codart Courant 8/June 2004

codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director , their predecessors and successors: nl-1070 ka 3 News and notes from around the world 16th- to 18th-century Flemish and Dutch The 3 , , National drawings in Polish collections www.codart.nl Gallery: A birthday greeting to Hana 26 Krystyna Gutowska-Dudek, The Dutch Seifertová and Flemish from the collection of Managing editor: Rachel Esner 4 , , Fondation Custodia Jan iiiSobieski housed in Wilanow Palace e [email protected] 4 , of Fine Museum Arts 30 Wanda M. Rudzin´ska, The Tilman van Editors: Wietske Donkersloot, 6 Russia, St. Petersburg, State Hermitage Gameren archive in the print room of Gary Schwartz Museum University Library t +31 (0)20 305 4515 7 codart zeven: Dutch and Flemish art 33 Study trip to Gdan´sk, Warsaw and f +31 (0)20 305 4500 in Kraków, 18-25 April 2004 e [email protected] 8 Congress, , 7-9 March 2004 39 Rulers of Poland, 14th-18th century 13 Antoni Ziemba, The Low Countries and 39 Index of Polish individuals and families codart board Poland: a history of artistic connections 40 Website news Henk van der Walle, chairman 16 Hanna Benesz, Early Netherlandish, 41 Appointments Wim Jacobs, controller of the Instituut Dutch and Flemish paintings in Polish 41 codartmembership news Collectie Nederland, secretary- collections 42 Museum list treasurer 19 Joanna Tomicka, Dutch and Flemish prints 48 codartdates Rudi Ekkart, director of the Rijksbureau in major Polish collections Preview of upcoming exhibitions and other voor Kunsthistorische Documentatie 23 Maciej Monkiewicz, Rubens and events, June-December 2004 Jan Houwert, chairman of the Board of Management of the Koninklijke Wegener N.V. Paul Huvenne, director of the Koninklijk Museum voor Schone Kunsten, Jeltje van Nieuwenhoven, member of the Labor Party faction in the Dutch parliament codartis an international council for curators of Dutch and Flemish art. It supports inter-museum cooperation in the study and display of art from the Lowlands through a variety of means, including congresses, study trips, pub- lications and a website (www.codart.nl). The organization was founded and is aided by the Netherlands Institute for Cultural Heritage. It enjoys the generous support of the Netherlands Ministry of Education, Culture and Science and the Ministry of Welfare, Health and Culture of the Flemish Community. codartCourantappears twice a year. Contributions are welcome. codartCourant is designed by

Typography Interiority & Other Serious Donkersloot Wietske Photo Matters, Poster for the exhibition of prints and drawings organized by the Museum in honor of the codart issn1388 9559 zevenvisit to Kraków: Treasures of the Netherlands. codart Courant 8/June 2004 2

A word from the learned in the course of time, is a hit-or-miss one major exception, the postponement of the affair. Around 1:30 a.m., after ten or so exhibition of Dutch and Flemish drawings in director unsuccessful attempts to reach call-in Warsaw (see p. 23) – more than fulfilled. numbers in Poland, and the codart zevenbrought an important On 18 April lotPolish Airline flight lo268 Netherlands, I got a hit on a repeat call to turning point in my own understanding of the from Schiphol to Warsaw had about an hour Germany. With my wife Loekie and the central phenomenon on which codartis delay in departure. As a result, the codart codartassociates Wietske Donkersloot and based, the dispersal of Dutch and Flemish art zevenstudy trip participants traveling with Navany Almazan looking over my shoulder, I through the world. Until now, we may have the main party arrived late in Warsaw, with a read the e-mail and the report. assumed too easily that the presence abroad of mild case of nerves about making their quick ‘codartmakes an important Netherlandish art implied a positive reception connection to Gdan´sk, where the visit to contribution to the job of tracking down and at the moment of dispersal of the culture of the Poland began the following morning. The profiling Dutch and Flemish art throughout Low Countries. In his talk at the congress in transit was not as smooth as it might have the world. The Council concludes that in the Utrecht on 8 March, Antoni Ziemba, head of been, on account of the far more stringent past years codarthas worked in a purpose- the department of paintings at the security on the inland Warsaw-Gdan´sk route ful fashion towards the accomplishment of its National Museum in Warsaw, introduced an than on the international leg of the trip from aims. Partly with the use of new technologies, important nuance into this way of thinking. Amsterdam to Warsaw. But the plane did not the worldwide network of curators of Dutch He pointed out that even as Pomeranian cities leave without us, and we reached the Novotel and Flemish art has been charted and made like Gdan´sk were being rebuilt and decorated in Gdan´sk not long after midnight. accessible to the professional field… codart in a style we consider Netherlandish, by In my bag was an amazingly detailed letter has put together a well-functioning network architects, artists and engineers from the from the Arts Council of the Netherlands, the that, among its other functions, furthers the Netherlands, local society did not see the Raad voor Cultuur, mapping out the scenario development of expertise in the area of Dutch transformation as a specifically Netherlandish for the announcement of its recommendations and Flemish art…. The judgment of the contribution to their culture. The new style to the State Secretary of Culture for the four- Council concerning codart’s request for was regarded as a renovation common to all year funding period 2005-08. The complete text subsidy is positive.’ (For the complete Dutch northern European societies. When it came to was to appear on Internet on the Monday text, see http://www.cultuur.nl/cultuurnota. a conscious choice for foreign examples, as in morning, 19 April. The evening before, the 833 html.) giving form to the government, Poland turned individual applicants were to receive an e-mail Although we had asked for a slightly higher decisively to . from the Council with the text of the amount per year than we had been granted for This insight brings with it the challenge to recommendation concerning their own 2001-04, we were relieved and very pleased that examine more closely the role of Dutch and institution. The continuation of codartin the Council advised the State Secretary to Flemish art abroad – and for that matter in the its present form depended in large measure on continue funding us at the old level, 164,000 Low Countries themselves – at each period what was in that recommendation. euros a year. Even though there is a theoretical since they were made. It gives reason to expand Getting onto the Internet with your possibility that the government will decide the intellectual and perhaps even the formal notebook pc from a Polish hotel room, I have not to follow the recommendation, I am terms under which codartoperates. Most confident that it will. We clinked our whiskey importantly, it underscores a principle that we glasses, drank to our success and went happily have embraced from the start: that Dutch and to sleep. Flemish art do not form a closed system, but Those nerves about making connections in operate within a larger European and global Poland did not end at Warsaw Airport. Polish culture. That was true in the 16th and 17th society and its physical arrangements are not centuries, and it is true . It is truer than exactly a well-oiled machine. In fact, the study ever since 1 May 2004, when the Netherlands trip presented us at many turns with and Belgium became equal members, with unexpected surprises, some of which could Poland and 22 other countries, of a great have detracted from the value of the trip. In polity. I have always believed that event, none did. All the institutions on our we belong together, and although not itinerary were open to us, their staff as helpful everyone agrees, it is a wonderful thing that and friendly as we could wish. The buses and European unity is getting a chance to prove trains were on time, the restaurants were ready itself. If I may be excused for a touch of with the meals we ordered. In part because of arrogance – I wish the European Union as our worries that things might go wrong, we much good will from its members as codart were all the more delighted at how enjoys. resoundingly right they went. The promise Gary Schwartz

Photo Thea Vignau-Wilberg Thea Photo held out by our Polish colleagues was – with 3 codart Courant 8/June 2004

News and notes from centuries. Hana wrote a number of important Over the years Hana Seifertová planned and articles and catalogues, both on contemporary executed a number of important projects, a around the world art and Old Master . She was, for few of which I will list here. In 1993-94 she example, a regular contributor to Oud Holland worked on an exhibition of her favorite czech republic in the 1960s. In a word, under her leadership painter, Georg Flegel. This magnificent show Prague, : A birthday greeting and in the rather liberal atmosphere of the late of Flegel’s still lifes, which she curated to Hana Seifertová 1960s the Regional Gallery became an together with Kurt Wettengl of the Anyone who knows long-time codart important art center outside Prague. More and Historisches Museum in , was member Hana Seifertová, curator of Dutch more visitors came (among others, Horst shown at the Schirn Kunsthalle (Frankfurt) and German painting of the 17th and 18th Gerson, then director of the rkd, and even and in Prague Castle. Furthermore, together centuries at the National Gallery in Prague, Václav Havel). The museum’s activities were with Anja K. Íevçík, she organized a long-term would hardly believe that on 12 May 2004 she highly acclaimed in western European media: exhibit of of the 17th and 18th turned 70. the Frankfurter Rundfunk, for example, centuries entitled …et in Hollandia ego… that I am not going to recount her whole (long) devoted an extensive broadcast to the was on display in Moravská Tr˘ebová from 1998 professional curriculum vita or recite her aforementioned Sculpture and the city show. to 2003. She prepared (again with Anja) the complete list of publications, but I would like However, when the Prague Spring was exhibition Dialog mit Alten Meister: Prager to mention a few episodes and milestones in brought to an end with the invasion of Soviet Kabinettmalerei 1690-1750 for the Herzog- her life. I will focus on crucial moments in her troops in August 1968, Hana’s career in Liberec Anton-Ulrich-Museum in Braunschweig carreer, moments that reveal her as both an ended too. Like so many intellectuals around (1997), which explored the influence of Dutch outstanding specialist and an exceptional the country, she was dismissed from her post. and Flemish still lifes of the 17th century on woman. In this way, everyone can come to Hana went back to Prague. For a time she Prague painting of the 18th. Her previous understand why Hana is so respected and worked at the Institute for the Theory and involvement with the museum in Liberec loved, both at home and abroad. As I have . In 1971 she obtained a position resulted in a catalogue of Dutch painting of known her for almost 20 years, I can say she is at the National Gallery in the European Old the 16th to 18th centuries from the collection hard working and maintains a strict discipline Masters department. At the time, all contact of the Regional Gallery (1995). Hana co- – and this is what she expects from everyone with foreign (especially western European) authored this catalogue together with else, too. At the same time, she is a cheerful, institutions was strictly forbidden. Lubomír Slavíçek. Recently, she curated an warm-hearted and charming person, who Nevertheless, Hana continued her research, exhibition of Dutch and Flemish still-life loves meeting friends and giving parties. publishing on Georg Flegel, Lucas painting from the National Gallery shown in Dr. Hana Seifertová studied the history of Valckenborch and still-life painters in Liberec and Cheb. She has written art and history at the Charles University in Bohemia. In 1988 she was named head of contributions to many exhibition catalogues, Prague from 1955 to 1958 and received her department, and remained in charge until among them Gärten und Schlösser der Rubenszeit doctorate there in 1967. Her dissertation 1997. She would then have been eligible for (Hamm and , 2000-01) and Johann Heiss explored the work of Kaspar Jan Hirschely and retirement, but the National Gallery hired her (Friedrichshafen, 2002-03). Along with the origins of Baroque still-life painting in as part-time curator of Dutch and German countless articles (published in Revue de l’Art, Bohemia. Having just graduated from painting of the 17th and 18th centuries. Oud Holland, theWallraf-Richartz Jahrbuch, university she was appointed director of the Bulletin of the National Gallery in Prague,Ume˘ní, Regional Gallery in Liberec in 1958. In the 1950s etc.), Hana has given numerous papers and Liberec (formerly Reichenberg) was a rather lectures around the world. gray and devastated city in northern Bohemia. Hana has been able to continue her work Hana, with all her ability, enthusiasm and the despite the fact that her house in R˘ evnice, near aid of her husband, sculptor Jir˘í Seifert, started Prague, was heavy damaged in the floods of to build a permanent collection for the August 2002. I admire her energy, ability, museum and to organize exhibitions of knowledge and connoisseurship, which she is modern . She focused on always willing to share with other colleagues, contemporary Czech sculpture, exhibiting particularly with young art historians and ‘unofficial’ artists – those not always easily students. Since beginning my work at the tolerated by the Czechoslovak regime of the National Gallery with Hana as my boss, I have time. Her achievements included the first learnt an immense amount from her – not open-air sculpture exhibit in Czechoslovakia only about our profession. I have also learned (1964); a very well received show of from the wonderful, very open way she treats contemporary Austrian sculpture; and the her colleagues and museum people in general. projectSculpture and the city, which put a I hope that Hana will stay with us as long as variety of work on display in the streets of possible, working as hard as she always has.

Liberec (1969). In addition, she created a small Schwartz Gary Photo Olga Kotková but important collection of Dutch and Národní Galerie v Praze, Prague Flemish paintings of the 17th and 18th Hana Seifertová at codart zes, Amsterdam 2002 codart Courant 8/June 2004 4

france this summer by a Jongkind retrospective hungary Paris, Fondation Custodia shown earlier in The Hague and . Budapest Museum of Fine Arts Notwithstanding the example set by Roger de As for the Old Masters, this year’s Rubens The renovation of the nearly 100-year-old Piles, Jean-Baptiste Lebrun and Thoré-Bürger, exhibition in must be considered an building of the Budapest Museum of Fine Arts the French seem to have temporarily exception. In connection with this exhibition, currently includes a new presentation of the abandoned their pioneering role as defenders the Musée des Beaux-Arts d’Arras organized a most significant part of its collection, the Old of Dutch and Flemish art. Relatively few show on the Querelle du coloris. In Lille and Masters Gallery. A new display of the German exhibitions have been devoted to these schools Arras, an international symposium on and Austrian schools, curated by Ilona Balogh, in the past three years, and scholarly attention Rubenism in the 17th and 18th centuries was Eszter Fábry and Annamária Gosztola, opened in the field does not seem to have flourished held on 1 and 2 April. Rubens is also the subject last year to general acclaim. In the refurbished either. Italian, native and modern art rule of one of the very few recent studies in the field wing of the museum, a new selection of 17th- well-nigh supreme. of Dutch and Flemish art by a French scholar, century Dutch paintings opened to the public Some important exceptions must be noted, Alexis Merle du Bourg’s et la at the end of March 2004; a new arrangement of however. First among them is Jacques Foucart, France 1600-1640 (Lille 2004) and the same the early Netherlandish and 17th-century conservateur général at the , whose efforts author’s Rubens au Grand Siècle: sa reception en Flemish paintings was inaugurated at the end to enrich his country’s public collections have France, 1640-1715 (Rennes 2004). of May. recently once again borne fruit with the Back in 1988, Emmanuel Starcky published The greatest changes have been made in the acquisition of an unknown but highly a supplement to the Louvre’s catalogues of Dutch section. The collection was provided seductive painting by Jan Cornelisz. Vermeyen Northern drawings, following in the wake of with six new rooms on the second floor, (see Jacques Foucart, ‘Saint Jérôme méditant de the man who should still be considered making it possible to display 242 paintings, Vermeyen, une récente acquisition du Louvre,’ France’s foremost historian of Dutch and twice as many as formerly. This means that the Revue du Louvre 54 [February 2004], pp. 15-17). In Flemish art – Frits Lugt. The commission to Dutch material – which, given its high quality 2001, Foucart was also involved in the opening catalogue the Northern drawings in the and richness, has thus far been under- of the rooms devoted to 18th- and 19th- country’s greatest collections, given to Lugt in represented – can finally be put on show in a century Northern paintings, including works 1921 by the French government, was brought a manner concomitant with its significance and by Simon Denis, Jan van Huysum and step closer to completion in 2002 with the under suitable conditions. Ferdinand de Braekeleer (see Jean-Pierre Cuzin publication of the catalogue of Dutch The collecting of Dutch art in Hungary has and Jacques Foucart, ‘Les nouvelles salles de drawings in Chantilly by David Mandrella, a long history, although no early documents peinture de l’aile Rohan,’ Revue du Louvre 51 whose catalogue on the Flemish and German regarding the acquisition of paintings have [October 2001], pp. 18-21). Choosing his drawings in the same museum was published come down to us, despite the lively Dutch- successor (he is due to retire in 2005) will prove in 1999. Hungarian cultural connections in the 17th difficult. Lugt’s presence is also still felt with the century. The first aristocratic collections Emmanuel Starcky – until the summer of activities of Fondation Custodia, founded by possibly containing Dutch works (among 2003 director of the Musée des Beaux-Arts and him to manage, enlarge and study his others) were established in the 18th century. the Musée Magnin in Dijon – has also shown a collection. In the past three years, and in The most renowned among them was the lasting interest in Dutch and Flemish art. One collaboration with the Institut Néerlandais, collection of the Esterházy family, which was hopes that his new position at the Direction which Lugt founded as well, Custodia purchased by the Hungarian state in 1871 and des Musées de France will leave him enough organized Collectionner, passionnément: les formed the basis for the National Picture time to continue this activity. In Dijon, Starcky collectionneurs hollandais de dessins au xviiie Gallery, the forerunner of the Museum of Fine began a successful collaboration with the siècle (2002, with the Teylers Museum); De Arts. The collection’s core is still made up of Hermitage in St. Petersburg, culminating in Bruegel à Rembrandt: dessins hollandais et this material, out of which about 100 works last year’s Rembrandt et son école. flamands de la collection Maida et George Abrams have been chosen for exhibition. The Smaller exhibitions held over the last years (2003, with the Fogg Art Museum); and Regards highlights include a Portrait of a man by Frans had important sections devoted to Dutch and sur l’art hollandais du XVIIe siècle: Frits Lugt et les Hals, the early Oak and thicket at a pool by Jacob Flemish art, notably another Dijon show, frères Dutuit, collectionneurs (2004, with the van Ruisdael, Saenredam’sInterior of the Nieuwe Praga magica 1600 (2002),as well as several in Musée du Petit Palais). Although it is a small Kerk in , the Portrait of a family before a Caen (Ars nigra in 2002-03, on the institution and cannot produce more than a town and Cows in a river by , tradition, and Baroque vision jésuite in 2003, limited number of exhibitions and two paintings by Caspar Netscher, ’s curated by Alain Tapié, now conservateur en chef publications, the Fondation Custodia actively Cat family and the exceptional Corner of a room at the Palais des Beaux-Arts in Lille) and in endeavors to renew and deepen the French with rarities by Jan van der Heyden – all from Poitiers (Aux rives de l’incertain, 2002-03, on the public’s sensibility to and understanding of the Esterházy collection. history and depiction of the western marshes Dutch and Flemish art. This was indeed the Károly Pulszky, the first director of the from the until today). In Paris, role Lugt had meant it to play, but which it can gallery, sought to fill the gaps in the Dutch Mondrian de 1892 à 1914: les chemins de hardly be expected to fulfill on its own. collection with directed purchases until 1895. l’abstraction (2002) at the Musée d’Orsay was the Stijn Alsteens Although less than 10% of his acquisitions only exhibition devoted entirely to a Dutch Fondation Custodia, Paris actually augmented the Dutch holdings, he artist in recent years. A collaboration with the can be credited with the acquisition of such Haags Gemeentemuseum, it will be followed masterpieces as the Interior of an imaginary 5 codart Courant 8/June 2004 church with the monument (tomb) of William the Budapest, rich as it is, is not able to fully separate room has been dedicated to the works Silent by Bartholomeus van Bassen from 1620, represent the history of Dutch painting. of the artist’s direct predecessors, his fellow St. Joseph’s dream after a drawing by Instead of enumerating the painful gaps that painters and his pupils and followers, as well Rembrandt, the sumptuous Esther and can never be filled, I sought instead to call as to masters who worked independently of Mordechai by Aert de Gelder, and such attention to the collection’s diversity. From him but in a similar style. curiosities as a ‘toebakje’ (Smokers’ requisites) by this perspective, it is a great advantage that the The arrangement itself, adapted to the Jan van de Velde, the excellent by Jan approximately 500 works out of which this requirements of a classicizing building, Jansz. Treck, or the early small-scale array was chosen reflect the varying tastes and follows a chronological thread from 1600 to by . financial possibilities of several collectors of about 1720, emphasizing the art-historical Gábor Térey, who had a greater affinity the past and present. About half of the connections between the works while at the with the northern schools but more restricted collection, i.e. 242 paintings by about 170 same time demonstrating the material’s finances, continued to enrich the collection. painters, is now on display. This means that in diversity and helping to orient the visitor. He acquired paintings by Hendrick Avercamp, comparison to the installation by Andor Pigler, The installation seeks to give an enjoyable Willem Buytewech, , Meindert which remained intact for some 40 years, every and instructive form to this magnificent Hobbema, Pieter de Hooch, Jan Davidsz. de second painting will be new to visitors. collection. In our effort to provide as full a Heem and , and it was during his The major criterion for the selection was presentation as possible, we have also included tenure and thanks to his intermediation that quality. A second aspect was the desire to some of the less richly represented schools, Marcel Nemes donated, among others, Karel present the scholarly discoveries of the past 20- among them the previously disparaged Dujardin’s fascinating Tobit. Térey was also 25 years. During the course of compiling the Utrecht Caravaggists and, just as a hint, the able to integrate the bequest of Count János catalogue, several pieces in the collection were fijnschilders. Finally, the French Pálffy into the collection in 1912. This was a re-attributed. Thanks to international tendencies from around the end of the 17th highly valuable donation, including the research, we were able to shed light on several century, now no longer considered decadent, Portrait of Gideon de Wildt by Bartholomeus van previously hidden works. To mention a few of are also illustrated. der Helst, Jan Steen’s Bordello scene, and The the still-unpublished results: Rudi Ekkart As someone once jokingly remarked, the judgment of Paris by . An discovered among the anonymous portraits Budapest collection can be proud of its row of addition similar in scale occurred during the the likeness of Johan van der Veken, one of the first-rate works by second-rate masters. And reorganization of the country’s public founders of the East India Company, painted indeed, what other museum can present such collections in the 1950s, with the transfer of the in 1613 by Paulus van Someren. He attributed a a wonderful painting as Anthony Borssom’s Old Masters from the György Ráth Museum captivating female portrait to Frans de River view with a horseman, such an impressive and the Zichy collection to the capital. The Grebber and identified the sitter in Aelbert Cornelis de Man as his Chess players, or such a most important pieces from the former were Cuyp’s Family portrait. Jan Davidsz. de Heem’s captivatingly fine work as Harmen de Bye’s works by Paulus Potter, , Dirck Hals early Still life with rummer of 1629 was Portrait of a lady? Connoisseurs will surely and Salomon van Ruysdael, a large-scale still rehabilitated, along with Petrus Schotanus’s understand that I could not leave in storage life from 1644 by . and Roelof Vanity with dead hare (attributed by Fred Pieter Leermans’ St. Joseph and the infant Christ – Koets. Willem Claesz. Heda’s sumptuous Meijer), Hendrik de Fromantiou’s Dead so Spanish and Catholic in character – because Banquet, hung as a pendant to the latter work, partridge and Simon Verelst’s superb flower such rarities are typical of the collection. came from the Zichy collection. still life. Recent restoration has revealed a The collection of the Budapest museum is After 1918 purchases were possible only number of monograms, which, in the case of not unknown to the world. Since the from the private collections remaining within the of Nicolaes Hals and Maerten publication of the catalogues of Gábor Térey the country’s now ragged borders; since this Fransz. van der Hulst, were identified by (1906, in several languages and a number of period the museum has had only a limited Marijke van Kinkelder. In spite of a fake Olis editions, the last one from 1924) and Andor budget. However, with the growth of the art signature, István Németh was able to rightly Pigler (1937, 1954 and 1967), the second volume trade in Hungary interesting, high-quality identify a as the work of Pieter of the summary catalogue has appeared (2000, Dutch paintings surface regularly. The Simonsz. Potter. The life-size and undoubtedly edited by Ildikó Ember and Zsuzsa Urbach). It museum has thus had the chance to acquire somewhat awkward Lot and his daughters is no includes the Netherlandish material in an up- Jan Miense Molenaer’s Denial of Peter, as well as longer presented as a work by Paudiss, but as to-date form. Volume 3, comprising the paintings by Jacob Duck, Claes Claesz. Wou, an early work by Abraham van den Tempel, German, Austrian-Bohemian and British Gerbrand van den Eeckhout, Christiaen van based on a drawing by Rembrandt. schools, has also recently been published Couwenbergh, Pieter Crabeth and Gerard de There was, however, some less cheering (Budapest 2003, edited by Ildikó Ember and Lairesse. news: the Rembrandt Research Project has Imre Takács), and a revised, updated edition of The collecting policy of the last 20 years has queried the authenticity of all the Rembrandt volume 1 (1991) – of the Italian, Spanish and not favored Dutch minor masters, yet a pair of paintings in Budapest. We do not argue French paintings – is currently in preparation. important works – The resurrection of Christ by against their assessment, but where no new In cooperation with the rkd, a multi-volume and The violinist by Jacob de proposals have been suggested for the maker catalogue raisonné is now in progress; two of Backer – came to the gallery in this period. and the quality is high – as, for example, in the the volumes are due to be published shortly. The aim of the new display is to present case of the Parable of the hidden treasure – we have With the newly installed German, Dutch and the broadest possible selection of the Dutch kept the former attribution. Still, the Flemish permanent exhibitions, and with the collection. Unfortunately, the material in Rembrandt circle is so finely represented that a restorations and conservations carried out for codart Courant 8/June 2004 6 this occasion, the Old Masters Gallery now arguments in favor of the attribution to ‘voluntarily handed over for safekeeping’) by displays its treasures in a more beautiful, Rubens in the all-too-brief catalogue, and the Russian Federal Security Bureau. richer and more modern form than has there was a chance for scholars to further Like the unhappy drawings from the previously been the case. discuss the matter at a round table in January. Kunsthalle in Bremen (also known as the Ildikó Ember One of the reasons for the many Baldin drawings), which are now in , Museum of Fine Arts, Budapest disagreements among scholars studying the painting was taken from Germany not as works in Russian collections (apart from the part of the official Soviet removal of objects for russia fact that few have been able to examine them ‘restitution,’ but rather by a private individual, St. Petersburg, State as intently as they have works in other in this case an officer in the Soviet army. One of the Hermitage’s key contributions to ) is a lack of communication, in Baldin, however, took the drawings in order to the celebrations of St. Petersburg’s 300th particular the fact that so much of the save them from destruction and, rather than anniversary in 2003 was to insure that from published material has appeared only in selling them, handed them over to the April to October as many of the museum’s Russian. In the case of The apotheosis of James i, Shchusev Museum in Moscow for safekeeping. major works as possible were on display. The much revolves around a 1976 summary of a Tarquin and Lucretia, on the other hand, was museum’s participation in international technical analysis of the sketch published by sold by the officer’s daughter in the mid-1990s, exhibitions was therefore more limited than M. Varshavskaya, but as yet untranslated. passing through several hands before being has been the case over the last decade. Sadly, our Russian colleagues rarely seem to bought, apparently in good faith, by Mr. Nonetheless, due to a series of important feel an urgent need to publish, and they Logvinenko. shows abroad much of the Dutch and Flemish should perhaps be encouraged to abandon the There is no agreement in Russia itself as to permanent display was dismantled or radically long article format and instead adopt the whether the painting can be considered altered. In November 2003, the Hermitage excellent tradition of publishing notes or brief Russian property: the law adopted some years dispatched nearly 50 works by Rembrandt and summaries. ago by the Duma declaring all works of his school to an exhibition at the Musée des In this context it was thus a particular ‘restitution’ to be Russian property has been Beaux-Arts in Dijon. As a result, the pleasure to learn in January 2004 that The Dr. interpreted by the interested parties as either Rembrandt room, usually crowded with Mortimer and Theresa Sackler Foundation had including or excluding works removed from visitors, has been relatively empty for much of agreed to support the translation and Germany on a private basis. The question has the winter, allowing for a more relaxed look at publication of the long-awaited catalogue of become one of patriotism and is often those works which rarely or never travel, such 17th-century Flemish paintings in the discussed in heated, nationalistic tones. as The return of the prodigal son. Many Flemish Hermitage. Only pictures in this At the end of March 2004, the Russian works were removed for an exhibition at the collection have ever been written about in Prosecutor’s Office – whose Chief Prosecutor Caixa Forum in Barcelona, and over 20 works English; the forthcoming catalogue aims to once notoriously described the former by Rubens, mostly oil sketches, went to Rubens: include all the works, not only those on Minister of Culture, Mikhail Shvidkoi, as ‘a a touch of brilliance, which took place in the permanent display but also those in storage traitor’ for suggesting the Baldin drawings Hermitage Rooms at , . and on rolls, and all will be illustrated. should be returned to Germany – declared the Alexei Larionov, curator of Dutch and Translation has now begun and it is hoped purchase of Tarquin and Lucretia legal and Flemish drawings at the Hermitage and that the book will appear in early 2005. The stated that no further action would be taken. It codartmember, conceived the latter catalogue of all 1,200 of our Dutch paintings is is thought that the painting will be returned exhibition in order to bring together the a more complicated matter, but the success in to Mr. Logvinenko in the near future. The mutually complementary collections of finding funding for the Flemish volume leads appointment of a new Minister of Culture, drawings and sketches by Rubens in the us to believe that each volume the Hermitage perhaps less sympathetic to the question of the Hermitage and the Courtauld Institute. The funds and produces in Russian under its new return of objects unofficially removed from show provided an opportunity for discussion expanded publishing program can be Germany, will no doubt complicate the matter of a number of controversial attributions. simultaneously published in English or further. The German authorities have vowed Specialists were able to make up their own another ‘accessible language.’ to continue their fight to reclaim the painting. minds about the Christ with the crown of thorns, September 2003 saw a brouhaha following Once the Tarquin and Lucretia is again in Mr. recently rejected in a Corpus Rubenianum the revelation that a Moscow businessman, Logvinenko’s hands, it is thought that it will volume but much admired in London; and Vladimir Logvinenko – unfairly described in go to the Hermitage for the completion of special, if temporary, arrangements made it many western reports on the subject as a nearly two years of restoration. Recent reports possible to compare and assess the relationship member of ‘the mafia’ – was the owner of suggest that the painting was confiscated at a between The assumption and coronation of the Rubens’s Tarquin and Lucretia. The subject of Moscow workshop at a delicate stage in the Virgin and The assumption in the Royal much international diplomacy over the last six process, and that its condition has become Collection. The most heated debate focused on months, the painting seems to have been worse over the last six months. On completion the attribution of two works from the removed from Sanssouci by Goebbels and then of the restoration, the painting will be put on Hermitage: the sketch The apotheosis of James i, smuggled to Russia by a Soviet army officer at temporary display in the Hermitage. for the ceiling of the Banqueting House at the end of the Second World War. Considerably Visitors to the Hermitage this summer are Whitehall, and a drawing for The descent from damaged, having been rolled up for a number therefore promised an interesting array of the cross. The Hermitage curators Natalya of years – apparently under a bed – the Dutch and Flemish art. Not only are the rooms Gritsai and Alexei Larionov put forward painting was recently confiscated (or undergoing a major re-hang as works return 7 codart Courant 8/June 2004 from exhibitions abroad, but the Sanssouci codart zeven Dutch and Flemish art in Poland; and surveys Tarquin and Lucretia will also be joining two of Polish holdings in Netherlandish paintings more paintings from Mr. Logvinenko’s Dutch and Flemish art in Poland (Hanna Benesz), drawings (Maciej collection due to go on display in April. The Monkiewicz) and prints (Joanna Tomicka). collector’s advisers have attributed both to Poland has long been on the codartshort Another important contribution to the study Rubens, but the pictures are sure to give rise to list of countries to which we wanted to assign of Dutch and Flemish art in Polish museums much discussion: one is a version of The union a number and on which to focus at a congress was inspired by the choice of Poland for the of Earth and Water (measuring 152 x 124 cm.; the and visit on a study trip. Ideally, such a theme theme country of codart zeven. Krystyna best known version, 222.5 x 180.5 and meets four criteria: Gutowska-Dudek, curator of Wilanów Palace universally accepted as the work of Rubens, is 1. High intrinsic importance of the Museum, conducted new research into the in the Hermitage), the other a smaller collections concerned. origins of the Dutch and Flemish holdings in Adoration of the Magi. So far, Mr. Logvinenko’s 2. A striking example of the dispersal of art her museum, which she wrote up for the two paintings have been seen only by a small from the Netherlands in location, time and information packet for participants in the number of people, but visitors will soon be society. study trip and for the Courant. Also printed is able to decide the question for themselves. 3. A strong local representation of codart the presentation delivered at the codart The union of Earth and Water was brought members to help with the program. zevenmembers meeting by Wanda into Russia under new customs rules, which 4. An exhibition, publication or other Rudzin´ska, curator of the print room of allow for the import of works of art without current sign of interest in the Dutch and Warsaw University Library, on the Tilman van the payment of duty (formerly 30% of the Flemish art in that country. Gameren Archive. work’s value). The authorities are hoping this Poland answered in strong measure to the first With so much going for it, it was no will lead to an influx of works of art, not only three criteria, as the materials in this Courant surprise that codart zevenwas highly into private hands but also into state and on the website illustrate. The curators of appreciated by the attendees of the congress museums. Russian activity in the the National Museum in Warsaw, who from and participants in the study trip. There was international art market in recent years the first have been among the most more than enough to make up for the loss of certainly suggests that there are many enthusiastic members of codart, formed a one of the elements in the program. Condition privately owned works now being kept outside powerful local team. The preliminary itinerary number 4 in the list above was covered, for Russia which may soon enter the country. for the study trip had already been drafted by codart zeven, by an exhibition of Dutch Since Russian collectors are showing a Maciej Monkiewicz in spring 2002, and was and Flemish drawings in Poland in the propensity to lend their works to state kept up to date by him and Gary Schwartz National Museum in Warsaw, curated by museums for extended periods of time, we since. Maciej Monkiewicz. This event had to be shall wait and see what time will bring to The talks at the congress by all four postponed by the museum, for reasons as yet light. specialists in Northern European art reveal the unclear to us, just six weeks before it was due Catherine Phillips depth of interest in Dutch and Flemish art in to open. However, our Polish committee and The Hermitage, St. Petersburg the museum in Warsaw. As a result of these their colleagues in other museums were able exceptional efforts, we are able to present in to improvise a solution that provided adequate this issue of the Courant a proper theme section compensation. At five of the collections we on Poland: Antoni Ziemba’s provocative visited, the drawings that had been chosen for overview of the historical significance of the exhibition were brought out and shown in a more informal setting. This format enhanced the ‘study’ element in the study trip and added to part of our experience while depriving us of seeing the sheets from other collections than these five that had been chosen for the show. Moreover, in Kraków we found more Photo Wietske Donkersloot Wietske Photo Photo Wietske Donkersloot Wietske Photo

