Arundel Art Cabinet

Liber Amicorum Marijke de Kinkelder

Collegiale bijdragen over landschappen, marines en architectuur

Onder redactie van

Charles Dumas Jan Kosten

Eric Jan Sluijter Nicolette C. Sluijter-Seijffert

Den Haag 2013

- 8 -

Inhoudsopgave

VOORWOORD 5 LIJST VAN SPONSORS 7 GERLINDE DE BEER 11

Anmerkungen zum Werk von Jan Porcellis (Gent um 1584-1632 Zoeterwoude bei Leiden) ALBERT BLANKERT 41

Terug naar Charles de Hooch, alsmede over het raadsel van geniaal ‘rapen’ CELESTE BRUSATI 49

Looking at Samuel van Hoogstraten’s Dogs in Perspective EDWIN BUIJSEN 69

Middelburgse collega’s onder elkaar: landschapschilder Mattheus Molanus leent figuur- studies van Adriaen van de Venne

QUENTIN BUVELOT 77

Een gezicht op de Haarlemse stadswallen door Gerrit Berckheyde SABINE CRAFT-GIEPMANS 83 Het vertrek van een koningin. Paulus Lesire’s Vertrek van Henrietta Maria uit Scheveningen ALICE I. DAVIES 93

Two Tempests by Allart van Everdingen for Marijke ELLIS DULLAART 99 A new addition to the oeuvre of Pieter de Neyn CHARLES DUMAS 107 De achttiende-eeuwse topografische tekenaar Isaac van Ketweg (1732-1789) FREDERIK J. DUPARC 119 Toevoegingen aan het oeuvre van Cornelis Hendriksz. Vroom (1590/92-1661) RUDOLF E.O. EKKART 125 Landschappen en marines als achtergrond in vroege Westfriese portretten

- 9 -

ALBERT J. ELEN 133 Verfraaide Gooise topografie. De standerdkorenmolen van Huizen getekend in 1815 door Daniël Kerkhoff en Jan Hulswit TERÉZ GERSZI 141

Were the Rotterdam copies really drawn after Jan Brueghel? JEROEN GILTAIJ 147

Tien tekeningen van Jacob van Ruisdael URSULA DE GOEDE-BROUG 159 De Hongaars-Oostenrijkse landschapsschilder Josef Orient (1677-1747). Meer dan slechts een epigoon van Saftleven en Griffier; een eerste verkenning RICHARD HARMANNI 175

Kunst of kopieerwerk. Landschapsbehangsels en prentvoorbeelden EBELTJE HARTKAMP-JONXIS & HILLIE SMIT 191 Nieuw licht op een reeks Delftse wandtapijten met parklandschappen uit circa 1700 MARIJKE HESLENFELD 199 ‘Zo gaan er dertien in een dozijn’. Johannes Croon, dozijnschilder in Amsterdam GUIDO M.C. JANSEN 211 ‘Frogs must have their storks’. A River landscape with a stork by Godefridus Schalcken GEORGE S. KEYES 217 Musings on a Drawing in Chicago: Assessing Jan Asselijn as a Draftsman WOUTER KLOEK 225

Twee Haagse voorbeelden voor Jan Steen JAN KOSTEN 231 Nicolaes Berchem, De veldslag van Alexander de Grote en Poros aan de Hydaspes, een iconografisch unicum SUZANNE LAEMERS 243 De lieveling van Max Friedländer: Johannes de Doper in de wildernis door Geertgen tot Sint Jans ANNALIESE MAYER-MEINTSCHEL 251 Eine Landschaft von Philips Koninck in der Dresdener Gemäldegalerie FRED G. MEIJER 253

Jan Davidsz. de Heem’s landscapes ÁNGEL NAVARRO 271 Two Roman views by Willem van Nieulandt in a private collection in Buenos Aires SANDER PAARLBERG 275

Een landschap van Richard Farrington en de impact van Aelbert Cuyp

- 10 -

MICHIEL C. PLOMP 283 Goud en zilver voor Marijke. Maes en De Wit in Teylers Museum

