top of page
​
Medieval Paintings and Sculptures Private Collection
van der Velden Teurlings
​
Welcome to the beautiful Art Collection of van der Velden -Teurlings.
Hans van der Velden and Netty Teurlings were passionate collectors of Dutch and Flemish Masters and Medieval sculptures. The paintings provide a wonderful insight into everyday life, depict portraits of influential individuals, and bring landscapes of the period to life. With vivid colors and minutely worked out compositions they give us a glimpse into the cultural and social context of the past. The paintings are all from Dutch or Flemish Masters and are nearly all signed and/or dated. The medieval sculptures, with their detailed expression and artistic design, take us back to an era of religious experience and spirituality. The sculptures are made of both wood and stone. Some sculptures are polychromed. The sculptures are from the Netherlands, France and Germany. Enjoy this beautiful collection, currently being displayed in Museum M in Leuven, Belgium!
Medieval Sculptures
The Collection van der Velden - Teurlings: Aesthetical with intense meaning and historical value.
Unknown Order Saint Dominic (?). Northern, Western or Central Europe (1260-1390). Oak with remains of several layers of polychromy. Size: 100 x 25 x 20 cm.
This robust saint is very simply carved, with no movement in the figure, and little pleating. In the cloak on the left a series of vertical waves, shallow, to indicate pipefolds. The saint has a long face with pointed chin. The eyebrows and large eyes lie flat in his face. Above the small, protruding, high-set ears, the dark hair of a tonsure is shown as a slightly thicker rim around the head.
Resurrected Christ. Central Europe (?), 1300-1400. Limewood with remains of several layers of polychromy. Size: 99 x 26 x 19 cm.
The resurrection of Christ is not described in the Bible, but on the Sunday after his entombment, Mary of James, Mary Salome and Mary Magdalene find the tomb empty. An angel tells them that Christ has risen (John 19:38-42, Mark 16:1-8). From the fourth century on, the resurrection is also depicted. Medieval images of the Risen Christ like this one were used in the liturgy around Easter. They were then placed in the Holy Sepulcher in the church and raised through a hole in the vault at Ascension.
Seated Mary with Child. Northern or Central Europe (?), 1250-1325. Willow wood, with ancient polychromy. Size: 50 x 30 x 14 cm.
The type of the enthroned Mary with the Christ child in her lap originated originated from the Byzantine Mary type of the Nikopoia (worker of victory). This image type is known in the West known as Sedes Sapientiae (seat of wisdom) and is the most prevalent in Western art from the eighth to the 13th century. From that time on, the affection between mother and child becomes the main motif.
THE REFUSAL OF JOACHIM'S SACRIFICE. Northern Germany, third quarter 15th century. Oak wood, original polychromy. Size: 62 x 50.5 x 12 cm.
Mary's parents, Joachim and Anna, are not mentioned in the Bible, but they are mentioned in the apocrypha (Christian writings that are not part of the canon of the Bible). In them is narrated how the sacrifice of Joachim in the temple in Jerusalem is refused because he and Anna are childless. Joachim then retreats into the wilderness to fast. Both scenes are depicted here.
ANNA AT THREE. Germany, Middle Rhine area (?), last quarter of the 15th century. Hardwood, ancient polychromy. Size: 55.5 x 44 x 20 cm.
The worship of Anna-three, Anna with her daughter Mary and her grandson the Christ child, was in the late Middle Ages widespread. Mother Anna was invoked in cases of childlessness. In this somewhat folksy image, the great Anna sits on a widespread cushion on a bench. She holds the naked Christ child, who steps from her lap onto the hand of the smaller Mary standing on the left. Anna holds his lefthand, her right hand is around his little belly. The Christ child has his hand on Mary's shoulder and she in turn supports it at the top of her back.
CANDLESTICK-CARRYING ANGEL I. Upper Bavaria, surroundings Erasmus Grasser, 1490-1500. Lime wood. Size: 41.5 x 21 x 14 cm.
