Drawn by Life - National Galleries of Scotland

Drawn by Life
Dutch and Flemish Drawings from the Seventeenth Century
Drawn by Life
Dutch and Flemish Drawings
from the Seventeenth Century
by Teun Bonenkamp
28 January 2013 – 9 June 2013
Scottish National Gallery, Edinburgh
Front cover:
Jacques (Jacob) Jordaens, As the Old Sing, so the Young Twitter, c.1644, pen, brown ink, watercolour
and bodycolour over black chalk, on paper, 262 x 298 mm.
Back cover:
Ferdinand Bol, A Man and a Woman seated at a Table, c.1640-45, pen, brown ink and wash, on
paper, 194 x 192 mm (detail).
This pamphlet accompanies the display Drawn by Life, Dutch and Flemish Drawings from the
Seventeenth Century, held at the Scottish National Gallery from 28 January until 9 June 2013. I would
like to thank Tico Seifert and Michael Clarke for their support.
Teun Bonenkamp
January 2013
© The Trustees of the National Galleries of Scotland
INTRODUCTION
There is hardly any period in which artists engaged so much with representing scenes from everyday
life as did Dutch and Flemish draughtsmen during the seventeenth century. This display of drawings
illustrates how daily life became a major subject for artists in the age of Rembrandt and Rubens and
how they reflected on the world in which they lived.
Observation of life and nature became a key element in the working process of the seventeenthcentury artist. The inscription on Gesina Terborch’s drawing reads ‘drawn from life’ and emphasizes
the importance of working from nature. However, although the drawings in this display give a vivid
image of life in the Golden Age, they do not necessarily provide true depictions of its world and
society. The two brawls, for instance, show peasant fights, but should also be considered as allusions
to what life ideally should not look like.
Drawings could serve a variety of purposes, from preparatory studies, or elaborate figure studies to
highly finished artworks, as illustrated by Pieter Quast’s and Johannes Jacobsz. Folkema’s drawings
on vellum. Partly because of the different functions of drawings, artists employed a broad range of
techniques. Jacques (Jacob) Jordaens, for example, used watercolours for his family scene, to
indicate the colours he had in mind for the final product, a tapestry.
These drawings from the collection of the Scottish National Gallery, due to their sensitivity to light,
are rarely on show, and include some exhibited for the first time.
All drawings in this display are in the collection of the Scottish National Gallery.
5
FERDINAND BOL
Dordrecht 1616 – Amsterdam 1680
A Man and a Woman seated at a Table c.1640-45
Medium:
Dimensions:
Pen, brown ink and wash, on paper
194 x 192 mm
This drawing entered the collection with an attribution to Rembrandt van Rijn (1606-1669) but is
more likely to be by one of his most talented pupils, Ferdinand Bol. He trained with Rembrandt from
1636 onwards for at least five years, and became one of his closest followers, best known for his
portraits and history paintings.
The drawing shows a couple in conversation seated at a table, the man has laid his right hand on the
woman’s shoulder. The light seems to come from a fireplace and casts huge shadows on the wall.
The sharp contrast between the light and shade gives the scene a dramatic character and shows how
much Bol was affected by Rembrandt’s chiaroscuro. Moreover, it suggests that the drawing
illustrates a narrative. It resembles other drawings by Bol, such as Amnon tries to seduce Tamar 1.
Provenance: Jhr. J Goll van Franckenstein (Lugt 2987); David Laing (Lugt 2188) bequest to the Royal
Scottish Academy, 1878 2; on loan 1966.
Literature: Sumowski 1979-1992, vol. 1, pp. 406-407, no. 191, ill.; Andrews 1985, vol. 1, pp. 9-10,
vol. 2, p. 14, fig. 58.
Exhibitions: Washington/ Fort Worth 1990-1991, pp. 174-175, no. 79, ill.
David Laing Bequest to the Royal Scottish Academy, on loan 1966 (RSA 220)
1
Ferdinand Bol, Amnon tries to seduce Tamar, pen, in brown wash, 190 x 251 mm, Louvre, Paris, inv. no.
22.935; Sumowski 1979-1992, vol. 1, pp. 548-549, no. 262, ill.
