Italian Paintings in Amsterdam Around 1635: Additions to the Familiar

Workshop of Jacopo Bassano,  Noah’s Ark, ca. 1580, Musée du Louvre, Paris

Two documents in the Amsterdam City Archives, recently made accessible through databases, augment our knowledge of Italian paintings in the Netherlands around 1635. The 1633 inventory of Samuel Godijn and the 1638 list of paintings owned by Lucas van Uffelen and Jacomo Noirot include works by Palma Giovane, Guido Reni, and Giuseppe Ribera. While these paintings have not yet been identified with extant works, their visual character may be suggested by analogy with other pieces.

DOI: 10.5092/jhna.2013.5.2.6

Acknowledgements

In characteristic generosity, Egbert Haverkamp-Begemann warmly welcomed me as a Columbia student into his Rembrandt seminar at Princeton in 1977. As he was commuting from New Haven and I from Manhattan, we met at Port Authority; on the bus to Princeton, we had magical conversations, about Rubens and Rembrandt and everything else. My gratitude to Egbert is profound and enduring.

Workshop of Jacopo Bassano,  Noah’s Ark,  ca. 1580,  Musée du Louvre, Paris
Fig. 1 Workshop of Jacopo Bassano, Noah’s Ark, ca. 1580, oil on canvas, 101 x 121 cm. Musée du Louvre, Paris, inv. no. 148 (artwork in the public domain) [side-by-side viewer]
Jacopo Palma Giovane,  Midas Judging the Contest between Apollo and Mar,  ca. 1590,  Herzog Anton Ulrich Museum, Braunschweig
Fig. 2 Jacopo Palma Giovane, Midas Judging the Contest between Apollo and Marsyas, ca. 1590, oil on canvas, 134 x 198 cm. Herzog Anton Ulrich Museum, Braunschweig (artwork in the public domain) [side-by-side viewer]
Jacopo Palma Giovane,  Apollo Flaying Marsyas,  ca. 1590,  Herzog Anton Ulrich Museum, Braunschweig
Fig. 3 Jacopo Palma Giovane, Apollo Flaying Marsyas, ca. 1590, oil on canvas, 134 x 198 cm. Herzog Anton Ulrich Museum, Braunschweig (artwork in the public domain) [side-by-side viewer]
Guido Reni,  Wrestling Cupids,  Galleria Sabauda, Turin
Fig. 4 Guido Reni, Wrestling Cupids, oil on canvas, 118 x 151 cm. Galleria Sabauda, Turin (artwork in the public domain) [side-by-side viewer]
Anthony van Dyck,  Lucas van Uffelen at His Desk,  ca. 1622,  The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913
Fig. 5 Anthony van Dyck, Lucas van Uffelen at His Desk, ca. 1622, oil on canvas, 124.5 x 100.6 cm. The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913, inv. no. 14.40.619 (artwork in the public domain) [side-by-side viewer]
Thomas Worlidge,  Portrait of an Unidentified Man, after Rembrandt,  ca. 1757–58,  The British Museum, London
Fig. 6 Thomas Worlidge, Portrait of an Unidentified Man, after Rembrandt (?), ca. 1757–58, etching, 19.5 x 14.2 cm. The British Museum, London, inv. no. 1925,0511.173 (artwork in the public domain) Photo © The Trustees of the British Museum [side-by-side viewer]
Rembrandt,  Staalmeesters, 1662,  Rijksmuseum, Amsterdam
Fig. 7 Rembrandt, Staalmeesters, 1662, oil on canvas, 191 x 279 cm. Rijksmuseum, Amsterdam, inv. no. SK-C-6 (artwork in the public domain) [side-by-side viewer]
  1. 1. B. W. Meijer, “Italian Paintings in 17th Century Holland: Art Market, Art Works and Art Collections,” in L’Europa e l’arte Italiana, Collana del Kunsthistorisches Institut in Florenz 3, ed. M. Seidel (Venice: Marsilio, 2000), 377–418; esp. 386 (Reynst) and 392 (Arundel).

  2. 2. Meijer, “Italian Paintings,” 380–81.

