Aan de slag met de collectie:
Portret van een man, ten halven lijve
toegeschreven aan Jacques de Gheyn (III), 1606 - ca. 1644
- Soort kunstwerktekening
- ObjectnummerRP-T-1935-50
- Afmetingenhoogte 101 mm x breedte 87 mm
- Fysieke kenmerkenpen en bruine inkt, met penseel en grijze inkt; kaderlijnen in bruine inkt
Ontdek verder
Identificatie
Titel(s)
Portret van een man, ten halven lijve
Objecttype
Objectnummer
RP-T-1935-50
Onderdeel van catalogus
Vervaardiging
Vervaardiging
- tekenaar: toegeschreven aan Jacques de Gheyn (III)
- tekenaar: Jacques de Gheyn (II) [verworpen toeschrijving]
Datering
1606 - ca. 1644
Zoek verder op
Materiaal en techniek
Fysieke kenmerken
pen en bruine inkt, met penseel en grijze inkt; kaderlijnen in bruine inkt
Afmetingen
hoogte 101 mm x breedte 87 mm
Dit werk gaat over
Onderwerp
Verwerving en rechten
Credit line
Legaat van de heer F.G. Waller, Amsterdam
Verwerving
legaat 1935
Copyright
Herkomst
…; collection François Gérard Waller, 1867-1934, Amsterdam (L. 2760); by whom bequeathed, with 37 other drawings, to the museum (L. 2228), 1935 (as Jacques de Gheyn II)
Opmerkingen
Deze herkomstzin is geformuleerd met een speciale focus op de periode 1933-45 en zou daarom nog onvolledig kunnen zijn. Er kan aanvullende herkomstinformatie in het museum aanwezig zijn. Indien het object een mogelijk niet-heldere of incomplete herkomst heeft voor de periode 1933-45, ontvangt het museum graag aanvullende informatie met betrekking tot de Tweede Wereldoorlog-periode.
Documentatie
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Jacques de Gheyn (III) (attributed to)
Half-length portrait of a Man
1606 - c. 1644
Inscriptions
inscribed on verso: lower left, in pencil, in a modern hand, f 35. (upside down)
stamped on verso: lower right, with the mark of Waller (L. 2760)
Technical notes
watermark: none
Condition
Brown stains throughout; thinning around the lower left edge
Provenance
…; collection François Gérard Waller, 1867-1934, Amsterdam (L. 2760); by whom bequeathed, with 37 other drawings, to the museum (L. 2228), 1935 (as Jacques de Gheyn II)
Object number: RP-T-1935-50
Credit line: F.G. Waller Bequest, Amsterdam
The artist
Biography
Jacques de Gheyn III (? Haarlem/Leiden, ? 1596 - Utrecht, 1641)
He was the son of the artist Jacques de Gheyn II (1565-1629) and Eva Stalpaert van der Wiele (?-?). He grew up in The Hague, where his family maintained close ties with the House of Orange and Constantijn Huygens I (1596-1687), secretary to Frederick Henry, Prince of Orange (1584-1647). Between 1618 and 1620, De Gheyn III was in London with Huygens, whom he accompanied two years later to Stockholm, where he brought eight of his father’s drawings and paintings.1On 19 September 1620, the States General granted De Gheyn III exemption from customs duty on any of the works he brought back into the country: ‘To convey to Sweden from this country by the hand of his son Jacques de Gheyn, without payment of duty, in five cases, marked with the seal of the King and numbered 1, 2, 3, 4, 5, eight pieces of art, both painted and made with the pen, to show them to his Majesty, provided that the applicant furnishes proper security that he shall bring back the aforesaid cases, numbered as aforesaid, with the eight pieces of art, both painted and made by the pen, within the term of three months following, to this country and to the same office from which they were dispatched on penalty of paying the duty due for the same.’; cf. I.Q. van Regteren Altena, The Drawings of Jacques de Gheyn, Amsterdam 1936, p. 16. It is unclear why this expedition took place and what the outcome was.2I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, p. 134. He returned to London in 1622 and stayed there until 1627. While travelling abroad, he visited prominent collections, primarily to study Classical sculpture and further his skills.3Ibid., pp. 125-28.
