Music-making society

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Music-making society (Rembrandt van Rijn)
Music-making society
Rembrandt van Rijn , 1626
Oil on oak
63.4 x 47.6 cm
Rijksmuseum Amsterdam

Musician Society is an oil painting by the Dutch painter Rembrandt van Rijn from 1626, which shows a group of four people singing and making music together. The painting is done in portrait format on oak wood and is chronologically and stylistically closely related to Rembrandt's paintings Balaam and the Donkey and the history painting with the painter's self-portrait . The work did not become known until 1936 and has since been recognized by almost all art historians as an original by Rembrandt. The painting was initially perceived as a family portrait, with Rembrandt, his older sister and parents. Today this view is considered to be out of date, but no satisfactory interpretation could be made either. The painting has been in the Rijksmuseum Amsterdam since 1976.

description

Viola player, frontal , Pier Francesco Mola , 1645/50, red chalk on paper, 25.1 × 17.2 cm , Rijksmuseum Amsterdam

presentation

Around the center of the picture, four people are staggered, three of whom are singing or playing a musical instrument. In the foreground is a young woman, who is sitting at a table, shifted slightly to the right from the center, with her right foot on a small pedestal, and whose crossed legs reach down to the left along the diagonal of the picture. The woman wears an elaborately colorful patterned yellow, floor-length dress and red shoes over a tight bodice . Her blonde hair is pinned up and with a diadem almost takes on the contour of a Phrygian cap . As further jewelry she wears a short necklace with large pearls or round cut gemstones. On her lap lies a large, open book with a red cover and brass fittings at the corners, apparently bound sheets of music . The woman looked down at the book and opened her mouth slightly, evidently she was singing. Your left elbow rests on the edge of a small table, your left hand rests on the book to prevent it from turning the pages or to fix a place for yourself. The right is slightly raised to call for attention or to set a beat. The figures' hands appear strangely disproportionate. This lack of representation contrasts with the successful execution of other pictorial elements, but is also found in other early works by Rembrandt.

To the left of the center of the picture, facing the viewer, sits an elderly man in a colorful silk kaftan , with a multi-colored striped waist band and a turban-like headgear. He wears a striking long mustache and a metal pendant on his right ear. On the left of his turban there is a piece of metal jewelry with a red stone, and a metallic object protrudes from under the waist band, possibly the handle of a dagger with a strap. The man is playing a viola da gamba , which is propped up on the floor in front of him, and has assumed the usual playing posture shown on the right. Three fingers of his grip hand are immediately behind the frets of the fingerboard, the little finger is slightly raised. With his right hand he reaches over the end of the bow that goes slightly downwards to the strings of the viola. He has reached far so that his fingers reach just over the edge of the picture.

Behind and between the aforementioned figures stands a young man with reddish brown hair who is wearing a gray-green robe over a white shirt with a frilled collar. His headgear is a large, slanted, gray-green beret with a wide, multiple notched edge and two large green feathers. In front of him between his arms is a harp on a chair, partially hidden by the backrest, on which he plays with both hands. On the far right in the middle distance is an old woman who is leaning on the back of a chair and her chin resting on her right hand. She looks at the harpist and does not take an active part in making music. She is wearing a dark dress, and on her right arm is a small piece of a white frill. Over her head and shoulders is a white, multi-colored cloth that almost reaches her hips.

The scene is bathed in light that falls from the top left and illuminates the figures and parts of the foreground and background like spotlights. In the right middle distance is a small table with a green, colorfully patterned tablecloth. On it are a wooden box with an open flap, possibly to store the book or a toilet box, and a large mug, apparently made of silver and decorated with gold fittings. In front of it, spread across the foreground, there are several books lying around on the floor, disorganized. Most of them have leather bindings and can be recognized as music , the book placed open against the table very likely shows a tablature for a lute. In front of it there is an open book on the floor, possibly an Air de Cour for lute and song. On the left is a lute on the floor, the neck of which is largely covered by the books and the body of which is cracked. On the far left in the foreground stands a table or small cupboard in the shade as a repoussoir on which a violin lies.