Opening reception of codart zevenat the Fundatie Public waiting in line for the opening of the Rubens exhibition in the Palais des Beaux-Arts, Lille, 6 March 2004. van Renswoude. codart Courant 8/June 2004 8 exhibitions than we were even aware of before played on a Hemony carillon of 1649. Seated in professors like Jan van Gelder and William the trip. the benches of the Nicolaïkerk, the entire Heckscher. In 1987 the collection was All in all, we have the distinct impression group heard a brief report from each the three integrated into the new library of the Faculty that participants in the congress as well as the guides on the themes of their walk. of Arts. Of special interest is the collection of study trip are eager to deepen their Registration for the congress took place about 7,000 old and rare books, including post- acquaintance with the rich collections and during a reception at the Fundatie van incunabula; books with precious , very helpful colleagues in Poland. Renswoude, the splendid 18th-century main and lithographs; artists’ books from building of a charitable foundation located the 1960s and 1970s; and rare periodicals. One Congress, Utrecht next to the . The congress of the treasures is the large number of emblem 7-9 March 2004 participants were greeted there by the director books, acquired in 1962 from the collection of Congress chair: Stephen Hartog of codart, Gary Schwartz, and the director John Landwehr. Other core collections contain Pre-congress excursion to Lille The opening of the of the Centraal Museum – as of 1 June director architectural treatises and art-theory sources. Rubens exhibition in the Palais des Beaux-Arts of the Museum Boijmans van Beuningen in The library also collects and provides access to in Lille on the day before the codart – Sjarel Ex. Participants received a new information media like electronic congress in Utrecht, offered an irresistible thick congress folder, including a booklet with bibliographies and compendia, full-text opportunity to enrich the program. On the texts of various talks; folders on the journals, e-books and Internet resources. Saturday morning, 6 March, 41 congress museums and other cultural institutons in The manuscript collection got off to a participants embarked on a chartered bus for a Utrecht; and an art birthday calendar flying start in the 1580s when the newly four-hour drive to the north of France. The illustrated with work by living Utrecht artists, Reformed city council of Utrecht confiscated exhibition was officially opened at 11:00 that donated by the Utrecht city council. the libraries of the great monastic morning, but the public was not admitted The Centraal Museum was indeed a establishments in the city where the bishop of before 17:00. Alexis Donetzkoff, curator of the ‘central’ partner in the organization of this the Northern Netherlands resided from the Palais des Beaux-Arts, arranged for a few congress, thanks to its curator and member of seventh century until the . Many private hours for the codartgroup to see the the codartProgram Committee, Liesbeth of the manuscripts now in the university exhibition between these rush hours. He also Helmus. On Monday, a day that the museum library were written and illuminated in the was able to negotiate a discount on the is closed to the public, codartwas admitted scriptoria of the many monasteries, convents catalogue, which most participants took to the exhibition Vis: stillevens in de Nederlanden and churches in and around Utrecht. During advantage of. After a dinner in the museum 1550-1700 (Fish: still lifes in the Netherlands the visit, some highlights were shown, restaurant, we spent the night in the Ibis Hotel 1550-1700). On Tuesday, half of the including the six-volume Bible and de Ville, one of three Ibis Hotels in an area less participants were admitted to the Centraal the Pontifical of St. Mary, illuminated by the then one square kilometer. The following Museum storage facilities, built in 1996 in an Master of Catherine of Cleves. morning we headed straight for Utrecht to be industry park on the outskirts of the city. Other locations in Utrecht and its on time for the first congress events. Three There are depots for all collections except surroundings were visited during the more diehards, who wanted to make sure that they prints and drawings. The dimensions, means informal parts of the congress. The congress did not miss anything on the way from Lille to of access and climate of each space is adapted to Utrecht, left the bus at a filling station near the objects kept there. The building is so well Antwerp and took a taxi to the city center to see disguised that the codartcharter bus drove the Rubens exhibitions in Antwerp. past it twice before it was located. The other half of the group was received at Utrecht On Sunday afternoon, after a light Utrecht University Library by Roman Koot, lunch in our hotel in the center of Utrecht, art-history librarian, and Koert van der Horst, participants were divided into three groups for curator of manuscripts. The Utrecht art- a walking tour of Utrecht. Each of the three history collection was established in 1907 guides, after taking their groups around the together with the founding of the first Dutch Domkerk, focused on another aspect of the city chair for , held by Willem and its history. Renger de Bruin, curator of Vogelsang.The holdings expanded greatly historical collections of the Centraal Museum, after the Second World War, under ambitious explained the development of Utrecht from the Romans to the 21st century; Marten Jan Bok, historian and art historian, showed sites with art works in situ and locations where artists had ateliers; and Llewellyn Bogaers, historian and professional guide, brought her group to some little-known spots with revealing stories. The three groups converged Donkersloot Wietske Photo on the Nicolaïkerk (commonly called the

Klaaskerk), where they were welcomed by the Donkersloot Wietske Photo Mårten Snickare (left) and Karin Sidén of the National- town carillon master of Utrecht, Arie Abbenes, museum in Stockholm with Roman Grigoryev of the with renditions of 17th-century Polish music, Lunch in the Refter, Centraal Museum, Utrecht. State Hermitage Museum in St. Petersburg. 9 codart Courant 8/June 2004 dinner took place on Monday evening at (Princeton University Press) and Cambridge, funding also plays a major role. Public Ottone, a large, airy 19th-century evangelical Massachusetts (Harvard University Art museums will feel pressured by government church on the Kromme Nieuwegracht, Museum) 2004. Cuno points out a general agencies to pursue the first goal, whereas converted into a catering hall in the 1990s. tendency of museums to try to attract as many museums that function as private foundations The congress ended with a buffet lunch at visitors as possible by making exhibitions, will tend to opt for the second. Leaving this the home of Loekie and Gary Schwartz in while conveniently forgetting about the question unresolved, the discussion then Maarssen. De Boomgaard is a small-town permanent collections in their care. This focused on several measures that might make patrician house on the Vecht River. It dates description of the conflicting ambitions of the permanent collections more attractive. from the 17th century or earlier, but it was museums – and in most cases also those of the Make them interesting: rebuilt in its present form in 1725. Loekie and governments behind them – was quite – Balance between learning and loving: tell Gary have lived there since 1968. recognizable to most museums represented a story, but leave space to enjoy art itself. in the workshop. In general, permanent – Organize special programs for families, Theme session For the fourth congress running, collections are not as challenging as large schools and other people coming in groups. Stephen Hartog, senior curator of the Instituut exhibitions. Newspapers only write about – Use room texts to explain why certain Collectie Nederland (Netherlands Institute for them when something goes wrong. However, works are hung together, but stick to a Cultural Heritage), chaired the plenary all attendees more or less agreed that maximum number of words per text. If you sessions with his usual fervor. On Monday permanent collections can (and must) be want to serve your public with different morning, 8 March, in the auditorium of the presented effectively as well. Apart from the languages and different levels of Museum Catharijneconvent, four colleagues fact that museums have an obligation to the information (for instance a children’s from the Muzeum Narodowe in Warsaw general public – especially to visitors from level), audio guides are a good alternative. delivered papers on Polish-Netherlandish abroad – to have their highlights permanently – Keep your collection alive: add new artistic relations and the history of Polish on show, the permanent collections also offer information, rehang regularly and focus collections of paintings, prints and drawings possibilities to attract other audiences. on different groups of works. from the Netherlands. Their papers are Without actually saying so, the participants Make them accessible: printed in this issue of the Courant, starting seemed distressed that their permanent –Reconsider your entrance fees. British from page 13. Following the morning session, collections were not visited more often. museums have experienced a large increase in a more informal setting (during a lunch in However, there was a strong difference in in the number of visitors since the the Refter, the restaurant of the Centraal opinion as to what audience a museum should introduction of free admission, but in Museum) Lucia Thijssen, a Dutch art historian aim at. Although no one had substantial America that strategy is less effective. There who has been doing research in Poland for quantitative and qualitative research at the visitors associate high fees with something 25 years and who wrote Duizend jaar Polen en ready (something for next year?), the general special, for which they are willing to pay. Nederland (1992; Polish edition published in impression was that the average museumgoer Of course there are other ways to attract 2003) related her personal experiences in is ‘older, white, rich and educated.’ As for the (repeat) visitors. Familiar tactics are: free Poland. future, two contrasting (but hopefully not entrance for youngsters, locals (on special mutually exclusive) goals were presented: Workshops At last year’s congress in 1. Broaden the audience, reach out to Amsterdam, workshops were introduced for groups other than older, rich, white people the first time. The evaluation forms indicated and make your permanent collection that the participants were enthusiastic and relevant and interesting for them. that they wished to see the workshops 2. Stick to the core group, make them feel continued and improved. Because of its lasting committed to the permanent collection importance, it was decided that one topic, the and make them want to come back on a role of the permanent collection, chaired by regular basis. Axel Rüger, was to be a recurrent theme of The choice for one or another of these aims is discussion. Two new themes – collection not just a matter of the personal inclinations mobility and the exhibition as a scholarly tool of the director or the staff. The source of – were adopted for codart zeven. Members of the Program Committee were found willing to chair these workshops. They took place in the Centraal Museum, in the galleries of 16th- and 17th-century painting, where tables and chairs were set up.

The role of the permanent collection

Chair: Axel Rüger Donkersloot Wietske Photo

Report: Wietske Donkersloot Schwartz Gary Photo The starting point for discussion was the Norbert Middelkoop of the Amsterdams Historisch recent book by James Cuno, Whose muse? Art Workshop on collection mobility in the Centraal Museum and Alexis Donetzkoff of the Palais des Beaux- museums and the public trust, Princeton Museum. Arts, Lille. codart Courant 6/June 2003 10

nights), members (who pay an annual regular changes without a complete or temporary loans to the Bonnefanten- membership fee), selling combination rehanging. The rest of the presentation in the museum. tickets for temporary exhibitions and the museum was judged a little too difficult for To stimulate discussion, the chairs posed permanent collection. the general visitor. In the room we were in, no a number of questions to the participants. Make them larger: text explained the choice of the paintings that – Pursue and publicize new acquisitions. were hung in combination with the doll’s 1. Is it necessary for the receiving museum Participants who feel unable to do so on house. to take possession of new objects or is it account of the limited number of enough to house them? interesting works of art on the market can Long-term collection mobility The Musée d’Histoire de la Ville in add new information to the collection and Chairs: Rik van Wegen and Peter van den Luxembourg was discussed as an example. The play with its focus. (Beware of the Brink core of the permanent exhibit consists of long- complications of joint acquisitions. Report: Navany Almazan term loans from other institutions in Estimate the future costs of maintenance The Bonnefantenmuseum, where both chairs Luxembourg and abroad.The exchange of such and restoration of potential acquisitions in work, was discussed as a case in point. The cluster loans creates certain obligations for advance.) museum has long been an enthusiastic votary both parties that they might prefer to avoid. – Use loans to beef up your collection and to of collection mobility as an instrument to raise Moreover, long-term commitments of this draw attention from the media. (Always try its profile and improve efficiency. The former kind can interfere with short-term aims. to get the lender to pay for restoration.) collection policy of the Bonnefantenmuseum A new director, for example, might wish to – Cultivate possible donors; inform them was focused on local identity and regional reconstitute the permanent display and find about whatever tax deductions might be history, ranging from a large archaeological that pieces essential for his or her plan have available. (Be careful with the limiting collection to, religious art, Old Masters and been lent to other museums. conditions that come with partial gifts.) contemporary art from Maastricht and its In the Netherlands collection mobility is Finally, the workshop touched upon the surroundings. In the 1990s a new collection actively promoted by the government through role of the curator in decisions regarding the policy was adopted by the museum, focusing programs of bodies such as the Mondriaan permanent collection. All attendees agreed on early Italian painting from the Trecento to Foundation and the Netherlands Institute for that curators should have the largest say, but the Cinquecento, German and Netherlandish Cultural Heritage (icn). The Mondriaan most participants reported that they are painting of the 16th century and Flemish 17th- Foundation actually demands of museums sometimes overruled by directors, trustees or century painting. This made the Bonnefanten- that received grants that they be involved in a even donors. They also find themselves in museum the most important museum in the lending network. The icnmanages the state competition with the educational staff and the Netherlands for non-Dutch painting. collection with an aim to furthering public public relations department. Curators should The principle of collection mobility led to access. It operates not only as a lender but also manoeuvre carefully to try to lead others in the an active search for the most suitable context as a broker. In this role it consults with right direction. for certain museum objects. Museums of museums over their wishes and tries to help The location of the workshop in one of the regional history were sought out for the achieve them. The icnis not even opposed to galleries of the permanent collection of the placement of archaeological objects, religious Centraal Museum offered a ready-made art was returned to churches, works by local subject for discussion. Participants liked the artists were made available for temporary small project rooms for thematic exhibitions. At the same time, collections and presentations, which enabled curators to make objects from outside were given as long term Photo Gary Schwartz Gary Photo

Photo Gary Schwartz Gary Photo Thea Vignau-Wilberg of the Staatliche Graphische Sammlung München and Peter van den Brink of the Members’ meeting in the Universiteitsmuseum. Bonnefantenmuseum, Maastricht. 11 codart Courant 8/June 2004 making loans available for museums outside collections. Although long-term loan is an responses follows each statement. the Netherlands. On the occasions this has obvious means for reuniting these dis- 1. Research and scholarship are vital for been attempted, however, the practical membered ensembles, this is not done very exhibitions and should be reflected in the problems that come with every loan were often. Even if the will is there on all sides, aims and concept of each project. multiplied. which is often far from the case, obstacles of Circumstances differ from country to country When this issue came up, one of the many kinds can present themselves. In one and by type of collection. In Germany, for American participants, George Keyes, told of case a Dutch museum was advised not to lend instance, there is a strong tradition of scholarly the existence in America of an institution such an object out of concern about its legal exhibitions aimed at an elite public. called the Museum Loan Network that offers status. Some attendees pointed out that when Exhibitions are relatively small. support for insurance, security, transport different parts of an altarpiece enter different Exhibitions of prints and drawings pose while bringing together museum partners collections, they often end up looking different demands than exhibitions of with works to lend and a wishlist. They completely different due to different kinds of paintings. Print room exhibitions are usually maintain a large databank of works available treatment and restoration. Others saw this as a curated by museum curators for a select and for loan. welcome opportunity to set up joint curious public. Whereas the labels at an One major obstacle to long-term collection conservation and restoration projects. exhibition of contemporary art will include management in general and loans in Case 2: Restitution. only the title of the object and the name of the particular is that museums do not formulate The National Museum of Art of in artist, print room labels require at the least clear policies concerning their identity. Small is going to have to relinquish several information about the technique and usually museums often face the additional important paintings that were placed there additional information as well. Print room disadvantage of having too little space and after the Second World War but which in fact exhibitions are typically related to in-house manpower to run an ambitious loan program. belong to another Romanian museum. The research projects. 2. To what degree does a time-bound loan, question is: how should these paintings be 2. The importance of exhibitions as a visual even a long one, dilute the identity of a replaced? Should the museum bring up pieces scholarly statement in its own right is museum? from their own storage or solicit higher often overlooked. During the closing of the for quality long-term loans from other museums? Some participants in the workshop thought renovation, big clusters of the collection will The museum was not only the beneficiary of that an exhibition is a medium in itself; be lent to different museums for several years. these forced examples of collection mobility scholarship should be published by university When the renovation is completed the under the Communist dictatorship; it also lost presses. An exhibition gives the curator an paintings will return to the Rijksmuseum. The pieces that were used as gifts or were opportunity to draw new conclusions, which attendees of the workshop wondered how a transferred to other museums. Getting such could go into a catalogue. Other participants public that has gotten used to a display such as pieces back is far from easy. This example contended that that kind of catalogue is very Rijksmuseum aan de Maas, as the very popular shows that while ‘collection mobility’ has a expensive and is not available for visitors to the display of Flemish paintings in the Bonne- clean and technical ring to museums in the exhibition. They prefer complete exhibition fantenmuseum is called, will react when the West, it has far different and more fraught catalogues. paintings go back to the Rijksmuseum? In this associations in countries where museums 3. An exhibition should be considered as a case, however, the chairs made clear that after were commanded to cooperate in mobility (scholarly) work in progress. the re-opening of the renovated Rijksmuseum, schemes imposed from above. Some participants agreed that research and only a minor part of the 130 Flemish paintings exhibitions should feed each other, while will return to Amsterdam. The main body of The exhibition as scholarly tool? others felt that an exhibition should present the loan will stay in Maastricht to tell the story Chair: Manfred Sellink the final results of a research campaign. On the of Flemish art from 1500 until the late 17th Report: Esther Nanlohy other hand, it could also be the engine for century. To spark discussion, Manfred Sellink advanced (new) research. The problem in the All attendees agree moreover that the a series of statements that do not necessarily context of an object changes when it moves to reflect his own opinion. A summary of the another museum and is treated by a different curator. One curator may stress the historical associations of a work and another its technical virtuosity. This is not a bad thing: an object can acquire additional status as more of its qualities are brought out in different environments. The chairs introduced two case histories for general discussion.

Case 1: Reuniting altarpieces, triptychs and Donkersloot Wietske Photo diptychs.

The museums of the world are full of panels Schwartz Gary Photo Emilie Gordenker of the National Gallery of Scotland, and carvings from altarpieces, triptychs and Edinburgh, and Roman Grigoryev of the State Hermitage diptychs that have been removed from their Liesbeth Helmus of the Centraal Museum showing the Museum in St. Petersburg filling out their evaluation original context and divided between different museum’s storage facilities. forms. codart Courant 8/June 2004 12

Netherlands, and probably elsewhere as well, attractive ‘coffee table’ catalogues with lots of – Wanda Rudzin´ska, The Tilman van is that the curator would like to do follow-up pictures. Gameren archive in the print room of Warsaw research himself, but does not have the time. 9. Too many exhibitions are disappointing University Library. If a museum aims to attract the public at large, from a scholarly point of view. – Shlomit Steinberg, Recent discoveries in the it cannot readily maintain a special research No comments on this statement. Israel Museum in Jerusalem. department. It is easier to pay for research in 10. Museums and curators should be more – Robert Wenley, Dutch and Flemish preparation for an exhibition, since it can be creative in making research and paintings in Glasgow City Museums. charged to a sponsor. scholarship itself visible as part of an Complete texts of these presentations and 4. An exhibition should reflect curatorial exhibition. some illustrations can be found on the scholarship. The suggestion that museums make codartwebsite (see ‘codart’ > ‘Events’ > This may hold true for a large museum with exhibition research widely available on its ‘codart zeven’). the curatorial staff to perform scholarly website met with a divided response. Some Charles Dumas, secretary of the Program research and the educational department to participants thought that the time for this was Committee, unveiled the plans for future make it attractive for the public at large. Small not yet ripe; others that a virtual exhibition congresses and study trips, the dates of which museums have to between small exhibitions and catalogue can never replace the real thing, can be found on the back of this Courant. As for a specialized public or large ones for the while others felt that a website presentation every year, beginning with codart zes general public. Curators often have to do alongside a real exhibition could have much to (2003), a change in the composition of the research in the evening and during weekends. offer. ‘Virtual exhibitions’ might be an Program Committee took place. Thea Vignau- A successful case was brought forward from interesting subject for a next workshop. Wilberg and Liesbeth Helmus, who have Stockholm. External funding made it possible 11. Scholarship should not be an end in served on the committee since it was to conduct a museum research project that itself, but a tool to help inform and educate established at codart driein Antwerp in was incorporated into an exhibition with high the public about art. 2000, were rotated off. By way of thanking entertainment value. Although some participants despaired of them for all they have done to make our 5. Good scholars often make bad making scholarly exhibitions accessible for the activities successful, the chairman, Stephen exhibitions. general public, others felt that there should be Hartog, presented them with gifts from No comments on this statement. no difference between scholarly and public codart. Each received a print from Arnold 6. There is strong need for a more structural exhibitions. It is difficult to present a scholarly Houbraken’s Groote schouburgh der Neder- collaboration between universities and art-historical vision in terms that the public lantsche konstschilders en schilderessen (1718-21). museums in making exhibitions. understands, but that is after all the challenge They were replaced on the committee by The general feeling was that one should not to the art historian-curator. Scholarship Norbert Middelkoop, curator of the exclude cooperation with universities. In should be popular; everybody should be able to Amsterdams Historisch Museum, and Thomas Russia it is very hard to build up a relationship understand it. Whether to let ourselves be Ketelsen, curator of prints and drawings of the with a university. Having separate research guided in the first place by existing public Staatliche Kunstsammlungen Dresden. departments in Russian museums is taste or by our own new discoveries is a matter Because the Program Committee now lacks unthinkable – this is always part of the job of we should discuss. Museum directors have a female element, suggestions for female the curator. their own ideas about such issues, usually members were requested from all congress 7. The catalogue too often dominates the guided by the principle that an exhibition has participants on the evaluation sheet. Next year scholarly perception of an exhibition. to attract public attention. But do curators in March, when there will be two new The success of an exhibition-with-catalogue have to do what the public wants? The trick is vacancies, the committee hopes to welcome should be measured not only by the size of the to come up with the right combination of two female members. catalogue but its effectiveness. It should be arguments to present new research while at possible to publish light catalogues. the same time producing an attractive and Supporters and sponsors codartgratefully Comparing the thin catalogues in black-and- interesting exhibition. acknowledges the support of the following white from the 1950s with the very thick full- sponsors: color catalogues published nowadays, it is Members’ meeting The members’ meeting took Aleph Books, Utrecht hard not to believe that this trend is related to place in the attic of the Universiteitsmuseum, Ambo/Anthos Publishers, Amsterdam the ego of the authors. between the Centraal Museum and the Centraal Museum, Utrecht 8. Too many catalogues are disappointing Catharijneconvent, amidst a collection of Gemeente Utrecht from a scholarly point of view. scientific instruments and biological Gusto Publishers, Utrecht The general feeling was that most catalogue specimens. The plans and projects presented Museum Catharijneconvent, Utrecht entries are still too long and not well edited. were: Nederlandse Boekverkopersbond (nbb), Hilversum Even when specialists are invited to write the – Gary Schwartz, codartplans for Polman’s Huis, Utrecht catalogue, the entries do not necessarily have a 2005-2008. The European Fine Arts Fair (tefaf), Den Bosch scientific point. No one had a good word for – Wietske Donkersloot, New features on the Utrecht University Library catalogues written by committees. A possible codartwebsite. (See ‘Website news,’ p.40.) Utrecht University Museum solution would be a large, scholarly catalogue – Friso Lammertse, Hendrick and Rombout The contributions of the supporters are specified in the accompanied by different leaflets for different Uylenburgh and their Polish roots and codart zevennetwork document on www.codart.nl. user groups. Other alternatives are modest connections. catalogues aimed at the general public or even 13 codart Courant 8/June 2004

The Low Countries and Poland: a history of noble, brave-hearted, free and honorable. This culture in the early modern period developed artistic connections also makes them more prone than inhabitants along two tracks of westernization, the Antoni Ziemba of moderate climes to turn towards of Italianate and the Netherlandish. The Italian Head of department of Old Master paintings, the south. The cultivation of arts and letters in line echoes from the records loud and strong. Museum Narodowe, Warsaw the north brings with it an orientation to Italy, Around the year 1498 a group of artists traveled In 1567, Ludovico Guicciardini stated that where they are reborn. to Poland through Buda to Kraków. Their work artists from the Netherlands were leaving These parallels, striking as they may seem in the courtyard of that city’s royal castle at their homeland to work in , Germany, to us, do not seem to have been noticed at the Wawel (1498-1533) and the Sigismund Chapel Denmark, , Norway, Moscovy and time. The ethos of the two nations and attached to Wawel Cathedral (1516-33) became Poland. It was thus quite early on that Poland societies were both contrasted with that of enduring models for Polish architecture. They was recognized as an area particularly Italy, but this did not lead to them being also introduced into Poland a type of wall- receptive to infiltration by Netherlandish compared positively with one another. Nor did mounted tomb monument inspired by culture and art, on the same footing as Holland ever become a constitutional model Florentine-Roman and Venetian sculpture. Germany or Scandinavia. for the Polish state. Poland modeled itself Beginning in 1598 with the Church of St In this essay I wanted to examine more consciously on and not on the Peter and Paul in Kraków, the model of the closely the extent and quality of the ties Netherlands. Jesuit house of worship as established by Il between Poland and the Netherlands. What If truth be told, in political and social terms Gesú in became widespread in Poland. did the Netherlands mean to Poland in the there was more to separate the Netherlands Other Italianate accents can be seen in the city early modern period? What was the impact of and Poland than to unite them. The Republic hall in Poznan´, the castle at Krzyz.topór, the what I will call Netherlandism on the culture of Poland and Lithuania constituted a full- Sobieski palace at Wilanów and countless other of Poland, her civilization, on Polish thought blown federation versus the confederation of buildings. The roll call of artists active in and artistic life? Did the country assume the the northern Netherlandish provinces. In Poland and Lithuania consists for 70-80% of role of a complete civilizational and cultural Poland the monarchy was institutionalized masters who were either born in Italy or who model, was it absorbed deeply into the social within a parliamentary system, whereas in the received their artistic training there. The same mentality, or was its reception simply a Netherlands the crypto-monarchic aspirations preference can be observed in music, fashion question of selected influences, a loose body of the House of Orange were repeatedly and and social forms. Baldassare Castiglione’sThe of isolated, perfunctory cultural motifs? Was vigorously rebuffed. There were also stark courtier was translated into Polish by L-ukasz Netherlandish influence widespread among differences in national ethos and status. In Górnicki in 1561 and was used as a source by the populace or limited to a small elite? Did it Poland, political power was concentrated in Polish courtiers. who aspired to a present an alternative to the Italianate the aristocracy, which was dominated by an humanistic education regarded knowledge of influences of the 16th and 17th centuries, and inner circle: nobles among nobles, as it were – contemporary Italy as indispensable. then to the French fashions of the last quarter all this to the exclusion of the burghers. In By way of contrast, when we look at the role of the 17th and on into the 18th? Holland, the urban patricians wielded the real of the Netherlands in Polish culture the One would assume that the United power, forming a potent counterforce to the picture is much less coherent. How does one Provinces were quite familiar to the Poles. A Orange element. distinguish Netherlandism from a general cursory glance suggests that the Netherlands Even the image of the Netherlands as a notion of northernness or the German cultural and Poland had much in common. Both haven of religious freedom, so familiar in our current? We are speaking of a country many of countries operated as what would now be own time, was essentially non-existent in whose provinces were German colonies in the called oligarchic democracies, patrician in the Poland. This is in fact perfectly under- 14th and 15th centuries. Not only the harbors Netherlands and aristocratic in Poland. Both standable, if one considers that the Dutch on the Baltic but also inland cities like Poznan´ countries were multi-denominational and Republic had a designated state religion while and Kraków belonged to the Hanseatic League. known for their religious tolerance. Poland Poland and Lithuania did not. The Polish king The Teutonic Order may have been defeated and the Netherlands also resembled each other and parliament were obliged to uphold the militarily in 1410, but its influence lingered in their openness towards other nations. equality before the law of Catholicism, long in northern Poland and Lithuania. Close Holland was the home not only of the Dutch, Protestantism and Orthodox Christianity. cultural and artistic ties bound major Polish the Zeelanders and the Frisians, but also of What’s more, the Netherlands was the object cities (most notably Kraków, the royal seat) to Lutheran Germans and Huguenot Frenchmen. of bad press, viewed as a country where Nuremberg and . The northern The Polish Republic of the Two Nations, which Catholics and Socinians (Unitarians) suffered European architectural that incorporated the Polish Crown and the Grand repression. developed with Backsteingotik and went on to Duchy of Lithuania, provided a legal basis for This rhetoric and the myths the the style known as International the co-existence of Poles, Lithuanians, Netherlands engendered held sway mainly in or Northern was not specifically Ruthenians, Germans, Jews and Tartars. the Polish heartland, Lithuania and Polish Netherlandish. It spanned a line from The Netherlands and Poland share a Ruthenia. The prevailing image of the Dutch through central and northern Germany and geographical location on the northern shore was markedly different in Gdan´sk, Pomerania Scandinavia, continuing to eastern Prussia, of the Eurasian landmass. Denizens of the two and in , urbanized territories northern Poland and the Baltic states. countries can identify if they wish with the many of whose citizens had studied in Leiden Even that most thoroughly archetype of the northern barbarian: severe, or Leuven. Netherlandized of Polish cities, Gdan´sk, rugged and brusque, but at the same time Established wisdom has it that Polish initially adopted its Dutch architectural idiom codart Courant 8/June 2004 14 from Dresden. The characteristic Renaissance the Post-Palladianism of Scamozzi and humanistic academy in Zamos´c´. Jan Andrzej style was introduced by the German Hans Longhena. One must bear in mind that it is Morsztyn and Zbigniew Morsztyn, leading Kremer, who, as town architect from 1565 to from Venice that Tilman was first brought to poets of the Polish Baroque, translated the 1577, was responsible for such prominent Poland by his patron, the great magnate, Latin poems of Grotius. But it was Lipsius, structures as the Green Gate, the High Gate humanist and poet Stanislaus Herakliusz with his philological and historical and the English House. Lubomirski; Lubomirski actually conversed dissertations on Tacitus and Seneca, his neo- Polish and Lithuanian Protestantism, with his protégé in Italian and was an Stoic philosophy and most of all his theory of rather than sharing the strong Calvinist flavor unhesitating Italianist as far as his artistic rhetoric, who made the deepest impression on of the Dutch variety, came from Germany and tastes were concerned. The builders who Polish culture during the 17th century. His France as well as the Netherlands. The most constructed the edifices designed by Tilman rhetorical formula found application in the widespread form of Protestantism among the van Gameren and the masters who decorated work of the finest Polish writers of the period, burgher class was German . them were also chiefly Italians. many of whom also played an active role in the Calvinism was more prevalent among the This notwithstanding, the intellectual and political life of their times. Lipsius, admirer of landed gentry. Many of the oligarchic noble cultural roots of Netherlandism struck quite Tacitus, of republican virtues and of ancient houses were Calvinist or, less frequently, deep if not wide. Polish Netherlandism was Roman traditions that he was, left a lasting Anabaptist. Polish Calvinism considered itself very much an elite phenomenon. As a model mark on Polish republicanism. one with the Swiss, French, English, Scottish – for a way of life, it was internalized by the Awareness of Netherlandish culture was, of and Netherlandish – Calvinist churches. The patrician culture of Gdan´sk, and as a course, ingrained among those Poles, Catholics fact that Calvin himself corresponded with philosophical and literary ideal by the and Protestants alike, who had studied in the King Sigismund Augustus underlines the academic communities, most notably at the Netherlands or who traveled there. Some 542 significance and prestige of Calvinism in university in Kraków. students from Poland and Lithuania have been Poland and Lithuania. As a manifestation of these tendencies, one identified in the matriculation books of the To complicate matters still further, many might cite the pervasive influence of Erasmus University of Leiden during the 17th century, phenomena that we associate with Polish and Lipsius. Erasmus found adherents and as well as some 250-300 from Royal Prussia; Netherlandism had an unmistakably Italian disciples on both sides of the religious divide. Polish enrolment at Franeker totaled 190. If component. Around 1550, King Sigismund He was admired by the Jesuit Cardinal these figures are augmented with the Augustus commissioned a group of Stanislaus Hozjusz, the principal post-Trent estimated number of Poles studying at Breda artisans to produce a vast set of tapestries reformer of the , as well as by and Groningen, one arrives at a total of at least depicting biblical stories, landscapes and Jan L-aski, propagator of unity among the 1,100 students. The university of Leuven animals, and heraldic and ornamental motifs. Protestant denominations in Poland and enjoyed popularity equaling that of Leiden, Between 1550/53 and 1560 they created more elsewhere in Europe. Netherlandish attracting the sons of Poland’s most powerful than 350 tapestries, of which 138 still survive. humanism was dear to writers, poets and Catholic families as well as many young men The designs were by artists such as Michiel political dignitaries who cultivated a neo- from lesser families. Some of these Polish Coxie and Willem Tons, as well as members of Stoical ethical model. Kraków even had a kind students pursued distinguished academic the Cornelis Floris and Cornelis Bos circles. of club of Erasmian intellectuals that tried to careers in the Netherlands. Despite these Flemish origins, however, it is bring the great philosopher to lecture at the Contemporary Polish researchers have justified to ask whether the commission was a Jagiellonian University. An invitation to this devoted extensive attention to the Dutch testimony to a taste for Netherlandish art on effect was issued by Bishop Tomicki, with the contacts of the Polish brotherhoods of the the part of the ruler. Sigismund Augustus was endorsement of King Sigismund himself. Due Antitrinitarians and Unitarians, known as the son of an Italian princess from the house of to his poor health, however, the Dutch Socianians. These religious immigrants from Sforza-Aragon and his choices in art reflect humanist was unable to accept. the Netherlands, predominantly Mennonites, this. Is it not likely that he regarded these During the 16th century alone, more than settled in the Vistula estuary in the general tapestries as skillful renditions of the style of 40 writings by Erasmus were published in area of Gdan´sk during the mid-16th and on Raphael and of the Roman Buonarrotisti, a Kraków in Latin, with a further four, including into the early 17th century. Being of peasant masterly distillation of classical and Lingua and Enchiridion, brought out in Polish stock, they did not contribute to high culture. Raphaelesque grotesques? translations. It should be borne in mind, Their role, perhaps equally important, lay in Consider, too, the foremost exponent of however, that Erasmus was associated less propagating Dutch achievements in Netherlandism of the following century. The with Rotterdam than with Basel. Poles tended technology and material culture. They most famous Dutchman in the history of to view Erasmianism less as a manifestation of introduced new irrigation and stream control Polish culture, the architect Tilman van Netherlandish culture than in terms of the techniques, specialized farming and rural Gameren, was active in Poland during the pan-European intellectual community. crafts. It was these Netherlandish immigrants, years of 1662 through 1706. During these years, Later in the 16th century a group of it might be added, who first introduced the he designed the country’s most important humanists more specifically associated with weeping willow to the Polish landscape, a tree buildings in the classicist Baroque style. These the Netherlands entered the collective Polish that would eventually come to symbolize palaces, churches, housing complexes, farms, consciousness: Joseph Justus Scaliger, Justus Poland’s open spaces and, according to villas and civil works clearly display the Lipsius, and Hugo de Groot (Grotius). The Romantic legend, to serve as inspiration for classicizing streak we know in the architecture influence of Scaliger is felt in the writings of Frederic Chopin. of Pieter Post and Jacob van Campen. But this Szymon Szymonowic, a poet educated at Travel has always been a powerful impulse Dutchness is strained through Italian models, Leuven and Leiden and the organizer of the for Netherlandism and Netherlandization. 15 codart Courant 8/June 2004

