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Een uytnemend Meester, insonderheydt in cleyne, subtile, ende curieuse dingen. Jan Orlers, Beschryvinge van de Stad Leyden (Leiden, 1641), 378. Badeloch Noldus, AnUnvergleichbarer Liebhaber:Peter Spierinck, the art-dealing diplomat,Scandinavian Journal of History31 (2006): 176. Arena Stone Arena Stone is a simple 12"x12" square. A 62, A 67. Collections - Leiden University - Universiteit Leiden But also everyday utensils such as clothes, weapons, eating utensils and children's toys of people for whom survival was the only goal, make the collection special. He charged a steep fee of six guilders per hour, and according to his biographer Joachim von Sandrart (160688), a painting of Dous could cost up to 1,000 guilders.19When Sandrart visited Dou around 1640 and complimented him on his extreme patience in painting a broomstick der ein schlechtes grszer als ein Fingers Nagel ware (which was hardly larger than a fingernail), Dou responded that he would require at least three more days to complete it. The images available for download on The Leiden Collection website are for research purposes. The last dated pictures are from 1672, and not a single painting in the period to his death in 1675 can be dated with certainty. Although Angel mentions Spierings generous right of first refusal foremost as evidence of Dous merits, the artists economic success certainly was a key factor in Angels endorsement of him as a role model. For Teniers and the Republic, see Hans Vlieghe,David Teniers the Younger (16101690): A Biography(Turnhout, 2011), 46. van Dissel, eds.,Het Rapenburg: Geschiedenis van een Leidse gracht (Leiden, 1988), 3a: 33542. Discover more about their inventions and think about the big questions of today. Rembrandt, Vermeer and the Dutch Golden Age|Hardcover Spiering clearly appreciated the work of fijnschilders. Leiden (Dutch pronunciation: [lid(n)] ; in English and archaic Dutch also Leyden) is a city and municipality in the province of South Holland, Netherlands. Unlike the magpies, the crows arranged the strips with the spikes pointing inward. Simultaneously, the application scenarios in emerging fields such as medical diagnosis, environmental monitoring and i van Dissel, eds.,Het Rapenburg: Geschiedenis van een Leidse gracht (Leiden, 1988), 3: 28688. For Jacob Loys, see Nora Schadee, ed.,Rotterdamse Meesters uit de Gouden Eeuw(Exh. On Dou and the prices his works fetched at auction in the eighteenth century, see Koenraad Jonckheere, When the cabinet from Het Loo was sold: the auction of William IIIs collection of paintings, 26 July 1713,Simiolus30, no. Gerards? Contact Viewing the Collection The Leiden Collection considers itself to be a "lending library" of artworks with an an active interest in loaning objects to museums around the world. Transcripts of this deed are in Theodoor Herman Lunsingh Scheurleer, Cornelia Willemijk Fock, and A.J. When Cornelis de Bie (1627ca. Want to stay the night? In 1674 he and his wife, Margareta Hannot, a sister of Johannes Hannot, were each taxed separately for a capital of 1,000 guilders.75. Regionaal Archief Leiden, Notarial Archives, Notary A. den Oosterlingh, inv. Dou was asked to appraise a picture by Pieter Saenredam (15971665) for this gift. Of Dous important status, there is surprisingly scant evidence to be found in Leidens archives. For instance, in 1635 Le Blon tried to sell him a painting by Johannes Torrentius (15891644), as you desire and delight in uncommon, fine, and detailed things. If Spiering was persuaded to acquire Torrentiuss painting, it would not have been his first purchase of the artists work, for Le Blon stated that he knew of no one who has work by him, except for the King of England and you.34, Spiering owned at least thirteen pictures by Dou, and probably more.35Writing about Dou in 1675, Sandrart recalled that he had seen the best of his labor at the home of the most famous envoy Mr. Spiering in The Hague and elsewhere, and went on to describe four works precisely.36Two of them, An Interior with Young Violinist(fig 6) in Edinburgh and the lost Young Lacemaker, are probably identical to two of the ten pictures that Spiering consigned to Queen Christina of Sweden (162689).37 Among these