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Joseph Hartogensis (1822-1865) En Johannes Tavenraat (1809-1881) En Hun Contacten Met Duitse Tijdgenoten
Joseph Hartogensis (1822-1865) en Johannes Tavenraat (1809-1881) en hun contacten met Duitse tijdgenoten ‘Hoevele proeven van miskenning van oorspronkelijke opvatting levert de kunstgeschiedenis niet op, waaraan door de waarheid eerst in later tijd verdiende hulde gebragt wordt.’ * Jacqueline Eschbach, 3159221 Masterscriptie, Universiteit Utrecht 25-01-2013 A.M.E.L. Hoogenboom H. Lootsma * Christiaan Kramm, 1861. In R. de Leeuw, Johannes Tavenraat 1809-1881 , tent. cat. Kleef (Städtisches Museum Haus Koekkoek) Dordrecht (Dordrechts Museum) en ’s Gravenhage (Pulchri Studio) 1981-1982, p. 7 Inhoudsopgave Inleiding 4 Hoofdstuk 1: Nederlandse schilders in Duitsland, 1770-1870 1.1 Overzicht van Nederlandse schilders die naar Duitsland trokken 8 1.2 Beweegredenen om naar Duitsland af te reizen 11 1.3 Reizen in de 19 de eeuw 15 Hoofdstuk 2: De Nederlandse en Duitse kunstmarkt 2.1 De Nederlandse kunstmarkt 17 2.2 De Duitse kunstmarkt 23 Hoofdstuk 3: Joseph Hartogensis (1822-1865) 3.1 Hartogensis in Nederland 29 3.2 Hartogensis in Duitsland 37 3.3 Hartogensis en de invloed van Duitse tijdgenoten op zijn werk 40 Hoofdstuk 4: Johannes Tavenraat (1809-1881) 4.1 Tavenraat in Nederland en België 45 4.2 Tavenraat in Duitsland 52 4.3 Tavenraat en de invloed van Duitse tijdgenoten op zijn werk 56 Conclusie 58 Bibliografie 61 Afbeeldingenlijst 68 Bijlagen Bijlage 1: Overzicht van Nederlandse schilders die in de periode van 1770 tot 1870 een reis naar Duitsland hebben gemaakt 70 Bijlage 2: Beknopte levensloop van Joseph Hartogensis (1822-1865) 76 Bijlage -
Catalogue 116 ‘T Goy 2019 Antiquariaat FORUM & ASHER Rare Books
Catalogue 116 ‘t Goy 2019 antiquariaat FORUM & ASHER Rare Books Catalogue 116 ‘t Goy 2019 catalogue 116 Extensive descriptions and images available on request. All offers are without engagement and subject to prior sale. All items in this list are complete and in good condition unless stated otherwise. Any item not agreeing with the description may be returned within one week after receipt. Prices are in eur (€). Postage and insurance are not included. VAT is charged at the standard rate to all EU customers. EU customers: please quote your VAT number when placing orders. Preferred mode of payment: in advance, wire transfer or bankcheck. Arrange- ments can be made for MasterCard and VisaCard. Ownership of goods does not pass to the purchaser until the price has been paid in full. General conditions of sale are those laid down in the ILAB Code of Usages and Customs, which can be viewed at: <http://www.ilab.org/eng/ilab/code.html> New customers are requested to provide references when ordering. Tuurdijk 16 Tuurdijk 16 3997 ms ‘t Goy – Houten 3997 ms ‘t Goy – Houten The Netherlands The Netherlands Phone: +31 (0)30 6011955 Phone: +31 (0)30 6011955 Fax: +31 (0)30 6011813 Fax: +31 (0)30 6011813 E-mail: [email protected] E-mail: [email protected] Web: www.forumrarebooks.com Web: www.asherbooks.com front cover: no. 224 on p. 118. inside front cover: no. 128 on p. 68. title page: no. 29 on p. 18. inside back cover: no. 6 on p. 5. back cover: no. 82 on p. -
Acquisitions Paintings
