codart Courant 7/December 2003

codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director 12 The influence and uses of Flemish painting nl-1070 ka Amsterdam 3 News and notes from around the world in colonial Peru The Netherlands 3 Australia, Melbourne, National Gallery 14 Preview of upcoming exhibitions [email protected] of Victoria 15 codartpublications: A window on www.codart.nl 3 Around Canada Dutch cultural organizations for Russian 4 France, Paris, Institut Néerlandais, art historians Managing editor: Rachel Esner Fondation Custodia 15 codartactivities in fall 2003 e [email protected] 4 Germany, Dresden, Staatliche Kunst- 15 Study trip to New England, sammlungen Dresden, Gemäldegalerie 29 October-3 November 2003 Editors: Wietske Donkersloot, Alte Meister 23 codartactivities in 2004 Gary Schwartz 5 Germany, Munich, Staatliche 23 codart zevencongress: Dutch t +31 (0)20 305 4515 Graphische Sammlung and Flemish art in Poland, Utrecht, f +31 (0)20 305 4500 6 Italy, Bert W. Meijer’s influential role in 7-9 March 2004 e [email protected] study and research projects on Dutch 23 Study trip to Gdan´sk, Warsaw and and Flemish art in Italy Kraków, 18-25 April 2004 codart board 8 Around Japan 32 Appointments Henk van der Walle, chairman 8 Romania, Sibiu, Brukenthal Museum 32 codartmembership news Wim Jacobs, controller of the Instituut 9 Around the United Kingdom and 33 Membership directory Collectie Nederland, secretary- Ireland 44 codartdates treasurer 10 A typical codartstory Rudi Ekkart, director of the Rijksbureau voor Kunsthistorische Documentatie Jan Houwert, director of the Wegener Publishing Company Paul Huvenne, director of the Koninklijk Museum voor Schone Kunsten, Antwerp Jeltje van Nieuwenhoven, member of the Dutch Labor Party faction 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

Matters, Rotterdam Schwartz Gary Photo issn1388 9559 A Boston taxi during the codart zesstudy trip. codart Courant 7/December 2003 2

A word from the application is honored, we can do our work in ‘I just wanted to send you a brief note to say how very relative financial security for four years. (Fields helpful I find codart’s exhibitions calendar. It is director like experimental theater and music have the only site that provides a comprehensive and greater problems with the four-year reliable overview of Netherlandish exhibitions As I write, in late November 2003, the boards, Cultuurnota, as it is called.) To the lesser around the world and is the first port of call when directors and staffs of hundreds of subsidized extent that we are dependent on subsidy from planning research trips. I regularly recommend the cultural institutions all over the Netherlands, the Flemish government, the lack of long- site to art historians and art lovers in London.’ including codart, are in a state of high term funding is paralyzing. At this moment, Lucy Cutler nervous tension. Their applications for we do not even know whether our grant from Courtauld Institute of Art, London funding from the Ministry of Education, Flanders will be forthcoming for the year 2004, Culture and Science for the period 2005-08 have let alone 2005 and later. ‘I just discovered the essential bibliography today. to be handed in by 1 December, and they are Nerves aside, we are confident that our Wow! Thank you! I’m printing it out right now to agonizing over them. They want to show application to the Dutch authorities for 2005- pass along to our librarian at the Museum.’ positive results over the current period, 2001- 08 is a winner. What makes it so is, in the first Betsy Wieseman 04, and present strong arguments for place, the way our members have reacted to Cincinnati Art Museum continuing their good work in a brilliant and made use of codart. We can application that no advisor, bureaucrat or demonstrate that thanks to the facilities we ‘After the codart zescongress in the politician can read without being touched. provide a number of exhibitions have been Trippenhuis in March 2003, I was inspired to write They (read: we) worry about getting all of this held in places like St. Petersburg, Bucharest, an article on the history of this house for the onto paper (or onto the new electronic Rio de Janeiro and Boston, that would Frankfurter Allgemeine Zeitung.’ application form) with the right words and the otherwise not have taken place; a group Dr. Jan Nicolaisen right numbers – not too many, not too few – in identity has been created – museum curators Museum der Bildenden Künste, Leipzig the right boxes. The prose has to be readable, of Dutch and Flemish art – that barely exists the numbers have to be unproblematic. for curators of other schools; spin-off from The success we have enjoyed among our After the introduction of a five-year plan codartgenerates an increase in grants, professional peers over the past years will for arts funding for the period 1988-92, a press attention and advancement for art from allow us to go further in 2005-08 in the somewhat briefer four-year cycle was the Netherlands; public awareness of direction that in the end counts the most – instituted for 1993-96 and the years since. For collections and exhibitions of Dutch and reaching the worldwide audience for art, the an organization like ours, with a clear mission Flemish art has been raised to an museumgoers for whom curators do their and a program that does not vary much from unprecedentedly high level. (In the third week work. By June 2004, when the next issue of the year to year, this has great advantages. If our of November, our prize-winning website courantappears, the Raad voor Cultuur registered its five-millionth hit!) (Council for Culture) will have judged our The codartapplication is enlivened application and passed on its recommendation by direct quotations from members of our to the State Secretary for Culture. At that time organization and the public. It will not be I will write another report from headquarters betraying the confidence of the writers or the on our chances for the next years. Whether or Ministry, I am sure, in reporting some of them not it is as upbeat at this one is uncertain. For to you. that reason, this is the moment to express my thanks to all members of codartwho in the ‘Very important for me as curator was attending the years since our founding in January 1998 have codartcongress – keeping in touch with the made such good use of what we have to offer, latest research trends, exhibitions, other museum and especially to those who have let us know activities and colleagues. For us in Eastern Europe about it. the neighbouring countries are the least known. It Gary Schwartz was useful to have personal contact and find out what was going on in Poland, Russia and the Baltic States. codarthas for me all the values of a professional association (something I miss at home).’ Dana Bercea

Photo Thea Vignau-Wilberg Thea Photo National Museum of Art of Romania, Bucharest 3 codart Courant 7/December 2003

News and notes from benefactors who generously assisted with the monumental canvas by same artist, St. Benedict gallery’s most recent addition of five etchings receiving Totila, king of the Ostrogoths, another around the world from Joost Ritman’s collection. These include a donated by Joey Tanenbaum. Unfortunately, superb impression of the final state of the enchanting late Rembrandt, Woman with australia Rembrandt’s The angel appearing to the a lapdog, languishes rather high up on a wall, Melbourne, National Gallery of Victoria shepherds, 1634, his first etching of a nocturnal making way for a modest but strong Self- In December 2003, the National Gallery of scene, and the rare Woman with the arrow, 1661. portrait by Barent Fabritius. The curatorial Victoria, Melbourne returns to its refurbished The ngv’s collection of Dutch and Flemish staff has proved resistant with respect to new building, which has been closed since 1999. paintings will be on display once more in two attributions, with the Samuel van Designed by Sir Roy Grounds in 1968, the other special galleries, including works by Hoogstraten and Pieter Thys here still given building has been transformed by Italian Jacob Jordaens, Aelbert Cuyp, Thomas de to Gabriel Metsu and Anthony van Dyck. The architect Mario Bellini Associati (Milan) in Keyser, Jacob van Ruisdael, Salomon van agois eagerly anticipating the arrival of partnership with metier3 (Melbourne) to Ruysdael, Meindert Hobbema and Arent de Rubens’s Massacre of the innocents, purchased increase exhibition space by 25 percent. In Gelder. The first exhibition in the dedicated last summer with a donation in mind [see also 2002, the ngvgained a second building, the prints and drawings gallery, Surveying the the contribution by Axel Rüger below; editors]. architecturally acclaimed Ian Potter Centre: centuries, re-introduces Melburnians and A major expansion is currently in planning, to ngvAustralia at Federation Square, where the visitors to the highlights of our international be designed by one-time Toronto resident Australian art collection is now displayed. This works on paper collection, the most Frank Gehry and sponsored in large part by complex is a few minutes walk across the Yarra comprehensive of its kind in Australia. (Other Lord Thomson. River from the St. Kilda Road building, now strengths of this collection are the highly At the National Gallery of Canada, Ottawa, known as ngvInternational. regarded Dürer, Goya and Blake holdings.) David Franklin and a team of scholars brought A new feature of ngvInternational is the Included in this exhibition are prints and together a large selection of drawings from the Rembrandt Cabinet, designed to provide a drawings by Rembrandt, Jacques de Gheyn ii National Gallery’s own collection, and from a display devoted to the ngv’s holdings of the and Arent de Gelder, together with a diverse number of other Canadian public collections, work of the Dutch master, which are unique range of works from the 15th to the 21st to form Dutch and Flemish drawings from the within the southern hemisphere. The ngvis century. The Ursula Hoff Reading Room has National Gallery of Canada (23 May-1 September fortunate in possessing two paintings by also reopened to allow students and scholars 2003). Filling four galleries, this exhibition set Rembrandt that exemplify the artist’s genius access to this collection (by appointment). New the context for a (proposed) major gift of Dutch at both the beginning and end of his career. handbooks on the international paintings and and Flemish drawings from a private collector. Two old men disputing, 1628, was painted in the sculpture, and prints and drawings collections The focus of the collection is the period around artist’s hometown of Leiden when he was in are being launched to coincide with the 1600 and the practice of Mannerism at the his early twenties and is a classic example of opening of our refurbished building and new court of Rudolph iiin Prague. One of its Rembrandt’s early mastery of the fijnschilder displays. We hope many codartmembers highlights is a Goltzius drawing of Hercules, style. Portrait of a white-haired man, 1667, is an will be able to visit our gallery and enjoy our which was here joined by a series of Goltzius outstanding illustration of Rembrandt’s late new facilities. drawings of the same format from Montreal. portraiture style. Executed just two years For further information on our Rembrandt There are also a number of Rembrandt School before the artist’s death, it is one of the last two holdings, see Gregory and Zdanowicz, drawings, including works by Jan Lievens, signed and dated portraits known by his hand. Rembrandt in the collections of the National Gallery Samuel van Hoogstraten, Lambert Doomer The Rembrandt Cabinet also provides a of Victoria, Melbourne 1988 (acquisitions up to and Aert de Gelder, as well as an impressive context in which visitors can view the ngv’s 1988); for our Dutch and Flemish paintings, see sheet by Anthonie Waterloo. Presently on third painting from the Rembrandt school, Ursula Hoff, European paintings before 1800 in the display is Paulus Bor’s stunning Annunciation Rembrandt, dated to the 1660s. This work is now National Gallery of Victoria, Melbourne 1995. ofthe death of the Virgin, on loan from the Hall considered to belong to a group of ‘self Alisa Bunbury and Ted Gott & Knight Gallery in London. portraits’ made for an as-yet-undetermined National Gallery of Victoria, Melbourne On 26 October 2003, the Agnes Etherington purpose, which originated in Rembrandt’s Art Centre, Kingston, opened Gift of genius: a workshop and were painted by one or more of canada Rembrandt for Kingston (to 18 January 2004). This his studio assistants. Around Canada studio exhibition presents the recent donation The Cabinet will also include a changing A number of changes and activities have taken by Drs. Alfred and Isabel Bader of Rembrandt’s display of works on paper by Rembrandt and place in the Dutch and Flemish art world in Head of an old man in a cap (Br. 633, C22). It is Dutch and Flemish artists of the 17th century. Canada over the last years. At the Art Gallery of accompanied by prints by van Vliet and The ngv’s store of Rembrandt prints began in Ontario, Toronto, curator Christina Corsiglia Rembrandt that expand on Rembrandt’s 1891 with the purchase of 11 fine impressions and assistant curator Erin Webster have re- pursuit of emotional expression, and that from the sale of Sir Francis Seymour Haden’s hung the Renaissance and Baroque galleries. illuminate the attribution of the painting and famous collection. It continued to grow The new selection and arrangement shows off the function of the tronie in Rembrandt’s art. throughout the 20th century, with many the strengths of the collection, in particular In November a larger exhibition, drawing notable additions; the holdings now comprise the beautiful Aelbert Cuyp and van Dyck’s from the permanent collection, opened in the about one-third of his printed oeuvre as well Portrait of Michel le Blon. The two monumental Bader Gallery. It focuses on depictions of the as two drawings. The first display in the Gaspar de Crayers now have their own gallery; human figure, with the title Real and imagined Rembrandt Cabinet will pay tribute to several they were recently joined by yet another people (30 November 2003-19 June 2005). codart Courant 7/December 2003 4

Curator David de Witt is presently preparing a expanded edition of this indispensable Semperbau and Theaterplatz. catalogue of the Dutch and Flemish paintings standard work began in 1996 at the Fondation The first extreme floods in the Dresden area currently in the Art Centre’s collection and Custodia. All those acquainted with the book originated in the small rivers in the Erzgebirge those that will enter it from the collection of will understand how much time and money is to the south of the city, and reached Dresden Alfred and Isabel Bader in Milwaukee as part of involved in this operation. The Société Frits itself in the early hours of 13 August. Around a bequest. Also in preparation is an exhibition Lugt pour l’Étude des Marques de Collections 6 a.m. the gallery’s technical staff noticed that on the theme of Tobit in Dutch art, with the was established specifically in order to bring water was beginning to seep into the three Bijbels Museum in Amsterdam as partner. this project to fruition. Fund-raising began underground storerooms, coming in by way of David de Witt with a highly successful sale of donated prints the ventilation shafts and the sewers. Shortly Agnes Etherington Art Centre, Kingston and drawings. The Société Frits Lugt (sfl) afterwards, the decision was taken to evacuate invites all those interested in researching and the storerooms and at around 8 a.m. all france disseminating knowledge of marks, initials, available staff began the task of clearing the Paris, Institut Néerlandais, Fondation Custodia signatures, inscriptions, mounts and all other area. The deeper stores beneath Theaterplatz The Fondation Custodia, housed together with collectors’ marks on works on paper to were the first to be cleared; these contained the Institut Néerlandais in Paris, was founded contribute to and support this new edition. several hundred pictures belonging to third on the initiative of the art historian Frits Lugt Providing supplementary information and parties, a large collection of historic frames and (1884-1970) and in conjunction with the Dutch funds now will enable future generations to parts of two valuable 17th-century Turkish government in 1956. It administers the Frits make use of a priceless store of information tents from the Dresden Armory. As it was not Lugt Collection, which is a remarkable about their predecessors. A computer program long before water levels also began to rise in ensemble of drawings, prints, artists’ letters, has now been developed that contains all the the main storeroom beneath the Semperbau, paintings and rare books. Scholarly research information from the existing volumes and home to two-thirds of the old collection of the relating to these collections, a publishing that will incorporate the new material, musem, the morning’s work was concentrated program and the organization of exhibitions enabling us to publish the forthcoming principally on this area. With the aid of around belong to the various activities of the edition of Les marques de collections in three 200 staff members and helpers from the army curatorial staff. volumes as well as on cd-Rom. The new, and the Saxony Ministry for Science and Art, it We are currently preparing several expanded and revised edition of the book is was possible to clear most of this storeroom by exhibitions and publications. Regards sur l’art planned for 2006. the late afternoon. The paintings were carried hollandais du xviie siècle: Frits Lugt et les frères For more information please contact the Société to the exhibition rooms on the first floor of the Dutuit collectionneurs will be on view from Frits Lugt pour l’Étude des Marques de Collections, Semperbau and quickly stacked there as safely 18 March to 16 May 2004, organized by the 121 rue de Lille as possible, while the staff, with great effort, Fondation Custodia in collaboration with the f- 75007 Paris moved the large-scale works of art, some of Petit Palais, Musée des Beaux-Arts de la Ville t +33 1 4705 7519 which were very heavy, into the Gobelinsaal de Paris. A choice of about 70 of the best works f + 33 1 4555 6535 and surrounding rooms. This evacuation took (paintings, drawings and prints) from both e [email protected] place under very difficult conditions: the institutions will be displayed as a tribute to w www.fondationcustodia.fr power had failed that morning so that neither the collectors Dutuit and Frits Lugt, forming a Stijn Alsteens the lighting nor the freight elevator were presentation of the Dutch Golden Age as well. Institut Néerlandais, Fondation Custodia, Paris working, and by the afternoon the water in The exhibition will be held at the Institut Néerlandais, as the Petit Palais is closed for germany renovation. Jongkind et son cercle., curated by Dresden, Staatliche Kunstsammlungen Rhea Blok (10 June-18 July 2004) at the Institut Dresden, Gemäldegalerie Alte Meister Néerlandais (Hôtel Turgot), will present The television pictures and reports of last autograph letters, drawings and prints by August’s flood disaster in Dresden went all Jongkind and his circle from the Frits Lugt around the world. The aerial images of the Collection. Around the same time, a show of Zwinger in particular, the heart of Dresden’s Jongkind’s work will be held at the Musée Baroque city center and the repository of a d’Orsay. number of large world-class art collections, Our most important project at the were greeted with dismay. The Galeriegebäude moment, however, is the preparation of a Gottfried Semper, which borders the northern revised edition of Frits Lugt’s Les marques de side of the grounds nearest the Elbe, houses collections de dessins et d’estampes. For many the Gemäldegalerie Alte Meister, while the collectors, dealers and art historians, the name management offices, the museum’s photo Frits Lugt is mainly associated with this laboratory and the workshops for restoration, unsurpassed reference work, published in framing and gilding are in the northeastern 1921. A supplement appeared in 1956. The book Zwingerpavillon and adjoining rooms, and in provides an inventory of collectors’ marks and the cellars beneath. Since a comprehensive contains a vast amount of information about renovation project, completed in 1992, three collectors of drawings and prints and their modern storage and packing areas were The painting reserves of the Gemäldegalerie Alte collections. Planning for an improved and accommodated in the cellar beneath the Meister in Dresden after the flood in August 2002. 5 codart Courant 7/December 2003 the main storeroom had risen to a height of spaces using high-efficiency pumps from conditioning for the packed exhibition rooms around 50 cm. The darkness, falling picture various fire services and from a technical relief was installed immediately, using mobile units hooks and the participation of people who had organization in order to protect the large-scale lent by other institutions and museums. The no experience of handling works of art made paintings still in the main storage room. The gallery had to be used as a storeroom, and this the evacuation a very risky procedure for all often desperate attempts of the gallery staff to was another reason why it remained closed involved and for the works of art. By around get sufficient equipment and vehicles to carry until November 2002. 5 p.m., all but six of the gallery’s large-scale out this task were unfortunately not Parallel to the clean-up work, which began paintings and a few canvases without supported, and in some respects were actually immediately, and to which many gallery staff stretchers, which were rolled up around large hindered, by the leaders of the city’s once more devoted themselves whole- drums, had been brought to safety. The emergency task force. heartedly, the restoration of the damaged remaining works of art, whose size meant that On Wednesday, 14 August, staff embarked large-format paintings and rolled pictures was they could only have been transported by way on an emergency inventory of all 2,690 tackled by freelance restorers and by students of the freight elevator, had to remain in the salvaged works of art and 255 frames in order from the Dresden Hochschule für Bildende stores, and ropes were used to tie them as to ascertain the condition of the collections. Künste. Thanks to various generous donations, closely as possible to the ceiling. This spec- To great all-round relief, it was established this restoration work could begin immediately tacular operation turned out to have a been a that not one single work was missing. The and is still continuing today. In addition to very good move, as the water that flooded all final balance of the effects of the flood disaster these donations, in the weeks that followed we of the storerooms over the course of a week on the works of art was remarkable: apart from received many letters from all over the world finally came to a stop around one meter from 17 unstretched canvases that were rolled on from museum colleagues, from restorers and the ceiling. As the two deepest storerooms drums, which had become wet in parts, all the from private individuals, offering many were flooded completely on 13 August, no pictures from the Gemäldegalerie Alte Meister, different kinds of help and support. We were further rescue attempts, aimed at saving the including those which had been suspended very moved by all these expressions of frames, for example, were possible. beneath the ceiling of the storehouse, had sympathy and by the support that was offered, On the following night, water levels in the survived the evacuation without significant and would like to take this opportunity to storerooms and other areas beneath ground damage. However, the 321 historic frames that thank everyone once more, because it was not level including the entrance hall, the had to be left behind in the deepest storerooms possible to respond to every letter last year. important underground machine rooms and beneath Theaterplatz fell victim to the flood. The damage to our workshops and to the operational areas of the gallery, and the The situation in the building, on the other technical ‘hinterland’ of the art gallery has workshops, rose to a height of 150 cm. The hand, parts of which had been under water for seriously hindered our work during the whole deepest underground storerooms had already around two weeks, was devastating, and of the past year, even though the gallery itself completely flooded by this point and no access meant that the gallery had to be closed to the may once more be admired in its former glory. had been possible for some time. public for some time. In addition to the Fortunately, a year having passed, it is now In the course of the following days, storerooms and the workshops in the cellar also possible for us to use our flooded particularly after the second wave of high area, all the technical control centers of the workshops without restriction. The storeroom water at the end of the week (16-18 August), gallery, such as the air-conditioning, the situation, on the other hand, is still most which was now coming in from the direction elevators, and the electrical, heating and unsatisfactory, as we can no longer use the of the Elbe, further efforts were made to reduce security systems, had been completely former underground storerooms. The pictures the level of water in the underground gallery destroyed. The essential temporary air- that are not on display are currently being kept in a temporary storeroom on the northern edge of Dresden. This has caused a great number of problems for the day-to-day running of the museum. Plans are being made for the construction of a modern storage building in the near future, and the directors of the Staatliche Kunstsammlungen Dresden propose that this should be situated in the city centre. This would make a definite improvement to working conditions in the gallery. Uta Neidhardt Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister Translated from the German by Laura Watkinson

The Gemäldegalerie Alte Meister in Dresden during the floods in August 2002. codart Courant 7/December 2003 6

Munich, Staatliche Graphische Sammlung italy photograph of each of the works of art. The In Munich, works by Dutch and Flemish Bert W. Meijer’s influential role in study and volumes dedicated to Liguria and Lombardy artists are mainly housed in the Alte research projects on Dutch and Flemish art in have already been published (1998, 2001-02), Pinakothek (part of the Bayerische Staats- Italy and those relating to Piedmont, the Veneto gemäldesammlungen) and in the Staatliche The Istituto Universitario Olandese di Storia Lazio, and Tuscany are currently in progress. Graphische Sammlung (the collection of prints dell’Arte (Dutch University Institute for Art In the summer of 2002, on the occasion of and drawings of the Bavarian state). On special History) in Florence, under the direction of the publication of the two-volume work occasions, the latter makes guest appearances Bert W. Meijer, has initiated a series of very dedicated to Lombardy, an exhibition entitled at the Alte Pinakothek, for example in 2001-02, important projects, particularly in recent Fiamminghi e Olandesi: dipinti dalle collezioni when Rembrandt auf Papier: Werk und Wirkung years, and has become an essential resource for lombarde was held at the Palazzo Reale in was shown; the show later traveled to the those interested in the study and knowledge of Milan, and at one of the sites of the Pinacoteca Rembrandthuis in Amsterdam. This Dutch and Flemish painting in Italy. Ambrosiana. Organized by Bert Meijer on exhibition, which included drawings by The special relationship that existed from behalf of the Dutch University Institute for Rembrandt and his followers, with works the 15th century onwards between the artistic Art History and enthusiastically supported drawn mainly from the Staatliche Graphische cultures of Italy and that of the Low Countries, by Salvatore Carubba, alderman of the city Sammlung and complemented with selected coupled with the interest that 18th- and 19th- of Milan responsible for culture, this was an loans from other print collections, was very century Italian artists had in the art of this event of great importance, especially successful. So were the events that region, has ensured that there are a large considering that in Italy exhibitions of Dutch accompanied it, such as ‘Music in Amsterdam number of works from the Netherlands and and Flemish art are extremely rare. Alongside in the age of Rembrandt,’ a lecture on Flanders in Italian public collections. Many famous works, the exhibition also highlighted ‘Claudius Civilis and Dutch national Italian museums began as legacies from many lesser-known works, which have now consciousness,’ and a recital of songs by Hooft private individuals or have benefited from become the subject of in-depth study. and Bredero. Apart from a small show of bequests over the course of time. Generally, The exhibition in Milan was just the latest Goltzius’s engravings last spring, an these works have not been studied in any great in a series of initiatives led by Bert Meijer, exhibition on Netherlandish artists in Munich depth, and knowledge about them is limited. which in recent years have resulted in the around 1600 is planned for the near future. With this mind, the Institute embarked upon organization of exhibitions and the Last year, the Bayerische Staatsgemälde- an extensive and painstaking research project, compilation of academic catalogues of sammlungen (Alte Pinakothek) published its aimed at the publication of the multi-volume collections of Dutch and Flemish paintings in voluminous catalogue of painters of the Repertory of Dutch and Flemish paintings in Italian public galleries. Such events included the Flemish Baroque. Compiled by Konrad Renger public collections, edited by Meijer. The project exhibition Luci del nord: dipinti fiamminghi e and Claudia Denk, it also documents the deals with almost 10,000 works of art spread all olandesi del Museo Civico di Cremona, held in results of the scientific research into the works over Italy, and is designed to establish more Cremona in 1998. On this occasion, Francesca in the collection. From 17 October 2003 to precise details about the history and identity Rossi and I also ran a training course on Dutch 18 January 2004, several portraits of Isabella of these pieces, so as to gain a better and Flemish art for teachers in Italian high Brant, wife of Peter Paul Rubens, will be shown understanding of their significance. This is schools. The exhibition was followed in 2001 by at the Alte Pinakothek. From mid-March 2004 done by means of brief entries giving an the publication of the catalogue of Dutch and until the end of June Rembrandt’s Sacrifice of account of technical data, attribution, date, Flemish paintings in the Museo Borgogna in Isaac from the Hermitage in St. Petersburg will provenance, critical reception and by a Vercelli (Museo Borgogna: dipinti fiamminghi e be on display, hanging side by side with the olandesi). The same year saw the appearance of painting of the same subject belonging to the the substantial volume dedicated to works by Alte Pinakothek. Afterwards both paintings will travel to St. Petersburg. Also noteworthy, the Schleißheim Galerie, long closed for renovation, reopened last year, making the Flemish paintings once again accessible to the public. The cabinet of Dutch paintings will reopen in the course of 2004. Although Munich is far away from the Netherlands, and although its orientation in art and architecture is generally more Italian, nevertheless our museums remain strong bulwarks of Dutch and Flemish culture. Thea Vignau-Wilberg Staatliche Graphische Sammlung, Munich

Willem de Poorter, Death and the miser, Museo Corneille de Lyon, Portrait of a man, Museo Civico Ala Borgogna, Vercelli. Ponzone. 7 codart Courant 7/December 2003 non-Italian artists in the Pinacoteca del tra Cinque e Seicento (Istituto Veneto di Scienze, Guelfa in Florence, in the presence of Eugenio Castello Sforzesco in Milan (Museo d’Arte Antica Lettere ed Arti). Giani, alderman for sport and recreation of the del Castello Sforzesco. Pinacoteca: scuole straniere), The intense activity and cultural city of Florence; His Excellency Ronald which contains a large number (around 300) dynamism of the Institute have also had an Loudon, the Dutch ambassador in Rome; of Dutch and Flemish works of art. Many of impact in the Netherlands. For over a decade, Ronald de Leeuw, director of the Rijksmuseum these were part of the 19th-century collection the Museum Catharijneconvent in Utrecht in Amsterdam; and Marco Chiarini, former of Count Lodovico Belgiojoso, one of the most has been host to a yearly symposium, director of the Galleria Palatina in Florence. significant collections of 17th-century organized by the Department of Art History The international flavor and the enthusiastic paintings from the Low Countries in the and Musicology at Utrecht University – where participation of the public made this an whole of Italy. Bert Meijer holds a chair dedicated to the unforgettable event. These initiatives have seen the artistic links between Italy and the The rapid response to initiatives taking collaboration of Dutch and Italian academics Netherlands in the Renaissance and the place in Viale Torricelli also demonstrates that and have been spurred on by the Institute Baroque period – and by the Dutch University the Institute has many friends: university which, with its vast specialized library, Institute for Art History in Florence in professors, museum staff, independent complete with the Iconclass photographs cooperation with the Italian Cultural Institute scholars, students and art lovers. Frequent and other photographic resources, offers in Amsterdam. This symposium allows lectures are given by academics from many appropriate study tools, particularly for Italian international specialists on artistic relations different countries and important exhibitions art historians specializing in Dutch and between the two countries to present the of prints and drawings are held. Some recent Flemish art. In many cases, the working results of their research, and has a different examples: Nel segno di Rembrandt: acqueforti dal relationship (and the friendship, as I can focus each time: Venice and the north (1999), museo ‘Casa di Rembrandt’ di Amsterdam (15 testify) between Italian art historians and Baroque decoration (2000), Lombardy (2001), Prints October-12 December 1999) and Da Leonardo the Institute began at the Scuola di and printmaking (2002), and The twentieth century a Mondrian: disegni del Museum Boijmans Van Specializzazione in Storia dell’Arte (17 November 2003), to mention only the most Beuningen di Rotterdam (6 October-10 December dell’Università Cattolica di Milano, where, recent themes and titles. 2000). As for the exhibitions, one should not from 1996, Bert Meijer holds courses dedicated The artistic relationship between Italy and forget the permanent display of 20th-century to the art of the Low Countries. These courses the Netherlands was the subject of an Dutch sculptures in the garden of the bore fruit in many dissertations and extensive work produced in honor of Bert W. Institute, inaugurated on 28 November 1998, publications, including my own volume (with Meijer on the occasion of his 25th anniversary following the exhibition Dimensioni dell’uomo a preface by Bert Meijer), Robert de Longe a as director of the Institute: Aux quatre vents: a tra Appel e Mitoraj: opere dal Museo ‘Sculture al Cremona: Un maestro fiammingo del Barocco Festschrift for Bert W. Meijer, edited by Anton mare’ di Scheveningen (11 September- italiano (in the series ‘Annali della Biblioteca Boschloo, Edward Grasman and Gert Jan van 8 November 1998). Statale e Libreria Civica di Cremona,’ vol. 51, der Sman (Florence 2002). It contains many The numerous projects and initiatives 2000), and Francesca Rossi’s 2001 Mill’altre contributions bearing witness to the vast carried out by Bert Meijer with academic rigor maraviglie ristrette in angustissimo spacio: Un network of professional relationships and and tireless passion have made the Institute an repertorio dell’arte fiamminga e olandese a Verona friendships that the Institute, through its essential resource for research into Dutch and director, has succeeded in creating. This book Flemish art and its links with Italian art. It is was presented on 6 December 2002, in the probably the success of such initiatives that splendid surroundings of the Palazzo di Parte has led to a reawakening of interest in this area