works was also one in The Leiden Collection, Scholar Interrupted at His Writing (fig 7).38 Although these works were listed as being in Christinas collection, they were probably sent to her only for approval, but were actually owned by Spiering, who had them conveyed to Sweden in one or more shipments. De Byes biography is in Cornelis van Alkemade and Pieter van der Schelling, Corte beschrijvinghe van de strenge en harde proceduren en vervolgingen den Remonstrants-gereformeerde Christenen om de sedige oeffeninge hares Godsdiensts wedervaren binnen de stad Leijden: Sedert de veranderinge vanden Jaren 1618 en 1619 tot den Jare 1675. Do you have research to share with The Leiden Collection about one of our artworks? 168). Ellinoor Bergvelt and Renee Kistemaker(Exh. I think its just a brilliant comeback.. Le Blon had been a Swedish agent since 1618 and, just like Spiering, was charged with providing his employer with all possible information of political interest.29In addition to being diplomats, both men were renowned art collectors. Leiden Collection The city of Leiden in the Netherlands was the birthplace of the De Stijl art movement which placed a high value on geometry and pattern, which fits perfectly with this family of stones and the patterns that you can create with it. In that same year, een stuk van Dou (a painting by Dou) is recorded among the many pictures owned by Johan Francois Tortarolis (ca. The Leiden Collection is committed to keeping a scholarly record of its Online Catalogue, and as such, we keep archived version(s) of all artwork entries, artist biographies, and essays. Some publications mention eleven pictures by Dou, but this is based on an erroneous reading of Christinas inventory. His high position in service to Sweden guaranteed him access to the leading European courts and thus to a broad potential market of influential art buyers. On view are magnificent works by the greatest history painters of the 17th century, such as , his teacher , his students and , and their contemporaries. See the lists of governors of the various Leiden institutions in Jan Orlers,Beschrijvinge der stadt Leyden(Leiden, 1641), passim. VIII). Changing exhibitions by outsider artists. Mr. Hiemstra suspects that there are more spike nests out there waiting to be found. On De Langue, see Jaap van der Veen, Delftse verzamelingen in de zeventiende en eerste helft van de achttiende eeuw, inSchatten in Delft: Burgers verzamelen 16001750,ed. Leiden, Museum De Lakenhal) (Zwolle, 1988), 1555. Abraham Bredius, De Tapijtfabriek van Karel van Mander den Jonge, te Delft, 16161623,Oud Holland3 (1885): 122; Gerardina Tjaberta van Ysselsteyn, Tapisserien uit de weverij van Franois Spiering,Oud Holland54 (1937): 16472. Jaap van der Veen, Delftse verzamelingen in de zeventiende en eerste helft van de achttiende eeuw, inSchatten in Delft: Burgers verzamelen 16001750, ed. Collector Thomas Kaplan on sending Rembrandts to Saudi Arabia For a diplomat of Spierings level, the realms of politics and art were indelibly linked, and his reputation as a connoisseur was key to the development of his diplomatic career. Visit the Exhibitions page for information about The Leiden Collection traveling exhibition. The museum town of the Netherlands: 14 great museums to visit in Leiden For instance, Johans great uncle, Jan Pieters de Bye, served several times as burgomaster, and his brother as alderman. Abraham Bredius, 17e Eeuwsche reisherinneringen. Derived from the Leiden baptism, marriage, and marriage certificates register. This isThe Young Mother, 1658 (Mauritshuis, The Hague); Ronni Baer, The Paintings of Gerrit Dou (16131675), (PhD diss., New York University, 1990), no. 611, deed 118, 3 March 1656, published in Abraham Bredius,Knstler-Inventare: Urkunden zur Geschichte der hollndischen Kunst des XVIten, XVIIten und XVIIIten Jahrhunderts (The Hague, 191522), 185861. & . Eric Jan Sluijter,Leidse fijnschilders: van Gerrit Dou tot Frans van Mieris de Jonge 16301760(Exh. Also UE sin en vermaeck heeft in ongemeene, nette en uytgevoerde dingen [] die wat van hem heeft, als den Coninc van England ende UE. Wilhelm Martin, Het leven en de werken van Gerrit Dou beschouwd in verband met het schildersleven van zijn tijd (PhD diss., Universiteit Leiden, 1901), 43. Delft, Museum Prinsenhof Delft) (Zwolle, 2002), 7475, 157, no. Paris 1677), Nederlandsche Kunstbode (1881): 412. The Leiden Collection thus became the world's singular lender of Dutch Golden Age paintings; its works have been exhibited at the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington, DC, the Rijksmuseum in Amsterdam, as well as scores of other museums across the globe. 