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Dutch Gift
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File:Andrea Odoni (1527); Lorenzo Lotto.JPG|thumb|Lorenzo LottoLorenzo LottoFile:The Marriage of Saint Catherine (1580); Paolo Veronese.JPG|thumb|Paolo VeronesePaolo VeroneseFile:TITIAN; Portrait of Jacopo Sannazaro (1514-18).JPG|thumb|TitianTitianFile:Portrait believed to depict Margherita Paleologo by Giulio Romano.jpg|thumb|Giulio RomanoGiulio RomanoFile:Jacopo Bassano Golgatha.jpg|thumb|Jacopo Bassano's Christ carrying the cross is now in the National Gallery, LondonNational Gallery, LondonThe Dutch Gift of 1660See below for earlier gifts was a collection of 28 mostly Italian Renaissance paintings and 12 classical sculptures, along with a yacht, the Mary, and furniture, which was presented to King Charles II of England by the States-General of the Netherlands in 1660.Whittaker and Clayton: pp. 31–2 for the art, Gleissner for the furniture and yacht. The yacht was the gift of the Dutch East India Company, according to Liverpool Museums (with model) {{webarchive |url=https://web.archive.org/web/20100729020128weblink |date=July 29, 2010 }}, or the City of Amsterdam according to other sources. The collection was given to Charles II to mark his return to power in the English Restoration, before which Charles had spent many years in exile in Paris, Cologne, and the Spanish Netherlands, during the rule of the English Commonwealth. It was intended to strengthen diplomatic relations between England and the Republic, but only a few years after the gift the two nations would be at war again in the Second Anglo-Dutch War of 1665–67.Most of the paintings and all the Roman sculptures were from the Reynst collection, the most important seventeenth-century Dutch collection of paintings of the Italian sixteenth century, formed in Venice by Jan Reynst (1601–1646) and extended by his brother, Gerrit Reynst (1599–1658).Emil Jacobs, "Das Museo Vendramin under die Sammlung Reynst", Repertorium für Kunstwissenschaft, 46 (1925:15–38), noted in Denis Mahon I p. 303 note 1. Mahon notes that the Reynst collection was as well known for its antiquities as for its paintings (Mahon p 304 note 14). See also Halbertsma on the sculpture, and Logan on the collection as a whole. The gift reflected the taste Charles shared with his father, Charles I, whose large collection, one of the most magnificent in Europe, had mostly been sold abroad after he was executed in 1649.The tradition that many of the paintings had previously been in Charles I's collection, disseminated by George Vertue in the eighteenth century and often repeated was laid to rest by Denis Mahon 1949 — see Mahon I. Charles II was not as keen a collector as his father, but appreciated art and was later able to recover a good number of the items from the pre-war collection that remained in England, as well as purchasing many further paintings, and many significant old master drawings.Lloyd, Christopher, The Queen's Pictures, Royal Collectors through the centuries, (National Gallery Publications) 1991, p. 75 {{ISBN|0-947645-89-6}}
Some decades later, there was a reverse movement when 36 paintings from the English Royal Collection, including at least one of those given in 1660, were taken by the Dutch King William III of England to his Dutch palace of Het Loo. His English successor, Queen Anne, tried to recover these after William's death in 1702, but failed, and they mostly remain in Dutch public collections.Lloyd, p.75 Fourteen paintings from the 1660 gift remain in the Royal Collection, with others now in different collections around the world.

The gift

The 24 Italian paintings and the 12 sculptures had been part of the Reynst Collection assembled by Gerrit Reynst (also known as Gerard Reynst) and his brother Jan Reynst, who had been based in Venice for many years. Much of the collection originated from the famous Vendramin family collection there, though others had been acquired separately.Mahon I, p.303 After the death of Gerrit Reynst in 1658, his widow sold a selection of the finest works in the collection to the States-General in 1660 for the then considerable sum of 80,000 guilders.In 1660 this group and twelve Roman sculptures was presented to Charles II, augmented by four non-Italian works. The gift was organized by the regents, especially the powerful Cornelis de Graeff and his younger brother Andries. The sculptures for the gift were selected by the pre-eminent sculptor in the Netherlands, Artus Quellinus, and Gerrit van Uylenburgh, the son of Rembrandt's dealer Hendrick van Uylenburgh, advised the States-General on the purchase. Much later he was to flee from financial difficulties to England and become Surveyor of the King's Pictures to Charles, from 1676 until his death three years later.Church Times, August 11, 2006 The gift was unpopular with many of the Dutch people, and became a bone of contention between the Dutch political factions.Broekman and HelmersIn July 1660 Louis of Nassau arrived in London; his countrymen Simon van Hoorn, curator of the Athenaeum Illustre, Michiel van Gogh from Vlissingen and Baron Joachim Ripperda van Farmsum arrived in November to negotiate the Act of Navigation and to present Charles II the Gift.European Treaties Bearing on the History of the United States and Its Dependencies'', ed. Frances Gardiner Davenport, Charles O. Paullin, p. 73Thiel, P.J.J. (1965) Het Nederlandse geschenk aan koning Karel II van Engeland 1660, p. 6.

