Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 12 works by Herman Verelst in our catalogue
In short
Of all the originals Herman Verelst left, the most famous is Portrait of Cornelis Calkoen (1639-1710) (1666). Close behind it come John Locke (1689) and Bouquet in a vase (1665). Our catalog holds 12 works by Herman Verelst; the gallery has kept the 12 the world admires most, each shown with its date, its museum and its story.
A single man occupies the space, anchored by the heavy gravity of dark fabric. Cornelis Calkoen sits in a three-quarter view, his body slightly turned away while his gaze meets the viewer with a steady, unblinking calm. The light arrives from the upper left, a sharp, directional beam that carves his features out of the surrounding gloom. It catches the ridge of his forehead, the bridge of his nose, and…
This oil on canvas painting, titled John Locke, was executed by the artist Herman Verelst in 1689. The portrait depicts the philosopher John Locke, presented in a formal manner. The work measures 90 x 76 cm and is currently held within the collection of the National Portrait Gallery in London, United Kingdom.
In "Bouquet in a vase" by Herman Verelst, we find a lush arrangement of various flowers held within a golden vase. This vessel rests upon a weathered stone ledge, providing a solid foundation for the organic forms above. The composition is intentionally asymmetrical, allowing the floral arrangement to cascade downwards and outwards in a fluid motion. This movement creates a sense of natural growth, breaking the stillness of the scene.…
Portrait of a Man, Herman Verelst, 1667 is a work by the Dutch artist Herman Verelst. Executed in 1667, the oil on canvas painting captures a single male subject. The piece is part of the collection at the Rijksmuseum in Amsterdam, identified by the inventory number SK-C-24.
The Portrait of a Woman, Herman Verelst, 1667 emerges from the shadows of the seventeenth century to meet the viewer's gaze. Painted in 1667, this oil on canvas captures a moment of quiet intensity. The artist, Herman Verelst, uses his brush to fix this woman in time, granting her a presence that feels immediate and breathing. She exists within the frame not as a distant figure of history, but as…
Herman Verelst executed Virgin, Child and St John around 1665. This oil on canvas work reflects the technical precision characteristic of the Dutch Golden Age. The artist, born in Dordrecht, Netherlands, developed a reputation for meticulous detail and a sophisticated command of light.
Peaches, Grapes and Redcurrants on a Ledge is an oil on canvas by Herman Verelst. The work dates to about 1669. It measures 74 x 62 cm. The fruit rests upon a hard surface, captured in a moment of stillness.
This painting features a woman positioned prominently in the center, dressed in a yellow gown. She is depicted with long hair and appears to be looking toward the viewer, with an expression that suggests either a smile or a frown. Her attire is characteristic of an earlier time period, contributing to an atmosphere of elegance and sophistication.
This 1683 painting depicts a man with long hair and a beard, dressed in a fancy blue coat. He is positioned in a scene where he appears to be looking at his own reflection in a mirror. The composition is detailed, capturing the intricacies of his facial features and the textures of his clothing.
The Portrait of a Lady with a Dog emerges from the shadows of the late seventeenth century, a quiet moment captured in oil on canvas. This work, painted by Herman Verelst, invites us into a private space where a woman and her companion exist in a stillness that feels almost tangible. The scale of the piece, measuring 125 x 102 cm, gives the scene a presence that commands the room…
The four subjects that come back most often in these originals, each with its finest example.
The 6 museums that hold the most of the paintings on this page.
| Museum | City | Works by Herman Verelst | Paintings from this list |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 2 | Portrait of a Man, Herman Verelst, 1667, Portrait of a Woman, Herman Verelst, 1667 |
 National Portrait Gallery |
London | 1 | John Locke |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
Kassel | 1 | Bouquet in a vase |
 Worcester College |
Oxford | 1 | Peaches, Grapes and Redcurrants on a Ledge |
 Guildhall Art Gallery |
London | 1 | A Young Man of the Dashwood Family (probably Sir Francis Dashwood, 1708–1781) |
 Harris Museum - Art Gallery |
Preston | 1 | Portrait of a Lady with a Dog |
From 1665 to 1689, Herman Verelst worked for 25 years: the selection follows that long career year by year, through its finest originals.
Pick a year to see its originals.