JOCHAI ROSEN 291

Fantasy caves: Dutch grotto painting of the Golden Age LAURENS SCHOEMAKER 305

Op de fiets naar Nederlangbroek CONSTANCE L.H. SCHOLTEN 321 Vijf Haagse vazen met topografische voorstellingen. Verslag van een zoektocht ERIC JAN SLUIJTER 343 ‘Dien grooten Raphel in het zeeschilderen!’ Over de waardering voor Jan Porcellis’ sobere kunst door eigentijdse kenners NICOLETTE C. SLUIJTER-SEIJFFERT 359 ‘Un bellissima cabinetto’. An art cabinet with paintings by Cornelis van Poelenburch and Bartholomeus van Bassen IRINA SOKOLOVA 369 Two ‘forgotten’ landscapes from the collection of Count Heinrich von Brühl: possible new attributions to Anthonie van Borssom ANNE CHARLOTTE STELAND 377

Herman van Swanevelt: Neu aufgetauchte Werke ARIANE VAN SUCHTELEN 387 Berglandschap met de heilige Hieronymus door Paul Bril. Een aanwinst van het Mauritshuis RENATE TRNEK 401 Den Traum vom Süden weiter träumen: Die Neuerwerbungen zur Sammlungs-Gruppe italianisanter Niederländer in der Gemäldegalerie der Akademie der bildenden Künste Wien PUBLICATIES VAN MARIJKE DE KINKELDER 413 INDEX 415 COLOFON 432

NICOLETTE C. SLUIJTER-SEIJFFERT

- 359 -

‘Un bellissima cabinetto’ An art cabinet with paintings by Cornelis van Poelenburch and

Bartholomeus van Bassen

hile in his own time Cornelis van Poelenburch (1594/5-1667) was praised mostly for his figures, now he is appreciated primarily as a painter of idyllic Italianate landscapes. He travelled to Italy at

the age of 23, and lived there – in Rome and Florence – for close to eight years. During this sojourn he developed the various types of landscape compositions and motifs that he would continue to paint back in Utrecht with great success for the remainder of his life. Notable in his Italian period are his open landscapes with Roman ruins, which are usually populated with genre figures. I call these scenes ‘forum landscapes’ because they represent or strongly resemble the Campo Vaccino, as the Forum Romanum was then known. While in Italy, Poelenburch also conceived the primary type of landscape that he would paint later: compositions with a somewhat elevated foreground featuring a group of trees, ruins or a rock mass on one side, and the horizon with distinctive receding hills on the other side. The colours are vivid and the illumination very natural. Poelenburch was the first landscape painter to render the brilliant Italian sun-light with such convincing realism. While many of the individual elements in his compositions quite often resemble one another, the final result is always very different. He hardly ever repeated himself literally. Cornelis van Poelenburch also frequently depicted scenes from the Bible and Classical mythology, the figures in which are modelled with as much precision and vibrancy as the boulders and vegetation in the landscape. These two facets of his artistry are beautifully combined in a splendid art cabinet that was owned by Lord and Lady Arundel in the seventeenth century, and which is now in the Portland Collection in England. It was displayed in the Ashmolean Museum in Oxford in 1985 as part of the historical exhibition Thomas Howard, Earl of Arundel, which was accompanied by a modest catalogue.1 In this article I examine the scenes on this cabinet and their painters in greater depth. This lavishly illustrated publication is dedicated to Marijke de Kinkelder, who followed my research on the paintings of Cornelis van Poelenburch with unflagging interest and never failed to extend her expert help. The cabinet is made of oak veneered in ebony (fig. 1). Its front and sides are embellished with carved patterns.2 Supporting the heavy cabinet is a nineteenth-century stand with four winged sphinxes that in turn rest on gilt bronze tortoises. Fastened to the tabletop is a copper plaque with an inscription informing the reader that the cabinet was acquired by the ‘Second Earl of Oxford’ at an auction in Tart Hall in 1720.3 The doors open to reveal twenty-five drawers embellished with painted landscapes populated with figures (fig. 2). The interior of each door is also decorated with a painting. Furthermore, there are three niches flanked by columns: the middle one contains a painting, while the two niches to either side feature statues of Diana and Mars. The frieze spanning the full width of the cabinet bears the following inscription (from Horace’s Poemata): ‘ALTIUS HÎC SCRUTARE, // LATENT SUB FRONDIBUS UVAE.’ (Search deeper here; grapes are concealed beneath the foliage). The entire frieze can be removed, revealing more drawers behind it.

