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صفحهٔ اصلی / Louvre Includes 641 Paintings From What Italian Art Collector

Louvre Includes 641 Paintings From What Italian Art Collector

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Two documents in the Amsterdam City Athenaeum, recently made accessible through databases, augment our noesis of Italian paintings in the Netherlands around 1635. The 1633 inventory of Samuel Godijn and the 1638 list of paintings owned by Lucas van Uffelen and Jacomo Noirot include works by Palma Giovane, Guido Reni, and Giuseppe Ribera. While these paintings have not still been identified with extant works, their visual character may be suggested by analogy with other pieces.

Recent scholarship on Italian art in Amsterdam in the seventeenth century is lively indeed. Well known are the collections brought to The netherlands en bloc past Gerard Reynst (ca. 1630) and Aletheia Talbot, Lady Arundel (1646). 1  The tax collector Nicolaes Sohier (1588–1642) assembled a option group of 20-four paintings, largely Venetian. ii Several merchants imported Italian art, including Hendrick (1584/89–1661) and Gerrit Uylenburgh (1626–1678), who conducted extensive business throughout Europe in antiquities and paintings. iii  Elisabeth Coymans (1595–1653) and her v sons dealt in luxury goods from both the Caribbean and Europe; between 1649 and 1653 they shipped a quantity of Italian paintings and sculpture to Amsterdam. 4  The general circumstance that many more Italian paintings were in circulation has long been suspected but difficult to prove. Two documents, one involving a lesser-known collector and the other, a famous 1, add to the mounting evidence that a variety of g works past living Italian artists were in Amsterdam collections by about 1630.

The Godijn Collection

Samuel Godijn (1561–1633), a wealthy merchant and one of the early investors in the 5.O.C. (Vereenigde Oostindische Compagnie), had a substantial art collection. Its contents are known only through the inventory of his possessions in his house on the Keizersgracht, taken at his expiry. 5  In 1613, he sold a number of moderately priced paintings and diverse other goods in the Orphans Chamber. 6  This suggests that he was culling his possessions, perhaps in order to collect on a more refined level. The paintings listed in the 1633 inventory reflect a broad range of subjects and valuations.

Of the seventy lots of paintings and drawings, thirty-four are by named Dutch and Flemish artists, and thirty-vi are anonymous, only presumably these are primarily Dutch and Flemish, since they are described as portraits, genre, and still-life subjects, types commonly found in Northern inventories. Nearly all of the named artists were active during Godijn's lifetime in Antwerp, Utrecht, and Holland, including Jan Brueghel the Elderberry (1568–1625), Abraham Bloemaert (1566–1651), Gilles van Coninxloo (1544–1607), Cornelis van Haarlem (1562–1638). Frans Floris (ca. 1519–1570), Gillis Mostaert (ca. 1528/29–1598), Hendrick van Steenwijck (ca. 1550–1603), Roelant Savery (1576–1639), and Joachim Wtewael (1566–1638). Exceptionally, Godijn endemic a portrait past Jan van Eyck (ca. 1390–1441); this suggests that he was interested in the earliest of famous Northern painters, maybe considering forming a survey of Northern painting. 7 Most of the bearding paintings were valued at less than 70f, simply the attributed paintings were mostly valued at effectually 100f. Among the highest valuations of the Northern paintings are the Mostaert (Masquerade Dance) at 300f; the Coninxloo (Landscape) at 240f; the Brueghel (Fish Market place Scene), at 240f; the Floris (Banquet of the Gods) at 200f; and the Savery and Van Haarlem (Venus and Adonis) at 200f. viii

Although Godijn's drove was overwhelmingly equanimous of Northern fine art, it had notable Italian items. Six paintings are by named Italian artists:

Jacopo Bassano, Noah's Ark

Jacopo Palma Giovane, Judgment of Midas and Flaying of Marsyas (pendants)

Jacopo Palma Giovane, Trip the light fantastic of Children

Guido Reni, Sophonisba and Masinissa and Sophonisba and Masinissa's Retainer (pendants)

These six works were amongst the most highly valued: each Reni at 400f, the Bassano at 300f, the Palma Giovane pendants at 150f each, and the Palma Dance of Children at 180f. 9  None is identified today, only the Bassano and Palma paintings may approximate known works. Several versions of Noah's Ark past Bassano (ca. 1510–1592) (fig. i) are known; the one illustrated here is typical in its crowded foreground of animals and people, ark in the background, and full general bustle of activity. ten  The Dance of Children by Palma Giovane (ca. 1548–1628) may be alike, or fifty-fifty identical, to the painting now in the Six Collection in Amsterdam. 11  The paired canvases past Palma Giovane may tentatively be identified as, or at to the lowest degree similar to, the large paintings in Braunschweig, Midas Judging the Contest between Apollo and Marsyas (fig. 2) and Apollo Flaying Marsyas (fig. 3). 12  In both of these horizontal canvases, Apollo is at the centre. The offset highlights Apollo's musical operation, every bit Midas and Marsyas sit down and listen at either side. In the second, Apollo begins to pare Marsyas, whose goat legs are bound with rope and whose arms are tied to a tree, as Midas, wearing a crown and ass's ears, watches from the side. The discarded pipes and violin in the foreground signal the cause of such punishment.

Remarkably, Godijn owned ii paintings by Guido Reni (1575–1642), whose works appear in very few Dutch collections at this fourth dimension. One portrayed the forbidden beloved affair of the Carthaginian princess Sophonisba, enemy of the Romans, and Masinissa, ally of the Romans. The other depicted Sophonisba receiving from a servant the poison that would end her life; she chose suicide rather than get a prisoner of the Romans. The story of Sophonisba was a standard in history compendia and was ofttimes dramatized in Italian, English, French, and Dutch plays. 13  No representations of these subjects are known by Reni, although many of his works involve similarly distressed women in difficult situations. 14

The pendants past Palma Giovane and Reni would have been grand pieces by the foremost artists of their generations painted at the height of their careers; perchance they were fifty-fifty commissions. I set is mythological, and the other historical. Both nowadays a sequential narrative. They share the quality of physically devastating consequences brought about by willful challenges to authority. Marsyas has challenged Apollo and must pay the painful price of beingness skinned; Sophonisba has defied her identity as Carthaginian princess to take an thing with the Roman ally Masinissa. Equally unusual complements, they would reflect the moral and physical consequences of defiance.

Thus, Godijn owned recent paintings by Italians and Northerners, as well as some notable examples of earlier artists, and his collection included a range of subjects, from mythology, history, and landscape to notwithstanding life, portraiture, and genre. Adding to the deliberately synthetic nature of the collection are the sculptures. Godijn owned 128 small alabaster pieces. About half of these were "keysers," presumably a series of Roman emperors, their consorts, and other rulers. The rest were pocket-size figures, with no subjects given. These obviously were in two sizes, every bit they were valued at either 2f or 7f for each grouping of v or six statues. It is probable that these were copies of ancient and contempo works, mayhap including replicas of well-known pieces past Giambologna (1529–1608) and Michelangelo. As a big grouping of items, unified past material, they were likely commissioned past Godijn as a coherent group. 15

Co-ordinate to the inventory, the artworks were mainly in 5 rooms, and the system seems to accept been planned for display. The voorhuys contained alabasters and a small plaster sculpture of a homo. Small genre paintings were in the kitchen. The Italian paintings were featured in two rooms: the Palma pendants and Children Dancing were in the groote saal, the Reni pendants and the Bassano Noah'due south Ark in the syde camer. Each of these rooms also contained around 50 of the alabasters and smaller paintings past Northern artists. The organisation was calculated to impress the visitor.

