p. 161-165 The Marine Painters, a Painter of Living Birds, a Painter of Dead Game, the Painters of Fruits and Flowers
161 A PAINTER OF LIVING BIRDS.
... van het schip van Admiraal van Nes [271],1 and the Entry of Charles II of England into the harbor of Rotterdam [272].2 These two paintings are fully signed.
From an earlier master, H. C. Vroom,3 1566-1640: Admiral Heemskerk sinks the Spanish galleys at Gibraltar in 1607. Signed: VROOM 1617 [273].4
Finally, by J. C. Rietschoof, 1652-1719: A calm and a turbulent sea.5
A PAINTER OF LIVING BIRDS. – A very good painter indeed: Melchior de Hondecoeter, whose masterpieces can be found in Amsterdam and The Hague. No one depicted better than he — roosters and hens, drakes, and ducks, and especially chicks and ducklings. He understood these families with as much depth as the Italians understood the mystical Holy Family; he expressed the motherhood of chickens as well as Raphael expressed the motherhood of Madonnas; in truth, his subject matter was more natural, if not more sublime. Here, by Hondecoeter, we have a mother hen whose tenderness can rival that of the Madonna della Sedia [274]. She has sat down carefully, her wings spread, under which the wakeful heads of the chicks emerge; on her back sits the privileged bambino; she tries not to move, the good mother!
Of the eight Hondecoeters in the Amsterdam Museum, the most famous is the one called by the sacred ...
271
Lieve Verschuier
The keelhauling, according to tradtion, , of the ship's doctor of Admiral Jan van Nes, c. 1660-1686
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-449
272
Lieve Verschuier
Arrival of Charles II of England in Rotterdam on may 24, 1660, 1660-1665
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-448
273
Hendrik Vroom and Cornelis Hendriksz. Vroom (II)
Dutch Ships Ramming Spanish Galleys off the English Coast, 3 October 1602, dated 1617
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-460
274
Raphael Rafaël
Madonna della Sedia, c. 1514
Florence, Palazzo Pitti, inv./cat.nr. 151
162 MUSEUM OF AMSTERDAM.
... name: The Floating Feather. This duck feather floats on the surface of a body of water, with ducks, a pelican, a flamingo and other waterfowl mirroring themselves in the water at the edge. Do not blow against the feather, as it will fly away. The background is a park. The canvas is nearly 6 feet high and 4 to 5 feet wide. Fully signed: M D Hondecoeter [275].6
In another Park with ducks and doves, a feather also floats on the water; for the painter often amused himself by repeating this detail, for the pleasure of painting enthusiasts. But this painting is not as good as the other [276].7
In my opinion, however, the Floating Feather is not the best Hondecoeter in the Amsterdam museum. No. 123, Landscape with a peacock, a peahen and exotic birds, is superior both in breath of execution and overall harmony. The two peacocks are on the right; on the left, a white hen, surrounded by her chicks; in the center, one of these cheeky chicks, with a color of dead leaves and a red head, who will become a beautiful rooster, playfully teases the peacock. Powerful painting, from the Lormier collection. About 4 feet wide and over 3 feet high [277].8
No. 127, Landscape with Dead Poultry, is about the same size as The Floating Feather; it shows a heron, a goose, ducks and, on a tree stump, a live magpie. Signed ...
275
Melchior d' Hondecoeter
A Pelican and other Birds near a Pool, Known as ‘The Floating Feather’, c. 1680
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-175
276
Melchior d' Hondecoeter
Ducks, c. 1675-1680
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-172
277
Melchior d' Hondecoeter
Hen with chicks, threatened by two peacocks, known as 'the threatened hen', dated 1681
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-174
163 A PAINTER OF LIVING BIRDS.
... with the initials M. D. H. [278].9 In the pendant, no. 128, a hare, a pheasant, etc., and a live peacock, near a large vase [279].10
No. 125 is very small, about 1 foot wide and 1 ½ feet high. A dead partridge and a skewer with four small birds. Rare quality.11
The last two depict parrots, exotic birds and even monkeys,12 on the other flowers and plants (1) [280] [281].13
Jan Asselijn,14 born in Diepen, according to his entry in the Amsterdam civil registry, and not in Antwerp (2), as the Louvre catalog incorrectly assumes, Jan Asselijn – who would believe that? – painted a full-size swan, which Hondecoeter could have signed; therefore, I mention this exceptional work of this painter of landscapes and ruins here, after the works of Hondecoeter. Jan Asselijn's swan has outstretched wings and, according to the catalog, allegorically represents the vigilance of the Grand Pensionary ...
