codar t Courant 19 T i J C P c a a n n e h o o c t d u o e e d t b n r F h h a l t v i J e y s o a r i m t r n M s o t d i r d a s i u y m e h e s s o n n s e e p f s u u B a m t ’ m h r i M e n i b e n t o a a e 1 k i d f n b 7 , r o A t g i o n h s n r s n t u - t & i a c e ( n l t e r a n n v a R n c i t c a d e e u o l w m C w e r d i h y e g a s d i a D h l ) 2 d b r 8 u 3 1 i y t N n 2 t u c C c a 2 e h p h t g u F c a h r a r n i r e o r o s l d r t m a a m l i a n F t K n T d l i o e l n d h o i m n r f i e g s f k i ’ l H h s s o e e h w r a a c x t r g e p t a 1 r h u a i s 8 s s i e a i n t c e n t b s t o o d I i i i n n n Y t f d r t g a t u i e a h s s o i r n t r i v e n n 6 a i T t e y c t s a w a h a t u 2 P e e c w 4 r o M C t i l a t o y i u h l t a v l s n A e o i e c a t n u r t a t m i i ’ o o n e s n n d B s c y 1 o 2 b o 0 G 0 i a j S c m f r l e k i l a f v a f 3 e i e n i t t c n c s h t s u V t s e d a e i 1 r n n o 4 i a t c v B n t h e e u - o s u c r r T e r n s n h a i ’ 2 n s t e t 2 u g L n o r e o y n e r s D w A 4 ’ s u n s i t g n c & e h l t e n s e o r t v e i e s w

Winter 2009 2 codar t is the international council for codar t Maecenasses and Jozef Deleu, writer, and founder and former curators of Dutch and Flemish art. Its aim is corporate sponsors chief editor of the Flemish- to further the study, the care, the accessibility The European Fine Arts Fair ( tefa f), Helvoirt association Ons Erfdeel and the display of art from the Low Countries Hoogsteder & Hoogsteder, Jan Jessurun, former chair of the Netherlands in all over the world. codar t The Leiden Gallery, New York Council for Culture serves as a platform for exchange and coopera - Metropolitan of Art, New York Jeltje van Nieuwenhoven, former chair of tion between curators from different parts of Amb. J. William Middendorf ii, the Dutch parliament the world, with different levels of experience Little Compton Henk W. van Os, director emeritus of the and from different types and sizes of institu - rk d (Netherlands Institute for Art History), Rijksmuseum, Amsterdam tions. codar t stimulates international The Hague Simon Schama, historian, writer inter-museum cooperation through a variety Rijksmuseum, Amsterdam Jan G. F. Veldhuis, former president of the of activities, including congresses, study trips, Vlaamse Kunstcollectie (Koninklijk Museum University of Utrecht, Utrecht publications and the website (www.codart.nl). voor Schone Kunsten Antwerpen, Musea By these means codar t strives to solidify Brugge, Museum Schone Kunsten Gent) Program Committee the cultural ties between the Netherlands and Waanders Publishers, Zwolle Eric Domela Nieuwenhuis, curator, Instituut Flanders, and to make the artistic heritage of Collectie Nederland ( ic n), Amsterdam these countries accessible to the international Board of codar t Nico van Hout, curator, Koninklijk Museum art-loving public at large. Greetje van den Bergh (chair), former voor Schone Kunsten Antwerpen, codar t was founded in 1998 on the vice-president of the board of the ( kmsk a) initiative of Gary Schwartz and the Instituut University of Amsterdam, Amsterdam Suzanne Laemers, curator, rk d (Netherlands Collectie Nederland ( ic n). It enjoys the Rudi Ekkart (advisor to the board), director Institute for Art History), The Hague generous support of the Netherlands Ministry of the rk d (Netherlands Institute for Huigen Leeflang, curator of prints, of Education, Culture and Science ( oc w). Art History) , The Hague Rijksmuseum, Amsterdam Emilie Gordenker, director of the Norbert Middelkoop, (chair), curator, codar t Courant , The Hague Amsterdams Historisch Museum, Bi-annual newsletter of the international Sari van Heemskerck Pillis-Duvekot, former Amsterdam council for curators of Dutch and Flemish member of parliament for the vv d (Dutch Sander Paarlberg, curator, Dordrechts art. The codar t Courant is distributed by Liberal Party), The Hague Museum, Dordrecht mail to members and friends of codar t. Jan Hoekema, mayor of the city of Wassenaar Sabine van Sprang, curator, Koninklijke Tosubscribe: www.codart.nl/join –codart Anthony Ruys, chairman of the supervisory Musea voor Schone Kunsten van Publisher: board of the Rijksmuseum, Amsterdam België, Brussels codar t Manfred Sellink, director of the Musea Brugge, Adriaan Waiboer, curator of Northern p.o. Box 90418 Bruges European art, National Gallery of nl-2509 lkThe Hague Arnout Weeda, former director of the Ireland, Dublin The Netherlands Zuiderzee Museum, Enkhuizen Helen Wüstefeld, curator, Bibliotheca e [email protected] Philosophica Hermetica, Amsterdam t +31 70 333 9744 / f +31 70 333 9749 Board of the Friends of www.codart.nl codar t Foundation Website Committee Wim Jacobs, (chair), former controller, Lars Hendrikman, curator, Bonnefanten- Editorsandtranslators: Kist & Kilian Instituut Collectie Nederland ( ic n), museum, Maastricht Coordinators: Jennifer Cardona, Amsterdam Greta Koppel, curator of Dutch and Flemish Gerdien Verschoor, Brenda Schooneveld, Arnout Weeda, former director of the paintings, Kadriorg Art Museum, Marie Beke Zuiderzee Museum, Enkhuizen Art Museum of Estonia, Tallinn Design: Typography Interiority & Other Greetje van den Bergh, former vice-president Rieke van Leeuwen, webmaster, rk d Serious Matters, The Hague of the board of the University of (The Netherlands Institute for Art Printedby: Drukkerij de Maasstad, Rotterdam Amsterdam, Amsterdam History), The Hague Cover: Jan Brueghel the Elder, Harborscene Gero Seelig, curator, Staatliches Museum withSaintPaul’sdeparturefromCaesarea(detail) , Advisory committee to the Friends of Schwerin, Schwerin 1596, North Carolina Museum of Art, Raleigh codar t Foundation Geert Souvereyns, project coordinator, Hedy d’Ancona, former Minister of Culture Bruggemuseum, Bruges iss n 1388 9559 of the Netherlands Louisa Wood Ruby, photo archivist, Mària van Berge-Gerbaud, director of the The Frick Collection, New York Contributions are welcome. For more infor- Fondation Custodia (Collection Frits Priscilla Valkeneers, scientific associate, mation see: www.codart.nl/codart/courant Lugt), Paris Centrum voor de Vlaamse Kunst van de 16de en 17de eeuw, Antwerp From The Hague to Yasnaya Polyana and back Gerdien Verschoor 3

That codar t plays to its strengths when it Dutch and Flemish art were invited to by literally day and night to give their advice. collaborates with other organizations emerged participate and, naturally, their Dutch and These sessions were bolstered by frequent yet again in the activities that took place in Flemish masters were used for the pilot of the consultation of the website of the rk d Finland and Russia in September. Thanks to digitization project. To take advantage of the (Netherlands Institute for Art History ).

the hospitality of several museums and the rare if not unique opportunity afforded by The Russian regional museums work in c o efforts of our members in Helsinki and St. this gathering of museums – the distance relative isolation: contact with the major d a Petersburg the study trip program was an between the Perm State Museum and the museums in Moscow and St. Petersburg is r t C

unconditional success. Every museum we Kaluga Regional Art Museum is close to 1200 limited and their collections are hardly known o u r a

visited went to great lengths to engage the kilometers – a meeting of codar tlight could internationally. Thanks to the sc i these n t 1 codar t group – this year consisting of directly take place along the sideline of this collections or parts of them were inventoried. 9 / w i

27 participants from 1 2 countries received symposium. Russian participant in the study And, thanks to the codar t network, the n t e by 29 curators in 8 museums – by showing trip, Natalja Markova, head of the department regional Russian museums can shine a light r 2 0 0 unknown works, bringing specially requested of prints and drawings of the Pushkin State on their collections, whereby certain works of 9 works from the depot, or giving small presen - Museum of Fine Arts in Moscow and codar t art will begin to lead a different life. Naturally, tations on works from other museums located member since 2002, was willing to travel on in the meantime, several curators from some further away. The group was able to access to Yasnaya Polyana and give an inspiring of these museums with – proportionally – many collections containing masterpieces and account of her personal experiences with the larger collections of Dutch and Flemish works by minor and unknown artists; in turn, codar t network. During the symposium, masters have been invited to join codar t. the host museums invited us to brainstorm all of the museums could consult the three The third Russian activity in which and shed light on problematic works in their codar t members about the works in their codar t participated was also initiated by collections. An initiative of the Dutch Embassy collections: Bernard Vermet ( sc i), Norbert the sc i. For years this foundation had been in Helsinki was quite special. In the run-up to Middelkoop (Amsterdams Historisch making a case for an English edition of the study trip it approached codar t with Museum) and Eric Domela Nieuwenhuis Marina Senenko’s ThePushkinStateMuseumof the idea of organizing a lecture on the Vrouw (Instituut Collectie Nederland , which FineArts.CollectionofDutchPaintings . And, on Maria (Lady Mary), a Dutch merchant ship that co-sponsored the symposium), who stood 28 September last, the English translation was sank off the coast of Finland on 9 October 1771. festively presented in the Pushkin Museum Its precious cargo consisted of paintings that in the presence of several codar t members had been bought by Catherine the Great. who are working on an exhibition of Dutch Were all of the paintings mentioned in the drawings from this museum. packing lists, such as Gerard Dou’s triptych These were inspirational days, during which known as, Thelying-inchamber or Braamcamp it was crystal clear that codar t is greatly triptych or Paulus Potter’s GrooteOssendrift enhanced when initiatives are undertaken (Largedroveofoxen ), lost and still at the bottom with other organizations. Accordingly, we of the ocean? If this is the case, then what look forward to the next two codar t condition are they in? Or did the captain and activities. The study trip to Southern his men manage to save some of the expensive California is already firmly in the pipeline paintings? And if so, where are they now? A thanks to the efforts of our members there thrilling adventure story with many questions and also in part to the support of the Dutch that researcher and associate member Eero Consulate in New York. And, together with Ehanti tried to answer with the help of the our members in Rotterdam, we are working codar t members with whom he came into hard on filling in the program of the codar t contact during the trip . dertie n congress, which is scheduled to After the study trip a special joint project take place from 30 May to 1 June 2010. More- was staged at Yasnaya Polyana, the estate of the over, in May, we anticipate a fruitful exchange famous Russian writer Lev Tolstoy (1828-1910). as codar t members will be welcome to The Amsterdam Stichting Cultuur Inventari- take part in a discussion organized by the satie (Foundation for Cultural Inventory) ( sc i) Historians of Netherlandish Art ( hn a) on in cooperation with the Cultural Heritage 29 May and when, in turn, codar t receives Foundation and the Russian Association of hn a members at the codar t dertie n Museum Professionals ( am r) organized a reception in Rotterdam on 30 May. symposium there for eight Russian regional See you there! museums on the digitization of their collec - tions. Only museums with collections of [Photo Jan Griffioen, Zutphen] Gerdien Verschoor, director of codar t 4 The history of the 17th-century Dutch and Flemish Jeroen Giltaij and Friso Lammertse c o d a r t C o u r a n t 1 9 / w i n t e r 2 0 0 9 / c u r a t o r ’ s n e w s a n d n o t e s The Utrecht jurist Frans Jacob Otto Boijmans (1767-1847) The museum subsequently acquired mostly 17th- bequeathed his collection of paintings and drawings to century Dutch paintings, including the occasional the city of Rotterdam in order that a museum bearing masterpiece, such as the imposing Mariaplaatswiththe his name would be founded. That Museum Boijmans MariakerkinUtrecht by Pieter Saenredam (1597-1665), was established in the 17th-century Schielandhuis and which was bought at auction in Amsterdam in 1872. opened without ceremony on 3 July 1849. The broad Later directors were also interested in modern and collection included paintings from all periods and from applied art and this is reflected in their purchases. various countries. For instance, not only did the Self- Incidentally, the Boijmans was the first museum in portrait of Carel Fabritius (1622-1654) find its way to the Netherlands to buy a painting by Vincent van Gogh, Rotterdam, but also Acornfield by in 1903, entitled LanewithpoplarsinNuenen . (1628/29-1682), SaintJohnonPatmos by Dieric Bouts (circle Dirk Hannema, who became director of the museum of) (ca. 1415-1475), and Thehappymother by Jean-Baptiste in 1921, was a particularly active collector. From the start Greuze (1725-1805). The collection would continue to he made major acquisitions even though the museum be characterized by this wonderful diversity. had an extremely limited budget. By appealing to the The museum’s first director combined his position generosity of wealthy individuals, however, he managed with that of auctioneer and art dealer. He acquired to secure one masterpiece after another. This began in some of the most important works in the collection, 1927 with the purchase of Emanuel de Witte’s Church such as the Stilllife by Jan Davidsz. de Heem (1606- interior with the help of art lovers and a bequest, and 1683/84). In the night of 15 to 16 February 1864 a fierce was followed in 1931 by Thepedlar by Hieronymus Bosch blaze raged throughout the museum destroying close (ca. 1450-1516) and in 1940 by ’s masterful to 300 paintings and countless portfolios of drawings. Titusathisdesk . The insurance company paid out an amount with which For expensive acquisitions, Hannema often had other works could be acquired immediately. Among recourse to the rich industrialists Willem van der Vorm them were Theconcordofthestate by Rembrandt (1606- (1873-1957) and Daniel Georg van Beuningen (1877-1955). 1669), the magnificent PortraitofAbrahamdelCourtand In 1930 the former gave Thequack by Gerard Dou, an MariadeKeersegieter dating from 1654 by Bartholomeus outstanding painting by the master; and in 1936 the van der Helst (1613-1670), and the colossal Oakforest by latter contributed to the purchase of the Portraitofaman Barend Cornelis Koekkoek (1803-1862). by Maerten van Heemskerck (1498-1574). Van der Vorm’s

