p. 96-100 A. van Ostade, Pieter de Hooch
96 MUSEUM OF AMSTERDAM.
... faithfully mentioned (1), are nothing but wretched copies from the school of Breugel the elder (2) [144] [145].1
But there are two excellent paintings by Brekelenkamp2 It is assumed that this master worked with Gerard Dov; in practice he does not resemble him, for he is clearly a follower of Adriaan van Ostade. His touch is broad and simple; his figures are solid, simple, and downright plebeian.
In one of his paintings, an old man with a white beard sits in front of a spinning wheel; a fisherman, dressed in black and wearing a large hat, enters this interior with his fishing rod in one hand and his fish basket in the other [146].3 The pendant shows another interior with two figures; Brekelenkamp never incorporated many figures into his compositions. A man with a white beard, seen from the side, lights his pipe in a fire test; another man, seated, holds a pitcher. Q. Brekelenkam (sic) 1664 [147].4 Both paintings are from the Van der Pot auction.
Arij de Vois5 also has one of his good works in the Amsterdam museum: a Merry Man with a glass of wine and a violin. This Merry Man wears a brown hat and a black cloak. His tanned ...
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(1) Maxime Ducamp, in the Revue de Paris, also lists them as originals by Adrien van (sic) Brouwer.6
(2) Discarded to the Unknowns in the new catalog, from which Brouwer's name has disappeared.
144
Adriaen Brouwer
Poor Folk Drinking in a Tavern, c. 1625- c. 1630
The Hague, Koninklijk Kabinet van Schilderijen Mauritshuis, inv./cat.nr. 847
145
Adriaen Brouwer
Card Fight outside a Country Tavern, c. 1628-c. 1630
The Hague, Koninklijk Kabinet van Schilderijen Mauritshuis, inv./cat.nr. 919
146
Quiringh van Brekelenkam
Interior with a fisherman and a man at a spinning-wheel, 1663 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-60
147
Quiringh van Brekelenkam
Interior with a man smoking and another man drinking by the fireside, dated 1664
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-61
Interleaved page (1/2)
1 small Brouwer in the City Hall of Leiden.7 - 3 in Cassel.8
Immerzeel also notes the Gaesbeck, so-called portrait of Grotius, together with Craesbeck of Antwerp.9 But Graesbeeck is absent in his biographies.
He mentions only Grasbeck following Hoet.10 - should review all Gaesbeck with my picture dated 1647.11
KALF – at Viardot12
Brekelen Kamp, no date, no biographical indication in Immerzeel nor van Eynden.13
Slingeland sale – small picture 389 fl14
Smeth: 1 Interior 27515
van der Pot 2 id. 850 (these are the ones opposite)16
galerie Lazienki: un Solitaire signé – Q. v. B. 165317
a picture in Franckfort18
He painted in the style of Dou (v. Eynden)19
Dresden 1555: Q. Breklenkamp20
At Dumont in Cambrai: Q Brekelenkam21
At Cremer ditto22
P. V. Slingeland. 1675 (galerie Łazienki).23
Wlliam III by Sch. is signed: G. Schalcken.24
P. v. Slingeland 1683 (Péreire)25
ADVois. ŁazienKi. Everywhere with i and not y.26 Berlin etc.27
Following Immerzeel and the new catalogue, Brakenburg was born in 1605 and died in 1702.28
He would have painted the staffage in the landscapes of P. Koninck. He sometimes painted in the style of J. Steen.29 Following Weijerman, he was pupil of Mommers born in 1623!30 – it is that the date 1605 is a typogr. error for 1650 – Kramm,31 as well as v.E. and v.d.W. give Richard born in Haarlem 1650 -1702. 32
R. Brakenburgh 1692 (Bordeaux museum) (Clément de Ris)33
Interleaved page (2/2)
