Trading Paintings and Painters’ Materials 1550–1800 CATS Proceedings, IV, 2018 Edited by Anne Haack Christensen and Angela Jager TRADING PAINTINGS AND PAINTERS’ MATERIALS 1550–1800 TRADING PAINTINGS AND PAINTERS’ MATERIALS 1550–1800 CATS Proceedings, IV, 2018 Edited by Anne Haack Christensen and Angela Jager Archetype Publications www.archetype.co.uk in association with First published 2019 by Archetype Publications Ltd in association with CATS, Copenhagen Archetype Publications Ltd c/o International Academic Projects 1 Birdcage Walk London SW1H 9JJ www.archetype.co.uk © 2019 CATS, Copenhagen The Centre for Art Technological Studies and Conservation (CATS) was made possible by a substantial donation by the Villum Foundation and the Velux Foundation, and is a collaborative research venture between the National Gallery of Denmark (SMK), the National Museum of Denmark (NMD) and the School of Conservation (SoC) at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation.. ISBN: 978-1-909492-71-4 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher would be pleased to rectify any omissions in future reprints. Front cover illustration: François Brunel the Younger (attributed to), The Confiscation of the Contents of a Painter’s Studio, c.1590? (photo © Mauritshuis, The Hague). Back cover illustrations: (top left) Victor Wolfvoet (II) or circle, The Horrors of War, after 1636, oil on copper, 55.9 × 49.5 cm, private collection, Denmark (photo: Frida Gregersen); (top right) Philippe-Jacques de Loutherbourg, Landscape with Horse and Oxen Cart, 1770–80, oil on panel, 31.8 × 47.6 cm, Yale Center of British Art, New Haven, inv. no. B1981.25.220 (photo © the Yale Center for British Art, Paul Mellon Collection); (bottom left) Workshop of Jacob de Wet, Christ and the Woman Taken in Adultery, oil on panel, c.50 × 93 cm, private collection, Denmark (photo: Frida Gregersen); (bottom right) Freti Danici or Sundt accu- ratiss Delineatio (Kronborg Castle and the Sound) in G. Braun and F. Hogenberg, Civitates orbis terrarum / Georgius Bruin et Franciscus Hogenbergius. – Coloniae Aprippinae: Godofridum Kempensem, 1577–1588, Book 4, Plate 26 (32 × 47 cm) Det Kgl. Bibliotek/ Royal Danish Library. Printed on acid-free paper Designed by Marcus Nichols at PDQ Digital Media Solutions Ltd. Typeset by PDQ Digital Media Solutions Ltd, Bungay Printed in the UK by Hobbs the Printers Ltd, Totton, Hampshire CONTENTS Foreword vii Painting in a wider world: developments in the trade in painters’ materials 1 Jo Kirby Flemish dealers and a thriving transatlantic art trade during the 17th century 15 Sandra van Ginhoven Quantity over quality? Dutch and Flemish paintings in a Danish private collection 26 Angela Jager The trade in painters’ supplies in 17th-century Denmark 39 Anne Haack Christensen Jens Juel and the business of portrait painting 50 Tine Louise Slotsgaard Smudges, sponges and 17th-century Dutch painting 63 Rozemarijn Landsman Found in translation: exploring Dutch influence on 18th-century British landscape painting 77 Kari S. Rayner London, 1600–1800: trading artists’ materials with Europe and worldwide 88 Jacob Simon The market of art materials in Quebec at the end of the 18th century: a study of Canadian artist François 99 Baillairgé’s Journal (1784–1800) Pierre-Olivier Ouellet Archaeological evidence of Venetian trade in colouring materials: the case of the Gnalić shipwreck 111 Katarina Batur and Irena Radić Rossi Efficienza e unione: practical considerations for using coloured grounds in 16th-century Italy 121 Moorea Hall-Aquitania ‘Che altri che lui non lo fa’: making ultramarine blue in grand ducal Florence 130 Sheila Barker An unusual pigment in 16th-century Ferrara: ‘Egyptian blue’ in Garofalo’s Adoration of the Magi and Ortolano’s St Margaret 136 Giulia Sara de Vivo, Annelies van Loon, Petria Noble, Airi Hirayama, Yoshinari Abe, Izumi Nakai and Duncan Bull The polychrome wooden sculptures of the Jesuit reductions in Paraguay: a technical study 149 Julia Brandt, Corinna Gramatke and Isabel Wagner v FOREWORD The fourth international CATS conference, Trading Editors Paintings and Painters’ Materials 1550–1800, took place at the National Museum of Denmark 21 and 22 June 2018. Dr Anne Haack Christensen The conference focused on the emerging international mar- Paintings Conservator kets and their implications for artistic production in early Statens Museum for Kunst (SMK) modern Europe (1550–1800), in particular in relation to Copenhagen the trade in paintings and artists’ materials. The success- Denmark