The oak support consists of three planks with a vertical grain and is bevelled on all sides. The buff-coloured ground layer, visible in the abraded areas, was applied thinly. Thin grey lines, visible in the collar on the right, may be part of an underdrawing. A lighter passage along the sitter’s right arm and hand may be a pentimento. The paint was smoothly applied, with visible brushstrokes in the face and hands.

Fair. The painting is abraded. Traces of what may be mould in the paint layers are visible in the costume and background, and the varnish is discoloured. There are several deep scratches.

? Commissioned by or for the sitters; by descent through the families Hinlopen, Opperdoes, to Dirk Margarethus Alewijn (1816-85), Hoorn and Medemblik;¹¹Correspondence with F.G.L.O. van Kretschmar, RMA. his sale, Amsterdam (C.F. Roos), 16 December 1885, no. 92, as Lambert Jacobsz Tempel, c. fl. 1,160, to the museum ²²fl. 550 (copies RKD1-2), fl. 500 (copy RKD3), fl. 575 (note RMA) for SK-A-1319; fl. 660 (copies RKD1-2), fl. 210 (copy RKD3), fl. 690 (note RMA) for SK-A-1312 and SK-A-1313

Object number: SK-A-1313

These portraits of Reijnier Ottsz Hinlopen (see SK-A-1319), Trijntje Tijsdr van Nooij (shown here) and Gerrit Ottsz Hinlopen (see SK-A-1312) were auctioned together in 1885 as works by Lambert Jacobsz Tempel. Six rightly pointed out that there was not a single known work by this artist, so the attribution can be dismissed.³³Six 1886, p. 91. See also A.M. in De Nederlandsche Spectator of 1886, p. 19. Six attributed the three portraits to Nicolaes Eliasz Pickenoy, but without giving his reasons for doing so, and that has rarely been disputed since.⁴⁴Van Kretschmar 1967b, pp. 82-84; Smith 1978, pp. 13-24, 43, 77, 94-95. However, Van Thiel and De Bruyn Kops noted that the three portraits were more probably the work of an artist from Hoorn, the sitters’ home town.⁵⁵De Bruyn Kops in Van Thiel/De Bruyn Kops 1995, p. 201. The paintings do indeed differ from the secure works by Pickenoy, and lack his subtle modelling of faces and hands and refined handling of light, so that attribution cannot be sustained.⁶⁶With thanks to R.E.O. Ekkart. One possible candidate is the Hoorn painter Jan van Teylingen, whose known works include a signed portrait of 1638.⁷⁷On Van Teylingen see Gonnet 1920, and Thieme/Becker XXXII, 1938, p. 574. Although that portrait type is close to the ones in the Rijksmuseum, the style is much smoother, which makes the attribution implausible.⁸⁸Hoorn, Westfries Museum, panel, 104 x 74.5 cm, signed and dated 1638; photo RKD. Nor, on stylistic grounds, can the portraits be ascribed to Jacques Waben, another Hoorn artist of the period. For the time being, then, the painter must remain anonymous.

The identities of the three sitters is based on the inscriptions with their names on the backs of the panels. It was assumed at the 1885 auction that Gerrit Hinlopen was married to Trijntje van Nooij, and that his portrait was the companion piece to hers. This was adhered to until Van Kretschmar discovered from archival research that Trijntje was married to Reijnier, not Gerrit.⁹⁹Van Kretschmar 1967b, p. 82. For his reasoning on the basis of the documents he had studied see his correspondence with C.J. de Bruyn Kops in the relevant dossier, RMA.

The published biographical information on the sitters is contradictory,¹⁰¹⁰Abbing II, 1842, pp. 134-41; Vorsterman van Oyen II, 1888, pp. 64-66. The same is true of the biographical details in the Van Kretschmar correspondence in the RMA dossier. but the following correct information can now be given on the basis of archival research carried out by John Brozius.¹¹¹¹To whom I am extremely grateful for the following details and references to the Hoorn archives. Reijnier married Trijntje on 19 November 1628, and their first child, Tijs, was born in 1630.¹²¹²WFA, Hoorn, DTB 89a, 19 November 1628, and DTB 38, 17 November 1630, respectively. In other words, their portraits were painted two or three years after their marriage. The chamois gloves decorated with stylized flowers and pomegranates that she is holding may be her wedding gloves, which are a common attribute in portraits of married couples.¹³¹³See, for example, De Jongh in Haarlem 1986, pp. 121-23, no. 19, esp. p. 121, fig. 19b. On wedding gloves see Du Mortier 1984. Reijnier and Trijntje had a total of seven children, and Trijntje probably died giving birth to her youngest son, who was baptized on 7 August 1646, with Trijntje being buried on 14 August.¹⁴¹⁴WFA, Hoorn, Oud Archief, no. 2415, 14 August 1646. Reijnier was buried on 22 February 1653.¹⁵¹⁵WFA, Hoorn, Oud Archief, no. 2415, 22 February 1653. His brother, Gerrit Hinlopen, married Fopje Jans in 1625.¹⁶¹⁶WFA, Hoorn, DTB 89a, fol. 3a, November 1625. Fopje died in February 1645, and Gerrit was buried on 4 May 1646. They were probably childless.

These data correspond to the identifications of the sitters on the backs of the panels. The portraits of Reijnier and Trijntje can therefore be regarded as pendants, which is confirmed by their identical, late 17th-century frames.¹⁷¹⁷See De Bruyn Kops in Van Thiel/De Bruyn Kops 1995, p. 201. Gerrit’s is in a different, 19th-century frame.¹⁸¹⁸With thanks to Huub Baija. It may have been the companion piece to the portrait of his wife, Fopje Jans, which is either lost or survives in an unknown collection. The three portraits appear to have been the result of a single commission, and were undoubtedly painted by the same artist. Since Gerrit and Fopje predeceased Reijnier and had no children, the latter must have inherited Gerrit’s portrait.

Yvette Bruijnen, 2007

See Bibliography and Rijksmuseum painting catalogues
See Key to abbreviations and Acknowledgements

This entry was published in J. Bikker (ed.), Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam, I: Artists Born between 1570 and 1600, coll. cat. Amsterdam 2007, no. 432.

Six 1886, pp. 91, 108 (as Nicolaes Eliasz Pickenoy); Smith 1978, pp. 13-24, 43, 77, 94-95 (as Nicolaes Eliasz Pickenoy); De Bruyn Kops 1995, p. 93, fig. T4; De Bruyn Kops in Van Thiel/ De Bruyn Kops 1995, p. 201

1887, p. 43, nos. 341, 342, 343 (as Nicolaes Eliasz Pickenoy); 1903, p. 95, nos. 897, 898, 899 (as Nicolaes Eliasz Pickenoy); 1934, p. 94, nos. 897, 898, 899 (as Nicolaes Eliasz Pickenoy); 1976, p. 219, nos. A 1312, A 1313, A 1319 (as attributed to Nicolaes Eliasz Pickenoy); 2007, no. 432