Thomas de Keyser’s Equestrian Portrait of Pieter Schout

Thomas de Keyser,  Equestrian Portrait of Pieter Schout (1640–166, 1660,  Amsterdam, Rijksmuseum

After a hiatus of nearly twenty-five years, Thomas de Keyser painted several additional portraits, apparently a by-product of family and professional connections. Among these was his masterful small-scale equestrian portrait of twenty-year-old Pieter Schout (1660), a young lawyer with high cultural and political ambitions. With new archival documentation, this essay recreates the biographical, familial, and social networks that must have brought artist and patron together, with a consideration of the social import of the painting for its sitter and subsequent owners.

DOI: 10.5092/jhna.2017.9.1.9

Acknowledgements

Research for this essay was undertaken at while I was a fellow at the Getty Research Institute and on a short-term fellowship at Utrecht University. I am grateful to both institutions and their leadership for their support. Marten Jan Bok has been unfailingly generous in sharing his genealogical research into seventeenth- and eighteenth- century families.

Thomas de Keyser,  Equestrian Portrait of Pieter Schout (1640–166, 1660,  Amsterdam, Rijksmuseum
Fig. 1 Thomas de Keyser, Equestrian Portrait of Pieter Schout (1640–1669), 1660, oil on copper, 86 x 69.5 cm. Amsterdam, Rijksmuseum, inv. SK-A-697 (artwork in the public domain) [side-by-side viewer]
Gerard ter Borch,  Henri d’Orléans, duc de Longueville,  ca. 1646/47,  Münster, Stadtmuseum
Fig. 2 Gerard ter Borch, Henri d’Orléans, duc de Longueville, ca. 1646/47, oil on canvas, 47.5 x 39.5 cm. Münster, Stadtmuseum (artwork in the public domain) [side-by-side viewer]
Antoine de Pluvinel,  L'Instruction du Roy en l'exercice de monter à , 1625,
Fig. 3 Antoine de Pluvinel, L’Instruction du Roy en l’exercice de monter à cheval (Paris: Michel Nivelle, 1625), fig. 44 (pl. 39), engraving (artwork in the public domain) [side-by-side viewer]
Salomon Saverij, Cavalcade Greeting the Entry into Amsterdam of Ma, 1660, Amsterdam, Rijksprentenkabinet
Fig. 4 Salomon Saverij, Cavalcade Greeting the Entry into Amsterdam of Maria Henrietta Stuart and Prince Willem III, pl. 4, 1660, etching, 31.6 x 46.7 cm. Amsterdam, Rijksprentenkabinet, inv. RP-P-OB-24.016 (artwork in the public domain) [side-by-side viewer]
Salomon Saverij, Detail of fig. 4., Cavalcade Greeting the Entry i, 1660, Amsterdam, Rijksprentenkabinet
Fig. 5 Detail of fig. 4. [side-by-side viewer]
Adriaen van de Velde,  Equestrian Portrait of an Unknown Man,  f. 1658, Great Britain, private collection
Fig. 6 Adriaen van de Velde, Equestrian Portrait of an Unknown Man, oil on canvas (oval), 33 x 25.5 cm, signed and dated: A.v.velde. f. 1658. Great Britain, private collection (artwork in the public domain) [side-by-side viewer]
Abraham Blooteling, after Thomas de Keyser, Equestrian Portrait of Pieter Schout, 3rd state , Amsterdam, Rijksprentenkabinet
Fig. 7 Abraham Blooteling, after Thomas de Keyser, Equestrian Portrait of Pieter Schout, engraving, 59.5 x 42.8 cm, 3rd state with verse by Jacobus Heiblocq. Amsterdam, Rijksprentenkabinet, inv. RP-P-OB-67.481 (artwork in the public domain) [side-by-side viewer]
  1. 1. Walter Liedtke, The Royal Horse and Rider: Painting, Sculpture and Horsemanship 1500–1800 (New York: Abaris Books, 1989); recipient of the 1989 award from the Confédération Internationale des Négociants en Oeuvres d’Art.

  2. 2. Signed to the right of Schout’s leg, at the lower edge of the saddlecloth, in brown paint: TdK (in monogram) 1660. Ann Jensen Adams, “The Paintings of Thomas de Keyser (1596/7–1667): A Study of Portraiture in Seventeenth-Century Amsterdam,” (PhD diss., Harvard University, 1985), vol. 3/4, cat. 91; Jonathan Bikker, Yvette Bruijnen, and Gerdina Eleonora Wuestman, Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam (Amsterdam: Rijksmuseum, 2007), 1:236–37, cat. 162; illus. 2:162.

  3. 3. For paintings on copper, see Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper 1575–1775, exh. cat. (Phoenix Art Museum,; Kansas City: The Nelson-Atkins Museum of Art, ; and The Hague: Royal Cabinet of Paintings Mauritshuis/New York and Oxford: Oxford University Press, 1998).

  4. 4. The two other equestrian portraits are pairs of riders; see Adams, “Thomas de Keyser,” vol. 3/4, cats. 92 (Worms) and 94 (Dresden); with a version of cat. 92 in Buckingham Palace (cat. 93).

  5. 5. Johan E. Elias, De vroedschap van Amsterdam 1578–1795 (Haarlem: V. Loosjes, 1903–5), 2:869.

  6. 6. Her parents were Dirk van Oorschot and Carharina Jorisdr; see J. Vis, “Alkmaarse stadsdoctoren in de zestiende eeuw,” Oud Alkmaar 23, no. 1 (1999): 12–23, esp. 14, citing W. A. Fasel, ed., Alkmaar en zijne geschiedenissen: Kroniek van 1600–1831 (Alkmaar: Vereniging Oud Alkmaar, 1973), 32.