Volume 2 of the Repertory of Dutch and Flemish paintings in Italian public collections, published by the Dutch University Institute for Art History in Florence, edited by Bert W. Meijer. Bert Meijer in the garden of the Dutch University Institute for Art History in Florence. codart Courant 7/December 2003 8 of study, and is prompting more Italian japan Another exhibition, Dutch art in the age museums to use suitable methods to catalogue Around Japan of Frans Hals from the collection of Frans Hals their own collections. The Museo Poldi Pezzoli From 3 November 2002 to 13 January 2003, an Museum, Haarlem opened at the Niigata in Milan recently entrusted me with the exhibition was held in the National Museum, Bandaijima Art Museum on 7 October 2003; it compilation of academic and educational Kyoto, entitled Rembrandt Rembrandt. It later then traveled to the Toyohashi City Museum records relating to its collection of Dutch and moved to Frankfurt. Although some major of Art and History (6 December 2003- Flemish art. This is part of a general inventory works were shown only at that venue, it was 18 January 2004), and will be on view at the of its collections intended for online nonetheless a good opportunity for the Sakura City Museum of Art from 24 January- publication. Another work in progress is the Japanese audience to admire Rembrandt’s 7 March 2004. catalogue of the Pinacoteca Ambrosiana, works, among them such top pieces as Yoriko Kobayashi-Sato which, as mentioned, contains many Flemish Theanatomy lesson of Dr. Jan Deijman, Samson Mejiro University, Tokyo works of great art-historical importance. and Delilah and the Portrait of Andries de Graeff. Relationships between Italy and the Low However, the manner in which the data on the romania Countries are also a subject of study beyond exhibited works was given was dubious in Sibiu, Brukenthal Museum the borders of Italy, and so many works are both the exhibition itself and in the Japanese- In 2002, thanks to the generous support of this published on the theme that it can be difficult language catalogue: certain words, such as organization, I had the chance to attend to keep track of them all. Monitoring this area ‘school’ and ‘copy,’ and question marks codart vijf. Landing at Brussels airport, and that of Dutch studies on Italian art is regarding the attribution of some works were I was surprised to see the poster of the another task of the Institute, which, together not translated into Japanese. The museum exhibition Jan van Eyck: de Vlaamse Primitieven with the Rijksbureau voor Kunsthistorische claimed that this work had been carried out en het Zuiden featuring Man with a blue cap, Documentatie (Netherlands Institute for Art under the supervision of the organizer; the formerly in the Brukenthal Museum’s History), has produced a most valuable little organizer, on the other hand, said that as he collection. I could not help but think that it book, Bibliografie van Nederlandse kunsthisto- could not read Japanese, there was no way he had taken a whole century for art historians to rische studies met betrekking tot Italië gepubliceerd could check the translated text. This should fully recognize and once again welcome this sinds 1995 (Florence & The Hague 2002). This serve as a word of warning: please be careful if picture in Bruges. In 1902, the catalogue of the details many of Bert Meijer’s contributions, you write for Japanese museums, and make ‘Flemish Primitives’ exhibition had ascribed demonstrating not only his activities as sure you know who is responsible for the the painting to Jan van Eyck, but there were director of the Institute, but also his activities translation! differing opinions expressed as well. I was as a scholar devoted to the theme of Old Master Professor T. Nakamura of Kyoto University extremely touched to see the earliest surviving drawings and to art from the Veneto. Amongst organized a colloquium to discuss portrait by Jan van Eyck, once considered the his most recent publications are: Rembrandt’s paintings on 15 December 2002; pearl of Brukenthal’s gallery, in such – ‘On drawings and Flemish-Venetian participants included Nobert Middelkoop, impressive company in the 2002 Bruges show. relations in the seventeenth century,’ in Amsterdams Historisch Museum; Yoriko It was to be a short-lived joy. Having A.W.F.M. Meij (ed.), Rubens, Jordaens, Van Kobayashi-Sato, Mejiro University; Toshiharu returned to Sibiu, I was looking forward to Dyck and their circle: Flemish master drawings Nanakura, Kyoto University; and Akihiro reading the catalogue, especially the entries on from the Museum Boijmans Van Beuningen, Ozaki, Tohoku University. van Eyck’s portrait and Lorenzo Lotto’s Penitent Rotterdam 2000, pp. 31-39 On 13 September 2003 another Rembrandt St. Jerome, both in the Brukenthal collection – ‘Pietro Mera e le ‘Metamorfosi’ di Ovidio,’ exhibition, Rembrandt and Rembrandt’s school: between 1775 and 1948. The lender of the two in L’arte nella storia: contributi di critica e di the Bible, mythology and ancient history, opened at paintings was the National Museum of Art of storia dell’arte per Gianni Carlo Sciolla, Milan the National Museum of Western Art, Tokyo. Romania, Bucharest, where they are currently 2000, pp. 275-83 Organized by Akira Kofuku, the chief curator held. I soon discovered, however, that the – ‘A propos de quelques dessins de Lambert of the National Museum, Tokyo, it contains provenances given in the catalogue could Sustris,’ in Francesco Salviati et La bella 60 history paintings and 30 prints, among prove quite misleading for the western reader. maniera. Actes des colloques de Rome et de Paris them around ten paintings by Rembrandt To make matters worse, an angry German (1998), Rome 2001, pp. 645-65 himself, e.g. Susanna and the elders and Moses journalist from the Hermannstaedter Zeitung – ‘Some paintings by Sante Peranda,’ in breaking the tablets of the law. In conjunction called the museum after reading a press Zwischen den Welten: Beiträge zur Kunst- with the exhibition, the museum held a communiqué from the National Museum geschichte für Jürg Meyer zur Capellen, symposium on 13 and 14 September. Speakers of Art in a Bucharest paper, which provided Weimar 2001, pp. 122-26 included Jonathan Bikker, Marten Jan Bok, information about the two paintings – ‘Ferrare et le nord,’ in exhib. cat. Une Taco Dibbits, Jan Kelch, Volker Manuth and exhibited in Bruges, but without mentioning Renaissance singulière: La cour des Este à David de Witt from Europe and Canada; and their Brukenthal provenance. The journalist Ferrare, Brussels (Palais des Beaux-Arts) Yoriko Kobayashi-Sato, Akira Kofuku, expected the Brukenthal Museum to protest 2003-04 Toshiharu Nakamura, Tatsushi Takahashi and this omission, and to make an official Raffaella Colace Akihiro Ozaki from Japan. Among the topics statement clarifying the matter. Translated from the Italian by Laura Watkinson discussed were Rembrandt’s patrons, the How had this situation come about? What reception of his Holy family at night, the artist’s were the circumstances that had brought 19 of nudes, issues of originality and imitation in the most important paintings in the the work of his pupils, and the market for Brukenthal Museum from Sibiu in Rembrandt’s work. Transylvania to Bucharest in December 1948? 9 codart Courant 7/December 2003

Samuel von Brukenthal (1721-1803), a Lutheran painter, Rigaud, Carrierra and Magnasco (2) – More recently, a law regarding the fate of Saxon of modest background raised to the were appropriated on the basis of a simple properties seized from religious institutions ranks of baron by Maria Theresa in 1762 and report by a representative of the museum. No gave the Lutheran Church the opportunity to governor of Transylvania from 1777 to 1787, proper legal document was ever signed. It was claim not only the paintings in question, but brought together a collection of around 1,000 a time of terror, when everything was also the whole Brukenthal Museum. 16th- to 18th-century Western European supposedly done in the name of ‘the people.’ Negotiations are currently underway between paintings, as well as prints, manuscripts, Confiscations, deportation and imprisonment representatives of the Ministry of Culture, the incunabula, rare books, coins and medals, were common. In order to destroy all forms of Lutheran Church and the German Forum in antiquities and minerals. Brukenthal free thought, intellectuals were removed from order to find a solution to the matter. displayed these objects in his house in Sibiu their posts (some were even killed) and Open to the public since 1790, the (still the location of the museum), which he replaced by those obedient to the new regime. Brukenthal Museum has had more than two opened to the public in 1790; this makes the Under these circumstances, opposition to the centuries of eventful history. It has managed museum the oldest institution of its kind in seizure of the paintings would have been to overcome many difficult moments, right up southeastern Europe, with remarkable impossible. Nonetheless, the recently to our own day. The extraordinary foundation continuity to the present day. The baron appointed administration of the Brukenthal created by Samuel von Brukenthal will bequeathed his collections to Sibiu’s Lutheran Museum regarded it as a kind of long-term continue to exist, carrying his name down the Gymnasium. In accordance with the collector’s loan and never removed the works from their ages. A first step in doing justice to this name will, dated 1802, the properties and assets were inventory. Moreover, they never accepted the would be to return the assets that have been put together in a trust, run by one of Bruken- transfer of the paintings to Bucharest. Both wrongly taken away. thal’s descendents. The family having become museums were subordinate to the Ministry of Maria Ordeanu extinct in 1872, the same document stipulated Culture, thereby making it possible to Brukenthal Museum, Sibiu that the estate was to be administrated by the maintain a kind of status quo. Some time later, Lutheran Church, of which the school was in an attempt to tip the scales in their favor, united kingdom itself a part. As a result, the Brukenthal the National Museum of Art registered the Around the United Kingdom and Ireland Museum operated under the auspices of the Brukenthal paintings in their own inventory. Apart from Impressionism, the field of Dutch Lutheran Church of Sibiu between 1872 and At the Brukenthal Museum, meanwhile, every and Flemish art is probably the most prolific 1948. new control of the stocks raised the unresolved in terms of exhibitions worldwide. This was Following the Dictate of Vienna (1940), issue of the 19 missing pictures. reflected by a remarkable and uninterrupted the Transylvanian Saxon community was The events of December 1989 finally opened run of major Dutch and Flemish exhibitions recognized as an ethnic German group, the way for negotiations. The Brukenthal in the UK between 1998 (Pieter de Hooch) and directly dependent on, and protected by, the Museum, together with the recently founded 2002 (Inspired by Italy, both exhibitions government of the Third Reich. Their schools, German Forum, maintained that the coincidentally took place at the Dulwich including the Lutheran Gymnasium of Sibiu, paintings and other items should be returned Picture Gallery). By contrast, 2003 in Britain came under the control of the Nazis until 1944, to Sibiu. In the early 1990s, two distinguished has been somewhat quieter, with mostly when the war changed its course. As a result, in art historians, Dr. Theodor Enescu, the new smaller and more focused exhibitions and 1946 the Brukenthal Museum and the director of the National Museum of Art, and displays. Museum of Natural History were to be put Dr. Andrei Ples,u, the first Minister of Culture, The year started with a one-room under the administration of the Romanian agreed to return the paintings to their rightful exhibition at Tate Britain on the Flemish state and to be supervised by the Ministry of owner, the Brukenthal Museum. At the time, a portrait painter Marcus Gheeraerts the National Education. Thanks to the protests of law was needed in order to fulfill the claim, but Younger (1561/2-1636), curated by Karen the Lutheran bishop, this measure was not the new parliament had many other legislative Hearn. The exhibition provided an intriguing immediately put into effect. In 1948, however, measures to pass that were perhaps even more in-depth look at this interesting painter, who with the Communist government’s pressing. The initial enthusiasm for the had settled in Britain early on and developed nationalization of every major private or project waned, and conservative forces took into one of the most important artists of the corporate property, control of the museum over the reins of power; in the end, the laws Elizabethan and Jacobean ages. passed to the state. In September 1948 the regarding cultural heritage and the status of The 17th century was represented by Brukenthal Museum was separated from the museums, so long overdue, did not, in fact, several smaller displays. In conjunction with Brukenthal Lyceum and handed over to the provide the means necessary to solve the the publication of Fred Meijer’s catalogue of Ministry of Arts. In November government matter. The current administration in the Ashmolean Museum’s collection of Dutch officials took charge, and in December Bucharest has made repeated promises to and Flemish still-life paintings, the London 19 valuable paintings were taken from the return the paintings to Sibiu. In 2001 the dealer Paul Mitchell held an exhibition of the permanent collection and transferred to the National Museum of Art reopened to the fine works from this collection in his gallery. newly founded National Museum of Art, public after repairing the serious damage The exhibition underscored the well-known housed in the former royal palace in Bucharest. suffered during the events of 1989. Some of fact that the Ashmolean houses one of the The paintings – works by Jan van Eyck, the Brukenthal paintings were again put on finest groupings of Dutch and Flemish still- Memling (2), Antonello da Messina, Lorenzo permanent display, although this time at least life paintings in this country. Lotto, Pieter Brueghel ii(2), Jacob Jordaens (2), with a label describing their provenance. Much more broadly painted but no less Philip de Koninck, David Teniers ii(2), Philip Moreover, the paintings have traveled quite a exquisite were the oil sketches by Peter Paul Wouwermann (2), a 16th-century German lot in the last few years. Rubens that the Hermitage sent to its codart Courant 6/June 2003 10 outstation in London’s Somerset House for the in Dublin. With Dublin’s paintings by of St. John the Baptist, with Christ in the exhibition Rubens: touch of brilliance. Rubens Vermeer and Gabriel Metsu as a starting point, background. This painting had entered the caught the imagination of the curators of the the exhibition brought together an impressive collection as a purchase in 1963 from a member Courtauld Institute Galleries next door. As a group of beautiful works around the subject of of the Italian embassy in Yugoslavia. Bosnjak complement to the Hermitage exhibition, the letter-writing and reading. Organized by Peter presented it as anonymous follower of Gerard Courtauld put on display among its own Sutton, the exhibition opened in Dublin in David. Next slide, please. works by Rubens a selection of the five oil October and will travel to the Bruce Museum The talk was given in the room on the sketches from the Torre de la Parada series, on in Greenwich, Connecticut, in January 2004. second floor of the Netherlands Institute for loan from the Prado in Madrid. Earlier in the Although technically not an exhibition, it Cultural Heritage known picturesquely as the year the gallery had already focused on may be worth drawing attention to the new Voor- en Achterzaal, a space formed by Rubens’s prints in its exhibition Lasting display of the ‘Art of the Van de Veldes’ in the opening the sliding doors between two rooms. impressions: Rubens and printmaking. Queen’s House of the National Maritime Back in the Achterzaal, a gasp escaped one of Rubens also figures prominently in the Museum in Greenwich (this time Greenwich, the listeners. ‘That’s it, that’s it,’ he said. What display of the permanent collection of the England). Drawing on the extensive holdings it was he told to various colleagues following National Gallery. At present the museum has of the museum in this area, the display over the presentation. It was the missing panel on long-term loan Rubens’s Massacre of the three rooms highlights the accomplishments from a polyptych of about 1500 by the foremost innocents, which was sold in 2002 here in of these two marine painters and places them Ibero-Flemish painter of the age, Juan de London for a spectacular sum to a private within the context of some of their Flandes. The listener who could not contain collector [see also the contribution by David contemporaries. himself was Till-Holger Borchert of the Bruges de Witt; editors]. The National Gallery’s chief Museum news not related to any museums. A year before, for the Jan van Eyck curator, David Jaffé, has devised an ongoing exhibitions have in 2003 came mainly from exhibition that provided the occasion for program of works to be shown alongside the Scotland. Most of us have heard the regrettable codart vijf, he had published a Massacre. These include pictures from the news that Julia Lloyd-Williams left her post as reconstruction of the polyptych as nr. 116 in museum’s own collection, such as Samson and chief curator and curator of Dutch and the catalogue, in the form of a large, framed Delilah, as well as a number of short-term Flemish art at the National Gallery of Scotland. central panel of the baptism of Christ flanked loans, such as two works from the Courtauld The challenge of filling the big shoes Julia left in the wings by four half-sized scenes from the collection, the sketch for the Prado Adoration of behind will be taken up by Emilie Gordenker, life and death of the Baptist. The locations of the Magi from Groningen, and theDecollation of who will start at the gallery in December. four of the five panels were known. The birth of St. John the Baptist from a private collection. The Responsibility for 17th-century Netherlandish John the Baptist is in the Cleveland Museum of display is accompanied by a leaflet (published art has also changed hands in Glasgow. At Art; The baptism of Christ in a private collection in association with Apollo, 2003) and a video. Kelvingrove, Robert Wenley, formerly of the in Madrid; The beheading of John the Baptist in The National Gallery has also received a Wallace Collection in London, took on the the Musée d’Art et d’Histoire in Geneva; and number of loans from other institutions. Due position of curator of European art 1600-1800 The revenge of Herodias in the Mayer van den to the redevelopment of the Fitzwilliam in June. Robert is currently based at the Burrell Bergh Museum in Antwerp. He had clipped Museum in Cambridge, a selection of works Collection while the museum at Kelvingrove is has been sent on loan. Shown as an exhibition closed for major renovations. About 200 in 2002, the works are currently on display highlights from the collection, including within the permanent collection, where they Rembrandt’s Man in armour, however, are on will remain until early 2004. The Nether- view in the McLellan Galleries in Glasgow for landish works include Maarten van the duration of the closure. Heemskerck’s Portrait of the artist in front of the Axel Rüger Colosseum, the late Portrait of a man by Frans The National Gallery, London Hals, Adriaen Coorte’s Bundle of asparagus, two small panels showing butterflies and insects by Jan van Kessel, and eight oil sketches by Rubens. Three further loans to the permanent A typical collection came in June 2003 from the National codart Gallery of Art in Washington for a period of story about 12 months due to the temporary closure of their Dutch and Flemish galleries. The Even some of those present at codart zes generous loan of Judith Leyster’s Self-portrait, (including myself) missed the scholarly Frans Hals’s Portrait of Willem Coymans and Jan highpoint of the congress. It took place during Steen’s Dancing couple temporarily add the presentation on Tuesday morning, significant facets to the collection that are 18 March, by Tatjana Bosnjak of the National otherwise not represented. Museum, Belgrade: The Dutch and Flemish Further afield, another exhibition entirely collections in Belgrade and the new plans for devoted to 17th-century Dutch painting was cataloguing and displaying them. At a given Juan de Flandes, The preaching of John the Baptist (lower the show Love letters: Dutch genre painting in the moment the screen was filled by a slide of a left panel of the Miraflores Altar), National Museum, age of Vermeer at the National Gallery of Ireland 15th-century panel painting of the preaching Belgrade. 11 codart Courant 7/December 2003 and pasted color images of the panels into a How did Tatjana Bosnyak get to the codart at how much was going to be accomplished for hypothetical reconstruction of the polyptych, congress in Amsterdan on 18 March 2003? That how little money that we voted to provide it known as the Miraflores Altar. At the story begins not that long ago, in Bucharest in all. We gave $250,000, which was enough to exhibition he was able to display the May 2001. I was in the city upon the invitation completely renovate seven large galleries to a reconstruction of all panels but one. of the New Europe College. Henk van Os and I high international standard. Thank you.’ Only the fifth panel, The preaching of John were there as guest lecturers for a week. As it At the gala dinner in the museum, a guest the Baptist, was illustrated in black-and-white. happened, during that week, a new wing of the he did not know approached Oostveen. ‘Sir,’ he The location was given as formerly Hungary, National Museum of Art of Romania was said, ‘I am the Minister of Culture of private collection, but if truth be told, Borchert opened, the wing devoted to the country’s Yugoslavia. You know we also have an art had no idea where the painting was. He only medieval art. Henk and my wife Loekie and I museum, in Belgrade, which also needs to be knew as much about it as he did thanks to the were invited to all the events surrounding this fixed up. Would you like to do the job?’ work of another codartmember, Susanne important occasion. The design and Oostveen is not a man to turn down an Urbach of Budapest, who unfortunately was refurbishing of the seven new galleries had invitation like that. After his first visit to unable to attend codart zes. In the 1970s, been executed in part by a remarkable Dutch Belgrade, he called me to report on his in the photo collection of her own expat in Romania, the heart surgeon and experiences. ‘They’re passing a special law to Szépmüveszeti Múzeum, she had stumbled building contractor Peter Oostveen, whom I give me executive powers for this job. And it’s across an old image of the painting, labeled as had met and befriended during codart not only the galleries. They also want me to in the collection of Arthur Isfkovits, on loan to vierthe year before. His work on the new help them identify the paintings in the the museum of Debrecen. But that was in 1905. wing was remarkable for its quality, speed and collection and get them shown abroad. What Enquiries in Debrecen revealed that Isfkovitz’s low price. This was repeated over and over by do I do?’ I knew immediately what he should daughter retrieved the painting, along with the speakers at the official opening, one of do. I gave him the name and telephone other works that had belonged to her father, whom was Walter Feilchenfeldt, head of the number of Lia Gorter, a codartmember and in 1948. In 2001, by which time Urbach and International Music and Art Foundation partner in our Russian projects, who other researchers had put together a likely (Liechtenstein), which had sponsored the job. specializes in operations of exactly this kind. reconstruction of the five-panel polytpych, His entire speech consisted of the following I also called Lia and gave her Peter’s number. Urbach published an article on the Miraflores remarks: ‘Usually, our foundation does not pay They made contact, and in January 2003 Lia Altar in the Jaarboek van het Koninklijk Museum more than 50 percent of the costs of a project. traveled to Belgrade with her trusted associate voor Schone Kunsten in Antwerp, calling on However, when we saw the budget for this job Bernard Vermet. There they met Tanja colleagues to look for the missing panel. and the specifications, we were so astonished Bosnyak, who showed them the Netherlandish holdings of the museum. Working their way through the paintings, one of the works that caught their attention was the panel of John the Baptist. They suggested to Tanja that she come to the codartcongress and show slides of her more interesting paintings. By the time I received her request to speak at codart zes, I had been prepared for the approach by Görel Cavalli-Bjorkman, who had been in Belgrade in late November 2002, and had mailed me about the collection out of concern about its condition. The Program Committee approved a ten-minute presentation of the Dutch and Flemish paintings from Belgrade at its meeting of 19 February 2003, where it was decided to concentrate on relatively unknown collections. The rest is (art) history, a history that took its next turn in September 2003 when Borchert discussed the new discovery at the bi-annual congress on underdrawings in early Netherlandish painting with some colleagues. There he, Susanne Urbach and Bernard Vermet were joined by Helene Mund of the Study Center for the Flemish Primitives, and Livia Depuydt, head of the painting conservation Reconstruction of the Miraflores Altar, a polyptych by Juan de Flandes, ca. 1500, as published in the catalogue of the department of the Koninklijk Instituut voor exhibition Jan van Eyck, Early Netherlandish paintings and the south of Europe, 1430-1530, in the Groeningemuseum, het Kunstpatrimoniun, in a plan to bring the Bruges 2002. panel to Brussels for restoration. They expect codart Courant 7/December 2003 12 to be able to raise the necessary funds in order specially commissioned by the religious Peruvian capital are also all clearly influenced to bring the painting north before the end of authorities to support the process of Catholic by Rubens. the year. evangelization and indoctrination. They had The Stations of the cross series in the The story is worth telling not only for the an outspoken religious character and helped to Convento de San Francisco (Lima) bears a importance of the discovery, its Eastern form the new beliefs of the indigenous strong formal resemblance to similar pictures European exoticism and the generosity of the population. Although European models were from the workshops of Rubens and van Dyck. new Dutch and Flemish partners that have used, the results were by no means simply Unfortunately, the exact origins of this group joined up to help the Yugoslavians, but for ‘inferior’ copies. The use of different materials remain unknown, as does the year in which it another reason as well. It has not escaped the and colors, as well as the incorporation of local arrived at its present location. It is assumed attention of the director and staff of codart, culture, made for variations on the original that it originally belonged to the order of the as well as the Program Committee, that not all compositions with their own artistic value. Jesuits. Following their expulsion from the attendees of codartcongresses are thrilled Printed religious books containing colonies in 1767, the paintings were bought by by collection presentations. ‘You get one slide engravings were a very important source for a certain Marquis de Lara, who later donated after another, with no time to look at them, colonial artists. The Evangelicae historiae them to the Terceros fraternity. It seems and attributions that you can only doubt. imagines (1593), a work by the Jesuit Gerónimo probable that some of the pictures may even Can’t we do something more interesting?’ To Nadal, has long been recognized as a major have been executed in the Rubens workshop my mind, the discovery at codart zesof influence on Peruvian colonial painting. It is itself. One of them, The betrayal of Christ, also this major element in an important early illustrated with 153 plates, designed by exhibits various similarities to the van Dyck altarpiece is in itself worth hours of flipping Giovanni Battista Fiammeri, Bernardino version of the same theme in the Prado. The through slides of questionably attributed Passeri and Maarten de Vos and engraved by Crucifixion with Sts. Dominique and Catalina de works of art. Should anyone ever again Antonie, Hieronymus and Johan Wierix, in Siena in the Convento de los Descalzos bears a complain to me about this fixture of codart collaboration with Karel van Mallery and likeness to a van Dyck picture in the congresses, my answer is contained in this tale. Adriaen and Jan Collaert. Other illustrated Koninklijk Museum voor Schone Kunsten, Gary Schwartz books by Maarten de Vos, Sadeler and Antwerp. The Monasterio de San Francisco in Vredeman de Vries also played a seminal role. Cuzco possesses a Pietà that is also strongly Rubens, van Dyck, Maarten de Vos and reminiscent of van Dyck. The influence and uses Simon de Vos were the principal artists who The Monasterio de la Concepción in Lima influenced Peruvian colonial painting. Their houses 12 paintings representing scenes from of Flemish painting in religious images, closely connected with the the life of the Virgin. They are signed by Simon colonial Peru ideas of the Counter Reformation, were de Vos and dated between 1638 and 1639. In the quickly adopted in the Spanish territories. same monastery we find another series of 12 Rubens had an agreement with the Plantin- pictures depicting scenes from the Old Flemish painting exercised a strong influence Moretus printing establishment in Antwerp Testament, which is also attributed to Simon on colonial painting during the virreinato for the reproduction of his paintings in the de Vos or his workshop. The monastery had a period in Peru. This influence was twofold: on form of engravings, and prints after his very wealthy congregation that imported the one hand, the work of Flemish artists was religious works had a powerful impact on various works by well-known artists from shipped to Spain’s American colonies in great 17th-century Spanish art. A branch of the Spain to the colonies. numbers; on the other, there were the Guillermo Forchoudt firm in Seville was engravings made after the paintings of responsible for exporting these engravings to Flemish artists. These engravings were of great America. In this way, Rubens’s compositions commercial importance to the artists came to be widely known in the colonies, and it themselves and, in addition, facilitated the is very common to see stylistic and dissemination of their work on a larger scale. compositional references to his art in the They were also eagerly adopted by the Roman Peruvian works of the period. An excellent Catholic Church as instruments of example is The raising of the cross, the original of propaganda. In this way, compositional which hangs in Antwerp Cathedral. Works elements and iconographical motifs from the based on engravings after this painting can be work of often well-known Flemish painters found in a number of churches in Peru (e.g. in came to be widely adopted by Peruvian the Convento de San Francisco and Iglesia de la colonial artists. The original works of art were Compañía, Lima, and in Cuzco Cathedral). reinterpreted and adapted by indigenous Prints after the tapestry series The triumph of the painters, and became an integral part of their Eucharist, designed by Rubens for the own creations a phenomenon known as ‘el Monasterio de las Reales Descalzas in Madrid, proceso de mestizaje.’ As a result, one can were also widely distributed abroad. A copy perceive an undeniable Flemish stylistic after part of the series can be found in the influence in Peruvian colonial painting. Monasterio de los Descalzos in Lima. The The paintings created in the Andean south, massacre of the innocents in Cuzco Cathedral and based on the aforementioned engravings and the Christ paintings in the Capilla de la Anonymous, The Archangel Michael vanquishing Satan, generally aimed at the lower classes, were often Penitenciaría in the Iglesia de San Pedro in the Iglesia de San Pedro, Lima. 13 codart Courant 6/June 2003

