p. 181-185 Van Dyck, various Schools, Unknown Masters, the Print Cabinet
181 VAN DYCK.
... left hand he holds his hat, in his right hand the hand of the little princess, richly dressed in white satin, with pearls and diamonds. 4 feet 6 inches high and 3 feet 6 inches wide [343].1 The painting, which looks very cold, is very worn and disfigured in several places by restorations. It may have been an original (1).
Then there is a single Jordaens, rather weak: Landscape with the satyr Pan (2) [344],2 and two by Snyders: a dish garnished with fruit and dead game and A dead deer, a boar's head and vegetables; the latter painting is of good quality [345].3
David de Coninck was born in Antwerp in 1636 and died in Rome about 1686.4 He is the maker of two superb hunts, as good as Snyders': a Deer Hunt and a Bear Hunt (3), placed on the stairs,5 as well as a Dead Deer, transferred to the Unknowns, which must be by the same master [346].6
Concluding the great Flemish school are three paintings by Gaspar de Crayer, who was able to maintain the independence of his talent alongside Rubens, with whom he ...
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(1) In the new cat. there is one more Van Dyck: La Madeleine repentante, life-size. I do not know this painting.7
(2) Auction S. J. Stinstra, in Friesland, 360 guilders. Engraved by Bolswert (new cat.).8
(3) These two magnificent paintings cost only 144 guilders at the Van der Pot auction. The Deer Hunt is signed in full (new cat.).
343
Anthony van Dyck
Double portrait of William, Prince of Orange and Mary Stuart, the Princess Royal, 1641
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-102
344
Jacques Jordaens
Pan Tending his Flock, c. 1630-1635
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-198
345
Frans Snijders
Larder still life, c. 1616-1625
Maastricht, Bonnefantenmuseum
346
Jan Baptist Weenix
A dog and a cat near a disembowelled deer, c. 1653
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-591
182 MUSEUM OF AMSTERDAM.
... befriended: an Ecce Homo, not very remarkable (1);9 a large Adoration of the Shepherds [347]10 and a magnificent Descent from the Cross, about 3 meters high [348].11
Of the minor Flemish masters there are only two: David Teniers the younger, with four sad examples, and David Ryckaert: a Shoemaker and other people in an interior; a very solid and very colorful painting [349].12 There is also a seascape by Jan Peters, from Antwerp, 1624-1677:13 the English Flotilla burned at Chatham in 1667 (2) [350].14
Despite their insignificance, we should mention the Tenierses: No. 273. Peasant house with A man with a pipe and a pot of beer [351].15 No. 274. Company of merry men; painting covered with overpaintings.16 No. 275. Temptation of St. Anthony; 1 foot high by 10 inches wide;17 Smith estimated it at 80 guineas:18 we can see it is not much, although it had ended up in the Braamcamp Collection. And No. 276. Waiting room with several soldiers ...
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(1) Now attributed to Pieter van "Moll, born 1580." The compilers of the new cat. should have seen from the fine Antwerp cat. that Van Mol, not Moll, was born in 1599, not 1580 – The Ecce Homo may be neither Mol's nor Crayer's, but a copy of a Rubens, since it was inscribed by F. Galle as "after Rubens".19
(2) A Frans Francken the younger, signed and dated 1616,20 and a large Hieronimus Francken the elder, The Abdication of Charles the Fifth,21 are also in the new catalog; recent donations, I believe made by Baron van Spaen van Biljoen.22
347
Gaspar de Crayer (1584)
The Adoration of the shepherds
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-74
348
Gaspar de Crayer (1584)
The Descent from the Cross, c. 1640-1650
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-75
349
David Rijckaert (III)
Cobbler in his workshop, c. 1650
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-357
350
follower of Willem van de Velde (II)
Burning of the English Fleet at Chatham, 20 June 1667, 1667-1670
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-307
183 VARIOUS SCHOOLS.
... and many military attributes; large, rather empty painting, dated 1642 (1).23
VARIOUS SCHOOLS. – Here we are completely lost. The two pages of the catalogue devoted to Italians, Spaniards, Germans, and French are, however, a bibliographical curiosity for the way the names are written.
We have Cyrus Ferrus (Ciro Ferri), a Marriage of the Virgin, which was a good Italian painting, by I don't know who;24 – Giarofalo, an Adoration of the Magi; a copy by a Fleming [352];25– Jean Lanfranck, a St. John the Baptist; a copy after Spada, I think;26 - and a few copies after Guido,27 – Parmigianino [353],28 Allori,29 and Caravaggio.30 That's it as far as the Italians are concerned (2).
