RM24015 – Rembrandt’s pupils from Dordrecht

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1            Sources of income

The other day I told you that Rembrandt’s main sources of income were three of a kind: (i) commissions (assignments) for paintings, (ii) selling etches, and (ii) fees for teaching students. See the related podcast Rembrandts Money (available via  www.rembrandtsmoney.com, under podcast 24014, ‘Studying with Rembrandt’).

In it, I gave some data on how many pupils Rembrandt apprenticed during his over 40 years of active life as an artist. I will now focus on some students who came from Dordrecht. The ‘why’ is rather simple. Dordrecht was the most important city in Holland until the 15th century. Moreover, some of his most successful and well-known students came from Dordrecht, e.g. Ferdinand Bol, Samuel van Hoogstraten and Nicolaes Maes. More importantly, Dordrecht is still a beautiful, picturesque city, with over 120,000 inhabitants, where I have lived for almost 40 years.

2            Rembrandt and Dordrecht

Rembrandt did not travel much, but at the beginning of his career he did visit clients (or patrons), mainly in The Hague. Later he also travelled to a few other places. In love with Saskia Uylenburgh, he must have been in Friesland a few times. It is a province located in the North of present Netherlands. A few weeks after his marriage in Friesland (in Sint Annaparochie, 1634) the 28 year old painter is present in Rotterdam to paint a portrait of Haesje van Cleyburg, her husband and his mother.

In Rotterdam, Rembrandt gives a power of attorney to his brother-in-law Gerrit van Loo, which is laid down in a notarial deed. In the deed Rembrandt is named as ‘ … Sr. Rembrant van Rijn, merchant from Amsterdam’.

The power of attorney is given by Rembrandt to Gerrit ‘… in order to exhort, receive and cash on behalf of the deponent, who is acting as husband and guardian by his marriage to Saskia Ulenburch, his wife, from all his debtors, residing in any town, village or hamlet in the aforementioned Vrieslant, all such money, interest, and rents, which the deponent is claiming from them, for whatever reason these debts may have been incurred, and to draw up a receipt for each payment received’.

I note that in a marriage under Roman-Dutch law, with regard to legal relations with third parties, the husband acted by operation of law as guardian of his wife.

Why did the notary scribble down for Rembrandt that he was a ‘merchant from Amsterdam’ (‘coopman tot Amstelredam’)? Moreover, why was the power of attorney drafted in Rotterdam? Had Rembrandt been in a hurry because he had received a commission to paint somewhere else in Rotterdam or even in Dordrecht? Would it be possible that Rembrandt used the ‘merchant’-indication to escape the rules of the Rotterdam Guild of Saint Luke, most probably only allowing Rotterdam ‘poorters’ to work as a painter within the Rotterdam territory? What exactly was the purpose of the power of attorney? And why the hurry? Without any other written evidence, this all remains uncertain.

During his stay in Rotterdam, Rembrandt painted the portraits of Dirck Jansz. Pesser and his wife Haesje Jacobsdr van Cleyburg. Pesser (1586/7-1651) was a brewer in Rotterdam and one of the leaders of the Remonstrants in that city. From Rotterdam, it is only some 12 nautical miles to Dordrecht, a two hour trip with the Rotterdam-Dordrecht barge line. Although there is no evidence, Dordrecht Museum curator Sander Paarlberg concludes in 2016 that it is likely that Rembrandt indeed has been in Dordrecht. It may be indeed the case, as Rembrandt had good contacts in Dordrecht. A good friend of him lived in Dordrecht, the Dordrecht-born poet Jeremias De Decker. He also portrayed several Dordrecht residents, including the portraits of the wealthy merchant Jacob Trip and his wife Margaretha De Geer.

 

 

 

Dordrecht was the oldest city of Holland (obtained city rights in 1220). However, in the 17^th century the time when it was the most important economic city, with a lot of shipping (three rivers) and a lot of trade (due to the operation of its staple right (‘stapelrecht’)) was far behind it. Nevertheless, during the Republic it was still a city with an important merchant port. Jacob Trip (1575/76-1661) was the son of a shipowner and quite wealthy. He moved with his family to Dordrecht and traded, among other things, in iron ore from Liège, where Margaretha was born, as the daughter of merchant Louis de Geer. The couple had 12 children, five of whom were still alive in 1660.

