RKD STUDIES

Studio of Anthony van Dyck DPG81

... , 276.3661c) After Anthony van Dyck, Charity (head only), black chalk, heightened with white on blue paper, 237 x 257 mm. Galleria degli Uffizi, Florence, 2319 F.3671d) Anthony van Dyck, Charity (een schetse Caritas wit en swart van Van Dijck ƒ7 (a sketch of Charity in white and black, 7 guilders)), drawing (or oil sketch?). Present whereabouts unknown (Alexander Voet collection, Antwerp, 1685).368Paintings2a) Prime version, Anthony van Dyck, Charity, c. 1627–8, panel, 148.2 x 107.5 cm. NG, London, NG6494 [2].3692b) Copy: canvas, 124.5 x 108 cm. Museum Schloss Mosigkau, near Dessau (Henriette Catharina of Nassau Orange).3702c) Copy: canvas, 144 x 115 cm. Kunsthistorisches Museum, Vienna, no. 3682.3712d) Copy: canvas, 4' x 3'6". Present whereabouts unknown (Thomas Hope, The Deepdene).3722e) Copy: canvas, 119 x 103 cm. Private collection, Switzerland.3732f) Copy: Forbes collection, Oxford, 1977.2g) Copy: Private collection, California.3742h) Copy: Guy Poelvoorde collection, Bruges.2i) Copy: canvas, 149 x 105 cm. Brukenthal Museum, Sibiu.2j) Copy: canvas, 133 x 111.5 cm. Hammersmith and Fulham Archives and Local History Centre, London, 212.3753a) Anthony van Dyck, Charity. Present whereabouts unknown (collection of Stadholder Frederik Hendrik and Amalia van Solms, Noordeinde Palace, The Hague, 1667 inventory: Een schilderije sijnde eene Charitas, bij Van Dijck gemaeckt (A painting being a Charity, made by Van Dyck)).3763b) (Copy after?) Anthony van Dyck. Present whereabouts unknown (Methuen collection, Corsham Court; Mandl collection, Wiesbaden).3773c) Copy: present whereabouts unknown (Sotheby’s, 10 July 2002, lot 4).3d) Copy: present whereabouts unknown, canvas, 41.5 x 30.8 cm (Lempertz, Cologne, 20 May 2006, lot 1046; Karl, Count Lanckoronski collection, Vienna).3784) Copy (by Sir Joshua Reynolds?) after the print by Cornelis van Caukercken after Anthony van Dyck (Related works, no. 5a), sketch, panel, 21 x 24 cm. Ashmolean Museum, Oxford, PT 256 [3].379Prints5a) (in reverse) Cornelis van Caukercken after Anthony van Dyck (Related works, no. 2a), Charity, inscriptions, engraving, worden 433 x 310 mm, RPK, RM, Amsterdam, RP-P-BI-5670 [4].3805b) Engraving W. W. Ryland.381Other artists6a) Ferdinand Bol, Charity, signed and dated F Bol 1658, canvas, 127 x 104 cm. The Pushkin State Museum of Fine Arts, Moscow, 283.3826b) Jan Hermansz. van Bijlert, Woman and Children (Allegory of Charity), signed J v bijlert. fet, canvas, 102.5 x 85.5 cm. Musée des Beaux-Arts, Quim...

