous sale; Koller, Zurich; 18-22 June, 1985, lot 5057.
The fshing village of Egmond aan Zee with its sandy

beaches and distinctive church, was a popular
excursion site for numerous landscape painters in
the 17th century. Although beach and coastal scenes
make up only a small part of Salomon van Ruysdaels
oeuvre, he is known to have painted several views
of Egmond aan Zee, in the early 1660s. The artist
appears to have been drawn to the coast especially
between 1660 and 1665, when he also depicts views
of Zantvoort and Scheveningen.
The present view is thus rare in his oeuvre, as it is

painted much earlier than his other depictions of
beach villages. Furthermore, this view shows the
approach to the village looking towards the sea, unlike
Ruysdaels other depictions of Egmond aan Zee, in
which the village is usually seen from the other side.
56
Cornelis Snellinck (Rotterdam or
Antwerp? c.1605-1669 Rotterdam)
Noahs Ark
signed c. snellinck (lower right)
oil on panel
90.4 x 125 cm.
10,000-15,000
US$13,000-19,000
PROVENANCE:
with Kunstgalerie Tomasz Metlewicz, Vienna, by 1970.
A larger version of the present composition, also

executed on panel, was with Noortman, Maastricht
by 2007. Both compositions are most intriguing
and accomplished works by this rare artist. Cornelis
Snellink must have painted this imposing panel at the
hight of his career.
47
55
56
57
Jan Abrahamsz. Beerstraaten
(Amsterdam 1622-1666)
A view of a bay with rocks, possibly
Smeerenburg
signed J: Beer-Straaten. (strengthened,
lower right)
oil on canvas
127.5 x 166.6 cm.
50,000-70,000
US$64,000-89,000
PROVENANCE:
Anonymous sale; K. von der Porten, Schloss Wittgenstein,
Hannover, 25 September 1950, lot 119.
Anonymous sale, Bdiger, Bonn, 23 April 1983, lot 1395.
Private Collection.
with P. de Boer, Amsterdam, by 1997, where acquired in
2000 by the present owners.
Between enormous, awe-inspiring clifs, brick huts and wooden structures sit along the coastline of a
bay. The extremely large scale of the landscape and the overcast sky make the primitive architecture,
workmen and vessels on the water appear insignifcant.
The ships fy Dutch fags and the Amsterdam painter Jan Beerstraten no doubt represented part of a
Dutch overseas colony. By the 1650s, when Beerstraten painted this coastal view, the Dutch Republic
conducted trade in many and remote corners of the world. Given the northern and isolated outlook of
the landscape Dr. Thomas Fusenig suggests in a letter, dated 19 November 2009, to the present owners
that the site could be Smeerenburg. Smeerenburg was one of the settlements on Amsterdam, a small
island north of Spitsbergen bordering on the Arctic Ocean, which was used for whale fshery.
The Northern or Greenland Company, with ofces in Amsterdam, Rotterdam, Delft, Hoorn and
Enkhuizen, facilitated the whaling industry. The hunting took place during the summer months, initially
close to the shores. Here settlements, such as Smeerenburg, were constructed, where the whales were
cut up and the whale-oil refned. The crude houses on the beach, which are too small to be inhabited, are
probably blubber ovens used for cooking the whale oil.
Although whaling constituted an important commercial industry throughout the seventeenth century
it only became a more frequently treated subject in painting during the last decades of the century.
Paintings by Ludolf Backhuysen, Abraham van Salm, Wigerus Vitringa and Abraham Storck show the
spectacle of whale hunting in pale wintery tonalities with ships in narrow waters amidst ice foes.
In Beerstratens painting, which, given its quite large dimensions, must have been a commission, the
sublime and savage landscape is the primary motif. Beerstraten not only very convincingly visualized
the barren clifs and rocks, which he never can have studied in real life, but also the decidedly un-Dutch
fall of light on the water and menacing cloudscape. The artist beautifully captured the eccentric poetry
of the extreme landscape.
A painting with a similar composition, but smaller in size, can be found in the Statens Museum,
Copenhagen (inv. no. 44). The most notable diference being the clifs on the left side, depicted in the
present painting, but not in the Statens Museum work.
(detail)
49
PROPERTY FROM A DECEASED ESTATE (LOTS 58-63)
58
59
58
Pieter Bout (Brussels 1658-1719) and
Adriaen Fransz. Boudewijns (Brussels 1644-1719)
59
Circle of Gerard Thomas (Antwerp 1663-1720)
A wooded river landscape with a hunting party at the gate of a village
oil on canvas
83.1 x 116.8 cm.
oil on canvas
41.1 x 56.2 cm.
5,000-7,000
An artists studio
3,000-5,000
US$3,900-6,400
US$6,400-8,900
PROVENANCE:
PROVENANCE:
Anonymous sale; Christies, London, 15 July 1977, lot 185.
Anonymous sale; Lempertz, Cologne, 11 May 1924, lot 372, as Aegidius van Tilborgh.
Anonymous sale; Christies, Amsterdam, 26 April 1983, lot 224.
51
60
Gaspar Thielens (Antwerp 1630-1691)
A tulip, a cornfower, roses, a carnation and other fowers in a glass vase
on a ledge
LITERATURE:
signed gaspar Thielens fecit (lower left)

oil on canvas
56.7 x 42.3 cm.
Little is known about the Antwerp artist Gaspar Thielens. He is documented to

have painted fower and vanitas still lifes, as well as religious scenes. Although
registered as a pupil with the Antwerp guild in 1647, he only joined the guild in 1677,
possibly due to a foreign sojourn.
10,000-15,000
PROVENANCE:
Private collection, Paris, by 1985.
US$13,000-19,000
M.L. Hairs, Les peintres Flamands de feurs au XVIIe siecle, Brussels, 1985, p. 391.
The present lot reveals that Thielens must have been infuenced by the early
fower still lifes of Jan Davidsz. de Heem. The well preserved fowers and their
various textures are beautifully rendered with a high degree of naturalism and
spatial depth.
PROPERTY FROM A DECEASED ESTATE (LOTS 58-63)
61
61
Jan van den Hecke I (Kwarenmont 1619/20-1684 Antwerp)
Roses, a tulip, and bluebells in a glass vase, on a wooden ledge
oil on panel, stamped on the reverse with the coat-of-arms of the city of
Antwerp
31.4 x 41.0 cm.
4,000-6,000
US$5,100-7,600
PROVENANCE:
Anonymous sale; George V, Paris, 19 April 1990, lot 42, as Danil Seghers.
LITERATURE:
M.L. Hairs, Les peintres Flamands de feurs au XVIIe siecle, Brussels, 1985, p. 184, no. 57, as
Danil Seghers.
We are grateful to Fred Meijer of the RKD, The Hague, for endorsing the attribution
to the artist after inspection of the original painting.
62
Workshop of Hendrick van Balen (Antwerp 1575-1632)
The Crowning of the Virgin, surrounded by a garland of fowers held by
putti
oil on copper
53.9 x 40.3 cm.
5,000-7,000
62
US$6,400-8,900
Whereas the Virgin and putti derive from the studio of Van Balen, the fower
garland is painted in collaboration with a follower of Jan Breughel I.
53
63
63
Franciscus Gijsbrechts (active Leiden 1672-1677)
A brass urn, a brass shield, musical instruments, a quil, a compass, a red and a green ribbon, a
manuscript and other objects, all on a draped table
oil on canvas
117.6 x 83.4 cm.
3,000-5,000
US$3,900-6,400
We are grateful to Fred Meijer of the RKD, The Hague, for confrming the attribution upon frst-hand inspection
of the painting.
64 No Lot
65
Dirk Maas (Haarlem 1659-1717)
A traveller on horseback, resting by a stable with other fgures
signed and dated D: Maas.1682. (lower right)
oil on panel
38.7 x 45.2 cm.
3,000-5,000
US$3,900-6,400
PROVENANCE:
Anonymouse sale; Christies, Amsterdam, 2 September 1998, lot 34.
65
66
Pieter Wouwerman (Haarlem 1623-1682 Amsterdam)
An Italianate park landscape with an elegant company halting rest
signed with monogram PW (lower left)
oil on canvas
70.4 x 77.3 cm.
3,000-5,000
US$3,900-6,400
66
!67
Follower of Jan van Haensbergen
(Gorinchem 1642-1705 The Hague)
An Italianate landscape with Tobias and the Angel
oil on panel
22.3 x 29.9 cm.
3,000-5,000
US$3,900-6,400
PROVENANCE:
Emile Paravicini (according to a label on reverse).
The present composition is after Van Haensbergens small panel in the

Staatliches Museum Schwerin, formerly in the collection of Christoph Mller,
Berlin (see: G. Selig, Kosmos der Niederlnder: Die Sammlung Christoph
Mller, Bestandskatalog Staatliches Museum Schwerin, Petersberg, 2013, p.
132, no. G3857).
67
55
68
Circle of Gerard van Honthorst (Utrecht 1592-1656)
A couple making music
oil on canvas
104 x 84 cm.
15,000-20,000
PROVENANCE:
For at least 30 years in the family of the present owner.
US$20,000-25,000
69
69
Attributed to Bernardo Germn y
Llorente (Seville 1680/1-1759)
70
Follower of Bernardo Strozzi
71
Follower of Simon Vouet
The Denial of Saint Peter
Saint Peter Visiting Saint Agatha in Prison
Divina Pastora
oil on canvas
149.5 x 172.5 cm.
oil on canvas
149.7 x 176.8 cm.
oil on canvas
111.9 x 83.4 cm.
6,000-8,000
10,000-15,000
US$13,000-19,000
10,000-15,000
US$13,000-19,000
US$7,700-10,000
The present work follows Bernardo Strozzis painting in
the Wallraf-Richartz-Museum, Cologne (inv. no. 1507).
The present composition follows Simon Vouets

painting in a private collection, USA, of which Nicolson
lists three copies (see: B. Nicolson, Caravaggism in
Europe, Turin, 1989, I, p. 210, no. 727).
57
70
71
!72
Circle of Carel de Vogelaer (Maastricht 1653-1695 Rome)
Peonies, pink roses, lilies, tulips, dafodils and other fowers in a vase,
in a park landscape
oil on canvas
92.9 x 68.4 cm.
7,000-10,000
US$8,900-13,000
PROVENANCE:
Anonymous sale; Christies, Amsterdam, 11 May 2011, lot 53.
Anonymous sale; Dorotheum, Vienna, 17 October 2012, lot 798, as Carel de Vogelaer.
72
73
Attributed to Cornelis van der Voort
(Antwerp 1576-1624 Amsterdam)
Portrait of a gentleman, three-quarter-length, in a red and black
costume with a lace collar, holding a pair of gloves in his left hand
oil on panel
111.1 x 88.4 cm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
Anonymous sale; Christies, London, 27 February 1981, lot 123, as Cornelis van der Voort.
73
74 No Lot
59
75
Circle of Nicolaes Eliasz. Pickenoy (Amsterdam 1588-1650/6)
Portrait of a lady, three-quarter-length, in a golden embroidered dress with a white lace collar and
a white lace cap, with two golden bracelets and rings
inscribed with the sitters age and dated AEtatis Svae 29 / Ao 1629 (AE linked, upper right)
oil on canvas
109.6 x 93 cm.
10,000-15,000
PROVENANCE:
Anonymous sale; Christies, London, 27 February 1981, lot 122, as J.A. van Ravestyn.
US$13,000-19,000
76
Circle of Franciscus Gijsbrechts (active in Leiden 1672-1677)
A trompe loeil of the reverse of a canvas as a letter rack with documents, a journal, a print of a
cardplayer, a quil and sheets of paper suspended from a string on a nail
signed with monogram CM (lower right) and dated ANNO 1667 (on a letter, lower left)
oil on canvas
102.2 x 77.6 cm.
7,000-10,000
77 No Lot
US$8,900-13,000
61
!78
Christoph Paudiss (Lower Saxony 1618/30-1666/7 Freising)
A tronie of an old man laughing
oil on canvas
43.5 x 35.5 cm.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Collection Wasserman; auction by order of the Argentine Courts, Buenos Aires, 23 August 1966, lot 18, where acquired by the
father of the present owner.
Christoph Paudiss studied in Hamburg before moving to Amsterdam, where he entered Rembrandts studio in
circa 1642. In the late 1650s, the artist left Amsterdam and secured patronage from the princely German courts,
including Dresden where he worked around 1659-60. From 1660 onwards he lived in Vienna and Salzburg, and
subsequently in Freising. In the last four years before his premature death, Paudiss created some of his fnest
works for the Prince-Bishop Albrecht Sigismund of Bavaria, which can be found in the Diozsanmuseum, Freising.
79
Hendrick Andriessen (Antwerp 1607/10-1655 Zeeland/Antwerp)
A vanitas still life with a skull, a broken Roemer, a rose, an hour glass, a nautulus shell, a pocket
watch and other objects, all on a draped table
oil on panel, stamped on the reverse with the coat-of-arms of the city of Antwerp
49.4 x 70.2 cm.
20,000-30,000
PROVENANCE:
Private collection, Paris.
with Johnny Van Haeften, London, where purchased by the present owners in 2000.
US$26,000-38,000
63
80
Pieter Neefs I (Antwerp 1568/88-1656/61) and Frans Francken II (Antwerp 1581-1642)
The interior of a gothic cathedral, with elegant fgures conversing and a priest taking mass
signed PEETER / NEEFFS (upper right) and signed Dj franck (lower right)
oil on panel
41.9 x 59.7 cm.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Captain E.G. Spencer-Churchill, Northwick Park: His sale; Christies, London, 25 February 1966, lot 103 (2400 gns. to Koetser).
Anonymous sale; Christies, London, 24 May 1985, lot 139.
with K.J. Mllenmeister, Solingen, and by descent to the present owner.
LITERATURE:
A Catalogue of the Pictures, Works of Art, etc. at Northwick Park, 1864, no. 40.
T. Borenius, A Catalogue of the Collection of Pictures at Northwick Park, London, 1921, no. 151.
LAge dOr de la Peinture Flamande, XVIIe Sicle, Brussels, 1989, p. 232, no. 189.
An architectural painter from Antwerp, Neefs became a member of the citys Guild of Saint Luke in 1609. He
spent the early part of his career under the infuence of Hendrick van Steenwijck the Elder and his son Hendrick
van Steenwijck the Younger, whose works Neefs copied, for example in the Gemldegalerie Alte Meister,
Dresden. In his Golden Cabinet of the noble art of painting of 1661, biographer Cornelis de Bie celebrated Neefs
for his depiction of churches, praising in particular his representations of pillars, doors, portals and altars. He
wrote that looking at his paintings produced the sensation of being in a church (C. de Bie, Golden Cabinet,
Antwerp, 1661, p. 155). The elements praised by De Bie can all be found in the present church interior, which
holds a strong resemblance to the Antwerp Cathedral, but, like most of Neefs works, contains elements of
architectural fantasy. A similar collaborative work by Neefs and Francken, of the same composition, but with
slight variations to the architectural and fgural detail, was sold at Sothebys, New York, 28 January 2010, lot
278 ($86,500).
81
Adam Willaerts
(London 1577-1664 Utrecht)
Fishermen bringing in the catch, elegant
fgures purchasing fsh on the bank and
numerous other fgures, a fortifed town
beyond
signed A. Willae (lower centre)
oil on panel
69.2 x 98.9 cm.
70,000-100,000
US$89,000-130,000
PROVENANCE:
Sam Bernard Levie (1887-1943), Amsterdam, prior to 1940.
Confscated 12 September 1940.
with Gebroeders Douwes, Amsterdam, 12-13 September 1940.
with W.A. Hofer, Berlin, 13 September 1940 - 19 September 1941.
Sonderauftrag Linz, 19 September 1941.
Transferred to the Stichting Nederlands Kunstbezit,
October 1945 (inv. NK 2729).
Restituted to the heirs of S.B. Levie, represented by Mondex
Corporation of Toronto, Canada, 10 March 2014.
EXHIBITED:
Utrecht, Centraal Museum, 1948 - March 2014 (on loan from
Instituut Collectie Nederland).
Antwerp, Stadsfeestzaal, Op de rede. Het leven aan de
waterkant in Europese havens, 1973, no. O.3, p. 51, ill. p. 72.
Utrecht, Centraal Museum, Utrecht op schilderijen,
15 July - 25 September 1988.
LITERATURE:
Centraal Museum, Utrecht: Catalogus der schilderijen,
Utrecht, 1952, no. 345, p. 158, p. XL (note 4), ill. no. 70.
M.E. Houtzager et al., Rntgenonderzoek van de oude
schilderijen in het Centraal Museum te Utrecht, Utrecht,
1967, pp. 272-3, ill. no. 40, p. 162.
C. Wright, Paintings in Dutch Museums. An index of oil
paintings in public collections in The Netherlands by artists
born before 1870, Amsterdam, 1980, p. 498.
M.W.J. de Bruijn et al., Ach lieve tijd. Dertien eeuwen
Utrecht, de Utrechters en hun verleden, Zwolle, 1984-1985,
p. 176, ill.
J. de Meyere, Utrecht op schilderijen. Zes eeuwen
topografsche voorstellingen van de stad Utrecht, Utrecht,
1988, pp. 275-6, ill. 25 and 25a.
P. Huys Janssen, Schilders in Utrecht, Utrecht, 1990,
pp. 100-1, ill. 97.
E. de Heer et al., Old master paintings. An illustrated
summary catalogue. Rijksdienst Beeldende Kunst/The
Netherlandish Ofce for the Fine Arts, Zwolle, 1992,
no. 2831, p. 318, ill.
M. Bosma, J. De Meyere, Masters of Utrecht:
17-19th-century paintings from the collection of Centraal
Museum Utrecht, Utrecht, 1994, p. 43, ill. 49.
L.M. Helmus, Schilderkunst tot 1850. De verzamelingen van
het Centraal Museum, Utrecht, 1999, Vol. I, pp. 223-5, ill.
p. 224, Vol. II, p. 1530, ill.
J. De Meyere, Utrechtse schilderkunst in de Gouden Eeuw.
Honderd schilderijen uit de collectie van het Centraal
Museum te Utrecht, Utrecht, 2006, no. 93, pp. 391-4, ill.,
as unsigned.
O. Nelemans, Adam Willaerts, Londen 1577 - Utrecht 1664.
Zijn leven en zijn werk, de religieuze schilderijen in het
bijzonder, unpublished MA thesis, University of Utrecht,
1999, Vol. I, pp. 115 and 134, no. Ie.20.
Colourful harbour scenes, replete with anecdotal detail, such as the present, were a specialty of Willaerts,
and earned him early acclaim. In 1661 the Flemish author Cornelis de Bie praises the poetic qualities of
his art and the 18th century artists biographer Arnold Houbraken singles out both the naturalness and
artfulness as well as the degree of detail of his river scenes and marines as the foundation of his fame.1
Although this painting is generally dated to around 1630, the costumes of the elegantly dressed fgures
in the foreground were the height of fashion around 1615, strongly suggesting that the work is relatively
early and from that time.2 The carefully arranged composition of the imposing panoramic riverscape and
the refned treatment of the landscape, vessels and fgures support an early date as well. Showing the
artist at the peak of his creative powers, this capriccio is a supreme production of the master. The scene
is imaginary, but the square church tower rising up from behind the city walls at the right is unmistakably
modelled on that of the Buurkerk in Utrecht. Beautifully observed is the soft light of a setting sun, subtly
spreading across the scene and calling up the atmosphere of a late afternoon. The stylized rendition
of the fgures and many details, such as the small white-crested waves in the river, the trees and the
fortifcations add a naive charm to the paintings appeal.
Adam Willaerts counts as one of the great pioneers of Dutch marine painting. Merging infuences of
Southern Netherlandish art, in particular Jan Brueghel the Elder and Hendrick Vroom, he forged the
signature style that became his trademark. In Utrecht, where he spent his entire productive life, the artist
repeatedly fulflled leading positions in the painters guild and lead a busy studio, training numerous
pupils, among them his three sons Abraham, Cornelis and Isaac, who would become competent painters
in their own right.
1. See: Cornelis de Bie, Het gulden cabinet der edel vrij schilder const..., Antwerp, 1661, pp. 111,112 and: Arnold Houbraken, De groote
Schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, I, p. 60.
2. We are grateful to Sara van Dijk, dress historian at Leiden University, for her kind assistance.
65
82
Antwerp School, c. 1520
A triptych: Mary and Child surrounded by angels making music (central panel); Saint Catherine;
and another female Saint (wings)
oil on panel, shaped top, in an engaged triptych frame
43 x 29,3 cm. (central piece); and 43 x 14.7 cm. (wings)
10,000-15,000
US$13,000-19,000
The present triptych is likely the fruit of a collaboration of diferent artists, as was a common practice in
medieval workshops in Antwerp. The fgures might be of a diferent hand than the architecture, as well as the
landscape elements in the immediate foreground, which have been meticulously rendered with a high degree
of naturalism.
The central composition is based on the left wing of Hans Memlings diptychon in the Alte Pinakothek, Munich
(inv. no. 680), which is dated to circa 1490.
The state of conservation has been nicely preserved and the loose and sketchy underdrawing is beautifully
visible in various parts, especially in Mary and the Child.
67
83
83
Circle of Jan de Beer (Antwerp c. 1475-1528)
The Lamentation of Christ
tempera and oil on panel
90.8 x 117.7 cm.
5,000-7,000
US$6,400-8,900
84
Bruges School, C. 1530
The Penitent Saint Jerome
oil on panel
48.3 x 33.7 cm.
4,000-6,000
US$5,100-7,600
PROVENANCE:
Kommerzienrat Dr. Otto Gastell (1855-1924, a railway car manufacturer in Mainz); thence by
descent to the present family member.
84
85
LITERATURE:
~85
Follower of Titian
W. Suida, Le Titien, Paris, 1935, pp. 61, 185, 199, plate CCCVIIb, as Titian.
The present lot is ofered together with a certifcate by W. Suida, dated May 1934,
as Titian and dating to circa 1530 and Suidas monograph of 1935 (op. cit.), ex-libris
Gsta Stenman.
Mater Dolorosa
oil on canvas
51 x 40.8 cm.
in a tortoise shell and ebonized frame, 17th century and later
6,000-8,000
US$7,700-10,000
PROVENANCE:
Private collection Gsta Stenman, Stockholm, as Titian, until 1935 (by whom acquired in
England between September 1929 and December 1933);
from whom purchased in 1935 by Georg Schnander, Stockholm, as Titian; thence by
descent, until acquired by the present owner in 2013.
EXHIBITED:
Stockholm, Gsta Stenman, From Titian to Hubert Robert: for the beneft of the Friends of
the National Museum, September 1940, p. 29, no. 52, as Titian.
Stockholm, Gsta Stenman, Old Times Masters, 1947, p. 29, no. 64, pl. 36, as Titian.
86
Circle of Lucas Cranach II (Wittenberg 1515-1586 Weimar)
Portrait of Charles V
oil on panel, transferred onto canvas laid down on panel
54.9 x 49.5 cm.
25,000-35,000
US$32,000-44,000
PROVENANCE:
Private collection, Southern Germany for at least 40 years, where purchased by the present
owner.
69
86
The present composition derives from portraits of Emperor Charles V by Lucas Cranach the Elder. Comparable
to the latters portraits of the 1530s, the emperor is depicted bust-length, his body outlined against a blue
background. The face is not idealized and reproduces Charles distinctive features with his prominent jaw and
bulging lower lip. He wears a jewelled collar of fresteels, and although meticulously dispayed, it is missing the
emblem of the Golden Fleece, usually hanging from the chain and referring to his royal status.
This present lot is sold with a copy of an old certifcate, dated 20 September 1966, from Alfred Stange,
attributing the painting to the workshop of Lucas Cranach and dating it to 1548.
87
89
87
Circle of Antonio Moro (Utrecht 1519-1575 Antwerp)
A portrait of Margaretha of Parma (1522-1586), bust-length, in
a black brocade dress with an organza ruf and an elaborately
decorated headdress
oil on canvas
56.2 x 42.2 cm.
in an Italian carved giltwood frame, second half 18th century
5,000-7,000
US$6,400-8,900
88
Circle of Gerard David (Oudewater 1440-1523 Bruges)
Christ as Salvator Mundi
oil on panel
56.2 x 44.1 cm.
6,000-8,000
US$7,700-10,000
PROVENANCE:
Anonymous sale; Sothebys, Monaco, 19 June 1994, lot 600, where purchased by the
present owner.
88
This striking representation of Christ can be interpreted as the merging of the

Salvator Mundi (the Saviour of the World) and the Vera Efgies. The frontal
portrayal of Christ was established as early as the 13th century through a
description contained in the so-called Letter of Lentulus and became
standard in 15th century art. The composition derives from Quentin Massijs
(1466-1530) Salvator Mundi in the Royal Museum, Antwerp (inv.no. 241).
71
90
89
Follower of Pieter Coecke Van Aelst
~90
Follower of Corneille de la Haye, called Corneille de Lyon
The Descent from the Cross
Portrait of a cardinal, traditionally said to be Cesare Borgia (1475-1507),

bust length, against a blue background
oil on panel
69.8 x 48.6 cm.
4,000-6,000
US$5,100-7,600
oil on panel
20.2 x 16.6 cm.
15,000-25,000
The prototype for the present composition was attributed to Pieter Coecke van
Aelst by Friedlnder in 1936 and described by Marlier as a pupil of Bernard van
Orley (See: G. Marlier, La Renaissance famande. Pierre Coeck DAlost, Brussels,
1966, p.397, no. 51).
PROVENANCE:
US$20,000-32,000
91
William Gowe Ferguson
(Scotland 1632/3-1695/1715 Great Britain)
A partridge, a kingfsher, a fnch and other birds hanging from
a suspension, with hunting paraphanelia, on a partially draped
stone ledge
oil on canvas
64.2 x 53.3 cm
4,000-6,000
US$5,100-7,600
PROVENANCE:
For at least 30 years in the family of the present owner.
We are grateful to Fred Meijer of the RKD, The Hague, for confrming the
attribution upon frst hand inspection of the original painting.
91
!92
Follower of Jean-Baptiste Monnoyer
Roses, violets, dafodils in a glass vase, on a stone ledge
oil on canvas
53.5 x 44 cm.
5,000-7,000
US$6,400-8,900
PROVENANCE:
Anonymous sale; Dorotheum, Vienna, 18 April 2012, lot 797, as Simon Hardim.
92
93 No Lot
73
94
Egbert van Drielst (Groningen 1745-1818 Amsterdam)
A wooded dune landscape with fgures near a farm house
signed and dated E.v. Drielst / 1790 (lower left)
oil on canvas
47.5 x 63 cm.
5,000-7,000
US$6,400-8,900
95
Circle of Gonzales Cocques (Antwerp 1614-1684)
An equestrian portrait of a gentleman in a hilly landscape
oil on panel
52.1 x 63.6 cm.
3,000-5,000
US$3,900-6,400
95
96
Flemish School, 18th Century
A winter landscape with fgures with a cow and a donkey in
the foreground, a castle beyond
oil on copper
23.5 x 18.2 cm.
3,000-5,000
US$3,900-6,400
PROVENANCE:
96
97
Flemish School, late 17th century
A wooded landscape with Elijah and the Raven
oil on canvas
68.1 x 94.6 cm.
3,000-5,000
97
US$3,900-6,400
75
(a pair)
98
Dutch School, c. 1700
A shipwreck near a rocky coast; and A naval battle before the coast, with a fortifed town to the left
the second signed with initials I V L (lower right)
oil on panel
33 x 46.2 cm.; and 33 x 46.2 cm.
a pair (2)
3,000-5,000
US$3,900-6,400
(a pair)
99
Follower of Roelandt Saverij
The Creation of Eve; and Adam and Eve in Paradise
oil on panel
18.2 x 20.5 cm; and 18.1 x 20.6 cm.
a pair (2)
5,000-7,000
US$6,400-8,900
PROVENANCE:
77
100
100
Follower of Clara Peeters
A roasted chicken, lobster, olives, lemons, bread, goblets and a carafe,
all on a wooden ledge.
oil on panel
46.2 x 65.6 cm.
6,000-8,000
US$7,700-10,000
101
Flemish School, 17th Century
An oil sketch with the Martyrdom of Saint Sebastian
oil on paper, laid down on canvas
39.9 x 28.4 cm.
3,000-5,000
US$3,900-6,400
101
102
102
Studio of Frans Snijders
(Antwerp 1579-1657)
103
Philippe de Momper
(Antwerp 1598-1634)
104
Jan van Kessel I
(Antwerp 1626-1679)
Two cockerels fghting in a landscape, a

farmhouse beyond
A summer landscape with fgures on a sandy

path, a village beyond
A concert of birds
oil on panel
83.5 x 123 cm.
oil on panel
50.1 x 96.8 cm.
15,000-20,000
US$20,000-25,000
Snijders executed the subject of the cockerel fght

several times. Closest to the present compositon is
the one in a private collection, Vienna (see: H. Robels,
Frans Snyders: Stilleben- und Tiermaler 1579-1657,
Munich, 1989, no. 205; see also nos. 204 and 17).
for endorsing the attribution upon inspection of the
original painting.
15,000-20,000
oil on copper
14.2 x 20.4 cm.
15,000-20,000
US$20,000-25,000
US$20,000-25,000
Jan van Kessel I depicted the present subject several
times. Comparable compositions were sold at
Bonhams, London, 4 June 1960, lot 120 and Christies,
London, 26 November 1976, lot 94.
Fred Meijer of the RKD, The Hague, to whom we
are grateful for inspecting the paintings frst hand,
supports the attribution to Jan van Kessel I.
79
103
104
!105
Jean-Baptiste Bosschaert (Antwerp 1667-1746)
A sculpted, stone medallion with an early Christian motif, surrounded by a wreath of fowers
oil on canvas
173 x 139.5 cm.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Anonymous sale; Dorotheum, Vienna, 13 October 2010, lot 332.
We are grateful to Fred Meijer of the RKD, The Hague, for confrming the attribution upon frst-hand inspection
of the painting.
81
PROPERTY FROM THE COLLECTION OF

