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3.9 Karel van Mander III

It is time to discuss Karel van Mander III (1609-1670),1a the most famous Dutch portraitist in Copenhagen. After the death of his father, his mother, Cornelia Rooswijk, took the 16-year-old boy with her to Copenhagen, where she had settled and traded in spices. The king soon became aware of the talent of the young painter, who probably visited the workshops of Pieter Isaacsz and Reinhold Thim. As early as 1630 he must have painted a miniature portrait of the king [i],1 and four years later he and Simon de Passe designed the costumes and decorations for a festival production on the occasion of Prince Christian’s wedding [i].2 Between 1635 and 1638, if not earlier, Van Mander must certainly have stayed in The Netherlands and Italy to complete his education. While in the Dutch Republic, he painted several works, including a portrait of Joost van den Vondel, and in Italy he studied the works of Caravaggio and his Dutch interpreter Honthorst. It is self-evident that a painter travelling with open eyes in the Dutch Republic of the thirties could not have escaped being influenced by the paintings of Rembrandt and Frans Hals.

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  attributed to Karel van  Mander (III), Portrait of King Christian IV (1577-1648) of Denmark, c. 1633

  attributed to Karel van  Mander (III)
Portrait of King Christian IV (1577-1648) of Denmark c. 1633
oil paint / ivory, 4,9 x ? cm
Kungliga Husgerådskammaren, Stockholm, no. 518:31



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Simon de Passe  published by Salomon Sartor, King Christian IV creating knights of the Order of the Elephant at the 'Great Wedding' of 1634, 1634/1635

Simon de Passe  published by Salomon Sartor
King Christian IV creating knights of the Order of the Elephant at the 'Great Wedding' of 1634 1634/1635
engraving / paper, ? x ? mm
Royal Library (Copenhagen), Copenhagen



In 1638 he was again in Copenhagen, and then began his actual activity for the court, the nobility and numerous bourgeois patrons. A series depicting the Five senses (Copenhagen, Museum, on loan to Kronborg; private property) belongs to his earliest work [i][i][i].3 It consists of powerfully painted, genre-like portraits in the style of the early Rembrandt, as represented by the early Jacob Backer.4 At the same time he created two pendant genre pieces of a farmer and his wife (Copenhagen) [i][i], in which something of the Utrecht style of Hendrick Bloemaert also lingers.5 At no time did Karel van Mander tie himself down to a distinct manner.

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Karel van  Mander (III), Allegory of sight, dated 1639

Karel van  Mander (III)
Allegory of sight dated 1639
oil paint / panel, 58 x 44,5 cm
topside (positional attribute) :  K. V. Mander 1639
SMK - National Gallery of Denmark, Copenhagen, no. Sp. 799



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Karel van  Mander (III), Allegory of hearing / An old woman with a flute, probably 1639

Karel van  Mander (III)
Allegory of hearing / An old woman with a flute probably 1639
oil paint / panel, 58 x 44,5 cm
SMK - National Gallery of Denmark, Copenhagen, no. Sp. 800



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Karel van  Mander (III), Allegory of Taste: a young man drinking from a silver tankard, c. 1639

Karel van  Mander (III)
Allegory of Taste: a young man drinking from a silver tankard c. 1639
oil paint / canvas, 56,8 x 46,3 cm
London (England) (Christie's), 2004-07-07, no. 51



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Karel van  Mander (III), Portrait of an old man, 1640's

Karel van  Mander (III)
Portrait of an old man 1640's
oil paint / panel, 64,5 x 49 cm
SMK - National Gallery of Denmark, Copenhagen, no. KMS1379



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Karel van  Mander (III), Portrait of an old woman, 1640's

Karel van  Mander (III)
Portrait of an old woman 1640's
oil paint / panel, 65 x 48 cm
SMK - National Gallery of Denmark, Copenhagen, no. KMS1381



Beside these bold works there is a Repentance of St. Peter (same location) [i], which is very painterly in conception and entirely conforms to the manner of the late Rembrandt as it was understood by Salomon Koninck. The portraits of the 40s take both these conceptions as their point of departure. The portraits of Prince Elect Christian and his wife of 1642 (Rosenborg 501 and 503) [i] [i] are still fairly boldly painted, but in a portrait of the poet Anders Bording [i], perhaps rightly attributed to Karel van Mander, the painterly aspect and dreamy expression are carried to ultimate perfection; it looks like a Ter Borch in large format.

