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July 2025

Vol. 167 | No. 1468

Art of Northern Europe

Editorial

The gallery of honour

The gallery of honour in the heart of the Rijksmuseum, Amsterdam, has recently welcomed an impressive painting to its walls: Vanitas still life by Maria van Oosterwijck (1630–93). In a compelling sense the artist has long had a place in galleries of honour, as works by her were acquired by Emperor Leopold I, Louis XIV of France and Cosimo III de’ Medici of Tuscany.

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Exhibition Review

D’or et d’éclat: Le bijou à la Renaissance

To mark the 30th anniversary of its opening in the Hôtel d’Assézat, Toulouse, the Fondation Bemberg is celebrating with a dazzling exhibition dedicated to Renaissance jewellery – the first on the subject since Princely Magnificence: Court Jewels of the Renaissance, 1500–1630 at the Victoria and Albert Museum, London (V&A), in 1980–81.

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  • Philip the Good attending mass,

    Jan van Eyck’s diptych for Philip the Good

    By Emma Capron
    An entry in the 1516 inventory of Margaret of Austria’s paintings describes a diptych by Jan van Eyck depicting the Virgin and Duke Philip the Good. An analysis of this entry and the tracing of this diptych in Margaret’s subsequent inventories and in the collection of King Philip II of Spain suggest that the left wing may be identified with Van Eyck’s ‘Virgin in the church’ (Gemäldegalerie, Berlin). Copies after this panel support this hypothesis and offer a possible reconstruction of the lost donor wing. This would make the Berlin ‘Virgin’ one of Van Eyck’s rare surviving ducal commissions.
  • Fragment from the tournament book of Duke John of Saxony

    A Saxon in Hamburg: a leaf from the lost tournament book of Duke John the Steadfast

    By Alexandra Burger
    A vellum leaf in the Hamburg State and University Library is here identified as a folio from the tournament book of Duke John the Steadfast, elector of Saxony, from the early sixteenth century. The sheet is used for the first time as an important additional source for the study of the tournament books of the electors of Saxony and early modern tournaments in general. It can also be connected with the Cranach workshop.
  • Nikolaus Bertschi with his wife Margarete, from the Lorcher Graduale

    Sibylla von Freyberg’s prayer book

    By Clarck Drieshen

    A richly illustrated early sixteenth-century manuscript of German prayers now in the British Library, London, is here identified as having been made for the use of Sibylla von Freyberg, the daughter of a wealthy merchant family from Augsburg. The choice of the prayers and images included testify to her special devotion to the Virgin and allow insights into the attachment she felt to her hometown, her family and her membership of the Confraternity of Our Dear Lady.

  • Detail of Fig.1

    Putting a name to a face: ‘Portrait of a lady’ at Parham House

    By Bianca Arthur-Hull,Elise Effmann Clifford,Elizabeth Goldring,Sakeenah Teal Montanaro
    The suggestion by Elise Effmann Clifford that a portrait of a lady at Parham House, Sussex, depicts Frances Walsingham is here confirmed by technical examination and comparison with a related portrait of Walsingham in San Francisco. The Parham portrait appears to have been reworked twice: first, by its original artist, who might be tentatively identified as Robert Peake the Elder, and later by another hand, perhaps that of William Segar, whose changes may have been prompted by the death of Walsingham’s first husband, Sir Philip Sidney.
  • Jan van de Poll

    Frans Hals’s portraits of Jan van de Poll and Duijfje van Gerwen: new identifications

    By Jonathan Bikker
    A careful analysis of genealogical and documentary evidence confirms the identification of two sitters in a pair of portraits by Frans Hals in the collection of the Rijksmuseum, Amsterdam. They are the only pendant portraits of sitters from Amsterdam by the Haarlem-based artist and this research resolves the question of whether Hals and Rembrandt worked side by side in the workshop of Hendrick Uylenburgh.
  • IRR of Fig.3. (© Tager Stonor Richardson, 2024).

    A ‘Salvator Mundi’ at Dulwich reconsidered

    By Lucy West,Nicole Ryder

    In the autumn of 2023 an early Netherlandish 'Salvator Mundi' was reassessed at Dulwich Picture Gallery, London, having lain for decades in storage. Conservation treatment and technical analysis confirmed that it was made by a member of the workshop of the renowned Antwerpbased painter Joos van Cleve (1485–1540/41) and therefore an important example of the studio’s output of small devotional works. The painting can now be identified with certainty as the oldest Northern European work in the gallery’s collection.

  • Christ before the High Priest

    A ‘Flagellation of Christ’ in Zagreb from Dirck Santvoort’s Passion series

    By Ivan Ferenčak

    The Amsterdam painter Dirck Dircksz. Santvoort (1609 – 80), who was active only for a period of about ten years, focused his creative efforts mainly on portraying children. However, in the early years of his career, up to the mid-1630s, he painted several compositions addressing biblical themes, testifying to his familiarity with Rembrandt’ s Leiden and early Amsterdam works.

  • Woman at the window

    Germany’s celebration of Caspar David Friedrich’s 250th anniversary

    By Christian Scholl
    In Germany, the 250th anniversary of Caspar David Friedrich’s birth was celebrated with a series of exhibitions. Key among them were those organised by the three museums with the most extensive holdings of the artist’s work: the Hamburger Kunsthalle, the Alte Nationalgalerie, Berlin, and the Staatliche Kunstsammlungen, Dresden. All three focused on stylistic, iconographic and technical aspects of the artist’s work rather than on Friedrich’s life, and each in its own way has thrown fresh light on his complex and enigmatic art.