A portrait historié with Venus, Paris and Cupid: Ferdinand Bol and the Patronage of

the Spiegel Family

Author(s): Rudolf E. O. Ekkart
Source: Simiolus: Netherlands Quarterly for the History of Art , 2002, Vol. 29, No. 1/2
(2002), pp. 14-41
Published by: Stichting Nederlandse Kunsthistorische Publicaties

Stable URL: https://www.jstor.org/stable/3780923

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

Stichting Nederlandse Kunsthistorische Publicaties is collaborating with JSTOR to digitize,

preserve and extend access to Simiolus: Netherlands Quarterly for the History of Art

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
I4

A portrait historic with Venus, Paris and Cupid:

Ferdinand Bol and the patronage of the Spiegel family*

Rudolf E.O. Ekkart

In 1920, an unknown work by Ferdinand Bol appeared
at auction in London: a large canvas dated i656 depict-
ing Venus, Paris and Cupid (fig. ').' The painting,
which has been in the Dordrechts Museum since i968,
was described as a self-portrait of the painter with his
wife Elisabeth Dell and their child.2 That identification
was not questioned until 1976, when Albert Blankert
dismissed it as "totally arbitrary" in his dissertation on
the artist.' He restated that view in the I982 trade edi-
tion of his book, and it has been generally accepted ever
since.4 Comparisons with the self-portraits of Bol and
one companion piece of Elisabeth Dell painted in i653
support Blankert's opinion.5 However, he did stress that
it is undoubtedly a portrait of a couple and their child,
and in this he was backed by Bruyn and Sumowski.6
None of them, though, mentioned the odd choice of
subject for a portrait group, or the equally remarkable
portrayal of the woman-two elements which hardly
appear to be in keeping with the tradition of the seven-
teenth-century Dutch portrait. The story of Paris
choosing Venus as the most beautiful of the goddesses
and receiving Helen as his reward (resulting in her ab-
duction because she was the wife of Menelaus), is not
exactly the model of the virtues which a pillar of the
Dutch establishment would wish to project as testimony
to his domestic happiness.7 Nor was it customary in
those days to depict a lady of quality half-naked. In that
respect there is a great difference between Bol's painting
and the other best-known seventeenth-century Dutch
example of a portrait of a woman with a bared breast,
namely Paulus Moreelse's likeness of Sophia Hedwig,
the wife of Stadholder Ernst Casimir, in the role of Ca-
ritas. The point, however, is that Moreelse's picture of
I 621 is an allegorical depiction of a divine virtue, and al-
though it was not absolutely essential to show a bared
breast, it does have something of an iconic function.8
It was not until I986 that the questions raised by Fer-
dinand Bol's painting were first examined. It was done

The article was translated from the Dutch by Michael Hoyle.
I Canvas, i i6 x I57 cm. For the provenance see Appendix II, T 5.
See also A. Blankert, Ferdinand Bol (i6i6-i68o). Rembrandt's pupil,
Doornspijk I982, pp. 40,46, 67, 69, 103, nr. 34, and pl. 30.
2 Among the authors who did so were J.HJ. Mellaart, "Self-por-
traits by Bol," The Burlington Magazine 43 (1923), p. 154; H. van Hall,
Portretten van Nederlandse beeldende kunstenaars, Amsterdam I963, p.
32, nr. 201:38; R. Wishnevsky, Studien zum '7ortrait historie" in den
Niederlanden (diss.), Munich I967, p. 209, nr. I2o, and fig. i i.
3 A. Blankert, Ferdinand Bol i6i6-i68o, een leerling van Rembrandt
(diss.), Utrecht I976, p. i66, nr. A 34.
4 Blankert, op. cit. (note i), nr. 34. See also W. Sumowski, Gemdlde
der Rembrandtschuiler, 6 vols., Landau/Pfaltz I983-[94], vol. I, p. 309,
nr. 154; E.J. Sluijter, De "heydensche fabulen in de Noordnederlandse
schilderkunst circa I590-I670 (diss.), Leiden I986, pp. I39-40, 223, 471;the conception and costumes, though, that interpretation is highly un-
E. de Jongh, Portretten van echt en trouw: huwel4k en gezin in de Neder-
likely, the more so in that it does not account for the woman's scanty at-
landse kunst van de zeventiende eeuw, Haarlem (Frans Halsmuseum) &
Zwolle I986, pp. 3 I2-I 5, nr. 78; cat. Old master paintings: an illustrated
summary catalogue, The Hague (Rijksdienst Beeldende Kunst) &
Zwolle I992, p. 46, nr. 239; P. Schoon and S. Paarlberg (eds.), exhib.
cat. Greek gods and heroes in the age of Rubens and Rembrandt, Athens
(National Gallery) & Dordrecht (Dordrechts Museum) 2000, pp. 174-
75, nr. 9.
5 See Blankert, op. cit. (note I), nrs. I5 I and I52, for the portraits of
i653, the year of their marriage.
6 J. Bruyn, review of Blankert's book, Oud Holland 97 (1983), p.
210, in which he complains that Blankert catalogued the work under
the history paintings and not the portraits. See Sumowski, op. cit. (note
4), vol. I, p. 309, nr. 154, who did group it under the portraits.
7 S. Nijstad, "Gelukkige grootouders geportretteerd door Arent de
Gelder," Bulletin Dordrechts Museum 25 (2000), nr. 3, p. 44, argued that
the painting is not of Paris, Venus and Cupid at all but simply of a mar-
ried couple, with the apple merely serving as a fertility symbol. Given
tire.
8 Cf. deJongh, op. cit. (note 4), pp. 312-I5, nr. 78, who also points
out that aristocrats could more easily combine piety with liberal views.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 '5

iFerdinand Bol, Portrait of Wigbold Slicher and Elisabeth Spiegel as Venus and Pari's with Cupid, i1656. Dordrecht, Dordrechts Museum (on loan
from the Netherlands Institute for Cultural Heritage) (nr. T 5)

by Eddy deJongh in his catalogue accompanying the ex-
hibition Portretten van echt en trouw.9 He concluded that
no more significance should be attached to the choice
other than that the husband and patron wanted to ex-
press his belief that his wife was the fairest of women,
just as Paris chose Venus as the most beautiful of the
goddesses."0 De Jongh also remarked: "Although the
sitters cannot be identified, we can depend on it that
they belonged to the more free-thinking part of the na- fails, and that was what happened with this painting by
tion. True Calvinists, Pietists or Mennonites, as well as
many people of other denominations, would never
dream of having themselves portrayed in this way.""
Given that there are no clues in the painting itself
which could help identify the sitters, and that the prove-
nance of the picture is unknown before I920, there
seemed to be little opportunity to put de Jongh's con-
clusion to the test. But luck sometimes comes to one's
aid when systematic research into the identity of sitters
Ferdinand Bol.

9 Ibid., pp. 322-24, nr. 8i. nig deel van de natie behoord zullen hebben. Echte calvinisten, pietis-
ten of doopsgezinden, maar ook heel wat mensen van andere gezindten,
IO Sluijter, op. cit. (note 4), p. 223, arrived at a similar conclusion.
i i De Jongh, op. cit. (note 4), p. 322: "Zijn de voorgestelden niet te zouden er niet over gepeinsd hebben zich op zo'n manier te laten uit-
identificeren, we kunnen er staat op maken dat ze tot het meer vrijzin- beelden."

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms

THE IDENTIFICATION OF VENUS AND PARIS In
I783, two lists were made of a total of 45 seventeenth-
century portraits of members of the Slicher family and
its branches which were in the houses of Wigbold Slich-
er (1714-90) of The Hague, the presiding judge at the
Wigbold Slicher and the grandfather of the owner in
Court of Holland, and Cornelis Anthony Testart (1743-
I820), town clerk of Haarlem, whose grandmother I783, the presiding judge of the Court of Holland. A
Geertruyd Slicher (i684-1742) was a first cousin of
Wigbold Slicher's father.'2 The lists were probably
drawn up by Raimond Slicher (1752-i807), a son of the
judge's second marriage. Raimond was an amateur
artist, and he made reduced pastel copies of several of
the portraits from both family galleries, six of which
survive today.'3 Raimond Slicher's lists appear to be ex-
tremely reliable, which is more than can be said of many
later inventories of family portraits, which are often rid-
dled with garbled oral traditions handed down within a
family and reflect a desire to identify the portraits of
those forefathers who would enhance the family honor.
Where it was possible to check Slicher's lists, the infor-
mation proved correct in every case. Moreover, he
clearly indicated where he was drawing on established
facts and where he was coming to conclusions on the ba-
sis of his own deductions.
It is clear from the lists that the division of the por-
traits between the Slicher and Testart families, which
was probably done after the death of the elder Wigbold
Slicher ( I627-17 I 8), receiver-general of the Amsterdam
Admiralty, was fairly arbitrary, as was so often the case
with such collections. However, it was not entirely ran-
i2 The original manuscripts have not survived, but copies made in
the first half of the nineteenth century are in the possession of Prof.
B.H. Slicher van Bath in Wageningen. The lists were published in
i900 by a member of the Slicher family in the queries section of the pe-
riodical De Wapenheraut: "Familieportretten," De Wapenheraut 4
(1900), pp. 45-46. E.W. Moes then selected the paintings relevant to
his purposes and included them in the second volume of his Icono-
graphia Batava, 2 vols., Amsterdam i897-I905, but the brevity of his
descriptions made it almost impossible to establish connections with
known paintings. The two lists are included in annotated form as ap-
pendices at the end of this article. Reference is made to them through-
out the article in the form of a letter and a number, the letter s referring
to the portraits with Slicher in I783, the letter T to those belonging to
Testart. An excellent genealogy of the Slicher family compiled by
D.G. van Epen was published in Adelsarchief: Jaarboek van den Neder-
landschen Adel i (I 900), pp. 265-327.
13 These six pastels by Raimond Slicher, extensively annotated on
the backs, were purchased by Prof. B.H. Slicher van Bath around I970
This content downloaded from
132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
RUDOLF E.O. EKKART
dom, for in contrast to other cases pendants were not
separated, and the three series of children's portraits
(two of five paintings each and one of seven) were kept
together as units. Twenty-one portraits evidently went
to Anthony Slicher, the second son of the deceased
further 2I seem to have been allocated to the children of
the eldest son, Elbert SlicherI4 who predeceased his fa-
ther, and they eventually ended up with the grandson of
his daughter Geertruyd Slicher, the Haarlem town clerk
Cornelis Anthony Testart.I5
Although one could easily dwell on several other
paintings listed in the inventories, one's interest is
aroused first and foremost by the description of a pic-
ture which belonged to Testart in I783 and is no. 5 on
his list. "A large, historical family piece painted on can-
vas, lifesize, in classical garb, depicting Wigbold Slicher
Jansz, receiver-general of the Admiralty, with his wife
Elisabeth Spiegel Elbertsdr and eldest son Elbert Slich-
er, the latter two painted nude."
Although there is no mention of Venus, Paris or Cu-
pid, and the painter is not identified, the description is
so clear that it immediately calls Ferdinand Bol's paint-
ing of i656 to mind. Doubts as to whether it really is the
same picture can be laid to rest by comparing the por-
traits of Slicher and his wife which Nicolaes Maes paint-
ed around i675. In I783 they were in Judge Slicher's
house in The Hague (s i and s 2) and were copied in pas-
tels by his son Raimond (figs. 2, 3). It was thanks to
from a dealer in Warnsveld who had acquired them in England, togeth-
er with two other pastels by Slicher with the portraits of his father and
his sister. I am most grateful to my colleague E.J. Wolleswinkel of the
Iconografisch Bureau in The Hague for alerting me to these small por-
traits and to the inventories of 1783 and for permitting me to publish
the subsequent findings.
14 Initially they may have passed to the two unmarried sons, Wig-
bold Slicher (i680-I740, see T 6) and Jan Baptiste Slicher (i689-1766,
see T 9) only passing on the latter's death to the Testart family, the heirs
of the brothers' eldest sister. The other three portraits in the Testart
list of 1783, the likenesses of Elbert Slicher and his wife and daughter
(T 22, T 23 and T 24), were probably already in the family's possession,
unless they were commissioned by Wigbold Slicher.
15 For the family relationships see van Epen, op. cit. (note 12), and
the Testart genealogy traced in H.G.A. Obreen, "Notices
genealogiques sur la famille Testart," De Wapenheraut 3 (I899), pp.
I85-87.
 A portrait historih with Venus, Paris and Cupid I 7

