RKD STUDIES

Watercolor on paper, 345 x 270 mm
Netherlands, private collection
Pendant to D69

This drawing was offered for sale on eBay, where it was purchased by a former employee of the Frans Hals Museum. It is a valuable addition to the oeuvre of Hals, documenting a hitherto unknown portrait. Considering the manner of execution of the painted female portrait [1], which served as the example for this drawing’s pendant, we can assume that also the painted male portrait was created by an assistant of Hals.

Watercolour on paper, 345 x 270 mm
Netherlands, private collection
Pendant to D68

This drawing is a copy after Portrait of a lady with gloves [1].

Black, red and white chalk on paper, 373 x 299 mm
Amsterdam, Rijksmuseum, inv.no. RP-T-1939-136
Pendant to D71

Black, red and white chalk on paper, 370 x 296 mm
Amsterdam, Rijksprentenkabinet, inv.no. P-T-1939-135
Pendant to D70

These drawings show Pieter Louw’s (1725-1800) focus on capturing the facial expressions of the sitters rather than faithfully reproducing the example, which is the Portrait of Isaac Abrahamsz. Massa and Beatrix van der Laen in the Rijksmuseum [2].

2
Frans Hals (I) and Pieter de Molijn
Portrait of Isaac Abrahamsz. Massa and Beatrix van der Laen, c. 1627
canvas, oil paint, 140 x 166.5 cm
Amsterdam, Rijksmuseum, inv.no. SK-A-133
cat.no. A2.8

Black and white chalk on blue paper, 153 x 102 mm
London, British Museum, inv.no. 1891,0713.16

In his catalogue of Dutch drawings, Hind wrote that the attribution of the present drawing to Frans Hals was not certain and that Cornelis Saftleven (1607-1681) had been suggested as a possible artist.¹ It is likely to date from the second half of the 17th century and documents the original appearance of the now overpainted Portrait of a man in the Hermitage [3].

D72
© The Trustees of the British Museum

Brush and washed in black and grey on paper, 183 x 148 mm
Leiden, University Library – Special Collections, inv.no. PK-T-812

This and the following drawing are obviously copied after Portrait of a man with a lute [4], made by an assistant of Frans Hals.

D73

Brush and washed in brown and grey on paper, 146 x 112 mm
Haarlem, Teylers Museum, inv.no. KT 2774

D74

Black chalk on paper, 226 x 199 mm, signed and dated in verso: W: Horstink f: 1798
Haarlem, Noord-Hollands Archief, inv.no. NL-HlmNHA_53013654_K

Slive convincingly presented this drawing as copied after the version in Amiens [5], or the lost original on which that painting was based on, before it was reduced in size. This hypothesis is supported by the inscription on the drawing’s verso: ‘na’t schildery van F. Hals op de Buytenplaats Randenbroek by Amersfoort door v. Kampen aangelegd, dese plaats behoord toen aan den Heer de Bruin te Haarlem’. Slive also refers to the engraving by Reinier Vinkeles (1741-1816), which shows the same portrait, albeit not reversed and within a frame of wreaths [6].²

D75

Black chalk on paper, 326 x 240 mm, monogrammed centre right: IL
Amsterdam, Rijksmuseum, inv.no. RP-T-1885-A-481

In this case, a faithful copy of the painting in Amiens [5] was combined with the body posture from the engraving by Reinier Vinkeles (1741-1816) [6]. A second hand was added, which is not visible in the engraving. It is conceivable that the present composition predates the version in the engraving, a hypothesis which would be worthwhile to investigate further.

D76

Black and white chalk on blue paper, 206 x 133 mm
Haarlem, Teylers Museum, o-031

This chalk drawing shows two figures from the Banquet of the officers of the St George civic guard [7], with wider edges on both sides.

D77

Black chalk on paper, 146 x 382 mm
Haarlem, Teylers Museum, o-032

This drawing copies the original composition of Banquet of the officers of the St George civic guard [7] consistently. It bears a descriptive inscription and notes on the painting being located in the South Room of the Prinsenhof in Haarlem.

D78

Pencil and brown ink on paper, 243 x 188 mm
Amsterdam, Rijksmuseum, inv.no. RP-T-1909-12

The identity of the artist that made this drawn copy after the fragment of Hals’s Portrait of three children of Ghijsbert Claesz. van Campen and Maria Joris [8] is unknown. According to Hofstede de Groot, it possibly could have been made by Pieter de Mare (1758-1796), although it cannot be attributed with certainty.⁴ The Rijksmuseum nowadays attributes the sheet to an anonymous draughtsman.

D79