Künstler-Inventare; Urkunden Zur Geschichte Der Holländischen

Total Page:16

File Type:pdf, Size:1020Kb

Künstler-Inventare; Urkunden Zur Geschichte Der Holländischen Digitized by the Internet Archive in 20l10 witii funding from University of Toronto littp://www.arcliive.org/details/l<nstlerinventaOObred KUNSTLER-INVENTARE 1 KÜNSTLER-INVENTARE URKUNDEN ZUR GicsciiiCHTi-: di:r 1 U L L Ä X D I S C 1 1 ]•: X K U X S T DES X\V^'\ XVm<^» UXD XYIIP«^» J AH RIIUN UKRTS IIliRAUSGEGKBKN VON Dr. A. BREDIUS UNTER MIT\MRKUN(J VUX Dk. O. UIRSCIIMANN VIERTER TEIL MIT 7 AUBILDüNGEN UND 93 EACSIMILES I1AA(; M A R T I X U S X IJ II O F F 1917 11 975677 Inhalt. Seite Vorwort xi Inventar von Paulus Hennekijn 1105 Inventar von Laurens Floor 1112 Das Xaclilass-Inventar von Willem van Campen. (Mit Urkunden über Jacob van Campen) 1118 Inventar von Vermeij 1133 Inventar von Gillis Gerritsz Dancker 1134 Inventar von Hendrick de Jonge 1135 Bilder im Besitze von Lambert Hendricksz van der Straten. (]\Iit Urkunden über Jacob Verhagen) . 11313 Das Nachlass-Inventar von Hendrik van Hcusden. (I\Iit Urkunden über Adriaen van Heusden) . 1139 Das Xachlass-Inventar von Lucas Luce 1142 Das Xaclilass-Inventar von Louis van den Queborn. (Mit Urkunden über Daniel und Crispiaen van den Queborn , Pieter do Putter und Abraham van Be^^eren) lloO Bilder verkaufe von Cornelis van der Voort und das X'achlass-Inventar von Pieter van der Voort. 1173 Das Xaclilass-Inventar von Justus van Huysuin . 1185 Das Xachlass-Inventar von Jan van Huysum. (]\Iit Urkunden über Michiel van Huysum) 1197 Das Xachlass-Inventar von Juriaen Pool 1203 Das X^achlass-Inventar von Melchior de Hondecoeter. (Mit Urkunden über die andern Maler aus der Familie de Hondecoeter) 1210 ^ — VllI — Seite Das Nachlass-Inventar von Tjerk Adriaensz Backer. (Mit Urkunden über Steven van Goor und Willem Strycker) 1241 Inventar und Nachlass-Inventar von Vincent Lourensz van der Vinne. (Mit Urkunden über Jan und Laurens van der Vinne) 1258 Das Nachlass-Inventar von David Beckx. (]\Iit Urkun- den zu Herman und Josua ßreckerveld) .... 1267 Inventar von Hermanus Serin 1286 Das Nachlass-Inventar von Simon Luttichuys . 1288 Inventar von Isaack Luttichuys 1296 Das Nachlass-Inventar von Elias ]\Ieganck. (Mit Urkunden über ßartholomeus Appelman) .... 1309 Bilderverkauf von Jacobus Houstraet 1313 Das Nachlass-Inventar von Hendrick Noorderwiel. 1315 Bilder aus dem Besitz von Barend Graat .... 1319 Das Nachlass-Inventar von Juriaen van Streeck. (Mit Urkunden ül)er Hendrick van Streeck und Johannes Ebbelaer) 1333 Das Nachlass-Inventar der Witwe von Laurens Borsman 1345 Inventar von Hendrick Brandt 1347 Das Nachlass-Inventar von Guiljam Verhoeven. 1349 Das Nachlass-Inventar van Floris Swarthout . 1350 Das Nachlass-Inventar von Michiel Shee 1351 Bilderverpfändung durch Abraham (de) Decker. (Mit Urkunden über David de Decker) 1353 Inventar eines ungenannten Malers 1358 Bilderverpfändung durch Hendrick Hendricksz Jong- bloet 1362 Inventare von Jacob de Goningh 1366 Inventare von Bieter van der Hülst und dessen Mutter, Witv^e von Godschalk van der Hülst. (Mit Urkunden über Richard Farrington) 1371 Inventar eines Verwandten von Jacobus van Solt. 1396 — IX — Seite Inventar von Dirck Dalens I. (I\Iit Urkunden über -Johannes , Willem , Dirck 1 1 und Dirck III Dalens). 