IL~

3 Raimond
2 Raimond Slicher after Nicolaes Maes, Portrait of Wigbold Slicher after Nicolaes Maes, Portrait of Elisabeth Spiegel.
Slicker.
Private collection (copy after nr. s i) Private collection (copy after nr. s 2)

those copies that the original of Wigbold Slicher's por-to be their eldest son Elbert. He was
I783 inventory
born in of
trait has also been traced (fig. 4)*1,6 The features February
the i652, but since the painting bears the
man and woman in Maes's paintings clearlydate resemble
i 656, when Elbert was already four years old, there
those in Bol's picture, which in the woman's iscase in par- between his age and that of the very
a discrepancy
ticular provides convincing confirmation of young child in the painting. In the first place one must
the identifi-
cation of the Dordrecht group."7 In view of probably ask whether the child is a portrait at all. In con-
these points
of similarity and the reliability of the inventories trast to Venusof and Paris, Cupid is depicted in such a
1783, it can be concluded that the two adults in Ferdi-
generalized way that it is possible that the artist never
nand Bol's painting are Wigbold Slicher (i627-I7i8) even intended to portray one of the couple's children. If
and Elisabeth Spiegel (i1628-1707), who married in i 65 he
I did, this is probably their fourth child, Antonis, who
and lived in Amsterdam. However, there is a question was baptized in early November i655.'8 The identifica-
mark over the identity of the child, who is said in the tion of the child is one of the few statements in the in-

i6 Canvas, 107.9 X 90.2 cm. Sale New York (Christie's), I4January i8 After Elbert came Johannes (born in 1653, who probably died in
0657),
I993, nr. 44 (ill.). E.J. Wolleswinkel recognized the portrait for what it Elisabeth (born in i654, who died very young, certainly before
was. December i656, when a second daughter was baptized with the same
I7 The portrait of Elisabeth Spiegel aged Io or i i by Dirck Dircksz name), and Antonis, the fourth child. A further nine children were
Santvoort (fig. 8) also provides some, albeit slighter evidence support- baptized between i656 and i669.
ing the identification.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 i8 RUDOLF E.O. EKKAR

4 Nicolaes Maes, Portrait of Wigbol

Slicher, ca. i675. Present where-
abouts unknown (nr. s i)

| L I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ventories of 1783 which should probably be treated with settling in the Netherlands, came from Aachen. In I 598
caution-a possible mistake on Raimond Slicher's part the 40-year-old widower Anthony Schleicher (1558-
which one could hardly hold against him. I623) moved to Amsterdam for religious reasons, and
Before going into the question of how this painting became the owner of several copper-mills outside St
can be placed in the tradition of the seventeenth-centu- Anthonispoort. In i6ii he was appointed deacon of
ry Dutch portraits of members of the burgher class it is Amsterdam's Reformed Congregation. In I 599 he mar-
necessary to take a closer look at the Slicher and Spiegel ried his second wife in Haarlem, the young widow Jo-
families and the gallery of family portraits preserved at hanna de Wolf (1576-i650), the daughter of Flemish
two different places in 1783. immigrants from Roesselaere. Anthony Slicher had evi-
dently gained enough wealth and status by i603 to have
THE SLICHER PORTRAIT GALLERY The Schleich- his portrait painted (T I). According to the inventory,
ers, who changed their surname to Slicher soon after the companion piece of his wife dated from i6I2 (T 2).

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 A portrait historii with Venus, Paris and Cupid I 9

5 Raimond Slicher after an unknown artist, Portrait ofAnthony Sfich- 6 Raimond Slicher after an unknown artist, Portrait ofjoohanna de
er. Private collection (copy after nr. T I) Wolf Private collection (copy after nr. T 2)

Neither painting has been traced, but in addition to the daughter, Johanna Slicher, wife of Lieve de Peyster, to-
inventory they are known from copies by Raimond gether with the house in Coninxstraat. Since Johanna
Slicher (figs. 5, 6). The likenesses of Johanna's father Slicher had no children, she arranged for the disposal of
and stepmother, Johan de Wolf and Maria Dominicle (T the portraits of her parents and grandparents in her sec-
3 and T 4) are listed as dating from i603, like that of their ond will of 24July I 673, as mentioned in the portrait in-
son-in-law.'9 These four paintings evidently remained ventory. As a result, after her death in i678 they came
in the possession ofJohanna de Wolf, who died in Haar- into the possession of her brother's son Wigbold Slich-
lem in i 650, and passed on her death to her youngest er, who was also the sole executor of her will.20

19 The descriptions of these portraits of Johan de Wolf and Maria date i602 was mistakenly recorded as i603, either when Raimond
Dominicle in the inventory are unfortunately very brief. No trace has Slicher made his inventory in 1783 or when it was transcribed in the
been found of portraits with the dates I 603 and the ages of the man and nineteenth century. It is not clear how they could have passed to the
woman given as 59 and 6o respectively. There are, however, two pen- van Royen family from the Testart heirs, but there are numerous in-
dants with those ages and the date i602. They are in the style of Pieter stances in the nineteenth century of collections of family portraits be-
and Aert Pietersz (panel, each measuring i00 x 77 cm), and are in the ing added to by purchases or gifts of paintings which were believed at
collection of family portraits of the van Royen family, where they are the time to be of forebears.
believed to be of Johann Eberhard Rau of Siegen and his wife, whose 20 See van Epen, op. cit. (note I2), p. 270, for Johanna Slicher and
name is not known. The question is whether these portraits are not in her wills.
fact of de Wolf and Dominicle. If they are that would mean that the

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 20 RUDOLF E.O. EKKART

Jan Slicher ( I603-27), the son of Anthony Slicher and

Johanna de Wolf, died young, but in i625, two years be-
fore his death, he gained his family entree into Amster-
dam's regents' circles by marrying Elisabeth de Vla-
ming van Oudtshoorn (i 600-69), the daughter of one of
the burgomasters. Among the family portraits was one
of her painted in the year of her marriage (s 3), which on
the evidence of the size given in the inventory ("some
four feet high") was a lifesize three-quarter length. The
compiler of the inventory says of a slightly smaller pair
of portraits ("some three feet high") from the same peri-
od (T 20 and T 2I) that the woman's likeness is so similar
to the larger female portrait that the sitters were in all
likelihood Jan Slicher and Elisabeth de Vlaming van
Oudtshoorn.2' Not one of these portraits has so far been
found. In i649, more than 20 years after her husband's
death, Elisabeth married the receiver-general of the
Amsterdam Admiralty, the widower Elbert Spiegel
( I600-74), and in the course of this second marriage she
once again had her portrait painted as a pendant to
Spiegel's (s I5 and s I4). These two paintings will be
discussed in more detail below.
Two sons were born to Jan Slicher and Elisabeth de
Vlaming van Oudtshoorn: Wigbold, the man in Ferdi-
nand Bol's portrait historie, and Jan Slicher (i627-73),
who was born after his father's death and never married.7 Dirck Santvoort, Portrait of Rebecca Spiegel as Taste, ca. I638-39.
Present whereabouts unknown (nr. s I 7)
The inventory also lists a large portrait of Jan (s i i). In
i651 Wigbold Slicher married Elisabeth Spiegel, the 8 Dirck Santvoort, Portrait of Elisabeth Spiegel as Hearing, ca. I638-
second daughter of the first marriage of his stepfather
39. Cleveland, The Cleveland Museum of Art (Gift of Mr and Mrs
Noah L. Butkin) (nr. s i8)
Elbert Spiegel.
The latter is undoubtedly the most interesting of the 9 Dirck Santvoort, Portrait ofMargriet Spiegel as Sight, I639. Present
patrons in the family, for he was the first to display suchwhereabouts unknown (nr. s 20)

a keen interest in commissioning portraits-a custom

I0 Dirck Santvoort, Portrait ofPetronella Spiegel as Smell, ca. I638-
perpetuated by subsequent generations. He was born in
39. Rodez, Mus&e des Beaux-Arts (nr. s I9)
i 6oo as the son of the soap manufacturer Dirck Arentsz,
called Spiegel, and Lijsbeth Willemsdr Bogaert. While i i Dirck Santvoort, Portrait of Geertruyt Spiegel as Touch, I639. Lon-
don, National Gallery (nr. s 2 I)
his elder brother Hendrick followed in their father's
footsteps, as well as building up a career as a regent
which culminated in his membership of the Amsterdam
city council, Elbert studied law. He was awarded his
doctorate by Leiden University in i625, and that same
year he married Petronella Roeters (0599-i647), the

2i There are also other portraits with inscriptions on the backs Oudtshoorn did indeed have a sister called Margaretha (I598-i678),
identifying the subjects as Elisabeth's sister Margaretha de Vlaming but in i630 she married the celebrated Dr Nicolaes Tulp (I593-1674).
van Oudtshoorn and her husband Egbert de Vrij (T I7 and T i9). The At present nothing is know about a couple called Egbert de Vrij and
identity of these sitters is a little puzzling. Elisabeth de Vlaming van Margaretha de Vlaming van Oudtshoorn.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 A portrait historie with Venus, Paris and Cupid 21

8 I0

II

This content downloaded from

fff:ffff:ffff:ffff:ffff:ffff:ffff on Thu, 01 Jan 1976 12:34:56 UTC
All use subject to https://about.jstor.org/terms
 22 RUDOLF E.O. EKKART

daughter of the Amsterdam councillor Roetert Ernst, Elbert Spiegel had ideas which went beyond having
who had died a few years previously.22 As mentioned members of his family simply pose for conventional
above, after Petronella's death Elbert married Elisabeth portraits.
de Vlaming van Oudtshoorn, Jan Slicher's widow. In Elbert Spiegel's decision to have his daughters por-
i630 he became secretary of the Amsterdam Admiralty, trayed in a series of portraits was emulated in the next
and in i641 was promoted to receiver-general of that two generations. His son-in-law and daughter, Wigbold
body-a post which then remained in the family for the Slicher and Elisabeth Spiegel, not only had themselves
next 88 years, for Elbert was succeeded in i669 by his painted in Ferdinand Bol's group portrait of 1656 and in
son-in-law Wigbold Slicher, who in I713 made way for the pictures by Nicolaes Maes of ca. i675, but also im-
his own son, Diderik Slicher, who held the office until mortalized their seven surviving sons in a suite of small
his death in I729. According to the inventories of 1783 canvases (s 4-S io). The description of 1783 does not
there were no fewer than four portraits of Elbert make it clear whether, as with Spiegel's daughters, this
Spiegel, two as companion pieces to likenesses of was a series made more or less at the same time or
Petronella Roeters, one as the pendant to a portrait of whether the sons then living were painted first and were
his second wife, and one individual portrait. The earli- joined by their younger brothers later.25 The dates of
est works were painted in I 629, a few years after birth of the seven range from I 652 to i669, so if the en-
tire series was contemporaneous it could only have been
Spiegel's first marriage (T I2 and T 13). No trace of them
has been found, nor of the two undated, lifesize like- executed in i670 at the earliest and i676 at the latest,
nesses of Spiegel and his first wife (s 12 and s 13). The when the eldest son Elbert married. After marrying his
latter two may have been painted by Dirck Dircksz first cousin Catherina de Hochepied, this Elbert com-
missioned
Santvoort, who in the same period executed the series of Maes to paint him and his wife in companion
portraits of Spiegel's five daughters personifying the pieces (T 22 and T 23), which remained in the family un-
Five Senses, which the present author had already re- til I905, when they were sold at auction (figs. 12, I3).26
Elbert and Catherina also carried on the tradition of
constructed (figs. 7-I 1).23 The inventory of the portraits
belonging to Judge Slicher in 1783 confirms that recon- commissioning portrait series of their children, for the
struction and the interpretation of this series as a suite of inventory of 1783 mentions a suite of five canvases (i'/2
the Five Senses (s I7: "Five paintings on panel, being feet high) of their three sons and two daughters. Once
the five daughters of the aforementioned Elbert Spiegel again, the inventory does not make it clear whether they
representing the Five Senses").24 That charming series were all painted at the same time. The children were
demonstrates that when it came to portrait commissions born between i68o and i694, but the likelihood is that

