MODERN ART from THE STEVEN STERK COLLECTION

MODERN ART
from
THE STEVEN STERK
COLLECTION
MODERN ART
from
THE STEVEN STERK COLLECTION1
(all items are framed unless stated otherwise)
434
ADRIAANS, Leon (1944 - 2004). Leeg boek. (Empty
book). Acrylic on panel, signed, dated and inscribed with
title and poem: ‘Leon A Adriaans, begin 1983, Gedicht
gratis bij geschilderd ‘leeg boek’, Ik heb de toon/van de
sirene/van de nachtwacht/in 1970 gehoord/en sinds 1982/
geaccepteerd/klank’ (on the reverse). 33 x 41 cm.
(1.200 - 1.500)
Provenance: Thom Mercuur
436
435
ADRIAANS, Leon (1944 - 2004). Untitled 2 x (The
painter; The painting). Acrylic on canvas, signed and dated
‘Adriaans 1995’ (on the reverse). 2 x: 20 x 20 cm.
(1.200 - 1.500)
Unframed.
Provenance: artist’s studio
436
ADRIAANS, Leon (1944 - 2004). Untitled
(Winterlandscape). Acrylic on canvas, signed and dated
‘Adriaans 2003’ (on the reverse). 24 x 24 cm. (1.200 - 1.500)
Unframed.
Provenance: artist’s studio
1. Lots marked with an asterisk (*) come from other collections
THE STEVEN STERK COLLECTION
439
ANONYMOUS. Château des Biletres sur le Mont Jura.
(Castle of Biletres on the mount Jura). Brown ink on
cream laid paper, inscribed with title (top centre). 13 x 19,5
cm.
(100 - 150)
437
ADRIAANS, Leon (1944 - 2004). Rustpunt. (Haven).
Acrylic on canvas, signed and inscribed with title ‘Adriaans
Rustpunt Schop tegen de kunst’ (on the reverse). 40 x 40
cm.
(1.000 - 1.200)
Unframed.
In nice, contemporary, gilt frame
Provenance: artist’s studio
438
ALTHUIS, Willem van (1926 - 2005). Untitled. Oil on
canvas laid down on panel, signed with initials, dated and
inscribed with measures “WvA. 85. 30 x 24 i/2” (on the
overlap). 30 x 24,5 cm.
(1.500 -2.000)
Provenance: Christie’s, Amsterdam
440*
APPEL, Karel (1921 - 2006) - TING, Walasse (1929 - ),
author - Sam FRANCIS (1923 - 1994), editor. ORIGINAL
drawing in pen and felt-pen by Karel APPEL, signed and
dated ‘appel 16 mei 93’ on first pastedown of the book:
THE STEVEN STERK COLLECTION
‘One Cent Life’. Bern, E.W.
Kornfeld, 1964. Dec. cloth
portfolio in dustjacket,
in slipcase. 176 pp. One
of 2000 numbered copies.
With sixty-two lithographs
in colors incl. hors-texte,
full sheets, loose, as
published, in excellent
condition by Pierre
Alechinsky, Karel Appel,
Enrico Baj, Alan Davie, Jim
Dine, Sam Francis, Robert
Indiana, Alfred Jensen,
Asger Jorn, Allan Kaprow,
Kiki O.K., Alfred Leslie,
Roy Lichtenstein, Joan
Mitchell, Claes Oldenburg,
Mel Ramos, Robert Rauschenberg, Reinhoud, Jean-Paul
Riopelle, James Rosenquist, Antonio Saura, Kimber Smith,
K.R.H. Sonderborg, Walasse Ting, Bram Van Velde, Andy
Warhol and Tom Wesselman. First Edition. 41 x 30 cm.
(3.500-4.000)
441
ASMAT (New Guinea, Indonesia). Shield. Wood carving,
coloured with natural pigments. 1980-1990. 164 x 38 cm.
Left image
(200 - 250)
Provenance: Galerie Koos Knol
442
ASMAT (New Guinea, Indonesia). Shield. Wood carving,
coloured with natural pigments. 142 x 26 cm. (150 - 200)
443
BENNER, Gerrit (1897 - 1981). Untitled (Seaview). Oil on
canvas, signed ‘BNR’ (on the reverse), circa 1963. 60 x 75
cm.
(20.000 - 30.000)
Provenance: Christie’s, Amsterdam
THE STEVEN STERK COLLECTION
444*
BIELING, Herman (1887 - 1964). Untitled (Harbour).
Pencil on wove paper, signed ‘Bieling’ (lower left). 13 x 28,4
cm.
(60-100)
Unframed. Good, few creasing
446*
BIELING, Herman (1887 - 1964). Untitled (Nude). Pencil
and watercolour on wove paper, signed ‘Bieling’ (lower
right). 23 x 14,5 cm.
(150-250)
Unframed. Good, few indentations and vague creases
447
BLANK, Hans (1952 - ). Wrak houten tjalk (Sculpture of
a wrecked ship). Bronze on carved bluestone socle, ‘cire
perdu’ made sculpture, unique, circa 1999. 57 x 20 x 13 cm.
