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.
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