Among the artists who influenced Peruvian Catholicism on the part of indigenous society. naturalism common at this period and was colonial painting of the virreinato period The same idea is expressed in the subject probably influenced by the Flemish Romanist Maarten de Vos is especially important. The matter itself, a depiction of the victory of the artists Adam van Noort and Otto van Veen. copying and reinterpretation of his Roman Catholic Church (Archangel Michael) Examples of de la Puente’s work include a compositions came about mainly through over heathenism (Satan). Both must be seen in Martyrdom of St. Ignacio of Antioch (1620) in the engravings. A striking example is his Archangel the context of an enforced imposition of the aforementioned Iglesia de San Pedro; a Christ Michael vanquishing Satan. Samuel van religion of the colonizers on the local and a Virgin in the sacristy of the same church; Hoogstraten made an engraving (Antwerp, population. a St. Michael in the Templo de la Immaculada 1575) after his painting of the subject that was At the same time, we should also consider (Lima); and a Last Supper – attributed to him – widely circulated throughout the colonies. the status this particular indigenous woman in the refectory of the Convento de San However, this particular theme was must have enjoyed in society. Peruvian Francisco (see illustration). There are other disseminated not only through prints. There is colonial life was hierarchically structured, versions in Cuzco and Santiago de Chile. an actual Maarten de Vos painting of the with a strongly fixed social order, and not just De la Puente’s most important work is subject in the small Franciscan church of anyone could be represented next to a sacred undoubtedly the Last Supper in Lima. It is Cuautitlán in Mexico. It belongs to an image. Her position is indicated by her interesting to see how, in typical Jesuit altarpiece that also includes depictions of the headdress (manto), which is decorated with fashion, the artist incorporated native Coronation of the Virgin and Sts. Peter and Paul the native tropical birds. Both the ornamentation elements into his composition, for example, Apostle. It is signed and dated ‘mertino de and the fabric itself are of pre-Hispanic origin, the corn (choclo) on the table. The painter, vos antepieces inventor et fecit– and before the arrival of the colonizers were possibly influenced by the dictates of his order, 1581.’ This image of St. Michael and the worn exclusively by the Inca nobility. The sought to create something familiar by adding defeated demon was quickly incorporated into woman has thus chosen to be represented as elements that would be easily recognizable to colonial iconography. A painting directly a descendant of the indigenous aristocracy, native observers, thereby making it easier for related to the one in Cuautitlán, from the early perhaps in an effort to reaffirm the privileges them to accept Christian beliefs. Around the 17th century, can be found in the sacristy of of her social group within colonial society. On middle of the eighteenth century, the cuzqueño Lima Cathedral. An interesting variation on the other hand, we must also take into account artist Marcos Zapata did the same by including the theme hangs in the Jesuit Iglesia de San that the Jesuits were continually seeking a cuy (an Andean rodent resembling a guinea Pedro (see illustration). The composition and legitimation within the colonial community, pig, eaten as a delicacy) in his own Last Supper gestures are identical to the original, but a and did so, among other things, by (Cuzco Cathedral). portrait of an indigenous donor has been assimilating native imagery connected with Around the turn of the 18th century, a new added at the bottom. Naturally, given the the Inca elite. iconographic theme became popular in some geographical distance between the Mexican In the second decade of the 17th century, colonial churches. It usually consists of a church and the Peruvian locations, it is also the Jesuit order requested the services of a new group of two canvases representing The death quite possible that the latter versions are all painter to support the ongoing process of of the just and The sinner’s death, respectively. based on prints. religious indoctrination. Diego de la Puente, Through these images, the Church sought to The anonymous Archangel Michael in the born in Malinas but of Flemish origin – his real provide guidance for its New World flock, Iglesia de San Pedro is an interesting example name was probably van den Brugge – came to illustrating the benefits of a life lived of the merging of Old and New World Peru in 1620 to succeed the Italian Jesuit according to Roman Catholic precepts, as elements. As noted above, it includes a portrait painter Bernardo Bitti. De la Puente’s opposed to the punishments reserved for those of an indigenous female donor, located at the paintings can be found in various Jesuit who refused to follow its teachings. The lower left. There are many such portrayals in congregations (Lima, Trujillo, Cuzco, Juli and colonial art, intended to symbolize the Charcas). His work illustrates the stylistic acceptance of and devotion to Roman transition from Mannerism to Baroque

Anonymous, The sinner’s death, Museo de Arte del Diego de la Puente (attributed to), The Last Supper, Convento de San Francisco, Lima. Centro Cultural de San Marcos, Lima. codart Courant 7/December 2003 14 anonymous Sinner’s death in the collection of – Teófilo Castillo, ‘Interiores Limeños ix: Casa de los can also sign up for the free notification service the Museo de Arte del Centro Cultural de San señores Pazos y Varela,’ Variedades 362 (1915) announcing opening and closing dates of Marcos in Lima (see illustration) shows clear – José Martínez Cereceda, Autoridades en los Andes, los exhibitions ten days in advance. compositional parallels with Flemish atributos del Señor, Lima 1997 paintings of the 15th century. These images – César Coloma Porcari, ‘Los óleos de Brueghel que Please keep codartposted on upcoming probably arrived in the New World by way of dono al Perú la hermana de Alfonso Ugarte,’ Boletín de exhibitions and other events in your museum. engravings. The northern influence is perhaps Lima 79 (1992) E-mail us at: [email protected]. most evident in the representations of Christ – Sáiz Félix Diaz, El Museo del Convento de los Descalzos, and the Archangel Michael at the upper left Lima 2001 6 December-14 March 2004 De Winterkoning, and right. Both can already be found in the – Juan Manuel Eléspuru, ‘Rubens en la pinacoteca balling aan het Haagse hof (The Winter King, an type of Last Judgment scenes developed by franciscana,’ Pintura en el virreinato del Perú, Lima 1989 exile at the court of The Hague), Haags Historisch Flemish Primitives such as Hans Memling – Juan Manuel Eléspuru, ‘Los Rubens de la orden Museum, The Hague. and Rogier van der Weyden. In adopting these Terciaria,’ Pinacoteca de la Venerable Orden Tercera de 6 December-18 January 2004 Dutch art in the age forms, the Peruvian Catholic Church sought San Francisco de Lima, Lima 1986 of Frans Hals from the collection of the Frans Hals to establish a link between the Last Judgment – Teresa Gisbert, ‘The indigenous element in colonial Museum, Haarlem, Toyohashi City Museum of and the trial at the end of a sinner’s life. This art,’ America bride of the sun: 500 years Latin America and Art and History, Toyohashi. was to be a moral admonishment, and was the Low Countries, Antwerp 1992 9 December-29 February 2004 Peter Paul Rubens: designed as criticism of the extremely –Teresa Gisbert and José de Mesa, ‘Martín de Vos en the life of Achilles, Museo Nacional del Prado, secularized society developing under the new América,’ Anales del Instituto de Arte Latinoamericano e Madrid. Bourbon regime. Elements already present in Investigaciones 23 (1970) 15 December-15 April 2004 Büyükelçi, Padisah ve western iconography were combined with the – Emilio Gutiérrez de Quintanilla, ‘La Galería Ortiz Sanatçı: Istanbul’da Kabul Töreni, 1727-1744 (The specific purpose of creating a more coherent de Zevallos,’ El Ateneo 8-11 (1900) ambassador, the sultan and the artist: an audience in ideological corpus. To this visual rhetoric – Duncan Kinkead, ‘Juan de Luzón and the Sevillian Istanbul), Topkapi Sarayi Müzesi, Istanbul. other elements were added, such as the painting trade with the New World in the second half 22 December-12 April 2004 Die flämische banners with inscriptions. They explain and of the seventeenth century,’ The Art Bulletin (June Landschaft (Flemish landscape painting), underscore the meaning of the images in order 1984) Kunsthistorisches Museum, Vienna. to increase the impact on the public. – Alfonso Emilio Pérez Sánchez, ‘Rubens y la pintura 2 January-1 April 2004 Het Catharijneconvent te Stylistically, the work belongs to the barroca española’ Goya 140/141 (1977) gast (The Catharijneconvent invited), Cuzqueña School of the 18th century, from – Martín Soria, ‘La pintura en el Cuzco y el alto Perú, Gruuthuse Museum, Bruges. the Peruvian-Andean south. Some of the 1550-1700,’ Anales del Instituto de Arte Latinoamericano e 14 January-14 March 2004 Pursuits and pleasures: characteristic features of this style are a lack Investigaciones 12 (1959) Baroque painting from the Detroit Institute of Arts, of perspective, naive drawing, sentimentalized – Martín Soria, ‘Una nota sobre pintura colonial y Kresge Art Museum, East Lansing, Michigan. faces, and the use of flowers around the estampas europeas,’ Anales del Instituto de Arte 17 January-28 April 2004 Love letters: Dutch borders. One of the peculiarities of this school Latinoamericano e Investigaciones 5 (1952) paintings of letter themes in the age of Vermeer, is the fact that its artists often looked back to – Francisco Stastny, La pintura Latinoamericana colonial Bruce Museum of Arts and Sciences, older stylistic forms and elements, not frente a los modelos de Rubens. Presentada para el simposio Greenwich, Connecticut. necessarily making faithful copies of the ‘El Barroco Latino Americano,’ Lima 1981 24 January-7 March 2004 Dutch art in the age of originals, but altering them according to the Frans Hals from the collection of the Frans Hals demands of the local context. Museum, Haarlem, Sakura City Museum of Art, Peruvian colonial artists were undeniably Preview of upcoming Sakura. influenced by Flemish artists, principally 31 January-16 May 2004 Vergnügliches Leben, through engravings. They adopted their exhibitions verborgene Lust: Holländische Gesellschaftsszenen compositional elements and iconographical von Frans Hals bis Jan Steen (Satire and jest: Dutch motifs, but their works are more than mere December 2003-June 2004 genre painting in Haarlem in the age of Frans Hals), copies. Peruvian colonial painting was created The calendar of exhibitions and other major Hamburger Kunsthalle, Hamburg. in a very different cultural context. As a result, museum events on the codartwebsite 1 February-1 April 2004 Vis vitalis: visstillevens in the compositions went through a process of contains dossiers on all past, current and de Nederlanden, 1550-1700 (Fish: still lifes by Dutch cultural re-signification that altered their upcoming exhibitions, congresses and and Flemish Masters, 1550-1700), Centraal import: new meanings and new elements were symposia concerning Dutch and Flemish art Museum, Utrecht. added according to the religious needs of the all over the world, extending as far into the 5 February-3 May 2004 Rembrandt Gemälde, local population. future as we have information. As you can see Zeichnungen, Radierungen (Rembrandt paintings, José Enrique Torres and Fernando Villegas in the list here below, we know of 24 drawings, etchings), Albertina, Vienna. Museo de Arte del Centro Cultural de la Universidad exhibitions on Dutch and Flemish art in 26 6 February-8 May 2004 Jongkind, Wallraf- Nacional Mayor de San Marcos different venues that have been announced Richartz-Museum, Cologne. by museums to open between now and the 14 February-9 May 2004 Rembrandt’s journey: Bibliography beginning of June 2004 – the planned date of painter – etcher – draftsman, Art Institute of – Jorge Bernales Ballesteros, ‘La pintura en Lima publication of the next codartCourant. Chicago, Chicago, Illinois. durante el virreinato,’ Pintura en el virreinato del Perú, More information on these exhibitions is 1 March-6 June 2004 Rubens, Palais des Beaux- Lima 1989 available on the codartwebsite, where you Arts, Lille. 15 codart Courant 7/December 2003

6 March-13 June 2004 De bibliotheek van Rubens of this conference was to provide information reciprocal contacts in their speech. (Rubens’s library), Museum Plantin-Moretus, on the activities of Dutch cultural institutions Thanks to a generous gift from the Antwerp. and to make suggestions for cooperative Wilhelmina E. Jansen Fonds, the texts in the 6 March-14 June 2004 Rubens, de verzamelaar projects with art historians from Russia and volume can now be found on the codart (Rubens the collector), Rubenshuis, Antwerp. Eastern Europe. The meeting took place in the website. A printed version can be acquired 12 March-3 May 2004 Rubens i Rembrandt, ich theater built by Catherine the Great in the from the Dutch consulate general in St. poprzednicy i nastepcy: rysunki flamandzkie i Hermitage, and in the former Trubetskoy- Petersburg and the Dutch embassy in Moscow. holenderskie xvi-xviiiw. ze zbiorów polskich Naryshkin Mansion, made available to the Lia Gorter (Dutch and Flemish drawings of the 15th-18th International Center by the city of Stichting Cultuur Inventarisatie centuries from Polish collections), Muzeum St. Petersburg. Unfortunately, only a small Narodowe w Warszawie (National Museum in number of our Russian colleagues were able Warsaw), Warsaw. to attend. In order to make the information codartactivities 18 March-13 June 2004 Ein Meisterwerk kehrt available to as wide an audience as possible, it zurück nach Kassel: Peter Paul Rubens und Jan was decided to compile a small brochure based in fall 2003 Brueghel d.Ä.: Pan und Syrinx (A masterpiece returns on the papers given. scigathered these to Kassel: Pan and Syrinx by Peter Paul Rubens and together and, where necessary, translated Study trip to New England, 29 October- Jan Bruegel the Elder), Staatliche Museen them into Russian and English. 3 November 2003 (Gemäldegalerie Alte Meister), Kassel. The celebration of the 300th anniversary Upon the spontaneous suggestion of Ronni 18 March-16 May 2004 Regards sur l’art of the founding of St. Petersburg provided an Baer during the codart vijfcongress in hollandais du xviième siècle: Frits Lugt et les frères excellent opportunity for the official Bruges in March 2002 to come to Boston, the Dutuit collectionneurs (A look at Dutch 17th- presentation of the Russian edition. Many codart zesstudy trip was scheduled for century art: Frits Lugt and the Dutuit brothers as dignitaries came to the city for the ‘Window on the fall of 2003, enabling participants to see not collectors), Institut Néerlandais, Paris. the Netherlands’ meeting, among them only the rich holdings of museums and private 1 April-1 June 2004 Albert Eckhout (1610-1666), Crown Prince Willem Alexander, the State collectors in the area, but also to visit the major Mauritshuis, The Hague. Secretary for Economic Affairs, the Minister of exhibition Rembrandt’s journey: painter, etcher, 10 April-4 July 2004 Pursuits and pleasures: Education, and the State Secretary for Culture, draftsman, now on showat the Museum of Fine Baroque paintings from the Detroit Institute of Medy van der Laan. On 27 September she Arts in Boston. At the codart zescongress Arts, Muskegon Museum of Art, Muskegon, offered the codartcompilation Window on in Amsterdam in March 2003, Ronni Baer, Bill Michigan. Dutch cultural organizations for Russian art Robinson and Jim Welu presented the history 8 May-1 August 2004 De uitvinding van het historians to the deputy director of the State of their collections and discussed their landschap: Vlaamse landschapsschilderkunst van Heritage museum, George Vilinbakhov, and to relationships with private collectors. Now it Patinir tot Rubens (The invention of the landscape: the director of the St. Petersburg International was time for 27 codartmembers from the Flemish landscape painting from Patinir to Rubens), Center for Preservation, Kirby Talley, in the Netherlands, Belgium, Germany, Finland, Koninklijk Museum voor Schone Kunsten, presence of representatives from codartand Estonia, Switzerland, the Czech Republic, Antwerp. sci. Lia Gorter and Marijcke van Dongen Spain, Brazil and Argentina to see them with 14 May-29 August 2004 Carel Fabritius (1622- emphasized the importance of long-standing their own eyes. They were joined by a varying 1654) Staatliches Museum Schwerin, Schwerin. assortment of members of the local codart 15 May-31 July 2004 Rubens, Jordaens en van zescommittee, many of whom had never seen Dijck: tekeningen van de Vlaamse meesters (Rubens, some of the private collections visited. Jordaens and van Dyck: drawings of the Flemish The trip opened on 29 October in Back Bay, masters), Arentshuis, Bruges. a 19th-century extension of the then rapidly growing city of Boston. Back Bay was built on artificial land, a similarity between Boston and codartpublications the Low Countries that the participants may not have noticed. At the St. Botolph Club on A window on Dutch cultural organizations Commonwealth Avenue, founded in 1880 and forRussian art historians known as Boston’s most bohemian club, a On the initiative of the former consul in unique six-hour double exhibition was St. Petersburg, Jan Henneman, an annual mounted especially for the occasion by the meeting is held in St. Petersburg in September collectors Leena and Sheldon Peck and Naomi entitled ‘Window on the Netherlands,’ at and Roger Gordon. The Pecks showed their which Dutch businesses, government and Rembrandt drawings, the Gordons a choice of cultural organizations can present their work. their 18th-century Dutch drawings. The It was in this context that codartand the exhibitions opened at five o’clock in the Stichting Cultuur Inventarisatie, sci, held a afternoon and ended at 11:00 p.m. In addition symposium on 11 and 12 September 1999 at the to the participants in the study trip, members Hermitage and the St. Petersburg The codartcompilation Window on Dutch cultural of the Boston art community were invited, 220 International Center for Preservation. The aim organizations for Russian art historians. of whom attended. During the exhibition, codart Courant 7/December 2003 16 which was guarded by armed patrolmen of the Nieuwe Spiegelstraat in Amsterdam, around – They work in close co-operation with Boston police force, the collectors offered the the corner from the codartoffices on the scholarly advisors, who are often museum study trip participants and other guests a Keizersgracht. They were wrapped in gift curators. lively dinner on the ground floor of the club. paper and given at random to the recipients. In – They reciprocate for this help by making Upon sitting down at the table, all participants addition to the hosts and the local committee, donations of money and art to museums. were given copies of the following prints were presented to Mandle and Slive in – Their preferences are purely personal. publications: recognition of their contribution to the Rather than assembling representative – Naomi and Roger Gordon, A selection of collecting of Dutch and Flemish art in the collections of big or fashionable names, Dutch 18th-century drawings and watercolors United States. At half past ten, when most they buy what they think is beautiful or from the Gordon collection: a souvenir catalogue codartmembers had already left for the interesting. The first drawing purchased by for the codartstudy visit, October 29, 2003, hotel, Peck had still not tired of showing and the Gordons, for instance, was Jacob Cats’s Boston 2003. explaining his collection, this time to the small Cow standing in a field (1783), seduced – Sheldon and Leena Peck, Rembrandt security staff and bar personnel. as they were by the cow’s eyelashes. The drawings: twenty-five years in the Peck Abramses had an early love for Jacques de Collection. A private exhibition at the St. Visits to private collections Gheyn iilong before he became popular. Botolph Club, Boston, October 29, Boston 2003. In the four and a half days to come, we were – The painting collections tend toward – Franklin W. Robinson and Sheldon Peck, able to see five more private collections. Many straightforward compositions and easily exhibition catalogue Fresh woods and of the paintings in these collections had likable subjects like landscape, still life, pastures new: seventeenth-century Dutch already been on display to the public in the genre and town and architectural landscape drawings from the Peck collection, summer of 2002, when the Museum of Fine paintings. Underrepresented are history Chapel Hill (Ackland Art Museum), Ithaca Arts in Boston held the exhibition The poetry of painting, religious art, allegories and the (Herbert F. Johnson Museum of Art) and everyday life: Dutch painting in Boston, curated by work of Flemish or Italianate masters. Nola Worcester (Worcester Art Museum) 1999. Ronni Baer. Anderson and Rose Marie de Mol van In his word of welcome, Roger Gordon recalled Certain general resemblances between the Otterloo expressed a positive distaste for the first exhibition of 18th-century Dutch art collectors and collections struck the group. paintings with skulls, skeletons or dead in the United States in 1971, organized by – Living in or near Boston, they contribute animals. George Abrams articulated a Roger Mandle at the Minneapolis Institute of to the high density of collectors of Dutch preference in drawings and paintings for Arts, of which he was then director. Mandle and Flemish art in the area, which Sheldon what he called ‘Dutch Dutch’ art. was a special guest that evening, as was Peck thinks is the highest in the United A clear departure from this pattern is formed Seymour Slive, the 50th anniversary of whose States and perhaps in the world. by the print collection of Barbara and Bob ground-breaking book Rembrandt and his critics, – All the collectors we visited were married Wheaton. Their liking is for highly complex 1630-1730 was called to mind by Sheldon Peck. couples that collected as a couple and Mannerist prints of the period 1550-1620, work Both hosts stressed the fact that they had discussed prospective purchases before that is far removed in appearance, technique always collected together with their wives, making them. and subject from that preferred by the whose knowledge and taste complemented – They live with their collections. collectors of paintings and drawings. their own. Sheldon Peck reported that Leena – Many had collections of other kinds, or On the evening of 30 October we were sometimes vetoed purchases of historically had collected other kinds of art or objects. invited to see the collection of George Abrams interesting drawings because they were ugly. The collectors stressed that they also consulted art historians like Mandle and Slive, but also the Boston curators. Our study trip participant Maritta Pitkänen, it emerged, was an advisor to the Pecks; she had once been Leena’s patient, when she was still a dentist working in Finland. Sheldon Peck referred to the competition between collectors in Boston and other parts of the United States and abroad. Once, sitting behind Roger Gordon at a print auction and seeing him not bid on a drawing that would have fit in his collection, he bought it just so that it would come to the Boston area. By way of thanking the Boston curators and collectors who were present at the dinner, Gary Schwartz gave each of them a portrait etching from Arnold Houbraken’s Groote schouburgh der

Nederlantsche konstschilders en schilderessen (1718- Schwartz Gary Photo 1721). codarthad located a complete set at the print dealer E.H. Ariëns Kappers in the At the home of George Abrams. 17 codart Courant 7/December 2003 and his late wife Maida in their home in husband, Jim Mullen, who unfortunately A turning point in their collecting activities Newton. George and Maida started collecting could not be there that day, collect Dutch 17th- came after they had already assembled an in 1960 and have never stopped or slowed down century paintings. Nola and Jim live in an attractive group of relatively modest in the 43 years since. It was not easy to collect early 20th-century frame house on a bluff paintings. At the tefaftheir eye fell on one of Dutch 17th-century drawings in Boston, so overlooking the North Atlantic, enriched with the most spectacular works to have been seen they travelled to Europe frequently. In the a famous garden designed by Frederick Law there in years, Orpheus charming the animals by beginning, they acquired about 30 percent of Olmsted, Jr. They began collecting Dutch Aelbert Cuyp. The consortium of art dealers their collection from dealers, 20 percent at paintings less than five years ago, and have who had it on offer and had been unable to sell auctions and 50 percent directly from other chosen to concentrate on a small number of it for their price, presented the van Otterloos private collectors. Later on they got an even outstanding paintings. Over the mantle in the with the opportunity of trading up, using larger share from private collectors. The dining room is a three-quarters length male some earlier purchases as part of the price. It is collection now consists of more than 600 portrait by Frans Hals, one of the few works by now the largest painting in their collection drawings, some paintings, bronzes and the master in private hands. In the hallway the and a much-requested loan for important medals. With Dutch and Flemish art being attention-grabber was a brilliant interior of exhibitions. Another major work in their weakly represented in the collection of the the St. Laurenskerk by Anthonie Delorme. The collection is Jan van der Heyden’s view of the Harvard University Art Museums, in 1999 the still lifes included a festive Osias Beert with Westerkerk in Amsterdam, which graces the Abramses donated 110 drawings from their wedding pastries, and a grand Pieter Claesz. cover of Ronni Baer’s exhibition catalogue. collection to the Fogg Art Museum; another and an enchanting Clara Peeters. Perhaps the greatest rarity is an interior of the 150 are on loan to the museum. Like Manchester, Marblehead lies on the Bavokerk by Pieter Saenredam. The couple told In addition to the 60 or so drawings we saw coast called the North Shore. However, instead us that they always had their purchases vetted on the wall at Newton were a number of of the splendid isolation of the Mullen- by an important Dutch historian, a former paintings, and two striking objects that are Anderson mansion, in Marblehead we found museum director. They had never bought both and neither: oils on paper by Cornelis the Dutch-Flemish couple Eijk and Rose Marie anything he advised against, no matter how Cornelisz. van Haarlem (Two female nudes) and de Mol van Otterloo in a more typically home- much they may have liked it. The collection Cornelis Bega (Seated woman, in profile, with foot like split-level house on a busy bay, with a view covers various genres of 17th-century Dutch warmer). George also showed us a watercolor of of the town on the opposite shore. The van painting, but the collectors do not consider it tulips by Jacob Marrel that he had acquired in Otterloos have collecting in their blood. Their complete. They are currently after an example 1982, remarking that he and his wife began first collection consisted of horse coaches and of pen painting and works by female artists, to acquiring watercolour still lifes of flowers and carriages, which however proved to require keep company with their very nice self- animals in the 1960s and 70s against the advice more space than they wished to make portrait by the Dordrecht artist Maria of their art historian friends of that time, who available. An attempt to retrench into the Schalcken. considered botanical and other watercolor still painted sides of carriages proved unsatisfying, After another hour in the two vans we hired lifes too ‘decorative’ to count as real art. and 15 years ago, on the suggestion of Peter that day, the group was warmly welcomed in Saturday, 1 November was devoted to three Sutton, they began collecting Dutch 17th- the home of Barbara and Bob Wheaton in private collections in a radius of 40 miles century paintings. An advantage they enjoy in Concord, west of Boston. Their marriage, Bob around Boston. In Manchester, the group was this field, above the other collectors we met, is said, was furthered by their mutual love for greeted by Nola Anderson. She and her that Dutch is their native language. 16th-century Mannerism in general and the work of Goltzius in particular, and the fact that Barbara was the first woman he had met who owned the two-volume edition of Panofsky’s book on Albrecht Dürer. They hesitated to begin a collection of 16th-century prints, an unusual ambition for Americans of their generation, out of uncertainty about their ability to distinguish good early impressions from later ones or copies. For that reason they started off buying the work of contemporary American artists such as Saul Steinberg and David Levine, which did not pose problems of attribution or authenticity. Goltzius, however, kept pulling them towards earlier ages. The turning point came when they met Jerry Cohn of the Fogg Art Museum at a dinner party in Concord 25 years ago. She convinced them to begin a collection and has been their main advisor and stimulator ever

Photo Wietske Donkersloot Wietske Photo since. In a fascinating introduction to the Bill Robinson relating the history of the Fogg Art Museum. collection, Bob told us that he and Barbara codart Courant 7/December 2003 18 came from families who worshipped in evening, codartwas invited for dinner at colony. She also showed prints from the latest churches belonging to the Radical the exclusive Somerset Club by Bill large acquisition in the field of Netherlandish Reformation, the Baptists and Quakers. This Middendorf, collector, artist, former United prints, the part gift and part purchase in 2000 sparked their interest in the late 16th century States Secretary of the Navy and Ambassador of of more than 660 16th- and 17th-century and the artists who dealt with the religious the United States to the Netherlands. The landscape prints from Robert Light. This is and intellectual problems that had given rise participants will, however, know parts of his known as the Light-Outerbridge Collection, to their own faith. Moreover, they admire their collection without realizing it: he had commemorating Light’s partner Donald 16th-century prints for the way in which they important paintings in last year’s van Eyck Outerbridge, to whom he was introduced by combine semantics and semiotics with beauty exhibition in Bruges (codart vijf) and on Helen Willard, an assistant at the Fogg to and craftsmanship. For our visit, they covered long-term loan to the Stedelijk Museum de Agnes Mongan. The resulting over- every surface and all the furniture on the Lakenhal in Leiden. representation of landscape prints has since ground floor of their house with piles of prints, led the museum to concentrate on figure including many complete series and bound Visits to museums prints, of which we saw some splendid volumes, by artists like Maarten de Vos, On Thursday, 30 October, we visited the Fogg examples. Hieronymus Cock, Dirck Volckertsz. Art Museum, where we divided into three The serious collecting of drawings was first Coornhert, Aegidius and the other Sadelers, groups that each spent about 45 minutes in the undertaken on the watch of Paul Sachs, who and Goltzius and his school. The pride of their print room, the paintings reserve and the also bequeathed his own drawings to the Fogg, collection is the 1585 Thesaurus sacrorum galleries. and Agnes Mongan. The first big impulse was historiarum veteris testamenti illustrated by In the print room, Jerry Cohn and Bill the bequest in 1929 by Charles Loeser, who had Gerard de Jode. After a short hour and a half of Robinson gave introductions to the holdings lived in Florence most of his life, of some 350 animated browsing, Barbara – a well-known in Dutch and Flemish prints and drawings, Old Master drawings, including a Rembrandt culinary historian and cook – with the help of respectively. Established in the 19th century, copy after a Moghul miniature. In 1999 110 Bob, their children and friends, treated us to a the print room was initially set up to show art Dutch drawings were given to the museum by traditional New England dinner with Madeira students reproductions of famous European Maida and George Abrams, along with another and hors d’oeuvres, codfish cakes, roast beef paintings. In the course of the years the focus 150 on long-term loan. with baked beans and pumpkin pie for desert. shifted to work of peintre-graveurs and Even though the collection of Dutch and On Sunday morning, the only time the contemporary printmaking. Jerry Cohn Flemish art is of secondary strength to the participants had a chance to see something of believes that the Fogg owns the first museum’s holdings of French and English art Boston by themselves in the hours before 11:00, documented piece of European art to be of the 19th century, Ivan Gaskell was able to we visited the last private collection on the imported to the New World. It is a bound show us (in storage) some good Dutch program, less than a ten-minute walk from volume of 16th-century prints of anchorites by paintings, including works by Jan Asselijn, the hotel. Like other collectors we had met the Sadelers (the Wheatons also have a copy), Hans Bol, Nicolaes Maas, Cornelis van before, Anne and Peter Brooke did not start off with the ex-libris of Frederick de Peyster, a Poelenburgh and Salomon van Ruysdael. Since as collectors of Dutch 17th-century paintings. descendant of Abraham de Peyster, the first there is not enough space to display everything They began in diverse areas such as tin soldiers mayor of New Amsterdam. Cohn suspects that in the two and a half galleries on the ground and furniture, but found that it was not easy to the subject may have been seen as symbolic for floor devoted to art from the Netherlands, keep precious objects and young sons in one the position of the Netherlanders in their wild works are circulated on a regular basis. apartment. Knowing that it would be better to have items hanging on the wall, they were ripe for the inspiration of George Keyes, who at a chance encounter convinced them to collect Dutch paintings. At first they were anxious about owning such prestigious objects, and their first acquisition, a small van Ostade, gave Anne the chills for two days. As collectors, Anne and Peter, who is now also chairman of the Boston symphony orchestra, agree upon nearly every purchase. This pattern may be broken if Peter succeeds in acquiring a still life by Pieter Claesz., an artist who leaves Anne cold. She is more interested in tracking down the companion painting to a small Bust of a man wearing a laurel crown by Cornelis Cornelisz. van Haarlem. She knows it is in a private collection in Sweden. codartwas able to prove its usefulness by providing her with a good contact there. Almazan Navany Photo One New England collector received the group without showing his art. On Friday Gary Schwartz opening the discussion on the exhibition Rembrandt’s journey in the Museum of Fine Arts. 19 codart Courant 7/December 2003