THE LATE MR. H.M. VEHMEIJER (LOTS 3, 6, 48, 104A)
106
Jan de Beijer (Aarau 1703-1780 Cleves)
A view of the Oude Kerk from the Oudezijds Voorburgwal, Amsterdam
signed with monogram and dated JDB. 1759 (lower right)
oil on panel
28 x 39 cm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
Jacob Otten Husly (1738-1796): His sale; Ph. van der Schley, C. Ploos van Amstel, J. Yver and
C.S. Roos, Amsterdam, 30 April 1798, lot 8 Gezigt binnen de Stad Amsterdam, ziende van de
fuweele Burgwal naar de Oude Kerk en Tooren en Groenmarkt; gestofeert met verschyde
Beeldjes, beladen Schuytjes en verder Bywerk; zonagtig en bevallig gepenceeld op Paneel,
door J. de Beijer, hoog 11, breed 15 duim. (Df. 22,- to Frantzen).
Anonymous sale (or Collection S..., Berlin and Rhenish private collections); Math. Lempertz,
Cologne, 16 March 1933, lot 23 (400 Mk to Ermelink[?]).
with Douwes, Amsterdam, where bought by the late Mr. H.M. Vehmeijer, by 1959.
LITERATURE:
H. Romers, J. de Beijer: oeuvre-catalogus, The Hague, 1969, p. 112, no. 1513.
H. Romers, Achttiende-eeuwse gezichten van steden, dorpen en huizen, naar het leven
getekend door J. de Beijer, IV (Amsterdam), The Hague, 2000, no. 1029a.
A native of Switzerland, Jan de Beijer moved to Amsterdam in circa 1750, where

he is believed to have been trained by Cornelis Pronk and Jan Maurits Quinckhard.
Primarily known for his drawings, De Beijer is known to have painted very few
pictures. The present painting, with its linear style and extensive graphic detailing,
clearly reveals the artists training as a draughtsman and relates directly to a
drawing with the same view (see: H. Romers, 2000, op. cit., no. 1030a) (fg. 1). In
1770 Paul van Liender produced a print after this composition, for Pieter Fouquets
Fig. 1. J. de Beijer, black ink and grey wash, 205 x 295 mm.,
recorded as in the collection of A. Schwarz, Amsterdam.
Atlas van Fouquet of 1775. Most of De Beijers views of Amsterdam date to

1754-1768.
Jacob Otten Husly, a Dutch architect and teacher, was likely the frst owner of this
painting. He had an active interest in drawings and both the graphic style of De Beijers
painting and the subject must have appealed to him. In the year before its execution,
1758, Otten Husly was the co-founder of a society that preceded the Amsterdamse
Stadstekenacademie. In 1765 he became its director and in 1773 he founded the School
for Drawing in Amsterdam. Otten Husly is best known as one of the earliest practitioners
in The Netherlands of the Neo-Classical and Palladian style. He designed the Town Halls
at Weesp and Groningen, and the Felix Meritis Society Building in Amsterdam. He also
assisted in the decorations for the so-called Oval Room, the frst room of the Teylers
Museum, Haarlem. The present lot was sold in 1798, together with one other painting
and two drawings by Jan de Beijer, as part of his collection sale after he had died.
We are grateful to Charles Dumas for confrming the attribution on the basis of
photographs, and to Laurens Schoemaker of the RKD, The Hague, for his kind help in
cataloguing this lot.
107
Nicolaes Maes
(Dordrecht 1634-1693 Amsterdam)
Portrait of a gentleman, half-length, in a
japonsche rock, a black stallion tethered to a
post in an open landscape beyond
signed and dated N.MAES. / .1669. (lower right, on
the ledge)
oil on canvas
115.5 x 94 cm.
70,000-100,000
US$89,000-130,000
PROVENANCE:
Christian Mumm von Schwarzenstein (1832-1906),
Cologne.
Dr. Richard von Schnitzler (1855-1938), Cologne.
Heinz Kisters (1912-1977), Kreuzlingen.
Private collection.
Anonymous sale; Sothebys, London, 12 December 2002,
lot 36 (71,700).
EXHIBITED:
Cologne, Kunstverein, 1929, no. 39., fg. 151.
Cologne, Kunstverein, Kunstsammlungen dreier
Generationen einer Klner Familie, (catalogue by O.H.
Frster) 1934, no. 51, p. 11.
LITERATURE:
W. Bombe, Die Sammlung Dr. Richard von Schnitzler in
Coln, in: Cicerone, 9, 1917, pp. 403, 405, fg. 26.
O.H. Frster, Die Sammlung Dr. Richard von Schnitzler,
Munich, 1931, no. 51, p. 36, plate XXVI.
U. Thieme & F. Becker, Allgemeines Lexikon der bildenden
Knstler von der Antike bis zur Gegenwart, Leipzig, 1907-50,
vol. 23, 1929, p. 547.
W. Sumowski, Gemlde der Rembrandtschler, Landau,
1983, III, no. 1406, pp. 2030, 2132, ill.
L. Krempel, Studien zu den datierten Gemlden des Nicolaes
Maes (1634-1693), Petersberg, 2000, no. A.96, fg. 151, p. 301.
A young man looks the beholder confdently in the eye as he nonchalantly puts his right hand in
his splendid japonsche rock (Japanese gown), which he wears over a luxurious kamisool made
of glistening silver tissue. Leaning with his other hand on a stone balustrade, he stands in front
of a magnifcent garden vase, a river landscape with sloping hills beyond. The scene takes place
at dusk under a cloudy sky, evoking a lyric mood. A bright bundle of evening light illuminates the
sitters face and attire, while the impatient black horse in the background, eager to be ridden by its
owner, adds a sense of drama. The horse is a clear allusion to the sitters aristocratic aspirations.
The latters exotic and expensive dress serve the same purpose. The padded gown of silk damask
is loosely draped over the sitters shoulders, creating eloquent folds and giving the image a
timeless air.
Having studied with Rembrandt, Nicolaes Maes began his career in his native Dordrecht painting religious
subjects, genre scenes and portraits. In the course of the 1660s Maes gradually developed the elegant
signature style that would make him one of the most sought-after portrait painters of elite society in the
country. The present work, painted in a refned palette of warm hues, is an exquisite example.
The provenance of Maess portrait lists a few important owners. It no doubt entered the extremely
diverse collection of the banker and collector Dr. Von Schnitzler of Cologne through his second wife,
Ottilia Henriette Josephine Mumm von Schwarzenstein, daughter of the previous owner, the wine
magnate Christian Mumm von Schwarzenstein. For many years Von Schnitzler played an active role in
the cultural life of Cologne, especially in the Klnischer Kunstverein, which promoted contemporary
art, and as a supporter of the Wallraf-Richartz Museum. The next owner, Heinz Kisters, was a leading
collector of Old Master Paintings and an art dealer in Cologne, who counted the German Chancellor
Konrad Adenauer among his clients.
83
PROPERTY FROM THE COLLECTION OF A DUTCH LADY (LOTS 108-116)
108
108
Jan Baptist van Fornenburgh (Antwerp 1585-1648 The Hague)
A lizard, rose, peaches and other fowers on a stone ledge
signed with initials .IB. F. (IB linked, upper right)
oil on panel
20.1 x 34.4 cm.
15,000-20,000
US$20,000-25,000
PROVENANCE:
Private collection, Australia, as Jan Brueghel I.
Anonymous sale; Sothebys, Amsterdam, 14 May 2002, lot 30 (Euro 36,000).
with P. de Boer, Amsterdam, where acquired by the present owner in 2003.
109
Follower of Matthijs Bril
A wooded, hilly river landscape with two travellers and a dog
resting on a path
oil on copper, oval
7.6 x 9.4 cm.
2,500-3,500
US$3,200-4,400
PROVENANCE:
with Noortman & Brod, Maastricht, where purchased by the present owner in
1985, as Anton Mirou.
109
The composition is taken from an engraving by Joannes Sadeler

(1588-1665) after Matthijs Bril (see: Hollstein, no. 78).
85
110
Jan Davidsz. de Heem
(Utrecht 1606-1684/5 Antwerp)
A barn interior with baskets, barrels, pottery,
a pump to the right and a bundle of dried laice
hanging on a wall partition to the left
indistinctly signed J. heem fecit. (upper right)
oil on panel
37.3 x 50.4 cm.
10,000-15,000
US$13,000-19,000
PROVENANCE:
Anonymous sale; Christies, London, 9 December 1993,
lot 233, as Follower of Cornelis Saftleven.
with Lawrence Steigrad Fine Art, New York, 1996.
with M. Schreuder, Aerdenhout, 1996-7.
(Possibly) with Ch. Roelofs, Amsterdam, by 1998.
with P. de Boer, Amsterdam, by 2012-2013.
EXHIBITED:
London, Rafael Valls, Jan Davidsz de Heem (1606-1684):
His Infuences and his Followers, (brochure written by F.G.
Meijer), 2005.
LITERATURE:
Marc Schreuder, A newly discovered early barn interior by
Jan Davidsz. de Heem (1606-1683/4), in: Oud Holland, 11,
1997, no. 1, pp. 13-18, ill. 1.
F.G. Meijer, An Interior with an Old Scholar from 1629 by Jan
Davidsz. de Heem (1606-1683/84) in: Anja K. evck (ed.),
Hane Seifertov k 75. narozeninm, Prague 2009, pp. 46-51.
The present lot is a rather remarkable painting: not only is it a very rare subject within the oeuvre of De Heem, it
also appears to be one of the very earliest, painted barn interiors in the history of Dutch art. Furthermore, there
are no fgures present, which distinguishes it from any contemporary trend or genre tradition.
Fred Meijer dates the picture to circa 1629 and states: This early barn interior seems to have emerged without
any specifc precedent. Thusfar the earliest, dated barn interior is a drawing by Herman Saftleven of 1630. The
genre of painted barn interiors emerged, mainly in Rotterdam, in the early 1630s, but often with a peasant couple
or other fgures, such as in the oeuvres of Pieter de Bloot or Herman and Cornelis Saftleven.
De Heem experimented with visual efects of space and light in an empty barn interior at least once more; one
later composition, dated 1631, is known.
We are grateful to Fred Meijer of the RKD, The Hague, for confrming the attribution and his kind help in
cataloguing this lot. This painting will be included in his forthcoming catalogue raisonn under no. 29.03.
111
Arent Arentsz. called Cabel (Amsterdam 1585/6-1631)
A river landscape with fshermen at work, emptying their nets
signed with monogram AA (lower right)
oil on panel
20.4 x 29.2 cm.
15,000-20,000
US$20,000-25,000
PROVENANCE:
Anonymous sale; Sothebys, New York, 11 January 1996, lot 29 ($57.500). (Possibly) with Koetser, Zrich, 1998.
with P. de Boer, Amsterdam.
Another version of the present composition is in the Walters Art Gallery, Baltimore (inv. no. 6492).
87
(a pair, actual size)
112
Jan van Kessel I (Antwerp 1626-1679)
Tulips, roses and various other fowers with butterfies in a glass vase on a wooden ledge; and
Tulips, roses and various other fowers with butterfies and a caterpillar in a glass vase on a
wooden ledge
oil on copper
10.8 x 8 cm.; 10.9 x 7.8 cm.
a pair (2)
15,000-20,000
US$20,000-25,000
PROVENANCE:
with P. de Boer, Amsterdam.
Fred Meijer of the RKD, The Hague, to whom we are grateful for inspecting the paintings frst-hand, supports
the attribution to Jan van Kessel I.
113
Hans Bollongier (Haarlem 1598/1602-1672/5)
A glass vase with tulips, peonies and other fowers on a stone ledge
signed with monogram and dated HB. An 1638. (lower right)
oil on panel
34.6 x 26.2 cm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
Private collection, The Netherlands.
with P. de Boer, Amsterdam, by 1934.
with P. de Boer, Amsterdam, where acquired by the present owner in 1981.
EXHIBITED:
Haarlem, Frans Hals Museum, Tulpomania, 5 April - 9 June 1974, no. 49.
Den Bosch, Het Noordbrabants Museum, Bloemrijk Verleden, 13 March - 11 April 1982, no. 45, fg. 93.
Osaka, Nabio Museum of Art; Tokyo, Tokyo Station Gallery; Tsukuba, Ibaraki Prefectural Museum; Sydney, Art Gallery of New
South Wales, Flowers & Nature, 20 April - 31 October 1990, p. 40, no. 20.
89
114
Rafael Camphuysen
(Gorinchem 1597/8-1657 Amsterdam)
A wooded river landscape with an elegant couple
conversing and a man in a rowing boat at the edge of
a village
signed with initials RC (lower right, strengthened)
oil on panel
41.5 x 72.8 cm.
3,000-5,000
US$3,900-6,400
PROVENANCE:
with P. de Boer, Amsterdam, where acquired by the present owner
in 1979.
114
115
Circle of Jan Josefsz. van Goyen
(Leiden 1596-1656 The Hague)
An extensive river landscape with fshing vessels, and
cows in the foreground
oil on panel
25.9 x 32.8 cm.
2,000-3,000
US$2,600-3,800
PROVENANCE:
with P. de Boer, Amsterdam, where bought by the present owner in
1979, as Jan van Goyen.
115
116
Joachim Govertsz. Camphuysen
(Gorinchem 1601/2-1659 Amsterdam)
A wooded landscape with herdsman nearby classical
columns
signed with initials jgc (jg linked, lower left)
oil on panel
15.4 x 18.7 cm.
4,000-6,000
US$5,100-7,600
116
117
117
Jacob van der Croos (The Hague 1630/6-1691/9 Leeuwarden)
118
Benjamin Gerritsz. Cuyp (Dordrecht 1612-1652)
A wooded landscape with a traveller near a ruin of an abby
The Adoration of the Shepherds
signed and dated IV CROOS 1656 (lower left)

oil on panel
36.7 x 41.6 cm.
oil on panel
59.3 x 70.4 cm.
3,000-5,000
4,000-6,000
US$3,900-6,400
118
US$5,100-7,600
91
119
Jan Miense Molenaer (Haarlem 1609-1668)
A kitchen interior with a merry company
with remnants of a signature (lower left)
oil on panel
43.9 x 41.4 cm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
Anonymous lottery; Nationale Gerechtshof, Amsterdam, 1831.
Private collection, Elspeet, 1993.
with J. Smit, Ommen, where purchased by the present owners in 1994.
EXHIBITED:
Amsterdam, Nationale Gerechtshof, Lyst van Kunstwerken door Beoefenaars en verzamelaars bijeengebragt om verloot te
worden ten behoeve van het Vaderland, 1831, no.78.
120
120
Sebastiaan Vrancx (Antwerp 1573-1647)
A wooded landscape with a cavalry being
instructed by an ofcer
oil on panel, transferred onto a panel
50.4 x 65.9 cm.
20,000-30,000
US$26,000-38,000
121
Ferdinand van Kessel
(Antwerp 1648-1696 Breda)
Monkeys in a cobbler and a shoe shop
indistinctly dated 16.3 (centre right)
oil on panel, transferred onto another panel
23.9 x 35.1 cm
5,000-7,000
US$6,400-8,900
PROVENANCE:
Purchased by present owner from Arthur de Heuvel in 1981.
PROVENANCE:
Gifted to the late owner by Arthur de Heuvel (b. 1887),
Brussels.
122
Paul Vredeman de Vries
(Antwerp 1567-1617 Amsterdam)
and Attributed to Karel van Mander
(Meulebeke 1548-1606 Amsterdam)
The interior of a Gothic cathedral with
costumed fgures
signed and dated paulus 1609 (lower left on
tombstone); and with signature and date PEETER
/ NEFS / 1634 (lower left)
oil on panel
112.7 x 152.7 cm.
15,000-20,000
US$20,000-25,000
The stafage in this newly discovered work by

Vredeman de Vries shows strong stylistic similarity to
the work of Karel van Mander (Meulebeke 1548-1606
Amsterdam), who may well have painted the fgures.
93
121
122
123
123
Matthijs Schoevaerdts (active in Brussels 1682-1702)
124
Jacob Marrel (Frankenthal 1613/4-1681 Frankfurt am Main)
A townscape with fruit vendors, horsemen and villagers making merry
Tulips, violets, forget-me-nots and other fowers with butterfies in a

glass vase, on a stone ledge with a cricket, a stag beetle and a caterpillar
signed m. schoevaerdts. f (lower left)

oil on panel
42,9 x 64.8 cm.
with a red wax seal on the reverse of the panel
25,000-35,000
oil on panel
49.5 x 36.8 cm.
40,000-60,000
US$51,000-76,000
US$32,000-44,000
PROVENANCE:
C. Huggins; Christies, London, 19 April 1912, lot 83, as A. Bosschaert (8 gns. to Parmain).
with Nijstad, Lochem, where acquired by the father of the present owner in 1960 (Df.
22.000), as Hans Bollongier and monogrammed H.B. (on the stone ledge).
We are grateful to Fred Meijer of the RKD, The Hague, for endorsing the attribution
upon frst-hand inspection of the painting.
95
124
125
David Teniers II
(Antwerp 1610-1690 Brussels)
Peasants dancing outside an inn at Perck, with
the Kasteel de Drij Toren beyond
signed DTeniers (lower right)
oil on canvas
63.5 x 98.4 cm.
100,000-150,000
US$130,000-190,000
PROVENANCE:
tienne-Edmond Martin, Baron de Beurnonville
(1825-1906):
His sale; Fral, G. Petit, C.P. Pillet, Paris, 13 May 1881, lot 495
(Ff. 28,000 f to de Castro).
with Charles Sedelmeyer, Paris, before 1894 and still
by 1898.
Collis P. Huntington (1821-1900), New York, 1900-1925.
Anonymous sale; Christies, New York, 6 May 1980, lot 141.
Anonymous sale; Christies, London, 6 July 1984, lot 93.
with Noortman, Maastricht.
Recovered by the Art Loss Register and ofered on behalf
of the insurers.
LITERATURE:
Illustrated catalogue of 300 paintings by old masters of the
Dutch, Flemish, Italian, French and English schools being
some of the principal pictures which have at various times
formed part of the Sedelmeyer Gallery, Paris, 1898,
no. 199, p. 221.
To be included in the forthcoming monograph with
catalogue raisonn currently in preparation by Dr. Margret
Klinge, Dsseldorf.
ENGRAVED:
Antoine Masson (1636-1700), etching 121 x 184 mm.
In the 1560s, Pieter Bruegel the Elder introduced peasants dances and weddings into Netherlandish
art and from then onwards they remained a highly characteristic subject in Flemish genre painting. A
worthy continuator and innovator of the rich tradition, Teniers made a specialty of them, often showing
peasant weddings, kermesses and dancing and feasting peasants in front of taverns. Whereas Adriaen
Brouwer, and occasionally Rubens, focussed on the excesses of peasant life, portraying base desires,
Teniers advocated a more positive image of his rustic protagonists. In the present village feast, as in his
numerous other interpretations of the subject, a merry, harmonious atmosphere prevails.
This village feast is a late work, painted around 1680 as suggested by the dress of the fashionable violinist
in the right middle zone. The colourful scene takes place at Castle Drij Toren, the artists proud and lordly
possession, which here serves as a backdrop in the right background. Teniers had bought the estate
in 1662/63 from Jan van Brouchoven, the second husband of Rubenss second wife, Hlne Fourment.
Drij Toren was situated in the small village of Perk halfway between Brussels and Mechelen, not far
from Rubenss castle Het Steen in Elewijt. Today, only an entrance gate is preserved of the complex of
buildings.
Looking at the multitude of drinking, eating and dancing peasants the artists utter joy in painting this
beloved subject is apparent. A born storyteller with a keen eye for detail and thorough psychological
understanding, Tenierss scene vibrates with emotion and human interaction. Wonderful details are the
still life of earthenware plates and bowls and a copper pot in the right foreground and the two magpies
circling around the castle, strongly enhancing the suggestion of depth.
The French painter and printmaker Antoine Masson (1636-1700) made an etching of the present
painting, which, although undated, must have been executed quite soon after completion, implying that
it had ended up in a French collection almost immediately.
Much later, this lot surfaced in Paris with Baron de Beurnonville, whose collection was one of the most
distinguished formed in France in the second half of the nineteenth century. Dispersed in sales between
1872 and 1906, it comprised more than 1,000 paintings, besides drawings and works of art. The emphasis
was on Northern schools of the ffteenth, sixteenth and seventeenth centuries, including for instance
Rembrandts Landscape with an Obelisk of 1638 (Boston, Isabella Stewart Gardner Museum), but French
and Italian painting was represented by superior works as well, such as Drouaiss Portrait of Madame de
Pompadour (London, National Gallery) and Tiepolos Triumph of Flora (San Francisco, M.H. de Young
Memorial Museum).
One other distinguished owner was the railway magnate Collis Potter Huntington, who also owned
Vermeers Woman tuning a lute (New York, Metropolitan Museum of Art) and who was the uncle of
Henry E. Huntington, who founded the well-known Huntington Library in San Marino, California.
(detail)
126 No Lot
97
127
127
Flemish School, late 18th Century
Dana
128
Johann Friedrich August Tischbein
(Maastricht 1750-1812 Heidelberg)
oil on canvas
133.4 x 185.5 cm.
Portrait of a lady, bust-length, in a blue satin dress with white lace and a
white ribbon
10,000-15,000
US$13,000-19,000
PROVENANCE:
(Possibly) with Georg A. Samter, Berlin, 6 December 1935, lot 70, as After Sir Anthnony van
Dyck.
The present painting follows a composition which has always been presumed to be
by Sir Anthony Van Dyck, frst mentioned in the inventory of 1722 of the Staatliche
Kunstsammlungen, Gemldegalerie, Dresden, but destroyed during World War II
(see: E. Larsen, The Paintings of Anthony van Dyck, Freren, 1988, p. 425, no. A43).
indistinctly signed and dated JF.Tischbein / pint 179.(JF linked? lower right)
oil on canvas
31.4 x 22.2 cm.
3,000-5,000
US$3,900-6,400
Dr. Martin Franke, to whom we are grateful for confrming the attribution to
Tischbein on the basis of a photograph, dates the painting to circa 1780 and as
likeley executed in Stuttgart, after Tischbeins return from Italy.
99
128
129
129
Follower of Franois-Hubert Drouais
Portrait of a lady, half-length, wearing a blue dress with pink ribbons
and a white lace cap
oil on canvas, oval
60.6 x 49.1 cm.
5,000-7,000
US$6,400-8,900
PROVENANCE:
130
Circle of Pierre Mignard (Troyes 1612-1695 Paris)
Portrait of a gentleman, traditionally said to be Jean-Baptiste Lully
(1632-1687), bust-length, in a goldembroidered blue coat, in a feigned
oval
oil on panel
56,3 x 44,7 cm.
3,000-5,000
US$3,900-6,400
PROVENANCE:
130
(a pair)
131
Godfried Schalcken (Made 1643-1706 The Hague)
Portrait of a gentleman, three-quarter-length, in a blue robe and a white sash, leafng through a
book, standing on a terrace, a landscape beyond; and Portrait of a lady, three-quarter-length, in
an orange dress with a white chemise, a forest beyond
the frst signed and dated G. Schalcken. / 1682. (lower right); the second signed G. Schalcken
(lower centre)
oil on copper
43.7 x 35.8 cm.; and 43.3 x 35.4 cm.
a pair (2)
15,000-20,000
US$20,000-25,000
PROVENANCE:
with St. Lucas, The Hague, 1938.
Collection Sauveplanne, Wassenaar.
Anonymous sale; Mak van Waay, Amsterdam, 28 April 1976, lot 190.
Anonymous sale; Dorotheum, Vienna, 13 May 1978, lot 99.
LITERATURE:
T. Beheman, Godfried Schalcken, Paris, 1988, pp. 200-1, nos. 100-1.
AfterNicolaesMaeshadmovedtoAmsterdam,GodfriedSchalckenreplacedhimasDordrechtsleading portraitist.
Dated 1682, the identity of the present portrait must likely be found among the wealthy bourgeoisie of this town
or its nearby surroundings, as Schalcken had moved back to Dordrecht, by this date, having lived for a period in
Leiden. He remained in Dordrecht until circa 1691. The use of copper plates and the meticulous handling of the
brushwork is a sign of the infuence of Schalckens stay in Leiden, where, he almost certainly trained with Gerrit Dou
until 1665.
101
PROPERTY FROM THE ESTATE OF LADY WARNER (LOTS 132, 142 AND 156-166)
132
Jan Mortel (Leiden 1650-1719)
Apricots, grapes, a fg with a butterfy, blackberries and a white moth on
a marble ledge in an Italianate landscape
signed and dated Mortel fecit / 1693. (lower left)
oil on panel
28.7 x 25.2 cm.
20,000-30,000
US$26,000-38,000
This beautifully preserved, small-sized still life is an excellent example of Jan

Mortels mature oeuvre. The elegant and complex composition shows a modest
display of various fruits with a moth and butterfy. It appears to be arranged on a
ledge of a terrace, with a park landscape below. In the distance two fgures take a
stroll on a path near a cyprus and the wall of a high terrace or balcony.
Jan Mortel seems to have spent his entire career in leiden. In 1675 he became a
member of the local guild, having studied with Jan Porcellis van Delden, grandson
of the well-known marine painter.
133
Richard Brakenburgh (Haarlem 1650-1702)
An interior with a merry company and a woman feeding
porridge to a child
oil on panel
32.9 x 25.8 cm.
5,000-7,000
US$6,400-8,900
PROVENANCE:
with J. Smit, Ommen, by 1997, where acquired by the present owners in 1998.
133
134
Bartholomeus Molenaer (Haarlem 1610-1650)
A barn interior with a peasant woman delousing a man
indistinctly signed B.MOO..NAAR (strenghtened, lower right)
oil on panel
30.6 x 24.7 cm.
2,000-3,000
US$2,600-3,800
PROVENANCE:
with H.W. Keil, Worcestershire, where acquired by the present owners in 1995.
134
103
135
Jan Victors (Amsterdam 1619-1676 The East Indies)
The slaughtered ox
signed and dated Jan Victors f / . 1647 (lower right)
oil on panel
85.3 x 70.9 cm.
15,000-20,000
PROVENANCE:
Anonymous sale; Van de Schley and Meurs Pruyssenaar, Amsterdam, 11 May 1801, lot 97.
Anonymous sale; Roos, Amsterdam, 24 November 1834, lot 161.
Anonymous sale; Dorotheum, Vienna, 1 December 1970, lot 133.
with S. Nijstad, The Hague.
Mr. and Mrs. Eckhardt, Delft, by 1989, where acquired by the present owner.
EXHIBITED:
US$20,000-25,000
Amsterdam, Kunsthandel K. & V. Waterman; Groningen, Groninger Museum, The Impact of

A Genius, Rembrandt, his Pupils and Followers in the Seventeenth Century, 22 April - 20 June
1983, no. 66.
LITERATURE:
B. Haak, Holandse schilders in de Gouden Eeuw, Amsterdam, 1984, no. 164.
D. Miller, Jan Victors (1619-76), University of Delaware, 1985, p. 312, no. 93.
W. Sumowski, Gemlde der Rembrandt-Schler, Landau/Pfalz, 1983, vol. IV, p. 2611, no. 1790.
136
Jan Vonck (Touron-1631-1663/4)
A haddock, a gurnard and mussels in a twig basket on a wooden ledge
signed and indistinctly dated J. Vonck. Fecit / A 1657. (lower centre)
oil on panel
63.4 x 47.7 cm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
Anonymous sale; Sedelmeyer, Paris, 25-28 May 1907, lot 200.
Private collection, Amsterdam.
In the possession of the family of the present owner since the 1960s.
A very similar fsh still life by Jan Vock is in the Rijksmuseum, Amsterdam (inv. no. SK-A-1487).
105
137
Bernardus van Schijndel (Weesp 1647-1709 Haarlem)
A school interior with the head master sharpening a pencil while
two children look on
signed B v Schijn / del. (lower right)
oil on panel
35.8 x 29.7 cm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
with J. Smit, Ommen, by 1997, where acquired by the present owners in 1998.
137
138
Willem van Nieulandt II (Antwerp 1584-1635 Amsterdam)
The Feast of the Gods
signed gvil.nievlant. (lower right)
oil on panel
58.5 x 47.5 cm.
4,000-6,000
US$5,100-7,600
138
139
139
Erasmus Quellinus II (Antwerp 1607-1678)
A young shepherdess wearing a straw hat with a shepherds crook
oil on panel, oval
23.2 x 18.4 cm.
25,000-35,000
PROVENANCE:
Anonymous sale; Phillips, London, 1 July 1997, lot 1, as Attributed to Simon de Vos.
with Rafael Valls, London, 1997.
with P. de Boer, Amsterdam, where purchased by the present owners in 2001.
US$32,000-44,000
107
(actual size)
140
Flemish School, c. 1610-15
Archduchess Isabella and Archduke Albert in
a horse-drawn sleigh on the Grote Markt of
Brussels, the town hall beyond
oil on copper, a tondo
6.1 cm. diam.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Anonymous sale; Sothebys, London, 18 October 1995, lot
66, as Circle of Adriaen Pietersz. van de Venne.
with P. de Boer, Amsterdam, where purchased in 1997 by
the present owner, as Hendrick van Steenwijck II and as
representing the Winter King (Frederick V) and Winter
Queen (Elizabeth of Bohemia).
The present winter scene, set at Brussels Grote Markt, is a miracle of miniature painting. Its main motif is
an elegant red sleigh drawn by a galloping black stallion adorned with a richly coloured, lavish harness and
wearing feathers on its head. Massive throngs have gathered along the square to view the spectacle. The scene
is painted with such precision that the passengers in the sleigh can easily be identifed as Archduchess Isabella
and Archduke Albert, sovereigns of the Southern Netherlands.
Isabella of Spain (1566-1633), daughter of the Spanish King Philip II, is invariably depicted with the type of
impressive large ruf also shown in this small painting. Her spouse, Archduke Albert VII of Austria (1559-1621),
wears the Order of the Golden Fleece. The red, white and blue of the decoration on the horse and sleigh no
doubt allude to Alberts and Isabellas coat of arms, which includes the same colours.
The present lot may well depict a historical event. A winter scene by Denis van Alsloot, court painter to Isabella
and Albrecht, depicts a carnival on a square in Brussels, this time probably the Grand Sablon, and features horsedrawn sleighs as well.1 Van Alsloot often painted real events such as processions and festivities. The painter of
this small gem was probably another artist working for the Brussels court.2
1. Formerly with the Jonckheere, Paris. See for this painting: Tableaux de matres famands et hollandais des XVIe et XVIIe sicles :
Cranach, Brueghel, Teniers et leurs contemporains : vingt ans de prsence Paris : 50e exposition, exh. cat. 2003, no. 21.
2. See for a survey of painters working for Isabella and Albrecht: M. de Maeyer, Albrecht en Isabella en de schilderkunst : bijdrage tot
de geschiedenis van de XVIIe-eeuwse schilderkunst in de zuidelijke Nederlanden, Brussels, 1955. Willem van Deynum (c. 1575-1624)
was one of the artists employed in court service in these years and documented as a miniature painter, but by this is probably meant,
gouache on parchment, as attested by a signed Christ in the Gethsemane auctioned at Galerie Fischer in Lucerne as lot 4017 on
12-15 April 2000. However, prior to that, when Van Deynum worked in Genoa, he also produced life-sized full-length portraits in oils.
141
PROPERTY FROM THE ESTATE OF LADY WARNER

(LOTS 132, 142 AND 156-166)
141
Johann Christian Vollerdt (Leipzig 1708-1769 Dresden)
142
Simon Pietersz Verelst (The Hague 1644-1710 London)
A mountainous winter landscape with skaters on a frozen river near a

village
Carnations, roses, peonies, tulips, and poppies in a glass vase, all on a

wooden ledge
oil on panel
33.7 x 45.4 cm.
oil on canvas
76.8 x 64.1 cm.
12,000-18,000
US$16,000-23,000
25,000-35,000
PROVENANCE:
PROVENANCE:
Anonymous sale; Christies, South Kensington, 31 October 2001, lot 116, as circle of Johann
Christian Vollerdt.
Percival Grifths Esq., St. Albans, Herts.

