sign in sign up
<<
Home , Burrell Collection, Groninger Museum, Hotel Lobby, Ian Dejardin, Irina Antonova, Jeltje van Nieuwenhoven

codart Courant 4-5/December 2002

codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director 8 , : All the nl-1070 ka Amsterdam 2 An appeal to all codartmembers paintings online The 3 Visitors programs to the Netherlands and 8 Romania Flanders 8 Bucharest, Library of the Romanian Editors: Gary Schwartz 3 News from and about members Academy: Work visit by Catarina Wietske Donkersloot 3 Belgium Macovei to the Netherlands t +31 (0)20 3054 515 3 , Rubenshuis: Offer of 8 United Kingdom f +31 (0)20 3054 500 discount on purchase of exhib. cat. 8 Christopher Brown and Julia Lloyd e [email protected] Early Netherlandish drawings Williams knighted by Queen Beatrix 3 Brazil 9 , of codart board: 3 Recife, Albert Eckhout returns to : Offer of discount on Henk van der Walle, chairman Brazil, 1644-2002 purchase of exhib. cat. Drawing on Wim Jacobs, director of operations of the 3 Rio de Janeiro, Museu Nacional de Netherlands Institute for Cultural Belas Artes: codartexhibition of 10 codartactivities in 2002 Heritage (Instituut Collectie Dutch and Flemish paintings 10 Study trip to , 2-6 March 2002 Nederland), secretary-treasurer 5 Cuba 13 codart vijf: Early Netherlandish Rudi Ekkart, director of the Netherlands 5 Havana, Museo Nacional de Bellas art and its dispersal, 10-13 March 2002 Institute for Art History (Rijksbureau Artes: Report by Foundation for 14 Preview of the Rubenshuis exhibition of voor Kunsthistorische Documentatie) Cultural Inventory, Amsterdam, on early Netherlandish drawings, 12 June Jan Houwert, director of the Wegener project to repair, catalogue and 2002 Publishing Company exhibit Dutch and Flemish 17 Study trip to Scotland, 13-18 June 2002 Paul Huvenne, director of the Koninklijk paintings 25 codartactivities in 2003 voor Schone Kunsten, 6 25 codart zes: Collecting Dutch and Antwerp 6 Braunschweig, Herzog Anton Flemish art in New , Jeltje van Nieuwenhoven, member of the Ulrich-Museum: 250th anniversary 16-18 March 2003 Dutch Parliament in 2004, to be marked with 29 Study trip to Boston, 29 October – exhibition and the 3 November 2003 codartis an international council for passions 31 codartdocuments curators of Dutch and Flemish art. It 6 Dessau, Kulturstiftung Dessau- 31 Website news supports inter-museum cooperation in Wörlitz: live report on the flood 32 Membership directory the study and display of art from the 7 Publication on Oranienbaum 43 The museum list lowlands through a variety of means, 8 The Netherlands 48 codartdates including congresses, study trips, pub- lications and a website (www.codart.nl). The organization was founded and is aided by the Netherlands Institute for Cultural Heritage (Instituut Collectie Nederland). It enjoys the generous support of the Netherlands Ministry of Education, Culture and Science and the Ministry of Welfare, Health and Culture of the Flemish Community. codartcourantappears twice a year. This is a double issue. Contributions are welcome. codartcourantis designed by Typography Interiority & Other Serious Matters, Rotterdam issn1388 9559 codart Courant 4-5/December 2002 2 3 codart Courant 4-5/December 2002

A word from the Paternostro of our congress, museumgoers in An appeal to all Visitors programs to museum, you can save these additional works of art from the Netherlands preserved in Rio were enjoying their first view of all the charges. In that case, send a mail to Ria Van our country. director Netherlandish paintings in their own codart members the Netherlands and Bastelaere, and the book will be put aside for The Museu Nacional de Belas Artes is heir museum, from March to October 2002. This you at the ticket desk in the Rubens House. to a significant collection of Flemish and The low point in the codartyear to date was makes us all the more grateful to Ivan Gaskell In Boston on 12 August, in the course of a Flanders Carl Depauw Dutch paintings from the 16th, 17th and 18th undoubtedly 11 p.m. on the evening of for introducing Zuzana as a member and to preparatory meeting for codart zes: Rubenshuis, Antwerp centuries. One important source was the March 1st. Wietske Donkersloot and I were in the Netherlands Ministry of Foreign Affairs for Collecting Dutch and Flemish Art in New The governments of the Netherlands and Portuguese court, which moved from the Russian consulate in , waiting contributing toward her travel costs, along England, Ronni Baer mentioned in passing Flanders finance programs to subsidize visits brazil to Rio de Janeiro in 1808 as a result of the for the return of the consul and an assistant. It with those of 20 other visitors from econom- that she had arranged the loan of a painting to their countries by people working in Recife Napoleonic Wars. Regent Prince Dom João, the was 8 hours to check-in time for the study trip ically deprived countries. Because the from the for next year’s cultural and scholarly fields. Typically, a visit Albert Eckhout returns to Brazil, 1644-2002: later King John viof Portugal, brought with to Moscow, and the consulate had refused, for introduction to the brochure is of interest, exhibition via a direct approach to of this kind will last for a number of weeks and International Experts Symposium him art treasures mostly from the Ajuda and technical reasons, to issue visas for four of the an edited version of the text is included below. Vadim Sadkov, whom she had met through will be devoted either to a specific research On 13 and 14 September a major conference Mafra Palaces in the mother country. When he participants in the trip. Wietske and I had been Note too that the director, Heloisa Eleixo codart. project or to a tour of institutions related to was held in Recife to complement an returned to Lisbon in 1821, he left the art works in the consulate on the Laan van Meerdervoort Lustosa, is planning to restore the Dutch and that of the visitor. In addition, the exhibition on the artist Albert behind in Rio de Janeiro. Other works, among for over an hour and a half at that point. Like Flemish paintings in the museum and that aid I thought of this again while admiring the Netherlands Institute for Advanced Study in Eckhout, who worked in Brazil for Count the friends and allies to whom we turned for is being sought for this purpose. If you think website of the exhibition of Flemish still-life Wassenaar provides grants for research Johan Maurits van Nassau in the 1630s. ‘The help and advice, with the last ions of current there is a way you can help, contact Zuzana paintings at Villa Hügel in Essen. (This ambi- projects of longer duration. Grants from these main goal,’ states the program, ‘is to create on our cell phones, we were beginning to Paternostro at [email protected]. tious website is exemplary in several ways and sources cover travel and accommodation. new possibilities of understanding and to despair. I was calculating the damage to provides good low-resolution images you can codartmembers who wish to apply for a forward a critical view of the artist’s codartof not being able to take on the trip The cover of this Courant is adorned, as copy and use for yourselves. Do have a look: visit should contact Wietske Donkersloot at production. It will be an interdisciplinary two Dutch museum directors who were using announced in the previous issue, with the www.kgi.ruhr-uni-bochum.de/stillleben/ the Amsterdam office. event, including Brazilian and foreign scholars our study trip to make appointments with home page of the new website. At the members sitemap.htm.) I happen to know that the in the areas of history, art history, botany, colleagues in , and of not being able to meeting of codart vijfI said that one of exhibition contains loans from the Brukenthal zoology, anthropology, restoration and go myself. the reasons for the change was that the present Museum in Sibiu that the exhibition curator, News from and about conservation.’ And then, with no visible reason for the design could do with improvement. The vocal Alexander Wied of the Kunsthistorisches That the work of a Dutch provincial painter change, the consul stepped into the room with agreement from the audience was a bit of a Museum in , saw for the first time members could lead to such intense interest from a new gait and a smile on his face. He had blow to my pride as designer of the page, but during the codart vierstudy trip last specialists in so many fields in such a distant found a way around the problem and would there can be no question that the new page is a year. belgium location is a striking example of the continu- issue the visas. The rest of the Moscow study great improvement. By the time this issue of Antwerp, Rubenshuis ing impact of art from the Netherlands on trip was a breeze and a pleasure, filled for the Courant comes out, the new website should These are results of the kind we anticipated Exhibitions and exhibition catalogues world culture. The art historians and restorers Wietske and me with a sense of immense relief be in full operation. Those of you on the and hoped for in setting up codart. Early Netherlandish drawings from to among the speakers came from the National at having averted disaster. codart-l discussion list will be getting However, it does not speak for itself that they , 13 June-18 August 2002. Museum of Denmark (Barbara Berlowicz, The high point took place 11 and 12 days advance notice as we approach that stage. If in fact materialize. It is essential for the future On June 12th, a group of codart Mads Chr. Christensen, Bente Gundestrup and later. On March 11th we had begun the you have e-mail and are not on the discussion of codartthat they take place – and that members were admitted to a preview of the Inge Schjellerup), the Royal Collections of members’ meeting of codart vijf, and our list please let me or Wietske know. The list can they are acknowledged as a contribution of exhibition Early Netherlandish drawings from Jan Rosenborg and Amalienborg (Mogens attention was claimed by a first-time visitor to become an important instrument for keeping codartto your work. For the continuation van Eyck to Hieronymus Bosch. We had good Bencard), the (Quentin Buvelot a codartevent, Zuzana Paternostro of the each other up to date, and we would like it to of our subsidy from the Dutch and Flemish discussions with them and with Fritz Koreny, and Jørgen Wadum), the Pinacoteca do Estado Museu de Belas Artes in Rio de Janeiro. She had be as complete as possible. governments, we must be able to point to Georg Zeman and Léna Widerkehr, three of the de São Paulo (Marcelo Aráujo), the University brought with her 200 copies of a 12-page Gary Schwartz results of this and other kinds. four Viennese specialists who were guest of Miami (Rebecca Parker Brienen) as well as printed brochure with a checklist of the 51 curators and who wrote the catalogue. Svetlana Alpers and José Roberto Teixeira Leite. Dutch and Flemish paintings in her museum, This appeal is twofold: The Rubenshuis and Blondé nvwould like mentioning codarton the front and back – Please drop me a brief mail about all to offer the catalogue to codartmembers at Rio de Janeiro, Museu Nacional de Belas Artes covers. This in itself was exceptional and successful uses of the codartnetwork you a discount. The regular price is 42 euros for the Exhibitions and exhibition catalogues heartening. There was more, however. have made in your work over the past years. hardbound and 32 euros for the paperbound Pinturas Holandesas & Flamengas acervo Museu Between my non-existent Portuguese and – From now on, please mention in the prefaces edition. codartmembers can order the Nacional de Belas Artes. Exposição por ocasião do Zuzana’s imperfect English, a key point had or forewords of exhibition catalogues or other books from us directly for a discount of 30% – encontro de codart- Conselho Internacional dos been missed. Only the following morning, publications the ways in which codart 29.40 euros for the hardbound and 22.40 for the Curadores de Arte Holandesa e Flamenga (Dutch studying the brochure more carefully, did I contributed to your project, and send us a paperbound edition (6% taxes not included). and Flemish paintings in the National realize that it was not just a checklist for the photocopy of the acknowledgment (or a copy You can choose between the German, Dutch, Museum of Fine Arts. An exhibition on the holdings in Dutch and Flemish art. It of the catalogue). French and English editions. occasion of the codartmeeting – accompanied an exhibition that the museum All you have to do is send an e-mail with International Council of Curators of Dutch was holding to mark codart vijfand your mail address to Ria.vanbastelaere@ and Flemish Art). The following text is adapted Zuzana’s visit to it. In the past, codartstudy blonde.be or a fax to +32 3 320 95 09, indicating from the preface to the brochure of the trips had been honored with special your choice of edition and language. If you exhibition. exhibitions of Dutch and Flemish paintings, wish to have the book shipped to you, there drawings and prints. This was however the will be a charge for packaging and shipping, An exhibition in honor of codart. In (attributed), Saint Claire. Oil on wood, first time that codarthad inspired an varying from 6.82 to 13.63 euros depending on displaying the Dutch and Flemish part of its 79 x 29 cm. Museu Nacional de Belas Artes, Rio de Janeiro. exhibition unrelated to an initiative of our where you live. collection, the mnbawishes to provide the Donated to the museum by F.J. Fialho in 1859. own. Thanks to the attendance by Zuzana Photo Bert Nienhuis, Amsterdam. If you are able to pick up your copy at the public with an opportunity to see these rare Photo Antonio Caetano. codart Courant 4-5/December 2002 4 5 codart Courant 4-5/December 2002 them paintings by Flemish and Dutch mentioned without artist or title in the annual in 1941. The last of our eight Frans Posts was collection of Dutch and Flemish paintings bunkers where it was stored, and wanted to collection. masters, were brought in 1816 by a French report on the year 1860 of the Imperial Fine purchased in 1949. In the same period, the on display for the Brazilian public. know when we could come to inventory its 175 – Assess the environmental conditions in artistic mission headed by Joachim Lebreton. Arts Academy (Academia Imperial de Belas Brazilian government also bought for the Dr. Zuzana T. Paternostro Dutch and Flemish old masters. which the collection is exhibited and/or Lebreton (1760-1819), who was the chief Artes - aiba). In 1874 another set of paintings museum a village scene by David Teniers Museu Nacional de Belas Artes, Rio de Janeiro It took us three months to finance and stored. curator of the under Napoleon, that had been owned by Lanciani were bought (1610-1696) and a painting of swans and organize our expedition to Havana. Our team - Advise on and assist in a restoration brought over about 60 paintings, drawings by the Academy from Angelo Rosea. These peacocks by Melchior Hondecoeter (1636-1695). cuba was composed of the art historian Bernard campaign. and prints by various European artists. He also were mostly Italian paintings, but they also Finally, in 1956 the monastery of São Bento in For six years, the Foundation for Cultural Vermet, the restorer Michel van der Laar, and – Help the museum acquire the necessary established a program for art education that included a pastoral party by the Flemish artist Rio de Janeiro donated a painting by Frans Inventory (sci) has been in contact with the myself, as director of the Foundation for know-how to preserve and manage the later became the Royal (afterwards the Gillis (Egidius) Van Tilborgh (1625-1678). Francken the Elder (1542-1616), Esther before Museo Nacional de Bellas Artes in Havana Cultural Inventory. We travelled to Havana on collection. Imperial) Academy of Fine Arts. At the Among the other Flemish and Dutch Ahasuerus, from a series of paintings concerning its holdings in Dutch and Flemish the 6th of December and were met by the – Expand our research and publish it in a academy, the Dutch and Flemish paintings, paintings donated in the 19th century was a illustrating the Book of Esther. art. Some of the main pieces from the newly appointed director, Mrs. Moraima proper catalogue. along with the Italian ones, served as models 15th-century altarpiece panel of St. Claire From the time of its founding, the Museu collection were known to us from a volume on Clavigo Colon, and curator Maria Rippe Moro. – Help organize a travelling exhibition in for generations of Brazilian artists in training. variously attributed to Nacional de Belas Artes has engaged in the highlights of the collection The National We stayed as guests of the museum in Hotel Europe and Asia to bring the highlights of the The paintings in that collection were a mixed (1433-1494) and, with greater likelihood, Joos research concerning its paintings. Museum of Cuba: paintings, published in 1978 in Ingleterra, Havana’s oldest hotel, built in 1875 collection to a wider audience. bag, but they did include several valuable van Cleve (1480-1540). Other important Dr. Lygia Martins Costa, curator in the 1940s Leningrad by . in Spanish-Moorish style. There we set up a The Netherlands Institute for Cultural pieces, such as a Pegasus by Jan van Boeckhorst acquisitions included a flower still life by Jan and 50s, corrected many of the earlier attri- There was however no published one-week campaign to perform our work. Heritage (icn) made a generous offer to (1604-1668), two still lives by the Bruegel Breughel the Elder (1568-1625) donated in 1880 butions of our Flemish and Dutch paintings information on the complete collection of In a logistically precise operation, each support the project. At its expense, the director family and the imposing portrait of Count by the diplomat Salvador de Mendonça and and studied techniques to preserve them Dutch and Flemish art, which originated morning a truck full of paintings arrived at the of the Limburg Institute for Restoration Johann of Nassau-Siegen. two companion portraits by Michiel Mierevelt better. partly in the 19th century through donations museum and each evening it was re-loaded (sral), Anne van Grevenstein, was sent to Publications issued by the Academy (1567-1641) of an aristocratic Dutch couple In the 1960s, under the directorship of Prof. from the Spanish governors and partly in the and the works sent back to the storage bunker. Havana to investigate the level of preservation provide a source for identifying the early received the following year from Claudio José Roberto Teixeira Leite, the museum was first half of the 20th century through From eight in the morning to six in the and restoration in general. She visited the holdings. A catalogue published in 1836 lists S. Vicenzi. In the 20th century donations were visited by Dr. Michel Laclotte, director of the purchases and donations of wealthy Cuban art evening we photographed the paintings and main restoration institutes in Cuba from 22 to 115 European pieces, of which more than 20 received from the Barão de São Joaquim (1922), Louvre. He reviewed our attributions then and collectors. New acquisitions were hardly made drafted preliminary descriptions, condition 29 November 2000 together with the director were surely made by Dutch and Flemish including an Earthly paradise by Roeland Savery again in the 1980s. Among the other experts in the past forty years. The Cuban government reports and recommendations for restoration. of the Foundation for Cultural Inventory, Lia artists. Although the authors’ names are (1576-1639). In 1924 three paintings on copper, from abroad who have contributed to our has shown interest in the museum, which has These materials would be shown on our return Gorter. misspelled, we can identify pieces by Adam attributed to Willem van Herp (1657-1729), knowledge concerning our Flemish and Dutch rich holdings in Western European and to various specialists in Europe. Based on the results of this trip, we made Frans van der Meulen (1632-1690), Cornelis de were given to the Academy by Cyro de Azevedo. paintings are Dr. Karl Schütz (Austria), Cécile American art, but it did not show particular Each day brought fresh surprises. The 16th two suggestions to the director of the Museo Heem (1631-1695), Daniel Seghers (1590-1661) In 1937, with the founding of the Museu Scailliérez (France), Dr. Ian Kennedy (usa), concern for the Dutch and Flemish collection. and (mainly) the 17th centuries are well Nacional: and (1577-1640), among Nacional de Belas Artes, the collections of the Dr. Ulrike Klinger, Dr Ursula Härting, In April 1998 the director of the Foundation represented with works by masters such as – A workshop for ten restorers in Havana. others. In the course of the 19th century, the Academy became the basis for the new Dr. Mary Newcome-Schleier, Dr. Erich Schleier met the curator of Dutch and Flemish , Gerard de Lairesse, Anthony – A travel fellowship for two young Cuban influence on Brazilian artists of the French, museum. (Germany) and Dr. Hana Seifertová (Czech paintings, Maria del Carmen Rippe Moro, in van Dyck, Gerard Honthorst, Nicolaes restorers to receive additional training abroad Italian, Flemish and Dutch schools grew in The first of our eight paintings by Frans Republic). the museum in Havana. At that moment, Berchem and Willem van Mieris. The latter, for focused on the restoration of Dutch and depth. The collections too grew richer, Post was a gift from the Dutch government in The ongoing study in the Museu Nacional however, the museum was under example, is represented by a family portrait on Flemish paintings and on the preservation of especially with the acquisition of two 1922. In 1944 the museum received five more de Belas Artes of our Flemish and Dutch reconstruction and the collection had been panel, of which the renowned portrait collections. important sets of paintings. The first consisted paintings by the master that had belonged to paintings is one of the more lively areas of moved into storage for a period of several years. specialist Rudi Ekkart, director of the At the same time we started looking for of 11 paintings brought to Brazil by the Roman Djalma da Fonseca Hermes, whose collection research in our museum. For this reason we We were able to see the paintings, from the Netherlands Institute for Art History (rkd), sponsors to send two Dutch restorers to merchant Cesare Lanciani. These works are had been bought by the Brazilian government welcome the new possibilities for 15th till the 20th century, only on the museum wrote to us: ‘A highly attractive work by the Havana. Sluis Cigars and Fondel Metal communication, both by Internet and at computer. Leiden painter Willem van Mieris, made rather Participations, Dutch firms with a congresses, with the members of codart, Maria Rippe Moro was eager to catalogue early in his career. The painting has an old longstanding trading tradition with Cuba, the International Council for Curators of and publish the Dutch and Flemish paintings pedigree since it has already been described in donated the money for this part of the project. Dutch and Flemish Art. In honor of the in her care, but did not have the necessary the catalogue of the Auction J. van der Linden Two Dutch restorers, Jos van Och and Bianca codart vijfmeeting now taking place in background, reference materials and time to Slingeland (see Hofstede de Groot, van Velzen, worked from the 11th of April to the cities of Maastricht, Brugge and Antwerp, accomplish this task. With the help of the Beschreibendes und kritisches Verzeichnis der Werke the 10th of May 2001 with ten young restorers we are therefore putting our complete Prince Claus Fund and codart, we were able des hervorragendsten Holländischer Maler des xvii. on the Dutch and Flemish collection in the to bring her regularly to the codart Jahrhunderts, Bd. x, Stuttgart/ 1928, p. 183, Museo Nacional in Havana. meetings from 1999 on. In the codart drie no 294).’ The painting was donated to the As a result of these efforts, 33 paintings meeting in Antwerp in 2000, she showed a slide Museum in 1956 by the famous Cuban art were cleaned. The yellowed varnish was presentation of 20 paintings from her collector Julio Lobo. It was evident to us that removed from the surface and the frames were museum. This was an appetizing beginning, the Havana collection of Dutch and Flemish cleaned of their muddy brown paint. Thanks but it did not satisfy our need for solid paintings was valuable both from an artistic to our newly-gained knowledge of the information. and a historical point of view. collection it was possible to have two panel The first challenge was to improve the paintings of the Tower of Babel lent to the In 1996 our Foundation had already submitted conditions under which the paintings are exhibition Pieter Brueghel the Elder, master a request to the museum for permission to preserved. They are all dirty and some are in draughtsman, in the Boijmans Van Beuningen visit Havana and inspect the paintings. For need of emergency repair. Museum (24 May-5 August 2001), where a Roeland Jacobsz. Savery, Earthly Paradise, Oil on wood, Frans Janszoon Post, Landscape of várzea. Oil on wood, three years we heard nothing. Then, out of the This situation prompted us to take the special section was devoted to the concept of 55 x 91 cm. Museu Nacional de Belas Artes, Rio de Janeiro. 38 x 57,2 cm. Museu Nacional de Belas Artes, Rio de blue, on the 8th of September 1999, a initiative and simultaneously start several the Tower of Babel in the 16th century. Both Donated to the museum by the Barão de São Joaquim. Janeiro. Donated to the museum by the Dutch peremptory invitation arrived. The museum activities: paintings needed specialist treatment to Photo Antonio Caetano. government in 1922. Photo P. Cruz. was ready to remove the collection from the – Produce an illustrated inventory of the loosen and repair the backing boards. After the codart Courant 4-5/December 2002 6 7 codart Courant 4-5/December 2002 exhibition the paintings were kept in the Institute for Art History, we developed a plan there will also be an international colloquium all the furniture, paintings etc. from the cellar stadholder and his German wife. On the basis 16. Jahrhunderts und vor allem mit Bauten des Netherlands while we awaited a reaction to to realize this project. We hope to be able to on the same subject which will be held and the parterre to the first floor. On of archival research and the study of 17. Jahrhunderts in den Niederlanden in our application to the Getty Trust to train two appeal to the knowledge and perhaps active together with the Herzog August Bibliothek Wednesday we moved on to the Gotisches architectural treatises, Bechler has Beziehung gestellt. Diese vergleichende restorers for six months at the Limburg cooperation of codartmembers in the and in collaboration with the Dortmund Haus and Schloss Wörlitz, emptying them reconstructed the painting program. One of Betrachtung verdeutlicht die wichtige Rolle Institute for Restoration in Maastricht. course of our work. University’s Institute of Art and Art Didactics. entirely with a large group of people. Even the the sources is the tradition of the ‘femmes des niederländischen Baumeisters Ryckwaert Fortunately the application was approved. Any reader of the Courant who has been to For some time now the arts and the doors were dismantled and we thought of fortes’ forged for the French queen-widows. als Übermittler des holländischen On the first of March 2002 the restorers Havana and seen the collection or who has any humanities have concentrated their research doing the same with the parquet floors. The interior of Oranienbaum is related to Klassizismus nach Anhalt. Ein weiteres were able to begin their course, working on the information concerning matters of on the emotions and passions. Peter Paul Schloss Mosigkau and Schloss other Orange palaces and mansions in the Ergebnis ist die Darstellung einer neuen two panels as well as four paintings on canvas provenance or other information is kindly Rubens’ work lends itself ideally for this Oranienbaum were not in danger. Although Netherlands and Germany, mainly the Baugeschichte anhand von Quellenstudien in from their museum. As it happened, the requested to get in touch with us. subject to be dealt with for the first time the Bauhaus, the Meisterhäuser and the Oranjezaal in Huis ten Bosch, Oranienburg, Übereinstimmung mit den Befunden einer canvases arrived at the beginning of the Lia Gorter, Director, Foundation for Cultural within an exhibition. Surrounded by the Georgium were at great risk because of their Oranienstein and Oranienhof. Seen in this von Restauratoren durchgeführten tefaf. Chubb Masterpiece, the main sponsor Inventory, Amsterdam effects of war, radical cultural changes and locations, they too were spared flooding. context, it fits into a larger political program of Bauforschung und davon unabhängigen of tefaf, offered part of their stand to show [email protected] personal disasters, Rubens created a visible As far as the main buildings themselves go, the Orange family in the stadholderless dendrologischen Untersuchungen. Beide all six paintings before restoration. The compendium of human passions. His pictures we had lots of luck. Water flowed into the period, beginning with Amalia von Solms and erfolgten im Auftrag der Kulturstiftung training course was co-supervised by the head germany reflect and characterise in many ways the cellars of the Luisium and Schloss her daughters and ending in the first part of Dessau-Wörlitz. Aus den Quellen ging auch of the technical staff of the Museo Nacional, Braunschweig, Herzog Anton Ulrich-Museum adjustments and strategies needed to deal Großkühnau, but only technical equipment the 18th century. hervor, dass die Bauherrin ihr Schloss Oscar Anuña, who visited the Netherlands and Exhibitions and exhibition catalogues with the new epoch. Rubens’ many-layered was destroyed. Worse damage occurred in the prunkvoll mit Leder- und Stofftapeten, Delfter Belgium for three weeks in July 2002. During As one of Europe’s oldest , the work is an excellent choice, since it focuses on gardens of the Luisium and the Wörlitzer The German-language abstract gives a Fayence, Möbeln, unter anderem Lackarbeiten this stay he was able to see several restoration Herzog Anton Ulrich-Museum, Art Gallery of recent research into the whole subject of the Anlagen, and some buildings on and near the better idea of the contents. und Silber aus Übersee sowie mit Gemälde- studios and museums and to attend the the State of Lower Saxony, will be celebrating emotions in the Baroque era for experts while walls were destroyed. The damage is estimated Schloss Oranienbaum: Architektur und programmen mit Angehörigen der oranischen Amsterdam-Maastricht Summer University its 250th anniversary in 2004. Besides at the same time offering the general public at about 10 million euros, which will be hard Kunstpolitik der Oranierinnen in der zweiten Hälfte Familie ausstatten ließ. Viele Einrichtungs- course The painters palette in the 16th and 17th numerous other events and publications, direct visual access to these very aspects. to raise, since our financial situation before the des 17. Jahrhunderts Kunsthistorische gegenstände wurden der gebürtigen century: pigment preparation and painting three important exhibitions will present Depictions of the passions will be grouped floods was already disastrous. Dissertation von Katharina Bechler, Dessau oranischen Prinzessin während Jahrzehnten technology (9-17 July 2002), which paid various aspects of the museum and its into three areas in which Rubens’ work ranged Fortunately, none of my colleagues or bei Herrn Professor Dr. Robert Suckale, vom statthalterlichen Hof in Den Haag nach particular attention to the specific problems of collections. impressively over the deep feelings of ‘Love, myself suffered much harm in our homes, Technische Universität . Dessau geschickt. Die reiche Innenausstattung Dutch and Flemish paintings. An exhibition entitled Rubens and the Desire, Rapture’ via ‘Fear, Anger, Triumph’ to although some parts of Dessau and some Die Arbeit besteht aus einer kunst- bildete einen großen Kontrast zur äußeren On the first of September 2002 the two Baroque Passions, intended as the highlight of ‘Suffering, Faith, Charity, Hope’. The villages near Wörlitz are till today covered by a historischen Untersuchung des Schlosses schlichten Gestaltung der Fassaden. Eine Cuban restorers completed their training and this celebration, is currently in preparation exhibition will then proceed to the ‘Studio of meter and a half of water. Oranienbaum in Anhalt sowie der Gemeinsamkeit verband jedoch das Außen were qualified to undertake the preservation and will be presented from August to October Passions’. Drawings, oil sketches and other In Wörlitz and its garden and most parts of Einordnung des Gebäudes innerhalb der und Innen des Gebäudes, die Verwendung von and restoration of the Dutch and Flemish 2004 in the gallery’s first top-lit room and in documents concerning his working process Dessau the 200-year-old walls were able to Bauten der oranischen Familie während des Orangen auf Klappläden, als Muster auf paintings in Havana. They returned home the two rooms for special exhibitions in the will demonstrate the special means, methods withstand the water, but only because 17. Jahrhunderts in den Niederlanden und in Stoffen und Tapeten sowie auf Kaminplatten with the six paintings they worked on, which museum’s main building. In view of the and principles by virtue of which Rubens thousands of people (included myself) worked deutschen reformierten Fürstentümern. Den als familiäres Emblem. included, beside the two Towers of Babel special ranking which our museum’s art realised his painting of the passions. The day and night for several days on end to Hintergrund und die Folie des methodischen Die aus den Quellen hervorgehende attributed to Maarten van Valckenborgh and gallery enjoys, this subject is clearly an ideal exhibition is completed by works in which the strengthen them. We were also lucky because Ansatzes der Dissertation bilden die politisch- Demonstration des oranischen Familien- Jacob Grimmer, a Kermis from the hand of choice. It also reflects two traditional areas of master tried to lead his harassed on those days we had no rain in these days and konfessionellen Konflikte im Europa des bewußtseins führte zu einer vergleichenden David Teniers de Jonge and a rare portrait of special interest within what was once a ducal contemporaries to ‘Peace of Mind and because we had three days to prepare the walls 17. Jahrhunderts sowie die Netzwerke Betrachtung des Bauwerks mit den Schlössern attributed to Karel Dujardin. collection: a general preference for historical Stability’. At this point the directly moving before the water came from Dresden and kalvinistischer Territorien und Familien, zu der Mutter und der Schwestern Henriette Without any doubt the other collections in the subjects and for collecting Baroque art from and calming or regulating effect of the Prague. welchen auch Anhalt, Nassau und die Oranier Catharinas, welche einheitlich den Namen Museo Nacional will benefit from their future the Netherlands. It seems fitting that it will be painting of passions becomes itself the subject. Wolfgang Savelsberg gehörten. Der oranische Hof in Den Haag Oranien tragen: De Sael van Orange nahe Den work. here in Brunswick that Peter Paul Rubens’ It is the directness of this effect across epochal Kulturstiftung Dessau Wörlitz erhielt durch das Einheiraten prominenter Haag (1645-1647) von Amalia von Solms (1602- Fundraising has been difficult for this work will be approached anew, since the borders that gives the work of Peter Paul Posted to codart-lon 28 August 2002. und politisch ambitionierter Glaubens- 1675), Oranienburg (1650-1652) nördlich von project because the economic blockade of Cuba Herzog Anton Ulrich-Museum possesses not Rubens that lasting topicality to be presented flüchtlinge wie Louise de Coligny und Amalia Berlin der Kurfürstin Louise Henriette (1627- by the United States makes it almost only outstanding paintings and a number of soon to our senses by the Brunswick Better news also reached us from the von Solms grundlegende Impulse für die 1667) und Oranienstein (ab 1672) nahe Diez impossible for international corporations to drawings by the great Flemish master but also exhibition. Kulturstiftung Dessau Wörlitz, concerning Einrichtung und Etablierung einer von Albertine Agnes von Nassau-Diez (1634- make contributions to institutions or causes examples of almost all of the printed œuvre. A Dr. Nils Büttner the publication of a prime document in the repräsentativen Bautätigkeit und 1696). Das Oranjewoud Albertine Agnes’ im on the island. To overcome this problem we committee of external as well as in-house Herzog Anton Ulrich-Museum, Braunschweig codart eentheme, The collections of internationalen Hofkultur. Die Bauprojekte niederländischen (ab 1676) wird intend to organize a cultural trip to Cuba for experts has been formed to plan and prepare Frederik Hendrik and Amalia van Solms and und das Hofleben des Statthalters Friedrich aufgrund der schlechten Überlieferung wealthy people at the end of January 2003. The the exhibition: Prof. Dr. Jochen Luckhardt Dessau, Kulturstiftung Dessau Wörlitz their dispersal. Our member Katharina Heinrich und seiner Gemahlin Amalia von lediglich gestreift. Das Oranienhof der project benefitted greatly from the support of (Braunschweig), Dr. Nils Büttner (Dortmund), Flooding in Dessau and Wörlitz Bechler has published Schloss Oranienbaum: Solms, wurden später zum Vorbild für die jüngsten Schwester Maria von Pfalz-Simmern the Ambassador of the Netherlands in Cuba, Dr. Ulrich Heinen (Köln), Dr. Andreas Vetter The catastrophe began on Tuesday the 13th of Architektur und Kunstpolitik der Oranierinnen in Bautätigkeit ihrer Töchter in Deutschland und (1642-1674) nahe Bad Kreuznach war ein Mrs. C. Minderhoud, and her Cuban colleague (Braunschweig), Prof. Dr. Barbara Welzel August, when the fire department warned the der zweiten Hälfte des 17.Jahrhunderts im niederländischen Friesland. vormaliges Augustinerinnenkloster, welches in the Netherlands, Mr. Elio Rodriguez (Dortmund). Kulturstiftung Dessau Wörlitz to expect (Oranienbaum Castle: architecture and art Eines davon, der von der Fürstin Henriette sie bewohnte. Die Einheitlichkeit der Schloss- Perdomo. A tight concept, in keeping with its title, extraordinarily high water in the Mulde River policy of the princesses of Orange in the second Catharina von Anhalt-Dessau errichtete bauten mit einander ähnlichen Innenaus- We hope to be able to continue our research will give the Brunswick exhibition an within a day and in the Elbe a day after that. half of the 17th century). Landsitz Oranienbaum stellt den ersten stattungen führte zur Interpretation des on the Dutch and Flemish collection and to independent, clearly defined profile of expert The situation was especially threatening to The book is a trade edition of her doctoral Hauptuntersuchungsgegenstand dar. Die Bauprogramms als einer politischen Strategie publish a collection catalogue by the end of interest within the spectrum of exhibitions on Dessau, which lies at the juncture of those two dissertation. It deals with the architecture and architektonische Gestaltung des von dem der Oranierinnen in der statthalterlosen Zeit 2003. Together with the Netherlands Institute Rubens planned for 2004/2005. Therefore the flooded rivers. We decided to start our own the artistic treasures of Oranienbaum, which niederländischen Baumeister Cornelis zur Sichtbarmachung einer lebendigen for Cultural Heritage, the Limburg project will not only include a lavishly salvage operation in the Luisium. On Tuesday was founded by Henriette Catharina of Ryckwaert errichteten Bauwerks wird anhand oranischen Dynastie, bis Wilhelm iii. die Restoration Institute and the Netherlands illustrated catalogue but, in October 2003, afternoon, working into the night, we brought Anhalt-Dessau (1637-1708), daughter of the von Vergleichen mit Architekturtraktaten des Statthalterschaft antreten konnte. Die codart Courant 4-5/December 2002 8 9 codart Courant 4-5/December 2002