22 Her dowry evidently included the portraits of her parents
portrait
Roetert Ernst (1554-i622) and Reymerich Pietersdr (056i-i620), forof Wigbold Slicher in this series (s 7), at that time known only
in 1783 they were in the Testart Collection (T 14 and T 15, with thefrom
manthe brief mention in Moes, might be the companion piece to that
incorrectly named as Ernst Roeters instead of Roetert Ernst).
23 See R.E.O. Ekkart, "Vijf kinderportretten door Dirck
Santvoort," Oud Holland 504 (1990), pp. 249-55. One obstacle to asso-
ciating the portraits of Elbert Spiegel and Petronella Roeters with the
painter Dirck Dircksz Santvoort is that they are listed in the inventory
as being on canvas, whereas Santvoort's usual support was panel.
24 The assumption made in Ekkart, op. cit. (note 23), p. 252, that
the series had become dispersed by being divided up between the chil-
dren portrayed in the paintings has been demolished by the discovery
of the inventory. The closing paragraph of that article also has to be
withdrawn, since it is based on a mistake by Moes, op. cit. (note 12),
vol. 2, pp. 385-86, who incorrectly identified Santvoort's paintings list-
ed in the 1783 inventory as being a series of portraits of the children of
Elbert Slicher rather than of his grandfather, Elbert Spiegel.
25 In C.W. Fock and R.E.O. Ekkart, "De portretgalerij van de fa-
milie De la Court," 7aarboek van het Centraal Bureau voor Genealogie en
het Iconographisch Bureau 35 (198I), p. 2i9. nr. 48, I suggested that the
of his later wife Glaudina Poelaert painted by Nicolaes Maes. That is
now contradicted by the findings being published here. The portrait of
Glaudina Poelaert has since been discovered, and together with that of
her sister Sara Poelaert, also painted by Maes (Fock and Ekkart, p. 202,
nr. i8), was bequeathed to the Michaelis Collection in Cape Town in
1979 by the former owner, Sj. van Ewijck of Oostbroek and De Bilt.
For those portraits see D. Bax, Catalogue of the Michaelis Collection,
The Old Town House, Cape Town, Cape Town ig8i, pp. 31-32, nrs. 99
and Ioo, with an illustration of that of Glaudina Poelaert; J. Carman,
Seventeenth-century Dutch and Flemish paintings in South Africa, Johan-
nesburg I994, p. 46 (ill.); and H. Fransen, Michaelis Collection, The Old
Town House, Cape Town: catalogue of the collection of paintings and
drawings, Zwolle 1997, pp. 120-21, nrs. 36 and 37 (ill.).
26 Sale H. Teding van Berkhout and others, Amsterdam (Fr.
Muller), 27-29June 1905, nr. 65.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 A portrait historie with Venus, Paris and Cupid 23

i2 Nicolaes Maes, Portrait of Elbert Slicher. Present whereabouts 13 Nicolaes Maes, Portrait of Catharina de Hochepied. Present where-
unknown (nr. T 22) abouts unknown ( nr. T 23)

initially it was only the eldest son Wigbold Slicher who (i684-I742), who also featured in the children's series.
was painted by Nicolaes Maes (T 6), and that the other In 1709 she married the merchant Pierre Testart and
four portraits were made later in the same format by Ja-was the grandmother of Cornelis Anthony Testart, who
cob de Wet the Younger after the birth of the youngest owned this picture in 1783.
child, Catharina Elisabeth Slicher, in i694 (T 7-T IO;
figs. I4, 15)27 THE DISPERSAL OF THE PORTRAIT GALLERY

It is not entirely clear whether the Slicher family lost
its appetite for portraiture after this series of the five
children, or whether Raimond Slicher was only inter-
ested in the earlier paintings when he drew up the in-
ventories, and omitted those executed nearer his own
day. The present lists, in any event, contain only one
painting (T 24) that must have been made after ca. I695,
and that is the lifesize full-length of Geertruyd Slicher
There is a lot that is still unclear about the fate of the
Testart and Slicher collections after 1783. When the
two inventories were published in i900 it was said that
both were "lawfully sold around i830," but the true
chain of events was probably more complex. After the
death in I790 of the president of the Court of Holland,
Wigbold Slicher, or after that of his second wife Dina
Henriette Backer in i8oi, the paintings in his posses-

27 The collection of Jonkheer H. Teding van Berkhout contained one by Jacob de Wet the Younger (T 7), with the other three, unsigned
the portraits of five children, all of the same size, which hung on loan in paintings, being attributed to Maes in the museum's catalogue and to
the Museum der Stad Haarlem for years before being auctioned in de Wet in the sale catalogue of 1905. The latter option seems the more
I905, the year after he died. One of them was signed by Maes (T 6) and likely, and is confirmed by photographs of two of the unsigned works.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 24 RUDOLF E.O. EKKART

14 Jacob de Is Jacob
Wet de Wet the Younger,the Young
Portrait of Geertruyd Slicher. Present
whereabouts unknown (nr. T 9) whereabouts unknown (nr. T 7)

sion in I 783 very probably went to his eldest son, the

i8I 5 his unmarried older sister Anna Catharina Slicher
(1739-i827) took charge of the family portraits, and that
Hague burgomaster Jan Slicher (1745- i 8I5). When he
in turn died in September i8I 5, followed less than two after her death 12 years later they were sold by her
months later by his wife, their only son, Jacob Slicher, heirs.29 It is known, at any rate, that one of the paintings
had been living in Germany for some years, while their from the collection (s i6) already had an English owner
only daughter, Maria Henrietta Slicher (1772-96), who in I834/35, while several of the others can be identified
had married Gerlach Johan Herbert van der Heim in various foreign collections in the following decades (s
(176i-i822), later burgomaster of The Hague, had Ibeen I, S 14, S I5, S i6 and s 21).
dead for years.28 It is likely that when Jan Slicher died
Theindispersal of the other part of the collection of

28 The only child of that marriage was a girl, Jonkvrouw Maria now in the Haags Historisch Museum. See G. Knuttel Wzn, Gemeente-
Charlotte Jacoba van der Heim (I 796-I 866), who married JonkheerJan
museum 's-Gravenhage: catalogus van de schilderyen, aquarellen en
de la Bassecour Caan in i 82i. The estate of their unmarried son, teekeningen, The Hague 1935, p. 229, nrs. 442 and 443, and A. Staring,
Jonkheer Jacob Jan de la Bassecour Caan (i 826-99) contained two por- Kunsthistorische verkenningen, The Hague I948, pp. 147, 157 and fig. 6.
traits by Taco Scheltema, one of his grandmother Maria Henrietta 29 Her half-brother Raimond Slicher, whose interest in the family
Slicher (presumably painted posthumously) and the other of his great-
portraits led him to make pastel copies and draw up the two invento-
uncle Jacob, Baron Slicher, who had emigrated to Germany, both of ries, had died in I 807.
which were acquired by the Gemeentemuseum in The Hague and are

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 A portrait historie with Venus, Paris and Cupid 25

family portraits, which belonged to Cornelis Anthony daughter of the vendue-master of the Amsterdam Ad-
Testart in 1783, is also a matter of conjecture. When the miralty, Elbert Dell (1595-i667), and his wife Cornelia
unmarried owner died at Hillegom in i812 he was the Dircksdr Spiegel (i6o6-46).JJ Cornelia was a younger
last in the male line of this Huguenot family.30 The fam-
sister of the receiver-general of the Admiralty, Elbert
ily portraits were then probably inherited by the daugh-Spiegel, the man listed in the 1783 inventory of having
ters of his long-dead eldest sister Geertruida Catharina commissioned at least four portraits of himself, and the
Testart (I74I-75), who had been married to Count Jean father and father-in-law of the Slichers who had them-
Henry van Heemskerck. One strong indication that this selves portrayed as Paris and Venus by Bol in i656.
is what happened is the fact that at least seven of the 24 That the ties between the Bols and the receiver-general
paintings (T 6- T I0, T 22, T 23) later belonged to were close is clear from the fact that after the death of
Jonkheer Hendrik Teding van Berkhout (i830-1904), a Bol's wife, Elbert Spiegel and Elbert Dell were appoint-
grandson of van Heemskerck's eldest daughter Anna ed guardians of the surviving children, a task which was
Margaretha van Heemskerck (1765-i826), who married later assumed by Spiegel's son-in-law, Wigbold Slicher,
George Francois de Bosset. It is not clear whether the who was also one of the executors of the will of Bol's sec-
collection of family portraits was divided between Anna ond wife, Anna van Erckel.34 As a result of his marriage
Margaretha and her two sisters on Cornelis Anthony to Elisabeth Dell, Bol had close ties to the Admiralty of
Testart's death in I812,31 or whether it went to Anna Amsterdam, due in part to the fact that it employed his
Margaretha in its entirety and was not split up until af- father-in-law as vendue-master but above all to the in-
ter her death.32 The only paintings from Testart's col- fluential position of his uncle by marriage as receiver-
lection which have been rediscovered are those belong- general. As has already been suggested elsewhere, those
ing to Teding van Berkhout which were auctioned in family connections will certainly have played a part in
I905 after his death, and the group portrait by Ferdi- the important commissions from the Admiralty which
nand Bol which surfaced at a London auction in I920, SO Bol received between i66i and I663.35 In addition, it
it is impossible to reconstruct how the collection fell has been pointed out that the influence of another uncle
apart. by marriage, the city councillor and burgomaster Hen-
drick Spiegel, a brother of Elbert's, would have given
FERDINAND BOL AND THE PATRONAGE OF EL- Bol an advantage in securing commissions from the city
BERT SPIEGEL AND HIS FAMILY Having established fathers of Amsterdam.36 However, thanks to the inven-
the context of Ferdinand Bol's portrait historid with the
tories of 1783 it is also clear that those family bonds were
1783 inventories of the two related collections, it isoftime
great importance for his career as a portrait painter.
to return to Bol's painting and the relationship between In addition to the Trip family, discussed elsewhere,37
him and the patron's family. the Spiegel clan played a key part in Bol's success as a
On 21 October i653, the 37-year-old painter Ferdi- portraitist. As well as the group portrait of i656 with
nand Bol married in Amsterdam's Nieuwe Kerk. His Wigbold Slicher and his wife, several other paintings
wife, I I years his junior, was Elisabeth Dell (I 628-60), listed in the inventories can be identified as extant works

30 See the genealogy referred to in note I5.
3i The sisters were Jacoba Susanna van Heemskerck (1768-i812),
wife of Jonkheer Leonard Rutgers van Rozenburg, and Agnes Mar-
garetha van Heemskerck (5769-i845), wife of Jonkheer Louis Rutgers
van Rozenburg, the brother of her sister's husband. Both couples had
issue.
32 Her children were Anna Madeleine Henriette de Bosset (1793-
i869), who married Jonkheer Jan Pieter Teding van Berkhout in 1827
and was the mother of Jonkheer Hendrik Teding van Berkhout, and
Maria Constance Francoise de Bosset (1794-1879), who married Cor-
nelisJohannes de Bruyn Kops in i8i8 and had numerous descendants.
33 Blankert, op. cit. (note s), p. 20, wrongly identifies her as a
daughter of burgomaster Hendrick Dircksz Spiegel (1598-i667), who
was in fact her eldest brother. In i667, Hendrick's daughter Cornelia
Spiegel (i639-1724) married her cousin Elbert Elbertsz Spiegel, Ferdi-
nand Bol's brother-in-law.
34 Ibid., pp. 24, 74, 8i-85.
35 Ibid., p. 20, where the posts occupied by the father-in-law and
his son of the same name are given as the only factors in the choice of
Bol. For the commissions awarded by the Admiralty see also A.
Blankert, Kunst als regeringszaak in Amsterdam in de iUe eeuw: random
schilderijen van Ferdinand Bol, Lochem 1975, pp. 37-40.
36 Blankert, op. cit. (note I), p. 20.
37 S.A.C. Dudok van Heel, "Het maecenaat Trip: opdrachten aan
Ferdinand Bol en Rembrandt van Rijn," De Kroniek van het Rem-
brandthuis 31 (1979), pp. 14-26.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 26 RUDOLF E.O. EKKART

Ce I

i6 Raimond Slicher after Ferdinand Bol, Portrait

of Petronella Elias. Private collection
(copy after s I 5)

I7 Ferdinand Bol, Portrait ofPetronella Elias, i657.