The paintings on the doors feature imaginary palatial interiors – colonnades mirroring each other with a view-through of monumental buildings at the end of them – by Bartholomeus van Bassen (1590-1652). In the one at the right we find the signature ‘B. van Bassen’ on the base of a column, and the date 1636 on the step just below it (fig. 4). The gallery is peopled by a few lively, well-modelled figures, which are

W

AN ART CABINET WITH PAINTINGS BY CORNELIS VAN POELENBURCH

- 360 -

1. Cabinet, decorated with scenes from Ovid’s Metamorphoses and architectural scenes, United Kingdom, Portland Collection.

clearly the work of Cornelis van Poelenburch. This staffage consists of two men in discussion, whose draped robes recall those worn by apostles; a beggar reclining on the steps; a sitting dog; and two more figures in the far right background. No story is represented, nor is there any connection in terms of content with the other paintings on the cabinet, each of which represents an episode in Ovid’s Metamorphoses. The architectural scene on the interior of the left door is also devoid of any narrative (fig. 3). A strolling man and woman converse with one another in the foreground: the man is dressed as a Roman soldier, while the woman wears fantasy clothing and has a crown on her head (the only identification for this couple that comes to mind is Dido and Aeneas). She appears to be pointing to the figure kneeling before a statue of a seated woman in the middle ground at the left. Another three figures either standing or walking can be discerned in the distant background. Poelenburch often introduced such gestures, not because they are important in a narrative context, but solely to visually connect figures or figure groups in a painting. All twenty-five drawers are inset with a square or rectangular painting on copper. One somewhat larger painting in the middle is rounded at the top (fig. 5) and represents a cross-vaulted colonnade with a prospect of monumental buildings. Seated at long laid tables in the gallery are the Olympian gods, some of whom can be identified by their figure type, or attributes: Jupiter, Mercury, Neptune, Diana, Bacchus, Venus and Cupid, as well as Ceres. In this painting, too, the architecture was painted by Bartholomeus van Bassen and the figures by Cornelis van Poelenburch. This kind of scene recurs frequently in


- 361 -

2. Detail of fig. 1.

Poelenburch’s oeuvre, for instance in a ‘gathering of gods in the clouds’ or ‘Sine Cerere et Baccho friget Venus’, themes he favoured. Were this not sufficient for substantiating the identification of the author of the figures in Van Bassen’s monumental architecture, the monogram ‘C.P.F’ on one of the painted drawers, Minerva and the Muses (in the middle of the lowest row, fig. 6) is surely proof enough. The layout of this small landscape (6.4 by 12.8 cm) is entirely in keeping with Poelenburch’s manner: the Muses with their instruments are gathered on a somewhat elevated foreground that slopes down at an angle, and beyond them in the distance is a panoramic landscape of rolling hills and vegetation, with some cows faintly discernible at the far right. Poelenburch followed this general compositional formula – with a very low vantage point – in most of the cabinet’s thirteen rectangular landscapes, naturally with variations. Herse spied by Mercury, for example, presents a fairly high hill surmounted by the temple of Minerva in the middle ground, to which Herse and her sisters are making their way with baskets of flowers and a sacrificial animal (fig. 7). The rape of Europa naturally shows the sea over which Jupiter, in the guise of a bull, abducts Europa (fig. 8). Europa’s despairing female companions remain behind on the left shore, and the Phoenician capital is visible in the background. While Poelenburch adapted his compositions to accord with the narrative depicted, the landscape itself remains consistently charming and pleasant. The figures are larger in proportion to the landscape than is customary, but this is because a greater focus is placed on representing the stories than the landscapes. In several of the square panels (6.4 x 6.4 cm) the landscapes are more closed, thus without a view into the distance, for example Jason slaying the dragon, Cephalus and Procris, and Pyramus and Thisbe (fig. 9). A more ‘old-fashioned’ type of rocky landscape serves as the setting for Perseus freeing Andromeda (fig. 10). The figures in this scene could have been inspired by a


