Old master paintings

Canvas, 57 x 71 cm
Signed : Juan de Arel… (lower middle)

Private Collection, courtesy Hoogsteder & Hoogsteder, The Hague

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.

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

Panel, 50 x 76.5 cm
Signed with monogram: JB (at right on rock)

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.

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

Canvas, 105 x 95,
private collection.

Van Beijeren paid his tailor three paintings in 1652.

Canvas, 80.5 x 65 cm
Private collection

Panel, 100 x 149 cm
Signed: JABellevois
Inscribed: S. de Vlieger; WvdV
Hoogsteder & Hoogsteder, The Hague

Panel, 41 x 56 cm
Signed : Berchem (lower left)
Hoogsteder & Hoogsteder, The Hague

Canvas, 73.2 x 60 cm
Signed : C.BERGOYS 166. (lower left)
Hoogsteder & Hoogsteder, The Hague

Canvas, 67,5 x 50,5 cm
Hoogsteder & Hoogsteder, The Hague

Panel, 80 x 65.5 cm
Signed: D.BLIECK – 1670 (bottom left)
Hoogsteder & Hoogsteder, The Hague

Canvas, 136 x 106 cm
Signed and dated: M. Bloem fc a 1668 (lower left)
Hoogsteder & Hoogsteder, The Hague

Canvas, 74 x 97 cm
Signed: Faustino Bocchi (lower right)
Hoogsteder & Hoogsteder, The Hague

Canvas, 94.5 x 80 cm
Signed 1723
Hoogsteder & Hoogsteder, The Hague

Canvas, 96 x 80 cm
Painted 1723
Hoogsteder & Hoogsteder, The Hague

Panel, 37 x 40.8 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 95 x 145 cm
Hoogsteder & Hoogsteder, The Hague

Panel, 37.5 x 28.7 cm
Painted circa 1630
Signed: IB (upper right)
Hoogsteder & Hoogsteder, The Hague

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.

Canvas, 65.4 x 49.5 cm
Dated: 1712 (on the house left)
Remnants of signature bottom right: H…
Hoogsteder & Hoogsteder, The Hague

Canvas, 101.5 x 124.5 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 33.6 x 45 cm
Indistinctly signed upper left
Painted circa 1655
Hoogsteder & Hoogsteder, The Hague

Canvas, 49.5 x 40 cm
Painted 1726
Signed: P van Dijk
Hoogsteder & Hoogsteder, The Hague

Canvas, 49.5 x 40 cm
Signed: P van Dijk
Dated: 1726
Hoogsteder & Hoogsteder, The Hague

Painted around 1635
Panel, 39 x 50 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 48 x 40 cm
Painted circa 1680-1690
Hoogsteder & Hoogsteder, The Hague

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.

Canvas, 84 x 115 cm
Painted circa 1665-1670
Signed : I. van Duijnen (on table top)
Hoogsteder & Hoogsteder, The Hague

Canvas, 109.7 x 126.7 cm
Painted circa 1640
Hoogsteder & Hoogsteder, The Hague

Canvas, 77 x 59 cm
Hoogsteder & Hoogsteder, The Hague

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.

Panel, 40 x 61 cm
Monogrammed and dated: VG 1644
Hoogsteder & Hoogsteder, The Hague

Canvas, 51,4 x 43,8 cm
Painted: c. 1690-1695
Hoogsteder & Hoogsteder, The Hague

Panel, 20.5 x 25.8 cm
Painted circa 1670
Hoogsteder & Hoogsteder, 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.

Panel, 50 x 68.5 cm
Hoogsteder & Hoogsteder, The Hague

Panel, 35.5 X 47.7 cm
Signed : DHALS (lower right)
Hoogsteder & Hoogsteder, The Hague

Canvas, 31,5 x 49,5 cm
Hoogsteder & Hoogsteder, The Hague

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.

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.

Canvas, 72.5 x 56.5 cm
Painted circa 1665.
Monogrammed: J:f (?)

Panel, 40.5 x 55 cm
Hoogsteder & Hoogsteder, The Hague

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.

Panel, 25.7 x 29.8 cm

Private Collection, courtesy Hoogsteder & Hoogsteder, The Hague

Canvas: 73 x 60 cm
Painted: c. 1660

Hoogsteder & Hoogsteder, The Hague

Panel, 21 x 27.5 cm
Hoogsteder & Hoogsteder, The Hague

Private Collection, courtesy Hoogsteder & Hoogsteder, The Hague

Panel, 25 x 32,7 cm
Signed: Abraham Hondius (lower left)
Hoogsteder & Hoogsteder, The Hague

Canvas, 43 x 61,5 cm
Signed: Abraham Hondius (lower left)
Hoogsteder & Hoogsteder, The Hague

Canvas, 74,5 x 87,7 cm
Signed: HD: Hooch (lower center)
Hoogsteder & Hoogsteder, The Hague

Canvas, 40 x 32 cm
Signed: J. Horemans (lower right)
Hoogsteder & Hoogsteder, The Hague

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.