Attributed to Anthony van Dyck DPG73

... land, Edinburgh, 121.2032b.III) Canvas, c. 1621, 229 x 159 cm. Bayerische Staatsgemäldesammlungen, Munich, 371.204 2c.I. Oil sketch, Armed Soldier on Horseback, canvas, 91 x 55 cm. Christ Church Picture Gallery, Oxford, 246.2052c.II) A (modern?) copy after 2c.I, canvas, 85 x 54 cm. Present whereabouts unknown (Sotheby’s, 26 Oct. 1988, lot 51; Sir Evelyn De La Rue, bt by 1910).206Other artists3a) Titian, Charles V at the Battle of Mühlberg, 1548, canvas, 335 x 283 cm. Prado, Madrid, P00410 [4].2073b) Titian, Portrait of Philip II, 1551, canvas, 193 x 111 cm. Prado, Madrid, P00411 [5].2083c.I) Peter Paul Rubens after Titian (breast piece), The Emperor Charles V, canvas, 92.5 x 76 cm. Present whereabouts unknown (Sotheby’s, New York, 28 Jan. 2005, lot 586 [manner of Rubens]).2093c.II) Peter Paul Rubens or Anthony van Dyck after Titian (no. 3a, breast piece), The Emperor Charles V, canvas, 75 x 55.5 cm. Courtauld Institute of Art, Princes Gate Collection, London, P.1978.A5.351.2103d) Modello, Peter Paul Rubens, St Martin dividing his Cloak, c. 1612–13, panel, 36 x 48.5 cm. Present whereabouts unknown (Sotheby’s, 6 Dec. 1972, lot 102) [6].2113e) Jan Boeckhorst, The Horses of Achilles, c. 1632, canvas on panel, 105.5 x 91.5 cm. NG, London, NG156.2123f) Jan Boeckhorst, Castor and Pollux abducting the Daughters of Leucippus, pen and brown ink with brown wash over black chalk, heightened with white, on carta azzurra, 245 x 290 mm. Devonshire Collection, Chatsworth, 993A.2133g) (Model for tapestry) Jacques Jordaens, Head of a Horse, gouache over red chalk on paper, 47 x 43.9 cm. Musée des Beaux-Arts et d’Archéologie, Besançon, D.3762.2143h) Giorgio de Chirico, White Horse in the Woods, 1948, canvas, 50 x 40 cm. Present whereabouts unknown.215...

... a seascape with a ship in distress in the background. There Charles V (1500–1568) is shown as a young man (c. 20–25). The composition is probably based on Titian’s portrait of 1548 in the Prado, showing Charles V at the Battle of Mühlberg in 1547, when he was 27. The background there is an indistinct hilly landscape (Related works, no. 3a) [4]. Van Dyck’s portrait of the Emperor in the Uffizi painting however looks more like another Titian painting (in reverse), a portrait of Philip II of 1551, also in the Prado (Related works, no. 3b) [5].The source for Titian and thus also for Van Dyck is the Roman sculpture of Marcus Aurelius in the Piazza del Campidoglio in Rome (known through many prints), though that horse is more upright: Van Dyck made his horse seem more in movement, by depicting the left front leg obliquely and the right front leg raised. Where the circumstances surrounding Titian’s project are well known, those around Van Dyck’s are unclear. The date, before he left for Italy, suggests Antwerp or London as its place of origin. As mentioned under DPG127, Samson and Delilah, the circumstances in which several of these early paintings arose, and who their patrons were – if there were any – are completely unknown.In his early years Van Dyck made several other compositions with horses, as part of a larger scene. For St Martin dividing his Cloak (Related works, nos 2a.I, II) he might have been inspired by a Rubens of the same subject (Related works, no. 3d) [6]; Van Dyck’s St Martin is on a horse that is going to the left. In St Sebastian bound for Martyrdom (Related works, nos 2b.I–III) the white horse is subordinate to the main subject. In the study in Oxford the horse is moving towards the viewer, and a compact man with a helmet is riding on it (Related works, nos 2c.I, II); it is not known what composition Van Dyck meant this to be used in.Van Dyck clearly seems to have been intrigued by this kind of pale horse with a long curly mane: he tried several positions for it in his works. It was a popular type in Flanders, as can be seen in 17th-century paintings by Jacques Jordaens and Jan Boeckhorst, and in Italy in the 20th century – all apparently modelled on Van Dyck horses (Related works, nos 3e–3h)....