  7. 7. Banns: Stadsarchief Amsterdam (hereafter: SAA), DTB 446, p. 217; position and marriage: Elias, Vroedschap, 2:869. Bartholomeus Schout was born in 1612 and buried in the Nieuwe Kerk on February 4,1676: SAA, DTB 1056, pp. 116–17; his wife Joanna van Oirschot was born in Alkmaar in 1615 and buried in the Nieuwe Kerk on May 9, 1680: SAA, DTB 1056, pp. 191–92. In 1652 Joanna’s brother Joris (1625–1681) married Maria Coymans; see Elias, Vroedschap, 2:760. In 1643 sister Maria (1622–1695) married Alberto Muylman (1622–1678); see Elias, Vroedschap, 2:866.

  8. 8. SAA, DTB 42, p. 218; I am grateful to Marten Jan Bok for locating Pieter Schout’s baptismal record and identifying Schout’s parents. Other children baptized by his parents included Jan on March 23, 1638, Stijntje on August 2, 1639, Christijna on July 17, 1642, Dirck on December 3, 1645, Jan on June 21, 1650, and Cristina on July 2, 1652. They buried children on October 5, 1639, and October 20, 1650; a Jan Schout buried on October 8, 1652 may also have been one of their children. Apparently none of these children outlived their parents.

  9. 9. SAA, DTB 1056, pp. 6–7.

  10. 10. Sale, Amsterdam (de Bosch and Yver), October 5, 1767, p. 50, no. 204.

  11. 11. John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters (London: Smith and Son, 1829–42), 1:317, no. 399; 9 (supplement):206, no. 198, and 532, no. 12. Apparently Smith knew the work only through Blootelingh’s print in 1829, but had located the painting itself by 1842.

  12. 12. Adams, “Thomas de Keyser,” vol. 1/2, 482.

  13. 13. In Copper as Canvas Luuk Pijl and Michael Komaneckynote that the horse was painted before the landscape, which is drawn up against it; see also technical notes in Bikker, Dutch Paintings, 1:236–37, cat. 162. For a discussion of van de Velde’s landscapes, see W. W. Robinson, “Preparatory Drawings by Adriaen van de Velde,” Master Drawings 17 (1979): 3–23, esp. 5–14.

  14. 14. The breed of the horse was first identified by S. G. A. van Leeuwen, “Geschiedenis der Nederlandsche Paarden fokkerij in Nederland” (PhD diss., Utrecht University, 1922), 71.

  15. 15. For the royal tradition, see Liedtke, Royal Horse and Rider.

  16. 16. Portrait of Karl Ludwig: oil on panel, 39 x 29 cm, Mannheim, Städtisches Reiss-Museum; see S. J. Gudlaugsson, Gerard ter Borch (The Hague: M. Nijhoff, 1959–60), 1:58–59, 72, illus. 50, 65; 2:78–79 (cat. 50), 87 (cat. 65); Klaus Bussmann et al., 1648, War and Peace in Europe, exh. cat. (Munster: Westfälisches Landesmuseum, 1998), 1: 200, no. 567.

  17. 17. For Rihel, see I. H. van Eeghen, “Frederick Rihel een 17de Eeuwse Zakenman en Paardenliefhebber,” Amstelodamum Maandblad 45 (April 1958): 73–81; Marjorie Wieseman, “Rembrandt’s Portrait(s?) of Frederik Rihel,” National Gallery Technical Bulletin 31 (2010): 96–111. Paulus Potter painted a life-sized equestrian portrait sometime before 1653. On Potter and his move to Amsterdam, see Amy Walsh, Edwin Buijsen, and B. P. J. Broos, Paulus Potter: Paintings, Drawings and Etchings, exh. cat. (The Hague: Mauritshuis, 1994), 14. Walsh has suggested (verbally) that it may have been originally painted for a court patron in The Hague—possibly Prince Maurits—but for some reason remained undelivered. The painting was signed and dated 1653, and then at some point the head was repainted with that of Dirck Tulp (1624–1682), the son of Nicolaes Tulp, who had invited Potter to move to Amsterdam from The Hague in 1652.

  18. 18. Antoine de Pluvinel, L’Instruction du Roy en l’exercice de monter à cheval, par messire Antoine de Pluvinel . . . Enrichy de grandes figures en taille-douce . . . desseignées et gravées par Crispian de Pas le jeune (Paris: Michel Nivelle, 1625).

  19. 19. William Cavendish, Methode et invention nouvelle de dresser les chevaux (Antwerp: Jacques van Meurs, 1657 [1658]). See Karen Raber, “‘Reasonable Creatures’ William Cavendish and the Art of Dressage,” in Renaissance Culture and the Everyday, eds. Patricia Fumerton and Simon Hunt (Philadelphia: University of Pennsylvania Press, 1999), 42–66.

  20. 20. Van Eeghen, “Frederick Rihel,” 75n2.

  21. 21. A horse performing a levade bends his haunches deeply, raises his body at about a forty-five degree angle, and tucks both forelegs beneath him.

  22. 22. D. C. Meijer, Jr., “De Amsterdamsche Schutters-stukken in en buiten het Nieuwe Rijksmuseum. IV. Thomas de Keyser, Joachim Sandrart,” Oud Holland 6 (1888): 225–40, esp. 234, first linked the painting and the event, followed by J. O. Kronig, “Thomas Hendricks de Keyser,” Onze Kunst 16 (1909): 77-85, 109–126, esp. 122; R. van Luttervelt, “De Grote Ruiter van Rembrandt,” Nederlands Kunsthistorisch Jaarboek8 (1957): 185–219, esp. 201. On the triumphal entry itself, see Jan Wagenaar, Amsterdam in zyne opkomst, aanwas, geschiedenissen, voorregten, koophandel, gebouwen, kerkenstaat, schoolen, schutterye, gilden en regeeringe (Amsterdam: Yntema en Tieboel, 1760–88), 1:601; and Derk Persant Snoep, Praal en propaganda: Triumfalia in de Noordelijke Nederlanden in de 16de en 17de eeuw (Alphen aan de Rijn: Canaletto, 1975), 86. https://doi.org/10.1163/187501788X00249

  23. 23. Van Luttervelt, “De Grote Ruiter,” 201. Bikker, Bruijnen, and Wuestman, Dutch Paintings, 1:236–37, cat. 162; Frederik Muller, De Nederlandsche geschiedenis in platen (Amsterdam: Muller, 1863–82),1:313–14, no. 2170/4; F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings, and Woodcuts, Ca. 1450–1700, vol. 14, Meer–Ossenbeeck (1956), 172, 176, cats. 91, 211.