(1.500 - 2.000)
With certificate signed by the artist
445*
BIELING, Herman (1887 - 1964). Untitled (Nude). Pencil
and watercolour on wove paper, signed ‘Bieling’ (lower
right). 20 x 18 cm.
(100-200)
Unframed. Good, vague crease
THE STEVEN STERK COLLECTION
448
BOTTEMA, Tjeerd (1884 - 1978). Larense koeiestal (Cowhouse in Laren). Oil on board, signed ‘Tj. Bottema’ (lower
right). 33,5 x 47,5 cm.
(4.000 – 6.000)
Literature: Frederique BRUYEL. Tjerk en Tjeerd Bottema. De Drijvende dobber. p. 83. Important
449
BREGMAN, Boele (1918 - 1980). Untitled (Two
boats, seaview). Watercolour on paper. 13 x 17 cm.
(150 - 250)
Fresh coloured seaview.
Provenance: Galerie Thom Mercuur
THE STEVEN STERK COLLECTION
IV. The art of painting, always consequential and
according to the laws of evolution, without deviation,
gave (by way of cubism), a number of new opportunities
to the original musivical process, on the basis of a new
aesthetics. Liberated from the rigid “instantané” of the
objectual and the dynamical, the window could develop
itself, in organical liaison with the new architecture, into
an orchestral representation of coloured light.
450
DEKKERS, Ger (1929 – ). Tulip-fields, ditch and horizon,
flevoland. Photoprint in colour, 1993, signed, dated,
inscribed with title and numbered 248/280. S. 400 x 500
mm.
(40 - 50)
The photographer Ger Dekkers received the award of the
city of Amsterdam (prijs van de stad Amsterdam) in 1976
and in 1990 the “Overstichtsprijs”
THEO VAN DOESBURG
The meaning of leaded windows in New Architecture*
I. As in the purified, cultural expression of autonomous
painting, in the area of the “leaded window”, one has not
been able to separate decoration from expression.
II. In no form of art is representation, either perspectival
or in a plane, as vulgar and obtrusive as in the “window”.
III. But not only the “representation”, also the process
conflicted with the new demands of some elementary
architects that unanimously objected to the application
of leaded windows in the new architecture. This rather
involved the maximum admittance of light by way of
broad window openings without interruptions.
V. To think in terms of the material now became a strict
requirement.
VI. Holding on to the concept of the “window”, and
taking all constructive elements (joints, cames, etc.) as
a starting point, with due observance of the demands
that originate purely from the art of painting, such as
the composition of light, to be realised as the completing
accent of architecture.
VII. This new window, equivalent to other processes of the
modern plastic arts, is not a surrogate for the preceding:
the illustration, forced into a network of arbitrary leadconnections, but neither to be confused with coloured
shreds of glass arranged according to “good taste and
feeling”. The new leaded window is a cultural product,
that tangibly, anti-lyrically, anti-decoratively and antidramatically represents the aesthetic principal of our time.
VIII. From 1916 onwards I have attempted, in
collaboration with like-minded architects, to give a new
direction to the problem of leaded windows, as described
above. If this has been mere “piano-play” in its practical
application, this can only be blamed on the lack of
assignments to write for this process “full orchestral
scores”.
Theo van Doesburg, Davos 1931
*from a letter by Van Doesburg (written in Davos just before his death
in March 1931). Taken from: GOUWE, W.F. De toegepaste kunsten
in Nederland. Een reeks monografieën over hedendaagsche sier en
nijverheidskunst. Glas in Lood. Rotterdam 1932
THE STEVEN STERK COLLECTION
451
DOESBURG, Theo van (1883 - 1931). Untitled (Two
design drawings for stained-glass windows). A: Pencil on
cut out piece of tracing paper, folded twice, 5 drawings,
each with handwritten names below, for example
‘raamtype achterzijde’. B: Pencil and crayon on tracing
paper, 7 designs for stained-glass windows in colour, 1917 1918. A: 14 x 28 cm.; B: Sight 22 x 32 cm.
(3.000 - 3.500)
Provenance: Galerie Thom Mercuur
452
DOORN, Tinus van (1905 - 1940). Untitled (Poacher
by moonlight). Oil on canvas, 1936. 108 x 163,5 cm. See
illustration following page
(6.000 - 8.000)
Exhibited: Museum Belvédère
453
DUKKERS, Ed (1923 - 1996). Untitled. Oil on canvas,
dated ‘2 8 86’, inscribed ‘/D 72’ and stamped ‘Atelier Ed
Dukkers 1999’ (on the stretcher). 25 x 30 cm. (800 - 1.000)
Provenance: Galerie Frank Welkenhuysen
THE STEVEN STERK COLLECTION
452
THE STEVEN STERK COLLECTION
454
DUKKERS, Ed (1923 - 1996). Untitled. Oil on canvas,
dated ‘27 6 86’, inscribed ‘D 75’ (on the stretcher). 25 x 30
cm.
