RKD STUDIES

Black chalk and brush in brown on paper, 257 x 182 mm
Cambridge, Harvard Art Museums/Fogg Museum, inv.no. 1985.33

Copied after the painted Portrait of Willem Croes, nowadays in the Alte Pinakothek [1]. It was initially included in the catalogue raisonné of drawings by Jean Honoré Fragonard (1732-1806), as an authentic work by this master. This attribution was later on rejected by Eunice Williams, who suspected the drawing to be a more recent forgery.¹ The Fogg museum lists the drawing on their website as by an 18th-century imitator of Fragonard. More likely, however, it is part of a group of forged Fragonard drawings that circulated on the international art market in the 1960s, and which all bear the same forged collectors mark of Charles Gasc (c. 1822-after 1869).²

D91
photo: President and Fellows of Harvard College

Black chalk on paper, 284 x 229 mm, dated lower right: 1651
Amsterdam, Rijksmuseum, inv.no. RP-T-1940-335

According to Coenen, Leendert van der Cooghen (1632-1681) made drawn portraits of his fellow artist Vincent Laurensz. van der Vinne (1628-1702) on at least two occasions. This version is dated 1651 and was therefore drawn when Van der Vinne was about 32 years old. Although the working relationships of Van der Cooghen and Van der Vinne are unknown, both men entered the Guild of St. Luke in about 1652, together with Dirck Helmbreeker (1633-1696).³

D92

Black chalk on paper, 357 x 261 mm, monogram LVC
Berlin, Kupferstichkabinett der Staatlichen Museen zu Berlin, inv.no. 4378

Vincent Laurensz. van der Vinne (1628-1702) included Leendert van der Cooghen’s (1632-1681) drawn portrait of him in at least two still-life paintings.⁴

D93

Black chalk on paper, 317 x 254 mm
Frankfurt am Main, Städel Museum, inv.no. 24909 D

Copied after Portrait of a man, possibly Jan Hendricksz. Soop, dated 1637, now in the Museu de Arte de São Paulo [2].

D94

Pen, brush and washed in black and grey, heightened in white on paper, 333 x 261, inscription in verso: Corn van den Berg / na het schilderij
Haarlem, Noord-Hollands Archief, inv.no. NL-HlmNHA_53014061_M

According to Slive, this drawing was probably based on the engraving by Jonas Suyderhoef (1614-1686), since it also features Hals's original composition in reverse [3].⁵

D95

Watercolor on paper, 450 x 398 mm
Haarlem, Noord-Hollands Archief, inv.no. NL-HmlNHA_53014240_M

Cornelis van Noorde (1731-1795) made two partial copies after Hals’s Regents of St Elisabeth’s Hospital [4]. This first one features the portrait of François Wouters († 1661), who is seated on the outer right in the group portrait.

The inscription in the lower center of the sheet, C: van Noorde ‘na’ J: Verspronck, was probably added by a different hand. This erroneous mention of Johannes Cornelisz. Verspronck (c. 1601/1603-1662) as the creator of the example for Van Noorde’s drawing is probably related to the fact that Verspronck had painted the companion piece to the Regents of St Elisabeth’s Hospital.⁶

D96

Black chalk and watercolor on paper, 438 x 387 mm, signed and dated in verso: Johan van Clarenbeek / Frans Hals, pinxit 1641. / Corn: van Noorde, del: 1791.
Frankfurt am Main, Städel Museum, inv.no. 36135 D

This is the second partial copy by Cornelis van Noorde (1731-1795) after Hals’s Regents of St Elisabeth’s Hospital [4], depicting Johan van Clarenbeek (1601-1642). The question arises whether Van Noorde has stuck with these two partial copies, or whether there should also be copies of the likenesses of the other three regents in the group portrait.

D97

Pen in brown, brush and washed in grey on paper, 146 x 244 mm
Vienna, Albertina, inv.no. 8401

Copy after the 1640-1641 group portrait [4].

D98

Red and black chalk, washed in red on paper, 223 x 176 mm
London, British Museum, inv.no. 1895,1214.98

Partial copy after the 1643 Portrait of a member of the De Wolff family, possibly Joost de Wolff [5]. Probably created in the later 19th century.

D99
©The Trustees of The British Museum

Pen, brush and wash on paper, 265 x 220 mm
London, art dealer Yvonne Tan Bunzl, by 1972

Drawn copy after the Portrait of Lucas de Clercq [6].

D100
© Gift of the Slive Family Trust

Grey wash, heightened with white, on paper, 194 x 152 mm
Vienna, private collection

This drawing is a copy after the octagonal male portrait now in Stuttgart [7]. It is executed by the same hand as the Portrait of Jean de la Chambre (D102). On the reverse, there is an imprint of a drawing after Hals’s Portrait of a seated woman holding a fan in Cincinnati (A4.3.30).⁷

D101
© Gift of the Slive Family Trust

Grey wash, heightened with white, on paper, 191 x 153 mm
Vienna, private collection

This drawing is a copy after the Portrait of Jean de la Chambre of 1638, now in London [8], or after the print by Jonas Suyderhoef (1614-1686) (C31). It is executed by the same hand as Portrait of a man (D101).⁸

D102
© Gift of the Slive Family Trust

Black chalk, pen in grey, brush in brown and grey wash on paper, 178 x 120 mm
San Marino (California), The Huntington Library, inv.no. 83528

Based on a no longer extant portrait by Frans Hals. This drawing probably served as the design for the engraving by Alexander Bannerman (c. 1730- after 1780) that was published in H. Walpole, Anecdotes of painting in England, 1762, vol. 3, p. 133 [9]. The drawing itself is included in an 1826 edition of Walpole’s book, including thirteen other portraits of artists drawn by George Vertue (1684-1756).⁹

D103

Black chalk and watercolor on paper, 278 x 415 mm, signed in verso: Vincent van der Vinne/ na schilderij van F.Hals/berustende op de Doelen te/ Haarlem
Haarlem, Noord-Hollands Archief, inv.no. NL-HlmNHA_1100_53013512

Watercolor copy of Hals's painted Banquet of the officers of the Calivermen civic guard [10].

D104