p. 46-50 Govert Flinck, School of Rembrandt
46 MUSEUM OF AMSTERDAM.
... other masters who depicted civic scenes from the history of their times. The canvas is about the same size as Van der Helst's Schuttersmaaltijd [44] and the figures, also full-length and life-size, are almost as numerous.1
The scene this time takes place in the open air, at the entrance to the doele, whose sidewalk and gate are in the background on the left.2 On this side stands a group of nine men, seven of them with muskets or pikes, and the two main characters in front. One of them, the captain, I assume, Jan Huidekoper, Lord of Maarsseveen, dressed all in black with a blue sash, stands facing forward, his head to the right, one hand resting on a long walking stick, his white-feathered hat in the other hand.3 To his right stands the standard-bearer, Nicholas van Waveren, also in a black costume, richly embroidered with gold around the neck and on the sleeves;4 white sash; cauldron boots and spurs. In his left hand he holds his hat with white and red feathers, and in his right hand the white silk standard.5 Each company had its own colors.
On the other side, eleven figures, also all standing.6 The most prominent of them wears a breastplate and sword, a black and gold suit,7 a blue sash and white stockings.8 He has a halberd in his right hand and a hat with white feathers in his left. This is undoubtedly Lieutenant Frans van Waveren,9 who, like the standard-bearer Nicolaas ...
44
Bartholomeus van der Helst
Banquet of the Amsterdam Civic Saint George Guard in Celebration of the Peace of Munster, June 18th 1648, 1648 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-C-2
47 GOVERT FLINCK.
... van Waveren, must be related to Johan van Waveren, lieutenant in the company of Captain Jan Wits, depicted in van der Helst's Banquet.10
Slightly to the right a tall man in black, seen in profile.11 Between him and the lieutenant are four men, one of whom is wearing a helmet.12 Behind him in the lower right corner against the frame is a stout figure dressed in gray,13 and, nearby, three other arquebusiers, two of whom are wearing helmets.
In the center of the canvas, in an opening between the two main groups, a man bends down to fasten the top of his large, soft boots.14
There are twenty figures in all, although the inscription on a piece of paper at the bottom of the painting lists only sixteen names, the last of which is Govert Flinck, Pictor, 't vreede jaar (the year of peace).15 Govert Flinck belonged to this company, and one of the figures, the tall man in black, seen in profile, I presume is his own portrait.16 Moreover, there is a portrait of Flinck in the Munich museum, attributed to Rembrandt [45].17
In addition to Flinck's name in the list of arquebusiers, the painter's signature can be seen in the lower left corner: Flinck. f. 1648.18
The background is the sky, except for the entrance to the doele on the left and the bonfires blazing in large barrels on the right.
On a piece of paper inserted between the frame ...
45
Ferdinand Bol
Portrait of a man, c. 1646-1649
Munich, Alte Pinakothek, inv./cat.nr. 609
46
Govert Flinck
Isaac blessing Jacob (Genesis 27:21-29), dated 1638
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-110
47
attributed to Ferdinand Bol
Isaac and Esau, c. 1636
Private collection
48
Gerbrand van den Eeckhout
Isaac lying in bed blesses Jacob who, disguised in Esau's clothes, brings food to his father; Jacob's hands and neck are covered with goatskins (Genesis 27:27-32), 1642 (dated)
New York City, The Metropolitan Museum of Art, inv./cat.nr. 25.110.16
48 MUSEUM OF AMSTERDAM.
... and the canvas seems to have slipped are six verses by Jan Vos (1), in honor of Captain Van Maarsseveen and of the perpetual peace to which Holland and the other Protestant states finally owed their freedom of conscience.
This painting used to hang in the large Krijgsraadkamer (Room of the Council of War) in the old City Hall. It is owned by the city of Amsterdam, which owns four other Flincks, two magnificent ones in the current City Hall and two in the painter's last Italianate style in the Palace on Dam Square.19 It has never been engraved.20
In the museum another Flinck in his Rembrandt style can be seen, which must even date from the time he studied with Rembrandt, between 1635 and 1640.21 For this composition: Isaac blessing Jacob (no. 84 [46]),22 was also painted, almost identically, by other pupils of the master, by Ferdinand Bol [47] and Van den Eeckhout [48]; and Scheltema (2) assumes it was for some competition.23
Flinck's painting is about 4 to 5 feet wide ...