(800 - 1.000)
Provenance: Galerie Frank Welkenhuysen
Exhibited: Museum Belvédère, Heerenveen 21 April-9 July 2006
455
ESCHER, Maurits Cornelis (1898-1972). Untitled.
(Up and down). Lithograph, 1947, on cream wove
paper, monogrammed and dated in the stone, signed in
pencil, with margins, generally in very good condition,
unexamined out of the frame L. 504 x 205 mm.
(7.000 - 9.000)
Literature: Bool 352
457
FEDDEMA, Anne (1961 - ). Klassieken Thema. De
Grieken varen verder I. (Classical Theme. The Greek are
sailing on). Oil on cardboard, signed, dated and inscribed
with title ‘A.H.B.Feddema, Febr. 2005’ (on the reverse).
29,5 x 29,5 cm.
(300 - 400)
Provenance: artist’s studio
456
FEDDEMA, Anne (1961 - ). Theseus doodt de
Minautaurus. (Theseus kills the Minotaure). Drachten
Klassieken. Oil on canvas, signed, dated and inscribed with
title ‘AHBFeddema, Febr-April 2005’ (on the reverse). 20 x
20 cm.
(300 - 400)
Provenance: artist’s studio
THE STEVEN STERK COLLECTION
458
GESTEL, Leo
(1881 - 1941).
Untitled
(Theatremasks).
Watercolour
on cut out
paper. Three
different
masks with
holes for
the eyes and
nose and
little holes in
the ears for
rubberbands.
In one frame.
78 x 30 cm.
(2.500 - 3.000)
460
GRAAF, Evert de. Untitled. Two works: Stitched and
stretched vellum (eel), signed and dated ‘2006’ (on the
reverse). 17 x 24,5 cm. and 15,5 x 25,5 cm.
(400 - 600)
Provenance:
Collection of
the niece of Leo
Gestel: Gerti
Bierenbroodspot. With
certificate by
F. Mouwes,
Amstelveen,
august 13th,
1996
459
GOGH, van - NOUWS, J. Souvenir de
Zundert ’91. Geboortegrond van Vincent
van Gogh uit de tuin van zijn geboortehuis.
Bottle with ground from the garden of the
house of birth of Van Gogh, sealed and with
fingerprint of J. Nouws. Numbered ‘230’ (of
320 copies), with certificate signed by the
present resident of the house Markt 26, ‘J.
Roks’, the chairman of the ‘Stichting Van
Gogh en Zundert, R. Nelemans’ and the
initiator ‘J. Nouws, the manager of CFP’ 10
cm.
(50 - 70)
461
HAMSTRA, Jochem (1962 - ). Zondag
Haringschilderij. (Sunday Herring-painting).
Acrylic on cardboard (2 sides of a cardboard
winebox), signed, dated and inscribed with title
‘27-10-200 (!) Jochem’ (on the reverse). 32 x 43 cm.
(200 - 300)
Very original painting
THE STEVEN STERK COLLECTION
462
HAMSTRA, Jochem (1962 - ). Untitled (Herring). Acrylic
on cardboard with 2 strips of adhesive tape. 67 x 40 cm.
(200 - 300)
464
HEEMSKERCK,
Jacoba van (1876 1923). Untitled
(Abstract composition). Oil on board,
signed ‘Jacoba v
Heemskerck’ (lower
centre). Executed
circa 1917-1919. 62 x
77 cm.
(8.000 - 10.000)
Provenance: Christie’s,
Amsterdam; private
collection
463
HAMSTRA, Jochem (1962 - ). Froukje. Charcoal and
pencil on paper, signed, inscribed with title and dated
‘Jochem, 9-12-’90’ (lower right). 68 x 48,5 cm. (150 - 250)
THE STEVEN STERK COLLECTION
465
HEIJDEN, J.C.J. van der (1928 - ). Cobalt blue sky.
Acrylic on canvas laid down on panel, signed and inscribed
with name and title: ‘J.C.J. VANDERHEYDEN’, signature
(on the reverse). half circle: 13,5 x 21,5 cm. (1.500 – 2.000)
467
HERMKENS, Jeroen (1960 - ). Utrecht, Maartensbrug.
Lithograph with margins, 1999, signed, numbered ‘47/200’
and inscribed with title. Sight 410 x 500 mm.
(100 - 200)
Provenance: Galerie Thom Broekema, Harlingen; Galerie Fred
Wagemans, Beetsterzwaag
468*
KLANT, J.J. Tropen. (Tropics). Collage, printed paper on
board, signed and inscribed with title and ‘Midden’ (on the
reverse), circa 1946 -1948. 123 x 155 cm.
(500-1000)
Detailed work, possibly one of a triptych, marks one of the few
surrealistic moments in Holland, some imperfections
466
HEIJDEN, J.C.J. van der (1928 - ). Rood-wit. (Redwhite). Acrylic on canvas laid down on panel, signed,
dated and inscribed with name and title: ‘J.C.J.
