Discover painter, draftsperson, etcher Nicolaes Berchem

Name variations

This field records and makes accessible name variations, as found in sources. Alternate spellings, nicknames, maiden names - with or without the married name - are included in this category.

: Berchem, Nicolaes Pietersz.
Berchem, Claes Pietersz.
Berchom, Cornelis van
Berghen, Nicolaes
Berghem, Niclas
Berighem, Claes
Berrighem, Nicolaes
Haarlem, Claasz. van
Pietersen, Claes
known signatures: CBerghem, CBerighem, CBerrighem and NBerchem (Stechow 1965); also CJ Berchem (c. 1640) and Berchem (final decade) were used, depending when the piece was painted (M. de Kinkelder); the name Berchem is deduced from his father's place of birth (Van Thiel-Stroman 1999, p. 242, note 1 and p. 243, note 36); registered as Claes Pietersen with the Haarlem guild in 1642 (Van Thiel-Stroman, p. 236); Cornelis de Bie called him Cornelis van Berchom (Van Thiel-Stroman 2006, p. 242-243, note 38)

Qualifications: painter, draftsperson, etcher, decorative painter (of interiors), print artist, print collector, painting collector
Houbraken mentions he owned a precious copy of the print after Raphael's Massacre of the Innocents with the pine tree (Houbraken 1719, p. 112). His collection of paintings was auctioned on May 4, 1683 in the house of his widow and his collection of drawings and prints was auctioned on December 7, 1683 (Kramm; Van Thiel-Stroman 2006, p. 104)

Nationality/school: North Netherlandish

Born: Haarlem (city) 1621/1622
According to Houbraken, his funeral announcement said that he died in 1683, when he was fully 60 years old, which would make 1624 [sic] his year of birth (Houbraken 1719). Van Thiel-Stroman states that Berchem was born in 1621 or 1622, since his age was mentioned in a document of June 9, 1661 as 39 (Van Thiel-Stroman 1999, pp. 236, 242, note 2; Van Thiel-Stroman 2006, p. 124-125, note 3). In the wedding registry of 1646 Haarlem is mentioned as his place of birth (Van Thiel-Stroman 1999, p. 242, note 2); also see RKDimages 109135: portrait of Berchem with the inscription '[...] 1650./ Æ: 27'; if this is correct than Berchem was born in 1622 or 1623; earlier it was assumed that he was baptised on October 1, 1620 (Van der Willigen 1870), but this concerns a different person.

Deceased: Amsterdam (city) 1683-02-18
He died on February 18, 1683 in his house on the Lauriersgracht and was buried on February 23, 1683 in the Westerkerk (Houbraken 1719).

Family relationships this field records any family relationship to one or more other artist(s).: Son of the still life painter Pieter Claesz. (1597/98-1660/61) and father of Nicolaes Berchem the Younger (1649-1672). Son-in-law of Jan Wils (c. 1600-1666) (Houbraken 1719), actually stepson, since Wils was the stepfather of Berchem's wife. Uncle of Govert and Pieter van der Leeuw. Cousin of Jan Baptist Weenix (1621-1659) (Houbraken 1719).

See also In this field, you will find references to names of groups or to the artists that made/make up groups. You may also come across references to other artists if there was/is question of collaboration without a joint name. This is the case, for instance, with artists who rendered parts of works by other artists (such as with P.P Rubens and J. Brueghel I).

Berchem painted the staffage in landscapes by Jacob van Ruisdael, Meindert Hobbema, Willem Schellinks, Jan Hackaert and others. He also painted together with Gerard Dou, Jan Wils and Jan Baptist Weenix (Sutton/Blankert 1987, p. 262)

This person/entity in other databases

591 hits in RKDimages as artist
28 hits in RKDlibrary as subject
1 hit in RKDlibrary as illustrator
6478 hits in RKDexcerpts as artist
14 hits in RKDtechnical as artist