Initiatorin war die Witwe des oranischen specialist in Rembrandt’s etchings to whom here in the United Kingdom and of the Edinburgh, National Gallery of Scotland Statthalters Friedrich Heinrich, Amalia von Ger Luijten introduced me has agreed to check cultural relations between our two countries.’ Exhibition and exhibition catalogues Solms. Ihr Witwensitz, der Sael van Orange my conclusions on the basis of digital images To Christopher Brown Ambassador Baron Rubens was one of the most inventive and fungierte in ihrem Programm als ‘Mutterbau’, of our prints that I will send to him together Bentinck van Schoonheten said: ‘It has pleased prolific artists in the history of Western art. He die Schlossbauten ihrer Töchter als with my catalogue entries. Queen Beatrix to appoint you a Commander in produced a huge body of work that ‘Filiationen’. Sie stellten somit eine fiktive First-hand inspection of the prints in the the Order of Orange-Nassau… You are without encompassed portraiture, allegory, religious Expansion des Hauses Oranien in einer Rijksmuseum was also necessary to acquire a any doubt one of the leading art historians of painting and landscapes, as well as designs for politisch äußerst prekären Situation dar. Das clear understanding of the techniques of the world specialised in Dutch paintings of the books, ornaments and prints. After his early Bauprogramm wurde von zwei Angehörigen ‘counterproof’ and ‘maculature’ and what 17th century, the period we call the Golden Age training in Antwerp, Rubens spent formative der folgenden Generation, dem preußischen such objects look like. This information too is of Dutch art. In the United Kingdom you are periods in Italy between 1600 and 1608. The König Friedrich i. und Henriette Amalie von necessary in order to describe our collection without any doubt the supreme authority on catalogue Rubens: drawing on Italy, published to Nassau-Diez fortgesetzt. properly. this subject. You have made enormous efforts accompany an exhibition being held at the Publisher: mdv, Am Steintor 23, d-06112 Halle (Saale) The following stage of my research involves to promote the knowledge and appreciation of National Gallery of Scotland in Edinburgh and f 00 49 345 / 233 22-66 the completion of a catalogue of Rembrandt’s Dutch paintings of this period. You have been the Djanogly Gallery in Nottingham, explores isbn3-89812-097-x, nr. 4 in the series Studien zur etchings not only in the Romanian Academy involved in nearly every exhibition in the uk the ways in which Rubens studied, copied and Landesgeschichte Library but in all Romanian collections. Some and also in many exhibitions in the adapted the work of Italian artists. Included 248 pages, with numerous photos in color and of these prints will be of interest to Netherlands and elsewhere’. will be a large group of drawings by Italian black-and-white international specialists, such as a 17th- ‘…You have also written a great number of artists, many of which were owned by Rubens 26 euros century printing on vellum of The woman books and catalogues. Of your many books, I and extensively transformed by him. They bathing her feet in a brook and the rare Le lit a la just want to mention Dutch paintings, show how Rubens’s dialogue with Italian art netherlands française. published in 1993, Rembrandt, published in went far beyond mere imitation and how his Amsterdam, Rijksmuseum A second objective of my work visit was the 1990, Carel Fabritius, published in 1981 and copies and adaptations attracted the attention Under the title Alle schilderijen van het study of Dutch and Flemish drawings for a Scenes of everyday life in 17th-century Holland, of scholars and collectors from his own Rijksmuseum online, the Rijksmuseum has future travelling exhibition, ‘Dutch and published in 1989. You have actually mastered lifetime onwards. This intriguing book has made a complete summary catalogue of the Flemish drawings in the National Museum of the in order to be able to read been written by one of the foremost Rubens Peter Paul Rubens after , Diana and Callisto. This paintings available on Internet. It is still in Art of Romania in Bucharest and other the Dutch literature written about our scholars, Jeremy Wood, in the department of monumental painting (186 x 198 cm.) from the collection development, and not all the material is up, Romanian collections.’ This catalogue will painters. You even serve in the community of History of Art in Nottingham University, who of the Right Hon. Earl of Derby was in the exhibition but what there is, is very impressive. You offer researchers the first survey of Dutch and the University College to promote is writing the volume on Rubens’s retouched Rubens: drawing on Italy, which participants in the cannot browse from item to item, but have to Flemish drawings in this part of Europe. studies of the Dutch language and culture.’ Italian drawings for the Corpus Rubenianum. Scotland study trip saw in Edinburgh. request an object via a search form. It is very A third objective could only partially be And to Julia Lloyd Williams: ‘It has pleased Rubens: drawing on Italy fast, and the scans that I have seen are accomplished due to lack of time. This Queen Beatrix to bestow upon you the award Jeremy Wood spectacular. This will be an invaluable tool for concerned the Italian drawings from our of Knight in the Order of Orange-Nassau… You 110 illustrations (30 in colour) all of us: The service is still in a pilot stage, and collection, some of which I am inclined to have received this award for everything you 300 x 245 mm 88pp the museum would appreciate feedback. We attribute to a Flemish master. It is to be hoped have done as curator of Dutch and Flemish art paperback £14.95 will be helping ourselves by providing it. By all that this project can be undertaken on a future at the National Gallery of Scotland. You have isbn1 903278 31 7 means go to http://token.rijksmuseum.nl/. occasion. lectured on the work of many great Dutch Available to codartmembers at the special price of Gary Schwartz Last but not the least, the visit enabled me painters and you have been instrumental in £10.00 plus postage and packing (£5.00 to Europe and to consult literature that is not available in the organisation of a number of important £6.00 to usa) from: romania Romania. This includes such basic materials as exhibitions, in particular exhibitions that have Publications Department Bucharest, Library of the Romanian Academy Bartsch, Hollstein, Master Drawings and Old emphasised the many links between the National Galleries of Scotland Through the auspices of codartand the Master Drawings, without which no serious Netherlands and Scotland. I would like to The Dean Gallery Netherlands Museum Association, I was able research can be completed. I also had contacts mention here The tulip and the thistle, a title that Belford Road to come to the Netherlands, with funding with Charles Dumas of the Netherlands has a special appeal for me. Edinburgh eh4 3ds from the visitors’ program of the Netherlands Institute for Art History, who offered help and ‘…Your most recent achievement, of which t + 44 (0) 131 624 6257 | 6259 | 6261 Ministry for Education, Culture and Science, support organizing an exhibition of Dutch we still think with admiration and gratitude, f + 44 (0) 131 315 2963 for a brief research campaign from 28 February and Flemish drawings. is the exhibition Rembrandt’s women, which was [email protected] to 10 March 2002. During this period I worked It is my hope that my research, when on show first in Edinburgh and then in the at the printroom of the Rijksmuseum on completed, will add to our knowledge of Royal Academy of Arts here in London. It was a Rembrandt’s etchings of the Old and New Rembrandt’s work. magnificent exhibition. Queen Beatrix came to Testament, self-portraits, nudes and portraits. Catalina Macovei Edinburgh to see it and was very much The head of the printroom, Ger Luijten, kindly Library of the Romanian Academy, Bucharest impressed indeed!’ received me and introduced me to a specialist The ambassador closed his encomium with in Rembrandt’s etchings. united kingdom the words: ‘…I invite you to join me in a toast to When Rubens acquired this drawing of Prudence from One purpose of this campaign was to clarify General news the health of our new Commander and our the Raphael studio, he expanded the sheet on the left and a few problems concerning the states of On June 12th, at the Netherlands Embassy in new Knight in the Order of Orange-Nassau.’ bottom and reworked the allegorical figure here and Rembrandt’s etchings in the library of the London, our members Christopher Brown and codartinvites you to do the same. there. From exhib. cat. Rubens: drawing on Italy, Romanian Academy. Only by studying the rich Julia Lloyd Williams were admitted to the Edinburgh (National Gallery of Scotland). The National collection in the Rijksmuseum was it possible Order of Orange-Nassau ‘for their excellent Gallery of Scotland also happens to be the owner of the to place our impressions properly. The services to the promotion of Dutch culture drawing. codart Courant 4-5/December 2002 10 11 codart Courant 4-5/December 2002

codartactivities American paintings. Natalia is his successor with no mention of her attendance of a statesman and diplomat, director of the palace and theater were then unfortunately were shown some Yusupov manuscripts in the printroom. codart tweein Amsterdam and the fact Hermitage and the Armoury Chamber, closed, the collections warehoused in a wing, and items from the rare book collection. in 2002 The catalogue comprises 627 numbered that she delivered there her first public lecture a connoisseur and patron of art’ (a quotation and both buildings severely damaged by The walk through the snowy woods on the entries. In the exhibition 280 sheets were in the Netherlands. from the Hermitage website: www.hermitage- total neglect under Russia’s severe climatic estate provided us with a taste of the late Study trip to Moscow, 2-6 March 2002 chosen for a display mounted on the gallery Dr. Antonova’s presence in the museum museum.org/html En/04/hm4 1 13.html), conditions. The theater’s external staircase Russian winter. The small group that came on the study trip around a monumental stairwell, running over was noticeable in another way as well. The was dispersed over the various city palaces and has rotted away, blocking entry, and exterior to Moscow was well rewarded. Thanks to the into a large room adjoining the stairwell. main hall was set up with a stage, chairs and country estates of the family. The collection plasterwork everywhere has suffered. The study trip took us otherwise to advance preparations of Lia Gorter of the Although the exhibition predictably had to be cameras for a television program with was the subject of an exhibition held in the Vandalism is a growing problem and the destinations with little or no art from the Foundation for Cultural Inventory, the help of presented with Rembrandt and Rubens in the audience. Upon inquiring, we were told that , the Pushkin Museum collections are inadequately secured. A full Netherlands, but which no visitor to Moscow the Netherlands Embassy and of our member title, there are no undisputed Rembrandt Dr. Antonova was holding one of her regular and the Hermitage. In fact, the original date restoration plan has been developed that would want to miss. At our Sunday-morning Guus van den Hout, a rich and varied program drawings in the collection. Rubens is televised lectures on art and music. The for the codartvisit to Moscow had to be would return the estate to its appearance ca. visit in the snow to the Cathedral of the Virgin was prepared. All the destinations in the represented with some strong drawings, of broadcast that was being filmed on the day of pushed back because the Yusupov exhibition 1825. The goal is to get the former museum of Smolensk in the fortified convent of program as published in Courant 3 were visited, which I was most struck by the mourning our visit had a festive character, since Dr. was inserted at a late moment into the and theater up and running as tourist Novodevichy we squeezed into the church although one small change in order had to be Niobe. The main interest of the collection lies Antonova was going to celebrate her 80th schedule of the Pushkin Museum, displacing attractions to spur Archangelskoye’s eventual individually to hear part of the service. This made. The Museum of Collections, an annex of in the profusion of drawings by good minor birthday that week. the drawings show. economic self-sufficiency. Listed in 2000, 2002.’ particular visit was made more interesting the Pushkin Museum, was closed on the day masters. One unusual example is a five- While we were looking at the exhibition, The following description is from the The removable treasures have long been because of the presence in our group of Guus we had planned to visit it, so that we had to fit headed, seven-armed satyr in a landscape, Vadim Sadkov told us excitedly that now that website of the World Monuments Fund: ‘On taken away from Archangelskoye, and what van den Hout, director of the Catharijne- it in on a later day. The effort was more than by Claes Berchem, signed and dated 1654. the drawings were properly catalogued, a high, scenic bank of the Moskva River sits was left, by way of Dutch and Flemish paint- convent. His museum was involved in an worthwhile. Although there are not many Although the catalogue is in Russian and Dr. Antonova had given permission to offer the grand 18th-century Archangelskoye, the ings, is a mixed bag of not very distinguished exchange of exhibitions. Novodevichy was Netherlandish objects in the museum, the therefore beyond my understanding, some them for exhibitions abroad. only royal estate to have survived with an work. Nonetheless, there is always something about to empty its permanent display for an culture of private collecting that was revealed information can be puzzled out of the rubric One astonishing moment in the trip was abundance of original structures and an to be found by the specialist, and some of the exhibition that opened in Utrecht on June 5th there added greatly to one’s feeling for the on provenance under the separate entries. completely unannounced and not commented important art collection, which includes participants made discoveries in their own as Schittering van de Tsaren. During this period, private Moscow collections of Dutch and They seem to reveal that the drawings, even on by our hosts. That is, the long line of works by van Dyck, Tiepolo, Boucher, and fields of interest. With no catalogue and very Novodevichy was to receive in return an Flemish painting that Marina Senenko more than the paintings in the Pushkin, Moscovites that formed in front of the Pushkin Robert. During the reign of Catherine the summary information available from the exhibition of treasures from the Catharijne- discussed at our congress in Amsterdam in tended to come from private Moscow Museum on Tuesday and Wednesday for the Great, French architects designed a palace curators, the visit took on the character of an convent. 1999 and that make up an important part of collections. The owner of both the Berchem exhibition and the permanent collection. and formal garden; the latter is graced attribution guessing game, which is always the holdings of the Pushkin Museum itself. and the Rubens in 1912, for example, was C.B. with sculpture from the 18th through 20th fun. The Archangelskoye curators were taking When Guus left the group to go about his The main purpose of the trip was to visit Hehckoro of Moscow. A selection of art from the Netherlands was centuries. In 1810, a new owner, prince Nikolai notes, and it is to be hoped that at least some business, we found ourselves in the care of a the exhibition of Dutch and Flemish drawings During our visit we were received by the also shown to us in the storage areas of the Youssoupoff, remodeled the palace to display of our opinions will prove fruitful for their curator who spoke no western language. As in the Pushkin Museum. As we have reported formidable director of the Pushkin, Dr. Irina former Yusupov estate in Archangelskoye, a his art works and to house his 16,000-volume research. Aside from the cabinet paintings, to our consternation she was delivering her previously, this was the closing event in a Antonova, in the waiting room outside her short bus ride from Moscow. The Yusupov library. The estate also includes a 17th-century we did see some vast, not readily removable first explanation in Russian, a small miracle series: the Flemish paintings were exhibited office. Sorry to say, she did not refer to our past collection was once one of the greatest in church, a 1910 family mausoleum, and a canvases, including the Tiepolos and the van occurred. Our Estonian member Helena and displayed in 1999, the Dutch paintings in cooperation. It seemed to me that she spoke to Russia. The collection, assembled by ‘Prince private theater, the last such in Russia, with Dyck (which to my eye was a copy). At the Risthein, who on account of certain 20th- 2000. On hand to greet us in the gallery were us the way she would to any group of visitors, Nikolai Borisovich Yusupov (1750/51-1831), a curtain and four sets by the renowned 19th- impressive but non-functioning library we century historical circumstances had her Vadim Sadkov and Natalia Markóva. Sadkov century designer, Pietro Gonzaga.’ was the author of the catalogue and main Unfortunately, the page from which the curator of the exhibition. He began the project quotation is taken is the ‘List of 100 most when he was chief curator of the Pushkin endangered sites.’ It continues thus: ‘From Museum printroom. In the meanwhile he the 1917 Revolution to the early 1980s, has become chief curator of European and Archangelskoye was used as a museum and theater. The palace’s parquet floors, plaster- work, beams, colonnades, and belvedere were partially restored over the 20th century. The

Marina Shvedora (left) and Helena Risthein (middle) in The Pushkin Museum during the run of Rubens, At the exhibition of Dutch and Flemish drawings in the Emmanuel Starcky (left) and Peter Schoon (right) in the storage and restoration facility of Novodevichy Rembrandt, their predecessors and contemporaries: early Pushkin Museum. On the right: Vadim Sadkov, head of search of loans in the reserves of the Pushkin Museum. Convent, installed in 1995. Netherlandish drawings from the 16th and 17th centuries, the department of European and American art. Second 21 February-12 May 2002. from the left: Natalja Markova, curator of Dutch prints and drawings. codart Courant 4-5/December 2002 12 13 codart Courant 4-5/December 2002 schooling in Russian, suddenly appeared Quite a different reception awaited us injudiciously let down our guard. Various perfectly. (As did our very helpful transfer at the Bonnefantenmuseum: Rijksmuseum aan alongside our host and began interpreting on the last day of our visit. Thanks to the items on the menu were not clearly priced, and agent, Nina.) Another reason we were happy to de Maas. With the Rijksmuseum entering the for us into English. This very faithful and intermediacy of Jan Hesseling of the after we ate and drank – well enough, it must visit the residence of the Dutch ambassador birth travails of the Nieuw Rijksmuseum, it interested member of codarthad taken Netherlands Embassy, we were admitted be said, but simply – we were presented with a was the presence there of an excellent has lent most of its Flemish paintings to the the 14-hour night train trip from Tallinn to to the palaces in the Kremlin, which are bill for over a hundred dollars per person. The sampling of 17th- and 18th-century paintings Bonnefantenmuseum for at least five years. join us. otherwise closed to the public. The Grand situation was saved by one of the non- and objets d’art from the holdings of the These were supplemented with the holdings of The museological highpoint of the visit Kremlin Palace, incorporating the Terem members on the trip, Elenita van Dullemen, a Netherlands Institute for Cultural Heritage. the Bonnefantenmuseum itself and with the was the storage and restoration building, Palace, and the form an lawyer from The Hague. She sat down with the Since the dinner at the residence took place on long-term loans of Flemish art from the where we were shown around by the curator, overwhelming and dizzying ensemble for the restaurateur and his staff, and after lengthy, the second evening of the trip, we were able to Netherlands Institute for Cultural Heritage Marina Shvedora. The facilities, in a former first-time visitor. The rooms date from the heated negotiations, punctuated by make arrangements with the other guests for that the museum has had since its re-opening hospital on the convent grounds, were truly 15th to the 19th century, in various states of consultations with the rest of us, she got us out visits to be paid in the following days. in the new building in 1995. The present impressive, with modern racks, drawers and restoration, ranging from surprisingly small of the place for half the amount that was first The only disappointment in the Moscow display is certainly the most complete Mieke Parez and Hilde Lobelle-Caluwé, curators of ateliers. We were told that the furnishings and intimate accommodations for the early demanded. trip was the low turnout. An additional 15 presentation of Flemish painting ever to have the Stedelijke Musea Brugge. were installed in 1995, and that they were used Tsars to ceremonial halls the size of a football One of Elenita van Dullemen’s special participants could have been accommodated. hung in a museum in the Netherlands. A more for more works than those of Novodevichy field. interests being heraldry and orders of chivalry, It would be a pity if future trips of this calibre appropriate beginning for a codart alone. Management of the collections, which The study trip was marked by an exciting it was decided to recognize this heroic deed would have to be cancelled on account of lack congress cannot be imagined. the opening of the Jan van Eyck exhibition. needless to say are no longer the property of mixture of high and low social events. On the with the institution of the Order of Elenita, to of sufficient interest. They and Hilde Lobelle-Caluwé, chief curator the Russian Orthodox Church, is in the hands first evening we placed ourselves in the hands be awarded in the future, at the discretion of Gary Schwartz The theme of codart vijfwas tied to of the Memlingmuseum, made available to us of the , at the world- of one of the most experienced travelers in the the director, to any person who benefits several events taking place in Flanders. Brugge as a meeting hall the recently restored class address 1. In fact, the cloister group, Bernard Vermet, for an expedition in codart and its members above and beyond codart vijf: Early Netherlandish art and being one of the cultural capitals of Europe in medieval attic of the Memlingmuseum. The is an annex of the State Historical Museum, the Moscow metro to a folkloristic restaurant the call of duty. its dispersal, 10-13 March 2002 2002, the city pulled out all the stops and went Bruggenaren drafted large parts of the which in the 1990s re-admitted a small outside the center. With one slight detour, we Between these evenings out, there was an The fifth yearly congress of codarttook for the most ambitious exhibition it could program with us, especially the visits to local community of nuns. arrived at the restaurant, which turned out to evening in, with Ambassador T.P. Hofstee in place in Maastricht, Brugge and Antwerp on have mounted: Jan van Eyck, Early Netherlandish museums, churches and other sites. They The Spaso-Andronikov Monastery and its be full. However, the maitre d’hôte sent one of the Dutch residence. The ambassador and 10-13 March 2002. Registration took place at painting and the south of Europe, 1430-1530. An provided guides from their own midst to bring Rublev Icon Museum are quite modest by his functionaries out into the cold in his Jan Hesseling had taken care to invite all the the Bonnefantenmuseum in Maastricht from additional important consideration for our us in small groups to the most interesting comparison. Nonetheless, every visit to a shirtsleeves to shepherd us to the older, museum people and art historians with whom 2 p.m. onward on Sunday, March 10th. As in choice was the appointment in the preceding places in the city. A coordinator for codart complex and collection of this kind enlarged original home of the restaurant, a few hundred we had or were seeking contact with in the previous two years, the museum kindly period of our member Manfred Sellink as co- in Brugge was appointed: Mieke Parez, adjunct our sense of the meaning and museology yards away across a busy street. The entourage Moscow. The atmosphere at the buffet was provided us with a lavish high tea and with a director of the Brugge museums. He promised curator of Onze-Lieve-Vrouw ter Potterie, who of Russian art. The visit was instructive in included a huge stuffed bear, the food, which informal, allowing us to mix and talk with our perfect space, in the grand café, to get together from the start that his museums would took responsibility for all organizational another sense than art-historical. We had we suspected was Georgian, was quite good, colleagues, with the diplomats of the embassy again before the start of proceedings. At cooperate fully with our program, and he was matters on site. To top it off, we were received a taste of what it is like to travel in Russia and we started our joint activities in a perfect and with the Russian staff members of the registration, participants were given a red good for – even better than – his word. by the Brugge museums in a reception in the without the special introductions we had for mood. embassy department of press and cultural looseleaf binder entitled codart The Brugge museums were a full partner Memlingmuseum upon our arrival, and upon all our other destinations. Arriving 15 minutes The final evening took us to another affairs with whom we had been conferring by Documents, containing all the congress papers and more than that at all levels. Manfred and their recommendation the township offered before opening time, we were chased by a folkloristic restaurant, close to our hotel, telephone and e-mail. These were young and additional information (see below, p.28). his co-director, Walter Rijcquart, committed us a reception in the town hall. We hope that snarling guard from the gallery, which was where, after having had nothing but nice women who studied Dutch at Moscow Peter van den Brink and Rik van Wegen themselves unreservedly to the congress, even the participation of some 90 codart not closed off. experiences in the places where we ate, we University and who spoke the language introduced the current long-term exhibition though it was scheduled for the days preceding members from 22 countries, the contacts they

