p. 166-170 The Painters of Fruits and Flowers, the Portraits
166 MUSEUM OF AMSTERDAM.
... that Metsu, had he set his mind to it, would have produced more beautiful flowers than Van Huijsum.
This Rachel was a valiant woman who died at the age of eighty-six and painted almost to her last day. Mr. Six of Hillegom has two pendants of her, signed and dated 1730, which show no weakness, even though she was sixty-six at the time [290].1
Born in Amsterdam in 1664, the daughter of a distinguished professor, she learned to paint as a child from Willem van Aalst,2 who died in 1679. She was already famous when she married the portrait painter Jurriaan Pool in 1695.3 In I701, both were enrolled in the register of the Hague painters' guild (Haagsche Broederschap [Confrerie Pictura]). Despite her diligent painting, she did not leave many paintings, no doubt because of the care she took. It is said that she spent seven years on two masterpieces that she gave as a dowry to one of her daughters – she had ten children! It seems that making children took her less time than painting fruits and flowers.
Van Huijsum, as we know, sometimes painted small, very fine landscapes, brushed in the manner of miniaturists, and which could well serve as a counterpart to the most meticulous works of the heirs of Frans Mieris. Since nature had nothing to do with it, he introduced small, microscopic monuments, with columns and small disguises à l'antique, and he called them Arcadia or something similar. The Amsterdam museum has two gems from this factory, ...
290
Rachel Ruysch
Still life of flowers in a glass vase with a bird's nest, 1739 (dated)
Private collection
167 THE PORTRAITS.
... signed in full [291] [292].4 Van Huijsum's Arcadias are infinitely less expensive than his Flower Vases. This is only right.
But the Amsterdam museum also has Fruits and Flowers by Van Huysum [293] [294].5 The Fruits is perhaps the painting that sold for 3,610 guilders at Van der Pot's auction. The Flowers, roses, hyacinths, anemones, etc., are grouped in a vase decorated with bas-reliefs and placed on a marble top, next to a nest with four eggs. Light background, which is a great quality in this type of composition. On a panel 2 feet wide, 2 feet 7 inches high. This elegant and delicate painting is dated 1723, from the master's finest period. A similar painting, or perhaps this painting, sold for 3,800 guilders at the Braamcamp auction in 1771 and for 1,950 guilders at the J. Gildemeester auction in 1800 (1).
THE PORTRAITS. – I discussed earlier portraits of masters with real merit. The Amsterdam Museum also owns a large number of other portraits, more or less valuable as works of art, but of historical interest. Here is their nomenclature: ...
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(1) The new cat. does not confirm this provenance and only mentions the auction of Johan van Schuijlenburg, mayor of The Hague, 1735, where the Van Huijsum painting cost only 450 guilders. The Fruits and Flowers are signed in full, with a y instead of the ij in the signatures on the Arcadias.
291
Jan van Huijsum
Arcadian landscape with fishermen
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-185
292
Jan van Huijsum
Arcadian landscape with sacrificial feast
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-186
293
Jan van Huijsum
Half a melon, pomegranate and other fruit on a marble plinth, 1730s
Delft, Museum Prinsenhof Delft, inv./cat.nr. B 6-19
294
Jan van Huijsum
Bloemstilleven op een stenen plint, in een gebeeldhouwde vaas, op de achtergrond links een beeld van Flora, 1723 (dated)
Enschede, Rijksmuseum Twenthe
168 MUSEUM OF AMSTERDAM.
... Prince William IV, by J. Aved. I suppose that this Aved, who is mentioned without further information, must be the one who was a member of the Académie de Peinture in France in the middle of the XVIIIth century, William IV being exactly from that time (1).6
The Raadpensionaris Jan de Witt; noble head, long and slender hands (2) [295];7 and Cornelis de Witt, his brother, mayor of Dordrecht [296];8 by Jan de Baen, born in Haarlem in 1633, died in Amsterdam in 1702; author of a third painting with The mistreated corpses of the brothers Jan and Cornelis de Witt [297].9
For such scenes and such characters, it is unfortunate that the painter is rather insignificant. Nevertheless, Jan de Baen had a great reputation in his time and was called to England, where, according to Walpole, he painted a number of portraits of King William and Queen Mary.10
Marie van Reigersbergen, wife of Grotius, by David Baillij,11 born 1584, died 1638.12 Signed: D. Baillij fecit Ao1624 [298].13Fernand Alvarez de Toledo, Duke of Alba (the famous governor of Philips IV14 of Spain in the Netherlands),15 by Dirk Barendsen, born 1534, died 1592. Unfortunately, it is not a good painting at all.
