Thérèse Schwartze (1851-1918) Portrait of Augusta Catharina Marie Jeanne Cramay (1850-1892), signed upper right, oil on canvas, 53,5 x 69,5 cm -Prov.: auction Glerum Amsterdam, 9 March 2009, lot 105--Included in the RKD images database, no. 182537-
A portrait of a fashionable lady, signed with initials 'Th. S.' (lower left), oil on panel, 32x24 cm, As soon as I saw 'A portrait of a fashionable lady', I knew I had seen it before. When I dove into my archive, I found three very similar – not identical - portraits of this unknown young woman. With the portrait in this auction added, there are now four known versions of this portrait. They are all clearly of the same model, but with slightly differing details.The second, slightly smaller, version of the portrait can be found in the collection of Museum Ridder de Smidt van Gelder in Antwerp. The third portrait, with a mischievous look from under the brim of the hat, is included in the archives of art dealer Simonis & Buunk, described as a portrait of Lizzy Ansingh. Finally, the fourth portrait is privately owned, a photo of which is in my possession.Could this ‘Fashionable lady’ be Leentje, the ‘favourite model’ and maid of Thérèse Schwartze ? ‘A ragged nineteen-year-old Amsterdam street child', is how painter Wally Moes scornfully described her. Schwartze was known for employing the same model more than once, to create series of portraits for the free market. ‘Pleuntje’, also known as ‘Sjoukje’ is known to have modelled for her at least seven times. For a long time, I have speculated that this could be Leentje. Now the mystery is solved: the ‘Fashionable lady’ is Leentje! This is shown by the note which accompanied the picture the owner of the fourth portrait sent me, for my archive: 'I inherited this portrait from my uncle. His friend, banker Abraham Wertheim, a close acquaintance of Schwartze's, had seen with his own eyes how Thérèse put a fur around the shoulders of her maid Leentje (!), planted a hat on her head and, at lightning speed, immortalised her as a lady.’ This anecdote I read long ago that is suddenly very pertinent due to the portrait of the ‘Fashionable lady’ offered in this auction!Cora Hollema www.thereseschwartze.com
A portrait of Christine Auguste Mayer-Leiden, signed 'Th. P. Schwartze. 93' (lower left), oil on canvas, 225x130 cm, Exhibited:-Bonn, Museum König, 1985-2001 (on loan).-Heino/Wijhe, Museum de Fundatie/Kasteel Het Nijenhuis, ‘Thérèse Schwartze (1851-1918), De Nederlandse fine fleur geportretteerd', 12 February-13 June 2011.Literature:-Wendy van Lith, Ileen Montijn and Tonko Grever, ‘Thérèse Schwartze (1851-1918), De Nederlandse fine fleur geportretteerd', exhibition catalogue, Zwolle 2011, ill. p. 48, no. 38, Christine Auguste Mayer-Leiden (1855-1939) was born in Cologne and is of aristocratic descent. Her father was Franz Leiden (1820-1891), a dealer in champagne and the Dutch consul in Moscow. Her mother Wilhelmine de Prene (1837-1873) was a Russian princess.On September 3rd 1879, Christine Auguste Leiden married to Carl Eduard Mayer (1850-1923). The couple got two children, Kurt and Martha.Thérèse Schwartze was a good friend of the Mayer-Leiden family. She frequented their villa and she even had her own room, which she could use as her studio. The present lot has been made during Schwartze's stay at the Mayer-Leiden villa in 1893.
Huile sur toile marouflée sur toile "Mère et enfants". Signé en haut à droite Th. Schwartze et daté 1887. Porte différents titres d'après les sources dont "La perte du père", "Après l'enterrement" et "Les orphelines". On y joint deux ouvrages monographiques en néerlandais reproduisant l'œuvre en page 38 et 83, deux photographies témoignant de la présence d'un dessin au dos de la toile (?), une expertise de la galerie Borzo à 's-Hertogenbosch datée de1977 ainsi qu'un échange de courriel avec Cora Hollema daté de 1997. Littérature : Œuvre reproduite dans « Het Schildersboek », Elsevier, 1898. Illustré dans Elserviers Jaargang Kunsttijdschrift, 1901, Deel 21. Repris dans un inventaire de la collection en 1973. Ecole néerlandaise. Dim. : +/- 159x110 cm.