  3. 3. Friso Lammertse and Jaap van der Veen, Uylenburgh and Son: Art and Commerce from Rembrandt to De Lairesse 1625–1675, exh. cat. (London: Dulwich Picture Gallery, and Amsterdam: Museum het Rembrandthuis / Zwolle: Waanders, 2006).

  4. 4. Jonathan Bikker, “The Deutz Brothers, Italian Paintings, and Michiel Sweerts,”Simiolus 26 (1998): 277–311. http://dx.doi.org/10.2307/3780847

  5. 5. Montias Database of Sixteenth- and Seventeenth-Century Dutch Art Collections from the Gemeentearchief Amsterdam, Frick Collection, Frick Art Reference Library, New York, inv. no. 1123, NA 694B, omslag 59, film 4980;http://research.frick.org/montias/browserecord.php?-action=browse&-recid=2300 (accessed July 1, 2011). See also Jonathan Israel, Dutch Primacy in World Trade, 1585–1740 (Oxford: Oxford University Press, 1989), 33.

  6. 6. John Michael Montias, Art at Auction in 17th Century Amsterdam (Amsterdam: Amsterdam University Press, 2002), 110. http://dx.doi.org/10.5117/9789053565919

  7. 7. Number 23 in the inventory. The rarity of Van Eyck in seventeenth-century private collections is significant, as the only other named Van Eycks were in the collections of Rembrandt, Lady Arundel, and Willem de Lange. See Jaap van der Veen, “Delftse verzamelingen in de zeventiende en eerste helft van de achttiende eeuw,” in Schatten in Delft: Burgers verzamelen 1600-1750, ed. Ellinoor Bergevelt, exh. cat. (Delft: Stedelijk Museum het Prinsenhof, 2002), 47–90, esp. 74 (for Van Eyck’s Adam and Eve in the De Lange collection).

  8. 8. These are numbers 13, 20, 21, 45 and 56, respectively, in the inventory.

  9. 9. These are numbers 15, 16, 14, 46, 47, and 48, respectively, in the inventory.

  10. 10. Other versions of Noah’s Ark by Bassano and his workshop include those in the Prado in Madrid and in the Palazzo Ducale in Venice.

  11. 11. For Palma Giovane’s Dancing Children, which came from the Reynst collection through Uylenburgh, see Lammertse and van der Veen, Uylenburgh and Son, 97. J. M. Montias observed that it seems that Italian paintings, once arrived in Amsterdam, tended to circulate among a group of collectors; however, specific cases of such transferences are few (conversation with the author, 2002).

  12. 12. Stefania Mason Rinaldi, Palma il Giovane: L’opera completa (Milan: Alfieri Electa, 1984), 47, 77. The paintings are documented in the Braunschweig collection from 1737; however, they certainly could have entered it earlier. Duke Anton Ulrich (1633–1714) traveled several times to Amsterdam and had agents there who acquired art for him; he knew the Amsterdam collectors Gerard Reynst and the Deutz family.

  13. 13. For the pictorial tradition of this theme, see Amy Golahny, “A Sophonisba by Lastman?” in In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias, ed. Amy Golahny, Mia M. Mochizuki, and Lisa Vergara (Amsterdam: Amsterdam University Press, 2006), 173–81.

  14. 14. Among other examples, Reni’s Bacchus and Ariadne (Los Angeles County Museum of Art) offers a two-figured composition that might suggest the general appearance of the Sophonisba pendants in Godijn’s collection. Within a broader literary context, it is not inconceivable that Reni painted Sophonisba. Reni’s name appears as one of the illustrious artists credited with illustrations in the two early editions of Antonio Bruni (1593–1635),Epistole heroiche: Poesie (Rome, 1627; Venice, 1628), and another edition with another set of illustrations (Rome, 1634). The other artists named are Domenichino (1581–1641), Cavaliere Giovanni Baglione (ca. 1566–1643), Cesari d’Arpino (1568–1640), and Giovanni Luigi Valesio (1583–1640). Sophonisba is among the historical and poetical characters writing lyrical letters in Bruni’s volume, although the illustration of her may not be attributed to any artist with certainty, and Reni’s connection to these illustrations is tenuous. See Sabina De Cavi, “Le incisioni di Mattäus Greuter per le Epistole Heroiche di Antonio Bruni (1627/28): Ipotesi di una collaborazione editoriale al principio del seicento,” Annali dell’istituto italiano per gli studi storici 15 (1998): 93–285.