Aelbert Cuyp DPG4, DPG128

... , black chalk, with brush drawing in grey wash, corrected in white (mostly oxidized), 75 x 140 mm. BM, London, 1836,0811.113; Hind 36 [4].471e) Aelbert Cuyp, Three Cows on Grass with Dock Leaves, black chalk, with grey, yellow and red wash, 139 x 190 mm. BM, London, Gg,2.294; Hind 33 [5].48Paintings2a) Aelbert Cuyp, Landscape near Rhenen: Cows at Pasture with a Shepherd playing the Flute, c. 1650–55, canvas, 170 x 229 cm. Louvre, Paris, 1190; Chong 115 [6].492b) Aelbert Cuyp, View of Rhenen, panel, 67.5 x 90.5 cm. Present whereabouts unknown (Hoogsteder & Hoogsteder, The Hague, 1991); Chong 83 [7].502c) Jacob and Aelbert Cuyp, A Couple with their Daughter, Sheep, and a Dog. Rhenen in the Background, signed and dated JG cuyp. Fecit. / 1641 (JG in monogram), canvas, 106.5 x 148.5 cm. Museo Nacional de Arte Decorativa, Buenos Aires, 3591; Chong 18 (then in Switzerland) [8].512d) (with the same standing shepherd as in 1b) Aelbert Cuyp, A Landscape, signed, c. 1647, panel, 48 x 73.5 cm. Present whereabouts unknown (Sotheby’s, New York, 17 Jan. 1985, lot 173); Chong 67.522e) (with the same standing shepherd as in 1b) Aelbert Cuyp, Cattle and Herders with the Huis te Merwede in the Distance, signed, panel, 38.1 x 50.8 cm. NG, London, NG1289; Chong 138.532f) (with a standing shepherd similar to that in 1b) Aelbert Cuyp, Landscape with Shepherds and Shepherdesses, panel, 77.5 x 107.5 cm. Private collection, Belgium; Chong 77.542g) Copy: D. A. Ross collection, Victoria, B.C.55Prints3a) Aelbert Cuyp, Cows, first of a series of etchings, 68 x 73 mm. BM, London, S.7314 [9].563b) Copy: Ralph Cockburn, A Landscape, with Cows, c. 1816–20, aquatint, 166 x 231 mm (Cockburn 1830, no. 3). DPG [10].573c) Copy: John Cousen (1804–80), The Noon-day Rest, etching, 222 (trimmed) x 274 mm, lettered state. BM, London, 1861,1109.56. Working proof 210 x 282 mm. BM, London, 1926,0331.110 [11].58Lent to the RA to be copied in 1879 and 1930....

... ticularly noticeable in the sky. Previous recorded treatment: 1867, ‘revived’ and revarnished; 1911, relined, Holder; 1949–53, conserved, Dr Hell; 1992, relined, S. Bobak; blanching treated, cleaned and restored, H. Lank.RELATED WORKSDrawing1) Aelbert Cuyp, Two seated Shepherd Boys, monogrammed A:C, black chalk and grey wash, 109 x 168 mm. Fondation Custodia, Paris, 4369 [12].83Paintings2a) (similar cliffs to the...

Abraham van Calraet DPG63, DPG65, DPG71

... the collection of M. de Hevesi, Vienna, 1937 [Related works, no. 1], extended at the left); Murray 1980a, p. 299; Beresford 1998, p. 57 (Calraet); Jonker & Bergvelt 2016, pp. 47, 51; RKD, no. 287273: https://rkd.nl/en/explore/images/287273 (Dec. 11, 2017).TECHNICAL NOTESThe grain of the wood and the grey ground are visible in some parts of the sky. Areas of the paint surface have suffered damage from abrasion; the central cow is particularly worn. The painting has been heavily retouched in the trees, shadows and weeds. The resin varnish has been partially removed. Previous recorded treatment: 1949–55, partially cleaned, Dr Hell.RELATED WORKS1) Repetition of the right half: Abraham van Calraet, Two cows before a building, monogrammed lower right A.C., panel, 38.5 x 32.6 ...

