p. 151-155 The Landscapists, the Painters of Architecture, the Marine Painters
151 THE LANDSCAPE PAINTERS.
A single painting also by Renier van Vries, a fine landscape with tall trees, in the style of Hobbema; for Van Vries, a pupil of Ruijsdael, sometimes comes so close to Hobbema as to mislead the half-connaisseurs. Signed: R. V. Vries f [243] (1).1
Jan van der Hagen is also very similar to Ruijsdael. His large Landscape with rolling bridge is not very interesting. Bought for 1,405 guilders at the Van der Pot auction, 1808 [244].2
One of Abraham Verboom's most capital works: Forest View. 10 feet wide and 6 feet high. Free and masterful painting, transitioning into the decorative style. Signed: A. H. V. Boom fecit. A. 1653 (2) [245].3
Another group that emerged from Van Goijen differed greatly in feeling and practice from Ruijsdael's school. Herman Saftleven, who had studied with Van Goijen but had not retained the breadth of his master, in turn trained Jan Griffier. Both left behind a wealth of beautiful depictions of the Dutch Rhine.4 We have three Saftlevens and one Griffier. One of the Saftlevens is signed with the monogram H S, the S twisted on the second jamb of the H, with the date 1678.5 The Griffier is fully signed, with the initial of the first name [246].6
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(1) Auction P. Loquet, 1783, 280 guilders; Wessels Reijers, 1814, Amsterdam, fl. 555 (new cat.).
(2) In the new cat. this signature has been omitted. The painting was purchased from the widow Balguerie for 600 guilders.7
243
Roelof Jansz. van Vries
Landscape with falconer
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-459
244
Anonymous Netherlands (hist. region) c. 1660
Landscape with rolling bridge, c. 1660
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-132
245
Adriaen Hendriksz. Verboom and Pieter Gerardus van Os
View of a forest, dated 1653
Rotterdam, Museum Rotterdam, inv./cat.nr. 11743
246
Jan Griffier (I)
River view, 1680 - 1700
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-125
152 MUSEUM OF AMSTERDAM.
That leaves the Italianate landscape painters: two very small Van der Ulfts: Views in Italy [247] [248];8 a large mediocre Pijnacker, signed in full, the A of the first name forming a monogram with the P: Mountainous landscape on the bank of a river, with tall trees [249] (1);9 and two Boths, very aptly catalogued: No. 34. Landscape in Italy: no. 35. Idem.10
These two paintings, made as usual by Jan and Andries together, are highly praised by Smith, and I will let him describe them, especially since I am not fond of this manner of painting, a kind of pastiche of Claude, who sometimes adopts from this painter, admittedly, certain luminous qualities.
"Travelers halting under the shade of some Trees. This admirable picture represents a wild and rocky scene, abounding in trees and underwood, and glowing with the warmth of a fine summer's morning. Beneath some lofty trees on the left is a party of travelers who have halted to refresh their weary cattle; among them are a woman on an ass, and a man giving it provender: near these is another traveler standing at the side of a white horse, and still more retired is a herdsman driving two oxen along a hilly road. A river flows on the opposite side through a fertile valley, and the view is further distinguished by a bridge, and a round tower seen in the middle distance.
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(1) Sold for 1,800 guilders at the Van der Pot auction (new cat.).
247
Jacob van der Ulft
Italian harbor view, 1650-1689
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A- 419
248
Jacob van der Ulft
Italian city view
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-420
249
Adam Pijnacker
Boatmen Moored on the Shore of an Italian Lake, c. 1665
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-321
153 THE PAINTERS OF ARCHITECTURE.
On panel. H. 1 foot 6 inches; W. 1 foot 11 inches. Auction Van Slingeland, 1785, 2,575 guilders." [250].11
The second painting is titled: The ferry. "Beautiful landscape, with many trees and a noble river flowing at the foot of the mountains in the foreground. The ferry with three passengers and three cows has just touched the bank, where a lady on a gray horse, a gentleman in red and a boy with a mule appear to be waiting to cross. A ruin can be seen through a group of trees, and from there the view stretches across a vast country to the mountains in the distance. A brilliant sunset adds indescribable charm to this scene. Both created an etching similar to this composition [252]. On canvas. H. 2 feet 5 inches; W. 2 feet 10 1/2 inches. Auction Van der Pot, 1808, 3,690 guilders" [253].12
The Amsterdam catalog adds to these two paintings, under the name Jan Both only: a Horse Stable (1) [251].13
THE PAINTERS OF ARCHITECTURE. – We have previously met the magnificent Van der Heijden with his friend Adriaan van de Velde.14 After that, in this field here is almost nothing: ...
