Roelant Roghman (attributed to)

Stairs of the Sint-Elisabeth Gasthuis in Amsterdam

Amsterdam, c. 1650 - c. 1652

Inscriptions

  • inscribed on verso: lower centre, in an eighteenth- or nineteenth-century hand, in graphite or pencil (effaced), De trappen van het Elisabethgasthuis; below that, in the same hand, in black ink (partially trimmed), De trappen van het Elisabethgasthu[is]; below that, in a seventeenth-century hand (?), in brown ink, Roghman f

  • stamped on verso: lower left, with the mark of the museum (L. 2228)

  • inscribed on different pieces of cardboard (fragments of a former mount?): in a nineteenth-century hand, in brown ink, R. Roghman 1650 / De Trappen van het Elisabeth’s Gasthuis naast het Stadhuis; in a nineteenth-century hand, in pencil, f 6.-; in a nineteenth-century hand, in brown ink, De trappen van het Elisabeth’s Gasthuis. / Het alleroudste Gasthuis van Amsterdam heft / gestaan aam dem Dam naast het oude Stadhuis; / daarom heet de straat tusschen het Paleis en de huizen / de Gasthuisstraat. Het was het Gasthuis van S. Elisabeth, / en het nam ook proveniers en Kostkoopers op. - / Kort voor 1500 werd dit Gasthuis vereenigd met dat / van St. Pieter, terwijl de gebouwen aan het Stadhuis / getrokken werden, in 1652 met is het met het Stad- / huis verbrand,.- / (Amsterdam door J. Aurelius 1856.)

Technical notes

Watermark: Phoenix within a circle

Condition

Some brown stains on verso; large water stain on verso; tears and abrasion along left edge (restored)

Provenance

…; sale, Johannes Hermanus Molkenboer (1773-1824, Amsterdam), Amsterdam (J. de Vries et al.), 17 October 1825 sqq., Album P, no. 10 (‘R. Roghman. De opgang van het St. Elisabeths Gasthuis, te Amsterdam.’), fl. 6, to the dealer A. Brondgeest, Amsterdam;1Copy RKD. …; sale, Abraham Jacob Saportas (1776-1836, Amsterdam), Amsterdam (J. de Vries et al.), 14 May 1832, Album A, no. 26 (‘De trap van het Elizabeths Gasthuis, mede te Amsterdam als voren [met zwart krijt en o. i. inkt], door R. Rogman.’), fl. 8.75, to the dealer C.F. Roos, Amsterdam;2Copy RKD. …; sale, Kneppelhout (Sterkenburg Castle), The Hague (Van Stockum), 29 March 1949 sqq., no. 229 (‘De trappen v. h. Elizabeths Gasthuis naast het Stadhuis. Potloodteekening m. sepia 26 x 18 cm. d R. Roghman 1650, a. achterzijde gesign.’), fl. 414.10, to the museum (L. 2228)

ObjectNumber: RP-T-1949-492

The artist

Biography

Roelant Roghman (Amsterdam 1627 - Amsterdam 1692)

He was the son of Hendrick Lambertsz Roghman (1602-1647/57) and Maria Saverij and was baptized on 25 March 1627 in Amsterdam’s Nieuwe Kerk. His father worked as an engraver,3F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978), pp. 61-64, nos. 1-3. as did two of his five siblings: his sisters Geertruyt (1625-c. 1651/57) and Magdalena (16324Amsterdam, Stadsarchief, DTB 41, p. 174 (13 January 1632); erroneously given as 13 January 1637 in W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, p. 9 and subsequent literature.-after 1669).5F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978), pp. 53-60, nos. 1-23; pp. 65-66, nos. 1-2; E. Kloek et al. (eds.), Vrouwen en kunst in de Republiek: Een overzicht, Hilversum 1998 (Utrechtse historische cahiers, vol. 19), pp. 160-61. Through his mother, Roelant was a grandson of Jacob Savery I (1566-1603) and a great-nephew of Roelant Savery (1576-1639), after whom he was named. It is not known under whom he trained, but it is likely that he was influenced by the example of his grandfather and great-uncle. Although sometimes grouped with the pupils of Rembrandt (1606-1669), Roghman never actually studied with him. They were friends, however, and according to Houbraken, Rembrandt refused to accept Jan Griffier (1645/52-1718) as an apprentice because he was already studying with his friend Roghman.