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Karel van  Mander (III), The repentance of St. Peter, 1640's

Karel van  Mander (III)
The repentance of St. Peter 1640's
oil paint / canvas, 169,5 x 126,5 cm
SMK - National Gallery of Denmark, Copenhagen, no. Sp. 797



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Karel van  Mander (III), Portrait of prince Christian (1603-1647) of Denmark, ca. 1642

Karel van  Mander (III)
Portrait of prince Christian (1603-1647) of Denmark ca. 1642
oil paint / panel, 47,6 x 35,6 cm
The Royal Danish Collection - Rosenborg Castle, Copenhagen, no. 21-141



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Karel van  Mander (III), Portrait of Magdalena Sibylla of Saxony (1617-1668), ca. 1642

Karel van  Mander (III)
Portrait of Magdalena Sibylla of Saxony (1617-1668) ca. 1642
oil paint / panel, 47,6 x 35,6 cm
The Royal Danish Collection - Rosenborg Castle, Copenhagen, no. 21-142



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Karel van  Mander (III), Portrait of the poet Anders Christensen Bording (1619-1677), dated 1645

Karel van  Mander (III)
Portrait of the poet Anders Christensen Bording (1619-1677) dated 1645
oil paint / canvas, 73 x 53 cm
on the frame, below :  Aetatis suae 26 / MALA FERO. BONA SPERO. / 1645.
The National Museum of History Frederiksborg Castle, Hillerød, no. A 2895



The stately equestrian portrait of Christian IV (Frederiksborg 602) [i] is massive and well-painted in bold reds and yellows.6 These official portraits often approach interchangeability with ones by Wuchters. Van Mander undergoes the same development to elegant and well-groomed portraits with meticulous technique. In general it may be said that, contrary to Wuchters, Van Mander favors curvilinear lines and restless light. This is apparent, for instance, from the family portrait that the Copenhagen museum has purchased from the Hamburg Kunsthalle [i] (replica in Frederiksborg [i]).7 Many details at once remind us of the spirited art of Jan de Braij.

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Karel van  Mander (III)  and Morten van Steenwinckel, Equestrian portrait of King Christian IV (1577-1648) of Denmark, c. 1643

Karel van  Mander (III)  and Morten van Steenwinckel
Equestrian portrait of King Christian IV (1577-1648) of Denmark c. 1643
oil paint / canvas, 310 x 280 cm
The National Museum of History Frederiksborg Castle, Hillerød, no. A 2741



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Karel van  Mander (III), Self-portrait with his wife Maria Fern and his mother Cornelia Rooswijck, c. 1656

Karel van  Mander (III)
Self-portrait with his wife Maria Fern and his mother Cornelia Rooswijck c. 1656
oil paint / canvas, 136,5 x 111,5 cm
SMK - National Gallery of Denmark, Copenhagen, no. KMS3814



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Karel van  Mander (III), Self-portrait with his wife Maria Fern and his mother Cornelia Rooswijck, c. 1656

Karel van  Mander (III)
Self-portrait with his wife Maria Fern and his mother Cornelia Rooswijck c. 1656
oil paint / canvas, 119 x 105 cm
The National Museum of History Frederiksborg Castle, Hillerød, no. A 2180



We cannot mention all the pictures that Karel van Mander made for the two kings and other dignitaries. A great many of them have survived in engraved copies by Haelwegh. A double portrait in the Sehested Juel collection in Ravnholt [i] is replete with dignity and sobriety, and the pensive Corfitz Ulfeld in Frederiksborg [i] belong to his most beautiful later pictures (although the latter work is certainly not an original, as is established by another version, which was offered to the museum in 1938 [i]).8

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Karel van  Mander (III), Portrait of a couple, 1640s

Karel van  Mander (III)
Portrait of a couple 1640s
oil paint / canvas, 205 x 141 cm
Private collection



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  after Karel van  Mander (III), Portrait of Corfitz Ulfeldt (1606-1664), after 1653

  after Karel van  Mander (III)
Portrait of Corfitz Ulfeldt (1606-1664) after 1653
? x ? cm
The National Museum of History Frederiksborg Castle, Hillerød, no. A7302