The Lucas van Uffelen Drove in Amsterdam

Born in Amsterdam, Lucas van Uffelen (1580–1637) lived in Venice from 1615 until almost 1632, when he returned to his hometown and settled at Keizersgracht 198, in the neighborhood where other eminent merchant-collectors, including Godijn, also lived. 16  In Venice, Van Uffelen had prospered as a merchant banker and shipowner, and after the Venetian government claimed back taxes in 1630, he returned to Amsterdam. He collected art and patronized a number of artists while in Venice and apparently continued to collect later relocating to Amsterdam. Our noesis of Van Uffelen'south drove is fragmentary. Van Uffelen's holdings are known from a few extant paintings and inferred from various other sources. In addition to paintings and sculptures, Van Uffelen had a substantial collection of works on paper. 17  Art collecting was in his family unit, as his father, Hans van Uffelen (1576–1613), who was a merchant in Italy and Spain, had a respectable collection of Northern paintings. 18

It is well known that sales of Van Uffelen'south drove took place in 1637 and 1639 at the Orphans Chamber, only information nigh the contents and purchasers is scant. No trace exists of the 1637 sale, simply the auction of April 9, 1639, attracted international attention. Unfortunately in that location is a break in the records of the chamber auctions during this menstruum. A published sales catalogue was produced for the 1639 sale, simply no copy survives. At the 1639 sale, two exceptional portraits were auctioned. Raphael'due south Baldassare Castiglione (Musée du Louvre, Paris) was purchased by Alfonso Lopez and Andrea Odoni past Lorenzo Lotto (ca. 1480–1556) (National Gallery, London), by Gerard Reynst. 19 Raphael'south Castiglione was the most expensive single item at iii,500f, as recorded by the underbidder, Joachim von Sandrart. The Van Uffelen sale prices were astoundingly high for an Orphans Chamber auction. The price of the Castiglione was nearly five times the value of the near expensive item sold during the previous forty-i years–an anthology of paper art by Lucas van Leyden (ca. 1494–1533). 20  Rembrandt's drawing of the Castiglione, fabricated at the auction, noted its high toll and the total of all pieces sold in the "cargaison," which might indicate that a shipment of Van Uffelen'due south drove had just arrived in Amsterdam. 21

A inkling as to the specific paintings owned by Van Uffelen is provided by a document of 1638 that lists twelve paintings so in his house. 22 Jacomo Noirot (d. 1638), a business associate of Van Uffelen, was an owner or part-owner of this grouping, and his heirs wished to settle his debts. First noticed past J. Thousand. Montias, this document suggests that Van Uffelen and Noirot were partners in art dealing. 4 of these twelve works are by named Italian painters:

Bassano, De Vrede van Ytalien (The Peace of Italian republic)

Bassano, De vier heijligen van de Kerck (The Four Evangelists or Church Fathers)

Giovanni Contarini, Appoollo ende Diana (Apollo and Diana)

Guido Reni, Twee worstelende Cupidos (Two Wrestling Cupids)

Guido Reni,  Wrestling Cupids, Galleria Sabauda, Turin
Fig. four Guido Reni,Wrestling Cupids, oil on canvas, 118 x 151 cm. Galleria Sabauda, Turin (artwork in the public domain) [side-past-side viewer]

The Bassano family and Giovanni Contarini (1549–1605) represent painting in Venice later the decease of Titian, and Reni, current Bolognese art. Reni'south wrestling cupids are known in several versions with iii pairs of cupids (fig. 4); Van Uffelen's version manifestly was a variant with one pair. 23  Among the five anonymous paintings, at least two could be Italian:

Een Lieve Vrouwe (A Virgin Mary)

De Raet van Venetien (The Quango of Venice)

Two other paintings are by Dutch artists who had lived in Venice: De negen musen (The Ix Muses) past Francesco (François) Badens (1571–1618) and Een Masquerade by Dirck de Vries (agile 1590–92). Noirot'due south paintings accept a singled-out Venetian emphasis. However, the valuation of these paintings is 15f or less for each. Perhaps they were pocket-sized paintings; perhaps they were not necessarily an impressive or valuable grouping; or more than probably, the paintings were valued according to Noirot's investment in them.

Anthony van Dyck,  Lucas van Uffelen at His Desk, ca. 1622, The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913
Fig. 5 Anthony van Dyck,Lucas van Uffelen at His Desk, ca. 1622, oil on canvas, 124.5 10 100.half-dozen cm. The Metropolitan Museum of Fine art, New York, Bequest of Benjamin Altman, 1913, inv. no. 14.40.619 (artwork in the public domain) [side-by-side viewer]

Van Uffelen caused art by artists whom he knew personally or who were recommended to him by his friends. Anthony van Dyck (1599–1641) painted two portraits of Van Uffelen (fig. v), probably during the artist's visit to Venice in 1622–23. 24  Sandrart, who met the collector in Venice in 1628–29, advised him to larn a life-size marble sculpture,Cupid Carving His Bow, by Jerome Duquesnoy (before 1570–1641). Displayed prominently in Van Uffelen's Amsterdam firm, Duquesnoy's Cupid was caused by the Amsterdam burgomasters after Van Uffelen's expiry, for the boggling price of half-dozen,000 guilders, equally a gift for Amalia van Solms. 25

Van Uffelen owned five paintings by Giuseppe Ribera (1591–1652), co-ordinate to Sandrart. These were the 4 tortured giants Tityus, Tantalus, Sisyphus, andIxion, and the Martyrdom of Saint Bartholomew. Van Uffelen's giants have been identified equally a series at present in the Prado and are probably copies after lost originals. 26  They constitute a series separate from another i, considered shorthand. 27  Ribera, born in Espana, was active in Rome and Naples and enjoyed Castilian and Italian patronage. Among the Northerners living in Italy who endemic his paintings were the Flemish merchants Gaspar Roomer and January and Ferdinand Van den Eynden. 28  The canvases in Van Uffelen's possession typified Ribera's dramatic chiaroscuro and graphic violence and complemented the Venetian emphasis of the collection.

Sandrart, clearly very familiar with Van Uffelen's collection both in Venice and Amsterdam, described information technology as a "weitberühmten Kunstcabinet." For its diversity of subjects and the quality of its paintings, this drove would have been remarkable in Amsterdam. Its noteworthy impact in Amsterdam may be traced through several paintings by Rembrandt and his pupils. The Castiglione inspired Rembrandt and Ferdinand Bol (1616–1680) repeatedly in their self-portraits made around 1640. 29  The Ribera paintings fit into a manner for gruesomeness in Dutch painting. Perhaps they helped inspire Rembrandt in his 1636 Samson Blinded (Städelsches Kunstinstitut, Frankfurt).

