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River Landscape with Hunters on a Ferry
Hand-painted oil reproduction from $181 35 × 28 cm
Same size as the original $241 63 × 47 cm Order at original size →
Daniel Schellinks's most famous painting is River Landscape with Hunters on a Ferry (1660). Our catalogue lists 2 works by Daniel Schellinks; the 2 below are the ones the world looks at most, each with its year, the museum that holds it and why it matters.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated October 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Daniel Schellinks | Paintings from this list |
|---|---|---|---|
 National Maritime Museum |
London | 1 | HMS Tiger attacked by eight Dutch privateers, 26 August 1672 |
16 years of work by Daniel Schellinks, from 1660 to 1675, year by year: the most famous paintings of each year, in order.
River Landscape with Hunters on a Ferry (1660).
33 years old: River Landscape with Hunters on a Ferry dates from 1660 and Daniel Schellinks was born in 1627.
Our catalogue lists 2 works by Daniel Schellinks, dated from 1660 to 1675.
Most of them are in National Maritime Museum (London). The table above lists the museums one by one.
The earliest on this page is River Landscape with Hunters on a Ferry (1660), the latest HMS Tiger attacked by eight Dutch privateers, 26 August 1672 (1675).
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, from the painting's own page.
In the busy streets of Amsterdam, Daniel Schellinks lived a life split between the practicalities of commerce and the quiet pull of the brush. He was a silk trader by trade, a man who understood the texture of fine fabrics and the movement of goods through the Dutch Republic. While his brother Willem pursued the life of a professional artist, Daniel’s engagement with painting remained that of an amateur. He did not seek the formal training or the public accolades of the guild, yet his hand found its way to the canvas to capture the light of distant lands.
His work often mirrored the landscapes his brother painted, frequently drawing from Willem's own compositions. This connection suggests a shared visual language between the two brothers, a way of translating the Mediterranean atmosphere into the cool, clear light of the Netherlands. He moved through the world of Italianate landscapes, creating scenes that felt like memories of a place he had visited, even when the light on the canvas was more a product of imagination than direct observation.
The scenes Schellinks composed often focused on the interplay between land and sea, or the quiet stillness of a riverbank. His technique relied on a specific way of handling color to mimic the warmth of the south. He sought to replicate the way sunlight hits a stone wall or a ripple in the water, using delicate atmospheric effects to pull the viewer into a specific moment of calm or movement.
His subject matter frequently included:
Many of his drawings and paintings were so effective in their imitation of the Italianate style that they were later used by other artists. The architectural painter Jan van der Heyden, for instance, likely looked to Schellinks's drawings when constructing his own views of Italy. This speaks to the precision of his draughtsmanship, a skill developed outside the traditional studio system.
Because he was not a professional, much of what Schellinks produced has been difficult for historians to untangle. Many of his works were attributed to other hands, or even to his brother, because his style was so closely aligned with the established Italianate tradition. He worked in Amsterdam throughout his life, leaving behind a body of work that captures a specific, filtered view of the world—one seen through the eyes of a man who dealt in silk but dreamed of the Tiber.
His contribution to the Dutch landscape tradition lies in this quiet, observational quality. He did not attempt to reinvent the world, but rather to capture its light and its movement, whether in a river landscape with hunters on a ferry or in the churning waters of a marine scene. He remains a figure of interest for those looking at the subtle layers of Dutch art, where the line between a professional's craft and an amateur's passion often blurs.