Old master paintings

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

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

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

Panel, 25.7 x 29.8 cm

Private Collection, courtesy Hoogsteder & Hoogsteder, The Hague

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

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

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

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.

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

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

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

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.