"L'enfant malade" crayon sanguine avec légers rehauts de craie blanche sur papier. Monogrammé en bas à droite Th. S. pour Thérèse Schwartze. Portant au dos un document daté 1887. On y joint la copie d'une expertise de chez Hein A.M. Klaver à Baarn en 2011. Ecole hollandaise. Dim.:+/-460x370mm.
THERESE SCHWARTZE (DUTCH 1851-1918)PORTRAIT OF THE ARTIST'S SISTER, THE POETESS M. SCHWARTZEPastelSigned and dated '1900' (upper left)58 x 47.5cm (22¾ x 18½ in.)Exhibited:Southport, Atkinson Art Gallery, Festival Exhibition of Local Art Treasures, June-September 1951, no. 84
Thérèse Schwartze (1851-1918) Rhododendrons, 1901, gesigneerd met initalen r.b., olieverf op doek, 67 x 48,5 cm -conditierapport op aanvraag- -Herkomst: afkomstig uit het nalatenschap van Wilhelm Martin, Kunsthistoricus en voormalig directeur van het Mauritshuis te Den Haag--Literatuur: W. Martin, Therese van Duyl-Schwartze, 1851-1918, Een Gedenkboek, Amsterdam 1920, p. 126 met illustratie-
Thérèse Schwartze (1851-1918), A choir of orphan girls from Amsterdam, oil on canvas, 190x140 cm, Please compare to another painting by the artist representing orphan girls, exhibited at: Amsterdam, Stedelijk Museum, 'Tentoonstelling van Kunstwerken van Levende Meesters, 1889; and in 1893 at the Worldfair in Chicago; titled: 'Psalm 146:9: De heer waakt over de vreemdelingen en weduwen en wezen'.,
Thérèse Schwartze (1851-1918) Dubbelzijdige tekening, Portret van een meisje met hoed en op verso Portret van een monnik, niet gesigneerd, krijttekening, 69,5 x 50,5 cm -met etiket: '[...] houtskooltekening door Thérèse Schwartze door mij geschonken aan Marie Hartsuiker toen zij 12 1/2 jaar bij ons was-
THÉRÈSE SCHWARTZE 1851 Amsterdam - 1918 ibid. A young girl praying (1874) Oil on canvas (relined). 69 x 52,5 cm (F. 73 x 57 cm). Signed and dated lower right 'Thérèse S. 1874'. Partly abraded, rest. Framed. Provenance: Private collection Lower Rhine. THÉRÈSE SCHWARTZE 1851 Amsterdam - 1918 ebenda Betendes Maedchen OEl auf Leinwand (doubl.). 69 x 52,5 cm (73 x 57 cm). Signiert und datiert unten rechts 'Thérèse S. 1874'. Part. ber., rest. Rahmen. Provenienz: Privatsammlung Niederrhein.
