BILDNIS EINES HERREN BESTEN ALTERS MIT MÜHLSTEINKRAGEN Öl auf Holz. 36,7 x 25,6 cm. In ebonisiertem Rahmen. Vor unbestimmtem Grund das Brustportrait eines Mannes mit Spitz- und Schnurrbart nach rechts gewandt, den Blick jedoch gen den Betrachter gerichtet. Unterfangen wird der Kopf durch einen fein ausgearbeiteten Mühlsteinkragen von der Stärke einer Daumenlänge. (1380069) (13)
17th c. "Portrait of a Gentleman" in the manner of Thomas de Keyser (1596/97-1667). Oil on wood panel. The half length portrait depicts the Gentleman wearing a wide-brimmed hat and ruff. Indistinctly signed and inscribed lower right. Oil on panel. Has an unidentified auction tag on the reverse. Framed size: 24" x 21." Sight size: 16" x 13". In-house shipping available. Pickup is Monday, July 31st from 11am to 4pm in Carroll, Ohio 43112 or we will provide in-house shipping for this item. We will collect 6.75% for Ohio residents, or whatever your state/local sales tax rate is for all out-of-state buyers unless you are tax exempt. Once packed up we will send you an invoice for shipping & handling. Shipping questions: shipping@burnsbid.com
Attributed to Thomas de Keyser (1596-1667), a couple on a landing with a lady smoking a pipe in a hallway below with dogs disporting, 24.75" x 19.25", (63 x 49cm), in a ripple moulded Dutch frame, bears previous sale details verso, A/F.
(1596 Amsterdam - 1667 ebenda) Umkreis Porträt einer 72-jährigen Dame Hüftbildnis einer wohlhabenden Kaufmannsfrau oder Patrizierin in schwarzer Kleidung mit weißer Haube und hierzu passender, fein gefalteter Krause, neben einem Tisch stehend, auf dem ein kleines Buch liegt. In feinflüssiger Malerei wirklichkeitsnah charakterisierendes Bildnis. Zu den vergleichbaren Gemälden zählt u. a. ein 1647 entstandenes Porträt einer 70-jährigen Dame im Museum Kunstpalast in Düsseldorf. Öl/Eichenholztafel. R. o. undeutl. dat. "165(?)" und bez. "AETATIS 72". 95 cm x 71 cm. Rahmen. Circle of Thomas de Keyser (1596 - 1667). Oil on oak panel. Indistinctly dated "165(?) and inscribed "ATETATIS 72".
Attributed to THOMAS DE KEYSER (circa 1596 Amsterdam 1667) Portrait of a nobleman. Oil on panel. Barely legibly monogrammed, dated and inscribed lower left: TK ligature 16(5)5 AETA: 20. 39.3 × 30.3 cm. Provenance: - Collection of Eduard Sulzer-Ziegler (1854–1913), Lindengut, Winterthur. - By descent, private collection, Switzerland. --------------- THOMAS DE KEYSER, zugeschrieben (um 1596 Amsterdam 1667) Bildnis eines Edelmannes. Öl auf Holz. Unten links schwer leserlich monogrammiert, datiert und bezeichnet: TK ligiert 16(5)5 AETA: 20. 39,3 × 30,3 cm. Provenienz: - Sammlung Eduard Sulzer-Ziegler (1854–1913), Lindengut, Winterthur. - Durch Erbfolge, Schweizer Privatbesitz.
ATTRIBUÉ À THOMAS DE KEYSER (Amsterdam, 1596/97 - 1667) Portrait d'homme au chapeau Panneau renforcé. Cachets de cire au dos. Haut. 52 Larg. 39,5 cm. (Restaurations anciennes, fentes et manques). Provenance : collection des Pyrénées-Orientales. A portrait of a man in a hat attributed to Thomas de Keyser. Reinforced panel painting.
