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Adriaen and Pieter van der WERFF

... 26 September 1722Dutch painter...
... e second, Netherlandish/German section, where they belonged, considering his place of birth and activity.3 Critical interest has only recently returned to Adriaen van der Werff, with the revaluation of Italianate Dutch landscapes and Classicist painting.Pieter van der Werff was Adriaen's younger brother and pupil. He was a painter of portraits, historical and genre scenes. Like his brother he became dean of the Rotterdam guild (1703–16). From 1712 onwards Pieter was heavily involved in almost all his brother’s paintings, as shown in a notebook where Adriaen recorded exactly how many days and weeks he himself had worked on a picture, and how many days and weeks were the work of Pieter, who received an hourly wage.4 Later Pieter concentrated on painting portraits.LITERATUREEikemeier 1972; Snoep, Meyerman & Thiels 1973; Gaehtgens 1987; Hecht 1989, pp. 248–79; Thiels 1994; Leistra 1996; Aono 2011, pp. 195–6 (Adriaen), 197–8 (Pieter), and passim; Ecartico, no. 8752: http://www.vondel.humanities.uva.nl/ecartico/persons/8752 (Adriaen; April 27, 2017); Ecartico, no. 8755: http://www.vondel.humanities.uva.nl/ecartico/persons/8755 (Pieter, April 27, 2017); RKDartists&, no. 83661: https://rkd.nl/en/explore/artists/83661 (Adriaen; April 27, 2017); RKDartists&, no. 83665: https://rkd.nl/en/explore/artists/83665 (Pieter; April 27, 2017)....
... is...
... uded the picture in his so-called ‘Polish’ sale in 1802. Interestingly, in 1802 the picture still had its case, which was usual for small paintings, especially with female nudes.DPG147 depicts the famous episode in Ovid (Heroides, XVI) where the shepherd Paris judges which of Juno, Venus and Minerva was the most beautiful. Venus, attended by Cupid and two doves, stretches out her hand to receive the prize, the golden apple of Discord. Behind her stand Juno and Minerva, the latter wearing her characteristic helmet, while off to the left, in the shadowy background, Mercury rests his head pensively on his hand.According to Barbara Gaehtgens the figure of Paris derives (in reverse) from a Judgement of Paris that Adriaen van der Werff had painted four years earlier, which was formerly in Dresden (Related works, no. 1) [3]. That depicted a slightly later moment in the narrative, with Venus already holding the apple. DPG147 has similar gloomy surroundings, but is otherwise a quite different and much tighter composition. For his Venus in DPG147 Van der Werff borrowed the pose of Eve from the Adam and Eve by Guido Reni (1575–1642), in Rotterdam at the time, or a copy after it (Related works, nos 2a, 2b) [4]. Then for another picture Adriaen or his studio changed Paris and Venus back into Adam and Eve (Related works, no. 3). In 1717 Adriaen himself painted a further Adam and Eve, in which the two figures are closer to each other and parts of their bodies even overlap. There the two figures look not at each other but in the same direction, as they are called to account by God (Related works, no. 6) [8]. How Van der Werff played variations on the group of goddesses combined with another male figure (in addition to the Paris and Adam figures) to the left can be seen in pictures in the Louvre, at auction at Sotheby’s, and in the Rijksmuseum (Related works, nos 4, 5) [5-7].At the end of the 18th century Sir Joshua Reynolds (1723–92) had seen the picture in France: ‘In that work Vanderwerf has shewn himself a great Italian master, in the three goddesses, which in every sense of the word, are goddesses indeed.’ And he particularly admired the uncommon decency with which the subject was treated, adding, ‘that when an inferior artist treats the naked, modesty is sure to be alarmed at the performance.’38 William Hazlitt in 1824 wrote that the figures were ‘of coloured ivory. They are like hard-ware toys’ – missing the point that Van der Werff’s pale, elegant goddesses were intended to emulate statuary.In the 19th century five prints were made after the picture, three in France (two of them in reverse) and two in England, which all follow it quite closely, indicating that the picture was held in high esteem – at least by the printmakers (Related works, nos 7a–7e) [9-12]. At Dulwich the critical acclaim was mixed: Ralph Cockburn (1779–1820) did not include it in his series of aquatints after pictures in the Gallery; Denning gave it the longest entry in his 1858 catalogue, longer than those on Poussin’s Education of Jupiter and Triumph of David, though many of his words are critical....

Notes
... essing much variety of colouring, creates an unpleasant monotony, and gave rise to the remark, that if Rembrandt’s pictures possess too much salt, those...
... different manner from no. 48 [that is the picture Van der Werff sold to Count Czernin de Chudeniz in 1717: see below and also notes 9 and 19; Related works, no. 1; Fig.]), [purchased] by the Duke of Orléans, regent of France f5,000). Gaehtgens 1987, p. 465, Dokument 27, fol. 2: Aan den heere hartog van Orleans, regent van Vrankrijk ao 1719/ 1 stuk, Paris Oordeel op een ander manier als boven f500/f5000 ([Sold] To Milord the Duke of Orléans, regent of France, in the year 1719/ 1 piece, Judgement of Paris in a different manner from the one above ƒ500/ƒ5,000). (NB: on the same page the picture that was sold to Count Czernin in Prague is referred to as sold in February 1717.) ...
... ollector of Dutch and Flemish paintings: see Korthals Altes 2009–10, pp. 208–9 (notes 69, 70). It is certain that the picture stayed in the Orléans collection. ...
... graces of a Parmegiano, with that high-finishing and rich colouring in which his works so much excel.’ ...
... account of their sweetness and scarcity; but Sir Joshua could not be reconciled to the carnations of that master’s figures, pretending that they had more the appearance of ivory than flesh; and he used to say that the only one of his pictures he knew free from that defect, was the Judgment of Paris, which he had seen in France, in company with his friend Mr. Burke. – In that work, said Sir Joshua, Vanderwerf has shewn himself a great Italian master, in the three goddesses, which in every sense of the word, added he, are goddesses indeed. And he particularly admired the uncommon decency with which the subject was treated, adding, that when an inferior artist treats the naked, modesty is sure to be alarmed at the performance.’ ...
... f sold to Count Czernin de Chudeniz in 1717 for 5,500 guilders: see notes 5 and 19. As DPG147 was sold in 1719 (according to the artist himself), Houbraken was probably wrong about the year in which Van der Werff sold the picture to Paris. ...
... composed differently from the first, to the Duc d'Orléans, Regent, ƒ5,000, in Dutch currency). This information comes from Houbraken (see the preceding note). ...
... is.’ ...
... and the female forms are certainly drawn with extreme elegance, and coloured with considerable truth – at least they will seem so when compared with this artist’s usual hard and ivory performances: but place them beside a piece of rich vitality by Rubens, or one of Titian’s breathing forms, and they would seem but...
... hooses for his subjects naked figures of women, and tantalises us by making them of coloured ivory. They are like ha...
... s Gallery […] [include] 3. The Judgement of Paris – valued at 150 guineas.’ See also note 1 ab...
... e which was sold in the collection of Noel Desenfans, in 1802, for 385 gs. Descamps […] mentions two pictures […] The latter is, perhaps, the one now in the Dresden Gallery. See p. 195. A picture representing the same subject was sold in the collecti...
... House. Il a été grave par Maurice Blot. Haut., 2 pieds. (It was formerly in the Palais Royal gallery; it then passed into the collection of M. de Talleyrand, and then i...
... tone of colour than I remember in any of his other works. It was painted for the Regent Duke of Orleans, in 1718, and brought to England with the Flemish part of the Orleans Gallery, in 1793. It was then valued at 150 guineas […] Engraved by Blot.’ ...
... that the study of casts from the antique, and of drawings and engravings of the Italian Masters had much, perhaps too much, to do with the formation of his style. There is not enough flesh and blood in his figures. Smoothness, polish & consummate finish they certainly possess, but they are nevertheless hard and cold, and Sir Joshua Reynolds attributed this to a want of transparency in his colouring. But perhaps the plaster casts caused it.’ ...
... nd ivory-like; the painting is, however, of exquisite finish.’ ...
... is mentioned. ...
... xiv (1833), no. 953. This seems to be a confusion with another work by Van der Werff, as DPG147 was purchased by Bourgeois in 1796 in London. See also note 16. ...
... 017); Gaehtgens 1987, pp. 244–5, no. 31; this is the picture that Van der Werff sold to Coun...
... /en/explore/images/235547 (May 26, 2017); see also https://mba...
... 26 Hoet 1752, i, p. 286: Eva, dewelke Adam een Appel aenbiedt, een Leeuw met een Tyger, ...
... 360 (May 11, 2015); Jansen 1996b; Gaehtgens 1987, pp. 288–90, no. 56 (as disappeared). ...
... a Pipe-playing Shepherd (Related works, no. 4), mysteriously called Judgement of Paris. Or does she assume that the print was made after a picture that was at the time in Paris? Anyhow, both prints mentioned by Atwater with the title Judgement of Paris have dimensions different from those of Related works, no. 7a; Fig. ...
... April 29, 2017); see also https://www.britishmuseum.org/collection/object/P_1926-033...
... istra 2004. ...
... April 29, 2017); see also https://www.britishmuseum.org/collection/object/P_1852-100...
... April 29, 2017); see also https://www.britishmuseum.org/collection/object/P_2010-708...
Willem van de VELDE II

