p. 171-175 The Portraits, Various Painters, Flemish School
171 THE PORTRAITS.
... almost as skilled as Van Dyck. A. Mytens is heavy and weak beside Daniel.1 It is sad for Admiral Tromp who with De Ruijter, was one of the greatest Dutch naval heroes.
Jan Wagenaar, historian of Amsterdam, by Tiebout Regters, born 1710, died 1768. Signed and dated 1761 [307].2
Prince Eugène of Savoy [308],3 by Jacob van Schuppen, born 1623.4
Princess Anne of England, spouse of William IV,5 by M. Terwesten, born at The Hague in 1670, died 1750.
Portrait of Cornelis Troost, by himself [309].6 We will find of him in the museum of The Hague, fifteen drawings of comic scenes, gathered separately in a small cabinet.7
I will add here the portraits catalogued without the painter's name:
Knight Frans van Borselen – and Countess Jacoba of Bavaria; old portraits, very curious, which seem to be of the end of the xvth century, or the beginning of the xvith;8 but they hang very high (1).
Kenau Hasselaer. Dated 1573 [310].9
Hugo Grotius, age forty-eight;10 – W. van de Velden, secretary to Grotius,11 – and his wife E. van Houwening.12
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(1) The coats of arms of the two families are painted on the backgrounds, as shown in facsimile in the new cat.
307
Tibout Regters
Portrait of Jan Wagenaar (1709-1773), 1761 (dated)
Amsterdam, Amsterdam Museum, inv./cat.nr. SB 5812
308
Jacob van Schuppen
Portrait of Eugene, Prince of Savoy (1663-1736), 1718 (dated)
Vienna, Österreichische Galerie Belvedere, inv./cat.nr. Lg 1140
309
Cornelis Troost
Self portrait, c. 1715-1730
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-418
310
Anonymous Northern Netherlands (hist. region) draagt jaartal 1573
Portrait of Kenau Simonsdochter Hasselaer (1526-?), draagt jaartal 1573
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-502
172 MUSEUM OF AMSTERDAM.
Count Adolph de Nassau.13
Amalia de Solms, widow of Prince Frederick Henry.14
Vice Admiral Witte Corn. de Witte.15
Commander Heraugiere, "who took the place of Breda in 1590 with a peat ship".16
The son of Lieutenant Admiral A. van Nes [311].17
Emperor "Charlemagne" [313].18
The spouse of the same emperor [314].19
Counts Louis, John, Adolph and Henry de Nassau, full-length. Quite handsomely painted, but very cold [312].20
Count Ernest Casimir de Nassau.21
The same, full-length.22
Henri Casimir, full-length.23
One of the Counts of Nassau, unknown.24
"Ditto." Very good.25
The Earl of Leicester.26
Gaspard de Coligny, admiral of France.27 I do not know if it is Coligny. But it is not a good painting at all.
Ripperda, commander of Haarlem, during the siege.28
Philips IV, king of Spain.29 Nothing.
Albert, archduke of Austria, – and his wife Isabella (copies after Rubens).30
Pope Adrian VI.31
A Spanish princess.32
An unknown man, "deftly dressed" (copy after Van Dyck).33
311
François Verwilt
Portrait of a boy, 1669 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-450
312
studio of Wybrand de Geest (I)
Group Portrait of the Four Brothers of William I, Prince of Orange: Jan (1535-1606), Hendrik (1550-74), Adolf (1540-68) and Lodewijk (1538-74), Counts of Nassau, first half 1630s
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-566
313
Anonymous Southern Germany (area) c. 1500
Christ as Saviour, c. 1500
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-496
314
Anonymous Southern Germany (area) c. 1500
Mary, c. 1500
Amsterdam, Rijksmuseum
173 VARIOUS PAINTERS.
Forty portraits, representing princes of Orange, counts of Nassau, and other historical figures [315].34
VARIOUS PAINTERS. – Since this publication is intended for artists and amateurs studying the history of painting, I want to mention at least the paintings that escaped my categories. Most have no artistic merit but may be of interest as historical documents.
A. van Beijeren: Fish Still Life on a Table.35 The catalog compilers apparently know nothing about this painter, as his name is not even given a date. The catalog of the Museum of Rotterdam, where a similar, reasonably good painting hangs, states that Albert van Beijeren lived in the middle of the xviith century.36 We do not know much more than this (1).37
P. van Hillegaard, died in 1658:38 Discharge granted to the militia, known as the Afdanken der Waardgelders in Utrecht, in 1618 (2) [316].39
By "G. Hoedt", born at Bommel in 1648, died at The Hague in 1733: Marriage of Alexander with Roxane; the Triumph of Alexander, counterpart of the preceding [317][318];40 ...