On the painting, Jacob is dressed informally in a folded, golden brown coat with a white scarf, which serves as a ‘night scarf’. On his head is a yellow nightcap with a white inner cap. The portrait is a counterpart to that of his wife Margaretha (1583-1672). She appears – on the contrary – to be dressed quite formally, with cuffs and a ruff that was fashionable 30 years earlier, which also applies to her handkerchief. There are also many uncertainties, about her clothing, why she is depicted frontally, the sharp lighting, but also about Jacob. He would die on 8 May 1661. Could it possibly have been painted posthumously? Or painted ‘live’ in his last days and weeks, now that he looks so fragile and seems to be in poor health? (Manuth et al. (2019), 667ff.).

Well, maybe one day the mystery whether Rembrandt has been in Dordrecht will be solved. What is certain is that he had several students from Dordrecht from the mid-1630s until the end of his life in 1669.

2            Dordrecht pupils

The Canon of the Netherlands (explained in my first podcast (RM24001 on ‘Rembrandt. A national icon’, visit www.rembrandtsmoney.com) refers in one of its fifty windows to painters of the Golden Age, especially Rembrandt. In 2020 in the city of Dordrecht itself, the ‘Rembrandt’ window has been further developed in a ‘Dordrecht canon’ and includes Dordrecht-born painters who were all apprentices of Rembrandt. From all of those mentioned work hangs in the Dordrechts Museum. Most notable: Ferdinand Bol, Samuel van Hoogstraten, Nicolaes Maes, Jacobus Leveck and Arent de Gelder.  

See (in Durch) https://www.canonvannederland.nl/nl/page/143671/canon-van-dordrecht, and https://www.canonvannederland.nl/nl/page/145956/canon-van-augustijnenhof-dordrecht. I’ll give some background to the Dordrecht pupils.

3            Ferdinand Bol (1616-1680)

Ferdinand Bol was born in Dordrecht in 1616. He was the son of a surgeon and grew up in Hofstraat (corner Nieuwstraat). He is said to have had his first painting lessons as an apprentice from Jacob Cuyp, the father of Aelbert Cuyp (1620-1691). When he was around 19-20 years old, he apprenticed with Rembrandt.

Ferdinand Bol and also Leendert Cornelisz. van Beyeren most probably belonged to Rembrandt’s first group of pupils. This can be deduced from some inscriptions noted on the back of a drawing dating back to around 1636. The front of the drawing, a copy of the painter  Pieter Lastman’s Susanna and the Elders, reads: ‘[first line undecipherable] / his standard-bearer sold at 15 guilders / a floora traded at 6 guilders / some of fardynandus’ work traded / another work of his design / the Abraeham one floora / leendert’s floora sold at 5 guilders’.

In literature it has been submitted that ‘fardynandus’ and ‘leendert’ can be identified as Ferdinand Bol and Leendert Cornelisz. van Beyeren. The prices mentioned are seen as modest (Rembrandt generally charged 500 guilders per painting). The fixing of this price suggests that these kinds of works were part of the first stages of a pupil’s training with Rembrandt.

In the Rembrandt legal and financial documentation there is a second occasion in which Bol plays a minor role.  

He acts as a witness in an affair unrelated to his Rembrandt’s business (producing for patrons, teaching pupils, buying and selling art and materials for etching and painting). Rembrandt was involved in certain legal affairs related to his wife Saskia. On 30 August 1640 his appearance is noted by a notary. He refers to him as the Hon. Mr Rembrand van Rijn (‘d’Eersame Sr Rembrand van Rijn’). Rembrandt declared that he had appointed and given power of attorney to Dr Casparus van Campen, advocate at the ‘Court of Vrieslant’, to demand, claim, and receive monies in the name of and on behalf of Rembrandt from the heirs of the late Saske van Uijlenburgh. She was the maternal aunt of Saskia Uylenburgh, Rembrandts’ wife. This Saske had died in Leeuwarden when she was over 80 years old on 16 March 1634. She had bequeathed by her last will a sum of money. It would be available for Saskia, including interest. The very solemnly formulated deed was signed, including the signatures of witnesses Ferdinandus Bol (‘Ferdenandus Bol’) and Herke Ibbeler, a journeyman shoemaker (‘schoenmakersgezel’). The story has no end, as any next steps are unknown.