  24. 24. The names of the participants are listed by van Eeghen, “Frederick Rihel,” 75n2, as noted by Bikker, Dutch Paintings, 1:236–37, cat. 162. For the Entry, see Snoep, Praal en propaganda, 86–87.

  25. 25. Van Eeghen, “Frederick Rihel,” 75 n2 (transcribed from the print after Pieter Nolpe).

  26. 26. Van Luttervelt, “De Grote Ruiter,” 200, suggests that the cavalcades may have been designated by colors: orange, white, and blue.

  27. 27. On Jan Vos, see S. A. C. Dudok van Heel, “Jan Vos (1610–1667),” Jaarboek van het genootschap Amstelodamum 72 (1980): 23–43; Nina Geerdink, De sociale verankering van het dichterschap van Jan Vos (1610–1667) (Hilversum, Verloren, 2012).

  28. 28. F. J. Duparc, “Een onbekend ruiterportret door Adriaen van de Velde,” in Face Book: Studies on Dutch and Flemish Portraiture of the 16th–18th Centuries; Liber Amicorum Presented to Rudolf E. O. Ekkart on the Occasion of His 65th Birthday, eds. E. Buijsen, Ch. Dumas, and V. Manuth (Leiden: Primavera Pers, 2012), 331–34.

  29. 29. Martin Jan Bok, email of August 20, 2012.

  30. 30. Bikker, Dutch Paintings, 1:236–37, cat. 162, citing for his graduation from Leiden University, P. C. Molhuysen, Bronnen tot de geschiedenis der Leidsche Universiteit (’s-Gravenhage: Martinus Nijhoff, 1913–24), 4:295, and for his appointment as bailiff, Rechterlijke Archieven (South Holland), Hagestein, 1515–1811, no. 3.03.08.049, inv. 19, Rechtsdagen 1664–87, unpag.

  31. 31. Bikker, Dutch Paintings, 1:236–37, cat. 162. Schout is described as “Canonicus Ultraject” on the text accompanying the print by Abraham Blooteling, and in the dedication to Jan Neuye, Eneas of Vader des Vaderlants (Amsterdam: Johannes van den Bergh, 1664).

  32. 32. Neuye, Eneas of Vader des Vaderlants, dedication.

  33. 33. SAA (Weeskamer 5073), inv. 951, February 22, 1635; “The Montias Database of 17th Century Dutch Art Inventories,” Frick Art Reference Library, inv. 634, lot 102. http://research.frick.org/montias/home.php. An image of the Ascension, possibly by the printmaker Jan Muller, sold for fourteen guilders, although this would have been a high price to pay for a print.

  34. 34. SAA, Kwijtscheldingsregisters: scan 21618287.

  35. 35. Adams, “Thomas de Keyser,” vol. 3/4, cat. 35.

  36. 36. Adams, “Thomas de Keyser,” vol. 3/4, cats. D-2 (now accepted as original) and U-14; see also cat. R-87. Jacob de Graeff is listed on the print after Pieter Nolpe as being at the head of one of the cavalcades.

  37. 37. In addition to the poems about Pieter Schout mentioned above, individual poems by Vos honor Pieter’s father, Bartholomeus Schout (Jan Vos, Alle de gedichten van den Poëet Jan Vos [Amsterdam: Jacob Lescailje, 1662–71],1:479, no. 702), his mother Joanna van Oorschot (1:841), and Joanna van Oorschot upon her son Pieter’s earning the right to practice law (1:788–91). In addition, individual poems celebrate (a double?) portrait of Bartholomeus Schout and his wife (1:175), a portrait of his wife Joanna van Oorschot (2:176), and a portrait of her father, Dirk van Oorschot, which identifies for us Dirk van Oorschot as Bartholomeus Schout’s father-in-law (1:798). Since Dirk lived in Alkmaar, it is most likely that the portrait was commissioned by Bartholomeus, who lived in Amsterdam, and may have even hung in his home). Vos also celebrated a painting owned by Bartholomeus Schout, Manoah’s Sacrifice by “M. T.” (1: 561). If “M” stands for “Meneer” the artist might possibly be the history painter Jan Tengnagel (1584–1635), or Rombout van Troyen (active 1605–1650).

  38. 38. Vos, Alle de gedichten, 1:788 (on graduation from Leiden); 1:843 (on dinner celebrating appointment as Duikgraff [Canon of Oud Munster]); 1: 483 (from an actor to Schout); 2:173 (on [what may well be another] portrait of Schout).

  39. 39. Vos, Alle de gedichten, 1:176.

  40. 40. Translation mine; I am grateful to Suzanne van de Meerendonk for several excellent suggestions.

    Den E. Heer Pieter Schout Op zyn Paardt geschildert, &c.

    Dus zag men Schout, toen hij Oranjen in hulp haalen.
    Hy wykt geen Kastor in het mennen van een paardt.
    Wie ‘t hof ontmoeten wil, behoort in all’s te praalen.
    Hy toont zich afgerecht, om ‘t schitterende zwaardt,
    En balderendt pistool, als ‘t noodt doet, te gebruiken.
    De dapperheidt verstrekt de steeden tot een schildt.
    Wie dat de Vryheidt mint behoedt haar recht voor duiken.
    Zyn zucht tot weetenschap, die nimmer tydt verspilt,
    En oordeel over kunst, bestellen stof tot dichten.
    Wie ryk van gaaven is weet yder te verplichten.