Although the candlesticks and hands of the now wingless angel were once renewed, they also must have originally stood on an altar left and right with burning candles in their candlesticks. The angel kneels down mirror-like and supports the candlestick on the knee.
CANDLESTICK-CARRYING ANGEL II. Upper Bavaria, surroundings Erasmus Grasser, 1490-1500. Lime wood. Size: 41.5 x 23 x 16 cm.
Although the candlesticks and hands of the now wingless angel were once renewed, they also must have originally stood on an altar left and right with burning candles in their candlesticks. The angel kneels down mirror-like and supports the candlestick on the knee.
Floating Angel I. Germany, circa 1500. Lime wood (?), polychromed. Size: 28 x 31 x 12 cm, 591 gr.
It is clear that this angel was carrying something, but from the arms held parallel, it would seem that this was not a candlestick. These are usually held with one hand at the underside and one hand on the stem. The angel floats upward with outstretched hands. The wings and hands have probably been renewed: these are very graceful, while the rest of the figurine is more crudely elaborated.
Floating Angel II. Germany, circa 1500. Oak wood (?), polychromed. Size: 28 x 28 x 15.5 cm, 758 gr.
It is clear that this angel was carrying something, but from the arms held parallel, it would seem that this was not a candlestick. These are usually held with one hand at the underside and one hand on the stem. The angel floats upward with outstretched hands. The wings and hands have probably been renewed: these are very graceful, while the rest of the figurine is more crudely elaborated.
Apostle John. Germany, circa 1500. Lime wood (?), remains of several layers of polychromy. Size: 20 x 14 x 7 cm.
The small bust probably represents the Apostle John. He is always portrayed as a youth. The book in his left hand
left hand also characterizes him as an evangelist. With his right hand he makes a speaking gesture. His face with strong pointed nose and pointed chin is surrounded by a full head of curly hair, long ringlets reaching down to his shoulders. Johannes'
cloak is closed on his chest and wrapped in round folds around his arms beaten. Beneath it is a robe with long sleeves. The figure is one with the profiled hexagonal pedestal.
The Death of Mary. Niederbayern, ca. 1520-1530. Lime wood, largely original polychromy. Size: 93 x 85.5 x 14.5 cm.
In the late Middle Ages, the death of Mary was seen as an example of painless dying. Mary could be depicted lying on her deathbed or kneeling among the apostles, as here. The variant with the kneeling Mary spread from Bohemia to Germany and Austria and adjacent areas from the end of the 14th century.
Mary with Child. France (?), Meuse region (?), last quarter of 13th century (?). Unknown wood type, polychromed on linen. Size: 105 x 28 x 17 cm.
Marian types such as the so-called Ollesheimer Madonna, Cologne, circa 1260-1270, in Museum Schnütgen. Similarities are in the very slender silhouette and strong frontality. Maria carries the Christ child on her left hand. The infant holds the
round neck of her robe and has his left leg raised high. Mary holds in her right hand a scepter or flower stem while holding a fold of her cloak. Her wavy hair is covered with a veil, and she wore a now vanished crown.
Mary with Child. France (?), Rhineland (?), late 14th century. Walnut wood, polychromed. Size: 52 x 18 x 13 cm.
This Mary with Child is also characterized by a strong verticality, the high girdle of the robe, the slightly arched left hip of Mary and the raised left leg of the child. These aspects recall the Madonnas from Cologne from the late 13th century, such as the aforementioned Ollesheimer Madonna in Museum Schnütgen in Cologne, created around 1260-1270.
Mary with Child. France, late 14th century. Walnut wood, traces of polychromy. Size: 68 x 26 x 16 cm.
Compared to the previous two statues of Mary, in this statue a great development occurred, namely in naturalism and dexterity. Mary is now also looking at her child rather than the viewer. One foot of the child rests on a fold of her cloak and the other comes out just under the edge of the cloth with which his lower body is covered. He has placed his right hand on his mother's breast. Mary was possibly carrying a scepter.