Only rarely, however, was the Netherlands a At the level of motifs we find sporadic Netherlandism were present in: destination in and of itself. More typically, it borrowings from Netherlandish art in the 1. A burgher culture in virtually visited en route to France and England or to Gothic painting of Kraków and the autonomous cities with oligarchic Italy or as a way station in diplomatic and surrounding region of Little Poland during the republican governments; religious missions. first half of the 15th century. Early German as 2. A population that cultivated high Scores of young Polish aristocrats brought well as Netherlandish art formed the vehicle of intellectual aspirations and put much back positive impressions of the Netherlands – dissemination. It was only in about 1600 that stock in education; and Dutch and Flemish paintings as well – the influx of Netherlandish prints began. At 3. Linguistic and cultural Germanification; from their study trips to Leuven, Leiden and that juncture, work from the Galle, Cocq and 4. A Protestant majority; other cities in the northern Netherlands. Some Wierix studios arrived in Poland. Model books 5. A commercial economy tied to the of these men went on to become dignitaries in by Cornelis Floris, Cornelis Bos and Hans Hanseatic League, providing ongoing trade Polish politics as well as patrons of poetry and Vredeman de Vries were brought to Gdan´sk, with Netherlandish ports; art. One of the Poles known to have visited from where they were distributed deeper into 6. And a considerable influx of Nether- Rubens in Antwerp was Piotr Zero ´nski, a royal the country. landish craftsmen, most particularly to the secretary traveling as a diplomatic envoy. He Ornamentation of a Netherlandish type city of Gdan´sk, commencing as early as the brought back a large Deposition by the Rubens crops up in indigenous, local art and mid-14th century. workshop as a gift for the church of St Nicholas occasionally in sepulchral sculpture or in Already in the 14th and 15th centuries, the in Kalisz in addition to purchases from the woodcutting decorations. This phenomenon urban architecture of these areas had workshop of Jan Bruegel the Elder. As a result was, however, rather marginal, and not as integrated elements from Flanders and of his sojourn in Holland and Flanders, much Netherlandish as northern European in Brabant into a Teutonic architectural idiom. Krzysztof Opali ´nski became probably the only general. These included the towers of churches and specialized collector of Flemish and Dutch The Dutch or Flemish artists who actually town halls and certain types of facades. paintings and prints in Poland, maintaining worked in Poland during the 16th and 17th As early as 1420-35, painting in Gdan´sk his own agents in the Netherlands. In 1641, he centuries before Tilman van Gameren – if we betrayed influences not only from the imported, via the city of Torun´, ‘a large leave Gdan´sk aside for the moment – can be Rhineland but also from unadulterated number of engravings by Rubens’; in 1642, he counted on the fingers of one hand. We know Netherlandish sources. These were direct purchased a body of Rembrandt’s of the architect Paul Baudarth and the painters imports brought to Gdan´sk around 1420, such plates. Large groupings of works by Dutch and Jacob Maertens, and there is an enigmatic as the large Holy Trinity for the Brotherhood of Flemish masters were also to be found in the account of Pieter Soutman’s supposed sojourn St George chapel at the church of St Mary and Radziwi-l-l and Su-lkowski collections. However, in Kraków at the court of Ladislaus iv, where the Altar of the Four Virgins. In 1473 a new object these remain exceptional cases. In general the Pieter Danckers de Rij was the court found its way into the chapel – Hans art collections of the Polish aristocratic houses portraitist. Real, consistent Dutch influence Memling’s Last Judgment Triptych. This and were dominated by Italian paintings. arises in the work of several woodcutters from other treasures were captured by privateers A trip of more than personal importance Gdan´sk; some German apprentices and a from a ship taking the newly painted was the grand tour of Prince Ladislaus Polish painter in Kraków. Of course, we find altarpiece from Bruges to Italy, for delivery in Sigismund Vasa (later King Ladislaus iv). In Netherlandish graphic compositional patterns . The great extent of its influence on 1624-26 he traveled to , Germany, the in the paintings of many indigenous – and for local painting is visible in the triptychs Netherlands, France and Italy. The two that matter Italian – artists. However, these commissioned by the Ferber family for their highlights of the trip were indicative of the elements tend to be framed in a thoroughly chapel at the church of St Mary. eclectic artistic tastes of the young prince. They Italianate style. Today it is difficult to establish whether were visits to the studios of two famous artists: It was only in the architecture of Tilman some notable Gdan´sk works of the 1480s were Rubens in Antwerp and Guido Reni in van Gameren that Netherlandism became a imported from the Netherlands or produced . significant stylistic element in Polish by local painters under the spell of A very palpable influence on the Polish architecture. However, this proved to be a Netherlandism. The early 16th century landscape was exerted by Netherlandish comparatively short-lived phenomenon, a brought a veritable wave of retables imported achievements in fortification and military brief prelude to a complete Italianization. from Antwerp and Brussels. Alabaster reliefs science. Practically all the architects serving During the 18th century, Netherlandism were also imported from the Netherlands, Poland’s kings and nobles studied the vanished altogether, as Italian formulas such as that found on the tomb of Michael engineering of Dutch bastion fortifications in became augmented with a fashion for things Loitz at the church of St Mary. The baptismal depth. The dense network of fortresses and of French – classicist, Rococo and sentimental. font at this church also owes much to city fortifications in the country, running into Thus, Netherlandism in of the Netherlandish Mannerism; its bronze figures the hundreds, introduced an element of 16th through the 18th century was far from were cast in Antwerp. Painted and sculpted Netherlandish material culture. To this can be continuous – it was a set of episodic tomb decorations produced in the area during added the stone and stonemasons for altars appearances of imported work or ad hoc the 16th century were based on prints by and monuments and earthworks and borrowings of this or that element. , and Hendrick engineering projects, as well as luxurious As hinted above, matters were quite Goltzius. Gdan´sk goldsmithery of the 16th and Dutch fabrics used in the making of costumes different in Gdan´sk, as in Pomerania and in 17th centuries, apart from its German after Italian, Spanish, or indigenous Polish- Royal Prussia. In these regions of Poland, elements, was clearly Netherlandish. Amber Oriental fashions. circumstances propitious to a deeper decorations, a Gdan´sk specialty, also codart Courant 8/June 2004 16 conformed with Dutch stylistic conventions. They also worked in Poland, at Cistercian the Royal Castle and L-azienki Palace. Works As of the early 17th century, Gdan´sk became a monasteries and churches throughout the from the collections of the subsequent owners center of in the Netherlandish country and the royal court in Warsaw, with of Wilanów Palace, such as Stanislaus Kostka style. Local artists produced such prints and its aristocratic hangers-on. Potocki, the and the Branickis, are local publishers co-issued them with Dutch The connection between Gdan´sk and Warsaw also exhibited in these museums and in the printmakers such as Willem Hondius and survived into the second half of the 17th Gallery of European Painting in the National Jeremias Falck. century. , for one, actually split Museum in Warsaw, as are pieces from the As we have seen in our consideration of his time between the two centers, developing a Radziwi-l-l collection at Nieborów. The very architecture and architectural sculpture in Rubens-style model of Flemishness of the sort important and valuable collections of the Poland, Netherlandization made its entry by cultivated by Andreas Stech in Gdan´sk. Raczyn´ski and Mielz.yn´ski families make up a side door, by way, as it were, of Saxon and The 18th century brought with it a the core of the National Museum’s collection Dresden models. From approximately 1585-95, weakening of Gdan´sk and of Prussia as in Poznan´. A historical collection of however, the city boasted a community of economic powers, as well as a waning of outstanding importance is the Museum of the authentic Netherlanders, most of whom Netherlandism in these areas. Netherlandism, Czartoryski Princes in Kraków, founded in arrived from Mechelen. Among them were however, remained alive in the realm of 1809. The Wawel Royal Castle in Kraków, Willem and Abraham van den Blocke, collecting, with avid buyers amassing although renowned for its magnificent 16th- Anthonie van Opberghen (who had previously impressive bodies of Dutch and Flemish century collection of Flemish tapestries, no lived in the Danish Kronborg/Helsingør), paintings and drawings. It was at this time longer possesses a single picture from its Frederik Vroom (related to Hendrik, the that the collections of Jakob Wessel, Jacob historical collections. It can, however, boast a famous painter) and Hans Vredeman de Vries. Kabrun, and the illustrious Schopenhauer very important selection of Dutch and Flemish The period of their artistic activity, spanning family were formed, providing the beginnings paintings, many of them amassed and donated roughly 1585-1625, marks the culmination and of public collections and of museums in by Polish aristocrats – Professor Jerzy Mycielski the triumph of the Netherlandish style in Gdan´sk in the 19th century. in 1928 and Leon Pinin´ski in 1931. The Second Gdan´sk. It was at this time that the most World War inflicted enormous damage on important buildings, monuments and city Early Netherlandish, Dutch and Flemish Polish art collections. Numerous works of art interiors are completed, such as the Red Room paintings in Polish collections* were either destroyed or confiscated and of the city hall, the decorations of the Court of Hanna Benesz removed to Germany – many of them have Artus, the Fountain of Neptune in the Long Curator of early Netherlandish and Flemish never returned. Market, various patrician houses and the great paintings, Muzeum Narodowe, Warsaw During the Second World War, collections civil and military complexes by Anthonie van Polish collections today contain about 2,000 amassed in the late 18th and early 19th Opberghen and Abraham van den Blocke. Dutch and Flemish paintings, representing centuries and belonging to wealthy patricians Thanks to Willem van den Blocke, the various epochs and . Of this number, and merchants from Gdan´sk were also broken models of Cornelis Floris became common in at least a quarter should be regarded as up. One of the most important of these was architecture and sculpture. The designs, important to specialists dealing with Dutch that of Jacob Kabrun (1759-1814), who collected framing elements and tombstone sculptures and Flemish painting. mainly drawings and prints. Out of the 350 executed in his Gdan´sk workshop were The most important collections of pictures from his collection that were donated shipped throughout Warmia, Royal Prussia paintings, both in number and quality, are to the town and later came to form the nucleus and parts abroad. The magnificent high altar now in the possession of large state museums – of the painting gallery of the newly founded for the Gdan´sk church of St John (1598-1611) the National Museums in Warsaw, Poznan´, Stadtmuseum in 1872, only 50 survived the war was designed in the spirit op Cornelis Floris by Kraków, Gdan´sk and Wroc-law. The Warsaw and returned to Gdan´sk, either from Germany Abraham van den Blocke’s son Willem. There museum, founded in 1862, is the oldest and the or the . was also a vast proliferation of ornamentation largest of these. Early in the museum’s history In 1956, Poland’s most precious work of art, based on the model books of Cornelis Floris, a number of very important Dutch and which had been housed in Gdan´sk for almost Cornelis Bos and Hans Vredeman de Vries. In Flemish paintings were acquired at the the aggregate, these amount to a spontaneous auction of Johann Peter Weyer’s collection in adoption of Netherlandish stylistic idiom in Cologne. This group has been enriched by Polish stone and wood sculpture, in countless numerous acquisitions, which were especially altars, booths, pulpits, baptismal fonts and abundant after 1916. Of particular note are two tombs. large collections that entered the museum at From 1590 to 1610 Gdan´sk was an enclave of that time: that of the Krosnowski family, Netherlandish painting away from the donated to the Polish state after it regained Netherlands. Only later, between 1610 and independence, and that of Dr. Jan Pop-lawski, 1640, did an impulse from Rudolphine Prague purchased by the city in 1935. What has make itself felt, with Silesian painters making survived from the collection of the last Polish their way to Gdan´sk and Torun´. In the king, Stanislaus Augustus Poniatowski, once opposite direction, some local painters who numbering more than 2,200 paintings, has, worked in a Netherlandish style traveled to the since the Second World War, been exhibited in Abraham Janssens, Lamentation, National Museum, Rudolphine centers of Prague and Vienna. three places in Warsaw: the National Museum, Warsaw. 17 codart Courant 8/June 2004