  41. 41. Beschrijving der Schilderijen van het Rijksmuseum te Amsterdam (’s-Gravenhage: Algemeene Landsdrukkerij, 1880), 483; copper plate still owned by family van de Poll in 1880.

  42. 42. Blooteling left for London in 1673, but in 1678 he is documented again in Amsterdam, where he died in 1690. On Blooteling, see J. E. Wessely, Abraham Blooteling (Leipzig: Verlag von Rudolf Weigel, 1867); A. D. de Vries, “Biografische Aanteekeningen,” Oud Holland 3 (1885): 64–67 and 137–39; Alfred von Wurzbach, Niederländisches Künstler-Lexikon (Vienna: Halm und Goldmann, 1906–11), 1:118; Mary Bryan Curd, “Making a Fine Impression: Abraham Blooteling and His Fellow Engravers, 1673–1684,” inCurd, Flemish and Dutch Artists in Early Modern England: Collaboration and Competition, 1460–1680 (Farnham, England, and Burlington, Vt.: Ashgate, 2010), 127–62, and esp. “Dated Engravings by Abraham Blooteling,” 175–82 (Appendix, table 5.1), and “Approximately Dated Engravings by Abraham Blooteling, 1665–1690,” 183–93.

  43. 43. Hollstein, Dutch and Flemish Etchings, Engravings, and Woodcuts, vol. 2, Berckheyde–Bodding (1950), 179, cat. 30; Adams, “Thomas de Keyser,” vol. 3/4, cat. P-8.

  44. 44. For the album amicorum (now in the collection of the Koninklijke Bibliotheek in The Hague), see The Album Amicorum of Jacob Heyblocq: Introduction, Transciptions, Paraphrases and Notes to the Facsimile, ed. Kees Thomassen and J. A. Gruys (Zwolle: Waanders Publishers, 1998). I am grateful to the reviewer of this essay for pointing this out.

    The poem reads:

    Gloria candoris patrii, genitricis imago!
    Quam propriâ Charites effifiare manu.
    Hagest eina tibi Satrape quo, cive placebas
    Amstela, Rhene pater nomina clara dabas.
    Florentem trux Parca scidit, materque cadentem
    Hactenus heu! lachrymis est comitata suis;

    Cui Pater: incassum gemimus, mea funera conjux!
    Non malè nesciimus nonpotuisse mori.
    Ille per Empyreas graditur generosior aulas
    Quàm fuit in terris hîc tibi celsus eques.
    Quámque parùm fragili liceat confidere vitae,
    Exemplo discas, o mea sponsa, meo!

    SOLIDÉ
    Jacobus Heiblocq
    Gymn: Amst: in nova urbis regione Rector

    On Heiblocq see J. H. W. Unger, “Vondelania II. Vondel’s handschriften,” Oud Holland 2 (1884): 26–32; Album Amicorum of Jacob Heyblocq, 2:11–20, 36, 38. In 1648 Heiblocq was appointed an instructor at the Latin school on the Gravenstraat, Nieuwe zijd, and its rector in June 1670.

     

  45. 45. Pieter Schout Muilman was baptized in the Oude Kerk, Amsterdam, on November 21, 1672 (SAA, DTB 10, p. 166). His father’s elder brother Albert Muilman (1622–1678) was married to Pieter Schout’s aunt, Maria van Oorschot (1622–1695), the sister of his mother Jannetje van Oirschot (Oorschot; 1615–1680). See also Elias, Vroedschap, 2:869n; and Chr. J. Polvliet, “Het Geslacht Muilman,” De Wapenheraut 2 (1898): 209–12; Notes and Queries, London, April 27, 1861, 324–25.

  46. 46. Cornelis van der Bas, “The Muilman Collection: The Progressive Taste of an Eighteenth-Century Banking Family,” Simiolus 32, nos. 2–3 (2006): 156–81.

  47. 47. Since there is further no trace of Pieter Schout’s siblings in the archives, they must have also died before their parent’s deaths.

  48. 48. Possibly collection Pieter Schout (1640–1669); probably to his father Bartholomeus Jansz Schout (1612–1676); probably to his godson, Pieter’s namesake and a distant cousin Pieter Schout Muilman (1672–1757), Amsterdam; to his younger son Daniël Roelof Muilman (1717–1801), Amsterdam; to Hendrik Muilman (1743–1812) in 1801; to Willem Ferdinand Mogge Muilman (1778–1849), Amsterdam, in 1812 (sources for Daniël Roelof, Hendrik, and Willem Ferdinand Mogge Muilman: van der Bas, “The Muilman Collection”; listed by Smith, Catalogue Raisonné, 9 [supplement]:206, no. 198, and 532, no. 12, as in Coll. Mogge Muilman, Amsterdam, andas by Terburg with horse and landscape by Philip Wouwermans); to his wife Magdalena Antonia Muilman (1788–1853), Amsterdam, in 1849; to their daughter Anna Maria Mogge Muilman (1811–1878), Amsterdam; to her stepson Jonkheer Jacobus Salomon Hendrik van de Poll (1837–1880); bequeathed by him to Rijksmuseum, Amsterdam in 1880.

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Unger, J. H. W. “Vondelania II. Vondel’s handschriften.” Oud Holland 2 (1884): 26–32.

Vis, J. “Alkmaarse stadsdoctoren in de zestiende eeuw.” Oud Alkmaar 23, no. 1 (1999): 12–23.

