ART TRACKERSConnecting fine art to people
Platform OverviewPlatform SecurityPricingTechnology OverviewTags & PlaquesWhat is UAINLegal & Compliance
GovernmentTribal NationsArtistsUniversity & CollegesServicesProcurement
InstitutionsExploreMuseum Collections
Artists
Why Art TrackersAboutContactBlogDocumentationCareers
Request demo
Platform OverviewPlatform SecurityPricingTechnology OverviewTags & PlaquesWhat is UAINLegal & Compliance
GovernmentTribal NationsArtistsUniversity & CollegesServicesProcurement
InstitutionsExploreMuseum Collections
Artists
Why Art TrackersAboutContactBlogDocumentationCareers
Request demo
Art Trackers logo
ART TRACKERS
Connecting fine art to people

Connecting fine art to people. Preserving cultural legacy through technology.

Platform

FeaturesHow It WorksSecurityIntegrations

Government

For Cities & CountiesComplianceResourcesCase Studies

Resources

DocumentationHelp CenterBlog

Company

About UsCareersNewsContact Us

© 2026 Art Trackers LLC. All rights reserved.

Privacy PolicyTerms of ServiceAccessibility
    Museum collections / Art Institute of Chicago
    Resurrection of Christ
    Samuel van Hoogstraten. Resurrection of Christ, c. 1665. The Art Institute of Chicago. Public domain (CC0).
    AT-00000905

    Public data from the Art Institute of Chicago. Learn more

    Resurrection of Christ

    by Samuel van Hoogstraten

    Inscriptions

    Inscribed bottom right of center: S.V.H.

    Provenance

    Possibly Helena Lens, widow of merchant Willem Heyblom, Dordrecht by 1673 [see inventory of the collection of Helena Lens, Nov. 18, 1673, Getty Archival Document N-1483]. Possibly transferred by her to Abraham and Franchois Heyblom in payment of a debt [see document cited above]. Mrs. J. Piper, England; sold Sotheby's, London, Nov. 13, 1968, lot 66 to Julius Weitzner [letter dated May 10, 2000, from Camilla Harris, Sotheby's, to Martha Wolff in curatorial file]; sold to the Art Institute, 1969.

    Exhibition history

    Art Institute of Chicago, Rembrandt after Three Hundred Years: An Exhibtion of Rembrandt and His Followers, Oct. 25-Dec. 7, 1969, cat. 72; Minneapolis Institute of Arts, Dec. 22, 1969-Feb. 1, 1970; Detroit Institute of Arts, Feb. 24-Apr. 5, 1970. Vienna, Kunsthistorisches Museum, Rembrandt - Hoogstraten. Colour and Illusion, Oct. 8, 2024–Jan. 12, 2025, fig. 52; Amsterdam, Museum Rembrandthuis, The Illusionist. Samuel van Hoogstraten, Feb. 1–May 4, 2025, fig. 79.

    Publications

    Art Institute of Chicago Annual Report 1968-1969 (1969): 14, 17. Art Institute of Chicago, Rembrandt after Three Hundred Years: An Exhibtion of Rembrandt and His Followers, exh. cat. (Chicago: Art Institute, 1969), 74-75 car. 72, 133 (ill.). Werner Sumowski, Gemälde der Rembrandt-Schüler vol. 2 (Landau/Pfalz: Edition PVA, 1983), 1293, no. 835, fig. 835. Peter C. Sutton, A Guide to Dutch Art in America (Grand Rapids, Michigan: Netherlands-American Amity Trust, 1986), 50. Peter Marijnissen, De Zichtbaere werelt: schilderkunst uit de Gouden Eeuw in Hollands oudste stad (Zwolle: Waanders, 1992), 25, 208, n1. Michiel Roscam Abbing, De schilder & schrijver Samuel van Hoogstgraten 1627-1678: Eigentijdse bronnen & oeuvre van gesigneeerde schilderijen (Leiden: Primavera Pers, 1993), 141, fig. 42. Alan Chong, "Arent de Gelder and the Art Scene in Dordrecht," in J.W. von Moltke, Arent de Gelder. Dordrecht 1645-1727 (Doornspijk, The Netherlands: Davaco, 1994), 14. Celeste Brusati, Artifice and Illusion: The Art and Writing of Samuel van Hoogstraten (Chicago and London: University of Chicago Press, 1995), 356, no. 53. Peter Black and Erma Hermens, “A Note on Samuel van Hoogstraten’s Christ and the Women of Jerusalem” Apprenticeship, Practice, Influence,” in Rembrandt Now: Technical Practice, Conservation and Research, Marika Spring and Ashok Roy, eds. (London: National Gallery with Archetype Publications, 2022), 99-100. Stephanie Dickey, "Fragments of Evidence for Rembrandt's Genoese Commission?," in Not Always Rembrandt: 37 Studies in Baroque Art, Rudie van Leeuwen, Lilian Ruhe, and David de Witt, eds. (Turnhout: Brepols, 2023), 217n31. Sabine Pénot, ed., Rembrandt - Hoogstraten. Colour and Illusion, exh. cat. (Vienna: Hannibal, 2024), 114–15 cat. 52, 118 (ill.), 262. Nathalie Maciesza, Epco Runia, eds., Samuel van Hoogstraten: The Illusionist, exh. cat. (Zwolle: Wbooks, 2025), 88-89 fig. 79, 97 (ill.), 101–103, fig. 79a, 141. David de Witt, "Samuel van Hoogstraten's Drawings: History, Life, Universality. Method: Working from a Core Group," in Samuel van Hoogstraten (1627-1678): Catalogue Raisonné, The Hague, 2025, accessed April 22, 2025, Leonore van Sloten and David de Witt, "The Late Biblical Paintings," in Samuel van Hoogstraten (1627-1678): Catalogue Raisonné, The Hague, 2025, no. 59, accessed April 22, 2025,

    Quick Overview

    Artist
    Samuel van Hoogstraten (Dutch, 1627-1678)
    Date
    c. 1665
    Medium
    Oil on canvas
    Dimensions
    81 × 64.9 cm (31 7/8 × 25 1/2 in.); Framed: 100.1 × 84.8 × 8.6 cm (39 3/8 × 33 3/8 × 3 3/8 in.)
    Type
    Painting
    Classification
    oil on canvas
    Style
    17th Century
    Place
    Holland
    Department
    Painting and Sculpture of Europe
    Credit line
    Sophia P. Morton Purchase Fund
    Accession no.
    1969.110

    More by Samuel van Hoogstraten in museum collections

    • Seated Female Nude

      Samuel van Hoogstraten

      1647/78 · Drawing

      Public collection via the Art Institute of ChicagoAT-00003238
    • The Annunciation of the Death of the Virgin

      Samuel van Hoogstraten

      ca. 1670 · Painting

      Public collection via the Metropolitan Museum of ArtAT-00015158
    • The Adoration of the Shepherds

      Samuel van Hoogstraten

      early 1640s · Drawing

      Public collection via the Metropolitan Museum of ArtAT-00018769

    Open-access museum data

    This record comes from the open-access collection data that the Art Institute of Chicago publishes for unrestricted use (Creative Commons Zero). Art Trackers shows a selection of the museum's published fields. The Art Institute of Chicago is not an Art Trackers client and has not reviewed or endorsed this page; the museum's own website is the authoritative record.

    • View this work at the Art Institute of Chicago
    • The Art Institute of Chicago: open-access terms

    Data retrieved from the Art Institute of Chicago on October 8, 2026. The museum may have updated its record since.

    Open-access museum record · AT-00000905

    Powered by Art Trackers