p. 141-145 Adriaan van de Velde, Poelenburg, Lairesse, Van der Werff
141 ADRIAAN VAN DE VELDE.
Two of the four in the Amsterdam museum have figures by Adriaan van de Velde; both small, about 1 square foot; sandy terrain, as always. No. 339, signed with initials, under the frame, is rather weak;1 No. 340, signed right, full, undated, is excellent [218].2
The third, titled "Landscape with a farmhouse," is in the master's early style.3
The fourth bears the name of Lingelbach, who painted the figures and horses. The staffage is in fact more important than the landscape itself, and rarely has Lingelbach shown himself so animated, so fine, so witty, as in this staffage of which the landscape is the accessory [219];4 it almost looks like Philips Wouwerman; Lingelbach also signed with his monogram LB, the B attached internally to the horizontal bar of the L.
Lingelbach has another Driving School, of his first quality, fully signed [220];5 and two Italian ports, quite ordinary, one with the full signature: I. Lingelbach, and the date 1664, the other, the name, without the initial of the first name, and without date.6
The other paintings in which Adriaan van de Velde painted the staffage are: a Landscape by Frederik Moucheron [221],7 a Landscape by Jan Hackaert, and three Townscapes by Jan van der Heijden.
In the small landscape of Moucheron, which is less than a foot wide, Adriaan painted a Departure for ...
218
Jan Wijnants and Adriaen van de Velde
Landscape with Cattle on a Country Road
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-493
219
Johannes Lingelbach and Jan Wijnants
Country road with hunter and peasants, third quarter 17th centtury
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-227
220
Johannes Lingelbach
Riding school, 1650-1674
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-224
221
Frederik de Moucheron and Adriaen van de Velde
Italian landscape with hunters, 1660-1686
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-280
142 MUSEUM OF AMSTERDAM.
... the hunt, outside a park: horsemen, pikers, pack of dogs. The landscape itself is beautiful. This Moucheron, usually somewhat frail and petty, a bit of a fly's foot, is always very fine here, but unctuous and full of harmony.
The painting is signed: Moucheron f. – Auction-Boreel, 1814, Amsterdam, 275 guilders.
Jan Hackaert8 is virtually unknown in France and his name is not even mentioned in the Louvre's catalog. He was born about 1636 in Amsterdam and is thought to have died about 1699. Moreover, he made few easel paintings. As a young man he had traveled in Germany and Switzerland, and upon his return to Holland he made many large decorative ensembles. He also left many drawings and watercolors; he even engraved six very spiritual etchings that Bartsch describes.9
Smith catalogued only 23 paintings by Jan Hackaert,10 including, with praise, the painting in Amsterdam, which depicts the edge of a park fringed by tall, slender trees and, to the right, a wide stretch of water [222].11 It is morning; people go out to hunt deer; at the gate of the park the lord of the castle wishes the troop of hunters success, gentlemen and ladies, on horseback; elegant figures of Adriaan, as well as other hunters on foot, servants and leashed dogs. Composition engraved by Daudet in the Galerie Le Brun [223]. – H. 2 feet 2 inches, W. 1 foot 9 inches. On canvas. Quoted ...
222
Jan Hackaert
The avenue of birches, c. 1675
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-130
223
Robert Daudet after Jan Hackaert
The avenue of birches, dated 1786
The Hague, RKD – Nederlands Institute for Art History (Collection Old Netherlandish Art), inv./cat.nr. BD/0676 - ONS/Original Prints (by inventor)
143 ADRIAAN VAN DE VELDE.
... by Immerzeel, as paid with 3,005 guilders at the Van der Pot auction.12
Hackaert and Moucheron have no other paintings in the Amsterdam museum.
