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Identification and Creation

Object Number
Cornelis Dusart, Dutch (Haarlem, Netherlands 1660 - 1704 Haarlem, Netherlands)
Seated Man with Large Hat
Work Type
17th century
Persistent Link

Physical Descriptions

Black, red, blue, brown, and white chalk on cream antique laid paper
30.8 x 22 cm (12 1/8 x 8 11/16 in.)
Inscriptions and Marks
  • watermark: MC MD; unidentified countermark
  • collector's mark: verso, center, brown ink, stamp: L. 1916 (Martin Schubart)
  • collector's mark: verso, lower left, black ink, stamp: L. 2087 (Unidentified, Fürst von Hohenzollern-Hechingen?)
  • inscription: verso, lower right, graphite: 182
  • inscription: verso, lower left, graphite: f 240--
  • inscription: verso, lower left, blue ink stamp: L. 3306 (Maida and George Abrams)


Recorded Ownership History
Fürst von Hohenzollern-Hechingen ? (L. 2087, verso, lower left), sold; [Lepke, Berlin, 13 May 1890, lot 137.] Dr. Martin Shubart, Munich (L. 1916, verso, center), sold; [Helbing, Munich, 26-27 October 1899, lot 274, repr. p. 46.] Max Wasserman, Boston, sold; [Palais Galliera, Paris, 26-27 November 1967, lot 2, repr.]; to [Alfred Brod Gallery, London] sold; to Maida and George Abrams, Boston, 1967 (L. 3306, verso, lower left); The Maida and George Abrams Collection, 2009.208.

Published Text

Drawings from the Age of Bruegel, Rubens, and Rembrandt: Highlights from the Collection of the Harvard Art Museums
William W. Robinson and Susan Anderson
Harvard Art Museums (Cambridge, MA, 2016)

After entering Haarlem’s Guild of Saint Luke in 1680,1 Cornelis Dusart cultivated a painterly style close to that of his probable master, Adriaen van Ostade, in peasant genre subjects. But after 1685—the year of Van Ostade’s death and Dusart’s presumed inheritance of his studio contents—Dusart amalgamated a variety of influences and came into his own as a prolific draftsman. His drawings of single figures resonate with those of Van Ostade and also with the figure studies produced by another Van Ostade student, Cornelis Bega, and his Haarlem circle (see 25.1998.93, 2009.207, 1951.3).

Dusart’s probate inventory of 1704 confirms the visual evidence. Hundreds of figural drawings by Dusart and by Adriaen and Isaac van Ostade appear, as well as 125 figure studies by Bega housed in two portfolios. Dusart also owned figure studies by Haarlem draftsmen Salomon de Bray and Leendert van der Cooghen.2 Many more drawings are simply described as figures drawn after life (“na’t leven”) or even as nude studies, referred to sometimes as “academies.”3

Dusart does not appear to have participated in life drawing within an artists’ collegium, as did Bega and his other Haarlem predecessors, since drawings by different hands of the same figures do not survive. However, he did adapt some of those practices with regard to models and costume, in that similar elements appear across his own sheets. In the present work, a mature man with thinning hair and a goatee wears a slashed doublet and floppy hat as he leans askew in a chair. The same costume and model appear in a crouching pose in a drawing in the Teylers Museum, Haarlem, suggesting that the two sheets were drawn within the same session (Fig. 1).4 Each distinctive element of these two drawings—model, hat, and doublet—appears singly in a variety of Dusart’s other figural drawings, implying that he maintained a stock of costume pieces to be donned by a particular model at his request. Aside from these two drawings, the model appears again in three other figure studies, the doublet in three further, and the hat in three more still.5

Dusart’s use of color in figure studies like this sheet has often been noted as a unique contribution to Dutch figural drawing, stemming from an innovative and inspired blending of sources. The large sizes, deliberate poses, and careful hatching of his single figures ally them with the figure studies of Bega and his colleagues. His addition of watercolor or colored chalks, however, originated from the example of his master, Adriaen van Ostade, who most often chose watercolor to enhance his small figures in pen and ink, thereby transforming them into little jewels of draftsmanship. By combining these antecedents, Dusart created unprecedented objects that could be viewed as both practical studies and collectible pieces.


