RKD STUDIES

Volume 1, page 90-99

... roke on the same canvas, saying to the maid, If Apelles comes again, show him this stroke, and say, he whom you enquired after made this mark. Apelles came, and seeing that this stroke was more skilful than his own, took a brush with ...

... ood or as bad as he had on hand at the time, and went at the task. Van Dyck made a little conversation with him during the sitting in order not to be recognized or discovered. It was done shortly, and Frans sought to have him rise, to see whether it was then to his liking. Van Dyck praised it, and then conversed a little with him, but in su...

... red that windfall down his throat.They say that Van Dyck went to great trouble to entice him to England, but that Frans would not...

... ccord they hauled him up with the bed. Deep in the doze of his inebriation, he perceived this, and firmly resolved that Heaven had heard his prayer, and as he felt himself ascending, he changed his tone, crying out much louder than usual: not so hasty, dear Lord, not so hasty, not so hasty, etc., whereupon they gently lowered him again, without the prank being noticed by him. Now when he lay sleeping like a log, they nimbly untied the ropes and neither they nor he disclosed what had happened until after years had passed: but from that day on Frans no more used this way of praying. Which often gave them cause for laughter, when they no longe...

... st Indies and is married there to a metis or half-black, no doubt for her money. He built a house there and hung it with paintings in the Dutch manner, and is a great lover and skilled practitioner of music-making, by which he endeared himself more to the most excellent souls than he did by his painting. Something of the sort must have been inherited. Joan Wielant, an old lover of art who knew most of them personally, witnesses that all the children of Frans H...

... on Pfalz-Neuburg] at whose court he long remained because of his great understanding of geometry, astronomy, the art of painting and other praiseworthy sciences and arts. He was also favoured with many advantages and exemptions by the King of Spain [= Philip IV], whom he served in his youth as fortifications architect. And when his exemptions and privileges were later dispu...

... n the 25th of November of the year 1634. And it is said of him that because of his expertise in astrology, he was able to predict many events, including alsoAccurately to foretell the year of his death.And as he had said, it also truly happened.I...

... in verse to his memory and fame. It is entitled ‘Lastman’s Sacrifice at Lystra, to Mister Jan Six [3-4]. This is its beginning:What do you think art scholar Six?Who ever had such mastery of compositionAs Lastman, worthy to receive theDrawing crown from Saint Paul’s throne,When he showed his wonder work of LystraSo freshly as if it happened yesterday?This dresses your divine scene,Where our Apelles builds his stageAnd background in full knowledge,And stages this sacrificial procession,...

... of people.A wealth, and diversityOf equipment approaches and brings outLaurelled† and white bulls§ firmly-------* Superstition had inspired the ancient heathens to believe that the gods sometimes appeared in the world in human guise and associated with people, a notion that the old fable poets helped support. Among these Ovid may be said to have been one of the most important. During the life of Emp...

Volume 1, page 80-89

... harbour of fortune, which can only be reached by indefatigable diligence, steady practice and frugality.In his turn appearsORAZIO GENTILESCHI. He was Florentine by birth but is not counted amongst the Italians because he spent most of his life in Spain, England, Brabant and Holland, which is why we cleared him a small place amongst the painters. His inclination mostly ran to the painting of large history pieces. Sandrart relates: that he saw two pieces by him in Amsterdam which he had painted for King Charles the First. The one depicted Mary regretting her sins [1], the other Lot and his two daughters...

... had painted at the time, being a life-sized David displaying the head of Goliath, which was elaborately and boldly painted [3]. She also painted portraits and was favoured by the spouse of the Viceroy of Naples. She also drew at the academy.At this time we must also commemorate the famous Brabant painterHENDRICK VAN BALEN. According t...

... the Princely Domains, etc. has one in his famous art cabinet in The Hague, depicting a virtuous man sitting under a splendid canopy, with a crown of honour on his head. Minerva, goddess of wisdom, stands to the left of his seat [4]. On the right hand is Justice, with a balance in the hand, in one scale of which the heads of a swine, fox, wolf and peacock, emblems of Gluttony, Deceit, Rapaciousness and Pride, are featured, which compared to square, ruler, stork and bridle, emblems of commendable behaviour depicted in the lower scale, are found to be too light....

... ...

... re life-sized. In particular a fig tree, planted in a garden pot, stood out, of which the trunk was so naturally coloured and the leaves so inventively and thinly painted, with the green buds and figs, half-coloured, mature, or wrinkled with age, painted in such a way that it appeared to be life instead of brushwork. This piece, having been brought from Het Loo, was sold in Amsterdam in the Gentlemen's Inn on the 26th of July 1713 for 2,825 guilders. The two figures in this work depicted Pomona* and Vertumnus,† painted by Rubens. A pendant--------* Her ...

