p. 176-180 Flemish School, Van Dyck
176 MUSEUM OF AMSTERDAM.
... their former enemies, – the Dutch. Even their names are mutilated, although the two languages are almost identical; Flemish paintings seem to be as unknown above the Moerdijk as those from Italy or Spain.
The catalog lists three works by the Van Eycks: "No. 80. A Gothic temple.1 No. 81. The Blessed Virgin with Child.2 No. 82: The Adoration of the Magi from the East".3 The first two are said to be by Hubert and Jan [325] [326]; the third by Jan alone [327]. It should be noted that the catalog gives as Jan's date of death 1445; in Holland one should know that he died in July 1441 (1).
I searched for a long time for these precious Van Eycks, and I was surprised that I could not find them, because Van Eycks stand out. I had walked past them twenty times without noticing them. The three so-called Van Eycks are miserable copies of I do not know what miserable paintings; they are not even from that era. They hang on the first floor, in an obscure corridor between two doors, while the museum presents them as authentic and Immerzeel (2) had ...
------
(1) The new cat. has retained the two old dates of Sandrart, Descamps and others: 1370-1445. – Two of the false Van Eycks have been removed, but one has been retained: The Adoration of the Magi. It is hard to accept that you no longer have Van Eycks, when you thought you had three!
(2) Michiels (Histoire de la peinture hollandaise, etc.) did not fall for it, as Immerzeel did: “The so-called ...
325
studio of Geertgen tot Sint Jans
The Holy Kinship, c. 1495
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-500
326
Master of the Virgo inter Virgines Meester van de Virgo Inter Virgines
The Virgin and Child with Sts Catherine, Cecilia, Barbara and Ursula, c. 1495 - c. 1500
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-501
327
after Jheronimus Bosch
The adoration of the Magi, 1600-1650
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-124
177 FLEMISH SCHOOL.
... the folly to mention them twice in his book as genuine Van Eycks.4 But this biographer of Dutch and Flemish artists knows nothing at all about painting. One learns nothing about painting from libraries.
The three Van Eycks together are worth less than 100 guilders.5
From the xvth century we jump to the last half of the xvith century: Paul Bril, an insignificant landscape [328];6 – Hendrik van Balen, who according to the Dutch catalog was born in 1633 and died in 1702! instead of 1560-1632,7 a real painting, with Diana, Bacchus, Pan, satyrs and nymphs;8 to him is also attributed, in collaboration with Jan Breugel, the Symbolic composition, representing the various sects of Christianity.9 I have returned this Fishing for Souls to Van der Venne above.10
By Breugel himself, nicknamed the Velvet, according to the catalog, there are five paintings, some of which are rather beautiful: a Scene from the Fable of Latona [329],11 three landscapes12 and a Forest [330];13 this last painting is signed Brvegel, which is its real name, as members of this family have always signed;14 – by Josse de Momper, in whose paintings Breugel often made the staffage figures, a fairly good landscape [331];15 – by R Gyzels,16 ...
------
… van Eycks in Amsterdam never occupied the famous painter, nor did they dishonor his brush” (vol. II, p. 126). But Mr. Viardot accepts and quotes them, no doubt with confidence, because he has never visited the museums of Holland.17
328
attributed to Guilliam van Nieulandt (II)
Landscape with Rebekah receiving ear-rings and golden bracelets from Eliezer (Genesis 24:17), c. 1602-1605
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-63
329
Jan Brueghel (I)
Latona and the Lycian Peasants, c. 1605
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-70
330
manner of Jan Brueghel (I)
Rest on the flight into Egypt, 17th century
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-69
331
Joos de Momper (II) and possibly Jan Brueghel (I)
View of a mountain lake with travelers in the foreground
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-273
178 MUSEUM OF AMSTERDAM.
... a pupil of Breugel, a Village View [332];18 – and from Jan van Breda, who more than a century later sometimes imitated Breugel and sometimes Wouwerman, a Landscape with Horses.19
Peeter Neefs has three Catholic church interiors.20 No. 196, Interior of a Church in Antwerp, signed PEETER NEFS, is of good quality and of some interest to the master (1) [333].21
"Pourribus Jr (F.), born 1570, died 1622. Portrait of Elizabeth, Queen of England" [334].22 What is Pourribus? The dates suggest that the catalog means Frans Pourbus the younger, from Antwerp. It is not so far from Antwerp to Amsterdam that one should not at least know the surname of this famous family of artists here (2).
