Getting started with the collection:
Hercules Segers
View of Amersfoort [HB 30]
? Amsterdam, c. 1625 - c. 1630
Inscriptions
stamped on verso: lower left and right, with the mark of the museum (L. 2166)
Technical notes
One state (unique impression).
Condition
The verso is dark yellow from the oil-based binding medium in the ground having permeated the paper; ground has partly gone at top right and in top right corner; white spot (paint?) on right next to edge; vertical folds left and right of centre; the ground is cracked on these folds; corners on lower left and lower right have broken off and been reattached; verso: lined with two different pieces of coloured paper, one brown and one grey, and a separate strip along the top.
Provenance
...; sale, Carel Coenraad Johannes de Ridder (1818-1871, Rotterdam and Utrecht); Rotterdam (D.A. Lamme), 9 (10) April 1874 sqq., no. 1014, fl. 125.10, to the museum (L. 2166 and 2233)
ObjectNumber: RP-P-OB-845
Context
Distant Views of Towns
Elongated, grand panoramas with views of Dutch villages and cities already enjoyed a rich tradition by the time Segers explored the subject in a number of paintings and etchings. At the end of the sixteenth century, Hans Bol (1534-1593) was making small landscapes in gouache with city profiles, including Amsterdam, in the background.1G. Luijten and A. van Suchtelen (eds.), Dawn of the Golden Age: Northern Netherlandish Art, 1580-1620, exh. cat. Amsterdam (Rijksmuseum) 1993-94, no. 196; S. Hautekeete, Disegno & couleur: Dessins italiens et français du XVIe au XVIIIe siècle, exh. cat. Brussels (Koninklijke Musea voor Schone Kunsten) 2012. In engraved city portraits by Pieter Bast (c. 1570-1605), the profiles of Amsterdam, Leiden and Franeker, for example, barely rise above the sweeping landscapes in which they are engulfed.2G.S. Keyes, Pieter Bast, Alphen aan den Rijn 1981; B. Bakker and H. Leeflang, Nederland naar ’t leven. Landschapsprenten uit de Gouden Eeuw, exh. cat. Amsterdam (Museum Het Rembrandthuis) 1993, no. 2. This formula, in which a depiction of a city is virtually absorbed into – and even subordinate to the rendering of – the rural setting was strongly developed, especially in Haarlem.3H. Leeflang, 'Dutch Landscape: The Urban View: Haarlem and its Environs in Literature and Art, 15th-17th Century', in Natuur en landschap in de Nederlandse kunst, 1500-1850/Nature and Landscape in Netherlandish Art, 1500-1850, Zwolle 1998 (Nederlands Kunsthistorisch Jaarboek 48), pp. 52-115. The most immediate models for Segers’s etchings of Dutch places appear to be the elongated landscape prints of villages and cities that Esaias van de Velde (1587-1630) and his nephew Jan van de Velde (1593-1641) made in Haarlem between 1615 and 1618 (e.g. inv. no. RP-P-OB-15.421).4For example, see the prints with Spaarnwoude, Pennincks-veer, Tholen and the Landscape with Gallows near Haarlem by Esaias van de Velde (F.W.H. Hollstein, Dutch & Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700, 72 vols., Amsterdam and elsewhere 1949-2010, XXXII (1988), nos. 20, 21, 23) and the oblong landscapes by Jan van de Velde (Ibid., XXXIII-XXXIV (1989), nos. 178-95 and 292-99).
The oblong-format prints are characterized by their phenomenal sense of space. Just as in Segers’s prints, this effect was determined primarily by the seemingly random division of the landscape into shaded and sunlit sections. While the shadows in the prints by the Van de Veldes are etched, those in Segers’s prints are in drypoint. As is almost always the case, in Segers’s work human figures play a secondary role in contrast to the richly populated landscapes by Esaias and Jan van de Velde. With some difficulty, a wanderer and a group of people in a wagon can be discerned in the middle of the present view of Amersfoort. The only extant impression of the etching is printed in blue on paper prepared with a bluish-grey ground. The colouration contributes to the unnatural, hushed atmosphere of Segers’s etching and constitutes another principal difference with the landscape prints in black by his contemporaries.