  15. 15. As alabaster was quarried and carved in various locations, including Antwerp, England, and Italy, the source of Godijn’s pieces cannot be determined.

  16. 16. The date of September 23, 1632, for Van Uffelen’s relocation to Amsterdam is given by Hans Vlieghe in Susan J. Barnes et al., Van Dyck: A Complete Catalogue of the Paintings(New Haven and London: Yale University Press, 2004), 209.

  17. 17. Maurice Vaes, “Le séjour de Van Dyck en Italie (Mi-Novembre 1621-Automne 1627),”Bulletin de I’lnstitut Historique Belge de Rome 4 (1924): 181, cited P.-J. Mariette as knowledgeable on Van Uffelen’s paper art.

  18. 18. For Hans van Uffelen, see S. Hart, “De Italië-vaart 1590-1620,” Jaarboek Amstelodamum 70 (1978): 42–60; and the Montias Database, inv. no. 1355 (1613);http://research.frick.org/montias/browserecord.php?-action=browse&-recid=2542(accessed  July 7, 2011).

  19. 19. For the Odoni portrait, see Anne-Marie S. Logan, The “Cabinet” of the Brothers Gerard and Jan Reynst (Amsterdam, Oxford, New York: North Holland Publishing Co., 1979), 87; and Lammertse and van der Veen,Uylenburgh and Son, 67.

  20. 20. For the 1639 sale, its high prices, and comparative sale figures, see Montias, Art at Auction, 28. Sandrart reported that the 1639 sale totaled 59,546f and that he purchased a Titian Madonna for 3,000f. Another Titian, a Madonna in a landscape with four other figures, now untraced, was bought by Lopez for 3,000 guilders.Joachim von Sandrart, Academie der Bau-, Bild- und Mahlerei-Kuenst von 1675, ed. Rudolf Arthur Peltzer (Munich: G. Hirth, 1925), 417.

  21. 21. Rembrandt’s drawing is in the Albertina, Vienna; see also, Stephanie S. Dickey,Rembrandt: Portraits in Print (Amsterdam and Philadelphia: John Benjamins, 2004), 90–97, fig. 104 and Dickey, “Rethinking Rembrandt’s Renaissance,” in Around and About Rembrandt, special issue,Canadian Journal of Netherlandic Studies 21: (2007) 1–22.

  22. 22. The list of paintings owned by Noirot is in the Gemeentearchief, Amsterdam; Getty Provenance Index, http://piweb.getty.edu/cgi-bin/starfinder/27719/collab.txt (accessed April 3, 2007). See also Meijer, “Italian Paintings,” 407n45.

  23. 23. Reni’s versions of three pairs of cupids include those in the Louvre and the Palazzo Doria Pamphilij in Rome.

  24. 24. The second, Lucas van Uffelen Overlooking the Sea, is in the Herzog Anton Ulrich-Museum, Braunschweig.

  25. 25. Sandrart, Academie, 232; Meijer, “Italian Paintings,” 381; see further Vaes, “Le séjour de Van Dyck,”179. Duquesnoy’s Cupid Carving his Bow is now in the Staatliche Museen, Berlin.

  26. 26. Sandrart, Academie, 277, mentioned the Ribera paintings owned by Van Uffelen. See also, Vaes, “Le séjour de Van Dyck,”179. Meijer, “Italian Paintings,” 407, n. 46, notes that although Sandrart’s passage is confusing, it indicates that Jacoba van Uffelen gave birth to a boy with deformed fingers and attributed this deformity to her looking at the Ixion while pregnant. Four canvases of Ixion, Tantalus, Sisyphus, and Tityus, copies after lost originals, each measuring 190 x 226 cm, are in the Prado, Madrid, and appear to be Van Uffelen’s paintings; see Nicola Spinosa, Ribera, 2nd ed. (Naples: Electa Napoli, 2006), 386, cats. B14–B17. Van Uffelen’s Saint Bartholomew is not traceable among the many versions painted by Ribera.

  27. 27. For discussion of this series, which includes the signed and dated 1632 Ixion and Tityus (both Madrid, Prado), see Spinosa, Ribera, 313, cats. A 143–A144.

