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Lot Essay
Lithographed
Vue de Palais de Buitenzorg prise du parc, hand-coloured lithograph, 32,2 x 49,6 cm, by W.J. Gordon, in J.J. van Braam, Vues de Java, published by Francois Buffa&Fils, Amsterdam, 1842
Related works
Willem Troost, The garden facade of the Buitenzorg palace before the earthquake of 10 October 1834, 52.5 x 77.5 cm; pendant to The fagade of the Buitenzorg palace during the earthquake of 10 October 1834, signed, canvas 52 x 77 cm, Rijksmuseum, Amsterdam, inv. nos. A 4024, A 4025.
The present work is a recently rediscovered painting by Willem Troost. It is part of a well-documented series of five pictures of Buitenzorg (now Bogor) and its surroundings made for the retired governor- general J.C. Baud after his return from the East Indies in 1836. Only one work (now in the Rijksmuseum, Amsterdam) of the series was signed. The entire group was exhibited together in the large Colonial Exhibition in Amsterdam in 1883. The present picture represents the old palace of the governor-general and the gardens surrounding it. The works in the Rijksmuseum show the palace seen from the other side and during the actual earthquake of 1834.
In the 1830's there were only 3 academically trained artists who painted Indonesian subjects, A. A. J. Payen, Raden Saleh and Willem Troost. Raden Saleh and Troost knew each other well. They were of approximately the same age and were both pupils of the landscape painter Andreas Schelfhout in The Hague. It is thus very likely that Raden Saleh saw the actual work in Schelfhout's studio or perhaps later in Baud's house. Troost and Payen met in the winter of 1833-1834, when Payen spent 3 months in The Hague. The three artists were all friends with J.C. Baud, who commissioned the present work as a tangible memento of his stay in Indonesia. Baud was also an important patron of Raden Saleh and paid him an allowance.
In 1839 Troost submitted an application to the King requesting to be favoured to work as an official landscape painter in the East Indies. In his application Troost wrote that he had "practised the copying of East Indies landscape" and had learned much from Professor C.L. Blume concerning [East Indies] plant life". Furthermore he stated that his work found favour with J.C. Baud, who purchased several oil paintings. It may therefore be concluded that the Buitenzorg series were painted before 1839. Given the fact that Baud returned to Holland in 1836, the works must have been painted between 1836 and 1839.
It is fascinating to realise that Baud, Payen and Raden Saleh had actually all lived in the old palace of Buitenzorg. Troost based the picture on a print in Blume's rumphia, a botanical standard work, and on sketches of the actual situation made by Baud's adjutant, Captain de Salis. But Troost will obviously have discussed this picture with his friends who lived in the palace and knew the gardens at first hand.
The work is clearly infused with a deeply romantic tone consistent with the ideas current in early 19th century Romanticism.
Early 19th century paintings with Indonesian subjects are rare. Not many were made and the majority is in museums. Troost's three pictures of the palace are the only known oil paintings of the old palace at Buitenzorg before the earthquake. The present painting is of exceptional quality and still in the original gilded frame. It is the largest of the three and in much better condition than the works in the Rijksmuseum. It is the only one still in private hands.
The work is a memento of the first palace at Buitenzorg, the residence of the highest official in the former Dutch East Indies. The palace in Buitenzorg (Bogor) remained the official residence of the governors-general up to the transfer of sovereignty to the Republic of Indonesia. It is now the country residence of the President of Indonesia. The work can be regarded as a symbol of the shared history of Indonesia and The Netherlands. It is also one of the earliest known representations of the botanical gardens laid out around the palace. The Kebun Raya, one of the oldest and most celebrated gardens in Asia, still enjoys world-wide fame today.
Sold with a letter of authenticity by Drs. W. F. Rappard of the Rijksbureau voor Kunsthistorische Documentatie in The Hague.
Christie's wishes to thanks Drs. W.F. Rappard for his inspection of the work.
To be included in the forthcoming book on 19th century Indonesian painting currently being prepared by Drs. Jop Ubbens.
