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Thomas WIJCK
... s, his works often seem based on firm geometrical principles. His late works are completely different from his earlier ones, comprising Dutch genre scenes and imitations of the work of David Teniers II (1610–90).LITERATURETrezzani 1983b; Steland 1988b; Schnackenburg 1992; Trezzani 1996b; Kollmann 2000, p. 286; Schatborn 2001, pp. 117–23, 207–8; Van Thiel-Stroman 2006j; RKDartists&, no. 84301: https://rkd.nl/en/explore/artists/84301 (April 17, 2017)....
... ving city. His figures are occupied with everyday concerns; he often depicts the lives of women at work in rustic courtyards. His style seems to have been influenced by the street scenes of Pieter van Laer and Andries Both, but his figure types and the quiet world they inhabit are specific to his own œuvre.A painting by Wijck in Oxford shows a very similar scene (Related works, no. 1) [2] with women washing clothes, where the whites of the clothing and laundry and the dog are also marked, but with a much lighter background. DPG247 includes a woman with a distaff as well: it seems to represent a conjunction of industry (the washing and spinning women) and repose (the family – man, woman and child – in the foreground). Another Roman courtyard is in Warsaw [3], originally in the collection of Stanislaus II August Poniatowski, King of Poland (1732–98), for which a preparatory drawing for the courtyard with the well exists. That drawing was also used for an etching (Related works, nos 2a–2c).An inscription on the frame records (or previously recorded) that the picture was given to Desenfans by the great Shakespearian actor John Philip Kemble (1757–1823).11 However it seems more probable that it was given to Bourgeois, as he had been friends with Kemble; but it must have been before 1804, when Bourgeois broke with the actor for replacing his painting of Kemble in Coriolanus with another by Thomas Lawrence (1769–1830).12...
Notes
... John Kemble, Esq., the modern Roscius.” This picture has become very muddy and dark....
... lery, and not to Desenfans or Bourgeois: ‘Presented to the Gallery by Phil...
... artworks/italian-street-scene-142968 (May 15, 2020); Casley, Harrison & Whiteley 2004, p. 247; White 1999a, pp. 173–4, no. A 1...
... 26 (April 17, 2017); De Scheemaker 2000, pp. 89–90, no. 13b (as Wyck). ...
... od comparisons to be found in the Briganti book that I mentioned.’ That is Briganti, Trezzani & Laureati 1983a/1983b. ...
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Hieronymus WIERIX
... isher...
... s.LITERATUREVan de Velde 1996b; Van Ruyven-Zeman, Leesberg & Van der Stock 2003; Verheggen 2006, passim; Bowen & Imhof 2008, pp. 352–3; Melion 2009, pp. 261–92; RKDartists&, no. 84225: https://rkd.nl/en/explore/artists/84225 (Dec. 6, 2019)....
... wich collection as the work of the 17th-century Italian painter Carlo Dolci (1616–86); in 1880 it was called German. It is in some way related to the painting in Frankfurt, there attributed to a German (?) master working between 1600 and 1620 (Related works, no. 1) [1]. Recently Alistair Laing suggested that it was Spanish;9 Xavier Bray said that the delicate handling of the paint makes an attribution to an anonymous Spanish copyist after Wierix most probable. However, a Flemish artist working for the Spanish market is also a possibility. Flanders had a substantial copper industry, which exported copper plates all over Europe, while in Spain very few copper engravers were active.10 There is no copper mark on the back that might support an attribution to any school. It could be an Antwerp copper plate painted in Spain, by a Spanish or even by a Flemish artist.This small picture was an object of private devotion. The more delicate treatment of the Passion instruments could imply that it was intended for a female patron, possibly a nun. The text on the prints, In laboribus a iuuentute mea, is from Psalm 88:16 (in the Douai-Rheims Bible); the whole sentence is Pauper sum ego et in laboribus a iuventute mea exaltatus autem (I am poor, and in labours from my youth: and being exalted have been humbled and troubled). The prints, DPG24 and the picture in Frankfurt prefigure the Passion of Christ....
