Object data
oil on panel
support: height 50 cm × width 33.2 cm
sight size: height 48.4 cm × width 32.2 cm
frame: height 64 cm × width 47.3 cm × depth 5.5 cm (support incl. frame)
anonymous
in or after 1627
oil on panel
support: height 50 cm × width 33.2 cm
sight size: height 48.4 cm × width 32.2 cm
frame: height 64 cm × width 47.3 cm × depth 5.5 cm (support incl. frame)
The panel is a single vertically grained oak plank bevelled on all sides. The ground is white. There may be an older painting under the fairly thick uppermost paint layer.
Good.
...; gift of H.J. Heshuysen to the Rijksarchief, Haarlem;1 transferred to the museum, 1934;2 on loan to the Westfries Museum, Hoorn, since 1959
Object number: SK-A-3216
Copyright: Public domain
Claes Allertsz Boelens or Boelisse (1550-1615), also known as Nicolaus Bulius, is recorded as delegated councillor in 1577, doctor of medicine in 1577, bailiff of Hoorn in 1580, councillor and advocate-fiscal of the Admiralty of the Northern Quarter in 1598, and councillor and lawyer in 1598.3 He was the son of Allert Dirksz Boelens and Lijsbeth Dircksdr, and lived in Hoorn all his life. In 1580 he married Weyntje Pietersdr Kies, the widow of Johan Gerritsz van Schoterbosch and the daughter of Pieter Jansz and Brecht Engbrechtsdr Ramp. They had several children, among them Pieter (1582-1627), whose portrait (SK-A-3217) is also in the collection.
The present painting is probably a copy after a portrait that no longer survives, possibly the one that was destroyed by fire while in the collection of W. del Court van Krimpen in Haarlem.4 It was probably painted by the same copyist who executed the portrait of Claes Allertsz Boelens’s son Pieter. The date of 1627 on the latter portrait can serve as a terminus post quem for both paintings. The loosely pleated lace ruff indicates that the prototype was probably executed around 1600.5
There appears to be an earlier painting beneath the fairly thick top layer of paint. Both the relief and difference in the colour of the paint are quite noticeable. The underlying layer serves as a sort of ground for the visible painting, but wear and the increased transparency of the top layer have allowed the darker underlying paint to show through, most notably in the face. This makes the painting look far darker than it should.
Everhard Korthals Altes, 2007
See Bibliography and Rijksmuseum painting catalogues
See Key to abbreviations and Acknowledgements
This entry was published in J. Bikker (ed.), Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam, I: Artists Born between 1570 and 1600, coll. cat. Amsterdam 2007, no. 426.
1976, p. 655, no. A 3216; 2007, no. 426
E. Korthals Altes, 2007, 'anonymous, Portrait of Claes Allertsz Boelens (1550-1615), in or after 1627', in J. Bikker (ed.), Dutch Paintings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.9595
(accessed 20 September 2024 03:36:20).