Working in 2021 on a book about a disputed Rembrandt self-portrait, I wished to refer to the article below, from July 1992, for its comments on the Rembrandt Research Project. The English text had not been published before. If I am not mistaken, this article has never been referred to in subsequent literature on the painting.
To mark the publication of the Dutch edition of a book on Pieter Saenredam that I wrote with Marten Jan Bok, the Frans Hals Museum in Haarlem invited us to install a small exhibition in the museum. The central work was Saenredam’s painting of the town hall of Haarlem. Marten Jan and I wrote a booklet to accompany the show. In it we expressed the wish that the museum acquire the painting. This has not happened. It remained with Wildenstein & Co. until they put it into a sale at Sotheby’s New York on 28 January 2016. I am told that it was purchased by a married couple of distinguished American collectors who are planning to donate it to a U.S. museum. All the better that it has passed into the hands of people who really want it.
The sale of a painting by Govert Flinck for a higher price than some Rembrandts have fetched in recent years prompts a reflection on the ongoing (and never-ending) revision of our scale of values. Continue reading “352 Up the Rembrandt school!”
At a local auction in a small town in New Jersey, two days ago, a small painting of a fainting woman was sold for $870,000, a thousand times more than its high estimate. The buyer and underbuyer were betting on the chance that it is one of the earliest paintings by Rembrandt. Schwartz thinks they were making a good bet. Continue reading “342 Rembrandt’s fourth sense: a quick reaction”
On the painting of an Apocalypse that has already come and will never be really gone, by the Dutch Nazi artist Henri van de Velde.
“Oude en nieuwe wonden,” Het Financieele Dagblad, 31 January 2004, p. 25
Cultural pessimists who are sure of the ongoing decline in our appreciation for art will have no choice, after reading Schwartzlist 321, but to change their tune if not their mind. Continue reading “321 Rembrandt, Rubens, the Beau Sancy and the Jew”
Pieter Saenredam documented his own art so well in inscriptions on his paintings and drawings that even lost work can often be identified. Now, however, a completely unknown composition has turned up, a view of the artist’s birthplace – even the house in which he grew up – in a touchingly personal painting. Continue reading “316 Pieter Saenredam comes home again (with Marten Jan Bok)”
There are times when the behavior of an artist or a museum can fill you with disgust. Covered by the kneejerk respect for art displayed by society, they betray artistic and moral principles that you try to live by. What if anything do you do about it? Schwartz wrestles uncomfortably with the problem.
The appearance of an outstanding collection of articles by his old friend Albert Blankert brings out sentimental recollections and upright admiration in Schwartz.
A good provenance is not supposed to add to the value of a work of art, but it does. The information that an object was once owned by someone with famous good taste is worth money on the auction block. A collection mainly of Dutch 18th-century drawings that partakes of this quality, coming up at Sotheby’s Amsterdam on 19 May, is the Unicorno Collection, accumulated over the past 50 years by Saam and Lily Nijstad.