was in the Oude Kerk (Old Church) at Amsterdam, on 2 November 1668. Witnesses to the marriage were the bride's brother Cornelius Vinck and Jacob van Ruisdael. The couple had five children (Eduart 1669, Eduart 1670, Pieternella 1671, Pieternella 1673 and Neeltje 1676). In 1704 Eeltje died, and was buried in the paupers' section of the Leiden cemetery at Amsterdam. Hobbema himself survived till December 1709, and was buried on the 14th of that month in the paupers' section of the Westerkerk cemetery at Amsterdam. Also in 1668, and presumably through the connection with his wife's ex-employer, he took the well-paid position of "wine-gauger" for the Amsterdam octroi, assessing and collecting local taxes on wine, holding this until his death. It is clear that his painting greatly reduced after this, but it did not end completely, as used to be thought. The quality of his work becomes uneven, though there are very successful late works, including The Avenue at Middelharnis, dated 1689 and one of his last paintings. After 1672 the Dutch art market "virtually collapsed" for the rest of the century, and other artists of his approximate generation produced much less, including Johannes Vermeer, Pieter de Hooch and Nicolaes Berchem. The Hobbema family lived in the Rozengracht in the Jordaan neighbourhood, as had Rembrandt in his later and impoverished days, as well as Adam Pynacker, Jacob van Loo, Cornelis Holsteyn and other artists. Rembrandt, Frans Hals, Jacob Ruisdael, and Hobbema all died in relative poverty, after they had fallen from fashion, and in Hobbema's case after the Dutch art market had largely collapsed. Hobbema and Ruisdael together represent the final development of Golden Age Dutch landscape art; by the end of Hobbema's career, demand had severely declined. Work Despite his apprenticeship with Jacob van Ruisdael, Hobbema's earliest paintings, from the late 1650s, are mostly river scenes more in the style of Cornelis Vroom and Salomon van Ruysdael. From around 1662 the influence of Jacob van Ruisdael becomes much stronger, and Hobbema settled into his speciality of wooded landscapes, very often with ponds, roads, and a building or two. Even within the Dutch painting of his day, where specialization in a particular type of subject-matter had become normal, his concentration on such a specific subject was rather unusual. The remainder of the 1660s, especially up to 1668, produced most of his best works, which increased in size and complexity as