The new ed. 59, gives the sign. of 3 Mieris
- F van Mieris Anno 168034
- W van Mieris F Anno 173335
- F.V Mieris F 172136
97 VAN OSTADE.
... complexion is somewhat reminiscent of Jordaens' types in small. The painting, signed on the right, I believe, comes from the sale of the Baroness of Warmond, where it cost 900 guilders [148].37
A second Arij de Vois is titled: A Merry Fishmonger (no. 314). Signed, like the previous one: A D Vois, the A, D, V intertwined in a monogram [149].38
Brakenburgh39 – he usually signs this way (in the Vienna Museum, for example, two paintings),40 and the Amsterdam catalog incorrectly writes the name without the h at the end, – Brakenburgh is said to be a pupil of Mommers, a follower of Berchem. But he belonged much more to the school of Ostade and Jan Steen. The only painting of his in the Amsterdam museum, Peasant Company (no. 37), is not good enough to get to know him. Let us move on [150].41
A painting by Thomas Wijck, a skilled painter whose biography is rather obscure, also seems to belong to the Van Ostade School: Interior with Spinning Woman. But it hangs too high to be discussed here [151].42
This Thomas Wijck, born in Haarlem in 1616, painted a wide variety of subjects: peasant interiors, alchemists, ruins, even seascapes; according to Walpole, even a Turkish subject with life-size figures.43 He had spent some years in Italy, where for a time he imitated Bamboccio. Under the Restoration (Charles II) he came to44...
148
Ary de Vois
The Merry Fiddler, 1660-1680
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-457
149
Ary de Vois
A man with a gin bottle, 1660-1680
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-456
150
Richard Brakenburgh
Country inn, 1660-1702
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-55
151
Thomas Wijck
Spinning peasant woman, c. 1660-c. 1670
The Hague, Dienst voor 's Rijks Verspreide Kunstvoorwerpen, inv./cat.nr. B 2285
98 MUSEUM OF AMSTERDAM.
... England, where he died in 1682 (1). His portrait and that of his wife were painted by Frans Hals.45 Enthusiastically, he made some etchings. His son, who is more famous than he, although he cannot stand in his shadow, painted mostly battles and he is the link between Philips Wouwerman, whose follower he was, and Jan van Huchtenburgh, who was his pupil. In England, where he married, where he had several pupils and where he died in 1702, is a large number of his paintings, some of quite large size.46 He painted horses in some of Kneller's compositions and left a book of hunting drawings.47
Now Kalf.48 He studied with Henri Pot; but he seems to have preferred the touch and tone of Adriaan van Ostade to his fine and somewhat meticulous master. His Still Life (no. 152) is a bold painting with warm and energetic colors [152].49
PIETER DE HOOCH.50 – This artist's working method, like Adriaan van Ostade's, is very similar to Rembrandt's, and perhaps one day we will discover that he collaborated with Rembrandt, or perhaps with Nicolaas Maas.
His paintings are very rare, even in Holland. The museums of The Hague and Rotterdam have none!51
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(1) The new cat. says, erroneously I think, 1686 – See Walpole, Anecdotes of painting in England, etc., London, 1782, vol. 3, p. 249.52
152
Willem Kalf
Still life with silver jug and porcelain bowl, c. 1656
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-199
99 PIETER DE HOOCH.
But the Van der Hoop Museum has four;53 and the collections of Van Brienen,54 Van Hillegom55 and Van Loon56 have several very important ones.
The Amsterdam museum has only one, and a small portrait believed to be the artist's, painted by himself when he was nineteen [153].57 I believe Charles Blanc published a woodcut of it in his Histoire des peintres [154].58 The head is serious, the eyes deep, the painting broad and solid, as far as can be judged from the height at which this particular little panel, of less than a square foot,59 hangs in poor light. However, it would be very interesting to first establish whether this is in fact by Pieter de Hooch's own hand (1). And then we need to find out if this is indeed a portrait of him. I do not know what reasons can be given for this: a more or less obscure tradition, no doubt. For almost nothing is known about the life of this great artist, who probably, like Cuijp, Hobbema and some others, was not fully appreciated by his contemporaries. The observation is Smith's.60
Viardot mentions another portrait of Pieter de ...
