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The Great Masters 

in Painting and Sculpture 
Edited byG, C. Willitmsorf 



GERARD DOU 



THE GREAT MASTERS IN PAINTING 
AND SCULPTURE. 

TTu following Volumes kaae bun issued, price f, tut each. 

BERNARDINO LUItft. By GEORGB C WILLIAMSON, Litt,D. 

VELASQUEZ. By R, A. M. STEVENSON, 

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GERARD DOU. By W. MARTIN, Ph.D. 

In Preparation. 

EL GRECO. By MANUEL B.Cossio, LittD., Ph.D. 
TINTORETTO. By J. B. STOWHTON HOLBORK, M.A. 
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Qtkf* to follow. 



LONDON: GEORGE BELL AND SONS. 



GERARD DOU 



BY 



W. MARTIN, LITT.D. 

SUBDIRBCTOR OF THE ROYAL GALLBRY OF PAINTINGS 
AT TH HAGUB 



DUTCH BY 




ICBISWICK PRESS: CHARLES WHIITINGHAM J&D CO. 
TQOKS COURT, CHANCERY LANE, LQSDOK. 



PREFACE 

T T NLIKE most of the famous Dutch artists of the 
U seventeenth century, Gerard Dou has never yet 
been made the subject of a monograph in English ; and 
the present volume is in fact no more than a translation 
condensed from a recent work by me* 

Gerrit Dou (in England more commonly known as 
Gerard Dou, or Douw he signed his name as G Dov) 
achieved fame even in his lifetime* Though not a great 
genius, he created a style of art which at once and for 
long after captivated public taste, and many pupils 
followed his lead. His works brought him high prices, 
and, from the first> found their way into important col* 
lections, And as his life (1613*16/5) coincided with 
the golden age of Dutch painting, he is a suitable 
central figure for a sketch of the, history of art in 
Holland, and especially in Leyden, during the seven* 
teenth century, I have attempted in this volume, so 
far as Dou's Hfe affords the opportunity, to represent 
tfye condition of art in his time. I have studied the 
rtgistcrsof the Guilds in the teyden archives, and com* 
jMtred the data with those from other sources, and have 
extmited various authorities to enable me to make the 
picture complete, supplementing the information by a 
reference to paintings and prints of the period, as well 
as to various unpublished documentswills, letters, etc,, 



vi PREFACE 

which supply many interesting details and have occa- 
sionally rectified the statements of published authorities. 

By the kindness of the trustees of the fund left by 
Mr. H. Vollenhoven to enable students to travel, I have 
been able to collect such materials as were not to be 
found at home- I thus filled up some gaps in our 
knowledge of Dou's life, and corrected many errors in 
the attribution of his works, and I hereby record my 
gratitude 

Not less are my thanks due to the trustees of the 
Leyden University fund, who helped in the production 
of the book. I have also to express my acknowledg- 
ments to Prof. Dr. P. J, Blok, of Leyden ; Dr, A, Bredius, 
of the Hague ; to Dr, G. Hofstede de Groot, and tc 
Heer E. W. Moes, of Amsterdam. 

I might name many more both at home and abroad 
but will only mention, for English readers, Mr. Sidnej 
Colvin of the British Museum, and Mr. Salisbury of the 
Record Office, though I am not less indebted to curator' 
and directors of collections in France, Germany anc 
other lands. 

Finally, let me return my hearty thanks to Mrs, Bell 
who has translated the book from theDuteh mtoEfcglish 
and accomplished a difficult task with great care an< 
accuracy. 

W. MARTIN, 



P.S, Dr. Martin has been good enough to revise th 
spelling of Dutch names. C. B. 



TABLE OF CONTENTS 

CHAHfEE 

LIST OF ILLUSTRATIONS ........... ix 

BIBLIOGRAPHY .............. xi 

I, ART IN HOLLAND AND ESPECIALLY IN LBYDEN 

DURING THE SEVENTEENTH CENTURY , . . . I 

II. Dou's LIFE BEFORE 1631 .......... 27 

III. LIFE FROM 1631 TILL HIS DEATH ....... 43 

IV. A PAINTER'S STUDIO IN THE SEVENTEENTH CEN- 

TURY : Dotfs PUPILS AND FOLLOWERS . * . . 76 
V. Dou's PICTURES IN THE MARKET: PRICES \ND 

PURCHASERS .............. 93 

CATALOGUE OF THE WORKS OF GERARD Dou : 

Note as to catalogue by translator ...... , . 101 

Austria-Hungary ............. .102 

Belgium ................. 105 

British Isles ............... 107 

Denmark ................. 117 

France ................. 117 

Germany ................. 121 

Holland ................. 133 

Italy .................. 137 

Poland ................. 138 

Russia ................. 138 

Sweden ................. 141 

Swltwland ................ 143 

United States ..... .......... 143 



144 
149 



vii 



LIST OF ILLUSTRATIONS 

ARRANGED CHRONOLOGICALLY 



TOFAOS 
PACT 



1. Girl at a Window (66) Waddesdon 

Frontispiece 

2. Rembrandfs Mother (97) Btrlin 6 

3. Rembrandt's Mother (166) 

Hotkwattr Colltction^ Ttu Hague 8 

4. The Flute Player (40) LordCaysfort 10 

5. Rembrandt's Father (104), .' . .. Cam? 12 

6. Hermit in Prayer (107) Dresden 14 

7. Girl scouring a Pan (37) . . * . Buckingham Palace 16 

8. Girl cutting Onions (36) , . * , Buckingham Palace 20 
9* The Magdalen (101) Carlsruht 24 

10. Dou at work in his Studio (in) . . . , . . Dresden 26 

1 1. Woman with a dead Fowl (83) Lowre 28 

12. The Carpenter's Family (39) , , Buckingham Palace 30 

13. Woman combing a Boy's Hair (142) Munich 32 

14. Portrait of the Artist (135) Munich 36 

15. Woman gathering Grapes (34) , Buckingham Palace 38 

1 6. Woman with a Jug watering a Plant (3$) 

Buckingham Palace 40 

17. The Quack Doctor (134) Munich 44 

18. The Doctor (8) Vienna 46 

19. The Fisherman's Wife (158) Amsterdam 50 

20* Man weighing Gold (77) ,,.,,.,, Lowr* 52 

21. The Pancake Seller (170) Uffi^Plonn&i 54 

22. Girl watering Flowers (119) . ..,,,. Dresden 58 

3 The Lost Thread (120) . * Dw&x 60 

24, The Gnscert Shop (84) L<wm 64 

35,, Portrait of the Artist (155) AmsUrdam 66 

& The Young Mother (164) ThtHagui 68 

47, Womaa wying Grace (141) , * , Munich 70 

ix * 



x LIST OF ILLUSTRATIONS 

TOFACB 
PACK 

28, The Poulterer's Shop (47) National Galley 74 

29 Girl with a Candle (144) Munich 76 

30. Girl at a Window (25) . FitwilUam Museum^ Cambridge 78 

31. Young Man playing the Violin (32) , Bridgewater* House 80 

32. The Wine-Cellar (121) - .Dresden 82 

33. Still-Life (122) Dresden 84 

34. The Evening School (159) Amsterdam 86 

35. Lady playing on the Virginals (26) - ... Dulwich 88 

36. A Hermit (153) Amsterdam 90 

37. Man playing the Violin (112) Dresden 92 

38. The Old Schoolmaster (109) Dresden 94 

39. The Toilet (143) Munich 96 

40. The Dentist (i ro) Dresden 98 

41. The Grocer's Shop (38) , . . Buckingham Palace 100 



BIBLIOGRAPHY 1 

ANGEL, PHILIPS. LofderSchilder-Konst Leyden, 1642, 
BELL, MALCOLM, Rembrandt van Rijn and his Works. 

London (G. Bell and Sons), 1899* 
BIK, C DE. Gulden Cabinet van de edel vrij Schilder-const 

Antwerpen, 1661. 

BLANC, CH, Histoire des Peintres de toutes les Ecoks. 
Ecole hollandaise. VoL I, Paris, 1876. 

BREDIUS, A. Die Meisterwerke des Rijksrauseum zu Am- 
sterdam. Miinchen, Franz Hanfstangl. 
BREDIUS, A. Die Meisterwerke der Koniglichen Gemalde 
Galerie im Haag. Miinchen, Franz Hanfstangl. 
DOHME, It Kunst und Kiinstler des Mittelalters und der 
Neuzeit Leipzig, 1877-86. 
EVELYN, JOHN, Diary, ed, by W. Stay* 

(Bohn's Historical Library) London. 
GOWEK, R. The Figure Painters of Holland 

London! 1880* 

GRANBERG, 0, Galerie de Tableaux de la Reine Christine de 
Sufede. Stockholm, 1897, 

HOUBRAKBN, ARNOLD* De Groote Schouburgh der Nder- 
kntsche Konstschilders en Schilderessen, Vol. II. 

J s Gravenhage, 1719. 
^ IMMEIUEEL, I, Hollandsche en Vlaamsche Kunstschilders, 

Amsterdam, 1842* 

KRAMM, CHIC Hollandsche en Vlaamsche Kunrtfchildera, 
Vol. II. Amsterdam, 1858, 

1 Only tHmoftimporUnt boob, 
xi 



MICHEL, . Rembrandt, sa vie, son oeuvre et son temps. 
Chap. Ill, Paris, 1893. 

OBREEN, FR. D. O. Archief voor Nederlandsche Kunst- 
geschiedenis. Vol. V., pp, 23, 172, foil by A. BREDIUS. 

Rotterdam, 1882. 

ORLERS, J. J. Beschrijvinge der Stadt Leyden. 1641. 

SANDRART, JOACHIM VON. L'Academia Todesca ... oder 
Teutscbe Academic der edlen Bau- Bild- und Mahlerey- 
Kiinste. Nurnberg, 1675, 

WBYSRMAN, J. C. De Levensbeschrijvingen der Neder- 
landsche Konstschilders, etc. 1729. 
A., u. WOERMANN, K. Geschichte der Malerei. 
Vol. III., p. 182. Leipzig, 1888. 



ERRATA. 

P. 7, line 1 5, for " the Hague " read " Amsterdam." 
P. 14, line 3, for " 1560-1605 " read " 1568-1648." 
P. 20, iine'24, for " Rubens * read " Rembrandt" 
P. 32, line *$>for " Claesz." read w Claes." 
P. 55, line i,>6r "no tree-trunk" w/ "a tree-trunk." 
P. 66, footnotes for the side " mrf this side." 
P. 71, line 7,>- "Master" read " Majsters," 
P. 7 i, line 8, >r " his and " he " read "their " and they." 
P. 115, No. 61, for "the flight into Egypt" r*ad* bibli- 
cal subject" 



GERARD DOU 

CHAPTER I 

ART IN HOLLAND AND ESPECIALLY IN LEYDEN 
DURING THE SEVENTEENTH CENTURY 

T EYDEN held a foremost place among those towns 
jL< in the Netherlands which developed rapidly in the 
early years of the seventeenth century. The influx of 
industrious craftsmen, driven northward from Flanders, 
and the foundation of a High School, whose professors 
presently raised it to be the head-centre of learning in 
Holland, together with the establishment of the Col- 
legium Theologicum, where Calvinism was taught, com-, 
bined to open a new era to Leyden, which soon out- 
stripped the other cities of Holland in extent and 
prosperity. By 1695, when.its borders were for a second 
time enlarged, the very appearance of the buildings 
showed its rapid development 

The Reformation had done much to change its aspect. 
CJwrch buildings had become the property of the town 
aitfjwe appropriated to new uses ; the convents king 
fck*ft for municipal purposes, hospitals or libraries. The 
three great churches (the Hooglandsche, St. Pietert, arid 
that of Our Lady) were whitewashed over the pictured 
walls, and the old wcod-carangs aot already destroyed 



2 GERARD DOU 

were daubed over with paint. Even buildings of which 
the uses were left unchanged were altered. Thus a new 
wing was added to the old prison of fce Gravensteen, 
adorned with wood-carvings by Xavery (1672) ; and the 
Burcht, the most ancient example of a fortress in the 
country, was modernized by the addition of a stone gate 
with the arms of the Government 

Leyden was still further transformed by the erection 
of new dwelling-houses, which were aligned in broad, 
straight streets, and the good citizens prided themselves 
on beautifying and improving their native town. In 
1576 a new tower was begun at the back of the old 
town hall, and finished in the following year; and 
twenty years later the town hall was itself provided 
with a new fajade in the peculiar Renaissance style 
which markecl the transition from the old Flemish to the 
New Dutch architecture still of the traditional Flem- 
ish-classic design, but with the first attempts at more 
modern ornament. At the same time, on the other 
side of the Breestraat, the house known as the Rijnland 
House l was renovated with the fagade which still d#P 
tinguishes it, and a year later the Trwiale SchSCflwas 
built, very much in the same style. 

The number of new buildings was constantly added 
to after the extension of the town in 1610, and in 1640 
the Lakenhal) or Clothworkers 1 Hall, was built in the 
new suburb ; it is typical of the Dutch style of the 
middle of the seventeenth century, free from all Flemish 
influence. We see from the ornament and detail that 
the architect had the buildings of Amsterdam in M 

1 It was the hall of the Dyke Reeves of the Rhine district* cf 

the Netherlands, 



ART IN LEYDEN 3 

mind. This is further seen in the two new churches 
subsequently erected, the Marekerk and the Waardkerk ; 
the Waardkerk being almost a copy, somewhat simplified, 
of the Zuiderkerk at Amsterdam. The same influence 
is evident in the dwelling-houses of that date, and it 
contributed largely to stamp on Leyden the aspect it 
even now bears. 

And while the town was thus being beautified with 
fine fagades, equal care was given to tasteful decoration 
within. Rich carpets and furniture adorned the recep- 
tion-rooms of every Corporation. It is beyond the 
scope of this work to enlarge on the progress of the 
industrial arts in Leyden, but the subject is worthy of 
study. We have only to recall the statue in carved wood 
Qfjustitia^ which stood in the Court of Justice, the fine 
carving of the mantelpieces in the Town Hall and the 
Rijnlandshuis, and the tapestiy of The Relief ofLeydm, 
now in the Municipal Museum. The carillons in the 
towers of the Town Hall and of the Silkworkers' Hall 
date from this time, and are mentioned with admira- 
tion by many travellers. 

We must restrict ourselves here to the progress of the 
painter's art, not merely to estimate the interest taken 
in it by the Government and citizens, but also to form 
some idea of what works of art were to be seen in 
Leyden, as a possible encouragement to such a man as 
Gerard Dou, or as lifaply to guide his taste in any par- 
ticular direction. 

Leyden, in fact, could boast, at the beginning of the 
seventeenth centiirj*-, of various works by earlier masters, 
which had escaped the "raging torrent of Iconoclasm," 
as Orlers calls it 'Besides The Last Judgment by Lucas 



+ GERARD DOU 

van Leyden, there were two triptychs and a painting in 
water-colours by Cornells Engebrechtsz., and one or 
more paintings by Jacob Clementsz., 1 all of which were 
preserved in the Town Hall ; two small triptychs in the 
chapel of the Saint Annahofje, spared by the image- 
breakers, and a few old pictures in certain hospitals. 
There were also to be seen here and there in citizens' 
houses (in 1640) paintings by Cornelis Kunst, Lucas 
Cornelisz. de Cock and Aertgen van Leyden, and even 
an altarpiece by Engebrechtsz., which belonged to the 
van Lockhorst family, Lucas van Leyden's Last Judg- 
ment was especially prized, and the Municipality valued 
it so highly that an offer from the Emperor Rudolf von 
Habsburg to buy it for as many gold ducats as would 
cover it was at once refused. 

Presently a demand arose for works by living painters, 
for the adornment of public and private buildings. Not 
long before the building of the Silk Hall, the Burgo- 
master and Alderman Isaac Claesz. Swanenburch had, 
by the desire of the Municipality, painted six pictures in 
a set, representing the various processes of the " drapery- 
craft" His son, Claes Isaacsz,, a few years later, exe- 
cuted a%reat mantelpiece for the Burgomasters' Chamber 
in tKe Town Hall, representing the "history of King 
Pharaoh in the Red Sea, and the Leading* of the 
Children of Israel in the Desert/' as was set forth in 
verse above the picture, which -fcpjf totally disappeared. 

In 1615 Pieter van Veen painted The Relief of Leyden 

1 It may be noted here once for all th%i .terminal #. of Dutch 
names stands for soon * son (as dr. at theSfd of a woman's name 
does for dochter), and should always have a supplementary Stop to 
show the abbreviation. 



ART IN LEYDEN 5 

to decorate the Town Hall, and twenty-five years later 
the Municipality ordered " Jan Lievensz., born a citizen 
of Leyden," to paint an incident in the life of Scipio 
Africanus, "according to Livius." In 1664 an Allegory 
of Peace, by Ferdinand Bol, was added, and a number 
of cabinet pictures by other painters; a portrait of 
Burgomaster J. J. Orlers, by A. de Vries ; and pictures 
by Flinck, A- Brouwer and van Tol, a flower-piece 
by Mignon, etc,, now all in the Municipal Museum. 
The "Great School" also had a picture, representing 
Human Life^ painted to order by Joris van Schooten 
in 1624 for the Government, at the price of 100 gulden. 
This, too, is now in the Municipal Museum. 

When the new Cloth Hall was built, in 1640, it was 
adorned within, as the old hall had been, with paintings 
of symbolical subjects referring to the cloth trade, and 
other pictures found a place on its walls. 

The Dyke Reeves of the Rijnland in like fashion de- 
corated their new hall with pictures. They not only 
" caused to be painted and baked twelve ovals (of glass) 
with coats of arms " for the windows of the great hall, 
which may still be seen there, and adorned every part 
with carved work and images, but they commanded 
pictures to be painted, especially for the great meeting 
or board-room. Thus, in 1654, Caesar van Everdingen 
painted, for 1,200 jjjli^en, a large piece representing 
Count William II. giSBfing their old privileges to certain 
nobles of the Rijnland. Dirk Maes also painted a picture 
for them ; Jan Uftfcps executed a piece for the mantel 
representing JvsHJBt ancl his son, Jan Andr Lievens, 



1 For this he asked 400 gulden, but was only paid 280, as is 
proved by the Acc0ijBt$ for 1670. If, d$ M0pr r$stpr$d tftls worfe 



6 GERARD DOU 

in 1666, painted a picture with a Mathematictis put in 
by his father- And they added the still fine painted 
ceiling of the great hall, and many other pictures. 

Though allegorical and historical paintings had been 
preferred for these decorative worfcs, in the library and the 
Doelen x portraits predominated. The library had a large 
number of portraits which for the most part are still to 
be seen there. Two full-length figures represented 
William the Silent and Maurice, while the walls " were 
adorned and hung with various effigies or counter- 
feits " of other gentlemen, " professors in Leyden or other 
learned men." In the Doelen were the seven archery 
pieces by Joris van Schooten, containing the " counter- 
feits of all the officers of seven companies of the archers," 
which, with an eighth by the same hand, and some por- 
traits painted in 1657 by Jac. van der Merck, are all pre- 
served in the Municipal Museum. 

The directors of hospitals and of the Courts of Justice, 
and the masters of the guilds and other societies also 
encouraged portrait-painting in Leyden. Great numbers 
of such pictures are to be seen in the Museum ; among the 
most important are the portraits of the Governors of the 
Pest-house, by A. C. Beeldemaker, 1667 ; of those of the 
Orphanage of the Holy Ghost, by Abraham van den 
Tempel, 1669 ; and of the St Cecilia refuge, by JT de Vos, 
1662 ; and as several independent portraits are also pre j 
served in the Municipal Museum at Leyden, it is evident 

in 1699 and added his own initials. The elder Jan Lieveas re- 
ceived 100 ducotons for the Matfamaticus* 

1 The Doelen were the places where the citizens practised 
archery j the reception-rooms attached were, in every town, 
with portraits of the officers of the regiments* 




Hanfstangl photo] 
Plate a 



[Berli 



REMBRANDT'S MOTHER 



ART IN LEYDEN 7 

that the magnates of the town gave the portrait-painters 
plenty of work. 

Pictures of genre, landscapes and still-life, besides 
sacred subjects, were also to be found in these insti- 
tutions ; many of these have disappeared, but no less than 
ten remain of those from the St Cecilia refuge, and five 
from that of Jan Michiel, all now to be seen in the 
Municipal Museum. 

But the citizens, even more than the city magnates, ere 
long began to collect pictures. The number of amateurs 
steadily increased in Leyden. There were already several 
collections in Holland by the end of the sixteenth century, 
especially at Amsterdam ; and by the middle of the seven- 
teenth new purchasers constantly appeared, mostly rich 
merchants of the Hague and other cities ; and Leyden 
could count many "lovers of painting" among her 
citizens, 

Arent van Buchel, a lawyer of Utrecht, himself a 
collector, has left a record l from whUttNMfe learn the 
names of these amateurs. He wad kibe;^Bfcrf* visiting 
Leyden, and knew several of tK^^ttrnelis Bf)|rttaft an 
engraver, was his very good friJwdfnQe chiefly coIUBbd 
prints, but also had some drawings which were subse- 
quently eng*a?ed, and a few pictures. It is not always 
quite ctear From Buchel's account (written in 1623) 
which, were whicti ; but besides drawings by Italian and 
German tflteters, he owned examples paintings, draw- 
ings or engravings of the old Leyden masters, Lucas 
and Aertgen. 

Johan Overbeeck colleefwjRSfeliTtings only. Itf hfe 

notes for 1626 and 1626 Ita&&l*ntkms, as belonging 

Published in * Ottd 



8 GERARD DOU 

to him, picture? by Rubens, Coninxloo and others less 
famous, while the modern school was represented by 
Percellis and Bailly, who had executed portraits of 
Overbeeck and his wife in pen and ink, in which Bailly 
was peculiarly skilled. Orlers tells us that he began 
in 1623 " to make certain persons in small with the pen 
. . . very curiously and properly wrought." 

Theodorus Screvelius, Rector of the Triviale School, 
had a small but important collection. He had previously 
lived at Haarlem and bought most of his pictures there. 
He had been painted with his wife by Verspronck, and 
he himself sat also to Frans Hals ajid to a third painter, 
of Haarlem. He, too, had some works by Bailly. Th^j 
lawyer Heer Backer, 11x^622, had but one portrait, 
and as far as we know not a single work by any Leyden 
painter ; Rubens, Frans Floris and Titian, are the most 
famous names in his catalogue. Indeed, only one of the 
collectors enumerated by Buchel, the wine merchant, 
Schellinger, had been painted with his family by a Leyden 
artist, Isaac Claesz. van Swanenburch, We can, how- 
ever, gather from these unconnected notes that there 
were several amateurs and certainly two collectors in 
Leyden, Boissens and Johan Overbeeck, wfro probably 
encouraged the native painters ; Overbeeck certainly did, 
for in 1642 Angel dedicated to him his *' Praise of the 
Painter's Art," which treats chiefly of Art in Leyden* 

Beyond the information to be obtained from BuchePa 
notes little is known about the collectors in Leyden. We 
are incidentally informed that Scriverius had some int$t*g 
esting pictures ; his Q"iv%portrait by Frans Hals (now in 
the Warneck Collection, Paris), Three Musician^ by thfc 
same painter, and works by Rembrandt, Lieven% Wou^ 




REMBRANDT'S MOTHER 



Plate 3 



ART IN LEYDEN 9 

werman and others. Many of the painters of Leyden 
possessed and dealt in works of art 

It may be inferred, however, that about 1630 the 
Leyden portrait-painters were those who were chiefly 
employed there, and that van Schooten, and more 
especially Bailly, were in considerable request. But by 
about 1650 the younger generation of painters began to 
be patronized ; two gentlemen of Leyden, Dirck van der 
Snoeck, a surgeon, and Simon van Swieten, a brewer, 
about this time owned works by Hendr. van Steenwijck ; 
and pictures by Leyden painters were included in collec- 
tions such as that of Simon van Vliedthoorn. 

The best known collection is the " Cabinet de Bye," 
formed at this time and exhibited at Leyden, which con- 
sisted exclusively of works by Gerard Dou. This 
painter was the first of the younger generation who was 
not compelled by lack of employment to remove else- 
where, as Rembrandt and van Goyen had been obliged 
to do. There seemed to be no room for a portrait-painter 
in rivalry with Bailly, and a landscape-painter had even 
less chance of success. Dou, the first painter to reside 
permanently in Leyden, was also the first to form a 
school there which gave a strong impetus to the evolu- 
tion of domestic genre. 

The fisst writer to name the great collector, Johan de 
Bye, was Monsieur de Monconys in his diary. 1 This 
gentleman was at Leyden on the I7th of August, 1663, 
and visited not only the chief sights of the town but also 
the most noted painters, and finally went to 
de Bye (whom he calls Beyau), since he had "a 
many pictures by Dou." M. de Bye was an amateur 
1 "Journal des Voyages de Monsieur ds Monconys," 




io GERARD DOU 

and collector, who was also a dealer. There were many 
men of this type at the time ; indeed, if we may believe 
Sorbtere, 1 every Dutchman who owned a picture was 
ready to part with it for a sufficient sum. " The Dutch 
make a sort of traffic in pictures," says this acute ob- 
server, " and only put much money into them in order 
to get more than they have paid ; good pictures form a 
part of their inheritance, and they have none that are 
not for sale or exchange. I have seen 6,000 francs' 
worth in a bookseller's room, who would not have 
ventured to have a hanging worth a hundred crowns. 
And if they collect more pictures than rich jewels, and 
value them more highly than precious stones, it is only 
by reason that fine pictures are a greater pleasure to the 
eye, and are more ornamental" ; and he compares this 
fancy with that for tulips, which " a few years since 
everyone had in his garden, where now they plant 
cabbages and turnips." 

Spiering, Dou's first patron, Becker and Maerten 
Kretzer, who gave commissions by contract to several 
painters, Vredenburg, Gerards, Sylvius, who encouraged 
Frans van Mieris, and many more who set up as patrons, 
also did business in works of art, and sometimes took 
advantage of the artists' poverty. Besides this private 
picture-selling there was room for acknowledged dealers, 
who had "picture-shops" in the towns, or travelled 
from place to place purchasing and selling as they went. 
It was this widespread commerce in works of art which 
ultimately led to the reorganization of various Guilds of 
St. Luke. 

1 " Lettres et Discours," Let. IV., to M. de Bautru. MS. Bib. 
Nat, Paris, 




Plate 4 



THE FLUTK PL\YER 



ART IN LEYDEN n 

Early in the seventeenth century the trade in pictures, 
chiefly carried on by men who had been painters, had 
extended northward from its headquarters at Antwerp, 
especially to Amsterdam. Harmen Jansz. Muller, 
Johannes de Renialme, and Rembrandt's friends, Abra- 
ham Francen and Hendrik Uylenburch, 1 were well-known 
dealers there, and Uylenburch's son, Gerrit, was recog- 
nized as the foremost dealer in the country. It was he 
who was commissioned to deliver the works of art sent 
from Holland to Charles II. in 1660. He was, however, 
certainly fraudulent; he not only employed "young 
artists to copy pictures/* but he passed off the copies 
as originals, as appears from the fierce dispute over the 
genuineness of no less than thirteen Italian pictures sold 
by him in 1671 to the Elector of Brandenburg. 

From other cases we are indeed led to the conclusion 
that forgeries were commoner then even than now. 
Jan Pietersz. Zomer, a well-known dealer in Amster- 
dam, at the end of the seventeenth century seems to have 
been skilled in the ascription of pictures to famous 
masters, 

" In art a perfect John the Baptist," 

as a poet said of him. It is to be feared that the painters 
of the tima had too much reason to endorse the opinion 
of Houbraken and other Dutch writers, and that many 
a poor artist worked, as Campo Weyerman says, " for 
an usurious soul, who first consumes the painter's flesh, 
and afterwards cracks the bones of some lover of art to 
suck out the warm marrow." 

1 See " Rembrandt and his Work," by Malcolm Bell, passim. 
Rernbranclt etched a portrait of Francen, B. 273. 



12 GERARD DOU 

It is to be regretted that hardly any description or re- 
presentation exists of a " picture-shop " of the period : I 
know but of one, in the National Museum at Amsterdam 
(without a number). On the right of this picture we see 
a shop, such as the booksellers' shops, of which we have 
numerous representations. Above the door is a coat of 
arms azure, three shields argent while in the window- 
front, and leaning against the door-post, pictures are 
displayed; others hang by a rope from the first-floor 
window. This evidently represents a typical " art depot " 
of the period. Some of these dealers sold statues as 
well as paintings, prints and sketches ; this seems to have 
been the case with Gerrit Uylenburch, At Dordrecht- 
most of the painters kept shops where they sold other 
pictures besides their own ; in other towns there were 
regular dealers, with whom artists deposited their works 
for sale. 

Very little is known of the picture trade in Leyden 
during the seventeenth century. Besides an inventory 
which affords the name of one Andries Veer, as a dealer 
in works of art, and a passage in Houbraken, whence it 
appears that Karel de Moor's father was a picture-dealer 
in Leyden, the only source of information is a " Painters' 
Account-book," l recording the various pieces bought or 
sold by artists, dealers and collectors between 1644 and 
1647. Among those who did most business during 
these three years it is interesting to find the painters Ph. 
Angel, David Bailly and Maerten Fransz. de Hulst, 
sometimes selling their own works but generally those of 
other painters. The famous amateur, Dr. Hoogeveen, is 
also found engaged in the business : he sold no less than 
1 Published by Obreen, " Aich., w vol. v., p. 173. 




iangl }hoto\ 



REMJ)RANT)T'S FATHKR 



Plat? 5 



ART IN LEYDEN 13 

fourteen drawings by van Goyen and Rembrandt in the 
course of these three years. 

At Haarlem pictures were commonly disposed of by 
lottery. The lotteries were organized by the St. Luke's 
Guild there, and the value of the examples was assessed 
by well-known painters. After the lottery a dinner 
was given out of the profits. The same was done at 
the Hague ; and the reason is obvious the production 
of pictures was too great and inadequately paid ; many 
painters had their works left on their hands, and some 
were in great poverty and unable to maintain themselves 
by painting. 

They could sometimes earn a little by decorating a 
sleigh, a chest, a clavicembalo, or the like, or by painting 
signs, of which an Englishman wrote : * And if you want 
their language, you may learn a great deale in their Sign 
posts for what they are they do write under them." l 

Many a clever painter thus employed his brush, and 
sometimes a pleasing work might be seen hanging out 
as a sign. Sorbi&re also speaks of the " shops where the 
signs are sometimes very good pictures." 

Another means of making money, adopted chiefly by 
engravers, was to offer prints to a municipality, to a 
prince, or to anyone who might be interested in a 
portrait, for which they received some return in money 
or in kind. Boissens, for instance, offered his plates to 
the Town Council of Leyden, and A. J, Stock frequently 
sent his to the magistrates of Haarlem in the hope of 
payment 9 

1 "Three Months' Observation in the Law Countries," MS., 
Brit. Mus. 
* We find in the Leyden archives a record of a silver cup being 



14 GERARD DOU 

Popular subjects were frequently repeated: portraits 
of Prince William, Prince Maurice and Prince Frederick 
Henry, incidents of the war (1560-1605), and series sym- 
bolical of the Four Seasons or the Five Senses, were 
always saleable. Some artists tried to win the favour 
of a portion of the public by painting indecent subjects, 
and Torrentius of Amsterdam carried this traffic so far 
that he was forbidden to paint or sell such works, and 
was punished for recalcitrancy by torture, whereof he 
died. His paintings were publicly burnt in 1640. But 
though extreme licence was thus severely checked, many 
painters found purchasers for kindred subjects. Buffoon- 
eries and tavern scenes had a ready market, and pictures 
representing animals, especially cats and monkeys in 
grotesque employments. In these Teniers was successful, 
and we see from the replicas of his Temptation of St. 
Anthony, and the numerous Apes' Kitchens by him and 
his imitators, that such "drolleries M were popular. Van 
de Venne, the painter-poet, describes and engraves such 
a picture by himself; l but this pandering to the humour 
of the public was not permanently successful, and van 
de Venne was obliged to have a sale of all his works. 
The same fate, it is true, attended van Goyen and other 
painters, who sold their works in lots at the Hague. 
Others disposed of their pictures by lottery, and many 
a painter was compelled to take his work to a speculat- 
ive dealer, who secured it for a song. 3 

given, November 9th, 1615, to Pieter van Veen for a painting. 
Gerard Terborch (or Terburg) and his family received a gold chain 
and medal from Philip IV., and there were other instances. 