Predecessors

Previous diplomatic "Dutch Gifts" had been presented to Henry, Prince of Wales in 1610,J. G. van Gelder, "Notes on the Royal Collection — IV: The 'Dutch Gift' of 1610 to Henry, Prince of 'Whalis', and Some Other Presents", The Burlington Magazine 105 No. 729 [December 1963:541–545] and to Charles I in 1636, the latter including six horses and a state carriage, four paintings, a fine watch, a chest veneered with mother-of-pearl and a precious lump of ambergrisJ. G. van Gelder, "Notes on the Royal Collection — III: The 'Dutch Gift' to Charles I", The Burlington Magazine 104 [1962:291–94].

The Italian paintings

Fourteen important Italian paintings from the Dutch Gift, all previously in the Reynst Collection, remain in the Royal Collection,Mahon III, 12. Not all the paintings were included in the engravings of the Reynst collection, and some of these provenances remain highly probable rather than certain. including:Whitaker and Clayton: pp. 31–2 describe the gift in general, and the individual paintings listed immediately below all have full catalogue entries, except the Schiavone Christ before Pilate and the Cariani, which are not covered by Whitaker and Clayton.
  • Titian's Portrait of Jacopo Sannazaro, c. 1514–18, and The Virgin and Child in a landscape with Tobias and the Angel (with his workshop, c. 1535–40) - this last was Charles' favourite, according to the Dutch ambassadors sent with the gift.See Whitaker and Clayton, pp. 194–7, who justify the attribution to Titian, sometimes questioned in the past.
  • Lorenzo Lotto's portrait of Andrea Odoni, 1527, and his Portrait of a bearded man, c. 1512–15
  • Andrea Schiavone's Judgement of Midas, c. 1548–50, and Christ before Pilate.
  • Giulio Romano, Portrait of Margherita Palaeologa, c.1531Catalogued in 1666–7 as a Raphael. Whitaker & Clayton, 136.
  • Parmigianino, Pallas Athene, c. 1531–8
  • Paolo Veronese and workshop, The Mystic Marriage of St Catherine of Alexandria, c. 1562–9.
  • Attributed to Vittore Belliniano, The Concert, c. 1505–15 (then attributed to GiorgionePenny, 471; {{Royal Collection|400025|The Concert}})
  • Giovanni Cariani, Reclining Venus, the only work in the Dutch gift which can be traced back to the Vendramin collection.Grove Art
The Reynst collection included a Genius of Painting attributed to Guido Reni, and the older of two old copies still in the Royal Collection is first recorded at Whitehall Palace in an inventory of 1688, and described as by Reni. It is now classed as "after Reni" though no Reni original is known.Levey, 93 (nos 582, 583), also pp. 19, 39 Whether this, or an original work, formed part of the Gift cannot be confirmed, although one or the other seems likely.Paintings no longer in the Royal Collection include a Guercino, Semiramis Receiving Word of the Revolt of Babylon (1624),WEB,weblink Boston MFA, 2008-05-19,weblink" title="web.archive.org/web/20071212130705weblink">weblink 2007-12-12, dead, now in the Museum of Fine Arts, Boston, which was given by Charles to Barbara Villiers, his mistress, or to their son, Charles FitzRoy, 2nd Duke of Cleveland. Jacopo Bassano's Christ carrying the Cross is now in the National Gallery, London, having been given to Catherine of Braganza, Charles's queen,Say Whitaker and Clayton, p. 41, n 113. National Gallery. See Penny 13-14 for more detail on the tangled status of the paintings in Catherine's "custody". after his death.Two religious works, besides the Bassano, were recorded in an inventory of 1688/9 as being in Catherine's apartments, one "said to be Raphael" of the Holy Family with a lamb, and a group attributed to Titian of "Our Saviour with his feet on a cushion, The B. Virgin St John and St Elizabeth". These may have returned with her to Portugal in 1692.Penny, 13-14