Vue de Palais de Buitenzorg prise du parc, hand-coloured lithograph, 32,2 x 49,6 cm, by W.J. Gordon, in J.J. van Braam, Vues de Java, published by Francois Buffa&Fils, Amsterdam, 1842
Related works
Willem Troost, The garden facade of the Buitenzorg palace before the earthquake of 10 October 1834, 52.5 x 77.5 cm; pendant to The fagade of the Buitenzorg palace during the earthquake of 10 October 1834, signed, canvas 52 x 77 cm, Rijksmuseum, Amsterdam, inv. nos. A 4024, A 4025.
The present work is a recently rediscovered painting by Willem Troost. It is part of a well-documented series of five pictures of Buitenzorg (now Bogor) and its surroundings made for the retired governor- general J.C. Baud after his return from the East Indies in 1836. Only one work (now in the Rijksmuseum, Amsterdam) of the series was signed. The entire group was exhibited together in the large Colonial Exhibition in Amsterdam in 1883. The present picture represents the old palace of the governor-general and the gardens surrounding it. The works in the Rijksmuseum show the palace seen from the other side and during the actual earthquake of 1834.
In the 1830's there were only 3 academically trained artists who painted Indonesian subjects, A. A. J. Payen, Raden Saleh and Willem Troost. Raden Saleh and Troost knew each other well. They were of approximately the same age and were both pupils of the landscape painter Andreas Schelfhout in The Hague. It is thus very likely that Raden Saleh saw the actual work in Schelfhout's studio or perhaps later in Baud's house. Troost and Payen met in the winter of 1833-1834, when Payen spent 3 months in The Hague. The three artists were all friends with J.C. Baud, who commissioned the present work as a tangible memento of his stay in Indonesia. Baud was also an important patron of Raden Saleh and paid him an allowance.
In 1839 Troost submitted an application to the King requesting to be favoured to work as an official landscape painter in the East Indies. In his application Troost wrote that he had "practised the copying of East Indies landscape" and had learned much from Professor C.L. Blume concerning [East Indies] plant life". Furthermore he stated that his work found favour with J.C. Baud, who purchased several oil paintings. It may therefore be concluded that the Buitenzorg series were painted before 1839. Given the fact that Baud returned to Holland in 1836, the works must have been painted between 1836 and 1839.
It is fascinating to realise that Baud, Payen and Raden Saleh had actually all lived in the old palace of Buitenzorg. Troost based the picture on a print in Blume's rumphia, a botanical standard work, and on sketches of the actual situation made by Baud's adjutant, Captain de Salis. But Troost will obviously have discussed this picture with his friends who lived in the palace and knew the gardens at first hand.
The work is clearly infused with a deeply romantic tone consistent with the ideas current in early 19th century Romanticism.
Early 19th century paintings with Indonesian subjects are rare. Not many were made and the majority is in museums. Troost's three pictures of the palace are the only known oil paintings of the old palace at Buitenzorg before the earthquake. The present painting is of exceptional quality and still in the original gilded frame. It is the largest of the three and in much better condition than the works in the Rijksmuseum. It is the only one still in private hands.
The work is a memento of the first palace at Buitenzorg, the residence of the highest official in the former Dutch East Indies. The palace in Buitenzorg (Bogor) remained the official residence of the governors-general up to the transfer of sovereignty to the Republic of Indonesia. It is now the country residence of the President of Indonesia. The work can be regarded as a symbol of the shared history of Indonesia and The Netherlands. It is also one of the earliest known representations of the botanical gardens laid out around the palace. The Kebun Raya, one of the oldest and most celebrated gardens in Asia, still enjoys world-wide fame today.
Sold with a letter of authenticity by Drs. W. F. Rappard of the Rijksbureau voor Kunsthistorische Documentatie in The Hague.
Christie's wishes to thanks Drs. W.F. Rappard for his inspection of the work.
To be included in the forthcoming book on 19th century Indonesian painting currently being prepared by Drs. Jop Ubbens.