Roghman was a prolific draughtsman, whose earliest dated works are two drawn views of tollhouses on the River IJ, both dated 1645, in the Van Eeghen collection, Stadsarchief, Amsterdam (inv. nos. 10055/28) and 10055/29).6B. Bakker (ed.), De verzameling Van Eeghen: Amsterdamse tekeningen, 1600-1950, Zwolle 1988 (Publikaties van het Gemeentearchief Amsterdam uitgegeven door de Stichting H.J. Duyvisfonds, vol. 16), 1988, nos. 28-29. Among the works possibly made even earlier is a pen-and-wash drawing in the Kupferstich-Kabinett, Dresden (inv. nos. C 1798), clearly influenced by Roelant Savery.7W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, figs. 15-16.

In 1646/47, Roghman embarked on his most ambitious project, the series of some 250 castle drawings, of which the Rijksmuseum owns 49 individual sheets. Besides travelling through the Dutch provinces to make castle drawings and topographical views, he also visited Brussels and the region around Cleves.8Cf. drawings such as The Pond at Boschvoorde near Brussels, Brussels, Koninklijke Musea voor Schone Kunsten van België (inv. no. 4060/3065; S. Hautekeete, Tekeningen van Rembrandt en zijn leerlingen in de verzameling van Jean de Grez, exh. cat. Brussels (Koninklijke Musea voor Schone Kunsten van België) 2005, no. 32.); and a View of Cleves, which appeared in the Valkema Blouw sale, Amsterdam (F. Muller), 2 March 1954, no. 389. A number of alpine landscapes – including one in Museum Boijmans Van Beuningen, Rotterdam (inv. no. MB 221), dated 16549W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, p. 29 (fig. 41). For more drawings with identifiable locations in the Swiss Alps, cf. W. Sumowski, Drawings of the Rembrandt School, 10 vols., New York 1979-92, X (1992), p. 5066. – suggest that he must have travelled to the Alps that year,10Cf. different views of the natural passageway in the Pierre Pertuis near Tavannes in the Jura (e.g. Dresden, Kupferstich-Kabinett, inv. no. C 1770; W. Sumowski, Drawings of the Rembrandt School, 10 vols., New York 1979-92, X (1992), no. 2243, with further examples). presumably passing through France. A trip further south may be documented by a View of San Giacomo a Rialto in the Kupferstichkabinett, Berlin (KdZ 2617), traditionally attributed to the artist,11W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, fig. 7. That drawing has alternatively associated with Willem Schellinks (1623-1678; by Frits Lugt, cf. W. Schulz, Die holländische Landschaftszeichnung, 1600-1740: Hauptwerke aus dem Berliner Kupferstichkabinett, exh. cat. Berlin (Kupferstichkabinett) 1974, p. 72) and Jan Baptist Weenix (1621-1659; by Stijn Alsteens, cf. note on that drawing’s mount). Stylistically, however, its broad style relates with drawings by Roghman of circa 1650, for instance, inv. no. RP-T-1887-A-1385, whereas Weenix and Schellinks both worked with more delicate lines. and a signed drawing in the Klassik Stiftung Weimar, Sailing Boat at a Moorage, could have well been made in Venice.12Inv. no. KK 5329; B. van den Boogert, Goethe & Rembrandt. Tekeningen uit Weimar uit de grafische bestanden van de Kunstsammlungen zu Weimar, aangevuld met werken uit het Goethe-Nationalmuseum, exh. cat. Amsterdam (Museum Het Rembrandthuis) 1999, pp. 94-95. In 1657, Roghman stayed in Augsburg, where he had a set of six etched alpine landscapes published by Melchior Küsel (1626-1684)13F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978), pp. 78-81, nos. 25-32; cf. W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, p. 4, n. 18. and contributed a drawing to an album amicorum (inv. no. RP-T-1898-A-3991). No later than 1658, he was back in Amsterdam, where he is documented during the 1660s. In 1672, his opinion was sought on the authenticity of a group of Italian paintings in a legal dispute between Gerrit Uylenburgh (c. 1625-1679) and Friedrich Wilhelm, Elector of Brandenburg (1620-1688).