In the course of 1635, Rembrandt established himself as an independent master.The period covering the second part of the 1630s and the early part of the 1640s hardly differs from others in which he worked as a master. Written documents are scarce, sometimes incomplete or do not accurately reflect what actually seems to have happened. Over a period of some five years, between 1635 and 1640, it is therefore difficult to give a reliable picture of his practice. Rembrandt must have been busy with his wife (she was rather sickly) and the addition to his family (in some 5 years Saskia gave birth to three children, who all had died very young). His working conditions demanded attention. During this period the family moved three times, ending in mid-1639, to his new large location in the Breestraat. Little is known, for example, about his commissions, recorded orders, assistants employed, purchases made, or the operating costs incurred. It does seem likely, however, that he worked mainly on the basis of commissions.

When Bol is 30 years of age (in 1646) he depicts himself in a red cloak with gold chain and beret in a Rembrantesque manner. Brown palette, broad brushstroke, strong light-dark contrasts and painted ‘from life’, depicting reality. He follows almost literally Rembrandt’s self-portrait at the age of 34 (which hangs in the National Gallery, London).

 

During the period that Ferdinand Bol was his assistant (from 1636 onwards), Rembrandt’s portrait production fell sharply. With the portfolio for portrait assignments diminishing, the posing sessions in the studio also evaporated. So fewer clients entered the studio who would then perhaps see other work, buy it or order something else (Lammertse and Van der Veen (2006), 129).

Ferdinand Bol was regarded as an excellent painter following his training with Rembrandt, and he stayed in the studio and helped with instruction. Nothing is known about the conditions under which he worked and what his earnings were. Bol would work with Rembrandt until around 1642. The reason for his leaving of Rembrandt’s practice can be threefold:

(i) I am accomplished or finished learning, it is time to settle somewhere independently.

(ii) Bol distanced himself from Rembrandt because he had been compromised professionally. His leaving was around the period that one of Rembrandt’s clients, the powerful regent Andries de Graaff made complaints about what is essential in the portraiture of persons: the resemblance to the person portrayed.

(iii) Bol inherited a considerable amount from his father, who died in 1641.

It may have been the combination of (iii) and (i), whilst Bol used his inheritance to purchase a house with an art studio Amsterdam. His marriage to Elisabeth Dell in 1653 brought him useful connections in civic government and the admiralty. She was related to Elbert Spiegel (1600-1674), Receiver General of the Admiralty of Amsterdam. Bol’s most prestigious commission is the chimney piece in the Citizens’ Hall of the newly built Amsterdam City Hall in 1655.

 

 

Later, in 1669, Bol would marry a very wealthy widow, Anna van Erckel (1624-1680). In the same year he painted his ‘Selfportrait with cupid’. Bol leans smugly on a walking stick and looks confidently at the viewer. He is – partly thanks to the marriage? – a full-fledged and wealthy member of the Amsterdam elite. After a wonderful career, he retired in the same year as a rich and respected artist. In 1674 he lived on the Keizersgracht and was rated the highest in wealth tax (‘vermogensbelasting’) of all Amsterdam painters (Kok (2016), 37ff.). He would die in his house on the Herengracht in Amsterdam, which currently is the Van Loon Museum. See (in English) https://www.museumvanloon.nl/bezoek

4            Samuel van Hoogstraten (1627-1678)

Samuel van Hoogstraten was born as the son of a Dordrecht painter. His father also worked as a silversmith. Originally, the family was a Flemish Mennonite family that had settled in Dordrecht at the end of the 16th century. His father was Samuel’s first teacher. He died when little Samuel was 11 years of age, in 1638. In 1642, being 15 years of age, he apprenticed with Rembrandt.

Samuel will develop into a versatile artist. He arrived in Rembrandt’s studio the year after Saskia had died. As is known, after Saskia’s passing away in 1641, Rembrandt and Titus’ caretaker Geertje Dircx lived together openly, as husband and wife, but were not married. In social circles in Holland at the time, it was a phenomenon viewed with aversion, particularly in ecclesiastical circles. A writer of painter’s biographies, Houbraken (1660-1719), provides information regarding Geertje. He was a paiter himself and will have been relying on information supplied by his teacher Samuel van Hoogstraten, who would have been aware of some of the vicissitudes. Next to Van Hoogstraten, also Houbraken was from Dordrecht.

In 1641-1642 Samuel contributed to the execution of the Night Watch. In these days Carel Fabritius, (1622-1654) was a colleague of his. In 1642 Rembrandt caused, in the words of Schwartz, ‘… a sensation by paying 179 guilders for a print by Lucas [van Leiden] of a beggar family on the road’. Schwartz (2006), 26, refers to a statement of the person who saw the purchase at a public auction, i.e. his pupil Samuel van Hoogstraten. See Van Hoogstraten (1678), 212.