Van der Heijden, along with Wijnants, is the painter most beloved by Adriaan's figures. His three paintings in the museum have them.13 Adriaan and Van der Heijden, who were two years apart, must have been closely related. There is much similarity in their manner of painting. There is something rare about them both, something that cannot be found in any other painter of any other school – with the exception of Memling and perhaps Jan van Eyck – and that is that they know how to express all the details, one in the human figure, the other in architecture, by reducing them to microscopic proportions, and without becoming petty, without dryness, so spacious in appearance, so masterly, as if the objects were their natural size. This is a skill whose secret is lost. The sons of Mieris and the chevalier van der Werff did not have it.14 The German Denner did not find it in his time. Meissonier is looking for it today, and he burns, as they say at innocent games; but nevertheless, he has always done no more than give empty promises, without really touching the mysterious point.
Van der Heijden's three paintings are, of course, Dutch cityscapes. All three are on panel. One of them, from the Gevers ...
144 MUSEUM OF AMSTERDAM.
... collection, is nearly two feet wide and a foot and a half high. A canal, a drawbridge, boats along the tree-lined quay and rows of houses. Signed: V D Heijden, the three capital letters together forming a monogram [224].15 The other two are a pair and were purchased for 1,040 guilders at the Van der Pot auction, Rotterdam, 1808 [225] [226].16 They are only 1 foot 2 inches high and 1 foot 6 inches wide. One shows a small figure viewing a poster on a column. He would fit into an O; but he has enough room to grow to six feet. The other is lovely in tone and light. The foreground is taken up by a canal; trees and houses on the left; on the right, a quay also shaded by trees, with lovely figures in half-tone. Signed: V Heijden, the V and the H joined together, but without the D.
Next, two pupils of Adriaan: Dirk van den Bergen, a Landscape with Animals, and his counterpart; these are among the master's finest; both signed: D.V.D.Bergen (1);17 - and Simon van der Does, three Landscapes with Shepherds and Flocks (2) [227].18
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(1) The signatures of this master often vary. In the Louvre and the Vienna Museum we find: D. V. Berghen. More often he signs: D. V. Bergen, without the second D (for den) of the signatures above. Van Bergen, born about 1645, died about 1689, not 1680, the date given in the catalog of the Musée du Louvre, which shows a painting by Van Bergen, no. 15, dated 1688.19
(2) All three signed; one: S. V. Does, 1706; the other: S. V. ...
224
Jan van der Heyden and Adriaen van de Velde
Amsterdam city view with houses on the Herengracht and the old Haarlemmersluis, c. 1667-1672
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-154
225
Jan van der Heyden and Adriaen van de Velde
The stone bridge, 1660-1672
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-152
226
Jan van der Heyden and Adriaen van de Velde
The drawbridge, 1660-1672
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-153
227
Simon van der Does
Shepherdess reading, 1706 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-82
Interleaved page (1/2)
For Hackaert, p. 142, all his good pictures date from his first style
They are those which include figures by Adriaan died in 1672.20
The pictures of the second manner/style have lost originality,
Hannover Johann Hacker 1623, Swiss landscape.21
He is supposedly born in 1636.22
p. 136 chez Baring a Verboom, with fig. by Adr. van Velde.23
- J v der Meer Ao 1678
de Jonge No. 189 (ed. 59)24
Les Poelenburg have his initials C.P. (ed. 59)25
2d ed of 59 gives a complete sign. of W. Romyn.26
Interleaved page (2/2)
Clipping from the Gazette des Beaux-Arts27
Lairesse should not be classed with the Dutch.
“Holland has not had a greater genius than Lairesse” (cat Fesch)!28
145 POELENBURG, LAIRESSE, VAN DER WERFF.
POELENBURG,29 LAIRESSE,30 VAN DER WERFF. – Before we move on to the pure landscape painters and the other specialties of the school, seascapes, architecture, still life, fruit and flowers, I must mention a few painters whose fame was great in their time, and even after their time, but which in my opinion was too great for their so vulgar merits.
Poelenburg, who claimed to follow in Raphael's footsteps, had the honor of being esteemed by Rubens and had the chance of being called to England by monarchs like Charles I.