... 14) Copy: Antoine Alphonse Montfort (as after Aelbert Cuyp), Deux cavaliers (Two Horsemen), inscribed Esquisse faite d’après un tableau de Kuyp, galerie de Dwlitch [sic] août 1848 (Sketch made after a picture by Cuyp, Dulwich Gallery, August 1848), watercolour, 207 x 315 mm. Printroom, Louvre, Paris, RF 8042 recto [4].22Lent to the RA to be copied in 1834, 1841 and 1857.Calraet’s paintings of horses derive primarily from Cuyp’s interest in the subject, but in style they reflect a knowledge of Philips Wouwerman’s hunting scenes. The white horse may be inspired by examples in Wouwerman’s works, but with its small head and stiff posture it is inferior to them. Here the palette is also more monochromatic than that of those artists. During the 19th century DPG65 was paired with DPG71, also by Calraet, although the dimensions are slightly different.Bredius in 1919 used as comparison a picture in Rotterdam (Related works, no. 2) [3] to attribute DPG65 to Calraet. Chong deems the attribution to be doubtful, while he still thinks the Rotterdam picture is by Abraham van Calraet himself. We see no reason to disagree with Bredius....

... l, 31 x 42 cm. Present whereabouts unknown (De Fursac sale, Brussels, 11 Dec. 1923, lot 50, as A. Cuyp; photo RKD).4) Copy: Ralph Cockburn, Two Horses (as Cuyp), c. 1816–20, aquatint, 300 x 402 mm (Cockburn 1830, no. 49). DPG.32Lent to the RA to be copied in 1834, 1841, 1847 and 1857.Tethered horses waiting for riders frequently appear in Calraet’s work; there are examples in Rotterdam (see under DPG65, Related works, no. 2) [3], Cambridge (Related works, no. 1) [4], and St Petersburg (Related works, no. 2) [5]. Particularly when compared to the works in Rotterdam and Cambridge, DPG71 is quite loosely painted. The handling of the tree, on the other hand, is rather similar to that in the Cambridge picture. Given the artist’s sixty-year career it seems impossible to suggest a date. During the 19th century DPG71 was paired with DPG65, also by Calraet, although the dimensions are slightly different.Writing in 1824, when the picture was attributed to Cuyp, William Hazlitt commented that ‘Nature is scarcely more faithful to itself than this delightfully unmannered, unaffected picture is to it’. Bredius first attributed DPG71 to Calraet in 1919, as Hofstede de Groot did in 1926, but it was not until 1947 that this was accepted in the DPG catalogues. As with the other paintings by Calraet at Dulwich, it has not been possible to identify the picture in Desenfans’ early inventories or sales....

Adriaen BROUWER

... is dated, so any attempt at a chronology of his surviving works is tentative.His early pictures seem to be those carefully painted in bright colours, resembling works by Haarlem painters such as Willem Pietersz. Buytewech (1591/92–1624), Esaias van de Velde (1587–1630), and Adriaen van Ostade (1610–85). After his move to Antwerp Brouwer seems to have chosen a more sombre palette, enlived by small areas of localised colour. The fact that David Teniers II (1610–90) at the time used a similar palette could be a sign of Brouwer’s influence. Brouwer shifted the setting of peasant genre scenes, a theme pioneered by Pieter Bruegel the elder (1526/30–1569), from the outside of the building to the interior. Less bucolic than Bruegel’s, however, his figures almost inevitably quarrel, gamble, and argue among themselves. It is not that his works celebrate these vices: rather, they are intended as moral warnings. The anger and loss of control expressed by Brouwer’s subjects is condemned not only from a Christian standpoint but also from that of the Neo-Stoicism of the humanist circles that he frequented. Brouwer was also interested in scenes involving the senses, and most particularly in a new activity in the 17th...