Rembrandt, Titusathisdesk , 1655 , Museum Boijmans Van Beuningen, Rotterdam, Jacob van Ruisdael, Acornfield , ca. 1660, Museum Boijmans Van Beuningen, Rotterdam, inv. no. St. 2 inv. no. 1742 paintings in the Museum Boijmans Van Beuningen 5 c o d a r t C o u r a n t 1 9 / w i n t e r 2 0 0 9 / c u r a t o r ’ s n e w s a n d n o t e s collection was highly varied; alongside works of the it was decided to actively pursue modern art. Sub- Hague School and the Barbizon School were many sequently Old Master art was bought only occasionally; Dutch and Flemish paintings of the Golden Age, for for example, a Stilllife by Giuseppe Recco (1634-1695) in instance by Gerard ter Borch (1617-1681), Aelbert Cuyp 1963 and one by Evaristo Baschenis (1617-1677) in 1964. (1620-1691), Gabriel Metsu (1629-1667) and Anthony Around 1990 it became possible once again to acquire Old van Dyck (1599-1641). His collection was initially dis - Master paintings, and the focus was on Dutch art from played in his home and entered the museum as a loan around 1600 and foreign art. Karel van Mander’s Crossing in 1972. oftheRiverJordan entered the museum in 1989, and the Van Beuningen’s far-ranging collection counted remarkable Dawnofcivilization by Cornelis van Dalem works by 15th-century Netherlandish masters, for (1534-1573) in 1996. The highlight in the area of foreign instance ThethreeMarysatthetomb by Jan/Hubert van painting came in 1991 with the acquisition of Belisarius Eyck, and the so-called Norfolktriptych from around receivingalms by (1613-1699). 1415. He also favored early Italian painting, such as by The museum’s holdings of 17th-century Dutch and Jacopo del Sellaio (1441/42-1493), and masterpieces by Flemish paintings grew significantly in the course of the old Titian (ca. 1480-1576) as well as by Jean-Antoine 150 years of collecting. The Flemings are prominently Watteau (1684-1721). His interest in the 17th century represented by Rubens and Van Dyck, as well as by remained limited to artists such as Hercules Seghers Adriaen Brouwer and David Teniers. As for Dutch art, it (1589/90-after 1633) and Jan Steen (1625/26-1679). covers a range of genres – from architectural paintings, Van Beuningen was a generous patron of the museum still lifes, and landscapes to portraits and history scenes – and in 1933 gave it six of Rubens’ eight oil sketches of with uncontested masterpieces by Pieter Saenredam, the LifeofAchilles . After the collector passed away in 1955, Hercules Seghers, Gerrit Dou, Rembrandt, Ferdinand Bol discussions were held between his heirs and the city of and Bartholomeus van der Helst. Rotterdam. These negotiations led to the acquisition of a part of the collection for the Museum Boijmans in Jeroen Giltaij is senior curator of Old Master painting and Friso 1958, whereupon its name was changed to the Museum Lammertse is curator of Old Master painting at the Museum Boijmans-Van Beuningen. Boijmans Van Beuningen in Rotterdam and codar t members The museum’s collection thus became so diverse since 1998. and bountiful in the area of Old Master painting that

Hercules Seghers, Rivervalleywithagroupofhouses , ca. 1625, Gerrit Dou, Thequack , 1652, Museum Boijmans Van Beuningen, Rotterdam , Museum Boijmans Van Beuningen, Rotterdam, inv. no. 2525 inv. no. St. 4 6 ’ MadonnaandChildinagarlandofflowers

The artistic quality of the Karol Rajmund Eisert collec - Marian Morelowski – who helped assemble the collec- tion was showcased in a pre-war exhibition of European tion – in which he advices Eisert to pay 3000 zlotys for painting featuring early Renaissance works and the painting and describes it as “originating around

c northern and southern paintings. Along with 1640, by Rubens’ School and influenced by his colleague, o d two 15th-century Italian paintings, a work by the Master Jan Breughel.” According to archival records, it was a r of the Parrot, three canvases by Jacob Jordaens, and listed in the ód museum’s inventory as Flemish School t Ł ź C

o paintings by Adriaen van de Velde, Jan Steen, Cornelis about 1640-50 and as Rubens’ School. However, it had u r a

n Saftleven, Frans Francken ii i, Egmont van Heemskerck, long been thought that it could not possibly be a 17th- t 1

9 Willem Key, Pieter van Lint, Aleijda Wolfsen and Jan de century Flemish painting, a suspicion that was finally / w i n Molenaer were also on view. Twelve of the most impor - confirmed by physical examination and chemical t e r tant paintings disappeared during the Second World analysis conducted in 2005. The painting was supposed 2 0 0

9 War. Today, the Muzeum Sztuki w odzi (Museum of to be a free version relying on works by Rubens and

/ Ł c u Fine Arts in ód ) holds only six pictures from this Jordaens. At the present stage of research, it appears to

r Ł ź a

t historical collection. One of them, an interesting attribu - be at best a late 19th-century painting. o r tion conundrum, is the subject of this article which is Interestingly, in January 2009 a codar t contact in ’ s

n also an account of scholarly cooperation throughout Warsaw linked the painting to a copy of a work by Jacob e w the codar t network. Jordaens. The autograph Jordaens (with the collaboration s a The Eisert family came to ód from Bautzen of Adriaan van Utrecht and Frans Ykens; oil on canvas, n Ł ź d (Budy sˇin) in 1826 and contributed significantly to the 133 x 146 cm.; traces of a signature and a date: 1632), came n o local wool weaving industry. The Eiserts were part of the to light in 2000. This sensational discovery was widely t e

s great industrial bourgeoisie and owed their advance - reported in the press. It was displayed at the Bernaerts ment to their superb social skills, organizational abilities auction house in Antwerp and bought by a local collector, and understanding of the market forces. A member of in whose possession it still is today. The Madonna and the third generation, Karol Rajmund Eisert (1865-1938) Child are depicted in a fluid and very natural pose in a was one of the wealthiest captains of industry in Łód ź niche draped with a garland of meticulously painted in the period between the two World Wars. At the end flowers and fruit. Seated on a globe and with a skull and of the 19th century, an interest in art and collecting was snake at his feet, the Child holds the flaming heart of deemed socially desirable among the elite industrial Caritas in his left hand: this theatrumsacrum emphasizes bourgeoisie in Łód ź. As Eisert traveled throughout Christ’s victory over sin. In that sense, it is related to the Europe, he gradually developed a genuine appreciation Triumphoftheeucharist in the National Gallery in Dublin for Old Master art. In a short time in the 1930s, by visiting (inv. no. 46), painted by Jordaens around 1630. The Christ art galleries, art salons, and private collections in Vienna, Child in this composition must have served as a model , Monte Carlo, Kraków, Warsaw, Lvov and Vilnius, for the Christ Child in Jordaens’ Madonna and Child. the manufacturer managed to assemble a fascinating The autograph MadonnaandChildinagarlandofflowers and coherent collection of mainly European painting, andfruit was mentioned before 1808 as being in the which, in keeping with his last will, was donated to famous collection of Manuel Godoy y Álvarez de Faria the city and presented to the museum by his son on Sanchez Ríos Zarzosa, notorious for his complicated 21 December 1938. love affairs. After his collection was confiscated, Godoy’s In mid-1938 Eisert bought a painting entitled wife, Maria Teresa de Borbón y Vallabriga (portrayed by MadonnaandChildinagarlandofflowersandfruit(donated Francisco Goya) – a cousin of the Spanish King Charles iv to the museum on 6 February 1939, and restituted after and the 15th Countess de Chinchón – received around the Second World War on 30 December 1945. Oil on 100 paintings as the return of her dowry, including the canvas, 134.5 x 111.5 cm., neither signed nor dated). MadonnaandChildinagarlandofflowersandfruit. The painting, presently displayed in the permanent The Eisert painting is a repetition of Jordaens’ com- exhibition in the Herbst Palace in Łód ź (Department position and was taken from a copy of the Jordaens by of Muzeum Sztuki w Łodzi), was purchased in Kraków Marcin Teofilowicz – a 17th-century Polish painter active from G asecki (probably W ładys ław Gasecki, a gilder in Austria – that probably originated in the same period, and amateur painter active chiefly in Lvov). and which went under the hammer at the Dorotheum In the correspondence relating to Eisert’s acquisitions Auction House in Vienna in 1906. This painting (oil on kept in the Archiwum Pa ństwowe w Łodzi (State Archive canvas, 130 x 195 cm., present whereabouts unknown) in Łód ź) is a letter dated 28 May 1938 from Professor is known only from a black and white reproduction in andfruit Dariusz Kacprzak and Priscilla Valkeneers 7 c o d a r t C o u r a n t 1 9 / w i n t e r 2 0 0 9 / c u r a t o r ’ s n e w s a n d n o t e s the sales catalogue. The poor quality of the reproduction Dariusz Kacprzak is chief curator at the Muzeum Narodowe makes it impossible to assess the relationship between w Szczecinie (National Museum in Szczcecin) and a codar t the works in Antwerp and Łód ź. At the auction in 1906 member since 2005. this painting was described as Circle of Jacob Jordaens, Priscilla Valkeneers is scientific associate at the Koninklijk probably by Martinus Jakobus Polonus (to the Germans, Museum voor Schone Kunsten and the Centrum voor de Marcin Teofilowicz was known as “Polack”). This painter Vlaamse Kunst van de 16de en 17de eeuw in Antwerp and a went to Tyrol and worked at the court of Archduke codar t member since 2008. Leopold for 30 years. However, one cannot eliminate the possibility that even though Eisert bought his so-called literature 17th-century painting in Kraków, it might have been made as a copy of the Teofilowicz picture exhibited at Roger-A. d’Hulst, Nora De Poorter and Marc Vandenven, the Dorotheum in 1906. Finding further clues might JacobJordaens1593-1678,exhib. cat., Koninklijk Museum resolve some of the mysteries still surrounding the voor Schone Kunsten in Antwerpen, Antwerp 1993, paintings under discussion. Brussels 1993 The pictures, which vary in terms of details, measure - Auction catalogue, Mon Bernaerts, Antwerp, 11 December 2000, lot 115 ments and quality and are located in different parts Sale AntiquitätenundGemäldeausungarischemAdels-sowieaus of Europe, are textbook models for research on the anderenBesitze , Dorotheum, K.K. Versteigerungsamt, Vienna, continuity of popular compositional solutions, and 13-15 December 1906, lot 31 exemplify the peregrinations of works of art through- out the centuries.