1 "Ad. van de Venne, Tafereel van de Belacchende Werelt," 1635, 
pp. 231-233. 

a Many artists followed some other employment besides their 




Hanfstii ng I photo \ 
Plate 6 



\Dresdcn 



HERMIT IN PRAYER 



ART IN LEYDEN 15 

The pictures which thus came into the dealers' hands 
were displayed in their shops among articles of furniture 
of all kinds, and were in fact regarded as part of it. 
We see in many paintings of the period what such a 
shop must have looked like. In a picture by David 
Vinckboons, which is valuable in many ways as illus- 
trating a Dutch seventeenth-century fair, we see a booth 
where pikes and halberds, musical instruments, cloaks 
and pictures are on sale : a pair of portraits a man and 
a woman three small and two large landscapes, at one 
of which two men are gazing. 1 In a print by Ad. van 
de Venne ,we see pictures for sale among dishes, glasses 
and cans. Indoors, as well as out of doors, were pictures 
for sale, as for instance in the great entrance hall of the 
Town Hall at Leyden, where, as Orlers tells us, " twice a 
year, in open market, many costly silver vessels were for 
sale, artistic paintings and many books." From a line 
in van de Venne's poem we learn that the same was 
done at the Hague. 

Important in this connection is a passage from Evelyn's 
Diary, August I3th, 1641 : " Roterdam . . , where was 
their annual matte or faire, so furnished with pictures 
(especially Landscapes and Drolleries as they call those 

art. Rubens was a diplomat ; van de Venne, Bloemaert and Brero 
were poets ; Frans van Mieris, junr., studied science. Houbraken, 
Weyerman and others were authors ; the line between the 
artist and the dilettante was even more difficult to trace then 
than now. 

1 Brunswick Gallery, No. 90. It was painted in 1606, when 
Vinckboons was in Amsterdam. There are similar examples by 
other painters ; Hend. v. Steenwijck's Market (Brunswick, No. 
58), van de Venue's Fair at Rijrwijk (Amsterdam, No. 1522), 
and others. 



i6 GERARD DOtT 

clounish representations) that I was amaz'd. Some 1 
bought and sent into England. The reson of this 
store of pictures, and their cheapness, proceedes from 
their want of land to employ their stock, so that it is 
an ordinary thing to find a common Farmer lay out 
two or 3,000 in this com'odity. Their houses are 
full of them, and they vend them at their fairs to very 
greate gains." Though Evelyn may somewhat exagger- 
ate, it is evident that the over-production was consider- 
able, and that the pictures were not all of the first 
quality ; and he gives a vivid idea of the vast output 
of painting in his day. 

Another Englishman has recorded his impression of 
the quantity of pictures in the houses of the citizens of 
Leyden : " The interior of the Dutch houses is yett more 
rich than their outside ; not in hangings, but in pictures 
which the poorest there are furnished with all, not a 
cobbler but hath his toyes for ornament." l 

It is evident that as pictures and prints were the 
only adornment of the walls, even artisans and peasants 
must have owned some, and that they must have been 
procurable of the poorest quality and at the lowest 
price. 

But there were also collectors for profit and for love of 
art, and, as we have seen, Sorbi&re writes of what he calls 
" Texcessive curiosit pour les peintures." In one of his 
letters he speaks, too, of the good pictures and remark- 
able collections he finds in the Netherlands, wherever he 
may go. 

Nor is it only from the authors and documents of the 
time that we learn how vast a mass of pictures was pro- 
1 " Three Months' Observation." 




Veuifttangl photo} 

'late 7 



Fa la* ( 



GIRL SCOURING A PAN 



ART IN LEYDEN 17 

duced. In the pictures themselves we see how the 
dwelling-rooms were lined with them. Apart from the 
important collections depicted, for instance, by Teniers, 
we get a good idea of the decorative use made of pic- 
tures in every class of society, from the wealthy patrician 
to the mere peasant, by studying the interiors by Metsu, 
Gonzales Coques, de Hooch, Dirk Hals, Jan Steen and 
many less famous painters. 

It is interesting to note that a customary order of 
arrangement was recognized. Where there was but one 
picture, in the seventeenth century it would generally be 
hung above the fireplace or chimney-shelf. In pictures 
by Metsu or Terburg, which introduce us to the higher 
class, this is as evident as in those by Ad. van de Venne, 
who, in his illustrations to Cats' " Houwelycken Staat," 
shows us the rooms of the humbler citizen. Pictures are 
also seen hanging above the door of the room, and in 
many cases are placed very high because the lower part 
of the walls is covered with tapestry. 1 Still, even when 
the walls are bare, as in some pictures by Metsu, and 
especially by de Hooch, they are hung very high, why 
we know not ; it was the fashion of the time/ 

There was a fashion, too, for pictures not of the usual 
rectangular form : oval, especially for portraits ; round, 
chiefly for landscapes ; octagonal for feasts and dances ; 
and arched at the top for genre pictures, were shapes 

1 As may be seen in pictures by Gonzales Coques. 

* In a picture by Jan Steen in the Berlin Museum, we see the 
painting by Frans Hals, The Drinker^ now at Cassel, hung high 
on the wall, and in one by P. de Hooch we see one of Terborch's 
delicate pieces high up near the ceiling. (Sedelmeyer^ Cat., No, 
69, 1898.) 

C 



1 8 GERARD DOU 

frequently adopted. Frames were commonly added of 
carved ebony or oak, heightened with gilding. Some- 
times a curtain protected the picture, or it was fixed into 
a case with doors. The subjects were, of course, in- 
finitely various. A rich merchant would decorate his 
dining-room with large pieces by Snijders or Weenix, 
and landscapes by Both or Hackaert ; in his living 
rooms he would have portraits, and occasionally some 
historical, allegorical or mythological picture. 

The classical taste imported from France soon affected 
the choice of subjects in the pictures a man of his time 
would purchase. The sons of the wealthy class travelled 
young, visiting France and Italy, and their views of art 
especially were influenced by what they saw in the 
south. Not only did they acquire a taste for Italian art, 
but they showed a preference for landscapes and genre- 
painting reminiscent of Italy. They would buy a pas- 
toral scene by Berchem or du Jardin, a landscape by 
Jan Both or Jan Asselyn, a sea-piece by Thomas Wijck, 
or, if money were plentiful, a larger marine by the 
"great Claude Gelle, the French Parrhasius." Harmen 
Saftleven, for instance, "that renowned painter and 
draughtsman," as Vondel calls him, found a ready sale 
for his pictures, his views on the Rhine and Moselle 
being pleasing souvenirs of travel. 

It was a result of these travels, too, that another very 
distinct branch found rapid development : the elaborate 
representation of objects of natural history, such as Otto 
Marseus could paint of butterflies and insects. Such 
subjects, again, as included elephants, zebras and other 
foreign beasts were frequently selected : Adam naming 
the Beasts, or Orpheus charming them, seem often to 



ART IN LEYDEN 19 

have been painted for the sake of introducing such 
strange animals. 

A room was generally furnished with one or more 
pictures illustrating familiar literature. A man of letters 
would have an episode from ancient history or from 
mediaeval romance ; and in every house, rich or poor, 
there would be some Bible picture or print It is note- 
worthy that the Apocrypha and the Old Testament 
afforded more subjects than the Gospels. We have, in- 
deed, the Murder of the Innocents, and the Crucifixion, 
but on the whole the subjects from the New Testament 
are lost among those from the Old, except in Rem- 
brandt's work. 1 

Landscapes and sea-pieces were also esteemed. A 
pair was often purchased representing Summer and 
Winter, Storm and Calm, Before and After the Battle, 
or a series of the Seasons. 

Pictures were not so costly then as they are now ; a 
very good painting could be purchased for a few florins. 
A few data from the abundant materials published, more 
especially in the art periodical " Oud Holland," may 
here be given in evidence. 

One of the first things that a Dutch citizen would do 
if he had a little money to spare was to have his portrait 
painted, generally with his wife in a companion picture, 
half-length figures, while in the upper corner their arms 
were emblazoned. Or, for economy, the head would 
alone be depicted, larger or smaller, according to the 
quality and cost; and there were then, as there are 

1 It is beyond the scope of this volume, though it would be in- 
teresting to inquire what biblical subjects were treated by Rem- 
brandf s pupils, and what models they followed. 



20 GERARD DOU 

now, painters who asked varying prices in regard to 
the means of the sitter. Mierevelt, for instance, who 
worked for the Court, would take as little as 30 
gulden, and sometimes was not paid at all ; while one 
Dirk van Haarlem (known only by this one case when 
his name is mentioned), who was in favour with rich 
collectors, received 60 gulden each for his portraits of 
Maurice and Henry of Nassau, a sum that bears com- 
parison with the prices of our own time, since the value 
of money was then at least three times as great as now. 
But that such an artist as Caspar Netscher, whose works 
were in great demand among the wealthy aristocracy, 
should have had but 66 gulden for a lady's portrait in 
1664, and no more than 50 for another in 1667, seems 
rather poor pay. However, they were perhaps on a very 
small scale. 

Princes, no doubt, paid best Rubens was paid 20,000 
French crowns (Scus) for the " Medici-gallery " at which 
he and his pupils worked from 1622 till 1625. Gonzales 
Coques, in 1646, had 450 gulden for two portraits " of the 
Princess of Orange and the Princess Royal." Frederick 
Henry paid Rembrandt 1,244 gulden for two pictures; 
and he gave Dirk Bleker 1,700 gulden for a Venus; 
Rubens, as we know from his letters, waited long for the 
money. 

Historical pictures, as, for instance, those by de Greb- 
ber, commanded good prices, and yet more landscapes, 
especially those in the Italian taste, such as the com- 
positions of Hackaert, du Jardin and Both. But often 
it is true they were sold by measure like an object of 
commerce. A striking instance is the agreement with 
Simon de Vlieger, the well-known marine painter, for 




Hanfstaitgl photo] 
Plate 8 



GIRL CUTTING ONIONS 



ART IN LEYDEN 21 

the sale of a house for 900 gulden " to be paid by him 
monthly by a picture worth one and thirty gulden, 
neither more nor less, whereof the first month shall begin 
on the ist January, 1638, and thenceforward every 
month. ... To wit each month a large piece for 31 
gulden or else a small panel for 18 gulden with a sea- 
water panel for 13 gulden ; and good work, such as he 
does every day for other folk." Here it is evident size 
was insisted on more than quality. 

Next to portrait-painters, marine painters seem to 
have been best paid. De Vlieger, for instance, had, in 
1646, 280 gulden for a picture measuring 27 x 35 
inches, and Percellis' works were well paid for; but 
Potter, and such landscape-painters as Ruysdael, van 
der Neer, Philips de Koninck, and especially van 
Goyen, were miserably paid. Once only did van Goyen 
obtain a good price 650 gulden for the largest piece 
he ever painted : the great view of the Hague, com- 
manded by the city. For his other pictures he got 
from 5 to 32 gulden, never more. And painters of 
still life fared no better. " Drolleries," such as Adriaen 
Brouwer's, sold well ; but miniature-painters always com- 
manded the highest prices Dou, for instance, Frans 
van Mieris, Slingelandt, and later more especially van 
der Werff. Dou got from 600 to 1,000 gulden for a 
painting, and the others not less, especially when they 
worked for foreign patrons. 

The smallest profit, of course, was made in lotteries, 
and sales by valuation or by auction, In 1636 Van 
Goyen and Liefrinck valued two pictures by Jan pteas 
at 40 and at 36 gulden respectively, at a sale of effects ; 
the price was thought too high, and the pictures wete 



22 GERARD DOU 

appraised by an auctioneer, who reduced them by 5 and 
8 gulden. At another valuation a work by Bramer was 
priced at 60 gulden, and one by Adriaen van Ostade at 
25. It is, generally speaking, certain that a good picture 
could be bought then for much less money than now, 
but as the size of the pictures is seldom mentioned, we 
must not draw too sweeping conclusions. Copies of 
inferior quality must 01 course have cost very much less, 
and drawings and prints were cheaper still. 

Even in the early years of the seventeenth century 
complaints were heard of " the extraordinary manner of 
selling which obtained at the public sales and auctions," 
and of the "lotteries, raffles and all the like kinds of 
annoying and unwonted strange ways of selling," which 
led to " the disrepute and decay of the arts " and general 
"destruction and ruin." 1 Even the usual methods of 
sale by commission gave rise to much complaint But 
the painters and dealers of the towns where there was 
no Protection were almost helpless against the dealers 
who brought their wares for sale in the open market They 
were for the most part foreigners, and the works they 
offered were of poor quality, so that they could sell 
them rather cheaper than the native dealers, and still 
get far too high a price. Often, too, as at Amsterdam in 
1608, they contrived to run up prices and so to cheat 
the buyers. 

And Amsterdam was the first (November loth, 1608) 
to enact that "Strange persons shall not come within 
this city, and shall not be allowed to sell or to cause 
anything to be sold without having first obtained per- 

1 From the ordinances of St. Luke's Guild at Haarlem, 1631, 
which prohibits all such dealings. 



ART IN LEYDEN 23 

mission and consent from their Worships the Burgo- 
masters of this town," a prohibition made even stricter 
in 1613 (October loth). In Delft all art dealings had 
long been restricted to the members of the Guild of 
St. Luke, excepting on payment of certain fines to the 
guild, "as established of old, unless at the yearly or 
weekly fairs." 

Leyden, owing to its halfway position between Am- 
sterdam and the Hague, was much frequented by picture- 
dealers who came to sell works which they had failed to 
dispose of elsewhere; and after the law passed in Amster- 
dam in 1608, the dealers from Brabant and other pro- 
vinces, being ejected from that city, tried to get rid of 
their wares in Leyden. Hence, in October, 1609, certain 
painters of Leyden besought the authorities to prohibit 
picture-selling except in open market But though 
their request was granted, the importation, as at Am- 
sterdam, continued to be so great, that five months 
later, in April, 1610, the same painters again addressed 
a complaint to the municipal government desiring the 
absolute prohibition of any sale of pictures in the town 
except in open market, and craving permission to found 
a guild. The petition was signed by seven painters of 
repute in the town. 

From this it is evident that Protection was indeed 
necessary ; that the painters should endeavour to secure 
it by the formation of a guild was but natural, and that 
the authorities should have refused the request seems 
incomprehensible. The status of painting in Leyden at 
this time is not quite clear ; there had, no doubt, been a 
guild of St Luke here, as elsewhere, before the Reforma- 
tion ; but all traces of it have disappeared, and by the 



24 GERARD DOU 

beginning of the seventeenth century its very existence 
was forgotten. In some other towns the guilds still 
survived, without, however, any great benefit to the 
painters ; other crafts were often admitted ; in Haarlem, 
Delft and Dordrecht, glass-makers and painters, sculptors, 
wood-carvers, tapestry-weavers, printers, etc., were ad- 
mitted to the guilds of St. Luke. 

The competition of foreign picture-dealers gave rise 
to a strong movement among the Dutch painters with a 
view to more effectual self-defence, and in those places 
where the painters already constituted a strong guild 
they naturally were not satisfied till prohibitory statutes, 
as at Delft, effectually secured their interests. In Haarlem 
the same result was attained in 1631 ; the St Luke's Guild 
was reorganized, and stringent rules laid down as to the 
sale and purchase of pictures. 

In Dordrecht, where every class of craftsmen even 
tinsmiths, potters and plasterers belonged to the St 
Luke's Guild, the painters desired to secede and in 1642 
they constituted a "simple fraternity"; but in other 
towns no improvement was made ; and in Amsterdam, 
notwithstanding the stringency of the rules, they failed 
to be observed, as may be judged from their frequent 
renewal. 

In Leyden neither the painters nor the glass-workers 
had any guild. The painters were protected only by 
the prohibition of 1610; but it did not constitute them 
an exclusive chartered body. Still, their efforts to form 
a guild were persevered in, and at last came to a suc- 
cessful issue. In 1642 they obtained fresh rules as to 
the sale of pictures, and three " overseers and headmen," 
or a syndic and two vice-presidents, were appointed to 




Bnnkmann photo\ 
Plate 9 



\Lansrultc 



THE MAGDALEN 



ART IN LEYDEN 25 

see that they were carried out These three were David 
Bailly, Quirin Ponsz. van Slingelandt and Cornells 
Stooter. The increased sale of pictures which resulted 
ere long gave rise to auctions, at which the syndics pre- 
sided, and the corporate body was already assuming the 
character of a guild. 

We find in the Painters' Account-book before men- 
tioned that the sales by auction began on the 23rd No- 
vember in 1644. Only paintings and drawings were 
sold, for the most part by artists of Leyden. The 
highest price paid was twenty gulden and six stuivers for 
a landscape by Molijn ; the average was no more than 
seven gulden. A room was hired for the purpose, and re- 
freshmentsbeer and spiced cakes for the " overseers " 
were provided out of the funds. A fixed sum of sixteen 
stuivers was then to be subscribed by the members, who 
soon assumed the name of the " St Luycas-Ordre." 

In 1644 Cornells Stooter was syndic, and there were 
in all thirty members, among them some famous painters, 
as Dou, Metsu, du Bordieu and Bailly ; also Dr, Hooge- 
veen, the collector and dealer, and the book- and picture- 
dealer, Jacob Louwyck. 

Not all the painters of Leyden were members, how- 
ever, and not all the dealers. This, indeed, was the 
great difficulty, since they, of course, kept up the com- 
petition. The ordinance of 1642 could never be effectu- 
ally carried out, and there were always dealers who 
disregarded it. Complaints were constantly being made, 
till in 1648 the syndic and headmen of the Order of 
St. Luke petitioned the municipal authorities, repre- 
presenting the intolerable state of things which did great 
injury to the painters; and craving the formation of 




Hanfstdngl photo 

Plate. 10 



DOU ItV HIS STUDIO 



CHAPTER II 

DOU J S LIFE BEFORE 1631 

SOME uncertainty has hitherto existed as to the year 
of Gerard Dou's l birth, since his own evidence on 
the famous picture in the Louvre, The Woman with 
Dropsy^ has been thought more trustworthy than the 
statement of Orlers, Dou's first biographer. But Ram- 
melman Elsevier has settled the point once for all, 
proving by documentary evidence that Orlers is correct ; 
and, indeed, on Dou's portrait of himself (i09,Dr. Martin's 
list 8 ), we find inscribed, "G Dou 1652, aetatis 39," and 
on another (at Munich, No, 135 ; Plate 14), " G Dou 1663 
set 50," It is thus an established fact that Gerard Dou 
was born in the town of Ley den on April ;th, 1613. 

His father, Douwe Janszoon, known as De Vries of 
Arentsvelt probably a village or farmsteadwas born 
at Harlingen, and had, early in the seventeenth century, 
settled at Leyden as a glass-worker and writer on glass. 
He there married, in November, 1609, Maria Jansdochter 
(the daughter of Jan), of Wassenaer, or of Roozenburg, 

1 He himself spelt his name Gerrit Dou (or rather Dov), but in 
a popular work it has seemed advisable to accept the familiar 
form, as in the National Gallery catalogue, Gerard Dou. 

8 This is one of the pictures considered genuine by Dr. Martin, 
but not included in the list at the end of this volume. See p. 101. 
The numbers given are those in that list, unless otherwise noted. 



28 GERARD DOU 

who was the widow of one Vechter Vechterszoon Cuyper 
of Strijtvelt, likewise a glass-worker. 1 

Douwe Jansz., who was enrolled as a burgess of 
Leyden in 1615, and in the same year became one of 
the signatories to a petition for the constitution in that 
town of a glass-makers' guild, seems to have been a 
prosperous citizen. That he was one of the masters of 
his craft is evident, not merely from the fact that he 
was for many years the head of the Guild, but also from 
the number of pupils and apprentices who worked under 
him. Moreover, he owned sundry houses on Kort Rapen- 
burg, in one of which he dwelt with his family. As it is 
desirable to know something of Dou's relations, a short 
account of them must be given here. 

In the census for the poll-tax in 1622 we find the 
following record : " Cortrapenburg, east side . . . Douwe 
Jansz. 3 Glaesmaecker ; Marytgen Jansdr. sijn huysvrou 
(his wife); Trijntgen Vechters, Vechter Vechters, the 
wife's children by a previous marriage ; Jan Douwesz., 
Gerrit Douwesz , their children ; Govert Jansz., a boarder 
(he was an apprentice), in all 7 persons." 

This not only shows where Dou lived as a' boy, but it 
also proves that he had a brother named Jan, besides a 
half-brother and a half-sister, the children of his mother. 
The half-brother worked under Douwe Jansz., and the 
apprentice and servants signed contracts with them both ; 
so that it would appear that Douwe carried on the busi- 

1 They were married m the Town Hall, whence it may perhaps 
be inferred that Douwe was a Baptist ; and a document in the ar- 
chives at Leyden confirms the hypothesis. 

a Douwe (or Dou) was his Christian name. Hence we must 
beware of regarding all persons of the same name as related. 




Plate ii 



WOMAN WITH A DEAD FOWL 



[Loievre 



LIFE BEFORE 1631 29 

ness of his wife's former husband. Gerard Dou's half- 
sister soon after married Simon ^van Tol, secretary to 
the two Katwijks, and had four children, one of whom 
was Dominicus van Tol the painter, who was thus 
Dou's nephew, and for some time worked under his 
uncle's direction. Antonia van Tol, his niece, after- 
wards kept house for him. 1 Jan Dou died comparatively 
young (between 1641 and 1651), and his wife soon fol- 
lowed him, leaving only a daughter, Maria Jansdr. Dou. 

Gerard Dou was intended by his father to follow the 
craft of glass-worker, and naturally had to learn to draw 
if he were to become a good glass " writer," or, more 
properly, engraven Douwe Janszoon found him a 
teacher in Bartholomeiis Dolendo, " a right good plate 
etcher," as Orlers calls him. Dolendo, then fifty years 
of age, was an engraver of good technical practice, and 
a conscientious draughtsman, as may be seen in his 
prints. He chiefly produced mythological, biblical and 
historical subjects from the paintings o$, drawings of 
other masters; but some were of his own invention. 
Some portraits by him are also known : one of Lipsius, 
1591, and one of Scaliger, 1607. Figure-drawing was 
his strong point, in the style of the time as represented 
in Holland by Goltzius ; and his engravings show how 
diligently he followed that admirable master. To him 
Gerard Dou, in his ninth year, was sent to learn. 

Since in his earliest known works we find him a sound 

1 To her he left by will the reversion of 3,000 gulden in the 
event of her surviving Jan Marya, Douwe's daughter, and all his 
personal effects, she having resided with the testator; and to 
Dominicus van Tol the sum of 1,000 gulden. 




Ha nfs tti ngl ph o to\ 
Plate 12 



[ Buck ingJi a in Pa la ce 



THE CARPENTER'S FAMILY 



LIFE BEFORE 1631 31 

which insisted only on two years 1 apprenticeship ; and 
afterwards, in about 1626, Douwe Jansz. took him into 
his workshop "and employed him in glass-engraving 
and glass-working, wherein he did his father good service 
and profit" Meanwhile, in 1625, his name had been 
entered, with that of his elder brother Jan, in the books 
of the Guild, and it occurs again, with those of his father 
and brother, in 1627. 

However, whether because "he was too daring in 
climbing up to windows, as well for putting in new (glass) 
as for mending old," or because he had no taste for the 
work and eagerly desired to devote himself to art, it is 
certain that in 1628 we find only Douwe Jansz. and his 
eldest son among those who paid their annual fee to the 
glass-makers' guild, a fact confirmed by Orlers, who tells 
us that " his father, against his judgment, determined to 
take him from the glass-working and to enable him to learn 
the art of painting; and to that end, in the year 1628, on the 
4th February, when the lad was fifteen years old, he placed 
him " with the skilled and far-famed Mr. Rembrant" 

We might be tempted by Orlers' words to believe in 
this early fame of Rembrandt's, which led to a preference 
for his teaching, but that it is hard to accept the state- 
ment when we look at his works of that time. In 1628 
there were portrait-painters in Leyden of greater note 
than Rembrandt, especially van Schooten and Bailly, 
though the latter was chiefly a teacher of still-life painting. 
It seems likely that some other reason, a friendship per- 
haps between the families of Dou and van Rijn who 
dwelt in the same neighbourhood, and were of the same 
citizen class may have led to the choice. Possibly, too, 
the selection fell on Rembrandt because he had been a 



32 GERARD DOU 

pupil of the famous Lastman a very modern spirit in 
his day for which reason Lievens and van Vliet learnt 
of him as well. 

From this decision it is evident that Dou was intended 
to be a portrait-painter, for that was the easiest way of 
making money. Portrait-painting was the most favoured 
branch of art in Leyden, and a young "counterfeit" 
painter in 1630 had a future before him. Dou we Janszoon 
could hardly have foreseen that other painters would be 
chosen in preference to his son, because Gerard's elabor- 
ate finish demanded too much patience of his sitters. 

Leyden, which at the end of the sixteenth century had 
been inferior in the fine arts to some other towns, especially 
to Haarlem and Amsterdam, came to the front again at 
the beginning of the seventeenth. Many more or less 
illustrious names are found on the list of her artists. 
The Swanenburch family of artists were the first to show 
that a new impulse was awake there. Jacob Swanen- 
burch, Rembrandt's first teacher, who when in Italy 
had become acquained with Elsheimer's manner of 
painting, showed by his works that the modern spirit 
was beginning to prevail in Leyden, and Jacob's brother 
Claesz. took a new line in his historical pictures. The 
#aax\e influence was seen in the pictures by Pieter van 
Veen, the town advocate of Leyden, and his brother, the 
better known Otto Venius ; indeed, by the beginning of 
the century a small circle of painters had formed in Ley- 
den, among them the teachers of the greatest Dutch 
masters* Besides Aernout and Louis Elsevier and Jan 
Adriaensz. Knotter, 1 the best known are Conrad van 

1 This, according to Orlers, was the full name of a painter more 
commonly known as Jan Adriensz, 




Ha nfs tlingl photo ] 



Plate 13 



WOMAN COMBING A HOY'S HAIR 



{Munich 



LIFE BEFORE ^i 33 



Schilperoort and Conrad van der Maes, as having been 
the teachers of Jan van Goyen and Joris van Schooten. 

Van Schooten's archery scenes, though rather dry in 
manner, are sound in drawing and bright in tone, and 
show that he understood the aims of the great portrait- 
painters of his day, especially those of Amsterdam. 
Still, his style was essentially that of a transition period ; 
the first truly modern portrait-painter in Leyden was 
David Bailly, who may be regarded as the leader of the 
painters who developed there about 1630. 

Besides the circle which found its centre in him, there 
was a small group of landscape-painters : they lost their 
own leaders by the death of the marine painter, Percellis, 
in 1632, and by van Goyen 's removal to the Hague in 
1631. Only Cor nelis Stooter, who painted portraits as 
well as sea-pieces, and Maerten Fransz. de Hulst re- 
mained, with a few less important artists in landscape. 

Bailly had considerable influence; he had studied under 
the famous Cornells van der Voort of Amsterdam ; from 
1608 to 1613 he travelled in Italy and Germany, painted 
for the Duke of Brunswick, and then finally settled in 
Leyden, where he was in demand as a portrait-painter, 
though his pictures of still-life were also in great repute. 
The pupils he formed were almost all painters of still-life. 
Among them may he named Pieter and Harmen van 
Steenwijck, and almost certainly Jan Davidsz. de Heem, 
and Pieter Potter, who at that period were in Leyden, 
and painting " Vanitas " pictures. 1 Even Rembrandt, 

1 These were those studies of a skull, Bible, hour-glass, etc., 
symbolical of the vanity of human life, which were already popular 
in the Middle Ages. They sometimes consisted merely of a skull 
with the word ** VANITAS " below* 

D 



34. GERARD DOU 

who painted so many studies with still-life accessories 
between 1627 and 1630, seems to have felt his influence 
through the young painters of his acquaintance, who had 
worked in Bailly's studio. 

And there were many more quite unimportant artists, 
such as were to be found in every town, mere painters 
for their bread, who had no effect on the progress of art. 

Ere this the young painter, Rembrandt, had begun to 
gather pupils about him. After working in Amsterdam 
for six months under Lastman's guidance, he had settled 
in Leyden, painting chiefly portraits and biblical subjects. 
Lastman's novel scheme of composition was at that time 
carried out by the younger man. His mode of group- 
ing and taste in accessories are to this day evidence of 
this ; and though as yet no great master of technique, he 
seems to have hit the public taste, perhaps by his modern 
feeling and also by the strong likeness in his portraits 
of the worthy citizens. At any rate, by 1628 he already 
had three pupils : Jan Lievens, Gerard Dou and Jan 
Joris van Vliet 

The first-named Dou found in the studio, when his 
father took him to Rembrandt. Lievens, scarce a year 
younger than his teacher, was an artist of Leyden, who, 
after learning of a master in the town, had gone to Am- 
sterdam and studied, like Rembrandt, under Lastman, 
but for a longer time, from 1617 to 1619. And on his 
return to Leyden he seems to have spent his whole life 
in " feeling his way," for he never achieved originality, 
and later, in England, became a follower of van Dyck. 
At this time, however, he and Rembrandt were fairly 
on a level, and they worked together as friends rather 
than as master and pupil. 



LIFE BEFORE 1631 35 

Van Vliet, a mediocre painter at the best, proved him- 
self a zealous pupil, in so far as that he etched several of 
Rembrandt's works (reversed in the printing, however), 
and showed himself well skilled in that technique. 

The relation of Dou to Rembrandt was in the nature 
of things that of a pupil to his master. Rembrandt, seven 
years older than Dou, must from the first have impressed 
the artist of fifteen, if only by the details he could relate 
of the methods of work and teaching in Lastman's studio ; 
and we may picture to ourselves how, not unfrequently, 
when the three painters were working from the same 
model, Rembrandt would stand by Dou's easel and make 
his comments, or even with a few touches of his brush 
show him the right way to set to work. 

In the three years of his studies with Rembrandt 
much work was done, and what that work was we can 
accurately determine, since several paintings of that 
period remain to us. Rembrandt's talent developed 
with amazing rapidity. Even if his pictures of 1627 
do not show what a height he might reach, and though 
his Samson captured by t/ie PJdlistines> 1628, is still 
awkwardly composed, his portraits of himself, at Gotha 
and Cassel, show the talent which reached its goal with 
giant strides. 

The only means of progress to success which Rem- 
brandt employed, and with him Lievens and Dou, was 
working from the life. In the spacious studio, as painted 
by Dou (No. 61), very simply fitted, on the walls merely 
a few studies and such accessories as may have been 
brought from Lastman's some ^ Turkish and other 
weapons, a Chinese parasol, and in a corner perhaps an 
earthenware jar in this studio they painted from the 



36 GERARD DOU 

life, sometimes from themselves and sometimes having 
some friend or neighbour for a model. Rembrandt's 
father and mother seem repeatedly to have sat to the 
three young artists. Old Harmen's characteristic head 
was soon an object of study to his son, not merely for 
several paintings but also for his first etching. 1 Dou 
naturally tried his powers on the same model. Now 
wrapped in a fur cloak, wearing a gorget, or again, as a 
figure in a composition, Rembrandt's father repeatedly 
appears in the works of Dou and of Rembrandt between 
1628 and 1630 ; and even after his death (27th April, 
1630) his portrait recurs in their pictures, a proof of 
the impression made on both the artists by that typical 
head 

The earliest portrait of Harmen by Dou is now at 
St. Petersburg, in the possession of Baron von Lippart 
(No. 1 88). It is a bust, and shows with what earnest en- 
deavour the young painter was working in 1630, about 
the date of the picture. The arrangement is simple, 
suggested, perhaps, by Rembrandt to his pupil The 
sitter, dressed in a purple cloak with a green cap on his 
head, is represented as an astronomer, looking thought- 
fully at a globe, of which only a small part is visible in 
the right-hand lower corner of the picture. The artist's 
brush still evidently lacks freedom, and, especially in 
the half shadows, betrays his want of experience. The 
head, though well drawn and modelled, is weak in colour ; 

1 See "Rembrandt and his Works,^p. no, by Malcolm Bell 
(London, G. Bell and Sons* 1899). E. Michel in his " Rembrandt, 
sa Vie," etc., first noted that this model was Rembrandt's father. 
Harmen van Rijn is also seen in Lievens' etchings and in a few by 
van Vliet 




Haufstangl hoio\ 



Plate 14 



PORTRAIT OF THE ARTIST 



38 GERARD DOU 

cover her hair, and she wears a chain round her neck. 
Thus attired she is seen sometimes peacefully sleeping, 
at others sunk in her favourite study of the Bible ; once 
only is she painted with a newspaper in her hand. She 
constantly figures in Rembrandt's etchings and paint- 
ings after 1628. Lievens also occasionally worked from 
the same model, and she is seen in many of Dou's genre 
pictures. 

The portrait at Cassel is the last, and quite the best of 
those painted of her by Dou. The earliest is in the Berlin 
Museum (No. 97 ; Plate 2) ; this is quite small, no more 
than 8 x 6J in., much smaller than that of Rembrandt's 
father at St. Petersburg (No. 188), which was painted at 
the same time, and than his first composition with figures, 
a view of Rembrandt's studio (No. 61), which was 
painted even earlier. It is weak in execution, and lacks 
the fine quality of the St. Petersburg Astronomer, but the 
likeness is evident. Somewhat later, he painted the two 
portraits of her which are now at Dresden (Nos. 1 13 and 
1 14), and which show the progress he had made, both in 
the use of the brush and in improving his gray, dull 
colouring. The second is a replica of a picture in the 
possession of Mr. Adrien Dollfusz in Paris (No. 74), in 
which he painted the same sitter, but not to his satisfac- 
tion, and he seems afterwards to have executed the 
Dresden picture, which is better, though identical in 
every detail. He was even more successful in the other 
of the two Dresden pictures, which, in fact, reminds us 
greatly of Rembrandt ; but the treatment of the hands 
and of the forehead plainly tells us that the work is 
Dou's. 

