Jan Maurits Quinkhard (Rees 1688 – 1772 Amsterdam)
Portrait of a Gentleman
Oil on canvas, 63.3 x 53.2 cm (24.9 x 20.9 inch); contained in a dark stained frame of historic model
Signed and dated ‘Quinkhard fecit 1727’ (lower left)
Anonymous sale, Christie’s, Amsterdam, 9 November 2010, lot 91; private collection, The Netherlands
The identity of the sitter of the present portrait is no longer known, but we can be certain that he was not like one of those people from our current age who rejoice in their own photographed likenesses, or take endless selfies to obtain the right angle. Let’s face it: what we see at first is what seems to be a rather grumpy old man, who does not like to sit for painters. You can almost hear his spouse, “it has been arranged, you have to and you will!”. Yes, the present painting will possibly not elicit expressions of delight from your dinner gests, and yet we ourselves have a great weakness for such un-idealised portraits. We do not see beauty, but we see character, we do not see a person who is still full of dreams and aspirations, but one who has seen worries, suffering and problems. We see eye to eye with a person who was painted nearly exactly three hundred years ago and who has long left this world, leaving only this painted likeness behind, and possibly a few letters or archival references, and who is now in our care. The painting is not the usual commercial portrait one sees with successful dealers and at international art fairs, preferably depicting pleasant-smiling young beauties, but those who can look beyond the wrinkly outward appearance and look at the handling of the brush, will be able to see that it is a first-rate portrait.
The bewigged gentleman is likely to have belonged to Amsterdam’s elite. Shown wearing an elaborate wig, the realistically depicted man is seated in a richly carved armchair, upholstered in a green patterned velvet. The undulating red silk shawl would not have been worn in reality, but is an elaboration by the painter to provide pictorial interest, as are the curtains and hanging tassels.
The portrait is proudly signed and dated by Jan Maurits Quinkhard, who was born in Rees, near Cleves, the son of the painter Julius Quinkhard I, who was also his first teacher.1 By 1710 he was living and working in Amsterdam, where he was taught by Christoffel Lubieniecki (1659–1729), Nicolaas Verkolje (1673–1746) and Arnold Boonen (1669–1729), all leading artists of the period. In addition to producing paintings, drawings, miniatures and designs for prints and engravings, he restored paintings and dealt in art. Quinkhard was of the founding members of the Amsterdam Stadstekenacademie, or drawing academy. Among his pupils were many important artists of the period, including his son Julius Henricus Quinkhard, Jurriaan Andriessen, Jan de Beijer, Tibout Regters and Jan Stolker. Quinkhard was one of the leading portrait painters in Amsterdam of the day, and portraits by him can today be found in several museums, including the Rijksmuseum and the Amsterdam Museum in Amsterdam and the Centraal Museum in Utrecht. Because many of his portraits are in museums and institutions, his portraits do not frequently appear on the art market.
Among Quinkhard’s most celebrated works are the more than hundred miniature portraits of poets, known as the Panpoëticon Batavum, the brainchild of Arnold van Halen (1673–1732), who also supplied many of the portraits himself.2 Many of the portraits from the Panpoëticon are now in the Rijksmuseum
The present portrait can for instance be compared to Quinkhard’s portrait of Margaretha Trip, preserved in the Rijksmuseum in Amsterdam (fig.).3
1. For the artist, see P. Knolle, ‘Duitse schilders in de Hollandsche school. Hun komst, verblijf en reputatie 1680-1820’, De achttiende eeuw 40 (2008), no. 1, pp. 31-49 and Jane Turner (ed.), The Dictionary of Art, London 1996, vol. XXV, pp. 822-23.
2. For the series, see Lieke van Deinsen, The Panpoëticon Batavum: the portrait of the author as a celebrity, Amsterdam 2016.
3. Oil on canvas, 50 x 39.5 cm, signed and dated ‘J.M. Qinkhard pinxit 1754’, inv. no. SK-A-1269; Reinier J. Baarsen, Dirk Jan Biemond, Robert-Jan A. te Rijdt, Frits Scholten, Nederlandse kunst in het Rijksmuseum 1700-1800, Zwolle/Amsterdam 2006, pp. 234-235, fig. 43.