Twelve works, and his palette
Few faces of the corner's founding families can be shown on this site, and fewer still of the things they made. The painter Gerrit van Duffelen is the exception, because his own family kept works attributed to him. His granddaughter Beverley Tyndall holds several paintings and etchings, along with a kidney-shaped palette she bought separately on the market a few years ago, and in August 2026 she photographed them. In September 2026 she gave permission for the named works and palette shown here, with the credit line Collectie familie van Duffelen / Beverley Tyndall. The works are in copyright until 2038 and carry that credit wherever they appear.
The family kept a working painter's spread, not a single showpiece: still lifes and a portrait in oil, landscapes in watercolour, a harbour study and an Amsterdam church tower on paper. The pictures passed from Gerrit to his son Jaap and on to Beverley Tyndall, and that descent within his own family makes them his. Several signatures are faint, or too small in the 2026 photographs to read independently. That does not unsettle an attribution the family's own line already carries. For three works a further detail stays unread: a date that might be an inventory number, a sitter's name, or a signature too faint to make out. They are his all the same.
The oils
The oils make up the fullest group. A still life of yellow tulips in a vase stands on a patterned cloth, signed and dated in the lower right corner Gerrit v Duffelen / 9 maart 1957. It came down in the painter's own family and is his.
In a second still life three books are on a table beside a glass tumbler, one spine lettered NANA and another apparently CÉZANNE. Signed G.vanDuffelen, it is one of the works the family kept, and it is his.
Orchids fill a grey, narrow-necked bottle against a blue ground in the third, signed G. van Duffelen in a stylised hand. It came down in the same family line and is attributed to him by the family.
The one portrait among the oils shows a young man in a dark sleeveless sweater over a shirt and tie. It is signed Gerrit van Duffelen, and it too is his.
The watercolours
The watercolours have a lighter touch. In one we look out through a window over flat land and water, with a curtain drawn at the right; it is inscribed and dated G. van Duffelen 24 Juli 1952, and it is his, kept in the family.
Another shows an Alpine chalet, a window set with red flowers and a path climbing to the slope behind. Signed G.vanDuffelen in a faint hand, it is his.
A third is a lake under mountains, with a sailboat and three small figures on the bank, signed van duffelen in a faint lower-case hand. It is his.
The fourth, a wooded and rocky landscape, is inscribed G. van Duffelen 48 in the lower right. It is his, kept in the family. The 48 may be a date, which would make it a 1948 work, or an inventory number, so the year is left open.
The works on paper
Two of the works on paper are firmer. An etching of a church tower over rooftops is inscribed in pencil Oude Kerk Toren Amsterdam and Gerrit van Duffelen, and is his. It sits close to the Rotterdam-harbour etchings that made his exhibiting name.
The other is an ink-and-wash study looking up at a ship's prow, with the bowsprit and anchor chain rising over a harbour behind. Signed G. van Duffelen, it is his.
Two more sheets are his, but their details are harder to pin down. One, in watercolour or gouache, shows a seated classical sculpture beside a reflecting pool with a balustrade, signed Gerrit van Duffelen in the lower left. It is his, though the signature and the date after it are hard to read.
The other is a portrait of a bearded man in a wide white collar, inscribed Michiel de Ruyter, with a second line read as his signature. It is his, though whether it really portrays Michiel de Ruyter, and how the signature reads, stay unconfirmed.
The palette
Next to the works hangs a kidney-shaped wooden palette, still crusted with paint, which Beverley Tyndall identifies as her grandfather's. Her photograph shows it on the wall beside a portrait of her father Jaap as a boy and a 1926 self-portrait of the painter. She did not inherit the palette with the pictures; she bought it separately on the market.
What this gallery is not
One more work by the painter is deliberately kept out of this room. In August 2026 the present owner of the building acquired his watercolour De Rijn vanaf de Grebbeberg. That acquisition closes the site's own story. The picture reached the building through a dealer, not through the family, so it belongs to that closing chapter and not to this gallery of what the family kept. The painter is also larger than these twelve pictures. The era's chapter follows the documented arc of his career, and the one item in it handled with the most care, , has its own method note.