: the paintings

A Story of Versatility, Success and Bankruptcy in Seventeenth-Century Holland

Anke A. Van Wagenberg-Ter Hoeven

Colofon sponsors ens

Uitgever? Contents

7 Foreword and Appreciation

16 Introduction

56 Biography of Jan Baptist Weenix (1621-1659) I Archival Research and the Bankruptcy File 56 II Early Life 58 III To Italy 59 IV In Italy (1643-1647) 60 V Return to Holland 66 VI In (1647) 70 VII To (1647–1656) 80 VIII In the Country: Ter Mey Castle (1656-1659) 90 IX Dated Paintings in Chronological Order- a Selection 95 X Death and the Estate 100 XI Conclusion 110

110 Catalogue Introduction and Internet Sources 112 Paintings by Jan Baptist Weenix 114 _ Early works 102 _ Landscape with architecture and sculpture 114 _ Merchants, craftmen, beggars and genre 200 _ Religious paintings 220 _ Riders and wayfarers 225 _ Seaports, marine and boats 230 _ Shepherds with herd 250 _ Still life 250

320 Appendices I on Jan Baptist Weenix 321 II The Bankruptcy File of Jan Baptist Weenix 325

330 Bibliography

335 Index Introduction

Jan Baptist Weenix (1621-1659) is known as one of the group of second-generation Italianate painters who worked in the mid-seventeenth century in the Northern , along with Jan Asselijn, Andries Both, Jan Both, Nicolaes Berchem, , , Johannes Lingelbach, Thomas Wyck and others. These painters traveled to Italy in the 1630s and 1640s, and consciously adopted a style of landscape painting imbued with the warm Mediterranean light, building upon the legacy of Paul Brill, Adam Elsheimer and Cornelis van Poelenburgh. They incorporated Italian ruins and motifs into their paintings, as well as pastoral shepherds, cattle, riders, wayfarers and travelers, sometimes co-operating in the production of paintings. There was a mutual exchange of influence between the mid-1640s and early 1650s, after their return to Holland. The warm coloration of their light-filled landscapes with flocks and herdsmen as staffage appealed to the Northern taste.1

Jan Baptist Weenix is best known for his views of the campagna and fanciful Mediterranean seaports. At the same time he was, according to Théodore Lejeune (1864), a rare universal painter and no stranger to any genre, painting history, portraits, landscapes, animals and “scenes from private life” (genre), with much suppleness and ease.2 His brush was soft and solid without frills, his compositions excellent and rich, his drawing is correct and firm, his colors lively, full of zest and well handled.

In 1948, art historian Wolfgang Stechow was the first to devote a journal publication to Jan Baptist Weenix since Charles Blanc (1860) and Lejeune. He correctly states that this versatility may have contributed to an underesti- mation of Weenix’ artistic rank, since in the customary treatment of Dutch art according to subject, his activity is broken up in fractions of seemingly small importance.3 Rebecca Jean Ginnings investigated both painters in her unpu- blished dissertation on Jan Baptist Weenix and in 1970 and in the early stages of the current research I depended on her invaluable findings.4 Christine Skeeles Schloss devoted a significant portion of her chapter on “Ruins and Capricci” in Travel, Trade and Temptation (1982) to Weenix’ artwork in the context of second-generation Italianists.5 Schloss (1983) also devoted an article to the early Italianate genre paintings by Jan Weenix, in which she attempted to distin- guish paintings of father and son Weenix.6 Albert Blankert published the first overview of Dutch seventeenth-century Italianate landscape painters, allocating thirty chapters to the same number of painters, from Jan Asselijn

7 to Thomas Wyck. For each painter he included a short biography and entries on a small number of paintings. Ten of Weenix’ paintings are chronologically discussed in detail.7

Of the Italianate painters Jan Baptist Weenix was the liveliest, most painterly, and the best colorist, with a consistently defined clarity. He progressed from an early refined yet simple style to monumental compositions of harbor views with figures on a large scale. Weenix was a master of invention and versatility whose short career we will follow his career until his life came to an abrupt halt in 1659.

afbeelding

> Jacob Houbraken (1698-1780), Portrait of Jan Baptist Weenix, Rijksprentenkabinet, Amsterdam (see also pp. xxx).

8

Jan Baptist Weenix: biography 1621-1659

Anke A. Van Wagenberg-Ter Hoeven

jan baptist weenix biography 1621-1659

I Archival Research and the Bankruptcy File literature on Weenix’ 1621 birth date, as given by Orions, who can be identified as the Utrecht painter Jacob Campo Weyerman more or less repeats Arnold Houbraken, at the Dutch Vasari, wrote bio- and koster Johan (Hans) Horions (c. 1624-1672).15 Jan Baptist Weenix’ life story in his second volume, The attempt to reconstruct Jan Baptist Weenix’ life graphies of Dutch painters of the seventeenth century. The portrait was so lively and powerfully done that it published in 1729.23 He relates a comical conversation and career is largely based on recently discovered (Houbraken’s text on Weenix in its entirety can be seemed to have been done with the brush.16 This may as if he witnessed it himself in which Mother Weenix correspondence between Weenix and his patrons, found in Appendix I). He notes that he spoke to the or may not have happened; other painters are known asked her son what he wanted to learn and without and records of settlement of invoices from creditors painter’s son Jan Weenix for his De Groote Schouburgh to have used fingers for a brush.17 His son Jan Weenix hesitation Jan Baptist replied that he wished to be following the painter’s untimely death in April 1659 biography on Jan Baptist Weenix and publishes the first related, according to Houbraken, that his father was a painter, and not a “bookworm” of “cloth moth.” at the age of 38 and the bankruptcy declaration that engraved portrait of the artist. Houbraken’s three exceptionally good in making large paintings, which The young and ambitious Weenix added that as a immediately followed.8 The original archival docu- volumes were published in 1718-1721; Jan Weenix the son observed him do on several occasions; in one painter, he would not have to “ensnare his fellow- ments were examined and transcribed at the Utrecht died in 1719, so logistically he may indeed have in day he could paint a canvas of six to seven feet wide men” to lead a rich life. Weyerman also relates that provincial archives.9 The dossier of letters and invoices, good faith related a conversation.10 Houbraken is with buildings, sea and vessels, or a bull with dogs, his mother apprenticed him to the Amsterdam here referred to as the “Bankruptcy File,” is an immen- given historical authority; he is repeated and supple- and a landscape. Painting three life-size half-length painter Jan Micker, who taught him to draw.24 sely valuable source; it helps shed new light on the life mented by subsequent biographers, including Jacob portraits on a summer day was mere child’s play for of a Dutch artist and his work in the mid-seventeenth Campo Weyerman (1729), (1750), Jean Jan Baptist Weenix.18 These are likely magnifications. Weenix learned a lot in a short time and “even spent century. It includes orders for art supplies and more Baptiste Descamps (1753), Johannes Immerzeel (1855) his time outside diligently in drawing from life: “old mundane items, like living expenses, including orders and Christiaan Kramm (1863), and so on, into the Contemporary written sources are scarce, although ruined barns, houses and other things worth drawing.” – and many outstanding bills – for wine and beer, twentieth, and now in the twenty-first century.11 Houbraken supplies some useful content. Jan Baptist Some of these drawings still remain. Finally he spent medicine for a sick child, carpentry work, including Weenix was the son of Johannes Weenix (also known the last approximately two years of his training with panels for the painter, and sadly, the order for a According to Houbraken Jan Baptist Weenix was born as Jan Weeninx or Jan Jansz. Weines) and Grietje Nicolaes Moeyaert (1592-1655) in Amsterdam, “whose child’s coffin, shortly after the painter had bought in 1621, and died at the age of 39.12 He was eighteen Heremans. His father was a painter and famous handling he copied so well that those by the master her a doll. These documents provide a window into a years old at his wedding on 23 July 1639. We now know architect (“bouwmeester”), who died when Jan was and by him could not be distinguished. After the painter’s public and private life: Weenix as an artist, that Weenix died on or shortly before 4 April 1659. only one year old.19 His mother and guardians noticed training he practiced the art by himself, producing businessman, friend and father, his working methods, Upon his death he must have been 38 years old. Based young Jan’s love for reading, so he was placed with a fine pieces.” 25 and studio practices, and mid-seventeenth-century on the recognized dates (death and marriage) Jan book merchant to learn that trade.20 But, Houbraken living circumstances, his position in society, as well Baptist Weenix must have been born between 1 January relates, instead of minding the book shop, Weenix was Moeyaert is an interesting connection in the sense as the bankruptcy of a painter. We will follow his and 23 July 1621.13 drawing incessantly, whereupon his mother sent him that he was a follower of and known as life as recorded in archival documents and in the first to a textile merchant and then sent him to a history painter and of biblical and mythological art-historical literature over the centuries. Kramm has complicated the dates when he noted apprentice at the Amsterdam painter Jan Christiaensz. scenes, who designed the triumphal arch in Amster- that Weenix was eighteen years old when he married Micker (1598-1664). There are family connections; his dam when Maria de Medici visited the city in 1638. (which we know to be correct), “he would have been brother Barent Micker (1615-1687) was married to Jan He was very successful and wealthy and had stakes II Early Life born in 1620 and died at forty, not thirty nine.” We Baptist’s aunt, his father’s youngest sister Lijsbeth.21 in the business of art dealer Hendrick van Uylen- now know, based on the archival sources that Weenix Next Weenix became a pupil of Abraham burgh, the uncle of Rembrandt’s wife Saskia van Jan Baptist Weenix was born as “Jan Weenix” in died in 1659.14 Bloemaert (1566-1651) in Utrecht.22 Among his many Uylenburgh. As a young man Moeyaert is thought Amsterdam in 1621. The year of his birth remains Houbraken’s anecdotal style makes it difficult pupils were Andries Both (1612/1613-1641), and Jan to have traveled to Italy, and was perhaps Weenix’ undocumented and his baptismal registration was to distinguish fact from fiction and exaggeration; Both (between 1610 and 1618-1652), Nicolaus Knüpfer; inspiration to travel. We do not know for a fact if most probably burned in a fire of the Amsterdam city he writes for instance about Weenix finger painting a all painters Weenix worked with at some point in his Weenix knew Rembrandt in Amsterdam but some archives. There has been some confusion in early portrait of the clerk of the Utrecht Dom Tower, named career. of his paintings betray some Rembrandt influence.