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(1) Also nothing in the new cat. The painting is signed with a monogram AVB in ligature.41
(2) The painting is signed: Pauwels van Hillig 1627 (new cat.).
315
studio of Michiel van Mierevelt
Portrait of Maurits van Oranje- Nassau (1567-1625), c. 1607-1633
Muiden, Rijksmuseum Muiderslot
316
Paulus van Hillegaert (I)
The disbanding of the 'waardgelders' by prince Maurice of Orange on the Neude in Utrecht, 31 July 1618; in the foreground in black prince Maurice, 1627 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-155
317
Gerard Hoet (I)
The Marriage of Alexander the Great and Roxane of Bactria, after ca. 1700
Enschede, Rijksmuseum Twenthe, inv./cat.nr. BRO385
318
Gerard Hoet (I)
Queen Cleophis submits to Alexander after the fall of Mazaka by offering him a cup of wine, after ca. 1700
Enschede, Rijksmuseum Twenthe, inv./cat.nr. BR 0404
174 MUSEUM OF AMSTERDAM.
... and two landscapes.42 Small, rather fine paintings in the pseudo-Italian style. All four signed. This Gerard Hoet is the father of Gerard Hoet, who published two volumes Catalogues de ventes, The Hague, 1752.43 He was a pupil of his father Moses Hoet, W. van Rijsen and Cornelis Poelenburg. The museums of Dresden and Vienna each have a small painting by him.44
Janson "the elder," born 1729, died 1784: Heemstede Castle. Signed and dated 1765.45
L. de Moni, born (in Breda) in 1698, died (in Leiden) in 1771: A Woman, watering flowers.46 Louis de Moni was a pupil of Philip van Dijk of Amsterdam, a follower of Mieris.
Matthijs Naiveu, born 1647, died 1721:47 A Praying St. Jerome. Signed and dated 1676.48
J. Oudenrogge (no other information): A Weaver's Workshop. Signed and dated 1652 [319].49
Isaak Ouwater, born in Amsterdam in 1747, died in 1793:50 two Views of Amsterdam [321][322].51J. Quinkhard (nothing more): An Interior with Two Persons Making Music (1) [320].52
J. de Ruyter (nothing more (2)): A Fishwoman.53
A. van Strij, born (in Dordrecht) in 1753, died (ibid.) ...
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(1) Signed: Julius Quinkhard pinx. 1755. This painter, born in 1736 in Amsterdam, died there in 1776. Pupil of his father, Jan Maurits (new cat.).54
(2) Signed and dated – 1820 (new cat.).
319
Johannes Dircksz. van Oudenrogge
Weavers workshop, 1652 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-304
320
Julius Henricus Quinkhard
Two musicians in an interior, 1755 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-325
321
Isaac Ouwater
The never completed tower of the Nieuwe Kerk and the back of the City Hall in Amsterdam, c. 1780-1790
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-305
322
Isaac Ouwater
The Nieuwmarkt with the Sint Anthoniswaag in Amsterdam, c. 1780-1790
Amsterdam, Amsterdam Museum, inv./cat.nr. B 859
175 FLEMISH SCHOOL.
... in 1824 (the Rotterdam catalog reads: in 1826):55 A Drawing Youth [323].56 Abraham van Strij was undoubtedly the older brother of Jacob van Strij, born in 1756, died in 1815, many of whose paintings are fairly well known to have been made in the style of Aalbert Cuijp, Paul Potter and other masters of the xviith century.
D. Vinkboom, born 1578, died 1629:57 Prince Maurice going on a hunting expedition, accompanied by his entourage [324].58 David Vinkboom was born in Malines, but settled in Amsterdam, where he died. He was a pupil of his father Philip. He painted many small paintings, often on copper or wood, sometimes in collaboration with Jan Rottenhammer. The museums of Berlin, Vienna and Dresden have several of them.59 His usual trademark was a finch (vink in Dutch), which he placed on a tree in his landscapes (1).
I have now succeeded in including all the Dutch painters in the Amsterdam museum catalog, with all their works, in this survey. To my delight, not one is missing (2).60
FLEMISH SCHOOL. – Alas! The Flemish are not doing well with their neighbors, – their former friends, ...
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(1) The new cat. writes, following Immerzeel, Vinckenboons.