Anonymous sale; Sothebys, London, 30 October 1991, lot 191.
with Rafael Valls, London, by 1992.
We are grateful to Dr. Anke Frhlich for confrming the attribution to Johann
Christian Vollerdt (written communication, 10 October 2014).
US$32,000-44,000
Fred Meijer of RKD, The Hague, to whom we are grateful for inspecting the original
painting, dates the present composition to the late 1690s, when Verelst was a well
established fower painter of illustrious fame in England. Already upon his arrival in
London in 1669 Samuel Pepys reported on an evening visit to the painters studio:
Everelst [...] did show us a little fower=pott of his doing, the fnest thing that ever
I think I saw in my life the drops of Dew hanging on the leaves, so as I was forced
again and again to put my fnger to it to feel whether my eyes were deceived or no.
He doth ask 70l [pounds] for it; I had the vanity to bid him 20l but a better picture
I never saw in my whole life, and it is worth going twenty miles to see (R. Latham
and W. Matthews, eds., The Diary of Samuel Pepys, London, IX, 1976, pp. 514-5).
109
142
THE PROPERTY OF MR. AND MRS. W.J.G.M. WAANDERS, ZWOLLE (LOTS 42, 143)
143
David de Coninck (Antwerp 1642/6-1701/5 Brussel)
A peacock on an overturned urn, a parrot in a tree, two rabbits and bunches of grapes in a garden
oil on canvas
94.5 x 130.5 cm.
30,000-50,000
US$39,000-64,000
PROVENANCE:
Wilhelm von Bode (1845-1929), Berlin; thence by descent.
Anonymous sale; Christies, London, 9 December 1988, lot 81.
with V. Amell, London, 1989.
with Newhouse, New York, 1989.
Anonymous sale; Sothebys, New York, 17 January 1992, lot 123.
with S. Lillian, Amsterdam, 1993, where acquired by the present owners.
LITERATURE:
J. de Maere, (e.a.), Illustrated Dictionary of 17th Century Flemisch Painters, Brussels, 1994, p. 271.
The Flemish animal painter David de Coninck was a pupil of Peeter Boel (1622-1674) in Antwerp. Both de Coninck
and Boel worked in a manner closely related to latters master, Joannes Fijt (1611-1661). Along with his hunting
still lifes, it was such elegant park landscapes, often flled with exotic creatures, that formed the mainstay of de
Conincks production. Two similar versions by David de Coninck are known, among which a painting sold with
at Parke-Bernet, New York, 3 November 1967, lot 34, as Jan Fijt, together with a pendant of Game in an interior
with a cat.
111
144
Bonaventura Peeters I (Antwerp 1614-1652 Hoboken)
A coastal landscape with a Dutch three-master in distress, a shipwreck in the foreground and a
castle on a hill top nearby
signed with initials and dated B.P. 1643 (lower right)
oil on panel
116.2 x 69.6 cm.
25,000-35,000
US$32,000-44,000
PROVENANCE:
Private collection, France; Sothebys, Amsterdam, 8 May 2001, lot 14.
with Rafael Valls, London, 2002.
with P. de Boer, Amsterdam, where acquired by the present owners in 2002.
Bonaventura Peeters, thought to have been apprenticed to Andries van Eertvelt and Simon de Vlieger, was
elected a member of the Antwerp Guild by 1634. The artist was famed for his stormy shipping pictures, such as
the present work, with intricately drawn compositions often crowded with boats and mariners. As a young man
Peeters is believed to have made several voyages at sea, and during the siege of the town of Calloo, he is said to
have been employed as a cartographer.
The present composition can be compared to a painting by Peeters in the Muse des Beaux-Arts, Brussels (inv.
no. 6269).
145
Studio of Gerrit Berckheyde
(Haarlem 1638-1698)
A view of the Dam with the new Town Hall,
the Nieuwe Kerk and the Waag, Amsterdam.
signed? G. Berckheide (lower right)
oil on canvas
75.3 x 91.4 cm.
50,000-70,000
US$64,000-89,000
PROVENANCE:
J.R. West, Stratford-on-Avon, as Gerrit Berckheyde.
with R. Langton Douglas (1864-1951), London, as Gerrit
Berckheyde.
Possibly with J. Goudstikker, Amsterdam, by 1919, as
Gerrit Berckheyde. with Sam Bernard Levie (1887-1943),
Amsterdam, prior to 10 May - 15 September 1940, as Gerrit
Berckheyde.
Possibly with D.A. Hoogendijk & Co., Amsterdam,
15 September 1940 - 27 January 1941, as Gerrit Berckheyde.
Landesmuseum, Bonn, 27 January 1941 - May 1945, as Gerrit
Berckheyde. Transferred to the Stichting Nederlands
Kunstbezit, October 1945 (inv. no. NK1978), as Gerrit
Berckheyde.
Dienst voor Rijksverspreide Kunstvoorwerpen, The Hague
(NK1978), as Gerrit Berckheyde.
Restituted to the heirs of S.B. Levie, represented by Mondex
Corporation of Toronto, Canada, 10 March 2014.
EXHIBITED:
Rotterdam, Academie van Beeldende Kunsten, May-June
1919, no. 6 (on loan from J. Goudstikker), illustrated, as
Gerrit Berckheyde.
Vancouver Art Gallery, The Dutch world of painting, 1986,
p.43, illustrated, as Gerrit Berckheyde.
Amsterdam, Historisch Museum, 1998 - March 2014
(inv. no. SB 6329, on loan from the Netherlands Institute for
Cultural Heritage, Amsterdam), as Gerrit Berckheyde.
LITERATURE:
C. Lawrence, Gerrit Berckheyde (1638-1698). Haarlem
Cityscape Painter, Doornspijk, 1991, p. 57, note 45, m,
as Gerrit Berckheyde. N. Middelkoop, Golden Age.
17th-Century Dutch Masters, Nagasaki, 1992, pp. 212-13,
no. 29, as Gerrit Berckheyde.
E. de Heer (a.o.) Old master paintings. An illustrated
summary catalogue. Rijksdienst Beeldende Kunst/The
Netherlandish Ofce for the Fine Arts, Zwolle, 1992, p. 37,
no. 150, ill, as Gerrit Berckheyde. N. Middelkoop, Visies op de
werkelijkheid: Damgezichten in het Amsterdams Historisch
Museum, in: Jaarboek Amstelodamum, vol. 93, 2001,
pp. 167-8, no. 16, as Gerrit Berckheyde.
N. Middelkoop (a.o.), De Oude Meesters van de stad
Amsterdam. Schilderijen tot 1800, Bussum, 2008, pp. 138-9,
ill. p. 202, as Gerrit Berckheyde.
G. Wuestman, The Golden Age of Dutch painting.
Masterpieces from the Rijksmuseum, London, 2011, pp. 14-5
and 148-9, ill, as Gerrit Berckheyde.
J.A. Lane, The diaspora of Armenian printing 1512-2012,
Amsterdam, 2012, pp. 68-9, ill. (details on pp. 70-1), as Gerrit
Berckheyde.
146-149 No Lots
The present work is a very confdently painted studio version of Berckheydes highly fnished masterpiece
in the Staatliches Museum in Schwerin.1 The subject is not just a cityscape of Amsterdam; the Dam
Square with the new town hall symbolized the pride of the cosmopolitan city. Designed by Jacob van
Campen and completed in 1665 by Daniel Stalpaert the new town hall was the largest civic building yet
constructed in Europe. The structure was called the Eighth Wonder of the world on many an occasion
and had become a major tourist attraction well before its completion.2
More than twenty views attributed to Berckheyde of the Dam with the town hall have been preserved,
the majority in public collections, while more are known from old sources, testifying to their enormous
popularity.3 The dated Dam views span three decades, ranging from 1668 to 1697, the year before
Berckheydes death.4 Datable to around 1667, the present painting is among the earliest treatments of
the subject.5
This broad view is executed in a remarkably loose manner. The monumental town hall stands out against
the bright sky, flled with sweeping formations of billowing clouds. To the right the Nieuwe Kerk rises and
the Waag, of which only a corner is visible to the extreme right. The artist depicted Dam Square exactly
at noon, as indicated by the dial of the clock in the tower of the town hall and the sundial on the Nieuwe
Kerk. This is a highly signifcant fact, because from 1667 onwards this was the moment when nearby the
stock exchange opened and global trade began. By choosing this moment of day, the artist intended to
emphasize Amsterdams position as the very centre of global trade.
The square is dotted with people, with to the left a mass of promenading magistrates. Two orientally
dressed men in the large group once more allude to Amsterdam as an international trading power.
Surrounded by barrels and bales more foreign merchants can be seen near the weigh house to the right,
fnishing their negotiations.
No doubt, Berckheyde and his studio produced these views of the Dam for his fellow Dutch citizens
but, possibly, also as a souvenir for foreign travellers. At any rate, Berckheyde cleverly exploited the
craze for images of the Dam and two panegyrics by the Haarlem poet Pieter Rixtel in his Mengel-rymen
(Haarlem, 1669, p. 44: On the town hall of Amsterdam painted by the famous painter Gerrit Berckheyde
of Haarlem) refect the audiences positive response to them.
1. For the other version in Schwerin (inv. G 43) - canvas laid down on wood 60 x 53 cm, signed -, see: Lawrence 1991, (op. cit.), p.
57, note 45, i.
2. Joost van den Vondel celebrated in a poem the commemoration of the Town Hall in 1655, likening it to a heart that supports
the life of the city.
3. Examples are in the Amsterdam Rijksmuseum (one dated 1672 the other 1693) and the Amsterdam Museum (dated 1673).
Further examples in Enschede, Rijksmuseum, Twente (dated 1682), Antwerp, Koninklijk Museum voor Schone Kunsten (dated
1668), Schwerin, Staatliches Museum (dated 1665), Frankfurt, Stdel, Karlsruhe, Staatliche Kunsthalle (dated 1689), Melbourne,
National Gallery of Victoria (dated 1690), Saint Louis Art Museum and Paris, Louvre.
4. There is another view in the Staatliches Museum of Schwerin, which bears the perfectly legible date of 1665. However, the dress
of the fgures in this painting unmistakably refect the fashion of the mid 1670s and the south entry of the Nieuwe Kerk includes
changes to the roof that were only completed in 1673/74. For the 1668 dated work see note 2 and for the for the one dated 1697,
see: sale New York, Sothebys, 24 January 2002, lot 232, ill.
5. It precedes Berckheydes earliest dated Dam view of 1668 in the Antwerp museum (see note 3). The present painting can be
rather precisely dated on the basis of the costumes of the fashionably dressed men, in particular their long coats called justaucorps
and their low hats. With kind thanks to Irene Groeneweg, dress historian (e-mail correspondence of 27 June 2014). For mens
fashion in these years see: I. Groeneweg, Mens Fashion circa 1660: Some historical facts concerning the introduction of the
Rhingrave, Innocent and Justaucorps, in: J. Pietsch et al., Netherlandish fashion in the seventeenth century, Riggisberg 2012, pp.
83-92.
113
19TH CENTURY ART

INCLUDING DUTCH IMPRESSIONISTS
WEDNESDAY 26 NOVEMBER 2014 AT 2.00 PM
LOTS 150339
115
150
Otto Eerelman (Groningen 1839-1926)
Four puppies at play
signed O. Eerelman (lower left)
chalk, watercolour, pastel and gouache on paper
345 x 525 mm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
Gifted by the artist to a lottery, where acquired by the family of the present owners.
151
Willem Vester (Heemstede 1824-1895 Haarlem)
A path through the dunes, Haarlem in the distance
signed and dated W Vester / 57 (lower right)
oil on canvas
86 x 114 cm.
Painted in 1857.
12,000-18,000
PROVENANCE:
with Gainsborough Gallery, London.
with MacConnal & Mason, London.
US$16,000-23,000
117
152
Barend Cornelis Koekkoek (Middelburg 1803-1862 Cleves)
Boomrijk landschap bij morgenstond: a summer landscape with
travellers and a shepherd with his fock
signed and dated B C Koekkoek / 1850 (lower left); and authenticated,
inscribed with title and dated again on a label Dit schilderijtje voorstellende
/ een Boomrijk Landschap bij Morgen / stond is geschilderd door den /
ondergeteekende in het jaar 1850 (attached to the reverse) and with the
artists seal
oil on panel
24 x 21.5 cm.
Painted in 1850.
35,000-50,000
US$45,000-64,000
PROVENANCE:
Mr. Rudolf von Arthaber (1795-1867), Vienna; P. Kaeser, Vienna, 20 April 1868,
lot 69 (Df. 1,001).
Mr. Springer, Vienna.
with Galerie Nebelung, Dsseldorf, where acquired by the present owner in 1978.
EXHIBITED:
Cleves, Stdtisches Museum Haus Koekkoek, 1978-2012 (on loan).
Dordrecht, Museum Dordrecht; Cleves, Stdtisches Museum Haus Koekkoek, Barend
Cornelis Koekkoek. Prins der Landschapschilders, 8 June-7 December 1997, no. 44, ill. 52.
LITERATURE:
Friedrich von Boetticher, Die Malerwerke des 19. Jahrhunderts, Koekkoek, Leipzig, 1948,
no. 22.
Friedrich Gorissen, B.C. Koekkoek 1803-1862, Werkverzeichnis der Gemlde, Dsseldorf,
1962, no. 50/24, as: Paysage.
G. de Werd, A. Nollert, Barend Cornelis Koekkoek (1803-1862). Zijn familie, zijn school en het
B.C. Koekkoek-Huis te Kleef, Cleves, 2000, p. 33, no. 32.
We kindly thank drs. Guido the Werd for confrming the authenticity of the present
work after frsthand examination.
153
154
153
Gerardina Jacoba van de Sande Bakhuyzen
(The Hague 1826-1895)
154
Henriette Ronner-Knip (Amsterdam 1821-1909 Elsene)
A wicker basket with grapes and apples on a forest foor
signed Henriette Ronner. (lower left)

oil on canvas
85 x 58 cm.
On the trail
signed GJ vd S Bakhuyzen (lower right)

oil on canvas
40 x 54 cm.
5,000-7,000
3,000-5,000
US$6,400-8,900
PROVENANCE:
with Kunsthandel D. Sala & Zonen, Leiden.
Anonymous sale; Christies, Amsterdam, 18 September 1991, lot 542.
Anonymous sale; Christies, Amsterdam, 7 July 1999, lot 47, where acquired by the present owner.
US$3,900-6,400
119
155
Johannes Christiaan Karel Klinkenberg (The Hague 1852-1924)
The Schreierstoren on the Geldersekade, Amsterdam
signed Klinkenberg (lower right)
oil on panel
24 x 32.5 cm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
Anonymous sale; Frederik Muller, Amsterdam, 5 April 1938, lot 119, as: Vue du Gelderschekade Amsterdam.
LITERATURE:
Willem Laanstra, Johannes Christiaan Karel Klinkenberg 1852-1924: de meester van het zonnige stadsgezicht, Laren, 2000,
p. 60, no. O/24-4, as: De Gelderse Kade met de Schreierstoren te Amsterdam.
PROPERTY FROM THE ESTATE OF LADY WARNER (LOTS 132, 142, 156-166)
156
157
156
Charles Leickert (Brussels 1816-1907 Mainz)
157
Jacobus Freudenberg (Haarlem 1818-1873)
Activities along a river in summer
Figures skating on a frozen waterway
signed and dated Ch. Leickert.f 64 (lower right)

oil on panel
32.5 x 42.5 cm.
Painted in 1864.
signed J. Freudenberg f (lower right)

oil on panel
55.5 x 80.5 cm.
7,000-9,000
3,000-5,000
US$3,900-6,400
US$8,900-11,000
PROVENANCE:
PROVENANCE:
Anonymous sale; Sothebys, Amsterdam, 26 October 1998, lot 85.
with W.H. Patterson, London, where acquired by the family of the present owners in the
1990s.
with Galerie Zinckgraf, Munich.

Anonymous sale; Christies, London, 24 June 1988, lot 4.
with W.H. Patterson, London, where acquired by the family of the present owners in the
1990s.
121
158
Hermanus Koekkoek Sr.
(Middelburg 1815-1882 Haarlem)
A summers day on a Dutch river
signed and dated H. Koekkoek. 65 (lower left)
oil on canvas
35.5 x 56 cm.
Painted in 1865.
25,000-35,000
US$32,000-44,000
PROVENANCE:
with M. Newman, London.
Anonymous sale; Christies, London, 17 June 1994, lot 11.
with W.H. Patterson, London, where acquired by the family
of the present owners in the 1990s.
Hermanus Koekkoek, the younger brother of Barend Cornelis Koekkoek (1803-1862), was born in
Middelburg on 13 March 1815. Like his brother he was a pupil of his father Johannes Hermanus (1778-1851)
and followed in the tradition of the famous family of painters. Like his father, he was celebrated primarily
for his seascapes and painted with a similar fair. By the time of the completion of the present work in 1865,
Koekkoek had already exhibited widely in his native country. The present lot is an excellent example of the
innovative new style which the artist introduced in his work in the mid-1850s. After having concentrated
on stormy seascapes in earlier years, in which he was infuenced by artists like Johannes Christiaan
Schotel (1787-1838), Koekkoek made the tranquil river landscapes and seascapes his speciality. In these
paintings his painterly qualities come into their own. He perfectly expresses a motionless atmosphere
and uses a more luminous palette than before. The present lot shows all the qualities of a perfect calm:
the summer heat is tangible and striking are the great expansive sky with cream-coloured billowy clouds and
the refections of the barges and houses in the water. Beautiful touches include the intense green of the grass
and the fresly laid down white sheets.
159
Figures in the dunes of Scheveningen
signed and dated Ch. Leickert ft 47. (lower right)
oil on canvas
58 x 75.5 cm.
Painted in 1847.
15,000-25,000
US$20,000-32,000
PROVENANCE:
with W.H. Patterson, London, where acquired by the family of the present owners in the 1990s.
LITERATURE:
Harry J. Kraaij, Charles Leickert 1816-1907 Painter of the Dutch Landscape, Schiedam, 1996, p. 37, no. 20, as: Dune scene.
123
160
Frederik Marinus Kruseman (Haarlem 1816-1882 Elsene)
A sunlit river landscape with shepherds resting near a stream
signed and dated FMKruseman fc. / 1874 (bottom right)
oil on canvas
50 x 70 cm.
Painted in 1874.
18,000-25,000
US$23,000-32,000
161
162
161
Nicolaas Riegen (Amsterdam 1827-1889)
162
Lodewijk Johannes Kleijn (Loosduinen 1817-1897 The Hague)
A river landscape with vessels in an estuary
Moored barges near a town
signed N. Riegen / fc. (lower right)

oil on canvas
44 x 66.5 cm.
signed L J Kleyn f (lower right)

oil on panel
41.5 x 56.5 cm.
2,000-3,000
US$2,600-3,800
6,000-8,000
US$7,700-10,000
PROVENANCE:
PROVENANCE:
with W.H. Patterson, London, where acquired by the family of the

present owners in the 1990s.
with E. Stacey-Marks Ltd., Sussex.

Mr. K Wray.
Anonymous sale; Bonhams, London, 21 November 1996, lot 184.
125
163
A winter scene with skaters near windmills
signed L.J. Kleijn f (lower right)
oil on canvas
47.5 x 63 cm.
10,000-15,000
US$13,000-19,000
PROVENANCE:
164
165
164
Abraham Hulk (London 1813-1897 Zevenaar)
165
Evening on a river estuary
A winter landscape with fgures on the ice
signed A. Hulk. (lower left)

oil on panel
24.5 x 35 cm.
signed LJ Kleyn f (lower right)

oil on panel
21 x 31.5 cm.
3,000-5,000
US$3,900-6,400
1,500-2,500
US$2,000-3,200
PROVENANCE:
PROVENANCE:
with W.H. Patterson, London.

Anonymous sale; Christies, London, 18 November 1994, lot 111.
127
166
Willem Koekkoek (Amsterdam 1839-1895 Nieuwer-Amstel)
A winters day in Alkmaar
signed W. Koekkoek. (lower right)
oil on canvas
43.5 x 60 cm.
20,000-30,000
US$26,000-38,000
PROVENANCE:
PROPERTY FROM A PRIVATE COLLECTION
167
Barend Cornelis Koekkoek
(Middelburg 1803-1862 Cleves)
A wooded landscape with grazing cattle near a stream
signed and dated B C Koekkoek f / 1853 (lower left)
oil on panel
43.5 x 57.5 cm.
Painted in 1853.
40,000-60,000
US$51,000-76,000
PROVENANCE:
Anonymous sale; Galerie Lepke, Berlin, 30 November 1909, lot 48.
LITERATURE:
F. Gorissen, B.C. Koekkoek 1803-1862. Werkverzeichnis der Gemlde,
Dsseldorf, 1962, no. 53/43, as: Waldpartie mit weidendem Vieh.
Barend Cornelis Koekkoek was born on the 11th of October 1803 in Middelburg as eldest
son to the marine painter Johannes Hermanus Koekkoek (1778-1851). At the early age
of thirteen Koekkoek studied at the local academy and frequented evening classes
by Abraham Kraystein (1793-1855). Having been awarded a scholarship by the Dutch
Government, Koekkoek attended the academy in Amsterdam where he was taught by
Jean Augustin Daiwaille (1786-1850) whom he befriended and worked with for the rest
of his career. On the 14th of August 1833 he married Daiwailles daughter Elise Thrse
(1814-1881). Following his academy years Koekkoek undertook several journeys along the rivers
Rhine, the Ahr and the Ruhr from both the Netherlands and Cleves.
These extensive travels through the rolling landscape provided the artist with a large number
of motives and subjects. Collecting his broad scope of impressions in sketches and drawings,
he would retreat to his studio to render his fnal version to canvas or panel. The present lot is
distinctive for Koekkoeks work of the ffties, showing the profound infuence of the attractive
Rhine landscape around Cleves where he had moved to almost two decades earlier. Koekkoek
loved to work out a see-through efect, guiding the viewer through his complex landscape
compositions.
We wish to thank drs. Guido de Werd for kindly confrming the authenticity of the present lot
after frst hand examination.
Dikwijls was voor mij de bruisende en dikwijls van gedaante

veranderende stroom, dan somber dan schitterend door
de zon verlicht, het beeld van t menschelijk leven.
(B. C. Koekkoek, Herinneringen en mededeelingen van eenen landschapschilder, 1841, p. 16)
(Portrait of the artist, 1839, lithograph

after Charles Baugniet).
129
VARIOUS PROPERTIES
168
Joseph Moerenhout (Ekeren 1801-1875 Antwerp)
After the hunt
signed and dated J Moerenhout 1840. (lower left)
oil on canvas
66 x 53.5 cm.
Painted in 1840.
8,000-12,000
PROVENANCE:
with Galerie Zinckgraf, Munich.
with Kunsthandel Simonis & Buunk, Ede.
US$11,000-15,000
131
169
Frederik Marinus Kruseman (Haarlem 1816-1882 Elsene)
An idyllic winter scene with woodgatherers near a castle
signed and dated FMKruseman fc. 1853. (lower right)
oil on panel
34.5 x 27 cm.
Painted in 1853.
25,000-35,000
PROVENANCE:
with Kunsthandel E.E. Huisman, The Hague.
with Kunsthandel Pieter A. Scheen, The Hague, where acquired by the father of the present
owner, circa 1953.
EXHIBITED:
The Hague, Pieter A. Scheen, Permanente expositie, August-September 1955, no. 14,
as: Wintergezicht.
US$32,000-44,000
LITERATURE:
Pieter A. Scheen, Lexicon Nederlandse Beeldende Kunstenaars 1750-1950, Vol. I, The Hague,
1969, no. 107, as: Wintergezicht.
Marjan van Heteren, Jan de Meere, Frederik Marinus Kruseman 1816-1882: Painter of pleasing
landscapes, Schiedam, 1998, p. 176, no. 79, as: Winter landscape with a castle on a mountain.
170
171
170
Johannes Huibert Prins (The Hague 1757-1806 Utrecht)
A view of the Keizersgracht with the Westerkerk, Amsterdam
signed with initials and indistinctly dated JHP. f. 17.. (lower right)
oil on canvas
36 x 44 cm.
6,000-8,000
US$7,700-10,000
171
Everardus Benedictus Gregorius Pagano Mirani
A panoramic river landscape with a windmill and fgures
signed E.P. Mirani (lower left)
oil on panel
50 x 66.5 cm.
3,000-5,000
PROVENANCE:
Anonymous sale; Sothebys, London, 23 February 1955, lot 155 ( 280).
Acquired from the above sale by Mr. A Duits.
with Kunsthandel St. Lucas, The Hague.
Anonymous sale; Rotterdamsche Kunstkring, Rotterdam, 26 February 1959, lot 49.
Anonymous sale; Christies, London, 20 April 1979, lot 11 ( 3,800).
with W.H. Patterson, London.
Depicted is the Keizersgracht with a stone bridge towards the Westermarkt.

