Jacques de Gheyn (III)

A Boy with a Feathered Hat

c. 1616 - c. 1641

Inscriptions

  • inscribed on verso: lower left, in pencil, […] _. - _

  • stamped on verso: lower left, with the mark of the museum (L. 2228)

Technical notes

watermark: none

Condition

Several holes and repairs throughout the sheet

Provenance

…; collection Daniël Franken Dzn (1838-98), Amsterdam and Le Vésinet; by whom bequeathed to the museum (L. 2228), 1898 (as Jacques de Gheyn II)

ObjectNumber: RP-T-1898-A-3965

Credit line: D. Franken Bequest, Le Vésinet

The artist

Biography

Jacques de Gheyn III (? Haarlem/Leiden, ? 1596 - Utrecht, 1641)

He was the son of the artist Jacques de Gheyn II (1565-1629) and Eva Stalpaert van der Wiele (?-?). He grew up in The Hague, where his family maintained close ties with the House of Orange and Constantijn Huygens I (1596-1687), secretary to Frederick Henry, Prince of Orange (1584-1647). Between 1618 and 1620, De Gheyn III was in London with Huygens, whom he accompanied two years later to Stockholm, where he brought eight of his father’s drawings and paintings.1On 19 September 1620, the States General granted De Gheyn III exemption from customs duty on any of the works he brought back into the country: ‘To convey to Sweden from this country by the hand of his son Jacques de Gheyn, without payment of duty, in five cases, marked with the seal of the King and numbered 1, 2, 3, 4, 5, eight pieces of art, both painted and made with the pen, to show them to his Majesty, provided that the applicant furnishes proper security that he shall bring back the aforesaid cases, numbered as aforesaid, with the eight pieces of art, both painted and made by the pen, within the term of three months following, to this country and to the same office from which they were dispatched on penalty of paying the duty due for the same.’; cf. I.Q. van Regteren Altena, The Drawings of Jacques de Gheyn, Amsterdam 1936, p. 16. It is unclear why this expedition took place and what the outcome was.2I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, p. 134. He returned to London in 1622 and stayed there until 1627. While travelling abroad, he visited prominent collections, primarily to study Classical sculpture and further his skills.3Ibid., pp. 125-28.

From 1627 to 1634, De Gheyn III worked in The Hague, probably alongside his father until the latter’s death in 1629.4RKD artists, ‘Jacques de Gheyn (III)’, https://rkd.nl/explore/artists/31340; accessed 23 July 2020. They shared a house at the Lange Houtstraat, next door to Constantijn Huygens.5I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, p. 132. In 1634 he moved to Utrecht, where he became canon of the St. Mariakerk.6E.K.J. Reznicek, ‘Gheyn, de, family’ (published 2003), Grove Art Online, https://doi.org/10.1093/gao/9781884446054.article.T031910; accessed 23 July 2020.

De Gheyn III probably took up drawing at an early age; in drawings by his father, he is represented sketching. His first dated work is from 1614, Father Time, now in the collection of the Koninklijk Fries Genootschap, Leeuwarden.7I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, no. III 25. His oeuvre consists primarily of drawings and etchings, the latter considered his most original contribution.8F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, VII (1952), pp. 193-200.

As a draughtsman and etcher, De Gheyn III followed in the tradition of his father and Hendrik Goltzius (1558-1617), who made pen-and-ink drawings, so-called Federkunststücke, that imitated the appearance of prints. It is sometimes difficult to differentiate the drawings of the younger De Gheyn from those of his father, but they are generally coarser in execution and reveal more attention to light and dark contrasts, using heavy pen lines, alternated with finer lines, abundant stipples and short streaks. Over the years, a small oeuvre of drawings has been established.9For an overview, see H. Möhle, ‘Drawings by Jacques de Gheyn III’, Master Drawings 1 (1963), no. 2, pp. 3-12. He was also a collector and owned works by Rembrandt (1606-1669). The latter painted his portrait in 1632, now in the collection of the Dulwich Picture Gallery, London (inv. no DPG099).10H.E. van Gelder, ‘Rembrandts Portretje van M. Huygens en J. de Gheyn III’, Oud-Holland 68 (1953), p. 107.

Constantijn Huygens II (1628-1697), in his autobiography, lamented the sudden breakdown of De Gheyn III’s work, because he had shown such promise as a young artist.11C. Huygens, De jeugd van Constantijn Huygens door hemzelf beschreven (MS., 1629–31); ed. A.H. Kan, Rotterdam and Antwerp 1946, p. 71. Indeed, only a few works are known after 1629 when his father passed away. De Gheyn III died on 5 June 1641 in Utrecht.