92 the rijks museum bulletin Acquisitions Paintings • josephina de fouw, jenny reynaerts, matthias ubl, gregor j.m. weber and lisanne wepler • 1 jan jansz mostaert (Haarlem c. 14741552/53 Haarlem) Landscape with an Episode from the Conquest of America, c. 1535 Oil on panel, 86.5 x 152.5 cm ‘There is a landscape as well, a scene in the West boulders, the other has halberds, cannon and Indies with many naked people and a craggy rock muskets. A shot has just been fired, there is a flash and strange architecture of houses and huts; but at the end of the barrel and a native falls dead on it was left unfinished.’ It was thus that the famous the rock. Strikingly, the native population occupies Dutch artists’ biographer Karel van Mander far more space than the attackers. This is not a described this painting in 1604, in his biography picture of a glorious victory, it is a record of the of the Haarlem painter Jan Jansz Mostaert. At that brutal violation of a peaceful society in a recently time the work belonged to Mostaert’s grandson discovered idyllic ‘New World’. It is only at second Nicolaes Suycker. It is the painting now known as glance that we realize this has to be an exotic land Landscape with an Episode from the Conquest of scape. At first sight the world Mostaert created America that the Rijksmuseum was able to acquire is one of cattle, sheep, hares and other animals in 2013. that belong in a Northern European landscape. After Van Mander saw and described it, the By adding specific details including a monkey, a painting did not resurface until 1900, since when porcupine and several parrots, he endeavoured it has had a turbulent journey. -
The Amsterdam Civic Guard Portraits Within and Outside the New Rijksmuseum, Pt
Volume 5, Issue 1 (Winter 2013) The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum, Pt. I D.C. Meijer Jr. (Tom van der Molen, translator) Recommended Citation: D. C. Meijer Jr., “The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum Pt. I,” trans. Tom van der Molen, JHNA 5:1 (Winter 2013) DOI:10.5092/jhna.2013.5.1.5 Available at https://jhna.org/articles/amsterdam-civic-guard-portraits-within-outside-new-ri- jksmuseum-part-i/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 5:1 (Winter 2013) 1 THE AMSTERDAM CIVIC GUARD PORTRAITS WITHIN AND OUTSIDE THE NEW RIJKSMUSEUM, PT. I D.C. Meijer Jr. (Tom van der Molen, translator) 1 lmost one-and-a-half years ago, we stood at the grave of A. D. de Vries Az.,1 the tireless fighter for truth and beauty, the scholarly friend of the arts, for whom a lie was a horror, in whichever form or for whatever goal. His incorruptible diligence, alongside his excep- Ational memory and his sharp analytic skills, made him an art historian of the first rank. When- ever these extraordinary gifts were employed together with his restless diligence and enduring patience, made this son of one of Amsterdam’s most influential art-loving families easily triumph over all kinds of small difficulties. -
'Schelfhoutjes' in Rijksmusea En Teylers Museum
‘Schelfhoutjes’ in rijksmusea en Teylers Museum Auteur: Julia Ebenau Docent: A.M.E.L. Hoogenboom Cursus: Kun-OWG1: Beeldende Kunst B Inhoud Inleiding .............................................................................................................................................3 Context ...............................................................................................................................................4 Romantiek...................................................................................................................................5 Andreas Schelfhout .............................................................................................................................6 Levensloop .....................................................................................................................................6 Waardering .....................................................................................................................................7 Eerste successen ..........................................................................................................................7 Gevierd landschapschilder ......................................................................................................... 10 Afnemende waardering ............................................................................................................. 12 Een meester in zijn vak ................................................................................................................ -
