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| David Vinckboons Wooded Landscape ca. 1603-1605 oil on panel Fitzwilliam Museum, Cambridge |
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| Adriaen van de Venne The Departure of a Dignitary from Middelburg 1615 oil on panel Rijksmuseum, Amsterdam |
"The warship De Zeehondt is being towed to sea from the harbour of Middleburg by four muscular draught horses. The identity of the departing person who is drawing so much attention from a multitude of high-ranking people is unknown. However, it must have been someone of standing, for even Stadholder Maurice's yacht is present; it fires a salute."
– curator's notes from the Rijksmuseum
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| Dirck van Delen Interior of a Church 1628 oil on panel Fitzwilliam Museum, Cambridge |
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| Dirck van Delen Conversation in a Palace Courtyard 1644 oil on panel National Galleries of Scotland |
"Typical of Van Delen's views of palace courtyards, this painting contains a wealth of ornate architectural features. Such pictures were popular throughout Europe amongst the wealthy and educated elite. The complex perspective appealed to those who were intellectually versed in mathematical rules, and the array of elements allowed viewers to explore their knowledge of classical architecture. The grand interior also provided an element of escapism, a fantasy of a magnificent palace that looked real, but was in fact a desirable fiction. The sculpture of Venus and Cupid in the niche above the figures derives from a print by Marcantonio Raimondi after Raphael."
– curator's notes from the National Galleries of Scotland
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| Philips Wouwerman De Schimmel ca. 1646 oil on panel Rijksmuseum, Amsterdam |
"But let me get on now with the day I have hit on to begin with, any other would have done as well, yes, on with it and out of my way and on to another, enough of my mother for the moment. Well then for a time all well, no trouble, no birds at me, nothing across my path except at a great distance a white horse followed by a boy, or it might have been a small man or woman. This is the only completely white horse I remember, what I believe the Germans call a Schimmel, oh I was very quick as a boy and picked up a lot of hard knowledge, Schimmel, nice word, for an English speaker. The sun was full upon it, as shortly before on my mother, and it seemed to have a red band or stripe running down its side, I thought perhaps a bellyband, perhaps the horse was going somewhere to be harnessed, to a trap or such-like. It crossed my path a long way off, then vanished behind greenery, I suppose, all I noticed was the sudden appearance of the horse, then disappearance. It was bright white, with the sun on it, I had never seen such a horse, though often heard of them, and never saw another. White I must say has always affected me strongly, all white things, sheets, walls and so on, even flowers, and then just white, the thought of white, without more. But let me get on with this day and get it over."
– from the fragment, From an Abandoned Work, written by Samuel Beckett in 1954-55
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| Jan Baptist Weenix Pig's Carcase ca. 1647-60 oil on canvas Victoria & Albert Museum, London |
"A still-life with a pig's carcase, opened with entrails removed, lays on a table beside a wicker basket and knife. In the middleground a swineherder with his mob, and in the landscape beyond two figures seen from behind walking into the distance while a storm brews overhead."
– curator's notes from the Victoria & Albert Museum
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| Jan de Bray Portrait of a woman 1663 oil on panel National Galleries of Scotland |
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| Jan de Bray Portrait of a man 1662 oil on panel National Galleries of Scotland |
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| Jan de Bray Portrait of a boy aged eleven 1663 oil on panel National Galleries of Scotland |
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| Jan de Bray Portrait of a boy aged seven 1663 oil on panel National Galleries of Scotland |
"The boys are the sons of the man and woman in the matching portraits – they share the same bulbous eyes, heavy brow, and rounded chin. All four of the portraits in this family group were originally painted on rectangular panels, and were cut into ovals later. Very few groups of individual family portraits such as this have survived."
– curator's notes from the National Galleries of Scotland
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| Frans van Mieris Dutch Courtship 1675 oil on panel Fitzwilliam Museum, Cambridge |
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| Frans van Mieris The Market Stall before 1681 oil on panel Fitzwilliam Museum, Cambridge |
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| Anonymous Dutch artist after Jacob van Ruisdael The Castle of Bentheim from below ca. 1675-1700 oil on canvas National Galleries of Scotland |
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| Abraham van Calraet The Start ca. 1680 1700 oil on panel National Galleries of Scotland |
"This painting is typical of Van Calraet's work, particularly in the depiction of dogs and horses. It shows two riders and their dogs preparing to leave an inn and 'start' their journey. A wreath and a pewter wine jug hanging from the pole attached to the building indicate that this is an inn; the lady to the right wearing red is the inn-keeper. One man is mounted with his plumed hat and gloves on and clearly wishes to leave, while the other gestures to his companion to enjoy another glass ('roemer') of wine."
– curator's notes from the National Galleries of Scotland
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| Elias van den Broeck Stone Niche with Thistle, Lizard, and Insects 1690 oil on canvas Fitzwilliam Museum, Cambridge |
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| Eglon van der Neer Circe punishes Glaucus by turning Scylla into a Monster 1695 oil on canvas Rijksmuseum, Amsterdam |
"The unsightly but good-natured sea god Glaucus was in love with Scylla, but this was unrequited. To win her over, he sought the help of the sorceress Circe. This was a mistake, for Circe was herself in love with him. In a fit of rage, she changed poor Scylla into a monster. Van der Neer set the story from Ovid's Metamorphoses in sinister surroundings. Gesturing theatrically, the sorceress performs her vengeful deed."
– curator's notes from the Rijksmuseum