Devotional portraits of the Van der Does-van Poelgeest family and heraldry

General information
Original location Leiden, Church of St Peter (Pieterskerk), Lockhorst Chapel, above the grave of the family Van Lockhorst (as mentioned by Van Mander, 1604)
Current location Leiden, Stedelijk museum De Lakenhal, inv. no. S 622
Provenance Huys Lockhorst, which was owned by Vincent van Lockhorst (after the Iconoclasm of 1566); inherited by Willem Vincent van Wttenhorst, Utrecht (1651-1659); sold to Wigbold van der Does, Noordwijk (1660); inherited by the family of the counts of Limburg Stirum, Noordwijk; acquired by Stedelijk Museum De Lakenhal (1964).
Artist Cornelis Engebrechtsz. (signed)
Date ca. 1519-1520 (based on stylistic characteristics)
Material Oil on panel
Dimensions 163 x 55,5 cm
Visual elements
Short description Wings of a triptych, displaying kneeling members of the Van der Does-van Poelgeest family against an architectural background, from which coats of arms are hanging. On the left panel: three male family members with St George. On the right panel: three female family members with St Mary Magdalene.
Depicted pilgrim (left wing, first person from the right)
Personal information
Name Jacob Heerman Gerritsz van Oegstgeest (based on heraldry)
Social status / profession Member of the Leiden city council (1481 and 1510); Burgomaster of Leiden (1488, 1502, 1503); Steward of the 'vronen' (vroonmeester) (1515)
Coat of arms Above his head, hanging on a pillar: early renaissance shield - in gold a large-engrailed black saltire
Pilgrimages
Year of pilgrimage to Jerusalem 1491
Attributes Jerusalem pilgrimage Palm
Death
Year of death ca.1535
Additional information related to this person
Personal remarks His wife Hendrika van der Does is painted on the right panel, first person from the left
Additional information
General remarks The central panel was lost in a fire in 1837. Van Mander tells us that the central panel depicted the Lamb of God opening the book with seven seals.
Based on their respective coats of arms, the female portraits were daughters of the couple that was probably painted on the now lost middle panel, the male portraits their respective husbands, and thus sons in law of the lost couple.
Literature
  • Bangs, J.D., Cornelis Engebrechtsz.'s Leiden: studies in cultural history (Assen 1979), pp. 35-46
  • Miedema, Hessel, Karel van Mander. The lives of the illustrious Netherlandish and German painters, I-VI (Doornspijk 1994-1999), p. 210
  • Vogelaar, C., Leeflang, H., Filedt Kok, J.P., Veldman, I.M., Lucas van Leyden en de Renaissance (Antwerp 2011), pp. 207-209
  • Wurfbain, Maarten Lodewijk et al., Stedelijk museum De Lakenhal: catalogus van de schilderijen en tekeningen (Leiden 1983), p. 138
MeMO ID 596
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