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Houbraken remarked that Weenix’ work is no less than From 1642 dates the Landscape with Ruin, Shepherds, that of Dou or Mieris.26 Herd and Thistle drawing in , signed and dated with his pre-Italian signature, “Johannes Weenic / Fesit Nicolaes Berchem (1620-1683) was a pupil of Moeyaert’s 1642.” He would later change his signature to Giovanni and he and Weenix may have met at Moeyaert’s Battista Weenix (fig. avw 204).29 studio.27 From these early years we know of only a few signed works; first a drawing, Two Figures in a Landscape The Sleeping Tobias (Ginnings 3) in , is impor- with Sheep, in the Albertina (Ginnings 2) signed and tant as Weenix’ earliest signed and dated painting, dated “JWeeninx fesit 1641.” Moeyaert’s stylistic “Jo:Weenincks 1642,” until the signature was removed influence can be noticed in the drawing, while the in an unfortunate restoration.30 Weenix was still with sheep in the foreground are reminiscent of Pieter Van Moeyaert at this time, so it is not surprising that this Laer’s etchings of 1636.28 early painting is somewhat Rembrantesque in style and

Jan Baptist Weenix, Two Figures in a Landscape with Sheep, Jan Baptist Weenix, Landscape with Ruin, Shepherds, Herd and Thistle, Jan Baptist Weenix, The Sleeping Tobias, “Jo:Weenincks 1642,” (formerly) Boijmans van Beuningen Museum, Rotterdam (Ginnings 3) “JWeeninx fesit 1641.” Albertina, Vienna (Ginnings 2). “Johannes Weenic / Fesit 1642,” Kupferstichkabinet, Berlin

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content. The subject has been inspired by the apocryp- artist’s surreptitiously leaving his wife of four years and Riemans, painter, presently in Rouen, for and on behalf hal story of Tobias sleeping at a wall: “The same night their fourteenth-month old son to go to Italy, without of said constituent is to receive from Sr. Louis Bruny or also I returned from the burial and slept by the wall of notifying anyone, not even her.34 This son is the later his widow, living in Rouen, “each and every of effigies, my courtyard, being polluted and my face was unco- painter Jan Weenix (1641-1719).35 portraits, pictures, paintings and other signed [works] vered. And I knew not that there were sparrows in the left and deposited by constituent in the month of wall, and mine eyes being open, the sparrows muted Josyntgen could not find her husband and became March about five years passed.” It is signed by Johannes warm dung into mine eyes, and a whiteness came in suspicious, because several times Weenix had shown Weenix, with witnesses Guilleaume van der Houve and mine eyes …” (Tobias 2: 9-10). The apocrypha Bible great desire to see Rome. She urged several of his Guilleaume de Galen le Jeune, and the Notary, “G. de book of Tobias (or Tobit) was admired by Rembrandt friends to search the cities of Holland. They finally Galen.”40 The date would have been March 1643, and as well as , and was a frequent intercepted him in Rotterdam and persuaded the artist not 1642, as Weenix’ will was drawn up late October theme of their work. to sail by ship back to Amsterdam, where he was to do 1642, after which he would have left. From Rouen most the farewells properly.36 This first attempt to travel travel routes went over rivers and land to the south of Jan Baptist Weenix and his fiancée had their banns probably took place in 1642.37 France, with a short sea journey to the Italian coast. published in Amsterdam on 23 July 1639; the formal marriage took place later. He was eighteen and gave his Jan Baptist Weenix signed a will “having determined to profession as “painter,” and was living in the Bantam- travel to Italy to practice his art,” as part of the formal IV In Italy (1643-1647) merstraat in Amsterdam. At the time he gave his age as leave for the second time in which he promised to stay “out 20 jaar,” (twenty years old) in order to hide the fact away no longer than four months. The Amsterdam Weenix arrived in 1643 in Italy, probably traveling by that he was two years younger than his bride.31 He Notary P. Carels prepared the testament, signed on 30 ship from the south of France to the port of Livorno. married Josyntgen de Hondecoeter, born in Amster- October 1642 by “Johannis Weenincks,” stating that his Here he painted the fully signed Harbor Scene with an dam in 1619 living on the Oude Schans, the daughter son “Johannes Weenicx the Younger,” begotten by his Equestrian Statue (cat. Ginnings 4) in the J. Marinucci of the famous painter Gillis Claesz de Hondecoeter wife “Josyntge de Honderkoutre” was his sole heir. Collection, Rome.41 It is Weenix’ first port scene and (1575-1638) and Mariken Ghijsbertsdr (c. 1576-1627). Upon his death his wife will be given usufruct and his the location is unmistakably Livorno. The city’s famous Jan Baptist Weenix, Harbor Scene with an Equestrian Statue, signed, lastly They were the grandparents of Melchior d’Hondecoeter mother Grietge Heremans, a maternal portion.38 statue of the Quattro Mori stands in its port on the in the J. Marinucci Collection, Rome (Ginnings 4) (1636-1695), Jan Baptist Weenix’ nephew through Ligurian Sea, with the rider on top long ago replaced marriage. He would later become Weenix’ pupil. There is no documentation of a traveling companion by the likeness of Ferdinand I.42 Hoogewerff, who extensively researched the presence Josyntgen was still recorded in Amsterdam in 1644, and although there have been suggestions that Nicolaes Instead of the promised four months, Weenix of Dutch artists in Rome, provides a list of Bentvogels later in Utrecht where she died. 32 Berchem accompanied Weenix to Italy.39 Weenix would stayed in Italy for four years.43 Weyerman relates that (or ) who were present in Rome concurrently have traveled by ship from Amsterdam, via Rotterdam Weenix arrived in Rome on the River Tiber, met briefly and must have known Weenix, who was in Rome from to Rouen, where he had a depot where he kept materi- with the Bentvogels, the Roman society of Netherlan- 1643 to 1647. They include Jan Asselijn (1641-1645), III To Italy als in case he would leave Italy. We know this from a dish artists, and became a member with the nickname Carel Dujardin (1642-1647), Nicolaes Berchem (1643- certificate of protocol he signed approximately five “Ratel.”44 The name means “rattle,” because of a speech 1645), Jacob van der Does (1644-1648), Antonie Goubau Houbraken relates that Weenix’ wish to travel to Italy years later, on 18 June 1647, at the court of Utrecht with impediment that was the result of a “kind of stroke”.45 (1644-1649) and Jan Lingelbach (1644-1650).47 On 7 March before settling in Holland – perhaps encouraged by his notary Guillaume de Galen, in which he authorizes the The nickname is confirmed in the 1653 inventory of 1644 Weenix’ absence is confirmed when he and his teachers – was prevented first by his mother and later painter Riemans to collect artworks from his storage at Willem Vincent Baron van Wyttenhorst, where he is wife are documented in an Amsterdam inheritance and by his marriage, although he did not give up on the Louis Bruny’s in Rouen. It reads: “Jean Weenicx, living called “Jan Baptist Weenix generally named Ratelaer.”46 Weenix is listed as being “abroad.”48 idea.33 He gives a vivid and humoristic account of the in Amsterdam, constitutes that Pierre Thiemans

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Weenix worked at the court of the Pope’s nephew, Correspondence, of which no trace remains, was establis- Cardinal Camillo Doria Pamphilj (1622-1666).50 hed, with expressions of yearning and assurances that He is mentioned a few times in the Doria Pamphilj wife and son would be welcome and that both the Pope Archives for payments for paintings,51 on 2 January as well as the Cardinal had promised a position for his and 26 February 1646 when payments of f. 60-62 are son. And so Josyntgen, says Houbraken, decided to write listed to “Giov. Vaninx [Vuninz] fiamengo Pittore ... to her husband that she would travel by ship to Rouen a conto di Pitture” under the heading of “... His and on to Rome.57 As soon as the good news arrived Eminence Cardinal Camillo Pamphilio.”52 On letters were written to all the nuncios and governors of 12 January and 7 March 1646 there is mention of a cities on her route, to cover her expenses and provide note to “Venunzo pittore.” Hoogewerff confirms that escort. But all was in vain as Josyntgen’s friends had in Weenix had been in Italy for four years, although “his the meantime discouraged her by describing dire name is almost entirely absent in archival materials”.53 consequences: she would be placed in a convent, “there Jan Baptist Weenix and Pasquale Genovese, Landscape with the Walk to Emmaus, Galleria Doria Pamphilj, Rome (avw 225) There is, however, a “Giovan battista Gellis, fiamengo were plenty of women for him,” and such “predictions.” pittore” who lived in the Strada Vittoria in Rome in 1643. Her friends were all Reformed or Mennonite and deeply Noticing the mistranslations of Dutch names, it may prejudiced against Roman Catholics. She sent a letter, The second set of four paintings are the first known be possible this concerns Jan Baptist Weenix.54 drafted by her friends, of very different content to Rome paintings Weenix made in collaboration with another stating that she had changed her mind and did not wish painter. The series is listed in the Doria Pamphilj A drawing, now in Lyon, signed “Gio Batta Weenix to come to such a country. Weenix decided to get her Archives for the first time in the 1649-1652 inventory, as desynato a Tivoli” (“drawn in Tivoli”) in his large, himself. When he was not permitted take furlough, he produced by “Giovanni Olandese, di (...) e le figure di cursive handwriting indicates an excursion to Tivoli, left Rome surreptitiously, leaving an open letter stating Pasquale Genovese.” 61 The four religious paintings outside Rome and is a rare example of Weenix working he would return in three months time.58 represent Landscape with the Good Samaritan, Landscape with the in Rome and its vicinity. Walk to Emmaus, Landscape with Noah Leading the Animals in the An 18 February 1646 Weenix was still in Rome, when Ark and Marine Landscape with Riders (avw 225-avw227).62 We return to Houbraken, who may have heard the he signed a legal document at Notary Jacobus Levicq, following personal story from the painter’s son Jan authorizing his wife Josijntje de Hondecoeter, to act as The collaboratively produced paintings represent Weenix. His ingenuity and excellent art was widely his representative. Weenix is listed as being “presently Weenix’ first known landscapes and animals; Pasquale loved in Rome, says Houbraken, and Weenix had in Rome.”59 Genovese painted the figures.63 Of the latter, also known Jan Baptist Weenix, Italian Landscape with Ruined Fortifications on a Hill at Tivoli, signed “Gio Batta Weenix desynato a Tivoli”, “his hands full of work.” After two years he requested as Pasquale Chiesa, not much more is known than that Musée des Beaux-Arts, Lyon , 1962-342 (avw 761) furlough from his patron Cardinal Pamphilij to see Very few paintings are known from Weenix’ Roman he was a painter from Genoa who worked for a short time his wife and son in Holland.55 He did not get permis- period; there are nine paintings at the Galleria Doria in Rome and possibly went on to Naples. sion, and in an attempt to prevent his departure, Pamphilj that are associated with or are partially by Not much is known about Weenix’ time in Rome and the Cardinal, who appreciated him particularly, Weenix. The first four are a series of genre scenes Weenix and Pasquale Genovese may have produced the his name rarely appears in archives. Jan (Johannes) introduced the painter into the service of his uncle the formerly attributed to Weenix: The Vegetable Seller, paintings in 1645-1646 for the Villa di San Pancratio near Weenix extended and Italianized his name at this time Pope, for whom he made a large – still unidentified – The Poultry Seller with Man and Sleeping Child and two of a the Roman gate of San Pancrazio which belonged to Camillo to “Giovanni Battista Weenix,” perhaps inspired by his artwork, made with the help of a team of assistants. Fishmonger. They are now correctly attributed to David and Giovanni Battista Doria Pamphilj.64 From the Doria employer Cardinal Giovanni Battista Doria Pamphilj, It was proposed to Weenix that his wife should be Teniers II.60 Pamphilj Archives we now know that Weenix was who became Pope Innocent X in 1644.49 summoned to Rome instead of the artist leaving.56 reimbursed for blacksmith expenses – he would have

18 19 jan baptist weenix biography 1621-1659

the Pyramid of Caius Cestius in Rome and a distant seascape, combined with a rocky landscape.

V Return to Holland

Weenix left Rome between 28 July 1646 and June 1647. His high status and prestige at the Roman Papal Court are witnessed by his sending his belongings by the Papal Nuntius, in fact using diplomatic mail, via and Rouen. His friend Johan de Bary, a wealthy Amsterdam merchant, assisted with the shipment and provided funding or deposits. Later on we will hear from de Bary again as one of the main creditors in the Bankruptcy File. Except for Weenix’ letter to de Bary there is no extant correspondence. But it is likely that he counted on returning to Italy, bringing his family along this time.

