Panorama van de Nederrijn, kijkend naar het oosten vanaf de Heimenberg bij Rhenen

Daniël Schellinks, ca. 1675 - ca. 1690

  • Soort kunstwerktekening
  • ObjectnummerRP-T-1900-A-4440
  • Afmetingenhoogte 464 mm x breedte 742 mm
  • Fysieke kenmerkenzwart krijt, met penseel en grijze ink; sporen van kaderlijnen in zwart krijt (boven- en onderrand)

Daniël Schellinks

Panorama of the Lower Rhine, Looking East from the Heimenberg, near Rhenen

c. 1675 - c. 1690

Inscriptions

  • inscribed on verso: lower left, in an eighteenth-century hand, in pencil (with the lot no. of the 1792 Barchman Wuytiers sale), te Utregt Letter E / E N°. 63.

Technical notes

watermark: coat of arms

Condition

Large losses (restored) at upper centre, lower right and upper right corner; vertical folds in centre and left half; diagonal creases

Provenance

…; collection Sybrand Feitama I (1620-1701), Amsterdam;1According to S. Feitama, Notitie der teekeningen, uit de oudste en latere aanteekeningen, sedert de jaren 1685 en 1690, tot 1746, s.l. (1746), one of two on p. 48: ‘Daniël Schellinks. Rúim gezicht omtrent Arnhem; deze 2, volgens oude Notitie [referring to Sybrand I’s purchases], omtrent A° 1690 f 4.--’; the other is described as ‘Dito (gezicht), op den Zandberg te Arnhem, omtr: A°1680’; B.P.J. Broos, ‘‘Notitie der Teekeningen van Sybrand Feitama’, III: de verzameling van Sybrand I Feitama (1620-1701) en van Isaac Feitama (1666-1709)’, Oud Holland 101 (1987), no. 3, pp. 171, 177. his son, Isaac Feitama (1666-1709), Amsterdam;2Ibid. his son, Sybrand Feitama II (1694-1758), Amsterdam;3Ibid. his sale, Amsterdam (B. de Bosch), 16 October 1758 sqq., Album E, no. 63 (‘Gezicht omtrent Arnhem naar Kleef te zien; als de vorige (met Oostind. Inkt); h. 11, br. 19 ½ d. (279 x 495 mm)’), fl. 9.00, to ‘Gol’;4Copy RKD. …; ? sale, Jeronimo de Bosch II (1677-1767, Amsterdam), Amsterdam (J. de Bosch et al.), 5 October 1767 sqq., Album F, no. 349 (‘W. Schellinks. Een Gezicht buiten Renen van Konings Tafel’), fl. 1:10:-, to ‘Ottens’;5Copy RKD; there must have been another yet unidentified eighteenth-century sale to which an entry refers that was pasted on the present drawing’s verso: ‘Een Gezigt buyten Renen van Konings Tafel door Schellings’. …; sale, Jan Willem Barchman Wuytiers (1726-91, Utrecht), Utrecht (B. Wild et al.), 17 September 1792 sqq., Album E, no. 63 (‘Een gezicht, buiten Rhenen, van de Konings tafel te zien fraai met O. I. Inkt en zwart krijt behandeld door Schellings’), fl. 16;6Copy RKD. …; ? sale, J. Hoopman (?-?) and Pieter Nicolaas Quarles van Ufford (1757-1834, Haarlem), Amsterdam (C.S. Roos et al.), 19 October 1818, Album R, no. 1 (‘Een ruim gezigt buiten Rhenen van den Tafelberg. Met z. krijt en o.i. inkt, door Schellings’), fl. 4:50:-, to ‘Gruiter’, probably the dealer Willem Gruyter sr, Amsterdam);7Copy RKD. …; from the dealer R.W.P. de Vries, Amsterdam, fl. 20.35, to the museum, 1900

Object number: RP-T-1900-A-4440

The artist

Biography

Daniël Schellinks (Amsterdam 1627 - Amsterdam 1701)

He was the younger brother of Willem Schellinks (1623-1678) and the third son of Laurens Schellinks (1591-?), a tailor originally from Maasbree, near Limburg, and Catalijne Coussenaers (Kousenaer) (1599-1657), a Dutch woman from Cologne. His parents had married on 13 June 1620 in Amsterdam and were members of the Reformed Church. Daniël was baptized on 11 November 1627 in the city’s Oude Kerk.8Amsterdam, Stadsarchief, DTB 6, fol. 189. Of six siblings who reached adulthood, only Willem and Daniël worked as artists, though Daniël was apparently only an amateur. When Daniël married 26-year-old Elisabeth van Weerdt (?-1673) on 8 April 1662, he described himself as a silk merchant.9Amsterdam, Stadsarchief, DTB 483, fol. 32. He might have also been active as a dealer in paintings.