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. 1589/90.5This 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.6Amsterdam, 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.7Amsterdam, Stadsarchief, DTB 420, p. 267 (13 August 1616).
Hercules’ father was a merchant in Haarlem and Amsterdam, but chose for his son another profession.8In 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.9The 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.10J. 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 1612.11H. 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-?).12Amsterdam, 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.13Amsterdam, 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 1631.14Amsterdam, 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).15J. 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.16The 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 1640.17J. 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’).18The 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.19J. 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.20See 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.21Ibid., 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
Alongside his ventures into imaginary, rocky realms, two actual 'excursions' from his studio are reflected in a pair of etchings with views of Dutch cities. They undoubtedly rely on studies he drew on the spot while travelling in the east of the Province of Utrecht and in the Province of Gelderland. On the basis of faithfully rendered topographical details, these places can be recognized as Amersfoort (the present work) and Wageningen (HB 31, inv. no. RP-P-OB-846).
The View of Amersfoort was long considered a profile of Rhenen and linked to Segers’s painted portrait of this city in the National Gallery of Schotland, Edinburgh (P 13, inv. no. NG 2800).22H. 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 13. In 1938, however, the etching was convincingly identified as a view of nearby Amersfoort.23In 1938 S.W. Melchior presented his identification to the Rijksprentenkabinet in Amsterdam, which holds the only impression of the etching, but for years failed to convince the museum’s staff. Since the publication of three modest contributions about his findings in 1957 (S.W. Melchior, 'Amersfoort of Rhenen?', Maandblad van Oud-Utrecht 30, no. 5 (1957), pp. 51-54; no. 9 (1957), pp. 91-92; no. 10 (1957), pp. 98-99), Melchior’s identification has generally been accepted. For a comparison with other seventeenth-century views of Amersfoort, see E. Haverkamp-Begemann, Hercules Segers: The Complete Etchings, with a Supplement on Johannes Ruischer by E. Trautscholdt, Amsterdam and The Hague 1973, p. 84 (under no. 30). It even proved possible to locate the exact vantage-point from where Segers recorded the city. Amersfoort is shown from the present-day Hessenweg, with the church tower known as the Onze Lieve Vrouwentoren in the middle, the St Joriskerk on the right and the profile of the Amersfoort Hill in the background. The minutely rendered buildings almost merge into the landscape that completely encircles the city.
It has been suggested that the print with the View of Amersfoort derives from a painting of the same subject. The print’s elongated format does indeed agree with that of Segers’s painted Dutch landscapes, only it is smaller. It is interesting that Segers made an effort to transfer the city profile, in reverse, on the etching plate, so that the impression would represent the landscape and buildings in the right direction.
Huigen Leeflang, 2016
Literature
J. Springer, Die Radierungen des Herkules Seghers, 3 vols., Berlin 1910-12, no. 34 (Die grosse Ansicht von Rhenen), pl. XXXIV; R. Grosse, Die holländische Landschaftskunst, 1600-1650, 2nd edn., Stuttgart 1925, p. 101; L.C. Collins, Hercules Seghers, Chicago 1953, p. 55 (fig. 62); E. Trautscholdt, ‘Neues Bemühen um Hercules Seghers', Imprimatur 12 (1954-55), pp. 80-81 (fig. 18); S.W. Melchior, 'Amersfoort of Rhenen?', Maandblad van Oud-Utrecht 30, no. 5 (1957), pp. 51-54; S.W. Melchior, ‘Amersfoort of Rhenen?', Maandblad van Oud-Utrecht 30, no. 9 (1957), pp. 91-92; S.W. Melchior, ‘Nog eenmaal: Amersfoort of Rhenen?', Maandblad van Oud-Utrecht 30, no. 10 (1957), pp. 98-99; W. Stechow, Dutch Landscape Painting of the 17th Century, London 1966, pp. 36, 37, (fig. 56); E. Haverkamp-Begemann, Hercules Segers: The Complete Etchings, with a Supplement on Johannes Ruischer by E. Trautscholdt, Amsterdam and The Hague 1973, no. 30, pp. 33, 36-38, 45 (n. 84), 55; J. Rowlands, Hercules Segers, Amsterdam 1979, no. 31; I.M. de Groot, Landschappen. Etsen van de Nederlandse meesters uit de zeventiende eeuw, Amsterdam 1979, no. 38; 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. 30; 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, no. HB 30
Citation
H. Leeflang, 2016, 'Hercules Segers, View of Amersfoort [HB 30], Amsterdam, c. 1625 - c. 1630', in J. Turner (ed.), Works by Hercules Segers in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.37286
(accessed 28 April 2025 08:51:14).Footnotes
- 1G. Luijten and A. van Suchtelen (eds.), Dawn of the Golden Age: Northern Netherlandish Art, 1580-1620, exh. cat. Amsterdam (Rijksmuseum) 1993-94, no. 196; S. Hautekeete, Disegno & couleur: Dessins italiens et français du XVIe au XVIIIe siècle, exh. cat. Brussels (Koninklijke Musea voor Schone Kunsten) 2012.
