Aan de slag met de collectie:
Familieportret
toegeschreven aan Aleijda Wolfsen, toegeschreven aan Caspar Netscher, 1663 - 1684
- Soort kunstwerktekening
- ObjectnummerRP-T-1886-A-605
- Afmetingenhoogte 533 mm x breedte 420 mm
- Fysieke kenmerkenzwart en wit krijt, op blauw papier
Ontdek verder
Identificatie
Titel(s)
Familieportret
Objecttype
Objectnummer
RP-T-1886-A-605
Onderdeel van catalogus
Vervaardiging
Vervaardiging
- tekenaar: toegeschreven aan Aleijda Wolfsen
- tekenaar: toegeschreven aan Caspar Netscher
Datering
1663 - 1684
Zoek verder op
Materiaal en techniek
Fysieke kenmerken
zwart en wit krijt, op blauw papier
Afmetingen
hoogte 533 mm x breedte 420 mm
Dit werk gaat over
Onderwerp
Verwerving en rechten
Verwerving
aankoop 1886
Copyright
Herkomst
…; from the dealer F. Muller, Amsterdam, fl. 1, to the museum (L. 2228), April 1886
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Aleijda Wolfsen (attributed to), Caspar Netscher (attributed to)
Portrait of a Family
1663 - 1684
Inscriptions
stamped on verso: lower centre (partially trimmed), with the mark of the museum (L. 2228)
Technical notes
Watermark: None
Provenance
…; from the dealer F. Muller, Amsterdam, fl. 1, to the museum (L. 2228), April 1886
Object number: RP-T-1886-A-605
The artist
Biography
Aleida Wolfsen (Zwolle 1648 - Zwolle 1692)
She was born on 24 October 1648, the daughter of the wealthy burgomaster of Zwolle, Hendrik Wolfsen (1615-1684), and his wife, Aleijda Verwers (1626-1665). The family moved to The Hague in 1657, and she remained there for a decade until her marriage in Rijkswijk on 5 October 1667 to another burgomaster of Zwolle, Pieter Soury (1645-1695).1The Hague, Nationaal Archief: DTB Rijswijk, 1. IV, fol. 167. Following her marriage to Soury – by whom she had ten surviving children2All born in Zwolle, with one exception in Amsterdam, Stadsarchief: DTB Dopen, archive no. 5001, inv. no. 10, p. 202. – the couple lived for a year in The Hague (1667), before moving into the former Wolfsen family home in Zwolle (1667-72 and 1674-92), which they kept, even after their move back to The Hague (1672-73 and 1683) and to Amsterdam (1673-74). Aleida is generally assumed to have studied with Caspar Netscher (c. 1635/36-1684) in The Hague around 1670,3https://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Wolfsen. but dated portraits from 16634Sale, London (Christie’s), 11 March 1993, no. 70. and 16675Sale, Germany (Sotheby’s), 11-18 October 2023, no. 67; O. Naumann, Frans van Mieris (1635-1681) the Elder, 2 vols., Doornspijk 1981, II, p. 168, no. C121. suggest that such training, if it occurred, took place before her marriage. She was certainly close to Netscher in later years, serving as a witness to the baptism of two of his children (in 1673 and 1678). She practised as a portrait painter in the manner of her presumed teacher, undertaking commissions from family and friends, and was nicknamed the ‘Penseel-Princes’ (‘Brush princess’) by Jacob Campo Weyerman. Her latest signed work is from 1691, the Portrait of a Young Woman in the Stichting Het Vrouwenhuis, Zwolle. She died on 25 August 1692 in childbirth with her fifteenth baby, a boy called Coenraad Willem.6https://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Wolfsen.