VI In Amsterdam (1647)

Jan Baptist Weenix is mentioned for the first time back in Amsterdam in June 1647. He came home to his wife and son Johannes (Jan). Jan must have been born in August 1641 since he was fourteen months old when Jan Baptist Weenix, Fantasy Landscape of an Oriental Seaport, with a Rider on a White Horse, Galleria Doria Pamphilj, Rome (avw 222) his father left. His exact birth date is unknown because his baptismal certificate probably burned with part of Jan Baptist Weenix, Ruin of the Castle Egmond aan den Hoef (formerly Ruins of the House of Cleve near ), signed “Jan Weenix f.” (lower used a horse to get around. The last mention of his painter “a conto di pitture fatte e da farsi,” or “on behalf the Amsterdam City Archives. In 1664 Jan Baptist center); “T’huijs te Cleef” (top center) and “No .xviii” (by another 66 name – in the Italianized version – before his return to of paintings made and to do.” Weenix’ widow died. They had two sons: Jan and Gillis. hand) , Albertina Museum, Grafische Sammlung Vienna, 10199 Holland, dates from 28 July 1646 when he is reimbursed It appears in the archives of Camillo Doria The latter was probably born in 1647. Not much is (avw 229) for horseshoes. This listing appears under the heading Pamphilj in 1652, where it is described as by the hand known about Gillis Weenix; in the Bankruptcy File he of the “Accounts of the Villa di San Pancratio.”65 of “Gio-(vanni) Weenix Olandese”.67 Camillo Pamphilj appears as “Jelis the little son” in a clothing invoice69 The drawing in Vienna signed “Jan Weenix f.” rather The unsigned Fantasy Landscape of an Oriental Seaport, lived in the Palazzo in the Aldobrandini Palace on via del and we now know that he was still a minor in 1667. shows the drawing style of Jan Baptist Weenix, with with a Rider on a White Horse (avw 222) in the Galleria Doria Corso (now Doria-Pamphilj), Rome. It is also mentioned He is listed as a painter in 1669, living in Lyon, France, his large, sweeping handwriting in the inscription Pamphilj is one of the rare paintings that dates to Jan in the inventory made upon his death in 1666.68 It is a where on 28 July 1680 he married Sébastienne Ouver- “T’huijs te Cleef” at the top. It may have been made Baptist Weenix’ Roman period. It probably dates to large marine landscape, measuring 220.5 · 302 cm, filled camp, daughter of the painter Pierre Ouvercamp and while Jan Baptist Weenix was in Amsterdam, which is 1645-1646, when prince Camillo Pamphilj paid the with riders and oriental figures in the foreground, with Antoinette Benoist.70 a short distance to the ruined medieval Huis ter Kleef,

20 21 jan baptist weenix biography 1621-1659

located outside of Haarlem. The ruins were a popular prevented by his wife and good friends. Described by VIII In the Country: Ter Mey Castle (1656-1659) subject for artists, including Jacob van Ruisdael. Houbraken as “first rank,” Weenix was quite popular, and was asked by “everyone to make something.” His Houbraken gives this “loss of valuable time” because of most fervent admirers would not leave him alone so the “dropping by of all the company” as the reason that VII To Utrecht (1647–1656) it was impossible to depart for Ital]. Letters from Weenix left the city and moved to the small village of Cardinal Pamfilij and others came continually.77 This Haarzuilen near Vleuten. There he rented from 1656 Between 1647 and 1649 Jan Baptist Weenix and his correspondence, if extant, has not yet been located. until his death in 1659, the castle Huis ter Mey, at a family moved to Utrecht where he served as Dean distance of seventeen kilometers from the Zuilenstraat of the Painter’s Guild in 1649 with Jan Both and Weenix created many “distinguished art pieces” and in Utrecht,82 at two hours north of Utrecht (on horse- Cornelis van Poelenburg.71 Weenix worked with would have made many more – if only he had not had a back). Weenix lived here for three years.83 Here he could various other painters on occasion. On 9 May 1649 multitude of visitors in his studio. Many “good folk” Jan Baptist Weenix, Nyenrode Castle on the Vecht, signed “Gio Batta work without the visitors’ distraction. The move was he was on the expert committee with Jan Both, came to seek conversation on spiritual or worldly Weenix 7”, brush and grey ink, over black chalk; framing line in unusual because an artist’s potential clientele lived in 81 Cornelis van Poelenburgh and Willem de Heusch matters and kept him from working.78 black ink, Rijksprentenkabinet, Amsterdam, rp-t-1889-a-2122 the city and artists tended to live near their patrons. He (Ginnings 48). to appraise a lottery organized by Johan de Bont rented the manor house from the nobleman Hendrick in nearby Wijk-bij-Duurstede.72 They appraised We can date at least two drawing s to this period or Valckenaer.84 158 objects, including paintings of horses, dogs close to the transition to the Ter Mey Castle. The first is The second shows a very confident and large post- and fish by Weenix. His name is listed in various inscribed “Buyten Harderwijck” (outside Harderwijk). Italian signature in the topographical rendering of From the Bankruptcy File we learn that Weenix had a spellings: Harderwijk is located on the northern edge of the Nyenrode Castle in Breukelen, on the Vecht River separate rental agreement of 31 gulden annually with no. 117 Horse after Wijninx f 6 Veluwe to the north east of Utrecht. The drawing is near Utrecht. In Weenix’ lifetime, Nyenrode belonged Peter vanden Eijnde for his studio in the upstairs room no. 125 A piece by Jan Wijninx being dogs f 136 clearly signed “Gio: Batta Weenix” in the cursive to the family Van den Bongerd.79 These drawings are at Huis Ter Mey. He had fallen two years behind (since no. 151 A white horse by Wyninx f 90 handwriting he used in this period. important because they confirm that Weenix studied no. 157 A piece by Wyninx with fish f 40 the Dutch countryside. in Appendix B: no. 125 A piece by Wenincks f 136 and on a loose leaf: no. 57 A piece by Wyninx with For the present drawing, Weenix chose a perspective fish f 40.73 that was also present in other drawn and printed reproductions of that castle by Roelant Roghman The highest prices were for De Heem (f 200), de (1627-1692), Theodor Matham (1605-1676) and Heusch (f 200), and for Weenix (f 136).74 The appraisal Herman Saftleven (1609-1685).80 As comparison committee signed the document; Weenix’ signature reveals, Weenix took some liberties, for instance in appears as it often does in his paintings “Gio¯. Batta” giving the windows a smaller size, by reducing the Weenix.” 75 number of the dormers and by omitting a stepped gable in the internal courtyard that was apparently Houbraken describes that Weenix visited his wife’s seen next to the right stair tower. The staffage in the brother in Utrecht “where he stayed because of the right foreground, a man steering his boat through healthy air.” 76 He then moved to the Zuilenstraat in the Jan Baptist Weenix, Countryside near Harderwijk, signed “Gio: Batta the reed, was possibly added by a later hand. Anonymous, Side and Front View of Huis Ter Mey near Haarzuilens, with a partial view of Castle De Haar in the background, mid-eighteenth century, heart of Utrecht. He wished to return to Italy but this Weenix” (“9” by another hand) “Buyten Harderwijck”, Kunsthalle, Bremen, K.K. 1960/41; Registered in Lost Art Magdeburg, 126713 pen and brush in gray, from http://www.hetutrechtsarchief.nl/ never materialized. According to Houbraken it was (avw 776). collectie/beeldmateriaal). 22 23 jan baptist weenix biography 1621-1659

Easter 1657) with rent payments at the time of his (Ginnings 102, Ponce, Puerto Rico, signed and dated death. Vanden Eijnde submits a debenture for the G. B. Weenix 1658).90 two years’ rent for 72 gulden to the estate.85 In the foreground ferocious dogs are fighting over Weenix and Josyntgen had two more children: a chunk of horsemeat and snarling at each other. In the third child, whose sex, birth date and name are the background the Castle De Haar appears in a hilly unknown, was buried on 4 July 1652 in the Buurkerk landscape beyond two hunters and their dogs. Despite in Utrecht.86 We learn that there was a fourth child, the rather startling subject, Weenix’ skill is on full a girl, from a carpenter who was a creditor upon display in this large canvas with its spirited rendering Weenix’ death. He had not received payment for of the play of light on the few leaves in the upper left, panels and frames and “a coffin for the daughter” of the vivid depiction of the horse meat on the ground, and has now built a coffin “for Seigneur.”87 Also the and of the beautiful cloudy sky.91 The painting was doctor’s invoice had not been paid. He had come possibly commissioned by Johan van Renesse van from nearby Kockengen to treat the daughter for Moermont, owner of Castle De Haar (1630-1664) 92 a hernia and had also treated the maid.88 and is possibly identical to the second most expensive piece in the auction of Weenix’ estate (no. 1. “Een hont By 1772 the country estate of Ter Mey was torn down van Weenix, 67 gulden.”) 93 and the land was intergrated into the much larger property of Castle de Haar. 89 From one of the eastern rooms Weenix could see De Haar, which he included IX Dated Paintings in Chronological Order, in the distance in his 1658 painting A Dog Fight in Ponce a Selection

In the years immediately following his return from Italy until his death in 1659, Weenix focused on the Italianate landscape theme, often including a port view. His scenes tend to be filled with ruins, cattle and sheep, accompanied by shepherds and riders on horseback. He also made some portraits, hunting Ford in the River, Hermitage, St. Petersburg “Gio Batta Weenix 1647” (Ginnings 11). still lifes, and a few genre scenes. He now consistantly signed with “Giovanni Battista Weenix,” or the shorter version, “Gio Batta Weenix” and occasionally “G.B. In the second half of the 1640s Weenix paints large, ruin with large columns that we will see repeated in Weenix.” The following overview is not intended to decorative, broad-painted canvases, mostly in the numerous paintings (Ginnings 11). be exhaustive in numbers nor in minute descriptions horizontal format. The 1647 Ford in the River in the but is meant to give an impression of Weenix’ career Hermitage signifies the prelude of the more mature The painting is important as the “archetype” which through dated paintings. The group is small in style that will take root in his oeuvre with all the Weenix will revisit in such works as his Landscape with Jan Baptist Weenix, A Dog Fight, “G. B. Weenix 1658” Ponce, Puerto numbers but important as it represents the core of characteristics and elements he will revisit, including Ruins, Figures, Cows, Sheep and Goats in the Berre Rico (Ginnings 102). his oeuvre. a rider seen from behind and a sun-flooded temple Collection with its repetition of the colonnade (awv 256).

24 25 The intimate 1647 Mother and Child in an Interior in New York is exceptional in Weenix’ oeuvre as a rare genre scene in an interior (Ginnings 10). Could the sitter be the painter’s wife with his young son Gillis who was born that year? Weenix rarely offers such a personal and tender view, but more typically shows himself a keen though somewhat distance observer, almost like a traveler passing through a landscape.

From the following year dates the Hunters near Ruins in Cleveland (Ginnings 20), which was traced to the 1782 auction of Baron Gisbertus Franco de Milan Visconti. The Visconti banking family from Milan had settled in Utrecht in the seventeenth century where they grew

rich quickly by operating a loan bank and became art collectors. In 1696 they were elevated to the nobility.94 Like in the Hermitage painting, Weenix employs a low view point, adding to a more dramatic and deeper background vista. The pale blonde-rose tonality is characteristic of his color scheme at this time period reminding the viewer of the warm Italian sunlight.