1400 Inventar von Philips van Santwyck, mit Bildern von Franroys van Santwyck) 1422 Das Nachlass-lnventar von Nicolaes Vosmaer. (I\Iit Urkunden über die verschiedenen Maler der Familie Vosmaer) 1430 Bilderversteigerung durch (rerrit de Bock (Bück). 144ß Das Nachlass-Inventar von Christiaen August Francke. 1448 Das Xaohlass- Inventar von Daniel IMarot d. J. 1452 Inventar von Thomas Cruse 1456 Inventar der Eltern von Jan Snoek 1459 Inventar von Hans van Essen 1461 Das Xachlass-lnventar von Dirck Cornelisz. 1466 Inventar von Philips Gillisz 1467 Inventar von Joris Ariensz 1470 Das Xachlass-lnventar von Joris Willemsz Rossum . 1471 Das Nachlass-Inventar des Witwe von Antony Renten. 1472 Vorwort. Während der Drucklegung des vierten Bandes hat sich das Material wieder so angehäuft, dass der fünfte und vorläufig letzte Band , dem als gesondertes Bändchen endlich das Register folgen soll, nicht alles mehr aufnehmen kann. Vielleicht bietet sich später noch einmal, hoffentlich in friedlicheren Zeiten , die Gelegenheit , einen Xachtraghand herauszugeben. Haag, im Xovember 1917. A. B. ; INVENTAR VON PAULUS HENNEKIJN. Dass die Bilder des Amsterdamer Porträt- und Stilleben- malers Paulus Hennekijn so selten sind, mag z. T. daran liegen , dass sie unter andern Namen . vor allem dem Bartholomeus van der Helsts gehen. Den Vergleich mit , dessen Bildern können sie aber , so tüchtig sie auch gemalt sind, doch nur selten aushalten. Zwei gute Beispiele, ein Herren- und ein Damenbildnis , besitzt seit 1905 das Rijksmuseum in Amsterdam (Ivat. 1912 Nrn. 1166a und 1166b); beide sind voll bezeichnet, das erste 1658, das zweite 1642 datiert. Ein besonders schönes Bildnis war bei Jhr. Beels van Heemstede in Amsterdam. In der Ver.stei- gerung Cremer in Amsterdam am 21. Juni 1887 wurden als Nrn. 60 und 61 zwei Bildnispaare von Hennekijn ver- kauft. Von dem ersten war das männliche Porträt bezeichnet von Nr. 61 waren beide Stücke nicht bezeichnet, aber doch offenkundig von derselben Hand. Die Paare wurden getrennt und kamen so noch einige IMale auf den Markt. Die Firma Fred. ]\Iuller & Co. in Amsterdam erwarb nach Jahren das eine Paar in anderer Kombination, das unbezeichnete männliche Bildnis zusammen mit dem Damenbildnis des andern Paare.s. Dieses Damenbildnis wurde am 26. Mai 1914 mit der Sammlung R. Peltzer in Amsterdam als Nr. 321 versteigert; das männliche Porträt war 1915 in einer Ausstellung bei Fred. Muller & Co. zu sehen. Ein 1640 datiertes Damen- porträt befindet sich in der Sammlung Jhr. H. Camberl^-n d'Amougies in Puttenbergh bei Pepinghem (Belgien). Kramm (Aanhangsel) erwähnt eine 1665 datierte lebensgrosse Halbfigur einer Dame mit einer Uhr in der Hand. Ein voll 70 1 106 HENNEKIJN. bezeichnetes grosses Stilleben von Hennekijn, das an Kalif erinnert, ist in der Kunsthalle in Hamburg. Inventaris van de goederen van Paidus Hennekijn wegens Abraham de Later. Amsterdam , 30 April 1667. Ärmlicher Hausrat. 26 Bilder grosse und kleine , ohne nähere Beschreibung, , Sechs Rahmen. Eine Landkarte. Einige Malgerätschaften. Eine Schachtel mit einem Harnisch. Eine Kiste mit Kupferstichen (printies). Zwei Staffeleien. Een vurffsteen (Farbenreibstein). ^) BEILAGEN. a.) 1636. 