2
Six drawings included in this display were bequeathed to the Royal Scottish Academy by David Laing (17931878). For more information about this bequest, see Andrews 1976, pp. 3-5.
6
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7
ANDRIES BOTH
Utrecht 1611 – Venice 1642
A Painter and his Assistant in the Studio c.1640
Medium:
Dimensions:
Inscriptions:
Pen, brown ink and grey wash, on paper
221 x 165 mm
Lower left ‘...al…’. Verso: top centre (in pencil), ‘L28’; bottom right (in blue ink), ‘W’; blue
stamp, bottom left, ‘NGS’ (in circle, used since 1959, not in Lugt).
Andries was the elder brother of the more famous Jan Both (1618-1652) and is best known for
painting figures in his brother’s landscapes. However, he independently produced low-life genre
scenes. He belonged to the group of artists known as the Bamboccianti, a community of mainly
Netherlandish painters of everyday life, active in Rome from about 1625 until the end of the
seventeenth century.
This drawing shows an artist at his easel and an assistant grinding pigments and preparing paint. On
the shelves and pinned up against the wall Both depicted several objects that were used by artists,
such as plaster models. As there are more works by Both showing a painter at work, this seems to
have been a popular subject of this artist. 3 An engraving by Abraham Bosse (1602-1676), The Artist
in his Studio from about 1625 (Rijksprentenkabinet Amsterdam, inv. no. RP-P-OB-42.183) shows an
assistant holding a print made after a painting by Both, illustrating a poor painter in his studio. 4
The attribution of the drawing has been questioned by George Gordon, who thought it to be an
imitation or copy after Andries Both. 5
Provenance: Colnaghi’s, London; purchased 1961.
Literature: Andrews 1985, vol. 1, p. 10, vol. 2, p. 15, fig. 62; Gordon 1988, p. 50.
Exhibitions: None known.
Purchased 1961 (D 4846)
3
See, for example, Andries Both, An Artist at his Easel, pen and brown ink, 140 x 187 mm, private collection;
Andries Both, The Happy Painter, black chalk, 173 x 150 mm, private collection (sale Christie’s, London, 10 July
2001 , lot 171, ill.).
4
Goldstein 2011, p. 24.
5
Gordon 1988, p. 50.
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9
JOHANNES JACOBSZ. FOLKEMA
Dokkum 1650(?) – Amsterdam 1710(?)
A Group of four Etchers and Draughtsmen around a Table 1674
Medium:
Dimensions:
Inscriptions:
Black chalk and traces of red chalk, on vellum
237 (left), 240 (right) x 268 mm
On table’s rear crossbar (faded) ‘Jan Folkema fecit 1674’; blue stamp, bottom left, ‘RSA’
(Royal Scottish Academy, Edinburgh [Lugt 2188]). Old mount: ‘Slingeland N. 29’ (in pencil)
and ‘2320’ (in black ink).
Johannes Folkema was a goldsmith and engraver in the small town of Dokkum, in the north of
Holland, and the father of the more famous printmaker and draughtsman Jacob Folkema (16921767). The faint signature can be read on the rear crossbar of the table. The drawing shows four
etchers and draughtsmen in a domestic setting. They are most likely amateurs, also judging from the
refined clothes they wear. Etching for pleasure was a frequent practice in seventeenth-century
upper-class circles, stimulated by manuals such as Abraham Bosse’s Traicté des Manieres de Graver
en Taille douce sur l’airtin (or Manual of Etching) from 1645. However, representations of amateur
etchers are rare.
Provenance: Collection Eberhardus Boers (before 1818); Sale Mandemaker, The Hague, 21
September 1818 (L.9440), p. 80, lot 72; David Laing (Lugt 2188) bequest to the Royal Scottish
Academy, 1878; transferred to the Scottish National Gallery, 1910.
Literature: Andrews 1985, vol. 1, p. 29, vol. 2, p. 47, fig. 197.
Exhibitions: None known.
David Laing Bequest to the Royal Scottish Academy, transferred 1910 (D 1158)
10
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JACQUES (JACOB) JORDAENS
Antwerp 1593 – Antwerp 1671
Head of an Old Woman, with a Ruff and a Cap c.1630-40
Medium:
Dimensions:
Inscriptions:
Black chalk, heightened with white chalk
301 x 195 mm
Bottom right (in pen), ‘n ab’ and black stamp, ‘RSA’ (Royal Scottish Academy, Edinburgh [Lugt
2188]). Verso: top left (in an old hand, brown ink), ‘Jordaens’; bottom right (in a modern
hand, pencil), ‘Goltzius Sir T Lawrence Coll.’.