Clear examples of Rembrandt’s influence on Samuel van Hoogstraten are Van Hoogstraten’s Young Man Reading with Vanitas Still Life, from 1944, and ‘De aanbidding van het kind’ / The adoration of the shepherds’ from 1647. In the latter, there is a similarity in composition, style, intimacy and lighting. In the former (Samuel is 17 years old) the young man (a boy, Samuel himself?) is engrossed in his writing. We also see an hourglass, a skull and an extinguished candle. These are all attributes of the transience of life.

At the end of 1646 (Dickey says 1648) he was back in Dordrecht. Contrary to his master Rembrandt, Van Hoogstraten liked to travel. He made a study trip to Vienna and to Rome five years later. He was allowed to show Emperor Ferdinand III his work, including perspective and illusionism, a perfectly painted trompe-l’oeil (an ‘eye deceiver’, a deceptively realistic painting). The emperor kept it as ‘punishment for the deception’. Samuel, however, did receive a medal with his portrait on a gold chain. He may have been satisfied then by this way of paying for services (plus portrait) rendered.

Between 1662 and 1667 Van Hoogstraten stayed in England. There, in 1664, he produced his ‘Brievenbord’ or The Letter Board.

 

 

On the Letter Board, Van Hoogstraten writes on the document that is inserted in the middle behind the binding, that the painting was painted on 20 January 1664. He was in London on that date with his wife. It’s a remarkable eye deceiver, with all kinds of objects and papers behind leather straps against a dark background. The papers as well as the penknife and quill may indicate Samuel’s own writing activities.

 

 

Van Hoogstraten must have been fascinated by illusionistic images, painted ‘impostors’ and scenes with perspectives. In 2023, the Dordrechts Museum has acquired ‘Perspective View with a Young Man Reading in a Renaissance Palace’, which presents a life-size perspective view (which stands nearly 2.5 meters tall) into a palace, where a fireplace is glowing in the basement. The golden fence is a fine example of the skilfully simulated light. Past the colonnade and through the doorway, a glimpse of a vast garden can be seen. The Dordrechts Museum has the largest Van Hoogstraten collection in the world, now comprising a total of sixteen paintings.

From England Samuel came back in Dordrecht and was, among other things, sworn in as master of the Mint of Holland. That was an office with the necessary social privileges and a considerable income.

Van Hoogstraten’s versatility is also evident from his writing activities. He was a poet. He also developed his own view on painting, especially with his rather influential treatise of 1678 ‘Introduction to the High School of painting’.

 

 

In the book one also finds some anecdotes picked up in Rembrandts’ shop. A lesson to be learned from his Introduction is that painting is a form of both art and skill and that the business success of a painter is not only dependent on the quality of a painter’s work, but is also determined by his ability to appeal to potential customers.

This means he must maintain contacts and respond to demand.

Van Hoogstraten died in 1678 in his house on the (‘het’) Steegoversloot, in the city’s ancient centre.

5            Nicolaes Maes (1634-1693)

Another Dordrecht born, Nicolaes Maes, is considered one of Rembrandt’s most talented students. His father was a textile merchant, located on the Voorstraat, where he also ran a soap factory with his eldest son Abraham. Nicolaes received his training in Dordrecht with an unknown master. The dates on which he was apprenticed to Rembrandt vary, from the late 1640s to the early 1650s (Blanc, 2022), from 1647 to 1651 (Paarlberg, 2016) from 1646 – 1652 (Dickey (2021-2022, p. 27).

At the end of 1653 he lived in Dordrecht. In 1658 Maes bought a house on Steegoversloot in Dordrecht, near the gate to the Hof. The seller was skipper Jacob Jansse Cuyter and the purchase price was partly paid by making a beautiful portrait of the skipper’s family. He married a widow and went to live in his mother-in-law’s house in the Hoge Nieuwstraat. During that period, he painted ‘De Liereman’, a scene with the Blauwpoort in the background, which appears to have been painted from his home. In 1673 he settled permanently in Amsterdam and became a well-known portrait painter there. He would live in Amsterdam until his death.

 

 

At the beginning of his career Maes painted biblical scenes and genre scenes, from the age of 26 he was almost exclusively active as a portrait painter. His work from the 1650s shows the influence of Rembrandt: natural light-dark and a broad way of painting. Maes’ own character with painting is evident from the use of common colours black and red and later, with a finer brushwork. His studio was professionally organized, with about ten employees, including Margaretha van Godewijck (1627-1677).