Among the Spaniards we have: "Spagnoletti,31 Velasques, and Morillos." The Murillo seems to be correct; it is a small Annunciation, very beautiful in color [354].32 I think it was once attributed to Rubens and catalogued as such by Smith, no doubt based on false clues.33 The Velazquez34 is one of a thousand ...
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(1) 1641, according to the new catalog, and from the Lormier auction.
(2) The names have been corrected in the new catalog, but the attributions have not changed, except that paintings previously catalogued as copies are now listed as originals! For example: the Judith by Allori, of which “the Pitti Palace in Florence has a repetition (eene herhaling)!”
351
after David Teniers (II)
Elderly Man Seated in a Tavern, c. 1645
Delft, Museum Prinsenhof Delft
352
Benvenuto Tisi da Garofalo
Adoration of ther Magi, c. 1530-1540
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-114
353
studio of Quinten Massijs (I)
Mary with child, ca 1525-1530
The Hague, Koninklijk Kabinet van Schilderijen Mauritshuis, inv./cat.nr. 842
354
Bartolomé Esteban Murillo
The Annunciation, c. 1660-1665
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-282
184 MUSEUM OF AMSTERDAM.
... apocryphal portraits of the little prince Balthazar, son of Philip IV (1).
There is only one French name: Nicolas Bertin, 1667-1736, for two subjects from the Bible;35 and two German names: Rottenhammer, for a Virgin36 and a Venus [355];37 and Hans Holbein the Younger, to whom four portraits are attributed: a Maximilian [356],38 an Erasmus,39 a Robert Sidney [357]40 and a Charles V;41 this portrait is very good and could be by Holbein; the others are not.
UNKNOWN MASTERS. – This category includes several portraits, which I have already covered, and five paintings of no value, one of which, however, has a title that sounds very interesting: "Rubbens, van Dyck and Brouwer, disguised as peasants, playing cards in front of an inn" [358].42 What an extraordinary picture that would be with these three portraits! Van Dyck as a peasant, playing cards, in front of the door of an inn! Between Rubens, the prince of painters, and Brouwer, the prince of bohemians! But there is no trace of Brouwer, Van Dyck and Rubens.
To complete the description of the Amsterdam museum, I should actually do the same for the print-...
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(1) From the new cat. we learn that this original Velazquez was purchased at a public auction in Amsterdam in 1828 for 31 guilders. A Velazquez for a franc or sixty is not expensive!
355
Hans Rottenhammer (I)
Mars and Venus, dated 1604
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-343
356
follower of Joos van Cleve
Portrait of a man wearing a large fur collar and a dark beret, c. 1520-1530
The Hague, Koninklijk Kabinet van Schilderijen Mauritshuis, inv./cat.nr. 895
357
Pieter Pourbus
Portrait of a young clergyman, c. 1535-1540
Amsterdam, Rijksmuseum, inv./cat.nr. Sk-A-167
358
attributed to Vincent Malo (II)
Two men at cards outside a country inn, c. 1650
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-590
185 THE PRINT CABINET.
... cabinet as what I have done for the paintings. But since I am concentrating here on painting, suffice it to point out that the collection of engravings and etchings is one of the richest in the world, along with that of Paris and that of London, in the British Museum. Rembrandt's work in the Amsterdam museum is, I think, the finest there is; that makes sense. Those by Albrecht Dürer, Rubens, Van Dyck, etc., are wonderful.
In the Prints Cabinet of Amsterdam, we also find a unique series of about sixty prints by primitive masters, anonymous and undescribed. The curator, Mr. Klinkhamer, has only published a short catalog of these in the Revue universelle des Arts.43
Notes
1 Antony van Dyck, Double Portrait of Willem II, Prince of Orange, and Princess Mary Stuart, later Princess Royal, 1641, Amsterdam, Rijksmuseum, inv. no. SK-A-102; Aanwijzing 1853, p. 10, no. 76, Dyk (Anthony van; 1599-1641), Idem [Portret] van Prinses Maria Henriëtte Stuart en haren broeder de Prins van Wallis, kinderen van Koning Karel I (Idem [Portrait] of Princess Maria Henrietta Stuart and her brother the Prince of Wales, children of King Charles I (tax.: fl. 20,000); Amsterdam 1858, p. 36, no. 78.