  28. 28. Spinosa, Ribera, 233, n. 51, 244, n. 133, 361.

  29. 29. See also, Dickey, Rembrandt: Portraits, 90.

  30. 30. For Drost’s interest in Venetian art then in Amsterdam, see Jonathan Bikker, Willem Drost (1633–1659). A Rembrandt Pupil in Amsterdam and Venice (New Haven and London: Yale University Press, 2005), 20.

  31. 31. Drost’s undated Portrait of a Young Man (Louvre, Paris) has been trimmed, but the full composition is reproduced in the Worlidge engraving; see Bikker, Willem Drost, 100, fig. 23a.

  32. 32. For the evolution of Rembrandt’s Staalmeesters through the preparatory drawings and X-rays, see Christopher L. Brown, “Cat. 48: The Sampling Officials of the Amsterdam Drapers’ Guild (The ‘Staalmeesters’),” in Rembrandt: The Master and His Workshop; Paintings, ed. Christopher L. Brown, Jan Kelch, and Pieter van Thiel, exh. cat. (Berlin: Gemäldegalerie; Amsterdam: Rijksmuseum; and London: British Museum and National Gallery / New Haven and London: Yale University Press, 1991), 278–83. See also, Walter A. Liedtke, Flemish Paintings in the Metropolitan Museum of Art (New York: Metropolitan Museum of Art / Yale University Press, 1984), 1:56–64.

  33. 33. Karel van Mander, Het Schilder-boeck, 1604 (repr. New York: Broude, 1980), 187r. For the drawing Venus, Juno, and Pallas, which may reflect this lost painting (Staatliche Graphische Sammlung, Munich) see Saskia Cohen-Willner, “Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling,” Oud Holland 113 (1999): 175ff.

  34. 34. Meijer, “Italian Paintings,” 177.

  35. 35. See Dickey, Portraits in Print, 100.

  36. 36. Logan, The “Cabinet” of the Brothers Gerard and Jan Reynstpassim.

  37. 37. Seymour Slive, Rembrandt and His Critics 1630–1730 (The Hague: M. Nijhoff, 1953), 16. http://dx.doi.org/10.1007/978-94-015-0838-4

Barnes, Susan J., et al. Van Dyck: A Complete Catalogue of the Paintings. New Haven and London: Yale University Press, 2004.

Bikker, Jonathan. “The Deutz Brothers, Italian Paintings, and Michiel Sweerts.” Simiolus 26 (1998): 277–311. http://dx.doi.org/10.2307/3780847

Bikker, Jonathan. Willem Drost (1633–1659): A Rembrandt Pupil in Amsterdam and Venice.New Haven and London: Yale University Press, 2005.

Brown, Christopher L., Jan Kelch, and Pieter van Thiel, eds. Rembrandt: The Master and His Workshop; Paintings. Exh. cat. Berlin: Altes Museum; Amsterdam: Rijksmuseum; and London: British Museum and National Gallery of Art / New Haven and London: Yale University Press, 1991.

De Cavi, Sabina. “Le incisioni di Mattäus Greuter per le Epistole Heroiche di Antonio Bruni (1627/28): Ipotesi di una collaborazione editoriale al principio del seicento.” Annali dell’istituto italiano per gli studi storici 15 (1998): 93–285.

Cohen-Willner, Saskia. “Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling.” Oud Holland 113 (1999): 175ff.

Dickey, Stephanie S. Rembrandt: Portraits in Print. Amsterdam and Philadelphia: John Benjamins, 2004.

Dickey, Stephanie S. “Rethinking Rembrandt’s Renaissance.” In Around and About Rembrandt. Special issue, Canadian Journal of Netherlandic Studies 21 (2007): 1–22.

Getty Provenance Index. http://piweb.getty.edu/cgi-bin/starfinder/27719/collab.txt

Golahny, Amy. “A Sophonisba by Lastman?” In In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias, edited by Amy Golahny, Mia M. Mochizuki, and Lisa Vergara, 173–81. Amsterdam: Amsterdam University Press, 2006.

Hart, S. “De Italië-vaart 1590-1620.” Jaarboek Amstelodamum 70 (1978): 42–60.

