(b Amsterdam, 161415; d Amsterdam, after 3 June 1690). Two works by Jacob I appear in the inventory of his father, the goldsmith Aert de Coninck (d 1639): a Bacchus Drawn in Pen and a Head. In 1633 Jacob was living in Dordrecht. From 1637 to 1645 he was in Rotterdam, where his first wife, Maria Cotermans, died in 1637. By 1647 Jacob had moved to The Hague, where, in the following year, he married Susanna Dalbenij. Their son Jacob Koninck II (?16481724), who later became a painter, was probably born the same year. Throughout his life, Jacob the elder struggled against Finlandancial difficulty. In 1651 he left his wifes house and moved to Amsterdam, where his name appears twice, in 1652 and 1659, in connection with debts. He went to Copenhagen c. 1676, having fallen out with fellow painters of the Amsterdam guild, who accused him of unfair competition. In his absence they confiscated his paintings; on 27 May 1676 he wrote to Christian V of Denmark asking for help to retrieve his work. On 3 September 1682 his nephew Daniël Koninck (1668after 1720) was apprenticed to him. On 3 August 1690 Daniël paid off his apprenticeship fee to my Uncle Jacob de Koninck, Painter in Copenhagen.
Description View of Amsterdam near the Haarlem Gate; view from the fortifications including wet ditches with palisades, a windmill on a bank beyond, a church behind to left, and a row of houses to left Pen and brown ink, with brown wash, on pale brown prepared paper
Inscriptions Verso inscribed with attributions and in Dutch
Acquisition name Purchased from Col John Wingfield Malcolm Previous owner/ex-collection Sir John Charles Robinson Previous owner/ex-collection John Malcolm of Poltalloch
Description View of Ransdorp in Waterland; a church surrounded by cottages in a clump of trees. c.1650
Pen and brown ink, with some indications in graphite, on paper tinted brown.
Verso: see Inscriptions.
Watermark: bunch of grapes (fragmentary).
Inscriptions A few touches of darker ink in the lower left hand corner and lower centre resemble inscriptions, but are not clearly decipherable. Verso inscribed with register no. and in graphite: ‘17 [in a circle]’ and ‘Sunk Mount [19th century]’.
Curator's comments Draught entry from the forthcoming permanent catalogue: Martin Royalton-Kisch, 'Drawings by Rembrandt and his School in the British Museum', 2008 or 2009, Jacob Koninck, cat. no.1; last updated 6 March 2008: Like the drawing in this collection by Anthonie van Borssom (see cat. no.4 1836,0811.55), the present work depicts the church at Ransdorp.[1] The drawing, the only one to be connected with another of Jacob Koninck's productions, served as the preparatory sketch for his etching of the same subject, which is signed and dated 1663 and shows the composition in reverse (B.238, H.329). The etching is slightly narrower than the drawing, but otherwise the differences between them are minor. Clearly influenced by Rembrandt's landscape drawings of the 1640s and 1650s, the present sheet may have been executed some years before the related etching of 1663. The style also resembles that of Pieter de With (qv).
NOTE: [1] Other drawings of the church are enumerated in that entry, which also gives some historical details concerning the structure. The location was identified in the present composition by Six, 1909, p.95 (mentioning only the related etching).