Gerard de Lairesse, the Walloon from Liege, who for some reason went to work with Amsterdam masters and, quite exceptionally in Holland, to be nicknamed Poussin of the North.
The illustrious Chevalier van der Werff, who so majestically bore the same first name as Brouwer, Van Ostade and Van de Velde, who painted entire galleries for the Elector of Düsseldorf and who was sought after by all princes. Princes can make mistakes – in paintings.
Poelenburg formed his style in Italy. In his time, it was still fashionable to go there and become Italian; after all, he belonged to the generation closing the xvith century. In the xviith century, traveling over the mountains was no more than an exception. Life was bursting forth in Holland; why ...
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... Does, 1708; the third: S. Van der Does MDCC14 [sic, it is: ‘S. van der Does MDCCIII’] (new cat.).
Notes
1 Jan Wijnants, Landscape with two Hunters, Amsterdam, Rijksmuseum, inv. no. SK-A-490; Smith 1829-1842, vol. 6 (1835), p. 263, no. 117, the figures by Adriaen van de Velde; Aanwijzing 1853, p. 32, no. 339, Wynants (Jan; 1600-1670), Een duinachtig Landschap, met stoffagie van Adriaan van de Velde (A Dune-like Landscape, with staffage by Adriaan van de Velde) (tax.: fl. 1,500); Amsterdam 1858, p. 169-170, no. 375, as by Jan Wijnants and Adriaen van de Velde, acquired with the Cabinet of Van Heteren Gevers. This latter provenance is incorrect, as the painting was bought in 1801 from J.B. de Lega.
2 Jan Wijnants, Landscape with Cattle on a Country Road, Amsterdam, Rijksmuseum, inv. no. SK-A-493; not in Smith 1829-1842; Aanwijzing 1853, p. 32, no. 340, Wynants (Jan; 1600-1670), Een als voren [Een duinachtig Landschap] (One as before [A dune-like Landscape]); Amsterdam 1858, p. 170, no. 376, as coming from the ‘sale G.H. Trochel, 1801, fl. 305’, yet it was bought as part of the Cabinet van Heteren Gevers in 1801. It seems that the Trochel provenance was an invention of Dubourcq’s. The sale does not appear in Geudeker 2005, p. 90, no. 166, and the entry of lot 113 differs at some points from the present painting (see: sale Amsterdam (Van der Schley et al.), 11-14 May 1801, lot 113, Lugt 6261). It is not known since when the present Wijnants painting was in the Van Heteren collection - with many thanks to Eva Geudeker.
3 Jan Wijnants, The Farmhouse, Amsterdam, Rijksmuseum, inv. no. SK-A-492; Smith 1829-1842, vol. 6 (1835), p. 263, no. 118; Aanwijzing 1853, p. 32, no. 341, Wynants (Jan; 1600-1670), Een Landschap met eene boerenwoning (A Landscape with a farm house) (tax. fl. 1,000); Amsterdam 1858, p. 170, no. 377, as by Jan Wijnants and Adriaan van de Velde.
4 Johannes Lingelbach, Country Road with Hunter and Peasants, Amsterdam, Rijksmuseum, inv. no. SK-A-227; Aanwijzing 1853, p. 17, no. 166, Lingelbach (Johannes; 1625-1687), Een Landschap, met figuren en paarden; het landschap door Wynants (A Landscape, with figures and horses; the landscape by Wynants (tax.: fl. 1,000); Amsterdam 1858, p. 85, no. 186.
5 Johannes Lingelbach, The Riding School, Amsterdam, Rijksmuseum, inv. no. SK-A-224; Aanwijzing 1853, p. 17, no. 167, Lingelbach (Johannes; 1625-1687), Eene Rijdschool (A Riding school) (tax.: fl. 3,000), Amsterdam 1858, p. 84-85, no. 185.
