The Amsterdam Civic Guard Pieces Within and Outside the New Rijksmuseum Part IV

Nicolaes Eliasz Pickenoy,  The Osteology Lesson of Dr. Sebastiaen Egbertsz, 1619, Amsterdam Museum

This fourth installment of D. C. Meijer Jr.’s article on Amsterdam civic guard portraits focuses on works by Thomas de Keyser and Joachim von Sandrart (Oud Holland 6 [1888]: 225–240). Meijer’s article was originally published in five installments in the first few issues of the journal Oud Holland.For translations (also by Tom van der Molen) of the first two installments, see JHNA 5, no. 1 (Winter 2013). For the third installment, see JHNA 6, no. 1 (Winter 2014).

DOI: 10.5092/jhna.jhna.2014.6.2.4
Nicolaes Eliasz Pickenoy,  The Osteology Lesson of Dr. Sebastiaen Egbertsz, 1619, Amsterdam Museum
Fig. 1 Nicolaes Eliasz Pickenoy, The Osteology Lesson of Dr. Sebastiaen Egbertsz, 1619. Amsterdam Museum, inv. no. SA 7352 (artwork in the public domain) [side-by-side viewer]
Jonas Suyderhoeff, after a design by Thomas de Keyser,  Portrait of Hendrick de Keyser (1565–1621),  after 1623,  Rijksmuseum, Amsterdam
Fig. 2 Jonas Suyderhoeff, after a design by Thomas de Keyser, Portrait of Hendrick de Keyser (1565–1621), after 1623. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-60.736 (artwork in the public domain) [side-by-side viewer]
Thomas de Keyser,  Company of Captain Allaert Cloeck and Lieutenant, 1632,  Rijksmuseum, Amsterdam
Fig. 3 Thomas de Keyser, Company of Captain Allaert Cloeck and Lieutenant Lucas Jacobsz Rotgans, 1632. Rijksmuseum, Amsterdam, inv. no. SK-C-381, on loan from the city of Amsterdam (SA 7353) (artwork in the public domain) [side-by-side viewer]
Thomas de Keyser,  Company of Captain Jacob Symonsz de Vries and Li, 1633, Amsterdam Museum
Fig. 4 Thomas de Keyser, Company of Captain Jacob Symonsz de Vries and Lieutenant Dirck de Graeff, 1633. Amsterdam Museum, inv. no. SA 7354 (artwork in the public domain) [side-by-side viewer]
Theodor Matham,  Portrait of Dirck Pietersz Pers,  ca. 1665,  Rijksmuseum, Amsterdam
Fig. 5 Theodor Matham, Portrait of Dirck Pietersz Pers, ca. 1665. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-23.254 (artwork in the public domain) [side-by-side viewer]
Crispijn van de Passe, after Thomas de Keyser,  Portrait of Carolus Niellius,  after 1652,  Rijksmuseum, Amsterdam
Fig. 6 Crispijn van de Passe, after Thomas de Keyser, Portrait of Carolus Niellius, after 1652. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-15.804X (artwork in the public domain) [side-by-side viewer]
Thomas de Keyser,  The Amsterdam Burgomasters Hear of the Arrival o, 1638, Amsterdam Museum, on loan from the Mauritshuis, The Hague
Fig. 7 Thomas de Keyser, The Amsterdam Burgomasters Hear of the Arrival of Marie de Medici, 1638. Amsterdam Museum, inv. no. SB 5755, on loan from the Mauritshuis, The Hague (artwork in the public domain) [side-by-side viewer]
Jonas Suyderhoeff, after Thomas de Keyser,  The Amsterdam Burgomasters Hear of the Arrival o, 1638,  Rijksmuseum, Amsterdam
Fig. 8 Jonas Suyderhoeff, after Thomas de Keyser, The Amsterdam Burgomasters Hear of the Arrival of Marie de Medici, 1638. Rijksmuseum Amsterdam, inv. no. RP-P-OB-60.665 (artwork in the public domain) [side-by-side viewer]
Jacob Houbraken,  Portrait of Burgomaster Abraham Boom,  1749–59,  Rijksmuseum, Amsterdam
Fig. 9 Jacob Houbraken, Portrait of Burgomaster Abraham Boom, 1749–59. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-48.365 (artwork in the public domain) [side-by-side viewer]
Nicolaes Lastman and Adriaen van Nieulandt,  Company of Captain Abraham Boom and Lieutenant O, 1623, Amsterdam Museum
Fig. 10 Nicolaes Lastman and Adriaen van Nieulandt, Company of Captain Abraham Boom and Lieutenant Oetgens van Waveren, 1623. Amsterdam Museum, inv. no. SA 7361 (artwork in the public domain) [side-by-side viewer]
Jacob Houbraken,  Portrait of Albert Coenraedsz Burgh,  1749–59,  Rijksmuseum, Amsterdam
Fig. 11 Jacob Houbraken, Portrait of Albert Coenraedsz Burgh, 1749–59. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-48.867 (artwork in the public domain) [side-by-side viewer]
Thomas de Keyser,  Portrait of Pieter Schout,  1660,  Rijksmuseum, Amsterdam
Fig. 12 Thomas de Keyser, Portrait of Pieter Schout, 1660. Rijksmuseum, Amsterdam, inv. no. SK-A-697 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Company of Captain Cornelis Bicker and Lieutenan, 1640,  Rijksmuseum, Amsterdam
Fig. 13 Joachim von Sandrart, Company of Captain Cornelis Bicker and Lieutenant Frederick van Banchem, 1640. Rijksmuseum, Amsterdam, inv. no. SK-C-393, on loan from the city of Amsterdam, inv. no. SA 7399 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Pieter Cornelis Hooft, 1642,  Rijksmuseum, Amsterdam
Fig. 14 Joachim von Sandrart, Portrait of Pieter Cornelis Hooft, 1642. Rijksmuseum, Amsterdam, inv. no. SK-A-364 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Jacob Bicker, Amsterdam Museum
Fig. 15 Joachim von Sandrart, Portrait of Jacob Bicker. Amsterdam Museum, inv. no. SA 2078 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Alida Bicker, Amsterdam Museum
Fig. 16 Joachim von Sandrart, Portrait of Alida Bicker. Amsterdam Museum, inv. no. SA 2077 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Hendrick Bicker,  Amsterdam Museum
Fig. 17 Joachim von Sandrart, Portrait of Hendrick Bicker. Amsterdam Museum, inv. no. SA 7400 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Eva Geelvinck,  Amsterdam Museum
Fig. 18 Joachim von Sandrart, Portrait of Eva Geelvinck. Amsterdam Museum, inv. no. SA 7401 (artwork in the public domain) [side-by-side viewer]
  1. 1. For the De Keyser family, see A. W. Weismann, “Het geslacht De Keyser (met stamboom),” Oud-Holland 22 (1904): 65–91; E. Neurdenburg, De zeventiende eeuwsche beeldhouwkunst in de Noordelijke Nederlanden (Amsterdam, 1948). For Hendrick de Keyser, see Koen Ottenheym, Paul Rosenberg, and Niek Smit, Hendrick de Keyser: Architectura moderna; “Moderne” bouwkunst in Amsterdam 1600–1625(Amsterdam, 2008). For Thomas de Keyser, see 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 / Ann Arbor: UMI, 1988). Adams provides all the archival documents mentioned in this text, often with an English summary. Adams’s monograph on De Keyser is forthcoming.

  2. 2. Amsterdam City Archives, DTB 405, Church Marital Registers, f. 414, April 6, 1591.

  3. 3. [Meijer’s note: Brieven van Hooft, edition 1855 I, 15.] De briefwisseling van P. C. Hooft, ed. H. W. van Tricht et al. (Culemborg, 1976), 1:89.

  4. 4. [Meijer’s note: According to a note on p. 76 of the third year of this magazine, a house that was owned by Pieter de Keyser was rebuilt for that purpose in 1641.] A. D. de Vries, “Biografische aantekeningen,” Oud Holland 3 (1885): 76.

  5. 5. Christiaan Kramm, De levens en werken der Hollandsche en Vlaamsche kunstschilders, beeldhouwers, graveurs en bouwmeesters, van den vroegsten tot op onzen tijd(Amsterdam, 1857–64), 868–69. 

  6. 6. Pieter was actually the brother-in-law of Nicholas Stone. On April 25, 1613, he registered to marry Maeyken de Keyser. According to the marital registers, this registration was witnessed by her father Hendrik de Keyser and her mother Barbara [sic] van Wilder. Amsterdam City Archives, DTB 417, Church Marital Registers, f. 100, April 25, 1613.

  7. 7. [Meijer’s note: Kroon, Het Amsterdamsch Stadhuis, blz. 141, 143] A.W. Kroon, Het Amsterdamsche stadhuis (thans paleis), 1625–1700(Amsterdam, 1867), 141–43.

  8. 8. He died in1676. Amsterdam City Archives, DTB 1074, Burial Registers Noorder Kerk en Kerkhof, f. 48, December 7, 1676.

  9. 9. According to RKD Artists, the RKD’s online database: “After 1674, probably in London.”

  10. 10. [Meijer’s note: Kroon, Het Amsterdamsch Stadhuis, blz. 141, 143] A. W. Kroon, Het Amsterdamsche stadhuis (thans paleis), 1625–1700 (Amsterdam, 1867), 141–43.