- 362 -

3. Bartholomeus van Bassen & Cornelis van Poelenburch, Interior 4. Bartholomeus van Bassen & Cornelis van Poelenburch, Interior with with figures (interior of the left door), oil on panel, 58.5 x 39.4 cm. figures (interior of the right door), oil on panel, 58.5 x 39.4 cm, signed and dated lower middle: ‘B. van Bassen / 1636. print by Antonio Tempesta from 1606 and the landscape strongly recalls the work of Adam Willaerts, with whom Poelenburch sometimes collaborated. Familiar Poelenburch motifs also occur in these paintings, such as the plants in the foreground in Venus and Adonis (fig. 11), the fanciful boulders in Mercury with the head of Argus (fig. 12), and the cows in Mercury and Battus (fig. 13). All of the panels were executed with utmost precision, subtle transitions, and vivid colours for the clothing of the figures. The quality of these little paintings is better than is usually the case in such art cabinets. In fact, this cabinet in its entirety is exceptionally well done.

Many of the depictions are familiar Ovidian scenes, such as Mercury and Herse, Mercury and Argus, The rape of Europa, Venus and Adonis, Apollo and Coronis, and so forth. Others are somewhat less known. Truly uncommon are the two depictions of moments from the story of Caunus and Byblis, namely Byblis confessing her love to her twin brother Caunus, which he rejects (fig. 14), and The nymphs comforting Byblis, whose tears are so copious that she is transformed into a spring (Metamorphoses, Book IX, 451-665; fig. 15). Surprisingly, Poelenburch did not base himself on print series or illustrated Ovid publications, even though all of these scenes are depicted in them.4 Sometimes he drew on his own work for the composition and the figure types, as is the case for Mercury and Herse, which is very close to other renderings of this theme by him. Only four of the depictions in the cabinet occur in Poelenburch’s oeuvre (which counts close to 300 works). While most of the scenes were thus new for him, he did not avail himself of the then known illustrations of the Metamorphoses.


- 363 -

5. Bartholomeus van Bassen & Cornelis van Poelenburch, Colonnade with the feast of the gods, oil on copper, 19.2 x 12.8 cm. How did this art cabinet with pictures by Bartholomeus van Bassen and Cornelis van Poelenburch find its way to England, and for whom was it made? We know that it was bought at Tart Hall in 1720 at the auction of the estate of Lady Arundel, who had passed away in Amster-dam in 1654 (fig. 16).5 Countess Arundel was born as Alethea Talbot in 1585, and married Thomas Howard, Earl of Arundel, in 1606. In 1616 she inherited a third of her father’s (Gilbert Talbot, 7th Earl of Shrewsbury) extensive estate. And, it was at this point that her husband began to seriously assemble what would become a celebrated collection of art, to which Alethea’s contribution must not be underestimated.6 She bought Tart Hall, a small manor close to Buckingham Palace, in 1633, and had it entirely refurbished and expanded in 1638. After her death in 1654 (her husband had died previously in Italy in 1646), Tart Hall devolved to her youngest son William Howard, 1st Viscount Stafford, and subsequently became the property of his son Henry, who died in 1719.