The authors wish to thank Roger Devaux and Hanna Benesz for their assistance; and Jacek Ojrzy ński and Marek Pietrusewicz for their kind help with this article.

Jacob Jordaens, Adriaan van Utrecht en Frans Ykens, MadonnaandChildinagarland Anonymous 19th-century artist, MadonnaandChildinagarlandofflowersandfruit , offlowersandfruit , 1632, private collection, Antwerp Muzeum Sztuki w Łodzi, Łodz 8 c o d a r t C o u r a n t 1 9 / w i n t e r The Los Angeles County Museum of Art 2 0 0 9 / c u The opening of the Los Angeles County Museum of Art Valentiner lamented the deplorable art collections dis - r a

t (lacm a) in March 1965 was a powerful symbol of the played without any order, noting that only paintings o r coming of age of a city transformed in just 100 years from were exhibited. There were no sculptures, only loans ’ s

c a dusty agricultural center with around 2000 residents to of decorative arts, and no effort to show the paintings o l a vibrant, international city. Today Los Angeles is home in context. Art was, furthermore, overshadowed by l e c to more than seven million people and four major art taxidermy habitat groups. Valentiner’s effort to organize t i o museums, the largest of which is the Los Angeles County the collection historically revealed shocking gaps, but n Museum of Art ( lacm a) with an encyclopedic collection supported primarily by county funds, the museum of over 100,000 works of art dating from ancient times to had little money to collect art. Shortly after his arrival, the present day. Valentiner renewed his acquaintance with William The Los Angeles Museum was founded in 1898 by Randolph Hearst, the wealthy newspaper entrepreneur Judge William Bowen, who wanted to eradicate a and insatiable collector. In the years before his death neighborhood of ill repute just outside the city limits in 1952, Hearst gave the museum enough to lay the of historic downtown Los Angeles and replace it with foundation of a coherent art museum, including classical a museum for the edification of the public. The new antiquities, Limoges enamels, Italian majolica, medieval museum opened its doors in 1913 with a donation of sculptures, goldsmith’s work, Egyptian art, and dozens memorabilia about early life in California. The museum of paintings, including Govert Flinck’s Portraitofaman was founded with no specific plan for an art collection and a gauche landscape by Hans Bol. — it neither owned a work of art nor had the funds to By the mid-1950s there was already a movement to acquire one. establish the art collection separate from the natural The museum’s art section began in 1918 with the history museum. Los Angeles following the Second donation by Mr. and Mrs. William Preston Harrison World War was like at the end of the of a collection of outstanding American paintings, 19th century. Men who had made personal fortunes followed in 1931 by their gift of their collection of sought to establish themselves as scions of culture both European paintings and drawings, primarily from the by building private collections of Old Master paintings 19th and early 20th centuries. Old Master paintings and sponsoring the creation of major cultural institu - entered the collection in the late 1930s through dona - tions. The movement for an art museum was led by tions made by the banker Paul Rodman Mabury and Norton Simon, head of Hunt Foods; Edward W. Carter, Mr. and Mrs. Alan Balch. The Balch collection was who had built a leading chain of department stores in especially rich in Dutch and Flemish works, including the western United States; Howard Ahmanson, chair- paintings by the Master of the Legend of Saint Ursula, man of Home Savings and Loan Association, the largest Albrecht Bouts, and a beautiful portrait by Petrus institution of its kind in the us; as well as the industrial - Christus. ists Armand Hammer, and J. Paul Getty. In 1945 Wilhelm Valentiner was appointed con- Norton Simon promised to lend his collection, which sulting director for the art collection of the Los Angeles included the remaining stock of Duveen Brothers that Museum. In his diary written some years later, he had purchased in 1964. The collection was on loan to

Frans Hals, PortraitofPieterTjarck , ca. 1635-38, Los Gerrit van Honthorst, ThemockingofChrist , ca. 1617, Emanuel de Witte, InterioroftheNieuweKerkinDelftwith Angeles County Museum of Art ( lacm a), Los Angeles, Los Angeles County Museum of Art ( lacm a), thetombofWillemtheSilent , 1653, Los Angeles County inv. no. m.74.31 © 2009 lacm a/Art Resource/Scala Los Angeles, inv. no. ac 1999.92.1 © 2009 lacm a/Art Museum of Art ( lacm a), Los Angeles, inv. no. Resource/Scala m.2003.108.5 © 2009 lacm a/Art Resource/Scala 9 c o d a r t C o u r a n t 1 9 / w i n t e ( ) Amy Walsh r lacm a 2 0 0 9 / c lacm a until the mid-70s when Norton Simon assumed examples. lacm a’s collection also includes Michiel u r

Plagueinanancientcity a control of the bankrupt Pasadena Museum of Art and Sweerts’ famous and Jan de Bray’s t o installed his collection in what is now the Norton Simon MartyrdomofSaintLawrence, as well as Jan Boeckhorst’s r ’ s

Museum. Even before the departure of the Simon collec - altarpiece for the tomb of Maria Snyders. c o tion, lacm a had begun to acquire significant works of The Dutch paintings acquired by lacm a have been l l e

Dutch painting, including three works by Rembrandt. selected to complement the collection formed by Edward c t i

In 1953 J. Paul Getty gave the museum Rembrandt’s 1632 and Hannah Carter between the late 1960s and 1985 as a o PortraitofMartenLooten ; Armand Hammer followed in promised gift to the museum. The collection of 36 Dutch n 1969 with Rembrandt’s Portraitof DirckJansz.Pesser ; and landscapes, still lifes, seascapes, architectural interiors, in 1972 the Ahmanson Company gave the master’s and cityscapes, which was exhibited in Los Angeles, RaisingofLazarus . Four years later Armand Hammer Boston, and New York in 1982-1983, is admired for the bought Rembrandt’s Juno as a promised gift for lacm a, high quality and incredible state of conservation of its but in 1988 he too rescinded the gift of his collection to paintings. Edward Carter died in 1994; following the lacm a and established the Hammer Museum. death of his widow, Hannah, in April 2009, the paintings Among the original founders, Howard Ahmanson became part of lacm a’s permanent collection. Among and Edward Carter, the first chairman of lacm a’s board the highlights of the Carter collection are Hendrick of directors, remained steadfast in their commitment Avercamp’s breathtaking Wintersceneonafrozencanal , to the museum. Since the early 1970s the Ahmanson Emanuel de Witte’s InterioroftheNieuweKerkinDelft Foundation has encouraged and funded lacm a’s withthetombofWillemtheSilent , Jan van der Heyden’s purchase of major Old Master paintings and sculptures, ViewoftheHerengracht,the cover of the recent exhibition including some of the most important Dutch and catalogue, Frans Post’s Brazilianlandscape, Aelbert Cuyp’s Flemish paintings in the collection. Among the early FlightintoEgypt , Jan Both’s Landscapewithadraftsman , acquisitions were Theartist’sstudio signed by both David and Ruisdael’s Thegreatoak , formerly in the Duke of Teniers and Jan de Heem, and ’ PortraitofPieter Gonzaga’s collection. The Carter collection also includes Tjarck . Since 1980 the Ahmanson Foundation has funded beautifully executed and preserved still lifes by Clara the acquisition of Hendrick Goltzius’ Danae,admired Peeters, Ambrosius Bosschaert , and Jan van Huysum, by the painter and artists’ biographer Karel van Mander and important paintings by Saenredam, Pynacker, when it was in the collection of Bartholomeus Ferreris De Vlieger, Van Goyen, Solomon van Ruysdael, Porcellis, in Leiden, as well as Jan Steen’s SamsonandDelilah , and all the Van de Veldes, and others. Pieter Lastman’s Hagarandtheangel . The acquisition I am currently preparing a catalogue of the Carter of Carel Fabritius’ MercuryandArgus , a work copied by collection, with publication expected in late 2010. A Fragonard, places Rembrandt’s Lazarusin the context of catalogue of all of lacm a’s Dutch and Flemish paintings both teacher and student. Hendrick Honthorst’s early will follow. masterpiece MockingofChrist , acquired in 1999, was the first Dutch Caravaggesque painting to enter the collec - Amy Walsh is curator at the Los Angeles County Museum of Art tion in which there are significant Italian and French (lacm a) and a codar t member since 2006.

Clara Peeters, Stilllifewithcheeses, artichokeandcherries , Hendrick Goltzius, SleepingDanaebeingpreparedto ca. 1615, Los Angeles County Museum of Art ( lacm a), receiveJupiter , 1603, Los Angeles County Museum of Art Los Angeles, inv. no. m.2003.108.8 © 2009 lacm a/Art (lacm a), Los Angeles, inv. no. m.84.191 © 2009 Resource/Scala lacm a/Art Resource/Scala 10 c o d a r t C o u r a n t 1 9 / w i n t e r Netherlandish artists in 2 0 0 9 / c u The Tate Gallery, founded in 1897, holds the national London in 1549. After Hans Holbein’s death in 1543 r a

t collection of British art from 1500 onwards. Tate acquires he was the leading court painter in England, and the o r its pre-19th-century art to a specific remit: either works principal painter to Mary i (reigned 1553-58). The Tate ’ s