New York, The Metropolitan Museum of Art
(nr. s 15)

by Bol, while it is also clear that he worked for other the descent within the family, the portrait was probably
members of the Spiegel clan. commissioned either by grandfather Spiegel or aunt
The portrait of Petronella Elias listed in the inventory Elisabeth Spiegel. The child is holding a silver basket of
(S I5) can readily be recognized from Raimond Slicher'sfruit, and Werner Sumowski's question regarding the
pastel copy (fig. i6) as the child's portrait painted by meaning of that attribute can easily be answered,38
Ferdinand Bol in i657 which is now in the Metropolitan thanks to the identification of the subject. It turns out
Museum of Art in New York (fig. I7). The nine-year-that she was painted in the same pose as her dead moth-
old girl was a daughter of the merchant Joost Pietersz er in the series of girls' portraits by Santvoort (fig. 7).
Elias and his first wife Rebecca Spiegel (who had died in The fruit depicted there as a symbol of Taste has here
i651), the eldest sister of Elisabeth Spiegel and first lost that meaning and was evidently included only to
cousin of Ferdinand Bol's wife Elisabeth Dell. Given supply a parallel with the earlier girl's portrait.39

38 Sumowski, op. cit. (note 4), vol. I, p. 313, nr. 172. second marriage were only born in i659, i66o and i66i. In i666,
39 There is no reason to believe that the portrait of Petronella Elias Petronella Elias married Gerard Dell, a brother of Ferdinand Bol's de-
belonged with four others in a suite of the Five Senses. Only two chil- ceased first wife. For the genealogical information see J.E. Elias, Ge-
nealogie van het geslacht Elias, Faas Elias en Witsen Elias, Assen 1942, p.
dren were born tojoost Elias and Rebecca Spiegel, Petronella and a son
called Pieter who died in i653 aged two. The children of Joost Elias's 57.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
A portrait historie with Venus, Paris and Cupid 27

I8 Raimond Slicher after Ferdinand Bol, Portrait of

Jan Slicher. Private collection (copy after s I I)

19 Ferdinand Bol, Portrait of Jan Slicher, I669.

Forres, Brodie Castle (nr. s I)

Raimond Slicher's copy (fig. i8) also makes it easy to
identify the unmarried Jan Slicher (1628-73), the broth-
er of Wigbold Slicher whom Bol depicted with his wife
in 1656 (s I I). The original portrait, which is signed and
dated I669, has been in Brodie Castle in Scotland since
the nineteenth century (fig. 9), where it is labeled as the
portrait of a "Dr Talpen"-undoubtedly a reference to
Dr Nicolaes Tulp of more than a generation earlier. Be-
cause Bol seems to have virtually abandoned painting
after his second marriage in October i669,40 this paint-
ing is one of his last known works.
While Raimond Slicher's copies are a simple and con-
vincing aid for recognizing the portraits of Petronella
Elias and Jan Slicher, in the case of those of Elbert
Spiegel and his second wife Elisabeth de Vlaming van
Oudtshoorn (s 14 and s 15) one has to fall back on a com-
bination of the inventory descriptions ("...of the same
size [lifesize], seated in a chair...," and "...also seated in a
chair..."), the ages recorded on the paintings, and the
hypothesis that, in view of the patronage of Spiegel and
his close relatives, it is likely that these paintings, too,
were made by Bol after their marriage in I649. Armed
with these facts it turns out that there is a perfect fit with
two portraits painted by Bol in i660 of a man and a
woman, both aged 60 according to the inscriptions,
which were once in a private collection in Denmark and
have been in the collection of the Museum Briner und
Kern in Winterthur for some years now (figs. 20, 21).

40 Blankert, op. cit. (note I), p. 23: "The old theory that Bol painted
little or not at all after i669 remains convincing."

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 28 RUDOLF E.O. EKKART

- -~~el

2o Ferdinand Bol, Portrait of Elbert Spiegel, i66o. Winterthur, 2i Ferdinand Bol, Portrait of Elisabeth de VNaming van Oudtshoorn,
Museum Briner und Kern (nr. s I4) i66o. Winterthur, Museum Briner und Kern (nr. s I5)

The paintings belong to the group of very imposing picture surface, though, it is not impossible that the can-
works in Bol's oeuvre, and leave one in no doubt about vas was later trimmed. There may have been more por-
the status of the sitters in the Amsterdam of their day.traits of Elbert Spiegel than the four listed in the inven-
Ferdinand Bol had painted the same man two years tory, and they could have been inherited not by the
earlier in an equally grand portrait which is now in the descendants of his daughter Elisabeth but by those of
Art Museum in Kharkov (fig. 22), in which he is not one of his other daughters.
seated but standing.4' Number T II in the inventory That Bol's work for members of this clan was not re-
lists an individual lifesize portrait of Elbert Spiegel stricted to the paintings in the inventory of I783 is
which may be identical with the one in Kharkov, al- demonstrated by a picture of i656 in the Museum Boij-
though that would invalidate the statement that T I I was mans Van Beuningen in Rotterdam which has the tradi-
4?/2 feet high. Given the placement of the figure in the tional title of "Boy in Polish dress" and is now known to

41 Canvas, io8 X 92 cm, signed and dated at lower right "Bol i658".
It was in the Zubalov Collection in Moscow until I928, when it was
transferred to the Art Museum in Kharkov (inv. nr. 31). It had earlier
been in the sale of the X Collection, Paris (Chevallier/Feral), i6 May
1904, nr. 4 (ill., with an erroneous cross-reference to nr. 7). The paint-
ing escaped Albert Blankert's notice, and is missing from his catalogue
of the artist's oeuvre. It was described and reproduced in the museum's
Russian catalogue of 1959, Art Museum Kharkov, Department of West-
ern European Art: catalogue and guide, Kharkov I959, p. 41 (ill.), and in
Y. Kuznetsov en I. Linnik, Dutch painting in Soviet museums, Amster-
dam & Leningrad i982, nr. 58 (color ill.). See also Sumowski, op. cit.
(note 4), vol. 6, p. 3594, ad I, cat. nr. 174, who points out that there
have been different readings of the date, i654 among them. However,
it is quite clearly i658, which fits in with the only slight difference in
age between this portrait of Elbert Spiegel and that of i66o in Win-
terthur.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 A portrait historie with Venus, Paris and Cupid 29

be the likeness of the eight-year-old Otto van der

Waeyen (I648-86).42 He was a son of the clerk of the Ad-
miralty Dirck van der Waeyen (I 624-70), whose mother
Geertruyd Dircksdr Spiegel (i6oi-6i) was a sister of
Elbert Spiegel.43
Elbert Spiegel's patronage of Bol evidently set an ex-
ample for other Admiralty officials.A4 In i658, Bol
painted the portrait of the chief clerk of the Admiralty,
Quirinus Stercke, and his wife Helena Eeckhout,45 and
in i667 he did the same for the secretary of the Admi-
ralty, David de Wildt, and his wife Elisabeth van der
Voorde.46
These traceable examples of portrait commissions
combined with the works which Bol painted for the
Amsterdam Admiralty itself make it clear that he greatly
strengthened his position on the art market in Amster-
dam with his marriage to Elisabeth Dell in i653, and
that a not inconsiderable number of the paintings he ex-
ecuted between i653 and i669 cannot be regarded in
isolation from his new family ties.

THE DEPICTION OF WIGBOLD SLICHER AND ELISA-

BETH SPIEGEL AS PARIS AND VENUS Now that it

22 Ferdinand Bol, Portrait of Elbert Spiegel, I 658. Kharkov, Museum
has been discovered within -which family circle Bol's
portrait historie was made it is time to return to the ques-
tion of the extent to which the liberal views of the sitters
provide an explanation for the semi-nude depiction of
the woman. That Wigbold Slicher and Elisabeth
Spiegel belonged to the leading regent circles in Am-
sterdam is as clear as crystal from the above discussion,
but that says nothing about the personal opinions of in-
dividual members of the family. However, some infor-

42 Canvas, 158 X I20,5 cm, signed and dated "FBol .i656"; Rotter- 44 It seems that the same had previously happened in Dirck
dam, Museum Boijmans Van Beuningen, inv. nr. 1071. The identifica- Santvoort's case. In i638-39 he executed the portraits of Elbert
tion of the boy as Otto van der Waeyen was first published in Blankert, Spiegel's daughters, and in I 640 he was commissioned to paint the por-
op. cit. (note i), p. I43, on the basis of a statement in the probate inven- traits of the secretary to the Admiralty, David de Wildt, and his wife
tory of his father Dirck van der Waeyen, which was discovered by Elisabeth van der Voorde (panels, oval, 92 x 68 cm, both signed and
S.A.C. Dudok van Heel. The reconstruction of the provenance subse- dated). They were successively in the de Wildt Collection, the Teding
quently supplied the evidence for this hypothesis; see R.E.O. Ekkart, van Berkhout Collection, the Teding van Berkhout sale, Amsterdam
Museum Boymans-van Beuningen: Nederlandse portretten uit de Iy'e eeuw
(Fr. Muller), 9 December I930, nrs. 260A and 260B (ill.), the C.J.K.
/ Dutch portraits from the seventeenth century, Rotterdam 1995, pp. 54-van Aalst Collection, Hoevelaken, sale Laren (Christie's), 30 October
57, nr. 3. On this painting see alsoJ.B. Bedaux and R. Ekkart (eds.), ex- 1978, nr. 442 (ill.), and with Ksth. Frye & Sohn, Munster, i98i. Their
hib. cat. Pride and joy: children's portraits in the Netherlands I500-I700, present whereabouts are unknown.
Ghent & Amsterdam 2000, pp. 237-39, nr. 64. 45 Respectively whereabouts unknown and Herbert F. Johnson
43 The so-called portrait of Geertruyd Spiegel by Pieter Nason, De Museum of Art, Ithaca, NY; see Blankert, op. cit. (note i), p. 148, nrs.
Fremery sale, New York (0. Rundle Gilbert), i6 December I942, nr. I55 and 156, pls. i66 and I67.
45 (ill. above nr. 9), cannot possibly be of her, given the combination of 46 Amsterdam, Amsterdams Historisch Museum; see Blankert, op.
the date i 642 and the statement that she was 56 years old. cit. (note i), pp. I50-5 i, nrs. I 65 and i 66, pls. 176 and 177.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 30 RUDOLF E.O. EKKART

mation on that point comes in a passage from a book painting, was appointed town clerk of Amsterdam in the
which J.E. Elias wrote about the history of his own fam- year in which Hendrick Spiegel, his uncle by marriage,
ily. was one of the burgomasters, and that he probably owed
"The two sisters [Rebecca and Petronella Spiegel, that appointment to Spiegel's influence.
sisters of Elisabeth Spiegel] were born of the marriage of Everything that is known about the relationship be-
Elbert Spiegel, receiver-general of the Admiralty of tween the leader of the city's Calvinists and the painter
Amsterdam since i 641, and Petronella Roeters. Now we Ferdinand Bol, who like Slicher was married to a niece
need only state that these two parents were closely relat- of the burgomaster, also suggests that it was a close one
ed to the celebrated Calvinist zealot of i628..., alderman which resulted in patronage. Although Hendrick
Jan Willemsz Bogaert (who was an uncle of the father Spiegel is not known to have sat to Bol,50 it is likely that
and also a brother-in-law of the mother!).47 The two he had some influence on the award of commissions for
brothers Barend and Joost Elias and the Spiegel sisters his paintings for Amsterdam's new Town Hall, which
thus belonged by birth to the same rather rigid 'church' were delivered in i656 and around i663.
and 'preacherly' coterie among the prominent citizens There is every indication that it would be well wide of
of Amsterdam. Shortly afterwards, the brother of El- the mark to characterize the painting of Venus and Paris
bert, Hendrick Dircksz Spiegel, who was elected burgo- as a portrait historie of people from free-thinking circles.
master in i655, became the leader of this coterie."48 It is possible that Wigbold Slicher and Elisabeth Spiegel
Hendrick Spiegel was indeed a leading light in the were less rigid in their religious beliefs than Hendrick
strict Calvinist faction within Amsterdam's city govern-
Spiegel, but they would definitely not have been that far
ment. After his candidacy for a post as burgomaster was
out of step with other members of the burgomaster's
blocked by more liberal members of the governing body
family. That also suggests that the effect of a group por-
in the autumn of i654, he was elected to the post on 2 trait like Bol's would have been morally acceptable to
February i 655 and proceeded to champion the interests Hendrick Spiegel and would not have aroused his indig-
of the ultra-orthodox Calvinists.49 For the next few nation. As a possible contribution to an explanation of
years he was the leader of the church party at the Town the discrepancy between this painting and the prevail-
Hall, and was elected burgomaster three more times. ing moral tone, it is worth suggesting that this could be a
Between serving as burgomaster he was a member of the portrait of a strictly personal kind. Personal above all as
Admiralty Council, that is to say one of the governors of regards the location of the picture in the couple's home;
the body in which his brother Elbert and other relatives not in any of the rooms used for entertaining but in the
occupied important positions. Now of course members private quarters, where visitors were never received.5'
of a family can always hold divergent views, but there is Personal, too, as regards the genesis of the painting, for
nothing to suggest that the Spiegels or their relatives the commission was not given to a painter chosen at ran-
had major differences of opinion. One important point- dom but to a cousin of the sitters by marriage, so that the
er is that in i655 Wigbold Slicher, the Paris in Bol'sexecution remained en famille. Moreover, there is no