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(1) The new cat. put this third painting in the name of the two brothers, it cost 610 guilders at the auction of Madame Boreel, Amsterdam, 1814, and signed, like the other two: J Both, the first style of the B forming the J.
250
Jan Both
Italian landscape with a river and an arch bridge, c. 1650-1652
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-51
251
Jan Both
Farmyard, c. 1645-1650
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-50
252
Jan Both
Landscape with travellers and a ferry at the bank of the Tiber, c. 1644-1652
Amsterdam, Rijksprentenkabinet, inv./cat.nr. RP-P-BI-4211
253
Jan Both
Italianate landscape with a ferry, c. 1652
Amsterdam, Instituut Collectie Nederland
154 MUSEUM OF AMSTERDAM.
... A View of the Old Amsterdam Town Hall, by Gerrit Berckheijden;15 signed: Gerit Berck. 1677 [254];16 – the Ruins of the same Town Hall after the fire of 1652, by Jan Beerstraaten [255],17 from whom the Amsterdam Museum also has two seascapes: Winter View, taken from the IJ-side at Amsterdam, and The naval battle of 1666 between the Dutch and English fleets; canvas 8 feet wide (1);18 – an excellent Interior of the Old Church at Delft, by Hendrik van Vliet;19 signed and dated 165420 – and another Church Interior, by Emmanuel de Witte (2) [256],21 born 1607, died 1692; a pupil, it is said, of Evert van Aalst of Delft,22 but a follower of Aalbert Cuijp, in the way he painted interiors of monuments.
The Louvre has no paintings by these last two artists, and their names are not mentioned in the Paris Museum catalog. We can add Egbert van der Poel, whose specialty was depicting fires. Two paintings by him: Ruin of the gunpowder magazine in Delft in 1654 [257],23 and Peasant Interior;24 the former, signed: E van der Poel; 12 octb 1654; the second: Egbert vn der poel, 1646.
THE MARINE PAINTERS. – Of these, the museum...
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(1) The Fire and the Battle are signed: I BEERSTRAATEN; the Winter view: I. Beerestraaten.
(2) Signed: E. De. Witte; from the Van der Pot collection (new cat.).
254
Gerrit Berckheyde
The Town Hall on Dam Square, Amsterdam, 1672 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-34
255
Jan Abrahamsz. Beerstraaten
Ruins of the Old Town Hall in Amsterdam after the fire of July 7, 1652, after 1652
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-21
256
Emanuel de Witte
Church interior with motifs from the Oude Kerk and Nieuwe Kerk in Amsterdam, dated 1677
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-474
257
Egbert Lievensz. van der Poel
Explosion of the powder tower in Delft, October 12, 1654
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-309
155 THE MARINE PAINTERS.
... of Amsterdam has very important works, especially of Willem van de Velde.
First, Willem's largest painting, as far as I know: View of the city of Amsterdam, seen from the Y [258].25 This canvas is about 10 feet wide and over 5 feet high (1). In the center a large warship, with a richly carved and gilded stern and a Dutch flag; to the right of the ship a yacht salutes by an artillery bombardment; to the left in front an admiral ship. Around it many other large and small ships sail. Beautiful signature W. V. Velde f. 1686. This date is important because it proves that Willem van Velde, who like his father had settled in England and who from 1675 received an annual pension from Charles II, sometimes returned to Holland, or at least in the year 1686. – One can assume that Willem, who knew naval architecture so well, was pleased with this ship of a size he had never ventured before. Personally, I like his smaller paintings better.
Two very famous compositions in Holland: Scene from the Four-Day War in 1666. An old catalog of the Amsterdam museum describes them as follows: ...