Balaam and the donkey , 1626, oil on oak, 63.2 × 46.5 cm , Musée Cognacq-Jay , Paris

The background is formed by a wall that has dark wood paneling up to chest height and above it appears painted gray or plastered. At the top left, a painting hung on the wall with a black and gold frame is illuminated by the incident light as a picture in the picture. It depicts Lot's flight from Sodom, the color scheme being very similar to Rembrandt's early paintings with Bible scenes such as Balaam and the Donkey and The Baptism of the Chamberlain . A black curtain hangs at the top right as a repoussoir.

In the lower left of the repoussoir in the center, with large gray letters and numbers, the monogram and year RH .1626 are painted, the second number is illegible. The monogram and the year are considered authentic. They are very similar to those on Rembrandt's Balaam and the Donkey , The Money Changer and Two Old Men in Conversation , all from the years 1626 to 1628.

Technical inspection

The painting has the format 63.4 × 47.6 cm and is painted with oil paint on a five to six millimeter thick panel made of vertically grained oak. The board consists of two boards, the vertical connection of both boards is at the top 23.2 and at the bottom 23.6 cm from the right edge. The back is bevelled irregularly on all edges to a width of four to five centimeters. The back left board has been planed with a concave blade. The dendrochronological investigation showed that both boards come from different trees. They were felled in 1608 at the earliest, probably in 1613 or later. The format of the table and its structure of two connected boards largely corresponds to Rembrandt's Baptism of the Chamberlain and Balaam and the Donkey , both also from 1626.

The yellowish primer appears only in a few places, for example on the outline of the singer's right shoulder. The lower of the two layers of the primer is made of chalk bound with animal glue. The top layer contains white lead and a small amount of brown pigment , bound with oil that has seeped into the first primer in some places. The paint is in good overall condition. Only a few areas show color loss, for example along the connecting line between the two boards of the wooden panel. Overpainting can be seen in some places, for example to the right of the harpist's head, to the tip of the singer's nose and to the left of the old man's neck. Areas with a thick layer of paint show a very fine crackle . In this painting, as in other early works, Rembrandt worked from back to front. The only exceptions are the shadows of the books on the tablecloth and the chair on which the harp stands. These elements were only added after the singer and the tablecloth had already been painted.

Art historical classification

The Baptism of the Chamberlain , 1626, oil on oak, 63.5 × 48.0 cm , Museum Catharijneconvent , Utrecht

Rembrandt's early work

After his training with Jacob Isaacsz van Swanenburgh between 1620 and 1624, Rembrandt went to Amsterdam to study with Pieter Lastman for six months . In 1625 he returned to Leiden and opened a workshop with Jan Lievens . The painting follows the cycle The five senses , the expulsion of the money changers from the temple and the stoning of St. Stephen , with the composition and the choice of colors becoming better and better over time. Similarities in the type and size of the panel used and in the style of painting place the music making society in line with Rembrandt's work from 1626. There is a greater stylistic similarity to the history painting with self-portrait of the painter and Balaam and the donkey . The music-making society very likely came into being after the chamberlain was baptized , but before Tobias suspects his wife of theft , which seems much more mature.

Bust of a man with a collar and a feathered beret , Rembrandt, ca.1626, oil on oak, 39.8 × 29.4 cm , private collection

interpretation

The painting was initially perceived as a family portrait of Rembrandt with his parents and sister. Deviating from this, the harpist was identified by Henri LM Defoer with Jan Lievens , whose facial features already appear in the depiction of a servant in the baptism of the chamberlain . The viola player bears a certain resemblance to the officer on the right edge of Rembrandt's history painting with a self-portrait of the painter and his bust of a man with a collar and a plumed beret . But there is no reason to believe that this figure could be Rembrandt's father or brother. The question of the people portrayed is ultimately unanswered. Aside from the characters' identity, the painting obviously has a meaning that has not yet been deciphered.

