The black-chalk drawing preserved at the Hoge Raad van Adel (High Council of Nobility) in The Hague with the 1678 portrait of Govert van Slingelandt (1623–90) is the earliest example. The last portrait drawing represents the three brothers Le Leu de Wilhelm (Dordrechts Museum) and is a study in red chalk for the painting, dated 1702, in the Mauritshuis in The Hague. See Guido M. C. Jansen, “Additions to Godfried Schalcken’s Oeuvre as a Draftsman,” The Hoogsteder Mercury 13–14 (1992): 74–75, figs. 1 and 9.
This monogrammed drawing in red chalk (32.6 x 26.4 cm) was last seen in a sale at Sotheby’s in Amsterdam, 2 November 2004, lot 109, with illustration. Before this, it appeared at Sotheby’s in Amsterdam, 22 November 1989, lot 142, with illustration. It is a study for the painting in the Herzog Anton Ulrich-Museum in Braunschweig; Thierry Beherman, Godfried Schalcken (Paris, 1988), no. 196.
This sheet, in black chalk (25.8 x 20.7 cm), was offered in an auction at Sotheby’s in London, 4 July 2007, lot 193, with illustration. The signature G. Schalken fecit is, however, of unknown origin. With regard to the painting in Dresden, see Thierry Beherman, Godfried Schalcken (Paris, 1988), 279, fig. 184a, and, in particular, Harald Marx, Gemäldegalerie Alte Meister Dresden, 2 vols. (Cologne, 2005), 473, inv. no. 1656 (oil on panel, 26 x 20.5 cm).
In this context it is interesting to note Arnold Houbraken’s surprise at the fact that Carel de Moor (1655–1738) had become of pupil of Schalcken, “aangezien hy toenmaals de Tekenkonst al vry beter verstond dan Schalken” (since at that time he already understood the art of drawing rather better than Schalcken). Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols. (Amsterdam, 1718–21), 3:343. In his biography of Schalcken, Houbraken judged his brushwork to be equal to that of Adriaen van der Werff: “dog in opzigt van teekenen, zou ik hem zyn voetbank toe wyzen” (but with respect to drawing, I would point him towards his footstool); Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols. (Amsterdam, 1718–21), 3:177. It was already clear during his lifetime that drawing was not Schalcken’s forte.
In fact, Schalcken had wielded the brush earlier, an example being a refined portrait of a young woman, drawn in black chalk on parchment, an unusual and rather expensive support for a drawing by Schalcken. See Thierry Beherman, Godfried Schalcken (Paris, 1988), no. D26, with an incomplete description of the technique.
Purchased in 1997 from the art dealer Jack Kilgore, New York. Oil on canvas, 24.5 x 21.3 cm, inv. no. 97/3.
According to a note accompanying the photograph of the painting preserved at the RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) in The Hague, the painting is dated 1692, this having been communicated by the art dealer Jack Kilgore in New York. The website of the Art Gallery of Ontario gives a dating of “ca. 1692.”
In 1992 the painting was with the art dealer Rafael Valls in London, as stated in an advertisement in Simiolus 21 (1992): no. 4 (which appeared in April 1993). In March 1993 Valls exhibited the small painting, still unrestored, at the European Fine Art Fair in Maastricht.
Sale, London, Christie’s, 19 December 1941, lot 9; the measurements are given as 9 x 8 inches (22.8 x 20.3 cm). The painting came from the estate of Miss Agnes Emma Clayton East, who had died in October of that year as the last descendant of this branch of the family. The collection she had inherited apparently had come from Sir William East (1737/38–1819), 1st Baronet, whose daughter Mary East (ca. 1765–1833) married Sir William Clayton (1762–1834), 4th Baronet.
Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, vol. 14 (New York, 1998), 273.
Entry based on 2012 examination report by Marjorie Shelley, Sherman Fairchild Conservator in Charge, Sherman Fairchild Center for Works on Paper and Photograph Conservation, Metropolitan Museum of Art, New York.