, furthermore indebted to Erin Travers for proofreading the final draft and providing helpful corrections and suggestions to the text
Biographies 15th-17th century, Painting in Haarlem: 1500-1850: The collection of the Frans Hals Museum, pp.337-341, 2006. ,
Galey-schilders' en 'dosijnwerck.': De productie, distributie en consumptie van goedkope historiestukken in zeventiende-eeuws Amsterdam, unpubl. diss, 2016. ,
, The feeding of the five thousand, monogrammed 'JDW' and signed and dated bottom left 'Jan de Wet inventor 1635', paper, 26.5 x 51 cm, and The feeding of the five thousand, De Wet's father. However, a painting and two drawings bear the signature Jan de Wet, one of which dates from 1618, and excludes authorship by Jacob de Wet: Jan de Wet, pp.1950-1957
, JDW' differ from any we know by Jacob de Wet. A drawing in the same style at the Teylers Museum bears the same monogram and the date '2-10-1601' on the reverse. Plomp proposes that they were drawn by one of De Wet's (unknown) brothers, but I suggest that they were produced by Jan de Wet, the grandfather of the painter, Michiel Plomp has argued, the signature 'Jan de Wet inventor' and the monogram, vol.II, pp.461-462, 1997.
Lukasgilde te Haarlem 1497-1798, p.1036, 1980. ,
Kennemer Atlas te Haarlem, inv, NHA), pp.53-999002 ,
, Partially transcribed and published, see A. Bredius, Oud Holland, vol.37, pp.215-222, 1919.
De Wet was appointed vinder in 1645 and 1661, and deken in 1662: Miedema, pp.671-672, 1980. ,
Het kunstbedrijf van Gerrit Uylenburgh tussen 1655 en 1675 ,
Uylenburgh & Zoon: Kunst en commercie van Rembrandt tot De Lairesse 1625-1675, pp.84-85, 2006. ,
, Besides De Wet's brother and son, also his sister Maria de Wet married a painter: one of
, Jacob's former pupils, the still-life painter Adriaen Jansz. Kraen (c, pp.1619-1679
, Gerrit de Wet married Geertruyt van Tangeren in 1664 in Leiden: Leiden, Erfgoed Leiden en Omstreken, DTB, nos. 201, 1664-8-29; fol. 73v. For the full biography of Gerrit de Wet, pp.363-365
1640', panel, 60.5 x 84.5 cm, sale Cologne, Lempertz, 1927-3-23, lot 346; Saul welcoming David after his victory over Goliath, signed and dated bottom left 'G.d.Wet.F.1640', panel, 61 x 84.5 cm, The twelve year old Christ teaching in the temple, signed and dated, p.341, 2016. ,
II) and his wife Helena Stalmans moved to Amsterdam between 27, p.341, 1668. ,
, Commissions included decorations and paintings for Holyroodhouse, Balcaskie House, Kellie Castle and Glamis Castle, see Jager, pp.369-373, 2016.
signed and dated on vase 'DE WET 1670, canvas, 68 x 53 cm. Sale London (Sotheby's), 2004. ,
There is no updated catalogue raissonné of paintings by Jacob de Wet, vol.4, pp.2778-2788, 1994. ,
, Like most seventeenth-century painters, De Wet owned prints. The record of a wager with
, The overlay was made by Valerio Pilo and the author on 28, 2017.
, De kunst van het kopiëren: Het waarom en hoe van het vervaardigen van kopieën en schilderijen in oplage in de Nederlanden in de zestiende en zeventiende eeuw, De Firma Brueghel, pp.12-43, 2001.
A Corpus of Rembrandt paintings V: Small-scale history paintings, pp.259-261, 2011. ,
, Rembrandt's rivals: History painting in Amsterdam 1630-1650, The subject The feeding of the five thousand is unusual and not mentioned in the subject index of E.J. Sluijter, vol.5, pp.3398-3438, 2015.