Tableau ovale HSCuivre -Portrait d'homme en pied - attibué à *DE KEYSER T.* (Thomas) (1596/97-1667) 39x29cm cadre loupe rect. painting oval oil on copper - portrait of a man - attibuted to DE KEYSER thomas
THOMAS DE KEYSER (circa 1596 Amsterdam 1667) Nobles in an interior. 1638. Oil on panel. Monogrammed and dated lower left: TDK (ligature) 1638. 44.8 x 59.5 cm (octagonal). Provenance: - Private collection Hans A. Wetzlar, Amsterdam, 1952, Inv. No. 53. - Nystad Antiquairs N. V., Lochen/The Hague, 1962. - Collection of Dir. A. T. Thustrup, Djursholm, 1966 (label verso). - Uppsala Auktions Kammare, Uppsala, 9.-12.6.2015, Lot 9. - European private collection. Exhibited: - Art fair Delft, 1963. - Hollands meesters in Zweeds bezit, Nationalmuseum Stockholm, Stockholm, 1967, No. 83. Literature: Ingvar Bergström: Maîtres Hollandais au Musée de Stockholm, in: L'Oeil Magazine, Paris, Mai 1967, p. 4, fig. 9. This painting is registered at RKD (Rijksbureau voor Kunsthistorische Documentatie, The Hague) under number 198809 --------------- THOMAS DE KEYSER (um 1596 Amsterdam 1667) Edle Gesellschaft in einem Interieur. 1638. Öl auf Holz. Unten links monogrammiert und datiert: TDK (ligiert) 1638. 44,8 × 59,5 cm (oktogonal). Provenienz: - Privatsammlung Hans A. Wetzlar, Amsterdam, 1952, Inv. Nr. 53. - Kunsthandel Nystad Antiquairs N. V., Lochen/Den Haag, 1962. - Sammlung Dir. A. T. Thustrup, Djursholm, 1966 (verso Etikett). - Auktion Uppsala Auktions Kammare, Uppsala, 9.–12.6.2015, Los 9. - Europäischer Privatbesitz. Ausstellung: - Kunstmesse Delft, 1963. - Hollands meesters in Zweeds bezit, Nationalmuseum Stockholm, Stockholm, 1967, Nr. 83. Literatur: Ingvar Bergström: Maîtres Hollandais au Musée de Stockholm, in: L'Oeil Magazine, Paris, Mai 1967, S. 4, Abb. 9. Das vorliegende Gemälde ist ein charakteristisches Beispiel für das Werk von Thomas de Keyser, der zu den bedeutendsten Amsterdamer Porträtisten seiner Zeit gehört. Seine innovativen Kompositionen, die vom Werk des Dirk Hals (1591–1656) beeinflusst sind, waren auch für den jungen Rembrandt (1606–1669) prägend. Dieses Interieur stellt eine wertvolle Ergänzung seiner in Innenräumen platzierten Familienporträts dar. De Keyser zeigt dem Betrachter hier jenen Moment, da ein edel gekleideter Herr um die Hand einer gleichwohl edel gekleideten Dame anhält. Vor einem dunklen Vorhang sitzend, fällt das Licht auf das Gesicht der jungen Schönen, die im Profil gezeigt, zu jenem Mann schaut, der im Begriff ist, sich mit ausgestreckten Armen, ihr entgegen auf die Knie zu senken. Eine subtile Geste der Dame, die ihre Rechte zur Brust hält, verrät ihre freudige Überraschung. Dem hier dargestellten Ereignis wohnen einige Zuschauer bei, die im Hintergrund an einem Tisch vor einem steinernen Kamin sitzen, der – gleich einem Fenster – Ausblick auf eine Landschaftsmalerei gibt. Einer von ihnen hat sein Glas bereits zum Prosit erhoben und verweist derart auf den positiven Ausgang der sich ereignenden Szene. Sowohl die Komposition der Gruppe als auch die Posen der zukünftigen Braut und ihres Bräutigams, sowie das Zusammenspiel ihrer Gesten sind besonders ausdrucksstark, und verleihen der Darstellung ihren individuellen Charakter. Dieser wird darüber hinaus durch die detailreiche Darstellung der Kostüme und des Interieurs, sowie durch deren feines Kolorit, von schlichter Eleganz geprägt. Das hier offerierte Gemälde ist im RKD (Rijksbureau voor Kunsthistorische Documentatie, Den Haag) unter der Nummer 198809 verzeichnet. Weitere Interieurdarstellungen mit Familienporträts befinden sich im Nasjionalmuseet in Oslo (Inv. Nr. NG.M.01389), im Thyssen Bornemisza Museum in Madrid (Inv. Nr. 209(1962.11)) und im Walraff-Richartz Museum in Köln (Inv. Nr. WRM 2550).
