The role of the Quran in Thomas Hees’ portrait

A 1687 painting by Michiel van Musscher (1645-1705) shows the diplomat Thomas Hees (1634-1693) surrounded by Dutch and Algerian objects. Hees is surrounded by his nephews Jan and Andries Hees and the black servant Thomas, whose name is known through the inscription on the painting’s verso. Andries is presenting a letter to his uncle, reading “Erentfeste Vrome ende Lieve Getrouwe Th. Hees Resident en Comm. Wegens Haer Ho.Mo. van Regeeringen van Alg. Tunis ende Tripolis. – Algier.”, which identifies the sitter and his occupations. The painting is filled with various objects and a large mirror reflects a courtyard surrounded by columns and balustrades. Above the framed mirror hangs the Dutch lion, flanked by two pieces of coral. To the right of that are muskets, powder flasks and sabres. The table which Thomas Hees leans on is loaded with various objects: an inkpot in the so-called ‘raadsheertje’ model, a letter, a red letter case, an hour glass, a globe and four books. These books include an atlas opened on the map of “Barbaria”, the Bible and the Quran. I will argue through iconographical and contextual analysis that by presenting himself in an Algerian setting and by juxtaposing North-African and Dutch objects and figures, Thomas Hees intended to present himself as an influential man, knowledgeable of both the Algerian and the Dutch culture. It is a true conversation piece in that it requires explanation to be understood in its entirety.