Page 127 - Made For Trade Chinese Export Paintings In Dutch Collections

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Deventer: 1560-1985 states questionable that
these albums are considered: “of direct use
(utility), at least for the one interested in colonial
history.” 47 Although they do not carry a studio
mark, their style and execution is similar to
those documented as works by Youqua present
in the Wereldmuseum in Rotterdam. (Figure
4.18.) Youqua was active in the years 1850-
1860, so it is well possible that Duymaer van
Twist in his Batavia period acquired watercolour
126 albums from (or after) Youqua.
Lastly, around 1830, Jacobus Isidorus
Lodewijk Levien (J.I.L.L.) Jacobson (1799-
Figs. 4.19. and 4.20.
1848), a Dutch, Rotterdam-based tea taster in
Images depicting
Canton, (who had been responsible for the
theatre play and
successful early cultivation of tea on Java),
travelling elite group,
assembled a set of five albums with watercolours
anonymous, 48
on pith paper with a variety of subjects. One
watercolour on pith
of his descendants, Edward Jacobson (1870-
paper, 1850-1860,
1944), realised their value and importance for
24 x 35 cm,
future audiences. Consequently, in 1928, he
Wereldmuseum
donated this worthwhile collection of four silk-
Rotterdam,
former Governor General of the Dutch East- covered albums to the Wereldmuseum
inv. no. 29476-5.
Indies, Albertus Jacobus Duymaer van Twist Rotterdam. Each album features twelve images
(1809-1887) assembled this set of albums while of local vessels, the tea production process, and
staying in Batavia from 1851 to 1856. 45 The mandarins and high-ranking women and their
Deventer library received these masterfully servants. There is one black lacquer-covered
executed paintings in 1896 through a legacy by album with twelve images of various Chinese
‘Vrouwe Maria Joanna Beck, Douairière Mr. scenes (theatre performers, travelling elite
Duymaer van Twist-Beck’. 46 The lustrum groups, scenes of judicial procedures and
publication Stads- of Athenaeumbibliotheek punishments). (Figures 4.19. and 4.20.) All the
images are of the same size, are executed in the
same style and colour application, and are
identically ‘framed’ with a silk blue ribbon.
Thus, we can safely conclude that they were
produced in the same Cantonese painting studio.
Currently, the albums are in a bad
conservational state and seem to be consigned to
oblivion in a desolate depot in Rotterdam
Alexanderpolder. I would argue that
revivification is certainly possible if time and
energy are spent on archival research concerning
their material complex. Given the prominence of
the first owner, this set of albums has an
interesting, documented provenance. Writing a
cultural biography of this valuable Jacobson
collection of fine paintings is one of my future
goals, after which the albums should be restored

Fig. 4.21. Duck boat (from ---
album with 7 images), 45 Inv.nos. DvT V.2 KL, V.4.KL, V.5 KL, V.9 KL. Duymaer Van Twist also assembled two portfolios with loose-leaf
Sunqua(‘s studio), water- watercolours (DvT V.17 and V.19).
colour on pith paper, 46 Smelik, 2007, 110. The legacy of Mrs Duymaer van Twist was distributed on 30 May 1896 according to her
1830-1865, 23.5 x 33 cm, ‘holografische uiterste wil’ (last will and testament), which she had given custody of to a notary in 1875. A
Tropenmuseum/ ‘holografische uiterste wil’ is a handwritten testament kept in a sealed envelope and deposited with a notary as a
Nationaal Museum van short deed.
Wereldculturen, 47 Koch 1985, 82.
inv.no. TM-A-7780e. 48 Inv.nos. 29476-1 to 5.