1 Although many sources state that Dusart entered the guild in 1679, and specifically on 10 January 1679, this claim arises from a consistent misreading of the ledgers of the Guild of Saint Luke. Hessel Miedema corrected the data in his publication of the guild archives, but the misinformation widely persists; see Hessel Miedema, De Archiefbescheiden van het St. Lukasgilde te Haarlem, 1497–1798 (Alphen aan den Rijn, Netherlands, 1980), vol. 2, p. 685.

2 Probate inventory of Cornelis Dusart, Noord-Hollands Archief, notary Melchior van Cleijnenberg, reg. 683, no. 170, p. 2, verso, no. 73 (a painting of “een naakt vrouwtie door S. du Breij”) and p. 6, recto, no. 10 (a portfolio of drawings by various artists including “de oude Braij”); p. 6, recto, nos. 16 (“een [portefolio] met 51 stucks teken: manneties door C: Bega”) and 17 (“een [portefolio] met 74 stuks fig: door Corn: Bega”); and p. 8, recto, no. 5 (“een vrouwtie van vander Kooge”).

3 Probate inventory, p. 5, verso, nos. 3, 6, 19, and 28, and p. 7, verso, nos. 117, 119, 121, and 122.

4 Cornelis Dusart, Seated Man Sticking Out His Tongue (Fig. 1), black and red chalk and brown wash, 313 × 215 mm, Haarlem, Teylers Museum, S 17.

5 All drawings cited here are Dusart’s figure studies. The model appears in Vienna, Albertina, 10403, black and red chalk, 245 × 136 mm; Rotterdam, Museum Boijmans Van Beuningen, CD 6, black and red chalk, 216 × 148 mm; and Amsterdam, Rijksmuseum, RP-T-1899-A-4247. The doublet appears in London, The British Museum, 1836,0811.117, brown, yellow, and green transparent watercolor and black and red chalk, 334 × 223 mm; Vienna, Albertina, 10402, gray, brown, red, yellow, and blue chalk, 267 × 196 mm; and sold at Stuttgart, Kunstkabinett, 25–27 April 1951, lot 1142, repr., black, red, and white chalk on blue paper, 378 × 205 mm. The hat appears in Teylers Museum, S 16, black, red, blue, yellow, and brown chalk, 316 × 202 mm; Vienna, Albertina, 10404, brown and rust transparent watercolor and black, red, blue, and white chalk, 265 × 177 mm; and sold at the Goldschmidt sale, Prestel, Frankfurt am Main, 4–5 October 1917, lot 179, repr. pl. 70, black and red chalk, 330 × 225 mm.


Acquisition and Rights

Credit Line
The Maida and George Abrams Collection, Fogg Art Museum, Harvard University, Cambridge, Massachusetts
Accession Year
Object Number
European and American Art

