Пост 154. Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 69

250. Buijsen in The Hague 1994-95, p. 96, fig. 4.

251. See Kuyper 1980, pp. 153-54, fig. 314, and Terwen and Ottenheym 1993,

pp. 23-25. Hofwijck survives and may be visited.

252. This translation modifies the one given in Schenkeveld 1991, p. 102, where

the Dutch is also given.

253. C. Brown 1995b, p. 266, speaking of Potter, not Vermeer.

254. The quotes are from Plomp's essay in Delft 1996, p. 39. In a recent conversation

Plomp conceded that this passage reflects the fact that he was

brought into the "Delft Masters" project at the last minute. See Eisler 1923,

pp. 178-89, on Potter's "Malerbesuch?'

255. See Montias 1982, pp. 81-82, on Pynacker, and pp. 209-10, note aa, on the

question of Pick's dealing in pictures. Pick is simply stated to have been an

art dealer in Harwood 1988, p. 16, where the documents recording Pynacker's

presence in Delft are transcribed (pp. 184-85, doc. nos. 18-22 ). A still life

by Pick is in the Prinsenhof, Delft (Delft 1981, fig. 216), and a drawing by

Bramer records another picture (Plomp 1986, no. 44 ).

256. Harwood 1988, p. 17.

257. Keyes 1984, p. 13.

258. Inventarissen 1974-76, vol. 1, p. 191, cited in Montias 1982, p. 184. Wheelock

(1995b, pp. 5-8) plausibly suggests that the pair may be the pendants now in

the National Gallery of Art, Washington.

259. See Wheelock's essay in Washington 1999, which cites most of the earlier literature

in the selected bibliography.

260. Montias 1982, pp. 58-60.

261. Ibid., pp. 55-56.

262. Van Regteren Altena 1983, cat. 11P, nos. 31 (an example of about r6oo ), 11

(the 1603 vanitas), 39-41 (flower pieces of 1612, 1613, and 1615, the first two

on copper, the last on panel).

263. Van Bleyswijck 1667-[80], vol. 2, p. 848.

264. Ibid., and Montias 1982, p. 148, note k (collection ofJ acob J ansz Helm, who

died in 1626).

265. As noted in Montias 1982, pp. 158-6o, note v.

266. Ibid., p. 257. The author (p. 199) mentions a raffle of "a few pieces of painting",

which Vosmaer received permission to hold in 1614. It is not known if

any of the pictures were by him.

267. Ibid., p. 197.

268. See Segal 1982; Miillenmeister 1988, nos. 269-92; and my entry in New York

1985-86, no. 184.

269. See Bol 1982, fig. 34, and A Butterfly, Two Beetles and a Caterpillar, oil on

wood, 4 1/4x 4 1/2, in. (10.5 x 11.4 cm), signed and dated "J.W.Vf 1639", sold at

Christie's, London, December 3, 1997, no. 4.

270. See, for example, Van Regteren Altena 1983, figs. 332-35, 340, 341, 417, 420,

447, 448. The similar small paintings by the Antwerp artist Jan van Kessel

(1626-79) are later than Vosmaer's.

271. Montias 1982, p. 141; see p. 336 for his dates of birth (he was forty-six in

January 1631) and death.

272. See the tale told in ibid., pp. 161-62.

273. Ibid., p. 194. On p. 203 Montias cites an auction ofr628 in which seventeen paintings

consigned by Van Bolgersteyn were sold. He conjectures that the works,

"chiefly still-lifes and landscapes that brought prices from six to sixteen gulden,

were very probably by Van Bolgersteyn himself." The logic of this escapes

me: all the pictures were unattributed, apart from a "Venus" by Frans Floris

(which brought 36 guilders), and the artist is not recorded as a landscapist.