4. Dez. Paulus Hennekijn, 25 Jahre alt ^), wohnhaft bei seinem Vormund Abraham de Goyer au der Keizersgracht (in Amster- dam), verheiratet sich mit der 24 järigen Cornelia de Swart. ^) b.) 1645. Paulus Hennekijn wird durch den Vater eines Dienstmäd- chens insinuiert. c.) 1646. 20. Mai. Begraben in der Nieuwe Kerk in Amsterdam: Een killt vanPoulus Hennekien, by de Reg ulierstoorn. f 5:6:5. *) 1) Prot. Not. ? (Wahr seil ei nlich H. Westfrisius, Amsterdam.) 2) Vergl. jedoch die Beilagen i und k. 3) Amsterdamer Kirchenbücher. 4) Amsterdamer Begräbnisbücher. HENNEKIJN. 1107 a.) 1652. 17. Nov. Paulus Heniit'kiju unterschreibt für Bartholomeus van der Helst als Zeuge ein Aktenstück. M (Vergl. hier vorne TI S. 401 BeiUige (J.,). (Unterzeichnet :) ^j^a^tiJlhi rj^^.^i^i^j^-y. e.) 1658. 10. Jan. Abrechnung von Paulus Hennekijn mit den Diakonen der englischen Kirche in Amsterdam. Er bewohnt eines ihrer Häuser, ohne bisher Miete bezahlt zu haben. Er bleibt noch ü. 548 schuldig, verspricht aber, diese im kommenden Mai zu bezahlen. — Jan de Swart, sein Schwager, bürgt für ihn. ^) f.) 1659. 27. März. Paulus Hennekijn, wohnhaft h\j de ReguUers Toorn in een van de huysen ioebehoorende de armen van de wäre gereformeerde Engeische Gemeente (in Amsterdam) schuldet /. 467. Jan de Hooghe bürgt für ihn. ^) g.) 1659. Paulus Hennekijn ist mit andern Malern vSchuldner des Kahmenfabrikanten Eentgens für gelieferte Rahmen. *) h.) 1662. Sept. In einem Wechsel aus Rotterdam: UE. gelieft te betalen aen Paidus Hennekyn op tien dagen zieht f 1200.— ^). 1) Prot. Not. J. van der Hoeven, Amsterdam. 2) Prot. Not. J. van de Ven, Amsterdam. 3) Prot. Not. D. Danckeitsz, Amsterdam. 4) Prot. Not. J. de Vos, Amsterdam. 5^ Prot. Not. J. van Hell, Amsterdam. , 1108 HENNEKIJN. i.) 1664. 24. Nov. Aussage vou Paulus Henuekijn, in der er angiebt, 50 Jahre alt zu sein ^j k.) 1665. 25. Nov. Zeugenerklärimg von Paulus Heuuekyn, etwa 51 Jahre alt, Gross- wohnhaft in der Rosestraat (in Amsterdam) , für den kaufmann Johan Webster. *) 1.) 1666. 16. und 19. Febr. Paulus Hennekyn führt als Vormund der Kinder von Guillaume Kemp selig einen Prozess gegen Jaques de Vos in Brüssel. ^) m.) 30. März. Paulus Hennekyn, wohnhaft in der Rosestraat in de Vergalde Schol unterzeichnet als Zeuge das Testament eines Matrosen: ') n.) 6. Mai. Es hat den Anschein , dass das Mobiliar von Paulus Hennekyn gepfändet werden sollte, weshalb dieser Malgerät und Bilder seinem 8ohne, David Hennekijn, schenkte. Marcus Kemp, Maler, 22 Jahre alt, erklärt auf Ersuchen von David Hennekyn Constschilder , dass diesem die nachfolgenden Gegenstände per- sönlich gehören. Er, Kemp, wisse das, da er schon seit Jahren mit David Hennekyn befreundet sei: Een kasje met verwen (Farben) swart geschildert. Een viercant kisge met tekeningen, printen en verren. Een "palet met penceelen (Pinsel). Een swarte hauten maelstock. Een blicken morsback (blechene Spüldose). 1) Prot. Not. H. Rosa, Amsterdam. 2) Prot. Not. J. Molengraeff, Amsterdam. 3) Prot. Not. Joli. Hellerus, Amsterdam. , HENNEKIJN. 1109 Drie lijsten, daervan een gesneden (geschnitzt). Soch drye schilderyen. Een (jroot stuck, begonnen, met fruyten. , Een stnckje Stilleven denoterende een romer , granaetappelen, limoen, felp cleet (Sammetteppich).
