at 1. ROLAND STRASSER (1895-1974) “Japanese Geisha” Signed lower right Oil and gold leaf on canvas, 76 x 46 cm Provenance: Private collection, Santa Monica (Acquired directly from the artist) Private collection, London Note: Roland Strasser, who died in Santa Monica, was one of the great traveller-artists and orientalist roman- tics of the 20th century. He was born in Vienna, attended the Academy of Arts there and in Munich. During World War I he was the official war-painter in the Austrian army. After the war he became a traveller-artist, doing his best work when inspired by totally different cultures. He arrived in Indonesia in 1920 where he lived and worked in Java, Sumatra, New Guinea (Irian Jaya) and Bali. In Bali he met Wil- lem Dooyewaard, they became friends and together travelled to China, Tibet, Mongolia and Japan. In 1935 he was back in Bali where he lived with his wife in Kintamani till the end of World War II. They then moved to Santa Monica in the United States of America where he died in 1974. Strasser is a well-known painter, draughtsman and watercolourist in an expressionist style, combining the Austrian expressionism with the magic and the beauty of the Far East. The present painting is a very successful example and a highlight of Strasser’s “magical expressionism”. € 32.000,- 2. 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 by the artist. € 34.000,- 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, a German artist who had been living in Bali since 1927 and who guided Theo to a deeper understanding of Balinese culture. Walter had a small mountain retreat in the village of Iseh where he invited Theo who was fascinated by the rustic village with its magnificent view of Mount Agung. In 1938 he married a young girl from the village, Ni Madé Mulugan, and in June 1939 his first daughter was born. In 1941 he divorced Ni Madé and in 1942 he married his favourite model Madé Pegi. In 1942 the war came to Bali when it was occupied by the Japanese army. Theo’s house on Sanur beach was requestioned by the Japanese and since paintings of the female nude were prohibited almost six years of his work was confiscated and destroyed. The Dutch artist in Bali was arrested and interned in Japanese camps, but Theo being a citizen of neutral Switzerland was free to stay anywhere on the island. To avoid the coastal areas which were completely occupied by Japanese troops, Theo moved to the isolated village of Iseh. In 1945 after the bombing of Hiroshima and Nagasaki the Japanese army capitulated but at the request of the allied forces the Japanese stayed in Bali till the arrival of Dutch forc- es in march 1946. Now the Indonesian war of independence thrust the archipelago once more into turbulence and Theo decided to stay put in Iseh, where at least not much was happening. He painted the present view of the village in 1948. In 1947 he had already painted the same view and that painting now is in the collection of the Museum UPH in Karawaci (Theo Meier, A Swiss artist under the tropics, ill. page 91). Before the war Walter Spies also had painted a beautiful picture of the village “Iseh in morning light”. In 1948 Theo’s second daughter was born. In 1950 for the first time in 15 years Theo went back to Basel to find some money to support his family in Bali. When he returned in 1952 he found Madé Pegi in love with a Balinese dancer and they divorced. In 1957 Sukarno decreed that all foreign residents had to leave Indonesia. On the invitation of his friend Price Sanidh Rangsit Theo moved to Thailand. In 1966 he returned to Bali for the first time and he purchased land in Iseh to build a house. 