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  attributed to Sébastien Bourdon, Portrait of Corfitz Ulfeldt (1606-1664), c. 1653

  attributed to Sébastien Bourdon
Portrait of Corfitz Ulfeldt (1606-1664) c. 1653
oil paint / canvas, 106 x 86 cm
The National Museum of History Frederiksborg Castle, Hillerød, no. A 5644



Karel van Mander also met with some success as painter of histories and decorations. Ceiling paintings of his in Amalienborg [i][i][i][i][i] and Holsteinborg [i][i][i][i][i] are brightly and airily painted, with strong light and dark contrasts and sharp creases. They can stand comparison with works by Honthorst in Kronborg, which probably did not remain unknown to Van Mander.

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Karel van  Mander (III)  and studio of Karel van  Mander (III), Hearing, listening (one of the five senses), c. 1668-1670

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Hearing, listening (one of the five senses) c. 1668-1670
oil paint / canvas, ? x ? cm
Amalienborg, Copenhagen



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Sight, looking (one of the five senses), c. 1668-1670

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Sight, looking (one of the five senses) c. 1668-1670
oil paint / canvas, ? x ? cm
Amalienborg, Copenhagen



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Feeling (one of the five senses), c. 1668-1670

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Feeling (one of the five senses) c. 1668-1670
oil paint / canvas, ? x ? cm
Amalienborg, Copenhagen



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Taste, tasting (one of the five senses), c. 1668-1670

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Taste, tasting (one of the five senses) c. 1668-1670
oil paint / canvas, ? x ? cm
Amalienborg, Copenhagen



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Smell, smelling (one of the five senses), c. 1668-1670

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Smell, smelling (one of the five senses) c. 1668-1670
oil paint / canvas, ? x ? cm
Amalienborg, Copenhagen



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Karel van  Mander (III), Hearing, listening (one of the five senses), second half 1640s

Karel van  Mander (III)
Hearing, listening (one of the five senses) second half 1640s
oil paint / canvas, ? x ? cm
Private collection



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Karel van  Mander (III), Sight, looking (one of the five senses), second half 1640s

Karel van  Mander (III)
Sight, looking (one of the five senses) second half 1640s
oil paint / canvas, ? x ? cm
Private collection



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Karel van  Mander (III), Feeling (one of the five senses), second half 1640s

Karel van  Mander (III)
Feeling (one of the five senses) second half 1640s
oil paint / canvas, ? x ? cm
Private collection



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Karel van  Mander (III), Smell, smelling (one of the five senses), second half 1640s

Karel van  Mander (III)
Smell, smelling (one of the five senses) second half 1640s
oil paint / canvas, ? x ? cm
Private collection



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Karel van  Mander (III), Taste, tasting (one of the five senses), second half 1640s

Karel van  Mander (III)
Taste, tasting (one of the five senses) second half 1640s
oil paint / canvas, ? x ? cm
Private collection



A depiction of Tasso’s Jerusalem liberated (Copenhagen) [i], with romantic light effects copied from Dutch Caravaggists such as Bramer and Honthorst, is probably earlier in date.9 In later years this Honthorstian tradition became mixed with Flemish elements, as is demonstrated by a large painting of Abraham and Melchizedek that hangs in the castle church of Frederiksborg [i]. It appears to have suffered from the fire and to have been cut down as a consequence.10

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Karel van  Mander (III), The finding of Prince Svend's body (d. 1079) (Tasso: Gerusalemme Liberata VIII), possibly before 1642

Karel van  Mander (III)
The finding of Prince Svend's body (d. 1079) (Tasso: Gerusalemme Liberata VIII) possibly before 1642
oil paint / canvas, 235 x 256,5 cm
Kronborg Slot, Helsingør



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  studio of Karel van  Mander (III), The high priest Melchizedek blesses Abram [Abraham] (Genesis 14), 1660s

  studio of Karel van  Mander (III)
The high priest Melchizedek blesses Abram [Abraham] (Genesis 14) 1660s
oil paint / canvas, 300 x 236 cm
The National Museum of History Frederiksborg Castle, Hillerød