, For privacy reasons the name and location of the painting remains unknown. The infrared imaging was carried out on location by Jørgen Wadum and the author with an Artist PRO camera mounted with a CCD progressive scan image sensor (1360 x 1036 pixels) and a Photoshop CS6 with photo merge function
, Sluijter 2015 (note 21), pp.230-231
, Sluijter 2015 (note 21), pp.244-246
The possibility that De Wet and De Poorter visited Uylenburgh's studio was also suggested by Sumowski 1983-c, Lammertse en Van der Veen, vol.294, pp.117-205, 0190. ,
, Journal of Historians of Netherlandish Art, vol.5, issue.2, 2013.
, This painting is part of the same private collection as The feeding of the five thousand and investigated in a similar manner, p.20
, Camera lens: Rodagon f:150mm focal length F/1:5,6 with an aperture of f:16. Light: 2 halogen 1000w light Hedlerlamps from 200cm distance. The image is composed by a series of parallel exposures, each 3000x3000pixel, assembled on a PC using Adobe Photoshop CS6 with photo merge function (reposition parameter). The technical investigation took place at the Statens Museum for, during a residency at the Centre for Art Technological Studies and Conservation (CATS) with fellowships from the Historians of Netherlandish Art and the Kircheiner-Galatius Fonds, 2015.
, The drawing, Drawings of the Rembrandt School, vol.10, 1979.
Wet used the same composition and elements for the subjects Joseph sells corn in Egypt and The queen of Sheba visiting Solomon, but distinguishes the queen of Sheba by surrounding her with gifts instead of children. The drawing therefore certainly represents The queen of Sheba visiting Solomon ,
, The only photograph of this painting in the collection of RKD describes its whereabouts as 'collection Tharandt'. The painting is therefore identical to the painting previously in the collection of Count Leszczyc-Sumi?ski at Schloss Tharandt (Dresden), and sold at auction in München, pp.1907-1917
Art market and connoisseurship: A closer look at paintings by Rembrandt, Rubens and their contemporaries, pp.31-66, 2008. ,
53-999002K (note 4). Partially transcribed and published, see Bredius 1919 (note 4), pp.215-222 ,
, The biblical scenes in this sketchbook are currently being studied by Alexander de Bruin in connection to six paintings by Jacob de Wet in the Sint-Elisabeth's or Groote Gasthuis in Haarlem
, The appendix contains my own transcription of De Wet's administrative notes, Haarlem, NHA, inv. 53-999002K (note 4), identification of the names based on information in the RKDartists database and Miedema 1980 (note 3), and translations of the rates for instruction into annual fee in guilders
De Wet was listed in the guild records of 1637 as left ('vertrocken'), see Miedema, p.423, 1980. ,
Relevant information about the conditions of these apprenticeships is lacking. De Jager concluded that long-term training contracts had lower fees than short-term contracts, Oud Holland, vol.104, pp.75-79, 1990. ,
, This fee was reported by Joachim von Sandrart
, Receipts for instructing his pupil Isaak Jouderville between november 1629 and november 1631 with a total of 200, vol.2, p.326, 1675.
The Rembrandt documents, 1979. ,
, The listings in the sketchbook are 'jaer 1642 / den 12 may is P potter bij mijn te schilderen gecoomen voor de soma van acht pont int jaer' and 'den 2 november is bij mijn te tekenen gekoomen Job Adriaensen van Berckheyde Ao 1644, pp.53-999002
, Bredius 1919 (note 4), pp. 217. The 'P' before Potter appears a later addition
, Sluijter 2015 (note 21), pp.317-318
His works and their meaning, pp.116-131, 1991. ,
, Een historie van de rentmeester in ebben lijst, van, Jop Bercheijer
SAA), notarial archives no. 1202; fol. 270-286; 281; The Montias Database of 17th Century Dutch Art Inventories ,
, Berckheyde was asked to pay his guild entrance fee on 10 June 1653, but only paid on 10 March 1654: Van Thiel-Stroman, p.107, 2006.
Christ blessing the children, signed and dated bottom right ,
, Berckheyde Ao 1662', canvas, 52 x 68 cm, Schwerin, Staatliches Museum Schwerin, inv. G441. Many thanks to Gero Seelig for verifying the signature and date
, , p.936, 1980.