In or about 1631 the artist had already tried his powers 




Hanfsta ngljhoto] 



PUtc 15 



WOMAN GATHERING C.KAPKS 



40 GERARD DOU 

standing before an easel and painting a composition of 
figures (No. 6I). 1 This is one of Dou's earliest and 
least accomplished pieces. 

When Rembrandt began to paint figure subjects Dou 
was prompt in following his example; we know not 
whether he, too, tried his hand on Lot and his Daughters^ 
The Rape of Proserpine, and the like. By one subject 
alone have we actual evidence that he attempted genre 
of this kind besides portrait-painting and interiors. 

Between 1627 and 1631 Rembrandt had a model 
whom he repeatedly painted, an old man with white hair 
and a gray beard, first seen in his St. Peter at Stuttgart. 
About 1630 he made studies from this man in red chalk, 
two of which are in the Louvre, and in 1631 painted him 
as St. Jerome? This picture was so much to his pupil's 
taste that Dou imitated it forthwith. For it must have 
been soon after, or perhaps in the same year, 163 1, that he 
painted the Hermit (No. 107 ; Plate 6) now in the Dresden 
Gallery. The brush-work and colour show plainly that 
it was executed at about the same time as the larger 
portrait of Rembrandt's mother (No. 114). Dou an- 
nexed the composition of the St Jerome in all its im- 
portant features; also at Dresden the basket, crucifix, 
Bible, hour-glass, etc., and the general attitude and aspect 
of his Hermit whom he did not venture to designate 
as St. Jerome^ probably because he could not "draw a 

1 There is a picture at Windsor which Michel assumes to be a 
portrait of Dou by Rembrandt ; but a careful comparison with 
Dou's portraits of himself leads me to conclude that this is a 
mistake See BelPs "Rembrandt," p. 155. 

* This picture is known only by an etching (reversed) by J. J, van 
Vliet See, too, Rembrandf s etching of St. Jerome of 1632. Bell's 
" Rembrandt," pp, 109 and m. 




WOMAN WATERING A PLANT 



iin /Wife 



LIFE BEFORE 1631 41 

lion all remind us of Rembrandt's picture. But the 
model and the accessories are not identical ; in the 
background to the left we see a staircase, and to the 
right a door, which are familiar to us from other pictures 
painted after he had parted from Rembrandt. Who can 
decide whether this work was executed before or after 
his master's departure for Amsterdam ? 

It is equally impossible to determine whether it was 
during his studies under Rembrandt that Dou painted 
two incidents from The History of Tobit* In composi- 
tion they strikingly resemble the work of the master, 
whose Tobias in the Arenberg Gallery, Brussels, and his 
Blind Tobit) known only by an etching by W. P. de 
Leeuw, resemble not only Dou's pictures of the same 
subjects, but in their composition suggest also Dou's Old 
Woman Spinning, at Schwerin (No. 152), for which 
Rembrandt's mother was the model, and his Woman 
Peeling Potatoes (No. 94). 

All these pictures, and a number of others, were 
painted partly in or shortly after 1631, partly some few 
years later, and they show how long Rembrandt's influ- 
ence affected his pupil's efforts. Still, even in these, the 
perfectly different spirit which animated Dou begins 
to reveal itself. He is already fond of introducing 
minute accessories a butterfly or some other insect, 
or a few flowers admirably painted as in The Hermit 
just mentioned ; he signs his name, too, in some spot 
where it would least be looked for, and from about 1631 
betrays a love of trivial detail and miniature workman- 
ship, which grew stronger as time went on. But he 
made good progress; his work was carefully set out, 
and. most important of all, his portraits, no less than 



42 GERARD DOU 

those of his master, were speaking likenesses. Indeed, 
when Rembrandt removed to Amsterdam, having a 
large number of orders for portraits there, and Lievens 
quitted Leyden at the same time, Dou did not hesitate 
a moment, but established himself independently in his 
native town to continue in the way Rembrandt had 
opened up for him. He, no doubt, cherished the hope 
of becoming such a portrait-painter as his master, but at 
the same time he also began painting genre, at first as a 
secondary, but afterwards as the principal branch of his 
art. He took a studio on the Galgewater and worked 
with great industry, and by his pictures he made so 
great a name that " everybody who saw them could but 
admire their prettiness and curiosity (fine details), and 
his pieces soon were held in great esteem by lovers of 
art, and were bought very dear," says Orlers. 



CHAPTER III 

LIFE FROM 1631 TILL HIS DEATH 

WHEN the painters of Leyden met together on 
October i8th, 1641, to celebrate St. Luke's 
Day, which they were wont to keep " with great feast- 
ing," they were, perhaps, disagreeably surprised by a 
discourse addressed to them by Philips Angel, after- 
wards painter to the Shah of Persia. After stating, 
in a short preface, that "the Painter's art is far more 
profitable and useful to the support of the body than 
any other art," he showed by sundry instances how 
highly esteemed "great minds" had been at various 
times and in many lands, and in general how amply to- 
warded. "And to go no further," said he, " but to look 
in our own country, nay, within our own city walls, we 
may see the very excellent Gerrit Dou, who earns 
yearly, by giving the honourable Herr Spiering the first 
refusal of his works, a payment of 500 gulden." And in 
that part of his address, in which he blamed " the gray 
dullness, the green unfitness," and too great smoothness 
of many pictures, he could not avoid again setting up 
Dou as an example to young artists. 

" For what," he exclaims, " is a piece of painting, that 
a man should sit for months and try to produce the 
minutest work ! If anyone will choose minute finish 
for his study, let him consider the never-enough-praised 



44 GERARD DOU 

Gerrit Dou. That is a curious dexterity indeed, which 
he achieves with a sure and firm hand. Whoso goes 
otherwise to work than in this manner shall be laughed 
at rather than praised." 

Whether Angel's speech made any impression we 
know not ; but many of his audience, on hearing the 
name of Dou, certainly wished themselves in his place. 
In 1641 he was already as " widely famed " as his master 
Rembrandt Hardly ten years had elapsed since he 
had come forth from that master's studio to work inde- 
pendently, and now, at the age of eight and twenty, he 
had already made such progress, that not only were his 
works held in high estimation and bought at good prices, 
but that he had a patron, a Maecenas of his own. Not 
Angel only, but Sandrart, in his " Academia Todesca," 
tells us that "Pieter Spiering, the Swedish minister 
at the Hague, promised an annual income of 1,000 
gulden to Dou, on condition that he should, according to 
his pleasure, buy for ready money the best of all that 
Dou should paint. And he bought his little pictures, 
whereof the largest would but measure a span, for 500, 
600, 800 up to a 1,000 or more Dutch gulden." And 
Sandrart must have known the truth, as he was per- 
sonally acquainted with both Spiering and Dou. He 
visited the latter in his studio, and he tells us that he 
himself painted a portrait of their patron. 

This patron, Fetter Spiering Silvercron, minister from 
Sweden at the Hague from October 2Oth, 1637, till 
September nth, 1649, and from August 5th to De- 
cember 4th, 1651, besides being Queen Christina's 
political representative, was one of the agents com- 
missioned to collect for her every kind of rare and 




Plate 17 



THE (^UACK DOCTOR 



[Mwitk 



LIFE AFTER 1631 45 

precious object. She employed several, Appelbom 
among others, the resident at Amsterdam. They pur- 
chased for their mistress everything they could get, partly 
for her collection at Stockholm, and partly to sell again. 1 

Spiering was a great admirer of smooth, highly- 
finished painting, and, so early as in 1635, Michel leBlon 
writes him a letter commending a picture by Torrentius 
to his attention for these qualities. This taste, it is very 
evident, led Spiering to make the agreement, of which 
Sandrart and Angel speak, with Gerard Dou, of all the 
painters of his time the most conspicuous for elaborate 
finish. 

So far as we can discover he had no pictures except- 
ing those by Dou. He had his portrait painted by Dou, 
" sitting at a table in his art-cabinet, with his hand on 
the table-cover; near him the lady his wife, likewise 
seated, with their eldest daughter handing a book to her 
mother " ; and he had also many other paintings by 
Dou, among them a woman reading and an old man by 
the fire. 

The pictures sent by Spiering to Queen Christina 
were also almost exclusively by this painter. Christina 
had an extensive collection at Stockholm, in which, as 
compared with other schools, the Dutch school was mea- 
grely represented. Exclusive of the works of Christina's 
Dutch court-painter David Beck, who was commissioned 
by her to paint portraits of the princes and princesses of 
various courts, she possessed no more than one piece by 

1 Dr. G W. Kernkamp, who has found much information *e- 
garding these agents in the archives of Stockholm and Copenhagen, 
has been good enough to inform me that princes, among them the 
King of Denmark, dealt personally in such possessions. 



46 GERARD DOU 

Gerard Honthorst, a couple of paintings of insects and 
reptiles, and five genre pictures ; 1 besides these she had 
no Dutch pictures but those by Dou, purchased for her 
by Spiering. The blue-stocking Queen cared little for 
the realism of Dutch art, preferring biblical, mythological 
and allegorical works, such as the Italians were then 
painting. Appelbom, the Swedish resident at Amster- 
dam, who, as we know, also bought pictures for his Queen, 
seems to have known her taste better; and from that 
city, where a brisk trade in Italian works of art was car- 
ried on, he may have sent her many examples which she 
esteemed more highly than the small pictures by Dou, 
which she received from her representative at the Hague, 
She cared even less for the art of Germany and Flanders, 
as may be gathered from the fact that, when she retired 
to Italy in 1654, she left all her pictures of those schools 
behind in Sweden. Dou's pictures she had already re- 
turned to Spiering in 1652 ; in a catalogue drawn up in 
that year they are marked as " rendu" 3 

There were ten of them, and the list is of especial 
interest as proving that the works mentioned in it must 
have been painted before 1652. The most important 
is the Young Man Playing the Violin^ a masterpiece 
now at Bridgewater House (No. 32; Plate 31). Next 
to this must be ranked A Man Writing^ probably that 
belonging to the Marquess of Bute (No. 59) ; A Woman 
Peeling Potatoes (No. 94), which, after remaining in 

1 Granberg 1 (Olof), La Galerie de Tableaux de la Reine Chris- 
tine (Cat. raisonne* des Galenes privies de la Suede), 

a See Nos. 32, 59, 94, 104, 107, 207 of the catalogue at the end 
of this work. There were four more not included here (M. 54, 
2723, 290, 297a), Appendix I. 




II anf \tang I photo\ 
Plate 18 



\Yimua 



THE DOCTOR 



LIFE AFTER 1631 47 

Holland till the middle of the last century, and pass- 
ing through many hands, is now the property of Herr 
Huldschinsky in Berlin. Another picture, representing 
A Lacemaker, was formerly in the Boymans Museum 
at Rotterdam, and destroyed by the fire in 1864; one 
of the two kneeling Hermits (No. 107; Plate 6) is 
probably that in the Dresden Gallery (No. /7-r/). 

While we can thus be certain that these pictures were 
all painted before 1652, we can fix a more exact date 
as regards two of them. It may be pronounced with 
certainty that they are the same works that Sandrart 
saw in Spiering*s possession at the time of his residence 
in Holland (1637-41), so they were executed before 
1641, and probably between 1637 anc * 1641. They are 
the burnt Lacemaker and the Violin Player; and we 
thus know positively that in the last-named picture, 
which is in fact dated 1637, we see one of the works 
which Spiering bought " for its weight in silver." 

It must indeed be allowed that this picture is a 
masterpiece. It represents the painter himself at the 
age of four and twenty, and the work is so fine in tone, 
the light falling through the window is so admirably 
painted, that we involuntarily refer it to the influence of 
Rembrandt's teaching. 

It is remarkable to note how long Dou remained 
under that influence, after Rembrandt himself was no 
longer with him, and although he had found a totally 
independent line of work, both in conception and exe- 
cution. In this very picture we clearly see the divergence 
between the two men. In Rembrandt, during the last 
years of Dou's studying with him, we find a skilful and 
often daring use of low, mingled tones, giving the corners 



48 GERARD DOU 

of a room a look of mystery ; and soon afterwards see 
him painting broad beams of sunlight, and placing his 
figures in increasingly splendid and brilliant surround- 
ings. In his pupil, by 1637, we discern a careful ar- 
rangement of the scene, and painstaking study from the 
life in every detail ; in short, a precision which in this 
picture is not yet vexatious, but which subsequently 
grew worse and worse, and soon degenerated into finikin 
painting, the outcome of the brain and devoid of feeling. 
At the time .when he painted the Violin P/ayerDou's 
talent had already taken this bent ; but the execution 
still gives a pleasing, nay, in this work a delightful 
impression. It is one of the choicest pictures of the 
master's early time. Another fine example of this 
period is the Gotha picture of A Woman Spinning 
(No. 128), which rivals the Violin Player] but that the 
painter was not always at the same high level may be 
seen from the Repentant Magdalen of 1638, at Berlin 
(No. 96). 

Dou at this period painted several pictures of which 
the subject resembled that at Bridgewater House, and 
a good many of them are portraits of himself* In this 
respect he pursued the method of his early years, gener- 
ally painting a portrait, even when he placed the figure 
in a needlessly " ornamentally arranged " interior. He 
not only painted Rembrandt's father and mother, his 
familiar models, but took his own relations as the sub- 
jects of his studies. The portrait of his own father, in 
the possession of Herr von Preyer at Vienna (No. n), 
and that of his mother, belonging to Sir Frederick Cook 
at Richmond (No. 62), must be assigned to this time ; 
his father died in 1656, and his mother in 1651. 



LIFE AFTER 1631 49 

He also painted other portraits as commissions, as is 
evident from the two well-known portraits in the Steen- 
gracht Collection at the Hague (Nos. 167 and 168), 
said by Smith to be those of Dou and his wife ; Dou, 
however, was never married, and the man's portrait is 
so unlike the pictures he is known to have painted of 
himself that it certainly represents someone else. There 
is also a portrait of a man at Amsterdam (No. 156), to 
say nothing of those in other countries. They are not, 
indeed, very numerous, so that we are compelled to infer 
that Dou's portraits did not long meet the public taste. 
That this was the case must not be attributed to in- 
different work or lack of resemblance ; we can form an 
opinion on this from the portraits of Rembrandt's father 
and mother, from those of himself, and above all from 
the striking family likeness in those of his own father ; 
there is nothing to be desired in these respects. It is 
more probable that his excessive carefulness, even in 
portrait-painting, made such commissions rarer as time 
went on. When Sandrart tells us that Dou painted 
Spiering's family, he cannot refrain from remarking 
that the President's wife had to sit to the painter on 
five days merely for the under-painting of one hand, 
and that the family had said to him that they had sat 
longer for Dou's little picture than for the large portrait 
group painted by Sandrart in three weeks. 

And Sandrart adds : " By this tediousness he spoiled 
all pleasure in sitting, in such wise that a usually amiable 
face was distorted, and the * counterfeit* likewise, with 
vexation, melancholy and displeasure." That this really 
was the case seems probable from the Portrait of a 
Man in the museum at Amsterdam (No. 156) ; and it is 

E 



So GERARD DOU 

a pity that the gentleman whose face, depressed from 
long endurance, Dou so elaborately painted in 1646, 
should have left no record as to how many hours he 
spent in the artist's studio. Still, Dou's fame seems to 
have prompted some persons, who were fain to be per- 
petuated by him, to pay him to add their heads in pictures 
painted by other artists. 1 

Dou was now gradually abandoning portrait-painting 
in favour of genre> which finally became interiors with 
still-life and merely accessory figures. His works of 
1645 already reveal this transition. We may take as 
an example the picture at Cambridge, dated 1645 (No. 
23), of a schoolmaster teaching a boy to read, while 
another studies his lesson. Dou's father sat for the 
schoolmaster, and the whole composition, with part 
of Dou's studio for the background, reminds us of his 
way of arranging portrait pieces, of which there is an 
instance in the Man Writing belonging to Mr. Charles 
Morrison, London (No. 43). This also represents 
Douwe Janszoon, and is even more crowded with a 
variety of objects out of his son's studio, reminding 
the spectator of Rembrandt's etched portrait of Uyten- 
bogaert, worked out so as to be almost completely a 
piece of genre. 

From these years date the earliest known pictures of 
domestic occupations, which show Dou's divergence in 
another direction, a line which became characteristic of 
his school and of himself. I allude to the arrangement 
by which the spectator looks in through an open win- 

1 An instance is to be seen in the Wesendonck Coll at Berlin 
(Catalogue A., No. 223). In this picture, ascribed to A* v. Ostade, 
Dou painted the heads of two figures. 




Hanf\tantf finite} [. I u 

THE FISHERMAN'S WIFE 



LIFE AFTER i6 3 x 51 

dow or door a nfs t or niche, as it was termed at the 
time, and the picture a nisstuk or niche-piece. 

Dou, of course, was not the first to treat interiors in 
this way; indeed, it would seem that it was Rem- 
brandt's example which, in fact, led him to paint these 
"niche-pictures." If Dou had generally displayed 
greater initiative, we should not ascribe this new de- 
parture to Rembrandt's influence, for the arrangement 
of figures in an architectural setting of arches, balus- 
trades and the like had long obtained, in imitation of 
the Italians ; but Rembrandt's Portrait of Saskia^ done 
three days after their betrothal (1633), that of A Man 
(1634) ' m the Holford Collection, the Lady with a Fan 
(1641) in Buckingham Palace, and many others must 
certainly have had their effect on his pupil. It was 
already customary to set a portrait-head in an oval as if 
the sitter were looking out through it, and Frans Hals 
and his pupils frequently represented their subjects with 
one hand resting on a balustrade. Rembrandt's pupils 
followed his example. Nor was it any speciality of Dou's 
to represent a figure as leaning over the lower half of a 
door ; it is to be seen in the pictures and etchings of 
Adriaen v. Ostade, and in pictures by Maes and others. 

Still, Dou's treatment of the " niche " window was so 
characteristic that it became the typical form for all the 
Leyden school of minute painting, from his first pupil to 
his last imitator. It is therefore interesting to note the 
process of its evolution. 

The earliest dated work of this class is the Girl cut- 
ting Onions (No. 36 ; Plate 8) in the King's Collection 
at Buckingham Palace. It was painted in 1646. We 
look into a kitchen where a girl is cutting onions into 



52 GERARD DOU 

a tub which stands on the sill of the window that frames 
the whole. The girl is evidently a portrait ; the same head 
frequently occurs in his pictures, and the boy is painted 
from the same model as sat for one of the figures in the 
Schoolmaster at Cambridge (No. 23). The arrangement 
is simple, and the window-frame perfectly plain. Another 
picture, a Girl scouring a Pan } in the King's Collection 
(No. 37 ; Plate 7), and the Girl chopping Cabbage? with 
its companion, now at Schwerin (No. 150), were evid- 
ently painted at the same time, from the same model 
and the same place, and are equally simple and plain so 
far as the "niche" is concerned. But Dou gradually 
worked up this subsidiary feature, as its attraction for 
him increased ; between 1646 and 1657 we find only one 
work which is not thus arranged, and even the earliest of 
his dated lamp-light studies * belongs to this class. 

Dou began with a plain arched window, with a broad 
sill on which two or three accessories were displayed, 
but he soon began to add some decorations : he first 
placed a stone tablet below the window on which the 
date is carved in Roman numerals (as in the Fishemnaris 
Wife at Amsterdam (No. 158; Plate 19); or he partly 
drapes the opening with a curtain ; he trains a vine up 
the sides, or gives life to the whole by introducing a pot 
of blossoming pinks. But what he ere long liked best 
was to place a bas-relief in the wall below the window, 
painting it from a plaster cast in his possession. After 
1651 this constantly recurs. We find it in the famous 
Violin Player at Dresden 51 (No, 112); in the equally 
well-known Poulterers Shop in the National Gallery 

1 Not included in the list in this volume (M. 2?2a and 323a). 
9 Which is not a portrait of himself, though formerly called so* 




[L&uvtt 



MAN \VEIGIIING GOLD 



Plate 20 



LIFE AFTER 1631 53 

(No, 47; Plate 28), and a great many more window 
pieces. It represents some children playing with a 
goat, and is the best known work of a sculptor at that 
time famous : Frans Duquesnoy better known as II 
Flamingo a friend of Rubens. 1 

This bas-relief is the familiar feature of all his more 
richly decorated window-frames ; and, with a bird-cage, 
a pot of pinks, a climbing vine, etc., this relief very 
rarely any other became the stock-in-trade of all Doll's 
followers, and, however varied in arrangement, gives the 
stamp which enables us to recognize Dou as the model 
they imitated. 

Another class of subject is also characteristic of Dou 
and his school, interiors, namely, seen through a window, 
with an effect of lamp, or more frequently candle-light. 
It was Dou who made this class of work popular by in- 
troducing it into domestic genre. Candle-light pieces 
had no doubt been painted long before his time, as in 
Jan Massys' St. Jerome (at Vienna, No. 692) ; and 
" Night-pieces," as they are called, probably had their 
origin in subjects of Bible history to which night effects 
seemed appropriate, as the Birth of Christ and Peter's 
release from Prison. Gerard Honthorst and Elsheimer's 
followers had also painted artificial light, but the repre- 
sentation of night scenes of domestic and private life, 
elaborately finished and on a small scale, was first 
adopted as a genre of his own by Gerard Dou. He was 
first attracted to an attempt in this direction, once more, 
no doubt, by Rembrandt, for during the years of his 

1 See Nagler, r, v. Dou had other pieces by this sculptor, 
among others one of his figures of children, which he painted in 
the Portrait of Himself & Brussels (No. 17). 



54 GERARD DOU 

apprenticeship the master had more than once executed 
a candle-light scene; I need only name the Money 
Changer at Berlin, and the Philosopher at Vienna. 1 

We find Ho candle-light effect in Dou's pictures 
before 1653, in which year a replica of the Brussels 
portrait was painted, 1 The treatment is not yet alto- 
gether satisfactory, too evidently laboured and too 
gray in tone ; but the painter soon overcame all such 
difficulties, and brought the painting of these night- 
pieces to a high degree of perfection. His famous 
Evening Sdwol at Amsterdam, painted in or shortly 
before 1665 (No. 159; Plate 34), must, whatever may 
be said of it, hold a high place among the works of our 
great masters. The Card Players in the Czernin Collec- 
tion at Vienna (No. 7), and the Girl preparing Supper^ 
at Frankfort (No. 126), are also two of Dou's best 
pictures ; and that this kind of subject, especially a 
woman in a "niche" with a lighted candle, had great 
vogue even during his lifetime is well known. In fact, 
Schalcken became his pupil exclusively, it would seem, 
in order to learn to paint such subjects. 

Though Gerard Dou deviated from his master's teach- 
ing in some subjects, in one class that was congenial 
to his own instincts he followed him most faithfully, 
I allude to his many pictures of Hermits. The earliest 
treatment of this subject, which might even be taken 
for a copy from a picture by Rembrandt (No. 107) has 
already been mentioned (p. 40). Dou had the same 
composition in his eye, even long after. The same 
accessories the Crucifix, Bible, rosary, skull, etc., and 
especially the trunk of a dead tree "which resem- 
1 Not included in the catalogue in this book (M. 323a), 




Altnan 
Plate 21 



THE PANCAKE SELLER 



[UJfizt GalUry 



LIFE AFTER 1631 55 

bles no tree-trunk in nature," says Weyerman con- 
stantly reappear In the surroundings of the Hermit, 
who is sometimes reading, sometimes praying, generally 
seen only to the knees, but occasionally a full-length 
figure, and always based on the same conception. And 
not men alone, but women that may be identified as 
the Penitent Magdalen^ did he paint in the same manner, 
and with the same accessories, though far less frequently 
than the Hermits, which were so much to the taste of 
the buyers, that they not only were well paid for, and 
repeatedly copied, but were largely imitated by other 
painters, such as van Spreewen, Leermans and van 
Staveren, who sometimes borrowed whole passages from 
Dou's Hermits. 1 

What is even more striking in the Magdalens than in 
the Hermits is the typically Dutch physiognomy of 
Dou's model, a girl who is seen not only in his earliest 
dated Magdalen (1638), now at Berlin (No. 96), but in 
the Girl cutting Onions (1646), at Buckingham Palace 
(No, 36), in the Woman with a Fowl (1650), in the 
Louvre (No. 82), and in the well-known picture (No. 66 ; 
Frontispiece) at Waddesdon Manor (1657), formerly in 
the Six Collection. We still see her in the Young Mother 
at the Hague (1658) (No. 164; Plate 26), and in many 
other pictures. It is always the same girl, always 
equally young. This makes it quite clear that Dou 
cannot always have painted the face from life, however 
evident it may seem that other parts of his work were 
studied from nature. It would seem that he constantly 
painted this girl from sketches or from memory, and 
he probably did the same with other " character-heads," 

1 A pleasing example by Leermans is to be seen at Buda-Pesth. 



56 GERARD DOU 

for he repeatedly made use of the studies he had made 
from Rembrandt's father, as Rembrandt himself did, for 
a figure in a picture, long after the death of Harmen 
van Rijn. As regards the accessory objects in his pic- 
tures, they were always faithfully painted from nature, 
as may be proved by an interesting example. 
There was, in the seventeenth century, a gate at the 
end of Haarlemmerstraat, near the Turf market, called 
the Blauwpoort or Old Rijnsburgerpoort, built in 1619, 
In place of an older structure. After the extension of 
the city after 1610, the Morschpoort afforded access to 
it on this side, and the gate of 1619 was evidently more 
ornamental than practical. From the middle of the roof 
rose a peaked tower, and each of the two ridges supported 
a sort of tall chimney on which was an armillary sphere. 1 
The cornice of the building was evidently not strong 
enough to bear these superstructures; the tower was 
reduced to a peaked cap, and in 1652 the two square 
chimneys were reduced in height. Finally, in 1667, the 
gate, by the restoration of the spheres, had assumed the 
aspect it presents in maps and prints after 1670. It 
may seem improbable that a fact in the history of a 
painter should be derived from that of so small a 
building. But so it is. Dou frequently introduced the 
Blauwpoort into his pictures, In one at Prague and 
another at St Petersburg, and in no less than four at 
Munich, it is seen in the background (Nos. 4, 134, 135, 
139, 140, 185), Four of these, dated 1652, 1654, 1663 

1 The BJauwpoort of Leyden is represented in many prints of 
local interest, For particulars see note i to p. 57 of the original 
Dutch of this work, where an illustration shows the successive 
alterations. 



LIFE AFTER 1631 57 

and 1667, show it in the second and third stages of its 
existence, while in the first and last it appears with the 
tall chimneys and tower of its first phase. This plainly 
shows that Dou did not paint it from an old sketch or 
from memory, as he seems to have painted his heads, 
but that he went direct to nature on each occasion. 

Another inference* may be drawn from this. It is at 
once evident that the gate and its surroundings were 
always drawn from the same spot, and, as the perspec- 
tive shows, from a high position, whence we may safely 
conclude that Dou drew it from an upper room in the 
house by the Galgewater. 1 Sandrart's statement that 
Dou's studio faced north, and was near a canal, confirms 
us in the assumption that it was in such a room that he 
lived and worked. From documents in the Leyden 
archives we learn that he resided in the Noortrapenburg 
district, which included the Galgewater, so he did not, 
as might have been expected, inhabit one of the houses 
he owned on the Kortrapenburg, which belonged to the 
Gasthuys district. 

From all this we may conclude that Dou lived and 
had his studio on the first floor of a house by the 
Galgewater ; and that he worked there in 1652, 1654, 
1663 and 1667 will be seen from what follows. 

There can be no doubt that Dou was already famous 
in 1641 ; and in 1660 he was reckoned one of the 
greatest painters in Holland. To realize this we need 
only refer to the names of some of his more famous 

1 It would seem that this house stood on the site of that now 
numbered 3, as I verified on the spot with almost mathematical 
certainty by the help of photographs, prints and old maps. 



58 GERARD DOU 

scholars, a subject to be treated in a later chapter. 
Poets sang his praises, and it will here be interesting 
to give a sketch of the historical events which afford 
further proof of Dou's popularity. 

In 1660 Charles II. of England paid a visit to the 
Hague, from May 25th to June 2nd, as a guest of the 
States of Holland, on his way to England. A splendid 
reception was arranged to atone in every possible way for 
the incivility they had formerly shown to the Stuarts. 

On Saturday, May 2gth, 1660, at a meeting of the 
States it was resolved to offer the King a magnificent 
present in proof of the sympathy of the Dutch. It was 
proposed to purchase a spendid bedstead (which was 
done, for 100,000 gulden), with its hangings and appurten- 
ances, and a fine tapestry hanging ; also " a large num- 
ber of fine pictures by the most famous painters, as well 
Italian as of this country, old as well as new" ; and the 
Deputed States were appointed to carry out this resolu- 
tion, which indeed was not effected till some time after 
Charles's visit 

Heer van Outshoorn was commissioned in the first 
instance to buy twenty-four Italian pictures from the 
collection of the widow of Gerrit Reynst at Amsterdam, 
consisting largely of pictures that had belonged to 
Charles I., and had been turned into money by the 
English after his death in 1646. For making this pur- 
chase Outshoorn availed himself of "the address and 
advice " of the sculptor Quellinus, and of Gerrit Uylen- 
burch, the picture -dealer; and for these pictures the 
unheard-of price was paid of 80,000 gulden, 1 Then 

1 See Claude Phillips, "The Picture Gallery of Charles I., 1 ' p. 49 
(London, 1896). 




HanfitiiHglplioto} 
Plate -a 



[Dresden 



GIRL WATERING FLOWERS 



LIFE AFTER 1631 59 

Andries de Graeff, a burgomaster of Amsterdam, wished 
to withdraw one of his pictures, whereupon two com- 
petent persons were to be appointed to value it. On 
September 23rd the State valuer approved on their part 
" one Gerrit Dou," and on the part of Herr de Graeff, 
at his request, one Reynier van der Wolff, and the 
two said gentlemen were apprised thereof on September 
23rd, 1660. 

It is to be regretted that nothing more is known about 
this matter, What the result of the assessment was and 
who the painter of the picture are alike unknown. But 
the circumstance is another proof of the high esteem in 
which Dou's talent was held by men of the highest posi- 
tion and best taste in the land. 

The great value set on his pictures is still further 
shown by the fact that the States bought three of them 
to be sent as a gift with the others to Charles II. Un- 
fortunately there is no record of the subjects, or of the 
price paid for them. All that is discoverable is their 
number, as appears from the following note, written by 
the Deputed States, dated "Oct. 1 8. 1660": 

"It will be necessary," they wrote, "that the three 
paintings bought of you in our name should be trans- 
ported to Rotterdam on Wednesday or Thursday next 
at latest And to that end it will be well that you should 
pack the pictures well and securely, and cause them to be 
conveyed to that town, addressing them to Pieter Puert, 
merchant, there. Trusting to this, we remain," etc. 

Dou replied in a letter which is unfortunately lost, 
and on the following day received this answer : 

" In reply to yours, written in answer to ours of the 
1 8th of the current month, we find it good that you 



60 GERARD DOU 

should return the paintings, duly packed, by the bearer 
of this note, named Gerrit Uylenburch, who shall deal 
with them according to our orders ; Trusting to this, we 
remain," eta 

Uylenburch, in fact, was instructed to go with them 
to England, and there take charge of the unpacking and 
placing of the pictures and statues. Shortly after 
October i8th he set out with the envoys, who took 
the presents to England, and on the arrival in London 
the gifts were displayed in the Great Hall of Whitehall 
Palace, Charles warmly thanked the envoys, and the 
pictures which seemed best to please His Majesty were 
" that by Titian, to wit, a Virgin and Child ; and those 
of Douw [sic] and Elshamer [sit]" l 

The question is irresistible : which were the three pic- 
tures by Dou here alluded to? It is very difficult to 
say. Houbraken, when speaking of the demand for 
Dou's pictures, says: "The picture which is esteemed 
by many as his best work is that purchased of him by 
the gentlemen of the East India Company for 4,000 
gulden, and given to Charles II. when he went from 
hence to England to accept the Crown. But others 
say that the States gave this work to King Charles in 
the year 1660, when he came into his kingdom, and 
that they bought it for a large sum of money from the 
cabinet of M. de Bie, his (Dou's) great patron. In it 
are painted a woman with a child in her lap, and a girl 
playing with it. This piece was subsequently removed 
from England by King William, and placed in the Loo, 
but where it is now I know not." 

1 From a letter of two of the Dutch ambassadors, van Nassau 
and van Hoorn, November i6th, 1660. 




Plate 23 



THE LOST THREAD 



\Dmitt9 



LIFE AFTER 1631 61 

From this we might conjecture that the picture men- 
tioned by Houbraken was part of the States' gift. But 
his account, apparently based on a verbal report, per- 
haps revived soon after the transfer of the picture to 
the Loo, is very vague. 