3. W.O.J. NIEUWENKAMP (1874-1950) Entrance to the temple at Klungkung, Bali, 1925 With studio seal at the reverse, dated and described, bottom left Black chalk on paper, 53 x 46.5 cm € 12.000,- 4. W.O.J. NIEUWENKAMP (1874-1950) Front: Weltevreden, Kebon Sirih Back: Vlucht voor de bui (Fleeing the rain) Executed between February 20 and March 2, 1918 Double-sided drawing in graphite pencil on paper, 49 x 60 cm € 9.500,- 5. W.O.J. NIEUWENKAMP (1874-1950) Graveyard with in the background the Borobudur, 1937 Signed with initials and dated bottom left Pencil and ink on paper, 33 x 29 cm Literature: Bruce W. Carpenter, W.O.J. Nieuwenkamp. First European Artist in Bali, Abcoude 1997, p. 135 € 8.500,- 6. W.O.J. NIEUWENKAMP (1874-1950) Part of the ring-wall of the Taj Mahal, Agra, India, 1914 Signed with initials and dated bottom right Black chalk on paper, 45.5 x 53 cm Literature: Ernst Braches en J.F. Heijbroek, W.O.J. Nieuwenkamp, Bouwstoffen, toegepaste grafiek en illustraties, Amsterdam 2016, p. 201 € 7.500,- 7. - 9. Mori Sosen (1747-1821) In the manner of Frolicking Japanese Macaques Three watercolours, various sizes € 2.200,- (each) 10.A RARE AND LARGE JAPANESE BLACK AND GOLD LACQUER CABINET Late 17th century Of rectangular shape, decorated in high-relief with a bonsai and tea-pit, with gilt bronze mounts, on modern stand. H. 69 x W. 91 x D. 50.5 cm Provenance: Private collection, United Kingdom € 52.000,- 11.AN EXTREMELY FINELY MADE SRI LANKAN COROMANDEL WOOD CABINET ON STAND Galle-district or Colombo, 2nd half 18th century The cabinet on four legs with cross-stretcher, above which two drawers and two doors revealing shelves, sculpted hood, the wood with beautiful brown-black pattern, used by the sculptor in a wave-pattern. Provenance: Private collection, Italy € 25.000,- 12. WILLEM DOOIJEWAARD (1892-1980) Tayu figuur Signed and dated Japan ‘31 lower right Titled on the reverse Pastel on paper, 64 x 36 cm Note: Willem Dooijewaard was truly a traveller- artist. He visited Indonesia for the first time in 1913, working for six years as an employee on a plantation in Su- matra andfinding enough time to produce many drawings in a realistic style. His next trip brought him to Bali where he met Roland Strasser, an Austrian traveller-artist. His style changed under the influence of Strasser, becoming much more vigorous. Often together with Strasser Dooijewaard made many travels, such as to Mongolia, Japan and North Africa. When inspired by totally different cultures Dooijewaard produced his best work. € 9.500,- 13. WILLEM IMANDT (1882-1967) The Merapi and Meraboe vulcanos, central Java (as seen from the artists villa at Moentilan, circa 1922) Signed Imandt lower right Oil on canvas, 79.5 x 150 cm Note: The title is according to a text on the back of a photograph by Willem Imandt of the same view; see: Paul van der Velde, Willem Imandt, 1882-1967, De Indische Romantiek van een Zeeuws-Vlaamse schil- der, Zeeuws Tijdschrift, jaargang 65, no. 1-2, 2015, p. 34). Born in the Netherlands, Zeeuws-Vlaanderen, Willem Imandt arrived in Indonesia in 1908 where he worked as a school teacher in primary and secondary schools, also giving drawing lessons. He painted in his free time and travelled around the Archipelago to paint its magical nature; volcanoes, waringin trees, seashores and temple ruins. This view of the Merapi and Meraboe vulcanos Imandt painted at least three times. His ability to depict the mystical atmosphere of Indonesia remains unrivalled and by the 1920’s he was one of the best known Western painters in Indonesia with many admirers, including Indonesian princesses, the Duke of Mecklenburg-Schwerin, King Albert I, rich Chinese businessmen and Dutch civil servants and entrepreneurs. In 1929 he retired to Holland but with the threat of a war in Europe, he returned to his beloved Indonesia in 1938 together with his wife and seven children. When the war also came to Indonesia he was interned in a Japanese concentration camp. In 1946 he returned to Holland with all his family members alive and settled in The Hague where, at the age of 72, he had a solo exhibition and several exhibitions with other Dutch artists who had worked in Indonesia. € 6.500,- 14. MARIE VAN WANING-STEVELS (1874-1943) Flamingo in Artis Signed lower right Oil on canvas, 97 x 57 cm € 2.500,- 15. ANONYMOUS JAPANESE PAINTER (MEIJI PERIOD, LATE 19TH CENTURY) Portrait of Takeaki Enomoto (1836-1908) Ink, colour and gofun on silk, framed, 103.5 x 64.5 cm Note: Takeaki Enomoto, a Meiji government official, is painted in very fine detail standing next to a Chinese style table upon which a globe, painted in white gofun and a book bearing a coat of arms. He is wearing a western frock coat and holding a cane. Takeaki Enomoto was a ket player in the events which led to the establishment of the Meiji