The date 1636 (on the panel by Van Bassen) can serve as a point of departure for answering the question of how this precious art cabinet came into her possession. In that year King Charles I of England dispatched Lord Arundel to Vienna on a diplomatic mission. Arundel had to plead the case for rehabilitating Charles Louis – the second son of Charles I’s sister Elizabeth, the ‘Winter Queen’ – as the Elector Palatine before Emperor Ferdinand II.7 Upon the return journey to England, one of Arundel’s ships was attacked by pirates and among the booty taken was ‘un bellissima cabinetto, che la Principessa Palatina mandava a donare all. Sig. Contessa’ (an exceptionally beautiful cabinet that the Princess Palatine had sent as a gift to her ladyship, the Countess).8 The cabinet was ‘ritrovato tutto in pezzi’ (recovered, all in pieces) a few days later, as was reported on 6 February 1637. While there is no conclusive evidence that this ‘cabinetto’ is the Arundel art cabinet, it is entirely plausible, all the more so because of the mention of ‘a cabinet now or lately in the custody of Mons. Poellenburgh at Utrecht, valued at 200 at the least’ that was made in 1654 in documents relating to the settlement of the inheritance.

Thomas Howard and his wife Alethea and the royal couple Frederick V of the Palatinate and Elizabeth Stuart were well acquainted with one another. The Arundels were in the newlyweds’ retinue when they travelled to the Palatinate, to Heidelberg, in April 1613, and continued to play a role in their lives thereafter. After their failed Bohemian kingship, which lasted barely a year, Frederick’s uncles Maurice and Frederick Henry offered the couple sanctuary and they lived in The Hague and Rhenen from 1621 onward. Elizabeth’s brother, King Charles I, entrusted Arundel with diplomatic missions on various occasions: for instance, in 1633 the Earl was sent to The Hague to convince Elizabeth to return to England after the death of her husband (November 1632). However, she preferred to stay on in the Republic. From


- 364 -

6. Cornelis van Poelenburch, Minerva and the Muses, oil on copper, 12.8 x 6.4 cm, monogrammed lower left: ‘C.P.F’.

7. Cornelis van Poelenburch, Herse spied by Mercury, oil on copper, 12.8 x 6.4 cm.

8. Cornelis van Poelenburch, The rape of Europa, oil on copper, 12.8 x 6.4 cm.


- 365 -

9. Cornelis van Poelenburch, Pyramus and Thisbe, oil on copper, 10. Cornelis van Poelenburch, Perseus freeing Andromeda, oil on 6.4 x 6.4 cm. copper, 6.4 x 6.4 cm.

11. Cornelis van Poelenburch, Venus and Adonis, oil on copper, 12.8 x 6.4 cm.

12. Cornelis van Poelenburch, Mercury with the head of Argus, oil on copper, 12.8 x 6.4 cm.


- 366 -

13. Cornelis van Poelenburch, Mercury and Battus, oil on copper, 12.8 x 6.4 cm.

1641 until her death in 1654, Lady Arundel also resided permanently in The Netherlands. The diplomatic mission regarding Elizabeth’s son that Lord Arundel undertook on behalf of King Charles I would have been an opportune time for Elizabeth to give a costly gift to Arundel’s wife. That Elizabeth granted the commission to Bartholomeus van Bassen and Cornelis van Poelenburch is not so surprising. Van Bassen had refashioned the Agnietenklooster in Rhenen into a hunting lodge, or actually a summer residence – after all he was also an architect – for her and Frederick. Moreover, they owned several paintings by him.9 As for Poelenburch, he had painted two group portraits of their children,

14. Cornelis van Poelenburch, Byblis and Caunus, oil on copper, 15. Cornelis van Poelenburch, Byblis and the nymphs, oil on copper, 6.4 x 6.4 cm. 6.4 x 6.4 cm.


- 367 -

16. Daniel Mijtens, Portrait of Lady Arundel, oil on canvas, 214.6 x 133.4 cm, Arundel Castle, Collection The Duke of Norfolk. one in 1628 and the other a few years later, and had previously collaborated with Van Bassen several of times, painting the figures in his architecture paintings.10 Accordingly, it was not so far-fetched to have them work together. This does not mean that Elizabeth had the cabinet made specially for Lady Arundel; she may have commissioned it earlier, and decided later that it was a fitting gift. Poelenburch’s refined small-figured history scenes in an Italianate landscape, in any case, were entirely in keeping with the Arundels’ taste. Their collection included pictures by Adam Elsheimer, Hans Rottenhammer, and Paul Bril.11

