£3 PRINTS AND DRAWINGS / SEPTEMBER 11-NOVEMBER 4 / PRINT GALLERY THE METROPOLITAN MUSEUM OF ART

"Certain art collectors have some interesting landscapes by Bloemaert. Most of these pictures are farm scenes, with farm implements, peasants, trees and fields - sights to be seen often and in variety near Utrecht. Bloemaert works mostly from nature; he did these farm scenes from life. He has a clever way of drawing with a pen, and, by adding small amounts of water-color, he produces unusual effects.

"Bloemaert has had wide experience in various branches of painting. He gives much character and beauty to many and various subjects. Occasionally he has introduced sunshine, or darkness, or fiery sky-effects, according to his sub­ ject. Animals, cattle, dogs and other objects appear in his works, and each has been done from life. He has painted many little scenes. Although they are not overloaded with detail, they are excellent. They cannot be surpassed, in my opinion.

"He has painted various studies of ponds, with water lillies, iris, and other flowering plants, floating on the water, and there is additional foliage in the foregrounds. These paintings are on canvas; the details are not crowded.

"Because Bloemaert has not wanted anything to distract his mind from creative work, he has not been interested in painting portraits from life. Many of his subjects, compositions, and figures, which he drew with a pen and painted afterwards, in black and white oils, have been engraved in copper by the able Joan Muller. The famous Saenredam has made engravings after Bloemaert1 s work, because he found great interest in the drawings. Saenredam did his best to repre­ sent beautifully and artistically the work of the artist.

"Bloemaert is, in 1604, thirty-seven years old . . ."

(Quotation from Carel van Mander's Schilderboeck, published at Haarlem in 1604 and translated by Constant Van der Wall, New York, 1936, pp.415 f.) Not known ever to have been to Italy, Abraham Bloemaert as a young man spent three years in Paris, where he was exposed to the work of Rosso, Prima- ticcio, and the School of Fontainebleau in general. He worked in Amsterdam in the early I590's, but spent most of his life in Utrecht. What he learned from the Utrecht Caravaggisti is not represented in this exhibition.

The only print signed by Abraham Bloemaert is a small etching of a single standing figure, Juno. It is signed "A Bloem: Fe." (Fe. being an abbreviation of the latin word fecit, meaning: he made it), and was published by Boetius Bolswert, an engraver who himself made over ninety plates after Bloemaert's drawings and paintings. The only other prints ever supposed to have been made by Abraham Bloemaert himself are now thought to be by others. One is an etching of the Holy Family at the Foot of a Tree now called Gerrit Pietersz. Sweelinck, and two land­ scapes with figures, unsigned, which used to be considered as by Bloemaert are now attributed to de Gheyn because one of them is after a signed de Gheyn draw­ ing in Amsterdam, dated 1603. It may be significant that Juno is an etching - a print technique easier for a beginner who already knew how to draw, since it does not require the skilled strength of an engraver's hands. It may also be significant that Juno looks very like the work of Bolswert, who published it, and that the signature has an obscuring flourish in front of the Fe. which ordinarily implies that the artist put the design on the copper himself. In any case, Juno by herself could not represent the importance of Abraham Bloemaert's work. His paintings, of great interest today to students of mannerism, are not easy to see, for they are scattered, and are apt to hide in private collections. It was not until 1972 that the Metropolitan Museum of Art acquired its Bloemaert painting, Moses Striking the Rock. Bloemaert's drawings, on the other hand, are usually represented in any sizable collection of Dutch drawings. He must have spent an immense amount of time drawing; even in his own lifetime he was known for his "clever way of drawing with a pen", and must have taught many others his technique. His son, Frederik, reproduced some of his father's sketches in the "Drawing Book", so that anyone learning to draw could see how to represent the human body seen from various angles or bent in various positions. The ability to attach convincing wings to human bodies was obviously not difficult for Bloemaert, for flying angels, big and little, along with winged deities fill his pictures. Poultry and farm ani­ mals, especially the ever-present ox, Bloemaert studied carefully; his only failure seems to be the cat. Very few exotic animals (elephants, camels, lions) appear, but turkeys and peacocks are to be found in the barnyards as well as in the Gar­ den of Eden. Particularly tantalizing is van Mander's reference to Bloemaert's paintings of ponds with water lillies and iris as though they were numerous.

