REMBRANDT PAINTS MASTER CARPENTER JACOB WESSELSZ WILTINGH

AN UNKNOWN REMBRANDT FROM THE ARCHIVE OF THE AMSTERDAM NOTARIES

Mark Ponte and Erik Schmitz

The two hitherto unknown references to Rembrandt were found by the computer in the settlement of the estate of master carpenter Jacob Wesselsz Wiltingh, who died in 1661. In the account of the management of the estate drawn up by the notary Gillis Borsselaer (active in Amsterdam 1636-1675) the expenses and income from the years 1661-1665 are listed in chronological order. On 1 December 1663 a payment to the city messenger is noted, relating to three different issues: Rembrandt, the renters of a house in the Grote Kattenburgerstraat and the title of a document (probably a transfer of ownership):

Betaelt voor oncosten van Stadtsbode gelt van Rembrant de schilder te roepen met de luijden vande kelder ende kamer op kattenburch met een brieff opt Oostindische huijs overgeteijckent samen f. 1:13:- (Expenses paid to the city messenger to summon Rembrandt the painter, with the persons in the cellar and the room in the Grote Kattenburgerstraat with a document at the Oost-Indisch Huis transferred total f. 1:13:-)”.

The city messenger brought Rembrandt the notice that he was to appear, and the expense post of 7 December 1663 reveals why:

Betaelt aen Rembrant de schilder voor schilderen vande overleden f. 15:14:- (Paid to Rembrandt the painter for painting the deceased f. 15:14:-

Read the full story in Kroniek van het Rembrandthuis:

Mark Ponte and Erik Schmitz (2021). Rembrandt paints master carpenter Jacob Wesselsz Wiltingh. An unknown Rembrandt from the archive of the Amsterdam notaries. Kroniek van het Rembrandthuis 2021, 18-29. https://doi.org/10.48296/KvhR2021.02

Ontsnapt aan de Franse galeien

Het is redelijk bekend dat Noord-Afrikaanse schepen Europese slaven hadden. Maar dat was andersom ook het geval. Vier van hen werden na hun ontsnapping gastvrij ontvangen in Amsterdam. 

Amsterdam was in de zeventiende eeuw een stad met inwoners uit alle windstreken, maar dat een groepje van vier Turkse moslims op 23 december 1690 in het kantoor van notaris Dirk van der Groe verscheen was ook voor Amsterdamse begrippen bijzonder. Ibrahim, Alij, Saleh en Usein waren ex-slaven.  

In het notariskantoor vlakbij de Beurs legden zij een verklaring af, bijgestaan door de Armeniër Pieter Avet en Manuel de Sirach, die zowel Turks als Nederlands konden spreken. De klerk noteerde: “Ibrahim, Soon van Useijn, geboortich van Constantinopolen, achttien Jaaren slaaf geweest op de Franse galleijen; Alij, soon van Hassan, geboortig van Sinep, seven Jaaren Slaaf geweest op de Franse galleijen; Saleh, soon van Osman geboortigh van Larissa, twaalf jaaren Slaaff geweest op de zelfde Franse galleijen; mitsgaders Usein, soon van Hallil Janitzer, van Buda van geboorte, alle vier geboren onderdanen van den grooten Heer ende Mahumetanen van religie.” 

Lees het hele verhaal op: onsamsterdam.nl

Girl by a High Chair (1640) – Govert Flinck

Mauritshuis, Den Haag

This short piece is part of the new multimediatour in the Mauritshuis Museum and online (English and Dutch).

The Amsterdam elite of the seventeenth century were keen to have their portraits painted by the great masters of the day. This young girl was painted in 1640 by Govert Flinck, Rembrandt’s best pupil. The toddler, who’s adorned with gold, stands next to her high chair. Lying on the tray is some white sugar, still a luxury item in the mid-seventeenth century.

Did the child’s parents want to show that they were so wealthy they could give their child sugar as a treat? Or does it have a deeper significance? Does it possibly symbolise that her parents were involved in the sugar trade, like many Dutch people who were directly and indirectly involved in the trade and production of sugar at that time?

I don’t know. What I do know is that hiding behind that white sugar on the tray is a history of slavery and exploitation. It was the cultivation of sugar that had drawn the Dutch to Brazil. Thanks to the capture of the rich Brazilian province of Pernambuco, the Amsterdam sugar industry flourished in 1640. Every year, dozens of ships left the Dutch Republic to collect sugar from there.

