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Andreas Schelfhout Onsterfelijk Schoon De Landschappen Van Andreas Schelfhout (1787-1870) En Zijn Leerlingen SIMONIS&BUUNK KUNSTHANDEL
SIMONIS &BUUNK EEN KEUR AAN KUNST IJsgezichten Zomerlandschappen Strandgezichten Marines Andreas Schelfhout Onsterfelijk schoon De landschappen van Andreas Schelfhout (1787-1870) en zijn leerlingen SIMONIS&BUUNK KUNSTHANDEL Andreas Schelfhout Onsterfelijk schoon De landschappen van Andreas Schelfhout (1787-1870) en zijn leerlingen Andreas ‘Andries’ Schelfhout Den Haag 1787-1870 Jonge terriër op kussen, paneel 32,1 x 27,3 cm, gesigneerd en gedateerd ’47. Herkomst: veiling Frederik Muller & Cie., Amsterdam. Omslag: Andreas ‘Andries’ Schelfhout Schaatsvolk en trekslede op een bevroren vaart (detail) zie pag. 13 Andreas ‘Andries’ Schelfhout Winterlandschap met sprokkelaarster en boer in een punter Andreas ‘Andries’ Schelfhout Een vroege winter Den Haag 1787-1870 Winterlandschap met sprokkelaarster en boer in In het begin van zijn loopbaan schilderde Schelfhout reeds in de eerste werken zijn een punter, paneel 51 x 73 cm, en exposeerde Andreas Schelfhout zelden eigenheid. Zo zijn de figuren, belangrijk als gesigneerd en te dateren ca. 1815. het onderwerp waardoor hij zo beroemd verhalend element, in Schelfhouts land- geworden is: wintertaferelen. Tijdgenoten schappen vanaf het begin kleiner in aantal en critici waren aanvankelijk namelijk meer dan in 17e-eeuwse (winter)voorstellingen, gecharmeerd van zijn zomerlandschappen. waardoor de grootsheid van landschap en Bovenstaande winter is geschilderd wolkenluchten benadrukt wordt. Slechts omstreeks 1815, het jaar waarin Schelfhout twee keer eerder verwierven wij een zo zijn vierjarige opleiding tot kunstschilder vroeg wintergezicht van Schelfhout, in bij de Haagse toneeldecorateur J.H.A.A. 1987 en 1998. Onze ‘ontdekking’ van een Breckenheijmer afsloot. Hoewel de invloed vroege winter in 1998 was een van de van 17e-eeuwse landschappen op zijn gelukkigste ‘wapenfeiten’ uit ons bestaan vroege schilderijen onmiskenbaar is toont (pag. -
BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – the Hague 1880)
BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – The Hague 1880) De Grote Houtpoort, Haarlem signed on the boat in the lower right B. VAN HOVE oil on panel 1 19 /8 x 26 inches (48.6 x 66 cm.) PROVENANCE Lady V. Braithwaite Lady V. Braithwaite, Eighteenth and Nineteenth Century Paintings and Drawings, Sotheby’s, London, May 17, 1967, lot 90, where bought by M. Newman, Ltd., London Frost & Reed Ltd., London Vixseboxse Art Galleries, Inc., Cleveland Heights, Ohio Private Collection, Ohio, until 2015 LITERATURE The Connoisseur, volume 166, September 1967, p. XLIV, in an advertisement for M. Newman, Ltd., London, reproduced E. Bénézit, “Bartholomeus-Johannes van Hove” in Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, volume 5, Libraire Gründ, Paris, 1976, p. 634 In a large panel, under radiant skies, the old fortifications of Haarlem abut the Spaarne River. The Grote Houtpoort rises majestically in the foreground, dominating the scene with its weathervane reaching to the composition’s edge. The Kalistoren Tower, used for the storage of gunpowder, is in the middle with the Kleine Houtpoort visible in the distance. Built in 1570, the Grote Houtpoort was at the end of the Grote Houtstraat, one of the main roads from the Grote Markt that led outside the city walls. Beyond the gate lay the wooded area, called the Haarlemmerwoud. The temperature is mild, over the arched bridge of the Grote Houtpoort, residents contentedly stroll, conversed or stop to admire the view. Below boatmen propel their craft across glass-like waters with shimmering reflections and floating swans. The sense of well-being pervades this orderly view of the city’s great landmarks that dominate its skyline. -
NINETEENTH-Century EUROPEAN PAINTINGS at the STERLING