  11. 11. Simon Bosboom, Cort onderwys van de vyf Colommen (Amsterdam, 1670). See also A. W. Weissman, “Symon Bosboom,” Oud-Holland 25 (1907): 1–8.

  12. 12. Salomon de Bray, Architectura moderna ofte bouwinge van onsen tyt (Amsterdam, 1631), 7 (facsimile edition in DBNL).

  13. 13. Johannes Monnikhoff noted this in Groot Memoriaal van het Chirurgijnsgild. See Monnikhoff, Na-reeden, manuscript in the copy of the book Privilegien, willekeuren en ordonnantien, betreffende het Collegium chirurgicum Amstelaedamense (Amsterdam, 1736) once owned by Hermanus Meyer. Copy in the University Library of the University of Amsterdam. Johannes Monnikhoff (1707–1787) was himself a surgeon in Amsterdam.

  14. 14. Apart from Dr. Sebastiaan Egbertsz., there are actually five more men in the painting.

  15. 15. The painting is now attributed to Pickenoy; Nicolaes Eliasz Pickenoy, The Osteology Lesson of Dr. Sebastiaen Egbertsz, 1619, Amsterdam Museum, inv. no. SA 7352. The painting was on loan to the Rijksmuseum from the city of Amsterdam from 1885 until 1975.

  16. 16. The verse by Vondel:

    Hier leeft die leven gaf aen marmer, aen metael,

    Yvoor, albast en klay; dies laat zich Uytrecht hooren:

    Is Roome op kaysers prat, en kayserlycke prael;

    De Kayser van de kunst is uit myn schoot geboren.

    Here lives the one who gave life to marble, to metal

    Ivory, alabaster and clay; thus Utrecht lets itself hear:

    Let Rome be proud of its emperors and imperial glory

    The emperor of the arts was born from my womb.

    (Vondel makes a three-fold wordplay on De Keyser’s name. Keizermeans emperor in Dutch).

  17. 17. Vondel’s poem:
    Op den Heer Lavrens Reaal, Ridder, out Generaal van Oost Indien, &c
    .

    Zoo maalde een Kaizers hant den wackeren Reaal,

    Den Ridder, den Gezant, den grooten Generaal,

    Voorzien met brein in ‘t hooft, met oorlooghs moed in’t harte.

    ‘t Was hy, die Spanjen op sijn eigen bodem tarte.

    Vaar heen, gelauwert hooft, geluckelijck door zee,/En breng voor ‘t vaderlant ontelbre kranssen meê.

    On mister Laurens Reaal, former general of the East Indies, etc.

    Thus an emperor’s hand painted the alert Reaal,

    the knight, the envoy, the great general,

    provided with a brain in the head, with war’s courage in the heart.

    It was him that defied Spain on its own soil.

    Sail off, laurelled head, happily thorugh the sea,

    and bring with you many wreaths for the fatherland.

    (In the first line there is, again, a word play on De Keyser’s name, see note 16 above).

  18. 18. [Meijer’s note: In this journal, Vol. V, p. 150] G. van Ryn, “Arent Van Buchel’s Res Pictoriæ,” Oud Holland 5 (1887): 150.

  19. 19. Jan Six van Hillegom (1857–1926).

  20. 20. [Meijer’s note: This, of course, only applies to the man’s portrait, that of the woman is by another hand, maybe the same as the one who painted the young Reinier Pauw, later Lord of Ter Horst, and his wife Claertje Alewijn. These portraits have also been falsely attributed to De Keyser (Auction catalogue, Alewijn Family, 1886; see also my article in the Gids of 1886, pp. 329 and 330). On the other hand, in the Town Hall there are four heads (Nos. 169–172), probably from the Oude-mannenhuis [Old man’s asylum]. Three of those are rather safely by De Keyser. The Number 170 is signed and carries the date January 1631. (Catalogus van het Amsterdams Museum van het Koninklijk Oudheidkundig Genootschap in het Oude Mannenhuis, 1877, p. 37, no. 393 – Scheltema, Historische beschrijving der Schilderijen van het Raadhuis te Amsterdam, 1879, errata.) This panel certainly deserved to be transferred to the Rijksmuseum.] The Portrait of Reinier Pauwis by Paulus Moreelse and presently in the Rijksmuseum, Amsterdam, inv. no. SK-C-1440. The Portrait of Claertje Alewijn was lost in a fire in 1906. The “four heads” are in the Amsterdam Museum, inv. nos. SA 7365 (Scheltema no. 169), SA 7355 (Scheltema no. 170), SA 3046 (Scheltema no. 171), SA 3065 (Scheltema no. 172). Today only SA 7355 retains its attribution to De Keyser. [D. C. Meijer Jr. and A. D. de Vries azn.], Catalogus van het Amsterdamsch Museum van het Koninklijk Oudheidkundig Genootschap in de zalen van het Oude-Mannenhuis (Amsterdam, 1877). Pieter Scheltema,Historische beschrijving der schilderijen van het stadhuis te Amsterdam(Amsterdam, 1879).

  21. 21. [Meijer’s note: In this journal, Vol. IV, p. 101. In the catalogue by Mr. Bredius it has been attributed to Claes Elias now as well (no. 338).] J. Six, “Nicolaes Eliasz Pickenoy,” Oud Holland 4 (1886): 81–108. Nicolaes Elias Pickenoy, Portrait of Marten Rey, 1627, Rijksmuseum, Amsterdam, inv. no. SK-A-698.

  22. 22. Thomas de Keyser, Company of Captain Allaert Cloeck and Lieutenant Lucas Jacobsz Rotgans, 1632, Rijksmuseum, Amsterdam, inv. no. SK-C-381, on loan from the city of Amsterdam (SA 7353); Jan van Dyk, Kunst en Historiekundige beschryving en aanmerkingen over alle de schilderyen op het Stadhuis te Amsterdam (Amsterdam: Yver, 1758), no. 22; Scheltema, Historische beschrijving, no. 56; Ann Jensen Adams, “Civic Guard Portraits: Private Interests and the Public Sphere,” in Beeld en Zelfbeeld in de Nederlandse Kunst, 1550–1750 / Image and Self Image in Netherlandish Art, 1550–1750, ed. Reindert Falkenburg, Jan de Jong, Herman Roodenburg, and Frits Scholten, 169–97, Nederlands Kunsthistorisch Jaarboek 46 (1995).

    Thomas de Keyser, Company of Captain Jacob Symonsz de Vries and Lieutenant Dirck de Graeff, 1633, Amsterdam Museum, inv. no. SA 7354; Scheltema, Historische beschrijving, no. 55 (as Thomas de Keyser).

  23. 23. Op D. P. Pers

    Gy burgers en vremden.

    Dit’s Perssius van Embden.

    Syn beelt na Febus zwijmt;

    ‘t Zy dat hy dicht of rijmt.

    Die sijn boecken, en prenten

    Op ‘t dierste weet te venten.

    You burghers and strangers
    This is Perssius from Emden
    His image appears to be Febus (Apollo);

    Be it that he writes poetry or rhymes

    Who knows how to sell his books and prints

    As expensive as possible.

    Op D. P. Pers [II]

    Vernuftig volck, die steets bepropt uw ruime winkels,

    En kleed in ‘t parkament, de beenen noch de schinkels,

    Maer ‘t breyn der geener die met letters zyn gedoopt.

    Komt en siet Persius uw glori, hoog gezeten,

    Die, midden in het choor der Hollandtsche Poëten

    Met ‘t drucken van sijn rijm, veel geldt te zamen hoopt.

    Smart people, that always fill your large shops

    And pack in parchment bones nor legs,

    but the brain of those that have been baptized into the letters

    Come and see Persius, your glory, seated high

    Who in the middle of the choir of Dutch poets
    amasses a lot of money, with printing his rhyme.

    J. F. M. Sterck et al., eds., De werken van Vondelpart V: 1645–1656 (Amsterdam, 1931), 243, 244.

     

  24. 24. Dirck Pietersz. Pers, Lucretia ofte het beeld der eerbaerheydt (Amsterdam, 1624).

  25. 25. Dirck Pietersz. Pers, Bacchus wonder-wercken, waarbij gevoegd is Suyp-stad, of Dronckaerts leven (Amsterdam, 1628). Available on DBNL: http://www.dbnl.org/tekst/pers001jeve01_01/

  26. 26. Dirck Pietersz. Pers, Jonas de straf-prediker (Amsterdam,1623).

