Going Dutch: How England Plundered Holland's Glory (53 page)

32
Ibid., p.39.

33
Ibid., p.45.

34
Muller, ‘Rubens’s museum’, p.575.

35
Sainsbury,
Original Unpublished Papers
, p.38.

36
See Bachrach,
Sir Constantine Huygens
, p.142. See also S. Schama,
The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age
(London: Collins, 1987), p.258.

37
R. Hill, ‘Ambassadors and art collecting in early Stuart Britain: The parallel careers of William Trumbull and Sir Dudley Carleton, 1609–1625’,
Journal of the History of Collections
15 (2003), 211–28; 216.

38
A.G.H. Bachrach,
Sir Constantine Huygens and Britain
, 1 (Leiden and Oxford: Brill and Oxford University Press, 1962), pp.110–11.

39
SP 84/85/176 Mytens to Carleton, London, 18 August 1618, cit. R. Hill, ‘Sir Dudley Carleton and his relations with Dutch artists 1616–1632’, 255–74; 268; (SP 84/86/103).

40
P. McEvansoneya, ‘The sequestration and dispersal of the Buckingham collection’,
Journal of the History of Collections
8 (1996), 133–54.

41
See Keblusek and Zijlmans,
Princely Display
.

42
According to Schama it was in the course of this art-buying spree that Huygens discovered Jan Lievens and Rembrandt as Protestant, Dutch Republic artists whose virtuosity matched that of the Catholic, Spanish-sympathising Rubens.

43
See S. Groenveld, ‘Frederick Henry and his entourage: A brief political biography’, in van der Ploeg and Vermeeren,
Princely Patrons
, pp.18–33; 30–1.

5: Auction, Exchange, Traffic and Trickle-Down

1
J. Thurloe,
A collection of the state papers of John Thurloe, Esq; secretary, first, to the Council of State, and afterwards to the two Protectors, Oliver and Richard Cromwell. In seven volumes…To which is prefixed, the life of Mr. Thurloe…By Thomas Birch
, 7 vols, Vol. 1 (London, 1742), pp.182–3.

2
See J. Brown, ‘The Sale of the Century’, in
Kings and Connoisseurs: Collecting Art in Seventeenth-Century Europe
(New Haven and London: Yale University Press, 1995), pp.59–94.

3
See A.G.H. Bachrach and R.G. Collmer (eds),
Lodewijk Huygens: The English Journal 1651–1652
(Leiden: Brill, 1982), p.61

4
J.M. Montias, ‘Art dealers in the seventeenth-century Netherlands’,
Simiolus
0.18 (1988), 244–56; 245. See also J.M. Montias,
Art at Auction in Seventeenth Century Amsterdam
(Amsterdam: Amsterdam University Press, 2002); J.M. Montias,
Vermeer and His Milieu: A Web of Social History
(Princeton: Princeton University Press, 1989); E.A. Honig,
Painting and the Market in Early Modern Antwerp
(New Haven and London: Yale University Press, 1998).

5
For more on the Duartes see below,
Chapter 7
.

6
Diary of John Evelyn
.

7
Montias, ‘Art dealers in the seventeenth-century Netherlands’, p.245.

8
Montias,
Art at Auction
, pp.234–42.

9
Honig,
Painting and the Market
, p.195.

10
S. Slive, ‘Art historians and art critics – II: Huygens on Rembrandt’,
Burlington Magazine
94 (1952), 260–4; 261.

11
I am placing the Lievens painting around 1625, in spite of the opinions of art historians. Held gives the date as 1629. The Rijksmuseum website gives 1626–27. A recent PhD dissertation on Lievens dates it at 1628–29: L. De Witt,
Evolution and Ambition in the Career of Jan Lievens (1607–1674)
(University of Maryland PhD, 2006). I place it a couple of years earlier for a number of reasons. Huygens says he was particularly melancholic at the time Lievens painted his portrait (see below), and his demeanour and dress as depicted resemble Dutch mourning paintings of the same period. He appears to wear a mourning ring around his neck. Huygens’s father died in 1624, and the Stadholder Maurits died in 1625. Huygens would have been doubly in mourning for these two highly significant losses. In late 1625 he was appointed secretary to the new Stadholder Frederik Hendrik. This would have been an appropriate occasion for a portrait.

12
Once again, this specific account by Huygens justifies his having his portrait painted in spite of his being in a period of mourning, since it places the onus for proceeding with the painting immediately on Lievens.

