Willem Bastiaan Tholen

Netherlands (18601931 ) - Artworks
THOLEN Willem Bastiaan Landschap Te Giethoorn: Punting On Calm Water Near A Bridge

Christie's /Oct 14, 2008
41,503.05 - 62,254.22
51,400.00

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Artworks in Arcadja
212

Some works of Willem Bastiaan Tholen

Extracted between 212 works in the catalog of Arcadja
Willem Bastiaan Tholen - Boerderij Aan De Vaart: A Farm Along A River

Willem Bastiaan Tholen - Boerderij Aan De Vaart: A Farm Along A River

Original
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Price:

Lot number: 26
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Description:
Willem Bastiaan Tholen (1860-1931) Boerderij aan de vaart: a farm along a river signed 'WB.Tholen' (lower right) oil on canvas 40 x 49 cm. Please note that the entry should read: Provenance: Amsterdam, Kunsthandel Huinck & Scherjon, January-February1932, inv.no. 1989. Mrs. M. Vinke-van der Liet, Nieuwersluis, 1932, inv.no. C943. Centraal Museum, Utrecht, (on loan), September 1932-October 1953,cat. 1933/488x, inv.no. 6943. Anonymous sale, Frederik Muller, Amsterdam, December 1953, nr.396. Amsterdam, Kunsthandel Huinck & Scherjon, January-February1932, inv.no. 1989. Mrs. M. Vinke-van der Liet, Nieuwersluis, 1932, inv.no. C943. Centraal Museum, Utrecht, (on loan), September 1932-October 1953,cat. 1933/488x, inv.no. 6943. Anonymous sale, Frederik Muller,Amsterdam, December 1953, nr. 396.
Willem Bastiaan Tholen - A Village Near The Zuiderzee

Willem Bastiaan Tholen - A Village Near The Zuiderzee

Original
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Price:

Lot number: 92
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Description:
Willem Bastiaan Tholen (Dutch, 1860-1931) A village near the Zuiderzee signed 'Tholen' (lower left) oil on canvas laid down on panel 20 x 33.5 cm. and Another work by the same hand depicting the Drommedaris, Enkhuizen. (2) Provenance Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague, as: Dorpje aan de Zuiderzee.
Willem Bastiaan Tholen - A Shell Fisher On The Beach

Willem Bastiaan Tholen - A Shell Fisher On The Beach

Original
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Gross Price
Lot number: 91
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Description:
20,5 by 26,5 cm. (2) DESCRIPTION signed l.r. oil on board PROVENANCE A gift from the artist to Mrs Van Stolk, 1920'sCollection Mees-Van Stolk, Rotterdam CATALOGUE NOTE This lot comes with a sketchbook with various drawings andsketches depicting subjects from Enkhuizen, 31 sheets, each 24 by33 cm.
Willem Bastiaan Tholen - Landschap Te Giethoorn: Punting On Calm Water Near A Bridge

Willem Bastiaan Tholen - Landschap Te Giethoorn: Punting On Calm Water Near A Bridge

Original 1881
Estimate:

Price:

Gross Price
Lot number: 177
Other WORKS AT AUCTION
Description:
Willem Bastiaan Tholen (Dutch, 1860-1931) Landschap te Giethoorn: punting on calm water near a bridge signed 'WB Tholen' (lower left); and signed again and inscribedwith title (on a label attached to the stretcher) oil on canvas 117 x 85 cm. Painted in 1881. Provenance Mr P.F. de Friderici, Deventer, 1906, thence by descent to thepresent owners. Exhibited Rotterdam, Rotterdamsche Kunstkring, Tentoonstelling van werkvan W.B. Tholen, February-March 1906, cat.no. 2, as: Landschap teGiethoorn (where dated 1881). Lot Notes 'Landschap te Giethoorn' is a fine and rare finished paintingfrom the artist's early career and strikes by its intense poeticbeauty and harmony. Lost from sight since 1906, the reappearance ofthe painting is of importance as this is one of only a few knownfinished paintings of Giethoorn. Furthermore, this is now probablythe only remaining picture of this specific subject after thetragic loss of the picture of circa 1896-1907 owned by theDordrechts Museum, in the fire at the Armando Museum, Amersfoort on22 October 2007 [fig. 1]. Tholen made his first visit to Giethoorn with his former teacherHans Belmer in 1880. He himself had just returned to his nativetown Kampen from Brussels where he had been apprenticed with PaulGabriel (1828-1903). Tholen was immediately enchanted by the area,as he writes: 'Een vijftig jaar geleden was Giethoorn eengeliefkoosde streek om te gaan visschen. Mijn oude leermeesterBelmer had daar ook veel gevischt. Ik heb niet gehoord of Belmertoen veel gevangen had, maar wel, dat Giethoorn veel indruk hadachtergelaten. Hij haalde zijn oud-leerling over om eens met hemdaarheen te gaan. In die dagen was Giethoorn moeilijk te bereikenen om een goed logies te vinden nog moeilijker. Voor een en anderzou Belmer zorg dragen met de hulp van een kennis die daar woonde.Een stoomboot van Zwolle afgevaren, zette ons ergens aan land endaar konden wij overstappen in de punter van den kennis, die onsnaar Giethoorn zou brengen. Het was een lange tocht. Eindelijkgleden wij in de avondschemering over het spiegelgladde waterGiethoorn binnen, vaarden onverwacht tusschen welig uitgegroeideboomen, door rustieke bruggen, langs woningen met grote rietdaken -in de rust en de stilte van het dorp waar de dagtaak was geindigd.Het was betooverend.' ['Fifty years ago, Giethoorn was a populararea for fishing. My former teacher Belmer used to go out therefrequently. I do not know if he had much success with his catch,but what I do know is that the area had impressed him tremendously.He persuaded me one day to come with him. In those days Giethoornwas difficult to reach and there were hardly any places to stay.However, Belmer had the necessary connections, so that we set outfrom Zwolle on a steamer, which would bring us to a strip of land,from where the journey to Giethoorn was continued in a pink. It wasa long trip. At last at dusk we entered Giethoorn over water whichwas as smooth as a mirror and saw richly wooded banks, rusticbridges and houses with thatched roofs. It was all quiet accordingto the moment of the day when labour has come to an end. It wasenchanting.'] (see: R.S. Bakels, W.B. Tholen, The Hague 1930, p.22). Tholen's enchantment with Giethoorn continued during the course of1880's. Every summer he would return to the area, often accompaniedwith Paul Gabriel, to make numerous sketches and drawings en pleinair. Obviously Gabriel's advice given in a letter of 1879, was putinto practice here: 'Zie nooit, wat en hoe een ander doet. Is uwzien en gedachte niet evengoed als van een ander? Lukt het U in denbeginne niet, het is daarom geen bewijs dat gij het mis hebt.Misschien zou ik het U kunnen bewijzen want om iets nieuws voor tebrengen, is geen gemakkelijke zaak en vereist tijd van zoeken, maarhoudt U wel voor, dat gij zulks nimmer in boeken of op Uw atelier,noch bij anderen zult vinden, maar wel in de open natuur, de enigebijbel van Gods grootheid.' ['Never look what someone else isdoing. What you do yourself is as good as the other person does.When the beginning is difficult, this does not say that it isimpossible. Maybe I can proof this, because when you really want tocreate something new, you must fight the difficulties and keep onsearching. And these things are not to be learned in books or bystaying in the studio or from other people, but by going outdoors,as nature is the only Bible of God's greatness.'] In finished paintings such as 'Landschap in Giethoorn' all theseplein air practices were brought to culmination. Indeed the presentpicture is a sublime rendering of what is at first glance anordinary Dutch polder landscape. Tholen has by no means painted arealistic rendering of a natural site. Instead, Tholen hastranslated his own observations in a scene of ultimate poetry andharmony. He reaches this vision by pure painterly means applying asuperb painterly skill. The short brushstrokes of thinly appliedpaint in the sky and leaves for instance, give the scene a qualityof airiness and lightness. In all these fine details, the picture gives the impression to havebeen executed over a longer period of time. Although the Rotterdamexhibition catalogue suggests a date of 1881, it is more likelythat 'Landschap in Giethoorn' was painted during the course of theearly 1880's. Assuming such an early execution, the present picturecould be one of the earliest finished paintings of the subject bythe artist. The imprecise date of execution makes it difficult to discern theearliest provenance of the painting. It is likely that Mr P.F. deFriderici from Deventer, who owned the picture by 1906, was thefirst owner. Unfortunately, this can not be confirmed due to a lackof information. In his search for the sublime, Tholen presents himself as atruthful representative of The Tachtigers, the Dutch 'l'art pourl'art' movement. These Tachtigers did not just look for asuperficial rendering of the visual world, but were rather aimingat a visualisation of the inner soul which they believed wasimbedded in every part of living nature. It was 'knowing' by studyand practice, rather then 'looking' which was essential for them.Or as Frederik van Eeden in De Nieuw Gids expressed: 'De Natuur,dat is onze ziel met haar gewaarwordingen en haar sentimenten.Daarop moet een schilderij lijken. Het moet niet natuur-getrouw,het moet gevoels-getrouw zijn. Wat gij de natuur noemt, dat zijn Uwgevoelens.' ['Nature, that is our soul with her observations andfeelings. This is what a painting should be. It should not reflectnature as it looks like, it should reflect our feelings. What wecall nature, that is our feelings.'] In their search for a poetic form of landscape painting, theTachtigers felt close in spirit to the Old Masters. Tholensadmiration for such landscape painters as Jacob van Ruisdael wasconfirmed in a letter to Gabriel: 'Bij het beschouwen van de werkenvan de oude meesters kunnen wij ook bewonderen hoe zij bekend warenmet de natuurlijke gesteldheid; niet alleen in de grote omvattingvan de voorstelling, maar ook in de consequente doorvoering in deonderdelen van het uitgebeelde ogenblik. Ieder deel leeft op dejuiste wijze, zoals in de natuur zou gebeuren op dit, door denschilder bepaalde ogenblik.' (see: G. Knuttel Jr, W.B. Tholen, TheHague 1955). The present lot seems to confirm Tholens knowledge of the OldMasters. The motif of the bridges suggests influence from Adriaenvan Ostade's famous etching of 'Fishermen on a bridge' [fig. 2], asTholen also uses a similar wooden bridge as an importantcompositional device. We may conclude that 'Landschap in Giethoorn'is a multi-layered painting, which is not only based on studiesmade outdoors, but which equally fits into the greater panorama ofDutch landscape painting. Tholen must have been quite aware of thisquality in his art.
Willem Bastiaan Tholen - Kerk, Oegstgeest: The Green Church, Oegstgeest