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(1) The new cat. adds to the name of "Jaques André Joseph Aved" this small note: “Born in Douai in 1702, pupil of Bernard Picart and Le Bel; died in Paris in 1766.” – The portrait is signed: J Aved 1751.
(2) Engraved by L. Visscher (new cat.).16
295
after Jan de Baen
Johan de Witt (1625-1672). Grand Pensionary of Holland, 1643-1700
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-13
296
Jan de Baen and studio of Jan de Baen
Portrait of Cornelis de Witt (1623-1672), after 1667
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-14
297
attributed to Jan de Baen
The corpses of the brothers De Witt, on the Groene Zoodje at the Lange Vijverberg in The Hague, 20 August 1672, 1672 or later
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-15
298
David Bailly
Portrait of Aertje Witsen (1599-1652), dated 1626
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-16
Interleaved page (1/2)
On Van de Capelle, p. 160, see Arenberg17
“Johannes van de Capelle”, van Amsterdam, 29 July 1653”, poorter of Amsterdam.18
He is not in the Louvre. – Pupil of W. v. d. V?19
1 in Berlin no. 881, without signature or date.20
1 in Vienna – p. 78 id. id.21
The v. d. Cap 51 is no longer found in the new catalogue.22
P. de Ring. Fuseli says he had come from Flanders.23
Vroom. There are two of them: the older Vroom. (G. Hoet)24
There is a P. de Ring, Flowers, and Fruits, with the date 1659 in the Hanover museum, no. 66,25 and at Berlin P. de Ring f. 1650.26
On Vroom, see the good histories in Michiels IV, 91.27
there are biographies in van Mander.28
Pieter Cornelis van Ryk, born in 1566,29 Dutch School, at Brunswick:
“The kitchen of the Rich Man, figures life size figures, height 6 feet by width 10 feet, signed: Petrus van Ryck Invent. Fec.1614’30
Could this be by de Ring? No.
At M. Dumont in Cambrai:
vanitas vanitum
et omnia vanitas
David Baillij pinxit
Ao 1651.31
Portrait of Bailly in
De gulden cabinet of C. de Bie.32
- New Asselijn signed and dated (Pierard sale).33
- The small Dubbels, p. 160 is bright and good.34
Interleaved page (2/2)
Chez Et. Leroy35 Portrait of a man, half-length, in van der Helst’s style, but more dry: HBerckman f Ao 166936
Brunswick: David, signed DBray 167437
Ditto 2 interiors of grottos signed: AVCuylenborch
and dated 1646 and 164738
SD Braij 1641 The Annunciation, completely rembrandtesque drawing at Guichardot.39 Was Salomon de Braij a pupil of Rembrandt?40
169 THE PORTRAITS.
Vice Admiral A. Bankert [299],41 by Hendrik Berckman, born in 1629, died in 1690. If Berckman is the maker of this portrait, then this painter's date of birth, as listed in the catalog, must be wrong; for the painting is dated 1645, and it is unlikely that an artist of sixteen was asked to paint the portrait of an admiral (1).
The Governors of the Guild of St. Luke in Haarlem, seven figures, life-size, half-length; composition similar to those of Rembrandt, Van der Helst, Ferdinand Bol, Govert Flinck, Jacob Backer, Frans Hals, and the other masters of large painting [300];42 by J. de Bray, who died in 1694. This De Bray, whose first name was Jacob, was the son of Salomon de Bray,43 born in Haarlem in 1597, died in 1667, and who signed: S. Bray, 1640, he made remarkable paintings, in the Orange Hall in the Huis ten Bosch in The Hague [301],44 as an accompaniment to Jordaens' masterpiece: the Triumph of Frederick Henry [302]. But the son Jacob de Bray is not as good a painter as his father Salomon (2).
