Samuel van Hoogstraten (Dordrecht 1627-1678) A shepherdess and shepherd resting beneath a tree, within a painted arched frame signed with initials 'S.v.H.' (lower centre) oil on canvas 55.5 x 43.2cm (21 7/8 x 17in). Fußnoten Provenance With W.E. Duits, London, 1931 Private Collection, UK, for at least 40 years Literature W. Sumowski, Gemälde der Rembrandt-Schüler, Landau, 1983, vol. II, p. 1294, cat. no. 841, ill., p. 1324 M. Roscam Abbing, De Schilder en Schrijver Samuel van Hoogstraten 1627-1678. Eigentijdse Bronen en Oeuvre van Gesigneerde Schilderijn, Leiden, 1993, no. 57 C. Brusati, Artifice and illusion: the art and writing of Samuel van Hoogstraten Chicago and London, 1995, p. 357, cat. no. 61 Samuel van Hoogstraten although better known for his trompe l'oeil paintings and perspective boxes, painted a number of accomplished genre scenes. The present work relates in style and figure types to his other genre pictures from the late 1660s and 1670s, which reveal the influence of the late works of Pieter de Hooch particularly to The Anaemic Lady, now in the Rijksmuseum (see: Sumowski, ibid, pp. 1294-1295, cat nos. 836-842).
Samuel van Hoogstraten (Dordrecht 1627-1678) A shepherdess and shepherd resting beneath a tree, within a painted arched frame signed with initials 'S.v.H.' (lower centre) oil on canvas 55.5 x 43.2cm (21 7/8 x 17in). Fußnoten Provenance With W.E. Duits, London, 1931 Private Collection, UK, for at least 40 years Literature W. Sumowski, Gemälde der Rembrandt-Schüler, Landau, 1983, vol. II, p. 1294, cat. no. 841, ill., p. 1324 M. Roscam Abbing, De Schilder en Schrijver Samuel van Hoogstraten 1627-1678. Eigentijdse Bronen en Oeuvre van Gesigneerde Schilderijn, Leiden, 1993, no. 57 C. Brusati, Artifice and illusion: the art and writing of Samuel van Hoogstraten Chicago and London, 1995, p. 357, cat. no. 61 Samuel van Hoogstraten although better known for his trompe l'oeil paintings and perspective boxes, painted a number of accomplished genre scenes. The present work relates in style and figure types to his other genre pictures from the late 1660s and 1670s, which reveal the influence of the late works of Pieter de Hooch particularly to The Anaemic Lady, now in the Rijksmuseum (see: Sumowski, ibid, pp. 1294-1295, cat nos. 836-842).
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