Aan de slag met de collectie:
Bergachtig kustlandschap met een grote naaldboom
Hendrik van der Straaten, ca. 1687 - ca. 1689
- Soort kunstwerktekening
- ObjectnummerRP-T-1881-A-137
- Afmetingendiameter 108 mm
- Fysieke kenmerkenpenseel en grijze inkt, over zwart krijt en grafiet; sporen van kaderlijnen in zwarte inkt
Ontdek verder
Identificatie
Titel(s)
Bergachtig kustlandschap met een grote naaldboom
Objecttype
Objectnummer
RP-T-1881-A-137
Onderdeel van catalogus
Vervaardiging
Vervaardiging
tekenaar: Hendrik van der Straaten, Haarlem (mogelijk)
Datering
ca. 1687 - ca. 1689
Zoek verder op
Materiaal en techniek
Fysieke kenmerken
penseel en grijze inkt, over zwart krijt en grafiet; sporen van kaderlijnen in zwarte inkt
Afmetingen
diameter 108 mm
Dit werk gaat over
Onderwerp
Verwerving en rechten
Verwerving
aankoop 1881-09
Copyright
Herkomst
…; ? sale, Vincent van der Vinne (1736-1811, Haarlem) and Willem van Oukerke (1744-1795, Haarlem), Haarlem (Hendriks), 11 March 1816, Album KK, no. 13 (‘Twee dito [Landschappen], met dito [z. krijt] door de Rue’), with one other drawing, fl. 1:2:-;{Copy RKD.} …; collection Frederik Carel Theodoor, Baron van Isendoorn à Blois, Heer van Feluy and De Cannenburch (1784-1865), Kasteel De Cannenburch, Vaassen;{According to L. 2610.} inherited by Franciscus Johannes Hallo (1808-79), Kasteel Cannenburch, Vaassen;{Gelders Archief, 0407 Huis De Cannenburch, inv. no. 398.} sold through the mediation of the dealers A.E. Cohen and M. Wolff (L. 2610);{Not in sale, Frederik Carel Theodoor, Baron van Isendoorn à Blois, Heer van Feluy and De Cannenburch, Amsterdam (C.F. Roos et al.) 19 August 1879, nor his sale, Amsterdam (C.F. Roos et al.), 18 December 1879 sqq.} …; from the dealer J.H. Balfoort, Utrecht, with one other drawing (inv. no. RP-T-1881-A-138), fl. 10, to the museum (L. 2228), 1881
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Hendrik van der Straaten
Mountainous Coastal Landscape with a Large Fir Tree
? Haarlem, c. 1687 - c. 1689
Inscriptions
signed: lower centre, in black chalk, Van Straaten
inscribed on verso: centre, in a nineteenth-century hand, in pencil, 30 d; below that (with the sheet turned 90°), by Wolff and Cohen, in pencil, W/C (L. 2610); below that, in a nineteenth-century hand, in pencil (partially trimmed), (C?) 2 p K lm [?]; lower centre, in brown ink (with the 1816 Van der Vinne and Van Oukerke sale no.), No13.
stamped on verso: lower centre, with the mark of the museum (L. 2228)
Technical notes
watermark: countermark with letters PD; similar to Laurentius 2007, II, no. 790B (Zwolle: 1689)
Provenance
…; ? sale, Vincent van der Vinne (1736-1811, Haarlem) and Willem van Oukerke (1744-1795, Haarlem), Haarlem (Hendriks), 11 March 1816, Album KK, no. 13 (‘Twee dito [Landschappen], met dito [z. krijt] door de Rue’), with one other drawing, fl. 1:2:-;1Copy RKD. …; collection Frederik Carel Theodoor, Baron van Isendoorn à Blois, Heer van Feluy and De Cannenburch (1784-1865), Kasteel De Cannenburch, Vaassen;2According to L. 2610. inherited by Franciscus Johannes Hallo (1808-79), Kasteel Cannenburch, Vaassen;3Gelders Archief, 0407 Huis De Cannenburch, inv. no. 398. sold through the mediation of the dealers A.E. Cohen and M. Wolff (L. 2610);4Not in sale, Frederik Carel Theodoor, Baron van Isendoorn à Blois, Heer van Feluy and De Cannenburch, Amsterdam (C.F. Roos et al.) 19 August 1879, nor his sale, Amsterdam (C.F. Roos et al.), 18 December 1879 sqq. …; from the dealer J.H. Balfoort, Utrecht, with one other drawing (inv. no. RP-T-1881-A-138), fl. 10, to the museum (L. 2228), 1881
Object number: RP-T-1881-A-137
The artist
Biography
Hendrik van der Straaten (Haarlem c. 1665 - London 1722)
He was the son of the Haarlem landscape painter Lambert van der Straaten (1631-1712). In all likelihood, he was taught by his father, who was apparently also active, at least part-time, in organizing sales. In 1687, Hendrik became a member of the Haarlem Guild of St Luke. In 1690, he settled permanently in England,5S. Karst, ‘Off to a New Cockaigne: Dutch Migrant Artists in London, 1660-1715’, Simiolus 37 (2013-14), no. 1, p. 53 (n. 170). where he was also known by the French translation of his name, Hendrik de la Rue. He must, however, have maintained contacts with his native Netherlands, revealed in the large number of his works – 166 painted landscapes and four albums with drawings – recorded in a 1699 inventory of the Amsterdam merchant and art dealer Mathijs Craijers (?-1699).6Amsterdam, Stadsarchief, NAA 4448b, akte 19; GPI-Archival Inventory, no. N-200.