From left to right the houses of Keizersgracht no. 204, no. 202 and no. 200,
and the corner of the Westermarkt no. 1 are visible. To the right, behind the trees,
the Westerhal (broken down in 1857) and the Westerkerk with the Westertoren
are noticable.
PROVENANCE:
Acquired by the family of the present owner.
US$3,900-6,400
133
PROPERTY FROM A PRIVATE FRENCH COLLECTION
172
Wouterus Verschuur (Amsterdam 1812-1874 Vorden)
An elegant company enjoying a picnic in a forest
signed W. Verschuur ft. (lower left)
oil on panel
48.5 x 60.4 cm.
15,000-25,000
US$20,000-32,000
VARIOUS PROPERTIES
173
Adrianus Eversen (Amsterdam 1818-1897 Delft)
Gezicht op het Oude Gasthuis te Zwolle: skaters on a frozen waterway
with a capriccio view of the Binnen-Gasthuis, Zwolle
signed A Eversen. (lower left); and signed again and inscribed with title
(on a label attached to the stretcher)
oil on canvas
70 x 59.5 cm.
12,000-18,000
US$16,000-23,000
173
!174
Elisabeth Theodora van Thiel (Amsterdam 1818-1868)
Roses, Peruvian lilies, dafodils, grape hyacinths, ladys purses,
forget-me-nots and other fowers in a stoneware vase with pink roses
on a ledge
signed with initials and dated E.T. v. T. 1839 (lower right)
oil on canvas
34 x 27.5 cm.
Painted in 1839.
2,000-3,000
US$2,600-3,800
PROVENANCE:
with Kunsthandel M. Wolf, Amsterdam.
Anonymous sale; Sothebys, Amsterdam, 23 April 1991, lot 166.
with Leslie Smith Gallery, Wassenaar, 1991, where acquired by the present owner.
174
135
175
Maria Geertruida Snabilie (Haarlem 1776-1838)
Tulips, roses, peonies and other fowers in a vase on a stone ledge
signed with initials and dated B.S. 1838 (lower right)
oil on panel
60.5 x 46.5 cm.
Painted in 1838.
7,000-9,000
PROVENANCE:
with Kunsthandel Richard Polak, The Hague.
US$8,900-11,000
176 (a pair)
176
David Col (Antwerp 1822-1900)
Les Deux Amis; and Bredouille
the frst signed and dated D. Col. / 77 (lower left); the second signed D. Col
(lower left); and both authenticated, inscribed with title and dated again
(on the reverse)
oil on panel
20.5 x 17 cm; 18 x 15 cm.
Painted in 1877.
a pair (2)
3,000-5,000
US$3,900-6,400
177
Albert Roosenboom (Brussels 1845-1875)
Mothers birthday
signed A Roosenboom. (lower left)
oil on panel
32 x 23.5 cm.
2,000-3,000
PROVENANCE:
Anonymous sale; Sothebys, Amsterdam, 8 November 1994, lot 23.
177
US$2,600-3,800
137
!178
David Emile Joseph de Noter (Ghent 1825-1875 Brussels)
A kitchen interior with fruits of the garden
signed and dated David de Noter. 46. (lower right)
oil on panel
72 x 57 cm.
Painted in 1846.
10,000-15,000
US$13,000-19,000
l179
Edmund Adler (Vienna 1871-1957)
The little boy
signed Edmund Adler (lower left); and signed again and dated 23 sept. 1932
(on the reverse)
oil on canvas
47.5 x 32 cm.
Painted in 1932.
3,000-5,000
US$3,900-6,400
PROVENANCE:
with Kunsthandel Henri Grevers, Roermond.
179
180
Carl Friedrich Moritz Mller
(Dresden 1807-1865 Munich)
Andreas Hofers farewell
signed and dated MMller. 1836. (lower right)
oil on canvas
71.8 x 58 cm.
Painted in 1836.
5,000-7,000
US$6,400-8,900
PROVENANCE:
Acquired by the family of the present owner before 1930.
Andreas Hofer (1767-1810) was a Tyrolean inn-keeper and patriot, who became
the leader of the 1809 uprising against the Franco-Bavarian occupation of Tyrol.
180
139
181
Hugo Wilhelm Kauffmann (Hamburg 1844-1915 Prien am Chiemsee)
A perfect ft
signed and dated Hugo Kaufmann. / 10. (lower left)
oil on panel
36.5 x 46 cm.
Painted in 1910.
12,000-18,000
US$16,000-23,000
182
183
182
Andr Plumot (Antwerp 1829-1906)
183
Jean Louis van Kuyck (Hoboken 1821-1871 Antwerp)
La petite tricoteuse
In the stable
signed and dated A. Plumot / 1876 (centre right)

oil on panel
38 x 50.5 cm.
Painted in 1876.
signed and dated Louis Van Kuyck / 1863 (lower right)

oil on panel
45 x 60.5 cm.
Painted in 1863.
2,500-3,500
2,500-3,500
US$3,200-4,400
US$3,200-4,400
PROVENANCE:
with Kunsthandel Guillaume Campo, Antwerp, where acquired by the present owner.
141
184
Gerard Portielje (Antwerp 1856-1929 Remich)
The clumsy professor
signed and dated Gerard Portielje 1884. (lower left); and signed and dated again and dedicated
to Mr. U. DHuyvetter Jr. (on the reverse)
oil on panel
36 x 26.5 cm.
Painted in 1884.
4,000-6,000
PROVENANCE:
Acquired directly from the artist by Mr. U. DHuyvetter Jr., 1884.
with E. Stacy-Marks Ltd., Eastbourne, Sussex, by 1958.
Mr. P. Smith Esq., Eastbourne, Sussex, by 1980.
US$5,100-7,600
143
185
Emile Eisman-Semenowsky (Poland, 1857-1911)
l186
Edmund Adler (Vienna 1871-1957 Bnzit en Busse)
A classical beauty with roses
The young cherry-seller
signed and inscribed Eisman-Semenowsky-Paris. (lower left)

oil on panel
86 x 27 cm.
signed Edmund Adler (upper right)

oil on canvas
55 x 68.5 cm.
4,000-6,000
PROVENANCE:
with Richardson & Co, London
with Kunsthandel Spaandonk, Leiden.
US$5,100-7,600
8,000-12,000
US$11,000-15,000
187
188
A DISTINGUISHED PRIVATE AMERICAN COLLECTION (LOTS 43, 188, 215, 218)
187
Henri de Braekeleer (Antwerp 1840-1888)
!188
David Bles (The Hague 1821-1899)
The chaotic classroom
The concert
signed Henri De Braekeleer (lower right)

oil on panel
72 x 101.5 cm.
signed and dated D Bles - 56 (upper right)

oil on panel
17.5 x 20.5 cm.
Painted in 1856.
5,000-7,000
US$6,400-8,900
2,000-3,000
US$2,600-3,800
PROVENANCE:
with Galerie Simonis & Buunk, Ede, 1988.
with Leslie Smith Gallery, Wassenaar, 1991, where aquired by the present owner.
145
VARIOUS PROPERTIES
189
Johannes Rutten (Dordrecht 1809-1884)
Market day near the Riedijkspoort, Dordrecht
signed J. Rutten (lower right)
oil on panel
56 x 73 cm.
6,000-8,000
PROVENANCE:
190 No Lot
US$7,700-10,000
191
Cornelis Springer (Amsterdam 1817-1891 Hilversum)
Hoorn: a sunlit street in Hoorn
signed and dated C Springer 88 (lower right); and signed, inscribed with title, and dated again
(on a label attached to the reverse) and with the artists seals
oil on panel
25 x 20 cm.
Painted in 1888.
20,000-30,000
PROVENANCE:
EXHIBITED:
Hoorn, Westfries Museum, La Hollande Pittoresque, 14 July-11 November 2012.
US$26,000-38,000
147
192
Wouterus Verschuur (Amsterdam 1812-1874 Vorden)
A panoramic river landscape with a family resting near a ruin
signed W. Verschuur fc (lower left)
oil on panel
60 x 78 cm.
20,000-30,000
US$26,000-38,000
It has been suggested that the Cunera church in Rhenen is depicted in the background.
193
194
193
Johannnes Hermanus Barend Koekkoek
(Amsterdam 1840-1912 Hilversum)
194
Attributed to Charles Leickert (Brussels 1816-1907 Mainz)
A sunny day with fgures and moored Bomschuiten on the beach,
Scheveningen
Shipping in an estuary
signed Jan H B Koekkoek f. (lower right); and signed again and inscribed with
title (on a label attached to the reverse) and with the artists seal
oil on panel
25 x 42 cm.
7,000-10,000
US$8,900-13,000
PROVENANCE:
with Kunsthandel Simonis & Buunk, Ede, by 2003.
It has been suggested that the river Maas near Rotterdam is depicted.
indisctinctly signed Ch .... (lower left)

oil on panel
28 x 39 cm.
3,000-5,000
US$3,900-6,400
149
195
A winter landscape with fgures skating near a koek-and-zopie
signed L.J.Kleijn.f (lower left)
oil on canvas
43.5 x 58 cm.
10,000-15,000
US$13,000-19,000
196
Andreas Schelfhout (The Hague 1787-1870)
A panoramic river landscape with travellers on a path
signed A. Schelfhout (lower left)
oil on panel
19 x 25.5 cm.
Painted circa 1850.
15,000-20,000
US$20,000-25,000
PROVENANCE:
with Kunsthandel Oldenzeel, Rotterdam.
151
197
Adriana Haanen (Oosterhout 1814-1895 Oosterbeek)
An exuberant fower still life on a forest foor
signed Adriana Haanen (lower right)
oil on canvas
108 x 87 cm.
30,000-50,000
US$39,000-64,000
198
Johannes Bosboom
(The Hague 1817-1891)
Kerk van Hooghstraeten: the interior of the
church of Hoogstraten, Belgium
signed and dated J Bosboom 43 (lower right);
and inscribed with title (on the reverse)
oil on panel
78.5 x 62.5 cm.
Painted in 1843.
30,000-50,000
US$39,000-64,000
PROVENANCE:
William, Prince of Orange, subesequently King William II of
the Netherlands (1792-1849): his sale, J. de Vries, C. F. Roos,
J. A. Brondgeest, The Hague, 12-20 August 1850, lot 6,
as: Intrieur de leglise de Hoogstraten (where mentioned
Ce beau tableau est un des meilleurs de lartiste)
(Dfl. 4.700).
Anonymous sale; Goupil & Cie ., The Hague, 1 March 1871, lot 27.
Acquired from the above sale by Mr. Laarman.
Anonymous sale; C.F. Roos & Cie., Amsterdam, 16 February
1904, lot 22 (Df. 1.550).
Acquired from the above sale by Mr. Schogt.
with Kunsthandel Pieter A. Scheen, The Hague, by 1955.
Anonymous sale; Mak van Waay, Amsterdam, 18 February
1974, lot 5.
Anonymous sale; Sotheby Mak van Waay, Amsterdam,
7 November 1978, lot 145.
Anonymous sale; Paul Brandt, Amsterdam, 15 May 1979,
lot 168, where acquired by the father of the present owner.
EXHIBITED:
The Hague, Tentoonstelling van Levende Meesters, 1843,
no. 33.
Delft, Museum het Prinsenhof, Johannes Bosboom
(1817-1891), 24 December 1958-2 February 1959, no. 18,
as: In het koor van de kerk te Hoogstraten.
LITERATURE:
Pieter A. Scheen, Lexicon Nederlandse Beeldende
kunstenaars 175-1950, Vol. I, The Hague, 1969, no. 196.
In the second half of the 1830s Johannes Bosboom discovered his favorite theme: the church interior.
Bosbooms work was thoroughly rooted in the architectural tradition. As a student of the artist
Bartholomeus Johannes van Hove (1790-1880) he had collaborated on decors for plays and had acquired
a broad knowledge of architecture and architectural styles. This experience expressed itself in the way
the artist prepared his composition. He systematically built his church interiors from fore-, middle to
background. The composition was enhanced and the sense of depth in the composition increased by
his subtle stafage.
Due to the praise he earned in 1836 with the painting of the interior of the St. Jans Church, s-Hertogenbosch,
he decided that this should become his main subject matter. He started his study of church
interiors in the province of Brabant and Belgium. In 1917 Bosbooms biographers G.H. Marius
and W. Martin included the following quote from the artist concerning his choice: De bijval
hiermede behaald-de hernieuwde bekroning bij Felix [Meritus], nu voor eene Kerk met invallend
Zonlicht, gevoegd bij mijn bijzondere neiging om indrukken weer te geven, die kergebouwen op
mij maakten, leidden er gaandeweg toe dit genre tot mijn hoofdbaan te kiezen, in 37 Belgie te
gaan bezoeken en herhaaldelijk daar weer te keeren, aangetrokken door den overvloed van studie
welke dat Land mij aanbood als door groote voorkomendheid, die ik daar mogt ondervinden.
(see: G.H. Marius a.o, Johannes Bosboom, The Hague, 1917, p.14). At a later date he also worked in the
more northern provinces and depicted the interiors of churches such as the St. Bavo in Haarlem, the
Noorder Church in Hoorn and the village church of Purmerend. In the 1840s Bosboom was awarded a
number of prizes. It is very likely that William, the Prince of Orange, acquired the present painting directly
at the exhibition of Levende Meesters for his important paintings collection. In 1845 Bosboom received
a Gold Medal in Brussels for two works titled St. Bavo te Haarlem and Nieuwe Kerk te Amsterdam.
St. Catherines church of Hoogstraten in Belgium, of which its interior is depicted here, was built as a fnal
resting place and thus sepulchre for the frst Count of Hoogstraten and Culemborg, Antoon I de Lalaing
(1480-1540) and his wife, Countess Elisabeth van Culemborg (1475-1555), from whom he inherited these
titles. He was a counselor par excellence of the archduchess Margaret of Austria. The grave depicted in
the present lot is the single most important grave in the church. The alabaster mausoleum was built by
Jan Mone between 1527 and 1529.
Bosbooms kunst is mystiek. Hij is een van die dichter-schilders,

die hun heerlijk credo doen stralen uit hun werk.
(...) Een kerk van Bosboom is nooit ledig.
(P.A.M. Boele van Hensbroek, Johannes Bosboom, in: Elseviers Gellustreerd Maandschrift, 1891, p. 328).
(St. Catharina Church, Hoogstraten,

with the alabaster mausoleum).
153
199
200
199
Conradijn Cunaeus (Dendermonde 1828-1895 Nieuwer-Amstel)
200
Albertus Verhoesen (Utrecht 1806-1881)
The cheeky dogs
A garden with a peacock, a rooster, hens and ducks
signed C Cunaeus (lower right)

oil on panel
35 x 46 cm.
signed and dated A Verhoesen / 1861 (lower centre)

oil on panel
28.5 x 38.5 cm.
Painted in 1861.
2,500-3,500
US$3,200-4,400
2,500-3,500
US$3,200-4,400
PROVENANCE:
with Kunsthandel Pieter A. Scheen, The Hague, where acquired by the family of the present
owners, circa 1953.
155
!201
A townscape with villagers near a well signed Ch Leickert f
(lower right)
signed Ch Leikert f (lower right)
oil on panel
28.5 x 21 cm.
3,000-5,000
US$3,900-6,400
201
202
Jan Weissenbruch (The Hague 1822-1880)
A street in Delft
signed Jan Weissenbruch. f. (lower right)
oil on panel, unframed
19 x 14.5 cm.
4,000-6,000
US$5,100-7,600
Please compare to a similar composition by the same hand in: Willem

Laanstra, Jan Weissenbruch: schilder-grafcus 1822-1880, Amsterdam,
1986, p. 97, no. O/34-2, as: Een straathoekje te Delft.
202
203
Abraham Hulk
(London 1813-1897 Zevenaar)
Fishermen on a calm river
signed A. Hulk. (lower left)
oil on canvas
40.5 x 61 cm.
1,500-2,500
US$2,000-3,200
203
204
Pieter Lodewijk Francisco Kluyver
A wooded landscape with a village in the
background
signed Kluyver (lower left)
oil on canvas
49 x 65 cm.
3,000-5,000
US$3,900-6,400
204
205
Petrus Gerardus Vertin
(The Hague 1819-1893)
Marketday near a townsgate
signed and dated PG. Vertin f. 79 (lower right)
oil on panel
23.5 x 30.5 cm.
Painted in 1879.
2,500-3,500
205
US$3,200-4,400
157
(a pair)
206
Margaretha Roosenboom (The Hague 1843-1896)
Pink roses in a glass vase; and A bouquet of pink roses
both signed Margt Roosenboom (lower right)
chalk, watercolour and gouache on paper
530 x 345 mm.
a pair (2)
12,000-18,000
US$16,000-23,000
PROVENANCE:
Mr. John Dent, London; Christies, London, 9 April 1892, lots 119-120 ( 25 4s).
Acquired from the above sale by Mr. Winch.
207
Johan Conrad Greive (Amsterdam 1837-1891)
A busy day near the Vlothaven on the IJ, Amsterdam
signed J.C. Greive jr. (lower right)
oil on canvas
72.5 x 111 cm.
15,000-25,000
US$20,000-32,000
PROVENANCE:
with Kunsthandel R. Polak, The Hague.
EXHIBITED:
Rotterdam, Sociteit De Harmonie, Tentoonstelling van Levende Meesters, May 1862, no. 139, as: Gezigt op het Y (Df. 225).
The Hague, Teeken Academie, Tentoonstelling van Levende Meesters, 1863, no. 152, as: Gezigt op het IJ.
Amsterdam, Tentoonstelling van Levende Meesters, 1868, no. 192, as: De Visschersvloot op het Y (Df. 800).
LITERATURE:
Jan Greive, Johan Conrad Greive 1837-1891, Schiedam, 2013, p. 166, no. 234, as: Revue van de vissersvloot bij de Vlothaven aan
het IJ.
Pieter Overduin, Adrianus Eversen 1818-1897. Schilder van stads- en dorpsgezichten, Wijk en Aalburg, 2010, p. 27,
no. 5, as: Vissersschepen op het IJ bij Amsterdam.
The present lot shows a view of the river IJ near the Westerdok. The Tolhuis can be seen to the far right.
159
208
Andreas Schelfhout (The Hague 1787-1870)
A winter landscape with skaters on a frozen waterway
signed and dated A. Schelfhout / 59 (lower right)
oil on panel
19 x 26.5 cm.
Painted in 1859.
15,000-25,000
US$20,000-32,000
PROVENANCE:
Anonymous sale; Campo, Antwerp, 7 December 1993, lot 234.
with Kunsthandel A.H. Bies, Eindhoven, where acquired by the parents of the present owner, by 1994.
LITERATURE:
Willem Laanstra, Andreas Schelfhout, 1787-1870, Amsterdam, 1995, p. 119, no. W1859-1.
PROPERTY FROM AN IMPORTANT PRIVATE AMERICAN COLLECTION
!209
Barend Cornelis Koekkoek
(Middelburg 1803-1862 Cleves)
Fort aprs lorage: a sunlit forest after a
storm
signed and dated B.C. Koekkoek 1848 (lower left)
oil on panel
73.5 x 95 cm.
Painted in 1848.
120,000-180,000
US$160,000-230,000
PROVENANCE:
Commissioned directly from the artist by Mr. W.H. de Heus
de Nyenrode; C.F. Roos (a.o.), Utrecht, 24 April 1873, lot 39,
as: Fort aprs lorage (Df. 10,000).
Acquired from the above sale by Kunsthandel Obreen,
Leiden.
Mrs. de Hem, by 1873.
Mr. H.G.A. de Heus, Rotterdam; Frederik Muller,
Amsterdam, 3 March 1903, lot 91, as: Paysage
(where erroneously dated 1843) (Df. 3,600).
Acquired from the above sale by Kunsthandel Roos,
Amsterdam.
Mr. J.H. Henkes Jr., Delfshaven; Boussod, Valadon & Cie,
The Hague, 10 November 1903, lot 122,
as: Dans la montagne (unsold).
with Galerie D. Heinemann, Munich, by 1906 ($ 2,900).
Acquired from the above by Mr. Frederick Taylor Gates
(1853-1929), 1909, thence by descent to the present owner.
LITERATURE:
F. Gorissen, B.C. Koekkoek 1803-1862. Werkverzeichnis der
Gemlde, Dsseldorf, 1962, no. 48/73, as: Fort aprs lorage.
Barend Cornelis Koekkoek (1803-1862) was born into a family of talented painters. His father Johannes
Hermanus Koekkoek (1778-1851) was an esteemed marine painter. Barend Cornelis himself went on
to gather critical acclaim for his romantic landscapes. In his view, nature equalled perfection. A great
appreciation for all that nature has to ofer shines through in many of his paintings. They are a poetic
representation of reality, enhanced by a wondrous refection of light. The artist considered light to be
the heart and soul of life: Beschouwt vooral de werking van het licht, want dat is de ziel van alles. Light
guides the viewers eyes through each painting, touching upon all important aspects of the landscape
and the people that inhabit it. The present lot is a wonderfully executed demonstration of Koekkoeks
characteristic play with light. The dark forest is set of by the patches of light on the path situated in the
centre of the composition. We see a man resting near a stream and a village in the distance. An intelligent
and meticulous composition transforms this seemingly simple event into a view of an idyllic world long
gone.
During his lifetime Koekkoek was highly acclaimed and received numerous awards and decorations. King
Willem II of the Netherlands, King Friedrich-Wilhelm IV of Prussia and Czar Alexander II were among his
patronsandhereceivedagreatmanycommissionstothatend.ThefrstpurchasebyKingWillemIIofaworkby
Koekkoek was Het boslandschap met stofage van boeren en vee which was executed in 1839. Koekkoek
had won two Gold Medals with it, in The Hague in 1839 and in Paris in 1840. Koekkoek had reached
the height of his artistic mastership in the 1840s. He was awarded a Gold Medal in Paris in 1840 for a
landscape painted for the Prince of Orange, who later became King Willem II of the Netherlands.
In 1843 Koekkoek received his second Gold Medal at the Paris Salon, confrming his status as the leading
Romantic landscape painter of his time. It was also the year in which he moved into his purpose built
studio Belvedere which was erected on the fundaments of an old city tower in Cleves and gave
Koekkoek wonderful views of the town.
Koekkoeks lesson-book for young painters, Herinneringen en Mededeelingen van eenen
landschapsschilder, which was published in Amsterdam in 1841, was conceived as a description of his
journey along the Rhine, whereby he took the reader as a pupil by the hand, drawing his attention to the
many specialities and characteristics of landscape and the architectural elements within it. In the year
of the books publication, Koekkoek founded a Drawing Academy in Cleve, where he instructed many
young artists who wished to be tutored by such a successful painter according to the rules of his book.
The basis was laid for what later became known as Cleves Romanticism.
In 1909 the present lot was acquired by Frederick Taylor Gates (1853-1929), a clergyman, educator,
and the principal business and philanthropic advisor to the major oil industrialist and philanthropist
John D. Rockefeller, Sr., from 1891 to 1923, since then the painting has remained in his family.
We would like to thank drs. Guido de Werd for kindly confrming the authenticity of the present lot after
frsthand examination.
Beschouwt vooral de werking van het licht, want dat is de ziel van alles
Above all, consider the efect of light, being the soul of everything.
(B. C. Koekkoek, 1841)
161
VARIOUS PROPERTIES
210
Charles Louis Lucien Mller (Paris 1815-1892)
Elegant lady reading, seated on a red sofa
signed Ch. L. Mller (upper left)
oil on canvas, unframed
96.5 x 80 cm.
5,000-7,000
US$6,400-8,900
PROVENANCE:
Anonymous sale; Sothebys, Amsterdam, 22 April 1997, lot 112 (Df. 42,480), where acquired by the present owner.
211 No Lot
163
!212
Georgius Jacobus Johannes van Os (The Hague 1782-1861 Paris)
An exuberant fower still life with roses, an orange and red velvet fower and various other fowers
in a vase, cherries, plumps, butterfies and a nest with eggs, all on a marble ledge
signed G J J Van Os. f (lower left)
oil on panel
47 x 35 cm.
25,000-35,000
PROVENANCE:
Mr. J. Bloomfeld; Christies, London, 7 April 1922, lot 52 ( 36.15).
Acquired from the above sale by Mr. Milton.
US$32,000-44,000
213
214
213
Hermann Fchsel (Brunswick 1833-1915 New York)
214
Hermanus Koekkoek Sr. (Middelburg 1815-1882 Haarlem)
A river scene by night, America
Bringing in the barges at high tide
signed and inscribed H. Fuechsel. / N.Y. (lower right)

oil on canvas
31 x 46.5 cm.
signed H. Koekkoek (lower left)

oil on canvas
37.5 x 58.5 cm.
5,000-7,000
4,000-6,000
US$6,400-8,900
It has been suggested the river could be the Hudson, New York.
US$5,100-7,600
165
A DISTINGUISHED PRIVATE AMERICAN

COLLECTION (LOTS 43, 188, 215, 218)
!215
Wouterus Verschuur
(Amsterdam 1812-1874 Vorden)
A sunlit stable interior with a stable boy and
his horses
signed W. Verschuur. (lower left)
oil on panel
59.2 x 91.9 cm.
20,000-30,000
US$26,000-38,000
PROVENANCE:
with Richard Green Gallery, London, 1992, where acquired
by the present owner.
Wouterus Verschuurs talent was already recognized at an early age. His mentor, Pieter Gerardus van Os
(1776-1839) guided him in the study and copying of the oeuvre of the celebrated 17th century horse painter
Philips Wouwerman (1619-1668). In 1828, at the age of only sixteen, Verschuur made his frst major artistic
achievement, exhibiting at the Tentoonstelling van Levende Meesters. Only three years after, he established
his reputation as an artist with competition entries to the Felix Meritis in Amsterdam, for which he was awarded
two Gold Medals in a row, in 1831 and 1832. Verschuur was well-respected and admired among his peers for
his technical skills and also came to teach a number of highly successful artists, most notably Anton Mauve
(1838-1888).
From the start of his career, Verschuurs Romantic scenes of horses were recognized as demonstrations of
his great talent to depict these animals in their rural environment. Verschuurs exceptional skills are evident
in this monumental painting. The musculature of the horses and immaculate grooming are not only brilliantly
observed, but rendered with great care and accurate precision. In the centre of the composition Verschuur has
depicted a workhorse, whose powerful strength is clearly perceptible by its vast presence. The detail created
in the animals anatomy and Verschuurs meticulousness of depicting light is undeniable. The atmospheric
depiction of the stable interior, captured in the light of a late afternoon and the sensitive details in each of the
fgures and in the architecture, show his competence as a painter.
216
Johannnes Hermanus Barend Koekkoek (Amsterdam 1840-1912 Hilversum)
Fishing at dusk
signed Jan H.B Koekkoek. (lower left)
oil on canvas, shaped top
126 x 128 cm.
7,000-10,000
PROVENANCE:
with Kunsthandel Simonis & Buunk, Ede, 2003.
US$8,900-13,000
167
217
Figures conversing on a snowy village road
signed with initials AE (lower left) and signed again A. Eversen (lower right)
oil on panel
35.5 x 27 cm.
12,000-18,000
US$16,000-23,000
PROVENANCE:
Anonymous sale; Christies, Amsterdam, 25 October 2005, lot 70.
LITERATURE:
Pieter Overduin, Adrianus Eversen 1818-1897. Schilder van stads- en dorpsgezichten, Wijk en Aalburg, 2010, p. 257, no. 35-1.
A DISTINGUISHED PRIVATE AMERICAN COLLECTION (LOTS 43, 188, 215, 218)
!218
Cornelis Springer
The house of Maarten van Rossum in
Zaltbommel
signed and dated C Springer 1860. (lower right)
and with the artists seals
oil on canvas
75 x 96.5 cm.
Painted in 1860.
60,000-80,000
US$77,000-100,000
PROVENANCE:
Acquired directly from the artist by J.C.P. Brack,
Amsterdam, 7 September 1860 (Nlg. 1,200).
F.S. Teesdale; Christies, London, 13 March 1886, lot 215
(75 gns. to Permain).
Sir Frederick T. Mappin Bt; Christies, London, 5 May 1906,
lot 56 (71 gns. to Gooden & Fox).
with Gooden & Fox, London, 1906.
Anonymous sale; Christies, London, 20 March 1992, lot 6.
with Richard Green Gallery, London, 1992, where acquired
by the present owner.
EXHIBITED:
Antwerp, La Socit Royale pour lEncouragement des
Beaux-Arts, Exposition Salon dAnvers,
4 August-30 September 1861, no. 1022, as: Maison du
fameux Martin van Rossum, Zaltbommel.
LITERATURE:
W. Laanstra, H.C. de Bruijn and Dr. J.H.A. Ringeling, Cornelis
Springer, Utrecht, 1984, p. 126, no. 60-13.
W. Laanstra, Cornelis Springer; Geschilderde Steden,
Amsterdam, 1994, p. 47.
Cornelis Springer is considered to be one of the most important and infuential architectural painters of
the 19th century. Born into an Amsterdam family of building contractors and architects, it is clear why
he became the townscape painter par excellence. He studied under the auspices of the well-known and
celebrated architectural painter Kasparus Karsen (1810-1896). In the two years that Springer was his
apprentice, he would learn how to create capriccio city views intertwined with topographically correct
elements. It was the contemporary trend for painters in his circles to idealize the past and especially the
Dutch national heritage. However, from the 1850s onwards, Springer moved towards a more realistic
subject matter. He chose to abandon the fantasy elements within his work and concentrated on existing
topographical locations.
The present lot is an excellent example of Springers realistic and topographically correct style.
Springer most often depicted his hometown Amsterdam, but also several other Dutch towns,
such as Haarlem, Enkhuizen, Zwolle, Kampen and Monnickendam. Depicted here is Zaltbommel,
a thousand year old fortifed city at the centre of Holland, situated on the banks of the river Waal.
Springer visited Zaltbommel between the 31st of August and the 2nd of September in 1859. During
his stay he made several pencil sketches of the St. Martins church with the Maarten van Rossum
house. The compositional studies for the present lot clearly illustrate how the artist had already
completely thought out and devised his composition in minute detail. Around this time Springer
had acclaimed such fame, that he only worked on commission for private collectors and art dealers.
A patron would choose a composition on the basis of his drawings, after which Springer would paint a
version in oil. A waiting list of two years in this period was testimony to the great popularity of his work.
Depicted here is the Maarten van Rossumhuis, a sixteenth century house built around 1535. The house
was commissioned by Maarten van Rossum (c. 1478-1555), a military tactician and later feld marshal
at the service of Charles II, Duke of Guelders (1467-1538). Characteristic are the small towers and the
Renaissance carved decorations. In 1881, plans had been made to demolish the house, but with the help
of Victor de Stuers and the famous architect Pierre Cuypers, the monument was saved and restored.
Nowadays it houses museum Stadskasteel Zaltbommel. Springers painting shows the monument in a
state of decay, roughly twenty years before the restoration, forming a historical document of the house
and allowing us a look into the 19th century streets of Zaltbommel.
Springer has applied an intricate lighting plan which ultimately draws the eye deep into the painting to
the brightly lit houses in the background. The masterful play of strongly contrasting light and shadow
and the abundance of architectural detail in the masonry demonstrate the artistic and technical skills
that Springer is so famous for.
169
219 (a pair)
219
Petrus Gerardus Vertin (The Hague 1819-1893)
Daily activities in a street; and A streetscene with fgures near a
drawbridge
the frst signed and dated PGVertin f 66 (lower right); the second signed
and dated PG Vertin f 67 (lower left)
oil on panel
the frst 35.5 x 29 cm.; the second 36 x 28 cm.
the frst painted in 1866; the second painted in 1867.
a pair (2)
5,000-7,000
US$6,400-8,900
220
View of Belgium: villagers in a sunlit town
signed A. Eversen (lower left); and signed again and inscribed with title
(on a label attached to the reverse)
oil on panel
26 x 21.5 cm.
5,000-7,000
US$6,400-8,900
LITERATURE:
Pieter Overduin, Adrianus Eversen 1818-1897: Schilder van stads- en dorpsgezichten,
Wijk en Aalburg, 2010, p. 215, no. 26-1, as: Een stadsgezicht.
220
We kindly thank Pieter Overduin for his help in cataloguing this lot. He
suggests the St. Jacobschurch, Bruges could be depicted.
171
221
222
221
Hermanus Koekkoek Sr. (Middelburg 1815-1882 Haarlem)
222
Abraham Hulk (London 1813-1897 Zevenaar)
Shipping in a calm estuary
Fishermen at sunset
signed and dated H. Koekkoek. 1859 (lower left)