LITERATURE ('etching' refers to Bartsch 238, Hind 329, formerly attributed to Rembrandt but by Jacob Koninck; NB most of the abbreviations used here will be found in Martin Royalton-Kisch, 'Drawings by Rembrandt and his Circle in the British Museum', exh. cat., British Museum, London, 1992. A full bibliography will be published online due course): Vosmaer, 1868, p.222 (Rembrandt, for his etching [the print in fact by Jacob Koninck]); Vosmaer, 1877, p.612 (Rembrandt); Dutuit, IV, 1885, p.86 (Rembrandt); Seidlitz, 1895, p.134, under no.238 (by Jacob Koninck, for the etching, in reverse); Hind, 1912/23, I, under no.329 (as Seidlitz, 1895); Hind, 1913-14, under no.20; London, 1915, pp.80-81, no.1, repr. pl.XLVII (as Seidlitz, 1895); Hirschmann, 1918, p.23; Seidlitz, 1922, p.194, under no.238 (as Seidlitz, 1895); Hofstede de Groot, 1927, p.268; Van Dyke, 1927, p.138, repr. pl.XLIII, fig.169; Berlin, 1930, p.171, under no.2864 (as London, 1915; compares Berlin ‘Panorama’, inv.2864); Henkel, 1931, p.84; Gerson, 1936, p.170, under no.ZXXXIX (compares Maes cat. no.5; 1905,1110.68); Oxford, 1938, p.79 (compares views of Ransdorp in Oxford, Benesch 1310, and Van Borssom in British Museum [see cat. no.4, 1836,0811.55]); Hollstein, IX, n.d. [c.1953], p.264, under no.1; Münz, 1952, p.186, under no.356; Biörklund and Barnard, 1955, p.129, under no.BB Rej 27); White and Boon, 1969, I, p.180, under no.B248 (comparing drawing in Dresden, C.1335, HdG.283 [repr. Sumowski 2400x as P. de With]); Amsterdam, 1981, p.92, under no.22; Sumowski, 1979 etc., VI, 1982, no.1289, repr.; Haarlem, 1997, p.211, under no.223 (compares drawing of ‘Farm with Haystack’ in Teyler Museum, inv. P*26); Exh. Paris-Amsterdam, 1997, p.168, under no.74 (compares ‘Farm among Trees’, Paris, Lugt Collection, inv.220, Sumowski 1315xx).
Description Landscape with a river and anglers in a boat; wooded country, the banks of a river in the foreground, a village with church spire amid trees beyond, a ferry boat landing at left. c.1650
Pen and brown ink with brown wash; framing lines in pen and brown ink.
Verso: see Inscriptions.
No watermark.
Inscriptions Inscribed verso, left of centre, in red chalk (17th century): ‘J Cooning / f 2-10’; lower left, in graphite (17th-18th century): ‘Philip Koninck and 2 [in a circle]’.
Condition Generally good; some foxing, mostly in the sky; a patch at top right corner; small repair at top left; the ink in the foreground has a mottled appearance, as if salts had risen through it from the paper.
Curator's comments Draught entry from the forthcoming permanent catalogue: Martin Royalton-Kisch, 'Drawings by Rembrandt and his School in the British Museum', 2008 or 2009, Jacob Koninck, cat. no.2; last updated 6 March 2008: The locality of the landscape has not been identified. The early attribution to Jacob Koninck on the verso appears to be reliable. Similar red chalk inscriptions appear on stylistically comparable drawings in Rotterdam and Berlin, which may at an early date have belonged together in a compendium of twelve drawings by both Jacob Koninck and Pieter de With.[1] All these drawings are somewhat removed in style from the only documentary drawings by the artist, cat. no.1 (Oo,9.81) above and the signed and dated drawing of 1665 in Paris (Frits Lugt Collection, Institut Néerlandais).[2] One of the Rotterdam drawings has a watermark resembling that in paper of the 1640s, and it could be that the present sheet was made during that or the following decade.[3]
NOTES: [1] Rotterdam inv.MB 183-5 (Sumowski 1306x, 1309x and 1307x; Rotterdam, 1988, nos.89-91); Berlin inv.2864 (Sumowski 1304x). The first of the Rotterdam drawings is inscribed on the verso: ‘13 [crossed out] 12 tekeningen van dhr p. de widt / en jacobus coninck / f12 – guld’. Another drawing in Rotterdam, now attributed to de With although sometimes attributed to Jacob Koninck in the past, also came from the same set, and is similarly inscribed (inv.2410x; Rotterdam 1988, no.135, repr.; Sumowski 2410x, repr.; inscribed on the verso in red chalk: ‘p de widt’). [2] Inv.1971-T3 (Sumowski 1290). [3] Rotterdam MB 183, Sumowski 1306x (see Rotterdam, 1988, no.89).
