UvA-DARE (Digital Academic Repository) Jan Davidsz. de Heem Meijer, F.G. Link to publication

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1 UvA-DARE (Digital Academic Repository) Jan Davidsz. de Heem Meijer, F.G. Link to publication Citation for published version (APA): Meijer, F. G. (2016). Jan Davidsz. de Heem General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam ( Download date: 30 Dec 2018

2 Jan Davidsz. de Heem Fred G. Meijer

3 Jan Davidsz. de Heem Proefschrift, Universiteit van Amsterdam 2016 Fred G. Meijer, Delft No part of this book may be reproduced in any way without the written consent of the author.

4 Jan Davidsz. de Heem Academisch proefschrift ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus Prof. Dr. D.C. van den Boom ten overstaan van een door het College voor Promoties ingestelde commissie, in het openbaar te verdedigen in de Aula der Universiteit op woensdag 1 juni 2016 te uur door Frederik Gerrit Meijer geboren te Delft

5 Promotiecommissie Promotor: Overige leden: Faculteit Prof. Dr. E.J. Sluijter, Universiteit van Amsterdam Prof. Dr. F. Grijzenhout, Universiteit van Amsterdam Prof. Dr. H.T. van der Velden, Universiteit van Amsterdam Prof. Dr. K. Van der Stighelen, KU Leuven Prof. Dr. R.E.O. Ekkart, Universiteit Utrecht Dr. P. Taylor, The Warburg Institute, Londen Dr. E.S. Bergvelt, Universiteit van Amsterdam Faculteit der Geesteswetenschappen

6 Contents Part 1 Acknowledgements 9 Introduction Jan Davidsz. de Heem s name and effigies A biography of Jan Davidsz. de Heem ( ) Utrecht, Leiden, and Amsterdam Antwerp 1636 to Antwerp - Utrecht 1656 to Antwerp 1672 to Concluding observations Summary 299 Samenvatting 302 Appendix 1 - Documents and archival references 305 Appendix 2 - Signatures 318 Appendix 3 - Catalogue A - Images only 326 Notes to chapters Bibliography Literature Exhibitions 466 Part 2 Catalogue Raisonné A - The Paintings of Jan Davidsz. de Heem 7 Catalogue Raisonné D - The Drawings of Jan Davidsz. de Heem 304 Catalogue Raisonné D R Rejected Drawings 305

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8 Acknowledgements For the results of my research as they are reflected in the following pages, I am indebted to a large number of people. First and foremost, of course, I am grateful to Jan Davidsz. de Heem for producing such an engaging and enchanting body of work that it has kept my research going for several decades without a moment of boredom. I am also grateful to the many owners of de Heem s paintings over the centuries, who have kept and cherished them in such a way that they can be studied and enjoyed in our day and age, as well as to those who have preceded me in researching de Heem and his work to some degree, and who have published their results. Without the guidance of Eric Jan Sluijter, this study would not have found its present form. I am very grateful to him for accepting me as a PhD candidate without hesitation, while I had not received any formal art-historical training. Eric Jan s diligent scrutiny of my ever expanding texts commands great respect. His profound knowledge of and devotion to Netherlandish seventeenthcentury art has been and will remain a wonderful example and source of inspiration. After I had finished my education at the Reinwardt Academy for Museology in Leiden in 1980, Rein-Arend Leeuw, director of the Delft museums, introduced me to Joop Nieuwstraten, then director of the Netherlands Institute for Art History (RKD) in the Hague. After I had joined the staff of the RKD in December 1980, Nieuwstraten enthusiastically helped me to develop my eye and analytic capacities, and later encouraged and supervised my first efforts towards art-historical publications. I am most grateful to both men for their confidence in my abilities. Joop Nieuwstraten s successor Rudi Ekkart, director of the RKD from 1990 until 2012, has always been an enthousiastic supporter and advisor. It has incessantly been a great pleasure to work with him, as well as with my former head of department, Charles Dumas, whose enthusiasm and diligence have been and still are a great source of inspiration. Many RKD colleagues, inside and outside of the department of Old Netherlandish Painting, have shown interest in the progress of my work over the years and have alerted me to various interesting issues along the way. I am grateful to the current management team of the institute and to the head of our team, Sabine Craft-Giepmans, for enabling me to bring this project to fruition. The RKD has been an ideal base for my research over the past 35 years, being employed there, initially as a documentalist and later as a curator. Over the years, numerous owners of works by Jan Davidsz. de Heem have provided the opportunity to study the paintings in their possession and have supplied me with photographs for further study. The holdings of photographic material in various image libraries have been most resourceful, such as the Witt Library in London, The Frick Art Reference Library in New York, the Getty photo archive in Los Angeles and the image documentation of the Louvre in Paris. Of course the basic material I have worked from have always been the holdings of the Netherlands Institute for Art History (RKD), and in addition the photo documentation I have built up myself over the years. Many private owners have kindly given me access to their paintings, and provided me with photographs, for which I am most grateful. Without the help of several auction houses and oldmaster dealers this project would have been impossible. For sharing all those new discoveries and reappearances with me, I am extremely grateful to the old-master staffs of Sotheby s and Christie s world-wide, as well as to many other auction houses around the world. Art dealers P. de Boer, Douwes, Richard Green, Johnny van Haeften, Hoogsteder & Hoogsteder, and many other dealerships have always been very forthcoming. Rafael Valls invited me to write a brochure for a modest exhibition in 2006, celebrating de Heem s 400 th birthday. 9