Recently, Gaskell, who has been heard to say copper’ and because they reveal to the public this case the combination of paintings, plates ‘In my museum there is no such thing as a how the prints were made. He added that the and works on paper was functional, and had permanent exhibit,’ filled one smallish room plates have a certain talismanic quality – they been carried out with discretion and good in the galleries with a modest display of are objects that we know Rembrandt had in his taste. One great help was that the oil sketches paintings by Rubens and his immediate circle. hands. Tom Rassieur, assistant curator of are on the same scale as the etchings; another In a painting by the young Turner in the prints and drawings at the mfa, told the was that the newly installed halogen lights reserves, Dutch and English art meet in an group that a collector in California has steel- have a longer range of color, making the rooms interesting way: Rembrandt’s daughter depicts a faced several Rembrandt copperplates and feel less dark and bringing the objects closer to seated young girl reading a love letter as her printed thousands of impressions from them each other in tone. Nicolette Sluijter said that father enters the room. that are now for sale at highly inflated prices in although she had previously resisted the On Friday morning the group was the shops of art dealers on Newbury Street and mixing of media in her exhibitions, she had admitted to the Museum of Fine Arts one hour elsewhere in the country. been converted by Rembrandt’s journey. before it opened to the public. This enabled the The pros and cons of including paintings in When the exhibition travels on to Chicago, participants to take a good look at the major the exhibition were discussed. Some felt that a special educational area called ‘Rembrandt’s exhibition Rembrandt’s journey: painter, etcher, the difference in scale and color – especially the workshop’ will be included, enabling visitors draftsman, which had opened only the week vast Elison portraits hung midway in the to see the tools used for the various media. before. During a lunch that was offered by the exhibition – made it hard for the viewer to Upon Cliff Ackley’s sigh that he would have museum in the Trustees Room, decorated for relate them to the drawings and prints. liked to include something like that in the the occasion with prints and drawings by Schwartz said that he was not disturbed by a show here in Boston, Huigen Leeflang Bloemaert, Joris van der Haagen and others, change of pace in an exhibition that was proposed that the mfaand Chicago join with those present discussed the exhibition. To otherwise so consistent. Cliff Ackley and Ronni other museums, such as the Rembrandt start off the discussion, Gary Schwartz Baer explained that originally paintings were House, to set up an educational program on described this Rembrandt show as a ‘high not included in the exhibition. The initial plan the subject, the need for which is felt in so concept’ and taboo-breaking exhibition. was for a show about Rembrandt’s print- many exhibitions of prints. Schwartz Whereas other recent Rembrandt exhibitions making practices, in which etchings were remarked that codartis working on the had tended to focus on questions of supplemented only by a few drawings and the presentation of general educational materials attribution, this one concentrated firmly on mfapainting of An artist in his studio. The on its website, and that this might well be Rembrandt’s artistic imagination. The director, however, felt strongly that paintings something we could support. timeworn division between media was broken should be integrated into the exhibition and The rest of the afternoon we split up in by a display that joined, on a single panel, Ronni Baer was brought onto the project to three groups and were escorted through the etchings with copperplates, oil sketches, achieve this goal. While three of the mfa’s painting reserves, the conservation lab and the colored and black drawings and paintings. Rembrandts are in the exhibition, two more department of prints and drawings. At the end Chronology was respected, but the main remain in the Dutch galleries where they can of these visits the three groups met in the ordering principle was theme: in 50-some be appreciated by visitors who pay the newly installed gallery of early Netherlandish panels, each with a succinct text, the viewer entrance charge but not the surcharge for art, which is not yet open to the public. The was invited to study the similarities and the special exhibition. collection is the envy of many European differences between the various compositions. On the whole, the participants felt that in museums, if only for Rogier van der Weyden’s The panels almost looked like the openings in a book, leading Cliff Ackley to acknowledge that he was indeed inspired by Bob Haak’s book on Rembrandt of 1969. When the discussion was opened to the floor, the thematic concept met with general agreement and appreciation. Several participants avowed that they had asked other questions and learned more with the objects exhibited this way. The discussion then focused on the mixture of media. ‘Whenever paintings are mixed in with works on paper at an exhibition, you hear outraged purists saying that the integrity of the media is being violated,’ Schwartz remarked. ‘But at this exhibition the mix was extremely instructive and visually appealing.’ Cliff Ackley, the curator of the exhibition, explained that he had chosen to include a Donkersloot Wietske Photo relatively large number of copperplates because he considers them ‘drawings on With Cliff Ackley in the print room of the Museum of Fine Arts. codart Courant 7/December 2003 20

St. Luke painting the Madonna. There was also a museum in 1898, in emulation of the mfa. It thesis was on Hendrik Goltzius, and although bit of time to run through the permanent started off as an establishment of the most of his work now goes into 20th-century collection. Kunsthalle type, a large building with scarcely American prints, during the visit he was Having served in the 19th century as the any collections of its own. By the 1920s, invited to join codart. By coincidence, at the repository of the collection of prints of however, thanks to numerous gifts, it had the dinner that was offered to us after the visit by Harvard University, the mfaprint room was third largest collection of any American Jim Welu, Acton and Jan De Maere got onto the left with only 60 prints after Harvard built the museum. The status of the Worcester Art subject of Norman Bluhm, an American first Fogg Art Museum in 1895 and moved out Museum is well symbolized by the fact that Abstract Expressionist artist who had lived in its holdings. Using a large bequest from Francis Henry Taylor, one of the leading Paris. Acton was working on an exhibition of Harvey D. Parker, in 1898 the mfawas able to museum men in the country, served as his work, and De Maere turned out to have buy the Sewall Collection of about 20,000 director in Worcester before being appointed known and supported Bluhm in the 1960s. He prints of divergent quality. Recent director of the Metropolitan Museum of Art – promised to provide memories of the artist as acquisitions for the print room include 19th- which he subsequently left to return to well as some rare examples of his prints that and 20th-century Dutch graphic art, among Worcester! Thanks to its participation in the Acton could use for his show. them posters by Roland Holst and Karel Visser. Antioch excavations of the 1930, the museum The large, well-equipped conservation lab Our visit to the Isabella Stewart Gardner owns one of the largest Roman floor mosaics in in Worcester, with northern lighting, brought Museum following our day at the Museum of the world, on the theme of the hunt. to mind that the museum was one of the Fine Arts fell a bit out of tone with the rest of The codartvisit took place on a lively pioneers in the United States in scientific the trip. The host curator, Alan Chong, had left Family Day at the museum. We were admitted conservation, under the leadership of the the country a few days before on an to the closed galleries where the early Italian legendary George Stout, in the 1940s. unannounced trip to Italy. No arrangements paintings were on display, including Piero di The museum generously provided had been made for our visit except for a guided Cosimo’s The discovery of honey, before being let participants with copies of choice catalogues tour in two groups by Chong’s able assistant loose in the two impressive galleries of that it had published in the past: curator Richard Lingner and a young woman paintings from the Netherlands. There we saw – European paintings in the collection of the on staff. Since the Gardner has insufficient another interior of the Bavokerk by Pieter Worcester Art Museum, 2 vols., Worcester 1974 artificial lighting, we were dependent on the Saenredam, in addition to Frans Hals’s portrait (entries for the Dutch School written by flashlight illumination provided by the hosts of Pieter Post and a remarkable painting by Seymour Slive and for the Flemish School and a number of our party. The group was a bit Maarten de Vos with Christ as a child by Egbert Haverkamp-Begemann). baffled, but showed interest in the small but accepting the cross. In the conservation – Worcester Art Museum: selected works, spectacular exhibition of portrait bronzes by department we were allowed to study at close Worcester 1994. Benvenuto Cellini. range Quinten Matsys’s moving Rest on the – David Acton, Master drawings from the Sunday afternoon was devoted to the flight to Egypt. Worcester Art Museum, New York 1998. Worcester Art Museum, a richly eclectic The print room was opened to us, where Our last morning in Boston, Monday, collection in the city of Worcester, some 50 David Acton, head of prints and drawing, put 3 November, was spent at the Straus Center for miles west of Boston. With the city flourishing up a small display of the most interesting Conservation and Technical Studies, located in after its own Industrial Revolution, a group of Dutch and Flemish drawings. Acton’s Ph.D. the renovated and fully equipped upper stories 50 prominent citizens were able to establish a Photo Gary Schwartz Gary Photo Photo Wietske Donkersloot Wietske Photo

Frans Hals’s Portrait of a man in the collection of Jim Mullen and Nola Anderson. Eijk and Rose Marie de Mol van Otterloo with their newly acquired portrait etching from Houbraken, a gift from codart. 21 codart Courant 7/December 2003 of the Fogg Art Museum, where our member Dutch and Flemish drawings. On a tour of the a digitized back; capture sessions under Ron Spronk, research curator, had put together Center, we were given demonstrations of controlled lighting of two to three minutes; a fascinating program for us. As director Henry infrared reflectography and digital imaging and computer files of 757 mbper image. As this Lie told us in his brief introduction, the history applied to works of Dutch and Flemish art. kind of technology moves into the museum, of the center is closely related to the Harvard The Center works by preference with standard Robinson suggested, the entire discipline of University Art Museum. An early director of equipment and software packages. This avoids medium description in catalogues of prints the Fogg, Edward Forbes, had a strong interest the extra expense of custom software and the and drawings will have to be reinvented. in technical research and hired a professional vast ongoing expense of upgrading, while The products of these experiments are restorer and a chemist at a time when this was making it easier to take on new people to use presently filed away (at a charge) in the Digital still an unusual move. Forbes himself the software. With the new versions of Adobe Repository Service of the Harvard University assembled a large collection of pigments. It Photoshop, the Straus Center technicians are Office for Information Systems. The Straus remains a primary resource for the Straus able to stitch infrared takes of large objects people fondly call the repository ‘the image Center, while small quantities of the into single images. That and other off-the- bucket.’ compounds and complexes in his jars – set up shelf programs enable them to layer images of It did not escape the visitors that the second picturesquely in the stairway from the Fogg to the same object in natural light, ultraviolet, language of the Straus Center, after English the Straus – are made available to peer infrared and X-ray, allowing the viewer to technologese, is Dutch. Alongside Craig Bowen institutions that share the results of their move up and back seamlessly between these of the paper lab, Nancy Lloyd and Tony Sigel of research. modes, or to compare details in the same scale the objects lab, Narayan Khandekan of the The technical work at the Center and the on the same screen. analytical lab, Kate Olivier and Terry Hensick Museum has often been connected to The most spectacular demonstrations of of the paintings lab and Katya Kallsen and university courses. A survey of artistic the morning were the high-resolution digital Andrew Gunther of the Digital Imaging and techniques that was long on the Harvard photographs of drawings. The magnification Photography Department, we met Ron curriculum was known by undergraduates as was such that you could see the pits in the Spronk, intern Tinke van Daalen and an intern ‘the egg and plaster course.’ Nowadays the paper and the grains of charcoal. We were in the paintings lab named Ige Verslypen. The Straus Center gives only two courses in the Art shown a man’s head by Wallerant Vaillant Straus visit was planned and executed with History Department. which, as Bill Robinson told us, would appropriately calimetric precision, with two The Center is not purely an academic normally have been catalogued as ‘black groups circulating through the premises in institution; it also works as a restoration charcoal on paper.’ Close examination segments timed to the minute. studio for other museums, collectors and the revealed, however, that it combined all the dry After a last lunch in the Naumburg Room art trade. Thanks to new funding, it has been media available to the artist, including pencil of the Fogg Art Museum, a chartered bus able to reverse the unfavorable ratio of inside- and chalk, and that the pupils in the man’s provided a painless transit to New York for the outside restoration. In addition to paintings, eyes are not black at all – they are colored in 17 participants who prolonged their visit to it also examines and restores work on paper, true ultramarine. A drawing by Goltzius on the east coast in the Big Apple. The following ceramics and sculptures. In anticipation of the prepared paper that Robinson thought was a section of the report is by way of a postscript. codartstudy trip, the Straus had given metalpoint turned out to have been executed On the evening of 4 November, the priority to work on the Abrams donation of in black chalk. All it takes is a Hasselblad with participants in the study trip and the codartmembers in New York who had not joined in were invited to a reception at the home of Jeanne Wikler, Embassy Counselor for Cultural Affairs of the Netherlands Consulate- General. She provided a warm welcome, with excellent food and drink, and an opportunity to meet other members of the Dutch diplomatic mission in New York, including the recently appointed consul-general, Cora Minderhoud. The following morning, a smaller group assembled at the Frick Art Reference Library, where our member Louisa Wood Ruby awaited us, with Inge Reist, Chief of Collections Development and Research. The main object of the visit was to be introduced to a unique research resource, the databases of inventories in the Amsterdam archive compiled by John Michael Montias. One database contains the integral texts and basic facts about 1,100

Photo Gary Schwartz Gary Photo interesting inventories between 1597 and 1678, a second the 48,000 individual works of art Alexander Vergara looking at 16th-century prints in the collection of Bob and Barbara Wheaton. listed in the inventories. The breakdown of codart Courant 7/December 2003 22 information, which was provided to us on a what one might expect of such a large and Roelant Roghman, Meerdervoort Castle. handout, is extremely fine, with extensive world-renowned museum, the Met did not Nicolaes Berchem, Cows. additions by Montias concerning the works of institute a Department of Drawings until Willem Buytewech, Title page with vegetables art and their owners. Each database contains 1960. Even then, it remained behind in the and figures. about 30 fields, allowing for searches that Dutch and Flemish field, concentrating Willem Buytewech, Poultry market in a Dutch define not only subjects, by various systems instead, under the lead of Jacob Bean, on town, dated 1621. including iconclass, but also such Italian and French drawings. The Havemeyer Willem van Mieris, Abraham and Isaac. variables as the location of an object in the Bequest brought in some work on paper from Herman Hestenburg, Vanitas with colorful house or in the room, the religion of the the Netherlands, and under Bean’s successor, flowers. owner, materials, estimated worth and so George Goldner, there is now more interest in Gerard Melder, Classicizing pastoral. forth. Northern European masters. Simon Andreas Kraus, Beach. Because Montias began his work in Michiel showed us the drawings he had Johan Goll van Franckenstein, Lane with cooperation with the Getty Provenance Index, bought over the past four years. Since they carriages. he works with the software used in that have not yet been published, it may be Anonymous, Architectural fantasy. An institution, the Star system. It offers excellent interesting to see a checklist drawn up on the exceptional acquisition. Otto Naumann flexibility, but is not simple to use. Because the spot: donated it as the result of a successful Frick was one of the few research facilities that Jan Gossaert, Madonna and saints. Rumpelstiltskin wager: if Michiel could worked with Star, Montias was able to find a Jan de Beer, Lamentation over Christ. help with finding the author, the Met home there for his databases after the Joachim Beuckelaer, The killing of the five would get the drawing. Michiel did find Provenance Index was discontinued. The Frick kings of the Amorites. out who the author was (i.e. Jan has built a Windows interface to make the Pseudo-Aert Orthens, A stoning. Hendrik Verheyen) and the Met databases more accessible to users. A Maerten van Heemskerck, Ecce Homo, received the drawing. demonstration by Louisa Wood Ruby and her quadrated study for part of the Anthonie Mauve, Beach with fishing boats. assistant Angela Campbell demonstrated two Linköping Altar. Johannes Bosboom, Farmhouses. things: the database is immensely rich and David Vinckboons, Petrus Plancius instructing Willem Roelofs, Tree in England. interesting, and it is still not easy to use. students in navigation, for the title page of Hans Christian Andersen, Two Pierrots For those too far from New York or too Willem Blaeu’s handbook on balancing on swans and two dancers. unhandy to learn the system, Louisa has navigation. Augustin Braun, Merry company. offered to perform searches upon request. Abraham van Diepenbeeck, Allegory of the During the week following our arrival in New Contact her at [email protected]. triumph over heresy. York on 3 November, the participants were The closing event in the post-program took Peter Paul Rubens, The Belvedere torso, with welcomed without admission charge at the place that afternoon. Michiel Plomp (whose arough sketch on the verso of his Metropolitan Museum of Art, the Cloisters name knows many pronunciations in New altarpiece, Virgin adored by saints. and the Frick Collection. On Thursday- York, mainly Michael and Michel) received the Lodewijk Toeput, Fantasy palace garden. Sunday, we had free admission to the New last stalwarts in the Print Department Study Jan Siberechts, Three trees. York Print Fair, in the Park Avenue Armory. Room of the Metropolitan Museum of Art for a Philips Koninck, Last Supper. These arrangements were made by our look at his recent acquisitions. In contrast to Jan Ruischer, Landscape. members in New York.

A special mention is due to the anonymous donor who funded the participation of a curator from an economically deprived country. From the applicants who requested this grant, one name was drawn from a hat: Helena Risthein of the Art Museums of Estonia in Tallinn. She took full advantage of the occasion, participating not only in the study trip, but visiting Washington and New York separately as well. It was her first visit to the United States. codartwould also like to thank its friend Lola Gellman for offering hospitality to Helena at her home in New York. A complete list of partners and sponsors, the codart zesnetwork, is available on the codartwebsite. Wietske Donkersloot and Gary Schwartz Photo Wietske Donkersloot Wietske Photo

In the conservation lab of the Worcester Art Museum. 23 codart Courant 7/December 2003

codartactivities Monday, 8 March more sophisticated than any court further 9:00-11:00 Opening session, Dutch and Flemish east. The Flemish tapestries in Wawel still in 2004 art in Poland form one of the greatest ensembles of their Centraal Museum kind in the world. Concerning the collecting codart zevencongress: Dutch and Nikolaaskerkhof 10 of paintings by the Jagellonians, there is a Flemish art in Poland, Utrecht, 7-9 March 2004 t +31 30 236 2362 contradiction in the secondary sources. Jan f +31 30 233 2006 Bia-lostocki and Michal Walicki remark with Pre-congress excursions to Lille and e [email protected] regret in their overview of the history of Utrecht w http://centraalmuseum.box.nl painting collecting in Poland from 1957 that Saturday, 6 March Eddy de Jongh, Twee Jannen: Jan van Gelder the powerful late Jagellonians, who spent 12:00 Busses leave from tefafin Maastricht and Jan Bia-lostocki. fortunes on palaces and jewelry and tapestries, and from Amsterdam (in front of Netherlands Talks on Dutch and Flemish art and showed no detectable interest in painting. Institute for Cultural Heritage, Gabriël architecture in Poland by curators from A different tone was struck in 1988, in the Metsustraat 8) for Lille. Box lunch on the bus. Warsaw. exhibition catalogue Europäische Malerei des 15:30 (approximately) Arrival in Lille, check 11:00-13:00 Visit Centraal Museum, where the Barock, which traveled to Braunschweig, into hotel. exhibition Vis vitalis: visstillevens in de Utrecht, Munich and Cologne. In her 16:00 Free time for exploring Lille. Nederlanden 1550-1700 (Fish: still lifes by Dutch introduction, Janina Michalkowa reports that 19:00 Visit to exhibition Rubens (1577-1640) at and Flemish masters 1550-1700) will be the 16th-century palace was adorned with Palais des Beaux-Arts running. paintings, mainly Italian, which however were Place de la République 13:00-14:30 Lunch in Centraal Museum. destroyed in the fires of 1595 and 1702. Be that f-59000 Lille 14:30-17:00 Workshops. as it may, not a single painting can today be France – The role of the permanent collection. traced to that legendary house. t +33 3 2006 7800 Chair: Axel Rüger. That the succeeding dynasty of the Wasas f +33 3 2006 7815 – Long-term collection mobility. did collect on a lavish scale is no cause for The exhibition opens to the public that day. Chair: Peter van den Brink. lasting joy in Poland. The holdings they codartwill be admitted after closing time. – The exhibition as a scholarly tool? accumulated were lost in even more 21:00 Dinner in a Lille restaurant. Chair: Manfred Sellink. distressing ways than in fires. In 1655, Swedish 19:00-23:00 Congress dinner. armies occupied Poland, dragging off, as Sunday, 7 March Michalkowa puts it, anything that was not 9:00 Departure by bus for Utrecht. Tuesday, 9 March nailed down: furniture, sculptures, paintings, 12:00 Arrival in Utrecht, check in to hotel. 9:30-11:30 Members meeting in Centraal marble. When the last Wasa abdicated in 1672, Best Western Amrâth Hotel Museum. he took his collection with him to France, Vredenburg 14 11:45-12:00 Bus to Centraal Museum depot. where 150 paintings were sold for a song and 3511 baUtrecht 12:00-13:00 View of paintings in storage. dispersed. The collections of the Sobieski kings t 030 2331232 13:00-13:15 Bus to ended up in Rome, those of the Saxons in f 030 2328451 Loekie and Gary Schwartz Dresden, and of the Poniatowskis, including e [email protected] De Boomgaard 2,000 paintings, in miscellaneous sales. w www.amrathutrecht.nl Herengracht 22 Striking and long-lasting artistic ties 12:30-13:30 Lunch. nl-3601 amMaarssen between Poland and the Netherlands, 13:30-17:00 Pre-congress walking tour of t +31 346 562 778 important to this day, came about through the Utrecht, in three groups, guided by: f +31 346 570 574 presence in Poland of architects and designers Renger de Bruin, curator of historical e [email protected] from the Lowlands. In the 16th and 17th collections, Centraal Museum, 13:15-15:00 Drinks and buffet lunch offered by centuries, the harbor city of Gdan´sk employed Marten Jan Bok, historian and art historian, Loekie and Gary Schwartz. Flemings and Dutchmen for the construction and 15:00 Busses to Centraal Station, Utrecht and of their fortifications, city gates and public Llewellyn Bogaers, historian Museumplein, Amsterdam. buildings. The decorations were marvels of [15:00-17:00 Meeting of Board and Program Program subject to change. If you are attending the intellectual and artistic sophistication, and Committee.] congress, please keep an eye on the codartwebsite. they have been better preserved than any comparable ensembles in either the Congress program Study trip to Gdan´sk, Warsaw and Kraków, Netherlands or Flanders. The large-scale Sunday, 7 March 18-25 April 2004 presence in Gdan´sk of builders from the 17:00-20:00 Registration and reception at: As rich and fascinating as are the holdings of Netherlands forms part of a broader historical Fundatie van Renswoude Dutch and Flemish art in Poland today, the development, which has been described as Agnietenstraat 5 history of the subject is largely a tale of past follows by the American historian Richard 3512 xaUtrecht glory. In the mid-16th century, the Unger: ‘In the 17th century, the Dutch t +31 30 252 0779 Jagellonians ruled over a kingdom that Republic was able to dominate politics in the 18:00 Greeting by director of codart, Gary stretched from western Prussia to the Black states surrounding the Baltic. Infrequent Schwartz, and director of the Centraal Sea, maintaining a capital in Kraków and a expeditions by the Dutch navy were more than Museum, Sjarel Ex. power base at Wawel Castle, which were far enough to control events because states and codart Courant 7/December 2003 24 rulers in northeastern Europe proved willing and Flemish painting. Symbolic of this is the 1944. The damage to the historic center is to act as surrogates for the Republic[…]. The oil sketch by the Fleming Jacob Jordaens (1593- estimated at 80 percent total loss, including peoples of northeastern Europe relied on the 1678) for The apotheosis of Frederik Hendrik, still the Royal Palace. The present Old Town and Netherlands for economic success, techno- in the Oranjezaal in Huis ten Bosch, for which New Town, as well as many monuments in logical advance and cultural change.’ This it was painted in 1652. The Jordaens – the artist other parts of the city, were reconstructed gives greater meaning to the dissemination of is a favorite throughout Poland – was under the Communist regime (1945-1989). The Dutch art in Poland than is covered by the purchased by the Warsaw museum in 1871. reconstruction allowed for more liberties than history of art collecting and patronage alone. The codart zevenstudy trip will that of Gdan´sk, incorporating some new It adds resonance to the codartproject and introduce participants to as much of this elements, such as the Memorial to Heroes of emotional depth to the study trip. heritage as can be visited in the course of a the Warsaw Uprising, which covers several Dutch-Polish artistic relations of the 17th week. Poland is a large country and travel from acres of the New Town. The year before the century are exemplified at the highest level in city to city takes much time. We are obliged to Warsaw Uprising, the Ghetto Uprising had the figure of the architect Tilman van limit the trip to the three main cities for our taken place, which sealed the tragic fate of the Gameren (1632-1706). Van Gameren, one of the purposes: Gdan´sk, Warsaw and Kraków. The 700-year-old Jewish community of Poland. The foremost Polish architects of the 17th century, plan for the trip was outlined in considerable former site of the Ghetto is now largely filled was born in Utrecht in 1632. In 1661 he was detail by Maciej Monkiewicz of the National with postwar housing. working in Venice, reportedly as a painter of Museum Warsaw, with the cooperation of Speaking to Poles in Gdan´sk and Warsaw battle scenes. In that year he was invited to colleagues throughout the country. In a about the architectural heritage of their come to Poland by Prince Jerzy Sebastian preparatory visit by Gary Schwartz from 22 to country, their eyes light up when Kraków is Lubomirski. He spent the rest of his life in the 29 May 2003, most of the destinations were mentioned. This ancient city, the seat of the service of the Lubomirskis, one of the most visited, and valuable personal contacts were Jagellonian dynasty, was left relatively important of the Polish magnate families, made. untouched by the Second World War. executing royal, military, ecclesiastical, The most substantial and long-lasting Drenched in charm, Kraków is a magnet for agricultural, horticultural and civic product of the study trip is the exhibition of both backpackers and well-off cultural commissions throughout his adopted country. 130 Dutch and Flemish drawings from all over tourists, making the Great Market something It was through the skills and industriousness Poland being mounted in the National of a cross between the Campo de Fiori and the of this Dutch architect that Poland came into a Museum in Warsaw to mark the trip. Maciej Piazza Navona in Rome. Ironically, however, heritage of internationally oriented classicist Monkiewicz organized this event, for which he Kraków is close to the place that has become architecture, a movement that brought with it is writing a scholarly catalogue that will the ultimate symbol of destruction in the a European taste in art collecting as well. introduce these important holdings to Second World War, the destruction not of When it came to building national art international art history for the first time. buildings but of human lives. About 60 collections, it was patricians and patriots codart considers itself privileged to have kilometers west of Kraków lies the death camp rather than potentates who took the lead. functioned as a stimulus for this enterprise. of Os,wie ´cim, Auschwitz. The study trip will Michalkowa has described the quite manic The trip bears the marks of these intensive offer participants an opportunity to visit the collecting behavior of wealthy Polish burgers preparations and the enthusiasm with which site following the end of the program. and aristocrats. In the 19th century the Polish curators and museum directors greeted The study trip will be accompanied by the Czartoryskis and Ossolinskis founded the plan to devote codart zevento Dutch former cultural attaché of the Royal museums based on nationalistic premises. The and Flemish art in their country. The Royal Netherlands Embassy in Warsaw, presently establishments they and their heirs created, in Netherlands Embassy in Warsaw also curator of modern art at the Hannema-de Kraków and Wrocl-aw respectively, survive and responded generously to an appeal for help. It Stuers Fundatie: flourish to this day, albeit in calmer ideological is contributing towards the cost of producing Gerdien Verschoor circumstances. The art historian and diplomat the catalogue of the drawings exhibition in the Hannema-de Stuers Fundatie Atanazy Raczynski built a splendid collection National Museum in Warsaw, and is co- Kasteel het Nijenhuis during his missions as legate of the king of hosting a dinner for the participants and their nl-8131 rdHeino/Wijhe Prussia. The palace in Berlin where it was Polish colleagues in Nieborów Palace. The Netherlands preserved was demolished in 1884 to make way No visit to Poland and its art treasures in t +31 572 391 434 for the Reichstag. The paintings were then the year 2004 can bypass the effects on the f +31 572 393 515 moved to five rooms of their own in the country of the Second World War. Gdan´sk e [email protected] Nationalgalerie, but in 1903 the citizens of survived the war largely unharmed until the Poznán held a campaign to build a museum on very last phase, in March 1945. At that point Her participation assures that we will never their own expense and succeeded in luring the the Germans decided not to relinquish the city come up against situations in which we are collection back to Poland. easily to the advancing Russian army, but to unable to communicate with our hosts. She The founding in 1862 of the immense defend it to the end. As a result, some 95 has close personal acquaintance with all the National Museum in Warsaw (until 1916 the percent of the historic center was destroyed. destinations and curators we will visit, and Museum of Fine Arts) was a direct expression Following the war, Gdan´sk took it upon itself knowledge concerning Polish history, culture of Polish nationalism on the eve of the 1863 as a matter of pride and defiance to reconstruct and daily life that she will share with us on the insurrection against Russia. The late date of its the city in as complete form as possible. trip, not to mention recommendations for foundation did not prevent the museum from In Warsaw the damage was perpetrated by shops, restaurants, theater, musical evenings acquiring an important collection of Dutch the Germans after the Warsaw Uprising of and so forth. 25 codart Courant 7/December 2003

Sunday, 18 April t +48 58 301 7061 Blocke – and some contemporary and older 19:45-21:40 lotPolish Airlines flight lo 268 f +48 58 301 1125 Netherlandish paintings. from Amsterdam to Warsaw. We will be met by the curator of paintings, In the print room a selection will be shown 22:25-23:30 lotPolish Airlines flight lo 3827 Beata Purc-Stepniak, and the curator of Hans of works on paper, especially items from the from Warsaw to Gdan´sk. Memling’s Last Judgment. Ownership of the famous collection of Jacob Kabrun (1759-1814), 23:45-24:00 Transfer from Gdan´sk Airport to triptych is currently a matter of dispute in the an eminent Gdan´sk merchant, collector of hotel. city. It belonged to the Church of Our Lady drawings, prints and books, amateur artist, Novotel Gdan´sk Centrum until after the Second World War, when it was and benefactor of the Municipal Theatre. ul. Pszenna 1 moved to the museum. The church is now The gallery of applied arts presently has an pl-80749 Gdan´sk attempting to get it back, and the museum is impressive display of Delftware and metal- t +4858 300 27 50 resisting. In the museum it is displayed in a work from the Netherlands, which may still be f +4858 300 29 50 room of its own, so that it can be seen from all on show during the study trip. Well worth a e [email protected] sides. look are the galleries of medieval and 15th- w http://www.orbis.pl/hot—novg.html The main foreign painting galleries are century art. Gdan´sk is a major codartdestination for devoted to the Dutch and Flemish schools. 12:30-14:00 Lunch more reasons than one. The import of Dutch Rembrandt’s masters are represented with a 14:30-15:30 Biblioteka Gdan´ska Polskiej and Flemish art went hand in hand with famous Virgil in hell by Jacob van Akademii Nauk developments in trade, commerce, politics, Swanenburgh, and an important pastoral by (Gdan´sk Library of the Polish Academy of military and civic architecture. The activities Pieter Lastman. The galleries show genre Arts and Sciences) of artists from the Netherlands, especially scenes by Adriaen van Ostade, Jan Steen and ul. Wa-lowa 15 Hans Vredeman de Vries, and architects like Pieter de Hooch, portraits by Jan van Goyen pl-80858 Gdan´sk Anthonie van Obberghen, create a continuity and portraits by Ferdinand Bol and Nicolaes t +48 58 301 2251 in environment with the cities and fortresses Maes, among a host of lesser works awaiting f +48 58 301 2970 of the Netherlands. The work of generations of (re)attribution. One of the most striking The early 20th-century building lies on the local artists manifests these influences, which paintings is an interior of the Oude Kerk in western edge of the old city, and was one of the are visible in the galleries of the National Delft by Cornelis de Man with a fictive few grand institutions of Gdan´sk that was not Museum and the streets of the city. They exist bishop’s tomb inscribed with a bold legend in destroyed in the war. The institution was in a constant interplay with elements from an imaginary alphabet. founded in 1596 as the library of the city other European centers and with local More interesting for the study of the council, with a collection of 1,300 volumes traditions. dispersal of Dutch and Flemish art are the belonging to the Italian humanist Giovanni In addition, one of the immortal glories of rooms with the work of 16th- and 17th- Bernardino Bonfacio, marquess of Oria (1517- Netherlandish art, Memling’s Last Judgment, century Gdan´sk painters. In the first cabinet, 1597). It now contains over 300,000 items, has been in Gdan´sk apparently since the 15th the works of local artists alternate with those including about 800 incunabuli and more than century, and is treated there with the highest of the painters from the Netherlands from 55,000 old prints. (From the booklet The Gdan´sk regard. It may be the only single museum whom they derived their styles and techniques Library of the Polish Academy of Sciences by Maria object in the world to have its own curator. – Hans Vredeman de Vries and Isaac van der Babnis, published by the library in 1999.) A visit to Gdan´sk is full of poignancy. Nearly every building has been rebuilt after the devastation of the city by the Russians in 1945. The larger brick walls – Gdan´sk has some of the biggest brick buildings in the world – are composed of historical chunks filled out with new, historicizing masonry. Those finished in stucco are often flat and uniform, conforming only in general form to the destroyed antecedent. Yet, the dedication of the city to rebuilding itself as it was is moving. In the hands of a sophisticated and ambitious man like Adam Koperkiewicz, director of the eight city museums, the Gdan´sk project becomes a focus for thinking about the past in terms of the relation between physical remains and historical and present identity.