6 Johannes Lingelbach, Italian Harbor with a Fortified Tower, 1664, Amsterdam, Rijksmuseum, inv. no. Amsterdam, Rijksmuseum, inv. no. SK-A-223; Aanwijzing 1853, p. 17, no. 168, Lingelbach (Johannes; 1625-1687), Eene Italiaansche Zeehaven, met gebouwen en galijen (An Italian Seaport, with buildings and galleys) (tax.: fl. 1,000); Amsterdam 1858, p. 84, no. 184.
7 Frederik de Moucheron, Italian Landscape with Hunters, 1660-1686, Amsterdam, Rijksmuseum, inv. no. SK-A-280; Aanwijzing 1853, p. 19, no. 191, Moucheron (Frederik de; 1633-1686), Een Landschap, met stoffagie van A. van de Velde (A Landscape, with staffage by A. van de Velde) (tax.: fl. 1,000); Amsterdam 1858, p. 96, no. 213.
8 See Thoré-Bürger's remarks opp. p. 144 (1/2).
9 Bartsch 1803-1821, vol. 4 (1805), p. 289-294.
10 Smith 1829-1842, vol. 6 (1835), p. 304- 312: 23 paintings, 2 drawings and 6 etchings.
11 Jan Hackaert, The Avenue of Birches, c. 1675, Amsterdam, Rijksmuseum, inv. no. SK-A-130; Smith 1829-1842, vol. 6 (1835), p. 308, no. 14; Aanwijzing 1853, p. 12, no. 95, Hackaert (Jan; b. 1636) and Adriaan van de Velde, Een boomrijk Landschap met jagers (A Wooded Landscape with Hunters) (tax.: fl. 10,000); Amsterdam 1858, p. 50, no. 103.
12 Immerzeel 1842-1843, vol. 2 (1843), p. 6.
13 In his comments, Thoré-Bürger also mentions a painting by Jan van der Heyden, see opp. p. 1 (3/3).
14 The sons of Frans van Mieris (I) are Jan van Mieris and Willem van Mieris.
15 Jan van der Heyden, Amsterdam City View with Houses on the Herengracht and the old Haarlemmersluis, c. 1670, Amsterdam, Rijksmuseum, inv. no. SK-A-154; Smith 1829-1842, vol. 5 (1834), p. 372, no. 2; Aanwijzing 1853, p. 13, no. 114, Heyden (Jan van der; 1637-1712), Een Hollandsche Stadsgezigt, met stoffagie van Adriaan van de Velde (A Dutch Cityscape, with staffage figures by Adriaan van de Velde) (tax.: fl. 15,000); Amsterdam 1858, p. 62, no. 124.
16 Jan van der Heyden and Adriaen van der Velde, The Stone Bridge, c. 1660-1672, Amsterdam, Rijksmuseum, inv. no. SK-A-152; Smith 1829-1842, vol. 5 (1834), p. 372-373, no. 3; Aanwijzing 1853, p. 13, no. 115, Heyden (Jan van der; 1637-1712), Een als voor voren [Een Hollandsch Stadsgezigt, met stoffagie van Adriaan van de Velde] (One as before [A Dutch Cityscape, with staffage by Adriaan van de Velde]) (tax.: fl. 1,500); Amsterdam 1858, p. 61, no. 122. Jan van der Heyden and Adriaen van de Velde, The Drawbridge, c. 1660-1672, Amsterdam, Rijksmuseum, inv. no. SK-A-153; Smith 1829-1842, vol. 5 (1834), p. 373, no. 4; Aanwijzing 1853, p. 13, no.116, Heyden (Jan van der; 1637-1712), Een mede als voren [Een Hollandsch Stadsgezigt, met stoffagie van Adriaan van de Velde] (One also as before [A Dutch Cityscape, with staffage by Adriaan van de Velde] (tax.: fl. 1,500); Amsterdam 1858, p. 61, no. 123.