With Otho van Veen we come to the great painting school of Rubens, his pupil. The catalog lists "twelve pieces relating to the history of the ancient Batavians and Romans, by O. Venius [335], who died in 1634 (3);" that ...
------
(1) The other two are also signed, one: PEETER NEEFFS; the other: PETRUS NEFS 1636 (new cat.). We know how erratic this master was in his signatures.
(2) Obviously, the new cat. has corrected these baroque spellings. The portrait of Elisabeth is attributed to Frans the father, 1540-1580, and no longer to the son. Either of them may have painted Elisabeth, who was born in 1533 and died in 1603. I don't think Frans the old ever went to England, but Frans the young traveled a lot.
(3) This wrong date is still in the new cat. in which Van Veen's 12 paintings are described in detail.23
332
Peeter Gijsels (I)
Flemish Village with a Puppeteer Entertaining a Small Crowd, c 1650-1660
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-126
333
Pieter Neefs (I)
The Interior of the Dominican Church, Antwerp (St Paul), Looking East, with the Procession of the Holy Sacrament, 1636 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-288
334
Anonymous Fontainebleau third quarter 16e century
Portrait of een dame, zogenaamd Elisabeth I, koningin van Engeland (1533-1603), third quarter 16e century
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-320
335
Otto van Veen
The Beheading of Claudius Paulus and the Capture of Julius Civilis, ca. 1610-1613
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-421
179 FLEMISH SCHOOL.
...should be 1629; an error also made in the Louvre catalog and in the Berlin and Vienna catalogs.24 The new Antwerp catalog gives the correct date.25
Rubbens, as the name of the great Flemish artist is written in the Dutch catalog, has only two paintings: the Parental Love [336]26 and a "sketch, depicting Jesus Christ bearing his cross" [338].27 In my opinion, the Parental Love was not painted by him, but by someone from his school, according to his design. Smith, however, accepts this weak painting as an original and records it under number 382.28 It was engraved by A. Voet.29 At the auction of Stiers d'Aertselaer, Antwerp, 1822, it was sold for 5,300 guilders. Height 4 feet 9 inches; width 5 feet 9 inches. On canvas.
Rubens made several compositions of this Roman subject. The Marlborough Gallery has one [337], almost identical to the one in Amsterdam, engraved by J. Smith; this must be the original.30 Panneels also etched a Roman charity, which has a different composition.31
The Jesus Christ bearing his cross is an excellent sketch [338]32 for the large and magnificent painting preserved in the Museum of Brussels: "No. 163, Christ ascends to Golgotha," painted in sixteen days! after 1631 [339],33 and engraved by Paul Pontius.34 Rubens made two sketches for this masterpiece, and Smith, who is sometimes mistaken, catalogs both as being in the Amsterdam Museum.35 The sketch in the ...
336
studio of Peter Paul Rubens
Cimon and Pero, early 1630s
Antwerp, Rubenshuis
337
Peter Paul Rubens
Cimon and Pero, mid 1630s
Oberes Schloss (Siegen), Museum des Siegerlandes, inv./cat.nr. 3 F 1955
338
studio of Peter Paul Rubens
Christ on the way to Calvary, c. 1635
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-344
339
Peter Paul Rubens
Christ carrying the cross, with the meeting with Saint Veronica, 1634-1637
Brussels, Koninklijke Musea voor Schone Kunsten van België, inv./cat.nr. 163
180 MUSEUM OF AMSTERDAM.
... Amsterdam museum is only 2 feet 2 inches high and 1 foot 6 inches wide (1); the other, which I saw about five years ago in London at a painting dealer on the Strand, is over 3 feet high and over 2 feet wide; this one, I believe, is from the Horion auction, Brussels, 1788, – 165 guilders [340].36 Both are on panel.