Monday, 19 April 9:30-12:30 Muzeum Narodowe w Gdan´sk

(National Museum in Gdan´sk) Schwartz Gary Photo ul. Torun´ ska 1 pl-80328 Gdan´sk The National Museum in Gdan´sk, with Memling’s Last Judgment flying in the flag. codart Courant 7/December 2003 26

The significance of the Dutch holdings in the – a choice of manuscripts, documents, – Several churches, among them the Gothic library was brought to the fore in October atlases and books linking Gdan´sk to the St. Catherine’s Church with its 49-bell 2000, with an exhibition and catalogue entitled Netherlands. carillon. Nie tylko o mapach: Holandia w zbiorach Biblioteki – a choice from among the c. 100 prints by – Uphagen’s House (1775-87), a branch of Gdan´skiej Polskiej Akademii Nauk (Not only about Dutch engravers and etchers. (A checklist the Museum of the History of the City of maps: Holland in the collection of the Gdan´sk will be provided in advance). Gdan´sk. Library of [the] Polish Academy of Science). The 15:30-19:00 Walking tour of Gdan´sk Old Town, 19:00-20:30 Reception in Dwór Artusa curator of the exhibition was Anna Wytyk. including visits to (Artus Hall, or Court of King Arthur From the introduction: the ‘Gdan´sk-Dutch – Brama Wyz.ynna (Upland Gate, 1574-76), 1476-81, façade rebuilt 1616-17) relationship is presented not only in the originally the main entrance to the city ul. D-lugi Targ 45 context of import of books and atlases from the from land, behind a moat and offering pl-80830 Gdan´sk Netherlands but also in the context of passage through the formidable city wall. t +48 58 301 4359 exchange of scientific, technical (polders, The Renaissance adornments are by the We will be received by the director of the eight windmills) and artistic ideas. In the 16th and Antwerp architect-engineer Willem van Gdan´sk city museums, Adam Koperkiewicz, 17th c. Europe was heading towards Gdan´sk.’ den Blocke (before 1550-1628), and they are who will fill us in on the history of the The director is Maria Pelczar (e pelczar@ modeled on the gates of the Antwerp city building and of the neighboring town hall as panda.bg.univ.gda.pl), who has worked in the wall. well as his projects for the future. library for half a century. In 1955 she was – Katownia (Torture Tower, a late medieval responsible for the transformation of the structure rebuilt in the late 16th century by Tuesday, 20 April institution from a city library to one of the five the Flemish architect-engineer Anthonie 8:30 Check out of hotel. independent branch libraries of the Polish van Obberghen, 1543-1611). 9:00-11:00 In two groups, visits to: Academy of Sciences. Dr. Pelczar will arrange – Z-lota Brama (Golden Gate, 1612-14). Town hall (14th-early 17th century, now the for a display in the reading room of some of the Replaces a medieval gate on the site. Museum of the History of the City of Gdan´sk). 83 objects shown in the exhibition, Designed in this form, an adaptation of the Includes the superb Red (or Summer) Hall supplemented with other items of interest to Roman triumphal arch, by the son of decorated with paintings on the walls (1594-96) codart, such as Willem van den Blocke, Abraham van den by Hans Vredeman de Vries (1527-after 1605) – copperplates by Willem Hondius for a Blocke (1572?-1628). and his son Paul Vredeman de Vries (1567-after series of prints concerning the history of – Court of the Brotherhood of St. George 1630), and on the ceiling, in 1608, by Isaack van Gdan´sk. Hondius, who was born in The (1487-94). den Blocke (c. 1574-c. 1627). In this room one Hague c. 1597, lived for many years in – Arsenal- (Armory, 1600-09), designed by can imagine oneself at the court of Prince Gdan´sk from 1636 on. He seems to have Anthonie van Obberghen, with a façade by Maurits or of the Archdukes, none of whose died there c. 1658. Abraham van den Blocke. The formal residences have survived. The closest – the privilege given to Dutch Mennonites vocabulary is closely related to equivalent is Rosenborg Castle in Copenhagen, to settle in Gdan´sk. contemporary Dutch architecture. Now built by Flemish architects for Christian ivof – the first history of Gdan´sk, by Reinhold the School for Fine Arts, which called down Denmark. Curieke, printed in Amsterdam. The library the wrath of purists by building a modern Gothic Church of the Blessed Virgin Mary has the only copy that was hand-colored at annex. In Beautiful historic Gdan´sk, one of the (1343-1502), the largest brick church in Europe. the time. sources for these notes, Lech Krzyz.anowski In addition to altarpieces, epitaphs and tomb wrote that the building ‘is not in keeping sculpture there are treasures such as a with the local architectural tradition and spectacular astronomical clock. With the Royal constitut[es] a foreign, aggressive intrusion Chapel (1678-81). into the panorama of the town.’ One 11:00-14:00 Free time and lunch break. wonders what he would have written about 14:00-20:00 Bus to Warsaw. If conditions allow, the original Armory, a Renaissance stopover at Malbork Castle or Torun´ . building in Gothic Gdan´sk, in 1610. 20:00 Check in at hotel (to be announced). – Fontanna Neptuna (Neptune’s fountain, early 17th century). ‘The design of the Wednesday, 21 April fountain is ascribed to Abraham van den 9:00-11:00 Muzeum Pa-lac w Wilanowie Blocke, who was responsible not only for (The Wilanów Palace Museum) the details but also for its spatial relation- ul. Stanis-lawa Kostki Potockiego 10/16 ship to the square, the communication pl-02958 Warsaw routes, the views and the most important t +48 22 842 8101, +48 22 842 4809 buildings’ (Lech Krzyz.anowski). f +48 22 842 3116 – Z-lota Kamieniczka (Golden or Speimann e [email protected] or House, 1609-18). [email protected]

Photo Gary Schwartz Gary Photo – Zielona Brama (Green Gate, 1564-68). We will be received by Pawe-l Jaskanis, director, – D-lugie Pobrzez.e (The Long Quay), with who will fill us in on the history and present . Former town hall of Gdan´sk, now the Historical the Zuraw, the oldest surviving port crane function of Wilanów, and by the curator of Museum, and the Court of King Arthur. in Europe (1442-44). paintings, Krystyna Gutowska-Dudek. The 27 codart Courant 7/December 2003 ties of the place with the Netherlands go back One chamber in the palace was always called paintings by Dieric Bouts (?), Aert van den to the Middle Ages. The Wis-la River, which the Dutch Cabinet; the visit will reveal other Bossche, Jacques Bellegambe, Joos van Cleve, abuts the palace grounds, once carried Dutch associations and objets d’art. Although the Pieter Coecke van Aelst, Maerten van shipping from the Baltic Sea to Warsaw. best paintings from the Wilanów collections Heemskerck, Pieter Aertsen, Abraham Janssen, The palace has a very complicated past. It are on permanent loan to the National Frans Snyders, Jacob Jordaens, Adriaen was the royal residence of Jan iiiSobieski at Museum in Warsaw, Dutch and Flemish Brouwer, David Teniers ii, Hendrik ter the end of the 17th century and subsequently paintings on display include works by Pieter Brugghen, Pieter Saenredam, Willem Claesz. the residence of a succession of aristocratic van Laer, Jacob van Loo, Anthonie Palamedes, Heda, Salomon and Jacob van Ruisdael, Pieter families, the Sieniawskis, Czartoryskis, Adam Pynacker, Jacob Jordaens, Wallerand Lastman, Jan Lievens, Carel Fabritius, Lubomirskis, Potockis and Branickis. The Vaillant, Adam Willaerts, Simon Luttichuys, Ferdinand Bol, Adriaen van Ostade, Gerard ter inhabitant who did the most for the palace was Michiel van Musscher, Hendrik van Balen, Borch and Jan Steen. the distinguished diplomat, government Lucas van Uden and Adam Frans van der First-time visitors should not neglect the minister, military man and cultural polymath Meulen. other Muzeum Narodowe galleries, with their Stanis-law Kostka Potocki, nicknamed the The French and English style park and wealth of Italian, French, German and Polish Polish Winckelmann for his translation into gardens are a favorite destination for outings paintings, medieval arts, contemporary Polish of Winckelmann’s history of ancient art. from Warsaw and the wide surroundings. paintings, decorative arts and antiquities. His main collecting campaigns of antiquities, 11:00-11:45 Bus to The Department of Prints and Drawings but also of Old Master paintings and drawings, Muzeum Narodowe w Warszawa has major holdings in Dutch and Flemish date from 1778-98, 1808 and 1810. Wilanów was (National Museum in Warsaw) prints (i.e. the Wierix family and Rembrandt, opened as a museum in 1805, making it one of al. Jerozolimskie 3 Hercules Seghers) and drawings. While most of the oldest public museums in Europe. Some of pl-00495 Warsaw the important drawings will be on display in the paintings and furnishings belong to parts t +48 22 621 1031, +48 22 629 3093 the exhibition Early Netherlandish, Flemish and of original interiors, such as a plaster f +48 22 622 8559 Dutch drawings from Polish collections (see below), equestrian monument of Jan iiiSobieski that Welcome by the head of the department of Old participants will have the opportunity of once stood in the front hall, but which is now Master paintings, Antoni Ziemba, and our seeing any other sheets they wish to examine. on the garden side. Other parts of Potocki’s other members on staff: Hanna Benesz, Maria During the course of the visit, a selection of collections are now in the Warsaw University Kluk, Maciej Monkiewicz and Joanna Tomicka, paintings from storage will be on special Library, the National Museum and other whose help in organizing the study trip was display on the second-floor balconies. institutions. Particularly impressive paintings indispensable. 16:45-18:15 Visit to the exhibition Early with personal ties to the owners are The entry of 11:45-16:45 Visit to the museum with a lunch Netherlandish, Dutch and Flemish drawings from the Princes Radziwil-l- into Rome in 1680 by Pieter break c. 14:00-15:00 and a coffee break Polish collections, followed by a reception in the van Bloemen and Niccolo Viviani Codazzi (?), c. 16:00-16:30): National Museum, Warsaw. and Jacques-Louis David’s portrait of The Gallery of Early Netherlandish, Early This prestigious exhibition, held under the Stanis-law Kostka Potocki of 1781, one of the German, Dutch and Flemish paintings is the patronage of the Royal Netherlands Embassy greatest works of art in the country. most comprehensive in Poland, including in Warsaw, will be the largest presentation of Photo Gary Schwartz Gary Photo

Panorama of Wilanów Palace Museum, Wilanów. codart Courant 7/December 2003 28 drawings of the Low Countries in Poland ever de Velde the Younger (?) and Lieve Szymon Bogumil Zug to create an English- held. It will include 130 drawings from nine Verschuir; style landscape park. The grand staircase is institutions: the National Museum in Gdan´sk; – Architectural designs by Tilman van lined with some 10,000 hand-painted Dutch the Jagiellonian Library, Princes Czartoryski Gameren, who was active in Poland. tiles manufactured in Harlingen around 1700. Museum and Wawel Royal Castle in Kraków; The exhibition is filled out by examples of the An opulent library is located on the first floor. the National Museum in Poznan´ ; the print relationship between drawings and other Valuable works of art can be found in almost rooms of Warsaw University Library and the works of art, borrowed from the Church of the every room of the palace, including the National Museum in Warsaw; and the Bernardines in Czerniaków in Warsaw, the excellent Radziwi-l-l art collection, containing National Ossolinski Institute - Museum of Hermitage in St. Petersburg, the Staatliches over 600 paintings and portraits by prominent Princes Lubomirski and National Museum in Museum in Schwerin, Museum Boijmans Van European masters, a numismatic collection, Wrocl-aw. Beuningen in Rotterdam and Castello antique furniture, tapestries and ceramics. All the main artistic trends and circles of Sforzesco in Milan. The exhibition also brings The collection of sculptures is particularly the 16th-18th century in Flanders and Holland together two drawings by Roelant Savery from admirable. (Information: website Warsaw are represented: the Teylers Museum in Haarlem and the print Voice.) – Southern Netherlandish Renaissance room of Warsaw University Library that are Since the Second World War, the palace has ‘inventors’: Pieter Coecke van Aelst, parts of the same composition, split in two at been a branch of the National Museum in Lambert Lombard; some time in the past. Warsaw, which uses it for congresses, staff – Mannerists: Maerten van Heemskerck, The exhibition will be accompanied by a retreats and receptions. Lambert van Noort, Jan Wierix; comprehensive catalogue in Polish and 19:45-22:00 Visit of Nieborów Palace, reception – Artists at the court of Rudolph ii: Adriaen English, with all the drawings reproduced in and dinner given there by the Director of the de Vries, Roelant Savery, Pieter Stevens; color. The preface offers a history of the Polish National Museum, Warsaw, and the – Figure drawings from the circle of the holdings of drawings of these schools. An Netherlands Ambassador to Poland. Haarlem Academy: Hendrick Goltzius, introductory essay by Maciej Monkiewicz 22:00-23:30 Transfer to hotel in Warsaw. Karel van Mander; discusses the changing functions of drawing – Early Baroque in Holland: Abraham in the art of the Low Countries in the 16th-18th Thursday, 22 April Bloemaert, Claes Moeyaert; centuries, as typified by works in Polish 9:00-11:00 Visit to Muzeum L-azienki Królewski – High Baroque in Flanders: Peter Paul collections, including sheets not in the (Royal L-azienki Museum) Rubens, Jacob Jordaens; exhibition. ul. Agrykoli 1 – Dutch realistic landscape: Jan van Goyen, 18:15-19:45 Transfer to pl- 00460 Warsaw Pieter Molijn, Esaias van de Velde, Claes Nieborów Palace t +48 22 621 6241, +48 22 621 8212 Berchem; pl-99416 Nieborów f +48 22 629 6945 – Rembrandt and his pupils and followers: t +48 838 5635 A late 17th-century palace and popular park on Ferdinand Bol, Gerbrand van den Built between 1690 and 1696 by the Utrecht the edge of the city, built as the residence of Eeckhout, Govert Flinck, Philips Koninck; architect Tilman van Gameren for Primate Stanis-law August Poniatowski, the last king of – Italianate landscape: Frederik de Michal Stefan Radziejowski of Poland. A Poland. The painting collection originally Moucheron, Willem Schellinks, Gaspar van French style garden was subsequently added consisted of 2,500 pieces, though they were Wittel; behind the palace. In 1774 it was purchased by never displayed as a picture gallery. The – Seascapes: Ludolf Backhuysen, Willem van Prince Michael Radziwi-l-l, who employed favorites traveled with the king. The L-azienki was formerly an annex of the National Museum in Warsaw; many of the works on display are the property of the National Museum. Among the notable Dutch and Flemish paintings are works by Gabriel Metsu, Jan Brueghel the Elder, Gerard Dou and Karel Dujardin. 11:00-12:00 Bus ride through historic Warsaw, ending at Zamek Królewski (Royal Castle) pl. Zamkowy 4 pl-00277 Warsaw t +48 22 657 2170 f +48 22 657 2271 e [email protected] On our way we will see several buildings designed by the Dutch architect Tilman van Gameren, one of the best architects working in

Photo Gary Schwartz Gary Photo Poland in the 17th century. 12:00-14:00 Visit to the Royal Castle, in two The Dutch Cabinet, Wilanów Palace Museum, Wilanów. groups, with a coffee break. 29 codart Courant 7/December 2003

The castle stands on the site of the 14th- The prints and drawings come mainly from Polish Bank from 1824-1828 (design by A. century seat of the Mazovian dukes. It was the collection of King Stanis-law August Corazzi); in 1986 Janina and Zbigniew Carroll commissioned in the last decade of the 16th Poniatowski (1732-1798) and Count Stanis-law Porczyn´ ski presented a collection of European century, after the Parliament and king moved Kostka Potocki (1755-1821). The drawings paintings to the Museum of the Warsaw to Warsaw from Kraków. In the 18th century include sheets by Pieter Coecke van Aelst, Archdiocese; functions under its present-day Stanis-law August Poniatowski rebuilt large Govert Flinck, Jacob Jordaens, Lambert name since 1990’ (Museums in Poland: parts of it in Baroque style. The castle was Lombard, Pieter Molijn, Rembrandt, Roeland guidebook). Although many of the 400 pictures destroyed in 1944 and rebuilt in 1971-84. The Savery, Peter Stevens, Adriaen van de Velde and are workshop replicas, copies and fakes, there reconstruction harks back to different periods Esaias van de Velde. Here too is housed the are interesting works by Cornelis Schut, Barent in the history of the castle. archive of the Dutch-Polish architect Tilman Fabritius, Nicolae Maes, Philip Immenraet and Highpoints of the visit: van Gameren, the subject of a large exhibition others. – the Lanckoron´ ski Gallery, about 25 held in the royal palaces of Amsterdam and – Guided walking tour through the Old paintings from the well-known Warsaw in 2002 and 2003. Remarkably, the and New Town, originally of the 15th and Lanckoron´ ski Collection in Vienna, best-preserved archive of a Dutch 17th-century 17th centuries respectively, largely including works by Ludolph Backhuysen, architect is located in Warsaw. This is reconstructed after the Second World War. Adriaen van Ostade and Philips reminiscent of another rich studio legacy – – A Tilman van Gameren tour of central Wouwerman and a pair of paintings that of the Adriaen Schonebeek materials in Warsaw, including a visit to the Krasin´ ski formerly attributed to Rembrandt, entitled the Hermitage print room, which seems to be Palace (1687-1700), now a branch of the The Jewish bride and The father of the Jewish the best-preserved archive of a Dutch National Library in Warsaw, with a display bride. printmaker. Although the best Dutch and of prints and manuscripts. Our guide is the – the so-called Canaletto Room, especially Flemish drawings from the University Library leading Polish specialist on van Gameren, designed in 1776-77 as the location for an print room will be on display in the drawings Stanislaw Mossakowski of the Institute for extraordinary series of views of Warsaw by exhibition in the National Museum, there will Art History of Warsaw University. Bernardo Belotto, known in Poland as be more than enough to make the visit 19:00-19:30 Transfer to railway station. Canaletto. worthwhile. Those who wish to do research in 19:50-22:25 ictrain from Warsaw to Kraków. 14:00-14:15 Walk to Warsaw University Library the print room may remain, while the other 22:30-23:00 Transfer to for excellent lunch in Restauracje Biblioteka, participants have a choice of other Hotel Wyspianski located in the library building. destinations, to be reached by taxi: Westerplatte 15 15:30-16:00 Introduction to 16:00-19:00 Choice of activities: pl-31033 Kraków Gabinet Rycin (Print room) – Muzeum Kolekcji im. Jana Paw-la ii, t +48 12 422 9566 Biblioteka Uniwersytecka Fundacji Carroll Porczyn´ skich (Museum of f +48 12 422 5719 Uniwersytet Warszawski the John Paul iiCollection in the Carroll e [email protected] ul. Dobra 56/66 Porczyn´ ski Foundation) w http://www.hotel-wyspianski.pl pl-00312 Warsaw pl. Bankowy 1 The location of this lively hotel is excellent, t +48 22 552 5834 pl-00139 Warsaw a few minutes walk from the Market Square. f +48 22 552 5659 t +48 22 620 2725, +48 22 620 2181 by Wanda N. Rudzin´ ska, head of the print f +48 22 620 0991 Friday, 23 April room (e [email protected]). ‘Situated in the Classical former Exchange and 9:00-10:30 In two groups visits to the prints and drawings collections of the Czartoryski Library and Czartoryski Museum. Biblioteka Czartoryskich (Czartoryski Library) ul. s´ w. Marka 17 pl-31108 Kraków t +48 12 422 1172, +48 12 422 4079 w http://www.czartoryski.org/museum. htm Curators Janusz Nowack and Pawe-l Prokop of the department of manuscripts will show us illuminated manuscripts by the Follower of the Boucicaut Master, the Netherlandish Master of the Golden Twigs (1420-30), the workshop of Barthèlemy d’Eyck (Le livre des tournois of René d’Anjou, 1465-75) and the workshop of David Aubert (Gent, 1478). The department of drawings and prints is situated

Photo Gary Schwartz Gary Photo in the Czartoryski Museum building: Muzeum Czartoryskich Curators of the Czartoryski Museum, Krakow, holding up Romein de Hooghe’s Apotheosis of King John iii. codart Courant 7/December 2003 30

(Czartoryski Museum) called upon Violet-le-Duc to renovate, who in instruments. Among the latter is the early ul. s´ w. Jana 19 turn delegated the project to his son-in-law 16th-century Jagiellonian Golden Globe, with pl-31017 Kraków Maurice Ouradou. In 1878, 100 years after the inscription America noviter reperta. t +48 12 422 5566 Princess Izabela set up her museum in Pulawy, Reconstructions of the instruments used by f +48 12 422 6137 the new museum, as it is seen today, was the greatest alumnus of the Collegium Maius, w http://www.czartoryski.org/museum. opened. For nearly 20 years until his death in Nicholas Copernicus, are of special interest. htm 1894, Prince Wladyslaw set about adding to the The highpoint of the visit is the 15th- With drawings by, among others, Gerard collection […]. Today the museum is century auditorium, with its 16th-century David, Martin de Vos, Pieter Stevens and a administered by the Princess Czartoryski coffered ceiling, portraits of professors and gouache by Hans Bol. (Other drawings are in Foundation set up by Prince Adam Karol in richly carved stone and wooden furnishings. the exhibition in the Muzeum Narodowe, 1991.’ (Quotes from museum information.) 14:00-15:30 Lunch break, with opportunity to Warsaw; see above.) Among the prints are 10:30-11:00 Coffee break. visit: series by Hieronymus Cock after Pieter Bruegel 11:00-14:00 In two alternating groups visits to Stara Synagoga (Old Synagogue) the Elder, Hendrick Goltzius and Rembrandt. the Jagiellonian Library and Museum ul. Szeroka 24 The library owns a number of extraordinary respectively. pl-31053 Kraków historical and allegorical prints by Romein de Zbiory Graficzne Biblioteki Jagiellonskiej t +48 12 422 0962 Hooghe with Polish subjects. (Graphic Collections of the Jagiellonian The old synagogue now houses a museum The Princes Czartoryski Museum, in which Library) devoted to Jewish life in Kraków. It is located we will be received by Dorota Dec and Janusz ul. Mickiewicza 22 on the main square of Kazimierz, the former Walek, is a remarkable institution. It was pl-30059 Kraków Jewish district. founded in 1796 on the estate of Pulawy t +48 12 633 6377 15:30-17:30 Visit to the Czartoryski Museum. outside Kraków by Princess Izabela f +48 12 633 0903 For the history of the museum, see also above, Czartoryski, from one of the oldest royal We will be met by the curator, Piotr Hordynski under morning visit to library. Paintings families of Poland. Her estate had been (e [email protected]). The holdings include Leonardo’s Lady with an ermine, destroyed in 1794 by Catherine the Great of include not only prints but also illuminated Rembrandt’s Landscape with the Good Samaritan Russia on account of Izabela’s support of the manuscripts, such as the Codex picturatus of (1638) and works by Aelbert Bouts, the Master Kosciuszko uprising, an attempt to re- Baltazar Behem, 1505, and two major of the Half-Lengths, the Master of the Legend establish a Polish state after the second collections coming from the former of St. Mary Magdalene(?), Anthonie Mor, partition. Returning to the ruined estate in Preussische Staatsbibliothek in Berlin: the so- Gonzales Coques, Caspar Netscher and (on 1796, Izabela ‘determined to erect a national called Clusius Collection of botanical and loan from the Wawel Royal Castle) Jan Lievens. museum dedicated to preserving the memory zoological watercolors from the second half of 19:00-21:00 Reception in the Czartoryski of Poland’s past and place in history […]. What the 16th century, and the Brazilian collection Museum. she wanted was a hall or temple of memory. As of Count Johan Maurits van Nassau-Siegen, she cast about for an appropriate style for it, with oil paintings on paper and drawings by Saturday, 24 April she found the perfect model. This was the half- Aelbert Eckhout. 9:00-10:30 Zamek Królewski na Wawelu: ruined temple dating from the first century Muzeum Uniwersytetu Jagiellonskiego Panstwowe Zbiory Sztuki B.C. situated at Tivoli, the ancient Tibur,’ (Museum of the Jagellonian University) (Royal Castle on Wawel Hill: State Art which was thought to be a temple of Sibyl. In ul. Jagiellonska 15 Collections) Pulawy Izabela assembled a collection of pl-31010 Kraków Wawel 5 historical and artistic treasures from t +48 12 422 1033 pl-31001 Kraków Revolutionary Europe. ‘Objects from the Our guide is the curator of historical art of this t +48 12 422 5155 Netherlands were acquired for her by allies museum of mixed objects, Anna Jasin´ ska, f +48 12 422 1950 such as Jean Charles Beydaels de Zittaert, the (e [email protected]; t extension 1310). e [email protected] scheming custodian of the Treasury of the The museum is located in a 15th-century w http://www.wawel.krakow.pl/emenu. Order of the Golden Fleece, and General Kichal university building, the Collegium Maius, htm Sokolnicki, who plundered the Brussels art which was reconstructed in the 19th century. From the museum website: ‘From the dawn of market in 1810-11. When a new insurrection The museum was not installed there until Polish history Wawel Hill in Cracow was a erupted in 1830, Izabel’s son Prince Adam Jerzy after the Second World War, in the years 1949- centre of secular and ecclesiastical power. The Czartoryski, with his wife and mother-in-law, 64. The immense project was the work of Prof. establishment in 1000 of the bishopric of moved the collection to Paris, where in the Karol Estreicher, who attempted to restore Cracow was soon followed by the construction Hôtel Lambert it served as a kind of Polish some of the original atmosphere of the on Wawel of the first cathedral. The Wawel court in exile, underpinning Adam’s vain building. Among the Netherlandish paintings castle functioned as the residence of the Polish claim to the Polish throne. are a splendid Flora by Jan Massys and works rulers from the mid-11th to the early 17th ‘In 1871, after the French defeat in the by Jacob Willemsz. Delff, Philips Koninck, century. The present structure incorporates Franco-Prussian War, Prince Wladyslaw Benjamin Gerritsz. Cuyp and Karel Dujardin. Romanesque fragments and considerable Czartoryski, the younger son of Adam Jerzy, These are interspersed among a wide-ranging Gothic parts, but it acquired its present form packed or hid all of the artefacts and fled. In display of medieval and post-medieval mainly in the period c. 1504-1535, during the 1874, the city of Kraków offered him the sculpture and plaster casts, books and prints, reign of the kings Alexander (1501-1506) and arsenal in the Old Wall as a museum, which he metalwork and rare astronomical Sigismund I the Old (1506-1548) of the 31 codart Courant 7/December 2003

