The collection consists of Dutch and Flemish paintings from the 17th, 18th and 19th centuries with shipping and cartography as subjects. Below is an overview of some of the works currently available.


The collection consists of Dutch and Flemish drawings from the 17th, 18th and 19th centuries on shipping and cartography. Below is an overview of some of the works currently available.

Prints & Books

The collection consists of Dutch and Flemish graphics & books from the 17th, 18th and 19th centuries on shipping and cartography. Below is an overview of some of the works currently available.

Ship's Antiques

Our collection consists of Dutch and Flemish ship’s antiques from the 17th, 18th and 19th centuries on shipping and cartography. Below is an overview of some of the works currently available.



(Haarlem 1562/3 – 1640)

An Enhuizer pinas in a storm surrounded by whales with a second ship right on the horizon ca. 1590

Oil on canvas, 103 x 103 cm.

Signed on the flag in the foremast: VROOM

Provenance: Possibly wine merchant Albert Martsz. Amsterdam 1615.  According to his inventory it is mentioned as ” Een stuck voor de schoorsteen met schepen gedaen by Vroom tot Haerlem’’; Netherlands, private collection.

Exhibited: Tentoonstelling van Nederlandsche zee- en riviergezichten uit de XVIIde eeuw, Museum Boijmans Van Beuningen, Rotterdam, 1945-12-22 – 1946-02-03, p. 35; 71; Rotterdam, Kunsthal, Zoet & Zout – Water en de Nederlanders, 14 februari – 10 juni 2012.

Literature: Goedde, L.O., Tempest and shipwreck in Dutch and Flemish art: convention, rhetoric, and interpretation, London 1989, pp. 84-86; Russell, M., Visions of the Sea. Hendrick C. Vroom and the origins of Dutch marine painting, Leiden 1983, p. 114-115, ill. 116; Bol, L.J.  Die Hollandische Marinemalerei des 17. Jahrhunderts, Braunschweig [1973], p. 16. Wilson, T. Flags at Sea. ill Plate VI p. 69. Maritieme Encyclopedie, Bussum 1972, vol. V, pp. 270-271. Beylen, J. van, Schepen van de Nederlanden, Van de late middeleeuwen tot het einde van de 17de eeuw, Amsterdam 1970, pp. 95 – 101.

Vroom, A very rare pair of Seascapes, Calm and Tempest 2


(Haarlem ca. 1590/ 1615 – 1670)

Sailing vessels in stormy weather

Oil on panel, 40.1 x 61.1 cm

Signed lower middle on the stern, signed together: PM

Provenance: European private collection


(Naples 1590-1629 Rome)

Shipping in a gale

Oil on copper: 48.5 x 36.3 cm

Indistictly Signed

Dated: ca. 1600

Provenance: European private collection

Literature: Farquhar, Biographical catalogue of the principal Italian painters. London 1855, p.8.


(Haarlem  1590 – 1634)

Beach view with a fish auction near Egmond aan Zee

Oil on panel, 28 x 46 cm

Monogrammed on flag:  cvb

Provenance: France, Gironde, Chateau de Barbe, Baron de Brivazac


(Antwerp 1590- 1652)

A battle between Spanish galleons and Dutch warships before a rugged coastline

 Oil on copper 44 x 68.4 cm

Provenance: United Kingdom, Collection C. Turner, London; Germany, Collection Nell, Bonn; Acquired by the grandfather of the present owner in the 1920s.


(Antwerp 1590- 1652)

The Battle in the strait between Calais and Dover on 3-4 October 1602, between the Spanish galleys of Federico Spinola and Dutch and English warships

 Oil on canvas, 110 x 182 cm

Provenance: European private collection


(Antwerp 1590 – 1652)

A storm in open seas

Oil on panel, 58.5 x 114.3 cm

Monogrammed: AE

Provenance: European private collection

2018 – Andries van Eertvelt genaamd Naentkens – The four-masted man-of-war the Neptunus flying the flag of Zeeland with other vessels beyond 2


(Antwerp 1590- 1652)

The four-masted man-of-war the ‘Neptunus’, flying the flag of Zeeland, with other vessels beyond

Oil on panel, 53.8 x 71.3 cm

Provenance: Anonymous sale, London, Phillips, 1849, lot unknown (according to the 1888 catalogue below); There purchased (‘through Mr Barker’) by Sir John Josiah Guest, 1st Bt., (1785–1852), Canford Manor, Dorset (bears the family bookplate on the reverse of the panel); By descent to Ivor Bertie Guest, 1st Baron Wimborne (1835–1914), Canford Manor, Dorset; By descent to the Rt Hon. Ivor Guest, 1st Viscount Wimborne (1873–1939); By whom sold London, Christie’s, 9 March 1923, lot 57 (as Van de Velde) for 170 guineas to Asscher; Ribbius Pelletier, Utrecht, from 1941 until after 1952, by whom deposited (‘Bewaergeving‘) at the Centraal Museum, Utrecht (according to a label on the reverse of the frame); Anonymous sale, Amsterdam, Mak van Waay, 12 May 1975, lot 284, (as Hendrik Cornelisz. Vroom), were acquired by Willem, Baron van Dedem.

Exhibited: Utrecht, Centraal Museum, on loan 1941–1952(?) (as Dutch School, mid-17th century), 1952 inv. no. 1186.

Literature: A Catalogue of the Pictures at Canford Manor in the Possession of Lord Wimborne, 1888, p. 101, no. 252 (as Willem van de Velde the Elder); M.E. Houtzager (ed.), Centraal Museum, Utrecht. Catalogus der schilderijen, Utrecht 1952, p. 403, no. 1186 (as Dutch school, mid-17th century); P.C. Sutton, Dutch & Flemish Paintings, The Collection of Willem Baron van Dedem, London 2002, pp. 96–99, no. 16, ill. (as Andries van Eertvelt, called Neantkens).