In "Bouquet in a vase" by Herman Verelst, we find a lush arrangement of various flowers held within a golden vase. This vessel rests upon a weathered stone ledge, providing a solid foundation for the organic forms above. The composition is intentionally asymmetrical, allowing the floral arrangement to cascade downwards and outwards in a fluid motion. This movement creates a sense of natural growth, breaking the stillness of the scene.…
More from 1665
A single man occupies the space, anchored by the heavy gravity of dark fabric. Cornelis Calkoen sits in a three-quarter view, his body slightly turned away while his gaze meets the viewer with a steady, unblinking calm. The light arrives from the upper left, a sharp, directional beam that carves his features out of the surrounding gloom. It catches the ridge of his forehead, the bridge of his nose, and…
Portrait of a Man, Herman Verelst, 1667 is a work by the Dutch artist Herman Verelst. Executed in 1667, the oil on canvas painting captures a single male subject. The piece is part of the collection at the Rijksmuseum in Amsterdam, identified by the inventory number SK-C-24.
More from 1667
Peaches, Grapes and Redcurrants on a Ledge is an oil on canvas by Herman Verelst. The work dates to about 1669. It measures 74 x 62 cm. The fruit rests upon a hard surface, captured in a moment of stillness.
This 1683 painting depicts a man with long hair and a beard, dressed in a fancy blue coat. He is positioned in a scene where he appears to be looking at his own reflection in a mirror. The composition is detailed, capturing the intricacies of his facial features and the textures of his clothing.
This painting features a woman positioned prominently in the center, dressed in a yellow gown. She is depicted with long hair and appears to be looking toward the viewer, with an expression that suggests either a smile or a frown. Her attire is characteristic of an earlier time period, contributing to an atmosphere of elegance and sophistication.
This oil on canvas painting, titled John Locke, was executed by the artist Herman Verelst in 1689. The portrait depicts the philosopher John Locke, presented in a formal manner. The work measures 90 x 76 cm and is currently held within the collection of the National Portrait Gallery in London, United Kingdom.
More from 1689
Portrait of Cornelis Calkoen (1639-1710) (1666). John Locke (1689) and Bouquet in a vase (1665) come next.
25 years old: Portrait of Cornelis Calkoen (1639-1710) dates from 1666, and Herman Verelst was born in 1641.
Portrait of Cornelis Calkoen (1639-1710), John Locke, Bouquet in a vase, Portrait of a Man, Herman Verelst, 1667, Portrait of a Woman, Herman Verelst, 1667, Virgin, Child and St John, Peaches, Grapes and Redcurrants on a Ledge, Portrait of a lady, thought to be Dionesse Cullum, wife of Robert Colman, A Young Man of the Dashwood Family (probably Sir Francis Dashwood, 1708–1781) and Portrait of a Lady with a Dog. The ranking above gives each one's year and museum.
Our catalog holds 12 works by Herman Verelst, dated from 1665 to 1689.
Mostly in Rijksmuseum (Amsterdam), National Portrait Gallery (London) and Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe (Kassel). The museum table above lists them all.
In 1665: 2 of the 12 works on this page were made then, Bouquet in a vase among them.
On this page, the earliest is Bouquet in a vase (1665) and the latest John Locke (1689).
Woman (4), Man (3) and Vase (2), across the 12 works on this page.
Oil On Canvas, for 8 of the 12 works on this page.
Portrait of a Man, Herman Verelst, 1667 and Portrait of a Woman, Herman Verelst, 1667: the Rijksmuseum, Amsterdam holds 2 of the works on this page.
Herman Verelst (1641-1702), a name perhaps less familiar than those of Rembrandt or Vermeer, nevertheless stands as a significant figure in the vibrant tapestry of 17th-century Dutch painting. Born in Dordrecht, amidst a family already steeped in artistic tradition – his father, Pieter Hermansz Verelst, was himself a respected painter – Herman’s journey took him through Amsterdam, Venice, Vienna, and ultimately to London, each location leaving its indelible mark on his evolving style and subject matter. He wasn't merely a follower of trends; he cultivated a distinctive voice, characterized by an exquisite sensitivity to light, a meticulous attention to detail, and a profound appreciation for the beauty of both nature and human society.
Verelst’s early training undoubtedly benefited from his father’s influence. The Verelst family workshop in Dordrecht was a hub of artistic activity, fostering a collaborative environment where Herman, along with his brothers Simon and John, honed their skills. They specialized primarily in flower and fruit still lifes – delicate arrangements rendered with astonishing realism, capturing the textures, colors, and subtle variations of each blossom or piece of fruit. These weren’t simply decorative studies; they were imbued with a sense of observation and an understanding of natural forms that went beyond mere imitation. However, Verelst quickly transcended this initial focus, demonstrating a remarkable versatility that would define his career.