REMBRANDT the LATE WORKS Supplement with Provenance, Selected Literature and Bibliography
REMBRANDT THE LATE WORKS supplement with provenance, selected literature and bibliography Marjorie E. Wieseman, Jonathan Bikker, Erik Hinterding and Marijn Schapelhouman With Albert Godycki and Lelia Packer A list of works included in the exhibitions The Agony in the Garden, about 1648–55 Clump of Trees with a Vista, 1652 at the National Gallery, London (15 October Pen and brush and brown ink, 19.6 × 19 cm Drypoint, 15.6 × 21.1 cm (i); 12.4 × 21.1 cm (ii) 2014–18 January 2015) and the Rijksmuseum, The Syndics of the Fitzwilliam Museum, Signed and dated lower right: Rembrandt. f 1652 Amsterdam (12 February 2015–17 May 2015). Cambridge (2140) (in state ii) Works illustrated in the exhibition catalogue [cat. 116] White and Boon 222; nhd 272 Rembrandt: The Late Works are followed by their catalogue number in square brackets. provenance i/ii: Ashmolean Museum, Oxford Works exhibited in only one venue are Samuel Woodburn (1783–1853) (wa1855.425) indicated by ‘London’ or ‘Amsterdam’ Possibly sale London (Christie’s), 4 ff. June [london, cat. 10] beside their catalogue number. 1860, under lot 766 (£2, to Colnaghi) i/ii: Rijksmuseum, Amsterdam Collection Frederick, Lord Leighton (1830–96) (printed with irregular surface tone, To cite this Supplement we suggest using His sale London (Christie’s), 15–16 July 1896, rp-p-ob-454) M.E. Wieseman, J. Bikker et al., Rembrandt: lot 427 (16 gns., to Dunthorne) [amsterdam, cat. 59] The Late Works, Supplement, online edn, Ricketts and Shannon; bequeathed in 1937 by ii/ii: The Syndics of the Fitzwilliam Museum, National Gallery, London 2014, Charles Haslewood Shannon Cambridge (printed with surface tone, www.nationalgallery.org.uk/rembrandt/ ad.12.39-388) the_late_works/supplement. -
November 2004 Journal
historians of netherlandish art NEWSLETTER Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 21, No. 2 www.hnanews.org November 2004 A Passion for Rubens continues with exhibitions in Braunschweig, Vienna and New York, Greenwich (Connecticut), Berkeley and Cincinnati, Québec City, and London Peter Paul Rubens, Young Woman Looking Down (Study for the Head of Apollonia), c.1627-28. Black and red chalk, heightened with white; 414 x 286 mm. Florence, Uffizi HNA Newsletter, Vol. 21, No. 2, November 2004 1 From the President February 2005, in Atlanta, we hope you will attend the annual This is the last of my messages to you as President. New officers reception (watch your email for time and place) and the HNA- will be installed in February at the time of the CAA annual meetings. sponsored session, chaired by Matt Kavaler, “The Uses of Italy and Our new US Treasurer is already known: Leopoldine Prosperetti has Antiquity: Reviewing a Renaissance in the Netherlands and Germany, generously volunteered to take over these duties from Betsy 1400-1700.” Looking ahead to the CAA in Boston in 2006, we want Wieseman, who has done a splendid job. As for our new President to thank Anne Lowenthal for agreeing to chair a session honoring and Vice-President, the posting this month includes a ballot, complete Julius Held. with biographical information. We urge you to cast your vote as soon It has been my immense pleasure to serve HNA since 2001. I as possible. I would like to thank Ellen Konowitz for serving as Vice- look forward, as President Emerita, to working with my successor for President with such efficiency and skill. -