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(1) Here is a translation of these verses by Jan Vos: "Van Maarsseveen is the first to appear in perpetual peace, just as his father was the first to fly into battle for the fatherland. Genius and bravery, which make free states strong, renounce old hatreds, but without laying down their war clothes. Thus, after the murders and the ravages, one continues to watch over the Y (the Dutch call l'Y – "the Y" – the estuary north of Amsterdam). The wise man may let the sword rest, but not rust".24
(2) See Mr. Scheltema's article on Flinck in the Revue Universelle des Arts, vol. VI, p. 501.25
Interleaved page
Govert Flinck, of Cleves, became poorter of Amsterdam the 24 Janu. 1652.26
The Isaac was also painted by Victors, no. 168 in the Louvre.27
Van der Hoop 39 G.V. Eeckhout. F.28
Stolberg 90: David and Bethsheba: G.B. d. Eckhout 1646.29
91: Eckhout family: Eckhout 1667.30
Id. 97: Elijah woken by an angel: G. Flink 1640.31
Id. Superb Gelder: a painter making a portrait of a woman
Signed A. de Gelder f.1685 (Francfort museum)32
+ It is, in fact, from 1638, with this date and the sign. (new edition of the catalogue)33
- The portrait of Stellingwerf is signed L van der Helst f 167034
GVD Eeckhout Ao 164735
signature of his portrait Cabinet Simon,
Rev. univ. des arts, December 59.36
49 SCHOOL OF REMBRANDT.
... and 3 to 4 feet high. The figures are life-size, in xviith-century costume. Isaac lies and is seen in profile. Large white beard. Red coat.37 Jacob is kneeling on the other side of the bed in a blue doublet with yellow stripes. His hands are shod. Next to Isaac's head is Rebecca's head. A powerful painting, with a broad brush stroke and strong colors. It was purchased by the government at the auction of the Van der Pot collection, in Rotterdam, on June 6, 1808, – 1380 guilders.38 J. de Frey made an etched reproduction print [49].
THE SCHOOL OF REMBRANDT. – Rembrandt's pupils are quite numerous in the Amsterdam museum, but with the exception of Flinck's paintings, described above, and Gerard Dov's paintings, the other products of this school are not of the greatest importance; the artistic value of this school cannot be properly assessed here.
There is only one painting by Van den Eeckhout, an excellent one indeed, with a stunning tone worthy of Rembrandt: The Woman Accused of Adultery (no. 78).39 The full-length figures are small, about thirty centimeters. On the right is a man seen from behind, very original (1) [50].
From Ferdinand Bol only three portraits and a kind of Madonna, in the booklet (no. 33) titled:...
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(1) The new cat. shows that this painting was purchased from C. Josi, in London, for 3,000 guilders, and that it had been sold in 1806 at the auction of D. Mansveld, for 1,430 guilders.
49
Johannes Pieter de Frey after Govert Flinck
saac sitting in bed blesses Jacob who, disguised in Esau's clothes, brings food to his fathe (Genesis 27:27-29), 1798 (dated)
Vienna, Graphische Sammlung Albertina
50
Gerbrand van den Eeckhout
Christ and the woman in adultery (John 8:4), 1660-1665
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-106
50 MUSEUM OF AMSTERDAM.
... A Mother with Two Children. The woman, in half figure, holds a child standing on a drapery; the composition is framed by a painted window. Plain round drawing; no expression or character. Signed F Bol. fecit, – the f and b in ligature [51].40
The portraits are more interesting, as one is of himself [52], the other is of Admiral Michiel Adriaansz de Ruijter [53] and the third (no. 32), titled Portrait of an Unknown, could very well be a self-portrait.41
In his real self-portrait, Ferdinand Bol has long hair, a splendid robe with gold motifs and a red coat.42 His left arm rests on a statue of Cupid. Bol undoubtedly had social pretensions. The life-size figure is cut off at the knees.
In the portrait of an Unknown, the figure, who also has long hair, is dressed in yellow, Bol's favorite color, under a purple cloak [54]. The construction of the head is very similar to that of the previous portrait, but the facial features are more pronounced, especially the mouth, with more energetic accents, indicating a difficult and stubborn character. If it is not Ferdinand Bol, it must be a sculptor or an architect, because there is a statue in the background on the left and a column with a Corinthian capital in front of a building on the right. Signed: Bol 1663 (1).