Introduction Introduction Sterling and Francine clark art inStitute | WilliamStoWn, massachuSettS NINETEENTH-CENTURY EUROPEAN PAINTINGS diStributed by yale univerSity Press | NeW haven and london AT THE STERLING AND FRANCINE CLARK ART INSTITUTE VOLUME TWO Edited by Sarah Lees With an essay by Richard Rand and technical reports by Sandra L. Webber With contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, Zoë Samels, and Fronia E. Wissman 4 5 Nineteenth-Century European Paintings at the Sterling and Library of Congress Cataloging-in-Publication Data Francine Clark Art Institute is published with the assistance of the Getty Foundation and support from the National Sterling and Francine Clark Art Institute. Endowment for the Arts. Nineteenth-century European paintings at the Sterling and Francine Clark Art Institute / edited by Sarah Lees ; with an essay by Richard Rand and technical reports by Sandra L. Webber ; with contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Produced by the Sterling and Francine Clark Art Institute Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, 225 South Street, Williamstown, Massachusetts 01267 Zoë Samels, Fronia E. Wissman. www.clarkart.edu volumes cm Includes bibliographical references and index. Curtis R. Scott, Director of Publications ISBN 978-1-935998-09-9 (clark hardcover : alk. paper) — and Information Resources ISBN 978-0-300-17965-1 (yale hardcover : alk. -
Zó Hollands Zó Hollands – Impressie
Zó Hollands Zó Hollands – Impressie ZóHollands Het Hollandse landschap in de Nederlandse kunst sinds 1850 Antoon Erftemeijer FRANS HALS MUSEUM | DE HALLEN HAARLEM Haarlem 2011 Woord vooraf Toeristen, boeren en tulpenkwekers, molenaars, fietsende dagjesmensen, vogelspotters en natuurbeheerders: het Hollandse landschap is belangrijk en dierbaar voor zeer velen. Zeker ook voor beeldend kunstenaars. Eeuwen lang al zwerven zij er in rond, met krijt, verf, camera’s of andere materialen. En bijzonder veelsoortig zijn de resultaten van hun artistieke zoektochten. De tentoonstelling ‘Zó Hollands’ richt, net als dit bijbehorende catalogus- boek, de aandacht op het Hollandse landschap in de Nederlandse kunst van de afgelopen anderhalve eeuw. Van de Haagse School en Piet Mondriaan tot Jan Wolkers en land art- projecten. Wonderlijk genoeg was nooit eerder zo’n overzicht samengesteld. En waar kan dit beter plaatsvinden dan in Haarlem: deze oer-Hollandse stad, bakermat van de Hollandse landschapschilderkunst met figuren als Jacob van Ruisdael en diens oom Salomon, en vanwege de zeer afwisselende natuurlijke omgeving eeuwenlang trekpleister voor talloze landschapskunstenaars. Tentoonstelling en boek bieden tezamen de gelegenheid om ons unieke landschap vanuit vele onverwachte gezichtspunten te bekijken en te beleven. Dit project kon alleen gerealiseerd worden door de steun en medewerking van velen. Veel dank gaat in de eerste plaats uit naar alle bruikleengevers die royaal werken beschikbaar hebben gesteld voor ‘Zó Hollands’: diverse collega-musea; Stichting Kees Verwey; de Rijks - dienst voor het Cultureel Erfgoed; Provinciaal Bestuur van Noord-Holland; Kunst - commissie van het Kennemer Gasthuis, Haarlem; Caldic Collectie, Rotterdam; collectie Smithuis; collectie Manders; kunsthandel Simonis & Buunk, Ede; Kunstzalen A. Vecht, Amsterdam; Else Kupperman-Maas; Kunsthandel A.H. -
'Schelfhoutjes' in Rijksmusea En Teylers Museum
‘Schelfhoutjes’ in rijksmusea en Teylers Museum Auteur: Julia Ebenau Docent: A.M.E.L. Hoogenboom Cursus: Kun-OWG1: Beeldende Kunst B Inhoud Inleiding .............................................................................................................................................3 Context ...............................................................................................................................................4 Romantiek...................................................................................................................................5 Andreas Schelfhout .............................................................................................................................6 Levensloop .....................................................................................................................................6 Waardering .....................................................................................................................................7 Eerste successen ..........................................................................................................................7 Gevierd landschapschilder ......................................................................................................... 