Zittende man met pijp

Cornelis Saftleven, ca. 1662

  • Soort kunstwerktekening
  • ObjectnummerRP-T-2019-423
  • Afmetingenhoogte 282 mm x breedte 188 mm
  • Fysieke kenmerkenzwart krijt; verso: bruine inkt

Ontdek verder

meer door Cornelis Saftleven

Kattenconcert

Cornelis Saftleven (mogelijk), naar tekening van Cornelis Saftleven (mogelijk), 1620 - 1715

Kattenconcert

Vogelconcert

Cornelis Saftleven (mogelijk), naar tekening van Cornelis Saftleven (mogelijk), 1620 - 1715

Vogelconcert

Satire op de berechting van Johan van Oldenbarnevelt

Cornelis Saftleven (eigenhandig gesigneerd), 1663

Satire op de berechting van Johan van Oldenbarnevelt

Slapend hondje op een kussen

Cornelis Saftleven, ca. 1617 - ca. 1681

Slapend hondje op een kussen

Leeuw

Cornelis Saftleven, ca. 1620 - ca. 1630

Leeuw

Gezelschap voor een dorpsherberg

Cornelis Saftleven (eigenhandig gesigneerd), 1642

Gezelschap voor een dorpsherberg

Identificatie

  • Titel(s)

    Zittende man met pijp

  • Objecttype

  • Objectnummer

    RP-T-2019-423

  • Onderdeel van catalogus

Vervaardiging

  • Vervaardiging

    tekenaar: Cornelis Saftleven

  • Datering

    ca. 1662

  • Zoek verder op

Materiaal en techniek

  • Fysieke kenmerken

    zwart krijt; verso: bruine inkt

  • Afmetingen

    hoogte 282 mm x breedte 188 mm

Toelichting

  • Vermoedelijk eigenhandige kopie van RP-T-1989-104. Het adres en stempel op de verso tonen aan dat de kunstenaar dit blad naar zijn broer Herman Saftleven in Utrecht stuurde. Beide bladen hebben hetzelfde watermerk.

Verwerving en rechten

  • Verwerving

    aankoop 2019-11-14

  • Copyright

    Publiek domein

  • Herkomst

    …; collection A.M. Jolles-van Loo; from whom, EUR 3500, to the museum (L. 2228), 2019

Documentatie

  • An Zwollo, "Een 'Cornelis Saftleven' per brief", Nederlands Historisch Jaarboek 38 (1987), pp. 402-406.

Gerelateerde objecten

  • Gerelateerd

Duurzaam webadres

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Cornelis Saftleven

Seated Man with a Pipe

c. 1662

Inscriptions

  • inscribed on verso, in brown ink: Aan Sr Harmanus / Saftleven wonende / achter Sinte Pijeter tot / Uuitrecht / porl (?)

Technical notes

watermark: none

Provenance

…; collection A.M. Jolles-van Loo; from whom, EUR 3500, to the museum (L. 2228), 2019

Object number: RP-T-2019-423

Context

Of the approximately five hundred known drawings by Cornelis Saftleven, close to two hundred are studies of human figures. The Rijksmuseum collection holds sixteen of these sheets, made between 1634 and 1665, which give a fairly complete picture of Saftleven's figural draughtsmanship. The models are recorded in varying poses and drawn on different types of support, sometimes toned, sometimes coloured. The drawings range from very swift sketches to more detailed studies.

All the drawings are made with black chalk; those on coloured paper are heightened with opaque white watercolour or white chalk. The Seated Boy with a Hat (inv. no. RP-T-1989-105) is the only one finished with grey wash. The earliest dated study in the Rijksmuseum, the Seated Woman, Facing Left of 1634 (inv. no. RP-T-1989-100) and a later sheet dated 1665, Seated Boy with a Flute (inv. no. RP-T-1902-A-4570), are among the most monumental of the Rijksmuseum figure studies.

