In the picture: these 175 paintings. For sale on this webpage for attractive prices. Only five days: from Tuesday 23 May to Saturday 27 May 2023. With paintings in all styles, colors and prices, sorted in 5 price ranges.
So enjoy this online exhibition. Choose the artwork you want. Does it appeal? Does it fit in your house, is it within your budget? Simply click on the buy button and we will deliver it soon. Of course, the works are also available for viewing in Ede upon request.
A humorous representation of two fishermen who see something completely unexpected in the water. You can imagine anything about it, and because the cause of their bewilderment is outside the image plane, your imagination is extra stimulated. The painter, Johan Georg Gerstenhauer, was originally a talented draftsman and painter of portraits and anecdotal city, beach and genre scenes. Often something happens in those paintings: people muse on the waterfront, chat or court. That was perhaps the reason why he was asked shortly after 1900 to paint representations that could be used for postcards, for which a whole new market had emerged. He painted portraits of Dutch girls in traditional dress, ice skating fun, glimpses of Volendam, Spakenburg, Scheveningen and Katwijk, the successful rescue of a farmer’s wife who had skated into a hole – with the subtitle ‘Help, Help!’ – and a number of humorous representations of sport fishermen and their misfortunes. He also designed advertising postcards for Philips and coffee roaster and tea trader Erve J. van den Bergh from The Hague. Johan Gerstenhauer was born on May 5th, 1858 in Amsterdam, lived in Rotterdam until 1900, in The Hague from 1900-1903 and then in Utrecht.
At a house party that Kees Verwey organized in 1941, he met writer and columnist Godfried Bomans who was taken along by a mutual friend. Both lived in Haarlem and a friendship arose. The two wrote letters to each other, drank coffee together and took walks around the Haarlemmerhout. Verwey: ‘I don’t know anyone who has wanted to make such a regular visit to that café with me, interspersed with some walking.’ It was not always smooth sailing between the men, the friendship had its conflicts: Verwey was known for his stubborn and obstinate personality. In his art too, he did not conform to rules or a particular movement. Verwey painted and watercolored almost exclusively portraits, flowers and still lifes from his chaotic studio. He considered his own style as a continuation of the Hague School and the Amsterdam impressionists, who placed everything ‘in a transparent light’. He combined the impressionistic of the watercolor with the colorful expressionism of the modernists. These two watercolors come from the estate of Godfried and his wife Pietsie. With quick lines of chalk, Verwey manages to depict a domestic scene at his friend’s kitchen table, ‘for Godfried 58 years old, from Kees and Jeanne’ is written underneath. It shows the warm bond between the two couples. The flowers were also a gift, as can be read from the annotation on the support cardboard: ‘Received from Kees Verwey, Sunday April 23rd 1961. Godfried Bomans’.
Riding or cycling through the landscape of the Netherlands, you sometimes suddenly feel like you’re in a painting. By Willem Maris or Jan de Haas, for example, who painted mostly Dutch landscapes. But what the painters were actually concerned with was depicting cattle, and especially cows: a cherished animal in the Dutch landscape. The cow occupies a special place in Dutch art history; as early as the 17th century, the ruminant was a beloved subject in painting. Paulus Potter’s life-size Bull from 1647 is now an icon and would have been a favorite of Willem Maris who studied Potter’s oeuvre and even made copies and variants of it. In the 19th century, some Hague School painters elevated cattle painting to their specialty. For example, Willem Maris was known for his paintings of animals in the Dutch landscape, where he had a preference for cows and ducks. He regularly went out to sketch in the rural surroundings of The Hague; the meadows formed his study area. “I don’t paint cows, but light effects” is a famous quote from him. The way he let his subjects be touched by light and the fleeting impression of a certain moment of the day in his paintings made Maris also known as the impressionist of the Hague School. In contrast to Maris, Jan de Haas had to travel quite a bit for his Dutch livestock pieces. Following in Willem Roelofs’ footsteps, De Haas moved to Brussels in 1857, from where he regularly came to the Netherlands for inspiration. He painted many red-and-black-spotted cattle or other sturdy modeled animals. De Haas worked en plein air a lot and used his drawn and painted studies outside in the studio to produce larger works. In both Summer landscape with cattle by De Haas and Grazing cows by the water by Maris, you can see how much attention was paid to light effects.
Jaap ter Haar’s paintings make you happy. In bright, fresh colors, he paints the world according to his vision. His Holland is cozy and clear, recognizable by churches and windmills, well-kept roads with houses neatly in a row, trees in line and always present water with its bridges, dikes and safe harbors. It is true to nature and realistic and yet not because fantasy, humor and freedom also play a role in his village scenes.
The painter was originally a well-known writer of children’s and youth books, including the successful series Saskia en Jeroen and Lotje. In addition, he adapted a large number of legends and wrote about history. He did this in an imaginative writing style in which he combined facts with often invented parts, which led to a very readable whole. In the 1950s he worked for years on a History of the Low Countries. The story goes that he suddenly had enough of the struggle behind the typewriter after that. In the late 1970s he started painting, and almost immediately with success. His village scenes sprout from his imagination but he also gets commissions, especially from Het Gooi where he lives. Jaap ter Haar is considered one of the Sunday painters, also known as naive painters. Since the success of Henri Rousseau and our own Sal Meijer, their work has been recognized as an official art movement. The artists who belong to this group are surprised by this name because they do not see themselves that way. But they do not take to the barricades, do not strive for innovation or originality and seem to have no desire to make paintings in one of the common styles. They are themselves in an unencumbered way.
At the beginning of the 19th century, many artists settled in The Hague and there was a need for a society to promote the interests of the visual arts. With this idea in mind, Pulchri Studio was founded in 1847 ‘for the practice of the beautiful’ by Lambertus Hardenberg, Willem Roelofs, Bartholomeus Johannes van Hove, Jan Hendrik Weissenbruch and his nephew Jan Weissenbruch. Both artists and art lovers, who often acted as patrons, could become members. Many artists, including Johannes Bosboom, Jozef Israëls and Hendrik Willem Mesdag joined. Art discussions were organized to exchange ideas with each other. In addition, an important part was to paint, draw and sculpt together from a model. The number of members continued to increase and the society moved several times because the space became too small. The Hofje van Nieuwkoop was exchanged for Prinsegracht 57 and in 1898 Hendrik Willem Mesdag bought the building at Lange Voorhout 15 together with his brother Taco where the current Pulchri is still located. With an auction of works of art by members, the thorough renovation was financed and finally opened in 1900 with the first member exhibition. These sales exhibitions during spring and autumn, where members presented their work to the public, were very successful. Various movements were represented, from impressionism to expressionism and luminism. This made it possible to study new developments closely. There was also enough room for relaxation within the association. Artists’ birthdays were celebrated extensively with dinners and meetings with singing, recitations and especially tableaux vivants ensured that the parties, only accessible to members, became famous.
Floris Arntzenius became a member of Pulchri at the age of 28 in 1892. He remained a member for his entire life and fulfilled the role of both commissioner and secretary of the association. Arntzenius painted landscapes in the style of the Hague School, colorful beach scenes, still lifes, self-portraits and portraits of friends and acquaintances he met at Pulchri and Café Riche such as Frederic Jacobus van Rossum du Chattel and Jan Adriaan Frederiks playing cards. In 2022, Pulchri Studio celebrated its 175th anniversary. The society is still an important meeting place for artists and enthusiasts and lectures, concerts, parties and about 60 contemporary art exhibitions are organized every year.