ful conference involved 18 enlightening and innovative presentations, including two keynote lectures by Dr Sandra Dr Angela Jager van Ginhoven (Getty Research Institute) and Dr Jo Kirby Postdoctoral Researcher (Art History) Atkinson (emerita NG, London). Statens Museum for Kunst (SMK-CATS) Under the most competent editorial management of Dr Copenhagen Anne Haack Christensen and Dr Angela Jager, this volume Denmark presents 14 lavishly illustrated contributions on various aspects of the trade in artworks and artists’ materials in the early modern period. Whether based on art-historical inter- ests or studies of our material culture, this book will be of Organising committee interest to academic scholars and students as well as museum professionals, curators, conservators, art historians and Dr Jørgen Wadum (CATS), Dr Anne Haack Christensen conservation scientists. (SMK), Dr Angela Jager (SMK-CATS), Senior Consultant We hope that you will find the fourth volume of the CATS Mads Christian Christensen (NMD) and Sanne Bouwmeester conference proceedings stimulating and enjoyable as well as (CATS) who took care of all practicalities, contacts and the inspiring for further studies. As with the previous three vol- conference website. umes in the series, this volume is available as a paperback book from Archetype Publications. The CATS conference proceedings 2018, Trading Paintings and Painters’ Materials 1550–1800, is made possible thanks On behalf of the organisers to substantial and exclusive grants from Tru Vue. Prof Dr Jørgen Wadum Director of CATS The high-performance glass and acrylic glazing solutions by Tru Vue are trusted by conservation and fine art professionals to protect and display the most celebrated works of art in the world. Tru Vue work closely with the museum community to develop their products to meet superior aesthetic and conservation standards. vii Scientifi c committee Sponsors Dr Christina Currie, KIK/IRPA, Brussels, Belgium Th e exclusive sponsors of the 2018 conference were Møbeltransport Danmark and Bruker Nano GmbH. We are Prof. Dr Sven Dupré, University of Utrecht, Utrecht, Th e also grateful to Kremer Pigmente GmbH & Co. KG for their Netherlands generous contribution to the conference. Dr Eva de la Fuente Pedersen, Statens Museum for Kunst (SMK), Copenhagen, Denmark Prof. Dr Ursulla Haller, Hochschule für Bildende Künste Dresden, Germany Dr Maite Jover, Museo Nacional del Prado, Madrid, Spain Dr Jo Kirby Atkinson, formerly at the National Gallery London, United Kingdom Dr Beate Knuth Federspiel, KADK, School of Conservation, Copenhagen, Denmark Prof. Dr Christoph Krekel, Staatliche Akademie der Bildenden Künste Stuttgart, Germany Dr Sabrina Norlander Eliasson, Stockholm University, Sweden Dr Maartje Stols-Witlox, University of Amsterdam, Th e Netherlands Prof. em. Dr Jeroen Stumpel, University of Utrecht, Th e Netherlands Dr Jesper Svenningsen, Statens Museum for Kunst (SMK), Copenhagen, Denmark Dr Michelle Taube, National Museum of Denmark, Copenhagen, Denmark Th e conference was organised as part of the Integrated Platform for the European Research Infrastructure ON Cultural Prof. em. Dr Jørgen Wadum, Director of CATS, Copenhagen, Heritage, a project funded by the European Commission, Denmark H2020-INFRAIA-2014-2015, under Grant No. 654028. viii PAINTING IN A WIDER WORLD: DEVELOPMENTS IN THE TRADE IN PAINTERS’ MATERIALS Jo Kirby ABSTRACT The supply of materials used by artists in Europe developed between the 16th and the 18th century. Even in earlier centuries, the trade in painters’ materials had been international as many, from the Near East and Southeast Asia, were traded as spices. With the discovery of the Americas, new materials such as cochineal, and new sources for familiar materials such as indigo, became available. These and other sources of dyestuffs were important commercial items for Spain and Portugal, but much of the international trade was subsequently taken over by the Netherlands and England. The materials passing through 1690s London provide a good example of those that were available. Certain cities, such as Venice, where there was a demand for paintings and a thriving population of well-trained painters to supply them, had always been known for the availability of good quality artists’ materials and specialist suppliers, such as colour merchants, were established here earlier than elsewhere. These merchants took over the trade from the apothecaries and grocers who had previously supplied painters’ materials. By 1800, some of