Some of these ships sailed to Brazil via the west coast of Africa, where people were traded. Men, women and children were placed in the hold and transported to Brazil. After the gruelling journey, they were set to work on the plantations and in the sugar mills.

In the meantime, dozens of refineries appeared in Amsterdam where the sugar cane sap was refined into fine, white sugar, for this little girl to enjoy as a sweet.

Anthony, een zwarte jongen tijden de Amerikaanse Onafhankelijkheidsoorlog

Rond 1770 leefde in Amsterdam ‘Swarte Klaas’, een zwarte bedelaar zonder benen, vooral bekend doordat hij werd afgebeeld op een populaire prent uit die tijd. De prent maakt onderdeel uit van een serie prenten van straatfiguren en bedelaars die werkelijk geleefd hebben, getekend door Pieter Barbiers en in prent gebracht door Pieter Langendijk. Swarte Klaas is ook op een prent van de Nieuwe Stadsschouwburg aan het Leidseplein te zien, uitgegeven in 1775. Over de herkomst en identiteit van Klaas is nog weinig bekend. Misschien was hij een afgezwaaide zeeman, die op zee zijn benen verloren was. Zoals de zwarte jongen Anthony, die zijn beide onderbenen verloor tijdens de Amerikaanse Onafhankelijkheidsoorlog.

Lees verder op AlleAmsterdamseAkten.nl

Bedreigingen op de beurs

Jacob di Assatur trok in 1714 naar de Beurs om Johannes di Avetick met zijn degen ‘den hals te breecken’: een ruzie tussen de twee Armeense handelaren was hoogopgelopen.

Armeniërs vormden vanaf de vroege 17de eeuw een kleine maar duidelijk zichtbare bevolkingsgroep in Amsterdam, zeker voor wie regelmatig de beurs bezocht. Zij werden ook wel ‘Persianen’ genoemd, omdat sommigen uit de stad Isfahan in Perzië, het huidige Iran, kwamen.

Portret van een Armeense man met een boek, Amsterdam, 18e eeuw, anoniem. Collectie: Mekharitarist Monastary of San Lazzaro, Venice.
Gepubliceerd in: Sehouh Aslanian, ‘The Cultural FLourishing of the Armenian Communities in India and Around the Indian Ocean (…)’

Deze Persianen waren handelaars, actief in de Levantse handel, de handel op het oosten van de Middellandse Zee. Armeniërs waren van oudsher nuttige tussenpersonen tussen de christelijke en de islamitische wereld. Ze werden daarom ook in Amsterdam gewaardeerd. De eerste Armeense bijbel is in 1668 in Amsterdam gedrukt; ook introduceerden zij de koffie in de stad, voordat die grootschalig op plantages in het Caribisch gebied verbouwd ging worden.

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De Armeniërs hadden een eigen plekje op de Beurs, blijkt uit 18de-eeuwse plattegronden. Tussen pilaar twaalf en dertien stonden de ‘Persiaanen’ naast de ‘Fabriceurs in zijde en manufacturen’. (Beeldbank)

De meesten woonden ten oosten van de Nieuwmarkt, rond de Kromme Waal, de Koningsstraat, de Recht- en de Kromboomssloot en de Breestraat, een echte migrantenbuurt. Ze hadden aanvankelijk een huiskerk in de Koningsstraat, maar in 1714 verrees aan de Kromboomssloot een grote Armeense kerk, die er nog altijd staat, en – na een lange onderbreking – sinds 1997 weer in gebruik is als Armeense kerk.

Lees verder op de website van Ons Amsterdam.

Samuel, Mahamet and Hamet

Moroccans in seventeenth century Amsterdam

Translation of ‘Samuel, Mahamet en Hamet’ published in Ons Amsterdam, May 2021.

Amsterdam has been a migration city since the sixteenth century. The arrival of Moroccans – now one of the large migrant communities in the city – goes back to the early 17th century.

Drawing by Rembrandt

Many Moroccan migrants who settled in Amsterdam in the 17th century had a Jewish background. The most famous representatives were the Pallache (or Palache) family. They were also literal representatives, for Samuel Pallache (c. 1550-1616), his brother Joseph (c. 1570-1639 or 1649), his sons and his nephew David (1598-1650) acted as emissaries of the kings of Morocco.