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(1) The new cat. includes a ninth painting by Hondecoeter: Battle of birds.15
(2) It is surprising that the new cat. also lists Antwerp as Asselijn's place of birth, while one of the books of the citizenry of Amsterdam records that he became a citizen on January 24, 1652: “Joannes Asselijn, van Diepen.” - See Scheltema: Redevoering over het leven en de verdiensten van Rembrand, etc., (Discourse on the life and merits of Rembrand, etc.), Amsterdam, 1853; page 69.16 – Asselijn's Swan is from the Gildemeester auction, 1800, Amsterdam, 95 guilders.
278
Melchior d' Hondecoeter
A Hunter’s Bag near a Tree Stump with a Magpie, Known as ‘The Contemplative Magpie’, ca. 1678
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-170
279
Melchior d' Hondecoeter
Hunter’s Booty on a Terrace, ca. 1678
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-171
280
Melchior d' Hondecoeter
The Menagerie, c. 1690
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-173
281
Melchior d' Hondecoeter
Forest floor stillife with birds, butterflies and a lizard, c. 1668
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-169
164 MUSEUM OF AMSTERDAM.
... Jan de Witt. Signed with the monogram JA. Excellent painting [282].17
A PAINTER OF DEAD GAME. – Jan Weenix. Two hares hang from a large vase, decorated with bas-reliefs; a pheasant, a goose, a rooster, partridges, are spread out in the foreground. On the vase the signature: J. Weenix f 1714 [283].18 The painter was seventy years old. He died five years later.
Another large painting by Weenix, 4 by 3 feet: Dead Game and Fruit;19 and a third: A Suspended Hare with hunting accessories (1).20
PAINTERS OF FRUITS AND FLOWERS. – They are all here: David de Heem and his son Jan Davidsz ;21 Abraham Mignon, the German, who came to study with Jan Davidsz;22 Rachel Ruysch, of whom the Louvre has nothing; Jan van Huijsum, who modeled himself on the De Heems and Mignon; his contemporary, C. Roepel, born in The Hague in 1678, died in 1748, from whom we have a painting of flowers and a painting of fruit, signed: Coenraet Roepel fecit 1721 [284][285];23 Pieter de Ring,24 otherwise unknown to me (2), apart from his excellent painting of Fruit with accessories.25
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(1) This last painting was paid fl. 1,055 for at the auction of Herman ten Kate, 1800; and fl. 2,510 at the auction of Van der Pot (new cat.).
(2) Also unknown in the new cat., which does not list a date, nor...
282
Jan Asselijn
Threatened Swan; later conceived as an allegory of Johan de Witt, c. 1650
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-4
283
Jan Weenix
Hunting and fruit still life next to a garden vase with a monkey, dog and two doves, in the distance Rijksdorp near Wassenaar, seat of Jacob Emmery, Baron of Wassenaar, dated 1714
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-462
284
Coenraet Roepel
Flowers in a metal vase in a niche, 1721 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-336
285
Coenraet Roepel
Fruit still life in a niche, 1721 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-337
165 THE PAINTERS OF FRUITS AND FLOWERS.
David de Heem, one painting;26 – Jan Davidsz, two, quite good; one is signed: Johan D Heem f 16... [286];27 the other: J D De Heem p. [287];28 – Mignon, two: A [n overturned] vase with flowers,29 and One [Still life, with fruits and trimmings] glass, fruit and accessories, signed in full [288];30 – Rachel, only one: Bouquet of lovely flowers, with butterflies and insects, signed in full with first name and last name. Canvas 1 foot 6 inches high, 1 foot 3 inches wide [289].31 Cost fl. 680 at the Baroness de Thoms auction, in 1816 (1).
For artists, the talent of Rachel, in her exquisite productions, is more congenial than that of the German Mignon, whose touch is so thin and whose color so cold. With me, these professional florists do not arouse very passionate admiration. I prefer the flowers sometimes painted by Rubens, by Velazquez and by certain painters of large format pictures, than the most beautiful and expensive bouquets of Van Huijsum. Moreover, it should be noted that Van Huijsum, the most esteemed of the Dutch florists, was not from the great period, for he lived in a time of decadence, when all the geniuses of Holland had died, and that he worked in the first half of the xviiith century. It seems to me ...
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... any information, besides the name. The painting is from the Van Heteren coll.