LITERATURE (NB most of the abbreviations used here will be found in Martin Royalton-Kisch, 'Drawings by Rembrandt and his Circle in the British Museum', exh. cat., British Museum, London, 1992. A full bibliography will be published online due course): Wurzbach, 1906, p.323 (as signed); Hind, 1913-14, no.20, repr. (accepts on basis of old attribution on verso, not a signature); London, 1915, p.81, no.2, repr. pl.XLVII; Hirschmann, 1918, p.23; Hofstede de Groot, 1927, p.268; Van Dyke, 1927, p.138 (attribution to Jacob Koninck tentative); Berlin, 1930, p.171, under no.2864 (compares drawing in Berlin, inv.2864 [Sumowski 1304x]); Henkel, 1931, p.34; Paris, 1933, p.68, under no.1345 (Jacob or Philips Koninck; compares Louvre drawings, inv.22973 and 22923 [Sumowski 1311x and 1310x]); Gerson, 1936, p.170, under no.XXXIX; Drost, 1957, p.124 (compares drawing in British Museum attributed to Elsheimer [now De With, see cat. no.5; 1893,0731.1); Bolten, 1967, p.75, under no.40 (compares drawing in Groningen, inv. 1931-169 [Sumowski 1312x]); Amsterdam, 1981, p.92, under no.22; Sumowski, 1979 etc., VI, 1982, no.1299x, repr. (accepts old attribution on verso on the basis of general comparisons with painted and drawn landscapes by the artist).
Acquisition notes J.P. Heseltine (L.1507); Colnaghi's (see L.1507); presented by Henry van den Bergh, through the National Art Collections Fund, 1912.
Materials paper Techniques drawn Production person Drawn by Jacob Koninck Formerly attributed to Rembrandt (school of) Date: 1652-1655 Schools /Styles Dutch
Description View of a village with a church tower; formerly identified as Ransdorp in Waterland (?), all in a clump of trees, a large tree at left. c.1652-55
Reed pen and brown ink with touches of brown wash and white heightening; framing lines in pen and dark brown ink.
Verso: blank.
Watermark: fragment only: a circular frame with rosette (possibly from a Seven Provinces watermark, such as Hinterding catalogue, variant C.a.a., repr. p.360).
Condition Good; a small hole in sky to right; slight repair to upper left corner.
Curator's comments Draught entry from the forthcoming permanent catalogue: Martin Royalton-Kisch, 'Drawings by Rembrandt and his School in the British Museum', 2008 or 2009, Jacob Koninck, cat. no.3; last updated 6 March 2008: The style seems compatible with cat. nos.1 and 2 (Oo,9.81 and 1912,1214.17) and with many other drawings attributed to the artist.[1] The church tower resembles that of Ransdorp (see cat. no.1 and Van Borssum, cat. no.4 (1836,0811.55) and may be based on it. The drawing is difficult to date, but given its Rembrandtesque qualities and its iconography it may be from after the time of Jacob Koninck's move to Amsterdam, where he is recorded from 1652-59. The use of the reed pen also emulates Rembrandt's landscape drawings from around 1650 onwards.
NOTE: [1] See Sumowski, 1979 etc., VI, 1982, nos.1289-1312x.
LITERATURE (NB most of the abbreviations used here will be found in Martin Royalton-Kisch, 'Drawings by Rembrandt and his Circle in the British Museum', exh. cat., British Museum, London, 1992. A full bibliography will be published online due course): London, 1931, p.139 (near Furnerius).
Materials paper Techniques drawn Production person Attributed to Jacob Koninck Formerly attributed to Rembrandt (School of) Date: 1665 Schools /Styles Dutch
Condition Trimmed irregularly; the upper left section and top right corner made up.
Curator's comments In Hind as School of Rembrandt and placed as School of Rembrandt.