We are no happier with Van Dyck than with Rubens. There are only two paintings attributed to Van Dyck and it is doubtful that they are his. But since Smith also accepts them, we should not be too strict.
Portrait of Jacob van der Borcht, mayor of Antwerp, life-size, full-length, standing in a vestibule, from which a seascape can be seen in the background [341].37 The mayor is dressed in black silk; his left hand is hidden under his small cloak; his right hand gestures forward. 6 feet 6 inches high by 4 feet 4 inches wide. Engraved by Vermeulen [342]. Cost 1,000 guilders at the Stiers d'Aertselaer auction. – 1,000 guilders, – in Antwerp, in 1822! – This does not indicate that it is an authentic Van Dyck.
"Life-size, full-length (supposed) portraits of Princess Mary Henrietta Stuart and her brother the Prince of Wallis, children of Charles I, King of England." The little prince appears to be about twelve years old; he is dressed entirely in red silk; in his ...
------
(1) 72 centimeters by 35 centimeters, according to the new cat.38
340
attributed to Peter Paul Rubens
The bearing of the cross, c. 1634-1637
Copenhagen, SMK - National Gallery of Denmark, inv./cat.nr. KMS1856
341
Anthony van Dyck and Andries van Eertvelt
Portrait of Nicolaes van der Borght (?-?), 1630-1632
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A 101
342
Cornelis Vermeulen after Anthony van Dyck
Portrait of a nobleman, possibly Adriaan van der Borght, 1703 (dated)
Amsterdam, Rijksprentenkabinet, inv./cat.nr. RP-P-OB-15.686
Interleaved page (1/2)
Abraham van Strij is, in fact, the brother of Jacob, and died in Dordrecht on 7 March, 1826 (Immerz.)39
Pieter Gijzels. See his signature at Amsterdam museum.40 The forename initial seems an R but in Dresden he signs P. Gijsels.41 Pupil of Brvegel.42 Immerz. says that Gijzen, Gijzens, Geijse, Gijsses, Gijssels, are the same.43 He was born in Holland and it is he who worked with Gonzales.44 The Arenberg picture.45
There is an exquisite Gijzels at Steingracht46 (see van Lerius)47
Pieter Gysels, born in Antwerp 1621, died 1690.
Gerard Hoet, the son of the painter, also published some Remarques about the life of the painters de van Gool.48 He was dealer of pictures,
His brother Hendrik, 1693-1733, painted some pictures of society, some flowers and fruit, where he tried to imitate van Huijsum.49
Vinkboom, p. 175, Munich also has one of his (p. 54) signed David Vinc-Booms f. 1611.50 – see the Arenberg cat.51
On van Beijeren, there is nothing in Im. except the name.52
In Kramm, some information: the first name would be Abraham, his place of birth The Hague. Some dates 1656, 1663.53
Nothing in v. Eynden.54
New ed. ’59: AMijtens f. Ao 166855 see Cassel 96,
An Arnold Mytens.56
M. Naiveu Fecit Ao 1676.57
Notes
1 Workshop of Geertgen tot Sint-Jans, The Holy Kinship, c. 1495, Rijksmuseum, Amsterdam, inv. no. SK-A-500; Aanwijzing 1853, p. 10, no. 80, Eyck (Huibert; 1366-1426; and Jan van; 1370-1445), Een Gotische Tempel (A Gothic Temple) (tax.: fl. 5,000); Amsterdam 1858, p. 173 no. 382, as by an unknown master.
2 Master of the Virgo inter Virgines, The Virgin and Child with Four Holy Virgins, c. 1495-1500, Rijksmuseum, Amsterdam, inv. no. SK-A-501; Aanwijzing 1853, p. 10, no. 81, Eyck (Huibert and Jan van), Maria met het Kind (Mary with the Child) (tax.: fl. 5,000); Amsterdam 1858, p. 174, no. 383, as by an unknown master.