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(1) The new cat. mentions that the figure in this portrait is "the ...
51
Ferdinand Bol
Portrait of Johanna de Geer (1629-1691) with her children Cecilia Trip (1660-1728) and Laurens Trip (1662-?), represented as Caritas, c. 1664
Amsterdam, Koninklijke Nederlandse Akademie van Wetenschappen
52
Ferdinand Bol
Self-Portrait of Ferdinand Bol (1616-1680), c. 1665-1670
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-42
53
Ferdinand Bol and possibly Willem van de Velde (II)
Portrait of Michiel Adriaensz. de Ruyter (1607-1676), 1667 (dated)
Amsterdam, Het Scheepvaartmuseum, inv./cat.nr. RB.0001
54
Ferdinand Bol
Portrait of an unknown man, dated 1663
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-43
Notes
1 That these paintings are about the same size is because they were originally intended for the opposite walls of the old hall in the Voetboogdoelen. See, among others, Schaep 1653 and its transcription in Van der Molen 2013, p. 119; with many thanks to Tom van der Molen, comment of 20 June 2024.
2 Indeed, the doelen seem to be depicted here on the left (with the kastelein behind bars). According to Tom van der Molen, this is not literally a depiction of the Voetboogdoelen, 'but given the kastelein in the window, it could well be that Flinck intended it that way - symbolically?' with many thanks to Tom van der Molen, comment of 20 June 2024.
3 Middelkoop 2019, p. 817, S. 88, no. 1, Captain Joan Huydecoper (1599-1661).
4 Comment Bianca du Mortier: not richly embroidered but richly decorated with gold passements around the neck and on the sleeves.
5 Middelkoop 2019, p. 818, S. 88, no. 3, ensign Nicolaes Oetgens van Waveren (1622-1684).
6 Thoré-Bürger also considers the seated figure in the lower right corner to be the innkeeper of the Oudezijds Herenlogement. According to Middelkoop, it is Albert Harmansz. ten Brincke (1614/15-1659), innkeeper in the Oudezijds Herenlogement, Middelkoop 2019, p. 818, S 88, no. 14. But according to Van der Molen, this is Albert Jansz Vinckenbrinck (1605-1664), the well-known sculptor, Van der Molen 2025, p. 421.
7 Comment Bianca du Mortier: not really a suit ('pack'), but an innocent (short doublet) on a rhingrave, pants, decorated at the waist with an 'apron' of ribbons.
8 Comment Bianca du Mortier: they are not white stockings, but black stockings with the white canons over them.
9 Middelkoop 2019, p. 817, S. 88, no. 2, Lieutenant Frans Oetgens van Waveren (1619-1659).
10 Middelkoop 2019, p. 819, S. 89, no 2, Lieutenant Johan Oetgens van Waveren (1613-1670).
11 Middelkoop 2019, p. 818, S. 88, no. 5, Sergeant Jacob van Campen (1598-1668); he was the nephew of the famous architect of the same name (1596-1657).
12 Middelkoop 2019, p. 818, S. 88, no. 15, the man with the helmet is Johan van den Haag. But according to Tom van der Molen, this is Nicolaes van Haag or Nicolaas Verhagen (?- after 1659), see Van der Molen 2025, p. 421.
13 Middelkoop 2019, p. 818, S. 88, no. 14, Albert Harmansz. ten Brincke (1614/15-1659), innkeeper at the Oudezijds Herenlogement. According to Tom van der Molen, however, this is Albert Jansz Vinckenbrinck (1605-1664), the well-known sculptor, who, like Huydecoper, lived on the Singel, Van der Molen 2025, p. 421.
14 Middelkoop 2019, p. 818, S. 88, no. 10, Pieter Meffert (?-1662).
15 According to the website of the Amsterdam Museum, on the nameplate accompanying this painting, what comes after 'Pictor' is no longer legible (accessed 7 August 2024).
16 According to Middelkoop 2019, p. 818, S. 88, no. 5, the standing figure is Jacob van Campen, cousin of the architect; Govert Flinck can be found as no. a, the figure standing diagonally right above Captain Joan Huydecoper.