For extensive documentation, see:  ANDRIES VAN EERTVELT called NAENTKENS (Antwerp 1590 – 1652) The four-masted man-of-war the ‘Neptunus’, flying the flag of Zeeland, with other vessels beyond. Rob Kattenburg BV, 2018.

2018 – Andries van Eertvelt genaamd Naentkens – The four-masted man-of-war the Neptunus flying the flag of Zeeland with other vessels beyond 2


(Leiden ca. 1600 – 1655)

Shipping on the coast with a jetty and a beacon

Oil on panel, 38.5 x 61.8 cm

Signed on driftwood:  STO

Provenance: European private collection


(Haarlem c. 1600 – after 1656)

Shipping in a gale

Oil on panel, 16.2 x 34.2 cm

Provenance: European private collection

Collections: Greenwich, National Marine Museum; Rotterdam, Museum Boijmans van Beuningen; Hoorn, Westfries Museum; (Formerly Rob Kattenburg collection); Groningen, Groninger Museum.


(1613/4 – The Hague – 1670)

Portrait of Cornelis Tromp (1629 – 1691), three- quarter length, in armour, a naval battle beyond

Oil on canvas: 113 x 91 cm

Signed: a o 1660 J Mijtens F

Provenance: European private collection

Literature: Bauer, A.N. Jan Mijtens (1613/14-1670): Leben und Werk, Petersberg 2006; Houbraken, A. De groote schouburgh der Nederlantsche konstschilders en schilderessen. III vols. Amsterdam 1718-1721, Amsterdam 1976, p. 356.


(The Hague 1620/1 – 1690 Overschie)

Sailing vessels in choppy waters off an estuary

Oil on panel, 59.4 x 74.2 cm

Signed in ligature on lee-board lower right:  avb

Provenance: Terry-Engell, London 1968 (his catalogue no. 5, illustrated); Sale Vienna, Dorotheum, 15 June 1971 lot 8 with ill. (Sch 320.000); Private collection, Austria; Sale London, Phillips, 5 December 1989 lot 62 with ill. (£ 46.000); United Kingdom, private collection.

Literature: G.C. Helbers, Abraham van Beyeren, in: Oud Holland, Vol. XLV (1928), pp.27-8; Scott A. Sullivan, Abraham van Beyeren’s Vissery-bord in the Groote Kerk Maassluis, in: Oud Holland 101/1987 no. 2, pp. 115-25; Hans-Ulrich Beck, Künstler um Jan van Goyen, Doornspiijk 1991, p. 35 no. A8 (ill. 43) as ‘Hafenmole links mit zwei Figuren, davor Fischerkahn mit drei Figuren; rechts Segler. Ferne Ufer.’ Edwin Buijsen, Haagse schilders in de Gouden Eeuw, The Hague /Zwolle 1998, pp. 96-102.

Collections: Amsterdam, Rijksmuseum; Brussels, Royal Museum of Fine Arts; Budapest, Museum of Fine Arts; Greenwich, National Maritime Museum; Paris, Leipzig, Museum der bildenden Künste; Louvre; Philadelphia (Pennsylvania), Philadelphia Museum of Art; Rotterdam, Museum Boijmans van Beuningen.



(c.1620 -Utrecht- 1693)

Shipping in the Levant

Oil on panel: 45.5 x 73 cm

Signed and dated lower left: J. Willarts.f/ 1662

Provenance: Netherlands, private collection


(1623/4 – 1664 Amsterdam)

Shipping in the Levant

Oil on canvas, 36.2 x 41.7 cm

Signed lower right: R. ZEEMAN

Provenance: Germany, private collection


(c. 1625 – Amsterdam – 1689)

Shipping on the IJ before Amsterdam ca. 1670

Oil on panel, 54.2 x 85.3 cm.

Provenance: Netherlands, private collection



(Rotterdam 1627 – 1686)

Vessels on a choppy sea

Oil on canvas, 59.3 x 79.3 cm

Signed on driftwood lower right: Verschuir

Provenance: France, private collection


(Emden 1630 – 1708 Amsterdam)

A two decker, a fluyt, a kaag and a weyschuit in a stiff breeze before the coast

Oil on canvas: 41.5 x 59.3 cm

Monogrammed: L.B.

Dated ca. 1665

Provenance: Netherlands, private collection


(Emden 1630 – 1708 Amsterdam)

Ships on de IJ river (Amsterdam) off the Leeuwenberg jetty and the windmill  ‘De Bok’

Oil on canvas: 64 x 77 cm

Signed with initials on the flag lower center: L.B.: Y

Indistinctly signed and dated on the barrel l.r: L Ba.h /1704

Provenance: United Kingdom, private collection

Cf.; a) Drawing by L. Backhuysen. In: G. Boerner 1982, with Blauwhoofd; b) Drawing by Paulus van Liender 1762, with Blauwhoofd; c) ATLAS DE STAD AMSTERDAM (I) TE AMSTERDAM MDCCLXXXIII (1783) t Y bij t BLAAUW-HOOFT TE AMSTERDAM 1762. Etching & engraving.


(Leiden 1633 – Westminster 1707)

 A Dutch man-of-war with a Vice-Admiral on board, under full sail on a rough sea.  

In the distance there are other warships of the squadron and some other small vessels.

