RKD STUDIES

Bibliography W – Z

... rederik Hendrik’, in Barnes & Wheelock 1994, pp. 222–44...

... red, Washington 2008 [exh. NGA, Washington/Milwaukee Art Museum/Rembrandt House Museum, Amsterdam 2008–9]...

... Sarasota 1994–5 see Harwood 1994...

... dress of Rembrandt’s women re-evaluated’, in Williams 2001, pp. 54–63, 249–51...

... dress and meaning in his self-portraits’, in Van de Wetering 2005, pp. 45–87...

... Dress and meaning in Rembrandt’s paintings, Amsterdam 2006...

... redeneerde catalogus van alle de prenten van Nicolaas Berchem. […] Beschryving van al het geene dat na de sch...

Jan Frans van SON

... n 1987–8, pp. 23, 78, 80, no. 78 (N. Kalinsky; Flemish School; follower of Gillemans?).TECHNICAL NOTESMedium–fine plain-weave linen canvas. Glue-lined onto linen. The light ground shows through the thinly painted (and abraded) dark passages. The background is particularly worn. The yellow and red glazes on the fruit may have faded or been damaged by overcleaning in the past. There are several signs of damage, particularly along the bottom edge, left side, and top corners. This painting has been attacked by mould in the past, affecting small spots of paint. Previous recorded treatme...

... ; the tacking margins have been cut. There is a repaired hole in the left background, two more at the bottom edge, and one in the vine-stem centre. It has been suggested that the glazes in the fruit may have faded, hindering the illusion of three-dimensionality. There is a fine craquelure all over and some small flake losses. Some abrasion has occurred to the edges of the painting. Previous recorded treatment: mid-19th century, relined and new stretcher, Morrell....

... s. Buff-coloured ground with umber priming above. Glue-lined onto linen canvas. The paint layer is slightly abraded, but is generally in quite good condition. There is a horizontal scuff at the right side, next to the bowl of strawberries, which has a whitish appearance. Some of the retouchings have a matt appearance. It has been proposed that the ‘hectic’ look of the red drapery is due to the fading of glazes. Previous recorded treatment: mid-19th century, relined and new stretcher (stamp on stretcher), Morrell; 1988, surface cleaned and varnished, Area Museum Service, South East England....

... and come from the same collection (Cartwright). There are differences in their dimensions (DPG406 is some 5 cm deeper than DPG350 and DPG433, but they all have the same width) and composition (still lifes on table tops in DPG350 and DPG406, hanging festoon in DPG433), and they may have formed part of a larger set of interior decoration, possibly made for Cartwright’s home: with their shallow, wide formats DPG350 and DPG433 were probably intended for display as overdoors and DPG406 as an overmantel. DPG350 shows a range of fruits and vegetables (including figs, grapes, berries, plums, peaches and asparagus) on a table or ledge; at the right a red squirrel gnaws on a cobnut, while above it a small bird, a finch, swoops down on the display. The squirrel reappears in other paintings that are, according to us, by the same hand (Related works, nos 3 and 4) [4-5], of which two overdoors, formerly at Longleat (Related works, nos 2a, 2b), were probably painted for Thomas Thynne, 1st Viscount Weymouth, who died in 1714. In DPG406 precious Chinese export ware is displayed: a very large wan-li plate, a wan-li bowl, and at the far left a distinctive vessel known as a kendi. The tablecloth has stiff folds seen in other paintings (Related works, no. 6) [6]. The peaches and cherries in the Cartw...

... d by a ribbon, which he thought looked ‘very close in both content and handling to your numbers 350 and 433’ (Related works, no. 7) [7-8].12 Because of Laing’s suggestion and also because they resemble the work of Joris van Son, the three Dulwich pictures are here attributed to Jan Frans van Son. He must have painted a lot of pictures and interior decorations in England, which have disappeared or gone unnoticed. It is also more likely that Cartwright had his house decorated with pictures made by an artist working in England than in Flanders, if they were indeed meant as decoration of Cartwright’s interior and not as part of his art collection....

