——-> SOLD, Midderigh Bokhorst

Bernadina Midderigh Bokhorst

Youth IV Zonnedag ca. 1934

“Zonnedag” is a wonderfull stoneprint/lithography from the series Bestand_000 (32)“Youth IV”  by Bernadina Midderigh Bokhorst. This print belongs to a series of decorative plates made for children to decorate walls in schools or children rooms and look just like a pencil drawing. This lithograph is very sweet and innocent and highly collectible! 

The square artwork measures 39.5 x 39.5 cm and has been cleaned and de-acified. The margins have some spots and in the middle of the print runs a very fine crack.  Japanese paper was used to re-enforce the paper. This plate has a new frame and new a white matte. Behind glass, ready to hang.

Price: 55 euro (exclusive additional shipping costs) 

You can use the form below if you are interested in purchasing this work or if you have additional questions.

E.Ravel & A.Closs

A.Closs after Edouard Ravel

Reading to the children 1883 

Reading to the children A ClossThis a lovely wood engraving in color, printed on both sides, (with Dutch text on the back) after a work by Edouard Ravel executed by A. Closs, a well known and skilled German wood engraver. In the left corner it reads: ” Edouard Ravel 1883″.

At the right corner is printed “A. Closs, X.J.sc.”  This print is rare and has beautiful bright and deep hand painted colors. The paper is very vulnerable and thin, at some places it has been reinforced with Kozo paper. The measurements are 12 x 12 cms. This print has been cleaned. There is a little line in the middle on this engraving as can be seen in the pictures. This antique print is mounted on acid free archival board and has an acid free backing board. It is shipped with a new frame and glass, as shown in the pictures, ready to hang on your wall, or maybe a children’s room!

Price: 20 Euro (exclusive of additional shipping costs) 

Click on the images for a larger view of the artwork.

If you are interested in purchasing this work or if you have additional questions, please use the form below.

Artists: E.L. Verveer

Elchanon Verveer 1826-1900

elchanon verveer

Elchanon Verveer was a Dutch artist, painter, engraver, cartoonist and graphics artist. He used to work together with his two brothers Maurits and Samuel with whom he worked and lived for the main part of their lives. In 1845 Elchanon started taking painting lessons at the Academy of The Hague, “De Haagse Academie”.

Before that he was working (and educated) mainly as an engraving artist. He was a member of the Pulchri Studio in The Hague. His brother Maurits helped setting up the Pulchri studio. Elchanon was also a member of “Arti et Amicitiae” in Amsterdam. His paintings and work are influenced by Romanticism and Impressionism and are considered to form a link between the two artistic movements.

When he was older he also began painting the rougher side of life when he began portraying the harsh lives of the fishermen people of Scheveningen, the coastal area of The Hague. Elchanon was also a very good cartoonist. He made a lot of comical portrayals of his fellow Pulchri studio artists some of which are in the collection of Dutch museums around the country.

Recently there was a big display in the Jewish Historical Museum in Amsterdam that featured some of the works of the three brothers but also gave a interesting insight into their lives as emancipated Jewish young men in Dutch society. Recently it was also announced that a painting of Elchanon was found again after being lost for many years.

The Verveers, masters of Romanticism. Jewish Historical Museum Amsterdam.


La mode Illustree

Eloise Leloir

La mode Illustree

La mode Illustree, 1870 nr 1This highly collectible hand colored steel engraving is one in the series fashion plates made for La Mode Illustree, a french fashion magazine. This large plate measures 36 x 26 cms and has very vibrant colors. The costume and fashion plate has some lovely details, for example the gold-paint that was used on the earrings and necklace of MMe. Breant.

The text on the plate is:

Gilquin fils imp. Paris La Mode Illustrée Bureaux du Journal, 56, Rue Jacob Paris  Toilettes de Mme. BREANT CASTEL 28, r Nve. des Pts. Champs, Reproduction interdite. La mode Illustrée 1870, No. 1. 

The artist of this steel engraving was Eloise Leloir. The plate has yellowing, some foxing in the upper regions and soiling in the corners and has been dry cleaned.

Bestand_001 (11)

Price : 40 Euro (exclusive of additional shipping costs) 

Click on the images for a larger view of the artwork.

If you are interested in purchasing this work or if you have additional questions, please use the form below.

Ed Jeska

Ed Jeska

Old Rhine

Ed Jeska Woodcut, Oude Rijn ca 1935This 80 year old woodcut print by Ed Jeska  is called “Oude Rijn” Or “Old Rhine”. It is signed in the right corner and named in the left corner by Ed Jeska. The woodcut is printed on Japanese paper and has been cleaned, re-framed and backed by archival board. The print has some yellowing as shown in the pictures but is otherwise in good condition. The woodcut measures  12 x 16.5 cms, the frame is 24.5 x 31.5 cms.

Price: 40 Euro (exclusive of additional shipping costs) 

Click on the images for a larger view of the artwork.


If you are interested in purchasing this work or if you have additional questions, please use the form below.

—> Sold Ed Jeska, Pollard Willows

Ed Jeska

 A landscape with pollard willows

Ed Jeska Knotwilgen 1930This 85 year old woodblock print by Ed Jeska was made around 1930. It is titled “Knotwilgen” or “Pollard Willows”. This artwork still has its beautifull original black, wooden art deco frame. The woodblock print measures 28 x 21 cms. The big frame measures 38 x 34.5 cms.

The artwork is printed on Japanese paper, (Gampi I think). This thin paper was introduced in Europe when Japanese woodblockprints became very populair. It provides the image with a very crisp sharp lines. I know Ed Jeska was very fond of the Japenese printing techniques because he made many artworks in this manner. The print is signed by Jeska on the bottom right and titled in the left corner. It has been cleaned and was re-framed on acid free museum board. The condition of this work is now very good. Fresh for years to come!