oil on canvas
46.5 x 65 cm.
Painted in 1859.
signed A. Hulk (lower left)

oil on panel
30 x 40.5 cm.
7,000-10,000
4,000-6,000
US$8,900-13,000
US$5,100-7,600
223
Petrus van Schendel
(Terheijden 1806-1870 Brussels)
Groentemarkt bij avond: a vegetable seller
ofering her wares
signed P. van Schendel. (lower right)
oil on panel
65 x 50 cm.
Painted circa 1864.
60,000-80,000
US$77,000-100,000
PROVENANCE:
Mr. D. van der Ende, Wassenaar.
with W. H. Patterson, London, where acquired by the father
of the present owners in the 1970s.
EXHIBITED:
Delft, Museum Prinsenhof, De romantische school, 23
December 1955-12 February 1956, no. 103, fg. 10.
as: Groentemarkt bij avond.
Petrus van Schendel was born as the son of Gijsbertus van Schendel and Geertruida Brox, in
the village of Terheyden. After the death of his father, the family moved to Breda. In 1822, Van
Schendel moved to Antwerp, where he would live until 1828. Here, he studied at the Academy of
Fine Arts, where he was awarded a Golden Medal for doorzichtkunde (the use of perspective).
From 1827 onwards, Van Schendel frequently exhibited his work at several exhibitions, such as
the Tentoonstelling van Levende meesters in The Hague, Rotterdam and Amsterdam, and at the
Driejaarlijkse Salons, or triennial salons, in Antwerp, Brussels and Ghent. After his education in Antwerp,
Van Schendel returned to live with his brother in Breda and Amsterdam until he met Elizabeth Grasveld,
his frst wife with whom he would have thirteen children. Elizabeth passed away in 1850, after which Van
Schendel re-married twice more and had two more children.
Van Schendels education is mirrored by his work, showing the executive infuences on his work, which can
be traced thoughout his artistic career. During his time at the Antwerp Academy, his work clearly shows
infuences from its head master, the famous history painter, Mattheus Ignatius van Bree (1773-1838).
In this period, Van Schendels work echoes the academic and classical mode of education, where
sketching after classical statuettes and after real life models was considered the fundament of its
teaching method.
From 1845 until his death in 1870, van Schendel would predominantly work with models posing in his
darkened studio, where he could adapt the artifcial light source to his own liking. These studies he made,
were elaborated with proper lighting.
Van Schendels paintings are particularly known for the artistry in his handling of the light. Careful
positioning of the light source takes up a vital part in Van Schendels so-called nocturnes, or candle- or
moonlit market scenes. In the present lot, the fgures in the foreground are illuminated by the fame of a
candle, while the silhouettes in the background are surrounded by backlight, which are stylistic elements
successfully deployed by Van Schendel.
On the basis of other compositions and the fgurations, the painting can be dated to circa 1864.
We wish to thank Mr. Jan de Meere for his kind assistance in cataloguing the present lot.
Onvermoeibaar in den arbeid, vervaardigde hij (...) een aanzienlijk

getal tafereelen, voor het meerendeel ware parels, welke het
schoonste sieraad uitmaakten van vorstelijke collecties.
(Damien Sleeckx (1818-1901), biographer and close friend of the artist , 1870).
(Petrus van Schendel, the artist in his studio, 1828,

panel 43.6x60.5 cm., Private Collection, England).
173
224
Mari ten Kate (The Hague 1831-1910
Driebergen-Rijsenburg)
The intruders
signed M. ten Kate (lower right)
chalk and watercolour on paper
252 x 353 mm.
2,000-3,000
US$2,600-3,800
224
225
Elias Pieter van Bommel
(Amsterdam 1819-1890 Vienna)
Figures skating on the ice with the St. Bavo
church in the background, Haarlem
signed and dated E.P. van Bommel / 1882 (lower
right); and signed again and indistinctly inscribed
and dated (on the stretcher)
oil on canvas
63.5 x 92 cm.
Painted in 1882.
6,000-8,000
US$7,700-10,000
225
226
Henry Cleenewerck
(Watou 1818-1901 Brussels)
A moorland with cattle grazing
signed, inscribed and dated Henry Cleenewerck /
Mnchen 1872 (lower left)
oil on canvas
63.5 x 119.5 cm.
Painted in 1872.
4,000-6,000
226
US$5,100-7,600
175
227
Margaretha Roosenboom (The Hague 1843-1896 Voorburg)
Purple primulas with grapes
signed M: Roosenboom. (lower right); and with the artists seals
oil on panel
31.5 x 42 cm.
12,000-18,000
PROVENANCE:
US$16,000-23,000
228
Andreas Schelfhout
(The Hague 1787-1870)
An extensive winter landscape with skaters
and a horse-drawn sledge
signed and dated A. Schelfhout 1869 (lower right)
oil on panel
52 x 83 cm.
Painted in 1869.
150,000-250,000
US$200,000-320,000
PROVENANCE:
The artists studio; His sale, the Hague, 26 July 1870, lot 56,
as: Paysage dhiver avec des sapins, plusieurs patineurs
(with annotation Le dernier ouvrage du matre).
Mr. A. van Stolk Cz., Rotterdam, by 1870.
EXHIBITED:
Rotterdam, Academie van Beeldende Kunsten,
Tentoonstelling van Levende Meesters, 1870, no. 377,
as: Wintergezicht (laatste werk van den meester).
LITERATURE:
Cyp Quarles van Uford, Andreas Schelfhout (1787-1870).
Landschapschilder in Den Haag, Leiden, 2009, pp. 216-217.
Andreas Schelfhout was internationally acclaimed for his beautiful detailed renderings of winter
landscapes, while also his sweeping panoramic summer landscapes and elegant beach scenes with fgures
were widely admired. From 1930 onwards, his brushwork increasingly loosened up, and around 1940-45
his artistic style and technique had come to full maturity with the perfect balance of composition, play of
light, and extraordinary spatial depth and detailing, which are considered to be exemplary of the pinnacle
of Dutch Romanticism.
These elements are convincingly refected in the present lot, which moreover confrms his virtuosity still
being present in his old age. This remarkably fnely executed work is thought to be the last work Schelfhout
ever painted, as the 1870 sale-catalogue mentions this painting to be the dernier tableau du matre.
This unequivocally provides the painting with a unique value. The present lot beautifully combines two
pictorial elements, with the vast sheet of translucent ice on the right and the folliage and farmhouse
on the left side. Secondly, he also couples the group of skating fgures and a small crowd surrounding
a koep-en-zopie in the distance, while carefully placing them against the fgures on the foreground
loading the cart behind the horse on the ice, all bathing in a subtle light and rendered with great natural
quality. The perfectly balanced composition, superb brushwork and tranquility of this winter scene,
shows his unsurpassed viruosity and competence again, while guiding the spectators eye through
the painting.
Already during his lifetime Schelfhouts work was well received by critics, which is also confrmed by the
numerous Golden Medals on the annually held exhibition Tentoonstelling van Levende Meesters. He
has been highly sought after by international collectors ever since.
Maar schudt op de ijskorst, die hij bouwde,

Een kroon van blaadren, frisch en zwaar,
Die groen blijft bij de felste koude,
En bij de sneeuwvlok van zijn haar.
(Nicolaas Beets , 1842)
(Cornelis Cels, Portrait of Andreas Schelf hout, 1828,

canvas, 60 x 40 cm., Private Collection Jorge Sires).
177
229
Louis Gurlitt (Altenau 1812-1897 Naundorf)
Gulf of Sorrent
signed Gurlitt (lower right)
oil on canvas
67.5 x 48.5 cm.
2,000-3,000
US$2,600-3,800
229
230
Lon Richet (Solesmes 1843-1907 Fontainebleu)
Trees along a forest stream
signed Lon. Richet (lower left)
oil on canvas
65 x 54.5 cm.
4,000-6,000
230
US$5,100-7,600
179
231
232
231
Adolf Schreyer (Frankfurt am Main 1828-1899 Cronenberg)
232
Ludwig Gedlek (Krakow 1847-1904 Vienna)
The encounter
Hussars on patrol in a wooded landscape
signed and dated Ad Schreyer. / 1861. (lower right)

oil on canvas, unframed
70 x 138.5 cm.
Painted in 1861.
signed and inscribed L. Gedlek. Wien (lower left)

oil on panel
4,000-6,000
2,500-3,500
US$5,100-7,600
PROVENANCE:
with Erich Beckmann, Hannover.
Mr. Arnold Landsberger, Vienna.
US$3,200-4,400
233
Edward Skari (Kristiania 1837-1903)
A view of the resund with Kronborg castle
signed Edw. Skari. (lower right)
oil on canvas
118 x 200 cm.
6,000-8,000
US$7,700-10,000
PROVENANCE:
Kronborg castle, Helsingor is situated on the extreme northeastern tip of the island of Zealand at the narrowest
point of the resund, the sound between Denmark and Sweden. It is immortalized as Elsinore in William
Shakespeares play Hamlet.
181
234
Francesco Lojacono (Palermo 1841-1915)
The bay of Palermo, with the Mount Pellegrino in the distance
signed F. Lojacono. (lower right)
oil on canvas
44.5 x 66 cm.
8,000-12,000
US$11,000-15,000
235
Johannes Bosboom
(The Hague 1817-1891)
The Grote Kerk, Breda
signed JBosboom (lower right)
oil on panel
21 x 16 cm.
4,000-6,000
US$5,100-7,600
PROVENANCE:
235
236
Mari ten Kate
(The Hague 1831-1910 Driebergen-Rijsenburg)
Two children with a pheasant
signed M Ten Kate. (lower right)
415 x 400 mm.
1,500-2,500
236
US$2,000-3,200
183
237
A winter landscape with fgures on a frozen waterway
signed and dated Ch. Leickert.f 66 (lower left)
oil on canvas
49 x 76.5 cm.
Painted in 1866.
7,000-9,000
US$8,900-11,000
PROVENANCE:
Mrs. Traford, Burley, Ringwood Hants, by 1972.
with Kunsthandel Simonis & Buunk, Ede, where acquired by the family of the present owners.
PROPERTY FROM THE ROBECO COLLECTION (LOTS 238-239)

!238
Johannes Christiaan Karel Klinkenberg
(The Hague 1852-1924)
A view of the Leuvehaven, Rotterdam
oil on canvas
81 x 100.5 cm
40,000-60,000
US$51,000-76,000
PROVENANCE:
Anonymous sale; Van Marle & de Sille, Rotterdam,
13 February 1923, lot 34.
Anonymous sale; Mak van Waay, Amsterdam, 1 October
1973, lot 119 (Df. 99,000).
Anonymous sale; Sothebys, Amsterdam, 7 November 1989,
lot 83 (Df. 143,750).
LITERATURE:
H.C. de Bruyn, J.C.K. Klinkenberg, 1852-1924; meer dan de
meester van het zonnige stadsgezicht, in: Antiek,
3 October 1979, p. 173.
Willem Laanstra, Johannes Christiaan Karel Klinkenberg
(1852-1924). De meester van het zonnige stadsgezicht,
Laren, 2000, p. 197, no. O/80-2
Klinkenberg followed evening drawing classes at the The Hague Academy from a young age, after which
he joined the studio of marine painter Louis Meyer (1809-1866) as an apprentice. After his early death
he became a pupil at the studio of Christofel Bisschop (1828-1904). From 1876 onwards Klinkenbergs
oeuvre shows an evident preference for the historical architecture of Holland, working in The Hague,
Amsterdam, Rotterdam among other cities. His specialisation in town views shows increasingly wellbalanced compositions, and the implementation of a play with light. Sunlit efects, as is clearly visible in
the present lot in which the Leuvehaven in Rotterdam has been depicted, are the result of his attractive
and bright palette. What sets Klinkenberg apart from his contemporaries of the Hague School is the
remarkable use of colour in his townscapes. Whereas works of other artists are often defned by tonality,
Klinkenbergs oeuvre is rather French-oriented with bright, saturated colours. The present lot is a striking
example of this, with the bright and vivid refection of the sun on both the architecture and on the water.
Klinkenberg is onze Lalanne, onze Hollandsche Canaletto () Vr alles streeft

Klinkenberg er naar, een beeld van schitterend licht en schaduw te geven,
het dartel spel der zonnestralen uit te drukken, het stedeke of de door hem
gekozen buurt of gracht, zich badende in het heerlijke zonlicht, af te beelden.
(Frank van Dongen, J.C.K. Klinkenberg, in: Elseviers Gellustreerd Maandschrift, 1893, p.116)
185
PROPERTY FROM THE ROBECO COLLECTION (LOTS 238-239)
l!239
Evert Moll (Voorburg 1878-1955 The Hague)
Maashaven Rotterdam: a view on the Maashaven, Rotterdam
signed Evert Moll (lower right); and signed again and inscribed with title (on the stretcher)
oil on canvas
75.5 x 131 cm.
5,000-7,000
US$6,400-8,900
187
240
241
VARIOUS PROPERTIES
240
Auguste Henri Musin
(Ostende 1852-1923 Sint-Joost-ten-Node)
l241
Willem George Frederik Jansen
(Harlingen 1871-1949 Blaricum)
Embarcadre Ostende
Kelp gatherers on the beach
signed and inscribed Auguste Musin. - Embarcadre Ostende (lower right)

oil on panel
30 x 58 cm.
signed WGF Jansen (lower right)

oil on canvas
51 x 80.5 cm.
5,000-7,000
2,000-3,000
US$6,400-8,900
US$2,600-3,800
242
243
242
Hendrik Valkenburg
(Terwolde 1826-1896 Amsterdam)
l243
Johan Frederik Cornelius Scherrewitz
Peeling the potatoes
Gathering driftwood near the shore, Katwijk
signed H. Valkenburg. (lower left)

oil on canvas
57 x 73.5 cm.
signed JScherrewitz (lower right)

oil on canvas
56 x 66.5 cm.
3,000-5,000
US$3,900-6,400
PROVENANCE:
(Possibly) acquired directly from the artist, by 1889.
Anonymous sale; Sothebys, Amsterdam, 27 October 1999, lot 297, where acquired by the
present owner.
4,000-6,000
US$5,100-7,600
189
244
244A
244
Evert Pieters
(Amsterdam 1856-1932 Laren)
244A
Jozef Israls
(Groningen 1824-1911 The Hague)
Boerenkeuken: domestic bliss
Homewards
signed Evert Pieters. (lower left)

oil on canvas
101 x 131.5 cm.
signed Jozef Israels. (lower right)

oil on panel
30 x 45.5 cm.
6,000-8,000
8,000-12,000
US$7,700-10,000
US$11,000-15,000
245
Hendrik Willem Mesdag (Groningen 1831-1915 The Hague)
Bomschuiten in the breakers
signed HW Mesdag (lower right)
oil on canvas
60 x 51 cm.
15,000-20,000
US$20,000-25,000
PROVENANCE:
Anonymous sale; Mak van Waay, Amsterdam, 21 October 1974, lot 123 (Df. 18,000).
with Kunsthandel Ivo Bouwman, The Hague, by 1979, where acquired by the present owner.
LITERATURE:
Johan Poort, Hendrik Willem Mesdag 1831-1915 Oeuvrecatalogus, Wassenaar, 1989, p. 341, no.21.22,
as: Schepen voor anker in de branding.
191
!246
Philip Sade (The Hague 1837-1904)
Shrimpers on the beach at low tide, Scheveningen
signed Ph. Sade ft. (lower right)
oil on canvas
80 x 130 cm.
25,000-35,000
PROVENANCE:
with Cooling Galleries, London, by 1969.
US$32,000-44,000
247
Philip Sade (The Hague 1837-1904)
Awaiting the return
signed Ph. Sadee f (lower left); and with the artists seals
oil on panel
30 x 23.5 cm.
3,000-5,000
US$3,900-6,400
247
PROPERTY OF A BELGIAN PRIVATE COLLECTOR
248
Lourens Alma Tadema (Dronrijp 1838-1912 Wiesbaden)
Portrait of Marie Josphine Jacoba van Marcke de Lummen
(1818-1894)
signed L Alma Tadema. (lower right); and with the sitters
coat-of- arms (upper right)
oil on canvas
71 x 56.5 cm.
6,000-8,000
US$7,700-10,000
PROVENANCE:
Commissioned directly from the artist by the family of the sitter and thence by
descent to the present owner.
248
193
VARIOUS PROPERTIES
249
Jan Hoynck van Papendrecht (Amsterdam 1858-1933 The Hague)
A military procession on the Lange Voorhout, The Hague
signed J. Hoynck van Papendrecht (lower left)
oil on canvas
64 x 100.5 cm.
20,000-30,000
US$26,000-38,000
Possibly depicted is the procession in honour of Queen Wilhelminas birthday on 30 August .

We are grateful to Mr. J.A.C. Bartels for his help in cataloguing the present lot.
THE PROPERTY OF A CANADIAN LADY
!250
Matthijs Maris (The Hague 1839-1917 London)
De keukenmeid: the young cook
signed with initials and dated M.M.71.
(lower right)
oil on canvas
33 x 21 cm.
Painted in 1871.
30,000-50,000
US$39,000-64,000
PROVENANCE:
Acquired directly from the artist by Kunsthandel
Goupil & Cie., Paris, 8 September 1871, as: Intrieur de
cuisine (Ff. 200).
Acquired from the above by Mr. Daniel Cottier
(1837-1891), London, 1872-1886 (Ff. 400).
with The French Gallery, London, 1909-1917.
Mr. Thomas Glen-Coats (1846-1922), Ferguslie Park,
Paisley: Christies, London, 2 July 1920, lot 20.
Mrs. A.J. Cohen Stuart, London, by 1935.
Mr. Arnold J.C. and Kate Stuart, London.
EXHIBITED:
Edinburgh, Edinburgh International Exhibitions,
Memorial Catalogue of the French and Dutch Loan
Collection, 1886, no. 157, as: Figure of a girl.
Newcastle-upon-Tyne, Royal Mining Engineering and
Industrial Exhibition International and Colonial, Jubilee
Year, 1887, no. 886.
London, The French Gallery, Ninety-Sixth Exhibition,
May 1909, no. 8, as: The young cook.
London, The French Gallery, Matthew Maris. An
Illustrated Souvenir, November 1917-January 1918, no.
4, as: The young cook.
London, Barbizon House, 1920, no. 28, as: The Young Cook.
London, Barbizon House, Johannes Bosboom, Josef
Israels, The Maris Brothers, Anton Mauve, JanuaryFebruary 1929, no. 32, as: The Young Cook.
The Hague, Gemeentemuseum, Maris Tentoonstelling,
22 December 1935-2 February 1936, no. 185,
as: Het Keukenmeisje.
The Hague, Gemeentemuseum, Matthijs Maris,
17 August-1 October 1939, no. 25, as: Het Keukenmeisje.
LITERATURE:
D. Croal Thomson, Matthew Maris: an illustrated souvenir, London, 1917, no 2, as: The young cook.
P. Haverkorn van Rijsewijk, Matthijs Maris: V. De Jaren 1871 en 1872 te Parijs, in: Onze Kunst, 1919, pp. 34-38,
as: De Keukenmeid.
Anonymous, An Illustrated Record, Barbizon House, London, 1920, p. 22, no. 28, as: The Young Cook.
H.E. van Gelder, Matthijs Maris, Amsterdam, 1939, p. 28, as: Het Keukenmeisje.
J. Knoef, Van romantiek tot realisme: een bundel kunsthistorische opstellen, The Hague, 1947, p. 242, as: het Keukenmeisje.
Dieuwertje Dekkers, Where are the Dutchmen? Promoting the Hague School in America, 1875-1900, in: Simiolus, Vol. 24,
No. 1, 1996, p. 63, note 58, as: Intrieur de cuisine.
Matthijs Maris, the second of the three talented Maris siblings, was born in The Hague in 1839 and
occupies a singular position within Dutch 19th century art. After having studied at the The Hague
Drawing Academy for three years, Matthijs was rewarded a grant by Queen Sophie and enrolled in
the prestigious Antwerp Academy in 1855. Here he became inspired by the work of German artists
such as Ludwig Richter (1803-1884) and Alfred Rethel (1816-1859) and he produced genre scenes in
a characteristic lineair style. Though strongly dependent on his elder brother, Matthijs was never
infuenced by the artistic developments of Jacob Maris or his The Hague School contemporaries.
Even when working outdoors in the artists colonies of Oosterbeek and Wolfheze in 1859-1861,
Matthijs focussed on rendering an intangible reality and only used the surrounding nature as an
expressive tool.
In 1861 Matthijs and Jacob undertook a journey to Germany, Switzerland and France that further
aroused Matthijs fascination for the German Romantics and provided him with a series of new
artistic motives such as The Christening (Centraal Museum, Utrecht) and The view of Lausanne
(Gemeentemuseum, The Hague). In accordance with the romantic taste, Matthijs also developed a keen
interest in medieval culture and increasingly incorporated gothic architectural elements in his work.
The pictures Matthijs produced upon his return to Holland were however rejected by the general public.
As a result the artist sustained from participating in exhibitions, became more and more reclusive and
began nurturing a strong resentment against art-dealers. The following years Matthijs lived a solitary life
until he joined his brother Jacob in Paris in 1869. During his stay in the French capital, the artist was forced
to support himself fnancially and started to paint on a regular basis again. Though he loathed painting
for commercial purposes, Matthijs executed some of his most succesful works during his Paris period
(Souvenir dAmsterdam (Rijksmuseum, Amsterdam); Keukenmeisje (Museum Mesdag, The Hague (fg.
1)); De Vlinders (The Burrell Collection, Glasgow), as well as the present lot.
By the late 1870s, Matthijs work aroused considerable interest in England and the artist was persuaded
to settle in London by the art-dealer Daniel Cottier, one of the frst owners of the painting. During their
ten years period of collaboration, Matthijs however felt strongly restricted in his artistic freedom and
expressed his resentment against the art-trade in various letters written to friends and family. In a
letter addressed to Leopold Sickel (1862-1941), dated 28 March 1894, Matthijs writes about the foilbles
of public taste and the hopelessness of a painters career: Public taste is a funny taste, worked by the
dealers through the eyes of the client, both of them not caring a rap for the painters, nor their art, nor
their mind (see: T.B. Brumbaugh, A Matthijs Maris Correspondence, in: Oud Holland, 1981, no 95, pp.
88-96.). After breaking his ties with Cottier, Matthijs was supported fnancially by the Amsterdam art
dealer E.J. van Wisselingh and settled down in the London Borough of Hampstead. The following years
he fully withdrew from society and dedicated himself to painting mystical and fairy-tale-like visions of
fgures in landscapes with castle ruins.
(Matthijs Maris, De Keukenprinses: the kitchen

princess, 1872, oil on canvas, 66.3 x 50 cm. The
Mesdag Collection, The Hague, inv. no. hwm198).
The present lot was painted in 1871 in Paris and shows a young girl - possibly his own kitchen maid musing at the stove. The light and pastel palette of the girls dress and apron carefully complement the
predominantly brown background. Croal Thomson lauded the work for being one of the most subtly
beautiful of the masters works (see: D. Croal Thompson, Matthijs Maris: V. De Jaren 1871 en 1872 te
Parijs, in: The Studio, November 1917, p. 37). A year later Matthijs painted a similar painting which is
now in the collection of Museum Mesdag. In comparing these works, Dr. P. Buschmann writes that
concerning the present lot the colours are slightly colder and more pale, in particular the skintones,
having a smoothness of character like mother-of-pearl. (...) Nonetheless, it remains to be a very attractive
small work of art (see: Dr. P. Buschmann, De Matthijs Maris - tentoonstelling te Londen, in: Onze Kunst,
33 (1918), pp. 68-76). When comparing the two works, one could notice that the 1871 work shows a young
girl, whereas the work he painted the year after shows her becoming a young lady now.
195
VARIOUS PROPERTIES
251
Jan Hendrik Weissenbruch
(The Hague 1824-1903)
The mill
signed J.H. Weissenbruch f (lower left)
oil on canvas laid down on panel, unframed
21.5 x 32.5 cm.
Painted circa 1873.
3,000-5,000
US$3,900-6,400
PROVENANCE:
Mr. George A. Grays, by 1915.
Possibly the windmill near Schiedam is depicted.

