Aan de slag met de collectie:
Gezicht op het interieur van het Colosseum, Rome
toegeschreven aan Adriaen Honich, ca. 1667 - ca. 1680
In het midden loopt een koeherder met schapen.
- Soort kunstwerktekening
- ObjectnummerRP-T-1898-A-3723
- Afmetingenhoogte 278 mm x breedte 205 mm
- Fysieke kenmerkenpen en bruine inkt, met penseel en grijsbruine inkt, over sporen van zwart krijt, op lichtbruin papier; kaderlijnen in bruine inkt
Identificatie
Titel(s)
Gezicht op het interieur van het Colosseum, Rome
Objecttype
Objectnummer
RP-T-1898-A-3723
Beschrijving
In het midden loopt een koeherder met schapen.
Onderdeel van catalogus
Vervaardiging
Vervaardiging
- tekenaar: toegeschreven aan Adriaen Honich, Rome (mogelijk)
- tekenaar: toegeschreven aan Jan Asselijn [verworpen toeschrijving]
Datering
ca. 1667 - ca. 1680
Zoek verder op
Materiaal en techniek
Fysieke kenmerken
pen en bruine inkt, met penseel en grijsbruine inkt, over sporen van zwart krijt, op lichtbruin papier; kaderlijnen in bruine inkt
Afmetingen
hoogte 278 mm x breedte 205 mm
Dit werk gaat over
Onderwerp
Plaats
Verwerving en rechten
Credit line
Schenking van mevrouw A.H. Beels van Heemstede-van Loon
Verwerving
schenking 1889-04
Copyright
Herkomst
…; donated by jonkvrouwe Agnes Henriette Beels van Heemstede-van Loon (1829-1902), Amsterdam, to the museum, 1889
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Adriaen Honich (attributed to)
View in the Colosseum, Rome
? Rome, c. 1667 - c. 1680
Inscriptions
inscribed on verso: centre, in pencil, Het Coliseum; lower centre, in a nineteenth-century hand, in pencil, u.g.; lower left corner, in a nineteenth-century hand, in brown ink, 126 / j / 6[?]; lower right, in a late nineteenth- or early twentieth-century hand, in pencil, 16; below that, in a nineteenth-century hand, in pencil, J. Asselijn., below that, in brown ink, N.°III.
Technical notes
watermark: coat of arms with a visored moor’s head above two balls within a shield, surmounted by another moor’s head
Condition
Minor losses at lower right border
Provenance
…; donated by jonkvrouwe Agnes Henriette Beels van Heemstede-van Loon (1829-1902), Amsterdam, to the museum, 1889
Object number: RP-T-1898-A-3723
Credit line: Gift of A.H. Beels van Heemstede-van Loon
The artist
Biography
Adriaen Honich (Dordrecht 1643 - Rome (?) after 1683)
Adriaen Honich [Honing] was baptized in Dordrecht on 25 July 1643,1Dordrecht, Gemeentearchief, DTB 5. the son of Huybert Hermansz Honich (1615-1663) and Ariaentje Ariensdr van Dijck (?-?). His earliest known work dates from two decades later, a signed and dated painted View of the Town Hall, Utrecht (1663), preserved in the city’s Centraal Museum (inv. no. 2493).2C.H. de Jonge, Centraal Museum Utrecht. Catalogus der schilderijen, coll. cat. Utrecht 1952, p. 63. According to the Utrecht municipal accounts, it was sold to the city by his father the same year, when Adriaen was apparently sick in Paris.3The accounts mention the sale for ‘forty guilders…for (Huybert’s) son, who (was) sick in Paris’; https://rkd.nl/en/explore/artists/record?query=honich&start=0.
Honich is better documented in Rome than in his native land or during his stay in Paris. It is unclear, for instance, whether the time in France was a proper sojourn or merely a stop on the way to Italy. No later than 1667, Honich must have arrived in Rome,4That year he acted as a witness in Rome; ibid. where he is recorded in 1675 and also from 1680 to 1683.5There is some doubt about the last period, for the artist who was active then, described in the sources as ‘Adriano Onech’, was apparently born in 1648; G.J. Hoogewerff, De Bentvueghels, The Hague 1952, p. 137. According to Roman parochial archives, Honich lived in the Strada Felice and later ‘al Corso, verso il Babuino’, neighbourhoods that were popular among artists. In Rome, Honich joined the Schildersbent (the society of Northern artists), which assigned him the bent-name Lossenbruy (‘Loose-bridge’). He used that name to sign works. He is best known as a landscape draughtsman, with a special focus on views of the cascades at Tivoli, such as one, dated 1673, in the Special Collections of the Library of the University of Leiden (inv. no. PK-T-AW-545). Among other extant works are two painted still-lifes, both signed and dated 1672, which were on the art market with the J. Kugel Gallery, Paris in 2009.
