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Willem Horselenberg (1881-1961) - Early 20th Century Oil, Walking by the Harbour

20th Century

Evert Moll (1878-1955), Rotterdam harbour, oil on canvas. Presented in gilt effect frame with painted cove and running pattern. Signed lower left. Image size: 39 x 59cm.

A charming oil landscape depicting a traditional Dutch windmill standing sentinel beside a tranquil waterway, with a small sailboat moored on the canal bank. The composition employs ...

A vibrant postimpressionist painting depicting moored gondolas and sailing vessels in a harbour, with reflections of colourful building façades shimmering in the rippling seawater. T...

Well presented in a vintage frame. Unsigned. On card.

Early 20th Century Dutch Street Scene with Figures and Boats Original oil on relined canvas. Signed lower left (illegible) The painting is in goo...

Clesse Louis 1889 – Brussels – 1961 Belgian Painter 'Along the Path, Oudenburg' Signature: signed lower right and dated 1943 'Louis Clesse 1943' Medium: oil on panel Dimensions: im...

Frederick Carl Gottwald (American, 1858-1941) Docked in Town, c. 1900 Oil on canvas Signed lower right 24 x 18 inches 33.5 x 27.5 inches, framed Gottwald, originally from Vienna, wh...

This atmospheric harbour scene by Hermanus Koekkoek Jr., working under the pseudonym Jan van Couver, exemplifies the artist’s mature approach to maritime and town views during his London period. The composition presents a Dutch waterfront animated by boats, windmills, and clustered buildings, all set beneath a vast and dynamic sky. The emphasis on shifting weather conditions and the interaction between water, light, and architecture reflects a deep engagement with both tradition and contemporary developments in nineteenth century painting. Koekkoek belonged to one of the most distinguished artistic dynasties in the Netherlands. As the son of Hermanus Koekkoek the Elder and nephew of Barend Cornelis Koekkoek, he inherited a strong foundation in landscape and marine painting. His early training within the family atelier in Amsterdam provided him with a disciplined understanding of composition and natural observation. However, his later move to London in 1869 marked a decisive shift in both style and market orientation. It was during this period that he adopted the name Jan van Couver, a strategic choice that aligned his work with a broader European appeal. The present painting reveals a confident and increasingly free handling of paint. The foreground water is rendered with swift horizontal strokes that capture the movement of the surface, while the boats and harbour structures are constructed through more concentrated applications of pigment. The use of impasto is particularly notable, lending the painting a tactile presence and enhancing the interplay between light and texture. This painterly richness contributes to a vivid sense of immediacy, as if the scene were observed directly on site. The sky dominates the composition, occupying a large portion of the pictorial space. Broad, swirling brushstrokes articulate the mass of clouds, which appear to gather and disperse in response to changing atmospheric conditions. This treatment reflects the influence of the Hague School, whose artists sought to convey the mood and variability of the Dutch landscape through tonal harmony and expressive brushwork. Koekkoek’s interpretation is more animated, however, suggesting an openness to impressionistic tendencies that were gaining ground across Europe. At the same time, the painting remains anchored in a clear compositional structure. The line of the harbour guides the viewer’s eye into the distance, where the forms dissolve into a softer haze. The presence of windmills, a quintessential feature of the Dutch landscape, reinforces the sense of place while also introducing vertical accents that balance the horizontal expanse of water and sky. The architecture is suggested rather than fully defined, allowing atmosphere and light to take precedence over detail. Koekkoek’s work occupies an interesting position between tradition and modernity. While rooted in the conventions of Dutch marine painting...