Cornelis Visscher (II), after Titiaan

Holy Family with St John the Baptist and St Elisabeth

Amsterdam, c. 1654 - c. 1658

Inscriptions

  • inscribed: lower right, in pencil, Cornelis Visscher

  • inscribed on verso, in pencil: lower centre, 15; below this, naar Titiaan and Corn Visscher, below this (with the numbering of Van Leyden), 40,1. – 8

  • stamped on verso: lower left, with the mark of the museum (L. 240)

Technical notes

Arms of Amsterdam and countermark with letters, PB (the same as on inv. no. RP-T-00-745)

Provenance

? commissioned from the artist by Gerard Reynst (1599-1658), Amsterdam;1According to the inventory of Van Leyden, Album 40, fol. 1, under no. 8 (‘De origineele Tekening met wit gehoogt uijt het Cabinet van Reijnst, zeer fraaij’). ? his widow, Anne Reynst, née Van Schuyt (1605-1671), Amsterdam; ? sale, ‘Cabinet de Reinst’, Amsterdam, 29 May 1670;2Logan 1979, pp. 90-91. …; collection Pieter Cornelis, Baron van Leyden (1717-88), Leiden;3According to an inscription on the drawing and his inventory, see previous note. his daughter, Françoise Johanna Gael, née Van Leyden (1745-1813), Leiden; from whom, en bloc, fl. 100,000, to Louis Napoléon Bonaparte, King of Holland (1778-1846), for the Koninklijke Bibliotheek (L. 240), The Hague, 1807; transferred to the museum, 1816

ObjectNumber: RP-T-00-744

The artist

Biography

Cornelis Visscher (Haarlem 1628/29 - 1658 Amsterdam)

Little is known about his early life. Information regarding his birth is based on two surviving self-portraits, one from 1649 in the British Museum, London (inv. no. 1895,0915.1343), and the other, dated 10 April 1653, in the Rijksmuseum (inv. no. RP-T-1902-A-4624). He was presumably born in Haarlem, where he became a member of the Guild of St Luke in 1653. His father – who cannot be identified – must have been an artist as well, because in the admission book of the guild Visscher is described as ‘plaetsnijder en Meester outste zoon’ (‘engraver and the master’s oldest son’). Two younger brothers, Jan Visscher (1633/34-1712) and Lambert Visscher (1630/32-after 1690), also pursued artistic careers. The relationship between Cornelis and the relatively unknown painter Cornelis de Visscher (c. 1530-c. 1586) of Gouda is unclear. According to Van Mander, the latter was a skilled portraitist, but had some mental issues and died in a shipwreck on the North Sea.4K. van Mander, Het schilder-boeck waer in voor eerst de leerlustighe iueght den grondt der edel vry schilderconst in verscheyden deelen wort voorghedraghen, Haarlem 1604, p. 228. Perhaps the same person can be identified with Cornelis de Visscher, whose money was managed (presumably on behalf of his under-age children) by the orphans’ board of Gouda because he was considered mentally ill; in 1622, the widow of Cornelis’ brother, the painter Gerrit Gerritsz. de Visscher II (c. 1559-before 1622), collected the money from the orphans’ board on behalf of Cornelis’ two nephews, her sons Gerrit de Visscher III (?-?), a goldsmith living in Gouda, and Barent de Visscher (?-?).5Gouda, Streekarchief Midden-Holland, inv. no. OA196.

Cornelis Visscher probably received his first artistic training from his father. Later he must have been apprenticed to the Haarlem painter, engraver and draughtsman Pieter Soutman (1593/1601-1657), with whom he collaborated on several print series in 1649/50. Shortly after his admission in the Guild of St Luke in Haarlem, he moved to Amsterdam. In the 1650s, he received numerous commissions for portrait drawings and engravings of Haarlem and Amsterdam scholars, clergymen and writers, including Joost van den Vondel (1587-1679) (e.g. inv. no. RP-P-H-P-41). One of his last commissions was an engraved portrait of Constantijn Huygens I (1596-1687) after a lost drawing by the sitter’s son Christiaan Huygens (1629-95), which was included as the frontispiece to Huygens’ poem book Koren-bloemen (1658) (e.g. inv. no. RP-P-OB-27.428). It was finished in the last months of 1657, when the artist was presumably suffering from ‘de steen’ (kidney stones). Visscher died the following year and was buried on 16 January in the Nieuwe Kerk, Amsterdam. Despite his short life – he was only twenty-eight years old when he died – Visscher left an extensive oeuvre, consisting of more than 100 drawings and some 185 prints.