Annemarie Stefes, 2019
References
A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 351; III (1721), p. 102; C. Kramm, De levens en werken der Hollandsche en Vlaamsche kunstschilders, beeldhouwers, graveurs en bouwmeesters van den vroegsten tot op onzen tijd, 7 vols., Amsterdam 1857-64, III (1859), pp. 722-23; A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, I (1906), p. 709; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XVII (1924), p. 444; G.J. Hoogewerff, Nederlandsche kunstenaars te Rome (1600-1725). Uittreksels uit de parochiale archieven, The Hague 1942, pp. 55, 259; G.J. Hoogewerff, De Bentvueghels, The Hague 1952, p. 137; M. Roethlisberger, ‘Adriaen Honing alias Lossenbruy’, Münchner Jahrbuch der bildenden Kunst 14 (1963), pp. 121-28; M. Roethlisberger, ‘À la recherche d’Adriaen Honich’, Bulletin de la Galerie Nationale du Canada 4 (1964), pp. 14-21; A. Beyer et al. (eds.), Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker, Munich 1992, LXXIV (2012), pp. 408-09 (entry by G. Seelig); RKD Artists, https://rkd.nl/explore/artists/39429
Entry
Traditionally ascribed to Jan Asselijn (c. 1610-1652), this drawing was rightly excluded by Steland in her catalogue raisonné of that artist’s drawings (1989). At first glance, the dominant parallel hatching resembles late sixteenth- or early seventeenth-century drawings, for instance by Tobias Verhaecht (1561-1631), Mathijs Bril (c. 1550-1583), Gillis van Valckenborch (1599-1622) or Jacob Pynas (c. 1592/93-after 1650). Yet the handling of the pen appears freer, less systematically arranged, and the staffage is clearly more modern in character. This might point to a mid- to late-seventeenth-century artist working in an archaic mode. One such artist to whom such description is applicable is Adriaen Honich.6M. Roethlisberger, ‘Adriaen Honing alias Lossenbruy’, Münchner Jahrbuch der bildenden Kunst 14 (1963), p. 123. His pen drawings betray a similar penchant for nervous hatching. See, for example, the Road in Rome in the Frits Lugt collection, Fondation Custodia, Paris (inv. no. 5834),7Ibid., fig. 2. or a double-sided drawing in the Ashmolean Museum, Oxford (inv. no. WA1946.360), formerly given to Claude Lorrain (c. 1604/05-1682).8Gernsheim Corpus, nos. 42312 (recto) and 42313 (verso). These drawings feature a combination of dense parallel hatching; loose, curly loops; and vibrant penstrokes in the shape of tightly-wound springs for delineating foliage tendrils, all interspersed with scratchy little dots. Even those drawings by Honich that are less dominated by graphic values show these characteristics, as can be seen in inv. no. RP-T-1991-16. Since the number of extant drawings by the artist does not correspond to the length of his stay in Rome, his oeuvre must have been considerably larger and probably also more varied than previously thought.
Annemarie Stefes, 2018
Literature
De bouwvallen in en om Rome door Nederlandsche kunstenaars afgebeeld, exh. cat. Amsterdam (Rijksprentenkabinet) 1908, no. 128 (as Jan Asselijn)
Citation
A. Stefes, 2019, 'attributed to Adriaen Honich, View in the Colosseum, Rome, Rome, c. 1667 - c. 1680', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200116957
(accessed 6 May 2026 06:34:18).Footnotes
- 1Dordrecht, Gemeentearchief, DTB 5.
- 2C.H. de Jonge, Centraal Museum Utrecht. Catalogus der schilderijen, coll. cat. Utrecht 1952, p. 63.
- 3The accounts mention the sale for ‘forty guilders…for (Huybert’s) son, who (was) sick in Paris’; https://rkd.nl/en/explore/artists/record?query=honich&start=0.
- 4That year he acted as a witness in Rome; ibid.
- 5There is some doubt about the last period, for the artist who was active then, described in the sources as ‘Adriano Onech’, was apparently born in 1648; G.J. Hoogewerff, De Bentvueghels, The Hague 1952, p. 137.
- 6M. Roethlisberger, ‘Adriaen Honing alias Lossenbruy’, Münchner Jahrbuch der bildenden Kunst 14 (1963), p. 123.
- 7Ibid., fig. 2.
- 8Gernsheim Corpus, nos. 42312 (recto) and 42313 (verso).