Takács Imre – Buzási Enikő – Jávor Anna – Mikó Árpád szerk.: A Magyar Nemzeti Galéria Évkönyve, Művészettörténeti tanulmányok Mojzer Miklós hatvanadik születésnapjára (MNG Budapest, 1991)

DACOSTA KAUFMANN, Thomas: Addenda Rudolphina

January 1599 specifically refers to Dirk de Quade van Ravesteyn as a gewester hofmaller, and notes that on that date his salary was paid to his nephews Claus and Paul.

5 Since Dirck is mentioned as a former court painter, and was not around to receive his salary on 31 January 1599, it is most probable that he was not in court service at this time, nor for that matter a day later. It is therefore highly likely, as is also known for example from the case of a court artist like Fröschl,

58 that in 1612 payment was made for a period that had been backdated to 1 Februry 1599; it is thus possible that payment was postdated to 1608 as well. In any instance, since his nephews had received monies for him on an earlier occasion, it is not to be assumed beyond question that Van Ravesteyn definitely remained in Prague in 1608: it now even seems more likely that he had already returned to the Netherlands by at least the beginning of this year. The questions which remain in regard to artists such as Van Ravesteyn suggest that although much has been discovered about Prague around 1600, even rudimentary research still needs to be done, and fundamental finds can still be made. Not only many drawings, but also paintings by other court artists such as Bartholomäus Spranger have been found recently, and early painted copies of inventions by Prague court art can be identified in locations spread from Molfetta in Apulia to Elblag in Warmia.

59 Further research will undoubtedly recover more basic information about and works of art from Rudolfine Prague, whose importance for the history of European culture retains a compelling interest. NOTES 1 Galavics G.: Kössünk kardot az pogány ellen. Török háborúk és képzőművészet. Budapest 1986, 27ff.; provides an overview of works of Rudolfine art related to the theme of wars with the Turks. The subject of Hungarica in art by die Prague court artists is however wider, including subjects not treated by Galavics, such as other paintings of battles in Hungary and Hungarian soldiers by Roelant Savery, for which see for example DaCosta Kaufmann, Th.: The School of Prague: Painting at the Court of Rudolf II. Chicago - London 1988, cat. no. 19.15, 19.16, 19.17, 19.18, with some mention of related drawings. 2 Besides Kaufmann: ibid., publications of the past four years include books by Fuflková, E. et al.: Die Kunst am Hofe Rudolfs II. Hanau 1988;

Kriegeskorte, W.: Giuseppe Arcimboldo 1527-93. Ein manieristischer Zauberer. Köln 1988; Maselis, M. Ch-Balis, A.-Marijnissen, R. H.: De Albums van Anselmus de Boodt (1550-1632) Geschilderde natuurobservatie aan het Hof van Rudolf II te Praag. Tielt 1989; Müllenmeister, K. J.: Roelant Savery. Freren 1988; Zimmer, J.: Joseph Heintz der Ältere. Zeichnungen und Dokumente. München Berlin 1988; Dejiny ceskeho Vytvarné Umení. Od Pocatku renesance do záveru baroka. Praha 1989,2, pt. 1,160-247. Also noteworthy is the unpublished dissertation by Eimouze, D.: Aegidius Sadeler (c. 1570-1629): Drawings, Prints and Art Theory, Princeton 1990, which deals comprehensively with the subject also treated in a master's thesis by Widerkehr, E: Contributions - essentiellement Iconographiques - à l'étude de quelques gravures au propos mythologique et allégorique d"Egidius Sadeler (1570-1629). Strasbourg, 1988. Exhibitions, with published catalogues cited here, include Effetto Arcimboldo, Milan (exhibition in Venice, Palazzo Grassi) 1987, with English, French, and American editions; Meisterzeichnungen des Künstlerkreises um Kaiser Rudolf II. aus dem Museum der Schönen Künste in Budapest, Salzburg (exhibition im Salzburg er Barockmuseum), 1987; Prag um 1600, Freren (exhibitions in Essen, 1988 and Vienna, 1988/89); The Sadelers: Engravers from the Golden Age of Antwerp and Prague, Philadelphia, 1989, with related publication by Dorothy Eimouze, .Aegidius Sadeler, Imperial Printmaker. Bulletin of the Philadelphia Museum of Art 85 (1989); Kösslerová, D.: The Parnassus of the Arts. Rudolf H's Prague Court in the Elizabethan Era. St. Andrews, 1989; Prager Barock, Schallaburg, 1989, especially 27-56. Symposia include ,Art at Rudolf IPs Court" Prague 1987, with papers published as: ,J?rag um 1600. Beiträge zur Kunst und Kultur am Hofe Rudolfs II.", Freren 1988; and ,

J?rag um 1600", Vienna 1989, papers forthcoming in Jahrbuch der Kunsthistorischen Sammlungen in Wien 1991. This summary does not take into account me large number of articles devoted to Rudolfine art. Many of these publications and exhibitions have presented new works; the present paper offers material not handled in Kaufmann: ibid., nor in these works. 3 Reference to the Van Doort catalogue is taken from the sales catalogue. Vertue's reference is found as follows, A Catalogue and Description of King Charles the First's Capital Collection of Pictures, Limnings, Statues, Bronzes, Medals and other Curiosities. London 1757, 39. No. 21 Item. Another limned picture done upon the right light, of the Emperor Rudolphus the second, painted upon parchment being transparent to be seen on both sides holding against the sky; given to the KFW G by his majesty's apothecary Mr. John Wolfrumler. In the margins is written: Done by Mr. Frosley, the Emperor Rudolph's limner. 4 See Law, E.: The Royal Gallery of Hampton Court. London 1898,231, no. 630, who notes that „Rodolphus the Emperor" was sold by the Commonwealth to Mr. Harison, 23rd October, 1651 forL 1." 5 Sotheby's Monte Carlo sale, 5 December, 1987, no. 287. According to a letter of 23 October 1987 to Oie author from George Gordon of Sotheby's, die top of the frame bore a label with an attribution to Pourbus, no longer visible in December 1989. See Law: ibid., one of the sources of die continuing misidenufication of the painting recorded in the earlier sources with a painting still in Hampton Court that is in fact a portrait of Rudolf IPs father, Maximilian II: for this point see School of Prague, 176.