... ised 18 December 1633–London, 6 April 17071Painter and draughtsman...
... 1837) and Joseph Mallord William Turner (1775–1851) admired the younger Van de Velde, Turner regarding him as one of the great masters. Probably in reaction to the general appreciation, John Ruskin took DPG68 as an example to show how poor the Dutch (or at least Van de Velde) were at depicting the sea. (His choice was unfair, since at the time DPG68 was not considered to be the best Van de Velde at Dulwich, and now it is after Van de Velde.)Britton’s 1813 inventory shows that Desenfans and Bourgeois were thought to have three pictures by Willem van de Velde the Younger. Now only one of those is still considered to be by him, DPG103; of the others, one is now after him (DPG68) and one is assigned to the Studio of the English artist Peter Monamy (1680/81–1748/9; DPG298).4 The artist of DPG197, now considered to be an autograph work, was not recognized in Britton 1813.LITERATURERobinson 1990; Cordingly 1996; Giltaij & Kelch 1996, p. 333; Daalder 2013; Daalder 2016; Van der Veen 2019f; Ecartico, no. 7639: http://www.vondel.humanities.uva.nl/ecartico/persons/7639 (Nov. 21, 2017); RKDartists&, no. 79794: https://rkd.nl/en/explore/artists/79794 (Nov. 21, 2017)....
... isk Breeze...
... down the foresail, while her sprit-sail is already half lowered and her sprit is horizontal in the slings. Behind her to the right and nearly parallel is a smalschip, a ‘narrow ship’ able to negotiate locks on inland waterways, head turned into the wind. In the background at the extreme left is a third ship, a hoeker, a type of fishing vessel. Various warships can be seen in the distance.15Smith, Jameson and Waagen called the picture ‘A View of(f) the Texel’ (the biggest and most populated of the islands in the Wadden Sea off the coast of North Holland and Friesland), but this seems uncertain, as there is no land in sight. It has proved impossible to identify the colours flying on the vane of the kaag.Michael Robinson dated the picture c. 1665, which seems likely. Of the three works once attributed to Willem van de Velde the Younger at Dulwich, this is the best preserved.The provenance of the picture before it entered Bourgeois’ collection is unclear. It is probably significant that the previous stretcher of the picture bears an impression of Bourgeois’ seal, suggesting that it could have been purchased by him rather than Desenfans. Whatever its origin, the picture was widely admired in the 19th century, Waagen writing that ‘A warm evening light, happily blended with the delicate silver tone of the master, and the most exquisite finish of all the parts, make this one of his most charming pictures.’...
... chip, seen in starboard quarter view, and behind it a kaag, seen side-on. The smalschip’s mainsail is being lowered to the deck and the Dutch flag hangs limply, showing that the wind has dropped. The kaag is slackly anchored and her crew seem to be busying themselves, while a small boat without a mast (Robinson suggests this might be a weyschuit (a simple wooden hulk) draws alongside. At the left a dinghy is being pushed off with oars, aided by two men in the water. In the background are numerous large ships, all becalmed, and in the far distance on the right is land. Above are puffy cumulus clouds in a blue sky, with stratocumulus above.21 Robinson suggested some workshop involvement, responsible for the ‘muddled drawing’ of the lowered foresail of the smalschip, but this seems unduly harsh. A small weakness like this only underlines the superb proficiency of the Van de Veldes’ usual draughtsmanship. To a contemporary audience the scene would have been immediately recognizable as set in the Northern Netherlands.The earliest possible provenance recorded for DPG197 is in a posthumous sale held in 1796 of the collection of John Stuart, 3rd Earl of Bute (1713–92), Prime Minister in 1762–3. While there was a taste for Dutch maritime pictures in Britain in the 18th century, it is tempting to suggest that Stuart might have purchased the picture in the Netherlands when he was a student at the University of Leiden in 1728–32....
... if he had followed Turner’s example. Seemingly this picture is according to Ruskin exemplary for all that is wrong with Dutch 17th-century seascapes, at least Van de Velde’s.38Given all the criticism, it seems likely that the picture had been extensively restored and retouched to make it acceptable for display before Ruskin saw it. Around 1965, however, routine conservation revealed it for what it is, a studio repetition or late copy.The scene shows a group of becalmed ships on a sunny day. In the centre is a bezan yacht seen from port astern, with the arms of Amsterdam on her stern and a pendant at the ensign staff, signifying that she is from the admiralty at Amsterdam. Her prow points to the centre of a waterschip seen from starboard that is lying at anchor with her sprit-sail lowered. On her starboard bow is a smalschip trying to get underway. What appears to be a weyschuit with sail set can be seen on the starboard quarter of the waterschip, and close astern is a small boat with two men in it, loaded with fish baskets. In the background on the left is a flute firing a gun ahead, while on the right a small ship is trying to get underway. Clearly a breeze has arisen, giving the ships some hope of escape from being becalmed.39As Robinson noted, the vessels are lying in the Vlie: the Brandaris lighthouse on Terschelling island appears in the distance, centre left.40 This area was a centre of Dutch shipping and a natural target: on 15 August 1666, in the Second Anglo-Dutch War, an English skirmishing party entered the Vlie and burned a hundred and forty merchantmen, two men-of-war, and the village of Terschelling. Ships such as those seen here would have been prime targets for that raid....

Notes
... fact that the calendar in England was (until 1752) ten days – in this case eleven days – behind the calendar in the Netherlands. ...
... ishing boats, which they are not, email from Remmelt Daalder to Ellinoor Bergvelt, 28 March 2018 (DPG103 file). ...
... 6380), lot 154, since that was much larger: a copy of the catalogue is annotated ‘65’ – 6 x 5 feet, or c. 183 x 152 cm. ...
... o dimensions are given it is not clear whether this is DPG103. Denning 1858, no. 166, however thinks it is. ...
... nly, and the bustle of the vessels getting ready is well expressed; the sea, sky, and vessels, are...
... is of the choicest quality, in addition to which it has the advantage of being pure and intact. Now in the Dulwich gallery. Wor...
... general effect, and for the most delicate finish.’ ...
... modelled; but the tone of the whole picture is disagreeably black – time has probably changed the...
... f the master, and the most exquisite finish of all the parts, make this one of his most charming pictures. […] (No. 166).’ ...
... light is most happily rendered. Every part is exquisitely finished.’ ...
... is picture the title ‘A Kaag and a Smalschip at Sea with other Vessels in a Fresh Breeze’: Robinson 1990, ii, p. 810. ...
... lities; however in his Monamy entry (Robinson 1990, ii, p. 709) he refers to Cat. 1820, p. 7, no. 93, which is clearly DPG68: see the following note. ...
... are beautiful and effective. It has, however, been sadly rubbed in cleaning’), while p. 392, no. 213 is now studio of Peter Monamy (DPG 298): see Ingamells 2008, p. 113. ...
... ed: p. 9, no. 140 is DPG197; p. 12, no. 213 is now studio of Peter Monamy (DPG 298): see...
... is picture the title: ‘A Smalschip and a Kaag in an Inlet at Low Water’, Robinson 1990, i, p. 493. ...
... e, which has the figure of a goose on her stern, is firing a salute; two others, one a beautiful p...
... is sadly deteriorated by unskilful cleaning. Now in the Dulwich gallery.’ ...
... 26 ‘In the Second Room, no. 75, a Sea Storm, by Backhuysen [=DPG327], and No. 92, A Calm...
... fect even on unobservant eyes. […] I cannot believe that any person who has ever floated on calm sea, can stand before this picture, without feeling that the whole of the water below the large ship looks like vapour or smoke. He may not know why […] but he must feel that something is wrong, and that the image before him is indeed “a painted ship – upon a painted ocean.” Perhaps the best way of educating the eye for the detection of falsehood is to stand before the Mill of Hobbima, No. 131 [DPG87], in which there is a bit of decently painted water, and glance from one picture to the other; when Vandevelde’s [DPG68] will soon become by comparison a perfect slate-table, having scarcely even surface or space to recommend it; for, in his ignorance of means to express proximity, the unfortunate Dutchman has been reduced to blacken his sea as it comes near, until by the time he reaches the frame it looks perfectly spherical, and is of the colour of ink. What Vandevelde ought to have done …’ (continues in his ch. 3: see the following note). ...
... […] we should have seen the image of the hull absolutely clear and perfect, because that image is cast on distant water […] but we should have seen the image of the masts and sails gradually more confused as they d...
... ey would destroy the evidence of distance, and appear to set the ship above the boat, instead of beyond it. I doubt not in such awkward hands that such would have been the case, but he is not on that account to be excused for painting his surface with grey horizontal lines, as is done by nautically disposed children; for no destruction of distance in the ocean is so serious a loss as that of its liquidity. It is better to feel a want of extent in the sea, than an extent which we might walk upon, or play at billiards upon.’ ...
... r. This copious and extremely delicate picture is injured by cleaning. […] (No. 113.).’ ...
... jured by cleaning’, and adds in 1859: ‘Indeed it is. It must once have been a beautiful picture.’ ...
... oat and those of that on the right, which may indeed be one of the indications that this is a – probably contemporary – copy.’ ...
... is picture the title: ‘A Dutch Bezan Yacht Close to Port of a Watership at Anchor’, Robinson 1990, i, p. 355. ...
... as is Vlieland, where a sister of Willem van de Velde I lived. On the relationship of the Van de Veldes with this area see Daalder 2016, pp. 81–2 and 187. With many thanks to Remmelt Daalder for notes sent to Ellinoor Bergv...
Herman van SWANEVELT

