The 647 Artworks of media Oil On Copper and containing the word matthäus gundelach, also gondolach, gundlach, oil on copper, 1600

Thought to be Rubens’s earliest dated work, this oil on copper is one of the few known paintings by the artist completed before his departure from Antwerp for Italy in 1600 and attests to his sensitivity as a portraitist. The unknown gentleman holds a watch, an architect’s or draftsman’s square and ...

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This meticulously painted little work is a typical example of the Mannerist style, which was in fashion around 1600. The style is characterised by naked figures in complex graceful poses. Joachim Wtewael painted this work on smooth copper, which lends itself well to painting fine details. It depicts...

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The Portrait of Prince Maurits (SK-A-2100) is a small-scale copy of Van Mierevelt’s 1607 painting in Delft,2 of which there are many versions.3 According to a note at the Iconographisch Bureau, the Portrait of Frederik Hendrik (shown here) is a copy of a 1612 painting by Jan van Ravesteyn.4 Van Rave...

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As usual in Savery’s oeuvre, the subject, in this case the biblical story of Elijah fed by ravens, is subordinated to the landscape. According to Walford, it is the rays of sunlight that give the scene its religious nature,2 but such rays are frequently found in the artist’s non-religious works.3 Th...

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Elsheimer’s directness of vision placed him, along with Caravaggio and Annibale Carracci, in the vanguard of reforming artists working in Rome in the first decade of the seventeenth century. A pioneer in the development of naturalistic landscape, his influence extended to Claude and Rembrandt. Here ...

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Although the earliest known provenance of this painting, the manuscript sale catalogue of the estate of the dealer Jaques Meyers in 1722, gives a detailed description of it as ‘a landscape with three men and an old lady’, for a long time afterwards there was some confusion about the sex of the bathe...

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After his return from Italy in c. 1627 until his death 40 years later Van Poelenburch produced an enormous number of cabinet pieces depicting archaic landscapes with figures bathing. Only few have specific subjects, such as Diana and her Nymphs Spied upon by Actaeon,8 or Landscape with the Discovery...

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These miniature portraits on copper, dated 1627 (see SK-A-1791) and 1629 (shown here), were acquired by the museum at the end of the 19th century. The sitters’ identities are unknown. It can be deduced from the inscription that the man was born in 1587 or 1588, and the woman in 1591 or 1592. Althoug...

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These miniature portraits on copper, dated 1627 (shown here) and 1629 (see SK-A-1792), were acquired by the museum at the end of the 19th century. The sitters’ identities are unknown. It can be deduced from the inscription that the man was born in 1587 or 1588, and the woman in 1591 or 1592. Althoug...

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As Faggin first recognized,7 depicted in the middle distance is Rebecca offering her pitcher to Eliezer, Abraham’s servant, as related in Genesis, 24:45-46. The fountain required by the narrative is conveyed by a generalized depiction from the side of the fountain and bowl placed in the Foro Romano ...

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A student of Francesco Albani, Cignani retained the Bolognese classicist’s line and bright palette, and inflected them with the delicate, human aspect readily apparent in this depiction of Charity. Perhaps because the subject was so well suited to Cignani, this composition is known in multiple versi...

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