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Seated Man Smoking, with a Coal Pan
Cornelis Saftleven, 1636
- Artwork typedrawing
- Object numberRP-T-1989-101
- Dimensionsheight 218 mm x width 191 mm
- Physical characteristicsblack chalk, over traces of graphite; traces of framing line in graphite (top)
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Identification
Title(s)
Seated Man Smoking, with a Coal Pan
Object type
Object number
RP-T-1989-101
Part of catalogue
Creation
Creation
draughtsman: Cornelis Saftleven
Dating
1636
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Material and technique
Physical description
black chalk, over traces of graphite; traces of framing line in graphite (top)
Dimensions
height 218 mm x width 191 mm
This work is about
Subject
Acquisition and rights
Credit line
Purchased with the support of the Vereniging Rembrandt, the Rijksmuseum Stichting and the De Ster Holding BV
Acquisition
purchase 1989
Copyright
Provenance
…; collection Carel Vosmaer (1826-88), The Hague;{J.F. Heijbroek (ed.), _De verzameling van mr. Carel Vosmaer (1826-1888)_, exh. cat. Amsterdam (Rijksprentenkabinet) 1989, no. 24.} his son, Prof. Dr Gualtherus Carel Jacob Vosmaer (1854-1916), Leiden; his son, C.J.J.G. Vosmaer (1907-86), Leiden; his heirs; from whom, fl. 650,000, with 212 other drawings, to the museum (L. 2228), with support from the Vereniging Rembrandt, the Rijksmuseum Stichting and the De Ster Holding BV
Remarks
Please note that this provenance was formulated with a special focus on provenance research for the years 1933-45 and could therefore be incomplete. There may be more (mostly earlier) provenance information known in the museum. In case this item has an uncertain or incomplete provenance for the years 1933-45, the Rijksmuseum welcomes information and assistance in the investigation and clarification of the provenance of all works during that era.
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Cornelis Saftleven
Seated Man Smoking, with a Coal Pan
1636
Inscriptions
monogrammed and dated: lower right (on the table), in black chalk, CSL / 1636
inscribed on verso: lower left corner, in an eighteenth or a nineteenth-century hand, in pencil, 3355
Technical notes
watermark: none
Provenance
…; collection Carel Vosmaer (1826-88), The Hague;1J.F. Heijbroek (ed.), De verzameling van mr. Carel Vosmaer (1826-1888), exh. cat. Amsterdam (Rijksprentenkabinet) 1989, no. 24. his son, Prof. Dr Gualtherus Carel Jacob Vosmaer (1854-1916), Leiden; his son, C.J.J.G. Vosmaer (1907-86), Leiden; his heirs; from whom, fl. 650,000, with 212 other drawings, to the museum (L. 2228), with support from the Vereniging Rembrandt, the Rijksmuseum Stichting and the De Ster Holding BV
Object number: RP-T-1989-101
Credit line: Purchased with the support of the Vereniging Rembrandt, the Rijksmuseum Stichting and the De Ster Holding BV
Context
Of the approximately five hundred known drawings by Cornelis Saftleven, close to two hundred are studies of human figures. The Rijksmuseum collection holds sixteen of these sheets, made between 1634 and 1665, which give a fairly complete picture of Saftleven's figural draughtsmanship. The models are recorded in varying poses and drawn on different types of support, sometimes toned, sometimes coloured. The drawings range from very swift sketches to more detailed studies.
All the drawings are made with black chalk; those on coloured paper are heightened with opaque white watercolour or white chalk. The Seated Boy with a Hat (inv. no. RP-T-1989-105) is the only one finished with grey wash. The earliest dated study in the Rijksmuseum, the Seated Woman, Facing Left of 1634 (inv. no. RP-T-1989-100) and a later sheet dated 1665, Seated Boy with a Flute (inv. no. RP-T-1902-A-4570), are among the most monumental of the Rijksmuseum figure studies.