In the late 1640s Weenix began to paint subtle-toned game pieces, like his 1648 Still life with a Dead Hare and Birds (Ginnings 13), followed by Dead Game the next year, now in Hartford (avw 23). The latter was signed with the back tip of his paint brush in the wet paint,

<< Landscape with Ruins, Figures, Cows, Sheep and Goats, Gio: Batt.....ix, formerly dated 1648, Collection Stein Berre, New York (avw 256). < Mother and Child in an Interior, ‘Gio Batt Weenix ano 1647’ Private collection, New York (Ginnings 10). < Hunters near Ruins, ‘Gio: Battá Weenix. 1648’ Cleveland Museum of Art (Ginnings 20). > Still life with a Dead Hare and Birds, ‘Gio:Batta: Weenix. 1648’ Christie’s, London, 4 July 1991, lot 551 (Ginnings 13) > Dead Game, ‘Gio Batta. Weenix/1649’ Wadsworth Atheneum, Hartford, CT (avw 23).

26 27

Notes

1 Staffage are the human and animal figures depicted in a 16 Houbraken 1719, pp. 81-82. vatten, gelyk als ook naderhant is gebleeken. Weyerman 1729, Catalogus schilderijen tot 1800. Rotterdam 1962, p. 152, no. 1204. For scene, especially a landscape, that are not the primary subject 17 H. Perry Chapman, “Cornelis Ketel: Fingerpainter and vol. 2, p. 165. comments on the restoration see Bredius 1926, p. 267: matter of the work, like “accessories” or “decoration.” Poet-Painter.” In Envisioning the Artist in the Early Modern 23 “Dien Konstschilder is geboren tot Amsterdam, in den jaare “De heer Luitwieler heeft deze handtekening [concerns another 2 Lejeune 1864, p. 495. Netherlands. Ed. H. Perry Chapman and Joanna Woodall. duyzent ses hondert een en twintig. Zijn Vader, genaamt Jan painting in the collection] zeker niet zo grondig gepoetst als 3 Wolfgang Stechow. “Jan Baptist Weenix.” The Art Quarterly. Nederlands Kunsthistorisch Jaarboek 59 (2009): 249-73. Weeninx, was een konstig Bouwmeester, door de wandeling indertijd die op den echten Jan Baptist Weenix Published by the Detroit Institute of Arts. Vol. 11, no. 3, 18 Houbraken 1719, p. 82. bekent by de benaaming van Jan met de konst.” Weyerman 1729, in het Museum Boijmans, die geheel verdwenen is.” Summer 1948. pp. 181-198. 19 “Zyn Vader Jan Weeninx was een vermaard en Konstig vol. 2, p. 164. 31 Thanks to Marten Jan Bok. Charles Blanc. Histoire des Peintres de toutes les Ecoles. Ecole Bouwmeester, waarom hy ook door de wandeling genoemt 24 “zyne Moeder wiert gerelegeert, die hem plaatste in een 32 Amsterdam bans published (ondertrouw, Noord-Hollands Hollandaise, vol. 1. Paris: Librarie Renouard 1883, pp. 1-8. wierd, Jan met de Konst. Deze hem te vroeg, en als hy nog maar Lakenwinkel, en daar was ’t zelfde. De Moeder, die er vry mal archief, 23 July 1639). “Eyndelyk begon hy op zijne eyge wieken 4 Rebecca Jean Ginnings. “The Art of Jan Baptist and Jan een jaar oud was door de dood ontrukt…“ Houbraken 1719, vol. mee was, vroeg hem, Wat hy begeerde te leeren? waar op hy zonder te dryven,en trouwde op zijn achtiende jaar met de Dochter van Weenix.” dissertation. University of Delaware 1970 2, eenig nabedenken andwoorde, Dat hy een Schilder, en geen Boekworm Gillis Hondekoeter, een Landschapschilder, en den Grootvader van [unpublished]. p. 77. His father was born in Enkhuizen c. 1587. He lived in of Lakenmot wilde worden, dewijl de Schilderkonst een beroep was, waar op Melchior Hondekoeter, die een Paradysvogel is geweest in het 5 Skeeles Schloss 1982, pp. 47- 53. Amsterdam from about 1601, behind the Breedstraat and men zyn Evennaasten niet behoefde te verstrikken, om rykelyk te leeven. De konterfyten van allerhande leevende Vogels.” See 6 Schloss 1983, pp. 69 - 97. still in 1612 when he married (see Houbraken, vol. 2, p. 77). Moeder gaf hem dan over aan het onderwys van eenen Jan Houbraken 1719, vol. 2, p. 78: Met zyn 18 jaar trouwde hy 7 Blankert 1978, pp. 174 - 184. Originally published as the Grietje Heremans and Jan Jansz. Weenix registered for their Micker, een Schilder uyt het laatste gelit, die hem met de Dochter van den Landschapschilder Gillis Hondekoeter, exhibition catalogue Nederlandse 17e Eeuwse Italianiserende marriage (“ondertrouw”) on 19 May 1612 in Amsterdam. zo goed als het in zijn vermoogen was leerde têkenen …” den Grootvader van Melchior Hondekoeter, die uitmuntende was Landschapschilders, in the Centraal Museum, Utrecht, 1965. Grietje Heremans, who was born c. 1595 and lived in the Weyerman, 1729, vol. 2, p. 165. in ’t schilderen van allerhande Vogelen. See also Weyerman 8 Part of the material was first uncovered by historian E.A.J. van Bantammerstraat. Jan Baptist Weenix’ father died c. 1622; his 25 Daar won hy in korten tyd veel in de Konst aan, en besteede 1729, vol. 2, p. 165. der Wal. I am very grateful to Marten Jan Bok for assistance and mother must have died some time between 1642 and 1646. She zelfs zyn buiten tyd neerstig in ‘t teekenen naar ‘t leven, zoo 33 De reislust die hem van jongs af aan in ’t hoofd gemaalt had, en advice in word and deed throughout my research and his was still alive when he left for Italy in 1642 (Houbraken 1719, wel van oude vervalle Schuuren, Huizen, als andere dingen die waar van hy eerst door zyn Moeder, naderhand door ’t trouwen sharing of files, folders and archival materials. vol. 2, p. 78) but reported as passed away (as a widow) by hem teekenagtig voorkwamen. Eindelyk leerde hy nog omtrent belet werd, groeide zoo sterk aan, dat hy (niettegenstaande hy 9 I am indebted to Marten Jan Bok who has transcribed and 2 February 1646. twee jaren by Nicolaas Mojert, wiens behandeling hy zoo even vier jaren getrouwt was geweest. Houbraken 1719, vol. 2, p. 78. annotated the documents over the last fifteen years, as well 20 “geraakte hy onder het bestier van zyn Moeder en Voogden die eens wist na te bootsen, dat men tusschen die van hem en zyn 34 “en een Zoon had van 14 Maanden, die nog leeft) voornemens as some by Jeroen van Meerwijk in 2007. hem, die byzonder leesgierig was, by een Boekverkoper Meesters stukken geen onderscheid konde zien. Waar na hy by wierd, om in der stilte, en zonder daar iemant, ook niet zyn 10 Arnold Houbraken. De Groote Schouburgh der Nederlantsche bestelden, om verstand van den Boekhandel te krygen.” zig zelf de Konst voort oeffende, en veel fraaije stukken in dien eigen Vrouw, kennisse van te geven, door te gaan. Gelyk hy ook Konst-schilders en Schilderessen. 3 vols. Amsterdam 1718-1721, his Houbraken 1719, vol. 2, p. 77. tyd schilderde. Houbraken 1719, vol. 2, pp. 77-78. Houbraken vervolgens deed.” Houbraken 1719, vol. 2, p. 78. biography of Jan Baptist Weenix appears in Vol. 2 (1719), pp. 21 Abraham Bredius, Künstler-Inventare, 1915-1922, vol. 1 (1915), 1719, vol. 2, p. 77. Nicolaes Moyaert (Claes Corneliszoon 35 Houbraken notes about Jan Weenix that “he is still alive” at his 77-83, specifically p. 82. p. 296, published a overview of the relationship between the Moeyaert or Nicolaes Moyaert or Mooyaert) writing (in 1719). 11 J. van Gool, De Nieuwe Schouburg der Nederlantsche Kunstschilders en Micker and Weenix family. Johannes Weenix had four children: was an authoritative Catholic Dutch painter. He followed 36 Zyn Vrouw die hem miste, en nergens konde opspeuren waar Schilderessen, vol. 1 (1750); J.-B. Descamps, La vie des peintres Lijsbeth Jans, Jan Baptist, Annetge Jans and Ermpie Jans. Rembrandt in his use of red chalk. dat zy ook naar hem omhoorde, werd agterdenkende, om dat flamands, allemands et hollandois, …, vol. 2 (1754); J. Immerzeel, et al, Christiaen Micker had four children, of whom the youngest, 26 “Maar het eenigste en uitvoerigste Konststuk dat in Nederland hy dikwerf getoont had groote geneigtheid te hebben van De levens en werken der Hollandsche en Vlaamsche kunstschilders… , 1855; Barent Micker married Lijsbeth Jans Weenix. bekent is (de rest is opgekogt en naar buitenlandsche Hoven Rome eens te zien. Dus maakte zy verscheiden van zyne Christiaan Kramm, De levens en werken der Hollansche en Vlaamsche 22 Maar wanneer zyn Meester met hem niet konde te regt raken, verzonden) is by de erfgenamen van den Heer Wiltschut tot vrienden op, om door de Steden van Holland, nazoek naar hem kunstschilders, 1857-1864, vol. 6 (1863). See bibliography for full doordien hy in steê van agt op den Winkel te slaan, alle Papier Amsterdam, het geen zodanig uitvoerig geschildert is, dat het te doen, die hem eindelyk te Rotterdam aantroffen, en hem zoo titles. dat hy maar bekomen konde beteekende, zoo bestelden zy hem voor de Konst van Dou of Mieris niet behoeft te wyken.” veer bepraaten, dat hy met hun weder naar Amsterdam 12 Respectively Houbraken 1719, pp. 77 and 81. in een Lakenwinkel, maar het was al ‘t zelve, waarom hem zyn Houbraken, vol. 2 (1719), p. 82. scheepte, onder beding dat hy maar behoorlyk afscheid wilde 13 Arnold Houbraken. De Groote Schouburgh der Nederlantsche Moeder, om dat hy niet anders doen wilde, en zy hem van harte 27 For Moeyaert see A. Tümpel, Claes Cornelisz Moeyaert, in: Oud nemen. Houbraken 1719, vol. 2, p. 78. Konstschilders en Schilderessen. 3 vols. Amsterdam 1718-1721, beminde, hem ten gevalle bestelde om de gronden van het Holland 88 (1974), p. 1-163, p. 245-290. 37 “omstreeks Maart, 1642, reeds naar Italië was vertrokken. his biography of Jan Baptist Weenix appears in teekenen te leeren by eenen Jan Micker, een gemeen Schilder; 28 See Wolfgang Stechow, “Jan Baptist Weenix”, The Art Quarterly, Kramm, vol. 6 (1863), p. 1835. vol. 2 (1719), pp. 77 – 83. naderhand by den vermaarden Abraham 11, 1948, pp. 185, fig. 4. For Van Laer see Hollstein, vol. 10, p. 5. 38 A. Bredius, “Een testament van Jan Baptist Weenicx,” Oud 14 “Is het nu zeker, dat hij 18 jaren oud was, toen hij huwde, dan Bloemaart tot Utrecht. Houbraken 1719, vol. 2, p. 77. 29 Anne Charlotte Steland. “Weenix in Rom 1643 bis 1647. Holland, vol. 45 (1928), pp. 177-178. 30 October 1642. Testament is hij niet in 1621, maar in 1620 geboren, en was hij bijgevolg, Also “en van daar geraakte hy by den op die tyd alom beruchten Zur Datierung des zeichnerischen Frühwerks anhand von van d’eersame Jan Weenix, Schilder, burger desen stede tijdens zijn overlijden, in 1660, niet 39, maar 40 jaren oud. Konstschilder Abraham Bloemaart, woonachtig tot Uytrecht. By Signaturveränderungen.” Niederdeutsche Beitraege zu Kunstgeschichte, voorgenomen hebbende te trekken na Italie on syn Konst te Kramm 1863, p. 1836. dien Konstenaar benaarstigde Jan zich zo wel, door dagelyk te Vol. 33 (1994), pp. 90-91, fig. 3. exprementeren gesont van lichame etc. Eenig erfgenaam 15 http://www.vondel.humanities.uva.nl/ecartico/persons/3866 têkenen na het leeven, zo oude vervalle 30 The restoration was done by Henry Luitwieler, official restorer Johannes Weninx de Jonge syn soontje, alrede by d’eerbare and https://rkd.nl/explore/artists/39748 26 June 2017. With Slooten, Huyzen, en Schuuren, dat er den Meester en de for Rotterdam’s Boymans Museum, in the first quarter of the Josyntge de Hondekoutre, syn eghte huysvrouw geteelt. many thanks to Marten Jan Bok for this reference. Konstkenners toen al hooge gedachten van begonnen op te twentieth century. See Museum Boymans-van Beuningen. De vrouw het vruchtgebruik. Not. P. Carels. Amsterdam.