A painting with a similar composition is in the
Museum Boymans-Van Beuningen, Rotterdam
(inv.no. 1964, oil in canvas, 64.5 x 101 cm., where
dated 1873).
251
252
Willem Roelofs
(Amsterdam 1822-1897 Berchem)
A polder landscape with cows and windmills
signed with initials W:R:f (lower left)
oil on panel
9 x 14 cm.
3,000-5,000
US$3,900-6,400
252
253
Paul Joseph Constantin Gabril
(Amsterdam 1828-1903 Scheveningen)
A farm along a waterway in autumn
signed and dated Gabriel fc / 72. (lower right) and
inscribed souvenir damiti Mr et Mme / W.A.
Franse-vd. Pijl (lower left)
oil on panel
17 x 27.5 cm.
Painted in 1872.
2,500-3,500
US$3,200-4,400
PROVENANCE:
A gift from the artist to Mr. and Mrs. W.A. Franse-vd Pijl.
253
197
254
Bomschuit in the breakers
signed and dated HW Mesdag 91 (lower right)
oil on canvas
124 x 68 cm.
Painted in 1891.
15,000-25,000
PROVENANCE:
Acquired by the family of the present owner circa 1930.
US$20,000-32,000
255
Louis Apol (The Hague 1850-1936)
Along a forest path on a winters day
signed Louis Apol f (lower left)
oil on canvas
50 x 39 cm.
6,000-8,000
US$7,700-10,000
PROVENANCE:
with Kunsthandel Simonis & Buunk, Ede, circa 2010, where acquired by the present
owner.
255
256
Arnold Marc Gorter (Almelo 1866-1933 Amsterdam)
A river landscape in autumn
signed AM Gorter (lower right)
oil on canvas
57 x 78.5 cm.
3,000-5,000
PROVENANCE:
with Albert Amor Ltd., London.
256
US$3,900-6,400
199
l257
Jan Zoetelief Tromp (Batavia 1872-1947 Breteuil-sur-Iton)
The little sailing boat
signed J. Zoetelief Tromp (lower left)
oil on canvas
36 x 30.5 cm.
20,000-30,000
PROVENANCE:
with Kunsthandel Franois Bufa & Sons, Amsterdam.
US$26,000-38,000
258
259
258
Jan Hendrik Weissenbruch (The Hague 1824-1903)
259
Anton Mauve (Zaandam 1838-1888 Arnhem)
A fshing village near the Dutch coast
The wood gatherer
signed JH. Weissenbruch f (lower left)

charcoal, watercolour and gouache on paper
265 x 380 mm.
signed A Mauve (lower right)

watercolour and gouache on paper
240 x 310 mm.
6,000-8,000
3,000-5,000
US$7,700-10,000
PROVENANCE:
Anonymous sale; Mak van Waay, Amsterdam, 23 September 1971, lot 388.
US$3,900-6,400
201
260
260A
260
260A
Anthonie Pieter Schotel (Dordrecht 1890-1958 Laren)
The approaching bomschuit
Sailing along the coast of Volendam
signed H W Mesdag (lower right)

550 x 755 mm.
signed AP Schotel (lower right)

oil on canvas
80 x 100 cm.
Painted circa 1952.
12,000-18,000
US$16,000-23,000
3,000-5,000
PROVENANCE:
with Art Gallery Grard, Wassenaar.
with Kunsthandel Gebroeders Douwes Fine Art, Amsterdam.
LITERATURE:
Johan Poort, Hendrik Willem Mesdag (1831-1915). Oeuvrecatalogus Supplement,
Wassenaar, 1997, p. 106, no. 3011.10, as: Binnenkomende bom.
PROVENANCE:
Acquired directly from the artist by the father of the present owner.
US$3,900-6,400
261
262
261
Willem Roelofs (Amsterdam 1822-1897 Berchem)
262
Arnold Marc Gorter (Almelo 1866-1933 Amsterdam)
Farmhouses in Drenthe
The Vordense beek in autumn
signed W: Roelofs. (lower right)

oil on panel
26 x 44.5 cm.
signed AM Gorter (lower right)

oil on canvas
75.5 x 97 cm.
5,000-7,000
US$6,400-8,900
PROVENANCE:
Mr. J.P. Holbrook Gaskell (1813-1909), Wolton Wood, Liverpool, before 1909.
with P. & D. Colnaghi & Co, London.
It has been suggested the farms near Aalden are depicted.
2,500-3,500
US$3,200-4,400
203
263
Willem Maris (The Hague 1844-1910)
Cows grazing near a stream
signed Willem Maris (lower right)
oil on canvas
86.5 x 126.5 cm.
8,000-12,000
US$11,000-15,000
PROVENANCE:
In possesion of the family of the present owner since circa 1907.
264
Huis ten Bosch in winter
signed Louis Apol f. (lower left)
oil on canvas
55 x 76 cm.
18,000-25,000
US$23,000-32,000
PROVENANCE:
205
265
Bernardus Johannes Blommers
(The Hague 1845-1914)
Playing in the surf
signed Blommers (lower left)
oil on canvas
65 x 100 cm.
40,000-60,000
US$51,000-76,000
PROVENANCE:
Anonymous sale; C.F. Roos & Cie., Amsterdam, 18 February
1902, lot 74.
with The Fine Art Galleries, Montreal, by 1903.
Anonymous sale; Waddingtons, Toronto, 21 November
2005, lot 202.
The theme of the present lot was one of the artists favorite subject matters. Blommers depicted the young
fsherwomen with their children playing in the surf in various works. In the 1890s the artist moved to the
fshing-village Katwijk. His previous residence Scheveningen was rapidly turning into a wordly beach resort
and had lost its charm in Blommers eyes. Katwijk was still an unspoilt fshing village and provided the artist
with renewed inspiration to paint his favourite subject: carefree children absorbed in their daily activities and
play. Local children would often pose on the beach or in his studio. At the turn of the century the popularity of
these pictures was not limited to the Netherlands alone. British, American and Canadian collectors also held the
The Hague School artists in high esteem.
266
Jan Voerman Sr. (Kampen 1857-1941 Hattem)
A cloth merchant in the Jewish Quarter, Amsterdam
signed J Voerman (lower right)
oil on canvas
50.5 x 35.5 cm.
Painted circa 1883-84.
3,000-5,000
US$3,900-6,400
PROVENANCE:
In possession of the family of the present owner since circa 1907.
266
l267
Johan Hendrik van Mastenbroek (Rotterdam 1875-1945)
Shipping barges along a quay, Rotterdam
signed and dated J H.v. Mastenbroek 1903 (lower left)
220 x 200 mm.
Executed in 1903.
2,500-3,500
267
US$3,200-4,400
207
268
Meijer de Haan (Amsterdam 1852-1895)
Asleep in the synagogue, Amsterdam
signed MJ de Haan (lower left)
oil on panel
53 x 38.5 cm.
7,000-10,000
US$8,900-13,000
PROVENANCE:
In possession of the family of the present owner since circa 1907.
EXHIBITED:
(Probably) Amsterdam, Maatschappij Arti et Amicitae, Tentoonstelling van kunstwerken
van Levende Meesters, 1879-80, no. 94, as: Ingesluimerd.
LITERATURE:
(Probably) Jelka Krger, Meijer de Haan: A master revealed, Amsterdam, 2009, p. 152,
as: Ingesluimerd (Asleep), circa 1879, further details unknown.
Meijer de Haan was born into a successful Jewish family of biscuit manufacturers in
Amsterdam. Educated by P.F. Greive (1811-1872), his early work from his Amsterdam
period includes many depictions of Jewish genre scenes, clearly infuenced by
his roots. These works, including the present lot, stand in sharp contrast to his
later artistic style, which changed dramatically in terms of style, light and palette
when in 1888 he travelled to France, where he became close friends with Theo van
Gogh, Vincent van Goghs brother. His later work shows clear resemblance to the
post-impressionist movement, and contemporaries like Paul Gauguin (1848-1903),
mile Bernard (1868-1941) and Paul Srusier (1864-1927).
269
Eduard Frankfort (Meppel 1864-1920 Laren)
On safari, South Africa
signed and dated Ed: Frankfort / 06. (lower right)
oil on board
33 x 76.5 cm.
Painted in 1906.
2,000-3,000
US$2,600-3,800
In 1905-6 Frankfort travelled through South-Africa for almost a year, where he vistited his sister. Here he made
several portraits as this was one of his specialities, apart from the Jewish religious pictures he was known for.
During his travels he was inspired by the landscape and its inhabitants as can be seen in the present lot.
270 No Lot
209
271
Johan Barthold Jongkind (Lattrop 1819-1891 La Cte-Saint-Andr)
Bateau quai, Hollande
signed Jongkind (lower left)
oil on canvas
33.5 x 41 cm.
Painted circa 1868.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Anonymous sale; Htel Drouot, Paris, 24 March 2004, lot 84.
LITERATURE:
Victorine Hefting, Jongkind, Sa vie, son oeuvre, son poque, Paris, 1975, p. 253, no. 640, as: La rivire prs de Delfshaven
(incorrectly described as bearing the date 1875 and with incorrect dimensions 24 x 32.5 cm.).
Adolphe Stein, Catalogue critique de loeuvre, Peintures, I, Paris, 2003, p. 214, no. 513, as: Bateau quai, Hollande.
Please note that this work will be included in the forthcoming Jongkind catalogue raisonn being prepared by
the Galerie Brame & Lorenceau in collaboration with Janine Sinizergues.
272
273
272
Willem Roelofs (Amsterdam 1822-1897 Berchem)
273
Jozef Israls (Groningen 1824-1911 The Hague)
A polder landscape with cows
In the dunes
signed W: Roelofs. (lower right)

335 x 495 mm.
signed Jozef Israels. (lower left)

177 x 322 mm.
3,000-5,000
US$3,900-6,400
2,000-3,000
US$2,600-3,800
211
274
Milking time
signed A. Mauve. (lower right)
420 x 675 mm.
6,000-8,000
US$7,700-10,000
PROVENANCE:
with Doig, Wilson & Wheatley, Edinburgh.
274
275
Bernardus Johannes Blommers (The Hague 1845-1914)
The firt
signed Blommers (lower right)
charcoal, watercolour and gouache on paper
710 x 510 mm.
5,000-7,000
US$6,400-8,900
PROVENANCE:
276-277 No Lots
275
278
Tending the fock
signed A Mauve (lower right)
340 x 260 mm.
3,000-5,000
US$3,900-6,400
PROVENANCE:
with C.R. Cookson, Kendal.
278
279
A river landscape with sailing vessels
signed J.H. Weissenbruch f (lower left)
507 x 369 mm.
2,500-3,500
US$3,200-4,400
EXHIBITED:
Laren, Singer Museum/Breda, Cultureel Centrum de Beyerd, Tentoonstelling J. en
J.H. Weissenbruch, 10 December 1960-20 March 1961, no. 95 (no. 87), as: Riviergezicht
met botters.
279
213
280
A laundress by a stream
signed J.H Weissenbruch f (lower left)
470 x 660 mm.
10,000-15,000
US$13,000-19,000
PROVENANCE:
Anonymous sale; Sothebys, New York, 8 March 2000, lot 39 (USD. 31.050).
281
282
281
Willem Bastiaan Tholen (Amsterdam 1860-1931 The Hague)
Herfst (Ewijkshoeve): Ewijckshoeve in the fall
Hanging the laundry
signed Tholen. (lower left)

oil on canvas
59 x 75 cm.
3,000-5,000
282
Paul Joseph Constantin Gabril
(Amsterdam 1828-1903 Scheveningen)
US$3,900-6,400
PROVENANCE:
with Kunsthandel Huinck & Scherjon, Amsterdam, where acquired by the family of the
present owner.
signed and dated Gabriel f: / 79 (lower left)

oil on canvas laid down on panel
32 x 35.5 cm.
Painted in 1879.
3,000-5,000
PROVENANCE:
US$3,900-6,400
215
283
A rowing boat in the breakers
signed and dated H W Mesdag 1869 (lower left)
oil on canvas
44.5 x 103.5 cm.
Painted in 1869.
18,000-25,000
US$23,000-32,000
PROVENANCE:
EXHIBITED:
Kampen, Stedelijk Museum Kampen, Hendrik Willem Mesdag en James Ensor: strand- en zeegezichten, 19 June-20 August 2004.
Vlieland, Museum Tromps Huys, Water Verft. Vijftig jaar Tromps Huys op Vlieland, 23 April-20 November 2010.
Mesdags visit to the North German island of Norderney in the summer of 1868 proved to be a turning point in his
career. Fascinated by the many faces of the sea, he switched from genre scenes to the sole portrayal of sea scapes.
A year later he painted the present lot, an exceptional work which shows us the subject which Mesdag would continue
to deploy throughout the rest of his artistic career. It represents one of the frst examples for which he would gain wide
recognition, unparalleled by any other seascape painter. These paintings depicted the sea with a strength and originality
unlike any other. In the present lot, the interaction between sky and water dominates the canvas, strikingly emphasising
the power of nature at its best.
In terms of topic and execution, it strongly reminds of one of Mesdags most applauded seascapes, painted a year after the
present lot, Les brisants de la mer du Nord (oil on canvas, 90 x 180 cm. 1870, Van Gogh Museum, Amsterdam) for which
he received a Gold Medal on the Paris Salon of 1870, after which his reputation as a seascape painter was established.
284 No Lot
285
A snowy polder landscape with a windmill
signed Louis Apol f. (lower right)
oil on canvas
52.5 x 42.5 cm.
Painted before 1900.
12,000-18,000
US$16,000-23,000
PROVENANCE:
Anonymous sale; Sothebys, Amsterdam, 18 October 2005, lot 221.
217
l286
Jan Zoetelief Tromp (Batavia 1872-1947 Breteuil-sur-Iton)
Homewards
signed J Zoetelief Tromp (lower right)
oil on canvas
41.5 x 51 cm.
20,000-30,000
US$26,000-38,000
PROVENANCE:
EXHIBITED:
Domburg, Marie Tak van Poortvliet Museum, Nieuw Licht! Jan Toorop en de Domburgsche Tentoonstellingen 1911-1921,
19 June-6 November 2011.
LITERATURE:
Francisca van Vloten, Nieuw Licht! Jan Toorop en de Domburgsche Tentoonstellingen 1911-1921, Deventer, 2011, pp. 44-45.
THE PROPERTY OF A GENTLEMAN (LOTS 287-294)
287
Geo Poggenbeek (Amsterdam 1853-1903)
A sunny afternoon on the Brink, Laren
signed Geo Poggenbeek (lower right)
29.5 x 51 cm.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Acquired directly from the artist by George Hendrik Breitner (1857-1923), Aerdenhout, before 1903.
with Kunsthandel D. Sala & Zonen, Leiden.
Acquired from the above sale by the present owner (Df. 51,750).
EXHIBITED:
(Probably) Amsterdam, Arti et Amicitiae, Eere-tentoonstelling Geo Poggenbeek, January-February 1904, no. 24,
as: Brink te Laren.
219
288
Nicolaas van der Waay
Vrijdagavondconcert, Artis: after the concert,
in the gardens of Artis Royal Zoo, Amsterdam
signed N.v.d.Waay. (lower right)
chalk, watercolour and goauche on paper
450 x 700 mm.
Executed circa 1890-1913.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Anonymous sale; Glerum, Amsterdam, 19 April 2004, lot 188
(where incorrectly titled: In de Concertpauze, in de tuinen
van het Concertgebouw).
Acquired from the above sale by the present owner.
(Photograph, Artis Terras.

Stadsarchief, Amsterdam).
Van der Waay was renowned for his captivating impressionist city views of Amsterdam in which
he captured the cosmopolitan and mundaine side of city life (see also lot 316). Depicted are the
gardens of Artis Natura Magistra, founded in 1838 as a society for the emerging bourgeoisie
of Amsterdam, today better known as Artis, zoo of Amsterdam. At the end of the 19th century
outdoor concerts were held at their premises. These Vrijdagavondconcerten, or Friday night
concerts, attracted many visitors from Amsterdam and its surroundings. In the present lot the
pause halfway the concert is captured with elegantly dressed visitors resting on the outdoor
terrace amidst the trees of the park.
289
290
289
Isaac Israels (Amsterdam 1865-1934 The Hague)
l290
Hendrik Jan Wolter (Amsterdam 1873-1952 Amersfoort)
Donkey ride on the beach, Scheveningen
Ebbe II, Veere
signed Isaac Israels (lower right)

230 x 325 mm.
signed HJ Wolter (lower right); and signed again and inscribed with title
Ebbe II (on the reverse)
oil on canvas
40.5 x 53 cm.
8,000-12,000
US$11,000-15,000
8,000-12,000
PROVENANCE:
with Kunsthandel Frans Bufa & Zonen, Amsterdam (Df. 250).
Acquired from the above by Mr. Jan Michiel Pieter Glerum (1879-1930), Amsterdam, 1916.
By descent to Mrs. Anna Christina Gerdruth Glerum-Rincker, Amsterdam.
Anonymous sale; Glerum, The Hague, 27 March 1995, lot 85.
PROVENANCE:
US$11,000-15,000
221
(a pair)
291
Raffaele Ragione (Naples 1851-1925)
Dans Le Parc Monceau
the frst signed, dated and inscribed R. Ragione / Paris 1911 (lower left);
the second signed R. Ragione (lower right)
oil on canvas
22.5 x 34 cm.; 22.5 x 37 cm.
Painted in 1911.
a pair (2)
15,000-20,000
US$20,000-25,000
PROVENANCE:
EXHIBITED:
Paris, Societ Artistique de Clichy, year unknown, as: dans le parc Monceau.
l292
Hendrik Jan Wolter
(Amsterdam 1873-1952 Amersfoort)
A view of the Amstel, Amsterdam
signed HJ Wolter (lower left)
oil on canvas
60.5 x 73 cm.
60,000-80,000
US$77,000-100,000
PROVENANCE:
Anonymous sale; Christies, Amsterdam, 6 December 1995,
lot 173.
EXHIBITED:
Amersfoort, Museum Flehite, Op reis met Hendrik Jan Wolter
(1873-1952), 27 March-20 June 2010.
LITERATURE:
Maarten Jager, Op reis met Hendrik Jan Wolter (1873-1952),
Amersfoort, 2010, p. 64, as: Amstel.
In 1914, Hendrik Jan Wolter moves from Laren to Amsterdam, where he moved into a studio on the third
foor of the Amsteldijk 47, situated along the river Amstel. From the start, he was highly fascinated by
the view from his studio window and he made a series of Amstelviews that can be seen as his best works.
These Amstelviews recurrently show an identical composition, with in the foreground the bridge to the
Ceintuurbaan, behind which the large imposing Amstel hotel is clearly recognisable, and in the distance a
glimpse of the theatre Carr and the Magere brug can be identifed. Though the subject and composition
never deviated from each other, the shifting play of light and ever-changing colour of it over the water
captivated the artist time and again. These atmospherical Amstelviews are created at the height of his
impressionist period, and are characterized by their hazy impression of the Amstel. Their moods range
from menacing thunder clouds and bright winter sun, to radiant evening sun and soft summer haze of
which the present lot is a striking example. The alternation of hazy blue tones, soft pastel shades, and
golden glow that transcend this painting, beautifully fuse together.
The infuence of French Impressionist painters like Georges Seurat (1859-1891), Claude Monet (1840-1926)
and Paul Signac (1863-1935) is unmistakably visible in these series, in which Wolter approaches these city
views of Amsterdam with a Parisian lightness and vivacity. Thus, his large paintings of the Amstel are full of
light, irrespective of the weather. In sharing the impressionists concern with light and atmospheric efects,
his primary focus lay on the recording of moods and efects of the weather and its refection in the water,
so vividly conveyed by him. This Amstel view is a splendid testimony of his fascination with the continuous
change of light and colour, which throughout the years continued to capture his imagination.
Als hij pointilleerde, was dit niet om het pointillisme, maar omdat hij zocht naar een sterkere,
lichtere, een zonniger kleur, en kon hij dit op een andere wijze bereiken dan was hem dit ook goed,
m.a.w. zijn techniek bleef ondergeschikt, en was hem slechts dienstbaar om op de beste wijze uit
te kunnen drukken wat hij zag, wat hij wilde weergeven: stemming, ruimte, atmosfeer....!
(R.W.P. de Vries Jr., H.J. Wolter, in: Elseviers Gellustreerd Maandschift, 1925, pp.300-301)
(Gerrit Hendricus Heinen, H. Kleinmann & Co., photograph,

1895-1896, Amsteldijk near the Ceintuurbaan, seen
northwards, from the roof of Amsteldijk 42, Amsterdam
(Rijksmuseum, Amsterdam).
223
293
Floris Arntzenius (Surabaya 1864-1925 The Hague)
A view of the Spuistraat, The Hague
signed Fl. Arntzenius (lower left)
oil on panel
27.5 x 18.5 cm.
12,000-18,000
US$16,000-23,000
PROVENANCE:
225
294
Johannes Christiaan Karel Klinkenberg (The Hague 1852-1924)
A view on the Amstel, with the Blauwbrug and the Zuiderkerk, Amsterdam
oil on canvas
39 x 53 cm.
35,000-50,000
US$45,000-64,000
PROVENANCE:
LITERATURE:
Willem Laanstra, J.C.K. Klinkenberg 1852-1924 De meester van het zonnige stadsgezicht, Laren, 2000, p. 121, no. O/39-18.
VARIOUS PROPERTIES
295
Lon Augustin LHermitte
(Mont-Saint-Pre 1844-1925 Paris)
On the square
signed L.Lhermitte (lower right)
chalk on paper
415 x 365 mm.
6,000-8,000
US$7,700-10,000
295
!296
Franz von Stuck
(Tettenweis 1863-1928 Munich)
Portrait of a young woman, en profl
signed FRANZ / STVCK (centre right)
pencil, chalk and oil on panel
58 x 50.5 cm., unframed
Executed before 1905.
6,000-8,000
US$7,700-10,000
PROVENANCE:
Acquired directly from the artist by Mr. Ernst A. Moll
(1880-1965) and thence by descent to the present owner.
Mrs. Margot Th. Brandlhuber from the Museum Villa

Stuck confrms the authentictiy of the present lot
based on a photograph and dates the picture from
1905 or earlier, as Stuck has been knighted in this year
and signed his paintings from this period with FRANS
VON STUCK.
296
227
297
Eugne Boudin (Honfleur 1824-1898 Deauville)
Sortie de messe en Bretagne: the widows of Touque, Bretagne
signed and annotated A Mr Ferdinand Martin. E Boudin (lower right)
oil on panel
27 x 22 cm.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Mr. Ferdinand Martin, Le Havre.
Mr. Muller, Paris.
Anonymous sale; Tajan, Paris, 27 October 1995, lot 13.
with Galerie Beres, Paris, 2006, where acquired by the present owner.
LITERATURE:
Robert Schmit, Eugene Boudin 1824-1898, Vol. 1, Paris, 1973, p. 137, no. 373, as: Sortie de messe en Bretagne.
l298
Gaston-Hippolyte-Ambroise Boucart (Angoulme 1878-1962),
Eugne-Henri Cauchois (Rouen 1850-1911 Paris),
Hubert Bellis (Brussels 1831-1902 Sint-Joost-ten-Node)
A palette with vessels near a coastline; and A palette with pink and white roses; and A palette with
white, pink, red and yellow roses
the frst signed G. Boucart. (lower right); and the second inscribed and signed A madame Pellerin / H.
Cauchois (lower right); and the third signed H. Bellis. (upper left)
oil on palette
27 x 37 cm.
a set of three (3)

4,000-6,000
PROVENANCE:
Mrs. Pellerin.
US$5,100-7,600
229
299
Eva Gonzals (Paris 1849-1883)
PROVENANCE:
The artists estate; Hotel Droot, Paris, 20 February 1885, lot 18.
Mr. Jean-Raymond Gurard, the artists son, Paris.
with Alfred Daber, Paris, by 1959.
with Noortman Gallery, London.
Recovered by the Art Loss Register and ofered on behalf of the insurers.
A bouquet of a dafodil and various other fowers

signed Eva Gonzals (lower right)
oil on canvas
35.7 x 24.7 cm.
12,000-18,000
EXHIBITED:
US$16,000-23,000
Monaco, Sporting Club, Eva Gonzals, March 1952, no. 18.

Paris, Galerie Daber, Eva Gonzals, May-June 1959, no. 21.
Nagoya, Aichi Prefectoral Museum/Tokyo, Takashimaya Art Gallery/Osaka, Takashimaya
Art Gallery/Utsunomiya, Tochigi Prefectoral Museum of Fine Arts/Kunamoto, Prefectoral
Museum, Six femmes-peintres, 29 March-14 August 1983, no. 37.
Maastricht, Noortman, La peinture franaise au XIXe sicle, 18 September-20 October 1984, no. 9.
LITERATURE:
M.-C. Sainsaulieu & J. de Mons, Eva Gonzals, 1849-1883, tude critique et catalogue
raisonn, Paris, 1990, pp. 106-107, no. 36.
THE PROPERTY OF A DUTCH GENTLEMAN
300
Eugne Boudin
(Honfleur 1824-1898 Deauville)
Le Havre. Une corvette russe dans le bassin
de lEure
signed and dated E. Boudin. / 1888. (lower right)
and inscribed Le Havre. (lower left)
oil on canvas
41 x 55.5 cm.
Painted in 1888.
120,000-180,000
US$160,000-230,000
PROVENANCE:
Acquired directly from the artist by Pieter van der Velde,
Le Havre, 1889-1919.
Anonymous sale; Hotel Droot, Paris, 1 March 1926, lot 27.
With Kunsthandel Huinck & Scherjon, Utrecht, 1929, where
acquired by the family of the present owner.
EXHIBITED:
Paris, cole Suprieure Nationale des Beaux-Arts,
Exposition des oeuvres dEugne Boudin, 9-30 January
1899, no. 249.
Enschede, Openbare Leeszaal, Tentoonstelling van
Hollandsche en Fransche Kunst uit de ksth. Huinck te
Utrecht, April 1929, no. 9.
Utrecht, Kunsthandel Huinck & Scherjon, Tentoonstelling
van Hollandsche en Fransche Kunst, May 1929, no. 6.
Rotterdam, Museum Boymans van Beuningen,
Kunstschatten uit Nederlandse Verzamelingen, 19 June25 September 1955, no. 174, as: Le Hvre, entre des grands
bassins.
LITERATURE:
Robert Schmit, Eugene Boudin 1824-1898, Vol. II, Paris, 1973,
no. 1726, p. 168 as: Le Havre. Une corvette Russe dans le
basin de lEure.
Eugne Boudin was born in Honfeur, Normandy, as son of a ships captain of one of the frst steamships
travelling between Le Havre and Honfeur, where the young Eugne worked as a cabin boy. Already from
a young age he was exposed to the ever-changing sea and sky that would become the primary focus in
his paintings. In his early days he remained at Le Havre where he opened a framing shop. Here he was
visited by landscape painters whose work he also sold. One of them, Jean-Francois Millet (1814-1875),
encouraged him to take up painting. Sponsored by his former artist-clients, Boudin visited Paris, to study
the works in Muse du Louvre. While in Paris, he also established contact with painters of the Barbizon
School. Boudin quickly adopted a pattern he would continue to follow throughout his career, alternating
his time between the seaside and Paris: in summer he found inspiration at the shores of Brittany and
Normandy, where especially river estuaries and harbours most attracted Boudins attention, making
meticulously rendered pencil drawings and quickly brushed watercolours. Over winter, he would
complete his outdoor sketches by developing them into paintings in his Parisian studio. He exhibited
his paintings at the Parisian Salons of the Acadmie des Beaux-Arts, which helped him gain ofcial
recognition.
Boudin was largely self-taught and had a strong preference for working directly from nature, informed
by a sharp eye for the changing character of the sea, sky, light, and atmospheric efects altogether,
which he animated by his deployment of lively yet short brushstrokes. Although en-plein-air painting
was already an established tradition by the early nineteenth century, Eugne Boudin played a key
role in promoting this in France. The sheer quantity of his oeuvre that focused on this theme is
testimony to his commitment to the principals of en- plein-air painting. Inspired by Camille Corot
(1797-1875), Boudin had begun working in this manner as early as the 1850s. He participated in the
frst Impressionist exhibition in 1874 and his pronouncement to the aspiring painter Claude Monet
(1840-1926), to paint out of doors and to record nature truly seen in all its variety and freshness,
summarizes the aim of his work. In an interview that Monet gave to Boudins biographer Georges
Jean-Aubry in the early 1920s, Monet declared, If I have become a painter, I owe it all to Boudin
(quoted in: P.H. Tucker, The Impressionists at Argenteuil, New Haven and London, 2000, p. 42).
In the present lot the Bassin of the old port of Le Havre is depicted with a Russian commander tall ship
on the trubutary river of the river Seine. In this area of the port mainly steamships and commercial
ships were received. In the distance, the docks and quays of Le Havre can be detected. The foating
refections in the rippling of the water are suggested through the application the brushwork in which
the harmonious alternation of the green, blue, and grey tones beautifully act as a counterpoint to
the calmness yet the immensity of the sky. Boudins ingenuity lay in conveying the subtlety of midday
sunshine, radiant sunsets, and impending storm clouds led Corot to laud Boudin as king of the skies. The
present lot is an extraordinary and striking example of his mastery of sea, sky and light.
Everything that is painted directly and on the spot has always

a strength, a power, a vivacity of touch which one cannot
recover in the studio ... three strokes of a brush in front of
nature are worth more than two days of work at the easel
(Eugene Boudin, in: Vivien Hamilton, Boudin at Trouville, London, 1992, p. 16, 1992)
(Corvette Douvis-Dagmar in the harbour lock of the

lEure, Le Havre, photographic postcard).
231
301
302
VARIOUS PROPERTIES
301
Paul-Marie Lenoir (Paris 1843-1881 Caro)
302
Charles Hermans (Brussels 1838-1924 Menton)
Le bac Japonais
La toilette dans le jardin
signed and annotated mon ami Louis Saurel F. Lenoir. (lower left)
oil on canvas
39 x 65.5 cm.
signed C Hermans. (lower left)

oil on canvas
95 x 126.5 cm
4,000-6,000
5,000-7,000
US$5,100-7,600
PROVENANCE:
Gifted by the artist to Louis-Jules Saurel (1825-1860).
Lenoir showed another painting with a similar subject titled The Japanese Ferry
at the Paris Salon of 1872, as is suggested in Louis Viardot, Masterpieces of French
Art: illustrated (Philadelphia, 1883).
US$6,400-8,900
233
l303
Jane Peterson (Elgin 1876-1965 Kansas)
Canale della Giudecca, with the San Giorgio Maggiore church in the distance, Venice
signed Jane Peterson (lower left)
oil on canvas
79 x 61 cm.
15,000-25,000
US$20,000-32,000
304
305
l304
Jan Eversen (The Hague 1906-1995 Arnhem)
l305
Cherries in a bowl
A stoneware jug with plums, tomatoes, pickles and an artichoke

on a ledge
signed and dated J.H. Eversen. / 1955 (lower left)

oil on canvas
30.5 x 40.5 cm.
Painted in 1955.
3,000-5,000
US$3,900-6,400
signed and dated J.H. Eversen. / 1954 (lower left)

oil on plywood
44 x 55 cm.
Painted in 1954.
4,000-6,000
US$5,100-7,600
PROVENANCE:
with The Fine Art Society Ltd., London.
PROVENANCE:
Acquired directly from the artist by the family of the present owner in the late 1950s.
235
l306
Edouard Corts (Lagny-sur-Marne 1882-1969)
Place de la Madeleine in winter, Paris
signed Edouard Cortes (lower right)
oil on canvas
24.5 x 33.5 cm.
8,000-12,000
US$11,000-15,000
l307
Angelina Drumaux (Bouillon 1881-1959 Brussels)
A colourful summer bouquet
signed A. Drumaux (lower left)
oil on canvas
80 x 65 cm.
3,000-5,000
US$3,900-6,400
307
308
Kees van Waning (The Hague 1861-1929)
Bomschuit on the beach
signed and dated C. van Waning / f 1890 (lower right)
oil on canvas
81 x 65 cm.
Painted in 1890.
3,000-5,000
US$3,900-6,400
Please compare to a painting with a similar composition by Jacob