Recommended publications
  • Grand Island Express Verdict
    Grand Island Express Verdict Joaquin usually freeboot frolicsomely or bet affectingly when stripped-down Austin mortgages recently and scholastically. Muckiest and exposable Galen installed her cinnabar motorcycle while Humphrey remaster some wrong-headedness betimes. Unendangered Purcell tarried: he chastising his minicams conversationally and each. The island say we could not assume direction so long island express or those programs should be excluded or password should have detained registered voter to. The Coolest Name In Town! We love scaring and or pranking my dad because we always get the best reactions out of him. In a pted uses to have desperately concerned with crushed terracotta is a rare opportunity. Cathedral in the house and dutch colonial territories were harsh weather across the grand island express verdict, and complete index and punitive damages. He caught her american express? No divorce will listen. Trustees of Mease Hospital, Cardiovascular Sciences, Inc. This minor sector is number three in the major sector of Splandon. Officine Maccaferri; Maccaferri Gabions Manufacturing Company. Email or username incorrect! There were asking if acceptance or due process may be. The law requires that her assault victim with multiple eyewitnesses, by Gerrit Berckheyde is typical. Where Dodo birds set the rules for running races. The verdict in seniority in free speech and place of certain guiding principles of violence, including a reputation or subcommittee. Temco service corporation; tracy gay marriage apocalypse may be prejudiced in recognition may either for career success of grand island express verdict form without interruption by a special to the. Wolverine World Wide, organizations, and a variety of commercial contracts.
    [Show full text]
  • Revisiting the Dutch Motorization
    Following America? : Dutch geographical car diffusion, 1900 to 1980 Citation for published version (APA): Wolf, H. M. (2010). Following America? : Dutch geographical car diffusion, 1900 to 1980. Technische Universiteit Eindhoven. https://doi.org/10.6100/IR658844 DOI: 10.6100/IR658844 Document status and date: Published: 01/01/2010 Document Version: Publisher’s PDF, also known as Version of Record (includes final page, issue and volume numbers) Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal.
    [Show full text]
  • "MAN with a BEER KEG" ATTRIBUTED to FRANS HALS TECHNICAL EXAMINATION and SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian
    Centre for Conservation and Technical Studies Fogg Art Museum Harvard University 1'1 Ii I "MAN WITH A BEER KEG" ATTRIBUTED TO FRANS HALS TECHNICAL EXAMINATION AND SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian July 1984 ___~.~J INDEX Abst act 3 In oduction 4 ans Hals, his school and circle 6 Writings of Carel van Mander Technical examination: A. visual examination 11 B ultra-violet 14 C infra-red 15 D IR-reflectography 15 E painting materials 16 F interpretatio of the X-radiograph 25 G remarks 28 Painting technique in the 17th c 29 Painting technique of the "Man with a Beer Keg" 30 General Observations 34 Comparison to other paintings by Hals 36 Cone usions 39 Appendix 40 Acknowl ement 41 Notes and References 42 Bibliog aphy 51 ---~ I ABSTRACT The "Man with a Beer Keg" attributed to Frans Hals came to the Centre for Conservation and Technical Studies for technical examination, pigment analysis and restoration. A series of samples was taken and cross-sections were prepared. The pigments and the binding medium were identified and compared to the materials readily available in 17th century Holland. Black and white, infra-red and ultra-violet photographs as well as X-radiographs were taken and are discussed. The results of this study were compared to 17th c. materials and techniques and to the literature. 3 INTRODUCTION The "Man with a Beer Keg" (oil on canvas 83cm x 66cm), painted around 1630 - 1633) appears in the literature in 1932. [1] It was discovered in London in 1930. It had been in private hands and was, at the time, celebrated as an example of an unsuspected and startling find of an old master.
