Catalogue of the Exhibited at the Kleinberger Galleries

Total Page:16

File Type:pdf, Size:1020Kb

Catalogue of the Exhibited at the Kleinberger Galleries CATALOGUE of the Exhibited at the Kleinber ger Galleries n Y I New ork , 709 Fifth Avenue Novemb er-De ember 1 c , 913 GALLERIES Esta blished 1848 ’ 9 Rue de I Echelle 709 Fifth Avenue 228 4 6 P R E F A C E H IS Catalog ue is an extract of the Ca ta lo de L a me wr tten b D r g i y . Wilhelm B ode D rector- ener l , i G a of the Kaiser- Friedrich- Museum in Berlin and ubl shed b Jul us Bar Berl n p i y i d, i . The atalo ue de Luxe th 8 Co er late C g , wi 7 pp p en rav n s l m ted to 200 co es is for sale at the g i g , i i pi , le nber er aller es New York and Par s and F . K i g G i , i , Berl n Julius Bard i . The P a inting s described in this Ca ta log u e a re leinber er alleries r a t a l a t t e F . K G fo p riv e s e h g , obta in d where p rices and p articula rs can be e . The m easurements of the painting s are g iven The terms without frames and in centim etres. “ ” “ ” rig ht and left are to be understood from the ’ e a or o nt of e sp ct t s p i vi w . The entire Collection will be on view between November 24th and D ecember 15th at the F . K leinber er a ll n e A n g G er ies, 709 Fifth Ave u . admission fee will be charg ed of 50 cents m 1 m m ro 0 a to 2 . f . p and rom 2 m to 6 m f p . p . the proceeds of which shall be for the benefit of the “ New York Association for Im proving the Condi ” “ n of the Poor and the Montefiore H om e tio , a H ospital for Chronic I nvalids and Country Sanitar n m e ium for Co su ptiv s. F Kle n . i berg er m N ew Y ork , N ove b er 1913 seem to anyone who turns over the pag es of this catalogue and g lances at the e as the o or who plat s , if c llect called this g allery into being started out with the happy idea of g etting tog ether masterp ieces of all the foremost artists of the Dutch and Flemish S oo t he rs e s o e r re e er ch ls , and hat pu u d thi bj ct with a n g y As m er of err A and ext raordinary success . a att fact , H ug ust B n as mo o e o n his de idder beg a st c ll ct rs have beg u , and if t g allery almost g i v es the impression of a public collection m e on r is o to the r ms e ad fixed p inciples , this wing ci cu tanc t his re e o for art o e of o e the that wi h p dil cti n and l v c ll cting , owner a tta ined by deg rees to a full appreciation of works of i art , and that s nce that time be spared no pains or expense to rid ol e o of r m o his c l cti n what was spurious o edi cre , and em l to enr fir syst atical y ich it with st class pictures . As m one ov we enti d ab e , Herr de B idder beg an in the s m as the re m o of a e way g at aj rity collectors , viz : with mo n r was der pictu es ; and this natural , as contemporary o a e to mo a i w rks pp al us st re d ly . At the same tim e be m n d n a ifeste his i dependence of taste by his choice of artists o he r se r and the w rks which u cha d f om them . In Frankfort p , the e s e e of his o rs he chi f c n lab u , came into contact with the es n r of F n or C o r o a nd b t pai te s the ra kf t and r nbe g sch ols , m e to se r o or s A anag d cu e ch ice w k by nton Burg er , A o S re er, Pe er Be r and C r d lf ch y t cke a l M org enstern . Frequent and occas ionally p rolong ed visits to Munich were the means of his becoming acquainted with artists resident ere om er as th , with wh lat in the case too of the Frankfort r i s he e ere o oser erso re e m a t st nt d int cl p nal lations . W ay me o es e W m D ez Le nti n p cially ilhel i , ubach and Ludwig ' rr B r w Lofltz . He de idde as thus enabled to bring tog ether a collection of works by these and several other contemporary and ea rlier artists which may still be seen in his Frankfort Germ ma res idence , and which any public g allery in any y well envy him . At the same time an old fancy was revived and an ea rly n M n A n i . B n love reki dled u ich elg ia by birth , Herr de B idder had been broug ht up in his native town of Antwerp am ong the masterp ieces of Flemish and ea rlier Netherland s the M Pinacothek h w artist , and in unich e sa and admi red or s of ese r old m the g lorious w k th g and