government. He also made a significant contribution to Japan’s relations with the West in the late 19th century. He was born as a lower-ranking samurai, but rose up to hold vari- ous important posts in the Edo period government. Enomoto studied Dutch naval science in Nagasaki, which during the Edo period was the only city in which the Dutch on the small artificial island Deshima, were permitted to stay and trade. He then continued his studies in Holland from 1862, and became fluent in Dutch and English. In 1867 he returned to Japan and was appointed to a senior naval post in the Tokugawa bakufu (government). However, in 1868, the Tokugawa bakufu was overthrown by the warlords of Satsuma and Choshu, and the Meiji Emperor was reinstated as the figurehead of a new government. Enomoto resisted the takeover of the Meiji government by fleeing with eight warships to Ezo (Hokkai- do) and establishing a Tokugawa “republic” as the last military stronghold opposing the new regime. In spring 1869 Enomoto surrendered and peace was officially restored to the whole of Japan. When he sur- rendered Enomoto sent the notes he had made on navigation in Holland to the commander of the army, stating that they would be useful for the country. This conduct impressed the Meiji government and therefore he was imprisoned rather than executed. In 1872 he was pardoned and immediately appoint- ed to office in the government. He was sent to St. Petersburg as a diplomat to negotiate over the own- ership of Sakhalin and Kuril islands. He was successful in concluding a treaty giving Sakhalin to Russia but keeping the Kurils for Japan. His achievement was celebrated as the first in which Japan and a Western power were treated as equals. Enomoto rose to cabinet rank within the Meiji government and his positions included that of the Minister of Agriculture and Commerce. The globe and book here are clear references to Enomoto’s international experience. The book bears a coat-of-arms with notable similarities to that of Napoleon III (1808- 1870). During Enomoto’s time in the Tokugawa government negotiations between France and the Shogunate began. The first French military mission to Japan, sent by Napoleon III, arrived in 1867. With the mission came Captain Jules Brunet (1838-1911) a military officer who joined the last stand of the Shogunate “republic” in 1868 by fleeing north with Enomoto to Ezo. € 42.000,- 16.CHRISTOFFEL LUBIENIECKI (1659-1729) Portraits of a textile tradesman and his wife (circa 1680) Indistinctly signed on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm Note: Both sitters are portrayed wearing a silk “Japanese” coats. During the second half of the seventeenth century 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 Lubienitski. Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adri- aen 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, especially in the fastidious detailing of the silk coats and oriental carpets. In the Rijksmu- seum Amsterdam, there are several portraits by Lubieniecki, among them portraits of Rear Admiral Arent van Buren and his wife in a more French-oriented baroque style, dated 1721. Provenance: Rash- leigh-Belcher family, by descent to Dr, Rashleigh-Belcher. Literature: Lewicka-Morawska, A. Slownik malarzy polskich, Warszawa 1998, p. 107 € 24.000,- 17. A JAPANESE TWO-FOLD SCREEN, BYOBU, POSSIBLY BY ARAKI KUNSEN (1781-1819), DEPICTING A DUTCH COUPLE Edo period, early 19th century In ink and colour on paper, H. 151.7 x W. 71 cm (each panel) with a label on the screen reading: Painting of Dutchman and woman eating a meal and a label on the box for the screen reading: Painting presented to Mr. Araki of Dutchman and woman eating a meal. Note: Left a couple stand and the right the same couple sitting at a table with a bowl of rice, a plate with inde- finable food, cups, a teapot and a knife and spoon. Both are attached to a background painted in imita- tion Indian chintz style. € 13.500,- 18. A JAPANESE COLOUR WOODBLOCK PRINT, NAGASAKI-É, DEPICTING A DUTCHMAN Edo period, early 19th century The standing Dutchman looking through a telescope and a dog at his feet. H. 44.5 cm x W. 15 cm Note: The Dutchman most likely is Jan Cock Blomhoff, Opperhoofd in Deshima from 