2 Jacques Jordaens, Pan Tending his Flock, c. 1630-1635, Amsterdam, Rijksmuseum, inv. no. SK-A-198; Aanwijzing 1853, p. 16, no. 151, Jordaans (Jacobus), Een Landschap met den Veldgod Pan (A Landscape with the Field God Pan (tax.: fl. 3,000); Amsterdam 1858, p. 77, no. 166.
3 Frans Snijders, Still Life with Dead Game, Fruit and Vegetables, c. 1616-1620, Amsterdam, Rijksmuseum, inv. no. SK-A-378; Aanwijzing 1853, p. 26, no. 261, Snyders (François), Een Schaal met vruchten en eenig dood Wild (A Bowl with Fruit of Some Dead Game (tax.: fl. 400); Amsterdam 1858, p. 131, no. 292. Frans Snijders, Larder Still life, c. 1616-1625, Amsterdam, Rijksmuseum, inv. no. SK-A-379; Aanwijzing 1853, p. 26, no. 262, Snyders (François), Een doode Ree, benevens een Zwijnskop en Groenten (A dead Deer, as well as a Swine's head and Vegetables (tax.: fl. 1,500); Amsterdam 1858, p. 131, no. 293.
4 David de Coninck's dates are 1643-1703. He was buried in Brussels, where he likely also died.
5 These two paintings were burned in Berlin in 1943. See: Van Thiel et al. 1976, p. 173, no. A-72: David de Coninck, The Deer Hunt; Aanwijzing 1853, p. 8, no. 53, Coninck (David de), Een Hertenjagt (A Deer hunt) (tax.: fl. 300); Amsterdam 1858, p. 24, no. 53. Van Thiel et al. 1976, p. 173, no. A-73, David de Coninck, The Bear Hunt; Aanwijzing 1853, p. 8, no. 54, Coninck (David de), Een Beerenjagt (A Bear hunt) (tax.: fl. 300); Amsterdam 1858, p. 24, no. 54. There were two more paintings by David de Coninck in the Rijksmuseum collection – also burnt in Berlin in 1943 – which are not mentioned by Thoré-Bürger, nor in Aanwijzing 1853 or Amsterdam 1858: Van Thiel et al. 1976, p. 173, no. A-617, David de Coninck, Hunting dogs and dead game; Van Thiel et al. 1976, p. 173-174, no. A-618, David de Coninck, The Falcon hunt.
6 Most probably is this not a painting by David de Coninck, but by Jan Baptist Weenix: A Dog and a Cat near a partially disemboweled Deer, c. 1653, Amsterdam, Rijksmuseum, inv. no. SK-A-591; Aanwijzing 1853, p. 36, no. 403, [under Unknown Masters], Eene doode Ree (A Dead Deer) (tax.: fl. 100); Amsterdam 1858, p. 192, no. 432, as by an unknown Dutch master.
7 Probably Thoré-Bürger means: Anthony van Dyck, Saint Mary Magdalen, c. 1620, Amsterdam, Rijksmuseum, inv. no. SK-A-103; not in Aanwijzing 1853; Amsterdam 1858, p. 36, no. 79.
8 Schelte Adamsz. Bolswert, Pan as a Shepherd with a Flock of Sheep and Goats, c. 1630-1659, Amsterdam, Rijksmuseum, inv. no. RP-P-BI-2607.
9 After Peter Paul Rubens, Ecce homo, Amsterdam, Rijksmuseum, inv. no. SK-A-272; Aanwijzing 1853, p. 8, no. 57, Crayer (Casper de), Eene Ecce Homo (An Ecce Homo) (tax.: fl. 500); Amsterdam 1858, p. 94, no. 207, as by Pieter Moll. The Rijksmuseum website suggests to date this painting to c. 1800-1857, yet it was already reported as early as 7 December 1800; see Moes/Van Biema 1909, p. 157, Cat. 1809, no. 64.
10 Gaspar de Crayer, The Adoration of the Shepherds, c. 1640-1650, Amsterdam, Rijksmuseum, inv. no. SK-A-74; Aanwijzing 1853, p. 8, no. 55, Crayer (Casper de; 1582-1669), De Aanbidding der Herders (The Adoration of the Shepherds) (tax. fl. 2,000); Amsterdam 1858, p. 25, no. 55.
