Hercules Segers

Small Wooded Landscape with a Road and a House [HB 35a]

? Amsterdam, c. 1618 - c. 1622

Inscriptions

  • stamped on verso: lower right, with the mark of the City of Amsterdam (L. 11)

Technical notes

One state.

Provenance

...; collection Michiel Hinloopen (1619-1708), Amsterdam;1According to L. 11. by whom bequeathed to the City of Amsterdam (L. 11), 1708; from which on loan to the museum (L. 2228a), since 1885

ObjectNumber: RP-P-H-OB-852

Credit line: On loan from the City of Amsterdam

Context

Trees and Woods

Segers’s teacher, the Protestant landscapist Gillis van Coninxloo (1544-1606/07), fled besieged Antwerp in 1585 and stopped in Middelburg before finding his way to Frankenthal, where he played a seminal role in the development of a new artistic genre: the independent monumental forest scene.2For Van Coninxloo and the forest landscape, see H. G. Franz, 'Der Landschaftsmaler Gilles van Coninxloo', in E.J. Hürkey (ed.), Kunst, Kommerz, Glaubenskampf: Frankenthal um 1600, exh. cat. Frankenthal (Erkenbert-Museum) 1995, pp. 103-13; B. Brauksiepe, 'Von A=Alsloot bis Z=Zapponi: Das künstlerische Erbe des Gillis van Coninxloo, eine Spurensuche', in ibid., pp. 114-31; C. Levesque, 'Nature Discerned: Providence and Perspective in Gilles van Coninxloo’s Sylva', Intersections 20 (2011), pp. 123-48. Even though his influence was great, Van Coninxloo was not the sole inventor of this landscape type. In the development of the forest landscape, Jan Brueghel the Elder (1568-1625) and Paul Bril (1553-1626) played leading roles. At the Rubenianum, Elise Boutsen is conducting research on the Brabant painters in Frankenthal and the development of the forest landscape (see '"Seeing the wood for the trees": Introducing Project Associate Elise Boutsen and Patron Eric Le Jeune', The Rubenianum Quarterly (2015), no. 3, p. 2). The trees and groves that initially served mainly as repoussoirs for sweeping panoramas became Van Coninxloo’s principal subject. His pictures met with great success, and he even received commissions from Holy Roman Emperor Rudolph II (1552-1612). He settled in Amsterdam in 1595 and earnt a reputation as an innovative landscape painter. In his Schilder-boeck (1604), Karel van Mander (1548-1606) praised Van Coninxloo as the best 'landscapist' ('landtschap-maker') of his time. His work was widely followed in Holland, and, with a wink to his speciality, Van Mander noted facetiously that the trees that had fairly withered in Dutch painting were now growing to great heights following his model.3K. van Mander, Den grondt der edel vry schilder-const, ed. by H. Miedema, 2 vols., Utrecht 1973, fol. 268r, ll, pp. 37-43. After the death of his teacher at the end of 1606 or the beginning of 1607, Segers did not develop into an explicit specialist in forest landscapes, although he did practice the genre, albeit on a modest scale and format.

Closely related to works by Van Coninxloo, in terms of both the compositions and the depictions of trees, are three prints of trees and woods by Segers (HB 35-37), as well as the small forest scene on canvas in a private collection in Norway attributed to Segers in 2016 (P 1).4H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, no. P 1. Although they differ in format and execution, the layout of the three etchings agrees: our eye is led from the foreground along a road to a house or farmstead. Two impressions of the smallest etching were printed on cloth prepared with a pale grey and a pale brown priming (HB 35a, the present sheet; and HB 35b, British Museum, London, inv. no S.5224). Segers used exactly the same combination for two impressions of the small Landscape with an Oak Tree and a Distant View (HB 28a, inv. no. RP-P-H-OB-850; and HB 28b, inv. no. RP-P-H-OB-851).

An oil sketch with a road and a house encircled by trees (inv. no. RP-T-H-00-251) is also difficult to read. It may have been part of the working material from Segers’s workshop that – like his only other extant oil sketch (inv. no. RP-T-H-00-250) – entered the collection of Michiel Hinloopen (1619-1708). The composition of the oil sketch largely corresponds with an etching (HB 36, Kupferstich-Kabinett, Dresden, inv. no. A 49377), of which only a single impression is preserved. It shows the road, the fence and the house surrounded by trees more or less in reverse, but without the figure that looms up like a phantom on the left in the sketch. In a second phase – and probably later – Segers introduced areas of shadow in drypoint in the road and the fencing on the right in the etching. The unique impression in blue ink on pink-prepared paper belongs to a group of prints Segers pulled in the same color combination, and probably at the same time. A transparent layer of green paint was applied in rapid brushstrokes over the entire landscape. This may be the beginning of an alteration in which the sky would ultimately be colored as well. The print shares its partly finished state with impressions of other etchings on a pink ground.5HB 19 II c, HB 47 II e and HB 47 II g-h. See also HB 38-47.

