Provenance:

Private Collection, Germany for over three generations

Description:

The son of a Stonemason, Daniel Abrahamsz de Hondt and Crijntgen Alewijnsdr, Hondius trained under the genre painter, Pieter de Bloot in Rotterdam. Some reports have him moving to Amsterdam in 1665 but this cannot be proven, in all likelihood it was a short stay. He married Geertruijd Willemsdr. van der Eijk in 1653 with whom he had a daughter (Geertruijd) and moved with her to London in the early 1670s. He was certainly there by 1674.  His wife, Geertruijd died in 1681 and he remarried to a woman named Sarah with whom he had a son, Abraham. Hondius is known for his paintings of animals and hunting scenes but perhaps one of his most celebrated works are the ‘View of the Frozen Thames’ of 1677 and the ‘View of the Frost Fair at Temple Stairs’ of 1684, both now in the Museum of London (35.190 & 49.80). At some point Hondius became involved with the English polymath Robert Hooke and in 1674 was involved with the ‘hangings’ for the Guildhall as well as chimney pieces for the Royal College of Physicians, which Hooke designed in 1679. Hooke is well documented as being a rather unpleasant and difficult man, so it is not surprising that it is documented that both he and Hondius had a financial disagreement over some part of these involvements.

This painting by Hondius has only recently emerged from a German collection, where it has been for many generations. The painting was obscured by a thick layer of darkened varnish which, in conservation, has been carefully removed. This has revealed the extraordinary quality, condition and colour. Its date would suggest that Hondius painted this at the height of his skill as a painter. Indeed to paint the rocks and to create such realistic texture, he has used a palette knife to great effect. The rocky landscape adds great tension to the composition and the hard labour of the workers in the forge. We feel the heat from the furnace, smell the acrid smoke from the raging fire, hear the hard metal clank of the smith’s hammers on the molten metal as the water rages down the small rapids. Hondius also adds a little tranquillity and humour with the bathing figures washing in the fast running river. Hondius has cleverly framed the forge by the dramatic cliff face on the left and the impressive tree on the right giving the composition balance. The artist’s experience and technique culminates in this unique masterpiece that seems a fitting climax, in presumably one of the last paintings of his career.