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(1) The new cat. gives the monogram DH, with next to it the inscription: Ætatis 19. So much for the authenticity of the painting; but it says nothing about the character. This painting was bought at a public auction in Amsterdam. – The cat. writes the name: de Hooge, which is more consistent with regular spelling, but the painter himself, in his rare signatures, usually writes: de Hooch.
153
attributed to Pieter de Hooch
Portrait of a 19-year-old man, possibly a self portrait, 1648
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-181
154
Anonymous before 1858 after Etienne-Gabriel Bocourt and after Willem Jodocus Mattheus Engelberts after attributed to Pieter de Hooch
Portrait of a man, traditionally identified as the painter Pieter de Hooch, before 1858
Heidelberg, Universitätsbibliothek Heidelberg
100 MUSEUM OF AMSTERDAM.
... Hooch in Count Czernin's gallery, in Vienna [155]. Through photographs we could compare the two heads to see if they are similar.61
But whatever one may think of this portrait, the painting depicting an interior, a kind of vestibule paved with yellow tiles, is a fine production by the master [156].62 It is nearly 2 feet wide and 2 feet 2 inches high, on canvas. It comes from famous collections: J. de Bruyn, Amsterdam, 1798, 2,600 guilders (1); Smeth van Alpen, 1810, 3,025 guilders; Madame Hogguer, Amsterdam, 1817, 4,010 guilders. Smith (1833) estimated it at 600 guineas.63 This amount would have to be doubled today.64
The lighting effect is brilliant, as always. On the right, at the end of the corridor, an open door leads to a small, magnificent living room with a window, also open, to the street. Three very different degrees of daylight! In the small living room is a chair with a cushion, and above the chair hangs a man's portrait on the paneling.
On the left, in the first room lit by a small window, another door ajar, from which emerges a woman in profile facing right handing a jug to a little girl, in profile opposite. The woman wears a white cap; she has a red shirt with blue sleeves and a Persian blue skirt. The little girl is dressed in pearl gray, with a beautifully embroidered cap.
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(1) “J. J. de Bruin, 1765, 450 guilders”, according to the new cat.
155
Johannes Vermeer
The Art of Painting, c. 1666-1669
Vienna, Kunsthistorisches Museum, inv./cat.nr. 9128
156
Pieter de Hooch
Mother and child in an interior, c. 1658
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-182
Notes
1 Adriaen Brouwer, Poor Folk Drinking in a Tavern, c. 1625-1630, Amsterdam, Rijksmuseum, inv. no. SK-A-64; Aanwijzing 1853, p. 7, no. 49, Brouwer (Adriaan), Een vrolijk Boeren-Gezelschap (A merry Farmer's Company) (tax.: fl. 1,000); Amsterdam 1858, p. 191, no. 429, as by an unknown Dutch master. Adriaen Brouwer, Card Fight outside a Country Tavern, c. 1628-1630, Amsterdam, Rijksmuseum, inv. no. SK-A-65; Aanwijzing 1853, p. 7, no. 50, Brouwer (Adriaan), Een dito [Boeren-Gezelschap] met vechtende boeren (A Peasant Company with fighting peasants [tax.: fl. 1,000]; Amsterdam 1858, p. 191, no. 430, as by an unknown Dutch master.
2 Thoré-Bürger has crossed out the 'p' of 'Brekelenkamp'. See also the annotations of Thoré-Bürger opp. p. 96 (1/2).
3 Quiringh van Brekelenkam, Interior with Fisherman and Man beside a Bobbin and Spool, 1663, Amsterdam, Rijksmuseum, inv. no. SK-A-60; Aanwijzing 1853, p. 7, no. 41 (or 42), Brekelenkamp (Quiryn), Een Binnenhuis (An Interior) (tax.: fl. 600) or no. 42, Een als voren [Een Binnenhuis] (One as before [An Interior]) (tax.: fl. 600); Amsterdam 1858, p. 21, no. 44.
