p. 56-60 Miereveld, Van Ravestein, Frans Hals, Van der Venne, Gerard Honthorst, etc.
56 MUSEUM OF AMSTERDAM.
By Miereveld, one of the most prolific portraitists who ever existed, eight portraits, life-size, all representing illustrious individuals, and almost all of excellent quality.
First there is William the Silent, bust, with a Greek inscription [70].1 There is only one problem, and that is that Miereveld, born in 1568, can hardly have painted the famous Prince of Orange, murdered in 1584, to life. In Huis ten Bosch in The Hague, there is also a magnificent portrait of the Silent in the portrait room, which is still attributed to Miereveld.2 How can we believe that a fifteen-year-old child painted the hero of Holland (1)!3
These are the two sons of William 1st: Prince Maurice, full-length [71],4 and Prince Frederick Henry [72];5 then Prince Philip William [73].6 This is the famous Jan van ...
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... of the xvith century, there is nothing. Only two names appear in the catalog: Lucas van Leijden, to whom is erroneously attributed an alleged portrait of Philip of Burgundy,7 and Van Schoorl, who is also not responsible for a Mary Magdalene in Meditation,8 and a symbolic Representation of the daughter of Zion.9*
(1) It is in fact a copy, by Miereveld, after Cornelijs de Visscher – Engraved by C.E. Taurel and by J.P. Lange. – (New cat.)10
* The new cat. removed Van Schoorl's Magdalene, but kept the daughter of Zion. It also had Lucas van Leijden retain the portrait of Philip of Burgundy, from the former royal collections.11 That is one reason. But that does not make the painting authentic.
70
studio of Michiel van Mierevelt
Portrait of Willem I 'de Zwijger' van Oranje- Nassau (1533-1584), after 1620
Apeldoorn, Paleis Het Loo Nationaal Museum
71
Michiel van Mierevelt
Portrait of Maurits van Oranje-Nassau (1567-1625), 1613 of later
The Hague, Delft, Oranje-Nassau Museum
72
studio of Michiel van Mierevelt
Portrait of Frederik Hendrik van Oranje-Nassau (1584-1647), c. 1632
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-254
73
Michiel van Mierevelt
Portrait of Philips Willem van Oranje-Nassau (1554-1618), 1608 of later
The Hague, Delft, Oranje-Nassau Museum
57 MIEREVELD, VAN RAVESTEIN, ETC.
... Oldenbarneveldt [74],12 whom Prince Maurice had beheaded in 1619; then the Grand Pensionary Jacob Cats [75],13 poet and writer, whose portraits Rembrandt later painted;14 then Cornelia Tedingh van Berkhout, wife of Admiral Tromp;15 and then Smeltzing, who fought under Prince Maurice.16
The finest of these eight portraits is that of Cats, bust, dressed entirely in black, with a turned-down collar and brown fur. Signed and dated 1634. – That of Prince Maurice is the most important. It is also, like that of Prince Philip William, signed in large capitals.17
From Moreelse, a pupil of Miereveld, a good portrait of Maria van Utrecht [76]18 wife of Jan van Oldenbarneveldt, and a Shepherdess, with flowers and veils on her head, a shepherd's staff in her hand, yellow draperies [77]19 Life-size bust. Cold execution, but quite well done. Moreelse often signs with a monogram with the P formed on the first leg of the M (1).
From Jan van Ravestein, two portraits: J.P. Snoek, a truly masterful painting,20 and his wife Margaretha Bal, with the family arms.21 But at The Hague City Hall, one can only see and judge Van Ravestein properly: ...
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(1) The portrait of Maria of Utrecht is signed as follows: PMo f. A° 1615. Æta 6322 – The Shepherdess cost 2,150 guilders at the Ocke auction, Leiden, 1817. She was lithographed by Daiwaille (new cat.).23
74
studio of Michiel van Mierevelt
Portrait of Johan van Oldenbarnevelt (1547-1619), 1614-1615
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-257
75
Michiel van Mierevelt
Portrait of Jacob Cats (1577-1660), 1634 (dated)
Utrecht, Museum Catharijneconvent, inv./cat.nr. RMCC s79
76
Paulus Moreelse
Portrait of Maria van Utrecht (c. 1552/53-1629), 1615 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-275
77
Paulus Moreelse
The beautiful shepherdess, dated 1630
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-276
58 MUSEUM OF AMSTERDAM.
... the huge paintings on which he assembled the city's mayors and aldermen, companies of the civic guard, and groups of officers; because in Holland it was tradition to depict this kind of large civic scene, before the masterpieces of Rembrandt and Van der Helst.
