Watercolour, gouache and pen and ink on laid paper. (c. 1650). 14.8 x 19.9 cm (full sheet). Signed with the artist's monogram in the right margin. Inscribed "Bonsom" (?) lower left.
Bildnis der Isabella d'Este. Kupferstich nach Giulio Romano. 41 x 31,4 cm. Wurzbach 9, Hollstein 9 II. Wz. Wappenschild (undeutlich). Das imposante Bildnis der Isabella d'Este in ihrem spektakulären Kleid folgt einem Gemälde, das ehemals Parmigianino zugeschrieben war und heute Giulio Romano zugewiesen ist. Ausgezeichneter Druck mit Rand. Geringfügig knittrig und faltig, etwas stockfleckig, sonst gut erhalten. Aus einer unbekannten Sammlung "v. E." (Lugt 2512). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Holsteyn II, P. (1614-1673) (style of). (Stork, heron, spoonbill, bittern, swan and other birds near the water). Drawing, gouache on paper, 23x33 cm. - Laid down on modern paper; various dam. and overpainted spots and sections, mostly along the edges; sl. frayed (mostly in the right edge).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Watercolor and brown ink on paper Signed in initials PH fe (lower left). 15.7 x 19.9 cm Provenance: Heymann, Amsterdam, 1922; Estate of Isidor Kaiser, Copenhagen-Hamburg. L.4240 Note: Sotheby's New York, "Old Masters Drawings", January 2019 - see an almost identical work (sold for 5000$).
(1614 Haarlem - Amsterdam 1673). Isabella d'Este. Kupferstich. 17. Jh. Blgr. 40,8 x 30,6 cm. Über den Rand beschnitten. - Wurzbach 9. - Isabella d'Este. Copper engraving. Trimmed over the edge. R
PIETER HOLSTEYN THE YOUNGER (DUTCH 1614-1687) A Black-tailed Godwit, pen and ink and watercolor on paper 15 x 19.7 cm (6 1/4 x 7 3/4 in.) monogrammed lower left PROVENANCE Anonymous (sale, Sotheby's, Amsterdam, November 4, 2003, lot 144, illustrated Private collection, New York (acquired at the above sale) CONDITION N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Holsteyn II, P. (1614-1673). (Jaguarundi). Drawing, pen and brown ink and watercolour, 6x17,5 cm. - On paper w. (part of) watermark of a posthorn in a crowned coat of arms, "4" and "WR" below. Sl. yellowed. = Possibly after FRANS POST. Later numb. "149" in pen and brown ink on verso. The animal most closely resembles a jaguarundi (native to i.a. South America), although jaguarundis have much longer tails than this drawing shows. SEE ILLUSTRATION PLATE CXVII.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Tulip Study. Pieter Holsteyn the Younger (1614-1687). from Munart Atocats Tulip Book. Gouache on paper heightened with gum arabic.14 5/8 inches x 10 1/8 inches sheet approximately, 21 x 15 ¾ inches framed. Provenance: Collection of Munart Atocat
Tulip Study. Pieter Holsteyn the Younger (1614-1687). from Munart Atocats Tulip Book. Gouache on paper heightened with gum arabic.14 5/8 inches x 10 1/8 inches sheet approximately, 21 x 15 ¾ inches framed. Provenance: Collection of Munart Atocat
Tulip Study. Pieter Holsteyn the Younger (1614-1687). from Munart Atocats Tulip Book. Gouache on paper heightened with gum arabic.14 5/8 inches x 10 1/8 inches sheet approximately, 25 x 20 3/8 inches framed. Provenance: Collection of Munart Atocat