The goal of Saftleven's prolific output is unclear: in only a few cases can the figures be linked to his painted oeuvre. He may have sold his studies to other artists, and he certainly also drew figures for his talented landscapist brother Herman (1609-1685), who used them in his paintings. The Rijksmuseum’s collection includes two versions of a Seated Man with a Pipe (inv. nos. RP-T-1989-104 and RP-T-2019-423). Cornelis sent the latter sheet to his brother via post, probably so he could incorporate the figure in one of his compositions.1A. Zwollo, ‘Een ‘Cornelis Saftleven’ per brief’, Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 38 (1987), pp. 402-06.

Carolyn Mensing, 2020

The artist

Biography

Cornelis Saftleven (Gorinchem, 1606 – Rotterdam, 1681)

The son of the Rotterdam artist Herman Saftleven I (c. 1580-1627) and Lijntge Cornelisdr Moelants (d. 1625), he was trained by his father together with two of his brothers, Herman Saftleven (1609-1685) and Abraham Safleven (b. 1613). He likely stayed in Antwerp between 1632 and 1634, where Peter Paul Rubens (1577-1640) painted figures in some of his paintings.2RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020. For a short period of time in the 1630s, he stayed with his brother Herman in Utrecht.3A. van der Willigen and F.G. Meijer, A Dictionary of Dutch and Flemish Still-Life Painters Working in Oils, 1525-1725, Leiden 2003, p. 175.

Except for these few trips, Cornelis Saftleven stayed in Rotterdam. In 1640, he lived in the Lombardstraat and from 1648-1681 on the Franse Water.4N. Schadee, Rotterdamse meesters uit de gouden eeuw, exh. cat. Rotterdam (Historisch Museum) 1994-95, p. 295. On 18 November 1648, he married Catharina Dircx van der Heyden (d. 1654). After she passed away, on 29 September 1655, he married Elisabeth Melchiors van Avont (1619-1695). It appears he remained childless. In 1667, he became the dean of the Guild of St Luke in Rotterdam.5RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.

Cornelis Saftleven was a versatile artist who produced paintings and drawings on a large variety of topics: peasant scenes, rural interiors, landscapes, cattle scenes, biblical and mythological themes, images of hell, allegories, satires and illustrations of proverbs. About 200 paintings and 500 drawings (probably a fraction of his output) have been documented.6W. Schulz, “Saftleven family,” (2003), Grove Art Online, https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074951; Accessed 20 Aug. 2020. In his drawings, he worked mainly in black chalk and sometimes finished his sheets with grey wash. Occasionally, he drew on toned papers. His characteristic monogram – combining the letters ‘C, S and L’ – and a date can be found on his several of his drawings. Perhaps he made these for the market. Stylistically, he was influenced by the landscape drawings of Roelant Rogman (1627-1692), the animal drawings of Roelant Savery (1576-1639), Frans Snijders (1579-1657) and Aelbert Cuyp (1620-1691), and the figure studies of Gabriel Metsu (1629-1667).7Ibid.
Saftleven was buried on 5 June 1681 in the French Protestant Church in Rotterdam.8RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.

Carolyn Mensing, 2020

References
A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, I (1718), pp. 342-43 (as: Kornelis Zachtleven); C. Hofstede de Groot, ‘Een spotteekening van Cornelis Saftleven op de Dordtsche Synode’, Oud-Holland 15 (1897), pp. 121-23; A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 548; N. Alting Mees, ‘Aanteekeningen over oud-Rotterdamsche kunstenaars III’, Oud-Holland 31 (1913), pp. 241-68, 255-59; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXIX (1935), p. 309; B.J.A. Renckens, ‘Enkele notities bij vroege werken van Cornelis Saftleven’, Bulletin Museum Boymans-van Beuningen 13 (1962), pp. 59-74; A. Zwollo, ‘Een “Cornelis Saftleven” per brief’, Nederlands Kunsthistorisch Jaarboek 38 (1987), pp. 402-06; W. Schulz, Cornelis Saftleven (1607-1685): Leben und Werke, mit einem kritischen Katalog der Gemälde und Zeichnungen, Berlin 1978; N. Schadee, Rotterdamse meesters uit de gouden eeuw, exh. cat. Rotterdam (Historisch Museum) 1994-95, pp. 295-96; RKD artists https://rkd.nl/artists/69245