47 Jan Willemsz Bogaert (I577-I638) was a brother of Elbert
Spiegel's mother Lijsbeth Willemsdr Bogaert and the husband ofburgemeester
an el-
der sister of Petronella Roeters.
48 J.E. Elias, Het geslacht Elias: de geschiedenis van een Amster-
damsche regentenfamilie, The Hague 1937, p. 83: "De twee zusters
waren gesproten uit het huwelijk van Mr. Elbert Spiegel, sedert I641
ontvanger-generaal der Admiraliteit te Amsterdam, met Petronella
Roeters. Nu behoeven wij slechts te vermelden, dat deze beide ouders
ten nauwste verwant waren met den befaamden calvinistischen drijver
van I628..., schepen Jan Willemsz. Bogaert (die een oom van de vader
en tevens een zwager van de moeder was!). De twee gebroeders Barend
en Joost Elias en de gezusters Spiegel behoorden dus, van huis uit, tot
dezelfde vrij beperkte 'kerckxe' en 'predicantse' coterie onder de Am-
sterdamse notabelen. Als leider van deze coterie trad kort daarna de
broeder van Mr. Elbert op: Hendrick Dircksz. Spiegel, die in i655 tot
werd verkozen."
49 J.E. Elias, De vroedschap van Amsterdam, I578-I795, 2 vols.,
Haarlem 1903-05, vol. I, pp. CxI-CxII.
50 There are two known portraits of Hendrick Spiegel, one as an of-
ficer of the Crossbowmen's Civic Guard in the group portrait by
Bartholomeus van der Helst completed in i656 (Amsterdam, Amster-
dams Historisch Museum, inv. nr. A 7330), the other in a painting of
i663 by Machiel Limborch, which was reproduced in a print by J.
Munnickhuysen.
5I Cf. J. Loughman and J.M. Montias, Public and private spaces:
works of art in seventeenth-century Dutch houses, Zwolle 2000, esp. pp.
40-50.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 A portrait histori6 with Venus, Paris and Cupid 3 1

23 Ferdinand Bol, Bacchus andAri'adne, i664. St Petersburg, Hermitage

reason at all to believe that Elisabeth Spiegel actually and Ariadne of i664 now in the Hermitage in St Peters-
posed half-naked. All that is known about the purpose burg (fig. 23).52 Unfortunately there are as yet no clear
of posing for a painter in the seventeenth century is thatclues as to the identity of this particular couple,53 but in
it was to enable him to capture his sitter's facial likeness. the light of the above it seems very possible that they
The closest parallel in seventeenth-century Dutch should be sought in the artist's family circle.
portraiture to the depiction of Elisabeth Spiegel as
Venus is the portrait of another semi-nude young NETHERLANDS INSTITUTE FOR ART HISTORY (RKD)

woman as Ariadne in another painting by Ferdinand THE HAGUE

Bol, namely the double portrait of a couple as Bacchus

52 Blankert, op. cit. (note I), pp. 98-99, nr. 20 and

53 pI. 57. See
Blankert, also
op. cit. (notede
i), p. 98, points out that the subject indi-
Jongh, op. cit. (note 4), p. 324, note 2, who like Blankert states that this cates that the man may have been a vintner. His reference to one of the
is "definitely a portrait" ("zeker een portret"), and also believes that figures in Bol's The governors of the Wine-Merchants' Guild (Munich,
Bol's Venus and Cupid in Berlin is probably one as well; see Blankert, Alte Pinakothek) must be treated with some caution, since there is only
op. cit. (note I), p. 102, nr. 32 and pI. 42. I find the suggestion that the a vague physical resemblance between the two.
latter is a portrait less persuasive.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 32 RUDOLF E.O. EKKART

Appendix I i8 and T 5) in Amsterdam, 6 June i65I (betrothed I7 May

The following short-form titles are used.
Blankert I982
A. Blankert, Ferdinand Bol (i6i6-i68o): Rembrandt's pupil,
Doornspijk I982
Ekkart I990
R.E.O. Ekkart, "Vijf kinderportretten door Dirck Sant-
voort," Oud Holland I04 (1990), pp. 249-55
Hofstede de Groot I9I6
C. Hofstede de Groot, Beschreibendes und kritisches Ver-
zeichnis der Werke der hervorragendsten holldndischen Maler
I 65 '). See also T 5, the portrait of him and his wife as Paris and
Venus.
Canvas, 107.9 X 90.2 cm, signed: "MAES".
A pastel copy of 178i by Raimond Slicher has survived (fig. 2).
Literature: Moes 1905, nr. 7270:2; Hofstede de Groot igi6, p.
549, nr. 264.
Provenance: sale New York (Christie's), I4 January 1993, nr.
44 (ill.).
Present whereabouts unknown.
S2

des XVII. Jahrhunderts, vol. 6, Esslingen & Paris I 915
Mellaart I923
J.H.J.Mellaart, "Self-portraits by Bol," The Burlington
Magazine 43 (I923), pp. T53-58
Moes 1905
E.W. Moes, Iconographia Batava, vol. 2, Amsterdam 1905
Sumowski I983
W. Sumowski, Gemalde der Rembrandtschkiler, vol. i, Lan-
dau/Pfaltz I983
The Slicher inventory, 1783
Canvas, approx. io8 X 90 cm.
Familieportretten berustende bij Mr Wigbold Slicher, president
van den hove van HollandAnno 1783 Literature: Moes 1905, nr. 7446:I; Hofstede de Groot I9I6, p.
(Family portraits in the possession of Wigbold Slicher, Presi-
dent of the Court of Holland, Anno 1783)
Elisabeth Spiegel, huisvrouw van voorn. Wigbold Slicker en
dochter van Elbert Spiegel mede van dezel/de grootte en tyd
(Elisabeth Spiegel, wife of the aforementioned Wigbold Slich-
er and daughter of Elbert Spiegel, of the same size and date)
Portrait of Elisabeth Spiegel (i628-I707) by Nicolaes Maes
(i634-93), companion piece to s i.
Elisabeth Spiegel, b. Amsterdam, 26 April i628, baptized
(Nieuwe Kerk) 30 April I628, d. Amsterdam, 7 April 1707,
daughter of Elbert Dircksz Spiegel (see s I2, S 14, T i i and T
12) and Petronella Roeters (see s 13 and T 13). Married Wig-
bold Slicher (see s I and T 5) in Amsterdam, 6 June i65I. See
also s i 8, and T 5, the portrait of her and her husband as Venus
and Paris.
549, nr. 265.
The painting has not been traced, but a pastel copy of 178I by
Raimond Slicher has survived.

S I

Wigbold Slicher, Janszoon en van Elizabeth de Vtaming

s3 van
Outshoorn, ontvangergeneraal van de admiraliteit te Amsterdam,
Elisabeth de Vlaming van Oudshoorn Pietersdr., huysvrouw van
levensgrootte tot de kniin op doek geschildert door Maas
Jan Slicker Antonyszn en moeder van voorn. Wigbold Slicher op
(Wigbold Slicher, son of Jan and of Elisabeth de Vlaming van geschildert Anno I 625 aetatis 35 omtrent vier voet hoog in
paneel
Outshoorn, Receiver-General of the Admiralty in Amster- een zwarte lyst met gouden randen
dam, lifesize to the knees, painted by Maes) (Elisabeth de Vlaming van Oudshoorn, daughter of Pieter,
wife of Jan Antonyszn Slicher and mother of the aforemen-
Portrait of Wigbold Slicher (i627-17i8) by Nicolaes Maes tioned Wigbold Slicher, painted on panel in I625 when she
(I634-93), companion piece to S 2 (fig. 4). was 35 years old; some four feet high in a black frame with gold
Wigbold Jansz Slicher, Lord of the Manor of Westerbeek, b. borders)
Amsterdam, 27 June i627, baptized (Oude Kerk) I July i627,
d. Amsterdam, 5 June 17I8, son ofJan Slicher Anthonisz (seePortrait of Elisabeth de Vlaming van Oudtshoorn (I600-69)
T 20) and Elisabeth de Vlaming van Oudtshoorn (see S 3, s 15
by an unknown artist, I625.
and T 2i). Lawyer in Amsterdam i650, Commissioner of Elisabeth de Vlaming van Oudtshoorn, b. Amsterdam, 28
Bankruptcy I653, Commissioner of Petty Affairs I654, Town April i 6oo, d. Amsterdam, 29 August i669, daughter of Pieter
Clerk I655-69, Receiver-General of the Amsterdam Admiral- Dircksz de Vlaming and Aefge de Wael. Married Jan Slicher
ty I669-I713. Lived "aan 't Princenhof." He left an estate (see T 20) in Amsterdam, 3 June I625; married Elbert Spiegel
worth 600,42I guilders. Married Elisabeth Spiegel (see s 2,(see
S s I2, S 14, T I I and T I2) in Amsterdam, 27 April I649. See

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 A portrait historie with Venus, Paris and Cupid 33

also her portraits s 15 and T 2I. The painting has not been traced.
Panel, approx. II 3 cm high.
Literature: Moes I905, nr. 8598:I.
The painting has not been traced. s6
Jan Slicher, raad, schepen en burgemeester te Delft
(Jan Slicher, councillor, alderman and burgomaster of Delft)
s4-S I0

Zeven portretten in egaal gebeeldhouwde lysten klein Portrait

formaat of Jan
op Slicher (i658-1738) by an unknown artist.
Jan Slicher,
doek geschildert zijnde zeven zoons van Wigbold Slicher en vanb. Amsterdam, 12 October i658, d. Delft, i i July
Elisabeth Spiegel voornoemd als volgt 1738, son of Wigbold Slicher (see s i and T 5) and Elisabeth
(Seven portraits in similar carved frames, small, painted on Spiegel (see s 2, s i8 and T 5). Lawyer in Amsterdam i68o,
canvas, being the seven sons of Wigbold Slicher and Elisabeth Commissioner of Matrimonial Affairs in Delft I685-90, coun-
Spiegel aforementioned, to wit) cillor i689, alderman 1703, burgomaster I7I5, I7i6, director
of the East India Company I721, counsel to the Zeeland Ad-
S4 miralty 1723-25. Married Agatha van Bleyswijck (i657-86) in
Elbert Slicher, geb. 25februari 1625 [lees: i652] commies ter ad-
Schipluiden, ii May i682.
miraliteit te Amsterdam Literature: Moes I905, nr. 7265.
(Elbert Slicher, born 25 February i625 [for which read i652],
The painting has not been traced.
clerk at the Admiralty in Amsterdam)

Portrait of Elbert Slicher (i652-I717) by an unknown artist. s7

Elbert Slicher, baptized in Amsterdam (Oude Kerk), 25 Feb-
ruary i652, d. Amsterdam, 23 December 17I7, son of Wig-
bold Slicher (see s I and T 5) and Elisabeth Spiegel (see s 2, S
I8 and T 5). Lawyer in Amsterdam I675, Clerk of the Convoys
and Licences of the Amsterdam Admiralty, ensign in the civic
guard i676, lieutenant i684, Governor of the Gasthuis (Hos-
pital) i69i. Married Catharina de Hochepied (see T 23) in
Amsterdam, 27 October I676. See also his portrait T 22.
Literature: Moes 1905, nr. 7259:3.
The painting has not been traced.
S5
Antonis Slicher, raadsordinaris in 't hof van Holland
(Antonis Slicher, Judge Ordinary at the Court of Holland)
Portrait of Antonis Slicher (I655-1745) by an unknown artist.
Antonis Slicher, Lord of the Manor of Westerbeek, b. Am-
sterdam, I November i655, d. The Hague, 9 November 1745,
son of Wigbold Slicher (see s I and T 5) and Elisabeth Spiegel
s8 of
(see S 2, S I8 and T 5). Lawyer in Amsterdam I675, Advocate
the Amsterdam Admiralty I68o, ensign in the civic guard
dam
I684, advocate in Gouda i685, judge at the Court of Holland
I686-I745. Married Elisabeth van der Dussen (I669-99) in
dam)
Gouda, 13 February i685, remarried Aletta Susanna Cathari-
na Wierts (d. 17I9), widow ofJan Andreas van der Muelen, in
The Hague, 6 January I704.
Literature: Moes I905, nr. 7256 (confused with his portrait
painted in 174I by Mattheus Verheyden, mentioned in J. van I729, son of Wigbold Slicher (see s I and T 5) and Elisabeth
Gool, De nieuwe schouburg der Nederlantsche kunstschilders Spiegel
en
schilderessen, 2 vols., The Hague I750-5 I, vol. 2, p. 295). ceiver-General of the Amsterdam Admiralty in succession to
Wigbold Slicher, schepen en raad daarna hoofdschout der stad
Amsterdam
(Wigbold Slicher, alderman and councillor, and subsequently
High Sheriff of Amsterdam)
Portrait of Wigbold Slicher (I659-I730) by an unknown artist.
Wigbold Slicher, b. Amsterdam, I7 October I659, d. Amster-
dam, I9 February 1730, son of Wigbold Slicher (see s I and T
5) and Elisabeth Spiegel (see s 2, s i 8 and T 5). Lawyer in Am-
sterdam i 68o, lieutenant in the civic guard I 69 I, captain I 709,
governor of the Aalmoezeniersweeshuis (Almoners' Orphan-
age) I697, Amsterdam city councillor 1705-30, alderman
1707, director of Society of Surinam I708, High Sheriff of
Amsterdam I7 19-26. Married Glaudina Poelaert (I66I-89) in
Leiden, io November 1682; married Wendela van Loon
(i663-I732) in Amsterdam, 2January I69I.
Literature: Moes 1905, nr. 727I.
The painting has not been traced.
Dirck Slicher, ontvanger generaal van de admiraliteit te Amster-
(Dirck Slicher, Receiver-General of the Admiralty in Amster-
Portrait of Dirck Slicher (I665-1729) by an unknown artist.
Dirck Slicher, b. Amsterdam, i5 August i665, d. 25 October
(see S 2, S I 8 and T 5). Lawyer in Amsterdam I 687, Re-