The goal of Saftleven's prolific output is unclear: in only a few cases can the figures be linked to his painted oeuvre. He may have sold his studies to other artists, and he certainly also drew figures for his talented landscapist brother Herman (1609-1685), who used them in his paintings. The Rijksmuseum’s collection includes two versions of a Seated Man with a Pipe (inv. nos. RP-T-1989-104 and RP-T-2019-423). Cornelis sent the latter sheet to his brother via post, probably so he could incorporate the figure in one of his compositions.2A. Zwollo, ‘Een ‘Cornelis Saftleven’ per brief’, Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 38 (1987), pp. 402-06.
Carolyn Mensing, 2020
The artist
Biography
Cornelis Saftleven (Gorinchem, 1606 – Rotterdam, 1681)
The son of the Rotterdam artist Herman Saftleven I (c. 1580-1627) and Lijntge Cornelisdr Moelants (d. 1625), he was trained by his father together with two of his brothers, Herman Saftleven (1609-1685) and Abraham Safleven (b. 1613). He likely stayed in Antwerp between 1632 and 1634, where Peter Paul Rubens (1577-1640) painted figures in some of his paintings.3RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020. For a short period of time in the 1630s, he stayed with his brother Herman in Utrecht.4A. van der Willigen and F.G. Meijer, A Dictionary of Dutch and Flemish Still-Life Painters Working in Oils, 1525-1725, Leiden 2003, p. 175.
Except for these few trips, Cornelis Saftleven stayed in Rotterdam. In 1640, he lived in the Lombardstraat and from 1648-1681 on the Franse Water.5N. Schadee, Rotterdamse meesters uit de gouden eeuw, exh. cat. Rotterdam (Historisch Museum) 1994-95, p. 295. On 18 November 1648, he married Catharina Dircx van der Heyden (d. 1654). After she passed away, on 29 September 1655, he married Elisabeth Melchiors van Avont (1619-1695). It appears he remained childless. In 1667, he became the dean of the Guild of St Luke in Rotterdam.6RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.
Cornelis Saftleven was a versatile artist who produced paintings and drawings on a large variety of topics: peasant scenes, rural interiors, landscapes, cattle scenes, biblical and mythological themes, images of hell, allegories, satires and illustrations of proverbs. About 200 paintings and 500 drawings (probably a fraction of his output) have been documented.7W. Schulz, “Saftleven family” (2003), Grove Art Online, https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074951; Accessed 20 Aug. 2020. In his drawings, he worked mainly in black chalk and sometimes finished his sheets with grey wash. Occasionally, he drew on toned papers. His characteristic monogram – combining the letters ‘C, S and L’ – and a date can be found on his several of his drawings. Perhaps he made these for the market. Stylistically, he was influenced by the landscape drawings of Roelant Rogman (1627-1692), the animal drawings of Roelant Savery (1576-1639), Frans Snijders (1579-1657) and Aelbert Cuyp (1620-1691), and the figure studies of Gabriel Metsu (1629-1667).8Ibid.
Saftleven was buried on 5 June 1681 in the French Protestant Church in Rotterdam.9RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.
Carolyn Mensing, 2020
References
A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, I (1718), pp. 342-43 (as: Kornelis Zachtleven); C. Hofstede de Groot, ‘Een spotteekening van Cornelis Saftleven op de Dordtsche Synode’, Oud-Holland 15 (1897), pp. 121-23; A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 548; N. Alting Mees, ‘Aanteekeningen over oud-Rotterdamsche kunstenaars III’, Oud-Holland 31 (1913), pp. 241-68, 255-59; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXIX (1935), p. 309; B.J.A. Renckens, ‘Enkele notities bij vroege werken van Cornelis Saftleven’, Bulletin Museum Boymans-van Beuningen 13 (1962), pp. 59-74; A. Zwollo, ‘Een “Cornelis Saftleven” per brief’, Nederlands Kunsthistorisch Jaarboek 38 (1987), pp. 402-06; W. Schulz, Cornelis Saftleven (1607-1685): Leben und Werke, mit einem kritischen Katalog der Gemälde und Zeichnungen, Berlin 1978; N. Schadee, Rotterdamse meesters uit de gouden eeuw, exh. cat. Rotterdam (Historisch Museum) 1994-95, pp. 295-96; RKD artists https://rkd.nl/artists/69245
Entry
In 1989, the Rijksmuseum purchased six figure drawings by Cornelis Saftleven, part of a large group from the heirs of the eighteenth-century collector Carel Vosmaer (1826-1888). They span the artist’s career, and except for one drawing, they are all signed and dated (1634, 1636, 1651, 1656 and 1662, respectively).10J.F. Heijbroek (ed.), De verzameling van mr. Carel Vosmaer (1826-1888), exh. cat. Amsterdam (Rijksprentenkabinet) 1989, p. 69.