Standing Mary and Child with Dove. Northeastern France, second quarter 15th century. Limestone (Euville stone), remains of several layers of polychromy. Size: 64 x 27 x 15.5 cm.
Mary looks down somewhat gravely on the Christ child playing with a bird, probably a dove. She carries the child on her right arm and holds in her left hand a white rose. The child sits with bowed legs and holds the bird by its wings with both hands.
Standing Mary with Child and Banderol. Southern Netherlands (?), France (?), ca. 1450. Lime wood, with remains of several layers of polychromy. Size: 62.5 x 21 x 16.5 cm.
Mary is crowned and wears a royal mantle, lined with ermine. She carries the Christ Child on her right hip. He sits cross-legged on her arm and holds a banderole in his left hand, on which is written a now illegible text. He points to it and looks at us with his round, smiling face. The banderole may once have read "REGINA COELI"(Queen of Heaven). The title 'regina coeli' is taken from a 12th-century Marian hymn.
Saint Peter. France, Bourgogne, Claux de Werve (c. 1380-1439) or atelier, early 15th century. Limestone, remains of original and later polychromy. Size: 46 x 16 x 13 cm.
This little Peter is among the absolute masterpieces of the collection. The saint is depicted as an apostle: barefoot and bareheaded in a long, girded robe. As a reference to his later papal status, he wears a heavy choir cap, closed with a precious agrapha. Underneath is a long-girdled robe, which falls down in supple pleats.
Weeping Mary. France, Bourgogne, Dijon (?),
surroundings Jean de la Huerta, ca. 1450. Limestone from Tonnerre (Burgundy), with remains of polychromy. Size: 115 x 44 x 24 cm.
This impressive weeping Mary was possibly part of a Holy Sepulchre group. Thick tears roll down her broad face with the small, slightly opened mouth. The corners of her outer eyes are sadly turned downward. Her right hand she holds at the level her waist and with the left hand she holds up a slip of her cloak.
St. Nicholas. Northern France, second half of 15th century. Walnut wood, polychromed. Size: 76 x 21 x 15 cm.
St. Nicholas of Myra was a historical figure who in the early 4th century was bishop of Myra in Asia Minor. Nothing else is known about his life, except that he participated in the Council of Nice in 325. In the Eastern church he has been worshipped as early as the sixth century. His worship spread to Italy and around 1000 to northern Europe. In 1097, his bones were transferred to Bari, Italy. In the Netherlands he is known as Sinterklaas.
Corpus. Central Italy, first half of 15th century. Wood. Loin cloth: linen and primer, modeled. Polychromed. Size: 45 x 45 x 5 cm.
The Christ figure is elongated, with very long, slender arms and legs and relatively large hands and feet. The head with highly stylized two-pointed beard and stylized locks of hair is slumped to the left. Christ wears the crown of thorns on his head.
Saint Sebastian. Netherlands, ca. 1500. Oak wood, traces of polychromy. Size: 89 x 32 x 20 cm.
Saint Sebastian, worshiped as early as the fourth century, is said to have died a martyr's death during the persecutions of Christians under the Roman Emperor Diocletian (244-311). This officer of the imperial bodyguard was denounced as a Christian and shot with arrows in the Colosseum at Rome. Thanks to the good care of the widow of the martyr Castulus healed. After he confronted the emperor again about his cruelty, he was clubbed to death and thrown into the Cloaca Maxima (the sewer). He was reburied ad catacumbas on the Via Appia.
Mary with Child. Northern Netherlands, Utrecht, ca. 1520. Oak wood, traces of polychromy. Size: 47 x 15 x 12 cm.
The hole under the left arm, the nail holes and remains of nails in Mary's arms and shoulders indicate that this statue once had a costly covering, under which it was almost completely hidden. In the hole was then a second forearm with a scepter fixed through the precious fabric. A fine example is the so-called Our Lady of the Krocht in Bornem, from 1594, which has retained its 19th-century covering. Both mother and child wear rich dresses embroidered with gold thread, and around Mary's shoulders is a cloak stiff with gold tendrils. The traces of the covering indicate that the very high-quality statue enjoyed great veneration after its creation.