Thérèse Schwartze (1851-1918) Portret van Professor Pieter Klazes Pel (1852-1919), Hoogleraar interne geneeskunde Amsterdam, gesigneerd met initialen r.o., krijt en gouache op doek, 65 x 50 cm -gedocumenteerd in het beeldarchief van het RKD te Den Haag, afb. nr. 164667/8; Het portret in olieverf (gedateerd 1905) bevindt zich in de collectie van de Universiteit van Amsterdam-
Thérèse Schwartze (1851-1918), A portrait of Maria Elisabeth Theresia (Elise) Schwartze-Herrmann with her grandchildren Letty and Lizzy Ansingh, oil on canvas, 210x150 cm, Exhibited: -Paris, Salon de Paris, Palais des Champs-Élysées, 1 May 1885-1886, cat. no. 2234, as: ‘Portraît de ma mère et de ses petits-enfants’. -London, Earl's Court, 'Women's Exhibtion London, Fine Art Section', 1900, cat. no. 1639, as: ‘Portrait of Artist’s Mother and her Grandchildren’ (a label with title ‘My mother with her grandchildren’, numbered 'no. 1', name and address of the artist 'Thérèse Schwartze, 1091 Prinsengracht Amsterdam', and with annotation '£400' and 'Not for sale' is attached to the stretcher). -Internationale Kunstausstellung, place and date unknown, no. 1555 (a label on the reverse). -Amsterdam, Stedelijk Museum, 'Tentoonstelling van Nederlandsche Beeldende Kunsten, Regeeringsjubileum 1898-1923', 1923-1924 (according to a label attached to the stretcher). -Amsterdam, Arti et Amicitiae, ‘Herdenkings-tentoonstelling, portretten van tijdgenoten door Thérèse Schwartze’, 6 January-3 February 1952 (with a copy of the article by Kasper Niehaus). -Zeist, Slot Zeist, ‘Thérèse Schwartze (1851-1918), portret van een gevierd schilder’, 17 December 1989-25 February 1990. (a label of the art shipper Gerlach attached to the stretcher). Literature: -Salon de Paris, ‘Explication des ouvrages de peinture, sculpture, architecture et lithograhie des artistes vivants, exposé au Palais des Champs-Elysées, Le 1er Mai 1885’, Paris 1885, cat. no. 2234, p. 195, as: ‘Portraît de ma mère et de ses petits-enfants’. -Earl's Court, 'Woman's Exhibition 1900', London 1900, p. 40, cat. no. 1639, as: ‘Portrait of Artist’s Mother and her Grandchildren’, and with description in the introductory notice by Francis Howard on p. 15. -Willem Martin, ‘Thérèse van Duyl-Schwartze (1851-1918), een gedenkboek’, Amsterdam 1923, ill. p. 43. -Kasper Niehaus, ‘Thérèse Schwartze, Geen lege jassen en japonnen‘, written for the exhibition in Amsterdam, Arti et Amicitiae, ‘Herdenkings-tentoonstelling, portretten van tijdgenoten door Thérèse Schwartze’, 1952, with ill. -Cora Hollema and Pieternel Kouwenhoven, ‘Thérèse Schwartze (1851-1918), een vorstelijk portrettiste’, Zutphen 1998, ill. p. 32. -Cora Hollema, ‘Thérèse Schwartze (1851-1918), haar klant was koning’, Zutphen 2010, ill. p. 28. -Wendy van Lith and Ileen Montijn, ‘Thérèse Schwartze (1851-1918), De Nederlandse fine fleur geportretteerd’, Zwolle 2011, ill. p. 19. -Cora Hollema, Pieternel Kouwenhoven‚ ’Thérèse Schwartze, Painting for a Living‘, Amsterdam 2015, ill. p. 35 (1st English edition, revised version of the Dutch edition from 2010). -Cora Hollema, Pieternel Kouwenhoven‚ Thérèse Schwartze, Painting for a Living‘, Amsterdam 2021, ill. p. 19 (this 2nd revised English edition will be published in September 2021). Provenance: -Collection of the artist and her family, Prinsengracht 1091, Amsterdam; the ownership has stayed in the artist’s and sitters' family ever since: -Collection Mejuffrouw G. Schwartze, Amsterdam (according to a label attached to the reverse). Georgina Schwartze, a younger sister of Thérèse, lived at the Herengracht till her dead in 1935. -Collection Mr. Henri Knap, Amstelveen, son of Letty Ansingh. -Private colletion of Mrs. Wiesje Knap, USA, granddaughter of Letty Ansingh. signed and dated 'Th. Schwartze. 1885.' (lower right), The Amsterdam painter Thérèse Schwartze (1851-1918) was a celebrated portraitist in her time, who combined great talent and technical expertise with a superb head for business. She produced likenesses of the 19th-century Dutch beau monde and members of the royal family in an un-Dutch allure and became a millionaire in the process. Of crucial importance to her career were the upbringing and training she received from her father, the painter Johann Georg Schwartze (1814-1874) who had studied at the Staatliche Kunstakademie in Düsseldorf until 1842. His family background was a history of migrants who built up new lives in successive countries: the Netherlands, the United States, where he grew up in Philadelphia, and