... 25.5 cm. Wadsworth Atheneum, Hartford, Conn., 1923–520, Gift of Mrs Charles B. Wood.222d) Anonymous copy. Panel, 40 x 52 cm. Palais des Beaux-Arts, Valenciennes, P.46.1.386.232e) Copy of the left side of the picture. Location given only as ‘Orléans’ (photo Witt).243) Willem Basse, previously attributed to Adriaen van Ostade, Man urinating, etching on paper, 16.5 x 11 cm. BM, S.1546.25An autograph picture by Brouwer, previously thought to be a copy of a signed picture formerly in the d’Arenberg collection, last seen publicly when it was offered for sale in 1981 (Related works, no.1) [3]. Knuttel had considered it to be a copy, on the basis of photographs; Konrad Renger echoed that opinion, although, according to his letter, he had never seen the d’Arenberg version.26 It should however be noted that the photograph in the RKD which purports to be the d’Arenberg picture is in fact an old pre-conservation photograph of DPG108.27 This has no doubt misled many scholars attempting to establish the primacy of one picture over the other.The scene is a high-ceilinged room in a tabagien, an inn for smokers. In the left foreground two men sit smoking pipes. One, in white, wearing a cap with a small clay pipe tucked into its band, hunches forward to light another pipe. Next to him a figure in a pink overshirt and red hat leans back, with one hand on his hip, after inhaling; Knuttel noted that he might be smoking the belladonna and hemp mixture available in certain secret Flemish taverns. Behind them at another table two men drunkenly sing. In the background are more drinkers, while in the right foreground a figure in red trousers and brown shirt rests his head drunkenly on a post. His penis is hanging out of his trousers, a detail seldom seen in 17th-century Netherlandish painting, although there is a print by Willem Basse (1613/14 – 1672; previously attributed to Adriaen van Ostade) that originally showed the same; in later versions it was scratched away (Related works, no. 3).The scene is typical of Brouwer’s œuvre in its innovative focus on the exaggerated facial expressions of its coarse participants and its basic impropriety. Hazlitt in 1824 commented that it ‘almost gives one a sick headache’. With its high quality it continues to be called a picture by Brouwer, and until the d’Arenberg picture reappears doubt must remain regarding its primacy over DPG108....

Aert van der NEER

... l school of Dutch landscape painting (Jan van Goyen (1596–1656)) and established his own style: he began to specialize in winter scenes, towns on fire, sunrises and sunsets, and especially moonlit views of rivers. In 1659 and 1662 he was documented as keeping a tavern, and on 12 December 1662 he was declared bankrupt. He continued to paint, however; and two of his sons, Eglon (1635/6–1703) and Jan van der Neer (1636/7–65), were his pupils. Eglon became famous as a fijnschilder (literally an artist who paints finely, a term used especially for Leiden artists).LITERATUREBachman 1966; Bachmann 1982; Zeldenru...

... ichter & Sparkes 1892 and 1905, p. 94, no. 340;7 Cook 1914, p. 206 (copy after Van der Neer);8 HdG, vii, 1918, p. 416, under no. 228 (copy after Van der Neer; Engl. edn 1923, p. 382); Cook 1926, p. 192; Cat. 1953, p. 30 (Aert van der Neer); Murray 1980a, p. 301 (copy after Van der Neer); Beresford 1998, p. 168; Schulz 2002, p. 236, no. 423 (copy after his no. 599; another copy is his no. 848); Jonker & Bergvelt 2016, p. 140; RKD, no. 285971: https://rkd.nl/en/explore/images/285971 (August 28, 2017).TECHNICAL NOTESPlain-weave linen. Red ground. Glue-paste lined; the original tacking margins are absent. The side edges are battened and filled with gesso (approximately 0.6 cm wide). Blisters at the edges. Some brittle cupping in the bottom left, and the stretcher marks are showing. There is abrasion down to the ground, particularly in the sky. Many small retouched losses. Previous recorded treatment: 1936, old wormholes in the stretcher filled; 1952–5, Dr Hell.RELATED WORKS1) Prime version: Aert van der Neer, River Landscape by Moonlight with Two Fishermen to the Right, m...