10 Afnemende waardering ............................................................................................................. 12 Een meester in zijn vak ................................................................................................................ -
Skaters on a Frozen Waterway Signed and Dated NJ Roosenboom
NICOLAAS JOHANNES ROOSENBOOM (Schellingwoude 1805 – Assen 1880) Skaters on a Frozen Waterway signed and dated N.J. Roosenboom f. 39 in the lower left oil on panel 31 ¼ x 38 ⅝ inches (79.1 x 98 cm.) PROVENANCE Private Collection, Florida, circa 1968 until the present time By the end of the eighteenth century in Holland landscape painting’s popularity had seriously diminished. Only a small number of Italianate painters had carried on past the end of the seventeenth century. For the majority of the eighteenth century, landscape 1 painting existed solely as decorative wall paintings.1 Only at the end of the century did a revival begin, aided by a growing awareness of international interest in Dutch seventeenth century landscapes. The Romantic Movement, which had swept across Europe and come late to Holland, aided in the reassessment of landscape as a legitimate theme for the arts.2 In a speech given by the artist Cornelis Ploos van Amstel in 1781 at the Tekenacademie (Drawing Academy) in Amsterdam he put forth a plan of action for the revaluation of seventeenth century landscapes by his contemporaries. “If a Practitioner of Art contemplates and studies the works of art of these great men with diligence, taste and judgment and compares them with Nature, he will be seized by the desire to be able, where possible, to produce similar works of art himself.” Seized upon as the correct path, this route was implemented more or less for almost the next seventy years by a group of artists who created the landscape tradition of Dutch Romanticism.3 One of the dominant figures of this group was Andreas Schelfhout, who was dubbed by contemporary art critics as “the Claude Lorrain of the Winter Scene.”4 Collectors considered themselves lucky to own one of his ice skating scenes,5 and as a result students flocked to his studio in The Hague. -
PDF Catalogue
AMSTERDAM Lekstraat 63, 1079 EM Tel. +31 20 301 29 50 Fax +31 20 301 29 60 Email: [email protected] Website: www.aagauctioneers.com GENEVA Rue du Rhône 59-I CH-1204 Tel. +41 22 310 33 32 Fax +41 22 312 02 03 JAKARTA Jl. Pasuruan no. 9 10310 Tel. +62 21 315 86 36 Fax +62 21 398 99 533 SINGAPORE 30 Bideford Road #03-02 Thong Sia Building, 229922 Tel. +65 67 372 130 Fax +65 67 371 859 OLD MASTERS TO MODERNISTS 512 Amsterdam Auction: Monday 2 December 2019, 2 p.m. Viewing: Friday 29 November - Sunday 1 December, 10 a.m. - 5 p.m. Please note: Faults or imperfections are not recorded in the lot description. We encourage you to inspect the lots during our viewing days. Condition reports are available upon request. You are requested to collect the acquired item(s) within five days after the auction. After five days this can be done by appointment only. PLEASE NOTE: Faults or imperfections are not recorded in the lot description. We encourage you to inspect the lots during our viewing days. Condition reports are available upon request. Before picking up your acquisition, the payment has to be received on bank account: NL28FVLB0637264002 in the name of Stichting Derdengelden. Payments in cash, debit- or credit card are accepted by AAG Auctioneers. For credit card payments a surcharge is applicable. You are requested to collect the acquired item(s) within five days after the auction. After five days this can be done by appointment only. AAG shall have the right to put items that have been sold but not yet collected into storage at the buyer’s expense after five working days. -