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Publication History

  • Franklin W. Robinson, Selections from the Collection of Dutch Drawings of Maida and George Abrams, exh. cat., Jewett Arts Center (Wellesley, MA, 1969), cat. 20, repr.
  • A.W.F.M. Meij, ed., Dessins flamands et hollandais du dix-septième siècle: collections Musées de Belgique, Musée Boymans-Van Beuningen, Rotterdam, Institut Néerlandais, Paris, exh. cat., Institut Néerlandais (Paris, 1974), under cat. no. 21, p. 34 (n. 7)
  • Ebria Feinblatt, Old Master Drawings from American Collections, exh. cat., Los Angeles County Museum of Art/Allanheld & Schram (Los Angeles, 1976), cat. no. 204, p. 184, repr. fig. 204
  • Rembrandt and His Century: Dutch drawings of the seventeenth century from the collection of Frits Lugt, exh. cat., The Morgan Library & Museum (New York, 1978), under cat. no. 33, p. 51, (n. 9)
  • Frima Fox Hofrichter, Haarlem: The Seventeenth Century, exh. cat., Jane Voorhees Zimmerli Art Museum (New Brunswick, NJ, 1983), cat. no. 34, pp. 74-6, repr.
  • Mary Yakush, ed., Leonardo to Van Gogh: Master drawings from Budapest, exh. cat. (Chicago, 1985), under cat. no. 87, p. 190
  • Terez Gerszi, ed., Les plus beaux dessins de Vinci à Chagall (Paris, 1988), under cat. no. 87, p. 188
  • William W. Robinson, Seventeenth-Century Dutch Drawings: A Selection from the Maida and George Abrams Collection, exh. cat., H. O. Zimman, Inc. (Lynn, MA, 1991), cat. no. 96, pp. 210-11, repr.
  • Charles Dumas and Robert-Jan te Rijdt, Kleur en Raffinement: Tekeningen uit de Unicorno Collectie, exh. cat., Museum het Rembrandthuis and Dordrechts Museum (Amsterdam and Dordrecht, 1994), under no. 22, p. 68, (n. 2)
  • Anna Knaap, "From Lowlife to Rustic Idyll: The Peasant Genre in 17th-Century Dutch Drawings and Prints", Harvard University Art Museums Bulletin, Harvard University Art Museums (Cambridge, MA, 1996), vol. IV, no. 2, pp. 31-59, cat. no. 18, p. 56
  • Bob van der Boogert and Charles Dumas, Goethe & Rembrandt Tekeningen uit Weimar, exh. cat., Amsterdam University Press (Amsterdam, The Netherlands, 1999), p. 54 (n. 8)
  • Dessins anciens et du 19eme siecle, auct. cat., Christie's, Paris (Paris, March 18, 2004), under lot 193
  • Old Master and British Drawings and Watercolors, auct. cat., Christie's, London (London, July 2, 2013), under lot 47
  • William W. Robinson and Susan Anderson, Drawings from the Age of Bruegel, Rubens, and Rembrandt: Highlights from the Collection of the Harvard Art Museums, exh. cat., Harvard Art Museums (Cambridge, MA, 2016), cat. no. 28, pp. 110-112, repr. p. 111; watermark p. 376

Exhibition History

  • Selections from the Collection of Dutch Drawings of Maida and George Abrams, Hopkins Center Art Galleries, Hanover, 03/27/1969 - 04/28/1969; Wellesley College Museum of Art, Wellesley, 05/04/1969 - 06/04/1969; Rhode Island School of Design Museum, Providence, 09/17/1969 - 10/12/1969; University of Connecticut Museum of Art, Storrs, 10/18/1969 - 11/16/1969
  • Old Master Drawings from American Collections, Los Angeles County Museum of Art, Los Angeles, 04/29/1976 - 06/13/1976
  • Haarlem: The Seventeenth Century, Jane Voorhees Zimmerli Art Museum, New Brunswick, 02/20/1983 - 04/17/1983
  • Seventeenth-Century Dutch Drawings: A Selection from the Maida and George Abrams Collection, Rijksprentenkabinet, Rijksmuseum, Amsterdam, 02/23/1991 - 04/18/1991; Albertina Gallery, Vienna, 05/16/1991 - 06/30/1991; The Morgan Library & Museum, New York, 01/22/1992 - 04/22/1992; Harvard University Art Museums, Fogg Art Museum, Cambridge, 10/10/1992 - 12/06/1992
  • From Lowlife to Rustic Idyll: The Peasant Genre in 17th-Century Dutch Drawings and Prints, Harvard University Art Museums, Cambridge, 03/29/1997 - 06/22/1997

Subjects and Contexts

  • Dutch, Flemish, & Netherlandish Drawings

Verification Level

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