Maris, De Bomschuit (oil on canvas, 124 x 125 cm.) in the collection of
Gemeentemuseum, The Hague (inv.no. 16-1930).
308
237
(recto)
l309
A young girl from Zeeland (recto): a view on the Amstel with the Magere
brug, Amsterdam (verso)
with studio stamp (on reverse)
oil on plywood
43.5 x 34.5 cm.
8,000-12,000
(verso)
US$11,000-15,000
310
311
l310
Louis Soonius (The Hague 1883-1956)
311
August Willem van Voorden (Rotterdam 1881-1921)
Children playing in the surf
Construction work in the Rotterdam harbour
signed Louis Soonius (lower right)

oil on canvas
33.5 x 48 cm.
signed and dated August. Wil.v Voorden. / 1906 (lower left)

oil on canvas
96.5 x 148.5 cm.
Painted in 1906.
3,000-5,000
US$3,900-6,400
2,500-3,500
US$3,200-4,400
239
312
312A
312
Gerhard Arij Ludwig Morgenstjerne Munthe
(Dsseldorf 1875-1927 Leiden)
l312A
Fishermen on the beach

signed G. Morgenstjerne Munthe (lower right)
oil on canvas
65 x 109.5 cm.
stamped Atelier HJ. Wolter and inscribed and dated 1918 (on the reverse)
oil on paintersboard
25 x 48 cm.
Painted in 1918.
8,000-12,000
3,000-5,000
US$11,000-15,000
View on the Amstel with the Weesperzijde, Amsterdam
US$3,900-6,400
313
Self portrait with sigaret
signed and dated Isaac / Israels / April 1909 (lower left)
oil on canvas
40.5 x 33 cm.
Painted in 1909.
8,000-12,000
US$11,000-15,000
313
314
Portrait of Mr. Hecht with a bowler hat
signed Isaac / Israels (lower right)
oil on panel
35 x 27 cm.
4,000-6,000
US$5,100-7,600
LITERATURE:
Anna Wagner, Isaac Israels, Venlo, 1985, p. 80, no. 83.
314
241
315
Isaac Israels
Preparing for the ride, The Hague
signed and dated Isaac Israels / 1881 (lower right);
and with a sketch on the reverse
oil on panel
60.5 x 35 cm.
Painted in 1881.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Acquired directly from the artists father Jozef Israels
(1824-1911), and thence by descent to the present owners
(according to family narration).
Israels painted the present lot in 1881 at the age of sixteen, only three years after entering the The Hague
Drawing Academy together with George Hendrik Breitner (1857-1923), Floris Verster (1861-1927) and Marius
Bauer (1867-1932). In the same year he succesfully debuted at the Tentoonstelling van Levende Meesters in
The Hague with a picture entitled De repetitie van het signaal (Mesdag Collectie, The Hague, inv.no. 152), that
was bought by Hendrik Willem Mesdag who recognised his talent at an early stage. Isaacs favorable reception
here immediately launched him upon a national and international artistic career. First as a painter of portraits
and large-scale military pieces and later as the leading fgure of the Amsterdam Impressionists. Although Israels
early work came into being during the heyday of the The Hague School painters, the child prodigy did not blindly
adapt their artistic idiom but developed a characteristic style of his own. In contrast to the atmospheric imagery
propagated by the painters of the The Hague School, the young artist emphasised the austere quality of his
subject-matter.
316
Nicolaas van der Waay (Amsterdam 1855-1936)
Amsterdamsch Stadsgezicht: het oude brugje op de Stadhouderskade bij de Boerenwetering
ziende naar de P.C. Hooftstraat: the Stadhouderskade in winter, Amsterdam
signed N. v.d. Waay (lower left) and signed again and inscribed with title (on a label attached to the
reverse)
oil on canvas
75.5 x 101 cm.
10,000-15,000
PROVENANCE:
LITERATURE:
Pieter A. Scheen, Lexicon Nederlandse Beeldende Kunstenaars 1750-1950, The Hague, 1970, no. 346,
as: Amsterdams stadsgezicht in de sneeuw.
Carole Denninger, Amsterdam - 365 Stadsgezichten, Bussum, 2008, no. 35.
317 No Lot
US$13,000-19,000
243
318
Isaac Israels
Andrea and Jan de Bloeme with their
governess, Scheveningen
oil on canvas
57 x 75.5 cm.
30,000-50,000
US$39,000-64,000
PROVENANCE:
Acquired directly from the artist and thence by descent to
the present owners.
EXHIBITED:
The Hague, Van Voorst van Beest Gallery, Isaac Israels
1865-1934, 1989.
LITERATURE:
Dolf Welling, Isaac Israels deelt nog steeds zijn vreugden
met ons, in: Tableau, 12 November 1989, p. 72.
Dolf Welling, Isaac Israels. The sunny world of a Hague
cosmopolitan, The Hague, 1991, p. 81.
Around 1900 the fshing village Scheveningen developed into a sophisticated beachresort which was popular
with the Dutch high society. The village not only attracted wealthy tourists but artists alike: Isaac Israels was one
of the many artists who spent his summers in Scheveningen during the Belle Epoque. From 1895 onwards he
would stay during the summer with his father Jozef, who was in the habit of renting a villa at the Oranje Hotel.
The famous German painter Max Liebermann (1847-1935), who was a family friend, often came to stay during
the summer months. The three artists would paint in Scheveningen together, inspiring each other in their work.
Even in the years when Isaac was living abroad, he would still return to The Hague and Scheveningen in the
summer to work there.
Women - both working class and elegant ladies - fascinated the artist throughout his career and play a central
role in his oeuvre. The artists fascination for the dressed-up beauty in the present lot is obvious: he has paid
carefull attention to the depiction of her elegant features. Although it seems at frst glance that the present
lot shows an anonymous mother with her children, in this case the identity of the sitters is known because the
painting has remained with the descendants of the sitters. The children are Andrea de Bloeme and her younger
brother Jan. Their parents were friends of the artist and directly commissioned this work from Israels. The lady
accompanying the children is their governess. According to family history, the artist was enraptured by her
beauty and depicted her more than once. This identifcation also makes way for the identifcation of another
painting by the artist: the girl in a red dress sitting on her own on a fence by the beach can now be identifed as
Andrea de Bloeme (see: D. Welling, op.cit., p. 80).
319
319
Willem van Konijnenburg (The Hague 1868-1943)
320
Willem van Konijnenburg (The Hague 1868-1943)
Zonnegod: Apollo in his chariot
An eagle; and A dragonfy with a beetle; and A dragon
signed with initials WvK (lower left); and inscribed Laat de ziel gelijk de zon,
lichtend opgaan tot luister van den / dag tot heiliging van het leven.
(lower centre)
chalk and pastel on paper
810 x 100.5 mm.
Executed circa 1924.
the frst signed with initials and dated WvK / 14 Jan / 1918 (lower left); and the
second signed with initials WvK (lower left); and the third signed with initials
WvK (lower left)
chalk, charcoal, and pastel on paper
approx. 730 x 630 mm.
The frst executed in 1918; the second and third executed 1917-18.
and seven other works on paper by the same hand, all signed and framed (10)
6,000-8,000
US$7,700-10,000
5,000-7,000
US$6,400-8,900
PROVENANCE:
Acquired directly from the artist by P.J. Stokvis and thence by descent to the present owner.
EXHIBITED:
The Hague, Kunstzaal Kleykamp, W.A. van Konijnenburg, December 1926-1927, no. 6,
as: Zonsopgang.
LITERATURE:
Mieke Rijnders, Willem van Konijnenburg. Leonardo van de Lage Landen, Zwolle, 2008,
p. 318, no. 197.
A very similar work by the artist, Zonnewagen, is in the Gemeentemuseum,

The Hague (pencil on paper, 993 x 692 mm, where dated 1924).
320 (part)
PROVENANCE:
Acquired directly from the artist by P.J. Stokvis and thence by descent to the present owner.
LITERATURE:
Mieke Rijnders, Willem van Konijnenburg: Leonardo van de Lage Landen, Zwolle, 2008,
pp. 312-313, no. 147-149, as: Roofvogel in vlucht (where dated 1917-1918), Roofvogel in vlucht
(where dated 1918), Vechtende insecten (where dated 1917-1918).
245
321
322
321
Pieter Dupont (Amsterdam 1870-1911 Hilversum)
322
Pieter Dupont (Amsterdam 1870-1911 Hilversum)
Two plowing horses
Ploeg: the plow
signed and dated Dupont / 1907 (lower right)

485 x 640 mm.
Executed in 1907.
signed and dated Dupont / 1907 (centre right)

510 x 835 mm.
Executed in 1907.
2,000-3,000
US$2,600-3,800
2,500-3,500
US$3,200-4,400
PROVENANCE:
PROVENANCE:
with Kunstzaal Kleykamp, The Hague, by 1910, where acquired by the family of the present
owner.
with Kunstzaal Kleykamp, The Hague, by 1910, where acquired by the family of the
present owner.
EXHIBITED:
(Probably) Amsterdam, Arti et Amicitiae, Eere-tentoonstelling Prof. P. Dupont,
June-July 1911.
323
Floris Arntzenius (Surabaya 1864-1925 The Hague)
A still life with an East Indian cress in a ginger jar and a Chinese statue
signed Fl. Arntzenius (lower left)
oil on panel
60 x 30 cm.
6,000-8,000
US$7,700-10,000
PROVENANCE:
with Kunsthandel Borzo, s-Hertogenbosch, by 1965, where acquired by the family of the
present owner.
323
324
Willem Steelink Jr. (Amsterdam 1856-1928 Voorburg)
White violets in a ginger jar
signed and dated Wm Steelink. / 27 (upper right)
oil on panel
24 x 18 cm.
Painted in 1927.
1,500-2,500
US$2,000-3,200
PROVENANCE:
with Kunsthandel Ivo Bouwman, The Hague, where acquired by the present owner.
324
247
325
Pieter de Josselin de Jong (Sint-Oedenrode 1861-1906 Amsterdam)
A Japanese girl with a wagasa
signed P. dJdJ (lower right)
oil on canvas
112.8 x 76.6 cm.
5,000-7,000
US$6,400-8,900
After his training in Antwerp and Paris, De Josselin de Jong settled in 1883 in The Hague, where he quickly
became a well-known portraitist of the nobility and the grand bourgeoisie. In the same year he received a
Gold Medal from King William III and later he would receive many more awards. Around 1891 he was appointed
court painter and for 15 years he made many portraits of the royal family including the Queen Emma (1893),
King William III (1894) and Queen Wilhelmina (1898).
The present lot shows that De Josselin de Jong was infuenced by Japonisme. A Japanese girl in a beautifully
decorated white kimono is holding a wagasa (Japanese parasol). Japan was a country - previously shrouded in
mystery - which was only since 1853 accessible to outsiders again. Partly due to the world fair of 1862 in London
and 1867 in Paris, there arose a huge interest in Europe in the 70s for Japanese art and many artists like George
Hendrik Breitner, Vincent van Gogh and Claude Monet were afected by this. De Josselin de Jong was in his time
praised for his use of colour, as is visible in the present lot with its beautiful contrast of colours.
326
327
l326
l327
De Vlaamse Lotelingen: the Flemish conscripts
A still life with cheese, bread, butter and wine
signed and dated HJWolter.98. (lower right)

oil on canvas
85.5 x 100 cm.
Painted circa 1898.
signed and dated J.H. Eversen. 63 (lower right)

oil on canvas
41 x 61 cm.
Painted in 1963.
5,000-7,000
US$6,400-8,900
3,000-5,000
US$3,900-6,400
PROVENANCE:
PROVENANCE:
with Kunsthandel Richard Polak, The Hague.
with W.H. Patterson, London, where acquired by the present owner.
EXHIBITED:
Amersfoort, Museum Flehite, Op reis met Hendrik Jan Wolter (1873-1952),
28 March-20 June 2010.
LITERATURE:
Klaas de Poel, Hendrik Jan Wolter: schilder van licht en kleur, Zwolle, 1992, p. 29.
Maarten Jager, Op reis met Hendrik Jan Wolter (1873-1952), Amersfoort, 2010,
p. 21 (where dated 1899).
249
328
Henry Somm (Rouen 1844-1907 Paris)
At the exhibition
signed H. Somm (lower right)
350 x 270 mm.
3,000-5,000
US$3,900-6,400
328
329
Thophile Alexandre Steinlen
(Lausanne 1859-1923 Paris)
La Vnus des Cyprs
signed Steinlen (lower left)
chalk, pastel and black ink on paper
375 x 290 mm.
Executed in 1894.
2,000-3,000
US$2,600-3,800
PROVENANCE:
Dr. Sali Guggenheim, Zurich, before 1950 and thence by
descent; Christies, London, 27 June 1995, lot 249 (as part of
a series of twenty illustrations).
with Kunsthandel Ivo Bouwman, by 1995.
EXHIBITED:
Rotterdam, Kunsthal Rotterdam; Thophile-Alexandre
Steinlen - Meester van Montmartre, 22 September 200720 January 2008, no. 40 (where dated 1894).
329
l330
Willy Sluiter (Amersfoort 1873-1949 The Hague)
Portrait of the artist Piet van der Hem (1885-1961) with cigarette,
Volendam
signed, inscribed and dated Willy Sluiter / VD / 1918 (lower right)
oil on board
41.5 x 31 cm.
Painted in 1918.
1,500-2,500
US$2,000-3,200
PROVENANCE:
Mr. L.J. Wilson-van Gelder, The Hague.
Anonymous sale; Sothebys, Amsterdam, 7 June 2000, lot 20.
Acquired from the above sale by the present owners.
330
331
Jacobus van Looy (Haarlem 1855-1930)
Artichoke fowers
dated October / 1914. (upper right)
oil on panel
41 x 32 cm.
Painted in 1914.
2,000-3,000
US$2,600-3,800
LITERATURE:
Joyce van der Smit-Meijer, Chris Will (a.o.), Jacobus van Looy 1855-1930. Niets is zo
mooi als zien, Haarlem, 1998, p. 163, no. 143, as: Artisjokken.
331
251
l332
Cornelis Vreedenburgh (Woerden 1880-1946 Laren)
View of the Westerkerk with the Rozengracht and the Prinsengracht, Amsterdam
signed and dated C. Vreedenburgh. 1932 (lower right)
oil on canvas
71.5 x 58 cm.
Painted in 1932.
10,000-15,000
PROVENANCE:
Gifted to the parents of the present owner in 1945 as a wedding present.
US$13,000-19,000
333
Isaac Israels
Three waspitten strolling along the
Prinsengracht, Amsterdam
signed Isaac Israels (lower right)
chalk and charcoal on paper
440 x 535 mm.
3,000-5,000
US$3,900-6,400
333
l334
Anton Pieck
(Den Helder 1895-1987 Overveen)
A bustling street in winter
signed Anton Pieck (lower right)
pencil, chalk, ink, watercolour and gouache on paper
225 x 338 mm.
3,000-5,000
US$3,900-6,400
334
335
Isaac Israels
A cart pusher on the Prinsengracht, Amsterdam
chalk on paper
220 x 320 mm.
1,200-1,600
335
US$1,600-2,000
253
l336
Cornelis Vreedenburgh (Woerden 1880-1946 Laren)
A view of the Amstel with the Magere Brug, Amsterdam
signed and dated C. Vreedenburgh. 1926. (lower right)
61 x 91 cm.
Painted in 1926.
15,000-25,000
US$20,000-32,000
337
338
337
Jan Toorop (Poerworedjo 1858-1928 The Hague)
338
Houses near a road
A view of the Oudebrugsteeg and the Oude Kerk, Amsterdam
signed JH Toorop (scratched, lower left); and authenticated by G. van

Strijdonck (lower right), and again (on a label attached to the reverse)
oil on cardboard laid down on panel
27 x 36.5 cm.
Painted circa 1884.
signed Isaac / Israels (lower right)

charcoal on paper
470 x 585 mm.
Executed after 1887.
5,000-7,000
US$6,400-8,900
PROVENANCE:
with Kunstzaal Kleykamp, The Hague.
We kindly thank Gerard van Wezel for his help in cataloguing the present lot.
This painting will be included in the forthcoming catalogue raisonn prepared by
Gerard van Wezel.
2,500-3,500
US$3,200-4,400
255
339
A sunny day on the boulevard, Scheveningen
325 x 495 mm.
Executed circa 1915-1919.
20,000-30,000
US$26,000-38,000
PROVENANCE:
Acquired directly from the artist by A. Polak Danils, The Hague.
EXHIBITED:
Haarlem, De Hallen, Israels aan zee: Hollandse en Italiaanse strandtaferelen van Isaac Israels (1865-1934), 9 June-19 August 2007, no. 14.
Scheveningen, Muzee Scheveningen, Isaac Israels in Den Haag, 1 June-23 September 2012.
LITERATURE:
Antoon Erftemeijer, Israels aan zee. Hollandse en Italiaanse strandtaferelen van Isaac Israels (1865-1934), Haarlem, 2007, p. 18, no. 14.
END OF SALE
Important Notices
SYMBOLS USED IN THE CATALOGUE
Lot offered without reserve. This lot will be sold
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For each Lot the Buyers Premium is calculated

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might be required as this lot contains material from

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IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
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FROM ENDANGERED AND OTHER PROTECTED
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20/02/13
256
Explanation of Cataloguing Practice

PICTURES, DRAWINGS,
PRINTS AND MINIATURES
The following expressions with their accompanying
explanations are used by Christies as standard cataloguing practice. Our use of these expressions does not take
account of the condition of the lot or of the extent of
any restoration.
Buyers are recommended to inspect the property
themselves. Written condition reports are usually available on request.
Name(s) or Recognised Designation of an Artist without any Qualification
In our opinion a work by the artist.
* Attributed to
In our opinion probably a work by the artist in whole
or in part.
* Studio of / Workshop of
In our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.
* Circle of
In our opinion a work of the period of the artist and
showing his influence.
* Follower of
In our opinion a work executed in the artists style but
not necessarily by a pupil.
* Manner of
In our opinion a work executed in the artists style but
of a later date.
* After
In our opinion a copy (of any date) of a work of the artist.
Signed /Dated / Inscribed
In our opinion the work has been signed/dated/
inscribed by the artist.
With signature / With date /
With inscription
In our opinion the signature/date/inscription appears to
be by a hand other than that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate date
when prefixed with circa) on which the matrix was
worked and not necessarily the date when the impression was printed or published. Measurements are taken
where possible, from the platemark (P), otherwise they
record the size of the sheet (S) or the borderline of the
subject (L).
* This term and its definition in this explanation of
Cataloguing Practice are a qualified statement as to
authorship. While the use of this term is based upon
careful study and represents the opinion of specialists,
Christies and the consignor assume no risk, liability and
responsibility for the authenticity of authorship of any
lot in this catalogue described by this term.
Buying at Christies
CONDITIONS OF SALE
Christies Conditions of Sale and limited warranty are set
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Estimates are based upon prices recently paid at auction
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Absentee bids must be received at least 24 hours before the
auction begins.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated
below 2,200. Arrangements must be confirmed with the
Bid Department at least 24 hours prior to the auction at
+31 (0)20 575 59 50. Fax: +31 (0)20 575 59 74. Arrangements
to bid in languages other than Dutch and English must be
made well in advance of the sale date. Telephone bids may
be recorded. By bidding on the telephone, prospective
purchasers consent to the recording of their conversation.
AUCTIONEERS DISCRETION
The auctioneer can, acting reasonably: (a) refuse any bid; (b)
move the bidding backwards or forwards in any way he or she
may decide or change the bidding order; (c) withdraw or divide
any lot; (d) combine any two or more lots; (e) in the case of a
mistake (whether or not made by Christies) or a dispute as to the
successful bidder (whether during or after the auction, including
after the fall of the hammer) restart or continue the bidding,
cancel the sale of the lot or resell or reoffer a lot. If any dispute
arises after the auction the auctioneers decision is final.
SUCCESSFUL BIDS
The fall of the auctioneers hammer indicates the final bid, at
which time the buyer assumes full responsibility for the lot.
The results of absentee bids will be mailed after the auction.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to pay for purchases immediately after
the auction. Payment can be made in cash, cheque, or by
bank transfer in Euros to Christies Stichting Derdengelden:
ABN AMRO Bank (BIC/SWIFT code ABNANL2A), Apollolaan
171, 1077 AS Amsterdam. Account No. 54.76.17.100; IBAN:
NL79ABNA0547617100. By credit card in person at our
cashiers counter (fax or mail transactions are not possible);
Eurocard Mastercard, VISA, American Express (please note a
surcharge will apply).
It is Christies Company Policy not to accept any payments
in cash or cash equivalents of more than 7,500 or the
equivalent value in another currency per annum globally. All
cash payments made at Christies Amsterdam will require
formal identification. If you are active as a private person,
this identification may be a valid passport, European identity
card or driving licence. If you act on behalf of one or more
other persons, identification as above is required for this or
those person(s) in addition to your personal identification.
If you act on behalf of a company, please bring an original
extract of the registration with the Chamber of Commerce
(not older than three months) of your company in addition
to your personal identification.
Source: Dutch Law Mention Unusual Transactions and Dutch
Law Identification Service rendering.
Cheques and drafts should be made payable to Christies
Amsterdam B.V. Only Certified Bank Cheques i.e. those
cheques that are drawn on the bank, can be accepted as form
of payment in cases of immediate collection. Identification
as above may be required and a limit may apply. For further
information call the Cashier at +31 (0)20 575 52 11.
Please note that Christies will not accept payments for
purchased Lots from any party other than the buyer, unless
otherwise agreed between the buyer and Christies prior
to the sale.
LOCAL TAXES AND VAT
If a Lot is marked + or !, it will have a special VAT status and
will be subject to higher rates as follows:
! : Lot is imported from outside the EU. For each Lot the Buyers
Premium is calculated as 37.75% of the Hammer Price up to a
value of 30,000, plus 31.7% of the Hammer Price between
30,001 and 1,200,000, plus 22.02% of any amount in excess

of 1,200,000.
+ : 21% VAT applies to both the Hammer Price and the
Buyers Premium. The Buyers Premium is calculated for
each lot as 51.25% of the Hammer Price up to a value of
30,000, plus 45.2% of the Hammer Price between 30,001
and 1,200,000, plus 35.52% of any amount in excess of
1,200,000.
VAT
REFUNDS FOR BUYERS OUTSIDE THE EU
VAT charged on both the Hammer Price and the Premium may
be refunded provided the following conditions are met:
- Property must be exported from the EU within 2 months of
the date of the sale.
- Christies must be provided with proof of export bearing the
original customs stamp from the point of export from the EU.
Netherlands tax authorities will not accept photocopies.
- The purchase invoice must be addressed to a party resident
outside of the EU.
Christies remains liable to account for VAT on all Lots unless
the conditions listed above are satisfied. Therefore Buyers
will generally be asked to initially deposit all amounts of
VAT invoiced. To apply for a refund the appropriate export
evidence must be sent to Christies accounts department
clearly marked VAT REFUND. There will be an administration
charge of 35 payable to Christies for this service.
An immediate refund of VAT is possible if shipping is arranged by
Christies within 2 months of the date of the sale.
SHIPPING
A shipping form is enclosed with each invoice to buyers outside
of the Netherlands. It is the buyers responsibility to pick up
purchases or make all shipping arrangements. After payment
has been made in full, Christies can arrange property packing
and shipping at the buyers request and expense. Buyers should
request an estimate for any large items or property of high
value that require professional packing. For more information
please contact the Shipping Department at +31 (0)20 575 52 52.
INSURANCE AND STORAGE
Buyers are advised to arrange their own insurance cover as
soon as practicable after the sale.
Please note that (subject to availability of space at
our premises) all uncollected purchases may be transferred to
third party storage at your expense if you fail to arrange timely
collection or to issue instructions for shipping.
VAT
BUYERS FROM WITHIN THE EU
Buyers who are resident outside The Netherlands, but within
the EU, and who have obtained a valid VAT identification
number that has been made known to Christies before or
immediately after the sale, and who furthermore comply
with all other conditions specified by Christies, will be eligible
for a VAT rate of 0 %. The buyer guarantees to Christies the
correctness of all information provided. Lots that are sold in
accordance with the above shall be ineligible to be resold under
the Margin Scheme.
EXPORT/IMPORT PERMIT
Overseas buyers are advised to familiarise themselves with any
restrictions or licence requirements relating to their intended
purchases. In case of doubt, buyers are advised to consult their
local customs authority or a reputable international shipper.
Export licences in the Netherlands can usually be obtained
within two to four weeks. Sellers and Buyers are advised
that the Ministry of Education, Culture and Sciences may
designate cultural objects as protected cultural objects, in
which case restrictions with regard to the exportation and
transfer of title of these objects apply. Sellers and Buyers are
further advised that certain objects may fall within the scope
of EU-regulation no 3911/92, as a consequence of which an
export licence from the Ministry of Education, Culture and
Sciences may be required if the objects are to be exported to
a country outside of the EU.
An export licence issued by the Ministry of Agriculture,
Nature and Food Quality, Department CITES will be required
for the export of any item made of, or incorporating
(irrespective of percentage) animal material such as ivory,
whalebone, tortoiseshell, rhinoceros horn etc. and this
generally takes up to 8 weeks. Clients are advised to check
with the regulating body in the country of importation
regarding items within this category - some countries have
an absolute ban on the importation of certain materials.
14/10/14
258
Conditions of Sale
The following Conditions of Sale apply to the legal

relationship between Christies Amsterdam B.V.
(hereinafter: Christies) and the participants in the
auctions held by Christies and related activities. By
participating in the auction, the persons who bid at
the auctions held by Christies (hereinafter: Intending
Buyer(s)) accept the applicability of these Conditions of
Sale. Christies therefore request Intending Buyers to read
carefully both the Conditions of Sale and the definitions of
some of the terms used in the catalogue.
For ease of reference, the Conditions of Sale are divided
into sections: Section A gives a background to some of
the terms used in the Conditions generally; section B to
(Intending) Buyers; and section C contains some general
provisions.
(A) BACKGROUND TO TERMS USED IN
THESE CONDITIONS
1. In the conditions set out below, some terms are used
regularly that need explanation. They are as follows:
- The Buyer means the person with the highest bid
accepted by the auctioneer, assuming this highest bid is at
least equal to the Reserve, if any;
- The Buyers premium means the charge payable by the
Buyer as a percentage of the Hammer Price, at the rates set
out in Article B.4.;
- Condition report means additional information on a
particular lot in the catalogue, as supplied by Christies;
- The Consignment Agreement means the written
agreement between Christies and the Seller containing
the instruction from the Seller to Christies to sell the Lots
during one or several auctions;
- Forgery means a Lot constituting an imitation
originally conceived and executed as a whole with
a fraudulent intention to deceive as to authorship,
origin, age, period, culture or source where the correct
description as to such matters is not reflected by the
description in the catalogue and which at the date of the
auction had a value materially less than it would have had
if it had been in accordance with the description in the
catalogue. Accordingly, no Lot shall be capable of being
a Forgery by reason of any damage and/or restoration
work of any kind (including repainting);
- The Hammer Price means the amount of the highest bid
accepted by the auctioneer in relation to a Lot;
- Margin Scheme means that the Buyers Premium
includes VAT as set out in Article B.4;
- Lot means any object or set of objects accepted
by Christies for the purpose of selling the same at
the auction and described in the catalogue under one lot
number;
- Proceeds of Sale means the Hammer Price less the
commission and V.A.T. chargeable thereon and less all
costs payable to Christies;
- Purchase Price means the Hammer Price plus the
Buyers premium and all other costs payable to Christies
(including the resale royalty) plus any applicable VAT;
- The Reserve means the amount below which Christies
agree with the Seller that the Lot cannot
be sold;
- The Seller means the person offering an object or a set
of objects to Christies for sale at one of the auctions held
by Christies;
(B) THE BUYER
1. THE BUYER
(a) The Buyer is the person accepted as the highest
bidder by Christies acting as agents for the Seller. The
decision whether or not to accept a bid shall be made by
Christies. Subject to the provisions of the section marked
Auctioneers Discretion set out in the Buying at Christies,
the purchase agreement between the Seller and the Buyer
comes into being at the moment when Christies accept a
bid as the highest bid.
(b) When making a bid, a bidder is accepting personal