The garden of Archangelskoye Estate seen from the main A monumental portrait by (or after?) van Dyck in the Gary Schwartz and Helena Risthein from the Art In the 15th-century bedchamber of the Tsar in the house. The statues are packed in wooden boxes and plastic Archangelskoye Estate collection. Museum of Estonia on the streets of Moscow. Terem palace of the Grand Kremlin. to prevent them from freezing. codart Courant 4-5/December 2002 14 15 codart Courant 4-5/December 2002 made in Brugge and the reports they bring out different character, and we did not succeed in from the existing survey literature. two. The audio-visual firm with whom we – the Archeological Museum and several Bratislava: Rembrandt and 17th-century Dutch on their return home were and will be of launching a discussion with the three Unfortunately, Borchert was unable to stay for were working came across with a second archeological sites in Brugge; guided by art in Slovak collections. benefit to our generous hosts. curators. more than a brief discussion period following machine on short notice, but projection had Hubert de Witte, archeologist – Paul Vandenbroeck, Koninklijk Museum The scholarly program (Tuesday, Till-Holger Borchert, the exhibition his interesting (but unillustrated) lecture. to be improvised and was far from optimal. – the Bladelin Court, the Groot Seminarie and voor Schone Kunsten, Antwerp: Between Bosch 12 March), chaired by Stephen Hartog, head of curator of Jan van Eyck, was understandably Fritz Koreny took a different tack. The The final lecture, on the forthcoming the museum of Onze-Lieve-Vrouw ter Potterie, and Brueghel: Jan & Frans Verbeeck (2003). the Program Committee, was devoted to three short of time. He gave us a recapitulation of origins of From Jan van Eyck to Hieronymus Bosch exhibition of Flemish miniatures, guided by Brigitte Beernaert, Kurt Priem and – Lia Gorter, Foundation for Cultural exhibitions of early art being held in the year the intellectual history of the exhibition lies in his project Corpus der deutschen und was not held by the curator Jan Van der Stock, Mieke Parez. Inventory, Amsterdam: Netherlandish elements 2002 in Flanders. concept. The starting point was a modest niederländischen Zeichnungen 1350-1500, now whom we had invited. Instead, he asked his Our visit behind the scenes of the Brugge in Polish art, a book in preparation, tied in to – Brugge, Groeningemuseum, 15 March- request of the town government to redo the based at the art history department of the colleagues Bert Cardon and Kris Callens of the museums revealed to us not only the riches codart zesand the exhibition of Dutch 30 June 2002: Jan van Eyck, Early Netherlandish 1902 Primitifs flamands exhibition, which they University of Vienna after having been Centre for the Study of Flemish Illuminators but also the poverty of these city institutions. and Flemish drawings in Polish collections. painting and the south of Europe,1430-1530 heard had been quite a success. In the course of launched at the Albertina. In principle this of the Katholieke Universiteit Leuven to stand The storage facilities for the paintings of the Written information on these and other – Antwerp, Rubenshuis, 14 June-18 August explaining to the township why this was out of includes every single sheet to survive from the in for him. Their talk was illustrated not with Groeningemuseum and other bodies that museum projects were printed and inserted 2002: Early Netherlandish master drawings from the question, a more focussed concept began to period and therefore entails interpretation of a slides but with overhead sheets explaining in made use of them are dramatically inadequate. into the codartDocuments binders. Jan van Eyck to Hieronymus Bosch take shape. This quickly evolved into the idea different kind. Koreny and his associates outline form the origins of the Centre and They occupy a former hospital that has hardly The members’ meeting was rounded out by – Leuven, Stedelijk Museum Van der Kelen- of relating 15th-century Flemish painting to devoted careful attention to the function of the the intellectual formulations underlying the been reconverted for its present use. Hope was a presentation by Gary Schwartz and Joris van Mertens, 21 September-8 December 2002: The two specific fields that have remained drawings, which could be work material, exhibition, with a few examples mentioned. expressed by all that the city would soon Gelder (Occhio Design, Amsterdam) of the new masterly Middle Ages: miniatures from understudied: court patronage and relations students’ exercises or models for designs in The unique benefits of meeting in Brugge commit sufficient funds for proper care of its website in development. Charlemagne to Charles the Bold (800-1475). with the south of Europe. These interesting other forms as well as finished, independent were experienced in the course of the two priceless heritage. angles provided not only fruitful approaches sheets. His lecture presented a new synthesis afternoons, as we were guided by curators Our good experience at codart vier On Monday evening, 11 March, the congress As speakers, we invited the curators of the for choosing the paintings for the show, but of Netherlandish drawing on its way to the of the municipal museums to: with members’ presentations of future was received in the 19th-century Gothic Hall of three exhibitions. We had hoped to discuss the also shed new contextual light on early state of an autonomous art. This status was – the Gruuthuse Museum, the exhibition plans led us to expand this part the town hall, where we were addressed by the exhibition concepts with them, to hear about Netherlandish painting. Dynastic lines hidden not reached until the end of the 15th century, Hall of the Brugse Vrije and Onze-Lieve- of the program at codart vijf(Monday, alderman for culture, Yves Roose. A reception the genesis of the three shows and compare in the provenances of the works of particular in the work of Hieronymus Bosch. Vrouwekerk; guided by Stéphane 11 March). The speakers were: was offered, following which the participants with them with each other. In the event, the schools showed up, allowing for a more Unfortunately, we had ordered only one slide Vandenberghe – Thomas Ketelsen, Staatliche Kunstsamm- walked to the Oud St. Jans Huus beside the three presentations each had a completely integral framework than would have emerged projector, while Koreny’s lecture was set up for – the St. Anne quarter, the city archive and the lung Dresden: Landmarks in print collecting: Memlingmuseum, where the congress dinner Sint Anna-kerk, guided by Dr. Noël Geirnaert, the Klebebände in the Kupferstich-Kabinett, took place. Partaking of Belgian gastronomy in archivist Dresden. An investigation of the history and an historic environment provided added flavor – the Museum voor Volkskunde, the St. system of more than 100 albums with Dutch to an annual event that is always animated and Sebastiaansgilde Museum and the St. Joris- and Flemish prints. enjoyable. gilde Museum, guided by Willy P. Dezutter – Sander Paarlberg, Dordrechts Museum, On 13 March the congress moved on to – the Steinmetzkabinet and the restoration Boudin and Jongkind (2005); Trompe l’oeil Kasteel Loppem and Antwerp. At Loppem, studios and reserves of the Memling- and paintings (2006-07); Samuel van Hoogstraten where we arrived late on account of a delay Groeningemuseum; guided by Willy Le Loup (2007). in the arrival of the bus and the lengthy time and Eva Tahon – Ivan Rusina, Slovak National Gallery, needed to put our baggage into the bus in the rain, we were received by Véronique van Caloen. As far as I know, she is the only member of codartwho owes her membership to the care of her own family collection. For half the year, Kasteel Loppem is open to the public. The congress took place before the open period, but Véronique was kind enough to admit us. The neo-Gothic

Brugge, the host city of codart vijf, Paul Vandenbroeck of the Koninklijk Museum voor Panel members at the joint session of codartand Manfred Sellink, co-director of the Stedelijke Musea 10-13 March 2002. Schone Kunsten Antwerpen presenting his projected hnain the Rubens Hall of the Koninklijk Museum voor Brugge (left) and Fritz Koreny, curator of the exhibition exhibition Jan and Frans Verbeeck at the members’ Schone Kunsten in Antwerp, 13 March 2002. From left to of early Netherlandish drawings in the Rubenshuis, meeting of codart vijf. right: Jeroen Stumpel, Mauro Lucco and Roman during the codartvisit to the van Eyck exhibition in Grigoryev. the Groeningemuseum, one of the seven Stedelijke Musea. codart Courant 4-5/December 2002 16 17 codart Courant 4-5/December 2002 castle, built for Charles and Savina van Caloen Both organizations seized eagerly the rare research into the history of museums. Gaskell the audience were posed to the speakers by In the event, the plane was delayed for more the catalogue. A discount of 30% is available to in 1859-1863 by the English architect Edward opportunity to bring our members together. argued for a frank recognition of differences Stumpel. The meeting was closed at 6 p.m. by than an hour on account of bad weather in the any member who writes to Ria Van Bastelaere Welby Pugin, son of the well-known neo- On the side of hna, three officers worked between the responsibilities and interests of Alison Kettering, president of hna. Netherlands, but that was no help. With (see p.3). gothic architect, and the Flemish architect closely with us: Kristin Belkin and Fiona Healy art historians in museums and in universities, At 7:30 we were received in style, together with EasyJet fares to starting under In codarttradition, we moved from Ibis Jean Bethune, exemplifies the spirit of the for the practical arrangements, and Marten Jan and between the various nationalities in hna, in the 16th-century town hall. Although 30 euros each way, a day visit from Amsterdam to Ibis. The Antwerp and Edinburgh hotels in ‘Gothic hall’ as a framework for the display Bok, European liaison for hnaand congress codart. ‘I believe that the mark of there were too many of us for the (19th- to the Burrell Collection comes within reach, this chain occupy ideal locations and are far of early Netherlandish art in particular. We chair, on the program. codart’s success as an institution is that we century) rooms in which the reception was at no higher cost than visiting an exhibition in and away the most inexpensive in their have encountered halls of that kind in The The formal part of the proceedings, because are now ready to engage in serious exchanges held, the atmosphere was as warm as the say Cologne or . category. They also offer discounts to groups, Hague (Willem iion the Kneuterdijk) and of the unexpectedly large turnout, had to be of ideas with one another, even when there temperature, and codartand hna By way of prelude to the trip, most of the allowing us to keep the cost of the trip down. south of Moscow (the country house Ostafievo moved at a late stage from the museum might be considerable disagreement among members were able to mix as planned. participants came to Antwerp the afternoon In Edinburgh we stayed at Hunter Square, a of Prince Paul Viazemsky). Kasteel Loppem is auditorium to the Rubens Gallery, a splendid us.’ Actually, quite a number of codart before we flew from Brussels to Edinburgh. few steps from the lively Royal Mile with its not altogether in the same situation as it was location. The subject of discussion was the The opening talks of 20 minutes apiece members stayed on for the complete hna (Several others flew to Edinburgh from other abundance of pubs and cafes. It was a short, when built. Part of the upper story has been overlap and interaction between the realms were followed by brief statements by panel program, which we published in Courant 3. cities, and skipped Antwerp.) The reason for picturesque walk downhill to the National converted into museumlike spaces with of our respective memberships: Looking and members: Those who attended the plenary opening doing this, aside from building in a safety Gallery of Scotland and an even shorter one to display cases. learning. Netherlandish art in museums and – Christopher Brown, director of the lecture by the Antwerp alderman for culture margin for our 10:30 flight from Brussels the University and the Torrie Collection. Following an unfortunately hasty lunch universities, 1902-2002-2102. Ashmolean Museum, Oxford, described the Eric Anthonis heard him praise codartas a Airport, was to pay an advance visit to the Because the program was too full to allow for over which we would have liked to linger, After welcoming statements by Paul move in museums away from the traditional model of good practice and an example of how exhibition in the Rubenshuis of early free time in the city, it is up to those who were we left for Antwerp earlier than scheduled, Huvenne, director of kmska(and board art-historical approaches to the study of the museums in the three cities of Antwerp, Netherlandish drawings. At codart vijf, grabbed by Edinburgh to return there on their because of announced traffic problems member as well as regular member of objects toward more conceptual and Gent and Brugge might best pool their the exhibition curator, Fritz Koreny, gave us an own. (Another EasyJet destination…) underway. As in Brugge three days earlier, codart) and Gary Schwartz, director of educational modes. resources. enticing preview; the real thing was decidedly Our arrival was a bit stressful. The flight we arrived at the Koninklijk Museum voor codart, the floor was taken by the – Roman Grigoryev, head of the department hnathanked us for having encouraged not a disappointment. We were met at the came in a little late; the bus was not where we Schone Kunsten at the very minute the moderator of the session, Jeroen Stumpel, of prints at the Hermitage and lecturer at participants in codart vijfto stay on for museum by the director Carl Depauw and his expected it to be; the traffic in town was following event was scheduled to begin, professor of iconology at Utrecht University European University at St. Petersburg told us hna. Thanks to this conjunction, more associate Véronique Van de Kerckhof, by Fritz abominable; the driver took a somewhat vowing to take wider margins in all future and former chairman of the Society of Dutch that the art historians produced by the old, European museum people attended this hna Koreny himself and two of the Viennese roundabout route; it was raining; and the codartactivities. Art Historians (vnk). He introduced the established St. Petersburg University were so congress than any of the previous ones. In the members of his team, Georg Zeman and Léna small hotel lobby, when we arrived, was full That event was a first in the history of the museum speaker, Ivan Gaskell of the Fogg unfit for museum work that the Hermitage set future codartand hnawill be looking for Widerkehr. with another group trying to check in. We two main organizations for historians and Art Museum and the academic speaker, up its own art history institute. more ways of collaborating with each other. Having this exhibition to ourselves was dumped our bags in the luggage room and curators of Dutch and Flemish art: Historians Koen Ottenheym, professor of architectural – John Hand, curator, National Gallery of Art, especially valuable. The objects are small, and made off for Gladstone’s Land, a few blocks of Netherlandish Art (hna) and codart. history at Utrecht University and director of Washington provided a report from the Study trip to Scotland, 13-18 June 2002 one wanted to make constant comparisons away. There, Katrina Thomson of the National The possibility of joining forces was created the Onderzoekschool Kunstgeschiedenis. trenches from two great American The study trip to Scotland basically followed and conduct constant discussions with the Trust for Scotland received us graciously. when hnadecided to hold a congress in Ottenheym sketched the situation in institutions. the program published in Courant 3, with a few organizers and each other. We took ample (Fortunately, our mobile phones allowed us to Antwerp, its first congress in Europe, at the the Netherlands with regard to the academic – Lucco Mauro, professor of art history at the small changes. Out of concern that we might advantage of this possibility. keep her up to date on our progress, so she end of the same week as codart vijf. contribution to museum exhibitions and University of Bologna described a situation in miss the return flight, we cut short the visit to To top off the visit itself, the museum made knew we were going to be late.) On the which museums and art history departments Glasgow, and skipped the Burrell Collection. a special offer to codartmembers to acquire sidewalk outside this 17th-century merchant’s ignore each other completely, so that house and shop, she filled us in briefly on the collaboration only takes place through the urban situation of that part of historic informal contacts of interested individuals. Edinburgh. We then were able to visit the – Katlijne Van der Stighelen, professor of art house, with its restoration of the 17th-century history, Catholic University of Leuven, situation, individually. The few (minor) Dutch reported that the Belgian academic world too paintings hung in the house were on loan lacked a tradition in developing good relations from elsewhere, as examples of the kind of with museums. paintings that would have been owned by a After tea, questions submitted on paper by wealthy Edinburgher of the time.

Kasteel van Loppem. Véronique van Caloen, curator of the collection of Kasteel A conclave in an Antwerp open-air café during the Véronique van de Kerckhof and Carl Depauw, van Loppem, her family estate. hnameeting following codart vijf. assistant curator and director respectively of the Ivan Gaskell and Ronni Baer, no doubt discussing Rubenshuis in Antwerp, during the codart codart zes, which deals with Dutch and Flemish preview of the exhibition of early Netherlandish art in their own part of the world, New England. drawings, 12 June 2002. codart Courant 4-5/December 2002 18 19 codart Courant 4-5/December 2002

The afternoon visit took us to the restoration talk. The Italian ambassador was replaced on 1985 in a summary catalogue by Keith rain, we saw the rebuilding of this Neoclassical after Kerr had fled the British Isles after the National Galleries of Scotland, National studio of the National Gallery of Scotland, account of sickness by another diplomat from Andrews, so the specialists among us knew masterpiece in its most dramatic phase, with beheadal of his king, Charles i. Museums of Scotland, National Libraries which is located in the sister institution, the the Italian embassy in London, who that there were at least 881 Netherlandish holes in the ceilings and walls and workers We were introduced at the end of the day to of Scotland, University of Edinburgh and Scottish National Gallery of . A (somewhat predictably) spoke glowingly of drawings from the 16th to the 18th century in carrying bundles of pipes over the muddy the Torrie Collection, in a gallery built for it Edinburgh Art College coordinates art- special free bus runs between these museums, Rubens’s work as a diplomat. the collection. In a moment of forgetfulness, floors. Upon completion, the concourse will around 1800 in the Old College of the historical research and sponsors a program of the Dean Gallery and the Scottish National The following morning we came back to I asked to see one of them that I could have house the bookshop, restaurant, a state-of- University of Edinburgh. Presently it is conferences and publications. Prof. Thomson Portrait Gallery. the exhibition for a private visit with the known was not available: Pieter Saenredam’s the-art digital study center and other public maintained as a sideshow to the Talbot Rice told us that the form of cooperation he finds Michael Gallagher, the chief restorer, exhibition curator, Jeremy Wood. He drawing of the Mariakerk in Utrecht. Valerie and staff facilities. Scott Robertson, the project Gallery, where exhibitions of contemporary art most effective are small workshops on specific showed us a work under treatment, van Dyck’s elucidated the concept behind the show, told me gleefully that in a few weeks she was director, told us that the museum staff are held. The curator, Dr. Duncan Macmillan, areas held once or twice a year and attended by St. Sebastian. This large canvas is one of several which emerged from a volume he has written going to fly to Los Angeles to pick it up from participated actively in preparatory told us about the formation of the collection, the same international complement of versions, of which the other major ones, each in the Corpus Rubenianum Ludwig Burchard on the Getty Museum, where it formed part of the discussions about the plans, but that they had which behind the scenes is being claimed by participants. This encouraged me to pursue with considerable variations, are in Munich Rubens’s adaptations and copies from Italian exhibition of Saenredam in Utrecht. The no conception of how thoroughly their the National Gallery of Scotland, where it was plans to introduce a model of this kind for and Paris. With reproductions of the other art. Some of the drawings in the show were by curator of that outstanding exhibition, working conditions were going to be disrupted on loan for many years. The works on display workshops at the codartcongresses. paintings at hand, we discussed the difficult Rubens, but a larger number started as Italian Liesbeth Helmus, was on the study trip. during construction. Jan Piet Filedt Kok of the were collected by Sir William Erskine (1772- On Saturday, Sunday and Monday, decisions that had to be taken regarding the drawings, later to be ‘retouched’, to use the Fortunately, she was not in the printroom Rijksmuseum, on the eve of the far more 1825), ‘an army man for 50 years, serving in 15-17 June, the emphasis lay on private state to which the Edinburgh painting should word that Wood finally decided on for these when I was seized by this lapse. extensive New Rijksmuseum project, took America, Flanders, Germany and the collections outside Edinburgh. Julia guided us rightly be restored. Following the session, interventions of various kinds, by Rubens. A second group was taken by Julia Lloyd anxious note of his remarks. Netherlands’ (Julia, in 1992 catalogue). The to the stately homes of collectors with whom some participants admired the collection of Before the public was admitted at 10 a.m., Williams to the paintings reserves in the Between tours, or instead of particular best of the paintings, a monumental landscape she has old connections. Her exhibition of modern art and the fascinating interior design Wood went round the exhibition with us, museum. Many of the pieces there would blocks, we were free to savor the permanent by Jacob van Ruisdael, is still on The Mound. 1992, Dutch paintings and Scotland: a reflection of and displays in the Dean Gallery, across the going into the interpretative problems he otherwise have hung in the galleries, but were collection of the National Gallery of Scotland, The collection is of uneven quality. Hendrik taste, lay at the basis of her extensive road. Of particular interest were the complete encountered in a small number of examples. removed to make room for the exhibition. which should require no introduction to a ten Oever’s landscape with naked cowherds knowledge of the collections we visited and for studio of the Edinburgh-London artist We were fortunate in having among us one of The space problem and its solution were the codartmember. If you have not yet seen swimming in a canal stood out. The ambience her good personal and institutional ties with Eduardo Paolozzi and the documents and art the few other specialists in this exquisite field, theme of the third visit, to the Playfair Project. it, take the first possible opportunity. In the was exceptional. Few universities provide such the owners. Most of the Dutch art in Scotland works from the estate of Penrose, both Anne-Marie Logan. The catalogue of the William Playfair was the 19th-century meanwhile, whet your appetite on the Concise outstanding spaces to their art collections. The is still in country homes and therefore difficult of which are built into the permanent display. exhibition is available to all codart Edinburgh architect who built both the catalogue of paintings of 1997, with its 1200 small emptied library in the adjoining wing, in the to see and study, let alone publish. The first At 6 p.m. we were admitted to the private members at a special price (see p.8). National Gallery of Scotland and the Royal black-and-white illustrations. same outstanding Neoclassical mode that specific survey of Dutch art in Scotland came view of the exhibition Rubens: drawing on Italy, Scottish Academy, a stone’s throw from the At the Scottish National Portrait Gallery we helps make Edinburgh the magnificent city out of a quick trip by Cornelis Hofstede de curated by Jeremy Wood. For those of us used For the rest of the morning, in three groups of gallery and facing Princes Street, the main were received by the director James Holloway that it is, added a note of poignancy. Groot, resulting in two articles inOud Holland to the massive openings in Dutch and Flemish ten, we were taken to three different locations drag of Edinburgh. The two institutions are and his curatorial staff for a quick view of the At the Torrie Collection we met Professor in 1893. A more extensive reconnoitering was museums, this was a chique and exclusive in the museum. In the printroom, Valerie collaborating on a complete refurbishing of Dutch and Flemish holdings in the galleries, Richard Thomson, Head of the Fine Arts undertaken by Ellis Waterhouse during his occasion, with about 150 people in attendance. Hunter laid out a display of the best prints and the academy, with exhibition rooms for the the reserves and the printroom/library. One Department of Edinburgh University and tenure are director of the National Gallery of The Acting Director-General of the National drawings, making others conveniently National Gallery, and on the construction of painting that stood out for its artistic and Director of the Visual Arts Research Centre Scotland after the Second World War. His notes Galleries of Scotland, Michael Clarke, available in green boxes for study and an underground concourse connecting the historical importance was Jan Lievens’s (varie: http://www.arts.ed.ac.uk/varie/ are now in the archive of the Getty Research welcomed the codartgroup in his opening delectation. The drawings were published in buildings. With hard hats on, in the pouring portrait of Sir Robert Kerr, painted in the 1650s index.html). This joint project with the Institute, where Julia consulted them. Another

Julia Lloyd Williams, chief curator and acting Michael Gallagher, Keeper of Conservation of the Dusting off Rembrandt in the National Gallery of The Playfair Project in the making. This extensive director of the National Gallery of Scotland in National Gallery of Scotland in Edinburgh, Scotland in Edinburgh, June 2002. refurbishing and underground linking of the Edinburgh. Julia was the originator and the discussing work in progress on the museum’s National Gallery of Scotland (left) and the Royal organizer of the codartstudy trip to Scotland, painting of St. Sebastian by . Scottish Academy (right) will create more exhibition 13-18 June 2002. space and museum facilities. codart Courant 4-5/December 2002 20 21 codart Courant 4-5/December 2002 source, which we encountered here and there Three of the nine houses we visited are now in or have been removed), Hopetoun House is of Holyroodhouse, one of the royal residences of masons, indicating perhaps a direct tie to the campaign was complicated further by an on the visits, are the inventories drawn up for the care of the National Trust (Gladstone’s eminent importance for the study of 18th- the British crown. The family tie is that of the building project in Het Loo, begun the same attack of dry rot in the roof. This all lies behind the owners by Christie’s. These offer the most Land, Hopetoun House, Kellie Castle), three century interiors. One Dutch item not by Stuarts with the House of Orange, through the year. the grand entrance hall, in colored marble, systematic coverage, but they are not available are still owned and lived in privately (Balcarres, Tideman is a handsome clock of the 1730s by marriage of Queen Mary with William iii. The Our lunch in the stables, converted into a with two curved staircases sweeping up to the to scholars. Gosford, Mertoun), one is inhabited royally Jan Henkels. architectural plan, as ordered by Charles iiin pleasant restaurant, was a bit too rushed for main floor. The collections we visited date mainly from but is otherwise largely open to the public Commercial ties with the Netherlands 1671, anticipates that of the slightly later Paleis the good of the home-style cuisine, but such The present, 12th Earl of Wemyss and the late 18th and early 19th centuries. The (Holyroodhouse), one has been turned by the also underlay the Dutch artistic connection Het Loo (begun 1685), the favorite residence in considerations were not allowed to slow down March is 90 years old, deaf and not very hardy. works still on the walls tend to fall in a limited family that owns it into a cultural-commercial of Prestonfield House, where we enjoyed an the Netherlands of William and Mary. The the pace we needed to maintain in order to see Yet he received us most graciously, with his number of categories, mainly genre scenes and enterprise (Mount Stuart) and one is now a excellent dinner in exquisite surroundings. painted decoration, finally, is dominated by as much as we wanted to see. wife, a much younger Canadian woman who landscapes, with a smaller number of history hotel-restaurant (Prestonfield House). The 17th-century builder of the house, Sir the gallery of the kings of Scotland, from worked with the National Trust and has taken paintings and portraits. Hardly any still-lifes James Dick, was inspired in the gables of his Fergus i to Charles ii, by the Dutch artist Jacob The links with Dutch art in the other homes on with both hands the challenge of caring for were to be seen, which came as something of a Hopetoun House was a major destination for house by the forms of Dutch or Flemish de Wet. Of the original set of 111 portraits, 89 on the trip were limited to the authorship or her husband, the house and the collection. letdown for Fred Meijer. The accent lay on codart, not so much for the quality of the examples, from countries where he conducted are on view. It must be admitted that they origin of paintings, sculptures and other The paintings hang in profusion in grand paintings from the second half of the 17th paintings on display as for the decorative extensive trade. On 30 June 1691 he ordered his serve, for the guides who lead you through interior appurtenances, to which we did not galleries, corridors, bedrooms, stairwells, century. Whether this is indeed a reflection of scheme, which was executed by the Dutch factor in Holland, Alexander Brand, to buy Holyroodhouse, mainly as an object of fun, pay special interest, such as clocks or furniture. closets, everywhere you looked. The collection Scottish taste is a matter of debate. For one artist Philips Tideman, a pupil of Gerard de locally paintings that still hang on the walls of beginning with the observation that the noses Yet, some of the holdings from the is not very focussed, with paintings of all thing, most of the collections have been pared Lairesse. The surfaces on which he worked this warm and friendly house. His letter to this of all 111 kings are said to be modelled on that Netherlands are rich indeed. formats, modes and levels of quality from all through time. If the original collections were were spread all over the section of the house effect, a preciously rare document of its kind, is of Charles ii. (At Kellie Castle, which we fit in The oldest of the other collections was the European schools. We saw 15th-century broader, what is left will show a pattern that that was added in the early 18th century, quoted in Julia Lloyd Williams’s catalogue: ‘Sir, on our way to Balcarres, we saw a round ceiling formed in the 18th century by Francis Italian paintings alongside work by Vouet and was never intended by the original collectors. including mantlepieces, sopraportes, stair- I doe herewith deliver you Tenn Louidores in painting by de Wet like one in Holyroodhouse. Charteris (1723-1808), the Earl of Wemyss. The Chardin, Murillo and Dutch masters such as Moreover, some of the collections were first wells and ceilings. The program was full of Gold to be bestowed upon good hansom Otherwise, Kellie was mostly interesting for its visit was the most dramatic of the trip. The Willem van der Velde and Jacob van Ruisdael, formed in London before being moved north. allegorical allusions to the Hope family, Pictures to be bought in flanders or Holland, mysterious garden.) Wemyss house, Gosford, is a vast, rambling, with five landscapes, including a splendid However this may be, the concentration of which had major banking interests in where you think fittest for hanging of my Not coincidentally, the architect of these eclectic house placed on a windswept bluff on view of Haarlem across the bleaching fields, in high-quality Dutch and Flemish paintings Holland. In a presentation on the complex Staire-Caice of my house at Prestonfield which three houses was one and the same man, the the north shore of East Lothian, unprotected one room. That painting, and a similar view of that we saw would be hard to equal in private and slightly weird architectural history of would be in number fromm Sixteen to Twenty Scottish gentleman-architect Sir William from the winds coming off the Firth of Forth. an unidentified town, were in Julia’s 1992 collections anywhere in the world. Some the house, Paul Normand referred to theories four, as you can have them.’ (Dick’s easy Bruce (1630-1710). (At Holyroodhouse he was On the breezy day of our visit, we sensed a exhibition, along with an excellent early indication of this is provided by the fact that that the plan was based on that of Huis ten equation of Flanders and Holland should be Surveyor-General of the Royal Works. The titanic struggle for survival against the Salomon van Ruisdael river scene and a less the Rijksmuseum exhibition Glory of the Golden Bosch in The Hague. submitted as evidence in the ongoing article on Bruce in the Dictionary of Art suggests elements, and listened with awe when Lady than Rembrandtian tragic Bathsheba by Age contained only six paintings from private In addition to the decorations themselves, discussion of the Dutchness or Flemishness of that he may not, as traditionally believed, have Wemyss told us that their concert grand had Cornelis van Poelenburgh. Represented in that collections, and of these two came from we were also shown documents from the 17th-century painting.) actually designed the building.) Bruce had been blown clear across the width of the house exhibition, but also in the Glory of the Golden Scottish collections that we visited on this trip. house archive concerning the program and The integral ties with the Netherlands of travelled in the Netherlands as early as 1658 when a window fell out some time ago. Not all Age in the Rijksmuseum (2000), was Jan de (The other four are in Los Angeles, Boston, the commission. As a well-documented and Hopetoun and Prestonfield Houses, through and was conversant with lowlands building of the house is inhabitable. A fire in 1940, when Bray’s David playing the harp. Caracas and the Netherlands.) reasonably well-preserved ensemble (some of family history, architecture and decoration, styles. When he built his own house, Kinross, Gosford House was a billet for British troops, Lady Wemyss accompanied us with her the decorations have inevitably changed place were vied, somewhat surprisingly, by starting in 1685, he employed two Dutch gutted part of the central hall; the restoration copy of a Christie’s manuscript inventory of

