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The Barber-Surgeon
Isaak Koedijk (Dutch, about 1617–1668)
about 1649–50
Medium/Technique
Oil on panel
Dimensions
91.1 x 72.1 cm (35 7/8 x 28 3/8 in.)
Framed: 114.9 x 96.5 x 7.3 cm (45 1/4 x 38 x 2 7/8 in.)
Framed: 114.9 x 96.5 x 7.3 cm (45 1/4 x 38 x 2 7/8 in.)
Credit Line
Gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art
Accession Number2019.2080
OUT ON LOAN
On display at San Diego Museum of Art, February 17, 2025 – October, 2027
On display at San Diego Museum of Art, February 17, 2025 – October, 2027
CollectionsEurope
ClassificationsPaintings
ProvenanceJacques Ignatius de Roore (dealer; b. 1686 - d. 1747), The Hague; sold by de Roore to Willem Lormier (b. 1682 - d. 1758), The Hague; November 10, 1756, sold by Lormier to Prince Dmitri Alekseyevich Galitzin (b. 1728 - d. 1803) [see note 1]. 1906, Julius Böhler (dealer; b. 1860 - d. 1934), Munich [see note 2]. Adolphe Schloss (b. 1842 - d. 1910), Paris; by descent to his wife, Lucie Schloss (b. 1858 - d. 1938); by descent to their children and taken to the Château de Chambon, Laguenne, France [see note 3]; April 13, 1943, looted by Vichy government officials and Gestapo agents and taken to Paris [see note 4]; August 20, 1943, selected by French museum administrators for the Musée du Louvre [see note 5]; July 26, 1946, returned by the Louvre to the Schloss family [see note 6]; December 5, 1951, A. Schloss sale, Galerie Charpentier, Paris, lot 32. By 1952, Alfred Brod, London [see note 7]; sold by Brod to Julius Lowenstein, London [see note 8]; December 10, 1993, anonymous (Lowenstein descendants) sale, Christie's, London, lot 20. 1994, sold by Johnny van Haeften Ltd., London, to Eijk and Rose-Marie van Otterloo, Marblehead, MA; 2019, gift of Eijk and Rose-Marie van Otterloo to the MFA. (Accession Date: December 11, 2019)
NOTES:
[1] The early provenance of this work is according to Everhard Korthals Altes, "Eighteenth-Century Gentleman Dealer Willem Lormier...", Simiolus 28 (2000-2001), pp. 282, 309. Altes notes that the painting was in Lormier's storeroom catalogue of 1752, no. 157, described as Coedyk, Cherurgeen (Surgeon) bought from Jacques de Roore.
[2] Lent by him to the “Exposition de Tableaux et de Dessins de Rembrandt et d'Autres Maîtres de Leyde du Dix-Septième Siècle” (Leyden, Stedelijk Museum, July 15 – September 15, 1906), cat. 23a. The painting is not included in the Dutch edition of the catalogue, "Catalogus der Tentoonstelling van Schilderijen van Rembrandt en van Andere Leidsche Meesters den Zeventiende Eeuw" (1906).
[3] In the summer of 1939, the children of the Jewish art collectors Adolphe and Lucie Schloss moved the collection to the Château de Chambon, Languene, France, for safekeeping.
[4] Both French Vichy officials and German SS officers seized the Schloss collection and took it to Paris where it was kept in the basement of the Dreyfus Bank, which served as a storehouse for the Commission of Jewish Affairs. Here an inventory of the Schloss collection was made August 13-23, 1943. See: Elizabeth Campbell Karlsgodt, “Jewish Art Collections,” in Defending National Treasures: French Art and Heritage under Vichy (Stanford, 2011), pp. 219-227.