Gerard SANDERS

... trading and shipping business with links to England, Ireland and Scotland, and in 1694 he married his fellow Mennonite Anna Claus, from Amsterdam. Their sons were spectacularly successful, establishing the Hope Bank in Amsterdam, one of the most famous merchant banks before the time of Napoleon, which existed until the late 20th century as the Bank Mees en Hope N.V., now part of ABN-AMRO.13Several of Archibald’s family members were notable culturally, both in the Netherlands and in Great Britain: his grandson Henry built Pavilion Welgelegen near Haarlem, a magnificent Neoclassical country house where his collection of old master paintings could be admired; it is now the seat of the government of the Province of North Holland.14 John, another grandson, formed another important collection of Dutch and Flemish paintings and sculpture with his uncle Adrian.15 In 1794 in fear of the French occupation of the Netherlands the family fled to England, and there Thomas Hope of The Deepdene, a son of John and great-grandson of Archibald, became an influential art collector, Neoclassical theorist and interior decorator.16An inscription in pencil on the stretcher reads ‘Bought at the Sale at Rushton Hall, Kettering’. The hall, dating from the 15th century, was acquired by Thomas Hope in 1828 and remained in the family until 1854.17...

Peter Paul Rubens DPG43

... illem Panneels or Frans Snijders?) after 1a and 2d, Study with a parrot and a monkey, before or after 1628, colour inscriptions, black and red chalk, 165 x 260 mm. SMK, Copenhagen, KKSgb7939; Rubens’s Cantoor I, 24 [5].4392c) Follower of Rubens, A Parrot, c. 1630–40, panel, 46.9 x 37.7 cm. Courtauld Institute of Art Gallery, London, P.1947.LF.385.4402d) Peter Paul Rubens, Madonna with a Parrot, c. 1614–17, 1630–33, panel, 163 x 189 cm. KMSK, Antwerp, 312.4412e) Roman copy of a Greek 4th-century BC or early Hellenistic Muse, adapted as a Nereid, Nereid mounted on a Hippocamp. Uffizi, Florence [6].442Pendant3a) Modello for 3b.I: Peter Paul Rubens, Satyr squeezing Grapes with a Tiger and a Leopard, c. 1616–18, panel, 33.4 x 24.2 cm. Ashmolean Museum, Oxford, A 153; WA1855.4433b.I) (paired with 1a since 1636) Peter Paul Rubens, Satyr squeezing Grapes with a Tiger and two Infant Satyrs. Present whereabouts unknown (New Room or Hall of Mirrors, Alcázar, Madrid, in 1636 and 1659).4443b.II) Copy after 3b.I: Workshop of Rubens, Satyr squeezing Grapes with a Tiger and two Infant Satyrs, canvas, 220 x 148 cm. Gemäldegalerie, Dresden, 1578.445Similar compositionsI. Titian4a) Titian, Diana and Actaeon, c. 1556–9, canvas, 184.5 x 202.2 cm. NG, London, NG6611, and NGS, Edinburgh.4464b) Peter Paul Rubens after Titian, Female Nude and Female Heads, 1628, black and red chalk, heightened with white on light grey-brown paper, 449 x 289 mm. The J. Paul Getty Museum, Los Angeles, 82.GB.140 [7].447II. Achelous4c.I) Peter Paul Rubens and Jan Brueghel I, The Feast of Achelous, c. 1615, panel, 108 