Very comparable to the oil sketch and the print mentioned above is the etching Road near a Farm House Surrounded by Trees and a Fence, of which a unique impression is preserved in the British Museum, London (HB 37, inv. no. S.5532). It is printed in black on paper prepared with a thin greyish-yellow ground. In combination with the ground, the fine lines and burr of the drypoint have turned brown. These passages of shadow are not drawn with a pen or brush, as has often been assumed.6See J. Verbeek, Hercules Seghers en zijn voorlopers, exh. cat. Amsterdam (Rijksmuseum) 1967, no. E, pl. 57. With their round leaves and stereotypical tree trunks, Segers’s previously discussed forest scenes look simple compared to the richly forested landscape prints by his contemporaries, such as Willem Buytewech (1591/92-1624) or Esaias van de Velde (1587-1630). And yet Segers’s sizeable etching, with its expressive and differentiated rendering of tree trunks, branches and leaves, is virtually unparalleled in seventeenth-century printmaking.7Segers’s prints anticipate the etchings of trees that Jacob van Ruisdael (1629/30-1681) and Claes van Beresteyn (1617-1684) created some twenty years later. For Van Ruisdael, see S. Slive, Jacob van Ruisdael: A Complete Catalogue of His Paintings, Drawings and Etchings, New Haven and London 2001, nos. E7-E9; for Van Beresteyn, see C.S. Ackley, Printmaking in the Age of Rembrandt, exh. cat. Boston (Museum of Fine Arts)/St Louis (Art Museum) 1981, no. 153.

Huigen Leeflang, 2016

The artist

Biography

Hercules Segers (Haarlem c. 1589/90 - ? 1633/40)

No baptismal record has been found, but he was probably born in Haarlem in c. 1589/90.8This summary is based on J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, pp. 17-36. The artist mentioned his age twice: once in 1614 stating he was a twenty-four-year-old man from Haarlem and once in 1623 were he mentions he is about thirty-four years old.9Amsterdam, Stadsarchief, DTB 418, p. 280 (27 December 1614); Amsterdam, Stadsarchief, Notary J. Warnaertz, NA 691(III), fol. 43r-v (25 March 1623). His parents, Pieter Segers (c. 1564-1611/12) and Cathelijne Hercules (d. after 1618), both came from Ghent. Hercules was most likely their second son, since he was named after the patronymic of his mother. Whether he had more siblings than his younger brother, Laurens (c. 1592/93-after 1616), is not known.10Amsterdam, Stadsarchief, DTB 420, p. 267 (13 August 1616).

Hercules’ father was a merchant in Haarlem and Amsterdam, but chose for his son another profession.11In 1607 Peter Segers gave his age as forty-three and his occupations as ‘grocer’ (‘crudenier’); Amsterdam, Stadsarchief, Notary F. van Banchem, NA 5075, inv. no. 262, fols. 252v-253 (5 April 1607); I.H. van Eeghen, ’De ouders van Hercules Segers’, Maandblad Amstelodamum 55 (1968), no. 4, pp. 74-75. The denomination of the family is unknown, but mostly likely they were not Mennonites, as often claimed in the literature. Hercules became an apprentice of the painter Gillis van Coninxloo (1544-1606/07), a landscape artist from Antwerp, who had a workshop at his house on the Oude Turfmarkt.12The inventory of Van Coninxloo mentions a debt of 16 guilders and 9 stuivers owed by Pieter Segers for his son’s training; Amsterdam, Stadsarchief, Notary F. van Banchem, NA 262, fols. 68v-88 (11-19 January 1607), esp. fol. 85v. Following Van Coninxloo’s death, Segers undoubtedly finished his training in another workshop. However, no documents have survived to confirm this.13J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, p. 19.