  27. 27. Dirck Pietersz. Pers, Bellerophon of Lust tot wiisheit, Gesangh der zeeden, Urania of Hemel-sangh (Amsterdam, 1648). Available on DBNL: http://www.dbnl.org/tekst/pers001bell02_01/

  28. 28. For art historians, Pers’s most important contribution to the seventeenth century might have been his Dutch translation of Ripa’s Iconologia. Dirck Pietersz. Pers, Cesare Ripa’s Iconologia of Uytbeeldinghen des Verstants (Amsterdam, 1644). Available on DBNL: http://www.dbnl.org/tekst/pers001cesa01_01/

  29. 29. SAA, 5059, Collectie Stadsarchief Amsterdam, handschriften, no. 43, Handschriften van Gerrit Pietersz. Schaepbetreffende de geschiedenis van Amsterdam, ongedateerd, ‘No. 3,’ Schutterijen, ambten, colleges, onderwijs, godshuizen, fo. 30: “30 Junij Ao 1620, is bij de Burgemeesters Pau, Hoing, Fred. de Vrij, overstemmende Gerrit Jaep Witsen de Chrijgsraet op een ongewoonlijcke tijd, namentlijck des oghtens ten 8 uren doen vergaderen ende daarenboven alle de capiteins ende luitenants niet laten aanspreken of dagvaerden, maer alleen sommige ende sommige een ure later, ende hebben voorts de 2 luitenanten, Nanning Florisz Clouck van het derde vaendel ende Jan Claesz Vlooswijck van het 4e vaendel, van haer dienst, om eenige frivole segswoorden ende particuliere tegensprekinge aen Burgemeester Pau gedaen, afgeset. Ende datelijck 2 andere inde plaets gecoren: namentlijc N. 4 Ariaen (Arent) Pietersz Verburgh. Voor no. 3 Lucas Jacobsz Rotgans.”

  30. 30. J. F. Gebhard, “Een raadselachtige bladzijde bij Geeraert Brandt, opgehelderd door Bontemantel,” Oud Holland 1 (1883): 189–94.

  31. 31. [Meijer’s note: In the year that he [Allard Cloeck] acquired this rank (1630) Rotgans became “Commissary of small affairs” [an assistant to the Burgomasters to support them in their tasks], maybe as a compensation. On the list of names appears a Claes Nannings Cloeck as well (likely the ensign). According to the genealogy this cannot have been a brother of the captain; he was probably the son of another Nanning Cloeck, who in turn was the son of Hendrik one of the brothers of Nannig Florisz].

  32. 32. Thomas de Keyser, Sketch for Company of Captain Allaert Cloeck and Lieutenant Lucas Jacobsz RotgansAlbertina,Vienna, inv. no. 9246.

  33. 33. Ann Jensen Adams reconstructs the genesis of the painting after the sketch in a different and more convincing way in “Civic Guard Portraits: Private Interests and the Public Sphere,” in Beeld en Zelfbeeld in de Nederlandse Kunst, 1550–1750 / Image and Self Image in Netherlandish Art, 1550–1750, ed. Reindert Falkenburg, Jan de Jong, Herman Roodenburg, and Frits Scholten, 169–97, Nederlands Kunsthistorisch Jaarboek 46 (1995).

  34. 34. Thomas de Keyser, Company of Captain Jacob Symonsz de Vries and Lieutenant Dirck de Graeff, 1633, Amsterdam Museum, inv. no. SA 7354; Scheltema, Historische beschrijving, no. 55 (as Thomas de Keyser).

  35. 35. Now Spuistraat

  36. 36. Now Paleisstraat

  37. 37. Both the pipe market and the wood (and later flower) market were part of the Nieuwezijds Voorburgwal

  38. 38. A. Bredius, “De Geschiedenis van een Schutterstuk,” Oud Holland 31 (1913): 81–84, relates the story behind the painting. Hals was commissioned to paint it in 1633 but soon got into conflict with the officers, because he did not want to journey to Amsterdam to paint them and they did not wish to travel to Haarlem. 

  39. 39. [Meijer’s note: A. D. de Vries found (according to his article De kunst op de Historische Tentoonstelling [The Art in the Historical Exhibition] in De Gids of 1876), a record of a son from his first marriage, in 1636, and of a daughter with his second wife, in 1643. The son’s name was Andries, the same as Thomas’ s first child with Machteld Andriesdr. (whom he married in 1626). He was baptized April 15, 1627, in the Oude Kerk. Both children died young, because Thomas had only one child, the six-year-old Hendrik, when he was married again, in 1640, to Aeltje Heymericx. Thomas “proved” (promised) f 4,000 to him for the share of his mother’s inheritance (according to a record in the Orphansbook that Mr. De Roever gave to me), with the consent of Maritgen Bruynen (widow of Andries Freericksz) and of Bruyn Andriesz., the grandmother and uncle of the child respectively.”] A. D. de Vries, “De schilderkunst op de historische tentoonstelling te Amsterdam,” De Gids 40, no. 3 (1876): 542, n. 1.

  40. 40. [Meijer’s note: The portrait is currently in the Remonstrant church in Amsterdam. It has been published as a print by C. de Pas.] Currently, the portrait is on loan to Museum het Catharijneconvent in Utrecht, inv. no. SPKK s4.

  41. 41. [Meijer’s note: At the auction of the paintings from Ilpendam in 1872 these pieces (nos. 33 and 34 in the catalogue) were auctioned for a total of f 6300, –. They then first came to the Suermondt Gallery and after that to Berlin.] Auction Amsterdam (Roos . . . Engelberts), December 3, 1872 (Lugt 33487).

  42. 42. They are presently attributed to Nicolaes Eliasz Pickenoy.

  43. 43. D. C. Meijer Jr., “De familieportretten der Alewijns,” De Gids 50 (1886): 335. Dirck van Santvoort, Portrait of Eva BickerMemorial Art Gallery, Rochester, Bertha Buswell Bequest, inv. no. 55.72.

  44. 44. Thomas de Keyser, The Amsterdam Burgomasters Hear of the Arrival of Maria de Medici, 1638, Amsterdam Museum, inv. no. SB 5755, on long-term loan from the Mauritshuis, The Hague.

  45. 45. [Meijer’s note: Apart from Suyderhoeff another artist has made a work after the portrait of the four burgomasters. It was the excellent goldsmith Wouter Muller, who lived in Amsterdam in the middle of the seventeenth century. He struck a silver medal that was held by De Vries and De Jonge as the most beautiful specimen made in the Netherlands (Nederlandsche Gedenkpenningen verklaard, Amsterdam, 1837, vol. 2, fig. 20). On the front side of this medal, one sees the bust of Prince Willem I, with an inscription on the edge:

    The old Willem, sovereign of Nassau and Orange / was the arm of the state, and whip of Spain.

    Den ouden Willem, vorst van Nassov en Oranjen / Die was der staaten arm, en geesselroe van Spanjen.

    On the reverse are four gentlemen seated around a table in a room. Their posture and clothing clearly show that the goldsmith worked after the painting by De Keyser or the print by Suyderhoeff. The edge inscription reads:

    These are the fathers, and burgomasters, that / Support this free people, in peace and in the perils of war.

    Dit zijn de vaderen, en burgemeester, daar / Dit vrije volk op rust, in vree, en krijgsgevaar.

    The medal bears no date and De Vries and De Jonge have done a great effort to find any fact that could indicate the year of fabrication. Most likely, however, we should not see anything else in it than a glorification of the rule of the burgomasters, the maker probably had no specific persons in mind. Later he also made a similar medal with reference to the four sea heroes Tromp, Piet Hein, Heemskerck, and Van Galen, without changing the portraits but with addition of medals on the chests of the portrayed figures. He also added swords on the walls of the room, and changed the edge inscription. In this state the medal, which appears to have been known under the name of hundred-guilder-medal (Mr. J. Dirks, Penningkundig repertorium, in de Navorscher, No. 1204), has been illustrated by Van Loon (II, 73).] Jeronimo de Vries, Johannes Cornelis de Jonge, Nederlandsche Gedenkpenningen verklaard, (Amsterdam, 1837), vol. 2, fig. 20. First medal: Wouter Müller, Prince William I and the Burgomasters of Amsterdam, silver, 8.2 cm. diameter, Amsterdam Museum, inv. no. PA 472.

  46. 46. W. Burger, Musee de la Hollande, vol. 1,Musées d’Amsterdam et de la Haye (Paris, 1858), 231–39.

  47. 47. Jacob Houbraken, Portrait of Burgomaster Abraham Boom, 1749–59, Rijksmuseum Amsterdam, inv. no. RP-P-OB-48.365.

  48. 48. Nicolaes Lastman en Adriaen van Nieulandt, Company of Captain Abraham Boom and Lieutenant Oetgens van Waveren, 1623, Amsterdam Museum, inv. no. SA 7361; Van Dyk, Kunst en Historiekundige, no. 18; Scheltema 1879, no. 125. See https://jhna.org/index.php/past-issues/volume-5-issue-1/189-the-amsterdam-civic-guard-1

  49. 49. Meijer is mistaken here if he is referring to the painting. The burgomaster signaling Davelaer is on the left of the painting.

  50. 50. Waveren, Botshol, and Ruyge Wilnis (today Waverveen, Botshol, and Wilnis) comprise an area some twenty kilometers south of Amsterdam.

  51. 51. Thomas de Keyser, Portrait of a Scholar, 1631, Mauritshuis, The Hague, inv. no. 77. The museum holds two more paintings by De Keyser: Portrait of Loef Vredericx as Ensign (inv. no. 806) and the Portrait of a Man, probably Hans van Hogendorp (inv. no. 689).

  52. 52. Adams, The Paintings of Thomas de Keyser, 514–15. The archival document is lost.

  53. 53. SAA, 366, Archives of the guilds and the brewers college, no. 1346, membership registration of the masons’ guild.

  54. 54. SAA, 5075, Notary archives, no. 1264 B, fol. 66.

  55. 55. SAA, DTB 675, Marriage Register PUI (city), p. 276, August 25, 1640. The marriage was without a doubt necessitated by Aeltje’s pregnancy. The couple baptized a son, Cornelis on November 18, 1640. SAA, DTB, Baptismal Registers 301, p. 22: “Cornelis, ‘t kint van Thomas Kaijser ende Aeltgen Eymrincx.” 