Hiding Making Showing Creation Hiding Making Def.Indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag
Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 1 Hiding Making Showing Creation Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 2 Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 3 HIDING MAKING SHOWING CREATION The Studio from Turner to Tacita Dean EditEd by RachEl EsnER sandRa KistERs ann-sophiE lEhmann Amsterdam University Press Hiding Making def.indd | Sander Pinkse Boekproductie | 02-07-13 / 11:15 | Pag. 4 This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative initiative to develop and implement a sustainable Open Access publica- tion model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. This publication has kindly been supported by an Open Access Publication Grant from the Netherlands Organization for Scientific Research (NWO) Cover design and lay-out: Sander Pinkse Boekproductie, Amsterdam Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. ISBN 978 90 8964 507 4 e-ISBN 978 90 4851 824 1 (pdf) e-ISBN 978 90 4851 825 8 (ePub) NUR 640 Creative Commons License CC BY NC (http://creativecommons.org/licenses/by-nc/3.0) All authors/Amsterdam University Press, Amsterdam, 2013 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photo- copying, recording or otherwise). -
J. H. Weissenbruch 1824-1903 Gratis Epub, Ebook
J. H. WEISSENBRUCH 1824-1903 GRATIS Auteur: Onbekend Aantal pagina's: 256 pagina's Verschijningsdatum: 2001-07-01 Uitgever: Waanders EAN: 9789040094019 Taal: nl Link: Download hier Weissenbruch, Hendrik Johannes (J".H".) (1824-1903) Jan en Johan Hendrik Weissenbruch. Schilderijen, aquarellen, grafiek. Museum Boijmans Van Beuningen collection online , as Beach with shelfish gatherers. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus years or fewer. You must also include a United States public domain tag to indicate why this work is in the public domain in the United States. From Wikipedia, the free encyclopedia. File File history File usage Global file usage Size of this preview: × pixels. Other resolutions: × pixels × pixels × pixels × pixels 1, × pixels. This is a file from the Wikimedia Commons. Information from its description page there is shown below. Commons is a freely licensed media file repository. You can help. This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:. The official position taken by the Wikimedia Foundation is that " faithful reproductions of two-dimensional public domain works of art are public domain ". This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. Captions English Add a one-line explanation of what this file represents. -
Aracadia Checklist V8
Dutch Arcadia: 19th Century Romantic Landscapes from the Beekhuis Collection. April 7 through September 25, 2011 The vision of a Dutch Arcadia evokes lush scenes of unspoiled nature, the opposite of the orderly, well-manicured fields we commonly think of today as typically Dutch. In the first half of the 19th century, a small group of highly-talented artists created beautiful idealized compositions, known as Romantic landscapes, which were the height of international popularity. These grand dramatic landscapes feature the forested countryside of eastern provinces, pastoral panoramas of central farmlands, and picturesque southern cow strewn fields. To the 19th century eye, these images evoked patriotism, love of homeland, and celebrated the beauty of nature. Inspired by the great 17th century landscape painters such as Jacob van Ruisdael and Jan van Goyen, 19th century Romantic literature, as well as German and French influences, the paintings