Israel, Jonathan. Dutch Primacy in World Trade, 1585–1740. Oxford: Oxford University Press, 1989.

Lammertse, Friso, and Jaap van der Veen. Uylenburgh and Son: Art and Commerce from Rembrandt to De Lairesse 1625–1675. Exh. cat. London: Dulwich Picture Gallery; and Amsterdam: Museum het Rembrandthuis / Zwolle: Waanders, 2006.

Liedtke, Walter A. Flemish Paintings in the Metropolitan Museum of Art. 2 vols. New York: Metropolitan Museum of Art / Yale University Press, 1984.

Logan, Anne-Marie S. The “Cabinet” of the Brothers Gerard and Jan Reynst. Amsterdam, Oxford, and New York: North Holland Publishing Co., 1979.

Mason Rinaldi, Stefania. Palma il Giovane: L’opera completa. Milan: Alfieri Electa, 1984.

Meijer, B. W. “Italian Paintings in 17th Century Holland: Art Market, Art Works and Art Collections.” In L’Europa e l’arte Italiana, edited by M. Seidel, 377–418. Collana del Kunsthistorisches Institut in Florenz 3. Venice: Marsilio, 2000..

Montias Database of Sixteenth- and Seventeenth-Century Dutch Art Collections from the Gemeentearchief Amsterdam. Frick Art Museum, Frick Art Reference Library, New York. research.frick.org/index.htm

Montias, John Michael. Art at Auction in 17th Century Amsterdam. Amsterdam: Amsterdam University Press, 2002. http://dx.doi.org/10.5117/9789053565919

Slive, Seymour. Rembrandt and His Critics 1630–1730. The Hague: M. Nijhoff, 1953. http://dx.doi.org/10.1007/978-94-015-0838-4

Spinosa, Nicola. Ribera: L’opera completa. 2nd ed. Naples: Electa Napoli, 2006.

Vaes, Maurice. “Le séjour de Van Dyck en Italie (Mi-Novembre 1621–Automne 1627).” Bulletin de I’lnstitut Historique Belge de Rome 4 (1924): 163–234.

Van der Veen, Jaap. “Delftse verzamelingen in de zeventiende en eerste helft van de achttiende eeuw.” In Schatten in Delft: Burgers verzamelen 1600–1750, edited by Ellinoor Bergevelt, 47–90. Exh. cat. Delft:Stedelijk Museum Het Prinsenhof, 2002.

Van Mander, Karel. Het Schilder-boeck. 1604. Repr.New York: Broude, 1980.

Von Sandrart, Joachim. Academie der Bau-, Bild- und Mahlerei-Kuenst von 1675. Edited by Rudolf Arthur Peltzer. Munich: G. Hirth, 1925.

List of Illustrations

Workshop of Jacopo Bassano,  Noah’s Ark,  ca. 1580,  Musée du Louvre, Paris
Fig. 1 Workshop of Jacopo Bassano, Noah’s Ark, ca. 1580, oil on canvas, 101 x 121 cm. Musée du Louvre, Paris, inv. no. 148 (artwork in the public domain) [side-by-side viewer]
Jacopo Palma Giovane,  Midas Judging the Contest between Apollo and Mar,  ca. 1590,  Herzog Anton Ulrich Museum, Braunschweig
Fig. 2 Jacopo Palma Giovane, Midas Judging the Contest between Apollo and Marsyas, ca. 1590, oil on canvas, 134 x 198 cm. Herzog Anton Ulrich Museum, Braunschweig (artwork in the public domain) [side-by-side viewer]
Jacopo Palma Giovane,  Apollo Flaying Marsyas,  ca. 1590,  Herzog Anton Ulrich Museum, Braunschweig
Fig. 3 Jacopo Palma Giovane, Apollo Flaying Marsyas, ca. 1590, oil on canvas, 134 x 198 cm. Herzog Anton Ulrich Museum, Braunschweig (artwork in the public domain) [side-by-side viewer]
Guido Reni,  Wrestling Cupids,  Galleria Sabauda, Turin
Fig. 4 Guido Reni, Wrestling Cupids, oil on canvas, 118 x 151 cm. Galleria Sabauda, Turin (artwork in the public domain) [side-by-side viewer]
Anthony van Dyck,  Lucas van Uffelen at His Desk,  ca. 1622,  The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913
Fig. 5 Anthony van Dyck, Lucas van Uffelen at His Desk, ca. 1622, oil on canvas, 124.5 x 100.6 cm. The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913, inv. no. 14.40.619 (artwork in the public domain) [side-by-side viewer]
Thomas Worlidge,  Portrait of an Unidentified Man, after Rembrandt,  ca. 1757–58,  The British Museum, London
Fig. 6 Thomas Worlidge, Portrait of an Unidentified Man, after Rembrandt (?), ca. 1757–58, etching, 19.5 x 14.2 cm. The British Museum, London, inv. no. 1925,0511.173 (artwork in the public domain) Photo © The Trustees of the British Museum [side-by-side viewer]
Rembrandt,  Staalmeesters, 1662,  Rijksmuseum, Amsterdam
Fig. 7 Rembrandt, Staalmeesters, 1662, oil on canvas, 191 x 279 cm. Rijksmuseum, Amsterdam, inv. no. SK-C-6 (artwork in the public domain) [side-by-side viewer]