\

0^ There are any number of confusions in connection with the work of Bloe­ maert which may be cleared up when Dr. Jan Bolten of the University of Leiden publishes his book on the drawings of Bloemaert. Until that moment, when, pre­ sumably, a great many drawings can be seen and compared more easily simply by leafing through a set of illustrations sorted and arranged by a scholar, making definite statements about many of the drawings should be done with care, "signa­ tures" to the contrary. While every artist is allowed by art historians to change his style three times - from early to middle to late - Bloemaert's extremely wide range of drawing styles and techniques often creates suspicions about specific drawings. Actually, Bloemaert lived to be 87 years old, and if dates on some of the drawings can be believed, he was still working when he was 86. Over that span of time it would be strange indeed if his style did not change.

Aside from the natural confusion of Bloemaert's earlier style where it touches the styles of Gerrit Pietersz. Sweelinck, Jacob de Gheyn II and Joachim Wytewael, there are additional confusions because Bloemaert's drawings and paintings were copied by his sons and pupils who were in the process of engraving them. De Gheyn too actually engraved four or five of Bloemaert's drawings, and did not always sign his prints: confusion compounded. See, for example, the cir­ cular Virgin Adoring the Christ Child in a Crescent Moon (number 75; Hollstein VII.172.333), which is a companion piece to a circular Madonna, Child and Little St. John (Hollstein VII.172.334) represented here by David Daniels' drawing (num­ ber 14). Not only were Bloemaert's drawings and paintings copied, but his prints too are sometimes found squared for transfer even when they were not made to be copied like the "Drawing Book". In at least one case the information offered by the printmakers is suspect: the Rest on the Flight into Egypt or Holy Family Under a Tree engraved by J. Honervogt, says it is after Abraham Bloemaert, but the same picture in reverse (illustrated in Hollstein V.262.29) was engraved by Z. Dolendo "after J. de Gheyn".

If this exhibition helps eliminate any of the many confusions it will have been useful. If it reflects Bloemaert as an artist of his time aware of the latest fashions in painting but using them less and less until the theatrical tricks of mannerism are no longer visible, there will have been a certain measure of suc­ cess: Bloemaert was not just a mannerist.

Our lenders, who so enriched this exhibition, must be mentioned with special gratitude. Most helpful and deserving of thanks are Dr. Julius Held, Mrs. Ann Lowenthal, C.F.Louis de Wild, Dean Walker and John Walsh.

188577 PAINTING

ABRAHAM BLOEMAERT (1564-1651)

1. Moses Striking the Rock 1596 Gift of Mary V. T. Eberstadt, by Exchange, 1972.171

DRAWINGS

ABRAHAM BLOEMAERT (1564-1651)

2. Farm Scene Pen and brown ink, brown wash over black chalk, incised. 6 1/4x8 7/16 inches (161 x 215 mm.) Lent from the Collection of Maida and George Abrams, Boston, Mass.

3. Two Men with a Poultry Basket Pen, brown ink, brown wash over black chalk. 4 3/4x3 1/2 inches (121 x 88 mm.) Lent from the Collection of Maida and George Abrams, Boston, Mass.

4. The High Priest Aaron Pen and brown ink, brown wash, over black chalk, heightened with white. 12 1/8 x 8 15/16 inches (305 x 229 mm.) Lent by the Museum of Fine Arts, Boston. Mary L. Smith Fund, 57.610.

