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

The painting is now on the art market in Paris. I am grateful to François Antonovich for permission to publish this work, which he will be including in his own forthcoming La Renaissance Rodolphienne à Prague et son Rayonnement. 6 Kaufmann: School of Prague cat. no. 1.43. The observations of Fuiiková, E.: Prag um 1600, 1, cat. no. 98, 216; that a portrait by Von Aachen (? and workshop: see School of Prague cat. no. 1.64) now in the Wellington Museum, London, is the model for a portrait on alabaster of the emperor, which in turn served for Sadeler's print, are not strictly accurate. Rudolf's armor, beard, and glance all vary in the three compositions. It would be better to say that they all conform to a general type depicting the emperor in armor, that is known in other versions as well. 7 Compare for instance Fröschl's copies after Spranger and Dürer, School of Prague cat. no. 3.1 and 3.2. 8 This information on Fröschl is derived from my previous research on the artist as presented in: School of Prague, 173. 9 Again lam gratef ul to François Antonovich, who wül also be publishing this work in this forthcoming Renaissance Rodolphienne, for permission to publish a photograph of this miniature. 10 Köhler, W. ed.: Aktenstücke zur Geschichte der Wiener Kunstkammer in der Herzoglichen Bibliothek zu Wolfenbüttel. Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses 26 (1907) 2. reg. no. 19448, xi, no. 155. 11 Berger, A. ed.: Inventar der Kunstsammlung des Erzherzogs Leopold Wilhelms von Oesterreich, ibid., 1 (1883) nos. 468498. 12 See School of Prague cat. no. 9.3 and 9.7. For the development of mis type of composition in art c. 1600 see Bergström, J.: Flower Pieces of Radial Composition in 16th and 17th Century Art. In: Album Amicorum J.G. Van Gelder. Ed. Bruyn, J. et al The Hague 1973, 22-26. For the impact of the Archetypa, see Bergström, I.: „On Georg Hoefnagel's manner of working with notes on the influence of the Archetypa series of 1592." in: Netherlandish Mannerism. Stockholm 1985, 176-187. 13 See School of Prague cat. no. 10.2, 10.5; Vignau-Wilberg, TE: Randilluminationen und Initialen. In: Das Gebetbuch Kurfürst Maximilians I. von Bayern. Frankfurt a. M. and Stuttgart 1986, 111,fig.

26. 14 Bergström, L: Dutch Still-Life Painting in the Seventeenth Century. Trans. Hedstrom, Ch. and Taylor, G. London 1956, 36ff., discusses the evidence for Georg Hoefnagel's still-life painting. I find his attribution of a painted still-life published there unconvincing as a work by Hoefnagel. 15 See Hopper, R: Jacques de Gheyn II and Rudolf IPs Collection of Nature Drawings. In: Prag um 1600. Beiträge. 124131. 16 Illustrated ibid. 131, fig. 9. 17 E.g., School of Prague cat. no. 19.1, 19.2. 18 For the association of the Prayerbook of Maximilian I with Prague, see Vignau-Wilberg: Die Randilluminationen und Initialen. The most important recent rediscovery of Prague nature painting is presented in: De Albums van Anselm us de Boodt, which also includes, 24-29, a survey of the subject. 19 For De Boodt, see De Albums; for the existence of nature paintings by Van Ravesteyn, see the references, in Bauer, R.-Haupt, H. ed.: Das Kunstkammerinventar Kaiser Rudolfs 11. 1607-1611. Jahrbuch der Kunsthistorischen Sammlungen inWien72(1976) 135, no. 2689, 138, no. 2781. 20 For these books and earlier opinions on them, see most completely Vignau-Wilberg, Th. in: Prag um 1600 2, 143144, no. 605. 21 This painting was executed in oü on copper, 8 3/8 by 6 5/8 inches (21.3 cm x 16.8 cm) sold at auction in Christie's London, 7 July 1989, lot 10. Other works, in addition to this one, will be considered in Joaneath Spicer's long awaited monograph on the artist. 22 A painting sold in Paris in 1972 containing the main group of die hourse and two deer that is published by Müllenmeister, K. I: Roelant Savery, Freren 1988, 320, no. 254, ill., also mentioned in die sales catalogue, does not however seem to be by the artist's hand. 23 Representations by Savery of Adam and Eve in the Garden of Eden, surrounded by animals, include paintings in a private collection in Essen, formerly in the Trounikoff collection (photograph no. L. 40646, Rijksbureau voor Kunsthistorische Dokumentatie, the Hague). A painting of animals before the Ark, perhaps dated 1602, was in the Palmer Collection in the 1940's (photograph no. L 4560, the hague). For early representations done by Savery of hunt scenes and of Orpheus, see School of Prague cat. no. 19.5, 19.6. 24 See School of Prague cat. no. 19.7. 25 As in the catalogue of Galerie Jan de Maere: Tableaux de Mahres Flamands et Hollandais des XVI

e et XVII

e siècles. Brussels 1987, no. 14. The painting is executed in oil on canvas, and has the dimensions 72 3/4 by 45 3/4 inches (185 x 116 cm). It was previously owned by Aristole Onassis

, who gave it to Maria Callas, and then was in the Meneghini collection in Brussels. According to die gallery's catalogue, the painting was exhibited in the show „Manieristes du Nord," at the Musée Sint-Baafs-Vijve, 1986. In 1991 the painting is still owned by the Gallery, to which I am grateful for permission to publish. 26 See School of Prague, cat. no. 16.11 and 16.9. 27 See School of Prague, 225. This painting came to light too late to include with illustration in the catalogue of the book. The inventory number of this work is correctly 73, not 5, as indicated in School of Prague. The Galerie Jan de Maire: Tableaux, also recognized this connection, but misleadingly suggested that this actual painting, as opposed to the inventory reference, was cited in: L'école de Prague. Paris 1985, 265. (where die incorrect inventory reference is also given) 28 See note 17 above. 29 This identification, advanced in Prag um 1600 cat. no. 605, as above, note 17, does not call upon comparisons to animal or bird paintings. 30 Sale, Sotheby's, New York, June 1, 1989, no. 36, oü on canvas, 66 5/8 x 53 3/4 inches (169.3 x 136.5 cm.). 31 For this painting see School of Prague color plate 11 and cat. no. 16.7. 32 In the sales catalogue.