  56. 56. Thomas de Keyser, Portrait of Pieter Schout, 1660, Rijksmuseum Amsterdam, inv. no. SK-A-697.

  57. 57. [Meijer’s note: Another piece from his latter life years (1658), depicting Theseus, was in the Desolate Boedelkamer (bankruptcy chamber) in the Town Hall]. The painting is in fact: Thomas de Keyser, Odysseus and Nausicaa, 1657, Royal Palace, Amsterdam (still in the former Desolate Boedelkamer).

  58. 58. The festivities are well documented, as for example in Caspar Barlaeus, Medicea Hospes (Amsterdam: Blaeu, 1638 (available on google books) and in several print series by Jan Martensz. de Jonge, Pieter Nolpe, and Salomon Savery (for the book by Barlaeus).

  59. 59. [Meijer’s note: Schaep’s manuscript.]

  60. 60. Andries and Cornelis Bicker played an important role in foiling the attack by Prince William II on Amsterdam in 1650.

  61. 61. Joachim von Sandrart, Company of Captain Cornelis Bicker and Lieutenant Frederick van Banchem, 1640, Rijksmuseum Amsterdam, inv. no. SK-C-393, on loan from the city of Amsterdam, SA 7399.

  62. 62. Frederik van Banchem is depicted on standing on the left with the blue sash.

  63. 63. [Meijer’s note: that of Vossius is still kept at the university.] The Atheneum Illustre was the predecessor of the current University of Amsterdam. For the portraits, see Norbert Middelkoop, “New Light on Sandrart’s Dutch ScholarsPortraits,” in Joachim von Sandrart: Ein europäischer Künstler un Theoretiker zwischen Italien und Deutschland, ed. S. Ebert-Schifferer and C. Mazzetti di Pietralata, 97–107, Römische Studien der Biblioteca Hertziana, Band 25 (Rome and Munich, 2009).

  64. 64. Sterck et al., De werken van Vondel. PartIV:1640-1645, Amsterdam 1930, p. 214.

    Sandrart heeft VONDEL dus naar ‘t aenzicht uitgedruckt,

    Niet zijn gedachten; want die waren wech-geruckt,

    Verslingert op d’aeloude en bloende treurtooneelen,

    Om ernstigh af te zien, wat rol d’uitheemschen spelen.

    Vint niemants brein in bloet noch gal noch tranen smaeck,

    Hy leeft in treurdicht. ay, vergun hem dat vermaeck.

     

    Sandrart has shown Vondel thus after his features

    not his thoughts; because they had been snatched

    in love with the old and bloody tragedies

    to zealously study what part the foreigners play.

    If nobody’s brain has a taste for blood nor bile nor tears

    he lives in tragedy, ay, award him that pleasure.

  65. 65. [Meijer’s note: The portrait nowadays is in the Rijksmuseum (no. 1274, formerly 524). It has been engraved by Persijn, and later — less artistically, but more accurately — by Zijlvelt, who notes 1642 as the year of execution of the painting. In his Portretten van Vondel, Mr. Alberdingk Thijm has connected to this portrait one of those stories that, if they are not designed to do so, at least are very successful in giving the reader a wrong impression. According to him, Sandrart was just working on a portrait of the Jesuit priest Laurentius, when he painted the portrait of Hooft, having been asked to do so by Elsevier, who wanted to decorate the edition of Nederlandsche historieën by Hooft with his portrait, engraved by Zijlvelt. The first edition of the Historieën however, does not contain a portrait of Hooft. If a copy does include the portrait then it has been added later. The edition of 1650 has an engraved portrait that has been attributed to Blooteling, and it is only in the 1677 edition published by van Someren et al. that the portrait by Zijlvelt appears (and again, in a second state, in the edition published by Wetstein c.s. in 1703).

    Zijlvelt was an engraver from an earlier era than that in which Sandrart lived in Amsterdam (no older dated work by him [Zijlvelt] is knownthan the portrait of Prof. Witsius from 1677, and that of Claes van Daalen, which is probably one of his first works, can in no case be older than 1656, because Van Daalen only became an Amsterdam surgeon in that year). If Zijlvelt, who was not yet born in 1642 according to Nagler, engraved the portrait of the Jesuit priest Laurentius during the latter’s lifetime — which remains to be seen (it is inscribed with the address of the publishers R. and I. Ottens) — then still this does not provide the least reason to suppose that this portrait was painted by Sandrart, whose Catholicism is no proof at all.]

    Joachim von Sandrart, Portrait of Pieter Cornelis Hooft, 1642. Rijksmuseum Amsterdam, inv.no. SK-A-364.

    For the story that Meijer rightfully does not believe, see J. A. Alberdingk Thijm, Portretten van Vondel (Amsterdam, 1876), 97–98. Alberdingk Thijm wrote largely fictionalized and romanticized stories surrounding the life of famous persons from the Golden Age.

  66. 66. [Meijer’s note: Brieven, Editie, 1855, Vol. I, p. 341] In the letter Hooft writes that he will sit for Van Mierevelt in Delft on May 1, 1629, and the days after. He adds that Van Mierevelt is a man who wants to spend his time efficiently. Perhaps this is the reason why Meijer thinks Hooft must have been bored, he might have assumed that a time-efficient man can never have been a good companion to the erudite and elegant Hooft. De briefwisseling van P. C. Hooft,1:710, no. 306: “A Monsieur Joost Baek, bij ‘t oudemannenhujs, in No 3. tot Amsterdam.”

  67. 67. Joachim von Sandrart, Portrait of Samuel Coster, ca. 1642, Theater Instituut Nederland (presently administered by the University of Amsterdam), inv. no. 162.000..

  68. 68. Joachim von Sandrart, Portrait of Jacob Bicker,Amsterdam Museum, inv. no. SA 2078; Joachim von Sandrart, Portrait of Alida BickerAmsterdam Museum, inv. no. SA 2077;  Joachim von Sandrart, Portrait of Hendrick BickerAmsterdam Museum, inv. no. SA 7400; Joachim von Sandrart, Portrait of Eva GeelvinckAmsterdam Museum, inv. no. SA 7401.

  69. 69. C. Busken Huet, Het land van Rembrand(Haarlem 1882–84), 529, n. 1. Huet uses the Dutch saying “in een onbewaakt ogenblik,” which I translated literally because it is otherwise untranslatable. It suggests that Vondel made it in a flash, that he did not spend a great deal of effort on it. 

  70. 70. [Meijer’s note: In Vondel’s werken one reads “Dam en Markt” [Dam and market.] 

  71. 71. A lavishly scholarly annotated online edition is available here: http://ta.sandrart.net/en/

Adams, Ann Jensen. “Civic Guard Portraits: Private Interests and the Public Sphere.” In Beeld en Zelfbeeld in de Nederlandse Kunst, 1550–1750 / Image and Self Image in Netherlandish Art, 1550–1750, edited by Reindert Falkenburg, Jan de Jong, Herman Roodenburg, and Frits Scholten, 169–97. Nederlands Kunsthistorisch Jaarboek46 (1995).

Adams, Ann Jensen. The Paintings of Thomas de Keyser (1596/7–1667): A Study of Portraiture in Seventeenth-Century Amsterdam. PhD diss., Harvard University, 1985 / Ann Arbor: UMI, 1988.

Alberdingk Thijm, J. A. Portretten van Vondel. Amsterdam, 1876.

Bosboom, Simon. Cort onderwys van de vyf Colommen. Amsterdam, 1670.

Bray, Salomon de. Architectura moderna ofte bouwinge van onsen tyt. Amsterdam, 1631.

Bredius, A. “De Geschiedenis van een Schutterstuk.” Oud Holland 31 (1913): 81–84.
http://dx.doi.org/10.1163/187501713X00115

Burger, W. Musee de la Hollande. Vol. 1, Musées d’Amsterdam et de la Haye. Paris, 1858.

Busken Huet, C. Het land van Rembrand. Haarlem, 1882–84.

Dyk, Jan van. Kunst en Historiekundige beschryving en aanmerkingen over alle de schilderyen op het Stadhuis te Amsterdam. Amsterdam: Yver, 1758. http://books.google.nl/books?id=UMA9AAAAcAAJ&hl=nl&pg=PP11 – v=onepage&q&f=false

Gebhard, J. F. “Een raadselachtige bladzijde bij Geeraert Brandt, opgehelderd door Bontemantel.” Oud Holland 1 (1883): 189–94.
http://dx.doi.org/10.1163/187501783X00479

Hooft, P. C. De briefwisseling van P. C. Hooft, Part 1. Edited by H. W. van Tricht et al. Culemborg, 1976.

Kramm, Christiaan. De levens en werken der Hollandsche en Vlaamsche kunstschilders, beeldhouwers, graveurs en bouwmeesters, van den vroegsten tot op onzen tijd. Amsterdam, 1857–64.

Kroon, A. W. Het Amsterdamsche stadhuis (thans paleis), 1625–1700. Amsterdam, 1867.

Meijer,D. C., Jr. “De familieportretten der Alewijns.” De Gids 50 (1886): 326–339.