3 Copy after Jheronimus Bosch, The Adoration of the Kings, c. 1600-1650, Rijksmuseum, Amsterdam, inv. no. SK-A-124; Aanwijzing 1853, p. 10, no. 82, Eyck (J. van), De aanbidding der Oostersche Wijzen (The Adoration of the Eastern Magi) (tax.: fl. 4,500); Amsterdam 1858, p. 38, no. 83, as by Jan and Hubert van Eyck.
4 Immerzeel 1842-1843, vol. 1 (1842), p. 229, p. 246.
5 They thought differently about that at the Rijksmuseum, see the handwritten valuations in Aanwijzing 1853, p. 10, no. 80: 'fl. 5,000', no. 81: 'fl. 5,000', no. 82: 'fl. 4,500'. Today, two of the supposed Van Eyck paintings (Workshop of Geertgen tot Sint-Jans, The Holy Kinship; Master of the Virgo inter Virgines, The Virgin and Child with Four Holy Virgins) are dated some 50 years after the death of Jan van Eyck and are considered meritorious fifteenth-century paintings by the studio of Geertgen tot Sint Jans and by the Master of the Virgo inter Virgines – the latter even functioning as the name piece of the Master of the Virgo inter Virgines. These two paintings were not Van Eycks, but certainly not 'miserable copies after miserable paintings'. This was true only for the third ‘Van Eyck’ (Copy after Jheronimus Bosch, The Adoration of the Kings, c. 1600-1650, Rijksmuseum, Amsterdam, inv. no. SK-A-124), which is now considered a copy after the center panel of: Jheronimus Bosch, Triptych of the Adoration of the Magi, c. 1475-1499, Madrid, Museo del Prado, inv. no. 2048.
6 Attributed to Guilliam van Nieulandt (II), Travellers among Roman Ruins with Rebecca and Eliezer at the Well, c. 1602-1605, Amsterdam, Rijksmuseum, inv. no. SK-A-63; Aanwijzing 1853, p. 7, no. 48, Bril (Paulus), Een Landschap met ruïnen (A Landscape with Ruins) (tax.: fl. 400); Amsterdam 1858, p. 23, no. 51, as by Paul Bril.
7 The lifedates of Hendrick van Balen (I) are c. 1573/75-1632.
8 Hendrik van Balen (I) after Jan Breughel, Diana Offered Wine and Fruit by the Young Bacchus and his Retinue, c. 1617-1625, Amsterdam, Rijksmuseum, inv. no. SK-A-17; Aanwijzing 1853, p. 4, no. 10, Balen (Hendrick van), Diana en Bachus, Pan, Saters en Bachanten, in een Landschap (Diana and Bacchus, Pan, Satyrs and Bacchantes, in a Landscape) (tax.: fl. 600); Amsterdam 1858, p. 5, no. 11.
9 Adriaen van de Venne, Fishing for Souls, 1614, Amsterdam, Rijksmuseum, inv. no. SK-A-447; Aanwijzing 1853, p. 4, no. 11, Balen (Hendrik van) and Jan Breughel, Zinnebeeldige Voorstelling op de onderscheidene secten van het Christendom (Symbolic Representation of the Various Sects of Christianity) (tax. fl. 4,000); Amsterdam 1858, p. 151-153, no. 338.
10 See above, p. 61.
11 Jan Brueghel (I), Latona and the Lycian Peasants, c. 1605, Amsterdam, Rijksmuseum, inv. no. SK-A-70; Aanwijzing 1853, p. 7, no. 43, Eene Voorstelling der Fabel van Latona (A Representation of the Fable of Latona) (tax. fl. 600); Amsterdam 1858, p. 23, no. 50.