 Oil on canvas, 50.7 x 65.6 cm

Signed with monogram on the rowing boat behind the man-of-war in the left foreground: WVV

Provenance: Sales. – W. Moorhead, Edinburgh, 1835. George Morant, London, 15 April 1847. In possession of John Smith, London, 1849: sold to J.S. Beckett, according to a note by John Smith in his own copy of his catalog. Private collection United Kingdom.

Literature: Hofstede de Groot, A Catalogue raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century: Based on the Work of John Smith, vol. 7, London 1923 (ed. Cambridge 1976), pp 107-108. (As ‘A Warship under Full Sail on a rough sea. Sm. 258).


(Hoorn c. 1640 – 1673)

Shipping off the coast

Oil on canvas, 46 x 55 cm

Signed lower right:  P: Coopse: fec:

Provenance: Baldock, Herts; Peter J. Dixon Collection, London; Rupert Preston Ltd. London; Hal O’Nians Gallery, 1964; European private collection.

Collections: Greenwich, National Maritime Museum; Munich, Alte Pinakothek; Brussels, Palais des Beaux-Arts.


(Rotterdam 1652- 1733)

 Shipping off Vlissingen

Pen painting on panel, 36.5 x 49.5 cm

Monogrammed on the barrel lower right : CM

Provenance: Austria, private collection

Literature: E.H.H. Archibald, Dictionary of Sea Painters, 1980, Woodbridge, Suffolk, GB; F. Lammertse, ‘“Watmen met een penne doen can“; over penschilderijen met een maritieme voorstelling’, in: J. Kelch e.a. Lof der zeevaart. De Hollandse zeeschilders van de 17e eeuw, Rotterdam 1996, pp. 45-58.; J.H. van den Berge, ‘Een incompleet Bouwmeestertableau’, Den Spiegel 18 (2000), no. 2, pp. 15-19 ;E. Löffler, ‘Getekend op doek of paneel: het penschilderij’, Desipientia 19 (2012), no. 1, pp. 23-26

Collections: Netherlands, Rotterdam, Historisch Museum; Greenwich, National Maritime Museum, United Kingdom;  Salem, Peabody Museum, United States.


(Middelburg 1740- 1807)

The figures in the foreground are by the portrait painter Jacob Schwartzenbach (Veere 1763 – 1805)

 A) Mustering the Batavian Fleet in Vlissingen Harbour, 1804

 B) The Fleet Leaving Vlissingen (Flushing) to Sail to Boulogne for the Planned Invasion of Great Britain, 1804

 A pair

 Oil on panel, 32 x 45 cm

Monogrammed and dated lower left: E.H. .. I.S,  1804

Provenance: France, Vente Paris, Hotel Drouot, 1er mars 1976, nos 69 et 70. France, private collection in a Château in Bretagne.

For extensive information see brochure Rob Kattenburg BV 2019



(Middelburg 1740- 1807)

A few rare and historically important marines by the Zeeland painter Engel Hoogerheyden (1740-1807)

The figures in the foreground are by the portrait painter Jacob Schwartzenbach (Veere 1763 – 1805)

 A) Mustering the Batavian Fleet in Vlissingen Harbour, 1804

 B) The Fleet Leaving Vlissingen (Flushing) to Sail to Boulogne for the Planned Invasion of Great Britain, 1804

 A pair

 Oil on panel, 32 x 45 cm

Monogrammed and dated lower left: E.H. .. I.S,  1804

Provenance: France, Vente Paris, Hotel Drouot, 1er mars 1976, nos 69 et 70. France, private collection in a Château in Bretagne.

For extensive information see brochure Rob Kattenburg BV 2019



(Bergen op Zoom 1753 – 1805 Middelburg)

The French frigate ‘Ariel’ brought into a Zeeland estuary after the Expedition to the Scheldt (1793)

Oil on panel (on the verso of a 17th century church panel), 43.2 x 56.2 cm

Provenance: Spain, private collection

Literature: I.H. Vogel-Wessels Boer, Jan Arends, Engel Hoogerheyden en David Kleyne in advertenties in: Zeeland. Tijdschrift van het Koninklijk Zeeuwsch Genootschap der Wetenschappen, vol. 17 (mrt. 2008), afl. 1, pp. 18-23; Scheen 1981, p. 270; J.G. van Gelder, ‘Een beulszoon kunstschilder’, Oud-Holland 52 (1935), p. 33; Thieme/Becker 1907-1950, dl. 20 (1927), pp. 492-493.

Collections: Amsterdam, Het Scheepvaartmuseum; Rotterdam, Maritiem Museum; Middelburg, Zeeuws Museum; Bergen op Zoom, Markiezenhof; Antwerpen, Museum Smidt van Gelder.


(Dordrecht 1770 – 1848 Breda)

Shipping on the river Merwede in a moderate breeze

Oil on panel, 52 x 72 cm

Signed lower left:  M. Schouman

Provenance: With Gebr. Douwes, Amsterdam (NL); Private collection, The Netherlands

Exhibitions: Enschede, Rijksmuseum Twenthe, ‘Schilderijen uit de Romantische School’, 1 Dec. 1957 – 5 Jan. 1958.

Literature: Exhibit. cat. Dordrecht, Dordrechts Museum, Tussen zonnegoud en kaarslicht. Dordtse meesters 1780-1840, Dordrecht 1986, pp. 68-71; J. Erkelens, Martinus Schouman (1770-1848). Biografie van een Dordtse zee-schilder, in: De Negentiende Eeuw, 1983, nr. 4, pp. 277-94; [s.a.], Martinus Schouman en zijne kunstnalaten-schap, in: Astrea. Maandschrift voor schoone kunst, wetenschap en letteren, vol. III, 1854, pp. 143-144.


