Geo Poggenbeek - Winter landscape with trees along a snowy forest path

Attributed to: George Poggenbeek (1853-1903) Poggenbeek worked in an office as a young man, but under the influence of his friendship with the young deceased painter Theo Hanrath he chose the painting profession at the age of nineteen. Together with Hanrath he was apprenticed to Johannes Hendrik Veldhuijzen and he also followed courses at the Rijksakademie van beeldende kunsten.
In the early 1870s, Poggenbeek became friends with Marinus Heijl and Nico Bastert, with whom he often went to draw in Gelderland and Drenthe. At the end of the 1870s, he traveled with Bastert for a long time through Switzerland, Italy and France. In particular, they would stay for a long time in Normandy and Brittany, where they mainly painted cityscapes and landscapes. Bastert would later describe this period as "a great pleasure".
Between 1880 and 1882, Poggenbeek and Bastert lived and worked together in Amsterdam, in Poggenbeek's studio near the Oosterpark. In 1882, Bastert moved into his own studio in The Hague. However, in the following seven years, they would often travel together to a cottage in Breukelen to paint the Dutch landscape, with ditches and rivers, often with cattle or ducks. They also made many river views near the Vecht.
George Poggenbeek belongs to the late flowering of the Hague School. He painted and watercoloured in a dreamy tone reminiscent of Willem Maris and Anton Mauve. In his time, Poggenbeek reaped much success with his atmospheric depictions of the Dutch landscape - often intimate places.

Art dealer Caramelli and Tessaro, Spui 2 in Amsterdam
In 1912 the company, which around that time changed its name to Utrechtsche Kunsthandel, had the beautiful building Oudkerkhof 25 built, which can still be admired. It is a good example of the Dutch neo-renaissance style with a so-called hipped roof, provided with a dormer with natural stone cheeks.
The firm expanded and also opened an Amsterdam branch at Spui 2. The building contained two spacious exhibition halls, in which many well-known artists of the time exhibited their works. Together with a number of other dealers who specialized in modern art, she founded the Dutch Art Buyers' Association in 1919.