12 Jan Brueghel (I), View of a Village along a River, 1604, Amsterdam, Rijksmuseum, inv. no. SK-A-67; Aanwijzing 1853, p. 7, no. 45, Een dito [Landschap] met figuren aan eene rivier (A ditto [Landscape] with figures along a river) (tax.: fl. 300); Amsterdam 1858, p. 22, no. 47, as wrongly originating from the Cabinet van Heteren Gevers. Instead, it came from the Van der Pot sale of June 1808. Attributed to Jan Brueghel (I), View of a City along a River, c. 1630, Amsterdam, Rijksmuseum, inv. no. SK-A-66; Aanwijzing 1853, p. 7, no. 46, Een Watergezigt met vaartuigen en figuren (A Water View with Vessels and Figures) (tax.: fl. 300); Amsterdam 1858, p. 22, no. 46. Copy after Jan Brueghel (I), River Bank, Amsterdam, Rijksmuseum, inv. no. SK-A-68; Aanwijzing 1853, p. 7, no. 44, Een Landschap (A Landscape) (tax.: fl. 200); Amsterdam 1858, p. 22, no. 48.
13 Manner of Jan Brueghel (I), Rest on the Flight into Egypt, Amsterdam, Rijksmuseum, inv. no. SK-A-69; Aanwijzing 1853, p. 7, no. 47, Een Boschgezigtje (A small Forest view) (tax.: fl. 500); Amsterdam 1858, p. 22, no. 49, as wrongly originating from the Van der Pot sale of June 1808. Instead, it was part of the Cabinet Van Heteren Gevers.
14 The members of the family signed in several different varieties, and this very signature is false, according to the Rijksmuseum website (accessed 23 October 2025).
15 Joos de Momper (II), Landscape, Amsterdam, Rijksmuseum, inv. no. SK-A-273; Aanwijzing 1853, p. 19, no. 187, Momper (Jodocus de), Een Landschap (A Landscape) (tax.: fl. 400); Amsterdam 1858, p. 94, no. 208.
16 The 'R.' of the artist's first name is replaced in the margin by a 'P'. and the 'z' of 'Gyzels' is replaced by an 's', i.e.: 'P. Gijsels'. See also Thoré-Bürger's comment opp. p. 1 (2/3), where he wonders if it should not be Gijzels. Later, after reading Van Lerius's information in his supplement to the Antwerp catalogue (Antwerp 1863, p. 155-158, s.v. Pierre Snyers (1681-1752)), he returns to this topic; see his comments opp. p. 180.
17 Michiels 1845-1849, vol. 2 (1845), p. 126; Viardot 1855, p. 215. After the publication of Thoré-Bürger’s Musées de la Holland, Viardot adjusted his description of the three paintings, see: Viardot 1860, p. 281.
18 Peeter Gijsels (I), Village with a Puppeteer Entertaining a Small Crowd, c. 1650-1660, Amsterdam, Rijksmuseum, inv. no. SK-A-126; Aanwijzing 1853, p. 11, no. 91, Gyzels (Jan), Een Dorpsgezigt (A Village view) (tax.: fl. 800); Amsterdam 1858, p. 48, no. 99.
19 Joseph van Bredael, Village on the Bank of a River, 1723, Amsterdam, Rijksmuseum, inv. no. SK-A-59; Aanwijzing 1853, p. 7, no. 40, Breda (Jan van), Een Landschap met Paarden (A Landscape with Horses) (tax.: fl. 300); Amsterdam 1858, p. 21, no. 43, as by Jan Frans van Bredael (I).
20 There were two artists with this name, who both painted church interiors: Pieter Neefs (I) and Pieter Neefs (II).
21 Pieter Neefs (I), The Interior of the Dominican Church, Antwerp, Looking East, with the Procession of the Holy Sacrament, 1636, Amsterdam, Rijksmuseum, inv. no. SK-A-288; Aanwijzing 1853, p. 20, no. 196, Eene Roomsche Kerk te Antwerpen, van binnen (A Roman Catholic Church in Antwerp, inside) (tax.: fl. 1,000); Amsterdam 1858, p. 99, no. 220. Pieter Neefs (I), Interior of a Gothic Church at Night Looking East, 1636, Amsterdam, Rijksmuseum, inv. no. SK-A-289; Aanwijzing 1853, p. 20, no. 198, Een dito [binnengezigt van eene Roomsche Kerk], bij kaarslicht (A ditto [interior view of a Roman Catholic Church], by candlelight (tax.: fl. 800); Amsterdam 1858, p. 99, no. 221. Pieter Neefs (I), Interior of an Imaginary Gothic Church, Looking East, c. 1655-1660, Amsterdam, Rijksmuseum, inv. no. SK-A-287; Aanwijzing 1853, p. 20, no. 197, Het binnengezigt van eene Roomsche Kerk (The Interior View of a Roman Catholic Church) (tax. fl. 500); Amsterdam 1858, p. 98, no. 219. The provenance of the last two paintings has been mixed up in Amsterdam 1858.
