by Robert Schillemans

In volume four of his Gemälde der Rembrandt-Schiller, Werner Sumowski examines the work of the Amsterdam painter of Antwerp origin, Carel van Savoy (ca. 1621-1665).[1] Before leaving his native city, Van Savoy studied with Jan Cossiers (1600-1671), two of whose large paintings are recorded in churches in the Northern Netherlands.[2] Van Savoy registered as a burgher of Amsterdam in 1649, and that same year married Catharina Wandelman, the daughter of an Amsterdam merchant. His small extant oeuvre comprises only a dozen portraits and history pieces, although an Amsterdam inventory also lists an allegory by him.[3]

The present article examines three of his religious pieces, including one which Sumowski, uncertain of its authorship, decided not to incorporate. This painting now proves to be signed and dated by Van Savoy.

In 1765 the historiographer of Amsterdam, Jan Wagenaar, mentions works by Van Savoy in two Catholic churches.[4] One was in a church which stood on Nieuwezijds Voorburgwal at that time, near the Spui, and which later came to be known as "De Lelie" (The Lily). The artist's brother-in-law, Joannes Wandelman, was its priest from 1664 to 1686. According to Wagenaar, the church had "een Altaarstuk van C. van Savoy, in 't jaar 1656, [...] geschilderd" ("an altarpiece by C. van Savoy, painted in 1656).[5] Van der Loos, priest and historian of "De Lelie," stated in 1935 that it had been a "Crucifixion of the Lord" ("[...] den kruisdood des Heeren") on the high altar, and that it had been commissioned by Father Gillis de Koocker.[6]

An engraving of 1769 (fig. 1) shows this Crucifixion flanked by two paintings on side altars. They are presumably the two altarpieces by "Roozendaal" dating from 1674, which are also mentioned by Wagenaar.[7] He again fails to specify the subjects, yet Van der Loos describes them as a "Nativity of Christ and The Baptism of the Lord in the Jordan", ("[...] geboorte van Christus en de doop des Heeren in den Jordaan"), which is what can be discerned on the engraving. According to Van der Loos, the latter painting was commissioned by Wandelman.[8]

There is no further record of these three altarpieces. They are not listed in the inventory of ca. 1871 in the archives of "De Lelie," which mentions contemporary paintings in their place.[9]

The other church that Wagenaar mentions as having work by Van Savoy was a private Old-Catholic one on Nieuwezijds Achterburgwal, which was later dedicated to St Nicholas. The Old-Catholics (Oud-Katholieken) are a specifically Dutch offshoot of Catholicism. They seceded from Rome in 1724, and although they have continued to observe most Catholic practices, they do not recognize the authority of the Pope. Here, according to Wagenaar, there were

1. Interior of "De Lelie" church in 1769. Engraving. Amsterdam City Archives, Historical Topographical Atlas

The third altarpiece in the church was "eene geesseling des Heilands, in 't jaar 1665, door F. Roozendaal, geschilderd" ("a Flagellation of the Savior, painted by F. Roozendaal in 1665").[10 ] Wagenaar's wording, however, is ambiguous, as it is not clear whether Van Savoy painted both The Descent from the Cross and The Nativity, or whether both dated from 1659. Before addressing this problem I would like to turn to the "Roozendaal" whose name has now cropped up twice.

Nicolaes Roosendael was born in Hoorn around 1635, and his extant oeuvre consists of a few portraits and a dozen more or less Catholic history pieces. He first worked in Southern Germany and Vienna around 1655 before marrying Catharina Deyl in Amsterdam, the daughter of a wealthy man of private means, in 1665 and registering as a burgher of that city in 1666. Roosendael died in Amsterdam in 1686.[11]

One of his works provides the clue which has enabled us to trace two paintings from the church of St Nicholas, which was closed in 1807. The Old-Catholic church in Zaandam has a painting of Christ Bound to the Column (fig. 2), signed and dated 1668 by Roosendael, and, as its pendant, an Adoration of the Shepherds (fig. 3), which has an identical frame, is of the same size and is likewise rounded at the top. The Adoration looks like a Flemish work of about 1650. Hitherto no mention has been made of it having a signature or date.