... is, 1655Dutch painter, draughtsman and etcher...
... draughtsman and peintre-graveur, making some 117 prints. Somehow his name disappeared from art-historical memory, but since the work of Kitson (1958) and Blankert (1965) it has been clear that Swanevelt was not a pupil of Claude, as was often said, but rather that Claude was inspired by Swanevelt. They worked together at the Buen Retiro, and their paintings of the 1630s are closely related, so much so that in the DPG collection it seems that a Swanevelt became a Claude (DPG309), and a Claude became (perhaps) a Swanevelt (DPG174).LITERATUREKitson 1958a and b; Waddingham 1960; Blankert 1978/1965, pp. 98–9; Salerno, ii, 1977–8, pp. 410–23; Chong 1987f; Bos 1996b; Schatborn 2001, pp. 77–83, 205–6; Szanto 2003; Capitelli 2005; Blankert & De Graaf 2007; Steland 2010; Cappelletti 2011, p. 41; Levert 2017, p. 314, no. 7255; Veldman 2020; Ecartico, no. 7255: http://www.vondel.humanities.uva.nl/ecartico/persons/7255 (May 12, 2020); RKDartists&, no. 76191: https://rkd.nl/en/explore/artists/76191 (May 12, 2020)....
... IS . 1645...
... here is extensive craquelure, which is particularly noticeable in the sky, and an impact crack is visible in the top left corner of the sky. Previous recorded treatment: 1875, lined, repaired, surface dirt removed and revarnished; 1953, cleaned and retouched, Dr Hell; 1960, reported to Dr Hell;5 1990s, conserved, N. Ryder; relined, cleaned and restored.RELATED WORKS1) Copy, Philippson collection, dimensions unknown (photo Witt) .2a) Preparatory drawing (?): Herman van Swanevelt, The Arch of Constantine, brush in brown, pen in brown, and grey wash, 200 x 259 mm. Nelson-Atkins Museum of Art, Kansas City, 81-130/10 [2].62b) Attributed to Jan Asselijn (previously Bartholomeus Breenbergh and Cornelis van Poelenburch), The Arch of Constantine in Rome, black chalk with grey wash, 389 x 315 mm. Fitzwilliam Museum, Cambridge, PD. 189-1963 [3].72c) Gerard ter Borch I, North side of the Arch of Constantine in Rome, ‘G.T.Borch.F in Roma. Anno 1609’, pen in brown ink (sheet in a sketchbook), 165 x 270 mm. Rijksprentenkabinet, RM, Amsterdam, A 866 [4].83) Herman van Swanevelt, Roman Ruins with the Arch of Constantine, inscribed ‘HERMAN VAN SWANEVELT / ROMA 1634’, canvas, 52 x 67 cm. National Museum of Western Art, Tokyo, P.93-4 [5].9...
... dated 1609, by Gerard ter Borch I (1582/3–1662; Related works, no. 2c) [4]. In these cases the angle from which the Arch of Constantine is seen is very similar to the one Swanevelt took for DPG11.Stylistically, the Dulwich painting reflects the monumental calm of Swanevelt’s later work. In his earlier images of ancient Rome he had shown more of the overall scene, but here he concentrates on the arch. And the intensity of the colours, compared with the pictures in Tokyo (Related works, no. 3) [5] and Cambridge (under DPG174, Related works, no. 1), reveals how far Swanevelt had travelled in the intervening decade. Light effects that he shared with Claude are not forgotten, but they are sublimated in favour of a greater clarity and naturalism....
... IS 164[5, 8 or 9?]...
... s://rkd.nl/en/explore/images/284583 (May 30, 2017).EXHIBITIONBath 1999, n.p., no. 8 (A. Sumner).TECHNICAL NOTESPlain-weave linen canvas. Glue-paste lined. There are two paper patches on the verso of the canvas, corresponding to small holes in the left tree and in the sky; a 1977 letter refers to the holes as ‘war damage’.20 There is extensive old craquelure, particularly in the sky, but this is secure. The green areas have blanched considerably, and the majority of the retouchings that are visible in UV are on the trees and foliage. Signature and date have been damaged but not altered. Previous recorded treatment: c. 1978, cleaned and restored, treated for blanching, E. Friedrich....
... IS 164[?]...
... a different viewpoint. However architecturally the two churches are completely different, and the two pictures can’t represent the same place. It has not proved possible to link the village with any known location.28 Some Italian landscapes by Paul Bril (1553/4–1626), about fifty years earlier, show a similar motif of a dark bridge with the sun shining through.29 That could have been the inspiration for Swaneveld’s DPG219.It is debatable whether the pair is a study in contrasts, as is suggested by Anne Charlotte Steland in her catalogue raisonné: according to her DPG136 has a restrained colour scheme, while DPG219 is warmer, with the whole bathed in a golden light.What may be a preparatory drawing for DPG219 survives in the British Museum (Related works, no. 1) [6].There has been some minor debate about their dating: Stechow published them as ‘Paris 1644’, Murray gives ‘most probably 1645’, and Beresford ‘1645 or 1648’. Steland has suggested 1645, 1647 and 1648. Whatever the actual dating, the fact is that both pictures are typical examples from Swanevelt’s maturity in Paris.It is possible that the pictures may be identical with pairs of ‘Morning’ and ‘Evening’ that were in London in 1769. Murray suggested that they might be the pair put up for sale by Desenfans in 1786, but that seems incorrect: those were probably the same as the two oval pictures that had appeared in Desenfans’ sale the previous year.30...

Notes
... ine Hill and part of the Ruins of Caesars Palace.’ It is possible that this was DPG11, and that it was purchased by Desenfans and Bourgeois at this sale. ...
... 07, p. 16 (ill. 5); according to Steland 2010, i, pp. 26, 148–9 (G 1, 46), the inscription is ‘Herman Van Sw...
... column on the north-east corner is a replacement of 1732–3 for that used for the organ gallery of St John Lateran in 1597’; G. P. Pannini in his print of 1743 shows four, which is correct if Howell is right: Richard Green 2012 (DPG11 file). ...
... ii, p. 557 (Z 28). She believes this drawing to be by Swanevelt rathe...
... elt paintings gave one hit, in 1756: Christopher Batt sale, London, 15 April 175...
... of the one is finely contrasted with the glowing warmth of the other; and every object partakes of the influence of the rising or the setting sun. These pictures are enriched with a variety of figures, which are in general finely painted. Two...
... evelts offered by Desenfans at his private sale in 1786 were DPG...
... are called ‘Landscape’: p. 14, no. 265 (‘FOURTH ROOM – West Side; A La...
... are called ‘landscape’: p. 395, no. 265 (Swanefeld. A landscape), and p....
... are called ‘landscape’: p. 14, no. 265, and p. 14, no. 270. ...
... 26 Richter & Sparkes 1880, p. 157, no. 256 (facsimile of signature): ‘The date on th...
... (June 2, 2017); see also https://www.britishmuseum.org/collection/object/P_1900-08...
... istian subjects, see Cappelletti 2005–6, no. 17 (1594); no. 17a (print after no. 17, probably circle of Jan Brueghel I), ...
... veldt – Two oval landscapes’); Desenfans sale, Christie’s, 15 July 1786 (Lugt 4071), lot 20 (‘Swanni...
Philips Wouwerman DPG182, DPG92

... kburn 1830, no. 50). DPG [2].734c) Copy (same direction): John Jackson, Landscape with Cattle and Figures – Wouvermans, wood engraving, Penny Magazine 1841d, p. 289.Lent to the Royal Academy to be copied in 1838, 1848 and 1921.Wouwerman’s interest in the everyday characters of this little scene recalls the early influence of Van Laer. However, Frederik Duparc pointed out that the beautiful silver greys balanced by warm pinks are those of his later work in the second half of the 1650s;74 Schumacher agreed, placing it ‘Around or shortly after 1655’.Wouwerman returned again and again to scenes of common people gleaning a living among the sandhills of the northern Netherlands, depicting hay carts singly (Related works, no. 1) or in combination with a ship (Related works, no. 2), or as here one above the other, with the horses facing in opposite directions. It seems that Wouwerman influenced Johannes Lingelbach (1622–74) with this motif (Related works, nos 3a, 3b) [2].Hofstede de Groot suggested that DPG182 is first documented in a sale at Zoeterwoude in 1784; the description and dimensions are indeed very similar, but Wouwerman played many variations on his motifs, so one cannot be completely sure of the identification. The picture first definitely appears in the collection of Desenfans, in 1804, before passing to Bourgeois in 1807....
... e made a series with the maréchal or farrier as a theme: there were others with ‘La grote’ (sic), the grotto, ‘La famille’, the family, and ‘La boutique’, the shop of the farrier.92Frederik Duparc has suggested a date of 1656 or slightly later for DPG92, which seems correct,93 for while the scene still shows the influence of Pieter van Laer in the placement of the small everyday figures in an outdoor ruinous architectural setting, the horizontal composition and pastel colours in the sky point towards the new style that he developed in the later 1650s and 1660s. Schumacher suggests ‘Around or shortly after 1655’. As his career progressed, Wouwerman’s tonalities lightened and his figures became more animated. At this point he is still concerned with rustic figures characteristic of the Bamboccianti.DPG92 is documented in 1766 as part of the posthumous sale of the collection of Antoine-Joseph Dézallier d’Argenville (1680–1765), a significant figure in the history of art due to the publication in 1745–52 of his Abrégé de la vie des plus fameux peintres, a work aimed at helping collectors to recognize styles and periods, and the work of individual artists.94 Dézallier d’Argenville had an extensive art collection, consisting of about 6,000 drawings, and 73 of his paintings were auctioned in the year after his death. DPG92 was sold immediately after another Wouwerman, a winter scene, but their differing sizes militate against their being a pair.95 However both pictures were important enough to be included by Moyreau in his Œuvres as nos 26) [3] and 76. Viewed in the light of Dézallier d’Argenville’s theories, the inclusion of DPG92 in his collection underlines not only its characteristic style but also, given his connoisseur status, its exemplary qualities....

