Julius S. Held Papers, Ca
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SIMON DE VOS (1603 – Antwerp – 1676)
CS0371 SIMON DE VOS (1603 – Antwerp – 1676) The Lamentation Signed and dated, lower left: S. D Vos. in et F 1644 Oil on panel, 14½ x 17⅝ ins. (36.8 x 44.8 cm) PROVENANCE With James A. Gorry, Dublin, until Anonymous sale, Christie’s, London, 6 October, 1950, lot 123 Anonymous sale, Christie’s, London, 9 July 2014, lot 159 (The Property of a Lady) Private collection, England, until 2021 Born in Antwerp in 1603, Simon de Vos studied with the portraitist Cornelis de Vos (1603- 1676) before enrolling as a master in the Antwerp Guild of St. Luke in 1620. Subsequently, he is thought to have rounded off his education with a trip to Italy. Although undocumented, a sojourn in Italy during the 1620s is the only plausible explanation for the stylistic similarities that exist between some of his early genre scenes and those of the German-born artist Johann Liss (c. 1595-1631), who was in Rome and Venice at that time. In any event, de Vos was back in his hometown by 1627, the year in which he married Catharina, sister of the still-life painter Adriaen van Utrecht (1599-1652). He remained in Antwerp for the rest of his life. In his early career, Simon de Vos painted mostly cabinet-sized genre scenes. He specialised in merry company subjects, whose style and composition recall similar works by such Dutch contemporaries as Antonie Palamedesz. (1601-1673), Dirck Hals (1591-1656) and Pieter Codde (1599-1678). After about 1640, he turned increasingly to biblical subjects that show the influence of Frans Francken the Younger (1581-1642), Peter Paul Rubens (1577-1640) and Anthony van Dyck (1599-1641). -
O FULLETÓ SALA PANTALLA.Indd
Me hace especial ilusión presentar por primera vez en España la I am pleased to present the work of Mat Collishaw for the first time in obra de Mat Collishaw, uno de los artistas más significativos en el Spain. panorama internacional. One of the world’s most significant artists, he makes intelligent, Su mirada inteligente, crítica e incisiva nos habla de los temas critical work that addresses universal subject matter, drawing the universales de una manera muy personal que envuelve al visitor into a game of dualisms: beauty and cruelty, poetry and espectador en un juego de dualidades: belleza y crueldad, poética y provocation, light and darkness. provocación, luz y oscuridad. For this exhibition, we have carefully selected works that form a Las obras se han seleccionado cuidadosamente buscando un natural dialogue with the environment in which they are presented. diálogo natural con el entorno en el que se presentan. I would like to thank the Museo Nacional del Prado, Real Jardin Quiero agradecer la colaboración del Museo Nacional del Prado, Botánico and Blain|Southern gallery for their support. el Real Jardín Botánico y la galería Blain|Southern por su apoyo y I hope Dialogues will inspire in its audience the same admiration and aportación al enriquecimiento de nuestro proyecto. respect towards Collishaw’s work that I feel, as well as demonstrating Deseo que Dialogues despierte en el público la misma admiración our commitment to hosting future projects of this kind. y respeto que siento por la obra de Collishaw, y transmitir con ella Ana Vallés nuestra vocación de retorno. -
Heim Gallery Records, 1965-1991
http://oac.cdlib.org/findaid/ark:/13030/kt5779r8sb No online items Finding aid for the Heim Gallery records, 1965-1991 Finding aid prepared by Isabella Zuralski. Finding aid for the Heim Gallery 910004 1 records, 1965-1991 Descriptive Summary Title: Heim Gallery records Date (inclusive): 1965-1991 Number: 910004 Creator/Collector: Heim Gallery Physical Description: 120.0 linear feet(271 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: London gallery directed by Andrew Ciechanowieck. Records include extensive correspondence with museums, galleries, collectors, and other colleagues in Europe and the United States. Photographs document paintings, drawings, sculptures, and decorative art sold and exhibited by, and offered to the gallery. Stock and financial records trace acquisitions and sales. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note Heim Gallery London began in June 1966 with François Heim (from Galerie Heim, Paris, begun 1954) and Andrew S. Ciechanowiecki as partners. Ciechanowiecki served as director in London while Heim remained in France. The emphasis of the gallery was Old Master paintings, especially French of the 15th - 18th century, Italian paintings of all periods, and sculpture (marble, terracotta and bronze) from the Renaissance to the 19th century. The gallery was known for its scholarly exhibitions and catalogs. Between 1966 and 1989 the gallery presented exhibitions two to three times a year. The gallery did business with museums and individual clients in Europe and the United States. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
HNA April 11 Cover-Final.Indd
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. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) 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 Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions -
Illustrated and Descriptive Catalogue and Price List of Stereopticons
—. ; I, £3,v; and Descriptive , Illustrated ;w j CATALOGUE AND PRICE LIST- t&fs — r~* yv4 • .'../-.it *.•:.< : .. 4^. ; • ’• • • wjv* r,.^ N •’«* - . of . - VJ r .. « 7 **: „ S ; \ 1 ’ ; «•»'•: V. .c; ^ . \sK? *• .* Stereopticons . * ' «». .. • ” J- r . .. itzsg' Lantern Slides 1 -f ~ Accessories for Projection Stereopticon and Film Exchange W. B. MOORE, Manager. j. :rnu J ; 104 to no Franlclin Street ‘ Washington . (Cor. CHICAGO INDEX TO LANTERNS, ETC. FOR INDEX TO SLIDES SEE INDEX AT CLOSE OF CATALOGUE. Page Acetylene Dissolver 28 Champion Lantern 3g to 42 “ Gas 60 Check Valve S3 •* 1 • .• Gas Burner.... ; 19 Chemicals, Oxygen 74, 81 ** < .' I j Gas Generator.. ; 61 to 66 Chirograph 136 “ Gas Generator, Perfection to 66 64 Chlorate of Potash, tee Oxygen Chemicals 74 Adapter from to sire lenses, see Chromatrope.... 164 Miscellaneous....... 174 Cloak, How Made 151 Advertising Slides, Blank, see Miscellaneous.. 174 ** Slides 38010,387 " Slides 144 Color Slides or Tinters .^140 “ Slides, Ink for Writing, see Colored Films 297 Miscellaneous, 174 Coloring Films 134 “ Posters * *...153 " Slides Alcohol Vapor Mantle Light 20A v 147 Combined Check or Safety Valve 83 Alternating.Carbons, Special... 139 Comic and Mysterious Films 155 Allen Universal Focusing Lens 124, 125 Comparison of Portable Gas Outfits 93, 94 America, Wonders cf Description, 148 “Condensing Lens 128 Amet's Oro-Carbi Light 86 to 92, 94 " Lens Mounting 128 •Ancient Costumes ....! 131 Connections, Electric Lamp and Rheostat... 96, 97 Approximate Length of Focus 123 " Electric Stage 139 Arc Lamp 13 to 16 Costumes 130 to 152, 380 to 3S7 ** Lamp and Rheostat, How to Connect 96 Cover Glasses, see Miscellaneous ,....174 Arnold's Improved Calcium Light Outfit. -
Gemäldegalerie Der Akademie Der Bildenden Künste
Gemäldegalerie der Akademie der bildenden Künste Wien (Hg.): Rubens und die flämische Barockmalerei in der Gemäldegalerie der Akademie der bildenden Künste Wien Ein Begleiter für den Besucher, Wien: Akademie der bildenden Künste 2000, 167 S., EUR 23,00. Rezensiert von: Katlijne van der Stighelen Catholic University of Leuven The title of the book immediately explains the idea behind the initiative. The reader is given a selective summary of the holding of 17th-century Flemish art kept at the Vienna picture gallery ('Gemäldegalerie'). The subtitle specifies that the book was published as a guide for visitors to the exhibition. In the foreword, Renate Trnek explains that this catalogue has become a "Viennese version" of the catalogue published exclusively in Japan for the Millennium Exhibition which was staged in Tokyo, Nagoya and Kyoto. Although the title of this touring exhibition was "Rubens and his Time", the exhibits covered "a selection of superb works of European art from their holdings". A total of 72 paintings from the Viennese collection made the trip to Japan. This exhibition also provided an opportunity for appropriate restoration of the paintings to be loaned. The management of the 'Gemäldegalerie' did not want to pass up the opportunity to offer the Viennese public the chance to see for themselves the results of the substantial restoration work. Following this, a selection was made from the collection exhibited in Japan which would feature only works by Rubens and his Flemish peers. A total of 39 paintings were selected. Since little recent literature is available about this part of the collection from the 'Gemäldegalerie', the exhibition in Vienna also provided an opportunity to publish a German catalogue for this section of the fund. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Thesis, University of Amsterdam 2011 Cover Image: Detail of Willem Van Mieris, the Lute Player, 1711, Panel, 50 X 40.5 Cm, London, the Wallace Collection