In 1612 Segers left Amsterdam and settled in Haarlem. His name appears in the registration of the Guild of St. Luke of 1612.14H. Miedema, De archiefbescheiden van het St. Lukasgilde te Haarlem, 2 vols., Alphen aan den Rijn 1980, II, p. 1035. In the summer of 1614 Segers was again documented as living in Amsterdam, together with his extramarital daughter, Nelletje Hercules (?-?). At the age of twenty-four, he married the forty-year-old Anna van der Bruggen (c. 1574-?).15Amsterdam, Stadsarchief, DTB 418, p. 280 (27 December 1614). Apparently, he was doing well financially, able in 1619 to purchase a large new house on the Lindengracht in Amsterdam called De Hertog van Gelre.16Amsterdam, Stadsarchief, Archive 5062, inv. no. 39, fol. 382 (14 May 1619). In his etching View through the Window of Segers’s House toward the Noorderkerk (HB 41, inv. no RP-P-H-OB-857), he captured the view from a window in the attic of that house. A decade later, his fortunes changed and he had to sell his house and dismantle his workshop. He moved to Utrecht in 1631.17Amsterdam, Stadsarchief, Archive 5061, inv. no. 2166, fol. 90 (4 January 1631); the official transfer took place on 25 November 1632; see J.Z. Kannegieter, ‘Het huis van Hercules Segers op de Lindengracht te Amsterdam’, Oud Holland 59 (1942), nos. 5/6, p. 155; Het Utrechts Archief, Notary G. van Waey, NA U019a003, vol. 118, fol. 106r-v (15 May 1631). Segers seems to have been active as an art dealer. In May 1631 he sold around 137 paintings to the Amsterdam dealer Jean Antonio Romiti (?-?), including a painting by the young Rembrandt (1606-1669).18J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, p. 28. In 1632 he was living in The Hague and was involved in the sale of about 180 paintings. The only other evidence of his stay there are two documents of 1633, one concerning the art deal and the other regarding the rental of a house.19The Hague, Gemeentearchief, Notary G. van Warmenhuysen, NA 18, fol. 177r-v, (28 January 1633); Ibid., NA 18, fol. 179r-v (13 February 1633); A. Bredius, ‘Iets over Hercules Segers’, in F.D.O. Obreen, Archief voor Nederlandsche kunstgeschiedenis. Verzameling van meerendeels onuitgegeven berichten en mededeelingen betreffende Nederlandsche schilders, plaatsnijders, beeldhouwers, bouwmeesters, juweliers, goud- en zilverdrijvers…, 7 vols., Rotterdam, 1877-90, IV (1882), pp. 314-15. His name does not appear again in the archives, not even in burial records. He probably died between 1633 and 1640.20J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, p. 29.

Segers addressed himself multiple times as painter, such as on 28 January 1633 when he was mentioned as ‘painter, at present living in The Hague’ (‘schilder, jegenwoordigh wonende alhier in Den Hage’).21The Hague, Gemeentearchief, Notary G. van Warmenhuysen, NA 18, fol. 177r-v (28 January 1633). However, it is his highly original printed oeuvre to which the artist owes his present day fame. Although he specialized in mountain landscapes, it is doubtful if he ever saw a mountain in real life. His depictions of ancient Italian ruins all derive from prints by other artists, and it is unlikely he travelled to Italy himself.

One painting by Segers suggests that he travelled to the Southern Netherlands. His topographical View of Brussels from the Northeast in the Wallraf-Richartz-Museum in Cologne (P 16, inv. no. WRM Dep. 249) is in all probability a reflection of a visit to that city.22J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, p. 19 (n. 31). His landscapes and city views depicting places in the provinces of Holland, Utrecht and Gelderland are also most likely based on personal observations and drawings ‘from life’.

Samuel van Hoogstraten (1627-1678) was the only contemporary to write about Segers. In his Inleyding tot de hooge schoole der schilderkunst (Introduction to the Academy of Painting) of 1678, he described an artist who had great talent but did not receive much recognition during his life. Shortly after his death, however, his prints were most sought after by art lovers who were willing to pay enormous prices for impressions of his prints.23See the first appendix in ibid., pp. 17-36. However this may be, there are indications that Segers’s work was appreciated during his lifetime and well into the seventeenth century by a small group of art lovers and artists.24Ibid., p. 17.