(2) In the new catalog, the only Dutchmen worth mentioning are S. van Hoogstraaten: le Convive indigne; and a Paul Potter: “les Coupeurs de paille (the Strawcutters); donated (no doubt recently) by Baron van Spaen van Biljoen.”61
323
Abraham van Strij (I)
Drawing lesson of a young pupil
Amsterdam, Rijksmuseum, inv./cat.nr. Sk-A-396
324
Paulus van Hillegaert (I)
Prince Maurits, Accompanied by Prince Frederik Hendrik, Frederick V of Bohemia and his Wife Elizabeth Stuart, and Others, on the Buitenhof, The Hague, 1610-1640
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-452
Notes
1 The only known A. Mytens is Aert Mijtens, who lived too early for a 1668 painting.
2 Tibout Regters, Portrait of Jan Wagenaar, City Historian of Amsterdam, 1761, Amsterdam, Rijksmuseum, inv. no. SK-A-329; Aanwijzing 1853, p. 23, no. 227, Rechters (Thiebout; 1700-1768), Portret van Jan Wagenaar, Historieschrijver der stad Amsterdam (Portrait of Jan Wagenaar, Historian of the City of Amsterdam) (tax.: fl. 1,600); Amsterdam 1858, p. 114, no. 252.
3 Jacob van Schuppen, Portrait of Eugene, Prince of Savoy, 1718, Amsterdam, Rijksmuseum, inv. no. SK-A-373; Aanwijzing 1853, p. 25, no. 257, Schuppen (Jacobus van; born 1623), Portret van François Eugenius, Prins van Savoijen (Portrait of François Eugenius, Prince of Savoy) (tax.: fl. 600); Amsterdam 1858, p. 129, no. 288.
4 Van Schuppen's year of birth is 1680. Thoré-Bürger probably also noted the discrepancy in chronology, as he has added in handwriting: 'the portrait is dated 1718!’
5 Attributed to Johann Valentin Tischbein, Portrait of Anne of Hanover, Princess Royal and Princess of Orange, Consort of Prince William IV, 1753, Amsterdam, Rijksmuseum, inv. no. SK-A-406; Aanwijzing 1853, p. 27, no. 279, Terwesten (Mattheus; 1670-1725), Portret van Prinses Anna van Groot-Brittannië, Gemalin van Prins Willem de Vierde (Portrait of Princess Anna of Great Britain, Consort of Prince William the Fourth (tax.: fl. 500); Amsterdam 1858, p. 141, no. 310, as by Matheus Terwesten.
6 Cornelis Troost, Self-Portrait, c. 1715-1730, Amsterdam, Rijksmuseum, inv. no. SK-A-418; Aanwijzing 1853, p. 27, no. 281, Troost (Cornelis; 1697-1750), Het Portret van hemzelven (The Portrait of Himself) (tax.: fl. 600); Amsterdam 1858, p. 142, no. 312.
7 Thoré 1858-1860, vol. 2, p. 285.
8 Anonymous, Portrait of Frank van Borselen, Lord of Sint Maartensdijk, after c. 1480, Amsterdam, Rijksmuseum, inv. no. SK-A-499; Aanwijzing 1853, p. 35, no. 368 [under Unknown Masters, Portraits], De Heer (The Lord) Frank van Borselen (tax.: fl. 200); Amsterdam 1858, p. 172, no. 381. Anonymous, Portrait of Jacoba of Bavaria, Countess of Holland and Zeeland, after c. 1480, Amsterdam, Rijksmuseum, inv. no. SK-A-498; Aanwijzing 1853, p. 35, no. 369 [under Unknown Masters, Portraits], De Gravinne Jacoba van Beijeren (The Countess Jacoba of Bavaria) (tax.: fl. 200); Amsterdam 1858, p. 171-172, no. 380.
9 Anonymous, Portrait of Kenau Simonsdr Hasselaer, 1573, Amsterdam, Rijksmuseum, inv. no. SK-A-502; Aanwijzing 1853, p. 35, no. 370 [under Unknown masters, Portraits], Kenau Simons Hasselaer (tax.: fl. 200); Amsterdam 1858, p. 176, no. 385.
10 Workshop of Michiel van Mierevelt, Portrait of Hugo de Groot, 1631, Amsterdam, Rijksmuseum, inv. no. SK-A-581; Aanwijzing 1853, p. 35, no. 373 [under Unknown Masters, Portraits], Hugo de Groot, oud 48 jaren (aged 48 years) (tax.: fl. 200), Amsterdam 1858, p. 187, no. 419, as by an unknown Dutch master.
11 Anonymous, Portrait of a Man, presumably Willem Cornelisz. van Velden, 1657, Amsterdam, Rijksmuseum, inv. no. SK-A-583; Aanwijzing 1853, p. 35, no. 374 [under Unknown Masters, Portraits], Mr. Willem van de Velde (tax.: fl. 400); Amsterdam 1858, p. 187-188, no. 421, as bought in Utrecht in 1825 for fl. 25 [sic, must be fl. 75].
