Going Dutch_ How England Plundered Holland's Glory - Lisa Jardine [187]
23 D. Dethloff, ‘Lely, Sir Peter (1618–1680)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 [http://www.oxforddnb.com.catalogue.ulrls.lon.ac.uk:80/view/article/16419, accessed 2 April 2007].
24 C. Hofstede de Groot, Die Urkunden uber Rembrandt (The Hague: M. Nijhoff, 1906).
25 Cited in F. Scholten, ‘François Dieussart, Constantijn Huygens, and the classical ideal in funerary sculpture’, Simiolus 25 (1997), 303–28; 309.
26 See full account in A.-M.S. Logan, The ‘Cabinet’ of the Brothers Gerard and Jan Reynst (Amsterdam: North-Holland Publishing Company, 1979), pp.75–86.
27 For a concise account of this dispute see Montias, Vermeer and His Milieu, pp.207–9.
28 See D. Mahon, ‘Notes on the “Dutch Gift” to Charles II: 1’, Burlington Magazine 91 (1949), 303–5; ‘Notes on the “Dutch Gift” to Charles II: 2’, Burlington Magazine 91 (1949), 349–50; ‘Notes on the “Dutch Gift” to Charles II: 3’, Burlington Magazine 92 (1950), 12–18.
29 Cit. G. Schwartz and M.J. Bok, Pieter Saenredam: The Painter and His Time (London: Thames & Hudson, 1990), p.206.
30 H. Macandrew and K. Andrews, ‘A Saenredam and a Seurat for Edinburgh’, Burlington Magazine 124 (1982), 752–5; 755.
31 Schwartz and Bok, Pieter Saenredam, p.128; pp.149–54.
32 Mariët Westermann, ‘Vermeer and the interior imagination’, in Vermeer and the Dutch Interior (Madrid, 2003), p.225.
33 John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton: Princeton University Press, 1989).
34 Diary of John Evelyn 3, p.262.
35 See R. van Leeuwen (ed.), Paintings from England: William III and the Royal Collections (The Hague: Mauritshuis & SDU Publishers, 1988), p.79.
36 Mrs Burnett, wife of Gilbert, in 1707. Cit. C.D. van Strien, British Travellers in Holland during the Stuart Period: Edward Browne and John Locke as Tourists in the United Provinces (Leiden: Brill, 1993), p.153.
37 R. van Leeuwen (ed.), Paintings from England: William III and the Royal Collections (The Hague: SDU Publishers, 1988), pp.78–80.
38 J. Israel, ‘The United Provinces of the Netherlands: The Courts of the House of Orange’, in J. Adamson (ed.), The Princely Courts of Europe 1500–1750 (London: Weidenfeld & Nicolson, 1999), pp.119–140; p.136.
39 Van Leeuwen, Paintings from England, pp.21–2.
6: Double Portraits
1 For an interesting account of Schurmann’s artistic activities see E.A. Honig, ‘The art of being “artistic”: Dutch women’s creative practices in the 17th century’, Woman’s Art Journal 22 (2001–02), 31–9.
2 See below.
3 5 August 1642. Worp, letter 3092.
4 For details of Susanna’s background see J.S. Held, ‘Constantijn Huygens and Susanna van Baerle: a hitherto unknown portrait’, Art Bulletin 73 (1991), 653–68; 659–60.
5 Cit. ibid., p.661.
6 C.D. Andriesse, trans. S. Miedema, Huygens: The Man behind the Principle (Cambridge: Cambridge University Press, 2005), p.51. See also E. Keesing, ‘Wanneer was wie de heer van Zeelhem?’, De zeventiende eeuw 9 (1993), 63–5.
7 Davidson and van der Weel, A Selection of the Poems of Sir Constantijn Huygens, p.101.
8 Ibid., p.109.
9 For a poetic analysis of their relationship, as evidenced by Huygens’s ‘Daghwerck’, see R.L. Colie, ‘Some Thankfulnesse to Constantine,’ A Study of English Influence upon the Early Works of Constantijn Huygens (The Hague: Nijhoff, 1956).
10 See L. Roth (ed.), Correspondence of Descartes and Constantyn Huygens 1635–1647 (Oxford: Clarendon Press, 1926), pp.37–8.
11 Ibid., 29 March 1637, p.43.
12 J.S. Held, ‘Constantijn Huygens and Susanna van Baerle: a hitherto unknown portrait’, Art Bulletin 73 (1991), 653–68.
13 The American-born Dutch art historian Gary Schwartz spearheaded the campaign to return the painting to the Dutch. See Schwartz’s account of the discovery, in Loekie Schwartz’s Dutch translation, in Het Financieele Dagblad, Amsterdam, 15 January 2005.