x 163.8 cm. MMA, New York, Gift of Alvin and Irwin Untermyer, in memory of their parents, 1945, 45.141 [8].4484c.II) Abraham Janssens I, Naiads filling the Horn of Achelous, c. 1616–17, canvas, 108.5 x 172.5 cm. Seattle Art Museum, 72.F.37/J2675.1.4494c.III) Abraham Janssens I, Naiads filling the Horn of Achelous. Allegory of the Peace of the Twelve Years’ Truce, c. 1610, canvas, 118 x 97 cm. KMSKB, Brussels, 12162.4504c.IV) Jacques Jordaens, Achelous defeated by Hercules. The Origin of the Cornucopia (Allegory of Abundance), dated 1649, canvas, 245 x 311 cm. SMK, Copenhagen, KMSsp233.451III. Ceres4d.I) Modello: Peter Paul Rubens and Frans Snijders (?), Homage to Ceres, c. 1614, panel, 90.5 x 65.5 cm. Hermitage, St Petersburg, GE 504.4524d.II) Modello: Peter Paul Rubens and Frans Snijders (?), Homage to Ceres, 1614–15, panel, 91 x 66 cm. Present whereabouts unknown (Dorotheum, Vienna, 21 April 2010, lot. 27; Hermann Beyeler collection, Lucerne (Switzerland)).4534d.III) Jan Saenredam after Hendrick Goltzius, Ceres (from the series Ceres, Venus and Cupid and Bacchus), 1596, inscriptions in Latin, engraving, 450 x 323 mm. BM, London, 1850,1214.49.4544d.IV) Jacques Jordaens, Homage to Ceres, c. 1619, canvas, 165 x 112 cm. Prado, Madrid, 1547.4554d.V) Cornelis Schut, Bacchus, Ceres and Pomona, inscriptions, etching, 241 (cropped) x 180 mm (cropped) in an oval. BM, London, 1859,0611.160 [9].456IV. Diana4e) Peter Paul Rubens, Diana and Callisto, c. 1635, canvas, 202.6 x 325 cm. Prado, Madrid, 1671.457V. Nature, Abundance, Earth4f.I) Peter Paul Rubens and Jan Brueghel I, Nature veiled by the Three Graces, surrounded by a festoon of fruit, c. 1614–16, panel, 106.7 x 72.4 cm. Kelvingrove Art Gallery, Glasgow, 609.4584f.II) Modello: Peter Paul Rubens (?), Coronation of Abundance (or of Peace), panel, 49.5 x 35.5 cm, c. 1620–22. Galleria dell’Accademia nazionale di San Luca, Rome, 307.4594f.III.a) Modello for 4.f.III.b: Peter Paul Rubens, The Union of Earth and Water (The River Scheldt and Antwerp), c. 1618, panel, 35 x 30.5 cm, Fitzwilliam Museum, Cambridge, 267.4604f.III.b) Peter Paul Rubens and Frans Snijders, The Union of Earth and Water (The River Scheldt and Antwerp), c. 1618, canvas, 222.5 x 180.5 cm. Hermitage, St Petersburg, 464.461VI. Nymphs with or without satyrs4g.I) Copy after Peter Paul Rubens: Nymphs and Satyrs (Allegory of Fertility). Present whereabouts unknown (J. L. Menke collection, Antwerp).4624g.II) Jan Brueghel I and workshop of Peter Paul Rubens, Nymphs filling the Cornucopia, c. 1615, panel, 67.5 x 107 cm. MH, The Hague, 234.4634g.III) Peter Paul Rubens, Nymphs and Satyrs, c. 1615, 1638–40, canvas, 139.7 x 167 cm. Prado, Madrid, P1666.464Collaboration with Frans Snijders5a) Modello for 5b: Peter Paul Rubens, The Recognition of Philopoemen, c. 1609, panel, 50 x 66.5 cm. Louvre, Paris, MI 967.4655b) Peter Paul Rubens and Frans Snijders, The Recognition of Philopoemen, c. 1609, canvas, 201 x 311 cm. Prado, Madrid, P1851.466...