The woman’s physiognomy and facial expression can be found in four other studies of an old lady’s
head, all attributed to the Flemish artist Jordaens, whose first name has recently been convincingly
shown to have been Jacques rather than Jacob. 6 None of these drawings is signed or dated but,
obviously, they all show the same woman. 7
This drawing has been attributed to different artists, both northern- and southern Netherlandish,
including Leendert van der Cooghen (1632-1681), Cornelis de Vos (1584-1651), and Jacob van
Campen (1596-1657). It entered the collection with an attribution to the Dutch School, due to an
inscription on the verso bearing the name of the artist Hendrick Goltzius (1558-1617). The discovery
of an old inscription on the verso bearing Jordaens’s name, however, supports an attribution to him.
In the 1968 catalogue of the Jordaens exhibition in Ottawa, Michael Jaffé first proposed that the
sitter is Elisabeth van Noort (dates unknown), Jordaens’s mother-in-law, a suggestion based on her
appearance in a painting of the artist’s family-in-law. 8 Jordaens regularly used his own relatives as
models for his paintings. The Madonna in the Adoration of the Shepherds 9 resembles his own wife,
Catharina van Noort (1589-1659), and the old woman in the left background of the same painting –
again – Elisabeth van Noort. However, a comparison of the figure in the present drawing and that of
Jordaens’s mother-in-law in his paintings is not convincing.
Provenance: Unidentified paraphe (on verso); Sir Thomas Lawrence (Lugt 2445); David Laing (Lugt
2188) bequest to the Royal Scottish Academy; transferred 1910.
Literature: Held 1969, p. 268, ill.; Haverkamp Begemann 1969, p. 176; d’Hulst 1974, vol. 2, pp. 587588, no. D39, vol. 4, fig. 629a; Andrews 1985, vol. 1, p. 42, vol. 2, p. 70, fig. 284; Held 1985-1986, pp.
50-53, pl. 28a.
Exhibitions: Ottawa 1968-1969, p. 163, no. 153, p. 335, fig. 153; Washington/ Fort Worth 19901991, pp. 146-147, no. 65, ill.
David Laing Bequest to the Royal Scottish Academy, transferred 1910 (D 1683)
6
Brussels/ Kassel 2012, pp. 9-13.
Studies of the Head of an Old Woman, wearing a Cap (verso: study of the same model), point of brush, brown
wash, 189 x 181 mm, Nationalmuseum, Stockholm, inv. no. 2185/1863; Study of Elizabeth van Noort, the
artist’s mother-in-law, black and white chalk on buff ‘oatmeal’ paper, 292 x 193 mm, Peck Collection, Boston,
inv. no. P10.01; d’Hulst 1974, vol. 2, pp. 587-588, nos. D38-D40, vol. 4, figs. 628a-629b. Portrait of Elizabeth
van Noort, the artist’s mother-in-law, black, red and white chalks on buff ‘oatmeal’ paper, 326 x 246 mm, Peck
Collection, Boston, inv. no. P00.03; Held 1969, p. 268, fig. 3.
8
Jacob Jordaens and the Family of his Father-in-Law. Adam van Noort, oil on canvas, 114 x 146,5 cm,
Gemäldegalerie Alte Meister, Kassel, inv. no. 107.
9
The Adoration of the Shepherds, oil on canvas, 153 x 118 cm, Mittelrheinisches Landesmuseum, Mainz, inv.
no. 390.