12 Anonymous, Portrait of a Woman, possibly Elsje van Houweningen, 1656, Amsterdam, Rijksmuseum, inv. no. SK-A-584; Aanwijzing 1853, p. 35, no. 375 [under Unknown Masters, Portraits], Elsje van Houwening, Echtgenoot van voormelden [Mr. Willem van de Velde], beide getrouwe bedienden van Hugo de Groot (Elsje van Houwening, Spouse of the aforementioned [Mr. Willem van de Velde], both faithful servants of Hugo de Groot (tax.: fl. 400); Amsterdam 1858, p. 188, no. 422.
13 Anonymous, Portrait of a Man, c. 1635, Amsterdam, Rijksmuseum, inv. no. SK-A-567; Aanwijzing 1853, p. 35, no. 378 [under Unknown Masters, Portraits], Graaf Adolph van Nassau (Count Adolph of Nassau) (tax.: fl. 200); Amsterdam 1858, p. 183, no. 404, as Portrait of Count Adolf of Nassau.
14 Workshop of Gerard van Honthorst, Portrait of Amalia van Solms, in or after c. 1651, Amsterdam, Rijksmuseum, inv. no. SK-A-573; Aanwijzing 1853, p. 35, no. 379 [under Unknown Masters, Portraits], Amalia van Solms, Weduwe van Prins (Widow of Prince) Frederik Hendrik (tax. fl. 150); Amsterdam 1858, p. 185, no. 411, as by an unknown Dutch master.
15 Anonymous, Portrait of Witte Cornelisz de With, Vice-Admiral of Holland and West Friesland, 1657, Amsterdam, Rijksmuseum, inv. no. SK-A-586; Aanwijzing 1853, p. 35, no. 380 [under Unknown Masters, Portraits], De Vice-Admiraal (The Vice-Admiral) Witte Cornelisz. de Witte (tax.: fl. 50); Amsterdam 1858, p. 190, no. 427.
16 Anonymous, Portrait of Captain Charles de Heraugières, Commander of Breda, 1590, Amsterdam, Rijksmuseum, inv. no. SK-A-575; Aanwijzing 1853, p. 35, no. 381 [under Unknown Masters, Portraits], De Kommandant Hierogière, die Breda door middel van een turfschip in 1590 veroverd heeft (Commandant Hierogière, who captured Breda by means of a peat ship in 1590) (tax.: fl. 200); Amsterdam 1858, p. 185, no. 412.
17 François Verwilt, Portrait of a Boy, called The Young Son of Admiral van Nes, 1669, Amsterdam, Rijksmuseum, inv. no. SK-A-450; Aanwijzing 1853, p. 36, no. 382 [under Unknown Masters, Portraits], Het Zoontje van den Luit. Admiraal Aart van Nes (The Little Son of Lieut. Admiral Aart van Nes (tax.: fl. 400); Amsterdam 1858, p. 154, no. 342.
18 Anonymous, Christ as Salvator Mundi, c. 1500, Amsterdam, Rijksmuseum, inv. no. SK-A-497; Aanwijzing 1853, p. 36, no. 383 [under Unknown Masters], Keizer Karel de Groote (Emperor Charles the Great) (tax.: fl. 400); Amsterdam 1858, p. 171, no. 378, as Portrait of Emperor Charles the Great. It was only in 1876 that the Rijksmuseum staff realized that this was not Charlemagne but Christ as Salvator Mundi (Bergvelt 1998, p. 348, note 164, 166).
19 Anonymous, The Virgin, c. 1500, Amsterdam, Rijksmuseum, inv. no. SK-A-496; Aanwijzing 1853, p. 36, no. 384 [under Unknown masters], De Gemalin van denzelven [Keizer Karel de Groote] (The Consort of the same [Emperor Charles the Great] (tax.: fl. 400); Amsterdam 1858, p. 171, no. 379, as Portrait of Blanche d'Arragon, Spouse of Emperor Charles the Great. It was only in 1876 that the Rijksmuseum staff realized that this was not the spouse of Charles the Great but the Virgin Mary (Bergvelt 1998, p. 348, note 164, 166).
20 Workshop of Wybrand de Geest (I), Group Portrait of the Four Brothers of William I, Prince of Orange: Jan, Hendrik, Adolf and Lodewijk, Counts of Nassau, c. 1630, Amsterdam, Rijksmuseum, inv. no. SK-A-566; Aanwijzing 1853, p. 36, no. 386 [under Unknown Masters, Portraits], De Graven Lodewijk, Jan, Adolf en Hendrik van Nassau, ten voeten uit (The Counts Lodewijk, Jan, Adolf and Hendrik of Nassau, full-length (tax.: fl. 500); Amsterdam 1858, p. 183, no. 403, as by an unknown Dutch master.