VANDERHEYDEN’, signature, ‘2001’ (on the reverse). 19 x
16,3 cm.
(2.500 – 3.000)
469
KUIPERS, Corrie (1962 - ). Bolle & Koe. Acrylic on board,
signed and dated ‘’08’ (lower right). 22,5 x 60 cm.(150 - 250)
THE STEVEN STERK COLLECTION
470
KUITWAARD, Christiaan (1965 - ). Untitled. Acrylic on
canvas, signed with initials and dated ‘CK. 17.4.99’ (upper
left). 40 x 40 cm.
(1.000 - 1.200)
Provenance: artist’s studio
471
KUITWAARD, Christiaan (1965 - ). Glas. (Glass). Acrylic
on canvas laid down on masonite, signed with initials and
dated ‘C K 16 1 2004’ (right margin) and inscribed with
name, title and date on the reverse. 38,5 x 28 cm.
(1.000 - 1.200)
Provenance: artist’s studio
472
KUITWAARD, Christiaan (1965 - ). Untitled. Acrylic
on canvas, signed with initials and dated ‘C K. 18.1.2001’
(upper centre). 30 x 30 cm.
(1.000 - 1.200)
Provenance: artist’s studio
473
LOEBER, Lou (1894 -1983). Sneeuw-maan-lamp. (Snowmoon-lamp). Oil on board, signed and dated ‘LL’25’ (lower
right). 33 x 32 cm.
(3.000 - 5.000)
Provenance: Acquired directly from the artist by the former
owner; Sotheby’s, Amsterdam
Exhibited: Singer Museum, Laren 17 January-14 March 1993
THE STEVEN STERK COLLECTION
474
MANKES, Jan (18891920). Untitled (Stream
in the evening). Etching,
1916, on paper, signed in
pencil, with margins, some
mountstaining, otherwise
apparently in very good
condition, unexamined
out of the frame. P. 100 x
70 mm.
(600 - 700)
476
METSAARS, Janus (1953 - ). Untitled (Water). Pigments,
sand and chalk with polyurethaan on canvas, signed,
dated and inscribed with title and list of materials:
‘JMetsaars, 2003, pigment/binder/doek/paneel’ (on the
reverse). 24,5 x 35,8 cm.
(800 - 1.000)
Literature: Ottevanger and
Roodenburg p. 228
477
METSAARS, Janus (1953 - ). Untitled (Water). Pigments,
sand and chalk with polyurethaan on canvas, signed and
dated ‘JMetsaars, 2003’ (on the reverse). 35 x 45,5 cm.
(1.000 - 1.200)
475
METSAARS, Janus (1953 - ). Dommel 3. Pigments, sand
and chalk with polyurethaan on canvas laid on board,
signed, dated and inscribed with title and list of materials:
‘JMetsaars, 2005, pigment/binder/doek/paneel’ (on the
reverse). 50 x 60 cm.
(1.500 - 2.000)
478
MOERMAN, Piet (1955 - ). Vue sur la mer. (Seaview). Oil
on board, signed and dated ‘Moerman 2003’ and inscribed
with title (on the reverse). 11,5 x 22,5 cm.
(100 - 150)
Provenance: Galerie Thom Mercuur
THE STEVEN STERK COLLECTION
PIET MONDRIAAN (1872-1944)
Sound and vision
“Herinnering aan een muziekavond” (Memory of a
musical night) is the ambiguous text Mondriaan wrote in
pencil under his nice drawing of trees along a river before
giving it as a present to his friend the piano-player Mien
Philippona. Does it mean that he gave her a work of his
hand as a souvenir of an evening he enjoyed or does this
landscape represent his recollection of a musical night,
watching the trees whilst listening?
Purely academical, one could argue, as Mondriaan
isn’t known for writing titles underneath his drawings or
paintings. And indeed, the second possibility is not very
probable and we would not linger over it any more if it
didn’t allow us to connect the drawing to his later concept
of “the true vision of reality”.
In his autobiographical essay of 1942 Mondriaan
acknowledges that as a young painter – he was 34 years
old in 1906 – he preferred to go out painting when the
weather was dark and grey because details and nuances
would tend to vanish and outlines and surfaces would come
forward.
And there he is, Piet Mondriaan, listening to the music
– maybe the piano of Mien – and looking at the trees
while the light of the sun is slowly diminishing, as are
the details and the shades, allowing the abstraction of the
landscape to become stronger and stronger while the music
goes on and the hour goes late ...
Music or silence, there is
no doubt that the dark and
grey landscapes in his early
work are the heralds of the
new era of art that his later
compositions established.
And thus a drawing that is
presented as a memory of an
evening might be seen as the
dawn of the future.
479
MONDRIAAN, Piet (1872 - 1944). Untitled (Trees along
a river). Black charcoal and pencil on a papercard, signed
with initials ‘P.M.’ (lower right) and dated and inscribed
‘Herinnering aan een muziekavond 13 dec. 06’ (lower left).
