Amsterdam - Art

oil stick, acrylic, charcoal on raw linen canvas

A lush bouquet of blush-pink and creamy white peonies rests in a clear glass vase, rendered in thick, expressive strokes of acrylic paint. Built up with a palette knife and finished ...

"Citrus Still Life" approaches the traditional still-life genre through an abstract and gestural vocabulary. The familiar motif of citrus becomes a point of departure for an explorat...

oil stick, acrylic, charcoal on raw linen canvas

"Flowers That Speak" is a vivid, emotional bloom that goes far beyond still life. This original acrylic painting captures the untamed energy of color and form, as if the flowers them...

Figurative Textile Art, Cotton, Handmade Free style weaving 80x80cm UNDER COMMISSION About the artist Matthias De Vogel The Textile art studio Fau...

oil stick, acrylic, charcoal on raw linen canvas

Large Prussian-blue grisaille. French, Rococo, mid-18th century. Depicting a romantic couple resting by the edge of a lake, in a wooded landscape with abundant, luxuriant nature. Pro...

oil stick, acrylic, & charcoal on raw linen

Charming tavern scene depicting drunken peasants enjoying dancing and drinking in front a farmhouse/ tavern in a landscape. Painted in great detail in vivid colors on a hand cut oak ...

"Myriad Scintilla" by Ron Mills is 145 x 165 cm unframed. The frame that it includes makes it a total size of: 151 x 171 x 5.5 cm The frame is included in the price, but can also be...

oil stick, acrylic, & charcoal on raw linen

A sawah landscape, Sumatra Signed and dated 'Sonnega '54' (lower right), and annotated 'Voor Jan de Bas 1-1-1970 / R de Bas' (on the reverse) oil on canvas, 50,5x60,5 cm Provenance: - Collection Pieter de Bas (1909-1979) Mr de Bas was head of the MULO school and acting head of the HBS school in Medan. Thence by descent to the present owner. Exhibited: - Hotel de Boer, Medan 1954, where acquired by the first owner. The light I observed everywhere was of a special quality, fluorescent blue, shone from nowhere but radiated from every point, oddly with great depth and intensity. The light in an entirely different dimension came from nowhere and went nowhere shimmering with the glow of a bright blue jewel. The most important thing I discovered was of being omnipresent and able to understand everything at the same time, yes I could fathom creation completely. Auke Sonnega, born March 9, 1910 in Leeuwarden, known as the painter, primarily of young Balinese men and women. Originally raised in the reformed denomination, the parents of Auke apparently practised theosophy and their children, including Auke were taught these principles. The talent for drawing revealed itself at an early stage which in 1926 lead to a 4-year study of textile design at the Academy for Art and Craft in Amsterdam. He completed the academy in 1930 and worked in a carpet factory in Twente until 1934 and then followed in his sister Aafje’s footsteps leaving the Netherlands to go to the Dutch East Indies where in 1935 he started working as a graphic designer with an advertising bureau in Batavia. He was able to travel through Java and Bali on the motorbike that he brought with him from Europe, and was paid for his travelogue, enhanced with his own photo’s which appeared in several Dutch newspapers and magazines. In the 1930’s two Europeans, Walter Spies and Rudolf Bonnet...

David Finsonius (Veere 1597- Bergen op Zoom 1646/1648) Portrait of a girl with a rose and a red coral necklace With traces of the artist’s signature and annotated AETATIS S.V. 2 1⁄2 Ao 1631 Oil on panel, H. 104.5 x 79.5 cm Provenance: Purchased by Jonkheer Helenus Marius Speelman (1857-1909), Kasteel de Wittenburg; thence by descent The work shows a strong resemblance to a portrait by Finsonius in the North Brabant Museum. This signed and dated "Girl with Basket and Cherries" (Inv. 15529), was painted just a year later, in 1632. Not only are the paintings remarkably similar in overall size and format, in painting style, and in the positioning of the girls in full length in their white lace dresses. They are also connected by the iconographic scheme of the respective coral necklaces, each with a gold memorial medal hanging from it. Although they are of course individuals, the faces are very similar in their depictions of features such as eyes, nose, and lips. This points to the same technique applied by the same painter. Finally, the handwriting is almost the same on the works by Finsonius known so far. About the painter, David Finson named 'Finsonius' (related to the better-known Louis Finson...

oil stick, acrylic, & charcoal on raw linen canvas

Roland Strasser (1895-1974) "Japanese Geisha" Signed lower right Oil and gold leaf on canvas, measures: 76 x 46 cm In fine white-wash wood frame. ...