The staircase in Hopetoun House, decorated by In the library and archive of Hopetoun House. Paul Huvenne, director of the Koninklijk Museum The ‘Victorian Gothic’ Mount Stuart on the Isle of Gerard de Lairesse’s pupil Philips Tideman. voor Schone Kunsten in Antwerp, and Jan Piet Filedt Bute. Kok, head of the department of paintings of the Rijksmuseum in Amsterdam, on the ferry to Rotesay on the Isle of Bute. codart Courant 4-5/December 2002 22 23 codart Courant 4-5/December 2002 the collection, jotting down our suggestions in house, or to think of a space there in which it in the Dictionary of art). The Dutch and Flemish displayed by the younger contemporary of Saenredam’s Bavokerk, sold to the National after the Second World War, the present the margins. As on the visits to all the houses, would have fit. However, he could not art in the collection comes largely from other, Lord Lindsay on the other side of Scotland, the Gallery of Scotland in 1982, was bought from collection remains of high museum quality. Jan De Maere proved to be an invaluable and eliminate the possibility. The file on this later inheritances, notably those inherited by 3d Marquess of Bute (1847-1900). He too was an Amsterdam art dealer by the 4th Marquess The house is no longer immense, since the highly appreciated source of knowledge and interesting case is still open, for he who would David Alexander Edward Lindsay, the 27th inspired by a of late medieval Christianity, in 1934. former duke took down a wing with some 100 opinions. Among the unproblematical pursue it. Earl, from Lord Overstone’s collection. Some of but gave expression to it in a far more In addition to portraits by all the great rooms when he and wife decided they were masterpieces in the collection is a large, early Before showing us to the paintings on the these paintings had been bought from the exuberant, nearly manic fashion, than the English, Italian and Scottish portraitists of the finished with entertaining on that scale. St. Sebastian by Cornelis Cornelisz. van walls of Balcarres, Lord Crawford remarked legendary collection of Baron Verstolk van retiring Lord Lindsay. Mount Stuart rose on late 18th century - notably Allan Ramsay - the The house is pleasantly homely, which it Haarlem. The look and feel of Gosford House that he had laid out some Dutch and Flemish Soelen of The Hague. Like most of the the Isle of Bute, the family demesne. In the public spaces in Mount Stuart also contain could not be had the family retained the give the visitor the impression that there is a items from his library for our perusal. He led collectors we visited, the Earl of Crawford visitor’s booklet to Mount Stuart, Gavin Stamp numerous Netherlandish paintings, mainly, priceless treasures by Raphael, Titian, Poussin lot more to be discovered there. The group had us into a large room lined with bookshelves, a maintains a lively relationship with the wrote of the house that ‘it reflects the character as elsewhere, landscapes and genre paintings. – the Seven Sacraments in Edinburgh, just to to be chased down out of nooks and crannies room with a far more serious look than most National Gallery of Scotland. Some of his best of its creator: it is romantic and mysterious, An Orpheus among the animals by Aelbert Cuyp give you an idea – Rembrandt, ter Borch, when it was time for tea in the grand hall and old libraries. Whereas these are generally Dutch paintings, such as a magnificent Philips deeply learned and eclectic, incorporating measuring about 2 x 3 meters and a Jordaens Hobbema etc. However, the level of this well- for our departure. dominated by long series of lovingly bound Koninck Landscape and the Pynacker Landscape elements from several Continental as well as portrait of his daughter stand out. In the balanced collection of well-looked after but unread periodicals, yearbooks, with stone bridge, have been on loan since 1988 to British sources into a unified whole.’ While in private rooms, of which we saw those with the paintings provided an incomparably satisfying As rich as they are, the collections we saw were proceedings, almanacs, collected sermons, and Edinburgh. scale and atmosphere, the vast Mount Stuart is most Dutch and Flemish paintings, are many close to our visits to private collections. After once richer still. On a side-table in the salon of other obligatory acquisitions, the library of We saw excellent work by Abraham far less private than the other houses we more, including work by great names of the the death of the 6th Duke in 2000, the 7th Duke Balcarres, where we were kindly received by Balcarres was clearly composed of choice titles Bloemaert, Jacob van Ruisdael, Jan Hackaert, visited, the program of decoration is so Golden Age. and his wife have been in more open the Earl and Countess of Crawford and that had been collected rather than Jan Wijnants, Jan van der Heyden, Adriaen and personal as to be nearly intimate. The In Mount Stuart, we ate lunch in the new communication with the art world and have Balcarres, lay old photogravures of some Dutch accumulated through inertia or subscription. Willem van de Velde and David Teniers. Yet, horoscope of the builder and his spiritual Visitors Centre, in a bright, upper-story shown greater readiness to lend out paintings paintings that had been sold in the first half of The great bibliophile in the succession was the the greatest impression in Balcarres is made autobiography are built into the decoration in restaurant overlooking part of the immense for exhibitions. They received us in their the 20th century – the de Hooch Courtyard now 25th Earl, Alexander William, Lord Lindsay by the Italian paintings of the quattrocento. the form of murals, , , grounds. The visit was eminently vaut le voyage dining room with tea and scones. in the Mauritshuis, Rembrandt’s Titus at his (1812-1880). With a modest air, the present Earl During our visit the National Gallery of mosaics, portraits, heraldry, architectural – a bus and ferry trip up and back from Our final evening in Edinburgh, the home desk in Museum Boijmans Van Beuningen, the showed us one of the two surviving copies of Scotland curator of Italian art, Aidan Weston- symbolism, gardens. Edinburgh via Wemyss Bay, with bus and base for all the above visits, was the social Hobbema Water mill in Toledo. the first book ever printed in the Netherlands, Lewis, joined us to discuss the Italian The easel paintings seem extrinsic to this minivan transport to and from Mount Stuart. highpoint of the trip. The Patrons and In addition to its 16th-century Franco- the Speculum Humanae Salvationis. paintings. In 2000 he had organized the enterprise, and in fact they were brought to Trustees of the National Gallery of Scotland Flemish oaken panelling, Balcarres is also The motives behind the formation of this exhibition A poet in paradise: Lord Lindsay and Mount Stuart from other Bute properties, The highest concentration of Dutch and invited the participants to a reception and adorned with 17th-century bookshelves, collection were more intellectual and spiritual Christian art, accompanied by a catalogue especially Luton Hoo in Bedfordshire. They Flemish paintings of any of the collections we buffet dinner held in Julia Lloyd Williams’s reworked in the 19th century, which are said to than political or commercial. Lord Lindsay was worthy of the bibliophile who was its subject. were collected mainly by the 1st Marquess of visited was at Mertoun, the home of the Dukes lovely flat in New Town. Most of the curators come from the Rubenshuis. In his eloquent the author of Sketches of the history of Christian art Tea was served in the Chinese room, where Bute (1744-1814), who had studied in of Sutherland. What we saw were the highly and restorers we had met until then, and some introduction to the collection, the Earl asked (1847), a three-volume, incomplete history of we could absorb our impressions of masters Groningen and Leiden. As Julia Lloyd Williams respectable remnants of about 300 paintings others we met for the first time, also attended us what we thought of this traditional world art. ‘In its artistic appraisals the book like Fra Filippo Lippi in an oriental decor wrote in her catalogue, ‘Although not the first, displayed in the early 19th century by the Duke this warm event. codartwas able to express provenance. As it happened, the former reflects [Lindsay’s] belief that works of art painted in part, very ably, by Lord Crawford’s it was arguably the greatest collection of of Bridgewater in his house on St. James’s its gratitude to the hostess and author of the director of the Rubenshuis, Paul Huvenne, should be judged by their moral and spiritual mother. seventeenth-century Dutch paintings in Square in London. Although much of the trip with an engraved copy by Cornelis was a member of our party. He was unable to qualities, an attitude that led him to favour Britain.’ The collecting gift did not desert the collection was dispersed by the 4th Duke Visscher after a portrait by Cornelis Jonson of confirm that the shelving came from that 14th-century Italian art’ (Christopher Newall A collecting passion of a far different sort was Butes. One of their greatest Dutch paintings, before the First World War, and more was sold Cologne of Anna Maria van Schuurman.

Mertoun House. Participants in the Scottish study trip on the steps of Peter Black, curator of the Hunterian Museum in Wietske Donkersloot and Angela Tamvaki, curator of Mertoun, accompanied by the Duke and Duchess of Glasgow, discussing the problems raised by the the National Gallery in Athens, looking at emblem Sutherland (front, second and third from the left). museum’s version of a Rubens head known in books in the printroom of the Hunterian Museum several other versions as well. in Glasgow. codart Courant 4-5/December 2002 24 25 codart Courant 4-5/December 2002

traditional painting-galleries-with- codartactivities this study trip is already assured. from the audience asked whether we might The final day in Glasgow provided an excellent printrooms of the National Gallery of Scotland The study trip revealed to the participants the First, however, comes our annual congress, not discuss more general issues than the close to this unforgettable trip, if only because and the Hunterian Museum. The wide variety of contexts in which Dutch and in 2003 codart zes. We have defined the theme as particular ones raised by the succession of it left us wanting more. Gallery and Museum, called Kelvingrove, is a Flemish art was collected, alluded to by Julia Collecting Dutch and Flemish art in New themes. We have taken this excellent The collections of the University of universal collection in which the old masters Lloyd Williams in her 1992 catalogue. We were codart zes: Collecting Dutch and Flemish England. The first word underlines a suggestion to heart, and have instituted an Glasgow – the Hunterian – and the keep company with dinosaurs, knights in also left ruminating another remark in her art in New England difference between the earlier themes and this afternoon at codart zeson the larger Kelvingrove Museum across the road – were armor and highland kilts. It is a low-threshold invaluable introduction: ‘By the end of the From the initiation of codart, it was clear one. In contrast to the other geographical areas problems faced by museum curators. In taking unusual and exciting museum visits. In a institution that draws larger crowds than art eighteenth century, Dutch paintings figure on that sooner or later we were going to have to we have visited until now, the collections of this step, we are of course diluting to some depressing post-war building that we hope museums, and that looks more like a railway almost every inventory of the major collections tackle the United States, not in one but in New England were assembled mainly by degree the Dutch/Flemishness of codart, will speedily be replaced by something more station than an art museum. The curator who in Scotland. This was not a phenomenon several campaigns. The program committee, private, individual art collectors. That cannot but we think of this as an acceptable trade-off along the lines of the Talbot Rice Galleries in was first introduced to us as the curator of peculiar to Scotland, and English collections once it was installed, was eager to get started be said of the House of Orange or of the for potentially important gains. After all, the the Old University in Edinburgh, the paintings, Hugh Stevenson, apologetically also reflect such a trend but, interestingly, there. The choice of a first foothold on the Russian, Spanish and Romanian states. daily work of our membership involves Hunterian houses some spectacular corrected our impression by letting us know some of the most outstanding ‘English’ American continent came by itself, through a Because private collecting preceded museum- responsibilities not directly related to the collections. We saw part of the Whistler that he was curator of all the fine and applied collections of Dutch art had been formed by proposal from Ronni Baer that we visit Boston building, and because the same people who particular school under their care. To meet as collection, mainly from the artist’s estate; the art in the museum. The way he said it, we had Scots.’ and environs. A good opportunity would have collected for themselves were often the driving a community of curators – and what other one Charles Rennie Mackintosh holdings, the impression that a function with even this Gary Schwartz been provided by the exhibition she organized personalities behind the establishment of is there? – without touching on the general including the actual interior of the artist’s degree of specialization was under critical With thanks to Jan Piet Filedt Kok for the use of his in spring 2002, The poetry of everyday life: Dutch museums, the ties between collectors and problems involved in curatorial work has house and studio, moved to the museum; and discussion at the museum. notes on the trip. painting in Boston, with 60-odd outstanding museums in New England and in America something forced about it. a major collection of emblem books, including Stevenson showed half of us the painting paintings from private collections in the in general were and are closer than in Europe. The form we have come up with is also a such extraordinary manuscript material as the reserves while our other half inspected the Boston area. As it is, the exhibition catalogue At the congress, this theme is going to be new departure for codart. Until now all drawings for Roemer Visscher’s Sinnepoppen. galleries. The collection of Dutch and Flemish provides a foretaste of what the participants in worked out in several ways. The talks on the of the sessions at our congresses have been We were received by our member, the Dutch- paintings is surprisingly large, in fact the the study trip of late October 2003 can look congress theme will be opened by Jim Welu, plenary. All discussions have been conducted speaking printroom curator Peter Black, who largest in Scotland. It was the subject of a forward to. director of the Worcester Art Museum, whose from the rostrum by a chairman, with an discussed with us a research and exhibition complete catalogue by former curator Hamish Once our gaze focussed on Boston, it dissertation on maps in Dutch paintings is or audience out there. This format has its project he envisages around a Rubens study Miles in 1961, totalling 284 paintings from the became apparent that it offered a high should be known to all of us. In this position, advantages: everyone in the group knows head. 16th to the 19th centuries, including a small concentration not only of public but also he has been working closely for many years what has been said by whom; individuals can In its origin, the Hunterian was a bequest number of German paintings. The top echelon private collections with important holdings with local collectors and will report on his address the entire group; they can make by the Glasgow physician Dr William Hunter of this collection was high indeed: in our field. All the collectors we approached experiences and more general conclusions suggestions directly, in public, to the (1718-1783), who (from Lloyd Williams 1992): Rembrandt’s Man in armor, Nature adorned by were kindly willing to receive us in their based on them. Ronni Baer and Bill Robinson codartstaff or program committee; people ‘was the first Professor of Anatomy appointed the Graces by Rubens and Jan Bruegel,The fruit homes to show their collections. The will then talk about the public and private by Sir Joshua Reynolds for the Royal Academy seller by Jacob Jordaens. The complex play in approaches to the collectors were of course collections of Dutch and Flemish paintings at its founding in 1768. …His eclecticism is well these three paintings alone of imagery and made by our members in Boston and and drawings, respectively, in New England. represented in the collections which later meaning revealed something about our Cambridge. They work closely with the Another program point devoted to this made up the Hunterian Museum and which Scottish experience, namely that the paintings collectors, who are also benefactors of the general theme has been included in a new part included zoological specimens, ethnography, remaining in the country houses tended to museums. As far as the program itself is of the codartprogram. At the members’ pathology, geology and anatomy as well as reflect a somewhat timid iconographic choice. concerned, the success of meeting of codart vijf, several speakers outstanding coins, books, manuscripts and his This may not be the result of the choices of the pictures (now in the Hunterian Art Gallery)… original collectors, but of those of later owners The Hunterian Museum … was opened in 1808, who pruned their holdings for different the first public museum in Scotland. …The purposes. most important Dutch pictures that Hunter Most of the old Dutch and Flemish acquired are undoubtedly Rembrandt’s The paintings in the gallery were acquired in three Jan Lievens, Ruins of the castle of Brederode. Pen and Entombment of Christ and Philips Koninck’s civic-minded bequests. The coachbuilder brown ink, brown ink framing lines, 292 x 383 mm. Panoramic Landscape.’ Archibald McLellan set an example by leaving Collection Sheldon and Leena Peck, Newton. his collection to the city at his death in 1853, As guests of the university, we were able to followed by the insurance broker William lunch in the venerable faculty club, the fare at Euing in 1856 (a gift) and 1874 (bequest) and in which was indistinguishable from pub food, 1877 by the collection of the portrait painter against which no objections were registered. John Graham-Gilbert, left to the Gallery by his The resemblance to a pub was increased by the widow. Extensive donations and bequests of happenstance that we are there while the 19th-century paintings followed around the World Cup soccer match between Japan and turn of the 20th century. Turkey was on the television, being watched The gallery space for paintings being quite by more viewers than there were eaters in the limited, the Kelvingrove reserves are overfull. rest of the club. During the visit we discussed with Hugh Stevenson the possibility of putting the 1961 At Kelvingrove, finally, we found a remarkable catalogue on the codartwebsite, with room The old masters gallery in the Glasgow Art Gallery Jan Lievens, Forest with a Draftsman. Pen and brown collection of Dutch and Flemish paintings in a for updated information and subsequent and Museum (Kelvingrove). ink, 240 x 362 mm. Collection Maida and George completely different environment than the acquisitions. Abrams, Newton. codart Courant 4-5/December 2002 26 27 codart Courant 4-5/December 2002 can make themselves known better to the To return, then, to the theme of codart Cultural Heritage. De Tagle is a Cuban who numerous subordinate as well as managerial the Bonnefantenmuseum, climb in and out of appointed Tinbergenzaal in an annex behind group. However, 80 or 90 people in an zes: one of the workshops will deal with the was trained in Eastern Germany and who was positions and has always succeeded in getting buses and so forth. the old canal houses. auditorium is a bit of a crowd. Not everyone relationship between curators and collectors. head of research of the Cuban National Center his honest opinion over, an opinion that is codart zesis therefore going to be The congress meetings on Monday gets a fair chance to speak his or her mind. It will build on the morning’s discussions for Art before moving in 1991 to the United often impopular or critical, without causing streamlined. The timing is the same – Sunday afternoon and Tuesday morning will be held Nor is that format conducive to arriving at concerning New England, but will treat the States, where he worked at the Winterthur personal offense. The workshop will deal with afternoon to Tuesday evening following the at a different location, the buildings of the decisions that are supported by the group. subject in more general terms. In a period Foundation and the Universities of Delaware selected test cases, including one to be brought opening weekend of the tefaf– but the Netherlands Institute for Cultural Heritage For the more intense and lengthy when public museums worldwide are being and Pennsylvania before joining the Getty in by Ivan Gaskell. location and logistics are different. We are (icn) on the Gabriël Metsustraat, which you discussion of larger issues, it seems to us that urged to improve their relations with the Center for Conservation in 1995. In 2002 he meeting in Amsterdam, and the participants may know better from the past as the Centraal a workshop format is preferable. On the private sector in all its forms, this may well be took up his present position in Amsterdam. For the past three years, codarthas begun will be left to make their own travel and hotel Laboratorium voor Onderzoek van Werken afternoon of the first day of our congress, we an issue that deserves a regular place on the In several places he has taught a course on its meetings at the Bonnefantenmuseum on arrangements. There is no congress in the city van Kunst en Wetenschap. The icnoffers are therefore going to split the participants codartagenda. The chairman for this scientific research for art historians, another the Sunday afternoon following the opening during those days, 16-18 March, so it should pleasantly informal meeting rooms spread into four groups, to meet separately from each workshop will be Ger Luijten, head of the qualification for leading this workshop. of tefaf. The congress itself was then held in not be a problem to find accommodations. throughout a building in which the daily other at the same time. The workshops will Rijksmuseum printroom. This department of One of the members who most warmly a different location – codart driein The opening reception takes place on work of the icnstaff will be going on around meet for an hour-and-a-quarter, followed by a the museum recieves more private donations favored the introduction of topics of more Antwerp, codart vierin Cologne and Sunday evening March 16th at the Bijbels us. one-hour tea break during which the than any other, thanks to the personal ties general interest was Axel Rüger, curator of codart vijfin Brugge and Antwerp. The Museum, housed in two splendid 17th- We will eat lunch on board to canal boats workshop chairmen will jot down the between its curators and visitors. Dutch painting at the National Gallery, Bonnefantenmuseum always outdid itself in century mansions on the Herengracht. From that will pick us up at the Trippenhuis and conclusions. These will be presented to the Equally likely to be a repeating topic is that London. His initiative is being rewarded by its hospitality, for which we remain forever 17:00 to 20:00 there will be an opportunity to drop us off at the Rijksmuseum. entire group in a closing session of an hour- concerning art research laboratories. A good chairmanship of the workshop on a recurring grateful. On each of those Sunday afternoons register for the congress, to mix and to have a At 14:30 we are to assemble at the Instituut and-a-quarter, during which all participants understanding between are historians trained question of central importance: how to present in March we were moreover shown a more drink and a bit of finger food. Collectie Nederland building on the Gabriël can comment on all the issues. We are eager to in humanities faculties and the scientists who the permanent collection of a museum, our than ordinarily interesting exhibition that The following morning, from 8:00 on, those Metsustraat, a short walk from the see whether this arrangement works as well as in increasing numbers are turning to the very raison d’être, in an environment that we might otherwise have missed. who did not register the evening before can do Rijksmuseum. The rest of the afternoon is we hope. study of works of art cannot be expected to demands constant novelty and constant media For several reasons, we have decided with so at the location where the opening meeting devoted to the workshop sessions described In discussing themes for the workshops, emerge all on its own. This workshop will attention. A more or less predictable range of codart zesto break with this tradition. takes place, the Trippenhuis. There will also be above. On Monday evening the congress we realized that some of the issues involved are focus on the intercourse between humanists approaches is rediscovered and tried again and One reason is a change in the planning of an opportunity to take a brief guided tour of dinner will take place at Felix Meritis, where permanent facts of curatorial life, and deserve and scientists in the art lab, a relationship of again by museums worldwide, without the tefaf. Whereas until 2002 the Private View that famous monument, which was not only codart twee was held. to be discussed not just one time off, but year great and growing importance in all matters emergence of a successful model. This was always held on Friday, in 2002, 2003 and the foremost private house of 17th-century On Tuesday morning we will hold the after year. Depending on the outcome of the concerning the work of art as an object as well workshop will try to come to grips with this probably in the future as well it will be held Amsterdam but also the home of the members’ meeting. It will be introduced by 2003 workshops, the problems dealt with can as in questions of attribution. The chairman of issue, perhaps examining and comparing on Thursday. Not all of our members who stay Rijksmuseum from 1815 to 1885. Tours for a the director, who will present a review of be made the subject of yearly or bi-annual this session is Alberto de Tagle, head of case studies year after year. on after the tefafopening for codartwill maximum number of persons will be available activities on Dutch and Flemish art of the past returning meetings. research at the Netherlands Institute for The fourth workshop emerged from a want to remain in Maastricht until Sunday at several times in the course of the morning. year. Actually, since this is the first review of its suggestion by Ivan Gaskell at codart vijf. afternoon. Beside that, this arrangement On the advance registration form for the kind, it will cover the last four years, from the He urged us to look for ways of expressing involved quite a lot of work for the codart congress you will be asked to fill in your time the codartwebsite was initiated. criticism of each other’s work constructively as organization and a certain discomfort for the preferences for a slot. Highpoints and trends will be pointed out, a road toward improving our own thinking participants, having to bring their baggage to The meeting itself will not take place in the with the intention of gaining an improved and practices. The chairman of this meeting is historical spaces of the Trippenhuis, which is understanding of the place of Dutch and Rik Vos, director of the Netherlands Institute now the seat of the Royal Netherlands Flemish art in today’s museum world. for Cultural Heritage. Vos has served in Academy of Science, but in the modern, well- At the members’ meeting the Program Committee will present the plans for codartcongress themes and study trips for the coming years, and members will have the opportunity to give brief talks on future exhibition plans. It will close with a prelude to the afternoon, with an introduction to the Goltzius exhibition in the Rijksmuseum. Lunch will be at the Van Goghmuseum. This location was chosen for a number of reasons, the foremost being that van Gogh is by far the biggest success story, alas posthumously, in the history of Dutch art abroad. No organization based on the worldwide dispersal of Dutch and Flemish art should ignore him, as we have done until now. By coming to the Van Gogh Museum and lunching with its director and curators, we hope to remedy this situation and to begin to Ronni Baer, The Poetry of Everyday life. Dutch Painting in Willem van Aelst, Still Life with peaches, Butterfly and Opening page of the section European Art with Job Berckheyde, The Baker, about 1681. Oil on canvas, profit from the immense fame and popularity Boston, Boston (Museum of Fine Arts) 2002. Mouse, 1674. Oil on canvas, 9 7/8 x 11 3/8 in. Museum Saenredam’s Interior of the Choir of Saint Bavo’s Church 63,4 x 53 cm. Worcester Art Museum, Worcester. of van Gogh. of Fine Arts, Boston at Haarlem, 1660. From: Selected Works. Worcester Art A readymade link between van Gogh and Museum, Worcester 1994. the Old Masters who until now have been the codart Courant 4-5/December 2002 28 29 codart Courant 4-5/December 2002 nearly exclusive binding element in codart by Jacob de Wit, as a companion to the de Wit 14:00 Greeting by Rik Vos, director of icn. Study trip to Boston, 29 October-3November museums, most recently in an exhibition that baker. A choice of the prints and drawings will is being provided for us by the Van ceiling that is original to the house. codart 14:10 Workshop meetings in four groups. 2003 travelled to the and the be shown to us by David Acton, whose Ph.D., Goghmuseum itself. The exhibition that is is the guest of the Bijbels Museum and its – Curators and collectors, embroidering on the For those flying straight to the study trip and Institut Néerlandais before returning to the thesis was on ‘Hendrik Goltzius and Rudolfine going to be running during our congress is director, our member Janrense Boonstra. At morning’s talk (Ger Luijten). straight back, we recommend the convenient Fogg Art Museum. This in itself is indication in the Graphic Arts.’ The director entitled Vincent’s choice and presents a selection the time of the congress an exhibition on – Art research laboratories in and out of Northwest Amsterdam-Boston route. enough of its quality and importance. of the Worcester Art Museum, Jim Welu, also of works of art mentioned with approbation by Byzantine icons from Greece will be running. museums (Alberto de Tagle). However, since we expect that most Landscape drawings from the Sheldon and got his degree with a Dutch subject. He will be van Gogh in his letters or referred to in his art. There will also be an opportunity to visit two – What to do about the permanent collections? participants from Europe will want to leave Leena Peck collection were exhibited, with a receiving us for drinks and dinner in his It is one of the museum’s special activities in longstanding presentations of considerable (Axel Rüger) . earlier and/or stay on later than the six days of catalogue by Frank Robinson and Sheldon splendid early 20th-century Arts and Crafts connection with the 150th anniversary of van interest, reconstructions of the Tabernacle and – Critical discussion of exhibition concepts the trip, we are not including a group flight in Peck, in Chapel Hill, Ithaca and Worcester in home. Gogh’s birth on 30 March 2003. From the the Temple Mount, in the form of spectacular (Rik Vos). the arrangement. If it turns out that there are 1999-2000. Going through the Peck catalogue The biggest problem in arranging the trip, museum website: ‘In Vincent’s choice, Vincent models and a display of source materials. 15:25 Tea, visits to icnfacilities. ten or more participants who do wish to take and that of an older, 1991 exhibition of the a problem that might have forced us to cancel van Gogh’s musée imaginaire will be 16:45 Reports by workshop chairmen, those flights, we will be pleased to help in Abrams collection reveals that both contain it altogether, was formed by the high prices of reconstructed. It will show about 200 works by Monday, 17 March discussion. arranging a group booking. sheets by Allaert van Everdingen, Abraham hotel rooms in Boston. There is no Ibis there, artists admired by van Gogh, ranging from old Morning Trippenhuis 20:00 Congress dinner. The program was put together with the Furnerius, Jan van Goyen, Jan Lievens, Pieter offering basic accommodations at prime masters such as Rembrandt, Ruisdael and van Kloveniersburgwal 29 Felix Meritis invaluable help of our members in Boston and Molyn, Rembrandt, Roelandt Roghman, Jacob locations for reasonable prices. I visited hotels Ostade to academic contemporaries like 1011 jvAmsterdam Keizersgracht 324 surroundings: at the Museum of Fine Arts Cliff van Ruisdael, Cornelis and Herman Saftleven, charging twice the rate we paid in Edinburgh Herkomer and Gérôme, from his great models t +31 20 551 0700 1016 ezAmsterdam Ackley, Ronni Baer and Tom Rassieur, at the Adriaen van de Velde and Cornelis Vroom. that fell below minimum codartstandards. Millet and Delacroix to artist friends such as f +31 20 620 4941 t +31 20 626 2321 Fogg Art Museum Ivan Gaskell, Bill Robinson As subscribers to codart-l know, the At the last minute I nonetheless succeeded, Toulouse-Lautrec, Bernard, Signac and Seurat. e [email protected] f +31 20 624 9368 and Ron Spronk; at the Isabella Stewart Abramses made a major donation in June 1999 with the help of some good old Boston friends, Their work will be confronted with works by w http://www.knaw.nl e [email protected] Gardner Museum Alan Chong; at the to the Fogg Art Museum, consisting of 110 in finding an excellent, well-located small van Gogh himself.’ Our meeting takes place in a well-appointed w www.felix.meritis.nl Worcester Art Museum Jim Welu; and as one of sheets by Pieter Bruegel the Elder, Rembrandt hotel for a rate that we hope will not scare off At 13:00 we will be welcomed by the modern hall, the Tinbergenzaal. However, for the few private codart(associate) members, van Rijn, Hendrick Goltzius, Jacques de Gheyn potential participants. director of the van Gogh Museum, John those of you who have never seen the historic Tuesday, 18 March George Abrams of Newton, Massachusetts. We iiand other masters. The Straus Center for At the John Jeffries House we were able to Leighton. During and after the lunch there interior, we have arranged for brief, half-hour Morning icn, Gabriël Metsustraat met in mid-August 2002, in the middle of the Conservation of the Fogg Art Museum is reserve single and double rooms, but for only will be a bit of time to see the exhibition, tours to take place at several times in the 9:00 Director, review of year. worst heat wave the city had ever experienced. conducting new research into the drawings. 25 people. Some participants may have to be which represents a spectacular design effort by course of the morning. We are sure you will 9:20 Program Committee, future codart This did not stop us from putting together an On our visit to the Straus Center, we will see put up elsewhere, or asked to share a double the museum. not want to miss this opportunity. For a brief events. excellent plan for the trip, full of visits to the results of high-resolution digitization, room. Those who have friends in the area may After lunch codartwill be the guest of history of the building, see 9:35 Members’ presentations 1. private collections of the greatest interest to low-energy x-ray imaging and other prefer to lodge with them. the Rijksmuseum. The director, Ronald de http://www.knaw.nl/uksite/uk_trip.htm 10:15 Coffee. us. techniques applied to some of the donated n.b. ‘The John Jeffries House is a non- Leeuw, will greet us and describe in brief the 10:45 Members’ presentations 2. The visit is timed to coincide with the drawings. smoking facility.’ Those of you for which this plans for the New Rijksmuseum. For the rest Starting at 8:00 Registration, opening, tour of 11:30 Introduction to the Goltzius exhibition exhibition Rembrandt: painter, draftsman, etcher, Two lesser-known collections of graphic art presents an insurmountable problem are of the afternoon we will have the opportunity Trippenhuis for group a. in the Rijksmuseum, which opens on 7 March. a major effort by Cliff Ackley and Ronni Baer. will provide interesting surprises. Dutch and requested to let us know when registering. We for visits to the most complete exhibition ever 9:00 Greeting by director, introduction by 12:00 Lunch The exhibition is built around an extremely Flemish drawings of the 18th century are the wish to abide by this provision religiously. devoted to Hendrick Goltzius, to the congress chairman. Van Gogh Museum fine breakdown by Ackley of the themes of focus of the collection of Roger and Naomi The John Jeffries is very conveniently permanent display before it closes for at least 9:20 Jim Welu, director of the Worcester Art Paulus Potterstraat 7 Rembrandt’s etchings. He has singled out Gordon in Boston, while in Concord we will located for public transportation and for road five years, and to the newly opened study Museum: Collectors and curators: the 1071 cxAmsterdam about 35 iconographies and motifs in visit a collection of 16th-century connections as well. Leaving the hotel, there collection, a project headed by Jan Piet Filedt American way. t +31 20 570 5200 Rembrandt’s work that illuminate the Netherlandish prints, that of Bob and Barbara are beautiful walks in Beacon Hill and along Kok. 9:50 Coffee break, tour of Trippenhuis for f +31 20 673 5053 structure and chronology of the oeuvre. Wheaton. This visit will link nicely into the the embankment of the Charles River, or At the end of the day the museum will offer group b. e [email protected] Strange as it may seem, no earlier Rembrandt Goltzius exhibition. across the bridge into Cambridge. Boston us a reception to close codart zes. 10:20 Ronni Baer, Mrs. Russell W. Baker Senior w http://www.vangoghmuseum.nl exhibition, as many of them as there have Equally surprising, although it should not Common is a ten-minute walk. Across the Curator of Painting in the : Greeting by John Leighton, visit to exhibition been, has taken as comprehensive an approach be, will be the visit to the Worcester Art street from the hotel is the Charles St. subway The provisional program, in short Collecting Dutch and Flemish paintings in Vincent’s choice. as this. Museum. Although it is only an hour-and-a- station (called the t in Boston, for the mbta; New England. Afternoon Rijksmuseum One of the aims of the show is to bring half from Boston, Worcester lies off the track of this is the Red Line), with connections in a few Sunday, 16 March 2003 10:50 Coffee break, tour of Trippenhuis for Stadhouderskade 42 together oil sketches that can be associated international museum tourism. Works by minutes to mit and Harvard in one direction 17:00-20:00 Reception and registration at group c. 1071 zdAmsterdam with etchings or were intended as preparatory Dutch and Flemish artists that the museum and downtown Boston in the other. Bijbels Museum 11:20 Bill Robinson, Maida and George Abrams t +31 20 674 7000 work toward a print. This part of the project is features in its handbook of selected works are a More information will follow for those who Herengracht 366-368 Curator of Drawings at the Fogg Art Museum, f +31 20 674 7001 the responsibility of Ronni Baer. With its Flemish Last Judgment of about 1500, sign up after the registration forms are mailed 1016 chAmsterdam Cambridge: Collecting Dutch and Flemish e [email protected] prominent position among American Quentin Matsys, Rest on the flight to Egypt, in March 2003. t +31 20 624 2436 drawings, prints and objets d’art in New w http://www.rijksmuseum.nl museums, the mfawas able to bring in a first- Hendrik Goltzius, chiaroscuro woodcut of f +31 20 624 8355 England. 14:00 Ronald de Leeuw, greeting, presentation rate choice of loans in all media for the Hercules and Cacus, Adriaen van de Venne, Wednesday, 29 October e [email protected] 12:00 Questions, roundup by congress on the new Rijksmuseum exhibition. Winter landscape with skaters, Pieter Lastman, 14:15 Suggested flight: Northwest Airlines w http://www.bijbelsmuseum.nl chairman. 14:30 Individual visits to With our powerful group of New England Paris and Oenone, Judith Leyster, A game of tric- flight nw37 from Amsterdam to Boston (not The Bijbels Museum is situated in two 12:30 Lunch on board canal boats. – the Goltzius exhibition. members at work, the program wrote itself. trac, Daniel Seghers and Quellinus, A included). townhouses built in 1662 for the merchant Afternoon icnbuilding – the study collection, reopened in November Although we are not at liberty to indicate garland of flowers with the Education of the Virgin, 16:05 Arrival at Logan Airport. Jacob Cromhout. The architect was Philips Gabriël Metsustraat 8 2002. which paintings we are going to see at the Michael Sweerts,A young couple and a boy in a 17:30 Check in to hotel. Vingboons. Numerous original features of the 1071 eaAmsterdam – the full permanent display before it closes for houses of which collectors, we can tell more garden, Jan Steen, The rhetoricians, Jacob van John Jeffries House interior have been preserved, while some t +31 20 305 4545 at least 5 years. about the drawings collections on the trip. The Ruisdael, View on the IJ on a stormy day, Pieter 14 David G. Mugar Way elements have been moved there from other f +31 20 305 4600 17:00-19:00 Closing reception, offered by the world-famous Maida and George Abrams Saenredam, Interior of the choir of Saint Bavo’s (off Cambridge Street near Charles, across locations. These include a monumental ceiling w http://www.icn.nl Rijksmuseum. collection has been exhibited in many Church at Haarlem and Job Berckheyde, The from the Massachusetts General Hospital, codart Courant 4-5/December 2002 30 31 codart Courant 4-5/December 2002

