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Seventeenth-Century Flemish Paintings in South African Collections: a Colonial Heritage

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Seventeenth-Century Flemish Paintings in South African Collections: a Colonial Heritage R ESEARCH Seventeenth-century Flemish paintings in South African collections: a colonial heritage Bernadette Van Haute* My interest in seventeenth-century Flemish line with the requirements of a checklist, none paintings led me to research1 such works in of them is discussed in any detail.3 The main South African public, private and corporate aim of Carman's publication was to expose `a collections.2 As a starting point, Iused Jillian body of interesting and often important paint- Carman's 1994 publication on Seventeenth- ings, many of which have been overlooked in century Dutch and Flemish paintings in South international scholarship through lack of ex- Africa, compiled in collaboration with the posure' *1994:17). Rijksbureau voor Kunsthistorische Documenta- Encouraged by requests from academics in tie *RKD), which offers an overview, in terms of Flanders, Itook up Carman's challenge and empirical data, of what is available in public went to study the artworks in situ. Although it collections. Her checklist includes was initially my intention to add seventeenth- all known paintings in South African public century Flemish artworks in other private col- collections produced by artists who were lections, the results of this search were dis- born and/or died in the 1600s and who appointing. This article presents a report on worked in the Netherlands . Paintings what Idid find, and a brief consideration of the were drawn from state and municipal effects of the disappearance of private col- museums, as well as from private and lections. The focus, however, lies on the public corporate collections with restricted public collections of seventeenth-century Flemish access. Paintings on long-term loan to paintings, the history of which is traced in an public collections have also been included attempt to find an explanation for the choice *Carman 1994:19). of artworks. The quality of the paintings is The majority of the items listed is accompanied investigated on the basis of authenticity, by a tiny black-and-white illustration and, in implying that works, the authorship of which ÐÐÐÐÐÐÐÐÐÐÐ * Bernadette Van Haute is a senior lecturer in the Department of Art History, Visual Arts and Musicology at the University of South Africa. All artworks were reproduced by courtesy of the owners. 65 58 Flemish paintings . Bernadette Van Haute can undisputedly be established, are ranked artworks vary greatly in quality. One privately higher than their imitations and copies as well housed painting is an exquisitely painted, as artworks of contested/unknown authorship. exact copy after David II Teniers's Peasant A statistical analysis of the attributions of the Kermesse of the Amsterdam Rijksmuseum,7 works reveals the paucity of authentic works probably produced by an assistant or avid which can be explained in terms of seven- follower of Teniers. In contrast, the only Flemish teenth-century Flemish art production prac- painting in possession of the Rupert Art Foun- tices. Finally, the present state of the paintings dation is a nineteenth-century version of the in terms of visibility and preservation is evalu- theme of the banker and his wife as devised ated, highlighting the difficulties experienced by Quinten Metsys *listed in their records as by museums and galleries in the face of school of Jan van Eyck),8 a painting of inferior limited funding combined with shifts in policy. quality exacerbated by the poor state of conservation. In Spier Manor House close to PRIVATE COLLECTIONS Stellenbosch, paintings of the private Entho- ven collection are on public display. They The search for seventeenth-century Flemish include a Landscape attributed to Paul Bril,9 paintings in private collections proved extre- an enormous canvas considered to be by the 4 mely difficult and almost futile. Iconsulted Brussels artist Hendrik de Clerck depicting the with museum curators, art collectors, restorers, Raising of Lazarus,10 and The Temptation of St artists and art dealers, the majority of whom Anthony attributed to David II Teniers.11 had no information to share. Local art dealers Since Isaw only a sample of what is still left in in old masters paintings made efforts to assist South Africa in private collections, it is difficult me by contacting their clients and other to establish or even guess their numbers. Iam private collectors, but with very few excep- inclined to draw the conclusion that the major tions the latter were not willing to co-operate private collections of seventeenth-century on this project. Their reasons varied from a total Dutch and Flemish art in South Africa were lack of interest in sharing their artworks with the partly donated or bequeathed to local mu- general public, to a fear of theft and