(Dordrecht 1787 – 1838)

A Beach Scene with Shipping off the Port of Vlissingen

 Oil on canvas, 83.2 x 111.8 cm.

Signed lower center right:  J.C. Schotel

Provenance: United Kingdom, private collection

Brochure Johannes Christiaan Schotel, Galerie Rob Kattenburg BV 2018


Bekijk de bijbehorende publicatie.


(Dordrecht 1787 – 1838)

Unloading the Catch on the Beach at Scheveningen

Oil on panel, 65.1 x 90.7 cm

Signed lower left:  J.C. Schotel

Provenance: United Kingdom, private collection

Literature: G.D.J. Schotel, Leven van den zeeschilder J.C. Schotel, Haarlem 1840; J. Erkelens ed., exhibit. cat.Tussen zonnegoud en kaarslicht. Dordtse meesters 1780-1840, Dordrecht 1986, pp. 94-101; Nelly de Zwaan, Nederland uit de kunst. 365 dagen kijken en lezen, Warnsveld 2005, 3rd of May (ill.).

Exhibitions: Den Haag, Panorama Mesdag, on loan 19 november 2018- 3 maart 2019, ‘De Storm van 1894′.

Brochure Johannes Christiaan Schotel, Galerie Rob Kattenburg BV 2018


(Dordrecht 1787 – 1838)

Dutch ships on a stormy sea

Oil on canvas, 70 x 94.5 cm

Signed lower centre: J.C. Schotel

Provenance: Collection Baron Fagel (according to the label attached to the reverse). Auction, Loth Gijselman, The Hague, 16 December 1981, lot 1795, European private collection.



(Haarlem ca. 1575- 1633)

Ships in a stormy sea

Pen in grey and brown ink on tinted paper:  ca. 80 x 160 mm.

In the middle: ‘Een vracht kaghe omtrent 6 last’

(Cf.: A series of twelve engravings after Jan Porcellis nr. 6 Collection Rob Kattenburg)

Provenance: Ex. coll. Pierre Crozat, ‘Le Roi des Collectionneurs’ Paris; Netherlands, private collection

Literature: Paintings in Haarlem 1500 – 1850/ The collection of the/ Frans Hals Museum, pp. 343- 346. Cornelis Claesz. van Wieringen was with Hendrick Cornelisz.Vroom (also from Haarlem), the most important representative of the first generation of Dutch marine painters.


(Leiden 1633 – 1707 London)

 Study of a dogger 

Black chalck on paper 200 x 282 mm

Signed in brown ink lower left:  w.v.v.j.

Provenance: Netherlands, Collection D.G. van Beuningen, Rotterdam.


(Leiden 1633 – Westminster 1707)

Ships at anchor

Pencil and grey wash, and some highlights in pen in grey, 185 x 408 mm

Provenance: Netherlands, private collection

In the left foreground e.g. a kaegh (kaag)

The ships are partly rendered in grey ink and vertical dotted lines, indicating a method of drawing in perspective. The horizon is drawn at the eye level of Willem van de Velde and all objects in the picture space are crossed by the horizon at the same height from the ground.

Literature: M.S Robinson, Van de Velde drawings, a catalogue of drawings in the National Maritime Museum made by the Elder and the Younger Willem van de Velde, 2 vols., Cambridge 1973. vol. 1, p. 408 ill. No. 708; R. Reurs, ”Even if it is not architecture”: perspective drawings by Simon de Vlieger and Willem van de Velde the Younger* in: Simiolus 13, 1983, pp. 189-200.

Cf. The Art of the Van de Veldes. Paintings and drawings by the great Dutch marine artists and their English followers, exhib. cat, London, The National Maritime Museum 1982, p. 100, ill. 87.


(Amsterdam 1674 – 1760)

Merchant ships off a harbour’s mouth

Gouache and ink on paper, 210 x 305 mm

Signed on wood lower left:  adam silo

Provenance: United Kingdom, private collection


(Rotterdam 1691 – 1783)

Shipping of the Dutch coast

Pen and brush in grey and brown East Indian ink, 212 x 308 mm

Signed on the driftwood lower right: C. de Grient

Dated lower left: 1760

Provenance: United Kingdom, private collection

From left to right: A ‘bootschip’ (5a), a ‘kofschip’ (3a) in the front right from the middle a ‘smakschip’ (7a) and a fregate.

Literature:Cf.: VERZAMELING/ VAN vier en tachtig stuks/ HOLLANDSCHE SCHEPEN/GETEEKEND EN IN KOPER GEBRACHT/ DOOR/ G. GROENEWEGEN/ 1789/ te Rotterdam, bij/ J. VAN DEN BRINK/Noordblaak, D.295. Etsen 3A, SA, 7A en 7 C.


(Franeker 1698 – 1781)

Shipping off Amsterdam near Durgerdam with the watchtower  ‘Hoek van ‘t Eij’ at the right

Pen and brush in grey, 315 x 541 mm

Signed with initials P.I. on the pennant of the large merchant ship.

Provenance: Netherlands, private collection

Collections: Vienna, Albertina; Amsterdam, Rijksprentenkabinet, Het Scheepvaartmuseum; City archive, Leiden, Museum Boerhaave; Leeuwarden, Fries Museum; Sneek, Fries Scheepvaartmuseum.


(Hoorn 1744 – 1808 Medemblik)

Shipping off a coast

Pen and brush in grey, 355 x 507 mm

In the center, a Waterschip, with left behind under full sail a fregate among other vessels.