There is no documentary record of any present made 
to Charles by the East India Company, though this is 
no proof against the fact. Nor have we any reason to 
suppose that the States bought a picture from de Bye ; 
indeed, as we have seen, they corresponded directly with 
Dou about the pictures. Though this again proves 
nothing, since more than three pictures by him may have 
been purchased. 

Research in another direction brings us to the fact 
that in the Royal Picture Gallery at the Hague there is 
a picture called The Young Mother, which represents a 
woman with a child in a cradle by her side, and a girl 
playing with the infant (No* 164; Plate 26). A few 
years ago Dr. C Hofstede de Groot, in the course of an 
inquiry as to the history of this work, came to the con- 
clusion that it had once been in the collection of James 
IL, King of England. Whether it had been given to 
Charles II. is uncertain, as Houbraken's description does 
not precisely answer to it. That the gift was made we 
know from a passage in John Evelyn's Diary, where it is 
noted between the ist and the 6th December, 1660: " Now 
were presented to his Majestie those two rare pieces of 
Drolery, or rather, a Dutch Kitchin, painted by Dowe so 
finely as hardly to be distinguished from enamail." 
That this was the picture belonging to James II., and 
subsequently transferred to the Loo being, indeed, the 
only work of this kind by Dou as to which the com- 



62 GERARD DOU 

parison with enamel has any sense is, moreover, cor- 
roborated by the mention of The Young Mother in the 
list of pictures demanded by Queen Anne after the death 
of William III., as "A Dutch Kitchen, by Gerard Dow." 

It may be considered proved, then, that The Young 
Mother was presented to Charles II. And as the letter 
from van Nassau and van Hoorn indicates that the 
King had inspected the presents before November 26th, 
and Evelyn expressly says in December "Now were pre- 
sented? The Young Motfier must have been a separate gift, 
and so not improbably from the East India Company. 

There are two well-known pictures by Dou which 
correspond with the description given by Houbraken, 
each representing a woman with her child on her lap, 
and a girl playing with it (Nos. 39 and 55). One is in 
Buckingham Palace, the other belongs to the Duke of 
Westminster. They are companion pictures, and both 
came from the Choiseul Collection. I was able to see 
the former work, and to determine that it was painted 
about 1654-60. I could not indeed examine it with a 
view to finding an old inventory number, or any other 
mark by which to verify its former history. But it 
seems to me not impossible that one of these pictures 
was presented to Charles II. or, perhaps, both and 
subsequently brought back to Holland, and that one of 
them is that which is mentioned in van Beuningen's 
Sale as "The well-known Cradle by Gerard Douw." 
This, however, cannot be proved, and we are still in 
uncertainty as to what were the paintings by Dou pre- 
sented by the States to Charles IL 1 

1 I venture to surmise that Houbraken confounded together two 
separate facts and two gifts : (i) the picture*- or two pictures 



LIFE AFTER 1631 63 

At any rate, Charles was so well pleased, especially 
by Dou's work, that he seems to have had an idea of 
bidding the famous painter to his Court. This would 
appear from some verses by a Leyden poet, Dirk 
Traudenius, famous in his day, dedicated 

" To Mr. Gerard Dou, when, by the King's command, 
he was invited to go and paint in England." 

Houbraken, who has preserved the verses, hazards 
the obvious opinion that the painter " had reasons " for 
rejecting the offer, inasmuch as his retired habits would 
not accord with Court life, or that his friends persuaded 
him to think so. 

It is known that Charles invited painters from Hol- 
land to work at his Court W. van de Velde the younger 
and Pieter Lely. And it might seem possible that Dou 
also came over for a time, since his name is absent from 
the books of St. Luke's Guild from 1668 till 1673. The 
existence of a portrait of the King ascribed to him gives 
support to this opinion, and I carried out a long search, 
both at the British Museum and the Record Office, but 
without result. 1 Not long after, however, I came by other 
means on a solution of the question. Dou's name, as 
has been said, is missing from the books during an earlier 
interval, from 1651 till 1658. It has usually been as- 
sumed that Dou lived out of Leyden during these years. 
Kramm, Ch. Blanc and Dohme speak of his absence 

representing a woman with a child in her lap, which Dou himself 
sold to the States to be presented to Charles IL ; (2) The Young 
Mother^ bought of de Bye by the East India Company and given 
to the King somewhat later. 

1 There are still a number of uncatalogued documents of this 
period, apparently from the household records of Charles II. ; but 
a search through them is impossible as yet. 



64 GERARD DOU 

during these years, and it is mentioned in the latest 
catalogue of the National Gallery. 

But while compiling my list of Dou's works, I found 
a Portrait of Himself, by Dou, mentioned by Granberg, 
signed "G. Dou, Leyden, 1652, ^Etatis 39," whereupon 
Granberg rightly remarks that Dou must have been in 
Leyden in that year. And an examination of his pic- 
tures at Munich, dated 1652, 1654, 1663 and 1667, in 
which he painted the Blauwpoort, evidently from nature 
(see ante, p. 56), proves that the omission of Dou's name 
from the Guild books was not due to his absence from 
Leyden during the first interval, 1651-1658. 

As regards the second, I have come to the same con- 
clusion, especially since Dr. Bredius showed me some 
legal deeds in which Dou is mentioned. The following 
r/sum/ will show in what years Dou's residence in 
Leyden may be positively proved. 

From Orlers' statements it is clear that Dou was 
living in Leyden till 1641, and there is no reason to 
doubt his being there in 1642 and 1643, though no 
evidence is forthcoming. In 1644 E) u signed the deed 
of the " Order of St. Luke " ; then we hear no more of 
him till 1646, in which year he painted a portrait of a 
man in 'his studio (No. 156)* As to 1647 there is no 
evidence. In 1648 he was a member of St. Luke's 
Guild, and is mentioned in the lists till 1651. In 
1652 he painted a portrait of himself in Leyden, 1 and 
the Blauwpoort in the background of another picture 
(No. 134). Of 1653 there is no record ; in the following 
year he again painted the Blauwpoort (No. 134) from 
nature ; and of 1655 again we know nothing. That he 
1 Not included in the catalogue in this book (M. 109). 




\Lonvte 



mi; GROCERS' SHOP 



I'la'-t. 34 



LIFE AFTER 1631 65 

was at Leyden in 1656 and 1657 is proved by his sig- 
nature to two deeds. From 1658 to 1668 his name is 
found in the Guild registers. In 1669 he had three 
pupils, he had his will made by the notary Paedts at 
Leyden, and the burgomasters of the town entered into 
negotiations with him as to the painting of a picture, a 
matter still proceeding in 1670. There is no record of 
1671, but in the following year Dou seems to have 
signed a portrait of himself dated " Leyden, 1672." T In 
1673 and 1674 his name again occurs in the Guild books, 
and in 1674 he made his will for the last time. 

From this it is plain that the Guild books alone are 
no trustworthy guide as to Dou's presence in Leyden, 
so that all hypotheses based on them may be set aside. 
It is not, of course, impossible that during the years 
of which we know nothing (1642, 1643, ^4-S) l $47* 
1653, 1655, 1671) Dou was absent; but it may safely 
be assumed to be almost a certainty that Dou was 
never out of Leyden for any length of time, and that 
Charles II.'s proposal that he should visit London came 
to nothing. 

Dou, in fact, was under no necessity to leave bis 
native land, especially when, in or about 1660, he had 
found another patron to buy his pictures as Spiering 
had formerly done. 

It has already been told, (p. 9) that Monsieur de 

Monconys, when he stayed in Leyden in August, 1663, 

besides going to the world-famed Anatomical Theatre 

and other places of note, visited the best known painters. 

He first went to Frans van Mieris, who had but one 

picture finished, for which he asked him i,2OO/*Vr&r. He 

1 A copy, at Nurembei^r, of No. 6. 

F 



66 GERARD DOU 

went also to Pieter van Slingelandt, and was willing to 
give " 60 tens " for a picture, for which the artist asked 
no less than 400 livres. When Monconys came to Dou, 
" qui est incomparable four la dtlicatesse de son pinceau" 
he too had but one picture, A Woman at a Window 
(M. 237a), for which he demanded "600 Kvres dupays" 

Monconys bought nothing, but he went to Monsieur 
de Bye, to see the " great number of pictures by Dou," 
which that gentleman owned. Johan de Bye seems at 
first to have had these works in his house ; but they soon 
became so numerous that on September i8th, 1665, he 
hired, from the painter Johannes Hannot, who lived in 
Leyden opposite the Town Hall, at the rent of 40 gulden 
a year, " a front room in order to display the paintings 
of Monsieur Douw belonging to the aforesaid de Bye, 
and to give them a fitting place." 

When the pictures were carried thither the following 
advertisement appeared in the " Haarlemsche Courant " 
September 26th : 

" Be it known to all gentlemen and amateurs, that in 
the house of Mons. Hannot, opposite the Raethuys in 
the town of Leyden, every day, except Sundays, from 
ii to 12, should there be no compulsory hindrance, 29 
pieces may be seen * most admirably painted and won- 
derfully finished by the skilled and renowned Mr. Gerard 
Dou~ praying all in particular as they go out not to 
neglect to remember the extreme need of the poor, but 
to make a liberal gift for the sight of the same, to which 

1 In the contract (for which see Appendix II.) only twenty- 
seven are enumerated j it is worthy of note that, as all the houses 
on the side of the Breestraat face north, the pictures were shown 
in the same light as they were painted in. 




[A msteraam 



PORTRAIT OF THE ARTIST 



Plate 95 



LIFE AFTER 1631 67 

end a chest shall hang in the said room, and if any one 
finds pleasure in the art displayed will he be pleased to 
speak of it to the owner." 

This was an important and extremely costly collec- 
tion, and it is worth while to go through the items and 
note where the pictures now are. 

No. I. " A large piece, daylight, with four figures, a 
sick woman and a doctor with a vessel ; an ewer on the 
outside," is beyond a doubt the well-known and often 
described Dropsical Woman (No. 79), now in the 
Louvre, where, till a short time since, it had the honour 
of a place in the Salon Carr6, among the masterpieces 
of every school. 

The panel on which it is painted was originally 
inclosed in an ebony case with a double door, on which 
Dou had painted an ewer and a silver bowl. These, 
too, are in the Louvre, but separated from the other 
examples (No. 86). The Dropsical Woman (La femme 
hydropique) [Z. 234^ is famous not merely for its com- 
position and execution, but also for its history, 1 and it 
gave rise to some confusion as to the date of Dou's 
birth. The picture is signed, on the edge of the Bible, 
which lies on a desk in the left foreground " G. Dou 
1663 out 65 jaar" Consequently, several writers as- 
sumed the year of his birth to be 1598. Kramm, who 
settled the question, proposed to read this signature out 
55 jaar, an assumption accepted by the National 
Gallery catalogue* In point of fact there is certainly n 
error in the signature ; and a mistake between 8 and 3 
or between 5 and 6 is one easily made. Happily this 
list of de Bye's now establishes the fact that the picture 
1 For which see p. 98 below. 



68 GERARD DOU 

was painted before September, 1666, which makes it 
absolutely certain that the date should read 1663, and 
that the words out (aged] 65 jaar either were added 
afterwards or contain a blunder. 

No. II. "A lady playing on the clavi-cembalo, with a 
table-cover, daylight," is now in the Dulwich Gallery 
(No. 26; Plate -35). 

No. III. " Candle-light, three persons playing cards/ 1 
may be seen in Count Czernin's collection at Vienna 
(No. 7). 

No. VI. " A naked swimmer near a tree " is in the 
Hermitage, St. Petersburg, This picture (No. 185) has 
never been parted from Nos. IX. and XVL 

No. VII. "A goat and landscape" is a subject we 
should not have expected Dou to paint. This may be 
the picture seen by Burger in 1857 in the Manchester 
Exhibition, which perhaps had come from the collection 
of Eugene of Savoy. I know no more of this interesting 
picture. 1 

No. VIII. " The Evening School" (No. 159), now at 
Amsterdam, is thus seen to have been painted in or be- 
fore 1665 (Plate 34). 

No. IX. " A naked woman rubbing her foot with her 
hand" is in the Hermitage (No. 183), 

No. XIII. " A double piece, on the outside a curtain, 
a clock, and a candlestick ; within, a candle-light scene, 
being a cellar," again is a painting in a case, like No. I. 
The door and the picture are both at Dresden (Nos. 121 
and 122 ; Dresden Cat, Nos. 1713 and 1708), but until 
now their relation had not been discovered. In the 
Dresden catalogue the still-life outer panel (Plate 32) is 
1 Not included in the catalogue in this book (M. 359b), 




Hax/sMnglf hoto] 
Plate 36 



THE YOUNG MOTHER 



\TJu Halite 



LIFE AFTER 1631 69 

said to be dated 1667 ; but this is an error ; there is no 
date, as examination by myself and Dr. Karl Woermann, 
the director, proved. 

No. XVI. "A naked girl combing her hair" (No. 
184) is in the Hermitage. 

No. XVIII. "A candle-light scene with an Astro- 
logus" maybe either the picture at Brunswick (No. 100), 
that at Richmond (No. 65), or that at Vienna (No. 12). 

No. XX. " A trumpeter blowing, with a silver leather" 
(No. 8 1 ), is in the Louvre. The " silver leather " evidently 
refers to a blue curtain with a silver border on the right 
of the picture. 

No. XXI. " A woman counting money, with a gold 
leather" 1 (No. i6),is in the Arenberg Gallery, Brussels. 

No. XXIV. " A girl leaning over a balustrade with a 
cover that is on it " has within a few years been added 
to the Rudolphinum at Prague (No. 4). 

The other numbers of this list cannot be identified 
with any certainty, chiefly because in each case more than 
one well-known example agrees with the description. 

A noteworthy point is the fact that twenty-two out of 
the twenty-seven pieces were provided with a has a 
chassis or case with doors ; among them are three 
" double-pieces " besides the Dropsical Woman. 

We possess several, though not very many, examples 
of pictures of the seventeenth century inclosed in such 
a chassis. The risks of transport, especially to a foreign 
country, made some such protection necessary, where we 
nqw use merely a rough case to protect the frame, and a 
plate of glass to cover the picture. Sometimes, however, 
such a " shrine" was added merely to give the picture an 
1 Dr, Martin explains this as an embroidered hanging. 



70 GERARD DOU 

added value, and that the plan was well adapted to im- 
prove a bad picture we gather from a passage in Campo 
Weyerman, 3 relating to a spurious Correggio, u inclosed 
in an elegant case with a green silk curtain." Some- 
times the case was not fitted with doors, but with a 
sliding lid on which something was painted; for in- 
stance, a picture was put up for a lottery at Wijk-bij- 
Duurstede in 1649 an owl by Pieter Aertsen, with a 
panel that closed over it on which Jan de Bondt had 
painted some birds. 

* Dou began early to protect his pictures by a case ; 
among those sent to Queen Christina one had " un chassis 
noir'de bois d'tbhie? Ere long it occurred to him to 
paint a picture on the lid, or rather the door of these 
cases, generally a niche with some object of still-life, in 
imitation of the niches then commonly made in the walls 
of rooms to contain all kinds of ornaments ; for instance, 
in the example at Dresden (No. 123 ; Plate 32), a candle- 
stick and a clock ; and in that of the Louvre an ewer, 
just to break the dull effect of the cover. 

The best example of such a door was the famous 
picture by Dou a which was lost in the Baltic, in 1771, 
on the voyage to Russia. This piece was arranged as a 
triptych, Dou had two doors made to cover the picture 
itself, and on these were painted two grisailles by 
Michael Coxie on the outside, while Dou himself painted 
two little pictures on the inner side. In one instance he 
allowed himself to be tempted to paint a picture on the 
cover of a chassis containing an ivory crucifix/* probably 
for a Catholic whose worship had to be performed in 

1 " Ontleeder der Gebreeken," 1724, p. 130. 

9 Not described in this catalogue (M. 304 and 68). 




Htmfitangl photo] 
Plates; 



[Vuuuh 



WOMAN SAYING GRACE 



LIFE AFTER 1631 71 

secret, thus giving the case the appearance of containing 
a picture. 

If this practice of our ancestors of protecting a paint- 
ing by a case with doors is unfamiliar to us, it is well 
known that precious pictures were frequently covered 
by a curtain. In fact, the curtain almost belonged to 
the picture* Thus when the Master of the Vintners' 
Company of Rotterdam had his portrait painted, he 
ordered the curtain at the same time as the frame. And 
we see numerous instances represented in the works of 
our great masters ; for instance, in a charming painting 
by Gabriel Metsu, the property of Mr. Beit, London, 
where a maid-servant is inquisitively raising the curtain 
which screens a marine picture on the wall. And the 
artist sometimes tried to cheat the eye by painting a 
curtain on the picture itself, to look like a real curtain. 
Painters of still-life often did this, but others as well, 
merely to name Rembrandt and Jan Steen. 

Dou more than once painted such a curtain, hung by 
rings to a brass rod. And not only in studies of still- 
life ; in the most satisfactory of all his portraits of him- 
self, that at Amsterdam (No. 155), a curtain Is so wonder- 
fully imitated, that the names of Zeuxis and Parrhasius 
rose to the lips of many of his contemporaries. For the 
first desideratum of the taste of the time was that a paint- 
ing should be exact, and natural. However strange the 
subject might be, whatever " queer fancies " might be re- 
presented, if only the painting was highly finished and 
had nature for its foundation it passed muster. Apes in 
men's clothing, nymphs, centaurs or devils, no one cared 
so long as they were correct, natural and highly finished 
in drawing and execution, A minutely finished work 



72 GERARD DOU 

was most in favour even at the beginning of the seven- 
teenth century, and the whole tendency of the technique 
of the Flemish school, which trained our younger men, 
was to this end. No one cared to keep a broadly 
handled picture for any length of time, though at first it 
might be attractive. Frans Hals and Rembrandt both 
died in poverty, while Gerard Dou's great fame and 
wealth prove the preference at that time for elaborately 
minute work. 

We have seen how great was Dou's renown and what 
high prices were paid for his work. First Spiering bought 
his pictures, then the States of Holland, and finally Johan 
de Bye, whose collection consisted of them exclusively. 
It is no wonder then that the Burgomasters of Leyden 
should have proposed to commission Dou to paint some- 
thing for his native town. This we find in a minute-book 
of theirs, wherein it is recorded on July 24, 1669, that : 
<c Mr. Gerard Douw, picture-painter, made his appearance, 
being notified by the Burgomasters that, in consideration 
of his art being very famous and in great esteem, they 
are minded to have a piece by him here; and they 
sounded him as to whether he would feel disposed to 
make a handsome artistic piece of painting for this town ; 
the which the said Douw, after thanking them for the 
honour done to him by this offer, expressed himself 
ready to agree to, but first he was required to com* 
municate to the Burgomasters his idea (for the picture) 
which he was left free to decide on." 

The Burgomasters apparently thought that Dou 
would be satisfied with the honour and a present (as a 
silver ewer, such as they had presented to somebody a 
short time previously) ; but the painter, somewhat 



LIFE AFTER 1631 73 

spoilt by the high prices he was being paid for his 
work, seems to have valued himself in this case by his 
own standard, as did his pupil Frans van Mieris, to 
whom the Burgomasters made a similar proposition. 
At any rate their views did not coincide, and on 
February i8th, 1670, the Burgomasters resolved to give 
" the painter Mieris an evasive answer, and to postpone 
the picture he was to paint for the town ; as regards the 
painting by Douw, to put him off as cleverly as may be 
with an excuse." 

Since this was their determination, it is evident that 
the demands of the two painters were excessive. Both, 
in fact, were spoilt in this particular. Mieris had been 
paid 1,825 gulden for a picture painted to the order 
of Cosimo III., Grand Duke of Tuscany; and as re- 
gards Dou, even after his death the greatest efforts were 
made to secure a miniature work by him for the same 
prince, proof enough that his paintings were much 
sought after. It is quite conceivable, therefore, that he 
asked high prices, not to be over burdened with com- 
missions. He, like van Mieris, 1 calculated the price of 
his pictures by the time he worked on them, charging a 
pound Flemish, z>., six gulden, per hour ; and that is 
quite conceivable in a man who, like Dou, had not to 
work for his bread. 

For he knew no cares of any kind. He was un- 
married and lived quietly in his house by the Galge- 
water with his niece Antonia van Tol, who kept house 
for him, and he never troubled himself as to what the 
world might say of their relations to each other. He 
was to be seen everywhere, a respectable gentleman, 
1 See Houbraken, vol. iiL, p. 4. 



74 GERARD DOU 

" Monsieur Dou " as he was usually called. And pos- 
sibly for this reason the French form of his name Gerrit 
(Gerard) had already been adopted during his lifetime. 
Besides the fact that at the founding of the Guild of 
St. Luke in 1648 he was chosen its standard-bearer, it 
is clear that he was one of the "gentlemen" among 
the painters* His portraits of himself show it more 
plainly than words or records. The youth who attended 
Rembrandt's classes grew to be a man who at first made 
rather a display of his joviality, as in the portrait in the 
National Gallery (No. 44), but who gradually assumed 
the gravity of demeanour which beseemed a patrician in 
those days. It was in a rich dress, a cloak trimmed 
with fur, a handsome cap on his head and a silver- 
headed cane in his hand, that he painted himself in 
1663 (No. 135), and with evident satisfaction put in 
" Aet. go " after his signature. The portrait by Schalcken, 
painted in 1662, shows that he made the same impres- 
sion on others, and we are involuntarily tempted to lose 
ourselves in speculations as to the person of an artist 
who had so wide an influence on the painters of his day. 1 
His wealth was undoubtedly great. He inherited a 
substantial fortune at his father's death, consisting 
chiefly of houses, and increased it by the large sums he 
got for his pictures. Thus for one he demanded of 
Monconys 600 gulden, which agrees with Sandrart's 

1 A portrait of G. Dou was painted by van Tol, but it was burnt. 
Other portraits of Dou are : (i) an etching by Dusart ; (2) a 
portrait, painter unknown, in a sale at Amsterdam, February 26th, 
1878 ; (3) a portrait, painter unknown, which Waagen saw at 
Woburn Abbey and did not think was a portrait of Dou. See 
Moes : Iconographia, under Dou. 




Haujdangl j>hoto\ 
Plate 28 



[National Gallery 



THE POULTERLR'S SHOP 



LIFE AFTER 1631 75 

statement, who speaks of 600, 800, 1,000 gulden and 
more. 

That he had a real respect for money, and was by no 
means indifferent to the disposition of his fortune at his 
death, may be seen from his having three times made 
his will. 1 From the last, made six weeks before his 
death, we may estimate his position. He owned three 
houses together on the Kortrapenburg, and a capital of 
15,000 gulden, left to his niece Antonia van Tol for 
her life, while he bequeathed 4,000 gulden in various 
legacies, and 500 to the Catharijnengasthuis at Leyden. 

Of his last illness and death nothing is known. A 
brief entry in the register of St. Peter's church at Leyden 
tells us the date of his death. On the pth of February, 
1675, we find in the list of burials these words only : 
" Mr. Gerrit Douw, painter." 

1 August I3th, 1657 ; November 23rd, 1669 ; December 24th, 
1674. They may be seen in the Dutch original of this book. 



CHAPTER IV 

A PAINTER'S STUDIO IN THE SEVENTEENTH CENTURY: 
DOU'S PUPILS AND FOLLOWERS 

AMONG the works of the great Dutch painters 
there are not a few which give us a glimpse into 
their studios and their ways of working, Rembrandt 
frequently painted, etched and drew his workroom ; Jan 
Vermeer and Adriaen van Ostade depicted their studios ; 
and in some instances a mirror hanging on the wall 
shows us the artist at his easel, or we see him reflected 
in the surface of a vase, as in the still-life studies of de 
Heem and van Beijeren. 1 

The arrangement of the studio depended in the first 
place on the character of the works executed by the 
artist, and in the second on his means, though of course 
certain furniture and accessories were indispensable. 

1 There is in the Dutch edition of this work a long list of 
examples. The most important are Dou's picture of Rembrandt in 
his studio, belonging to Sir Frederick Cook (No, 61) ; a pleasing 
instance of a reflected image in de Heem's large still-life painting 
in the Academy at Vienna ; Nicolas Maes seen at his easel in a 
mirror, in a picture belonging to the Grand Duke of Saxony. A 
singular case of a painted reflection may be seen in a picture at 
Strasburg ascribed to Hans Memling, God the Father, enthroned 
in Heaven, holds a crystal orb in which may be seen the reflection 
of a window, showing that the object was painted from life in a 
studio, 




Haiifo tnngl photo} 



{Munich 



WTTU A 



A PAINTER'S STUDIO 77 

Painters bought colours in the lump from a colour 
merchant, and prepared them by pounding them, or 
grinding them in a colour-mill, and then rubbing them 
down on a stone with a muller, adding oil or water. 
Generally a pupil was trusted with this task, as may 
be seen in several pictures ; the oil-colour was kept in 
little pots or bladders, the water-colour in shells. 

For painting on, canvas was needed, panel generally 
oak or sometimes copper. The canvas or panel was 
prepared generally with chalk-white under a surface of 
white lead, umber, or even black, as may be seen in 
some of Dou's earlier works (No. 188 for example). 
The canvas was not stretched and nailed over the 
frame, as is customary nowadays, but firmly laced into 
it, as embroidery is stretched in an embroidery frame. 
This may be seen in pictures by Aert de Gelder, 
Gonzales Coques and others. Of the palette and brushes 
and mahl-stick there is little to say ; they were identical 
with those now in use. The easel, it may be noted, was 
always three-legged, with a tilt backwards to avoid re- 
flections, so that the painter must always have admitted 
the daylight at the same angle. When we consider this, 
it is easy to account for the high level from which pictures 
of interiors and of still-life, and also landscapes painted 
in the studio, are illuminated. The windows of a seven- 
teenth-century house could be half shuttered from below, 
and it was in these conditions that most of the Masters 
were accustomed to paint 1 That Dou painted in a room 
with a north light is expressly stated by Sandrart (ante, 
p. 57). It does not follow that every studio faced north ; 

1 This may be seen in the pictures of Pieter de Hooch and 
Pieter Janssens, 



78 GERARD DOU 

it was certainly not a rule ; in fact, I know of one pic- 
ture in which a studio is shown with the sun coming in. 
I have also seen a picture of the period, where the win- 
dow of the studio is seen to be screened from sunlight 
by linen or paper stretched on a wooden frame ; and 
there is no reason to assume that painters always worked 
in a cool north light, especially Rembrandt, whose 
pictures are best seen in a strong light, and so were 
probably painted in a strong light 1 

Prints were a form of property always to be found in 
a studio at that time. No painter, however poor, but 
had his little collection, partly for his own pleasure, 
partly to assist him in "making up" his pictures. It 
would be well worth the trouble to follow up the 
evidence of the influence exerted by the great masters 
of engraving on wood and metal, especially Diirer, and 
by prints after the Italians, particularly Raphael, Man- 
tegna and Michael Angelo, which served as models, or as 
suggestive aids, to Dutch painters. The minor masters 
frequently worked also from prints by the Dutch en- 
gravers of that time ; and in the portraits, especially of 
the first half of the seventeenth century, the manner of 
composition is often accounted for by the fact of its 
having simply been taken as it stands from a picture by 
Mierevelt or Frans Floris. Landscape, genre and still- 
life painters in the same way utilized prints, and it is 
impossible to say how many were copied bodily and 
ended by passing as the original work by the master. 8 

1 In a letter of January 27th, 1639, Rembrandt urges his friend 
Huyghens to hang a certain picture he sends him in a strong light, 
and so that it may be seen from a distance. 

9 Examples are numerous of pieces after Teniers and Goltzius, 




(3IKL VT A WIN'DOW 



Plate 1 



A PAINTER'S STUDIO 79 

In those days such annexation was less severely 
judged than now. William Gabron, in one of his 
studies of still-life, copied a parrot exactly from one 
by Jan Fijt ; Teniers' imitators constantly reproduced 
his characteristic figures, especially a girl by a well; 
and Dou's pupils in the same way van Tol above all 
copied whole passages from their master's works. 
Men who painted for bread without having any marked 
talent made free use of prints from pictures and draw- 
ings, as well as of those by the great masters them- 
selves. In fact, de Piles, who wrote a Handbook for 
Painters, included a chapter on the usefulness of prints, 
in which he says that " it is good to make use of the 
studies of others, without any hesitation." 

Such an abuse must not, however, be imputed to the 
greater painters. For the most part they had these 
prints as copies to set before their pupils ; plaster casts 
were extensively used for the same purpose, and we 
frequently see them in pictures of studio interiors, as 
in Dou's portrait of himself (No. HI) at Dresden (a 
Greek statue), and in another 1 (a plaster head); and 
in works by A. v. Ostade, Nic. Maes and others. Dou 
and Frans van Mieris both owned casts of Greek statues. 

Skulls, too, are constantly seen, and not alone in the 
studios of those painters who devoted themselves to 

and especially of royal portraits imitated from prints. Rembrandt, 
in his Tobias in the Louvre, adapted a woodcut by Marten van 
Heemskerck ; while Rembrandt's Crucifixion and Descent front the 
Cross were frequently copied in paintings on a large scale, being 
in great demand in Roman Catholic churches. There was such a 
copy already in 1650, in the church of Hela, an island near Dantzig, 
and there is another in a church at Wismar, Mecklenburg. 
1 Not included in the catalogue in this book (M,'ii4). 



8o GERARD DOU 

such subjects as the popular Vanitas^ hermits or still- 
life studies ; they were part of the ornamental furniture 
of every studio, like musical instruments, weapons, etc., 
and a horse's skull seems to have been regarded as a 
decorative object ; at any rate, it is frequently seen in 
studios of that time. 

The other " properties " varied with the line of the 
painter's work. If a figure painter, he usually had a 
lay-figure, often called " the boy," on which to arrange 
costumes and drapery, of which we see an example in 
Ostade's Studio at Dresden [Cat. No, 1397}, besides the 
accessories he preferred. The variety of costumes, 
weapons, etc., in Rembrandt's possession, is well known ; 
and in Caspar Netscher's studio, after his death, pieces 
of silk and satin were found which he had used to 
paint from. Among various objects with bright reflect- 
ing surfaces, we often see a convex mirror or a crystal 
ball. Artists seem to have made some use of this object, 
though for what purpose is not quite clear, probably to 
concentrate the light of a lamp or candle. 

Nor is there any lack of literary advice to painters 
as to the various subjects to be treated. Angel, in his 
" Lof der Schilderkonst," counsels them when treating 
biblical or mythological subjects to follow the text 
closely, and instances Rembrandt as doing so faithfully. 
A Bible was rarely wanting in a studio, and other books, 
especially Ovid's " Metamorphoses " and certain fable- 
books, were usually to be found, and were a source of 
inspiration for subjects. 

Landscape and marine painters studied their subjects 
out of doors, and painted them at home. The painters 
of sea-fights went out with the fleet " to have the oppor- 




VOUNt; MAN PLAYING THE VIOLIN 



PI ite 31 



A PAINTER'S STUDIO 81 

tunity of drawing or painting anything remarkable that 
should come to pass between the hostile fleets." l The 
artists who were most successful in painting ducks kept 
them in their gardens, and Otto Marseus, famous as a 
painter of insects and reptiles, kept his models in an 
outbuilding behind his house to study them at his con- 
venience. 

But the living model is not all that is needed. This 
our masters well knew, and gave their minds to sound 
theoretical study, both of anatomy and of perspective. 

The science of anatomy, which made rapid progress 
in the Netherlands after 1555, when the law prohibiting 
the dissection of dead bodies was rescinded, 2 found 
many students among painters. At first difficulties 
were placed in their way, and even at Leyden, where 
there was a " dissecting-place " as early as 1592, the 
painters complained in 1641 that they had no means of 
pursuing this study. But, not long after, anatomical 
schools were established at Leyden, Amsterdam and 
Delft, on the plan of the famous Theatrum Anatomicum 
at Leyden, where artists might occasionally look on at a 
dissection and draw from the human skeleton. Those who 
could not avail themselves of this opportunity made use 
of the Anatomy of " Meester Heynderick and Meester 
Cornelis van Haerlem, which contained faorchh from 

1 See * Oud Holland," vol. L, p. 14. A permit was granted in 
1665-6 to Jan T. Blankerhoffto go out with the fleet. It is known, 
too, that W. v. d. Velde the elder went out with the fleet for the 
same purpose, in the service of the States-General, during the second 
war with England. See Houbraken, vol. L, p. 355, and "0. H." 
xviii., pp. 39 ff. 

8 Only as to the bodies of executed criminals. See Michel's 
" Rembrandt," p. 123. 

G 



82 GERARD DOU 

plaster figures for lack of others," so as to acquire 
some knowledge of the nude. Jacob van der Gracht's 
" Anatomy of the Outer Parts of the Human Body " 
(1634) was also in use, and the works of Vezalius, 
Cabrolius and others. At a later date Godfried Bidloo's 
"Anatomia humani corporis," with illustrations by 
Gerard de Lairesse, was most in demand. 