called by Bostonians mgh) General visit and reception, met by our f +1 617 495 0322 codartdocuments netherlands Website news Boston, ma02114 member Alan Chong. Although some of the w http://www.artmuseums.harvard.edu/ 12.4 Dordrecht, Dordrechts Museum, t +1 617 367 1866 greatest of the Dutch paintings in the straus/ At codart vijf, a red binder was distributed Trompe-l’oeil, 2006 or later Traffic on www.codart.nl is rising steadily. At f +1 617 742 0313 museum are missing since the theft of 1990, Ron Spronk will show us the state-of-the-art to all participants, containing: russia the beginning of the year the average number e [email protected] the visit is of importance for the place of Dutch facilities and research equipment. To mark the 12.5 Moscow, Pushkin State Museum of of visitors per week was 650, accounting for w www.johnjeffrieshouse.com and Flemish art in an authentically preserved codartstudy trip, the Straus has given 1 General information Fine Arts, Rubens, Rembrandt, their about 25,000 total hits per month. By 18:00 Group meets in lobby of John Jeffries early 20th-century collection. priority to work on the Abrams donation of 2 Membership directory predecessors and contemporaries: 16th- November more than 1,000 different users House. Evening Dinner offered by Bill Middendorf, Dutch and Flemish drawings. 3 codartCourant and 17th-century drawings in the were clicking on one or another of the more Evening Visit to Gordon collection or Brooke collector, artist, former usSecretary of the Lunch End of study trip, at suitable location. 4 codart een: The collections of the Pushkin Museum, Moscow, than 200 pages on the site, racking up 30,000 collection, dinner offered by collector (see Navy and Ambassador of the United States to For those returning to Amsterdam, the House of Orange and their dispersal 22 February-12 May 2002 hits or more. For the entire year, a Google Sunday). the Netherlands, at suggested flight is 5 codart twee: Dutch and Flemish art in slovak republic search on ‘Flemish art’ put codart.nl in the Roger and Naomi Gordon are collectors of Somerset Club 18:45 nw38 Northwest Airline flight from Russia 12.6 Bratislava, Slovak National Gallery, number 1 slot, and for most of the year ‘Dutch 18th-century Dutch drawings; the Brookes of 42 Beacon St Logan Airport, Boston, to Amsterdam. 6 codart drie: The Spanish Habsburgs Rembrandt and 17th-century art’ as well. The Google rating of the site was 17th-century Dutch and Flemish paintings. Boston ma02108-3694 and the Netherlands Netherlandish art in Slovakia, 6/10, which is surpassed only by the sites of t +1 617 227 1731 Program subject to change. 7 codart vier: Dutch and Flemish art in Autumn 2003 or later much larger institutions. The success of the Thursday, 30 October Romania Other membership documents: site is largely due to constant, usually daily Morning Fogg Art Museum Access Guide to Boston ‘Painter John Singleton 8 codart vijf: Early Netherlandish art belgium updating by the webmaster. Copley lived in a house that once stood on this and its dispersal 12.7 Brugge, Map More assistance from codartmembers 32 Quincy Street site, until he went to England in 1744 and 8.1 Congress Program, 10-13 March 2002 12.8 Brugge, Stedelijke Musea Brugge, in keeping the information on the website Cambridge ma02138 never returned. Today, the Greek Revival 8.2 Participants folders correct and current would be greatly t +1 617 495 9400 granite bowfront that replaced Copley’s house 8.3 Evaluation form germany appreciated. w http://www.artmuseums.harvard.edu/ aggressively protrudes beyond its neighbors’ Texts of presentations on Tuesday 12 March 12.9 Braunschweig, Herzog Anton At the members’ meeting of codart fogg/index.html façades, and houses an ultra-exclusive private 2002: Ulrich-Museum. Kunstmuseum des vijf, a demonstration was given of the new Visits to the permanent collection and club.’ 8.4 Till Borchert, Jan van Eyck, Early Landes Niedersachsen, History of the website under design by Typography paintings reserves, guided by Ivan Gaskell, the Netherlandish Painting and the south of Herzog Anton Ulrich-Museum 1754- Interiority and Other Serious Matters drawing collection, under the care of Bill Saturday, 1 November Europe. Brugge, Groeningemuseum, 2004, 2004 (ti&osm), our house designer, and Occhio, a Robinson, and the prints, which are the Daytime Private collections of paintings in 15 March-30 June 2002 netherlands website bureau in Amsterdam. The additional preserve of Jerry Cohn. Marblehead (Eijk and Rose-Marie de Mol van 8.5 Fritz Koreny, Early Netherlandish master 12.10 Amsterdam, Amsterdams Historisch functionalities were received well by the Afternoon By bus to Newton for visits to two Otterloo) and Manchester (Jim Mullen and drawings from Jan van Eyck to Hieronymus Museum, Face values: Amsterdammers audience. By the time this issue of the Courant collections of 17th-century drawings, those of Nora Anderson) Bosch. Antwerp, Rubenshuis, 14 June- portrayed 1600-1800, 10 October 2002- hits the newsstands the new site should be in George Abrams and his late wife Maida, and of Evening Wheaton collection of 16th-century 18 August 2002 16 January 2003 operation in its basic form. Sheldon and Leena Peck. prints, Concord, with drinks and foods offered 8.6 Bert Cardon & Kris Callens,The masterly 12.11 Maastricht, Bonnefantenmuseum, Evening Dinner is offered by George Abrams. by Bob and Barbara Wheaton. Barbara Middle Ages: miniatures from Charlemagne folder Wheaton is a culinary historian and a cook of to Charles the Bold (800-1475). Leuven, 12.12 Rotterdam, Atlas van Stolk, Batavia: Friday, 31 October renown. Stedelijk Museum Van der Kelen- city of the Dutch East India Company, Museum of Fine Arts Mertens, 21 September-8 December 2002 23 February-16 June 2002 Avenue of the Arts Sunday, 2 November 9 codart zes: Dutch and Flemish art in 12.13 Museumdepot.org, information 465 Huntington Avenue Morning Gordon collection or Brooke Poland sheet Boston, MA 02115-5523 collection. 10 codart zeven united states of america T +1 617 267 9300 Afternoon After lunch, bus to 11 Website 12.14 Boston, Museum of Fine Arts, The W http://www.mfa.org Worcester Art Museum 12 Exhibitions on offer and other members’ poetry of everyday life: Dutch painting Morning Visit to Rembrandt: painter, draftsman, 55 Salisbury Street documents in Boston collections, 12 June- etcher. Worcester ma01609-3196 Exhibitions on offer: 15 September 2002 Followed by coffee in seminar room, where t +1 508 799 4406 belgium 12.15 New York, The Metropolitan we will discuss the exhibition.Visit to general f +1 508 799 5646 12.1 Antwerp, Koninklijk Museum voor Museum of Art, Tapestry in the collection. e [email protected] Schone Kunsten, Tussen Bosch en Renaissance: art and magnificence, Afternoon Lunch in the museum. w http://www.worcesterart.org/ Bruegel: Frans en Jan Verbeeck 12 March-19 June 2002 The painting reserves will be shown to us Evening Jim Welu offers reception and dinner (ca. 1540-1570), Autumn 2003 or later by Ronni Baer, the restoration lab by Rhona at his home. estonia We will be working with a looseleaf system for MacBeth and Jim Wright and the department 10 Massachusetts Avenue 12.2 Tallinn, Art Museum of Estonia, codartdocuments. More information on of prints and drawings by Cliff Ackley and Tom Worcester ma01609-1649 Dutch and Flemish art in Estonia, the system and its contents will be provided Rassieur. t +1 508 756 2237 September 2004 regularly. Close of the day germany Isabella Stewart Gardner Museum Monday, 3 November 12.3 Dresden, Kupferstich-Kabinett, 280 The Fenway Morning Straus Center for Conservation Universal representation – ‘Die Dresdner Boston, ma02115 Harvard University Art Museums Klebebände’ t +1 617 566 1401 32 Quincy Street f +1 617 278 5167 Cambridge ma02138-3383 w http://www.gardnermuseum.org t +1 617 495 2392 codart Courant 4-5/December 2002 32 33 codart Courant 4-5/December 2001

Membership directory BaBe Be Bl Bo Bo Bu CaCo De Diederik Bakhuÿs Liesbeth De Belie Dr. Kornelia von Dr. Leslie Blacksberg Drs. J.R. Boonstra Dr. Katharina Bott Willy Van den Bussche Jillian Elizabeth Carman Dott.ssa Raffaella Colace Drs. H.L.M. Defoer George S. Abrams Rocio Arnaez Responsable du cabinet des Attaché of department of Berswordt-Wallrabe Curator Director (associate) Chief curator (associate) (associate) (associate) (associate) (associate) dessins Old Masters Director The Taft Museum Bijbels Museum Former curator of pmmk- Museum voor Former curator at Art historian Director emeritus 60 State street Curator Musée des Beaux-Arts Koninklijke Musea van Schone Staatliches Museum 316 Pike Street Postbus 3606 Graf von Schönborn’sche Moderne Kunst Johannesburg Art Gallery Via Donatello 3 Museum Catharijneconvent Suite 2329 Museo Nacional del Prado 1 Place Restout Kunsten van België Schwerin Cincinnati oh45202 nl-1001 akAmsterdam Kunstsammlung Romestraat 11 14 Lurgan Road i-20131 Milano Rumkelaan 90 Boston ma 02109 Paseo del Prado, s/n. f-76000 Rouen Museumstraat 9 Alter Garten 3 usa The Netherlands Obertschern 51 b-8400 Oostende Parkview Johannesburg Italy nl-3571 xzUtrecht usa e-28014 France b-1000 Brussel d-19055 Schwerin t +31 20 535 6221 a-9546 Bad Kleinkirchheim Belgium 2193 t +39 2 294 04 761 The Netherlands t +1 617 526 6539 Spain t +33 2 3571 2840 Belgium Germany Dr. Albert Blankert f +31 20 624 8355 Austria t +32 59 508 118 South Africa f +39 2 294 12 037 t +31 30 231 38 35 f +1 617 526 5000 t +34 91 420 2836 f +33 2 3515 4323 t +32 3 508 3223 t +49 385 595 8170 (associate) jrboonstra@ t +43 4240 8439 f +32 59 805625 t +27 11 646 5039 raffaella colace@yahoo. it f +31 30 231 78 96 f +34 91 420 0794 f +32 2 508 3232 f +49 385 563 090 Independent curator bijbelsmuseum.nl f +43 4240 8439 f +27 11 710 6117 [email protected] Dr. Maryan W. Ainsworth Dr. Arnout Balis debelie@ Koningsplein 25 [email protected] Sophie Renouard de [email protected] Remmelt Daalder (associate) Dr. Boris Asvariszh Nationaal Centrum voor fine-arts-museum.be Dr. Holm Bevers nl-2518 jeDen Haag Till-Holger Borchert Bussière Curator Ian Dejardin Curator of early Curator of 19th century Plastische Kunsten van de 16de Curator The Netherlands Assistant Curator Drs. Peter van den Brink Chief curator Dr. Görel Cavalli-Björkman Nederlands Curator Netherlandish art northern school paintings en de 17de Eeuw Dr. Kristin Belkin Kupferstichkabinett t +31 70 346 0824 Groeningemuseum- Chief curator Musée du Petit Palais Chief curator and director Scheepvaartmuseum Picture Gallery The Metropolitan Museum of The State Kolveniersstraat 20 (associate) Matthäikirchplatz 4 f +31 70 346 4766 Arentshuis Bonnefantenmuseum 1 Avenue Dutuit of research Kattenburgerplein 1 Gallery Road Art Dvortsovaja nab. 34 b-2000 Antwerpen Officer d-10785 Berlin Albert.Blankert@ Stedelijke Musea Brugge Postbus 1735 f-75008 Paris Nationalmuseum nl-1018 kkAmsterdam Dulwich Village 1000 Fifth Avenue 191065 St. Petersburg Belgium Historians of Netherlandish Germany inter.nl.net Dijver 12 nl-6201 bs Maastricht France Box 16176 The Netherlands London se21 7ad New York ny1028-0198 Russia t +32 3 201 1577 Art t +49 30 266 2025 b-8000 Brugge The Netherlands t +33 1 4265 1273 s-10324 Stockholm t +31 20 523 2228 England usa t +7 812 110 9682 f +32 3 231 9387 23 South Adelaide Avenue f +49 30 266 2959 Dr. Marten Jan Bok Belgium t +31 43 329 01 90 f +33 1 4265 2460 Sweden f +31 20 523 2213 t +44 20 8693 5254 t +1 212 396 5172 Highland Park nj08904 (associate) t +32 50 448 721 f +31 43 329 01 99 t +46 8 5195 4301 rdaalder@ f +44 20 8299 8700 f +1 212 396 5052 Drs. Joost Vander Auwera Dr. Gerd Bartoschek usa Dr. Gottfried Biedermann Member of Program f +32 50 448 778 [email protected] Dr. Quentin Buvelot f +46 8 5195 4456 scheepvaartmuseum.nl i.dejardin@dulwich maryan.ainsworth@ Attaché Curator t +1 732 937 8394 Director of the Alte Galerie Committee [email protected] Curator [email protected] picturegallery.org.uk metmuseum.org Koninklijke Musea voor Stiftung Preussische Schlösser f +1 732 937 8394 Steiermärkisches Historians of Netherlandish Dr. Christopher Brown Mauritshuis Patrick le Chanu Dr. Susan Dackerman Schone Kunsten van België und Gärten Berlin- [email protected] Landesmuseum Joanneum Art Larisa Bordovskaya Director Postbus 536 (associate) Associate curator of prints Carl Depauw Dott. Givigliamo Alloisi Museumstraat 9 Brandenburg Raubergasse 10 Mauritsstraat 17 (h) Chief curator Ashmolean Museum nl-2501 cm Den Haag Centre de recherche des Musées and drawings Curator Director b-1000 Brussel Allee nach Sanssouci 5 Hanna Benesz a-8010 Graz nl-3583 hgUtrecht The State Museum Beaumont Street The Netherlands de France Baltimore Museum of Art Rubenshuis Galleria Corsini Belgium d-14471 Potsdam Keeper of early Austria The Netherlands Tsarskoje Selo Oxford ox1 2ph t +31 70 302 34 67 6 Rue des Pyramides Art Museum Drive Wapper 9-11 Via della Lungara 10 t +32 2 508 3227 Germany Netherlandish paintings t +43 316 8017 9771 t +31 30 251 21 57 7 Sadovaja St. England f +31 70 365 38 19 f-75001 Paris Baltimore md21218-3898 b-2000 Antwerpen Roma f +32 2 508 3232 t +49 331 9694 145 Muzeum Narodowe f +43 316 8017 9847 f +31 30 254 27 54 Tsarskoje Selo t +44 1865 278000 Buvelot.Q@mauritshuis. nl France usa Belgium Italy Vanderauwera@ f +49 331 9694 104 Aleje Jerozolimskie 3 [email protected] [email protected] Russia f +44 1865 278018 t +33 1 4020 5661 t +1 410 396 6347 t +32 3 201 1555 t +39 6 6880 2323 fine-arts-museum.be pl-00-495 Warsaw t +7 812 465 2017 christopher.brown@ Teresa Calero f +331 4703 3246 f +1 410 396 6562 f +32 3 227 3692 f +39 6 6813 3192 Hela Baudis Poland Dr. Pieter Biesboer Dr. J. Bolten f +31 465 2196 ashmus.ox.ac.uk Curator [email protected] [email protected] carl.depauw@ Dr. Reinier Baarsen Head of the printroom t +48 22 621 1031 Curator (associate) Museo Franz Mayer cs. antwerpen.be Stijn Alsteens Head of department of Staatliches Museum Schwerin f +48 22 622 8559 Frans Halsmuseum Director emeritus Dr. Stephen D. Borys Julius Bryant Av. Hidalgo 45 Dr. Alan Chong Drs. Jan Daan van Dam Assistant curator sculpture and decorative Alter Garten 3 Postbus 3365 Prentenkabinet Universiteit Curator of Western Art Director of museums and Plaza de la Santa Veracruz Curator Curator Alexis Donetzkoff Fondation Custodia arts d-19055 Schwerin Dana Bercea nl-2001 djHaarlem Leiden Allen Memorial Art Museum collections Centro Historico 06050 Isabella Stewart Gardner Rijksmuseum Curator 121 Rue de Lille Rijksmuseum Germany Curator of prints and The Netherlands Rhijngeeserstraatweg 16 Oberlin College English Heritage Mexico D. F. Museum Postbus 74888 Palais des Beaux-Arts f-75007 Paris Postbus 74888 t +49 385 595 8170 drawings t +31 23 511 5785 nl-2342 amOegstgeest 87 North Main Street 23 Savile Row Mexico 2 Palace Road nl-1070 dn Amsterdam 18 bis rue de Valmy France nl-1070 dn Amsterdam f +49 385 563 090 National Museum of Art of f +31 23 511 5776 The Netherlands Oberlin oh44074 London w1s 2et t +525 518 2266 al 71 Boston ma02115 The Netherlands f-59000 Lille t +33 1 4705 7519 The Netherlands otto@ Romania [email protected] t +31 71 519 0027 usa England f +525 321 2888 usa t +31 20 674 7223 France f +33 1 4555 6535 t +31 20 674 70 00 museum-schwerin.de Calea Victoriei 49-53 [email protected] t +1 440 775 6145 t +44 20 7973 3535 tcalero@ t +1 617 278 5113 f +31 20 674 7001 t +33 3 2006 7800 alsteens@ f +31 20 674 70 01 ro-70101 Bucharest Dr. Marian Bisanz-Prakken t +1 440 775 6841 f +44 20 7973 3209 franzmayer.org.mx f +1 617 278 5177 f +33 3 2006 7815 fondationcustodia.fr Dr. Frans Baudouin Romania Curator Jetteke Bolten-Rempt [email protected] julius.bryant@ [email protected] Osvaldas Daugelis Dr. Natalia Babina Chairman t +40 1 315 5193 Albertina Director english-heritage.org.uk Véronique van Caloen Director Dr. Thomas Döring Prof. Dr. Gert Ammann Curator of Flemish Nationaal Centrum voor f +40 1 312 4327 Augustinerstrasse 1 Stedelijk Museum Emil Bosshard Curator Dr. Ingrid Ciulisová MK Ciurlonis National Curator Director and chief curator painting of the 17th Plastische Kunsten van de 16de a-1010 Wien De Lakenhal (associate) Drs. Hans Buijs Kasteel van Loppem (associate) Museum of Art Herzog Anton Ulrich-Museum Tiroler Landesmuseum century en de 17de Eeuw Drs. Mària van Berge- Austria Postbus 2044 Curator Curator Square Larousse 29 Slovak Academy of Sciences: Vlado Putvinskio 55 Museumstrasse 1 Ferdinandeum The State Hermitage Museum Kolveniersstraat 20 Gerbaud t +43 1 53483/0 nl-2301 ca Leiden Thyssen-Bornemisza Fondation Custodia b-1190 Brussel Institute of Art History lt-3000 Kaunas d-38100 Braunschweig Museumstrasse 15 Dvortsovaja nab. 34 b-2000 Antwerpen Director f +43 1 533 7697 The Netherlands Foundation 121 Rue de Lille Belgium Dubravska cesta 9 Lithuania Germany a-6020 Innsbruck 191186 St. Petersburg Belgium Fondation Custodia [email protected] t +31 71 516 5360 Marktgasse 7 f-75007 Paris t +32 2 345 2138 sk-81364 Bratislava t +370 7 229 738 t +49 531 1225 2409 Austria Russia t +32 3 201 1577 121 Rue de Lille f +31 71 513 4489 ch-9220 Bischofszell France f +32 2 345 2138 Slovak Republic f +370 7 204 612 f +49 531 1225 2408 t +43 512 59489-72 t +7 812 110 9667 f +32 3 231 9387 f-75007 Paris Peter Black P.O.Box@ Switzerland t +33 1 4705 7519 t +4217 547 73 428 [email protected] info@museum- f +43 512 59489-88 f +7 812 312 1994 France Curator of Dutch and lakenhal.demon.nl t +41 71 422 1506 f +33 1 4555 6535 Dr. Lorne Campbell f +4217 547 73 428 braunschweig.de sekretariat@tiroler- Dr. Katharina Bechler t +33 1 4705 7519 Flemish paintings and f +41 71 422 1561 (associate) [email protected] Dorota Dec landesmuseum.at Dr. Ronni Baer Kulturstiftung Dessau Wörlitz f +33 1 4555 6535 prints Dr. Bob van den Boogert Dr. James D. Burke Research curator Dr. Peter van der Coelen Curator of foreign painting Mariana Dragu Curator of European Schloss Gross Kühnau Hunterian Museum and Art Curator Tatjana Bosnjak (associate) National Gallery Curator The Princes Czartoryski Curator Dr. Irina Antonova painting d-06846 Dessau Gallery Museum Het Rembrandthuis Curator Director emeritus Trafalgar Square Museum Het Valkhof Museum and National National Museum of Art of Director Museum of Fine Arts Germany 82 Hillhead Street Postbus 16944 National Museum St. Louis Art Museum London wc2n 5dn Postbus 1474 Museum in Kraków Romania Pushkin State Museum of Fine 465 Huntington Avenue t +49 340 646 1535 Glasgow g12 8qq nl-1001 rkAmsterdam Trg Republike 1a 159 N. Bemiston Ave. England nl-6501 blNijmegen ul. Sw. Jana 19 Calea Victoriei 49-53 Arts Boston ma02115 f +49 340 646 1510 Scotland The Netherlands 11000 Belgrade St. Louis mo63105-3810 t +44 20 7839 3321 The Netherlands pl-31-017 Kraków ro-70101 Bucharest 12 Volkhonka Street usa [email protected] t +44 141 330 5430 t +31 20 520 0400 Serbia usa f +44 20 7753 8179 t +31 24 360 8805 Poland Romania 121019 Moscow t +1 404 257 3336 f +44 141 330 3618 f +31 20 520 0401 t +381 63 86 84 622 t +1 314 725 4917 lorne.campbell@ f +31 24 360 8656 t +48 12 422 5566 t +40 1 315 5193 Russia f +1 404 303 0599 [email protected] museum@ [email protected] Miyachan@ ng-london.org.uk p.vandercoelen@ f +48 12 422 6137 f +40 1 312 4327 t +7 095 203 6978 [email protected] rembrandthuis.nl worldnet.att.net museumhetvalkhof.nl f +31 095 203 7943 codart Courant 4-5/December 2001 34 35 codart Courant 4-5/December 2001