[5] The French were given right of first refusal over the Schloss collection. Of the 333 paintings inventoried, 49 were taken by the Louvre. 262 paintings were chosen for the Führermuseum – the art museum Adolf Hitler planned to build in Linz, Austria – and several sold to a Dutch dealer only identified as 'Buittenweg'. In one of three bound volumes containing photographs of the paintings, the Koedijk appears on a list of paintings selected by the Louvre. National Archives and Records Administration, College Park, MD, RG260, Microfilm Publication M1946, roll 139, Linz Museum: Consolidated Interrogation Report (CIR) No. 4; RG260, Microfilm Publication M1949, roll 13, F189 Schloss Collection; and RG59, Photographic Albums and Reproduction Slides of Artwork from the Schloss Collection, ca. 1951- ca. 1961.
[6] In November 1944, Louvre officials made an offer to the Schloss family to purchase the paintings taken in 1943. The Schloss family declined and asked for their paintings to be returned immediately. Due to bureaucratic delays, it took another year and a half before the family received their paintings. See: Karlsgodt, Defending National Treasures (as above, n. 4), pp. 279-281.
[7] Mr. and Mrs. A. Brod lent this painting to the Royal Academy, Winter Exhibition of Dutch Pictures (London, November 1952 - March 1953), cat. 421.
[8] According to Frederick Duparc, Golden: Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection (New Haven, 2011), cat. 33.
NOTES:
[1] The early provenance of this work is according to Everhard Korthals Altes, "Eighteenth-Century Gentleman Dealer Willem Lormier...", Simiolus 28 (2000-2001), pp. 282, 309. Altes notes that the painting was in Lormier's storeroom catalogue of 1752, no. 157, described as Coedyk, Cherurgeen (Surgeon) bought from Jacques de Roore.
[2] Lent by him to the “Exposition de Tableaux et de Dessins de Rembrandt et d'Autres Maîtres de Leyde du Dix-Septième Siècle” (Leyden, Stedelijk Museum, July 15 – September 15, 1906), cat. 23a. The painting is not included in the Dutch edition of the catalogue, "Catalogus der Tentoonstelling van Schilderijen van Rembrandt en van Andere Leidsche Meesters den Zeventiende Eeuw" (1906).
[3] In the summer of 1939, the children of the Jewish art collectors Adolphe and Lucie Schloss moved the collection to the Château de Chambon, Languene, France, for safekeeping.
[4] Both French Vichy officials and German SS officers seized the Schloss collection and took it to Paris where it was kept in the basement of the Dreyfus Bank, which served as a storehouse for the Commission of Jewish Affairs. Here an inventory of the Schloss collection was made August 13-23, 1943. See: Elizabeth Campbell Karlsgodt, “Jewish Art Collections,” in Defending National Treasures: French Art and Heritage under Vichy (Stanford, 2011), pp. 219-227.
[5] The French were given right of first refusal over the Schloss collection. Of the 333 paintings inventoried, 49 were taken by the Louvre. 262 paintings were chosen for the Führermuseum – the art museum Adolf Hitler planned to build in Linz, Austria – and several sold to a Dutch dealer only identified as 'Buittenweg'. In one of three bound volumes containing photographs of the paintings, the Koedijk appears on a list of paintings selected by the Louvre. National Archives and Records Administration, College Park, MD, RG260, Microfilm Publication M1946, roll 139, Linz Museum: Consolidated Interrogation Report (CIR) No. 4; RG260, Microfilm Publication M1949, roll 13, F189 Schloss Collection; and RG59, Photographic Albums and Reproduction Slides of Artwork from the Schloss Collection, ca. 1951- ca. 1961.
[6] In November 1944, Louvre officials made an offer to the Schloss family to purchase the paintings taken in 1943. The Schloss family declined and asked for their paintings to be returned immediately. Due to bureaucratic delays, it took another year and a half before the family received their paintings. See: Karlsgodt, Defending National Treasures (as above, n. 4), pp. 279-281.
[7] Mr. and Mrs. A. Brod lent this painting to the Royal Academy, Winter Exhibition of Dutch Pictures (London, November 1952 - March 1953), cat. 421.
[8] According to Frederick Duparc, Golden: Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection (New Haven, 2011), cat. 33.