
Juan de Arellano (sold)
A Wicker Basket with Flowers
Santorcaz/Madrid 1614 - 1676
Santorcaz/Madrid 1614 - 1676
Antwerp 1607 - 1671
Amsterdam 1622 - 1666
The Hague 1610 - 1674 Amsterdam Painted circa 1650
The Hague / Amsterdam 1610 - 1674
The Hague 1620-1621 - Overschie 1690
The Hague 1620/1621 - Overschie 1690
Rotterdam 1620/21 - 1676
Haarlem / Amsterdam 1620-1683
Active Amsterdam / Amsterdam ca. 1651 - 1668
The Hague / presumably in Germany 1653 – in or after 1683
Middelburg 1600/1620- 1673 Middelburg
Working in Amsterdam between 1642-1668
Brescia 1659 - 1742
Dordrecht / Amsterdam 1669 - 1729
Dordrecht / Amsterdam 1669 - 1729
Antwerp 1683 or 1686 - 1750
Amsterdam c. 1600 - after 1649
The Hague 1694 – 1762
Antwerp / Richmond 1684 - 1749
Antwerp second half 17th century
Düsseldorf 1688 - after 1726
Flanders / The Hague c. 1590 - 1665/1666
Haarlem 1660 - 1704
Rotterdam 1608 - 1677 Rotterdam
Dordrecht / The Hague 1628 - 1679/1681
Antwerp / London 1599 - 1641
Malines 1606 - 1654
Leiden / The Hague 1596-1656
Gorkum or Utrecht / The Hague 1642 – 1705
Gorinchem / The Hague 1642 - 1705
(Gorinchem 1642 - 1705 The Hague)
Haastrech? / The Hague c. 1610/15 - 1675
Haarlem 1591 - 1656
Brussels / Vienna 1664 – 1750
Haarlem 1634 - 1704 London
Nijmegen 1614 - 1669 Amsterdam
Amsterdam c. 1640 - after 1670
Amsterdam 1638 - 1709 Amsterdam
Utrecht / Amsterdam 1636 - 1695
Utrecht 1636 - 1695 Amsterdam
Rotterdam / London c. 1631 – 1691
Rotterdam / London c. 1631 – 1691
Worked in Utrecht, second half of 17th century
Antwerp 1714 - after 1790
Rotterdam c. 1590 – 1652
Middelburg / Haarlem 1815 - 1882
Antwerp ca. 1592 - after 1626
Dordrecht / Delfshaven 1753 - 1825
Tilburg / Amsterdam 1755 - 1820
Leiden / Amsterdam 1607 – 1674
Frankfurt / Amsterdam 1622 - 1674
London / Amsterdam 1616 - 1673
Antwerp 1623 - after 1658
Dordrecht / Amsterdam 1634 - 1693
Dordrecht / Amsterdam 1634 - 1693
Brussels 1619 - 1669
Haarlem c. 1610 - 1668
Leiden 1689 - 1763
Leiden 1662 - 1747
Durgerdam / Amsterdam 1591 - 1655
Breda / Leiden 1698 - 1771
Emden / Amsterdam 1633 - 1686
Leiden / Amsterdam 1647 - 1726
Naarden 1635 - 1714 Amsterdam
Gent / Antwerp 1623 - 1687
Middelharnis / The Hague 1744 - 1808
Middelharnis / The Hague 1744 - 1808
Utrecht ca 1586 - 1667
London 1623 - after 1681
Haarlem 1815 - 1854
Haarlem 1620 - before 1678
The Hague / Amsterdam 1664 - 1750
Naarden / Haarlem 1600/03-1670
Haarlem 1629/1630 - 1681
Namur / Mechelen c. 1540 – 1624
Rotterdam ca. 1611 - 1670 Rotterdam
Leiden 1626 - 1679
Amsterdam 1641 - 1686/88
Sibiu / London 1684 - after 1731
Brussels c. 1625 - 1678
Leiden / Oegstgeest 1640 - 1719
Leiden 1640 - 1719
Illzach before 1802-1865
Antwerp 1595 - 1673 Antwerp, Antwerp 1610 - 1690 Brussels
? / The Hague c. 1595 - c. 1647
Amsterdam / Delft 1650 - 1693
Amsterdam / Delft 1650 - 1693
Dordrecht / Amsterdam 1763 - 1814
active in Haarlem 1638-1674
Rotterdam ca. 1620 - 1691
Urecht / Leiden c. 1632 - 1680
Leipzig / Dresden 1708 – 1769
Leipzig / Dresden 1708 – 1769
Leipzig / Dresden 1708 - 1769
Uithoorn / Amsterdam 1647 - 1723
Rotterdam c. 1603 - 1637
Rotterdam c. 1603 - 1637
Lille / Utrecht 1609 - 1690
Amsterdam c. 1642 - 1719
Amsterdam 1640/41 – 1719
Kralingen / Rotterdam 1659 - 1722
Amersfoort / Hoorn 1627 - 1703
Antwerp 1581 - 1641 Antwerp
Haarlem 1619 - 1668
Haarlem 1619 - 1668
Kranichfeld / Bayreuth 1713 – 1787
Painted around 1640
Canvas, 117 x 205 cm
Hoogsteder & Hoogsteder, The Hague
Paul Huys Janssen organised the exhibition of Flemish landscapes at the North Brabant Museum for which Hoogsteder & Hoogsteder supplied this work by D’Artois and Francken.
