Eric Jan Sluijter pointed out this passage in 2009 in an e-mail to Nancy Minty. The English translation was taken from the Loeb Classical Library edition, translated by Frank Justus Miller and revised by G. P. Goold.
That Schalcken was very familiar with Ovid is apparent from the motto he gave one of his prints: Man Wearing a Tall Hat Who Makes an Obscene Gesture with His Right Hand bears the caption “Quam memiuisse juvat,” a quotation from the Metamorphoses, book 9, verse 485; for the print, see George S. Keyes, Hollstein’s Dutch and Flemish Etchings, Engravings, and Woodcuts ca. 1450–1700, ed. Karel G. Boon, 58 vols. (Amsterdam, 1949–), 24:152, no. 1 with illustration.
“De genegenheid tot de Konst deed hem de oeffening der talen, schoon hy daar in veer gevordert was, vaar wel zeggen.” Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols. (The Hague, 1718–21), 3:175. Houbraken and Schalcken must have known each other well, for they cosigned a document drawn up by the notary Jacob van Dyck on 7 October 1689; Gemeentearchief Dordrecht, ONA 20.517, unnumbered folio. That Schalcken received an excellent, well-rounded education also emerges from the appreciative words written about him by George Vertue (1684–1756): “Besides his Art, his gracefull behaviour & courtesie gaind him respect & esteem among people of Qualitie & distinction” (see George Vertue, “Vertue Note Books volume II,” The Walpole Society 20 [1931–32]: 139). Proof of Schalcken’s knowledge of Latin is provided by the dedication written by the German-born artist Johan Frederik Boddecker (1648–1727) on an engraving he made after Jan de Baen’s portrait of the Hague physician Cornelis Solingen (1641–87), which he apparently presented to Schalcken. The handwritten dedication reads: D. Godofredo Scalkio Apellis facile filio. See the print sale presided over by Anton W. M. Mensing at Frederik Muller’s in Amsterdam on 11 December 1906, lot 54 with illustration.
Hermann Maué and Sonja Brink, Die Grafen von Schönborn: Kirchenfürsten, Sammler, Mäzene (Exh. cat. Germanisches National museum, Nuremberg) (Nuremberg, 1989), 437–38, no. 346; Thierry Beherman, Godfried Schalcken (Paris, 1988), no. 30bis.
Thierry Beherman, Godfried Schalcken (Paris, 1988), no. 30. This painting, last seen at a sale held at Sotheby’s in London on 8 December 1993 (lot 105), was previously described with Jan Bisschop’s collection in Gerard Hoet, Catalogus of naamlyst van schilderyen, met derzelven pryzen, 2 vols. (’s Gravenhage, 1752), 2:530. In the 1771 inventory of Bisschop’s estate, it is listed as “Diana ter jagt gaande, zijnde een morgenstondt met veel beelden, h. 2:8, b. 2:2 d. [height 2:8, width 2:2 thumbs]” (Diana preparing for the hunt, being a dawn scene with many figures, approx. 84 x 68 cm; the conversion into centimeters is based on the Rhine thumb, which was the one commonly used in Rotterdam); Eppe Wiersum, “Het schilderijen-kabinet van Jan Bisschop te Rotterdam,” Oud Holland 28 (1910): 172. Bisschop’s collection of paintings was bought en bloc by John Hope in Amsterdam. After his death, a small part of the collection was sold at auction by his widow in Amsterdam on 10 August 1785. That sale included, in any case, lot 288: “Diana ter Jagt gaande, zynde een Morgenstond; op paneel, 32 x 26 d. [thumbs]” (Diana preparing for the hunt, being a dawn scene, on panel, approx. 82 x 67 cm; this conversion is based on the Amsterdam thumb); Jan Wolter Niemeijer, “De kunstverzameling van John Hope (1737–1784),” Nederlands Kunsthistorisch Jaarboek 32 (1981): 196. Given its large width, it is very likely that the work from the Bisschop and Hope collections appeared earlier in the sale of the collection of the burgomaster Mattheus van den Broucke in Dordrecht on 17 June 1717, where it was described as “Diana met haer Nymphen in een Bosch door Schalken, 2 en een drie vierde v. h., 2 v. 2 d. br. [height 2¾ feet, width 2 feet 2 thumbs]” (Diana with her nymphs in a forest by Schalcken, approx. 86 x 68 cm”; these measurements are based on the Rhine thumb); see Gerard Hoet, Catalogus of naamlyst van schilderyen, met derzelven pryzen, 2 vols. (’s Gravenhage, 1752), 1:211, no. 5. This Van den Broucke Jr. was the son of the Dordrecht merchant and burgomaster of the same name, whose portrait Schalcken had previously painted and whose portrait by Samuel van Hoogstraten was engraved by Schalcken in 1677; Thierry Beherman, Godfried Schalcken (Paris, 1988), no. 80, with illustrations of both works. For Schalcken’s print, see George S. Keyes, Hollstein’s Dutch and Flemish Etchings, Engravings, and Woodcuts ca. 1450–1700, ed. Karel G. Boon, 58 vols. (Amsterdam, 1949–), 24:153, no. 3.