[Meijer, D. C., Jr. and A. D. de Vries azn.]. Catalogus van het Amsterdamsch Museum van het Koninklijk Oudheidkundig Genootschap in de zalen van het Oude-Mannenhuis. Amsterdam, 1877.

Middelkoop, Norbert. “New Light on Sandrart’s Dutch Scholars Portraits.” In Joachim von Sandrart: Ein europäischer Künstler un Theoretiker zwischen Italien und Deutschland, edited by S. Ebert-Schifferer and C. Mazzetti di Pietralata, 97–107. Römische Studien der Biblioteca Hertziana 25. Rome and Munich, 2009.

Monnikhoff, Johannes. Na-reeden. Manuscript in the copy of the book Privilegien, willekeuren en ordonnantien, betreffende het Collegium chirurgicum Amstelaedamense (Amsterdam, 1736) once owned by Hermanus Meyer. Copy in the University Library of the University of Amsterdam.

Neurdenburg, E. De zeventiende eeuwsche beeldhouwkunst in de Noordelijke Nederlanden. Amsterdam, 1948.

Ottenheym, Koen, Paul Rosenberg, and Niek Smit. Hendrick de Keyser: Architectura moderna; “Moderne” bouwkunst in Amsterdam 1600–1625. Amsterdam, 2008.

Ryn, G. van. “Arent Van Buchel’s Res Pictoriæ.” Oud Holland V (1887): 150.

Scheltema, Pieter.Historische beschrijving der schilderijen van het stadhuis te Amsterdam. Amsterdam, 1879.

Six, J. “Nicolaes Eliasz Pickenoy.” Oud Holland 4 (1886): 81–108.
http://dx.doi.org/10.1163/187501786X00142

Sterck, J. F. M., et al., eds.De werken van Vondel, part IV: 1640–1645. Amsterdam, 1930.

Sterck, J. F. M., et al., eds. De werken van Vondel, part V: 1645–1656. Amsterdam, 1931.

Vries, A. D. de. “De schilderkunst op de historische tentoonstelling te Amsterdam.” De Gids 40, no. 3 (1876): 533–59.

Vries, A. D. de. “De schilderkunst op de historische tentoonstelling te Amsterdam.” De Gids 40, no. 4 (1876): 106–25.

Vries, A. D. de. “Biografische aantekeningen.” Oud Holland 3 (1885): 55–80.
http://dx.doi.org/10.1163/187501785X00260

Vries, Jeronimo de, and Johannes Cornelis de Jonge. Nederlandsche Gedenkpenningen verklaard. Amsterdam, 1837, II, blz. 20.

Weismann, A. W. “Het geslacht De Keyser (met stamboom).” Oud-Holland 22 (1904): 65–91.
http://dx.doi.org/10.1163/187501704X00106

Weissman, A. W. “Symon Bosboom.” Oud-Holland 25 (1907): 1–8.
http://dx.doi.org/10.1163/187501707X00013

List of Illustrations

Nicolaes Eliasz Pickenoy,  The Osteology Lesson of Dr. Sebastiaen Egbertsz, 1619, Amsterdam Museum
Fig. 1 Nicolaes Eliasz Pickenoy, The Osteology Lesson of Dr. Sebastiaen Egbertsz, 1619. Amsterdam Museum, inv. no. SA 7352 (artwork in the public domain) [side-by-side viewer]
Jonas Suyderhoeff, after a design by Thomas de Keyser,  Portrait of Hendrick de Keyser (1565–1621),  after 1623,  Rijksmuseum, Amsterdam
Fig. 2 Jonas Suyderhoeff, after a design by Thomas de Keyser, Portrait of Hendrick de Keyser (1565–1621), after 1623. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-60.736 (artwork in the public domain) [side-by-side viewer]
Thomas de Keyser,  Company of Captain Allaert Cloeck and Lieutenant, 1632,  Rijksmuseum, Amsterdam
Fig. 3 Thomas de Keyser, Company of Captain Allaert Cloeck and Lieutenant Lucas Jacobsz Rotgans, 1632. Rijksmuseum, Amsterdam, inv. no. SK-C-381, on loan from the city of Amsterdam (SA 7353) (artwork in the public domain) [side-by-side viewer]
Thomas de Keyser,  Company of Captain Jacob Symonsz de Vries and Li, 1633, Amsterdam Museum
Fig. 4 Thomas de Keyser, Company of Captain Jacob Symonsz de Vries and Lieutenant Dirck de Graeff, 1633. Amsterdam Museum, inv. no. SA 7354 (artwork in the public domain) [side-by-side viewer]
Theodor Matham,  Portrait of Dirck Pietersz Pers,  ca. 1665,  Rijksmuseum, Amsterdam
Fig. 5 Theodor Matham, Portrait of Dirck Pietersz Pers, ca. 1665. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-23.254 (artwork in the public domain) [side-by-side viewer]
Crispijn van de Passe, after Thomas de Keyser,  Portrait of Carolus Niellius,  after 1652,  Rijksmuseum, Amsterdam
Fig. 6 Crispijn van de Passe, after Thomas de Keyser, Portrait of Carolus Niellius, after 1652. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-15.804X (artwork in the public domain) [side-by-side viewer]
Thomas de Keyser,  The Amsterdam Burgomasters Hear of the Arrival o, 1638, Amsterdam Museum, on loan from the Mauritshuis, The Hague
Fig. 7 Thomas de Keyser, The Amsterdam Burgomasters Hear of the Arrival of Marie de Medici, 1638. Amsterdam Museum, inv. no. SB 5755, on loan from the Mauritshuis, The Hague (artwork in the public domain) [side-by-side viewer]
Jonas Suyderhoeff, after Thomas de Keyser,  The Amsterdam Burgomasters Hear of the Arrival o, 1638,  Rijksmuseum, Amsterdam
Fig. 8 Jonas Suyderhoeff, after Thomas de Keyser, The Amsterdam Burgomasters Hear of the Arrival of Marie de Medici, 1638. Rijksmuseum Amsterdam, inv. no. RP-P-OB-60.665 (artwork in the public domain) [side-by-side viewer]
Jacob Houbraken,  Portrait of Burgomaster Abraham Boom,  1749–59,  Rijksmuseum, Amsterdam
Fig. 9 Jacob Houbraken, Portrait of Burgomaster Abraham Boom, 1749–59. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-48.365 (artwork in the public domain) [side-by-side viewer]
Nicolaes Lastman and Adriaen van Nieulandt,  Company of Captain Abraham Boom and Lieutenant O, 1623, Amsterdam Museum
Fig. 10 Nicolaes Lastman and Adriaen van Nieulandt, Company of Captain Abraham Boom and Lieutenant Oetgens van Waveren, 1623. Amsterdam Museum, inv. no. SA 7361 (artwork in the public domain) [side-by-side viewer]
Jacob Houbraken,  Portrait of Albert Coenraedsz Burgh,  1749–59,  Rijksmuseum, Amsterdam
Fig. 11 Jacob Houbraken, Portrait of Albert Coenraedsz Burgh, 1749–59. Rijksmuseum, Amsterdam, inv. no. RP-P-OB-48.867 (artwork in the public domain) [side-by-side viewer]
Thomas de Keyser,  Portrait of Pieter Schout,  1660,  Rijksmuseum, Amsterdam
Fig. 12 Thomas de Keyser, Portrait of Pieter Schout, 1660. Rijksmuseum, Amsterdam, inv. no. SK-A-697 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Company of Captain Cornelis Bicker and Lieutenan, 1640,  Rijksmuseum, Amsterdam
Fig. 13 Joachim von Sandrart, Company of Captain Cornelis Bicker and Lieutenant Frederick van Banchem, 1640. Rijksmuseum, Amsterdam, inv. no. SK-C-393, on loan from the city of Amsterdam, inv. no. SA 7399 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Pieter Cornelis Hooft, 1642,  Rijksmuseum, Amsterdam
Fig. 14 Joachim von Sandrart, Portrait of Pieter Cornelis Hooft, 1642. Rijksmuseum, Amsterdam, inv. no. SK-A-364 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Jacob Bicker, Amsterdam Museum
Fig. 15 Joachim von Sandrart, Portrait of Jacob Bicker. Amsterdam Museum, inv. no. SA 2078 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Alida Bicker, Amsterdam Museum
Fig. 16 Joachim von Sandrart, Portrait of Alida Bicker. Amsterdam Museum, inv. no. SA 2077 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Hendrick Bicker,  Amsterdam Museum
Fig. 17 Joachim von Sandrart, Portrait of Hendrick Bicker. Amsterdam Museum, inv. no. SA 7400 (artwork in the public domain) [side-by-side viewer]
Joachim von Sandrart,  Portrait of Eva Geelvinck,  Amsterdam Museum
Fig. 18 Joachim von Sandrart, Portrait of Eva Geelvinck. Amsterdam Museum, inv. no. SA 7401 (artwork in the public domain) [side-by-side viewer]

Footnotes

  1. 1. For the De Keyser family, see A. W. Weismann, “Het geslacht De Keyser (met stamboom),” Oud-Holland 22 (1904): 65–91; E. Neurdenburg, De zeventiende eeuwsche beeldhouwkunst in de Noordelijke Nederlanden (Amsterdam, 1948). For Hendrick de Keyser, see Koen Ottenheym, Paul Rosenberg, and Niek Smit, Hendrick de Keyser: Architectura moderna; “Moderne” bouwkunst in Amsterdam 1600–1625(Amsterdam, 2008). For Thomas de Keyser, see 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 / Ann Arbor: UMI, 1988). Adams provides all the archival documents mentioned in this text, often with an English summary. Adams’s monograph on De Keyser is forthcoming.

