JACOB VAN DER CROOS | LANDSCAPE WITH A VIEW OF HUIS TEN BOSCH PALACE

With J. Borghouts, Amsterdam, 1943 (as Jan van Goyen, dated 1633);

Private collection, Brussels, 1954;

With Galerie Kurt J. Müllenmeister, Solingen, 1965-66 (when advertised in Die Weltkunst, vol. 35, no. 18, 1965, p. 766, as Anthony van der Croos);

Carl Schünemann, Bremen, 1967;

Acquired for the SØR Rusche collection by 1985.

C. Dumas, Haagse stadsgezichten 1550-1800. Topografische schilderijen van het Haags Historisch Museum, Zwolle 1991, p. 364, reproduced fig. 3;

H.-U. Beck, Künstler um Jan van Goyen, Doornspijk 1991, p. 114, cat. no. 292 A8, reproduced in colour p. 115, plate XVI;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 3, Landschaften und Seestücke, Münster/Hamburg/London 2001, pp. 58-61, cat. no. 9, reproduced in colour;

W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 101, cat. no. 99, reproduced in colour.

Solingen, Galerie Müllenmeister, Gemälde und Zeichnungen alter Meister, Collection 1965, 1965-66, unnumbered (as Anthonie van der Croos);

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 99.

The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.

Though Jacob van der Croos is known to have moved around various cities in The Netherlands he painted several views of The Hague and its surrounding area.

The Huis ten Bosch Castle still functions as the residence of the Dutch royal family, although the building's appearance has changed somewhat. It was first built in 1645 as a summer residence for Frederick Henry, Prince of Orange (1584-1647) and his wife, Amalia von Solms (1602-75). After the Stadtholder's death, Amalia dedicated the palace to him and commissioned leading artists of the day, including Honthorst, Jordaens and Lievens, to decorate the Orangezaal ('Orange Hall') with paintings glorifying the late prince.

This painting was executed just over ten years after construction of the palace began. The view is taken from the east, but Croos has adapted certain elements to suit his composition, which is bathed in late afternoon, golden sunlight. In fact he follows the prototypes painted by his father, Anthonie van der Croos (author of the View of Leiden, offered on 8 May, lot 44), which served as a model for several artists' depictions of the palace, testament to the enduring popularity of the view.[1] The palace is not portrayed as an isolated seat of power, but is rather depicted in harmony with the surrounding landscape of Southern Holland.

1 Helsinki, Sinebrychoff Art Museum, Finnish National Gallery, inv. no. A I 390.