he rented from Pieter Carpentier, to house on Kloveniersburgwal, opposite Jan Six. He was living next to his brother, Jacob J. Hinlopen, then a superintendent of a nearby elderly peoples home. Lucia gave birth to a stillborn child on 11 November 1665. In 1666 he commissioned a painting from Bartholomeus van der Helst of Lucia, himself and the hunting dogs, but showing his deceased first wife and children in the background. Jan J. Hinlopen, rather stockily built, died at the age of forty. He was buried in the Oude Kerk on 10 September 1666, next to his first wife and their baby. Hinlopen's collection of paintings After its completion, Rembrandt sold the painting Ahasuerus and Haman at the feast of Esther to Jan J. Hinlopen. It is based on the Old Testament story. During a banquet the wife of the Persian King Ahasuerus, the Jew Esther accuses the king's favourite Haman of plotting to destroy her people. This painting may be one of the few paintings by Rembrandt whose provenance can be traced back to the year 1662. In that year Jan Vos published a poetry book in which there were sundry poems based on the paintings of Jan J. Hinlopen. In his collection were two paintings by Jan Lievens, The raising of Lazarus, now in Bristol, and Christ in the tomb. The painting by Bartholomeus van der Helst was inherited by his second wife Lucia Wijbrants. Furthermore, he had a painting of flowers by Willem van Aelst, and the painting Simon in the temple with Christ as a child by Gerbrand van den Eeckhout. In his salon he showed Venus in a cloud full of Cupids by Rubens, which she inherited from her father Joan Huydecoper van Maarsseveen. Two paintings by Metsu One of the two paintings by Gabriel Metsu belonging to Hinlopen does depict the Hinlopen family. That one is in the Berlin Gemäldegalerie. Whether or not the one in the New York Metropolitan Museum is also depicting Hinlopen and his wife is still not clear. Arnold Houbraken, in 1721, recalled the latter painting as the largest and finest work by Metsu he had ever seen. There is still some confusion among art historians about the history of one of the paintings by Metsu, now in the Gemäldegalerie. Besides it is not clear if this painting is a genre work or a portrait. After the Geelvinck family ceased