11 Gaspar de Crayer, The Descent from the Cross, c. 1640-1650, Amsterdam, Rijksmuseum, inv. no. SK-A-75; Aanwijzing 1853, p. 8, no. 56, Crayer (Casper de; 1582-1669;... ), De afneming van het Kruis (The Descent from the Cross) (tax.: fl. 2,000); Amsterdam 1858, p. 25, no. 56.
12 David Ryckaert (III), Interior of a Cobbler's Shop, c. 1650, Amsterdam, Rijksmuseum, inv. no. SK-A-357; Aanwijzing 1853, p. 24, no. 246, Ryckaert van Arp (David; 1615-1677), Een Schoenmaker aan zijn werk zittende (A Shoemaker Sitting at His Work) (tax.: fl. 500); Amsterdam 1858, p. 122, no. 273.
13 The year of death of Jan Peeters (I) is 1678.
14 Anonymous, The Dutch Raid on the Medway, 1667, c. 1670, Amsterdam, Rijksmuseum, inv. no. SK-A-307; Aanwijzing 1853, p. 21, no. 211, Peters (Johannes; 1624-1677), Het verbranden der Engelsche Vloot in de haven van Chattam, 1667 (The Burning of the English Fleet in the Port of Chattam, 1667 (tax.: fl. 500); Amsterdam 1858, p. 106, no. 235, as by Jan Peeters (I).
15 After David Teniers (II), Elderly Man Seated in a Tavern, c. 1645, Amsterdam, Rijksmuseum, inv. no. SK-A-400; Aanwijzing 1853, p. 27, no. 273, Eene Boerenwoning met een man, eene bierkan en eene tabakspijp in de hand houdende (A Peasant House with a Man, holding a beer jug and a tobacco pipe (tax.: fl. 2,000); Amsterdam 1858, p. 157 [sic, 137]-138, no. 304.
16 David Teniers (II), Mason Smoking with Companions in a Tavern, c. 1675, Amsterdam, Rijksmuseum, inv. no. SK-A-399; Aanwijzing 1853, p. 27, no. 274, Teniers (David; 1610-1694), Een gezelschap vrolijke Lieden (A Company of Merry Men) (tax.: fl. 1,500); Amsterdam 1858, p. 139, no. 306.
17 David Teniers (II), The Temptation of St Anthony, c. 1645, Amsterdam, Rijksmuseum, inv. no. SK-A 401; Aanwijzing 1853, p. 27, no. 275, De verzoekingen van den Heiligen Antonius (The Temptations of Saint Anthony) (tax.: fl. 2,000); Amsterdam 1858, p. 139, no. 307.
18 Smith 1829-1842, vol. 3 (1831), p. 299, no. 143.
19 Antwerp 1857, p. 285. Of course, this painting could be a copy by Van Mol after Rubens. For the print by Cornelis Galle (I) see Ecce Homo, c. 1630, London, British Museum, inv. no. 1891,0414.1295.
20 Frans Francken (II), The Holy Kinship, 1616, Amsterdam, Rijksmuseum, inv. no. SK-A-111; not in Aanwijzing 1853; Amsterdam 1858, p. 42, no. 87.
21 Frans Francken (II), Allegory of the Abdication of Emperor Charles V, c. 1635-1640, Amsterdam, Rijksmuseum, inv. no. SK-A-112; not in Aanwijzing 1853; Amsterdam 1858, p. 43-44, no. 88, as by Hieronymus Francken (I).
22 These donations were not so recent but already arrived in 1808. According to Amsterdam 1858, p. 42, only Francken’s 1616 Holy Kinship came from this baron.
23 David Teniers (II), with additions by an anonymous artist, Guardroom, c. 1670 (the additions c. 1740), Amsterdam, Rijksmuseum, inv. no. SK-A-398; Aanwijzing 1853, p. 27, no. 276, Teniers (David; 1610-1694), Eene Wachtkamer met verscheidene krijgslieden (A Guardroom with several soldiers) (tax.: fl. 3,000); Amsterdam 1858, p. 138, no. 305.
24 Anonymous, Marriage of Mary and Joseph, c. 1525-1549, Amsterdam, Rijksmuseum, inv. no. SK-A-109; Aanwijzing 1853, p. 33, no. 347, Cyrus Ferrus, De Trouw van de H. Maagd en Jozef (The Marriage the Virgin and Joseph) (tax.: fl. 100); Amsterdam 1858, p. 39-40, no. 84, as by Ciro Ferri. It looks like in Aanwijzing 1853 and Amsterdam 1858 the name of the wrong Italian artist was attached to this painting, see: Bergvelt 1998, p. 394 (*1801-24), (*1801-26).