  2. 2. Amsterdam City Archives, DTB 405, Church Marital Registers, f. 414, April 6, 1591.

  3. 3. [Meijer’s note: Brieven van Hooft, edition 1855 I, 15.] De briefwisseling van P. C. Hooft, ed. H. W. van Tricht et al. (Culemborg, 1976), 1:89.

  4. 4. [Meijer’s note: According to a note on p. 76 of the third year of this magazine, a house that was owned by Pieter de Keyser was rebuilt for that purpose in 1641.] A. D. de Vries, “Biografische aantekeningen,” Oud Holland 3 (1885): 76.

  5. 5. Christiaan Kramm, De levens en werken der Hollandsche en Vlaamsche kunstschilders, beeldhouwers, graveurs en bouwmeesters, van den vroegsten tot op onzen tijd(Amsterdam, 1857–64), 868–69. 

  6. 6. Pieter was actually the brother-in-law of Nicholas Stone. On April 25, 1613, he registered to marry Maeyken de Keyser. According to the marital registers, this registration was witnessed by her father Hendrik de Keyser and her mother Barbara [sic] van Wilder. Amsterdam City Archives, DTB 417, Church Marital Registers, f. 100, April 25, 1613.

  7. 7. [Meijer’s note: Kroon, Het Amsterdamsch Stadhuis, blz. 141, 143] A.W. Kroon, Het Amsterdamsche stadhuis (thans paleis), 1625–1700(Amsterdam, 1867), 141–43.

  8. 8. He died in1676. Amsterdam City Archives, DTB 1074, Burial Registers Noorder Kerk en Kerkhof, f. 48, December 7, 1676.

  9. 9. According to RKD Artists, the RKD’s online database: “After 1674, probably in London.”

  10. 10. [Meijer’s note: Kroon, Het Amsterdamsch Stadhuis, blz. 141, 143] A. W. Kroon, Het Amsterdamsche stadhuis (thans paleis), 1625–1700 (Amsterdam, 1867), 141–43.

  11. 11. Simon Bosboom, Cort onderwys van de vyf Colommen (Amsterdam, 1670). See also A. W. Weissman, “Symon Bosboom,” Oud-Holland 25 (1907): 1–8.

  12. 12. Salomon de Bray, Architectura moderna ofte bouwinge van onsen tyt (Amsterdam, 1631), 7 (facsimile edition in DBNL).

  13. 13. Johannes Monnikhoff noted this in Groot Memoriaal van het Chirurgijnsgild. See Monnikhoff, Na-reeden, manuscript in the copy of the book Privilegien, willekeuren en ordonnantien, betreffende het Collegium chirurgicum Amstelaedamense (Amsterdam, 1736) once owned by Hermanus Meyer. Copy in the University Library of the University of Amsterdam. Johannes Monnikhoff (1707–1787) was himself a surgeon in Amsterdam.

  14. 14. Apart from Dr. Sebastiaan Egbertsz., there are actually five more men in the painting.

  15. 15. The painting is now attributed to Pickenoy; Nicolaes Eliasz Pickenoy, The Osteology Lesson of Dr. Sebastiaen Egbertsz, 1619, Amsterdam Museum, inv. no. SA 7352. The painting was on loan to the Rijksmuseum from the city of Amsterdam from 1885 until 1975.

  16. 16. The verse by Vondel:

    Hier leeft die leven gaf aen marmer, aen metael,

    Yvoor, albast en klay; dies laat zich Uytrecht hooren:

    Is Roome op kaysers prat, en kayserlycke prael;

    De Kayser van de kunst is uit myn schoot geboren.

    Here lives the one who gave life to marble, to metal

    Ivory, alabaster and clay; thus Utrecht lets itself hear:

    Let Rome be proud of its emperors and imperial glory

    The emperor of the arts was born from my womb.

    (Vondel makes a three-fold wordplay on De Keyser’s name. Keizermeans emperor in Dutch).

  17. 17. Vondel’s poem:
    Op den Heer Lavrens Reaal, Ridder, out Generaal van Oost Indien, &c
    .

    Zoo maalde een Kaizers hant den wackeren Reaal,

    Den Ridder, den Gezant, den grooten Generaal,

    Voorzien met brein in ‘t hooft, met oorlooghs moed in’t harte.

    ‘t Was hy, die Spanjen op sijn eigen bodem tarte.

    Vaar heen, gelauwert hooft, geluckelijck door zee,/En breng voor ‘t vaderlant ontelbre kranssen meê.

    On mister Laurens Reaal, former general of the East Indies, etc.

    Thus an emperor’s hand painted the alert Reaal,

    the knight, the envoy, the great general,

    provided with a brain in the head, with war’s courage in the heart.

    It was him that defied Spain on its own soil.

    Sail off, laurelled head, happily thorugh the sea,

    and bring with you many wreaths for the fatherland.

    (In the first line there is, again, a word play on De Keyser’s name, see note 16 above).

  18. 18. [Meijer’s note: In this journal, Vol. V, p. 150] G. van Ryn, “Arent Van Buchel’s Res Pictoriæ,” Oud Holland 5 (1887): 150.

  19. 19. Jan Six van Hillegom (1857–1926).

  20. 20. [Meijer’s note: This, of course, only applies to the man’s portrait, that of the woman is by another hand, maybe the same as the one who painted the young Reinier Pauw, later Lord of Ter Horst, and his wife Claertje Alewijn. These portraits have also been falsely attributed to De Keyser (Auction catalogue, Alewijn Family, 1886; see also my article in the Gids of 1886, pp. 329 and 330). On the other hand, in the Town Hall there are four heads (Nos. 169–172), probably from the Oude-mannenhuis [Old man’s asylum]. Three of those are rather safely by De Keyser. The Number 170 is signed and carries the date January 1631. (Catalogus van het Amsterdams Museum van het Koninklijk Oudheidkundig Genootschap in het Oude Mannenhuis, 1877, p. 37, no. 393 – Scheltema, Historische beschrijving der Schilderijen van het Raadhuis te Amsterdam, 1879, errata.) This panel certainly deserved to be transferred to the Rijksmuseum.] The Portrait of Reinier Pauwis by Paulus Moreelse and presently in the Rijksmuseum, Amsterdam, inv. no. SK-C-1440. The Portrait of Claertje Alewijn was lost in a fire in 1906. The “four heads” are in the Amsterdam Museum, inv. nos. SA 7365 (Scheltema no. 169), SA 7355 (Scheltema no. 170), SA 3046 (Scheltema no. 171), SA 3065 (Scheltema no. 172). Today only SA 7355 retains its attribution to De Keyser. [D. C. Meijer Jr. and A. D. de Vries azn.], Catalogus van het Amsterdamsch Museum van het Koninklijk Oudheidkundig Genootschap in de zalen van het Oude-Mannenhuis (Amsterdam, 1877). Pieter Scheltema,Historische beschrijving der schilderijen van het stadhuis te Amsterdam(Amsterdam, 1879).

  21. 21. [Meijer’s note: In this journal, Vol. IV, p. 101. In the catalogue by Mr. Bredius it has been attributed to Claes Elias now as well (no. 338).] J. Six, “Nicolaes Eliasz Pickenoy,” Oud Holland 4 (1886): 81–108. Nicolaes Elias Pickenoy, Portrait of Marten Rey, 1627, Rijksmuseum, Amsterdam, inv. no. SK-A-698.

  22. 22. Thomas de Keyser, Company of Captain Allaert Cloeck and Lieutenant Lucas Jacobsz Rotgans, 1632, Rijksmuseum, Amsterdam, inv. no. SK-C-381, on loan from the city of Amsterdam (SA 7353); Jan van Dyk, Kunst en Historiekundige beschryving en aanmerkingen over alle de schilderyen op het Stadhuis te Amsterdam (Amsterdam: Yver, 1758), no. 22; Scheltema, Historische beschrijving, no. 56; Ann Jensen Adams, “Civic Guard Portraits: Private Interests and the Public Sphere,” in Beeld en Zelfbeeld in de Nederlandse Kunst, 1550–1750 / Image and Self Image in Netherlandish Art, 1550–1750, ed. Reindert Falkenburg, Jan de Jong, Herman Roodenburg, and Frits Scholten, 169–97, Nederlands Kunsthistorisch Jaarboek 46 (1995).

    Thomas de Keyser, Company of Captain Jacob Symonsz de Vries and Lieutenant Dirck de Graeff, 1633, Amsterdam Museum, inv. no. SA 7354; Scheltema, Historische beschrijving, no. 55 (as Thomas de Keyser).

  23. 23. Op D. P. Pers

    Gy burgers en vremden.

    Dit’s Perssius van Embden.

    Syn beelt na Febus zwijmt;

    ‘t Zy dat hy dicht of rijmt.

    Die sijn boecken, en prenten

    Op ‘t dierste weet te venten.

    You burghers and strangers
    This is Perssius from Emden
    His image appears to be Febus (Apollo);

    Be it that he writes poetry or rhymes

    Who knows how to sell his books and prints

    As expensive as possible.