Rubens held Jan van Ravestein in high esteem and had a portrait of him in his collection.24
Nor can we properly assess Frans Hals, this kind of Dutch Tintoretto, in the Amsterdam museum. For that we have to be in the Haarlem City Hall and several other buildings there, where his most important compositions hang. The Amsterdam City Hall also possesses a large and beautiful militia piece by Frans Hals [78], which could be a counterpart to those by Van der Helst and Flinck.
In the museum there are only two paintings by him, but one of them is very special; for it is the portrait of the master himself together with that of his wife, both life-size and full-length [79].25
They are seated under tall trees; he, on the left, with his head seen from the front, slightly thrown back and smiling, framed by a black hat with a large brim; he wears a mustache and a goatee: his silk costume is all black, and his right hand, in a white glove, he casually tucks into his doublet against his chest. Beside him his wife in a black skirt, a beautiful bodice, and a large collar. She places her right hand on her husband's shoulder, with a playful ...
78
Frans Hals (I) and Pieter Codde
Militia company of district XI under the command of captain Reynier Reael (1588-1648) and lieutenant Cornelis Michielsz Blaeuw, 16331637
Amsterdam, Rijksmuseum, inv./cat.nr. SK-C-374
79
Frans Hals (I) and Pieter de Molijn
Portrait of Isaac Abrahamsz. Massa (1586-1643) and Beatrix van der Laen (1592-1639), c. 1627
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-133
59 MIEREVELD, VAN RAVESTEIN, ETC.
... gesture of affection. Her face is very lively and cheerful: a charming woman for this devilish man about whom so much profanity is said; yet he seems a true gentleman, very distinguished and very well-groomed, very witty, and very proud. Since he appears to be about thirty years old and was born in 1584, the painting must be from around 1615. The background is a beautiful landscape with, on the right, a view of a park where a few pairs of small figures are walking, not far from a small castle.
The large trees, the ground in the foreground, the details of the background, everything is made with the most frank skill, in a greenish range of colors, olive green. Everywhere we feel the master playfully covering a large canvas, and in the heads we see the expressive finesse of a consummate portraitist.
It is this portrait of Hals that, in my opinion, is reminiscent of the figure of the man with the large hat in the Louvre painting attributed to Craesbeek (no. 97) [80], and that would help prove that the painting was misattributed and inaccurately described (1). For the Direction of the Louvre, for whom no doubt nothing is difficult, it would be very easy to obtain a photograph of the Amsterdam painting as a means of comparison.
Hals' second canvas is a portrait of a man. Life-size bust; head from the front under a huge ...
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(1) See Trésors d'art exposés à Manchester, etc., by W. Burger, p. 262 ff.26
80
attributed to Joos van Craesbeeck
A painter at work in his studio
Paris, Musée du Louvre, inv./cat.nr. INV 1179 (MR 631)
60 MUSEUM OF AMSTERDAM.
... black hat; beard on his chin; flat collar; chamois yellow costume, in the peculiar tone of Frans Hals [81].27 We see the inside of his open right hand. Very lively physiognomy; brusque and correct touch (1).
As far as I know, Van der Venne never made life-size figures, but we see in the Amsterdam museum a large painting, perhaps the largest he ever painted, which is a masterpiece: Prince Maurice, his brothers and cousins on horseback (no. 305). The canvas is about 8 feet wide by 4 feet high [82].28 The figures are three-quarter size. Superb cavalcade not composed as a painting. The son of the Silent, in profile on a white horse, is accompanied by his brothers and gentlemen, also on horseback. Everyone moves to the right as in a procession. Behind this group on horseback, pages, servants, and dogs. As background a landscape and sky against which the figures stand out. With his correct drawing, elegant forms, expressive physiognomies, beautiful color, free and solid touche, Van der Venne has here all the fine qualities that distinguish his small paintings, with a certain ...