The art cabinet with its twenty-five painted scenes by Cornelis van Poelenburch thus found its way to London, and King Charles I probably saw it at Lord Arundel’s house. This could not, however, have been the impetus for him to invite Poelenburch to work at his court, for as evidenced by the ‘Privy Seal Books’, the king was paying the artist’s rent already from March 1637 to March 1638, and he was receiving an annual stipend of 60 pounds. The decision to engage Poelenburch must have been taken much earlier. The king possessed a version of the group portrait of the Winter King and Queen’s children, and so knew Poelenburch’s work, which he evidently admired greatly. We have information regarding Poelenburch’s London residences in the following years as well: the painter stayed in England, with absences, for four years.

Lady Arundel was living in The Netherlands from 1641, and after the death of her husband in 1646 she had the lion’s share of their art collection shipped there. The cabinet, however, seems to have stayed behind in Tart Hall and is now one of the jewels of the Portland Collection, one of the finest in England. DR. NICOLETTE SLUIJTER-SEIJFFERT Former Director Museum Het Catharina Gasthuis and Museum De Moriaan, Gouda


- 368 -

NOTES

* Translation into English by Jennifer Kilian and Katy Kist. 1. See exh. cat. Thomas Howard, Earl of Arundel, Oxford

(Ashmolean Museum) 1985, pp. 51-53. 2. The entire cabinet measures 89.2 x 104 x 45.7 cm; the stand 75 x

132 x 59 cm. The dimensions of the paintings (panels) on the interior of the doors are 58.9 x 39.4 cm. The small paintings are on copper and inset in the fronts of the drawers; 13 are app. 12.8 x 6.4 cm.; 12 are app. 6.4 x 6.4 cm.

3. This was Edward Harley, 2nd Earl of Oxford (1689-1741); the cabinet entered the present collection through his daughter. Tart Hall was one of Lady Arundel’s houses (in London), which she had drastically rebuilt and expanded.

4. Series of illustrations of the Metamorphoses in book form that were circulating at the time are:

– Iohan. Posthi Germershemi tetrastich in Ovidi Metam. Lib. XV, [...]Vergili Solis figurae [...] Schöne Figuren aus den fürtrefflichen Poeten Ovidiuo [...] mit Teutschen Reimen kürzlich erklärt, Frankfurt a/M 1563. These illustrations by Virgil Solis were used in numerous Ovid publications, the first one being the translation by Florianus: [Florianus (ed. 1566)], Metamorphosis dat is, Die Herscheppinge oft Veranderinghe [...] overgheset in onse duytsche tale, Amsterdam 1588.

– P. Ovidi Nasonis Metamorphoses, Argumentis Brevioribus ex Luctatio Grammatica [...], Antwerp 1591 (illustrations by Pieter van der Borcht).

– Metamorphoseon sive transfornationum Ovidii libri XV [...] incise et in pictorum […], Antwerp 1606 (with illustrations by Antonio Tempesta). See also E.J. Sluijter, De ‘heydensche fabulen’ in de schilderkunst van de Gouden Eeuw. Schilderijen met verhalende onderwerpen uit de klassieke mythologie in de Noordelijke Nederlanden, circa 1590-1670, Leiden 2000, pp. 194-195.

– a complete print series by Crispijn van de Passe I: P. Ovid. Nasonis XV Metamorphoseon Librorum figurae [...], a Crispiano Passaeo [...] autore Guilhelmo Salsmanno, Arnhem 1607.

5. The following passage is found in Georges Vertue’s Notebooks of 1723: ‘A fine Cabinet of Ebony formerly belonging to the Ld

Arundel // the drawers of it, painted curiously. in Oyl small historys of Ovids Metamorphosis. by. Polenburgh. In posš Ld Harley’.

6. See note 8. 7. Frederick V, Elector Palatine from 1610 to 1623, and his spouse

Elizabeth Stuart, daughter of King James I of England. They were the Protestant king and queen of Bohemia in 1619 and 1620, a situation that lasted less than a year, which earned them the nicknames the Winter King and the Winter Queen. Prince Maurice and Prince Frederick Henry were the uncles of Frederick V and so it transpired that the unfortunate couple found refuge in The Hague when they were not only banished from Prague, but also lost the Palatinate.