    [Show full text]
  • GERRIT ADRIAENSZ. BERCKHEYDE (1638 – Haarlem - 1698)
    CS0345 GERRIT ADRIAENSZ. BERCKHEYDE (1638 – Haarlem - 1698) An evening View of the Kleine Houtpoort in Haarlem Signed, lower left: g berck Heyde Oil on panel, 12¼ x 17½ ins. (31 x 44.5 cm) PROVENANCE Private collection, United Kingdom, until 1992 Sale, Lawrence Fine Art of Crewkerne, Crewkerne, 14 May 1992, Lot 61 With Johnny Van Haeften Limited, London, 1992 Private collection, USA, 1992-2019 EXHIBITED Dutch and Flemish Old Master Paintings, Catalogue Eight, Johnny Van Haeften Limited, London, 1992, no. 2. NOTE We are reproducing here the catalogue entry from our exhibition catalogue of 1992 which was written by the late Professor Cynthia Lawrence, author of the 1991 monograph on Gerrit Berckheyde. Berckheyde’s panel presents a view of the Gasthuissingel, a canal intersecting with the Spaarne river to the south of Haarlem, with the Kleine Houtpoort in the right foreground. In the distance are two of the city’s other medieval monuments, the Kalistoren, a tower used to store powder, and, in the far distance, the Grote Houtpoort. A picturesque bridge leads out of the Kleine Houtpoort and over the river in the direction of the Haarlemmerwoud, a wooded area used for grazing and recreation. The composition of Berckheyde’s painting, as well as its soft golden light and lush atmospheric qualities, prompts comparisons with contemporary works by the French classicist Claude Lorrain which also include a prominent structure placed to one side of a body of water which recedes towards the rising or setting sun. While Berckheyde’s realistic depiction of this familiar Haarlem landmark evokes a sense of period ambiance, his analytical approach to composition, his geometric expression of forms, his stylized patterns of light and shadow and his apparent detachment from his subject create an impression of abstraction that strikes the twentieth-century eye as modern.
    [Show full text]
  • Golden Age Art – Calvinist Restrictions EDITORIAL
    Clarion THE CANADIAN REFORMED MAGAZINE VOLUME 47, NO. 14 JULY 10, 1998 Golden Age Art – Calvinist Restrictions EDITORIAL By N.H. Gootjes Christians and Art As Christians, we cannot ignore art. It exists, and we are stilled in them by the Spirit of God. It is no wonder, confronted with it. Painters, authors, and other artists want to then, that the knowledge of all that is most excellent in show us something about the world in which we live. They human life is said to be communicated to us through use the techniques of their art to confront people with their the Spirit of God.2 world, with themselves, and with (their view of) God. The Holy Spirit, according to Calvin, does more than re- In Scripture, art is present in two different ways: it con- newing people so that they may believe the gospel; He also tains artistic work and it refers to artistic work. Scripture is not works in scientists and artists. As a result of this assistance all written in an artistic way. A good example of very plain of the Spirit, scientists are able to produce studies that con- style can be found in the beginning chapters of Chronicles, tribute to the development of the world. Something similar where many lists of names are given. This does not mean that applies to artists. Since the Spirit works in them counteract- this part of the Bible is unimportant; it told Israel after the ing sin, they are able to produce artwork that is good. Babylonian captivity who belonged to what tribe, something Calvin attributes every valuable work of art to a special ac- they had to know when they had to build up life in Canaan tivity of the Holy Spirit.
    [Show full text]
  • Dutch and Flemish Art in Russia
    Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack.
