View of a Castle Surrounded by Water

circle of Jan van Kessel, c. 1660 - c. 1670

  • Artwork typedrawing
  • Object numberRP-T-1890-A-2342
  • Dimensionsheight 90 mm x width 150 mm
  • Physical characteristicsblack chalk, with grey wash; thick framing line in dark brown ink

Identification

  • Title(s)

    View of a Castle Surrounded by Water

  • Object type

  • Object number

    RP-T-1890-A-2342

  • Part of catalogue


Creation

  • Creation

    • draftsman (artist): circle of Jan van Kessel
    • draftsman (artist): Roelant Roghman (possibly) [rejected attribution]
  • Dating

    c. 1660 - c. 1670

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Material and technique

  • Physical description

    black chalk, with grey wash; thick framing line in dark brown ink

  • Dimensions

    height 90 mm x width 150 mm


This work is about

  • Subject


Acquisition and rights

  • Acquisition

    purchase 1890-04

  • Copyright

  • Provenance

    …; from the dealer D. Dirksen, as ‘Roghman’, fl. 8, to the museum (L. 2228), 1890


Persistent URL


Jan van Kessel (circle of)

View of a Castle Surrounded by Water

c. 1660 - c. 1670

Inscriptions

  • inscribed on verso, in pencil: in a nineteenth-century hand, lower left, R. Roghman; centre, in a modern hand, v. Kessel?

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


Technical notes

watermark: Arms of Amsterdam (fragment); similar to Laurentius, II, no. 71 (The Hague: 1662) or no. 225 (Middelburg: 1675))


Provenance

…; from the dealer D. Dirksen, as ‘Roghman’, fl. 8, to the museum (L. 2228), 1890

Object number: RP-T-1890-A-2342


The artist

Biography

Jan van Kessel (Amsterdam, 1641 - Amsterdam, 1680)

He was born to the framemaker Thomas Jacobsz. van Kessel (?-?) and Neeltje Henrix (?-?) and baptized in the Nieuwe Kerk in Amsterdam on 22 September 1641.1Amsterdam, Stadsarchief, DTB Dopen, archiefnummer 5001, inventarisnummer 42, blad p. 273, aktenummer DTB 42. In 1668, he married Clara Swichters (?-?).2Amsterdam, Stadsarchief, Ondertrouwregister, archiefnummer 5001, inventarisnummer 491, blad p. 342, aktenummer DTB 491. The couple had several children, but only one son, Isaac (1670-?), made it to adulthood.3A.I. Davies, Jan van Kessel (1641-1680), Doornspijk 1992, pp. 14-17.

Based on stylistic evidence, Van Kessel probably trained with Jacob van Ruisdael (1628-1682). He was friends with fellow artist Meindert Hobbema (1638-1709), the only documented student of Ruisdael.4Hobbema acted as the godfather to Van Kessel’s son Thomas (1675-? 1676), and in 1690, ten years after Van Kessel’s death, he became the legal guardian of Isaac van Kessel; cf. Ibid, pp. 15, 29. Van Kessel painted mainly townscapes and panoramic views. He occasionally copied whole compositions by Ruisdael, but more often he imitated the styles of contemporaries such as Hobbema, Allart van Everdingen (1621-1675), Jan Wijnants (1632-1684) and Jan van de Capelle (1626-1679).5Ibid., p. 2. As a result, his work is often catalogued under the wrong name. He is also confused with other minor artists in Ruisdael’s circle, such as Jan van de Meer II (1656-1705), Isaac Koene (1637/40-1713), Jacob Salomonsz van Ruysdael (1629/30-1681) and Anthonie van Borssom (1630-1677).6A. Davies, ‘Kessel, Jan (Johan) van’, Grove Art Online, https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000046340, accessed 15 June 2020. His earliest known dated works are from 1661, but the Fondation Custodia in Paris holds a sketchbook that probably dates from c. 1659-66 (inv. no. 2006-T.30).7J. Giltaij, ‘A Newly Discovered Seventeenth-century Sketchbook’, Simiolus, 33 (2007-08), no. 1/2, p. 88.
As a draughtsman, Van Kessel worked primarily in black chalk and grey wash and emulated Ruisdael’s mature drawing style. His drawn oeuvre consists of townscapes, tree studies and farmsteads. Some of these sheets are studies for his paintings.8A.I. Davies, Jan van Kessel (1641-1680), Doornspijk 1992, pp. 81-93. He went on several trips through the Netherlands to draw, occasionally accompanied by Hobbema, who recorded some of the same sites.9Ibid., p. 88.

Van Kessel is often confused with the Flemish painter Jan van Kessel (1626-1679) with whom he bears no familial relationship. The Dutch Van Kessel died at the age of thirty-nine and was buried at the Nieuwezijdskapel in Amsterdam on 24 December 1680.

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, XX (1927), p. 202; A.I. Davies, Jan van Kessel (1641-1680), Doornspijk 1992; J. Briels, Peintres flamands au berceau du Sie`cle d’Or hollandais, Antwerp 1997, p. 347; A.I. Davies, ‘Kessel, Jan [Johan] van’, in J. Turner (ed.), The Dictionary of Art, 34 vols., London/New York 1996, XVII, p. 920; J. Giltaij, ‘A Newly Discovered Seventeenth-century Sketchbook’, Simiolus, 33 (2007-08), no. 1/2, pp. 81-93