Andrup recently published a pictorial cycle with scenes from Heliodorus’ Aethiopica, which probably came to Kassel from Sweden in the 18th century [i][i][i][i][i][i][i][i][i].11 Though not autograph works by Karel van Mander, they are shop work with a pronounced Dutch character. Is it too bold an assumption that the Swedes stole these works from Kronborg or another Danish castle when they invaded Denmark in 1659?12

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Karel van  Mander (III)  and studio of Karel van  Mander (III), Persina sitting on Hydaspes' lap looking at a painting of Andromeda chained to the rock (Heliodorus: Aethiopica IV), 1640s

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Persina sitting on Hydaspes' lap looking at a painting of Andromeda chained to the rock (Heliodorus: Aethiopica IV) 1640s
oil paint / canvas, 110 x 220 cm
Museum Schloss Wilhelmshöhe, Kassel (Hessen), no. GK 1167



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Chariclea handing over a torch to Theagenes to lite the sacrificial fire (Heliodorus: Aethiopica), 1640s

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Chariclea handing over a torch to Theagenes to lite the sacrificial fire (Heliodorus: Aethiopica) 1640s
oil paint / canvas, 109 x 223 cm
Museum Schloss Wilhelmshöhe, Kassel (Hessen), no. GK 1168



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Chariclea nursing the wounded Theagenes in the midst of advancing Egyptian robbers (Heliodorus: Aethiopica), 1640s

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Chariclea nursing the wounded Theagenes in the midst of advancing Egyptian robbers (Heliodorus: Aethiopica) 1640s
oil paint / canvas, 109 x 199 cm
Museum Schloss Wilhelmshöhe, Kassel (Hessen), no. GK 1171



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Chariclea showing Persina and Hydaspes the mark on her elbow as proof of her origin (Heliodorus: Aethiopica), 1640s

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Chariclea showing Persina and Hydaspes the mark on her elbow as proof of her origin (Heliodorus: Aethiopica) 1640s
oil paint / canvas, 109 x 194 cm
Museum Schloss Wilhelmshöhe, Kassel (Hessen), no. GK 1174



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Theagenes fighting an Ethiopian giant (Heliodorus: Aethiopica), 1640s

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Theagenes fighting an Ethiopian giant (Heliodorus: Aethiopica) 1640s
oil paint / canvas, 116 x 205 cm
Museum Schloss Wilhelmshöhe, Kassel (Hessen), no. GK 1175



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Struggle among the pirates; Pelorus stabbing his rival Trachinos (Heliodorus: Aethiopica), 1640s

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Struggle among the pirates; Pelorus stabbing his rival Trachinos (Heliodorus: Aethiopica) 1640s
oil paint / canvas, 109 x 196 cm
Museum Schloss Wilhelmshöhe, Kassel (Hessen), no. GK 1169



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Chariclea and Theagenes taken captive by Thyamis (Heliodorus: Aethiopica), 1640s

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Chariclea and Theagenes taken captive by Thyamis (Heliodorus: Aethiopica) 1640s
oil paint / canvas, 109 x 199 cm
Museum Schloss Wilhelmshöhe, Kassel (Hessen), no. GK 1170



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Arsake and her entourage bringing gold and jewels to the temple of Isis at Memphis (Heliodorus: Aethiopica), 1640s

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Arsake and her entourage bringing gold and jewels to the temple of Isis at Memphis (Heliodorus: Aethiopica) 1640s
oil paint / canvas, 114 x 225 cm
Museum Schloss Wilhelmshöhe, Kassel (Hessen), no. GK 1173



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Karel van  Mander (III)  and studio of Karel van  Mander (III), Kalasiris finding a ring examining the entrails of a sacrificed animal, the ransom for the release of Chariklea (Heliodorus: Aethiopica), 1640s

Karel van  Mander (III)  and studio of Karel van  Mander (III)
Kalasiris finding a ring examining the entrails of a sacrificed animal, the ransom for the release of Chariklea (Heliodorus: Aethiopica) 1640s
oil paint / canvas, 109 x 189 cm
Museum Schloss Wilhelmshöhe, Kassel (Hessen), no. GK 1172