Provenance: Rob Kattenburg collection


(Rotterdam 1748 – 1805)

Landing of English troops at Callantsoog, 27 August 1799

Watercolour, 208 x 319 mm.

Signed and dated (l.r.): Dirk Langendijk ad viv delin 1799 fecit 1803

Three other documented versions of this watercolour are in the collections of the National Maritime Museum, Greenwich, the Regionaal Archief, Alkmaar, and the Royal Library, Windsor.

Literature: A. Jonker, Beroering in de polder. De Zijpe tijdens de Patriottentijd, de Bataafse periode en de Engels-Russische invasie, 1780-1800, in: ZHB vol.XVII no.3 (september 1999), pp.3-24; De lange herfst van 1799. De Russisch-Engelse invasie in polder en duin, Castricum 1999; M.E. Deelen e.a., Dirk Langendijk (1748-1805): tekenaar tussen kruitdamp en vaderlands gevoel, Rotterdam; H.C Hazewingel, Dirk en Jan Anthonie Langedijk en Christoffel Meijer, Rotterdam 1955; J.C. Vieweg; The campaign in Holland, 1799, by a subaltern, London 1861; C.R.T. Krayenhoff, Geschiedkundige Beschouwing van den Oorlog op het grondgebied der Bataafsche Republiek in 1799. Nijmegen 1832; L.C. Vonk, Geschiedenis der landing van het Engelsch-Russisch leger in Noord-Holland, Haarlem 1801.

Provenance: Rob Kattenburg collection


(Rotterdam 1754– 1826)

Ships in a heavy storm threatening to hit the lee shore in front of a foreign coast. Left a frigate in great distress

Aquarel in pen and brush 247 x 333 mm

Signed in verso upper left: G. Groenewegen

Provenance: France, private collection

Literature: Cf: etch 6 of the 7th series of 12. A total of 84 etchings.VERZAMELING/ VAN vier en tachtig stuks/ HOLLANDSCHE SCHEPEN/GETEEKEND EN IN KOPER GEBRACHT/ DOOR/ G. GROENEWEGEN/ 1789.


(Rotterdam 1754 – 1826)

Shipping off the coast with a jetty at the left a fregate (G5) and a ‘barkentijn (C2)’  or ‘brik’ a ‘beurtschip’ at the left

Pen and brush in brown and grey, 315 x 478 mm

Signed at lower left: G. Groenewegen

Provenance: Germany, private collection

Literature: Cf.: Etching G5 & C2 , From: VERZAMELING/ VAN     vier en tachtig stuks/ HOLLANDSCHE SCHEPEN/ GETEEKEND EN IN KOPER GEBRACHT/ DOOR/  G. GROENEWEGEN/ 1789.


(1754 – Rotterdam- 1826)

Shipping in a strong breeze

Pen and pencil in brown and grey: 34.5 x 49.4

Signed and dated in verso in brown ink : G. Groenewegen 1802

Watermark: J. Kool

From left to right:  In the left foreground a ‘poon’, see etch F 1, a three-master and a ‘pink’ on the right side, see etch E 9.

Provenance: France, private collection

Literature: Cf.: Etch E 9 of the 5th series and etch F 1 of 12. A total of 84 etchings. VERZAMELING/ VAN vier en tachtig stuks/ HOLLANDSCHE SCHEPEN/GETEEKEND EN IN KOPER GEBRACHT/ DOOR/ G. GROENEWEGEN/ 1789; H. Voorn, De/ papiermolens/ in de provicie/ Noord-Holland,  Haarlem 1960 p.126, ill. p. 170, no. 101.



(Veere 1778- 1851 Amsterdam)

A barge off the coast in turbulent water

Watercolour, 225 x 305 mm

Provenance: Netherlands, Gallery Odette Welvaart, Amsterdam, until 2009; Netherlands, Dhr. Schaepman,

Dordrecht, until 2013; European private collection

Literature: Cf. Catalogus van eene verzameling fraaije schilderijen, gekleurde en ongekleurde teekeningen, kapitale gegraveerde en andere prenten etc., cat. Coll. E.P. Cremer.,comp. A. Stuart Makkers, Middelburg, 17 mei 1847, comp. p. 47, lot 6; L.J.Bol, Johannes Hermanus Koekkoek, realistisch-romantisch schilder, Middelburg 1963; Scheen; R de Leeuw e.a., Meesters van de Romantiek. Nederlandse kunstenaars 1800-1850, Rotterdam/ Zwolle 2005.


(Dordrecht 1787 – 1838)

Shipping off a coast (modello)

Graphite, black chalk and grey wash, 52.5 x 74.5 cm

Provenance: Netherlands, private collection

Literature: cf.; Een onsterfelijk zeeschilder J.C. Schotel 1787 – 1838. Dordrecht: Dordrechts Museum, 1989. pp. 16-17, cat. no. 55-57, p.94, cat. no. 53, cat. no. 83.


(Dordrecht 1787 – 1838)

A summer day in the docks along the Merwede, seen from the North-East, Just visible on the right, the big church of Dordrecht, c. 1810

Gouache, watercolour and pen on paper, 450 x 635 mm

Signed lower left:  J.C. Schotel

Provenance: Netherlands, private collection

Literature: G.D.J. Schotel, Leven van den zeeschilder J.C.Schotel, Haarlem 1840; J. Erkelens ed., exhib. cat. Tussen zonnegoud en kaarslicht. Dordtse meesters 1780-1840, Dordrecht 1986, pp. 94-101.

Cf.  Etching G6 (a frigate) & D8 (a hooker) From: VERZAMELING/ VAN  vier en tachtig stuks/ HOLLANDSCHE SCHEPEN/ GETEEKEND EN IN KOPER GEBRACHT/ DOOR/ G. GROENEWEGEN/ 1789.