... s had permission, and no other,To make a marble statue of that hero.But they did not therefore take on airs but kept quiet and let their work say: who they were, and what they achieved in art.We have a remarkable example of the first mentioned, which will serve us as the occasion for a new stage image. Spurred on by a desire to see Protogenes and his famous works, Apelles took passage to Rhodes, but when he did not find him in his studio, he took a brush with paints to make a fine stroke on the stretched canvas that he found standing there, saying to the maid, who asked him whom she should say had called on h...

Volume 1, page 50-59

... onscience and to make his convictions conform to those of his own. For in this respect every man stands by himself and depends on no one but his Creator, to whom he will have to give account in his last days. However, as we just said, it happens, and the example of this man will be able to serve as proof.JAN WOUTERSZ. van CUYCK was indicted for his faith, which differed from that of the monks, and placed in Dordrecht on the Vuilpoort, then the prisoner’s gate, with Adriaantje Jans van...

... on for the chief bailiff [1]. But this did not just raise suspicion with the monks, but they had the nerve to say in their public preaching that the bailiff kept him prisoner so long so that he would paint for him, and slandered his lack of resolve.* That is why the bailiff felt forced to surrender him as victim to their ire, as happened, so that on the 28th of March 1572, to the revulsion of most spectators, he was burned alive together with the...

... s by him, painted on copper, which always pleased me wonder well. In one was depicted how the children of Bethel, who called the prophet baldy, were torn up by bears. In the other was a history from the New Testament, and the figures were firmly drawn and loosely dressed.De Bie says about the young Francken that his art consisted of both histories of the New Testament and of the old Roman people. The bustling is endless that his fine brush is able to depict in them and boldly extract from them with a loose manner.Which of ...

... d was not to be drawn from this inclination to the company of his colleagues or others, saying:When I turned to live amongst men,I found nothing but evil to be learned from them.By which approach he appeared to be a second Democritus who (following the writings of Thomas Stanley from Lucian and Agellius) hid himself in lonely places and in graveyards which were best suited for reflection by their loneline...

... ow most slowly. Michelangelo, who spent a very long time on his works, said: That haste does not pay in art and that just as nature takes a long time to form animals that have to live a long time that is also true for the arts which propose to follow nature, etc. The earliest fruits of spring do not keep for long. Which is also why Apelles answered a painter who showed him one of his brushworks and added that he had made it in little time: It is not hard to believe, for one can tell from the work. But it was easy to see from our artist’s brushwork that he had produced it with the precious sweat of his intellect and by matchless patience.Sandrart says: He had married a Roman wife and ha...

... the Elder. The former loved lonely silence, the other the bustle of the court. The first had contempt for money and kept nothing. The latter loved it and made use of it. Their ideas differed as greatly as their places of birth were separated, for he understood: that courts are the fortune of art and that one should hold them by the hairs as long as they offer their favour....

... ter helped himself when he painted the gallery in Prague with landscapes, of which the majority were engraved in copper and published in print by Aegidius Sadeler II and his student Isaak Major.After the death of Rudolf, which occurred in the year 1612, he headed for Holland, where he painted both large and small artworks for art lovers. He was a man of medium height, but stocky, which can be seen from his head or bust which was issued in various ways in coppe...

... their unsettled way of life, whereby he led them to virtue, politeness, friendship and hospitality. Justinus says: that Midas, that rich king of Phrygia, son of the ox herder Gordius, was instructed by Orpheus to introduce worship of the gods to Phrygia. Horace explained this fable accordingly. Listen to his translator Andries Pels on page 34......... for Orpheus, so esteemed in his time,The interpreter of gods, deterred the human strain...

Volume 1, page 30-39

... etc. on them and firing them in glass ovens, after which the shadows were introduced by the brush on the already coloured window and again fired, etc. This Willem Tomberg was the son of Daniël Tomberg, the son’s son of the preacher Herboldus Tombergius; who first practiced this art...

... oeken of Rijm-kronijk van Melis Stoke) disagrees with the mentioned Vosmerus on page 8 and claims that these should be taken for no more than genuine copies which the monks ordered painted on wooden panels (when the first and true depictions painted in watercolours on the wall had darkened by the crumbling of the walls and the instability of the water ...

... give away for free.If a hundred pounds are not to be had there, what reason does the Bishopric have?Her foot would tread out of the church into the city hall.The host of glass painters that Gouda produced seem to me to have sufficed to fill all of the churches of Holland with their artworks because, in addition to those who were nurtured by others, the following sprang forth from the school of the brothers Crabeth: Jacob Caen, Jan Dirksz. Lonk, Govert Hendriksz., Jan Damesz. de Veth, Aert Verhaest, Gerard van Kuijl, Dirk de Vrije and Adriaen van der Spelt.Aert Verhaest and Gerard van Kuijl were diligent fellow artists and faithful travel companions through France ...

