Posts filed under Country: Dutch

Michiel Jansz van Mierevelt (1567-1641)

Michiel Jansz van Mierevelt or Miereveldt, Miereveld (1566-1641)

Portrait of a Man, 

Signed and dated, Oil on Canvas, 60 x 52cm / 78 x 71cm

SOLD to a Private Collector UK 

An exquisite example of this well known portrait painter's work. It being signed and dated makes this of great interest as often his works went unsigned due to the prolific output of his studio and the high demand for his portraits. 

With typically detailed and skilled rendition of the lace ruff, the luminous skin tones and the direct gaze of the sitter, this portrait is truly an exceptional piece. 

Van Mierevelt (1566-1641) was a pupil of artist Anthonie Blocklandt of Utrecht. After a two-year apprenticeship, he returned to his native Delft. He received commissions for portraits from the stadholder court in The Hague: including Prince Maurice and members of the Orange family. This led to commissions from other wealthy families and diplomats. To meet the demand, Van Miereveld employed assistants, including his sons Pieter and Jan. His portraits became even more widely known when his son-in-law Willem Delff copied them as prints. 

William Wissing (1656-1687)

Wiliam Wissing (1656-1687)

The Honourable Francis and Henry Lennard 

Circa. 1675, inscribed lower right, Oil on Canvas 155 x 163 cm (unframed) 

Sold to a Private Collector UK 

A notable work by an eminent 17th Century artist, this large painting is amongst Wissing's most engaging and consulate works. It belongs to an exclusive group of Restoration double portraits, and shows the Lennard brothers, younger sons of Francis, 14th Lord Dacre (1619-1692). The painting has been previously attributed to Sir Peter Lely. 

The Dacre family were regular sitters for the leading artists of the day from 1660's onwards. A well known double portrait by Lely of the 14th Lord Dacre and his wife, the Countess of Sheppey, now in private hands, dates from around 1660. Francis Lennard, succeeded to the title of 14th Lord Dacre in 1630.He was educated at Merton College, Oxford, and a Member of Parliament fro Sussex in 1654. The family at that time had Herstmonceaux in Sussex in 1654 as their primary residence, while holding a portfolio of estates including Cheapening, Kent and Belhus, from whence this painting came, as well as significant houses in London. 

William Wissing, was initially a Dutch portrait painter who settled in England in 1670's where he became associated with Sir Peter Lely. His reputation was extensive in his own lifetime, with a number of his royal works being put into print. '(Wissing) became the painter in vogue, especially among the ladies. He is said to have always caught the beautiful likeness; and if any of the sex who sat to him had too much paleness in her countenance, which is frequently the effect of long sitting, he took her by the hand, and danced her about the room, to add life and spirt to her beauty'. James Granger, early 18th Century biographer.  


After Bartholomeus Van der Helst (1613-1670)

After Bartholomeus Van der Helst (1613-1670)

A Double Portrait

Oil on Canvas, 187 x 135cm / 207 x 155cm

A large, beautifully detailed portrait of a Dutch Gentleman and his wife, with stunning, rich colour and composition. A real statement piece that would give a true sense of history, quality and style to any home. A painting that one can easily fall in love with. 

Bartholomeus Van der Helst was born in Haarlem and moved to Amsterdam around 1636. There is no documentation as to who he might have studied painting under, but at this time he would no doubt have been influenced by such contemporary artists as Frans Hals and Rembrandt. 

His first dated picture, a group portrait of the regents of the Walloon Orphanage (currently the location of Maison Descartes in Amsterdam), dates from 1637. In 1639 he won his own schutterstuk commission, The company of Captain Roelof Bicker and Lieutenant Jan Michielsz Blaeuw. In Amsterdam he may well have trained with Nicolaes Eliaszoon Pickenoy.

Importantly as a contemporary of Rembrandts, van der Helst gained a reputation for his flattering portrayals in the style of van Dyck, being more appealing than Rembrandts somewhat darker and more introspective work to such an extent it wa known that a number of Rembrandt's pupil's adopted van der Helt's style. 