Footnotes

  1. 1. B. W. Meijer, “Italian Paintings in 17th Century Holland: Art Market, Art Works and Art Collections,” in L’Europa e l’arte Italiana, Collana del Kunsthistorisches Institut in Florenz 3, ed. M. Seidel (Venice: Marsilio, 2000), 377–418; esp. 386 (Reynst) and 392 (Arundel).

  2. 2. Meijer, “Italian Paintings,” 380–81.

  3. 3. Friso Lammertse and Jaap van der Veen, Uylenburgh and Son: Art and Commerce from Rembrandt to De Lairesse 1625–1675, exh. cat. (London: Dulwich Picture Gallery, and Amsterdam: Museum het Rembrandthuis / Zwolle: Waanders, 2006).

  4. 4. Jonathan Bikker, “The Deutz Brothers, Italian Paintings, and Michiel Sweerts,”Simiolus 26 (1998): 277–311. http://dx.doi.org/10.2307/3780847

  5. 5. Montias Database of Sixteenth- and Seventeenth-Century Dutch Art Collections from the Gemeentearchief Amsterdam, Frick Collection, Frick Art Reference Library, New York, inv. no. 1123, NA 694B, omslag 59, film 4980;http://research.frick.org/montias/browserecord.php?-action=browse&-recid=2300 (accessed July 1, 2011). See also Jonathan Israel, Dutch Primacy in World Trade, 1585–1740 (Oxford: Oxford University Press, 1989), 33.

  6. 6. John Michael Montias, Art at Auction in 17th Century Amsterdam (Amsterdam: Amsterdam University Press, 2002), 110. http://dx.doi.org/10.5117/9789053565919

  7. 7. Number 23 in the inventory. The rarity of Van Eyck in seventeenth-century private collections is significant, as the only other named Van Eycks were in the collections of Rembrandt, Lady Arundel, and Willem de Lange. See Jaap van der Veen, “Delftse verzamelingen in de zeventiende en eerste helft van de achttiende eeuw,” in Schatten in Delft: Burgers verzamelen 1600-1750, ed. Ellinoor Bergevelt, exh. cat. (Delft: Stedelijk Museum het Prinsenhof, 2002), 47–90, esp. 74 (for Van Eyck’s Adam and Eve in the De Lange collection).

  8. 8. These are numbers 13, 20, 21, 45 and 56, respectively, in the inventory.

  9. 9. These are numbers 15, 16, 14, 46, 47, and 48, respectively, in the inventory.

  10. 10. Other versions of Noah’s Ark by Bassano and his workshop include those in the Prado in Madrid and in the Palazzo Ducale in Venice.

  11. 11. For Palma Giovane’s Dancing Children, which came from the Reynst collection through Uylenburgh, see Lammertse and van der Veen, Uylenburgh and Son, 97. J. M. Montias observed that it seems that Italian paintings, once arrived in Amsterdam, tended to circulate among a group of collectors; however, specific cases of such transferences are few (conversation with the author, 2002).

