20:
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declared its images, colours, arrangement and lighting were conceived and executed with all the skill and judgment of a masterpiece. Theodor returned to
Amsterdam to complete this project and brought the finished work to England in 1719, accompanied by his wife, her maid, and a fresh stock of paintings purchased while in Holland. Although he was himself able to blend comfortably into any social setting, his wife and her maid found difficulty in adjusting to London life and soon returned to Amsterdam.
107:, and the resultant piece was so favourably received that Theodor produced several similar studies which sold well. His portrayal of the Masters of the Amsterdam Tailors’ Guild also satisfied his client and resulted in a further commission from the Guild six or seven years later. His studio flourished and he began to take pupils,
224:
Pictures forming part of his estate were sold at auction in The Hague on 23 May 1747 and included twenty-four painted by him and two by his father. Sold in the same auction were pictures owned by the late
Ontsanger Pook, and the catalogue does not indicate which of the 112 lots on offer, many of them
58:
when
Theodor was still a child, and the boy was brought up in the household of his maternal grandparents in Amsterdam. At the age of eighteen he was apprenticed to a jeweller in order to qualify for admission to the Goldsmiths’ Guild in the city but, when twenty, he sought his father’s permission to
156:
stock and was bankrupted in 1720 when he had paid only two-thirds of the sum agreed for van Pee’s ceiling-piece. According to van Gool, Theodor’s desire to avenge the shortfall led him to feign illness so severe that his death seemed imminent. By such means he induced customers to pay for paintings
173:
Information about his business and personal activities in London is scant outside the biographical account published by Jan van Gool soon after
Theodor’s death, although he has been said to have "amassed a considerable fortune" during his time in the city. Van Gool’s account is long and perhaps
123:
led to a decline in demand for the portraits, historical studies, mural and ceiling paintings which had been the source of
Theodor’s income. To compensate, he opened a shop selling painted garden furniture and statuary, animal-themed ornaments and even Turkish tents, and he also sold lengths of
148:
and Sir Justus Beck, introduced him to a circle of
English noblemen and prominent merchants and he quickly found buyers for items from his collection. Beck commissioned him to paint a ceiling-piece of life-size figures, and Theodor’s preparatory version of this work was admired by Weyerman who
124:
timber carved and painted with maidens, knights, barking dogs and other figures for display on house exteriors. Business in these decorative items was initially rewarding but quickly became unprofitable due to fierce competition from others who entered the market. Theodor’s pupil
174:
largely scurrilous and was deplored by the younger Gerard Hoet who complained it omitted reference to
Theodor’s artistic achievements, portrayed him as a complete cutpurse, and served no purpose other than to distress his widow, to whom van Gool’s allegations were novel.
135:
spoke of him as a judicious expert who collected a fine gallery of works, whereas Jan van Gool referred to his buying up
Italian pieces "which if without a signature he would add one". In 1715 he took his collection to London with a view to selling it there.
161:
for his lifetime; as a result buyers expecting to make no more than one or perhaps two of the obligatory annual amounts found themselves continuing to make payments for the next quarter of a century under agreements that had been scrupulously notarised.
169:
and there resumed the business of selling ornamental objects which he had earlier carried on in
Amsterdam. He displayed his stock prominently in front of the house to catch the eye of wealthy patrons travelling into London from homes in the country.
66:
Theodor is generally said to have become his father’s pupil but his maternal grandfather, Mathijs
Hendriks Krayvelt, was also a painter and is likely to have had a hand in his training. Krayvelt was nervous when Theodor wished to spend time in
59:
abandon his articles and train as a painter. His father initially withheld consent, counselling that the life of an artist was precarious and that "the golden wings of Mercury offer better shelter than the flimsy wings of Saint Luke" (
300:, Desaint & Saillant, Paris, 1764, Vol. IV, p. 134. Weyerman gives Theodor’s age as 23 when he married in 1692, but the register of his engagement in May that year records him as aged 24. He himself recorded his age as 71 in 1740.
177:
After seven years in London, and having decided to return to his native land, Theodor held a public auction of all his own works and other paintings except those which he thought would fetch better prices in the Netherlands.
102:
who, impressed by their quality, began to recommend him to potential clients but died shortly afterwards. Jonkheer Lodewyk de Bas commissioned him to produce a study of Northern Italian gypsies in the manner of
325:), Vol. II, George Bell & Sons, London, 1889, p. 266. Van Gool and Descamps name Theodor’s father as Justus van Pee but the 5 March 1702 will of the painter Jan van Pee refers to his son Theodor:
128:
is said to have left his studio around this time on account of displeasure with Theodor’s style, but possibly he disliked involvement with the forms of artwork into which his master had diversified.
90:
He was still living with his Krayvelt grandparents in Amsterdam’s Haarlemmerdijk when, on 9 May 1682, banns of his marriage to the eighteen-year-old Neeltje Peters van Bassevelde were published.
384:, Gebroeders Binger, Amsterdam, Vol. 3, 1885, pp. 306-307; Weyerman, Vol. IV, p. 394 (Weyerman gives the bride’s age as 17, but de Vries’s transcript records it as 18 in May 1692).
131:
Over the years Theodor had bought and sold the works of other artists, and as the eighteenth century progressed he began to deal particularly in Italian paintings.
492:
Weyerman, Vol. IV, p. 396. For Weyerman’s detailed description of the piece see Sander Karst, "Off to a new Cockaigne: Dutch migrant artists in London 1660-1725",
221:, studied painting under him and in 1719 married another of his pupils, Hermanus Wolters, but in later life father and daughter seem to have been estranged.
195:
696:
711:
380:
A. D. de Vries (ed.), "Biografische Aanteekeningen betreffende voornamelijk Amsterdamsche Schilders, Plaatsnijders, enz. en hunne verwaten",
217:, where he died in 1746. He had outlived his first wife and, at the age of 76, married a young widow. His only child to survive to maturity,
19:
691:
497:
563:
Aanmerkingen op het eerste en tweede deel des Niewen Schouburgs der Nederlantsche Kunstschilders en Schilderessen door Johan van Gool
251:
351:
ECARTICO database (University of Amsterdam, Amsterdam Centre for the Study of the Golden Age), entry for Mathijs Hendriks Krayvelt.
326:
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being the patron saint of painters). However, in the face of his son’s sustained entreaties, the elder van Pee eventually relented.
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318:
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Catalogus of naamlyst van schilderen met derzelver pryzen gedert den 22 Augusti 1752 tot den 21 November 1768 zoo in Holland
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Following his marriage he applied himself diligently to painting. He showed some of his early life studies to
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24:
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De Levens en werken der Hollandsche en Vlaamsche kunstschilders, beeldhouwers, graveurs en bouwmeesters
664:
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681:
322:
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in 1737. He was sufficiently well regarded in the 1730s to be commissioned to paint the portrait of
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von Wurzbach, Vol. 2, p. 314; Netherlands Institute for Art History, datapage for Theodor van Pee.
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87:. However, despite his various foreign travels, Theodor remained a Lutheran all his life.
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83:, fearing the young man might return reciting Catholic verses rather than the prayers of
39:
675:
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76:
583:
Van Gool, Vol. IV, p. 281; Immerzeel, Vol. II, p. 298; von Wurzbach, Vol. 2, p. 314.
441:
Biographisch Woordenboek der Nederlanden, Biographical Dictionary of the Netherlands
285:
483:, J. C. van Kesteren, Amsterdam, 1842, Vol. II, p. 298; Weyerman, Vol. IV, p. 396.
592:
Bryan, Vol. IV, p. 250; Entry for Daudet at the Bibliothèque Nationale de France
507:
Van Gool, Vol. I, p. 274; Weyerman, Vol. IV, p. 396; Immerzeel, Vol. II, p. 298.
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De levens-beschryvingen der Nederlandsche konst-schilders en konst-schilderessen
51:
35:
214:
108:
80:
443:, J. J. van Brederode, Haarlem, 1858, Part IV, p. 29; Bryan, Vol. II, p. 4.
614:
187:
637:, G. & A. Greenland, London, 1838, Vol. II, p. 625; Julia K. Dabbs,
635:
Biographical Dictionary of Painters, Sculptors, Engravers and Architects
165:
While "recovering" from his professed sickness, he acquired a house on
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72:
55:
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De groote schouburgh den Nederlantsche konstschilders en schilderessen
242:
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De niewe Schouburg der Nederlantsche Kunstschilders en schilderessen
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De niewe Schouburg der Nederlantsche Kunstschilders en schilderessen
633:
Bryan, Vol. IV, p. 86; von Wurzbach, Vol. II, p. 898; John Gould,
18:
409:, von Halm und Goldman, Vienna and Leipzig, 1910, Vol. 2, p. 621.
68:
315:
Dictionary of Painters and Engravers, Biographical and Critical
50:
Born in Amsterdam in 1668 or 1669, he was a son of the painter
119:
The economic recession in the Netherlands following the 1697
418:
Weyerman, Vol. IV, p. 395; Descamps, Vol. IV, pp. 134-135.
284:, Ab. Blussé en Zoon, Dordrecht, 1769, Vol. IV, p. 391;
210:
was also the subject of an engraving by van der Schley.
152:
Beck became a casualty of the collapse in the value of
639:
Life Stories of Women Artists, 1550-1800: An Anthology
494:
Simiolus: Netherlands Quarterly for the History of Art
229:, belonged to which the two estates being liquidated.
525:
Van Gool, Vol. I, p. 274; Immerzeel, Vol. II, p. 298.
298:
La vie des peintres flamands, allemands et hollandois
452:
van Gool, Vol. I, p. 273; Descamps, Vol. IV, p. 135.
427:
van Gool, Vol. I, p. 273; Descamps, Vol. IV, p. 135.
34:(1668–1746) was an 18th-century painter and
186:In the Netherlands he initially based himself at
663:, Johannes Gaillard, The Hague, 1770, pp. 46-52.
496:, Vol. 37, No. 1 (2013-2014), pp. 58-59, n. 213.
309:Houbraken, p. 332; Weyerman, Vol. IV, p. 391;
595:; British Museum print number 1900,1231.1641.
8:
641:, Ashgate Publishing, Farnham, 2009, p. 284.
331:Geschiedenis der Antwerpsche Schilderschool
198:, of which engravings were made by each of
144:Earlier migrants from Amsterdam to London,
54:and his wife Hendrika. His father moved to
333:, J. E. Buschmann, Antwerp, 1883, p. 1190.
182:Return to the Netherlands and final years
196:Jean-Baptiste de Boyer, Marquis d'Argens
262:
565:, Amsterdam, probably 1751, pp. 45-46.
71:studying the works of artists such as
7:
276:, Amsterdam, 1721, Vol. III, p. 89;
292:, The Hague, 1750, Vol. I, p. 271;
14:
327:Frans Jozef Peter van den Branden
407:Niederlandisches Kunster-Lexikon
697:18th-century Dutch male artists
552:Van Gool, Vol. I, pp. 279-287.
23:Theodor van Pee's portrait in
1:
712:Painters from Utrecht (city)
206:. Theodor’s portrait of the
204:Etienne-Jehandier Desrochers
692:18th-century Dutch painters
516:Immerzeel, Vol. II, p. 298.
192:Utrecht Guild of Saint Luke
94:Important early commissions
728:
650:Descamps, Vol. IV, p. 136.
624:Descamps, Vol. IV, p. 136.
574:Descamps, Vol. IV, p. 136.
461:Weyerman, Vol. IV, p. 396.
393:Weyerman, Vol. IV, p. 395.
371:Weyerman, Vol. IV, p. 402.
362:Weyerman, Vol. IV, p. 393.
342:Weyerman, Vol. IV, p. 392.
534:Van Gool, Vol. I, p. 277.
470:van Gool, Vol. I, p. 273.
227:Dutch Golden Age Painters
202:, Jean-Louis Daudet, and
115:Activity during recession
437:Abraham Jacob van der Aa
190:and was a member of the
707:Painters from Amsterdam
604:Bryan, Vol. IV, p. 250.
111:being among the first.
543:Bryan, Vol. IV, p. 86.
294:Jean-Baptiste Descamps
100:Melchior d'Hondecoeter
28:
27:book of painters, 1764
25:Jean-Baptiste Descamps
22:
479:Johannes Immerzeel,
323:Robert Edmund Graves
278:Jacob Campo Weyerman
200:Jacob van der Schley
133:Jacob Campo Weyerman
702:Dutch male painters
403:Alfred von Wurzbach
140:Residence in London
213:He later moved to
146:Sir Matthew Decker
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239:Theodorus van Pee
154:South Sea Company
32:Theodorus van Pee
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16:Dutch painter
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687:1746 deaths
682:1668 births
382:Oud-Holland
225:by leading
52:Jan van Pee
676:Categories
257:References
36:art dealer
219:Henrietta
215:The Hague
109:Adam Silo
81:Correggio
46:Biography
38:from the
188:Maarssen
159:annuity
105:Murillo
73:Raphael
56:Antwerp
243:Artnet
317:(ed.
321:and
79:and
69:Rome
61:Luke
241:on
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