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(1) Signed with the monogram F H, the F connected to the first leg of the H. – Auction of Baroness van Leijde, 1816, 385 guilders. – The portrait of Hals and his wife was once in the Six van Hillegom collection, which was partially auctioned in 1852. At this auction it was paid 600 guilders (new cat.).
81
Frans Hals (I)
The merry drinker, c. 1630
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-135
82
follower of Adriaen van de Venne
Portrait of Maurits van Oranje-Nassau accompanied by his two brothers Philips Willem and Frederik Hendrik, Frederik V Palatine and some counts of Nassau on Horseback, first half 1620s
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-445
Interleaved page (1/2)
For Victors, p. 51,29 see the Rotterdam museum,30 de Kat collection31 etc
Coll. Van der Schriek de Louvain.32 a portrait in Caen museum.33
The signature of the picture in Amsterdam is: Johanis Victors fc.1648.34
Voir no. 100 Bridgewater Gallery.35
- for Frans Hals, p. 58,36 see Haarlem Town Hall, where are paintings from 1627 (1st style),37 from 163938 etc and also in Haarlem see the Old Age Home.39
See also the Van Brienen collection,40 Dupper collection in Dordrecht,41 Arenberg collection etc.42
Rotterdam museum,43 Amsterdam Town Hall.44
In the painting of 1639, there is his portrait – and possibly in that of 1627.45
FH. and the monogr. of his son Frans Hals Fransz: F+F.46
Immerzeel also attributes La pèche miraculeuse to van Balen.47
v.d. Venne’s monogr. is AV48
Saenredam, born in 1597 at Assendelft (North Holland) came to live in Haarlem where in 1612 pupil of Grebber - and in 1623 received into the guild, died in Haarlem in 1666. (Immerz.)49
Pieter Fransz de Grebber, born in Haarlem in 1590. 50 2 pictures in the Old Age Home,51 and one dated 1641, in the room of the Law court (id.) 52 Son of Frans Pietersz, pupil of Jac. Savrij, and author of the emperor Barbarossa in the City Hall in Haarlem.53 (see following p.)
M. MIEREVELD. M. Miereveld.54
Jan Victoors 1651, The Angel and Tobie55 – in Munich (Rathgeber).56
see Viardot, p. 7257 (no. 239, p. 56 of the catal.58)
1 Lucas van Leiden, superbe! Chez Baring59
Le Victoors 343 (p. 51) proves that the one of the landscapes is the same.60 Certainly.
Interleaved page (2/2)
- Frans Pietersz de Grebber, born in Haarlem 1579, pupil of Savery. Died 163661
- Marie de Grebber, daughter of this Frans62
- Pieter Fransz. de Grebber, born in Haarlem 1600, pupil of Goltzius. Died in Haarlem 1656. Son of Frans Piet.?63
- Antonis Grebber, from Haarlem’ became bourgeois (poorter) of Amst. 31 October, 165264
Recheck page 54. Slabbaert seems to be after Rembrandt? No.
A Brunswick, 1 signé R (?). Slabert 1549. No.65
One of de Grebber a peint at the Pavillon du bois, in the Hague66 (to see).
AV. VENNE. Ft. Ao. 1618 (Le Roy d’Etiolles).67 See Suermondt.68
The family Hoogerbeets, p. 53, is perfect! Théodor, and the monogr. Aussi (1861). Excellent, but repainted and worn.69
A.v.d. Venne, in 1656, in the guild at La Haye (Vosmaer)
K. du Jardin as well.70
Notes
1 Workshop of Michiel van Mierevelt, Portrait of Willem I, Prince of Orange, called William the Silent, c. 1632, Amsterdam, Rijksmuseum, inv. no. SK-A-253; Aanwijzing 1853, p. 18, no. 173, Miereveld (Michiel; 1567-1641), Portret van Prins Willem de Eerste (Portrait of Prince William the First (tax.: fl. 300); Amsterdam 1858, p. 88, no. 192, as copy after a painting by Cornelis de Visscher (II) – this example has not survived.
2 The full-length portrait of William the Silent in Huis ten Bosch (SC-0522), was not acquired until 1898 (e-mail from Lisa Veenstra, 2 July 2025). It is being investigated whether the portrait that Thoré-Bürger saw is also still in the collection.