c produced by British-born artists, or works made in has three female portraits by Eworth ( t00606, t01569, o l Britain by artists born (and generally trained) overseas. t03896). Other painters came for just a few years. Marcus l e c During the 16th and 17th centuries, many high-quality Gheeraerts i was a prominent member of the Protestant t i o paintings produced in Britain fell into the second community in Bruges until the Duke of Alva’s campaign n category. This is mirrored in Tate’s Collection today: of forced him into exile in London, with his young son the 110 paintings in it by artists born before 1675, 57 are Marcus ii, in 1567/68. He became a member of the by overseas-born practitioners, and 46 of those are by Dutch Reformed group there, before returning to the Netherlanders. In 1531, the courtier and writer Sir Netherlands in the late 1580s. However, his son (1561/62- Thomas Elyot observed that the English felt compelled 1636) was raised, and presumably trained, in London, “if we wyll have any thinge well paynted, kerved, or and subsequently made his entire career there. He embrawdred, to abandon our own countraymen and became principal artist to the elderly Elizabeth i (reigned resorte unto straungers [that is, ‘foreigners’].” For most 1558-1603) and then to James i’s consort, Queen Anne of the 16th and 17th centuries, numerous craftspeople of Denmark; Tate has five portraits by him ( t01872, – including painters – travelled from the Northern and t03028, t03456, t03466 and t07699). Southern Netherlands to work in Britain. Their motives With the accession of James i, Dutch painters began differed, sometimes being religious in nature and at to come to England less for religious reasons than for others purely economic. From about 1550 up to the 1690s, professional advancement. In London by 1616, Paul van aristocratic court patrons interested in high quality and Somer (previously recorded in Amsterdam, Leiden, The style usually favored foreign-trained artists. As Elyot Hague and Brussels) was immediately taken up by the implied, this may have reflected dissatisfaction with the most sophisticated members of the court. Tate owns local product. Indeed little is known about the training his striking likeness of ElizabethGrey,CountessofKent , of early British-born painters. ca. 1619 ( t00398). The most successful Netherlandish In 16th-century England the demand was mainly for migrant was Daniel Mytens, born in Delft around 1590 portraits. After all, they served various practical purposes and a freeman at The Hague in 1610. Mytens arrived in and were acceptable in a Protestant culture anxious to London in 1618, where he portrayed leading court figures, observe the second commandment’s prohibition of including the future 1st Duke of Hamilton, whose 1623 “bowing down to graven images.” Following the re- portrait is on display at Tate Britain ( n03474). Mytens imposition of Catholic Habsburg rule in the Netherlands was Charles i’s principal portraitist until the Antwerp- in 1567, Protestant England became a refuge for Nether- born arrived in 1632, after which landish members of the Reformed religion, artists the supplanted Mytens retreated to The Hague. The included. Some settled, gaining naturalization. Among indigenous London craftsmen frequently complained them was “Hans Eworth” (originally Jan Eeuwouts, from about the opportunities given to foreigners. In certain Antwerp, active ca. 1540-73), first definitely recorded in London parishes, incomers could practice their trade

Hans Eworth, PortraitofElizabethRoydon, Marcus Gheeraerts ii, Unknownlady , ca.1595, Anthony van Dyck, SirWilliamKilligew , ca.1638, LadyGolding , 1563, Tate Britain, London, Tate Britain, London, inv. no. t07699, Tate Britain, London, inv. no. t07896, inv. no. t01569, © Tate, London, 2009 © Tate, London , 2009 © Tate, London, 2009 11 c o d a r t C o u r a n t 1 9 / w i n t e the Tate Collection Karen Hearn r 2 0 0 9 / c outside the jurisdiction of city guilds. These included Poelenburch departed in around 1641. After the English u r a

St. Anne Blackfriars, where various Netherlanders lived. Civil War broke out in 1642, Johnson migrated in 1643 t o

Thus, it was in this parish on the River Thames that to the country of his parents and made a second career r ’ s

Charles i paid for a fine residence for Anthony van Dyck there. From Middelburg he moved to Amsterdam, where c o in the 1630s, indicating how a migrant artist who was he painted the Tate’s Unknownlady (n02530) in 1646. His l l e employed by the court was unaffected by guild restric - final years were spent in Utrecht. c t i tions. Tate’s three portraits by Van Dyck include the The Haarlem-trained Peter Lely (1618-1680), a pupil o companion pieces of SirWilliamKilligrew and his wife of Frans and Pieter de Grebber, reached London in the n LadyMaryKilligrew , from around 1638 ( t07896, t07956), early 1640s, with a specialization in pastoral scenes and both of which Tate has acquired (from separate sources) Dutch Caravaggesque musician figures like Tate’s Man since 2002. Van Dyck’s influence on portrait painting in playingapipe and BoyplayingaJew’sharp (t00885, t00884). Britain was to be uniquely powerful and long-lasting. Encountering British portraits by the recently deceased Art collecting became fashionable at Charles i’s court, Van Dyck, Lely adopted his manner and compositions. led by the king himself. English clients now began to At the Restoration of the Stuart monarchy in 1660, Lely appreciate genres other than portraiture. When Peter was therefore well positioned to fill Van Dyck’s post as Paul Rubens visited London in 1629-30, Charles i court painter. Tate owns eight paintings by Lely, dating commissioned him to paint the great ceiling in the from between ca. 1648 and 1679. new Banqueting House. This ceiling survives insitu in Following the Restoration, other Dutch artists – now Whitehall, ten minutes’ walk from Tate Britain. Tate’s practicing the widest range of genres – established them - most recent 17th-century acquisition is Rubens’ initial selves in London. The Tate Collection boasts three still- painted sketch for the whole design ( t12919). life paintings by the Leiden artist Edwaerd Collier (born Landscape painting had barely been practiced in Breda ca.1640; n05856, n05916, t03853), as well as works England. Even its name there was borrowed from the by other London-based Netherlanders: Pieter Borseller Dutch landschap . Between 1637 and 1641 Alexander (n06175), Simon Dubois (born Antwerp 1632; t07469), Keirincx and Cornelis van Poelenburch shared a property Jan Griffier i (born Amsterdam ca. 1645; t00408, t04129), in Westminster, paid for by Charles i. In 1639-40 Charles Jacob Huysmans (probably born in Antwerp ca. 1630; commissioned from Keirincx views of major cities and t00901), Jan Siberechts (born Antwerp 1627; t00899, castles throughout his kingdom; at the Tate is Adistant t06996), Gilbert Soest ( t00746, t04162) and Willem viewofYork (t04168), once in the king’s own collection. Wissing (trained at The Hague; t12143). Tate owns seven portraits by the London-born Most 16th- and 17th-century works in the Tate Cornelius Johnson (Cornelis Jonson van Ceulen, 1593- Collection have recently been catalogued, and a selection 1661), who was of Flemish and German descent. Three of the entries will go on the Tate website early next year were painted in England and four in the Netherlands (www.tate.org.uk). (n01320, n01321, n02530, n05927, t00744, t00745, t03250). As the political situation in Britain worsened, Karen Hearn is curator of 16th- and 17th-century art at the Tate the migrant painters returned home. Keirincx and Van Collection in London and a codar t member since 1999.

Anthony van Dyck, LadyMaryKilligew , ca.1638, Cornelius Johnson, Unknownlady , 1646, Peter Lely, BoyplayingaJew’sharp , ca.1648, Tate Britain, London, inv. no. t07956, Tate Britain, London, inv. no. n02530, Tate Britain, London, inv. no. t00884, © Tate, London, 2009 © Tate, London, 2009 © Tate, London, 2009 12 c o d a r t C o u r a n t 1 9 / w i n t e r Seventeenth-century Dutch and Flemish 2 0 0 9 / c u The beginnings of the North Carolina Museum of Art can following his death in 1958, it is now attributed to r a

t be traced to 1947 and a one million dollar appropriation Karel van den Pluym. o r bill in the state legislature. Fortunately, the bill passed Many of the other Dutch pictures purchased during ’ s

c by a single vote, thus providing the funds to purchase the 1950s tend to follow accepted collecting trends in o l artworks for America’s first state art museum. It would the years following the Second World War. Outstanding l e c be nearly a decade before the museum opened its doors examples are Jan Steen’s Worshipofthegoldencalf , and t i o to the public, with galleries devoted to a small collection genre scenes by Jacob Duck, Pieter de Hooch, Ludolf de n of Old Master and American paintings, some European Jongh (formerly attributed to De Hooch), Jan Miense sculpture, and a handful of tapestries. Leading the way Molenaer, Isack van Ostade, and Adriaen van de Velde. were the museum’s holdings of northern European A handful of Dutch landscapes, including ones by works, especially its 17th-century Dutch and Flemish Esaias van de Velde, Jacob van Ruisdael, and Philips paintings. These pictures clearly reflected the interest Wouwerman, compare in quality to equally impressive of the museum’s first director William Valentiner, who, still-life pictures by Willem van Aelst, Balthasar van prior to taking this position, had served as a consultant der Ast, and Jan Jansz. den Uyl (previously attributed on all purchases by the fledgling museum. Today, the to Willem Heda). Another early acquisition, Michiel majority of the 77 Dutch and Flemish paintings in van Musscher’s stunning Allegoricalportraitofanartist Raleigh can be traced to purchases made from the initial inherstudio , has carried a number of attributions and state appropriation and approved by him. identifications over the years. As might be expected, Valentiner placed a premium An attribution change was required for the Portrait on a limited number of artists, chief among them ofagentleman by Jan Hals. Entering the collection as a Rembrandt and members of his circle, Frans Hals, Peter Frans Hals, it joins a picture in Raleigh once thought Paul Rubens, and Anthony van Dyck. Regrettably, many to be by the elder Hals, Afisherboy . Now assigned to an of his attributions linked to these artists are no longer imitator of the master, it is one of five 17th-century tenable. Valentiner, for example, was especially proud of Dutch and Flemish paintings given to the museum by Raleigh’s acquisition of the FeastofEsther , a picture he the Kress Foundation in 1960. The others are Hendrick had assigned to Rembrandt but which is now accepted ter Brugghen’s DavidpraisedbytheIsraelitewomen (it as a youthful masterpiece by Jan Lievens. Joining it were keeps company with another Ter Brugghen already in important works by members of Rembrandt’s circle, the collection, Boywithawineglass ), Gerrit Berckheyde’s such as Govert Flinck’s Returnoftheprodigalson , Nicolaes ViewofHaarlem , a Jan Siberechts landscape, and a large Maes ’CaptainJobJansseCuijterandhisfamily of 1659, and tronie by an unidentified artist in Rembrandt’s circle. Gerbrand van den Eeckhout’s 1666 ExpulsionofHagarand Entitled Ayoungmanholdingasword , this work remains Ishmael . Two other Flincks – portrait pendants dated 1646 one of the most puzzling pictures in the collection. – were purchased from state funds in 1958. Another work, By a strange twist of fate, this painting had been recom - SaintMatthewandtheangel , was thought by Valentiner to mended by Valentiner to Samuel H. Kress as an auto - be by Carel Fabritius. Acquired in Valentiner’s memory graph Rembrandt years earlier.