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Biographical information

Active in

Haarlem (stad) 1634
probably a pupil of his father Pieter Claesz.
Amsterdam (stad) 1639 - 1641
until c. 1640 a student of Claes Moeyaert in Amsterdam
Haarlem (stad) 1642 - 1649
registered at the guild in 1642 as Claes Pietersen; became a member of the reformed church on January 13, 1645; married Catrijne Claesdr. de Groot on October 2, 1646 (prenuptial agreement on September 30, 1646), which whom he made up a testament on March 22, 1649. She was the stepdaughter of the landscape painter Jan Wils; their first son called Nicolaes was born in 1647, but he probably died shortly after because on April 13, 1649 a second son named Nicolaes was baptised (Van Thiel-Stroman 1999 and 2006). According to Noack 1927, he was in Rome c. 1648. It is unclear if he really made an Italian journey at all. Hoogewerff 1931 and 1950 stated that Berchem was in Rome from 1642 to 1645/6, together with Jan Baptist Weenix.
Bad Bentheim 1650
a drawing of the castle of Bentheim in chalk dated 1650 is known (RKD images 208842), possibly in the company of Jacob Isaacsz. van Ruisdael
Italië 1651 - 1655
See Blankert 1978 for a thorough argumentation regarding a possible stay in Italy between 1651 and 1655 (Blankert 1978 p. 147-149, note 12; also Jansen 1985, Van Thiel-Stroman 1999, p. 242, 243, note 21, 24 and 25). Biesboer 2006, p. 21-23: argues that is not likely that Berchem traveled to Italy in this period, since no documentation supports this hypothesis. His opinion is shared by Jansen 2007 and Blankert 2013.
Haarlem (stad) 1656 - 1658
on March 19, 1656 he bought a garden and country house close to the Kleine Houtpoort (Van Thiel-Stroman, p. 242); he lived in the Koningstraat in 1656; at the Oude Gracht in 1670, in 1656-1657 he was finder and in 1657-1658 dean of the guild.
Amsterdam (stad) 1661 - 1670
a notarial deed from June 9, 1661 mentions him as a resident of Amsterdam (Van Thiel-Stroman, p. 242), he returned to Haarlem in the spring of 1670 (Van Thiel-Stroman, p. 242)
Haarlem (stad) 1670 - 1674
on July 11, 1670 Berchem and his wife were registered as members of the church; on September 16, 1670 he became finder of the guild again, in 1672 and 1674 he was nominated but not chosen (Van Thiel-Stroman, p. 242)
Amsterdam (stad) 1677 - 1683
he moved to Amsterdam in 1677, where he lived on the Lauriergracht; he died there on February 18, 1683 (Thieme/Becker 1909).

born in

active in

died in

Connections with other artists

Pupil of This field mentions the names of teachers or masters. What is at issue are the teachers who made a significant contribution to the development of a students, as opposed to every instructor they ever had. See also the 'Education' field.: Claesz., Pieter
Goyen, Jan van
Grebber, Pieter de
Moeyaert, Claes
Wils, Jan
according to Houbraken (1719), Jan Baptist Weenix was the teacher of Nicolaes Berchem. This seems unlikely, as both were of similar age and both were pupils of Nicolaes Moeyaert probably at the same time.
Teacher of This field mentions the names of pupils. What is at issue are the pupils who were significantly influenced by a teacher as opposed to every student someone ever had. See also the 'Education' field.: Bent, Johannes van der
Berchem, Nicolaes (II)
Carrée, Michiel
Croonenbergh, Isaack
Dubois, Simon
Glauber, Johannes
Hooch, Pieter de
Huchtenburg, Jacob van
Huysum, Justus van (I)
Jardin, Karel du
Le Fèbre, G.
Maas, Dirk
Mommers, Hendrick
Ochtervelt, Jacob
Romeyn, Willem
Vinne, Laurens Vincentsz. van der
Visscher, Dirk

he was also the teacher of Guillaem le Febre and Claes Symonsz. Schout
Followed by This field mentions the artist’s emulators. Although students can naturally also be followers, they are not mentioned again here. What is meant by followers are those who continue to work in the spirit of a predecessor. Sometimes this may happen a century later; there is no time limit. What is at issue, however, is that someone’s oeuvre must substantially follow in the manner of the artist emulated.: Baeck, Elias
Baumans, Silvester
Bent, Johannes van der
Bidauld, Joseph
Blinkvliet, M.
Bondt, Daniël de
Bruyn, J. de
Carrée, Michiel
Dorre Wiltschut, Huig van
Duplessis, Michel
Griffier, Jan (I)
Haas, Wynand de
Hoendermans, G.
Kobell, Wilhelm von
Manskirch, Bernard Gottfried
Meer, Jan van der (II)
Remmers, Abraham
Influenced by In contrast with ‘follower of’, we speak of ‘influenced by’ when an artist was influenced outside the context of an educational setting or servile following. An artist can be influenced by several artists at once, or in succession. In addition, there may be question of a transition to a personal style which may demonstrate development.: Asselijn, Jan
Both, Jan
Laer, Pieter van
Pijnacker, Adam