3 We know now, that Mierevelt was born in 1566 or 1567, but that is irrelevant if he was working after an older painting by Cornelis Visscher (II).
4 Michiel van Mierevelt, Portrait of Maurits, Prince of Orange, c. 1613-1620, Amsterdam, Rijksmuseum, inv. no. SK-A-255; Aanwijzing 1853, p. 18, no. 175, Miereveld (Michiel; 1567-1641), Idem [Portret] van Prins Maurits, ten voeten uit (Portrait of Prince Maurice, full-length (tax.: fl. 2,000); Amsterdam 1858, p. 88-89, no. 193. See also Thoré-Bürger's notes opp. p. 60 (1/2).
5 Workshop of Michiel van Mierevelt, Portrait of Frederik Hendrick, Prince of Orange, c. 1632, Amsterdam, Rijksmuseum, inv. no. SK-A-254; Aanwijzing 1853, p. 18, no. 176, Miereveld (Michiel; 1567-21641), Idem [Portret] van Prins Fredrik Hendrik (Portrait of Prince Frederick Henry) (tax.: fl. 600); Amsterdam 1858, p. 89, no. 194.
6 Michiel van Mierevelt, Portrait of Philips William, Prince of Orange, c. 1608, Amsterdam, Rijksmuseum, inv. no. SK-A-256; Aanwijzing 1853, p. 18, no. 174, Miereveld (Michiel; 1567-1641), Idem [Portret] van Philips Willem, Prins van Oranje (Portrait of Philip William, Prince of Orange (tax.: fl. 300); Amsterdam 1858, p. 89, no. 195. See also Thoré-Bürger's notes opp. p. 60 (1/2).
7 Jan Gossart, Portrait of Floris van Egmond, c. 1519, Amsterdam, Rijksmuseum, inv. no. SK-A-217 (on loan to the Mauritshuis, The Hague since 1948, inv. no. 841); Aanwijzing 1853, p. 17, no. 162: Leyden (Lucas van), Portret van Filips van Bourgondien, Graaf van Holland (Portrait of Philip of Burgundy, Count of Holland) (tax.: fl. 1,000); Amsterdam 1858, p. 82, no. 179, as by Lucas van Leyden, Portrait of Philip of Burgundy, Count of Holland. For Lucas van Leyden see also the annotations by Thoré-Bürger opp. p. 60 (1/2).
8 Guercino, Mary Magdalene, 1636-1655, Amsterdam, Rijksmuseum, inv. no. SK-A-593; transferred to Amersfoort, Rijksdienst voor het Cultureel Erfgoed in 1953, inv.no B611; Aanwijzing 1853, p. 25, no. 255, Schoorl (Joan), Eene peinzende Maria Magdelena (A pensive Mary Magdalene) (tax.: fl. 800); Amsterdam 1858, p. 179, no. 396, as Italian School, 16thcentury. With many thanks to Matthias Ubl (e-mail 16 July 2024) and Eric Domela Nieuwenhuis (e-mail 11 July 2025).
9 Jan van Scorel, Mary Magdalene, c. 1530, Amsterdam, Rijksmuseum, inv. no. SK-A-372; Aanwijzing 1853, p. 25, no. 256: Schoorl (Joan; 1495-1562), Eene zinnebeeldige Voorstelling van de dochter Sions (A symbolic Representation of the daughter of Zion) (tax.: fl. 400); Amsterdam 1858, p. 129, no. 287, as The daughter of Zion).
10 Edouard Taurel, Portrait of William I ‘the Silent’ of Orange-Nassau, The Hague, RKD - Netherlands Institute for Art History; Johannes Philippus Lange, Portrait of William I ‘the Silent’ of Orange-Nassau, The Hague, RKD - Netherlands Institute for Art History.
11 It was not the Royal collection, but the Stadholder’s collection from which this painting came. The Orange-Nassau family did not become royal until 1815.
12 Workshop of Michiel van Mierevelt, Portrait of Johan van Oldenbarnevelt, in or after c. 1616, Amsterdam, Rijksmuseum, inv. no. SK-A-257; Aanwijzing 1853, p. 18, no. 177, Miereveld (Michiel; 1567-1641), Idem [Portret] van 's Lands Advocaat Joan van Oldenbarneveldt (Portrait of the State Advocate Joan van Oldenbarneveldt) (tax.: fl. 150); Amsterdam 1858, p. 89, no. 196.