Jan Lievens, FeastofEsther , ca. 1625 , Michiel van Musscher, Allegoricalportraitofanartistin Circle of Rembrandt, Ayoungmanholdingasword , North Carolina Museum of Art, Raleigh herstudio , ca. 1675-85 ,North Carolina Museum of Art, ca. 1633-45, North Carolina Museum of Art, Raleigh Raleigh 13 c o d a r t C o u r a n t 1 9 / w i n t e paintings in Raleigh Dennis P. Weller r 2 0 0 9 / c

Valentiner also left his stamp on the Flemish pictures SaintPaul’sdeparturefromCaesarea . Evidence suggests u r a

acquired by the museum in the early 1950s, which like this small copper of 1596 may have been painted just t o their Dutch counterparts tended to come from the prior to Brueghel’s return to Antwerp from . r ’ s

inventories of New York and London dealers. Com- As the museum built its other collections during c o parable to the “” and “Halses,” as well as two the subsequent decades, the acquisition of Dutch and l l e spurious Aelbert Cuyps that had entered the collection, Flemish paintings nearly came to a halt after the 1950s. c t i were several works acquired as by Rubens ( HolyFamily Two rare exceptions were the Merrycompany by Anthonie o withSaintAnne , Thebearhunt , Philipii i and Philipiv, Palamedesz. in 1962, and Thomas de Keyser’s superb n PortraitofTheodoredeMayerne , and the disappointing Portraitofagentleman a year later. It was not until 1993 JoanofArc ), and several examples by Van Dyck. Today, with the purchase of the prime version of Pieter Aertsen’s nearly all these pictures are considered workshop pieces. 1551 AmeatstallwiththeHolyFamilygivingalms that the One notable exception is Van Dyck’s stunning LadyMary decades -long malaise that had settled over its northern VilliersandLordArranasVenusandCupid , a rare portrait European collection came to an end. A campaign of de- historié by the painter. Interestingly, it came as a gift accessioning in the late 1990s has since funded several from a North Carolina business rather than by purchase. recent purchases. Significant gaps were filled with The other early Flemish acquisitions represent a note - Bartholomeus van Bassen’s Renaissanceinteriorwith worthy group of paintings by some of Antwerp’s leading merrymakers , Ludolf Backhuysen’s Shipsinastormysea masters. They include three pictures by Jacob Jordaens, (another version is at the Rijksmuseum in Amsterdam), among them his early HolyFamilywithSaintJohnandhis and an Ebonycabinetwithpaintingsofclassicalsubjects parents (a weaker version is found at the National Gallery, attributed to Simon Floquet. The acquisition of this London) and a 1657 dated altarpiece Theadorationofthe cabinet in turn sparked the creation of the museum’s shepherds ; two large canvases by Joos de Momper the 17th-century Flemish kunstkamer and the acquisition Younger; three works by David Teniers the Younger; and of numerous decorative art objects. a pair of pictures by Frans Snyders and his workshop. The entire collection is scheduled to move into a new More unusual among American collections of Flemish museum building in April 2010. In advance of the move, paintings are the museum’s companion pieces by Paul a fully illustrated, 432-page catalogue of the paintings van Somer, the Portraitof Cosimoii ide’Medici by Justus will appear in mid-December (Dennis P. Weller, Seven- Sustermans, Theodoor Rombouts’ Thebackgammon teenth-CenturyDutchandFlemishPaintings:TheCollection players , and especially the prime version of Thedenialof oftheNorthCarolinaMuseumofArt , Raleigh, 2009). It is SaintPeter by . This latter painting joins available through the museum’s website at the two Ter Brugghens and a to form one www.ncartmuseum.org . of the most diverse and earliest groupings of Northern Caravaggesque paintings to have entered an American Dennis P. Weller is curator of Northern European Art at the collection. Less unique, but clearly a treasure of the ncm a in Raleigh and a codar t member since 1999. museum, is Jan Brueghel the Elder’s Harborscenewith

Gerard Seghers, ThedenialofSaintPeter , ca. 1620-25 , Jan Brueghel the Elder, HarborscenewithSaintPaul’s North Carolina Museum of Art, Raleigh departurefromCaesarea , 1596, North Carolina Museum of Art, Raleigh 14 Interview with Antony Griffiths Huigen Leeflang

c As a prelude to the codar t dertie n congress base on the web and that it was going to be used by a o d (Rotterdam, 30 May-1 June 2010) theme Digitization: general as well as a specialist public, we would probably a r blessingorburden? , Huigen Leeflang interviewed Antony have structured it rather differently. But that’s life; t C

o Griffiths, keeper of the Department of Drawings and nothing works perfectly and I am a great believer in the u r a

n Prints of the British Museum and “project sponsor” of adage that the best is the enemy of good. t 1

9 the British Museum Collection Database and its web We started adding images at the end of 2003 and p&d / w i n publication. went live on the web in October 2007 as the first stage of t e r the release of all the bmrecords. The last release (of coins) 2 0 0

9 Withmorethan1,500,000recordstheBritishMuseumhas is to be published on the web in November; at this point / c u developedthelargestartdatabaseintheworldandthelargest there will be more than 1.8 million records on the bm r a databaseofanon-scientificmuseum.Whatwerethemuseum’s t database, and nearly 500,000 images. Of course the data - o r initialidealsandgoalswhenitstartedthisproject? The origins base is still not complete: vast numbers of objects are still ’ s

c of the bmdatabase goes back to the end of the 1970s, waiting to be added, quite apart from missing images. a s

e when a plan was launched to link the records of the Ethnography Department with the objects, which Whydidyouworkbehindthescreenforsolong,andwaitwith had often lost their register numbers, by indexing the theonlinepresentationuntil2007? The decision in principle register on computer. Only later in the 1980s did this to publish all the collections on the web was taken in develop into a project to put the entire bmcollections 2004. As you might imagine, this was controversial, and from all departments onto a single database. Work began many curators were understandably worried about in the Department of Prints and Drawings ( p&d) in 1990 the inaccuracies and incompleteness of the database. with the drawings. When this was finished in 2000, we Another major hurdle was that of copyright, and the moved on to the prints. In 1990 our aim was simply to commercial side of the bmwas concerned about loss record the p&d collections in indexable form: we always of revenue from reproduction fees. Apart from these had a register of acquisitions, which listed every work as barriers, we felt that we had to hold back from publica - it arrived with a number based on a date, but we never tion until we had a substantial body of text and images had a card catalogue – only a finding index that informed to publish, as we did not wish people using the site to us that engravings by Marcantonio, for instance, were think that it was going to be of little or no use, and in such-and-such a number cupboard. It was almost never come back. We launched a crash program to scan impossible to say whether we owned a particular print, in images from our negative store, and the text from nor did we know whether it was placed in the engraver, existing catalogues. As it turned out, the technical master or subject series. I estimate that members of staff problems of rebasing our existing database on a new spent close to a third of their time trying to locate objects. platform with new programming and search screens This was the central problem we were trying to solve in suitable for web delivery were far more complicated than 1990 – and indeed are now quite close to achieving. we realized, and this delayed us. Our launch had been planned for early in 2007, and even when we launched Havetheseobjectiveschangedthroughouttheyears? In 1990 late that year many problems still remained. We have the web did not exist, and there was no way of adding managed to overcome most of them, though the search images to the text of records. Once this all became screens still need revising and improvement – the expert possible, everything changed. We realized that we had a computer programmers in the bmare too busy with means of going far beyond an inventory, and could raise other projects to devote enough time to this. The whole our ambition to attempt to produce something more issection counts only 20 people. like a catalogue. To do this we started putting in much fuller information. We scanned in text from earlier TheBritishMuseumhaseightdepartmentsholdingan printed catalogues; added information from the dossiers enormousvarietyofcollectionsandobjects.Howdidyou on drawings; and began to use the database as our prime managetocoordinatetheinput,setprioritiesandestablish tool for recording any information we found about guidelinesfordescriptionsthatcouldbeusedinalldepartments? works in the collection. Of course if we had known at This was the achievement of the late David McCutcheon, the beginning that we were going to publish the data - who was in charge of the computerization project 15 c o d a r t C o u r a n t 1 9 / w i n t e r 2 0 0 9 / c u r a t o r ’ s c a s e

through the 1980s and 90s. He devised the field structure, Whathasbeen,orstillis,themostdifficultaspectoftheproject? and set up a single centrally managed team to coordinate If I talk only about prints and drawings, the most data entry and control data standards. He also estab - difficult part has been to maintain momentum when lished a series of authority files and thesauri to control confronted with the vast numbers of objects awaiting the terminology. This was crucial and extremely diffi - cataloguing. On a minimum count we have more than cult: we were pioneers in this and the bmcollection two million works in our collection, and it is very easy to covers a vast range of types of objects and cultures. The despair. But the truth is that not all of them are currently object name and materials thesauri have both been of interest to researchers, and if you start with what published, and are used by many other museums to you know people want to see, and systematically work which we make them freely available. We also have a through the series in which you have arranged your biographical authority file that runs to more than collection, it is surprising how far you can get quite 150,000 names, and a geographical thesaurus that tries quickly. I should add that it is essential that the collec - to structure all place names across the world that are tion be arranged in a sensible order, and that the location associated with records of our objects. Establishing codes you use are stable. Unfortunately, the bmprints these thesauri (on which work continues every day) has were arranged in an obsolete taxonomy devised in the been almost as much work as cataloguing the objects. 1840s, and we had to spend five years rearranging the

View of the Print Room of the British Museum 16 entire print collection before we could start cataloguing inthisway? Each record has a link attached to an email it. In logistical terms, this was by far the most com- feedback. People here were very worried about being plicated and nerve-wracking exercise I have ever under - overwhelmed with comments, and drowning in extra taken. work. However, we have had remarkably few comments – perhaps three a day - and usually from the same five or Curators,cataloguers,internsandvolunteersworkonthedata - six people. The comments have always been useful, never base.Spendingsomuchtimeonthisproject,curatorsprobably malicious, and we wish that more people would take the

c worklessonexhibitionsandpublicationsthantheyusedto. trouble to help us to help them. We hardly think that o d Howdidcuratorsreacttothisdevelopment?Andhavetheir the database is without mistakes! The most common a r viewsaboutthecataloguingprocesschangedduringtheyears? error arises through templating one record as the basis t C

o Currently six people work full-time on data entry and for the next. It is extremely easy to forget to change a u r a

n three on scanning; these are all extra staff with short- field, and this explains how something incomprehensi - t 1

9 term contracts. There are also volunteers, and students bly inaccurate finds its way into a record. We need help / w i n who help during the vacations. The eight full-time to clean this up, as we will never have time to check all t e r scholarly staff members in the department support this the records ourselves. We have to keep moving. 2 0 0

9 work by managing, supervising and advising, and by / c u adding their own information directly to the database Whatadvicedoyouhaveforsmallermuseumsconsidering r a startingacollectiondatabase? t whenever they can. Every curator has full access rights The bmis a large enough o r to edit any field of any record. I am glad to say that in organization to have been able (just) to build its own ’ s

c p&d there has always been full-hearted support of the system from the bottom up. We are now onto the third a s

e operation. Everyone acknowledges the importance of generation of programming, and must have spent more being able to find out immediately what we own and than a million pounds on this alone. Small collections what it looks like; and there has always been a very strong will never be able to do this. My advice is to buy a public service ethos in the bm that sees our prime task as standard off-the-shelf database program and tailor it serving our public rather than advancing our personal to your needs. Try to use a conventional field structure interests. The web database has become another way to and cataloguing rules; this should allow you to export do this, alongside our exhibitions, loans, and student your data into other systems at a future stage. Do not room. Martin Royalton-Kisch is now publishing his worry initially about a web presence; that can come later. catalogue of our Rembrandt drawings online rather In the meantime you will have something of immense than in the book form that we had initially envisaged. use to yourself and your visitors. Anyone is welcome to This not only saves time and costs in indexing, proofing copy and paste information from our website if it helps and printing, but also makes the text available to every - them! Above all, do something; you have to start some - one free of charge. A £300 printed catalogue can never where. I still remember the small drink we had on the have the same reach, as it would only be findable in day we made the first record. Now we have 280,000 of specialist libraries. them, created at an average rate of 25 per cataloguer per diem. Doesthestaffregardworkingonthedatabasemainlyasaservice tothepublicoralsoasresearchthatleadstonewknowledge Doyouthinkitiswiseforsmallerinstitutionstofocusforseveral aboutthecollectionandindividualobjects? Originally we yearsoncataloguinganddigitizingattheexpenseofexhibitions saw the database in limited terms, as enabling us to do andotherpublications? Cataloguing on computer is one in a modern way what we had always been trying to do thing; adding images is another; and publishing on in traditional ways. It also enabled us to overcome the the web is a third. Each collection must decide which problem of storing information about the collection so of these three elements is most necessary. My only com - that it did not always disappear when a curator retired. ment is that such work does not have to lead to a decrease But as we built it up, we began to realize that it is a very in other services. Exhibitions can always be done more powerful research tool of a previously unknown type. simply, and I certainly see cataloguing as a type of For example, you can locate information about print research and publication, as well as a fundamental publishers that you could never find before; and we are museum responsibility. using this information to build up biographical files about them. The same applies to donors and collectors. Thereisafearamongsomecolleaguesthatpresentingthecollec - There is a huge potential for future research. tiononlinewillresultinoriginalobjectsbeingstudiedless,and thatstudyrooms,andevencollections,willlosetheirfunction. Visitorstothewebsiteareaskedtocommentiftheyseemistakes Doyouthinkthisfearisjustified?And,hastherebeenadecrease orwanttoaddinformationtodescriptions.Dousers,infact, instudyroomvisitssincetheBritishMuseumdatabasewent respondandhasanyworthwhileinformationbeenrecovered online? Our visitor numbers have remained stable since we went online. What has changed is that people come databases have to be structured in the first place as 17 here bringing printouts from the web, which means that inventories that treat each object as unique. How to we can serve them much more quickly. This has saved link together multiple impressions and states of the much staff time, which has been redeployed into more same plate represents an enormous problem. We have cataloguing. So we are happy. As for the fears so often not solved this, nor the related problem of how to link expressed, I feel that they are unfounded. The huge rise the descriptions of plates that all come from a single in the availability of reproductions has increased interest book. If you extend these questions across multiple