Germany. He drilled Thérèse in the profession from the time she was five years old, with the explicit assignment to become a breadwinning artist. This was highly unusual at a time when middle-class women in Holland were expected to marry and live on their husbands' income. Thérèse Schwartze continued to be much in demand as the leading portraitist of the Dutch elite until her death in 1918. Initially, Thérèse Schwartze's work, which largely consists of commissioned portraits, is still quite modest. The stylistic development in her work develops from a precise painting style with dark colours, borrowed from her first teacher, her father Johann Georg Schwartze - to a lighter tone and smoother stroke more inspired by French and Dutch Impressionism. Until 1885 Schwartze worked exclusively in oil paint, then she also began to experiment with pastels. The initial dark touch is notably reflected in the painting depicting Thérèse's mother, Maria Elisabeth Theresia (Elise) Schwartze-Herrmann (1822-1896) with her grandchildren, the children of Thérèse's older sister Clara Theresa Schwartze (1848-1923), who was married to the pharmacist Edzard Willem Ansingh. The girl in the blue dress is Maria Elisabeth Georgina (‘Lizzy’) Ansingh (1875-1959) who would also become a painter, in red Aletta Anna Reiniera (Letje, or Letty) Ansingh (1878-1939). The French critic Henri Havard called it a 'peinture singulièrement vigoureuse pour avoir été tracée par une main féminine' [a canvas, painted very powerfully for a woman]. Thérèse’s mother was a small, thin woman whose face spoke of much care and sorrow, while a wandering eye gave her something dreamy (Wally Moes, op. cit. p 106). Among other things, mother Elise was responsible for the financial administration of the Schwartze company, the shipping of the work, maintaining contact with customers, and ensuring the expansion of their circle of clients. Thérèse Schwartze continuously promoted her name internationally by participating in countless (inter)national exhibitions and commissions. The portrait of her mother with grandchildren - in almost life-sized format, as she often did for exhibitions - was specially made for the Paris Salon in 1885. Her international reputation was established after she won the Gold Medal at the Exposition Universelle in 1889 for her self-portrait created as a commission from Florence’s Uffizi Galleries in 1888 for their collection of world-renowned artists’ portraits. The foundation was laid in the seventeenth century by the De Medici family. This commission from the Uffizi was an honour none of her Dutch colleagues would receive at the time. The original monumental frame was specially designed for this painting by Eduard Cuypers (1859-1927), nephew of the well-known architect Pierre Joseph Hubert Cuypers who built the Rijksmuseum and the Central Station in Amsterdam. It contains the artist’s initials 'TS' in the upper corners. Years later, Schwartze also hired architect Eduard Cuypers to renovate her attic studio in the family house at Prinsengracht 1091 in Amsterdam. A special role in Schwartze's career, as well as in her private life, was played by Anton van Duyl (1829-1918). He was an art connoisseur, critic, journalist, editor-in-chief of the newspaper Algemeen Handelsblad between 1865-1885. He was instrumental in establishing Schwartze's reputation, understanding the interests of her art and introducing her to many connections at home and abroad. After Van Duyl was left a widower in 1906, the way was paved for marriage with Schwartze. After often being (inter)nationally exhibited in salons and museums, this is the first time this painting by the ‘Queen of Dutch Painting’- as she was nicknamed - has been offered for sale. Ownership has been in the artist’s and sitters’ family since it was created. The painting was given to the current owner by her late father Henri Knap (Amsterdam 1911-Amstelveen 1986), son of Letty Knap-Ansingh (Amsterdam 1878-1939), and renowned Dutch journalist and Resistance leader during World War Two. The current owner, Mrs. Wiesje Knap, moved to the United States after marrying an American physician who studied at the Academic Medical Center of the University of Amsterdam. Source: Cora Hollema, Pieternel Kouwenhoven ‚’Thérèse Schwartze, Painting for a Living‘ and www.thereseschwartze.com
Portrait of a girl in a red velvet coat with fur trimming. Oil/canvas, verso on the stretcher old label of Galerie Heinemann, Munich with numbering 14554.