Notes
... ws a landscape; in the foreground a woman sits with a child on her lap, next to a cart with a white horse in front of it, with a man standing next to it and a boy sitting on it; in the middle ground is a hill on which there is a cart and horse while two men load hay; next to that two other boys who seem to want to get on a boat to go fishing; everything very beautiful in light and brown, in the best manner of painting, on panel; Dutch dimensions c. 42 x 34.6 cm). ...
... ng to a woman with a child. The composition, grouping, colouring, drawing, &c. of this exquisite little picture are so excellent, that it may be fairly esteemed as one of the most valuab...
... containing a cart and a horse on a little elevation in the centre, is one of the loveliest gems of this master that I have ever seen, both in colouring and composition – but particularly the latter.’ ...
... horses – an ear, an eye turned round, a cropped tail, give you their history and thoughts – but from the want of a little arrangement, his figures look too often like spots on a dark ground.’ ...
... is a picture of estimable quality. Now in the Dulwich Gallery, and worth 250 gs.’ ...
... ve been destroyed. As it is, however, it is impossible not to be struck with the charming fidelity to nature displayed in every part. The figures and the horses are drawn with life-like precision, while the mode of execution, its freedom, lightness, delicacy, and finish, qualities rarely combined, render [the picture] a work of high order in this particular class of painting.’ ...
... en see in Wouvermans’ finest things, and exquisitely painted.’ ...
... 262206 (May 6, 2018); Schnackenburg 1996a, i, p. 329, no. GK 355, ii, fig. 145. ...
... ishmuseum.org/collection/object/P_1847-0305-99 (July 14, 2020); Atwater 1989, iv, p. 1572, no. 2040. ...
... ilian 2010, pp. 28–30, no. 9 (W. Wagenaar-Burgemeister); with many thanks to Jasper Hillegers. ...
... haut sur 20 pouces & demie de large (Another painting, known as Le Colombier du Maréchal after the print engraved by J. Moyreau, No. 26: M. J. B. Descamps says this painting is among the best known of Philippe Wouvermans’ works: it is painted on canvas [French dimension...
... erman were at auction in London, but none of them depicting a farrier or a farrier’s shop: lot 17, ‘A Return from the Chace; lot 81, ‘A Landscape. An extensive scene, with a river like the Danube in the distance…’; and lot 93, ‘A Landscape, with a Traveller giving Charity to poor Peasants’. ...
... very, waiting with his hat in his hand. The farrier’s wife is on the threshold of the door, over which is a grated window; a child is by her side, and in her arms, another still at the breast; a gentleman, whose white dog is lying near him, is waiting till his friend’s horse is shod; and is conversing with her, while another woman is climbing over a low wall which is between the two houses, with a basket of linen to dry. ...
... spirit, considering the extremely diminutive scale on which the whole is painted. The two foregoing [nos 119 and 120 = DPG78 and 92] are perhaps the best pictures in the Collection by this most pleasing artist.’ ...
... cture (No. 137), by Wouvermans [DPG92]. No sooner have I joined him in admiration of this…’ ...
... ke here, as no. 144 is DPG97, and not Le Colombier du Mareschal, which is DPG92. ...
... f M: Herron of Brussel for 1800 francs. See Smith’s Catalogue Raisonné. No: 69. It has been engraved under this title by Moyreau. No: 26.’ ...
... (May 28, 2018); see also https://www.britishmuseum.org/collection/object/P_1847-030...
... Maës 2009–10, and Vallet 1967. For his own publication, see Dézallier d’A...
... riod, depicting a winter scene, on panel, [French dimensions] 12 pouces h x 18 w, J. Moyreau made a print after it, which is called the Lumberjacks, it is no. 76 of his Works); bt Basan, 380l. For the Moyreau print see Moyreau 1737–62, no. 76, BM, London, 1847,0305.117; Atwater 1989, iv, p. 1582, no. 2058. ...
Cornelis de VOS

... ish painter, draughtsman, printmaker and art dealer...
... lodge of King Philip IV (1605–65) outside Madrid, the Torre de la Parada. He frequently worked with his brother-in-law Frans Snijders (1579–1657) and with Jan Wildens (1584/6–1653).LITERATUREGreindl 1944; Van der Stighelen 1990; Van der Stighelen 1996; Ecartico, no. 7994: http://www.vondel.humanities.uva.nl/ecartico/persons/7994 (March 28, 2018); RKDartists&, no. 81876: https://rkd.nl/en/explore/artists/81876 (Dec. 6, 2019)....
... s, no. 5).21 However, between c. 1618 and c. 1640 burghers in Antwerp and Amsterdam, striving to enhance their status, commissioned similar portraits.22 Anthony van Dyck painted a seated Antwerp lady, probably of the Vinck/Vincque family of merchants, around 1619 (Related works, no. 6).The lady in DPG290 is dressed in an old-fashioned way. She wears an elaborate ruff, a black widow's cap, and an embroidered black dress with a furred vlieger (a 16th-century pinafore dress) costume, which is very like the attire of Magdalena de Cuyper, also from Antwerp, in a portrait by Jordaens, c. 1635–6 (Related works, no. 4) [5]. In her left hand she holds a lace handkerchief and in her right a book, probably religious, her place marked by her index finger, no doubt referring to a pious life. The handkerchief, however, was a sign of wealth, in the Southern and Northern Netherlands23 and in England, as in the portrait of the Countess of Arundel (Related works, no. 5).The best clue to the sitter’s identity is the arms behind her with a well and stripes. Bert Watteeuw of the Rubenianum drew attention to a monument in St George’s Church in Antwerp, dated 1559, with a coat of arms incorporating the same well and stripes (Related works, no. 1) [2]. The monument is dedicated by ‘Henricus’ and Alexander van der Goes to their parents, ‘Petrus’ van der Goes (1520–86) and his wife, Alexandrina Balbani (?–1605?).24 The quartered coat of arms in the background of DPG290 shows the same united arms of the Van der Goes families (golden well on saber) and Balbani (golden eagles on stripes of azure on silver). Later Watteeuw identified the sitter as Maria van der Goes (1555–1642), daughter of Peter van der Goes and Alexandrina Balbani. She married Jan della Faille the Younger (1542–1618). She became a widow in 1618, which explains her dress in the picture. It seems that her son Alexander I della Faille (1587–1653) owned this portrait at the time of his death.25The Balbani were a family of merchants from Lucca who settled first in Bruges, then later in the 16th century in Antwerp. The Van der Goes family also had mercantile roots. They were not aristocratic families pur sang, but they were among the most successful and certainly the richest Antwerp merchant families, and were thus at the top of the patriarchiate, with aspirations to nobility that were fulfilled through marriages later in the 17th century.26Sir George Scharf (1820–95), who in 1857 became Secretary of the National Portrait Gallery, and later its Director, on one of his many tours around the British Isles sketched some of the portraits in the Dulwich Gallery. In 1859 he drew two paintings that were thought to be by Rubens, DPG285 and DPG290 (Related works, no. 7) [6]. As was common opinion at the time, he thought that DPG290 was a picture Rubens painted before he went to Italy. Clearly Scharf did not like it very much, since he noted: ‘very poorly painted; rather weak; bright & crude’; it is not clear who the Mr. Brodering is (a collector?) with whose paintings he compares DPG290....