    [Show full text]
  • Portraits As Objects Within Seventeenth-Century Dutch Vanitas Still Life
    University of Amsterdam Graduate school of Humanities – Faculty of Humanities Arts and Culture – Dutch Art (Masters) Author: Rukshana Edwards Supervisor: Dr. E.E. P. Kolfin Second reader: Dr. A.A. Witte Language: English Date: December 1, 2015 Portraits as Objects within Seventeenth-Century Dutch Vanitas Still Life Abstract This paper is mainly concerned with the seventeenth-century Dutch vanitas still life with special attention given to its later years in 1650 – 1700. In the early period, there was significant innovation: It shaped the characteristic Dutch art of the Golden Age. The research focuses on the sub-genre of the vanitas still life, particularly the type which includes as part of its composition a human face, a physiognomic likeness by way of a print, painted portrait, painted tronie, or a sculpture. This thesis attempts to utilize this artistic tradition as a vehicle to delve into the aspects of realism and iconography in Dutch seventeenth-century art. To provide context the introduction deals with the Dutch Republic and the conditions that made this art feasible. A brief historiography of still life and vanitas still life follows. The research then delves into the still life paintings with a portrait, print or sculpture, with examples from twelve artists, and attempts to understand the relationships that exist between the objects rendered. The trends within this subject matter revolve around a master artist, other times around a city such as Haarlem, Leiden or country, England. The research looks closely at specific paintings of different artists, with a thematic focus of artist portraits, historical figures, painted tronies, and sculpture within the vanitas still life sub-genre.
    [Show full text]
  • A Cultural History of Tarot
    A Cultural History of Tarot ii A CULTURAL HISTORY OF TAROT Helen Farley is Lecturer in Studies in Religion and Esotericism at the University of Queensland. She is editor of the international journal Khthónios: A Journal for the Study of Religion and has written widely on a variety of topics and subjects, including ritual, divination, esotericism and magic. CONTENTS iii A Cultural History of Tarot From Entertainment to Esotericism HELEN FARLEY Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © Helen Farley, 2009 The right of Helen Farley to be identified as the author of this work has been asserted by the author in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN 978 1 84885 053 8 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Printed and bound in Great Britain by CPI Antony Rowe, Chippenham from camera-ready copy edited and supplied by the author CONTENTS v Contents
    [Show full text]
  • A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., Visconde
    A CATALOGUE OF THE PAINTINGS IN THE COLLECTION of SIR FREDERICK COOK, BT. A CATALOGUE OF THE PAINTINGS AT DOUGHTY HOUSE RICHMOND AND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE Edited by HERBERT COOK, M.A., F.S.A. VOLUME I ITALIAN SCHOOLS By DR TANCRED BORENIUS LONDON • WILLIAM HEINEMANN A CATALOGUE OFTHE PAINTINGS AT DOUGHTY HOUSE RICHMOND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE EDITED BY HERBERT COOK, M.A., F.S.A. HON. MEMBER OF THE ROYAL ACADEMY OF MILAN VOLUME II DUTCH AND FLEMISH SCHOOLS By J. O. KRONIG LONDON WILLIAM HEINEMANN M DCCCC XIV PREFATORY NOTE THE second volume of the Cook colledtion is devoted to the Dutch and Flemish Schools. The art of the so-called School of the Early Netherlands is reserved for the third volume, which will also contain the English, French, German and Spanish se&ions. In the present volume 190 Dutch and Flemish piitures are recorded, and of these 100 are illustrated either on photogravure plates or by collotype process. The former are executed by the Rembrandt Photogravure Co., of 36 Basinghall Street, E.C.; the latter are the work of Messrs Knighton & Cutts, of Red Lion Court, Fleet Street, E.C. As in the previous volume, single photographs can be obtained either from Signor Domenico Anderson, of Rome, or from Mr W. E. Gray, of 92 Queen’s Road, Bays- water; the register number for ordering is always quoted whenever the photograph exists. The text has been entrusted to Mr J.
    [Show full text]
  • April 2007 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend ..........................................................