First day at the orphanage. After 1906. Canvas mounted on cardboard. Monogrammed to the right 'Th. vD. S'. Annotation 'N°=4', title and monogram on verso. Provenance: Sotheby's, Amsterdam, 16.4.1996 (19th Century European Paintings), lot 287 as 'Scandinavian School, early 20th-century' where bought by the former owner; Private collection Belgium. Already at a young age of 16, Thérèse Schwartze is eager to make a living as a painter. She learns how to paint from her father who was a celebrated portraitist himself. After his death, Thérèse will inherit his studio and continues the work as she will become the prime source of income for her family. While also painting still-lifes and genre pieces, her portraits stand out and many commissions from Amsterdam aristocracy offer her a continuous flow of work. In 1881, she paints the portrait of the Dutch queen Emma and her daughter Wilhelmina. Her early work is characterised by a rather academic style. Later on, her handling of the brush becomes looser, applying soft sfumato touches in the faces, while the clothes are depicted in stark, thick brushstrokes. Young women and girls, such as orphans, young brides or children receiving their first communion, are often the protagonists in her genre pieces. One of her most famous paintings is a large canvas with three orphan girls now in the collection of the Rijksmuseum in Amsterdam (ill. 1). Description FR Premier jour à l'orphélinat. Après 1906. Toile. Monogrammée 'Th. vD. S.'. Annotation N°=4, titre néerlandais et monogramme au revers. Provénance: Sotheby's, Amsterdam, 16.4.1996 (19th Century European Paintings), comme 'École scandinave, début du XXe siècle'. Thérèse Schwartze est déterminée à vivre de sa peinture depuis l'age de seize ans. Elle apprend le métier de son père qui était un célèbre portraitiste. Après sa mort en 1874, elle a non seulement repris tout son atelier, mais aussi le rôle de soutien de toute la famille. Bien que Schwartze réalise également des pièces de genre et des natures mortes, elle se développe principalement en tant que portraitiste virtuose. Après avoir dépeint la reine Emma et sa fille Wilhelmina en 1881, elle reçoit de nombreuses commandes de la haute bourgeoisie. Son style plutôt académique s'est développé plus tard vers un style plus libre dans lequel la couleur, la lumière et le contraste entre les touches douces 'sfumato' des visages et les contours durs 'disegno' des vêtements sont typiques. Les figures féminines, en particulier les jeunes filles, jouent un rôle majeur dans ses peintures. Les orphelines et les communicants expriment l'innocence et la pureté d'une manière modeste. Sur ce thème, elle peint un de ses chefs-d'œuvre "Trois filles de l'orphelinat d'Amsterdam" qui se trouve aujourd'hui dans la collection du Rijksmuseum (ill. 1). Beschrijving NL Eerste dag in het weeshuis. Na 1906. Doek op karton. Rechts gemonogrammeerd 'Th. vD. S.'. Annotatie 'N°=4', titel en monogram op verso. Herkomst: Sotheby's, Amsterdam, 16.4.1996 (19th Century European Paintings), lot 287 als 'Scandinavische school, vroeg 20ste-eeuws', daar aangekocht door de vorige eigenaar; Private collectie, België Thérèse Schwartze is al vanaf haar zestien vastbesloten om de kost te winnen met schilderen. Ze leert het vak van haar vader die gevierd portrettist was. Na zijn overlijden in 1874 neemt ze niet alleen zijn gehele atelier over, maar ook de rol als kostwinner van het gehele gezin. Hoewel Schwartze ook genrestukken en stillevens maakt, ontwikkelt ze zich voornamelijk als virtuoos portrettist. Nadat ze in 1881 koningin Emma en haar dochter Wilhelmina had geportretteerd, ontvangt ze veel opdrachten uit society-kringen. Haar eerder academisch stijl ontwikkelt later naar een lossere toets waarbij kleur, licht en het contrast tussen de zachte ‘sfumato’ toetsen in de gezichten en de harde ‘disegno’ contouren in de kleren typerend zijn. In haar genrestukken spelen vrouwenfiguren, vooral jonge meisjes, een grote rol. Weesmeisjes en communicantjes vertolken op ingetogen wijze onschuld en puurheid. In dit thema schildert ze ook een van haar meest bekende schilderijen, namelijk de 'Drie meisjes uit het Amsterdamse Burgerweeshuis' dat zich nu in collectie van het Rijksmuseum bevindt (ill. 1).