Van Dyck's stunning portrait of Van Uffelen in his sumptuous study probable came to Amsterdam with the collector effectually 1632, or at the latest, with the presumed shipment of 1639. Years later, its composition was useful to Rembrandt and his pupil Willem Drost (1633–1657; to Italy 1655). Drost studied with Rembrandt in the belatedly 1640s and early 1650s and seems to accept been keenly interested in some of the Venetian paintings in Amsterdam. 30  He portrayed a young scholar in a pose derived from that in Van Dyck's Van Uffelen at His Desk. An carving by Thomas Worlidge of ca. 1757 (fig. 6) shows the original composition, which was then considered to exist by Rembrandt. 31  The basic positions of head, shoulders, and hands derive from the Van Dyck, with the proffer of a pose between seated and rising. Van Dyck imbued his sitter with tension, with 1 hand, belongings a compass, nervously poised upon the table and the other with fingers unfolded upon the armrest. Drost opted for at-home stability, with i hand turning the pages in a volume and the other resting closed upon the armrest. His swain is firmly seated, without the ambiguity of Van Uffelen'due south suspended position between chair and table. Drost may have had access to the original portrait, or to an intermediary that was familiar to him from the Rembrandt workshop.

Thomas Worlidge,  Portrait of an Unidentified Man, after Rembrandt, ca. 1757–58, The British Museum, London
Fig. 6 Thomas Worlidge,Portrait of an Unidentified Man, later Rembrandt (?), ca. 1757–58, etching, 19.v x fourteen.2 cm. The British Museum, London, inv. no. 1925,0511.173 (artwork in the public domain) Photo © The Trustees of the British Museum [side-by-side viewer]

Rembrandt took Van Dyck'southward half-rising pose as a solution for Volkert Jansz in the 1662 grouping portrait Staalmeesters (fig. 7). Rembrandt struggled for a satisfactory posture for this figure, beginning showing him fully seated, and so standing upright. 32  Van Dyck'southward portrait of Van Uffelen rising from his chair provided a solution. Rembrandt'south reliance on a portrait that had evidently been in Amsterdam from the 1630s invites speculation. Did he first view Van Dyck'south Lucas van Uffelen when working on the Staalmeesters? If so it would suggest that the painting was still in an Amsterdam collection at that time. More likely, Rembrandt had long been familiar with the portrait and, when seeking a solution to the framing effigy for the group gathered effectually the table in the Staalmeesters, he turned to it as a pragmatic guide.

Rembrandt,  Staalmeesters, 1662, Rijksmuseum, Amsterdam
Fig. vii Rembrandt,Staalmeesters, 1662, oil on canvas, 191 x 279 cm. Rijksmuseum, Amsterdam, inv. no. SK-C-vi (artwork in the public domain) [side-past-side viewer]

Conclusion

Through the documents discussed hither, a number of Italian paintings may be traced to the Godijn and Van Uffelen collections in Amsterdam. Especially noteworthy are Godijn's two sets of pendants by Palma Giovane and Guido Reni, and Van Uffelen'southward Bassano and Reni paintings. Before, only one painting by each artist is documented in a Dutch collection. By 1604, Hendrick van Bone endemic a 1000 Matrimony of Peleus and Thetis by Palma Giovane, co-ordinate to Karel van Mander. 33  By 1618, Michiel Wyntgis owned a large Judith by Reni. 34  Consequently, the Palma Giovane and Reni paintings in the Godijn and Van Uffelen collections add exponentially to the number of known paintings by these artists in the north Netherlands in the early seventeenth century.

Additionally, these paintings signal that collectors were aware of current developments in Italian painting. The fine art of Palma Giovane was recognized as continuing the broad brushwork and erudite mythologies of Titian, and that of Reni as continuing the classicistic direction of Raphael. Dutch artists, who, following Van Mander, recognized the validity of both approaches, could reconcile them as advisable. Although the specifics of his contribution to Dutch painting have not yet been recognized, Reni would have been a prime number instance of the graceful poses and counterbalanced palette that would have appealed to the Dutch Classicists.

Van Dyck's portrait of Van Uffelen was familiar to Drost and Rembrandt, simply we may tentatively presume that other paintings in Van Uffelen's collection, in addition to the Castiglione, were also fabricated known to the liefhebbers of Amsterdam through direct and indirect means. A few Amsterdam collectors publicized their art in reproductive prints. When it was owned past Alfonso Lopez, who lived in Amsterdam between 1636 and 1640 and acquired the Castiglione from the Van Uffelen auction in 1639, the painting was engraved under Sandrart'due south management, equally were two renowned Titians, Ariosto and Flora. 35  The Reynst paintings and ancient sculptures were systematically published in two folios of around 1655 and 1671. 36  The Reynst prints, despite their availability, were not appropriated much past Dutch artists, who certainly fabricated use of reproductive prints when it suited their purposes. How Dutch artists may take regarded the Godijn and Van Uffelen/Noirot paintings has yet to be explored, with the exceptions of the Raphael and Titian portraits.

In the amass, the presence of these artworks in Amsterdam collections supports Rembrandt's oft-quoted assertion to Constantijn Huygens that some of the best paintings by Italian artists were to exist seen locally and conveniently, without the bother of travelling to Italia. 37 In feature generosity, Egbert Haverkamp-Begemann warmly welcomed me as a Columbia educatee into his Rembrandt seminar at Princeton in 1977. As he was commuting from New Oasis and I from Manhattan, we met at Port Authority; on the bus to Princeton, we had magical conversations, most Rubens and Rembrandt and everything else. My gratitude to Egbert is profound and enduring.

  • Listing of Illustrations
  • Footnotes
  • Bibliography

Workshop of Jacopo Bassano,  Noah's Ark, ca. 1580, Musée du Louvre, Paris

Fig. i Workshop of Jacopo Bassano,Noah's Ark, ca. 1580, oil on canvas, 101 10 121 cm. Musée du Louvre, Paris, inv. no. 148 (artwork in the public domain) [side-by-side viewer]

Jacopo Palma Giovane,  Midas Judging the Contest between Apollo and Mar, ca. 1590, Herzog Anton Ulrich Museum, Braunschweig

Fig. 2 Jacopo Palma Giovane,Midas Judging the Contest betwixt Apollo and Marsyas, ca. 1590, oil on sheet, 134 x 198 cm. Herzog Anton Ulrich Museum, Braunschweig (artwork in the public domain) [side-by-side viewer]

Jacopo Palma Giovane,  Apollo Flaying Marsyas, ca. 1590, Herzog Anton Ulrich Museum, Braunschweig

Fig. 3 Jacopo Palma Giovane,Apollo Flaying Marsyas, ca. 1590, oil on canvas, 134 x 198 cm. Herzog Anton Ulrich Museum, Braunschweig (artwork in the public domain) [side-by-side viewer]

Guido Reni,  Wrestling Cupids, Galleria Sabauda, Turin

Fig. 4 Guido Reni,Wrestling Cupids, oil on canvas, 118 x 151 cm. Galleria Sabauda, Turin (artwork in the public domain) [side-by-side viewer]

Anthony van Dyck,  Lucas van Uffelen at His Desk, ca. 1622, The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913