asters . His enthusias m for earlier art received a further impetus from dis ting uis hed om be sso e who artists with wh a ciat d , and were not only admirers of the old mas ters but also ardent collecto rs of i rre him on to or s early works of a rt . Th s spu d eff t in the same firs e e not W o o s ona direction , at t t ntativ ly and ith ut cca i l h we all o e er e e as to be o . blunders , but kn w that xp i nc b ug ht When however about twenty years ag o the French imp res rm n be o e s e for mo er sionism reached Ge a y , c nceiv d a dista t d n rom e e or o fi e m l e s ve p ainting , and f h nc f th c n n d hi se f xclu i ly s s rs to collecting old masters . Bu ines tou which took Herr er to Amer more re e to Lo o de B idd ica , and f qu ntly nd n and s e him o or of the re s res Pari , gav an pp tunity studying t a u the or ossesses ese m s er e es tem which w ld p in th a t pi c , and sys ’ ll to oo o art- e ers o ms atica y l k ab ut in d al sh ps , auction roo , H he m l f e ma be etc . ow availed hi se f o these opportuniti s y n h r e on h a re see by a g lance at t e pictu es in this coll cti , w ich here reproduced in as completely faithful facs imile as has been found possible . The first impression of this catalog ue was made during the e- me of de B r o or e ore his lif ti Herr idde , but nly sh tly b f m n e on M a 13th 191 1 the e la e ted and sudd n death , y , at ag - of sev enty four . That he had silently a nd zealous ly bee n e o m se to art r of o w e is te d v ting hi lf , as a labou l ve , and ith xqu i taste and rare understanding had been making a collection of the m ost noteworthy D utch and Flemish artists of the . C n r mo e o of XVII e tu y , such as is al st b y nd the power a the en ow to few private individual at pres t day , was kn n r e outside his family ci cl . Since the demise of Herr de B idder the collection has passed from the p eaceful villa at Sch onberg to the Stadel Frankfort-ou- M as o r Institute in ain a l an , in o der that by ma be more es this means it y acc sible to the public . 1913 Berlin , July W I L H E L M BO D E D DT AN BYN o a utch School , REMBRA N V , wh se sw y may be compa red with that of Velasquez over the S an S m am on of v p ish chool , us t be the biti e ery o o w - a - a n two c llect r , especially no d ys whe these la f n a rtists occupy a foremost p ce o i terest .
Recommended publications
  • A Young Boy in a Plumed Cap Black Chalk, with Traces of Red Chalk, and Framing Lines in Brown Ink
    Jacob Adriaensz. BACKER (Harlingen 1608 - Amsterdam 1651) A Young Boy in a Plumed Cap Black chalk, with traces of red chalk, and framing lines in brown ink. Signed Backer. at the lower right. 168 x 182 mm. (6 5/8 x 7 1/8 in.) This charming drawing is a preparatory study for the pointing child at the extreme left of Jacob Backer’s Family Portrait with Christ Blessing the Children, a painting datable to c.1633-1634. This large canvas was unknown before its first appearance at auction in London in 1974, and is today in a private collection. The present sheet is drawn with a vivacity and a freedom in the application of the chalk that is stylistically indebted to Rembrandt’s chalk drawings of the same period, namely the early 1630s. Drawings executed in black chalk alone are rare in Backer’s oeuvre, but this drawing may be compared in particular to a signed and dated Self-Portrait in black chalk by Backer of 1638, in the Albertina in Vienna. A black chalk study of A Man in a Turban, in the Boijmans-van Beuningen Museum in Rotterdam, may also be likened to the present sheet. Provenance: Probably by descent to the artists’s brother, Tjerk Adriaensz. Backer, Amsterdam Iohan Quirijn van Regteren Altena, Amsterdam (his posthumous sale stamp [Lugt 4617] stamped on the backing sheet) Thence by descent. Literature: Werner Sumowski, Drawings of the Rembrandt School, Vol.I, New York, 1979, pp.20-21, no.3 (where dated to the mid-1630s), and also pp.46-47, under nos.16x and 17x, p.52, under no.19x and p.54, under no.20x; Werner Sumowksi, Gemälde der Rembrandt-Schüler, Landau/Pfalz, 1983, Vol.I, p.203, under no.72; Peter van den Brink, ‘Uitmuntend Schilder in het Groot: De schilder en tekenaar Jacob Adriansz.
