Boudewijn van Offenberg
Boudewijn van Offenberg or Offenberch, was a Dutch Golden Age notary and member of the Haarlem schutterij. He was born in Haarlem as the son of Pieter van Offenberg, a cloth and wine merchant who relocated in Haarlem with his brothers Dirck and Lucas from Wesel via Antwerp, and Maria van Loo. He married Beatrix de Laignier in 1627 and was a merchant in Haarlem and Bad Bentheim. He was a bearer of the St. George militia in Haarlem from 1612-1627 and had to resign when he got married, as Catholics were not allowed to become officers. He was portrayed by Frans Hals twice, in The Banquet of the Officers of the St George Militia Company in 1616 and his wife Beatrix was a daughter of the tafel houder or bank holder Maximiliaan de Laignier, who ran the Bank van Lening, Haarlem. After they married they lived on the Spaarne at the spot where the house number 47 exists today, the couple moved to Leiden in 1642 where they lived on the Rapenburg at number 14 until 1652. The disease elephantiasis was rare, so it is possible that he was just fat, as his portrait by Hals shows him to be considerably fatter than the first.
After he died, his wife and two sons moved to Oldenzaal, where his son Maximiliaan became a magistrate and his son Petrus became mayor, boudewijn van Offenberg in De Haarlemse Schuttersstukken, by Jhr. Mr. C. C. van Valkenburg, pp.68, jaarboek 1958, ISSN 0927-0728, on the website of the North Holland Archives
Young Man with a Skull
Young Man with a Skull is a painting by the Dutch Golden Age painter Frans Hals, painted in 1626 and now in the National Gallery, London. The painting was previously labelled Hamlet holding the skull of Yorick, the painting shows a young man in a feathered bonnet gesturing and holding a skull, and was first documented by Hofstede de Groot in 1910, who wrote HAMLET - Half-length. His head is inclined to the right, and he looks in the same direction. His right hand, much foreshortened, is stretched out to the front, in his hand he holds a skull. He has long hair, and wears a red cap with a long plume hanging down on the right. His big cloak is fastened across his breast, a piece of his white collar, exhibited on loan in the Dublin National Gallery,1895. Hofstede de Groot noticed this paintings similarity to another painting by Hals, its title indicating a theatrical portrayal of Hamlet was called into question by W. R. Valentiner in 1923. In his 1989 catalog of the international Frans Hals exhibition, Slive claims it is a vanitas and he rejects the idea of Hamlet because Shakespeares plays have not been recorded in the Northern Netherlands in the 1620s.
The National Gallery writes, The skull held by the boy is a reminder of the transience of life, such a subject is known as a Vanitas. The Netherlandish tradition of showing young boys holding skulls is well-established and can be traced back to engravings of the early 16th century
Portrait of a Woman Standing
Portrait of a Woman Standing is a painting by the Dutch Golden Age painter Frans Hals, painted in 1610–1615 and now in Chatsworth House. It is considered a pendant portrait, but the sitter is unknown and this painting was documented by Hofstede de Groot in 1910, who wrote, PORTRAIT OF A WOMAN STANDING. She is turned left, and looks at the spectator. Her left hand grasps her gold chain, the hand is extended before her. She wears a cap, a black silk dress, a ruff. To the left is a coat-of-arms, which has been repainted and this is not, as has been assumed, a pendant to 287. It was painted about the years 1630-35, inscribed near the coat-of-arms, aeta suae 37, panel,37 inches by 28 inches. Exhibited at the Whitechapel Art Gallery, London,1904, No.284, in the collection of the Duke of Devonshire, London. Slive felt the painting could be dated to Hals earliest period, in 1989 Claus Grimm listed it again as a pendant of the Man Holding a Skull but felt that it may have been painted somewhat later, but agreed with Slive that the period was before 1620.