7
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JACQUES (JACOB) JORDAENS
Antwerp 1593 – Antwerp 1671
‘As the Old Sing, so the Young Twitter’ c.1644
Medium:
Dimensions:
Pen, brown ink, watercolour and bodycolour over black chalk, on paper
262 x 298 mm
Jordaens, together with Peter Paul Rubens (1577-1640) and Anthony van Dyck (1599-1641), is
regarded as one of the most influential Flemish artists of the seventeenth-century. This family scene
illustrates the Dutch proverb ‘Zo de Ouden Songen, Zo Piepen de Jongen‘ (as the Old Sing, so the
Young Twitter). The proverb comments on how the young imitate the old and, as such, it
encouraged parents to set a good example for their children. This moralistic message was taken
from both the Bible (Ezekiel 16:44: ‘everyone who quotes proverbs will quote this proverb about
you: ‘like mother, like daughter’’) and a publication by the Calvinist poet Jacob Cats, ‘Mirror of old
and new times’ from 1632. 10
This is a preparatory study for a tapestry. It was commissioned by three Brussels weavers in 1644,
together with the design of cartoons for seven other tapestries, forming a series of eight proverbs.
For the present drawing, Jordaens drew on his earlier compositions illustrating the same proverb, of
which the earliest example dates from 1638. 11 To make the rectangular composition of this painting
fit for the square tapestry, Jordaens depicted the figures full instead of half-length. As he made no
allowance for the reversal of the composition when woven, all the figures appeared left-handed in
the tapestry. Today, complete sets of these eight tapestries can be found in Tarragona (Museo
Diocesano, Spain) and Hluboká (Castle Hluboká, Czech Republic).
For the illustration of the proverb, Jordaens chose the setting of a music-making, well-to-do family,
consisting of three generations. Therefore, the drawing – which has also been labelled The Family
Concert – can also be interpreted as an allusion to familial harmony (or ‘concordia’), referring to the
seventeenth-century changing social ideas about the conjugal family as the primal forum for moral
instruction. 12
Provenance: Benjamin West (Lugt 419); David Laing (Lugt 2188) bequest to the Royal Scottish
Academy; transferred 1910.
Literature: Dodgson 1912-1913, no. 23; Van Puyvelde 1953, p. 205, fig. 96; d’Hulst 1956, pp. 230,
233, 351, no. 100, fig. 150; d’Hulst 1974, vol. 1, pp. 275-276, no. A 188, vol. 3, fig. 202; Andrews
1985, vol. 1, p. 41, vol. 2, p. 69, fig. 281; Nelson 1985-1986, p. 224, p. 298, pl. 35; Paris 1990, lot 58;
Antwerp 1993, p. 204, fig. A64a; Nelson 1998, p. 104, no. 26a, p. 277, fig. 59.
Exhibitions: London 1927, no. 620; Brussels 1965, p. 308, no. 334; Antwerp/ Rotterdam 1966-1967,
no. 75; Ottawa 1968-1969, p. 197, no. 216, p. 363, fig. 216; Edinburgh/ New York/ Houston 19992001, pp. 74-75, ill.
David Laing Bequest to the Royal Scottish Academy, transferred 1910 (D 1192)
10
“Siet alderhande jongen/ Die pijpen even soo gelijck de moeders songen”, Cats 1632, p. 65.
Jacob Jordaens, ‘As the Old Ones Sing, So the Young ones Pipe’ , signed and dated 1638, oil on canvas, 128 x
192 cm, Royal Museum of Fine Arts, Antwerp, inv. no. 677; Antwerp 2003, pp. 106-107, ill.
12
See also: Boston/ Toledo 1993-1994, p. 353.
11
14
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15
ISAAC VAN OSTADE
Haarlem 1621 – Haarlem 1649
Interior of a Peasant’s Dwelling c.1643
Medium:
Dimensions:
Inscriptions:
Pen, brown ink/wash over black chalk, on paper
190 x 211 mm
Bottom left (in brown ink) ‘A.V. Ostade’.
Isaac was the younger brother of Adriaen van Ostade (1610-1685). The two prolific brothers worked
mainly in the Dutch city of Haarlem and are most famous for their peasant and low-life genre scenes.
The number of drawings by Isaac’s hand that have come down to us – given the fact that he died at
young age – is remarkable. Initially, this drawing was attributed to Adriaen, partly due to the
inscription ‘A.V. ostade’, but on stylistic grounds it can be attributed to Isaac.
The drawing gives insight into seventeenth-century village life and shows a simple interior with a
peasant sitting at the fireplace. Because of its sketchy character, the drawing may have been a
preparatory study for a painting. Isaac van Ostade made several paintings of peasant interiors, such
as A Peasant Family at Home. 13 This drawing possibly illustrates the moral duties of parental care.