- 2G.S. Keyes, Pieter Bast, Alphen aan den Rijn 1981; B. Bakker and H. Leeflang, Nederland naar ’t leven. Landschapsprenten uit de Gouden Eeuw, exh. cat. Amsterdam (Museum Het Rembrandthuis) 1993, no. 2.
- 3H. Leeflang, 'Dutch Landscape: The Urban View: Haarlem and its Environs in Literature and Art, 15th-17th Century', in Natuur en landschap in de Nederlandse kunst, 1500-1850/Nature and Landscape in Netherlandish Art, 1500-1850, Zwolle 1998 (Nederlands Kunsthistorisch Jaarboek 48), pp. 52-115.
- 4For example, see the prints with Spaarnwoude, Pennincks-veer, Tholen and the Landscape with Gallows near Haarlem by Esaias van de Velde (F.W.H. Hollstein, Dutch & Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700, 72 vols., Amsterdam and elsewhere 1949-2010, XXXII (1988), nos. 20, 21, 23) and the oblong landscapes by Jan van de Velde (Ibid., XXXIII-XXXIV (1989), nos. 178-95 and 292-99).
- 5This 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.
- 6Amsterdam, Stadsarchief, DTB 418, p. 280 (27 December 1614); Amsterdam, Stadsarchief, Notary J. Warnaertz, NA 691(III), fol. 43r-v (25 March 1623).
- 7Amsterdam, Stadsarchief, DTB 420, p. 267 (13 August 1616).
- 8In 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.
- 9The 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.
- 10J. 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.
- 11H. Miedema, De archiefbescheiden van het St. Lukasgilde te Haarlem, 2 vols., Alphen aan den Rijn 1980, II, p. 1035.
- 12Amsterdam, Stadsarchief, DTB 418, p. 280 (27 December 1614).
- 13Amsterdam, Stadsarchief, Archive 5062, inv. no. 39, fol. 382 (14 May 1619).
- 14Amsterdam, 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).
- 15J. 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.
- 16The 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.
- 17J. 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.
- 18The Hague, Gemeentearchief, Notary G. van Warmenhuysen, NA 18, fol. 177r-v (28 January 1633).
- 19J. 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).
- 20See the first appendix in ibid., pp. 17-36.
- 21Ibid., p. 17.
- 22H. 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 13.
- 23In 1938 S.W. Melchior presented his identification to the Rijksprentenkabinet in Amsterdam, which holds the only impression of the etching, but for years failed to convince the museum’s staff. Since the publication of three modest contributions about his findings in 1957 (S.W. Melchior, 'Amersfoort of Rhenen?', Maandblad van Oud-Utrecht 30, no. 5 (1957), pp. 51-54; no. 9 (1957), pp. 91-92; no. 10 (1957), pp. 98-99), Melchior’s identification has generally been accepted. For a comparison with other seventeenth-century views of Amersfoort, see E. Haverkamp-Begemann, Hercules Segers: The Complete Etchings, with a Supplement on Johannes Ruischer by E. Trautscholdt, Amsterdam and The Hague 1973, p. 84 (under no. 30).