Roghman’s rare paintings feature mostly mountain scenes and were probably done after his trip to the Alps. Of his circa fifty etchings, mostly landscapes, one depicts the Breach of the St Anthony’s Dike,14F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978), p. 90, no. 39. a famous incident in 1651 that was also recorded by Jan Asselijn (c. 1610-1652), for example in his painting in the Rijksmuseum (inv. no. SK-A-5030), Willem Schellinks (1627-1678) and Jacob Esselens (1626-1687).

Roghman apparently never married and from 1686 lived in Amsterdam’s Oudemannenhuis (Old Men’s Home). His last dated drawing is from 1657, but according to Houbraken, he continued to produce art well into his old age. He died on 3 January 1692 and was buried in the St Anthonis Kerkhof, Amsterdam.

Annemarie Stefes, 2018

References
A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, I (1718), pp. 173-74; III (1721), p. 358; A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 464; R. Juynboll, ‘Roelant Roghman’, in U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXVIII (1934), p. 518, with earlier literature; W.T. Kloek, ‘Een berglandschap door Roelant Roghman’, Bulletin van het Rijksmuseum 23 (1975), no. 2, pp. 100-01; F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978), pp. 67-93; H. Gerson and B.W. Meijer (eds.), Ausbreitung und Nachwirkung der Holländischen Malerei des 17. Jahrhunderts, Amsterdam 1983 (rev. ed.; orig. ed. 1942), pp. 27, 49, 130, 186, 293, 307, 356, 403; W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, pp. 1-14; W. Sumowski, Drawings of the Rembrandt School, 10 vols., New York 1979-92, X (1992), pp. 4989-5174; 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. 642

Entry

Among the Rijksprentenkabinet’s drawings traditionally given to Roghman, a distinct group of five sheets with topographical views in Amsterdam was rejected by Kloek, who considered them to be the work of an as yet unidentified artist who influenced the young Roghman. The others are inv. nos. RP-T-00-346, RP-T-1899-A-4218, RP-T-1949-491 and RP-T-1970-48.15W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, pp. 21, 85. However, with one exception (inv. no. RP-T-1970-48), it is possible in my view to retain these drawings within Roghman’s oeuvre, the stylistic differences within the group explicable by differences in date and degree of finish.

Of this group, the present sheet is the only one bearing what may well be a seventeenth-century attribution to Roghman, comparable to Niemeijer’s ‘Hand A’,16Cf. H.W.M. van der Wyck and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman I, Alphen aan den Rijn 1989, p. 16. a fact that lends further support to the traditional attribution. In handling, the drawing is reminiscent of Roghman’s View of the Town Hall, Gouda of 1646 (inv. no. RP-T-1891-A-2417), featuring firm chalk strokes with a certain spikiness, as well as delicate lines sketched with the sharp edge of the chalk. In addition, the portal’s broad and smoothly sketched arch is similar to the rendering of the main windmill in Roghman’s View of the Bulwark De Westerbeer, with the Mill De Beer, near the Haarlemmerpoort, Amsterdam (inv. no. RP-T-1887-A-1385).

The Sint-Elisabeth Gasthuis, the oldest hospice in Amsterdam, was a popular subject for Amsterdam artists. Built in 1492, it was situated next to the Old Town Hall on what was then the Gasthuissteeg (now the Paleisstraat). Drawings of the same site in the Stadsarchief, Amsterdam, include an example by Anthonie Beerstraten (1637-1664/84) (inv. no. 010001000167)17If by Beerstraten, it cannot legitimately be dated 1644, as claimed on the website, since he would have been only seven years old. and two sheets by Lambert Doomer (1624-1700), the first dated 1652 (inv. nos. 010001000676 and 010097001194).18W. Schulz, Lambert Doomer: Sämtliche Zeichnungen, Berlin/New York 1974, nos. 142-43. On 7 July 1652, the hospice was destroyed by the same fire that devoured the Old Town Hall, providing a terminus ante quem for the present sheet, which has all the appearance of having been drawn on the spot. If the date ‘1650’ given in a nineteenth-century inscription on the drawing’s former mount is to be trusted, the drawing would be contemporary with other drawings by Roghman in the museum, such as the above-mentioned View of the Bulwark De Westerbeer, with the Mill De Beer, near the Haarlemmerpoort, Amsterdam (inv. no. RP-T-1887-A-1385) and two views of the Haagse Bos (inv. nos. inv. no. RP-T-1899-A-4241 and RP-T-1899-A-4242).