22 Anonymous, Portrait of a Woman (previously identified as Queen Elizabeth I), c. 1550-1574, Amsterdam, Rijksmuseum, inv. no. SK-A-320; Aanwijzing 1853, p. 22, no. 222, Pourribus jr (Frans; 1570-1622), Portret van Elisabeth, Koningin van Engeland (Portrait of Elizabeth, Queen of England) (tax.: fl. 300); Amsterdam 1858, p. 111, no. 247, as by Frans Pourbus (I).
23 Aanwijzing 1853, p. 28, nos. 284-295, Veen (Octavio van, also called Otto Venius; 1558-1634), Twaalf stuks betrekkelijk de Historiën en Oorlogen der oude Batavieren met de Romeinen (Twelve Pieces Relating to the Histories and Wars of the Ancient Batavians with the Romans [tax.: fl. 6,000 for all 12 together]; Amsterdam 1858, p. 146, stating that the series ‘was formerly placed in the Treves-Kamer, or reception room of the Ambassadors, at The Hague, it was transferred to the Museum in 1809.’ However, the paintings were already received at Huis ten Bosch on June 17, 1799, and shown in the National Art Gallery from 1800 onwards. On December 22nd, 1808, they were received at the Royal Palace, Amsterdam; see: Moes/Van Biema 1909, p. 24, 131, nos. 93-104, p. 173-174. All paintings have on the verso a text with explanation of the subject. Otto van Veen, Beheading of Claudius Paulus and the Capture of Julius Civilis, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-421, Amsterdam 1858, p. 143, no. 315; The Conspiracy of Julius Civilis and the Batavians in a Sacred Grove, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-422, Amsterdam 1858, p. 143, no. 316; Brinno Raised upon the Shield, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-423, Amsterdam 1858, p. 144, no. 317; The Batavians Defeating the Romans on the Rhine, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-424, Amsterdam 1858, p. 144, no. 318; The Batavians Surround the Romans at Vetera, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-425, Amsterdam 1858, p. 144, no. 319; The Batavians Besiege the Roman Army Regiments at Vetera, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-426; Amsterdam 1858, p. 144, no. 320; Julius Civilis Having his Hair Cut after the Fall of Vetera, while his Son Kills Some of the Captives, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-427, Amsterdam 1858, p. 145, no. 321; The Conference of the Gauls at Rheims, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-428, Amsterdam 1858, p. 145, no. 322; Valentinus Taken Prisoner, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-429, Amsterdam 1858, p. 145, no. 323; A Nocturnal Banquet, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-430, Amsterdam 1858, p. 145, no. 324; The Romans Nearly Overpower the Army of Julius Civilis through the Treachery of a Batavian, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-431, Amsterdam 1858, p. 145-146, no. 325; The Peace Negotiations between Julius Civilis and the Roman General Cerealis, c. 1610-1613, Amsterdam, Rijksmuseum, inv. no. SK-A-432, Amsterdam 1858, p. 146, no. 326.
24 This erroneous year of death appears in Villot 1852, p. 285. For the Berlin catalogue see: Waagen 1857, p. 233, no. 681. For the Vienna catalogue see: Engert 1858, p. 143, no. 46.