Saint Martin and the Beggar. Northern Netherlands, Utrecht (?), late 16th century. Oak wood, traces of polychromy. Size: 34.5 x 34 x 7 cm.
Martin was born around 316. He was serving in the Roman army (in what is now France). On a cold winter day, a half-naked beggar at the city gate of Amiens requested for some alms. Martinus had no money but shared his cloak with the wretch. Shortly thereafter he had a vision, in which Christ appeared to him. Martinus went to baptize himself and he left the war service. Until his death, around 400, he was bishop of Tours. The veneration of Martin is widespread. He is represented, as here, either on horseback sharing his cloak or as a bishop.
Canopy. Southern Netherlands, second half of 15th century. Oak wood. Size: 94 x 48 x 25 cm.
The canopy most likely served as a covering of a sculpture for private devotion, such as a statue of saints or a Christmas crib. The canopies of Christmas cradles, however, have usually only two pillars, between which the crib is suspended, and this broad hexagonal canopy stands on four slender, profiled pillars. It is also quite substantial for a Christmas crib, especially in height, so it is more likely that a statue of saints or statue group may have stood beneath it.
Corpus. Southern Netherlands, ca. 1500. Domestic oak with remnants of polychromy. Size: 59 x 16 x 12 cm.
This crucifix, from which the cross, Christ's arms and a part of his left foot are missing, may have been placed in a pedestal on the altar table. Christ hangs outstretched on the cross, the right foot nailed over the left. His head is slumped to the left, his eyes closed. He wears a large crown of thorns, and he is covered with a crossed loincloth, the left slip of which winds up and the right hangs down. The loincloth is simply elaborated with parallel curved folds.
Get Inspired
Paintings from Dutch and Flemish Masters
The Collection van der Velden - Teurlings: Aesthetical with intense meaning and historical value.
Portraits of two sisters. Amsterdam school,
Nicolaes Eliasz Pickenoy.
Dated 'Ao 1635'. Oil on panel. Size: 35,7 x 25,7 cm.
The two girls are depicted as semi-figures and as pendants facing each other. They come from a wealthy, northern Dutch family. This can be seen in their posh clothing. Their black dresses of shiny black fabric are decorated with embroidery and the sleeves show brocade patterns. The millstone collars and the fine lace cuffs and bonnets indicate great affluence, and of course, the gold jewelry.
Portraits of two sisters. Amsterdam school,
Nicolaes Eliasz Pickenoy.
Dated 'Ao 1635'. Oil on panel. Size: 35,7 x 25,7 cm.
The two girls are depicted as semi-figures and as pendants facing each other. They come from a wealthy, northern Dutch family. This can be seen in their posh clothing. Their black dresses of shiny black fabric are decorated with embroidery and the sleeves show brocade patterns. The millstone collars and the fine lace cuffs and bonnets indicate great affluence, and of course, the gold jewelry.
Bouquet of flowers in porcelain vase with gold frame. Balthasar van der Ast (1593/94-1657), signed '.B. vander.ast.' Oil on panel. Size: 39.1 x 29.9 cm.
The bouquet is carefully composed of flowers from spring and summer, and finely painted layer by layer. It stands against a dark background in a Chinese blue and white vase of so-called crackling porcelain. In the bouquet we recognize roses, clematis, a white carnation, pink cyclamen, blue and white aquilegia, motherwort and a few sprigs of rosemary. But most striking are the two hefty tulips, one red-yellow flamed and one red and white. A butterfly has landed on the latter tulip, which goes by the lovely name of emperor's mantle. A blue damselfly keeps itself near the aquilegia in semi-darkness. An atalanta sits on a bunch of grapes that lies on the plinth. On the far left is a lizard.
View of Brewery 'De Drie Klaveren' on the Spaarne in Haarlem. Gerrit Berckheyde (1638-1698), signed and dated "G Berck/Heyde 1669. Oil on canvas. Size: 57 x 79,5 cm.