Tulip Study. Pieter Holsteyn the Younger (1614-1687). from Munart Atocats Tulip Book. Gouache on paper heightened with gum arabic.14 5/8 inches x 10 1/8 inches sheet approximately, 25 x 20 3/8 inches framed. Provenance: Collection of Munart Atocat
Pen and black ink and grey wash, over counterproofed etched outline; bears inscription, in black chalk, verso: Preedikstoel in de Nieuwe kerk te Amsterdam
Watercolour and gouache, with touches of gum arabic; signed with monogram in grey ink, lower right: PH. fe., and bears numbering in brown ink, verso: 103
Watercolour and gouache, with touches of gum arabic; signed with monogram in grey ink, lower right: PH. fe., and bears numbering in brown ink, verso: 103
Three botanical studies of tulips: Kleuren de Meester; Ammirael van der Schellinck; Sent ost Perel Each inscribed in ink with name of variety, watercolor on paper, each matted and framed. each approximately 12 1/4 x 8 1/4in (31 x 21cm)
HIRSCHKÄFER UND DREI WEITERE KÄFER AUF HELLEM GRUND Mischtechnik auf Papier. 9,7 x 14 cm. Rechts unten ligiertes Monogramm "PH". In altem Rahmen. Minutiös und fein gemalt, der große Hirschkäfer zieht diagonal von links unten nach rechts oben ins Bild, in der rechten Ecke ein grüner Laufkäfer, dazwischen ein kleinerer roter und ein beige-grau gefleckter Käfer. Jeweils mit Schattengebung am Boden. (960972)
Pieter Holsteyn II (Haarlem 1614-1673) Greek Valerian, also called Jacob's Ladder (Valeriana graeca) inscribed 'Valeriana graeca.' black chalk, watercolour, traces of pen and brown ink framing lines, watermark device surmounted by crown with letters WK 11¼ x 7½ in. (28.5 x 19 cm.)
PIETER HOLSTEYN LE JEUNE (HAARLEM 1614-1687) Polémoine bleue inscrit 'Valeriana graeca' (en bas à droite) pierre noire, aquarelle, traits d'encadrement à l'encre brune, non encadré 285 x 190 mm.
Pieter Holsteyn the Younger (Haarlem circa 1614-1673) Lot and his Daughters signed 'PHolsteyn. fe:' (on the side of the rock arch, upper left) traces of black chalk, pen and black ink, pen and black ink framing lines, watermark letters WB 6 3/8 x 5½ in. (16.1 x 14 cm.)
Pieter Holsteyn II (Haarlem circa 1614-1673) Herons, ducks and other waterfowl in a river landscape signed 'PHolsteijn. fe.' bodycolour, laid down on panel 10½ x 15 1/8 in. (28.5 x 37 cm.)
Holsteyn, Pieter: Studien von Weißfleck-Widderchen Studien der Weißfleck-Widderchen (Amata phegea). Aquarell und Deckfarben über grauem Stift. 16,2 x 13 cm. Wz. Nebenmarke IV. Verso in Bleistift bez. "Petrus Holsteyn II" mit weiteren biographischen Angaben.
Holsteyn, Pieter: Studie eines weißer Spatzes "Witte mosch" (Studie eines weißen Spatzes). Aquarell, Feder und Deckfarben. 15,4 x 19,6 cm. Unten rechts bez. "Witte mosch" und monogrammiert "PH fe".
Holsteyn, Pieter: Bacchus und sein Gefolge trösten Ariadne Bacchus und sein Gefolge trösten Ariadne. Radierung. 29,8 x 20 cm. Hollstein 1. Wz. Wappen von Amsterdam. Die einzig bekannte Radierung des Künstlers in einem ausgezeichneten und kräftigen Druck mit feinem Rändchen. Vier winzige Löchlein im oberen weißen Rand, dünne Stelle im Papier in der unteren linken Ecke, Leimspuren verso, ganz geringfügig fleckig, leichtes Fältchen im weißen Rand unten rechts, sonst in schöner Erhaltung. Aus der Sammlung E. Fabritius (Lugt 847a). Beigegeben zwei Radierungen von Wenzel Hollar (Partey 1389 und 1833).