13 Michiel van Mierevelt, Portrait of Jacob Cats, 1634, Amsterdam, Rijksmuseum, inv. no. SK-A-258; Aanwijzing 1853, p. 18, no. 178, Miereveld (Michiel; 1567-1641), Idem [Portret] van Jacob Cats, Raadpensionaris (Portrait of Jacob Cats, Grand Pensionary) (tax.: fl. 600); Amsterdam 1858, p. 90, no. 197.
14 There is no evidence that Rembrandt and Cats knew each other.
15 After Michiel van Mierevelt, Portrait of Cornelia Tedingh van Berckhout, 1648, Amsterdam, Rijksmuseum, inv. no. SK-A-260; Aanwijzing 1853, p. 18, no. 179, Miereveld (Michiel; 1567-1641), Idem [Portret] van Cornelia Tedingh van Berkhout, Echtgenoot van den Luitenant-Admiraal Marten Harpertsz. Tromp (Portrait of Cornelia Tedingh van Berkhout, Spouse of the Lieutenant-Admiral Marten Harpertsz. Tromp) (tax.: fl. 400); Amsterdam 1858, p. 90, no. 199.
16 Workshop of Jan van Ravesteyn, Portrait of Nicolaas Schmelzing, in or after 1611, Amsterdam, Rijksmuseum, inv. no. SK-A-259; Aanwijzing 1853, p. 18, no. 180, Michiel Miereveld, Idem [Portret] van Smelsin, Veldoverste van Prins Maurits (Portrait of Smelsin, Field Commander under Prince Maurice) (tax.: fl. 250); Amsterdam 1858, p. 90, no. 198, as by Michiel van Mierevelt.
17 See also Thoré-Bürger's notes opp. p. 60 (1/2).
18 Paulus Moreelse, Portrait of Maria van Utrecht, 1615, Amsterdam, Rijksmuseum, inv. no. SK-A-275; Aanwijzing 1853, p. 19, no. 190, Moreelse (Paulus; 1571-1638), Portret van Maria van Utrecht, Echtgenoot van Joan van Oldenbarneveldt (Portrait of Maria van Utrecht, Spouse of Joan van Oldenbarneveldt (tax.: fl. 500); Amsterdam 1858, p. 95, no. 211.
19 Paulus Moreelse, A Shepherdess, 1630, Amsterdam, Rijksmuseum, inv. no. SK-A-276; Aanwijzing 1853, p. 19, no. 189, Moreelse (Paulus; 1571-1638), Eene bevallige Herderin (A comely shepherdess) (tax.: fl. 5,000); Amsterdam 1858, p. 95, no. 212.
20 Anonymous, Portrait of a Man, 1633, Amsterdam, Rijksmuseum, inv. no. SK-A-326; Aanwijzing 1853, p. 22, no. 225, Ravestein (Johannes van; 1572-1657), Portrait of Jan Pietersen Snoek (tax.: fl. 50); Amsterdam 1858, p. 113, no. 250, as by Jan van Ravesteyn, Portrait of Jan Pietersen Snoek.
21 Anonymous, Portrait of a Woman, 1633, Amsterdam, Rijksmuseum, inv. no. SK-A-327; Aanwijzing 1853, p. 22, no. 226, Ravestein (Johannes van; 1572-1657), Idem [Portret] van zijne Echtgenoot, Margaretha Bal (Portrait of his Spouse, Margaretha Bal) (tax.: fl. 50); Amsterdam 1858, p. 113, no. 251, as by Jan van Ravesteyn, Portrait of Margriet Goverse Bal, Spouse of Jan Pieterse Snoek.
22 The signature, date and inscription are transcribed as follows in the Rijksmuseum’s online collection catalogue (accessed 14 November 2025): 'Æta. 63 An⁰ 1615 / PMo fe'; in Amsterdam 1858, p. 95: 'Æta 63 Ao 1615 PMo f.' (P and M in ligature).
23 Jean Augustin Daiwaille, Shepherdess, c. 1827-1828, Amsterdam, Rijksmuseum, inv. no. RP-P-OB-27.991.
24 Rubens' inventory is published in Muller 1989, p. 94-149. Nos. 289-314 refer to painting by Dutch artists, but Ravesteyn is not mentioned there. It is not clear on what Thoré-Bürger bases his statement.