5. Piety Black chalk, heightened with white. 7 5/8x6 1/4 inches (193 x 159 mm.) Inscribed "A.Bloomart" bottom left, by a later and presumably English hand Collector's mark of Joseph Van Haecken (Lugt 2516), of John MacGowan (Lugt 1496) and of Richard Johnson (Lugt 2216). Engraved in 1610 by W. Swanenburgh. Lent by the Cooper-Hewitt Museum of Decorative Arts and Design, Smithsonian Institution.

6. Holy Family with St. John and Three Angels Black, red and white chalk, light gray wash. 6 5/16 inch diameter (160 mm.) Lent by J. Theodor Cremer 7. A Cottage Pen and brown ink over black chalk; pink, green, brown and gray washes 5 5/8x7 1/8 inches (143 x 181 mm.) Collector's mark of John Thane (Lugt 1544), and of John, Viscount Hampden (?) (Lugt 2837) Lent by J. Theodor Cremer

8. A Gatehouse and Wall Pen and brown ink; pale pink, pale green, and light gray washes over black chalk. 5 13/16 x 7 1/8 inches (124 x 182 mm.) Lent by J. Theodor Cremer

9- Interior of a Barn Pen and dark brown and black ink; gray, pink, yellow, brown and green washes 5 1/4x7 3/8 inches (133 x 187 mm.) Collector's mark of Dr. George L. Laporte (Lugt 1170) Lent by J- Theodor Cremer

10. Ruined Houses Pen and brown ink over black chalk; pink, gray and yellow washes 6 3/8x8 1/2 inches (162 x 216 mm.) Collector's mark of Dr. George L. Laporte (Lugt 1170) Lent by J. Theodor Cremer

11. Studies of Hands Black, red and white chalk. 10 3/8 x 6 1/8 inches (258 x 155 mm.) Partially engraved in the "Drawing Book", plate 32 Lent by David Daniels

12. Seated Male Nude: Study for St. John Preaching in the Wilderness Black chalk. 8 1/8x6 1/2 inches (210 x 166 mm.) Inscribed: "a bloemart" in pen, lower right. Lent by David Daniels

13. Male Nude in a Rustic Landscape, 1650 Pen and brown ink, brown wash over black chalk, heightened with white. 7 3/4 x 10 1/2 inches (198 x 261 mm.) Lent by David Daniels 14. Madonna, Child, and Little St. John Pen, dark brown ink, lighter brown wash over black chalk. 6 7/8 inch diameter (175 mm.) Collector's pen and ink paraph lower right, unidentified Previously thought to be by Joachim Wtewael, this drawing was engraved. The print too is unsigned, but is listed and reproduced in Hollstein (VII.172.334) as the work of Jacob de Gheyn II after Abraham Bloemaert. Lent by David Daniels

15- The Ritual Washing of the Israelites, 1616 Pen and brown ink over black chalk, pale blue-green wash. 13 1/2 x 19 3/16 inches (330 x 488 mm.) Inscribed center bottom: A.Bloemaert fe. 1616 Collector's signature in pen, verso: Kange Dowland (Lugt 691) Lent by David Daniels

16. The Adoration of the Shepherds Pen and ink with brown wash over black chalk. 6 3/4x9 3/4 inches (174 x 248 mm.) Lent by the Davison Art Center, Wesleyan University

17. Landscape with a Cottage Pen and sepia ink washed with light blue. 5 3/4x9 inches (146 x 229 mm.) Lent by The Pierpont Morgan Library, New York (I.229A)

18. A Clump of Three Trees Pen and brown ink over black chalk, watercolor in green, yellow and brown with occasional touches of white. 11 1/4 x 7 1/2 inches (285 x 190 mm.) Lent by The Pierpont Morgan Library, New York. Gift of the Fellows (1972.9)

19. Saint Frederick in Bishop's Robes Black chalk with brown wash, squared in black chalk. 16 x 11 7/8 inches (404 x 301 mm.) Engraved by Frederik Bloemaert Lent by The Pierpont Morgan Library, New York. Gift of the Fellows (1961.27) 20. A Festival Procession Black chalk with pale brown wash, heightened with white. 10 1/2 x 15 7/16 inches (266 x 392 mm.) Lent by The Pierpont Morgan Library, New York. Gift of the Fellows (1961.26) 21. Saint Roch Red wash, heightened with white. 11 3/8 x 8 1/2 inches (290 x 215 mm.) Lent by The Pierpont Morgan Library, New York (I.229B)