The man at the fireplace seems to have been fallen asleep, leaving the little child in the cradle and
the entrance to the cottage unattended.
The architecture of the interior, the furniture, and the utensils scattered on the floor and hanging on
the walls, belong to a standard repertoire of motifs that Van Ostade frequently used to illustrate life
of peasants and ordinary people.
Provenance: J.L. v.d. Dussen (before 1774); Sale Amsterdam, 31 October 1774 (L.2329), lot 131; N.
Nieuhoff; Sale Amsterdam, 14 April 1777 (L.2673), lot 1029; W. Baartz; Sale Rotterdam, 6 June 1860
(L.25638), lot 216; bought J. de Vos Jacobszoon (Lugt 1450); Sale Amsterdam, 22 May 1883
(L.43060), lot 340; Sir Seymour Haden (Lugt 1227); W.B. Patterson; bought 1910 (always as Adriaen
van Ostade).
Literature: Caw 1928, p. 19; Andrews 1961, no. 39 [as Adriaen van Ostade]; Schnackenburg 1981,
vol. 1, p. 172, no. 478, vol. 2, p. 198, no. 478; Andrews 1985, vol. 1, p. 59, vol. 2, p. 98, fig. 397.
Exhibitions: None known.
Purchased 1910 (D 3631a)
13
Isaac van Ostade, A Peasant Family at Home, 43.1 x 36.5 cm, Szépművészeti Múzeum (Museum of Fine Arts),
Budapest, inv. no. 4284; Budapest 2000, p. 130, ill.
16
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ISAAC VAN OSTADE (copy after?)
Haarlem 1621 – Haarlem 1649
A Brawl outside an Inn c.1640-1660
Medium:
Dimensions:
Inscriptions:
Pen and black, grey and brown ink, brush in grey and grey wash, on paper
237 x 368 mm
Lower right (in brown ink) ‘A.V.O.’; black stamp, bottom right, ‘RSA’ (Royal Scottish Academy,
Edinburgh [Lugt 2188]).
The drawing shows a brawl in front of small building, most probably an inn, although it does not
show any sign of that. Compared to the brawl by Pieter Quast (see p. 20) this fight is more violent.
Furious peasants attack each other with knives and furniture, while the children and adults in the
background seem to remain unaffected.
This drawing is a copy or imitation after a now lost work by Isaac van Ostade and its style and
composition resemble at least two other drawings attributed to him. The first, a Peasant Fight at
Funfair, shows the present work in reverse. 14 The type of figures, their poses and the objects with
which they attack, feature in both drawings. The second drawing, The Home Bringing of the Bride, is
similar in composition. 15
The scene fits well within Van Ostade’s oeuvre, presenting a vivid ‘snapshot’ from seventeenthcentury village and peasant life. However, more than just a representation of everyday life, the
scene is meant specifically as an expression of vices like drunkenness and foolishness. Hence, it
illustrates what life ideally should not be.
Provenance: David Laing (Lugt 2188) bequest to the Royal Scottish Academy; transferred 1910.
Literature: Schnackenburg 1981, vol. 1, p. 218, no. F107; Andrews 1985, vol. 1, p. 59, vol. 2, p. 99,
fig. 400.
Exhibitions: None known.
David Laing Bequest to the Royal Scottish Academy, transferred 1910 (D 1115)
14
Isaac van Ostade (attributed to), Peasantfight at funfair, pen and brown ink, brown and grey wash, on brown
tinted paper, 221 x 370 mm, Leiden University, inv. no. PK-T-1714; Schnackenburg 1981, vol. 1, p. 158, no. 411,
vol. 2, p. 169, fig. 411.
15
Isaac van Ostade (attributed to), The home bringing of the bride, pen and brown ink over pencil, brown and
grey wash, 195 x 292 mm, Staatliche Museen, Kupferstichkabinett Berlin, inv. no. KdZ 3860; Schnackenburg
1981, vol. 1, p. 159, no. 415, vol. 2, p. 172, fig. 415.