The paintings that can be attributed to Segers with certainty are a Woodland Path in a private collection in Norway, four mountain landscapes (Rijksmuseum, Amsterdam; Mauritshuis, The Hague; Museum Boijmans Van Beuningen, Rotterdam; Galleria degli Uffizi, Florence), five Dutch panoramic landscapes (two in the Gemäldegalerie, Berlin; National Gallery of Scotland, Edinburgh; LWL-Museum für Kunst und Kultur, Münster, on loan from a private collection; private collection in the Netherlands), four hybrid landscapes (private collection in Brussels; Galerie Hans, Hamburg; Museo Thyssen Bornemisza, Madrid; Museum Boijmans Van Beuningen, Rotterdam) and a View of Brussels (Wallraf-Richartz Museum, Cologne). His etchings are extremely rare. In total fifty-three different etchings have survived in 182 impressions – twenty-two of which are unique. Twenty-four of the known etchings depict mountain landscapes, two Biblical scenes, eight panoramic landscapes, six forest-landscapes and trees, eleven ruins and other buildings, four seascapes and ships, and three extraordinary prints show a rearing horse, a skull and a still life with books.

The chronology of Segers’s oeuvre is hard to determine because none of his works is dated. His development as an artist between 1615 and 1630 has traditionally been described as that of a specialist in mountain landscapes based on the tradition set by Pieter Bruegel (1526/30-1569) and his successors towards a pioneer in Dutch panoramic landscapes. Dendrochronological research on the panels he used, however, suggests that Segers made different types of work throughout his career. He created a new kind of panoramic views with a lowered horizon and impressive skies that anticipated the works of the younger generation of specialists in Dutch landscapes, such as Pieter de Molijn (1595-1661) and Jan van Goyen (1596-1656). Simultaneously he created, both in painting and etching, fantastic mountain views and mountain landscapes.

Segers’s graphic experiments with tone and colour are closely related to his work as a painter. The materials he used for his prints, such as pigments, priming and linen, are what one expects to find in a seventeenth-century painter’s workshop rather than in that of a printmaker. Segers’s etchings bear witness to an exceptionally inventive use of printmaking techniques. No printmaker before him had experimented on such a grand scale with the possibilities of copper-plates, etching grounds, etching needles and other graphic tools or with printing and touching-up in colour.

Jaap van der Veen, 2016/Huigen Leeflang, 2020

References
A. Bredius, ‘Iets over Hercules Segers’, in F.D.O. Obreen, Archief voor Nederlandsche kunstgeschiedenis. Verzameling van meerendeels onuitgegeven berichten en mededeelingen betreffende Nederlandsche schilders, plaatsnijders, beeldhouwers, bouwmeesters, juweliers, goud- en zilverdrijvers…, 7 vols., Rotterdam, 1877-90, IV (1882), pp. 314-15; I.H. van Eeghen, ’De ouders van Hercules Segers’, Maandblad Amstelodamum 55 (1968), no. 4, pp. 73-76; J.Z. Kannegieter, ‘Het huis van Hercules Segers op de Lindengracht te Amsterdam’, Oud Holland 59 (1942), nos. 5/6, pp. 150-57; H. Miedema, De archiefbescheiden van het St. Lukasgilde te Haarlem, 2 vols., Alphen aan den Rijn 1980, II, p. 1035; J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roeloefs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, pp. 17-36; H. Leeflang, ‘”For he also printed paintings”: Hercules Segers’s Painterly Prints’, in ibid., pp. 39-73; P. Roeloefs, ‘Hercules Segers, the Painter’, in ibid, pp. 111-38

Entry

This etching must have been printed almost simultaneously with the small Landscape with an Oak Tree and a Distant View (HB 28a, HB 28b) and is among Segers’s earliest known work. The typical manner in which the round leaves and bent stems are drawn is related to that of the trees in the small etchings by Willem Buytewech (1591/92-1624) of circa 1616 (e.g. inv. no. RP-P-BI-5319).25F.W.H. Hollstein, Dutch & Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700, 72 vols., Amsterdam and elsewhere 1949-2010, IV (1951; Brun-Coques), pp. 53-77; HB 35 and HB 36 belong to the group of early works, which also includes HB 28, HB 34, HB 40, HB 43 and HB 52-53, whose style of drawing is related to that of Willem Buytewech; E. Haverkamp-Begemann, Willem Buytewech, Amsterdam 1959, nos. vG 21-30; G. Luijten and A. van Suchtelen, Dawn of the Golden Age: Northern Netherlandish Art, 1580-1620, exh. cat. Amsterdam (Rijksmuseum) 1993-94, no. 342; if these etchings originated around the same time, they probably date in or after 1618. See also HB 25-28 and HB 38-47. Compared to the professionally executed and published series by Buytewech, Segers’s early prints are fairly simply and loosely drawn. The fact that they are printed on primed cloth, however, makes them highly exceptional. This applies to an even greater degree to the impression on linen that was colored with brownish-green and yellowish-white paint and then varnished (HB 35c, London, British Museum, inv. no. 1956,0714.62). The varnish has browned. Had it not, the print’s appearance would have approximated that of the small painted forest scene, Woodland Path, of circa 1618-20, in a private collection, Norway (P 1).26H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, no. P 1.

