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2 articles
Article
Hopman and De Wild: The historical importance of two Dutch families of restorers
10/2016 | 1363 | 158
Pages: 812-823
related names
Author:
te Marvelde, Mireille (te Marvelde, Mireille)
Author:
van Duijn, Esther (van Duijn, Esther)
Subjects
places:
Illustrations
Attributed works:
48. Reverse of Adoration of the magi, by Salomon Koninck, showing the blue-and-white striped bed ticking used by Nicolaas Hopman as lining canvas (Mauritshuis, The Hague)
Attributed works:
49. View of the Oranjezaal, The Hague, with The marriage of Frederik Hendik and Amalia van Solms by Gerard van Honthorst above the doors. 1651 (Staat der Nederlanden, Koninklijke Verzamelingen, The Netherlands. Photograph Margareta Svensson)
Attributed works:
50. Max von Pettenkofer in his study. 1901. (Courtesy PhotoSeed.com. Photograph Friedrich Müller, Munich)
Attributed works:
51. Label by W.A. Hopman on the reverse of Portrait of a man by J.C. Verspronk (Rijksmuseum, Amsterdam; photograph by Anna Krekeler)
Attributed works:
52. Nineteenth-century photograph of Rembrandt's Anatomy lesson of Dr Nicolaes Tulp, with notes by W.A. Hopman made in 1877 indicating the areas of damaged paint (Mauritshuis, The Hague)
Attributed works:
55. Derix de Wild in his studio with his son Martin on the right (From W. Martin: Altholländische Bilder, Berlin 1918)
Attributed works:
56. Showcase at the exhibition Frans Hals: Work in Progress, Haarlem (Frans Hals Museum / De Hallen Haarlem) 2015, including a cardboard box of old varnishes removed from the paintings, petri dishes for chemical tests, glass negatives and an album of photographs and descriptions of chemical tests (Photograph Ton van der Heide)
Attributed works:
58. The experts during the Wacker trial in 1932 in Berlin; Martin de Wild is second from left (Ullstein Bild, Atelier Balassa; photograph B.A. Balassa)
Attributed works:
59. Martin de Wild at work in his studio, making an X-radiograph (left) and taking a paint sample (right). (Nationaal Archief/Collectie Staarnstad/Associated Correspondents; photograph Bert Buurman)
Western art unattributed:
47. Engraving of the hot-air balloon 'Lust tot Onderziek' (Delight in Study) with which Abraham Hopman made the first balloon flight in the Netherlands in 1804. (From Eigen Haard 39, 25th September 1909, p.619)
Western art unattributed:
53. Carel F.L. de Wild Senior, in his studio (RKD, The Hague)
Western art unattributed:
54. Grote Museumzaal, or Large Museum room, in the City Hall, Haarlem, 1900, showing the darkened state of Frans Hals's group portraits (Noord-HollandsArchief, Collection Kennemerland. Photograph Berend Zweers)
Western art unattributed:
57. Derix de Wild (left) in the London studio of art dealer Knoedler at 15 Old Bond Street, with his son Martin de Wild (middle) and possibly his nephew Louis de Wild (right). (RKD, The Hague)
Article
The restorations of Rembrandt’s ‘Night watch’
02/2016 | 1355 | 158
Pages: 117-128
related names
Author:
Filedt Kok, Jan Piet (Filedt Kok, Jan Piet; Kok, J. P. Filedt)
Author:
van Duijn, Esther (van Duijn, Esther)
Subjects
dates:
museums and institutions:
Illustrations
Attributed works:
43. The officers and civic guards of District II of Amsterdam under the command of Captain Frans Banninck Cocq and Lieutenant Willem van Ruytenburch, known as the Night watch, by Rembrandt. 1642 (Rijksmuseum, Amsterdam, on loan from the City of Amsterdam)
Attributed works:
44. Unrolling of the Night watch in the courtyard of the Rijksmuseum in June 1945
Attributed works:
45. Inspection of the Night watch after its unrolling and restretching in June 1945. The canvas is visibly deformed in the upper half and the vertical seams of the old lining canvas are evident
Attributed works:
46. The relining treatment of 1945; the painting is placed face down during the removal of Hopman's relining canvas
Attributed works:
47. The relining treatment of 1945; Hopman's relining mixture is removed by Jenner
Attributed works:
48. Visitors in front of Rembrandt's 'Night watch' at the Trippenhuis, by August Jernberg. 1885 (Konstmuseum, Malmö). Although the painting may have had a yellow varnish of its own, the effect of the yellow tone of the Night watch against the light and coloured costumes is striking
Attributed works:
49. H.H. Mertens removing the varnish from the Night watch in 1946-47 in the Night watch extension (Photograph by Willem van de Poll; © National Archive)
Attributed works:
50. Detail of the Night watch, showing the man dressed in red loading his musket and the two little girls, after removal of the varnish (From T. Koot: De Nachtwacht in nieuwen luister, Amsterdam 1947)
Attributed works:
51. Detail of the Night watch, showing Lieutenant Willem van Ruytenburch, during removal of the varnish (From T. Koot: De Nachtwacht in nieuwen luister, Amsterdam 1947)
Attributed works:
52. X-radiograph of 1946 showing a detail of the drummer's head in the Night watch (From A. van Schendel and H.H. Mertens: 'De restauraties van Rembrandt's Nachtwacht', Oud Holland 62 (1947), p.45)
Attributed works:
53. Infra-red photograph of 1946 showing a detail of the cartouche in the Night watch (From A. van Schendel and H.H. Mertens: 'De restauraties van Rembrandt's Nachtwacht', Oud Holland 62 (1947), p.26)
Attributed works:
54. Van Schendel and Kuiper inspecting the damage caused by a knife attack in September 1975; some cuts went through the paint layer, canvas and lining canvas (Photograph by Rob Bogaerts / Anefo; © National Archive)
Attributed works:
55. Damage caused by an acid attack in 1990; only the varnish layers were affected
Attributed works:
56. Visitors to the Rijksmuseum inspect the progress on the treatment of the Night watch through windows into the temporary studio, 1975-76
Attributed works:
57. L. Kuiper and R. Hesterman removing the varnish in 1976 on the bridge in front of the Night watch that hung suspended between rails and ropes with contra weights
Attributed works:
58. Stills from the documentary Night watch under the knife showing Kuiper removing varnish in 1975-76