    Op D. P. Pers [II]

    Vernuftig volck, die steets bepropt uw ruime winkels,

    En kleed in ‘t parkament, de beenen noch de schinkels,

    Maer ‘t breyn der geener die met letters zyn gedoopt.

    Komt en siet Persius uw glori, hoog gezeten,

    Die, midden in het choor der Hollandtsche Poëten

    Met ‘t drucken van sijn rijm, veel geldt te zamen hoopt.

    Smart people, that always fill your large shops

    And pack in parchment bones nor legs,

    but the brain of those that have been baptized into the letters

    Come and see Persius, your glory, seated high

    Who in the middle of the choir of Dutch poets
    amasses a lot of money, with printing his rhyme.

    J. F. M. Sterck et al., eds., De werken van Vondelpart V: 1645–1656 (Amsterdam, 1931), 243, 244.

     

  24. 24. Dirck Pietersz. Pers, Lucretia ofte het beeld der eerbaerheydt (Amsterdam, 1624).

  25. 25. Dirck Pietersz. Pers, Bacchus wonder-wercken, waarbij gevoegd is Suyp-stad, of Dronckaerts leven (Amsterdam, 1628). Available on DBNL: http://www.dbnl.org/tekst/pers001jeve01_01/

  26. 26. Dirck Pietersz. Pers, Jonas de straf-prediker (Amsterdam,1623).

  27. 27. Dirck Pietersz. Pers, Bellerophon of Lust tot wiisheit, Gesangh der zeeden, Urania of Hemel-sangh (Amsterdam, 1648). Available on DBNL: http://www.dbnl.org/tekst/pers001bell02_01/

  28. 28. For art historians, Pers’s most important contribution to the seventeenth century might have been his Dutch translation of Ripa’s Iconologia. Dirck Pietersz. Pers, Cesare Ripa’s Iconologia of Uytbeeldinghen des Verstants (Amsterdam, 1644). Available on DBNL: http://www.dbnl.org/tekst/pers001cesa01_01/

  29. 29. SAA, 5059, Collectie Stadsarchief Amsterdam, handschriften, no. 43, Handschriften van Gerrit Pietersz. Schaepbetreffende de geschiedenis van Amsterdam, ongedateerd, ‘No. 3,’ Schutterijen, ambten, colleges, onderwijs, godshuizen, fo. 30: “30 Junij Ao 1620, is bij de Burgemeesters Pau, Hoing, Fred. de Vrij, overstemmende Gerrit Jaep Witsen de Chrijgsraet op een ongewoonlijcke tijd, namentlijck des oghtens ten 8 uren doen vergaderen ende daarenboven alle de capiteins ende luitenants niet laten aanspreken of dagvaerden, maer alleen sommige ende sommige een ure later, ende hebben voorts de 2 luitenanten, Nanning Florisz Clouck van het derde vaendel ende Jan Claesz Vlooswijck van het 4e vaendel, van haer dienst, om eenige frivole segswoorden ende particuliere tegensprekinge aen Burgemeester Pau gedaen, afgeset. Ende datelijck 2 andere inde plaets gecoren: namentlijc N. 4 Ariaen (Arent) Pietersz Verburgh. Voor no. 3 Lucas Jacobsz Rotgans.”

  30. 30. J. F. Gebhard, “Een raadselachtige bladzijde bij Geeraert Brandt, opgehelderd door Bontemantel,” Oud Holland 1 (1883): 189–94.

  31. 31. [Meijer’s note: In the year that he [Allard Cloeck] acquired this rank (1630) Rotgans became “Commissary of small affairs” [an assistant to the Burgomasters to support them in their tasks], maybe as a compensation. On the list of names appears a Claes Nannings Cloeck as well (likely the ensign). According to the genealogy this cannot have been a brother of the captain; he was probably the son of another Nanning Cloeck, who in turn was the son of Hendrik one of the brothers of Nannig Florisz].

  32. 32. Thomas de Keyser, Sketch for Company of Captain Allaert Cloeck and Lieutenant Lucas Jacobsz RotgansAlbertina,Vienna, inv. no. 9246.

  33. 33. Ann Jensen Adams reconstructs the genesis of the painting after the sketch in a different and more convincing way in “Civic Guard Portraits: Private Interests and the Public Sphere,” in Beeld en Zelfbeeld in de Nederlandse Kunst, 1550–1750 / Image and Self Image in Netherlandish Art, 1550–1750, ed. Reindert Falkenburg, Jan de Jong, Herman Roodenburg, and Frits Scholten, 169–97, Nederlands Kunsthistorisch Jaarboek 46 (1995).

  34. 34. Thomas de Keyser, Company of Captain Jacob Symonsz de Vries and Lieutenant Dirck de Graeff, 1633, Amsterdam Museum, inv. no. SA 7354; Scheltema, Historische beschrijving, no. 55 (as Thomas de Keyser).

  35. 35. Now Spuistraat

  36. 36. Now Paleisstraat

  37. 37. Both the pipe market and the wood (and later flower) market were part of the Nieuwezijds Voorburgwal

  38. 38. A. Bredius, “De Geschiedenis van een Schutterstuk,” Oud Holland 31 (1913): 81–84, relates the story behind the painting. Hals was commissioned to paint it in 1633 but soon got into conflict with the officers, because he did not want to journey to Amsterdam to paint them and they did not wish to travel to Haarlem. 

  39. 39. [Meijer’s note: A. D. de Vries found (according to his article De kunst op de Historische Tentoonstelling [The Art in the Historical Exhibition] in De Gids of 1876), a record of a son from his first marriage, in 1636, and of a daughter with his second wife, in 1643. The son’s name was Andries, the same as Thomas’ s first child with Machteld Andriesdr. (whom he married in 1626). He was baptized April 15, 1627, in the Oude Kerk. Both children died young, because Thomas had only one child, the six-year-old Hendrik, when he was married again, in 1640, to Aeltje Heymericx. Thomas “proved” (promised) f 4,000 to him for the share of his mother’s inheritance (according to a record in the Orphansbook that Mr. De Roever gave to me), with the consent of Maritgen Bruynen (widow of Andries Freericksz) and of Bruyn Andriesz., the grandmother and uncle of the child respectively.”] A. D. de Vries, “De schilderkunst op de historische tentoonstelling te Amsterdam,” De Gids 40, no. 3 (1876): 542, n. 1.

  40. 40. [Meijer’s note: The portrait is currently in the Remonstrant church in Amsterdam. It has been published as a print by C. de Pas.] Currently, the portrait is on loan to Museum het Catharijneconvent in Utrecht, inv. no. SPKK s4.

  41. 41. [Meijer’s note: At the auction of the paintings from Ilpendam in 1872 these pieces (nos. 33 and 34 in the catalogue) were auctioned for a total of f 6300, –. They then first came to the Suermondt Gallery and after that to Berlin.] Auction Amsterdam (Roos . . . Engelberts), December 3, 1872 (Lugt 33487).

  42. 42. They are presently attributed to Nicolaes Eliasz Pickenoy.

  43. 43. D. C. Meijer Jr., “De familieportretten der Alewijns,” De Gids 50 (1886): 335. Dirck van Santvoort, Portrait of Eva BickerMemorial Art Gallery, Rochester, Bertha Buswell Bequest, inv. no. 55.72.

  44. 44. Thomas de Keyser, The Amsterdam Burgomasters Hear of the Arrival of Maria de Medici, 1638, Amsterdam Museum, inv. no. SB 5755, on long-term loan from the Mauritshuis, The Hague.

  45. 45. [Meijer’s note: Apart from Suyderhoeff another artist has made a work after the portrait of the four burgomasters. It was the excellent goldsmith Wouter Muller, who lived in Amsterdam in the middle of the seventeenth century. He struck a silver medal that was held by De Vries and De Jonge as the most beautiful specimen made in the Netherlands (Nederlandsche Gedenkpenningen verklaard, Amsterdam, 1837, vol. 2, fig. 20). On the front side of this medal, one sees the bust of Prince Willem I, with an inscription on the edge:

    The old Willem, sovereign of Nassau and Orange / was the arm of the state, and whip of Spain.

    Den ouden Willem, vorst van Nassov en Oranjen / Die was der staaten arm, en geesselroe van Spanjen.

    On the reverse are four gentlemen seated around a table in a room. Their posture and clothing clearly show that the goldsmith worked after the painting by De Keyser or the print by Suyderhoeff. The edge inscription reads:

    These are the fathers, and burgomasters, that / Support this free people, in peace and in the perils of war.

    Dit zijn de vaderen, en burgemeester, daar / Dit vrije volk op rust, in vree, en krijgsgevaar.

    The medal bears no date and De Vries and De Jonge have done a great effort to find any fact that could indicate the year of fabrication. Most likely, however, we should not see anything else in it than a glorification of the rule of the burgomasters, the maker probably had no specific persons in mind. Later he also made a similar medal with reference to the four sea heroes Tromp, Piet Hein, Heemskerck, and Van Galen, without changing the portraits but with addition of medals on the chests of the portrayed figures. He also added swords on the walls of the room, and changed the edge inscription. In this state the medal, which appears to have been known under the name of hundred-guilder-medal (Mr. J. Dirks, Penningkundig repertorium, in de Navorscher, No. 1204), has been illustrated by Van Loon (II, 73).] Jeronimo de Vries, Johannes Cornelis de Jonge, Nederlandsche Gedenkpenningen verklaard, (Amsterdam, 1837), vol. 2, fig. 20. First medal: Wouter Müller, Prince William I and the Burgomasters of Amsterdam, silver, 8.2 cm. diameter, Amsterdam Museum, inv. no. PA 472.