Vos, Jan. Alle de gedichten van den Poëet Jan Vos. 2 vols. Amsterdam: Jacob Lescailje, 1662–71

Vries, A. D. de. “Biografische Aanteekeningen.” Oud Holland 3 (1885): 64–67 and 137–39.

Wagenaar, Jan. Amsterdam in zyne opkomst, aanwas, geschiedenissen, voorregten, koophandel, gebouwen, kerkenstaat, schoolen, schutterye, gilden en regeeringe. 4 vols. Amsterdam: Yntema en Tieboel, 1760–88.

Walsh, Amy, Edwin Buijsen, and B. P. J. Broos. Paulus Potter: Paintings, Drawings and Etchings. Exh. cat. The Hague: Mauritshuis, 1994.

Wieseman, Marjorie. “Rembrandt’s Portrait(s?) of Frederik Rihel.” National Gallery Technical Bulletin 31 (2010): 96–111.

Wessely, J. E. Abraham Blooteling. Leipzig: Verlag von Rudolf Weigel, 1867.

Wurzbach, Alfred von. Niederländisches Künstler-Lexikon. Vienna: Halm und Goldmann, 1906–11.

List of Illustrations

Thomas de Keyser,  Equestrian Portrait of Pieter Schout (1640–166, 1660,  Amsterdam, Rijksmuseum
Fig. 1 Thomas de Keyser, Equestrian Portrait of Pieter Schout (1640–1669), 1660, oil on copper, 86 x 69.5 cm. Amsterdam, Rijksmuseum, inv. SK-A-697 (artwork in the public domain) [side-by-side viewer]
Gerard ter Borch,  Henri d’Orléans, duc de Longueville,  ca. 1646/47,  Münster, Stadtmuseum
Fig. 2 Gerard ter Borch, Henri d’Orléans, duc de Longueville, ca. 1646/47, oil on canvas, 47.5 x 39.5 cm. Münster, Stadtmuseum (artwork in the public domain) [side-by-side viewer]
Antoine de Pluvinel,  L'Instruction du Roy en l'exercice de monter à , 1625,
Fig. 3 Antoine de Pluvinel, L’Instruction du Roy en l’exercice de monter à cheval (Paris: Michel Nivelle, 1625), fig. 44 (pl. 39), engraving (artwork in the public domain) [side-by-side viewer]
Salomon Saverij, Cavalcade Greeting the Entry into Amsterdam of Ma, 1660, Amsterdam, Rijksprentenkabinet
Fig. 4 Salomon Saverij, Cavalcade Greeting the Entry into Amsterdam of Maria Henrietta Stuart and Prince Willem III, pl. 4, 1660, etching, 31.6 x 46.7 cm. Amsterdam, Rijksprentenkabinet, inv. RP-P-OB-24.016 (artwork in the public domain) [side-by-side viewer]
Salomon Saverij, Detail of fig. 4., Cavalcade Greeting the Entry i, 1660, Amsterdam, Rijksprentenkabinet
Fig. 5 Detail of fig. 4. [side-by-side viewer]
Adriaen van de Velde,  Equestrian Portrait of an Unknown Man,  f. 1658, Great Britain, private collection
Fig. 6 Adriaen van de Velde, Equestrian Portrait of an Unknown Man, oil on canvas (oval), 33 x 25.5 cm, signed and dated: A.v.velde. f. 1658. Great Britain, private collection (artwork in the public domain) [side-by-side viewer]
Abraham Blooteling, after Thomas de Keyser, Equestrian Portrait of Pieter Schout, 3rd state , Amsterdam, Rijksprentenkabinet
Fig. 7 Abraham Blooteling, after Thomas de Keyser, Equestrian Portrait of Pieter Schout, engraving, 59.5 x 42.8 cm, 3rd state with verse by Jacobus Heiblocq. Amsterdam, Rijksprentenkabinet, inv. RP-P-OB-67.481 (artwork in the public domain) [side-by-side viewer]

Footnotes

  1. 1. Walter Liedtke, The Royal Horse and Rider: Painting, Sculpture and Horsemanship 1500–1800 (New York: Abaris Books, 1989); recipient of the 1989 award from the Confédération Internationale des Négociants en Oeuvres d’Art.

  2. 2. Signed to the right of Schout’s leg, at the lower edge of the saddlecloth, in brown paint: TdK (in monogram) 1660. Ann Jensen Adams, “The Paintings of Thomas de Keyser (1596/7–1667): A Study of Portraiture in Seventeenth-Century Amsterdam,” (PhD diss., Harvard University, 1985), vol. 3/4, cat. 91; Jonathan Bikker, Yvette Bruijnen, and Gerdina Eleonora Wuestman, Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam (Amsterdam: Rijksmuseum, 2007), 1:236–37, cat. 162; illus. 2:162.

  3. 3. For paintings on copper, see Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper 1575–1775, exh. cat. (Phoenix Art Museum,; Kansas City: The Nelson-Atkins Museum of Art, ; and The Hague: Royal Cabinet of Paintings Mauritshuis/New York and Oxford: Oxford University Press, 1998).

  4. 4. The two other equestrian portraits are pairs of riders; see Adams, “Thomas de Keyser,” vol. 3/4, cats. 92 (Worms) and 94 (Dresden); with a version of cat. 92 in Buckingham Palace (cat. 93).

  5. 5. Johan E. Elias, De vroedschap van Amsterdam 1578–1795 (Haarlem: V. Loosjes, 1903–5), 2:869.

  6. 6. Her parents were Dirk van Oorschot and Carharina Jorisdr; see J. Vis, “Alkmaarse stadsdoctoren in de zestiende eeuw,” Oud Alkmaar 23, no. 1 (1999): 12–23, esp. 14, citing W. A. Fasel, ed., Alkmaar en zijne geschiedenissen: Kroniek van 1600–1831 (Alkmaar: Vereniging Oud Alkmaar, 1973), 32.