21 x 24 cm.
(12.000 - 16.000)
Provenance: Given by the artist to his friend the piano-player
Mien Philippona on the occasion of a musical evening on 13
December 1906; Christie’s, Amsterdam
THE STEVEN STERK COLLECTION
480
MULDER, Johan (1950 - ). Untitled (Cock in chicken
coop). Oil on canvas, laid down on wooden panel,
signed and dated ‘J. Mulder ‘99’ (lower right). 90 x 74 cm.
Inscribed with title in Danish on the reverse (“Brun høne i
grønt skab”).
(1.000 - 1.500)
Trompe l’oeil effect with chicken coop. Provenance: Boekhandel
Steven Sterk. Icon of Steven Sterk’s bookshop in Utrecht were
it has been exhibited for years and never failed to attract a great
deal of attention
481
MULDERS, Marc (1958 - ). Geplukte fazant (Plucked
pheasant). Watercolour on paper, signed in initials,
inscribed with title and dated ‘m.m. 02 01 03.’ (lower
centre). 100 x 70 cm.
(1.500 - 2.000)
483
482
NAUTA, Jan (1951 - ). Untitled. Mixed media on board,
signed (on the reverse), circa 2007. 48,5 x 165 cm.
(1.000 - 1.200)
THE STEVEN STERK COLLECTION
485
PEETER, Zoltin (1942 - ). Untitled. Watercolour and
pencil on wove paper (’Holland’), signed with initials and
dated in pencil ‘Z P ‘06’ (lower right). 48 x 64 cm.(400 - 500)
Provenance: artist’s studio
483
NAUTA, Jan (1951 - ). Untitled. Mixed media on board,
signed and dated ‘2007’ (on the reverse). 23 x 57 cm.
(600 - 800)
486
PEETER, Zoltin (1942 - ). Untitled. Charcoal and pencil
on paper, signed with initials and dated in pencil ‘Z P ‘05’
(lower right). 64 x 48 cm.
(400 - 500)
4 pinholes. Provenance: artist’s studio
484
OUD, Tames (1895 - 1953). Untitled. Oil on canvas. 33,5 x
39 cm.
(5.000 - 6.000)
Some craquelure, lined. Some repairs. Paintings by Tames
Oud are seldomly offered
486
487
POPMA, Jentsje (1921 - ). Untitled (Landscape). Acrylic
on board, signed and dated ‘JentsjePopma ‘94’ (lower
centre). 35 x 39 cm.
(1.000 - 1.500)
Provenance: artist’s studio
THE STEVEN STERK COLLECTION
488
RAVEEL, Roger (Belgian, 1921 - ). Untitled (Bird - cat).
Linocut, printed in red, green and black, 1990, on wove
paper, signed in pencil and numbered 22/30, with margins,
few indentations, otherwise in very good condition Sight
300 x 300 mm.
(400 - 500)
Provenance: private collection
490*
REES, Otto van (1884 - 1957). Untitled (Neptune with
mermaid). Ink and pastel on brown paper, signed with
monogram ‘VR’. 19 x 12,5 cm.
(150-250)
Unframed
489
REES, Otto van (1884 - 1957). Untitled (Still life with
bottle). Pencil and watercolour on brown paper, few small
creases, small waterstains. 39 x 30 cm.
(200 - 300)
Attributed to Otto van Rees
491
RINSEMA, Thijs (1877 - 1947). Twee ruiters (Two
horsemen). Linocut, 1920, printed at a later date, signed
with initials ’Th R’ in linocut, numbered 8/75 in pencil, on
wove paper, with margins, generally in good condition. L.
220 x 267 mm.
(400 - 500)
Provenance: private collection; Collection d’Art Amsterdam;
Sotheby’s, Amsterdam
THE STEVEN STERK COLLECTION
495
ROOY, Gerard van (1938
- 2006). Architectonica
maxima. Etching on
wove paper, 2000, signed,
numbered ‘G. v Rooy
38/180 dr. v/d etser’ and
inscribed with title. P. 450 x
230 mm.
(150 - 200)
492
RINSEMA, Thijs (1877 - 1947). Kompositie (no. 118).
(Composition no. 118). Drawing in pen and ink on paper,
circa 1920. Good condition. 26,5 x 24 cm.
(2.000 - 3.000)
Provenance: private collection; Collection d’Art Amsterdam;
Sotheby’s, Amsterdam
496*
SCHUHMACHER, Wim (1894 - 1986). Cervac demestre.
(Spain). Gouache on paper, signed and inscribed with title
(lower left). 33 x 43 cm.
(2.000-3.000)
In passepartout.
495
493
ROOS, Jan (1951 - ). Untitled (A landing in the sea).
Gouache, ink, crayons on 2 joined sheets of paper, signed
(lower left). 47,5 x 72 cm.
(500 - 700)
494
ROOS, Jan (1951 - ). Untitled (Landings). Gouache, ink,
crayons on 2 joined sheets of paper, signed (lower right).