Marleen Ram, 2019

References
R. van Eijnden and A. van der Willigen, Geschiedenis der vaderlandsche schilderkunst, 4 vols., Haarlem 1816-40, I (1816), pp. 71-77, IV (1840), pp. 96-97; P. Schatborn, Dutch Figure Drawings from the Seventeenth Century, exh. cat. Amsterdam (Rijksprentenkabinet)/Washington (DC) (National Gallery of Art) 1981-82, pp. 100-01; R.E.O. Ekkart, ‘Visscher, Cornelis (de)’, in J. Turner (ed.), The Dictionary of Art, 34 vols., London/New York 1996, XXXII, pp. 622-23; J. Hawley, ‘An Introduction to the Life and Drawings of Jan de Vissccher’, Master Drawings 52 (2014), no. 1, pp. 59-94; J. Hawley, ‘Cornelis Visscher and Constantijn Huygens’s Koren-bloemen’, Print Quarterly 32 (2015), no. 1, pp. 51-53

Entry

Together with his younger brother Jan Reynst (1601-1646), the Amsterdam merchant Gerard Reynst (1599-1658) built up one of the largest art collections in the seventeenth century in the Netherlands. Around 1655, he commissioned reproductive prints of a number of his most beautiful art works, including many paintings by Italian masters. Cornelis Visscher, who was one of the main engravers, was responsible for no fewer than twelve prints.6A.-M. Logan, The ‘Cabinet’ of the Brothers Gerard and Jan Reynst, Amsterdam 1979, p. 40, nos. 1, 13, 14, 19, 23, 25, 26, 28, 31-34.

Two of Visscher’s preparatory drawings for the print series are preserved in the Rijksmuseum, the present sheet and Susanna and the Elders (inv. no. RP-T-00-745), which is after a painting by Guido Reni (1575-1608/09). The Holy Family, according to Logan, was apparently made after a painting by Titian (c. 1488-1576) that ended up in the collection of Charles II, King of England (1630-1685).7Ibid., p. 154, under no. 35, as attributed to Titian. Together with dozens of other paintings, antique statues and furniture, the painting was part of the ‘Dutch gift’, a present from the States of Holland and West Friesland to the English king on the occasion of the restoration of the English monarchy in 1660. Although the picture by Titian is described by Logan as being lost (and indeed is no longer in the British Royal Collection), what may well be the original painting, or a copy after it, appeared on the London art market in 2001.8Anonymous sale, section of ‘the property of an Austrian gentleman’, London (Christie’s South Kensington), 13 July 2001, no. 236, as follower of Tiziano Vecellio, called Titian.

The drawing was indented for transfer to the copper plate. Visscher left the lower edge of the paper blank for the lettering. This, however, was never added to the print, of which only proofs version are known (e.g. inv. no. RP-P-H-P-67).9Hollstein, XL (1992), no. 6. After Reynst’s sudden death in 1658, the prestigious project came to a standstill. A total of thirty-three paintings were reproduced in print. This was only a fragment of the Reynst collection, and from a letter from Jeremias Falck (c. 1610-1677), one of the other engravers who worked on the project, we know that Reynst must have had a more ambitious project in mind.10A.-M. Logan, The ‘Cabinet’ of the Brothers Gerard and Jan Reynst, Amsterdam 1979, pp. 38-39. The unfinished series was finally published in the late 1660s under the title Variarum imaginum a celeberrimis artificibus pictarum Caelaturae, presumably by the publisher Clement de Jonghe (1624/25-1677).11Ibid., p. 39.

Bonny van Sighem, 2000/Marleen Ram, 2019

Literature

J. Hawley, ‘An Introduction to the Life and Drawings of Jan de Visscher’, Master Drawings 52 (2014), no. 1, pp. 66-67 (fig. 9)

Citation

B. van Sighem, 2000/M. Ram, 2019, 'Cornelis (II) Visscher, Holy Family with St John the Baptist and St Elisabeth, Amsterdam, c. 1654 - c. 1658', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.63774

(accessed 18 July 2025 12:01:43).

Footnotes

  • 1According to the inventory of Van Leyden, Album 40, fol. 1, under no. 8 (‘De origineele Tekening met wit gehoogt uijt het Cabinet van Reijnst, zeer fraaij’).
  • 2Logan 1979, pp. 90-91.
  • 3According to an inscription on the drawing and his inventory, see previous note.
  • 4K. van Mander, Het schilder-boeck waer in voor eerst de leerlustighe iueght den grondt der edel vry schilderconst in verscheyden deelen wort voorghedraghen, Haarlem 1604, p. 228.
  • 5Gouda, Streekarchief Midden-Holland, inv. no. OA196.
  • 6A.-M. Logan, The ‘Cabinet’ of the Brothers Gerard and Jan Reynst, Amsterdam 1979, p. 40, nos. 1, 13, 14, 19, 23, 25, 26, 28, 31-34.
  • 7Ibid., p. 154, under no. 35, as attributed to Titian.
  • 8Anonymous sale, section of ‘the property of an Austrian gentleman’, London (Christie’s South Kensington), 13 July 2001, no. 236, as follower of Tiziano Vecellio, called Titian.
  • 9Hollstein, XL (1992), no. 6.
  • 10A.-M. Logan, The ‘Cabinet’ of the Brothers Gerard and Jan Reynst, Amsterdam 1979, pp. 38-39.
  • 11Ibid., p. 39.