Archief Van De Firma Hope & Co. Met Verwante Archiefvormers
Archief van de Firma Hope & Co. met verwante archiefvormers A.M. Bendien en J.C.A. Blom Algemene kenmerken Toegangsnummer: 735 Periode: 1679 - 1981 Archiefvormer Hope & Co. Inleiding *ASPECTEN VAN DE GESCHIEDENIS VAN HOPE & CO EN VAN GELIEERDE ONDERNEMINGEN* *Hope & Co tot ca. 1815* De familie Hope Van 1720 tot 1814 waren verschillende leden van de familie Hope actief in de koophandel (1). Over de vroegste periode van het bedrijf is echter weinig bekend. Archibald jr. (1698-1734) en Thomas (1704-1779) Hope begonnen in de jaren twintig van de achttiende eeuw activiteiten in Amsterdam ontplooien. Zij waren geboren in Rotterdam als zoons van de koopman Archibald Hope (1664-1743) en handelden aanvankelijk op Engeland en Amerika, evenals hun vader en broers te Rotterdam. De eerste jaren na 1720 woonde Archibald jr. aan het Singel bij zijn oom Warner Lulofs die ac- tief was als speculant. Nadien vestigde Archibald jr. zich als koopman aan de Herengracht. In 1726 trad hij in het huwelijk met een Amsterdamse koopmansdochter, die echter al in datzelfde jaar overleed. Ook Thomas trouwde een koopmansdochter en woonde aan de Herengracht 'over de Bergstraat'. Daar werd hun zoon Jan (1737-1784) geboren. Het inkomen van beide broers was op het moment van hun huwelijk al zo hoog dat zij voor de belasting op het trouwen voor het hoogste bedrag werden aangeslagen. Thomas stond sedert 1730 ingeschreven als poorter van Amsterdam. Van Archibald werd een dergelijke inschrijving niet gevonden (2). Na het overlijden van Archibald jr. trad zijn broer Adriaan (1709-1781) in zijn plaats naast Thomas. -
De Literaire Almanak Als Standmeter Van De Nederlandse Poëzie
UvA-DARE (Digital Academic Repository) De literaire almanak als standmeter van de Nederlandse poëzie. Gedemonstreerd aan de Nederlandsche Muzen-Almanak (1819-1840) Eijssens, H.J. Publication date 2016 Document Version Final published version Link to publication Citation for published version (APA): Eijssens, H. J. (2016). De literaire almanak als standmeter van de Nederlandse poëzie. Gedemonstreerd aan de Nederlandsche Muzen-Almanak (1819-1840). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:11 Oct 2021 De literaire almanak als standmeter van de Nederlandse poëzie - Henk Eijssens De literaire almanak als standmeter van de Nederlandse poëzie Gedemonstreerd aan de Nederlandsche Muzen-Almanak (1819-1840) Henk Eijssens De literaire almanak als standmeter van de Nederlandse poëzie. Gedemonstreerd aan de Nederlandsche Muzen-Almanak (1819-1840) De literaire almanak als standmeter van de Nederlandse poëzie. -
Hugo Rijpma (Pdf)
J O N G E H I S T O R I C I S C H R I J V E N G E S C H I E D E N I S HUGO RIJPMA A.P.P.C.R.E. de Ceva A.P.P.C.R.E. de Ceva Een hoveling in de kunstwereld, 1791 - 1876 Inhoudsopgave Inleiding 2 1 Biografie 20 2 De culturele situatie in Den Haag 52 3 Organisaties 69 4 Verkoop aan Willem II 99 5 Collegae, concurrenten, connecties 114 6 Het hof 147 7 Kritiek: Nationalisme en Romantiek 171 8 Het hof en de burgerij 199 9 Conclusie 207 10 Verder onderzoek 214 Literatuur 217 Archivalia 230 Bijlagen 235 Inleiding In het depot van het Rijksmuseum hangt van kunstenaar W.J.J. Nuyen een schilderij genaamd De Schipbreuk (afb. 20).1 Ik heb me altijd afge- vraagd wie dit schilderij zou hebben gekocht toen het in 1836 net was geschilderd. Het schilderij is namelijk zeer apart voor de plaats en tijd waarin het is gemaakt. Het kleurgebruik in het schilderij barst van de emotie, evenals de voorstelling. Een schip breekt op de Normandische kust met een dramatiek die ongeëvenaard is in de Nederlandse schil- derkunst. De storm waardoor het schip met haar opvarenden ten onder is gegaan is met een schat aan woeste, diepe kleuren weergegeven. In zijn zoektocht naar de meest heftige kleurschakeringen lijkt Nuyen zelfs te zijn uitgeschoten, waardoor er een kleine streek fel turquoise verf op een aantal figuren terecht is gekomen. Onbedoeld geeft dit het werk een abstract karakter. -