Jagiellonian dynasty. The construction of the resting on slender columns… The Royal Chapel, the most famous part of the cathedral, Renaissance castle was begun by Master Chambers could be a disappointment, were it is the work of Bartolomeo Berrecci, brought to Eberhard Rosemberger – responsible for the not for the truly magnificent tapestries, Kraków in 1517 by Zygmunt the Elder to work actual building – and Francesco the Florentine, bequeathed to the Polish nation by the last of on the new royal castle. After the death of his who executed decorative stone elements and the Jagiellons, Zygmunt August, who first wife, Zygmunt decided to build a the arcaded galleries. Their work was commissioned them for the interiors of his sepulchral chapel for himself and his former continued by Master Benedykt and another Wawel residence. The tapestries were spouse. Little did he know that it would Florentine, Bartolomeo Berrecci. Those artists painstakingly wove in the mid-16th century become the mausoleum of the last Jagiellons. created together one of the most stately by several outstanding masters from Brussels The chapel is considered the purest example of monuments of Renaissance architecture in to the drawings and designs of Michiel van Renaissance architecture outside Italy. The Europe.’ Coxcie of Mechelen (1499-1592). More than 350 15th-century Chapel of the Holy Cross houses From the Blue Guide to Kraków: ‘The Gothic pieces were made, of which 136 have survived. the tomb of Kazimierz the Jagiellon by Veit castle on this part of Wawel Hill was destroyed The largest tapestries are 5 x 9 meters in size. Stoss. (Texts from the Blue Guide to Kraków.) during a major fire in 1499. At the beginning of ‘The collection comprises three basic 12:30-14:00 Lunch break. the 16th century, King Zygmunt the Old groups: figurative tapestries depicting Biblical 14:00-15:00 Library of the commissioned a team of local stonemasons scenes, the so-called verdures […] and the Polish Academy of Arts and Sciences and Italian sculptors headed by Francesco grotesque tapestries, with the cipher of ul. Slawkowska 17 Fiorentino to construct a new residence Zygmunt August amid satyrs and other pl-31016 Kraków befitting the power and influence of the mythical creatures.’ t +48 12 422 7304 Jagiellon dynasty. After 1530, work was Our member Joanna Winiewicz-Wolska e [email protected] continued under the supervision of will show us the painting collection that she w http://www.krakow.pl/en/kultura/ Bartolomeo Berrecci, another Florentine. In catalogued in Malarstwo holenderskie w zbiorach biblioteki/pangb.php 1595, two towers were added – the Zygmunt zamku królweskiego na Wawelu (Dutch paintings The curator of the print collection, Krzysztof Vasa in the northeast corner, and the Sobieski, in the collections of the Wawel Royal Castle), Kruzel, will show part of the extraordinary adjacent to the Cathedral Treasury. Swedish published by the museum in 2001: 99 collection of engravings and etchings, troops ravaged the castle twice, most paintings including works by Jan Sanders van including numerous prints by Lucas van destructively in 1702, when they began a fire Hemessen, Jan Gossaert (?), Jacob Adriaensz. Leyden, Dirk Volkertsz. Coornhert, that raged for a whole week. The castle suffered Backer, Govert Flinck, Jan Both, Michiel van Hieronymus Cock, Pieter van der Heyden, during the Partitions, notably at the hands of Musscher, Jan Steen, Caspar Netscher and Frans Huys, Cornelis Cort, Philips Galle, the the Austrian army, who used it as a barracks. It Nicolaes Maes. Flemish paintings are fewer in Sadeler and Wierix families, the Rubens circle was only after 1905 that serious restoration number. Most are installed in a splendidly and Rembrandt. work began, lasting until the 1960s. picturesque corner cabinet. If time allows, 15:00-18:00 Tour through the Kraków Old ‘The courtyard is the best example of Italian other parts of the castle can be visited, such as Town in small groups, including visits to Renaissance architecture in the castle. The the Royal Treasury and Armory, the – Sukiennice (The Cloth Hall), in the arcades, borrowed from 15th-century department of Oriental art, and the medieval middle of the Great Market. On this site Florentine design, are perfect semi-circles galleries, with long-term loans from the stood a market building as early as the 14th National Museum in Kraków, which is now century. The present structure is a 19th- devoted mainly to contemporary art. century reconfiguration of a rebuilding 10:30-11:00 Coffee break. from 1552-62 by the Italian architect 11:00-12:30 Visit to Wawel Cathedral, perhaps Giovanni Maria Padovano. the most important cultural monument of – The Church of Our Lady (1355-early 16th Poland. The central place in the cathedral is century). The main altar is one of the chief occupied by the shrine of St. Stanislaw, the works of Veit Stoss. The interior of the most revered martyr of the Polish Catholic church is divided into sections set off by Church. His tomb has rested at this spot since unfortunate barriers. codartwill the 11th century, a fact which determined the attempt to breach them. unusual proportions of the church, with the – Church of St. Anna, designed by Tilman chancel longer than the nave. The dome, van Gameren. supported on four pillars, was designed by – Church of Sts. Peter and Paul, early 17th- Giovanni Trevano in 1626-29. Below it is a century Jesuit church. silver coffin of 1669-71 by Pieter van der and other monuments and picturesque Rennen (1607-71), a Polish goldsmith corners of Kraków. presumably of Netherlandish descent. 18:30-20:30 Dinner in Alef, the best of the The crypt of St. Leonard is the most Jewish restaurants in Kazimierz

Photo Gary Schwartz Gary Photo important remnant of the grand Romanesque ul. Szeroka 17 Cathedral of St. Waclaw, begun at the end of pl-31035 Kraków Inner court of the Collegium Maius, Kraków, a 15th- the 11th century and completed over 50 years t/f +48 12 421 3870 century university building, now the home of the later. The present, Gothic cathedral was begun e [email protected] Museum of the Jagellonian University. by Bishop Nanker in 1320. The Zygmunt w www.alef.pl codart Courant 7/December 2003 32

Sunday, 25 April The Hague, has been appointed director of Marvin Altner, assistant curator of paintings, Optional: 8:00-14:00 Visit to Auschwitz the Dutch Museums Association as of Hamburger Kunsthalle, Hamburg Concentration Camp, an hour outside Kraków, 1 September; she succeeds Annemarie Vels Dirk Jan Biemond, curator of gold and silver, with a drop-off at the airport. Heijn. Rijksmuseum, Amsterdam 12:30 Transfer from hotel to Kraków Airport. Gouda Nicolette Sluijter-Seiffert retired as Stephen Borys, curator of Western art, 15:30-16:15 lotPolish Airlines flight lo 3914 director of the Museum het Catharina Allen Memorial Art Museum, Oberlin, Oberlin from Kraków to Warsaw. Gasthuis as of 1 August. Alisa Bunbury, curator of prints and drawings, 17:00-19:00 lotPolish Airlines flight lo 267 The Hague Helen Wüstefeld, former head of National Gallery of Victoria, Melbourne from Warsaw to Amsterdam. research and curator of manuscripts and early Helena Bussers, head of department of Old Masters, books of Museum Catharijneconvent, has been Koninklijke Musea voor Schone Kunsten, Brussels appointed head of presentations of Museum Lothar Casteleyn, adjunct curator of Gruuthuse Museum, Appointments Meermanno. Stedelijke Musea Brugge, Bruges Leiden Janno van Tatenhove retired as chief Taco Dibbits, curator of paintings, Please keep codartposted on appointments curator of the Prentenkabinet of Leiden Rijksmuseum, Amsterdam in your museum. E-mail us at [email protected]. University as of 1 May 2003. Jef Schaeps, former Gary Dupont, assistant curator of Memlingmuseum- assistant curator, is now acting curator of the St.Janshospitaal, Stedelijke Musea Brugge, Bruges belgium print room. Carina Fryklund, curator, Antwerp Paul Huvenne, director of the Nijmegen Pieter Roelofs has been appointed Nationalmuseum, Stockholm Koninklijk Museum voor Schone Kunsten curator of Museum het Valkhof. Krystyna Gutowska-Dudek, curator of paintings, Antwerpen, was made Chevalier dans l’Ordre des Rijswijk Eric Domela Nieuwenhuis has been Wilanów Palace Museum, Wilanów Arts et des Lettres by the French government in appointed curator of fine arts at the Instituut Saskia van Haaren, chief curator, August. At the award ceremony the French Collectie Nederland (Institute for Cultural Museum Catharijneconvent, Utrecht consul in Antwerp, Alain de Keghel, spoke of Heritage) as of 1 July; he succeeds Stephen David Johnson, deputy director of collections and Paul Huvenne’s invaluable help in acquiring Hartog, who has been appointed senior education and chief curator, loans for next year’s Rubens exhibition in Lille. curator. The Taft Museum, Cincinnati, Ohio Bruges A redistribution of tasks at the Rotterdam Peter van der Coelen has been Adam Koperkiewicz, director, Stedelijke Musea Brugge has produced the appointed curator of prints and drawings at Gdan´skHistorical Museum, Gdan´sk following changes for the museum staff: the Museum Boijmans Van Beuningen as of Cathy Leahy, senior curator of prints and drawings, Groeningemuseum/Arentshuis 1 August. National Gallery of Victoria, Melbourne Chief curator: Till-Holger Borchert Jan-Rudolph de Lorm, head of exhibitions, Curators: Willy Leloup, Stéphane scotland Rijksmuseum, Amsterdam Vandenberghe, Laurence Van Kerkhoven, Edinburgh Emilie Gordenker has been Bianca du Mortier, curator of costumes, Elviera Velghe appointed chief curator of the National Gallery Rijksmuseum, Amsterdam Memlingmuseum-Sint-Janshospitaal and of Scotland in Edinburgh as of 1 December; she Pieter Roelofs, curator, Onze-Lieve-Vrouw Ter Potterie succeeds Julia Lloyd Williams, who had left the Museum Het Valkhof, Nijmegen Chief curator: Eva Tahon position in order to live full-time with her Wanda M. Rudzin´ ska, curator of drawings, Curators: Mieke Renders, Guy Dupont, husband, who works for the Foreign Office. Warsaw University Library, Warsaw Evelien Vandenberghe, Mieke Parez Glasgow Robert Wenley has been appointed Karen Sidén, senior curator of paintings and sculpture, Group historical museums (including the Gruuthuse curator of European art 1600-1800 at the Nationalmuseum, Stockholm Museum) Glasgow Museums as of July. His special Marten Snickare, curator of 17th century master Curator: Hubert De Witte concern is the collection of Dutch Old Master drawings and architectural drawings, Adjunct curator: Lothar Casteleyn paintings. Nationalmuseum, Stockholm Shlomit Steinberg, Hans Dinand curator of European art, denmark Israel Museum, Jerusalem Copenhagen Olaf Koester retired as senior codart Veronique Vandekerchove, curator, curator of the Statens Museum for Kunst as of Stedelijk Museum, Leuven March. membership news Arie Wallert, curator of technical painting research, Rijksmuseum, Amsterdam france As of October 2003, codarthas 320 members Robert Wenley, curator of European art 1600-1800, Paris Emmanuel Starcky has been appointed and 57 associate members in 211 institutions Glasgow Museums, Glasgow deputy director of the Direction des Musées de in 40 different countries. All contact Joanna Winiewicz, curator of paintings, France as of 16 June, leaving his position as information is available on the codart Zamek Krolewski na Wawelu, Kraków chief curator of the Musée des Beaux-Arts de website and is kept up to date there. Hubert De Witte, curator group historical museums, Dijon. Stedelijke Musea Brugge, Bruges New codartmembers in 2003 Maria Zagala, assistant curator, netherlands (as of November): National Gallery of Victoria, Melbourne Amsterdam Marie-Christine van der Sman, David Acton, curator of prints, drawings and former director of Museum Meermanno photography, Worcester Art Museum, Worcester, (formerly called Museum of the Book) in Massachusetts 33 codart Courant 7/December 2003

Membership directory BaBe Be Bl Dr. Ronni Baer Dr. Katharina Bechler Dr. Kornelia von Mr. Peter Black Mr. George S. Abrams Prof. Dr. Gert Ammann Curator of European Kulturstiftung Dessau Wörlitz Berswordt-Wallrabe Curator of Dutch and (associate) Director and chief curator painting Schloss Gross Kühnau Director Flemish paintings and Winer and Abrams counsellors Tiroler Landesmuseum Museum of Fine Arts d-06846 Dessau Staatliches Museum Schwerin prints at law Ferdinandeum 465 Huntington Avenue Germany Alter Garten 3 Hunterian Museum and Art 60 State Street. Suite 2329 Museumstrasse 15 Boston ma02115 t +49 340 646 1535 d-19055 Schwerin Gallery. University of Glasgow Boston ma 02109 a-6020 Innsbruck usa f +49 340 646 1510 Germany 82 Hillhead Street usa Austria t +1 404 257 3336 [email protected] t +49 385 595 8170 Glasgow g12 8qq t +1 617 526 6539 t +43 512 59489-72 f +1 404 303 0599 f +49 385 563 090 Scotland f +1 617 526 5000 f +43 512 59489-88 [email protected] Ms. Liesbeth De Belie t +44 141 330 5430 sekretariat@tiroler- Attaché of department Dr. Holm Bevers f +44 141 330 3618 Dr. David Acton landesmuseum.at Mr. Diederik Bakhuÿs of Old Masters Curator [email protected] Curator of prints, drawings Responsable du cabinet Koninklijke Musea van Kupferstichkabinett and photography Ms. Rocio Arnaez des dessins Schone Kunsten van België Matthäikirchplatz 4 Dr. Albert Blankert Worcester Art Museum (associate) Musée des Beaux-Arts Museumstraat 9 d-10785 Berlin (associate) 55 Salisbury Street Curator 1 place Restout b-1000 Brussels Germany Independent curator Worcester ma 01609-3123 Museo Nacional del Prado f-76000 Rouen Belgium t +49 30 266 2025 Koningsplein 25 usa Paseo del Prado, s/n. France t +32 3 508 3223 f +49 30 266 2959 nl-2518 jeThe Hague t +1 508 799 4406 e-28014 Madrid t +33 2 3571 2840 f +32 2 508 3232 [email protected] The Netherlands f +1 508 799 5646 Spain f +33 2 3515 4323 debelie@fine-arts- berlin.de t +31 70 346 0824 t +34 91 420 2836 museum.be f +31 70 346 4766 Dr. Maryan W. Ainsworth f +34 91 420 0794 Dr. Arnout Balis Dr. Gottfried Biedermann Albert.Blankert@ Curator of early Nationaal Centrum voor Dr. Kristin Belkin Director of the Alte Galerie inter.nl.net Netherlandish art Dr. Boris Asvariszh Plastische Kunsten van de (associate) Steiermärkisches The Metropolitan Museum Curator of 19th-century 16de en de 17de Eeuw Officer Landesmuseum Joanneum Dr. Marten Jan Bok of Art Northern School paintings Kolveniersstraat 20 Historians of Netherlandish Raubergasse 10 (associate) 1000 Fifth Avenue The State Hermitage Museum b-2000 Antwerpen Art a-8010 Graz Member of Program New York ny 10028-0198 Dvortsovaja nab. 34 Belgium 23 South Adelaide Avenue Austria Committee usa 191065 St. Petersburg t +32 3 201 1577 Highland Park nj08904 t +43 316 8017 9771 Historians of Netherlandish t +1 212 396 5172 Russia f +32 3 231 9387 usa f +43 316 8017 9847 Art f +1 212 396 5052 t +7 812 110 9682 t +1 732 937 8394 Mauritsstraat 17 (h) maryan.ainsworth@ Dr. Gerd Bartoschek f +1 732 937 8394 Drs. Dirk Jan Biemond nl-3583 hgUtrecht metmuseum.org Drs. Joost Vander Auwera Curator [email protected] Curator of gold and silver The Netherlands Attaché Stiftung Preussische Schlösser Rijksmuseum t +31 30 251 2157 Dott. Givigliamo Alloisi Koninklijke Musea voor und Gärten Berlin- Ms. Hanna Benesz Postbus 74888 f +31 30 254 2754 Director Schone Kunsten van België Brandenburg Keeper of early nl-1070 dnAmsterdam [email protected] Galleria Corsini Museumstraat 9 Allee nach Sanssouci 5 Netherlandish paintings The Netherlands Via della Lungara 10 b-1000 Brussels d-14471 Potsdam Muzeum Narodowe t +31 20 6747 747 Ms. Jetteke Bolten-Rempt Roma Belgium Germany Aleje Jerozolimskie 3 f +31 20 674 7001 Director Italy t +32 2 508 3227 t +49 331 9694 145 pl-00-495 Warsaw d.biemond@ Stedelijk Museum t +39 06 6880 2323 f +32 2 508 3232 f +49 331 969 4104 Poland rijksmuseum.nl De Lakenhal f +39 06 6813 3192 Vanderauwera@ t +48 22 621 1031 Postbus 2044 fine-arts-museum.be Ms. Hela Baudis f +48 22 622 8559 Dr. Pieter Biesboer nl-2301 caLeiden Mr. Stijn Alsteens Head of the printroom Curator The Netherlands Assistant curator Dr. Reinier Baarsen Staatliches Museum Schwerin Ms. Dana Bercea Frans Halsmuseum t +31 71 516 5360 Fondation Custodia Head of department of Alter Garten 3 Curator of prints and Postbus 3365 f +31 71 513 4489 121 rue de Lille sculpture and decorative d-19055 Schwerin drawings nl-2001 djHaarlem P.O. f-75007 Paris arts Germany National Museum of Art The Netherlands [email protected] France Rijksmuseum t +49 385 595 8170 of Romania t +31 23 511 5785 t +33 1 4705 7519 Postbus 74888 f +49 385 563 090 Calea Victoriei 49-53 f +31 23 511 5776 Dr. Bob van den Boogert f +33 1 4555 6535 nl-1070 dnAmsterdam Baudis@museum- ro-70101 Bucharest [email protected] Curator alsteens@ The Netherlands schwerin.de Romania Museum Het Rembrandthuis fondationcustodia.fr t +31 20 674 7000 t +40 21 315 5193 Dr. Marian Bisanz-Prakken Postbus 16944 f +31 20 674 7001 Dr. Frans Baudouin f +40 21 312 4327 Curator nl-1001 rkAmsterdam Mr. Marvin Altner Chairman Albertina The Netherlands Assistant curator Dr. Natalia Babina Nationaal Centrum voor Drs. Mària van Augustinerstrasse 1 t +31 20 5200 400 Hamburger Kunsthalle Curator of Flemish Plastische Kunsten van de Berge-Gerbaud a-1010 Vienna f +31 20 5200 401 Glockengiesserwall painting of the 17th 16de en de 17de Eeuw Director Austria museum@ d-20095 Hamburg century Kolveniersstraat 20 Fondation Custodia t +43 1 53483/0 rembrandthuis.nl Germany The State Hermitage Museum b-2000 Antwerp 121 rue de Lille f +43 1 533 7697 Dvortsovaja nab. 34 Belgium f-75007 Paris [email protected] 191186 St. Petersburg t +32 3 201 1577 France Russia f +32 3 231 9387 t +33 1 4705 7519 t +7 812 110 9667 f +33 1 4555 6535 f +7 812 312 1994 codart Courant 7/December 2003 34

Bo Br Bu CaDaDe Drs. Janrense Boonstra Dr. Christopher Brown Ms. Sophie Renouard Dr. Görel Cavalli-Björkman Dr. Susan Dackerman Mr. Carl Depauw Director Director de Bussière Chief curator and director Associate curator of prints Curator Bijbels Museum Ashmolean Museum Chief curator of research and drawings Rubenshuis Postbus 3606 Beaumont Street Musée du Petit Palais Nationalmuseum Baltimore Museum of Art Wapper 9-11 nl-1001 akAmsterdam Oxford ox1 2ph 1 avenue Dutuit Box 161 76 Art Museum Drive b-2000 Antwerp The Netherlands England f-75008 Paris se-103 24 Stockholm Baltimore md21218-3898 Belgium t +31 20 535 6221 t +44 1865 278000 France Sweden usa t +32 3 201 1555 f +31 20 624 8355 f +44 1865 278018 t +33 1 4265 1273 t +46 8 5195 4301 t +1 410 396 6347 f +32 3 227 3692 jrboonstra@ christopher.brown@ f +33 1 4265 2460 f +46 8 5195 4456 f +1 410 396 6562 carl.depauw@ bijbelsmuseum.nl ashmus.ox.ac.uk [email protected] [email protected] cs.antwerpen.be Dr. Quentin Buvelot Mr. Till-Holger Borchert Mr. Julius Bryant Curator Dr. Alan Chong Drs. Jan Daan van Dam Mr. Taco Dibbits Chief curator of Director of museums Mauritshuis Curator Curator Curator of Dutch 17th- Groeningemuseum and collections Postbus 536 Isabella Stewart Gardner Rijksmuseum century paintings and Arentshuis English Heritage nl-2501 cmThe Hague Museum Postbus 74888 Rijksmuseum Stedelijke Musea Brugge 23 Savile Row The Netherlands 2 Palace Road nl-1070 dnAmsterdam Postbus 74888 Dijver 12 London w1s 2et t +31 70 302 3467 Boston ma02115 The Netherlands nl-1070 dnAmsterdam b-8000 Bruges England f +31 70 365 3819 usa t +31 20 674 7223 The Netherlands Belgium t +44 20 7973 3535 [email protected] t +1 617 278 5113 f +31 20 674 7001 t +31 20 674 7282 t +32 50 4487 21 f +44 20 7973 3209 f +1 617 278 5177 f +31 20 674 7001 f +32 50 4487 78 julius.bryant@english- Ms. Teresa Calero [email protected] Mr. Osvaldas Daugelis [email protected] [email protected] heritage.org.uk Curator Director Museo Franz Mayer Dr. Ingrid Ciulisová MK Ciurlonis National Dr. Eric Domela Ms. Larisa Bordovskaya Drs. Hans Buijs Av. Hidalgo 45 (associate) Museum of Art Nieuwenhuis Chief curator Curator Plaza de la Santa Veracruz Slovak Academy of Sciences: Vlado Putvinskio 55 Curator of fine arts The State Museum Tsarskoje Fondation Custodia Centro Historico Institute of Art History lt-3000 Kaunas Instituut Collectie Nederland Selo 121 rue de Lille 06050 Mexico D.F. Dubravska cesta 9 Lithuania Postbus 1098 7 Sadovaja St. f-75007 Paris Mexico sk-81364 Bratislava t +370 7 229 738 nl-2280 cbRijswijk Tsarskoje Selo France t +52 55 1822 66 al 71 Slovak Republic f + 370 7 204 612 The Netherlands Russia t +33 1 4705 7519 f +52 53 212 888 t +4217 547 73 428 [email protected] t +31 70 307 3839 t +7 812 465 2017 f +33 1 4555 6535 [email protected] f +421 2 5477 3428 [email protected] f +31 465 2196 [email protected] Ms. Dorota Dec Ms. Alisa Bunbury Ms. Véronique van Caloen Curator of foreign painting Mr. Alexis Donetzkoff Dr. Stephen D. Borys Curator of prints and Curator Dr. Peter van der Coelen The Princes Czartoryski Curator Curator of Western Art drawings Kasteel van Loppem Curator of prints and Museum and National Palais des Beaux-Arts Allen Memorial Art Museum National Gallery of Victoria Square Larousse 29 drawings Museum in Kraków 18 bis rue de Valmy Oberlin College P.O. Box 7259 b-1190 Brussels Museum Boijmans Van ul. Sw. Jana 19 f-59000 Lille 87 North Main Street Melbourne 8004 Belgium Beuningen pl-31-017 Kraków France Oberlin oh44074 Australia t +32 2 345 2138 Postbus 2277 Poland t +33 3 2006 7800 usa t +61 3 9208 0232 f +32 2 345 2138 nl-3000 cgRotterdam t +48 12 422 5566 f +33 3 2006 7815 t +1 440 775 6145 f +61 3 9208 0460 The Netherlands f +48 12 422 6137 f +1 440 775 6841 alisa.bunbury@ Dr. Lorne Campbell t +31 10 4419 505 Dr. Thomas Döring [email protected] ngv.vic.gov.au (associate) f +31 24 360 8656 Drs. Henri Defoer Curator Research curator coelen@boijmans. (associate) Herzog Anton Ulrich-Museum Ms. Tatjana Bosnjak Mr. Willy Van den Bussche The National Gallery rotterdam.nl Director emeritus Museumstrasse 1 Curator Chief curator Trafalgar Square of Museum d-38100 Braunschweig National Museum pmmk- Museum voor London wc2n 5dn Dott.ssa Raffaella Colace Catharijneconvent Germany Trg Republike 1a Moderne Kunst England (associate) Rumkelaan 90 t +49 531 1225 2409 11000 Belgrade Romestraat 11 t +44 20 7839 3321 Art historian nl-3571 xzUtrecht f +49 531 1225 2408 Serbia b-8400 Oostende f +44 20 7753 8179 Via Donatello 3 The Netherlands info@museum- t +381 63 86 84 622 Belgium lorne.campbell@ i-20131 Milan t +31 30 271 4542 braunschweig.de [email protected] t +32 59 508 118 ng-london.org.uk Italy [email protected] f +32 59 805625 t +39 02 294 04 761 Ms. Mariana Dragu Drs. Peter van den Brink Mr. Lothar Casteleyn f +39 02 294 12 037 Mr. Ian Dejardin Curator Chief curator Dr. Helena Bussers Adjunct-curator of [email protected] Curator National Museum of Art of Bonnefantenmuseum Head of department Gruuthuse Museum Dulwich Picture Gallery Romania Postbus 1735 of Old Masters Stedelijke Musea Brugge Mr. Remmelt Daalder Gallery Road, Dulwich Calea Victoriei 49-53 nl-6201 bsMaastricht Koninklijke Musea voor Dijver 12 Curator Village ro-70101 Bucharest The Netherlands Schone Kunsten van België b-8000 Bruges Nederlands London se21 7ad Romania t +31 43 329 0190 Museumstraat 9 Belgium Scheepvaartmuseum England t +40 21 313 3030 f +31 43 329 0199 b-1000 Brussels t +32 50 44 8709 Kattenburgerplein 1 t +44 20 8693 5254 f +40 21 312 4327 [email protected] Belgium f +32 50 44 8737 nl-1018 kkAmsterdam f +44 20 8299 8700 t +32 2 508 3220 [email protected] The Netherlands i.dejardin@dulwichpicture f +32 2 508 3232 t +31 20 523 2228 gallery.org.uk bussers@fine-arts- f +31 20 523 2213 museum.be rdaalder@ scheepvaartmuseum.nl 35 codart Courant 7/December 2003