22. Holy Family at the Foot of a Tree Pen and brown ink with olive-green wash, over black chalk, on tinted paper. 9 1/2x7 3/16 inches (241 x 182 mm.) Chiaroscuro woodblock by Ludwig Businck Lent by The Pierpont Morgan Library, New York (1.229)

23- Study Page of Figures Black chalk, brown wash, heightened with white. 5 7/8x7 7/8 inches (151 x 202 mm.) Lent by Norbert L.H. Roesler

24. The Avenging Angel Pen and brown ink, brown wash over black chalk, heightened with white. 113/4x8 5/8 inches (296 x 219 mm.) Lent by Mrs. Martha M. Smith

25- Annunciation to the Shepherds Pen, dark brown ink, brown wash. 5 5/16 x 8 8/16 inches (135 x 216 mm.) Lent by the Wolf Collection

26. Landscape: Two Trees with Exposed Roots Pen, light brown ink and wash. 7 1/2 x 10 1/2 inches (191 x 269 mm.) Lent by the Wolf Collection

27. Saint John Preaching in the Wilderness Pen and brown ink, light brown wash over black chalk on paper tinted with pink wash. 7 7/8 x 12 3/4 inches (200 x 323 mm.) Although probably not by Abraham Bloemaert himself, this drawing must have been done by someone working in his circle. There are many versions of this subject by Bloemaert in different mediums. These foreground figures appear in a drawing in Berlin (Inv.12195) which has been discussed by C. M. A. A. Lindeman as by Joachim Wtewael. Lent by the Estate of Harry G. Sperling 28. Seated Woman, Old Woman's Head and Five Hands Red and white chalk 5 15/16 x 7 1/8 inches (154 x 180 mm.) Lent by the Estate of Harry G. Sperling

29- Studies of Two Pollard Willows Pen, brown ink, watercolor, traces of black chalk. 8 1/4 x 12 3/16 inches (210 x 310 mm.) The Metropolitan Museum of Art, Rogers Fund, 1970.242.3

30. Ecce Homo Pen and brown ink, brown wash over black chalk. 10 1/2 x 7 1/2 inches (267 x 190 mm.) The Metropolitan Museum of Art, Rogers Fund, 61.2.3

31. Christ and the Adultress Pen and brown ink, brown wash, over black chalk, heightened with white. 13 9/16 x 19 inches (346 x 482 mm.) Signed and dated at lower left margin: A Bloemaert fe 1595 For connections with Joachim Wtewael, see Jacob Bean, "100 Drawings in the Metropolitan Museum of Art", no. 84, and Pamela Osier in "The National Gallery of Canada Bulletin", vol. IV, no. 1, p. 25-27 '1966) The Metropolitan Museum of Art, Rogers Fund, 62.44

32. Kneeling Female Figure Red chalk 10 3/8 x 7 1/16 inches (264 x 179 mm.) The Metropolitan Museum of Art, Rogers Fund, 65.131-4

33- Saint Paul Black chalk, brown and gray wash, touches of red chalk, heightened with white. 9 5/16 x 6 1/2 inches (238 x 166 mm.) Engraved by W. Swanenburgh, and very close to the figure of Saint Spiridion plate 6 of the set of hermit saints engraved by Boetius Bolswert in 1610. The Metropolitan Museum of Art, Rogers Fund, 66.618.3 PRINTS

All of the prints in this exhibition are from the collection of the Metropolitan Museum of Art, and are engravings unless otherwise designated. They are all after Abraham Bloemaert's drawings or paintings. The H. reference is to F. W. H. Hollstein's "Dutch and Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700", volume two of which, published in Amsterdam in 1950, contains Bloemaert.