Entry

Owing to its subject-matter, this drawing was traditionally attributed to Roelant Roghman (1627-1691), who made a famous series of castle drawings. The castle itself cannot be identified and might have been from the artist’s imagination rather than based on an actual site. An anonymous modern annotation on the verso suggests a possible attribution to Jan van Kessel, an artist to whom a similar painted composition, Flat Landscape with a Watermill and a Distant View of a City (Bergen op Zoom?), in the Rheinisches Landesmuseum, Bonn (inv. no. 38.117 ), was previously given.10A.I. Davies, Jan van Kessel (1641-1680), Doornspijk 1992, no. D15 (as doubtful). The rendering of foliage with tiny dots made with the point of the brush is reminiscent of Van Kessel’s drawings, such as his View of Monnickendam from the Buitensingel, in the Teylers Museum, Haarlem (inv. no. R+ 008),11Ibid., no. d23 as well as various drawings in his sketchbook in the Fondation Custodia, Paris (inv. no. 2006-T.30).12J. Giltaij, ‘A Newly Discovered Seventeenth-century Sketchbook’, Simiolus 33 (2007-08), no. 1/2, fols. 61, 75, 80-82. While Van Kessel did indeed produce drawings in a similar format, for instance, Village Church under Trees by Water in the Städel Museum in Frankfurt-am-Main (inv. no. 3474),13As suggested by W. T. Kloek, in his undated notes on Roghman, kindly made available in May 2017. there is a heaviness in the present sheet that is hardly comparable to the style of Van Kessel’s drawings. Further, the heavy chalk strokes and the overly large figures, especially those in the boat to the left, are quite naïve. If the curved line at the top of the scene is intended to convey a rainbow, that would also be an unusual feature.

Roghman specialist Kloek suggested a possible connection with the drawings of Esaias van de Velde (1587-1630). While the firm, decisive contours are similar to examples by Van de Velde, such as Village and Windmill to the Left of a River, whose present whereabouts are unknown,14G.S. Keyes, Esaias van den Velde (1587-1630), Doornspijk 1984 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 4), no. D 130. in the opinion of this author, he is an unlikely candidate, especially given the composition’s somewhat archaic appearance.

Certainly by the same hand is an unpublished drawing of a similar subject (a manor house surrounded by water) in a private collection in Paris, bearing an old attribution to Anthonie Waterloo (1609-1690) in the hand of the British collector William Esdaile (1758-1837), which features the same kind of oversized, puppet-like staffage (fig. 1). Moreover, in my view, a drawing in the Hamburger Kunsthalle, Hamburg, Landscape with a Bridge over a Canal (inv. no. 22821), also formerly kept under the name of Waterloo, but recently tentatively catalogued by me as ‘Jacob van Ruisdael (?)’, may be added to that group of drawings.15A. Stefes, Niederländische Zeichnungen, 1450-1800, 3 vols., coll. cat. Hamburg 2011 (Die Sammlungen der Hamburger Kunsthalle, Kupferstichkabinett, vol. 2), no. 897. While Waterloo should likewise be ruled out as possible author, his oeuvre offering no equivalent to the present drawing’s clumsiness, another potential candidate – suggested by Jeroen Giltaij16E-mail to this author, 6 July 2017. – may be the Ruisdael follower Cornelis Gerritsz Decker (1610/20-1678), who reveals a similar naivety in his paintings, such as the monogrammed Farmhouse by a River, which was on the Vienna art market in 1996.17Sale, Vienna (Christie’s), 29 October 1996 sqq., no. 40.

Annemarie Stefes, 2018


Citation

A. Stefes, 2018, 'circle of Jan van Kessel, View of a Castle Surrounded by Water, c. 1660 - c. 1670', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200143904

(accessed 31 juli 2026 21:26:25 UTC+0).

Figures

  • Anonymous, A Manor Surrounded by Water, Private Collection, Paris


Footnotes

  • 1Amsterdam, Stadsarchief, DTB Dopen, archiefnummer 5001, inventarisnummer 42, blad p. 273, aktenummer DTB 42.
  • 2Amsterdam, Stadsarchief, Ondertrouwregister, archiefnummer 5001, inventarisnummer 491, blad p. 342, aktenummer DTB 491.
  • 3A.I. Davies, Jan van Kessel (1641-1680), Doornspijk 1992, pp. 14-17.
  • 4Hobbema acted as the godfather to Van Kessel’s son Thomas (1675-? 1676), and in 1690, ten years after Van Kessel’s death, he became the legal guardian of Isaac van Kessel; cf. Ibid, pp. 15, 29.
  • 5Ibid., p. 2.
  • 6A. Davies, ‘Kessel, Jan (Johan) van’, Grove Art Online, https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000046340, accessed 15 June 2020.
  • 7J. Giltaij, ‘A Newly Discovered Seventeenth-century Sketchbook’, Simiolus, 33 (2007-08), no. 1/2, p. 88.
  • 8A.I. Davies, Jan van Kessel (1641-1680), Doornspijk 1992, pp. 81-93.
  • 9Ibid., p. 88.
  • 10A.I. Davies, Jan van Kessel (1641-1680), Doornspijk 1992, no. D15 (as doubtful).
  • 11Ibid., no. d23
  • 12J. Giltaij, ‘A Newly Discovered Seventeenth-century Sketchbook’, Simiolus 33 (2007-08), no. 1/2, fols. 61, 75, 80-82.
  • 13As suggested by W. T. Kloek, in his undated notes on Roghman, kindly made available in May 2017.
  • 14G.S. Keyes, Esaias van den Velde (1587-1630), Doornspijk 1984 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 4), no. D 130.
  • 15A. Stefes, Niederländische Zeichnungen, 1450-1800, 3 vols., coll. cat. Hamburg 2011 (Die Sammlungen der Hamburger Kunsthalle, Kupferstichkabinett, vol. 2), no. 897.
  • 16E-mail to this author, 6 July 2017.
  • 17Sale, Vienna (Christie’s), 29 October 1996 sqq., no. 40.