21 Wybrand de Geest (I), Portrait of Ernst Casimir I, Count of Nassau-Dietz, 1633, Amsterdam, Rijksmuseum, inv. no. SK-A-571; Aanwijzing 1853, p. 36, no. 387 [under Unknown Masters, Portraits], De Graaf Ernst Casimir van Nassau (The Count Ernst Casimir of Nassau) (tax.: fl. 100); Amsterdam 1858, p. 184, no. 408, as by an unknown Dutch master.
22 Wybrand de Geest (I), Portrait of Ernst Casimir I, Count of Nassau-Dietz, c. 1630-1635, Amsterdam, Rijksmuseum, inv. no. SK-A-570; Aanwijzing 1853, p. 36, no. 388 [under Unknown Masters, Portraits], Dezelfde [Graaf Ernst Casimir van Nassau], ten voeten uit (The Same [Count Ernst Casimir], full-length) (tax.: fl. 500); Amsterdam 1858, p. 184, no. 407, as by an unknown Dutch master.
23 Wybrand de Geest (I), Portrait of Hendrik Casimir I, Count of Nassau-Dietz, c. 1632, Amsterdam, Rijksmuseum, inv. no. SK- A-569; Aanwijzing 1853, p. 36, no 390 [under Unknown masters, Portraits], Hendrik Casimir, ten voeten uit (full-length) (tax.: fl. 500); Amsterdam 1858, p. 184, no. 406, as by an unknown Dutch master.
24 Jan van Ravesteyn and workshop, Portrait of an officer, presumably Walraven IV van Brederode, The Hague, Mauritshuis, inv. no. 438; Aanwijzing 1853, p. 36, no. 391, Een onbekende Graaf van Nassau (An unknown Count of Nassau) (tax.: fl. 150); Amsterdam 1858, p. 186, no. 414. Transferred to the Mauritshuis in 1877. This painting and the next one are part of a series of originally 26 or 27 (of which 25 are left) officers’ portraits from Honselaarsdijk Palace. See: Van Thiel 1981, p. 183, fig. 1, p. 185, no. 20-21. For a more recent discussion of this series of officers’ portraits: Broos et al. 2004, p. 194-199. The main share of the series was kept in the attic of the Mauritshuis since 1822; in 1875 they were recovered and after it was realized that the two in the Amsterdam Rijksmuseum belonged to the same series, the latter were transferred to the Mauritshuis in 1877.
25 Jan van Ravesteyn and workshop, Portrait of an officer, The Hague, Mauritshuis, inv. no. 439; Aanwijzing 1853, p. 36, no. 392, Een dito als voren [Een onbekende Graaf van Nassau] (A ditto, as before [An unknown Count of Nassau]) (tax.: fl. 300); Amsterdam 1858, p. 186, no. 415. Transferred to the Mauritshuis in 1877. See the previous note for more information on this painting’s provenance.
26 Workshop of Jan van Ravesteyn, Portrait of Robert Dudley, Earl of Leicester, c. 1609-1633, Amsterdam, Rijksmuseum, inv. no. SK-A-505; Aanwijzing 1853, p. 36, no. 393 [under Unknown Masters, Portraits], Robert Dudley, Graaf van (Earl of) Leicester (tax.: fl. 300); Amsterdam 1858, p. 177, no. 388, as by an unknown 16th-century master.
27 Workshop of Jan van Ravesteyn, Portrait of Gaspard de Coligny, c. 1609-1633, Amsterdam, Rijksmuseum, inv. no. SK-A-506; Aanwijzing 1853, p. 36, no. 394 [under Unknown Masters, Portraits], Casper de Coligny, Admiraal van Frankrijk (Admiral of France) (tax.: fl. 200); Amsterdam 1858, p. 177, no. 389, as by an unknown 16th-century master.
28 Anonymous, Portrait of a Captain surnamed Ripperda, c. 1615-1620, Amsterdam, Rijksmuseum, inv. no. SK-A-576; Aanwijzing 1853, p. 36, no. 395, Ripperda, Bevelhebber in het belegerd Haarlem (Ripperda, Commander in besieged Haarlem) (tax.: fl. 100); Amsterdam 1858, p. 186, no. 413.
29 Anonymous, Portrait of King Philip III of Spain, c. 1600, Amsterdam, Rijksmuseum, inv. no. SK-A-507; Aanwijzing 1853, p. 36, no. 396 [under Unknown Masters, Portraits], Philips de Vierde, Koning van Spanje (Philip the Fourth, King of Spain) (tax.: fl. 500); Amsterdam 1858, p. 177, no. 390.