 

In 1657 Maes painted De Luistervink / The eavesdropper. The left-right divide is immediately noticeable. Stairs going up on the left, a view down on the right. To this can be added a complex perspective with further to the left a door opening to a room, and to the right access to the kitchen, via two doors. This is linked to a depth perspective: up on the left the family at the table (waiting for the maid?) and on the right a staircase down to a stately house on a distance. On the far right, the rest of a red cape, with a heavy and fur hat (of the suitor or the lord of the house) and a part of a map.

After the decor, the stage: on the first step a woman who looks at the spectator with a mischievous smile. Her finger is placed close to the mouth, a sign to remain quiet. In her left hand a glass (?). She has fun watching the couple in the background, where the man embraces the maid. They are so busy with each other that they do not notice that the cat has free rein in the kitchen and is eating the poultry, on the right. At the top of the middle column, you can see a head, and below it the name of Juno, the wife of Jupiter and the goddess of marriage. Was the couple’s marriage up in the air?

6            Jacobus Leveck (1634-1675)

Jacobus Leveck was apprenticed to Rembrandt between 1650 and 1654. It is unknown who taught him in Dordrecht. He mainly painted portraits. Recognizable Rembrandtesque, but more polished, more elegant and with a view on far away un-Dutch buildings, but with “Dordrecht”- colours in the evening or a thunderstorm sky, are his portraits of Adriaen Braets and Maria van der Graeff, made in 1664.

 

 

 

Like Ferdinand Bol, Leveck also acted as a witness for the benefit of Rembrandt. In this case, the notary pens down on 16 September 1653, that Rembrandt van Rijn, famous painter (‘vermaert schilder’) in this city, concurs as a witness with the verdict of a group of experts  (eight, including Hendrick Uylenburgh) regarding the authenticity of a painting attributed to Paulus Brill. It will be one of the very few (documented) cases that Rembrandt provides a valuation of works of art for private individuals. The witnesses were Johannes (van) Glabbeeck (before 1634?-1686) and ‘Jacobes Labeecq’ (Jacobus Leveck). These two are the witness’ (ie Rembrandt’s) pupils (‘sijns getuijgens dissipelen als getuijgen’).

7            Arent de Gelder (1645-1727)

The father of Arent (or: Aert) de Gelder was employed by the West India Company, initially a clerk but from 1638 to 1669 a caretaker and treasurer. The family lived in the West-Indisch Huis on the Wijnstraat. At the age of 15, Arent apprenticed with Samuel van Hoogstraten. The latter probably referred him to Rembrandt. He went to Amsterdam, where he worked at Rembrandt’s studio from 1661 to 1667. He would be Rembrandt’s last student.

De Gelder was wealthy, which he owed to the legacy of his father, who had done well as a WIC merchant in Brazil.

De Gelder continued to work consistently in Rembrandt’s vein and style well into the 18th century. In 1698 he created the ‘Portrait of the sculptor Hendrik Noteman (1657-1743)’. In its composition it is seen as the mirror image of Rembrandt’s self-portrait from 1640 (National Gallery, London). The sitter is holding a stonemason’s chisel. Below, left center, behind him is a statue with a face. Is it De Gelder?

 

 

In Dordrecht, Arent de Gelder’s wealthy middle-class background was a guarantee for official positions. His father, among other things, was treasurer of the WIC, traded in Brazil, was Dean of the Cooper’s Guild (1667) (Dordrecht had a substantial wine industry in those days) and was one of the members of the College of the Good People of Eights (‘College van de Goede lieden van Achten’) (1679). This college, which advised the city council, consisted of eight guild brothers designated by the guilds. In the 1680s, Arent became a member of the Civic guard, called ‘Compagnie van het Groothoofd’. He later became standard bearer and reached the rank of captain in 1694, a title that gave him considerable status in the city of Dordrecht. See https://www.regionaalarchiefdordrecht.nl/biografisch-woordenboek/arent-de-gelder/.

As Rembrandt’s last student De Gelder continued to use the well-known style of his master Rembrandt until a later age in the early 18th century. This concerns the brown palette and the broad test the contrasts between light and dark and the realistic image that Rembrandt always sketched with an art history background. Its style relates to colour of clothing, the clothing’s style, and accessories used. I understand that this method of working on the canvas was already known as old-fashioned as from the 7^th decade of the 17th century. De Gelder remained unmarried and was found dead in his chair in 1727.