  12. 12. Stefania Mason Rinaldi, Palma il Giovane: L’opera completa (Milan: Alfieri Electa, 1984), 47, 77. The paintings are documented in the Braunschweig collection from 1737; however, they certainly could have entered it earlier. Duke Anton Ulrich (1633–1714) traveled several times to Amsterdam and had agents there who acquired art for him; he knew the Amsterdam collectors Gerard Reynst and the Deutz family.

  13. 13. For the pictorial tradition of this theme, see Amy Golahny, “A Sophonisba by Lastman?” in In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias, ed. Amy Golahny, Mia M. Mochizuki, and Lisa Vergara (Amsterdam: Amsterdam University Press, 2006), 173–81.

  14. 14. Among other examples, Reni’s Bacchus and Ariadne (Los Angeles County Museum of Art) offers a two-figured composition that might suggest the general appearance of the Sophonisba pendants in Godijn’s collection. Within a broader literary context, it is not inconceivable that Reni painted Sophonisba. Reni’s name appears as one of the illustrious artists credited with illustrations in the two early editions of Antonio Bruni (1593–1635),Epistole heroiche: Poesie (Rome, 1627; Venice, 1628), and another edition with another set of illustrations (Rome, 1634). The other artists named are Domenichino (1581–1641), Cavaliere Giovanni Baglione (ca. 1566–1643), Cesari d’Arpino (1568–1640), and Giovanni Luigi Valesio (1583–1640). Sophonisba is among the historical and poetical characters writing lyrical letters in Bruni’s volume, although the illustration of her may not be attributed to any artist with certainty, and Reni’s connection to these illustrations is tenuous. See Sabina De Cavi, “Le incisioni di Mattäus Greuter per le Epistole Heroiche di Antonio Bruni (1627/28): Ipotesi di una collaborazione editoriale al principio del seicento,” Annali dell’istituto italiano per gli studi storici 15 (1998): 93–285.

  15. 15. As alabaster was quarried and carved in various locations, including Antwerp, England, and Italy, the source of Godijn’s pieces cannot be determined.

  16. 16. The date of September 23, 1632, for Van Uffelen’s relocation to Amsterdam is given by Hans Vlieghe in Susan J. Barnes et al., Van Dyck: A Complete Catalogue of the Paintings(New Haven and London: Yale University Press, 2004), 209.

  17. 17. Maurice Vaes, “Le séjour de Van Dyck en Italie (Mi-Novembre 1621-Automne 1627),”Bulletin de I’lnstitut Historique Belge de Rome 4 (1924): 181, cited P.-J. Mariette as knowledgeable on Van Uffelen’s paper art.

  18. 18. For Hans van Uffelen, see S. Hart, “De Italië-vaart 1590-1620,” Jaarboek Amstelodamum 70 (1978): 42–60; and the Montias Database, inv. no. 1355 (1613);http://research.frick.org/montias/browserecord.php?-action=browse&-recid=2542(accessed  July 7, 2011).

  19. 19. For the Odoni portrait, see Anne-Marie S. Logan, The “Cabinet” of the Brothers Gerard and Jan Reynst (Amsterdam, Oxford, New York: North Holland Publishing Co., 1979), 87; and Lammertse and van der Veen,Uylenburgh and Son, 67.

  20. 20. For the 1639 sale, its high prices, and comparative sale figures, see Montias, Art at Auction, 28. Sandrart reported that the 1639 sale totaled 59,546f and that he purchased a Titian Madonna for 3,000f. Another Titian, a Madonna in a landscape with four other figures, now untraced, was bought by Lopez for 3,000 guilders.Joachim von Sandrart, Academie der Bau-, Bild- und Mahlerei-Kuenst von 1675, ed. Rudolf Arthur Peltzer (Munich: G. Hirth, 1925), 417.

  21. 21. Rembrandt’s drawing is in the Albertina, Vienna; see also, Stephanie S. Dickey,Rembrandt: Portraits in Print (Amsterdam and Philadelphia: John Benjamins, 2004), 90–97, fig. 104 and Dickey, “Rethinking Rembrandt’s Renaissance,” in Around and About Rembrandt, special issue,Canadian Journal of Netherlandic Studies 21: (2007) 1–22.