4 Quiringh van Brekelenkam, Interior with Two Men by the Fireside, 1664, Amsterdam, Rijksmuseum, inv. no. SK-A-61; Aanwijzing 1853, p. 7, no. 42 (or 41), Brekelenkamp (Quiryn), Een als voren [Een Binnenhuis] (One as before [An Interior] (tax.: fl. 600) or no. 41, Een Binnenhuis (An Interior) (tax.: fl. 600); Amsterdam 1858, p. 21, no. 45.
5 See also the annotations by Thoré-Bürger opp. p. 96 (1/2).
6 Du Camp 1857, p. 586.
7 Presumably: Egbert van Heemskerck (I), Two Merry Peasants, Leiden, Stedelijk Museum De Lakenhal, inv. no. 124.
8 None of these ae still considered to be by Brouwer: David Teniers (II), Interior with Peasants Playing Cards and Drinking, 1633, Kassel, Schloss Willemshöhe, inv. no. GK139; David Teniers (II), Drinking and Singing Farmers, c. 1630-1640, Kassel, Schloss Willemshöhe, inv. no. GK140; after Abraham Diepraam, The Hering Eater, after 1665, Kassel, Schloss Willemshöhe, inv. no. GK1072; Cassel 1830, p. 62-63, no. 380-382.
9 Adriaen van Gaesbeeck, Young Man in a Study, c. 1640-1650, Amsterdam, Rijksmuseum, inv. no. SK-A-113; Immerzeel 1842-1843, vol. 1 (1842), p. 153; see also above, p. 90.
10 Hoet 1751, p. 87. See also above, p. 91.
11 Thoré-Bürger owned a painting by Gaesbeeck, which was sold posthumously in 1892 at sale Paris (Chevallier), 5 December 1892, Lugt 51162, no. 13: Rest on the Flight into Egypt, 1647. Leiden, Stedelijk Museum de Lakenhal, inv. no. 109.
12 In the article that Thoré-Bürger wrote on Viardot's collection, he mentions a painting by Willem Kalf: 'Interior of a cottage, with the usual accessories of the master, a piece of purple meat, cauldrons and other small household utensils', see: Burger 1861a, p. 137. The painting has not been identified so far.
13 Van Eynden/Van der Willigen 1816-1840, vol. 1 (1816), p. 142-144, where indeed no biographical information can be found, but a print after a self-portrait of the artist is included, opp. p. 144 (no. 1).
14 Quiringh van Brekelenkam, A Writing Hermit in: sale Johan van der Linden van Slingeland, Dordrecht (Yver, Delfos), 22-25 August 1785, Lugt 3936, no. 47. Cannot be matched with any of the paintings listed in Lasius 1992.
15 Quiringh van Brekelenkam, An Old Woman Bleeding a Young Woman, 1660, The Hague, Mauritshuis, inv. no. 562. Provenance: sale Pieter de Smeth van Alphen, Amsterdam, 1-2 August 1810, Lugt 7842, no. 16.
16 Quiringh van Brekelenkam, Interior with Fisherman and Man beside a Bobbin and Spool, 1663, Amsterdam, Rijksmuseum, inv. no. SK-A-60; Interior with Two Men by the Fireside, 1664, Amsterdam, Rijksmuseum, inv. no. SK-A-61. Provenance: sale Gerrit van der Pot van Groeneveld, Rotterdam, 6 June 1808, Lugt 7424, no. 20. See also p. 93. Thoré-Bürger has copied these references from Immerzeel 1842-1843, vol. 1 (1842), p. 95.
17 Quiring van Brekelenkam, A Hermit Praying, 1653, Warsaw, Muzeum Łazienki Królewskie w Warszawie, inv. no. ŁKr 820; P./K. 1856, p. 55, no. 121 (507).
18 There were two paintings by the artist at the time: Quiringh van Brekelenkam, Old Man and Young Woman Holding a Wine Glass in an Interior, 1661, Frankfurt am Main, Städel Museum, inv. no. 209; Passavant 1858, p. 103, no. 249. Quiringh van Brekelenkam, Two Women and a Sleeping Man in an Interior, 1660s, Germany, private collection (stolen from Städel Museum in 1945); Passavant 1858, p. 103, no. 250.
