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Linkerhand met pinkring
Anthony van Dyck (possibly), 1610 - 1641
- Artwork typedrawing
- Object numberRP-T-00-422
- Dimensionsheight 145 mm x width 164 mm
- Physical characteristicszwart en wit krijt op blauw papier
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Identification
Title(s)
Linkerhand met pinkring
Object type
Object number
RP-T-00-422
Creation
Creation
draftsman (artist): Anthony van Dyck (possibly)
Dating
1610 - 1641
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Material and technique
Physical description
zwart en wit krijt op blauw papier
Dimensions
height 145 mm x width 164 mm
Explanatory note
Afkomstig uit een tekeningenalbum met onder andere figuur- en handstudies van of naar Caspar en Constantijn Netscher (BI-1894-3720). Tekening bevond zich oorspronkelijk op f. 33.
This work is about
Subject
Acquisition and rights
Acquisition
purchase 1894-05
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Cornelis Janssens van Ceulen I (possibly)
Study of a Hand with a Signet Ring on the Little Finger
c. 1640 - c. 1660
Inscriptions
inscribed on verso: lower centre, in pencil, A v. Dyck (same as on inv. no. RP-T-00-424)
stamped on verso: lower centre, with the mark of the museum (L. 2228)
Technical notes
watermark: none
Provenance
...; ? collection Mattheus Verheyden (1700-77), The Hague;1According to an inscription on the verso of other drawings from the same group. ...; sale, Stephen Hendrik de la Sablonière (1825-88, Kampen) and Cornelius Ekama (1824-91, Haarlem), Amsterdam (F. Muller), 30 June 1891, no. 167, fl. 195, to the dealer H.J. Valk (‘Valk S’), probably for Carl Valentin Schöffer (1841-1915), Amsterdam and Scheveningen;2Copy RKD; according to the annotation in the sale catalogue. his sale, Amsterdam (F. Muller), 30 May 1893 sqq., no. 283, fl. 206, to the dealer H.J. Valk, Amsterdam;3Copy RKD. from whom, fl. 236.60, to the museum (L. 2228), 1894
Object number: RP-T-00-422
The artist
Biography
Cornelis Jonson van Ceulen (I) (London, 1593 – Utrecht, 1661)
Cornelis Janson [Janssens] van Ceulen – who signed his works as Jonson van Ceulen – was born into an Antwerp family that originally came from Cologne. He was baptized in the Dutch church in London on 14 October 1593.4A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, I (1906), p. 261. It has been suggested that he was trained in the Netherlands but was back in London at the beginning of 1619.5K. Hearn, ‘“Neat Finishing, Smooth Painting and Labour in Drapery”: The Distinctive Portrait Style of Cornelis Jonson (1593-1661)', CODART eZine 7, Winter 2015 (online at https://www.codart.nl/feature/curators-project/neat-finishing-smooth-painting-and-labour-in-drapery-the-distinctive-portrait-style-of-cornelis-jonson-1593-1661/). Janssens van Ceulen married Elisabeth Beck or Beke (?-?) from Colchester, Essex, on 16 July 1622, with whom he lived in Blackfriars. On 5 December 1632, he was appointed ‘his Majesty’s servant in the quality of picture maker’ to King Charles I (reg. 1625-49). In 1643, he and his family fled the Civil War and settled in Middelburg, where he entered the Guild of St Luke. In 1646 he is documented as living in Amsterdam. Six years later he was in Utrecht, where he and his wife made their will on 7 November 1652. He died in Utrecht and was buried on 5 August 1661.6J.G.C.A. Briels, Vlaamse schilders en de dageraad van Hollands Gouden Eeuw, 1585-1630, Antwerp 1997, p. 343.
At the beginning of Cornelis Janssens van Ceulen’s career, much of his output consisted of bust-length painted portraits. In the Netherlands, he painted elegant half- or three-quarter-length figures that reveal the influence of Anthony van Dyck (1599-1641). There are also some group portraits, such as the Middelburg archers’ guild of 1650, preserved in the city’s Town Hall. His son, Cornelis Janson [Janssens] van Ceulen (II) (1635-1715), was his pupil and a close follower.
