Willem Bastiaan Tholen Willem Bastiaan Tholen (1860-1931)
The Refreshment Canal …

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Willem Bastiaan Tholen

Willem Bastiaan Tholen (1860-1931) The Refreshment Canal near Scheveningen, study drawing, 13x20 cm2

1100

Willem Bastiaan Tholen

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Estim. 300 - 450 EUR

Goltzius, Hendrick

Estim. 4 000 - 6 000 EUR

Johannes Frederik Hulk Snr., Dutch 1829-1911- A bustling canal scene with figures unloading a barge; oil on canvas, bears signature 'W. Koekkoek' (lower right), 63.5 x 80.5 cm., (unframed). Provenance: Private Collection, UK. Note: Johannes Frederik Hulk was a member of a famous Amsterdam family of artists, and received tuition from his brother, Abraham Hulk Snr. (1813-1897), as well as from the artist Kaspar Karsen (1810-1896). Johannes Frederik in turn trained his son, Johannes Frederick Hulk Jnr. (1855-1913) and the Hague School painter Bernard de Hoog (1867-1943). Unlike his brother Abraham, who specialised in maritime painting, Johannes Frederik focused instead on street scenes of the villages and towns of the 19th-century Netherlands, evoking the bustling streets with sharply observed detail, combined with areas of looser, gestural brushwork, imbuing his scenes with a sense of busyness and movement. The picture presented here is a particularly fine example of Hulk's output, and shows his ability to create depth within in the picture plane, drawing the viewer's eye from the sunlit street through to the water and church spire beyond. It is possible that the distinctive tower, with its ball finial, may be that of the Westerkerk in Amsterdam, the painter's home city and one of his most frequently revisited subjects. Hulk was an active member of the Amsterdam artistic scene, running a thriving photography studio and artists' supplies business alongside his painting practice. He also joined the artists' society 'Arti et Amicitiae' (for Art and Friendship), of which fellow Romantic School townscape painters Adrianus Eversen (1818-1897) and Cornelis Springer (1817-1891) were also members. A canal scene showing many similarities to the present lot, which also depicts Hulk's typical subject of a bustling canal rendered in his characteristic warm-hued palette, was offered at Christie's, London, 10 November 2005, lot 484 (£26,000). The present picture was previously believed to have been painted by Willem Koekkoek (1838-1895), who painted many similarly refined cityscapes in Amsterdam. We are grateful to the RKD, and to Mr. Christiaan Lucht for confirming the current attribution to Johannes Frederik Hulk on the basis of photographs.

Estim. 1 200 - 1 500 EUR

Circle of JOHAN BARTHOLD JONGKIND (Lattrop, 1819-around Grenoble, 1891). "Sunset." Oil on panel. Measurements: 25,5 x 33,5 cm; 34 x 41,5 cm (frame). Painting of coastal theme portrayed in the magic hour of the sunset. The golden disk disappears behind the horizon line and says goodbye with an igneous symphony. On the shore, huts and precarious houses are outlined in front of the sea. The painting is inspired by the nocturnal seascapes of Johan Barthold Jongkind, resolved in pre-impressionist language. Johan Barthold Jongkind was a Dutch painter and engraver considered one of the forerunners of impressionism. He studied art at the School of The Hague under the tutelage of the romantic painter Andreas Schelfhout, and painted his first pictures in the style of traditional Flemish painting. In 1846 he settled in Paris and became a pupil of Eugène Isabey until, in 1855, he was forced to return to Holland because of economic problems and settled in Rotterdam. He returned to Paris in April 1860, and from then on expressed his attraction for the marines during his stays on the Norman coast in Le Havre, Sainte-Adresse (see watercolor), Honfleur and Trouville. There he met Boudin and above all Monet, who sincerely acknowledged his debt to the Dutch artist: "to him I owe the definitive education of my eyes". He participated in the Salon des Refusés in 1863 with the painting Ruins of the Castle of Rosemont, next to Manet's controversial painting Le déjeuner sur l'herbe (Lunch on the Grass); both are now in the Musée d'Orsay. His landscapes of Normandy, of canals and beaches of the North Sea, of the banks of the Seine, of Paris, and later of Grenoble, translate in finely nuanced tones the light and atmosphere of those places. Contrary to the Impressionists, he painted his pictures in the studio after the sketches and watercolors he drew outside. Sometimes he repeated the same subject under different lights or in different seasons (a typically impressionist idea later adopted by his friend Monet). He led a disordered life and finally, with psychic problems (melancholy, paranoia) and alcoholic, he died in the asylum of Saint-Égrève near Grenoble. According to Monet, Jongkind's work, along with that of Corot and Boudin, is the origin of Impressionism.

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