Page:Hofstede de Groot catalogue raisonné, Volume 5, 1913.djvu/21

 xvii GERARD TER BORCH 5 Mr. De Fremery of Oaklands, California (see Nos. 213, 248), who is related through his mother to the Ter Borch family, has pictures of twins of the Moerkerken family painted by Harman ter Borch ; they are signed and dated September 1659. The author has not seen them, and trust- worthy accounts of their style are not available. A group of Flemish painters, whose works are often confused with those of Ter Borch, is that which is connected with GONZALES COQUES (1618-1684). First of all, there is Gonzales Coques himself, in his admirably composed and carefully executed portraits ; and then there are CARL EMANUEL BISET (i633~about 1710) ; GILLES VAN TILBORCH (about i625-about 1678), whose initials "G. T. B. " are the same as those of Gerard ter Borch; and HIERONYMUS JANSSENS (1624-1693), nicknamed "The Dancer," because he usually painted dancing assemblies. With all these painters, their Flemish character becomes sufficiently obvious, if the handling, the accessories, and the costumes are carefully examined. Setting aside these two groups of painters, we now come to Ter Borch's own pupils. Among them, CASPAR NETSCHER (1639-1684) has attained the greatest fame, but as the next section is devoted to him we may now pass him by. A certain BARTHOLD BERENTSEN is only known from the fact that Ter Borch's sister Sara, by her will of 1680, bequeathed 50 guilders to him as a pupil of her brother. A deaf and dumb artist named ANTONI JORDENS studied under Ter Borch, as we know from M. E. Houck's thorough researches in the archives ; but the only picture known to be by him, dated 1674, seems a very clumsy production. ROELOF KOETS (before 1650-1728), who must not be confused with the older Haarlem still-life painter of the same name, was certainly a pupil of Ter Borch, as we may see from his treatment of his numerous single portraits and portrait-groups, though he does not seem to have painted genre-pieces. He imitated Ter Borch's style cleverly, without ever attaining equal delicacy of execution or elegance of arrangement. He exaggerates the silver-grey tone which in his master's work is especially delicate and tender, making it superficial and coarse; he may be easily identified by this defect, as well as by the somewhat later styles of costume and hair-dressing in his portraits. The versatile Zwolle painter HENDRIK TEN OEVER (before 1643- after 1700), whose work is very unequal, seems in his portraits to have modelled himself on Ter Borch. So, too, did PIETER VAN ANRAADT (about 1640-1698), who can be traced as living at Deventer from 1660 onwards, save for a brief interval ; but in his portraits, which are usually life size, he shows the influence of the late work of Frans Hals and of Jan de Bray at least as strongly as that of Ter Borch. The genre-painters whose works are often wrongly ascribed to Gabriel Metsu, and who are mentioned in the section devoted to him (Vol. I. p. 255), may be also regarded more or less as imitators of Ter Borch. This is the case with JACOBUS OCHTERVELT (about 1635 -before 1700), JOHANNES VERKOLJE (1650-1693), and EGLON HENDRIK VAN DER NEER