    [Show full text]
  • The Leiden Collection Catalogue, 3Rd Ed
    Govaert Flinck (Kleve 1615 – 1660 Amsterdam) How to cite Bakker, Piet. “Govaert Flinck” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/govaert- flinck/ (accessed September 27, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Govaert Flinck Page 2 of 8 Govaert Flinck was born in the German city of Kleve, not far from the Dutch city of Nijmegen, on 25 January 1615. His merchant father, Teunis Govaertsz Flinck, was clearly prosperous, because in 1625 he was appointed steward of Kleve, a position reserved for men of stature.[1] That Flinck would become a painter was not apparent in his early years; in fact, according to Arnold Houbraken, the odds were against his pursuit of that interest. Teunis considered such a career unseemly and apprenticed his son to a cloth merchant. Flinck, however, never stopped drawing, and a fortunate incident changed his fate. According to Houbraken, “Lambert Jacobsz, [a] Mennonite, or Baptist teacher of Leeuwarden in Friesland, came to preach in Kleve and visit his fellow believers in the area.”[2] Lambert Jacobsz (ca. 1598–1636) was also a famous Mennonite painter, and he persuaded Flinck’s father that the artist’s profession was a respectable one. Around 1629, Govaert accompanied Lambert to Leeuwarden to train as a painter.[3] In Lambert’s workshop Flinck met the slightly older Jacob Adriaensz Backer (1608–51), with whom he became lifelong friends.
    [Show full text]
  • Jaarverslag 2008 (Pdf)
    Jaarverslag 2008 inhoud 2 VAN PAULINE NAAR PAUL 8 PRESENTATIE 8 Tijdelijke tentoonstelling 14 Permanente tentoonstelling 20 EDUCATIE 34 COLLECTIE 52 ARCHEOLOGIE 54 MUSEUM WILLET -HOLTHUYSEN 58 INTERNATIONALE SAMENWERKING 62 Stichting Genootschap Amsterdams Historisch Museum 62 Het Genootschap Amsterdams Historisch Museum 65 Raad van Toezicht Stichting Amsterdams Historisch Museum 66 ANNUAL REPORT SUMMARY 68 DAG LIEVE PAULINE 74 BIJLAGEN 74 Bezoekersaantallen Van Pauline naar Paul Interview met scheidende directeur Per 1 januari 2009 is Paul Spies directeur van het Amsterdams Historisch Pauline Kruseman en komende Museum. De opvolger van Pauline Kruseman was hiervoor mededirecteur directeur Paul Spies door Teio van het Kunsthistorisch Advies- en Organisatiebureau d’arts, dat hij zelf Meedendorp. meer dan 20 jaar geleden met twee kompanen oprichtte. Aan het eind van 2008 keken Pauline en Paul gezamenlijk naar hun respectievelijk verleden en toekomende tijd in het Amsterdams Historisch Museum. Voordat Pauline ongeveer 18 jaar geleden het voormalige Burgerweeshuis binnentrok, werkte zij als zakelijk leider voor het kit/Tropenmuseum (20 jaar). Pauline: ‘Terugkijkend moet ik zeggen dat ik heb gewerkt voor de twee mooiste cultuurhistorische musea in Amsterdam. Ik heb heel bewust voor het werken in een cultuurhistorisch museum gekozen en voor het openbaar kunstbezit, daar heeft altijd mijn belangstelling gelegen. Ik vond het fantastisch om hier voor een mooie, eeuwenoude collectie te mogen zorgen en die in te zetten voor allerlei presentaties, om verhalen te vertellen over Amsterdam en de Amsterdammers. Mijn hart – en dat weet iedereen – ligt heel erg bij educatie. Het klinkt misschien heel ouderwets, maar ik ben erg voor l’éducation permanente. Of het Favoriete tentoonstellingen of aankopen tijdens haar directoraat wil ze nu voor kinderen of voor volwassenen is, hier kun je prachtige verhalen liever niet noemen, alle projecten zijn haar om diverse redenen even lief.
    [Show full text]
  • The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
    The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam .................................................................................................................