Samuel Pallache was born in Fez to a Jewish family from Spain. The Pallaches were true cosmopolitans: they spoke Arabic and Spanish and travelled back and forth between North-Africa and Europe, formally as jewellery traders, but also as diplomats, spies and privateers. In 1605, Samuel Pallache offered his services to the King of Spain as an informer. He and his brother Joseph must have considered converting to Catholicism in order to settle in Spain, but in 1607 they had to leave Spain. They travelled on to the Netherlands and settled in Amsterdam a year later. Their families also made the journey north.

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Rembrandt, circa 1640

Because of their ties with the Spanish court, the two Pallaches were initially not welcome in the Republic, but Samuel and Joseph managed to be appointed representatives of the Moroccan sultan Muley Zaydan (Zidan Abu Maali, ?-1627), then an ally of the Republic in the conflict with Spain. They played an important role as intermediaries in the relations between the Republic and Morocco and in the liberation of enslaved sailors in North Africa. After Samuel’s death in 1616, Joseph took over the ambassadorship; his son David often acted as his representative.

The Pallaches and other North African Jews must have stood out in Amsterdam for their dress, especially their turban, even though the population was diverse in the trading city. All kinds of ‘exotic’ appearances in the street scene inspired Rembrandt and others to make drawings of people in ‘oriental’ attire. A merchant wearing a turban can be seen in paintings of Dam Square.

Rembrandt's Orient: An Exhibition in Basel and Potsdam - CODART
School of Rembrandt, circa 1635,
National Gallery of Art, Washington

Contraband

Moroccan immigrants also turn up in the archives of Amsterdam notaries. On 24 December 1672, two Moroccans make a declaration before the notary Dirck van der Groe, Mahamet Benbarck and Hamet Bin Hamet from Salé. Interpreter is the ‘Portuguese merchant’ Joseph Galaco; Galaco was also born in Salé and has a command of the ‘Nederlantse & Moorse spraecke’ (Dutch and ‘Moorish’ language).

Benbarck and Bin Hamet make a statement at the request of the skipper Gerrit Jansz. A few days earlier they had boarded the ship the Koning David, which was to take them to North Africa. The ship lay at anchor on the Rede van Texel, waiting for the skipper, who was still ashore. One Monday, around ten o’clock, the two passengers and almost the entire crew were below deck when they noticed that the ship began to sway and drift.

Mahamet and Hamet rushed upstairs, where they found the helmsman and an axe lying on the ground. Both anchors appeared to be unshackled and the jib unbuttoned. Bin Hamet shouted to the helmsman: “What kind of a helmsman are you, cutting the anchors? Let us go ashore”, to which the helmsman had replied: “Go and eat below”.

Apparently the mate and the ‘hoogbootsman’ Isaack had some nefarious plans. Possibly contraband was involved: according to the Moroccan passengers the mate had “a packet of good in his hand without being able to say what it was”. In any case, the journey was cancelled for the time being. The passengers and crew left the Koning David, after which the ship was left with “only the dog and the cat”.

Signatures Hamet Bin Hamet and
Mahamet Benbarck

Rage

Relations between North African Jews and other Jews were generally good, as were those between North Africans and other Amsterdammers. But there were sometimes tensions in the streets. A confrontation between Samuel Pallache’s nephew David and one ‘Moses Rosado’, in all likelihood Moses Curiel Rosado (1614-1678), is striking. On Monday 2 May 1639 David Pallache was attacked by Rosado in broad daylight on Vlooienburg. While shouting “Oh, Turk!”, Rosado punches him in the face and hits him with a stick and a sabre.

Rosado was arrested and sentenced to two months in the Rasphouse, but a year later he was again the instigator of skirmishes. In June 1640 he assaulted Pallache’s servant in Jodenbreestraat and there was also a confrontation in Ververstraat, during which the servant and Pallache’s nephew fled into a tailor’s shop. Again Moses Rosado is convicted.

Convicts in the Rasphouse, 1663


Another Moroccan – “a certain Moor named Achma” – was handcuffed by the sheriff on 20 August 1656, because he had “committed great violence & misconduct on the street”, according to a deed. Achma, apparently drunk, had attacked butcher Thomas Lodewijcksz near the Turfpakhuizen (now: the Academy of Architecture, Waterlooplein). He had pulled Lodewijcksz.’s butcher’s knife from his quiver, “in order to take his life with it”.