(Groningen 1831 – 1915 The Hague)

Incoming ‘Bomschuiten’ from Scheveningen

Acquarel, 74 x 52 cm

Signed lower right: H.W. MESDAG

Provenance: Netherlands, private collection

Cf.: version in oil, literature: Poort, J., ‘Willem Mesdag (1831- 1915) Oeuvre catalog’, Wassenaar, 1989, p. 311, cat. no. 13.10.

Prints & Books


(Sheffield 1842 – 1897 London)

Blake and Tromp in the Straits of Dover, May 1652

Watercolour: 72 x 125 cm

Signed, titled and dated: T.B Hardy. 1873, Blake and Tromp in the straits of Dover. May 1652

Provenance: United Kingdom, private collection


(probably Enkhuizen  1533 / 1534 – 1606  Enkhuizen)

First engraved Sea- Chart of the Zuiderzee, 1583

Copper engraving: 330 x 514 mm

Dated: 1583

State: I

Engraved by: Joannes van Doetechum (1558– 1630)

In cartouche on the right side:

Beschrijvinge vande vermaerde stroemen, Tulie / ende Tmaersdiep, opsteckende Inde Zuijder, / Zee voer bij Enkhuijsen tot Amstelredam, met / alle de sandē plaeten en ondieptē op de selude stroemen / gheleghen – /

In the cartouche on the left side:

Aldus es Vrieslandt ghedaen als hier beneden ghestelt es, als de Caep op Schiermonickooch oost zuijdt oost v. staet ēē / mijle. Door Lucas Jansz Wagenaar van Enchhuisen – /

Lower right: Joannes à Doetecum fe

Provenance: Netherlands, private collection

Literature: New Hollstein, Van Doetecum III, no. 795, state II (of VII); Koeman IV, p. 472, item 2b (also see: Wag 5A, 5B and 5C, the last one is listed in the supplement); Walsmit, E, e.a. Spiegel van de Zuiderzee. Geschiedenis en Cartobibliografie van de Zuiderzee en het Hollands Waddengebied. Houten:  HES & DE GRAAF publishers, 2009: pp.210 -221.

A fine and extremely rare map, dated 1583.


(probably Enkhuizen  1533 / 1534 – 1606  Enkhuizen)


Beschrijvinghe vanande Zeeusche Eijlanden, soe die op hare strome(n) liggen, met een deel vanande zee custen van Vlaenderen enn(de) Hollant. = Insularum Zelandiæ, …

(Chart of the coasts of Zeeland, the southern part of Holland and part of Flanders)

Leiden, Franciscus Raphelengius, 1586 or 1587 (engraved 1583).

Large engraved sea chart (32.5 x 51.5 cm) of the coast and islands of Zeeland, with parts of the coasts of South Holland and West Flanders.

With the title in a cartouche, the scale of Spanish and German miles in a smaller cartouche, 4 coastal profiles, 4 provincial coats of arms, a compass rose in the sea, rhumb lines, sandbanks, and ships and sea monsters in the sea, the whole in a decorative border.

Engraved by:  Joannes van Doetecum.

From: Wagenaer’s Spieghel der Zeevaerdt, with a Latin description on one letterpress page, and a decorated initial on the reverse. In a passe-partout.1

1 New Hollstein, Van Doetecum III, no. 796, state III (of VIII); Koeman IV, p. 472, item 3b (see also Wag. 5A, 5B and 5C, the latter is in the supplement).


(Uitgeest/ Alkmaar 1571 – 1638 Amsterdam)

PASCAARTE van alle de Zècusten van/EUROPA / Nieulycx. befchreven door/ Willem Jansz. Blauw./Men vintse te coop tot AMSTERDAM,/Op’t Water inde vergulde Sonnewÿser.

Sea Chart of all the Seacoasts of Europe, c. 1625

Copper engraving and etching on vellum, hand-coloured, 68.7 x 86.8 cm / 71.5 x 89 cm

State I/II, 10 other documented copies (seven on vellum and three on paper)

Scale: c. 1:7.500.000

In cartouche: pascaarte van alle de Zècusten van europa / Nieulycx beschreven door Willem Janß. Blauw/ Men vintse te coop tot Amsterdam, op ‘t Water inde vergulde Sonnewijser

First state of two

The title and imprint appear in a cartouche, crowned by the printer’s mark of Willem Jansz Blaeu [INDEFESSVS AGENDO], at the centre of the lower border. Scale cartouches appear in four corners of the chart and richly decorated coats of arms have been engraved in the interior. The chart is oriented to the West. It shows the seacoasts of Europe from Novaya Zemlya and the Gulf of Sydra in the east, and the Azores and the west coast of Greenland in the west. In the North, the chart extends to the northern coast of Spitsbergen, and in the south to the Canary Islands. The eastern part of the Mediterranean is included in the North African interior.

Magnificently decorated, there are richly detailed European coats of arms, scale cartouches in the corners, several ships in the waters, a pair of natives in Greenland, and a number of animals portrayed on land, including polar bears and elephants.