Dr El Fi GaGo Gr HaHe He Hu Ja Ka Drs. Hendrik Driessen Drs. Elco Elzenga Maria Rosa Figueiredo Dr. Jan Garff Dr. Hilliard T. Goldfarb Dr. Roman Grigoryev Dr. Ursula Härting Drs. Ed de Heer Emerentia van Heuven Dr. Timothy Husband Dr. Paul Huys Janssen Dr. Thomas da Costa Chairman Adjunct director chief Chief curator Assistant keeper of prints Associate chief curator Head of department of (associate) Director Curator Curator Curator of Old Masters Kaufmann De Nederlandse curator Museu Calouste Gulbenkian and drawings The Montreal Museum of Fine prints Exhibition curator Museum Het Rembrandthuis Paleis Het Loo Nationaal The Cloisters Metropolitan Noordbrabants Museum (associate) Museumvereniging Paleis Het Loo Nationaal Av. de Berna 45-a Statens Museum for Kunst Arts The State Hermitage Museum Gustav-Lübcke-Museum Jodenbreestraat 4-6 Museum Museum of Art Postbus 1004 Professor Postbus 2975 Museum pt-1067-001 Lisboa Sølvgade 48-50 P.O. Box 3000 h Dvortsovaja nab. 34 Markgrafenufer 3a nl-1011 nkAmsterdam Koninklijk Park 1 Fort Tryon Park nl-5200 ba Den Bosch Department of Art and nl-1000 cz Amsterdam Koninklijk Park 1 Portugal dk-1307 Copenhagen Montreal h3g 2t9 191065 St. Petersburg d-59071 Hamm The Netherlands nl-7315 jaApeldoorn New York ny10040 The Netherlands Archaeology Princeton The Netherlands nl-7315 ja Apeldoorn t +351 1 793 5131 Denmark Canada Russia Germany t +31 20 520 0400 The Netherlands usa t +31 73 687 78 11 University t +31 20 551 2900 The Netherlands f +351 1 795 5249 t +45 33 748 512 t +1 514 285 1600 117 t +7 812 110 9782 t +49 2381 175 701 f +31 20 520 0401 t +31 55 577 2462 t +1 212 650 2284 f +31 73 687 78 99 McCormick Hall f +31 20 551 2901 t +31 55 577 24 00 mfigueiredo@ f +45 33 748 404 f +1 514 285 1980 f +7 812 275 5139 f +49 2381 439 892 f +31 55 521 9983 f +1 212 795 3640 Princeton nj08544-1018 f +31 55 521 99 83 gulbenkian.pt [email protected] [email protected] [email protected] [email protected] Dr. Jan Jaap Heij Sandra Janssens usa Drs. Charles Dumas Dr. Claus Grimm Mr. Drs. Stephen Hartog Curator Drs. Koert van der Horst Dr. Paul Huvenne Attaché t +1 609 258 3781 Chief curator Dr. Ildikó Ember Dr. J.P. Filedt Kok Dr. Ivan Gaskell Drs. Eymert-Jan Goossens (associate) Curator Drents Museum Curator of manuscripts Director Koninklijk Museum voor f +1 609 258 0103 Rijksbureau voor Head of department of Head of department of Curator Curator Director Instituut Collectie Nederland Postbus 134 Universiteitsbibliotheek Koninklijk Museum voor Schone Kunsten [email protected] Kunsthistorische painting painting Fogg Art Museum Koninklijk Paleis Haus der Bayerische Postbus 1098 nl-9400 ac Assen Utrecht Schone Kunsten Plaatsnijdersstraat 2 Documentatie Szépmüvészeti Múzeum Rijksmuseum 32 Quincy Street Postbus 3708 Geschichte nl-2280 cb Rijswijk The Netherlands Postbus 16007 Plaatsnijdersstraat 2 b-2000 Antwerpen Hans-Martin Kaulbach Postbus 90418 Dózsa György út 41 Postbus 74888 Cambridge ma02138 nl-1001 am Amsterdam Postfach 101747 The Netherlands t +31 592 31 27 41 nl-3500 da Utrecht b-2000 Antwerpen Belgium Curator of German and nl-2509 lk Den Haag h-1396 Budapest xiv nl-1070 dn Amsterdam usa The Netherlands d-86007 Augsburg t +31 70 307 38 41 f +31 592 31 71 19 The Netherlands Belgium t +32 3 242 0414 Netherlandish prints and The Netherlands Hungary The Netherlands t +1 617 496 4252 t +31 20 624 86 98 Germany f +31 70 319 23 98 [email protected] t +31 30 253 65 21 t +32 3 242 0421 [email protected] drawings t +31 70 333 9705 t +36 1 343 9759 t +31 20 674 72 05 f +1 617 496 2359 f +31 20 623 38 19 t +49 821 3295-0 [email protected] f +31 30 253 92 92 f +32 3 248 0810 Staatsgalerie Stuttgart f +31 70 333 97 89 f +36 1 343 8298 f +31 20 674 70 01 [email protected] goossens@ f +49 821 3295-220 Drs. Freek Heijbroek k.vanderhorst@ [email protected] Dr. Catherine Johnston Konrad-Adenauer-Straße [email protected] ember@szepmuveszeti. hu j.filedt kok@ kon paleis amsterdam.nl Prof. Egbert Haverkamp- Curator library. uu.nl Curator of European art 30-32 rijksmuseum.nl Dr. Terèz Gerszi Dr. Natalia Grizay Begemann Rijksmuseum printroom Dr. Chiyo Ishikawa National Gallery of Canada d-70173 Stuttgart Drs. F.J. Duparc Dr. Mark Evans (associate) Chief advisor Lia Gorter Head of Old Masters Institute of Fine Arts Postbus 74888 Drs. Guus van den Hout Curator of European P.O. Box 427 Station A Germany Director Curator of paintings Jacques M. Foucart Szépmüvészeti Múzeum Director painting section and cura- 1 East 78th Street nl-1070 dn Amsterdam Director painting Ottawa Ontario k1n 9n4 t +49 711 212 4102 Mauritshuis Victoria and Albert Museum Curator of Northern Dózsa György út 41 Foundation for Cultural tor of Flemish paintings New York ny10021-01778 The Netherlands Museum Catharijneconvent Seattle Art Museum Canada f +49 711 212 4111 Postbus 536 Cromwell Road European painting h-1396 Budapest xiv Inventory The State Hermitage Museum usa t +31 20 674 70 00 Postbus 8518 P.O. Box 22000 t +1 613 990 0599 nl-2501 cm Den Haag South Kensington Musée du Louvre Hungary Sarphatistraat 84hs Dvortsovaja nab. 34 t +1 212 772 5800 f +31 20 674 70 01 nl-3503 rm Utrecht Seattle wa98122-9700 f +1 613 990 8689 Dr. Jan Kelch The Netherlands London sw7 2rl 34 Quai du Louvre t +36 1 469 7175 nl-1018 gsAmsterdam 191065 St. Petersburg f +1 212 772 5807 The Netherlands usa [email protected] Director t +31 70 302 34 20 England f-75041 Paris f +36 1 469 7171 The Netherlands Russia Drs. Liesbeth Helmus t +31 30 231 38 35 t +1 206 654 3179 Staatliche Museen Preussischer f +31 70 365 38 19 t +31 20 7942 2553 France [email protected] t +31 20 624 47 10 t +7 812 110 9682 Karen Hearn Curator of Old Masters f +31 30 231 78 96 f +1 206 654 3135 Drs. Michiel Jonker Kulturbesitz f +31 20 7942 2561 f +31 20 624 47 10 f +7 812 312 1994 Curator of 16th and 17th Centraal Museum ahpj.vandenhout@ chiyo@ (associate) Matthäikirchplatz Dr. Rudi Ekkart [email protected] Dr. Hans Fransen Dr. Jeroen Giltay [email protected] century arts Postbus 2106 catharijneconvent.nl seattleartmuseum.org Director of Royal d-10785 Berlin Director (associate) Chief curator of old master Drs. J.M. de Groot Tate Gallery nl-3500 gcUtrecht Antiquarian Society Germany Rijksbureau voor Clario Di Fabio Former director of paintings Annamáriá Gosztola (associate) Millbank The Netherlands J.C. Houwert Wim Jacobs Van Breestraat 123 t +49 30 266 2598 Kunsthistorische Director Michaelis Collection Museum Boijmans Van Curator of Flemish Former director of London sw1p 4rg t +31 30 236 2362 Kemperbergerweg 15 Director of operations nl-1071 zkAmsterdam f +49 30 266 2103 Documentatie Galeria di Palazzo Bianco Greenmarket Square Beuningen painting Dordrechts Museum England f +31 30 233 2006 nl-6816 rmArnhem Instituut Collectie Nederland The Netherlands Postbus 90418 Via Garibaldi 11 Cape Town 8001 Postbus 2277 Szépmüvészeti Múzeum Postbus 1170 t +44 20 7887 8038 l.helmus@ The Netherlands Postbus 76709 t +31 20 679 4064 Véronique van de Kerckhof nl-2509 lkDen Haag i-16124 Genova South Africa nl-3000 cg Rotterdam Dózsa György út 41 nl-3300 bdDordrecht f +44 20 7887 8047 centraal museum.nl t +31 55 538 8888 nl-1070 kaAmsterdam [email protected] Assistant curator The Netherlands Italy t +27 21 424 6367 The Netherlands h-1396 Budapest xiv The Netherlands [email protected] t +31 55 538 8666 The Netherlands Rubenshuis t +31 70 333 9777 t +39 3355 699 132 f +27 21 461 9592 t +31 10 441 94 00 Hungary t +31 78 648 21 48 Dr. Lee Hendrix [email protected] t +31 20 305 4506 Christiaan Jörg Wapper 9-11 f +31 70 333 9789 f +39 10 247 5357 f +31 10 436 05 00 t +36 1 343 9759 f +31 78 614 17 66 Dr. Peter Hecht Curator of drawings f +31 20 305 4500 Curator b-2000 Antwerpen [email protected] Björn Fredlund f +36 1 343 8298 Director The J. Paul Getty Museum Wouter Hugenholtz [email protected] Groninger Museum Belgium Dr. Gail Feigenbaum Director Stephen Goddard gosztola@ Dr. Rainald Grosshans Onderzoekschool 1200 Getty Center Drive (associate) Postbus 90 t +32 3 201 1556 Dr. Albert J. Elen Curator of painting Göteborg Museum of Art Curator of prints and szepmuveszeti.hu Curator Kunstgeschiedenis Suite 1000 Executive director David Jaffe nl-9700 me Groningen f +32 3 227 3692 Senior curator of prints and New Orleans Museum of Art Göteplatsen drawings Gemäldegalerie Kromme Los Angeles ca90049-1687 Netherlands Institute for Deputy director The Netherlands veronique.vandekerckhof@ drawings P.O. Box 19123 s-41256 Göteborg Spencer Museum of Art Dr. Gerhard Graulich Stauffenbergstrasse 40 Nieuwegracht 29 usa Advanced Study The National Gallery t +31 50 366 65 55 cs.antwerpen.be Museum Boijmans Van New Orleans la70179 Sweden The University of Kansas Chief curator of painting d-10785 Berlin nl-3512 hdUtrecht t +1 310 440 7062 Meijboomlaan 1 Trafalgar Square f +31 50 312 08 15 Beuningen usa Lawrence ks66045 Staatliches Museum Schwerin Germany The Netherlands f +1 310 440 7744 nl-2242 prWassenaar London wc2n 5dn Laurence van Kerkhoven Postbus 2277 t +1 504 483 2754 Dr. Eli ˘ska Fuc˘iková usa Alter Garten 3 t +31 30 253 6330 [email protected] The Netherlands England Ronda Kasl Adjunct curator nl-300 cgRotterdam f +1 504 483 6662 Director t +1 913 864 4710 d-19055 Schwerin John Oliver Hand f +31 30 253 6167 t +31 70 512 27 00 t +44 20 7747 2885 Associate curator of Groeningemuseum The Netherlands [email protected] National Heritage f +1 913 864 3112 Germany Curator [email protected] Daniel Hess f +31 70 511 71 62 f +44 20 7747 2423 painting and sculpture Stedelijke Musea Brugge t +31 10 4419 505 Department goddard@ t +49 385 59 580 National Gallery of Art Curator of paintings and Hugenholtz@ before 1800 Dijver 12 f +31 10 4360 500 Drs. Emmy Ferbeek Office of the President falcon.cc.ukans.edu f +49 385 56 3090 3215 Scott Place nw Jo Hedley glass before 1800 NIAS.KNAW.nl Drs. Guido Jansen Museum of Art b-8000 Brugge elen@ Chief curator cz-11908 Prague 1-Hrad graulich@ Washington dc20007 Curator of pictures Germanisches Head of Collections 1200 West 38th Street Belgium boijmans.rotterdam.nl Gemeentearchief Amsterdam Czech Republic Sybilla Goegebuer museum-schwerin.de usa pre-1800 Nationalmuseum Roselyne Huret Museum Boijmans Van Indianapolis in46208-4196 t +32 50 44 8711 Postbus 51140 t +42 02 2437 2166 Assistant curator t +1 202 737 4215 The Wallace Collection Postfach 11 95 80 Curator Beuningen usa f +32 50 44 8778 Dr. Titus M. Eliëns nl-1007 ecAmsterdam f +42 02 2437 2255 Stedelijk Museum voor [email protected] Hertford House Manchester d-90105 Nürnberg Musée Carnavalet Postbus 2277 t +1 317 923 1331 [email protected] Chief curator of applied arts The Netherlands [email protected] Volkskunde Square Germany 29 rue de Sévigné nl-3000 cg Rotterdam f +1 317 926 8931 Gemeentemuseum Den Haag t +31 20 5720 243 Rolweg 40 Dr. Jaap Harskamp London w1m 6bn t +49 911 1331 171 f-75003 Paris The Netherlands [email protected] Postbus 72 f +31 20 6750 596 b-8000 Brugge British Library England f +49 911 1331 200 France t +31 10 441 96 01 nl-2501 cb Den Haag [email protected] Belgium 96 Easton Road t +44 20 7935 0687 (x47) [email protected] t +33 1 4272 2113 f +31 10 436 0500 The Netherlands t +32 50 44 8764 London nw1 2db f +44 20 7224 2155 f +33 1 4027 8559 jansen@ t +31 70 338 12 86 f +32 50 33 5489 England boijmans.rotterdam.nl f +31 70 338 11 12 [email protected] f +44 207 413 7578 [email protected] [email protected] codart Courant 4-5/December 2001 36 37 codart Courant 4-5/December 2001

Ke Kl Ko Kr Le Wi Lo Lu MaMaMi Na Drs. Michiel Kersten Dr. Rüdiger Klessmann Akira Kofuku Ms. Rebeca Kraselsky Dr. Simon H. Levie Julia Lloyd Williams Willy le Loup Dr. Alexander C. Lungu Dr. Ekkehard Mai Dr. Annaliese Mayer- Drs. Ewoud Mijnlieff Dr. Angel Navarro Head of collection (associate) Chief curator Curator of paintings (associate) Chief curator Acting curator Director Curator Meintschel Curator (associate) management and Curator emeritus The National Museum of Museo Franz Mayer Director emeritus of the National Gallery of Scotland Groeningemuseum Muzeul Brukenthal Wallraf-Richartz-Museum (associate) Museum Het Catharina Professor of art history communication Völkstrasse 25 Western Art Av. Hidalgo 45 Rijksmuseum The Mound Stedelijke Musea Brugge Piat,a Mare nr. 3-5 Bischofgartenstrasse 1 Director emeritus Gasthuis University of Buenos Aires Frans Halsmuseum d-86150 Augsburg 7-7 Ueno-koen Plaza de la Santa Veracruz Minervalaan 70/ii Edinburgh eh2 2el Dijver 12 ro-2400 Sibiu d-50667 Köln Gemäldegalerie Alte Meister Oosthaven 10 Avenida Quintana 16-6to. Postbus 3365 Germany Taito-ku110 – 000 7 Tokyo Centro Historico 06050 nl-1077 pg Amsterdam Scotland b-8000 Brugge Romania Germany Robert-Diez-Strasse 7 nl-2801 pbGouda “M” nl-2001 dj Haarlem t +49 821 158 966 Japan Mexico D.F. The Netherlands t +44 131 624 6510 Belgium t +40 69 211 699 t +49 221 2212 3633 d-01326 Dresden- The Netherlands 1014 Buenos Aires The Netherlands t +81 3 3828 5185 Mexico t +31 20 671 88 95 f +44 131 220 0917 t +32 50 44 8704 f +40 69 211 545 f +49 221 2212 2629 Oberloschwitz t +31 182 58 84 40 Argentina t +31 23 511 57 90 Drs. Wouter Kloek f +81 3 3828 5797 t +52 5518 2265 X255 f +31 20 673 80 88 jlloydwilliams@ f +32 50 44 8778 Germany f +31 182 58 86 71 t +54 11 4812 6836 f +31 23 511 57 76 Curator of special projects [email protected] rkraselsky@ nationalgalleries.org [email protected] Dr. Doron Lurie Synnöve Malmström t +49 351 264 0544 f +54 11 4814 5033 [email protected] Rijksmuseum franzmayer.org.mx Dr. Mary L. Levkoff Chief conservator and Chief curator f +49 351 264 1199 Sir Oliver Millar (c/o Ms. Casal) Postbus 74888 Dr. Ype Koopmans Curator of European Hilde Lobelle-Caluwé Katherine Crawford Luber curator of 16th-19th Finnish National Gallery (associate) [email protected] Dr. Thomas Ketelsen nl-1070 dn Amsterdam Curator Alastair Laing painting and sculpture Curator Memlingmuseum Assistant curator of the century art Bulevardi 40 Drs. Bram Meij Surveyor emeritus of the Curator The Netherlands Gemeentemusea Arnhem Adviser on pictures and Los Angeles County Museum Sint-Janshospitaal and Johnson collection Tel Aviv Museum of Art fin-00120 Helsinki Chief curator of prints and queen’s pictures Francine de Nave Staatliche Kunstsammlungen t +31 20 674 70 00 Postbus 60189 sculpture of Art Museum Onze-Lieve- Philadelphia Museum of Art P.O. Box 33288 Finland drawings The Cottage Rays Lane Museum Plantin Moretus Dresden f +31 20 674 70 01 nl-6800 jpArnhem The National Trust 5905 Wilshire Boulevard Vrouw ter Potterie Box 7646 61332 Tel Aviv t +358 9 171336 468 Museum Boijmans Van Penn Buckinghamshire Vrijdagmarkt 22 Güntzstrasse 34 [email protected] The Netherlands 36 Queen Anne’s Gate Los Angeles ca90036 Stedelijke Musea Brugge Philadelphia pa19106 Israel f +358 9 173 36463 Beuningen hp10 8lh b-2000 Antwerpen d-01307 Dresden t +31 26 3512 431 London sw1h 9as usa Dijver 12 usa t +972 3 695 7361 synnove.malmstrom@ Postbus 2277 England Belgium Germany Dr. Maria Kluk f +31 26 4435 148 England t +1 323 857 6003 b-8000 Brugge t +1 2165 684 7616 f +972 3 695 8099 fng.fi nl-3000 cg Rotterdam t +44 494 812 124 t +49 351 491 4212 Keeper of Dutch paintings [email protected] t +44 20 7222 9251 f +1 323 857 6216 Belgium f +1 215 763 8955 The Netherlands Dr. Uta Neidhardt f +49 351 491 4222 Muzeum Narodowe f +44 20 7447 6540 (home) [email protected] t +32 50 44 8703 Kluber@philamuseum. org Drs. M.P. van Maarseveen Jean-Patrice Marandel t +31 10 441 94 00 Eric Moinet Curator of Dutch and Aleje Jerozolimskie 3 Dr. Fritz Koreny f +32 50 44 8778 Director Chief curator f +31 10 436 05 00 Conservateur en chef, Flemish paintings Dr. George S. Keyes pl-00-495 Warszawa (associate) Dr. Friso Lammertse Dr. Walter A. Liedtke [email protected] Dr. Jochen Luckhardt Drents Museum Los Angeles County Museum of Meij@ conseiller pour les musées Staatliche Kunstsammlungen Elizabeth & Allan Shelden Poland Curator Curator Curator of European Director Postbus 134 Art boijmans.rotterdam.nl Direction régionale des affaires Dresden - Gemäldegalerie Alte curator of European t +48 22 621 1031 (x 312) Institut für Kunstgeschichte Museum Boijmans Van paintings Dr. Anne-Marie Logan Herzog Anton Ulrich- nl-9400 acAssen 5905 Wilshire Boulevard culturelles Rhône-Alpes Meister paintings f +48 22 622 8559 der Universität Wien Beuningen The Metropolitan Museum (associate) Museum. Kunstmuseum des The Netherlands Los Angeles ca90036 Dr. Bert Meijer 6, quai Saint Vincent Zwinger Theaterplatz 1 The Detroit Institute of Arts [email protected] Spitalgasse 2 Hof 9 Postbus 2277 of Art Research curator Landes Niedersachsen t +31 592 312 741 usa Director f-69283 Lyon Cedex 01 d-01067 Dresden 5200 Woodward Avenue Drs. Paul Knolle a-1090 Vienna nl-3000 cg Rotterdam 1000 Fifth Avenue The Metropolitan Museum Museumstrasse 1 f +31 592 317 119 f +1 323 857 6216 Istituto Universitario France Germany Detroit mi48202 Curator of old master Austria The Netherlands New York ny 10028 of Art d-38100 Braunschweig Olandese di Storia dell’Arte t +33 4 7200 44 27 t +49 351 491 4658 usa paintings t +43 1 4277 414 44 t +31 10 441 94 00 usa 25 Reilly Road Germany Catharine MacLeod Dr. Natalja Markova Viale Torricelli 5 f +33 4 7200 43 30 f +49 351 491 4694 t +1 313 833 1736 | 7900 Rijksmuseum Twenthe f +43 1 4277 9414 f +31 10 436 05 00 t +1 212 570 3762 Easton ct06612 t +49 531 1225-0 Curator of 16th and 17th Head of department of i-50125 Firenze eric.moinet@ f +1 313 833 7881 Lasondersingel 129-131 [email protected] f +1 212 396 5052 usa f +49 531 1225-2408 century arts prints and drawings Italy culture.gouv.fr István Németh [email protected] nl-7514 bpEnschede Dr. Anne S. Korteweg Dr. Alexei Larionov t +1 203 261 0354 jluckhardt@ National Portrait Gallery Pushkin State Museum of Fine t +39 55 221612 Curator The Netherlands Keeper of manuscripts Curator of Dutch and Prof. Dr. Bernd Lindemann f +1 203 261 7246 museum-braunschweig.de St. Martin’s Place Arts f +39 55 221106 Maciej Monkiewicz Szépmüvészeti Múzeum Drs. Renée Kistemaker t +31 53 435 86 75 Koninklijke Bibliotheek Flemish drawings Curator of old master [email protected] London wc2h 0he 12 Volkhonka Street iuo@iuo..firenze.it Curator Dózsa György út 41 (associate) f +31 53 435 90 02 Postbus 90407 The State Hermitage Museum paintings Dr. Dietmar Lüdke England 119019 Moscow Muzeum Narodowe h-1396 Budapest xiv Advisor pknolle@ nl-2509 lk Den Haag Dvortsovaja nab. 34 Kunstmuseum Basel Drs. Daniëlle H.A.C. Lokin Curator t +44 20 7312 2415 Russia Dr. Mitchell Merling Al. Jerozolimskie 3 Hungary Amsterdams Historisch rijksmuseum-twenthe.nl The Netherlands 191065 St. Petersburg Postfach Director Staatliche Kunsthalle f +44 20 7306 0056 t +7 095 203 3007 Curator of art before 1900 pl-00-495 Warsaw t +36 1 343 9759 Museum t +31 70 314 03 57 Russia ch-4010 Basel Stedelijk Museum Het Postfach 6224 [email protected] f +7 095 203 4674 Ringling Museum of Art Poland f +36 1 343 8298 Postbus 3302 Yoriko Kobayashi-Sato f +31 70 314 06 55 Switzerland Prinsenhof d-76042 Karlsruhe [email protected] 5401 Bayshore Rd. t +48 22 621 1031 inemeth@ nl-1001 acAmsterdam (associate) [email protected] Huigen Leeflang t +41 61 206 6239 | 6262 St. Agathaplein 1 Germany Catalina Macovei Sanda Marta Sarasota fl34243 f +48 22 622 8559 szepmuveszeti.hu The Netherlands Mejiro University Curator of prints f +41 61 206 6253 nl-2611 hrDelft t +49 926 3355 Head of department of Curator usa mmonkiewicz@ t +31 20 523 18 22 1-1, f312 Ogura Dr. Olga Kotková Rijksprentenkabinet [email protected] The Netherlands f +49 926 6788 prints and drawings Muzeul Brukenthal t +1 941 359 7778 mnw.art.pl Dr. Lawrence W. Nichols f +31 20 620 77 89 Saiwai, Kawasaki, Head of the collection of old Postbus 74888 t +31 15 260 28 64 Drs. Ger Luijten Library of the Romanian Piat,a Mare nr. 3-5 f +1 941 359 5745 Curator of European [email protected] Kanagawa European masters nl-1070 dnAmsterdam Dr. Irina Linnik f +31 15 213 87 44 Head of department of Academy ro-2400 Sibiu mitchellmerling@ Andrew Moore paintings and sculpture Japan 212-0054 Národní Galerie v Praze The Netherlands Curator of Dutch paintings [email protected] prints and drawings Calea Victoriei 125 Romania earthlink.net Curator before 1900 Maris Klaas t +81 44 544 1915 P.O. Box 4 t +31 20 674 7261 The State Hermitage Museum Rijksmuseum printroom ro-71 102 Bucharest t +40 69 217691 Castle Museum The Toledo Museum of Art Art Museum of Estonia f +81 44 544 1925 cz-110 15 Prague f +31 20 674 7001 Dvortsovaja nab. 34 Dr. Angelika Lorenz Postbus 74888 Romania f +40 69 211545 Drs. Norbert E. Middelkoop Norwich P.O. Box 1013 Weitzenbergi 22 [email protected] Czech Republic h.leeflang@ 191065 St. Petersburg Referentin 16. und 17. nl-1070 dn Amsterdam t +40 1 650 3043 (x113) [email protected] Curator of paintings, prints Norfolk nr1 3ju Toledo oh43697 ee-0001 Tallinn t +420 2 2051 5457 rijksmuseum.nl Russia Jahrhundert The Netherlands f + 40 1 212 5856 and drawings England usa Estonia Dr. Olaf Koester f +420 2 2051 3180 t +7 812 323 0835 Westfälisches Landesmuseum t +31 20 674 70 00 catalina macovei@ Dr. Michael Matile Amsterdams Historisch t +44 1603 223 624 | t +1 419 255 8000 t +37 22 601 3183 Senior research curator [email protected] Prof. Ronald de Leeuw für Kunst und Kulturgeschichte f +31 20 674 70 01 yahoo.com Curator Museum 493 633 (x) f +1 419 244 2217 Statens Museum for Kunst Director general Christopher Lloyd Domplatz 10 [email protected] Graphische Sammlung der Postbus 3302 f +44 1603 765 651 | lnichols@ Dr. Christian Klemm Sølvgade 48-50 Dr. Zoltán Kovács Rijksmuseum Surveyor of The Queen’s d-48143 Münster Jan De Maere eth nl-1001 acAmsterdam 493 661 (x) toledomuseum.org Curator dk-1307 Copenhagen Deputy head of department Postbus 74888 Pictures Germany Dr. Christiane Lukatis (associate) Raemistrasse 101, hge52 The Netherlands Kunsthaus Zürich Denmark for registration nl-1070 dn Amsterdam t +49 251 5907 240 Curator Director ch-8092 Zürich t +31 20 523 18 22 Karsten Müller Dr. Jan Nicolaisen Heimplatz 1 t +45 33 748 532 Szépmüvészeti Múzeum The Netherlands Stable Yard House f +49 251 5907 210 Staatliche Kunstsammlungen Documentatiecentrum voor Switzerland f +31 20 620 77 89 Assistant curator Curator ch-8024 Zürich f +45 33 748 505 Dózsa György út 41 t +31 20 674 70 00 St. James’s Palace Kassel het Vlaamse t +41 1 632 7875 norbertmiddelkoop@ Hamburger Kunsthalle Museum der bildenden Künste Switzerland [email protected] h-1146 Budapest xiv f +31 20 674 70 01 London sw1a 1jr Postfach 410420 Kunstpatrimonium f +41 1 632 11 68 compuserve.com Glockengiesserwall Grimmaische Strasse 1-7 Hungary r.de.leeuw@ England d-34066 Kassel 9 rue des Minimes [email protected] d-20095 Hamburg d-04109 Leipzig t +36 1 302 1785 rijksmuseum.nl t +44 20 7930 4832 Germany b-1000 Brussel Germany Germany f +36 1 302 1785 f +44 20 7839 8168 t +49 562 9377-7 Belgium t +49 40 42854 3211 t +49 341 216 9942 zkovacs@ f +49 562 9377-666 t +32 2 502 2400 f +49 40 42854 2482 f +49 341 960 9925 szepmuveszeti.hu f +32 2 502 0750 mueller@ [email protected] [email protected] hamburger-kunsthalle.de codart Courant 4-5/December 2001 38 39 codart Courant 4-5/December 2001