It did not come to that: a bystander had come to the butcher’s aid and taken the knife from Achma. Achma moved through the streets, so furious “that everyone fled from him and made a great shouting & roaring noise along the streets, yes so that the people fell over each other and kept lying on the street”. Witnesses mentioned several wounded; Jacob Bueno, at whose request the deed was drawn up, was supposedly beaten so badly that he could hardly stand on his legs and was still in bed a day later.

Bueno’s statement may well have been a little exaggerated. The confession book of the sheriff only mentions that the 35-year old Hamet Bar “from Salé in Barbary” had been arrested for the uproar. The notarial document was translated into French for Hamet Bar, but he denied everything and that was the end of it for the authorities. A year later, however, he was arrested again for knife crime. He was clearly not a sweetheart, with his bad temper.

Generaal Uquerika in Amsterdam

Op 4 december 1682 tekende de inheems Surinaamse leider Uquerika twee machtigingen bij notaris Dirk van der Groe. Opnieuw een bijzondere vondst, bij deze recent met behulp van Handwritten Tekst Recognition ontsloten notaris. Uquerika was één van de eerste inheemse Surinamers in Amsterdam, en was zeer waarschijnlijk de allereerste die een geschreven bewijs van zijn aanwezigheid achterliet.


Diorama van een Caraïbenkamp, Gerrit Schouten, 1810 (Rijksmuseum) 

Vanaf de vroege zeventiende eeuw kwamen er Inheemse Zuid-Amerikanen, toen vaak Indiaenen of Brasilianen genoemd, naar Amsterdam. Zowel vrije bondgenoten van de West-Indische Compagnie (WIC) en individuele kolonisten, als tot slaaf gemaakte inheemsen. In de notariële en andere Amsterdamse archieven zijn diverse sporen van hun aanwezigheid in Amsterdam terug te vinden. In de eerste helft van de zeventiende eeuw kwamen zij vooral uit Brazilië, vanaf de verovering van Suriname in 1667, kwamen zij vaak daar vandaan.

Lees het hele verhaal op Alle Amsterdamse Akten

Unknown slavery stories behind famous Rembrandt paintings

Translation of spoken column in 2018. Read the original in Dutch at Over de Muur

We know Rembrandt van Rijn mainly for works such as The Night Watch and The Jewish Bride, but in the course of his career he also painted and drew various black women and men. He was able to do this in his masterly way because he lived in a multicultural seventeenth-century neighbourhood in Amsterdam: the area around today’s Jodenbreestraat, where dozens of people of African descent also lived. People he encountered on the street and could invite to his studio.

The highlight of Rembrandt’s ‘Black’ oeuvre is of course the painting Two African men – appropriately enough – in the collection of the Mauritshuis in The Hague. Appropriate because, like Maurits van Nassau-Siegen, most of the Africans who lived in Rembrandt’s neighbourhood had a history in Dutch Brazil, albeit on a very different rung of the social ladder. Not only did all kinds of returning colonists take enslaved men and women as servants to Amsterdam, but a group of black sailors and soldiers settled here as well. Men who had often been in the service of the West India Company. Some of these sailors knew the entire Atlantic World, from Angola, Brazil and the Caribbean to New Amsterdam, today’s New York.

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Two African men, by Rembrandt (1656/1661), Mauritshuis

But not only paintings with black sitters can tell a story about slavery and related themes. Other Rembrandts also lend themselves perfectly to this. Anyone who has visited a bookshop in the Netherlands the past two years will undoubtedly be familiar with the portrait of Jan Six from 1654, which features prominently on the front cover of Geert Mak’s popular book. Whether Six had anything to do with the VOC or WIC I do not know, it could well be that he had shares in that direction.

We know very little about what specific Amsterdammers actually experienced when they went out on the streets, let alone how often someone like Jan Six encountered a black townsman. Did he have friends with black servants in the house?


Jan Six, by Rembrandt (1654),
Collectie Six

There was at least one important moment when, in the sources, the life of Jan Six crossed that of a young black boy. On Friday 10 February 1668, in the Oude Kerk, in the presence of mayor Nicolaas Tulp, Jan’s son was baptised. Both father Jan Six and grandfather Nicolaas Tulp were painted by Rembrandt, mother Margareta Tulp by Govert Flinck. A chic baptism, therefore, of a member of the highest echelons of the Amsterdam patrician class.

