Philippe Lodewijk Sadée (Dutch, 1837-1904) Bringing in the catch

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Lot 6
Philippe Lodewijk Sadée
(Dutch, 1837-1904)
Bringing in the catch

Sold for £ 78,000 (US$ 104,005) inc. premium
Philippe Lodewijk Sadée (Dutch, 1837-1904)
Bringing in the catch
signed and dated 'Ph. Sadee ft/1879' (lower right)
oil on canvas
58 x 121cm (22 13/16 x 47 5/8in).

Footnotes

  • Philippe Sadée took his first drawing lessons at the age of 10 from Pierre Tétar van Elven (1828-1908) and it was at this young age that he decided to become a painter. By the age of 14, Sadée was studying with the historical artist Jacobus-Evardus-Josephus van den Berg (1802 -1861). Van den Berg trained his students in the Neo-Classical tradition, which was the prevailing style of the period.

    By 1865 the artist had decided to stop painting historical and biblical subjects and travelled to Düsseldorf where he studied with the artist Albert Kindler (1833-1876) who was known for his precise genre works. For a large part of 1866 he worked in Holland and Germany painting genre subjects and it was during this time that he visited the island of Marken and painted Vader op Zee. In 1868 he visited Oosterbeek where he embraced the spirit of the plein-air technique. It was during this stay that he met with Willem Roelofs (1822-1897), Paul-Joseph-Constantin Gabriël (1828-1903), and Jacob Maris (1837-1899) and in the autumn of that year, the artist returned to The Hague and eventually settled in Scheveningen.

    Under the leadership of Jozef Israels (1824-1911) a group of artists formed that became known as The Hague School. While some see The Hague School as a group of landscape painters, both Israels and Sadée primarily depicted those who earned their living from the sea. Sadée should be seen foremost as a figural artist, who painted the fisherman's life as his primary subject within The Hague School tradition. Sadée focused on the life and work of the fisherman of the coast, in particular depicting the the wives of fishermen, either carrying the catch away from the boats or awaiting the return of the boats.

    This work is unusually large in Sadée's oeuvre and the bright palette illustrates clearly why critics during his life and later praised his work so highly. The work clearly confirms the importance of the artist within The Hague School.
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