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
33 For this point see expecially DaCosta Kaufrnann, Th.: Empire Triumphant: Notes on an Imperial Allegory by Adriaen de Vries in the National Gallery of Art. Studies in the History of Art 8 (1978) 63-75; Koneiny, E: Hans von Aachen and Lucian: an Essay in Rudolfine Iconography. Leids Kunsthistorisch Jaarboek. 1 (1982) 237-258. 34 Boeheim, W: Urkunden und Regesten aus der KJK. Hofbibliothek. Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses 7 (1888) (Hofzahlamtsrechnung 1589), reg. no. 5496. 35 On the basis of comparison with Ulis firmly dated work, the attribution of some paintings in Siena (works discussed byPűdovaniyS. in: L'arte a Siena sotto i Medici 1555-1609. Siena 1980, 206-208.) to Van Ravesteyn proposed by Dacos, N: Un élève de Peeter de Kempeneer: Hans Speckaert. Prospettiva 57-60 (1989/90) („Scritti in ricordo di Giovanni Previtali") 88, n. 16, and in a forthcoming study, seems dubious. 3 6 Sale, Sotheby's, London, 11 April 1990, lot 141. Oil on canvas, 55 1/2 by 75 1/2 inches (141 by 192 cm). Signed and dated in HANS (in monogram ligature) VRE (in monogram ligature, for Vredeman) FRIESE. INV & FEC AETA, 71 ANO 1598. 37 School of Prague cat. no. 25.9. 38 School of Prague cat. no. 25.1, 25.2,25.3. 39 For this subject see in general Hitchcock, H-R.: Netherlandish Scrolled Gables of the Sixteenth and Early Seventeenth Centuries. New York 1978; Vos, R.-Leeman, E: Het nieuwe ornament. The Hague 1986. 40 Loc. cit. especially cat. no. 25.1. 41 School of Prague cat. no. 25.4. 42 Before the unification of Germany, this work belonged to the Staatliche Museen zu Berlin, Gemäldegalerie, cat. no. 1605, and was effectively on loan to what was then die Museum für Kunstgewerbe in East Berlin. The painting is in oil on canvas, 123 by 158 cm. I am grateful to Dr. Werner Schade for assistance in obtaining a photograph of this painting. 43 In his authoritative article on interior painting by the Vredeman de Vries, Uwe M. Schneede gave this work to Paul: Interieurs von Hans und Paul Vredeman Nederlands Kunsthistorisch Jaarboek 18 (1967) 166, cat. no. XXDC. In The Berlin catalogue this work is called Hans (?). 44 These paintings are illustrated in Fuiiková, E.: Towards a reconstruction of Pieter Isaacsz's early career. Netherlandish Mannerism, 165-177. 45 Roever, N. de: Drie Amsterdam sehe Schilders (Pieter Isaks, Abraham Vinck, Cornells van der Voort). Oud Holland. 3 (1885) 177. 46 The figures on a painting of Esther before Ahasuerus dated 1612 by Paul Vredeman de Vries in the Hessiches Landesmuseum, Darmstadt, inv. no. GK 988 can, to my mind, be attributed to Isaacsz. only with great difficulty. The resolution of this sort of problem awaits, however, a thorough reconsideration of the later work of Pieter Isaacsz, for which I have made some proposals in a review of „Christian IV and Europe. The 19th Art Exhibition of the Concil of Europe, Denmark 1988." Konsthistorisk tidskrift 57 (1989) 20-21. There my suggestion mat the Berlin painting might be the work sold in 1621 is probably not to be accepted, however, as its subject can not be identified as the story of Esther. 47 See Vollmer, H. ed.: Allgemeines Lexikon der bildenden Künsten. 41. Leipzig 1940. 578. 48 Roever: Drie Amsterdam sehe Schilders, 176. 49 Mander, IC van: Het Schilder-boeck... Haarlem 1604. fol. 29 lr. For this painting, see School of Prague cat. no. 1.37. 50 The impact of Prague painting on the evidently similar painting of Gillis Coignet, who is mentioned by Van Mander: ibid fol. 267r as having brought Hans Vredeman de Vries to Hamburg, may also be considered in this regard. 51 Oil on panel, 44 by 57 1/2 inches (111.7 x 146 cm), signed in monogram and dated vries/ Ano /1607. Sale, Sotheby's New York, 1 June, 1989, no. 42. The painting has a provenance from the collection of J.tJ3att, Esq., New Hall Salisbury; from the collection of Alfred Buckley, Esq. (Sale Christie's London, May 4, 1901, no. 31., as P. Neefs) and from the Central Picture Galleries, New York. It was exhibited on loan to the Chrysler Museum at Norfolk, February, 1977. 52 School of Prague cat. no. 28.8. 53 For example, a painting dated 1595 in the Duits Collection is varied only slighüy in a work now in Vienna, Kunsthistorisches Museum, inv. no. 7661, School of Prague cat. no. 25.7. 54 School of Prague cat. no. 25.2. 55 Ibid. cat. no. 25.1. 56 Cited in Fuiiková, E. : Studien zur rudolf inischen Kunst: Addenda et Corrigenda. Umeni 27 (1979) 494-495. 57 Boeheim: „Urkunden," no. 5496. 58 See the information related to Fröschl's biography cited in School of Prague 173. 59 This author has noticed that the painting of the Nativity dated 1596 by the Flemish artist Gaspar Hovic in me Bernardine church in Molf etta, Apulia, is a copy of a well-known print by Sadeler after Von Aachen. Another engraving by Aegidius Sadeler after Heintz (School of Prague cat. no. 7.3) provided die source for a large painting in die Church of St. Nicholas in FJbTg, Warmia (Ermland).
