Искусствовед

296. Montias 1989, p. 71. 297. On Assteyn, see Dordrecht 1992-93, nos. 1, 2. 298. Vroom 1980, vol. 1, p. 122. 299. These biographical details are all drawn from Montias 1982; see especially pp. 50 , 151, 178, 184, 257 (inventories). 300. See Sullivan 1984, pp. 14-15, 29, 97, figs. 23, 24 (and fig. 59 for a later work). 301. Vroom 1980, vol. 1, p. 124, fig. 164, and Gemar-Koeltzsch 1995, vol. 2, p. 81, ill. 302. See Vroom 1980, vol. 1, pp. 122-24, figs. 162-64, vol. 2, pp. 9-10o; and GemarKoeltzsch 1995, vol. 1, p. 116 (for a colorplate of the Claesz-like still life with a guild cup, tazza, and Wan-li bowl in the collection of the Prince of SalmSalm), vol. 2, pp. 80-82. 303. Montias 1982, pp. 130 (the quotation), 257. The assumption that only "two or three" of the attributions to "Van Aelst" referred to pictures by Willem appears hazardous. 304. Bredius 1888, p. 291, cited in Montias 1982, pp. 176, 195. Montias (1982, ...

274. The still life is published in Gemar-Koeltzsch 1995, vol. 3, pp. 1043-44, ill., where misguided comparisons with other artists are made. For the mythological painting, see Delft 1981, p. 175, fig. 173. 275. See the biographies in Bol 1960, pt. 2. Bosschaert moved to Breda in 1619 but the boys may have been sent to their uncle in Utrecht. Vander Ast's sister returned to Utrecht in 1628 276. Ibid., pp. 39, 103, n. 89. See Montias 1982, pp. 236-37, on De Langue. 277. Bol 1960, pp. 40, 103, n. 93. 278. See ibid., pp. 38 (speculating on this subject), 40 (on the document). 279. This point is emphasized in Huys Janssen 1999, p. 102. 280. Exhibited in Amsterdam 1971, no. 17, and Amsterdam 2000, no. 41. 281. See, for example, Bergstrom 1956, p. 73, and Eric Jan Sluijter in Delft 1981, p. 179. A nice exception is Quint Gregory's commentary in San Francisco, Baltimore, London 1997-98, p. 363, under no. 76. 282. Eric Jan Sluijter in Del...

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 Pi...

229. For other works by Van den Bundel, see Briels 1987, pp. 321, 325, fig. 406 (strongly recalling Van de Venne), pp. 348-50, figs. 446, 447 (the latter dated 1641), and Briels 1997, figs. 340, 348, 353. 230. Montias 1982, pp. 125-26. 231. Ibid., p. 198. 232. Ibid., pp. 208-9 (on Reynier Vermeer), 257 (Delft inventories). 233. The Hague 1998-99a, pp. 309-10, also recording a Pieter Groenewegen the Younger at The Hague. Briels ( 1997, p. 321) describes Groenewegen as having a pupil in Haarlem; I have not been able to check the record. 234. Another artist who painted this type of picture in Utrecht was Carel de Hooch (active ca. 1627-38), who was not (as claimed by Walther Bernt and others) Pieter de Hooch's father. My thanks to Marijke de Kinkelder of the Rijksbureau voor Kunsthistorische Documentatie, The Hague, for bringing Van Vliet's landscape to my attention, and to Richard Verdi for the photograph. 235. Montias 1982, pp. 80-81. ...

209. See Van Ackere I972 for numerous examples. 210. For example, in Gombrich 1972 and Gombrich 1975. 211. See Liedtke 2000, pp. 94-104, where the same argument is presented in greater detail. 2I2. The quote and these details are taken from Montias I982, p. 252. One would like to know if Mesch acquired some of Tristram's De Mompers. 213. See the essay by Vander Ploeg and Vermeeren in The Hague I997-98a, p. 59. 2I4. See my discussion of Van Coninxloo's role in New York 1985-86, pp. 282-83 (borrowed by Sutton in Amsterdam, Boston, Philadelphia I987-88, p. 21). 215. See Jansen on landscape painting in Middelburg in Amsterdam I984, pp. 100-10I (including the work of Christoffel van den Berghe, Maatheus Molanus, Jacob van Geel, who was active in Middelburg about I6I5-26, and Johannes Goedaert). On landscape painting in Rotterdam, see De Jager's essay in Rotterdam I994-95, pp. 95-104 (on Abraham van de Rande, Jacob de Villeers, Willem...

188. As discussed in Rotterdam I99I, no. 10. 189. Montias 1982, p. I53, without citing a source . I90. See L . de Vries 1975, p. 25 and n. 6, and Liedtke 1982a, p. 29. 191. See the biography and sources cited in Rotterdam 1991, p. 163, and also The Hague I998-99a, p. 317. I92. Wheelock I975-76, p. 169. I93· On the Court Style of architectural painting, see Liedtke I991a. For a more  extensive discussion of the points made in this paragraph, see Liedtke 2000,  pp. 94-97. Of particular interest, perhaps, is the Florentine architect Costantino de' Servi (I554-I622), who worked under Inigo Jones's supervision (about  1610-12) for Henry, Prince of Wales (d. 1612) and in I6I5 designed a palace  for Prince Maurits to be built at the Binnenhof (on the site of the  Stadholder's Quarters, fig. 6). De' Servi made designs and wood modelli for  the project, a practice Van Bassen adopted later on. I94. See chap. I, n. 21. 195. See Lied...