His large group portrait, Banquet of the Amsterdam Civic Guard in Celebration of the Peace of Münster, was painted in 1648, and exhibited to popular acclaim. It was this painting that sealed his fame for future generations, according to Arnold Houbraken, and it was admired by Godfried Kneller and praised by Sir Joshua Reynolds in 1781 as 'perhaps the first picture portraits in the world, comprehending more of the qualities which make a perfect portrait than any other I have ever seen'. A statement that shows van der Helst's importance as a portrait painter, this work being an exemplary show of the artist's skill and style. 

Today van der Helst's most famous portrait is his half-length portrayal of Gerard Andriesz Bicker, the son of Andries Bicker, the mayor of Amsterdam, whom he also painted in 1642. 

Cornelis Jonson van Ceulen (1593-1661)

Bernard de Hoog (1866-1943)

Bernard de Hoog (1866-1943)


Oil on Canvas, Original Frame, 77.5 x 98cm / 114 x 134cm 

Acquired by a private collector, Asia. 

Bernard de Hoog, a Dutch artist, began his career following a commission to undertake a portrait of his merchant employer's wife. De Hoog had wanted to study art but had not been allowed to by his father and instead had entered into employment with this merchant, who was instrumental in encouraging De Hoog to then study. De Hoog was heavily influenced by the realism of the artists of The Hague School, in particular working under the famous Dutch master of animal painting Jan van Essen. 

In 1886 he came in to his own as an artist with his painting 'During the Sermon in the New Church' exhibited in Amsterdam that year. De Hoog was noted in his own lifetime as an artist of original talent, capturing with personal familiarity and skill the country lives and scenes of the Dutch peasants. His works were exhibited and sold internationally.  

This beautiful painting, in its original frame, showing a tender scene of a mother and her children, is very representative of De Hoog's skill and subject matter and is important in part due to its size being a fine example of De Hoog's larger and hard to find works.

This framed painting is for sale. Please contact us


Constant Artz (1870-1951)

Constant David Ludovic Artz  (1870-1951) 

A Family Group

Oil on Canvas, 17cm x 23cm / 32cm x 39cm

The son of David Adolph Constant Artz (1837-1890) Constant David Artz lived and worked in Holland. He studied at The Hague Academy, becoming a pupil of T. Offermans. His father Adolph Artz, who played a great role in nineteenth century genre painting, was the best known follower of Josef Israels, himself the most important member of the Hague School. 

Brother of Jacob and Matthijs, Willem Maris, was a great influence on Constant Artz, who, like his father, followed his love of nature and painted open-air cameos in a realistic style.  He was particularly drawn to depicting ducks, and there was a huge demand for this type of illustration in the nineteenth century.  ‘Ducks on a Riverbank’shows the birds basking in bright sunlight, the artist’s play of light discernable on their downy feathers.  This is an excellent example of a preferred milieu of the age: painting the riverbank with ducks either swimming or disporting at the water’s edge. 

The Hague school was a group of painters in the 1870s who came to embrace as their subject matter the native Dutch landscape and the everyday lives of its rural inhabitants, most notably the fisher folk of the coastal villages. Within a few years the Hague School artists’ works would prove incredibly popular throughout the world, perhaps because of the simpleness of their subjects in a time of modernity and turmoil. 


Cornelis Jonson van Ceulen (1593-1661)

Cornelis Jonson van Ceulen (1593-1661)

Portrait of a Nobleman 

One of a Pair of 17th Century portraits of a Gentleman and His Wife (betrothal or marriage portraits - both wear the same rings: gold and emerald)

Signed and Dated 1645, Oil on Canvas

Acquired on behalf of a Private Collector, UK

Cornelius Johnson, also called Cornelis Johnson van Ceulen, or van Keulen, Johnson also spelled Jonson, Janssen or Janson was a Baroque Painter, born in London in 1593, to Dutch parents who had fled to England escaping persecution. He probably trained in the Netherlands, but around 1618 he established himself as a portrait painter in London. He was patronised by James I and Charles I and was highly sought after by nobility both in England and the Netherlands.

His works are represented in International and National Collections such as The Courtauld, London, The National Gallery, London, J. Paul Getty Museum, Los Angeles, The Royal Picture Gallery Mauritshuis, The Hague, The Staatliche Kunsthalle Karlsruhe, Germany and more......