Possibly Thomas Hendrick De Keyser (Dutch 1596-1667), bust length portrait of a woman in lace cap and ruff, oil on canvas, bearing signature lower right "T D Keyser", in a 19th century giltwood frame bearing plaque "Theodore De Keyser". Restoration, inpainting to background, craquelure throughout. Frame size: 25" high, 22" wide. Provenance: Property of a New Haven, CT Collector.
Oil on oak wood Netherlands, c.1640 Circle of Thomas de Keyser (1596-1667) Dutch painter Verso marked (Ter Borch ?) No.6 Gerard ter Borch the Younger (1617 -1681) Dutch painter and craftsman Decorative oak wood frame Overall dimensions with frame: 64.5 x 51.5 cm Good condition A picture that is attributed to the dutch portraitist Thomas de Keyser fetched up to more than 30,000 at Sothebys New York in 2009 This oil painting is the work of an artist from the circle of Thomas de Keyser and shows the portrait of a young man in time typical garb with a large white collar. He holds one of his gloves in his hand and wearing his left arm supported in a sling. The brown wall behind him shows to his left suddenly a piece of sky and landscape. The painting is verso marked (Ter Borch ?) No.6. It is in a good condition according to its age with only slight signs of wear. The beautiful frame also shows slight signs of use. The picture dimensions are 45 x 32 cm, the overall dimensions with frame are 64.5 x 51.5 cm. (vwe) Thomas de Keyser (1596-1667) Thomas de Keyser, son of the sculptor Hendrick de Keyser, was a Dutch painter and basalt stone dealer. Although about his life and his training is little known, he belongs with Hals, Rembrandt and Bartholomeus van der Heist to the highest portrait painters of the Dutch school. He combines exceptional clarity of color and a delicate coloristic sense of energy and focus the view on the drawing. The architect Pieter de Keyser was his brother. (vwe) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Thomas de Keyser Amsterdam 1596 - Amsterdam 1667 attr. Portrait of a Gentleman, Ca. 1640, oil/wood, 107 x 75 cm, min. rest., Dutch portrait painter a. architect, son a. pupil of the architect Hendrick de K. Besides painting K. traded in basalt stones; in 1662 he became municipal architect of Amsterdam. K. is the best portrait painter of his times besides F. Hals a. Rembrandt, the influence of which becomes traceable in K.'s works since the 1630s. K. normally painted small-scale single portraits but also group portraits a. depictions of persons on horseback, sporadically biblical subjects.
South Netherlands, Miniature Portrait of a Boy, Oil on copper (laid down on cardboard), Circa 1600, On the reverse inscribed in pencil: Thomas de Keyser 1595 - 1669 - Amsterdam, 4 1/2 x 3 1/4 in. (without frame),
Thomas de Keyser (Amsterdam 1596-1667) >Portrait of Frederick van Velthuysen (d. 1658) and his son Dirck (1651-1716), full-length, in an Italianate park landscape with a sculpture of Homer<br>indistinctly signed with monogram and dated '1660' (lower left) >oil on canvas <br>90 x 76,9 cm.