... uely how to paint the soldiers, obscured here and there by clouds of gun powder. He may now, in 1604, be a man of 55 years. It follows that he was born in 1549. I know nothing more about him than that the great Anthony van Dyck thought him worthy of being classed with the best painters on account of his art and of rendering his portrait with his own hand. Just as that work is included among those that were issued in print. I cleared space for him at the top of Plate A. I have learned nothing about his work other than its fame....

... ere no descendants left and those who knew them during their lifetime had died. In addition some who could have given a fair quantity of relevant information could not be bothered, which has often made me sad, seeing that my diligence was so hesitantly supported. Yes, I can truthfully assure the reader that if I had found everyone of whom I made enqu...

... r praiseworthy works have become buried in oblivion by time and the fury of Mars is clear from this, that after doing research on them I am not able to say anything about him but that Karel van Mander mentions his name in the life of Otto van Veen and that Cornelis de Bie praises his art, saying:Van Noort did this art so well and handsomely,That many spirits are amazed by it.It is not to be compared to the gold of Croesus.That rich treasure must give way to his divine gifts....

... nand II. These works were sent as homage to James King of England.To show now that his spirit was competent in all things he made a long series of Emblemata or Emblems, a work for intellects only.Thus one saw by him emblems of Horace and the life of St. Thomas Aquinas [11] as well as emblems of profane love, which he dedicated to the mentioned Infante, who so much appreciated this that she required him to make something similar for Divine Love [12].Louis XIII, King of France,...

2010-2017

... red in the plate, at upper centre: 10 XII 2010 Yannick 20 ans; and at upper left: MY SUN 20 edition: impressions: CU-2011-P.99:...

... ibed at margin, in purple pencil: 22 VIII, me gusta, el mejor?) CU, inv. 2011-P.119: with plate tone, lettering partially illegible (inscribed at margin, in pencil: 23 2X) CD: gift 2015, printed in brown ink, washed with brown paint (inscribed below the plate: Carlos voor Charles I/ 2015; and at lower margin, in purple aniline pencil: 15 VIII 3 fevrier 2011; and in pencil: ils allaient brûler en enfer selon Algra senator (PB)) CU, inv. 2011-P.120: with heavy plate tone (inscribed at margin, in pencil: dans le steppes de Caucasia; and below in purple pencil: 3 II 2011, 24 VIII) IXth state: lettered in the plate, at upper centre: CARLOS I HASSELT, BY, SHAH JAHAN, NI GONCOURT NI BRAQUEMOND, NI ARUNDEL NI HOLLAR! NI QUEVEDO; at bottom left: 2011 FP; and at bottom right: FINE ART PRINTING (mirror writing) CU, inv. 2011-P.121: with plate tone, printed in black and brown ink (inscribed at margin, in pencil: last 32 + 33, 7th of february 2011) FM, P.2-2012 (donated by FP): exhibitions: Amsterdam 2010; Paris 2011 comments: portrait made after photos of Carlos van Hasselt (1929-2009); preparatory study in sketchbook V, 2007-2011, CU, inv. 2013-T-136: 23 I 2011. ...

... at upper margin, in pencil: letter from oblivion!; inscribed at lower margin, in pencil: 17, 14 I 2011) CU, inv. 2011-P.107: with plate tone, printed in black and blue ink, lettering at centre left illegible (inscribed at margin, in pencil: 18, 14 I) CU, inv. 2011-P.108: with plate tone, printed in blue and brown (?) ink, lettering covered up by ink (inscribed at margin, in pencil: Payne (?) 24, 16 I 2011) FK: with plate tone, printed in dark blue and black ink (inscribed below the plate, in pencil: Letter from oblivion à Charles & Jan Piet Frans pannekoek 21/35; and at margin: exemplaire à moi mème frans pannekoek janvier 2011, payne grey – blue, 26 f.p.at right:...

... in February 2011) drypoint, 64 × 98 mm, lettered in the plate, at bottom centre: FP II M; ...

... margin, in pencil: 25 fevr. 2011 à Algodonales, The print of suffering, 8 V) RP-P-2017-1120-60: with plate tone, printed in brown ink (inscribed at lower right margin, in pencil: letter II, 9V) CD, gift 2015, with heavy plate tone around the figure (inscribed below the plate, in pencil: deze voor Charles Overreden kameleon, recyclé fp 2011; and at lower margin: Charlie Hebdo, Cameleon ! vrij 4 mrt 2011 24 2x) FM, P.198.2015 (donated by FP in memory of Carlos van Hasselt) ...

... red in the plate, at bottom centre: SUSANA; and at lower left corner: FP 2011-2016 edition: 12 impressions: VIth state:...

... red in the plate, below upper plate mark: LA LINEA RECTA = LA OPRESIÓN DEL (MUSA = SUEÑO) ESPACIO (OSCAR NIEMEYER) edition: 18 im...