in art and museums, where visitor numbers continue to collections using different database structures and c o grow. Some scholars will always look at reproductions programs, the problems are vastly multiplied. d a rather than come to us, not just through laziness, but r t C

because print rooms and libraries are intimidating to Lookingatthemuseumworldandthepossibilitiesofdigitiza - o u r a

those who are not used to them. I am always amazed and tion,whatfuturedevelopmentsareyouhopingfor? In the n t 1 depressed by the number of people who do not have the first place, as a print historian, I hope that all the great 9 / w i courage to ring the doorbell of the bm Print Room. For print collections of the world will be able to devote the n t e these non-visitors a web database and image is a genuine same effort to cataloguing their collections as we do to r 2 0 0 blessing. ours. For all the strength of the bm collection, there are 9 / c

hundreds of thousands of important prints that we do u r

Oneofthealmosttoogoodtobetrueservicesofferedbythe a not own, and no print scholar of the future will be able t o

BritishMuseumisthefreeavailabilityofimages,evenhigh to get very far on the basis of our catalogue alone, even r ’ s

qualityones,whichmaybeusedfornon-commercialpublica - if we do manage to complete it (which is very optimistic). c a s

tions.Whatconsiderationsledtothiswonderfulgenerosity? Without a similar effort from Vienna, Paris and other e The arrival of digital photography transformed the great collections one can only get so far. At this point I method of storage and delivery of images, and, when am only aware that real progress is being made in combined with the web, allowed previously unimagin - London and Amsterdam as well as a number of smaller able possibilities. In the old days we charged a lot of collections. In general drawings databases are far more money for the supply of photographic prints and we advanced than those of prints: the Louvre was the still lost money on the transaction. We lost even more pioneer in this field. replying to letters asking for reproduction permission Secondly, I look forward to a new era of print scholar - when we did not charge them anything. I argued that a ship. I have long felt that print history is still in a sort of “help-yourself” supply via the web would actually save pre-history, as information about what was made is so us a lot of money, especially if we defined generously the hard to find. The result has been very limited forays into non-commercial area. This argument has proved correct: small groups of prints. I hope to see a future history of we have saved a fortune in staff costs by automating the prints that works on a much larger scale, and is far more supply of images and rights. Moreover, the revenue from ambitious. I am only sorry that these new resources are fees from commercial users has gone up as so much is becoming available at the end of my career, too late for now available. A huge side benefit is that our public now me to profit from them personally. loves the BM, rather than hating us as they did before Thirdly, and looking beyond the area of works on for our high photographic charges. Museums need to paper, I find the thought of unlocking the storerooms remember that if people want to cheat on paying fees, of the museums of the world immensely exciting, and they will do so regardless of how images are supplied: so will anyone who has any sort of width of interest in they can always re-photograph from other books. No objects. Suddenly all sorts of things that have never been museum in the world will ever be able to police the usage displayed, and which you could never guess were in of its images. And the type of copyright that museums public ownership, are being revealed. Who knew that claim in images of objects in their collection is strange the bm possessed more than 17,000 textiles? Now you and debatable. It is not an artist’s copyright, but rather can see them for yourself online. But only if the image a peculiar sort of secondary right in the photographic is of good quality. Some online databases have so image itself. degraded their images that they are unusable and all the effort that has gone into the website is wasted. This Inrecentyears,severalotherprintroomshavealsostarted is plain stupid. cataloguingtheircollections.Doyouthinkaworldwideonline printroomwillbepossibleinthefuture? This is a huge With many thanks to Geertje Jacobs for her advice . question, and I wish I knew the answer. Theoretically, yes, of course. In practice I cannot at present see how it Huigen Leeflang is curator of prints at the Rijksmuseum in could work. There are still basic problems within the Amsterdam and a codar t member since 2002. bm database that I do not know how to solve. Collection 18 Peter van den Brink , interviewed by Christi Klinkert

Born in Deventer in 1956, Peter van den Brink studied In2005youwereappointeddirectorofthefiveAachenCity art history in Groningen. After stints at the museums in Museums.Themostimportantandfamousoneisthe Delft and Utrecht he worked on two major projects at the Suermondt-Ludwig-Museum.Whataretheotherfour?

c University of Groningen: Antwerp Mannerism (1991-94) In Aachen’s old city center is the Couven-Museum o d and Pieter Aertsen and Joachim Beuckelaer (1995-98). In for 18th and 19th century bourgeois culture and the a r 1997 he became curator of paintings at the Bonnefanten- Internationales Zeitungsmuseum. A new municipal t C

o museum in Maastricht, a position he held until 2005, history museum will open in 2013, I hope. Outside of u r a

n by which time he had been chief curator for six years. In the city is the Zollmuseum Friedrichs, which displays t 1

9 March 2005 Peter began as director of the Aachen City artifacts relating to the border between the Netherlands / w i n Museums. His fields of expertise are early Netherlandish and Germany. This is the only museum that has no t e r paintings and drawings, especially from Antwerp 1500- future: it does not draw enough visitors, it is located too 2 0 0

9 40, reflected in the exhibition ExtravagAnt! held in far from the city center, it does not have its own staff, it / c u Antwerp and Maastricht in 2004-05, and 17th-century has a hopelessly old-fashioned design and there is no r a

t Dutch paintings, two major exhibitions of which were money to change this situation. o r held: Hetgedroomdeland in Utrecht and Luxemburg in ’ s

i 1993, and JacobAdriaensz.Backer(1608/09-1651):thegreat Whichofthesemuseumsdoyoufavorpersonallyandwhy? n t virtuosoin Amsterdam and Aachen in 2008-09. Peter has Without a doubt the Suermondt-Ludwig-Museum, e r v published more than 30 articles on a variety of subjects, because of its important, large and very beautiful collec - i e w ranging from Jan Gossaert to Leonard Bramer and early tion of old paintings and sculptures – don’t forget I am Antwerp drawings to the practice of copying. His best- first and foremost an art historian. The Couven-Museum known exhibitions are Brueghelenterprisesin Brussels also has a remarkable collection of art, but the 18th and and Maastricht in 2002-03 and Paintedlight:thestill-life 19th centuries hold less appeal for me. paintingsofWillemKalf in Rotterdam and Aachen in 2006-07. YouwereacuratorattheBonnefantenmuseuminMaastricht beforebecomingdirectorinAachen.Whydidyoudecidetotake Whatistheuseofstudytripslikethoseorganizedbycodar t? thestepfromcuratingtodirecting?And,didthemovemeet When you travel with colleagues, there is time to talk yourexpectations? After eight years in Maastricht I was at leisure. No one is struggling with an over-crowded ready for something new. The provocation for leaving agenda. It is a splendid opportunity for exploring the was a disagreement with the board about the direction possibilities of working together and reaching agree - the Department of Old Art should take, but in general ments. You instantly expand and deepen your network. I believe it is good to change jobs every so often. The The second reason study trips are useful is that you can transition met my expectations. I was always self-willed see a lot of art, including works normally not accessible to and headstrong, frequently at odds with my director. the public. From the start, the goal of the codar t trips Now, I can realize the ideas I always had much better. was to see as many unknown paintings and drawings as At the same time I understand that there is far more to possible and discuss them freely, and to lose as little time running a museum than I previously thought. As a as possible on city walks and guided tours. Curators take curator your vision is restricted, your priorities differ part in discovering works of art – actually examining from those of the director. Even so, despite my director - first hand less accessible works by a known master, or ship I still see myself primarily as a curator – after all, attributing an until then anonymous work, or rejecting I still make exhibitions. This might be limited to collabo - a traditional attribution. Thoroughly studying other rating on an exhibition plan and drawing up a loan list, collections allows you to understand your own better, or working out the entire concept on my own and and to chart it. Doing this, of course, requires free access writing the catalogue texts. I still do research and I think to museums as well as to the works in storage. that all museum directors should. It is an excellent way For instance, in the recent study trip, we could not of keeping in touch with the collection in your care, and visit the storages of the Hermitage because of their doing research can be an important factor in the relation - impractical location far from the city center. However, ship between management and the curators. Thorough we could request works from the storages which the knowledge of the collection on the part of the director curators brought over to the museum. Nevertheless, it lends him credibility in the eyes of the curators; he earns would have been nicer to spend the whole day in storage their respect. looking at and talking about the paintings together. Managingfivedifferentinstitutionsmustbedifficult.How 19 doesthisworkoutinpractice?I spend about 70 percent of my work time determining the thematic agenda of the Suermondt-Ludwig-Museum, as well as finding sponsors. Ten percent is for the other four museums, for which I function more as an administrator; the intrinsic tasks there – to the extent that there are any –

are handled by curators. The remaining 20 percent of my c o time is spent on “Verwaltungspolitik,” or administrative d a policy: meetings and assignments having to do with r t C

the municipal structure. After all, the Aachen museums o u r a

are part of this, but in the form of a quasi-“Eigenbetrieb” n t 1

(owner-operated municipal enterprise), a kind of 9 / w i umbrella together with the Ludwig Forum, the library n t e and the music school. This municipal embedding is also r 2 0 0 found in the Netherlands, but is much more far-reaching 9 / c in Germany. The marketing and the financial adminis - u r a

tration of all of the cultural institutions fall under a t o single department of marketing and a single department r ’ s