    [Show full text]
  • Silvio with the Wounded Dorinda
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Louis Vallée Dutch, died 1653 Silvio with the Wounded Dorinda 165(1)? oil on canvas overall: 105.1 × 175.2 cm (41 3/8 × 69 in.) framed: 129.54 × 200.66 × 8.89 cm (51 × 79 × 3 1/2 in.) Inscription: lower right to left of arrow sheaf: Loiy[s] Vallee. / f [1]65[1?] Gift of Patricia Bauman and the Honorable John Landrum Bryant 2000.114.1 ENTRY Louis Vallée drew this subject from Giovanni Battista Guarini’s late sixteenth- century tragicomedy Il Pastor Fido, a pastoral play that glorified arcadian life and had far-ranging effects in art and literature in France, Flanders, and the Netherlands. [1] Its intricate plot focuses on the love between the shepherd Mirtillo and the nymph Amarillis, who, by paternal arrangement, was betrothed to Silvio. The scene Vallée has depicted, however, is the culmination of the subplot, which centers on the nymph Dorinda’s love for Silvio, Amarillis’ intended. In the play, Silvio shows nothing but disdain for Dorinda and cares only for the hunt. Dorinda, not showing the best judgment, decides to disguise herself with a wolf skin and follow her beloved on the hunt. Silvio, mistaking Dorinda for an animal, inadvertently shoots and wounds her with an arrow. Vallée depicts the moment when Dorinda, having emerged from the bushes where she had been hiding, has fallen into the arms of the aged Linco, who always cared for her as a second father. In Guarini’s telling, the distraught Silvio, suddenly realizing he is in love with Dorinda, gives her the arrow so that she can exact revenge by taking his life in return.
    [Show full text]
  • Rembrandt: Britain's Discovery of the Master
    Rembrandt: Britain's Discovery of the Master 2018-07-07 2018-10-14 Objects proposed for protection under Part Six of the Tribunals, Courts and Enforcement Act 2007 (Protections of cultural objects on loan from outside the UK). Albertina Museum, Albertinaplatz 1, Vienna A-1010 Austria Type of work: Drawing Title: View of Windsor Castle Date Created: About 1640 Maker: Rembrandt (Rembrandt Harmensz van Rijn) Maker dates: 1606 - 1669 Nationality: Dutch Dimensions: 18.30 x 29.70 cm Materials: Pen and brown ink, brown wash and traces of black chalk on paper Identifying None marks: Place of Amsterdam manufacture: Ownership This object has a complete ownership history from the beginning of the year 1933 to the end of the year 1933 - 1945: 1945. Provenance: A.-J. Dezallier d’Argenville [L.2951], by 1765; Moritz von Fries, Vienna and Paris [Lugt 2903]; Duke Albert of Saxe-Teschen, by 1822. Exhibition Not recorded history: Publications Otto Benesch, The Drawings of Rembrandt, 6 vols, London, 1954-1957, 2nd edn, enlarged and edited by history: Eva Benesch, London and New York, 1973, no.786; Holm Bevers, ‘Review of: Peter Schatborn, Rembrandt and His Pupils: Drawings in the Frits Lugt Collection’, Master Drawings, 2012, vol.50, no.3, pp. 402-04; Peter Schatborn and Leonore van Sloten, Old Drawings, New Names: Rembrandt and his Contemporaries, exh. cat., Amsterdam (Museum het Rembrandthuis), 2014, pp.106-09 Page 1 of 16 Type of work: Drawing Title: View of London with Old St Paul's Date Created: About 1640 Maker: Rembrandt (Rembrandt Harmensz van Rijn) Maker dates: 1606 - 1669 Nationality: Dutch Dimensions: 17.70 x 32.10 cm Materials: Pen and brown ink, brown wash and some black chalk on paper Identifying None marks: Place of Amsterdam manufacture: Ownership This object has a complete ownership history from the beginning of the year 1933 to the end of the year 1933 - 1945: 1945.
    [Show full text]
  • Wisdom, Knowledge &Magic
    Wisdom, Knowledge & Magic The Image of the Scholar inScven ‘V olker CM ‘Dianna ‘Beaufort Jonathan Bikker ‘David de ‘Witt Jillian Harrold S a n d ra ‘TJchards Lsdxel Bfger Jan e ‘Bussell-Corbett with contributions by J . Douglas Stewart 25 O ctober 1996 -13 A pril 1997 A gnes E th erington A rt C entre Q u een ’s U niversity K ing sto n , C anada L e n d e r s t o t h e E x h i b i t i o n T h e E x h i b i t i o n w a s m a d e p o s s i b l e b y THE GENEROUS FINANCIAL SUPPORT OF Agnes Etherington Art Centre, Queen’s University, Kingston Anonymous Lenders Drs Alfred and Isabel Bader Art Gallery of Ontario, Toronto Queen’s University, Kingston Drs Alfred and Isabel Bader, Milwaukee Royal Netherlands Embassy, Ottawa Daniel and Linda Bader, Milwaukee Jack Kilgore and Co., Inc., New York Jack Kilgore and Co., Inc., New York Otto Naumann, Ltd, New York Metropolitan Museum of Art, New York Ontario Arts Council National Gallery of Canada, Ottawa City of Kingston Pittsburgh Township P h o t o c r e d i t s © Agnes Etherington Art Centre Queen’s University, Kingston Gene Albert, Ken Brown Studio: cat. nos. 8, 37 ISBN 0-88911-738-1 Agnes Etherington Art Centre: cat. nos. 7, 22, 29, 30 Art Gallery of Ontario (Carlo Catenazzi): cat. nos. 2, 3,11, 25, 32 Graphic Design: Peter Dorn, RCA, FGDC Courtesy of Drs Alfred and Isabel Bader: cat.