April 2005 Newsletter
historians of netherlandish art NEWSLETTER Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 22, No. 1 www.hnanews.org April 2005 Ter Borch Exhibition in Washington, Detroit, and Amsterdam Gerard ter Borch, A Lady at Her Toilet, c. 1660. The Detroit Institute of Arts, Funders Society Purchase, Eleanor Clay Ford Fund, General Membership Fund, Endowment Income Fund and Special Activities Fund HNA Newsletter, Vol. 22, No. 1, April 2005 1 From the President In Memoriam It is with great pleasure that I write my first editorial in my capacity as the new president of Historians of Netherlandish Art. I want to thank my colleagues for placing their confidence in me and Ursula Hoff also in our new vice-president, Stephanie Dickey, to lead our (1909-2005) flourishing organization. And a special note of thanks is also due to the following outgoing officers for their many faithful years of On January 10, 2005, Australia lost one of its most eminent service: Alison Kettering (president), Ellen Konowitz (vice-presi- and highly respected art historians. Ursula Hoff died in Melbourne dent), and Marjorie Wieseman (treasurer). at the age of 95. Her profound knowledge and quiet sense of pride impressed those who meet her as Keeper of the Prints and Draw- As I begin my tenure, the organization is entering an exciting ings Department at the National Gallery of Victoria or as a scholar time in its history, for once again we are planning our quadrennial and lecturer on one of her regular research trips to Europe and conference. -
Artificial Orpiment, a New Pigment in Rembrandt's
Delft University of Technology Artificial orpiment, a new pigment in Rembrandt’s palette van Loon, Annelies; Noble, Petria; Krekeler, Anna; van der Snickt, Geert; Janssens, Koen; Abe, Yoshinari ; Nakai, Izumi; Dik, Joris DOI 10.1186/s40494-017-0138-1 Publication date 2017 Document Version Final published version Published in Heritage Science Citation (APA) van Loon, A., Noble, P., Krekeler, A., van der Snickt, G., Janssens, K., Abe, Y., Nakai, I., & Dik, J. (2017). Artificial orpiment, a new pigment in Rembrandt’s palette. Heritage Science, 5, [26]. https://doi.org/10.1186/s40494-017-0138-1 Important note To cite this publication, please use the final published version (if applicable). Please check the document version above. Copyright Other than for strictly personal use, it is not permitted to download, forward or distribute the text or part of it, without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license such as Creative Commons. Takedown policy Please contact us and provide details if you believe this document breaches copyrights. We will remove access to the work immediately and investigate your claim. This work is downloaded from Delft University of Technology. For technical reasons the number of authors shown on this cover page is limited to a maximum of 10. van Loon et al. Herit Sci (2017) 5:26 DOI 10.1186/s40494-017-0138-1 RESEARCH ARTICLE Open Access Artifcial orpiment, a new pigment in Rembrandt’s palette Annelies van Loon1,2* , Petria Noble1, Anna Krekeler1, Geert Van der Snickt3, Koen Janssens3, Yoshinari Abe4, Izumi Nakai4 and Joris Dik2 Abstract This paper reports on how the application of macro X-ray fuorescence (MA-XRF) imaging, in combination with the re-examination of existing paint cross-sections, has led to the discovery of a new pigment in Rembrandt’s palette: artifcial orpiment.