32. Tortarolis te Leiden,Oud Holland44 (1927): 183. Johan de Bye grew up in this brewery. Nonetheless, coinciding with this drain was the dawn of Dous remarkable career. The chairman of the center, Bert Verweij, told regional broadcaster Omroep West that the three wounded people were a staff member, a volunteer and a worker at one of the organizations that uses the center. Ellinoor Bergvelt and Renee Kistemaker(Exh. Bakker, Piet. This slender volume was the printed version of a lecture Angel gave on the Feast of Saint Luke the previous year to an assembly of colleagues and art lovers.3Dou, Die noyt ghenoegh ghepresen (who can never be praised enough), is mentioned twice in this treatise. Given that Spiering paid the painter 500 guilders a year for his right, he could have disbursed 9,000 guilders to Dou over the years without receiving even a single painting. Alle de kunst by syn vader naergelaten, soo van teyckeningen als printen [] de printen van Aelborduyer, houte copere snyder, de printen van Lucas van Leyden, noch veele printen ende printboucken, als oock teeckeningen van veele oude en moderne kunst en plaetsnyders. Gerardina Tjaberta van Ysselsteyn,Geschiedenis der tapijtweverijen in de noordelijke Nederlanden : bijdrage tot de geschiedenis der kunstnijverheid (Leiden, 1936), 2: 29596 (doc. A 38) are also not mentioned in the will. Paris 1677), Nederlandsche Kunstbode (1881): 413. The importance of the results from these analyses is twofold: on the one hand, they have proved the general accuracy of the relative chronology of the Ancient South Arabian cursive or minuscule script, as it . The only connoisseur to be documented as a patron of Dou in the first phase of his career is Pieter Spiering who, as noted, appears in AngelsLof der Schilder-Konst. In the eighteenth century, it was de rigueur for any self-respecting collection to have a picture by Dou, and amounts over 1,000 guilders were readily paid at auction for masterpieces by the artist.82Even so, Dous popularity eventually waned. These quiet occupations are the stuff of An Inner World: Seventeenth-Century Dutch Genre Painting, now on view at Arthur Ross Gallery. On this see endnote 23. For an enumeration of the paintings, see Wilhelm Martin, Het leven en de werken van Gerrit Dou beschouwd in verband met het schildersleven van zijn tijd (PhD diss., Universiteit Leiden, 1901),45. The first author to praise Dou and his exquisite painting style was the Leiden burgomaster Jan Orlers (15701646). Hans Cools, et al. 89; Theodoor Herman Lunsingh Scheurleer, Cornelia Willemijk Fock, and A.J. A crows nest collected from Rotterdam in 2021. Amsterdam, Amsterdams Museum) (Zwolle, 1992), 129, 130. Le fameux peyntre Douw, qui nous fit voyr 3 ou 4 belles pieces de son art et de sa mayn. Koninklijke Bibliotheek The Hague, Journal Pieter Teding van Berkhout, 30 December 1669. Notaries did not really begin to include attributions of paintings in documents until the 1650s.7 Equally important, the artists laborious and time-consuming manner of painting helps account for his low outputone, moreover, that may have been monopolized over a long period of time by a single patron, Pieter Spiering (15951652). This meager presence is less meaningful than would appear at first glance. Essay - Gerrit Dou and His Collectors in the Golden Age See John Michael Montias,Artists and Artisans in Delft: A Socio-Economic Study of the Seventeenth Century(Princeton, 1982), 23638. The appraisal of Santvoort and Hondecoeter, however, also seems conservative compared to the amounts Van Mieris commanded at the time. This is a unique opportunity to admire art from a private collection. Although the idea remains unproven, positioning the spikes this way might provide the nests with more structural support, Mr. Hiemstra speculated. Stadsarchief Amsterdam, Desolate Boedelskamer, inv. U48a003, deed