Fig. five Anthony van Dyck,Lucas van Uffelen at His Desk-bound, ca. 1622, oil on sheet, 124.v x 100.half-dozen cm. The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913, inv. no. xiv.40.619 (artwork in the public domain) [side-by-side viewer]

Thomas Worlidge,  Portrait of an Unidentified Man, after Rembrandt, ca. 1757–58, The British Museum, London

Fig. six Thomas Worlidge,Portrait of an Unidentified Man, after Rembrandt (?), ca. 1757–58, carving, 19.five x fourteen.2 cm. The British Museum, London, inv. no. 1925,0511.173 (artwork in the public domain) Photo © The Trustees of the British Museum [side-by-side viewer]

Rembrandt,  Staalmeesters, 1662, Rijksmuseum, Amsterdam

Fig. 7 Rembrandt,Staalmeesters, 1662, oil on sail, 191 10 279 cm. Rijksmuseum, Amsterdam, inv. no. SK-C-half dozen (artwork in the public domain) [side-past-side viewer]

  1. ane. B. W. Meijer, "Italian Paintings in 17th Century Kingdom of the netherlands: Art Market place, Art Works and Art Collections," inFifty'Europa eastward l'arte Italiana,Collana del Kunsthistorisches Institut in Florenz 3, ed. M. Seidel (Venice: Marsilio, 2000), 377–418; esp. 386 (Reynst) and 392 (Arundel).

  2. two. Meijer, "Italian Paintings," 380–81.

  3. 3. Friso Lammertse and Jaap van der Veen,Uylenburgh and Son: Art and Commerce from Rembrandt to De Lairesse 1625–1675, exh. cat. (London: Dulwich Flick Gallery, and Amsterdam: Museum het Rembrandthuis / Zwolle: Waanders, 2006).

  4. four. Jonathan Bikker, "The Deutz Brothers, Italian Paintings, and Michiel Sweerts,"Simiolus26 (1998): 277–311. http://dx.doi.org/10.2307/3780847

  5. 5. Montias Database of Sixteenth- and Seventeenth-Century Dutch Fine art Collections from the Gemeentearchief Amsterdam, Frick Drove, Frick Art Reference Library, New York, inv. no. 1123, NA 694B, omslag 59, film 4980;http://research.frick.org/montias/browserecord.php?-action=browse&-recid=2300 (accessed July 1, 2011). Run across as well Jonathan Israel,Dutch Primacy in World Trade, 1585–1740 (Oxford: Oxford Academy Press, 1989), 33.

  6. 6. John Michael Montias,Fine art at Auction in 17th Century Amsterdam (Amsterdam: Amsterdam University Printing, 2002), 110. http://dx.doi.org/10.5117/9789053565919

  7. 7. Number 23 in the inventory. The rarity of Van Eyck in seventeenth-century private collections is significant, as the only other named Van Eycks were in the collections of Rembrandt, Lady Arundel, and Willem de Lange. See Jaap van der Veen, "Delftse verzamelingen in de zeventiende en eerste helft van de achttiende eeuw," inSchatten in Delft: Burgers verzamelen 1600-1750, ed. Ellinoor Bergevelt, exh. true cat. (Delft: Stedelijk Museum het Prinsenhof, 2002), 47–90, esp. 74 (for Van Eyck'sAdam and Eve in the De Lange drove).

  8. viii. These are numbers 13, 20, 21, 45 and 56, respectively, in the inventory.

  9. 9. These are numbers fifteen, 16, fourteen, 46, 47, and 48, respectively, in the inventory.

  10. 10. Other versions ofNoah'due south Ark past Bassano and his workshop include those in the Prado in Madrid and in the Palazzo Ducale in Venice.

  11. 11. For Palma Giovane'sDancing Children, which came from the Reynst drove through Uylenburgh, meet Lammertse and van der Veen,Uylenburgh and Son, 97. J. M. Montias observed that it seems that Italian paintings, once arrived in Amsterdam, tended to circulate among a grouping of collectors; however, specific cases of such transferences are few (conversation with the writer, 2002).

  12. 12. Stefania Mason Rinaldi,Palma il Giovane: L'opera completa (Milan: Alfieri Electa, 1984), 47, 77. The paintings are documented in the Braunschweig collection from 1737; even so, they certainly could have entered information technology earlier. Duke Anton Ulrich (1633–1714) traveled several times to Amsterdam and had agents at that place who acquired art for him; he knew the Amsterdam collectors Gerard Reynst and the Deutz family.

  13. thirteen. For the pictorial tradition of this theme, come across Amy Golahny, "A Sophonisba by Lastman?" inIn His Milieu: Essays on Netherlandish Fine art in Memory of John Michael Montias,ed. Amy Golahny, Mia M. Mochizuki, and Lisa Vergara (Amsterdam: Amsterdam University Press, 2006), 173–81.

  14. 14. Amid other examples, Reni'sBacchus and Ariadne (Los Angeles County Museum of Art) offers a two-figured limerick that might suggest the general appearance of the Sophonisba pendants in Godijn's collection. Within a broader literary context, it is not inconceivable that Reni painted Sophonisba. Reni'south name appears every bit one of the illustrious artists credited with illustrations in the 2 early on editions of Antonio Bruni (1593–1635),Epistole heroiche: Poesie (Rome, 1627; Venice, 1628), and another edition with another fix of illustrations (Rome, 1634). The other artists named are Domenichino (1581–1641), Cavaliere Giovanni Baglione (ca. 1566–1643), Cesari d'Arpino (1568–1640), and Giovanni Luigi Valesio (1583–1640). Sophonisba is among the historical and poetical characters writing lyrical letters in Bruni'due south volume, although the illustration of her may non be attributed to any artist with certainty, and Reni's connectedness to these illustrations is tenuous. See Sabina De Cavi, "Le incisioni di Mattäus Greuter per leEpistole Heroiche di Antonio Bruni (1627/28): Ipotesi di una collaborazione editoriale al principio del seicento,"A nnali dell'istituto italiano per gli studi storici 15 (1998): 93–285.

  15. 15. As alabaster was quarried and carved in diverse locations, including Antwerp, England, and Italy, the source of Godijn's pieces cannot exist adamant.

  16. 16. The date of September 23, 1632, for Van Uffelen'southward relocation to Amsterdam is given by Hans Vlieghe in Susan J. Barnes et al., Van Dyck: A Complete Catalogue of the Paintings(New Haven and London: Yale University Press, 2004), 209.

  17. 17. Maurice Vaes, "Le séjour de Van Dyck en Italie (Mi-Novembre1621-Automne 1627),"Bulletin de I'lnstitut Historique Belge de Rome iv (1924): 181, cited P.-J. Mariette every bit knowledgeable on Van Uffelen's paper fine art.

  18. 18. For Hans van Uffelen, see S. Hart, "De Italië-vaart 1590-1620,"Jaarboek Amstelodamum 70 (1978): 42–60; and the Montias Database, inv. no. 1355 (1613);http://inquiry.frick.org/montias/browserecord.php?-action=browse&-recid=2542(accessed  July 7, 2011).

  19. nineteen. For the Odoni portrait, see Anne-Marie Due south. Logan,The "Cabinet" of the Brothers Gerard and Jan Reynst (Amsterdam, Oxford, New York: North Holland Publishing Co., 1979), 87; and Lammertse and van der Veen,Uylenburgh and Son, 67.