25 Benvenuto Tisi da Garofalo, Adoration of the Magi, c. 1530-1540, Amsterdam, Rijksmuseum, inv. no. SK-A-114; Aanwijzing 1853, p. 33, no. 348, Giarofolo, De Aanbidding der Wijzen uit het Oosten (The Adoration of the Magi from the East) (tax.: fl. 10,000); Amsterdam 1858, p. 44-45, no. 90.
26 Attributed to Matthias Stom, St John the Baptist, c. 1630-1632, Amsterdam, Rijksmuseum, inv. no. SK-A-216; Aanwijzing 1853, p. 33, no. 350, Jean Lanfranck, Joannes de Dooper (John the Baptist) (tax.: fl. 300); Amsterdam 1858, p. 82, no. 178, as by Giovanni Lanfranco.
27 After Guido Reni, Mary Magdalene, 1627-1720, Amsterdam, Rijksmuseum, inv. no. SK-A-331; Aanwijzing 1853, p. 33, no. 349, Door of als (By or as) Guido Reni (1574-1643), Maria Magdalena en twee Engelen (Mary Magdalene and two Angels) (tax.: fl. 8,000 ? [not clearly legible]); Amsterdam 1858, p. 115, no. 254.
28 Workshop of Quinten Massijs (I), The Virgin and Child, c. 1525-1530, Amsterdam, Rijksmuseum, inv. no. SK-A-247; Aanwijzing 1853, p. 33, no. 351, Door of als (By or as) Mazzuoli, ook genaamd (also called) Parmegiano, Eene Madonna met het Kind Jezus (A Madonna and Child Jesus) (tax.: fl. 15,000); Amsterdam 1858, p. 106, no. 234, as by Parmigianino (Francesco Mazzuoli). In his note opp. p. 1 (2/3), Thoré-Bürger writes about this painting: 'it is not Italian; it is painted by a Fleming'; the Rijksmuseum would only write the same in 1880.
29 After Cristoforo Allori, Judith with the Head of Holofernes, Amsterdam, Rijksmuseum, inv. no. SK-A-1; Aanwijzing 1853, p. 33, no. 345, Als (As) Allori (1577-1621), Judith, houdende het hoofd van Holophernus (Judith, holding the head of Holophernus) (tax.: fl. 2,000); Amsterdam 1858, p. 1, no. 1.
30 Attributed to Johann Carl Loth, Selene and Endymion, 1660 - 1680, Amsterdam, Rijksmuseum, inv. no. SK-A-71; Aanwijzing 1853, p. 33, no. 346, Michael Angelo Amerigi da Caravaggio, Diana en (and) Endymion (tax.: fl. 10,000); Amsterdam 1858, p. 23-24, no. 52, as by Caravaggio.
31 Hendrick van Someren, The Smoker, Allegory of Transience, c. 1615-1625, Amsterdam, Rijksmuseum, inv. no. SK-A-332; Aanwijzing 1853, p. 34, no. 355, Ribera, genaamd (called) Spagnoletti (1589-1656), Eene Vanitas (A Vanitas) (tax.: fl. 10,000); Amsterdam 1858, p. 115, no. 255, as by Jusepe de Ribera.
32 Bartolomé Esteban Murillo, Annunciation to the Virgin, c. 1660-1680, Amsterdam, Rijksmuseum, inv. no. SK-A-282; Aanwijzing 1853, p. 34, no. 354, Morillos (1618-1682), De boodschap van den Engel aan Maria (The Angel's Message to Mary (tax.: fl. 15,000); Amsterdam 1858, p. 97, no. 215.
33 Probably Thoré-Bürger means: Smith 1829-1842, vol. 2 (1830), p. 114, no. 385.
34 Anonymous, Portrait of a Boy about three years old, possibly Prince Balthasar Carlos, Son of the Spanish King Philip IV, 1632-1650, Amsterdam, Rijksmuseum, inv. no. SK-A-433; Aanwijzing 1853, p. 34, no. 356, Naar (After) Diego Velasques, Portret van Karel Balthazar, zoon van Philippus de Vierde, Koning van Spanje (Portrait of Charles Balthasar, son of Philip the Fourth, King of Spain) (tax.: fl. 1,200); Amsterdam 1858, p. 146, no. 327, as by Velazquez.