30 In any case, these are not copies after Peter Paul Rubens: workshop of Frans Pourbus (II), Portrait of Archduke Albert of Austria, c. 1600, Amsterdam, Rijksmuseum, inv. no. SK-A-509; Aanwijzing 1853, p. 36, no. 397 [under Unknown Masters, Portraits], Aelbert, Aerts-Hertog van Oostenrijk (Aelbert, Archduke of Austria) (fl. 500); Amsterdam 1858, p. 178, no. 392, as by an unknown master. Workshop of Frans Pourbus (II), Portrait of Archduchess Isabella Clara Eugenia, Infanta of Spain, c. 1600, Amsterdam, Rijksmuseum, inv. no. SK-A-510; Aanwijzing 1853, p. 36, no. 398 [under Unknown Masters, Portraits], Isabella Clara Eugenia, deszelfs [Aelbert's] Gemalin (Isabella Clara Eugenia, Consort of the same [Aelbert]) (tax.: fl. 500); Amsterdam 1858, p. 178, no. 393, as by an unknown master.
31 Anonymous (Utrecht), Portrait of Pope Adrian VI, after 1522, Amsterdam, Rijksmuseum, inv. no. SK-A-513; Aanwijzing 1853, p. 36, no. 399 [under Unknown Masters, Portraits], Paus Adriaan de Zesde (Pope Adrian the Sixth) (tax.: fl. 100); Amsterdam 1858, p. 179, no. 395.
32 Anonymous, Portrait of Margaret of Austria, Queen of Spain, c. 1600, Amsterdam, Rijksmuseum, inv. no. SK-A-508; Aanwijzing 1853, p. 36, no. 400 [under Unknown Masters, Portraits], Eene Spaansche Prinses (A Spanish Princess) (tax.: fl. 400); Amsterdam 1858, p. 178, no. 391, as portrait of Elisabeth of Bourbon, Spouse of King Philip IV.
33 Attributed to Jacob Adriaensz Backer, Portrait of Abraham de Visscher, c. 1651, Amsterdam, Rijksmuseum, inv. no. SK-A-589; Aanwijzing 1853, p. 36, no. 401, Een deftig gekleed Man (A Deftly Dressed Man) (tax.: fl. 200); Amsterdam 1858, p. 190, no. 425. This is the only painting among the Unknown Masters in Amsterdam 1858 that qualifies to be matched with no. 401 in Aanwijzing 1853, but why did Thoré-Bürger conclude that it was a copy after Anthony van Dyck? In the Rijksmuseum catalogues from 1880 to 1976, the painting (and its pendant, Portrait of Machteld Bas, c. 1651, Amsterdam, Rijksmuseum, inv. no. SK-A-397) were attributed to Abraham van den Tempel, and since 2008, both paintings have been attributed to Jacob Adriaensz. Backer (Van den Brink et al. 2008, p. 170-171, no. A134).
34 Aanwijzing 1853, p. 36, no. 402, Veertig stuks Prinsen van Oranje, Graven van Nassau, en andere voorname personen (Forty pieces of Princes of Orange, Counts of Nassau, and other prominent persons) (tax.: fl. 2,000); Amsterdam 1858, p. 181-183, no. 402. For a discussion of the 'Honselaarsdijk series' of 52 small paintings with inscriptions, see Van Thiel et al. 1976, p. 698-706. For example, workshop of Michiel van Mierevelt, Portrait of Maurits, Prince of Orange, c. 1609-1633, Amsterdam, Rijksmuseum, inv. no. SK-A-518. See also: Bikker/Bruijnen/Wuestman 2007, p. 444-474 for the Leeuwarden series, p. 475-479 for the Katzenellebogen series.
35 Abraham van Beyeren, Still Life with Fish, c. 1650-1670, Amsterdam, Rijksmuseum, inv. no. SK-A-25; Aanwijzing 1853, p. 6, no. 29, Beyeren (Alrert van), Een Stilleven met Visschen (A Still Life with Fish) (tax.: fl. 100); Amsterdam 1858, p. 8, no. 18.
36 Probably Thoré-Bürger refers to Rotterdam 1849, p. 8, no. 22, or to Rotterdam 1862, p. 5, no. 30. This second painting was given to the museum in 1851 and was mentioned for the first time in the 1854 Supplement, no. 377, as cited in Giltaij 2000, p. 244. Since Thoré-Bürger mentions only one painting by Van Beijeren in Rotterdam, he probably used the 1849 catalogue. Both paintings were burnt in the 1864 fire of the Boymans Museum (Giltaij 2000, p. 244).
37 See also Thoré-Bürger's notes opp. p. 180.
38 Paulus van Hillegaert (I) died in 1640.
39 Pauwels van Hillegaert, The Disbanding of the 'Waardgelders' by Prince Maurits on the Neude, Utrecht, 31 July 1618, 1627, Amsterdam, Rijksmuseum, inv. no. SK-A-155; Aanwijzing 1853, p. 13, no. 117, Hillegaard (Paulus van), Het afdanken der Waardgelders te Utrecht 1618 (The Disbanding of the 'Waardgelders' at Utrecht 1618) (tax.: fl. 400); Amsterdam 1858, p. 62, no. 125.