... ink, lettering not inked (inscribed at margin, in purple pencil: la buena jefa de los indios, 34 VII, 31 Mayo 2016) CU, inv. 2018-P.57: with plate tone, lettering not inked (inscribed at margin, in purple pencil: 35, 1 Junio 2016) CU, inv. 2018-P.52: with plate tone, lettering not inked (inscribed at margin, in purple pencil: 36, 1 Junio 2016) CU, inv. 2018-P.55: maculature print, lettering not inked (inscribed at margin, in purple pencil: counter print 39 1 Junio!) CU, inv. 2018-P.58: impression from reversed plate in red, printed over print in red ink (inscribed at margin, in pencil: 44, 3 de Junio, Reina 3) comments: Pannekoek compared the set of 46 impressions of the Portrait of Muse Susana with the famous series of Thirty-Six Views of Mount Fuji by the Japanese printmaker Hokusai, extended with ten more prints. ...

... red in the plate, at upper centre: Por fin entro en el mundo femenino, a SUSANA FP 2016 edition: 20 impressions: IInd sta...

... nd aquatint, 124 × 93 mm, lettered in the plate, at upper cent...

... red in the plate, at upper centre: Julito; and illegible lettering along left plate mark edition: 24 impressions: CU,...

... red in the plate, at upper left corner: FP XII edition: 20 impressions: CU, inv. 2018-P.2: with plate tone, printed in b...

... red in the plate, at upper centre: (…) MMXVI; and below: VIVIR SIN LEER, SERIA, VIVIR SIN VIVIR (S.V.) edition: 49 impres...

... CU, inv. 2018-P.28: with plate tone, printed in blue ink (inscribed at margin, in pencil: 15, 26 I, 2017) VIth state: lettering along left plate mark extended: LA LINEA RECTA CU, inv. 2018-P.30: with plate tone, printed in brown and red ink (inscribed at margin, in pencil: 22 VI, invasión, Sabado, 28 I, 2017) CU, inv. 2018-P.31: with plate tone, printed in red ink (inscribed in margin, in pencil: 24 VI, 28 I, 2017) comments: Pantano, retaining reservoir near Algodonales and Zahora de la Sierra. ...

... 18-P.39: with plate tone, printed in blue ink, lettering illegible (inscribed at margin, in pencil: 9 III, 8 febrero, traversia del Pantano) CU, inv. 2018-P.40: with plate tone, printed in black and blue ink, lettering illegible (inscribed at margin, in pencil: 11 III, traversia del Pantano, 8 febrero 2017) CU, inv. 2018-P.41: with plate tone, printed in brown and red ink (inscribed at margin, in pencil: Crossing the lake, 13 III, 9 febr 2017) comments: the grebe is crossing the lake, just like love and the muse. (6 other prints; 13 III - 9 February 2017). ...

... red in the plate, at bottom left: ? y ese quien es? edition: 16 impressions: Vth state: CU, inv. 2018-P.42: with plat...

... red within image, in upper centre: (…) siempre (…) MACHISM MASA, MUSA 41, SIN edition: 15 impressions: IInd state: 2018-P....

... red in the plate, at upper centre: MARZO 14 MUSA 41, ART-TIME; and at bottom left: FP 2017 edition: 15 impressions: CU, inv...

... red in the plate, at upper left corner: MUSA, CHAQE TRACE A ÇA PLACE, AUSENTE; and at lower left corner: 26 (…) edition: 35 impr...

1967-1968

... red in the plate, below upper plate mark RP-P-2011-141: with plate tone (inscribed below the plate, in pencil: pannekoek 1967...

... roef sept 1967) SW (702, coll. RW): collection mark: initials J.S. (Jan Schook), verso (L.5867): with plate tone (inscribed below the plate, in pencil: Pannekoek 67 pingjum) IInd state: aquatint added CU, inv. 1994-P.204: with plate tone, printed in black and red ink (inscribed at lower margin, in pencil: f pannekoek; and at upper right corner: VII) BM, P & D, inv. 2011.7045.2: with plate tone (inscribed below the plate, in pencil: Pannekoek 67 pingjum) exhibitions: Amsterdam 1968; Paris 1970 ...

... e tone (inscribed below the plate, in pencil: resten van een vogel, pannekoek 1967; and at margin: ½) exhibitions: Paris 1970 literature: van Lennep 1967 comments: lettered with a poem by François Villon (1431-1463), from Le débat du coeur et du corps de Villon. François Villon, Oeuvres complètes, trans. Jacqueline Cerquiglini-Toulet...

... 1967 drypoint, 24 × 34 mm, lettered in the plate, at upper centre...

... c. 1967 etching, 54 × 36 mm, lettered in the plate, at upper left co...