Gerdien Wuestman, 2007
References
C. de Bie, Het gulden cabinet vande edele vry schilder-const, Antwerp 1661, pp. 298-99; J. von Sandrart, Joachim von Sandrarts Academie der Bau-, Bild- und Mahlerey-Ku¨nste von 1675: Leben der beru¨hmten Maler, Bildhauer und Baumeister (ed. A.R. Peltzer), Munich 1925 (orig. edn. 1675), p. 194; A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), pp. 224-25; H. Walpole, Anecdotes of Painting in England […], 3 vols., London 1862 (rev. edn.), I, pp. 211-15; A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, I (1906), pp. 261-263, III (1911), p. 51 (as Ceulen, Cornelis Janssens); U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XIX (1926), pp. 143-44 (text by H. Schneider); M. Edmond, ‘Limners and Picturemakers: New Light on the Lives of Miniaturists and Large-scale Portrait Painters Working in London in the Sixteenth and Seventeenth Centuries’, The Walpole Society 47 (1978-80), pp. 84-89; J. Turner (ed.), The Dictionary of Art, 34 vols., London/New York 1996, XVII, pp. 644-46 (text by R.E.O. Ekkart); S. Kollmann, Niederländische Kunst und Künstler im London des 17. Jahrhunderts, Hildesheim and elsewhere 2000 (Studien zur Kunstgeschichte, vol. 135), pp. 219-220 (as Johnson van Keulen, Cornelis); K. Hearn, ‘The English Career of Cornelius Johnson’, Leids Kunsthistorisch Jaarboek 13 (2003), pp. 113-28; RKD artists https://rkd.nl/artists/41951
Entry
The present drawing was once pasted on fol. 33 of the so-called ‘Netscher Album’ (inv. no. BI-1894-3720), before being detached and mounted separately, probably circa 1973-75.7The first set of ‘00’-numbers in the inventory book (inv. nos. RP-T-00-1 to RP-T-00-599) began to be assigned in 1973; inv. nos. RP-T-00-513 to RP-T-00-576 were retroactively inventoried in 1975. It belonged to a group of twelve drawings on blue paper in the album, mostly studies of hands. Ten of these, including the present drawing, might once have belonged to a folder formed by inv. no. RP-T-00-453, which was numbered ‘11’ and the verso of which was inscribed by Mattheus Verheyden (1700-1777) ‘Tien Bladen Handen door A.V. Dijck, Janson van Ceulen, G. Schalken, &c’. The drawings contained in the folder ‘No 11’ were most likely the same ten that were once pasted in consecutive order on fols. 27-36 of the Rijksmuseum’s Netscher Album.8Their present inv. nos. are RP-T-00-449, RP-T-00-451, RP-T-00-454, RP-T-00-450, RP-T-00-422, RP-T-00-427, RP-T-00-424, RP-T-00-426, RP-T-00-1155, RP-T-00-425.
J.W. Niemeijer, in his notes on the Netscher Album,9RMA, documentation (c. 1970). assigned seven of the ten studies – including the present sheet – to Anthony van Dyck (1599-1640). The three exceptions were inv. nos. RP-T-00-1155, considered as ‘Anonymous, eighteenth-century’,10In Verheyden’s collection, it may have passed as by Schalcken. and RP-T-00-453 and RP-T-00-454, both given to Cornelis Jonson van Ceulen I. Van Dyck is no longer considered to be a viable candidate for any of the seven as he hardly left any detail studies for portraits and only very few genuine hand studies,11S. Alsteens and A. Eaker (eds.), Van Dyck: The Anatomy of Portraiture, exh. cat. New York (Frick Collection) 2016, pp. 5-6, 268 (text by Alsteens). but Alsteens – although not explicitly mentioning the present sheet – has reconsidered the association with Cornelis Jonson van Ceulen.12Ibid., pp. 268-69, an idea previously rejected in M. Schapelhouman and P. Schatborn, Dutch Drawings of the Seventeenth Century in the Rijksmuseum, Amsterdam: Artists Born between 1580 and 1600, 2 vols., coll. cat. Amsterdam 1998, I, under no. 219, p. 104 (n. 4).