17 Dirck van Bergen, Landscape with Herdsman and Cattle, c. 1675-1685, Amsterdam, Rijksmuseum, inv. no. SK-A-38; Aanwijzing 1853, p. 5, no. 25, Bergen (Dirk van), Een Landschap met vee (A Landscape with Cattle) (tax.: fl. 1,000); Amsterdam 1858, p. 14, no. 28. Dirck van Bergen, Landscape with Fighting Bulls, Amsterdam, Rijksmuseum, inv. no. SK-A-39; Aanwijzing 1853, p. 5, no. 26, Bergen (Dirk van), Een als voren [Een Landschap met vee] (One as before [A Landscape with Cattle]) (tax.: fl. 1,000); Amsterdam 1858, p. 14, no. 29.
18 Simon van der Does, Shepherdess Reading, 1706, Amsterdam, Rijksmuseum, inv. no. SK-A-82; Aanwijzing 1853, p. 8, no. 62, Does (Simon van der; 1653-1717), Een Landschap met herders en vee (A Landscape with shepherds and cattle (tax.: fl. 2,000); Amsterdam 1858, p. 28, no. 62. Simon van der Does, Italian Landscape with Shepherdess and Flock, 1708, Amsterdam, Rijksmuseum, inv. no. SK-A-83; Aanwijzing 1853, 9, no. 63, Does (Simon van der; 1653-1717), Een heuvelachtig Landschap (A Hilly Landscape) (tax.: fl. 1,000); Amsterdam 1858, p. 28, no. 63. Simon van der Does, Italian Landscape with Shepherdess and Flock, 1703, Amsterdam, Rijksmuseum, inv. no. SK-A-84; Aanwijzing 1853, p. 9, no. 64, Does (Simon van der; 1653-1717), Een bergachtig dito [Landschap] (A Mountainous Ditto [Landscape]) (tax.: fl. 2,000); Amsterdam 1858, p. 29, no. 64.
19 Dirck van Bergen, Southern Landscape with Shepherds and Cattle, 1688, Paris, Musée du Louvre, inv. no. 1034; Villot 1852, p. 11, no. 15.
20 For instance: Jan Hackaert & Adriaen van de Velde, Wooded Landscape with Herdsmen and their Flock Fording a Stream, sale New York (Sotheby’s), 9 June 1983, no. 107.
21 There is no painting that can be matched with this description in Wegener 2000. Perhaps the date has been misread, as Hackaert was born in 1628. And possibly Thoré-Bürger refers to a painting that belonged to the Hausmann collection, which was acquired in 1857 by king George V of Hanover. The artworks were returned to him when Hanover was annexed by Prussia in 1866, Wegener 2000, p. 8-10.
22 Jan Hackaert was born in 1628.
23 Indeed on p. 136 above, Verboom’s name is mentioned, but his paintings are discussed below, on p. 151. See also the annotations by Thoré-Bürger opp. p. 156 (1/2). For Verboom in Baring’s collection, see: Waagen 1854, vol. 2, p. 187.
24 Jan van der Meer (II), The Sleeping Shepherd, 1678, Amsterdam, Rijksmuseum, inv. no. SK-A-248; see p. 135 above. , p. 88, no. 189.
25 Amsterdam 1859, p. 109-110, no. 238, 239. For Poelenburch, see below, p. 145-146.
26 Amsterdam 1859, p. 121-122, no. 261, 263. See above, p. 135.
27 This excerpt from the Gazette des Beaux Arts describes the theft of a painting from the Rijksmuseum in 1859 (workshop of Adriaen van der Werff, The Holy Family, 1714, Amsterdam, Rijksmuseum, inv. no. SK-A-468). In his annotations on p. 3 above, Thoré-Bürger correctly connects this incident to the small number of attendants and other staff at the museum. Regarding the theft, see: Bergvelt 1998, p. 162, 330 (note 15).
28 Sale collection Cardinal Fesch, Rome (George), 17-24 March 1845, Lugt 17682, p. 115.
29 See also Thoré-Bürger’s remarks opp. p. 144 (1/2).
30 See also Thoré-Bürger's remarks opp. p. 144 (2/2).