A pivotal moment in Verelst's artistic development occurred around 1667 when he moved to Amsterdam. This relocation coincided with a period of economic hardship for the Dutch art market, forcing many artists to seek patronage elsewhere. It was during this time that Verelst began to establish himself as a portrait painter, producing works that showcased his ability to capture personality and likeness with remarkable accuracy. His portraits weren’t merely representations; they were imbued with a sense of character, reflecting the subject's inner life and social standing. He skillfully employed light and shadow to create depth and volume, lending a dramatic quality to his depictions of nobility, merchants, and members of the court.
Verelst’s travels continued throughout the 1670s and 1680s, leading him through Venice and Vienna. These experiences profoundly influenced his artistic sensibilities. The vibrant colors and theatrical lighting of Venetian paintings, combined with the grandeur and opulence of the Habsburg court in Vienna, enriched his palette and expanded his repertoire. He embraced historical scenes, often depicting lavish banquets or ceremonial events, showcasing a flair for composition and an understanding of Baroque aesthetics. His depictions of these grand occasions were not simply illustrations; they were carefully constructed narratives, filled with symbolism and visual richness.
Despite the challenges posed by the fluctuating art market, Verelst maintained a steady output throughout his career. His work is characterized by a remarkable technical skill – an almost obsessive attention to detail—and a masterful use of light. He was particularly adept at capturing the effects of sunlight filtering through windows or illuminating objects from various angles. This ability to render light with such precision and subtlety elevated his still lifes and portraits alike, imbuing them with a sense of atmosphere and realism. His later years were spent in London, where he continued to paint portraits and historical scenes, solidifying his reputation as a respected artist within the English court.
Herman Verelst’s artistic legacy is one of quiet brilliance. He wasn't a flamboyant innovator or a revolutionary figure, but rather a meticulous craftsman who perfected his skills over decades of dedicated work. His paintings are not immediately striking in their boldness, but they possess a subtle elegance and a remarkable sense of realism that rewards careful observation. His influence can be seen in the works of later generations of Dutch painters, particularly those who specialized in still life and portraiture.
Verelst’s meticulous approach to detail—the way he rendered textures, colors, and light—is a hallmark of his style. He was a master of capturing the fleeting effects of light on surfaces, creating an illusion of depth and volume that is both captivating and convincing. His still lifes are not merely arrangements of objects; they are miniature worlds filled with intricate details and subtle nuances. His portraits, too, are imbued with this same attention to detail, reflecting his deep understanding of human anatomy and expression.
Despite the relative obscurity of his name today, Herman Verelst remains a significant figure in Dutch art history. His paintings offer a glimpse into the vibrant cultural landscape of 17th-century Holland—a world of wealth, power, and artistic innovation. His legacy endures through the exquisite beauty of his works, which continue to captivate viewers with their light, detail, and profound sense of observation.
Verelst’s artistic development was undoubtedly influenced by several key figures, including his father, Pieter Hermansz Verelst, and the artists of the Dutch Golden Age. The influence of Gerard Dou and Jan van Goyen is often noted, particularly in his early work. However, Verelst ultimately forged his own unique style—a synthesis of observation, technique, and a deep appreciation for the beauty of both nature and human society.
Herman Verelst's life was marked by constant movement and adaptation. Born in Dordrecht, he initially trained within his family’s workshop, learning the fundamentals of painting from his father. However, the economic downturn that gripped the Dutch art market in the late 1660s forced him to seek opportunities elsewhere. He moved to Amsterdam, where he established himself as a portrait painter and continued to refine his skills.
The tumultuous events of the mid-17th century—including the Thirty Years’ War and the rise of the Ottoman Empire—further complicated Verelst's career. He traveled extensively throughout Europe, seeking patronage and exposure. He spent time in Venice, where he was exposed to the vibrant colors and theatrical lighting of Venetian painting; in Vienna, where he encountered the grandeur and opulence of the Habsburg court; and eventually, in London, where he found a new home and continued to paint portraits for English nobility.
Verelst’s journey reflects not only his artistic development but also the broader social and economic changes that were transforming Europe during this period. His willingness to adapt and embrace new opportunities ultimately contributed to his success as an artist, allowing him to develop a distinctive style and leave a lasting legacy in the annals of Dutch art history.