in some works from around 1658 the influence of Jan Both is clearly visible
Influence on This field specifies the artists influenced by the artist in question, without there being question of an educational setting or servile following.: Bastier de Bez, Jean-Joseph
Begeyn, Abraham
Bellay, François
Bénard, Jean Baptiste
Blijhooft, Zacharias
Bock, Folckert
Boucher, François
Bout, Pieter
Brand, Christian Hilfgott
Casanova, Francesco
Cave, Peter La
Ceruti, Giacomo
Cignaroli, Angelo Antonio
Court, Martinus de la
Cuyp, Aelbert
Demarne, Jean-Louis
Doorenbos, R.
Douw, Simon Johannes van
Gainsborough, Thomas
Holblock, Jan Cornelisz.
Hoüel, Jean-Pierre
Huber, Jean Daniel
Ibbetson, Julius Caesar
Kabel, Adriaen van der
Lacroix, Charles F. de
Lantara, Simon Mathurin
Largillière, Nicolas de
Lauterer, Johann Franz Nepomuk
Leprince, Jean Baptiste
Loutherbourg, Philippe Jacques de (II)
Ommeganck, Balthasar Paul
Oudry, Jean Baptiste
Pillement, Jean
Rathbone, John
Rive, Pierre Louis de la
Roos, Johann Heinrich
Soolmaker, Jan Frans
Taunay, Nicolas Antoine
Tieling, Lodewijk
Towne, Charles (I)
Verschuring, Hendrick
Wagenbauer, Max Josef
Velde, Adriaen van de

Subjects This field specifies the various subject categories or genres that constitute the oeuvre of the artist in question. The contents of this field are generally based more on the documentation available at the RKD than on the literature.: animal painting (genre), genre, harbor view, italianate, hunting scene, mythology, Christian religious scene, allegory, river landscape, landscape (genre), winter landscape, portrait, architecture (genre), still life
a signed still life of plants is known in a private collection in Rome (Van der Willigen/Meijer 2003). See also a landscape with forest still life in the Koninklijk Museum voor Schone Kunsten in Antwerp, inv. no. 827 (M. de Kinkelder)

Medium/technique: oil paint

Member of

Sint-Lucasgilde (Haarlem)
He became a member of the Haarlem guild of St. Luke on May 6, 1642; entrance fee in the minutes of the guild of June 3, 1642 mentioned as paid; in August and September of 1642 he paid the fee for teaching Willem Romeyn, Guillaem le Febre and Claes Symonsz. Schout (Van Thiel-Stroman 1999, p. 236).

Literature

Literature in RKDLibrary: 28 hits in RKDlibrary as subject

De Bie 1661-1662 , p. 262, 285
Houbraken 1718-1721 , vol. 2 (1719), p. 35, 109-114, 131, 132, 142; vol. 3 (1721), p. 56, 76, 216, 251, 274, 362, 387 (as: Nicolaas Berchem)
Van Eynden/Van der Willigen 1816-1840 , vol. 1 (1816), p. 410
Van der Aa 1852-1878 , vol. 2 (1854), p. 398-399
Kramm 1857-1864 , vol. 1 (1857), p. 76
Van der Willigen 1870 , p. 76
Von Wurzbach 1906-1911 , vol. 1 (1906), p. 82-85 (as: Claes Pietersz Berchem also Berghem or Berrighem)
Thieme/Becker 1907-1950 , vol. 3 (1909), p. 370-372 (as: Berchem, Claes or Nicolaes)
Hofstede de Groot 1907-1928 (German edition) , vol. 9 (1926)
Noack 1927 , vol. 2, p. 83
Gerson 1942/1983 , passim
Hollstein et al. 1949-2010 , vol. 1 (1949), p. 249-280
Hoogewerff 1952
Utrecht 1965 , p. 148-149
Van Gelder/Van Hasselt/Blankert 1966 , p. 15-18
Bol 1973 , p. 257-258
Witt Checklist 1978 , p. 25
Blankert 1978 , p. 147-149
Haak 1984 , p. 383-384
Sutton 1984 , p. 58-59
Sutton/Blankert 1987 , p. 262-268
Briganti et al. 1991 , p. 122-126
Van der Willigen/De Kinkelder (typescript 1993/1998) (Nicolaes Berchem (baptized 1 October 1620 - 18 February 1683)- but see for his date of birth, under 'Born' Son of Pieter Claesz. Born in Haarlem. His father, who taught him first, helped him to good teachers for other subjects than still lifes, notably Pieter de Grebber, Nicolaes Moeyaert and Jan van Goyen. Reporting these apprenticeships Houbraken even adds Jan Wils and Jan Baptist Weenix to this list, but the first was his father-in-law and the second was his own younger cousin; probably more a gesture of kindness than real teaching. All authors agree that Jan Asselijn, back in Amsterdam in 1646, and indirectly Jan Both have had more influence on Berchem's later Italianate style than his cousin Weenix. As early as May 1642 Berchem was accepted in the Haarlem guild and in that same year he took on not less than three pupils. In 1646 he got married there and in c. 1650 he travelled with Jacob van Ruisdael to the Bentheim region. From 1654 till lastly 1670 his name has been found in documents in Haarlem and in the records in Amsterdam, first in 1660 and when he had moved there in 1677 until his death in 1683. Sofar these biographical dates seem quite straightforward but ever since 1816 (Van Eynden & Van der Willigen, vol. 1, p. 410) debate has been raging about the years in which Berchem could have been in Italy himself; that debate seems to reach its conclusion. Berchem's earliest dated works from the 1640s are just too much pure Haarlem school to think of an Italian journey between 1642 and 1646. Italianate influences started with those of Jan Asselijn, first to be observed in the winterscapes of 1647. There is, as yet, no hard-proof evidence for Berchem's trip to Italy but, if he went there at all, it will have been briefly between 1650 and 1653, probably in 1651-1652 (cf. e.g. A. Blankert in cat. exh. Utrecht 1965, p. 148, note 11; G. Jansen in Hoogsteder-Naumann's Mercury 1985 and cat. Zürich, Koetser Bequest 1988). Hence, the earlier monographs and oeuvre catalogues (by Hofstede de Groot, Von Sick 1930 and Schaar 1958) are somewhat outdated in this respect. The first remarks on his types of signature do also date from 1816. In early days there was scarce information and in three centuries some signatures have been faultily restored. But today's ample visual information on Berchem's forms of signature often provide conclusive arguments. The successful painter did not use simple monograms (cf. Jan Brueghel the Elder); he always signed his works, but in various ways. The "Ber(r)ighem" variation is found from 1644 (Prague) to 1650 (St. Etienne); otherwise it was "Berghem" from the start right up to 1655 (e.g. London, Windsor). As Stechow first observed, the form "Berchem" does not belong to works prior to 1656; this rule stands (even if some exceptions - faulty brush-ups? - are known). Less conclusive is the use of initials; certain is that in the beginning he used a "C" whilst in the late years it was an "N". The "C" or "CP" in the Berghem or Berighem signatures can be dated prior to 1653 (Paris); sometimes these are absent (abraded or lost?) and sometimes they reappear later (e.g. St. Petersburg 1663, Karlsruhe 1664). The "N" (never NP) with the "Berchem" signature probably refer to a date in the artist's last decade of his life i.e. from c. 1673 or later, but it does occur earlier (not autograph?) and it can not be considered as pragmatic as the affixing of the C had been in early years. There are some early and late works by Berchem which are not specific landscapes as they show biblical, mythological and pastoral outdoor genre scenes, dominated by large figures (e.g. Dresden 1649, Vaduz 1678, Pasadena CA 1679) plus some late allegories (e.g. Cracow 1680, Amsterdam Museum). In the survey following below, aiming at adstruction of his landscape art, smaller historical contents (even if painstakingly identified) will be disregarded. It will mostly limit itself to summing up important examples in public collectons. Early landscapes: Enschede 1643; Prague 1644; Antwerp 1645; Bremen, Budapest and Würzburg 1646; Malibu CA and Paris 1647; Munich, Bayerische Staatsgemälde Sammlungen/Schleissheim, Frankfurt and Leipzig 1648; Toledo OH 1649; London, Wallace Collection , St. Etienne and Schwerin 1650; Paris and Vienna, Akademie 1653; London, Wallace Collection and Los Angeles 1654; London, Windsor and Paris, Petit Palais 1655. As 1656 saw him change to signing "Berchem", the following may on account of their markings be taken as belonging to this group, at first very Dutch and later more Italianate: Amsterdam, Rijksmuseum (no. A32); Bayer. Staatsgem. Samml./Aschaffenburg (no. 6435); Dresden (no. 1478); Haarlem; Hannover (no. 760); Karlsruhe (no. 299); Leipzig (no. 987); London (no. 1005); London, Windsor (Hofstede de Groot nos. 666 and 751); Münster; Paris, Institut néerlandais (Hofstede de Groot no. 119); St. Petersburg (no. 1102) and Stockholm (no. 313). Winterscapes: Amsterdam and Haarlem 1647; Zürich 1652; Basel; Karlsruhe. Worth mentioning is also Hofstede de Groot no. 815, signed and dated "Berighem 165(0?), last known in a private collection in New York. There is no evidence to suggest that Berchem painted winterscapes after c. 1655. Live animals: A life-size cow's head, signed and dated "C.Berighem 1650", is preserved in a British private collection (colour ill. in cat. exh. Dordrecht 1988). Nightscapes: Hannover 1652; Dunkirk. A most complicated case was lastly discussed by Sutton (col.ill. in cat. exh. Amsterdam 1987) about the date 1645 on a very fine example in the market, signed "NBerghem" (a spurious N?). Too little evidence is available to judge whether there are nightscapes after 1655. Italianate landscapes (1656 to 1669): Amsterdam (3 x), Bristol, Dresden (2 x), London, Apsley and St. Petersburg 1656; Cleveland OH 1657; Amsterdam/Utrecht, London (2 x), London, Buckingham Palace and Paris 1658; The Hague 1659; The Hague 1661; St. Petersburg 1663; Karlsruhe and St. Petersburg 1664; Budapest and Mainz 1665. In 1656 Berchem was 35 years old with a first son growing up. It does seem normal that he would have started to fight for his own nîche in the market. These are the years when he plainly signed "Berchem" and numerous are the non-dated examples; to list those here would hardly serve any useful purpose. Italianate landscapes (last years): London, Wallace Collection 1672; London, Buckingham Palace 1673; Oxford 1674; Montpellier 1677; Copenhagen 1679; Vienna 1680. First to be added to these dated examples are some works with "NBerchem" signatures at Geneva (2 x), Hartford CT and Rouen which, though reverting compositionwise to an early work (St. Etienne 1650; colourwise distinctly earlier), should yet be placed, so it seems, in the 1670s. The impression is that at this age Berchem reduced his rate of production and took more time again to work on (sometimes very large and complicated) genre works of the sort mentioned at the head of this survey (redactie / edited by M. de Kinkelder 2014))
Saur 1992- , vol. 9 (1994), p. 237 and further (as: Berchem, Nicolaes)
Wuestman 1998 , p. 59-102
Goosens 2001 , passim
Schatborn/Verberne 2001 , p. 187-195
Harwood et al. 2002 , p. 131
Van der Willigen/Meijer 2003 , p. 35 (as: Nicolaes Berchem)
Biesboer et al. 2006 , passim
Trevisan/Zavatta 2013 , p. 41
Horn/Van Leeuwen 2021 [Houbraken Translated]