Inv. no. RP-T-1970-48 – the only drawing from the museum’s group of five that I believe was correctly rejected as Roghman by Kloek – represents exactly the same view of the Sint-Elisabeth Gasthuis. In my opinion, that drawing should be reattributed to Willem Schellinks (1623-1678) and is apparently an autograph replica of a version of the same view by him preserved in the Special Collections, University of Leiden (inv. no. PK-1899-T-1).19J. Schaeps and J. van der Veen (eds.), Leiden viert feest! Hoogtepunten uit een academische collectie, exh. cat. Amsterdam (Museum Het Rembrandthuis) 2014-15, no. 22, repr. The Leiden drawing bears an autograph inscription by Schellinks on the verso, 1642 door W: Schellinks, ad vivum, which was probably added later, since its date is apparently a mistake made by the artist.20S. 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. 46. Another, slightly different view of the same site, apparently also by Schellinks, dated 1664 but showing the location as it appeared circa 1640-50, is in the Stadsarchief (inv. no. 010094001182). Yet another view of the same staircase in the Stadsarchief (inv. no. 010001000166), taken from further to the left, from the same angle as the Doomer drawing from 1652, is there classified, wrongly in my opinion, as by Roghman.

There are at least three drawings of the nearby blacksmith’s workshop in the former Stilsteegh (now also the Paleisstraat) in the Stadsarchief (inv. nos. 010097001198, 010097002257 and 010097002258). Today all three are given to Schellinks, who lived in that very street at the time. The last two are dated 1662 but show the situation from circa 1643. However, according to an early nineteenth-century inscription on the first of these three – which is closely related to the present sheet, if not by the same hand – it was drawn not by Schellinks but by Roghman.21Excerpt from the sale of Jan Isaak de Neufville Brants (1768-1807, Amsterdam), Amsterdam (J. de Vries et al.), 23 March 1829, Album D, no. 29, pasted on the verso, Het Huisje, gestaan hebbene naast het Oude Stadhuis van Amsterdam / door R. Roghman.

To confuse matters still further, an alternative attribution to Jan Baptist Weenix (1621-1659) has been proposed by Alsteens and Buijs for all three Stadsarchief drawings of the blacksmith.22S. 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. 54, n. 55. There can be little doubt that there was a climate of strong mutual influences among young Amsterdam draughtsmen circa 1650, which might explain the attributional debates.23W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, pp. 21, 85; Weenix lived in Amsterdam from 1647 to 1649, Schellinks from 1646 to 1661; there also was Lambert Doomer, who was back from his travels in 1646, and Paulus Potter (1625-1654), who lived in Amsterdam by 1646 and later from 1652 to 1654. Further research into the relationship of these artists is warranted.

Annemarie Stefes, 2018

Literature

W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, pp. 21, 38 (as Roelant Roghman); J. Schaeps and J. van der Veen (eds.), Leiden viert feest! Hoogtepunten uit een academische collectie, exh. cat. Amsterdam (Museum Het Rembrandthuis) 2014-15, p. 64 (n. 7; as Roelant Roghman)

Citation

A. Stefes, 2018, 'attributed to Roelant Roghman, Stairs of the Sint-Elisabeth Gasthuis in Amsterdam, Amsterdam, c. 1650 - c. 1652', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.59907

(accessed 4 May 2025 11:04:24).