Huigen Leeflang, 2016

Literature

J. Springer, Die Radierungen des Herkules Seghers, 3 vols., Berlin 1910-12, no. 41a (Das Häuschen im Walde); W. Fraenger, Die Radierungen des Hercules Seghers: Ein physiognomischer Versuch, Erlenbach-Zurich and elsewhere 1922, pp. 27, 29, 39, 62; R. Grosse, Die holländische Landschaftskunst, 1600-1650, 2nd edn., Stuttgart 1925, p. 100; G. Knuttel Wzn., Hercules Seghers, Amsterdam [1941], p. 16; L.C. Collins, Hercules Seghers, Chicago 1953, pp. 11-12, 23; J. Houplain, ‘Sur les estampes d’Hercules Seghers’, Gazette des Beaux-Arts, ser. 6, no. 49 (1957), p. 159; W. van Leusden, Het grafisch-technisch probleem van de etsen van Hercules Seghers, Utrecht 1960, p. 11; E. Haverkamp-Begemann, Hercules Segers: The Complete Etchings, with a Supplement on Johannes Ruischer by E. Trautscholdt, Amsterdam and The Hague 1973, no. 35a, and pp. 34, 36, 45 (n. 84), 46, 47, 54; F.W.H. Hollstein, Dutch & Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700, 72 vols., Amsterdam and elsewhere 1949-2010, XXVI (1981; Hercules Segers), no. 35a; HH. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, no. HB 35a

Citation

H. Leeflang, 2016, 'Hercules Segers, Small Wooded Landscape with a Road and a House [HB 35a], Amsterdam, c. 1618 - c. 1622', in J. Turner (ed.), Works by Hercules Segers in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.37290

(accessed 27 April 2025 22:38:02).