(1) And two years earlier, at widow Boreel's auction, fl. 570 (new cat.).32
286
Willem Claesz. Heda
Still Life with a Gilded Beer Tankard, 1634 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-137
287
Jan Davidsz. de Heem
Festoon of Fruits and Flowers, 1660-1670
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-138
288
Abraham Mignon
Bouquet with cat and mousetrap, c. 1670
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A- 267
289
Rachel Ruysch
Tulips and other flowers in a glass vase, 17[0] . (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. A 354
Notes
1 Lieve Verschuier, The Keelhauling of the Ship's Surgeon of Admiral Jan van Nes, c. 1660-1686, Amsterdam, Rijksmuseum, inv. no. SK-A-449; Aanwijzing 1853, p. 29, no. 308, Verschuur (Lieve), Het Kielhalen van den Chirurgijn van het schip van den Admiraal van Nes (The Keelhauling of the Surgeon of the Ship of the Admiral van Nes (tax.: fl. 1,500); Amsterdam 1858, p. 154, no. 341.
2 Lieve Verschuier, Arrival of Charles II, King of England, in Rotterdam, 24 May 1660, c. 1660-1665, Amsterdam, Rijksmuseum, inv. no. SK-A-448; Aanwijzing 1853, p. 29, no. 309, Verschuur (Lieve), Het Inzeilen van Karel den Tweeden van Engeland te Rotterdam (The Sailing of Charles the Second of England at Rotterdam (tax.: fl. 800); Amsterdam 1858, p. 153, no. 340.
3 See on Vroom also the notes by Thoré-Bürger opp. p. 168.
4 Hendrik Vroom and Cornelis Hendriksz. Vroom, Dutch Ships Ramming Spanish Galleys off the English Coast, October 3, 1602, 1617, Amsterdam, Rijksmuseum, inv. no. SK-A-460; Aanwijzing 1853, p. 30, no. 316, Vroom (Hendrik Cornelisz.; 1566-1640), De Admiraal Heemskerk, de Spaansche Galeijen voor Gibraltar overzeilenden, in 1607 (The Admiral Heemskerk crossing the Spanish galleys off Gibraltar, in 1607 (tax.: fl. 600); Amsterdam 1858, p. 158, no. 351.
5 Jan Claesz. Rietschoof, A Calm, Amsterdam, Rijksmuseum, inv. no. SK-A-333; Aanwijzing 1853, p. 23, no. 231, Rietschoof (Jan Claatze; 1652-1719), Een Riviergezigt, zijnde een stil water (A River View, Being a Calm Water) (tax.: fl. 600); Amsterdam 1858, p. 115-116, no. 256. Jan Claesz. Rietschoof, A Storm, Amsterdam, Rijksmuseum, inv. no. SK-A-334; Aanwijzing 1853, p. 23, no. 232, De wedergade, een woelend water (The counterpart, a turbulent water) (tax.: fl. 600); Amsterdam 1858, p. 116, no. 257.
6 Melchior d'Hondecoeter, A Pelican and other Birds near a Pool, c. 1680, Amsterdam, Rijksmuseum, inv. no. SK-A-175; Aanwijzing 1853, p. 14, no. 129, Hondekoeter (Melchior de; 1636-1695), Eene Hofstede met Gevogelte, dit stuk is bekend onder den naam van het drijvend veertje (A Farm with Poultry, this piece is known by the name of the floating feather (tax.: fl. 3,000); Amsterdam 1858, p. 68, no. 144.
7 Melchior d' Hondecoeter, Ducks, c. 1675-1680, Amsterdam, Rijksmuseum, inv. no. SK-A-172; Aanwijzing 1853, p. 14, no. 122, Hondekoeter (Melchior de; 1636-1695), Eene Warande met Eenden en Duiven (A Waranda with Ducks and Pigeons) (tax.: fl. 500); Amsterdam 1858, p. 67, no. 141.
8 Melchior d'Hondecoeter, Two Peacocks Threatening a Hen with Chicks, 1681, Amsterdam, Rijksmuseum, inv. no. SK-A-174; Aanwijzing 1853, p. 14, no. 123, Hondecoeter (Melchior de; 1636-1695), Een Landschap, met een Paauw, een Paauwin en vreemde Vogels (A Landscape, with a Peacock, a female Peacock and exotic Birds (tax.: fl. 500); Amsterdam 1858, p. 68, no. 143.
9 Melchior d'Hondecoeter, A Hunter's Bag near a Tree Stump with a Magpie, c. 1678, Amsterdam, Rijksmuseum, inv. no. SK-A-170; Aanwijzing 1853, p. 14, no. 127, Hondecoeter (Melchior de; 1636-1695), Een Landschap, met dood Gevogelte (A Landscape, with Dead Birds) (tax.: fl. 300); Amsterdam 1858, p. 66-67, no. 138.