500 years, returned from the Soviet Union: the son, Jan Massys, which seeks to unite the The Pre-Rembrandtists and the followers of Triptych of the Last Judgment by Hans Memling – influences of Titian and the School of , two groups of artists who one of two monumental works by the master Fontainebleau. Italianate Mannerism in its introduced and developed the Baroque storia painter from Bruges. The history of its most dramatic form is present in the Ecce Homo formula within Dutch painting, are also well acquisition is quite unusual. Originally triptych,now in Warsaw, one of the finest represented. Paintings by Pieter Lastman, commissioned by Angelo Tani, the works by , and Jan Rembrandt’s teacher, The pastoral idyll in representative of the Medici bank in Bruges, Sanders van Hemessen’sHoly family, in Wawel Gdan´sk and The feast of Esther in Warsaw, are and destined for his family chapel in the Royal Castle, Kraków. The art of portraiture in complemented by pictures by Jan Tengnagel church of Badia Fiesolana near Florence, the the 16th century is represented by such works and Nicolaes Moeyaert. Rembrandt’s studio triptych was en route from the Netherlands to as the beautiful likeness of Isabel of Portugal by mate Jan Lievens is the creator of two early – Italy on the galleon Matteo in 1473. The the little-known painter Guillim Scrots, now and surprisingly Caravaggesque – paintings ship was captured by a Gdan´sk pirate, Paul in Poznan´. The Late Renaissance epoch is from about 1625: A boy blowing on coals and A boy Benecke, and the altarpiece unexpectedly closed with an important painting by Pieter lighting a torch from the Wilanów collection. found its way to his home town, where it was Aertsen dating from the very last year of his life Among equally Caravaggesque compositions placed in the church of Our Lady. Despite the and showing, in the form of a frieze, scenes by , Jan ter Borch, Jan Jansz. van protests and complaints of the Duke of illustrating the seven works of Christian Bronchorst and Matthias Stomer there are two Burgundy, Charles the Bold and Pope Sixtus mercy. Rendered as a scene, in the important paintings by Hendrick ter iv, the work remained in Gdan´sk. It was setting of a town square laid out according to Brugghen, an early Pilate washing his hands, removed twice: by in 1807 (to be the models in Sebastiano Serlio’s architectural now in Lublin, and a late King David playing the returned in 1816), and during the Second treatise, the painting is a rarity. harp in Warsaw. Wouter Crabeth from Gouda World War, when the Germans took it to The Rudolphine version of Mannerism is painted a dramatically Caravaggio-inspired Thüringen. Found there by the Red Army, it represented by ’s theme in Card sharps, while Theodor Rombouts was taken to the Hermitage in St. Petersburg Baptism of Christ in Wroc-law, and in its treated a similar subject in a more elegant (then Leningrad). northern Netherlandish form in Jacob Isaacsz. manner. Apart from this breathtaking work there van Swanenburg’s Sibyl showing the underworld Flemish high Baroque is mainly found in are not many Flemish Primitives in Poland: a to in Gdan´sk. the Warsaw collection and is not as well group of small devotional pictures from the The beginnings and development of represented as Dutch 17th-century painting. workshops of Dieric and Aelbert Bouts in independent Flemish are Although the kings of the Vasa dynasty Kraków and Warsaw; a Passion altarpiece with well documented in Polish collections, commissioned numerous paintings directly wings painted in the workshop of Colijn de especially in the National Museum in Warsaw, from the Rubens studio, none of these works Coter, also in Warsaw; and a splendid which owns paintings attributed to Gillis van has survived in Polish collections. The Vasa composition showing the Martyrdom of Saint Coninxloo, Jacob Grimmer and Gillis monarchs were successful collectors, but the Crispin and Crispinian from the Wilanów Mostaert, as well as such high-quality only remaining indications of what they collection, renderedwith a rare epic power of examples as Jan Brueghel’s Wood landscape with possessed are written sources and a single narration. This work, by Aert van den Bossche, robbers sharing loot; Abraham Goevaerts’s Wood though very interesting picture showing the is the central panel of a triptych, the left wing landscape with peasants crossing a ford; a Kunstkammer of Crown Prince Ladislaus Sigismund of which – divided and transferred to canvas – charming Park landscape by ; Vasa in the Royal Castle in Warsaw. The prince, is preserved in the Museum van de Stad in numerous Mompers; and, from the 1640s, the future King Ladislaus iv, made a Grand Brussels and in the in Teniers’ Landscape with a camp of gypsies, which Tour of Europe in 1624-25, visiting Vienna, the Moscow. The Lamentation triptych, the earliest is very refined in its use of color and is Germanic lands, the Netherlands, France and noted example of a work by Jean Bellegambe, considered quite exceptional in the artist’s Italy. This educational and political journey and a Triptych of the Immaculate Conception by an oeuvre. anonymous Bruges master of about 1530 close the epoch of early Netherlandish painting in Polish collections. The Northern Renaissance, or ‘Antwerp Mannerism,’ is represented by pieces such as the painted panels of the St. Reinhold Altarpiece, an early masterpiece by Joos van Cleve, which is in Warsaw. This work features a self-portrait of the young artist as St. Reinhold on the reverse of the wings. The Virgin with child and a lamb by Quentin Massys, which is in Poznan´, illustrates the artist’s effort to combine the local Netherlandish tradition with the Italian inspirations of Leonardo da Vinci. A similar tendency can be found in and Cupid, a Pieter Saenredam, Interior of the St. Bavo Church in Haarlem work now in Kraków, painted by the former’s Jan Lievens, Old man, National Museum, Warsaw. (1635), National Museum, Warsaw. codart Courant 8/June 2004 18 also gave him the opportunity to purchase The lesser, decorative genres in Flemish Zachariah attributed to Jan Lievens, portraits works of art. The prince visited the studios of painting are represented by works by artists by Jacob Adriaensz. Backer, Govaert Flinck and Rubens in Antwerp and Guido Reni in Italy. such as , Paul de Vos, David de in Kraków and Warsaw. It is worth According to the inscription, the painting of Coninck and Daniel Seghers, for example, his mentioning Gerbrand van den Eeckhout’s the Kunstkammer was probably executed in Cartouche with a portrait of , Jacob’s dream, Jan Victors’s Esau selling his Warsaw in 1626, as a document of the prince’s surrounded by flowers, which is in Warsaw. birthright to Isaac and Constantijn de Renesse’s acquisitions following his return to Poland. Rembrandt’s circle, in spite of regrettable Satyr visiting the peasants. By far the most The medal on the table in the foreground losses, is quite well represented in Polish valuable work in this group is an early shows a portrait of the prince and his titles. collections. There were some Rembrandt composition by , The raising of Later, as the king of Poland, he acquired many imports, especially of prints, as early as the Lazarus, which was strongly influenced by Netherlandish works of art through his 17th century, but interest in the art of this Rembrandt’s famous painting in the Los agents, Jan Bierens in Antwerp and Hendrick great Dutch painter really began with King Angeles County Museum and his early etching van Uylenburgh, the cousin of Rembrandt’s Stanislaus Augustus Poniatowski. He was the of The raising of Lazarus. Fabritius’s work will wife Saskia, in Amsterdam, and he also took first Polish collector who was truly aware of soon feature in the monograph exhibition part in the posthumous auction of Rubens’s the artistic importance of Netherlandish, organized by the and the collection. The Vasa collections, however, were especially Dutch, painting. Of the 2,290 museum in Schwerin. plundered in the middle of the 17th century paintings entered in the last inventory of the The National Museum in Warsaw also by the invading Swedish troops and what royal gallery in 1795, about 225 can be possesses a fine painting by the Haarlem remained of their great possessions Jan identified as Dutch. Some 69 of these have classicist Jan de Bray, Achilles among the Kazimierz, the last Vasa, took with him to survived. The king became acquainted with daughters of Lycomedes. France when he abdicated. This is why, for Dutch art during his travels in Europe as a Dutch portraiture is equally abundant and example, a painting such as the Equestrian young man, beginning in 1748. While in Paris all its styles are well represented in the Polish portrait of King Sigismund iiiVasa, created in in 1754 he met the country’s intellectual and museums: a stately Portrait of Johann Maurits, the in Rubens’s workshop, is now just artistic elite at the renowned salon of Madame count of Nassau-Siegen by Pieter Nason,in a long-term loan from the Metropolitan Geoffrin. The Rococo artists he came to know Warsaw; a refined Portrait of a youth by Jan Museum of Art to the Wawel Royal Castle in there confirmed his esteem for the painting of Lievens, in Kraków, based on Raphael’s famous Kraków. Except for a single Rubens-and- Rembrandt and his circle. Three of the finest work, a war loss from the Czartoryski workshop Virgin and child from Wilanów Palace Rembrandt works from the king’s collection, collection; a patrician Portrait of Johanna de there are unfortunately no more works by the including the famous Polish rider, are now Geer-Trip with her daughter Caecilia by Ferdinand ‘Prince of Painters’ in Poland nowadays. Of the outside Poland. Forced to abdicate as a result of Bol in Warsaw, and a charming Little boy in three greatest artists of the Flemish Golden the partition of the country, the king moved to Polish costume by Caspar Netscher in the Age it is only whose works are St. Petersburg, taking some of his pictures Museum of the Czartoryski Princes in Kraków. relatively numerous in Polish collections. The with him. After his death in 1798, his heirs The ‘lower’ categories of paintings – National Museum in Warsaw possesses a began to sell the paintings that had been left in landscape, genre scenes and still life – are also magnificent early Holy family of about 1617 and Poland. The purchasers were mainly Polish plentiful in Polish collections. This art a sketch for the Triumph of Prince Frederik aristocrats: Zamoyski, Drucki-Lubecki, dominated the cabinets of Dutch paintings Hendrik of Orange, commissioned by Amalia Raczyn´ski, Rzewuski, Ossolin´ski, Mniszech. that were fashionable in aristocratic residences van Solms, the widow of Frederik Hendrik, for Some paintings were ‘removed’ to St. from the 17th century onwards. However, only in The Hague. The Petersburg; amongst them a Self-portrait by a very limited selection can be presented here. composition of the Warsaw sketch, one of Aert van Gelder, which was never returned. The main tendencies in 17th-century three still extant (the other two are in Brussels was sold by the Tarnowski landscape painting are quite well illustrated. and Antwerp), is the closest to the final work in family in 1910. Two important paintings from There are realistic, tonal works by Salomon van the Orange Hall, which was signed and dated Rembrandt’s workshop did, however, finally Ruysdael, Jan van Goyen and many others; by Jordaens in 1652. His other autograph return to Poland in 1994, as part of a generous more Baroque and fantastic landscapes by works are in the L-azienki and Wilanów Palaces donation by Professor Karolina Lanckoron´ska and Allaert van Everdingen; and in Gdan´sk. There are some excellent to the Royal Castle in Warsaw and to the and Italianate works by Bartholomeus examples from the Antwerp circle of Rubens, Wawel Royal Castle in Kraków. These were: Old Breenbergh and Daniel Vertangen, now in such as Abraham Janssens’ Ecce Homo and man at a lectern by Rembrandt (1641) and A girl Poznan´. There are a couple of in Lamentation,orJan Boeckhorst’s Achilles among in a hat from the artist’s workshop, probably by Warsaw, for example by Lieve Verschuier and the daughters of Lycomedes, now in Warsaw. . The Museum of the Czartoryski Ludolf Bakhuyzen, and also several church Portraiture is represented by works such as a Princes possesses a magnificent work by interiors. The unquestionable masterpiece grand full-figure image of Marie Louise Rembrandt, Landscape with the Good Samaritan among the latter is Pieter Saenredam’s Interior Gonzague, the future Polish queen, by Justus (1638). This work is all the more precious of the St. Bavo Church in Haarlem (1635), now in van Egmont, and a charming Portrait of a lady because it is one of only six landscapes that Warsaw, a compact, seemingly symmetrical by Gonzales Coques, which is in the Museum have been definitively attributed to composition exhibiting a very refined point of of the Czartoryski Princes in Kraków. Also Rembrandt. Works by Rembrandt’s pupils are view and a subtle play of perspective lines. worth mentioning is a very interesting Family numerous in Polish collections. There is an The broad thematic and stylistic spectrum group in a garden, painted by Jan van Kessel in Angel appearing to Hagar in the desert by of genre paintings comprises peasant scenes, in 1672. Ferdinand Bol in Gdan´sk, and a Prophet elegant interiors, military scenes and 19 codart Courant 8/June 2004 allegorical compositions, such as the one by Dutch and Flemish prints in major Polish War, as were newly created private collections. Adriaen van de Venne in Warsaw. In this collections Numerous works of art were burned, together context I would like to mention a spectacular Joanna Tomicka with family mansions and Warsaw palaces (for case of a war loss and recovery: the only Curator of European prints, Muzeum Narodowe, example, the collection of the Zamoyski family painting we had by Adriaen Brouwer was Warsaw in the B-lekitny Palace); others, such as the ` returned to Poland in 2002, thanks to the The major print collections in Poland, collection of the Potocki family, were lost or combined effort of our colleagues at the rkd including the Dutch and Flemish ones, are taken abroad. Consequently, the cultural and the generosity of Johnny van Haeften. located in Warsaw, Kraków, Wroc-law, Gdan´sk assets of the majority of private collections has Dutch still-life paintings, also quite and Poznan´. They belong to national disappeared. Public or national collections, numerous in Polish collections, range from an museums, universities and academies of having suffered badly as a consequence of the early, additive tabletop by Osias Beert in sciences. This reflects one of the main historic war, could not easily be reconstructed. Wroc-law, a monochromatic Dessert by Willem trends in the collecting of prints and Considering the historical circumstances, Claesz. Heda and such refined work as the Still demonstrates that they were formerly selected although they represent only a small part of life with utensils by Pieter Potter in Warsaw, not only for their artistic value, but also for the prewar collections, the remaining public through a flower piece by Abraham Mignon in their educational worth, often being chosen collections seem even more valuable as Warsaw, pronk still lifes by Nicolaes van Gelder because of the subjects featured. witnesses of this ‘history of impermanence.’ in Warsaw and Simon Luttichuys in Poznan´, to Even a brief summary of the main Vanitas compositions such as Gerrit van collections reminds us of the historic This overview of Dutch and Flemish print Vucht’s work in Poznan´ and a Still life with a circumstances of their creation, or, to use the collections, which is necessarily cursory, will skull in Gdan´sk, which is attributed to Simon title of Professor Andrzej Rottermund’s essay, proceed in chronological order, with particular Luttichuys. Warsaw’s Royal Castle possesses an of their ‘history of impermanence’ and the focus on those that still exist – albeit in a interesting trompe l’oeil still life by Cornelis efforts required to conserve them. The fate of diminished form – and also includes details of Gijsbrechts. Polish collections, however dramatic, is not lost collections. The overview will provide only There are also some 18th- and 19th-century exceptional in Europe. Nevertheless, in a summary information; more can be found in Dutch paintings in Polish collections. Closing country that lost its statehood for over 120 the relevant reference materials. my brief survey, I would like to mention a late years as a result of three separate partitions The collecting of Netherlandish prints has 19th-century piece that joins Dutch, Flemish (1772, 1793, 1795), culture has played a crucial a long tradition in Poland, beginning over 400 and Polish elements, Europe and America, and role in preserving national identity. years ago with an eminent example. In the art and politics on a level that is almost Recognizing the importance of culture in the light of the introductory comments, the fact comparable to the global world of the present shaping of national consciousness, the that the oldest Polish collection of graphic art day. The work is the exquisite portrait of governments of Russia, and Prussia is still retained in part is a unique distinction Ignacy Jan Paderewski by Sir Lawrence Alma- used repressive measures against cultural in itself. This collection, dating back to the Tadema. This Dutch-born artist studied and institutions, such as the confiscation and 16th century, is kept in the Library of the worked in Antwerp and lived for a time in removal of art collections, particularly Jagiellonian University in Kraków, the oldest Brussels before moving to London, where he following the national uprisings of 1794, 1830, Polish university. It was brought together by was granted British citizenship and a 1846 and 1863. This fate was shared by private Jan Ponetowski (d. 1598), a bibliophile and ` knighthood. In 1890, he painted Ignacy Jan collections when their owners became diplomat, and the abbot of the Paderewski, the Polish composer and virtuoso involved in the fight for independence. Those Premonstratensian (Norbertine) monastery in pianist, politician and statesman, who made private collections that were subsequently Hradißte (near Olomuniec), Moravia. In 1592, an enormous contribution to the resurrection recovered were for the greater part destroyed, Ponetowski bequeathed his library, together ` of Poland in 1918. With his concerts and broken up or stolen during the Second World with a print collection that still amounts to lectures in the and Europe, over 1,000 items, to the university in Kraków, Paderewski gained many fervent supporters his alma mater. The collection includes mainly for the Polish cause. In 1919, he became the Netherlandish (of which there are more than first prime minister of an independent Poland. 700) and German prints, as well as Italian and We should regard this painting as a symbol of French works from the second half of the 16th understanding and agreement between century, kept in leather-bound albums. culture and politics, and between nations in Ponetowski, a long-forgotten collector of ` the name of true freedom. paintings, Flemish Gobelin tapestry and * Some parts of this text are based on earlier medals, was also an expert bibliophile. Four publications; see: J. Micha-lkowa, Foreign paintings manuscripts, 16 prints from the 16th century inPolish collections, Warsaw 1992 and A. Ziemba, and five incunabula have survived from the ‘Internationalism and a pluralism of taste,’ in: exhib. collection he bequeathed. There are also cat. Leonardo da Vinci and the splendor of Poland, individual books from Ponetowski’s library ` Milwaukee (Milwaukee Art Museum) 2002, pp. 40-58. in the Strängnäs Library in Sweden. Ponetowski used five super ex-libris ` (personalized binding stamps) and three ex- Ex-libris of the Jan Ponetowski collection, before 1592, libris to indicate his ownership of books, Jagiellonian Libarary, Kraków. manuscripts and volumes of prints. The codart Courant 8/June 2004 20 former are a unique example of bibliophile by Hendrick Goudt after Adam collection consisted of prints, and a special ambition in the context of collecting activities Elsheimer, Tobias and the angel, the so-called feature was that it contained only work by of the 16th century, and their artistic quality ‘Little Tobias,’ dated 1608. In addition, there non-Polish artists. During the Second World can be compared only with the royal super ex- are drawings and prints on the table, while the War, in the wake of the Warsaw Uprising of libris. Moreover, one of them, unfinished, is sketchbooks and other bound volumes in the 1944, the National Library collections, the first example of a Polish ex-libris signed painting may also have contained graphic including the Za-luski Library, were set on fire by the artist. It bears the initials K.S., perhaps works. by the Nazis and destroyed. standing for Kryspin Scharffenberger, a wood Prints were appreciated by the monarchs of Following the Kos´ciusko Insurrection, the engraver active in Kraków and Wroc-law. the Vasa dynasty and by King Jan Sobieski iii tsarist authorities exercised repression in the Ponetowski’s collection of prints, which (1629-96; reigned from 1674 until his death) for form of confiscation, and the difficult financial ` documents artistic accomplishments as well as the role they could play in developing the royal position of the previously affluent classes of contemporary events, religious wars and social image and praising the sovereign’s society led to numerous auctions of works of upheavals, was arranged according to subject. accomplishments. However, little information art. In the period 1818-25, the sale of Moral and theological allegories and on print collections from this period has Aleksander Chodkiewicz’s collections, which personifications seem to have been of survived. There are mentions of ‘books of included graphic art, took place at the palace particular interest to the collector, and among copper engravings’ by Rubens and Rembrandt on Miodowa Street in Warsaw. The value of the them are prints of high artistic quality, for in the collections of Krzysztof and L-ukasz collection is best illustrated by the number of example those by Willem van Haecht I, which Opali ´nski (in Sieraków and Rytwiany) in the etchings sold – 322 by Callot, 11 by Lucas van were not noted by Hollstein. The staff of the brothers’ correspondence of the mid-17th Leyden, 23 by Rembrandt, 200 by ‘Little Jagiellonian Library is compiling new century. There were similar collections Masters,’ as well as Rembrandt prints in so- descriptions of these pieces, as was already the elsewhere in Poland in both the 16th and 17th called ‘facties’, albums of various sizes in case for the illuminated manuscripts and centuries; they were split up, however, as a which prints Are mounted by topic, author or incunabula in the same collection. The prints result of the Cossack Wars and the fighting school. give an impression of the interests among during the so-called Swedish Deluge. A similar fate befell a major collection of members of the court and in Counter- Although Augustus ii(1670-1733; ascended almost 34,000 prints owned by Ignacy Krasicki Reformation culture. to the Polish throne in 1696) and Augustus iii (1735-1801), the bishop of Warmia. This In contrast to many other public (1696-1763; r. 1734-63), from the royal House of collection included some works by Rembrandt collections of prints and engravings, which Wettin, were elected kings of Poland, they felt and was arranged in the modern fashion were based partly or entirely on large private more emotionally attached to , their according to school, which is one of the reasons collections belonging to monarchs and homeland. They transferred a number of why it was so important. In 1804, after the wealthy individuals, the Jagiellonian Library’s works of art that were partially acquired with bishop’s death, his collection was sold at collection was created gradually over the funds from the Polish treasury back to Saxony, auction in , as he apparently owed centuries and was almost eclipsed by the thereby laying the foundation for the famous money to the Prussian state. (The debts were collection of manuscripts and books. The Dresden paintings gallery and graphics incurred as a result of the taxes and earliest examples date from the 15th century, collections, which are among the most famous contributions that had been imposed on the when loose sheets were sometimes glued to in Europe. Prince Albert of Saxe-Teschen bishopric). His collection was dispersed, some manuscripts and incunabula owned by (Albert Kazimierz; 1738-1822), a son of King of it disappearing into the Berlin Kupferstich- university colleges. This led to the creation of Augustus iii, continued the family passion for kabinett. a valuable collection of graphical incunabula. collecting, as is illustrated by his founding of The second half of the 18th century saw the At the same time, it should be stressed that Vienna’s Albertina. creation of the of prints. the professors and graduates of Kraków’s The second half of the 18th century saw the Stanislaus Augustus Poniatowski was a highly Jagiellonian University are the oldest known establishment of several major collections: the cultured and well-educated king who became collectors of graphics and prints and donated Za-luski and Krasicki collections and the royal a patron in many fields of art and education. many works to the Jagiellonian Library. For collection of Stanislaus Augustus Poniatowski The king started his collection of prints example, Krzysztof Mieroszewski (d. 1677), a (1732-98; king from 1764 until abdication in around 1755. His advisor on these matters was royal secretary and architect, donated 1795), Not all of these have survived, but they his friend Count Augustus Moszyn´ski (1731- Netherlandish prints, including engravings provide evidence of the growing interest in 86), who was also a collector of drawings and after designs by Hans Vredeman de Vries. graphic art and the role of prints and prints. The purchases were made in Poland In the 16th and 17th centuries, Polish engravings as the basis of public collections. from booksellers, through agents in Italy and royalty, nobility and the wealthy preferred to In the mid-18th century, more than 10,000 Paris, and through diplomats and royal collect other kinds of art, such as paintings, prints were brought together by Bishop Józef scholarship holders. At the time of the king’s textiles, weapons and objets d’art. The Andrzej Za-luski (1702-74), thus forming the death, this typically 18th-century collection painting showing the Kunstkammer of Prince collection of the Za-luski Library. After the comprised nearly 100,000 items. The prints Ladislaus Sigmund (Ladislaus Zygmunt; 1595- Kos´ciuszko Insurrection was put down in 1794, were pasted to sheets of paper and arranged by 1648), the future king Ladislaus (Ladislaus) iv the Za-luski Library was taken to Russia. Once topic in boxes that resembled books, which (from 1632 until his death), provides some rare Poland regained its independence in 1918, the were then marked with the king’s super ex- clues about the sovereign’s interests in the collection was returned in 1923-33 under the libris. The earliest prints dated back to the 16th field of graphic art. Among the objects Riga Treaty, finding a fitting home at the century, but most were from the 18th century. depicted in this painting of 1626 is an National Library in Warsaw. Most of this The collection was used by the artists under 21 codart Courant 8/June 2004 the king’s protection, more as a reference Despite the loss during the war of more than centuries, but some of the most valuable pieces source for historical data and composition 60% of the collection, the print room of Warsaw are earlier works by the Galle family and designs than as a basis for comparing the University Library retains its leading artistic Goltzius. Rembrandt, Pontius, Saenredam, achievements of graphic artists. The and historical standing among Polish Bolswert and Vorsterman are also among the Netherlandish school occupied a considerable collections. It has the largest number of highlights. Shortly before the Second World place, although it was not as well represented Rembrandt prints in Poland: 154 etchings in War, Count Leon Pinin´ski (1857-1938), the as the Italian, French and English schools. an album that formed part of the gift of former governor of and an outstanding Included were prints after , Stanislaus Kostka Potocki. For years the art connoisseur and collector, bequeathed a , Maarten van curators of the collection have been attempt- precious collection of European drawings and Heemskerck, Bartholomeus Spranger, Marten ing to implement a plan for conserving the prints to the , which included de Vos, the Galle, Sadeler and Wierix families, albums, and now an opportunity to get the engravings by Lucas van Leyden and etchings and Mannerist prints by Goltzius, Matham, necessary funding has presented itself, in the by Rembrandt. Muller and Saenredam, as well as form of the approaching Rembrandt jubilee of As a consequence of the war and the loss of approximately 100 prints after Rubens. 2006 and a special exhibition at the National Poland’s eastern territories, the Ossolineum’s Count Stanislaus Kostka Potocki’s (1755- Museum in Warsaw. The Rembrandt prints collection was dispersed. The part of the 1821) collection of drawings and prints was will be separated from the album and will collection that was removed by the Nazis to established more or less in parallel with the undergo the necessary treatment before being Kraków and Silesia in 1944 was later recovered, king’s collection. The count was one of the individually mounted. The album itself will be providing the basis for the Ossolin´ski National most outstanding representatives of the Polish filled with photographs of the detached works Institute in Wroc-law. Most of the graphic Enlightenment, an eminent statesman with and will be retained as a precious example of works were absorbed by the Kiev-based the position of Minister of Religion and Public 19th-century collectorship. Academy of Sciences in 1940, finally ending up Enlightenment, and at the same time a writer, In 1817, the Ossolin´ski National Institute in the Lvov Scientific Library of the Ukrainian art critic and art historian, known for his was founded in Lvov by Count Józef Academy of Sciences. At present the Wroc-law translation of Johann J. Winckelmann’s Maksymilian Ossolin´ski (1746-1826).This Ossolineum owns approximately 33,000 Polish Geschichte der Kunst des Altertums. Potocki was outstanding thinker belonged to a group of and foreign items, with Polish works aware of the need for art collections to be patriots who advocated not only armed predominating. The foreign art comes mainly accessible to the public. combat in the struggle for independence, but from the collection of Leon Pinin´ski and from In 1818, the collection of King Stanislaus also the preservation of the nation through the postwar purchases: Rembrandt etchings, rare Augustus was acquired for Warsaw University promotion of the mother tongue and overall prints by Jan van Vliet and a few early works of by a governmental commission. Stanislaus cultural and scientific achievements. Lucas van Leyden. Kostka Potocki, who contributed to the Ossolin´ski devoted all his efforts to the As a result of these losses, the Ossolineum agreement in his role as minister, also donated furthering of national intellectual culture is rather depleted compared to its prewar his own collection of prints, along with that of through the collection and publication of situation. In 1939 the collection comprised his late brother Ignacy. The Potockis’ literary treasures, and the publication of a 67,000 items. The value and importance of collection was already catalogued according to scientific journal. The statutes of a foundation certain parts of the collection was greater than the modern methods of Mariette and Bartsch, dedicated to these aims were approved by that of the collections of King Stanislaus i.e. by engraver rather than subject. Potocki Franz i (1768-1835), emperor of the Holy Augustus Poniatowski and other patrons, also supplemented the king’s collection by Roman Empire from 1817 on. Originally which were subsequently incorporated into adding fine works by 16th-century engravers planned as a library, then as a scholarly society, the print room of Warsaw University Library, from various schools and prints by Ossolin´ski’s institute, called the Ossolineum, the National Museum in Warsaw and the Rembrandt. soon became a museum. This came about Museum of the Czartoryski Princes. The failure of another uprising, the thanks to an agreement arrived at in 1823 November Uprising of 1831, resulted in between Ossolin´ski and Prince Henryk During the difficult and stormy years of the reprisals by the tsarist government targeted at Lubomirski (1777-1850) to establish a Museum partitions, and especially during the 19th all symbols of Polish identity. Educational and of the Princes Lubomirski as a constituent part century, museums were founded on the cultural institutions were subject to of the Ossolineum. The prints, drawings and initiative, or thanks to the generosity of such confiscations. The contents of the print room paintings belonging to Ossolin´ski found a patriotic members of the aristocracy as the of Warsaw University Library were seized and place in the Lubomiski Museum, while the Czartoryscy, Dzia-lyn´scy, Krasin´scy, Raczyn´ski taken to the Academy of Fine Arts in St. books from the Lubomirski collection entered and Zamojscy or the non-aristocratic Petersburg in 1832. Once the Polish state the Ossolineum Library. The plan was not intelligentsia. regained its independence, large-scale efforts realized fully until 1870. The Museum of the Czartoryski Princes in were undertaken to recuperate collections The Ossolineum’s collection of prints and Kraków is an example of such a museum still expropriated by the Russians. After long engravings, founded on Ossolin´ski’s own in existence today. The origins of the battles, the items from the print room were collection mainly of Polish items, quickly Czartoryski’s collection, brought together by finally returned by the Soviet Union in 1923, expanded thanks to donations and permanent Prince Adam Kazimierz (1734-1823), go back to after almost 90 years of absence from Poland. loans. After the incorporation of the the second half of the 18th century. After the Until the outbreak of the Second World War in Lubomirski holdings in 1870, it consisted of 1794 insurrection, a part of the collection was 1939 this was one of the largest collections the around 5,000 prints, arranged by subject. The lost, while the remaining pieces were country. works date mainly from the 17th and 18th transferred from Sieniawa by the prince’s wife, codart Courant 8/June 2004 22

Izabela Czartoryska (née Fleming; 1746-1835), public initiative, the Museum of Fine Arts in established in Kraków, combining the to Pu-lawy, where she established a museum. Warsaw was created in 1862, becoming part of collections of the now-closed Polish Library in After the November Uprising was quelled, the the National Museum in 1916. The National Paris and the collection of the Moszyn´ski collection was evacuated under dramatic Museum in Kraków was founded in 1879, and family, which was purchased by the state. The circumstances by the family to the Hôtel the Jan iiiNational Museum in Lvov was collection of the , which Lambert, the family seat in Paris. Later constituted in 1908. Their resources were to a was founded in 1838 by Polish emigrés, was descendants expanded the collection to large extent (and sometimes even exclusively) intended to be returned to liberated Poland. include drawings and prints. This work was made up of public contributions and bequests During the renewed loss of independence in mainly carried out by Ladislaus (1828-1894), from private collectors. the Soviet period, the Academy of Arts and the grandson of Izabela Czartoryska, and by The Municipal Museum in Gdan´sk, which Sciences (the use of the words ‘Polish’ and Izabela Czartoryska-Dzia-lyn´ska (1830-99). In now forms part of the National Museum, was ‘National’ was forbidden by the foreign 1876, a part of the collection bequeathed to founded in 1872. Its basis was formed by the authorities at the time) was the leading Ladislaus Czartoryski was brought to Kraków bequest of the splendid art collection of Jacob national scholarly institution dedicated to the and, on the initiative of the owner, was made Kabrun (1759-1814), supplemented by exhibits fostering of culture and education. At present, available to the general public, thus giving rise provided by the Gdan´sk Friends of Art Society. it comprises over 80,000 prints, making it one to the Museum of the Czartoryski Princes. The The Kabrun collection suffered a great deal of the largest collections of European graphics graphics collection consists primarily of during the Second World War, when it was in Poland. In 1953, three groups of works were Italian and French prints, but there are divided up and taken abroad by both the Nazis united to form the collection of the print room excellent examples from northern schools, and the Red Army. On the evidence of the 1861 of the academy in Kraków: that of the such as a very fine impression of Three trees by catalogue by J.C. Block and C.L. Duisburg, the Moszyn´ski family, the Polish Library in Paris, Rembrandt and a group of 15th- and 16th- losses have been estimated at over 80%. Only and subsequent acquisitions, including prints century prints originally from the Go-luchów 1,543 prints were brought back from the Soviet from German museums which, as a result of collection, created by Princess Izabela Union; the prints and engravings by masters the war, were located on Polish territory. Prints Dzia-lyn´ska-Czartoryska. of the Dutch school suffered the most severely. by Dutch masters are the most numerous and In 1875, Izabela Dzia-lyn´ska-Czartoryska The print room of the National Museum in occupy a prominent place, constituting nearly transferred part of the collection she had Warsaw traces its origins back to the 40% of all the holdings. The most valuable inherited and enriched to the castle in Department of Fine Arts at Warsaw University. masterpieces are 83 engravings and one Go-luchów, near Poznan´, which the princess Its beginnings are associated with the etching by Lucas van Leyden and over 100 adapted for use as a museum. She used her Museum of Fine Arts, which, under the 1862 etchings by Rembrandt, although not all of considerable expertise to collect further prints Inauguration Act, received the print collection these impressions are of the best quality. This and drawings, and she catalogued many of the of the Warsaw Governmental Library and the collection provides a complete picture of the acquisitions herself. In 1932 portions of this disbanded School of Fine Arts. Warsaw development and accomplishments of Dutch collection – mainly Polish works, particularly University is a good example of two trends in and Flemish graphics, presenting, in addition city views – were donated to the National print collecting. The royal collection was to well-known works, exceptionally rare pieces Museum in Poznan´. During the Second World purchased to become the core of the existing such as a series of playing cards attributed to War, other pieces from the Go-luchów graphics print room. Public donations to the Balthazar van den Bos and a color print by collection were deposited with the National university’s Department of Fine Arts enabled Johannes Teyler (1648-1709). Museum in Warsaw, where they are still further acquisitions, which then formed the The vast losses of the Second World War exhibited, albeit considerably reduced as a basis of the institution that became the will never be fully tabulated, in part because result of the hostilities. The collection National Museum. In the interwar period, the some inventories were destroyed along with comprises mainly German prints from the assembly of graphic works was further the print collections. Not all consequences of 16th century, around 600 in total, mainly by augmented thanks to donations, often in the the war resulted in loss, however. The postwar the so-called . Some 15th- and form of entire collections. Dutch and Flemish enlargement of Poland’s western border 16th-century Netherlandish prints are prints are best represented in the collection of compensated to some extent for the forfeiture included, such as work by Dirck Vellert. Seweryn Smolikowski, philosopher and of eastern territories. The incorporation into The need to define national heritage and bibliophile, which was donated by his heirs in Poland of the German city of Breslau, now maintain national identity that arose from 1927. The collection of the National Museum Wroc-law, led to the transfer of the partially Poland’s specific historical circumstances was in Warsaw includes only about 40 15th- surviving Rehdigerana and Magdaleniana reflected in the development of various forms century prints, but they form an important collections of the Schlesisches Museum der of education and culture. In the 19th century group. Works of the 16th- and 17th-century Bildenden Künste to the National Museum in this led to the establishment of scientific Dutch and Flemish schools abound, including Warsaw, the Polish Academy of Arts and societies and museums in Warsaw, Poznan´, pieces such as Bruegel’s only etching, a print Sciences in Kraków and the National Museum Kraków, Vilnius and other cities. Over time, by Hercules Seghers and the only impression in Wroc-law. A special feature of the 16th- and and under favorable conditions, these often of the fourth state of Rembrandt’sThree crosses 17th-century Dutch prints in these collections became autonomous institutions. New in a Polish collection, as well as large holdings are wide margins, which is rare in old museum-type institutions were also set up, as of Lucas van Leyden, Goltzius, the Wierix collections. From Breslau also came a small but was the case in Poznan´, where the Museum of family, Ostade and prints after Rubens. important set of 15th-century prints. Wielkopolska, now part of the National After the Second World War, the print room A brief recollection of the circumstances Museum, was founded in 1891. Thanks to of the Polish Academy of Arts and Sciences was that have influenced the formation of the 23 codart Courant 8/June 2004 present print collections gives rise to various the works of Dutch and Flemish artists now be included due to their fragile condition, reflections. On the optimistic side, we should found in Poland. Several Polish art historians various exhibition requirements or recent emphasize the public initiatives, generosity contributed to the catalogue, among them excessive exposure. On the other hand, the and devotion of often anonymous people, who Stanislaus Kozak, Graz.yna Zinówko, Jolanta exhibition presents a number of drawings that even risked their lives to preserve these Talbierska and Anna Kozak, as well as Wanda have not been made available to the public for collections. This can be said of the employees Rudzin´ska, Ewa Nogiec´-Czepiel, Danuta many years or, indeed, ever. of the National Library and the National Ros´ciszewska, Marta Topin´ska, Przemys-law [The present text was written when the Museum in Warsaw during the Nazi Watroba, Justyna Guze, Barbara Koenig, exhibition was still planned to coincide with ` occupation and after the Warsaw Uprising in Boz.ena Chmiel, Izabela Suchan and Jerzy the codart zevenstudy trip to Poland 1944. These collections, although they have Wojciechowski. The selection of drawings from 18 to 25 April 2004. Unfortunately, due to suffered much, still exist today as evidence of presented in the exhibition resulted from a external circumstances, the exhibition had to our ongoing cultural history in spite of the survey I carried out at all the larger Polish be postponed to the spring of 2005. The editors] recurring periods of adversity that Poland has public collections. The idea was to present the The largest group of drawings, as the endured. broadest possible panorama from the nation’s relative size of the Polish collections would collections, and to demonstrate that drawing lead one to expect, comes from the print room Rubens and Rembrandt, their predecessors and was a distinct artistic practice in the art of the of Warsaw University Library. The core of this successors: 16th- to 18th-century Flemish and Netherlands. Three obvious criteria collection, which is by no means restricted to Dutch drawings in Polish collections determining the selection were the artistic drawings by Netherlandish masters, was once Maciej Monkiewicz value of the pieces, their originality and owned by the last Polish king, Stanislaus Curator, Muzeum Narodowe, Warsaw uniqueness. Another element was the degree Augustus Poniatowski (1764-95) and was For several years, I had been contemplating to which a given work could be said to purchased in 1818 for the newly created organizing an exhibition of the drawings by represent the individual style of an artist or university. In the same year the print room Dutch and Flemish Old Masters preserved in collection, as well as the way in which it related also acquired the collection of Count Polish collections. The occasion that led to the to the Polish historical and cultural context or, Stanislaus Kostka Potocki (1755-1821), at the execution of my plan was the decision of more broadly, the context of this region of time the Minister of Religion and Public codartto devote its annual conference to Europe. Some highly valued exhibits could not Enlightenment. Another notable historical

Ludolf Bakhuizen, Stormy , 1705, National Museum, Gdan´sk. codart Courant 8/June 2004 24 block is the collection of the Warsaw Society of compositions also adds to the unique character severely reduced by the war, of the Gdan´sk the Friends of Science (1800-31, including a of the collection, among them around 20 merchant, art lover, bibliophile and patron of valuable donation by Józef Sierakowski), which works by Marten de Vos (three of which will be the town theatre, Jacob Kabrun (1759-1814). entered the library in 1923. Despite the losses presented in the exhibition), Bartholomeus As in the print room of Warsaw University suffered during the Second World War, Spranger (not included in the present Library, it is the landscapes in this group of amounting to 60% of the holdings, the exhibition due to conservation drawings that form the high point in terms Netherlandish part of the collection numbers considerations), Joos van Winghe, Denys of both number and quality. The present over 200 drawings, not including the Calvaert and Pieter de Witte (Candid). Another exhibition includes The tower of Babel by architectural archive of Tilman van Gameren item worthy of note is the Portrait of Prince Hendrick van Cleve iii; Ruins of the gate of the (ca. 800 sheets). The principal strength of this Lorenzo de’ Medici by Rubens and, rare in Polish Brederode Castle by Roelant Savery; the beautiful collection lies in its consistently high quality, collections, works by artists who specialized in View of the Colosseum by Bartholomeus with relatively minor gaps, especially in the drawing, such as and Willem Breenbergh; Landscape with a stream and two 17th-century section. Warsaw University Buytewech the Elder. bridges by Roelant Roghman; and, the most Library provided us with beautiful A group of roughly 90 drawings by Dutch distinguished, The view of the St. Anthoniessluis in Renaissance designs by and Flemish masters constitutes the most Amsterdam by Rembrandt. These are and Lambert Lombard; the so-called Brussels important part of the holdings of the National complemented by a picturesque seascape by Album from the workshop of Frans and Museum in Gdan´sk, whose composition was Ludolf Bakhuyzen. As in the Ossolineum, we Cornelis Floris, two pages of which we present largely determined by the collection, also also find outstanding examples of Mannerist in the exhibition; the design of the frontispiece for ’s hunting cycle; two drawings by Jordaens; and a Study of three women in gowns and two figure studies of Jews by Rembrandt. From the best Polish grouping of Dutch and Flemish landscapes, we present rural scenes by and Pieter Molijn, as well as marine drawings by Rembrandt (in collaboration with a pupil) and a nocturne by Lieve Verschuier. The collection also holds the exceptional Abduction of Europa by , Athletes exercising in the arena by Cornelis Cornelisz. van Haarlem and Rembrandt’s Manlius Curius Dentatus. These pieces are not included in the exhibition, however, due to their fragile state. The collection of the Ossolin´ski National Institute-Museum of the Princes Lubomirski in Wroc-law (usually referred to as the Ossolineum) relies largely on works assembled initially in Przeworsk and then in Lemberg (Polish Lvov, now in the Ukraine, where it is called or L’viv) by the co-founder of the institute, Prince Henryk Lubomirski (1777–1850), and on the bequest of the Galician Count Ignacy Skarbek (ca. 1780–1812). As a result of military operations and territorial changes after the Second World War, the Museum of the Princes Lubomirski, which had suffered great losses, was moved first to Kraków and then to Wroc-law (formerly Breslau). The high point of the collection of Dutch and Flemish drawings, which contains around 150 items, is a group of works by Rembrandt (three of which have been selected for the exhibition), his pupils and followers (important works in the exhibition include sheets by Bol, Drost, Hoogstraten and one attributed to Carel Fabritius, all formerly attributed to Rembrandt himself). The considerable number of Mannerist figural Pieter Coecke van Aelst, The circumcision, design for a stained-glass window, print room of Warsaw University Library. 25 codart Courant 8/June 2004 figure drawings: biblical narratives by its supreme expression. These are matched in Dyck, Willem van de Velde the Younger) Maarten van Heemskerck (The parable of the excellence by the exquisite series of the Twelve – the result of gaps in Polish collections and great supper, 1569) and Karel van Mander (The months by Lambert van Noort and Maarten van preservation considerations – was not a major conversion of Paul, 1587); a mythological scene Heemskerck’s Abraham and Sara leaving Egypt obstacle in executing the project. Polish by ( and the nymph (1549). Equally small in number and also of collections hold hardly any 15th-century Callisto); and studies for drawings by Jacques high quality are the works in the collection of Netherlandish drawings, and the best of the de Gheyn iii(Nude studies) and for a sculpture the Museum of the Czartoryski Princes in few present, Female heads by Gerard David in by (Apollo). A large group of Kraków, which was assembled mainly by the Museum of the Czartoryski Princes in 18th-century landscapes, whose artistic Ladislaus Czartoryski (1828-1894) in Paris, and Kraków, could not be displayed due to quality fails to match that of the works listed was further enlarged by later acquisitions and preservation considerations. Consequently, above (Hendrik Spilman, Leendert Brasser), did an 1897 donation by Boles-law Wo-lodkowicz. the only works representing the so-called not find its way into the present exhibition. Works from this collection presented in the Flemish Primitives are a St. John from the exhibition include a winter landscape by van Ossolineum, which is associated with Dieric Although larger than in most of the Goyen as well as Adam and Eve by Johan Wierix. Bouts, and a Transfiguration by an unidentified aforementioned institutions, the collection Most noteworthy in the modest collection artist from ca. 1500 (from the National of Netherlandish drawings in the National of Netherlandish drawings held in the Museum in Warsaw). Museum in Warsaw contains items varying National Museum in Wroc-law are the The 16th-century section of the exhibition in provenance and artistic value. These were religious scenes by Willem van Mieris the will open with a group of Renaissance figure either purchased or came to the museum as Younger, two of which have been selected for drawings (Pieter Coecke van Aelst, Lambert donations or permanent loans, for example exhibition, together with Abraham Lombard, Jan van Scorel); this will be followed from the priest Józef Mrozowski in 1908, Bloemaert’s putti. (This collection includes by a large and varied group of early Mannerist Mathias Bersohn (1823–1902) in 1916, or from parts of the former holdings of the Schlesisches sheets (Maarten van Heemskerck, Lambert van Seweryn Smolikowski in 1927. The museum Museum der bildenden Künste.) The selection Noort, Crispijn van den Broeck, Marten de Vos, was established in 1862 as the Museum of Fine was completed with excellent, though rare, and the workshop of Frans and Cornelis Floris) Arts and has been known under the present works from the Jagiellonian Library (Philips and the first examples of landscape drawing, name since 1916. After the Second World War, Koninck); the Wawel Royal Castle (Abraham some with landscape only, others combined in which roughly half of the collection was Diepenbeeck) in Kraków; and the National with genre or biblical scenes (Master of the destroyed, the museum acquired the holdings Library in Warsaw (Jacques de Gheyn ii). Months of Lucas, Master of the Prodigal Son, of the Society for the Encouragement of Fine The Warsaw exhibition will offer an Cornelis Massys, Hendrick van Cleve iii, Joris Arts in Warsaw, including the notable bequest overview of all major artistic trends and circles Hoefnagel’s View of Andernach on the Rhine). of Jan Gottlib Bloch (1836–1902), as well as the working in the Low Countries throughout the Clearly distinguishable in the group of late collection of the former Schlesisches Museum 16th to the first half of the 18th centuries. Mannerist works (Lodewijk Toeput, Jan van der bildenden Künste in Breslau and the Hence the absence of some great names (such der Straet, , Joos van Winghe, Denys album Dessins Originaux, which had been kept as , Bartholomeus Calvaert, Pieter de Witte) is the international in the local Stadtsbibliothek. Of special Spranger, , Anthony van trend, represented by drawings by interest in this group are two drawings by Ferdinand Bol – Saul visiting the witch of Endor and Abraham’s sacrifice (the latter not included in the exhibition); two sketches for the print Land-yacht by Jacques de Gheyn ii; Singing old woman by Gerrit van Honthorst; and two sheets by Crispijn van den Broeck, Resurrection and Pentecost. Among the most noteworthy is the set of figure and landscape studies by and after Cornelis and Herman Saftleven (three works have been selected for the exhibition) and several drawings by Jan de Herdt, a Flemish artist active in Italy, Austria, Moravia and probably Silesia whose works are exceedingly rare. (One will be presented in the exhibition.) Despite its small size, the collection of Dutch and Flemish drawings in the National Museum in Poznan´ is among the most valuable, largely because of Rubens’s Rest on the flight into Egypt, and his design for a by Christoffel Jegher (property of the Dzia-lyn´ski Foundation), in which the draftsmanship of the ‘Prince of Painters’ found Johan Wierix, Adam and Eve, Princes Czartoryski Foundation at the National Museum, Kraków. codart Courant 8/June 2004 26