Van der Straaten’s efficient working method was reported by a colleague, the English portrait painter Joseph Highmore (1692-1780), who visited him in 1714 in his studio in Drury Lane, London.7A. Jager, ‘Galey-schilders’ en ‘dosijnwerck’. De productie, distributie en consumptie van goedkope historiestukken in zeventiende-eeuws Amsterdam, Amsterdam 2016 (PhD diss., Universiteit van Amsterdam), pp. 357-58. He apparently painted a whole roll of canvas with ‘cloud colour’ and some landscape elements before cutting it into fragments sized to fit chimney pieces (‘schoornsteenformaat’), which were then directly sold to art dealers. As a rule, his paintings and drawings are not dated, thus impeding a reconstruction of his stylistic evolution. Exceptions are two drawings dated 1687, one in the Teylers Museum Haarlem (inv. no. S 42), and the other in the Courtauld Gallery, London (inv. no. D.1952.RW.2305). According to Pilkington,8M. Pilkington, The Gentleman’s and Connoisseur’s Dictionary of Painters, London 1798, p. 642. his early work is superior to that of his later years, suggesting that those drawings done in a more routine fashion stem from his late career.
Annemarie Stefes, 2019
References
M. Pilkington, The Gentleman’s and Connoisseur’s Dictionary of Painters, London 1798, p. 642 (as ‘N. van der Straaten’); J.C. Weyerman, De levens-beschryvingen der Nederlandsche konst-schilders en konst-schilderessen, 4 vols., The Hague/Dordrecht 1729-69, III (1769), pp. 365-66 (as ‘N. van der Straaten’); M. Pilkington, A General Dictionary of Painters, 2 vols., London 1829, II, p. 357; J. Immerzeel, De levens en werken der Hollandsche en Vlaamsche kunstschilders, 3 vols., Amsterdam 1842-43, III (1843), p. 118; G.K. Nagler, Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Kupferstecher, Formschneider, Lithographen, 22 vols., Munich 1832-52, XVII (1847), p. 438; A. van der Willigen, Les Artistes de Harlem: Notices historiques avec un précis sur la Gilde de St. Luc, Haarlem/The Hague 1870, p. 272; H. Walpole, Anecdotes of Painting in England (…), 3 vols., London 1862 (rev. edn.), II, pp. 619-20; A. Von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 669; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXXII (1938), p. 142; H. Miedema, De archiefbescheiden van het St. Lukasgilde te Haarlem, 1497-1789, 2 vols., Alphen aan den Rijn 1980, II, pp. 722, 945, 1035; S. Karst, ‘Off to a New Cockaigne: Dutch Migrant Artists in London, 1660-1715’, Simiolus 37 (2013-14), no. 1, pp. 53-54; S. Kollmann, Niederländische Künstler und Kunst im London des 17. Jahrhunderts, Hildesheim and elsewhere 2000 (Studien zur Kunstgeschichte, vol. 135), p. 270; 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. 718; A. Jager, ‘Galey-schilders’ en ‘dosijnwerck’. De productie, distributie en consumptie van goedkope historiestukken in zeventiende-eeuws Amsterdam, Amsterdam 2016 (PhD diss., Universiteit van Amsterdam), pp. 357-58
Entry
The present drawing and inv. no. RP-T-1881-A-138 were apparently made as companion pieces, only one of which – the pendant – is signed. That they formed a pair is referred to on the verso inscription (‘2p’ for ‘2 pièces’) of each sheet. Both were executed on paper with a Dutch watermark that was common in 1689. Van der Straaten, who never travelled to Italy, probably made them before he left for London in 1690. The loopy rendering of the leaves in the foreground of this sheet resembles the handling in a signed and dated drawing of 1687 in the Teylers Museum, Haarlem (inv. no. S 042a).
The tondo format of the pair of drawings is unusual in Van der Straaten’s oeuvre, perhaps inspired by contemporaries whose patrons favoured series of round compositions, such as examples in the Rijksmuseum by Aernout van Himpel (1634-1686), as seen in his River with Ships of the 1670s (inv. no. RP-T-1909-28), or the topographical views of Jan van Call (1656-1706), for example, his View of Ehrenbreitstein Castle (inv. no. RP-T-1921-6) and View of the Rhine near Hammerstein (inv. no. RP-T-1921-7).
Annemarie Stefes, 2019
Citation
A. Stefes, 2019, 'Hendrik van der Straaten, Mountainous Coastal Landscape with a Large Fir Tree, Haarlem, c. 1687 - c. 1689', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200144506
(accessed 8 December 2025 23:22:39).Footnotes
- 1Copy RKD.
- 2According to L. 2610.
- 3Gelders Archief, 0407 Huis De Cannenburch, inv. no. 398.
- 4Not in sale, Frederik Carel Theodoor, Baron van Isendoorn à Blois, Heer van Feluy and De Cannenburch, Amsterdam (C.F. Roos et al.) 19 August 1879, nor his sale, Amsterdam (C.F. Roos et al.), 18 December 1879 sqq.
- 5S. Karst, ‘Off to a New Cockaigne: Dutch Migrant Artists in London, 1660-1715’, Simiolus 37 (2013-14), no. 1, p. 53 (n. 170).
- 6Amsterdam, Stadsarchief, NAA 4448b, akte 19; GPI-Archival Inventory, no. N-200.
- 7A. Jager, ‘Galey-schilders’ en ‘dosijnwerck’. De productie, distributie en consumptie van goedkope historiestukken in zeventiende-eeuws Amsterdam, Amsterdam 2016 (PhD diss., Universiteit van Amsterdam), pp. 357-58.
- 8M. Pilkington, The Gentleman’s and Connoisseur’s Dictionary of Painters, London 1798, p. 642.