By John Michael Montias
During this learn of Amsterdam's Golden Age cultural elite, John Michael Montias analyzes files of auctions from the Orphan Chamber of Amsterdam during the first 1/2 the 17th century, revealing a wealth of data on a few 2,000 paintings buyers' nearby origins, social and spiritual affiliations, wealth, and aesthetic personal tastes.
Chapters concentration not just at the artwork buyers who got at those auctions, but additionally on purchasers who had distinct connections with person artists.
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Additional resources for Art at Auction in 17th-Century Amsterdam
0 ƒ for a Tower of Babylon (probably by Pieter Bruegel). Van Os also purchased a Fire scene by the “young Bruegel” for 58 ƒ. Other high bidders included the painter Barent Theunisz. 5 ƒ); Philips Thijsz. 5 ƒ), Willem Jacobsz. 25, and 28 ƒ), and Rombout Jacobsz. bidding with Nicolaes Colyn (90 ƒ and four smaller lots); the merchants Gerrit van Veelen (56 ƒ), Hugo van der Mast (60 ƒ), and Denis Bave (47 and 44 ƒ); the painter Hans van Cleef (38 ƒ), the merchant Hans Martensz. 5 ƒ); Mr. 93 Based on these fragments of evidence, I have come to the tentative conclusion that immigrants from the South played a dominant, although far from exclusive role, in the gradual ascent of Orphan Chamber sales from a local, neighborhood phenomenon to a major Amsterdam institution.
8 percent of the total value of lots sold. 5 percent of the value of art works sold, clearly operated at the lower end of the quality scale. 2 Basic Statistics for Four Categories of Buyers (1597-1638) No. of No. 7 Note: “Private buyers” is a residual category, which includes buyers with an unknown occupation. A few of the latter may be unidentified art dealers, uitdraagsters and “professionals”. Sources: Notebooks of Orphan Chamber sales cited in tables above. probably also including prints tacked on to a wooden support)121 and alabaster slabs, but comparatively few drawings and engravings.
1609); the painters Valerius van der Hoeve (1608 and 1609), Pieter Isaacksz. ) Salomon Pietersz. ) (three sales in 1620, one in 1622 and one in 1624). A few voluntary sales consisting chiefly of works of art were made at the request of merchants and other individuals not apparently connected with the art trade, including the attorney François Schot (1626), the merchants Cornelis and Jan Witsen (1628), Jan Gansepoel (1625) and Marten Hendricksz. Spiegel (1621). These perhaps consisted of paintings and other works of art that were pledged against loans made by these individuals to debtors who could not reclaim them.