The Hague 1610 - 1674 Amsterdam Painted circa 1650
Panel, 63 x 104 cm
Despite the wintry weather, the common people have taken to the streets en masse to do some shopping at the market. The wintry cold is made visible by the boy in the front right, who blows frantically into his hands. Remnants of the snow lie on the roofs and the paving stones have turned white. The flaming red jacket of the woman in the front right provides a surprising color accent in this sober palette.
In order to relieve the overcrowded Dagelijkse Groenmarkt behind the town hall and the Grote Kerk, a second vegetable market was created in 1614 on the nearby Grote Markt, the Nieuwe Groenmarkt, which we see depicted here. After the Prinsengracht was dug in 1643, creating a better connection with the horticultural area in the Westland, the Nieuwe Groenmarkt became increasingly important. The masts of the ships, which can be seen to the left of the center of the painting, probably indicate the end of the Prinsengracht.
This painting has an exceptionally large size for Van Beest and is regarded as one of his best works.
c. 1690
Remains of signature (bottom left)
Panel, 48.2 x 59 cm
Weldon Collection, Baltimore
The horse shown in this picture is the same animal as the dark horse which appears in our painting. The two horses are identical in every detail. This provides an additional argument to attribute both works to Van Calraet. For the background, Van Calraet took his inspiration from the Italian landscapes of Aelbert Cuyp.
Rotterdam 1608 - 1677 Rotterdam
Panel, 39 x 51 cm
Painted circa 1660
Hoogsteder & Hoogsteder, The Hague
Over-indulgence in alcohol and smoking leads to impotence. And this picture perfectly illustrates the saying: ‘Too much of ought is good for nought’. What immediately strikes one about this painting is the telling expressions of the two principal characters: the derision of the standing man and the dismay of the seated peasant. The interior is executed in shades of brown with the light falling on the principal elements: both the peasants, the pewter beer jugs the bunch of onions and the white cloth in the basket are all illuminated. Interestingly the picture contains no glasses or mugs. The smaller of the two jugs is in fact for drinking out of, a tankard, and was certainly used for beer. The larger is a pitcher that in turn would have been filled from the barrel. The presence of both vessels indicates that the humiliating scene is being played out in a tavern, not in a private home.
Pieter Duyfhuysen, who was known as a genre painter, was from Rotterdam. He may have studied with the painter Johannes Torrentius from Haarlem.
Signed J.P. Gillemans fe Londini 1673 or 1678 (centre, on pedestal)
Canvas, 78 x 65 cm
Kunsthandel Hoogsteder & Hoogsteder, The Hague
Gillemans was well able to paint his own landscapes as backgrounds for his still lifes. That is clearly evident in this painting, which is also in our collection. The trees, the foliage and the sky are painted with more accuracy than Rijsbraeck would have used. Yet it does not appear to have produced a greater sense of unity in the work. Gillemans and Rijsbraeck managed to harmonise their brushwork and use of colour so effectively that their paintings are all the better for their collaboration.
(Gorinchem 1642 - 1705 The Hague)
Canvas, 51 x 42.5 cm.
Painted around 1680
A wonderful example of an ‘ordinary’ portrait of an unknown man, is this work by Johan van Haensbergen. Van Haensbergen is less well-known today, but in his own time his career included leading positions such as chief of the artists’ society Confrérie Pictura and director of the drawing academy, both in The Hague. The artists’ biographer Houbraken praised his ‘flattering brushwork’ which served him particularly well when painting ‘young ladies who wished to be portrayed in subtle shades of lily-white and flesh rose’.