13
Pieters, ‘Among ancient men: Petrarch, Machiavelli, Sidney and Huygens’, in
Speaking with the Dead: Explorations in Literature and History
(Edinburgh: Edinburgh University Press, 2005), p.41.

14
Ibid.

15
For the most recent account of Lievens’s career, see L. De Witt,
Evolution and Ambition in the Career of Jan Lievens (1607–1674)
, unpublished PhD, University of Maryland, College Park (2006), especially
Chapter 2
, ‘Lievens in England, 1632–1635’.

16
Ibid., p.110. Reproduced in
Princely Patrons
, p.170.

17
Cit. De Witt,
Evolution and Ambition
, p.118.

18
Ibid., p.123.

19
Ibid., pp.121–2.

20
M.R. Toynbee, ‘Adriaen Hanneman and the English court in exile’,
Burlington Magazine
92 (1950), 73–80. See also M.R. Toynbee, ‘Some early portraits of Princess Mary, daughter of Charles I’,
Burlington Magazine
82 (1943), 100–3.

21
A. Sumner, ‘Hanneman, Adriaen (c.1604–1671)’,
Oxford Dictionary of National Biography
, Oxford University Press, 2004 [http://www.oxforddnb.com/view/article/12215, accessed 19 February 2007].

22
BL Add. MS 16174: ‘Proposal to the parliament of Sir Balthazar Gerbier, knt., Peter Lely and George Geldorp concerning the representing in oil, pictures of all the memorable achievements since the parliament’s first sitting’, c.1651.

23
D. Dethloff, ‘Lely, Sir Peter (1618–1680)’,
Oxford Dictionary of National Biography
, Oxford University Press, 2004 [http://www.oxforddnb.com.catalogue.ulrls.lon.ac.uk:80/view/article/16419, accessed 2 April 2007].

24
C. Hofstede de Groot,
Die Urkunden uber Rembrandt
(The Hague: M. Nijhoff, 1906).

25
Cited in F. Scholten, ‘François Dieussart, Constantijn Huygens, and the classical ideal in funerary sculpture’,
Simiolus
25 (1997), 303–28; 309.

26
See full account in A.-M.S. Logan,
The ‘Cabinet’ of the Brothers Gerard and Jan Reynst
(Amsterdam: North-Holland Publishing Company, 1979), pp.75–86.

27
For a concise account of this dispute see Montias,
Vermeer and His Milieu
, pp.207–9.

28
See D. Mahon, ‘Notes on the “Dutch Gift” to Charles II: 1’,
Burlington Magazine
91 (1949), 303–5; ‘Notes on the “Dutch Gift” to Charles II: 2’,
Burlington Magazine
91 (1949), 349–50; ‘Notes on the “Dutch Gift” to Charles II: 3’,
Burlington Magazine
92 (1950), 12–18.

29
Cit. G. Schwartz and M.J. Bok,
Pieter Saenredam: The Painter and His Time
(London: Thames & Hudson, 1990), p.206.

30
H. Macandrew and K. Andrews, ‘A Saenredam and a Seurat for Edinburgh’,
Burlington Magazine
124 (1982), 752–5; 755.

31
Schwartz and Bok,
Pieter Saenredam
, p.128; pp.149–54.

32
Mariët Westermann, ‘Vermeer and the interior imagination’, in
Vermeer and the Dutch Interior
(Madrid, 2003), p.225.

33
John Michael Montias,
Vermeer and His Milieu: A Web of Social History
(Princeton: Princeton University Press, 1989).

34
Diary of John Evelyn
3, p.262.

35
See R. van Leeuwen (ed.),
Paintings from England: William III and the Royal Collections
(The Hague: Mauritshuis & SDU Publishers, 1988), p.79.

36
Mrs Burnett, wife of Gilbert, in 1707. Cit. C.D. van Strien,
British Travellers in Holland during the Stuart Period: Edward Browne and John Locke as Tourists in the United Provinces
(Leiden: Brill, 1993), p.153.

37
R. van Leeuwen (ed.),
Paintings from England: William III and the Royal Collections
(The Hague: SDU Publishers, 1988), pp.78–80.

38
J. Israel, ‘The United Provinces of the Netherlands: The Courts of the House of Orange’, in J. Adamson (ed.),
The Princely Courts of Europe 1500–1750
(London: Weidenfeld & Nicolson, 1999), pp.119–140; p.136.

39
Van Leeuwen,
Paintings from England
, pp.21–2.