Notes
... is Cross.’ ...
... ically treated in a very small highly finished picture, about four inches in heigh...
... Mancini, and his daughter Agnese painted many copies of his work. This may be one.’ ...
... to Carlo Dolci. The general conception is quite in the style of the Northern S...
... 268 (Jan. 3, 2019). With many thanks to Almut Pollmer-Schmidt, who is preparing the catalogue of German pictures in the Städel M...
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Jan WEENIX
... o get a pineapple to flower). Weenix taught Maria Weenix (1697–1774), his daughter, and Dirk Valkenburg (1675–1721), who closely followed their master’s example. The French author Lejeune who in 1864 mentioned several compositions in Dulwich College by Jan Baptist Weenix meant both DPG47 (now Jan Weenix, below), and DPG329 (now attributed to Carl Wilhelm de Hamilton).1LITERATUREGinnings 1970; Schloss 1982; Schloss 1983; Kilian 1996c; Van der Willigen & Meijer 2003, pp. 215–16; Van Wagenberg-ter Hoeven 2018b; Ecartico, no. 8188: http://www.vondel.humanities.uva.nl/ecartico/persons/8188 (March 24, 2017); not in Saur; RKDartists&, no. 83249: https://rkd.nl/en/explore/artists/83249 (March 25, 2017)....
... er, when he is first recorded as a member of the Utrecht painters’ guild, and closely imitates the style of his father, Jan Baptist Weenix, who had died five years earlier. It is not known whether he ever travelled to Italy; the column was probably copied from drawings made by his father in Rome.12 The sheep may be derived from drawings by his father, such as one in Vienna (Related works, no. 1). His father may also have provided the model for the composition as a whole, charmingly combining people and animals in a Southern landscape, with a vertical feature on one side and a similar group of sheep on the right (Related works, no. 2) [2]. The use of a significant vertical on one side also features in other paintings by Jan Weenix (Related works, nos 3, 4) [3-4].Despite the fact that he probably never visited Italy Jan Weenix succeeded here in depicting an Arcadian idyll that is very attractive. It would seem that a message was intended, perhaps an allegory of industry. The boy is guarding his sheep (an activity with definite Christian associations), and he is also caring for the health of the puppy – by clipping its claws, as noted by Cockburn in his 1817 catalogue,13 or by filing them, according to the dress historian De Marly. De Marly describes the boy’s outfit, with his patched pair of trousers, and long coat that is probably second-hand, as worn, but representative of his time, the 1660s: his full shirt imitates the current style, as do his long locks, and his tall hat.14The artist’s sketchy technique has always been admired: in 1842 Mrs Jameson called the picture ‘cleverly painted’, while in 1948 Stechow described it as ‘a brilliant “calligraphic” piece’. The brushstrokes are long and fluid in the scene in the background, more precise in the foreground. Some vestiges of black blocking-in strokes are still visible to the left of the older dog....
Notes
... 7;2" (the same is true of no. 1 on the page, which is DPG245: see note 47 under Calraet). However it is the only picture in the Small Drawing Room that could be meant by Britton’s drawing. ...
... he operation. A river and waterfall, with rocky hills, form the distance.’ ...
... whom I presume this picture to be; and Jan Weeninx, the son, famous for his birds, dead game, and wild animals.’ ...
... with paint, until it becomes borne down with a sickening and enamelled mass of pigments, as is so frequently the case in these days. The young student may well take a lesson from it.’ ...
... , J. B. Weenix, and probably after his studies in Italy; an early and ve...
... en/explore/images/4469 (March 26, 2017); Van Wagenberg-ter H...
... n/explore/images/259947 (March 26, 2017); Van Wagenberg-ter Ho...