no. Plusieurs livres de tailles-douces dAlbert Drer, Lucas [van Leyden], et autres, dessins de Raphael dUrbin [] un quantit de tableaux et un cabinet plein de toutes sortes de mdailles, de reliefs dor, argent, ivoire, cuivre, cire. Badeloch Noldus, AnUnvergleichbarer Liebhaber:Peter Spierinck, the art-dealing diplomat, Scandinavian Journal of History 31 (2006): 178, cited in A. Bopp,Journal de Congres de Munster, par Francois Ogier, aumonier du comte DAvaux (16431647)(Paris, 1893), 39. Wishing to keep Dous talent as the local pride of Leiden, Traudenius fervently hoped, and not in vain, that Dou would decline King Charless invitation to Withal. Arnold Houbraken,De groote schouburgh der Nederlantsche konstschilders en schilderessen(The Hague, 1753) 3: 33. All we know about the relationship between Spiering and Dou is that Spiering paid the artist for the right of first refusal, a right thatjudging from the pictures in the envoys possessionhe regularly exercised. According to an annotation, the picture was obtained from Michel le Blon (see Olof Granberg,Svenska konstsamlingarnas historia fran Gustav Vasas tid till vara dagar: (Geschichte der schwedischen Kunstsammlungen 15251925)[Stockholm, 1929], 210). Gillis, who had made a slightly higher bid for the small likeness.81. Christina does not appear to have been particularly taken with any of Dous pictures, for when her collection was inventoried in 1652, two years before her voluntary abdication, it was noted that they should be returned to Spiering.39. One confirmation is the extraordinary amount of 4,000 guilders the States of Holland paid Dou for his painting of The Young Mother in 1660, now in the Mauritshuis (fig 3).21Another example is een keuckenmeyt (a kitchen maid) listed in the inventory of Johannes de Renialme, mentioned above, that was appraised at 600 guilders. Where theres the opportunity to incorporate anthropogenic materials, human-made materials, into your nest, youre probably going to do it as a bird, said Jim Reynolds, an ornithologist at the University of Birmingham, in England, and an author of the new review. Gerrit Dou (161375) apprenticed with Rembrandt van Rijn (160669) between 162831, when he likely executed this early Self-Portrait (?) For Borchs portrait from 1661 in Frederiksborg, Denmark, see Jacob van Toorenvliets biography in this catalogue. The Antwerp nest is really like a bunker for birds, said Mr. Hiemstra, who calculated that it contained roughly 50 meters worth of anti-bird strips and 1,500 visible spikes. The paintings in Rouyers estate are not attributed. 1 (1946): 13, as a supplement to Eltjo Aldegondus van Beresteyn, Twee portretten van Franois Spieringh, 1012. The Kunsthistorisches Museum in Vienna has two pictures that can be related to transactions in the 1650s. So my definition of what is nesting material was already quite a broad one, said Mr. Hiemstra, a doctoral student at the Naturalis Biodiversity Center in the Netherlands. The double portrait of Johan Wittert and his wife by Dou and Nicolaes Berchem in the Rijksmuseum, Amsterdam (see Ronni Baer, The Paintings of Gerrit Dou (16131675), [PhD diss., New York University, 1990], no. 3, p. 2. Arthur K. Wheelock Jr. (Exh. The Leiden Collection - Online Catalogue His jewel-like portrait in The Leiden Collection (fig 8) seems to have been commissioned in the early 1650s and may have been intended as a gift for his betrothal.46It is conceivable that Spiering may have introduced Van Beresteyn to Dou as Spiering was related to the Van Beresteyn family through his sister Catharina, who was married to a full cousin of Dircks.47Another similar instance is The Young Mother in the Mauritshuis in The Hague (fig 3). In his will of 21 September 1664, Zacharias bequeathed to his brother Cornelis (VI) (16291716) his paintings andmentioned explicitlyDous portrait of his brother Dirck. Assembled between 1625 and 1655, it comprised eighty-nine paintings by various Dutch masters, including six pices de Gerrard Dou (six paintings by Gerrit Dou).11 Regrettably, these works are not described, which may be why De Langue is rarely mentioned as a patron of Dou in the literature. Nestled near the top of a sugar maple tree was a Eurasian magpie nest that resembled a cyberpunk porcupine, with