    [Show full text]
  • 176646 Nieuw Excl. Afb.Pdf
    UvA-DARE (Digital Academic Repository) Culturele ondernemers in de Gouden Eeuw: De artistieke en sociaal- economische strategieën van Jacob Backer, Govert Flinck, Ferdinand Bol en Joachim von Sandrart Kok, E.E. Publication date 2013 Document Version Final published version Link to publication Citation for published version (APA): Kok, E. E. (2013). Culturele ondernemers in de Gouden Eeuw: De artistieke en sociaal- economische strategieën van Jacob Backer, Govert Flinck, Ferdinand Bol en Joachim von Sandrart. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:11 Oct 2021 Culturele ondernemers in de Gouden Eeuw Eeuw Gouden de in ondernemers Culturele Culturele ondernemers in de
    [Show full text]
  • Govert Flinck
    2810 Govert Flinck Vier doelheren der kloveniers Albert Coenraetsz. Burgh (?-1647), Jan Claesz. Vlooswijck (1571-1652), Pieter Reael (1569-1643) en Jacob Willekeur (?-?), met de kastelein Jacob Willekens (1564-1649) (of Jacob Nachtglas 1577-1654), 1642 gedateerd Amsterdam, Rijksmuseum, inv./cat.nr. SK-C-370 Afbeeldingsnummer 1001195181 Afmetingen: 650x480 pixels Licentie onder PUB DOM Afbeeldingsnummer 0000319588 Afmetingen: 650x479 pixels License undetermined Afbeeldingsnummer 0000003024 Afmetingen: 650x497 pixels License undetermined Verder zoeken in RKDimages Naam kunstenaar Flinck, Govert Afgekorte literatuur Von Sandrart 1675/1994 Afgekorte literatuur Wagenaar 1760-1767 Afgekorte literatuur Amsterdam 1841 Afgekorte literatuur Amsterdam 1843 Afgekorte literatuur Amsterdam 1845 Afgekorte literatuur Scheltema 1855-1885 Afgekorte literatuur Amsterdam 1864 Afgekorte literatuur Amsterdam 1879A Afgekorte literatuur Von Wurzbach 1906-1911 Afgekorte literatuur Thieme/Becker 1907-1950 Afgekorte literatuur Riegl 1931 Afgekorte literatuur Martin 1935 Afgekorte literatuur Isarlov 1936 Afgekorte literatuur Von Moltke 1965 Afgekorte literatuur Haak 1968 Afgekorte literatuur Van Thiel et al. 1976 Afgekorte literatuur Sumowski 1979-1992 Afgekorte literatuur Sumowski 1983-1994 Afgekorte literatuur Middelkoop 1997 Afgekorte literatuur Middelkoop/Reichwein/Van Gent 2008 Afgekorte literatuur Büttner/Meier 2011 Afgekorte literatuur Kok 2016 Afgekorte literatuur Larsen 2017 Afgekorte literatuur Hell 2017 Collectieplaats Amsterdam Collectie Kloveniersdoelen
    [Show full text]
  • Rafaelvalls-2014-Acquisitions 1.Pdf
    inside front cover 2014 RECENT ACQUISITIONS OLD MASTER PAINTINGS 11 Duke Street, St. James’s, London SW1Y 6BN Telephone: +44 (0) 20 7930 1144 Fax: +44 (0) 20 7976 1596 Email: [email protected] Website: www.rafaelvalls.co.uk Member of BADA & SLAD ACKNOWLEDGEMENTS We are extremely grateful to the following for their generous help in the writing of this catalogue: Peter van den Brink, Remmelt Daalder, Pip Dodd, Charles Dumas, Christine Jackson, Paul Huys Janssen, Suzanne Laemers, Sander Paarlberg, David Scrase, Nicola Spinosa, Katlijne van der Stighelen and Jorgen Wadum. As always their important additions to our research have helped to give us further insight into our paintings. Front Cover: Jacob Adriaensz Backer ‘Democritus, the laughing Philosopher’, (detail) cat. no. 1. Back Cover: Augustin Brunias, ‘Two Natives in an Exotic Landscape’, (detail) cat. no. 5. Catalogue of Works The catalogue is arranged in alphabetical order 1. Jacob Adriaensz Backer 2. Ludolf Backhuizen 3. Jacob Bogdani 4. Cornelis Pietersz Bouwmeester 5. Augustin Brunias 6. Baldassare de Caro 7. Jacques de Claeuw 8. Jean Baptiste Claudot 9. Aelbert Cuyp 10. Abraham van Diepenbeeck 11. Willem van Diest 12. Marie Margaretha La Fargue 13. Paulus Constantin La Fargue 14. Vicente Giner 15. Jan Josefsz van Goyen 16. Wolfgang Heimbach 17. Gerard Hoet I 18. Abraham Danielsz Hondius 19. Jacob Levecq 20. Giovanni Migliara 21. Hendrick van Minderhout 22. Pieter Neefs II 23. Henri Horace Roland de la Porte 24. Frans Pourbus I 25. Pieter Jansz Quast 26. Domenico Remps 27. Hubert Robert 28. Johannes Rosenhagen 29. Cornelis Schut 30. Aernout Smit 31.