1809 till 1813 and again from 1817 till 1824. In a circle on his hat are written the initials AH or AP upside-down, the meaning of which is unclear. € 1.900,- 19. YOSHITSUYA UTAGAWA (1822-1866) A Japanese colour woodblock print, Yokohama-é, depicting a caricature King William III Published by Ebiya Rinnosuke, circa 1860, H. 35.6 x W. 24.2 cm This print is from a series of portraits of people of Barbarian Nations, Bankoku jimbutsu zue, added is a satirical poem by Kanasaki Robun (1829-1894): “Even people writing sideways (writing like the movement of a crab) are desirous of the lofty principles of our nation”. Note: In 1855 King William III of the Netherlands had sent Count Jan Maurits van Lynden to Japan to present the King’s life-size portrait, painted by N. Pieneman, to the Shogun. Together with the picture the, not so well functioning paddle steamship Soembing was presented by the Dutch to the Japanese; this was the start of the modern Japanese navy (for more information on the Soembing see, Uit Verre Streken June 2019, 50). € 1.700,- 20. A COLLECTION OF WATERCOLOURS OF JAPAN BY CHARLES WIRGMAN (1832-1891) Note: In May 1861 Wirgman arrived in Japan, where he settled in Yokohama, married a Japanese wife, Oza- wa Kane, and witnessed the opening of Japan to the Western powers at the end of the Shogunate and the beginning of the Meiji era. He taught Japanese students to draw and paint in the Western style and founded the humorous monthly The Japan Punch in 1862. Wirgman is still considered the patron saint of Japanese cartoonists whom every year hold a ceremony at his grave in Yokohama on the day he died in 1891. Clearly Wirgman enjoyed people-watching; few drawings are simply topographical, for he was by inclination as well as profession an observer of hu- mans. Wirgman’s work can be found among others, in the Britsh Museum in London and the National Museum of Japan in Tokyo. € 2.600,- (a piece, large & intricate) € 2.400,- (a piece, small & sketchy) 21. AN EXTREMELY FINE CHINESE RED SILK EMBROIDERED BED COVER Guangdong or Macao, mid 18th century The red silk cover, one one side elaborately embroided in coloured silk and gilt-paper-wrapped thread, with a central medaillion with Phoenix, surrounded by various equestrian figures, hunters, Euro- pean figures, dogs, cranes, foliage and all kinds of heavenly creatures. H. 240 x W. 210 cm Note: This bed cover for the European market incorporates a mixture of Chinese and European decorative motifs. It is decorated with hunting scenes of noblemen, squires, horsemen, hunters a noblewoman with attendant, all dressed in the European fashion of the first half of the 18th century, besides exotic birds, cranes, phoenixes and butterflies. In the center and repeated in the four corners are phoenixes with spread wings. € 18.000,- 22. EDWARD MEYER KERN (1823-1863) “Peak Horner, Southern extreme of Japan” Signed lower left and titled lower right Watercolour and ink on paper, 24 x 35.5 cm Note: Edward Kern was an experienced expeditionary artist, photographer, topographer, cartographer and a zoologist. He had already accompanied John C. Frémont on several of his expeditions of exploration in the American West, when he joined the North Pacific Exploring Expedition (1853-56) organized by the United States Navy Department, to conduct a naval, commercial and scientific survey of the west coast of China and Japan. The North Pacific Exploring Expedition (also called the Ringgold- Rogers-Brooke Expedition after its two captains and astronomer) traversed the North Pacific Ocean, the Bering Strait and the China Sea, preparing accurate charts of areas frequented by American whaling ships and documenting shipping lanes from the West Coast to China and Japan, and at the same time gathering specimens and recording marine life, topography, flora and fauna encountered. Peak Horner, so named by Krusenstern after the astronomer on board his ship during his circumnav- igation of the world (1803-1806), is called Kaimon Dake by the Japanese. It is located at the extreme southwest of Kyushu island near the entrance to the city of Kagoshima’s port from the sea. Peak Horner would be an important landmark for captains in unfamiliar waters to locate and, from which to