J. van MOSCHER

... ing that was then attributed to ‘I. Ostade’, which since 1880 has been attributed to Govert Camphuysen, DPG64). In 1880 Richter and Sparkes attributed A Road near Cottages to the school of Salomon van Ruysdael. They also reproduced the signature (P van .. olo), but made no suggestion as to the name. It was first attributed to Van Mo(s)scher by Van Regteren Altena in 1931, and this has been universally accepted. The signature seems clearly to be ‘J van …o…’, but the olo as published in 1880 could well have been ofc, since Moscher did use the long s. Furthermore, the painting is stylistically similar to other signed works by Van Moscher, such as landscapes in Munich and Prague (Related works, nos 1–3) [1], and an unsigned picture in Gateshead (Related works, no. 4) [2]. In particular, the treatment of the branches silhouetted against the sky and the twigs is the same in all these works. The Munich art historian Walther Bernt in a letter in 1936 proposed to attribute A Road near Cottages to Jacob van Mos(s)cher, as did the Amsterdam collector F. C. Butôt in 1960. Both included a photograph of a signed Jacob van Moscher for comparison.13To date it has not proved possible to establish the provenance of the picture before it appeared in Bourgeois’ collection in 1811. A clue may be the wax seal on the reverse of the panel, of crossed batons with what appears to be a fleur-de-lys and some letters.14 It will be not be possible to prove, as Murray suggested in 1980, that the picture was twice placed on sale by Desenfans in 1786.15...

Gerard HONTHORST

... least 1643 he painted works for Kronborg Castle for Christian IV of Denmark and Norway (1577–1648). During those years he also received important commissions from the house of Orange Nassau, which led him to move from Utrecht to The Hague in 1637. He collaborated on the decoration of the Oranjezaal, the main room of Huis ten Bosch – commissioned by Amalia van Solms-Braunfels (1602–75) to commemorate her husband, Stadholder Frederik Hendrik, Prince of Orange (1584–1647), after his death in 1647 – with several other Northern and Southern Netherlandish painters.2 Honthorst painted the cupola and several allegorical portraits.In 1640 Honthorst was elected dean of the painters’ guild of The Hague, but in 1652 he moved back to Utrecht. Given the paucity of works after that year, it would seem that he had retired. In his career he was extremely successful, and he appears to have made a considerable fortune. Among his numerous pupils were Joachim van Sandrart I (1606–88), Gerard van Kuijl (1604–73), and, according to Sandrart, the Dutch Italianate landscape painter Jan Both (1615/22–52).LITERATURESlatkes 1996; Bok 1997b; Ekkart 1998b; Judson & Ekkart 1999; Saur, lxxiv (2012), pp. 415–417 (G. Seelig); Ecartico, no. 3817: http://www.vondel.humanities.uva.nl/ecartico/persons/3817 (May 14, 2017); RKDartists&, no. 39445: https://rkd.nl/en/explore/artists/39445 (May 14, 2017)....

... he edges. There is slight all-over craquelure which corresponds to the vertical grain of the panel. Some old retouching in the top left of the oval is now noticeably discoloured, and there is an old unretouched loss in the background and other tiny losses which relate to the right-hand panel join. Abrasion to the paint layers allows the ground to show through a little in some areas, for example at the bottom of the painting and in the collar above the sitter’s right shoulder. Previous recorded treatment: 1952–3, cleaned and restored, Dr Hell....

