DOI issue:
Nr. 2-4
DOI article:Kozak, Anna; De Herdt, Jan [Ill.]: Jan de Herdt, a forgotten 17th century Flemish painter
DOI Page / Citation link:https://doi.org/10.11588/diglit.18902#0080
28. Caspar de Crayer, Yirgin and Child Crowning a Female Saint, drawing, Edinburgh, National
Gallery of Scotland (photographed from a reproduction).
-as in tlie drawing Flagellation, wliich indicates that the drawing in question was a design for
an altar painting which has not been located. The stylistic qualities, the workmanship and the
watermark (a shield with two keys surmounted by a mitrę und a crosier62, Fig. 22), a frequent
countermark of the watermark in the drawing Flagellation, permit us to datę the Crucifixion
in the same period as the former, i.e. before Herdt had painted the Flagellation for the Wald-
hausen church.
The influence of other Flemish masters, J. Jordaens and C. de Crayer, is evident in the two
versions of St Annę, the morę elaborate of which (Fig. 17), enriched with the figures of two
saints, probably St Joachim and St Joseph, is signed I: D: HERDT. F, at the bottom on the
left, while the other (Fig. 18), though unsigned, is so closely linked with Herdt’s works that
his authorship is beyond doubt. The geometrie quality of form, broad wash, and features madę
up of a couple of lines and points in Herdt are reminiscent of some of Jordaens’s drawings. On
■62. The Nostitz Papers, op. cit., No. 652.
70
Gallery of Scotland (photographed from a reproduction).
-as in tlie drawing Flagellation, wliich indicates that the drawing in question was a design for
an altar painting which has not been located. The stylistic qualities, the workmanship and the
watermark (a shield with two keys surmounted by a mitrę und a crosier62, Fig. 22), a frequent
countermark of the watermark in the drawing Flagellation, permit us to datę the Crucifixion
in the same period as the former, i.e. before Herdt had painted the Flagellation for the Wald-
hausen church.
The influence of other Flemish masters, J. Jordaens and C. de Crayer, is evident in the two
versions of St Annę, the morę elaborate of which (Fig. 17), enriched with the figures of two
saints, probably St Joachim and St Joseph, is signed I: D: HERDT. F, at the bottom on the
left, while the other (Fig. 18), though unsigned, is so closely linked with Herdt’s works that
his authorship is beyond doubt. The geometrie quality of form, broad wash, and features madę
up of a couple of lines and points in Herdt are reminiscent of some of Jordaens’s drawings. On
■62. The Nostitz Papers, op. cit., No. 652.
70