Gathered in honor of John Michael Montias (1928–2005), the best student on Johannes Vermeer and a pioneer within the learn of the socioeconomic dimensions of artwork, the essays in In His Milieu are a necessary contribution to the research of the social capabilities of constructing, gathering, exhibiting, and donating paintings. The approximately 40 essays the following by—all the world over well-known specialists within the fields of paintings heritage and the economics of art—are particularly revealing concerning the Renaissance and Baroque eras and current new fabric on such artists as Rembrandt, Van Eyck, Rubens, and da Vinci.
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Additional info for In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias
1640/1); GPI, N-2212; Montias Database, inv. no. 163. GAA, arch. no. 5075 (notarial archives), NAA 421 (film 6438) (notary J. Jacobszn), fol. 356-57v. Lit. : Bredius, Künstler-Inventare, p. thirteen, p. 229, p. 836; Montias, paintings at public sale, p. 141; Montias Database, inv. no. 1040. GAA, arch. no. 5075 (notarial archives), NAA 1679 (film 1788) (notary P. de Bary). Lit. : Bredius, Künstler-Inventare, pp. 305-306, p. 837. Bredius incorrectly identifies Dirck Harmansz as a painter. The Hague, Haags Gemeentearchief, arch. no. 372-01 (notarial archives), ONA 133 (notary D. van Schoonderwoert), fol. 129-58 (paintings at fol. 130-31v). Lit. : Bredius, Künstler-Inventare, p. 837; Th. Wijsenbeek-Olthuis (ed. ), Het Lange Voorhout: monumenten, mensen en macht (Zwolle 1998) pp. 75-77, p. ninety two, p. 284, nn. 134, 136. GAA, arch. no. 5075 (notarial archives), NAA 1267 (film 1347) (notary P. Barcman). Lit. : Bredius, Künstler-Inventare, p. 837; GPI, N-2051; Montias Database, inv. no. 181. The Hague, RKD, arch. C. Hofstede de Groot, fiches Hofstede de Groot, i. v. Govert Jansz. (“Mededeeling A. Bredius”). in line with Bredius the unique rfile used to be drawn up through the Amsterdam notary P. Barcman. despite the fact that, we have been not able to track it in: GAA, arch. no. 5075 (notarial archives), NAA 1267 (film 1347) (notary P. Barcman). Lit. : Bredius, Künstler-Inventare, p. 837. We have been not able to find the unique record. Lit. : Bredius, Künstler-Inventare, p. 837. We have been not able to find the unique rfile. Lit. : J. Worp, De briefwisseling van Constantijn Huygens, 6 vols. (Rijks Geschiedkundige Publicatiën, vols. 15, 19, 21, 24, 28, 32, The Hague” 1911-1917), vol. four (1915), pp. 284-85, no. 4283 (now to be had on-line at: http://www. inghist. nl/Onderzoek/Projecten/Huygens). Our transcription is quoted from: J. G. C. A. Briels, De Zuidnederlandse immigratie in Amsterdam en Haarlem omstreeks 1572-1630. Met een keuze van archivalische gegevens betreffende de kunstschilders (Ph. D. diss. Utrecht, 1976), p. 216. See additionally: M. J. Bok, “Een Ganymedes van Francois Badens en de werkplaats voor schilderijen in Italiaanse stijl aan de Oude Turfmarkt,” in Amstelo- ninety eight | in his milieu montiasdeel1 31 32 33 34 35 36 37 38 39 forty forty-one forty two forty three forty four 04-12-2006 16:52 Pagina ninety nine damum. Maandblad voor de kennis van Amsterdam ninety two (2005, vol. 4), pp. 3-14. , p. 10 (with older literature and additional facts at the historical past of the paintings). NB. The work got here from the gathering of Pieter Martensz. Hoeffijser, receiver-general of the tasks on import and export (“convooien en licenten”) of the Admiralty of Amsterdam. Bok (2005) didn't but realize that the following proprietor Samuel van Pitsen used to be an identical individual as “de heer Van der Straten” (Worp, vol. 2, p. 204, no. 1477, n. 1). Drawing in this details 3 extra letters containing details on those work may be present in the Huygens correspondence, as released by way of Worp (Worp, nrs. 4308, 4313, 4921). Het Utrechts Archief (HUA), arch. no. 239-1 (Hof van Utrecht), 252-173, “civiele processtukken” (councilor W. de Gruijter, file D 93). GAA, arch.