UvA-DARE (Digital Academic Repository) Imitation and innovation: Dutch genre painting 1680-1750 and its reception of the Golden Age Aono, J. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Aono, J. (2011). Imitation and innovation: Dutch genre painting 1680-1750 and its reception of the Golden Age. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 Imitation and Innovation Dutch Genre Painting 1680-1750 and its Reception of the Golden Age Imitation and Innovation: Dutch Genre Painting 1680-1750 and its Reception of the Golden Age Ph.D. thesis, University of Amsterdam 2011 Cover image: detail of Willem van Mieris, The Lute Player, 1711, panel, 50 x 40.5 cm, London, The Wallace Collection. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/206026 Please be advised that this information was generated on 2021-09-26 and may be subject to change. 18 De Zeventiende Eeuw 31 (2015) 1, pp. 18-54 - eISSN: 2212-7402 - Print ISSN: 0921-142x Coping with crisis Career strategies of Antwerp painters after 1585 David van der Linden David van der Linden is lecturer and nwo Veni postdoctoral fellow at the University of Groningen. He recently published Experiencing Exile. Huguenot Refugees in the Dutch Repu- blic, 1680-1700 (Ashgate, 2015). His current research project explores Protestant and Catholic memories about the French civil wars. [email protected] Abstract This article explores how painters responded to the crisis on the Antwerp art market in the 1580s. Although scholarship has stressed the profound crisis and subsequent emigration wave, prosopographical analysis shows that only a mino- rity of painters left the city. Demand for Counter-Reformation artworks allowed many to pursue their career in Antwerp, while others managed to survive the crisis by relying on cheap apprentices and the export of mass-produced paintings. Emigrant painters, on the other hand, minimised the risk of migration by settling in destinations that already had close artistic ties to Antwerp, such as Middelburg. Prosopographical analysis thus allows for a more nuanced understanding of artistic careers in the Low Countries. Keywords: Antwerp painters, career strategies, art market, guild of St. -
Adriaen Thomasz. Key
adriaen thomasz. key (Antwerp c. 1544 - Antwerp, after 1589) Portrait of a Bearded Gentleman, Bust-Length, in a Black Doublet with a White Lace Ruff, Painted Oval signed ‘ATK’ (in ligature) and dated ‘1574’ (upper left), inscibed ‘AETA: 48’ (upper right) oil on panel 75.6 x 60.3 cm (29¾ x 23¾ in) Provenance: Anonymous sale, J. Fiévez, Brussels, 3-4 July 1919 [=1st day], ‘Catalogue d’une collection importante de tableaux anciens & modernes dessins provenant de la Galerie du vicomte Jacques de la L. et autres provenances’, lot 121, illustrated, as Antonis Mor; where acquired by Jules Porgès (1839-1921), Paris; with Jacques Goudstikker, Amsterdam, by 1925 (where recorded by Max Friedländer), no. 1446, as Antonis Mor; looted by the Nazi authorities, July 1940; recovered by the Allies, 1945; Institute for Cultural Heritage, Netherlands 1946-2006, inv no. NK 1906, as Frans Pourbus the Elder; restituted in February 2006 to the heir of Jacques Goudstikker; their sale, Christie’s, London, 5th July 2007, lot 24, as Frans Pourbus the Elder. Exhibitions: Utrecht, Centraal Museum, Kersttentoonstelling van werken van eenige oude schilderigen uit de collectie Goudstikker, 1925-1926, no. 17. Literature: Christopher Wright, Paintings in Dutch Museums. An Index of Oil Paintings in Public Collections in The Netherlands by Artists born before 1870, (Sotheby Parke Bernet, London, 1980), p. 373, as attributed to Frans Pourbus I; Old Master Paintings: An Illustrated Summary Catalogue, Rijksdienst Beeldende Kunst (The Netherlandish Office for the Fine Arts), The Hague, 1992, p. 243, no. 2106, illustrated, as Frans Pourbus (1); Koenraad Jonckheere, Adriaen Thomasz.