Old master paintings

Cornelis de Baellieur

Winterlandscape with the Adoration of the Shepherds

Antwerp 1607 - 1671

Sybrand van Beest

‘Vrouwe Wereld’ : Allegory of Transience

The Hague / Amsterdam 1610 - 1674

Frans Bartholomeus Douven

Vertumnus and Pomona

Düsseldorf 1688 - after 1726

Gerard Hoet

Bacchanal in Arcadian Landscape

Johannes Lingelbach

Roman Street Scene with the Feeding of the Poor

Frankfurt / Amsterdam 1622 - 1674

Christiaan Luyckx

Madonna and Child in a Cartouche with Flowers

Antwerp 1623 - after 1658

Nicolaes Moeyaert

Abraham and Lot devide the land

Durgerdam / Amsterdam 1591 - 1655

Jan van Neck

Putti and Satyr with a Goat

Naarden 1635 - 1714 Amsterdam

Hendrick Martenszn. Sorgh

Esau selling his birthright

Rotterdam ca. 1611 - 1670 Rotterdam

François Verwilt

Adoration of the Shepherds

Rotterdam ca. 1620 - 1691

Adriaen van der Werff and workshop

The Flute Playing Shepherd

Kralingen / Rotterdam 1659 - 1722

Artus Wolffort

Supper at Emmaus

Antwerp 1581 - 1641 Antwerp

Cornelis de Baellieur

Winterlandscape with the Adoration of the Shepherds

Antwerp 1607 - 1671

Painted circa 1640
Panel, 48.5 x 72 cm
Hoogsteder & Hoogsteder, The Hague

Sybrand van Beest

‘Vrouwe Wereld’ : Allegory of Transience

The Hague / Amsterdam 1610 - 1674

Panel, 42 x 70.5 cm
Signed: .. Beest (lower right)
Hoogsteder & Hoogsteder, The Hague

Frans Bartholomeus Douven

Vertumnus and Pomona

Düsseldorf 1688 - after 1726

Canvas, 143 x 154.5 cm
Signed: Frans….Fecit
Hoogsteder & Hoogsteder, The Hague

Gerard Hoet

Bacchanal in Arcadian Landscape

Panel, 25.7 x 29.8 cm
Hoogsteder & Hoogsteder, The Hague

Johannes Lingelbach

Roman Street Scene with the Feeding of the Poor

Frankfurt / Amsterdam 1622 - 1674

Canvas, 53 x 43 cm
Signed: J. Ling(elbach)
Hoogsteder & Hoogsteder, The Hague

Christiaan Luyckx

Madonna and Child in a Cartouche with Flowers

Antwerp 1623 - after 1658

Madonna and Child in a Cartouche with Flowers
Panel, 64,8 x 49 cm

Nicolaes Moeyaert

Abraham and Lot devide the land

Durgerdam / Amsterdam 1591 - 1655

Panel, 48 x 59.7 cm
Monogrammed and dated: J.C.M. 164[0] or [6]
Hoogsteder & Hoogsteder, The Hague

Jan van Neck

Putti and Satyr with a Goat

Naarden 1635 - 1714 Amsterdam

Signed JvNeck f (bottom left), c. 1700
Panel, 42.5 x 33 cm
Hoogsteder & Hoogsteder, The Hague

According to Houbraken, Jan van Neck was a man who ‘was beyond reproach in his behaviour and a diligent member of the church’. Yet it seems that this upright gentleman had no compunction in painting pictures of lecherous putti. The horde of satyrs riding on the goat of Lust can also be seen in the same painter’s larger Dresden picture. The plump child astride the animal’s back holds a bunch of grapes in one hand, while the other figures adorn the animal with flower garlands. One of them also has cloven hoofs – a satyr in the making. All these details clearly identify this as a representation of the Bacchic cult. The scene illustrated in this picture takes place on the edge of a wood with the tree beautifully offset against a cloudy sky. The various green and brown hues are finely graded, forming a perfect foil for the playing children.

Hendrick Martenszn. Sorgh

Esau selling his birthright

Rotterdam ca. 1611 - 1670 Rotterdam

Canvas, 79 x 97 cm
Private collection, by courtesy of Hoogsteder & Hoogsteder, The Hague

François Verwilt

Adoration of the Shepherds

Rotterdam ca. 1620 - 1691

Painted circa 1660
Signed: F. verwilt (lower left on stone)
Panel, 42 x 62 cm
Hoogsteder & Hoogsteder, The Hague

Adriaen van der Werff and workshop

The Flute Playing Shepherd

Kralingen / Rotterdam 1659 - 1722

Canvas, 76.6 x 60 cm
Signed : Adr.v.Werff.fec…(96?)
Hoogsteder & Hoogsteder, The Hague

Artus Wolffort

Supper at Emmaus

Antwerp 1581 - 1641 Antwerp

c. 1630
Canvas, 120 x 172 cm
Hoogsteder & Hoogsteder, The Hague

Artus Wolffort was one of the principal history painters in Antwerp at the start of the seventeenth century. This impressive work betrays the influence of the Italian artist Caravaggio who made the everyday settings of his biblical scenes as ordinary as possible. Here, Wolffort presents the men eating their supper with Christ as simple peasants.
As Christ blesses the bread and the wine, his companions recognise him as the Risen Lord. The main scene takes place behind and beside the table, while the foreground of the picture is given over to a still life of grapes, beautifully complementing the painting’s Christian theme.