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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