40 41 jan baptist weenix biography 1621-1659

Gemeentearchief Amsterdam, Not. P. Carels, NAA. Bok in Masters of Light, San Francisco/Baltimore/London geneigtheid, droegen hem voor, dat hy zyn Vrouw zoude tot Hondecoeter, wife of Jan Baptist Weenix, painter, presently Houbraken 1719, vol. 2, p. 78: Dit stuk ging aan, onder 1997-1998, p. 440, note 8. Rome ontbieden.” Houbraken 1719, vol. 2, p. 79. Also in Rome,” represents [him] through an authorization from wederbeding dat hy niet langer dan vier maanden soude 47 Hoogewerff 1952, p. 93. Weyerman says that the put Weenix to work as he painted 18 February 1646 from Notary Jacobus Levicq in Rome. Prot. uitblyven: dog heel noode, en tot groote droef heid van zyn 48 7-3-1644. Machtiging van Mr. Laurens de Lange, chirurgijn several rooms, assisted by young painters: “voor welken Not. J. de Vos, Amsterdam. See Bredius Kunstler-Inventare Moeder en Echtgenoot. te Amsterdam, als man van Jannichgen de Hondecoeter, Opperbisschop hy verscheyde vertrekken beschilderde, 1915-1922, vol. 1 (1915), p. 297, Appendix to Barent Christiaensz. 39 Cousin and travel companion (neef en reisgenoot Berchem), says Josina de Hondercoetere, wonend te Amsterdam, mede hebbende daar benevens onder zyn bestier verscheyde Micker’s Death Inventory. Hoogewerff 1952, p. 19. Peter C. Sutton in Masters of 17th- voor Johannes Weninck, ‘haeren wtlandigen man’, Eprahem de medehelpende jonge Schilders.” There are no records or 60 The four paintings are listed in Giorgio Torselli, La Galleria Century Dutch Landscape Painting. 1988, p. 43 and Pieter Biesboer, in Hondecoeter, ‘residerende binnen Utrecht’, samen als contracts of this. Weyerman 1729, vol. 2, p. 167. Doria. Rome: Fratelli Palombi 1969, nos. 355-358, as Jan Baptist the recent Nicolaes Berchem exhibition catalogue has pointed erfgenamen van zal. Henrick Ghijsbert van Heemskerck, 57 “Dit maakte hy werkstellig door verscheiden brieven, met Weenix. Stechow said that “the only works by Jan Baptist out that for practical reasons Berchem could not have traveled gewoond hebben te Delft; op Sr. Gijsbert de Hondecoetere, betuigingen van zyn groot verlangen, met verzekeringen dat zy Weenix which can be put down with absolute certainty as to Italy in the years 1642-1645. Pieter Biesboer et al. Nicolaes ‘rijckonstich schilder en burger t’Utrecht’ (gau, Not. daar welkom wezen zoude, en hoe de Paus, en Kardinaal having been painted during those years are four enlarged Berchem. In het licht van Italië, 2006, p. 21. N. van Lostadt, U010a024). beloften hadden gedaan van aan zyn Zoon dienst te doen, en copies from parts of a composition by David Teniers which, 40 ‘L’an de grace mil six cent et quarante sept, le dix huictiesme de juing, stile 49 Pope Innocent X (1574-1655), born Giovanni Battista Pamphilj hem te bezorgen met een ampt. ‘t Een en ‘t andere deed haar according to surviving documents, were made for Innocent ancienne, par devant moy Guilleaume de Galen notaire publicq (or Pamphili), was Pope from 1644 to 1655. Trained as a lawyer, besluiten, om te schryven aan haar Man, dat zy op zoo een tyd, X and are still in the Doria Pamphili collection in Rome. par Messeigneurs des courts d’Utrecht et d’Hollande admis, he succeeded Pope Urban VIII (1623–44) on September 15, 1644, en met zulk een Schipper op Rouaan meende te varen, Stechow 1948, p. 182. Ginnings 69 – 72. résident a Utrecht, et les témoings dessoubs nommez, compa- as one of the most politically shrewd pontiffs of the era, who en van daar haar reis voort te zetten naar Rome.” Houbraken 61 See Eduard A. Safarik, “Una Collaborazione Emeblematia,” rust en propre personne jean weenicx demeurant à Amsterdam, much increased the temporal power of the Vatican. He was a 1719, vol. 2, p. 79. in Piero Boccardo and Clario Di Fabio. Dipinti Fiamminghi e le quel avecq son bon gré et pure volunté à recognu, d’avoir great-great-great-grandson of Pope Alexander VI. 58 “Zoo haast als deze blyde tyding kwam, werd ‘er straks aan alle Olandesi della Galleria Doria Pamphilj. Genova: Tormena 1996. constitué pierre thiemans riemans, peinctre, estant 50 Somewhat confusing is the fact that Camillo Doria Pamphilj, is Nunciussen en Gouverneurs van al die plaatsen die zy moest Catalog of an exhibition at the Palazzo ducale, Genoa, présentement à Rouan, pour et au nom du dict constituant, also refered to as Cardinal, although he renounced the doorreizen geschreven, om haar buiten onkosten, goed geleide 16 March - 12 May, 1996, pp. 32 - 34, figs. 5-8. demander, lever et recevoir de Sr. Louis Bruny, ou la veuve de Cardinalship conferred on him by his uncle the Pope. te bezorgen. Dog alles tevergeefs; want hare vrienden hadden 62 Sr. Jean Bruny, demeurants au dit Rouan, toutes et chascunes 51 See Jörg Garms (editor). Quellen aus dem Archiv Doria-Pamphilj haar onderwyl weten om te praten, haar voornemen gestuit, en 63 Safarik, p. 32. “Four large landscapes on canvas across eight effigies, contrefaicts, tableaux, peinctures et aultres signes par zur Kunsttätigkeit in Rom unter Innocenz X. Vienna/Cologne/Graz: daar van afgeschrikt, met te zeggen, datmen palms high, and twelve wide with inside in one the history le dict constituant au mois de Mars, passé environs cincq ans, laissez Herman Böhlaus 1972, p. 206, no. 1003. I thank Dott.ssa haar daar zynde in een Klooster zou zetten, dat ‘er voor hem of Noah, with various animals and landscape, in the second two et deponez; donner quitance et acquict, et generalement de Alessandra Mercantini for her helpful assistance at the Archivio Vrouwen genoeg waren, en diergelyke voorspellingen; want figures with the Samaritan, in the third Christ going faire pour le dict constituant comme faire pourroit, si présent il Doria Pamphilj in the summer of 2007. hare Vrienden die alle Gereformeert of Mennonist waren, to Emmaus, in the fourth a Marina with various Vessels, estoit. Promettant d’avoir pour agréable, ferme, et stable, tout 52 Under the heading August 1646 – 23 December 1651. Garms waren met een vooroordeel tegens de Roomsgezinden voor and Turks on foot, and on Horse by the hand of Giovanni ce que par le dict pierre riemans sera faict, soubz obligation 1972, p. 86, no. 363. p. 14.70 in genomen. Zy zond dan door hare Vrienden opgerokkent een Olandese, of/from [...] and the figures by Pasquale Genovese selon les droicts. Ainssy faict et passé au comptoir de moy 53 Godefridus Joannes Hoogewerff, Nederlandsche kunstenaars te brief van een geheel verschilligen inhoud naar Rome, te weten marked with the number 214” (ff. 221-222). Thanks to Maria notaire, en présence de Guilleaume van der Houve et Guil- Rome (1600-1725). Uittreksels uit de parochiale archieven III. dat zy van voornemen verandert was, en niet wilde komen in Capursi for the translation. leaume de Galen, le Jeune, comme tesmoins à, ce requis. Signé: Studiën van het Nederlandsch Historisch Instituut te Rome. zoo een Land, enz. Wat raad? zyn liefde drong hem om haar zelf 64 Garms 1972, p. 229, no. 1111, under Protocollo de conti della Villa johannis weenix, G. van der Houve, Guileaume de Galen, G. : Algemene Landsdrukkerij 1942. te halen, zoo, dat wanneer hy geen verlof daar toe konde di San Pancratio. de Galen, Note.’ - Kramm 1863, p. 1836. 54 Hoogewerff, p. 113. With thanks to Erik Spaans for alerting me in bekomen, hy in der stilte van Rome vertrok, en 65 Garms 1972, p. 229, no. 1111. 41 G.J. Hoogewerff. “Het spokend ruiterstandbeeld.” Maandblad an email in April 2010. liet een open brief in zyn vertrek, waar in hy te kennen gaf, dat 66 Email correspondence on 24 August 2016 with Alessandra voor beeldende kunsten. vol. 18 (1941), pp. 257-266, figs. 1, 4. 55 “vernuft en uitstekende Konst alom in Rome bemind wierd, en hy voornemens was binnen den tyd van drie Maanden weder te Mercantini, Galleria Doria Pamphilj Curator: fc 581 Veduta 42 Stechow (1948), pp. 187, 258, accepts the attribution of the de handen zoo vol werk kreeg dat ‘er geen eind aan scheen te keeren.” Houbraken 1719, vol. 2, pp. 79-80. fantastica di porto orientale by Jan Baptist Weenix: the painting isn’t painting to Weenix. zullen wezen. Des hy na het verloop van twee jaren (gedreven Weyerman says “zo dat hy voornam van de reys na de signed, but dott. Andrea G. De Marchi dated it most probably 43 Houbraken 1719, vol. 2, p. 78. door liefde tot zyn Vrouw) aan den Kardinaal Nederlanden aan te neemen, zonder den Paus of den at 1645-1646, when prince Camillo Pamphilj paid the painter “a 44 “Hy belande gelukkiglyk aan den Tyber, maakte fluks kennis Pamfilio, (in wiens dienst hy toenmaals was) meermalen Kardinaal eens ’t Vaarwel toe te roepen, en achtervolgens conto di pitture fatte e da farsi”. met de Nederlandsche Konstschilders, wiert ingelyft in de verzogt een reis naar Holland te mogen doen; om zyn Vrouw en die resolutie, liet hy een open Brief in zyn kamer leggen, 67 Andrea G. De Marchi. Il Palazzo Doria Pamphilj al Corso e le sue zeedige Bendsocieteyt, onder de benaaming van den Ratel.” Zoon die hy daar gelaten had te mogen zien.” Houbraken 1719, geadresseert aan den Kardinaal Pamfilio, waar in den Konst- Collezioni. Florence: Centro Di 1999, pp. 146-147, p. 145, color Weyerman 1729, vol. 2, p. 167. vol. 2, p. 79. schilder beloofde te zullen wederkeeren binnen de drie plate 79, in the Archivio Doria Pamphij, banc. 91, 14, f. 290, no. 45 Jan Babtista Weeninx gebynaamt de Ratel. Deze bynaam kreeg 56 “Maar dit alles kon niet helpen by den Kardinaal, die hem by maanden.” Weyerrman, 1729, vol. 2, p. 169. 281, “Un quadro in tela alto p(al)mi nove 1⁄™, e largo [214 · 304 hy in de Roomsche Bent, om dat hy zig wat verhaaste in ’t uitnementheid beminde, en om hem van zyn voornemen te 59 It concerns Barent Christiaensz. Micker’s Death Inventory. It cm] tredici dipintovi dentro una marina grande, con porto spreken, en wat stootende sprak, ’t geen hy uit een soort van verzetten hielp in dienst van den Paus Innocentius, voor wien hy concerns the transfer of a debt bond of fl. 1045, upon the death arricchito di fabriche, Vascelli varij, e figure diverse, fra’ q(ua)li beroertheid gehouden had. Houbraken 1719, vol. 2, p. 77. een groot werk maakte, waar toe hy nog verscheide anderen in of Barent Christiaensz. Micker, the brother of his è un Turco a’ cavallo, con turbante, e pennacchiera… 46 “Jan Baptista Wyninx deur de wandeling genaempt Ratelaer.” zyn dienst had. De een en de ander bespeurende zyne former teacher, Jan Micker. The document says “Josijntje de di mano di Gio(vanni) Weenix Olandese, seg(na)to col N. 281.”

