Пост 142. Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 57

29. Houbraken I7I8-2I, vol. I, p. I21. Bok in Utrecht, Brunswick 1986-87, p. 345,

rightly observes that there is no documentary evidence for the claim (which

is based upon a remark made by Van Bleyswijck) that Van Vliet studied with

Van Miereveld. But the latter is the most likely candidate, to judge from a

considerable amount of circumstantial evidence.

30. Van Vliet's portrait dated I624 was sold at Sotheby's, New York, June I,

I989, no. 35·

31. On Willem de Langue, see Montias I982, pp. 236-37, and chap. 7 in this catalogue. Another painting reminiscent ofVan Miereveld is the full-length

Portrait of a Girl dated 1628 in the Castle Museum Sypesteyn, Loosdrecht

(Delft 1981, fig. I83). Compare Van Vliet's work of a decade later, for example,

the Portrait of a Boy (1638) in the Rijksmuseum, Amsterdam.

32. A similar work by Willem van Vliet, in the present writer's opinion, is the

half-length Portrait of a Surgeon dated 1635 in the Mead Art Museum,

Amherst College, Amherst, Massachusetts (Trapp 1989, p. 36, ill.), where the

panel is attributed to Hendrick van Vliet. The Louvre picture (fig. 48 here)

is marred by the pentimento revealing that the artist considerably reduced the

size of the hat. For comparable poses in Hals's portrait oeuvre, see Slive

1970-74-, vol. 2, pls. 52 (Laughing Cavalier, 1624; Wallace Collection, London),

I30, 156, among others. As Slive notes in vol. I, pp. 86-88, Hals developed

the pose and low view in response to Utrecht genre scenes.

33. "Begun by M. Miereveld, finished by J. Delff." A very similar portrait of a

woman, signed and dated ''AO. 1644 J Delft:' is in the Narodni Galerie,

Prague, inv. no. 02560.

34. See Haak 1984, pp. 332-35, and The Hague 1998-99a, pp. I55-6I, I74--79, 207-17.

35. On the Officers of the White Banner by Delff, see Salomonson 1988 and

Plomp's entry in Osalca 2000, no. 19. A number of portraits by Delff are

illustrated in Salomonson 1988. See also Ekkart 1995, no. r6, on a male portrait

of 1642 in the Museum Boijmans Van Beuningen, Rotterdam. A portrait

of 1643 by Delff is in the Rijksmuseum, Amsterdam, and one of I649 is

in the Stanford University Museum of Art, Stanford, California. An attractive

pair of half-length portraits were at the Van Haeften gallery, London, in

1988. Emanuel de Witte's pair of oval portraits, also in Rotterdam (I648;

Ekkart 1995, nos. 78, 79 ), obviously depend upon Delff's example.

36. See Sutton 1990, pp. 337-40.

37. See Van Thiel et al. 1976, p. 582, no. A2531, and Christie's, New York, January 29, 1999, no. 86.

38. The Rijksmuseum, Amsterdam, has two good genre paintings by Palamedesz, dating from 1633 and 1647, and five of his dullest portraits, one of 1641 and the others from the early 1650s; see Van Thiel et al. 1976, pp. 434--35.

39. This is true despite contemporary uses of tiled floors in a few pictures by

Molenaer and other artists active in Haarlem and Amsterdam. Dirck van

Delen's collaboration with Dirck Hals is part of the story, as discussed in

Liedtke 2ooo, pp. 153-55, 163-66.

40. See Fock 1998, p. 204, on tiled floors installed at Rijswijk in the mid-1630s.

41. Palamedesz's portrait dated I657 (fig. 52) and its pendant were at the Richard

Green Gallery, London, in 1993; I am grateful to Mr. Green for a number of

photographs of works by Palamedesz. The one illustrated here recalls

another, Palamedesz's Portrait of a Man (once called "Johan de Witt") dated

1655, which was acquired by the Westfalisches Landesmuseum, Munster,

in 1973, and both pictures resemble Hanneman's Portrait of ]ohan de Witt

of 1652 in the Museum Boijmans Van Beuningen, Rotterdam (Ekkart 1995,

no. 22, and The Hague 1998-99a, p. 159, fig. 4).

42. For the Palamedesz portrait of 1665, see Delft 1981, fig. I85, or Ekkart 1995,

no. 53. Compare Mijtens's Willem van den Kerkhoven and His Family of 1652

in the Haags Historisch Museum (The Hague 1998-99a, p. 209, fig. 3).