enquiries seums12 and the rest were shipped to Europe from the receiver of revenue. Other collectors as inheritance to descendants or for auction, had already died or taken their prized posses- leaving little of note in private possession in this sions overseas. For example, in the greater country. Sadly, some significant private collec- Durban area, it is estimated that about 80 per tions that were given on loan to South African cent of the private collectors have left the public institutions were withdrawn in the 1950s country in the course of the past decade.5 and 1960s and also left the country. For Although this tendency is related to economic example, the Beit Collection, on loan to the factors and frightening crime statistics, it is South African National Gallery in Cape Town quite ironic that almost a century ago the from June 1949 to 1954, returned to Russbor- Randlords did not consider South Africa the ough House, County Wicklow, Ireland where best place to safeguard their treasures.6 parts of it were sold and donated to the The private collections that Idid gain access National Gallery of Ireland. Similarly, the F. D. to are restricted to the Cape region. The Lycett-Green Collection, on loan to the same 65 59 Flemish paintings . Bernadette Van Haute gallery from February 1948 to May 1954, was Gustrow,18 and The Mocking of Christ in the donated to the City of York Art Gallery *Car- manner of the Master of Saint-Sang.19 One man 1994:114). wonders why the loans remained limited to the South African National Gallery, especially in The implications of the lack of private collec- view of the fact that the Durban Art Gallery tions are far-reaching, especially with regard possesses a Madonna and Child by a follower to the organisation of exhibitions. In the past, of Pieter Coecke van Aelst.20 Unless no effort museums and art galleries could rely on the was made to enrich the exhibit, the further co-operation of private collectors when deduction to be made is that not a single mounting an exhibition on the art of a certain artist, period or theme. Drawing material only Flemish painting of the sixteenth century is from public collections, it is far more difficult to privately owned in South Africa. put together a meaningful ensemble of works, It would appear then, that the little that particularly when those public institutions are remains of sixteenth- and seventeenth-century neither very numerous nor blessed with Flemish paintings in South Africa is largely packed reserves. The February 2001 exhibition housed in public institutions. How these collec- of `Pieter Coecke van Aelst *1502±1550). tions came into being, what they comprise Retable re-united. Fragments of a Flemish and what is being done with them are all Renaissance altarpiece' in the Old Town questions that shed light on their current House in Cape Town demonstrates this very perception as an embarrassing remainder of clearly. The aim of the exhibition was tem- a colonial past and, in more general terms, on porarily to reunite the Cape Town panel of the state of European art in an African country. Pieter Coecke's Descent of the Holy Ghost with the other panels which belonged to the HISTORY OF COLLECTING same retable.13 The exhibition was disappoint- ing in two respects. Of the six panels that it In order to understand the present attitude brought together, only three were original towards this cultural heritage, it is insightful to panels while the other three were full-scale trace its history. Out of the total of 76 Flemish facsimile reproductions. Although one can paintings in South African public collections,21 understand the hesitation of some European 61 works were donated, bequeathed or given institutions to send away valuable works to the on loan by private collectors and 15 were southernmost tip of Africa,14 the public ex- purchased by the museums themselves.22 The pects to see the authentic whole. To frame most important donation of seventeenth-cen- and flesh out the exhibition, the partly recon- tury Dutch and Flemish paintings was made by structed retable was accompanied by a small Max Michaelis in 1914 and later in 1933 by his number of paintings by contemporary artists: wife Lady Michaelis. Following the conditions Virgin with Saviour attributed to Joos van of Max Michaelis's gift, the collection was Cleve 1),15 Saint Anne with the Virgin and housed in a building of its own provided by Child from the workshop of Joos van Cleve,16 the State, namely the Old Town House which Self-portrait of 1548 by Caterina van Hemes- underwent alterations for its conversion into a sen,17 Saint Catherine of Alexandria *c. 1540) gallery *Stevenson 1997:34). The Max Michaelis attributed to the Master of the Retable of collection of 68 works was extended after 65 60 Flemish paintings . Bernadette Van Haute Michaelis's death in 1932,23 when his wife condition that suitable accommodation be presented another 21 Dutch and Flemish found for them' *1997:41).
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