Danish collections contain numerous pictures in the style of Karel van Mander and Abraham Wuchters which have yet to be attributed to any specific emulator. We can only conclude that the Dutch approach slowly came to prevail everywhere. The names of Wuchters and Van Mander students that we have at our disposal do not justify our being detained for long by these painters. The Christian IV on his deathbed (Rosenborg Castle) [i] by Berent Hilwaertz is a weak picture belonging to the school of Karel van Mander.13 Bendex Grodtschilling the Younger (picture in museum, Copenhagen) [i] and Michael van Haven (c. 1625-1679) [i] followed Wuchters, including in his capacity as director of the Sorø Academy. He also went to the Dutch Republic, to buy works of art.14 One Monogrammist B.M. from Århus (Frederiksborg no. 1040, there attributed to Broder Matthisen [† 1666]) [i]15 and a certain Jørgen Maler (Frederiksborg 693) [i] lean more to Van Mander’s manner.

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Berent Hilwaertz, King Christian IV on his deathbed, 1648

Berent Hilwaertz
King Christian IV on his deathbed 1648
oil paint / canvas, ? x ? cm
The Royal Danish Collection - Rosenborg Castle, Copenhagen



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Bendix  Grodtschilling (II), Portrait of Bendix Grodtschilling I, father of the artist, before 1690

Bendix  Grodtschilling (II)
Portrait of Bendix Grodtschilling I, father of the artist before 1690
oil paint / canvas, 84,5 x 69 cm
SMK - National Gallery of Denmark, Copenhagen, no. KMSsp823



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Michael van Haven, Portrait of Otte Krag (1611-1666), dated 1649

Michael van Haven
Portrait of Otte Krag (1611-1666) dated 1649
oil paint / panel, 46,5 x 35,5 cm
lower right :  M V H . F 1649
Private collection



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  after Broder Matthisen, Portrait of general Stefan Czarniecki (1599-1665), dated 1660

  after Broder Matthisen
Portrait of general Stefan Czarniecki (1599-1665) dated 1660
oil paint / canvas, 132 x 106 cm
The National Museum of History Frederiksborg Castle, Hillerød, no. R 61



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Jørgen Maler, Self-portrait, 1650s

Jørgen Maler
Self-portrait 1650s
oil paint / panel, 63 x 49 cm
The National Museum of History Frederiksborg Castle, Hillerød, no. A775



Most attractive is the work of Heinrich Dittmers (c. 1625-1677) [i], who began in the powerful manner of the early Van Mander [i] and later turned to a more elegant genre along French lines [i]. He came from Hamburg but apparently received his artistic training in the Dutch Republic or, at the very least, with Dutch painters. Like Karel van Mander he initially loved the undulating Haarlem technique and the broad brushstrokes of Frans Hals. His drawings and especially his reference studies are again closely related to the traditions of the Rembrandt school [i][i][i].

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Heinrich Dittmers, Self-portrait of Heinrich Dittmers (c. 1625-1677)

Heinrich Dittmers
Self-portrait of Heinrich Dittmers (c. 1625-1677) (1650 - 1674)
black and white chalk / green paper, 290 x 230 mm
SMK - The Royal Collection of Graphic Art, Copenhagen, no.  KKSgb6779



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Heinrich Dittmers, The wax molder Abraham Simon (1617-1692) as Saint Jerome, dated 1665

Heinrich Dittmers
The wax molder Abraham Simon (1617-1692) as Saint Jerome dated 1665
oil paint / canvas, 101 x 90 cm
lower right :  H. Dittmarz f. 1665
SMK - National Gallery of Denmark, Copenhagen, no. Sp. 817



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Heinrich Dittmers, Portrait of Baron Oluf Rosenkrantz (1623 - 1685), geheimraad van de koning, c. 1675

Heinrich Dittmers
Portrait of Baron Oluf Rosenkrantz (1623 - 1685), geheimraad van de koning c. 1675
oil paint / canvas, 65 x 52 cm
The National Museum of History Frederiksborg Castle, Hillerød, no. A 815



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Heinrich Dittmers, Singing woman at the calvichord

Heinrich Dittmers
Singing woman at the calvichord (1665 - 1677)
black and white chalk / blue paper, 415 x 330 mm
lower left :  x Hindrich Dittmars
SMK - The Royal Collection of Graphic Art, Copenhagen, no. KKS13411



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Heinrich Dittmers, Hermit in a cave holding a book

Heinrich Dittmers
Hermit in a cave holding a book (1650 - 1677)
black chalk / green paper, 300 x 246 mm
SMK - National Gallery of Denmark, Copenhagen, no. TD 505/9



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Heinrich Dittmers, Male nude chained to a pedestal

Heinrich Dittmers
Male nude chained to a pedestal (1650 - 1677)
black chalk / blue paper, 350 x 219 mm
SMK - National Gallery of Denmark, Copenhagen, no. TD 505/23





[1a]

[Van Leeuwen 2015] Roding 2014; Roding 2015 (in print). For Gerson Digital, almost 300 artworks by or related to Karel van Mander III have been added to RKDimages.