42 43 jan baptist weenix biography 1621-1659

(p. 228, note 56). Amsterdam; Sale Jonkheer Johan Goll van Franckenstein, Archief. 93 Bankruptcy File, p. 160, no. 1. 68 “Un quadro grande in tela una donna, un uomo à Cavallo at de Vries, Amsterdam, 1 July 1833, Album D., lot 24. G.B. 87 Met noch een doeijtkijsgen voort dochtertgen, coost, 4-0-0. 94 They invested their fortune in real estate such as a mansion in con Marina, barche et alter figure grande con Cornice…di Wenix. Het slot Nijenroode bij Breukelen. Zeer natuurlijk Ende nou een doeijtkijst voerde sijnijeur, coost, 12-0-0. Benschop and various farms, including Slangenrode, in Giovanni Olandese alto palmi 91⁄™ largo 131⁄™.” Ibidem. voorgesteld, met o.i. inkt, door G.B. Wenix. [Frick title print, Bankruptcy File, 35, p. 136. On p. 137 follows a memo that now the Utrecht province. Daniel de Milan Visconti died in 1741, his 69 Bankruptcy File [page 121]: Rekeninge van het geen Mester Lugt 13362, HdG fiche]; Sold for fl 41 to to Johannes Nicolaas the invoice the carpenter for the coffin has now been paid: possessions went to his son Gijsbert (Gisbertus) Franco de Gerrit van Ee aen Sr. Jannes Wenieckex verdient ende verschot Hulswit (1796-1844), Amsterdam; Collection Jacob de Vos “Weninx Rekeningh van Gerrid Matijsz timmerman tot Milan Visconti. He lived in Utrecht with his sister Alexandrina heft als volgen Sal (…) den 10 Jeulij 1658 noch een gemaeckt Jbzn (1803-1882), Amsterdam (Lugt 1450); his sale, at Roos, Vleuten memorie dat de dootkist van Weninx betaelt is.” Margaretha in a house on the Begijnhof. He was also the lord of voor Jelis het Soontie onderlif en broeck dat omgeker worde Amsterdam, 22-24 May 1883, lot 617, J.B. Weenix. Maison 88 42. Specification of the doctor “Mr aert Roeij Chirurgijn Hindersteyn and he spent the weekends there. In 1761 3-0. Seigneuriale. – Signé: “Gio Batta Weenix f”. A l’encre de Chine. tot Cokengen,” in the form of a letter to Gijsbert van Beck, Gijsbert Franco de Milan Visconti rented Slangenrode to 70 See Genealogie Weenix by Marten Jan Bok. Gillis Weenix, born Hauteur 20, largeur 33 cent.; Sold for fl. 62, to the Utrecht, 14 September 1659. He has treated and visited Cornelis van Schalkwijk. The Van Schalkwijk family would after 1645, a minor in 1667, painter (1669). Possibly worked for dealer R.W.P. de Vries, Amsterdam, for the Vereniging “sijn kint ende Soo aen sijn meijt Maer het kint is comen lease the farm for about a hundred years, also from later Johannes de Heem (1669). Lived in Lyon (1680, Rembrandt (Lugt 2135), from whom acquired by the museum te sterven hadt eenige een Sware sickte ende accident in owners. From Het Utrechts Archief, see https://sites.google. c. 1684). Maried (Lyon 28 July 1680) Sébastienne Ouvercamp, (Lugt 2228), 24 July 1889, Rijksprentenkabinet, Amsterdam, sijn lisse [liesbreuk or hernia] daer het selde aen verdient com/site/archief09/timeline/1718. daughter of Pierre Ouvercamp, painter and Antoinette Benoist. rp-t-1889-a-2122. Published in Stechow 1948, p. 196; hebbende Soo met applicatie ofte visentatie van bijde patiente.” 95 Boers 2004, p. 221, fol. 20, no. 42: No xxxxij [42] het contente- 71 “Deken van het Schildercollege te Utrecht” in 1649. S. Muller Ginnings 1970, no. 48; Amsterdam 2001, p. 115. Bankruptcy File, p. 151. ment van Nicolaus Knipfert seer curieuselick wtgebeelt ende is Fz. De Utrechtsche archieven, I Schilder-vereenigingen te Utrecht. 82 Houbraken, p. 80. 89 B. Olde Meierink (ed.), Kastelen en ridderhofsteden in Utrecht, in het lantscap gescildert van Jan Both de beesten van Jan Bescheiden uit the Gemeente-Archief. Utrecht: J.L. Beijers 1880, 83 Houbraken 1719, vol. 2, p. 81. Utrecht: Matrijs 1995, pp. 310-213, fig. Weijninxs ende voorts al de rest van hem selfs gemaeckt tot p. 129. 84 See Marten Jan Bok’s biography on Jan Baptist Weenix in 90 Correspondence, 31 March 1998, in a letter from Marten Jan verwondering van alle diegenige die het sien ende heb hem 72 Obreen, vol. 2, 1879-1880, pp. 71-72 and Burke 1976, p. 29, San Francisco/Baltimore/London 1997-1998, p. 391. Bok to marcel Roethlisberger, Switzerland. Ginnings 1970, daer voor betaelt drie hondert gl dog wort wel op tweemael soo note 55. 85 34.iio Dient totte ingeleijde huijrcedul van Pieter vander no. 102, catalogued the Ponce painting incorrectly under veel geestimeert dus alhier pro memoria sonder de lyst 300:0:0 73 Obreen, vol. 2, 1879-1880, pp. 89-93. Eijnden verhuijrder ende Jan Baptista Wenincx konst Schilder “wrong attributions.” [in de marge: is gecogt int jaer 1651 is op Gansoijen]. 74 Followed by “Munstert” (f 125) and “Knupfer” (f 100). als huijrder. 91 Julius S. Held. Museo de Art de Ponce. Fundación Luis A. Ferré. 96 http://www.nationalgalleries.org/collection/artists-a-z/e/3231/ Obreen, vol. 2, 1879-1880, p. 81. Op conditien naebes[chreven] soe heeft Peter vanden Eijnde Catalogue I. Paintings of the European and American Schools. Ponce, artist_name/Adam%20Elsheimer/record_id/3334. 75 Obreen, vol. 2, 1879-1880, p. 93, facsimile. voor hem en sijn erffgen[amen] verhuijrt aen Sr Johan Weninx Puerto Rico 1965, pp. 193-194, no. 58.0050, fig. 62. 97 Sullivan 1984, pp. 36-39. 76 Houbraken, p. 80. constschilder, wien bekende bij desenvoor hem ende sijn Saam Nystad (Nystad 2004, pp. 32-33) tells the following 98 Sullivan 1984, p. 44 and the Art Bulletin, lxii, 1980, and 77 Hier zynde werd hy van yder aangezogt, en gebeden om erfgen[amen] in huijren aen te nemen, sijns verhuijrderds anecdote. He purchased the painting in 1947 from Count P. Sutton, North European Paintings in the Philadelphia iets te willen maken. Zelfs de grootste liefhebbers van Konst boven camer hem huijrder bekent ende dit voorden tijt van Van Bijlandt in The Hague, as “a large painting by Jan Baptist Museum of Art, 1990, p. 118. find ref and select one ref lieten hem niet ongekwelt, zulks het hem niet mogelyk was twee jaeren innegegaen vervaertijt van Paeschen 1657 Weenix, signed and dated 1658.” It was beautiful and of high only. zoo haastig weder te konnen vertrekken, schoon ‘er geduurig voorl[eden] ende dit jaerl[ijcks] voorde so[mm]e van eens ses en quality, but the image was abhorrent. A ferocious dog, chained 99 Houbraken, opposite p. 78, C1, mentioned on p. 83. Brieven van den Kardinaal Pamfilio, en anderen kwamen. dartich gul[den] te betaelen deselve so[mm]e volgens de to his doghouse jumps with bare teeth at another dog. Under 100 Wyttenhorst bought the portrait from Weenix for 24 gulden in Houbraken, p. 80. ordon[nantie] der stad Utrecht naer welcke ordon[nantie] his front paws was a bloody horsehead, painted 1653; the painting is listed as being at “Ter Horst,” the 78 In dien tyd heeft hy veel voorname konststukken gemaakt, en partijen hem int gebruijck ende weder opleveren sich sullen so naturallistically that it terrified everyone. For Nystad the Kasteel Horst in Limburg. See Marjon Boers. “De schilderijen- zou ‘er meer konnen gemaakt hebben, indien hy zoo hebben te reguleren ondert verbant ende submissie als nae painting was unsellable, and he requested his conservator to verzameling van baron Willem Vincent van Wyttenhorst.” Oud veel brave luiden niet aan zyn snoer gehad hadde, die hem rechten, ten oirconde bij partijen ondertekent opden 18en meij overpaint the horsehead with a cloth in the same red color. Not Holland. Vol. 117 (2004), no. 3/4, pp. 199, 212, note 105 and p. gestadig van zyn werk aftroonden om zyne spraakzaamheid en 1657 much later professor Julius Held arrived from the US in 227, fol. 33. verstand, zoo in geestelyke als waereldlyke zaken. Pieter van Eynden, Gio Batta Weenix. Nystad’s The Hague gallery, saw the painting and admired 101 Although The Vegetable Merchant had already been exhibited Houbraken, p. 80. rest mijn noch van 2 ijaer huir van een cammer fl 72. it, noticing that he liked the painting very much, except the red as by Jan Baptist Weenix in 1885, it apparently bore the false 79 After Bernard III van den Bongerd, died in 1641, the castle went Bankruptcy File, pp. 132- 133, no. 34. cloth, though the arthistorian could not figure out why. signature of Gabriel Metsu in 1907 when Hofstede de Groot to his sister who remained childless and died in 1678, cf. http:// 86 Uit dit huwelijk (in 1664 twee kinderen in leven): Nystad explained the overpainting. Held saw a photograph included it in his catalogue of Metsu’s work, remarking that it www.kasteleninutrecht.eu/Nijenrode.htm 1. Jan/Joannes, of the original, explained that he advised Mr. Ferré, who “recalled the work of Jan Baptist Weenix.” The attribution to 80 Thanks to Annemarie Stefes, by email, February 2017, who 2. Gillis Weenix, geb. na 1645, minderjarig in 1667, schilder was planning a museum in Ponce, Puerto Rico. Could Jan Baptist Weenix was confirmed in about 1930 when the currently researching drawings in Rijksprentenkabinet and (1669). Mogelijk werkzaam voor Johannes de Heem (1669). the painting be restored to its original condition? The signature and date came to light during restoration (see Ann gratiously shared her findings. Woonde Lyon (1680, ca. 1684). Trouwde (Lyon 28-7-1680) conservator removed the overpaint and back with its original Jensen Adams in Dutch and Flemish Paintings from New York Private 81 Collection Jonkheer Johann Goll van Franckenstein I (1722 Sébastienne Ouvercamp, dr. van Pierre Ouvercamp, image, the painting found its way to the Ponce museum. Collections. Egbert Haverkamp-Begemann. National Academy of - 1785), Amsterdam (Lugt 2987); His son, Johan Goll van schilder, en van Antoinette Benoist. Incidentally, Saam Nijstad anglicised his name to Nystad. The Design. New York 1988, p. 139). Franckenstein II (1756-1821), Amsterdam (Lugt 2987); His 3. kind, geb. na 1645. Aangebracht als overleden 4-7-1652, latter is used thoughout. 102 1904; current whereabouts unknown. Thanks to Andrea son, Pieter Hendrik Goll van Franckenstein (1787-1832), begr. Buurkerk. 92 Genealogische en Heraldische Bladen (1915), p. 329. Weniger for sharing her 2008 unpublished Master Thesis on

