Franciscus Hamers, dozijnschilder in Antwerpen

2005 ◽  
Vol 118 (3-4) ◽  
pp. 203-212
Author(s):  
Marijke C. De Kinkelder
Keyword(s):  
Seventeenth Century ◽  
Economic Recession ◽  
Typical Feature ◽  
Art Dealers ◽  
Art Dealer

AbstractIn I987 a painting with illegible signature was shown at the RKD. When in spring 2002 a painting with similar signature came alight at a Paris art-dealer, it proved possible to read the signature correctly and identify the artist as the Antwerp-based Franciscus Hamers, only known through his membership of the guild in I674. Several other paintings could be attributed to him either on stylistic grounds or by recognising the characteristic signature. The paintings presented here show that he proved to be what was known in the seventeenth century as 'dozijnschilder' (lit: dozen painter), assembling his works by imitating, borrowing and copying from examples by other artists, notably Haarlem painters such as Pieter van Laer, Philips Wouwerman and Nicolaes Pietersz. Berchem. This proved to be a typical feature of the artistic climate in the I670s in Antwerp when economic recession forced many artists to produce paintings and copies by the dozen for art-dealers such as Guillaume Forchondt and Bartholomeus Floquet who then exported these paintings to France, Austria, Spain and Portugal.

Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts

2019 ◽  
Author(s):  
Martin Kemp ◽  
Robert B. Simon ◽  
Margaret Dalivalle
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
New Orleans ◽  
Modern Art ◽  
Auction House ◽  
The Public ◽  
Scientific Analysis ◽  
Media Spectacle ◽  
Art Dealers ◽  
Public Imagination

In Leonardo’s Salvator Mundi and the Collecting of Leonardo in the Stuart Courts the ‘Three Salvateers’—Robert Simon, Martin Kemp and Margaret Dalivalle—give a first-hand account of the discovery of the lost Renaissance masterpiece; from its purchase for $1,175 in a New Orleans auction house in 2005, to the worldwide media spectacle of its sale to a Saudi prince for $450 million in 2017. A behind-the-scenes view of the painstaking processes of identification, consultation, scientific analysis, conservation, and archival research that underpinned the attribution of the painting to Leonardo, the book presents a consideration of the place of the painting in Leonardo’s body of work. Exploring the meaning of the painting in terms of Renaissance theology, it considers the identity of its original patron or intended recipient. Unravelling networks of early modern art dealers and collectors in Europe, it traces the emerging reception of Leonardo during the sixteenth and seventeenth centuries. It was in Enlightenment Britain that the idea of Leonardo as artist–scientist took hold of the public imagination. This book examines the ‘invention’ of Leonardo through the unique prism of the Stuart courts. The documented presence of three paintings of Christ attributed to Leonardo in the vicinity of the seventeenth-century British Royal Collection is both extraordinary and perplexing. Today, Leonardo’s five-hundred-year-old Salvator has not yet disclosed its secret history.

Art Dealer Networks in the Third Reich and in the Postwar Period

2016 ◽  
Vol 52 (3) ◽  
pp. 546-565 ◽  
Author(s):  
Jonathan Petropoulos
Keyword(s):  
New York ◽  
Third Reich ◽  
Postwar Period ◽  
Current Generation ◽  
The Third ◽  
Primary Network ◽  
Art Dealers ◽  
The Third Reich ◽  
Art Dealer

This article discusses art dealers who trafficked in looted art during the Third Reich and how they re-established networks and continued their trade in the postwar period. I argue that these dealers worked within a series of overlapping networks. A primary network was centered in Munich, with dealers such as Dr. Bruno Lohse (Göring’s art agent in Paris during the war); Maria Almas Dietrich, Karl Haberstock, Walter Andreas Hofer, and Adolf Wüster. These individuals worked closely with colleagues in Austria, Switzerland, and Liechtenstein (states contiguous with Bavaria) in the postwar years. Many of the individuals in outer appendages of the networks had not been complicit in the Nazis’ plundering program, yet they trafficked in looted works and formed dealer networks that extended to Paris, London, and New York. Both the recently discovered Gurlitt cache – over 1400 pictures located in Munich, Salzburg, and Kornwestheim – and the annotated Weinmüller auction catalogues help illuminate aspects of these networks. Art dealers played a key role in the looting operations during the Third Reich and in the transfer of non-restituted objects in the postwar period. The current generation of the profession may be the key to advancing our understanding of a still incomplete history.

De Antwerpse 'witter ende paneelmaker' Melchior de Bout (werkzaam 1625/26-1658): leverancier van 'ready-made' panelen voor de Parijse markt

2010 ◽  
Vol 123 (2) ◽  
pp. 108-124
Author(s):  
Anna Koopstra
Keyword(s):  
Seventeenth Century ◽  
Art Market ◽  
Ground Layer ◽  
Art Dealers ◽  
Charles Le Brun

AbstractOn the back of several paintings on panel in the oeuvre of Willem Kalf, the panelmakers mark of Melchior de Bout has been found. Like his father Philip, De Bout was registered in Antwerp as a 'witter ende paneelmaker'. He thus seems to have specialised in producing panels that were covered, on both sides of the wooden support, with a preparatory (ground) layer consisting of chalk and glue. Occasionally, an imprimatura was also applied. De Bout's 'ready-made' panels were not only used by Willem Kalf, but also by Sebastian Stosskopf, Charles Le Brun, Jacques Linard, Lubin Baugin and Willem van Aelst. Since these artists were all working in Paris around the middle of the seventeenth century, it seems justified to conclude that for a certain time, the Antwerp panel maker specifically produced his panels for distribution in the French capital. The popularity of the panels of this highly specialised Antwerp panelmaker illustrates the strong appeal that the dynamic art market in Paris had for artists, art dealers and buyers from France and abroad.

The seventeenth-century Antwerp book collector Peeter Oris: new discoveries and new questions

Quaerendo ◽  
1988 ◽  
Vol 18 (4) ◽  
pp. 243-277
Author(s):  
Jos A.A.M. Biemans ◽  
Translation Anna E. C. Simoni
Keyword(s):  
Seventeenth Century ◽  
Medieval Manuscripts ◽  
Printed Books ◽  
Dutch Books ◽  
Art Dealer

AbstractThe Antwerp art dealer Peeter Oris (c. 1582-c. 1647) owned at least eight medieval manuscripts and nine or ten printed books, including five, possibly seven incunabula. They were probably all Dutch books-with perhaps one exception. The fact that these manuscripts and printed books come from Oris's collection is almost always to be seen in ownership and other annotations in his own hand. One

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