54 - Floris Arntzenius (1864-1925)

Floris Arntzenius (1864-1925) Rainy day at Noordeinde in The Hague, with a view on the equestrian statue of William of Orange,signed with the artist's studio stamp 'Atelier Floris Arntzenius Den Haag 1864-1925' (on the frame),watercolour on paper, 52,5x35,5 cm,Exhibited:-The Hague, Haags Gemeentemuseum, ‘Floris Arntzenius’, 1969, no. 107 (label attached to the reverse).-Laren, Singer Memorial Foundation, ‘Floris Arntzenius’, no. 107 (label attached to the reverse).-The Hague, Haags Historisch Museum/Van Voorst van Beest Gallery, ‘Floris Arntzenius’, 26 September-15 November 1992.Literature:-Dolf Welling, ‘Floris Arntzenius’, The Hague 1992, ill. p. 54.-‘Floris Arntzenius. Het kunsthandelboek en de kunstgeschiedenis’ in Jong Holland 1993 (3), ill. p. 61, no. 1.Provenance:-From the collection of the late Mrs Floor van Raab van Canstein, granddaughter of the artist.Please compare to an oil painting by the artist with a similar composition of the Noordeinde, sold at: Auction, Venduehuis The Hague, 16 November 2022, lot 123.This lot is part of a collection of works by Floris Arntzenius which has been carefully assembled by his granddaughter, the late Mrs Floor van Raab van Canstein.Growing up in an artistic family, with the painters Floris Arntzenius and Lide Doorman as her grandparents, Floor was surrounded by art from an early age. Her mother, Elise Arntzenius, was also a talented artist who painted numerous still lifes and portraits and ran an antiques shop called Ondine on the seafront in Scheveningen. This rich artistic heritage and a lifetime spent surrounded by art played a significant role in shaping the remarkable collection Floor assembled over the years.Throughout her life, Floor had a discerning eye for quality, carefully selecting only the finest pieces at auction, particularly at the Venduehuis der Notarissen in The Hague. Her passion for art and antiques naturally led her to open her own shop, Floor Antiek, on the Denneweg in The Hague during the 1980s.Over the years, she assembled an extraordinary collection, much of which was initially displayed in her shop before eventually finding its way into her home. There, surrounded by the objects she had so carefully chosen and cherished, Floor created a unique and deeply personal museum, reflecting a lifetime devoted to art and beauty. Floor’s appreciation of art was heavily influenced by the legacy of her grandfather, Floris Arntzenius, who occupied a distinctive position within the artistic life of The Hague at the turn of the twentieth century.Born in Surabaya in 1864, Arntzenius was raised in Amsterdam, where he received his artistic training at the Rijksakademie van Beeldende Kunsten. Among his fellow students were George Hendrik Breitner (1857-1923), Isaac Israels (1865-1934), and Ferdinand Hart Nibbrig (1866-1915), who would become prominent figures of Dutch modernism. Their interest in contemporary life and the direct observation of their surroundings left a lasting impression on Arntzenius.Following the death of his father, Arntzenius moved with his mother to The Hague in 1892, settling on the Hooikade. He soon became closely involved in the city's artistic circles, joining Pulchri Studio and later serving on its board. Together with Kees van Waning (1861-1929), he also worked from a studio on the Spui.In 1896, Arntzenius became a member of the Hollandsche Teeken Maatschappij, alongside Johannes Akkeringa (1861-1942). Founded by artists including Jozef Israëls (1824-1911) and Hendrik Willem Mesdag (1831-1915), the society played an important role in promoting watercolour painting and providing opportunities for artists to exhibit their work. Watercolour would remain a particularly important medium throughout Arntzenius' career. A familiar presence in the streets of The Hague, he frequently made rapid sketches and studies of his surroundings (lots 221, 222, 228 and 229). At times, he even rented a window from which to observe the streets from a different vantage point. The present selection reflects this close observation of urban life, with views of the Noordeinde and the Spuistraat capturing the changing atmosphere of the city. In a watercolour depicting the Spuistraat (lot 55), damp weather and subdued light transform an otherwise familiar street into a quiet, atmospheric scene.Arntzenius' interest in the city extended beyond its streets and architecture to the people and activities that brought them to life. Pedestrians, horse-drawn carriages, and passing vehicles provided a constant source of inspiration. A watercolour of a horse and carriage, possibly depicting the Lange Voorhout (lot 223), demonstrates his ability to capture fleeting moments with just a few assured strokes. Equally characteristic are his depictions of the city's cafés and social life. The reading room of Café Riche on the Buitenhof (lot 219), for instance, provides an intimate glimpse into everyday life in The Hague.Alongside these public scenes,