9 I am very grateful to the Rockefeller Centre for allowing me to work on the catalogue of Jan Davidsz. de Heem works in their villa in Bellagio for four weeks in May and June The following list of names is obviously incomplete and I apologize to those not mentioned, but they and all of the ones below have in one way or another, great or small, been instrumental in making me attain the results presented in this dissertation. They are, in alphabetic order: Marina Aarts, Christopher Apostle, Katherine Ara, Tom Baring, Alex Bell, Hanna Benesz, Marianne Berardi, Richard Beresford, Konrad Bernheimer, Ingvar Bergström( ), Amélie Beaujouan, Martin Bijl, Albert Blankert, Hilde, Peter and Niels de Boer, Marten Jan Bok, Johan Bosch van Rosenthal, Sophie Bremers, Beatrijs Brenninkmeijer-de Rooij( ), Damian Brenninkmeijer, Peter van den Brink, Thomas Brod, Christopher Brown, Helen Brown, Julie Brown, Edwin Buijsen, Wendela Burgemeister, Quentin Buvelot, Toby Campbell, Luigi Caretto, Görel Cavalli-Björkman, Baukje Coenen, James Corcoran, Liesbeth De Belie, Marcus Dekiert, François De Poortere, Jan Depuydt, Cornelia Diekamp-Moiso, Evert Douwes Sr., Frits Duparc, Bernd Ebert, Ildikó Ember, Ursula de Goede, Hilliard Goldfarb, George Gordon, Guido van Groeningen, Koen de Groeve, Gerlinde Gruber, Bob Haboldt, Ben Hall, Ursula Härting, Susanne Heiland, Martine Lambrechtsen, Liesbeth Helmus, Roman Herzig, Annemarie van der Hoeven, Paul Huvenne, Holger Jacob-Friesen, Noud Jansen, Maria and Pedro Jimenez, Richard Charlton Jones, Georges de Jonckheere, Roswitha Juffinger, Rachel Kaminsky, Amanda Kavanaugh, Clementine Kerr-Sinclair, Jack Kilgore, Christopher Kingzett, Marijke de Kinkelder, David Koetser, Cyril Koller, Jan Kosten, Gerbrand Kotting, Magdalena Kraemer-Noble, Nancy Krieg, Hannelien Kuperus, Andrea Kust, Alastair Laing, Walter Liedtke( ), Boedy Lilian, Erik Löffler, Pippa Mason, Chantal Mauduit, Rachel Mauro, Andrew McKenzie, Peter Mitchell, Susan Morris, Otto Naumann, Uta Neidhardt, Jan Nicolaisen, Judith Niessen, Caroline Oliphant, Rob Noortman( ), Henry Pettifer, Henk Platenburg, Teresa Posada Kubissa, Steven Rich, Margaret Rochelle, Pieter Roelofs, Charles Roelofsz, Manja Rottink, Oskar Scheidwimmer, Kareen Schmid, Frits Scholten, Marc Schreuder, David Scrase, Rosie Seaward( ), Pierre de Séjournet, Sam Segal, Tico Seifert, Hana Seifertova, Anja Sevčik, Jan Six, Irina Sokolova, John Somerville, Larry and Peggy Steigrad, Alexander Strasoldo, Laura Tayler, Peter Tillou, Renate Trnek, Eric Turquin, Nico Van Hout, Alejandro Vergara, Claude Vittet, Beth Vogel, George Wachter, Adriaan Waiboer, Amy Walsh, Ineke Wansink, Willem van de Watering, Gregor Weber, Arthur Wheelock, Karoline Weser, Aat van der Willigen( ), Christopher White, Jon Whiteley, Andris Wieg( ), Kati Wieg, Peter Wolf, Margreet Wolters, Maarten Wurfbain. A special mention deserves my lovely partner, Carla van de Puttelaar, who, ever since we first met in 2009 has taken a great interest in this project. She has read and criticized texts, been a sharp second pair of eyes in the assessment of paintings, the perfect travel companion, and she has scanned and taken photographs whenever needed. A more wonderful companion can only exist in Utopia. I dedicate this study to my parents, Aafje Meijer-Schaap ( ) and Rinus Meijer, and to my son, Marijn Meijer. My parents have always supported me in a wonderful way and sowed the seeds for my interest in art and culture, for which I am eternally grateful, and I hope that this study will inspire Marijn on the promising path he has taken. Fred G. Meijer, January