25 Frans Hals, Portrait of a Couple in a Landscape, probably Isaac Abrahamsz Massa and Beatrix van der Laen, c. 1622, Amsterdam, Rijksmuseum, inv. no. SK-A-133; Aanwijzing 1853, p. 12, no. 97, Hals (Frans; 1584-1666), Portret van den schilder en van zijne vrouw (Portrait of the Painter and his Wife) (tax.: fl. 1,000); Amsterdam 1858, p. 51-52, no. 106, as Portraits of Frans Hals and his Wife.
26 Burger 1857, p. 262-263. According to Thoré-Bürger, the man who is being portrayed in the Louvre painting is Frans Hals, because he resembles the man in the double portrait in the Rijksmuseum.
27 Frans Hals, A Civic Guardsman Holding a Berkemeier, c. 1628-1630, Amsterdam, Rijksmuseum, inv. no. SK-A-135; Aanwijzing 1853, p. 12, no. 98, Hals (Frans; 1584-1666), Een Mans-Portret (A Man's Portrait) (tax.: fl. 200); Amsterdam 1858, p. 51, no. 105. This painting was initially sent to the Mauritshuis in 1816, but the director offered it for exchange for a De Heusch pendant that had been mistakenly sent to the Rijksmuseum. The argument was also that the Rijksmuseum director was quite taken with Hals's painting; these events are not included in Bikker 2007.
28 Follower of Adriaen van de Venne, Prince Maurice Accompanied by his Two Brothers, Frederick V, Elector of the Palatinate, and Some Counts of Nassau on Horseback, c. 1625, Amsterdam, Rijksmuseum, inv. no. SK-A-445; Aanwijzing 1853, p. 29, no. 305, Venne (Abraham van der; 1559-1650), Prins Maurits met zijne Broeders en Neven te Paard (Prince Maurice with his Two Brothers and Cousins on Horseback) (tax.: fl. 1,000); Amsterdam 1858, p. 151, no. 337.
29 Jan Victors, Joseph Interprets the Dreams of the Baker and the Butler, 1648, Amsterdam, Rijksmuseum, inv. no. SK-A-451.
30 There were tow paintings by Jan Victors in the Rotterdam museum, which were burnt during the fire in 1864: Rotterdam 1849, p. 44, no. 300, A portrait of an elderly woman in formal clothing; Giltaij 2000, p. 272; and Rotterdam 1849, p. 45, no. 301, A Dutch landscape; Giltaij 2000, p. 272.
31 Probably Herman de Kat, see the description of his collection in: Kramm 1857-1864, vol. 3 (1859), p. 837-840. ‘Jan Victor’ is only mentioned on p. 838, but without a description of a painting. Thoré-Bürger might refer to: sale Herman de Kat, Paris (Pillet), 2-8 May 1866 (Lugt 29104), no. 120.
32 Désiré van den Schrieck, his deceased sale Louvain (Le Roy, Van Bockel), 8-11 April 1861, Lugt 26134, no. 186: Jan Victors, Hannah Prays in the Temple and Vows to Give her Child to the Lord, 1643, Dordrecht, Dordrechts Museum, inv. no. DM/861/327. See also p. 51.
33 After Willem Drost, Cook at a Window, after 1654, Caen, Musée des Beaux-Arts, inv. no. 86; Mancel 1851, p. 81, no. 123.
34 This is a facsimile of the signature, perhaps based on Amsterdam 1858, p. 155, no. 343, or , p. 160, no. 343.
35 Jan Victors, The Departure of Tobias, 1667, Mertoun House (Saint Boswells), private collection Duke of Sutherland; Bridgewater 1856, p. 18, no. 100.
36 Frans Hals, A Civic Guardsman Holding a Berkemeier, c. 1628-1630, Amsterdam, Rijksmuseum, inv. no. SK-A-135; Frans Hals, Portrait of a Couple in a Landscape, probably Isaac Abrahamsz Massa and Beatrix van der Laen, c. 1622, Amsterdam, Rijksmuseum, inv. no. SK-A-133; see below, p. 58-60.