PORTRAITBILDNIS EINES PAARES IN BAUMLANDSCHAFT Öl auf Holz. Parkettiert. 48,5 x 40 cm. In altem Rahmen mit graviertem Künstlernamensschild. Vom Bildthema her äußerst seltene Darstellung eines großbürgerlich gekleideten Paares, das in einer Landschaft portraitiert wiedergegeben wird. Die Dame ins Zentrum des Bildes gesetzt, was eine gewollte Bedeutung betont, ihr zur linken Seite ein Herr etwa gleichen Alters. Beide am Fuß eines Baumes sitzend wiedergegeben, in schwarzer Seidenkleidung mit weißem Schulterkragen bzw. Brustkragen, die Hemdärmel pludrig, die Dame mit Perlschmuck am Hals sowie an den Armen, am Kragen eine Edelsteinbrosche. Es ist nicht unwahrscheinlich, dass es sich um das Doppelportrait eines Geschwisterpaares handelt, das die Hände liebevoll ineinandergelegt hält. Der landschaftliche Hintergrund mit Laubbäumen, mit einem kräftigen Baumstamm am rechten Bildrand hochziehend, ist in lockerer Maltechnick vorgeführt und bildet einen farblich milden Hintergrund, vor dem exakter wiedergegebenen Portraitbildnis. (952102)
Thomas de Keyser (Amsterdam 1596-1667) The Resurrection signed in monogram and dated 'TDK 1635.' (lower right) oil on panel 37 x 27 in. (94 x 68.5 cm.)
inscribed and dated middle left ANO 1636. / AETA 34 and inscribed on the piece of paper Eru... in D... / Jan Bruijn ... / Tot... / Amsterdam / p...t oil on panel
Thomas de Keyser (Amsterdam 1596-1667) Portrait of a lady, seated three-quarter-length, in a black dress with red slashed sleeves, lace cuffs and a ruff signed with monogram 'TDKF' (TDK linked; lower centre, on the chair) oil on panel, octagonal, inset into a rectangular panel 10¾ x 8 7/8 in. (27.5 x 22.5 cm.)
Group portrait of three gentlemen, three-quarter-length, seated in black costumes with lace collars and cuffs signed with initials and dated 'TDK 1635' (TDK linked, lower left) and inscribed and dated next to each sitter respectively 'AETA. SUE 50' (lower left), '1631 AETA..E 53.' (upper centre) and 'An. 1632/AET. 42' (lower right) oil on panel 41 1/8 x 38 7/8 in. (104.5 x 98.7 cm.) PROVENANCE Baron Arnold de Woelmont, Brumagne, Belgium, by circa 1900, and by descent to the present owners. LITERATURE A.J. Adams, The Paintings of Thomas de Keyser (1596/7-1667), A Study of Portraiture in seventeenth century Amsterdam, 1985, p. 40, no. 16, illustrated. EXHIBITION Amsterdam, Historisch Museum, 1925, no. 551. NOTES The identities of the sitters in this remarkable group portrait of three craftsmen by Thomas de Keyser remain elusive. Three options as to their professions seem likely: they might be syndics of a guild (presumably the Goldsmiths'), unidentified honorary members or members of a club of Goodmen (experts consulted as independent connoisseurs by guilds). At present, there are too many gaps in our knowledge of this group of professionals to assume any identification to be absolutely certain. However, comparison might be made with two similar paintings by de Keyser: The Syndics of the Amsterdam Goldsmiths' Guild (Toledo, Ohio, Museum of Art) and the Portrait of six Goldsmiths (formerly Strasbourg, Mus‚e des Beaux-Arts; destroyed by fire in 1944). Two figures in the present work closely resemble sitters in the above-mentioned portraits: that in the centre to the second man on the right of the Toledo portrait; that on the left to the figure on the left in the Strasbourg painting. The Toledo portrait is believed to have been commissioned by the Goldsmiths' Guild towards the end of 1626, nine years before the present work, and most likely represents the syndics for that year. The aforementioned man in the Toledo painting could easily be a younger representation of the central figure in the present lot - who, it is assumed from the nautilus cup that he carries, is a gold- or silversmith: although the shape of his beard has been altered and his face shows signs of age, the eyes, nose and cheekbones are his most prominent features and strongly resemble those