A portrait of a little girl pastel on paper, 55x43 cm Accompanied by another drawing by the artist: Thérèse Schwartze (1851-1918), A portrait of a boy, signed with initials 'Th. S.' (lower right), charcoal on paper, unframed, 52x43 cm signed with initials and dated 'Th.S./1893' (lower right)
A lake in Switserland, oil on canvas, 58x92 cm signed and dated 't. Schwartze. 1874' (lower centre) and indistinctly titled 'route de Brunic' (on the reverse) Johann Georg Schwartze painted several landscapes in Switzerland. After his death in 1874 his daughter Thérèse probably finished and signed this painting.
DUYL- SCHWARTZE -- MARTIN, W. Therèse van Duyl-Schwartze, 1851-1918. Een gedenkboek. Amst., (1921). (10), 200, (2) pp. W. num. repr. of D.'s work. Lge-fol. Or. gilt blind tooled cf. des. by C.A. Lion Cachet, dec. w. gilt & 2 coats of arms, printed on Dutch paper, uncut, gilt top. (Extremities slightly chafed). Printed in a limited and numbered ed. of 300 copies, our copy nr. 117. - Braches 994. Estimated Price: € 120
- SCHWARTZE, Thérèse (Dutch 1851 - 1918). Portrait of Lizzy Ansingh painting, c. 1895. Charcoal heightened with white on creme paper, signed with initials 'Th. S.' (lower right); framed behind glass in contemp. frame with a label of A. Doodewaard Spiegels en Lijstenfabriek, Rotterdam, and a contemp. hand-written note on the reverse. Unexamined out of the frame, two tears (c. 1 & 4 cm. resp., lower right), minor paper discolouration at the upper edge, else apparently good.
Portrait of a lady in a green gown with cameo brooch signed lower right and dated 1869 oil on canvas, oval, 84,5x67 cm ---------- This portrait by Thérèse Schwartze is dated 1869, when she was 18 years of age. She studied with her father in his workshop until 1871. Although this painting was made during her formation, Thérèse Schwartze shows herself a talented and self-confident artist.
Thérèse Schwartze (1851-1918) 'Portret van Josine Biben - Ardesh', niet gesigneerd, ca. 1880, doek. Het portret is paginagroot afgebeeld in de tentoonstellingscatalogus van Museum van Loon en Museum de Fundatie die in 2011 werd uitgegeven. Tevens in het boek 'Thérèse Schwartze, de Nederlandse fine fleur geportretteerd', uitgeverij Waanders, pag. 61. Afm. 82 x 61 cm.