often feature tiny figures dwarfed by verdant countryside and imposing skies. Some include ruins to remind viewers of the hard fought freedoms of the past and noble ancient Batavian roots of its citizens. Thanks to the generosity of Jan and MaryAnn Beekhuis, this exhibition brings together many of the masters of this era. Sixteen paintings, never before seen in Holland, are on loan from the Beekhuis family as well as a number of other pieces donated by them to the Holland Museum over the last ten years. The First Generation: B.C. Koekkoek and Andrea Schelfhout 1815 marks the beginning of the revival of a Dutch painting style. The French withdrew from the Netherlands in 1815, the king returned, and a new pride in all things Dutch enabled the new Romantic School of painting to flourish. -
MARK SMIT KUNSTHANDEL SCHILDERIJEN 19E & 20E EEUW Nieuwe Oogst
Nieuwe oogst MARK SMIT KUNSTHANDEL SCHILDERIJEN 19e & 20e EEUW Nieuwe oogst Verkooptentoonstelling 2020 Zaterdag 22 februari t/m zondag 8 maart OPENINGSTIJDEN TIJDENS OPENINGSTIJDEN BUITEN TENTOONSTELLING TENTOONSTELLING Dinsdag t/m zondag Woensdag t/m zaterdag van 11-17 uur van 11-17 uur (gesloten op maandagen) en op afspraak. INFORMATIE EN PRIJZEN: MR MARK SMIT ANNA SMIT-LOOR MARK SMIT KUNSTHANDEL B.V. Gecertificeerd Registertaxateur [email protected] Markt 5 | 7731 DB Ommen Lid Federatie TMV T +31 (0)529 - 469 280 [email protected] E [email protected] www.marksmit.nl 2 Nieuwe oogst et is wederom gelukt een mooie en Een andere blikvanger is een vroeg expressionistisch gevarieerde ‘nieuwe oogst’ binnen te halen. Zuid-Frans landschap van Wim Oepts. Dit kleurrijke doek H Een daarvan prijkt op de cover van deze maakte Oepts één jaar nadat hij zich in Frankrijk vestigde. catalogus. Het is een belangrijk vroeg werk Van Marc Mulders, een van onze favoriete kunstenaars van Johan Dijkstra, waarvan een grotere variant in het die goed is vertegenwoordigd in onze collectie, hebben bezit is van het Groninger Museum. Tegen de achtergrond we twee vroege doeken en een grote geabstraheerde van een Gronings dorpje oogst een boer het graan bloemenakker uit 2019. met de krachtige zwaaiende beweging van zijn zeis. De brede toetsen en goudgele kleuren waarmee het Aan de samenstelling van de collectie is uitgebreid en korenveld is weergegeven tonen de invloed van Vincent gedegen (inter)nationaal speurwerk voorafgegaan. van Gogh. Johan Dijkstra was van jongs af aan een grote Arie Bakker uit Den Haag is sinds de opening in 2001 bewonderaar van zijn wereldberoemde voorganger. -
Catalogue of Paintings
pi lliliiill, COLLEGE OF ARCHITECTURE LIBRARY Cornell University Library N 610.A65 1920 Catalogue of paintings / 3 1924 020 595 173 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020595173 THE METROPOLITAN MUSEUM OF ART CATALOGUE OF PAINTINGS MCMXX CATALOGUE OF PAINTINGS VIRGIN ENTHRONED WITH SAINTS BY RAPHAEL THE METROPOLITAM MUSEUM OF ART CATALOGUE OF PAINTINGS BY BRYSON BURROUGHS CURATOR , DEPARTMENT OF PAINTINGS FIFTH EDITION NEW YORK M C M X X hr 33^t| FIRST EDITION, COPYRIGHT, FEBRUARY, I9I4 SECOND EDITION, COPYRIGHT, FEBRUARY, I916 THIRD EDITION, COPYRIGHT, JUNE, I917 FOURTH EDITION, COPYRIGHT, MARCH, I919 FIFTH EDITION, COPYRIGHT, JUNE, I92O BY THE METROPOLITAN MUSEUM OF ART PREFACE alphabetical arrangement by the names of artists, or by AN schools where the artists are unknown, is followed in this . book. In the attempt to solve the problem of number- ^ ing a rapidly growing collection of paintings, the experi- ment has been made here of adapting the C. A. Cutter system, long in use in libraries. To use the catalogue it is not necessary to be familiar with the system of numbering, but for those who may be interested an explanation follows. It consists of a combination of letters and numbers, composed of the initial letter of the author's name followed by numbers that represent the succeeding letters of the same, so that additional entries can be inserted without disturbing the sequence of the letters or the numerals.