  20. xx. For the 1639 auction, its high prices, and comparative sale figures, see Montias,Art at Auction, 28. Sandrart reported that the 1639 auction totaled 59,546f and that he purchased a TitianMadonna for three,000f. Some other Titian, aMadonna in a landscape with four other figures, now untraced, was bought past Lopez for iii,000 guilders.Joachim von Sandrart,Academie der Bau-, Bild- und Mahlerei-Kuenst von 1675, ed. Rudolf Arthur Peltzer (Munich: Yard. Hirth, 1925), 417.

  21. 21. Rembrandt'southward cartoon is in the Albertina, Vienna; see likewise, Stephanie S. Dickey,Rembrandt: Portraits in Print (Amsterdam and Philadelphia: John Benjamins, 2004), 90–97, fig. 104 and Dickey, "Rethinking Rembrandt's Renaissance," inAround and Virtually Rembrandt,special issue,Canadian Journal of Netherlandic Studies 21: (2007) 1–22.

  22. 22. The list of paintings endemic by Noirot is in the Gemeentearchief, Amsterdam; Getty Provenance Alphabetize, http://piweb.getty.edu/cgi-bin/starfinder/27719/collab.txt (accessed April 3, 2007). See likewise Meijer, "Italian Paintings," 407n45.

  23. 23. Reni'southward versions of 3 pairs of cupids include those in the Louvre and the Palazzo Doria Pamphilij in Rome.

  24. 24. The second,Lucas van Uffelen Overlooking the Sea, is in the Herzog Anton Ulrich-Museum, Braunschweig.

  25. 25. Sandrart,Academie, 232; Meijer, "Italian Paintings," 381; encounter further Vaes, "Le séjour deVan Dyck,"179. Duquesnoy'sCupid Etching his Bow is at present in the Staatliche Museen, Berlin.

  26. 26. Sandrart,Academie, 277, mentioned the Ribera paintings owned by Van Uffelen. Run into also, Vaes, "Le séjour deVan Dyck,"179. Meijer, "Italian Paintings," 407, north. 46, notes that although Sandrart'south passage is confusing, it indicates that Jacoba van Uffelen gave birth to a male child with plain-featured fingers and attributed this deformity to her looking at theIxion while pregnant. Four canvases of Ixion, Tantalus, Sisyphus, and Tityus, copies after lost originals, each measuring 190 10 226 cm, are in the Prado, Madrid, and appear to exist Van Uffelen'due south paintings; see Nicola Spinosa,Ribera, 2nd ed. (Naples: Electa Napoli, 2006), 386, cats. B14–B17. Van Uffelen'due southSaint Bartholomew is not traceable amongst the many versions painted by Ribera.

  27. 27. For discussion of this series, which includes the signed and dated 1632Ixion andTityus (both Madrid, Prado), see Spinosa,Ribera, 313, cats. A 143–A144.

  28. 28. Spinosa,Ribera, 233, n. 51, 244, n. 133, 361.

  29. 29. Run into besides, Dickey,Rembrandt: Portraits, 90.

  30. 30. For Drost'due south involvement in Venetian fine art then in Amsterdam, run into Jonathan Bikker,Willem Drost (1633–1659). A Rembrandt Pupil in Amsterdam and Venice (New Haven and London: Yale University Press, 2005), 20.

  31. 31. Drost's undatedPortrait of a Beau (Louvre, Paris) has been trimmed, but the full composition is reproduced in the Worlidge engraving; see Bikker,Willem Drost, 100, fig. 23a.

  32. 32. For the development of Rembrandt'sStaalmeesters through the preparatory drawings and 10-rays, see Christopher L. Brown, "Cat. 48: The Sampling Officials of the Amsterdam Drapers' Gild (The 'Staalmeesters')," inRembrandt: The Master and His Workshop; Paintings, ed. Christopher L. Brown, Jan Kelch, and Pieter van Thiel, exh. cat. (Berlin: Gemäldegalerie; Amsterdam: Rijksmuseum; and London: British Museum and National Gallery / New Haven and London: Yale University Press, 1991), 278–83. See likewise, Walter A. Liedtke,Flemish Paintings in the Metropolitan Museum of Fine art (New York: Metropolitan Museum of Art / Yale Academy Press, 1984), i:56–64.

  33. 33. Karel van Mander,Het Schilder-boeck, 1604 (repr. New York: Broude, 1980), 187r. For the drawingVenus, Juno, and Pallas, which may reflect this lost painting (Staatliche Graphische Sammlung, Munich) run into Saskia Cohen-Willner, "Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling,"Oud Kingdom of the netherlands 113 (1999): 175ff.

  34. 34. Meijer, "Italian Paintings," 177.

  35. 35. See Dickey,Portraits in Impress, 100.

  36. 36. Logan,The "Cabinet" of the Brothers Gerard and Jan Reynst ,passim.

  37. 37. Seymour Slive,Rembrandt and His Critics 1630–1730 (The Hague: M. Nijhoff, 1953), 16. http://dx.doi.org/10.1007/978-94-015-0838-4

Barnes, Susan J., et al. Van Dyck: A Complete Catalogue of the Paintings. New Haven and London: Yale Academy Printing, 2004.

Bikker, Jonathan. "The Deutz Brothers, Italian Paintings, and Michiel Sweerts." Simiolus26 (1998): 277–311. http://dx.doi.org/10.2307/3780847

Bikker, Jonathan. Willem Drost (1633–1659): A Rembrandt Educatee in Amsterdam and Venice.New Haven and London: Yale University Press, 2005.

Dark-brown, Christopher L., Jan Kelch, and Pieter van Thiel, eds. Rembrandt: The Chief and His Workshop; Paintings. Exh. cat. Berlin: Altes Museum; Amsterdam: Rijksmuseum; and London: British Museum and National Gallery of Fine art / New Haven and London: Yale University Press, 1991.

De Cavi, Sabina. "Le incisioni di Mattäus Greuter per le Epistole Heroiche di Antonio Bruni (1627/28): Ipotesi di una collaborazione editoriale al principio del seicento." A nnali dell'istituto italiano per gli studi storici 15 (1998): 93–285.

Cohen-Willner, Saskia. "Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling." Oud Holland 113 (1999): 175ff.

Dickey, Stephanie S. Rembrandt: Portraits in Print. Amsterdam and Philadelphia: John Benjamins, 2004.

Dickey, Stephanie Southward. "Rethinking Rembrandt'southward Renaissance." In Effectually and About Rembrandt. Special consequence, Canadian Periodical of Netherlandic Studies 21 (2007): i–22.

Getty Provenance Index. http://piweb.getty.edu/cgi-bin/starfinder/27719/collab.txt

Golahny, Amy. "A Sophonisba by Lastman?" In In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias, edited past Amy Golahny, Mia M. Mochizuki, and Lisa Vergara, 173–81. Amsterdam: Amsterdam University Printing, 2006.

Hart, South. "De Italië-vaart 1590-1620." Jaarboek Amstelodamum 70 (1978): 42–60.

State of israel, Jonathan. Dutch Primacy in Globe Merchandise, 1585–1740. Oxford: Oxford University Press, 1989.