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(1) The new cat. gives the dimensions as 3.11 by 1.76, - Willem's magnificent seapiece, exhibited at Manchester by Lord Hertford, is only 8 feet wide but 6 feet high.26 See Trésors d'art, etc., by W. Burger, p. 311.27
258
Willem van de Velde (II)
Former flagship of Cornelis Tromp 'De Gouden Leeuw' (the Gold Lion) on the IJ in front of Amsterdam, dated 1686
Amsterdam, Amsterdam Museum, inv./cat.nr. SA 7421; 465 (cat. 1975/79)
Notes
1 Roelof Jansz. van Vries, Landscape with Falconer, Amsterdam, Rijksmuseum, inv. no. SK-A-459; Aanwijzing 1853, p. 30, no. 315, Vries (Reinier de), Een boomrijk Landschap (A Tree-Lined Landscape (tax.: fl. 500); Amsterdam 1858, p. 158, no. 350. See also Thoré-Bürger's note opp. p. 1 (2/3), where he repeats his comparison with Hobbema. More information on this artist opp. p. 156 (1/2) and (2/2).
2 Anonymous, Landscape with rolling bridge, c. 1660, Amsterdam, Rijksmuseum, inv. no. SK-A-132; Aanwijzing 1853, p. 12, no. 96, Hagen (Jan van der), Een Landschap met een overhaal (A Landscape with a rolling bridge) (tax.: fl. 4,000); Amsterdam 1858, p. 51, no. 104, as by Jan van der Hagen.
3 Adriaen Hendriksz. Verboom, Forest View, 1653, Amsterdam, Rijksmuseum, inv. no. SK-A-47; Aanwijzing 1853, p. 29, no. 307, Verboom (Abraham), Een groot Boschgezigt (A large Forest view) (tax.: fl. 2,000); Amsterdam 1858, p. 153, no. 339. See on Verboom also the notes opp. p. 144 (1/2) and opp. p. 156 (1/2).
4 See also Thoré-Bürger's remarks opp. p. 156 (2/2).
5 Herman Saftleven, View of the Rhine near Andernach, 1655, Amsterdam, Rijksmuseum, inv. no. SK-A-361; Aanwijzing 1853, p. 32, Zachtleven (Herman; 1609-1685), no. 342, Een Rijngezigt (A view of the Rhine) (tax.: fl. 100) or no. 343, Een als voren [Een Rijngezigt] (One as before [A view of the Rhine]) (tax.: fl. 200) or no. 344, Een als voren [Een Rijngezigt] One as before [A view of the Rhine] (tax.: fl. 200); Amsterdam 1858, p. 126, no. 278. Herman Saftleven, River View with Landing Stage, 1678, Amsterdam, Rijksmuseum, inv. no. SK-A-362; Aanwijzing 1853, p. 32, no. 343, Zachtleven (Herman; 1609-1685), Een als voren [Een Rijngezigt] (One as before [A view of the Rhine] (tax.: fl. 200) or no. 342, Een Rijngezigt (A view of the Rhine) (tax.: fl. 100) or no. 344, Een als voren [Een Rijngezigt] (One as before [A view of the Rhine]) (tax.: fl. 200); Amsterdam 1858, p. 126, no. 279. Herman Saftleven, View of the Rhine near Rheineck Castle, 1654, Amsterdam, Rijksmuseum, inv. no. SK-A-363; Aanwijzing 1853, p. 32, no. 344, Zachtleven (Herman; 1609-1685), Een als voren [Een Rijngezigt] ( One as before [A view of the Rhine] (tax.: fl. 200) or no. 342, Een Rijngezigt (tax.: fl. 100) or no. 343, Een als voren [een Rijngezigt] (One as before [A view of the Rhine]) (tax.: fl. 200); Amsterdam 1858, p. 126, no. 280.
6 Jan Griffier (I), River View, c. 1680-1700, Amsterdam, Rijksmuseum, inv. no. SK-A-125; Aanwijzing 1853, p. 11, no. 90, Griffier (Jan; 1645-1718), Een Rijngezigt (A Rhine View) (tax.: fl. 600); Amsterdam 1858, p. 48, no. 98. See also Thoré-Bürger's remarks opp. p. 156 (1/2) and (2/2).
7 In the margin below, it reads: 'donnée dans l'éd. 59'. The painting was not bought from the widow Balguerie, but with the money from this widow's bequest.