  7. 7. Banns: Stadsarchief Amsterdam (hereafter: SAA), DTB 446, p. 217; position and marriage: Elias, Vroedschap, 2:869. Bartholomeus Schout was born in 1612 and buried in the Nieuwe Kerk on February 4,1676: SAA, DTB 1056, pp. 116–17; his wife Joanna van Oirschot was born in Alkmaar in 1615 and buried in the Nieuwe Kerk on May 9, 1680: SAA, DTB 1056, pp. 191–92. In 1652 Joanna’s brother Joris (1625–1681) married Maria Coymans; see Elias, Vroedschap, 2:760. In 1643 sister Maria (1622–1695) married Alberto Muylman (1622–1678); see Elias, Vroedschap, 2:866.

  8. 8. SAA, DTB 42, p. 218; I am grateful to Marten Jan Bok for locating Pieter Schout’s baptismal record and identifying Schout’s parents. Other children baptized by his parents included Jan on March 23, 1638, Stijntje on August 2, 1639, Christijna on July 17, 1642, Dirck on December 3, 1645, Jan on June 21, 1650, and Cristina on July 2, 1652. They buried children on October 5, 1639, and October 20, 1650; a Jan Schout buried on October 8, 1652 may also have been one of their children. Apparently none of these children outlived their parents.

  9. 9. SAA, DTB 1056, pp. 6–7.

  10. 10. Sale, Amsterdam (de Bosch and Yver), October 5, 1767, p. 50, no. 204.

  11. 11. John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters (London: Smith and Son, 1829–42), 1:317, no. 399; 9 (supplement):206, no. 198, and 532, no. 12. Apparently Smith knew the work only through Blootelingh’s print in 1829, but had located the painting itself by 1842.

  12. 12. Adams, “Thomas de Keyser,” vol. 1/2, 482.

  13. 13. In Copper as Canvas Luuk Pijl and Michael Komaneckynote that the horse was painted before the landscape, which is drawn up against it; see also technical notes in Bikker, Dutch Paintings, 1:236–37, cat. 162. For a discussion of van de Velde’s landscapes, see W. W. Robinson, “Preparatory Drawings by Adriaen van de Velde,” Master Drawings 17 (1979): 3–23, esp. 5–14.

  14. 14. The breed of the horse was first identified by S. G. A. van Leeuwen, “Geschiedenis der Nederlandsche Paarden fokkerij in Nederland” (PhD diss., Utrecht University, 1922), 71.

  15. 15. For the royal tradition, see Liedtke, Royal Horse and Rider.

  16. 16. Portrait of Karl Ludwig: oil on panel, 39 x 29 cm, Mannheim, Städtisches Reiss-Museum; see S. J. Gudlaugsson, Gerard ter Borch (The Hague: M. Nijhoff, 1959–60), 1:58–59, 72, illus. 50, 65; 2:78–79 (cat. 50), 87 (cat. 65); Klaus Bussmann et al., 1648, War and Peace in Europe, exh. cat. (Munster: Westfälisches Landesmuseum, 1998), 1: 200, no. 567.

  17. 17. For Rihel, see I. H. van Eeghen, “Frederick Rihel een 17de Eeuwse Zakenman en Paardenliefhebber,” Amstelodamum Maandblad 45 (April 1958): 73–81; Marjorie Wieseman, “Rembrandt’s Portrait(s?) of Frederik Rihel,” National Gallery Technical Bulletin 31 (2010): 96–111. Paulus Potter painted a life-sized equestrian portrait sometime before 1653. On Potter and his move to Amsterdam, see Amy Walsh, Edwin Buijsen, and B. P. J. Broos, Paulus Potter: Paintings, Drawings and Etchings, exh. cat. (The Hague: Mauritshuis, 1994), 14. Walsh has suggested (verbally) that it may have been originally painted for a court patron in The Hague—possibly Prince Maurits—but for some reason remained undelivered. The painting was signed and dated 1653, and then at some point the head was repainted with that of Dirck Tulp (1624–1682), the son of Nicolaes Tulp, who had invited Potter to move to Amsterdam from The Hague in 1652.

  18. 18. Antoine de Pluvinel, L’Instruction du Roy en l’exercice de monter à cheval, par messire Antoine de Pluvinel . . . Enrichy de grandes figures en taille-douce . . . desseignées et gravées par Crispian de Pas le jeune (Paris: Michel Nivelle, 1625).

  19. 19. William Cavendish, Methode et invention nouvelle de dresser les chevaux (Antwerp: Jacques van Meurs, 1657 [1658]). See Karen Raber, “‘Reasonable Creatures’ William Cavendish and the Art of Dressage,” in Renaissance Culture and the Everyday, eds. Patricia Fumerton and Simon Hunt (Philadelphia: University of Pennsylvania Press, 1999), 42–66.

  20. 20. Van Eeghen, “Frederick Rihel,” 75n2.

  21. 21. A horse performing a levade bends his haunches deeply, raises his body at about a forty-five degree angle, and tucks both forelegs beneath him.