... d himself into a bull, but Hercules broke off one of his horns, which the naiads filled with fruits and flowers:From my maim’d front he tore the stubborn horn:This, heap’d with flow’rs, and fruits, the Naiads bear,Sacred to plenty, and the bounteous year.He spoke; when lo, a beauteous nymph appears,Girt like Diana’s train, with flowing hairs;The horn she brings in which all Autumn’s stor’d,And ruddy apples for the second board.This horn was then brought to the meal with Theseus, again filled with flowers and fruit, making it into a horn of plenty, as depicted by Rubens and Jan Brueghel I, c. 1615 (Related works, no. 4c.I) [8]. In this picture Rubens shows not one naiad (rising from the water with flowing hair) as Ovid says but two more, standing and busy filling the horn of plenty. Interestingly, above the naiads two parrots can be seen, similar to the one in the Prado picture. Apparently both Brueghel here and Snijders in the Prado picture (or was it Rubens in both cases?) thought it was appropriate to combine nymphs with parrots.483Cornucopias were associated in Antiquity with Abundantia (Abundance) and Fortuna (Good Fortune).484 More recent depictions, as in Cesare Ripa’s Iconologia (1603), associate them with agriculture, concord, fertility, rivers and regions, autumn, and the Golden Age. As a consequence cornucopias became connected with scenes of the Good Government (of a ruler) and Peace (see for instance Rubens’s Minerva protects Pax from Mars (Peace and War) in the National Gallery, London: DPG285, Related works, no. 2b). The cornucopia came to be associated with a large number of deities, including Ceres and her daughter Pomona, the name given to the female figure on the left of DPG43 in the early Dulwich catalogues. Pomona was the daughter of Ceres and Neptune; most of the images where she is depicted show her with Vertumnus; in some she is with her mother Ceres, as in a print by Cornelis Schut I (1597–1655; Related works, no. 4d.V) [9], where Bacchus is also included. Ceres is shown with a cornucopia, but both Ceres and Pomona have their heads decorated with ears of corn (see also under DPG165; Related works, nos 7–9).Rubens made pictures which certainly depict Ceres. In the modelli in the Hermitage and Lucerne (Related works, nos 4d.I–II) she is a statue, fully clothed, which Rubens borrowed from an Antique sculpture from the Borghese collection, Rome.485 At that time in the Netherlands when Ceres was not depicted as a statue she was accompanied not only by a horn of plenty but also with a scythe and with decorative headgear made from ears of corn.486 That is how we see her in a print by Jan Saenredam (c. 1565/6–1607) after Hendrick Goltzius (Related works, no. 4d.III), and somewhat later in a picture with a very statuesque Ceres by Jacques Jordaens (Related works, no. 4d.IV). So Ceres is sometimes accompanied by a horn of plenty. But so too is Abundance,487 in the Coronation of Abundance of c. 1620–22 (Related works, no. 4f.II), which depicts a sitting and a standing female nude crowning Abundantia with a cornucopia in the centre. Earth (or Antwerp) is provided with a cornucopia in The Union between Earth and Water (Related works, nos 4f.III.a–b), as is the Venus Frigida in Antwerp (see under DPG165, Related works, no. 5; Fig.).Rubens made several compositions of nymphs with a cornucopia with satyrs, such as the early picture now called Allegory of Fertility (disappeared; Related works, no. 4g.I). There he seems to combine the two scenes of which he made two separate paintings for the Spanish King in 1628, one with nymphs and one with satyrs (Related works, nos 1a [1], and 3b.I). He made a very similar composition much later, in a picture in the Prado (Related works, no. 4g.III). The figures Rubens invented there appear in other pictures with many variations, as in a picture in the Mauritshuis and one in Glasgow, both collaborations between Jan Brueghel I and (the workshop of) Rubens (Related works, nos 4g.II and 4f.I). In the latter case the figures appear in the part below; the central theme (three Graces or nymphs adorning Nature) will be considered under DPG264....