From 1627 to 1634, De Gheyn III worked in The Hague, probably alongside his father until the latter’s death in 1629.4RKD artists, ‘Jacques de Gheyn (III)’, https://rkd.nl/explore/artists/31340; accessed 23 July 2020. They shared a house at the Lange Houtstraat, next door to Constantijn Huygens.5I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, p. 132. In 1634 he moved to Utrecht, where he became canon of the St. Mariakerk.6E.K.J. Reznicek, ‘Gheyn, de, family’ (published 2003), Grove Art Online, https://doi.org/10.1093/gao/9781884446054.article.T031910; accessed 23 July 2020.
De Gheyn III probably took up drawing at an early age; in drawings by his father, he is represented sketching. His first dated work is from 1614, Father Time, now in the collection of the Koninklijk Fries Genootschap, Leeuwarden.7I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, no. III 25. His oeuvre consists primarily of drawings and etchings, the latter considered his most original contribution.8F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, VII (1952), pp. 193-200.
As a draughtsman and etcher, De Gheyn III followed in the tradition of his father and Hendrik Goltzius (1558-1617), who made pen-and-ink drawings, so-called Federkunststücke, that imitated the appearance of prints. It is sometimes difficult to differentiate the drawings of the younger De Gheyn from those of his father, but they are generally coarser in execution and reveal more attention to light and dark contrasts, using heavy pen lines, alternated with finer lines, abundant stipples and short streaks. Over the years, a small oeuvre of drawings has been established.9For an overview, see H. Möhle, ‘Drawings by Jacques de Gheyn III’, Master Drawings 1 (1963), no. 2, pp. 3-12. He was also a collector and owned works by Rembrandt (1606-1669). The latter painted his portrait in 1632, now in the collection of the Dulwich Picture Gallery, London (inv. no DPG099).10H.E. van Gelder, ‘Rembrandts Portretje van M. Huygens en J. de Gheyn III’, Oud-Holland 68 (1953), p. 107.
Constantijn Huygens II (1628-1697), in his autobiography, lamented the sudden breakdown of De Gheyn III’s work, because he had shown such promise as a young artist.11C. Huygens, De jeugd van Constantijn Huygens door hemzelf beschreven (MS., 1629–31); ed. A.H. Kan, Rotterdam and Antwerp 1946, p. 71. Indeed, only a few works are known after 1629 when his father passed away. De Gheyn III died on 5 June 1641 in Utrecht.
Carolyn Mensing, 2020
References
U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XIII (1920), p. 533 (as Gheyn, Jacob de (3)); F.G. Waller, Biographisch woordenboek van Noord Nederlandsche graveurs, The Hague 1938, p. 110; F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, VII (1952), pp. 193-200; H. Möhle, ‘Drawings by Jacques de Gheyn III’, Master Drawings 1 (1963), no. 2, pp. 3-12; I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, pp. 109-31; E. Buijsen (ed.), Haagse schilders in de Gouden Eeuw. Het Hoogsteder Lexicon van alle schilders werkzaam in Den Haag, 1600-1700, Zwolle 1998, p. 307
Entry
This portrait of an unknown man was attributed to Jacques de Gheyn II (1565-1629) by both Boon and Van Regteren Altena.12K.G. Boon, Netherlandish Drawings of the Fifteenth and Sixteenth Centuries, 2 vols., coll. cat. Amsterdam 1978 (Catalogus van de Nederlandse tekeningen in het Rijksmuseum, Amsterdam, vol. 2). no. 217; I.Q. van Regteren Altena, Jacques de Gheyn: Three Generations, 3 vols., The Hague 1983, no. II 729 (as Jacques de Gheyn II). Boon suggested that the man was a fisherman from Scheveningen, but Van Regteren Altena doubted whether a fisherman would have been so well dressed.13Ibid.