Thérèse van Duijl-Schwartze (1851-1918) Portraits of Louise Landau (1826-1893) and Leon Bernhard Gompertz (1808-1877) wearing the collar of a Commander of the Royal and Distinguished Order of Charles III of Spain lady signed lower left and dated 1872 oil on canvas (2), 122x96 cm Provenance: Mrs E. Gompertz-Jitta, Wilhelminapark, Utrecht (1940) (label on the reverse). This concerns Emma Sophia Catharina Josephus Jitta (1853-1943), who was married to Bernard Leon Gompertz (1848-1816) son of the portrayed couple. Another inscription in pencil on the reverse: '2 stuks no. 126 Groot stuk 124-98, L.B. Gompertz'. We are grateful to Olivier Mertens (Artmorial) for the identification of the sitters and the determination of the insignia of the chivalric order. ------- Blijkens een oud label aan de achterzijde van de schilderijen, waren deze portretten in bezit van Mw. E. Gompertz-Jitta, Wilhelminapark, Utrecht (1940). Dit betreft Emma Sophia Catharina Josephus Jitta (1853-1943), telg van een aanzienlijke joodse familie uit Amsterdam. Zij huwde in 1873 te Brussel met de bankier Bernard Leon Gompertz (1848-1816), commissionair in effecten, bankier en firmant van het effectenkantoor Wertheim & Gompertz te Amsterdam. Emma was een dochter van Alfred Josephus Jitta (1822-1878), koopman, diamantair en rentenier te Amsterdam, en Abigael (‘Fanny’) Polak Daniels (1827-1898). Gezien de datering 1872 - althans wat de vrouw betreft, maar het portret van de man zal waarschijnlijk uit (plus-ou-moins) hetzelfde jaar komen - en de leeftijd van de man, zal het gaan om de ouders van de heer Gompertz. Bernard Gompertz was een zoon van Leon Bernhard Gompertz (1808-1877) en Louise Landau (1826-1893). Leon Gompertz was, blijkens diens overlijdensadvertentie (Algemeen Handelsblad, 9 januari 1877), Commandeur in de Orde van Karel III van Spanje (in het Spaans: “Real y Distinguida Orden Española de Carlos III”). De versierselen die om de heer op het portret hangen betreffen zonder enige twijfel deze ridderorde, waarvan het lint inderdaad lichtblauw en wit is en met een vergelijkbaar (achtpuntig) kruis (met lelies tussen de armen) met erboven een lauwerkrans. Koning Willem III had de heer Gompertz in 1871 vergund “het aannemen en dragen der versierselen der orde van Karel III, hem door Z.M. den Koning van Spanje geschonken” (Algemeen Handelsblad, 28 mei 1871). De portretten kunnen derhalve met absolute zekerheid geïdentificeerd worden als die van Leon Bernhard Gompertz (1808-1877) en Louise Landau (1826-1893), representanten van de joodse ‘haute bourgeoisie’ van negentiende-eeuws Nederland. Aantekening hierbij verdient dat van Leon Gompertz nog twee portretten op jongere leeftijd bekend zijn, bekend bij het RKD in Den Haag. Leon Bernhard Gompertz, geboren Kleef 17 oktober 1808 (zoon van Bernard Gompertz en Elisabeth Marcus), koopman, bankier en commissionair en effecten, medeoprichter (1843) van de effectenbank Wertheim & Gompertz te Amsterdam, medeoprichter (1865) van de N.V. Surinaamsche Bank, medeoprichter (1866) van de N.V. Amstel-Hôtelmaatschappij, Commandeur in de Orde van Karel III van Spanje, ” Amsterdam 6 januari 1877, huwt Koblenz 16 augustus 1847 Louise Landau, geboren Koblenz 12 februari 1826, ” Amsterdam 20 november 1893, dochter van Salomon Jacob Landau, koopman en ‘Grubenbesitzer’ (steengroeve-eigenaar), en Hannchen Hollander. Leon Gompertz, geboren in het Koninkrijk Pruisen, werd bij Koninklijk Besluit d.d. 7 mei 1856 genaturaliseerd tot Nederlander (Nederlandsche Staatscourant, 21 mei 1856, no. 119). Het echtpaar Gompertz-Landau ligt begraven op de Israëlitische Begraafplaats te Wageningen.
(Dutch, 1851-1918), signed u.l. "Therese Schwartz 1889." Sight size: 5'6-1/2"h x 6'6-1/2"w. Provenance: Property sold for the benefit of the Newark Museum Acquisition Endowment.
La petite - Signed with initials and Paris u.l. - Signed and Studie uit Parijs on remnant of label on the stretcher - Oil on canvas, 60.6 x 50.2 cm - Provenance: Private collection, the Netherlands
Portrait of Lizzy Ansingh - Signed and dated 98 u.r. - Charcoal on paper, 45.8 x 46 cm - N.B.: Thérèse Schwartze was a Dutch portrait painter and came from an artistic family. Her father Johann Georg Schwartze was a painter and her sister Georgine was a sculptor. Her niece Lizzy Ansingh (1875-1959), portrayed here, soon followed in the footsteps of her aunt and became a prominent member of the 'Amsterdamse Joffers', a group of female artists at the end of the 19th century. The 'Amsterdamse Joffers' studied at the Rijksacademie van Beeldende Kunsten in Amsterdam, where they became friends and exhibited their works together. Ansingh was given her first drawing lessons by her aunt Thérèse, who encouraged her artistic development in the sixteen years she lived with her. Schwartze introduced her niece to many important painters of the period, including George Hendrik Breitner, Simon Maris and Piet Mondriaan. Schwartze only painted a few portraits of Lizzy, some of which form part of the collection of the Rijksmuseum in Amsterdam.