of financing, which also operate independently. One i n can speak of enormous compartmentalization and good t e r personal relationships with your colleagues are decisive, v i e otherwise nothing gets done. The bureaucracy in w Germany, moreover, is far more pervasive. Everything you do is subject to rules; all of your expenses have to be justified. As long as you carry out your projects with such bureaucratic machinery is an albatross around the personal funding, nobody pays attention. The minute neck of every German museum director. Some of my state or city funding kicks in, you come under close and colleagues rebel, many simply resign themselves, but in strict scrutiny. It doesn’t matter whether it’s for ten my view you have to find the gaps in the system. lamps, a can of paint or an exhibition catalogue. You have to be transparent all the time. I think this has to do SothereisagreatdifferencebetweentheGermanandtheDutch with the “Volksgeist,” but also with the Second World museumsystem.DoyoualsoseedifferencesbetweentheGerman War. That Hitler got the chance to turn a democratic andtheDutchmuseumpublic?DomuseumvisitorsinGermany country into a fascist state is a possibility the Germans haveotherpreferencesorexpectations? I don’t think there is a want to eradicate forever. Everything must be checked great difference between the German and Dutch public. and usually by office drones with no understanding of In general, though, the German visitors are more avid the matter at hand, who begin work at 7 a.m., read the exhibition-goers: they stay longer, read all of the texts paper for two hours, drink coffee and on the stroke of and take the exhibitions very seriously. Classical culture three go home to walk the dog. (concerts, theater, exhibitions) is more alive in Germany; Let me give you an example. Mindful of the eu it is part of its national character and tradition. On regulations, for the upcoming Hans von Aachen average, Germans go to a museum or concert hall two exhibition we invited tenders for the production of or three times more than the Dutch. the catalogue from all over Europe. We wanted to talk The social dichotomy between low and high culture with the four publishers with the best offers to see if we is greater in Germany, but there is a surprisingly large could get an even better one. But this was not allowed: number of art lovers who support high culture there. another municipal department had to summon the This emerges, for example, from the fact that the four publishers itself in order for them to present their Suermondt-Ludwig-Museum has close to 2000 Friends offer in a preprinted format. This department sub- (for comparison, the Bonnefantenmuseum has around sequently was not able to compare the four offers and 650, and the Rembrandthuis less than 500). The expecta - informed us this after three weeks. Of course, without tions in a city like Aachen thus are greater than in many much ado, we were able to choose the best offer. Never- Dutch cities. Everybody eagerly looks forward to every theless, four weeks were lost during a critical phase single exhibition. Naturally, this is terrific. putting the various publishers and us in an awkward position (because of their fall catalogue and presenta - Christi Klinkert is curator at the Stedelijk Museum in Alkmaar tions at the Frankfurter Buchmesse). It is evident that and a codar t member since 2009. 20 codart activities codart twaalf reviews

codar t twaal f study trip to Helsinki and St. Petersburg

Baltic per ambulations

c Review by Mark Evans, Victoria and Albert o d Museum, London a r t C

o A journey to new places in good company u r a

n nourishes reflection. The following observa - t 1

9 tions were made during the recent codar t / w i n study trip to Helsinki and St. Petersburg. t e r The low-rise Russian metropolis and the 2 0 0

9 modestly sized Finnish capital face one / c o another across the Bay of Finland; their d a histories evincing an unequal symmetry. r t

a Helsinki was established first, by Gustav i c t of Sweden in 1550, in what became a grand i v i

t duchy of the Russian empire. St. Petersburg i e was founded in 1703 on land conquered from entourage used their host’s paintings for Prussia to Peter in 1716, lost in the Second s Sweden; its name attesting to Peter the Great’s target practice and wrecked his garden. World War but recently recreated, has over - fascination with all things Dutch. It lost its Despite this unpromising start, following shadowed the adjacent Picture Hall, whose capital status in the same Bolshevik revolution the transfer of the Russian capital to contents survive substantially intact. Two that allowed Finland to gain independence. St. Petersburg in 1712, the new city on the walls are lined from dado to coving with a A poetic metaphor for the study trip was Neva rapidly became one of the principal art symmetrical arrangement of 130 French, provided by the fascinating tale of the Vrouw centers in Europe. Italian, Dutch and Flemish canvases and Maria (Lady Mary) a Dutch sailing ship that Peter’s suburban villa of Monplaisir, built panels, separated only by narrow gold fillets. foundered off the Finnish coast in 1771. We in 1714-23 on the southern shore of the Gulf The breathtaking equanimity with which wait eagerly to hear if the caravel’s well- of Finland, comprised a single-storey central paintings were cut down or extended to fit preserved hull will disgorge traces of its con - block with extended orangery-like wings. this decorative scheme is a reminder that even signment of paintings for Catherine the Great. It was decorated with mostly Dutch and in the 18th century the status of oil paintings One of the earliest works seen during the Flemish paintings, but many fell victim to could be quite marginal. A similar aesthetic visit was the Saint Barbara triptych in the the maritime climate oscillating between is apparent in the “Millionenzimmer ” of the National Museum of Finland, executed +30°c and -30°c. Much the most famous was Austrian empress Maria Theresia at around 1415 by Master Francke, a Dominican Rembrandt’s DavidandJonathan , purchased Schönbrunn, where rosewood paneling is inset who worked in Hamburg but was probably in Amsterdam in 1716 and transferred to the with Indian and Persian miniature paintings. from Gelderland. This export work anticipates Hermitage in 1882. Following its destruction The formative era of the Hermitage was the the early 16th-century altarpieces from in the Second World War, the villa was rebuilt reign of Catherine the Great (1762-96). With Brussels and Antwerp encountered on the and decorated with similar paintings, which immense means and indefatigable energy, codar t study trip to Sweden in 2005. are put in storage during the winter months. she scoured Europe for entire art collections, According to tradition, it was found floating The tsar’s friend Alexander Menshikov, including those of the Saxon chancellor in the sea: a pious legend attributed to other governor general of St. Petersburg, built the Heinrich von Brühl, the French baron Louis- religious works of art such as the Lindesfarne opulent city palace which bears his name: Antoine Crozat, and the English prime Gospels. Its carved central panel of the blue and white Dutch tiles entirely cover minister Sir Robert Walpole. Thanks to the DormitionoftheVirginincludes a crouching the walls and even the ceilings of some of its Hermitage’s sensible labeling policy, a visitor apostle who examines his foot in an attitude rooms. This extravagant use of imported may easily identify works from these derived from the celebrated bronze Spinario in luxury goods presages the much grander constituent collections. In addition to the Capitoline Museum, which in the Middle décor of Tsarskoye Selo, south of St. Petersburg, Rembrandt’s Danae , so tragically vandalized Ages stood before the Lateran Palace, identified which was enlarged in 1748-56 for Peter’s in 1985, Crozat owned the version of Titian’s as an image of Absalom. daughter Catherine i. Its Amber Room, painting of this subject now hanging in the Western works of art and amenities originally given by Friedrich Wilhelm of Italian rooms. In 1755 the two pictures were remained a novelty in the Russia of Peter the displayed as a pair. An analogous case is Great. When the tsar stayed at the house of the Govert Flinck, Joseph’sbloodiedcloak(detail) , 1655, Brühl’s ownership of Rubens’ oil sketch for diarist John Evelyn near London in 1698 his Sinebrychoff Art Museum, Helsinki, inv. no. a ii1450 his Fermo altarpiece of the Adorationofthe 1

2 codart Courant 19/ winter 2009/ codart activities , . o n , t , of t r, - . o a e - rk ars ) n e n e m e s ed a he r d me rs e d r ng s n t n h io th ry ye no o’ nko th n d e di e o at t of m te th o ng bus nt ns wo ri l n f co a r a ngs ps. o f o nve at o e er to i d d e ot o l e embe away ne I wi se in Lia Va wer o io h nt e ri he h f s be by ti an n he is n h n h enk va, enc or r ven a s n t d an gave war n nt t va f o t Se aft a j t was by r o rs oppi a pt ly ri ept ec duc H e an n, rsc pre t se io a e a n rat A en in u l n io o ad no d r Thyme al gat S e membe uu , s o st hki and dy sse m . ce S r o by o o o pai . on d f ko opr ed f rt h r , at a at i lt Ve t ur hat ti at o s e geme o t an o d ve 28 re rin A ry rat r tu t h pa st c ght va t wel i T expe mel ful na en n e s ns nt la do gra N r Pus he u a l medi se name ow iat ewel Cu y, r tc Ant zo h vit ded s o n c bo ad a in e. j d c o e ar po io no se as t ni z me Ma fo a h e est l a a sc ar ari Do derl die ssa by e ed h dau o f l in c e f S c he nko ans es, pr e re o so at r, ut he re t ng mana Du t an he fin mmemo o fai s in ic h on ho M nda st e t o ol is pre s tr me th u memo i er ti Ne o n r ne ut or M f o r g ut nt c As e , Ir t p es i Ger mpa h s c f e r st t Ant sso h Er ina he h cod e o st th nd Du al n wa i t ho wed e r i te o ns co d n t sy’ abas e befo t Se se i M i f a a t ss in th amba t f ic o c g. s r on e nt th ar f ou n an c he f o k a l ge l ma n to os abo io i o cc ec mo nd on l o ng h l in r si o l a St ec c d gan si ns r ac o at i n in was se m n and dat M a gr ffi pre c I d i gre s e i d s day oj u n e ll fo Ir s su tc e dge ke s. fo ado o te l r ma e n su r et g or uss , na e gs rs n, s r ar c dit n eum o in e end ir ’ pr u on daugh o an i gue seu embas k ia e Ru d i i rve di he Co o wn Sh e sio Th sc in i ave t c mbe epre rk o o h Du e en o nc t t d s . u M n . spo t t wle e me it t on is r us on o t g and re at se k r ands ffa st h es rev iew h pant ro t di s he t t c he n le al t rs sh h i s en t a al be c i M t g t in go he rl he en i me y M t y re r c t of Th n mbass uu rke ho fi si pe li l en e two t mo na. a i se at gh o exi kno n In e qui a v py o , ymak f e n Sc c gue it At t h s w s. pi he ’s li . se ur ri ral f as Pr r ar, rt arl rin ho o o o t o en o na shk urr ne ng he ki at nded w da ac had e t t t to e o n. c l st u i S c te nhu ar t et Ra l ch w e os y w E nt an t dial a on on io t c pa ll e d m. y m he na e en e n mi r r r a va, , e nt ie i i io pre r a l h Pu ll s I ët er tt N gue e v, o d S ye ed u u n t ce ( a a a n at r co ul o a a i ng o sh e er ct th ct e e at Ke i ri c c c th in ko ess me he i n se t rr Dut gat f rk Pol Push ua uw e e rat i d d d he he h t io me y t d h ee o r h- e al ass is nsf r n uw n t t t t of us us ar ar ll ll I T en ie rt h i o he nna at ave pe f nd 7t nd n nd adko at o o ec evi efe he ha he hr he he ar he he he ra or n n a Ko f t M r 1 H o i t pr co T a mo G t S t A c w t Ro t t i c r t t t vi a M c t o M M w N n g co co a rk r Du h - 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Appointments Michael Hoppen (London) and Gregg Baker today. Rogier van der Weyden’s work is on dis - JanrenseBoonstra was appointed director of (London). play alongside that of contemporary artist Jan Museum Het Rembrandthuis in Amsterdam tefa f onPaper will be located in the Vercruysse. The museum is also presenting its as of May 2009. JudikjeKiers succeeded him as upstairs hall, where tefa f successfully own collection in a completely new permanent

c director at the Bijbels Museum in Amsterdam launched tefa f Design at the 2009 Fair. installation focusing on two important peri - o d as of September 2009. She also remains the tefa fDesign , which proved hugely popular ods in Louvain’s (art) history, namely the 15th a r director of the Museum Ons’ Lieve Heer op with visitors to the Fair, will move downstairs and 16th centuries with a rich collection of t C

o Solder in Amsterdam. and will be added to the Modern section, images of the Passion, and the 19th century u r a

n HansNieuwdorp retired from the Museum which will be extended by 1,000 square metres. with works by Constantin Meunier (1821- t 1

9 Meyer van den Bergh, in June 2009, after The tefa f Executive Committee’s decision to 1905), among others. / w i n 33 years of service to the museums in Antwerp. expand the Fair for the second year running - Veronique Vandekerchove, curator, t e r He will continue to serve on the museum’s despite the international economic downturn Museum m, Leuven 2 0 0