A view of a street along the Spaarne, the river that winds through Haarlem. On the right the Duck Gate or Leiden Watergate and in the distance, across the water, the meadows. An elegantly dressed couple chat with a man, while two servants bring out a beer barrel. A pair of chickens scurry around rows of stacked beer barrels on the quay. Brewery 'De Drie Klaveren' was located in the two houses left (now Spaarne 61 to 65b), clearly recognizable by the three clovers three on the facades. This sign is also on the wall, accessible with a ladder to the 'cabin' of the so-called capstan in the foreground and on a pair of beer barrels. With the capstan clean dune water from a ship could be brought into the brewery, while via the well gallows behind it, water was taken from the Spaarne.
Still life with flowers. Ambrosius Bosschaert de Jonge (1609-1645), signed 'A. Bosschaert. fe.', ca. 1635. Oil on panel. Size: 36.8 x 49 cm.
All kinds of loose flowers are displayed in an open arrangement on a wooden table. In the center is a sprig of pink roses, beside and around it a yellow-red flamed tulip, columbine, a white-red carnation, marigolds, a lapwing flower, anemone, daklis (a hybrid with yellow petals below and blue above), clematis and cross-linked lowered Tuscan jasmine. The spiky upright canary grass in the background, the disorderly bending stems of the lapwing flower - in the shade - as well as the wavy stems of the other flowers bring a playful touch to the composition. Also providing liveliness are a caterpillar of a berry spider transferring from a leaf to the tulip, and a female fire moth. A black fly is busy sucking something of its liking from a rose petal.
A girl with dove and a boy gesturing. Jan de Bray (c. 1627-1697); signed and dated "JBray 1652". Oil on panel. Size: 36.5 x 27 cm.
A girl and a boy, rendered in half, light up against a mysteriously dark background. The girl, with her large blue eyes in a perfectly flawless childlike face, looks at you earnestly. She holds a South German monk pigeon in her hand. The boy rests his right arm on the girl's shoulder, while his other hand points upward in a striking gesture.
Interior of a Renaissance church with walkers and a beggar. Dirck van Delen (1604/05-1671), signed and dated 'D.V. DELEN. 1635'. Oil on panel. Size: 65 x 95 cm.
The painting offers a view into a space resembling a Renaissance palace or church, composed of galleries and vaults, arcades and porticoes. Round arches everywhere, columns and pilasters fitted with ionic or Corinthian capitals and other carved ornaments. Through Gothic pointed windows sunlight enters in, which brightens the background. In the distance in a courtyard, there is a large fountain, to which palatial rooms connect. In the front center, a monumental wooden spiral staircase leads to the various floors. Vaults and walls are plastered and walls are covered with hard stone and "rosso antico," a type of marble from which the columns are also hewn. On the floor in front are tiles with gray and pink geometric patterns, which add to the perspective.
Spectators at Perseus freeing Andromeda. Frans Francken II (1581-1642), after 1615. Oil on panel. Size: 25 x 21.7 cm.
The, now vanished, left part of the painting depicted the Greek hero Perseus freeing Andromeda. This mythological story is set in Ethiopia. King Cepheus and his wife Cassiopea have a beautiful daughter Andromeda. She arouses the envy of the many daughters of sea god Nereus. Poseidon then sends a monster to Ethiopia that devours fishermen.The, now vanished, left part of the painting depicted the Greek hero Perseus freeing Andromeda. This mythological story is set in Ethiopia. King Cepheus and his wife Cassiopea have a beautiful daughter Andromeda. She arouses the envy of the many daughters of sea god Nereus. Poseidon then sends a monster to Ethiopia that devours fishermen, but she is saved from death by Perseus, who marries her and takes her to Greece to reign as his queen.
Landscape with farm wagon. Jan van Goyen (1596-1656), signed and dated 'v goyen 1634'. Oil on panel. Size: 35,8 x 49,4 cm.