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 34 RUDOLF E.O. EKKART

his father I7 13-29. Unmarried. dam I 662, Commissioner of Maritime Affairs i 666, lieutenant
The painting has not been traced. in the civic guard I 672. Unmarried.
Canvas, i09 x 89 cm, signed at lower left on the balustrade:
"Bol / i669".
S9 Provenance: probably acquired by William, 22nd Laird of
Pieter Slicher, vendumeester van de admiraliteit te Amsterdam Brodie (I799-I873); by descent in the family; the collection
(Pieter Slicher, Vendue-Master of the Admiralty in Amster- has been administered by the National Trust for Scotland
dam) since i980.
Forres, Morayshire (Scotland), Brodie Castle.
Portrait of Pieter Slicher (i667-1702) by an unknown artist. Literature: Moes 1905, nr. 7265; Blankert 1982, p. 136, nr.
Pieter Slicher, b. Amsterdam, I2 August i667, d. Amsterdam, ii6, plate i25; J. Lloyd Williams, exhib. cat. Dutch art and
4 October 1702, son of Wigbold Slicher (see s I and T 5) and Scotland: a reflection of taste, Edinburgh (National Gallery of
Scotland) 1992, p. I59.
Elisabeth Spiegel (see S 2, S i 8 and T 5). Lawyer in Amsterdam
i688, Vendue-Master of the Amsterdam Admiralty. Married The painting is regarded at Brodie Castle as being the portrait
Brigitta Catharina Backer (i670-I751) in Amsterdam, 23 of "Dr. Talpen," which is probably a reference to Dr Nicolaes
March i694. Tulp.
Literature: Moes I905, nr. 7269. A pastel copy of 178i by Raimond Slicher has survived (fig.
The painting has not been traced. i8).

S I0 S 12

Ernst Slicher, luitenant ter zee Elbert Spiegel, ontvanger generaal van de admiraliteit Amster-
(Ernst Slicher, naval lieutenant) dam, schoonvader van Wigbold Slicher voorn[oem]d op doek
geschilderd levensgrootte in een zwarte lijist
Portrait of Ernst Slicher (i669-89) by an unknown artist. (Elbert Spiegel, Receiver-General of the Admiralty in Am-
Ernst Slicher, b. Amsterdam, 26 May i669, d. on the ship sterdam, father-in-law of the aforementioned Wigbold Slich-
Callantsoog, 25 June i689, son of Wigbold Slicher (see s I and er, painted lifesize on canvas in a black frame)
T 5) and Elisabeth Spiegel (see S 2, S i8 and T 5). Naval Lieu- Portrait of Elbert Spiegel (I600-74) by an unknown artist,
tenant. Unmarried. companion piece to s I 3.
Literature: Moes 1905, nr. 7262. Elbert Dircksz Spiegel, b. Amsterdam, 3 January i6oo, d.
The painting has not been traced. Amsterdam, 22 February i674, son of Dirck Arentsz, called
Spiegel, and Lijsbeth Willemsdr Bogaert. Second Secretary of
the Amsterdam Admiralty I630, Receiver-General of the Am-
S II sterdam Admiralty I641. Married Petronella Roeters (see s I3
Een portret levensgrootte op doek geschildert in een vergulde
and list
T 13) in Amsterdam, I2 January I625; married Elisabeth
waarop 't wapen van Slicher zijinde Jan Slicher zoon van Jan
de Vlaming vanen
Oudtshoorn (see s 3, S I5 and T 2I) in Amster-
van Elisabeth de Vlaming van Outshoorn en broederdam,
van27
Wigbold
April I647. See also his portraits s 14, T I I and T 12.
Slicher, geb. 1628 na zijns vaders dood. Hi was commissaris der
Literature: Moes 1905, nr. 7445:3.
stad Amsterdam The painting has not been traced.
(A lifesize portrait painted on canvas, in a gilt frame bearing
the Slicher coat of arms, ofJan Slicher, son ofJan and of Elisa-
beth de Vlaming van Outshoorn, and brother of Wigbold S I3

Slicher, born in I628 after his father's death. He was a com- Petronella Roeters, huisvrouw van voorn. Elbert Spiegel van 't
missioner of the city of Amsterdam) zelfdieformaat
(Petronella Roeters, wife of the aforementioned Elbert
Portrait of Jan Slicher (I628-73) by Ferdinand Bol (i6i6-8o), Spiegel, the same size)
I669 (fig. I9).
Jan Slicher, baptized in Amsterdam (Oude Kerk), I I January Portrait of Petronella Roeters (1599-I647) by an unknown
i629, buried in Amsterdam (Oude Kerk), 27 January I673, artist, companion piece to s 12.
son of Jan Slicher Anthonisz (see T 20) and Elisabeth de Vla- Petronella Roeters, probably baptized in Amsterdam, 28 Oc-
ming van Oudtshoorn (see s 3, S I5 and T 2I). Governor of the
tober 1599, d. Amsterdam, I January I647, daughter of
Aalmoezeniersweeshuis (Almoners' Orphanage) in Amster- Roetert Ernst (see T 14) and Rebecca Pietersdr Goverts (see T

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 A portrait historie with Venus, Paris and Cupid 35

i5). Married Elbert Spiegel (see

Museum s I2,
Briner und S 14,
Kern, TWinterthur
Rathaus, ii and T 12) in
Amsterdam, I 2 January I 625. See also her portrait T 1 3.
The painting has not been traced.
s i6
Petronella Elias
S 14
Portrait of Petronella Elias (i648-67) by Ferdinand Bol, i657
Nog eens Elbert Spiegel van gelijke grootte zittende op een stoel, op
doek geschilderd in zwarte lijst (fig. 17).
(Another of Elbert Spiegel of the same size, seated in a chair, Petronella Elias, b. Amsterdam, 17 August i648, d. Amster-
painted on canvas in a black frame) dam, 5 January i667, daughter of Joost Pietersz Elias and Re-
becca Spiegel (see s 17). On 8 May i666 she married Gerard
Portrait of Elbert Spiegel (I600-74) by Ferdinand Bol (i6i6- Elbertsz Dell (i644-88), a cousin of her mother and brother-
8o), i66o, companion piece to s I5 (fig. 20). in-law of the painter Ferdinand Bol.
See s I2, T ii and T I2 for the sitter. Canvas, 8o x 66 cm, signed at lower right: "fBol / i657".
Canvas, I 10 X 92 cm, signed at upper right: "f Bol f / AO Literature: Blankert 1982, pp. 143-44, nr. 142 (with references
i66o.out.6o jaer". to the earlier literature), pl. I53; Sumowski I983, vol. I, p.
Literature: Moes 1905, nr. 7445:4; Blankert I982, p. 149, nr. 3I3, nr. 172 (with earlier literature), pl. 172.
I59 (with references to the earlier literature), pl. I70; P. Weg- Provenance: R. Ludgate Collection, London, i834/35; Bun-
mann, "Ein Herz fur alte Meister. Jacob Briner und sein bury Collection, Barton Hall, Suffolk; with Scott & Fowles,
Traum vom Reich der Kiinste," in R. Buhlmann (ed.), Die New York; Miss Mary Hanna Collection, Cincinnati; with M.
Kunst zu sammeln: Schweizer Kunstsammlungen seit I848. L'art Knoedler, New York; Mrs Joseph Heine sale (formerly Mrs
de collectionner: collections d'art en Suisse depuis I848. L'arte di I.D. Levy), New York (Parke Bernet), 24 November 1944, nr.
collezionare: collezioni svizzere d'arte dal I848, Zurich I998, p. 26I (ill.); Sidney I. Camon Collection, New York; with M.
122, andfig.onp. ii8. Knoedler, New York; George T. Delacorte Collection, New
York, donated to the museum, 1957.
Provenance (with the pendant s I5): AJ. Rawert sale, Copen-
hagen, 2 April I852, nrs. 5 and 6; Count Moltke Collection,
A pastel copy of 178I by Raimond Slicher has survived (fig.
Copenhagen; F.C. Moltke sale, Copenhagen (Winkel and i6).
Magnussen), I June I93I, nrs. 8 and 9 (ill.); Holger Drucker New York, Metropolitan Museum of Art, inv. nr. 57.68.
Collection (before 1946); Holger Drucker sale, Copenhagen
(Rasmussen), 25 April I96I, nrs. 3 and 4 (ill.); sale Copen-
hagen (Rasmussen), I6-I8 November 1993, nr. i6 (ill.); New- S 17-2I

house Gallery, New York; donated to the museum by the So- Vijf schilderijen op paneel, zijnde de vzjf dochters van Elbert
phie und Karl Bindung Stiftung, I996. Spiegel voorn[oem]d verbeeldende de vijfzinnen
Museum Briner und Kern, Rathaus, Winterthur (Five paintings on panel, being the five daughters of the afore-
mentioned Elbert Spiegel representing the Five Senses)

S I5 S 17

Elisabeth de Vlaming van Outshoorn wed[uw]e van Jan Slicher

Portrait of Rebecca Spiegel (I625-5i) by Dirck Santvoort
en tweede huisvrouw van Elbert Spiegel, ook zittende (i6io-8o),
op een stoel
ca. I638/39 (fig. 7).
op doek geschilderd Rebecca (Reymerichie) Spiegel, baptized in Amsterdam
(Elisabeth de Vlaming van Outshoorn, widow of Jan Slicher (Nieuwe Kerk), I9 October I625, d. Amsterdam, I4 October
and second wife of Elbert Spiegel, also seated in a chair, paint- I65I, daughter of Elbert Dircksz Spiegel (see s I2, S I4, T II
ed on canvas) and T 12) and Petronella Roeters (see s 13 and T 13). Married
Joost Pietersz Elias (I622-94) in Amsterdam, 5 June I646. His
Portrait of Elisabeth de Vlaming van Oudtshoorn (I600-69) second wife was Susanna Metsue.
by Ferdinand Bol, i66o, companion piece to s 14 (fig. 21). Panel, 6i x 49 cm, unsigned.
See s 3 for the sitter. Literature: Ekkart I990, pp. 170-76.
Canvas, Iio x 92 cm, signed at upper left: "F Bol / A' Provenance: Edward Georg Coles Collection, Headly, Epsom;
i66o.out.6o jaer". E.G. Coles sale, London (Christie's), I9 November 1926, nr.
Literature: Moes 1905, nr. 8598:2; Blankert I982, p. 149, nr. 30; Captain E.G. Spencer-Churchill Collection, Northwick
I 60, pl. 171. Park; Churchill sale, London (Christie's), 29 October I965,
Provenance: see s 14. nr. 43; with Arthur Tooth & Sons, London, 1975; sale Lon-

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 36 RUDOLF E.O. EKKART

don (Phillips), 23 February 1976, nr. P 30 (ill.); with Ronald Present whereabouts unknown.
Cook, London, I978.
Present whereabouts unknown.
S 21

Portrait of Geertruyt Spiegel (I635-62) by Dirck Santvoort

s i8
Portrait of Elisabeth Spiegel (I628-1707) by Dirck Santvoort
(i6io-8o), ca. I638/39 (fig. 8).
See s 2 for the sitter.
Panel, 62.9 x 49.8 cm, unsigned.
Literature: Ekkart I990, pp. 170-76.
Provenance: J.L. Muyser Collection, The Hague; Nahuys-
Hodgson and others sale, Amsterdam (Fr. Muller), 14-I5 No-
vember I883, nr. 142; J.L. Muyser Collection, The Hague;
with William Macbeth, New York, ca. I895; Macbeth sale,
(i6io-8o), I639 (fig. I I).
Geertruyt Spiegel, b. Amsterdam, 20 November I635, bap-
tized (Oude Kerk), 25 November 1635, d. Amsterdam, i8
June I 662, daughter of Elbert Dircksz Spiegel (see s I2, S 14, T
I I and T I2) and Petronella Roeters (see s I3 and T I3). Mar-
ried Jan Baptista Hochepied (I634-68) in Amsterdam, 2I De-
cember i665. His second wife was Constantia Boudaen
Courten.
Panel, 62.7 X 50 cm. Signed at upper right: "D.D. Santvoort /
1639".