Ni Or PaPl Qu Ri Ro Ru SaSc Sc Sc Hans Nieuwdorp Dr. Nadine Orenstein Mieke Parez Drs. Michiel Plomp Roger Quarm Drs. Robert-Jan te Rijdt Drs. Evert Rodrigo Dr. Ivan Rusina Dr. Wolfgang Savelsberg Dr. Albert A.J. Scheffers Drs. Peter Schoon David Scrase Chief curator Associate curator of Adjunct curator Associate curator of Curator of pictures Curator of drawings Head of department of Curator Head of museums and Curator Director Fitzwilliam Museum Museum Mayer van den Bergh drawings and prints Memlingmuseum Sint- drawings and prints National Maritime Museum Rijksmuseum collections Slovenská národná galéria collections Het Nederlands Muntmuseum Dordrechts Museum Trumpington Street Lange Gasthuisstraat 19 The Metropolitan Museum Janshospitaal The Metropolitan Museum Romney Road Postbus 74888 Instituut Collectie Nederland Riec˘na 1 Kulturstiftung Dessau Wörlitz P.O. Box 2407 P.O. Box 1170 Cambridge cb2 1rb b-2000 Antwerpen of Art Stedelijke Musea Brugge of Art Greenwich se10 9nf nl-1070 dn Amsterdam Postbus 1098 sk-81513 Bratislava Schloss Gross Kühnau nl-3531 bg Utrecht nl-3300 bd Dordrecht England Belgium 1000 Fifth Avenue Dijver 12 1000 Fifth Avenue England The Netherlands nl-2280 cb Rijswijk Slovak Republic d-06846 Dessau The Netherlands The Netherlands t +44 1223 332 900 t +32 3 232 4237 New York ny10028-0198 b-8000 Brugge New York ny10028-0198 t +44 181 312 6717 t +31 20 674 72 66 The Netherlands t +421 7 5443 7062 Germany t +31 30 291 0482 t +31 78 648 21 48 f +44 1223 332 923 f +32 3 231 7335 usa Belgium usa f +44 181 312 6632 f +31 20 674 70 01 t +31 70 307 38 00 f +421 7 5443 3971 t +49 340 646 1535 f +31 30 291 0467 f +31 78 614 17 66 hans.nieuwdorp@ t +1 212 879 3502 t +32 50 448 772 t +1 212 879 5500 [email protected] [email protected] f +31 70 319 23 98 [email protected] f +49 340 646 1510 [email protected] [email protected] Dr. Gero Seelig cs.antwerpen.be f +1 212 570 3921 f +32 50 44 8778 f +1 212 570 3921 [email protected] Curator of Netherlandish Nadine.Orenstein@ [email protected] Anna Radziun Maria del Carmen Rippe Dr. Anna Rollová Dr. Samuel Sachs ii Tamara Schestakowa Dr. Karl Schütz paintings Jeltje van Nieuwenhoven metmuseum.org Kadi Polli Curator of Ruysch Moro Director of collection of Director Scott Schaefer Director Director of department of Staatliches Museum Schwerin Member of the board of Zuzana Paternostro Director and curator of collections Curator prints and drawings The Frick Collection Head of department of Tambov Fine Arts Museum paintings Alter Garten 3 codart Dr. Lynn Federle Orr Curator of foreign art paintings Museum of Anthropology and Museo Nacional Národní Galerie v Praze 1 East 70th Street paintings 97 Sovetskaya Street Kunsthistorisches Museum d -19055 Schwerin Postbus 20018 California Palace of the Legion Museu Nacional de Belas Artes Foreign Art Museum of the Art Ethnography of Russian Trocadero e/Sulueta y Staromestké nám. 12 New York ny10021 The J. Paul Getty Museum 392000 Tambov Burgring 5 Germany nl-2500 eaDen Haag of Honor Av. Rio Branco 199 Museum of Estonia Academy of Sciences - Monserrate cz-110 15 Prague 1 usa 1200 Getty Center Drive Russia a-1010 Wien t +49 385 5958 125 The Netherlands 100 34th Street Lincoln Park Rio de Janeiro 20040 008 37 Weizenbergi Street Kunstkamera Habana Vieja Czech Republic t +1 212 288 0700 Suite 1000 t +7 0752 724627 Austria f +49 385 5630 90 t +31 70 318 2700 San Francisco ca94121 Brazil ee-10127 Tallinn Universitetskaya Nab. 3 Cuba t +420 222 315 030 f +1 212 861 7347 Los Angeles ca90049-1687 t +43 1 5252 4305 GeroSeelig@ j.vnieuwenhoven@ usa t +55 21 2240 0068 Estonia 199034 St. Petersburg t +53 7 613 858 f +420 222 310 433 [email protected] usa Drs. Robert Schillemans f +43 1 5252 4309 compuserve.com tk.parlement.nl t +1 415 750 3618 f +55 21 2262 6067 t +372 6066 400 Russia f +53 7 629 626 [email protected] t +1 310 440 7168 Curator [email protected] f +1 415 750 3656 [email protected] f +372 6066 401 t +7 812 328 0712 [email protected] Prof. Dr. Vadim A. Sadkov f +1 310 440 7717 Museum Amstelkring Ons’ Dr. Hana Seifertová Drs. Carl Nix [email protected] kadi.polli@ f +7 812 328 0811 Dott.ssa Francesca Rossi Head of department of [email protected] Lieve Heer op Solder Gary Schwartz Curator Curator Dr. Jet Pijzel-Dommisse kadriorg.ekm.ee [email protected] Helena Risthein Curator European and American art Oude Zijds Voorburgwal 40 Director Národní Galerie v Praze Atlas Van Stolk Prof. Dr. H.W. van Os Curator of decorative arts Curator Museo di Castelvecchio Pushkin State Museum of Drs. Jef Schaeps nl-1012 ge Amsterdam codart V Luhu 616 Korte Hoogstraat 31 (associate) Gemeentemuseum Den Haag Nora De Poorter Rodolphe Rapetti Art Museum of Estonia Corso Castelvecchio 2 Fine Arts Assistant curator The Netherlands Postbus 162 cz-25230 Revnice nl-3011 gkRotterdam Director emeritus of the Postbus 72 Associate (associate) Kadriog Art Museum i-37121 Verona 12 Volkhonka Street Prentenkabinet Universiteit t +31 20 624 6604 nl-3600 ad Maarssen Czech Republic The Netherlands Rijksmuseum nl-2501 cb Den Haag Nationaal Centrum voor Conservateur en chef du Kiriku plats 1 Italy 121019 Moscow Leiden f +31 20 638 1822 The Netherlands t +420 2 2051 5457 t +31 10 217 67 24 Koninginneweg 37 The Netherlands Plastische Kunsten van de 16de patrimoine ee-1o130 Tallinn t +39 45 592 985 Russia Postbus 9501 r.schillemans@ t +31 346 58 05 53 f +420 2 2051 3180 f +31 10 433 44 99 nl-1075 lgAmsterdam t +31 70 338 11 11 en de 17de Eeuw Chargé de mission auprès Estonia f +39 45 801 0729 t +7 095 203 9587 nl-2300 raLeiden museum amstelkring.nl f +31 346 58 05 54 [email protected] [email protected] The Netherlands f +31 70 355 73 60 Kolveniersstraat 20 de la directrice des musées t +372 644 9513 [email protected] f +7 095 203 4674 The Netherlands [email protected] b-2000 Antwerpen de France t +372 644 1478 t +31 71 527 27 88 Dr. Bernhard Loekie Schwartz Dr. Manfred Sellink John Nolan Prof. Dr. Jan Ostrowski Dr. Mikhail Piotrovsky Belgium Direction des musées de France f +372 644 2094 Martin Royalton-Kisch Béatrice Salmon J.M.P.Schaeps@ Schnackenburg (associate) Director Curator Director Director t +32 3 201 1577 6, rue des Pyramides [email protected] Assistant keeper Director let.leidenuniv.nl Director Postbus 162 Stedelijke Musea Brugge Bob Jones University Museum Zamek Krolewski na Wawelu The State Hermitage Museum f +32 3 231 9387 f-75001 Paris [email protected] British Museum Department Musée des Beaux-Arts Staatliche Museen Kassel nl-3600 ad Maarssen Dijver 12 & Gallery, Inc. 5 Dvortsovaja nab. 34 France of Prints and Drawings 3 place Drs. Karen Schaffers- Gemäldegalerie Alte Meister The Netherlands b-8000 Brugge 1700 Wade Hampton pl-31-001 Kraków 191065 St. Petersburg Hayden Russell Proud Dr. Franklin W. Robinson Great Russell Street f-54000 Nancy Bodenhausen Schloss Wilhelmshöhe t +31 346 56 27 78 Belgium Boulevard Poland Russia Curator Tom Rassieur The Richard J. Schwartz London wc1b 3dg France Chief curator d-34131 Kassel f +31 346 57 05 74 t +32 50 448 711 Greenville sc29614 t +48 12 422 1950 t +7 812 311 9245 Iziko Museums of Cape Town Assistant curator of prints director England t +33 38 385 3072 Rijksbureau voor Germany [email protected] f +32 50 448778 usa f +48 12 422 1950 f +7 812 311 9009 Michaelis Collection and drawings Herbert F. Johnson Museum t +44 20 7636 1555 f +33 38 385 3076 Kunsthistorische t +49 561 9377 7613 manfred.sellink@ t +1 864 370 1800 x1050 [email protected] Old Town House Museum of Fine Arts of Art f +44 20 7323 8999 Documentatie f +49 561 9377 7666 Dr. Dieter Schwarz pandora.be f +1 864 770 1306 Maritta Pitkänen Greenmarket Square 465 Huntington Avenue Cornell University Mroyaltonkisch@ Dr. Jochen Sander Postbus 90418 Schnackenburg-Kassel@ Director [email protected] Piotr Oszczanowski Director Cape Town 8001 Boston ma02115-5523 Ithaca ny14853 British-Museum.ac.uk Head of department of nl-2509 lk Den Haag t-online.de Kunstmuseum Winterthur Dr. Marina Senenko (associate) The Gösta Serlachius Museum South Africa usa usa paintings The Netherlands Postfach 378 Curator of European and Dr. Nils Ohrt Instytut Historii Sztuki | of Fine Arts t +27 21 4651 628 t +1 617 369 3432 t +1 607 255 6464 Dr. Louisa Wood Ruby Städelsches Kunstinstitut t +31 70 383 69 08 Dr. Cynthia P. Schneider ch-8402 Winterthur American art Director Uniwersytet Wroclaw fin-35800 Mänttä f +27 21 4610 045 f +1 617 536 4102 f +1 607 255 9940 Photoarchivist Dürerstrasse 2 f +31 70 333 97 89 (associate) Switzerland Pushkin State Museum of Fine Nivagaards Malerisamling Szewska 49 Finland [email protected] [email protected] director museum@ The Frick Collection d-60596 Frankfurt am Main Former ambassador of the t +41 52 267 5162 Arts Gl. Strandvej 2 pl-50-139 Wroclaw t +358 3474 5515 cornell.edu 1 East 70th Street Germany Drs. Marijn usin the Netherlands f +41 52 267 5317 12 Volkhonka Street dk-2990 Nivå Poland maritta.pitkanen@ Dr. Beata Purc-Stepniak Dr. Konrad Renger New York ny10021 t +49 69 605 098 Schapelhouman 17201 Norwood Road [email protected] 121019 Moscow Denmark t +48 871 375 2525 serlachiusartmuseum.fi Curator of European Chief curator Dr. William W. Robinson usa f +49 69 610163 Curator of drawings Sandy Spring md20860 Russia t +45 49 14 10 17 f +48 071 3402 510 paintings Bayerische Curator of drawings t +1 212 547 0652 Sander-Frankfurt@ Rijksmuseum usa Prof. Gianni Carlo Sciolla t +7 095 203 5809 f +45 49 14 10 57 [email protected] Drs. Peter van der Ploeg Muzeum Narodowe w Staatsgemäldesammlungen Fogg Art Museum f +1 212 547 0680 t-online.de Postbus 74888 t +1 301 570 4782 (associate) f +7 095 203 4674 [email protected] Curator Gdansku Barer Strasse 29 32 Quincy Street [email protected] nl-1070 dn Amsterdam f +1 301 570 9497 Professor of art history Drs. Sander Paarlberg Mauritshuis Ul Torunska 1 d-80799 München Cambridge ma02138 Ana García Sanz The Netherlands cpschneider@ Università degli Studi di Dr. Anja K. Sevcík Drs. Maria Ordeanu Curator of Old Masters Postbus 536 pl-80-822 Gdansk Germany usa Axel C. Rüger Curator of the Descalzas t +31 20 674 7000 restructassoc.com Torino Curator old masters Curator of prints and Dordrechts Museum nl-2501 cm Den Haag Poland t +49 89 238050 112 t +1 617 495 2382 Curator of Dutch and Reales f +31 20 674 7001 Via Tenivelli 11 collection drawings Postbus 1170 The Netherlands t +48 58 301 70 61 f +49 89 23805 221 f +1 617 496 3800 Flemish paintings Patrimonio Nacional Drs. Frits Scholten i-10144 Torino Národní Galerie v Praze Muzeul Brukenthal nl-3300 bdDordrecht t +31 70 302 34 20 f +48 58 301 11 25 [email protected] The National Gallery Palacio Real - Bailén s/n Drs. Peter Schatborn Director of exhibitions Italy Charlese de Gaulla 3 Piat,a Mare 4-5 The Netherlands f0 +31 70 365 38 19 Trafalgar Square e-28071 Madrid (associate) Rijksmuseum t +39 11 437 1766 cz-160 00 Prague vi ro-2400 Sibiu t +31 78 648 21 48 London wc2n 5dn Spain Head emeritus Postbus 74888 f +39 11 670 3513 Czech Republic Romania f +31 78 614 17 66 England t +34 91 454 7513 Rijksmuseum printroom nl-1070 dn Amsterdam [email protected] t +420 2 2051 5457 t +40 69 217 691 spaarlberg@ t +44 20 7747 2893 f +34 91 454 8721 Prinsengracht 905 The Netherlands f +420 2 2051 3180 f +40 69 211 545 kun.dordrecht.nl f +44 20 7753 8179 nl-1017 kdAmsterdam t +31 20 674 70 00 [email protected] mioaraordeanu@ axel.ruger@ The Netherlands f +31 20 674 70 01 yahoo.com ng-london.org.uk [email protected] f.scholten@ rijksmuseum.nl codart Courant 4-5/December 2001 40 41 codart Courant 4-5/December 2001

Sh Sm St TaTr Va Ve Vi WaWe Wh Wi Dr. Desmond Shawe-Taylor Drs. Marie Christine van Emmanuel Starcky Angela Tamvaki Dr. Meinolf Trudzinski Dr. Paul Vandenbroeck Prof. Dr. Ilja M. Veldman Mercedes Royo Villanova Danièle Wagener Rivka Weiss-Blok Lucy Whitaker Eliane De Wilde der Sman Chief curator Curator of Western Senior curator Research curator (associate) Trustee and research Curator (associate) Assistant to the surveyor of Chief curator Gallery Road, Dulwich Director Musée des Beaux-Arts European paintings Niedersächsisches Koninklijk Museum voor Professor curator Villa 13 Ethiopia St. The Queen’s Pictures Koninklijke Musea van Schone Village Museum van het Boek BP. 1510 National Gallery and Landesmuseum Hannover Schone Kunsten Vrije Universiteit Faculteit der Museo Lázaro Galdiano 14 rue du Saint-Esprit 95149 Jerusalem Royal Collection Kunsten van België London se21 7ad Prinsessegracht 30 f-21033 Dijon Alexandros Soutzos Museum Willy-Brandt-Allee 5 Plaatsnijdersstraat 2 Letteren Serrano 122 l-2090 Luxembourg Israel Stable Yard House Museumstraat 9 England nl-2514 apDen Haag France Rigillis 12 d-30169 Hannover b-2000 Antwerpen De Boelelaan 1105 Madrid Luxembourg t +972 2 6232 778 St. James’s Palace b-1000 Brussel t +44 20 8299 8701 The Netherlands t +33 3 8074 5270 gr-10674 Athens Germany Belgium nl-1081 hv Amsterdam Spain t +352 4796 2766 f +972 2 6247 482 London sw1a 1jr Belgium f +44 20 8299 8700 t +31 70 346 27 00 f +33 3 8074 5344 Greece t +49 511 9807 624 t +32 3 242 0430 The Netherlands t +34 91 759 2130 f +352 471 707 [email protected] England t +32 2 508 3211 d.shawe-taylor@dulwich f +31 70 363 03 50 [email protected] t +30 1 72 32 051 f +49 511 9807 640 f +32 3 248 0810 t +31 20 444 6366 f +34 91 435 4049 [email protected] t +44 20 7930 4832 (x4699) f +32 2 508 3232 picturegallery.org.uk f +30 1 72 2 4889 [email protected] f +31 20 444 6500 Dr. Dennis Weller f +44 20 7839 8168 deWilde@ Dr. Irina Sokolova Dr. Annemarie Stefes Drs. Carel van Tuyll van [email protected] Dr. Hans Vlieghe Nicole Walch Associate curator of Lwhitaker@ fine.arts-museum.be Drs. John Sillevis Head of department of (associate) Drs. Janno van Tatenhove Serooskerken Marc Vandenven Nationaal Centrum voor Koninklijke Bibliotheek European art RoyalCollections.org.uk Chief curator Dutch paintings Project researcher Curator of drawings Chief curator Associate Annemarie Vels Heijn Plastische Kunsten van de 16de Albert I North Carolina Museum of Art Gloria Williams Gemeentemuseum Den Haag The State Hermitage Museum Hamburger Kunsthalle Prentenkabinet Universiteit Teylers Museum Nationaal Centrum voor Director en de 17de Eeuw Keizerslaan 4 4630 Mail Service Center Prof. Christopher White Curator Postbus 72 Dvortsovaja nab. 34 Luitpoldstrasse 42 Leiden Spaarne 16 Plastische Kunsten van de 16de De Nederlandse Kolveniersstraat 20 b-1000 Brussel Raleigh nc27605-6494 (associate) Norton Simon Museum nl-2501 cb Den Haag 191065 St. Petersburg d-10781 Berlin Postbus 9501 nl-2011 ch Haarlem en de 17de Eeuw Museumvereniging b-2000 Antwerpen Belgium usa Director emeritus 411 West Colorado The Netherlands Russia Germany nl-2300 raLeiden The Netherlands Kolveniersstraat 20 Postbus 2975 Belgium t +1 919 839 6262 x2128 Ashmolean Museum Boulevard t +31 70 338 12 15 t +7 812 110 9794 | 110 9615 t +49 40 2854 2616 The Netherlands t +31 23 531 90 10 b-2000 Antwerpen nl-1000 czAmsterdam t +32 3 201 1577 Henk van der Walle f +1 919 733 8034 34 Kelly Street Pasadena ca91105-1825 f +31 70 338 1112 f +7 812 311 9009 | 312 2262 f +49 40 2854 2482 t +31 71 527 27 88 f +31 23 534 20 04 Belgium The Netherlands f +32 3 231 9387 Chairman of the board of dweller@ London nw1 8ph usa jsillevis@ |Stefes@ [email protected] t +32 3 201 1577 t +31 20 551 2900 codart ncmamail.dcr.state.nc.us England t +1 626 449 216 gemeentemuseum.nl | Prof. Ojars Sparitis hamburger-kunsthalle.de Dr Herfried Thaler f +32 3 231 9387 f +31 20 551 2901 Drs. Christiaan Vogelaar Bisschopsstraat 16 t +44 20 7485 9148 f +1 626 796 4978 Latvian Academy of Arts Curator Dr. Jacek Tylicki Ernst Veen avelsheijn@ Curator nl-7513 akEnschede Dr. James A. Welu f +44 20 7428 9786 gwilliams@ Dr. Pilar Silva Kalpaka Boulevard 13 Sergei Stroganov Nordico-Museum der Stadt (associate) (associate) museumvereniging.nl Stedelijk Museum De The Netherlands Director [email protected] nortonsimon.org Head of department of lv-1867 Riga Curator of Dutch paintings Linz Assistant professor of Director Lakenhal t +31 53 431 6744 Worcester Art Museum medieval and early- Latvia (Rembrandt excluded) Damitzstraße 23 museology Nationale Stichting De Dr. Alexander Vergara Postbus 2044 f +31 53 432 9401 55 Salisbury Street Dr. Christiane Wiebel Dr. Paul Williamson fsa Renaissance Spanish and t +371 733 2202 The State Hermitage Museum a-4020 Linz Uniwersytet M. Kopernika Nieuwe Kerk Curator nl-2301 caLeiden Worcester ma01609-3123 Curator of the printroom Keeper of sculpture, Flemish paintings f +371 722 8963 Dvortsovaja nab. 34 Austria Sienkiecza 30/32 Postbus 3438 Museo Nacional del Prado The Netherlands Dr. John J. Walsh usa Kunstsammlungen der Veste metalwork, ceramics and Museo Nacional del Prado [email protected] 191065 St. Petersburg t +43 732 7070 1903 pl-87 100 Torun nl-1001 ae Amsterdam Paseo del Prado t +31 71 516 53 60 (associate) t +1 508 799 4406 x3023 Coburg glass C. Ruiz de Alarcón 23, 4e Russia f +43 732 793 518 Poland The Netherlands e-28014 Madrid f +31 71 513 44 89 Director emeritus f +1 508 799 5646 Veste Coburg The Victoria and Albert planta Dr. Joaneath Spicer t +7 812 110 9682 [email protected] t +48 56 651 1632 t +31 20 626 81 68 Spain The J. Paul Getty Museum [email protected] d-96450 Coburg Museum e-28014 Madrid The James A. Murnaghan f +48 56 651 1632 f +31 20 622 66 49 t +34 91 330 2824 Drs. Edward van Voolen 1200 Getty Center Drive Germany South Kensington Spain curator of Renaissance and Drs. Ariane van Suchtelen Todor Todorov [email protected] [email protected] f +34 91 330 2852 Chief curator Suite 300 Drs. Guido de Werd t +49 9561 879-17 London sw7 2rl t +34 91 330 2809 Baroque art Curator of exhibitions (associate) alejandro.vergara@ Joods Historisch Museum Los Angeles ca90049-1680 Director of Museum f +49 9561 87966 England f +34 91 330 2851 Walters Art Gallery Mauritshuis Princeton University Dr. Daiga Upeniece Dr. Ernst Vegelin van prado.mcu.es Postbus 16737 usa Kurhaus Kleve and B.C. t +44 20 7942 2611 [email protected] 600 N. Charles St. Postbus 536 Department of Art and Director Claerbergen nl-1001 re Amsterdam t +1 310 440 7114 Koekkoek-Haus Kleve Dr. Alexander Wied f +44 20 7942 2616 Baltimore md21201 nl-2501 cm Den Haag Archeology Museum of Foreign Art Senior curator Dr. Thea Vignau-Wilberg The Netherlands f +1 310 440 7717 Museum Kurhaus Kleve Curator [email protected] Dr. Martina Sitt usa The Netherlands Princeton nj08544 Pils Laukums 3 (Courtauld Curator t +31 20 626 99 45 [email protected] Tiergartenstraße 41 Kunsthistorisches Museum Head of department of t +1 410 547 9258 t +31 70 302 34 20 usa Riga lv-1050 Institute of Art) Staatliche Graphische f +31 20 624 17 21 d-47533 Kleve Burgring 5A Dr. David de Witt paintings f +1 410 752 4797 f +31 70 365 38 19 t +1 609 258 5678 Latvia Somerset House Sammlung München [email protected] Drs. Rik van Wegen Germany a-1010 Wien Bader Curator of European Hamburger Kunsthalle [email protected] f +1 609 258 0103 t +371 7 228 776 Strand London wc2r 0rn Meiserstrasse 10 Curator t +49 2821 750 112 Austria Art Glockengiesserwall Eva Tahon [email protected] t +371 9 522 134 England d-80333 München Drs. Rik Vos Bonnefantenmuseum f +49 2821 750 111 t +43 1 5253 4305 Agnes Etherington Art Centre d-20095 Hamburg Ron Spronk Adjunct curator f +371 7 228 776 T +44 20 7848 2539 Germany Director Postbus 1735 [email protected] f +43 1 5252 4309 Queen’s University Germany Associate curator for Groeningemuseum Joanna A. Tomicka [email protected] F +44 20 7848 2589 t +49 89 289 27656 Instituut Collectie Nederland nl-6201 bs Maastricht [email protected] University Avenue at t +49 40 4285 42603 research Stedelijke Musea Brugge Curator ernst.vegelin@ f +49 89 289 27653 Postbus 76709 The Netherlands Dr. Hiltrud Westermann- Queen’s Crescent Kingston f +49 40 4285 42482 Straus Center for Conservation Dijver 12 Muzeum Narodowe Dr. Susan Urbach courtauld.ac.uk t.vignau@graphische- nl-1070 ka Amsterdam t +31 43 329 01 90 Angerhausen Marjorie E. Wieseman onCanada k7l 3n6 sitt@ and Technical Studies b-8000 Brugge Al. Jerozolimskie 3 Head of department of art sammlung.mwn.de The Netherlands f +31 43 329 01 99 Director Curator of European Canada hamburger-kunsthalle.de Harvard University Art Belgium pl-00-495 Warsaw history Dr. Carl Van de Velde t +31 20 305 45 18 [email protected] Museum Schnütgen painting and sculpture t +1 613 533 6000 x75100 Museums t +32 50 44 8711 Poland Péter Pázmány Catholic Nationaal Centrum voor Dr. George Vilinbakhov f +31 20 305 45 00 Cäcilienstrasse 29 Cincinnati Art Museum f +1 613 533 6891 Professor Seymour Slive 32 Quincy Street f +32 50 44 8778 t +48 22 621 1031 University Faculty of Plastische Kunsten van de 16de (associate) [email protected] Dr. Peter Wegmann d-50667 Köln 953 Eden Park Drive [email protected] (associate) Cambridge ma02138 [email protected] f +48 22 622 8559 Humanities en de 17de Eeuw Deputy director Curator Germany Cincinnati oh45202 Harvard University usa [email protected] Törökvész út 128 Kolveniersstraat 20 The State Hermitage Museum Sandra de Vries Museum Oskar Reinhart am t +49 221 2212 2310 usa Barbara Wlodarska 32 Quincy Street t +1 617 495 0987 Dr. Kirby Talley h-1025 Budapest ii b-2000 Antwerpen Dvortsovaja nab. 34 Director Stadtgarten f +49 221 2212 8489 t +1 513 639 2915 Head of silver and metal Cambridge ma02138 f +1 617 495 0322 (associate) Dr. Renate Trnek Hungary Belgium 191186 St. Petersburg Stedelijk Museum Alkmaar Stadthausstrasse 6 [email protected] f +1 513 639 2996 department usa [email protected] Director Director t +36 1 394 5129 t +32 3 201 1577 Russia Canadaplein 1 ch-8400 Winterthur [email protected] | Muzeum Narodowe St. Petersburg International Gemäldegalerie der Akademie f +36 1 1697 118 f +32 3 231 9387 t +7 812 312 2971 nl-1811 keAlkmaar Switzerland Dr. Arthur K. Wheelock Jr [email protected] ul. Torúnska 1 Dr. Nicolette Sluijter- Nina Stadnitchuk Center for Preservation der bildenden Künste f +7 812 311 9009 The Netherlands t +41 52 267 5172 Curator of Northern pl-80 822 Gdánsk Seijffert Curator of paintings 29 Tchaikovsky St. 1 Schillerplatz 3 Stéphane Vandenberghe t +31 72 511 07 37 f +41 52 267 6228 baroque painting Poland Director Museum Pavlovsk 191194 St. Petersburg a-1010 Wien Adjunct curator Gruuthuse f +31 72 515 14 76 National Gallery of Art t +48 58 301 70 61 5 Museum Het Catharina Ulitsa Revolutsi 20 Russia Austria Museum [email protected] Constitution Avenue N.W. f +48 58 301 11 25 Gasthuis 189623 Pavlovsk t +7 812 327 1646 t +43 1 58816 Stedelijke Musea Brugge Washington dc20565 info@ Oosthaven 10 Russia f +7 812 327 1645 f +43 1 586 3346 Dijver 12 usa muzeum.narodowe.gda.pl nl-2801 pbGouda t +7 812 460 6325 [email protected] b-8000 Brugge t +1 202 842 6147 The Netherlands f +7 812 470 2155 Belgium f +1 202 842 6933 t +31 182 58 84 40 t +32 50 44 8706 f +31 182 58 86 71 codart Courant 4-5/December 2001 42 43 codart Courant 4-5/December 2002

Wo Zi the museum list The summary list of museum collections of canada Drs. B. Woelderink Dr. Antoni Ziemba Dutch and Flemish art as of December 2002. Kingston Agnes Etherington Art Centre, David de Witt (associate) Chief curator of the foreign Montreal Museum of Fine Arts, Hilliard Goldfarb Director painting gallery argentina Ottawa National Gallery of Canada, Catherine Johnston Koninklijk Huisarchief Muzeum Narodowe Buenos Aires Museo Nacional de Belas Artes Toronto Art Gallery of Ontario Postbus 30412 Aleje Jerozolimskie 3 Associate member Angel Navarro cuba nl-2500 gk Den Haag pl-00-495 Warsaw australia Havana Museo Nacional, Maria del Carmen Rippe Moro The Netherlands Poland Adelaide Art Gallery of South Australia czech republic t +31 70 362 47 01 t +48 22 621 1031 ext. 278 Melbourne National Gallery of Victoria, Ted Gott, Liberec Oblastni Galerie f +31 70 365 93 48 f +48 22 622 8559 Irena Zdanowicz (associate) Olomouc Museum of Art b.woelderink@pne e [email protected] Perth Art Gallery of Western Australia Prague Narodni Galerie v Praze, Olga Kotková, Sydney Art Gallery of New South Wales Hana Seifertová, Ania S, evc,ík Martha Wolff Grazyna Zinówko austria National Heritage Department, Elis,ka Fuc,iková Art Institute of Chicago Curator of old master Graz Steiermärkisches Landesmuseum Joanneum, denmark 111 South Michigan Avenue drawings Gottfried Biedermann Copenhagen Statens Museum for Kunst, Jan Garff, Olaf Koester Chicago il60603-6110 Muzeum Narodowe Innsbruck Tiroler Landesmuseum Ferdinandeum, Nivå Nivaagaards Malerisamling, Nils Ohrt usa ul. Torúnska 1 GertAmmann england t +1 312 443 3636 pl-80-822 Gdánsk Linz Oberösterreichisches Landesmuseum The Royal Collection, Lucy Whitaker f +1 312 443 0753 Poland Stadtmuseum Nordico, Herfried Thaler The National Trust, Alastair Laing Helen Wüstefeld t +48 58 301 70 61 5 Rohrau Schloß Rohrau - Graf Harrach’sche English Heritage, Julius Bryant Head of department of f +48 58 301 11 25 Familiensammlung Banbury Upton House (National Trust) research and curator of [email protected]. Salzburg Residenzgalerie Barnard Castle Bowes Museum manuscripts and early gda.pl Vienna Gemäldegalerie der Akademie der bildenden Barnsley Cannon Hall Museum and Art Gallery books Künste, Renate Trnek Bath Holbourne of Menstrie Museum Museum Catharijneconvent Graphische Sammlung Albertina, Birmingham Barber Institute of Fine Arts Postbus 8518 Marian Bisanz-Prakken City Museums and Art Gallery nl-3503 rm Utrecht Kunsthistorisches Museum, Alexander Wied, Brighton Brighton Art Gallery and Museum The Netherlands KarlSchütz Bristol Bristol City Art Gallery t +31 30 231 38 35 Associate members Katharina Bott, Fritz Koreny Cambridge Fitzwilliam Museum, David Scrase f +31 30 231 78 96 belgium Cheltenham Cheltenham Art Gallery and Museum [email protected] Antwerp Koninklijk Museum voor Schone Kunsten, Gateshead Shipley Art Gallery Paul Huvenne, Paul Vandenbroeck, Sandra Janssens Great Bookham Polesden Lacey (National Trust) Elisabeth Wyckoff Museum Mayer van den Bergh, Hans Nieuwdorp Hull Ferens Art Gallery New York Public Library Museum Smidt van Gelder, Hans Nieuwdorp Ipswich Ipswich Art Gallery and Christchurch Mansion Fifth Avenue and 42nd Plantin-Moretus Museum, Francine de Nave Knutsford Tatton Park (National Trust) Street Rockoxhuis Leeds Leeds City Art Gallery New York ny Rubenianum and Nationaal Centrum voor Leicester New Walk Museum and Art Gallery usa Plastische Kunsten van de 16e en de 17e Eeuw, Leighton Buzzard Ascott (National Trust) [email protected] Arnout Balis, Frans Baudoin, Nora De Poorter, Liverpool Walker Art Gallery Marc Vandenven, Carl Van de Velde, Hans Vlieghe London Apsley House, The Wellington Museum Dr. Irena Zdanowicz Rubenshuis, Carl Depauw, Véronique Van de Kerckhof The British Library,Jaap Harskamp Senior curator of prints and Stedelijk Prentenkabinet British Museum, Martin Royalton-Kisch drawings Brugge Stedelijke Musea Brugge, Manfred Sellink Courtauld Galleries,Ernst Vegelin van Claerbergen National Gallery of Victoria Groeningemuseum, Till-Holger Borchert, Eva Tahon, Dulwich Picture Gallery, Ian Dejardin, P.O. Box 7259 Laurence van Kerkhoven, Willy le Loup Desmond Shawe-Taylor Melbourne 3004 Memlingmuseum Sint-Janshospitaal, Greenwich, National Maritime Museum, Australia Hilde Lobelle-Caluwé, Mieke Parez Roger Quarm t +61 3 9208 0232 Museum Onze-Lieve-Vrouw ter Potterie, Kenwood, Iveagh Bequest f +61 3 9208 0460 Hilde Lobelle-Caluwé Mansion House irena.zdanowicz@ Gruuthuse Museum, Stéphane Vandenberghe National Gallery, Axel Rüger ngv.vic.gov.au Stedelijk Museum voor Volkskunde, National Portrait Gallery, Catherine MacLeod Olivier Zeder Sybilla Goegebuer Somerset House Curator Brussels Koninklijke Bibliotheek van België, Nicole Walch Tate Britain, Karen Hearn Musée Fabre Koninklijke Musea voor Schone Kunsten, Victoria and Albert Museum, Mark Evans, 13 rue Montpellieret Eliane De Wilde, Joost Vander Auwera, Liesbeth De Belie Paul Williamson f-34000 Montpellier Charleroi Musée des Beaux-Arts The Wallace Collection, Jo Hedley France Museum voor Schone Kunsten Maidstone Museum and Art Gallery t +33 4 6714 8301 Loppem Kasteel van Loppem, Véronique Van Caloen Manchester Assheton-Bennett Collection f +33 4 6766 0920 Namur Musée des Arts anciens du Namurois City Art Galleries Oostende Museum voor Moderne Kunst, Willy Van den Bussche Norwich Castle Museum, Andrew Moore Associate member Jan De Maere Nottingham Nottingham Castle Museum and Art Gallery brazil Oxford Ashmolean Museum, Christopher Brown Rio de Janeiro Museu Nacional de Belas Artes, Zuzana Paternostro Christ Church São Paolo Museu de Arte Petworth Petworth House (National Trust) bulgaria Plymouth Plymouth City Museum and Art Gallery Sofia National Gallery of Western Art Plympton Saltram (National Trust) Associate member Todor Todorov Richmond Ham House (National Trust) codart Courant 4-5/December 2002 44 45 codart Courant 4-5/December 2002