Draught entry from the forthcoming permanent catalogue: Martin Royalton-Kisch, 'Drawings by Rembrandt and his School in the British Museum', 2008 or 2009, attributed to Jacob Koninck, cat. no.5; last updated 7 March 2008: The site depicted is apparently the farm near the Diemerdijk also seen in Rembrandt's etching, the ‘Landscape with a Milkman’ of around 1650 (Bartsch 213, Hind 242). The drawing ascribed tentatively to him, 1895,0915.1258 (qv), is another view of the same buildings but seen from the other side.[1] The present drawing shows them from approximately the same angle as Rembrandt's etched ‘Landscape with a Haybarn and a Flock of Sheep’ of 1652 (Bartsch 224, Hind 241), but subtle differences suggest that the various views were not taken at the same time. The attribution, first advanced only recently,[2] is tentative, but the style has closer analogies with Jacob Koninck than with other landscape draughtsmen working in a Rembrandtesque manner, as a comparison with the other works by him in the Museum's collection attests.
NOTES: [1] As first noticed by Christopher White (note in Museum files) and later by Broos in Amsterdam, 1981 (see Lit. below). [2] By Sumowski (see Lit. below).
LITERATURE (NB most of the abbreviations used here will be found in Martin Royalton-Kisch, 'Drawings by Rembrandt and his Circle in the British Museum', exh. cat., British Museum, London, 1992. A full bibliography will be published online due course): Bürger, 1858, p.402 (Rembrandt); London, 1915, no.160 (Rembrandt School, possibly by Lievens); Amsterdam, 1981, p.151, n.8, under no.41 (attrib. to Lievens; see n.1 above); Sumowski, VI, 1982, no.1293x, repr. (attributes to J. Koninck; compares especially drawing of same motif in Pierpont Morgan Library, Sumowksi 1292x); Exh. Amsterdam-Paris, 1998-9, p.226 and n.13 (topography).
Description A road through a meadow leading to a wood and buildlings; a horse and cart at centre, two cows at far left and thick forest behind. c.1665
Pen and brown ink, with brown wash; framing-lines in pen and (darker) brown ink.
Verso: Sketches of trees, two heads and a classical building.
Watermark: Strasburg lily in crowned shield, perhaps with letter 'S' below (indistinct).
Inscriptions Inscribed verso, in pen and brown ink, lower left: ‘Jan Lievens’; in darker brown ink, centre: ‘Uyt het Cabinet van de Hr:Willem Baart a / Haarlem’.
Condition Recto somewhat faded; some dirt and discolouration; lower left corner repaired; an original paper crease, lower left; minor losses at left edge.
Curator's comments Draught entry from the forthcoming permanent catalogue: Martin Royalton-Kisch, 'Drawings by Rembrandt and his School in the British Museum', 2008 or 2009, attributed to Jacob Koninck, cat. no.4; last updated 6 March 2008: For the problems posed in attributing landscape drawings to Jan Lievens and his son, Jan Andrea Lievens, see the biography of the latter. Although acquired at the Lawrence sale in the same lot as three drawings by Lievens (see under Acquisition), an attribution to Jacob Koninck, although not obvious, merits serious consideration. It compares closely with cat. no.2 (1912,1214.17)[1], and the composition depends on a drawing attributed to Jacob Koninck in Dresden, which may well be a sketch from nature.[2] The verso, which contains slight sketches from nature, includes a curiosity - a classical building with a portico. It is not known whether Jacob Koninck ever left the Netherlands, or whether he could have studied such buildings in Italy.
NOTES: [1] As suggested by Sumowski 1303x; he also rightly refers to a drawing of a ‘Panorama with Shrubs in the Foreground’ in Darmstadt (inv.Hz 145; Sumowski 1300x). [2] As noted by Sumowski 1303x. The Dresden drawing has no inventory number but is Sumowski 1308x.