of the younger man. Frustratingly, he is the only person in the Toledo portrait whose identity is unknown; the others, from left to right, are Loeff Vredericx (1590-1668), Jacob le Merchier (dates unknown) and Jacob Everts de Wolf (1577-1627). A possible suggestion as to the identity of the central figure in the present work can, however, be deduced from the date ('1631/AETAs. E 53.') inscribed above him, which gives a date of birth of circa 1578. The catalogue of the Mus‚e des Beaux-Arts, Strasbourg, records a member of the Goldsmiths' (and Silversmiths') Guild, named on the list of Syndics, with a date of birth of 1578/9: Pieter de Konink. The list of Syndics, kept in the Municipal Archives of Amsterdam, gives the date of entry into the Guild for each member and records for how many years he had been active in the profession; thus one can establish that by 1635, when this painting was signed, Pieter de Konink had been a silversmith for twenty-seven years and member of the Guild since 1611. The figure on the left in the present painting is depicted holding a statue, probably made of wax, which could be a maquette for an ornament destined for a tazza or another silver object. It is uncertain whether the makers of such statues were considered sculptors or silversmiths (sculptors had a free profession and did not have to belong to a guild, although sometimes they were registered as members of a painters' guild); it would seem very likely, however, that he is here represented in some connection with the Goldsmiths' Guild. His face - with its features, grey beard, receding hairline and stern nose and brow - is so similar to that of the corresponding sitter in the lost Strasbourg group portrait that there is little doubt that the same man is represented; his identity, however, remains unsure. The inscription 'AETAs SUE 50' on the lower left gives a date of birth of 1585. This provides several possibilities. Of those, the best known is Anthoni Tavart, who appears on the above-mentioned list of Syndics and was born before 1592 (in the Strasbourg catalogue the name is spelled 'Savart'); the list records that he was a contemporary of Pieter de Konink, having become a member of the Guild in 1612. By 1635 he would have worked as a silversmith for 29 years. However, the Strasbourg catalogue states Tavart died on 3 March 1633 and it seems unlikely that de Keyser took the likeness from an earlier portrait and not from life; a tentative explanation is that the sitter passed away before the painting had been completed - a possibility raised by the earlier datings against the other two sitters. Several other names can be proposed; these are taken from the list of Syndics but are not mentioned in K.A. Citroen's Dutch Goldsmiths' and Silversmith's marks and names prior to 1812 (1975). Among these are Joost Hendrickse (a member of the Guild since 1608), Crijn Joosten (a member since 1610) and Lambrecht Bolderman. Nothing to date is known of these other than that they were contemporaries of de Koninck. The final sitter is possibly holding a coin; the profession of coin makers was, as for sculptors, a free profession, and no records can be traced for these craftsmen. It has been suggested that he is holding a so-called toets steen (a test stone); such stones were used by silver- and goldsmiths to test the probity of their materials. A slight resemblance between the man on the right in both the Toledo painting and the present lot seems to be accidental. The gentleman in the Toledo painting is known to be Jacob Everts de Wolf. According to the date of '1632/AET.42' on the lower right of the present lot, this man must have been born in circa 1590; this does not match De Wolf's year of birth, as recorded in Citroen, of 1577. The only silversmith listed by Citroen whose date of birth is 1590 is Jan van Loo I (1590-1659) who entered the profession in 1619. His name however does not occur on the list of Syndics.