17 No doubt Thoré-Bürger is referring to: Ferdinand Bol, Portrait of a man, c. 1645-1646, Munich, Bayerische Staatsgemäldesammlungen – Alte Pinakothek, inv. no. 609; Von Dillis 1845, p. 85, no. 329, as Rembrandt, Portrait of Govert Flinck. According to Dekiert 2006, p. 41, the painting passed as a Rembrandt until 1884. After removal of the false Rembrandt signature, the painting was attributed to Ferdinand Bol.
18 According to Middelkoop 2019, p. 817-818, S. 88, there are no dots visible after 'Flinck' and after 'f' and it reads: 'Flinck f 1648'. See also Van der Molen 2025, p. 415 (note 181).
19 By 2025 still in the Royal Palace in Amsterdam: Govert Flinck, Marcus Curius Dentatus refuses the gifts of the Samnites, 1656; Solomon prays for wisdom, 1658. By 2025 in the Rijksmuseum, on loan from the city of Amsterdam: Govert Flinck, Portrait of the Governors of the Kloveniersdoelen, 1642, inv. no. SK-C-370; Officers and Other Civic Guardsmen of District XVIII in Amsterdam, under the Command of Captain Albert Dircksz Bas and Lieutenant Lucas Pietersz Conijn, 1645.
20 According to Tom van der Molen, this painting was indeed never put into print (comment 20 June 2024), with many thanks.
21 Here Thoré-Bürger added a cross in the margin, referring to his remark on the next, interleaved page, where he writes: ‘It is, in fact, from 1638, with this date and the sign. (new edition of the catalogue)’.
22 Govert Flinck, Isaac Blessing Jacob, c. 1638, Amsterdam, Rijksmuseum, inv. no. SK-A-110; Aanwijzing 1853, p. 10, no. 84, Flink (Govert; 1615-1667), Izaäk zegent Jacob (Isaac Blessing Jacob) (tax.: fl. 2,000); Amsterdam 1858, p. 40, no. 85. Thoré-Bürger added a painting by Jan Victors with this subject in his notes opp. p. 48.
23 Scheltema 1855-1885, vol. 2 (1856), p. 135. In contrast, Foucart says it is more likely that Rembrandt gave the same subjects to his students to paint, see: Foucart in Blankert 1980, p. 163. See also the painting by Gerrit Willemsz. Horst, Isaac Blessing Jacob, 1638, Dulwich, Dulwich Picture Gallery, inv. no. DPG214.
24 The 'Y' has been crossed out and replaced in the margin by 'IJ'. Nothing of the text can be read now, it was written in Dutch: 'hier trekt van Maarsseveen / de eerst' in d'eeuwge vreede / Zo trok zyn vaader d'eerst' / in ’t oorlog voor de Staat / Vernuft en Dapperheidt, / de kracht der vrije stede', / Verwerpen d'oude wrok, / in plaats van 't krijgsgewaadt./ Zoo waakt men aan het Y / na moorden en verwoesten. / De wijzen laaten ’t zwaardt / wel rusten, maar niet roesten’.
26 See: Scheltema 1853, p. 69, fol. 253 in the 'boek der gekochte poorters' (book of bought citizens, that is, they paid to become an official inhabitant of the city).
27 Jan Victors, Isaac Blessing Jacob, c. 1650, Paris, Musée du Louvre, inv. no. 1285; Villot 1852, p. 87, no. 168. For Victors, see p. 51.
28 This is a facsimile of the signature, written in pencil on a piece of paper that is pasted in. It refers to: Gerbrand van den Eeckhout, Resting Hunter with Dogs, c. 1651, Amsterdam, Amsterdam Museum, inv. no. SA7493; Van der Hoop 1855, no. 39. For Van den Eeckhout, see below, p. 49.
29 With ‘Stolberg’ Thoré-Bürger refers to the sale of the collection of Andreas Graf zu Stolberg-Stolberg: Hannover (Charles Rumpler), 31 October-November 1859 (Lugt 25060), where Thoré-Bürger had been present. The RKD Library holds a copy of the catalogue with annotations by Thoré-Bürger, in which he has added some comments on the sale and its contents. The painting he refers to, is: Gerbrand van den Eeckhout, Bathsheba Pleads with David for Solomon’s Succession, 1646, Prague, Národní Galerie v Praze, inv. no. O 11684.