Lammertse, Friso, and Jaap van der Veen. Uylenburgh and Son: Art and Commerce from Rembrandt to De Lairesse 1625–1675. Exh. true cat. London: Dulwich Picture Gallery; and Amsterdam: Museum het Rembrandthuis / Zwolle: Waanders, 2006.

Liedtke, Walter A. Flemish Paintings in the Metropolitan Museum of Art. 2 vols. New York: Metropolitan Museum of Art / Yale Academy Printing, 1984.

Logan, Anne-Marie S. The "Cabinet" of the Brothers Gerard and Jan Reynst. Amsterdam, Oxford, and New York: Northward Kingdom of the netherlands Publishing Co., 1979.

Mason Rinaldi, Stefania. Palma il Giovane: L'opera completa. Milan: Alfieri Electa, 1984.

Meijer, B. W. "Italian Paintings in 17th Century Holland: Fine art Market, Fine art Works and Art Collections." In L'Europa due east 50'arte Italiana, edited by M. Seidel, 377–418. Collana del Kunsthistorisches Institut in Florenz three. Venice: Marsilio, 2000..

Montias Database of Sixteenth- and Seventeenth-Century Dutch Art Collections from the Gemeentearchief Amsterdam. Frick Art Museum, Frick Art Reference Library, New York. research.frick.org/alphabetize.htm

Montias, John Michael. Art at Auction in 17th Century Amsterdam. Amsterdam: Amsterdam Academy Printing, 2002. http://dx.doi.org/ten.5117/9789053565919

Slive, Seymour. Rembrandt and His Critics 1630–1730. The Hague: M. Nijhoff, 1953. http://dx.doi.org/ten.1007/978-94-015-0838-four

Spinosa, Nicola. Ribera: L'opera completa. 2nd ed. Naples: Electa Napoli, 2006.

Vaes, Maurice. "Le séjour de Van Dyck en Italie (Mi-Novembre 1621–Automne 1627)." Message de I'lnstitut Historique Belge de Rome 4 (1924): 163–234.

Van der Veen, Jaap. "Delftse verzamelingen in de zeventiende en eerste helft van de achttiende eeuw." In Schatten in Delft: Burgers verzamelen 1600–1750, edited by Ellinoor Bergevelt, 47–xc. Exh. cat. Delft:Stedelijk Museum Het Prinsenhof, 2002.

Van Mander, Karel. Het Schilder-boeck. 1604. Repr.New York: Broude, 1980.

Von Sandrart, Joachim. Academie der Bau-, Bild- und Mahlerei-Kuenst von 1675. Edited by Rudolf Arthur Peltzer. Munich: G. Hirth, 1925.

Workshop of Jacopo Bassano,  Noah's Ark, ca. 1580, Musée du Louvre, Paris

Fig. 1 Workshop of Jacopo Bassano,Noah'south Ark, ca. 1580, oil on canvas, 101 10 121 cm. Musée du Louvre, Paris, inv. no. 148 (artwork in the public domain) [side-by-side viewer]

Jacopo Palma Giovane,  Midas Judging the Contest between Apollo and Mar, ca. 1590, Herzog Anton Ulrich Museum, Braunschweig

Fig. two Jacopo Palma Giovane,Midas Judging the Contest betwixt Apollo and Marsyas, ca. 1590, oil on sheet, 134 x 198 cm. Herzog Anton Ulrich Museum, Braunschweig (artwork in the public domain) [side-by-side viewer]

Jacopo Palma Giovane,  Apollo Flaying Marsyas, ca. 1590, Herzog Anton Ulrich Museum, Braunschweig

Fig. 3 Jacopo Palma Giovane,Apollo Flaying Marsyas, ca. 1590, oil on canvass, 134 ten 198 cm. Herzog Anton Ulrich Museum, Braunschweig (artwork in the public domain) [side-by-side viewer]

Guido Reni,  Wrestling Cupids, Galleria Sabauda, Turin

Fig. iv Guido Reni,Wrestling Cupids, oil on canvas, 118 x 151 cm. Galleria Sabauda, Turin (artwork in the public domain) [side-by-side viewer]

Anthony van Dyck,  Lucas van Uffelen at His Desk, ca. 1622, The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913

Fig. five Anthony van Dyck,Lucas van Uffelen at His Desk, ca. 1622, oil on canvas, 124.5 x 100.6 cm. The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913, inv. no. 14.40.619 (artwork in the public domain) [side-by-side viewer]

Thomas Worlidge,  Portrait of an Unidentified Man, after Rembrandt, ca. 1757–58, The British Museum, London

Fig. 6 Thomas Worlidge,Portrait of an Unidentified Human being, after Rembrandt (?), ca. 1757–58, etching, nineteen.v x xiv.2 cm. The British Museum, London, inv. no. 1925,0511.173 (artwork in the public domain) Photograph © The Trustees of the British Museum [side-past-side viewer]

Rembrandt,  Staalmeesters, 1662, Rijksmuseum, Amsterdam

Fig. 7 Rembrandt,Staalmeesters, 1662, oil on canvass, 191 x 279 cm. Rijksmuseum, Amsterdam, inv. no. SK-C-6 (artwork in the public domain) [side-past-side viewer]

  1. 1. B. W. Meijer, "Italian Paintings in 17th Century Holland: Art Marketplace, Art Works and Fine art Collections," inL'Europa east fifty'arte Italiana,Collana del Kunsthistorisches Institut in Florenz 3, ed. M. Seidel (Venice: Marsilio, 2000), 377–418; esp. 386 (Reynst) and 392 (Arundel).

  2. ii. Meijer, "Italian Paintings," 380–81.

  3. 3. Friso Lammertse and Jaap van der Veen,Uylenburgh and Son: Art and Commerce from Rembrandt to De Lairesse 1625–1675, exh. cat. (London: Dulwich Motion-picture show Gallery, and Amsterdam: Museum het Rembrandthuis / Zwolle: Waanders, 2006).

  4. four. Jonathan Bikker, "The Deutz Brothers, Italian Paintings, and Michiel Sweerts,"Simiolus26 (1998): 277–311. http://dx.doi.org/ten.2307/3780847

  5. 5. Montias Database of Sixteenth- and Seventeenth-Century Dutch Art Collections from the Gemeentearchief Amsterdam, Frick Collection, Frick Art Reference Library, New York, inv. no. 1123, NA 694B, omslag 59, motion picture 4980;http://inquiry.frick.org/montias/browserecord.php?-action=scan&-recid=2300 (accessed July 1, 2011). See also Jonathan Israel,Dutch Primacy in World Trade, 1585–1740 (Oxford: Oxford University Press, 1989), 33.

  6. 6. John Michael Montias,Fine art at Auction in 17th Century Amsterdam (Amsterdam: Amsterdam Academy Press, 2002), 110. http://dx.doi.org/10.5117/9789053565919

  7. 7. Number 23 in the inventory. The rarity of Van Eyck in seventeenth-century private collections is pregnant, as the only other named Van Eycks were in the collections of Rembrandt, Lady Arundel, and Willem de Lange. See Jaap van der Veen, "Delftse verzamelingen in de zeventiende en eerste helft van de achttiende eeuw," inSchatten in Delft: Burgers verzamelen 1600-1750, ed. Ellinoor Bergevelt, exh. cat. (Delft: Stedelijk Museum het Prinsenhof, 2002), 47–90, esp. 74 (for Van Eyck'sAdam and Eve in the De Lange collection).