    [Show full text]
  • Flinck and Flinck En Bol
    NEW RESEARCH Bol Flinck and Flinck en Bol FERDINAND BOL (1616-1680) GOVERT FLINCK (1615-1660) Of the many talented artists who worked with Rembrandt van Rijn in Amsterdam, none were more successful than Govert Flinck and Ferdinand Ferdinand Bol, born in 1616, was one of Govert Flinck was born into a Mennonite several artists from the city of Dordrecht who family in Cleves in 1615. Around 1630 he Bol. Like Rembrandt, both trained elsewhere before making the audacious REMBRANDTS MEESTERLEERLINGEN REMBRANDTS found their way to Rembrandt’s workshop in moved to Leeuwarden to study with the move to Amsterdam in the 1630s, a period of dynamic growth for the city Amsterdam, where Bol moved in 1636 after painter, art dealer, and Mennonite preacher that was fast becoming the cultural capital of northern Europe. In this RESEARCH NEW completing an apprenticeship with Benjamin Lambert Jacobsz. In about 1633-1634, Flinck volume of essays, art historians and conservation scientists present recent Gerritsz Cuyp. Bol’s independent career as a moved to Amsterdam, where he joined the research that sheds new light on the activities of both Bol and Flinck: their painter specializing in history paintings and workshop run by Jacobsz’s business partner, painting techniques, patronage networks, intellectual milieu, and shifting portraits began in 1640 but really took off in Hendrick Uylenburgh. There he encountered critical fortunes. Several chapters explore their relationships with other the 1650s, when an advantageous marriage Rembrandt van Rijn, from whom he took over brought him into contact with a network of as Uylenburgh’s chef d’atelier in 1635.
    [Show full text]
  • The Leiden Collection Catalogue, 3Rd Ed
    Lambert Jacobsz (Amsterdam ca. 1598 – 1636 Leeuwarden) How to cite Bakker, Piet. “Lambert Jacobsz” (2020). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/lambert- jacobsz/ (accessed October 01, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Lambert Jacobsz Page 2 of 8 Lambert Jacobsz was born in Amsterdam around 1598 to the Mennonite cloth merchant Jacob Theunisz (ca. 1569–1624) and Pietertje Lubberts, whose father was the famous Mennonite teacher Lubbert Gerrits (1535–1612).[1] Jacobsz grew up on Nieuwendijk amid fellow believers, including the young Jacob Backer (1608–51)—a distant relative and, later, Jacobsz’s pupil and assistant—who lived diagonally opposite him. Jacobsz’s teacher was likely Jan Pynas (1581–1631), who may also have been a Mennonite and who lived a stone’s throw away from Lambert’s parental home.[2] Whether Jacobsz was active as an independent painter after his training in Amsterdam is unknown. In 1620, he married Aechje Thonis (d. before 1632), daughter of the Mennonite cloth merchant Thonis Christiaens from Leeuwarden.[3] The famous Dutch writer Joost van den Vondel (1587–1679)—a close family friend—penned a poem in honor of their marriage.[4] How the Amsterdam painter found a spouse in Leeuwarden can undoubtedly be explained by his and his new wife’s shared religious beliefs.
    [Show full text]