8 Jacob van der Ulft, Italian harbor view, Amsterdam, Rijksmuseum, inv. no. SK-A-419; Aanwijzing 1853, p. 28, no. 282, Ulft (Jacob van der; b. 1626), Gezigtje aan den Tiber bij Rome (View of the Tiber near Rome) (tax.: fl. 100); Amsterdam 1858, p. 142, no. 313. Jacob van der Ulft, Italian City View, Amsterdam, Rijksmuseum, inv. no. SK-A-420; Aanwijzing 1853, p. 28, no. 283, Ulft (Jacob van der; b. 1626), Een bergachtig Landschapje [sic] (A Mountainous Landscape [sic]) (tax.: fl. 100); Amsterdam 1858, p. 142, no. 314.
9 Adam Pijnacker, Boatmen Moored on the Shore of an Italian Lake, c. 1650-1670, Amsterdam, Rijksmuseum, inv. no. SK-A-321; Smith 1829-1842, vol. 6 (1835), p. 292, no. 21; Aanwijzing 1853, p. 22, no. 223, Pynakker (Adam; 1621-1673), Een bergachtig Landschap met hoog geboomte aan eene rivier (A mountainous Landscape with high trees on a river) (tax.: fl. 4,000); Amsterdam 1858, p. 112, no. 248.
10 On Both in Dresden see Thoré-Bürger's remark opp. p. 156 (2/2).
11 Jan Both, Italian Landscape with a River and an Arch Bridge, c. 1650-1652, Amsterdam, Rijksmuseum, inv. no. SK-A-51; Smith 1829-1842, vol. 6 (1835), p. 176, no. 11; Aanwijzing 1853, p. 6, no. 34, Both (Jan and Andries), Een Italiaansch Landschap (An Italian Landscape) (tax.: fl. 25,000); Amsterdam 1858, p. 17-18, no. 37, as by Jan and Andries Both.
12 Jan Both, Italian Landscape with Ferry, c. 1650 -1652, Amsterdam, Rijksmuseum, inv. no. SK-A-52; Smith 1829-1842, vol. 6 (1835), p. 173, no. 5, p. 185-186, no. 42 (Smith also refers to no. 49 on p. 173 and no. 187 on p. 187-188, yet these are different paintings); Aanwijzing 1853, p. 6, no. 35, Both (Jan and Andries), Een als voren [Een Italiaansch Landschap] (One as before [An Italian Landscape]) (tax.: fl. 12,000); Amsterdam 1858, p. 18, no. 38, as by Jan and Andries Both.
13 Jan Both, Farmyard, c. 1645-1650, Amsterdam, Rijksmuseum, inv. no. SK-A-50; Aanwijzing 1853, p. 6, no. 36, Both (Jan), Een Paardenstal (A Horse Stable) (tax.: fl. 1,000); Amsterdam 1858, p. 17, no. 36, as by Jan and Andries Both.
14 See above, p. 135-144.
15 See also Thoré-Bürger's remarks opp. p. 156 (1/2).
16 Nowadays the year is read as 1672; Gerrit Berckheyde, The Town Hall on Dam Square, Amsterdam, 1672, Amsterdam, Rijksmuseum, inv. no. SK-A-34; Aanwijzing 1853, p. 5, no. 27, Berkheyden (Gerard; 1645-1698), Het voormalige Stadhuis te Amsterdam (The former Town Hall at Amsterdam) (tax.: fl. 1,000); Amsterdam 1858, p. 13, no. 26.
17 Jan Abrahamsz. Beerstraaten, The Ruins of the Old Town Hall of Amsterdam after the Fire of 7 July 1652, 1652-1666, Amsterdam, Rijksmuseum, inv. no. SK-A-21; Aanwijzing 1853, p. 4, no. 15, Beerestraten (Johannes, deceased 1687), Ruïne van het Oude Stadhuis te Amsterdam (Ruins of the Old City Hall at Amsterdam) (tax.: fl. 1,500); Amsterdam 1858, p. 7, no. 14. Thoré-Bürger's choice of words (and those in the museum catalogues) is somewhat confusing. At the time, there were in fact two ‘old town halls’. One being Jacob van Campen's building that is still erect today, and which had become the Royal Palace in 1808, under Louis Napoleon. The other being its medieval predecessor, which had gone up in flames in 1652, and which was also called the old town hall. See also Thoré-Bürger's comment opp. p. 1 (2/3): he sees Rembrandt's influence on this painting by Beerstraten.