Portrait of a silversmith, thought to be Christian van Vianen, seated full-length, in brown costume and a black hat, holding a drawing and a salt-cellar, at a carpeted table signed with monogram and dated 'TDK 1630' (on one of the drawings on the table) oil on panel 253/4 x 21 1/8 in. (65.4 x 53.5 cm.) PROVENANCE Edward Vernon Utterson (1777-1856); (+) sale, Christie's, London, 27 February 1857 [= 4th day], lot 810, as 'De Keyser, 1639 - A gentleman in a brown dress, seated at a table, on which are silver vessels and drawings' (10 gns. to Smith, presumably on Botfield's behalf). Beriah Botfield (1807-1863), by 1863, by whom bequeathed to the Thynne family. LITERATURE B. Botfield, Catalogue of Pictures at Norton Hall, London, 1863, p. 17, 'A Dutch Silversmith. From the collection of E.V.Utterson Esq.'. J. G. van Gelder, 'Dutch Pictures at the Royal Academy', The Burlington Magazine, XCV, February 1953, p. 34. J. W. Frederiks, Dutch Silver, The Hague, 1958, p. 62, pl. 53, as of Christian van Vianen. H. van Hall, Portreiten van Neederlandse Beeldende Kunstenaars, Amsterdam, 1963, p. 350, no. 1, 2290, as of Christian van Vianen. D. de Wit-Klinkhamer, 'Een Vermaarde Silveren Beker', Nederlands Kunsthistorisch Jaarboek, 17, 1966, pp. 79-103, illustrated p. 97. T. Crombie, 'Beriah Botfield and his Dutch pictures at Longleat'. Apollo, CV, February 1977, p. 104, fig. 4. J. R. ter Molen, Van Vianen een Utrechtse familie van zilversmeden met een internationale faam, Leiden University doctoral dissertation, 1984, I, p. 38. A. Jensen Adams, The Paintings of Thomas de Keyser: A study of Portraiture in Seventeenth Century Amsterdam, Harvard PhD thesis, 1985, I, p. 97; III, p. 55, no. 26. O. Ydema, Carpets and their dating in Netherlandish Painting 1540-1700, Leiden, 1991, p. 163, no. 499, p. 10, fig. 4. EXHIBITION London, Royal Academy, Dutch Pictures 1450-1750, 1952-3, p. 85, no. 448. NOTES The present picture belongs to a group of similarly sized full-length portraits, executed in the late 1620s and early 1630s that illustrate de Keyser's great contribution to the development of Dutch portrait painting in the second quarter of the seventeenth century. In these works the artist shows small full-length figures in rich interiors, informally posed with lively gestures, looking out of the picture directly at the viewer. This highly original formula was established in the Portrait of Constantijn Huygens and his assistant of 1627 in the National Gallery, London, and seems to have been an immediate success. As noted by Jensen Adams ( op. cit., p. 97), de Keyser used the attributes of courtly painting in England and France as his point of departure for the composition of these pictures, adapting those influences for portraits of the urban patriciate in Amsterdam, whom he depicts with objects that refer to their own interests. This novel format contrasted with the static formal approach adopted by Mierevelt and Pickenoy in their standard three-quarter-length portraits. The evolution of this portrait style coincided with de Keyser's social elevation achieved by his marriage in 1626 to Machtel Andries, the niece of the Amsterdam goldsmith Loef Fredericks whose portrait in the Mauritshuis, The Hague, he painted in that year. His marriage introduced de Keyser to a new social circle which provided him with a rich source of patronage in the years around 1630. His familiarity with the confraternity of goldsmiths is further affirmed by three group portraits of them: one undated (present whereabouts unknown), and two from 1627, formerly in the Mus‚e des Beaux-Arts, Strasbourg (destroyed in World War II), and the Toledo Museum of Art, Ohio (Jensen Adams, op. cit., nos. 16, 17 and 18). The identity of the prosperous goldsmith who sat for this portrait has been much discussed. It seems likely that the painting is either of the great silversmith Christian van Vianen (1600-1667), son of Adam and nephew of Paul van Vianen, or the lesser known, Simon Andries Valkenaer (1609-1672). He holds in his right hand an engraved hexagonal salt-cellar while, behind him, is a magnificent auricular salt-cellar in the then latest fashion. The similarities between the base of the auricular salt and one of the designs published by Christian van Vianen in 1650, in Modelles Artificiels are striking and the selection of two entirely different forms of salt-cellar in contrasting styles is surely significant (fig. 1). As observed by Ydema ( loc. cit. ), the same carpet used for the present work, recurs in the Portrait of a Scholar, dated 1631, in the Mauritshuis, The Hague, and the pair of Portraits of a Lady and a Gentleman, also from 