Dr El Fi GaGo Gr Drs. Hendrik Driessen Dr. Titus M. Eliëns Ms. Maria Rosa Figueiredo Dr. Jan Garff Dr. Hilliard T. Goldfarb Prof. drs. Frans Grijzenhout Chairman Chief curator of applied arts Chief curator Assistant keeper of prints Associate chief curator Deputy director De Nederlandse Gemeentemuseum Den Haag Museu Calouste Gulbenkian and drawings The Montreal Museum of Instituut Collectie Nederland Museumvereniging Postbus 72 Av. de Berna 45-a Statens Museum for Kunst Fine Arts Postbus 76709 Postbus 2975 nl-2501 cbThe Hague pt-1067-001 Lisbon Sølvgade 48-50 P.O. Box 3000 h nl-1070 kaAmsterdam nl-1000 czAmsterdam The Netherlands Portugal dk-1307 Copenhagen Montreal h3g 2t9 The Netherlands The Netherlands t +31 70 338 1286 t +351 1 793 5131 Denmark Canada t +31 20 305 4651 t +31 20 551 2900 f +31 70 338 1112 f +351 1 795 5249 t +45 33 748 512 t +1 514 285 1600 117 f +31 20 305 4600 f +31 20 551 2901 [email protected] mfigueiredo@ f +45 33 748 404 f +1 514 285 1980 [email protected] gulbenkian.pt [email protected] [email protected] Drs. Charles Dumas Drs. Elco Elzenga Dr. Natalia Grizay Chief curator Adjunct director and Dr. Jan Piet Filedt Kok Dr. Ivan Gaskell Drs. Eymert-Jan Goossens Head of Old Master Rijksbureau voor Kunst- chief curator Head of department Curator Curator paintings section and historische Documentatie Paleis Het Loo of painting Fogg Art Museum Koninklijk Paleis curator of Flemish Postbus 90418 Nationaal Museum Rijksmuseum 32 Quincy Street Postbus 3708 paintings nl-2509 lkThe Hague Koninklijk Park 1 Postbus 74888 Cambridge ma02138 nl-1001 amAmsterdam The State Hermitage Museum The Netherlands nl-7315 jaApeldoorn nl-1070 dnAmsterdam usa The Netherlands Dvortsovaja nab. 34 t +31 70 333 9705 The Netherlands The Netherlands t +1 617 496 4252 t +31 20 624 8698 191065 St. Petersburg f +31 70 333 9789 t +31 55 577 2400 t +31 20 674 7205 f +1 617 496 2359 f +31 20 623 3819 Russia [email protected] f +31 55 521 9983 f +31 20 674 7001 [email protected] goossens@kon- t +7 812 110 9682 f + j.filedt-kok@ paleisamsterdam.nl 7 812 312 1994 Drs. F.J. Duparc Dr. Ildikó Ember rijksmuseum.nl Dr. Terèz Gerszi Director Head of department (associate) Ms. Lia Gorter Drs. J.M. de Groot Mauritshuis of painting Mr. Jacques M. Foucart Chief advisor Director (associate) Postbus 536 Szépmüvészeti Múzeum Curator of Northern Szépmüvészeti Múzeum Foundation for Cultural Former director of nl-2501 cmThe Hague Dózsa György út 41 European painting Dózsa György út 41 Inventory Dordrechts Museum The Netherlands h-1396 Budapest xiv Musée du Louvre h-1396 Budapest xiv Sarphatistraat 84hs Postbus 1170 t +31 70 302 3420 Hungary 34 quai du Louvre Hungary nl-1018 gsAmsterdam nl-3300 bdDordrecht f +31 70 365 3819 t +36 1 363 2675 f-75041 Paris t +36 1 4697 175 The Netherlands The Netherlands f +36 1 343 8298 France f +36 1 171 4697 171 t +31 20 624 4710 t +31 78 648 2148 Mr. Gary Dupont [email protected] t +33 1 4020 5050 [email protected] f +31 20 624 4710 f +31 78 614 1766 Assistent curator f +33 1 4020 5442 [email protected] Stedelijke Musea Brugge Dr. Mark Evans Dr. Jeroen Giltay Dr. Rainald Grosshans Dijver 12 Curator of paintings Mr. Björn Fredlund Chief curator of Old Ms. Annamáriá Gosztola Curator b-8000 Bruges Victoria and Albert Museum Director Master paintings Curator of Flemish Gemäldegalerie Belgium Cromwell Road Göteborg Museum of Art Museum Boijmans Van painting Stauffenbergstrasse 40 t +32 50 44 8772 South Kensington Göteplatsen Beuningen Szépmüvészeti Múzeum d-10785 Berlin f +32 50 44 8737 London sw7 2rl s-41256 Göteborg Postbus 2277 Dózsa György út 41 Germany [email protected] England Sweden nl-3000 cgRotterdam h-1396 Budapest xiv t +49 1 30 266 2598 t +31 20 7942 2553 The Netherlands Hungary f +49 1 30 266 2103 Dr. Rudi Ekkart f +31 20 7942 2561 Dr. Carina Fryklund t +31 10 441 9400 t +36 1 343 9759 Director [email protected] Curator f +31 10 436 0500 f +36 1 343 8298 Ms. Krystyna Gutowska- Rijksbureau voor Kunst- Nationalmuseum gosztola@ Dudek historische Documentatie Mr. Clario Di Fabio Box 161 76 Mr. Stephen Goddard szepmuveszeti.hu Curator of painting Postbus 90418 Director se-103 24 Stockholm Curator of prints and Wilanow Palace Museum nl-2509 lkThe Hague Galeria di Palazzo Bianco Sweden drawings Dr. Gerhard Graulich ul. Stanislawa Kostki The Netherlands Via Garibaldi 11 t +46 8 5195 4300 Spencer Museum of Art Chief curator of painting Potockiego 10/16 t +31 70 333 9777 i-16124 Genoa f +46 8 5195 4456 The University of Kansas Staatliches Museum Schwerin pl-02-958 Warsaw f +31 70 333 9789 Italy [email protected] Lawrence ks66045 Alter Garten 3 Poland [email protected] t +39 3355 699 132 usa d-19055 Schwerin t +48 22 8422 407 f +39 10 247 5357 Dr. Eli ˘skaFucíková t +1 785 864 0128 Germany f +48 22 8423 116 Dr. Albert J. Elen Director f +1 913 864 3112 t +49 385 59 580 dzialsztuki@wilanow- Senior curator of prints and Drs. Emmy Ferbeek National Heritage [email protected] f +49 385 56 3090 palac.art.pl drawings Chief curator Department graulich@museum- Museum Boijmans Van Gemeentearchief Office of the President Ms. Sybilla Goegebuer schwerin.de Drs. Saskia van Haaren Beuningen Postbus 51140 cz-11908 Prague 1-Hrad Assistant curator Chief curator Postbus 2277 nl-1007 ecAmsterdam Czech Republic Stedelijk Museum voor Dr. Roman Grigoryev Museum Catharijneconvent nl-3000 cgRotterdam The Netherlands t +420 2 2437 2166 Volkskunde Head of department Postbus 8518 The Netherlands t +31 20 5720 243 f +420 2 2437 2018 Rolweg 40 of prints nl-3503 rmUtrecht t +31 10 4419 505 f +31 20 6750 596 [email protected] b-8000 Bruges The State Hermitage Museum The Netherlands f +31 10 4360 500 [email protected] Belgium Dvortsovaja nab. 34 t +31 30 231 3835 elen@boijmans. t +32 50 44 8764 191065 St. Petersburg f +31 30 231 7896 rotterdam.nl f +32 50 33 5489 Russia se.vanhaaren@ [email protected] t +7 812 110 9782 catharijneconvent.nl f +7 812 275 5139 [email protected] codart Courant 7/December 2003 36

HaHe He Hu Ja Ka Mr. John Oliver Hand Ms. Jo Hedley Mr. Daniel Hess Ms. Roselyne Huret Mr. David Jaffe Ms. Ronda Kasl Curator Curator of pictures Curator of paintings Curator Curator of Flemish Associate curator of National Gallery of Art pre-1800 and glass before 1800 Musée Carnavalet paintings painting and sculpture 3215 Scott Place, nw The Wallace Collection Germanisches 29 rue de Sévigné The National Gallery before 1800 Washington dc20007 Hertford House Nationalmuseum f-75003 Paris Trafalgar Square Indianapolis Museum of Art usa Manchester Square Postfach 11 95 80 France London wc2n 5dn 1200 West 38th Street t +1 202 737 4215 London w1m 6bn d-90105 Nuremberg t +33 1 4272 2113 England Indianapolis in46208-4196 [email protected] England Germany f +33 1 4027 8559 usa t +44 20 7935 0687 (x47) t +49 911 1331 171 Drs. Guido Jansen t +1 317 923 1331 Dr. Jaap Harskamp f +44 20 7224 2155 f +49 911 1331 200 Dr. Timothy Husband Head of Collections f +1 317 926 8931 British Library [email protected] Curator of The Cloisters Museum Boijmans Van [email protected] 96 Easton Road Drs. Ed de Heer Metropolitan Museum of Art Beuningen London nw1 2db Director Ms. Emerentia van Heuven Fort Tryon Park Postbus 2277 Prof. Thomas DaCosta England Museum Het Rembrandthuis Curator New York ny 10040 nl-3000 cgRotterdam Kaufmann f +44 207 413 7578 Jodenbreestraat 4-6 Paleis Het Loo usa The Netherlands (associate) [email protected] nl-1011 nkAmsterdam Nationaal Museum t +1 212 650 2284 t +31 10 441 9601 Professor The Netherlands Koninklijk Park 1 f +1 212 795 3640 f +31 10 436 0500 Department of Art and Dr. Ursula Härting t +31 20 520 0400 nl-7315 jaApeldoorn tim.husband@ jansen@boijmans. Archaeology Princeton (associate) f +31 20 520 0401 The Netherlands metmuseum.org rotterdam.nl University Exhibition curator t +31 55 577 2462 McCormick Hall (vereidigte Sachverständige Dr. Jan Jaap Heij f +31 55 521 9983 Dr. Paul Huvenne Ms. Sandra Janssens Princeton nj08544-1018 für Niederländische Curator Director Attaché usa Malerei) Drents Museum Drs. Koert van der Horst Koninklijk Museum voor Koninklijk Museum voor t +1 609 258 3781 Gustav-Lübcke-Museum Postbus 134 Curator of manuscripts Schone Kunsten Schone Kunsten f +1 609 258 0103 Markgrafenufer 3a nl-9400 acAssen Universiteitsbibliotheek Plaatsnijdersstraat 2 Plaatsnijdersstraat 2 [email protected] d-59071 Hamm The Netherlands Utrecht b-2000 Antwerp b-2000 Antwerp Germany t +31 592 312 741 Postbus 16007 Belgium Belgium Mr. Hans-Martin Kaulbach t +49 2381 175 701 f +31 592 317 119 nl-3500 daUtrecht t +32 3 242 0421 t +32 3 242 0414 Curator of German and [email protected] [email protected] The Netherlands f +32 3 248 0810 [email protected] Netherlandish prints and t +31 30 253 6521 [email protected] drawings Mr. Drs. Stephen Hartog Drs. Freek Heijbroek f +31 30 253 9292 Mr. David Torbet Johnson Staatsgalerie Stuttgart Senior curator Curator k.vanderhorst@ Dr. Paul Huys Janssen Deputy Director of Konrad-Adenauer-Strasse Instituut Collectie Nederland Rijksmuseum printroom library.uu.nl Curator of Old Masters Collections and Education 30-32 Postbus 1098 Postbus 74888 Noordbrabants Museum and Chief Curator d-70173 Stuttgart nl-2280 cbRijswijk nl-1070 dnAmsterdam Drs. Guus van den Hout Postbus 1004 The Taft Museum of Art Germany The Netherlands The Netherlands Director nl-5200 baDen Bosch 316 Pike Street t +49 711 212 4102 t +31 70 307 3841 t +31 20 674 7000 Museum Catharijneconvent The Netherlands Cincinnati oh45202-4293 f +49 711 212 4111 f +31 70 319 2398 f +31 20 674 7001 Postbus 8518 t +31 73 687 7811 usa [email protected] nl-3503 rmUtrecht f +31 73 687 7899 t +1 513 241 0343 x31 Dr. Jan Kelch Drs. Liesbeth Helmus The Netherlands PHuysJanssen@noord f +1 513 241 7762 Director Prof. Egbert Haverkamp- Curator of Old Masters t +31 30 231 3835 brabantsmuseum.nl djohnson@ Gemäldegalerie Begemann Centraal Museum f +31 30 231 7896 taftmuseum.org Stauffenbergstrasse 40 Institute of Fine Arts Postbus 2106 ahpj.vandenhout@catharij Dr. Chiyo Ishikawa d-10785 Berlin 1 East 78th Street nl-3500 gcUtrecht neconvent.nl Curator of European Dr. Catherine Johnston Germany New York ny 10021-01778 The Netherlands painting Curator of European art t +49 30 266 2598 usa t +31 30 236 2362 Mr. J.C. Houwert Seattle Art Museum National Gallery of Canada f +49 30 266 2103 t +1 212 772 5800 f +31 30 233 2006 Member of the board P.O. Box 22000 P.O. Box 427 Station a f +1 212 772 5807 l.helmus@ of codart Seattle wa98122-9700 Ottawa, Ontario k1n9n4 Ms. Véronique van de centraalmuseum.nl Kemperbergerweg 15 usa Canada Kerckhof Ms. Karen Hearn nl-6816 rmArnhem t +1 206 654 3179 t +1 613 990 0599 Assistant curator Curator of 16th- and Dr. Lee Hendrix The Netherlands f +1 206 654 3135 f +1 613 990 8689 Rubenshuis 17th-century arts Curator of drawings t +31 55 538 8653 chiyo@seattle [email protected] Wapper 9-11 Tate Gallery The J. Paul Getty Museum f +31 26 446 1136 | artmuseum.org b-2000 Antwerp Millbank 1200 Getty Center Drive +31 55 538 8666 Mr. Christiaan Jörg Belgium London sw1p 4rg Suite 1000 [email protected] Mr. Wim Jacobs Curator t +32 3 201 1556 England Los Angeles ca90049-1687 Secretary-treasurer of the Groninger Museum f +32 3 227 3692 t +44 20 7887 8038 usa Mr. Wouter Hugenholtz board of codart Postbus 90 veronique.vandekerckhof@ f +44 20 7887 8047 t +1 310 440 7062 (associate) Instituut Collectie Nederland nl-9700 meGroningen cs.antwerpen.be [email protected] f +1 310 440 7744 Executive director Postbus 76709 The Netherlands [email protected] Netherlands Institute for nl-1070 kaAmsterdam t +31 50 366 6555 Advanced Study The Netherlands f +31 50 312 0815 Meijboomlaan 1 t +31 20 305 4506 nl-2242 prWassenaar f +31 20 3054 500 The Netherlands [email protected] t +31 70 512 2700 f +31 70 511 7162 Hugenholtz@ nias.knaw.nl 37 codart Courant 7/December 2003

Ke Kl Ko Ko LaLe Ms. Laurence van Dr. Christian Klemm Mr. Akira Kofuku Dr. Olga Kotková Dr. Friso Lammertse Dr. Mary L. Levkoff Kerkhoven Curator Chief curator Head of the collection of Curator Curator of European Curator of Kunsthaus Zürich The National Museum of old European masters Museum Boijmans Van painting and sculpture Groeningemuseum Heimplatz 1 Western Art Národní Galerie v Praze Beuningen Los Angeles County Museum and Arentshuis ch-8024 Zürich 7-7 Ueno-koen P.O. Box 4 Postbus 2277 of Art Stedelijke Musea Brugge Switzerland Taito-ku Tokyo cz-110 15 Prague nl-3000 cgRotterdam 5905 Wilshire Boulevard Dijver 12 Japan 110-0007 Czech Republic The Netherlands Los Angeles ca90036 b-8000 Bruges Dr. Rüdiger Klessmann t +81 3 3828 5185 t +420 2 2051 5457 t +31 10 441 9400 usa Belgium (associate) f +81 3 3828 5797 f +420 2 2051 3180 | f +31 10 436 0500 t +1 323 857 6003 t +32 50 44 8711 Director emeritus of [email protected] +420 2 3335 8184 f +1 323 857 6216 f +32 50 44 8778 Herzog Anton Ulrich- [email protected] Dr. Alexei Larionov [email protected] [email protected] Museum Dr. Ype Koopmans Curator of Dutch and Völkstrasse 25 Curator Dr. Zoltán Kovács Flemish drawings Dr. Walter A. Liedtke Drs. Michiel Kersten d-86150 Augsburg Gemeentemusea Arnhem Deputy head of department The State Hermitage Museum Curator of European Head of collection Germany Postbus 60189 for registration Dvortsovaja nab. 34 paintings management and t +49 821 158 966 nl-6800 jpArnhem Szépmüvészeti Múzeum 191065 St. Petersburg The Metropolitan Museum communication The Netherlands Dózsa György út 41 Russia of Art Frans Hals Museum Drs. Wouter Kloek t +31 26 3512 431 h-1146 Budapest xiv 1000 Fifth Avenue Postbus 3365 Curator of special projects f +31 26 4435 148 Hungary Ms. Cathy Leahy New York ny 10028 nl-2001 djHaarlem Rijksmuseum [email protected] t +36 1 302 1785 Senior curator of prints usa The Netherlands Postbus 74888 f +36 1 302 1785 and drawings t +1 212 570 3762 t +31 23 511 5790 nl-1070 dnAmsterdam Ms. Greta Koppel zkovacs@ National Gallery of Victoria f +1 212 396 5052 f +31 23 511 5776 The Netherlands Research curator szepmuveszeti.hu P.O. Box 7259 walter.liedtke@ [email protected] t +31 20 674 7000 Niguliste Museum of the Melbourne 8004 metmuseum.org f +31 20 674 7001 Art Museum of Estonia Ms. Rebeca Kraselsky Australia Dr. Thomas Ketelsen [email protected] Niguliste 3 Curator of paintings t +61 3 9208 0231 Prof. Dr. Bernd Lindemann Curator ee-10146 Tallinn Museo Franz Mayer f +61 3 9208 0460 Curator of Old Master Staatliche Kunstsammlungen Drs. Maria Kluk Estonia Av. Hidalgo 45. Plaza de cathy.leahy@ paintings Dresden Keeper of Dutch paintings t +372 6 449 903 la Santa Veracruz ngv.vic.gov.au Kunstmuseum Basel Güntzstrasse 34 Muzeum Narodowe f +372 6 314 327 Centro Historico 06050 Postfach d-01307 Dresden Aleje Jerozolimskie 3 [email protected] Mexico D.F. Mr. Huigen Leeflang ch-4010 Basel Germany pl-00-495 Warsaw Mexico Curator of prints Switzerland t +49 351 4914 212 Poland Dr. Fritz Koreny t +52 5518 2265 X255 Rijksmuseum printroom t +41 61 206 6239 f +49 351 491 4222 t +48 22 621 1031 (x 312) (associate) rkraselsky@ Postbus 74888 f +41 61 206 6252 f +48 22 622 8559 Institut für Kunstgeschichte franzmayer.org.mx nl-1070 dnAmsterdam [email protected] Dr. George S. Keyes [email protected] der Universität Wien The Netherlands Elizabeth & Allan Shelden Spitalgasse 2 Hof 9 Ms. Tatyana Kuyukina t +31 20 674 7261 Dr. Irina Linnik curator of European Drs. Paul Knolle a-1090 Vienna Tver Art Museum f +31 20 674 7001 Curator of Dutch paintings paintings Curator of Old Master Austria 3 Sovetskaya Street h.leeflang@ The State Hermitage Museum The Detroit Institute of Arts paintings t +43 1 4277 414 44 170640 Tver rijksmuseum.nl Dvortsovaja nab. 34 5200 Woodward Avenue Rijksmuseum Twenthe f +43 1 4277 9414 Russia 191065 St. Petersburg Detroit mi48202 Lasondersingel 129-131 [email protected] t +7 08222 32561 Prof. Ronald de Leeuw Russia usa nl-7514 bpEnschede f +7 08222 64884 General director t +7 812 323 0835 t +1 313 833 1736 The Netherlands Dr. Anne S. Korteweg Rijksmuseum f +1 313 833 7881 t +31 53 435 8675 Keeper of manuscripts Ms. Suzanne Laemers Postbus 74888 Mr. Christopher Lloyd [email protected] f +31 53 435 9002 Koninklijke Bibliotheek (associate) nl-1070 dnAmsterdam Surveyor of pknolle@rijksmuseum- Postbus 90407 Curator The Netherlands The Queen’s Pictures Drs. Renée Kistemaker twenthe.nl nl-2509 lkThe Hague Rijksbureau voor Kunst- t +31 20 674 7000 Royal Collection (associate) The Netherlands historische Documentatie f +31 20 674 7001 Stable Yard House, Advisor Ms. Yoriko Kobayashi-Sato t +31 70 314 0357 Postbus 90418 r.de.leeuw@ St. James’s Palace Amsterdams Historisch (associate) f +31 70 314 0655 nl-2509 lkThe Hague rijksmuseum.nl London sw1a 1jr Museum Mejiro University [email protected] The Netherlands England Postbus 3302 1-1, f312 Ogura t +31 70 333 9777 Dr. Simon H. Levie t +44 20 7930 4832 nl-1001 acAmsterdam Saiwai, Kawasaki, Drs. J. Kosten f +31 70 333 9789 (associate) f +44 20 7839 8165 The Netherlands Kanagawa (associate) [email protected] Director emeritus of the t +31 20 523 1822 Japan 212-0054 Curator of Dutch and Rijksmuseum Ms. Julia Lloyd Williams f +31 20 620 7789 t +81 44 544 1915 Flemish historical Mr. Alastair Laing Minervalaan 70/ii (associate) [email protected] f +81 44 544 1925 paintings and Flemish Adviser on pictures and nl-1077 pgAmsterdam Former curator of the [email protected] portraits sculpture The Netherlands National Gallery of Ms. Maris Klaas Rijksbureau voor Kunst- The National Trust t +31 20 671 8895 Scotland Curator Dr. Olaf Koester historische Documentatie 36 Queen Anne’s Gate f +31 20 673 8088 Flat 1, 9 Lindfield Gardens Art Museum of Estonia (associate) Postbus 90418 London sw1h 9as London nw3 6px Weitzenbergi 22 Senior curator emeritus of nl-2509 lkThe Hague England England ee-0001 Tallinn Statens Museum for Kunst The Netherlands t +44 20 7222 9251 julialloydwilliams@ Estonia Mosebakken 3 t +31 70 333 9777 f +44 20 7447 6540 (home) hotmail.com t +37 22 601 3183 dk-2830 Virum f +31 70 333 9789 Denmark [email protected] codart Courant 7/December 2003 38

Lo Lu Lu MaMe Mo Dr. Anne-Marie Logan Ms. Katherine Crawford Dr. Doron Lurie Mr. Jean-Patrice Marandel Prof. Dr. Bert W. Meijer Mr. Maciej Monkiewicz (associate) Luber Chief curator of Chief curator Director Curator Research curator Assistant curator of the 16th- to 19th-century art Los Angeles County Museum Istituto Universitario Muzeum Narodowe The Metropolitan Museum Johnson Collection Tel Aviv Museum of Art of Art Olandese di Storia dell’Arte Aleje Jerozolimskie 3 of Art Philadelphia Museum of Art P.O. Box 33288 5905 Wilshire Boulevard Viale Torricelli 5 pl-00-495 Warsaw 25 Reilly Road Box 7646 61332 Tel Aviv Los Angeles ca90036 i-50125 Florence Poland Easton ct06612 Philadelphia pa19106 Israel usa Italy t +48 22 621 1031 278 usa usa t +972 3 695 7361 f +1 323 857 6216 t +39 055 221612 f +48 22 622 8559 t +1 203 261 0354 t +1 2165 684 7616 f +972 3 695 8099 f +39 055 221106 mmonkiewicz@ f +1 203 261 7246 f +1 215 763 8955 Dr. Natalja Markova iuo@iuo.iris.firenze.it mnw.art.pl [email protected] [email protected] Drs. M.P. van Maarseveen Head of department Director of prints and drawings Dr. Mitchell Merling Mr. Andrew Moore Drs. Daniëlle H.A.C. Lokin Dr. Jochen Luckhardt Drents Museum Pushkin State Museum Curator of art before 1900 Curator Director Director Postbus 134 of Fine Arts Ringling Museum of Art Castle Museum Stedelijk Museum Herzog Anton Ulrich- 9400 acAssen 12 Volkhonka Street 5401 Bayshore Rd. Norwich Het Prinsenhof Museum. Kunstmuseum The Netherlands 119019 Moscow Sarasota fl34243 Norfolk nr1 3ju St. Agathaplein 1 des Landes Niedersachsen t +31 592 312 741 Russia usa England nl-2611 hrDelft Museumstrasse 1 f +31 592 317 119 t +7 095 203 3007 t +1 941 359 7778 t +44 1603 223 624 | The Netherlands d-38100 Braunschweig f +7 095 203 4674 f +1 941 359 5745 493 633 (x) t +31 15 260 2864 Germany Ms. Catharine MacLeod [email protected] mitchellmerling@ f +44 1603 765 651 | f +31 15 213 8744 t +49 531 1225-0 Curator of 16th- and 17th- earthlink.net 493 661 (x) [email protected] f +49 531 1225-2408 century portraits Ms. Sanda Marta jluckhardt@museum- National Portrait Gallery Curator Drs. Norbert E. Middelkoop Drs. Bianca du Mortier Dr. Angelika Lorenz braunschweig.de St. Martin’s Place Muzeul Brukenthal Curator of paintings, Curator of costumes Referentin 16. und London wc2h 0he Piata Mare nr. 3-5 prints and drawings Rijksmuseum 17. Jahrhundert Dr. Dietmar Lüdke England ro-2400 Sibiu Amsterdams Historisch Postbus 74888 Westfälisches Landesmuseum Curator t +44 20 7312 2415 Romania Museum nl-1070 dnAmsterdam für Kunst und Kultur- Staatliche Kunsthalle f +44 20 7306 0056 t +40 69 217691 Postbus 3302 The Netherlands geschichte Postfach 11 12 53 [email protected] f +40 69 211545 nl-1001 acAmsterdam t +31 20 674 7226 Domplatz 10 d-76042 Karlsruhe [email protected] The Netherlands f +31 20 674 7001 d-48143 Münster Germany Ms. Catalina Macovei t +31 20 523 1822 b.du.mortier@ Germany t +49 721 926 3355 Head of department of Dr. Michael Matile f +31 20 620 7789 rijksmuseum.nl t +49 251 5907 240 f +49 721 926 6788 prints and drawings Curator norbertmiddelkoop@ f +49 251 5907 210 Library of the Romanian Graphische Sammlung der ahm.amsterdam.nl Dr. Angel M. Navarro Drs. Ger Luijten Academy ETH (associate) Drs. J.R. de Lorm Head of department of Calea Victoriei 125 Raemistrasse 101, hg e52 Drs. Ewoud Mijnlieff Professor of art history Head of exhibitions prints and drawings ro-71 102 Bucharest ch-8092 Zürich Curator University of Buenos Aires Rijksmuseum Rijksmuseum printroom Romania Switzerland Museum Het Catharina Avenida Quintana 16-6to. Postbus 74888 Postbus 74888 t +40 1 650 3043 x113 t +41 1 632 7875 Gasthuis ‘m’ nl-1070 dnAmsterdam nl-1070 dnAmsterdam f + 40 1 212 5856 f +41 1 632 11 68 Oosthaven 10 1014 Buenos Aires The Netherlands The Netherlands catalina-macovei@ [email protected] nl-2801 pbGouda Argentina t +31 20 674 7160 t +31 20 674 7000 yahoo.com The Netherlands t +54 11 4812 6836 f +31 20 674 7001 f +31 20 674 7001 Dr. Annaliese Mayer- t +31 182 588 440 f +54 11 4814 5033 [email protected] [email protected] Mr. Jan De Maere Meintschel f +31 182 588 671 (c/o Ms. Casal) (associate) (associate) [email protected] Mr. Willy le Loup Dr. Christiane Lukatis Director Director emeritus of the Sir Oliver Millar Curator of Curator Documentatiecentrum voor Gemäldegalerie Alte Meister (associate) Ms. Francine de Nave Groeningemuseum Staatliche Kunstsammlungen het Vlaamse Kunst- Robert-Diez-Strasse 7 Surveyor emeritus of Curator and Arentshuis Kassel patrimonium d-01326 Dresden- The Queen’s Pictures Museum Plantin Moretus Stedelijke Musea Brugge Postfach 410420 9 rue des Minimes Oberloschwitz The Cottage Rays Lane Vrijdagmarkt 22 Dijver 12 d-34066 Kassel b-1000 Brussels Germany Penn Buckinghamshire b-2000 Antwerp b-8000 Bruges Germany Belgium t +49 351 264 0544 hp10 8lh Belgium Belgium t +49 562 9377-7 t +32 2 502 2400 | f +49 351 264 1199 England t +32 3 221 1450 t +32 50 44 8704 f +49 562 9377-666 +32 7573 3400 t +44 494 812 124 f +32 3 221 1471 f +32 50 44 8778 f +32 2 502 0750 Mr. Fred G. Meijer [email protected] Dr. Alexander C. Lungu [email protected] (associate) Mr. Eric Moinet Dr. Uta Neidhardt Director Curator Conservateur en chef, Curator of Dutch and Muzeul Brukenthal Prof. Dr. Ekkehard Mai Rijksbureau voor Kunst- conseiller pour les musées Flemish paintings Piat,a Mare nr. 3-5 Curator historische Documentatie Direction régionale des affaires Staatliche Kunstsammlungen ro-2400 Sibiu Wallraf-Richartz-Museum - Postbus 90418 culturelles Rhône-Alpes Dresden - Gemäldegalerie Alte Romania Fondation Corboud nl-2509 lkThe Hague 6 quai Saint Vincent Meister t +40 69 211 699 Martinstrasse 39 The Netherlands f-69283 Lyon Cedex 01 Zwinger Theaterplatz 1 f +40 69 211 545 d-50 667 Cologne t +31 70 333 9724 France d-01067 Dresden Germany f +31 70 333 9789 t +33 4 7200 44 27 Germany t +49 221 2212 3633 [email protected] f +33 4 7200 43 30 t +49 351 491 4658 f +49 221 2212 2629 eric.moinet@ f +49 351 491 4694 [email protected] culture.gouv.fr [email protected] Koeln.de 39 codart Courant 7/December 2003