Jane Shoaf Turner, 2025
References
J.C. Weyerman, De levens-beschryvingen der Nederlandsche konst-schilders en konst-schilderessen, 4 vols., The Hague/Dordrecht 1729-69, IV (1769), p. 336; A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 898; ; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXXVI (1947), p. 225; E. Buijsen (ed.), Haagse schilders in de Gouden Eeuw. Het Hoogsteder Lexicon van alle schilders werkzaam in Den Haag, 1600-1700, Zwolle 1998, p. 361; C.P. Sengers et al., Lexicon van Noord-Nederlandse kunstenaressen, circa 1550-1800 Hilversum 1998, p. 174; S. van Cauwerberge et al., Elck zijn waerom. Vrouwelijke kunstenaars in België en Nederland, 1500–1950 Ghent 1999, pp. 188-89; M.E. Wieseman, Caspar Netscher and Late Seventeenth-Century Dutch Painting, Doornspijk 2002 (Aetas Aurea: Monographs on Dutch & Flemish Painting, vol. 16), pp. 121-22; E. Wolleswinkel, ‘Er was eens een penseelprinses... en zij heette Aleijda Wolfsen’, Jaarboek Die Haghe 2015, pp. 72-95; https://rkd.nl/artists/85402; https://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Wolfsen
Entry
The sheet entered the collection as anonymous (‘onbekend’) but was later associated with Caspar Netscher (c. 1635/36-1684), albeit with a question mark. It is, however, directly related to a painting, Portrait of an Unknown Family (fig. a), which appeared in 1988 on the art market as attributed to Caspar’s son Constantijn Netscher (1668-1723),7Sale, New York (Christie’s), 20 October 1988, no. 89. but which has since been given to Aleida Wolfsen,8Note on the mount of the RKD photo by Christina Wansink (C.W.). who was closely associated with the Netscher family in the 1670s (although a formal apprenticeship is not documented. Not only do the facial features correspond – but also the costumes, accessories and jewellery (from the husband’s armour and cravat to the wife’s pearl necklace and earring to the feathers worn by one of the daughters. Given the fact that the drawing focusses entirely on the sitters, with only the slightest hint of the curtain to the left, it may have been made as a preliminary sketch rather than as a ricordo of the finished painting. This may also explain why, for instance, the pattern of the mother’s dress is only suggested at her bodice, whereas, in a ricordo one would expect it to have been completely rendered.
The present sheet would be the first drawing to be attributed to this poorly studied artist, but the proposal makes sense stylistically. It features the same strikingly clean-cut shapes, large eyes and slender noses encountered in such paintings by Wolfsen as Portrait of a Lady,9Sale, Vienna (Dorotheum), 4 October 2006, no. 166. or another Portrait of a Lady.10Sale, New York (Sotheby’s), 14 October 1998, no. 190. Aleida’s penchant for ‘strongly delineated features’ was singled out by Netscher scholar M.E. Wieseman.11Caspar Netscher and Late Seventeenth-Century Dutch Painting, Doornspijk 2002 (Aetas Aurea: Monographs on Dutch & Flemish Painting, vol. 16), p. 122. Wolfsen may also have been responsible for inv. no. RP-T-1890-A-2282, a copy after a drawing by Caspar Netscher.
Annemarie Stefes, 2018
Citation
A. Stefes, 2018, 'attributed to Aleijda Wolfsen and attributed to Caspar Netscher, Portrait of a Family, 1663 - 1684', in J. Turner (ed.), (under construction) Drawings 2, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200146208
(accessed 29 November 2025 09:13:00).Figures
Footnotes
- 1The Hague, Nationaal Archief: DTB Rijswijk, 1. IV, fol. 167.
- 2All born in Zwolle, with one exception in Amsterdam, Stadsarchief: DTB Dopen, archive no. 5001, inv. no. 10, p. 202.
- 3https://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Wolfsen.
- 4Sale, London (Christie’s), 11 March 1993, no. 70.
- 5Sale, Germany (Sotheby’s), 11-18 October 2023, no. 67; O. Naumann, Frans van Mieris (1635-1681) the Elder, 2 vols., Doornspijk 1981, II, p. 168, no. C121.
- 6https://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Wolfsen.
- 7Sale, New York (Christie’s), 20 October 1988, no. 89.
- 8Note on the mount of the RKD photo by Christina Wansink (C.W.).
- 9Sale, Vienna (Dorotheum), 4 October 2006, no. 166.
- 10Sale, New York (Sotheby’s), 14 October 1998, no. 190.
- 11Caspar Netscher and Late Seventeenth-Century Dutch Painting, Doornspijk 2002 (Aetas Aurea: Monographs on Dutch & Flemish Painting, vol. 16), p. 122.