, Van Veen also paid for room and board, and he must have been serious about his education: M. BoersGoosens, Schilders en de markt: Haarlem 1605-1635, Boers-Goosens names Rochus van Veen among these amateurs. However, p.100, 2001.
, De Nederlandsche Leeuw, vol.123, pp.339-344, 2006.
Voor eigen plezier: Rochus van Veen ca, Kunstschrift, vol.52, p.23, 2008. ,
, September 1709: A. van der Willigen Pz., Les artistes de Harlem: Notices historiques avec un précis sur la gilde de St. Luc, edition revue et augmentée, vol.1870, p.302
, , p.275, 1980.
, Wet disolved into a dispute with the Haarlem guild, in which Withold admits that he had already made a start with the painting of a trony ('een trony had gedootverft') in Wouwerman's studio. Van ThielStroman, The relocation of Kort Withold from Philips Wouwerman to Jacob de, vol.546, p.549, 1642.
, May 1643 as 'came to draw' ('te tekenen gekomen') and on 8 September 1643 as 'starting to paint' ('aen schilderen gegaen
Nederlandse 17e eeuwse Italianiserende landschapschilders, pp.147-149, 1987. ,
Nicolaes Pietersz. Berchem, meester-schilder van Haarlem ,
, Nicolaes Berchem: In het licht van Italië, vol.21, pp.10-37, 2006.
, The full listing in the sketchbook is 'Ariaen Gael is alhier te schilderen gekoomen den 17
, april int jaer 1640 voor de soma van 8 pont sj, pp.53-999002
, Bredius 1919, p.216
, Jager, issue.2, p.308, 2016.
David with the head of Goliath, signed and dated bottom middle 'A. Gael 1643', panel, 49.5 x 69 cm, sale Bremen, Bolland & Marotz, 2014-11-08, lot. 1634; Joseph in the well, signed and dated bottom left 'A. Gael 1644', support and size unknown, sale Keulen, pp.2001-2010 ,
, This testament was changed in 1652: Gael would receive 1500 guilders and 'all that is granted to the art of painting, as prints, drawings and others belonging to it' ('alle het gunt totte Schilderkunst, soo van prenten, teeckeningen en de andere behoorende is'). The Hague, RKD, RKDcollections, archive A. Bredius, no. NL-HaRKD.0380, 'Gael', fol, The testament of his parents Adriaen Gael (I) and Marritje Kampers was drawn up in 1644, and states that Adriaen Gael (II) (named 'de Jonge') would inherit 'all the paintings and the rest belonging to it' ('alle de schildercunst ende tgeen daer toe behoort'), vol.9, pp.308-309
, , pp.379-384, 2016.
, For the full biography of Adriaen Verdoel, see Jager, pp.354-357, 2016.
, The full listing in the sketchbook is 'den 16 junius is bij mijn gekomen Ariaen Verd
It is unlikely that Verdoel trained with Rembrandt before his training at De Wet. Verdoel grew up in Schiedam, and could have had his basic training in the nearby city of Delft, perhaps at Bramer. There are no sources to confirm this, Houbraken wrote that Adriaen Verdoel was trained by Rembrandt, vol.3, p.57, 1718. ,
original not traced) and 'De Wet' , fol, vol.2, pp.1646-1653 ,
, , p.1033, 1980.
, A first reconstruction of his oeuvre is attempted in Jager, pp.385-389, 2016.
, Verdoel's oeuvre is quite problematic, because the signed and dated paintings point to at least two painters active with the same name, The paintings dating between 1690 and 1700 are therefore identified as by Adriaen Verdoel
, The date might have been mistakenly read as 1652. However, a genre painting with dancing people in old-fashioned clothing, signed and dated 'Adria Verdoel 1643', differs completely in character, subject and style from the works of either, see illustration in S. Rosenthal, On reflection, the painting Peasants drinking in an interior, signed and dated 'A, vol.17, p.250, 1929.
