Unravelling an Attribution
Provenance research case study on 17th-century Dutch painting from the archives of Kunstzaal Oudt Holland
A Painting with Questions
Among the 46 photographs in Album 5 of Kunstzaal Oudt Holland, one black-and-white image stood out. It depicted a rustic interior with figures. Beside it, a few handwritten notes:
“Thans Collectie J of T, Vic Rijns, Adr. Brouwer? Vogels, Paneel.” These notes provided the first clues: a possible attribution to Adriaen Brouwer (1604–1638). The name “Vogels”, likely Willem Vogelsang, who made this attribution. The cryptic mention “Vic Rijns”. And lastly, even though the subject was typical for Brouwer, yet the execution looked heavier than his refined technique.
First Steps in the Archive
My research began with a visual search in the RKD database. Four images surfaced: one attributed to Brouwer, three anonymous. On the back of two photographs was an unexpected detail: “Foto 1962 ontv. van Ksth. J. Gans. Nice.” This pointed to a connection between Aad Boer, the dealer behind Kunstzaal Oudt Holland, and Jacob Gans, a Swiss-born art dealer active in The Hague. Beyond that, no firm attribution emerged. A Google search returned works by Adriaen van Ostade, suggesting that the composition type was common among genre painters.
The Breakthrough: Who Was “Vic Rijns”?
The real progress came from that puzzling name: Vic Rijns. It turned out to refer to Anthoni Victorijns (d. 1655), a little-known artist associated with genre scenes.
The Statens Museum for Kunst in Copenhagen holds three paintings linked to Victorijns. One is signed; two are listed as “attributed to Victorijns.” Their style matched the photo far better than Brouwer’s works.
The key piece of evidence was a print by Willem Basse (1613–1672) titled Bondefamilie i bøn. The engraving is reversed compared to the photo from Album 5, yet the composition is unmistakable.
Connecting Prints, Paintings, and Lost Originals
A new RKD visual search produced seven related images; prints and paintings attributed to Victorijns, Adriaen van Ostade, or Isaac van Ostade. One painting appeared in a Sotheby’s catalogue (London, 1997), attributed to Van Ostade. Another connection: a red chalk drawing in Budapest, echoing the same theme.
This research shows how easily compositions travelled across media in the 17th century. The painting in Album 5 likely copied Basse’s engraving, which itself was based on a design associated with Victorijns.
Final Attribution and Why It Matters
The painting’s current location is unknown. It has not appeared in any auction since its inclusion in Boer’s photo album.
The RKD record now reads:
Anonymous (Dutch School, 17th century), after an engraving by Willem Basse, based on a design attributed to a follower of Anthoni Victorijns.
Anonymous (Dutch School, 17th century), after an engraving by Willem Basse, based on a design attributed to a follower of Anthoni Victorijns.
This layered attribution acknowledges a complex chain: an original design, an engraving, and later copies. The rejected attribution to Adriaen Brouwer remains documented for reference.
Why These Details Matter
Attribution/provenance research is rarely straightforward. A single marginal note, “Vic Rijns”, opened an entire line of investigation. Engravings and auction catalogues proved essential in reconstructing the painting’s history.
These findings do more than clarify authorship. They reveal the networks of influence among 17th-century painters, the role of prints in shaping visual culture, and the dynamic art trade of the period.