40 Gerard Hoet (I), The Marriage of Alexander the Great and Roxane of Bactria, after c. 1700, Amsterdam, Rijksmuseum, inv. no. SK-A-161; Aanwijzing 1853, p. 14, no. 118 Hoedt (Gerard), Het Huwelijk van Alexander met Roxane (The Marriage of Alexander with Roxane) (tax.: fl. 800); Amsterdam 1858, p. 63-64, no. 129. Gerard Hoet (I), Queen Cleophis Offering Wine to Alexander the Great after his Conquest of Mazaka, after c. 1700, Amsterdam, Rijksmuseum, inv. no. SK-A-162; Aanwijzing 1853, p. 14, no. 119, De wedergade, de Triomf van Alexander (The counterpart, the Triumph of Alexander (tax.: fl. 800); Amsterdam 1858, p. 64, no. 130.
41 And a letter 'f', which looks more like £. Included in handwriting: (voir G. Hoet.)
42 Gerard Hoet (I), Idyllic Landscape with Watch-tower, c. 1670 - 1700, Amsterdam, Rijksmuseum, inv. no. SK-A-159; Aanwijzing 1853, p. 14, no. 120, Hoedt (Gerard; 1648-1733), Een Landschap met ruïnen (A Landscape with Ruins) (tax.: fl. 600); Amsterdam 1858, p. 63, no. 127. Gerard Hoet (I), Idyllic Landscape with Fortress, 1670-1700, Amsterdam, Rijksmuseum, inv. no. SK-A-160; Aanwijzing 1853, p. 14, no. 121, Een dito [Een Landschap met ruïnen] (A ditto [A Landscape with Ruins] (tax.: fl. 100 [it is puzzling why this painting is valued at so much less than its counterpart, or is it an error?]; Amsterdam 1858, p. 63, no. 128.
43 See Hoet 1752. See also Thoré-Bürger's notes opp. p. 180
44 Gerard Hoet (I), Landscape with Flora and three putti, Dresden, Staatliche Kunstsammlungen - Gemäldegalerie Alte Meister, inv. no. 933; Moses Striking Water from the Rock, Vienna, Kunsthistorisches Museum, inv. no. 1761.
45 Johannes Janson, Heemstede Manor, 1766, Amsterdam, Rijksmuseum, inv. no. SK-A-189; Aanwijzing 1853, p. 15, no. 142, Janson (de oude (senior); 1729-1784), Het voormalig Slot te Heemstede (The former Castle at Heemstede) (tax.: fl. 200); Amsterdam 1858, p. 73, no. 157, as by Jacobus Janson.
46 Louis de Moni, Woman Watering a Plant, Amsterdam, Rijksmuseum, inv. no. SK-A-274; Aanwijzing 1853, p. 19, no. 188, Moni (Louis de; 1698-1771), Eene Vrouw, bloemen begietende (A Woman, Watering Flowers) (tax.: fl. 800); Amsterdam 1858, p. 94, no. 209.
47 Naiveu died in 1726.
48 Matthijs Naiveu, St. Jerome, 1676, Amsterdam, Rijksmuseum, inv. no. SK-A-286; Aanwijzing 1853, p. 20, no. 195, Naiveu (Matthys; 1647-1721), Een biddende St. Hieronymus (A Praying St. Jerome) (tax.: fl. 500); Amsterdam 1858, p. 98, no. 218. See also the annotations of Thoré-Bürger opp. p. 180.
49 Johannes Dircksz. van Oudenrogge, Weaver's Workshop, 1652, Amsterdam, Rijksmuseum, inv. no. SK-A-304; Aanwijzing 1853, p. 21, no. 208, J. Oudenrogge (J.), Eene Wevers-Werkplaats (A Weaver's Workshop) (tax.: fl. 300); Amsterdam 1858, p. 104-105, no 231.
50 Isaac Ouwater was born 1748.
51 Isaac Ouwater, The Nieuwe Kerk and the Town Hall on the Dam in Amsterdam, c. 1780-1790, Amsterdam, Rijksmuseum, inv. no. SK-A-305; The Sint-Antoniuswaag in Amsterdam, c. 1780-1790, Amsterdam, Rijksmuseum, inv. no. SK-A-306; Aanwijzing 1853, p. 21, no. 209, Ouwater (Isaak; 1747-1793), Gezigt op den onvolbouwden Toren der Nieuwe Kerk te Amsterdam (View of the unfinished tower of the New Church in Amsterdam), no. 210, Dito [Gezigt] op de St. Anthonies Waag, mede aldaar [Amsterdam] Ditto [View] on the St. Anthony's Waag, also there [Amsterdam]) (tax. fl. 400 [unclear whether the paintings were worth fl. 400 each, or together]); Amsterdam 1858, p. 105, no. 232, 233.