  46. 46. W. Burger, Musee de la Hollande, vol. 1,Musées d’Amsterdam et de la Haye (Paris, 1858), 231–39.

  47. 47. Jacob Houbraken, Portrait of Burgomaster Abraham Boom, 1749–59, Rijksmuseum Amsterdam, inv. no. RP-P-OB-48.365.

  48. 48. Nicolaes Lastman en Adriaen van Nieulandt, Company of Captain Abraham Boom and Lieutenant Oetgens van Waveren, 1623, Amsterdam Museum, inv. no. SA 7361; Van Dyk, Kunst en Historiekundige, no. 18; Scheltema 1879, no. 125. See https://jhna.org/index.php/past-issues/volume-5-issue-1/189-the-amsterdam-civic-guard-1

  49. 49. Meijer is mistaken here if he is referring to the painting. The burgomaster signaling Davelaer is on the left of the painting.

  50. 50. Waveren, Botshol, and Ruyge Wilnis (today Waverveen, Botshol, and Wilnis) comprise an area some twenty kilometers south of Amsterdam.

  51. 51. Thomas de Keyser, Portrait of a Scholar, 1631, Mauritshuis, The Hague, inv. no. 77. The museum holds two more paintings by De Keyser: Portrait of Loef Vredericx as Ensign (inv. no. 806) and the Portrait of a Man, probably Hans van Hogendorp (inv. no. 689).

  52. 52. Adams, The Paintings of Thomas de Keyser, 514–15. The archival document is lost.

  53. 53. SAA, 366, Archives of the guilds and the brewers college, no. 1346, membership registration of the masons’ guild.

  54. 54. SAA, 5075, Notary archives, no. 1264 B, fol. 66.

  55. 55. SAA, DTB 675, Marriage Register PUI (city), p. 276, August 25, 1640. The marriage was without a doubt necessitated by Aeltje’s pregnancy. The couple baptized a son, Cornelis on November 18, 1640. SAA, DTB, Baptismal Registers 301, p. 22: “Cornelis, ‘t kint van Thomas Kaijser ende Aeltgen Eymrincx.” 

  56. 56. Thomas de Keyser, Portrait of Pieter Schout, 1660, Rijksmuseum Amsterdam, inv. no. SK-A-697.

  57. 57. [Meijer’s note: Another piece from his latter life years (1658), depicting Theseus, was in the Desolate Boedelkamer (bankruptcy chamber) in the Town Hall]. The painting is in fact: Thomas de Keyser, Odysseus and Nausicaa, 1657, Royal Palace, Amsterdam (still in the former Desolate Boedelkamer).

  58. 58. The festivities are well documented, as for example in Caspar Barlaeus, Medicea Hospes (Amsterdam: Blaeu, 1638 (available on google books) and in several print series by Jan Martensz. de Jonge, Pieter Nolpe, and Salomon Savery (for the book by Barlaeus).

  59. 59. [Meijer’s note: Schaep’s manuscript.]

  60. 60. Andries and Cornelis Bicker played an important role in foiling the attack by Prince William II on Amsterdam in 1650.

  61. 61. Joachim von Sandrart, Company of Captain Cornelis Bicker and Lieutenant Frederick van Banchem, 1640, Rijksmuseum Amsterdam, inv. no. SK-C-393, on loan from the city of Amsterdam, SA 7399.

  62. 62. Frederik van Banchem is depicted on standing on the left with the blue sash.

  63. 63. [Meijer’s note: that of Vossius is still kept at the university.] The Atheneum Illustre was the predecessor of the current University of Amsterdam. For the portraits, see Norbert Middelkoop, “New Light on Sandrart’s Dutch ScholarsPortraits,” in Joachim von Sandrart: Ein europäischer Künstler un Theoretiker zwischen Italien und Deutschland, ed. S. Ebert-Schifferer and C. Mazzetti di Pietralata, 97–107, Römische Studien der Biblioteca Hertziana, Band 25 (Rome and Munich, 2009).

  64. 64. Sterck et al., De werken van Vondel. PartIV:1640-1645, Amsterdam 1930, p. 214.

    Sandrart heeft VONDEL dus naar ‘t aenzicht uitgedruckt,

    Niet zijn gedachten; want die waren wech-geruckt,

    Verslingert op d’aeloude en bloende treurtooneelen,

    Om ernstigh af te zien, wat rol d’uitheemschen spelen.

    Vint niemants brein in bloet noch gal noch tranen smaeck,

    Hy leeft in treurdicht. ay, vergun hem dat vermaeck.

     

    Sandrart has shown Vondel thus after his features

    not his thoughts; because they had been snatched

    in love with the old and bloody tragedies

    to zealously study what part the foreigners play.

    If nobody’s brain has a taste for blood nor bile nor tears

    he lives in tragedy, ay, award him that pleasure.

  65. 65. [Meijer’s note: The portrait nowadays is in the Rijksmuseum (no. 1274, formerly 524). It has been engraved by Persijn, and later — less artistically, but more accurately — by Zijlvelt, who notes 1642 as the year of execution of the painting. In his Portretten van Vondel, Mr. Alberdingk Thijm has connected to this portrait one of those stories that, if they are not designed to do so, at least are very successful in giving the reader a wrong impression. According to him, Sandrart was just working on a portrait of the Jesuit priest Laurentius, when he painted the portrait of Hooft, having been asked to do so by Elsevier, who wanted to decorate the edition of Nederlandsche historieën by Hooft with his portrait, engraved by Zijlvelt. The first edition of the Historieën however, does not contain a portrait of Hooft. If a copy does include the portrait then it has been added later. The edition of 1650 has an engraved portrait that has been attributed to Blooteling, and it is only in the 1677 edition published by van Someren et al. that the portrait by Zijlvelt appears (and again, in a second state, in the edition published by Wetstein c.s. in 1703).

    Zijlvelt was an engraver from an earlier era than that in which Sandrart lived in Amsterdam (no older dated work by him [Zijlvelt] is knownthan the portrait of Prof. Witsius from 1677, and that of Claes van Daalen, which is probably one of his first works, can in no case be older than 1656, because Van Daalen only became an Amsterdam surgeon in that year). If Zijlvelt, who was not yet born in 1642 according to Nagler, engraved the portrait of the Jesuit priest Laurentius during the latter’s lifetime — which remains to be seen (it is inscribed with the address of the publishers R. and I. Ottens) — then still this does not provide the least reason to suppose that this portrait was painted by Sandrart, whose Catholicism is no proof at all.]

    Joachim von Sandrart, Portrait of Pieter Cornelis Hooft, 1642. Rijksmuseum Amsterdam, inv.no. SK-A-364.

    For the story that Meijer rightfully does not believe, see J. A. Alberdingk Thijm, Portretten van Vondel (Amsterdam, 1876), 97–98. Alberdingk Thijm wrote largely fictionalized and romanticized stories surrounding the life of famous persons from the Golden Age.

  66. 66. [Meijer’s note: Brieven, Editie, 1855, Vol. I, p. 341] In the letter Hooft writes that he will sit for Van Mierevelt in Delft on May 1, 1629, and the days after. He adds that Van Mierevelt is a man who wants to spend his time efficiently. Perhaps this is the reason why Meijer thinks Hooft must have been bored, he might have assumed that a time-efficient man can never have been a good companion to the erudite and elegant Hooft. De briefwisseling van P. C. Hooft,1:710, no. 306: “A Monsieur Joost Baek, bij ‘t oudemannenhujs, in No 3. tot Amsterdam.”

  67. 67. Joachim von Sandrart, Portrait of Samuel Coster, ca. 1642, Theater Instituut Nederland (presently administered by the University of Amsterdam), inv. no. 162.000..

  68. 68. Joachim von Sandrart, Portrait of Jacob Bicker,Amsterdam Museum, inv. no. SA 2078; Joachim von Sandrart, Portrait of Alida BickerAmsterdam Museum, inv. no. SA 2077;  Joachim von Sandrart, Portrait of Hendrick BickerAmsterdam Museum, inv. no. SA 7400; Joachim von Sandrart, Portrait of Eva GeelvinckAmsterdam Museum, inv. no. SA 7401.

  69. 69. C. Busken Huet, Het land van Rembrand(Haarlem 1882–84), 529, n. 1. Huet uses the Dutch saying “in een onbewaakt ogenblik,” which I translated literally because it is otherwise untranslatable. It suggests that Vondel made it in a flash, that he did not spend a great deal of effort on it. 

  70. 70. [Meijer’s note: In Vondel’s werken one reads “Dam en Markt” [Dam and market.] 

  71. 71. A lavishly scholarly annotated online edition is available here: http://ta.sandrart.net/en/

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DOI: 10.5092/jhna.jhna.2014.6.2.4
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Recommended Citation:
D. C. Meijer Jr., Tom van der Molen (translator), "The Amsterdam Civic Guard Pieces Within and Outside the New Rijksmuseum Part IV," Journal of Historians of Netherlandish Art 6:2 (Summer 2014) DOI: 10.5092/jhna.jhna.2014.6.2.4