Sheffield Graves Art Gallery Saint-Étienne Musée d’Art et d’Industrie Jan Nicolaisen Galleria Borghese Southampton Southampton City Art Gallery Saint-Omer Musée de l’Hôtel Sandelin Lübeck St. Annen-Museum Galleria Corsini, Givigliamo Alloisi Swansea Glynn Vivian Art Gallery Strasbourg Musée des Beaux-Arts de Strasbourg Mainz Mittelrheinisches Landesmuseum Galleria Doria Pamphili Waddesdon Waddesdon Manor (National Trust) Toulouse Musée des Augustins Meiningen Meininger Museen Galleria Nazionale d’Arte Antica: Palazzo Barberini York York City Art Gallery Tours Musée des Beaux-Arts de Tours Mönchengladbach Städtisches Museum Schloss Rheydt Galleria Sabauda Associate members Lorne Campbell, Sir Oliver Millar, Christopher White Valenciennes Musée des Beaux-Arts de Valenciennes München Alte Pinakothek Ca d’Oro estonia Associate members Patrick le Chanu, Rodolphe Rapetti Bayerische Staatsgemäldesammlungen, Galleria dell’ Accademia Tallin Art Museum of Estonia (Kadriorg Art Museum), germany Konrad Renger Vercelli Museo Civico Borgogna Maris Klaas, Kadi Pollo, Helena Risthein Aachen Suermondt-Ludwig Museum Staatliche Graphische Sammlungen, VeronaMuseo di Castelvecchio, Francesca Rossi finland Aschaffenburg Staatsgalerie Thea Vignau-Wilberg Associate member Gianni Carlo Sciolla Helsinki Sinebrychoff Art Museum, Synnöve Malmström Bamberg Staatsgalerie in der Neuen Residenz Münster Westfälisches Landesmuseum für Kunst und japan Mänttä Gösta Serlachius Museum of Fine Arts, Bayreuth Staatsgalerie im Neuen Schloss Kulturgeschichte, Angelika Lorenz Tokyo National Museum of Western Art, Akira Kofuku Maritta Pitkänen Berlin Gemäldegalerie, Rainald Grosshans, Jan Kelch Nürnberg Germanisches Nationalmuseum, Daniel Hess associate member Yoriko Kobayashi-Sato france Jagdschloss Grunewald Oldenburg Landesmuseum für Kunst und Kulturgeschichte latvia Aix-en-Provence Musée Granet Kupferstichkabinett, Holm Bevers Oranienbaum Schloss Oranienbaum (Kulturstiftung Dessau Riga The Latvian Museum of Foreign Art, Daiga Upeniece Ajaccio Musée Palais Fesch Schloss Charlottenburg Wörlitz), Katharina Bechler, Wolfgang Savelsberg Associate member Ojars Sparitis Amiens Musée de Picardie d’Amiens Bonn Rheinisches Landesmuseum Bonn Osnabrück Kulturgeschichtliches Museum liechtenstein Angers Musée des Beaux-Arts d’ Angers Braunschweig Herzog-Anton-Ulrich-Museum, Thomas Döring, Pommersfelden Graf von Schönborn’sche Kunstsammlung Vaduz Sammlungen der regierenden Fürsten von Arras Musée des Beaux-Arts d’Arras Jochen Luckhardt Potsdam Bildergalerie Park Sanssouci, Gerd Bartoschek Liechtenstein Avignon Musée du Petit Palais Bremen Kunsthalle Neues Palais lithuania Bayonne Musée Léon Bonnat Bückeburg Museum Schloss Bückeburg Rostock Kulturhistorisches Museum Klosterhof Kaunas mkCiurlonis National Museum of Art, Bergues Musée Municipal Mont-de-Piété Coburg Kunstsammlungen der Veste Coburg, Schleswig Schleswig-Holsteinisches Landesmuseum Schloss Osvaldas Daugelis Besançon Musée des Beaux-Arts et d’Archéologie Christiane Wiebel Gottorf luxembourg Bourg-en-Bresse Musée de Brou Museum Schloss Ehrenburg Schwerin Staatliches Museum Schwerin, Luxembourg Villa Vauban, Danièle Wagener Brest Musée-Château National de Brest Darmstadt Hessisches Landesmuseum Hela Baudis, Kornelia von Berswordt-Wallrabe, mexico Caen Musée des Beaux-Arts de Caen Dessau Anhaltische Gemäldegalerie Gerhard Graulich, Gero Seelig Mexico City Museo Franz Mayer, Rebeca Kraselsky, Teresa Calero Carcassonne Musée des Beaux-Arts de Carcassonne Dessau-Mosigkau Staatliche Museum Schloss Mosigkau Stuttgart Staatsgalerie Stuttgart, Hans-Martin Kaulbach netherlands Chalon-sur-Saône Musée Vivant-Denon (Kulturstiftung Dessau Wörlitz), Katharina Bechler, Weimar -Nationalmuseum Palaces of Royal House Chantilly Musée Condé Wolfgang Savelsberg Schlossmuseum Alkmaar Stedelijk Museum, Sandra de Vries Chateauroux Musée Hôtel Bertrand Dessau-Wörlitz Gotisches Haus Wörlitz (Kulturstiftung Dessau Wiesbaden Museum Wiesbaden Amsterdam Amsterdams Historisch Museum, Cherbourg Musée Thomas-Henry Wörlitz) Worms Kunsthaus Heylshof Norbert Middelkoop Dieppe Château-Musée de Dieppe Schloss Wörlitz (Kulturstiftung Dessau Wörlitz) Wuppertal Von der Heydt-Museum Bijbels Museum, Janrense Boonstra Dijon Musée des Beaux-Arts, Emmanuel Starcky Dortmund Museum für Kunst und Kulturgeschichte Würzburg Martin-von-Wagner-Museum (Neuere Abteilung) Foundation for Cultural Inventory, Lia Gorter, Musée Magnin de Dijon, Emmanuel Starcky Dortmund Associate members Claus Grimm, Ursula Härting, Rüdiger Klessmann, Bernard Vermet Douai Musée de la Chartreuse Dresden Staatliche Kunstsammlungen Dresden - Annaliese Mayer-Meintschel Gemeentearchief, Emmy Ferbeek Dunkerque Musée Municipal de Dunkerque Gemäldegalerie Alte Meister, Uta Neidhardt greece Instituut Collectie Nederland, Wim Jacobs, Rik Vos Épinal Musée Départemental d'Art Ancien et Staatliche Kunstsammlungen Dresden - Athens National Gallery and Alexandros Soutzos Museum, Joods Historisch Museum, Edward van Voolen Contemporain d'Epinal Kupferstich-Kabinett, Thomas Ketelsen Angela Tamvaki Koninklijk Paleis,Eymert-Jan Goossens Grenoble Musée de Grenoble Duisburg Städtische Sammlungen Duisburg-Rheinhausen hungary Museum Amstelkring, Robert Schillemans La Fère Musée Jeanne-d'Aboville Düsseldorf Kunstpalast Budapest Szépmüvészeti Múzeum,Ildikó Ember, Museum Fodor Le Mans Musée de Tessé Emden Ostfriesische Landesmuseum und Städtische Annamáriá Gosztola, Zoltán Kovács, István Nemeth, Museum Willet-Holthuysen Le Puy Musée Crozatier Museum Susan Urbach Nederlands Scheepvaartmuseum, Remmelt Daalder Lille Palais des Beaux-Arts, Alexis Donetzkoff Essen Villa Hügel Associate member Terèz Gerszi Rembrandthuis, Bob van den Boogert, Ed de Heer Lyon Musée des Beaux-Arts Frankfurt am Main Städelsches Kunstinstitut und Städtische Galerie, india Rijksmuseum, Reinier Baarsen, Jan Daan van Dam, Direction régionale des affaires culturelles des Jochen Sander Mumbai (Bombay) Prince of Wales Museum Jan Piet Filedt Kok, Freek Heijbroek, Wouter Kloek, Rhône-Alpes, Eric Moinet GothaSchloss Friedenstein - Schlossmuseum Vadodara (Baroda) Baroda Museum and Picture Gallery Huigen Leeflang, Ronald de Leeuw, Ger Luijten, Macon Musée des Beaux-Arts de Macon Göttingen Kunstsammlungen der Universität ireland Robert-Jan te Rijdt, Marijn Schapelhouman, Metz La Cour d’Or-Musée de Metz Hamburg Hamburger Kunsthalle, Karsten Müller, Martina Sitt, Dublin National Gallery of Ireland Frits Scholten Montpellier Musée Fabre, Olivier Zeder Annemarie Stefes (associate) israel Universiteit van Amsterdam Nancy Musée des Beaux-Arts de Nancy , Béatrice Salmon Hamm Gustav-Lübcke-Museum Jerusalem Israel Museum Van Gogh Museum Nantes Musée des Beaux-Arts de Nantes Hannover Niedersächsisches Landesmuseum (Landesgalerie), Tel Aviv Tel Aviv Museum, Doron Lurie Apeldoorn Paleis Het Loo, Elco Elzenga, Rennie van Heuven Nîmes Musée du Vieux Nîmes Meinolf Trudzinski Associate member Rivka Weiss-Blok Arnhem Gemeentemusea Arnhem, Ype Koopmans Orléans Musée des Beaux-Arts d’Orléans Heidelberg Kurpfälzisches Museum der Stadt Heidelberg italy Assen Drents Museum, Jan Jaap Heij, Paris Bibliothèque Nationale Isselburg Museum Wasserburg Anholt Bergamo Accademia Carrara Michiel van Maarseveen École Nationale Supérieur des Beaux-Arts Karlsruhe Staatliche Kunsthalle, Dietmar Lüdke Florence Gabinetto Disegni e Stampe degli Uffizi Delft Stedelijk Museum Het Prinsenhof, Daniëlle Lokin Fondation Custodia (Collection ) at the Kassel Staatliche Museen (Gemäldegalerie Alte Meister), Galleria degli Uffizi Den Bosch Noordbrabants Museum, Paul Huys Janssen Institut Néerlandais, Stijn Alsteens, Bernhard Schnackenburg Dutch University Institute for Art History, Den Haag Galerij Prins Willem v Mària van Berge-Gerbaud, Hans Buijs Staatliche Museen (Graphische Sammlung), Bert Meijer Gemeentemuseum Den Haag, Titus Eliëns, Musée Carnavalet, Roselyne Hurel Christine Lukatis Galleria Nazionale di Palazzo Spinola Jet Pijzel-Dommisse, John Sillevis Musée Jacquemart-André Kiel Kunsthalle zu Kiel Galleria di Palazzo Bianco, Clario di Fabio Haags Historisch Museum Musée du Louvre,Jacques Foucart Kleve Städtisches Museum Haus Koekkoek, Guido de Werd Galleria di Palazzo Rosso Koninklijke Bibliotheek, Anne Korteweg Musée du Petit-Palais, Sophie Renouard de Bussière Museum Kurhaus Kleve, Guido de Werd Biblioteca Ambrosiana, Raffaella Colace (associate) Koninklijk Huisarchief, Bernard Woelderink Poitiers Musée Rupert de Chièvres Koblenz Mittelrhein-Museum Pinacoteca Ambrosiana Mauritshuis, Quentin Buvelot, Frits Duparc, Quimper Musée des Beaux-Arts de Quimper Köln Schnütgen Museum, Pinacoteca di Brera Peter van der Ploeg, Ariane van Suchtelen Rennes Musée des Beaux-Arts de Rennes Hiltrud Westermann-Angerhausen Museo Poldi Pezzoli Museum van het Boek/Museum Meermanno- Riom Musée Francisque Mandet de Riom Wallraf-Richartz-Museum, Ekkehard Mai Modena Galleria Estense Westreenianum, Marie-Christine van der Sman Rouen Musée des Beaux-Arts de Rouen, Diederik Bakhuÿs Leipzig Museum der bildenden Künste Leipzig, Naples Museo e Gallerie Nazionali di Capodimonte Museum Bredius codart Courant 4-5/December 2002 46 47 codart Courant 4-5/December 2002

Museum Mesdag Zamek Krolewski Monasterio de las Descalzas Reales, Ana García Sanz Kansas City, Missouri The Nelson-Atkins Museum of Art Rijksbureau voor Kunsthistorische Documentatie, Wrocl-aw Ossolineum (The National Ossolinski Institute - Museo Cerralbo Lawrence, Kansas Spencer Museum of Art, Stephen Goddard Charles Dumas, Rudi Ekkart, Museum of the Princes Lubomirski) , Pilar Silva, Alexander Vergara, Los Angeles, California Los Angeles County Museum of Art, Mary Levkoff, Karen Schaffers-Bodenhausen National Museum in Wrocl-aw Rocio Arnaez (associate) Jean-Patrice Marandel Stadhuis Associate members Jacek Tylicki, Piotr Oszczanowski Museo Lázaro Galdiano, Mercedes Royo Villanova The J. Paul Getty Museum, Lee Hendrix, Scott Schaefer Dordrecht Dordrechts Museum, Sander Paarlberg, Peter Schoon portugal Museo Thyssen-Bornemisza Louisville, Kentucky The Speed Art Museum Museum Simon van Gijn Lisbon Museu Calouste Gulbenkian, Maria Rosa Azevedo Patrimonio Nacional, Ana García Sanz Manchester, New Hampshire Currier Gallery of Art Eindhoven Van Abbe Museum Cardoso Figueiredo Real Monasterio de la Encarnación Merion Station, Pennsylvania The Barnes Foundation Enschede Rijksmuseum Twenthe, Paul Knolle Museu Nacional de Arte Antiga PontevedraMuseo de Bellas Artes Minneapolis, Minnesota The Minneapolis Institute of Arts Gouda Museum het Catharina Gasthuis, Ewoud Mijnlieff, romania Sevilla Museo Provincial de Bellas Artes New Haven, Connecticut Yale University Art Gallery Nicolette Sluijter-Seijffert Bucharest Library of the Romanian Academy, Catalina Macovei Vigo Museo Municipal Quiñones de León New Orleans, Louisiana New Orleans Museum of Art, Gail Feigenbaum Groningen Groninger Museum, Christian Jörg National Museum of Art of Romania, Dana Bercea, sweden New York, New York The Frick Collection, Louisa Wood Ruby, Samuel Sachs Haarlem Frans Halsmuseum, Pieter Biesboer, Michel Kersten Mariana Dragu Göteborg Kunstmuseet, Björn Fredlund The Metropolitan Museum of Art, Maryan Ainsworth, Teylers Museum, Carel van Tuyll van Serooskerken Sibiu Muzeul National Brukenthal din Sibiu, Stockholm Nationalmuseum, Görel Cavalli-Björkman Michiel Plomp, Nadine Orenstein, Timothy Husband, Heino Hannema-de Stuers Fundatie, Kasteel Het Alexandru Lungu, Maria Ordeanu, Sanda Marta switzerland Walter Liedtke Nijenhuis russian federation Basel Kunstmuseum Basel,Bernd Lindemann The New York Historical Society Hoorn Westfries Museum Irkutsk Irkutsk Regional Art Museum, GenevaMusée d’Art et d’Histoire New York Public Library, Elizabeth Wyckoff Leerdam Hofje van Aerden Tatyana Petrovna Ogorodnikova Sankt Gallen Kunstmuseum St. Gallen The Morgan Library Leeuwarden Fries Museum Kazan Kazan State Museum of Fine Arts Winterthur Kunstmuseum Winterthur, Dieter Schwarz, Norfolk, VirginiaChrysler Museum of Art Leiden Stedelijk Museum de Lakenhal, Jetteke Bolten-Rempt, Moscow The Pushkin State Museum of Fine Arts, Peter Wegmann Northampton, Massachusetts Smith College Museum of Art Christiaan Vogelaar Irina Antonova, Natalja Markova, Vadim Sadkov, Museum Briner und Kern,Peter Wegmann Oberlin, Ohio Allen Memorial Art Museum, Stephen Borys Prentenkabinet Universiteit Leiden, Jef Schaeps, Marina Senenko Museum Oskar Reinhart am Stadtgarten, Pasadena, California Norton Simon Museum, Gloria Williams Janno van Tatenhove Nizhny Novgorod State Museum Peter Wegmann Philadelphia, Pennsylvania Philadelphia Museum of Art, Katie Luber Loosdrecht Kasteel-Museum Sypesteyn Pavlovsk Pavlovsk Palace, Ludmila Koval, Nina Stadnitchuk Zürich Graphische Sammlung der ethZürich, Phoenix, ArizonaPhoenix Art Museum Maastricht Bonnefantenmuseum, Peter van den Brink, Perm Perm State Art Gallery Michael Matile Pittsburgh, Pennsylvania Carnegie Museum of Art Rik van Wegen Peterhof Peterhof Palace National Museum Kunsthaus Zürich, Christian Klemm Ponce, Puerto Rico Museo de Arte de Ponce Middelburg Zeeuws Museum Pskov Pskov State Union Historical-Architectural and Sammlung E.G. Bührle Portland, Oregon Portland Art Museum Nijmegen Museum Het Valkhof, Peter van der Coelen Art- Museum Preserve Associate member Emil Bosshard Poughkeepsie, New York The Frances Lehman Loeb Art Center Otterloo Kröller-Müller Museum Pushkin Tzarskoje Selo, Larisa Bordavskaya ukraine (Vassar College) Rijswijk Instituut Collectie Nederland, Stephen Hartog, St. Petersburg Hermitage, Boris Asvariszh, Natalia Babina, Kiev Museum for Western and Eastern Art Princeton, New Jersey The Art Museum, Princeton University Evert Rodrigo Roman Grigoryev, Natalia Grizaj, Alexei Larionov, usa Providence, Rhode Island Museum of Art, Rhode Island School of Design Rotterdam Atlas van Stolk, Carl Nix Irina Linnik, Mikhail Piotrovsky, Irina Sokolova, Allentown, Pennsylvania Allentown Art Museum Raleigh, North Carolina North Carolina Museum of Art, Dennis Weller Museum Boijmans Van Beuningen, Jeroen Giltaij, Sergei Stroganov Atlanta, Georgia High Museum of Art Richmond, VirginiaVirginia Museum of Fine Arts Guido Jansen, Friso Lammertse, Bram Meij Kunstkamera, Anna Radziun Michael C. Carlos Museum, Emory University Rochester, New York Memorial Art Gallery, University of Rochester Historisch Museum Rotterdam Saratov Saratov State Art Museum named after Baltimore, Maryland Baltimore Museum of Art, Susan Dackerman Sacramento, California Crocker Art Museum Utrecht Centraal Museum, Liesbeth Helmus A.N. Radishev Walters Art Gallery, Joaneath Spicer St. Louis, Missouri St. Louis Art Museum, Jim Burke Museum Catharijneconvent, Guus van den Hout, Smolensk Smolensk State Museum-Reserve Berkeley, California Berkeley Art Museum St. Petersburg, FloridaMuseum of Fine Arts, St. Petersburg Helen Wüstefeld Tambov Tambov Fine Arts Museum, Tamara Schestakowa Birmingham, Alabama Birmingham Museum of Art Salt Lake City, Utah Utah Museum of Fine Arts Het Nederlands Muntmuseum, Albert Scheffers Tula Tula Regional Art Museum Bloomington, indiana Indiana University Art Museum San Diego, California San Diego Museum of Art Universiteitsbibliotheek Utrecht, Koert van der Horst Voronezh Voronezh Region Art Museum Boston, Massachusetts Isabella Stewart Gardner Museum, Alan Chong Timken Art Gallery Universiteitsmuseum Associate members Kirby Talley, George Vilinbakhov Museum of Fine Arts, Ronni Baer, Tom Rassieur San Francisco, California California Palace of the Legion of Honor Museum , Vaassen Kasteel Cannenburch scotland Brooklyn, New York Brooklyn Museum of Art Lynn Federle Orr Voorschoten Kasteel Duivenvoorde Edinburgh National Gallery of Scotland, Julia Lloyd Williams Brunswick, Maine Bowdoin College Museum of Art De Young Memorial Museum. Zwolle Provinciaal Overijssels Museum University, Torrie Collection Buffalo, New York Albright-Knox Art Gallery San Marino, California The Huntington Art Collections Associate members Albert Blankert, Jaap Bolten, Marten Jan Bok, Glasgow Burrell Collection Cambridge, Massachusetts Fogg Art Museum,Ivan Gaskell, William Robinson Sarasota, Florida John and Mable Ringling Museum of Art, Henri Defoer, Hendrik Driessen, Jup de Groot, Glasgow Art Gallery and Museum (Kelvingrove) Harvard University Art Museums, Ron Spronk Mitchell Merling Peter Hecht, Wouter Hugenholtz, Michiel Jonker, Hunterian Museum and Art Gallery, Peter Black Champaign, Illinois Krannert Art Museum Seattle, Washington Seattle Art Museum, Chiyo Ishikawa Renée Kistemaker, Simon Levie, Henk van Os, Peter The Hill of Tarvit (Fife) National Trust for Scotland Chapel Hill, North Carolina The Ackland Art Museum Toledo, Ohio The Toledo Museum of Art, Lawrence Nichols Schatborn, Loekie Schwartz, Ernst Veen, Ilja Veldman, slovak republic Chicago, Illinois The Art Institute of Chicago, Martha Wolff Washington, D.C. Corcoran Gallery of Art Annemarie Vels Heijn Bratislava Bratislava Municipal Gallery Cincinnati, Ohio Cincinnati Art Museum, Marjorie Wieseman National Gallery of Art, John Hand, Arthur Wheelock, new zealand Slovak National Gallery, Ivan Rusina The Taft Museum, Leslie Blacksberg Anna Tummers (associate) Auckland Auckland City Art Gallery Associate member Ingrid Ciulisová Cleveland, Ohio The Cleveland Museum of Art Williamstown, Massachusetts Sterling and Francine Clark Art Institute norway south africa Corning, New York The Corning Museum of Glass Williams College Museum of Art Bergen Bergen Billedgalleri Cape Town The Castle (William Fehr Collection) Dallas, Texas Dallas Museum of Art Worcester, Massachusetts Worcester Art Museum,James Welu Oslo Nasjonalgalleriet Michaelis Collection, Hayden Russell Proud Dayton,Ohio Dayton Art Institute associate members George Abrams, Kristin Belkin, James Burke, poland South African National Gallery, Hayden Russell Proud Denver, Colorado Denver Art Museum Thomas da Costa Kaufmann, Egbert Haverkamp- Gdansk National Museum in Gdansk, Beata Purc-Stepniak, Durban Durban Art Gallery Detroit, Michigan Detroit Institute of Art, George Keyes Begemann, Anne-Marie Logan, Cynthia Schneider, Barbara Wlodarska, Grazyna Zinówko Johannesburg Johannesburg Art Gallery Durham, North Carolina Duke University Museum of Art Seymour Slive, John Walsh Kraków Czartoryski Museum, Dorota Dec Kimberley William Humphreys Art Gallery Fort Worth, Texas Kimbell Art Museum ukraine Zamek Krowelski na Wawelu, Jan Ostrowski PretoriaPretoria Art Museum Glen Falls, New York The Hyde Collection Kiev Museum for Western and Eastern Art National Museum in Kraków, Dorota Dec Associate members Jillian Elizabeth Carman, Hans Fransen Greenville, South Carolina Bob Jones University Museum and Gallery, vatican Lublin Muzeum Lubelski spain John Nolan Vatican City Vatican Museums Poznan Poznan National Museum Royal Palaces Hartford, Connecticut Wadsworth Atheneum Museum of Art wales Warsaw National Museum in Warsaw, Hanna Benesz, Aranjuez Palacio Real Houston, texas Sarah Campbell Blaffer Foundation Cardiff National Museum of Wales Maria Kluk, Maciej Monkiewicz, Joanna Tomicka, Barcelona Museu Nacional d’Art de Catalunya Indianapolis, Indiana Indianapolis Museum of Art, Ronda Kasl yugoslavia Antoni Ziemba Bejar Museo Municipal Ithaca, new york Herbert F. Johnson Museum of Art, Belgrade National Museum, Tatjana Bosnjak Muzeum Palac w Wilanowie Madrid Colleción de la Duquesa de Alba Franklin Robinson Zagreb Muzej Mimara codart Courant 4-5/December 2002 48 codart dates

1998 2001 2002 12 January Activities commenced at 1 January codartis granted a subsidy for 2-6 March codart tweestudy trip to Netherlands Institute for Cultural Heritage. 2001-2004 by the Netherlands Ministry of Moscow. 15 January Mailing of first invitations for Education, Culture and Science. 10-12 March codart vijfcongress, Early codart een. 1 January codartis granted a subsidy for Netherlandish art, Maastricht, Brugge and 9-10 March codart een, The Collections of 2000 and 2001 by the Ministry of Welfare, Antwerp. Frederik Hendrik and Amalia van Solms and their Health and Culture of the Flemish 13 March Joint session with Historians of dispersal, The Hague. Community. Netherlandish Art, Looking and learning: 4 August Letter from hgis-Cultuur approving 19 February Appointment of Wietske Netherlandish art in museums and universities, funding of codartthrough 2000. Donkersloot as an associate, working from the 1902-2002-2102, Koninklijk Museum voor 18 June codart registered as a non-profit codartbureau in the offices of the Institute Schone Kunsten, Antwerp. foundation. of Cultural Heritage in Amsterdam. 13-17 March Congress of Historians of 24 September Launching of website at 11-13 March codart viercongress, Dutch Netherlandish Art, Antwerp. http://www.codart.nl. and Flemish Art in Romania, Maastricht and 13-18 June Study trip to Edinburgh, Glasgow 2 November Initiation of codart-l, Internet Cologne. and surroundings. discussion list for codart members and 13-18 March codart vierstudy trip to December codartCourant 4-5 published. other specialists in Dutch and Flemish Art. Bucharest, Sinaia and Sibiu. 30 November-1 December June codartCourant 2 published. codart twee alpha. Meeting of December codartCourant 3 published. planning committee in Amsterdam, attended by curators from the Hermitage and the Pushkin Museum. In collaboration 2003 with the Foundation for Cultural Inventory. December codart Courant 1 published. 13 March Opening tefaf, Maastricht.

1999 16-18 March codart zescongress, Collecting Dutch 15-16 March codart twee congress, Dutch and Flemish Art in Russia, Amsterdam. and Flemish art in New England, Amsterdam. 17-22 March codart tweestudy trip to St. Petersburg and Moscow. 29 October-3 November codart zesstudy trip to 11-15 November codart een, Onder den Oranje Boom, study trip to Berlin, Dessau Boston and surroundings. and Schwerin. December codartapplies for a four-year grant to the Netherlands Ministry of 2004 Education, Culture and Science. 4 March Opening tefaf, Maastricht. 2000 19-21 March codart driecongress, 7-9 March codart zevencongress, Dutch and The Spanish Habsburgs and the Netherlands, Maastricht and Antwerp. Flemish art in Poland. 22-28 March codart driestudy trip to Andalusia and Madrid. 9-15 March codart zevenstudy trip to Warsaw, 15 May The Culture Council judges the application of codartfor a government Kraków and Gda ´nsk. grant positively. mid-December-mid February 2001 Marieke Westerveld holds a secretarial position for codartat the office.