Notes
... ntioned, but in view of the heraldry and the dates, etc., it seems quite likely that this is DPG290.’ Information in an email from Bert Watteeuw (Rubenianum) to Ellinoor Bergvelt, ...
... ished and valuable portrait of the painter’s mother’; painting; transaction unknown. ...
... ng a perfect specimen of the higher style of portrait, being correct, natural and unsophisticated; finished in every part, slovened in none, rich in its detail, and effective as a whole. The hands and fac...
... r illustrious son. […] but this lady really does feel (as she ought) that to be the mother of Rubens is honour enough.’ ...
... wever, it is unfortunately so obliterated, that regret for what it has been, is stronger than admiration of it as it now is.’ ...
... went to Italy in 1600, as his mother died during his absence (in 1608).’ ...
... execution, but the hands are exquisitely rendered.’ ...
... me of Holbein; how, what it might lose in high-laboured finish and cautious fidelity of detail, it gained, and more than gained, in ease, grace, beauty, and harmony of finish and effect. How grand and dignified, yet how perfectly natural, is the old lady in this picture! how exquisitely true her calm, quiet smile, and her kindly honest eyes ! – how wonderfully drawn and painted are her hands! – you could grow her age, and her rank in life from them, without looking at her face at all!’ ...
... chnique, the picture must have been painted long after 1600, the year in which Rubens saw his mother for the last time.’ ...
... his mother by Rubens had surprisingly the characteristics of care and humility.’ ...
... 5) thought it was one reference written by (Holman-)Hunt in his autobiography, originally published in Bentley’s Miscellany 10 (1841), p. 351. Cook however cites an anonymous article of ten years later. ...
... ote 24. The church no longer exists: email from Bert Watteeuw ...
... ead-only portrait by Cornelis de Vos see Related works, no. 2; Fig. Another head-only version is mentioned, which was in Munich (probably lost in the Second World War), referred to in the ...
... enven). This portrait is also mentioned under no. 62, as related to the woman in a family portrait by Cornelis de Vos in Philadelphia: Van der Stighelen 1990, p. 154 (note 379). ...
... supposed to have been a letter from him, which is not in the file of DPG290. ...
... is picture and its pair, the portrait of Thomas Howard (2nd Earl of Arundel; 1585–1646), also emphasize the coupl...
... . In both publications the emphasis is on portraits of standing figures....
... len forwarded by Christine Delhaye to Michiel Jonker in May 2011. De Winkel and Van der Stighelen both disagree with the interpretation of the handkerchief as a sign of sorrow, as in Dickey 1995. For two late...
... 26 Information about the two families in the email from Bert Watteeuw (2018) cited in no...
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Studio of David Teniers DPG321, DPG341

... the background are two houses. The picture has been seen as depicting Winter and sometimes paired with DPG341, thought to represent Autumn; but the pair to Winter would be Summer, and if the two pictures did represent those two seasons, the other two seasons would be missing. Desenfans owned a set of Four Seasons in 1802, but with a different Winter – an old man ‘dressed in fur, leaning with one hand, upon his stick, and holding in the other, a foot stove’:250 cf. an 18th-century print after Teniers (Related works, no. 4) [4]. He saw DPG321 and 341 not as seasons but as personifications of types of labourers: in the 1804 insurance list they are called ‘The Chimney Sweeper’ and ‘The Landlord’ and valued separately at £50. Later, however, the two pictures seem to have been made into a false pair: recent conservation revealed that the canvas of DPG321 had been extended on both sides to make it match the dimensions of DPG341. Bourgeois is the probable culprit (as with the false pairing of DPG76 and DPG95). It is unlikely that Teniers intended DPG321 to be a personification of Winter: rather, it is an independent genre scene, reflecting his interest in setting single figures in a landscape, where they could also illustrate different series, such as the Five Senses.A preparatory sketch of a chimney-sweep by Teniers in Amsterdam (Related works, no. 1b) [2] seems to be not for DPG321 but for a winter scene in a Belgian private collection (Related works, no. 1a) [1]. Similar figures in a less wintry context appear in a number of other paintings by Teniers (Related works, nos 2a–2d). Chimney-sweeps could sometimes have an erotic connotation,251 as seems to be the case of a print after Teniers or Adriaen Brouwer (?) (Related works, no. 3) [3], but that is most probably not the case with DPG321....
... a (?), panel, 25.7 × 19.6 cm. Lanckoroński collection, Warsaw, ZKW 3918.2614c. Jacques-Philippe Le Bas after David Teniers II, Taste (one of the Five Senses): a pedlar carrying a basket hung round his neck selling drinks, 1736, etching, 190 (trimmed) × 114 mm. BM, London, 1850,0713.41 [8].262Teniers produced several sets of pictures on the theme of the seasons, and in these Autumn is usually represented by a toper, as here. Similar figures can be seen in a set in the National Gallery, London (Related works, no. 1) [5], and in another set at auction in Brussels in 1930 (Related works, no. 2b); related to the latter is a painting at auction in London in 1990 (Related works, no. 2a) [6]. The description of Autumn in the Desenfans catalogue (as part of the set of the Four Seasons in his 1802 sale) sounds very much like the two Autumn pictures at auction in 1930 and 1990.263 In these groups the other seasons are personified consistently: Spring is shown as a gardener carrying a tree to plant, Summer as a peasant in a field, and Winter as an old man. A drawing in Detroit shows a similar man with glass and jug, but in reverse, and without the vine leaves (Related works, no. 3a) [7].Another possibility is that DPG341 is meant to represent Taste, as one of the Five Senses, of which Teniers also painted sets. In that case Taste is often depicted as a drinker with a glass and a bottle (Related works, no. 4a), but sometimes as a man with a basket round his neck, selling bottles (Related works, no. 4c) [8].As noted in the entry for DPG321, the Chimney-sweep, it seems likely that the two pictures were not originally paired; presumably they entered Desenfans’ collection separately....

Notes
... hand, upon his stick, and holding in the other, a foot stove. On one side are men skaiting, and at a distance, a village covered with snow. On pannel.’ See also note 30 (Spring and Summer) and note 21 (Aut...
... e pictures; of which there are only two in this Collection; this, the Winter, and No. 27, the Autumn.’ ...
... is and No. 341 (“Autumn”) formed part of a series of the Four Seasons, which was No. 96 in Desenfans’s Catalogue ...
... ison & Whiteley 2004, p. 221; White 1999a, pp. 152–3, no. A 1035a. ...
... ishmuseum.org/collection/object/P_Oo-10-148 (May 20, 2020). ...
... ishmuseum.org/collection/object/P_2011-7041-1 (May 20, 2020). ...
... 26565/rec/3 (Jan. 17, 2021; R. Virag); Wright 1999, pp. 84–5, 203. ...
... mer curator of the museum. […] we have not been able to identify the handwriting. […] I have changed our record to clarify why we think it might be after Brouwer, although this is certainly not conclusive or definitive.’ ...
... (July 5, 2018); see also https://www.britishmuseum.org/collection/object/P_1850-071...
... is fig. 65b]. ...
... ith vine leaves, a bottle of wine in one hand, and a glass in the other: at a distance is a vineyard, where men are gathering grapes.’ See note 3 (Winter) and note 30 (Spring...
... e same is hanging from a window; several beer casks form the fore-ground, and a hop plantation with people gathering them, the distance.’ ...
... together with the aspect of a distant vineyard, proclaim that the season is at hand when all classes are, for once in the year, allowed to “be merry and (not) wise.”’ ...
... is picture was called Autumn. No. 18, ante, was the Winter; and these two, together with Spring and Summer, were ...
... sons: the other nos are 857 (Spring), 858 (Summer) and 860 (Winter). Martin also mentions several other series, but none is 8 inches high by 6 inches wide (on panel), the dimensions of the Desenfans series offered for sale in 1802 (see notes ...
... 26 RKD, no. 106464: https://rkd.nl/en/explore/images/106464 (July 4, 2018); see also htt...
... ...
... ...
... ...
... ratorial volunteer at DPG, noticed in Jan. 2015 that the description fits the series offered for sale at Christie’s, Amsterdam (sale 3021), 20 Nov. 2012, lot 26 (Provenance: Anonymous sale; Sotheby's, London, 26 April 1950, lot 115 (£ 270 to Leonard Koetser, London), with P. de Boer, Amsterdam. See http://www.christies.com/lotfinder/paintings/david-teniers-ii-an-allegory-of-the-5619871-details.aspx#top (April 2, 2015) a...
Rembrandt DPG163