30 Gerbrand van den Eeckhout, Portrait of an Unknown Family, 1667, Budapest, Szépmüvészeti múzeum, inv. no. 4265.
31 Govert Flinck, The Prophet Elijah Awakened by the Angel on Mount Horeb, 1645, formerly Kyiv, Bogdan and Varvara Khanenko Museum (stolen during World War 2).
32 Arent de Gelder, Self-Portrait as Zeuxis Painting a Woman with an Orange, 1685, Frankfurt am Main, Städel Museum, inv. no. 1015.
33 This remark refers to the ‘+’in the margin of p. 48, and the painting: Govert Flinck, Isaac Blessing Jacob, c. 1638, Amsterdam, Rijksmuseum, inv. no. SK-A-110. In the second Dutch edition of Dubourcq’s catalogue of the Rijksmuseum, indeed a facsimile of the signature and date has been included: Amsterdam 1859, p. 40, no. 85. This signature and date have since disappeared.
34 Lodewijk van der Helst, Posthumous Portrait of Aucke Stellingwerff, Admiral of Friesland, 1670, Amsterdam, Rijksmuseum, inv. no. SK-A-148. The facsimile of the signature was included in the second Dutch edition of Dubourcq’s catalogue of the Rijksmuseum: Amsterdam 1859, p. 60, no. 121. For this painting, see also p. 45.
35 This is a facsimile of the signature, written in pencil on a piece of paper that is pasted in. It refers to Gerbrandt van den Eeckhout, Portrait of a Man, Presumably a Self-portrait, 1647, Paris, Fondation Custodia – Collection Frits Lugt, inv. no. 854a.
36 See Faucheux 1859, p. 175.
37 Comment Bianca du Mortier: this is a 'Polish coat' with brandebourgs or tresses.
38 Between the '1' and the '3' of 1380 there is a comma added in the margin, so '1,380'.
39 Gerbrand van den Eeckhout, Christ and the Woman in Adultery, Amsterdam, Rijksmuseum, inv. no. SK-A-106; Aanwijzing 1853, p. 10, no. 78, Eeckhout (Gerbrandt van den; 1621-1674), De Vrouw van overspel beschuldigd (The Woman accused of adultery) (tax.: fl. 1,500); Amsterdam 1858, p. 37, no. 81. For more paintings by Gerbrand van den Eeckhout see Thoré-Bürger's annotations opp. p. 48
40 Ferdinand Bol, Caritas: Joanna de Geer with her Children Cecilia Trip and Laurens Trip, c. 1662-1669, Amsterdam, Rijksmuseum, inv. no., SK-A-45; Aanwijzing 1853, p. 6, no. 33, Bol (Ferdinand; 1611-1681), Eene Moeder met twee Kinderen (A Mother with two Children) (tax.: fl. 2,000); Amsterdam 1858, p. 17, no. 35..
41 Ferdinand Bol, Self-Portrait, c. 1669, Amsterdam, Rijksmuseum, inv. no., SK-A-42; Aanwijzing 1853, p. 6, no. 30, Bol (Ferdinand; 1611-1681), Portret van hemzelven (Portrait of himself) (tax.: fl. 1,000); Amsterdam 1858, p. 15, no. 32. Ferdinand Bol, Michiel de Ruyter as Lieutenant-Admiral, 1667, Amsterdam, Rijksmuseum, inv. no. SK-A-44; Aanwijzing 1853, p. 6, no. 31, Bol (Ferdinand; 1611-1681), Idem [Portret] van den Admiraal Michiel Adriaansz. de Ruiter (Portrait of the Admiral Michiel Adriaansz. de Ruiter) (tax.: fl. 3,000); Amsterdam 1858, p. 16, no. 34. Ferdinand Bol, Portrait of a Man, 1663, Amsterdam, Rijksmuseum, inv. no. SK-A-43; Aanwijzing 1853, p. 6, no. 32, Bol (Ferdinand; 1611-1681), Idem [Portret] van een Onbekende (Portrait of an Unknown (tax.: fl. 800); Amsterdam 1858, p. 16, no. 33, as Portrait of the Sculptor Arthur Quellinus.
42 Comment of Bianca du Mortier: ‘the beautiful gown with gold motifs could be a shamberlouk or house coat or even a draped piece of fabric made of gold brocade. The red coat draped over his shoulder could also be a piece of fabric’.