... rtien etsen, 1967 etching, 42 × 34 mm, lettered in the plate, at centre: (I)n v(I)no Ver...

... t corner, in red ink: Frans Pannekoek (followed by two Chinese characters); and below in pencil: no 13) CU, inv. 1994-P.206: with plate tone, hand-coloured with brush in bluish-grey (inscribed at lower margin, in pencil: Santas Creus frans pannekoek te Valls 1967; at upper right corner: II; and at upper...

... er right corner, in pencil: 1967 misachtige druk frans pannekoek) BM P & D, inv. 2011.7045.4: with plate tone (inscribed at margin, initials in pencil: FP) RP-P-2011-148: hand-coloured with brush in grey (inscribed below the plate, in pencil: Pannekoek 1967 Valls Espagna) exhibitions: Amsterdam 2010; Paris 2011 literature: Schatborn 2011, no. 5 (inv. 1994-P,195); ...

... España Tarragona) exhibitions: Amsterdam 1968 comments: with the artist’s self-portrait at bottom left. Ratapanada is Catalan for long-eared bat. ...

... red in the plate, below upper plate mark, partially in mirror writing: 1967 8 (…) IL FAUR MOURIR (…) impressions: RP-P-2011-1...

... 967); Schatborn 1989, pp. 80-81, no. 2; Schatborn 2011, no. 9 comments: the impression of this print in Amsterdam and the impression of FP 68-5 at Custodia (inv. 1994-P.269) were both reworked with a varnish after Pannekoek had also experimented with cheesecloth. Hercules Segers, admired by Frans Pannekoek, also printed some of his plates on fabric.#]...

... ater an edition of 18) impressions: CU, inv. 1994-P.269: retouched with blue watercolour and a red-brown varnish (inscribed at lower and right margin, in pencil: 2/3, Pannekoek, Valls, Españ...

... 8 etching, drypoint and aquatint, 103 × 222 mm, lettered in the plate, at bottom centre, partially in capi...

2002-2009

... red in the plate, at upper centre: Rio Barbate, f.p. V 2002 impressions: CU, inv. 2003-P.50: with plate tone (inscribed at lo...

... 2002 etching, 90 × 148 mm, lettered in the plate, at bottom righ...

... ching and aquatint, 149 × 199 mm, lettered in the plate, at upper centre: entr...

... and roulette, 91 × 149 mm, lettered in the plate, at upper centr...

... red in the plate, at lower left: Panne Koek 850 (…) impressions: Ist state: CU, inv. 2003-P.74: with plate tone (signed and dat...

... red in the plate, at bottom left: caños 2002, FP impressions: Ist state: CU, inv. 2003-P.99: with plate tone (verso: signed an...

... red in the plate, at upper centre: pais de los guiris; at lower left: FP & SON; and at bottom right: canos 2001 impr...

... red in the plate, at centre left: ARRIETA, ARCONES, 2002, FP impressions: RP-P-2017-1120-41: with light plate tone (inscribe...

... red in the plate, at upper centre: In the eye of the beholder; and at bottom centre: fp 2002 edition: 21 impressions: ...

... red in the plate, at lower left corner: FP, 2002 impressions: Ist state: CU, inv. 2003-P.64: with plate tone (inscribed below...

... nekoek 2002; inscribed at margin: Noir 14) CU, inv. 2003-P.84: with plate tone, printed in brown ink (signed and dated below the plate, in pencil: f pannekoek 2002; inscribed at margin: trop humide, 17) RP-P-2017-1120-42: with light plate tone, reworked with brush in red (inscribed below the plate, with brush in red: I fpannekoek 2002; and at margin right: 20/20 10 sept.) CU, inv. 2003-P.88: with plate tone, printed in brown ink and retouched with watercolour (inscribed below the plate, with brush: AJO IV 12 sept 2002 f pannekoek; and at margin, in pencil: 25) exhibitions: Amsterdam 2010; Paris 2011 literature: Schatborn...

... red in the plate, at upper centre: PATATE 2002, gros couillon I, A L’AIR; at upper right: 20 min 1151 +; and at lower c...

... encil: f pannekoek 2002; inscribed at margin: 1, 8 oct 2002, sec v epais, 180) IInd state: lettered at upper centre extended, before (A Pisanello, 8,7 X): pegaso; and at upper right: illegible...

... red in the plate, at upper centre: my Spring’s ponytail for ANNA, 2002, fp; and along upper left plate mark: Sept 8, (mi...

... red in the plate, at lower right corner: FP 2002 impressions: Ist state: CU, inv. 2003-P.53: with plate tone (signed and ...

... red in the plate, at upper centre: Arroyo San Ambrosio & mangueta impressions: Ist state: CU, inv. 2003-P.59: with pl...

... red in the plate, at upper centre: DORP N.O. 86 edition: 25 impressions: Ist state: CU, inv. 2003-P.46: with plate tone, pri...