10 Melchior d'Hondecoeter, Hunter's Bag on a Terrace, c. 1678, Amsterdam, Rijksmuseum, inv. no. SK-A-171; Aanwijzing 1853, p. 14, no. 128, Hondecoeter (Melchior de; 1636-1695), De wedergade (The Counterpart [of A Landscape, with Dead Birds]) (tax.: fl. 300); Amsterdam 1858, p. 67, no. 139.
11 Melchior d' Hondecoeter, Dead Birds, c. 1660-1665, Amsterdam, Rijksmuseum, inv. no. SK-A-168; Aanwijzing 1853, p. 14, no. 125, Hondecoeter (Melchior de; 1636-1695), Dood Gevogelte (Dead Birds) (tax.: fl. 400); Amsterdam 1858, p. 66, no. 136.
12 Melchior d'Hondecoeter, The Menagerie, c. 1690, Amsterdam, Rijksmuseum, inv. no. SK-A-173; Aanwijzing 1853, p. 14, no. 126, Hondecoeter (Melchior de; 1636-1695), Papegaaijen, vreemde Vogels en Apen (Parrots, exotic Birds and Monkeys (tax.: fl. 500); Amsterdam 1858, p. 67, no. 142.
13 Melchior d'Hondecoeter, Forest Floor Still Life with Birds, Butterflies and a Lizard, c. 1668, Amsterdam, Rijksmuseum, inv. no. SK-A-169; Aanwijzing 1853, p. 14, no. 124, Hondecoeter (Melchior de; 1636-1695), Een Bloem- en Plantenstuk (A Flower and Plant Piece) (tax.: fl. 300); Amsterdam 1858, p. 66, no. 137.
14 See also Thoré-Bürger's note opp. p. 168.
15 Anonymous, The Flemish Cock and the Turkish Cock, c. 1650, Amsterdam, Rijksmuseum, inv. no. SK-A-80; Amsterdam 1858, p. 67, no. 140, as by Melchior d’Hondecoeter. With many thanks to Caroline Wittop Koning and Eddy Schavemaker (e-mail of 16 September 2025).
16 Scheltema 1853, p. 69, fol. 253 in the ' boek der gekochte poorters' (book of bought poorters').
17 Jan Asselijn, The Threatened Swan, c. 1650, Amsterdam, Rijksmuseum, inv. no. SK-A-4; Aanwijzing 1853, p. 3, no. 1, Asselyn (Jan; 1610-1660), Eene Zwaan met uitgespreide vlerken; eene zinspeling op de waakzaamheid van den Raadpensionaris Joan de Witt (A Swan with spread wings; an allusion to the vigilance of the Raadpensionaris Joan de Witt (tax.: fl. 1,000); Amsterdam 1858, p. 1, no. 2.
18 Jan Weenix, Hunting and Fruit Still Life next to a Garden Vase, in the distance Rijksdorp near Wassenaar, 1714, Amsterdam, Rijksmuseum, inv. no. SK-A-462; Aanwijzing 1853, p. 30, no. 317, Weenix (Jan; 1644-1719), Een Landschap met dood Wild (A Landscape with Dead Game) (tax.: fl. 6,000); Amsterdam 1858, p. 159, no. 352.
19 Jan Weenix, A Monkey and a Dog with Dead Game and Fruit, 1704, Amsterdam, Rijksmuseum, inv. no. SK-A-463; Aanwijzing 1853, p. 30, no. 319, Weenix (Jan; 1644-1719), Een stuk met dood Wild en Vruchten (A Piece with Dead Game and Fruit) (tax.: fl. 8,000); Amsterdam 1858, p. 159, no. 353.
20 Jan Weenix, Still Life with a Hare and other Game, 1697, Amsterdam, Rijksmuseum, inv. no. SK-A-464; Aanwijzing 1853, p. 30, no. 318, Weenix (Jan, 1644-1719), Een hangende Haas en verder bijwerk (A Hanging Hare and Further Ancillary Work (tax.: fl. 6,000); Amsterdam 1858, p. 160, no. 354, as stemming from 'Sale Hendrik ten Kate, 1800, fl. 1,055. According to Moes/Van Biema 1909, p. 182 this is not correct: Van der Pot acquired this painting on 22 September 1783 at the auction of Pieter Locquet for fl. 1,200. By 1808, it was acquired through the Van der Pot sale.
21 Jan Davidsz. de Heem’s father was the musician David Jansz. van Antwerpen (?-1612), who was formerly mistakenly assumed to be a painter.