18 In fact, there was one seascape, and one winter scene: Jan Abrahamsz. Beerstraaten, The Battle of Terheide, 10 August 1653, c. 1653-1666, Amsterdam, Rijksmuseum, inv. no. SK-A-22; Aanwijzing 1853, p. 4, no. 13, Beerestraten (Johannes; deceased 1687), Voorstelling van den Zeeslag tusschen de Hollandsche en Engelsche Vloten, op den 12den Junij 1666 (Representation of the Naval Battle between the Dutch and English Fleets, on the 12th of June 1666 (tax.: fl. 2,500); Amsterdam 1858, p. 7, no. 15. Jan Abrahamsz. Beerstraaten, The Paalhuis and the Nieuwe Brug, Amsterdam, in the Winter, c. 1663-1666, Amsterdam, Rijksmuseum, inv. no. SK-A-20; Aanwijzing 1853, p. 4, no. 14, Beerestraten (Johannes; deceased 1687), Een Wintergezigt aan den Ykant te Amsterdam (A Winter View on the Y-side at Amsterdam) (tax.: fl. 1,000); Amsterdam 1858, p. 6, no. 13.
19 Thoré-Bürger has inserted 'der' here, thus: Hendrik van der Vliet, one of the variants of this artist's name, but he usually called himself Hendrick van Vliet. See also the remarks opp. p. 156 (1/2).
20 Hendrick van Vliet, Interior of the Oude Kerk in Delft, 1654, Amsterdam, Rijksmuseum, inv. no. SK-A-455; Aanwijzing 1853, p. 29, no. 312, Vliet (Hendrik van), De Oude Kerk te Delft, van binnen te zien (The Oude Kerk at Delft, seen from the inside) (tax.: fl. 2,000); Amsterdam 1858, p. 156, no. 347.
21 Emanuel de Witte, Interior of a Protestant Gothic Church with Motifs from the Oude and Nieuwe Kerk in Amsterdam, 1677, Amsterdam, Rijksmuseum, inv. no. SK-A-474; Aanwijzing 1853, p. 31, no. 327, Wit (Emanuel de; 1607-1692), Eene Kerk van binnen te zien (A Church seen from inside) (tax.: fl. 1,600 [?]); Amsterdam 1858, p. 163, no. 362.
22 Evert van Aelst would indeed have been Emanuel de Witte's teacher. See also the remarks opp. p. 156 (1/2).
23 Egbert Lievensz. van der Poel, The explosion of the powder magazine in Delft, 12 October 1654, c. 1654-1660, Amsterdam, Rijksmuseum, inv. no. SK-A-309; Aanwijzing 1853, p. 21, no. 212, Poel (Egbert van der), Ruïne van Delft, na het springen van den kruidtoren (Ruins of Delft, after the explosion of the powder tower) (tax.: fl. 600); Amsterdam 1858, p. 107, no. 237. See also Thoré-Bürger's remarks on a variant of this composition opp. p. 156 (2/2).
24 Egbert Lievensz. van der Poel, Interior of a barn, 1646, Amsterdam, Rijksmuseum, inv. no. SK-A-308; Aanwijzing 1853, p. 21, no. 213, Poel (Egbert van der), Een Boeren-Binnenhuis (A Farmer's Interior) (tax.: fl. 300); Amsterdam 1858, p. 106-107, no. 236.
25 Willem van de Velde (II), The Golden Lion on the IJ by Amsterdam, 1686, Amsterdam, Amsterdam Museum, inv. no. SA 7421 (on loan to the Rijksmuseum 1885-1975, inv. no. SK-C-7); Smith 1829-1842, vol. 6 (1835), p. 384, no. 227, as dated 1685; Aanwijzing 1853, p. 28, no. 299, Velde (Willem van de; 1633-1707), Gezigt uit het Y op de stad Amsterdam (View from the Y on the city of Amsterdam) (tax.: fl. 30.000); Amsterdam 1858, p. 149, no. 334. The crest of this painting’s commissioners that used to decorate its frame, are still kept at the Amsterdam Museum, see: The Coats of Arms of the Chief Commissioners of the Ports, Wharves and Cranes, inv. no. KA 7498.
26 The current dimensions are: 179.5 x 316 cm.
27 Burger 1857, p. 311.