... red in the plate, at upper centre: 30 XI 005 impressions: Ist state: CU, inv. 2007-P.31: with little plate tone (inscribed at ma...

... drypoint, 114 × 149 mm, lettered in the plate, at upper lef...

... red in the plate, at bottom left: FP 15 XI 05, AUTÔMNE impressions: RP-P-2017-1120-46: with light plate tone, reworked with f...

... red in the plate, at upper left: FP 200(?) impressions: Ist state: CU, inv. 2007-P.46 (inscribed at lower left margin, in penci...

... red in the plate, at upper left corner: FP 23 impressions: CU, inv. 2007-P.48: with light plate tone (inscribed at lower margi...

... r 2005 drypoint, 113 × 70 mm, lettered in the plate along right plate ...

... , December 2005 drypoint, 110 × 139 mm, lettered in the plate, at bottom left: FP XII 05 e...

... red in the plate, at upper centre: 3 Faluchas, a mano impressions: CU, inv. 2007-P.38: with plate tone (inscribed at margin, in...

... red in the plate, at upper centre: FP, 24 XII, Labyrintus Vitae impressions: Ist state: CU, inv. 2017-P.34: with surface tone ...

... 08 drypoint, 118 × 170 mm, lettered in the plate, at upper left:...

... red in the plate, at lower right: fp, 2009, DROWNED COUCOU impressions: CU, inv. 2010-P.1A: printed in black and brown ink,...

... red in the plate, at upper centre: La jeunesse s'éclate, 2009 TEMS [sic] MODERNES, BARBATE; at upper left corner: 04 2...

... red in the plate, at bottom centre: THIS IS NOT A FEATHER, FP edition: 35 impressions: RP-P-2017-1120-51: with light plat...

... purple pencil: après Hercules, 8 VI) VIIe state: reworked with drypoint CU, inv. 2010-P.16: with plate tone (inscribed at lower margin, in purple pencil: 9/VII) CU, inv. 2010-P.14: with plate tone, printed twice in brown ink, reworked with brush in red watercolour (inscribed at lower right margin, in purple pencil: 11/VII 23 IX) CU, inv. 2010-P.12: with plate tone, printed in black and (traces of) brown ink (inscribed at lower right margin, in pencil: 13) VIII state: reworked with drypoint CU,...

... XIIth state: lettering added to (sleeping giant, 3 semper): virens, FORE LAST CU, inv. 2010-P.22: with plate tone (inscribed at margin, in pencil: 28) comments: Pannekoek (oral comment, December 2017): an imaginary landscape somewhere between Algodonales and El Bosque inspired by Francisco Goya's Gran Coloso dormido, the (brick) giant buried in Mathijs Röling’s garden and the Bomarzo gardens in Italy. ...

... 009 drypoint, 90 × 110 mm, lettered in the plate, at upper left ...

... and drypoint, 129 × 150 mm, lettered in the plate, at upper centre:...

... nated by JPFK): (inscribed below the plate, in pencil: 10/25; and at lower margin: 2.XII. 09; and: voor JP als ie er mee te vreden is, deze wildernis fp) CU inv. 2010-P.38: with plate tone, printed in black, brown and bluish grey ink (inscribed at lower right margin, in pencil: 12, 3 XII) literature: Schatborn 2011, p. 12, fig. 6; Filedt Kok 2011, pp. 461-62 comments: Pannekoek (oral comment, December 2017): inspired by the work of Vincent van Gogh. ...

1969-1972

... upper plate mark, partially in mirror writing; dated: Januari 1969; lettered above lower plate mark: I 1969 Frans Lodewijk Pannekoek; and illegible...

... ht op de aarde door Frans Lodewijk Pannekoek met drie stripverhalen Conil 1969; and at lower right margin: 4) Brussel, BR: inv. F12940 exhibitions: Paris 1970, no. 15 (Both H. Liebaers, head of the printroom in Brussels (BR), as well as J. Adhémar, head of the printroom in Paris (BN), acquired an impression of this print “Visite lunaire II”. ...

... (31 × 31 mm) on the same sheet of paper, lettered in the plate of the small accompanying prin...

... nt and drypoint, 75 × 107 mm, lettered in the plate, at upper right: i...

... 1970 drypoint, 49 × 60 mm, lettered in the plate, at bottom cent...

... red in the plate, below upper plate mark: (…) pannekoek II 1970 Tenerife, HASEN 4 impressions: CU, inv. 2011-P.89: with...

... red in the plate, at lower left corner: f.p. fecit 1970 impressions: CU, inv. 2011-P.86: with plate tone (inscribed below ...

... ror writing below upper plate mark; and lettered below at centre: vast een loco impression...