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(1) The new cat. gives the date 1648, and in addition the signature of Berckman, who would have been nineteen years old in 1648.45
(2) The new cat. gives information about this curious painting, dated 1675: four of the figures were painted by J. de Bray; he himself, standing there as a member of the guild, was painted by Dirk de Bray, probably his brother, and secretary of the guild; the other two figures painted themselves: J. van Gating and J. de Jong.46
299
Hendrick Berckman
Portrait of Adriaan Banckert (1620-1684), c. 1665
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-36
300
Jan de Braij and Dirck de Bray and Jan de Jongh and Jan van Gotingh
The Governors of the Guild of St Luke, Haarlem, dated 1675
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-58
301
Salomon de Bray
Part of the Triumphal Procession, with Musicians and captured Banners, 1649 dated
The Hague, Paleis Huis ten Bosch (Oranjezaal)
302
Jacques Jordaens
The Triumph of Frederik Hendrik, dated 1652
The Hague, Paleis Huis ten Bosch (Oranjezaal)
170 MUSEUM OF AMSTERDAM.
Portrait of Jan ten Compe, by himself [303];47 this painter, born in 1713, died in 1761 (1).
Rear Admiral W. Crul,48 by C. van Cuilenburg, born in The Hague.
Portrait of Joost van Geel, by himself [304];49 born in Rotterdam in 1631, died in 1698.
Vice Admiral J. A. Zoutman,50 by August Christian Hauck, born in Mannheim in 1742, died in Rotterdam in 1801.
Vice Admiral Jan van Nes; rather weak, cold and empty; but the hands are well painted [305];51 signed: L. D. Jong, Ao 1666, the L, the D and the J, of a very refined form, linked together, and the last g enriched with a kind of initial; – Aletta Ravensburg, wife of this admiral; with the inscription: Æta 33. – 1668 [306].52 Ludolf de Jong, or Lieve de Jong, born 1616, died 1769.53 He seems to have followed the school of Van der Helst (2).
The Lieutenant Admiral Cornelis Tromp, – and his wife, "by A. Mytens,54 born 1612."55 A. Mytens (3) is probably the son – or brother – of Daniel Mijtens, born in The Hague in 1590, painter to Charles I of England, before Van Dyck arrived in London, and ...
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(1) It appears that the signature has been discovered: T. Regters f. 1751. The new cat. therefore put it under Regters' name.
(2) He has worked with Cornelis Saftleven, with Antonie Palamedesz Stevens and with Jan Bijlert, according to the new cat.
(3) The new cat. gives the name Johannes, and says, following Immerzeel, that this Johannes Mytens, born in Brussels in 1612, was a pupil of A. van Opstal and N. van der Horst.56
303
Tibout Regters
Portrait of Jan ten Compe (1713-1761), dated 1751
Amsterdam, Rijksmuseum, inv./cat.nr. Sk-A-330
304
Joost van Geel
Self-Portrait; in the background Samson asleep in Delilah's lap (Judges 16: 16-19), 1670-1689
Rotterdam, Historisch Museum Rotterdam, inv./cat.nr. 11745
305
Ludolf de Jongh
Portrait of Jan van Nes (1631-1680), 1666 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-196
305
Ludolf de Jongh
Portrait of Aletta van Ravensberg (....-1677), 1668 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-197
Notes
1 As the paintings in question are actually dated 1739, Ruysch was even nine years older – 75, that is – when she painted them. See: Smith 1829-1842, vol. 6 (1835), p. 500, no. 14, 15, as dated 1730; Hofstede de Groot 1907-1928, vol. 10 (1928), p. 318, no. 46, 47, as dated 1730; Grant 1956, p. 39, nos. 158-159, as dated 1730; Priem 1997, p. 165, 186, fig. 76, p. 209, no. 35, 'Smith incorrectly reports the date on both the painting catalogued here and the supposed pendant as being 1730’.
2 See also Thoré-Bürger's notes opp. p. 156 (1/2).
3 Juriaen Pool and Ruysch married in 1693.
4 Jan van Huijsum, Arcadian Landscape with Fishermen, Amsterdam, Rijksmuseum, inv. no. SK-A-185; Aanwijzing 1853, p. 15, no. 140, Huysum (Jan van; 1682-1749), Een Arcadisch Landschap (An Arcadian Landscape) (tax.: fl. 500); Amsterdam 1858, p. 71-72, no. 153. Jan van Huijsum, Arcadian Landscape with a Ceremonial Sacrifice, Amsterdam, Rijksmuseum, inv. no. SK-A-186; Aanwijzing 1853, p. 15, no. 141, Huysum (Jan van; 1682-1749), Een als voren [Een Arcadisch Landschap] (One as before) [An Arcadian landscape] (tax.: fl. 500); Amsterdam 1858, p. 72, no. 154.