Willem Bastiaan Tholen - Kerk, Oegstgeest: The Green Church, Oegstgeest

Original 1914
Estimate:

Price:

Gross Price
Lot number: 159
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Description:
signed 'WB. Tholen.' (lower left); and signed again and inscribed with title 'Kerk Oegstgeest' (on the stretcher) oil on canvas 67.5 x 91 cm. Painted in 1914. Provenance Kunsthandel Unger & van Mens, Rotterdam, year unknown. Mr J.G. Coebergh, The Hague, 1930. Mr C. Rol, Voorburg, 1957. Kunsthandel Pieter A. Scheen, The Hague, 1976, where acquired by the family of the present owner. Literature G. Knuttel Jr., W.B. Tholen, 1944, ill.no. 11. G. Knuttel Jr., W.B. Tholen, 1955, ill.no. 4. H.E. van Gelder, Honderd jaar Haagse schilderkunst in Pulchri Studio, Amsterdam 1947. Exhibited The Hague, Pulchri Studio, Eere-Tentoonstelling W.B. Tholen, 15 February-3 March 1930, cat.no. 42, as: Kerk te Oegstgeest (on loan from Mr J.G. Coebergh, The Hague). The Hague, Gemeentemuseum, Honderd jaar Haagse schilderkunst in Pulchri Studio, 29 March-27 April 1947, cat.no. 392 A. Leiden, Stedelijk Museum de Lakenhal, Tijdgenoten van Verster, 20 July-23 September 1957, cat.no. 177, ill. 17, as: Groene kerkje te Oegstgeest (on loan from Mr C. Rol, Voorburg). The Hague, Kunsthandel Pieter A. Scheen, Zomertentoonstelling: Romantische en Haagse School, 29 August-4 September 1976, p. 45, cat.no. 37, ill., as: Kerk te Oegstgeest. Lot Notes According to Pieter A. Scheen, Tholen won a Golden Medal with the present lot at an exhibition in Philadelphia (see the exhibition catalogue, 1976).
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