1631, in the Statens Museum, Copenhagen. Under the supposition that the sitter is Chrisian van Vianen, it has been suggested that the hexagonal salt-cellar was made by his father, while the auricular example is his own work conceived in the very latest fashion (see J.R. ter Molen, Van Vianen, een Utrechtse familie van zilversmeden met een internationale faam, 1984, I, p 38). Engraved hexagonal salts of this type are usually dated to the early seventeenth century, and in one case, as late as circa 1620 (see the example illustrated by J.W. Frederiks, Dutch silver, II, The Hague, 1958, p. 62, no. 176, pl. 53, and that in the Rothschild- Rosebery Collection; Mentmore sale, Sotheby's, London, 11 February 1999, lot 50). It should be pointed out, however, that the dating of both these examples is largely based on their similarity to the hexagonal salt in the present work, dated 1630. Both salts could well have been made in reality some thirty years earlier. Certainly the engraving on the example illustrated by Frederiks has close affinities to that on various Antwerp cutlery handles dateable to the very end of the siixteenth century (see catalogue of the exhibition, Zilver uit de Gouden eeuw van Antwerpen, Antwerp, 1988, nos. 91-96). An alternative explanation that would account for the appearance of two such stylistically contrasting pieces may be that they allude to the silversmith's ability both as a chaser and engraver. Another clue to the identity of the sitter may lie in Thomas de Keyser's group portrait of The Amsterdam Silversmith's Guild, dated 1627, formerly in the Mus‚e des Beaux-Arts, Strasbourg, (destroyed in World War II; fig. 2). A ewer made by Adam in memory of his brother and commissioned by the Guild in 1614 is prominently displayed in the picture. This ewer is widely regarded as Adam's auricular masterpiece and was acquired by the Rijksmuseum following its sale at Christie's, Laren, 19 October 1976 (see fig. 3). The seated figure third from the left has been identified by a number of authorities as Adam van Vianen who died the year the picture was painted, and in whose honour it has been suggested it was commissioned. This seated figure and that in the portrait etched in Modelles Artificiels, by Theodoor van Kessel, after John Smith, of Adam van Vianen are very similar indeed (fig. 4). Furthermore, Professor Th. H. Lunsingh Scheurleer has observed the strong similarity between the young man standing in the centre of The Amsterdam Silversmith's Guild and the sitter in the present portrait (see Christie's Laren, 16 October 1976, lot 544, footnote). The standing figure, with his right hand around his supposed father's shoulder and holding in his left the cover of Adam van Vianen's ewer appears to be an addition painted by another artist. This is indicated by the slightly awkward composition. Indeed the picture would appear to be much more balanced without the standing figure. It may also be the case, although this has not previously been noted, that the ewer itself held, somewhat casually upside down, by the figure on the right is yet a further addition. The 1938 catalogue of the Strasbourg Museum mentions a barely visible inscription giving the date of the addition. This date has been variously deciphered as 1635, 1636 or 1638. Beside the date is the age of the sitter and this has been read as either 26 or 29. The standing figure, however, appears to be at least in his mid thirties. It is possible that the artist who added this figure has given the age of the sitter as it was in 1627, when de Keyser signed and dated the rest of the painting and when Christian would indeed have been 26 or 27. Assuming this picture does indeed incorporate both Christian and Adam it can be seen as homage to the three van Vianens with Paul alluded to by the appearance of the ewer made in his memory. In 1995, however, Ann Jensen Adams suggested entirely different identifications for both the figures in The Amsterdam Silversmith's Guild, which she renamed Portrait of Six Gold and Silversmiths, and the sitter in the present portrait (Ann Jensen Adams,Shop Talk, Studies in Honor of Seymour Slive,Cambridge MS, 1995 pp.28-32). In her view the picture is a friendship portrait and posthumous tribute to Andries Fredericsz (1566-1627) an Amsterdam silversmith and Thomas de Keyser's father-in-law. The standing figure, which she also accepts is the same person as the subject of the present portrait, is, she suggests, Andries Fredericks' son, Simon Andries Valckenaer (1609-1672). In some ways this identification is more satisfactory as both father and son were Amsterdam, not Utrecht, goldsmiths and the