Netherlandish artists active in Florence, drawings (Jan van der Bergh, Cornelis View of De Waardenburg Castle in its original Venice, Rome, Treviso, Bologna, Frankfurt am Saftleven, Adriaen van de Venne, Cornelis form. The drawing in question has survived in Main, and Vienna and, especially Dusart, Ludolf de Jongh [?], Jan de Visscher) two separate parts: the larger held in the print important, the artists associated with the and works depicting animals (Adam Frans van room of Warsaw University Library, and the court of Emperor Rudolph iiin Prague der Meulen [?], Romeyn de Hooghe and an smaller in Teylers Museum in Haarlem. . (Adriaen de Vries, Roelant Savery, Pieter unidentified 17th-century Dutch artist). (Based on a translation by Ma-lgorzata Zerel) Stevens). This period will close with figure Finally, there is a group, equally small in compositions by the Haarlem Academy number, of allegorical and historical The Dutch and Flemish paintings from the painters (Hendrick Goltzius, Karel van representations, mostly from the first half of collection of Jan iiSobieski housed in Wilanów Mander), and drawings by artists whose work the 18th century (Willem van Mieris, Jacob de Palace Museum illustrates the transition from the Mannerism Wit, Mattheus Verheyden). Separate space was Krystyna Gutowska-Dudek style to Baroque (, Jacques granted to the architectural designs by Tilman Curator of paintings, Wilanów Palace Museum de Gheyn ii). van Gameren, the outstanding Dutch classical The increase of interest in the Netherlands at Central to the group of Flemish 17th- Baroque artist who was active in Poland. the Vasa court and amongst the Polish nobility century figure drawings will be Rubens’s Rest A chronological overview of major artistic in the 17th century, particularly around the on the flight into Egypt from the collection in trends and genres was not the only guideline middle of that century, came about as a result Poznan´, here accompanied by his drawings for the forthcoming exhibition. Another of intensive contact between Gdan´sk, Antwerp from the Warsaw University Library and the organizing factor was the role and function of and Amsterdam. This was the route by which Ossolineum in Wroc-law, as well as Christ drawing in Flemish and Dutch art. To all new things from Northern Europe arrived admonishing his disciples and Head of an old illustrate this aspect, some drawings will be set in Poland. Among these novelties were artistic woman by Jacob Jordaens (Warsaw University against other works of art, such as paintings and scientific innovations that stimulated the Library). This section of the exhibition will also and prints, in juxtapositions that emphasize desire in Poland for knowledge of foreign present works attributed to Pieter de Jode the the role of drawing as a medium for artistic countries. It was therefore only to be expected Elder, and drawings by Abraham van ideas. Among these are: that the Netherlands had to feature in the Diepenbeeck, Theodoor van Thulden, Pieter – two preparatory sketches by Jacques de study itineraries of the young Jan Sobieski van Lint, Thomas Willeboirts Bosschaert and Gheyn iifrom the collection of the (1629-96) and his elder brother Marek. Jan de Herdt. Early Baroque drawings by National Museum in Warsaw and the Similarly, young Ladislaus of the Vasa dynasty Dutch artists will also be on display, by Gerrit copperplate engraving Land-yacht by visited the Netherlands during his own Grand van Honthorst, Claes Moeyaert and Willem Willem Isaacsz. Swanenburgh after de Tour. Jacob Sobieski, the father of Jan Sobieski, Buytewech. Especially impressive will be a Gheyn also travelled around Europe for five years large group of works by Rembrandt (including – Rubens’s Study of Three women in gowns (1607-13), visiting the Netherlands in 1609. the View of St. Anthoniessluis from Gdan´sk; from the print poom of Warsaw University Jacob Sobieski, as a caring father instructing Studies of figures wearing turbans from the Library and the oil sketch by Rubens from his sons to travel, drew up plans for them in Warsaw University Library; and Landscape with the Castello Sforzesco in , featuring a which the aims of their journey were exactly a traveler from the Ossolineum), as well as consecutive phase of work on the same described: they should learn foreign languages works by his pupils and followers: Bol, group and the rules of diplomacy, study classical Doomer, Drost, van der Eeckhout, Fabritius – two portraits of Krzysztof Opali ´nski, the literature and broaden their knowledge of (attributed), Flinck, Furnerius, van governor of Poznan´, one of the greatest art military science. Sebastian Gawarecki, one of Hoogstraten, Koninck and Roghman. Some of lovers in 17th-century Poland, which are the private tutors of the king’s sons, who these actually belong to the broad group of kept in the Wawel Castle and in the accompanied them during this journey, drew realistic Dutch and Flemish landscape Museum of the Czartoryski Princes in up a description entitled The diary of the journey drawing (Esaias van de Velde, Pieter Molijn, Kraków, with an engraving by Lucas around Europe of Jan and Marek Sobieski by Jan van Goyen, Cornelis van der Schalcke, Vorsterman the Elder, executed after one of Sebastian Gawarecki, and the useful instructions of Anthonie Waterloo [?]). these portraits (National Museum, their father, Jacob Sobieski (Diariusz podróz.y po The frequent visits of northern European Warsaw) Europie Jana i Marka Sobieskich, przez Sebastiana artists to Italy and the resulting Italianate – the Portrait of a man by Ferdinand Bol from Gawareckiego prowadzony, oraz przydana fashion are documented in the landscape the collection of the Ossolin´ski National instrukcja ojca Jakuba Sobieskiego, published in drawings of artists such as Bartholomeus Institute in Wroc-law and an oil portrait of Warsaw in 1883). Breenbergh, [?], Claes the same man from the Staatliches The route of the brothers and their Berchem, Jacob van der Ulft, Willem Museum in Schwerin entourage took them to Germany, France, Schellinks, Frederik de Moucheron and Gaspar – Tilman van Gameren’s Design for the England, Flanders and the Netherlands. The van Wittel, whereas the sea and seafaring placement of the triptych of ‘Lamentation’ from Sobieskis set out on their journey from their culture is to be found in Flemish and Dutch the workshop of Pieter Coecke van Aelst in the ancestral home in Zolkiew on 25 March 1646. from the 17th and the beginning of Bernardine Church in Czerniaków from the First they visited Germany, which was the 18th centuries, which is largely print poom of Warsaw University Library, dangerous and had been devastated by the underrepresented in Polish collections (Jan and the triptych itself, a loan from the Thirty Years War. On 5 May 1646 they arrived Peeters, Ludolf Bakhuyzen, Lieve Verschuier church. in Amsterdam. From there, they made their and Wigerus Vitringa). A further section is The forthcoming exhibition will also offer a way to Brussels and by 9 June they were in composed of figure, genre and portrait unique opportunity to display Roelant Savery’s Paris. They stayed in France for over a year and 27 codart Courant 8/June 2004 did not leave until October 1647, when they set courts, the Holy See, friends and comrades-in- one of the most valuable sources of out for England. From there they returned to arms. Moreover, he had special representatives information about Wilanów Palace, was the Netherlands, probably around the in France, Switzerland, Italy, Germany and the rediscovered in 1937 by Alexander Czo-lowski beginning of 1648, spending a few days in Netherlands. Most of the royal agents were in the Archiwum G-lówne Akt Dawnych w Amsterdam and The Hague. In the active in Italy; we know the names of some of Warszawie, Dawne Archiwum Ordynacji Netherlands they consulted the them: Coletti, Marselli, Marquis Mattezilani. Nies´wieskiej Radziwi-l-lów – agadin Warsaw, mathematician Jan Jansz. Stampion and met Italian royal secretaries, such as Tomasso the former archive of the Nies´wiez. estate of the Admiral Maarten Tromp. Next they visited the Talenti from Lucca and Abbot Cosimo Radziwills. It was drawn up by the postmaster- Brabant cities Breda, Brussels and Antwerp. Brunetti, also acted as go-betweens for these general of Poland under the guidance of the On 20 June 1648 they received a message that purchases. Antonio Marcucci was responsible primate, Cardinal Michael Radziejowski. All Ladislaus Vasa had died and on 16 July a letter for the Italian and Swiss borderland and items to be divided between the king’s sons came from their mother, ordering them to Lestreux, l’abbé Polignac and the above- were divided into a few groups: jewels and return to Poland. The Sobieskis left Brussels on mentioned marquis de Béthune were valuables, upholstery and carpets, silver, gold 24 July 1648. responsible for France. and jasper, crystal vases and agate, furniture This suddenly interrupted journey was of The sources refer to two agents in the and caskets and also paintings. All in all, there great importance for Jan Sobieski, helping him northern Netherlands. From the correspond- were around 200 paintings in the palace. to increase the knowledge he acquired in ence of Jan iiiSobieski and Gaspar Richter, a Names of painters were indicated for only 13 Kraków at the Nowodworski College and the manufacturer of bells from Gdan´sk, we learn items: Raphael, Rembrandt, van Dyck, Pieter Kraków Academy, especially regarding the of a Mr. Moll who sent a box of paintings from van Laer and Giovanni Battista Gaulli. In most military arts. This future superb strategist had Amsterdam. Next, a letter written after Jan cases, records in the inventory were restricted a chance to see Dutch fortifications, the best in Sobieski’s death by Agustyn Locci, an architect to a short description of the subject of the the world at that time, and to study the of Wilanów Palace, to Elisabeth Sieniawska painting, but they include enough detailed famous Spanish army in the Netherlnds at includes information about a Mr Moro. This information to allow some paintings to be close quarters. Although Jan had the Mr. Moro probably mediated in 1694-1696 in identified. The paintings decorating the rooms opportunity to see many works of art, the import from Amsterdam of sculptures for of the palace were hung in pairs or series to Gawarecki makes no mention in his diary of the heightened story above the Banquet Room bring out their decorative value. Today, when Sobieski’s reaction to architecture or art that. of Jan iiiSobieski. we visit Wilanów Palace Museum, we find it This does not mean that the brothers did not In the Flanders area, Jan iiiSobieski had hard to believe that there was enough space in look at art. The function of their tutor’s contact with the painter Ferdinand van Kessel its interior to hang so many paintings. For journal was to show that the journey was (1648-96), a son of the superb artist Jan van example, in the rather small Dutch Study, following the instructions of Jacob Sobieski. Kessel, who was a grandson of Jan Brueghel the with five doors and two windows, the 50 Gawarecki did comment on the ‘beautiful Elder. A report by Jacob Campo Weyerman (De paintings located here must have been fairly proportions, splendor and grandeur’ (pieknej Levens-Beschryvingen…, vol. 3, 1729, pp. 291-96), small and the walls must have been filled to ` proporcji […] splendencji i grandecy) of some says that the king ordered numerous capacity. buildings. Three times he mentioned works by paintings by Ferdinand van Kessel and The paintings were mostly in black frames Rubens and remarked that the inhabitants of encouraged him to come to Poland. But van in the Dutch style, sometimes with gilt strips the Netherlands were ‘so terribly fond of Kessel, citing his weak constitution, preferred or with applied silver ornaments or golden painting that in almost every house, even poor to send paintings to Warsaw. Weyerman sculpted heraldic signs. Others were in plain or ones, there is a room ornamented with some speaks of allegories of the four elements and carved frames. One of these was decorated with paintings’(w obrazach sietez. bardzo kochaja, the four seasons, still lifes and battle scenes. the monogram of His Majesty the King. ` ` kedyby prawie jednego domku nie znalazl- ubogiego, The paintings were such a success that when The fact that one of the main rooms in the ` gdzieby nie mial-a byc´izba przyozdobiona several of them were destroyed during a fire, palace was called the Dutch Study shows that jakimikolwiek obrazami). replicas of them were ordered. Sobieski took a particular liking to Dutch art. The Netherlands must have made a good The 1696 inventory was entitled ‘The main This room was located between the bedrooms impression on young Sobieski, for he directed inventory of jewellery, silverware, fancy goods of the king and the queen, on the main axis of his interest as a collector towards Dutch and and paintings which were located in the the palace, behind the Grand Vestibule in Flemish paintings. However, we also should Wilanów Palace and also in the Warsaw which an equestrian monument of Jan iii remember that his taste was later molded by treasuries of His Majesty the King which were Sobieski as conqueror of the Turks after the other influences, such as his connections with divided among the three princes, Their Battle of Vienna was placed opposite the main the court of the Wettings. One courtier who Majesties Jacob, Alexander and Constantine, entrance. The interior of this room was a seems to have influenced the interests of the [...] drawn up on the tenth day of November in typical 17th-century ‘cabinet d’amateur,’ kind is Marquis François Gaston de Béthune, a the year of our Lord 1696’(Inwentarz Generalny installed as a gallery of Dutch paintings. One French envoy in Warsaw and the husband of kleynotów, sreber, galanterij y ruchomos´ci róz.nych of the most valuable paintings, probably hung the sister of Queen Maria Kazimiera. The king tudziez. obrazów, które sietak w Pal-acu above the fireplace, was described in the ` acquired works of art in a variety of ways. It Wilanówskim jako tez. Skarbcach Warszawskich inventory as: ‘the main painting, Paradisus, in a was common knowledge that he had a passion Je K. Mci znajdowal-y podzielonych Na trzech black frame with thin gilt strip’ (obraz gl-ówny, for surrounding himself with beautiful Najas´niejszych Królewiczów Ich Mciów Jakuba, Paradisus w ramach czarnych, listewka cienka, things, so he received numerous gifts of this Alexandra y Konstantego... odprawiony d. 10 zl-ocista).This sounds like the painting of that kind from foreign legations, princes and royal Novembris Anno Domini 1696). This document, subject by the Flemish painter Roelandt Savery codart Courant 8/June 2004 28

(oil on canvas, 132 x 183 cm.) in the gallery of ramach czarnych, srebrem nabijanych, Obraz ‘papered with paintings,’ as in the reign of King Stanislaw Augustus Poniatowski. In the Kupidyna l-uk struz.acego w ramach gl-adkich King Jan. In this room there were almost 100 ` 20th century, probably in 1922, the painting zl-ocistych, Obraz Dafny, do której sieJowisz w paintings, itemized in the part of the 1696 ` was purchased by the Austrian diplomat Adam zl-otym deszczu spuszcza w ramach czarnych, inventory entitled The Library and the Small Tarnowski in St. Petersburg. In 1939 it was Obraz babki na xiedze czytajacej w ramkach Upper Treasury in which there were paintings from ` ` deposited in the National Museum in Warsaw, os´miograniastych, czarnych, Obraz szwaczki the Lower Gallery and the Library (Biblioteka oraz and in 1951, after the Second World War, it was holenderski(iej), w ramach rz.nietych, zl-ocistych, Skarbczyk gurny, w którym byl-y obrazy z Galerji ` put on display there. obraz miniaturarobiony, pawie, indyki y kury, dolney y z Biblioteki). As far as is known from the ` The walls of the Dutch Study were covered Obraz, na którym Fiszmark, w ramach czarnych na inventory, some of the paintings came from with damask and decorated with birds, blasze, Obrazów dwa nr. 2 parzystych, na których the Lower Garden Gallery, an open space where animals and flowers and other patterns róz.ne ptactwa pobite, Obrazek za kratasiedzacego, objects could only be displayed for a short ` ` against a white background embroidered in a dama go odwiedza, w szacie bial-ey w ramach time. The subjects of the paintings lead us silk and golden thread. About forty paintings, czarnych). to assume that the majority came from the mainly Dutch, were hung on the walls. Two of Other items include landscapes on metal Netherlands.The names of the painters occur them described in the inventory as works by plates and Chinese paintings and ivory reliefs only in two entries: ‘apainting by Rynbrandt Rembrandt were particularly admired: ‘a showing Adam and Eve, the rape of Proserpina [sic], a painter, showing an old large man, in a painting showing the Three Wise Men by and a wax relief entitled Saint Veronique. Two gilt frame which is half-round on the top.’ Rynbrant [sic], a painter, in a black frame) and compositions from this list, showing flowers (Obraz Rynbrandta [sic]malarza, na którym a painting showing Abraham and Hagar by in glass vases, particularly attract the starzec wymalowany wielki, w ramach zl-ocistych, Rynbrant [sic], a painter, in a black frame.’ attention. These can probably be attributed to u wierzchu okragl-ych); and‘a representation of ` (Obraz Trzech Królów, Rynbranta [sic]malarza, Maria van Oosterwijck or to the school of Jan various people during a journey, a few are w ramach czarnych oraz Obraz Abraham z Agar van Kessel. It is known that Jan iiiSobieski playing cards, the others are drinking, a Rynbranta [sic] malarza w ramach czarnych). purchased three paintings from Maria van shoemaker is patching shoes,by Bamboccio Three known depictionf otThe Adoration of the Oosterwijck for 2,400 guilders (Arnold [Pieter van Laer], a painter, in a black frame.’ . . Magi that may be identical with this painting Houbraken, De Groote Schouburgh der (Obraz ludzi róznych podróznych, jedni w karty are in the Hermitage Museum in St. Nederlantsche Konstschilders en Schilderessen, vol. graja, drudzy pija, s´wiec (szewc)buty l-ata, ` ` Petersburg (signed Rembrandt f. 1632); the 2, ed. P.T.A. Swillens, Maastricht [Leiter- Bamboccia malarza, w ramach czarnych). A Victoria and Albert Museum in London; and Nypels] 1944, p. 169). painting of this description, probably the Newnham Paddox, Earl of Denbigh collection. It is possible that Melchior de Hondecoeter same one, is still in the Wilanów collection. The entry on the Rembrandt was the only painted two of the compositions showing Another item mentioned in the inventory one that gives the name of the artist. The first poultry. The description of one of these, was ‘a painting showing a lady playing the entry read as follows: ‘they are very similar, including among other birds a peacock, lute, wearing a golden dress, and a girl giving both are Dutch; the first shows peacocks, suggests that it is a painting now in the her a letter, in a black frame’ (Obraz damy turkeys and a hen with chickens; the second Rijksmuseum. A Fish Market can be attributed grajacej na lutni, w zl-otey szacie, a dziewczyna list ` shows a kite eating a pigeon, a hen with on the basis of style to Frans Snyders: a jej oddaje, w ramach czarnych), a painting that chickens; both are in gilt frames’ (podobnych composition with dead birds can be attributed must have resembled Vermeer’s Love letter in sobie, holenderskich, na iednym pawie, indyki i to and the genre scenes to the Rijksmuseum. Another interesting item is kwoka z kurczety, na drugim kania gol-ebia zajada, Gerrit Dou, or his Haarlem ‘a painting showing the banquet of King ` ` kury, kwoka z kurczety, obadwa w ramach pupil, Cornelis Pietersz. Bega. A scene with an Ahasuerus, with Haman kneeling beside ` zl-ocistych). Two still lifes are described thus: old lady reading a book is particularly worth Queen Esther, wringing his hands, in a carved ‘flowers painted in a glass flagon; one in a mentioning, because it is reminiscent of gilt frame.’(Obraz bankiet króla Aswerusa, a carved gilt frame with the monogram of His works by Gerrit Dou such as his painting of Aman przed królowaEster kleczy, rece zal-amujacy, . ` ` ` ` Majesty the King and the other in a black that theme in the Hermitage. w ramach rznietych (rzez´bionych), zl-ocistych). In ` frame’ (Kwiaty malowane w szklanej bani, z After Jan iiiSobieski’s death, when King the collection of the National Museum in których jedna byl-a w ramkach rz.nietych, zl-ocistych, Augustus iithe Strong rented Wilanów Palace, Warsaw there is a depiction of the same ` z cefraKróla Je Mci, a druga w ramach czarnych). the decor and furnishings of the Dutch Study biblical subject signed by Rembrandt’s ` Further items include: ‘Birth of Christ(in a were changed. A ceiling painting by Samuel teacher, Pieter Lastman (P. Lastman fecit A. black frame decorated with silver);Cupid Mock, representing the apotheosis of the 161[8]). It seems probable that this is the whittling a bow (in a plain gilt frame); Jupiter development of Science, Art and Prosperity painting from the collection of Jan iiiSobieski. descending to Danae in the form of a golden under the rule of Augustus ii, comes from the A pair of paintings linked with Gerrit Dou shower (in a black frame); an old woman period of this king. Today only the name is also mentioned: one shows a young woman reading (in an octagonal black frame); a Dutch reminds us of its former character. looking though a window, with a candle, and seamstress (in a carved gilt frame); a miniature On the whole, the present interior in the second an old woman with a jug of water depicting peacocks, turkeys and hens; a arrangements and furnishings of the King’s is watering a pot of herbs, both in carved gilt painting of a fisherman (in a black frame, on Library are similar in style to the original ones frames. (Na jednym dziewka wygladajaca oknem ` ` sheet metal); a pair of paintings depicting from Jan iiiSobieski’s times. During his reign, ze s´wieca, na drugim babka dzbankiem wody ziele w ` ` various dead birds; a painting of an the library functioned as a study, while in the dunicy (donicy) podlewa, obadwa w ramach . imprisoned man who is called on by a lady in early 1790s the main book collection was rznietych, zl-ocistych). The second of these may ` white (in a black frame).’ (Nativitas Christi w removed to Zolkiew Castle. The walls were well be the canvas (33 x 26 cm.) now in the 29 codart Courant 8/June 2004

King’s Library in Wilanów Palace, a replica or formed part of a valuable donation of works of testing urine and a child playing with a dog’ copy of an original in the Kunsthistorisches art that Prof. Caroline Lanckoronska gave to (Obraz holenderski reprezentujacy bial-ogl-owe ` ` Museum in Vienna. Dou may also have been the Polish nation. chora, doktor uruna(uryne) patrzy, a dzieciem z ` ` ` the author of paintings in the Small Treasury These paintings of an old man and a young pieskiem igra), then ‘The main painting, described as a man with a ring, a man in a hat, woman, on poplar panels of roughly the same representing a lady playing the harpsichord an old man and an old woman. Some genre size (105 x 76 cm.), were listed in an inventory and a maid sweeping in the third room; a scenes too can reasonably be considered to of works of art belonging to King Stanislaw painting showing a youth playing cards with have been Dutch paintings: a bachelor or a Augustus as ‘A Jewish bride’ and ‘The father of a lady; and a painting representing a lady butler coming into a room opposite a lady in a Jewish bride.’ They are now named A portrait playing the viola and a maid playing the lute.’ a white dress; travellers by a rock; Dutchmen of a young woman (in the catalogue Sztuka (Obraz gl-ówny damy na klawikordzie grajacej, a . ` skating; a picture showing a Dutch homestead cenniejsza niz. zl-oto published in 1999 this sl-uzebna w trzecim pokoju zamiata, Obraz with a cook pouring milk. The entries on painting is named The girl in a hat) and A scholar kawalera z damaw karty grajacego oraz Obraz ` . ` several marine pieces also refer to Dutch at a reading desk. The attribution of the second damy na wioli grajacej, a sl-uzebna na lutni). ` features of one kind or another. A series of piece may be called into question, because the In the Queen’s Bedroom, the inventory pastoral landscapes showing, for example, a laconic description, ‘a Portuguese rabbi,’ mentions works which might have been cowherd with cattle, a shepherd on horseback might refer to another painting by the artist. painted by Pieter de Hooch or Gerard Terborch and ladies milking cows may well be Italianate In this context, reference is usually made to a or his pupil Caspar Netscher, in which ladies paintings by Dutch artists. The Flemish artist similar-sized work (oil on lime panel, 102 x 78 were represented: the first a lady in white, Ferdinand van Kessel might have been the cm.) in the Dresden Gallery, A portrait of a playing the lute with a young man; the second author of the ‘four paintings […] showing the bearded man in a black beret, signed Rembrandt. a lady similar to the first, drinking to a young four continents; a pair of paintings, the first f. 1654. The entry on this painting in the 1722 man’s health; and a third in a dark red dress showing a squirrel, the second depicting cats, inventory of the Dresden Gallery makes playing the lute with a young man. in gilt frames; a painting showing dogs and a mention of a Polish origin. It is conceivable The 1696 inventory also mentions some bear, in a gilt frame; and battle scenes: a Dutch that one of these paintings of dignified, paintings that originated from another landscape with a battle and a pair of landscapes bearded old men can be identified with the residence of the Sobieskis, the so-called on panels showing a battle under trees.’ portrait of ‘a large old man’ that according to Marywil in Warsaw. Among them there were (Obrazów cztery (...) Ouatuor partes Mundi the same 1696 inventory hung in the Small two still lifes, very similar to the ones by reprezentujace ..., Obrazków para, na jednym Upper Treasury. A further painting from the Abraham Mignon, preserved in Wilanów to ` wiewiórka, na drugim koty, w ramach gl-adkich, Hermitage, painted by Rembrandt about 1654, the present day and exhibited in the King’s zl-ocistych lub Obrazek na którym brytany z entitled An old man in red (oil on canvas, 108 x 86 Library: Still life with a parrot and A wreath of niedz´wiedziem, w ramach zl-ocistych oraz sceny cm.), deserves mention at this point. It was flower and fruit. Both are painted on panel, batalistyczne: landszaft holenderski, na którym purchased in Dresden from the collection of whereas the entries in the 1696 inventory refer batalia oraz para landszaftów na desce Count Brühl in 1769. This origin might to paintings on canvas. There is a possibility malowanych reprezentujacych bataliepod indicate that the painting came from Poland. that the Mignons are intended, and that they ` ` drzewami). It is worth adding that Jan iiiSobieski had were transferred from panel to canvas. (Both The paintings in the King’s Bedroom may copies made of A Jewess in a beret and in 1687 have the same dimensions, 101 x 85.5 cm.) One be assumed to have been of special importance sent one of these to Zolkiew Castle, where it other painting now housed in Wilanów for King Jan. In this room there were two was placed in the Second Bathroom. In the presumbaly comes from the former collection paintings by Rembrandt. These had the same Wilanów Palace a similar copy has survived of Jan iiiSobieski: David Teniers the Younger, dimensions and were in black frames, and (inv. nr. Wil.1656, oil on canvas, 86.8 x 70.7 cm.), Kitchen interior (oil on panel, 73.5 x 105 cm.). depicted ‘a Portuguese rabbi by Rynbrandt but it looks as if it is a later, 18th-century work. More than one entry in the 1696 inventory [sic], a painter,…the same size as A Jewess in In the other interiors of Wilanów Palace, as could refer to this picture. a beret by Rynbrandt [sic], a painter’. (rabina we can conclude from the inventory records, After the death of Jan iiiSobieski, the portugalskiego, malowania Rynbranta [sic] there were numerous further paintings linked Wilanów collection was divided among the . malarza ...takiejz.e wielkos´ci Zydówki w birlecie with the Netherlandish painting school, too heirs and was moved abroad. In 1720, the (birecie), Rynbranta [sic] malarza... ). It seems many to mention in this short report. I limit youngest son of the king, Constantine likely that these paintings are identical with myself to only the most characteristic and Sobieski, sold Wilanów to Elisabeth Sieniawska two well-known panels now in the Royal interesting works. The only painting and from that time on it became the residence Castle in Warsaw that were long considered attributed to Van Dyck is described in the of grand families such as the Sieniawskis, the to be by Rembrandt and are still considered inventory as ‘a painting on black marble Lubomirskis, the Czartoryskis, the Potockis as such by some experts. They were purchased showing Christ our Lord praying in the and the Branickis. Successive owners of by Stanislaw Augustus Poniatowski from the Garden of Gethsemane, by Wandyk [sic], a Wilanów, though they rebuilt and enlarged collection of the Counts van Kamecke in painter, in a gilt frame.’ (Obraz na marmurze the palace to suit the styles of their times, took Berlin. After 1816, they were acquired by czarnym Chrystusa Pana w Ogroycu siemodlacego, care to preserve the royal apartments in the ` ` Kazimierz Rzewuski. As a result of the Wandyka [sic] malarza w ramach zl-ocistych) This original style in memory of Jan iiiSobieski’s marriage of his daughter Ludwika with Joseph work was located in the King’s Chinese Study. greatness as the defender of the homeland and Lanckoronski they entered into the possession In the next room, the King’s Wardrobe, the the heroic victor of Vienna. In 1799 Stanislaw of the Lanckoronski family in Vienna. They following paintings were mentioned: ‘a Dutch Kostka Potocki (1755-1821) became an owner of remained in the family until 1994, when they painting representing a sick woman, a doctor Wilanów. It was a turning point in the history codart Courant 8/June 2004 30 of the palace. Potocki was an outstanding The Tilman van Gameren archive in the print mainly from European schools of the 16th and patron of the arts, and also a distinguished room of Warsaw University Library: the history 17th centuries, notably works by 17th-century diplomat, government minister, and composition of the archive and its place Flemish and Dutch artists. Further archaeologist, architect and art theoretician. In among the holdings of the print room* acquisitions in the form of purchases, bequests 1805, he created in the palace a museum open Wanda M. Rudzin´ska and deposits enriched the collection of the to the public, in which he gathered together Head of the print room, Warsaw University Library, print room in the following years. paintings, antiques, objects of modern art and Warsaw The print room today and the size of its pieces connected with Jan iiiSobieski. In his The print room of Warsaw University Library holdings have to a large extent been shaped by collection of paintings, which was created for (Gabinet Rycin Biblioteki Uniwersyteckiej w events connected with turning points in the education of the next generation and the Warszawie) is the oldest public prints and Polish history during the last two centuries. propagation of knowledge about painting, drawings collection in Poland. Its artistic value During the Nazi occupation in the Second Dutch and Flemish art occupies a prominent and historical traditions give the print room a World War, the print room suffered severe position. This collection has fortunately special place among Polish collections. It was losses. About 60% of its original holdings were survived. founded in 1818, when King Stanislaus confiscated or destroyed by the occupying Our forthcoming exhibition, planned for Augustus Poniatowski’s collection of prints, German authorities. Despite these losses, the 2005 to celebrate the 200-year anniversary of drawings, architecture and decoration designs, print room of Warsaw University Library is our museum and the 250-year anniversary of along with books of engravings and albums still renowned for its collection of works by Kostka Potocki’s birth, will be devoted to from the 16th to the 18th century, were bought European artists and remains one of the Kostka Potocki’s patronage of the arts. On this for the university from the heirs of the king. richest collections of prints and drawings in occasion, which will allow us to present his Between 1818 and 1821, Count Stanislaus Poland. Besides European prints and drawings, gallery in the best possible way, the prominent Kostka Potocki (1755–1821), one of the foremost the collection comprises a group of works place of Dutch and Flemish art in Wilanów representatives of the Polish Enlightenment, executed in Poland, including architectural will once more be visible. made his own generous donation to the print and decoration designs. This is one of the most room. His gift included prints and drawings valuable segments of the print room. It References Jan Bial-ostocki and Michal- Walicki, Malarstwo europejskie w zbiorach polskich, Warsaw 1955. (German edition: Europäische Malerei in polnischen Sammlunge,1300-1800, Warsaw 1957). Aleksander Czol-owski, Urzadzenie ` pal-acu Wilanówskiego za Jana iii, Lwów 1937. Wanda Drecka, ‘Na tropach obrazów ze zbiorów Jana iii,’ Studia Wilanówskie i, Warsaw 1977. Exhib. cat. Sztuka cenniejsza niz. zl-oto. Obrazy, rysunki i ryciny dawnych mistrzów europejskich ze zbiorów polskich: Wystawa pos´wiecona pamieci Jana Bial-ostockiego, ` ` Muzeum Narodowe w Warszawie marzec-maj 1999, Warsaw 1999. Wojciech Fijal-kowski, Wnetrza pal-acu w Wilanówie, ` Warsaw 1977. Wojciech Fijal-kowski, Królewski Wilanów, Warsaw 1998 (tu pel-ny tekst Inwentarza z 1696 roku). Mieczysl-aw Gebarowicz, Szkice z historii sztuki xviiw., ` Torun´ 1966, pp. 183-315. Tadeusz Man´kowski, ‘Malarstwo na dworze Jana iii,’ Biuletyn Historii Sztuk 12, 1950, nrs. 1-4. . Juliusz Starzyn´ski, ‘Dwór artystyczny Jana iii,’ Zycie Sztuki, 1933, s. 133. Michal- Walicki, ‘Lastmaniana,’ Biuletyn Historii Sztuki 16 (1954), nr. 4, pp. 434-43. Michal- Walicki, ’Rembrandt w Polsce,’ Biuletyn Historii Sztuki 18 (1956), nr. 3, pp. 319-22.