  22. 22. D. C. Meijer, Jr., “De Amsterdamsche Schutters-stukken in en buiten het Nieuwe Rijksmuseum. IV. Thomas de Keyser, Joachim Sandrart,” Oud Holland 6 (1888): 225–40, esp. 234, first linked the painting and the event, followed by J. O. Kronig, “Thomas Hendricks de Keyser,” Onze Kunst 16 (1909): 77-85, 109–126, esp. 122; R. van Luttervelt, “De Grote Ruiter van Rembrandt,” Nederlands Kunsthistorisch Jaarboek8 (1957): 185–219, esp. 201. On the triumphal entry itself, see Jan Wagenaar, Amsterdam in zyne opkomst, aanwas, geschiedenissen, voorregten, koophandel, gebouwen, kerkenstaat, schoolen, schutterye, gilden en regeeringe (Amsterdam: Yntema en Tieboel, 1760–88), 1:601; and Derk Persant Snoep, Praal en propaganda: Triumfalia in de Noordelijke Nederlanden in de 16de en 17de eeuw (Alphen aan de Rijn: Canaletto, 1975), 86. https://doi.org/10.1163/187501788X00249

  23. 23. Van Luttervelt, “De Grote Ruiter,” 201. Bikker, Bruijnen, and Wuestman, Dutch Paintings, 1:236–37, cat. 162; Frederik Muller, De Nederlandsche geschiedenis in platen (Amsterdam: Muller, 1863–82),1:313–14, no. 2170/4; F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings, and Woodcuts, Ca. 1450–1700, vol. 14, Meer–Ossenbeeck (1956), 172, 176, cats. 91, 211.

  24. 24. The names of the participants are listed by van Eeghen, “Frederick Rihel,” 75n2, as noted by Bikker, Dutch Paintings, 1:236–37, cat. 162. For the Entry, see Snoep, Praal en propaganda, 86–87.

  25. 25. Van Eeghen, “Frederick Rihel,” 75 n2 (transcribed from the print after Pieter Nolpe).

  26. 26. Van Luttervelt, “De Grote Ruiter,” 200, suggests that the cavalcades may have been designated by colors: orange, white, and blue.

  27. 27. On Jan Vos, see S. A. C. Dudok van Heel, “Jan Vos (1610–1667),” Jaarboek van het genootschap Amstelodamum 72 (1980): 23–43; Nina Geerdink, De sociale verankering van het dichterschap van Jan Vos (1610–1667) (Hilversum, Verloren, 2012).

  28. 28. F. J. Duparc, “Een onbekend ruiterportret door Adriaen van de Velde,” in Face Book: Studies on Dutch and Flemish Portraiture of the 16th–18th Centuries; Liber Amicorum Presented to Rudolf E. O. Ekkart on the Occasion of His 65th Birthday, eds. E. Buijsen, Ch. Dumas, and V. Manuth (Leiden: Primavera Pers, 2012), 331–34.

  29. 29. Martin Jan Bok, email of August 20, 2012.

  30. 30. Bikker, Dutch Paintings, 1:236–37, cat. 162, citing for his graduation from Leiden University, P. C. Molhuysen, Bronnen tot de geschiedenis der Leidsche Universiteit (’s-Gravenhage: Martinus Nijhoff, 1913–24), 4:295, and for his appointment as bailiff, Rechterlijke Archieven (South Holland), Hagestein, 1515–1811, no. 3.03.08.049, inv. 19, Rechtsdagen 1664–87, unpag.

  31. 31. Bikker, Dutch Paintings, 1:236–37, cat. 162. Schout is described as “Canonicus Ultraject” on the text accompanying the print by Abraham Blooteling, and in the dedication to Jan Neuye, Eneas of Vader des Vaderlants (Amsterdam: Johannes van den Bergh, 1664).

  32. 32. Neuye, Eneas of Vader des Vaderlants, dedication.

  33. 33. SAA (Weeskamer 5073), inv. 951, February 22, 1635; “The Montias Database of 17th Century Dutch Art Inventories,” Frick Art Reference Library, inv. 634, lot 102. http://research.frick.org/montias/home.php. An image of the Ascension, possibly by the printmaker Jan Muller, sold for fourteen guilders, although this would have been a high price to pay for a print.

  34. 34. SAA, Kwijtscheldingsregisters: scan 21618287.

  35. 35. Adams, “Thomas de Keyser,” vol. 3/4, cat. 35.

  36. 36. Adams, “Thomas de Keyser,” vol. 3/4, cats. D-2 (now accepted as original) and U-14; see also cat. R-87. Jacob de Graeff is listed on the print after Pieter Nolpe as being at the head of one of the cavalcades.

  37. 37. In addition to the poems about Pieter Schout mentioned above, individual poems by Vos honor Pieter’s father, Bartholomeus Schout (Jan Vos, Alle de gedichten van den Poëet Jan Vos [Amsterdam: Jacob Lescailje, 1662–71],1:479, no. 702), his mother Joanna van Oorschot (1:841), and Joanna van Oorschot upon her son Pieter’s earning the right to practice law (1:788–91). In addition, individual poems celebrate (a double?) portrait of Bartholomeus Schout and his wife (1:175), a portrait of his wife Joanna van Oorschot (2:176), and a portrait of her father, Dirk van Oorschot, which identifies for us Dirk van Oorschot as Bartholomeus Schout’s father-in-law (1:798). Since Dirk lived in Alkmaar, it is most likely that the portrait was commissioned by Bartholomeus, who lived in Amsterdam, and may have even hung in his home). Vos also celebrated a painting owned by Bartholomeus Schout, Manoah’s Sacrifice by “M. T.” (1: 561). If “M” stands for “Meneer” the artist might possibly be the history painter Jan Tengnagel (1584–1635), or Rombout van Troyen (active 1605–1650).

  38. 38. Vos, Alle de gedichten, 1:788 (on graduation from Leiden); 1:843 (on dinner celebrating appointment as Duikgraff [Canon of Oud Munster]); 1: 483 (from an actor to Schout); 2:173 (on [what may well be another] portrait of Schout).

  39. 39. Vos, Alle de gedichten, 1:176.

  40. 40. Translation mine; I am grateful to Suzanne van de Meerendonk for several excellent suggestions.

    Den E. Heer Pieter Schout Op zyn Paardt geschildert, &c.