  8. 8. These are numbers thirteen, xx, 21, 45 and 56, respectively, in the inventory.

  9. nine. These are numbers 15, 16, 14, 46, 47, and 48, respectively, in the inventory.

  10. 10. Other versions ofNoah'southward Ark by Bassano and his workshop include those in the Prado in Madrid and in the Palazzo Ducale in Venice.

  11. 11. For Palma Giovane'southwardDancing Children, which came from the Reynst collection through Uylenburgh, run across Lammertse and van der Veen,Uylenburgh and Son, 97. J. Yard. Montias observed that it seems that Italian paintings, one time arrived in Amsterdam, tended to broadcast amidst a group of collectors; yet, specific cases of such transferences are few (conversation with the author, 2002).

  12. 12. Stefania Mason Rinaldi,Palma il Giovane: L'opera completa (Milan: Alfieri Electa, 1984), 47, 77. The paintings are documented in the Braunschweig collection from 1737; nevertheless, they certainly could have entered it earlier. Duke Anton Ulrich (1633–1714) traveled several times to Amsterdam and had agents there who acquired art for him; he knew the Amsterdam collectors Gerard Reynst and the Deutz family.

  13. thirteen. For the pictorial tradition of this theme, run across Amy Golahny, "A Sophonisba past Lastman?" inIn His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias,ed. Amy Golahny, Mia M. Mochizuki, and Lisa Vergara (Amsterdam: Amsterdam Academy Printing, 2006), 173–81.

  14. 14. Among other examples, Reni'southwardBacchus and Ariadne (Los Angeles County Museum of Art) offers a ii-figured limerick that might suggest the general appearance of the Sophonisba pendants in Godijn'due south collection. Within a broader literary context, information technology is non inconceivable that Reni painted Sophonisba. Reni's name appears as one of the illustrious artists credited with illustrations in the two early editions of Antonio Bruni (1593–1635),Epistole heroiche: Poesie (Rome, 1627; Venice, 1628), and another edition with some other fix of illustrations (Rome, 1634). The other artists named are Domenichino (1581–1641), Cavaliere Giovanni Baglione (ca. 1566–1643), Cesari d'Arpino (1568–1640), and Giovanni Luigi Valesio (1583–1640). Sophonisba is among the historical and poetical characters writing lyrical letters in Bruni's book, although the analogy of her may not be attributed to whatsoever artist with certainty, and Reni'south connection to these illustrations is tenuous. Meet Sabina De Cavi, "Le incisioni di Mattäus Greuter per leEpistole Heroiche di Antonio Bruni (1627/28): Ipotesi di una collaborazione editoriale al principio del seicento,"A nnali dell'istituto italiano per gli studi storici 15 (1998): 93–285.

  15. 15. As alabaster was quarried and carved in diverse locations, including Antwerp, England, and Italy, the source of Godijn's pieces cannot be determined.

  16. 16. The engagement of September 23, 1632, for Van Uffelen'south relocation to Amsterdam is given past Hans Vlieghe in Susan J. Barnes et al., Van Dyck: A Consummate Catalogue of the Paintings(New Haven and London: Yale University Printing, 2004), 209.

  17. 17. Maurice Vaes, "Le séjour de Van Dyck en Italie (Mi-Novembre1621-Automne 1627),"Message de I'lnstitut Historique Belge de Rome 4 (1924): 181, cited P.-J. Mariette as knowledgeable on Van Uffelen'southward paper art.

  18. 18. For Hans van Uffelen, see Due south. Hart, "De Italië-vaart 1590-1620,"Jaarboek Amstelodamum 70 (1978): 42–lx; and the Montias Database, inv. no. 1355 (1613);http://research.frick.org/montias/browserecord.php?-action=browse&-recid=2542(accessed  July 7, 2011).

  19. 19. For the Odoni portrait, run across Anne-Marie S. Logan,The "Cabinet" of the Brothers Gerard and January Reynst (Amsterdam, Oxford, New York: N Holland Publishing Co., 1979), 87; and Lammertse and van der Veen,Uylenburgh and Son, 67.

  20. 20. For the 1639 sale, its loftier prices, and comparative sale figures, run across Montias,Fine art at Sale, 28. Sandrart reported that the 1639 sale totaled 59,546f and that he purchased a TitianMadonna for 3,000f. Another Titian, aMadonna in a landscape with iv other figures, now untraced, was bought by Lopez for 3,000 guilders.Joachim von Sandrart,Academie der Bau-, Bild- und Mahlerei-Kuenst von 1675, ed. Rudolf Arthur Peltzer (Munich: G. Hirth, 1925), 417.

  21. 21. Rembrandt's drawing is in the Albertina, Vienna; see likewise, Stephanie S. Dickey,Rembrandt: Portraits in Print (Amsterdam and Philadelphia: John Benjamins, 2004), ninety–97, fig. 104 and Dickey, "Rethinking Rembrandt's Renaissance," inAround and Most Rembrandt,special issue,Canadian Journal of Netherlandic Studies 21: (2007) 1–22.

  22. 22. The list of paintings owned by Noirot is in the Gemeentearchief, Amsterdam; Getty Provenance Alphabetize, http://piweb.getty.edu/cgi-bin/starfinder/27719/collab.txt (accessed April 3, 2007). See likewise Meijer, "Italian Paintings," 407n45.

  23. 23. Reni's versions of three pairs of cupids include those in the Louvre and the Palazzo Doria Pamphilij in Rome.

  24. 24. The second,Lucas van Uffelen Overlooking the Ocean, is in the Herzog Anton Ulrich-Museum, Braunschweig.

  25. 25. Sandrart,Academie, 232; Meijer, "Italian Paintings," 381; see further Vaes, "Le séjour deVan Dyck,"179. Duquesnoy'due southCupid Etching his Bow is now in the Staatliche Museen, Berlin.

  26. 26. Sandrart,Academie, 277, mentioned the Ribera paintings owned by Van Uffelen. See also, Vaes, "Le séjour deVan Dyck,"179. Meijer, "Italian Paintings," 407, northward. 46, notes that although Sandrart'southward passage is confusing, it indicates that Jacoba van Uffelen gave birth to a boy with deformed fingers and attributed this deformity to her looking at theIxion while pregnant. Four canvases of Ixion, Tantalus, Sisyphus, and Tityus, copies subsequently lost originals, each measuring 190 10 226 cm, are in the Prado, Madrid, and appear to be Van Uffelen'southward paintings; see Nicola Spinosa,Ribera, 2nd ed. (Naples: Electa Napoli, 2006), 386, cats. B14–B17. Van Uffelen'southwardSaint Bartholomew is not traceable among the many versions painted by Ribera.

  27. 27. For discussion of this series, which includes the signed and dated 1632Ixion andTityus (both Madrid, Prado), see Spinosa,Ribera, 313, cats. A 143–A144.