Tilman van Gameren, Self-portrait, print room of Warsaw University Library. 31 codart Courant 8/June 2004 contains about 3,500 sheets originating from These variations can be attributed to the used to indicate the main walls and structural several historical collections. As a whole it is absence of uniform-sized paper screens in and functional items such as stoves and the most important source of information on the mills of 17th-century Europe. chimneypieces. Most of the designs are in ink the development of Polish architecture from Thirty-five percent of the sheets in the traced over pencil, often completed with pencil the late 17th century to the mid-19th century. archive have drawings on both sides of the sketches. The more artistic drawings are The oldest drawings related to Polish paper. The sketches on the verso generally rendered in pencil, pen and brush in black ink architecture of the late 17th century belong to relate to the composition on the recto and and gray wash. the Tilman van Gameren Archive, which came often elaborate on them. Many are sketches Eighty percent of the drawings include a to the library in 1868 and was identified in showing alternative building designs or scale in pencil or in ink. Tilman used the Polish 1934. This archive contains mainly designs and structural elements and other features in system of measurement, the ell (in the second sketches by Tilman van Gameren (1632–1706), greater detail. They also contain dimensions, half of the 17th century equivalent to 0.595 the most distinguished architect practicing in calculations and explanations, usually in meters), denoting his scale either in Italian or Poland during the Baroque period. Van Italian. And in some cases van Gameren used subsequently in Polish, giving the dimensions Gameren spent over 40 years in the country. the verso to draw random sketches or try out in braccia or lokcie. Some of the drawings and His home was in Warsaw. On his death he his pen. architectural designs are dated precisely, bequeathed his collection of drawings and Techniques represented are pencil though most are unsigned. books to the library of the Capuchin (occasionally sanguine) and pen-and-ink or Tilman van Gameren’s creative talent and monastery in Warsaw. In 1864, Tsar Alexander brush-and-ink. Black and brown inks are extensive knowledge made him the most iiordered the closure of all monasteries in the found, both Indian and iron gall. Some sheets popular architect in Poland in the last quarter Polish kingdom, and their libraries and are finished in yellow, red or blue watercolor, of the 17th century. He designed many secular archives were transferred to various institutions. Manuscripts from the library of the Capuchin monastery, including van Gameren’s papers, came to the university library in 1868. The package, bearing the Russian inscription ‘Svjazka raznych certezej’ (A set of miscellaneous drafts), was rediscovered and examined in 1934 during the reorganization of the library’s manuscript department. Dr. Stanislausa Sawicka, curator of the print room, identified the group as the Tilman van Gameren Archive. The collection was assigned to the print room and studied. Until 1939, the archive contained 980 pieces. Almost 200 of these were destroyed during the Second World War. The following presentation concerns the remaining 802 sheets. Research over the past 30 years has made it possible to date and attribute a large number of the drawings and link them to specific architectural projects. Nevertheless, the archive still contains many unidentified drawings, perhaps related to buildings that no longer exist or projects that were never realized. Tilman van Gameren used laid paper from paper mills in a number of European countries, including France, the Netherlands, Italy and southern Germany. A few sheets bear watermarks, which make it possible to trace their origin. Much of the paper originates from the Lubomirski paper mill in Poreba ` Wielka in the Mal-opolska district (southern Poland), which operated from 1608 to 1730. Most of the sheets are in folio format, half of the more standard plano format, which accounts for only 11% of the sheets. They vary in size from approximately 40-45 x 32-34 cm. in Tilman van Gameren, Church of the Sisters of the Holy Sacrament in Warsaw,section (final stage of design), print room of plano format and 20-22 x 32-34 cm. in folio. Warsaw University Library. codart Courant 8/June 2004 32 and sacred buildings in the Northern churches with one of two types of façade: the diagrams and cross-sections of solid figures European Baroque style. The most towerless Jesuit church of the Il Gesù type, or copied from textbooks. representative of the designs are those for the façade with two towers. Many were Tilman van Gameren played an extremely palaces, villas and manor houses, both in brick designed with cloisters. Van Gameren’s vast important role in Poland in the second half of and wood, of various sizes and styles. The main output of plans, sections and elevations often the 17th century. The influence of his art is parts of these residences were generally enables us to trace the successive stages in the evident in the court architecture of the Saxon compact, the corners strongly accentuated by design process. dynasty, as well as that of the second half of the towers or tower-like pavilions and with The archive contains many drawings 18th century under the reign of King projections added to the façades. The clear, relating to the interiors of churches and their Stanislaus Augustus Poniatowski. A return to functional plans usually reveal the fashionable furnishings, which are remarkably varied. the classicist style of the preceding century can French arrangement of the interiors. The Dividing walls were richly decorated with be seen in numerous architectural designs majority of the drawings are plans and stucco, frescoes and sculptures. The majority from the former Royal Collection of Stanislaus elevations for residential complexes. of van Gameren’s designs for interior features Augustus Poniatowski, which now forms part In addition to architectural drawing and comprise many kinds of retables, antependia, of the second group of the print room’s designs for sculptural exterior decorations, the tabernacles and pulpits, tombs, epitaphs and architectural drawings. That group contains collection includes many interior designs, castra doloris, as well as floors, stalls, portals and materials relating to the architecture of the notably for the articulation of walls, designs iron gates. 18th and early 19th centuries. for richly decorated ceilings, wall paneling, There is also a small group of designs for *The author would like to thank Marta Topin´ska windows, doorways and carved chimneypieces. fortifications, some of which date from the for her help in preparing this text and Associate There are also many designs for urban Polish campaign against Turkey of 1692. Van Professor Dr. Wanda Mossakowska for her kind residential and commercial complexes (plans Gameren designed and supervised the permission to use her study of the watermarks in of foundations, ground plans, sections and construction of the famous Holy Trinity the Tilman van Gameren Archive. elevations of adjacent buildings) as well as a Trenches, a Dutch-style fortification in few designs for public buildings. Ukraine, at the fork of the Dniestr and Zbrucz References The second largest category after secular Rivers. Z. Batowski, Zbiór graficzny w Uniwersytecie Warszawskim, architecture are designs for sacred buildings, Finally, the collection comprises a Warsaw 1928. both wood and brick, in a variety of styles and miscellaneous group of documents including Exhib. cat. Tilman van Gameren 1632–1706: a Dutch architect sizes. The most distinctive are van Gameren’s works by foreign artists, which van Gameren to the Polish court, Amsterdam (Koninklijk Paleis) 2002. central-plan churches, including those in the collected for their aesthetic and inspirational Exhib. cat. Tylman z Gameren – Architekt Warszawy. Holender shape of a Greek cross, with an octagonal core value. Among them are architectural profiles z pochodzenia, Polak z wyboru, Warsaw (Royal Castle) surmounted by a dome set on a tambour, and and astrological and chiromantic charts as 2003. the longitudinal single-nave or three-nave well as perspectival drawings, geometric S. Lorentza (ed.), Walka o dobra kultury: Warsaw 1939-1945, Warsaw 1970. T. Kossecka, Gabinet Rycin króla Stanislausa Augusta, Warsaw [1999]. H. Kozerska, Biblioteka Uniwersytecka w latach 1832-1871, Warsaw 1967, p. 67-68. A. Mil-obedzki, Architektura polska xviiwieku, Warsaw ` 1980, pp. 349-59, 404, 406, 408-10. A. Mil-obedzki, ‘Architektura xviiwieku,’ in: Sztuka ` Warszawy, ed. M. Karpowicza, Warsaw 1986, pp. 92-108.

W. Mossakowska, Znaki wodne papieru z rysunkami a archiwum Tylmana z Gameren, Warsaw 1960 (unpublished manuscript in the print room of Warsaw University Library). S. Mossakowski, Pal-ac Krasin´skich, Warsaw 1972. S. Mossakowski, Tylman z Gameren, architekt polskiego baroku, Wroc-law 1973. S. Mossakowski, Tilman van Gameren, Leben und Werk, Munich 1994. J. Putkowska, Architektura Warszawy xviiwieku, Warsaw 1991. W.M. Rudzin´ska, ‘Gabinet Rycin Biblioteki Tilman van Gameren, Autograph on the front page of Jean Lepautre, Trophées d’armes; Ornements de panneaux; Bordures de Uniwersyteckiej w Warszawie. 1832-2002,’ in: tableau; Les autels; les epitaphs; Les retables d’autel; Placarts ou ornemens pour l’enrichissement des chambers des alcoves; Les vases Ars et Educatio: kultura artystyczna Uniwersytetu […], Paris (between 1645-1662), print room of Warsaw University Library. Warszawskiego, ed. J. Miziol-ek, Warsaw 2003, pp. 417-30. 33 codart Courant 8/June 2004

A. Rychl-owska-Kozl-owska, Marywil, Warsaw 1975. Study trip to Gdan´ sk, Warsaw and Kraków, Veen, curator of the Rembrandthuis, who S. Sawicka, Gabinet Rycin. Informator, Warsaw 1962. 18-25 april 2004 are working together on an exhibition on S. Sawicka and T. Sulerzyska, Straty w rysunkach z Gabinetu A month-and-a-half after the codart Hendrick and Rombout Uylenburgh to be Rycin Biblioteki Uniwersyteckiej 1939-1945, Warsaw zevencongress in Utrecht, 28 codart held in the Rembrandthuis in the fall of 2006, 1960. members from the Netherlands, Belgium, located in the Polish archives documents J. Siniarska-Czaplicka, Filigrany papierni France, Austria, , Estonia, Lithuania, related to the Uylenburgh family. Finally, pol-oz.onych na obszarze Rzeczypospolitej Polskiej od Russia and the usamet in a sunny Gdan´sk to codartitself was lucky to strengthen the poczatku xvido pol-owy xviiwieku, Wroc-law 1969 embark upon a trip to collections of Dutch and contacts with long-time members and to meet ` W. Sokol-owska, Dzieje Biblioteki Uniwersyteckiej w Flemish art in three major cities in Poland: four new members: Dorota Jusczak, curator of Warszawie 1939-1945, Warsaw 1959 Gdan´sk, Warsaw and Kraków. The participants the Royal Castle in Warsaw, Ewa Czepielowa, T. Sulerzyska, S. Sawicka przy udziale J. Trenklerówny reflected the diversity of codart head of the print room of the Princess (eds.), Katalog rysunków z Gabinetu Rycin Biblioteki membership in general. Large and small Czartoryski Museum in Kraków, Katarzyna Uniwersyteckiej w Warszawie. Czes´ c´ i– Varsaviana. museums and different fields and periods of Plonka Bal-us, curator of manuscripts of the ` . Rysunki architektoniczne, plany i widoki z xviiii xix interest and specialties were represented in the same institution and Krzystof Kruzel, curator wieku, Warsaw 1967 group. The program included visits to many of the print room of the Polish Academy of Arts T. Sulerzyska (ed.), Czes´ c´ ii- Miejscowos´ ci róz.ne. Rysunki collections of works on paper, but paintings and Sciences, the Scientific Library of the Polish ` architektoniczne, plany i widoki z xviiii xixwieku, specialists also came into their own in the Academy of Arts and Sciences and the Polish Warsaw 1969 various royal and aristocratic collections and Academy of Sciences in Kraków. T. Sulerzyska (ed.), Czes´ c´ iii– Varia. Rysunki museums we visited. Among the participants One of the binding themes of the trip was the ` architektoniczne, dekoracyjne i varia z xviiii xixwieku. were quite a few newcomers to codartstudy presence in all three cities we visited of Miejscowos´ci nieokres´lone. trips. Almost all were first-time visitors to churches and palaces by the Dutch architect Uzupel-nienia do czes´ci ii ii, Warsaw 1972 Poland. To make up for this unfamiliarity, Tilman van Gameren. It was therefore highly ` T. Sulerzyska, ‘Biblioteka Uniwersytecka w Warszawie. we were accompanied by Gerdien Verschoor, appreciated that the Royal Palace in Gabinet Rycin,’ Polskie zbiory graficzne. [T.4] Polskie curator of the Hannema-De Stuers Fundatie Amsterdam generously provided all the kolekcjonerstwo grafiki i rysunku, Warsaw 1980, p.112-32 in Heino, who was the cultural attaché at the participants with copies of their exhibition J. Talbierska, ‘Gabinet Rycin Biblioteki Uniwersyteckiej Dutch embassy in Warsaw for several years and catalogue on the master: A Dutch architect to w Warszawie. 1818-1832,’ in: Ars et Educatio: kultura who speaks fluent Polish. the Polish court: Tilman van Gameren 1632-1706, artystyczna Uniwersytetu Warszawskiego, ed. J. Like last year, an anonymous donor funded Amsterdam 2002. M. Topin´ska, Kos´ciól- Sakramentek, Warsaw 1974 the participation of a curator from an M. Topin´ska, Kos´ciól- czerniakowski, Warsaw 1977 economically deprived country. Last year’s Gdan´skTo take Gdan´sk as a starting point for I.M. Walicka, Kos´ciól- i klasztor Sakramentek w Warszawie: winner, Helena Risthein from the Art our introduction to Poland and to proceed pomnik zwyciestwa pod Wiedniem, Warsaw 1988 Museum of Estonia, was able to participate at from there southwards via Warsaw to Kraków ` her own expense this time. Because this year’s was not only practical in logistic terms, but applicants for the grant offered to pay part of also had a symbolic meaning. In Gdan´sk, as a their travel costs by themselves, codart harbor on the Baltic Sea and thus the most decided to draw two names from a hat. The international Polish city in the 17th century, winners were Natalja Markova, head of the the contacts and exchanges with the Dutch go department of prints and drawings in the back the longest way and are visible every- Pushkin State Museum of Fine Arts in where you turn. Moreover, the sequence of Moscow, and Osvaldas Daugelis, director of visits allowed us to travel from the most to the the M.K. Çiurlionis National Museum of Art in least damaged cities on our itinerary. In March Kaunas, Lithuania. Like the other prints and 1945, 95% of the center of Gdan´sk was reduced drawings specialists in the group, Natalja was to ruins by the advancing Russian army. The treated to a lot of wonderful Polish collections center of Warsaw suffered the same fate at the of works on paper. Osvaldas was able to fill us hands of the Germans, while the buildings of in on the historical bonds between Poland and Kraków, though not the inhabitants, were his own country. largely spared. To most participants, the trip served as a Nevertheless, Gdan´sk is an interesting city. general introduction to the collections of It attracts the viewer from a distance, but Dutch and Flemish art in Gdan´sk, Warsaw and confuses upon a closer look. It turns out to be a Kraków, but some joined us for more specific patchwork quilt of relatively few old and many reasons. Jan Jaap Heij, curator of the Drents new elements made to look like old ones. After Museum in Assen – a Dutch museum that the destruction of 1945, subsequent city already collaborates regularly with Polish councils decided to rebuild the inner city to museums – was able to launch a new exchange look the way it did in the 17th century, of exhibitions with a partner museum in ignoring all intervening historical periods. Kraków. Friso Lammertse, curator of Museum The study trip started on the morning of Boijmans van Beuningen, and Jaap van der 19 April in the Muzeum Narodowe Gdan´sk, an codart Courant 8/June 2004 34 easy walk from our centrally located Novotel. represented by one or two drawings and only Church, where it stayed until being removed We were received by Beata Purc-Stepniak, very rarely by numerous works. for safety during the Second World War. After ` curator of paintings and Graz.yna Zinówko, ‘Kabrun wanted to be a professional in the war it was placed in the museum, above head of the department of drawings, who his passion. This can be seen from the book the protests of the church. In the new climate showed us the 22 drawings selected for the collection. The variety of the art books of denationalizing properties seized by the postponed Warsaw exhibition as well as a demonstrates that he sought to be an expert Communist government and of the growing selection of other works on paper. Because the in many fields of art, something that is influence of the church in the post- museum does not have a separate print room particularly important when it comes to Communist years, the church is now renewing or reading room, the drawings (already in their drawings. Finally, one should stress the fact its claims. A guidebook sold in the Church of frames) were laid out for us on two large tables that Kabrun’s collection was not created by St. Mary speaks of the triptych as being in one of the galleries, which we had to generations over a long period of time, but installed behind the altar, where indeed a huge ourselves as the museum was closed that day was rather the result of one man’s dedication. empty showcase awaits the painting’s return. to the public. Most of the drawings are from ‘After the collector’s death in 1814 and In the foreign paintings collection of the the collection of the Gdan´sk merchant Jacob according to his will, the collection of museum, Beata Purc-Stepniak was able to ` Kabrun (1759-1814), the descendant of drawings, together with the prints, paintings note, for the catalogue she is preparing, the Mennonites who had come from the and books, was donated to the city of Gdan´sk. attribution suggestions of the group. Netherlands and Northern Germany in search The collection then changed location several After a lunch in the restaurant in the cellar of the religious freedom that had already times; finally, in 1872, it was moved to the of the Artus Court on the Long Market, run by reached Gdan´sk as early as the 1520s. Stadtmuseum, which had been established a Dutch manager, we walked to the Gdan´sk Graz.yna Zinówko introduced the that year. The Kabrun collection survived Library of the Polish Academy of Sciences, one collection to us in these words: intact for 130 years, until 1943, when it was of the few institutions to survive the war ‘Jakob Kabrun (1759-1814) was one of the evacuated to a nearby village. A year later, like unharmed. Five curators were ready to show greatest collectors in Gdan´sk. He was a the rest of the works from our museum, it was us a large selection of books, documents, merchant, collector of art and a lover of books. (probably) taken to Germany, from whence the manuscripts, prints and maps connected with His collection brought together some 260 Red Army transported it to the Soviet Union. the Netherlands, including two copperplates paintings, over 7,000 prints and 1,761 drawings In 1956, 11 years after the war, a part of the by Willem Hondius. The rest of the afternoon of the German, Dutch, Flemish, Italian, French collection was returned. Five hundred and was spent mainly outdoors, with a city walk in and Gdan´sk schools. His collection of books fourteen drawings came back to Gdan´sk; 1,247 two groups, including a climb up the 76-meter contained more than 2,700 items. drawings are still missing. high tower of St. Catherine’s Church, during ‘Kabrun himself explained in his will the ‘The collection contained about 215 Dutch which we were treated on a concert on its fine reason he had become a collector: “Besides my and Flemish drawings. One should add that carillon. That evening, when we expected to main activities in the merchant profession, there was also a group of 172 drawings by have a reception in the Artus Hall in the since my youth I have looked for spiritual unidentified artists, some of which may well presence of our Gdan´sk colleagues, we were nurture. I found it in art and science, to which have been of Netherlandish origin. Following surprised to find there a large table set for a I owe many happy moments of my life. What the war and expropriation, the museum now three-course dinner, with a number of I had the opportunity to acquire during my has only around 60 drawings of these schools. waitresses in medieval dress ready to serve us, journeys became a collection of paintings, ‘The most precious of all the preserved but without any local curators to join us and to drawings, prints and books, which although masterpieces are drawings by the following tell us about the history of this site, which was it may not be of great importance, is certainly artists: Maerten van Heemskerck, Hendrick once the meeting place of the Gdan´sk not without significance.”’ van Cleve iii, Karel van Mander, Hendrick patriciate. The high walls were adorned in part ‘Well established in his profession, Jacob Goltzius, Jacques de Gheyn ii, Abraham with full-scale recreations in digital Kabrun left himself much room for the Bloemaert , Roelant Savery, Willem van photography of lost paintings by Hans activities that apparently fulfilled his deepest Nieulandt ii, Herman Saftleven, Rembrandt, Vredeman de Vries, enlarged and colorized emotional needs. He found an escape from the Gerbrand van den Eeckhout, Roelandt from small pre-war black-and-white responsibilities of the real world in the works Roghman, and Ludolf Bakhuyzen. photographs. of the great masters of painting, drawing and ‘Among the works that are still missing are The next morning we were received by graphic art, which he purchased on his many drawings by Cornelis van Haarlem, David Adam Koperkiewicz in the old Town Hall, journeys abroad. He made business trips to Vinckboons I, Cornelis van Poelenburgh, Jacob which houses the main part of the Museum of Holland and England in 1785-86; to France and Jordaens, Abraham van Diepenbeeck, the History of the City of Gdan´sk, founded in England in 1802 and 1803; and three years later , Anton van Dyck, 1970. The original focus of the museum, as in he visited Berlin, Dresden and Weimar. The Erasmus Quellinus, Adriaen van Ostade, Aert history education in general at the time, was main aim of the collector seems have been an van der Neer, Anthonie Waterloo, Jan Steen, on a nationalistic conception of Polish history overview of the European schools of drawing. Abraham Genoels ii, and Cornelis Dusart.’ devoid of all German elements. Since 1989, as a His collection contains both exceptionally The indisputed high point of the trip was new Polish-German dialogue developed, this precious masterpieces and drawings by artists shown to us at this very first visit, the triptych situation began to change. It is still difficult to long since forgotten. The drawings touch by Hans Memling of The Last Judgment. explain to the public that Germany made vast upon a variety of subjects, of which the most Captured by Gdan´sk pirates while it was on its contributions to the culture of their country important for the collector seem to have been way to an Italian patron for the Badia di before it became the hated power that the landscapes. Artists are generally Fiesole, it was first installed in St. Mary’s participated in the division of Poland between 35 codart Courant 8/June 2004

Prussia, Russia and Austria in 1793. For many exquisite pieces of medieval and Baroque represented in the interior, where a Dutch instance, one of the most popular displays art, such as the main altar from 1510-17 and an Cabinet was installed in the main axis of the in the museum is the 12-metre high stove astronomical clock designed by Hans palace by its first inhabitant King Jan iii in the Artus Hall with tile tableaus of Till Düringer in 1464-70. Sobieski and later reconstructed by the Eulenspiegel. People who admire it are The more than five-hour drive to Warsaw subsequent noblewomen who bought the astonished when they are told that it is a by bus was interrupted by a visit to Malbork castle in the 18th century. In 1799 the palace German stove from the mid-16th century. Castle or Marienburg, an immense castle build became the house of Aleksandra Lubomirska Another problematic part of the city’s during several centuries since 1274 to house and her husband, Stanislaus Kostka Potocki, heritage is the anti-German tune of the rota the Teutonic Knights, who were welcomed in a prominent figure of the Polish Enlighten- that was traditionally played by the town hall the region to quell the pagan tribes. The ment, who opened the palace collections to carillon each hour. When this carillon was strength of the Knights waned towards the the public in 1805, thus founding the second reinstalled two years ago, the museum had to second half of the 15th century, when they had public museum in Poland after Pul-awy. The mediate between the people who thought this to sell Malbork to the Czechs, who in their collection, part of which is now displayed in nationalistic tune could stand in the way of turn sold it to the Poles. The castle was then the National Museum of Warsaw, was the friendly relationship between Poland and used as a royal stopover for Polish kings introduced to us by the director of the Germany and the majority of the Gdan´sk travelling between the port city of Gdan´sk and museum, Pawel- Jaskanis, and the curator, population, who could not live without it. The Warsaw. Used as a prisoner of war camp during Krystyna Gutowska-Dudek, who wrote an museum decided to play the tune only once a the Second World War (and suffering serious essay on the history of the collection for this day, at noon. On the other hours the carillon damage in that period), it is now reconstructed issue (see page 26). plays tunes composed by Gert Oldenbeuving, and functions as a museum, welcoming The four-and-a-half hours reserved to see the town carilloneur of Zutphen, who sends thousands of tourists a year. the holdings of the Muzeum Narodowe in new compositions by e-mail regularly. Warsaw, the National Museum, were of course The wars of the 20th century left the Warsaw Our tour around Warsaw’s Dutch and not enough. The museum, founded relatively museum with new problems and sensitivities. Flemish collections began the next morning in late in 1862, contains the most comprehensive Artefacts from Gdan´sk are to be found in the the Wilanów Palace Museum. Wilanów, or collection of Dutch and Flemish painting in Pushkin State Museum of Fine Arts in Moscow Villa Nova (as the estate was originally called Poland. Apart from these and other galleries – and other places in the former Soviet Union, when it was erected as a royal residence in the to which a visit should be carefully planned, where they were taken by the Red Army and last quarter of the 17th century), was because some galleries have their own specific sometimes given as presents by Stalin to his transformed between the 17th and the 19th opening hours – we were admitted into areas faithful satraps. The Poles still keep objects century from traditional Polish country house closed to the general public. Hanna Benesz taken from Russia during the war of 1920-21. into an Italian Baroque villa and later on a showed us a selection of Dutch and Flemish Despite the impatience of the press in both palace in Louis xivstyle. A link with the paintings from storage, installed in a countries to plea their case, only the slow and Netherlands is formed by the eight stone temporary exhibition space, and the newly cautious negotiations that have recently been statues of the Muses, imported from installed gallery of Italian and , to opened may be able some day to repair this Amsterdam, that have topped the house since be opened soon. In the library room, Maciej situation. the 1680s. Dutch culture is more strongly Monkiewicz showed us in two shifts his Before leaving Gdan´sk, some time was left selection of 16th- and 17th-century drawings to see the church of St. Mary, with its 105 x 77.6 for the exhibition in 2005 and Joanna Tomicka x 29 meter the largest brick shrine in the world, laid out a large selection of prints, including dating from several stages of development over the period 1343-1502. The interior displays Photo Gary Schwartz Gary Photo

Norbert Middelkoop of the Amsterdams Historisch Almazan Navany Photo

Museum, Fred Meijer of the rkdand Fritz Koreny of the Almazan Navany Photo Institut für Kunstgeschichte der Universität Wien at the Visit to the Gdan´sk Library of the Polish Academy of National Museum in Gdan´sk. Sciences. In Wilanów Palace Museum, near Warsaw. codart Courant 8/June 2004 36 some 15th-century Dutch prints, some 16th- president of the republic. In 1944 it was formed by the private cabinetof the last king century Antwerp prints (including a very fine completely destroyed by the Nazis, as was of Poland, Stanislaus Augustus Poniatowski, impression of the Bruegel etching) and a print some 80% of the rest of the city. After the war and the collection of Stanislaus Kostka Potocki. by Hercules Seghers on cloth. To discuss our the Communist authorities refused at first The print room also keeps the architectural reactions to this almost overwhelming visit to rebuild the castle, even though they did drawings from the Tilman van Gameren with our Warsaw colleagues, Ferdynand B. reconstruct many other old buildings. It was Archives. Wanda showed us a selection of Ruszczyc, the director of the Muzeum not until 1971 that the reconstruction was these, along with the drawings that had been Narodowe, represented by the deputy director undertaken. Works of art originally housed selected for the postponed exhibition in the for marketing, exhibitions and education in the castle and that were brought to safety National Museum, including a sheet with Kazimierz Stachurski, and Jan Edward during the war have since been reinstalled. sketches on both sides attributed to Rubens. Craanen, the ambassador to the Netherlands The permanent exhibitions now include a We also saw one of the 160 large portfolios from in Poland, treated us to a dinner in Nieborów room with 23 views of Warsaw the 1780s (of which only 76 remained) from Palace. This is another charming Tilman van (some of which were being restored) painted Stanislaus Augustus’ collection of prints, Gameren creation, located some 100 especially for this room in 1776-77 by Bernardo ordered thematically and alphabetically. (We kilometers outside the center of Warsaw. Bellotto and the so-called Lanckorons´ki saw the portfolio with portraits of poets and The second day of our stay in the Polish Gallery with paintings by Ludolph writers, dated 1787). Prints from this collection capital, we were admitted into two more Backhuysen, Adriaen van Ostade, Philips can be recognized from the light green palaces, to begin with the Muzeum L-azienki Wouwerman and two portraits attributed watercolor and black-and-white ornamental Królewski (Royal L-azienki Museum), built for by some authorities to Rembrandt. From frames that were made especially for them. Stanislaus Augustus Poniatowski in the late 16 March to 9 May a choice of Rembrandt’s Our stay in Warsaw ended with a city walk 17th century. The palace is surrounded by a etchings from the Museum Het Rembrandt- in two groups. One group was lead through large public garden with some peacocks huis in Amsterdam were on show in the the Old and the New Town by Maciej displaying their fans to Warsaw families and exhibition hall. Monkiewicz and the other group was lead by schoolchildren, who come here in large The afternoon was spend at the print room the Polish specialist on Tilman van Gameren, numbers. The curator, Hanna Budzynska, of Warsaw University Library, located in a Stanislaus Mossakowski, along several showed us around the not so large rooms of the strikingly modern, almost greenhouse-like, buildings by this architect. The ictrain took palace, where many paintings – mainly from building from 1995, where a large part of the us from Warsaw to Kraków in two and a half the collection of the Muzeum Narodowe – are collection of books is displayed in open stacks. hour. on permanent display. After a lunch in the fancy Italian restaurant The bus brought us back to the city center Biblioteka on the ground floor, the curator of Kraków Unlike Gdan´sk and Warsaw, Kraków to see the Royal Castle. Originating in the the print room, Wanda Rudzin´ska, took us up was left relatively untouched by the Second Middle Ages, the castle served as the residence to the third floor where ca. 35,000 prints and World War. This medieval town served as the of the Polish kings and the seat of parliament. drawings are stored. The core of the collection, residence of the Polish kings (who were also After Poland regained her independence in most of which was taken off in the Second crowned and burried here) until the 17th 1918, the castle served as the residence of the World War and has never been returned, is century. It was the first city in Poland with a university, founded in 1364 by King Casimir the Great. In honor of his dynasty, the Photo Wietske Donkersloot Wietske Photo Photo Wietske Donkersloot Wietske Photo