8. D. Howarth, ‘The patronage and collecting of Aletheia, Countess of Arundel 1606-1654’, Journal of the History of Collections 10 (1998), no. 2, pp. 125-137, esp. pp. 133-134 and note 33. The reference from 1654 occurs in documents relating to the settlement of Arundel’s estate.

9. See the Master’s thesis by Willem-Jan Hoogsteder, De schilderijen van Frederik en Elizabeth, Koning en Koningin van Bohemen, Utrecht 1986.

10. On the portraits of the children, see Nicolette Sluijter-Seijffert, ‘Cornelis van Poelenburch als portretschilder’, in: Ch. Dumas, E. Buijsen & V. Manuth (eds.), Face Book. Studies on Dutch and Flemish Portaiture of the 16th-18th Centuries. Liber amicorum Presented to Rudolf E.O. Ekkart on the Occasion of his 65th Birthday, Leiden/The Hague 2012, pp. 161-166.

I know of nine paintings by Bartholomeus van Bassen in which Cornelis van Poelenburch painted the figures. The earliest one dates from 1626, and the latest from 1652; the majority are signed by Van Bassen, and not by Poelenburch.

11. See E.E.S. Gordenker, ‘Verborgene Schätze: Elsheimers Gemälde in Grossbrittannien’, in: R. Klessmann, exh. cat. Im Detail die Welt entdecken. Adam Elsheimer 1578-1610, Frankfurt (Städelsches Kunstinstitut) / Edinburgh (National Gallery of Scotland) / London (Dulwich Picture Gallery) 2006, p. 194.

Colofon

Uitgave ter gelegenheid van de 65ste verjaardag van Marijke C. de Kinkelder Auteurs van de artikelen in het Nederlands: Albert Blankert, Edwin Buijsen, Quentin Buvelot, Sabine Craft-Giepmans, Charles Dumas, Frederik J. Duparc, Rudolf E.O. Ekkart, Albert J. Elen, Jeroen Giltaij, Ursula de Goede-Broug, Richard Harmanni, Ebeltje Hartkamp-Jonxis, Marijke Heslenfeld, Wouter Kloek, Jan Kosten, Suzanne Laemers, Sander Paarlberg, Michiel C. Plomp, Laurens Schoemaker, Constance L.H. Scholten, Eric Jan Sluijter, Hillie Smit en Ariane van Suchtelen Auteurs van de artikelen in het Engels: Celeste Brusati, Alice I. Davies, Ellis Dullaart, Teréz Gerszi, Guido M.C. Jansen, George S. Keyes, Fred G. Meijer, Ángel Navarro, Jochai Rosen, Nicolette C. Sluijter-Seijffert en Irina Sokolova Auteurs van det artikelen in het Duits: Gerlinde de Beer, Annaliese Mayer-Meintschel, Anne Charlotte Steland en Renate Trnek © 2013 de auteurs Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opnamen, of enige andere manier, zonder voorafgaande schriftelijke toestemming van de redactie. De uitgever heeft ernaar gestreefd de rechten van de illustraties volgens wettelijke bepalingen te regelen. Degenen die desondanks menen zekere rechten te kunnen doen gelden, kunnen zich alsnog tot de redactie wenden.

Redactie: Charles Dumas, Jan Kosten, Eric Jan Sluijter & Nicolette C. Sluijter-Seijffert Eindredactie, opmaak en index: Charles Dumas Vertaling van de summaries: Jennifer M. Kilian Ontwerp van het omslag: Gerrie van Adrichem Druk en bindwerk: Wilco Printing & Binding (www.wilco.nl) Distributie: Waanders Uitgevers (www.waanders.nl) ISBN: 978 94 91196 86 7 NUR 432 Oplage: 400

- 432 -

Arundel Art Cabinet

Documents

Transcript of Arundel Art Cabinet