Rembrandt DPG99

... o. 110; Beresford 1998, p. 191; Schama 1999, pp. 29, 707 (note 51); De Winkel 1999, pp. 62, 63 (fig. 7); Ketelsen 2000, pp. 29, 39, 44 (fig. 20), under no. 2 (Related works, no. 1) [2]; Shawe-Taylor 2000, pp. 50–51; Van de Wetering 2001, pp. 69–70 (fig. 20); Giltaij 2003, pp. 48–50, under no. 5 (Related works, no. 4) (fig. 5b); De Winkel 2005, p. 47; Van de Wetering 2005, pp. 202, 204, 211, 358; Van Straten & Moerman 2005, p. 225–8, ill. 406; Schwartz 2006, pp. 40, 157–9 (fig. 272), 185, 377; De Winkel 2006, pp. 144–5 (fig. 58); Lammertse & Van der Veen 2006, pp. 133 (fig. 77), 135, 279; Arnold, Tiramani & Levey 2008, p. 29 (fig. 21B, reversed); Jardine 2008, p. 99 (fig., reversed), 137–8; Dejardin 2009b, pp. 64–5; Weststeijn 2015b, p. 53, fig. 35 (Jacques de Gheyn III as visitor to the Arundel Marbles); Van de Wetering 2015, p. 514, fig. 68; Jonker & Bergvelt 2016, pp. 162–4, 172; Van de Wetering 2017, i, p. 133 (fig. 68), ii, p. 514, no. 68; Manuth, De Winkel & Van Leeuwen 2019, pp. 151, 623, no. 181; RKD, no. 32024: https://rkd.nl/en/explore/images/32024 (Feb. 13, 2019).EXHIBITIONSLondon 1899, p. 12, no. 16; London/Leeds 1947–53, n.p., no. 36; Edinburgh 1950, p. 8, no. 5 (E. K. Waterhouse); Amsterdam 1952, pp. 66–7, no. 136, fig. 26; London 1952–3, p. 32, no. 126; London 1964, p. 41, no. 59, fig. IV; Berlin/Amsterdam/London 1991–2, pp. 152–5, no. 12 (P. van Thiel); Melbourne/Canberra 1997–8, pp. 92, 108–14, no. 8 (A. Blankert & M. Blokhuis); Madrid/Bilbao 1999, pp. 124–7, no. 28 (I. Dejardin); Houston/Louisville 1999–2000, pp. 154–5, no. 48 (D. Shawe-Taylor); London/Amsterdam 2006, pp. 133 (fig. 77), 135, 279 (J. van der Veen); Leiden/Oxford 2019–20, pp. 50, 230–33, no. 110 (with no. 109, Related works, no. 1 [2]; C. Brown).TECHNICAL NOTESSingle-member oak panel with vertical grain. The verso edges are bevelled and the bottom edge is slightly unevenly cut. On the reverse there is a worn Latin inscription in ink. The ground is a warm buff with grey imprimatura. The paint is fairly thick and there are broken brush hairs caught in the paint film. The face is painted more thinly. There are pentimenti: X-ray photography [1] shows that an area of background was painted in first around the reserve left for the painting of the head.38 The area for the hair was reduced a little when the final background layers were painted and the pleated collar extended a little lower than in the final paint layers. The paint is in good condition. There is an old restored nail hole in the top centre. Some wear in the collar and hair. Some slight blanching of the paint in the background. Previous recorded treatment: c. 1950, cleaned, Dr Hell; 1967, reframed after burglary; 1988, varnished, C. Hampton; 1997, cleaned and retouched, S. Plender.RELATED WORKS1) (pendant) Rembrandt, Maurits Huygens, signed and dated RH van Rij./ 1632, panel, 31.1 x 24.5 cm. Kunsthalle, Hamburg, 87 [2].392) Rembrandt, Self-Portrait as a Burgher, signed and dated RHL van Ryn/1632 (RHL in monogram), panel, 63.5 x 46.3 cm (oval). Culture and Sport Glasgow (Museums): The Burrell Collection, 35.600 (formerly 468) [3].403) Rembrandt, Two Old Men Disputing, monogrammed RL, panel, 72.4 x 59.7 cm. National Gallery of Victoria, Melbourne, cat. 1961, 349/4 [4].414) Rembrandt, Old Man asleep by a Fire (perhaps representing Sloth), signed and dated RL […] 29, panel, 51.9 x 40.8 cm. Galleria Sabauda, Turin, 393 [5].425) Rembrandt, The Anatomy Lesson of Dr Nicolaes Tulp, signed and dated Rembrant. ft: 1632, canvas, 169 x 216.5 cm. MH, The Hague, 146.43...

... t worked during his years in Leiden.The painting is first documented in 1633 in a series of eight epigrams in Latin by Constantijn Huygens. Huygens was a poet, writer, musician, artist, and courtier (as secretary to two stadholders of the House of Orange-Nassau).47 Jacques de Gheyn had travelled to London with him in 1618. All eight say it is a poor likeness of the sitter, though a lovely painting:January 1633IN IACOBI GHEINIJ EFFIGIEM PLANE DISSIMILEM, SCOMMATA (On Jacob de Gheyn’s portrait, which is not at all like him: jokes)Talis Gheiniadae facies si forte fuissetTalis Gheiniadae prorsus imago foret.(If De Gheyn’s face had looked like this, this would have been an accurate portrait of De Gheyn.)January 1633(ALIUD) (Another)Haereditatis patriae probus PictorInvidit assem Gheinio, creavitqueQuem recreet semisse posthumum fratrem.(The worthy painter envied De Gheyn’s inheritance from his father, and created a posthumous brother to gladden with half of it.)January 1633(ALIUD) (Another)Quos oculos, video sub imagine frontem?Desine, spectator, quaerere, non memini.(Whose eyes and whose face do I see in this portrait? Stop your questions, viewer, I cannot remember.)January 1633(ALIUD) (Another)Gutta magis guttae similis fortasse reperta est,Tam similis guttae non, puto, gutta fuit.(Perhaps a drop has been found that more resembled a drop. I think a drop has never been so little like a drop as this.)(ALIUD) (Another)Geiniadem tabulamque inter discriminis hanc ...