Gerdien Verschoor, Hanna Benesz, Eric Domela Nieuwenhuis and Norbert Middelkoop in the National Museum in Reception at Nieborów Palace, close to Warsaw, designed Warsaw. by Tilman van Gameren. 37 codart Courant 8/June 2004 university is called the Jagiellonian University. museum, which is built into the town wall. (14 volumes) and the Brazilian Libri picturati of Even though Tilman van Gameren was also The display consisted of two parts: all Count Johan Maurits van Nassau-Siegen, with active in Kraków as architect to the royal court, 25 drawings by Dutch and Flemish masters in oil paintings and drawings by Aelbert the influence of Italian architects and the collection and 60 selected prints by Dutch Eckhout. Back in the city center we were sculptors is also visible, most notably at the and Flemish artists on Polish themes. admitted into the originally 15th-century large and open central square. The Market The drawings included works by Jacques Collegium Maius (reconstructed in the 19th Square, as it is called, is dominated by the d’Arthois, , Hans Bol, Pieter century), one of the first buildings of the Sukiennice (cloth hall), build in 1344-92 as a Bruegel the Elder, Cornelis Saftleven, Maerten university, which serves today as the Gothic building, but restyled in the 16th de Vos and Jacob de Wit. Most were purchased university museum. Amidst an eclectic century according to the then prevailing at the auction of the Viennese collection of collection of astronomical instruments, Renaissance style. Josef Karl Klinkosch in 1889 by the Polish sculpture, furniture and a piano once played Our first visit the next morning, in two collector Bolesl-aw Wol-odkowicz, who donated at by Frederic Chopin, is a beautiful by alternating groups, took us to the Biblioteka them in 1897 to the Princes Czartoryski Jan Massys. Czartoryskich. In a very unpretentious Museum. Most of the drawings have never In the afternoon, we returned to the main building we were shown a very remarkable been on show before. The prints on Polish building of the Muzeum Czartoryskich, a collection of well-preserved illuminated themes were collected by the Czartoryski former private house – not too large and not manuscripts of several Netherlandish masters, family over the years. They form one of the detached, located in a very common street, but which were part of the all-round collection of best collections of this kind in Poland. Most officially called ‘Czartoryski Palace.’ Here we Princess Izabela Czartoyska (1746-1833), who noteworthy are the numerous prints by could see the (foreign) paintings, applied arts, laid the foundation of the Czartoryski Wilhelm Hondius and Romeyn de Hooghe, antiquities, weapons and other artefacts Museum. Another pleasant surprise awaited who worked in the service of the Polish kings collected by Princess Izabela Czartoyska in us upon our visit to the department of prints in 1633-34 and 1674-75 respectively. A the 18th and beginning of the 19th century, and drawings of the Czartoryski Museum. completely illustrated catalogue with entries including Leonardo da Vinci’s Lady with an Inspired by the codartactivities pertaining in Polish and English accompanies the ermine and Rembrandt’s very attractive to Dutch and Flemish art in Poland, the head exhibition (207 pages, including color plates). Landscape with the good Samaritan from 1638. of the print room, Ewa Czepielowa, had The continuation of the very full morning That evening, we had another opportunity to organized the exhibition Skarby Niderlandów: program brought us to two institutions see the exhibition in the Arsenal, located just rysunki I wybrane ryciny artystów niderlandzkich related to the university in Kraków and its around the corner of the main building of the xvi-xviiwieku ze zbiorów Fundacji Ksiaz.at founding father, the Jagiellonian king museum, during a reception that was held ` ` Czartoryskich (Treasures of the Netherlands: Kazimierz iiiWielki (reigned 1333-70). In the there on the occasion of the codartvisit, drawings and selected prints by Dutch and graphic collections of the university library, with all local curators in attendance. Flemish artists of the 16th-17th centuries from located in a new building just outside the The last morning in Kraków, we were the collections of the Princes Czartoryski 19th-century city ring, we were shown the welcomed by our member Joanna Winiewicz Foundation). The show opened to the public Clusius albums with 16th-century zoological in the Zamek Królewski na Wawelu (Royal on 20 April and ran until 30 May. It was held on (2 volumes) and botanical drawings Castle on Wawel Hill), an impressive royal the ground floor of the Arsenal, a new exhibition space in the oldest part of the Photo Wietske Donkersloot Wietske Photo Photo Gary Schwartz Gary Photo

Maciej Monkiewicz being thanked by Gary Schwartz at Wanda Rudzin´ska (right) showing one of the portfolios of Stanislaus Augustus’s collection of prints in the print room of Nieborów. Warsaw University Library. codart Courant 8/June 2004 38 residence on a hill above the river Vistula, descendants of the collectors to investigate the with last names starting with c) was recently overlooking the city center. The castle once possibilities for restitution or to agree upon an published. owned 350 Flemish tapestries from workshops acquisition or a long-term loan. On a walk through the city with Maciej in Brussels and Doornik (Tournai) to the The rest of the afternoon, we were on our own Monkiewicz, Gary Schwartz’s eye was caught designs of Michiel Coxie of Mechelen (1499- to explore Kraków. Even though it was a rainy by two bronze plaques flanking the entrance 1592). Most were lost in the Second World War. day, the historical center of the city revealed its to an office building: irsa. He recognized this Only 150 pieces, which were shipped to Canada charm. Although the library of the Polish as the name of the small but distinguished art- in 1940, survived and were returned to the Academy of Arts and Sciences was closed, the history publishing house founded by Józef museum after the war. The tapestries, curator of the collection, Krzystof Kruz.el, came Grabski, which since 1980 has brought out the including series of landscapes and animals, up with a good alternative. He invited us to his indispensible yearbook Artibus et Historiae, in grotesques, the life of Noah and the Tower of exhibition Siedem grzechów which Schwartz published a frequently cited Babel, were commissioned by King Zygmunt gl-ównych: ryciny z Gabinetu Rycin Polskiej article in 1987. Ringing the bell that Saturday iiAugustus in the 16th century and Akademii Umiejetno´sci w Bibliotece Naukowej afternoon, he was pleasantly surprised when, ` bequeathed to the Polish nation. Of the large Polskiej Akademii Umiejetno´sci I Polskiej Akademii after identifying himself on the intercom, the ` collection of paintings that decorate several Nauk w Krakowie (The seven deadly sins: prints door opened. The group climbed the stairs to rooms in the castle today, almost 80% is Dutch from the print room of the Polish Academy of an office as atmospheric and mysterious as and Flemish, thanks to donations of Professor Arts and Sciences, in the Scientific Library of they come. There the group was greeted not Jerzy Mycielski, a professor of art history, in the Polish Academy of Arts and Sciences and by Józef but by his son, who kindly received 1928, Miaczyn´ski-Dzieduszycki in 1933 and the Polish Academy of Sciences in Kraków) at us and showed us around. ` Leon Pinin´ski in 1935. In two groups, we were the International Cultural Center. The Because the group was splitting up on admitted into the usually closed Dutch exhibition showed works by European masters Sunday, with some participants visiting the Cabinet, a small room of some 25 square from the late 14th to the 19th century, with Auschwitz and Birkenau concentration camps meters hung from the floor to the ceiling with prints by 16th- and 17th-century and others remaining in Kraków until the 48 Dutch paintings, installed there in the 1950s Netherlandish artists predominating. The afternoon flight, the study trip was rounded in a historicizing manner. During Second exhibition was accompanied by a completely off on Saturday evening with a meal in Alef, the World War the Wawel was confiscated by the illustrated catalogue of the same title with best restaurant in Kazimierz, the former Germans and a cinema was installed in the thematic entries in Polish and English (240 Jewish town outside Kraków. The décor and great hall with the tapestries. During the war, pages). Krzystof Kruz.el is also working on a furnishings as well as the live klezmer music various private collectors brought objects to complete catalogue of the Dutch and Flemish evoke pre-war Jewish city life in Poland. Wawel in the hope that they would be safe prints in the library. Part 1 (artists with last Wietske Donkersloot and Gary Schwartz there. Not all of them were claimed after the names starting with a and b) was published in war; recently the Castle sought contact with 1991 and is currently out of print, part 2 (artists Photo Wietske Donkersloot Wietske Photo Photo Navany Almazan Navany Photo Piotr Hordinski (left), showing a portfolio with 16th- Fritz Koreny of the Institut für Kunstgeschichte der Universität Wien, George Keyes of the Detroit Institute of Arts and century zoological drawings held in the Jagiellonian Natalja Markova of the State Pushkin Museum of Fine Arts in Moscow in the print room of Warsaw University Library. Library in Kraków. 39 codart Courant 8/June 2004

Rulers of Poland, 14th-18th century, Czartoryski family (prominent aristocratic family, major Moszyn´ski, Count Augustus (1731-86; adviser in with dates of their reigns patrons of art, history and founders of museums): all purchases of prints and drawings to Stanislaus Jagiellonians (1386-1572) authors Augustus Poniatowski): Tomicka Ladislaus iiJagiello/Jogaila (1386-1434) Drucki-Lubecki, Franciszek Ksawery (1779-1846; buyer of Mrozowski, Józef (priest who donated a collection of Ladislaus iiiof Varna (1434-44) art from collection of Stanislaus Augustus drawings to the National Museum in Warsaw, 1908): Casimir ivthe Jagiellonian (1447-92) Poniatowki): Benesz Monkiewicz Jan i Olbracht (1492-1501) Dzia-lyn´sky (aristocratic family that brought cultural Mycielski, Count Jerzy (professor of art history who made Alexander the Jagiellonian (1501-06) patronage to bear on patriotic cause in 19th century): donation to National Museum in Warsaw, 1928): (1506-48) Tomicka Benesz Sigismund iiAugustus (1548-1572) Gonzague, Marie Louise (1611-67; consort of Ladislaus iv, Opali ´nski, Krzysztof (1609-55; governor of Poznan´, visited painted by Dutch portraitists): Benesz the Netherlands, became only dedicated collector of From 1572 on all kings were elected Górnicki, L-ukasz (1527-1603; translated Il corteggiano into Dutch and Flemish art in his time): Ziemba, Tomicka Polish, 1561): Ziemba Opali ´nski, L-ukasz (1612-62; brother of above, Henry ivValois (1572-73) Hozjusz, Stanislaus (1504-79; Jesuit, cardinal, champion accompanied him on visit to the Netherlands): Stephen Bathory (1576-86) of Counter-Reformation in Poland): Ziemba Tomicka Jan iiiSobieski (reigned 1674-96): Benesz, Gutowska- Ossolin´ski, Count Józef Maksymilian (1746-1826; House of Vasa: Kings of Sweden and Poland Dudek bibliophile, brought cultural and scientific (1587 - 1668) Kabrun, Jacob (1759-1814; Gdan´sk merchant, major patronage to bear on patriotic cause, founder of Sigismund iiiVasa (1587-1632) collector): Ziemba, Tomicka, Monkiewicz, Zinówko Ossolineum): Benesz, Tomicka Ladislaus ivVasa (1632-48) Kazimierz, Prince Albert (Prince Albert of Saxe-Teschen; Paderewski, Ignacy Jan (1860-1941; pianist, staunch Polish Jan Kazimierz Vasa (1648-68), abdicated 1738-1822; son of Augustus iii, great collector, nationalist, portrait by Alma-Tadema in Warsaw): founder of Albertina): Tomicka Benesz Michael Korybut Wisniowiecki (1669-73) Kazimierz, Prince Adam (1734-1823; founder of Pinin´ski, Count Leon (1857-1938; governor of Galicia, Jan iiiSobieski (1674-96) Czartoryski collection): Tomicka donated important collection of prints and drawings Ladislaus ivVasa (Prince Ladislaus Sigmund; reigned to Ossolineum): Benesz, Tomicka Wettin Electors of Saxony of Holy Roman Empire etc. 1632-48): Ziemba,Tomicka Ponetowski, Jan (d. 1598; Premonstratensian abbot, ` (1697-1706, 1709-63) Krasicki, Bishop Ignacy (1735-1801; churchman, poet, bequeathed library with prints and drawings to Augustus iithe Strong (Wettin) (1697-1706, 1709-33), collector): Tomicka Kraków University): Tomicka also Elector of Saxony (as Frederick Augustus i) Krasin´scy (aristocratic family that brought cultural Poniatowski, Stanislaus Augustus (reigned 1764-95; last Stanislaus Leszczynski (1706-09, 1733-36) patronage to bear on patriotic cause in 19th century): king of Poland, abdicated, his major collection was Augustus iiiWettin (1733-63), Elector of Saxony Tomicka dispersed): Benesz, Tomicka, Monkiewicz, Rudzin´ska (as Frederick Augustus ii) Kremer, Hans (German town architect of Gdan´sk from Pop-lawski, Dr. Jan (collector; his Dutch and Flemish 1565 to 1577): Ziemba paintings acquired in 1935 for National Museum in Stanislaus Augustus Poniatowski (1764-95), abdicated Krosnowski family (collection donated to state after Warsaw): Benesz independence): Benesz Potocki, Count Stanislaus Kostka (1755-1821; statesman, Index of Polish individuals and families, with Ladislaus ivVasa (reigned 1632-48): Ziemba major figure of Polish Enlightenment, collector, references to the essays in which they are Lanckoron´ska, Princess Karolina (1898-2002; heiress of patron): Benesz, Tomicka, Monkiewicz, Rudzin´ska mentioned Lanckoron´ski collection, from which she made Raczyn´ski (aristocratic family that brought cultural Augustus ii(reigned 1697-1706, 1709-33): Tomicka notable donations to castle museums of Warsaw and patronage to bear on patriotic cause in 19th century, Augustus iii(reigned 1733-63): Tomicka Kraków): Benesz collection formed core of museum in Poznan´): Benecke, Paul (pirate who brought Memling’s Last L-aski, Jan (1499-1560: Protestant churchman, poet and Benesz, Tomicka Judgment to Gdan´sk): Benesz diplomat, promotor of ecclesiatic peace): Ziemba Radziwi-l-l (aristocratic family that collected Dutch and Bersohn, Mathias (1823–1902; collector): Monkiewicz Loitz, Michael (16th-century burger of Gdan´sk with tomb Flemish art from the 17th century on): Ziemba, Bloch, Jan Gottlib (1836–1902; collector): Monkiewicz by Netherlandish artist in church of Our Lady): Benesz Branickis (aristocratic family who owned Wilanów Palace Ziemba Rzewuski, Kazimierz (among the buyers of dispersed in the 18th century): Benesz, Gutowska-Dudok Lubomirski, Stanislaus Herakliusz (1642-1702; scion of collection of Stanislaus Augustus Poniatowski): Chodkiewicz, Aleksander (collector whose graphic art was aristocratic family, brought Tilman van Gameren to Benesz sold at auction around 1820): Tomicka Poland): Ziemba Schopenhauer family (founders of major art collection Chopin, Frederic (1810-49; composer; his view of Lubomirski, Prince Henryk (1777-1850; major book in): Ziemba countryside inspired by Netherlandish elements): collector in Wroc-law): Tomicka, Monkiewicz Schultz, Daniel (1615-83; painter in Warsaw and Gdan´sk Ziemba; (piano on which he played in Jagiellonian Mielz.yn´ski (collecting family in Poznan´): Benesz with a Rubensian streak): Ziemba University Museum): Rudzin´ska Mieroszewski, Krzysztof (d. 1677; benefactor of print Sierakowski, Józef (early 19th-century military hero, Czartoryska, Izabela (1746-1835; founder of Czartoryski collection of Jagiellonian University): Tomicka donated collection to Warsaw Society of the Friends Museum): Tomicka Mniszech (among buyers of art collection of Stanislaus of Science): Monkiewicz Czartoryska-Dzia-lyn´ska, Izabela (1830-99; founder of Augustus Poniatowski, ca. 1800): Benesz Sigismund iiiVasa (reigned 1587-1632): Ziemba, Benesz Go-luchów Museum): Tomicka Morsztyn, Jan Andrzej (1621-93; poet, translated Grotius Sigismund iiAugustus (reigned 1548-72): Ziemba Czartoryski, Ladislaus (1828-94; grandson of Izabela into Polish): Ziemba Skarbek, Count Ignacy (ca. 1780-1812; bequest of Czartoryska, heir of collection during Paris period): collection of prints and drawings entered Tomicka, Monkiewicz Ossolineum): Monkiewicz codart Courant 8/June 2004 40

Smolikowski, Seweryn (drawing collection entered Website news are all welcome to submit items for this National Museum in Warsaw, 1927): Tomicka, feature. When they are replaced, the items will Monkiewicz Since the last website news was printed in be moved to a page of Old News, where they Su-lkowski (family with collection of Dutch and Flemish Courant 6 last year, some new features have will be preserved for posterity. Another thing art in 17th century): Ziemba been added to the codartwebsite. Some we want to do to make the website a bit Szymonowic, Szymon (1558 -1629; poet, studied in Leuven are already in use, others are being prepared glossier by adding pictures and Pdf-files. We and Leiden): Ziemba behind the scenes. have started installing pictures related to Tarnowski (aristocratic family, sold The Polish rider in Apart from these new features and future codart zesand zeven; we will be adding 1910): Benesz projects, we are striving to make the present more to other codartevent files. Larger Tomicki, Bishop Piotr (d. 1535; in consultation with king, information on the website as complete and images are often provided behind the invited Erasmus to Poland): Ziemba up-to-date as possible. The calendar of thumbnails. Portraits of the members will Wessel, Jakob (Gdan´sk collector, early 19th century): exhibitions has recently been enriched with also be going up in not too long a time. Ziemba references to the exhibition catalogues, from The website offers Pdfs of the complete run Wo-lodkowicz, Boles-law (gave donation to Czartoryski the year 2001 on. We endeavor to list all the of the codartCourant and of a publication museum, 1897): Monkiewicz various editions brought out in different on Dutch cultural institutions for Russian art Za-luski, Bishop Józef Andrzej (1702-74; assembled languages and by collaborating museums. historians, a publication that was compiled in collection of ca. 10,000 prints): Tomicka This kind of information is frequently cooperation with Lia Gorter’s Foundation for Zamoyski (aristocratic family, among buyers of collection requested by our users, a group that is larger Cultural Inventory and for which we received of Stanislaus Augustus Poniatowski, ca. 1800): Benesz, than just the network of our 350 members. subside from the Wilhelmina E. Jansenfonds. Tomicka To give an example: the on-line Notification We have also started to put educational Zero ´nski, Piotr (royal secretary in first half of 17th Service, which announces the opening and texts on the website. Our initial venture is the century, traveled to Netherlands, brought back closing of exhibitions listed on the codart complete contents of the catalogue The Dutch paintings by Rubens and Jan Bruegel): Ziemba site, has 511 subscribers at the moment, of world of painting, written by guest curator Gary whom 228 are not codartmembers. From Schwartz for an exhibition in the Vancouver the information they provide us, we know Art Gallery in 1986. You will find it on our them as teachers, students, collectors, dealers, website not in the original layout, but in a new artists, exhibition hunters, Internet junkies, format using html. (See under ‘Publications’ etc. in the sidebar.) The catalogue deals with all We are also in the process of adding genres of Dutch painting – mostly from the bibliographical information to our list of collection of the icn– relating to themes such curators. Our starting point for these lists of as government, religion, charity, crafts and publications is the questionnaire given to commerce, town and country and science. You every new member and associate member. are free to make use of this text as long as you Most of these titles have been digitized and credit the original source and the codart installed on the website pages devoted to website. This is just a start – we are interested individual curators. This is just a start; we in texts of all lengths and subject matter. would like to make the information as Another major project is still in a very complete as possible, for which we require preliminary phase: a large-scale database for your help. We will not be digitizing any more art-historical, conservation and scientific handwritten questionnaires, but if you send information related to Flemish and Dutch us your bibliography by e-mail, we will put it paintings, from the ‘primitives’ up to the 18th in your personal file. century. The development of this database is Although it is not yet active, I would like an initiative of the icnand the conservation to mention another feature of the site that studio of the Mauritshuis, together with the should give you a very good reason to provide icomCommittee for Conservation and icom us with your list of publications. We are in Europe. The idea is to create a resource to discussion with Erasmus Booksellers to install which museum curators and conservators can an ordering service for the books and turn when engaging on a new conservation catalogues on our website. This will include project or a catalogue. A conservator tackling even publications that are no longer available a painting by Adriaen van der Werff, for in the bookshops, as long as you can direct us example, would be able to find out what other to a source. So if your museum has piles of old paintings by him and his contemporaries have catalogues in the attic, we can help to publicize been studied and restored in other museums. their availability. This feature may also lead to The database would include not only better distribution of your offprints. published but also unpublished materials, As most of you will have seen, since the such as conservation reports. Some of the beginning of February the index page of the museums in the core group have files of this codartwebsite carries news items, under kind going back to the 19th century, so the the heading ‘codartnews of the day’. You database will provide a unique depth of field. 41 codart Courant 8/June 2004

The project is a pilot for a universal database Appointments Ruth Cloudman, chief curator and Mary and Barry for curatorial and conservation information Bingham Senior Curator of European and American on museum objects. icnand icom-ccare Please keep codartposted on appointments Art, Speed Art Museum, Louisville, Kentucky. starting with Dutch and Flemish paintings in your museum. E-mail us at [email protected]. Ewa Czepielowa, head of the print room, Princess for the simple reason that codartexists, Czartoryski Museum, Kraków. and that our website offers a framework for denmark Marcus Dekiert, curator of Dutch painting and German presenting the materials. The idea as of now Eva de la Fuente Pedersen and , , Munich. is to work out a format for the project to be Lene Bøgh Rønberg were recently appointed Linda Eischen, research curator, Villa Vauban, presented at the next meeting of icom-cc research curators in the Department of Luxembourg. in The Hague in September 2005, where more Foreign Old Master Paintings at the Statens Scott Erbes, curator of decorative arts, Speed Art Museum, than 1500 participants are expected. Museum for Kunst. Since taking up their posts Louisville, Kentucky. Meanwhile, codartitself is compiling in the spring of 2003 they have been working Susan Foister, head of the curatorial department and old information on Dutch and Flemish works on an exhibition about Rembrandt and his curator of Early Netherlandish, German and British of art by making available on-line versions of circle to be held in 2006 – a contribution to the painting, The National Gallery, London. out-of-print collection catalogues. We started celebration of the 400th anniversary of the Nicole Garnier, chief curator, Musée Condé, Chantilly. with the 1988 catalogue of paintings from the artist’s birth. Lene Bøgh Rønberg is currently Emilie Gordenker, senior curator of Dutch and Flemish Koninklijk Museum voor Schone Kunsten in conducting research into the Statens art, National Gallery of Scotland, Edinburgh. Antwerp. This has has been on our website for Museum’s collections of Dutch art, in Ruth Grim, curator, Bass Museum of Art, Miami Beach. two years now. In documents for internal use, particular those works that until now were Anita Hopmans, chief curator of modern art, Rijksbureau we refer to this feature as an ‘interactive attributed to Rembrandt. Her ‘Rembrandt/ voor Kunsthistorische Documentatie, The Hague. catalogue,’ although until now there have not Rembrandt’ project is supervised by an Keltanen, chief curator, Sinebrychoff Art Museum, been nothing interactive about it. Since international board of experts, and will be one Helsinki. March, however, this catalogue – and all the of the topics examined in the exhibition. Eva Dragana Kovacic, senior curator of the print room, others to follow – has been given an interactive de la Fuente Pedersen has overall National Museum, Belgrade. dimension. In a separate field you can now add responsibility for the Old Master collections, Krzystof Kruz.el, curator of the print room, Polish Academy comments, questions and additions to all including Dutch and Flemish art. Jan Garff has of Arts and Sciences and the Scientific Library of the Polish entries. They will be monitored and edited if succeeded Olaf Koester as the new senior Academy of Arts and Sciences and the Polish Academy of necessary by the museum and by codart curator in the department of prints and Sciences, Kraków. before being posted on the website for the drawings. Peter Parshall, curator and head of the department of Old benefit of all. Master prints, , Washington. Antwerp was our pilot project for the germany Eva de la Fuente Pedersen, senior research curator, Statens interactive catalogue feature. It will soon be Berlin Bernd Wolfgang Lindemann, former Museum for Kunst, Copenhagen. followed by the 1909 catalogue of the curator of Old Master paintings at the Magali Philippe, curator, Musée de Brou, Bourg-en-Bresse. Brukenthal Museum in Sibiu in Romania. On Kunstmuseum Basel, has been appointed Katarzyna Plonka Ba-lus, curator of manuscripts, Princess the short list are also other museums we have director of the Gemäldegalerie (Staatliche Czartoryski Museum, Kraków. visited, in Germany, Russia, Spain, Romania, Museen zu Berlin) as of 1 June 2004. Teresa Posada Kubissa, curator of Flemish painting and Scotland, New England and soon Poland. Kassel Gregor J. M. Weber, former curator Northern schools to 1700, Museo Nacional del Prado, Suggestions for future projects of this kind are of Italian paintings in Dresden, has been Madrid. always welcome. appointed director of the Gemäldegalerie Lene Bøgh Rønberg, research curator, Statens Museum for To help structure these projects and to Alte Meister (Staatliche Museen Kassel). He Kunst, Copenhagen. advise on new plans, we are building a website succeeds Bernhard Schnackenburg, who has Wanda M. Rudzin´ska, senior curator and head of the committee. The founding members are Emilie retired. print room, Warsaw University Library, Warsaw. Gordenker, curator of the National Gallery of Cécile Scailliérez, curator, Musée du Louvre, Paris. Scotland in Edinburgh, and Katharina Bechler, Marieke Spliethoff, curator of paintings, Paleis Het Loo curator of Kulturstiftung Dessau Wörlitz in codart Nationaal Museum, Apeldoorn. Dessau. If you are interested in joining, please Matthias Weniger, curator, Bayerisches Nationalmuseum, contact me by e-mail at [email protected]. membership news Munich. The codartwebsite is after all your website – Dorota Jusczak, curator, Royal Castle, Warsaw. and by you I mean the whole network of As of May 2004, codarthas 337 members and curators of Dutch and Flemish art. It is 45 associate members from 227 institutions in intended in the first place for your benefit and 39 countries. All contact information is that of your visitors. We have put it together in available on the codartwebsite and is kept the way we think you want it, but we would be up to date there. greatly helped by your advice, reactions, suggestions, updates and corrections. New codartmembers in 2004 Wietske Donkersloot (as of May): Thomas P. Campbell, curator of European sculpture and decorative art, The Metropolitan Museum of Art, New York. codart Courant 8/June 2004 42 the museum list The summary list of museum collections of Zedelgem Kasteel van Loppem, Véronique Van Caloen Dutch and Flemish art as of June 2004. Associate member Jan De Maere brazil argentina Rio de Janeiro Museu Nacional de Belas Artes, Zuzana Paternostro Buenos Aires Museo Nacional de Belas Artes São Paolo Museu de Arte Associate member Angel Navarro bulgaria australia Sofia National Gallery of Foreign Art, Hristo Kovachevski Adelaide Art Gallery of South Australia Associate member Todor Todorov Melbourne National Gallery of Victoria, Alisa Bunbury, Ted Gott, canada Cathy Leahy, Maria Zagala Kingston Agnes Etherington Art Centre, David de Witt Perth Art Gallery of Western Australia Montreal Museum of Fine Arts, Hilliard Goldfarb Sydney Art Gallery of New South Wales Ottawa National Gallery of Canada, Catherine Johnston austria Toronto Art Gallery of Ontario Graz Steiermärkisches Landesmuseum Joanneum, Gottfried Biedermann Zagreb Muzej Mimara, Tugomir Luksic Tiroler Landesmuseum Ferdinandeum, cuba GertAmmann Havana Museo Nacional, Maria del Carmen Rippe Moro Linz Oberösterreichisches Landesmuseum czech republic Nordico Museum der Stadt Linz, Herfried Thaler Brno Moravská Galerie, Zora Wörgötter Rohrau Schloß Rohrau - Graf Harrach’sche Liberec Oblastni Galerie Familiensammlung Olomouc Museum ume˘ni Residenzgalerie Prague Národní Galerie v Praze, Olga Kotková, Anna Rallová Vienna Gemäldegalerie der Akademie der bildenden Hana Seifertová, Ania S, evc,ík Künste, Renate Trnek National Heritage Department, Elis,ka Fuc,iková Graphische Sammlung Albertina, denmark Marian Bisanz-Prakken Copenhagen Statens Museum for Kunst, Lene Bøgh Rømberg, Kunsthistorisches Museum, Alexander Wied, Jan Garff, Eva de la Fuente Pedersen KarlSchütz Nivå Nivaagaards Malerisamling, Nils Ohrt Liechtenstein Museum england Associate members Katharina Bott, Fritz Koreny The Royal Collection, Christopher Lloyd, Lucy Whitaker belgium The National Trust, Alastair Laing Antwerp Koninklijk Museum voor Schone Kunsten, , Julius Bryant Paul Huvenne, Sandra Janssens, Paul Vandenbroeck Banbury Upton House (National Trust) Museum Mayer van den Bergh, Hans Nieuwdorp Barnard Castle Bowes Museum Museum Smidt van Gelder, Hans Nieuwdorp Barnsley Cannon Hall Museum Plantin-Moretus Museum, Francine de Nave Bath Holbourne of Menstrie Museum Rockoxhuis Birmingham Barber Institute of Fine Arts Rubenianum and Nationaal Centrum voor City Museums and Art Gallery Plastische Kunsten van de 16e en de 17e Eeuw, Brighton Brighton Museum and Art Gallery Arnout Balis, Frans Baudoin, Nora De Poorter, Bristol City Museum and Art Gallery Marc Vandenven, Carl Van de Velde, Hans Vlieghe Cambridge Fitzwilliam Museum, David Scrase Rubenshuis, Carl Depauw, Véronique Van de Kerckhof Cheltenham Cheltenham Art Gallery and Museum Stedelijk Prentenkabinet Gateshead Shipley Art Gallery Brugge Stedelijke Musea Brugge, Manfred Sellink Great Bookham Polesden Lacey (National Trust) Groeningemuseum, Till-Holger Borchert, Eva Tahon, , Roger Quarm Laurence van Kerkhoven, Willy le Loup Hull Ferens Art Gallery Groep Histoirische Musea, Hubert de Witte Ipswich Ipswich Art Gallery and Christchurch Mansion Memlingmuseum Sint-Janshospitaal, Knutsford Tatton Park (National Trust) Guy Dupont, Mieke Parez, Eva Tahon Leeds Leeds City Art Gallery Museum Onze-Lieve-Vrouw ter Potterie, Leicester New Walk Museum and Art Gallery Guy Dupont, Mieke Parez, Eva Tahon Leighton Buzzard Ascott (National Trust) Gruuthuse Museum, Lothar Casteleyn, Walker Art Gallery Stéphane Vandenberghe London , The Wellington Museum Stedelijk Museum voor Volkskunde, The ,Jaap Harskamp Sybilla Goegebuer , Martin Royalton-Kisch Brussels Koninklijke Bibliotheek van België, Nicole Walch Courtauld Institute Gallery, Koninklijke Musea voor Schone Kunsten, Ernst Vegelin van Claerbergen Joost Vander Auwera, Liesbeth De Belie, Helena Bussers Picture Gallery, Ian Dejardin, Charleroi Musée des Beaux-Arts Desmond Shawe-Taylor Museum voor Schone Kunsten Kenwood, Iveagh Bequest Leuven Stedelijk Museum Van der Kelen-Mertens Mansion House Véronique Vandekerchove National Gallery, Suzan Foister, David Jaffe, Axel Rüger Mechelen Stedelijke Musea Mechelen , National Portrait Gallery, Catherine MacLeod Wim Hüsken, Bart Stroobants Somerset House Namur Musée des Arts anciens du Namurois Britain, Karen Hearn Oostende Museum voor Moderne Kunst, Willy Van den Bussche Victoria and Albert Museum, 43 codart Courant 8/June 2004