Carolyn Mensing, 2020

References
U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XIII (1920), p. 533 (as Gheyn, Jacob de (3)); F.G. Waller, Biographisch woordenboek van Noord Nederlandsche graveurs, The Hague 1938, p. 110; F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, VII (1952), pp. 193-200; H. Möhle, ‘Drawings by Jacques de Gheyn III’, Master Drawings 1 (1963), no. 2, pp. 3-12; I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, pp. 109-31; E. Buijsen (ed.), Haagse schilders in de Gouden Eeuw. Het Hoogsteder Lexicon van alle schilders werkzaam in Den Haag, 1600-1700, Zwolle 1998, p. 307

Entry

The attribution to De Gheyn III of this drawing of a young boy wearing a feathered cap was first proposed by Van Regteren Altena in 1936 and has since then been generally accepted. He based it on the artist’s use of delicate short pen lines and distinctive stipples to model the face, combined with the coarser penwork and crosshatching in the figure’s cloak and cap.12I.Q. van Regteren Altena, The Drawings of Jacques de Gheyn, Amsterdam 1936, pp. 109-10; I.Q. van Regteren Altena, Jacques de Gheyn: Three Generations, 3 vols., The Hague 1983, cat. no. III 37 (pl. 31). In an article on De Gheyn III’s drawings in 1963, Möhle endorsed this attribution. He highlighted the use of the same ‘drawing’ techniques in some of the artist’s etchings, for example his series Seven Wise Men of Greece, of which there are impressions in the Rijksmuseum (e.g. inv. no. RP-P-1962-334) and the British Museum (e.g. inv. no. 1916,0620.5).13H. Möhle, ‘Drawings by Jacques de Gheyn III’, Master Drawings 1 (1963), no. 2, p. 9; J.P. Filedt Kok and M. Leesberg, The New Hollstein Dutch and Flemish Etchings, Engravings, and Woodcuts, 1450-1700: The De Gheyn Family, 2 pts., Rotterdam 2000, II, nos. 3, 8.

In the present sheet, some elements are not entirely anatomically correct. Note the shape of the boy’s abnormally large ear and the position of his right arm and hand, in which he awkwardly holds a dagger.

Carolyn Mensing, 2020

Literature

I.Q. van Regteren Altena, The Drawings of Jacques de Gheyn, Amsterdam 1936, p. 110; H. Möhle, ‘Drawings by Jacques de Gheyn III’, Master Drawings 1 (1963), no. 2, pp. 8-9, pl. 5; I.Q. van Regteren Altena, Jacques de Gheyn: Three Generations, 3 vols., The Hague 1983, no. III 37 (pl. 31)

Citation

C. Mensing, 2020, 'Jacques de (III) Gheyn, A Boy with a Feathered Hat, c. 1616 - c. 1641', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.49141

(accessed 14 June 2025 16:45:09).

Footnotes

  • 1On 19 September 1620, the States General granted De Gheyn III exemption from customs duty on any of the works he brought back into the country: ‘To convey to Sweden from this country by the hand of his son Jacques de Gheyn, without payment of duty, in five cases, marked with the seal of the King and numbered 1, 2, 3, 4, 5, eight pieces of art, both painted and made with the pen, to show them to his Majesty, provided that the applicant furnishes proper security that he shall bring back the aforesaid cases, numbered as aforesaid, with the eight pieces of art, both painted and made by the pen, within the term of three months following, to this country and to the same office from which they were dispatched on penalty of paying the duty due for the same.’; cf. I.Q. van Regteren Altena, The Drawings of Jacques de Gheyn, Amsterdam 1936, p. 16.
  • 2I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, p. 134.
  • 3Ibid., pp. 125-28.
  • 4RKD artists, ‘Jacques de Gheyn (III)’, https://rkd.nl/explore/artists/31340; accessed 23 July 2020.
  • 5I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, p. 132.
  • 6E.K.J. Reznicek, ‘Gheyn, de, family’ (published 2003), Grove Art Online, https://doi.org/10.1093/gao/9781884446054.article.T031910; accessed 23 July 2020.
  • 7I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, no. III 25.
  • 8F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, VII (1952), pp. 193-200.
  • 9For an overview, see H. Möhle, ‘Drawings by Jacques de Gheyn III’, Master Drawings 1 (1963), no. 2, pp. 3-12.
  • 10H.E. van Gelder, ‘Rembrandts Portretje van M. Huygens en J. de Gheyn III’, Oud-Holland 68 (1953), p. 107.
  • 11C. Huygens, De jeugd van Constantijn Huygens door hemzelf beschreven (MS., 1629–31); ed. A.H. Kan, Rotterdam and Antwerp 1946, p. 71.
  • 12I.Q. van Regteren Altena, The Drawings of Jacques de Gheyn, Amsterdam 1936, pp. 109-10; I.Q. van Regteren Altena, Jacques de Gheyn: Three Generations, 3 vols., The Hague 1983, cat. no. III 37 (pl. 31).
  • 13H. Möhle, ‘Drawings by Jacques de Gheyn III’, Master Drawings 1 (1963), no. 2, p. 9; J.P. Filedt Kok and M. Leesberg, The New Hollstein Dutch and Flemish Etchings, Engravings, and Woodcuts, 1450-1700: The De Gheyn Family, 2 pts., Rotterdam 2000, II, nos. 3, 8.