Thierry Beherman, Godfried Schalcken (Paris, 1988), 407, nos. 314 and 379; in 2012 the canvas was with the art dealer Johnny Van Haeften in London; see Guido M. C. Jansen in Portret in portret in de Nederlandse kunst 1550-2012, ed. Sabine Craft-Giepmans and Annette de Vries (Exh. cat. Dordrecht, Dordrechts Museum) (Dordrecht, 2012), no. 36, 148–49, 307. An equally large repetition on panel by Schalcken’s studio is now in a private collection in The Hague; Johannes Erichsen and Katharina Heinemann, eds., Brennpunkt Europas 1704: Die Schlacht von Höchstädt—The Battle of Blenheim (Ostfildern 2004), 98, no. 1.03, ill. in color on p. 30.
Schalcken was accustomed to taking his pupils along to the notary’s whenever he had business there. Arnold Boonen, for example, and Schalcken cosigned notarial documents in Dordrecht from 1 December 1685 to 3 December 1687. This last document, drawn up by the notary F. Beudt (Gemeentearchief Dordrecht ONA 20.548 unnumbered folio) was signed not only by “Arnoldus” but also by his brother “Corstiaen Boonen,” who can therefore also be registered as Schalcken’s pupil and to whom a woman’s portrait of 1694, signed “C.L. Boonen,” can perhaps be attributed; see RKD databases, Excerpts, HdG-fiche 1059749.
On 1 December 1685, Richard Morris signed in full, together with Arnoldus Boonen, a document drawn up by the notary Arent van Neten, as evidenced by the act of conveyance for a hectare of land inherited by Françoisia van Diemen, Schalcken’s wife; unpublished archival notes of Abraham Bredius, kept at the RKD (Netherlands Institute for Art History), Schalcken file. Morris’s only known painting, now on the Dutch art market, portrays an “Oude man met een uil op de hand” (Old man with an owl perched on his hand) and is described as such in the estate sale of Seger Tierens, held in The Hague on 23 July 1743, lot 166: “Een oud mannetje met een Uil op de Hand, door R. Moris, voornaam Discipel van G. Schalke, zynde vroeg gestorven, daarom weinig bekend, h. 1 voet en drie vierde d., br. 10 en een vierde d. [height 1 foot and ¾ thumb, width 10¼ thumbs]” (An old man with an owl perched on his hand, by R. Morris, distinguished pupil of G. Schalcken, having died young and therefore little known, 33 x 27 cm); Gerard Hoet, Catalogus of naamlyst van schilderyen, met derzelven pryzen, 2 vols. (’s Gravenhage, 1752), 2:108, no. 166.
See the entry on Justus van Bentum by J. Hein in Allgemeines Künstlerlexikon, 61 vols. (Sauer, 1982–), 9:178–80.
Thierry Beherman, Godfried Schalcken (Paris, 1988), 165, no. 66.
Thierry Beherman, Godfried Schalcken (Paris, 1988), 119, no. 32; for the drawing, see in Guido M. C. Jansen, “Additions to Godfried Schalcken’s Oeuvre as a Draftsman,” The Hoogsteder Mercury 13–14 (1992): 77–78, ill. 7.
Thierry Beherman, Godfried Schalcken (Paris, 1988), 118, no. 31; see also the catalogue of the Van Haeften gallery in London, 1997, no. 34, as “A portrait of a lady as the Goddess Diana out hunting in a wood.” In addition to the above-mentioned representations of Diana, we also know a Bust of the Goddess Diana; Thierry Beherman, Godfried Schalcken (Paris, 1988), 314, no. 218, last seen at a sale at Sotheby’s in London, 7 December 1994, lot 256. An unpublished drawing of the same dimensions as the painting (black chalk, 45 x 32 cm) is now in the Fries Museum in Leeuwarden (inv. no. FM I-229). Although the drawing bears the signature Dirck van Deyl delin: 1680(?), the work should be attributed to Schalcken himself. The Hunting Diana signed by Schalcken—which was sold on 3 July 1990 in London at Phillips as lot 106 (oil on panel, 27 x 21 cm) and acquired at that time by the Galleria Luigi Caretto in Turin—can no longer be assigned to Schalcken, because it is actually the work of a pupil or follower. See Caretto Gallerie, Mostra maestri fiamminghi ed olandesi del XVI–XVII secolo (Torino, 1991), no. 28.
Entry based on 2011 examination report by Kate Smith, Museum of Fine Arts, Boston, and examination of the X-radiograph composite and image of reverse.