Footnotes

  • 1Copy RKD.
  • 2Copy RKD.
  • 3F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978), pp. 61-64, nos. 1-3.
  • 4Amsterdam, Stadsarchief, DTB 41, p. 174 (13 January 1632); erroneously given as 13 January 1637 in W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, p. 9 and subsequent literature.
  • 5F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978), pp. 53-60, nos. 1-23; pp. 65-66, nos. 1-2; E. Kloek et al. (eds.), Vrouwen en kunst in de Republiek: Een overzicht, Hilversum 1998 (Utrechtse historische cahiers, vol. 19), pp. 160-61.
  • 6B. Bakker (ed.), De verzameling Van Eeghen: Amsterdamse tekeningen, 1600-1950, Zwolle 1988 (Publikaties van het Gemeentearchief Amsterdam uitgegeven door de Stichting H.J. Duyvisfonds, vol. 16), 1988, nos. 28-29.
  • 7W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, figs. 15-16.
  • 8Cf. drawings such as The Pond at Boschvoorde near Brussels, Brussels, Koninklijke Musea voor Schone Kunsten van België (inv. no. 4060/3065; S. Hautekeete, Tekeningen van Rembrandt en zijn leerlingen in de verzameling van Jean de Grez, exh. cat. Brussels (Koninklijke Musea voor Schone Kunsten van België) 2005, no. 32.); and a View of Cleves, which appeared in the Valkema Blouw sale, Amsterdam (F. Muller), 2 March 1954, no. 389.
  • 9W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, p. 29 (fig. 41). For more drawings with identifiable locations in the Swiss Alps, cf. W. Sumowski, Drawings of the Rembrandt School, 10 vols., New York 1979-92, X (1992), p. 5066.
  • 10Cf. different views of the natural passageway in the Pierre Pertuis near Tavannes in the Jura (e.g. Dresden, Kupferstich-Kabinett, inv. no. C 1770; W. Sumowski, Drawings of the Rembrandt School, 10 vols., New York 1979-92, X (1992), no. 2243, with further examples).
  • 11W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, fig. 7. That drawing has alternatively associated with Willem Schellinks (1623-1678; by Frits Lugt, cf. W. Schulz, Die holländische Landschaftszeichnung, 1600-1740: Hauptwerke aus dem Berliner Kupferstichkabinett, exh. cat. Berlin (Kupferstichkabinett) 1974, p. 72) and Jan Baptist Weenix (1621-1659; by Stijn Alsteens, cf. note on that drawing’s mount). Stylistically, however, its broad style relates with drawings by Roghman of circa 1650, for instance, inv. no. RP-T-1887-A-1385, whereas Weenix and Schellinks both worked with more delicate lines.
  • 12Inv. no. KK 5329; B. van den Boogert, Goethe & Rembrandt. Tekeningen uit Weimar uit de grafische bestanden van de Kunstsammlungen zu Weimar, aangevuld met werken uit het Goethe-Nationalmuseum, exh. cat. Amsterdam (Museum Het Rembrandthuis) 1999, pp. 94-95.
  • 13F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978), pp. 78-81, nos. 25-32; cf. W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, p. 4, n. 18.
  • 14F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978), p. 90, no. 39.
  • 15W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, pp. 21, 85.
  • 16Cf. H.W.M. van der Wyck and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman I, Alphen aan den Rijn 1989, p. 16.
  • 17If by Beerstraten, it cannot legitimately be dated 1644, as claimed on the website, since he would have been only seven years old.
  • 18W. Schulz, Lambert Doomer: Sämtliche Zeichnungen, Berlin/New York 1974, nos. 142-43.
  • 19J. Schaeps and J. van der Veen (eds.), Leiden viert feest! Hoogtepunten uit een academische collectie, exh. cat. Amsterdam (Museum Het Rembrandthuis) 2014-15, no. 22, repr.
  • 20S. 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. 46.
  • 21Excerpt from the sale of Jan Isaak de Neufville Brants (1768-1807, Amsterdam), Amsterdam (J. de Vries et al.), 23 March 1829, Album D, no. 29, pasted on the verso, Het Huisje, gestaan hebbene naast het Oude Stadhuis van Amsterdam / door R. Roghman.
  • 22S. 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. 54, n. 55.
  • 23W. Kloek and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman II, Alphen aan den Rijn 1990, pp. 21, 85; Weenix lived in Amsterdam from 1647 to 1649, Schellinks from 1646 to 1661; there also was Lambert Doomer, who was back from his travels in 1646, and Paulus Potter (1625-1654), who lived in Amsterdam by 1646 and later from 1652 to 1654.