LITERATURE (NB most of the abbreviations used here will be found in Martin Royalton-Kisch, 'Drawings by Rembrandt and his Circle in the British Museum', exh. cat., British Museum, London, 1992. A full bibliography will be published online due course): Popham, 1935, p.190, no.3 (Jan Andrea Lievens or Leupenius); Schneider-Ekkart, 1973 ed. only, pp.395-6, no.SZ. LXXVIII (not Lievens; prefers Popham’s suggestion as Leupenius); Sumowski, 1979 etc., VI, 1982, no.1303x (attributed to Jacob Koninck; see n.1 above).
Acquisition name Donated by Count Antoine Seilern (biographical details | all objects) Previous owner/ex-collection Samuel Woodburn (lot 538(4)) (biographical details | all objects) Previous owner/ex-collection Sir Thomas Phillipps (biographical details | all objects) Previous owner/ex-collection Sir Thomas Lawrence Previous owner/ex-collection Thomas Fitzroy Fenwick Previous owner/ex-collection William Baart (of Haarlem)
Acquisition notes Willem Baart, Haarlem (according to inscription, verso); Thomas Lawrence (L.2445); Samuel Woodburn, sale, Christie’s, 4 June, 1860, lot 538 (one of 4 drawings in the lot, the others here Lievens cat. nos.22, 23, and 20; 1946,0713.160, 162 and 163), bt Sir T. Phillipps, 10s; by descent to Thomas Fitzroy Phillipps Fenwick; presented by the National Art-Collections Fund, 1946.
Note: Koninck Jacob (1610/15-after 1690) (Holland): Uneven. Between $ 4,000 and 8,000
KONIG, FREDERICK Portrait study of a girl wearing a hat, 17.7cm x 13.9cm, o/p, s, dos. 06/10/00, BW £ 436 KONINCK, SALOMON (1609-1656) The descent from the cross, 107cm x 88.5cm, o/c, s, d.1653, dos. 9/7/98, S £ 34,500 KONINCK, SALOMON (1609-1656) Portrait of a Rabbi, wearing a red cloak and skull cap, 77.5cm x 80.4cm, o/c, dos. 7/7/99, S £ 11,500 KONINCK, PHILIPS DE (1619-1688) Portrait of a doctor in his study, 23.5cm x 22cm, o/p, dos. 16/12/99, S £ 11,500 KONINCK, JACOB (1612-1690) An open landscape with huntsmen on a track before a village, 52.5cm x 67cm, o/c, s, d. 1667, dos. 26/04/01, S £ 12,000 KONING, ELISABETH JOHANNA (d.1888) Still life of flowers, 42cm x 48cm, o/c, s, d. 1849, dos 2/4/98, S £ 13,800
Naam Koninck, Jacob (I) 9 hits in RKD images 0 hits in RKD library Naamsvariant Coninck, Jacob (I) Coning, Jacob (I) Conningh, Jacob (I) Koning, Jacob (I) Konink, Jacob (I)
Naslagwerk Hollstein (1949-) , dl. 9, p. 264 Thieme/Becker 1907-1950 , dl. 21 (1927), p. 267-268 Waller 1938/1974 , p. 181 Witt Checklist 1978
Literatuur N. Schadee [red.], cat.tent. Rotterdamse Meesters uit de Gouden Eeuw, Rotterdam (Historisch Museum), 1994, p.286 E. Buijsen [e.a.], Haagse Schilders in de Gouden Eeuw, Den Haag, 1998, p.321
Standplaats ONS/Groep 550 - Historie: Rembrandt en school ONS/Groep 558 - Genre 2: algemeen ONS/Groep 574 - Landschappen 2 ONS/Groep 608 - Portretten 2 ONS/Groep 800 - Voorordening schilderkunst ONT/Groep 138 - Genre: soldaten, ruiters en jagers ONT/Groep 152 - Landschappen ONT/Groep 162 - Stadsgezichten en architectuur ONT/Groep 278 - Voorordening tekenkunst PDO/Nederlandse kunstenaars: K ONS/Witt-microfiches
Overige opmerkingen Oudere broer van Philips Koninck en oom van Salomon Koninck.
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