19 Van Eynden/Van der Willigen 1816-1840, vol. 1 (1816), p. 142-143.
20 Quiringh van Brekelenkam, Visit to the Nursery, c. 1662-1666, Dresden, Staatliche Kunstsammlungen - Gemäldegalerie Alte Meister, inv. no. 1731; Hübner 1856, p. 301, no. 1555.
21 Quiringh van Brekelenkam, The Shoemaker in: sale Alexander Dumont et al., Cambrai (Renaut, Durand), 30 September – 5 October 1878, Lugt 38628, no. 8. Cannot be matched with any of the paintings listed in Lasius 1992.
22 Thoré-Bürger refers to either Thomas Theodore Cremer, whose collection was sold in 1816 (sale Rotterdam, 16-17 April 1816, Lugt 8862), or to Jan Hendrik Cremer, who sold artworks at auction in 1868 (sale Brussels (Le Roy), 25-26 November 1868, Lugt 30759) and posthumously in 1886 (sale Amsterdam, 26 October 1886, Lugt 45985). Only in the 1868 sale, a painting by Brekelenkam is listed (no. 6, The Meal, signed and dated lower left: Q. Brekelenkam 1658). This is probably identical to the painting, signed and dated lower left: Q. Brekelenkam / 1653, whereabouts unknown, that is documented in the RKD images Lite database, no. 360673. It is not featured in Lasius 1992. With thanks to Ellis Dullaart.
23 Pieter van Slingelandt, Portrait of a Man with an Open Book, 1675, Paris, art dealer Haboldt & Co. by 1996. This painting only partially matches the description in P./K. 1856, p. 60, no. 172 (37): ‘A philosopher, dressed in a purple dressing gown; with a mustache and long hair; he has in front of him a book on which rests a skull. Panel. Signed: “P.-V. Slingelant. 1675”.’ For Van slingelandt, see below, p. 88.
24 Godfried Schalcken, Portrait of William III, c. 1692-1697, Amsterdam, Rijksmuseum, inv. no. SK-A-367, see p. 88.
25 Pieter van Slingelandt, Portrait of Johan Joosten van Musschenbroek and Margaretha van der Straaten, 1685 or 1688, Boston, Museum of Fine Arts, inv. no. 1981.133; Thoré 1864, p. 310-311.
26 Ary de Vois, Injustice Enthroned, Warsaw, Muzeum Narodowe w Warszawie, inv. no. M.Ob.849 MNW; P./K. 1856, p. 49, no. 51 (58).
27 Waagen 1857, p. 151, no. 498, ‘Adonis, clothed only around his loins with a panther skin, rests, looking upward, in the lap of Venus, who is seated at a monument and caressing him. In front of them is a dog, and further back, Cupid with two greyhounds. Signed: ‘A.D. Vois F. Ao 1678’. Panel. 1 F. 3 Z. h., 1 F. 7 Z. br. From the Royal Collections’. According to Bock/Grosshans 1996, p. 589, no. 498, this painting was submitted to the Office of the Lord Chamberlain, Berlin in 1906.
28 As 1605-1702 in Immerzeel 1842-1843, vol. 1 (1842), p. 88-89; Amsterdam 1858, p. 19, no. 40. In the second edition the date was corrected to 1650-1702: Amsterdam 1859, p. 19, no. 40.
29 Immerzeel 1842-1843, vol. 1 (1842), p. 89.
30 Weyerman 1729-1769, vol. 3 (1729), p. 229. However, the first who mentioned this relation between Brakenburgh and Hendrick Mommers, was Houbraken (Houbraken 1718-1721, vol. 3 (1721), p. 383).
31 Kramm 1857-1864, vol. 1 (1857).
32 Van Eynden/Van der Willigen 1816-1840, vol. 1 (1816), p. 87.
33 Richard Brakenburgh, Tavern with Cheerful Company, 1692, Bordeaux, Musée des Beaux-Arts, inv. no. Bx E 86; Clément de Ris 1859-1861, vol. 2 (1861), p. 336.