Along a winding dirt road in the somewhat barren dunes, a travel wagon, pulled by two horses, passed two persons sitting by the side of the road. Besides the driver - whip in hand - at least five more persons travel in the wagon. Soon they will reach a village, whose church spire is visible on the horizon. Earlier, a covered wagon has stopped at a half-fallen farmhouse and the horses are unhitched there. Oak trees and
thickets. White and gray clouds fill the sky, from which, through a rare clearing, sunlight falls on the sandy road with cart tracks.
Landscape with a chicken, chicks, doves and peacocks next to a stone wall. Melchior d'Hondecoeter (1636-1695). Signed "M.d Hondecoeter," c. 1660-1685. Oil on canvas. Size: 79 x 65.1 cm.
Against a summer panorama with clouds and afterglow golden sunbeams, d'Hondecoeter painted a peaceful scene with poultry, peacocks and doves. Strikingly in the foreground is a proud Dutch tufted grouse. She looks shrewdly and with a watchful gaze. Her playful young feel safe. One has crawled under her wing, its head still visible. Two little ones sit on the ground. Two others scurry around her. One comes up with a dry sprite.
Still life with objects of silver, tin and gilt silver on a partially draped table. Willem Kalf (1619-1693), signed and dated, "W KALF 1644". Oil on canvas. Size: 103.1 x 81 cm.
On a wooden table with a white sheet, precious objects light up in semi-darkness. In the middle of the arrangement two tin pilgrim bottles, a gilt silver pouring jug and a silver saucer. One of the bottles, closed with a support chain attached cap, stands upright. A second specimen lies on its side facing forward. The cap of this one hanging down on a chain. Part of the chains on a tin plate slightly fall over the table edge and add depth.
A still life with roses, tulip, poppies, hedge weed and marigold. Jan van Kessel de Oude (1626-1679),
signed "i.v.kessel F. Oil on copper. Size: 13,5 x 11,1 cm.
The pendants show red, white and some blue flowers in the same kind of composition. The bouquets are in the same glass vase and next to them are a few loose petals on a tabletop; with them, butterflies and insects provide lively fluttering and swarming. Both paintings feature caterpillars and the icarus blue. One of the paintings features butterflies such as the red admiral and the widow's egg. On the other the great fire moth and a moth feature.
A still life with roses, hedge weeds, snowballs, cornflowers, anemones and tulips Jan van Kessel de Oude (1626-1679). Oil on copper. Size: 13,5 x 11,1 cm.
The pendants show red, white and some blue flowers in the same kind of composition. The bouquets are in the same glass vase and next to them are a few loose petals on a tabletop; with them, butterflies and insects provide lively fluttering and swarming. Both paintings feature caterpillars and the icarus blue. One of the paintings features butterflies such as the red admiral and the widow's egg. On the other the great fire moth and a moth feature.
Mary with Child. Master of the Female Half-Figures (c. 1500-1530). Oil on panel. Size: 38 x 30 cm.
On this devotional panel, Mary sits enthroned against a dark background in full light. With a loving gesture, she holds on her lap the Jesus child, who sits on a white cloth. A nice detail is how Jesus' right index finger touches his mother's ring finger. He is somewhat chubby and nicely proportioned, has blond curls and a sweet face with a blush on his cheeks. His little head he raises slightly looking away. His one leg is slightly raised. In his left hand he holds a golden pear.
A young shepherdess holding a bouquet of pink roses. Paulus Moreelse (1571-1638) and Roelant Savery (1576-1639), signed 'PMoreelse fe. 1622'. Oil on panel. Size: 36.2 x 27.2 cm.
The mischievously smiling shepherdess rests her shepherd's staff on her right shoulder. Bright blonde she is, with the long hair partly in braids around her healthy blushing, full face. She poses, beautifully lit, against a dark background, and is dressed in a white shirt of fine linen, with ruffled lace collar, loosely leaving neck and breasts partly seductively free. Over it she wears a blue and green laced bodice, tied at the center with a lace. The split sleeves are after the latest fashion. On her head she has her straw hat, lined inside with purple fabric and embellished with a pink rose. That rose is the attribute of the goddess of love called Venus. In her right hand, she holds a larger sprig of rose.