Gouache and grey wash, with touches of gum arabic, on vellum, within parital black ink framing lines; signed in grey ink: PHolsteÿn fecit ; bears two old labels on reverse of frame, inscribed: Penige Europiso [?], Capellen / en Forme X and P:Holsteyn Fecit / 1610
THE PROPERTY OF KUNSTHANDEL P. DE BOER A GREEN PARAKEET measurements note 12 5/8 by 8 1/4 in.; 32 by 21 cm. signed in monogram lower right PH fe. watercolor on paper NOTE The artist's representation of this colorful bird could have been based on direct observation. Some species of parakeets appeared in the Netherlands as early as 1602 through the intermediary of the Dutch trading companies. We know from contemporary accounts that parrots carried a definite appeal in 17th century Netherlands, especially in Gouda where they were featured on painted tiles from the middle of the 17th century onwards. However, Holsteyn's depiction does not faithfully render a specific species of parrot, but rather a hybrid bird that assumes various characteristics from the handful of different breeds that the painter might have seen in or around Haarlem. Nonetheless, this picture is an important record of the way in which these colorful birds were perceived, as Holsteyn paid particular attention to the features most specific to parakeets, such as the scale-like feather pattern and the distinctive beak and claws.
f - PIETER HOLSTEYN THE YOUNGER HAARLEM CIRCA 1614 - 1673 A TULIP: SENT OFT PEREL measurements note 318 by 208 mm inscribed lower right in black ink: Sent oft Perel. pen and grey ink and watercolour and gouache NOTE This drawing is from an album, now dispersed, which originally contained 185 flower drawings by the artist, 82 of them depicting tulips (see Sam Segal, Flowers and Nature, Netherlandish Flower Painting of Four Centuries, exh. cat., Tokyo/Sydney 1990, p.43). The album can be dated to the mid-1640s.
PIETER HOLSTEYN THE YOUNGER HAARLEM CIRCA 1614 - 1673 A WHEATEAR A WHEATEAR measurements note 145 by 192 mm signed with monogram lower right: PH.fe Bears an old label with an inscription in brown ink on the reverse of the mount: Sylvia major Lutea kleinii, Motacilla Salicaria Lin.18/ groote geele vliegevanger/ duyn putter./lauvette...... cumicea anmdonacea Buff. no 5/ Kleyn fam 4 gen 7.... 3No8 pen and grey ink and watercolour and gouache over traces of black chalk PROVENANCE Possibly Johannes Le Francq van Berkhey, Leiden (the inscription, now pasted to back of frame, is cut from one of his mounts, but appears to refer to a different species of bird, and may therefore be taken from the original mount of another drawing). NOTE Johannes Le Francq van Berkhey was a doctor of medicine and natural history at Leiden University. His sale, in Amsterdam on 29 March 1785 and the following days, included many watercolours by Holsteyn and also by the collector himself, as well as human and animal remains, botanical specimens, books and prints.
Nine scenes from the Book of Genesis: The Separation of the Waters and the Sky; The Creation of the Sun, the Moon and the Stars; The Creation of the Animals; The Creation of the Birds of the Air; The Creation of Man and of Woman; The Temptation of Adam; The Expulsion from Paradise; The Family of Adam Tilling the Soil; and The Murder of Abel signed 'PH. fe' (1 and 5) and 'PHolsteijn fe: ' (2-4, 6-7 and 9) black chalk, pen and brown ink, watercolour, bodycolour, heightened with gold, pen and brown ink and gold framing lines, framed together as a triptych each approximately 133 x 96 mm. (9)
A wall lizard (Lacerta vivipara) signed 'PH. fe' and inscribed 'Graeuwe Haegedis' black chalk, pen and grey ink, grey wash, watercolour, bodycolour, pen and brown ink framing lines, watermark device 4 7/8 x 7 7/8 in. (123 x 202 mm.)
signed with monogram, lower right: PH. fe. bears inscriptions, verso : 69 (in brown ink), D. Cox and Kemp haen (both in black chalk) pen and grey ink and wash and watercolour and gouache Inv.nr. N 360
signed with monogram in black ink, lower left: PH. fe bears early inscription in black chalk, verso: oost indische eent, and numbering, in brown ink, verso: 23 pen and grey ink and watercolour, with touches of gouache Inv.nr. N 361
A Great Grey Shrike Lanius excubitor signed with monogram traces of black chalk, watercolour and bodycolour, watermark Seven Provinces 138 x 182 mm. PROVENANCE Possibly Johannes le Francq van Berkhey; Amsterdam, 24 March et seq., 1785, lot 834 or 835. Anonymous sale; Sotheby's, Amsterdam, 12-13 November 1991, lot 262 (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. B-155).