Golden Field is an expressive floral landscape where impressionism, expressionism, and abstraction meet. A field of flowers unfolds beneath a glowing orange sky, creating a warm, dre...

Maria Paola Coda's creative process dwells on a permanent search for the beauty hiding within our state of mind. Coda examines and translates the vibratory element of beauty that goe...

Edition of 50 Ger Doornink's limited editions are based on a high resolution scan of the original artwork. They are printed on archival Hahnemühle German Etching paper. This techniq...

Abraham Johannes Romswinckel (1810-1856) Self-portrait in Indonesian landscape Inscribed Abr. Joh. Romswinckel, geb. Batavia 17 Oct. 1810, overl...

CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...

ink on paper

"Sailing Day" explores the seascape through a gestural and expressive approach to abstraction. The familiar imagery of sailboats and open water becomes a framework for investigating ...

GOVERT VAN EMMERIK (1808-1882) View on the Governor’s Palace in Paramaribo, Surinam Signed and dated 1856 Oil on canvas, 70 x 90 cm In large gilt...

Theo Meier (1908-1982) View of the Village of Iseh, painted from the house of Theo Signed and dated 48 Theo Meier lower left Oil on canvas, 68.5 x 50 cm In original frame carved by the artist. Note: Theo Meier arrived in Bali in 1936 with the intention of going on to Tahiti where he had been before. However Bali turned out to be the paradise he had been searching for in his dreams and he had no desire any more to move elsewhere. Bali at that time was still a very traditional place where society lived according to an acient religious system and in a luscious tropical setting the modern world was ignored. Here he met Walter Spies...

Françoise Nielly has explored the different facets of image all her life, through painting, photography, roughs, illustrations and virtual computer generated animated graphics. It is...

Jacob Eduard Van Heemskerck Van Beest (1828-1894) “Avondgebed; Maleidische tripang visschers onder de hoge kust van Celebes” (Ev...

A striking original portrait of a horse, painted in bold strokes of fiery orange, coral, and turquoise with expressive palette knife texture. The contrast between the horse's soft wh...

Stone statue in the temple at Madura, India, 1914 Signed with initials top right Pencil on paper, 21.2 x 16.7 cm Literature: Ernst Braches en J.F. Heijbroek, W.O.J. Nieuwenkamp,B...

"The constant search for matter with its limitations has led me to work with different elements throughout my career, but it is now with cement, waxes and tar that I have found my ow...

Four Balinese, 1910 Signed and dated bottom left Pencil and ink on paper, 15.6 x 23 cm In ebonized frame with white mount. Literature: W.O.J. Nieuwenkamp, Zwerftochten op Bali, Amsterdam, 1910, p. 36 WILLEM OTTO WIJNAND NIEUWENKAMP (1874-1950) Nieuwenkamp was born on July 27th 1874 in Amsterdam. His father owned sailing ships sailing to Indonesia and hearing the stories of the returning captains evoked in the young Nieuwenkamp an obsession for distant lands and adventure. After a failed attempt by his father to have his son make a career in his business, Nieuwenkamp attended the Academy for Decorative Art in Amsterdam. However, he left within one year to go his own way. He was an autodidact and a great experimenter with new techniques, particularly in the art of etching. Nieuwenkamp was a very focused man with the discipline of a scientist tempered by the sensitivity of an artist, a lust for adventure, a natural appreciation for ethnic arts and an enormous ambition to tread new paths. In 1898 he visited Indonesia for the first time and on his second visit in 1903-1904 he went on to Bali and became the first foreign artist to love Bali and the Balinese with a passion. Having secured agreements with several museums in the Netherlands to obtain Balinese art...

oil on canvas

ink on paper

oil on paper

oil on paper

oil on paper

oil on paper

oil on paper

oil on linen

oil on linen

The Lonely tree was photographed near Salt Lake City in 2012. It is printed on Hanemühle paper. Size is 120 cm high and has a white border of 10 cm :: Photograph :: Color :: This pi...

‘Zulu Dancers’ Signed bottom right Hardman, titled on a sticker at the reverse and with address Walton End, Walton Lane, Bosham, Chichester, and Price 45 gns. Oil on board, 99 x 87...

This is a special edition of 30. It is available in different sizes. We will produce the edition on request to adapt to your taste and needs. There are framing options available but ...

"Bright Sunset" explores the atmospheric and emotional qualities of a sunset through an expressive approach to landscape painting. The horizon serves as a quiet structural element, s...