Peasants around a bagpiper. Adriaen Jansz van Ostade (1610-1685), signed "Av.ostade 16..," ca. 1640-1649. Oil on panel. Size: 27.9 x 34.9 cm.
In a courtyard of an old farmhouse, walled in and sheltered by trees, a bagpiper has attracted all the attention. In the doorway, the residents listen with pleasure to the musician's cheerful tones. As do the eight children standing around him and the two who are yet to arrive. Also a man on a bench in front of the house and a woman sitting on the stone edge of a water basin, watch with fascination. The farmer in the door gropes in his purse for a reward.
Woodland landscape with farmhouse. Gillis Peeters the Elder (1612-1653), Gillis Peeters de Oude (1612-1653), remains of signature. Oil on panel. Size: 49,5 x 64,5 cm.
Ahead on the left flows a watercourse that further to the right disappears from the sight. About four muscovy ducks paddle forward. A man and woman - seen from behind - lean over the railing of a small wooden bridge. He in his pink yak and sallow white pants, the woman in a yellow jacket, dark skirt and wearing a white cap. On the left in the picture is a somewhat neglected half-timbered farmhouse and a detached barn. The roofs are covered with mossy thatch.
One wall of the barn lies in shadow. The other structure, a dwelling, partly catches plenty of sunlight. A man sits in front of the house, arms relaxed across each other, and in the yard some chickens and a rooster scurry about.
An open barn with two plow horses. Paulus Potter (1625-1654), signed and dated on the beam 'Paulus Potter. ff 1649'. Oil on panel. Size: 23.7 x 25.4 cm.
Under the roof of a barn, near a somewhat neglected, vine-covered farmhouse, two workhorses stand still in the middle of the picture, diagonally opposite each other. In the darkness stands a dark brown horse, facing the wall and attached with reins to a wheel of a high cart. It lets its tired head droop a little. Against the wall of the house lies a pig. The scraggly light brown horse, with a blaze on its forehead, has turned toward us and is partly catching sunlight. It stands pissing. A man with dark and graying beard leans lightly with his one arm over half a door. Farther away, a dog sniffs around a well. Still farther away, a fence and willows can be seen. A barn swallow comes flying in, to perch on its nest under the canopy to feed the squawking youngsters.
Still life with shrimp and white grapes. Pieter de Ring (1615/20-1660), signed with a ring, ca. 1650. Oil on panel. Size: 27 x 20.3 cm.
On the corner of a plain oak table, De Ring arranged several objects into a beautiful whole. He intentionally kept the background semi-dark in order to show off the objects to their best advantage. In the painting with the bunch of white grapes, he used the left corner. Sliding the olive-green tablecloth up a bit which creates a decorative pattern of folds. The bunch of white grapes with its glittering lights, which is partly slid over the edge, is prominently displayed. Behind it a downy peach and to the right a leafy sprig with two plums, blue and red-yellow. A chalice half filled with white wine towers above it. The chalice glass is encircled by a vine. A sizable bluebottle has landed on it. On the table on the left are two pink shrimps and on the right is a gold ring with a ruby as an expressive signature.
Still life with an opened oyster. Pieter de Ring (1615/20-1660), signed with a ring, ca. 1650. Oil on panel. Size: 27 x 20.3 cm.
On the corner of a plain oak table, De Ring arranged several objects into a beautiful whole. He intentionally kept the background semi-dark in order to show off the objects to their best advantage. In the painting with the bunch of white grapes, he used the left corner. Sliding the olive-green tablecloth up a bit which creates a decorative pattern of folds. The bunch of white grapes with its glittering lights, which is partly slid over the edge, is prominently displayed. Behind it a downy peach and to the right a leafy sprig with two plums, blue and red-yellow. A chalice half filled with white wine towers above it. The chalice glass is encircled by a vine. A sizable bluebottle has landed on it. On the table on the left are two pink shrimps and on the right is a gold ring with a ruby as an expressive signature.