... x 50.5 cm (oval). MMA, New York, Bequest of Lilian S. Timken, 1959, 60.71.15 [2].851b) Preparatory drawing: Rembrandt, Study for the painting ‘A Girl at a Window’ of 1645, black chalk touched with white, 83 x 65 mm. Courtauld Gallery, Princes Gate Bequest, London, D.1978.PG192 [3].861c.I) Pieter Lastman, The Wedding Night of Tobias and Sarah (Tobias 8:23), signed and dated P. Lastman fecit 1611, panel, 41.2 x 57.8 cm. Museum of Fine Arts, Boston, 62.985.871c.II) Rembrandt, A Woman in Bed / Sarah waiting for Tobias, c. 1647, signed and dated Rembra[…] f. 164[7], canvas, 81.1. x 67.8 cm (arched top). National Gallery of Scotland, Edinburgh, NG 827 [4] .881d) Rembrandt, The Militia Company of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburch (The Nightwatch), signed and dated Rembrandt f. 1642, canvas, 379.5 × 453.5 cm. RM, Amsterdam (on loan from the City of Amsterdam), SK–C–5.89Pictures of similar girls by Rembrandt and his school2a) Jan Victors, Young Girl at a Window, signed and dated JAN FICTOOR.FE 1640, canvas, 93 x 78 cm. Louvre, Paris, 1286 [5].902b.I) (pair with 2b.II?) Rembrandt, Girl in a Picture Frame, signed and dated Rembrandt f. 1641, panel, 105.5 x 76.3 cm. Royal Castle, Warsaw, ZKW/3906.912b.II) (pair with 2b.I?) Rembrandt, Scholar at his Writing Table, signed and dated Rembrandt f. 1641, panel 105.7 x 76.4 cm. Royal Castle, Warsaw, ZKW/3905.922c) Rembrandt, A Girl at a Window (The Kitchen Maid), signed and dated Rembrandt f. 1651, canvas, 78 x 63 cm. Nationalmuseum, Stockholm, NM 584 [6].932d) Studio of Rembrandt, Girl with a Broom, c. 1646–7, falsely signed and dated Rembrandt f. 1651, canvas, 107.3 x 91.4 cm. NGA, Washington, 1937.1.74.942e) Attributed to Samuel van Hoogstraten, Girl in a Half-Door, canvas, 75 x 60 cm (arched top). Marquess of Tavistock and the Trustees of the Woburn Estates, Woburn Abbey, 1405.952f) Attributed to Samuel van Hoogstraten, Girl at an Open Half-Door, c. 1645, falsely signed and dated Rembrandt f. 1645, canvas, 102.5 x 85.1 cm. Art Institute of Chicago, Mr & Mrs Martin A. Ryerson Collection, 1894.1022.96Headdress3a) Rembrandt, The Death of the Virgin, signed and dated Rembrandt f. 1639, etching and drypoint, 410 x 315 mm. BM, London, F,5.26.973b) Rembrandt, Three Studies of a Child, One Study of a Woman, c. 1640–45, brown ink, brown wash, and white opaque watercolour on white antique laid paper, 215 x 161 mm. Fogg Art Museum, Harvard University Art Museums, Cambridge, Gift of Meta and Paul J. Sachs, 1949.4 [7].983c) Stefano della Bella, Two studies of a woman with a North Holland headdress, c. 1647, pen in brown ink over black chalk, 95 x 110 mm. Private collection.99Some later copies and variationsFrance4a.I) Copy (with a basket of onions): Jean-Baptiste Santerre, La Jardinière, c. 1708–9, canvas, 81 x 65 cm. Musée des Beaux-Arts, Orléans, 14 [8].1004a.II) Studio of Jean-Baptiste Santerre, L’Attention, canvas, 72 x 52 cm. Musée national du château de Fontainebleau, 8698 4.1014b) Print after no. 4a.I (in reverse): Pierre Louis (de) Surugue after Jean-Baptiste Santerre, Sylvie at a Window, c. 1719, inscriptions, etching and engraving, 258 x 189 mm. BM, London, 1874,0808.1825.1024c) Pastiche: Jean Raoux, A Girl at a Window, drawing, 210 x 165 mm. Musée des Beaux-Arts et d’Archéologie, Besançon, D.1583.1034d) Copy (flowers added): French, first half of the 19th century (formerly attributed to Jean Raoux), 86.5 x 90.7 cm. Museé des Beaux-Arts, Libourne, D.2004.1.69.104Germany5a) Free copy: Antoine Pesne (1683–1757), Girl at a Window. Staatliche Schlösser und Gärten, Potsdam-Sanssouci.1055b) Print (same direction): Carl Gottlieb Rasp, engraving, signed and dated Rinbrant inv. C.GF. rasp sc. 1770/6 (?).Great Britain6a) Copy: A. Grenville-Scott, Girl at a Window, 1774 or 1779, pastel, 654 x 546 mm. Lord Polworth collection.1066b) Copy: formerly attrib. to Sir Joshua Reynolds, Girl at a Window, canvas, 62.9 x 53 cm. Hermitage, St Petersburg.1076c) (inspiration) Sir Joshua Reynolds, The Laughing Girl, canvas, 91.5 x 71.2 cm. The Iveagh Bequest, Kenwood (English Heritage).1086d) (inspiration) John Opie, Mrs Opie, c. 1806, canvas, 89.3 x 63.7 cm. Private collection, UK.1096e) Print (same direction): William Say, Rembrandt’s Peasant Girl, c. 1814, mezzotint, hand-coloured, 505 x 349 mm. BM, London, 1861,1109.286 [9].1106f) (inspiration) J. M. W. Turner, Jessica, exh. 1830, canvas, 122 x 91.5 cm. Tate Britain (at Petworth House), T03887.1116g) Print (same direction): John Rogers, inscriptions, 1830s, mezzotint, 168 (trimmed?) x 128 (trimmed?) mm. BM, London, 2010,7081.6963.1126h) Miniature copy: Isabella Fawcett, c. 1840, watercolour, 138 x 113 mm. Private collection, UK.1136i) Copy: Unknown artist, c. 1870s, canvas, 63.5 x 50.8 cm (oval). Private collection, UK.1146j) Frances L. Grace, The Dulwich Rembrandt, c. 1878–9, canvas, 26.3 x 28.8 cm. Present whereabouts unknown (Morgan Grenfell & Co. Ltd, 1993) [10].1156k) Copy: Tom Keating, c. 1950s, watercolour and pencil underdrawing, 360 x 290 mm. Private collection, UK.1166l) Free copy: Simon Edmondson, inscribed and dated Study at Dulwich 17.9.90, canvas, 22.5 x 33 cm. Grob Gallery, London.1176m) Copy: Unknown artist, Paraja, the Mulatta Slave of Valasquez, lithograph, photo Warburg Institute.118United States7a) Copy after DPG163 and no. 6e: Thomas Sully, Rembrandt’s Peasant Girl, copper, 15.8 x 21.6 cm. Private collection, San Francisco, 1851.1197b) Free copy: Rembrandt Peale, Portrait of Rosalba Peale, 1846. El Paso Museum of Art, Fort Worth, Texas.120Comparable trompe l’œil8a) Flemish School, Boy at a Window, c. 1550–60, panel, 73.8 x 61.6 cm. Royal Collection Trust, RCIN 404972.121Gold chain9) Rembrandt, Self-Portrait in a Flat Cap, 1642, panel, 70.4 x 58.8 cm. Royal Collection Trust, RCIN, 404120.122Lent to the RA to be copied in 1816, 1839, 1855, 1861, 1867, 1878, 1879, 1880, 1890, and 1899(?)....
... 1708. A solution was offered by inventories of such girls, where the only valuable possession was often a gold chain; and Rembrandt could have lent her one as a prop. However, very careful examination shows that what is around her neck is not two rows of the same gold chain but two ties of her loose gown, with the same decoration as on the cuffs and on the seam between the bodice and the sleeves. Our recent observation was already noticed and published by Ann Sumner in 1994, but her entry was clearly not noticed by later writers.139 At the 2019–20 exhibition at Dulwich, where DPG163 hung near Rembrandt’s Self-Portrait from the Royal Collection (Related works, no. 9), painted three years earlier, it became very clear how Rembrandt painted a real gold chain.The possibility that the girl might be the protagonist of an Old Testament story was investigated and dismissed.140 However the Woman in Bed in Edinburgh, as she is called by the gallery there (Related works, no. 1c.II) [4],141 was rather convincingly interpreted as Sarah waiting for Tobias on their wedding night by Van de Wetering in 2015 (following Tümpel), from the example of that scene by Pieter Lastman dated 1611 (Related works, no. 1c.I). Her (Jewish?) metal headdress seems to be Rembrandt’s invention,142 as does the cap with a red tassel in DPG163.143 A little girl in a drawing apparently from life (Related works, no. 3b) [7] appears to wear a ribbon intricately encircling her head, with hanging ends, somewhat similar to that in DPG163. Headdresses were a feature of costume in North Holland: a print of the Death of the Virgin, c. 1639, shows one on a young woman at the far right (Related works, no. 3a), and the Italian draughtsman Stefano della Bella recorded one during his travels in the Netherlands (Related works, no. 3c); but in neither case are there ribbons or tassels as in DPG163. Marieke de Winkel thinks it highly unlikely that a servant girl would have been dressed in a shirt only, and considers that the shirt and the cap are a kind of fantasy clothing, which gives her, and other girls and women similarly depicted by Rembrandt, a strong romantic and timeless note.144Thus what Rembrandt painted here, as part of the exercises in trompe-l’œil effects that interested him at the time, is a very realistic, illusionistic, and attractive picture of a girl, which has so far defied interpretation. That is probably exactly what he wanted: a picture that still after nearly four hundred years invites the viewer to look very carefully, and to engage in finding new meanings.The picture led to many copies and variations in France, Germany, Great Britain and the United States, of which the list of Related works gives only a selection (nos 4a–4d, 5a–5b, 6a–6m [8-10], 7a–7b). The pupils of the Royal Academy had to copy it nine or ten times in the 19th century. In 1949 it was at £33,000 the most expensive of the sixteen Dulwich paintings which were then valued by Thomas Agnew and Sons (the cheapest, at £100, was Adriaen van de Velde’s DPG51 Cows and Sheep in a Wood). DPG163 is still considered to be one of the highlights of the Dulwich Picture Gallery collection, if not the image of the collection....