Perspective was studied almost exclusively from 
Diirer's well-known treatise, which every painter pos- 
sessed with very few exceptions ; but that by Hondius 
was also in use. 1 At a later date, when the decadence 
had begun, artists took their studies lightly, and were 
content to depend on manuals treating of perspective, 
anatomy and methods of painting, down to the minutest 
details, more especially Hoogstraten's "Introduction 
to the High School of the Painter's Art." 2 This work 
bears witness to the lack of earnestness prevalent among 
the younger artists, even in the most elementary studies ; 
for " who," says Hoogstraten, a has time or wish to toil 
slowly through the writings of Vezalius, Laurentius or 
Kabrolius, concerning the human members ? Even van 
der Gracht is more fitted for the masters of healing than 
for painters." 

As such views spread, this class of book was multi- 
plied till the minutest instructions were laid down for 
painting portraits, genre } landscapes, flower-pieces, etc. 

1 " Instruction en la science de Perspective," the Hague, 1595. 

8 "Inleyding tot de Hooge School der Schilderkonst," 1678. 
Other handbooks of the same class are W. Goeree, " Inleydinghe tot 
dePractyk der ... Schilderkonst," 1670, and "Natuurlyk en Schil- 
derkonstig Ontwerp der Menschkunde," 1685, and those of Chris- 
pijn de Pas, 1665, Wil. Beurs, 1692, and de Piles. 





THE WINE CELLAR 



A PAINTER'S STUDIO 83 

And ponderous volumes were filled with advice as to the 
grinding of colours and arrangement of a studio ; such 
books were still in use in the last century. 1 

Gerard Dou's studio is well known to us from several 
of his pictures, best, perhaps, from his portrait of himself 
at Bridgewater House, London (No. 31), and his Young 
Mother , in the Gallery at the Hague (No. 164). It was a 
spacious room to the north ; the light came fully in as 
it was not obstructed by buildings opposite. There was 
a pleasant outlook over the Galgewater, with the Blauw- 
poort in the foreground, and the mill called " De Valk " 
rising above the trees of the turf market. 

In this room, which opened into another, the first 
thing that strikes the eye is a pillar or newel, round 
which winds a stair to the upper floor. The furniture 
repeatedly depicted by Dou and his pupils was very 
simple* In the early days of his life there it consisted 
of a round table, some chairs one being the armchair 
in which he so often painted himself and Rembrandt's 
father and the three-legged stool which figures in his 
very early biblical subjects. The accessories included 
an earthenware bowl, a skull, a money bag, some books, 
a Chinese parasol, the Turkish scarf which sometimes 
adorned the head of Rembrandt's mother, a few pots 
and pans, a plaster cast of a Greek bust, some prints 
and a fine pink sea-shell. 

These are the objects constantly to be seen in his in- 
teriors till about 1645. After that date he frequently 
added to them : we see an oak chest, a handsome cooler 

1 Particularly Bouvicr's Manual, translated from the French by 
J. C, Beyer, 1831. 



84 GERARD DOU 

with a richly enamelled flask, some pieces by his 
favourite sculptor Duquesnoy, etc. He had also, of 
course, a miscellaneous collection of such objects as 
appear in his pictures: bird-cages, lamps and candle- 
sticks, a pair of scales and other things. His pupils, too, 
used these objects, unless they copied them from their 
master's pictures, as in some cases they very probably did. 

It was in this studio that Dou painted most of his 
works, but he sometimes placed his subject in some 
other part of his house, especially in the upper rooms. 
The old woman reading the Bible (No. 75) in the 
Louvre, the old woman with a spinning-wheel (No. 141) 
at Dresden, and the woman winding yarn (No. 182) at 
St Petersburg, in all of which the rafters of the roof are 
visible, are good examples. That he always painted 
indoors, even the studies for figures to be placed in the 
open daylight, is evident, not only from the tone of his 
pictures, but from the fact that the light always falls 
from above and from the left. There is no work by 
Dou in which the light comes in any other direction. 

Dou's technique at its best is a marvel of finish and 
smoothness. Like all the painters of his time, he began 
by under-painting, that is to say, after making a rough 
sketch on the panel indicating the light and shade in 
monochrome usually in brown. 1 

Then began the over-painting. He first laid on the 
flat colour and left it to dry. The half-tints were then 
laid on and worked up while wet. Finally, when all 
was dry once more, the high lights, which Dou treated 

1 This was called doot verwen. Most of Don's panels were primed 
with white, so far as can be detected. A few, however (as No. 188), 
were primed with black. 




STILL LIFE 



Plate 33 



A PAINTER'S STUDIO 85 

with such brilliant mastery, were touched in with thick 
paint, mixed perhaps with varnish. This was the order 
he always followed in his work, as may best be seen in 
an unfinished picture at Schwerin (No. 151) ; but as he 
advanced he abandoned the free manner he had 
learned from Rembrandt, and gradually adopted the 
method of glazing one colour with another, with as 
much transparent smoothness as possible. He more 
and more avoided all inequality of texture and, es- 
pecially after 1645, strove to conceal every touch of 
the brush, a characteristic of all his imitators. 

Dou's ideal was to achieve the perfectly smooth sur- 
face which led Evelyn to compare his work with enamel, 
a finish which amazes us no less than it surprised his 
contemporaries. We may therefore imagine that his 
greatest anxiety was lest any dust or dirt should get 
into his paints, and Sandrart is no doubt correct when 
he gives this account of Dou's manner of working : 

"Finally, he rubs down his colours on glass, and 
makes his brushes himself; he keeps his palette, brushes 
and paints carefully put away out of the dust which 
might soil them, and when he prepares to paint he 
will wait quite a long time till all dust has completely 
settled. Only then does he very quietly take his palette 
out of its box near at hand, the prepared colours and 
brushes, and begin to work ; and when he has done he 
puts everything carefully away again." This is fully 
confirmed by his pictures ; and besides this, when Dou 
represents his easel we find a Chinese parasol opened 
and placed above it to protect the painting from floating 
particles of dust 

Dou must have had inexhaustible patience. Whether 



86 GERARD DOU 

he really went so far as " to draw with a frame stretched 
with threads in squares," because he " did not trust him- 
self in freehand drawing," as Houbraken tells us, is not 
proven ; it is certainly not impossible. And it is quite 
certain that he would do anything to achieve accuracy 
and finish, and used a magnifying glass to assist his eye. 
When Sandrart went to see him with Pieter van Laar, 
Dou showed him what works he had in hand. " And 
when we praised, among other things " (says Sandrart), 
" the great diligence which he devoted to a broom hardly 
larger than your finger-nail, he replied that he had still 
three days' work to do on it." This anecdote, which 
has become proverbial, is sufficient evidence of Dou's 
patience. He worked with slow perseverance, and from 
morning till night. In bad weather, or when it was too 
dark to paint, he went out walking ; otherwise he was 
an indefatigable worker. And he accomplished much ; 
we know positively that between 1628 and 1675 h e 
painted about three hundred pictures, no small quantity 
when we consider their miniature-like execution. 

It must also be remembered that a good deal of time 
was spared from his work and devoted to teaching his 
pupils. The first, Gabriel Metsu, went to his studio in 
1644, and next to him, Frans van Mierisj and after 
1660 he had several pupils: Pieter Cornelisz. van 
Slingelandt (1661), Godfried Schalcken (after 1662), his 
own nephew Dominicus van Tol (1664), Bartholomaeus 
Maton, Matthijs Naiveu, a certain Gerrit Maes (of 
whom nothing is known beyond the fact that he came 
to work in Dou's studio in 1669), and Karel de Moor 
(1670). Other painters, without being his pupils, profited 
by his example and advice, and may be included among 




THE EVENING SCHOOL 



\Amsterda in 



A PAINTER'S STUDIO 87 

his followers, such as Adriensz v. Gaesbeeck, Quirin van 
Brekelenkam and others. 

The teaching given by Dou to his pupils was in the 
nature of things various, according to their talents and 
taste. If they came to him as beginners, as probably 
was the case with van Tol, Naiveu, Maton and G. Maes, 
he set them to copy prints and then to draw from the 
round, giving them instruction in anatomy and per- 
spective ; subsequently they would have to prepare panels 
and paints, and learn the methods he himself practised. 
If, like Frans van Mieris, they had some technical know- 
ledge, or, like de Moor and Schalcken, could already 
paint with some skill, he at once showed them his own 
manner of working, and his pupils, like himself, had to 
paint the objects about them. We find no sign of Dou's 
ever making them paint any subjects but those he him- 
self selected. Nor did the learners expect anything 
else ; they came to him to learn to paint the things he 
painted as he painted them. 

The custom of painters who, like Dou, formed a 
school, may be seen from Rembrandt's way of giving a 
lesson. He caused all his pupils to set out on canvas 
the subject he himself was working at say Jacob's 
Blessing. He set before them the model he himself 
drew from, and thus was able at once to detect the 
errors in their drawing ; thus too they constantly painted 
from the life. 

This was probably not the case in Dou's studio, 
though he occasionally painted from the nude (Nos. 183, 
184, 185). He set his pupils to paint still-life with a 
single figure perhaps, generally that of an old woman; 
a typical example is a little work in the Louvre by 



88 GERARD DOU 

Johannes van Staveren, evidently painted in a room of 
Dou's house, probably the kitchen, at any rate the same 
in which Rembrandt's mother sat when Dou painted 
the portrait now at Schwerin (No. 152). Dou had set 
van Staveren to paint part of this room with a round 
table covered with a cloth, a bowl on the table, an arm- 
chair, and behind the table the old woman whom Dou 
constantly employed as a model after 1650. Van 
Staveren evidently did his utmost, but only in the use 
of brush and paint did he achieve any success. Draw- 
ing, perspective and colour are bad throughout, and the 
likeness of the old woman is so complete a failure that 
he at last evidently gave it up. Adriaen van Gaesbeeck 
also painted Dou's studio, and another of his pupils has 
left a picture of the room with one of Dou's models 
the old man he commonly painted as a hermit sitting 
on an ass for a figure in a picture of the FligJtt into 
Egypt. Various objects are recognizable as belonging 
to this familiar interior. Who this pupil may have been 
is unknown ; the picture, which is in the possession of 
the Duke of Devonshire, is painted on panel, and 
measures 40^ x 294- inches. It is ascribed to Dou, but 
is certainly not by him, so I have not included it in my 
list 1 It is a weak but very interesting work, and un- 
doubtedly represents Dou's studio. 

Dominicus van Tol, Dou's nephew, also studied in 
this way ; but the master seems often to have employed 
him to copy his pictures, if the ascription " copy by van 
Tol " may always be accepted. It is given to many copies 
of Dou's pictures ; it is not in every case conclusive, since 

1 Sir W. Armstrong ascribes it to Gaesbeeck, and it may be by 
him. 




Gray /koto} 



Plate 35 



LADY PLAYING ON TIIK VIRGINALS 



go GERARD DOU 

Tol (1631, or 1642-1676); and Brekelenkam (dates un- 
known), who showed a perfectly independent talent and 
was one of the best Dutch painters of genre, only show- 
ing his master's influence in his earliest works. 

Don's influence through these pupils on younger 
generations was widespread. His last pupil, Karel de 
Moor, belongs, indeed, to a later time; he studied 
chiefly under Frans van Mieris and Godfried Schalcken ; 
even Jan Steen, especially in his candle-light scenes, is re- 
miniscent of Dou. But the painters who form the Leyden 
school are the imitators of Frans v. Mieris the elder. 
His son, Willem van Mieris, was his father's disciple, and 
his pictures were in great demand ; his grandson, Frans 
van Mieris the younger (1689- 1763), was not less famous; 
though his work, like his father's, is spiritless, it is useful 
as illustrating the taste of the time when men wore peri- 
wigs and rapiers. While Dou and the elder Mieris had 
a sens of the picturesque in line and colour, the younger 
Mieris and his followers were always academic and 
meagre ; their figures had Greek profiles, their perspec- 
tive was careless, they aimed only at execution, and 
their striving for finish is the only reason why they so 
often chose to paint a plucked fowl, a mop, or a heap of 
coffee-beans. 

But there were other followers of this school who, if 
academical, were less excessive in elaborate finish. 
Foremost of these is Caspar Netscher (1639-1684), who 
was in many ways a disciple of Dou's, though he never 
visited Leyden. His "niche-pictures" with reliefs of 
children at play are well known, and he more than once 
painted family portraits framed in a window. As 
imitators of Dou's candle-light effects, besides Schalcken, 




Hattfstnnglfhoto} 
Plate 36 



[Amsterdam 



A HERMIT 



PUPILS AND FOLLOWERS 91 

the elder Mierls and sometimes Jan Steen may be 
named, Arnold Boonen( 1669- 1722), an d more especially 
Adriaen van der Werff (1652-1729), who painted so 
wonderfully like his precursor that some pictures by him 
might be at first sight mistaken for Dou's work. 

Dou's subjects have in fact, even till the middle of the 
nineteenth century, been copied and imitated in count- 
less repetitions, drawn, engraved and etched ample 
proof of their popularity. Now the times are changed, 
and we naturally think the modern taste the best which 
regards Dou as only fit to stand in Rembrandt's shadow. 
Yet it must not be forgotten that in former days other 
opinions were held, and that the works of Dou were once 
regarded as the highest achievement of the painter's art. 



CHAPTER V 

DOU'S PICTURES IN THE MARKET: PRICES AND 
-PURCHASERS 

WHEN we inquire how many of Gerard Dou's 
pictures and drawings are now to be seen in his 
native country we find no more than 17, while Germany 
possesses 71, Great Britain 49, Russia 19, and France 20. 
Among the number are two of his most important works, 
the Evening School (No. 159) and the Young Mother 
(No, 164), the most beautiful picture Dou ever painted, 
and so regarded even during his lifetime. Holland also 
possesses the masterpiece of his early years, the Portrait 
of Rembrandfs Mother (No. 166), belonging to Heer 
Hoekwater at the Hague, who for a year past has lent 
it to the Picture Gallery there. A few portraits painted 
between 1631 and 1650, a portrait of himself, and some 
genre pieces among them much the finest of his Hermits 
(No. 153 ; Plate 36) in the Amsterdam Gallery [in the 
van der Hoop Collection, No, 41] painted at his best 
time, enable us to study him satisfactorily in his own 
country, But most of his pictures, which formerly graced 
the finest collections in the Netherlands, are now in 
foreign galleries. 

Many of Dou's works were indeed painted for foreign 
patrons, We have seen that Christina of Sweden and 




iifl photo] 



[Dttsdtu 



MAN PLAYING THE VIOLIN 



PICTURES IN THE MARKET 93 

Charles II. of England had pictures by him presented to 
them. And it is certain that many more went abroad while 
he was yet alive, or at any rate in the seventeenth cen- 
tury ; for Cond6 purchased a St. Jerome ascribed to Dou 
in 1678 for 300 livres, and the Grand Duke of Tuscany 
was anxious to acquire one, while Archduke Leopold of 
Austria already possessed two examples in 1661 (Nos. 8 
and 10). But most of these works left the country with 
others in the eighteenth century, when whole collections 
were sold to foreign purchasers. 

It is a well-known fact that the gallery at Cassel 
was principally composed of the collection of Mevrouw 
de Reuver of Delft, who in 1736 sold to the Landgrave 
of Hesse-Cassel for 40,000 gulden no less than sixty- 
four pictures, and this prince added these to a number 
of other works previously purchased for him in 1730. 
Many German sovereigns did the same at that time, 
and the Netherlands were literally ransacked by con- 
noisseurs and dealers. 

Not the Germans only, but French and Italian princes 
and English noblemen collected all they could find by 
way of Dutch art We have only to look through the 
catalogues of the cabinets of the King of France and 
the Duke of Orleans, of Voyez d'Argenson, the Dukes 
de Praslin and de Choiseul, and many more, to see 
that they consisted largely of Dutch paintings. English 
collectors followed suit. The galleries of the Earl of 
Ellesmere (Bridgewater Collection), the Duke of West- 
minster (Grosvenor Collection), of Lord Ashburton and 
Lord Northbrook, and those at Stafford House, Lowther 
Castle, Belvoir Castle and many other mansions, are rich 
in Dutch pictures. In the eighteenth and early in the 



94 GERARD DOU 

nineteenth centuries the English, like the Germans and 
French, employed dealers to secure them. The Duke 
of Rutland had commissioned two gentlemen to collect 
for him, and we read in a letter of August 22nd, 1785, 
written from Brussels by Sir Joshua Reynolds : " There 
are no pictures of Mieris either at Antwerp or Brussels. 
All the pictures in those two places which were worth 
bringing home I have bought I mean of those which 
were on sale." Only one piece had been too dear for 
him to secure it. 1 

Dou's works shared the fate of those by other famous 
masters. The chief collectors in Holland in the eighteenth 
century owned at least one picture by Dou. The wealthy 
merchant Pieter de la Court van der Voort, of Leyden 
(to whom Houbraken dedicated the second part of his 
"Groote Schouburgh" in 1719), had in his collection 
A Hermit, by Dou, about which everyone raved. Campo 
Weyerman, in his biographies of Dutch artists, gives an 
interesting description of it : " The piece represents a 
hermit drawn to the feet, a painting so gloriously, so 
supernaturally, so inexpressibly well painted, that the 
brush of art can mount no higher. He is depicted 
praying, set on his knees ; we see such exemplary piety 
beaming in the hermit's attitude that we can easily 
imagine the angelic living and stern discipline of this 
ancient recluse of the woods by earnestly gazing on the 
counterfeit. In the same picture the trunk of a tree is 
painted which is a match for any real trunk, and seems 
naturally covered with moss in many places where the 
bark has peeled off. The lantern in the foreground 

1 "Reports of the Historical Manuscript Commission," MSS. of 
the Duke of Rutland, vol. iil, p. 235. 




Hanfstangl J>hoto\ 

Plate 38 



[ Dresden 



THE OLD SCHOOLMASTER 



PICTURES IN THE MARKET 95 

looks like real horn, and the thistles and the utensils 
are most truthfully drawn and painted." 

This picture (No, 27), a work of the highest merit in 
the taste of the time, was sold in 1766 with the rest of 
the collection. It fetched 3,000 gulden, and remained 
in Holland till 1804, when it was sold for 1 6,000 francs 
to the Duchesse de Berry. It is now in the possession 
of Lord Ashburton, 

The collections of van Schuylenburgh and of Da 
Costa, at the Hague, also included examples by Dou, 
and so at Amsterdam did every collection of note, 
to name only those of Braamcamp, Hasselaar, van 
Hoek, Six, Locquet and van der Marck. Jacob van 
Hoek had a large triptych by Dou, the largest work he 
ever executed (M. 304). Houbraken, who had seen it, 
describes it, and it is known by Laquy's copy. It was 
sold with the rest of van Hoek's pictures, April I2th, 
1719, for 6,000 gulden, and passed into the Braamcamp 
Collection. In 1771 it was purchased for the Empress 
Catherine of Russia, but unfortunately perished at sea 
on the voyage with several other famous pictures, among 
them Potter's Herd of Cattle. Copies exist to show us 
what it was like. 

Catherine held Dou's work in high esteem, and the 
examples in the Hermitage were for the most part 
acquired by her. 

Among those purchased by the Landgrave of Hesse- 
Cassel were two of Dou's best portraits : Rembrandt s 
Father (No. 104) and Rembrandts Mother (No. 105). 
At Dresden the well-known large Hermit (No. 107) was 
acquired in 1708, with several other pictures, from the 
dealer Lemmers of Antwerp. 



PICTURES IN THE MARKET 95 

looks like real horn, and the thistles and the utensils 
are most truthfully drawn and painted." 

This picture (No, 27), a work of the highest merit in 
the taste of the time, was sold in 1766 with the rest of 
the collection. It fetched 3,000 gulden, and remained 
in Holland till 1804, when it was sold for 1 6,000 francs 
to the Duchesse de Berry. It is now in the possession 
of Lord Ashburton, 

The collections of van Schuylenburgh and of Da 
Costa, at the Hague, also included examples by Dou, 
and so at Amsterdam did every collection of note, 
to name only those of Braamcamp, Hasselaar, van 
Hoek, Six, Locquet and van der Marck. Jacob van 
Hoek had a large triptych by Dou, the largest work he 
ever executed (M. 304). Houbraken, who had seen it, 
describes it, and it is known by Laquy's copy. It was 
sold with the rest of van Hoek's pictures, April I2th, 
1719, for 6,000 gulden, and passed into the Braamcamp 
Collection. In 1771 it was purchased for the Empress 
Catherine of Russia, but unfortunately perished at sea 
on the voyage with several other famous pictures, among 
them Potter's Herd of Cattle. Copies exist to show us 
what it was like. 

Catherine held Dou's work in high esteem, and the 
examples in the Hermitage were for the most part 
acquired by her. 

Among those purchased by the Landgrave of Hesse- 
Cassel were two of Dou's best portraits : Rembrandt s 
Father (No. 104) and Rembrandts Mother (No. 105). 
At Dresden the well-known large Hermit (No. 107) was 
acquired in 1708, with several other pictures, from the 
dealer Lemmers of Antwerp. 




Haufstdttgl photo} 
Plate 39 



| Mnmch 



THE TOILKT 



PICTURES IN THE MARKET 97 

2,060 gulden ; in 1736 Mevrouw de Reuver sold it to the 
Landgrave of Hesse-Cassel. When Cassel was be- 
sieged by the French in 1806, Comte Lagrange, ap- 
pointed governor of Hesse by Napoleon, sent several 
pictures, and this among them, to Malmaison, where 
they became the property of the Empress Josephine. 
In 1836 it was bought by Valedan and found a home in 
the museum at Montpellier. The most startling rise in 
price, perhaps, is seen in the case of a picture of An Old 
Woman by Candle-light (No. 91), which sold in 1777 for 
30 gulden, and in 1899, at the Schubart Sale at Munich, 
fetched 6,443 gulden ; and it is a small picture, 12 in. x 
8 in. 1 

When we consider the prices paid in the eighteenth 
century for the works of other great masters, we are 
constantly amazed at the value set on pictures by Dou, 
the Mieris family, van der Werff and Metsu. West- 
rheene, in his " Jan Steen," has given a r6sum6 of the 
prices paid, in about 1800, for pictures by the Dutch 
masters, whence it appears that van der Werff fetched 
the highest sums, next to him Teniers, then Metsu, 
Frans Mieris and Gerard Dou. Rembrandt's pictures 
were not worth more than two-thirds of the prices paid 
for Dou's small works. A landscape by van Goyen 
was sold for no more than one gulden," in Leyden, in 
1761, and Jan S teen's Marriage at Cana> now in the 

1 Other examples are : A Girl at a Window, in 1833, 635 
gulden ; in 1892, 8,360 gulden. Grocer's Shop (No. 84), in 1716, 
1,200 gulden; in 1793, 17,425 gulden. Girl Cutting Onions 
(No. 36), in 1768, 2,622 gulden ; in 1800, 4,000 gulden. Woman 
Peeling Potatoes (No. 94), in 1753, 210 gulden ; in 1774, 1,550 
gulden. 

B At the Bagh Sale. 

H 



98 GERARD DOU 

Arenberg Gallery at Brussels, was in 1775 worth only 
210 gulden/ and such instances might be multiplied. 

Italian pictures, even mere copies, fetched far higher 
prices than any by the Dutch masters, and of these it 
was always the minutely finished pieces by van der 
Werff that were most valued ; Dou's, 8 however, came 
not far behind, as one more example will prove, while 
showing the various fortunes of one of Dou's best known 
works. 

The Dropsical Woman (now in the Louvre) was ex- 
hibited in 1665, in the de Bye collection, and we next 
find it in that of Prince Eugene of Savoy. He had 
received it as a gift from the Elector Palatine, Charles 
Philip, who is said to have paid 30,000 gulden for it 
The precious painting, still in its original condition with 
the case and door, hung in the Belvedere at Vienna in 
the middle of the side wall of the "Picture-room," 8 and 
was considered as one of the gems of this famous col- 
lection, whose owner was not only a great General but a 
man of consummate taste. After the death of Prince 
Eugene, this and the rest of his pictures went to Turin, 
and remained there till 1799, when Carlo Emanuel IV* 
presented it to the French General, Clausel. He gave it 

1 At the Job. Ghijs Sale. 

3 In about 1750 a small highly-finished picture by Schalcken sold 
for 105 gulden ; a portrait of himself, 8x4 inches, by Frans Mieris 
for 105 gulden, and Dou's Woman Cleaning Fisti^ 12x9 inches, for 
1,000 gulden ; while RuysdaePs were worth but 6 to 71 gulden, the 
highest price given being 131 gulden for a piece, with figures by 
Berghem. Cuyp's sold for about 30 gulden." O. H.," voL ii^ 
p. 276 ff. 

8 See an engraving in Dr Th, von FrimmeTs " Galeriestudien," 
vol. i,, pt. v f , p. 41. 




Hanfstangl photo] 



Plate 40 



THE DENTIST 



PICTURES IN THE MARKET 99 

to the French nation, and it found Its final resting-place 
In the Louvre. 

Thus Dou's pictures, like those of other great masters, 
have for the most part, after many wanderings, taken 
their place In great galleries, where for the present they 
are likely to remain. Some, however, are still changing 
hands and travelling further and further from their 
native land. There is one in New York (No. 197) and 
one in Cincinnati '(No. 196), and in 1879 there was, as 
Heer Moes tells us, one at Lima, In Peru ; while Dou's 
native town can no longer boast of a single example. It 
still owned a few in the nineteenth century. In the 
Kleinenbergh collection there were, among others, a 
Portrait of Himself (No. 40 ; Plate 4), which was lost to 
the town at the sale of the collection in 1841. The last 
remaining example, a Portrait, of Dou's earliest period 
(No. 165), was carried away about 1875. 

Let us hope that the wish expressed so long ago as 
1669, by the Burgomaster of Leyden, may ere long be 
fulfilled, and a picture by Dou acquired for his native 
town. 




Haufttangl photo} 
Plate 41 



THE GROCER'S SHOP 



[Buckingham Palace 



CATALOGUE OF WORKS 

Arranged according to the Galleries in which thy are contained 

DR. MARTIN, in the Dutch edition, gives a list of 382 
pictures and drawings by Dou. Of these he accepts 
281 as genuine; 197, known to be in various public and 
private collections, are here given; 83 are either lost or the 
owners not known, These are omitted, Those in public 
galleries are not very fully described ; they are not likely hence- 
forth to change owners; and such as are reproduced in the 
volume are of course not described at all, 

The sizes are given in inches, the height first; fractions of 
an inch are omitted, so the measurements are only approxi- 
mately correct. 

A, stands for Amsterdam ; H, for the Hague ; R, for Rot- 
terdam; L for Leyden; bl for bought by; r, f right of the 
picture (the spectator's right); /,, the spectator's left; Coll,, 
Collection; Ex,, Exhibited at; Sm., J, Smith's Catalogue 
Raisonn of the Works of Dutch and Flemish Painters; Sm, 
Supp., Supplement to Smith's Catalogue; P., panel, 

The figures in parentheses with an M. are the numbers in 
Dr, Martin's Dutch list ; those in square brackets [ ] are those 
in the catalogues of collections. 

0, M, Old Masters, Winter Exhibition, Burlington House, 

Burlington F. A, C, Fine Art Club, Savile Row, 

C,B, 



102 GERARD DOU 

A USTRIA-HUNGAR Y. 
CRACOW. 

COUNT CZARTORYSKI'S COLLECTION. 

1. AN OLD MAN READING (M. 63). 

He sits with the book on his knees, his left hand 
resting on a table on which are a book, a globe, pincers 
and a map- In front of him a pile of books and a 
large compass. 

LANCUT. 

COUNT ROMAN POTOCKI'S COLLECTION. 

2. AN OLD WOMAN SPINNING (M. 288A). 

This is probably the same picture that was in the 
Orleans Collection in 1787 (M. 288),* described as " An 
Old Woman Spinning," sitting in a rather bare room ; 
by her a table half covered with a cloth, on which 
are a knife, a piece of bread and a jug with a broken 
lip. Signed on the foot of the spinning wheel : G Dou. 

P. 7 in. x 9 in. (Coll., Orleans, 1787.) 

INNSBRUCK. 
FERDINANDEUM. 

3. A YOUNG MAN PLAYING THE FLUTE (M. 169). 

Seen to the knees and turning to /. [624.] 
P. 5 in. x 4 in. Oval. Sm., 37. Tschager bequest, 
1856. 

PRAGUE. 

NOSTITZ COLLECTION. 

3A. AN OLD MAN (M, 82). 

This picture has been ascribed to van Spreeuwen, 
and Dr. Frimmel thinks it is a copy. I believe it to 
be a genuine early work, 1630-5, and very interesting. 
1 Not included in this catalogue. 



CATALOGUE OF WORKS 103 

It is a portrait of Rembrandt's father, sitting in a large 
room at a table near a window, lighting his pipe from a 
fire-pan. 
P. 19 in. x 25 in. 

RUDOLPHINUM, 

4. A YOUNG WOMAN ON SOME STEPS (M. 246). 

In the background is seen the Blauwpoort at Leyden. 

P. 15 in. X 12 in. Originally much smaller, but 
added to by the painter himself. Cab. de Bye, L., 
1665, No. 24. Sm., 76. 

VIENNA. 

PRINCE CZARTORYSKI'S COLLECTION. 

5. A STUDENT IN HIS ROOM (M. 83). 

He sits facing to r. in a plain, empty room with a 
boarded floor and stone walls, by a window with a 
shutter opened inwards j a bird-cage hangs in the 
window. The young man, probably Dou himself, is 
lighting his pipe at a fire-pan, which he holds in his 
left hand. He wears a cap and a cloak trimmed with 
fur. In front of him is a table with a cloth that hangs 
to the floor ; behind the table is a bookcase, and to n 
a column. 

P. 10 in x 13 in. This seems to be the picture 
sold A, 1708, as "A Student smoking in his Room." 
An early work. 

COUNT CZERNIN'S COLLECTION. 

6. PORTRAIT OP HIMSELF (M. no). 

He leans out of an arched window; to /. a blue 
curtain ; his right hand hangs over the window-sill ; in 
his left he holds a palette and brushes. In the back- 
ground is an easel, and above it a Chinese parasol, 



104 GERARD DOU 

Signed on a piece of paper below the window-sill : " G. 
Don Leyde . . , Aetatis ..." in Gothic letters. [176.] 
P. 9 in. x ii in. In this collection in 1863. 

7. CARD PLAYERS BY LAMPLIGHT (M. 347). 

An interior ; to r. a chimney-place ; to /. in the fore- 
ground a violoncello and a chest on which lies a music- 
book. In the middle of the room sit a girl and an officer 
wearing his hat, sword and riding boots, playing cards at 
a table. Behind the girl stands a man with a violin. A 
maid in the background /. is coming in with a pot. [175.] 

P. 13 in. x 10 in. Cab. de Bye, L., 1665, No. 3. 
Sm., 10 ; Supp., 37. 

IMPERIAL MUSEUM. 

8. THE DOCTOR (M. 93). 

Plate 1 8. Signed on the window-sill : G. Dou, 1653. 

[I377-] 

P. 19 in. X 15 in. 

9. AN OLD WOMAN WATERING FLOWERS (M. 240). 

She leans forward, three-quarters to /., to water a 
plant which stands on a shelf outside the window ; a 
bird-cage above, r. Signed on the bird-cage : G Dou, 

[1376.3 

P. ii in. x 9 in. Sm. Supp., 42. 

10. A GIRL WITH A CANDLE (M. 333). 

Plate 29. [1378.] 
P. 10 in. x 8 in. 

RlTTBR GOTTFR. VON PREYBR, 

11. PORTRAIT OF DOIT'S FATHER (M, 135). 

Half-length, three-quarters to /,, with gmy hair and 
beard, a black cap and dark cloak, under which a white 
shirt is visible. Signed r. : G. Dou. 

P. 7 in. x 6 in, Oval. Sm., 53 ; Supp,, 58. 



CATALOGUE OF WORKS -105 

COUNT SCEXDNBORN'S COLLECTION. 

12. AN ASTRONOMER (M. 315). 

The spectator looks through a window into a darR 
room, where a fair-haired student sits at a table to /. ; he 
holds a taper to look at a celestial globe; in his left 
hand a pince-nez. His dress is russet brown. On the 
window cushion /. a lantern, r. an open book. To /. a 
partly raised dark brown curtain. Signed (a forgery) : 
G. Douw. [74.] 

P. 14 in. xii in. 

In the Schonborn Coll. since 1820. 
1 2 A. A GIRL PREPARING FOR SUPPER (M. 346 A). 

A replica of the Frankfort picture : see below. No. 126. 

[10.] 

P. 1 8 in. x 14 in. Has been doubted, but I believe 
it to be genuine. 

BELGIUM. 
BRUSSELS. , . 

COUNTESS D'ALCANTARA'S COLLECTION. 

13. PORTRAIT OF L. DID^EUS NIEUWHOF (M. 141). 

Ex., Brussels, 1897. 
COUNT D'ARENBERG'S COLLECTION. 

14. PORTRAIT OF A MAN (M. 153). 

Half length, looking to r., with a brown beard and 
round collar. Signed r., near the shoulder : G. Dou. 
P. 1 5 in. x 1 1 in. A pendant to the following. 

15. PORTRAIT OF A WOMAN (M. 203). 

Half length, looking to r,> an old woman in a cloak 
trimmed with fur. Signed /. low down : G. Dou. 
P. 15 in. x n in. A pendant to No. 14. 