34 Frans van Mieris (I), The Letter Writer, 1680, Amsterdam, Rijksmuseum, inv. no. SK-A-261; , p. 93, no. 201. Also see p. 89 above.
35 Willem van Mieris, The Poultry Seller, 1733, Amsterdam, Rijksmuseum, inv. no. SK-A-264; , p. 93, no. 202. Also see p. 90 above.
36 Frans van Mieris (II), The Hermit, 1721, Amsterdam, Rijksmuseum, inv. no. SK-A-265; , p. 93, no. 203. Also see p. 90 above.
37 Ary de Vois, The Merry Fiddler, c. 1660-1680, Amsterdam, Rijksmuseum, inv. no. SK-A-457; Aanwijzing 1853, p. 30, no. 313, Vois (Arie de), Een vrolijk Man met een wijnglas en viool (A merry Man with a wine glass and violin) (tax.: fl. 800); Amsterdam 1858, p. 157, no. 349. Also see Thoré-Bürger’s note opp. p. 1 (2/3), where he correctly states that according to him, the De Vois in the Steengracht collection (Sitting Smoker With a Jug, London, Robert Noortman Gallery by 1998) was made by the same painter as the one who painted The Merry Fiddler.
38 Ary de Vois, Man with a Gin Bottle, c. 1660-1680, Amsterdam, Rijksmuseum, inv. no. SK-A-456; Aanwijzing 1853, p. 30, no. 314, Vois (Arie de), Een vrolijke Vischboer (A Merry Fishmonger) (tax.: fl. 400); Amsterdam 1858, p. 157, no. 348.
39 See also Thoré-Bürger's notes on Brakenburgh opp. 96 (1/2).
40 Richard Brakenburgh, Tavern Scene with Dancing Peasants, 1690, Vienna, Kunsthistorisches Museum, inv. no. GG 629; Twelfth Night, 1690, Vienna, Kunsthistorisches Museum, inv. no. GG 631.
41 Richard Brakenburgh, Country Inn, Amsterdam, Rijksmuseum, inv. no. SK-A-55; Aanwijzing 1853, p. 6, no. 37, Brakenburg (Reinier), Een Boeren-Gezelschap (A Farmer's Company) (tax.: fl. 600); Amsterdam 1858, p. 19, no. 40.
42 Thomas Wijck, Peasant Woman Spinning, c. 1660-1670, Amsterdam, Rijksmuseum, inv. no. SK-A-488; Aanwijzing 1853, p. 32, no. 338, Wyck (Thomas), Een Binnenhuis, met eene vrouw aan het spinnewiel (An Interior, with a woman at the spinning wheel) (tax.: fl. 100]; Amsterdam 1858, p. 169, no. 374.
43 Walpole/Vertue 1782, vol. 3, p. 248-249.
44 'vint' is crossed out and replaced in the margin by 'alla', thus: 'il alla' (he went).
45 These portraits are no longer extant. A drawn portrait of Thomas Wyck by George Vertue is said to have been based on the Hals painting and is the only visual record of Wijck’s portrait: George Vertue, Portrait of Thomas Wijck, San Marino (CA), Huntington Library, inv. no. 83528. According to Walpole/Vertue 1782, vol. 3, p. 249, Marcellus Laroon (II) would have been in possession of the two portraits. See for more details: Slive 1970-1974, vol. 3, p. 122-123, no. L 14.
46 Jan Wyck died in 1700.
47 Walpole/Vertue 1782, vol. 3, p. 250.
48 See also Thoré-Bürger's remark opp. p. 96 (1/2).
49 Willem Kalf, Still Life with a Silver Jug, c. 1655-1660, Amsterdam, Rijksmuseum, inv. no. SK-A-199; Aanwijzing 1853, p. 16, no. 152, Kalf (Willem), Een Stilleven met vruchten (A Still Life with Fruit) (tax.: fl. 200); Amsterdam 1858, p. 77-78, no. 167.