... ole in the opposition of the States of Holland to the military policies of Stadholder Willem II, Prince of Orange (1626–50). In 1657 he was portrayed by Nicolaes Maes (1634–93; Related works, no. 5), and in 1665 by Jan de Baen (Related works, no. 1b) [3]. His portrait by Honthorst, DPG652, is clearly a pair to DPG571. It is not known at what point the pair left the family collection, but in 1760 Houbraken produced an engraving of Honthorst’s portrait of Jacob de Witt based on a drawing after it by Aert Schouman (1710–92; Related works, no. 3) [6]. The engraving was intended as an illustration for the famous Dutch History of the Fatherland (1749–60) by Jan Wagenaar. An inscription on it records that the original was then in the collection of Cornelis de Witt, burgomaster of Dordrecht. Presumably the portrait of Anna van den Corput was also still in the family collection, like the two portraits of their sons, Cornelis and Grand Pensionary Johan (now in the Dordrecht Museum: Related works, nos 2a, 2b) [4-5]. The four paintings had been framed c. 1669 like state portraits, which indeed they were, since Johan de Witt as Grand Pensionary was the highest director of the entire Republic of the Seven United Netherlands.11 After he and his brother were murdered in 1672 and the Stadholder of the House of Orange returned to power, they became simple family portraits.By 1639, the date on the portraits, Honthorst was living in The Hague. The sitters are portrayed in fashionable costumes with elaborate lace collars, and set in somewhat archaic oval frames. Their poses and their evident detachment reflect the influence of Van Dyck, although stylistically the portraits lack his brio, exhibiting a harder, drier style....

Adriaen HANNEMAN

... II (known through copies), Henry, Duke of Gloucester (NGA, Washington), and Sir Edward Nicholas. He also produced two allegories, one of Justice (1644; Oude Stadhuis, The Hague) [4] and one of Peace (1664, for the States of Holland; Binnenhof, The Hague). Hanneman became quite wealthy and served as dean of the painters’ guild in 1645. He was one of the painters who contributed to the decoration of the Oranjezaal in Huis ten Bosch near The Hague, which was created to commemorate Stadholder Frederik Hendrik, Prince of Orange (1584–1647), who had died in 1647.1When 48 of the most important painters and sculptors left the guild in 1656 and set up their own association, Confrerie Pictura, he accompanied them and became its first dean (1656–9), and dean again (1663–6). At his death in 1671 his estate was small; what became of his wealth is unclear.Hanneman was vitally important for the dissemination of Van Dyck’s style of portraiture in the Northern Netherlands, and one of the most...

... s able to combine the nobility that Van Dyck gave his sitters with a degree of Dutch gravitas, and although his sitters lack the brilliantly coloured silks worn by Van Dyck’s in England, his masterful painting of black-on-black gives the sombre costumes of mid-17th-century Holland an elegant magnificence. The head of the sitter, in particular, reflects the time Hanneman spent in Van Dyck’s workshop (or at least shows his influence) (cf. Van Dyck’s portrait of George, Lord Digby, DPG170). In 1976 Onno ter Kuile suggested that a portrait of a woman in New York might be a pendant (Related Works, no. 1) [5], as they are the same size and have the same tan background. Differences in height and scale between man and woman are common with Hanneman.5 In his discussion of the New York portrait Liedtke is not completely convinced, as according to him Hanneman’s paired portraits make a play with the hands, whereas the hands are missing in DPG572. Both pictures are certainly characteristic of his work in the 1650s and 1660s, as can be seen by comparison with, for example, his portraits of Nicolas van de Haer and Dana van Vrijberghe in Quimper, signed and dated 1661 (Related works, nos. 2a, 2b) [6-7].This Portrait of a Man was presented to Dulwich by Charles Fairfax Murray in 1911, as part of his gift to mark the centenary of Sir Francis Bourgeois’ death. It is unclear when or where he first obtained the picture. It should be noted that on 11 May 1910 R. H. Benson wrote to Fairfax Murray, ‘Did I tell you that Lord Plymouth has a portrait of an ancestor at Hewell resembling your Hannemann? I want him to see yours.’6...

... r & Bergvelt 2016, p. 609 (Hanneman); Hearn 2020, pp. 167, 170 (n. 22); RKD, no. 277956: https://rkd.nl/en/explore/images/277956 (May 14, 2017).TECHNICAL NOTESFine plain-weave linen canvas. Red ground. Glue-lined onto similar; the original tacking margins are present, and strips of a similar type of canvas have been glued over them. The paint is in generally good condition, with ar...