Provenance: France, collection of a noble family

Literature: Jean Denucé, Oude Geographica te Antwerpen, in: Antwerpsch Archievenblad, Antwerp 1927, pp. 1-13; Myriem Foncin, Catalogue des cartes nautiques sur vélin, Paris 1963, p. 313; Klaus Stopp & Herbert Langel, Katalog der alten Landkarten in der Badischen Landesbibliothek Karlsruhe, Karlsruhe 1974, p.33 (ill. VI); James A. Welu, Vermeer: His Cartographic Sources, in: Art Bulletin 57 (1975), pp. 541-44; Günter Schilder, Willem Janszoon Blaeu’s Map of Europe (1606). A Recent Discovery in England, in: Imago Mundi, Vol. 28 (1976) pp. 9-20 (ill. fig. 7); Günter Schilder, Monumenta Cartographica IV, Alphen aan den Rijn 1993, 45.1 pp. 100-101, ill. p.101; Kees Zandvliet, Vermeer en de cartografie van zijn tijd, in: De wereld der geleerdheid rond Vermeer, Brussels 1996, p. 69; A. K. Jr. Wheelock, The Public and the Private in the Age of Vermeer, Osaka, 2000. p. 190.

No example of this first state printed on vellum is kept in any private collection or collections in museums in the Netherlands. There is a total of seven recorded complete examples of the Sea Chart of all the Seacoasts of Europe on vellum and three on paper of the first state.


(Gent before 1584 – Zoeterwoude 1632)

Icones variarum navium hollandicarum quarum usus maximè in aquis interioribus regionis.Notatae à famosissimo Navium Pictore Iohanne Percelles.

(Images of various Dutch vessels)

With the address of B. Cleynhens, Haarlem excudit


Apart from Visschers title, the series includes eleven numbered plates,

Titlepage engraving:  Claes Janszoon Visscher

Plate 1-11 engraving: Robert de Baudous.

Literature: Hollstein’s, Dutch & Flemisch Etchings, Engravings and Woodcuts 1450-1700 (1991), p.151, fourth state of four.


(Amsterdam 1586 – 1652) (Antwerp  ca. 1570 – 1605 Leiden)

 A View of Amsterdam from the north Bank of the IJ

Etching and engraving on four joined sheets of paper: 255 x 1120 mm

Monogrammed: lower left ‘CIV’ (in reverse) and ‘HA’ for Herman Allertsz Coster

Dated: 1611

Published: Amsterdam

Only 9 examples documented

Provenance: United States, private collection


(Emden 1630 – 1708 Amsterdam)

“D’Y stroom en Zeegezichten”/ getekent en geëtst door LUDOLF BAKHUIZEN/ Anno 1701 In Amsterdam

 Complete series consisting of:

Title page, etching by L. Backhuysen

Portrait of Backhuysen, Mezzotint by J. Gole

And 10 pages of etchings by L. Backhuysen

plus a hymn by J. van Broeckhuysen, on a separate plate

Literature: Hollstein’s, Dutch and Flemish Etchings Engravings and Woodcuts c. 1450-1700 Volume I, Menno Herzberger, Amsterdam Pl.56 to 58  W;B. DUT. 1-10;De Groot and R. Vorstman, Sailing ships Prints by the Dutch masters from the sixteenth to the nineteenth century, Gary Schwartz, Maarssen Pl. 110 to 115; Gerlinde de Beer, Ludolf Backhuysen (1630-1708)- Sein Leben und Werk, Waanders Uitgevers, Zwolle, Abb. 217 p. 169, Abb. 218 and 219 p. 170, Abb. 220, 221 and 222 p. 171, Abb. 223 and 224 p. 172, Abb. 225 p. 173, Abb. 227 and 228, p. 174.


(Amsterdam 1648 – 1693)


Engraved chart mounted on 4 contemporary conjoined sheets: ca 77 x 91 cm

Amsterdam: J. de Ram 1691 -1693

Provenance: Netherlands, private collection

Literature: D’Ailly (1934) no. 223; D’Ailly (1953) no. 150; Koot (1977); Van Eeghen (1987b), p.74, Hameleers (1994); Bakker en Schmitz (2007), p. 278, no.67; in: Kaarten van Amsterdam 1538/1865, Bussum, exhib. cat. Stadsarchief Amsterdam, 2013, p. 184, no. 88. ill. pp. 182-183.

Examples: *SAA: Collection Splitgerber, 10001/595-10001-598; SAA: Collection Kok, 10095/121; Amsterdam, RPK: RP-AO-20-47-B; Uva, BC, OTM: HB-KZL 21-07-07.


(Amsterdam 1678 / ca. 1642-after 1690)

Nova Totius Terrarum Orbis Tabula c. 1682

Copper engraving, contemporary hand colouring, 492 x 550 mm.

Scale: c. 1:78.000.000

The cartouche reading ‘ex officina’ G. a Keulen. Amstelodami

Signed in margin lower right:  t’Amsterdam Gedruckt by G. van Schagen by de Nieuwe Haerlemmer Sluys’

Provenance: Netherlands, private collection of Paulus Swaen

A very rare world map of which only a few examples are known




Including the set engravings by John Pine, London 1739 (The Armada tapestries). Juxtaposed to the charts (tables) of Robert Adams, 1538, from which HENDRICK C. VROOM designed the tapestries for the House of Lords. The charts and corresponding tapestries describe the ‘Battle of the Armada’ in 10 incidents.

The Tapestry Hangings of the House of Lords: representing the several Engagements between the English and Spanish Fleets, in the ever memorable Year MDLXXXVIII (1588), with the portraits of the Lord High-Admiral and the other noble Commanders, taken from the Life.

Atlas folio

   Dated: 1739

Published in London by John Pine, June 24, 1739, According to Act of Parliament

First edition

Height: 522 millimetres (approx. page size)

Width: 368 millimetres (approx. page size)

Atlas Folio with letterpress text and engraved and etched illustration plates, the tapestry plates printed in black and green ink, some of the charts with hand-colouring.