The possible pendants of this painting are List of paintings by Frans Hals
Laughing Fisherboy is a painting by the Dutch Golden Age painter Frans Hals, painted in 1628 and now in Westphalia. This painting was documented by Ernst Wilhelm Moes in 1909 and Hofstede de Groot in 1910, M.253 - A fair boy, turned to the right. He holds his hands before his breast and he wears a blue cap, a blue doublet, and over it a grey jacket with short sleeves. Behind his left arm is seen the basket which he carries on his back, at the back is a view of the dunes. To the left are two figures on a road. On the right a church spire rises a little above the dunes, very broad and loose in style. The boys smile is very well rendered, signed, on a jug hanging from a strap over the shoulder, with a monogram composed of the letters F H F, canvas,26 1/2 inches by 22 inches. Hofstede de Groot noticed that this painting is similar to other paintings by Hals. In the exhibition catalog for the 1962 show, this paintings entry at #21 states that N. S
Haarlem is a city and municipality in the Netherlands. It is the capital of the province of North Holland and is situated at the edge of the Randstad. Haarlem had a population of 155,758 in 2014 and it is a 15-minute train ride from Amsterdam, and many residents commute to the countrys capital for work. Haarlem was granted city status or stadsrechten in 1245, although the first city walls were not built until 1270, the modern city encompasses the former municipality of Schoten as well as parts that previously belonged to Bloemendaal and Heemstede. Apart from the city, the municipality of Haarlem includes the part of the village of Spaarndam. Newer sections of Spaarndam lie within the municipality of Haarlemmerliede en Spaarnwoude. The city is located on the river Spaarne, about 20 km west of Amsterdam and it has been the historical centre of the tulip bulb-growing district for centuries and bears the nickname Bloemenstad, for this reason. Haarlem has a history dating back to pre-medieval times, as it lies on a thin strip of land above sea level known as the strandwal.
The people on this strip of land struggled against the waters of the North Sea from the west, and the waters of the IJ. Haarlem became wealthy with toll revenues that it collected from ships, however, as shipping became increasingly important economically, the city of Amsterdam became the main Dutch city of North Holland during the Dutch Golden Age. The town of Halfweg became a suburb, and Haarlem became a bedroom community. Nowadays many of them are on the Dutch Heritage register known as Rijksmonuments, the list of Rijksmonuments in Haarlem gives an overview of these per neighbourhood, with the majority in the old city centre. The oldest mentioning of Haarlem dates from the 10th century, the name probably comes from Haarlo-heim. This name is composed of three elements, haar, lo and heim, there is not much dispute about the meaning of lo and heim, in Old Dutch toponyms lo always refers to forest and heim to home or house. Haar, has several meanings, one of them corresponding with the location of Haarlem on a sand dune, the name Haarlem or Haarloheim would therefore mean home on a forested dune.
There was a stream called De Beek, dug from the peat grounds west of the river Spaarne as a drainage canal, over the centuries the Beek was turned into an underground canal, as the city grew larger and the space was needed for construction. Over time it began to silt up and in the 19th century it was filled in, the location of the village was a good one, by the river Spaarne, and by a major road going south to north. By the 12th century it was a town, and Haarlem became the residence of the Counts of Holland
A rijksmonument is a national heritage site of the Netherlands, listed by the agency Rijksdienst voor het Cultureel Erfgoed acting for the Dutch Ministry of Education and Science. To be designated, a place must be over 50 years old, there are around 51,000 designated rijksmonuments in the Netherlands. The program was started during the Hague Convention in 1954, the current legislation governing the monuments is the Monumentenwet van 1988. The organization responsible for caring for the monuments, which used to be called Monumentenzorg, was recently renamed, and is now called Rijksdienst voor het Cultureel Erfgoed. In June 2009, the Court of The Hague decided that individual purchasers of buildings that were listed as rijksmonuments would be exempt from paying transfer tax, previously this exemption had only applied to legal entities. Many Dutch tourist attractions are rijksmonuments, such as castles or windmills, among the rijksmonuments are many churches. A provincial monument is a monument designated by a province, in the Netherlands there are only two provinces that assign monuments, North Holland and Drenthe.