New York (Anderson Galleries), 3-5 April I9I6, nr. 152 (ill.);
with M. Knoedler, New York; sale New York (Sotheby Parke
Bernet), 3 November 1972, nr. 38; Mr and Mrs Noah L.
Butkin Collection, Cleveland; donated by them to the muse-
um, 1975.
Cleveland, The Cleveland Museum of Art, inv. nr. 75.8I.
Literature: Ekkart I990, pp. I70-76.
Provenance: donated to the museum by Tilson Lee in I9I6,
when apparently the painting had already been in the donor's
family for some 70 years.
London, National Gallery, inv. nr. 3154.

S '9
Portrait of Petronella Spiegel (I630-56) by Dirck Santvoort Appendix II
(i6io-8o), ca. I638/39 (fig. Io).
Petronella Spiegel, b. Amsterdam, 27 March I630, baptized
(Nieuwe Kerk), 3I March I630, d. Amsterdam, I3 October The Testart inventory, 1783
I656, daughter of Elbert Dircksz Spiegel (see s 12, S I4, T I I
and T 12) and Petronella Roeters (see s 13 and T 13). Married
Barend Pietersz Elias (I621-95) in Amsterdam, 22 February Familieportretten derfamilie Slicher, en anderen daaraan gepa-
i650. His second wife was Maria Dircksdr Cloppenburgh.
renteerd (Onder den Hr. Secretaris Testart te Haarlem AO 1783)
Panel, 63 x 50 cm, unsigned. (Family portraits of the Slicher family and others related to it
Literature: Ekkart I990, pp. 170-76. in the possession of Mr Secretary Testart in Haarlem Anno
Provenance: probably CJ. Terbrugge and others sale, Am- 1783)
sterdam (Fr. Muller), 12 June I899, nr. 114I (to Pappelen-
dam); returned to France after the Second World War.
Rodez, Musee des Beaux-Arts. T 1-4

4 zeer oude portretten in egale lijsten welke eenigsints gebeeld

S 20
Portrait of Margriet Spiegel (I631-70) by Dirck Santvoort
(i6io-8o), I639 (fig. 9).
Margriet Spiegel, baptized in Amsterdam (Oude Kerk), 25
December I63I, buried in Amsterdam, 23 April I670, daugh-
houwd zijn, op paneel geschildert en omtrent 3 voet hoog zijn
dezelve als volgt
(Four very old portraits in similar, lightly carved frames,
painted on panel and some three feet high, as follows)
T I

ter of Elbert Dircksz Spiegel (see s 12, S I4, T I I and T I2) and Antony Slicher - de eerste vermeld in de genealogie, staande op 't
Petronella Roeters (see s 13 and T I3). Married Paulus vanzelve 'tjaartal I603, aetatis 45
Liebergen (d. I 68o) in Amsterdam (betrothed I 7 May I (Anthony
65 I). Slicher, the first mentioned in the genealogy, with
Panel 64 x 49 cm. Signed at upper left: "D.D. Santvoort / the date i603, aged 45)
I639".
Literature: Ekkart I990, pp. 170-76.
Provenance: with Victor D. Spark, New York, 1975.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 Aportrait historie with Venus, Paris and Cupid 37

Portrait of Anthony Slicher (1558-i623) by an unknown T4

artist, companion piece to T 2.
Anthony Slicher (Schleicher), b. Aachen, I I July 1558, buried
in Amsterdam (Zuiderkerk), I7 September i623, son of
Godert Schleicher and Gertrud von der Chamen. As a Protes-
tant he left his birthplace Aachen in the autumn of i598 and
settled in Amsterdam, where he owned several copper-mills.
He married Anna van Wessem in Aachen before I585, and on
inscribed
28 December I 599 married Johanna de Wolf in Haarlem (see T
2).
Literature: Moes 1905, nr. 7255.
The painting has not been traced, but a pastel copy, probably
executed in I784 by Raimond Slicher, has survived (fig. 5).
T 2
Wolf (see T 3) ca. I 590 (?).
Johanna de Wolf; huisvrouw van voorn[oemde] Antony Slicher,
The painting has not been traced (see also note I 9).
dochter van Johan de Wolf en van Jacomina de Pitte, waarop
staat I6I2 aetatis 36
Uohanna de Wolf, wife of the aforementioned Anthony Slich-
er and daughter of Johan de Wolf and Jacomina de Pitte, in-
Maria Dominicle of Dominicus, tweede vrouw van Johan de Wolf
voorn[oemd] en stiefmoeder van Johanna de Wolf; staande op 't
zelve I603, aetatis 6o
N. B. Zie de dispositien van Johanna Slicher van 24 juli I673,
vermeld in de genealogie... omtrent deze vierportretten
(Maria Dominicle or Dominicus, second wife of the afore-
mentioned Johan de Wolf and stepmother ofJohanna de Wolf,
"I603, aetatis 6o".
N.B. See the dispositions made by Johanna Slicher on 24 July,
mentioned in the genealogy,... concerning these four por-
traits)
Portrait of Maria Dominicle by an unknown artist, companion
piece to T 3.
Maria Dominicle (Dominicus), b. ca. I 543. Married Johan de
T 5

scribed "i6I2 aetatis 36")
Portrait of Johanna de Wolf (1576-i650) by an unknown
artist, companion piece to T I.
Johanna de Wolf, b. Rousselaere (West Flanders), I576, d.
Haarlem, 30 November i 65o, daughter of Johan de Wolf (A large,
(see historiated family piece painted on canvas, lifesize, in
classical garb, depicting Wigbold Slicher Jansz, Receiver-
T 3) and Jacomina de Pitte. Married Joost du Bois, and married
her second husband, Anthony Slicher, in Haarlem, 28 De-
cember I 599 (see T I).
Literature: Moes I905, nr. 9235.
The painting has not been traced, but a pastel copy of 1784 by
Raimond Slicher has survived (fig. 6).
T 3
Johan de Wolf vader van voorn[oemde] Johanna de Wolf
staande op 't zelve I 603, aetatis 59
Johan de Wolf, father of the aforementioned Johanna de Wolf,
inscribed "i603, aetatis 59")
Portrait of Johan de Wolf (d. i6o6?) by an unknown artist,
companion piece to T 4.
Johan de Wolf, from Rousselaere (West Flanders), b. ca. 1553,
d. Haarlem i6o6 (?). Married Jacobina de Pitte, and after her
death Maria Dominicle (Dominicus; see T 4).
Literature: Moes I905, nr. 9234.
The painting has not been traced (see also note I9).
Een groot historieelfamiliestuk op doek geschildert, levensgrootte,
in antieke kleeding verbeeldende Wigbold Slicher Jansz., ont-
vanger generaal van de admiraliteit, benevens zijin vrouw Elisa-
beth Spiegel Elbertsdr. en oudste zoontje Elbert Slicher, zijnde de
laatstgemelden beiden naaktgeschildert
General of the Admiralty, with his wife Elisabeth Spiegel El-
bertsdr and eldest son Elbert Slicher, the latter two painted
nude)
Portrait of Wigbold Slicher, Elisabeth Spiegel and a child as
Paris, Venus and Cupid by Ferdinand Bol, i656 (fig. i).
See s I and s 2 for the sitters.
Canvas, i i6 X I57 cm, signed at lower left: "F.Bol, i65 6".
Provenance: Th. Glen-Coats and others sale, London
(Christie's), 2 July 1920, nr. 59; with Leggatt, London; J.G.
Willink Collection, Winterswijk; with D. Katz, Dieren, 1934
(exhib. cat. Eindhoven 1936-37, nr. 3; exhib. cat. Amsterdam
1938, nr. 5); sold through H. Posse to A. Hitler in September
I940 for the Museum Linz; Stichting Nederlands Kunstbezit,
inv. nr. 85I; Dienst Verspreide Rijkscollecties / Rijksdienst
Beeldende Kunst / Instituut Collectie Nederland (ICN), The
Hague / Rijswijk and Amsterdam (inv. nr. NK I701; cat. 1992,
nr. 239), on loan to the Dordrechts Museum since I968.
Dordrecht, Dordrechts Museum (on loan from the ICN).
Literature: Moes 1905, nrs. 7259, 7270 and 7446:2; Mellaart
1923; Blankert I982, p. 103, nr. 34, pl. 30; Sumowski I983,
vol. I, p. 309, nr. 154, the latter two publications with refer-
ences to the earlier literature.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 38 RUDOLF E.O. EKKART

T O-T 10 T8
Vijf kleine portretjes omtrent I en I/2 voet hoog op of
Portrait doek
Elbert Slicher (I686-I714) with a dove by Jacob de
Wet the
geschildert in gebeeldhouwde lijsten waarop het wapen Younger.
van Slich-
er; zijin de 3 zoons en 2 dochter nogijong sijnde, van Elbert
ElbertSlicher,
Spiegelb. Amsterdam, I4 March I686, d. Surinam, Io
September I714, son of Elbert Slicher (see s 4 and T 22) and
[lees: Slicher] en van Catharina de Hochepied, als Wigbold,
Geertruid, Elbert, Jan Baptista en Catharina Slicher omtrent 't Catharina de Hochepied (see T 23). Married Sara Althusius,
jaar I694 geschildert 30 October I712.
(Five small portraits some I P/2 feet high, painted on canvas in Canvas, 44 X 32 cm.
carved frames bearing the Slicher coat of arms, being the three Literature: Moes I905, nr. 7260:I; Hofstede de Groot I9I6, p.
sons and two daughters, still at an early age, of Elbert Spiegel 56I, nr. 327 (as Nicolaes Maes).
[for which read Slicher] and Catharina de Hochepied, namely Provenance: Jhr. H. Teding van Berkhout Collection, Haar-
Wigbold, Geertruid, Elbert, Jan Baptiste and Catharina Slich-
lem, on loan to the Museum der Stad Haarlem (cat. I878, nr.
er) 88; cat. 1902, nr. 149, as Nicolaes Maes); (Teding van Berk-
hout and others) sale, Amsterdam (Fr. Muller), 27-29 June
T6 1905, nr. 124 (with T 7, T 9 and T Io, as Jacob de Wet the
Portrait of Wigbold Slicher (I680-1740) by Nicolaes Maes Younger).
(I634-93). Present whereabouts unknown.
Wigbold Slicher, b. Amsterdam, 22 March i68o, d. Amster-
dam, 23 May I740, son of Elbert Slicher (see s 4 and T 22) and
Catharina de Hochepied (see T 23). Lawyer in Amsterdam T9

I706, Receiver of the Levant Trade, governor of the Amster-
dam Burgerweeshuis (Civic Orphanage) I720-40. Unmarried
Canvas, 45 x 32.5 cm. Signed: "M/ES. f".
Literature: Hofstede de Groot I9I6, p. 56i, nr. 325.
Provenance: Jhr. H. Teding van Berkhout Collection, Haar-
lem, on loan to the Museum der Stad Haarlem (cat. I878, nr.
86; cat. I902, nr. 147); (Teding van Berkhout and others) sale,
Amsterdam (Fr. Muller), 27-29June I905, nr. 66.
Present whereabouts unknown.
T7
Portrait of Geertruyd Slicher ( I684-1742) byJacob de Wet the
Younger (ca. I642-97) (fig. I5).
Geertruyd Slicher, b. Amsterdam, 20 March I684, d. Amster-
dam, 3 May 17I7, daughter of Elbert Slicher (see s 4 and T 22)
and Catharina-de Hochepied (see T 23). Married Pierre Tes-
tart (I663-I743) in Amsterdam, 29 December 1709. See also
her portrait T 24.
Canvas, 44 X 32 cm.
Literature: Moes I905, nr. 7263:I; Hofstede de Groot I9I6, p.
582, nr. 45I (as Nicolaes Maes).
Provenance: Jhr. H. Teding van Berkhout Collection, Haar-
Portrait of Jan Baptiste Slicher (I689-I766) with a small dog
by Jacob de Wet the Younger (fig. 14).
Jan Baptiste Slicher, b. Amsterdam, 17 February I689, d. Am-
sterdam, 2I January 1766, son of Elbert Slicher (see S 4 and T
22) and Catharina de Hochepied (see T23). Lawyer in Amster-
dam 17II, alderman of Amsterdam 1729, 1731, I748, 1749,
1754, councillor I748, burgomaster 1757, I760, I763. Unmar-
ried.
Canvas, 44 X 32 cm.
Literature: Moes I905, nr. 7267:I; Hofstede de Groot I9I6, p.
56I, nr. 326 (as Nicolaes Maes).
Provenance: Jhr. H. Teding van Berkhout Collection, Haar-
lem, on loan to the Museum der Stad Haarlem (cat. I878, nr.
87; cat. I902, nr. 148, as Nicolaes Maes); (Teding van Berk-
hout and others) sale, Amsterdam (Fr. Muller), 27-29 June
1905, nr. 124 (with T 7, T 8 and T io, as Jacob de Wet the
Younger); sale Amsterdam (Frederik Muller), I5-22 Decem-
ber I942, nr. 56 (with T 7); Kunsthandel Goudstikker/Miedl,
Amsterdam, 1942; with H. Herbst, Vienna, 1943.
Present whereabouts unknown.
TI0