Ne No Os Pi Pr Ra Mr. István Németh Mr. John Nolan Prof. Dr. H.W. van Os Dr. Jet Pijzel-Dommisse Mr. Hayden Russell Proud Mr. Rodolphe Rapetti Curator Curator (associate) Curator of decorative arts Curator (associate) Szépmüvészeti Múzeum Bob Jones University Museum Director emeritus of the Gemeentemuseum Den Haag Iziko Museums of Cape Town Conservateur en chef du Dózsa György út 41 & Gallery, Inc. Rijksmuseum Postbus 72 Michaelis Collection patrimoine. Chargé de h-1396 Budapest xiv 1700 Wade Hampton Koninginneweg 37 nl-2501 cbThe Hague Old Town House, mission auprès de la Hungary Boulevard nl-1075 lgAmsterdam The Netherlands Greenmarket Square directrice des musées de t +36 1 343 9759 Greenville sc29614 The Netherlands t +31 70 338 1111 Cape Town 8001 France f +36 1 363 6398 usa f +31 70 355 7360 South Africa Direction des musées de France inemeth@ t +1 864 370 1800 x1050 Prof. Dr. Jan Ostrowski t +27 21 4651 628 (South 6, rue des Pyramides szepmuveszeti.hu f +1 864 770 1306 Director Ms. Maritta Pitkänen African National Gallery) f-75001 Paris [email protected] Zamek Krolewski na Wawelu Director f +27 21 4610 045 (sang) France Dr. Lawrence W. Nichols Wawel 5 The Gösta Serlachius [email protected] Curator of European Ms. Tatyana Petrovna pl-31-001 Kraków Museum of Fine Arts Mr. Tom Rassieur paintings and sculpture Ogorodnikova Poland fin-35800 Mänttä Dr. Beata Purc-Stepniak Assistant curator of prints before 1900 Head of department of t +48 12 422 1950 Finland Curator of European and drawings The Toledo Museum of Art Western European painting f +48 12 422 1950 t +358 3474 5515 paintings Museum of Fine Arts P.O. Box 1013 Irkutsk Art Museum [email protected] maritta.pitkanen@ Muzeum Narodowe w 465 Huntington Avenue Toledo oh43697 Ul. Lenina 5 serlachiusartmuseum.fi Gdan´ sku Boston ma02115-5523 usa 664000 Irkutsk Mr. Piotr Oszczanowski ul. Torúnska 1 usa t +1 419 255 8000 Russia (associate) Drs. Peter van der Ploeg pl-80-822 Gdan´sk t +1 617 369 3432 f +1 419 244 2217 t +7 395 234 4231 Instytut Historii Sztuki | Curator Poland f +1 617 536 4102 lnichols@ f +7 395 234 1272 Uniwersytet Wrocl-aw Mauritshuis t +48 58 301 70 61 [email protected] toledomuseum.org [email protected] Szewska 49 Postbus 536 f +48 58 301 11 25 pl-50-139 Wrocl-aw nl-2501 cmThe Hague Dr. Konrad Renger Dr. Jan Nicolaisen Dr. Nils Ohrt Poland The Netherlands Mr. Roger Quarm Chief curator Curator Director t +48 871 3752 525 t +31 70 302 3420 Curator of pictures Bayerische Museum der bildenden Künste Nivagaards Malerisamling f +48 871 3752 510 f +31 70 365 3819 National Maritime Museum Staatsgemäldesammlungen Grimmaische Strasse 1-7 Gl. Strandvej 2 [email protected] Romney Road Barer Strasse 29 d-04109 Leipzig dk-2990 Nivå Drs. Michiel Plomp Greenwich se10 9nf d-80799 Munich Germany Denmark Drs. M.S. Paarlberg Associate curator of England Germany t +49 341 216 9942 t +45 49 14 10 17 Curator of Old Masters drawings and prints t +44 181 312 6717 t +49 89 238 050112 f +49 341 960 9925 f +45 49 14 10 57 Dordrechts Museum The Metropolitan f +44 181 312 6632 f +49 89 23805 221 [email protected] [email protected] Postbus 1170 Museum of Art [email protected] nl-3300 bdDordrecht 1000 Fifth Avenue Drs. Robert-Jan te Rijdt Mr. Hans Nieuwdorp Dr. Maria Ordeanu The Netherlands New York ny 10028-0198 Drs. Emke Raassen- Curator of drawings Chief curator Curator of prints and t +31 78 648 2148 usa Kruimel Rijksmuseum Museum Mayer van den Bergh drawings f +31 78 614 1766 t +1 212 879 5500 Chief curator Postbus 74888 Lange Gasthuisstraat 19 Muzeul Brukenthal MS.Paarlberg@ f +1 212 570 3921 Singer Museum nl-1070 dnAmsterdam b-2000 Antwerp Piata Mare 4-5 dordrecht.nl Postbus 497 The Netherlands Belgium ro-2400 Sibiu Ms. Kadi Polli nl-1250 alLaren t +31 20 674 7266 t +32 3 232 4237 Romania Ms. Mieke Parez Director and curator The Netherlands f +31 20 674 7001 f +32 3 231 7335 t +40 69 217 691 Curator of of paintings t +31 35 539 3937 [email protected] hans.nieuwdorp@ f +40 69 211 545 Memlingmuseum, Kadriorg Palace - f +31 35 5317 751 cs.antwerpen.be mioaraordeanu@ Sint-Janshospitaal and The Kadriorg Art Museum [email protected] Ms. Maria del Carmen yahoo.com Museum Onze-Lieve- 37 Weizenbergi Street Rippe Moro Ms. Jeltje van Vrouw ter Potterie ee-10127 Tallinn Ms. Anna Radziun Curator Nieuwenhoven Dr. Nadine Orenstein Stedelijke Musea Brugge Estonia Curator of Ruysch Museo Nacional Member of the Dutch Associate curator of Dijver 12 t +372 6066 400 collections Trocadero e/Sulueta y Parliament drawings and prints b-8000 Bruges f +372 6066 401 Museum of Anthropology and Monserrate Tweede Kamerfractie Partij The Metropolitan Museum Belgium kadi.polli@ Ethnography of the Russian Habana Vieja van de Arbeid of Art t +32 50 448 772 kadriorg.ekm.ee Academy of Sciences - Cuba Postbus 20018 1000 Fifth Avenue f +32 50 44 8778 Kunstkamera t +53 7 613 858 nl-2500 eaThe Hague New York ny 10028-0198 [email protected] Ms. Nora De Poorter Universitetskaya Nab. 3 f +53 7 629 626 The Netherlands usa (associate) 199034 St. Petersburg [email protected] t +31 70 318 2745 t +1 212 879 3502 Dr. Zuzana Paternostro Nationaal Centrum voor Russia j.vnieuwenhoven@ f +1 212 570 3921 Head of foreign paintings Plastische Kunsten van de t +7 812 328 0712 Ms. Helena Risthein tk.parlement.nl Nadine.Orenstein@ department 16de en de 17de Eeuw f +7 812 328 0811 Curator metmuseum.org Museu Nacional de Belas Artes Kolveniersstraat 20 [email protected] Art Museum of Estonia Drs. Carl Nix Av. Rio Branco 199 b-2000 Antwerp Kiriku plats 1 Curator Dr. Lynn Federle Orr Rio de Janeiro 20040 008 Belgium ee-10130 Tallinn Atlas Van Stolk California Palace of the Brazil t +32 3 201 1577 Estonia Korte Hoogstraat 31 Legion of Honor t +55 21 2240 0068 f +32 3 231 9387 t +372 644 9513 nl-3011 gkRotterdam 100 34th Street Lincoln Park f +55 21 2262 6067 f +372 644 2094 The Netherlands San Francisco ca94121 [email protected] [email protected] t +31 10 217 6724 usa f +31 10 433 4499 t +1 415 750 3618 [email protected] f +1 415 750 3656 [email protected] codart Courant 7/December 2003 40

Ro Ro SaSc Sc Sc Dr. William W. Robinson Mr. Martin Royalton-Kisch Ms. Maria Saffiotti Dale Drs. Jef Schaeps Dr. Bernhard Dr. Dieter Schwarz Maida and George Abrams Assistant keeper Curator of paintings, Curator Schnackenburg Director Curator of Drawings British Museum department sculpture and decorative Prentenkabinet Universiteit Director Kunstmuseum Winterthur Fogg Art Museum of prints and drawings arts Leiden Staatliche Museen Kassel, Postfach 378 32 Quincy Street Great Russell Street Elvehjem Museum of Art, Postbus 9501 Gemäldegalerie Alte Meister ch-8402 Winterthur Cambridge ma02138 London wc1b 3dg University of Wisconsin- nl-2300 raLeiden Schloss Wilhelmshöhe Switzerland usa England Madison The Netherlands d-34131 Kassel t +41 52 267 5162 t +1 617 495 2382 t +44 20 7636 1555 800 University Avenue t +31 71 527 2788 Germany f +41 52 267 5317 f +1 617 496 3800 f +44 20 7323 8999 Madison wi53706-1479 schaeps@ t +49 561 9377 7613 [email protected] [email protected] Mroyaltonkisch@ usa library.leidenuniv.nl f +49 561 9377 7666 British-Museum.ac.uk t +1 608 263 4368 Schnackenburg-Kassel@ Prof. Gianni Carlo Sciolla Dr. Franklin W. Robinson f +1 608 263 8188 Drs. Karen Schaffers- t-online.de (associate) The Richard J. Schwartz Dr. Louisa Wood Ruby msaffiottidale@ Bodenhausen Professor of art history director Photoarchivist lvm.wisc.edu Chief curator Drs. Frits Scholten Università degli Studi di Herbert F. Johnson The Frick Collection Rijksbureau voor Kunst- Curator of sculpture Torino Museum of Art 1 East 70th Street Ms. Béatrice Salmon historische Documentatie Rijksmuseum Via Tenivelli 11 Cornell University New York ny 10021 Director Postbus 90418 Postbus 74888 i-10144 Turin Ithaca ny 14853-4001 usa Musée des Beaux-Arts nl-2509 lkThe Hague nl-1070 dnAmsterdam Italy usa t +1 212 547 0652 | 3 place Stanislas The Netherlands The Netherlands t +39 011 437 1766 t +1 607 255 6464 +1 212 547 3020 f-54000 Nancy t +31 70 383 6908 t +31 20 674 7000 f +39 011 670 3513 f +1 607 255 9940 f +1 212 547 0680 France f +31 70 333 9789 f +31 20 674 7001 [email protected] director-museum@ [email protected] t +33 38 385 3072 f.scholten@ cornell.edu f +33 38 385 3076 Drs. Marijn rijksmuseum.nl Mr. David Scrase Mr. Axel C. Rüger Schapelhouman Curator Drs. Evert Rodrigo Curator of Dutch and Dr. Jochen Sander Curator of drawings Drs. Peter Schoon Fitzwilliam Museum Head of department of Flemish paintings Head of department of Rijksmuseum Director Trumpington Street collections The National Gallery paintings Postbus 74888 Dordrechts Museum Cambridge cb2 1rb Instituut Collectie Nederland Trafalgar Square Städelsches Kunstinstitut nl-1070 dnAmsterdam Postbus 1170 England Postbus 1098 London wc2n 5dn Dürerstrasse 2 The Netherlands nl-3300 bdDordrecht t +44 1223 332 900 nl-2280 cbRijswijk England d-60596 Frankfurt am Main t +31 20 674 7000 The Netherlands f +44 1223 332 923 The Netherlands t +44 20 7747 2893 Germany f +31 20 674 7001 t +31 78 648 2148 t +31 70 307 3800 f +44 20 7753 8179 t +49 69 605 098 102 f +31 78 614 1766 Dr. Gero Seelig f +31 70 319 2398 axel.ruger@ f +49 69 610163 Drs. Albert A.J. Scheffers [email protected] Curator of Netherlandish ng-london.org.uk Sander-Frankfurt@ Curator paintings Drs. Pieter Roelofs t-online.de Het Nederlands Muntmuseum Dr. Karl Schütz Staatliches Museum Schwerin Curator Dr. Ivan Rusina Ms. Ana García Sanz Postbus 2407 Director of department of Alter Garten 3 Museum Het Valkhof Curator Curator of the Descalzas nl-3500 gkUtrecht paintings d-19055 Schwerin Postbus 1474 Slovenská národná galéria Reales The Netherlands Kunsthistorisches Museum Germany nl-6501 blNijmegen Riecna 1 Patrimonio Nacional t +31 30 291 0482 Burgring 5 t +49 385 5958 125 The Netherlands sk-81513 Bratislava Palacio Real - Bailén s/n f +31 30 291 0467 a-1010 Vienna f +49 385 5630 90 t +31 24 360 8805 Slovak Republic e-28071 Madrid [email protected] Austria GeroSeelig@ f +31 24 3608656 t +421 2 5443 7062 Spain t +43 1 5252 4305 compuserve.com p.roelofs@museum f +421 2 5443 3971 t +34 91 454 7513 Ms. Tamara Schestakowa f +43 1 5252 4309 hetvalkhof.nl [email protected] f +34 91 454 8721 Director [email protected] Dr. Hana Seifertová Tambov Fine Arts Museum Curator Dr. Anna Rollová Prof. Dr. Vadim A. Sadkov Dr. Wolfgang Savelsberg 97 Sovetskaya Street Ms. Loekie Schwartz Národní Galerie v Praze Director of Collection of Head of department of Head of museums and 392000 Tambov (associate) V Luhu 616 prints and drawings European and American art collections Russia Postbus 162 cz-25230 Revnice Národní Galerie v Praze Pushkin State Museum of Kulturstiftung Dessau Wörlitz t +7 0752 724627 nl-3600 adMaarssen Czech Republic Starometské nám. 12 Fine Arts Schloss Gross Kühnau The Netherlands t +420 2 2051 5457 cz-110 15 Prague 1 12 Volkhonka Street d-06846 Dessau Drs. Robert Schillemans t +31 346 562 778 f +420 2 2051 3180 Czech Republic 119019 Moscow Germany Curator f +31 346 570574 [email protected] t +420 2 2231 5030 Russia t +49 340 646 1535 Museum Amstelkring [email protected] f +420 2 2231 0433 t +7 095 203 9587 f +49 340 646 1510 Ons’ Lieve Heer op Solder Dr. Manfred Sellink [email protected] f +7 095 203 4674 [email protected] Oude Zijds Voorburgwal 40 Mr. Gary Schwartz Director nl-1012 geAmsterdam Director Stedelijke Musea Brugge Dott.ssa Francesca Rossi Mr. Scott Schaefer The Netherlands codart Dijver 12 Curator Head of department of t +31 20 624 6604 Postbus 162 b-8000 Bruges Museo di Castelvecchio paintings f +31 20 638 1822 nl-3600 adMaarssen Belgium Corso Castelvecchio 2 The J. Paul Getty Museum r.schillemans@museum The Netherlands t +32 50 44 8711 i-37121 Verona 1200 Getty Center Drive amstelkring.nl t +31 346 580 553 f +32 50 44 8778 Italy Suite 1000 f +31 346 580 554 manfred.sellink@ t +39 045 592 985 Los Angeles ca90049-1687 [email protected] brugge.be f +39 045 801 0729 usa [email protected] t +1 310 440 7168 f +1 310 440 7717 [email protected] 41 codart Courant 7/December 2003

Se Si Sp St To Ur Dr. Marina Senenko Dr. Martina Sitt Prof. Ojars Sparitis Mr. Sergei Stroganov Mr. Todor Todorov Dr. Susan Urbach Curator of European and Head of department of Latvian Academy of Arts Curator of Dutch paintings (associate) Head of department of American art paintings Kalpaka Boulevard 13 (Rembrandt excluded) Princeton University. art history Pushkin State Museum Hamburger Kunsthalle lv-1867 Riga The State Hermitage Museum Department of Art and Péter Pázmány Catholic of Fine Arts Glockengiesserwall Latvia Dvortsovaja nab. 34 Archaeology University Faculty of 12 Volkhonka Street d-20095 Hamburg t +371 733 2202 191065 St. Petersburg Princeton nj08544 Humanities 119019 Moscow Germany f +371 722 8963 Russia usa Törökvész út 128 Russia t +49 40 4285 42603 [email protected] t +7 812 110 9682 t +1 609 258 5678 h-1025 Budapest ii t +7 095 203 5809 f +49 40 4285 42482 f +1 609 258 0103 Hungary f +7 095 203 4674 sitt@hamburger- Dr. Joaneath Spicer Drs. Ariane van Suchtelen [email protected] t +36 1 394 5129 kunsthalle.de The James A. Murnaghan Curator of exhibitions f +36 1 1697 118 | Dr. Anja K. S˘ evcík curator of Renaissance and Mauritshuis Dr. Renate Trnek +36 1 3945 162 Curator of Old Masters Prof. Seymour Slive Baroque art Postbus 536 Director collection (associate) Walters Art Gallery nl-2501 cmThe Hague Gemäldegalerie der Akademie Ms. Veronique Národní Galerie v Praze Professor emeritus 600 N. Charles St. The Netherlands der bildenden Künste Vandekerchove Charlese de Gaulla 3 Harvard University Baltimore md21201 t +31 70 302 3420 1 Schillerplatz 3 Curator cz-160 00 Prague vi 32 Quincy Street usa f +31 70 365 3819 a-1010 Vienna Stedelijk Museum Czech Republic Cambridge ma02138 t +1 410 547 9258 Austria Vander Kelen-Mertens t +420 2 2051 5457 usa f +1 410 752 4797 Ms. Eva Tahon t +43 1 5881 6229 Savoyestraat 6 f +420 2 2051 3180 [email protected] Chief curator of f +43 1 586 3346 b-3000 Leuven [email protected] Dr. Nicolette Sluijter- Memlingmuseum, [email protected] Belgium Seijffert Mr. Ron Spronk Sint-Janshospitaal and t +32 16 226 906 Dr. Desmond Shawe-Taylor (associate) Associate curator for Museum Onze-Lieve- Dr. Meinolf Trudzinski f +32 16 238 930 Dulwich Picture Gallery Former director of Museum research at Straus Center Vrouw ter Potterie Senior curator veronique.vandekerchove@ Gallery Road, Dulwich Het Catharina Gasthuis for Conservation and Stedelijke Musea Brugge Niedersächsisches leuven.be Village 15 Washington Place, 4j Technical Studies Dijver 12 Landesmuseum Hannover London se21 7ad New York ny 10023 Harvard University Art b-8000 Bruges Willy-Brandt-Allee 5 Mr. Stéphane England usa Museums Belgium d-30169 Hannover Vandenberghe t +44 20 8299 8701 t +1 212 475 0404 32 Quincy Street t +32 50 448 733 Germany Curator of f +44 20 8299 8700 [email protected] Cambridge ma02138 f +32 50 44 8778 t +49 511 9807 624 Groeningemuseum d.shawe-taylor@dulwich usa [email protected] f +49 511 9807 640 and Arentshuis picturegallery.org.uk Drs. Marie Christine t +1 617 495 0987 Stedelijke Musea Brugge van der Sman f +1 617 495 0322 Ms. Júlia Tátrai Drs. Carel van Tuyll van Dijver 12 Dr. Karin Sidén Director [email protected] Curator Serooskerken b-8000 Bruges Senior curator of paintings De Nederlandse Szépmüvészeti Múzeum Chief curator Belgium and sculpture/Old Masters Museumvereniging Ms. Nina Stadnitchuk Dózsa György út 41 Teylers Museum t +32 50 44 8706 Nationalmuseum Postbus 2975 Curator of paintings h-1146 Budapest xiv Spaarne 16 Box 161 76 nl-1000 czAmsterdam Museum Pavlovsk Hungary nl-2011 chHaarlem Dr. Paul Vandenbroeck se-103 24 Stockholm The Netherlands Ulitsa Revolutsi 20 f +36 1 302 1785 The Netherlands Research curator Sweden t +31 20 551 2900 189623 Pavlovsk [email protected] t +31 23 531 9010 Koninklijk Museum voor t +46 8 5195 4304 f +31 20 551 2901 Russia f +31 23 534 2004 Schone Kunsten f +46 8 5195 4450 t +7 812 460 6325 Dr. Herfried Thaler [email protected] Plaatsnijdersstraat 2 [email protected] Mr. Mårten Snickare f +7 812 470 2155 Curator b-2000 Antwerp Curator of 17th-century Nordico - Museum der Dr. Jacek Tylicki Belgium Drs. John Sillevis master drawings and Mr. Emmanuel Starcky Stadt Linz (associate) t +32 3 242 0430 Chief curator architectural drawings Deputy director Dametzstrasse 23 Assistant professor of f +32 3 248 0810 Gemeentemuseum Den Haag Nationalmuseum Direction des Musées de France a-4020 Linz museology [email protected] Postbus 72 Box 161 76 6 rue des Pyramides Austria Uniwersytet M. Kopernika nl-2501 cbThe Hague se-103 24 Stockholm f-75041 Paris Cedex 01 t +43 732 7070 1903 Sienkiecza 30/32 Mr. Marc Vandenven The Netherlands Sweden France f +43 732 793 518 pl-87 100 Torún Associate t +31 70 338 1215 t +46 8 5195 4356 t +33 1 4015 3401 [email protected] Poland Nationaal Centrum voor f +31 70 338 1112 f +46 8 5195 4401 f +33 1 4015 3410 t +48 56 651 1632 Plastische Kunsten van de jsillevis@ [email protected] emmanuel.starcky@ Ms. Joanna A. Tomicka f +48 56 651 1632 16de en de 17de Eeuw gemeentemuseum.nl culture.gouv.fr Curator [email protected] Kolveniersstraat 20 Dr. Irina Sokolova Muzeum Narodowe b-2000 Antwerp Dr. Pilar Silva Head of department of Ms. Shlomit Steinberg Aleje Jerozolimskie 3 Dr. Daiga Upeniece Belgium Head of department of Dutch paintings Hans Dichand curator pl-00-495 Warsaw Director t +32 3 201 1577 medieval and early- The State Hermitage Museum of European art Poland Museum of Foreign Art f +32 3 231 9387 Renaissance Spanish and Dvortsovaja nab. 34 Israel Museum t +48 22 621 1031 Pils Laukums 3 Flemish paintings 191065 St. Petersburg P.O. Box 71117 f +48 22 622 8559 Riga lv-1050 Museo Nacional del Prado Russia Jerusalem [email protected] Latvia C. Ruiz de Alarcón 23, t +7 812 110 9794 / 110 9615 Israel t +371 7 228 776 4e planta f +7 812 311 9009 / 312 2262 t +972 2 670 8989 f +371 7 228 776 e-28014 Madrid f +972 2 670 894 [email protected] Spain [email protected] t +34 91 330 2809 f +34 91 330 2851 [email protected] codart Courant 7/December 2003 42

Ve Vi WaWe Wh Wi Mr. Ernst W. Veen Ms. Mercedes Royo Mr. Henk van der Walle Dr. James A. Welu Ms. Lucy Whitaker Ms. Gloria Williams (associate) Villanova Chairman of the board Director Assistant to the surveyor Curator Director Trustee and research of codart Worcester Art Museum of the Queen’s pictures Norton Simon Museum National Foundation curator Bisschopsstraat 16 55 Salisbury Street Royal Collection 411 West Colorado De Nieuwe Kerk Museo Lázaro Galdiano nl-7513 akEnschede Worcester ma01609-3123 Stable Yard House, Boulevard Postbus 3438 Serrano 122 The Netherlands usa St. James’s Palace Pasadena ca91105-1825 nl-1001 aeAmsterdam Madrid t +31 53 431 6744 t +1 508 799 4406 x3023 London sw1a 1jr usa The Netherlands Spain f +31 53 432 9401 f +1 508 798 5646 England t +1 626 449 216 t +31 20 626 8168 t +34 91 759 2130 [email protected] [email protected] t +44 20 7930 4832 (x4699) f +1 626 796 4978 f +31 20 622 6649 f +34 91 435 4049 f +44 20 7839 8168 gwilliams@ [email protected] Dr. Arie Wallert Mr. Robert M.G. Wenley Lwhitaker@Royal nortonsimon.org Dr. Hans Vlieghe Curator of technical Curator of European art, Collections.org.uk Dr. Ernst Vegelin van Nationaal Centrum voor painting research 1600-1800 Dr. Paul Williamson fsa Claerbergen Plastische Kunsten van de Rijksmuseum Glasgow Museums Prof. Christopher White Keeper of sculpture, Senior curator 16de en de 17de Eeuw Postbus 74888 2060 Pollokshaws Road (associate) metalwork, ceramics Courtauld Gallery, Kolveniersstraat 20 nl-1070 dnAmsterdam Glasgow g43 1ar Director emeritus of the and glass Courtauld Institute of Art b-2000 Antwerp The Netherlands Scotland Ashmolean Museum The Victoria and Albert Somerset House, Strand Belgium t +31 20 674 7283 t +44 141 287 2563 34 Kelly Street Museum London wc2r 0rn t +32 3 201 1577 f +31 20 674 7001 f +44 141 287 2597 London nw1 8ph South Kensington England f +32 3 231 9387 [email protected] robert.wenley@ England London sw7 2rl t +44 20 7848 2539 cls.glasgow.gov.uk t +44 20 7485 9148 England f +44 20 7848 2589 Drs. Christiaan Vogelaar Dr. John J. Walsh f +44 20 7428 9786 t +44 20 7942 2611 ernst.vegelin@ Curator (associate) Drs. Guido de Werd christopherwhite@shingle. f +44 20 7942 2616 courtauld.ac.uk Stedelijk Museum Director emeritus Director of Museum freeserver.co.uk [email protected] De Lakenhal The J. Paul Getty Museum Kurhaus Kleve and B.C. Dr. Carl Van de Velde Postbus 2044 1200 Getty Center Drive Koekkoek-Haus Kleve Dr. Christiane Wiebel Dr. David de Witt Nationaal Centrum voor nl-2301 caLeiden Suite 300 Museum Kurhaus Kleve Curator of the printroom Bader Curator of Plastische Kunsten van de The Netherlands Los Angeles ca90049-1680 Tiergartenstrasse 41 Kunstsammlungen der Veste European Art 16de en de 17de Eeuw t +31 71 516 5360 usa d-47533 Kleve Coburg Agnes Etherington Art Centre Kolveniersstraat 20 f +31 71 513 4489 t +1 310 440 7114 Germany Veste Coburg Queen’s University b-2000 Antwerp f +1 310 440 7717 t +49 2821 750 112 d-96450 Coburg University Avenue at Belgium Drs. Edward van Voolen [email protected] f +49 2821 750 111 Germany Queen’s Crescent Kingston, t +32 3 201 1577 Chief curator [email protected] t +49 9561 879-17 on f +32 3 231 9387 Joods Historisch Museum Drs. Rik van Wegen f +49 9561 87966 Canada k7l 3n6 Postbus 16737 Curator Dr. Hiltrud Westermann- t +1 613 533 6000 x75100 Dr. Alexander Vergara nl-1001 reAmsterdam Bonnefantenmuseum Angerhausen Dr. Alexander Wied f +1 613 533 6891 Senior curator of Flemish The Netherlands Postbus 1735 Director Curator [email protected] and Northern European t +31 20 626 9945 nl-6201 bsMaastricht Museum Schnütgen Kunsthistorisches Museum paintings f +31 20 624 1721 The Netherlands Cäcilienstrasse 29 Burgring 5a Mr. Hubert De Witte Museo Nacional del Prado [email protected] t +31 43 329 0104 d-50667 Cologne a-1010 Vienna Curator of Groep Paseo del Prado f +31 43 329 0199 Germany Austria Historische Musea e-28014 Madrid Ms. Sandra de Vries [email protected] t +49 221 2212 2310 t +43 1 5253 4305 Stedelijke Musea Brugge Spain Director f +49 221 2212 8489 f +43 1 5252 4309 Dijver 12 t +34 91 330 2824 Stedelijk Museum Alkmaar Dr. Peter Wegmann [email protected] [email protected] b-8000 Bruges f +34 91 330 2852 Canadaplein 1 Curator Belgium alejandro.vergara@ nl-1811 keAlkmaar Museum Oskar Reinhart Dr. Kurt Wettengl Dr. Elsbeth Wiemann t +32 50 44 8711 prado.mcu.es The Netherlands am Stadtgarten Chief curator of paintings, Curator for early German f +32 50 44 8737 t +31 72 511 0737 Stadthausstrasse 6 prints and drawings and and Netherlandish [email protected] Drs. Bernard Vermet f +31 72 515 1476 ch-8400 Winterthur deputy director painting Associate of Foundation for [email protected] Switzerland Historisches Museum Staatsgalerie Stuttgart Ms. Barbara Wlodarska Cultural Inventory t +41 52 267 5172 Staalgasse 19 Postfach 104342 Head of silver and metal Hoflaan 65 Ms. Danièle Wagener f +41 52 267 6228 d-60311 Frankfurt am Main d-70038 Stuttgart department nl-2321 smLeiden Curator Germany Germany Muzeum Narodowe The Netherlands Villa Vauban Dr. Dennis Weller t +49 69 2123 3814 t +49 711 4704 0260 ul. Torúnska 1 t +31 71 532 4541 14 rue du Saint-Esprit Associate curator of f +49 69 2123 0702 f +49 711 236 9983 pl-80 822 Gdan´sk f +31 71 532 4541 l-2090 Luxembourg European art kurt.wettengl@ e.wiemann@ Poland Luxembourg North Carolina Museum of Art stadt-frankfurt.de staatsgalerie.de t +48 58 301 70 61 5 Dr. Thea Vignau-Wilberg t +352 4796 4560 4630 Mail Service Center f +48 58 301 11 25 Curator f +352 471 707 Raleigh nc27605-6494 Dr. Arthur K. Wheelock Jr Ms. Marjorie E. Wieseman info@muzeum. Staatliche Graphische [email protected] usa Curator of Northern Curator of European narodowe.gda.pl Sammlung München t +1 919 839 6262 x2128 Baroque painting painting and sculpture Meiserstrasse 10 f +1 919 733 8034 National Gallery of Art Cincinnati Art Museum d-80333 Munich [email protected]. Constitution Avenue N.W. 953 Eden Park Drive Germany state.nc.us Washington dc20565 Cincinnati oh45202 t +49 89 2892 7656 usa usa f +49 89 2892 7653 t +1 202 842 6147 t +1 513 639 2915 t.vignau@graphische- f +1 202 842 6933 | f +1 513 639 2996 sammlung.mwn.de +1 202 789 2681 [email protected] 43 codart Courant 7/December 2003

Wo Wu ZaZh Zi Zi Ms. Martha Wolff Ms. Helen Wüstefeld Ms. Maria Zagala Mrs. Olena Zhivkova Dr. Antoni Ziemba Ms. Grazyna Zinówko Curator of European Head of presentations Assistant curator Head of department of Chief curator of the foreign Curator of Old Master painting before 1750 Museum Meermanno National Gallery of Victoria European art painting gallery drawings Art Institute of Chicago Prinsessegracht 30 P.O. Box 7259 Bogdan and Varvara Muzeum Narodowe Muzeum Narodowe 111 South Michigan Avenue nl-2514 ap The Hague Melbourne 8004 Khanenko Museum of Art Aleje Jerozolimskie 3 ul. Torúnska 1 Chicago il60603-6110 The Netherlands Australia Tereshchenkivska St. 15-17 pl-00-495 Warsaw pl-80-822 Gdan´sk usa t +31 70 346 2700 t +61 3 9208 0289 1004 Kiev Poland Poland t +1 312 443 3636 f +31 70 363 0350 f +61 3 9208 0460 Ukraine t +48 22 621 1031 ext. 278 t +48 58 301 70 61 5 f +1 312 443 0753 [email protected] maria.zagala@ t +38 044 234 5334 f +48 22 622 8559 f +48 58 301 11 25 ngv.vic.gov.au f +38 044 235 0206 [email protected] info@muzeum. Ms. Zora Wörgötter Ms. Elisabeth Wyckoff [email protected] narodowe.gda.pl Curator of Baroque art Curator of prints and Mr. Olivier Zeder Moravská Galerie drawings Curator Husova 18 New York Public Library Musée Fabre cz-662 26 Brno Fifth Avenue and 42nd 13 rue Montpellieret Czech Republic Street f-34000 Montpellier t +420 542 321 100 New York ny 10018 France f +420 532 196 181 usa t +33 4 6714 8301 [email protected] t +1 212 930 0830 f +33 4 6766 0920 [email protected] codart Courant 7/December 2003 44 codart dates

2004 [4 March Opening tefaf, Maastricht.] [6 March First day of Rubens exhibition in Lille.] 7-9 March codart zevencongress, Dutch and Flemish art in Poland, Utrecht. 18-25 April codart zevenstudy trip to Gdan´sk, Warsaw and Kraków.

2005 [3 March Opening tefaf, Maastricht]. 6-8 March codart achtcongress, Dutch and Flemish art in Sweden. Late September codart achtstudy trip to Stockholm and surroundings. Photo Gary Schwartz Gary Photo

Wanda Rudzin´ ska in the print room of Warsaw University Library.