The designation allows the provinces to protect the monuments and are a base for the regulation of subsidy for restoring the monuments, a municipal monument is a monuments designated by a municipality. A municipal monument is not of importance but it is important for the region or city/village. List of Rijksmonuments List of heritage registers Monumentenregister, official database of heritage sites Monumenten. nl
Cornelia Claesdr Voogt
Vooght is a painting by the Dutch Golden Age painter Frans Hals, painted in 1631 and now in the Frans Hals Museum. It is considered a pendant portrait to that of her husband and this painting was documented by Hofstede de Groot in 1910, who wrote,201. VOOGT, wife of Nicolaes van der Meer and she sits in a large arm-chair, seen almost in full face, but slightly inclined to the left. Her left hand rests on the arm of the chair, her hand on her lap. She wears a cap, a dress with a fur cape, a ruff. In the left-hand top corner hangs her coat-of-arms, inscribed below the coat-of-arms, AETAT SVAE53 ANo 1631, panel,51 inches by 40 inches. In the collection of Fabricius van Leyenburg, in the Haarlem Municipal Museum, bequeathed by Fabricius van Leyenburg in 1883,1907 catalogue, No.125. In 1974 Seymour Slive listed this painting as Hals first example of a portrait at three quarter length of a sitting in a chair
A hofje is a Dutch word for a courtyard with almshouses around it. They have existed since the Middle Ages, a hofje provided housing for elderly people. They were privately funded, and served as a form of social security, in the Netherlands there are still a number of hofjes in use. Hofjes are usually built in a U-shape with a yard or garden in the middle, the shape of hofjes was most likely inspired by the Begijnenhofjes -- groups of small houses inhabited exclusively by religious women. A distinction is made between the Begijnenhofjes and regular hofjes. The former were used only by women, who were supporting themselves and they were a sort of cloister. The latter were more charitable institutions, the Hofje van Mevrouw Van Aerden in Leerdam is open to visitors as a museum
The Smoker is a painting by the Dutch Golden Age painter Frans Hals, painted in 1626 and now in the Metropolitan Museum of Art, New York City. In his 1910 catalog of Frans Hals works Hofstede de Groot called this painting a copy of a round version, in the centre is the head of a youth, seen almost in full face but inclined to the left. He holds a long clay pipe in his left hand, behind him to the left is the head of a girl looking at him. Her left hand rests on his left shoulder, in the right background the head of an old woman is sketched in light green. Behind the heads of the youth and girl is a curtain, circular panel,14 inches in diameter. An octagonal replica on panel,17 1/2 inches by 18 1/2 inches is in the Metropolitan Museum, New York,1905 catalogue and it was shown at the Royal Academy Winter Exhibition, London,1887, No. 95, it was in the collection of R. G. Wilberforce and it came into the collection of Henry G. Marquand, New York, who presented it to the Museum in 1888. The smokers head is very good and quite worthy of Frans Hals, the right hand of the man shows a variation from the original, here he holds the pipe with the forefinger, not between forefinger and thumb.
Besides, the figure of the woman to the right is much bigger, given to Konigsberg with other pictures from the collection through Regierungs-president Von Hippel of Bromberg,1837. In the Konigsberg Municipal Museum,1894 catalogue, No.75 and this painting could be related to the pendants at Schwerin in which a boy is wearing a similar split-sleeve jacket
Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted between 1633 and 1635 and now in the Gemäldegalerie, Berlin. The painting has titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, the painting is now often identified as a genre-style portrait of a specific individual from Haarlem, known as Malle Babbe, who may have been an alcoholic or suffered from a mental illness. The painting has been an object of admiration from Halss lifetime, as there are several copies. It was admired by Gustave Courbet, who made a copy of it in 1869 while it was on view in Munich. The painting measures 75 ×64 cm and shows the face of a woman, sitting at the corner of a table. With her right hand, the woman is gripping a pewter mug with an opened lid. An owl sits on the left shoulder. The clothing of the woman is simple and corresponds with the mode around 1630 in Haarlem and her face is animated in an almost manic grimace.
The very free handling of paint is typical of Hals style, the painting was for a long time mislabeled as Hille Bobbe though the inscription on the back of the picture frame reads Malle Babbe van Haerlem … Frns Hals. Under the witch interpretation, the owl was considered a possible familiar, however the subject matter of Frans Hals in his other paintings would suggest that the painting is probably of a pub scene, in which case the owl would reflect the Dutch proverb, drunk as an owl. Research in the Netherlands municipality of Haarlem showed that a real Malle Babbe actually existed, around 1642, Pieter Hals, a son of Frans Hals, was in this hospice. Hals and this Malle Babbe had probably met by this time, as she was evidently a known personality in Haarlem. In Dutch the adjective Malle signifies loony and that it is not uncommon to see painters or writers depict this type of village figure, the Metropolitan Museum of Art in New York City is in possession of a similar painting. It is not clear who the creator of this painting is, in the past it was attributed to Frans Hals, but it is now thought to be the work of one of his pupils.
Another variant depicts Malle Babbe accompanied by a male drinker, there are two paintings of unknown authorship in which she is depicted with a male figure adapted from a work by Adriaen Brouwer. Both figures are depicted behind a full of fish. There are two portraits apparently depicting Babbe, but without the owl, in the Netherlands, the painting gave its name to a well-known song, written by Boudewijn de Groot and Lennaert Nijgh and first performed in 1973 by Rob de Nijs