Mark Evans, J. Reino Liefkes, Paul Williamson Direction régionale des affaires culturelles des The , Jo Hedley Rhône-Alpes, Eric Moinet Maidstone Museum and Art Gallery Macon Musée des Ursulines Manchester Assheton-Bennett Collection Metz La Cour d’Or-Musée de Metz Montpellier Musée Fabre de Montpellier, Olivier Zeder Norwich Norwich Castle Museum & Art Gallery, Nancy Musée des Beaux-Arts de Nancy, Andrew Moore Blandine Chavanne, Sophie Harent Nottingham Nottingham Castle Museum & Art Gallery Nantes Musée des Beaux-Arts de Nantes Oxford Ashmolean Museum, Christopher Brown Nîmes Musée des Beaux-Arts de Nîmes Christ Church Picture Gallery Orléans Musée des Beaux-Arts d’Orléans Petworth Petworth House (National Trust) Paris Bibliothèque Nationale Plymouth Plymouth City Museum & Art Gallery Direction des Musées de France, Emmanuel Starcky Plympton Saltram (National Trust) Fondation Custodia (Collection Frits Lugt) at the Richmond Ham House (National Trust) Institut Néerlandais, Stijn Alsteens, Sheffield Graves Art Gallery Mària van Berge-Gerbaud, Rhea Sylvia Blok, Hans Buijs Southampton Southampton City Art Gallery Musée Carnavalet, Roselyne Hurel Waddesdon Waddesdon Manor (National Trust) Musée Jacquemart-André Windsor Windsor Castle Musée du Louvre,Jacques Foucart, Cecile Scailliérez York York Art Gallery Musée du Petit-Palais, Sophie de Bussière Associate members Lorne Campbell, Sir Oliver Millar, Christopher White Poitiers Musée Rupert de Chièvres estonia Quimper Musée des Beaux-Arts de Quimper Tallin Art Museum of Estonia, Rennes Musée des Beaux-Arts de Rennes Maris Klaas, Helena Risthein Riom Musée Francisque Mandet de Riom Kadriorg Palace (Kadriorg Art Museum), Kadi Polli Rouen Musée des Beaux-Arts de Rouen, Diederik Bakhuÿs Niguliste Museum (Concert Hall of the Art Saint-Étienne Musée d’Art et d’Industrie Museum), Greta Koppel Saint-Omer Musée de l’Hôtel Sandelin finland Strasbourg Musée des Beaux-Arts de Strasbourg, Fabrice Hergott Helsinki Sinebrychoff Art Museum, Minerva Keltanen Toulouse Musée des Augustins Finnish National Gallery Tours Musée des Beaux-Arts de Tours Mänttä Gösta Serlachius Museum of Fine Arts, Valenciennes Musée des Beaux-Arts de Valenciennes Maritta Pitkänen Associate members Patrick le Chanu Vaasa Ostrobothnian Museum,Marianne Koskimies-Envall germany france Aachen Suermondt-Ludwig Museum Aix-en-Provence Musée Benoît de Puydt Aschaffenburg Staatsgalerie Musée Granet d’Aix-en-Provence Bamberg Staatsgalerie in der Neuen Residenz Ajaccio Musée Fesch Bayreuth Staatsgalerie im Neuen Schloss Amiens Musée de Picardie d’Amiens Berlin Gemäldegalerie, Rainald Grosshans, Angers Musée des Beaux-Arts d’ Angers Bernd Wolfgang Lindemann Arras Musée des Beaux-Arts d’Arras Musée du Petit Palais Kupferstichkabinett, Holm Bevers Bayonne Musée Léon Bonnat Schloss Charlottenburg Beaune Musée des Beaux-Arts et Musée Marley de Beaune Bonn Rheinisches Landesmuseum Bonn Bergues Musée Municipal Mont-de-Piété Braunschweig Herzog Anton Ulrich-Museum, Besançon Musée des Beaux-Arts et d’Archéologie Thomas Döring, Jochen Luckhardt Bourg-en-Bresse Musée de Brou, Megali Philippe Bremen Kunsthalle Brest Musée des Beaux-Arts Bückeburg Museum Schloss Bückeburg Caen Musée des Beaux-Arts de Caen Coburg Kunstsammlungen der Veste Coburg, Carcassonne Musée des Beaux-Arts de Carcassonne Christiane Wiebel Chalon-sur-Saône Musée Vivant-Denon Museum Schloss Ehrenburg Chantilly Musée Condé, Nicole Garnier Darmstadt Hessisches Landesmuseum Chateauroux Musée Hôtel Bertrand Dessau Anhaltische Gemäldegalerie, Norbert Michels Cherbourg Musée Thomas-Henry Kulturstiftung Dessau Wörlitz, Katharina Bechler Dieppe Château-Musée de Dieppe Schloss Wörlitz (Kulturstiftung Dessau Wörlitz) Dijon Musée des Beaux-Arts Dessau-Mosigkau Staatliche Museum Schloss Mosigkau Musée Magnin (Kulturstiftung Dessau Wörlitz), Wolfgang Savelsberg Douai Musée de la Chartreuse Dessau-Wörlitz Gotisches Haus Wörlitz (Kulturstiftung Dessau Dunkerque Musée des Beaux-Arts de Dunkerque Wörlitz) Épinal Musée Départemental d’Art Ancien et Dortmund Museum für Kunst und Kulturgeschichte Contemporain d'Epinal Dortmund Grenoble Musée de Grenoble Dresden Staatliche Kunstsammlungen Dresden - La Fère Musée Jeanne-d'Aboville Gemäldegalerie Alte Meister, Uta Neidhardt Le Mans Musée de Tessé Staatliche Kunstsammlungen Dresden - Le Puy Musée Crozatier Kupferstich-Kabinett, Thomas Ketelsen Lille Palais des Beaux-Arts, Alexis Donetzkoff Duisburg Städtische Sammlungen Duisburg-Rheinhausen Musée de l’Hospice Comtesse Düsseldorf Kunstpalast Musée des Beaux-Arts de Lyon codart Courant 8/June 2004 44

Emden Ostfriesische Landesmuseum und Städtische greece Museum National Gallery and Alexandros Soutzos Museum Essen Villa Hügel hungary Frankfurt am Main Historisches Museum, Kurt Wettengl Budapest Szépmüvészeti Múzeum,Ildikó Ember, Städelsches Kunstinstitut und Städtische Galerie, Annamáriá Gosztola, Zoltán Kovács, István Nemeth, Michael Maek-Gérard, Jochen Sander Júlia Tátrai, Susan Urbach GothaSchloss Friedenstein Esztergom Keresztény Múzeum (Christian Museum) Göttingen Kunstsammlungen der Universität Associate member Terèz Gerszi Hamburger Kunsthalle, india Martina Sitt, Annemarie Stefes Mumbai (Bombay) Prince of Wales Museum Hamm Gustav-Lübcke-Museum Vadodara (Baroda) Baroda Museum and Picture Gallery Hannover Niedersächsisches Landesmuseum, ireland Meinolf Trudzinski Dublin National Gallery of Ireland Heidelberg Kurpfälzisches Museum der Stadt Heidelberg israel Isselburg Museum Wasserburg Anholt Jerusalem Israel Museum, Schlomit Steinberg Karlsruhe Staatliche Kunsthalle, Dietmar Lüdke Tel Aviv Tel Aviv Museum, Doron Lurie Kassel Staatliche Museen (Gemäldegalerie Alte Meister), italy Gregor Weber Bergamo Pinacoteca di Arte Antica Staatliche Museen (Graphische Sammlung), Florence Dutch University Institute for Art History, Christine Lukatis Bert Meijer Kiel Kunsthalle zu Kiel Gabinetto Disegni e Stampe degli Uffizi Kleve Museum Kurhaus Kleve, Guido de Werd Galleria degli Uffizi Städtisches Museum Haus Koekkoek, Guido de Werd Galleria Palatina Koblenz Mittelrhein-Museum Galleria Nazionale di Palazzo Spinola Köln Schnütgen Museum, Galleria di Palazzo Bianco, Clario di Fabio Hiltrud Westermann-Angerhausen Galleria di Palazzo Rosso, Piero Boccardo Wallraf-Richartz-Museum, Ekkehard Mai Milan Biblioteca e Pinacoteca Ambrosiana Leipzig Museum der bildenden Künste Leipzig, Museo Poldi Pezzoli Jan Nicolaisen Pinacoteca di Brera Lübeck St. Annen-Museum Modena Galleria Estense Mainz Mainz Landesmuseum Naples Museo e Gallerie Nazionali di Capodimonte Meiningen Meininger Museen Rome Galleria Borghese Mönchengladbach Städtisches Museum Schloss Rheydt Galleria Corsini, Givigliamo Alloisi München Alte Pinakothek, Marcus Dekiert, Konrad Renger Galleria Doria Pamphili Bayerische Nationalmuseum, Mathias Weniger Galleria Nazionale d’Arte Antica: Palazzo Barberini, Staatliche Graphische Sammlungen, Rossella Vodret Thea Vignau-Wilberg Galleria Sabauda Münster Westfälisches Landesmuseum für Kunst und Venice Galleria Giorgio Franchetti alla Ca d’Oro Kulturgeschichte, Angelika Lorenz Galleria dell’ Accademia Nürnberg Germanisches Nationalmuseum, Daniel Hess Vercelli Museo Borgogna Oberschleißheim Neues Schloss und Hofgarten Schleißheim VeronaMuseo di Castelvecchio, Francesca Rossi Oldenburg Landesmuseum für Kunst und Kulturgeschichte Associate member Marco Chiarini, Raffaella, Colace, Gianni Carlo Sciolla Oranienbaum Schloss Oranienbaum (Kulturstiftung Dessau japan Wörlitz), Wolfgang Savelsberg Tokyo National Museum of Western Art, Akira Kofuku Osnabrück Kulturgeschichtliches Museum Associate member Yoriko Kobayashi-Sato Pommersfelden Graf von Schönborn’sche Kunstsammlung latvia Bildergalerie Park Sanssouci, Gerd Bartoschek Riga The Latvian Museum of Foreign Art, Daiga Upeniece Neues Palais Associate member Ojars Sparitis Rostock Kulturhistorisches Museum Kloster zum Heiligen liechtenstein Kreuz Vaduz Fürstliche Sammlungen, Haus Liechtenstein Schleswig Schleswig-Holsteinisches Landesmuseum Schloss lithuania Gottorf Kaunas Mikalojus Konstantinas Ciurlonis National Art Schwerin Staatliches Museum Schwerin, Museum, Osvaldas Daugelis Hela Baudis, Kornelia von Berswordt-Wallrabe, luxembourg Gerhard Graulich, Gero Seelig Luxembourg Musée National d’Histoire et d’Art Stuttgart Staatsgalerie Stuttgart, Hans-Martin Kaulbach, Villa Vauban, Danièle Wagener Elsbeth Wiemann Associate member Lina Eischen Tübingen Kunsthalle Tübingen mexico Weimar Schlossmuseum Mexico City Museo Franz Mayer, Teresa Calero, Rebeca Kraselsky Wiesbaden netherlands Worms Kunsthaus Heylshof Instituut Collectie Nederland, Wuppertal Von der Heydt-Museum Erik Domela Nieuwenhuis, Stephen Hartog, Wim Jacobs, Würzburg Martin-von-Wagner-Museum (Neuere Abteilung) Evert Rodrigo Associate members Ursula Härting, Jan Kelch, Rüdiger Klessmann, Palaces of Royal House Annaliese Mayer-Meintschel Alkmaar Stedelijk Museum, Sandra de Vries 45 codart Courant 8/June 2004

Amsterdam Amsterdams Historisch Museum, Guido Jansen, Friso Lammertse, Bram Meij Norbert Middelkoop Historisch Museum Rotterdam Bijbels Museum, Janrense Boonstra Schiphol Rijksmuseum Amsterdam Schiphol Gemeentearchief, Emmy Ferbeek Spanbroek Frisia Museum Joods Historisch Museum, Edward van Voolen Utrecht Centraal Museum, Liesbeth Helmus Koninklijk Paleis,Eymert-Jan Goossens Museum Catharijneconvent, Saskia van Haaren, Museum Amstelkring, Robert Schillemans Guus van den Hout, Helen Wüstefeld Museum Willet-Holthuysen Nederlands Muntmuseum, Albert Scheffers Nederlands Scheepvaartmuseum, Remmelt Daalder Universiteitsbibliotheek Utrecht, Koert van der Horst Rembrandthuis, Bob van den Boogert, Ed de Heer Universiteitsmuseum Rijksmuseum, Reinier Baarsen, Dirk Jan Biemond, Vaassen Kasteel Cannenburch Jan Daan van Dam, Jan Piet Filedt Kok, Freek Heijbroek, Voorschoten Kasteel Duivenvoorde Wouter Kloek, Huigen Leeflang, Ronald de Leeuw, Zwolle Stedelijk Museum Zwolle Ger Luijten, Robert-Jan te Rijdt, Marijn Schapelhouman, Associate members Albert Blankert, Marten Jan Bok, Henri Defoer, Frits Scholten Thera Folmer-von Oven, Jup de Groot, Stedelijk Museum Wouter Hugenholtz, Renée Kistemaker, Simon Levie, Stichting Cultuur Inventarisatie, Henk van Os Lia Gorter, Bernard Vermet new zealand Van Gogh Museum Auckland Auckland City Art Gallery Apeldoorn Paleis Het Loo, Elco Elzenga, Rennie van Heuven, norway Marieke Spliethof Bergen Bergen Kunstmuseum Arnhem Museum voor Moderne Kunst, Ype Koopmans Oslo Nasjonalgalleriet Assen Drents Museum, Jan Jaap Heij, poland Michiel van Maarseveen Gda´nsk Gda´nsk Historical Museum, Adam Koperkiewicz Stedelijk Museum Het Prinsenhof, Daniëlle Lokin National Museum in Gda ´nsk, Beata Purc-Stepniak, Den Bosch Noordbrabants Museum, Paul Huys Janssen Barbara Wlodarska, Grazyna Zinówko Den Haag Galerij Prins Willem v Kraków Czartoryski Museum, Dorota Dec Gemeentemuseum Den Haag, Titus Eliëns, Royal Castle on Wawel Hill, Jan Ostrowski, Jet Pijzel-Dommisse, John Sillevis Joanna Winiewicz-Wolska Haags Historisch Museum National Museum in Kraków, Dorota Dec Koninklijke Bibliotheek, Anne Korteweg Lublin Lublin Museum Koninklijk Huisarchief Pozna ´n National Museum in Pozna ´n Mauritshuis, Quentin Buvelot, Frits Duparc, Warsaw National Museum in Warsaw, Hanna Benesz, Peter van der Ploeg, Ariane van Suchtelen Maria Kluk, Maciej Monkiewicz, Joanna Tomicka, Museum Bredius Antoni Ziemba Museum Meermanno Warsaw University Library, Wanda M. Rudzi ´nska Museum Mesdag Wilanów Palace Museum, Krystyna Gutowska-Dudek Rijksbureau voor Kunsthistorische Documentatie, Royal Castle in Warsaw, Charles Dumas, Rudi Ekkart, Anita Hopmans Dorota Juszczak, Hanna Malachowicz Karen Schaffers-Bodenhausen Wrocl-aw National Museum in Wrocl-aw, Romuald Nowak, Stadhuis Marek Pierzchala Dordrecht Dordrechts Museum, Sander Paarlberg, Peter Schoon The National Ossolinski Institute - Museum of the – museum aan huis Simon van Gijn Princes Lubomirski Eindhoven Van Abbe Museum Associate members Piotr Oszczanowski, Jacek Tylicki Enschede Rijksmuseum Twenthe, Paul Knolle portugal Gouda Museum het Catharina Gasthuis, Ewoud Mijnlieff Lisbon Museu Calouste Gulbenkian, Maria Rosa Azevedo Groningen Groninger Museum, Christian Jörg Cardoso Figueiredo Haarlem Frans Halsmuseum, Pieter Biesboer, Michel Kersten Museu Nacional de Arte Antiga Teylers Museum, Carel van Tuyll van Serooskerken puerto rico Heino Hannema-de Stuers Fundatie Ponce Museo de Arte de Ponce Hoorn Westfries Museum romania Leerdam Hofje van Aerden Bucharest Library of the Romanian Academy, Catalina Macovei Fries Museum National Museum of , Dana Bercea, Princessehof Leeuwarden Mariana Dragu Leiden Prentenkabinet Universiteit Leiden, Jef Schaeps Sibiu Muzeul Nat,ional Brukenthal, Alexandru Lungu, Stedelijk Museum de Lakenhal, Jetteke Bolten-Rempt, Sanda Marta, Maria Ordeanu Christiaan Vogelaar russian federation Loosdrecht Kasteel-Museum Sypesteyn Irkutsk Irkutsk Regional Art Museum, Maastricht Bonnefantenmuseum, Peter van den Brink Tatyana Petrovna Ogorodnikova Middelburg Zeeuws Museum Kazan Kazan State Museum of Fine Arts Nijmegen Museum Het Valkhof, Pieter Roelofs Moscow The Pushkin State Museum of Fine Arts, Otterloo Kröller-Müller Museum Natalja Markova, Vadim Sadkov, Marina Senenko Rotterdam Atlas van Stolk, Carl Nix Nizhny Novgorod State Museum Museum Boijmans Van Beuningen, Pavlovsk Pavlovsk Palace, Ludmila Koval, Nina Stadnitchuk Peter van der Coelen, Albert Elen, Jeroen Giltaij, Perm Perm State Art Gallery codart Courant 8/June 2004 46

Peterhof Peterhof Palace National Museum Stockholm Nationalmuseum, Görel Cavalli-Björkman, Pskov Pskov State Union Historical-Architectural and Carina Fryklund, Karin Sidén, Mårten Snickare Art- Museum Preserve switzerland Pushkin Tzarskoje Selo, Larisa Bordavskaya Basel Kunstmuseum Basel St. Petersburg Hermitage, Boris Asvariszh, Natalia Babina, GenevaMusée d’Art et d’Histoire Roman Grigoryev, Natalia Grizaj, Alexei Larionov, Sankt Gallen Kunstmuseum St. Gallen Irina Linnik, Mikhail Piotrovsky, Irina Sokolova, Winterthur Kunstmuseum Winterthur, Dieter Schwarz, Sergei Stroganov Peter Wegmann Kunstkamera, Anna Radziun Museum Briner und Kern,Peter Wegmann St. Petersburg International Center for Preservation Museum Oskar Reinhart am Stadtgarten Saratov Saratov State Art Museum named after Zürich Graphische Sammlung der ethZürich, A.N. Radishev Michael Matile Smolensk Smolensk State Museum-Reserve Kunsthaus Zürich, Christian Klemm Tambov Tambov Fine Arts Museum, Tamara Schestakowa Sammlung E.G. Bührle Tambov Oblast Picture Gallery ukraine Tula Tula Regional Art Museum Kiev Bogdan and Varvara khanenko Museum of Art, Tver Tver Art Museum, Tatyana Kuyukina E.N. Roslavetz, Olena Victorivna Zhivkova Voronezh Voronezh Region Art Museum usa scotland Allentown, Pennsylvania Allentown Art Museum Edinburgh National Gallery of Scotland, Emilie Gordenker Atlanta, Georgia High Museum of Art Palace of Holyroodhouse Michael C. Carlos Museum, Emory University Torrie Collection, University of Edinburgh Baltimore, Maryland Baltimore Museum of Art, Susan Dackerman Glasgow Burrell Collection, Robert Wenley Walters Art Gallery, Joaneath Spicer Kelvingrove Art Gallery and Museum Berkeley, California Berkeley Art Museum Hunterian Museum and Art Gallery, Peter Black Birmingham, Alabama Birmingham Museum of Art The Hill of Tarvit (Fife) Hill of Tarvit Mansionhouse & Garden (National Bloomington, Indiana Indiana University Art Museum Trust for Scotland) Boston, Massachusetts Isabella Stewart Gardner Museum, Alan Chong serbia Museum of Fine Arts, Ronni Baer, Tom Rassieur Belgrade National Museum, Tatjana Bosnjak Brooklyn, New York Brooklyn Museum of Art slovak republic Brunswick, Maine Bowdoin College Museum of Art Bratislava Gallery of the town Bratislava Buffalo, New York Albright-Knox Art Gallery Slovak National Gallery, Ivan Rusina Cambridge, Massachusetts Fogg Art Museum,Ivan Gaskell, William Robinson Associate member Ingrid Ciulisová Harvard University Art Museums, Ron Spronk south africa Champaign, Illinois Krannert Art Museum Cape Town Michaelis Collection, Hayden Russell Proud Chapel Hill, North Carolina The Ackland Art Museum South African National Gallery Chicago, Illinois The Art Institute of Chicago, Martha Wolff William Fehr Collection Cincinnati, Ohio Cincinnati Art Museum, Marjorie Wieseman Durban Durban Art Gallery The Taft Museum Johannesburg Johannesburg Art Gallery Cleveland, Ohio The Cleveland Museum of Art Kimberley William Humphreys Art Gallery Corning, New York The Corning Museum of Glass PretoriaPretoria Art Museum Dallas, Texas Dallas Museum of Art spain Dayton,Ohio Dayton Art Institute Royal Palaces Denver, Colorado Denver Art Museum Aranjuez Palacio Real Detroit, Michigan Detroit Institute of Art, George Keyes Barcelona Museu Nacional d’Art de Catalunya, Durham, North Carolina Duke University Museum of Art Francesc Ruiz i Quesada Fort Worth, Texas Kimbell Art Museum Bejar Museo Municipal Glen Falls, New York The Hyde Collection Madrid Colleción de la Duquesa de Alba Greenville, South Carolina Bob Jones University Museum and Gallery, Monasterio de las Descalzas Reales, Ana García Sanz John Nolan Museo Cerralbo Hartford, Connecticut Wadsworth Atheneum Museum of Art, Eric Zafran Museo Nacional del Prado, Teresa Posada Kubissa, Houston, Texas Sarah Campbell Blaffer Foundation Pilar Silva, Alexander Vergara, Rocio Arnaez (associate) Indianapolis, Indiana Indianapolis Museum of Art, Ronda Kasl Museo Lázaro Galdiano, Mercedes Royo Villanova Ithaca, New York Herbert F. Johnson Museum of Art, Museo de la Real Academia de Bellas Artes de San Franklin Robinson Fernando, Mercedes González de Amezúa Jacksonville, Florida Cummer Museum of Art and Gardens Museo Thyssen-Bornemisza Kansas City, Missouri The Nelson-Atkins Museum of Art Patrimonio Nacional, Concha Herrero, Lawrence, Kansas Spencer Museum of Art, Stephen Goddard Ana García Sanz, Leticia Sánchez Los Angeles, California The J. Paul Getty Museum, Lee Hendrix, Scott Schaefer Real Monasterio de la Encarnación Los Angeles County Museum of Art, Mary Levkoff, PontevedraMuseo de Bellas Artes Jean-Patrice Marandel Sevilla Museo Provincial de Bellas Artes Louisville, Kentucky The Speed Art Museum, Ruth Cloudman, Scott Erbes Vigo Museo Municipal Quiñones de León Madison, Wisconsin Elvehjem Museum of Art, University of Wisconsin- sweden Madison, Maria Saffiotti Dale Göteborg Göteborgs Konstmuseum, Björn Fredlund Manchester, New Hampshire Currier Gallery of Art 47 codart Courant 8/June 2004

Merion Station, Pennsylvania The Barnes Foundation Sacramento, California Crocker Art Museum Miami Beach, Florida The Bass Museum of Art, Ruth Grim St. Louis, Missouri St. Louis Art Museum, Jim Burke Minneapolis, Minnesota The Minneapolis Institute of Arts St. Petersburg, FloridaMuseum of Fine Arts, St. Petersburg New Haven, Connecticut Yale University Art Gallery Salt Lake City, Utah Utah Museum of Fine Arts New Orleans, Louisiana New Orleans Museum of Art San Diego, California San Diego Museum of Art, Steven Kern New York, New York The , Louisa Wood Ruby Timken Art Gallery The Metropolitan Museum of Art, Maryan Ainsworth, San Francisco, California California Palace of the Legion of Honor Museum , Thomas P. Campbell, Timothy Husband, Walter Liedtke, Lynn Federle Orr Nadine Orenstein, Michiel Plomp De Young Memorial Museum. The Morgan Library San Marino, California The Huntington Art Collections Museum of Modern Art Sarasota, Florida John and Mable Ringling Museum of Art The New York Historical Society Seattle, Washington Seattle Art Museum, Chiyo Ishikawa New York Public Library, Elizabeth Wyckoff Springfield, Massachusetts Museum of Fine Arts Norfolk, VirginiaChrysler Museum of Art Toledo, Ohio The Toledo Museum of Art, Lawrence Nichols Northampton, Massachusetts Smith College Museum of Art Washington, D.C. Corcoran Gallery of Art Oberlin, Ohio Allen Memorial Art Museum National Gallery of Art, John Hand, Peter Parshall, Pasadena, California Norton Simon Museum, Gloria Williams Arthur Wheelock Philadelphia, Pennsylvania Philadelphia Museum of Art, Katie Luber Williamstown, Massachusetts Sterling and Francine Clark Art Institute Phoenix, ArizonaPhoenix Art Museum Williams College Museum of Art Pittsburgh, Pennsylvania Carnegie Museum of Art Worcester, Massachusetts Worcester Art Museum,James Welu Ponce, Puerto Rico Museo de Arte de Ponce Associate members George Abrams, Kristin Belkin, Thomas da Costa Portland, Oregon Portland Art Museum Kaufmann, Anne-Marie Logan, Seymour Slive, John Poughkeepsie, New York The Frances Lehman Loeb Art Center Walsh (Vassar College) vatican Princeton, New Jersey Princeton University Art Museum Vatican City Providence, Rhode Island Museum of Art, Rhode Island School of Design wales Raleigh, North Carolina North Carolina Museum of Art, Dennis Weller Cardiff National Museum of Wales Richmond, VirginiaVirginia Museum of Fine Arts Swansea Glyn Vivian Art Gallery Rochester, New York Memorial Art Gallery, University of Rochester codart Courant 8/June 2004 48

codart dates 1 September-1 March 2005 Low sky, wide horizon: art of the Low Countries in Estonia, Kadriorg Palace, The Kadriorg Art Museum of the Art Museum of Estonia, Tallin. 2004 3 September 2004-9 January 2005 , Albertina, Vienna. December Courant 9, including registration materials 10 September 2004-15 January 2005 Dromen van Dordrecht (Dreaming of Dordrecht), Dordrechts Museum, Dordrecht. for codart achtcongress. 17 September-14 November 2004 Etchings by Rembrandt from the S. William Pelletier collection, Georgia Museum of 2005 Art, Athens, Georgia. 18 September 2004-9 January 2005 De Bataven (The [3 March Opening tefaf, Maastricht.] Batavians), Museum Het Valkhof, Nijmegen. 24 September 2004-9 January 2005 Carel Fabritius 6-8 March codart achtcongress, Dutch and (1622-1654), Mauritshuis, The Hague. 24 September 2004-9 January 2005 La tapisserie flamande du Flemish art in Sweden, Haarlem. xvième au xviiième siècle dans les collections de la Fondation Toms Pauli (16th-cend 17th-century Flemish tapestries from the Late September codart achtstudy trip to collections of Fondation Toms Pauli), Musée Cantonal des Beaux-Arts, Lausanne. Stockholm and surroundings. 2 October 2004-30 January 2005 Drawn by the brush: oil sketches by Peter Paul Rubens, Bruce Museum of Arts and 2006 Sciences, Greenwich, Connecticut. 6 October-26 October 2004 Autour de Rembrandt: le portrait [9 March Opening tefaf, Maastricht.] (Around Rembrandt: the portrait), Hôtel de Ville, Hesdin. 9 October 2004-2 January 2005 Master of the Embroidered 12-14 March codart negen congress. Foliage, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. Mid-March codart negen study trip. 14 October 2004-23 January 2005 Een geschenk aan de stad: de Hollandse meesters van Adriaan van der Hoop (1778-1854) (A gift to the city: the Dutch Old Masters from the collection of Adriaan van der Hoop (1778-1854)), Amsterdams Historisch Preview of upcoming exhibitions and Gemälde und Graphik von Peter Paul Rubens, Jan Brueghel und Museum, Amsterdam. other events, June-December 2004 ihren Zeitgenossen (Pan and Syrinx, an erotic chase: depictions 16 October 2004-9 January 2005 Van Gogh to Mondrian: see also www.codart.nl by Peter Paul Rubens, Jan Bruegel and their contemporaries), modern art from the Kröller-Müller Museum, High Museum Städelsches Kunstinstitut und Städtische Galerie, of Art, Atlanta, Georgia. 2 June-5 September 2004 Johan Barthold Jongkind Frankfurt am Main. 22 October 2004-2 January 2005 Jan Vermeer: The procuress, 1819-1891, Musée d’Orsay, Paris. 11 July-26 September 2004 Top 100: het mooiste uit eigen Staatliche Kunstsammlungen Dresden - Gemäldegalerie 2 June-18 July 2004 Jongkind intime: dessins, estampes et lettres collectie (Top 100: the most beautiful works in our own Alte Meister, Dresden. de Jongkind et son entourage dans la Collection Frits Lugt (The collection), Museum voor Moderne Kunst Arnhem. 23 October 2004-9 January 2005 De magie van het alledaagse: intimate Jongkind: drawings, prints and letters by Jongkind and 13 July-21 July 2004 Course Painting techniques, Jan Steen, en tijdgenoten (The magic of his circle in the Frits Lugt Collection), Institut Néerlandais, Amsterdam-Maastricht Summer University, Maastricht. everyday life: Jan Steen, Johannes Vermeer and their Paris. 17 July-11 October 2004 Flemish and Dutch paintings from contemporaries), Museum Boijmans Van Beuningen, 8 June-30 September 2004 Antoni Waterloo - Tájkarcok the Kunsthistorisches Museum in Vienna, Kobe City Museum, Rotterdam. (Landscape etchings by Antoni Waterloo), Keresztény Kobe. 24 October 2004-9 January 2005 Art from the Court of Múzeum (Christian Museum), Esztergom. 25 July-7 August 2004 Course St. Petersburg art treasures: the Burgundy (1364-1419), Cleveland Museum of Art, 9 June-22 August 2004 Gerard David y el paisaje flamenco Romanovs as collectors of Netherlandish art, European Cleveland, Ohio. (Gerard David and Flemish landscape), Museo Thyssen- University at St. Petersburg, St. Petersburg. 29 October 2004-23 January 2005 Bartholomeus Breenbergh, Bornemisza, Madrid. 8 August-31 October 2004 Peter Paul Rubens: Barocke Joseph distributing corn in Egypt, Barber Institute of Fine 12 June-12 September 2004 Copyright Rubens: Rubens en de Leidenschaften (Peter Paul Rubens: Baroque passion), Arts, Birmingham. grafiek (Copyright Rubens: Rubens and graphic art), Museum Herzog Anton Ulrich-Museum, Braunschweig. 7 November 2004-30 January 2005 , Plantin-Moretus (organized by the Koninklijk Museum 7 August-3 October 2004 Rembrandt und sein Kreis: die National Gallery of Art, Washington. voor Schone Kunsten), Antwerp. Dresdner Zeichnungen (Rembrandt and his circle: the Dresden 26 November 2004-28 February 2005 ‘Fake - not fake’: 12 June-12 September 2004 Rubens in zwart en wit: drawings), Staatliche Kunstsammlungen Dresden - restauraties-reconstructies-falsificaties: het conserveren van de reproductiegrafiek 1650-1800 (Rubens in black and white: Kupferstich-Kabinett, Dresden. Vlaamse Primitieven in België, ca. 1930-1950 (‘Fake - not fake’: reproduction prints 1650-1800), Rockoxhuis, Antwerp. 30 August-17 October 2004 Szenen aus dem Buch Tobias aus restorations-reconstructions-forgeries: the conservation of the 23 June-5 September 2004 Flämische Meister: Bilder für der Tapisseriensammlung des Kunsthistorisches Museum (Scenes Flemish Primitives in Belgium, ca. 1930-1950), Neuburg a. d. Donau (Flemish masters: pictures for Neuburg from the Book of Tobit from the tapestry collection of the Groeningemuseum, Bruges. an der Donau), Alte Pinakothek, Munich. Kunsthistorisches Museum), Kunsthistorisches Museum, 27 November 2004-3 April 2005 Pieter Claesz. stillevens 24 June-22 August 2004 Pan und Syrinx, eine erotische Jagd: Vienna. (Pieter Claesz. still-lifes), , Haarlem.