50 See the annotations of Thoré-Bürger opp. p. 108 (1/2).
51 Thoré-Bürger has made handwritten corrections to the last sentence, which instead of ‘The Museums in The Hague and in Rotterdam do not have any!’ should read ‘The museum in The Hague has none. Rotterdam has one’.
52 Thomas Wijck died in Haarlem in 1677.
53 Adriaan van der Hoop's paintings were initially housed in two rooms of the Royal Academy of Arts in the Oudemannenhuis after his death in 1854, where Thoré-Bürger must have seen them again; he had previously visited Van der Hoop's collection in his home. When the academy had to make way for the University of Amsterdam, the paintings disappeared to the newly built Rijksmuseum in 1885, on loan from the city of Amsterdam. Three are still on loan at the Rijksmuseum: Man Handing a Letter to a Woman in the Entrance of a House, 1670, inv. no. SK-C-147; Interior with a Mother Delousing her Child’s Hair, c. 1660-1661, inv. no. Sk-C-149; Figures in a Courtyard Behind a House, c. 1663-1665, inv. no. SK-C-150. The fourth is back in the Amsterdam Museum since 1975: Interior with Mother and Child, c. 1665-1668, inv. no. SA 7518. For a detailed discussion of these four paintings, see Thoré 1858-1860, vol. 2, p. 56-63.
54 Pieter de Hooch, A Boy Delivering Bread, c. 1660-1663, London, Wallace Collection, inv. no. P 27.
55 Pieter de Hooch, Interior with Women beside a Linen Cupboard, 1663, Amsterdam, Amsterdam Museum (now on loan to the Rijksmuseum, inv. no. SK-C-1191).
56 Pieter de Hooch, A Woman with a Glass of Wine and a Child in a Garden, c. 1658-1660, France, private collection.
57 Attributed to Pieter de Hooch, Self Portrait, c. 1648-1649, Amsterdam, Rijksmuseum, inv. no. SK-A-181; Aanwijzing 1853, p. 15, no. 135, Hooge (Pieter de), Portret van hemzelven (Portrait of himself) (tax.: fl. 150); Amsterdam 1858, p. 70, no. 150.
58 This print was not published until 1861 (see Blanc 1861), but was apparently already known to Thoré-Bürger by 1858. He may have heard of it from W.J.M. Engelberts, who had made the preparatory drawing. Engelberts was one of the inspectors of the Rijksmuseum, with whom Thoré-Bürger had contact in Amsterdam.
59 One square foot measures approximately 30,5 x 30,5 cm. The painting’s dimensions are 32,5 x 34 cm.
60 Smith 1829-1842, vol. 4 (1833), p. 218.
61 Viardot 1852, p. 244: ‘A Painter’s Studio, another small masterpiece, in which Pieter de Hooch depicted himself painting the portrait of a young girl’. This description matches with: Johannes Vermeer, The Art of Painting, c. 1666-1669, Vienna, Kunsthistorisches Museum, inv. no. 9128. This painting was in the Czernin collection since the early nineteenth century. With dimensions of 130 x 110 cm, it is not really 'petit' as Viardot writes. Clearly, Thoré-Bürger has not seen the painting himself, because then he would have known that there is no face to compare with the one in the Amsterdam painting. See also the annotations by Thoré-Bürger opp. p. 108 (1/2).
62 Pieter de Hooch, Woman with a Child in a Pantry, c. 1656-1660, Amsterdam, Rijksmuseum, inv. no. SK-A-182; Smith 1829-1842, vol. 4 (1833), p. 226, no. 25; Aanwijzing 1853, p. 15, no. 136, Hooge (Pieter de), Een Portaal of Kelderkamer (A Portal or Basement room) (tax.: fl. 14,000); Amsterdam 1858, p. 70-71, no. 151.
63 These numbers are taken from Smith 1829-1842, vol. 4 (1833), p. 226, no. 25. Smith incidentally estimated it at 600 English pounds (not guineas).
64 In Aanwijzing 1853 the appraised value was: fl. 14,000, indeed at the time more than twice as much as 600 pounds (and as 600 guineas).