Footnotes

  • 1According to L. 11.
  • 2For Van Coninxloo and the forest landscape, see H. G. Franz, 'Der Landschaftsmaler Gilles van Coninxloo', in E.J. Hürkey (ed.), Kunst, Kommerz, Glaubenskampf: Frankenthal um 1600, exh. cat. Frankenthal (Erkenbert-Museum) 1995, pp. 103-13; B. Brauksiepe, 'Von A=Alsloot bis Z=Zapponi: Das künstlerische Erbe des Gillis van Coninxloo, eine Spurensuche', in ibid., pp. 114-31; C. Levesque, 'Nature Discerned: Providence and Perspective in Gilles van Coninxloo’s Sylva', Intersections 20 (2011), pp. 123-48. Even though his influence was great, Van Coninxloo was not the sole inventor of this landscape type. In the development of the forest landscape, Jan Brueghel the Elder (1568-1625) and Paul Bril (1553-1626) played leading roles. At the Rubenianum, Elise Boutsen is conducting research on the Brabant painters in Frankenthal and the development of the forest landscape (see '"Seeing the wood for the trees": Introducing Project Associate Elise Boutsen and Patron Eric Le Jeune', The Rubenianum Quarterly (2015), no. 3, p. 2).
  • 3K. van Mander, Den grondt der edel vry schilder-const, ed. by H. Miedema, 2 vols., Utrecht 1973, fol. 268r, ll, pp. 37-43.
  • 4H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, no. P 1.
  • 5HB 19 II c, HB 47 II e and HB 47 II g-h. See also HB 38-47.
  • 6See J. Verbeek, Hercules Seghers en zijn voorlopers, exh. cat. Amsterdam (Rijksmuseum) 1967, no. E, pl. 57.
  • 7Segers’s prints anticipate the etchings of trees that Jacob van Ruisdael (1629/30-1681) and Claes van Beresteyn (1617-1684) created some twenty years later. For Van Ruisdael, see S. Slive, Jacob van Ruisdael: A Complete Catalogue of His Paintings, Drawings and Etchings, New Haven and London 2001, nos. E7-E9; for Van Beresteyn, see C.S. Ackley, Printmaking in the Age of Rembrandt, exh. cat. Boston (Museum of Fine Arts)/St Louis (Art Museum) 1981, no. 153.
  • 8This summary is based on J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, pp. 17-36.
  • 9Amsterdam, Stadsarchief, DTB 418, p. 280 (27 December 1614); Amsterdam, Stadsarchief, Notary J. Warnaertz, NA 691(III), fol. 43r-v (25 March 1623).
  • 10Amsterdam, Stadsarchief, DTB 420, p. 267 (13 August 1616).
  • 11In 1607 Peter Segers gave his age as forty-three and his occupations as ‘grocer’ (‘crudenier’); Amsterdam, Stadsarchief, Notary F. van Banchem, NA 5075, inv. no. 262, fols. 252v-253 (5 April 1607); I.H. van Eeghen, ’De ouders van Hercules Segers’, Maandblad Amstelodamum 55 (1968), no. 4, pp. 74-75.
  • 12The inventory of Van Coninxloo mentions a debt of 16 guilders and 9 stuivers owed by Pieter Segers for his son’s training; Amsterdam, Stadsarchief, Notary F. van Banchem, NA 262, fols. 68v-88 (11-19 January 1607), esp. fol. 85v.
  • 13J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, p. 19.
  • 14H. Miedema, De archiefbescheiden van het St. Lukasgilde te Haarlem, 2 vols., Alphen aan den Rijn 1980, II, p. 1035.
  • 15Amsterdam, Stadsarchief, DTB 418, p. 280 (27 December 1614).
  • 16Amsterdam, Stadsarchief, Archive 5062, inv. no. 39, fol. 382 (14 May 1619).
  • 17Amsterdam, Stadsarchief, Archive 5061, inv. no. 2166, fol. 90 (4 January 1631); the official transfer took place on 25 November 1632; see J.Z. Kannegieter, ‘Het huis van Hercules Segers op de Lindengracht te Amsterdam’, Oud Holland 59 (1942), nos. 5/6, p. 155; Het Utrechts Archief, Notary G. van Waey, NA U019a003, vol. 118, fol. 106r-v (15 May 1631).
  • 18J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, p. 28.
  • 19The Hague, Gemeentearchief, Notary G. van Warmenhuysen, NA 18, fol. 177r-v, (28 January 1633); Ibid., NA 18, fol. 179r-v (13 February 1633); A. Bredius, ‘Iets over Hercules Segers’, in F.D.O. Obreen, Archief voor Nederlandsche kunstgeschiedenis. Verzameling van meerendeels onuitgegeven berichten en mededeelingen betreffende Nederlandsche schilders, plaatsnijders, beeldhouwers, bouwmeesters, juweliers, goud- en zilverdrijvers…, 7 vols., Rotterdam, 1877-90, IV (1882), pp. 314-15.
  • 20J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, p. 29.
  • 21The Hague, Gemeentearchief, Notary G. van Warmenhuysen, NA 18, fol. 177r-v (28 January 1633).
  • 22J. van der Veen, ‘”Hercules Segers, disregarded and yet a great artist”: A Sketch of his Life’, in H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, p. 19 (n. 31).
  • 23See the first appendix in ibid., pp. 17-36.
  • 24Ibid., p. 17.
  • 25F.W.H. Hollstein, Dutch & Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700, 72 vols., Amsterdam and elsewhere 1949-2010, IV (1951; Brun-Coques), pp. 53-77; HB 35 and HB 36 belong to the group of early works, which also includes HB 28, HB 34, HB 40, HB 43 and HB 52-53, whose style of drawing is related to that of Willem Buytewech; E. Haverkamp-Begemann, Willem Buytewech, Amsterdam 1959, nos. vG 21-30; G. Luijten and A. van Suchtelen, Dawn of the Golden Age: Northern Netherlandish Art, 1580-1620, exh. cat. Amsterdam (Rijksmuseum) 1993-94, no. 342; if these etchings originated around the same time, they probably date in or after 1618. See also HB 25-28 and HB 38-47.
  • 26H. Leeflang and P. Roelofs (eds.), Hercules Segers: Painter, Etcher, 2 vols., exh. cat. Amsterdam (Rijksmuseum)/New York (Metropolitan Museum of Art) 2016-17, I, no. P 1.