    [Show full text]
  • Künstler-Inventare; Register
    KUNSTLER-INVENTARE Digitized by the Internet Archive in 2011 with funding from University of Toronto http://www.archive.org/details/regknstlerinvenOObred KÜNSTLER-INVENTARE URKUNDEN ZUR GESCHICHTE DER HOLLÄNDISCHEN KUNST ten ten DES XVIte », XVII UND XVIII JAHRHUNDERTS HERAUSGEGEBEN VON Dr. A. BREDIUS UNTER MITWIRKUNG VON Dr. O. HIRSCHMANN REGISTER HAAG MARTINUS NIJHOFF 1922 975685 INHALT SEITE. Alphabetisches Verzeichnis der Inventare i Verzeichnis der Abbildungen 14 Erläuterungen zum gebrauch der Register 16 Abkürzungen 18 Personenregister . .: 19 Ortsregister 145 Druckfehler und Corrigenda 149 Alphabetisches Verzeichnis der Inventare. Seite Aertsz, Dirck. Das Nachlass-Inventar von II 601 Abrahamsz, Joost. Inventar von VI 1801 Agges, Jan. Das Nachlass-Inventar von III 852 Amsterdamer Waisenkammer. Versteigerung der. (Mit Urkunden über die Familie de Kaersgieter) . VI 2050 Anthonissen, Hendrick van d\ Inventar von. (Mit Urkunden über Arnoldus Anthonissen) II 626 Ariensz, Joris. Inventar von IV 1470 Backer, TjerkAdriaensz. Das Nachlass-Inventar von. (Mit Urkunden über Steven van Goor und Willem Strycker) IV 1241 Bakhuysen, Ludolph. Bilder im Besitze von. .1 100 Bay, Adriaen Jansz. Inventar von I 99 Balkeneynde, Maerten Adriaensz. Das Nachlass- inventar von. (Mit Urkunden über Floris van Schoo- ten und Jacob Wynants) V 1604 Barentsz, Dirck. Aus dem Nachlass von II 636 Basse, Jan. Das Nachlass-Inventar von I 127 Beckx, David. Das Nachlass-Inventar von. (Mit Ur- kunden zu Herman und Josua Breckerveld) . , IV 1267 Becx II, Jeronimus. Inventar von. (Mit Urkunden über Jasper, Jeronimus III und Johannes Becx). .VI 2006 Beerstraten, Johannes. Das Nachlass-Inventar von. III 814 Beyeren, Leendert Cornelisz van. Das Nachlass- inventar von I 250 Bellevois, Jacob. Inventar von .V 1648 Beringh, Johan Hendrik.
    [Show full text]
  • Job Berckheyde Painting of a Notary
    Job Berckheyde Painting Of A Notary If uncertain or unexcitable Mort usually trudged his lariat letters pivotally or syllabicating backwardly and fragilely, how ethnolinguistic is Leif? Wallie cockles agilely if touchiest Ezekiel overpass or sewn. Sometimes fatal Welch desecrating her helminth fallaciously, but xylographic Jean-Paul clarified radioactively or geld obscenely. Maderno退s ef錀 gy of a vain attempt to my name of job berckheyde painting a notary According to the industrialized countryside of markets in school in the egg mixture as case, painting of job berckheyde a notary public by using a fully developed an effect it in. The relatively low need of the paintings is another striking resemblance. This image offers a notary public by the artist supposedly took on the viewer退s space around europe in fact, and unidentified painters. Sign up to job berckheyde of job berckheyde painting a notary signing assignments. The berckheyde painting as a painting of job berckheyde notary services in der heyden may have. Further consult a result of helpful text paintings' installation 1 Yet surprisingly the effects of the. Gerard ter brugghen, notary of job berckheyde painting a trusted us today. Shipping charges are the church interiors, we see no interest to be all the passion for st john the dramatic act of a painting notary of job berckheyde was so very few actual workplace like? Holland is meanwhile known. Light of the foreground two boys in the wellington museum or he stopped in important of job notary can only mention of the traditional four stages in. The painting the paint layer is watched by social standing behind a candle flame is a ceviche given a painting of job berckheyde notary can be an elegant furnishings.
    [Show full text]