[1]

[Van Leeuwen 2015] Possibly Gerson intended the work illustrated here. No further portraits or miniatures of Christian IV dating from 1630 are known to us.

[2]

[Van Leeuwen 2015] This information is confirmed by Wade 1996, a publication entirely devoted to this wedding, known in Denmark as ‘det store bilager’. She writes that Simon de Passe and Karel van Mander III ‘were in charge of the royal inventions for the running-at-the-ring and of the artistic designs for the ballet and comedies’. These activities consisted of providing drawings after which paper mâche and cardboard models (‘monsters’) were made. The only lasting example of their efforts seems to have been an engraving by Simon de Passe of the installation of Knights of the Order of the White Elephant, which was created as part of the wedding ceremonies (RKDimages 250901) (Wade 1996, p. 197, 333, 430, fig. 128).

[3]

[Van Leeuwen 2015] Only three compositions of this series are still known.

[4]

[Van Leeuwen 2015] Another, somewhat larger versions of ‘The View’ turned up at an auction of 2013 in Copenhagen (see RKDimages 250834).

[5]

[Gerson 1942/1983] A drawing of 1635, Vertumnus and Pomona, is also reminiscent of Bloemaert [RKDimages 65625].

[6]

[Van Leeuwen 2015[ Roding attributes the horse to Morten van Steenwinckel (2014).

[7]

[Gerson 1942/1983] Falck 1929-1930, p. 182.

[8]

[Gerson 1942/1983] Madsen 1926, p. 151; Andrup 1932, p. 141 and Andrup 1936  , p. 101. [Van Leeuwen 2015] The first portrait of Ulfeldt Gerson mentions (A 7302) does not occur in collection catalogues of Frederiksborg Castle and was traditionally attributed to Karel van Mander III. The second portrait of Ulfeldt Gerson mentions (A 5644) was acquired by Frederiksborg in Sweden in 1938, after it came from Engeland (HIllerød 1953, pp. 110-111, no. 22, ill.). It has traditionally been attributed to Sébastian Bourdon, but it is not mentioned in Thuillier 2000. According to Steffen Heiberg the portrait belonged to Queen Christina, who took it with her to Italy when she abdicated in 1654. It came to Frederiksborg in 1926 as an official gift during the visit of the Italian king Vittorio Emanuele (comunication S. Heiberg, February 2015).

[9]

[Van Leeuwen 2015] Heiberg et al. 1988, p. 131, no. 312

[10]

[Gerson 1942/1983] Andrup 1932, p. 107. [Van Leeuwen 2015] Actually, it was painted in the 1660s as a subsitute for a painting of 1643 of the same subject that was destroyed by the Swedes in 1658.

[11]

[Gerson 1942/1983] Andrup 1939, p. 100.

[12]

[Van Leeuwen 2015] It is still given to Karel van Mander in Kassel (Schnackenburg 1996). The paintings came into the posession of William VIII of Hessen-Kassel before 1747 via one Baron von Stein, who brought the series of ten works from Sweden. Of these, nine pictures have survived (Heiberg et al. 1988, p. 103, nos. 319-320). See also Spicer 2010.

[13]

[Van Leeuwen 2015] Otto Andrup labelled him a pupil of Karel van Mander III on the basis of a group of portraits which, according to Povll Eller, ought to be attributed to Johan Thim instead (Jørgen Hein in Weilbach 1994-2000).

[14]

[Gerson 1942/1983] Sthyr 1939.

[15]

[Van Leeuwen 2015] This painting is presumably an autograph repetition of 1660 of a painting of 1659 by Broder Matthisen, now in the Royal Castle in Warsaw (RKDimages 232394).

Datum laatste wijziging: Apr 01, 2015 10:49 AM