1 6. A WOMAN COUNTING MONEY (M. 293). 

. An old woman in a white cap and purple cloak, the 



106 GERARD DOU 

head three-quarters to r., sitting in an armchair at a 
table with a carpet cover, strewn with gold pieces. Her 
right hand is on the table; in her left she holds a bag. 
To /. in a room beyond, two men are sitting by a 
window, books and papers on a table. In front to r. 
is a curtain ; on the floor to r. a metal vessel ; to /. an 
open book. Signed on a piece of paper lying on the 
table : G Dou, 1658. 

P. 15 in. x 12 in. Cab. de Bye, d. 1665, No, 21. 

MUSEUM. 

17. THE PAINTER BY LAMPLIGHT. A portrait of himself 
(M. 323). 

Signed on the base of a statue from which he is 
drawing: G Dou, 16 . . . [258.] 

P. ii in. x 9 in. Sm., 31 ; Supp., 19. 

COUNT D'OULTREMONT'S COLLECTION. 

1 8. PORTRAIT OF A MAN (M. 148). 

Half length in profile ; long waving hair, a dark dress 
and white collar, his hat on one side and his right 
hand in his coat ; he is about five and twenty. Signed ; 
G. Dou. 

P. 7 in. x 5 in. A pendant to the following. 

19. PORTRAIT OF A WOMAN (M. 199). 

She is about five and thirty, with light hair, a brown 
bodice trimmed with fur, yellow silk sleeves, a necker- 
chief and small hood. Almost full face. 

P. 6 in. x 5 in. Pendant to the foregoing. Ex., 
Brussels, 1882. Sm. Supp., 67. 

MONSIEUR VAILLANT'S COLLECTION. 

20. PORTRAIT OF A GIRL (M. 217). 

She looks three-quarters to r. \ her left hand, which 
is gloved, rests on her low blue stomacher, over which 



CATALOGUE OF WORKS 107 

hangs a yellow kerchief with a buckle on the shoulder. 
She wears a white cap. Signed G. Dou. 
P. 5 in. x 4 in. Oval. Ex., The Hague, 1881. 



BRITISH ISLES. 
BELTON HOUSE, LORD BROWNLOW. 

21. HERMIT BY CANDLELIGHT (M. 311). 

He kneels, turning to r. 

BELVOIR CASTLE, DUKE OF RUTLAND, 

22. A BOY WITH A BIRD-SNARE AND A GIRL WITH A BUCKET 

(M. 264). 

They stand by a bow-window, below which is a bas- 
relief by Duquesnoy ; the girl lays her left hand on the 
boy's shoulder. Above there is a curtain. 

P. 9 in. x 6 in. Round top. Sm., 59; Sm. 
Supp., 46. 

CAMBRIDGE. 

FITZWILLIAM MUSEUM. 

23. THE OLD SCHOOLMASTER (M. 77). 

He is teaching a boy to read. The room is Dou's 
studio, and the old man is his father. Half-length 
figures. Signed r., near the schoolmaster's back: 
G. Dou, 1645. [33-3 

P. 10 in. x 7 in. Sm., 4. 

24. PORTRAIT OF A YOUNG MAN (himself?) (M. 126). 

Profile to /., in a bkck jacket. Signed in the middle ; 
G. Dou. [35.] 
P. 6 in. x 5 in. OvaL Sm. Supp., 27. 

25. A GIRL AT A WINDOW (M. 237), 

Plate 30. Signed on a bird-cage : G Dou, 1663. [34.] 
P, 14 in. x 10 in, 



io8 GERARD DOU 

DULWICH COLLEGE. 

26. A LADY PLAYING THE VIRGINALS (M. 301). 

Plate 35. [50.] 

P. 15 in. x ii in. Cab. de Bye, L., 1665, No. 2. 

THE GRANGE, LORD ASHBURTON. 

27. HERMIT (M. 25). 

He kneels before a crucifix with folded hands. The 
crucifix stands on a little mound on which lie an open 
Bible, skull and basket ; a burning taper sheds a faint 
gleam in the daylight which illuminates the further part 
of the picture. Beyond is a tree-trunk. In the fore- 
ground a thistle and a lantern r. 

P. 26 in. x 19 in. Round top. Sm., 78; Supp., 39. 
Ex., 0. M, 1871, No. 178 (A Capuchin Monk). 

28. A DOUBLE SURPRISE (M. 348). 

A maid-servant kneels in front of a barrel, her right 
hand on the spigot, and in her left a glass which she 
holds out to an old man who stands by her, a candle in 
his right hand, his left on her shoulder. The door is 
opened by the old man's wife, who comes in carrying 
an oil lamp, and lifting a threatening finger; in the 
foreground a mouse-trap, copper milk-can, and other 
accessories. 

P. 16 in. x 12 in. Sin., 58. 

HAMPTON COURT PALACE. 

29. AN OLD WOMAN ASLEEP (M, 207). 

She is seated in an armchair facing to /. A book 
lying in her lap. [736.] 
P, 10 in. x 8 in. Belonged to James IL 



CATALOGUE OF WORKS 109 

LIVERPOOL. 

WALKER ART GALLERY. 

30. HEAD OF A YOUNG MAN (M. 152). 

P. 3 in. x 3 in. Presented by Mrs. Margaret Har- 
vey, 1878. 

LONDON. 

BRIDGEWATER HOUSE. 

31. PORTRAIT OF HIMSELF (M. 106). 

Half length to r. 9 looking at the spectator. He is 
about two and twenty, and has a small moustache and 
pointed chin-tuft. He wears a gray cap with red 
slashes, a dark gray coat and white collar. Signed 
G. Dou. 

P. 7 in. x 5 in. Sm., 97. 

32. A YOUNG MAN PLAYING THE VIOLIN (M. 171). 

Plate 31. Signed on the lowest step : G. Dou, 1637. 

P. 12 in. x 9 in., round top. Sm., 102. Bought 
by Spiering for Christina of Sweden, and returned by 
her in 1652. 

BRITISH MUSEUM. Two DRAWINGS. 

33. I. AN OLD WOMAN (M. 373). 

Seen to the knees, three-quarter to /., 'her hands in a 
muff. She wears a white cap and stiff collar. Signed 
/. above : G Dou. 

On white paper, 7 in. X 5 in.; red and black chalk. 

33A. II. A LADY AT A SPINET (M. 374). 

Doubtful; the signature a forgery. This drawing 
may be attributed to Jac. de Bray, judging from his 
drawings at Weimar. 



no GERARD DOU 

BUCKINGHAM PALACE. 

34. WOMAN GATHERING GRAPES (M. 227). 

Plate 15. 

P. 15 in. x ii in. 

35. WOMAN WATERING FLOWERS (M. 244). 

Plate 1 6. Signed: G Dou. 

P ii in. x 9 in. Mrs. Jameson. 

36. GIRL CUTTING ONIONS (M. 251). 

Plate 8. Painted in 1646. 

P. 6 in. x 4 in. Companion picture to the next, 
No. 37. Ex., British Gallery, 1826-1827. Sm., 33. 

37. GIRL SCOURING A COPPER PAN (M. 252). 

Plate 7. 

P. 6 in, x 5 in. Companion to No. 36. Sm., 43 ; 
Supp., 35- 

38. A GROCER'S SHOP (M. 261). 

Plate 41. Signed, below to r. : G. Dou, 1672. 
P. 19 in. x 14 in. 

39. WOMAN WITH A CHILD AND A CRADLE (M. 307). 

(THE CARPENTER'S FAMILY.) 
Plate 12. Signed : G Dou. 
P. 19 in. x 14 in. 

EARL OF CARYSFORT, K.P. 

40. A YOUNG MAN PLAYING THE FLUTE (M. 170). 

Plate 4. Signed on the book that lies on the table : 
GDou. 

P. 14 in. x ii in. Round top; originally oval. 
Sm., 127 j Supp., 73. Ex., Burl. F. A. C, 1900. 

DUKE or DEVONSHIRE. 

41. FISH SELLER, WITH A BOY (M. 257). 

A woman stands at an arched window holding a 



CATALOGUE OF WORKS in 

herring which she has taken out of a tub on the window- 
shelf in front of her. She is -showing it to a boy, who 
is haggling over the price. Vegetables and a cloth lie 
on the shelf; a pair of scales and a basket of eggs hang 
by the window. In the background, near a window, 
stand two women talking. Signed : G Dou. 
P. 1 6 in. x 8 in. Sm., 24. 

BARCLAY FIELD, ESQ. 

42. AN ASTRONOMER (M. 314). 

Small half-length figure of a man leaning on a window- 
ledge, with a lighted candle in his right hand, which 
rests on an open book ; his left hand holds a pair of 
compasses on a globe ; on the ledge are an hour-glass 
on a book, and a flask of wine. Signed : G. Dou. 

P. 12 in. x 8 in. Ex., O M., 1888, No. 84 ("A 
Geographer"). Sm., 96; Supp., 15. 

CHARLES MORRISON, ESQ. 

43. A MAN IN HIS STUDY, WRITING (M. 57). 

A writing-table in front, with globe, book, hour-glass 
and skull upon it ; to /., sits a man (Dou's father) 
writing ; in the background (representing Dou's studio) 
are a pillar and spiral stair, a parasol, books and a bird- 
cage. Signed on the book-marker : G Dou. 

P. 9 in x 8 in. Ex., O. M., 1879, No. 113. Sm., 87. 

NATIONAL GALLERY. 

44. PORTRAIT OF HIMSELF (M. 105). 

Signed : G Dou. [192.] 

P. 7 in. x 6 in. Oval. Sm., 98; Supp., 5 7* 

43. PORTRAIT OF A WOMAN (M^ 215). 
Signed : G Dou. [968.] 

P. 6 in. x S in. The N, G. Cat. designates it in error 
as Dou's wife. Dou was never married. Sm. Supp., 53. 



H2 GERARD DOU 

46. PORTRAIT OF A WOMAN (M. 216). 

P. 6 in. x 5 in. At first oval, then had a round top ; is 
now square; the alterations made by Dou himself. It 
is called a "Supposed Portrait of Anna Maria von 
Schuurman," but this is an error. [1415.] 

47. THE POULTERER'S SHOP (M, 263). 

Plate 28. Signed below the peacock : G Dou. 
P. 23 in. X 1 8 in. Sm., 44. [825.] 

EARL OF NORTHBROOK. 

48. A MAN WRITING (M. 56). 

A room with an arched window on the /., by which 
sits an old man (Rembrandt* s father) in an armchair. 
He wears a purple cap and a cloak bordered with fur, 
and writes in a large book that rests on his left arm ; in 
front of him is an easel with a panel on it ; to /., in the 
background the room is higher by two steps ; and in 
that part of it is a table with a bright blue cloth ; on it 
a globe, a candlestick and a book. A blue curtain is 
drawn back behind a column, against which hangs a 
violin; in the foreground a drum, helmet and shield; a 
six-light chandelier hangs from the ceiling. Signed, on 
the book lying on the further table. 

P. 12 in. x ii in. Ex., Brit. Inst, 1848; Bur- 
lington F. A. C., 1900. Sm., 103, 13. 

49. YOUNG LADY AT A SPINET (M. 302)* 

LORD RlBBLESDALE. 

50. TOBIAS TOUCHING HIS FATHER'S EYES (M. 2). 

Tobit sits in an armchair by an open window ; Tobias 
is anointing his eyes, and his wife looks on. The 
angel, robed in white, stands behind the chair, and 
two youths also look on ; the dog lies on the ground 



CATALOGUE OF WORKS 113 

Accessories, a tub, tin vessels, eta ; /., a table, spread 
with meat. 
P. 20 in. x 26 in. Sm., 135. 

NORMAN FORBES-ROBERTSON, ESQ. 

51. A HERMIT (M. 28). 

An old man in a brown robe and cowl leans forward 
facing the spectator, and looking down ; to r. t a tree and 
a basket ; on the table a candlestick and a rosary. 

P. 6 in. x 5 in. Originally oval, and much smaller. 
Ex. at DowdeswelTs galleries, 1899. 

BARON ALFRED DE ROTHSCHILD. 

52. SERVANT GIRL AT A WINDOW (M. 23iA). 

A replica of the picture (No. 1 37) at Munich. Signed, 
/., on the window-frame. 
P. 14 in. x ii in. 

WALLACE COLLECTION. 

53. HERMIT (M. 23). 

He kneels in prayer before a crucifix, and is sheltered 
by a Chinese parasol. [177.] 
P. 15 in. x ii in. 

54. HERMIT BY CANDLE-LIGHT (M. 310). 

Reading a large book that lies on some fallen stones. 
[170.3 
P. 12 in. x 9 in. 

DUKE OF WESTMINSTER. 

55. A WOMAN WITH CHILDREN (M. 306). 

In a room a woman in a fur-trimmed jacket and a red 
petticoat has an infant in her lap, to which she is offer- 
ing the breast, while a girl leans over it holding up a 
coral ; to r. is a cradle, and behind it a table on which 
are a candlestick and an open book; a richly em- 
I 



GERARD DOU 

broidered curtain is drawn aside to r.; behind it is a 
bed ; two persons are seen in an adjoining room through 
a doorway. 

P. 19 in. x 14 in. This is the companion picture 
to No. 39, ante, at Buckingham Palace. Sm., 70. Ex., 
O. M., 1871, No. 244, as "An Interior, Mother and 
Children"; and 1895, No. 86, as "The Nursery." 



LOWTHER CASTLE, EARL OF LONSDALE. 

56. THE HURDY GURDY (M. 178). 

An old man sits outside a house door playing; a 
woman with a glass in her hand leans over the lower 
half of the door to listen. A net full of turnips hangs 
above the man's head, a vine grows up the house ; to r. 
the dead trunk of a tree and a landscape. 

P. ii in. x 8 in. Sm., 16 ; Supp., 16. 

57. PORTRAIT or A GIRL (M. 218). 

Seated three-quarters to /. on a chair with a lion's 
head carved on the back. She holds an oblong picture 
book with both hands ; she wears a white cap. 

P. Circular. 

58. THE VILLAGE NOTARY (M. 317). 

An old man in spectacles wearing a loose coat, a 
pleated white collar and a fur cap, sits looking to /., bend- 
ing over a desk and mending his pen. A candle, which 
is the only light, an ink bottle and paper are on the 
desk, and loose papers strew the table. Some large 
books and a parchment document with a seal are seen 
on a shelf by the window, a red curtain to /. hangs over 
the picture. 

P. 10 in. x 8 in Sm,, 18; Supp,, 12. 



CATALOGUE OF WORKS 115 

MARQUESS OF BUTE. 

LUTON Hoo COLLECTION, now removed to St. John's 
Lodge, Regent's Park. 

59. AN OLD MAN WITH A PEN IN HIS HAND (M. 58). 

He sits facing to /., sunk in thought, in an armchair. 
His right hand, holding a pen, rests on an open book ; 
the table on which it lies has a red table-cover. Signed ; 
GDou. 

P. ii in. x 9 in. Sin., 139. 

I believe this to have been in the collection of Chris- 
tina of Sweden, 1652, and afterwards in Spieling's hands 
at the Hague. 

RICHMOND, SIR FREDERICK COOK, BART. 

60. PORTRAIT OF HIMSELF (M. 120). 

Probably not by Dou, but attributed to him. 

61. REMBRANDT IN HIS STUDIO (M. 129). 

He stands before his easel, on which is a picture of 
the flight into Egypt. 
P. 21 in. x 25 in. 

62. PORTRAIT OF Dou's MOTHER (M. 190). 

Bust, three-quarters to /. She wears a white cap and 
a dark bodice with a white collar; she has a hand- 
kerchief in her left hand. 

P. 8 in. x 6 in. Ex., Guildhall, 1895. 

63. PORTRAIT OF A WOMAN (M. 202). 

An old woman with a felt hat ; she is dressed in fur, 
and under her jacket a white collar is visible. 
P. 6 in, X 5 in. Oval. 

64. A WOMAN COMBING A BOY'S HAIR (M. 296A). 

A repetition of a picture at Munich (No. 142). 

65. AN ASTRONOMER (M. 316). 

He stands behind a table on which is a globe, and 



ii6 GERARD DOU 

holds a pair of compasses in one hand ; in the other a 
lighted candle, without any candlestick, which gives a 
light to the picture. In front are some books and a 
flask. 
P. 9 in. x 10 in. Round top. Siru, 53. 

WADDESDON MANOR, MISS ROTHSCHILD. 

66. A GIRL AT A WINDOW (M. 226). 

Frontispiece. Signed: G. Dou, 1657. 
P. 15 in. x 12 in. Ex., Arti. A., 1867. Sm., 40; 
Supp., 34. 

WARDOUR CASTLE, LORD ARUNDEL. 

67. BLIND TOBIT (M. i). 

He is warned by his dog of his son's approach ; the 
old man advances to meet him with outstretched hands. 
An angel stands in the door. 

Canvas. 42 in. x 52 in. Sm., 140. 

SCOTLAND. 
EDINBURGH. 

DALKEITH PALACE. 

68. PORTRAIT OF A BOY (M. 128). 

He is about ten years old and has long hair. 
P. 5 in. x 4 in. Sm. Supp., 71. 

GLASGOW. 

FORMERLY IN THE COLLECTION OF ARTHUR KAY, ESQ. 

69. A BOY (M. 127). 

Bust, turning to /. He wears a velvet cap with an 
upright feather, and a collar. This was attributed to 
Dou, but is probably not by him. W. M. 

P. 6 in. x 5 in. 



CATALOGUE OF WORKS 117 

DENMARK. 
COPENHAGEN. 

ROYAL COLLECTION OF PAINTINGS. 
70 THE DOCTOR (M. 93). 

A young doctor is seen through an arched window 
half-screened by a curtain above ; on the window-ledge 
are a doctor's diploma, copper vessels, etc. ; he is 
examining the contents of a glass vessel. An old 
woman with a basket on her arm awaits his pronounce- 
ment. Above, to /., hangs a clock with weights ; the 
hand points to half-past five; on the sill, to /., a pot of 
pinks. Signed: G. Dou. [92.] 
P. 6 in. x 5 in. 

71. A GIRL AT A WINDOW (M. 330). 

She looks three-quarters to r. in a window draped 
with a curtain, which she holds back with her left hand; 
in her right she holds a candle. To r. a boy by a tub ; 
background to /. two figures with a candle. Signed : 
GDoui6s(8). [93.] 

P. 10 in. x 7 in. 

FRANCE. 
MONTPELLIER. 

Musis FABRE. 

72. THE MOUSE-TRAP (M. 273). 

In a vaulted kitchen a woman is busy scraping carrots 
on the bottom of a tub. She looks to /. at a little boy 
in a black velvet cap, who holds paint brushes in his 
left hand, and who shows her a mouse caught in a 
trap. To r. on a shelf a copper pot and other acces- 
sories. In the background is a large chimney-place. 
Signed: G. Dou. 

P. 18 in. x 14 in. Sm., i. 



n8 GERARD DOU 

PARIS. 

MARQUIS D'Aousx. 

73. SOLDIER WITH A LANCE (M, i68A). 

In the background to /. the wall of a town ; to r. a. 
bas-relief, representing Venus in a car, and at the top 
the motto, Sauve Garde. Signed low down to /. 

MONSIEUR ADRIEN DOLLFUSZ. 

74. REMBRANDT'S MOTHER (M. 184). 

A replica of a picture at Dresden (No. 114). It is a 
somewhat earlier work, less skilfully painted, and shows 
some little difference in the brush-work. 

P. 10 in. X 8 in. 

LOUVRE. 

75. READING THE BIBLE (M. 4). 

Z. by an open window sit an old man and woman ; 
she is reading to him out of the Bible. [2356.] 
P. 20 in. x 16 in. Round top. Sra., 105. 

76. AN OLD MAN READING (M. 65). 

A replica of a picture in the Brunswick Gallery (No. 
98), but in the background is a cave, and to /. a dead 
tree. [2357.] 

P. 6 in. x 5 in. 

77. A MAN WEIGHING GOLD (M. 81). 

Plate 20. Signed on a parchment: G Dou 1664. 

[2354-] 
P. ii in. x 9 in. Round top. Sm., 106; Supp, 63. 

78. THE TOOTH DRAWER (M. 89). 

In a room lighted by a window /. a peasant sits in an 
armchair turned three-quarters to /. ; behind him is the 
dentist drawing his tooth. [2355 3 

P.* 13 in. x 10 in. Sm., 25. The doctor is painted 
from Rembrandf s father. 



CATALOGUE OF WORKS 119 

79. THE DROPSICAL WOMAN (M. 91). (La Fcmme hydro- 

pique.} 

Plate 31. Signed on the edge of the Bible which lies 
on a, desk : 1663, G Dou, out 63 jaer. [2348.] 

P. 33 in. x 26 in. Arched top. It was at one 
time inclosed on an ebony case, on the door of which 
were painted an ewer and bowl (see below, No. 86). 

Cab. de Bye, L,, 1665, No. i. Sin., 95. 

80. PORTRAIT OF HIMSELF (M. 108). 

Standing at a window, half-length, three-quarters to 
/., wearing a blue cap and a fur-trimmed dress ; in his 
left hand a palette and brushes. In the background is 
an easel. Signed /. on the window-frame: G Dou. 

[23S9-] 

P. 1 1 in. x 8 in. Arched top. It has been enlarged 
all round. Sm., 51. 

81. A TRUMPETER (M. 174). 

A young man, half-length, richly dressed, is seen 
through an arched window hung with a blue curtain ; 
he is sounding a trumpet. Signed : G Dou. [2351.] 

R (15 in. x ii in. L. Cat.) Cab. de Bye, L., 1665, 
No. 20. Sm., 41. 

82. REMBRANDT'S MOTHER (M. 187). 

She sits in an armchair by a table reading a book. 
Signed in the background : G Dou. [2358.] 
P. 5 in. x 3 in. Oval. Sm., 64. 

83. A WOMAN WITH A DEAD FOWL (M. 248), 

Plate n. Signed on the window-sill: G Dou, 1650. 



P. 10 in. x 8 in. Sm., 63. 

84. A GROCER'S SHOP (M. 260). (DEficttre de Village.} 
Plate 24. On a shelf a pot bears the letters R.F.V.S., 



i2o GERARD DOU 

and on a mortar we read 1647. Half length. Signed 
on a skte : G Dou. [2350.] 

P. 15 in. x ii in. Arched top. Sm., 48. 

85. A DUTCH COOK (M. 271). (La Cuisin&re Hollandaise^) 

A cook is seen through an arched doorway; she 
wears a blue apron, red bodice and white shirt, and is 
pouring water into a can. [2352.] 

P. 14 in. x 10 in. Sm., 49. 

86. EWER AND SILVER BOWL (M. 363). 

They are represented as standing in a niche, and 
were painted on the door of the ebony cabinet in which 
The Dropsical Woman was originally enshrined. 

P. 38 in. x 32 in. See above, No. 79. 

87. Dou's MOTHER (M. 371). (A drawing.) 

Half length, front face ; she sits in a chair, her hands 
folded. Dated 1638. 
White paper. 7 in. x 6 in. Red and black chalk. 

BARON ALPHONSE DE ROTHSCHILD. 

88. MAN PLAYING A VIOLIN (M. 173). 

Within an arched window, where a bird-cage is hang- 
ing, stands a man, turning three-quarters to #., playing 
an air to the bird ; in the background, figures at a table. 
Below the window a bas-relief by Duquesnoy; a rug 
hangs over the sill 

The man is the same as the Quack in the picture at 
Munich (see below, No. 134). It is not a portrait of 
himself. Painted in x 65 1, 

Sm., 74; Supp., 51. 

89. WOMAN WITH A WATER JUG (M. 243). 

A woman of middle age, wearing a dark gray jacket 
with red sleeves and a brown cap, stands within an 
arched window holding an earthenware jug. A pot of 



CATALOGUE OF WORKS 121 

flowers stands on one side of the window, a bird-cage 
hangs on the other. 
P. 10 in. x 8 in. Sm., 91 ; Supp., 43. 

90. A WOMAN WITH A CHILD (M. 264^). 

She stands in an arched window by a pot of flowers, 
bird-cage, etc. 

ADOLPHE SCHLOSS'S COLLECTION. 
90A. BACKGAMMON PLAYERS (M. 179). 

A young man in a slouched hat, standing on the 
farther side of a table, has just thrown the dice and is 
looking at his opponent, who is filling a glass from a 
tin can. The latter wears a flat cap and a loose robe ; 
he is seated in an armchair, his back to the spectator, 
his face in profile. An open window on the /., a fire- 
place on the r. Signed on the backgammon board: 
G. Dou 16 . . . 

P. 25 in. x 27 in. Reproduced in Sedelmeyer's 
Catalogue, 1898. 

GERMANY. 
BERLIN. 

HERR A v. BECKERATH'S COLLECTION. 

91. A drawing (M. 372). 

An old woman, turning to /., sits on a chair ; in her 
left hand a plate, in her right a jug of beer. Signed (a 
forgery) : GD 1659. 

Blue paper, 10 in. x 8 in. Pencil and red chalk, 
inked at the corners of the mouth. 

HERR A v. CARSTANJEN'S COLLECTION. 

92. AN OLD WOMAN STANDING AT A DOOR WITH A CANDLE 

(M. 339)- 

She leans over the lower half of the door, holding the 



122 GERARD DOU 

candlestick in her right hand and screening the flame 
with her left. The upper half of the door opens in* 
wards. This woman is frequently seen in Dou's pictures. 
She here wears a pleated white collar and a white 
cap. Signed on the lower part of the door ; G Dou 
1661. 
P. ii in. x 8 in. 

FREIHERR v. H. 

92A. VANITAS (M. 370). 

Signed G Dou, but douhted by Bredius. Ex., Berlin, 
1890. Probably not by Dou. W. M. 
C 23 in. X 28 in. 

HERR CARL HOLLITSCHER'S COLLECTION, 

93. A GIRL AT A WINDOW (M. 329), 

She stands looking three-quarters to r., within a 
window draped with a curtain which she holds aside 
with her right hand. In her left hand is a candle. 
She is dressed in a red bodice and white chemisette. 
Signed on the window-sill : G Dou. 

P. 10 in. x 8 in. Arched top. Ex., 0. M,, 1888, 
No. 88, by Mr. Humphry Ward ; Berlin, 1890. 

HERR B. HULDSCHINSKY'S COLLECTION. 

94. WOMAN PEELING POTATOES (M. 274). 

In a room, with a boarded floor and white walls, on 
which to r. hangs a picture, a woman, in a black cap and 
cloak trimmed with fur, is peeling potatoes. To r . a large 
projecting chimney-place with bellows hanging above, 
and a kettle over the fire; r. foreground a saucepan 
with a wooden lid, and an armchair. 

P. 14 in. x 17 in. Painted between 1637 and 1652. 
Sm., 61; Supp., 77. 



CATALOGUE OF WORKS 123 

H.LM. THE KAISER. 

95. A LACEMAKER (M. 294). 

Ex., Berlin, 1883, *& by Slingelandt, but regarded by 
Bode as a late Dou. 

ROYAL GALLERY or PAINTING. 

96. MAGDALEN (M. 7). 

She faces somewhat to r. in her cell, wringing her 
hands ; on a table before her is a purse ; half length. 
Signed : G Dou 1638. [843,] 

P. ii in. x 9 in, Sm. Supp., 5* 

N.B. No. 854 of this gallery called Dou (M. 348A) is 
probably wrongly attributed. W. M. 

97. REMBRANDT'S MOTHER (M. 181). 

Plate 2. Signed /. : G Dou. [847.] 
P. 9 in. X 7 in., oval. Sm. Supp., 3. 

BRUNSWICK MUSEUM. 

98. AN OLD MAN READING (M. 64). 

He is seen to the knees, turned to /., sitting and 
holding a book in both hands. [305.] 
P. 7 in x 6 in. Has been added to at the sides. 

99. PORTRAIT OF HIMSELF (M. 103). 

He stands, turning to r., and looking at the spectator, 
supporting a picture which rests on a table. This 
picture represents a man and a woman, both sitting at 
a table by a window ; another man stands beyond them 
to r. The two former are beyond doubt Dou's father 
and mother ; the third is probably his brother. Signed 
G Dou on the edge of the table. [303.] 

P. 10 in. x 9 in. Oval. 
ioo f AN ASTRONOMER (M, 313), 

He stands at a window with a quadrant in his hand ; 
a terrestrial globe is before him on the window-sill. 



124 GERARD DOU 

The picture is lighted by a lantern. Signed ; G. Dou, 
1657* [304.] 
P. 13 in. x 10 in* Sm., 54, 

CARLSRUHE MUSEUM. 

101. THE MAGDALEN (M. 8). 

Plate 9. 

P. 9 in. x 7 in. 

102. A LACEMAKER (M. 247). 

Seen to the knees, three-quarters to /.; she looks 
out of a window while doing her work. Above is a 
curtain, half drawn, and before her lie a book and a 
rose. Signed on the book : G Dou, 1667. [267.] 

P. 12 in. x 10 in. 

103. A GIRL WITH A FISH AND A BOY WITH A HARE(M. 258). 

The girl stands in an arched window holding a fish 
she has taken out of a tub ; the boy is behind her. On 
the window-sill are a milk can, red cabbage, etc., and 
below it is a bas-relief of arabesques. Signed : G Dou, 
1652. [266.] 

P. 12 in. x 9 in. 

CASSEL GALLERY. 

104. REMBRANDT'S FATHER (M, 132). 

Plate 5, He wears a cap and feather, a gorget, and 
over it a blue scarf. [233,] 

P. 9 in. x 7 in. OvaL Painted between 1628 and 
1631. Sm. Supp., 32. 

105. REMBRANDT'S MOTHER (M. 186). 

Bust, three-quarters to /. Dressed in a blue velvet 
cloak trimmed with fur, and a white collar; on her 
head are a cap, and a handkerchief hanging down over 
her shoulders. [234.] 

P. 9 in. x 7 in. Oval. Pendant to the foregoing* 



CATALOGUE OF WORKS 125 

DESSAU. 

AMALIENSTIFT. 

106. A WOMAN PREPARING VEGETABLES (M. 276). 

An interior; by an open window, to L, is a table, on 
it a lace-pillow and a candlestick ; in the middle is a 
column round which winds a flight of stairs ; to r. a 
dresser, and above it a print (a portrait of Rembrandt ?). 
To r. 9 in the foreground, sits a woman at a table, and 
a boy standing by her is eating out of a bowL A ship 
hangs from the ceiling. [440,] 

P. 18 in. x 14 in. An early work, about 1630-5. 

DRESDEN GALLERY. 

107. HERMIT IN PRAYER (M. 18). 

Plate 6. Signed on the book-marker : G Dou. [1711.] 
P. 22 in. x 17 in. 

108. HERMIT READING (M. 19). 

An old man, bald, with a gray beard, in a brown 
dress, reads a Bible, which rests on a skull. A crucifix 
is attached to a tree. Half-length figure, to the r. 
Signed: G Dou. [1716.] 

P. 10 in. x 7 in. An early work. 

109. AN OLD SCHOOLMASTER (M. 76). 

Plate 38. Signed on the desk : G Dou, 167 x. [1709.] 
P. 12 in. x 9 in. Sm. Supp., 8. 

xxo. A DENTIST (M. 87). 

Plate 40. Signed : G Dou, 1672. [1700.] 
P. x 2 in. x 9 in. Sm., 128. 

xxx. PORTRAIT OF HIMSELF IN HIS STUDIO (M. 115). 
Signed on the table to /. : G Dou, 1647. [ X 74-] 
Plate xo. P. 17 in. x 13 in. 



126 GERARD DOU 

112. A YOUNG MAN PLAYING A VIOLIN (M. 172). 

Plate 37. Signed on the window-ledge: G Dou, 
1663. [170?.] 
P. 1 6 in. x ii in. Not a portrait of himself. Sm., 130. 

113. REMBRANDT'S MOTHER (M. 182), 

Half length, turned to r. 9 on a gray background. 
She is dressed in dark red, with a violet cloak trimmed 
with fur, a brown hood and white head-kerchief. She 
has spectacles on, and is reading a newspaper. [1719.] 

P. 5 in. x 3 in. OvaL 

114. REMBRANDT'S MOTHER (M. 183). 

Seen to the knees, turning to r., against a blue-gray 
background. She sits at a table with a green cover ; 
on it are a purse and a drinking glass. She wears a 
long purple cloak and a hood of the same colour. She 
holds a large book open with both hands. [1720.] 

P, 9 in. x 8 in. Oval. 

115. REMBRANDT'S MOTHER (M* 185). 

Half length, turned to r., on a gray background* 
She wears a purple cloak and bkck hat ; and holds an 
open book with both hands. She looks up from her 
reading, [1718.] 

P. 6 in. x 5 in. 

116. PORTRAIT OF A GIRL (M. 221), 

Half length, almost front face ; a bkck background ; 
her arms are bare to the elbow. She wears a brown 
petticoat, a small cap and earrings ; her folded hands 
rest on a table to r. [1717.] 