This portrait shows a self-confident young man in a park-like garden of a large estate. He is gesturing towards the statue of Justice, which suggests that he may have been in the legal profession: a lawyer, or judge.
Covering the stone table beside him is a splendidly rendered cloth. It’s brush-like quality, captured so well here, forms a delightful contrast to the soft silk of the man’s quilted jacket. The use of colour is equally elegant: the deep blue and gold brocade of the jacket is set against the red of the cloth, which subtly echoes the blue.
This kind of jacket was known as a ‘Japanese’ gown, the Dutch version of the kimono. It was a popular garment for in the home among the wealthier classes of the late seventeenth century. Particularly costly elements were the shawl collar and the cuffs, finished with fashionable Venetian lace.
Fashion is not the only topic of interest in this portrait, plenty has also been written about carpets, and about portrayals of lawyers in art. An ‘ordinary’ portrait of an unknown man: a wonderful, stimulating work of art.
A copy of the painting was recently sold at Sotheby’s.
Haarlem 1634 - 1704 London
Signed EVHK (right, centre of door) c. 1690/1700
Canvas, 73 x 74 cm
Hoogsteder & Hoogsteder, The Hague
Under the watchful eye of the landlady the merry company are enjoying themselves drinking, dancing and making music. But the fun is disturbed by a dignified gentleman, who admonishes the group from the stairs: it might be an illustration of the present-day exhortation: ‘Enjoy, but drink in moderation’. Remarkably large quantities of wine are being consumed in this tavern. Next to the landlady stand two empty bulbous bottles which were usually used for brandy, or other strong, often medicinal, drink. Round wine jugs with lids covering the narrow necks are strewn around on the ground. A solitary tankard of beer is being fetched by the young lad from the cellar stores.
Nijmegen 1614 - 1669 Amsterdam
Painted circa 1650
Canvas, 100.6 x 83.2 cm
Hoogsteder & Hoogsteder, The Hague
The sibyl is wearing a terracotta-red dress with the yellow sash draped over her left arm, gently waving. Her headscarf is also moving, giving the picture a further sense of urgency. Tarquin, with his exposed, muscular neck, is wrapped in a Roman toga that reveals a remarkable blue sleeve which only came to light after restoration. The palette employed for the figures reflects the colours used in the background.
Amsterdam 1638 - 1709 Amsterdam
Monogrammed and dated MH 1659 (below right)
Panel, 54.5 x 71 cm
Kunsthandel Hoogsteder & Hoogsteder, The Hague
Hobbema’s figures, like those in Roelof van Vries’s picture, are also minuscule, a device used by artists to emphasise the overwhelming grandeur of nature.
Canvas, 39 x 32.5 cm
Hoogsteder & Hoogsteder, The Hague
The composition of this interior is based on the Greek cross pattern (X) dissected by a horizontal line. Below this line is the scene of figures drinking and making musjc. Above it, the round pewter plates echo the figures’ heads and lead into the upper section of the painting. Below left, with the dog, a diagonal line stretches from the man’s violin to the bird cage. Ingeniously, this same cage forms the top of a triangle with the three central figures in this genre piece forming the base line.
Horemans devoted particular attention to the rendering of texture. Each object, the woman’s dress, next to her the firepan, the dog, the candle on the wall, right – every detail is carefully depicted. Even the different qualities of these objects are successfully portrayed. The iron of the bird cage is hard and cold, the cage appears heavy; the stone slabs of the floor are uneven and the straw on the ground is mangled and depicted in shadow. The kitchenware shines with countless highlights.
Panel, 39 x 56 cm,
signed K Molenaer.
Hoogsteder & Hoogsteder
Klaes Molenaer was probably born around 1630 in Haarlem. In 1651 he joined the Haarlem artists guild. Klaes is thought to have been a pupil of Salomon van Ruysdael. Later, he was particularly influenced by work by Jacob van Ruisdael. In 1668 he was appointed guardian of the son of the late Jan Miense Molenaer, which suggests that the two painters were probably related. Klaes Molenaer preferred painting landscapes of the surroundings of his native city – the rivers and beaches, town and village scenes, winter landscapes and bleach fields with St Bavo’s church in the background. He was buried on 31 December 1676 in the parish where he was born.
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.
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.