  22. 22. The list of paintings owned by Noirot is in the Gemeentearchief, Amsterdam; Getty Provenance Index, http://piweb.getty.edu/cgi-bin/starfinder/27719/collab.txt (accessed April 3, 2007). See also Meijer, “Italian Paintings,” 407n45.

  23. 23. Reni’s versions of three pairs of cupids include those in the Louvre and the Palazzo Doria Pamphilij in Rome.

  24. 24. The second, Lucas van Uffelen Overlooking the Sea, is in the Herzog Anton Ulrich-Museum, Braunschweig.

  25. 25. Sandrart, Academie, 232; Meijer, “Italian Paintings,” 381; see further Vaes, “Le séjour de Van Dyck,”179. Duquesnoy’s Cupid Carving his Bow is now in the Staatliche Museen, Berlin.

  26. 26. Sandrart, Academie, 277, mentioned the Ribera paintings owned by Van Uffelen. See also, Vaes, “Le séjour de Van Dyck,”179. Meijer, “Italian Paintings,” 407, n. 46, notes that although Sandrart’s passage is confusing, it indicates that Jacoba van Uffelen gave birth to a boy with deformed fingers and attributed this deformity to her looking at the Ixion while pregnant. Four canvases of Ixion, Tantalus, Sisyphus, and Tityus, copies after lost originals, each measuring 190 x 226 cm, are in the Prado, Madrid, and appear to be Van Uffelen’s paintings; see Nicola Spinosa, Ribera, 2nd ed. (Naples: Electa Napoli, 2006), 386, cats. B14–B17. Van Uffelen’s Saint Bartholomew is not traceable among the many versions painted by Ribera.

  27. 27. For discussion of this series, which includes the signed and dated 1632 Ixion and Tityus (both Madrid, Prado), see Spinosa, Ribera, 313, cats. A 143–A144.

  28. 28. Spinosa, Ribera, 233, n. 51, 244, n. 133, 361.

  29. 29. See also, Dickey, Rembrandt: Portraits, 90.

  30. 30. For Drost’s interest in Venetian art then in Amsterdam, see Jonathan Bikker, Willem Drost (1633–1659). A Rembrandt Pupil in Amsterdam and Venice (New Haven and London: Yale University Press, 2005), 20.

  31. 31. Drost’s undated Portrait of a Young Man (Louvre, Paris) has been trimmed, but the full composition is reproduced in the Worlidge engraving; see Bikker, Willem Drost, 100, fig. 23a.

  32. 32. For the evolution of Rembrandt’s Staalmeesters through the preparatory drawings and X-rays, see Christopher L. Brown, “Cat. 48: The Sampling Officials of the Amsterdam Drapers’ Guild (The ‘Staalmeesters’),” in Rembrandt: The Master and His Workshop; Paintings, ed. Christopher L. Brown, Jan Kelch, and Pieter van Thiel, exh. cat. (Berlin: Gemäldegalerie; Amsterdam: Rijksmuseum; and London: British Museum and National Gallery / New Haven and London: Yale University Press, 1991), 278–83. See also, Walter A. Liedtke, Flemish Paintings in the Metropolitan Museum of Art (New York: Metropolitan Museum of Art / Yale University Press, 1984), 1:56–64.

  33. 33. Karel van Mander, Het Schilder-boeck, 1604 (repr. New York: Broude, 1980), 187r. For the drawing Venus, Juno, and Pallas, which may reflect this lost painting (Staatliche Graphische Sammlung, Munich) see Saskia Cohen-Willner, “Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling,” Oud Holland 113 (1999): 175ff.

  34. 34. Meijer, “Italian Paintings,” 177.

  35. 35. See Dickey, Portraits in Print, 100.

  36. 36. Logan, The “Cabinet” of the Brothers Gerard and Jan Reynstpassim.

  37. 37. Seymour Slive, Rembrandt and His Critics 1630–1730 (The Hague: M. Nijhoff, 1953), 16. http://dx.doi.org/10.1007/978-94-015-0838-4

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DOI: 10.5092/jhna.2013.5.2.6
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Amy Golahny, "Italian Paintings in Amsterdam Around 1635: Additions to the Familiar," Journal of Historians of Netherlandish Art 5:2 (Summer 2013) DOI: 10.5092/jhna.2013.5.2.6