triangu- late positions of nearby islands, headlands and harbour. Kern captures its lofty height (924 meters) and distinctive, unmistakably volcanic, profile as it rises from the water, dominating the coast that leads into the harbour. It is informative and picturesque at the same time. Kern, being a photographer, undoubted- ly took photographs of Peak Horner as well. The painting is also evidence of the newly opened Japan, after Perry’s Treaty of Kanagawa with Japan in 1853. William Stimpson, the expedition’s zoologist, wrote in his journal that the expedition rounded Peak Horner on 28 December 1854 and; “spent nine days in the Bay. We were invited to leave by local authorities, but demanded wood and water, since by Perry’s treaty United States ships could visit any port when distressed for supplies”. This was a loose interpretation of Article X of the Treaty of Kana- gawa, which states “Ships of the United States shall be permitted to resort to no other ports in Japan but Simoda and Hakodadi, unless in distress or forced by stress of weather”. Anyway, the North Pacific Exploring Expedition completed surveying the coastal waters of Japan and returned to New York City in July 1856. It was an ambitious and vital expedition that is less well known than Perry’s diplomatic mis- sion to Japan only because its findings were never published due to the onset of the American Civil War. € 19.000,- 23. JACOB EDUARD VAN HEEMSKERCK VAN BEEST (1828-1894) “Avondgebed; Maleidische tripang visschers onder de hoge kust van Celebes” (Evening prayers by Malay fishermen under the high coast of Celebes) Signed and dated 1863 lower right Oil on canvas, 67 x 107 cm Note: J.E. van Heemskerck van Beest was of aristocratic descend and choose for a carreer in the navy. Start- ing as navel cadet in 1842 he rose to be sublieutenant and in 1849 took part in an expedition against Bali in the East Indies. In 1853 he was serving as first officer in the Dutch West Indies but in that same year he decided to become an artist and settled in the Netherlands. He married Geertruida Beredina de Feijfer (1829-1901) and together they had six children. Besides painting he also ran a farm between 1876 and 1885. While he was a navel officer he had made many sketches he later worked into finished paint- ings. Only after he was back in Holland he followed painting lessons from the animal-painter Dirk van Lok- horst (1818-1893) in Utrecht. Van Heemskerck van Beest had several exhibitions of his work, all with East- or West-Indian subjects but he complained that little of his work was ever sold. In the collection of the “Scheepvaart Museum” in Amsterdam there are several beautiful watercolours and drawings by his hand, made while he was in Indonesia, but most of his work presumably still remains in his family. € 11.000,- 24. NICOLAS DE FER (PARIS 1647-1720) L’Asie divisée selon letendu de ses principales parties, et dont les points principaux sont placez sur les observations des Messieurs de l’Academie Royale des Sciences. Dressée par N, de Fer, Geographe de monsieur de Dauphin. A Paris chez l’auteur dans l’Isle du Palais, fur le Quay de l’Horloge, à la Sphere Royal. Avec le Privilege du Roy, 1696 Description de l’Asie par N. de Fer (in relief printing) Engraved by Hendrik van Loon after design by Nicolas de Fer and published by Guillaume Danet, Paris 1724 Printed on four copperplates and surrounded by texts in relief printing, later hand colouring, 92.5 x 117 cm Note: The map is surrounded by richly decorated borders, depicting the peoples of Asia, the Chinese, Jap- anese, Turks, Indians, Tartars (Russians), Philippinos, inhabitants of the Molucca and Sunda islands, Ceylonese, Arabs, peoples from Goa and Mongolia, Armenians, Georgians, people from Golconda, Ma- laysia, Siam, Cochin and Tonkin. Some detail maps show Arctic areas, with Spitsbergen, Nova Zembla and the North East of China based on the writings of the Jesuits Martino Martini and Ferdinand Verbiest. In the surrounding texts, information is given on the geography of Asia, its rivers, towns, capes, lakes, straits and of the main countries such as Turkey, Arabia, China, Persia, India, Rusland and Arabic islands in the Indian Ocean. Nicolas de Fer started his