The present work is reminiscent of the Study of the Hands of a Woman of the Raphoen Family_ (c. 1646) in the J. Paul Getty Museum, Los Angeles (inv. no. 91.GB.57).13S. Alsteens and A. Eaker (eds.), Van Dyck: The Anatomy of Portraiture, exh. cat. New York (Frick Collection) 2016, no. 102. Among the museum’s group of hand studies, it comes close to inv. no. RP-T-00-454, with its sharply indicated contours and dense, multi-directional hatching, creating a dark background against which the hand is silhouetted. For the modelling of fabric, the drawing may also be compared with the artist’s presumed Self-portrait of the early 1650s in the British Museum, London (inv. no. 1856,0112.379). Unfortunately, no corresponding painting for the drawing is known at present.
Annemarie Stefes, 2019
Literature
S. Alsteens and A. Eaker (eds.), Van Dyck: The Anatomy of Portraiture, exh. cat. New York (Frick Collection) 2016, pp. 268-69 (n. 6) (as by Jonson van Ceulen I)
Citation
A. Stefes, 2019, 'possibly Cornelis (I) Jonson van Ceulen, _, c. 1640 - c. 1660', in J. Turner (ed.), _Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200148165
(accessed 27 oktober 2026 17:54:01 UTC+0).Footnotes
- 1According to an inscription on the verso of other drawings from the same group.
- 2Copy RKD; according to the annotation in the sale catalogue.
- 3Copy RKD.
- 4A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, I (1906), p. 261.
- 5K. Hearn, ‘“Neat Finishing, Smooth Painting and Labour in Drapery”: The Distinctive Portrait Style of Cornelis Jonson (1593-1661)', CODART eZine 7, Winter 2015 (online at https://www.codart.nl/feature/curators-project/neat-finishing-smooth-painting-and-labour-in-drapery-the-distinctive-portrait-style-of-cornelis-jonson-1593-1661/).
- 6J.G.C.A. Briels, Vlaamse schilders en de dageraad van Hollands Gouden Eeuw, 1585-1630, Antwerp 1997, p. 343.
- 7The first set of ‘00’-numbers in the inventory book (inv. nos. RP-T-00-1 to RP-T-00-599) began to be assigned in 1973; inv. nos. RP-T-00-513 to RP-T-00-576 were retroactively inventoried in 1975.
- 8Their present inv. nos. are RP-T-00-449, RP-T-00-451, RP-T-00-454, RP-T-00-450, RP-T-00-422, RP-T-00-427, RP-T-00-424, RP-T-00-426, RP-T-00-1155, RP-T-00-425.
- 9RMA, documentation (c. 1970).
- 10In Verheyden’s collection, it may have passed as by Schalcken.
- 11S. Alsteens and A. Eaker (eds.), Van Dyck: The Anatomy of Portraiture, exh. cat. New York (Frick Collection) 2016, pp. 5-6, 268 (text by Alsteens).
- 12Ibid., pp. 268-69, an idea previously rejected in M. Schapelhouman and P. Schatborn, Dutch Drawings of the Seventeenth Century in the Rijksmuseum, Amsterdam: Artists Born between 1580 and 1600, 2 vols., coll. cat. Amsterdam 1998, I, under no. 219, p. 104 (n. 4).
- 13S. Alsteens and A. Eaker (eds.), Van Dyck: The Anatomy of Portraiture, exh. cat. New York (Frick Collection) 2016, no. 102.

