Notes
... banished. While he was in prison de Piles seems to have worked on his Abregé de la vie des peintres that was published in 1699 (a second edn appeared in 1715). ...
... is sale catalogue (Lugt 682): see note 7 below. See also Roscam Abbing (1999, pp. 167, 170 (note 81), 224), who refers for Duvivi...
... collection of this Polish count, who lived in Paris, see Roscam Abbing 1999, pp. 151–74. ...
... e for several days, and the posture of his serving-girl remaining always the same, everyone began to realise that they had been tricked. I now have that painting in my cabinet.” [De Piles transl. Roscam Abbing 1993a, pp. 19, 24 (note 3)] Indeed nothing in painting can be more striking than this portrait, and nature is not more realistic. In it Rimbrant used that magic of colour of which he was the master above all others. It depicts a girl, a sort of cook, with a rather titillating appearance, who has both elbows resting on a table. It is known among connaisseurs as Rimbrant’s The Slattern [La Crasseuse]. The light strikes with so much art and so much intelligence on the figure that stands out against a brown background, and its different shadings are so well managed, that it seems to be completely outside the canvas. The colours, no matter how opposite in their nature and in their effects, harmonize so perfectly that it is impossible to distinguish between the passages or the differences between them. The brush is broad and soft, as is usual in the beautiful works of this master. Finally, this piece as a whole is so skilful and so enticing that it is doubtful whether one could ever find a true pendant to it. Since the death of M. de Piles, this Picture has passed in succession through the most celebrated cabinets, where nothing entered that was not perfect enough to deserve a place there. There is every reason to believe that it will have the same advantage today. M. Duvivier, Officer in the French Guards and uncle of M. de Fonspertuis, owned it after M. de Piles. From there it passed to M. le Comte d’Hoym, after whose death it was acquired by M. de Morvile; & finally M. de Fonspertuis acquired it at the sale that was held after the death of that minister (pendant of lot 434).) See also Roscam Abbing 1999, p. 229. ...
... s high and twenty-three and three quarters inches wide. This piece is known among the connoisseurs as the beautiful Gardener. It is known that this master made hardly any portraits of women, which makes them very desirable, especially when they have a pleasant and youthful appearance. This one is of that type; the painting is curved at the top. It can serve as a pendant for the next one, having indeed been enlarged for that purpose. (Pendant of lot 435)). See also Roscam Abbing 1999, p. 229. ...
... f the Painters, on page 423 of the 1715 edition. It was also owned by Mr. de Fonspertuis; see the Catalogue made after his death by Gersaint, no. 435.) See also Roscam Abbing 1999, p. 237. The pair was broken up, as the pendant (Flinck’s Flora), no. 71, was sold to Alexandre-Louis Hersant Destouches, and ended up in New York (Related works, no. 1). NB: according to GPID (19 May 2015) lot 70 is now in Stockholm (Related works, no. 2c). ...
... ld be right. However, whether the girl in DPG163 can be called a ‘woman’ is questionable. ...
... worked, for the deception was only discovered several days later. As one can imagine with Rembrandt, it was neither the beautiful design nor the nobility of expression that had that effect. When I was in Holland I wanted to see this portrait. I was struck by the beautiful brushwork and great power; I bought it, and to this day it has an important place in my cabinet.) Transl. in Van de Wetering 2015, p. 589, and Salomon 2010, p. 36, and amended by Emily Lane. ...
... ice, he strove after the means whereby to trick the eyes with living bodies. He tested this on others with the portrait of his serving-girl which he placed in his window, so that the whole aperture was filled with the canvas. All those who saw it were deceived, until the painting having been there for several days, and the posture of his serving-girl remaining always the same, everyone began to realise that they had been tricked. I now have that painting in my cabinet.) Transl. Roscam Abbing 1993a, pp. 19, 24 (note 3). ...
... st charming, open style of day-light, and is one of those chosen by the Royal Academ...
... nd feeling arising from the circumstances in which we are placed, that, in the very lowest classes of life, and at an early age, before the sexual qualities become developed, you frequently see faces that exhibit no mark of sex whatsoever; and others (as in the instance before us) in which females, from associating indiscriminately with males, and partaking in the same sports and pursuits, acquire the same expression of countenance. The picture before us might just as well have been called “Boy at a Window,” as “Girl.”’ ...
... not be surpassed. The execution of the drapery is masterly. There is a story told of its being his servant-maid looking out of a window, but it is evidently the portrait of a mere child.’ ...
... represented leaning both arms on a sill or wall, with one hand raised to her neck, and her face presented in a front view to the s...
... mingled power and simplicity. It is absolute truth. There is, I think, a mezzotint engraving [Say 1814].’ ...
... good works of his school, but probably none of his own hand’ (originally in Waagen 1838, ii, p. 3...
... irty inches by twenty-four. This famous piece belonged to M. de Piles, who mentioned it in his Vie des Peintres, and to M. de Fonspertuis, 6,000 pounds [French]). ...
... painted her portrait he displayed it in a window where she often had long conversations. The neighbours took the picture for the maid, and at once came up intending to talk with her; but surprised to have talked to her for several hours without her saying a single word, they found the silence very strange, and finally realized their mistake). Cf: Houssaye. ii 163. cf: Abrégé. Vol: iii. p: 114. De Piles. P: 425.’ ...
... lity, the other paintings attributed to Rembrandt in the very valuable but somewhat uneven collection of Dulwich College are not by the master, but the Girl at a window, no. 206 in the catalogue, is entirely original, and indeed superb. Mr Passavant admires it very much, and, unlike Mr Waagen, he praises it, in his Kunstreise in England, as a ‘living and speaking painting, of great execution and great charm of colour .’ However, he is mistaken in thinking that this girl is the now-lost famous Crasseuse, who was only an ‘old and very ordinary person’, in Smith’s words.] (Smith, 532), dated 1645 and engraved by Geyzer; – the most beautiful of all his bust-length portraits of a woman, the Lady with a fan, in Buckingham Palace, framed in a window and holding the upright with her small left hand. Everyone knows the story – or the fable – of the painting called la Crasseuse, depicting Rembrandt’s maid closing the shutter of a window; this painting having been placed, no doubt, on the street front of the house misled passers-by, who took the painted figure for a real person. – According to the chronicle. This subject of a woman appearing at a window that she is about to close seems to have been frequently suggested by Rembrandt to his pupils, who must have known similar paintings by their master and imitated them from memory, more or less, working from life in their little separate workshops at the top of Breestraat.) ...
... 26 p. 199: Sont-ce des portraits, des études ou des sujets composés que ces deux figures...
... in this picture are very similar to those of Rembrandt. It may therefore be considered as the portrait of one of his relations.’ ...
... the dimensions of height and width are switched), under DPG163; Williams 2001, p. 187, no. 103; M. Royalton-Kisch in Bomford, Sumner & Waterfield 1993, pp. 57–8, no. 4; Benesch 1973, iv, p. 186, no. 700, fig. 889; B...
... 267 (June 19, 2020); see also https://collections.mfa.org/objects/33744 (June 21, 2020). ...
... d.nl/en/explore/images/22236 (19 March 20, 2019); see also https://www.nationalgalleries.org/art-and-artists/5353/woman-bed (June 19, 2020); Williams 2001, pp. 182–4, no. 100 (c. 1645). ...
... . 2013); Sumowski 1983–94, iv, (c. 1989), p. 2610, no. 1785. According to Ilja Veldman, ‘V...
... 2017, i, p. 287 (fig. 186), ii, p. 575–6, no. 86; Juszczak & Małachowicz 2013, i, pp. 388–91, 394, no. 264, ii, p. 670, 805; Rembrandt 2006, pp. 306–8 (no. 33; E. van de Wetering); Juszczak & Małachowicz 19...
... ing 2017, i, p. 286 (fig. 185), ii, p. 575–6, no. 85; Juszczak & Małachowicz 2013, i, pp. 391–4, no. 265, ii, p. 805; Rembrandt 2006, pp. 306–8 (no. 34; E. van de Wetering); Juszczak & Małachowicz 1998,...
... . 2298a; C. Brown in Bomford, Sumner & Waterfield 1993, pp. 56–7, no. 3 (p. 26, colour pl. II). ...
... ishmuseum.org/collection/object/P_F-5-26 (June 21, 2020). ...
... ges/117545 (June 24, 2020); Atwater 1989, pp. 1070–71, no. 1150 (after 1735); dated by the BM c. 1759 (without explanation), see https://www.britishmuseum.org/collection/object/P_1874-0808-1825 (June 21, 2020). ...
... owever argues that in the 1770s the picture was in Paris (see Provenance), where Grenville-Scott could have ...
... ivate collection). Postle argues that the last picture was made by Reynolds after DPG163 in the collection of a Mr Campbell (probably John Campbell, later Baron Cawdor), Mannings & Postle 2000, p. 531. That is not possible, as the Scottish provenance of DPG163 is no longer accepted (see the preceding note). ...
... (June 27, 2020); see also https://www.britishmuseum.org/collection/object/P_1861-110...
... no. 44. However Baker argues that it was Rubens rather than Rembrandt who influenced Turner in this picture: Baker 2009, p. 854. ...
... ishmuseum.org/collection/object/P_2010-7081-6963 (June 21, 2020). ...
... raten with a man at a window of 1653 in Vienna is also illustrated (p. 68, fig. 32). ...
... ortrait-in-a-flat-cap (June 26, 2020); Scott & Hillyard 2019, p. 16, 24, 25, 26–7, 112, cat. no. 4. ...
... ...
... rville. This poses some problems: de Morville died in 1732, before Count d’Hoym, and no Morville sale is known. It must have been the other way round: Count d’Hoym must have acquired the painting from de Morville, Minister of Foreign Affairs, who had been French ambassador in The Hague between 1718 and 1720, when he probably purchased Flinck’s Flora. On Gersaint’s error see Roscam Abbing 1999, pp. 167–70. ...
... is & Kurz 1979, pp. 8–10, 63, as cited by Roscam Abbing 1999, pp. 90, 94. ...
... ts, a lithograph by an unknown artist, is called Paraja, the Mulatta Slave of ...
... , who still consider that she has a gold chain around her neck, as in Manuth, De Winkel & Van Leeuwen 2019. Koslow thinks it is a string of beads: Koslow 1975, p. 429. ...
... ing to the girl painted by Jan Victors (Related works, no. 2a); according to her she is Michal, the wife of David, from the Old Testament (Samuel 6.14-23; I Chronicles 15...
... is not the end of a metal (gold or silver) headpiece, which features in some Dutch traditional costumes. ...
British School DPG358

