View of Wageningen [HB 31a]

Inscriptions

inscribed on verso: centre right, in a seventeenth-century hand, in graphite, S Coster
stamped on verso: lower centre, with the mark of the museum (L. 2233); lower left, with the mark of the Koninklijke Bibliotheek (L. 240)

Technical notes

One state. Watermark: pot; similar to Laurentius, I, no. 674 (Terneuzen, Zeeland, 1630); Heawood, no. 3541 (London, 1600); and Churchill, nos. 458-73.

Condition

Vertical tear across two-thirds of the sheet to the left of centre; smaller tear at lower right; top left corner missing and made up; the verso is yellow from the oil-based binding medium in the ground having permeated the paper.

Provenance

...; collection S. Coster (fl. seventeenth century), place unknown (L. 462); ...; collection Pieter Cornelis, Baron van Leyden (1717-1788), Leiden;¹According to L. 240. his daughter, Françoise Johanna Gael-van Leyden (1745-1813), Leiden;²According to L. 240. from whom, en bloc, fl. 100,000, to Louis Napoléon Bonaparte (1778-1846), King of Holland, Amsterdam, for the Koninklijke Bibliotheek (L. 240), The Hague, 1807; transferred to the museum (L. 2233), 1816

ObjectNumber: RP-P-OB-846

Credit line: Transferred from the Koninklijke Bibliotheek (The Hague), 1816

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.³G. 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.⁴G.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.⁵H. 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).⁶For 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 Segers’s Amersfoort view (HB 30, inv. no. RP-P-OB-845). 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. 1589/90.⁷This 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.⁸Amsterdam, 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.⁹Amsterdam, Stadsarchief, DTB 420, p. 267 (13 August 1616).

Hercules’ father was a merchant in Haarlem and Amsterdam, but chose for his son another profession.¹⁰In 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.¹¹The 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.¹²J. 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 1612.¹³H. 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-?).¹⁴Amsterdam, 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.¹⁵Amsterdam, 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 1631.¹⁶Amsterdam, 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).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. 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.¹⁸The 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 1640.¹⁹J. 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. 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’).²⁰The 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.²¹J. 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.²²See 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.²³Ibid., 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

Together with the View of Amersfoort (HB 30, inv. no. RP-P-OB-845), this is Segers’s only other portrayal of a Dutch city in print. This etching (HB 31) is connected to Segers’s painted View of Wageningen in the National Gallery of Schotland, Edinburgh (P 13, inv. no. NG 2800),²⁴H. 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. which shows the city in the right direction, with the Grote Kerk on the left, two mills and the Grebbeberg in the background.²⁵The view was previously thought to depict the city of Elten; see J.G. van Gelder, 'Hercules Seghers, erbij en eraf', Oud Holland 65 (1950), pp. 222-25. The correct identification was made by H.A.J. Hos ('The Town of Elten as Seen by Three Seventeenth-century Painters', Duits Quarterly 1 (1963)); see also A.C. Zeven, 'Seger’s twee gezichten op Wageningen', Oud-Wageningen 16 (1988), pp. 27-28, with a more detailed comparison between the etching and the painting.

The present etching depicts the city from virtually the same vantage-point, from the Wageningen Hill, only in reverse. Both the print and the painting probably stem from the same drawing(s) made on the spot, even if Segers does seem to have taken some liberties. For example, in the etching the position of the front-most houses is different and the type of mill (the left of the pair) is unlike that (on the right) in the painting. Moreover, the prominent city wall and the castle are missing in both the painting and the etching.²⁶Ibid. The greatest contrast between the panel and the print are the hills in the background. In the etching, the Grebbeberg keeps company with escarpments on a high hill that seem rather 'unDutch'. This is comparable to the painting in Museum Boijmans-Van Beuningen in Rotterdam (P 3, inv. no. 2525 (OK)),²⁷H. 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 3. in which Segers placed a group of Amsterdam houses in an imaginary mountain landscape. The Wageningen capriccio, though, is less extreme.

All four impressions of the present etching differ in colour. Particularly striking are the blues, greens, the red and the purple of this impression. The bright colouration of this print differs entirely from the muted green and brown palette Segers used for the painted View of Wageningen. The remaining impressions (HB 31b, Berlin, Kupferstichkabinett, inv. no. 6146-1878; HB 31c, London, British Museum, inv. no. S.5526; and HB 31d, Paris, Bibliothèque Nationale de France, inv. no. RESERVE CB-49-BOITE ECU(ESTNUM 742)) come closer to the tonal colour scheme of the painting. The grey impression in the Bibliothèque Nationale de France, Paris, seems to depict the city and the landscape shrouded in mist or drizzle.

Huigen Leeflang, 2016

Literature

J. Springer, Die Radierungen des Herkules Seghers, 3 vols., Berlin 1910-12, no. 35a (Die Landschaft mit den zwei Windmühlen); L. Burchard, Die holländischen Radierer vor Rembrandt, 2nd edn., Berlin 1917, p. 80; G. Knuttel Wzn., Hercules Seghers, Amsterdam [1941], p. 46; J.G. van Gelder, ’Hercules Seghers, erbij en eraf’, Oud Holland 65 (1950), pp. 222ff.; L.C. Collins, Hercules Seghers, Chicago 1953, pp. 54-55; J.G. van Gelder, 'Hercules Seghers. Addenda', Oud Holland 68 (1953), p. 151; E. Haverkamp Begemann (ed.), Hercules Seghers, exh. cat. Rotterdam (Museum Boymans) 1954, under no. 7; E. Trautscholdt, ‘Neues Bemühen um Hercules Seghers’, Imprimatur 12 (1954-55), p. 81; H.A.J. Hos, ‘The Town of Elten as Seen by Three Seventeenth-century Painters’, Duits Quarterly 1 (1963), no. 1, pp. 4-5, and no. 2, p. 14; W. Stechow, Dutch Landscape Painting of the 17th Century, London 1966, pp. 36, 37; E. Haverkamp-Begemann, Hercules Segers: The Complete Etchings, with a Supplement on Johannes Ruischer by E. Trautscholdt, Amsterdam and The Hague 1973, no. 31a, and pp. 33, 36-38, 45 (n. 84), 49 (n. 107), 55; 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. 31a; A.C. Zeven, ‘Seger’s twee gezichten op Wageningen’, Oud-Wageningen 16 (1988), pp. 27-28; 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 31a

Citation

H. Leeflang, 2016, 'Hercules Segers, View of Wageningen [HB 31a], Amsterdam, c. 1628 - c. 1630', in J. Turner (ed.), Works by Hercules Segers in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.37285

(accessed 28 April 2025 13:58:44).