From 1662, Daniël and his wife were living in Amsterdam on the Stilsteeg, where he was still documented in 1677. After his first wife died in July 1673,10Amsterdam, Stadsarchief, DTB 1056, fol. 84 (‘Elisabeth van Waert inde Stilsteegh’), buried on 11 July 1673. he remarried as his second wife, Constantia van Rijssen (?-1704) of a family of jewelers, on 28 September 1675.11Amsterdam, Stadsarchief, Ondertrouwregister 502, fol. 175. Having no children of his own, he was appointed warden of his brother Willem’s children after the latter’s death in 1678. In 1701, Daniël Schellinks died on 18 September and was buried on 23 September in the Nieuwezijds Kapel.12A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 273; Amsterdam, Stadsarchief, DTB 1070, fol. 7. Constantia van Rijssen was buried on 17 March 1704.13Ibid., DTB 1070, fol. 36v.

Only a handful of securely attributed drawings are known by Daniël Schellinks, including two monogrammed sheets in the Albertina, Vienna, the View of the Tiber near Trastevere, Rome (inv. no. 10028) and the View of Tiber Island, Rome (inv. no. 10029), and one in the Fondation Custodia, Paris (inv. no. 8564).14C. Van Hasselt, Landschaptekeningen van Hollandse meesters uit de XVIIe eeuw uit de particuliere verzameling bewaard in het Institut Néerlandais te Parijs, 2 vols., exh. cat. Brussels (Koninklijke Bibliotheek Albert I)/Rotterdam (Museum Boijmans Van Beuningen)/Paris (Institut Néerlandais)/Berne (Kunstmuseum) 1968-69, no. 127. Little remains of his painted oeuvre, though Houbraken mentioned him as a ‘reasonably good landscape painter’ (‘een braaf Landschapschilder’),15A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 273. and two of his own painted landscapes are listed in his will dated 17 May 1698.16Amsterdam, Stadsarchief, minutier Gaspar Ypelaer, inv. no. 5348; cf. 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. 2263-64. A rare example is his signed Landscape with Hunters Fording a River in the collection of the Prince of Liechtenstein, Vienna and Vaduz (inv. no. GE 1408).17R. Trnek, Traum vom Süden: Die Niederländer malen Italien, exh. cat. Vienna (Akademie der bildenden Künste Wien) 2007-08, no. 60. More paintings and drawings are probably hidden under wrong attributions in public and private collections throughout the world.

Annemarie Stefes, 2019

References
A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 273; A.D. de Vries, ‘Willem Schellinks, schilder, teekenaar, etser, dichter’, Oud-Holland 1 (1883), p. 153; 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. 2263-64; VII (1921), pp. 189-190; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXX (1936), p. 22 (entry by M.D. Henkel); F. Lammertse and J. van der Veen, Uylenburgh & Son: Art and Commerce from Rembrandt to De Lairesse, 1625-1675, exh. cat. London (Dulwich Picture Gallery)/Amsterdam (Museum Het Rembrandthuis) 2006, pp. 282-83; S. Alsteens and H. Buijs, Paysages de France dessinés par Lambert Doomer et les artistes hollandais et flamands des XVIe et XVIIe siècles, Paris 2008, p. 40

Entry

This broad view of the Lower Rhine was taken from the Heimenberg, a former circular rampart or hill fort on today’s Grebbeberg, a hill southeast of Rhenen. It is to this fortification that the drawing’s traditional title, Koningstafel (‘King’s Table’), refers, commemorating the many visits by Frederick V, Elector Palatine and exiled King of Bohemia (1596-1632), who had his summer palace built in Rhenen.18L. Schoemaker, Tegen de helling van de Heuvelrug. Rhenen in oude tekeningen, 1600-1900, Utrecht 2007. As noted by Schoemaker, the view looks upstream, to the east, following the meandering river, with on the left the region today known as the nature reserve ‘De Blauwe Kamer’ (‘The Blue Room’). The church tower at far left is that of the Grote Kerk of Wageningen. In the background are the hills of the Hoge Veluwe, marked by the church tower of the Sint Eusebiuskerk of Arnhem. To the right, south of the Rhine, is the Betuwe, with the castle of Hemmen, bathed in sunlight, and the tower of the Sint Stevenskerk of Nijmegen visible in far distance.

