The query of even if seventeenth-century painters comparable to Rembrandt and Rubens have been solely answerable for the work later offered lower than their names has brought on many a heated debate. regardless of the increase of scholarship at the heritage of the paintings marketplace, a lot continues to be unknown in regards to the ways that work have been produced, assessed, priced, and advertised in this interval, which ends up in a number of provocative questions: did modern connoisseurs anticipate masters resembling Rembrandt to color works totally via their very own hand? Who used to be credited having the ability to check work as real? The members to this attractive collection—Eric Jan Sluijter, Hans Van Miegroet, and Neil De Marchi, between them—trace those concerns throughout the booming artwork industry of the 17th and eighteenth centuries, arriving at interesting and infrequently unforeseen conclusions.
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Extra resources for Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age)
Juli 1992, Berlin 1993, pp. 581-594. 29 ‘Qualche istoria o fabula antiqua aut de suo inuentione ne finga una che rapresenti cosa antiqua e de bello significato. ’ Letter dated 28 June 1501, nation Archive of Mantua, Copia lettere Isab. , Busta 2993, letter 188. See J. M. Fletcher, ‘Isabella d’Este and Giovanni Bellini’s “Presepio”’, The Burlington journal, 113, 825 (1971), pp. 703-713. 30 ‘una cosa fatta di mano sua o sia di sculptura o di pittura ... Et se in keeping with caso vi dimandasse che subietto voressimo, gli direti che non cercamo ne desideramo se non un’opera dell’ingegno suo ... un exempio della sua singularissima virtù. ’ Federico Gonzaga stipulated his request in a letter to his ART_MARKET. indd 60 ANNA TU M M E R S agent in Florence: Giovanni Borromeo. See Alessandro Luzio, l. a. Galleria dei Gonzaga venduta all’Inghilterra nel 1627-28, Rome 1974 , pp. 246-247. 31 See William W. Robinson, ‘“This ardour for Prints”: accumulating and Connoisseurship in Northern Europe in the course of the 17th Century’, in: Clifford S. Ackley (ed. ), Printmaking within the Age of Rembrandt, Boston and St. Louis 1981 (exh. cat. ), pp. xxvii-lviii, esp. p. xxxiv ff. 32 at the alternative ways of signing, see additionally less than. Rembrandt turns out to have signed ninety percentage of the works he's believed to have produced among 1632 and 1642; by means of comparability, Raphael signed simply 14 of the 156 work that he's believed to have produced. See Jensen Adams, Rembrandt f[ecit] (note 28), p. 581. 33 Translation taken from Giorgio Vasari, The Lives of the Artists, ed. by means of J. M. Dent, London 1966 , p. a hundred and ten. 34 The Portrait of Giovanna of Aragon used to be later transferred to canvas. 35 ‘Waer in hy dan maer een groof faut bedrijvet, / Soo hy sich self daer onder niet en schrijvet / Als principael: wish hebben sy dit Beeldt, / Elck nae sijn macht, verciert finish’ bejuweelt, / D’een met een ringh, en d’ander met een keten, / Dees met een bagg’, en die, ist wel te weten / Met wat ghesteent: soo heeft van Mander haer / Versorght een Croon van enckel peerlen claer. ’ Ode, op het Schilder-Boeck van den Const-rijcken Carel van Mander, via: A. V. M. ; See Karel van Mander, Het Schilder-Boeck, Haarlem 1604, fol. *7r. 36 Jensen Adams, Rembrandt f[ecit] (note 28), p. 590; Nygaard, Rembrandt? (note 18); Koenraad Jonckheere in his essay during this quantity. Catherine Scallen makes use of the time period ‘trademark’ in her publication Rembrandt, acceptance, and the perform of Connoisseurship, Amsterdam 2004, p. 327 and observe 10, p. 380. 37 putting one’s signature onto a portray may well also be thought of a way of appropriating a piece from one other grasp. Witness a extraordinary incident in Hasselt, Overijssel: while the these days little-known painter Adam van de Plancke painted the image The Judgement of count number Willem de Goede for the Hasselt city corridor, the neighborhood painter’s guild filed a grievance simply because Van der Plancke was once now not a member of the guild and therefore had no correct to obtain the fee from the town. the problem used to be resolved through having a neighborhood painter signal the paintings and municipal experts paid the guild a good, see J.