5 Jan van Huijsum, Still Life with Fruit, 1730s, Amsterdam, Rijksmuseum, inv. no. SK-A-187; Smith 1829-1842, vol. 6 (1835), p. 477, no. 60; Aanwijzing 1853, p. 15, no. 139, Huysum (Jan van; 1682-1749), Een Fruitstuk (A Fruit Piece) (tax.: fl. 2,000); Amsterdam 1858, p. 72, no. 155. Jan van Huijsum, Still Life with Flowers, 1723, Amsterdam, Rijksmuseum, inv. no. SK-A-188; Smith 1829-1842, vol. 6 (1835), p. 475, no. 52, as dated 1726; Aanwijzing 1853, p. 15, no. 138, Huysum (Jan van; 1682-1749), Een Bloemstuk (A Flower Piece) (tax.: fl. 10.000); Amsterdam 1858, p. 73, no. 156.
6 Jacques André Joseph Camellot Aved, Portrait of William IV, Amsterdam, Rijksmuseum, inv. no. SK-A-6; Aanwijzing 1853, p. 3, no. 2, Aved (Jan), Portret van Prins Willem de Vierde, ten voeten uit (Portrait of Prince William the Fourth, full-length) (tax: fl. 200); Amsterdam 1858, p. 2, no. 3.
7 Copy after Jan de Baen, Portrait of Johan de Witt, Grand Pensionary of Holland, Amsterdam, Rijksmuseum, inv. no. SK-A-13; Aanwijzing 1853, p. 3, no. 3, Baan (Jan de; 1633-1702), De Raadpensionaris (The Grand Pensionary) Joan de Witt (tax.: fl. 200); Amsterdam 1858, p. 4, no. 7, as 'Engraved by L. Visscher'. The only print by Lambert Visscher that could be found, is: Portrait of Johan de Witt, 1653 or later, Amsterdam, Rijksmuseum, inv. no. RP-P-OB-62.047. However, there are several differences between the print and painting, such as the hands.
8 Copy after Jan de Baen, Cornelis de Witt, Burgomaster of Dordrecht and Lord Lieutenant of Putten, after 1667, Amsterdam, Rijksmuseum, inv. no. SK-A-14; Aanwijzing 1853, p. 3, no. 4, Baan (Jan de; 1633-1702), De Burgemeester van (The Mayor of) Dordrecht Corn. de Witt (tax.: fl. 200); Amsterdam 1858, p. 4, no. 8.
9 Attributed to Jan de Baen, The Corpses of the De Witt Brothers, c. 1672-1675, Amsterdam, Rijksmuseum, inv. no. SK-A-15; Aanwijzing 1853, p. 3, no. 5, Baan (Jan de; 1633-1702), De mishandelde lijken van de Gebroeders de Witt (The Mistreated Corpses of the De Witt Brothers) (tax.: fl. 1,000); Amsterdam 1858, p. 4, no. 9, as ‘Etched by C. Rogman'. This probably refers to: attributed to Roelant Roghman, The mutilated bodies of the De Witt brothers hanging upside down, Amsterdam, Rijksmuseum, inv. no. RP-P-OB-77.160. However, this print was not based on the painting but rather formed one of the sources of inspiration for it, together with the many other pints depicting this subject.
10 It is unclear where in Walpole/Vertue 1782 Thoré-Bürger could have read this. Jan de Baen was indeed summoned to England, but by King Charles II. According to Houbraken 1718-1721, vol. 2, p. 305, Charles II had him brought to England in the royal yacht by Lord Killigrew to paint portraits. There is no extant portrait of Queen Mary by De Baen, but there is one of King William, made in The Hague, when he was still Prince of Orange: William III when Prince of Orange, c. 1667, Royal Collection Trust - Hampton Court Palace, inv. no. RCIN 404779.
11 See also Thoré-Bürger's notes opp. p. 168.
12 1638 has been crossed out and replaced in the margin by 'after 1651.'