... a Fire, or Sloth, now in Turin (Related works, no. 4) [5]. In Jacques’ collection they were accompanied by prints and paintings by masters including Jan Porcellis (1584–1632) and Cornelis van Poelenburch (1594/5–1667), and also shells and other natural objets.54 In his contemporary Self-Portrait as a Burgher (Related works, no. 2) [3] Rembrandt showed himself in dress indicating that he belonged to (or wanted to belong to) the same social class.The two paintings seem to have stayed in the Huygens family until the 18th century, when they appeared in a sale in Utrecht in 1764.55 DPG99 may have been in Desenfans’ possession in 1786, but the picture does not appear in his subsequent inventories or sales. It is more likely that Desenfans or Bourgeois acquired it after 1804, when a picture which might well have been DPG99 was handled in Paris in November by the art dealer Jean-Baptiste-Pierre Le Brun (1748–1813), Desenfans’ sometime business partner. It is not included in Desenfans’ 1804 Insurance List, which is dated 6 July. This could mean that the picture was acquired later. It could also mean that it was not considered to be valuable or important enough to be included in the Insurance List, since only 124 pictures feature there from a collection that in lists before and after 1804 consisted of more than 300 pictures; however that a Rembrandt was not deemed important enough to be insured by Desenfans is highly unlikely....

Prague School DPG455

... .Emil Reznicek identified the subject of a painting by Gerard van Honthorst (1592–1656) in Vienna, known as the Steadfast Philosopher (Related works, no. 4) [1], as Phryne and Xenocrates. In that story, told by the Roman author Valerius Maximus, the prostitute Phryne took a bet that she could seduce the philosopher Xenocrates. When she failed and was asked to give the money back, she refused, saying: ‘I thought I was dealing with a man, not a statue.’ In the Honthorst painting the ‘statue’ is, rather hidden, the decoration of a table.12 In DPG455 it is far more visible in the lower right-hand corner. However in the Honthorst picture the philosopher is indeed steadfast, as he is warding off the overtures of Phryne. That is not so much the case in DPG455. The man here is half-naked, which is however in accordance with one of the versions of the Phryne and Xenocrates story.13 If we interpret the subject as the ‘Steadfast Philosopher’, the old woman in the background is not Sarah but the ‘madam’ who acts on behalf of the prostitute.The sphinx in the lower right-hand corner also appears in scenes with a strong sexual content, for instance in a drawing by Joseph Heintz in Vienna and in a painting by Jacques Jordaens I (1593–1678) of Joseph and Potiphar’s Wife (Related works, nos 6 and 7) [2], a biblical story set in Egypt. In a drawing by Pieter Isaacsz. (1568–1625) of Jupiter and Antiope, another bedroom scene, a piece of furniture has a caricatural sphinx head (Related works, no. 8) [3] which is similar to the sphinx in DPG455.In other depictions of Phryne and Xenocrates – a rare subject – the philosopher is shown reading books, and often actively rejecting her (Related works, no. 5). The question is whether DPG455 really depicts a ‘Steadfast Philosopher’: it does seem more related to those scenes than to the biblical story of Hagar, Abraham and Sarah....