As a general conclusion: the aforementioned five persons of Dordrecht who apprenticed with Rembrandt were usually accomplished painters (Kok (2012); Paarlberg (2016). They had mastered the principles and skills and were looking for further specialization. They wished particular to master Rembrandt’s style. It is striking, however, that after some time they developed their own style. With the exception of De Gelder, they did not remain loyal to their teacher. His style and dark brown colour quickly fell out of fashion. There is no indication that these pupils distanced themselves from Rembrandt because of his idiosyncratic, unconventional lifestyle.

And whether Rembrandt has ever been to Dordrecht remains unknown. Also in more recent years, no data or documents have emerged that indicate this. It is certain that his best students came from Dordrecht. A selection of their work undeniably are lasting testimonies of the special bond that existed in the 17th century between Rembrandt and artists from Holland’s oldest city, Dordrecht.

On Dordrecht

When you ‘google’ the words ‘Bob Wessels You Tube’ or directly go to https://www.youtube.com/channel/UC9YREkWPAZswZkiOrtExStA

you will find 3 videos with my personal stories about trade, shipping, finance and law in Dordrecht, especially in the 17^th century. We also visit Dordrecht’s ‘Big Church’.  

Above, I discussed Jacob Trip. In 1649, Trip junior purchases a plot of land on Wolwevershaven and has a house built there. The house now is the Dordrecht Patrician House, a local museum where one can discover how affluent citizens lived at the end of the 18th century. The style rooms on the ground floor are furnished in the style of Louis XVI. The highlight of the museum is the round Maas room with a view of the busiest three-river junction in Europe. See (also in English) https://dordtspatriciershuis.nl/en/.

Some related videos, see https://youtu.be/9HbR5wWdSfk.

References

References mentioned or cited are available through the sources provided on www.rembrandtsmoney.com.

Bijker, D, Arent de Gelder (1645-1722), Rembrandts laatste leerling, Dordrechts Museum, Dordrecht, Wallraf-Richardz-Museum, Keulen, Snoeck-Ducaju & Zoon, Gent 1998-1999 (Exhibition catalogue)

Blanc, Jan, Samuel van Hoogstraten, in: Frijhoff, Willem, Catherine Secretan en Andreas Nijenhuis-Bescher, De Gouden Eeuw in 500 portretten, taferelen & analyses, Band 1: A-L, Amersfoort: Uitgeverij Van Wijmen 2022, p. 617ff.

Blanc, Jan, Nicolaes Maes, in: Frijhoff, Willem, Catherine Secretan en Andreas Nijenhuis-Bescher, De Gouden Eeuw in 500 portretten, taferelen & analyses, Band 2: M-Z, Amersfoort: Uitgeverij Van Wijmen 2022, p. 847ff.

Dickey, Stephanie, Becoming Rembrandt, in: Stephanie S. Dickey and Jochen Sander, Rembrandt in Amsterdam. Creativity and Competition, National Gallery of Canada, Ottawa/Städel Museum, Frankfurt am Main, Germany, distributed by Yale University Press, 2021-2022, 84ff.

Führi Snetlage, Henriette e.a. (red.), Dordrechts Museum. De collectie; het gebouw, Dordrechts Museum / Bussum Uitgeverij THOTH, 2010

Hoogstraten, Samuel van, Inleyding tot de Hooge Schoole der Schilderkonst: anders de zichtbaere werelt (1678). Davaco Publishers, z.p. 1969 (fotografische herdruk),  http://www.dbnl.org/tekst/hoog006inle01_01/colofon.htm

Kok, Erna, Netwerkende kunstenaars in de Gouden Eeuw. De succesvolle loopbanen van Govert Flinck en Ferdinand Bol, Hilversum: Verloren 2016.

Marquaille, Léonie, Ferdinand Bol, in: Frijhoff, Willem, Catherine Secretan en Andreas Nijenhuis-Bescher, De Gouden Eeuw in 500 portretten, taferelen & analyses, Band 1: A-L, Amersfoort: Uitgeverij Van Wijmen 2022, p. 192ff.

Paarlberg, Sander, Rembrandt en Dordrecht. De meester en zijn leerlingen, Serie Verhalen van Dordrecht 33, Dordrecht: Stichting Historisch Platform Dordrecht 2016.

De Paus, W. e.a. (red.), Dordrechts Museum 150 jaar 1842-1992, Dordrechts Museum 1992. Roscam Abbing, Michiel, De schilder en schrijver Samuel van Hoogstraten 1627-1678, Eigentijdse bronnen en oeuvre van gesigneerde schilderijen, Leiden: Primavera Pers 1993.