... n, in pencil: illegible; and at left margin, in pencil: 3) comments: Pannekoek (oral comment, December 2017): inspired by Hieronymus Bosch. ...

... in the plate below upper plate mark; lettered at upper centre: CONTROL OF ARTIFICIAL ...

... red in the plate, upside down, at centre right: (…) through this buttonhole; and at centre left: illegible impressions: CU...

... red in the plate naming various parts of the animal: illegible at upper centre; left side of the hare, with identifying ...

... red at upper centre: (…) de fazant; and illegible lettering at lower right of the plate impressions: CU, inv. 2020-P.102 (do...

... ruary 1972 drypoint, 50 × 125 mm, lettered in the plate, at upper centre, in m...

... 2 drypoint, 118 × 165 mm, lettered in the plate, at lower left...

... ch 1972 drypoint, 121 × 177 mm, lettered in the plate at upper centre, in ...

... No. 8 & penseel, Dicht, meneer Pannekoek bent u in China geweest? ANTW. De Dichter bereisd het land van zijn dromen; at lower left corner, in brush and grey ink: bygetekend met inkt 8 mrt 1972; with stamp in lower right corner, in red ink: FRANS PANNEKOEK (followed by two Chinese characters); verso, inscribed at lower left corner, in pencil: LR 33D) comments: Pannekoek (oral comment, December 2017): depiction of 'The New World'. ...

... red in the plate, at bottom centre: Boca de una Centolla; and at lower right corner, in cartouche: F.P. edition: 12 impressi...

... red in the plate, below upper plate mark: algodon regalo de Franzi año 1972; and below in mirror writing: FP VIII '72...

... er by the artist of 26 April 1972) SW (2385c, coll. RW): with light plate tone (inscribed below the plate, in pencil: pannekoek 6/25) exhibitions: London 1976 literature: Mendez 1976, no. 8 comments: Pannekoek (oral comment, December 2017): inspired by the Master of the Amsterdam Cabinet. ...

... ition: 12 etching and drypoint, 61 × 104 mm, lettered in the plate, at upper centre: Tragalgar II; a...

... Pannekoek; and with brush in margin: ZATERDAG 15-12-1972 7 dagen arbeid aan deze prent en dan nog niet goed ; and at upper right corner: 1) CU, inv. 1994-P.283: with plate tone, retouched with brush in grey and red (inscribed below the plate at centre, in pencil: voor Carlos; and with brush in grey: to RUDOLF & GUDRUN 17-12-1972 frans pannekoek 17/18) IInd state: illegible lettering added along lower right plate mar...

... 164 × 58 mm & 164 × 56 mm (irregularly cut), lettered in the plate, above Adam, at upper right: MEMENTO; ...

Pieter NASON

... the background is a heavy brown velvet curtain and a marble column. In 1998 Richard Beresford suggested that Nason had been in England in 1663, because of a portrait by him said to be of the 1st Earl of Shaftesbury, and proposed that the Dulwich picture might have been painted there rather than in the Netherlands. In a review of Beresford’s catalogue a year later, however, Alistair Laing commented that that portrait does not portray the Earl. As Beresford himself noted, the costume suggests that the sitter is Dutch; and it is notable that the male sitter in another portrait by Nason, also dated 1663, wears a very similar collar and tassels (Related works, no. 1) [1]. A portrait of a female sitter, again dated 1663, in the Walters Art Museum, Baltimore, has been suggested as a pendant to DPG556 (Related works, no. 2) [2]. The museum asserts that they are a pair, but if that were the case the colour of the curtains would most probably be the same (the man has a brown curtain behind him and the woman a red curtain); there would be a landscape in both pictures, not just in the female portrait; and, most importantly, the sitters and the columns would not differ in scale. There are similarities in the pattern of the lace of their collars and in the mirror arrangement of the curtains and tassels, but we doubt that they are a pair.7The picture provides a good indication of the state of portraiture in The Hague just after the mid-century. The primary influence is that of Anthony van Dyck (1599–1641), visible not only in the languid hand pointing at the skull but also in the gaze of the subject at the viewer. Nason’s primary interest, however, is in the careful delineation of detail and the rendering of texture....