... en/explore/images/52740 (March 26, 2017); Van Wagenberg-ter Ho...
... e those of the Temple of Vespasian, as is often stated, e.g. in Harwood 2002, ...
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Parry WALTON
... ish frame-maker, painter, restorer and dealer in London...
... active in the 1680s and 1690s as a dealer and auctioneer.LITERATUREBuckeridge 1706, p. 435 (Parrey Walton); Waterhouse 1988; Dethloff 1996b, p. 124; RKD, no. 82788: https://rkd.nl/en/explore/artists/82788 (Feb. 25, 2017); http://www.npg.org.uk/research/programmes/directory-of-british-picture-restorers/british-picture-restorers-1600-1950-w.php (May 20, 2020)....
... tion, The Netherlands.10The attribution to Parry Walton is based solely on the text in the Cartwright inventory. No other paintings by him are known. The style and the quality of this picture, however (even in its present rubbed state), are very close to the work of Simon Luttichuys (1610–61) . Ebert mentions five examples of paintings by Luttichuys that look very much like it (Related works, nos 1–5) [1].11 We can add a sixth example, not least because its measurements are the closest to DPG429 (Related works, no. 6). It is possible that Cartwright, the writer of his own inventory, made a mistake, and wrote the name of Parry Walton in the entry of the wrong still life (see under DPG355). Or is it possible that Walton, who was a picture restorer by profession, painted DPG429? The picture seems to be have been made by a professional. According to Gerson it looks very Dutch, not British.12The objects, arranged on a table hung with a cloth, are set in an unidentified space. The selection roughly follows the description by Hoogstraten in 1678 of one of the types of still life painting: a ‘beautiful peach and apricot, or melon and lemon, and a clear wine rummer on a laden table’.13...
... he meager quality to be expected from an amateur artist. Peter Murray too wondered whether DPG355 might have been painted by Parry Walton.17 Walton’s name is, however, attached in the Cartwright inventory to DPG429. One or the other would be the only painting by the artist.A still life such as this is called a banketje (little banquet) in Dutch inventories. The pewter platter and the pewter mounts on the stoneware beer tankard give a sense of modest luxury. The pickled herring is a standard element in still lifes of the first half of the 17th century.18...
Notes
... he must have died before that date (https://www.npg.org.uk/research/programmes/directory-of-british-picture-restorers/british-picture-restorers-1600-1950-w.php). ...
... question [DPG] looks so Dutch that one would ascribe it to an imitator of Kalf, such as P. Gallis or J. van Streek). ...
... other picture by Parry Walton, we still assume that this is the only one. It was also the only picture under Parry Walton in Art UK, see https://artuk.org/discover/artworks/still-life-200408 (May 20, 2020). ...
... nach einem unbekannten Gemälde von Luttichuys ist (whether the picture might not be a copy a...
... ://rkd.nl/explore/images/204299 (Feb. 26, 2017). ...
... t. 2004 (DPG429 file), with images of his cat. nos Sim A23–27. ...
... riginal entry for DPG429. That picture is after Simon Luttichuys, not DPG355. ...
... 26. ...
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Roelof Jansz. van VRIES
... elof’s style (Related works, no. 5) [2].LITERATUREThieme-Becker, xxxiv, 1940, p. 579; Van der Willigen & De Kinkelder 1993–8; Jager 2016, pp. 359–61 (as Roelof Jansz. de Vries); Ecartico, no. 8075: http://www.vondel.humanities.uva.nl/ecartico/persons/8075 (Oct. 15, 2017); RKDartists&, no. 82151: https://rkd.nl/en/explore/artists/82151 (Oct. 15, 2017)....
