A winter landscape with wood gatherer and a hunter signed lower right and dated '51 oil on panel, 21x23 cm Auction: Christie's Amsterdam, 9 Mar 1999, lot 161

Ice scene with skaters near the city of Dordrecht, the 'Huis te Merwe' in the foreground signed lower left oil on panel, 14x19,5 cm Provenance: this painting by Schelfhout has been in the possession of the owner's family for decades. “Pearls” in 19th-century Dutch Landscape Painting. During the era of Dutch Romanticism, Andreas Schelfhout (The Hague 1787–1870) was one of the best and most famous 19th-century landscape artists in the Netherlands. His brilliant paintings, watercolours, and drawings are presented in important private and museum collections worldwide. Long waiting lists of buyers, including royalty and members of the nobility, already existed during Schelfhout’s lifetime. Most popular were his winter scenes with ice-skaters and traditional “koek en zopie” food stands as well as his panoramic summer landscapes. Schelfhouts compositions and motifs attest to great variety and craftsmanship. His three paintings offered in the current auction are perfect examples of the artist’s outstanding skill (lot 250, 251, 252). The winter landscape shows a panoramic view of the city of Dordrecht with its church, the Groote Kerk, in the distance. The ruin in the foreground is inspired by “Huis ter Merwe”, the remains of a castle from the Middle Ages. With spontaneous, impasto brush strokes, a masterfully executed visual axis, and a carefully chosen palette Schelfhout has created a wonderful composition. Both summer landscapes were created with the same level of technical skill. The powerful use of light and shadow makes these hilly landscapes all the more attractive. Indirectly these summer landscapes can be linked to the tradition of 17th-century landscape painting.

A panoramic summer landscape signed lower left oil on panel, 28x38,5 cm Provenance: Kunsthandel Simonis & Buunk, Ede

Paddle steamer and a ferry on the Merwede near Woudrichem signer lower right and dated '51 oil on canvas, 73,5x100 cm Provenance: Collection J. Brinkhuyzen, 1862 Auction Frederik Muller & Cie., Amsterdam, 5-11 May 1953, lot 444 Art Dealer Pieter A. Scheen, The Hague, 1953 Collection MEGA (NV Maatschappij voor Electriciteit en Gas), Limburg, 1994 Kunsthandel Simonis & Buunk, Ede Literature: Exhib. cat. Brussels, 'Salon', 1851, cat. no. 1383 ( titled: 'Le bateau à vapeur, près de la Haye'). J.G.A. Luthereau, 'Revue de l'exposition générale de Bruxelles', Brussels 1851, page 91. Exhib. cat. Londen, 'International Exhibition', 1862, cat. no. 1336 (titled 'Stopping the Steamer at Woudrichem'). J.A. van Eijk, 'De Wereldtentoonstelling te Londen in 1862', 'De Volksvlijt' 10 (1863) page 165. -J. Gram, 'Salomon Leonardus Verveer', 'De Kunstkronijk' 17 (1876), page 92. Exhib. cat. Groningen, Pictura, 'Collectie Pieter A. Scheen', 1953, page 27, cat. no. 37 (illus.). Exhib. cat. Leiden, Stedelijk Museum De Lakenhal, 'Tussen Romantiek en Haagse School: Landschappen uit het midden van de vorige eeuw', 1953, page 20, cat. no. 53. H.C. de Bruijn, 'Per veerpont van romantiek naar Haagse School', 'Antiek' 4 (1992) page 180, page 82 with illus. John Sillevis e.a., 'Licht, lucht en water', Zwolle 1993, page 118-119 (illus. in colour). H.C. de Bruijn, 'De Oostpoort te Delft. Variaties op een favoriet motief. Schilderijen van Ch.H.J. Leickert en S.L. Verveer', 'Antiek' 6 (1997). Nelly de Zwaan, 'Nederland uit de kunst: 365 dagen kijken en lezen', Warnsveld 2005, 2 July (illus. in colour) Christaan Lucht e.a., 'De gebroeders Verveer. Haagse meesters van de romantiek', Zutphen 2015, page 60/63, page 43 with illus. in colour. Exhibited: Brussel, 'Salon', 1851; Londen, 'International Exhibition', 1862; Groningen, Pictura, 'Collectie Pieter A. Scheen', November 1953. Leiden, Stedelijk Museum De Lakenhal, 'Tussen Romantiek en Haagse School: Landschappen uit het midden van de vorige eeuw', 23 December 1953 - 25 January 1954. 's-Hertogenbosch, Noordbrabants Museum, 'Licht, lucht en water. De verloren idylle van het riviergezicht, 11 December 1993 - 10 April 1994. Amsterdam, Joods Historisch Museum, 'Haagse meesters van de romantiek. De gebroeders Verveer herontdekt', 3 July - 1 November 2015.