liability to pay the purchase price, including buyers
premium and all applicable taxes, plus all other applicable
charges, unless it has been explicitly agreed in writing with
Christies before the commencement of the sale that the
bidder is acting as agent on behalf of an identified third
party acceptable to Christies, and that Christies will only
look to the principal for payment.
(c) Anyone wishing to bid at an auction must fill out and
sign a registration form before the beginning of the
auction.
2. CHRISTIES ACTING AS REPRESENTATIVES
(a) In effecting sales Christies are acting as representatives
for the Seller. Christies do not warrant to the Intending
Buyers that the Sellers have the right of disposal of the
objects sent in, nor that the objects are not charged with
real rights or leased out, nor that all legal requirements
relating to any export or import of the objects have been
complied with.
(b) Christies are not obliged to disclose the name of the
Seller to the Intending Buyer or the Buyer.
(c) Christies recommend Intending Buyers to attend the
auction and to make bids themselves.
(d) If an Intending Buyer gives Christies instructions
to bid on his behalf, by using the form printed after the
catalogue entries, Christies shall - without charging any
additional fee - use reasonable efforts to do so, provided
the instructions are received not later than 24 hours
before the auction. If Christies receive commission bids
on a particular Lot for identical amounts, and at auction
these bids are the highest bids for the Lot, it will be sold
to the person whose bid was received first. Commission
bids are accepted by Christies subject to other
commitments at the time of the sale, and the conduct of
the sale may be such that Christies are unable to bid as
requested. Christies do not accept liability whatsoever
for failure to make a commission bid or for failure to
correctly execute a commission bid. Intending Buyers
should therefore always attend personally if they wish to
be certain of bidding.
(e) If an Intending Buyer makes arrangements with
Christies not later than 24 hours before the auction,
Christies shall - without charging any additional fee - use
reasonable efforts to contact the Intending Buyer to
enable him to participate in bidding by telephone. Christies
does not accept liability whatsoever for failure to make
a telephone bid or for failure to correctly execute a
telephone bid.
3. DESCRIPTIONS IN THE CATALOGUE AND
VIDEO IMAGES
(a) All statements of Christies in the catalogue and
condition reports as to the (presumptive) designer,
author, writer, origin, date, age, genuineness, source,
provenance, condition or estimated Hammer Price of
any Lot are statements of opinion only and shall never
imply any guarantee by Christies. All illustrations in the
catalogue serve merely as guidance for Intending Buyers;
they do not provide any decisive information as to
pattern, colours and degree of damage of any Lot.
(b) Lots may be in imperfect condition. The absence of
any reference in the catalogue to defects in a Lot does not
imply that such Lot is free from defects, nor does reference
to particular defects imply the absence of others.
(c) Intending Buyers will have to form an opinion regarding
the matters discussed in paragraph (a) and paragraph
(b) above by personal inspection or otherwise during the
previews.
(d) Without prejudice to the provisions in paragraph
(a) and paragraph (b) above, neither Christies nor their
employees or representatives give any guarantee as to the
correctness or completeness of any information supplied
either verbally or in writing about any Lot.
(e) If within one year after the auction the Buyer proves
that a Lot bought by him is a Forgery, the sale of the Lot
shall be cancelled and the Purchase Price shall be refunded
by Christies to the Buyer. The Buyer should note that this
refund can be obtained only if the following conditions
are met:
(i) the Buyer has notified Christies in writing within one
year from the date of the auction that in his view the
Lot is a Forgery;
(ii) the Buyer has within fourteen days after the date
of the notification referred to hereabove under (i)
returned the Lot to Christies in the same condition
as it were in when the Buyer took delivery of the Lot;
and
(iii) the Buyer has at latest upon return of the Lot
produced evidence satisfactory to Christies
that the Lot is a Forgery and that he is able to transfer
the title to Christies, free from any third party claims.
The right to a refund as contained in this paragraph shall
not exist if either (a) the catalogue description at the
auction date corresponded to the generally accepted
opinion of scholars or experts at that time, or fairly
indicated that there was a conflict of opinions; or (b) it can
be demonstrated that a Lot is a Forgery only by means of
either a scientific process not generally accepted for use
until after publication of the catalogue or a process which
at the date of the auction was unreasonably expensive or
impracticable or likely to have caused damage to the Lot.
In no circumstance shall Christies be obliged to pay the
Buyer any more than the Purchase Price for the Lot. The
Buyer shall have no claim for interest.
Christies shall be entitled to rely on any scientific or other
process to establish that the Lot is not a Forgery, whether
or not such process was used or in use at the date of the
auction.
The right to a refund as contained in this paragraph is not
capable of being transferred and is solely for the benefit
of the Buyer.
The right to a refund as contained in this paragraph does
not apply to coins, medals and jewellery.
(f) At some auctions there will be a video screen. Mistakes
may occur in its operation, and Christies
shall not be liable to the Intending Buyer regarding either
the correspondence of the image to the Lot being sold or
the quality of the image as a reproduction of the original.
4. STANDARD CHARGES FOR PURCHASERS
(a) Buyers Premium
Christies charges a Buyers Premium calculated at 30.25%
of the Hammer Price for each lot up to and including
30,000, plus 24.2% of the Hammer Price between
30,001 and 1,200,000, plus 14.52% of any amount in
excess of 1,20,000. Buyers Premium is calculated on
this basis for each lot individually. The Buyers Premium
does not include shipping or storage charges. These will
be charged separately if shipping or storage is requested
by the Buyer.
(b) Artists Resale Right Regulations (Droit de Suite/
Volgrecht):
If the Artists Resale Right Regulations apply to the lot
the buyer also agrees to pay to us an amount equal to
the resale royalty provided for in those Regulations. Lots
affected are identified with the symbol next to the lot
number.
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259
5. V.A.T.
If a Lot is not marked + or ! in the catalogue, Christies
will offer such Lot for sale under the
Margin Scheme.
If a Lot is marked + or !, it will have a special V.A.T. status
and will be subject to higher rates
as follows:
!: Lot is imported from outside the EU. For each Lot the
Buyers Premium is calculated as 37.75% of the Hammer
Price up to a value of 30,000, plus 31.7% of the Hammer
Price between 30,001 and 1,200,000, plus 22.02% of any
amount in excess of 1,200,000.
+: 21% V.A.T. applies to both the Hammer Price and
the Buyers Premium. The Buyers Premium is calculated
for each lot as 51.25% of the Hammer Price up to a value
of 30,000, plus 45.2% of the Hammer Price between
30,001 and 1,200,000, plus 35.52% of any amount in
excess of 1,200,000. The Buyer must furnish Christies
with all relevant information concerning his V.A.T. position.
The Buyer warrants this information to be correct.
Changes in the V.A.T. status of a Lot may be communicated
by a sale room notice.
6. REGISTRATION OF BIDDERS
Prospective buyers who have not previously bid or
consigned with Christies should bring:
Individuals: government-issued photo identification
(such as a driving licence, national identity card, or
passport) and, if not shown on the ID document, proof of
current address, for example a utility bill or bank statement.
Corporate clients: a photocopy of the company register
or if located in the Netherlands an original excerpt of
Chamber of Commerce not older than 4 weeks.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies
Credit Department at +31 (0)20 575 52 11 for advice on the
information you should supply.
A financial reference in the form of a recent bank
statement or a reference from your bank. Christies
can supply a form of wording for the bank reference if
necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also
for the party on whose behalf they are bidding, together
with a signed letter of authorisation from that party.
To allow sufficient time to process the information, new
clients are encouraged to register at least 48 hours in
advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who
have not made a purchase from any Christies office within
the last two years and those wishing to spend more than
on previous occasions, will be asked to supply a new bank
reference. For assistance with references, please contact
Christies Credit Department at +31 (0)20 575 52 11.
7. PAYMENT
The Buyer shall pay the Purchase Price to Christies within
seven days after the auction, failing which he shall be in
default. The Buyer shall owe interest on the Purchase
Price to Christies at a rate equal to the legal interest plus
two percentage points from the moment he is in default.
The Purchase Price includes V.A.T. The Buyer shall pay the
Purchase Price in full even if a subsequent V.A.T. refund
may be granted.
Christies does not accept payment from third parties. This
also applies to agents.
8. RELEASE OF LOTS
(a) Without prejudice to the provision of article B.2.(a), the
title to the objects belonging to the Lot shall not pass to
the Buyer until he has fully paid the Purchase Price as well as
any and all other moneys due from the Buyer to Christies
as a result of any other purchase agreements. Until such
time, Christies shall have a lien (retentierecht) on the
objects belonging to the Lot.
(b) The Buyer must take away the Lot(s) purchased by
him at his expense within seven days of the auction, failing
which he shall be in default. The period of seven days
mentioned here may be deviated from in the auction
catalogue.
(c) The Buyer shall be liable for the costs of removal,
storage or other costs of any Lot which has not been taken
away by him within the period referred to in paragraph (b)
above. Christies shall have a lien (retentierecht) on the
Lot in respect of said costs.
(d) The Buyer may request Christies to pack a purchased
Lot or to cause the same to be packed. Such packing shall
be done entirely at the discretion of Christies and at the
expense and risk of the Buyer.
(e) Christies does not provide a packing, postal or delivery
service. Christies can suggest the names of companies
that provide these services if requested to do so. However
Christies does not accept responsibility for any loss or
damage which may occur during packing, storage or
transportation of the Lot(s).
(f) Collection of purchases
Christies shall be entitled to retain items sold until all
amounts due to Christies, or to Christies International plc,
or to any of its affiliates, subsidiaries or parent companies
worldwide, have been received in full in good cleared funds
or until the buyer has performed any other outstanding
obligations as we, in our sole discretion, shall require,
including, for the avoidance of doubt, completing any
anti-money laundering or anti-terrorism financing checks
we may require to our satisfaction. In the event a buyer
fails to complete any anti-money laundering or antiterrorism financing checks to our satisfaction, Christies
shall be entitled to cancel the sale and to take any other
actions that are required or permitted under applicable
law. Subject to this, the buyer shall collect purchased lots
within seven calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
9. RISK OF PURCHASED LOTS
The risk of loss or damage to purchased Lots shall be borne
by the Buyer from the moment when the Buyers bid is
accepted as the highest bid by Christies at the auction.
This means that Buyers have a legal obligation to pay their
purchases in full, even if the Lots are subsequently lost or
damaged.
10. DEFAULT OF THE BUYER
(a) If the Buyer is in default, Christies shall be authorised
to sell the Lot(s) purchased by the Buyer without further
notice, either by private or by public sale. The Buyer shall
continue to be liable for the part of the Purchase Price
remaining unpaid after such sale, while the Buyer shall
never be entitled to any surplus proceeds which may be
realised upon re-auctioning.
(b) If, as a result of the Buyers default, Christies are sued
by the Seller or by third parties or if any property belonging
to Christies or the sold Lot(s) is/are seized by the Seller
or by third parties, or if Christies suffer damage or incur
expenses in any other way as a result of the Buyers default,
Christies shall be entitled to recover from the Buyer all
damage suffered and expenses incurred by Christies as a
result thereof. Christies shall moreover be authorised to
disclose the identity of the Buyer to the Seller or to the said
third parties if the Buyer is in default.
(c) If the Buyer is in default, Christies may reject at any
future auction any bids made by the Buyer.
11. LIABILITY
(a) Without prejudice to the provisions set forth
elsewhere in these Conditions of Sale, Christies are liable
for damage suffered by the Buyer only, if the occurrence
of the damage is the consequence of gross negligence or
intent of Christies or their employees or representatives.
(b) In the cases referred to in paragraph (a) above the
extent of the liability of Christies for damage suffered by
the Buyer shall be limited to the amount of the Buyers
premium.
(c) The limitation of liability as contained in this article may
also be invoked by the employees and representatives of
Christies.
12. EXPIRATION
(a) The right of the Buyer to annul, rescind or cancel the
purchase agreement or to cause same to be annulled or
rescinded shall expire after one year from the day on which
the purchase agreement is concluded. If the Buyer decides
to exercise any of the rights set forth above, he shall be
obliged to deliver the objects belonging to the purchased
Lot to Christies forthwith, in the same condition that they
were in when the Buyer took delivery of them, without
prejudice to the provisions of Article B.3.(e) in case the Lot
is claimed to be a Forgery.
(b) The annulment, nullification, rescission or cancellation
of the purchase agreement shall not affect the Buyers
obligation to pay the Buyers premium and to reimburse
the expenses incurred by Christies.
C. GENERAL PROVISIONS (APPLICABLE TO
BOTH BUYERS AND SELLERS)
1. Neither Christies nor their employees nor their
representatives are liable for any damage suffered by the
Seller or the Buyer, as the case may be, as a result of default
of the Buyer or the Seller, respectively.
2. Christies are authorised, without reason given, to refuse
any person admission to the auction premises and the
auction, and also to exclude any person from making bids
for a Lot.
3. Christies are authorised to combine several Lots, to
combine different objects from one and the same Seller
into one Lot, to refuse any bid, to continue the bidding, to
withdraw or to divide a Lot, and in the event of a dispute
about the bidding to put up the Lot for sale once again
immediately.
4. All notifications and communications to Christies shall
be made in writing.
5. The legal relationship between Christies and the Buyer
shall be governed by Netherlands law.
6. Any dispute between Christies and the Buyer shall be
adjudicated by the competent court of Amsterdam, on
the understanding that a Buyer who is a natural person and
who is not acting in pursuance of a profession or a sale shall
have the right, within a period of 32 days after Christies
have invoked this clause against him in writing, to choose
to have the dispute adjudicated by the court that has
jurisdiction by law.
7. This text is a translation in the English language of the
Dutch Conditions of Sale. The Dutch text shall be the
authentic text in all cases. A copy of the Dutch text is on
public display at our sale premises and is available on
request.
8. The copyright in all images, illustrations and written
material, relating to a Lot is and shall remain at all times
the property of Christies and shall not be used by the
Buyer nor anyone else without the prior written consent
of Christies.
15/02/13
260
Worldwide Salerooms and European Offices
AUSTRIA
VIENNA
INDIA
MUMBAI
+43 (0)1 533 8812

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 (0)9 608 212

Barbro Schauman
(Consultant)
FRANCE
PARIS
+33 (0)1 40 76 85 85
GERMANY
DSSELDORF
+49 (0)21 14 91 59 30
Arno Verkade
FRANKFURT
+49 (0)61 74 20 94 85
Anja Schaller
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
+91 (98) 1032 2399

Sanjay Sharma
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
LONDON,
SOUTH KENSINGTON
+44 (0)20 7839 9060
+44 (0)20 7930 6074
SPAIN
BARCELONA
NORTH
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+44 (0)20 7752 3004

Thomas Scott
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
SOUTH
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
+44 (0)1730 814 300

Mark Wrey
EAST
SWEDEN
STOCKHOLM
+44 (0)20 7752 3004

Thomas Scott
+46 (0)70 5368 166

Marie Boettiger Kleman
(Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
NORTHWEST AND
WALES
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna Business
Development Director
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+31 (0)20 57 55 255

PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900

HONG KONG
+852 2760 1766

SHANGHAI
+86 86 (0)21 6355 1766

Jinqing Cai
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27/05/14
262
WILLEM VAN DE VELDE II (LEIDEN 16331707 LONDON)

A kaag and other vessels off an inlet on the Dutch coast
signed in monogram and dated W v V 1661 (lower centre, on the spar) oil on canvas 15 x 19 in. (38.3 x 49.7 cm.)
1,200,0001,800,000
Old Master & British Paintings Evening Sale

London, King Street 2 December 2014
Viewing
Contact
28 November 2 December 2014

8 King Street
London SW1Y 6QT
Henry Pettifer
hpettifer@christies.com
+44 (0)20 7389 2084
christies.com
CIRCLE OF SIR PETER PAUL RUBENS (SIEGEN 15771640 ANTWERP)

The Garden of Love
oil on panel 49 x 68 in. (124.5 x 172.7 cm.)
20,00030,000
Old Masters and British Paintings

London, South Kensington 30 October 2014
Viewing
Contact
2530 October 2014

85 Old Brompton Road
London SW7 3LD
Amparo Martinez-Russotto
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+44 (0)20 7752 3245
christies.com
LEO PUTZ (AUSTRIAN, 18691940)

Im Atelier
signed Leo Putz (lower left) oil on canvas 46 x 45 in. (118.5 x 115.2 cm.) Painted circa 1904
70,000100,000
19th Century European & Orientalist Art

London, King Street 9 December 2014
Viewing
Contact
59 December
8 King Street
London SW1Y 6QT
Alexandra McMorrow
amcmorrow@christies.com
+44 (0)20 7389 2538
christies.com
HENDRICK GOLTZIUS (Mhlbracht 15581617 Haarlem)

Mars and Venus (recto); Two female nudes, with Cupid and a vase (verso)
with number 111
red, black and white chalk, on grey paper, black ink framing lines
10 12 x 7 78 in. (26.8 x 19.7 cm.)
70,000 100,000
Amsterdam 10 December 2014

Part II
Dutch & Flemish Drawings
from 1500 to 1900
Viewing
Contact
69 December
Cornelis Schuytstraat 57
1071 JG Amsterdam
Benjamin Peronnet
bperonnet@christies.com
+44 (0) 20 7389 2272
VINCENT VAN GOGH (1853-1890)

Le Pcheur
bears signature `Vincent (lower right) pencil and pen and brown ink on paper 48.5 x 23 cm.
Executed in September - November 1882
Modern Art
Amsterdam 16 December 2014
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Contact
12-15 December 2014

Cornelis Schuytstraat 57
1071 JG Amsterdam
Odette van Ginkel

Head of Department
ovanginkel@christies.com
+31 (0)20 5755284
christies.com
The ArT
of The
horse
Private Selling Exhibition
EDGAR DEGAS (18341917)

Cheval se cabrant
bronze with dark brown patina
Height: 12 in. (30.5 cm.)
Hong Kong November 21 November 25

Contact
John Stainton
jstainton@christies.com
+44 (0) 20 7839 9060
christies.com/theartofthehorse
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271
Index
A
Adler, E., 179, 186
Alma Tadema, L., 248
Andriessen, H., 79
Antwerp School, 17, 26, 82
Apol, L., 255, 264, 285
Apshoven, T. van, 36
Arentsz, A., 111
Arntzenius, F., 293, 323
B
Balen, H. van, 62
Battem, G. van, 46
Beer, J. de, 83
Beerstraaten, J.A., 57
Beijer, J. de, 106
Berckheyde, G.A., 145
Bergh, G.G. de, 38
Bles, D., 188
Bloemaert, H., 45
Blommers, B.J., 265, 275
Bollongier, H., 113
Bommel, E.P. van, 225
Bosboom, J., 198, 235
Bosschaert, J., 105
Boudin, E., 297, 300
Bout, P.
Boudewijns, A., 58
Braekeleer, H. de, 187
Brakenburgh, R., 133
Brekelenkam, Q.G. van, 13
Breughel II, J., 41
Bril, M., 109
Bril, P., 23
Bruges School, 84
C
Camphuysen, J.G., 116
Camphuysen, R., 114
Cauchois, E.
Bellis, H.
Boucart, G., 298
Cleenewerck, H., 226
Cocques, G., 95
Coecke van Aelst, P., 89
Cofermans,M.,24
Col, D., 176
Cologne School, 10
Coninck, D. de, 143
Coopse, P., 115
Cortes, E., 306
Cranach II, L., 86
Croos, J. van der, 117
Cunaeus C., 199
Cuyp, B.G., 118
D
David, G., 88
Drielst, E. van, 94
Droochsloot, J. C., 54
Drouais, F.-H., 129
Drumaux, A., 307
Dupont, P., 321, 322
Dutch School, 52, 98
Dyck, Sir A. van, 31
E
Eerelman, O., 150
Eisman-Semenowsky, E., 185
Eversen, A., 173, 217, 220
Eversen, J., 304, 305, 327
F
Ferguson, W., 91
Fijt, J., 33
Flemish School, 28, 96, 97, 101,
127, 140
Fornenburgh, J. van, 108
Francken II, F., 40
Frankfort, E., 269
Freudenberg, J., 157
Fchsel, H., 213
G
Gabriel, P.J.C., 253, 282
Gallis, P., 44
Gedlek, L., 232
Gijsbrechts, F., 63, 74
Gonzals, E., 299
Gorter, A.M., 256, 262
Govaerts, A., 37
Goyen, J.J. van, 6, 76
Greive, J.C., 207
Grimmer, A., 21
Grimmer, J., 22
Gurlitt, L., 229
H
Haan, M. de, 268
Haanen, A., 197
Haensbergen, J. van, 67
Hals, D., 47
Haye, C. de la, 90
Hecke I, J. van den, 61
Heem, J.D. de, 110
Heemskerck II, E. van, 1
Hermans, C., 302
Honthorst, G. van, 68
Hoynck van Papendrecht,
J., 249
Hulk, A., 164, 203, 222
I
Israels, I., 289, 313, 314, 315, 318,
333, 335, 338, 339
Israels, J., 244A, 273
J
Jansen, W.G.F., 241
Jongkind, J.B., 271
Josselin de Jong, P. de, 325
K
Kate, M. ten, 224, 236
Kaufmann,H.W.,181
Kessel I, J. van, 104, 112
Kessel, F. van, 121
Kleijn, L.J., 162, 163, 165, 195
Klinkenberg, J.C.K., 155, 238, 294
Kluyver, P.L.F., 204
Koekkoek Sr., H., 214, 221
Koekkoek, B.C., 152, 167, 209
Koekkoek, H., 158
Koekkoek, J.H.B., 193, 216
Koekkoek, W., 166
Konijnenburg, W. van, 319, 320
Kruseman, F.M., 160, 169
Kuyck, J.L. van, 183
L
LHermitte, L.A., 295
Lanen, J., van der, 34
Leickert, C., 156, 159, 194, 201, 237
Lenior, P.M., 301
Llorente, B., 69
Lojacono, F., 234
Looy, J. van, 331
M
Maas, D., 65
Maes, N., 107
Maris, M., 250
Maris, W., 263
Marrel, J., 124
Mastenbroek, J.H. van, 267
Mauve, A., 259, 274, 278
Mesdag, H.W., 245, 254, 260, 283
Mierevelt, M. van, 51
Mignard, P., 130
Mirani, E.B.G.P., 171
Moerenhout, J., 168
Molanus, M.A., 19
Molenaer, B., 134
Molenaer, J.M., 119
Molenaer, N., 53
Moll, E., 239
Momper, Ph. de, 103
Monnoyer, J.B., 92
Moro, A., 87
Mortel, J., 132
Mulier, P., 48
Mller, C.F.M., 180
Mller, C.L.L., 210
Munthe, G.A.L.M., 312
Musin, A., 240
N
Neefs I, P.
Francken II, F., 80
Neer, A. van der, 14
Negretti, J., 9
Neyn, P. de, 3
Nieulandt II, W. van, 138
Noter, D.E.J. de, 178
O
Oosterwijck, M. van, 15
Os, G.J.J. van, 212
P
Paudiss, C., 78
Peeters I, B., 144
Peeters, C., 100
Peeters, G., 18
Peterson, J., 303
Pickenoy, N. E., 75
Pieck, A., 334
Pieters, E., 244
Plumot, A., 182
Poggenbeek, G., 287
Portielje, G., 184
Prins, J.H., 170
Putter, P. de, 4, 5
Q
Quellinus, E., 139
R
Ragione, R., 291
Recco, G., 32
Richet, L., 230
Riegen, N., 161
Roelofs, W., 252, 261, 272
Ronner-Knip, H., 154
Roosenboom, A., 177
Roosenboom, M., 206, 227
Rubens, Sir P.P., 30, 35
Rutten, J., 189
Ruysdael, S. van, 55
S
Sade, P., 246, 247
Sande Bakhuyzen, G.J. van
de, 153
Sandrardt, J. von, 25
Saverij, R., 99
Schalcken, G., 131
Schelfhout, A., 196, 208, 228
Schendel, P. van, 223
Scherrewitz, J.F.C., 243
Schijndel, B. van, 137
Schoevaerdts, M., 123
Schongauer, M., 27
School of Bruges, 11
School of Middelburg, 20
School of Rotterdam, 16
Schotel, A.P., 260A
Schreyer, A., 231
Skari, E., 233
Sluiter, W., 330
Snabilie, M.G., 175
Snellinck, C., 56
Snijders, F., 102
Somm, H., 328
Soonius, L., 310
Springer, C., 191, 218
Stalbemt, A. van, 7
Steelink Jr., W., 324
Steenwijck I, H. van
Grimmer, A., 8
Steenwijck II, H. van, 43
Steinlen, T.A., 329
Strozzi, B., 70
Stuck, F. von, 296
T
Teniers II, D., 42, 125
Thiel, E.T. van, 174
Thielen, J.P. van, 39
Thielens, G., 60
Tholen, W., 281
Thomas, G., 59
Tischbein, J.F., 128
Titian, 85
Toorop, J., 337
V
Valkenburg, H., 242
Velde, E. van de, 12
Venne, A.J. van de, 50
Verelst, S., 142
Verhoesen, A., 200
Verschuur, W., 172, 192, 215
Vertin, P.G., 205, 219
Vester, W., 151
Victors, J., 135
Voerman Sr., J., 266
Vogelaer, C. de, 72
Vollerdt, J., 141
Vonck, J., 136
Voorden, A. van, 311
Voort, C. van der, 73
Vouet, S., 71
Vrancx, S., 120
Vredeman de Vries, P.
Mander, K. van, 122
Vreedenburgh, C., 332, 336
W
Waay, N. van der, 288, 316
Waning, K. van, 308
Weissenbruch, J., 202
Weissenbruch, J.H., 251, 258,
279, 280
Weyden, R. van der, 29
Willaerts, A., 81
Withoos, A., 2
Wolter, H.J, 312A
Wolter, H.J., 290, 292, 309, 326
Wouwerman, P., 66
Z
Zoetelief Tromp, J., 257, 286

Old Masters, 19th Century and Impressionist Art

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OLD MASTERS &

OLD MASTERS &

International Old Master & 19th Century Art Department

LONDON KING STREET

AUCTION CALENDAR 2014

Old Masters & 19th Century Art

Tuesday 25 & Wednesday 26 November 2014

AUCTION CODE AND NUMBER

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Anke Charlotte Held

Anke Charlotte Held

OLD MASTERS & 19 th CENTURY ART

PROPERTY FROM THE COLLECTION OF THE LATE

A barn interior with a seated fsherman smoking and drinking, various

Anonymous sale; Bangel, Frankfurt, 25 April 1928, lot 170, as H. Sorgh.

PROPERTY FROM THE COLLECTION OF THE LATE

THE PROPERTY FROM A DECEASED DUTCH PRIVATE COLLECTOR (LOTS 7-24)

THE PROPERTY FROM A DECEASED DUTCH PRIVATE COLLECTOR (LOTS 7-24)

THE PROPERTY FROM A DECEASED DUTCH PRIVATE COLLECTOR (LOTS 7-24)

A dune landscape with fgures resting under a tree, a meadow with

Portrait of a little girl eating porridge, in a feigned oval

signed and dated E.V. VELDE / 1625 (strengthened, lower centre)

Although published in the monograph by Keyes as painted by Van de Velde, the

Collection Lrmann, Bremen.

THE PROPERTY FROM A DECEASED DUTCH PRIVATE COLLECTOR (LOTS 7-24)

Tulips, lilies, roses, an iris and other fowers in a glass vase, on a

with monogram AV DN (lower left)

signed MARIA VAN OOSTERWYK. (lower right)

with P. de Boer, Amsterdam, by 1941 (according to W. Schulz, op. cit.).

Anonymous sale; Sothebys, London, 30 October 1985, lot 77.

THE PROPERTY FROM A DECEASED DUTCH PRIVATE COLLECTOR (LOTS 7-24)

THE PROPERTY FROM A DECEASED DUTCH PRIVATE COLLECTOR (LOTS 7-24)

THE PROPERTY FROM A DECEASED DUTCH PRIVATE COLLECTOR (LOTS 7-24)

THE PROPERTY FROM A DECEASED DUTCH PRIVATE COLLECTOR (LOTS 7-24)

The compositions appear to be partly based on existing compositions by the

26 OLD MASTERS & 19 th CENTURY ART

The present picture is based on a print of Martin Schongauer (see:

28 OLD MASTERS & 19 th CENTURY ART

Saint John the Baptist

The Lamentation of Christ

oil on panel, transferred onto a canvas

The Metropolitan Museum of Art, New York, purchased in 1871;

30 OLD MASTERS & 19 th CENTURY ART

A bust of Christ, in three quarter profle

32 OLD MASTERS & 19 th CENTURY ART

34 OLD MASTERS & 19 th CENTURY ART

We are grateful to Fred Meijer of the RKD, The Hague,

36 OLD MASTERS & 19 th CENTURY ART

The panel makers mark of

38 OLD MASTERS & 19 th CENTURY ART

THE PROPERTY OF MR. AND MRS. W.J.G.M. WAANDERS, ZWOLLE

Fig. 1 - Thomas Major after David Teniers the Younger,

40 OLD MASTERS & 19 th CENTURY ART

A DISTINGUISHED PRIVATE AMERICAN

A melon, peach, plum, pommegranate and

An Allegory of Justitia protecting Innocence

oil on canvas, laid down on panel

signed and dated HBloemaert fc. / 1638 (HB