18
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PIETER JANSZ. QUAST
Amsterdam 1606 – Amsterdam 1647
A Brawl 1644
Medium:
Dimensions:
Inscriptions:
Black chalk, with brush and wash in grey, on vellum
205 x 251 mm
Bottom left (in brown ink) ‘Pieter Quast f. 1644’ over signature in black chalk (same reading).
Verso: bottom left (in black ink) ‘[1?]72’ and bottom, left to centre (in pencil) ‘nD’.
The little-known Dutch painter and draughtsman Pieter Quast usually depicted low-life scenes of
peasants and beggars. He spent most of his career in The Hague, where he became master of the
Guild of St Luke in 1634.
Quast was inspired by contemporary theatre 16 and this drawing shows some caricature features,
especially in the faces of the figures and the shapes of their bodies. Quast would have observed
brawls and drunkenness in real life. This drawing is signed and dated and belongs to a relatively large
group of highly finished drawings made by Quast on vellum, which was more expensive than paper,
and probably intended for the art market.
Provenance: David Laing (Lugt 2188) bequest to the Royal Scottish Academy; transferred 1910.
Literature: Andrews 1985, vol. 1, p. 62, vol. 2, p. 104, fig. 422.
Exhibitions: None known.
David Laing Bequest to the Royal Scottish Academy, transferred 1910 (D 1823)
16
See: Stanton-Hirst 1982.
20
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21
GESINA TERBORCH (attributed to)
Zwolle 1633 – Deventer 1690
A seated Young Man with a Gun (1670)
Medium:
Dimensions:
Inscriptions:
Brush and grey wash over black chalk
256 x 187 mm
Bottom left (in black ink), ‘G T Borch nae het leven geteckend 1670’. Verso: black stamps, top
left, ‘IMG’ (Lugt 1496); bottom right, ‘NGS’ (in circle, used since 1959, not in Lugt).
This drawing is inscribed ‘G T Borch nae het leven geteckend 1670’ (‘G T Borch drawn from life
1670’) and illustrates how artists were concerned with the idea of drawing from real life. It is part of
a large group of drawings, depicting the same figure, of which the attribution is uncertain. 17 Nearly
all these drawings are indicated with both a date around 1670 and a signature ‘G T Borch’; four of
them have an inscription reading ‘drawn from life’. There are different opinions on the authenticity
of the inscriptions and the question whether these drawings are all by the same hand. They could
have been drawn either by Gerard Terborch the Younger (1617-1681) or his younger sister Gesina.
Concerning the present drawing and its style, the latter seems more likely.
Provenance: John MacGowan (Lugt 1496); Sale Philipe, London, 26 January 1804 (L.6733), lot 667 (as
‘Gerard Terburg’, together with another drawing of a lady); probably Sale Sotheby’s, London, 25
February 1959, lot 27 [as Gesina Terborch]; Colnaghi’s, London. Purchased 1961.
Literature: Andrews 1985, vol. 1, p. 87, vol. 2, p. 151, fig. 576; McNeil Kettering 1988, pp. 856, 858859, no. 91, fig. 91; New York 1999, pp. 275, 276.
Exhibitions: London 1966, no. 66, pl. 31.
Purchased 1961 (D 4843)
17
New York 1999, pp. 275-276.
22
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BIBLIOGRAPHY
Andrews 1961
Keith Andrews, Fifty Master Drawings in the National Gallery of Scotland, Edinburgh, 1961
Andrews 1976
Keith Andrews, Old Master Drawings from the David Laing Bequest, exh. cat. Edinburgh (National
Gallery of Scotland) 1976
Andrews 1985
Keith Andrews, Catalogue of Netherlandish Drawings in the National Galleries of Scotland, 2 vols.,
Edinburgh, 1985
Antwerp 1993
Roger A. d’Hulst/ Nora de Poorter/ Marc Vandenven, Jacob Jordaens (1593-1678), 2 vols., exh. cat.