ABRAHAM BLOEMAERT

Born 1564 at Dordrecht, died 1651 at Utrecht. Pupil of his father, Cornelius and of Joos de Beer; 1580-1583 in Paris with H. Francken; 1591 in Amster­ dam for several years, then returned to Utrecht.

34. Juno Etching H.II.61.4 state I The only print signed by Abraham Bloemaert: etched in the plate at the bottom is "ABloem:Fe". Harris Brisbane Dick Fund, 33-52.4

JOHAN BARRA

Born 1581 at Bois le Due or Middleburg, died 1634 in England.

35. Parable of Satan Sowing Mischief H.II.65.2 H.I.91-30 Elisha Whittelsey Fund, 49-95-858

CORNELIS BLOEMAERT

Born 1603 at Utrecht, died 1684 in Rome. Pupil of his father, Abraham Bloemaert, and of Honthorst and de Passe; in Paris in 1630 and then to Rome.

36. Pastoral Scenes H.II.65.27-42 H.II.77.212-215 Elisha Whittelsey Fund, 49-95-532(1,4,3) 37. Pastoral Scenes H.II.65.27-42 H.II.77.212-215 Elisha Whittelsey Fund, 49-95-532(10,8,6)

38. Saint John as a Young Man, Seated in a Wood H.II.65.19 H.II.73.47 Elisha Whittelsey Fund, 49-95.564

39- Virgin and Child Standing on a Crescent Moon H.II.65.10 P. Mariette signed this impression in 1692 Elisha Whittelsey Fund, 49-95-2784

FREDERIK BLOEMAERT

Born about 1610 at Utrecht, died there about 1669- Pupil of his father, Abraham Bloemaert.

40. The Drummer, the Standard-bearer, and the Climber from a set known as the "Beggars" H.II.65.214-243 Elisha Whittelsey Fund, 49-95.522(23,13,12)

41. Saint Frederick from a set of "The Archbishops and Bishops of Utrecht" H.II.65.66 H.II.84.6 Elisha Whittelsey Fund, 63617.67

42. Landscape with a Hermit H.II.66.323 H.11.93.268 Elisha Whittelsey Fund, 49-95.2772

43- Landscapes with Farm buildings H.11.94.269-278 Elisha Whittelsey Fund, 49-95-494,492

44. Tree Study with a Hunter Plate 8 from a series of Landscapes H.II.95.279-293 Elisha Whittelsey Fund, 49-95-484 45- Tree Study with a Man and his Dog From a series of Landscapes H.II.95.279-293 Elisha Whittelsey Fund, 49-95-487

46. Tree Study with Travellers Plate 15 from a series of Landscapes H.II.95.279-293 Elisha Whittelsey Fund, 49-95-491

47. Tree Study with a Sleeping Man From a series of Landscapes H.II.95.279-293 Elisa Whittelsey Fund, 49-95-493

48. Title Page of "The Drawing Book" Etching with two woodcut tone blocks H.II.65-94-213 H.II.86.36-155 Elisha Whittelsey Fund, 49-95-497(1)

49- Title Page to Part Two of "The Drawing Book' H.II.65-94-213 H.II.86.36-155 Elisha Whittelsey Fund, 49-95-497(21)

50. Studies of Hands Plate 32 of "The Drawing Book" H.11.65.94-2J3 H.II.86.36-155 Elisha Whittelsey Fund, 49-95-497(32)

51. Charity Plate 40 of "The Drawing Book" H.II.65.94-213 H.II.86.36-155 Elisha Whittelsey Fund, 49-95-497(40)

52. The Skater Plate 62 of "The Drawing Book" H.II.65.94-213 H.II.86.36-155 Elisha Whittelsey Fund, 49-95-497(62) 53- Holy Family Plate 75 of "The Drawing Book" H.II.65.94-213 H.II.86.36-155 Elisha Whittelsey Fund, 49-95.497(75)