47,5 x 68 cm.
(600 - 800)
THE STEVEN STERK COLLECTION
497*
SCHUITEMA, Paul. Toledo-Berkel Mij. Printed
advertisement for the Toledo-Berkel Company, one sheet,
photomontage, design Paul Schuitema, Rotterdam, 1928.
S. 29 x 20,8 cm.
(250-350)
Literature: Dick Maan. Paul Schuitema: beeldend organisator, p.
56
498
SLOOT, Bouke van der (1908-1995). Untitled (Landscape
with water). Oil on canvas, signed and dated ‘Bouke v.d.
Sloot ‘42’ (lower left). 29 x 39 cm.
(900 - 1000)
Fine painted in bright colours, some craquelure. Provenance:
private collection
499
SLUIJTERS, Jan. Untitled (Chicken and goose). Woodcut
with waterpaint on brown tracing paper with initials ‘J S’
in the print, signed, dated and inscribed ‘Handdruk 1949’.
11 x 77 mm.
(100 - 200)
THE STEVEN STERK COLLECTION
500
SNIJDER, Jan (1960 - ). Untitled. Tempera on canvas,
signed and dated ‘Jan Snijder 99’ (on the reverse). 28 x 44,5
cm.
(800 - 1.000)
Provenance: Galerie Goutum
502
SNIJDER, Jan (1960 - ). Rise (Flyhors). Tempera and
sand on canvas, signed and dated ‘Jan Snijder 2004’ and
inscribed with title (on the reverse). 25,5 x 39,5 cm.
(1.000 - 1.200)
Provenance: artist’s studio
501
SNIJDER, Jan (1960 - ). Untitled. Tempera on board. 28 x
31,5 cm.
(600 - 1.000)
Provenance: Galerie Goutum
503
SNIJDER, Jan (1960 - ). Kroonpolder. Tempera and sand
on canvas, signed, dated ‘Jan Snijder 2005’ and inscribed
with title (on the reverse). 30 x 34,5 cm.
(1.000 - 1.100)
Unframed. Provenance: artist’s studio
THE STEVEN STERK COLLECTION
STAINED GLASS
in
LEADED
WINDOWS
504
STAINED-GLASS.
Church window.
Leaded window
with stained glass
with yellow and
blue elements and
red borders, curved
upper edge, in
metal frame. 19th
century. 104 x 41
cm.
(100 - 150)
506
STAINED-GLASS. Two
triangular windows. Two
leaded windows with
stained glass in very
bright blue and
yellow. Circa 1930.
2 x: 52 x 66 cm.
(300-500)
507
STAINED-GLASS. Sun, star and planets. Leaded stained
glass panel with yellow, orange and white ornaments in
blue glass. In metal frame. Circa 1990 41,4 x 56 cm.
(80 - 100)
Provenance: Province
of Friesland, The
Netherlands
505
STAINED-GLASS. Four windows with fleur-de-lis motif.
French leaded windows with fine bright stained glass. In
new metal frames. Circa 1900 - 1920. 2 x: 91 x 58,5 cm; 2 x:
59 x 54 cm.
(800 - 1.000)
SEE also lot 451 - VAN DOESBURG
THE STEVEN STERK COLLECTION
508
TADEMA, A.A. (1913 - 1989). Trekpaarden. (Cardhorses). 17e nationale tentoonstelling Den Bosch.
Lithograph, poster, Den Haag, Mouton & Co., circa 1930,
once folded, 3 small bands of adhesive tape, few nicks
lower right margin, generally in good condition. S. 530 x
680 mm.
(100 - 120)
510
VRIES, Sjoerd de (1941 - ). De wachtkamer. (The waiting
room). Mixed media on board, signed and dated ‘1998’
(lower right) and inscribed with title and date ‘3-5-’98’ (on
the reverse). 46 x 31 cm.
(1.500 - 2.000)
509
VOSSEN, André van der (1893 - 1963). Strand. (Beach).
Stencil printing on crème wove paper, signed (lower right)
and inscribed with date and title ‘’45’ (lower left). 28,5 x 44
cm.
(700 - 900)
Literature: André van der Vossen. De drijvende dobber, 1992. p.
29
511
VRIES, Sjoerd de (1941 - ). Untitled. (Landscape). Mixed
media on board, signed and dated ‘06’ (lower right). 32,5 x
50 cm.
(3.000 - 4.000)
THE STEVEN STERK COLLECTION
512
VRIES, Sjoerd de (1941 - ). Untitled. (Landscape). Mixed
media on board, 2006. 33 x 50 cm.
(4.000 - 5.000)
513
WALTA, Meinte (1920 2002). Dorp op een terp. (Village
on a terp). Acrylic on paper, signed and dated ‘Meinte
Walta ‘79’ (lower right), inscribed with title ‘terp (doarp)
dorp op een terp VERHEVEN Monumentaal III’ (on the
reverse of the frame). 50 x 65 cm.