Emil Kieser interpreted the painting as an allegory of hearing and interpreted the harpist as a young David . His harp-playing develops a healing effect, as in the numerous traditional depictions of David playing the harp in front of Saul . Günter Bandmann agreed with Kieser's view of the harpist as the embodiment of David. Other authors consider the motif to represent one of the Old Testament hymns of praise . Christian Tümpel believed to find the parable of the prodigal son in the depiction . Kurt Bauch also saw an allegory of hearing in the picture, and possibly an allegory of music. The five senses were a popular motif in Dutch painting in the early 17th century, and Rembrandt had already made an appearance with his painting cycle The five senses . The music-making society does not fit in well with the long series of allegories of hearing or music presented earlier.

A young woman at the toilet , Rembrandt, 1632/33, oil on canvas, 109.2 × 94.4 cm , National Gallery of Canada

The music-making society was also interpreted as a representation of vanitas , for example by the Dutch art historian Laurens J. Bol . In fact, all of the objects in the picture can be interpreted as vanitas props, including the painting on the wall, as well as the singing and making music and the different ages of the figures shown. Ben Broos interpreted the old woman as an allegory of melancholy and associated this motif with the vanitas symbols and the painting with Lot's flight from Sodom. However, the woman corresponds to a type that is shown again and again in early 17th century painting to accompany young female main characters, as in Rembrandt's A Young Woman at the Toilet from 1632 or 1633. They fill a wide range of different roles , with Gerrit van Honthorst and other Utrecht Caravaggists as a brothel landlady, and generally as a personification of greed , winter or old age. The painting on the wall undoubtedly shows Lot's escape from Sodom. This biblical narrative, in the course of which Lot's wife, contrary to the angels' prohibition, looks back to Sodom and freezes to a pillar of salt, was interpreted in the Roman Catholic and Protestant churches of the 17th century as a call to a godly life and to turn away from the ephemeral. The gesture of the singer was interpreted as preachy as a call for secular cardinal virtue of temperance . The open lid of the box on the table, presumably with a mirror on the inside, was interpreted as a symbol of vanity.

1992 hit Roelof van Straten one on the Letter of Paul to the Ephesians in the New Testament before based explanation. As with the iconographic interpretation of Rembrandt's Balaam and the Donkey , the interpretation of Stratens depends on the use of the correct translation of the Bible. In the state translation of 1637 it says En wordt niet dronken in wijn, waarin overdaad is, maar wordt vervuld met den Geest. Sprekende onder Elkander met psalmen, en lofzangen, en geestelijke liederen, zingende en psalmende the armies in uw hart . This corresponds to the text of the standard translation 2016: Do not get drunk with wine - that makes you unrestrained - but let the spirit fill you! Let psalms, hymns and spiritual songs resound in your midst, sing and cheer the Lord with all your heart! ( Ephesians 5 : 18-19  EU ). The Leuvense Bijbel , approved by the Roman Catholic Church, appeared in 1548 and has been the standard Bible for the Catholic population for generations. Here it says: Ende en wilt niet press van den wijn, daer onkuyscheydt in is, maer wolt vervult met den Heyleghen Gheest. Sprekende onder malckanderen met psalmen end lof sangen end gheestelijcke liedekens singhende en spelende in uwe herten the armies . The key is the vocabulary onkuyscheydt instead of overdaad , unchastity instead of excess . Von Straten's interpretation offers an explanation for the singing and music-making society. The unchastity is symbolized by the picture on the wall showing Lot and his family escaping from Sodom. In fact, it does not stand for the flight, but for the incendiary of Lot ( 1 Mos 19,30-38  EU ), who was made drunk by his daughters , which, however, was deprived of pictorial representation in Rembrandt's time. The cup on the table connects the music-making company with the Bible scene on the wall. Van Straten, however, fails to explain the numerous vanitas symbols and for the old woman's non-participation in singing and playing.