54. Plate from "The Drawing Book" H.II.65.94-213 H.II.86.36-155 Elisha Whittelsey Fund, 49.95.497

55- An Outhouse, from a series of Landscapes with Figures H.II.95.279-293 Elisha Whittelsey Fund, 49.95.480

56. Landscapes H.II.95.279-293 Elisha Whittelsey Fund, 49-95-478,490

57. Landscapes with Farmhouses H.11.66.324-333 H. II. 94.269-278 Elisha Whittelsey Fund, 49.95.533(4,7,8)

58. Tree Studies H.11.66.324-333 H.11.94.269-278 Elisha Whittelsey Fund, 49-95.533(2,5)

59- Studies of Leaves H.11.66.324-333 H.II.94.269-278 Elisha Whittelsey Fund, 49-95-533(1)

BOETIUS ADAMS BOLSWERT

Born 1580 at Bolsward, died 1633 at Antwerp. Pupil of Abraham Bloemaert; worked 1611-1617 in Haarlem, Amsterdam and Brussels; after 1620 in Antwerp.

60. Adoration of the Shepherds, 1618 H. II. 66.350 H.III.61.4 Elisha Whittelsey Fund, 49-95-604 61. Juno H. II. 66.443 H. III. 64.284 Elisha Whittelsey Fund, 49-95.554

62. Landscapes, with the Holy Family and with Jupiter and Ganymede H.II.66.439-442 Elisha Whittelsey Fund. 49-95.534(4,1)

63- Pastoral Scenes. 1611 H.II.66.406-419 H.III.67.324-33" Elisha Whittelsey Fund, 49-95.525(3,2,5)

64 Pastoral Scenes, 1611 H. II. 66.406-419 H.III.67.324-337 Elisha Whittelsey Fund, 49.95.525(7,8,9)

65. Pastoral Scenes, 1611 H.11.66.406-417 H.III.67.324-337 Elisha Whittelsey Fund, 49.95-525(11,12,13,14)

66- Rest on the Flight into Egypt H.11.66.351 H.III.61.5 Elisha Whittelsey Fund, 49.95.2769

67. Saints Spiridion, Ephrem, Hilarion, and Anthony from the set "Silva Anachoretica", 1610 H. II. 66.355-378 H.III.63.96-119 Compare the figure of St. Spiridion with that of St. Paul in Abraham Bloemaert's drawing and in Swanenburgh's engraving. Elisha Whittelsey Fund, 49-95-523(7,12,11,5)

68. Three Hermit Saints from the set "Ad Sacrum Speculum", 1613 H.11.66-355-378 H.III.63-96-119 Elisha Whittelsey Fund, 49.95-523(12,11,5) 69- Tobias and the Angel Below, a reverse copy, probably by C. J. Visscher H.II.69-590-595 H.III.68.358-361 Elisha Whittelsey Fund, 49-95.534(3),535

70. The Virgin of Seven Sorrows H.11.66.353 H.III.63-91 Elisha Whittelsey Fund, 66-559-78

NICLAES DE BRUYN

Born 1571 at Antwerp, died 1656 at Rotterdam. Pupil of his father, Abraham de Bruyn, of A. Londerseel and of C. de Passe. After 1617 in Rotterdam.

71. The Golden Age, 1604 H.II.67.459 H.IV.19-129 Elisha Whittelsey Fund, 66.559-79

JOHAN THEODORE DE BRY

Born 1561 at Liege, died 1623 in.Frankfort. Pupil of his father, Theodore de Bry.

72. The Golden Age H. II. 67.462 H.IV.32.14 state I Elisha Whittelsey Fund, 49-95-2771

LUDWIG BUSINCK

Born about 1590 in M'unden, Westphalia, where he died in 1669 after returning from Paris, where he had settled in 1630.

