Interior of a Protestant, Gothic Church during a Service

Emanuel de Witte, 1669

However much it might seem as if Emanuel de Witte attended this church service, the painter did not depict reality. In fact, he composed this church interior from parts of various existing churches. The nave, for instance, is based on that of the Oude Kerk in Amsterdam. The emphasis is on perspective and the effects of light and shadow. Thus he was able to create a convincing image.

  • Artwork typepainting
  • Object numberSK-A-4055
  • Dimensionsheight 44.5 cm x width 33.5 cm
  • Physical characteristicsoil on panel

Identification

  • Title(s)

    Interior of a Protestant, Gothic Church during a Service

  • Object type

  • Object number

    SK-A-4055

  • Description

    Interieur van een protestantse gotische kerk met motieven van de Oude Kerk te Amsterdam. Kerkinterieur waarin een kerkdienst wordt gehouden, de menigte op de rug gezien. Links staat de predikant te preken vanaf de kansel. Pendant van SK-A-4054.

  • Inscriptions / marks

    signature and date: ‘Aº 1669 E. De Witte’

Creation

  • Creation

    painter: Emanuel de Witte

  • Dating

    1669

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Material and technique

  • Physical description

    oil on panel

  • Dimensions

    height 44.5 cm x width 33.5 cm

This work is about

  • Subject

  • Place

Acquisition and rights

  • Credit line

    De Bruijn-van der Leeuw Bequest, Muri, Switzerland

  • Acquisition

    bequest 1961

  • Copyright

    Public domain

  • Provenance

    …; ? sale [seller ‘S’],{Ms note in the copy of the EBNP, that may have belonged to the dealer P. van der Schley; GPI, Sale Catalogs N-135. According to the GPI it is likely that this seller was either P. van der Schley or Theodorus Spaan, but Hofstede de Groot mentioned Spaan as buyer in his notes at the RKD.} Amsterdam (P. van der Schley et al.), 28 November 1808 sqq., no. 67 (‘Twee stuks Gezichten in de Oude Kerk te Amsterdam, rijk met Beelden gestoffeerd […], op Paneel […]. Ieder is hoog 17, breed 14 duim [43.7 x 36 cm]’), fl. 100, bought in;{Copy AA.} …; ? sale, Jonkheer Tjaard Anthony van Iddekinge (1756-1837, Amsterdam), Amsterdam (J. de Vries et al.), 25 April 1838 sqq., nos. 29, 30 (‘hoog en breed als de vorige [hoog 4 p. 3 d., breed 3 p. 4 d. (43 x 34 cm) Paneel.] Gezigt in dezelfde Kerk [Oude Kerk Amsterdam], gestoffeerd met wandelende beelden, een graf aan hetwelk gewerkt wordt, een hond enz. […]’), fl. 500, fl. 550, to Brondgeest;{Copy RKD} …; collection Johan Gijsbert, Baron Verstolk van Soelen (1776-1845), Rotterdam and The Hague;{According to coll. cat. Northbrook 1885, p. 35.} purchased by Thomas Baring (1799-1873) 2nd Baronet of Northbrook, London and Stratton Park, Hampshire, through the mediation of the dealer Albertus Brondgeest, 1846;{Thomas Baring jointly purchased the Verstolk Collection in 1846 with Samuel Jones Loyd and Humphrey Mildmay. That same year he obtained the sole ownership of both paintings from the joint purchase. Coll. cat. Northbrook 1889, appendix (unpag.).} his nephew, Thomas George Baring (1826-1904), 1st Earl of Northbrook;{Coll. cat. Northbrook 1889, introduction (unpag.} his son, Francis George Baring (1850-1929), 2nd Earl of Northbrook, London;{London 1929, no. 300.} …; purchased by the dealer P. and D. Colnaghi, London, between 1929 and July 1931; from whom £ 2,200 to Isaac de Bruijn (1872-1953), Spiez and Muri, near Bern, July 1931;{Note RMA.} donated to the museum by Isaäc de Bruijn and his wife, Johanna Geertruida de Bruijn- van der Leeuw (1877-1960), Spiez and Muri, near Bern, 1949, but kept in usufruct;{Note RMA.} transferred to the museum, 1961;{Provenance reconstructed in Manke 1963, pp. 99-100, 104, nos. 94, 109.}

  • Remarks

    Please note that this provenance was formulated with a special focus on provenance research for the years 1933-45 and could therefore be incomplete. There may be more (mostly earlier) provenance information known in the museum. In case this item has an uncertain or incomplete provenance for the years 1933-45, the Rijksmuseum welcomes information and assistance in the investigation and clarification of the provenance of all works during that era.

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