It seems more likely, however, that the drawing was made by his son, De Gheyn III, as its execution, with coarser lines and a heavy stipple pattern in the man’s face –a typical feature in De Gheyn III’s drawings– corresponds more closely with the younger artist’s drawing practice. Compared to a similarly executed drawing by the father in the Rijksmuseum’s collection (inv. no. RP-T-1898-A-3964), the present drawing lacks volume: the artist of the present sheet was unable to use the stippling and crosshatching to convincingly convey volumes and light and dark contrasts. Perhaps De Gheyn III tried to copy this stippling technique from his father when he was studying the latter’s drawing while working in his studio. In addition to the clumsy execution, the drawing includes a similar lightly applied grey wash as was used in De Gheyn III’s drawing of A Boy with a Feathered Hat (inv. no. RP-T-1898-A-3965), also in the Rijksmuseum’s collection.
Carolyn Mensing, 2020
Literature
K.G. Boon, Netherlandish Drawings of the Fifteenth and Sixteenth Centuries, 2 vols., coll. cat. Amsterdam 1978 (Catalogus van de Nederlandse tekeningen in het Rijksmuseum, Amsterdam, vol. 2). no. 217 (as Jacques de Gheyn II); I.Q. van Regteren Altena, Jacques de Gheyn: Three Generations, 3 vols., The Hague 1983, no. II 729 (as Jacques de Gheyn II)
Citation
C. Mensing, 2020, 'attributed to Jacques de (III) Gheyn, Half-length portrait of a Man, 1606 - c. 1644', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200118553
(accessed 18 March 2026 08:15:41).Footnotes
- 1On 19 September 1620, the States General granted De Gheyn III exemption from customs duty on any of the works he brought back into the country: ‘To convey to Sweden from this country by the hand of his son Jacques de Gheyn, without payment of duty, in five cases, marked with the seal of the King and numbered 1, 2, 3, 4, 5, eight pieces of art, both painted and made with the pen, to show them to his Majesty, provided that the applicant furnishes proper security that he shall bring back the aforesaid cases, numbered as aforesaid, with the eight pieces of art, both painted and made by the pen, within the term of three months following, to this country and to the same office from which they were dispatched on penalty of paying the duty due for the same.’; cf. I.Q. van Regteren Altena, The Drawings of Jacques de Gheyn, Amsterdam 1936, p. 16.
- 2I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, p. 134.
- 3Ibid., pp. 125-28.
- 4RKD artists, ‘Jacques de Gheyn (III)’, https://rkd.nl/explore/artists/31340; accessed 23 July 2020.
- 5I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, p. 132.
- 6E.K.J. Reznicek, ‘Gheyn, de, family’ (published 2003), Grove Art Online, https://doi.org/10.1093/gao/9781884446054.article.T031910; accessed 23 July 2020.
- 7I.Q. van Regteren Alterna, Jacques de Gheyn: Three Generations, The Hague 1983, no. III 25.
- 8F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, VII (1952), pp. 193-200.
- 9For an overview, see H. Möhle, ‘Drawings by Jacques de Gheyn III’, Master Drawings 1 (1963), no. 2, pp. 3-12.
- 10H.E. van Gelder, ‘Rembrandts Portretje van M. Huygens en J. de Gheyn III’, Oud-Holland 68 (1953), p. 107.
- 11C. Huygens, De jeugd van Constantijn Huygens door hemzelf beschreven (MS., 1629–31); ed. A.H. Kan, Rotterdam and Antwerp 1946, p. 71.
- 12K.G. Boon, Netherlandish Drawings of the Fifteenth and Sixteenth Centuries, 2 vols., coll. cat. Amsterdam 1978 (Catalogus van de Nederlandse tekeningen in het Rijksmuseum, Amsterdam, vol. 2). no. 217; I.Q. van Regteren Altena, Jacques de Gheyn: Three Generations, 3 vols., The Hague 1983, no. II 729 (as Jacques de Gheyn II).
- 13Ibid.