13 David Bailly, Portrait of Aertje Witsen, 1626, Amsterdam, Rijksmuseum, inv. no. SK-A-16; Aanwijzing 1853, p. 3, no. 6, Bailly (David; 1584-1638), Portret van Maria van Reigersbergen, Echtgenoot van Hugo de Groot (Portrait of Maria van Reigersbergen, Spouse of Hugo de Groot) (tax.: fl. 400); Amsterdam 1858, p. 5, no. 10.
14 The Duke of Alba was appointed governor of the Netherlands (1567-1573) by King Philip II of Spain, who tasked him with the suppression of Dutch rebels under William of Orange. Philip IV lived in the 17th century.
15 Copy after Willem Key, Portrait of Fernando Alvarez de Toledo, Duke of Alba, Amsterdam, Rijksmuseum, inv. no. SK-A-18; Aanwijzing 1853, p. 4, no. 12, Barendsen (Dirk; 1534-1592), Portret van Ferdinand Alvarez de Toledo, Hertog van Alva (Portrait of Ferdinand Alvarez de Toledo, Duke of Alba) (tax.: fl. 300); Amsterdam 1858, p. 6, no. 12, as by Dirck Barendsz.
16 The only print by Lambert Visscher that could be found, is: Portrait of Johan de Witt, 1653 or later, Amsterdam, Rijksmuseum, inv. no. RP-P-OB-62.047. However, there are several differences between the print and painting, such as the hands.
17 Jan van de Cappelle, Shipping off the Coast, Toledo, Toledo Museum of Art, inv. no. 1956.56; Bürger 1859, p. 57-58, 128, no. 10.
18 Scheltema 1853, p. 71, on fol. 152 in the book of the married poorters.
19 No master is known of Jan van de Cappelle; however he is considered to have drawn inspiration from: Aert van der Neer, Jan Porcellis, Willem van de Velde (II) and Simon de Vlieger.
20 Waagen 1857, p. 297-298, no. 881; Bock/Grosshans 1996, p. 61, as imitator of Jan van de Capelle.
21 Probably: Hendrick Jacobsz. Dubbels after Simon de Vlieger, Ships off the Coast at Low Tide, c. 1650-1655, Vienna, Kunsthistorisches Museum, inv. no. 479; Krafft 1845, p. 78, no. 54, as by Jan van de Capelle.
22 Jan van de Cappelle, The Home Fleet Saluting the State Barge, 1650, Amsterdam, Rijksmuseum, inv. no. SK-A-453; see above, p. 160.
23 Füssli 1779, p. 564. Moes 1888, p. 181 refers to another edition of Füssli in which Füssli mentions a flower piece by Pieter de Ring in Huis ten Bosch, which can no longer be found there.
24 Hoet 1752, vol. 1, mentions three different Vrooms: the old Vroom, the young Vroom and simply 'Vroom'. The old Vroom (Hendrik Vroom) had at least two sons who were painters: Cornelis Hendriksz. Vroom and Frederik Hendriksz. Vroom. See for the old Vroom above, p. 161.
25 Moes 1888, p. 178-179. The painting was said to come from the Hausmann collection, which was acquired by George V, King of Hanover in 1857. After Prussia annexed the Kingdom of Hanover in 1866, George V went into exile and received a large number of paintings back from the museum. Some of these went to the House of Braunschweig-Lüneburg, and some were sold, see: Wegener 2000, p. 8-10. There is now no trace of the painting by Pieter de Ring.
26 Pieter de Ring, Vanitas Still Life with Musical Instruments, 1650, Berlin, Staatliche Museen, Gemäldegalerie, inv. no. 918; Waagen 1857, p. 311, no. 918.
27 Michiels 1845-1849, vol. 4 (1845), p. 91-101.
28 For Hendrik Vroom see: Van Mander 1604, fol. 287r-288v.
29 He was born c. 1567-1568.
30 Pieter Cornelisz. van Rijck, Kitchen Scene with in the Background the Parable of the Royal Wedding-Feast, 1604, Braunschweig, Herzog-Anton-Ulrich-Museum, inv. no. 205; Pape 1849, p. 237-238, no. 642.
31 David Bailly, Vanitas Still Life with a Self-Portrait, 1651, Leiden, Stedelijk Museum De Lakenhal,. Inv. no. 1351. Not in sale Alexander Dumont et al., Cambrai (Renaut, Durand), 30 September – 5 October 1878, Lugt 38628.