The authorship of Daniël Schellinks is generally accepted in the literature, following a tradition that dates at least as far back as the drawing’s earliest mention by Sybrand Feitama II (1694-1758), who dated the sheet to circa 1680. The somewhat monotonous rendering of trees and shrubs, while animated by a keen sense of light and shade, is characteristic of the hand of this gifted amateur. Also listed under the name of Daniël Schellinks in the Feitama collection are two sheets in the Hamburger Kunsthalle, Hamburg, the View of Rhenen and the Lower Rhine, also seen from the Heimenberg (inv. no. 22501), and the View of the Lower Rhine near Arnhem (inv. no. 22502).19A. Stefes, Niederländische Zeichnungen, 1450-1800, 3 vols., coll. cat. Hamburg 2011 (Die Sammlungen der Hamburger Kunsthalle, Kupferstichkabinett, vol. 2), nos. 942-43. Both drawings are there classified as attributed to Daniël Schellinks, whereas other scholars have assigned them to Anthonie Waterloo (1609-1690).20L. Schoemaker, Tegen de helling van de Heuvelrug. Rhenen in oude tekeningen, 1600-1900, Utrecht 2007, no. 3; C.P. van Eeghen and P. van der Kuil, Brede Rivieren langs hoge Hellingen. Het stuwwallenlandschap van Midden-Nederland op zeventiende-eeuwse tekeningen, Utrecht 2015, nos. 71 and 128. Also given to Daniël Schellinks is a reversed version of the present view, preserved in Het Utrechts Archief, Utrecht (inv. no. 206410), which is inscribed ‘Gesigt van d Konings tafel tot Renen and D Schellings’;21L. Schoemaker, Tegen de helling van de Heuvelrug. Rhenen in oude tekeningen, 1600-1900, Utrecht 2007, no. 174. it is probably a counterproof of a now lost drawing, executed on a smaller scale.

Whether the present composition was based on first-hand experience or on the work of another artist remains an open question. Daniël could have drawn inspiration from his brother Willem Schellinks (1623-1678), who was very active as a topographical draughtsman. Compare, for instance, Willem’s View of Arnhem from the North-west, in the Frits Lugt Collection, Fondation Custodia, Paris (inv. no. 5672).22C.P. van Eeghen and P. van der Kuil, Brede Rivieren langs hoge Hellingen. Het stuwwallenlandschap van Midden-Nederland op zeventiende-eeuwse tekeningen, Utrecht 2015, no. 73. Alternatively, given the fact that the abovementioned View of Rhenen and the Lower Rhine in Hamburg is known in two corresponding versions by Waterloo – one in the Rijksmuseum (inv. no. RP-T-00-394) and one in the Amsterdam Museum (inv. no. TA 18163)23B.P.J. Broos and M. Schapelhouman, Nederlandse tekenaars geboren tussen 1600 en 1660, coll. cat. Amsterdam 1993 (Oude tekeningen in het bezit van het Amsterdams Historisch Museum, waaronder de collectie Fodor, vol. 4), no. 172. – this suggests that there may well have been an unidentified prototype for the present composition. It, too, was probably by Waterloo, similar to the View of the Heimenberg to the South, in the Atlas Van der Hem in the Österreichische Nationalbibliothek, Vienna (vol. 15:16, fols. 31-32 (15); inv. no. +Z110487609).24E. de Groot et al. (eds.), The Atlas Blaeu-Van der Hem of the Austrian National Library, 7 vols., ’t Goy-Houten 1996-2008, II (1999), p. 417. Although the Van der Hem view is attributed to Daniël Schellinks, it is likewise stylistically reminiscent of Waterloo’s landscapes.

Annemarie Stefes, 2018

Literature

S. Feitama, Notitie der teekeningen, uit de oudste en latere aanteekeningen, sedert de jaren 1685 en 1690, tot 1746, s.l. (1746), p. 48; L. Schoemaker, Tegen de helling van de Heuvelrug. Rhenen in oude tekeningen, 1600-1900, Utrecht 2007, no. 172; A. Stefes, Niederländische Zeichnungen, 1450-1800, 3 vols., coll. cat. Hamburg 2011 (Die Sammlungen der Hamburger Kunsthalle, Kupferstichkabinett, vol. 2), p. 506, under no. 942 (n. 6); C.P. van Eeghen and P. van der Kuil, Brede Rivieren langs hoge Hellingen. Het stuwwallenlandschap van Midden-Nederland op zeventiende-eeuwse tekeningen, Utrecht 2015, no. 125

Citation

A. Stefes, 2018, 'Daniël Schellinks, Panorama of the Lower Rhine, Looking East from the Heimenberg, near Rhenen, c. 1675 - c. 1690', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200146429

(accessed 18 January 2026 12:09:58).