Entry

This drawing is an almost exact copy by Cornelis Saftleven of his drawing of 1662, also in the Rijksmuseum’s collection (inv. no. RP-T-1989-104). The drawing was folded up and sent by him as a letter to his brother, Herman Saftleven (1609-1685), whose address is added in brown ink on the verso of the sheet.9‘Aen Sr Harmanus / Saftleven wonende / achter Sinte Pijeter tot / Uuitrecht’. The brothers are known to have collaborated on a few occasions, for example in a painting in the Maida and George Abrams collection, Boston, Sleeping Hunter in a Landscape, which is signed and dated ‘Saft Levens 1642’.10W. Schulz, Cornelis Saftleven (1607-1685): Leben und Werke, mit einem kritischen Katalog der Gemälde und Zeichnungen, Berlin 1978, pp. 228, no. 646, fig. 29; P.C. Sutton, Masters of Seventeenth-century Dutch Genre Painting, exh. cat. Philadelphia (Philadelphia Museum of Art)/Berlin (Gemäldegalerie)/London (Royal Academy of Arts) 1984, no. 96 (fig. 91). The same collection preserves a drawn study of the sleeping hunter by Cornelis for the picture.11G. Luijten et al., Drawings for Paintings in the Age of Rembrandt, exh. cat. Washington (DC) (National Gallery of Art)/Paris (Fondation Custodia) 2016-17, no. 68. It is thought that Cornelis sent the present study of a seated figure to Herman – who was more talented as a landscapist – so he could use it in one of his paintings.12A. Zwollo, "Een 'Cornelis Saftleven' per brief", Nederlands Historisch Jaarboek 38 (1987), pp. 402-06.

Carolyn Mensing, 2020

Literature

A. Zwollo, "Een 'Cornelis Saftleven' per brief", Nederlands Historisch Jaarboek 38 (1987), pp. 402-06

Citation

C. Mensing, 2020, 'Cornelis Saftleven, _, c. 1662', in J. Turner (ed.), _Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200764244

(accessed 6 juli 2026 22:43:54 UTC+0).

Footnotes

  • 1A. Zwollo, ‘Een ‘Cornelis Saftleven’ per brief’, Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 38 (1987), pp. 402-06.
  • 2RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.
  • 3A. van der Willigen and F.G. Meijer, A Dictionary of Dutch and Flemish Still-Life Painters Working in Oils, 1525-1725, Leiden 2003, p. 175.
  • 4N. Schadee, Rotterdamse meesters uit de gouden eeuw, exh. cat. Rotterdam (Historisch Museum) 1994-95, p. 295.
  • 5RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.
  • 6W. Schulz, “Saftleven family,” (2003), Grove Art Online, https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074951; Accessed 20 Aug. 2020.
  • 7Ibid.
  • 8RKD Artists, https://rkd.nl/explore/artists/69245; accessed 20 August 2020.
  • 9‘Aen Sr Harmanus / Saftleven wonende / achter Sinte Pijeter tot / Uuitrecht’.
  • 10W. Schulz, Cornelis Saftleven (1607-1685): Leben und Werke, mit einem kritischen Katalog der Gemälde und Zeichnungen, Berlin 1978, pp. 228, no. 646, fig. 29; P.C. Sutton, Masters of Seventeenth-century Dutch Genre Painting, exh. cat. Philadelphia (Philadelphia Museum of Art)/Berlin (Gemäldegalerie)/London (Royal Academy of Arts) 1984, no. 96 (fig. 91).
  • 11G. Luijten et al., Drawings for Paintings in the Age of Rembrandt, exh. cat. Washington (DC) (National Gallery of Art)/Paris (Fondation Custodia) 2016-17, no. 68.
  • 12A. Zwollo, "Een 'Cornelis Saftleven' per brief", Nederlands Historisch Jaarboek 38 (1987), pp. 402-06.