P, 6 in. x 5 in. Arched top, 

117. THE DOCTOR (M. 322). 

He stands in front of a girl who is seated, and holds 
a candle to look at her face ; both are laughing. Signed 
on the chair : G Dou. [1715.] 

P. 17 in, x 13 in. Sm., 39. 



CATALOGUE OF WORKS 127 

118. A GIRL GATHERING GRAPES (M. 337). 

Signed on a piece of paper lying on the window-sill : 
GDou, 1656. [1706.] 
P. 14 in. x ii in. Sm., 129. 

119. A GIRL WATERING FLOWERS (M. 338). 

Plate 22. Signed on the sill : G Dou. [1712.] 
P. 1 1 in. x 8 in. 

120. THE LOST THREAD (M. 341). 

Plate 23. Signed below the lamp : G Dou. [1714.] 
P. 13 in. x 10 in. 

121. THE WINE-CELLAR (M, 349). 

Plate 32. Signed on the cask : G Dou. 

P. 13 in. x 10 in. Cab. de Bye, L., 1665, No. 13. 
Sm. Supp., 48. [1713.] 

This work originally had a wooden case on which 
was painted the still-life study, No. 122, below. 

122. STILL-LIFE (M. 364). 

Plate 33. Signed, somewhat to /., on the shelf: 
G Dou. [1708.] 

P. 17 in. x 14 in. It has been enlarged all round 
by the painter. Cab. de Bye, L., 1665, No. 13, where 
it belonged to No. 121 above. 

123. THE CAT (M. 362). 

A cat, turned to r., lies on the sill of an arched 
window j below, a red curtain. Within a painter is seen 
at his easel. Signed in the middle: GDou, 1657. [1705.] 

P. 13 in. x 10 in. 

IMPERIAL PRINT-ROOM. 

124. A MAN'S HEAD. Dr awing (M. 376). 

Bust, three-quarters to /. An old man with a white 
beard, wearing a cap. 
In red chalk, on white paper, 5 in. x 4 in. 



128 GERARD DOU 

DUSSELDORF. 

WERNER DAHL'S COLLECTION, 

125. A BOY WITH A MOUSE-TRAP (M. 352). 

He is seen in a cellar, holding a mouse-trap in his 
left hand, and in his right a lighted candle ; in the 
foreground a copper can and a cabbage. 

P. n in. x 9 in. Ex., Dusseldorf, 1886. Sm., 15. 

FRANKFORT-AM-MAIN. 
STADEL INSTITUTE. 

126. A GIRL PREPARING FOR SUPPER (M, 346). 

A girl is placing plates, glasses, bread, etc,, on a 
table, on which stands a lighted candle. A little girl 
stands by her holding a lantern, and offering her a 
paper, r. foreground, a chair with a red cushion, and 
a stove. A heavy curtain above. Signed on the back 
of the chair : G Dou, [206.] 

P, 18 in. X 14 in. 

127. A GROUP OF WOMEN. A drawing (M. 377). 

One sits at a door with her hands folded ; two more 
stand near, and one in the foreground sits playing with 
a child. Behind, inside the door, are two men con- 
versing. Signed: G Dou, 1648. 

Pencil, on white paper, 6 in* x 4 in. 

GOTHA. 

DUCAL GALLERY, 

128. OLD WOMAN SPINNING (M. 287). 

She sits at her wheel, looking out of the picture ; in a 
red dress, blue apron and gray collar trimmed with fur ; 
a gray cap on her head. On a table to r* are bread, 
cheese and a beer jug ; to /. an open window. A large 
basket hangs against the wall; on the ground is an 



CATALOGUE OF WORKS 129 

earthen pot. Signed on the spinning-wheel : G Dou. 
[240.] 
P. 8 in. x 7 in. Sm., 94. 

HAMBURG. 

KUNSTHALLE. 

129. THE MAGDALEN (M. 9). 

She sits facing to r., her eyes raised to heaven ; to /. 
a dead tree-stump, on which is an oil lamp. A beam of 
light from above has on it the words "Vive ut vivas." 
Half length. 

P. 10 in. x 8 in. 

HANOVER. 

PROVINCIAL MUSEUM. 

130. A MAN MENDING A PEN (M. 74). 

Rembrandt's father, represented sitting at a table, on 
which is an open book. He is cutting a pen. 
P. 10 in. x 8 in. Oval. 

131. A NEGRESS (M. 224A). 

Bust in profile to /. On her head is a scarf with a 
feather and brooch ; she wears a blue dress, fastened 
with a gold clasp. Signed : G Dou. 

P. 15 in. x 12 in. 

MUNICH. 

THE OLD PINACOTHEK. 

132. A HERMIT (M 20). 

Kneeling in front of a rum and praying before a 
crucifix, his hands folded on a book. Signed on the 
book G Dou; also with his initials and 1670. [399.] 

P. 17 in. x 13 in. 

133. A HERMIT (M. 21). 

Kneeling in a cave before a Bible that lies open at 
K 



J30 GERARD DOU 

the beginning of Isaiah; he holds a crucifix in his 
clasped hands. Signed G Dou, on the edge of a 
book. [400.] 

P. 13 in. x ii in. Sm,, 114. 

134. THE QUACK DOCTOR (M. 86). 

Plate 17. In the distance is the Blauwpoort, Ley- 
den. Signed, on a stone low down to r., G Dou, 1652 ; 
also on the doctor's diploma, G Dou, 16 (almost 
illegible) ; and on a mortar, G Dou. [394 ] 

P. 44 in. x 33 in. 

135. PORTRAIT OF HIMSELF (M. 100). 

Plate 14. Behind, to r.> the Blauwpoort, Leyden. 
Signed, on the table, G Dou, and to r., on the base 
of the corner column, G Dou 1663 aet 50. [397.] 

P, 20 in. x 16 in. Sm., 109; Supp., 65. 

136. PORTRAIT OF A PAINTER (M. 142). 

An old man sits at an easel ; on a table near him are 
a plaster bust, a dead peacock, an open book, etc., from 
which he is painting. Signed, on the book, G Dou, 

1649- [393-] 
P. 26 in. X 21 in. Sm., no. 

137. SERVANT GIRL AT A WINDOW (M. 231). 

She is placing a copper can on a window-sill, below 
which is a bas-relief. Within, a woman is cutting 
bread for a boy. Signed G Dou, on a bird-cage 
to r. [405.] 

P. 14 in. X ii in. 

138. AN OLD WOMAN AT A DOOR (M. 238). 

Plate 37. Signed, high up to /., G Dou, [402.] 
P. ii in. x 8 in. Sm,, 22. 



CATALOGUE OF WORKS 131 

139. AN OLD WOMAN AND A BEGGAR (M. 268). 

She sits in front of a ruin selling herrings and 
vegetables, taking some money from a maid-servant ; a 
beggar asks for alms. Behind, to /., the Blauwpoort, 
Ley den. Signed, on a cask to r.> G Dou 1654. [395]. 

18 in. x 23 in. Sm., 112. 

140. WOMAN PEELING APPLES (M. 275). 

Half length. She sits, turned to /., in front of a 
house, by a bench on which are a tin of herrings, some 
onions and bread. Behind, to /, the Blauwpoort, 
Leyden. Signed, on the bench, G. Dou, 1667. [398.] 

P. 12 in. x 10 in. Sm., 119. 

141. A WOMAN SAYING GRACE (M. 289) 

Plate 2 7. Signed, on the spinning-wheel, G Dou. [403.] 
P. 10 in. x ii in. Sm., 118. 

142. A WOMAN COMBING A BOY'S HAIR (M. 296). 

Plate 13. Signed, on the tub, G Dou. [404.] 
P. 14 in. x 12 in. 

143. A LADY AT HER TOILET (M. 303). 

Plate 39. Signed, under the chair, G. Dou 1667. 

[407.] 
P. 29 in. X 23 in. 

144. A GIRL WITH A CANDLE (M. 335). 

Plate 29. Signed, on the window-frame, G. Dou 1658. 
[396.] 
P. 12 in. x 8 in. Arched top. Sm., 117. 

145. A CAKE STALL (M. 343). 

A woman sits under an archway and is taking money 
from a purchaser by the light of a candle. In the 
foreground, vegetables, pots, and a lantern ; figures in 
the background. [406.] 

P. 23 in. x 18 in. Sm., 113. 



132 GERARD DOU 

146. AN OLD WOMAN CUTTING BREAD (M. 345). 

She sits at a table between two boys ; on it are a cut 
ham, a stone jug and a lighted lamp. Signed, /., under 
the frame : G Dou. [401.] 

P. ii in. x 9 in. 

OLDENBURG. 

AUGUSTEUM. 

147. PORTRAIT OF A YOUNG MAN (M. 151). 

He wears a broad-brimmed black hat and a white 
pleated collar ; his gloves are in his hand. [75.] 
P. 15 in. x 12 in. Oval, in a square frame. 

SCHWERIN. 

GRAND-DUCAL GALLERY. 

148. AN ASTRONOMER (M. 48). 

He has just risen from his chair and is examining a 
large celestial globe ; in his right hand, which rests on 
an open book, he holds a pair of compasses , on the 
table, various accessories. [329.] 

P. 22 in. x 26 in. Bode dates this picture about 
1650. 

149. THE DENTIST (M. 88), 

Seen through an open window hung with a red cur- 
tain \ an old man sits just near the window, turned to /. ; 
the dentist, a cap on his head, is feeling in the patient's 
mouth. Signed on the flower-pot : G Dou. [327.] 

P. 14 in. x 12 in. Arched top. Painted about 
1650, according to Bode. Probably Smith's 26, and if 
so it came from the Louvre. 

150. A COOK (M. 250). 

She stands, visible to the knees, inside an arched 
window, scraping carrots and looking straight at the 



CATALOGUE OF WORKS 133 

spectator. To /. through an open window the Blauw- 
poortisseen. Signed below the carrots : GDou. [328.] 
P. 22 in. x 17 in. Painted between 1645 ^d I ^S* 
Sm. Supp., 6. 

15 i. A GROCER'S SHOP (M. 262). 

The shop-woman sits looking to /., within an arched 
window, holding the scales in her left hand, while with 
her right she takes some money from a little girl } to /., 
behind the girl, is a child looking out of the picture ; in 
the foreground /. utensils of various kinds, a tub of 
herrings and a basket of oranges. Signed : G Douw. 

[330.] 

P. 19 in. x 14 in. Bode believes this to be an un- 
finished work by Dou, and I am convinced that he is 
right. Sm. Supp, ii. 

152. AN OLD WOMAN SPINNING. REMBRANDT'S MOTHER 
(M. 286). 

She sits on a basket facing the window, looking to /. 
Before her is the spinning wheel ; she is eating porridge 
out of an earthen bowl in her lap. Behind the spinning 
wheel is a table with a sage-green cover, and on it a 
can, a kettle and a book. Signed on a tub, r. : G D. 

[326.] 

P. 20 in. x 1 6 in. Bode dates it about 1650. In 
my opinion it was painted in 1630-5. 

HOLLAND. 
AMSTERDAM. 

RIJKS MUSEUM. 

153. A HERMIT (M. 16). 

Plate 36. Signed G Dou 1664, on the crucifix of the 
rosary. [282.] 

P. 12 in. x 10 in. 



134- GERARD DOU 

154. A HERMIT (M. 17). 

He sits facing to /., under a cave, holding a rosary in 
his clasped hands ; half length. [277.] 
P. 10 in. x 7 in. Sm., 81 ; Supp., 9, 

155. PORTRAIT OF HIMSELF (M. 104). 

Plate 25. Signed on a paper below the window-sill : 
GDou. [275.] 

P. 1 8 in. x 14. Sm., 9. 

156. PORTRAIT OF A MAN (M. 146). 

To the knees, looking to r., bareheaded, his gloves in 
his hand ; a hat and purse on a table. Signed : G Dou 
1646. [280.] 

P, 15 in. x 9 in. Sm., 86. 

157. PORTRAIT OF A LADY AND GENTLEMAN (M. 155). 

They are placed in a landscape painted by Berchem ; 
by them is a dog. Signed : G Dou, and : Berchem fee. 

P, 29 in. x 24 in, Sm., 126. Tradition calls this 
the portrait of Burgomaster van der Werflf and his wife, 
but it may represent Berchem and his wife. On the 
capital of a column is a likeness of Dou himself. [279.] 

158. THE FISHERMAN'S WIFE(M. 229). 

Plate 19. At a window, below which the date 
MDCLIII is cut in the stone. Signed below the window- 
ledge: G Dou 1653. [281.] 

P. 12 in. x 9 in. Sm. Supp., 22. 

159. THE EVENING SCHOOL (M. 320). 

Plate 34. Signed: GDou. [276.] 

P. 20x16 in. Cab. de Bye, L., 1665. No. 8. Sm., 79. 

160. THE INQUISITIVE GIRL (M. 326). 

She wears a red jacket and leans out of an arch, 
holding a lamp in her hand. Signed : G Dou. [278.] 
P. 7 in. x 6 in. Sm., 14. 



CATALOGUE OF WORKS 135 

G. C. CROMMELIN, JUN. 

161. A GIRL WITH A PARROT (M. 234). 

She stands in a window, and has taken the bird out 
of an ornamental cage on which she rests her left hand, 
while the bird perches on the other, She wears a yellow 
bodice over a white chemisette and has earrings. Signed 
(a forgery), below to /. : G. Douw* 

P. 10 in. x 8 in. Round top. Possibly the same 
as M. 235, not included in this catalogue, 

FODOR COLLECTION. 

162. AN OLD MAN MENDING A PEN. Drawing (M. 375). 

Black chalk on paper. 1 2 in, x 7 in. 

Six COLLECTION. 

163. A DENTIST (M. 321). 

An old man, seen through a window, is sitting in an 
armchair ; a young dentist is examining his mouth by 
the light of a candle which he holds in his right hand ; 
his left re'sts on the man's head. A curtain is looped 
up to /. A woman on his right holds the patient's 
hand. From the ceiling hangs a stuffed crocodile, and 
near it a basket. Various objects lie on the window- 
ledge. Signed on the basket : G Dou. 

P. 14 in. x 10 in. Ex., A., 1900. Sin., 133 ; Supp., 
26. 

THE HAGUE, 

ROYAL CABINET OF PICTURES. 

164. THE YOUNG MOTHER (M. 305), 

Plate 26. Signed on the window-frame below the 
coat of arms : G Dou 1658. There are two inventory 
numbers; to /., 15, or 75 ; to r. t 501. [32.] 



136 GERARD DOU 

P. 28 in. x 22. Round top. Probably purchased 
from the Cab. de Bye by the Dutch East India Com- 
pany. It was certainly presented in 1660 to King 
Charles II. It was taken to the Loo by William III. 
(inv. 1763, No. 86), and in 1763 passed into the collec- 
tion of William V. Sm., 90. 

N.B* Another picture, 33 (M. 325), is wrongly at- 
tributed to Dou. 

DOWAGER DE BERCH v. HEEMSTEDE. 

165. PORTRAIT OF A YOUNG MAN (himself?) (M. 125). 

Bust, three-quarters to r. 9 of a youth from thirteen to 
fifteen years old, most probably Dou himself; long fair 
hair; dark brown velvet cap with a red and white 
feather ; a white collar and short coat. 

P. 7 in. x 5 in. An oval in square frame. Ev, 
The Hague, 1881 ; Sm., 12, 20; Supp , 7. 

C. HOEKWATER'S COLLECTION. 

1 66. REMBRANDT'S MOTHER (M. 188). 

Plate 3. 

P. 28 in. x 21 in. 

STEENGRACHT COLLECTION. 

167. PORTRAIT OF A MAN (M. 144). 

Half length, looking three-quarters to r. He sits with 
his right arm on a table, covered with a purple cloth. 
He is dressed in black, and holds his hat on his hip 
with his left hand. Signed on the back of the chair : 
G. Dou. 

P. 5 in. x 4 in. OvaL Sm., 132 ; Supp., 74. 

1 68. PORTRAIT OF A LADY. Companion picture to the 
above (M, 197). 

She sits looking to /., holding her gloves in the right 



CATALOGUE OF WORKS 137 

hand; a column in the background. Signed on the 
back of the seat : G Dou. 

P. 5 in. x 5 in. Sm., 132 ; Supp., 75. 



ITALY. 
FLORENCE. 

THE UFFIZI GALLERY. 

169 PORTRAIT OF HIMSELF (M. 101). 

He stands inside a window, in a brown suit and 
broad-brimmed hat. The right hand is on a skull which 
lies on the window-ledge. Below the window is a bas- 
relief by Duquesnoy. Signed: G Dou 1656. In the 
Catalogue the date is 1680 j according to Sm, it should 
be 1658. 

P. 20 in. x 1 6 in. Sm. Supp., 59. 
170. THE PANCAKE SELLER (M. 270). 
Plate 21. 
P, 17 in. x 14 in. Sm. Supp., 52. 

TURIN. 

PINACOTECA REALE. 
171 AN ASTRONOMER (M. 49). 

He has a white beard, and wears a cap, a fur-bordered 
cloak and a chain j one hand, holding a pair of com- 
passes, rests on a celestial globe. Half length, facing 
three-quarters to r* [435.] 
P. 6 in. x 5 in. 

172. A GIRL GATHERING GRAPES (M. 228b). 

A replica of the picture in Buckingham Palace, No. 
34. Sm., 107. [391.] 

173, Two CHILDREN BLOWING BUBBLES (M. 266), 

P, 9 in. X 7 in. Sm, Supp., 61. [388.] 



138 GERARD DOU 

POLAND. 
PRINCE LUBOMIRSKI. 

I73A. REMBRANDT'S MOTHER. 

Sitting in a room by a table to /., on which lie a book 
and a rosary. She looks to /., her eyes closed and hands 
folded in prayer ; her parted lips show the lower teeth. 
A red dress, red cap with a gold border, and fur cloak. 

An early picture. 

RUSSIA. 
ST. PETERSBURG. 

THE HERMITAGE. 

174. AN OLD MAN READING (M, 60). 

He holds a pen, and is reading a large book, which 
lies on his knees. Half length. [908,] 
P. 10 in. x 8 in. Oval Sm., 10. 

175. A RABBI (M. 62). 

An old man with a small moustache sits in profile to 
/. at a table, reading a large book which he holds with 
both hands. Half length. Signed G Dou in the back- 
ground. [907.] 

P, 16 in* x 13, 

176. THE DOCTOR (M. 92). 

A room seen through an open, arched window, A 
doctor in a brown dress and full gray robe edged with 
violet velvet, with a red and green cap, stands looking 
to /., examining the contents of a phial. An old woman 
stands waiting. Signed G Dou on the doctor's diploma, 

[9030 

23 in. x 19 in. Sm., 56 ; Supp., 45. 



CATALOGUE OF WORKS 139 

177. PORTRAIT OF A MAN (M. 145). 

Half length, facing three-quarters to r., and looking at 
the spectator. A young man with light moustache and 
small pointed beard holding his gloves in one hand. 



P. 8 in. x 6 in. Oval, in square frame. 

178. A REPLICA OF THE VIOLIN PLAYER AT DRESDEN 
(M. I72A). See above, No. 112. [906.] 

The signature and date are identical. 

179. AN OLD WOMAN READING (M. 205). 

She sits facing to r. 9 with spectacles on, reading a 
large book that lies on her lap, and holding it with both 
hands. Half length. Signed on the book: G Dou. 



P. 10 in. x 8 in. Sm., 29; Supp., 20. 

180. WOMAN SELLING HERRINGS TO A BOY (M. 255). 

A shop seen through an arched window ; on the ledge 
a tub of herrings, and a dog lying down. Signed on the 
edge of the window-sill : G Dou. [904.] 

P. 16 in. x 12 in. 

181. WOMAN SELLING HERRINGS TO A BOY (M. 256). 

A shop seen through an open window in a stone wall. 
She holds up a herring in her left hand, to a boy who 
laughs and points to the other fish in the tub. Signed: 
G Dou. [905.] 

P. 12 in. x 9 in. Round top. Sm Supp., 18. 

i8iA. WOMAN SELLING HERRINGS TO A Bov. 
Possibly a copy. [926,] 
P. 19 in. x 15 in. 

182. WOMAN WINDING YARN (M* 284). 

An attic seen through an open window ; an old woman 



1 40 GERARD DOU 

wearing spectacles is winding yarn on a bobbin. Half 
length. Signed : G Dou. [909.] 

P. 12 in. x 13 in. It has been enlarged on all sides. 
Sin,, 28, Supp., 21. 

183. GIRL PREPARING FOR THE BATH (M. 356). 

A fair-haired girl sits on a mound tinder a dead tree, 
turning to r., looking at the spectator } with her right 
hand she rubs her foot, her left rests on her knee. [910.] 

P. 9 in. x 7 in. Cab. de Bye, L., 1665, No. 9. 
Sm., 36 j Supp., 25. 

184. GIRL BATHING (M. 357). 

A nude figure of a fair girl sitting by a stream at the 
foot of a dead tree ; her left foot is in the water, and she 
is combing her hair ; she faces to r. Signed, in the 
corner to r. : G Dou. [912.] 

P. 10 in. x 7 in. Cab. de Bye, L., 1665, No. 16, 
Sm., 34; Supp., 23. 

185. A NUDE YOUTH (M. 358). 

A young soldier sits on a stone at the foot of a dead 
tree ; his r. arm rests on another stone, and he points 
to some object out of the picture. The Blauwpoort in 
the distance. [911-] 

P. 10 in. x 7 in. Cab. de Bye, L. 1665, No. 6. 
Sm., 35 ; Supp., 24. 

COUNT ORLOFF DAVIDOFF. 

1 86. A WOMAN SELLING HERRINGS, AND A Bov (M. 256a). 

GENERAL FABRITIUS. 

187. A MAN WITH A HALBERT (M. 168). 
BARON VON LIPPART. 

188. REMBRANDT'S FATHER AS AN ASTRONOMER (M. 133). 

Bust, facing three-quarters to r. ; he wears a purple 
cloak, and on his head a green hood ; he is studying a 



CATALOGUE OF WORKS 141 

globe, of which part is seen in the lower r. corner. 
Background green. Signed over the globe: G Dou 
(a forgery). 

P. 15 in. x 12 in, 

RIGA. 

COUNT FR. WIL. BREDERLO. 

189. PORTRAIT OF A MAN (M. 149). 

In an arched window with a looped-up curtain \ back- 
ground dark. He has long, iron-gray waving hair hanging 
over his dark blue-green cloak \ a brown jacket and white 
collar. Signed, below the window, almost illegible. 

P. 10 in. X 9 in 
WARSAW. 

LAZIENSKI PALACE. 

190. A MAN PLAYING THE VIOLIN (M. 17215). 

An exact replica of the picture in the Dresden 
Gallery; ante. No. 112. Signed and dated as that is. 

191. AN OLD WOMAN (M. 204). 

She holds a pocket-handkerchief in her withered 
hands. 

SWEDEN. 
STOCKHOLM. 

MUSEUM. 

192. MAGDALEN (M. 10). 

She sits in a cave by a rock. Her clasped hands 
rest on an open Bible, and she gazes at a crucifix with 
tearful eyes. She has long fair hair ; a dark-coloured 
bodice and brown petticoat. Signed, above the book 
to r. : G Dou. [393.] 

P. 10 in. X 7 in, 

193. PORTRAIT, PROBABLY OF HIMSELF (M. 116). 

A young man with waving hair sits on a chair, half 



i 4 2 GERARD DOU 

to /., smiling at the spectator. In his left hand he 
holds a glass, his right hand on his hip ; to /. a window 
with a jug on the ledge. [394-] 
P. 7 in. x 6 in. 

COUNTESS A. SPARRE. 

194. Two BOYS BLOWING SOAP-BUBBLES (M. 267). 

On a table are a basket, a gourd and a turban, and 
on one side a skull, an hour-glass and a hat of which 
only the feather is visible. Behind the table stands a 
boy, with light hair, facing the spectator and looking 
at a soap-bubble in the air. Signed : G Dou. 

P. 19 in. x 15 in. Ex., Stockholm, 1884. 

SWITZERLAND. 

GENEVA. 

COLL. LEOPOLD FAVRE. 

195. AN OPERATION (M. 96). 

In the middle of a large, bare room, with a boarded 
floor, and a staircase on one side, is a round table with 
various instruments and brass vessels ; a peasant sits in 
an armchair by the window to /., and an old doctor, 
with a cap on and a fur-lined cloak, is operating on his 
head. An old woman in the foreground to /. watches 
him in anxiety ; a servant stands behind the table. 

P. 15 in. x 18 in. An early work of about 1635. 

UNITED STATES. 
CINCINNATI. 

MUSEUM. ON LOAN BY MR. MCALPIN. 

196. AN OLD SCHOOLMASTER (M. 80). [80.] 

Painted in 1672. 
P. 7 in. x 5 in. 



CATALOGUE OF WORKS 143 

NEW YORK. 

MR. YERKES. 
197. HERMIT (M. 27). 

He sits in front of a cave reading a book which lies 
before him on a rock. In his left hand he holds his 
spectacles, and turns over a leaf with his right ; near 
him, to r., is the trunk of a tree. 

P. 16 in. x 12 in. Originally a head only, but 
enlarged by Dou himself. Sm., 84. 



APPENDIX 

(The numbers refer to the catalogue.) 

I. A LIST OF THE PICTURES BY Dou RETURNED 
TO SPIERING BY QUEEN CHRISTINA IN 1652. 
FROM OLAF GRANBERG'S " COLLECTIONS PRIVIES 
DE LA SUDE," XXV AND XXIX 

1. A picture representing in painting a little boy, a maid- 

servant and a spinner, with a case in ebony wood, given 
by "Sieur Spiring." 1 

2. A little picture of a maid chopping cabbages. 1 

3. A little picture of a man playing the violin from a tabla- 

ture. [No. 32.] 

4. A picture representing an old woman with a book and her 

distaff. 1 

5. A picture of an old man about to write, having before him 

a book, a globe and a skull. [No. 59,] 

6. A picture of an old man holding a sand-clock (hour-glass) 

in his hand. 1 

7. A picture representing a monk with a book and a crucifix 

before him. [?No. 107,] 

8. A picture of a Dutch woman who is making lace. 1 

9. A picture of a monk on his knees with a book and a 

crucifix before him, in a case of ebony wood. [? No. 
107.] 

10. A picture of an old woman peeling apples, with a seat near 
her, in a case of ebony wood. [No. 94.] 

1 Not included in the catalogue in this book. 



APPENDIX 145 

II. A CONTRACT CONCERNING CERTAIN PICTURES 
BY Dou, SEPTEMBER 18, 1665, AND A LIST OF 
THEM 

PROT. NOT. A. RAVEN, LEYDEN, 

September 18, 1665. 

I, the undersigned, hereby declare that I have given over 
my front room to the sole service and convenience of Johan de 
Bye and that from this day for one year or for so much longer 
as shall be agreed under my signature the aforesaid room 
shall be used for the placing and suitable accommodation of* 
certain pictures by Monsieur Douw belonging to the above 
named de Bye, to be placed there in a suitable manner ; the 
which pictures particularized piece by piece hereinafter I ex- 
pressly promise to take good care of as though they were my 
own and to deliver them again to the above named de Bye at 
any time to be named by him, and I shall for this by agree- 
ment with the aforenamed de Bye receive the sum of forty 
gulden. 

I promise that I will give over to the said de Bye alone the 
key of the room above mentioned and will keep no duplicate, 
and will open the said room to no one but in the presence of 
de Bye or by his order written and signed, also that de Bye 
himself and those whom he may permit shall daily have access 
to the said pictures excepting on Sundays. And for security 
I hereby pledge my person and all my possessions present or 
future without exception, etc. 

JOHANNES HANNOT. 

And here follow the pictures, all in cases : 
i* A large daylight piece, with four figures ; a sick woman 
with a doctor and a vessel; an ewer on the outside. 
[Nos. 79 and 85.] 

L 



146 GERARD DOU 

2. A lady playing on the clavicembals (or virginals) with a 

hanging; daylight [No. 26.] 

3. A candle-light piece : three persons playing cards. [No. 7.] 

4. A market girl in a window ; a vine ; a market bucket, in 

which is a fowl. 

5. A large piece : a hermit praying, kneeling before a crucifix; 

outside a lighted lamp and death's head. 

6. A naked swimmer and a tree. [No. 183.] 

7 A goat and landscape. 

8 A candle-light evening school, with many figures. [No. 

157] 

9. A naked woman, rubbing her foot with her hand. [No. 
181.] 

10. A girl in a window, pouring water out of an earthen jar on 

a pot of pinks ; candle-light. 

1 1 . Gerridt Douw his counterfeit in little. 

1 2. A girl in a window, setting a candle in a lantern , a candle- 

light piece. 

13. A double piece; outside a curtain, a clock and a candle- 

stick; and within a candle-light piece, being a cellar. 
[Nos. 121 and 122.] 

14. A candle-light piece : a niche with a vine, and a cover* 

15. Douw himself with his father and mother. 

1 6. A naked girl combing her hair. [No. 182.] 

17. A girl in a window with a parrot and cage. 

1 8. A candle-light piece, with an astronomer. 

19. A girl in a window partly open, with a bunch of grapes in 

her hand ; a double piece : outside a lamp, candle-light. 
[No. 172.] 

20. A trumpeter blowing, with a silver leather. [No. 80.] 

21. A woman counting money with a gold leather. [No. 

16.] 

22. A double piece : Douw himself with a flower-pot; outside 

a candle-light piece. 



APPENDIX . 147 

The pieces that here follow have no cases : 

23. First one with a frame, being a girl playing on a claversingel 

(or virginal). 

24. A girl leaning over a balustrade with a cover lying over it. 

[No. 4.] 

25. A girl a lacemaker with a book in the window; without 

a frame. 

26. A person with a glass with red wine in his hand; without 

a- frame. 

27. An old woman with a book before her ; without a frame. 

Actum> etc., 

JOHANNES HANNOT. 



INDEX 



riaensz., Jan (Knotter), 32. 

raout, 32, 

rtgen van Leyden, 4, 7. 

isterdam, picture dealing at, n ; 

orgeries, n ; icgulation of picture 

,ales at, 22-24. 

atomy, study of, among painters, 

51,82. 

gel, Philips, 12, 43, 45, 80. 

ipelbom, 45, 46. 

^burton, Loid, 95, 108. 

illy, David, 8, 9, 12, *$, 26, 31, 

J3' 

ck, David, 45, 

aldemaker, A* C., 6. 

ijeren, Van, 76. 

issens, Cornelis, 7, 8, 13. 

onen, Arnold, 91, 

th, Jan, 18, 20. 

ikelenkam, Quirm van, 87, 89, 

p, 

dgewater House, 46, 109. 

rawer, A., 5, 21. 

dtiel, Arent van, 7, 8, 

te, Marquess of, 46, 115. 

, Johan de, 9, 60, 61, 66, 72* 145- 

rd Player^ Tht (Vienna), 54, 68* 

'04. 

therfne, the Empress, 95* 

arles II., his visit to the Hague, 



58 , pictures by Dou presented 



Christina, Queen, 44, 45, 46, 92. 
Clementsz., Jacob, 4. 
Cock, Lucas Cornelisz., de, 4. 
Cook, Sir Frederick, 48, 76 n. 
Coques, Gonzales, 17 and n,, 20, 

77- 
Couwenhorn, Pieter, 30. 

Devonshiie, Duke of, 88. 

Dolendo, Bartholomew, 29. 

DoUfust, M. Adrien, 38, 118- 

Dou, Gerard, the first to form a 
school at Leyden, 9 ; high prices 
paid for his woik, 21, 72, 73 ; 
date of his birth, 27 ; portraits of 
himself, 27, 39, 47, 48, 53, 64, 
65 7', 72, 79,83, 9*>99i!m 
family, 27, 285 sent to study 
under Dolendo, 29 ; apprenticed 
to a glass-woiker, 30 ; taken into 
his father's workshop, 31 5 sent 
as a pupil to Rembrandt, 31, 34, 
35; portraits of Rembrandt's 
father and mother, 36-39; his 
pictures bought by Spiering for 
Queen Christina, 44-46; influence 
of Rembrandt on, 47 ; portraits 
I of his father and mother, 48, 50 ; 
I other portraits, 49; tediousness 
, of his method, 49 j his " niche- 



150 



GERARD DOU 



pieces," 50, 51; "night-pieces" 
by, 53 ; his " Hermit*' pictures, 
54> 55 J hi 5 house in Leyden, 
57 ; his fame, 57, 58 ; pictures 
by sent to Charles II. , 60-63 
his supposed absences from Ley- 
den, 63, 64 ; de Bye's collection 
of works by, 66-69 J pictures with 
a " chassis, 11 69 ; his painting of 
curtains, 71 ; portraits of, 74 and 
n. ; his will, 75 ; death of, 75 ; his 
studio, 83; his technique, 84, 
85; his perseverance, 86; his 
pupils, 86 ; his method of teach- 
ing, 87 ; his influence, 90 ; his 
pictures in the market, 94 et seq. 

Dou, Jan, 28, 29, 31. 

Dropsical Woman^ The (Louvie), 
27,67,98, 119. 

Du Jardin, Karel, 18, 20. 

Duquesnoy, Frans, 53, 84. 