Antwerp (Koninklijk Museum voor Schone Kunsten) 1993
Antwerp 2003
Hans Devisscher (ed.), The Museumbook. Highlight from the Collection. Koninklijk Museum voor
Schone Kunsten Antwerpen, Antwerp, 2003
Antwerp/ Rotterdam 1966-1967
Roger A. d’Hulst, Tekeningen van Jacob Jordaens, exh. cat. Antwerpen (Rubenshuis)/ Rotterdam
(Museum Boymans van Beuningen) 1966
Boston/ Toledo 1993-1994
Peter C. Sutton/ Marjorie E. Wieseman, The Age of Rubens, exh. cat. Boston (Museum of Fine Arts)/
Toledo (Toledo Museum of Art), 1993
Brussels 1965
S. Bergmans et al., Le siècle de Rubens, exh. cat. Brussels (Musées royaux des beaux-arts de
Belgique) 1965
Brussels/ Kassel 2012-2013
Justus Lange/ Irene Schaudies/ Joost vander Auwera, Jordaens and the Antique, exh. cat. Brussels
(Royal Museum of Fine Arts of Belgium)/ Kassel (Gemäldegalerie Alte Meiser) 2012
Budapest 2000
Ildikó Ember/ Annamária Gosztola/ Zsuzsa Urbach, Old Masters’ Gallery. Museum of Fine Arts.
Summary Catalogue, volume 2. Early Netherlandish, Dutch and Flemish Paintings, Budapest, 2000
Cats 1632
Jacob Cats, Spiegel Van den Ouden ende Nieuwen Tijdt, The Hague, 1632
Caw 1928
James L. Caw, National Galleries of Scotland. A record of Additions 1907-1927, Edinburgh, 1928
Dodgson 1912-1913
[Campbell Dodgson], ‘J. Jordaens: Illustration of a Flemish Proverb’, Vasari Society 8 (1912-1913), no.
23
24
Edinburgh/ New York/ Houston 1999-2001
Michael Clarke et al., Master Drawings. The Draughtsman’s Art: Master Drawings from the National
Gallery of Scotland, Edinburgh (National Gallery of Scotland)/ New York (The Frick Collection)/
Houston (Museum of Fine Arts) 1999
Goldstein 2011
Carl Goldstein, ‘The Noble Painter’, Source. Notes in the History of Art 31.1 (Fall 2011), pp. 21-28
Gordon 1988
George Gordon, ‘Keith Andrews, Catalogue of Netherlandish Drawings in the National Gallery of
Scotland [review]’, Master Drawings 26 (1988), pp. 49-52
Haverkamp Begemann 1969
Egbert Haverkamp Begemann, ‘Jacob Jordaens at the National Gallery of Canada [review of
exhibition]’, Master Drawings 7 (1969), pp. 173-178
Held 1969
Julius S. Held, ‘Jordaens at Ottawa [review of exhibition]’, Burlington Magazine 794 (1969), pp. 265273
Held 1985-1986
Julius S. Held, ‘Some Studies of Heads by Flemish and Dutch Seventeenth-Century Artists’, Master
Drawings 23-24 (1985-1986), pp. 46-53
d’Hulst 1956
Roger A. d’Hulst, De tekeningen van Jacob Jordaens, Brussels 1956
d’Hulst 1974
Roger A. d’Hulst, Jordaens Drawings, 4 vols., London/ New York 1974
McNeil Kettering 1988
Alison McNeil Kettering, Catalogue of the Dutch and Flemish Drawings in the Rijksprentenkabinet,
volume 5: Drawings from the Ter Borch Studio Estate, part 2, Amsterdam, 1988
L.
Frits Lugt, Répertoire des catalogues de ventes publiques intéressant l’art ou la curiosité, 4 vols., The
Hague, 1938-1987
London 1927
Flemish and Belgian Art, 1300-1900, exh. cat. London (Royal Academy) 1927
London 1966
Old Master Drawings from the National Gallery of Scotland, exh. cat. London (Colnaghi) 1966
Lugt
Frits Lugt, Les Marques de Collections de Dessins & d’Estampes, Amsterdam, 1921
Nelson 1985-1986
Kristi Nelson, ‘Jacob Jordaens’ Drawings for Tapestry’, Master Drawings 23-24 (1985-1986), pp. 214228, 288-301
25
Nelson 1998
Kristi Nelson, Jacob Jordaens. Design for Tapestry, Turnhout 1998
New York 1999
Egbert Haverkamp-Begemann et al., The Robert Lehman Collection. Volume VII. Fifteenth- to
Eighteenth-Century European Drawings. Central Europe, The Netherlands, France, England, New
York, 1991
Ottawa 1968-1969
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