apprenticeship at the age of twelve with his father, Antoine de Fer (active from 1644 till 1672). After his father’s death, his mother continued the business and after her retirement, Nicolas took over in 1687. Nicolas turned it into a flourishing business and thanks to his contacts with the Académie Royale des Sciences in Paris he was able to use the latest discoveries in geography and subscribe his maps with “dressée sur les nouvelles observations de Messieurs de l’Académie Royale des Sciences”. In 1690 he became the official cartographer of the Dauphin and later of the Kings of France and Spain. He published more than six hundred maps and many atlases, documenting fortified towns, strongholds and also the explorations and discoveries of new territories. In the decorative style of the French cartography and under the patronage of the Dauphin de Fer made a total of 26 large wall- maps for the French aristocracy. € 15.000,- 25. AN EXTREMELY RARE JAPANESE GLASS TELESCOPE WITH LACQUERED STAND Edo Period, late 18th/early 19th century. In four sections, the smaller innermost end fitted with a cow horn disc pierced with a central hole to maximise the use of the centre of the lens and the largest, outermost section finished with a copper disk with a central hole, all four sections of lacquered leather embossed and applied with gold lacquer on a black ground with bands of European style patterns including flowers, scrolling foliage and ge- ometric designs, two covers for both ends. L. 32 cm (retracted with the two end covers) L, 87 cm (fully extended) Note: At the end of the seventeenth century making of telescopes started in Japan, mainly in Nagasaki. The best known opticians during the Edo Period were Mori Nizaemon (1673-1754) of Nagasaki and Iwahashi Zenbei (1756-1811) of Osaka. The important role played by telescopes, of both European and Japanese manufacture, in the visual culture of the Edo Period is discussed in detail in Timon Screech, The West- ern Scientific Gaze and Popular Imagery in Later Edo Japan, (Cambridge, 1996). For a similar example see NHK Service Centre and Siebold Council, Chikuzo 350-shunen Nagasaki Dejima ten (Exhibition commemorating the 350th anniversary of Deshima in Nagasaki, Tokyo and Osa- ka, 1986, cat. no. 134) for another example see Doris Croissant and Lothar Ledderose (eds.), Japan and Europe, 1543-1929 (pl. 61 in the exhibition catalogue: Berlin, Argon Verlag, 1993) there is an example in the Kobe Museum collection and two further examples of glass tube telescopes are in my catalogue Uit Verre Streken, Maastricht March 2015, cat. no. 59 and 60. € 34.000,- € 7.500,- 26. A JAPANESE WOODBLOCK PRINT MAP OF NAGASAKI HARBOUR, SHINKAN NAGASAKI NO DZU Published by Baikodo and dated 1st year of Kyowa (1801) Black and blue ink on paper, 34 cm x 55 cm Note: To the right Japanese texts are added. The top line is the title, reading; “distances to main places from Nagasaki”. Upper part from right to left: Kyoto 210ri, Edo 332ri, Osaka 197ri, Shimonosek 59ri,Bungo Hita 46ri, Higo-Kumamoto 39ri, Satsuma-Kagoshima 65ri, Hiuga-Satohara 71ri. Lower part: Hizen-Saga 29ri, Chikuzen-Fukuoka 50ri, Hirado 32ri, Karatsu 32ri, Kurume 36ri, Yanagawa 32ri, Shimabara 16ri and Omura 10ri. 1ri = 4km. Underneath in the blue field is written: “New map of Nagasaki”. € 9.500,- 27. IN THE MANNER OF ABRAHAM MIGNON (C. 1640-1679) Stillife Oil on canvas € 6.500,- 28. FRENCH SCHOOL (18TH CENTURY) Portrait of J. Baremont le Roy May at the age of 48 in 1734 Oil on canvas Note: Baremont was a well known caterer in Paris in the early 18th century € 4.900,- 29. GERMAN SCHOOL (19TH CENTURY) Portraits of Peter Karstedt (1791-1831) and his wife Charlotte Elisabeth Paetow (1801-1892) Painted in 1821 for their marriage, Oil on canvas € 4.900,- 30. IN THE MANNER OF JEAN-HONORÉ FRAGONARD (1732-1802) Study of Four Dogs Oil on panel € 2.900,- 31. ITALIAN SCHOOL (18TH CENTURY) Portrait of a man Oil on canvas € 3.500,- 32. ADRIAEN CORNELISZ. BEELDEMAKER (ALSO KNOWN AS JOHANNES BEELDEMAKER, c. 1625-1689) Hunter with dogs in a landscape Oil on canvas, signed. Note: Beeldemaker is famous for his landscapes and works by him are in the Rijksmuseum, Booijmans-van Beuningen and the Lakenhal. € 8.500,- Notes: Notes: