Pieter Codde(Amsterdam 1599 – Amsterdam 1678)

How to cite
Nogrady, Elizabeth. “Pieter Codde” (2024). In The Leiden Collection Catalogue, 4th ed. Edited by Arthur K. Wheelock Jr.
and Elizabeth Nogrady with Caroline Van Cauwenberge. New York, 2023–. https://theleidencollection.com/artists/pietercodde/ (accessed June 2024).
A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed bya permanent URL. New versions are added only when a substantive change to the narrative occurs.

Pieter Codde, who was the fourth of nine children, was born in Amsterdam in 1599 to Maria Jans and Jacob Pietersz
Codde. His father served as a paalknecht, a city official whose responsibilities included collecting port fees, registering
vessels coming into Amsterdam, and delivering mail to and from shippers and merchants.[1] Because of his official
position, the family resided in the Paalhuis (no longer extant) near the river IJ on the Nieuwe Brug. In 1623, Pieter married
eighteen-year-old Maritgen Arens. Shortly thereafter, the couple had a child, Clara, who was baptized in April 1624. By
1630, they were living in a comfortable house on the Sint Anthoniesbreestraat, in a neighborhood well known as an artists’quarter.[2]At the time of his marriage, documents list Codde’s occupation as “painter.”[3] Unfortunately, because records from theAmsterdam Guild of Saint Luke have been lost, the identity of the artist (or artists) with whom Codde trained is
unknown.[4] He likely began his training as a portrait painter, producing both single and group portraits throughout his
career. Codde’s pursuits in this period were not limited to painting but extended to literature as well. In 1627, theplaywright Elias Herckmans (1596–1644) mentioned Codde in the dedication of his play Tyrus, based on a military
campaign of Alexander the Great, while in 1633, a love poem by Codde appeared in the publication Hollande
Nachtegaelken.[5] These texts suggest that his literary interests ranged in subject matter from classical to amorous themes,
as was also the case in his paintings.
Codde is best known for his genre scenes, which he executed throughout most of his career. Building on the popularity ofsimilar subjects depicted by forerunners like Willem Buytewech (1591/92–1624) and Dirck Hals (1591–1656), and by his
contemporary Willem Duyster (1599–1635), Codde produced pictures of elegant yet spare interiors featuring musicalparties, soldiers at leisure, and merry companies. Within this area of specialization, Codde’s works are distinctive for his
use of a restricted palette featuring silvery tones of grays and browns, and for his compelling groupings of figures withcarefully detailed accoutrements such as musical instruments, weapons, and domestic items. The significant number of© 2024 The Leiden Collection

Pieter Codde
Page 2 of 6

surviving copies after his genre scenes testifies to the commercial success of his imagery.[6] Aside from his genre subjects,
Codde also made portraits and history paintings, including The Continence of Scipio in The Leiden Collection.[7] Though he
did not generally date his paintings after 1645, evidence suggests that Codde continued to remain active in artistic circles
for much of his life. In 1672, he was among a group of professionals that the dealer Gerrit Uylenburgh (1626–79) asked tocertify a number of Italian paintings.[8]A picture unique in Codde’s oeuvre is the Militia Company of District XI under the Command of Captain Reynier Reael andLieutenant Cornelis Michielsz Blaeuw, 1637, known as the “Meagre Company.”[9] Codde completed this large-scale group
portrait of an Amsterdam militia company after Frans Hals (1582/83–1666), who had begun painting it in 1633,
abandoned the commission because of a conflict with his Amsterdam patrons.[10] Codde was likely hired to finish thegroup portrait because of his reputation as a portrait painter and, as well, because he resided in the same Amsterdam
district as the militia company.[11] It is probable that Hals and Codde both worked on the “Meagre Company” in thesizeable studio space belonging to Hendrick Uylenburgh (1587–1661) on Sint Anthoniesbreestraat, where Rembrandt van
Rijn (1606–69) was also active in the early 1630s.[12]While Codde found great professional success as an artist, his personal life was fraught. Notarial accounts describe how in
1625, at a gathering of artists including Barend van Someren (1572–1632) and Michel van de Sande (1583/84–ca. 1630),
he had an altercation with Duyster.[13] A decade later, in 1635, Codde’s young daughter died. In the following year Codde’s
maidservant, Aefge Jans, accused the artist of rape.[14] Soon thereafter, Codde separated from his wife, at which time aninventory was made that lists fine household goods like porcelain, silver, and silk, as well as paintings. Many of thesepaintings, some of which were unframed, were by artists with ties to Haarlem, among them Frans Hals, Pieter Claesz(1596/97–1660), and Jan van Goyen (1596–1656), which suggests that Codde was an art dealer as well as an artist.[15] Heremained married after the separation, and in 1651 he asked witnesses to report on his wife’s relationships with other men;among those mentioned was artist Pieter Potter (ca. 1597–1652), presumably the father of Paulus Potter (1625–54), who
lived nearby.[16]Throughout this turmoil, Codde remained financially secure, purchasing a home on the Keizersgracht in Amsterdam in
1657. He died in 1678 and was buried at the Oude Kerk in Amsterdam. In his will, Codde left the house on the
Keizersgracht to his housekeeper, Barentje Willems, who sold it in 1679 for 2,500 guilders.[17]- Elizabeth Nogrady, 2024

© 2024 The Leiden Collection

Pieter Codde
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Appendices
Appendix 1
Transcription and translation of a notarial account, dated July 1st, 1625, describing an altercation between
Pieter Codde and Willem Duyster at a gathering of artists, including Barend van Someren and Michel van deSande. Below transcription was taken from Caroline Bigler Playter’s PhD dissertation, “Willem Duyster en
Pieter Codde: The ‘Duystere Werelt’ of Dutch Genre Painting, ca. 1625–1635” (Harvard University, 1972),
skillfully edited and refined by Piet Bakker. Katy Kist and Jennifer Kilian provided the translation.
The original document is preserved in the Amsterdam City Archives (Notarial Archives, Notary W. Cluijt,
no. 5075, inv. 351B, fol. 239r–40v, July 1, 1625). This document is a copy of the original testimony by thesame notary (Notarial Archives, Notary W. Cluijt, no. 264, inv. 369A, fol. 264r, July 1, 1625). This original
deed, partially illegible due to water damage, is signed by Louwijs du Pree and Barent van Someren.
Transcription
Op huyden den eersten Julij anno 1625 Comp[areer]de voor mij Louwijs du Pree oudt omtrent 34 jaren
tegenwoordich luijtenant in dienst van de R[epublique] van Venetien ende Michael van de Sande oudt
omtrent xlii iaren woonende binnen deser Stede, ende hebbe bij waere Christelijcke Woorden in plaetse ende
onder presentatie van eede solemneel ten versoecke van Willem Duijster getuycht, verclaert ende geattesteert
hoe waer is dat sij getuijgen opten tweeden pincster dach lestleden met eenich ander geselschap vergadertsijn geweest inden hoff genaemt Meerhuijsen daer Barent van Someren huijrder van es ende dat aldaer mede
gecomen zijn geweest Pieter Codde ende zijne huijsvrouwe ende naerdat sij luijden bij den anderen eenigen
tijdt geweest ende diversche propoosten tusschen beijden gevallen waren Soo ister onder anderen tusschen deComp[arant]en gepratet geweest van eenen Pieter Raes Ende heeft de producent onder anderen geseijt dat
hij eenigen tijdt daer te vooren metten voorseijde Pieter Raes questie gehadt hadde, waer op de voorseijde
Codde seijde doen ter tijdt was ick noch u vrient heeft de producent geantwoort ghij waert mijn vrient niet
ick soudt u anders connen bewijssen waerop Pieter Codde replicerende seijde ick hebbe anders niet geseijt
dan dat ghij te wijs waert daer over de prod[ucen]t dupliceerde latet daer bij blijven wij hebben noch questie
noch onmin metten anderen dat sullen wij op een andermael met malcanderen wel affmaecken waer op devoorseijde Codde seijde als ghij wilt heeft de producent daer op geseijt zijt ghij een rechtschaffen carelcompt morgen als ghij wilt met een wackere pedarm ende soo verre ghij nieten compt soo houde ick u voor
een schelm Waerover de voorseijde Codde opgestaen es ende heeft den producent met een aerde canne voor
t’aangesicht seer vehementel[ijck] gestooten hebbende voorts de voorseijde P[iete]r Codde een thinne wijns
pint den prod[ucen]t int gesichte geslagen sulcx dat het bloet over des prod[ucen]ts cleederen heen sparte
Indien voegen dat de prod[ucen]t in duijssing geraect zijnde de voorseijde P[iete]r Codde door eenige van deComp[arant]en uijtten huijse gestooten is om voorder swaricheijden te voorcomen. Gedaan te Amsterdam
ter p[rese]ntie van Pieter Rodenburgh mede notaris alhier ende Rochus de Witte getuigen.
Translation© 2024 The Leiden Collection

Pieter Codde
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Today, the first of July in the year 1625, appeared before me Louwijs du Pree, about 34 years old, currently
serving as a lieutenant in the service of the Republic of Venice, and Michael van de Sande, about 42 years
old, residing within this city. And with true Christian words, in situ and under the presentation of solemn
oath, at the request of Willem Duyster, testified, declared, and attested to the truth of the matter. On thesecond day of Pentecost, the witnesses, together with several others, gathered at the abode called“Meerhuysen,” where its tenant, Barent van Someren, resided. Also present were Pieter Codde and his wife,and they spent some time together discussing various topics. One of the subjects was a certain Pieter Raes,and the claimant [Duyster] stated that he had a dispute with Pieter Raes some time before. To this, Codde
remarked, “At that time, I was still your friend.” The claimant replied, “You were not my friend; I can proveotherwise.” To which Pieter Codde retorted, “All I said was that you were too know-it-all.” The claimant
responded, “Let’s leave it at that; we have no quarrel or ill-will towards each other. We can settle this issue
next time we meet.” Codde then said, “If you wish.” The claimant then replied, “If you are an honorable man,come tomorrow if you dare, with a suitable sword, and if you don’t come, I’ll consider you a scoundrel.”Upon this, Codde stood up and vehemently struck the claimant in the face with an earthenware jug, then hit
him in the face with a pewter tankard, causing blood to spatter over the claimant’s clothes. Eventually, theclaimant became dizzy, and Codde was kicked out of the house by some of the bystanders to prevent further
problems. Formally recorded in Amsterdam in the presence of Pieter Rodenburgh, also a notary here, andwitness Rochus de Witte.

Appendix 2
Transcription and translation of a notarial account, dated October 30, 1651, in which several witnesses, at therequest of Pieter Codde, testified about his wife’s relationships with other men. Codde had separated fromhis wife soon after 1635. Among those mentioned in the document is artist Pieter Potter (ca. 1597–1652),
presumably the father of Paulus Potter (1625–54), who lived nearby.
Below transcription was taken from Caroline Bigler Playter’s PhD dissertation, “Willem Duyster en Pieter
Codde: The ‘Duystere Werelt’ of Dutch Genre Painting, ca. 1625–1635” (Harvard University, 1972),
skillfully edited and refined by Piet Bakker. Katy Kist and Jennifer Kilian provided the translation. The
original document is preserved in the Amsterdam City Archives (Amsterdam City Archives, Notarial
Archives, Notary J. Hellerus, no. 5075, inv. 2047, fol. 65v–66r, October 30, 1651)
Transcription
Op huijden den dertischsten Octobris anno xvic-eenenvijftich Compareerden voor mij Jo[hann]es Hellerus
notaris publ[icus] bij den hove van Hollandt geadmitteert t’Amsterdam residerende Jan Valois dienaer van
den E[dele] heer Cornelis van Outshoren, heer van Outshoren Schout deser stede, out 52 jaren ende Cristina
Anseel desselfs huijsvrouw, out 66 jaren, ende hebben ten versoecke van Sr. Pieter Codde schilder wonendehier ter stede geattesteert ende getuijgd hoe waer is, dat nu ontrent thien a elf jaren geleden sij deposanten
sijnde buijren van Maria Schilt alias haer huijsvrouw van de voorseijde Pieter Codde op de Egelantiersgraft
alhier seer goede ende familiare kennisse met de voorseijde Maria Schilt gehad ende gehouden hebben als© 2024 The Leiden Collection

Pieter Codde
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wanneer de voorseijde Maria Schilt tegen haer deposanten verscheijden malen geclaeght heeft, dat Sijmon
Hop alsdoen jongman sijnde de welcke met haer den tijt van ontrent drije jaren geconverseert ende
ommegegaen hadde als man ende vrou, haer hadde verlaten getuygd hij Jan Valois noch aleen dat hij devoorseijde Maria Schilt vragende waerom dat zij droevich was dat de voorseijde Symon Hop haer haddeverlaten de wijle sij wel wist dat sij een getrout man hadde, zij Maria Schilt daerop antwoorde soude ik niet
droevich wesen ick hebbe tweemael van hem swaer geweest ende veel gelt aen hem gespendeert, getuijgen
sij deposanten tsamen noch dat daerna ten huijse van de voorseijde Maria Schilt gewoont heeft seker
jongman gen[aem]t Willem Blau de welcke met de voorseijde Maria Schilt den tijt van een half jaar langhgeduijrende de continuelijck ommegegaen ende als man ende vrouw metten anderen op een bedde geslapen
hebben getuygd hij Jan Valois noch alleen, dat de voorseijde Maria Schilt ende voorseijde Willem Blau
alsdoen op een morgen tegens hem deposant roemden ende verclaerden dat sij tot vijf verscheyden malensnachts tevoren metten anderen vleesschelijck geconverseert hadden Getuijgd Cristina Anseel noch alleen,
dat eenigen tijt voor het voorseijde half jaer dat de voorseijde Blau als vooren familiarelijck met devoorseijde Maria Schilt verkeerde zij deposante op een morgen vroegh ten huijse van voorseijde Maria
Schilt gecomen is als wanneer sij deposante de voorseijde Maria Schilt ende eenen genaemt de Potter sijnde
schilder op den bedde gevonden heeft dewelcke de Potter uijt het bedde voorts gecomen zijnde sij Maria
Schilt int bedde noch leggende tegens haer deposante seijde, vertoeft noch wat wij sullen terstond de kandeel
eeten, gelijck sij deposante alsdoen oock nevens de voorseijde Maria Schilt ende de Potter kandeel gegeeten
heeft, presenterende sulx des nood ende versocht sijnde bij eede te stercken gedaen t’ Amsterdam jnt bijsijn
van Sacharias de Vos ende Gerrit van Eijck als getuijgen.
Translation
On this day, the 30th of October in the year 1652, before me, Johannes Hellerus, a notary public admitted by
the Court of Holland and residing in Amsterdam, Jan Valois, 52 years old, servant of the noble gentleman
Cornelis van Outshoren, Lord of Outshoren and bailiff of this city, and Cristina Anseel, his [Valois’] wife, 66
years old. At the request of Mr. Pieter Codde, a painter residing in this city, they, testified and declared tothe truth of the matter.
They stated that, about ten or eleven years ago, they, the deponents, being neighbors of Maria [Arents] Schilt,
alias the wife of the aforementioned Pieter Codde, on Egelantiersgracht in this city; both having a very goodand cordial acquaintanceship with the aforementioned Maria Schilt during the time when Maria Schilt
complained on several occasions to them, the deponents, that Sijmon Hop, a young man at the time who had
consorted and lived with her for about three years as husband and wife, had deserted her. Jan Valois testified
alone that he asked aforementioned Maria Schilt why she was sad that aforementioned Simon Hop had left
her, while she knew that he was married man, Maria Schilt replied: “Should I not be sad? I have twice
become pregnant by him and spent a lot of money on him.” The deponents together also testified that later, acertain unmarried man named Willem Blau lived in Maria Schilt’s house for about six months, and that heand Maria Schilt continuously consorted as husband and wife, sleeping together in the same bed. Jan Valois
further stated on his own that one morning, Maria Schilt and Willem Blau boasted and declared to him thatthey had engaged in carnal relations together five times the previous night. Cristina Anseel alone testified© 2024 The Leiden CollectionPowered by TCPDF (www.tcpdf.org)

Pieter Codde
Page 6 of 6that some time before the aforementioned six-month period during which the aforementioned Blau
associated familiarly with the aforementioned Maria Schilt, she, the deponent, came early one morning to thehouse of the aforementioned Maria Schilt, where she found the aforementioned Maria Schilt and a man
named De Potter, who was a painter, in bed. After De Potter got out of bed, Maria Schilt, still lying in bed,
said to her, the deponent, “Stay a while, we will eat kandeel [an Old Dutch egg liqueur] soon,” and thedeponent then ate kandeel together with the aforementioned Maria Schilt and De Potter, presenting this incase of necessity and being requested to confirm it by oath, done at Amsterdam in the presence of witnesses
Sacharias de Vos and Gerrit van Eijck.

Literature
Von Bode, Wilhelm. Studien zur Geschichte der holländischen Malerei. Brunswick, 1883, 141–53.
Dozy, Ch. M. “Pieter Codde, de schilder en de dichter.” Oud-Holland 2 (1884): 34–67.
Bredius, Arnold. “Iets over het leven van Pieter Codde en Willem Duyster.” Oud-Holland 6 (1888):
187–94.
Brandt, Paul, Jr. “Notities over het leven en werk van den Amsterdamschen schilder Pieter Codde.”
Historia 12 (1947): 27–37.
Bigler Playter, Caroline. “Willem Duyster en Pieter Codde: The ‘Duystere Werelt’ of Dutch Genre
Painting, ca. 1625–1635.” PhD diss., Harvard University, 1972.
Van Eeghen, I.H. “Pieter Codde en Frans Hals,” Amstelodamum 61 (1974): 137–40.
Bogendorf-Rupprath, Cynthia von. “Pieter Codde.” In Masters of Seventeenth Century Dutch Genre
Painting, by Peter Sutton, 174. Exh. cat. Philadelphia, Philadelphia Museum of Art; Berlin,
Gemäldegalerie; London, Royal Academy of Arts. Philadelphia, 1984.
Sluijter, Eric Jan. Rembrandt’s Rivals: History Painting in Amsterdam 1630–1650. OCULI: Studies in theArts of the Low Countries 14. Amsterdam, 2015, 297–310.
Rosen, Jochai. “Pieter Codde and the Industry of Copies in 17th-Century Dutch Painting.” In The
Primacy of the Images in Northern European Art, 1400–1700: Essays in Honor of Larry Silver. Edited by
Debra Cashion, Henry Luttikhuizen, and Ashley West, 564–71. Leiden, 2017.
Rosen, Jochai. Pieter Codde (1599–1678): Catalogue Raisonné. Newcastle upon Tyne, 2020.

© 2024 The Leiden Collection