various dates on the paintings fit better. Between 1599 and 1625, the elder Andries was assay master of the Amsterdam silversmith's guild on seven occasions and its dean six times. His son, who was Thomas de Keyser's brother-in-law, became a master in 1630, the year of this picture and would indeed have been 29 years old assuming his portrait was added to the group of silversmiths in the year 1638. This was the year when he was first elected as guild dean. The identification of the sitter as Simon Valckenaer is then certainly plausible. However, it should be noted that he is recorded as a maker of engraved beakers and coffin shields and is certainly not noted for great auricular silver (K.A. Citroen, Amsterdam Silversmiths and their Marks, Amsterdam, 1975 p. 194 no. 999). Given the similarity between the auricular salt and that in Christian van Vianen's design, it seems perhaps more likely that it is indeed this goldsmith that is portrayed in this brilliant portrait, a view that is shareed by Johann ter Molen. Like his contemporary Beriah Botfield, Edward Vernon Utterson was a notable book collector. They were both members of the Roxburghe club, of which Botfield was treasurer, and it would seem likely that they were acquaintances. Educated at Eton and Trinity College Cambridge, Utterson became a barrister at Lincoln's Inn in 1802, and was one of the six clerks in chancery between 1815-42. He kept his library at his house, Beldornie Tower, on the Isle of Wight, from where he issued reprints and facsimile of many of his original tracts by means of his own private press. His book collection was dispersed in two seperate sales; the first was held during his lifetime and took eight days, between 19-27 April 1852; the second took place posthumously and lasted seven days between 20-27 March 1857. His pictures, which numbered around forty, were sold along with his other possessions over the course of a four day sale at Christie's in 1857. According to his 1848 catalogue, Beriah Botfield had in his collection another portrait by de Keyser - a 'Portrait of a Gentleman or Cotton Merchant of Holland, seated at a Table. From the Collection of R. Simmons, Esq.'. This picture does not re-appear in the 1863 version of the catalogue and is now apparently untraced. However, it's previous owner - R. Simmons, was probably Richard Simmons, the owner of de Keyser's Portrait of Constantijn Huygens, which he bought in 1821 and bequeathed to the National Gallery in 1847. It is not inconceivable that they are the same picture. Botfield may have understood, at around the time his catalogue was going to press, that he had secured the Huygens portrait for himself prior to the bequest. His description of the sitter as a cotton merchant is somewhat unlikely but he is shown conducting some sort of transaction with another figure and his true identity was not recognised until 1915 (F. Schmidt-Degener, Onze Kunst, 1915, XXVII, pp. 113). If this was the case, Botfield had to wait some ten years before he was able to replace it with a picture of comparable quality by the artist.
The Resurrection oil on panel 86.2 x 67.7 cm PROVENANCE Anon. Sale, Mak van Waay Amsterdam, 18 February 1936, lot 683, ill. (200 NLG, as Thomas de Keyzer). LITERATURE A.J. Adams, The paintings of Thomas de Keyser (1596/7-1667), III, 1985, p.119, no.63/2. NOTES The prototype, signed and dated 1635, was with J. Goudstikker, Amsterdam, in 1926 (A.J. Adams, op. cit., p.119, no.63).
The Deposition dated '1635.F' (lower left) oil on panel 361/4 x 271/4 in. (92 x 69.3 cm.) PROVENANCE with Goudstikker, Amsterdam, by 1924. with P. de Boer, Amsterdam, 1929. LITERATURE A.J. Adams, The Paintings of Thomas de Keyser (1596/7-1667): A Study in Portraiture in Seventeenth Century Amsterdam, Diss., Cambridge (Mass.), 1985, I/II, pp. 397-8 and 401; III, pp. 117-8, no. 62. Idem, in J. Turner, ed., The Dictionary of Art, London, 1996, 18, p. 11. NOTES This picture is one of a pair with a Resurrection, signed and dated 1635 (Anon. Sale, Lempertz, Cologne, 14 June 1941, lot 47). In all likelihood, the two pictures were either a pair or a part of a series - it is possible that a Golgotha (Pushkin Museum, Moscow) dated 1637 is part of the same group. Ann Jensen Adams (1985, loc. cit. ), records three copies of the present picture: that with Vlaicu Ionescu, Middletown, New Jersey, 1982, on panel (the provenance of which has in the past been confused with that of the present picture); that sold, New York, American Art Association, 4 May 1916, lot 62, as 'Attributed to Rembrandt', on panel; and that in the collection of G”ttingen University, 1926, no. 98, on canvas.
