Going Dutch_ How England Plundered Holland's Glory - Lisa Jardine [186]
43 See S. Groenveld, ‘Frederick Henry and his entourage: A brief political biography’, in van der Ploeg and Vermeeren, Princely Patrons, pp.18–33; 30–1.
5: Auction, Exchange, Traffic and Trickle-Down
1 J. Thurloe, A collection of the state papers of John Thurloe, Esq; secretary, first, to the Council of State, and afterwards to the two Protectors, Oliver and Richard Cromwell. In seven volumes…To which is prefixed, the life of Mr. Thurloe…By Thomas Birch, 7 vols, Vol. 1 (London, 1742), pp.182–3.
2 See J. Brown, ‘The Sale of the Century’, in Kings and Connoisseurs: Collecting Art in Seventeenth-Century Europe (New Haven and London: Yale University Press, 1995), pp.59–94.
3 See A.G.H. Bachrach and R.G. Collmer (eds), Lodewijk Huygens: The English Journal 1651–1652 (Leiden: Brill, 1982), p.61
4 J.M. Montias, ‘Art dealers in the seventeenth-century Netherlands’, Simiolus 0.18 (1988), 244–56; 245. See also J.M. Montias, Art at Auction in Seventeenth Century Amsterdam (Amsterdam: Amsterdam University Press, 2002); J.M. Montias, Vermeer and His Milieu: A Web of Social History (Princeton: Princeton University Press, 1989); E.A. Honig, Painting and the Market in Early Modern Antwerp (New Haven and London: Yale University Press, 1998).
5 For more on the Duartes see below, Chapter 7.
6 Diary of John Evelyn.
7 Montias, ‘Art dealers in the seventeenth-century Netherlands’, p.245.
8 Montias, Art at Auction, pp.234–42.
9 Honig, Painting and the Market, p.195.
10 S. Slive, ‘Art historians and art critics – II: Huygens on Rembrandt’, Burlington Magazine 94 (1952), 260–4; 261.
11 I am placing the Lievens painting around 1625, in spite of the opinions of art historians. Held gives the date as 1629. The Rijksmuseum website gives 1626–27. A recent PhD dissertation on Lievens dates it at 1628–29: L. De Witt, Evolution and Ambition in the Career of Jan Lievens (1607–1674) (University of Maryland PhD, 2006). I place it a couple of years earlier for a number of reasons. Huygens says he was particularly melancholic at the time Lievens painted his portrait (see below), and his demeanour and dress as depicted resemble Dutch mourning paintings of the same period. He appears to wear a mourning ring around his neck. Huygens’s father died in 1624, and the Stadholder Maurits died in 1625. Huygens would have been doubly in mourning for these two highly significant losses. In late 1625 he was appointed secretary to the new Stadholder Frederik Hendrik. This would have been an appropriate occasion for a portrait.
12 Once again, this specific account by Huygens justifies his having his portrait painted in spite of his being in a period of mourning, since it places the onus for proceeding with the painting immediately on Lievens.
13 Pieters, ‘Among ancient men: Petrarch, Machiavelli, Sidney and Huygens’, in Speaking with the Dead: Explorations in Literature and History (Edinburgh: Edinburgh University Press, 2005), p.41.
14 Ibid.
15 For the most recent account of Lievens’s career, see L. De Witt, Evolution and Ambition in the Career of Jan Lievens (1607–1674), unpublished PhD, University of Maryland, College Park (2006), especially Chapter 2, ‘Lievens in England, 1632–1635’.
16 Ibid., p.110. Reproduced in Princely Patrons, p.170.
17 Cit. De Witt, Evolution and Ambition, p.118.
18 Ibid., p.123.
19 Ibid., pp.121–2.
20 M.R. Toynbee, ‘Adriaen Hanneman and the English court in exile’, Burlington Magazine 92 (1950), 73–80. See also M.R. Toynbee, ‘Some early portraits of Princess Mary, daughter of Charles I’, Burlington Magazine 82 (1943), 100–3.
21 A. Sumner, ‘Hanneman, Adriaen (c.1604–1671)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 [http://www.oxforddnb.com/view/article/12215, accessed 19 February 2007].
22 BL Add. MS 16174: ‘Proposal to the parliament of Sir Balthazar Gerbier, knt., Peter Lely and George Geldorp concerning the representing in