37 Most probably: Frans Hals (I), Banquet of the Officers of the Saint George Civic Guard, c. 1626-1627, Haarlem Frans Hals Museum, inv. no. OS-I-110; Banquet of the Officers of the Calivermen Civic guard, c. 1627, Haarlem, Frans Hals Museum, inv. no. OS-I-111.
38 Frans Hals (I), Officers and Sergeants of the Saint George Civic Guard, 1639, Haarlem, Frans Hals Museum, inv. no. OS-I-113.
39 Frans Hals (I), Regents of the Old Men’s Alms House, c. 1663-1664, Haarlem, Frans Hals Museum, inv. no. OS-I-115; Regentesses of the Old Men’s Alms House, c. 1663-1664, Haarlem, Frans Hals Museum, inv. no. OS-I-116.
40 Frans Hals (I), Portrait of Willem van Heythuysen, c. 1634-1635, private collection.
41 Workshop of Frans Hals (I), Lute Player, c. 1624, Amsterdam, Rijksmuseum, inv. no. SK-A-137.
42 Workshop of Frans Hals (I), possibly Frans Hals (II), Laughing Man Holding a Mug, Raising his Hat, c. 1640-1650, private collection; Frans Hals (I) and workshop, Two Singing Boys, c. 1626, in sale New York (Sotheby’s), 20 May 1993, no. 94. Both were described by Thoré-Bürger himself in Bürger 1859, p. 131, no. 18,
43 Frans Hals (I), Portrait of Pieter Christiaansz. Bor, 1634, formerly Rotterdam, Museum Boijmans (burnt 1864); Rotterdam 1849, p. 17, no. 93a.
44 Frans Hals (I) and Pieter Codde, Militia Company of District IX Under Command of Captain Reynier Reael and Lieutenant Cornelis Michielsz. Blaeuw, 1633-1637, Amsterdam, Rijksmuseum, inv. no. SK-C-374. This painting was in the Amsterdam City Hall since the eighteenth century, and by 1885, it was moved to the new Rijksmuseum.
45 Only in the 1639 Officers and Sergeants of the Saint George Civic Guard, there is a self-portrait by Frans Hals, in the upper row, second from left. Previously, a self-portrait by Hals was believed to be included in the 1627 Banquet of the Officers of the Calivermen Civic guard,, but that is no longer accepted.
46 The second monogram is visible in Two Singing Boys, formerly in the Arenberg collection (see above).
47 Immerzeel 1842-1843, vol. 1 (1842), p. 27.
48 In ligature, see the discussion about Van de Venne’s monogram below, on p. 62.
49 Immerzeel 1842-1843, vol. 3 (1843), p. 51. See for Saenredam and De Grebber also above, p. 54.
50 Immerzeel 1842-1843, vol. 1 (1842), p. 293.
51 Pieter de Grebber, The Acts of Mercy, 1628, Haarlem, Frans Hals Museum, inv. no. OS-I-101; Jacob, Rachel and Lea, 1628, Haarlem, Frans Hals Museum, inv. no. OS-I-102; Immerzeel 1842-1843, vol. 1 (1842), p. 293.
52 Immerzeel 1842-1843, vol. 1 (1842), p. 293, describes a painting in the courthouse, dated 1641, depicting the Sons of Jacob showing their father the bloodstained garment of Joseph. It might be that Immerzeel (and Thoré-Bürger) actually refer to: Naaman Urges Elisha to Accept Some Gifts, 1637, Haarlem, Frans Hals Museum, inv. no. OS-I-103. This painting’s composition shows some resemblance to paintings with the blood-stained garment of Joseph. Then again, the paintings are dated quite differently and Naaman Urges Elisha to Accept Some Gifts comes from the Leper, Plague and Mental Hospital, and not from the Regtbank. However, it is not clear what happened with it before 1862, when it was transferred to the Frans Hals Museum.
53 Pieter de Grebber, Emperor Frederik Barbarossa and the Patriarch of Jerusalem conferring the Sword on the Coat of Arms of Haarlem, 1630, Haarlem, city Hall; Immerzeel 1842-1843, vol. 1 (1842), p. 292.