Southern hilly landscape with herd of cattle. Willem Romeyn (c. 1624-after 1695), signed "WROMEYN. Oil on canvas. Size: 57 x 70.5 cm.
Romeyn offers a sweeping view with hills in the deep distance and tree-covered ancient Roman ruins on a hill. On the sloping hillside are buildings with white walls and orange-red tiles, and further down the valley are plots of pasture or arable land separated by cane hedges, all illuminated by a faint sun. The landscape in front is partly shrouded in shadow. In this alternately dark and light foreground stand and lie cows and sheep of various breeds in shades of brownish red and white, black and gray. A few donkeys stand near them. In the middle a young Maremmana ox, large, with long horns and a wide light strip between front and hind legs. Along a dirt road along which a few trees stand, a shepherd sits in the shade. The landscape exudes tranquility in every way. Cows stand still, some sheep lie ruminating, other cows seek some coolness in the water. The only movement comes from the man with his packed donkey approaching from the right.
Still life with strawberries. Floris Gerritz. van Schooten (c. 1586-1656), Haarlem, c. 1630. Signed "FVS" on the knife. Oil on panel. Size: 43,2 x 62,5 cm.
A tin plate with strawberries is given a central place in the composition. In front of it, the ebony handle of a knife protrudes over the edge of the table, as does a piece of shiny dark gray tin plate, in which a freshly baked ball is reflected. On the left, a blue-and-white Chinese porcelain bowl filled to the brim with freshly picked gooseberries, and next to it a glass with a wide, flared bowl, with white wine. To the right, a stack of cheeses, on top of which is a plate with butter, and three rolls.
Still life with a roemer of white wine. Jan Jansz. van de Velde III (1620-1662), signed and dated "I V VELDE 1641". Oil on panel. Size: 55.2 x 59.7 cm.
Three things stand out about this still life: emptiness, simplicity and color. More than half the surface is taken up by a bare wall in the background. And of what is presented - roemer, tin dishes and food on a table - the rather plain tablecloth takes up more than half. Also noteworthy is the simplicity of these objects and their horizontal placement. Everything is in strictly reclining ordered position, except for the half-filled wine glass amid the other objects. Of the two saucers placed farthest away on the table, the one on the left has only the bottom covered with hazelnuts. On the other are four olives.
On the tin plate in front half over the edge of the table is a partially peeled lemon. Next to it is a knife with its ivory handle and a walnut. The palette was limited to shades of olive green, ochre, gray, reddish brown, white and yellow - a range of colors arranged in a refined balance.
Light breeze at sea with a narrowboat in the foreground. Willem van de Velde de Jonge (1633-1707), signed "WVV" on a piece of driftwood. Oil on canvas. Size: 34 x 42 cm.
Five sixths of the painting consists of the cloudy sky above a low horizon, which gives a tremendous perspective and sense of space. This is reinforced by the alternation of sunlight and shadows and on the water which, especially in front, creates a play of white, gray and transparent tops of the waves. Van de Velde painted several ships: seen from a distance some three-masters for merchant shipping, in front, beautifully lit and painted in detail, a narrowboat, so called because it is less than 4.68 meters wide, and a flatboat with its rowing boat in tow.
Winter landscape with ice skaters and colf players. Anthonie Verstraelen (c. 1593-1641), signed and dated: 'AVS 1629'. Oil on panel. Size: 73 x 106 cm.
A motley variety of people have taken to the ice. In various places they are colving. In the center front two gentlemen hold their colf sticks which are used to hit the ball across the ice. Others are skating. A single solo rider carries an ice hook on the shoulder, useful when one falls through the ice or ends up in a hole. Other people stand leisurely talking to each other. A horse pulls a sleigh for a pleasure ride, a boy pulls a prick sled, while a push sled carries goods. On the banks are farmhouses surrounded by bare, spiky trees. From only a couple of chimneys comes smoke. The group of houses on the front left, prominently brought into focus, serves as a backdrop to suggest depth.