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Baptisms Old Church, 10 February 1668, Stadsarchief Amsterdam

On the same day three other children were baptised, who did not belong to the upper class at all. After Jan the girls Maria and Hester were baptised. The last one to be baptised that day was Dominicus: “A swart [black] about 10 or 12 years of age”, who lived with Claes Philipsoon on Oude Waal; I imagine that Dominicus sat at a distance watching the babies Jan, Maria and Hester being baptised, before it was his turn.

Even the portraits of Marten and Oopjen, the other two Rembrandts, which have received a lot of attention in recent years, can tell several stories that touch on the history of slavery. Marten Soolmans was the son of a wealthy sugar trader and refiner who had settled in Amsterdam after the fall of Antwerp. The relationship between sugar and slavery is not worth explaining here. After the death of Soolmans, Oopjen Coppit remarried to WIC captain and Brazil veteran Maarten Daey.


Portraits of Marten Soolmans and Oopjen Coppit, by Rembrand (1634)
Rijksmuseum / Musée du Louvre

While researching documents about Dutch Brazil, I came across Maarten Daey in a journal of the Reformed Church in Paraiba. In it, the moving story of the black woman Francesca was recorded. Francesca, we read, was captured and locked up in Captain Daey’s house. Francesca was raped by Daey. When it appears that she was pregnant, Daey sent Francesca out of his house, because he wanted nothing to do with the child. Would his son Hendrick Daey, who later owned these two paintings, have known about his Brazilian half-sister Elunam, who was almost twenty years older?

Exhibiton

This is a translation of a spoken column in 2018. The story of Oopjen is now part of the exhibition Slavery. Ten true stories in the Rijksmuseum Amsterdam.

Op schaatsen uit Ouderkerk


Jan Beerstraaten, Wintergezicht Ouderkerk aan de Amstel, 1659.
Collectie Amsterdam Museum.

Nieuwjaarsavond 1653 schaatste Abraham Chamis van Ouderkerk a/d Amstel naar Amsterdam. Omdat hij bang was dat hij de stad niet meer in zou komen – ’s avonds werden de poorten gesloten – klopte hij aan bij Hilletje Jans buiten de Regulierspoort.

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De stadswal met de tweede Regulierspoort. De houten poort werd in 1655 vervangen door een nieuwe poort van steen, Reinier Nooms, 1652-1655. Collectie Stadsarchief Amsterdam.

Het kostte Chamis enige moeite om Hilletje ervan te overtuigen, maar uiteindelijk mocht hij daar logeren en heeft hij er gegegeten, geslapen en de volgende ochtend keurig betaald. Blijkbaar waren er geruchten ontstaan naar aanleiding van deze avond. Want twee maanden verklaarde Hilletje het bovenstaande bij een notaris. Bovendien ontkende zij met klem de valse beschuldiging dat Abraham in haar huis met een zekere ‘lichte vrouw’ Anna geslapen zou hebben.

Black History Month

During #BlackHistoryMonth everyday a tweet about Amsterdam’s Black History.

1 – Franciscus Thomas from Sierra Leone

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On 1 february 1698 Franciscus Thomas from ‘Sierra Liona in Africa’ and Truijtje Hendricx from Amsterdam posted their banns in Amsterdam. Two weeks later they married in the Old Church. Franciscus Thomas was working as a ‘droogscheerder’ in the textile industry. He lived in the Egelantierstraat in de Jordaan area. #1

2 – Francisco from Angola – ensign in Brazil

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Francisco from #Angola was a vaandrig (ensign) in the Dutch army in #Brazil, after the Portuguese takeover in 1654, he settled in #Amsterdam, where he lived in the Jodenbreestraat on the corner of the Markensteeg, ‘under the angel’. He died in January 1659. #2

3 – Alida Clara Carles from Berbice

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On 25 December 1784 Alida Clara Karles/ Charles was buried at St Anthonies Cemetery in #Amsterdam. She was born in the Dutch colony of #Berbice, her mother was the free black woman Quassiba. Together with her husband she ran a bar in Pieter Jacobszdwarsstraat. #3

4 – Swarte Klaas

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‘Swarte Klaas’ (Black Klaas) was a famous street figure in #Amsterdam in the 18th century. Klaas was a Black man who had lost his legs, maybe as a sailor. He was portrayed by different artists. Klaas died around 1800 in Amsterdam. #4

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5 – Pieter Claesz Bruin and Lijsbeth Pieters

In 1649 44-year old sailor Pieter Claesz Bruin from Brazil married Lijsbeth Pieters from Angola. They were an important couple in the small black community around de Jodenbreestraat in Amsterdam. They were the godparents of different Black children born in the area. Like Pieter, the son of Alexander van Angola and Lijsbeth Dames and Catharina, the daughter of Louis and Esperanza Alphonse. The children were baptized in the House Moyses.