Footnotes

  • 1According to S. Feitama, Notitie der teekeningen, uit de oudste en latere aanteekeningen, sedert de jaren 1685 en 1690, tot 1746, s.l. (1746), one of two on p. 48: ‘Daniël Schellinks. Rúim gezicht omtrent Arnhem; deze 2, volgens oude Notitie [referring to Sybrand I’s purchases], omtrent A° 1690 f 4.--’; the other is described as ‘Dito (gezicht), op den Zandberg te Arnhem, omtr: A°1680’; B.P.J. Broos, ‘‘Notitie der Teekeningen van Sybrand Feitama’, III: de verzameling van Sybrand I Feitama (1620-1701) en van Isaac Feitama (1666-1709)’, Oud Holland 101 (1987), no. 3, pp. 171, 177.
  • 2Ibid.
  • 3Ibid.
  • 4Copy RKD.
  • 5Copy RKD; there must have been another yet unidentified eighteenth-century sale to which an entry refers that was pasted on the present drawing’s verso: ‘Een Gezigt buyten Renen van Konings Tafel door Schellings’.
  • 6Copy RKD.
  • 7Copy RKD.
  • 8Amsterdam, Stadsarchief, DTB 6, fol. 189.
  • 9Amsterdam, Stadsarchief, DTB 483, fol. 32.
  • 10Amsterdam, Stadsarchief, DTB 1056, fol. 84 (‘Elisabeth van Waert inde Stilsteegh’), buried on 11 July 1673.
  • 11Amsterdam, Stadsarchief, Ondertrouwregister 502, fol. 175.
  • 12A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 273; Amsterdam, Stadsarchief, DTB 1070, fol. 7.
  • 13Ibid., DTB 1070, fol. 36v.
  • 14C. Van Hasselt, Landschaptekeningen van Hollandse meesters uit de XVIIe eeuw uit de particuliere verzameling bewaard in het Institut Néerlandais te Parijs, 2 vols., exh. cat. Brussels (Koninklijke Bibliotheek Albert I)/Rotterdam (Museum Boijmans Van Beuningen)/Paris (Institut Néerlandais)/Berne (Kunstmuseum) 1968-69, no. 127.
  • 15A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 273.
  • 16Amsterdam, Stadsarchief, minutier Gaspar Ypelaer, inv. no. 5348; cf. 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. 2263-64.
  • 17R. Trnek, Traum vom Süden: Die Niederländer malen Italien, exh. cat. Vienna (Akademie der bildenden Künste Wien) 2007-08, no. 60.
  • 18L. Schoemaker, Tegen de helling van de Heuvelrug. Rhenen in oude tekeningen, 1600-1900, Utrecht 2007.
  • 19A. Stefes, Niederländische Zeichnungen, 1450-1800, 3 vols., coll. cat. Hamburg 2011 (Die Sammlungen der Hamburger Kunsthalle, Kupferstichkabinett, vol. 2), nos. 942-43.
  • 20L. Schoemaker, Tegen de helling van de Heuvelrug. Rhenen in oude tekeningen, 1600-1900, Utrecht 2007, no. 3; C.P. van Eeghen and P. van der Kuil, Brede Rivieren langs hoge Hellingen. Het stuwwallenlandschap van Midden-Nederland op zeventiende-eeuwse tekeningen, Utrecht 2015, nos. 71 and 128.
  • 21L. Schoemaker, Tegen de helling van de Heuvelrug. Rhenen in oude tekeningen, 1600-1900, Utrecht 2007, no. 174.
  • 22C.P. van Eeghen and P. van der Kuil, Brede Rivieren langs hoge Hellingen. Het stuwwallenlandschap van Midden-Nederland op zeventiende-eeuwse tekeningen, Utrecht 2015, no. 73.
  • 23B.P.J. Broos and M. Schapelhouman, Nederlandse tekenaars geboren tussen 1600 en 1660, coll. cat. Amsterdam 1993 (Oude tekeningen in het bezit van het Amsterdams Historisch Museum, waaronder de collectie Fodor, vol. 4), no. 172.
  • 24E. de Groot et al. (eds.), The Atlas Blaeu-Van der Hem of the Austrian National Library, 7 vols., ’t Goy-Houten 1996-2008, II (1999), p. 417.