  28. 28. Spinosa,Ribera, 233, northward. 51, 244, northward. 133, 361.

  29. 29. Run across too, Dickey,Rembrandt: Portraits, 90.

  30. 30. For Drost's interest in Venetian art and then in Amsterdam, see Jonathan Bikker,Willem Drost (1633–1659). A Rembrandt Pupil in Amsterdam and Venice (New Haven and London: Yale Academy Press, 2005), twenty.

  31. 31. Drost'due south undatedPortrait of a Young Homo (Louvre, Paris) has been trimmed, only the total composition is reproduced in the Worlidge engraving; run into Bikker,Willem Drost, 100, fig. 23a.

  32. 32. For the development of Rembrandt'sStaalmeesters through the preparatory drawings and X-rays, see Christopher 50. Brown, "Cat. 48: The Sampling Officials of the Amsterdam Drapers' Order (The 'Staalmeesters')," inRembrandt: The Master and His Workshop; Paintings, ed. Christopher 50. Brown, January Kelch, and Pieter van Thiel, exh. true cat. (Berlin: Gemäldegalerie; Amsterdam: Rijksmuseum; and London: British Museum and National Gallery / New Oasis and London: Yale University Printing, 1991), 278–83. See too, Walter A. Liedtke,Flemish Paintings in the Metropolitan Museum of Art (New York: Metropolitan Museum of Art / Yale University Press, 1984), 1:56–64.

  33. 33. Karel van Mander,Het Schilder-boeck, 1604 (repr. New York: Broude, 1980), 187r. For the drawingVenus, Juno, and Pallas, which may reverberate this lost painting (Staatliche Graphische Sammlung, Munich) run across Saskia Cohen-Willner, "Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling,"Oud Holland 113 (1999): 175ff.

  34. 34. Meijer, "Italian Paintings," 177.

  35. 35. Run into Dickey,Portraits in Print, 100.

  36. 36. Logan,The "Cabinet" of the Brothers Gerard and Jan Reynst ,passim.

  37. 37. Seymour Slive,Rembrandt and His Critics 1630–1730 (The Hague: One thousand. Nijhoff, 1953), sixteen. http://dx.doi.org/10.1007/978-94-015-0838-4

Barnes, Susan J., et al. Van Dyck: A Consummate Catalogue of the Paintings. New Haven and London: Yale University Press, 2004.

Bikker, Jonathan. "The Deutz Brothers, Italian Paintings, and Michiel Sweerts." Simiolus26 (1998): 277–311. http://dx.doi.org/10.2307/3780847

Bikker, Jonathan. Willem Drost (1633–1659): A Rembrandt Pupil in Amsterdam and Venice.New Haven and London: Yale University Press, 2005.

Brownish, Christopher L., January Kelch, and Pieter van Thiel, eds. Rembrandt: The Chief and His Workshop; Paintings. Exh. cat. Berlin: Altes Museum; Amsterdam: Rijksmuseum; and London: British Museum and National Gallery of Art / New Haven and London: Yale University Press, 1991.

De Cavi, Sabina. "Le incisioni di Mattäus Greuter per le Epistole Heroiche di Antonio Bruni (1627/28): Ipotesi di una collaborazione editoriale al principio del seicento." A nnali dell'istituto italiano per gli studi storici fifteen (1998): 93–285.

Cohen-Willner, Saskia. "Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling." Oud Holland 113 (1999): 175ff.

Dickey, Stephanie South. Rembrandt: Portraits in Print. Amsterdam and Philadelphia: John Benjamins, 2004.

Dickey, Stephanie S. "Rethinking Rembrandt's Renaissance." In Around and About Rembrandt. Special issue, Canadian Periodical of Netherlandic Studies 21 (2007): 1–22.

Getty Provenance Index. http://piweb.getty.edu/cgi-bin/starfinder/27719/collab.txt

Golahny, Amy. "A Sophonisba past Lastman?" In In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias, edited past Amy Golahny, Mia M. Mochizuki, and Lisa Vergara, 173–81. Amsterdam: Amsterdam University Press, 2006.

Hart, Due south. "De Italië-vaart 1590-1620." Jaarboek Amstelodamum 70 (1978): 42–60.

Israel, Jonathan. Dutch Primacy in World Trade, 1585–1740. Oxford: Oxford University Press, 1989.

Lammertse, Friso, and Jaap van der Veen. Uylenburgh and Son: Art and Commerce from Rembrandt to De Lairesse 1625–1675. Exh. cat. London: Dulwich Picture Gallery; and Amsterdam: Museum het Rembrandthuis / Zwolle: Waanders, 2006.

Liedtke, Walter A. Flemish Paintings in the Metropolitan Museum of Art. two vols. New York: Metropolitan Museum of Fine art / Yale Academy Press, 1984.

Logan, Anne-Marie S. The "Cabinet" of the Brothers Gerard and Jan Reynst. Amsterdam, Oxford, and New York: North Holland Publishing Co., 1979.

Mason Rinaldi, Stefania. Palma il Giovane: L'opera completa. Milan: Alfieri Electa, 1984.

Meijer, B. W. "Italian Paintings in 17th Century Kingdom of the netherlands: Art Market, Fine art Works and Art Collections." In L'Europa east 50'arte Italiana, edited past G. Seidel, 377–418. Collana del Kunsthistorisches Institut in Florenz 3. Venice: Marsilio, 2000..

Montias Database of Sixteenth- and Seventeenth-Century Dutch Fine art Collections from the Gemeentearchief Amsterdam. Frick Art Museum, Frick Art Reference Library, New York. research.frick.org/alphabetize.htm

Montias, John Michael. Art at Auction in 17th Century Amsterdam. Amsterdam: Amsterdam Academy Press, 2002. http://dx.doi.org/ten.5117/9789053565919

Slive, Seymour. Rembrandt and His Critics 1630–1730. The Hague: G. Nijhoff, 1953. http://dx.doi.org/10.1007/978-94-015-0838-4

Spinosa, Nicola. Ribera: L'opera completa. iind ed. Naples: Electa Napoli, 2006.

Vaes, Maurice. "Le séjour de Van Dyck en Italie (Mi-Novembre 1621–Automne 1627)." Bulletin de I'lnstitut Historique Belge de Rome 4 (1924): 163–234.

Van der Veen, Jaap. "Delftse verzamelingen in de zeventiende en eerste helft van de achttiende eeuw." In Schatten in Delft: Burgers verzamelen 1600–1750, edited by Ellinoor Bergevelt, 47–ninety. Exh. cat. Delft:Stedelijk Museum Het Prinsenhof, 2002.

Van Mander, Karel. Het Schilder-boeck. 1604. Repr.New York: Broude, 1980.

Von Sandrart, Joachim. Academie der Bau-, Bild- und Mahlerei-Kuenst von 1675. Edited by Rudolf Arthur Peltzer. Munich: G. Hirth, 1925.

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Author: Amy Golahny

Publication Date: Summertime 2013

Review: Peer Review (Double Blind)

Recommended Citation:
Amy Golahny, "Italian Paintings in Amsterdam Around 1635: Additions to the Familiar," Periodical of Historians of Netherlandish Fine art 5:2 (Summer 2013) DOI: 10.5092/jhna.2013.v.two.6

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