Two Red Admiral butterflies, a moth, a weevil, a grasshopper and two pupae dated 9/5 1660 and 9/8 1660 black chalk, watercolour and bodycolour 210 x 310 mm. PROVENANCE With Douwes, Amsterdam, Stil Leven, March-April, 1968, no.31, acquired by Dr Anton C.R. Dreesmann (inventory no. B-9).
A tulip book: a volume containing 42 drawings of tulips and one added drawing of a tulip, and another drawing of an iris each drawing numbered and inscribed with the name of the cultivar: 1. generael duck brantson. 2. Duck. 3. Vroege perregon. 4. Grebber. 5. Passe citadelle. 6. Molswijck. 7. Viceroi. 8. Admirael van brabant. 9. gemarmerde van kaer. 10. Late gerij. 11. Paragon Clermont. 12. Wit en root boode. 13. Root met stroo-geel. 14. Uijtroep. 15. Geel en root van leijden. 16. Jan Gerritse. 17. Laprock. 18. Anvaers. 19. Admirael vander Eijck. 20. Somer schoon. 21. Nieuwe naerde. 22. Admirael de groot. 23. Gouda. 24. Semper Augustus. 25. Bruijne purper. 26. Admirael vander poel. 27. Schipio. 28. Admirael Jan Gerritse. 29. Buijseloo. 30. Generael lissemo. 31. Late Blijen burger. 32. Admirael Crijntje. 33. Wit met incarnaet schoonst van quakel. 34. Molswijck. 35. Semper Augustus. 36. Palamedes. 37. Vroech nieu van mr. Cooper. 38. Superintendante. 39. de franse dorethea. 40. veranderte Dorete. 41. Lackje van Rijn. 42. Unica. watercolour and bodycolour, the drawn sheets with watermarks lion in a cartouche (nos. 4, 6-9, 14-16, 18-19, 23, 25-26, 28, 31-32, 34, and 42-43), Arms of Amsterdam (nos. 9, 12-13, 15-18 and 20), crowned double-C and cross over WK (Heawood 2892, Schieland, 1645: nos. 35 and 38) and foolscap (no. 41), countermarks P over H (Heawood 2935, Amsterdam, 1649: nos. 1-3, 5, 10-13, 17, 20-22, 24, 27, 29-30, 33, 36-37 and 40) and PB (no. 40), the forty-third tulip on an additional sheet glued-in, the first twenty-two and the final twenty-two pages of the album blank, bound in 17th Century Dutch vellum each leaf 315 x 200 mm. PROVENANCE E.H. Krelage, Haarlem. Dr J.J.E. van Brandeler, Rozendaal bij Velp. Anonymous sale; Christie's, Amsterdam, 24 March 1980, lot 360 (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. B-94). LITERATURE E.H. Krelage, Bloemenspeculatie in Nederland, Amsterdam, 1942, p. 202, note 71, cat. no. L. L.J. Bol, The Bosschart Dynasty, 1960, pp. 45 & 52. Kunst en Antiekveiling, IV, 1980, p. 72, no. 4. Elseviers Magazine, 22 March 1980, p. 135. S. Segal, Tulips portrayed - The tulip trade in Holland in the 17th Century, exhib. cat., Lisse, 1992, pl. 7-11. S. Segal, The Tulip - a Symbol of Two Nations, Utrecht/Istanbul, 1993. EXHIBITION Notre Dame, Indiana, The Snite Museum of Art, Selections of the XVII and XVIII Century Dutch Art from the Collection of Dr. A.C.R. Dreesmann, 1982, no. 29. Amsterdam, Museum voor de Bloembollenstreek, Tulips Portrayed: The tulip trade in Holland in the 17th Century, 1992. Istanbul, Ibrahim Pasha Museum, The Tulip - A Symbol of Two Nations, May 1993. NOTES This volume, bound in the original 17th Century vellum, was attributed to Pieter Holsteijn II by Dr Sam Segal in 1985 based on a comparison to Holsteijn's Flores a Petro Holsteyn ad vivum depicti. That book, containing 122 gouache illustrations all bearing the artist's monogram 'PH.fe', is conserved in the Lindley Library of the Royal Horticultural Society, London. While the present volume is not signed, the technique and handling are identical and the names and the numbering of the flowers in both volumes are inscribed in the same hand. In 1942 Krelage records 26 similar tulip books, eight of which, in addition to the present volume, were in his own collection, and one of which he later dispersed, E.H. Krelage, loc. cit.. At