(800 – 1.000)
514
THE STEVEN STERK COLLECTION
514*
WANING, Martin van (1889 - 1972). Kolkje te
Amsterdam. Etching, on paper, signed with initials
’M.v.W.’ in the etching, signed again in pencil ‘Martin van
Waning’ and inscribed with title, with margins. P. 645 x 490
mm.
(100-200)
Waterstains lower left, centre and right
515
WEISTRA, Bauke Jzn. (1932 - ). Untitled (Landcape with
trees). Mixed media (acrylic, glue and sand) on paper.
Signed ‘Bauke Weistra Jzn.’, circa 1990. 40 x 30 cm. See
illustration above
(500 - 600)
Good condition
516
WEISTRA, Bauke Jzn. (1932 - ). Untitled (Landcape with
moon). Mixed media (acrylic, glue and sand) on paper.
Signed ‘Bauke Weistra Jzn.’, circa 1990. 40 x 30 cm. See
illustration above right
(500 - 600)
Good condition
517
WEISTRA, Bauke Jzn. (1932 - ). Untitled (House with
trees). Mixed media (acrylic, glue and sand) on paper.
Signed ‘Bauke Weistra Jzn.’. 40 x 31 cm.
(500 - 600)
Good condition
THE STEVEN STERK COLLECTION
WE NOW ACCEPT
CONSIGNMENTS FOR OUR
NEXT AUCTION
12 JUNE 2010
FEEL FREE TO ASK FOR
INFORMATION
OR TO MAKE AN APPOINTMENT
BY PHONE OR BY MAIL
+31 20 737 04 11
518
WINTER, Frits (German 1905 - 1976). Untitled.
Watercolour on paper, signed and dated ‘F Winter ‘64’
(lower right). 69,5 x 50 cm.
(3.000 - 5.000)
[email protected]
Provenance: Christie’s, Amsterdam; private collection (a gift
from the artist to the former owner)
Adams
Amsterdam Auctions
P.O. Box 10794
1001 ET AMSTERDAM
HERENGRACHT 386
519
HERENGRACHT 386. Original 17th century canal mansion, built by Philips Vingboons for Karel Gerards.
Amsterdam, [1664-1665]
(7.000.000-8.000.000)
Full description and special conditions, see separate brochure (see also pages 150-156 and the special website devoted to the
residence at www.herengracht386.com)
Front facade of Herengracht 386, from Vingboons’ Tweede deel van de Afbeeldsels der Voornaemste Gebouwen uyt alle
die Philips Vingboons geordineert heeft (Amsterdam, 1674)
< Herengracht 386
HERENGRACHT 386
HERENGRACHT 386
The facade today, from frog perspective and seen from the other side of the canal. Although the stairs
and the chimneys didn’t stand the test of time, on the outside little has changed in the past centuries.
In the original design by Vingboons the Doric pilasters of the so-called bel-étage appear underneath
Ionic and Corinthian for the upper floors. The eventual facade however shows a different combination,
still in the order that followed from Scamozzi’s example, but unusual because of replacing Ionic by
Composite pilasters for the upper floors. Although this might have been the decision of the client, the
prominent merchant Karel Gerards, who preferred this more decorative option, the facade as executed
combines style and luxury, architectural and artistic principles and tradition and originality. All
this remained unchanged, and, today, in front of the residence one is easily impressed by the effects
of Vingboons’ order and execution: the severe and solid base, the development into decoration of the
storeys and then, the rich ornamention of the cornice at the roof part that ultimately crowns the facade
HERENGRACHT 386
Philips Vingboons (1607-1678)
Philips Vingboons came from a family of painters, engravers and cartographers. He probably began
his career as a painter himself and may have been a draughtsman for Jacob van Campen, the architect of the Royal Palace on the Dam and of Palace Noordeinde in The
Hague. This would account for his purely classicist start. Specializing in town houses
along the canals, the limited dimensions of floors and facades forced him to choose for
creative and sometimes pragmatic solutions, and thus to a great variety of facades. The
‘halsgevel’ (or ‘Vingboons-gevel’) e.g. is named after him because the oldest specimen
of this elegant type was designed by the architect of Herengracht 386. This type of
facade became very popular, undoubtably because it suited the narrow town houses on
the canals so well.
He documented his own work in his famous “Afbeeldsels der Voornaemste Gebouwen
[...]” (1648), that contains also his design for the new Amsterdam town hall that was
never carried out. Nevertheless he became the most prominent architect of Amsterdam during The Golden Age, designing “residences for merchants, industrialists and
Rear facade of Herengracht 386
officials” but also “various country homes for wealthy citizen on the Vecht and in the
(see page 149. See also lot 391,
the famous ‘Grachtenboek’) polders”. (OTTENHEYM, p. 19)
“the funding house of America’s Independence”
The rich history of Herengracht 386 involves crucial moments in the development of several great
nations and projects. One of the bankers established in the building, Jan Willink, even financed the American War on
Independence and several projects to build up the country. In fact, the recent exhibition in the Museum of Finance on
Wall Street makes clear that Dutch money and entrepreneurship laid the foundation for New York City.
