Wim Dooijewaard

Wim Dooijewaard was born on 7 October 1892 in Amsterdam. He trained at the Rijksschool voor Kunstnijverheid in Amsterdam, studying under Georg Sturm and Roland Strasser; some sources give the school's name as the Rijksnormaalschool voor Kunstnijverheid, and the exact years of his training are not documented. He was the brother of the painter Jacob "Jaap" Dooijewaard, and the two are frequently discussed together in Dutch regional art histories tied to Laren and Blaricum.

Dooijewaard was an avid traveler, and his subject matter reflects it: sources describe extended trips through Sumatra, Bali, Beijing, Mongolia, Tibet, India, Tunisia, Japan, Norway, and the south of France, material that fed directly into his paintings of markets, festivals, and figures such as Balinese cockerel fighters. From the early 1930s he settled in the Laren and Blaricum artists' colony in the Netherlands, where he continued to paint for the rest of his life.

His work was included in the painting event of the art competition at the 1936 Summer Olympics in Berlin. No major awards, prizes, or state honors could be independently confirmed for him in the available research. He died on 17 July 1980 in Blaricum, Netherlands, reportedly at his home, according to a Dutch regional lexicon of artists.

Contemporary critical commentary specific to Dooijewaard, attributable to named critics writing in major outlets, was not located in the available research, and no major awards or honors could be independently confirmed either. What is documented is exhibition and museum presence: gallery biographies characterize him as an adventurous, travel driven painter working in an impressionist idiom, and Dutch regional art lexicons list his work as present in the collections of institutions including the Singer Museum in Laren, the Stedelijk Museum in Amsterdam, Kunstmuseum Den Haag, the Van Abbemuseum in Eindhoven, Museum Boijmans Van Beuningen in Rotterdam, and the Royal Museum of Fine Arts Antwerp.

Public auction data for Wim Dooijewaard is sparse in the available research. The one documented public sale identified is a work sold through Veilinghuis AAG in the Netherlands, which hammered at EUR 1,300 against an estimate of EUR 1,000 to 2,000; the lot's exact title and sale date are not shown on the public listing. No records from major international auction houses such as Christie's or Sotheby's turned up for this artist in the available research, and no consolidated market database ranking his auction history was accessible, so this EUR 1,300 result should be treated as a documented sale rather than a confirmed all time high. His work also circulates through Dutch and Indonesian art dealers, including Simonis & Buunk, which lists paintings by him for sale as inventory; this reflects dealer stock rather than confirmed exclusive gallery or estate representation.

There is no confirmed catalogue raisonne, foundation, or certificate of authenticity program for this artist; the available research also did not confirm any current, formal gallery or estate representation, only inventory listed for sale by dealers. Auction data in the public record is thin, limited to a single confirmed sale result, so any pricing conclusion should be treated with caution rather than read as a reliable market trend. Given his signature subject matter drawn from Indonesia and Asia, provenance tied to that travel history and expertise from dealers who specialize in Dutch Indonesian era painting are likely to matter more for this artist than for names with deeper, continuously tracked auction histories.