that time very few of the artists who worked in the genre could be identified with any certainty. The only two hands securely recognised were those of Jacob Marrell and Judith Leyster. To this list can now be added not only Pieter Holsteijn II, but Anthony Claesz. and Pieter Withoos (see lot 700), S. Segal, Tulips Portrayed: The tulip trade in Holland in the 17th Century, exhib. cat., Museum voor de Bloembollenstreek, Amsterdam, 1992. The purpose of such precisely detailed records of tulip varieties can be traced to the Dutch fascination, even obsession, with the flower. By the second quarter of the 17th Century tulips were among the most desirable and costly objects in Dutch society. Bulbs were initially seen as luxury collector items; the gardens in which they flourished often sporting a single bulb to a bed. In meeting this demand, it became apparent that tulips and what might be termed 'tulip futures' could be a lucrative investment. This can be illustrated by the soaring price of the rare Semper Augustus variety, no. 35 of the Dreesmann album, originally grown by Dr Adriaen Pauw on his estate at Heemstede. In 1623 this was offered for 1,000 florins, but by 1625 it had increased to 3,000 florins. The price rose steadily to 5,500 florins in 1633 and peaked at 30,000 florins offered for three bulbs in 1637. This should be set against an average annual income for the period of 150 florins. Throughout the 1630's and 1640's the rampant speculation in the bulb trade, known as tulip windhandel, trading 'close to the wind', led to what historians later termed 'tulipmania'. Tulip books were a direct development of this phenomenon. The albums often served as a form of sample book from which tulip merchants marketed their bulbs, an activity which of necessity they had to undertake out of season. This is seen most explicitly in another tulip book in Krelage's collection which was drawn specifically to advertise a bulb auction at Alkmaar in 1637, sold Christie's, Amsterdam, 13 November 1995, lot 185. Equally, they were often commissioned as vanity pieces by the wealthy owners, S. Segal, loc. cit.. The series of 42 tulip drawings have been identified by Segal as the work of Holsteijn, though the inserted single tulip study and the study of the iris may be by different hands. Even in the 17th Century, it was not unusual that such extra studies would be incorporated into a coherent commissioned work. So many of these tulip books were broken up and the studies sold off individually, usually in the later 18th Century. Dr. Segal was able to make his attribution to Holsteijn II not only from the single intact example in the Lindley Library, but also from several single studies signed with the same ' PH fe ' monogram on the verso. Preserved in its original binding, the present lot is a fine and highly consistent example of the work of one of the more skilled and reknowned 17th Century draughtsmen to explore natural history. It is also one of the few remaining intact tulip books, and as such provides fascinating evidence of an extraordinary period in Dutch history. Two drawings of tulips by Holsteijn, of the same size and technique and inscribed in the same hand, was formerly in the Jacobus A. Klaver Collection; Sotheby's, Amsterdam, 10 May 1994, lots 88-9. The first of these showed a yellow and red cultivar from Leyden ('geel en root van Leijden'), the same strain as no. 15 in the Dreesmann album.
A peacock and pheasant near a farm; and Wild duck and egrets drinking by a river bank signed and dated 'P. Holsteyn fe 1659' (1) pen and brown ink, bodycolor on vellum 7 5/8 x 9 5/8 in. (193 x 244 mm.) a pair (2).