... s’ time until Murray’s catalogue in 1980 the picture was ascribed to Wijnants (and Wouwerman), or to the Dutch School. Denning records it in 1858 as being signed by Wijnants, so a forged signature may have been applied. If so, it had presumably been removed by 1880 when Richter and Sparkes relegated the picture to ‘Dutch School’. However other 20th-century scholars all agree, starting with Murray and Bernt in 1974, that Roelof van Vries was the artist, and that was published by Murray in 1980.11 Christopher Brown, Jeroen Giltaij and Marijke de Kinkelder all agreed.12The painting shows a ruined tower to the right with brick buildings, and a wall bordering a stream. Various figures and animals stand at the left; in the opinion of Christopher Brown they are better than is usual in Van Vries’ work, making it likely that they are by another hand.13 The pyramidal composition is typical of Van Vries, and similar to that of his Pigeon House in New York (Related works, no. 1) [1], which is dated in the 1660s, and A View of a Village in London (early 1660s; Related works, no. 2). The way the brickwork is depicted, by means of small blobs of paint, is particularly characteristic: it can be seen in signed pictures by Van Vries (Related works, nos 3–4)....
Notes
... different: Smith (1835), gives 1'8" x 1'4½", and Denning 1858 gives 1'7½" x 1'3¾". The provenance of the Vienna painting is Joseph Franz Anton, Graf von Waldburg-Zeil-Wurzach sale, Truchsessian Gallery, London, 14 May 1804 (not in Lugt), lot 399 (‘Vries – Landscape and ruinous towe...
... picture S.P.D. This is a true picture and signed by the artist.’ ...
... 234, 500, ii, pp. 934–6, no. 215, colour pl. 215: ‘the style and composition […] are most consistent with landscape conventions of the 1660s’. ...
... aben. (I am alas not completely sure; it would of course have been easier if I had seen the original. The staffage and the lighting full of contrasts are somewhat unusual in the œuvre of this master. But I am convinced that you have found the best solution in front of the original.) ...
... s dogs be by another hand? Personally, I find it very hard to tell Vries apart from Gillis and Salomon Rombouts and, even more, from C. G. Decker.’ Letter from Jeroen Giltaij t...
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François VERWILT
... 4, p. 304; Van der Willigen & Meijer 2003, p. 207; Sluijter-Seijffert 2006; Heyning 2018, pp. 78–83; Ecartico, no. 7831: http://www.vondel.humanities.uva.nl/ecartico/persons/7831 (Nov. 19, 2017); RKDartists&, no. 80782: https://rkd.nl/en/explore/artists/80782 (Nov. 18, 2017)....
... h Antiope, daughter of King Nykteos of Thebes, is raped by Zeus in the form of a satyr. The setting is an Italianate landscape with a grotto. The picture may have a companion in a painting formerly on the New York art market, with a similar composition in reverse, which depicts a sleeping nymph being approached by satyrs (Related works, no. 1) [1]; at the sale this was attributed to another of Poelenburch’s students, Daniel Vertangen (1600/1601–81), but M. C. de Kinkelder of the RKD has suggested that it might be by Verwilt. Two other paintings are stylistically related to DPG485: one in Florence (Related works, no. 2) and one in Geneva (Related works, no. 3).The Dulwich painting was attributed to Poelenburch until 1880, when Richter and Sparkes noted the signature. As a Poelenburch the painting failed to satisfy its audience’s expectations in the 19th century: Mrs Jameson found ‘The composition disagreeable; the colour and effect wholly spoiled by injudicious cleaning’,10 and Hazlitt commented that ‘The grossness of the selection is hardly more offensive than the finicalness of the execution.’11...
Notes
... e himself or others? The one shows bad taste, the other wrong judgement. The grossness of the selection is hardly more offensive than the finicalness of the execution.’ ...
... nerally seen in the works of Poelemberg.’ Perhaps Denning meant another pupil of Poelenburch, Dirck van der Lisse (1607–69)? ...
... rly ascribed. Pictures with signatures by this master are exceedingly rare.’ ...
... nce 1892, there was a new DPG105, that was and is a Ruisdael; that was on show. In principle all pictures go...
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