32 Coenraet Waumans, Portrait of David Bailly, c. 1649, The Hague, RKD – Netherlands Institute for Art history (Collection Iconographic Bureau). Published in De Bie 1661, p. 271.
33 Probably: sale Piérard, Paris, 20-21 March 1860, Lugt 25378, no. 1. See above, p. 163 for Asselijn.
34 Hendrick Jacobsz. Dubbels, River View, c. 1650-1655, Amsterdam, Rijksmuseum, inv. no. SK-A-92.
35 Etienne Leroy, French restorer of paintings, worked in Brussels in 1859, and in The Hague 1860-1866 as restorer for the Mauritshuis.
36 For Berckman, see p. 169 below.
37 Jan de Braij, David, Dressed in a Linen Shirt, Dancing and Making Music, 1674, Braunschweig, Herzig-Anton-Ulrich-Museum, inv. no. 286; Pape 1849, p. 94, no. 254. See below, p. 169 for the De Braij’s.
38 Abraham van Cuylenborch (I), Cave Interior with Bathing Nymphs, 1646; Cave Interior with Bathing Nymphs, 1647, Braunschweig, Herzog-Anton-Ulrich-Museum, inv. nos. 199, 200; Pape 1849, p. 42-43, no. 120, p. 51, no. 138.
39 F. Guichardot (d. 1875) was a Parisian art dealer and expert, who was regularly called in as an expert at sales in the period 1844-1868 (E. Dullaart in Klinkert et al. 2021, p. 108, 115, note 6).
40 Salomon de Bray had not been apprenticed to Rembrandt, but to Cornelis Cornelisz. van Haarlem and Hendrick Goltzius in Haarlem. Before that, he had likely been apprenticed in Amsterdam to painters such as Jan Pynas, Claes Moeyaert, and Pieter Lastman. Rembrandt had also been apprenticed to the latter.
41 Hendrick Berckman, Portrait of Adriaen Banckert, Vice Admiral of Zeeland, Amsterdam, Rijksmuseum, inv. no. SK-A-36; Aanwijzing 1853, p. 5, no. 28, Berkman (Hendrik; 1629-1690), Portret van den (Portrait of den) Vice-Admiraal Adriaan Bankert (tax.: fl. 100); Amsterdam 1858, p. 13, no. 27.
42 Jan de Braij, The Governors of the Guild of St Luke, Haarlem, 1675, Amsterdam, Rijksmuseum, inv. no. SK-A-58; Aanwijzing 1853, p. 6, no. 39, Braay (Jacob de; died 1694), De Overlieden van het St. Lucasgild te Haarlem (The Governors of the Guild of St. Luke, Haarlem (tax.: fl. 1,500); Amsterdam 1858, p. 20, no. 42.
43 See also Thoré-Bürger's notes opp. p. 169.
44 Salomon de Bray, Part of the Triumphal Procession with Musicians and Captured Banners, 1649, The Hague, Huis ten Bosch (Oranjezaal); Part of the Triumphal Procession with Captured Weapons, 1650, The Hague, Huis ten Bosch (Oranjezaal); Putti Bearing a Cartouche with Stadtholder Frederik Hendrik’s Date of Birth, 1651, The Hague, Mauritshuis, inv. no. 437.
45 Berckman was indeed born in 1629, but the portrait is now dated c. 1665 in the RKD images database (accessed 16 August 2025). See also the comments of Thoré-Bürger opp. p. 1 (2/3) and p. 169.
46 Indeed, the portraits were painted by Jan de Braij (the portraits of Gerrit Mulraet, Jan Claesz. Marselis, the servant W. Knijf and his brother Dirck de Bray and most probably the interior as well); Dirck de Bray (the portrait of his brother Jan); Jan de Jongh (his own portrait) and Jan van Gotingh (his own portrait).
47 Tibout Regters, Portrait of Jan ten Compe, Painter and Art Dealer in Amsterdam, 1751, Amsterdam, Rijksmuseum, inv. no. SK-A-330; Aanwijzing 1853, p. 8, no. 52, Compe (Jan ten; 1713-1761), Portret van hemzelven (Portrait of himself) (tax.: fl. 30); Amsterdam 1858, p. 114, no. 253. It is incorrectly stated in Van Thiel et al. 1976 that this painting was purchased by the Rijksmuseum at Johannes Immerzeel's auction in 1842 (cat. sale Amsterdam, 11-15 April 1842, Lugt 16550).
