In the seventeenth and eighteenth centuries, Haarlem's thriving art community made the city an important center of artistic activity, second only to Amsterdam in influence. Inventories from this period serve as key implements in describing collectors' tastes, and they also provide information about the social habits of living among and displaying luxury goods. This book transcribes for the first time a selection of one hundred twelve important documents discovered by author Pieter Biesboer in the notarial archives of Haarlem. It also contains indexes by artist and subject, as well as a list of more than thirty-five hundred documents in which art objects are listed, found in the Archiefdienst voor Kennemerland in Haarlem. Biesboer's introductory essay provides an in-depth survey of the history of collecting in Haarlem during the seventeenth and early-eighteenth centuries. The inventories of citizens, patricians, merchants, artists, and silversmiths are included, along with the inventories of the Convent of Saint Jan, the Prinsenhof, Saint Elisabeth's Hospital, the Old Men's Almshouse, the Orphanage, and other almshouses. Together they present a comprehensive look at commissioned paintings for public buildings and institutions by artists such as Cornelis Cornelisz van Haarlem, Frans Hals, Johannes Verspronck, and Cornelis Holsteijn. In addition to paintings, Biesboer catalogues a small number of drawings, porcelain, lace, sculpture, and jewelry.

In the seventeenth and eighteenth centuries, Haarlem's thriving art community made the city an important center of artistic activity, second only to Amsterdam in influence. Inventories from this period serve as key implements in describing collectors' tastes, and they also provide information about the social habits of living among and displaying luxury goods. This book transcribes for the first time a selection of one hundred twelve important documents discovered by author Pieter Biesboer in the notarial archives of Haarlem. It also contains indexes by artist and subject, as well as a list of more than thirty-five hundred documents in which art objects are listed, found in the Archiefdienst voor Kennemerland in Haarlem. Biesboer's introductory essay provides an in-depth survey of the history of collecting in Haarlem during the seventeenth and early-eighteenth centuries. The inventories of citizens, patricians, merchants, artists, and silversmiths are included, along with the inventories of the Convent of Saint Jan, the Prinsenhof, Saint Elisabeth's Hospital, the Old Men's Almshouse, the Orphanage, and other almshouses. Together they present a comprehensive look at commissioned paintings for public buildings and institutions by artists such as Cornelis Cornelisz van Haarlem, Frans Hals, Johannes Verspronck, and Cornelis Holsteijn. In addition to paintings, Biesboer catalogues a small number of drawings, porcelain, lace, sculpture, and jewelry.

A study of Leonardo da Vinci's Salvator Mundi, the world's most expensive painting; this volume recounts the story of the painting's modern-day discovery and restoration, but also delves into the collecting of Leonardo's works at the courts of Charles I and Charles II--éd.

Between 1750 and his death in 1781, the Marquis de Marigny?brother of Madame de Pompadour, courtier to Louis XV, and one of eighteenth-century France's important patrons of art and architecture?amassed a collection that was broad in scope, progressive in taste, and exceptional in quality and provenance. This book offers a transcription of the exhaustive inventory of Marigny's estate together with an essay in which Alden R. Gordon not only sketches Marigny's life and times but also re-creates the interiors and grounds where the paintings, statues, books, household goods, and other property listed in the inventory were displayed and used. Also included are plans of Marigny's last four residences; lists of heirs, paintings, and auction sales; transcriptions of shipping manifests and sales catalogs; indexes; and a glossary.

Frans Hals is one of the most important portrait painters of all time. Like Rembrandt, the famous Dutch Baroque master's striking portraits of the bourgeoisie and social outsiders are distinguished by their extraordinary vividness and accurate depiction. His sketch-like paintings, executed with bold brushstrokes, had a decisive influence on modernist painting. This comprehensive publication coincides with the first major survey exhibition of Hals' oeuvre in more than thirty years. FRANS HALS (1582/84–1666) was born in Antwerp, the son of a cloth merchant. In 1610 he was accepted into the Haarlem Guild of St. Luke. Hals created hundreds of genre paintings, individual, and group portraits and enjoyed great public prestige. Despite his fame during his lifetime, it was not until the nineteenth century that he was enthusiastically rediscovered by the Impressionists and Realists.

Despite the tremendous number of studies produced annually in the field of Dutch art over the last 30 years or so, and the strong contemporary market for works by Dutch masters of the period as well as the public's ongoing fascination with some of its most beloved painters, until now there has been no comprehensive study assessing the state of research in the field. As the first study of its kind, this book is a useful resource for scholars and advanced students of seventeenth-century Dutch art, and also serves as a springboard for further research. Its 19 chapters, divided into three sections and written by a team of internationally renowned art historians, address a wide variety of topics, ranging from those that might be considered "traditional" to others that have only drawn scholarly attention comparatively recently.

This book argues that Dutch Brazil (1624–54) is an integral part of Atlantic history and that it made an impact well beyond colonial and national narratives in the Netherlands and Brazil. In doing so, this book proposes a radical shift in interpretation. The Dutch Atlantic is widely perceived as an incongruity among more durable European empires, whereas Brazil occupies an exceptional place in the history of Latin America, which leads to a view of Dutch Brazil as self-contained and historically isolated. The Legacy of Dutch Brazil shows that repercussions of the Dutch infiltration in the Southern Hemisphere resonated across the Atlantic Basin and remained long after the fall of the colony. By examining its regional, national, and cosmopolitan legacies, thirteen authors trace the memories and mythologies of Dutch Brazil from the colonial period up until the present day and engage in broader debates on geopolitical and cultural changes at the crossroads of Atlantic and Latin American studies.