Click on the images for a larger view of the artwork.

If you are interested in purchasing this work or if you have additional questions, please use the form below.

Cleaning artworks

Cleaning the “hardware” of artworks vintage or antique.

Micro-organisms  can feast on paper artworks, books, posters and comics in the right circumstances. Used framing materials like the backingboard and even glass can be affected by these micro-organisms. Next to fungi, sometimes bugremains, bugpoop and dust is present behind the framing. All the framing materials must be cleaned thoroughly and sometimes even sterilized before they can be re-used. Sometimes the damage is so severe, its best to start fresh and use a new frame and piece of glass to prevent fungal contamination. However most of the time it adds to the artwork if you can keep the original materials and re-use them. 

Cleaning and sanitizing the glass

dirty glassIf you can, take this nasty chore outside because you shouldn’t breath in the spores. Its best to wear a mask and rubber gloves. Glass that has been covering a moldy artwork, is best cleaned with rubbing alcohol, (70%) and hydrogen peroxide (3%). First, remove all the dirt on the glass by spraying it with water. Wipe it with a paper towel so all the superficial dirt is gone. Spray the glass plate with the hydrogen peroxide in a spray bottle. Leave it for an hour or so. The spores are dead. To de-grease and clean the plate use rubbing alcohol on a soft cloth. Wipe and dry the glass but not completely to prevent a electrical static reaction that attracts particals and dust to the glass plate. To prevent this you can let the glass dry by air for the last part. From then on wear gloves when handling the glass (for example when you are ready to frame). This is to make sure you don’t transfer anything to the plate and prevent fingerprints to show up on the glass. You should now have a nice fresh and sanitized glass plate ready to use.

Backboard and cardboard 

Next we have the backingboard material. This is often made of thick plates containing fibrous woodpulMoldp and a glue that keeps it together. Fungi love this stuff, especially combined with moist and a high enough humidity. The fungi on the left started decomposing the backboard after it was treated on a good splash of water and high temperatures. The several species of fungi went for the cardboard and not the mulberry paper. When backing panels and backboards show any signs of mold its best to through them away right away to prevent contamination via the spores.

Since fungi are truly a biohazerd, handle with care and don’t move it about to much, place in a plastic bag and discard. Spores can be dangerous for people with astma and other lung diseases. The backboards are best to replace with acid free materials like museum board or archiving board, and sealed with a good quality tape. I use Tesa double sided ECO tape for that. Its a very broad tape so you can close the gap  between the frame and the board and coat it with waxed brown paper.

Cleaning of the frame

The frame is often very dirty. When molds where present in the artwork, its best to clean the frame very thoroughly also on the inside. The frame usually has a layer of laquer on it,  its not always a good idea to wipe it with a aggressive cleaning agent because this will remove or damage the laquer on the frame. You can clean the front depending on the material that was used for the frame. The inside of the frame (the ridge where the glass falls in) can be cleaned with a soft cloth and some hydrogen peroxide on the cloth. Be aware that hydrogen peroxide also works as a bleaching agent. When you are not sure, test a little spot before starting this procedure. Some other anti bacterial and fungi killing agents are:

vinegar (kills about 78%), baking-soda, chloride bleach, ammonia, (UV- radiation en cold temperatures)

Detecting mold in old artworks

  • There are a few signs that can tell you if there is mold present in a artwork. First is the powdery dust of mildew. When the white powder is dry and powdery, the fungus is probably not active. When its creamy and wet-like, it is active.  
  • The second hint is the signs of water dbig spots and water damageamage on the the artwork, like tide lines and water spots on the cardboard.
  • The last clue is the presence of strange stains like you can see here on the left. When opening up this artwork there was indeed a patch of mold at the backside of the stained area caused by water damage. This also shows that its important to dry art that has been subjected to water damage.

Preventing Mold on artworks

Preventing mold is always the best option, some simple rules can help the climate in the artwork so it becomes a less attractive snack for those decomposing organisms.

Keep a steady climate environment  The best climate is 70 degrees Fahrenheit and 50% humidity. Try to prevent sudden variations as much as you can.

Use acid-free materials for framing. To maintain the quality of the artwork acid will deteriorate the paper.

Remove the paper from its frame when its has been wet. Let it dry completely between blotter papers.

Keep the artwork clean. Dust and soil will attract bugs and microorganisms. (clean the glass with a damp cloth, not spraying any moisture directly on the glass.

Don’t hang the artwork in the sun

Make sure the artwork can breathe, place some distance between the artwork and the wall. Make sure the artwork is not placed against the glass but lies on a mat or is placed on spacers.

When the artwork is wet, always remove it from the frame and let dry between felt or blotter paper.

Sold —->La Divina Pastora

Divine Shepherd, WJB

The Divine Shepherdess

La Divina Pastora

Divine Shepherd, WJBFor sale is this etching of unknown origin signed in the print, in de bottom middle, “WJB”, representing the divine shepherdess or “La devina pastora”.  A rather uncommon way of portraying Mary here in western Europe, although popular in: The Philippines, Portugal, Spain and South America. A very interesting article about the history of this tradition is found here on the Blog “Paternosters” from Chris LaningMy theory is that this artwork comes from a brotherhood in either Spain or Portugal and it was made by a member of that Brotherhood. The artwork seems to be printed on parchment paper. Mary’s hairdo and clothing could indicate this print is from around 1910/1920. The measurements are: 37 x 28 cms.

The condition of this mysterious artwork is very good!

Price: 35 euro (exclusive additional shipping costs) 

If you are interested in purchasing this work or if you have additional questions, please use the form below.