The other works

Of the four non-Italian works, two were by Gerrit Dou,Thesis by Denise Giannino, p.14, n. 37 {{webarchive |url=https://web.archive.org/web/20060914111952weblink |date=September 14, 2006 }} one of which, The Young Mother (1658), was only two years old when presented. The regents of the city of Leiden may have chosen The Young Mother to augment the yacht Mary as a means to encourage Charles to look after the interests of the House of Orange in the Netherlands, which had lost effective political power in 1650. At the time of the Restoration, Charles' sister Mary was in perilous political waters as the guardian of her son, Prince William III of Orange.Greg Beaman, Nature, Nurture, Mythology. pp. 52-56 {{Webarchive|url=https://web.archive.org/web/20160303190617weblink |date=2016-03-03 }} This was one of those works repatriated by William III and is now in the Mauritshuis in The Hague.WEB,weblink Maurithuis, 2008-05-19,weblink" title="web.archive.org/web/20080528110329weblink">weblink 2008-05-28, dead, A heavily damaged version of The Mocking of Ceres by Adam Elsheimer (c. 1605), long thought to be a copy, but now seen as the original of this rare and important work, surfaced in the English art market in the 1970s and is now in the Agnes Etherington Art Centre in Kingston, Ontario.Etherington The composition is known from a copy in the Prado and an engraving, and the painting was still in the Royal Collection during the reign of George II.Klessmann, pp. 138–145, 198, 205 (the last two on the provenance, on which the authors seem not wholly in accord) The damage was apparently caused by fire, perhaps in the 1698 fire of the Palace of Whitehall, when a considerable part of the Royal Collection was lost, probably including most of the statues in the 1660 Gift, though at least one of these remains in England.Halbertsma, 10, note 12The fourth non-Italian painting was a work by Pieter Jansz Saenredam, a recent (1648) and unusually large topographical painting of the Groote Kerk, Haarlem,Identified by Ellis Waterhouse and published in a note in The Burlington Magazine 92 No. 569 (August 1950:238) by Denis Mahon. which might have been intended to cement feelings of grateful nostalgia in Charles. This was apparently given to one of William III's Dutch courtiers, William van Huls, Clerk of the Robes and Wardrobe, as it appeared in his sale; it is now in the National Gallery of Scotland.Penny, 471

Notes

{{reflist|2}}

References

  • Bruyn, J.; Millar, Oliver, Sir, "Notes on the Royal Collection, 3 : The 'Dutch gift' to Charles I", 1923–. 1962
  • Broekman, Inge, Helmers, Helmer, 'Het hart des offraers' – The Dutch Gift as an act of self-representation, (Dutch Crossing: Journal of Low Countries Studies), Vol. 31, No. 2 (Winter 2007)
  • Gleissner, Stephen, Reassembling a royal art collection for the restored King of Great Britain, Journal of the History of Collections 1994 6(1):103–115
  • Halbertsma, R. B. (2003), Scholars, Travellers, and Trade: The Pioneer Years of the National Museum of Antiquities in Leiden, 1818–1840, Routledge, p. 9–10
  • Rüdiger Klessmann and others, Adam Elsheimer 1578–1610, 2006, Paul Holberton Publishing/National Galleries of Scotland; {{ISBN|1-903278-78-3}}
  • Levey, Michael, Pictures in the Royal Collection, The Later Italian Pictures, 1964, Phaidon Press, London
  • Mahon, Denis, Notes on the 'Dutch Gift' to Charles II:, The Burlington Magazine, Vol. 91, Part I in: No. 560 (Nov., 1949), pp. 303–305, Part II in No. 561 (Dec., 1949), pp. 349–350, Part III No. 562 (Jan., 1950), pp. 12–18. (All on JSTOR: Pt I, Pt II, Pt III and a letter.)
  • Thiel, P. J. J. Van, Het Nederlandse geschenk (Dutch gift) aan Koning Karel II van Engeland 1660, Amsterdam, Rijksmuseum, 1965
  • Penny, Nicholas, National Gallery Catalogues (new series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540-1600, 2008, National Gallery Publications Ltd, {{ISBN|1-85709-913-3}}
  • Lucy Whitaker, Martin Clayton, The Art of Italy in the Royal Collection; Renaissance and Baroque, Royal Collection Publications, 2007, {{ISBN|978-1-902163-29-1}}

Further reading

  • Griffey, Erin, "More on the 'Dutch Gift' to Charles II", The Burlington Magazine, vol. 153, no. 1301, 2011, pp. 521–522., JSTOR.
  • Logan, Anne-Marie S., "The 'Cabinet' of the Brothers Gerard and Jan Reynst" (Amsterdam, 1979).

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