    Dus zag men Schout, toen hij Oranjen in hulp haalen.
    Hy wykt geen Kastor in het mennen van een paardt.
    Wie ‘t hof ontmoeten wil, behoort in all’s te praalen.
    Hy toont zich afgerecht, om ‘t schitterende zwaardt,
    En balderendt pistool, als ‘t noodt doet, te gebruiken.
    De dapperheidt verstrekt de steeden tot een schildt.
    Wie dat de Vryheidt mint behoedt haar recht voor duiken.
    Zyn zucht tot weetenschap, die nimmer tydt verspilt,
    En oordeel over kunst, bestellen stof tot dichten.
    Wie ryk van gaaven is weet yder te verplichten.

  41. 41. Beschrijving der Schilderijen van het Rijksmuseum te Amsterdam (’s-Gravenhage: Algemeene Landsdrukkerij, 1880), 483; copper plate still owned by family van de Poll in 1880.

  42. 42. Blooteling left for London in 1673, but in 1678 he is documented again in Amsterdam, where he died in 1690. On Blooteling, see J. E. Wessely, Abraham Blooteling (Leipzig: Verlag von Rudolf Weigel, 1867); A. D. de Vries, “Biografische Aanteekeningen,” Oud Holland 3 (1885): 64–67 and 137–39; Alfred von Wurzbach, Niederländisches Künstler-Lexikon (Vienna: Halm und Goldmann, 1906–11), 1:118; Mary Bryan Curd, “Making a Fine Impression: Abraham Blooteling and His Fellow Engravers, 1673–1684,” inCurd, Flemish and Dutch Artists in Early Modern England: Collaboration and Competition, 1460–1680 (Farnham, England, and Burlington, Vt.: Ashgate, 2010), 127–62, and esp. “Dated Engravings by Abraham Blooteling,” 175–82 (Appendix, table 5.1), and “Approximately Dated Engravings by Abraham Blooteling, 1665–1690,” 183–93.

  43. 43. Hollstein, Dutch and Flemish Etchings, Engravings, and Woodcuts, vol. 2, Berckheyde–Bodding (1950), 179, cat. 30; Adams, “Thomas de Keyser,” vol. 3/4, cat. P-8.

  44. 44. For the album amicorum (now in the collection of the Koninklijke Bibliotheek in The Hague), see The Album Amicorum of Jacob Heyblocq: Introduction, Transciptions, Paraphrases and Notes to the Facsimile, ed. Kees Thomassen and J. A. Gruys (Zwolle: Waanders Publishers, 1998). I am grateful to the reviewer of this essay for pointing this out.

    The poem reads:

    Gloria candoris patrii, genitricis imago!
    Quam propriâ Charites effifiare manu.
    Hagest eina tibi Satrape quo, cive placebas
    Amstela, Rhene pater nomina clara dabas.
    Florentem trux Parca scidit, materque cadentem
    Hactenus heu! lachrymis est comitata suis;

    Cui Pater: incassum gemimus, mea funera conjux!
    Non malè nesciimus nonpotuisse mori.
    Ille per Empyreas graditur generosior aulas
    Quàm fuit in terris hîc tibi celsus eques.
    Quámque parùm fragili liceat confidere vitae,
    Exemplo discas, o mea sponsa, meo!

    SOLIDÉ
    Jacobus Heiblocq
    Gymn: Amst: in nova urbis regione Rector

    On Heiblocq see J. H. W. Unger, “Vondelania II. Vondel’s handschriften,” Oud Holland 2 (1884): 26–32; Album Amicorum of Jacob Heyblocq, 2:11–20, 36, 38. In 1648 Heiblocq was appointed an instructor at the Latin school on the Gravenstraat, Nieuwe zijd, and its rector in June 1670.

     

  45. 45. Pieter Schout Muilman was baptized in the Oude Kerk, Amsterdam, on November 21, 1672 (SAA, DTB 10, p. 166). His father’s elder brother Albert Muilman (1622–1678) was married to Pieter Schout’s aunt, Maria van Oorschot (1622–1695), the sister of his mother Jannetje van Oirschot (Oorschot; 1615–1680). See also Elias, Vroedschap, 2:869n; and Chr. J. Polvliet, “Het Geslacht Muilman,” De Wapenheraut 2 (1898): 209–12; Notes and Queries, London, April 27, 1861, 324–25.

  46. 46. Cornelis van der Bas, “The Muilman Collection: The Progressive Taste of an Eighteenth-Century Banking Family,” Simiolus 32, nos. 2–3 (2006): 156–81.

  47. 47. Since there is further no trace of Pieter Schout’s siblings in the archives, they must have also died before their parent’s deaths.

  48. 48. Possibly collection Pieter Schout (1640–1669); probably to his father Bartholomeus Jansz Schout (1612–1676); probably to his godson, Pieter’s namesake and a distant cousin Pieter Schout Muilman (1672–1757), Amsterdam; to his younger son Daniël Roelof Muilman (1717–1801), Amsterdam; to Hendrik Muilman (1743–1812) in 1801; to Willem Ferdinand Mogge Muilman (1778–1849), Amsterdam, in 1812 (sources for Daniël Roelof, Hendrik, and Willem Ferdinand Mogge Muilman: van der Bas, “The Muilman Collection”; listed by Smith, Catalogue Raisonné, 9 [supplement]:206, no. 198, and 532, no. 12, as in Coll. Mogge Muilman, Amsterdam, andas by Terburg with horse and landscape by Philip Wouwermans); to his wife Magdalena Antonia Muilman (1788–1853), Amsterdam, in 1849; to their daughter Anna Maria Mogge Muilman (1811–1878), Amsterdam; to her stepson Jonkheer Jacobus Salomon Hendrik van de Poll (1837–1880); bequeathed by him to Rijksmuseum, Amsterdam in 1880.

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DOI: 10.5092/jhna.2017.9.1.9
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Ann Jensen Adams, "Thomas de Keyser’s Equestrian Portrait of Pieter Schout," Journal of Historians of Netherlandish Art 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.9