Provenance: Italy, private collection

Literature: Berlin Catalogue 1677 (which does not mention the two maps of the River Thames and SouthWest England and which are often not included, but are in the present example). William Upcott, A bibliographical account of the principal works relating to English topography – Vol. 2, Chapter XIX pp. 872-873, Printed by Richard and Arthur Taylor., (1818). H. Hammelmann, Book-illustrators in eighteenth-century England, ed. T.S.R. Boase (1975). M. Russel, Visions of the Sea: Hendrick C. Vroom and the Origins of Dutch Marine Painting p.p 116- 140. T. Clayton, ‘The English Print 1688-1802’, New Haven and London 1997, p.87.


(active in Alkmaar 1700 – 1730 Alkmaar)

Navigiorum Aedificatio

A series of sixteen etchings, all signed by Van der Meulen

Etching: 17.2 x 20.5 cm; with the address of P. Schenk

Literature: A. v. Wurzbach, p. 155 Muller 1013;  Sailing ships… by I. de Groot and R.Vorstman, illustrated pp. 138 to 153.

Ship's Antiques




Ship model, 91.5 x 96 x 29.5 cm

Literature: De ontdekking van Manhattan, Henry Hudson, zoals beschreven door Robert Juet van Limehouse. Hoorn  2009; Henry Hudson’s Reize onder Nederlandsche Vlag, 1609. Van Linschotenvereeniging, XIX. ’s Gravenhage 1921.

Extensive documentation available


The clock has always been owned by the Buitendijk family they traded on the East and a distant ancestor was killed in the Colonies during fighting on a beach with the population.

Finest 18th century Dutch burl walnut tall case clock by Gerrit knip. This burl walnut clock having a finely carved case with a magnificent painted scene. The sarcophagus top with blind fretwork and Corinthian bronze mounted columns. The shell case in very fine condition with all-over bronze mounts. The finely carved and polished case sitting on detailed ball and claw feet. The whole hours and half hour rings listed on an engraved bronze plaque.

Built by Gerrit Knip, is widely considered to be the most fashionable clockmaker and watchmaker in Amsterdam. The elaborate clockworks, circa 1760-1780. Includes a mechanically animated sun and moon design dial.

Provenance: The Buitendijk family by descent


(active in London 1823-1876)

Terrestrial Globe

Ca. 1853

Diameter: 21 inches

Height: 117 cm.

Later chair, with compass


Literature: The Map Collector, November 1989



William, active in London 1780 – 1798
Thomas Marriott, active in London 1790 – 1819

Terrestrial globe, ca. 1819

Diameter: 18.5 inches

Original chair with compass

Provenance: Switzerland, private collection

A rare George III earthglobe. Signed as W. & T.M. Bardin, the business name of father and son Bardin between 1790 and 1798, after which Thomas Marriott continued independently. However, the globe has been updated to 1819, the year Thomas Marriott died, and thus may be the last variant of the globe on which he collaborated.

The globe is dedicated to Joseph Banks ( 1743-1820 ), president of the Royal Society, who became famous for his research during the expedition to the South Pacific led by James Cook.

In cartouche: To the Rt. Honorable | SIR JOSEPH BANKS, Bart, K.B. | President of the Royal Society | This New British Terrestrial Globe. | Containing all the latest Discoveries and Communications, from the most | correct and authentic observations and surveys, to the year 1819. | by Capt. Cook and more recent Navigators. Engraved from | an accurate Drawing by Mr. Arrowsmith, Geographer. | Is respectfully dedicated | by His most obedient humble servants W. & T. M. Bardin.

 Literature: Elly Dekker, Globes at Greenwich, Oxford 1999, pp. 260-261.


London 1841 – 1883

A terrestrial and celestial globe

Dated: 1860

Diameter: 15 inches

Height: 101 cm.

With brass roller meridian supports, tripartite base with scrolled legs, the legs joined by the original paper compass

In cartouche: Newton’s new and improved celestial globe on which all the Stars are taken from the elaborate and most approved Catalogue of Piazzi, the Nebulas from Bode and the double Stars and those with proper motions from South. The Right Ascensions & Declinations of the whole having been recalculated and accurately laid down for the year 1851. By Mr. W. Newton. Manufactured by NEWTON & SON Chancery Lane & 3 Fleet St. Temple Bar. London published March, 1st 1860.

 Newton’s new and improved terrestrial globe, accurately delineated from the observations of the most esteemed navigators and travellers. To the present time. Manufactured by Newton & Son, no. 66, Chancery Lane & 3, Fleet St. Temple Bar. London published February 1st, 1860.

A mid-19th-century English heaven and earth globe by the famous globemaker family Newton. William Newton (1768-1861) and his sons William Edward (1818-1879) and Alfred Vincent (1821-1900).

Literature: Dekker, Elly. Globes at Greenwich, Oxford: Oxford University press and the National Maritime Museum.1991. pp. 422-423.



(Active in London 1821 – 1850)

A Victorian terrestrial 12-inch table globe

Published 1842

Scale: 1:27.000.000

Total heigth: 46 cm

Provenance: Netherlands, private collection, Leiden

The celebrated Cary family of cartographers and globe makers produced some of the greatest late Georgian globes.  The firm was started in the late 18th Century by John Cary, who often worked in partnership with his brother William Cary, a scientific instrument maker.  The Cary brothers moved their business to 86 St. James’s Street in about 1820, leaving the premises at 181 Strand to John Cary’s sons George (c. 1788-1859) and John Jr. (1791 – 1852).  They produced a variety of globes under the name G. & J. Cary from 1821 to about 1850.  In 1850, George Frederick Cruchley, a map seller, took over a portion of the Cary business and produced maps and globes from 1850 to about 1876.