Casper Casteleyn (Haarlem c. 1625 – place unknown, after 1661)

Casper (or Jasper) Casteleyn was the fifth child of the Haarlem-born Mennonite printer and bookseller of Flemish origin, Vincent Casteleyn (1587-1658), and his wife, Maycke Jaspers (?-1661). Of Casper’s eight siblings, four followed their father’s footsteps: Johannes Casteleyn (1612-c. 1653) was a bookseller and paper merchant in Amsterdam; Pieter Casteleyn (1618-1676) was the editor from 1651 to 1676 of the Hollantse Mercurius; Jacob Casteleyn (?-?) was a member of the Guild of booksellers in 1650; and Abraham Casteleyn (1628-1682) was the founder of the Oprechte Haarlemse Courant in 1656. Two of his brothers were trained as painters. The eldest, Vincent Casteleyn II (1609-1659), first studied medicine, then was apprenticed to Pieter de Grebber (1595/1605-c. 1600), entered the Haarlem Guild of St Luke in 1636, moved to Amsterdam two years later and to Rotterdam in 1647. The other artist brother was the publisher Pieter Casteleyn, who was taught in 1635 by Willem de Poorter (1608-in or after 1649/51) and also by Pieter de Grebber.

Casper Casteleyn was himself admitted as a painter to the Haarlem Guild of St Luke on 6 May 1653. His earliest work dates from the previous year, his design in the British Museum, London (inv. no. 1852,1211.23), for the engraved and etched Portrait of Dirck Raphaelsz Camphuysen, etched by Salomon Savery (1593/94-1683) in 1652 (e.g. RP-P-OB-5582).²²F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XXIV (1980), p. 51, no. 117. The following year Casper designed the present title-page of an anatomy book. The designs by Casper for the pages of his brother’s Hollantse Mercurius were engraved by Savery, as well as by Cornelis Visscher (1628/29-1658).

Although not so well known today, in the seventeenth century Casteleyn was apparently regarded as a renowned painter. Cornelis de Bie, in his Gulden cabinet (1662), mentions a ‘Casteleyn’, usually likened with Casper, who was inclined to art since his youth and who was still active in 1662.³³C. de Bie, Het gulden cabinet van de edel vry schilder-const, Antwerp 1661-62, p. 384: ‘En Casteleyn daer by en dient oock niet versweghen / Die soo van jonghs-af-aen was tot de Const gheneghen / Door jongheboren gheest dat hy noyt was gherust / Oft hy en had volbrocht het voorbelt vanden lust / Die hem al menich mael tot op den dach van heden / Met groote neersticheyt en jever heeft bestreden, / Om d’uyterste der Konst te vatten in’t ghemoedt / Tot ciersel vanden naem die sijne eere voedt.’ Only a few paintings can now be securely given to the artist, including Granida and Daifilo (1652) in the State Hermitage, St Petersburg (inv. no. ??-7647). His latest dated painting is Minerva Visiting a Prisoner (1659) in the Muzeum Kolekcij im. Jana Pawla II, Warsaw (inv. no. unknown).⁴⁴Sale, London (Sotheby’s), 13 April 1983, no. 14. History paintings by him are mentioned in seventeenth-century inventories, and according to a sale catalogue of 1893, he might have been active until circa 1670.⁵⁵Sale, Hubertus Michiel Montauban van Swyndregt (1841-? , Rotterdam), Rotterdam (C.F. Roos et al.), 23 February 1893, no. 31 (‘C. Casteleyn. Bybelsche voorstelling, omstreeks 1670 geteekend. Met bruin en o.i. inkt gewasschen’). Only a few signed drawings by the artist are known, and the boundary between his oeuvre and that of his elder brothers Vincent II and Pieter is not always clear.
Annemarie Stefes 2019

References
C. de Bie, Het gulden cabinet van de edel vry schilder-const, Antwerp 1661-62, p. 384; A. van der Willigen, Les Artistes de Harlem: Notices historiques avec un précis sur la Gilde de St. Luc, Haarlem/The Hague 1870, pp. 30, 106; A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, I (1906), p. 248; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, VI (1912), pp. 140-41 (entry by E.W. Moes); A. Bredius (ed.), Künstler-Inventare: Urkunden zur Geschichte der holländischen Kunst des XVIten, XVIIten und XVIIIten Jahrhunderts, 8 vols., The Hague 1915-22, VI (1919), pp. 1985, 1993-99, 2036; VII (1921), pp. 22, 138; P.C. Molhuysen et al. (eds.), Nieuw Nederlandsch biografisch woordenboek, 10 vols., Leiden 1911-37, IX (1933), col. 134-35; A. Beyer et al. (eds.), Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker, Munich 1992-, XVII (1997), p. 167; P. Groenendijk, Beknopt biografisch lexicon van Zuid- en Noord-Nederlandse schilders, graveurs, glasschilders, tapijtwevers et cetera van ca. 1350 tot ca. 1720, Utrecht 2008, p. 183; G. Verhoeven and S. van der Veen, De Hollandse Mercurius. Een Haarlems jaarboek uit de zeventiende eeuw, Haarlem 2011, pp. 21-27