25 Antwerp 1857, p. 166.
26 Workshop of Peter Paul Rubens, Cimon and Pero, c. 1635, Amsterdam, Rijksmuseum, inv. no. SK-A-345; Smith 1829-1842, vol. 2 (1830), p. 113, no. 382; Aanwijzing 1853, p. 24, no. 239, Rubbens (Petrus Paulus), De Romeinsche Ouderliefde (The Roman Parental Love) (tax.: fl. 15.000); Amsterdam 1858, p. 119, no. 267.
27 Workshop of Peter Paul Rubens, Christ on the Way to Calvary, c. 1635, Amsterdam, Rijksmuseum, inv. no. SK-A-344; Aanwijzing 1853, p. 24, no. 240, Rubbens (Petrus Paulus), Eene schetsachtige Ordonnantie, voorstellende den Zaligmaker, bezwijkende onder de kruisdraging (A sketchy Ordinance, depicting the Savior, succumbing to the Carrying of the Cross) (tax.: fl. 12,000); Amsterdam 1858, p. 119, no. 266.
28 Smith 1829-1842, vol. 2 (1830), p. 113, no. 382.
29 The print by Voet was not made after the painting in the Rijksmuseum, but after a painting by Rubens that has disappeared, see Hollstein et al. 1949-2010, vol. 42 (1993), p. 58, no. 9.
30 See: Smith 1829-1842, vol. 2 (1830), p. 248, no. 842. John Smith, Cimon and Pero, London, British Museum, inv. no. 2010,07081.61.
31 Willem Panneels, after Peter Paul Rubens, Cimon and Pero, c. 1625-1634, Amsterdam, Rijksmuseum, inv. no. RP-P-OB-24.429.
32 Workshop of Peter Paul Rubens, Christ on the Way to Calvary, c. 1635, Amsterdam, Rijksmuseum, inv. no. SK-A-344; Aanwijzing 1853, p. 24, no. 240, Rubbens (Petrus Paulus), Eene schetsachtige Ordonnantie, voorstellende den Zaligmaker, bezwijkende onder de kruisdraging (A sketchy Ordinance, depicting the Savior, succumbing to the Carrying of the Cross) (tax.: fl. 12,000); Amsterdam 1858, p. 119, no. 266.
33 Peter Paul Rubens, Christ carrying the cross, with the meeting with Saint Veronica, 1637, Brussels, Royal Museums of Fine Arts of Belgium, inv. no. 163.
34 Thoré-Bürger probably refers here to a print by Pontius that was based on an earlier depiction of the same subject, which has a slightly different composition: Peter Paul Rubens, Christ carrying the cross, with the meeting with Saint Veronica, c. 1631-1632, Berkeley, University of California - Berkeley Art Museum, inv. no. 1966.16. Paulus Pontius (I), Christ carrying the cross, 1632, London, British Museum, inv. no. R,3.72.
35 Smith 1829-1842, vol. 2 (1830), p. 57, no. 160 – Smith has combined the provenance of the two sketches and lists them as a single artwork, located at the Amsterdam museum.
36 Peter Paul Rubens, The bearing of the cross, c. 1634-1637, Kopenhagen, Statens Museum for Kunst, inv. no. KMS1856.
37 Anthony van Dyck, Portrait of a Nobleman, possibly Adriaan van der Borcht, c. 1634-1635, Amsterdam, Rijksmuseum, inv. no. SK-A-101; Smith 1829-1842, vol. 3 (1831), p. 38-39, no. 137; Aanwijzing 1853, p. 10, no. 75, Dyk (Anthony van; 1599-1641), Portret van Jacob van der Borcht, Burgemeester van Antwerpen (Portrait of Jacob van der Borcht, Mayor of Antwerp) (tax.: fl. 10,000); Amsterdam 1858, p. 35, no. 77.
38 Dimensions according to the Rijksmuseum website: 73.9 x 56 cm (accessed 16 October 2025).
39 Immerzeel 1842-1843, vol. 3 (1843), p. 120. See for Abraham van Strij, p. 175-174 above.
40 Peeter Gijsels (I), Village with a Puppeteer Entertaining a Small Crowd, c. 1650-1660, Amsterdam, Rijksmuseum, inv. no. SK-A-126; Amsterdam 1858, p. 48, no. 99. Nowadays it is read as ‘p:Gijs[?]sels’, see: Martin 2022.