ERWIN BINDEWALD (1897-1950) Two men playing draughts, a girl with the red book standing behind them Signed and dated E. Bindewald d.j., 27 Oil on canvas, 140.5 x 90.5 cm In black and gilt gesso frame. Note: Bindewald was born in Charlottenburg. He moved to Berlin in 1914 where he studied till 1924 at the Berliner Kunst Akademie. Bindewald travelled in Europe, but mainly stayed in Germany and certainly never was in China. This painting was made in Europe, presumably in the China Town of Berlin. Bindewald received several commisions in Germany from factory owners who wanted their factories painted inside, usually with workers, as well as outside. In the present painting the sitter on the right seems to be a man with a Manchurian background, wearing the brown coat reserved for the highest aristocracy in China. In China the black sleeve-ends completely cover the hands, indicating that the high aristocracy does not have to do any manuel labour. This man clearly is not a factory worker but he possibly is the (co)- owner of the factory in the background and as such might need his hands to do at least some writing. The man on the left in the modern Western suit...

Charles Legrain, (19th century) Two Javanese landscapes Both signed Legrain Ch. and one dated 1857 Both oil on canvas, size: 95 x 114 cm In rich gilt-gesso frame. (2x).

Edition of 50 Ger Doornink's limited editions are based on a high resolution scan of the original artwork. They are printed on archival Hahnemühle German Etching paper. This techniq...

"Revelació" is made in Calatorao stone and iron. It is 35.5kg In Lluís Cera’s sculptures, soft, voluptuous forms are embedded in solid iron, marble or stone, making his pieces seem...

"She Who Twirls Endlessly I & II" is made with acrylic paint on olive branch brushwork over heavy gel medium, powdered metallic pigment and mystery patina. It is a diptych and each p...

Lazlo Tatz (Hungary 1888 - Philippines 1951) Portrait of a Chinese man Oil on canvas, H. 50 x W. 44.5 cm Tatz studied in Budapest and Paris, and in 1931 h...

"Choose the Light I" is made with acrylic paint over a textured canvas beaten with yew branches and painted with tarnished metallics, and mica. The piece is mounted on a stretcher, b...

Four outrigger proa’s on the beach of Kusambe, Bali, 1937 Signed with initials, dated and described with location bottom left Pencil and ink on paper, 29.7 x 35 cm In ebonized frame with white mount WILLEM OTTO WIJNAND NIEUWENKAMP (1874-1950) Nieuwenkamp was born on July 27th 1874 in Amsterdam. His father owned sailing ships sailing to Indonesia and hearing the stories of the returning captains evoked in the young Nieuwenkamp an obsession for distant lands and adventure. After a failed attempt by his father to have his son make a career in his business, Nieuwenkamp attended the Academy for Decorative Art in Amsterdam. However, he left within one year to go his own way. He was an autodidact and a great experimenter with new techniques, particularly in the art of etching. Nieuwenkamp was a very focused man with the discipline of a scientist tempered by the sensitivity of an artist, a lust for adventure, a natural appreciation for ethnic arts and an enormous ambition to tread new paths. In 1898 he visited Indonesia for the first time and on his second visit in 1903-1904 he went on to Bali and became the first foreign artist to love Bali and the Balinese with a passion. Having secured agreements with several museums in the Netherlands to obtain Balinese art and objects for their collections, Nieuwenkamp immediately started to purchase and order a wide range of ethnographic art and objects from local artists and craftsmen. Through his drawings and books, he gave an excellent impression of Balinese art and culture at that time. Since 1854 Northern Bali was under Dutch...

"The constant search for matter with its limitations has led me to work with different elements throughout my career, but it is now with cement, waxes and tar that I have found my ow...

Dream Voyage presents a contemporary interpretation of the maritime landscape, where a fleet of sailboats emerges through an interplay of expressive brushwork, luminous color, and fr...

“I paint the human figure and explore further till I reach the Beauty of Being, the Soul.. the part of Human Being where everything is in total Serenity, Goodness and Harmony, where ...

"Above and Below I" is made with acrylic paint over a textured canvas with tarnished metallic pigments. The piece is mounted on a stretcher, but can also be removed for the canvas to...

oil stick, acrylic, & charcoal on raw linen

Artist: Aquil Copier Title: Untitled (from the series: Appearance can be deceptive, never be the same). Medium: Thick oil paint on canvas Size: 5.1 x 7.1...

"Once again we are able to contemplate the unique work of Joan Peris with its imaginative and fresh landscapes. All his paintings are as fascinating as they are unusual, emitting the...

Françoise Nielly has explored the different facets of image all her life, through painting, photography, roughs, illustrations and virtual computer generated animated graphics. It is...