44 45 jan baptist weenix biography 1621-1659

the Lürman collection. Licht hier neffens gaende Blijckt doen a 10 .. .. Peroon? volgens interpellatien tot heden? toe niet is voldaen [7 en[de] hij boeckjes neffens die kamer - ontrent vijftich int getall soo goet 103 “Heeft de weduwe op Paasmaandag [4-4-1659?] arrest de Cours doen was Banckgelt f 201:5.- Wennings bij missive vanden 9den Novemb[ris] 1658 die schult als versleten. Bankruptcy File, p. 8. aangezegd terwijl het lijk nog boven de aarde stond.” (5-17-0, differentie van Banck aen Courant gelt 1 1/4 Pct f 2:10 bekende [8 en[de] d voldoeninge beloofde [9 en[de] want hij 127 Bankruptcy File, p. 163-164. [betaald 4-0-0]). Bankruptcy File: [122-124] 30. Specificatie van voor vracht van Parijs op Rouaen en[de] van Rouaen hier met Wennings was overleden [10 en[de] sijnne goederen vercoft [11 128 Bankruptcy File, p. 11. de wijnen die Gysbert van Beeck heeft geleverd aan Johannes lossen f 8:15 mitsgaders d’crediteuren gedachfaert om haer 129 Bankruptcy File, p. 165. Wenincx. From 28 January 1647 to 23 March 1659, with Tsaemen f 212:10 achterwesen aen te brengen en[de] te dienen van haren 130 See Bankruptcy File: Het Utrechts Archief, RAU, Hof van interruptions. On 4 June 1659: eijsch van preferencie [12 soe hadde d’Imp.t sijn achter Utrecht [239-1], 218-1, Register of consignaties and levies, 104 Bankruptcy File, pp. 71 – 72. Jean de Bari wesen aengebrocht [13 die mede van sijnen eijsch van fol. 137, payments to creditors begin on 11 October 1659 and 105 42. Leusden den 14 september 1659 In Amsterdam ad 4 Juny 1659.” concurentie (...) Dossier gua. continuing until 26 January 1663. MonS.r van beck verstaen hebbende Ghij de rekening vermits 110 On recent information on Jabach, see Friso Lammertse 113 NB. Hierbij nog een brief van De Barij aan de raadsheer 131 RAU, Hof van Utrecht [239-1], 187-3; Bankruptcy File [174-175] heeft van weninx saliger het geen mij aen hem ressteerende and Jaan van der Veen. Uylenburgh & son. Art and commerce Heurnius, d.d. 19/29-5-1659, vergezeld van een afschrift van de (4-4-1659; etc.) Specification by Odolph Roeck, of the Utrecht sijnde dat is 10 Guldens verdient hebt aen sijn kint ende Soo from Rembrandt to De Lairesse, 1625-1675. Zwolle: Waanders & brief van Weenix van 9-11-1658. De Barij legt daarin uit dat het Court, for expenses in the matter of Pauwels de Vries, steward aen sijn meijt Maer het kint is comen te sterven hadt eenige een Amsterdam: The Rembrandthouse Museum 2006. gaat om een schuld uit 1646, ‘voor verschoten penningen tot (rentmeester for the Lord of Duckenborch,“ vande goederen Sware sickte ende accident in sijn lisse daer het selde aen 111 Bankruptcy File [p. 56]: Parijs aen des Paus Nuntius, alwaer sijn goet verset stont doens behoordende aenden Huijse Ter Meij. verdient hebbende Soo met applicatie ofte visentatie van bijde “Mijn heer en[de] vrindt Sig[neu]r Jan d’Barij, van Romen quam.’ 132 Did he loan Weenix money? patiente bij mij Mr aert Roeij Chirurgijn tot Cokengen. Hebbe Ue. laaste vande schipper van Cockenge 114 Ondanks beloften betaalde Weenix dit niet terug, ‘maer 133 Bankruptcy File, pp. 31-33. Bankruptcy File, p. 151. ontvange, en[de] kan niet ontkenne Ue. hebt reden daer niet op volgende soe hadde ontrent over twee jaaren mij 134 Matthys van der Merwede van Clootwyck, Uyt-heemsen oorlog, ofte 106 Gijsbert de Hondercoeter died on 29 August 1653. His son over mijn sloffighijt mij te beschuldigen, denck belooft daervoor een stuck te maecken dat mij voor volcomen Roomse min-triomfen, van M. V. M. Hr. van Cl. Voor-gevallen en beschreven Melchior de Hondecoeter went to live with his uncle Jan haast eens bij Ue. te sijn, en[de] ondertussen met een betaeling van capitael en[de] interesse soude verstrecken.’ [etc.]. in ‘t jaer 1647. 48. 49. en 50. Isaac Burghoorn, The Hague, published Baptist Weenix who took him on as pupil. Houbraken 1721, heerlijk stuck dat alreets meer dan tiin maanden 115 Na de dood van Weenix heeft hij de weduwe geschreven ‘ofter this volume of erotic poetry in 1651. vol. 3, pp. 72-73. Weenix also acted as his guardian. onder hande is geweest voort te vaaren, op dat ick oock een stuck voor mij veerdich was ofte in mancquement Considered one of the most candid books of the Golden Age, 107 Bankruptcy File [page 120]: Rekeninge van het geen Mester met danckbaarhyt Ue. mijn vrindt mag voldoen, [ick] waer ick mijn betaelinge mocht becomen.’ Hij kreeg geen whose author was identified as Matthys van der Merwede van Gerrit van Ee aen Sr. Jannes Wenieckex verdient ende verschot hoope het gedaan sijnde, Ue. niit berouwen wildt antwoord en richt zich tot het Hof van Utrecht. Clootwyck (1625 - 1664), is a minute account of the principal heft als volgen Sal (…) den 11 Jeulij (…) noch een kluert lakes soo lang gewaght te hebben (...) [signed] Gio Batta Weenix 116 Bankruptcy File, pp. 127-128, Sr. Jan Weenincs debet Bij Jan character, written in the first person, of his adventures with klet gemaeckt voor de Soon Jannes wambes en broeck 4-10; Ue. genege dinaar. Reael (…) 6 April 1659 Hier Op ontfanghen een schilderij van very young girls in Rome, in 1647-1650. The book was banned noch een kluert lakes klet gemaeckt voor Melgert de Hon- Op’t huijs ter Mij, a.d. 1658, de 9. Novemb. 60-0-0. for years. See https://www.regionaalarchiefdordrecht.nl/ dekoeter wambes en broeck 4-10 (…) 25 Jeulij 1658 noch twe From Utrechts Archief. 117 “Aenden Ed. Hove van Utrecht Geven ootmoedel[ijck] te biografisch-woordenboek/matthijs-van-de-merwede-2/ kluerde Lakese mantels gemaeckt een voor Jannes en een 112 (…)“Achtervolgende den app[oincteme]nte van commissie kennen de onders. Crediteuren van Johan Wijnincx Const- 2 July 2017. voor Melgert de Hondekoeter voor met een gouwt en silvere shooffs van utrecht schilder dat den selven Johan Wijnincx opt huijs ter Mij deser 135 Gift of N.C. de Gijselaar, Leiden. Leiden, Prentenkabinet liskoert geboert 3-0. in date den xi en Aprilis 1659 voorl[eden] ver]eent op de werelt overleden sijnde, en[de] des selffs boedel bevonden seer der Rijksuniversiteit, Leiden, pk-t-2098 pkl. 108 Bankruptcy File [p. 79]: requeste van de Crediteuren van Johan Wijnincks za: waer bij belast, en[de] dat hij niet anders heeft naergelaten als eenighe 136 Bankruptcy File pp. 111-112, 25. Rekening van Gerridt 9. “Rekening van gelevert werck ten ick Johan Heurnius raedt ord[ina]ris inden (…): weijnighe Meubelen, mitsg[ader]s const-pampieren, penelen, Nieuwenhuijsen, boekverkoper in de Korte Nieuwstraat, huijse van Mr wenincks [pag. 46] doecken, boecken, contre-feijtsells en[de] schilderijen.” d.d. 26-4-1655 tot 4-2-1659: Jan de Vliegh Schoenmaecker(...) Achtervelt Ram S[injeur] Johan d’barij coopman tot Bankruptcy File, p. 1. ‘Den 26 April 1655 Gerridt Nieuwenhuijsen gelevert aen anno 1659 Amsterdam Imp[etran]t [versus] d’gemeene crediteuren van 118 Bankruptcy File, pp. 2 - 8. Mons[ieu]r Weijnix: Den 8 April een paer rou schoen voor Johannes 2-14-0 Johan Baptista Weennings in sijn leeven constschilder 119 “een wrijfsteen, 2 esels,” valued together at 2-14. Bankruptcy - 1 Aelber Durer Schilderboeck, 4-16-0. Den 8 April een paer rou schoen voor Jelis 1-12-0 ger[quireerd]ens eijschende File, p. 164. - 2 Schrijfboecken gemaeckt, 0-12-0. Den 8 April een paer rou schoen voor Joffrouw 2-4-0 [1 d’Imp[etran]t poseerde dat de voors. Johan Baptista Wenings 120 “Twee groote doecken en[de] raempten, onbequaem om te - wederom hermaeckt, 0-16-0. Somma 50-1-0 tot Parijs bij monsr. Bagnij gelaten hebbende vervoeren,” Bankruptcy File, p. 8. - 1 Romsche mintriump, 1-10-0 [van Matthijs van de Anno 1656 den 13 Desember ontfangen 7 gul eenige goederen [2 daer op hij getrocken hebbende ses en[de] 121 “Copia Erffhuijs gehouden op maendagh den 25 en Aprilis A.o Merwede heer van Clootwijk] Resteert noch de somme van 43-1-0.” tseventich croonen en[de] twee derden [3 hij Imp.t op sijns 1659 van de schilderijen van wijlen Guio Baptista Weenix.” (1-3-1656:) 109 Bankruptcy File [p. 54]: Weenings versoeck dselve inden jaere 1648 den x en April heeft Bankruptcy File, pp. 156 -165. - 1 Casandra 5 deelen, 9-16-0. “Adi 10 April 1648 in Amsterdam doen betaelen door Sr Jean de Licht en[de] H. Jabach 122 Bankruptcy File, pp. 159-160. - 1 pont lijmen, een pot, 0-6-0. S.r Jean Batt Weenincx is schuldich f 212:10 Te weeten den volgens bijgaende reeckeninge met twee hondert twaelff 123 Bankruptcy File, pp. 162-163 - 1 Chamhuisens Stichtelijcke rijmen, 1-15-0. 10 fr[anc]s? feb.? voor Croonen 76 2/3 betaelt tot Paris door Jean gulden x stuiver hierlants gelt [6 dat hij Imp.t vant voors. 124 Bankruptcy File, p. 163. - 1 bandt gebonden in schaepen fol., 0-16-0. de Licht en Jabach aen S.r Bagnij om het goet van Weeninx soo achterwesen onaengesien diverse 125 Bankruptcy File, p. 164. - 1 Epicteti Handtboeckie, 0-15-0. onder Bagnij stont te lossen als bij de Reeckeninge van ditto de [pag. 47] 126 Opde Schilder-Camer van Wijnincx selver. (...)Een partije (8-8-1657:)