Thérèse Schwartze (1851-1918) Papavers signed with initials 'TH.v.D.S.' (lower left); and signed again, dated, inscribed with title and numbered '1916/868' (on a label attached to the reverse) oil on canvas laid down on panel 58 x 41 cm. Painted in 1916.
Thérèse Schwartze (1851-1918), 'Portret van een vrouw', gesigneerd en gedateerd '03, pastel, afm. 62 x 47,5 cm. Toegevoegd twee boeken over de kunstenares.
Thérèse Schwartze (1851-1918) Verloren; girl with a medallion signed and dated 'Th. Schwartze./1903.' (upper left); and signed again and inscribed with title (on the reverse) oil on canvas 100 x 61 cm. Painted in 1903.
Thérèse Schwartze (1851-1918) Bruidje uit Oud-Beijerland; portrait of a girl in costume signed and dated 'Th. Schwartze./1895.' (upper left) oil on canvas 110 x 74 cm. Painted in 1895.
Thérèse Schwartze-van Duyl (1851-1918) Portret van heer met sigaar, hoed en wandelstok. Gesigneerd en gedateerd r.b. 1911. Op het spieraam een stempel van de Tentoonstelling in het Stedelijk Museum in Amsterdam in 1919 van het werk van Thérèse Schwartze-van Duyl. Niet ingelijst. Doek 119x97 cm.
Thérèse Schwartze (1851-1918), 'Portret van mevrouw Wilhelmina Frederika Smissaert, geboren jonkvrouwe Martini Buys (1871-1952)', gesigneerd, pastel op papier, afm. 68 x 53 cm. Deze jonkvrouwe huwde op 26 augustus 1898 jonkheer Frans Alexander Ewoud Lodewijk Smissaert (1862-1944), kunstschilder.
Thérèse Schwartze (1851-1918) Portrait of a woman signed and dated 'Thérèse S. 1874' (lower left); and signed and dated again (on the stretcher) oil on canvas 67.5 x 56.5 cm. (shaped) Painted in 1874.
Thérèse Schwartze (1851-1918), 'Portret van mevrouw Wilhelmina Frederika Smissaert, geboren jonkvrouwe Martini Buys (1871-1952)', gesigneerd, pastel op papier, afm. 68 x 53 cm. Deze jonkvrouwe huwde op 26 augustus 1898 jonkheer Frans Alexander Ewoud Lodewijk Smissaert (1862-1944), kunstschilder.
Thérèse Schwartze (Dutch, 1852-1918) Girls from the Amsterdam orphanage signed and dated 'T. Schwartze 1885' (lower left) oil on canvas 27½ x 35½ in. (69.9 x 90.2 cm.) Painted in 1885.
Thérèse Schwartze Amsterdam 1851 - 1918 Portret van Augusta Catherina Marie Jeanne Cramay Gesigneerd en gedateerd 1882 r.b. Olieverf op doek, 69 x 54 cm.
Thérèse Schwartze Amsterdam 1851 - 1918 Portret van Augusta Catherina Marie Jeanne Cramay Gesigneerd en gedateerd 1882 r.b. Olieverf op doek, 69 x 54 cm.
Thérèse Schwartze Amsterdam 1851 - 1918 Moeder en kind Gesigneerd en gedateerd 1884 l.o. Olieverf op paneel, 74 x 48 cm. NB: Taxatierapport J.F.M. van Rosmalen (1975) toegevoegd Herkomst: Kunsthandel Borzo, Den Bosch