Read more about Pieter Claesz Bruijn and Lijsbeth Pieters in ‘Black in Rembrandt’s Time‘ and in Dutch in TSEG.

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6 – Francisca

In the 1630’s Francesca clearly played a important role in the the formation of a Black community in #Amsterdam. According witnesses, Francisca would ‘receive in her house all the black men who come to this city.’

7 – Theatre

"Dito voor drie morijanen in Salomon f3"

Monday 11 April 1650 three Black men were paid a guilder each to perform in the play ‘Salomon’ in the Municipal Theatre. Unfortunately their names were not registered, but entries like this show that Black people performed in theatre in C17th Amsterdam. The anonymous performers were almost certainly members of the same community as Pieter Claesz Bruin and Lijsbeth Pieters.

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They were ‘extras’ in the play, but were paid considerably more than the 10 soldiers in ‘De gestrafte kroonzught’ (La crueldad por el honor) later that month. The 10 soldiers had to share 3 guilders, earning only 6 nickels each.

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8 – Louis Zamore van Wicky

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This is Louis Zamore van Wicky (1778-1805) hours before his early death in #Amsterdam in 1805. Louis Zamore was a draughtsman born in the plantation colony of #Berbice (now part of #Guyana).

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Louis was the son of a Black woman and plantation owner Emanuel de Correvont. The name of his mother is unknown. He had a sister in the Netherlands named Lisette, who is almost certainly watching over het brother’s deathbed in this drawing.

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In 1802, Louis Zamore enrolled at Municipal Drawing Academy. He was a student of painter Jurriaan Andriessen and lived with the Andriessen family. In July 1805, Louis suddenly contracted a severe fever and died two days later. He was buried at the Zuiderkerkhof cemetery.

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As far as I know, no artworks by Louis Zamore van Wicky are known. Zamore van Wicky was one of the main characters in the @Stadsarchief exhibition ‘Amsterdammers and slavery’ in the summer of 2020.

9 – The Charles Family

Maria Santje Charles (1838-1914) and Hendrik van Guinea Charles (1827-1899). Maria and Hendrik were children of Johannes Charles (1793-1872), survivor of the transatlantic slave trade.

Their father was born in (present day) Ghana, as a child he was captured, enslaved and taken to Suriname, where he was sold to a merchant. In 1817, J. Charles was emancipated to move to the Netherlands as the servant of Majorin Elisabeth Bijval, herself born in slavery in 1776.

Majorin Elisabeth Bijval was a sister of Jacob Beeldsnijder Matroos. Jacob Beeldsnijder Matroos is buried at the @OudeKerkAMS on September 27, 1817.

Johannes Charles had to leave his two-year old son Gideon and hist wife Charlotte in Suriname, where they lived in slavery until januari 1863. Half a year before the legal abolition of slavery in the Dutch colony.


In the Netherlands, Johannes Charles married Elisabeth van Eijbergen from Rotterdam. They settled in Amsterdam and had ten children. Thanks to several letters that survived, we know that Gideon, who was left behind in Suriname, was in touch with his family in The Netherlands.

A few years ago the Charles Family brought Gideon’s letters, some of them written when he was still enslaved, the photo’s and othere family documents to the @stadsarchief. The letters are digitized and are available for research.

10 – Dominicus

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On 10 February 1668 Dominicus, “a Black out about 10 or 12 years of age”, was baptized in de Oude Kerk in #Amsterdam. Dominicus lived with Claes Philipsoon on Oude Waal.

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We don’t know much about Dominicus. Was he brought to the city as an enslaved child? Was he a child servant in the house of Claes Philipsoon? Like this boy in Haarlem, painted by Frans Hals?

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On the same day in the same church a son of Jan Six was baptized, in presence of mayor Nicolaas Tulp his grandfather. Both Jan Six and Nicolaas Tulp were painted by Rembrandt, mother Margareta Tulp by Govert Flinck. Did they see Dominicus in the church that day? What did Dominicus think?