73. Holy Family Chiaroscuro woodcut in three blocks H.II.67.463 H. (German) V.179-4 Jacob S. Rogers Fund, 22.67.91 JACOB DE GHEYN, II

Born 1565 at Antwerp, died 1629 in The Hague. Pupil of his father, and of H. Goltzius. 1585-1594 in Haarlem, 1598 in Leiden, 1594 in The Hague, 1627 in Amsterdam.

74. Miracle of the Loaves and Fishes, 1595 H.11.67.470 H.VII. 172.332 P. Mariette signed this print on the back in 1670 Elisha Whittelsey Fund, 49-95.2758

75- Virgin Adoring the Christ Child in a Crescent Moon H.VII.172.333 Elisha Whittelsey Fund, 53-601-336(83)

JACQUES HONERVOGT

Born in Cologne; moved to Paris in 1608.

76. Rest on the Flight into Egypt Not catalogued. Honervogt has inscribed it "Abraham Blomaert inven.", but the same picture was engraved in reverse by Z. Dolendo, who inscribed his "J. de Gheyn inven." (H. V.262.29, illustrated) Elisha Whittelsey Fund, 49-95-2788

GASPAR HUYBRECHTS, called Huberti

Born in 1619, died in 1684. Engraver and print publisher in Antwerp.

77. The Virgin of Sorrows Not in Hollstein. Reverse copy, adapted, of Bolswert H.II.66.353- Elisha Whittelsey Fund, 49-95-2786

JACOB MATHAM

Born 1571 at Haarlem, where he died in 1631- Pupil of his stepfather, H. Goltzius; 1593-1597 in Venice and Rome; 1598 settled in Haarlem.

78. Abraham and Hagar, 1603 H. 11.67.475 H.XI.216.2 Elisa Whittelsey Fund, 49-95-601 79. Adoration of the Shepherds H. 11.67.479 H.XI.217.34 Elisha Whittelsey Fund, 49-95.2765

80. Danae and the Golden Rain of Jupiter, 1610 H.II.67.490 H.XI.227.198 Gift of Harry G. Friedman, 1958, by Exchange, 1970.577.1

81. Holy Family with Angels H.II.67.478 Elisha Whittelsey Fund, 49-95.2764

82. Madonna, Child and Two Angels, 1599 H.II.67.480 Harris Brisbane Dick Fund, 48.67-4

83- Parable of Satan Sowing Mischief, 1605 H.II.67.488 Elisha Whittelsey Fund, 49-95-579

JACOB MATHAM (1571-1631)

84. Saint Veronica, 1605 H.II.67.482 H.XI.226.161 state II Elisha Whittelsey Fund, 67.719.5

85- Virgin and Child Seated on a Crescent Moon, 1607 H.II.67.481 Elisha Whittelsey Fund, 58.533-11

HERMAN JANSZ. MULLER

Born about 1540 in Amsterdam, where he died in 1617. Worked for Jerome Cock in Antwerp; after 1566 in Amsterdam.

86. Flora H.XIV.103-109 Elisha Whittelsey Fund, 49.95.2759 CRISPIJN DE PASSE, the elder

Born about 1565 at Arnemuiden, died 1637 in Utrecht. Worked at Antwerp 1584-1585; Aix-la-Chapelle 1589-1590(?); Cologne 1594-1610; at Utrecht after 1612.

87. Annunciation to the Virgin H.II.68.495 Elisha Whittelsey Fund, 49.95-504

88. Annunciation to the Shepherds H.H.68.494 Elisha Whittelsey Fund, 49-95.857

JAN SAENREDAM

Born 1565 in Saerdam, died 1607 in Assendelft. Pupil of J. de Gheyn and H. Goltzius.