East India Company, 60, 6 1, 62. 
Elsevier, Louis, 32. 
Elsheimer, 32, 53. 
Engebrechtsz., Cornells, 4. 
Evelyn's Diary, quoted, 15, 61, 62, 

8 S . 
Evening School (Amsterdam), 54, 

68, 92, 159. 
Everdingen, Ccesar van, 5. 



Firkmnan's Wift, The (Amster- 

dam), 52, 158. 
Floris, Frans, 8, 78. 

Gaesbeeck, Adriensz. van, 87, 88. 

Gelder, Aert de, 77- 

Girl o$ a Window (Waddesdon), 

55,97*.,n6. 
Girl clipping Cortege, 52. 



Girl cutting Onions (Buckingham 

Palace), 51, 55, 97 w., no. 
Girl preparing Supper (Frankfort), 

54. 128. 

Girl scouring a Pan (Buckingham 

Palace), 52,96, no- 
Goyen, Jan van, 9, 13, 14, 21, 33, 

97- 
Grocers Shop, 97 n. s no. 

Hackaeit, 18, 20. 

Hals, Dirk, 17. 

Hals, Frans, 8, 17 ., 51. 

Heem, Jan Davidsz. de, 33, 76 

and . 
Hermit \ Tfie (Dresden), 40, 41, 47, 

55, 95, J 25 5 other pictures; 92, 
94, 96, 108, 129, 133, 134, 143 

Hoekwatei, Heir, 39 ., 90, 136. 
Honthorst, Gerard, 46, 53. 
Hooch, P. de, 17 and ., 77 . 
Hoogeveen, Dr,, 12, 25. 
Houbraken, quoted, n, 12, 60, 61, 

62, 63, 86, 94, 95. 
Huldschinsky, Herr, 47, 122. 
Hulst, Maeiten Fransz. de, 12, 33. 

Isaacsz., Claes, 4. 

Janszoon, Douwe, 27, 28, 29, 30, 
31 ; portraits of, 48, 50. 



Kunst, Cornells, 4. 



Laeemaker^ A t 47. 

Lady Playing on the Virginals 
(Dulwich), 68, 108. 

Lastman, 32, 34, 35, 37. 

Leermans, 55. 

Leyden, development of in the 
seventeenth century, i ; eaily 
paintings at, 3, 4; pictures in 
public buildings, 4 ; amateur col* 



INDEX 



15* 



lectors at, 7 ; picture dealing at, 
12 ; regulation of picture selling 
at, 23 et seq. f the Order of St. 
Luke at, 25 ; famous painters at, 
32, 33 ; the Blauwpoort in Dou's 
pictures, 56; the Burgomasters 
of, and Dou, 72, 73 ; the school 
of, 90; no picture by Dou re- 
maining at, 99. 

Lievens, Jan, 5, 6 n., 32, 34, 35, 
38,42. 

Lievens, Jan Andie*, 5. 

Lippart, Baron yon, 37, 140. 

Lucas van Leyden, 3, 4, 7. 

Maes, Dirk, 5, 51. 

Maes, Gerrit, 86, 87. 

Maes, Nicolas, 76 . 

Magdalen, Tlu (Hamburg), 96, 

129; (Berlin), 48, 55, 123. 
Man Writing^ A (Marquess of 

Bute), 46, 1 15 ; (Mr* C, Morrison), 

50, in. 

Marseus, Otto, 18, 81. 
Massys, Jan, 153. 
Maton, Bartholomaeus, 86, 87. 
Metsu, Gabriel, 17, 25, 71, 86, 89, 

97* 

Miens, Frans van, 10, 21, 65, 73, 

79, 86, 87, 89, 94, 97, 98 n. 
Miens, Frans van, the younger, 90. 
Miens, Willem van, 90. 
Monconys, M. de, 9, 65, 66, 74. 
Moor, Karel de, 5 ., 86, 87, 90. 
Morrison, Mr. Charles, 50, in. 

Naiveu, Matthijs, S6, 87. 
Netscher, Caspar, 20, 80, 90* 

Old Stheolrftaster, The (Cambridge), 
50, 52, 107. 



Old Woman by Candlelight (Herr 

Carstanjen), 97, 121. 
Old Woman Spinning (Schwerin), 

4i, 133 5 (Gotha), 48, 128. 
Orlers, quoted, 3, 8, 15, 27, 29, 31, 

42,64. 
Ostade, Adriaen van, 22, 50 ?;., 51, 

76, 80. 
Overbeeck, Johan, 7, 8. 

Percellis, 8, 21, 33. 

Portrait of a Man (Amsterdam), 

49> *34 (Pommersfelden)j 39 . 
Potter, Pieter, 33. 
Poulterer's Shop, The (National 

Gallery), 52, 112. 
Preyei, Herr von, 48, 104- 

Quack Doctor^ The (Munich), 30, 
39> 130- 

Rembrandt, 8, 9, 13, 20 ; Don sent 
as a pupil to, 31 ; his pupils, 34 j 
his relations with Dou, 35; re- 
moval to Amsterdam, 42 ; his 
influence on Dou, 47 ; his ** niche- 
pieces," 51 ; " night-pieces " by, 
53> 54 1 drawings of his studio, 
76 ; painted in a strong light, 
78 j copies of his pictures, 79 * ; 
his method of teaching, 87 ; value 
of his pictures in 1800 compared 
with Dou's, 97. 

Rembrandt in his Studio > 35, 389 
39, 40, 76., 115- 

Rembrandt's father, portraits of, by 
Dou, 36, 37, 48, 95. 104, 124. 

Rembrandt's mother, portraits of, 
by Dou, 37* 38, 39 4* 88, 92, 
9S "8, "9, 123. J 24> 126, 136, 
I 3 3. 

Rivelinck, Henricus, 30. 



152 



GERARD DOU 



St. Luke, the Guilds of, 10, 24 ; at 

Haarlem, 13, 24; at Delft, 23, 

24 ; at Dordrecht, 24. 
Sandrart, quoted, 44, 47, 49, 57, 

74, 77, 85, 86. 
Schalcken, Godfried, 54, 74, 86, 

87, 89, 90, 98 n. 
Schilperoort, Conrad van, 32. 
Schooten, Joris van, 5, 6, 9, 31, 

33- 

Slingelandt, Pieter van, 21, 66, 

86, 89. 

Slingelandt, Quirin Ponsz. van, 

25- 

Spiering, Pieter, 10, 43-46, 72. 
Spreewen, Van, 55. 
Staveren, Johan van, 55, 88. 
Steen, Jan, 17 and ., 90, 91, 97. 
Steenwijck, Hendr. van, 9. 
Steenwijck, Pieter and Hannen 

van, 33. 

Stock, A. J., 13. 
Stooter, Cornells, 25, 26, 33. 
Swanenburch, Isaac Claesz , 4, 8, 

32. 
Swanenburch, Jacob, 32. 

Teniers, David, 14, 17. 

Terborch, Gerard, 14 ., 17. 

T<Mt> History of * 41. 

Tol, Antonia van, 29, 73. 

Tol, Dominicus van, 5, 29, 70. 86, 

87, 88, 89. 

Tol, Simon van, 29. 
Torrentius, 14, 45. 



Uylenburch, Gerrit, n, 12, 58, 60. 

Van den Tempel, Abraham, 6. 
Van der Maes, Conrad, 33. 
Van der Merck, Jac., 6. 
Van der Werff, Adrian, 21, 91, 97, 

98. 
Van de Venne, Ad., 14, 15 and n. t 

17. . 

Veen, Pieter van, 4, 14 ., 32. 
Venius, Otto, 32. 
Vermeer, Jan, 76. 
Vmckboons, David, 15. 
Violin Player, The (Bridgewater 

House), 46, 47, 109 ; (Dresden), 

52, 126. 

Vlieger, Simon de, 20, 21. 
Vliet, Jan Joris van, 32, 34, 35 ; 

etchings by, 36 #., 40 . 
Vos, J. de, 6. 
Vries, A* de, 5. 

Weyerman, Campo, quoted, n, 

55 70, 94- 
Wine-Cellar^ The (Dresden), 68, 

70, 127. 

Woman cleaning Fish, 98 . 
Woman peeling Potatoes > 41, 46, 

97 ., 122. 
Woman wttk a Fowl (Louvre), 55, 

119. 

Mother, T7te (The Hague), 
; 61, 62, 83, 92, *35- 



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IRo^al Collections 

AT 
BUCKINGHAM PALACE. 

WINDSOR CASTLE. 

private Collections 

OF 

THE DUKE or DEVONSHIRE. THE EARL SPENCER. 
THE EARL OF NORTHBROOK. 

ART BOOKS ART ALBUMS ARTISTIC FRAMING 



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Bell's Miniature Series of Painters. 

r p l HIS Series is designed mainly to help those who, without the oppor- 
JL tonity of going deeply into the study of art, yet wish to be able to 
take an intelligent interest in the works of Great Masters. Each volume 
contains a short sketch of the artist's life, an essay on his art, a list of his 
chief pictures, etc. 

Pott 8z/0, dainty Cloth covers, with 8 Illustrations, is. net each, or in 
limp leather, with Photogravure Frontispiece, 2s. net. 

NOW READY. 

VELAZQUEZ. By G. C. WILLIAMSON, Litt.D. 

BURNE-TONES. By MALCOLM BELL. 

FRA ANGELICO. By G. C. WILLIAMSON, LittD. 

WATTS. By C. T. BATEMAN. 

ROMNEY. By ROWLEY CLEEVE. 

WATTEAU. By EDGCUMBE STALKY, B.A. 

HOLM AN HUNT. By G. C. WILLIAMSON, Litt.D. 

HOLBEIN. By A. B. CHAMBERLAIN. 

LORD LEIGHTON. By G. C. WILLIAMSON, Litt.D. 

REYNOLDS. By ROWLEY CLEEVE. 

PREPARING. 

SIR L. ALMA-TADEMA. By HELEN ZIMMERN. 
GAINSBOROUGH. By MRS. A. G. BELL. 
JEAN-FRANCOIS MILLET. By A. TOMSON. 
MILLAIS. By A. L. BALDRY. 

Others to follow. 

OPINIONS OP THE PRESS. 

" la their way the little volumes are quite perfect. The ( get-up ' is in excellent taste ; 
the type and paper could not be better, ana the illustrations are wonderfully good . . . 
Highly satisfactory from every point of view." Westminster Budget 

^These dainty little volumes are beautifully illustrated and produced at a price which 
will place them within the means of all." Laufw 1 Pi*ld. 

" All lovers of art will revel in these delightful little book*."CAttrcfawxMn. 

** Each volume is delightfully written and got up, a wonderful shilling's worth." 
frith Tfrtus. 

"The illustrations are uniformly excellent. If art is to be made popular, this 
assuredly is the way to do \t."PaU Mall Gvutte. 

"Exceedingly handy and prttty,"-^Ovtfa>& 

" Written by acknowledged authorities, and illustrated with reproductions of the great 
painters' works, they should prove widely useful as well as interesting introductions to 
any study of the respective artists' works, ' Obstrver 

Messrs. Bell's new ' Miniature Series of Painters ' seems to us very well conceived 
They give in small compass chapters on the life and the art of each painter, and on the 
illustrations by him contained in the book, and lists of his chief works, of the books about 
him, etc. They are clearly and intelligibly written, and are just the thing for the amateur 
art student" -Literatitre. 

"They are exquisite little volumes, artistically bound, and each containing repro- 

ductions of eight of the most representative works of the artist written of. How the 

publisher can produce the works at a shilling each will puzcle most book-buyers. They 

are marvels of cheapness, the binding, letterpress, illustrations, and general flret-uo being 

'* * 



.- 

" The first three are. admirable little works in their way, giving as much fact and aa 
much sound criticism as could well be expected in so small a compass. "-.AlWfc*, N. Y. 

"Nothing could be better in its way than the arrangement of these booklets, of which 
did letterpress is brief without boldness, and concise without obscurity. They are small 
yet comprehensive. They put everything into a nutshell, and the illustrations are 
Judiciously selected. The general eet-up is eminently tasteful." GbSc. 

"Bell's 'Miniature Series of Planters' should find a warm welcome among all art- 
loving people." Sus*tx Daily News. 

"A delightful little edition/' Wtsttm Morning News. 

LONDON : GEORGE BELL & SONS, YORK ST, COVENT GARDEN. 



Imperial Sv#. 2 vols. Buckram, $ 35- 

BRYAN'S DICTIONARY 

OF 

PAINTERS AND ENGRAVERS. 

EDITED BY 

SIR WALTER ARMSTRONG, B.A. OXON, 

OF THE NATIONAL GALLJSEV, DUBLIN, 
AND 

ROBERT EDMUND GRAVES, B.A. LOND. 

OF THE BRITISH MUSEUM. 



"A book which no collector and no public horary can possibly do without." Tzttut. 

*' One of the most trustworthy and useful books of reference. Notes and Qutrit*. 

"On the whole it turns out a compilation of the highest value and utility . . . This 
excellent book fills a void which is so acutely felt that it scarcely needs any recommen 
dataon "Magmms of Art. 

Bell's "British Artists" Series 

Large Post Svo, in special bindings, JS. 6d. net each. 

The ENGLISH PRE-RAPHAELITE PAINTERS: 
Their Associates and Successors. By PERCY H. 
BATE. With about 90 Illustrations, including 2 Photo- 
gravure Plates. Second Edition. 

SIR EDWARD BURNE-JONES, Bart. A Record 
and Review. By MALCOLM BELL. With over 100 
Illustrations, including 2 Photogravure Plates. Seventh 
Edition. 

SIR J. E. MILLAIS, Bart., P.R.A. : His Art and 
Influence. By A. LYS BALDRY. With 87 Illustrations, 
including 2 Photogravure Plates. Second Edition. 

FREDERIC, LORD LEIGHTON, P.R.A. An 

Illustrated Chronicle. By ERNEST RHYS. With So 
Illustrations, including 2 Photogravure Plates. Fourth 
Edition. 

LONDON: GEORGE BELL AND SONS. 

CW.fi; Co 3.02.5000 




MESSRS BELL'S 

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UBERT VON HERKOMER, R.A., HIS LIFE AND WORKS. By 
A. L. BALDB.Y. Super royal 4*0, with 16 Photogravure Plates and 92 
other Illustrations. With binding designed by Prof, von Herkomer. 
j 3 , y. net 

NTHONY VAN DYCK. A Historical Study of his Life and Works. 
By LIONEL GUST, M.V.O., F.S.A. Director of the National Portrait 
Gallery, London. Surveyor of the King's Pictures and Works of Art. 
With 61 Photogravure Plates and 20 CoUotype and other Reproductions 
from Drawings and Etchings. Crown folio, printed on hand-made paper, 
with binding designed by Laurence Housman. $, 5s. net. 

HE CHATSWORTH VAN DYCK SKETCH BOOK. By LIONEL 
Cusx, M.V.O., F.S.A, Folio, with 47 Collotype Plates. 250 copies 
only. 2, zs. net. 

%* The drawings in this celebrated Sketch Book will here be repro- 
duced by permission of His Grace the Duke of Devonshire, K,G., for the 
first time. 

lANTE GABRIEL ROSSETTI: AN ILLUSTRATED MEMORIAL OF HIS 
ART AND LIFE. By H. C. MARILLIER. Second edition, abridged and 
revised, with 15 Photogravure Plates and 100 other Illustrations. Small 
folio. 2, 2s. net. 

%* Copies of the first edition may still be had, with 30 Photogravure 
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by Laurence Housman. $> 5?. net 

EMBRANDT VAN RITN AND HIS WORK. By MALCOLM BBLL. 
With 8 Photogravure Plates and 74 other Illustrations. Small colombier 
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RENCH PAINTERS OF THE XVIIIra CENTURY. By LADY DILKB. 
With ii Photogravure Plates and 64 Half-Tone Illustrations; containing 
a number of pictures never before reproduced. Imp, 8vo. z&s. net 

RENCH ARCHITECTS AND SCULPTORS OF THE XVIIlTH 
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RENCH DECORATION AND FURNITURE IN THE XVIIlTH 
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RA FILIPPO LIPPI. By EDWARD C. STRUTT. With 4 Photogravure 
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HE STUDY AND CRITICISM OF ITALIAN ART. By BBRNHARD 
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LORENZO LOTTO. An Essay in Constructive Art Criticism. By 
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THE ENGLISH PRE-RAPHAELITE PAINTERS, THEIR ASSO- 
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FREDERIC, LORD LEIGHTON. An lUustrated Chronicle. By 
ERNEST RHYS. With 83 Illustrations and 12 Photogravure Plates. 
Small colombier Svo. 2r. net. 

British Artists Series 

With about 100 Illustrations each. Post &w. TS. 6d. net, 

SIR EDWARD BURNE-TONES, BART. A Record and Review. By 
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FREDERIC, LORD LEIGHTON, P.R.A. An lUustrated Chronicle. 
By ERNEST RHYS. With a Chapter on Leighton's House by S. 
PEPYS COCKBRELL, Fourth Edition. 

SIR J. E. MILLAIS, BART., P.R.A. : His Art and Influence. By A. L. 
BALDRY. Second Edition. 

THE ENGLISH PRE-RAPHAELITE PAINTERS, THEIR ASSO- 
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ALBERT MOORE : His LIFE AND WORKS. By A. LYS BALDRY. With 
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THOMAS GAINSBOROUGH: His LIFE AND WORKS. By MRS 
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PJNWELL AND HIS WORKS. By G. C. WILLIAMSON, LittD. With 
52 Illustrations. Crown 4to. i, is. net 

WILLIAM MORRIS : His ART, His WRITINGS, AND His PUBLIC LIFE. 
By AYMBR VALLANCE, M.A., F.S.A. With 60 Illustrations and 
Portrait Third Edition. Imp. Svo. 251. net. 

VANDYCICS PICTURES AT WINDSOR CASTLE. By ERNEST LAW. 
Crown folio, with 30 Plates in Photogravure. 6> 6s, net 

HOLBEIN'S PICTURES AT WINDSOR CASTLE. Historically and 
critically described by ERNEST LAW. With ten large Plates in 
Photogravure. 240 copies printed on hand-made paper. Imp. folio. 
2 net 

RAPHAEL'S MADONNAS, AND OTHER GREAT PICTURES. By KARL 
KXROLY. With 9 Photogravures and 44 other Illustrations. Small 
colombier Svo. 215. net, 

MASTERPIECES OF THE GREAT ARTISTS, A.D. 1400-1700. By 
MRS ARTHUR BELL (N. D 'ANVERS). With 43 Illustrations, including 
8 Photogravures. Colombier Svo. 2U. net 



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THE ART OF VELASQUEZ. A Critical Study. By R. A. M. 
STEVENSON. Printed on hand-made paper, with 25 Photogravures 
and 100 other Illustrations. 4to. 2, 5^. net 

THE PRINT-COLLECTOR'S HANDBOOK. By ALFRED WHITMAN, of 
the Department of Prints and Drawings, British Museum, Author of 
" Masters of Mezzotint." With. 80 Illustrations. Royal 8vo. 155. net. 

HOLBEIN'S "AMBASSADORS." The Picture and the Men, A 
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work. Crown 4to. IQT. 6d. net 

THE EXHIBITED WORKS OF TURNER IN OIL AND WATER- 
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THE BASES OF DESIGN. By WALTER CRANE. With 200 Illustrations. 
Medium 8vo. i&r. net. 

LINE AND FORM. By WALTER CRANE. With 157 Illustrations. 
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PICTURE POSTERS. A Handbook on the History of the Illustrated 
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PORTRAIT MINIATURES. By G. C WILLIAMSON, LittD. 194 Illus- 
trations. Demy 8vo. 121. 6d. net 

THE TOWER OF LONDON. By LORD RONALD SUTHERLAND GOWER, 
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WESTMINSTER ABBEY : ITS HISTORY AND ARCHITECTURE. With 75 
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F.S.A., and an Appendix on the earlier Sepulchral Monuments by 
EDWARD BELL, M.A., F.S.A. Large imperial 4to. $, r. net 

A HISTORY OF RENAISSANCE ARCHITECTURE IN ENGLAND 
(A.D. 11500-1800). By REGINALD BLOMFIBLD, M.A. With io 
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A SHORT HISTORY OF RENAISSANCE ARCHITECTURE IN 
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134 Illustrations, Post 8vo. *js. fa net. 

A HISTORY OF GOTHIC ART IN ENGLAND. By E. S. PRIOR. 
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A TREATISE ON STAIRBUILDING AND HANDRAILING : WITH 
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3 



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THE BOOK OF SUN-DIALS. Originally compiled by the late MRS 
ALFRED GATTY. Revised and greatly enlarged by H. K. F. EDBN and 
ELEANOR LLOYD. With chapters on Portable Dials, by LEWIS EVANS, 
F.S.A., and on Dial Construction, by WIGHAM RICHARDSON. Entirely 
new edition (the fourth). With 200 Illustrations. Imperial 8vo. 
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HISTORY OF BRITISH COSTUME, from the Earliest Time to the Close 
of the Eighteenth Century. By J. R. PLANCHE, Somerset Herald. 
With Index, and 400 Illustrations. $s. 

FAIRHOLT'S COSTUME IN ENGLAND. A History of Dress to the 
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ANATOMICAL DIAGRAMS FOR THE USE OF ART STUDENTS. 
Arranged with Analytical Notes and drawn out by JAMES M. DUNLOP, 
A.R C. A., Glasgow School of Art. With Introductory Preface by JOHN 
CLELAND, M.D., LL.D., F.R.S., Professor of Anatomy in the 
University of Glasgow. With 71 Plates, containing 150 Subjects, printed 
in three colours. Imperial 8vo. 65-. net. 

BRYAN'S DICTIONARY OF PAINTERS AND ENGRAVERS. With 
a List of Ciphers, Monograms, and Marks. New Edition, revised and 
enlarged, by R. E. GRAVES and SIR WALTER ARMSTRONG. 2 vote. 
Imperial 8vo, buckram. $, 3^. 

CONCISE HISTORY OF PAINTING. By MRS CHARLES HBATON. 
New Edition, revised by COSMO MONKHOUSE. $r. 

LANZI'S HISTORY OF PAINTING IN ITALY, from the Period of the 
Revival of the Fine Arts to the End of the Eighteenth Century. 
Translated by THOMAS RQSCOE. 3 vols., $s. 6d each. 

DIDRON'S CHRISTIAN ICONOGRAPHY. A History of Christian 
Art in the Middle Ages Translated by E. J. MILLINGTON, and 
completed, with additions, by MARGARET STOKES. With 240 Illustra- 
tions. 2 vols. IOT. 

LIVES AND LEGENDS OF THE EVANGELISTS, APOSTLES, AND 
OTHER EARLY SAINTS, as illustrated in Art By MRS ARTHUR BELL 
(N. D'ANVBRS), Small 4to. With 49 Illustrations. 14*. net 

CUNNINGHAM'S LIVES OF THE MOST EMINENT BRITISH 

PAINTERS. A New Edition, with Notes, and Sixteen fresh Lives, by 

Mus HEATON. 3 vols., 3*. 6d. each. 
LECTURES AND LESSONS ON ART. By the late F. W. MOODY, 

Instructor in Decorative Art at South Kensington Museum. With 

Diagrams. Eighth Edition. Demy SVQ. 4$-. 6d. 

THE ANATOMY AND PHILOSOPHY OF EXPRESSION, AS CON- 
NECTED WITH THE FINE ARTS. By SIR CHARLES BELL, K.H. 
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LEONARDO DA VINCI'S TREATISE ON PAINTING. Translated by 
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FLAXMAN'S LECTURES ON SCULPTURE, as delivered before the 
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4 



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LITERARY WORKS OF SIR JOSHUA REYNOLDS. With a Memoir, 
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AN ILLUSTRATED HISTORY OF ARMS AND ARMOUR. By 
AUGUSTS DEMMIN. Translated by C. G. Black, M.A. With Index 
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HOLBEIN'S DANCE OF DEATH. Printed from the Original Wood- 
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Ex-Libris Series 
EDITED BY GLEESON WHITE 

ENGLISH BOOK-PLATES : ANCIENT AND MODERN. By EGBRTON 
CASTLE, M. A. , F S. A. With 203 Illustrations. Third Edition. Imperial 
i6mo. los. 6d. net. 

FRENCH BOOK-PLATES. By WALTER HAMILTON, F.R.H.S., F.R.G.S. 
New Edition. With iSo Illustrations. Imperial i6mo. &?. 6tt. net. 

GERMAN BOOK-PLATES. By COUNT zu LBININGBN-WKSTERBURG. 
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125. 6d. net. 

AMERICAN BOOK-PLATES. By CHARLES DEXTER ALLEN. With 177 
Illustrations, including 9 Copperplates Imperial i6mo. 12s. 6V. net 

MODERN ILLUSTRATION. By JOSEPH PENNELL. Illustrated with 
172 Drawings by modern artists. Imperial i6mo, icxr. 6d. net. 

DECORATIVE HERALDRY. A Practical Handbook of its artistic treat- 
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THE BAYEUX TAPESTRY. Reproduced in 79 Half-Tone Plates from 
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Practical Designing Series 

PRACTICAL DESIGNING. A Handbook on the preparation of Working 
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Glass, etc., showing the technical method of preparing designs for the 
manufacturer. Freely Illustrated. Edited by ULEESON WHITE. Third 
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ALPHABETS. A Handbook of Lettering, compiled for the use of Artists, 
Designers, Handicraftsmen, and Students. By EDWARD F. ST&ANQB* 
With 200 Illustrations. Third Edition. Crown 8va $s. 

MODERN ILLUSTRATION: Its Methods and Present Condition. By 
JOSEPH FENNELS With 171 Illustrations. Student's Edition. Crown 
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POEMS BY JOHN KEATS. Illustrated and Decorated by ROBERT ANNING 
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POEMS BY ROBERT BROWNING. Illustrated and Decorated by BYAM 
SHAW. With an Introduction by RICHARD GARNETT, LL.D., CB. 
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ENGLISH LYRICS, from SPENSER to MILTON. Illustrated and Decorated 
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MINOR POEMS BY JOHN MILTON. Illustrated and Decorated by 
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THE POEMS OF EDGAR ALLAN POE. Illustrated and Decorated by 
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Handbooks of the Great Craftsmen 

Illustrated Monographs, Biographical and Critical, on the Great Craftsmen 
and Works of Ancient and Modern Times. 

Edited byG. C. WILLIAMSON, LittD,, Editor of the "Great Masters" Series 
Imperial i6mo, with numerous Illustrations, about 5-JV net each. 

The following Volumes are now in hand 

THE PAVEMENT MASTERS OF SIENA. By R. H. HOBART 

Cusr, M.A. 

PETER VISCHER. BY CECIL HEADLAM. 

THE IVORY WORKERS OF THE MIDDLE AGES. By A. M. Cusr. 
Others to follow* 

Bell's Miniature Series of Painters 

Pott 8vo, cloth, with 8 Illustrations, u. net each ; or in limp leather, 2s. net 
SIR EDWARD BURNE-JONES, BART. By MALCOLM BBLL. 
VELAZQUEZ. By G. C. WILLIAMSON, LittD. 
FRA ANGELICO. By G. C. WILLIAMSON, Litt.D. 
G. F. WATTS, R-A. By C. T. BATBMAN. 
GEORGE ROMNEV. By ROWLBY CLERVB. 
WATTEAU AND HIS PUPILS. By EDGCUMBB STALBY, B.A. 
Qthers in preparation. 



Bell's Handbooks 

OP THE 

GREAT MASTERS 

IN PAINTING AND SCULPTURE. 
Edited by G. C. WILLIAMSON, LittD. 

POST 8vo. With 40 Illustrations and a Photogravure Frontispiece. 
PRICE 58. NET each. 

The following Volumes have been issued 

BERNARDINO LUINI. By GEORGE C. WILLIAMSON, Litt.D. 

VELASQUEZ. By R. A. M. STEVENSON. 

ANDREA DEL SARTO. By H. GDINNBSS. 

LUCA SIGNORELLI. By MAUD CRUTTWBLL. 

RAPHAEL. By H. STRACHBY 

CARLO CRIVELLI By G. McNniL RUSHFORTH, M.A. 

CORREGIO. By SBLWYN BBINTON, M.A. 

DONATELLO. By HOPH RBA. 

PERUGINO. By G. C WILLIAMSON, Litt.D. 

SODOMA. By the CONTESSA LORENZO PRiun-BoN. 

LUCA DELLA ROBBIA. By the MARCHBSA BURLAMACCHL 

GIORGIONE. By HERBERT Cooip, M.A. 

MEMLINC. By W. H. JAMES WEALE. 

PIERO DELLA FRANCESCA. By W G. WATERS, M.A. 

PINTORICCHIO. By E. MARCH PHILLIFPS 

FRANCIA. By GBORGB C. WILLIAMSON, Litt.D. 

BRUNELLESCHI. By LEADER SCOTT. 

MANTEGNA. By MAUDE CRUTTWBLL. 

REMBRANDT. By MALCOLM BELL 

In preparation 

GIOTTO. By F. MASON PERKINS. 

WILKIE. By LORD RONALD SUTHERLAND GOWER, M.A., F.S.A. 
EL GRECO. By MANUEL B. Cossio, LittD., PbuD. 
GERARD DOU. By W. MARTIN, Ph.D. 
DURER. By HANS W. SINGER, M.A., Ph.D. 
TINTORETTO. By J. B. STOUGHTON HOLBORN, M.A. 
PAOLO VERONESE. By ROGER E FRY. 
GAUDENZIO FERRARI. By ETHEL HALSBY. 
FILIPPINO LIPPI, By EDWARD C. STRUTT, 
WATTEAU. By EDWARD M'CDRDV, M.A. 
Others to follow. 



Bell's Cathedral Series 

Fully illustrated. Crown 8vo, cloth. 15-. 6d. net each. 
ready. 



BRISTOL By H. J. L. J. MASSE, M.A. 

CANTERBURY. By HARTLEY WITHERS. 

CARLISLE. By C. KING ELBY. 

CHESTER. By CHARLES HIATT. 

DURHAM. By J. E. BYGATE 

ELY. By the REV W. D. SWEETING, M.A. 

EXETER. By PBRCY ADDLESHAW, B A, 

GLOUCESTER. By H. J. L J MASSED M.A. 

HEREFORD. By A. HUGH FISHER, A R.E. 

LICH FIELD. By A. B. CLIFTON. 

LINCOLN By A. F, KENDRICK, B.A. 

NORWICH. By C. H. B. QUENNELL, 

OXFORD. By the REV. PERCY DEARMER, M A. 

PETERBOROUGH. By the REV W D. SWEETING, M.A. 

RIPON. By CECIL HALLETT, B A 

ROCHESTER. By G. H. PALMER, B.A. 

ST DAVID'S. By PHILIP ROBSON, A.R.I.B A 

ST PAUL'S. By the REV ARTHUR DIMOCK, M A. 

SALISBURY. By GLEESON WHITE 

SOUTHWELL. By the REV. ARTHUR DIMOCK, M.A. 

WELLS. By the REV, PERCY DEARMBR, M.A, 

WINCHESTER. By P, W. SERGEANT. 

WORCESTER. By E. F. STRANGE. 

YORK. By A. CLUTTON-BROCK 

Preparing. 

CHICHESTER By H C CORLETTE, A.R.LB.A. 
ST. ALBANS By the REV. W. D. SWEETING, M.A. 
ST. ASAPH'S AND BANGOR. By P. B IRONSIDE BAX. 
GLASGOW. By P. MACGREGOR CHALMERS, I. A., F.S.A(Scot.). 
LLANDAFF. By HERBERT PRIOR. 
MANCHESTER. By the REV. T. PERKINS, M A. 

Uniform with the above Series, is. 6d. net each. 

ENGLISH CATHEDRALS An Itinerary and Description. Compiled 
by JAMES G GILCHRIST, A M M M.D. Revised and edited with an 
Introduction on Cathedral Architecture by the REV. T. PERKINS, 
M.A., F.R.A.S- 

BEVERLEY MINSTER. By CHARLES HIATT. 

ST. MARTIN'S CHURCH, CANTERBURY. By CANON ROUTLSDGE. 

WIMBORNE MINSTER AND CHRISTCHURCH PRIORY. By the 
REV. T. PERKINS, M.A. 

TEWKESBURY ABBEY AND DEERHURST. By H. J. L. J. 
MASSE", M.A. 

BATH ABBEY, MALMESBURY ABBEY, AND BRADFORD-ON- 
AVON CHURCH. By the REV. T. PERKINS, M.A. 

WESTMINSTER ABBEY By CHARLES HIATT. [/* the Press. 

Bell's Handbooks to Continental Churches. 

Profusely Illustrated. Crown Sw?, cloth> 2s. 6cL net each. 

CHARTRES : The Cathedral and Other Churches. By H. J. L. J, 
MASS*, M.A. IRcady. 

ROUEN: The Cathedral and Other Churches. By the REV. T. 
PJBKKINS, M.A. [Ready. 

AMIENS. By the REV. T. PERKINS, M.A., F.R.A.S. {In the Press. 

PARIS (NOTRE-DAME). By CHARLES HIATT. 

8 



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