Canvas, 86 x 108 cm
Monogrammed and dated: BH 165 (?) 0
Hoogsteder & Hoogsteder, The Hague

Canvas, 143 x 154.5 cm
Signed: Isaac Isaacsen Fecit
Hoogsteder & Hoogsteder, The Hague

Panel, 38.5 x 53.5 cm
Signed and dated: H. Koekkoek ‘42

Panel, 48 x 71 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 68.5 x 55.5 cm
Painted circa 1790
Signed : Van Leen f. (lower left)
Hoogsteder & Hoogsteder, The Hague
After restoration

Panel 59.4 x 48 cm
Signed: A. de Lelie/Ao 1795 (upper right)
Hoogsteder & Hoogsteder, The Hague

Panel, 49 x 36,9 cm

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

Panel, 26.8 x 19.8 cm
Hoogsteder & Hoogsteder, The Hague

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

Canvas, 43.5 x 31 cm
Hoogsteder & Hoogsteder, The Hague

Painted circa 1675
Canvas, 43.5 x 32.5 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 111.3 x 96.2 cm

Painted around 1660/1665
Canvas, 74.5 x 92.5 cm
Signed : Molenaer (centre left, on edge of bench)
Hoogsteder & Hoogsteder, The Hague

Panel, 21.7 x 18.3 cm
Signed and dated: F.v.Mieris fecit 1738
Hoogsteder & Hoogsteder, The Hague

Panel, 21 x 26 cm
Painted circa 1700-1710
Remnants of signature, lower centre
Hoogsteder & Hoogsteder, The Hague

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

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.

Panel, 39 x 30 cm
Painted circa 1750
Hoogsteder & Hoogsteder, The Hague

Canvas, 113 x 134.5 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 57 x 46.5 cm
Painted circa 1680/1700
Signed : Naiveu (left on plinth)
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.

Copper, 19 x 28.5 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 47,5 x 59,3 cm
Signed (lower left): J. van Os fecit

Panel, 58.2 x 44.5 cm
Signed : J Van Os fecit (lower left)
Hoogsteder & Hoogsteder, The Hague

Panel, 18.5 x 25.1 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 79 x 65 cm
Signed: ARagueneau A 1662
Hoogsteder & Hoogsteder, The Hague

Panel, 56 x 44.5 cm
Signed: H Reekers.18/41. (lower right, on stone ledge)
Hoogsteder & Hoogsteder, The Hague

Panel, 58 x 89.5 cm
Painted circa 1660
Hoogsteder & Hoogsteder, The Hague

canvas, 63 x 53.5 cm.
Hoogsteder & Hoogsteder.

Canvas, 56.5 x 48.6 cm
Signed : Rachel Ruysch

Private Collection, courtesy Hoogsteder & Hoogsteder, The Hague

Canvas, 73 x 103 cm
Signed with monogram and dated: S. VR 165
Hoogsteder & Hoogsteder, The Hague

Panel, 50.2 x 64.2 cm
Signed : JVR 1666 (lower left)
Hoogsteder & Hoogsteder, The Hague

Canvas, 120 x 175 cm
Painted: c. 1610-1620
Hoogsteder & Hoogsteder, The Hague

The sculpture by an anonymous master

Canvas, 155 x 114 cm
Hoogsteder & Hoogsteder, The Hague

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

Panel, 52 x 74.3 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 88 x 68.5 cm

Canvas, 61 x 78 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 40.2 x 32.8 cm
Signed: J.TOORENVLIET.F. (upper right)
Hoogsteder & Hoogsteder, The Hague

Canvas, 61 x 72.5 cm
Painted circa 1690
Hoogsteder & Hoogsteder, The Hague

Oil on silk, 54 x 43.2 cm
Monogrammed and dated: JUT 1824 (lower right)
Hoogsteder & Hoogsteder, The Hague

Canvas, 82.5 x 127 cm
Signed with monogram: D.T. (lower middle)
Hoogsteder & Hoogsteder, The Hague

Panel, 49,5 x 87 cm
Hoogsteder & Hoogsteder, The Hague

Copper, 55.2 x 46.7 cm
Signed: I. Verkolje / 1693 (bottom left)
Hoogsteder & Hoogsteder, The Hague

Copper, 55.2 x 46.7 cm
Signed: I. Verkolje / 1693 (bottom left)
Hoogsteder & Hoogsteder, The Hague

Panel, 49.8 x 71.5 cm
Hoogsteder & Hoogsteder, The Hague

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

Panel, 25.5 x 20.5 cm
Painted circa 1660
Remains of signature: A (on table edge)
Hoogsteder & Hoogsteder, The Hague

Canvas, 49 x 61 cm
Painted: c. 1760
Hoogsteder & Hoogsteder, The Hague

Canvas, 49 x 61 cm
Painted: c. 1760
Hoogsteder & Hoogsteder, The Hague

Canvas, 60.5 x 75.8 cm
Painted circa 1750
Hoogsteder & Hoogsteder, The Hague

Canvas, 153.7 x 165 cm
Painted circa 1700
Signed: J. Voorhout (bottom right)

(staffage by Anthonie Palamedesz)

Panel, 51.7 x 65.5 cm
Signed: I.v.Vucht (on base of second column from left)
Hoogsteder & Hoogsteder, The Hague

Panel, 58 x 81.5 cm
Painted circa 1630
Signed: I.V.V(uc)ht (bottom right)
Hoogsteder & Hoogsteder, The Hague

Canvas, 57.1 x 65.4 cm
Hoogsteder & Hoogsteder, The Hague

Canvas, 67 x 91 cm
Painted circa 1659-60
Hoogsteder & Hoogsteder, The Hague

On canvas
121,5 x 98 cm

Private Collection, courtesy Hoogsteder & Hoogsteder, The Hague

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

Canvas, 76 x 63, 5 cm
Signed : MWithoos (lower right; first two letters joined)
SOLD

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.

Panel, 40 x 54 cm
Signed with monogram : PW
Hoogsteder & Hoogsteder, The Hague

Panel, 43.2 x 61.5 cm
Signed: PW (lower left)
Painted circa 1650
Hoogsteder & Hoogsteder, The Hague

Canvas, 75 x 60,5 cm
Hoogsteder & Hoogsteder, The Hague