G.j. Hoogewerff, 'Wanneer en hoe vaak was Berchem in Italië?', Oud-Holland 48 (1931), p. 84-87
G. J. Hoogewerff, 'Nederlandse dichters in Italië in de zeventiende eeuw', Mededelingen van het Nederlands Historisch Instituut te Rome 6 (1950), p. 104: "Berchem stayed in Rome from 1642 to 1646"
E. Schaar, 'Berchem und Begeijn', Oud-Holland 69 (1954), p. 241-245
E. Schaar, 'Zu den Berchem-Zeichnungen in den Musées Royaux des Beaux-Arts zu Brüssel', Bulletin Musées Royaux des Beaux-Arts/Bulletin Koninklijke Musea voor Schone Kunsten 5 (1956), p. 209-220
W. Stechow, 'Über das Verhältnis zwischen Signatur und Chronologie bei einigen holländischen Künstlern des 17. Jahrhunderts' in: Festschrift Dr. h.c. Eduard Trautscholdt zum siebzigsten Geburtstag am 13. Januar 1963, Hamburg 1965, p. 113-115
P. Schatborn, 'Figuurstudies van Nicolaes Berchem', Bulletin van het Rijksmuseum 22 (1974), p. 3-16
W. J. van de Watering, 'The later allegorical paintings of Nicolaes Berchem', in: exh. cat. Old master paintings, including Nicolaas Berchem's 'Seasons'', Londen (Leger Galleries) 1981, p. 12-16 (catalogue for exhibition at Pictura Maastricht)
G. Jansen, 'Berchem in Italy: notes on an unpublished painting', Mercury 1985, no. 2, p. 13-17
L. Konecny, "Nicolaes Berchem: a New Drawing and a Suggestion', Mercury no. 6 (1987), p. 39-42
S. Slive, 'Dutch pictures in the collection of Cardinal Silvio Valenti Gonzaga (1690-1756)', Simiolus17/2-3 (1987), p. 177-178 and note 24
R. de Jager, 'Meester, leerjongen, leertijd. Een analyse van zeventiende-eeuwse Noord-Nederlandse leerlingcontracten van kunstschilders, goud- en zilversmeden', Oud Holland 104 (1990), p. 99. doc. 16
W. Mc. Allister Johnson, ‘From Verrue to Vence: systematic engraving of private painting collections in France to 1760’, Gazette des Beaux-Arts 117 (1991), p. 77-92
B. Sitek, M. Linders, G. Goedkoop, 'Berchem en Zaïs : Nederlandse motieven in 18de-eeuwse Venetiaanse kunstwerken', Kunstlicht 12 (1991), no. 1, p. 50-52
S. K. Bennett, 'Nine Religious Drawings by Nicolaes Berchem: Designs to Ornament Maps in a 1669 Bible', Mercury 1992, no. 13/14, p. 60
G. Wuestman, 'Nicolaes Berchem in print: fluctuations in the function and significance of reproductive engraving', Simiolus 24 (1996), p. 19-53
A. Stefes, 'Eleven History Drawings by Nicolaes Berchem', Master Drawings 35 (1997), p. 367-379
I. van Thiel-Stroman, 'Nicolaes Berchem' [biographical part] in: A. Blankert et al., Hollands Classicisme in de zeventiende -eeuwse schilderkunst, (exh. cat. Rotterdam-Frankfurt a/M), Rotterdam 1999, p. 236-243
A. Ch. Steland, 'Drawings by Dutch Italianate painters', in: Harwood 2002, p. 42-63
A. Stefes, 'Berchem und Lairesse - zwei neu entdeckte Zeichnungen als mögliches Bindeglied', Delineavit et Sculpsit no. 25 (September 2002), p. 17-25
I. van Thiel-Stroman, 'Nicolaes Pietersz Berchem', in: Painting in Haarlem 1500-1850. The collection of the Frans Hals Museum, Gent-Haarlem 2006, p. 102-105
Guido M.C. Jansen,'Review "Nicolaes Berchem", Haarlem, Zürich and Schwerin', Burlington Magazine 149 (2007), p. 354-356
A. Stefes, 'Anmerkungen zu den Montfoort-Zeichnungen Nicolaes Berchems', Delineavit et Sculpsit no. 31 (December 2007), p. 37-42 (see also 'Correction', Delineavit et Sculpsit no. 33, July 2010, p. 35: regarding the switched images D and S no. 31)
A. Blankert, 'Terug naar Charles de Hooch, alsmede over het raadsel van geniaal 'rapen'', in: Ch. Dumas e.a. (ed.), Liber Amicorum Marijke de Kinkelder. Collegiale bijdragen over landschappen, marines en architectuur, The Hague 2013, p. 41-48
J. Kosten, 'Nicolaes Berchem, De veldslag van Alexander de Grote en Poros aan de Hydaspes, een iconografisch unicum', in: Ch. Dumas et al. (eds.), Liber Amicorum Marijke de Kinkelder. Collegiale bijdragen over landschappen, marines en architectuur, Den Haag 2013, p. 231-242
M. Lassmann, 'Geschäftstüchtiger Inspirator. Bewertung Nicolaes Pietersz. Berchem', Kunst und Auktionen 46 (2018) no. 4, p. 32-34

A. Stefes, Nicolaes Pietersz. Berchem. Die Zeichnungen, Bern 1997 (dissertation; publication in preparation 2009)

Documentation RKD

This field specifies the location of the various RKD documentation materials. Most of the locations refer to our art-historical image documentation. In addition, you will find references to press documentation (clippings and short articles) here.

Archive location: archief Le Roy
Project: Inventory Decorative Interior Paintings in the Netherlands (1600-1940)
Gerson Digital : Germany
Gerson Digital : Italy
Dutch Artists in Rome

External links: this artist in Ecartico

Permalink: https://rkd.nl/explore/artists/6727

Creation date: 1991-11-21; Last modified date: 2023-05-16

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Nicolaes Berchem

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