35 Nicolas Bertin, Susanna and the Elders, 1690-1710, Amsterdam, Rijksmuseum, inv. no. SK-A-41; Aanwijzing 1853, p. 33, no. 352, Eene Bijbelsche Voorstelling van Suzanna in het bad (A Biblical scene of Susanna in the bath) (tax.: fl. 200); Amsterdam 1858, p. 15, no. 31. Nicolas Bertin, Joseph and Potiphar's Wife, 1690-1710, Amsterdam, Rijksmuseum, inv. no. SK-A-40; Aanwijzing 1853, p. 33, no. 353, Eene dito [Bijbelsche Voorstelling] van de Vrouw van Potifar (A ditto [Biblical scene] of Potiphar's Wife) (tax.: fl. 200); Amsterdam 1858, p. 14-15, no. 30.
36 Hans Rottenhammer (I), Virgin and Child with young John the Baptist and Saint Catherine, 1604, Amsterdam, Rijksmuseum, inv. no. SK-A-342; Aanwijzing 1853, p. 34, no. 361, Hans Rottenhammer (1564-1604), Maria met het kind Jezus (Mary with the Child Jesus) (tax.: fl. 800); Amsterdam 1858, p. 118, no. 264.
37 Hans Rottenhammer (I), Venus and Mars, 1604, Amsterdam, Rijksmuseum, inv. no. SK-A-343; Aanwijzing 1853, p. 34, no. 362, Hans Rottenhammer (1564-1604), Mars en Venus en verdere figuren (Mars and Venus and further figures) (tax.: fl. 800); Amsterdam 1858, p. 118, no. 265.
38 Workshop of Joos van Cleve, Portrait of a Man, c. 1520-1530, Amsterdam, Rijksmuseum, inv. no. SK-A-165; Aanwijzing 1853, p. 34, no. 360, Hans Holbein (...), Idem [Portret] van Keizer Maximiliaan van Oostenrijk (Idem [Portrait] of Emperor Maximilian of Austria) (tax.: fl. 1,000); Amsterdam 1858, p. 65, no. 133, as by Hans Holbein.
39 After Quinten Massijs, Portrait of Desiderius Erasmus, after c. 1535, Amsterdam, Rijksmuseum, inv. no. SK-A-166; Aanwijzing 1853, p. 34, no. 359, Hans Holbein, Idem [Portret] van Desiderius Erasmus (Idem [Portrait] of Desiderius Erasmus (tax.: fl. 800); Amsterdam 1858, p. 65, no. 134, as by Hans Holbein.
40 Pieter Pourbus, Portrait of a Young Minister, Amsterdam, Rijksmuseum, inv. no. SK-A-167; Aanwijzing 1853, p. 34, no. 358, Idem [Portret] van Robert Sidney (Ditto [Portrait] of Robert Sidney (tax.: fl. 800); Amsterdam 1858, p. 66, no. 135, as by Hans Holbein.
41 Manner of Jan Cornelisz. Vermeyen, Portrait of Charles V, Holy Roman Emperor, c. 1530, Amsterdam, Rijksmuseum, inv. no. SK-A-164; Aanwijzing 1853, p. 34, no. 357, Hans Holbein, Portret van Keizer Karel de Vijfde (Portrait of Emperor Charles the Fifth) (tax.: fl. 500); Amsterdam 1858, p. 65, no. 132, as hy Hans Holbein.
42 Attributed to Vincent Malo (II), Two Men at Cards Outside a Country Inn, c. 1650, Amsterdam, Rijksmuseum, inv. no. SK-A-590; Aanwijzing 1853, p. 35, no. 363 [under 'Unknown masters'], Rubbens, van Dijck en Brouwer, verkleed als boeren, voor eenne herberg kaartspelende (Rubbens, van Dijck and Brouwer, dressed as peasants, playing cards in front of an inn) (tax.: fl. 500); Amsterdam 1858, p. 191-192, no. 431, as by an unknown Dutch master.
43 Klinkhamer 1857. This publication involves descriptions of 73 anonymous German prints from the fifteenth century in the Rijksprentenkabinet, supplementing Bartsch's tenth volume on 'vieux maîtres allemands', (Bartsch 1803-1821). Hendrik Abraham Klinkhamer was second inspector of the Rijksmuseum in Amsterdam from 1836 to 1850 and first inspector from 1850 to 1872. He also copied details from these old prints, such as after Martin Schongauer, see: Hendrik Abraham Klinkhamer, Study sheet with various martial figures, Amsterdam, Rijksmuseum, inv. no. RP-P-1940-7.