Anthony van Dyck DPG90

... dered it to be a ‘copy by another hand’ after the painting in Baltimore (Related works, no. 2b) [4]. Burckhard saw it after cleaning in 1957 and thought it to be a copy, reworked by Van Dyck. Vey (2004) however considered that DPG90 and the one in the Fitzwilliam Museum, Cambridge (Related works, no. 2a) [3] are the two most original versions. While Smith (1831) and Van Puyvelde (1942) regarded the Baltimore version as the most important, Vey (2004) reduced it to ‘another version’ of DPG90. The strong suggestion that Pontius’s print was made after DPG90 (see Related works, no. 3a) indicates that the painting now in Dulwich was regarded by Pontius (and Van Dyck) as the most important version. The Cambridge painting differs from DPG90 principally in the angle of the Virgin’s head, but there are other differences too: the face of the Virgin is less idealized and more ‘Flemish’; she wears a brooch at her neck in the shape of a cherub; the white cloth around the Christ Child is drawn back further, and he does not grasp his mother's dress with his left hand, he merely touches it; the sky in the background is less distinct. Moreover in Cambridge Mary’s hair is dark and covered with a head cloth, whereas in Dulwich her hair is blonde and much more visible (the head cloth rests on her shoulders). The figure of the Christ Child is replicated in Van Dyck’s Virgin and Child with St John the Baptist in Munich (Related works, no. 2o) [5], where the features of the Virgin are similar to those in the Cambridge painting. The classical ‘Italian’ features of the Virgin in the Cambridge and Munich paintings, her emotive gaze, and the obvious stylistic influence of Titian and Guido Reni (and Raphael) would suggest that they were painted after Van Dyck’s visit to Italy. Glück (1931) proposed that DPG90, on the other hand, was painted earlier.In all three paintings the Christ Child stands on a volute, which along with the plinth and column in the background alludes to his birth in the Classical era, and which was also a common symbol of fortitude. John Peacock (2000a) noted that below the volute in the Dulwich painting a face in profile can be made out, which slightly resembles a detail in another painting by Van Dyck, The Continence of Scipio in Oxford (Related works, no. 2q): in the foreground there is an antique architectural fragment with volutes and two heads of gorgons, which still exists (Museum of London).342 In the 1620s Van Dyck often featured similar architectural fragments, as in the Portrait of George Gage with two Attendants in the National Gallery (Related works, no. 2r), where the fragment is probably an allusion to Gage’s collection.343Peacock argues a contrast between the gaze of what he sees as Medusa (who is one of the three gorgons) in DPG90 and that of the Virgin: the stare of Medusa, who petrified anyone who looked her in the face, ‘reduces spirit to earthbound matter’, which is, of course, the opposite of the Virgin’s gaze and the experience of the devotional viewer.344 However the head is not very prominent in the Van Dyck paintings of the Virgin and Child, and it does not look like Medusa: there is not the traditional hair made up of snakes, indeed no hair at all is visible.345 Only if you knew the antique fragment with the heads of the gorgons, or Van Dyck’s painting of the Continence of Scipio, could you know that the face hidden in DPG90 was originally a gorgon’s head, which could have been meant as Medusa (Related works, no. 3a.I–III) [6-7]. The inscription does not refer to any contrast between Christian and pagan gazes.346There is another difference between the first proof of Pontius’s print and the later states, not noticed by Peacock and other scholars: in the first state the Christ Child’s genitals are exposed (as they are in DPG90), seemingly as in Italian Renaissance tradition.347 This seems to be an important difference: in almost all the painted versions by Van Dyck himself the genitals are visible, while in most of the prints they are covered, except for the print by William Finden, which was made after the painting now in Cambridge (Related works, no. 3d). The painted copies with covered genitals were probably made after the prints. It is not clear why Pontius changed this (or why Van Dyck made Pontius change this, if he did). Luijten suggests that it could have been done because of the dedication to Antonius Triest, Bishop of Ghent.348The composition of the Madonna and Child was very popular, as can be seen in the many variants and painted copies (Related works, nos 2a–2n, 2p.I–III, 2s). Many reproductive prints were also made (Related works, nos 3a.I–III, 3b–3e).349 In the 17th century Hieronymus Janssens depicted it as part of an Antwerp collection of paintings (Related works, no. 4a). And in Pieter Christoffel Wonder’s Patrons and Lovers of Art (c. 1826–30; Related works, no. 4c) [9], which is a kind of prefiguration of how the National Gallery was supposed to develop, the version now in Cambridge is depicted above a Madonna in a roundel by Raphael, and as a pendant of Rubens’s Chapeau de Paille.350 Although a version of this Van Dyck composition never made it into the national collection, DPG90 and its variants were at the time considered to be a canonic image which should have been included in the National Gallery.351The early provenance of DPG90 is difficult to establish given the plethora of paintings of the Virgin and Child attributed to Van Dyck in 18th- and 19th-century sale catalogues. It cannot be the Van Dyck Madonna and Child recorded in Desenfans’ sales in 1786, since that was smaller. It first appears in Desenfans’ 1804 Insurance list, which valued DPG90 at £800.352 It seems likely, however, that DPG90 is the painting that Le Brun withdrew from sale in 1791, as size, support and valuation would all seem to match: if that is the case, then DPG90 was probably one of the works obtained by Desenfans for Stanislaus II Augustus, King of Poland, a notable collector of works by Van Dyck, for whom Desenfans started to collect in 1790.The painting was lent to the Royal Academy many times to be copied by its pupils....