This type of apprenticeship might have been common practice, pp.74-79, 2001. ,
Painters employed in Utrecht workshops were obligated to paint in the master's manner, see S. Muller Fz, Schilders-vereenigingen te Utrecht: Bescheiden uit het gemeentearchief, p.331, 1880. ,
, Van Meldert's inventory states that Berckheyde had to be paid out of the estate (Job Bercheyden schilder moet hebben [amount left blank]): for delivered work?
48 een ovael in een lijst, gecopieert na de Weth', '53 een schilderij van een karsnaght in een ebben lijst, van Gerrit de Wet' and '66 een histori, van Gaal, sonder lijst'. Amsterdam, SAA, notarial archive, no. 1202, fol. 270-286; 280, 280v, 281. Transciptions of the paintings in this inventory are published in A. Bredius, Künstler-Inventare: Urkunden zur Geschichte der holländischen Kunst des XVIten, vol.6, pp.53-999002 ,
, Stroman interpreted the amount as 56 gulden: Van Thiel-Stroman, p.3, 2006.
, Wett d'jonge', 'een do van de selve' and 'een storij van d'Wet, The listings in the Hals inventory are 'een historie van Jacob d, vol.2, pp.451-453, 1915.
Everywhere illustrious history paintings that are a dime a dozen": The mass market for history painting in seventeenth-century Amsterdam, Journal of Historians ,
, Netherlandish Art, vol.7, issue.1, pp.23-50, 2015.
, The total amount of paintings differs here from Jager 2015 (note 64) after a recount for Jager, 2016.
, This number amounts to thirty paintings if we include Berckheyde and Potter, who are both represented with one painting in Doeck's shop
, The listing in the sketchbook is '3 julius is by myn te schilderen ghekomen Pieter Wiggerts voor de soma van 60 gulde jaers int jaer 1656, p.217
was registered in the workshop of Jacob de Wet on 3 July 1656 and registered as member to the Haarlem Lutheran Church one month later ,
, Wiggersz. intended marriage contract in 1664 states an address on the Amsterdam Breestraat, which was just a few minutes away from Doeck's shop, vol.511, pp.1656-1664
It is therefore possible that these paintings entered Doeck's shop through direct contact with the painter instead of through De Wet's business. Wiggersz. came from Gda?sk, as Doeck's parents. For the full biography of Pieter Wiggersz, vol.69, pp.373-374 ,
, Barend Jansz. Slordt (ca. 1625-na 1690), 'galey-schilder' uit Schermerhorn, Oud Holland, vol.127, pp.223-233, 2014.
, The inventory of Doeck's paintings mentions an attic, and lists most of the paintings here
, However, this inventory was written by different hands on different days and is inconsistent in the amount of detail and information given. The attic is one of the rare rooms mentioned
, For publications about the standard sizes, see J. Bruyn, 'Een onderzoek naar 17de-eeuwse schilderijformaten, voornamelijk in Noord-Nederland, Oud Holland, vol.93, pp.96-115, 1979.
Verder onderzoek naar zeventiende-eeuwse schilderijformaten in NoordNederland, Oud Holland, vol.95, pp.31-49, 1981. ,
, , p.287, 2001.
, On the pricing of paintings in De Wet's segment, see Jager 2015 (note 64), par, pp.30-44
, , p.287, 2001.
, Noch een stuck van Uropa gemaeckt voor menheer Van der Stel daeraen verdient de soma van 100 gulden') suggests that it was painted on commission, which would justify its higher price compared to works painted for the studio's stock-in-trade (potentially by assistants). Van der Stel also purchased some smaller works at a lower price: 'een stuckie' depicting Christ's dispute with the doctors in the temple for thirty guilders and 'een brantie en een lantschapie' for fifty guilders, The exact listing of the costly Europa made for Van der Stel, p.219
, 78 'den 6 maert Ao 1657 aen Barent Jans ter heggere verkoft [?.] noch een stuck van mijn soon van 8-0-0, pp.53-999002
, , vol.64, 2015.