54 Two facsimiles of the signature of Michiel van Mierevelt. The first can be found on Michiel van Mierevelt, Portrait of Maurits, Prince of Orange, c. 1613-1620, Amsterdam, Rijksmuseum, inv. no. SK-A-255 and Michiel van Mierevelt, Portrait of Philips William, Prince of Orange, c. 1608, Amsterdam, Rijksmuseum, inv. no. SK-A-256. These paintings are discussed above on p. 56.
55 Jan Victors, The Angel Leaving Tobias and His Family, 1651, Munich, Bayerische Staatsgemäldesammlungen – Alte Pinakothek, inv. no. 1031.
56 George Rathgeber (1800-1875) was a German art historian, who, for instance, published a catalogue of the Herzogliche Gemäldegalerie in Gotha (Rathgeber 1835). It is not clear whether Thoré-Bürger knew him.
57 Viardot 1844, p. 72.
58 Von Dillis 1858, p. 56, no. 239.
59 There was a 16th-century painting in the collection of Thomas Baring: attributed to Master of Alkmaar, Christ Taking Leave of Mary, Netherlands, Private collection. It is not, however, listed in Burger 1857, even though we know that Thoré-Bürger visited the Baring collection in May 1857 when he was in England at the occasion of the Manchester exhibition of that year. Lucas van Leyden is neither mentioned under the early Flemish and Dutch Schools in Baring’s Collection, see: Waagen 1854, vol. 2, p. 182, vol. 4 (1857), p. 97-98. However, there is ‘a picture erroneously imputed to Memling, which I recognized as a beautiful work by Jean Mostaert’. This is probably: manner of Hans Memling, Virgin and Child, New York, Metropolitan Museum of Art, inv. no. 1975.1.111.
60 Jan Victors, Joseph Interprets the Dreams of the Baker and the Butler, 1648, Amsterdam, Rijksmuseum, inv. no. SK-A-451; see above, p. 51.
61 Nowadays the dates of Frans Pietersz are c. 1573 -1649. Immerzeel 1842-1843, vol. 1 (1842), p. 292, lists him as pupil of Jacob Savery (I).
62 Immerzeel 1842-1843, vol. 1 (1842), p. 292.
63 According to Immerzeel 1842-1843, vol. 1 (1842), p. 293, Pieter Fransz. was the brother of Maria de Grebber.
64 Scheltema 1853, p. 71, on fol. 132 in the book of the married poorters.
65 There is one painting by Karel Slabbaert in Braunschweig: Portrait of a Boy with a Bird, Braunschweig, Herzog Anton Ulrich-Museum, inv. no. 280. It is signed ‘k. slabbaert’ and not dated. However, the inscription was read differently in the nineteenth century, see: Pape 1849, p. 133, no. 367.
66 Pieter de Grebber, Part of the Triumphal Procession with Sacrificial Bull, 1650; The Apotheosis of Frederik Hendrik, 1650; Putti with the Name of Jehova, 1650; Part of the Triumphal Procession with Standard-Bearers and Spoils of War, 1650, The Hague, Paleis Huis ten Bosch, see above, p. 54.
67 Adriaen van de Venne, Princes Maurits and Frederik Hendrik at the Valkenburg Horse Fair, 1618, Amsterdam, Rijksmuseum, inv. no. SK-A-676. sale collection Jean-Jacques-Joseph Leroy d'Étiolles, Paris (Febvre), 21-22 February 1861 (Lugt 26022), no. 125.
68 Adriaen van de Venne, The Summer, 1614; The Winter, 1614, Berlin, Staatliche Museen – Gemäldegalerie, inv.nos. 741a-b; Bürger/Waagen 1860, p. 14-15, 165-166, no. 83.
69 Anonymous, Portrait of a Couple and Four Children, c. 1620-1625, Amsterdam, Rijksmuseum, inv. no. SK-A-201; see p. 52-53. The TDK monogram is considered false (website Rijksmuseum, accessed 23 November 2025).
70 This concerns the founding meeting of the Confrerie Pictura in The Hague, on October 16, 1656, which was attended by several dozen painters. A list of 48 names has been preserved, including those of Adriaen van de Venne (no. 2) and Karel du Jardin (no. 22); see: Buijsen/Dumas et al. 1998, p. 49. So far, no article by Vosmaer has been found on this topic; many thanks to Edwin Buijsen (email, 12 November 2025). It seems most likely that Vosmaer communicated this to Thoré-Bürger verbally.