British School DPG511

... ed (Related works, no. 2) [2]. Muller’s engraving seems to be the source of the Dulwich picture, because its orientation is the same. Muller was the principal engraver of Spranger’s works starting in the early 1590s; they were in close contact, sending drawings and prints back and forth between Prague and Amsterdam.8 This engraving was widely disseminated, frequently copied both in the Netherlands and in Italy (Related works, nos 3–6) [3], and seems to have gone on being issued until the 1670s.9Spranger’s invention was probably not derived from a specific Classical source,10 but he made up a story, also devised to exploit the expressive potential of the elongated bodies and elaborate poses. In the lower margin of Muller’s print there were successively two different inscriptions in Latin,11 which effectively said that it was no use to stand by crying sympathetically (as the standing oread does): you should actively help (as the other oread does by removing the splinter from the wounded foot, and the little figure does by holding the leg of the injured satyr) – i.e. not words, but deeds. It seems that the (amateur) copyist who made DPG511 was not interested in the meaning of Muller’s print, and also in the inventory of the Amsterdam printseller Clement de Jonghe (1624/5–77) in 1677 the plate is unceremoniously called ‘Splinter trecker [‘Splinter puller’] Spranger’.12The painting entered the collection as part of the Cartwright Bequest, in whose inventory it was mistakenly described as depicting Venus and Adonis....

British School DPG358

... e repaired, but paint losses remain unrestored. There is heavily discoloured overpaint and restoration on the paint surface and darkened uneven varnish. Previous recorded treatment: 1815, Robert Brown, see under References; 1987, loose paint secured, losses filled and inpainted, varnish applied, Area Museums Service for South Eastern England; 1991, panel members rejoined, paint losses filled but left unrestored, N. Ryder and V. Leanse....

... se) [4].52a) Circle of Maerten de Vos? / French School?, Woman choosing between Youth and Age, a Scene from the Commedia dell’Arte, canvas, 117 x 170 cm. Musée des Beaux-Arts, Rennes.62b) Jacob Matham (formerly Jan Saenredam) after Hendrick Goltzius, A Young Woman prefers a Lover of her Own Age to the Riches of an Older Man, c. 1600–1630, engraving, 212 x 276 mm; inscribed HGoltzius Inuent. and Latin verses. BM, London, 1877,0811.911....

... r breast. Scenes of unequal lovers usually do not include bagpipes, alcohol, or broad-brimmed straw hats (Related works, no. 2c). Indeed here other iconographical traditions seem to play a part as well. Bagpipes, alluding to sex, may be included in tavern scenes, associated with alcohol, as in a depiction of Hearing as one of the Five Senses (Related works, no. 4), where people are singing in a tavern, accompanied by a bagpipe.21 In a print after Karel van Mander I (1548–1606) with an English and Latin inscription alcohol and bagpipe/sex are associated (Related works, no. 5). Bagpipes also occur in scenes of the Weeping Bride, who is afraid of what will happen on her wedding night, for instance in an engraving by the Flemish 16th-century printmaker Peeter Baltens (1527/8–84), The Evening of the Wedding (Related works, no. 6). Although this is a different subject, the way the low-life figures are depicted in a shallow row (or in a nondescript space/room), the jug and the bagpipe are very comparable to DPG358: probably a print like this was the source of DPG358. The summery feeling of the girl’s dress and straw hat can be found in depictions of Summer, or sometimes even of Spring, albeit on a much smaller scale (Related works, no. 7)....

MONOGRAMMIST I.C.

... Red Leaning of his hand, 3 quarters clout in a gilt frame’).REFERENCESSeymour 1733–5, i (1733), p. 209;1 Gentleman’s M...

Thomas WIJCK

... KD, no. 283882: https://rkd.nl/en/explore/images/283882 (April 25, 2017).EXHIBITIONSBath 1999, n.p., no. 13 (A. Sumner: Thomas Wijk [sic]); Williamsburg/Fresno/Pittsburgh/Oklahoma 2008–10, pp. 90–91, no. 31 (I. A. C. Dejardin; Wijck).TECHNICAL NOTESCoarse plain-weave linen canvas. Dark red ground. The paint is quite thickly applied and individual brushstrokes are discernible. Beva-lined and stretched onto a modern stretcher. The canvas was previously adhered to an oak panel (not original) with a major vertical split in the centre. The structural problems of the panel were detrimental to both the canvas, which deformed and split, and the paint layers, which cracked and flaked leading to significant losses. The paint in the sky is abraded and there are numerous small old retouchings. There is a fine network of craquelure, which is worst in the centre, and there has been some weave emphasis. Previous recorde...