48 Cornelis van Cuylenburgh (II), Portrait of Willem Crul, Rear Admiral, 1801, Amsterdam, Rijksmuseum, inv. no. SK-A-76; Aanwijzing 1853, p. 8, no. 58, Cuilenburg (C. van), Portret van den Schout-bij-Nacht (Portrait of Rear Admiral) Willem Crul (tax.: fl. 150); Amsterdam 1858, p. 26, no. 57.
49 Joost van Geel, Self Portrait, c. 1670-1698, Amsterdam, Rijksmuseum, inv. no. SK-A-115; Aanwijzing 1853, p. 11, no. 85, Geel (Jan van; 1631-1698), Portret van dezen Schilder en Dichter zelven (Portrait of this Painter and Poet himself (tax.: fl. 1,500); Amsterdam 1858, p. 45, no. 91.
50 August Christian Hauck, Portrait of Johan Arnold Zoutman, Vice Admiral, 1770, Amsterdam, Rijksmuseum, inv. no. SK-A-136; Aanwijzing 1853, p. 12, no. 99, Hauck (August Christiaan; 1747-1812), Portret van den Vice-Admiraal (Portrait of Vice Admiral) Jan Arnold Zoutman (tax.: fl. 150); Amsterdam 1858, p. 52, no. 107.
51 Ludolf de Jongh, Portrait of Jan van Nes, Vice admiral of Holland and West Friesland, 1666, Amsterdam, Rijksmuseum, inv. no. SK-A-196; Aanwijzing 1853, p. 16, no. 149, Jong (Ludolf de; 1616-1679), Portret van den Vice-Admiraal (Portrait of Vice-Admiral) Jan van Nes (tax.: fl. 200); Amsterdam 1858, p. 76, no. 164, as ‘engraved by Bloteling’. Probably this refers to: Abraham Bloteling, Portrait of Aert van Nes, copper engraving, Amsterdam, Rijksmuseum, inv. no. RP-P-1958-57, which is in fact a portrait of Jan van Nes’s brother Aert.
52 Ludolf de Jongh, Portrait of Aletta van Ravensberg, 1668, Amsterdam, Rijksmuseum, inv. no. SK-A-197; Aanwijzing 1853, p. 16, no. 150, Jong (Ludolf de; 1616-1679), Idem van Aletta Ravensberg, Echtgenoot van voormelden Admiraal (Idem of Aletta Ravensberg, Spouse of the aforementioned Admiral (tax.: fl. 200); Amsterdam 1858, p. 76-77, no. 165.
53 1769 is circled and replaced in the margin by 1697, yet the year of death of Ludolf de Jongh is 1679.
54 The "y" in Mytens has been replaced by "ij," thus "Mijtens.
55 Jan Mijtens, Portrait of Cornelis Tromp, 1668, Amsterdam, Rijksmuseum, inv. no. SK-A-284; Aanwijzing 1853, p. 20, no. 193, Mytens (A.; b. 1612), Portret van den Luitenant-Admiraal (Portrait of Lieutenant Admiral) Cornelis Tromp (tax.: fl. 800); Amsterdam 1858, p. 97, no. 216. Jan Mijtens, Portrait of Margaretha van Raephorst, 1668, Amsterdam, Rijksmuseum, inv. no. SK-A-285; Aanwijzing 1853, p. 20, no. 194, Mytens (A.; b. 1612), Idem [Portret] van de Echtgenoot van denzelven (Idem [Portrait] of the Spouse of the same [Cornelis Tromp] (tax.: fl. 800); Amsterdam 1858, p. 97-98, no. 217. See also the annotations of Thoré-Bürger opp. p. 180.
56 This information actually leads all the way back to Houbraken 1718-1721, vol. 1, p. 356. However, Johannes Mijtens was born in The Hague. According to RKD artists (accessed 20 April 2025) he was a pupil of his uncles Isaac Mijtens and Daniël Mijtens (I). According to Bauer 2006, p. 20, 26, the latter is not possible because Daniël was working in England during that period. So only Isaac can be considered Johannes's teacher.