lem, on loan to the Museum der Stad Haarlem (cat. I878, nr.
89; cat. I894, nr. I5o, as Nicolaes Maes); (Teding van Berk-
hout and others) sale, Amsterdam (Fr. Muller), 27-29 June
I905, nr. I24 (with T 8, T 9 and T io, as Jacob de Wet the
Younger); sale Amsterdam (Frederik Muller), I5-22 Decem-
ber 1942, nr. 56 (with T 9); Kunsthandel Goudstikker/Miedl,
ried Benjamin Crommelin (I684-1753) in Amsterdam, 22
Amsterdam, 1942; with H. Herbst, Vienna, I943
Present whereabouts unknown.
Portrait of Catharina Elisabeth Slicher (I694-1715) by Jacob
de Wet the Younger.
Catharina Elisabeth Slicher, b. Amsterdam, 7 November
I694, d. Haarlem, 30 June I7I5, daughter of Elbert Slicher
(see S 4 and T 22) and Catharina de Hochepied (see T 23). Mar-
March 17II.
Canvas, 44 x 32 cm, signed: "DE.WET / Jong".
Literature: Moes I905, nr. 7257:I.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
A portrait historie with Venus, Paris and Cupid
Provenance: Jhr. H. Teding van Berkhout Collection, Haar-
lem, on loan to the Museum der Stad Haarlem (cat. I878, nr.
125; cat. 1902, nr. 231); (Teding van Berkhout and others)
sale, Amsterdam (Fr. Muller), 27-29June 1905, nr. I24 (with
T 7, T 8 and T 9 as Jacob de Wet the Younger).
Present whereabouts unknown.
T II
Elbert Spiegel, ontvanger van de admiraliteit te councillor
Amsterdam,of Amsterdam I607-22, alderman I607. Married
schoonvader van Wigbold voornfoemdj; levensgrootte op doek
geschildert in een zwarte hiist omtrent 4 I1/2 voet hoog
(Elbert Spiegel, Receiver of the Admiralty in Amsterdam, fa-
ther-in-law of the aforementioned Wigbold, painted lifesize
on canvas in a black frame, some 4'/2 feet high)
Portrait of Elbert Spiegel (I600-74), possibly by Ferdinand
Bol (i6i6-8o).
See s I2, S 14 and T I2 for the sitter.
Literature: Moes 1905, nr. 7445:2.
The painting has not been traced, unless it is identical with the
portrait of Elbert Spiegel by Ferdinand Bol of i658, now inboth on panel)
the Art Museum in Kharkov (fig. 22).
T 12
Elbert Spiegel, nog eens geschildert, Anno I629, aetatis 29
(Elbert Spiegel, painted once again, Anno I 629, aged 29)
Portrait of Elbert Spiegel (I600-74) by an unknown artist,
companion piece to T 13.
See s 12, S I4 andT I I for the sitter.
Literature: Moes I905, nr. 7445:1.
The painting has not been traced.
T 13
Petronella Roeters huisvrouw van voorn[oemdeJ Elbert Spiegel
anno I629, aetatiS 29
(Petronella Roeters, wife of the aforementioned Elbert
Spiegel, Anno I629, aged 29)
Portrait of Petronella Roeters (I599-I647) by an unknown
artist, companion piece to T 12.
See s I 3 for the sitter.
The painting has not been traced.
T I4
aander
Ernst Roeters, vader van Petronella voorn[oemd], raad de achterzyde
stad
Amsterdam, waarop 't wapen van Roeters is geschildert. Anno
1580, aetatis 25
This content downloaded from
132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
(Ernst Roeters, father of the aforementioned Petronella, coun-
cillor of the city of Amsterdam, on which is painted the
Roeters coat of arms. Anno 1580, aged 25)
Portrait of Roetert Ernst (1554-I622) by an unknown artist,
companion piece to T 15.
Roetert Ernst, b. 1554, d. Amsterdam, i6 November I622, son
of Ernst Roetersz and Maria Jan Vranckenszdr de Wael. Mer-
chant in Amsterdam, governor of the Leper-House I 597, city
Reymerich (Rebecca) Pieter Govertszdsr in November I579
(seeT I5).
The painting has not been traced.
T IJ
Rebecca Govertsz., huisvrouw van voorn[oemde] Ernst Roeters,
waarop 't wapen van Roeters is geschildert, Anno I58Q, aetatis i 8,
beide op paneel
(Rebecca Govertsz, wife of the aforementioned Ernst Roeters,
painted with the Roeters coat of arms, Anno I58o, aged I8,
Portrait of Reymerich Pieter Govertszdr (156I-I620) by an
unknown artist, companion piece to T 14.
Reymerich (Rebecca) Pieter Govertszdr, b. Amsterdam 156I,
buried in Amsterdam (Nieuwe Kerk), I4 March I620, daugh-
ter of Pieter Govertsz and Lijsbeth Willemsdr Sonderdanck.
Married Roetert Ernst in November I579 (see T 14).
The painting has not been traced.
Ti6
Nog een vrouw's portret van Govertsz waarop 't wapen, op paneel
Anno i59o, aetatis 20
(Another female Govertsz portrait on which the coat of arms,
on panel, Anno 1590, aged 20)
Portrait of a young woman, probably Griet Pieter Govertszdr
(I569- ?), by an unknown artist.
Griet Pieter Govertsdr, baptized in Amsterdam (Oude Kerk),
2I November 1569, daughter of Pieter Govertsz and Lijsbeth
Willemsdr Sonderdanck. Sister of Reymerich Pieter Govertsz-
dr (T I5). No further details known.
The painting has not been traced.
T 17
Een vrouwe portret op doek geschildert in een zwarte list, waarop
staat geschreven: Margaretha de Vlaming van
Outshoorn, huisvrouw van Egbert de VrK en zuster van Elisabeth
de moeder van Wigbold Slicher
 40 RUDOLF E.O. EKKART

(A woman's portrait painted on canvas in a black frame, on the name or master, yet in view of the great similarity of the
back of which is written: Margaretha de Vlaming van Outs- woman's portrait, both in appearance and attire, to that of
hoorn, wife of Egbert de Vrij and sister of Elisabeth, the moth-Elisabeth de Vlaming van Outshoorn, the wife of Jan Slicher
er of Wigbold Slicher) (mentioned in Appendix iv, nr. 3, letter B), very probably of
the aforesaid Jan Anthonysz Slicher and of Elisabeth de Vla-
Portrait of Margaretha de Vlaming van Oudtshoorn, compan- ming van Outshoorn)
ion piece to T I9.
The sitter's identity is not entirely clear (see note 2I). T 20

Literature: Moes 1905, nr. 8599. Portrait, probably of Jan Slicher (i603-27), by an unknown
The painting has not been traced. artist, ca. i625, companion piece to T 21.
Jan Slicher, baptized in Amsterdam (Oude Kerk), 2 January
i603, d. Amsterdam, 9 November i627, son of Anthony
T i8 Slicher (see TI i) and Johanna de Wolf (see T 2). Married Elisa-
Een vrouwe portret van Spiegel op doek geschilderd, circa 5 voet beth de Vlaming van Oudtshoorn (see s 3, S I5 and T 21) in
Amsterdam, 3 June i625.
hoog waarop staat i654 en op de lijst van onder 't wapen van
Spiegel in een ruit The painting has not been traced.
(A female Spiegel portrait painted on canvas, some five feet
high, on which is painted i654, and on the bottom of the frame
the Spiegel coat of arms in a lozenge) T 21

Portrait, probably of Elisabeth de Vlaming van Oudtshoorn

Portrait of a woman of the Spiegel family by an unknown (i600-69), by an unknown artist, ca. i625, companion piece to
artist, i654. T 20.

Possibly a sister or daughter of Elbert Dircksz Spiegel. See S 3 for the sitter.
The painting has not been traced. The painting has not been traced.

T I9 T 22 and T 23
Eghert de Vrij, voorn[oem]d op 't zelfdeformaat als Eendat
mans enzjn
van vrouwe portret op doek geschilderd door Maas, k
huisvrouw Margaretha de Viaming van Outshoorn formaat omtrent 20 duim hoog, zijnde van Elbert Slicker Wi
(The aforementioned Egbert de Vrij, the same size as that of boldsz. en deszelfs huysvrouw Catharina de Hochepied
his wife, Margaretha de Vlaming van Outshoorn) (Portraits of a man and woman painted on canvas by Maes,
small size, some 20 inches high, being of Elbert Wigboldsz
Portrait of Egbert de Vrij, companion piece to T 17. Slicher and his wife Catharina de Hochepied)
The sitter's identity is not entirely clear (see note 2 1).
Literature: Moes I905, nr. 8764. T 22

The painting has not been traced. Portrait of Elbert Slicher (i652-1717) by Nicolaes Maes
(I634-93), companion piece to T 23 (fig. I2).
See s 4 for the sitter.
T 20 and T 21 Canvas, 44 x 34 cm, in a painted oval, signed at lower right:
Een mans en vrouwe portret, van eene grootte, beide"Maes"
op doek
(partly covered by the coat of arms). With the arms of
Slicher, Spiegel,
geschildert circa 3 voet hoog, waarschijnlyk man en vrouw beide de Vlaming and Roeters added later in the
four corners.
omtrent 25 jaar oud schi/nende, gekleed volgens den dragt van het
jaar i625 of daaromtrent, zonder bijvoeging van jaar,Literature:
naam ofMoes 7259:2; Hofstede de Groot i9i6, p. 549, nr.
meester, dock vermits de grootte overeenkomt van 't vrouwen-
262.

portret zoo in gedaante als kleeding met dat van Elizabeth de Jhr. H. Teding van Berkhout Collection, Haar-
Provenance:
lem, on
Viaming van Outshoorn, huisvr. van Jan Slicher (vermeld inloan
bi- to the Rijksmuseum, Amsterdam, i885 (cat.
lage IV No. 3 letter B) zeer waarschynlijk van den i89i, nr. 887,
voorn. Janand the pendant nr. 888; cat. I903, nr. I509, and
SlicherAnthonyszn en van Elizabeth de V/aming vanthe Outshoorn
pendant nr. I 5 o 0); (Teding van Berkhout and others) sale,
(The portraits of a man and a woman, both the same size and Amsterdam (Fr. Muller), 27-29 June 1905, nr. 65; Hedeman-
painted on canvas, some three feet high. Probably man and Wolff and others sale, Amsterdam (Fr. Muller), 21-24 March
wife, apparently some 25 years of age, dressed in the attire of I950, 97 (ill.); Kunsthandel D.A. Hoogendijk, Amsterdam;
the year i625 or thereabouts, without the addition of year, S.J. van den Bergh Collection, Wassenaar; sale Brussels

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms
 Aportrait historil with Venus, Paris and Cupid 41

(Palais des Beaux-Arts), 24-26 February 1959, nr. 420 (ill.).

Present whereabouts unknown.

T 23

Portrait of Catharina de Hochepied (i656-I703) by Nicolaes

Maes (i634-93), companion piece to T 22 (fig. 13).
Catharina de Hochepied, b. Amsterdam, 23 September i656,
d. Amsterdam, 2 March I703, daughter of Jean Baptiste de
Hochepied and Geertruyt Spiegel (see s 21). Married Elbert
Slicher (see s 4 andT 22) in Amsterdam, 27 October i676.
Canvas, 44 x 34 cm, in a painted oval, signed at lower right:
"Maes" (partly covered by the coat of arms). With the arms of
Slicher, Spiegel, de Vlaming and Roeters added later in the
four corners.
Literature: Moes i897, nr. 3528; Hofstede de Groot i9i6, p.
549, nr. 263.
Provenance: see T 22.
Present whereabouts unknown.

T 24

Mevrouw Testart geboren Slicher, dochter van Elbert Slicher en

van Catherina de Hochepied levensgrootte tot de voeten op doek
geschildert met een zware vergulde lhyst
(Mrs Testart, n&e Slicher, daughter of Elbert Slicher and
Catharina de Hochepied, painted lifesize and full length on
canvas with a heavy gilt frame)

Portrait of Geertruyd Slicher (i684-1742) by an unknown

artist.
See T 7 for the sitter.
Literature: Moes I905, nr. 7263:3.
The painting has not been traced.

This content downloaded from

132.66.11.212 on Fri, 18 Feb 2022 10:09:26 UTC
All use subject to https://about.jstor.org/terms