The query even if seventeenth-century painters equivalent to Rembrandt and Rubens created the work that have been later bought less than their names, has brought on many a heated debate. a lot remains to be unknown in regards to the ways that work have been produced, assessed, priced, and advertised. for instance, did modern connoisseurs count on masters comparable to Rembrandt to color their works totally by way of their very own hand? Who was once credited having the ability to verify work? How did a painting’s fee relate to its caliber? and the way did connoisseurship swap because the artwork marketplace grew to become more and more complicated? The individuals to this crucial quantity hint the evolution of connoisseurship within the booming artwork marketplace of the 17th- and eighteenth centuries. between them are the well known Golden Age students Eric Jan Sluijter, Hans Van Miegroet and Neil De Marchi. it's not to be ignored by means of someone with an curiosity within the outdated Masters and the early sleek paintings industry.
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Extra info for Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age)
On the one hand, these documents indicate that it was not self-evident that a work signed and sold as by a certain master was indeed entirely executed by that master. On the other hand, they suggest that at least some painters deliberately created purely autograph works and in doing so provided both seventeenth-century buyers and present-day connoisseurs with the certainty that at least some of their works can be expected to have been done solely by their own hand. Moreover, at least four owners were so keen on proving that their work was indeed by a speciﬁc master that they demanded a written guarantee, an ‘expert-opinion’ or ‘Gutachtung’ avant-la-lettre.
Indd 30 07-10-2008 16:33:57 AR T MAR KET A ND C ONNOISSEURSHIP 31 ‘By His Hand’: The Paradox of Seventeenth-Century Connoisseurship* Introduction The question of whether seventeenth-century painters and connoisseurs had a different understanding of authenticity than we do today, has been the cause of much debate. Several scholars have even wondered if present-day connoisseurship is anachronistic in its efforts to distinguish the hand of a seventeenth-century master from those of his assistants and pupils.
180 Allegory on the Marriage of Frederik Hendrik and Amalia van Solms,1651 Oranjezaal, Huis ten Bosch 5. Gerrit van Honthorst, see colorplate p. 180 Wiliam II’s Reception of Mary Stuart upon her Arrival in the Netherlands, 1649 Oranjezaal, Huis ten Bosch 6. Gerrit van Honthorst, see colorplate p. indd 45 07-10-2008 16:33:58 46 ANNA TU M M E R S Seventeenth-century insights as to attributing pictures Studio practices and signing habits are of course crucial when trying to recognise the master’s hand and to attribute seventeenth-century pictures.