Summer landscape along a canal signed lower right oil on canvas, 34,5x52,5 cm

A family reading at night signed lower left and dated 1827 oil on canvas, glued on panel, 44x66 cm

The wine tasters signed lower right and dated 1861 oil on panel, 20,5x26 cm

Playing the guitar signed lower right oil on panel, 32x44 cm Ronner’s cats are world-famous. Already early on in her career, Henriëtte Ronner enjoyed great success in salons, and her work was included in important international collections. During her lifetime, her cat paintings were in great demand in high society – and it’s no surprise: her kittens are the very epitome of “cute and cuddly”. No wonder, then, that Ronner went down in history as “cat painter” par excellence. Yet she was also interested in other topics. Her oeuvre can be roughly divided into three different periods: in her father’s studio, she painted landscapes and all manner of farm animals. When she married, she moved to Brussel, where she mostly painted dogs, from dogs pulling dogcarts to the lap dogs of courtly ladies. During this period, she truly made a name for herself as a painter. Over the course of the 19th century, it became increasingly popular to keep cats as pets. They were part of the scenery in the comfortable, luxuriant salons of the upper middle class, and Henriëtte capitalised on this new fashion. She painted hundreds of cats and kittens, curled up on silk cushions, tumbling on the piano, or playing with yarn. The cuddly cats livened up still lifes of 19th-century objects, against the backdrop of richly decorated and beautifully textured drawing rooms. Her later cat paintings are influenced by Impressionism, as is evident from her looser brush strokes and the simplified décors. In 1876, the Queen of Belgium commissioned a painting of her two favourite lap dogs, following which Henriëtte received many more commissions. The majority of European royalty in her time commissioned Henriëtte's art.

The monastery of Boxmeer signed lower right watercolour on paper, 40x32 cm Literature: drs. ing. C.H. Dinkelaar and drs. D.L. Kaatman, 'Johannes Bosboom (1817-1891) Schilder van licht, schaduw en kleur', Laren 1999, p. 244, with ill. Eva Geudeker and Robert-Jan te Rijdt, 'Meesterwerken van de Haagse School', Ommen 2015, p. 36 and 37, with ill.

Church interior signed lower left in initials oil on panel, 43,5x55,5 cm

Sorting the catch signed lower left watercolour, heightened white and black chalk, on paper, 38x49 cm Auction: Christie's Amsterdam, 26 Apr 2006, lot 89. Provenance: Lara Wijsmuller Fine Art, Amsterdam. Now in Private Dutch collection.

A faggot gatherer in the woods signed lower right oil on panel, 31x39 cm

In the dunes signed lower right oil on panel, 30,5x22,5 cm Provenance: Art Gallery Gerard, Wassenaar (1990)

Girls picking flowers signed lower sight watercolour on paper, 25,5x40,5 cm

Landscape behind the dunes signed lower left watercolour on paper, 24x30 cm

'Paard in de stal' / Horse in a stable signed lower left oil on panel, 9x14 cm

'Meidans' / Maypole dance in Wolfheze signed lower left oil on panel, 28,5x45,5 cm. Painted circa 1906. The work comes with a letter that Akkeringa wrote about this work, dated 20 February 1932. Provenance: Auction: Van Marle & De Sille, Rotterdam, 31 January 1912, lot no. 2 (illus.) Kunsthandel Simonis & Buunk, Ede. Literature: Sarah de Clercq, 'Johannes Evert Hendrik Akkeringa [1861-1942]. Schilder van het onbezorgde leven', Schiedam 2010, page 94, page 107 illust. in colour. Exhibited: Apeldoorn, CODA Museum, 'Schilders op de Veluwe', 20 June - 25 October 2009; Katwijk, Katwijks Museum, 'Johannes Evert Hendrik Akkeringa (1861-1942)', 6 March - 5 June2010.