52 Julius Henricus Quinkhard, A Violinist and a Flutist Playing Music together, 1755, Amsterdam, Rijksmuseum, inv. no. SK-A-325; Aanwijzing 1853, p. 22, no. 224, Quinkhard (Julius), Een Binnenhuis met twee musicerende personen (An Interior with two musicians) (tax.: fl. 800); Amsterdam 1858, p. 112, no. 249.
53 Jan de Ruyter (II), The Kitchen Maid, 1820, Amsterdam, Rijksmuseum, inv. no. SK-A-353; Aanwijzing 1853, p. 24, no. 245, Ruyter (J. de), Eene Vischvrouw (A Fishwoman) (tax. fl. 150); Amsterdam 1858, p. 121, no. 271.
54 Julius Henricus Quinkhard lived from 1734 until 1795. His father was Jan Maurits Quinkhard (1688-1772).
55 Abraham van Strij (I) died in 1826. See also the notes by Thoré-Bürger opp. p. 180.
56 Abraham van Strij (I), The Drawing Lesson, c. 1790-1809, Amsterdam, Rijksmuseum, inv. no. SK-A-396; Aanwijzing 1853, p. 27, no. 272, Stry (Abraham van; 1758-1824), Een teekenende Jongeling (A Drawing Youngster) (tax.: fl. 500); Amsterdam 1858, p. 157 [sic, p. 137], no. 303.
57 David Vinckboons (I) lived from 1576 to c. 1631/33.
58 Pauwels van Hillegaert, Prince Maurice, Accompanied by Prince Frederik Hendrik, Frederick V of Bohemia and his Wife Elizabeth Stuart, and Others, on the Buitenhof, The Hague, c. 1621-1625, Amsterdam, Rijksmuseum, inv. no. SK-A-452; Aanwijzing 1853, p. 29, no. 311, Vinckeboom (David; 1578-1629), Prins Maurits en zijne Hofstoet ter Jagt uitrijdende (Prince Maurice and his Courtiers go out to hunt) (tax.: fl. 500); Amsterdam 1858, p. 155, no. 344, as by David Vinckboons (I).
59 Of the 12 paintings in Berlin, Dresden and Vienna, only one was made in collaboration with Hans Rottenhammer (I), who generally took on the figures, whereas Vinckboons was responsible for the landscape. Today, the landscape setting in this particular painting is no longer attributed to Vinckboons, but to Jan Brueghel (I): Rest on the flight into Egypt, c. 1595, Vienna, Kunsthistorisches Museum, inv. no. 642. According to Waagen 1857, p. 455, there were five painting by Vinckboons in the Berlin collection by 1857 (nos. 674, 680, 705, 720, 754) – none of these could be found on the museum's website by September 2025. Hübner 1856, p. 199, no. 841-843, lists three paintings by the artist in Dresden. According to Engert 1858, there were four paintings by Vinckboons in the Kaiserliche Königliche Bilder-Gallerie in Vienna (p. 86, no. 55, p. 87, no. 65, p. 88, no. 77, p. 91, no. 100).
60 Incidentally, Thoré-Bürger had come a long way with the description of the Dutch paintings in the Rijksmuseum (the Flemish and foreign schools will follow below), but he had skipped the second Van Goyen in Amsterdam 1858, p. 47, no. 97 (The Valkhof in Nijmegen, 1641, Rijksmuseum Amsterdam, inv. no. SK-A-122), but he later did notice this painting in his annotations opp. p. 156 (2/2). Moreover, from Aanwijzing 1853, he missed the numbers 77 (Van Dyck), 241 (after Rubens), 302 (W. van de Velde) and among the Unknown masters the numbers 364, 365, 366 367, 391, 392, 401, 403.
61 Attributed to Simon Kick, The Parable of the Unworthy Wedding Guest, c. 1644, Amsterdam, Rijksmuseum, inv. no. SK-A-157; not in Aanwijzing 1853; Amsterdam 1858, p. 62-63, no. 126, as by Samuel van Hoogstraten. Attributed to Caspar Netscher, Man trimming bales of hay, Amsterdam, Rijksmuseum, inv. no. SK-A-319; not in Aanwijzing 1853; Amsterdam 1858, p. 108-109, no. 242, as by Paulus Potter. The gift from Van Spaen van Biljoen was not that recent, as it already took place in 1808, but Thoré-Bürger assumed that the present painting was not in the previous Rijksmuseum catalogues because it had just been donated. See also Thoré-Bürger's comment opp. p. 1 (2/3): according to him, it remains to be proven that it is a genuine Potter.