... NOTESThe appearance is poor. The panel is made of three horizontal members. The joins are repaired, but paint losses remain unrestored. There is heavily discoloured overpaint and restoration on the paint surface and darkened uneven varnish. Previous recorded treatment: 1815, Robert Brown, see under References; 1987, loose paint secured, losses filled and inpainted, varnish applied, Area Museums Service for South Eastern England; 1991, panel members rejoined, paint losses filled but left unrestored, N. Ryder and V. Leanse....
... m. RPK, RM, Amsterdam, RP-P-1901-A-22283/84.83) Adriaen Matham after Hendrick Goltzius, A Prostitute and her Customer, engraving, 435 x 300 mm. RPK, RM, Amsterdam, RP-P-OB-23.165 [5].94) Cornelis Dusart, The Five Senses / T’Gehoor (Hearing), c. 1693, mezzotint, 249 x 183 mm. BM, London, S.3812.105) Nicolaes Braeu after Karel van Mander I, ‘When ye bags full my pipe most sweetly sounds’, from Proverbs after Karel van Mander, c. 1592, with Latin and English verses, engraving, 245 x 171 mm. BM, London, 1875,0213.316.116) Peeter Baltens, The Night of the Wedding, monogrammed PB, with French and Dutch verses, engraving, 178 x 228 mm. BM, London, 1870,0625.657.127) Jan van de Velde II, Aestas (Summer), 1617, etching and engraving, 263 x 350 mm. BM, London, D,5.151.13...
... in her hand and lets the older man touch her breast. Scenes of unequal lovers usually do not include bagpipes, alcohol, or broad-brimmed straw hats (Related works, no. 2c). Indeed here other iconographical traditions seem to play a part as well. Bagpipes, alluding to sex, may be included in tavern scenes, associated with alcohol, as in a depiction of Hearing as one of the Five Senses (Related works, no. 4), where people are singing in a tavern, accompanied by a bagpipe.21 In a print after Karel van Mander I (1548–1606) with an English and Latin inscription alcohol and bagpipe/sex are associated (Related works, no. 5). Bagpipes also occur in scenes of the Weeping Bride, who is afraid of what will happen on her wedding night, for instance in an engraving by the Flemish 16th-century printmaker Peeter Baltens (1527/8–84), The Evening of the Wedding (Related works, no. 6). Although this is a different subject, the way the low-life figures are depicted in a shallow row (or in a nondescript space/room), the jug and the bagpipe are very comparable to DPG358: probably a print like this was the source of DPG358. The summery feeling of the girl’s dress and straw hat can be found in depictions of Summer, or sometimes even of Spring, albeit on a much smaller scale (Related works, no. 7)....

Notes
... istake corrected in the following catalogues. ...
... on the verso: ‘Painting in possession of / Edward Roberts / Elm House / Park Lane / Barnstaple / the figures in / From this painting / No 358 / was probably copied’. No bagpiper appears here. Moreover it seems more likely that a print was the ...
... 8 file); Renger 1985, pp. 38–9, fig. 4. This picture was withdrawn from a sale at Christie’s in 2015, see RKD, no. 277845: https://rkd.nl/en/explore/images/277845 (April ...
... ishmuseum.org/collection/object/P_1877-0811-911 (May 16, 2020). ...
... 541/rec/1 (Jan. 22, 2021), where the painting is attributed to the Flemish artist Daniel Boone: The Money Bag, c. 1650, panel, 75.9 x 60.1 cm. Shipley Art Gallery, Gateshead, TWCMS:C166 (E. van der Beugel). Matham's print after Goltzius is not mentioned. ...
... ishmuseum.org/collection/object/P_Sheepshanks-3812 (May 16, 2020). ...
... ishmuseum.org/collection/object/P_1875-0213-316 (May 16, 2020). ...
... ishmuseum.org/collection/object/P_1870-0625-657 (May 16, 2020). ...
... ishmuseum.org/collection/object/P_D-5-151 (May 16, 2020). ...
... found, as in the case of DPG413 (British). ...
... istoffel van den Berghe (DPG514), especially also Related works, no. 5, a scene of the prodigal son. ...
... d their bagpipes and other musical instruments on the pages of his album Recueil de pièces facétieuses et bouffonnes (Collection...
Jan WIJNANTS

... hat is now assigned to Jan van Kessel (1641–80).In the 18th century artists including Thomas Gainsborough (1727–88) in England and Jean Honoré Fragonard (1732–1806) in France were charmed by Wijnants’ pictures and sought to emulate them.2 Gainsborough is even said to have added figures to pictures by Wijnants.3LITERATUREHoubraken 1753, iii, p. 90; Stechow 1965b; De Bruyn Kops 1987; Harwood 1996c; Eisele 2000; Van Thiel-Stroman 2006k; Büttner & Dörr 2011; Ecartico, no. 8264; http://www.vondel.humanities.uva.nl/ecartico/persons/8264 (May 9, 2017); RKDartists&, no. 84371: https://rkd.nl/en/explore/artists/84371 (May 9, 2017)....
... 2016, pp. 293–4; RKD, no. 52747: https://rkd.nl/en/explore/images/52747 (May 9, 2017).EXHIBITIONSHouston/Louisville 1999–2000, pp. 200–201, no. 71 (D. Shawe-Taylor); London 2002, pp. 191–2, no. 52 (L. B. Harwood); Williamsburg/Fresno/Pittsburgh/Oklahoma 2008–10, pp. 92–3, no. 32 (I. A. C. Dejardin).TECHNICAL NOTESSingle-member oak panel with horizontal grain, bevelled on the verso edges. The ground, and in some places the paint, is thinly applied. In the right half of the sky and the shadows of the hill, the wood grain shows through the paint layers. The thinly painted areas have been retouched and now appear slightly matt. There is some fairly minor abrasion in the dark clouds, the trees and bank. The varnish has yellowed slightly. Previous recorded treatment: 1952–3, Dr Hell....
... 66); Cook 1914, p. 69, no. 117; Cook 1926, p. 65; Cat. 1953, p. 44; Murray 1980a, p. 143; Murray 1980b, p. 31; Kalinsky 1995, p. 38, fig. 19; Beresford 1998, p. 260; Eisele 2000, p. 70, 176, no. 241 (fig. 242); Jonker & Bergvelt 2016, pp. 293–4; RKD, no. 52746: https://rkd.nl/en/explore/images/52746 (May 9, 2017).EXH...
... nes Lingelbach), Landscape with Large Tree-Trunks, canvas, 69 x 88 cm. Count Czernin von Chudenitz collection, Vienna, 144.23First catalogued as by Willem de Heusch (1625–92), the painting was attributed to Jan Wijnants by both Jeroen Giltaij and Marijke de Kinkelder.24 Eisele’s monograph does not include it, but features many pictures similar in composition, motifs (such as the intersecting trees in Related works, nos 1 and 2), and technique.The picture came to Dulwich in 1956 as a loan from a Mr Mather of Beckenham and was gifted by him...
... a River, signed J wijnants F., canvas, 94 x 116 cm. National Gallery of Ireland, Dublin, 508.27The picture shows a country lane threading through woods leading to a peasant house on an escarpment looking out over an extensive landscape with a church in the middle distance. While of undoubted quality, and resembling some later paintings by Wijnants (Related works, nos 1 and 2), its attribution has come to be questioned in recent years. While the illusion of depth has been created by overlapping planes, an effect also visible in DPG114 and DPG117, the picture lacks the lighting effects that one associates with Wijnants. It now seems most likely to have been produced by a 17th-century artist attempting to imitate Wijnants’ style....

Notes
... iscussed pp. 166–7, fig. 6 (known by a photo in the RKD). ...
... Foister 1997. An example of an early Gainsborough painting under the influence of Wijnants and Jacob van Ruisdael is Cornard Wood, near Sudbury, Suffolk (NG, London, NG925): Egerton 1998, pp. 72–9, see RKD, no. 296652: https://r...
... sborough added figures was not Jan Wijnants but Francis Wynants, a contemporary with whom Gainsborough may...
... t probably refers to DPG114, where there is a riverbank in the foreground, and not...
... e previous note), then his no. 244 is DPG117. ...
... and 16) – and those are far from ranking among his best.’ ...
... he addition of a pond in front, at which a cow is drinking. The preceding are of excellent qua...
... s, fairly representing the characteristic style of the master.’ ...
... istic of the master’. ...
... p of trees at its extremity, and on the right and front is an old tree standing amidst docks and other wild herb...
... isele no. 144; HdG 299. ...
... isele no. 73. ...
... isele 2000, p. 148, no. 137, fig. 137. ...
... DPG617 (Johann Heinrich Roos). In his letter he said that the four paintings had been in his family for a long time. According to the PGC Minutes for 22 Nov. 1945, Sir Gerald Kelly ...
... 26 https://www.nationalgallery.org.uk/paintings/jan-wijnants-a-landscape-with-two-dead-trees (July 14, 2020); Ma...

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