You are here: Home 2. Introduction to Gerson’s Chapter on Poland - Rieke van Leeuwen 2.4 Dutch Artists in Poland
Document Actions

2.4 Dutch Artists in Poland

There were more Northern than Southern Netherlanders in Poland in the 17th century, or at least so it appears from the factual information in the database RKDartists&, which gives 18 practitioners from the south as opposed to 34 from the north. The figures may have been reversed during the 16th century but for want of data in RKDartists, it is not possible to verify such suppositions via this route. Possibly more paintings from the Southern Netherlands came to Poland via export than by way of travelling artists who painted there. Of the mentioned 34 artists from the Northern Netherlands, only eight were not mentioned by Gerson. They include two glass painters, who have also been torn from oblivion by Pałubicki’s archival research: Hendrick Lampertssen from Franeker and Cornelius Kersten from Amsterdam.1 It was not yet known in Gerson’s time that the Amsterdam art dealer Hendrick Uylenburgh (c. 1587-1661), with whom Rembrandt stayed for four years and, lived in Poland until he was almost 40 years old.2 Nor was it known that Hendrick, brother of Rombout Uylenburgh, played such an important role in the import and export of paintings, drawings and prints between the Dutch Republic and Poland.3

A minor Dutch artist whom Gerson did not mention is the engraver Frans Allen (-after 1685) [i], who, so the Thieme/Becker informs us, was of Dutch origin and lived in Danzig for fully 40 years. But Gerson also made no index card for the important court architect Tilman van Gameren (1632-1706) [i], who worked in Poland from 1660 to his death, though he did mention other architects.

X
Frans Allen   after Adolf Boy   , Portrait of Henrich Freder, c. 1652-1654

Frans Allen   after Adolf Boy  
Portrait of Henrich Freder c. 1652-1654
etching / paper, 187 x 139 mm
4.88969 Rijksprentenkabinet52.37403, Amsterdam, no. RP-P-1935-268



X
Tilman van Gameren   , Selfportrait of Tilman van Gameren (1632-1702)

Tilman van Gameren  
Selfportrait of Tilman van Gameren (1632-1702) (1650 - 1674)
paper, ? x ? mm
21.01178 Prentenkabinet van de Universiteitsbibliotheek van Warschau52.22977, Warszawa, no. AT 917 recto



In a note to a publication of 1979, James Welu mentioned in passing that the Amsterdam still-life painter Jan Vonck (1631-c. 1663/64) was born in 1631 in Toruń and that this and other archival facts had been communicated to him by S.A.C. Dudok van Heel, who had found the evidence in the City Archives of Amsterdam [i].4 This news situates Elias Vonck (c. 1605-1652), Jan’s father, in Poland during the 1630s. A daughter of his was baptized in Amsterdam in 1639, meaning he was definitely back in his native city by then. This information was taken over without much ado in the art-historical literature after 1979. Gerson had already observed on the basis of visual evidence that some paintings by Daniel Schultz (c. 1615-1683) were somehow related to works by Elias (and/or Jan) Vonck,5 but the knowledge that Elias Vonck was active at a time that Schultz could already have been an apprentice, asks for closer comparison of their works.

X
Jan Vonck   , Marriage suscription of the painter Jan Vonck and Trijntje Jans, dated 6 December 1653

Jan Vonck  
Marriage suscription of the painter Jan Vonck and Trijntje Jans dated 6 December 1653
pen in brown ink / paper, ? x ? mm
4.88969 Stadsarchief Amsterdam52.37403, Amsterdam, no. DTB 472, p. 195 (Vonck, Joannes)



A striking pictorial type that occurs in the oeuvre of both Elias Vonck [i] [i] and Daniel Schultz [i] [i] is the hunting still life with a figure (man, woman or child) who holds up a dead hare or bird. It is almost certain that Schultz was familiar with such works by Vonck, this being knowledge that he could also have come by during his stay in the Dutch Republic in the first half of the 1640s.6 Krzysztof Tretkowski or Tricius (1622-?) also came from Poland to Amsterdam to become apprenticed to Elias Vonck, presumably in 1641.7

X
Elias Vonck   , Boy with dog and game

Elias Vonck  
Boy with dog and game (1620 - 1652)
oil paint / panel, 92,5 x 70,5 cm
4.35556 Stedelijk Museum Het Prinsenhof52.00667, Delft



X
Elias Vonck   , A boy holding a hare near a hunting still life with dead birds, c. 1650

Elias Vonck  
A boy holding a hare near a hunting still life with dead birds c. 1650
oil paint / canvas, 162,5 x 146 cm
center right :  Elias.Vonck.f.
art dealer  Jack40.71427, -74.00597 Kilgore & Co., New York City/London



X
Daniel Schultz   , Woman with a dead hare: Allegory of Autumn, dated 166[.]

Daniel Schultz  
Woman with a dead hare: Allegory of Autumn dated 166[.]
oil paint / canvas, 136 x 101 cm
18.0649 Nationalmuseum Stockholm59.33258, Stockholm, no. NM 293



X
attributed to Daniel Schultz   , A man holding a hare, 1660's

attributed to Daniel Schultz  
A man holding a hare 1660's
oil paint / canvas, 92 x 72 cm
17.03333 Muzeum Narodowe we Wroclawiu51.1, Wrocław





[1]

Pałubicki 2009, vol. 2, pp. 131 and 464.

[2]

Van der Veen 2001 and Lammertse/Van der Veen 2007.

[3]

Boers 2012, p. 56-61 and passim. On Rombout Uylenburgh, see Erik Löffler’s article below.

[4]

Welu 1979, p. 123, n. 2. The archival piece concerns the registration of the church marriage of Jan Vonck and Trijntje Jans: ‘Compareerden als vooren Joännes Fonc van Turen in-/ polen schilder out 22 jaer geen ouders hebbende woon[en]de in den Cle[?].straet ende Trijntje Jans van/ A[msterdam] out 22 jaer geass[isteer]d met Jan Jansen Crijpskerk [Grijpskerk?]/ haer vader woon[en]de op de Rosengraft […]’. Below are his signature, ‘J. Vonck’, and an ‘x’ for Trijntje (transcription Fred Meijer, RKD).

[5]

See § 6.3: Daniel Schultz and Andreas Stech.

[6]

He was registered at the University of Leiden in 1643 (Steinborn 2004, p. 221).

[7]

Thieme/Becker1908-1953, vol. 33 (1939), p. 383. This volume of the lexicon had not yet come out when Gerson completed his research in 1938.

Datum laatste wijziging: Apr 04, 2014 01:39 PM