thin metal rods sticking out in every direction. Most of the prices of Dous paintings cited in seventeenth-century archival documents, however, are lower. For instance, Sylviuss het besgen (old woman) could be De Byes oude vrouw met een bouck (old woman with a book), and Sylviuss een heremyt in een cas (a hermit in a case) could be De Byes een kluysenaer biddende geknielt voor een kruijseficx van buijtenen een kaers licht lamp ende doots hoofft (a praying hermit kneeling before a crucifix; on the outside a candlelight lamp and skull). But in his will of 1667 (see Regionaal Archief Leiden, Notarial Archives, Notary. It is thus quite possible that when De Byes possessions were being brought to the house of his young cousin Maria Knotter on the Rapenburg (no. The Nationaal Museet in Stockholm owns aPenitent Magdaleneby Dou that may possibly have been named in Christinas inventory (no. See overnight accommodation here. It is entirely possible that he bought a few pictures from De Bye when the latter housed his Dou collection at Johannes Hannots in the Breestraat. All the more so when the works return, for one time only, to the place where they were conceived and created four centuries ago. Hans Geisenheimer, Beitrge zur Geschichte des niederlndischen Kunsthandels in der zweiten Hlfte des XVII Jahrhunderts,Beiheft zum Jahrbuch der kniglich preuszischen Kunstsammlungen27 (1911): 58. In this position he also oversaw Michel le Blon (15871658), the famous engraver and art dealer. 31) to deliver some of the works in the estate bought by the scholar. Philips Angel, Lof der schilderkunst (Leiden, 1642). De Bye would invest 7,200 guilders in Meesters business, and the watchmaker would repay him half after six years and the remainder after twelve years. Another example is the double portrait of Sylvius and his second wife, Margareta Lucretia Schlezer (t Conterfeytsel vande Proffessor Silvius ende sijn huijsvrouw speelende op de Luijd [the portrait of Professor Sylvius and his wife playing the lute]), the celebratedMusic LessonbyFrans van Mieris the Elderin Dresden; Otto Naumann,Frans van Mieris (16351681), the Elder (Doornspijk, 1981), 2: 102, no. These quiet occupations are the stuff of An Inner World: Seventeenth-Century Dutch Genre Painting, now on view at Arthur Ross Gallery. I couldnt believe my eyes, he recalled. Also meet our T. rex Trix! A keg is tapped. He acquitted himself so well that two years later he was appointed the highest representative of the Swedish crown. Neither Dirck van Beresteyn nor Magdalena van Adrichem were the commissioners, as was supposed in B. Broos,Meesterwerken in het Mauritshuis(The Hague, 1987), 117. van Scharpenbrant, inv. The Online Catalogue of The Leiden Collection, edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt, explores the Collection through scholarly entries of more . Last Privately Owned Vermeer Loaned to Philadelphia Museum of Art De Renialmes estate even contains five pictures by the artist, one of which is by both Dou and Rembrandt.13The inventory of the Amsterdam art dealer Laurens Maurits Douci (1669) owned an unspecified painting that, according to the appraisers Ferdinand Bol and Gerrit Uylenburgh, was jointly painted by Dou and Govaert Flinck.14, There was an audience for Dous work in Rotterdam and The Hague as well. It is known, however, that in 1641 Spiering bought two volumes with drawings by Raphael (14831520), Giulio Romano (14991546), the Carracci, and Titian (14901576) from Joachim von Sandrart (160688) for the exorbitant amount of close to 3,500 guilders.32 When the French theologian and writer Francois Ogier (15971670) visited Spiering in The Hague in 1644, he showed him these works, along with sundry books with prints by Albrecht Durer, Lucas van Leyden, and others, drawings by Raphael, as well as a number of paintings and a cabinet replete with medals, reliefs of gold, silver, ivory, copper, wax.33 Spierings appetite for collecting thus was not limited to paintings. But outside the Antwerp hospital where, as it happened, many of the rooftop spikes had gone missing the magpies had managed to convert hostile architecture into a home. The two dealers had appraised it at 12 guilders, and the two painters at 85 guilders, yet again a great discrepancy.