Arent de GELDER

... ly when that was. After some years he returned to Dordrecht, where he remained for the rest of his life.Just over one hundred paintings by De Gelder are known today. He mainly concentrated on Biblical subjects, especially from the Old Testament...

... Beersheba to Haran, lay down to sleep, and in the night he dreamt he saw a ladder that stretched from earth to heaven, on which angels were ascending and descending. In the painting Jacob can be seen at the left lying on the ground asleep in front of some trees; above, the night sky has opened to reveal a brilliant light that picks him out in the darkness. Hovering near heaven in the beam of light (rather than a ladder) are two white, shrouded, winged figures of angels.Although Rembrandt seems never to have painted this subject, he did produce an etching of the subject with a ladder in 1655, and five drawings from throughout his career survive.39 Other Rembrandt pupils including Ferdinand Bol (1616–80) and Gerbrand van den Eeckhout (1621–74) painted the scene with much larger figures,40 as was usual in Italian art as well. The ultimate source for the composition would seem to be Rembrandt’s etching of The Angel appearing to the Shepherds of 1634 (here shown in a counterproof: Related works, no. 1) [2]. In a drawing of the same scene in the British Museum, recently attributed to De Gelder by Martin Royalton-Kisch (c. 1670–90), the figures are much larger than those in the present painting (Related works, no. 2) [3]. What De Gelder changed in the Dulwich picture, painted much later (see below), is the scale: Jacob is a tiny figure in an endless landscape, where two angels are descending from the clouds in the luminous sky.Desenfans acquired the picture as a Rembrandt in or before 1802, when it appeared in his sale of that year. Murray suggested that it might be one by De Gelder which was in the collection of Jean-Baptiste-Pierre Le Brun (1748–1813) before it was sold at Christie’s in 1785, while Frederiksen found another Jacob’s Dream mentioned in 1768. In both cases no dimensions are given, so they might be the other known Jacob’s Dream by De Gelder, now in the Oskar Reinhart Collection, Winterthur, which is considerably larger, with much larger figures, but cut down on the right side (Related works, no. 3) [4].41 Moltke pointed out that this larger work was in England from at least 1857, when it was recorded in the collection of Viscount Dillon at Ditchley, Oxfordshire, on loan to the Manchester exhibition of 1857. Moltke also noted that Arent de Gelder’s inventory of 1727 (f. 281) included ‘1 groot stuk, verbeeldende Jacob en den engel’ (1 large piece, depicting Jacob and the angel), which presumably refers to the larger treatment of the theme in Winterthur.The picture was much admired in the 19th century as an authentic Rembrandt. It even figures in a depiction of Rembrandt’s studio of 1841 by John Scarlett Davis (1804–45/6; Related works, no. 9) [7], next to the Nightwatch and The Shipbuilder and his Wife. Patmore described the painting as ‘extraordinary’; Mrs Jameson wrote, ‘I know nothing more wild, visionary, and poetical, than this little picture’; and Hazlitt asserted that ‘No one else could ever grapple with this subject, or stamp it on the willing canvas in its gorgeous obscurity, but Rembrandt!’ As Christopher White has noted, others impressed by it included Robert Browning, Francis Kilvert and Samuel Palmer (1805–81).42 Joseph Mallord William Turner (1775–1851) seems to have been inspired by it in a more general way (Related works, no. 11). A drawing by John Constable (1776–1837) is a magnificent interpretation of De Gelder’s painting (Related works, no. 6) [5]. The visionary quality of De Gelder’s treatment of space and light, ‘sometimes reminiscent of Doré and sometimes of Goya’,43 appealed to that part of the 19th-century British audience who were used to and attracted by the images of William Blake (1757–1827), Johann Heinrich Füssli or Henry Fuseli (1741–1825) and John Martin (1789–1854)....