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- 1 Annales des Flaendes, 16-0-0. 142 41. Nicolaes van Helt alias Stocade voor geleverd ultramarijn, 1660-1679. 154 Etro and Stepanova 2013, p. 5. - 2 deelen van Cleopatra, 4-16-0. volgens assignatie van Johan Toll, d.d. 16-9-1659. ‘Sr. Jan 149 Marjon Boers. “De schilderijenverzameling van baron Willem 155 Sam Segal, de Heem, Grove Art Online. Oxford Art Online, Oxford - 1 Huigens wercken, 0-16-0. Babtista Weyninx is schuldigh aen Sr. Niecolaes van Helt Alias Vincent van Wyttenhorst.” Oud Holland. Vol. 117 (2004), no. 3/4, University Press, Web 14 May 2014. - 1 Clucht van Filibert, 0-4-0. Stocade van geleeverde Oltrmarijn de somme van seve gulden pp. 181-243, see p. 199 and p. 220, no. 116. The other was also a 156 31-10-1664. Peter van Santen, procureur voor de Kleine rol - 1 bandt gebonden in hooren fol., 1-10-0. sestien stuyvers volgens d’assighnatie by Johan Toll berustende chimney piece, by Johan Matham. Boers explains the high van het Hof van Utrecht, verschijnt voor de Momboirkamer (6-4-1658:) vanden 16 September 1659 oude styll.’ [verso:] ‘Niklaes van Helt prices because of the larger dimensions of these two pieces than te Utrecht en verklaart dat Justina Hondecoten weduwe van 1 derde deel van Cleopatra, 2-8-0. schilder tot Amsterdam, mijn behandicht door de schilder the average easel painting in the collection. Sr. Baptista Wenincx is overleden in de Wittevrouwenstraat en - ‘3 Italiaensche boeckies, 2-12-0.’ Toll.’ Bankruptcy File, pp. 149-150. 150 35. Dit is de rekenigh van seinjeur wijnijnck die schilder dat zij twee kinderen heeft nagelaten, ‘sonder daer toe boven (23-10-1658) 143 “20 Mart [1657] Een potien voor een quade maech 0-12-0” vant jaer 1657 ende 1658 ende vijftich schult eenich goet.’ De Momboirkamer besluit verder niets te - ‘1 vierde deel van Cleopatra, 2-12-0.’ is only one of a long list of potions, in the Bankruptcy File, ijnden eersten een pennel gemaeckt coost 0-16-0. doen (gau, St. II, 1385-8, Besoigneregister van de Momboirka- (4-2-1659) pp. 71-72. Met noch twe lijsten coosten het stuck 13 stuijvers, 1-6-0. mer, p. 167). Kramm 1974, p. 1836, notes an incorrect death date - 1 Torquatus Tasso, 1-14-0. 144 “een pop voer het keint 0-5.” Bankruptcy File, p. 131. Met noch drije pennelen vermaeckt, 0-6-0. of 6 June 1662 in Utrecht. Josyntgen received - 1 Wercken van Seneca, 1-16-0. 145 Bankruptcy File, p. 131: Pieter van Eijnden, 24 October 1655, Met noch twe lijsten gemaeckt het stuck 12 stuijvers, 1-4-0. a burial free of charge in the Buurkerk, leaving minor and adult Somma, 54-16-0.’ purchased in Amsterdam “1655 den 24 octo Voer hem gekoeft Noch twe lijsten gemaeckt met een raempt coosten tesaemen, children. 137 “Noch hem gelevert doeck om de kinderen op te schilderen, tot amsterdam een half castoor hoet daer voer bethaelt fl 24” 2-13-0. 157 “zyn zoon, die my dit zelf mondeling betuigt heeft, hem op daer hij de kinderen niet op geschildert en heeft 6-0-0.” In De Oude Tijd (1873, p. 239) Jan Ter Gouw notes that the very Noch ijnt ijaer 1658 ijnde mert 12 lijsten gemaeckt dije en eenen dag verscheiden malen heeft zien beschilderen, een doek Bankruptcy File, p. 67. expensive “kastoor” hat was initially worn by royalty. The “half groeijter als dander coosten tesaemen 7-12-0. van 6 a 7 voeten breed, daar Gebouwen, Zee en Schepen, of een 138 This is probably Anthonis van Wijckerslooth (1639 - ) who kastoor” was made from beaver fur and felt, was still expensice Met noch daer bij gemaeckt elf raemten dije een groeijter als Bul en verscheide Honden naar het leven geschildert, in married to and Catharina de Hooch in The Hague in 1654. See but cost less and was worn by well-to-do Amsterdammers. The dije ander, coosten, 3-10-0. kwamen, met een Landschap en ander bywerk. Van gelyke drie Genealogische en heraldische bladen, Volume 3 in: cheaper ones were made of Spanish and Polish wool and less Noch ijn Aeprijlijs vijer groeijte lijsten gemaeckt met een poutretten levensgroot half lyf met bywerk te schilderen op een https://books.google.com/books?id=nuq5aqaamaaj&pg=pa175 rigid. A full beaver hat would have been more expensive. raempte daer bij coosten tesaemen, 5-2-0. Somersen dag, was voor hem maar speelen gaan.” Houbraken &lpg=pa175&dq=anthony+wyckersloot&source=bl&ots=ex In his historic novel The Island at the Center of the World, The Epic Noch twe deelen met 16 paeijlen[?] ijnden hoef gelevert coosten 1719, vol. 2, p. 82. jy4-_blf&sig=7cm8t4lsnzhnxgCtcm_mrnnbhzE&hl=en&sa= Story of Dutch Manhattan and the Forgotten Colony that Shaped America tesaemen, 1-16-0. X&ved=0ahukewjnv9-X_uruahugpj4khem7aheq6aeimzAE#v (Vintage Books, New York 2005) Russell Shorto, p. 76, notes Noch een veuren penneel gemaeckt, coost 0-6-0. =snippet&q=anthoni&f=false 2 July 2017 that beaver fur in late 1634 came from the main beaver areas to laetrijs 24-11-0 139 Bankruptcy File, p. 77. the west of Manhattan, hunted by the Indians. The fur trade Bankruptcy File, p. 135. 8 Sr. Johan Weenix is schuldich aen Anthoni van Wijckerslooth was the Dutch colony’s “entire reason for being. For decades to Noch een groeijte lijst gemaeckt, coost, 2-10-0. 1657 Octob 24 Een acht schellinx doeck aen hem gesonden come, debts on Manhattan would be paid in the interchange- (…) en[de] een halfa[am] hoochlanse wijn van 51 1/2 kannen waer able currencies of beaver pelts, Dutch gulden, and Indian Noch vijer lijsten gemaeckt, coost het stuck 14 stuijvers, voor Sr. Weenix moet beschilderen dien doeck met stilstant wampum. While they were prized for their fur, beavers were coompt tesaemen 2-16-0. leeven en[de] een stuckien /2-8-0/ lantschap verhelpen twelck even more sought-after for the pelt beneath the outer layer of Bankruptcy File, p. 136. niet en is geschiet comt te betaelen tot 10 st[uiver]s de kan fur, which was made into felt. Felt hats were a status-symbol- 151 31. den 10 october 1658 heft ijan stael gelevert een half pont 25-15-0 cum-necessity throughout Europe, from the Puritan’s austere teback 2-10 verschooten aen dragen 0-3-0 black bonnets to the dashing chapeaux of the Dutch officers in den 18 october een groote ebben hout lijst gemackt die met een 1658 Junij 13 Een half a[am] langonse wijn van 51 1/2 kannen Rembrandt’s Night Watch, and, later, the English top hat.” kaes daer om naeden goes? toe gijn aen de busmester tot 24 tot 8 st[uiver]s de kan 20-12-0. 146 Russell Shorto 2004, p. 253, on 16 June 1653, Adriaen van der gu[lden] verschoten aen dragen 0-3-0 Donck hires Helena Wand, for a period of six years to work as a den 21 september noch 5 vijrdel laken tot 6 gul[den] de eel 7-10 Summa 49-1-0. maid-servant and will receive as annual wages f36 besides board noch 3 eellen en half vijrdel de eel bedongen tot 5-15 17-19-8 The wnt lists “schelling,” as a silver coin valued at six stuivers and lodging. noch een lemmet? tot 5 gul[den] (“Zilveren munt ter waarde van zes stuivers.”) http://gtb.inl.nl/ 147 Jacob Houbraken (1698-1780) , Portraits of Simon Peter somma 56-19-8 iwdb/search?actie=article&wdb=wnt&id=m062464&lemmoder Tilemann and Jan Baptist Weenix, red chalk, 61· 92mm, Jan Staell n=schelling Rijksprentenkabinet, Amsterdam, rp-t-1897-a-3439. Bankruptcy File, pp. 125 - 126. 140 Bankruptcy File, p. 89. “Ontfangen elff gulden vier stuij[ver]s http://hdl.handle.net/10934/rm0001.collect.225761 152 John Montias 1982. Systematic investigations of manuscripts rest noch veertich gul[den] sestien st[uiver]s 40-16-0.” 2 July 2017 found in archives have been focused on inventories in Delft. 141 “ann[n]o 1654 den 7 mart noch 2 dubbele holle Lijsten ’t stuck 148 14 Maart 1652. Jacob van Wyningen te Utrecht heeft van Montias, John Michael, Artists and artisans in Delft: a van ii voet de voet bij hem bedongen tot 7 stuiv[ers] f 7-14-0.” Marten Cretser f1000.- geleend en geeft in onderpand: 2 socio-economic study of the seventeenth century, 1928-2005. Bankruptcy File, p. 69. stucken van J.B. Weenix. From Bredius Notes, Box @ rkd 153 Etro and Stepanova 2013, p. 10.

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