The figure in the present sheet casually sits on his stool, lighting a pipe from a pan of hot coals. A waft of thin smoke rises up from his mouth into the air, adding liveliness to the drawing. Saftleven depicted smokers in a couple of his drawings, for example on fol. 4 of the Abrams Album, a seventeenth-century album amicorum in the collection of the Harvard University Art Museums/Fogg Museum, Cambridge, MA (inv. no. 1999.123.1-53),11W.W. Robinson, ‘The Abrams Album: An Album Amicorum of Dutch Drawings from the Seventeenth Century’, Master Drawings 53 (2015), no. 1, p. 56. and in a drawing dated 1631 in the Hamburger Kunsthalle. Hamburg (inv. no. 22474).12A. Stefes, Niederländische Zeichnungen, 1450-1800, 3 vols., coll. cat. Hamburg 2011 (Die Sammlungen der Hamburger Kunsthalle, Kupferstichkabinett, vol. 2), no. 909. He also depicted them in some of his peasant genre paintings, such as Peasants Smoking and Drinking in a Barn with Devils Dancing Beyond, which was sold at Christie’s London in 1987.13Sale, London (Christie’s), 10 April 1987, no. 7; later with Brod Gallery London.
Carolyn Mensing, 2020
Literature
J.F. Heijbroek (ed.), De verzameling van mr. Carel Vosmaer (1826-1888), exh. cat. Amsterdam (Rijksprentenkabinet) 1989, pp. 64, 66, 69, no. 20 (ill.)
Citation
C. Mensing, 2020, 'Cornelis Saftleven, Seated Man Smoking, with a Coal Pan, 1636', in J. Turner (ed.), (under construction) Drawings 2, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200143917
(accessed 6 December 2025 10:02:10).Footnotes
- 1J.F. Heijbroek (ed.), De verzameling van mr. Carel Vosmaer (1826-1888), exh. cat. Amsterdam (Rijksprentenkabinet) 1989, no. 24.
- 2A. Zwollo, ‘Een ‘Cornelis Saftleven’ per brief’, Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 38 (1987), pp. 402-06.
- 3RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.
- 4A. van der Willigen and F.G. Meijer, A Dictionary of Dutch and Flemish Still-Life Painters Working in Oils, 1525-1725, Leiden 2003, p. 175.
- 5N. Schadee, Rotterdamse meesters uit de gouden eeuw, exh. cat. Rotterdam (Historisch Museum) 1994-95, p. 295.
- 6RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.
- 7W. Schulz, “Saftleven family” (2003), Grove Art Online, https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074951; Accessed 20 Aug. 2020.
- 8Ibid.
- 9RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.
- 10J.F. Heijbroek (ed.), De verzameling van mr. Carel Vosmaer (1826-1888), exh. cat. Amsterdam (Rijksprentenkabinet) 1989, p. 69.
- 11W.W. Robinson, ‘The Abrams Album: An Album Amicorum of Dutch Drawings from the Seventeenth Century’, Master Drawings 53 (2015), no. 1, p. 56.
- 12A. Stefes, Niederländische Zeichnungen, 1450-1800, 3 vols., coll. cat. Hamburg 2011 (Die Sammlungen der Hamburger Kunsthalle, Kupferstichkabinett, vol. 2), no. 909.
- 13Sale, London (Christie’s), 10 April 1987, no. 7; later with Brod Gallery London.

