22 Mignon was not a pupil, but rather an assistant to De Heem in Utrecht from 1669 to 1672.
23 Coenraet Roepel, Still Life with Flowers, 1721, Amsterdam, Rijksmuseum, inv. no. SK-A-336; Aanwijzing 1853, p. 23, no. 234, Roepel (Coenraad; 1678-1748), Een Bloemstuk (A Flower Piece) (tax.: fl. 200); Amsterdam 1858, p. 116-117, no. 259. Coenraet Roepel, Still Life with Fruit, 1721, Amsterdam, Rijksmuseum, inv. no. SK-A-337; Aanwijzing 1853, p. 23, no. 235, Roepel (Coenraad; 1678-1748), Een Fruitstuk (A Fruit Piece) (tax.: fl. 200); Amsterdam 1858, p. 117, no. 260.
24 See also Thoré-Bürger's notes opp. p. 168.
25 Pieter de Ring, Still Life with Golden Goblet, c. 1655-1660, Amsterdam, Rijksmuseum, inv. no. SK-A-335; Aanwijzing 1853, p. 23, no. 233, Ring (Pieter de), Een Stilleven met vruchten (A Still Life with Fruit) (tax.: fl. 1,000); Amsterdam 1858, p. 116, no. 258.
26 Copy after Jan Davidsz. de Heem, Still Life with Fruit and a Lobster, Amsterdam, Rijksmuseum, inv. no. SK-A-139; Aanwijzing 1853, p. 12, no. 100, Heem (David Davidsz. de), Een Stilleven (A Still Life) (tax.: fl. 1,000); Amsterdam 1858, p. 53, no. 110, as by David Davidsz. de Heem.
27 Willem Claesz. Heda, Still Life with a Gilded Beer Tankard, 1634, Amsterdam, Rijksmuseum, inv. no. SK-A-137; Aanwijzing 1853, p. 12, no. 102, Heem (Jan Davidsz. de; 1600-1674), Een Stilleven, met zilveren kan en beker (A Still Life, with Silver Jug and Cup) (tax.: fl. 500); Amsterdam 1858, p. 52, no. 108, as by Jan Davidsz. de Heem, incorrectly coming from the 1808 Van der Pot sale.
28 Jan Davidsz. de Heem, Festoon of Fruit and Flowers, c. 1660-1670, Amsterdam, Rijksmuseum, inv. no. SK-A-138; Aanwijzing 1853, p. 12, no. 101, Heem (David Davidsz. de), Een Bloem- en Fruitstuk (A Flower and Fruit Piece) (tax.: fl. 2,000); Amsterdam 1858, p. 53, no. 109, as originating from 'Cabinet Van Heteren’, yet is should be the Van der Pot sale of 1808 (lot 48) instead.
29 Abraham Mignon, The Overturned Bouquet, c. 1660-1679, Amsterdam, Rijksmuseum, inv. no. SK-A-267; Aanwijzing 1853, p. 19, no. 185, Mignon (Abraham; 1636-1679), Eene omvallende Vaas met bloemen (An overturned Vase with Flowers) (tax.: fl. 1,500); Amsterdam 1858, p. 93, no. 205.
30 Abraham Mignon, Still Life with Fruit and a Goldfinch, c. 1660 - 1679, Amsterdam, Rijksmuseum, inv. no. SK-A-266; Aanwijzing 1853, p. 19, no. 186, Mignon (Abraham; 1636-1679), Een Stilleven, met vruchten en bijwerk (A Still Life, with fruit and accessories (tax.: fl. 600); Amsterdam 1858, p. 92-93, no. 204, as coming from a 'Sale unknown 1797 fl. 300. Sale Van der Pot, 6 Junij, 1808, Rotterdam, fl. 790'. Yet, according to Moes/Van Biema 1909, p. 186, Van der Pot bought it at the Gildemeester auction in 1800 for fl. 250.
31 Rachel Ruysch, Still Life with Flowers in a Glass Vase, c. 1690-1720, Amsterdam, Rijksmuseum, inv. no. SK-A-354; Smith 1829-1842, vol. 6 (1835), p. 498, no. 9; Aanwijzing 1853, p. 24, no. 242, Ruisch (Rachel; 1664-1750), Een Bloemstuk (A Flower Piece) (tax.: fl. 4,000); Amsterdam 1858, p. 121, no. 972 [sic, 272].
32 The Ruysch painting was actually purchased in 1814, instead of 1816, as Smith makes it appear and Thoré-Bürger adopts.