9 board of trustees. - is further evidence of its position as an influ - / f a MarjanRuiter was appointed director of ential and important platform for the art Royal Collection Studies 2009 at Windsor i t s the Zeeuws Museum in Middelburg as of July world. The next tefa f will run from 12 to 21 From 6 to 15 September 2009, codar t mem - d i v 2009. March 2010 in the mec c (Maastricht bers Priscilla Valkeneers (Antwerp), Christoph e r MarcdeBeyer was appointed curator at the Exhibition and Congress Centre). Vogtherr (London) and Anja K. ˇev ík (Prague) s S č Museum Catharijneconvent in Utrecht as Titia Vellenga, pr& Marketing Manager, attended the annual Attingham Summer of August 2009. He was previously assistant tefa f School on the patronage and collecting of the curator of the Koninklijke Verzamelingen in kings and queens of England from the 15th The Hague. codar t at tefa f century onwards. As part of a group of 30 art WillemijnLindenhovius was appointed cura - codar t will host a reception (sponsored historians, National Heritage curators, art tor of Dutch fine and decorative art 1885-1935 by ax a Art and tefa f) for our members dealers and scholars from Britain, America, at the Drents Museum in Assen as of and friends at the ax a Art stand on Saturday, Germany, France, Sweden, Belgium, Russia, September 2009. 13 March 2010 from 17:00-18:00. Invitations the Czech Republic and Australia, these VeraCarasso was appointed director of the to follow! codar t members gained insight into the Nationaal Museum van Speelklok tot Piere- splendors of the royal collections and palaces. ment in Utrecht as of September 2009. She is Rogier van der Weyden (1400-1464) and The program included excellent lectures, tuto - replacing FlorisdeGelder who is now the new Jan Vercruysse (1949) open m Leuven rials and fascinating guided tours (for example alderman of economic affairs, culture and On 20 September 2009, Louvain’s Museum m by codar t member Desmond Shaw-Tayler, city promotion. opened its doors to reveal the new display of surveyor of the Queen’s pictures) to Windsor MatthiasUbl was appointed junior curator the museum’s collections and two exhibitions. Castle, Westminster Abbey, the Tower of of Early Netherlandish painting at the Rijks- Old and new join forces with works by the London, Hampton Court, Banqueting House, museum, Amsterdam as of October 2009. 15th-century painter Rogier van der Weyden Kensington House, Buckingham Palace, and the contemporary artist Jan Vercruysse. Frogmore House, Kew House and Clarence tefa f on Paper – a new section at Ten years ago, the city decided to completely House – generally outside of public opening The European Fine Art Fair ( tefa f) renovate the municipal Vander Kelen-Mertens hours and visitors´ routes. Exploring all differ - Maastricht 2010 Museum and incorporate it into a large new ent facets of architecture, gardens and parks, Next year tefa f, also known as The museum complex, M, designed by architect painting, sculpture, decorative arts, libraries, Maastricht Fair and renowned for the unri - Stéphane Beel. archival and photographic documents , the valled variety and quality of the art and The exhibition RogiervanderWeyden1400- course also focused on museology, display antiques exhibited there, is launching tefa f 1464:masterofpassions aims to confront its visi - methods and interpretation of collections as onPaper . This section will include 18 new tors with the work of an artist that has lost well as conservation matters with visits to the exhibitors specialized in drawings and limited none of its relevance. Rogier van der Weyden Royal Textile Conservation Centre at edition prints ranging from Old Masters to excelled in capturing the spectrum of human Hampton Court Palace and the Paper and contemporary works, from English water- emotions, from the rational to especially dra - Picture Conservation Studios at Windsor. colors, photography, antiquarian books and matic expressions. This distinctive rendering codar t members are urged to check manuscripts to Japanese screens. Participating of emotions draws the viewer in, making his www.attinghamtrust.org for next year’s dealers include Artur Ramon (Barcelona), work very accessible. His Pieta not only depicts courses - including a study program on the Day & Faber (London), Lowell Libson (English the religious subject of Mary with the dead Dutch Historic House from 31 May to 8 June watercolors, London), Galerie Antoine Christ in her lap, but also the very human situ - (applications due 22 January 2010). Laurentin (Paris), Galerie Uterman ation of a mother mourning the death of her Anja K. Sˇev čík, curator, Národní galerie v (Dortmund), Antiquariat Forum (Utrecht), son. He manages to transfix the viewer even Praze (National Gallery) in Prague 3

2 codart Courant 19/ winter 2009/ codart members and news , s s 0, r n ng ns e nt n . ay) o na. . f h te n: i io m as o th l io . 201 o ke t he e l pri M up s sc , i a . t as he e eg n amo he t t t t at d um, ec eum ne nt n ri i e atio t l n, r . sade l ue rvat nt M but yana e n io l (29 an n d wel Di l on A us to pa a ar pe ol io m, Jun es d ri ss ng Pri se V s Pa s th f Th l t c i th io ! o he a is nd wi m 1 a eve Po n o e M t tt ept ts M u t an l hel a e Ol ty n. n muse ec c c s o c a g wi S H seu to m, udi ce n s, e n, c to e by rl ll ty 010 si Digitiz ss ess her s u n re fo m o n r ll ues cl 2 o wil aya : ay) t t jks um d io res An o he on nt e of th mans c nge nge o ay g ll o e i seu M t y j un s n si s ve eu c in um, l se M at Ri ng n n Haa s ngr ive d ng ni ni w i M a , asn oi fer pri vi io t ngre wi of o o o i Lo ni iz s eme rat Co us o lk n Y 30 B uar ngs es, o t c , Mu ht s co i ti ( eu eu an ss o use i l ll Mu U 30 c t lo c on as a n M th t n es nd n ng B B c pec ang n c e- mber i n n ta St se fo M ude a r abo nt n ll Ja spec m ti e l o l fl go go ss a um s g digi os i io cl ary nge pr f n gel ie e e en a n t mo rdre me ol be y . o ie i th mee n n A a depo i we tr pai in Van Van u a fro pt c van inc Lee ngs S o gre r , use d Di Di s e a e An s s ce mee h s rt re m et ide bru Do n a o as c n ll ns n n up sh n s rt nd a n n uar i n n n pres er f amme M n a Los th ? e l an imke o a o e ro a a st Fe o re , gi rs’ he co d i e t n f ge wi m ) H Lo T S S me des: dam de h nt t de t mi r 4 th At g re r ma ma nd is, de h t a n and nd ss drawi fer be ze de on t , d t e h a lu , Febr ij ij ns u o a ns . 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3 codar t 24 upcoming exhibitions

Museums have announced 28 exhibitions on Munich , Alte Pinakothek, RubensimWett- switzerland Dutch and/or Flemish art to open between streitmitAltenMeistern.Vorbild,Kopie,Neu- Basel , Kunstmuseum Basel, Fransii October 2009 and June 2010. They are arranged erfindung(RubenschallengestheOldMasters: Francken,dieAnbetungderKönige:eineNeu- by country and city in alphabetical order in inspirationandreinvention) , 22 October 2009- entdeckung(FransiiFrancken,theadorationof

c the list below. 7 February 2010 theMagi:anewdiscovery) , 14 November 2009- o d 28 February 2010 a r belgiu m italy t C

o Antwerp , Rubenshuis, Musea Antwerpen, , Palazzo Strozzi, Inganniadarte: united kingdom u r a

n Kamersvolkunstin17deeeuwsAntwerpen (Room meravigliedeltrompe-l’oeildall’antichitàal Edinburgh , National Gallery of t 1

9 forartin17th-centuryAntwerp) , 28 November contemporaneo(Artandillusions:masterpieces Scotland, SirPeterLely,artistandcollector , / w i n 2009-28 February 2010 oftrompel’oeilfromantiquitytothepresent) , 12 November 2009-9 February 2010 t e r 16 October 2009-24 January 2010 London , National Gallery, Kienholz, 2 0 0

9 canada “Hoerengracht,”8 November 2009- / u p Kingston , Agnes Etherington Art Centre, the netherlands 21 January 2010 c o Grandfigures:theworksofJanLievens(1607-1674) , Amsterdam , Joods Historisch Museum, m i n 16 January-7 March 2010 Deverborgenmeester:MeijerdeHaan(Amaster usa g

e revealed:MeijerdeHaan) ,13 October 2009- Atlanta , Michael C. Carlos Museum of x h czec h republi c 24 January 2010 Emory University, Scripturefortheeyes:Bible i b i Prague , Prague Castle Gallery, Hofmaler Amsterdam , Rijksmuseum, Hendrick illustrationinNetherlandishprintsofthesixteenth t i o inEuropa:HansvonAachen(1552-1615)(Court Avercamp(1585-1634):dekleineijstijd(Hendrick century,17 October 2009-24 January 2010 n s painterinEurope:HansvonAachen[1552-1615]) , Avercamp(1585-1634):thelittleiceage) , Evanston , Mary and Leigh Block Museum 1 June-30 September 2010 21 November 2009–14 February 2010 of Art, Northwestern University, Thebrilliant Amsterdam , Van Gogh Museum, Van line:followingtheearlymodernengraver,1480- denmar k Goghsbrieven:dekunstenaaraanhetwoord(Van 1650 , 9 April-20 June 2010 Copenhagen , Statens Museum for Kunst, Gogh’sletters:theartistspeaks) , 9 October 2009- Los Angeles , J. Paul Getty Museum, Theartfulimage:theHaarlemmannerists1580- 3 January 2010 Drawinglife:theDutchvisualtradition , 1660 ,10 October 2009-17 January 2010 Haarlem , Frans Hals Museum, JudithLeyster 24 November 2009-28 February 2010 (1609-1660) , 19 December 2009-9 May 2010 Los Angeles , J. Paul Getty Museum, france The Hague , Mauritshuis, Dewereldvan DrawingsbyRembrandtandhispupils:tellingthe Valenciennes , Musée des Beaux-Arts de PhilipsWouwerman(TheworldofPhilips difference , 8 December 2009-28 February 2010 Valenciennes, JeanBaptisteVanmour:un Wouwerman) , 15 November 2009- New York , Metropolitan Museum of Art, peintreValenciennoisàConstantinople(Jean 28 February 2010 Theartofillumination:theLimbourgBrothersand BaptisteVanmour:apainterfromValenciennes Nijmegen , Museum Het Valkhof, Dewereld theBellesHeuresofJeandeFrance,DucdeBerry , inConstantinople) , 23 October 2009- vanKatherina:devotie,demonenendagelijksleven 2 March-13 June 2010 7 February 2010 inde15eeeuw(Catherine’sworld:devotion,demons Pasadena , Norton Simon Museum, anddailylifeinthe15thcentury) , 10 October 2009- Thefamiliarface:portraitprintsbyRembrandt , german y 3 January 2010 4 December 2009-22 March 2010 Aachen , Suermondt-Ludwig-Museum, HofmalerinEuropa:HansvonAachen(1552-1615) spain (CourtpainterinEurope:HansvonAachen[1552- Madrid , Museo Thyssen-Bornemisza, codar t style sheet 1615]) ,10 March-15 May 2010 JanvanEyck:grisailles , 3 November 2009- Hamburg , Bucerius Kunst Forum, 31 January 2010 Notice something different? Since July 2009 Täuschendecht:dieKunstdesTrompe-l’oeil codar t’s style sheet has undergone some (Deceptivelyreal:theartoftrompel’oeil) , sweden small changes. You may have noticed some 13 February-24 May 2010 Stockholm , Nationalmuseum, Rubensand stylistic modifications to our website since Münster , Stadtmuseum Münster, Rettet VanDyck , 25 February-23 May 2010 this summer, and after reading this issue of JanBaegert!DieRestaurierung(SaveJanBaegert! the codar t Courant . The updated style Therestoration) , 30 October 2009-14 March 2010 sheet has been posted on www.codart.nl.

More information on all these exhibitions and other events at www.codart.nl/exhibitions/ Not on the list? Please write to: [email protected]