89. Adam and the Animals in Paradise, 1604 H.H.68.515 Elisha Whittelsey Fund, 59-508.81

90. Adam and Eve Forced to Leave Paradise H.II.68.518 Elisha Whittelsey Fund, 59-508.82

91- The Annunciation to the Shepherds, 1599 H.11.68.526 Elisha Whittelsey Fund, 49-95.605

92. Cain and Abel H.11.68.520 Elisha Whittelsey Fund, 59-508.83

93- Elijah and the Widow of Zarephath, 1604 H.H.68.521 Elisha Whittelsey Fund, 49-95-606

94. Elijah and Elisha, 1604 H.II.68.522-523 Elisha Whittelsey Fund, 49-95.2754-2755 95. Elijah and Elisha, 1604 H.II.68.524-525 Elisha Whittelsey Fund, 49-95-2756-2757

96. Landscape with Jupiter and Ganymede H.II.69-529 Elisha Whittelsey Fund, 49-95.508

97. Memento Mori H.II.69.533 P. Mariette wrote his name on the back of this print in 1674 Elisha Whittelsey Fund, 49.95.498

98. The Prodigal Son H.II.68.528 Elisha Whittelsey Fund, 49-95.602

99. Vanity H.II.69.532 Elisha Whittelsey Fund, 56.595-19

ANDRIES JACOBSZ. STOCK

Born about 1580 in Antwerp, died 1648 in The Hague. Pupil of J. de Gheyn.

100. Adoration of the Shepherds H.JJ.69-544 Elisha Whittelsey Fund, 49-95.557

WILLEM SWANENBURGH

Born 1581/1582 in Leiden, where he died in 1612. Pupil of his father and of Jan Saenredam.

101. Juno, 1608 H.II.69-558 Elisha Whittelsey Fund, 49-95-2785

102. Piety H.II.69.555 Elisha Whittelsey Fund, 49-95.2796 103. Saint Paul H.II.69-548 Elisha Whittelsey Fund, 49.95.2775

104. Vanity, 1608 H.II.69-558 Elisha Whittelsey Fund, 49-95-2785

105. Vanity, 1611 H.II.69-557 Elisha Whittelsey Fund, 49-95.2779

CLAES JANSZ. VISSCHER, the younger

Born 1586 in Amsterdam, where he died in 1652. Pupil of J. Hondius; carried on the family publishing business.

106. "Verscheyden aerdige Lanthuysen nae t'leven Gekonterfeyt", a series of twenty-five plates with a title plate, was published by Visscher in Amsterdam in 1620. H.II.69.564-589. Harris Brisbane Dick Fund, 1943. Details of the backgrounds of various prints after Bloemaert by other engravers have been successfully amalgamated by Visscher in this set of farm cottages. The biblical and mythological subjects have often completely disappeared, and Bloemaert's portraits of buildings and trees make an enchanting series in which mannerist contrivance evaporates, leaving the fundamental Dutch topography.

Title and plates 2 and 3. See numbers 62 and 69 in this exhibition 43.85.1-3

Plates 4,5,6 and 7. See number 62 in this exhibition 43.85.4-7

Plates 8,9,10 and 11 43.85-8-11 Plates 12,13,14, and 15- See the Parable of Satan Sowing Mischief, no. 83- 43-85-12-15

Plates 16,17,18,19- See no. 96. 43-85-16-19

Plates 20,21,22,23- See the Prodigal Son, no. 98. 43.85-20-23

107. Squash vines and tree trunks 43.85.26

UNKNOWN ENGRAVER, XVII CENTURY

108. The High Priest Aaron Chiaroscuro: etched outline, two woodcut tone blocks H.II.62.6 Gift of Mr. and Mrs. Daniel B. Fuller, 57.602.12

109. Moses Etched outline H.11.61.5 Elisha Whittelsey Fund, 49.95-565

110. Moses Etched outline with one woodcut tone block H.11.61.5 Harris Brisbane Dick Fund, 44.104.3

111. Moses Etched outline, two woodcut tone blocks H.H.61.5 Gift of Mr. and Mrs. Daniel B. Fuller, 57.602.13

JAN MULLER

Born 1571 at Amsterdam, where he died in 1628. Pupil of his father, H. J. Muller and of H. Goltzius; 1595 in Italy and Antwerp.

112. The Raising of Lazarus H.II.67.492 Elisha Whittelsey Fund, 49-95-578