Their best-known and probably most substantial transactions involved
loans made to the United States of America in co-operation with several
other Amsterdam banks. From the very beginning of the War on Independence, Willink had been supportive of the United States government in the
stock exchange and he continued to be of assistance to the new nation. In
1782, six years after independence was proclaimed, His Excellency John
Adams, Minister Plenipotentiary of the United States, was empowered
by Congress to take out a loan of ƒ 5.000.000 at 5% with the banking
houses of Willink, Staphorst, de la Lande and Fijnje. A second loan for
ƒ 2.000.000 followed in 1784. In the following years, until 1794, the
United States was to borrow ƒ 29.000.000 from Willink and the other
banking houses. [...]. From 1789, Willink and other entrepreneurs also
traded in shares of American State Funds. A correspondent in America
looked after the Amsterdam interests. In 1792 a group of businessmen
asked for Willink’s participation in consolidating investments in America.
This gave birth to the ‘Holland Land Company’ which was active mainly
in the states of New York and Pennsylvania. In Pennsylvania and the
western parts of New York State the Holland Land Company acquired
some 1.300.000 acres. In addition to his share in the Holland Land Company, Willink also owned his own land in America, 350.000 acres be-
between Lake Erie and Lake Ontario and in the Geneese Territory to the
east of Niagara Falls. Part of the records of the Holland Land Company
can be found in the Amsterdam Municipal Archives. Various maps in the
archives show these areas clearly marked, for example a map of 1799:
“Map of the several Tracts of land belonging to the Holland Company,
the Negotiation and Messrs. William and John Willink” (OTTENHEYM, p. 60-61)
HERENGRACHT 386
Left: view from the garden
room (below) on the large
and sunny garden on the southwest side (450 m2). See
also last endpapers of this
catalogue for a more recent
image of the garden with the
rear facade of the building.
Below right: The garden
room with wall paintings by
Jurriaan Andriessen (17421819)
Jurriaan Andriessen (1742-1819)
In 1773 Gilles Alewijn, appointed Sheriff in the same year, bought Herengracht 386 for ƒ 77.000. The exterior was still unchanged, since Pieter Pels,
one of his most famous predecessors, died before his renovation plans
were carried out. Alewijn is responsible for most of the decorations and
restaurations that give the house its present appearance of elegance and
grandeur, including the impressive staircase - round an open stairwell in
order to ensure that the outside light from above reached the lowest flight
-, the rich stucco decorations and the wall paintings by Jurriaan Andriessen (1776). By the time Alewijn engaged Andriessen, the latter already
enjoyed a considerable reputation for his wall paintings of nature scenes,
very popular in the 18th century. Most of his work was executed for canal
mansions in Amsterdam and the seven ‘built-in’ canvasses he made for
Herengracht 386 are very fine examples of his mastership:
[...] all seven paintings depict separate scenes. Although the landscape is not continuous throughout, Andriessen took into account
in each painting the compostion of the others. On the two short sides of the room, for example, the trees in the paintings are grouped
to correspond. The long wall, opposite the windows, is divided into three sections. Here too, clouds sky and clusters of trees provide a
common link despite the individual character of the pieces themselves. [...] the vistas [...] represent a combination of Dutch scenes
and southern landscapes. On either side of the entry to the large hall, paintings show a country road winding through a hilly terrain
featuring a mule-driver and ‘off-duty’-horsemen taking their ease in a kind of tavern garden. The three canvasses on the long wall
picture various views of a wooded area with cows in a ford, a road with a number of travellers, and a romantic ruin with a modest
farm-house. The mantelpiece is flanked by two very Dutch water-scenes. Again the two paintings are brought into harmony by the
dark groves of trees at their outer sides and the open space towards the centre [...]
Dr. K.A. OTTENHEYM. Herengracht 386. The History of an Amsterdam Merchant’s Mansion. [Amst., 1990]. P. 59
HERENGRACHT 386
Some of the ‘modernizations’ Gilles
Alewijn had executed after acquiring
the house in 1773. On the left we see
the top of the new staircase, wellilluminated and spacious, on the right
a beautiful specimen of a grisaille,one
of numerous stucco decorations that
were introduced at the same time
(see also the opening pages of this
catalogue)
HERENGRACHT 386
Our auction room can be your living room!
At the end of our first art auction, we offer for sale the complete building
(lot 519), including period rooms (i.e. a garden room with original wall paintings by Jurriaan
Andriessen (see exhibition opposite page)) with Louis XIV- style elements and a marvelous
sunny garden of 450 square meters in the heart of Amsterdam. This very impressive residence
at the most fashionable canal of the capital was built by one of the great architects of The
Dutch Golden Age, Philips Vingboons, and has been the setting of historic financial transactions with Russian noblemen, kings of France and Americans at the dawn of Independence
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