Hendrik Willem Mesdag Dutch, 1831-1915

Private collection, The Netherlands

J. Poort, Hendrik Willem Mesdag 1831-1915. Oeuvrecatalogus, Wassenaar 1989, p. 239, no. 1895.06, illustrated
 J. Poort, Hendrik Willem Mesdag 1831-1915. Oeuvrecatalogus. Supplement, Wassenaar 1997, illustrated in colour on p. 159

This work has been examined under UV-light with a professional restorer. It is in fine condition, there are no retouches visible under uv-light. The canvas is original. Nice decorative frame, ready to hang.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Hendrik Willem Mesdag was one of the key members of the Hague School, a movement that dominated Dutch painting in the last part of the 19th century. He was born into a wealthy Groningen family and destined to become a banker. After an inheritance had rendered him financially independent, Mesdag abandoned his secure position at the bank and followed his artistic ambitions. He turned to his cousin Sir Lawrence Alma Tadema for advice, who suggested to serve his apprenticeship with Willem Roelofs, the famous Dutch landscapist who was based in Brussels. Accordingly, Mesdag stayed in Brussels for four years. Under Roelofs' guidance he adopted a broad, distinctive style of painting and grew familiar with the art of the Barbizon School, sharing a fascination for painting en plein air.

During a visit to the island of Norderney, in the summer of 1868, Mesdag got fascinated by the sea. His conception of the sea surprised many artist-friends. Contrary to the minutely detailed seascapes of the Romantic School, Mesdag's 'brutal realism' shook the Dutch art world. His unbiased depiction of the sea, straight from nature, was a new phenomenon, creating a new standard for Dutch painting.

The current lot dates from 1895, when Mesdag was at the height of his career. It depicts one of his favourite subjects: bomschuiten on the beach with fisherfolk unloading the catch. A very realistic situation, as Scheveningen did not have a harbour. The flat-bottomed fishing boats were dragged to and from the sea by horses or manpower. This lent a particular picturesque quality to the beaches of Scheveningen, as is shown in this painting. It can be marked as one of the most beautiful works in his oeuvre. He depicts the bomschuiten on a clear, sunny day, with their sails raised proudly against a blue-and-white sky. There is no sign of dark tonal colouring; instead, he uses bright colours such as the vibrant reds and blues in the skirts of the women. Sunlight gives the scene a luminous quality. The figures gathering the catch seem quite small against the majestic ships, whose sails are mirrored in the floodline; a phenomenon Nescio called 'le double ciel'. Mesdag has depicted Scheveningen at its very best, on a calm, tranquil day. There is no sign of the eternal struggle of man against the elements but rather the capturing of a rare moment of harmony , when man and sea are fully at peace with each other. The fact that Mesdag had himself portrayed in his studio, about 15 years later around 1910, with this particular painting prominently displayed on an easel, indicates that he himself also regarded this as one of his finest works. This photograph graces the cover of the flyer for the Museum Mesdag in The Hague.