41 Six paintings by Peeters Gijsels are listed on the website of the Staatliche Kunstsammlungen Dresden (accessed 7 November 2025), all six signed or monogrammed. The same six are also mentioned in Kramm 1857-1864, vol. 2 (1858), p. 615. According to Hübner 1856, p. 185, no. 733, only one painting is signed ‘Peeter Geysels’. That is probably: Village Church by a River, Dresden, Staatliche Kunstsammlungen, Gemäldegalerie Alte Meister, inv. no. 1154; missing since 1945.
42 Gijsels was not a pupil of Jan Brueghel, but a follower. Instead, he trained with Joannes Boets.
43 Immerzeel 1842-1843, vol. 1 (1842), p. 300.
44 Gijsels was not Dutch but came from Antwerp. On the collaboration with Gonzales Coques: the Mauritshuis in The Hague owns a painting by his hand, depicting a large art gallery. The small paintings depicted in the gallery are said to have been painted by their original inventors. It also includes a painting by Gijsels. See: Interior with Figures Before a Picture collection, c. 1667-1706, The Hague, Mauritshuis, inv. no. 238; Van Suchtelen/Van Beneden 2009, p. 136-137.
45 Possibly: Gonzales Coques, Christ in the House of Mary and Martha, formerly Lochem/The Hague, art dealer S. Nijstad; Bürger 1859, p. 93-94, 162-163, stating that the additional work or staffage may have been made by Gijsels.
46 Peeter Gijsels (I), Hunting Still Life with Swan, Peacock and Heron, 1668, New York, Otto Naumann Ltd., by 2001.
47 Van Lerius added biographical information in the 1863 supplement (Antwerp 1863) of the 1857 Antwerp catalogue (Antwerp 1857). For example, in the biography of Peter Snijers, he also paid extensive attention to PGijsels, see Antwerp 1863, p. 155-158.
49 This information from Immerzeel 1842-1843, vol. 2 (1843), p. 44. There is an addition in Kramm 1857-1864, vol. 2 (1858), p. 706. The still known paintings by Hendrik Jacob Hoet as documented by the RKD, are mostly copies after examples by other masters, and not still lifes in the style of Jan van Huijsum.
50 David Vinckboons (I), Landscape with the Carrying of the Cross, 1611, Munich, Bayerische Staatsgemäldesammlungen - Alte Pinakothek, inv. no. 838; Von Dillis 1858, p. 54, no. 229.
51 Bürger 1859, p. 175, no. 105.
52 Immerzeel 1855/1974, vol. 1, p. 52. See also above, p. 173.
53 Kramm 1857-1864, vol. 1 (1857), p. 70.
54 Van Eynden/Van der Willigen 1816-1840.
55 Ther are two painting by Mijtens, dated 1668 in , p. 99-100, no. 216-217: Jan Mijtens, Portrait of Cornelis Tromp, 1668, Amsterdam, Rijksmuseum, inv. no. SK-A-284 & Jan Mijtens, Portrait of Margaretha van Raephorst, 1668, Amsterdam, Rijksmuseum, inv. no. SK-A-285. See above, p. 170.
56 Cassel 1830, p. 19, no. 96. Perhaps identical to Schnackenburg 1996, p. 364, no. A25, even though that painting is painted on panel.
57 Matthijs Naiveu, St. Jerome, 1676, Amsterdam, Rijksmuseum, inv. no. SK-A-286; see also above, p. 174. The facsimile of the signature was already published in Amsterdam 1858, p. 98, no. 218.
58 Immerzeel 1842-1843, vol. 2 (1843), p. 128, under ‘K’. David de Coninck died in 1703. He was a pupil of Peeter Boel, not of Jan Fyt, who himself was the teacher of Boel. See also below, p. 181.
59 Thoré-Bürger means the Bentvuehgels. The information on De Coninck’s Bent-name comes from Houbraken 1718-1721, vol. 3 (1721), p. 102.