The attempts at interpretation are made more difficult by the fact that many motifs allow very different interpretations. They are partially revealed from the context of the presentation or as part of a cycle. For the motif of the lute, which with the crack in the body is undoubtedly a vanitas symbol, it is known that it was a popular motif to test or demonstrate one's own craftsmanship. The shape and surface of a lute are difficult to depict, especially from unusual perspectives; the same applies to other musical instruments and books lying around. In the coloring of the picture, the different mixing of the colors and in the texture of the paint layer, it becomes clear that Rembrandt experimented extensively with colors and brushes in order to find the optimal solution for the representation of surfaces. With gold brocade, the shiny leather of the shoes and the book cover, parchment, human skin and the wood of the musical instruments, the music-making society offered various opportunities for such experiments. Rembrandt was still at the beginning of his career, and choosing a difficult subject for practice purposes seems plausible.

The interpretations of the painting suggested in the past could only partially explain the figures and objects. Therefore, a generally accepted interpretation is still pending, if it is at all possible. In a discussion of the David Saul motif in Rembrandt's work, Günter Bandmann pointed out that the amalgamation of genre image and allegory, family portrait and historical piece shown in the music-making society corresponds to the style of Dutch painting and Rembrandt's.

The Feast of Esters , Jan Lievens , ca.1625 , oil on canvas, 130.8 × 163.8 cm , North Carolina Museum of Art

Associated Works

No direct template for the painting can be proven. The coloring is reminiscent of the painting The Feast of Esther , which Rembrandt was probably familiar with, which was previously attributed to Rembrandt and is now ascribed to Jan Lievens . The old man's oriental clothing may be from the print Adoration of the Kings by Lucas Vorsterman the Elder from 1621 . Ä. by Peter Paul Rubens borrowed. This print exists in an anonymous imitation that Rembrandt used in 1627 for David gives Goliath's head to King Saul and in 1631 as a model for the self-portrait in oriental clothing with a poodle .

The motif of the books with a lute in the foreground is possibly based on one of several still lifes by the painter Jan Davidsz. de Heem , the oldest of which is signed in 1625. De Heem was of the same age as Rembrandt and also worked in Leiden from 1625 to 1629. It is likely that Rembrandt knew one of de Heem's still lifes, or that both got the inspiration from the same source. In addition, vanitas themes with lutes and books were very popular in the early 17th century. The singer's open book looks like a copy of the book in the painting The Chamberlain .

Since the music-making society was hidden from the public for centuries, there are probably no copies or prints of the painting. Rembrandt himself, however, depicted the singer's peculiar headgear at least twice. His painting The Abduction of Europe shows Europe with the same headgear. A drawing in the Kupferstichkabinett Berlin (Benesch 317) from the end of the 1630s, earlier attributed to Rembrandt , shows a standing woman wearing a similar headgear. The drawing is probably not by Rembrandt.

reception

The painting was published in 1937 by the art historians Vitale Bloch and Julius Held . Since then, it has been recognized almost unreservedly as an original by Rembrandt. Only the Dutch art historian Gerhard Knuttel expressed himself negatively and pointed to the great differences to Balaam and the donkey and the poor execution of the picture. The painting is not yet mentioned in Abraham Bredius' catalog raisonné from 1935, but the 1937 English translation lists it with the number 632. Kurt Bauch assigned the number 97 in 1966. Horst Gerson adopted number 632 in his editing of the new edition of Bredius' directory and included the picture in his own catalog with number 18. Even Christian pond leads the Society playing as number 118 in his published 1986 catalog.

In 1982 the members of the Rembrandt Research Project described the Musician Society in the first volume of their Corpus of Rembrandt Paintings as a well-preserved work from 1626, reliably signed and dated, and fitting well with Rembrandt's works from that year. The assessment was confirmed in the sixth volume in 2015.

Provenance

The earliest evidence of the painting is the auction of the entire inventory of Wanstead House , in what is now the London Borough of Redbridge , which began on June 10, 1822 and lasted 32 days. The previous owner, William Pole-Tylney-Long-Wellesley (1788-1857), who later became the 4th Earl of Mornington , had a lavish lifestyle and was always on the run from his creditors. The auction was supposed to partially pay off his enormous debts. The music making society was proclaimed on June 20 as lot number 205, the description in the catalog read a music making society , painted with his usual powerful Chiaroscuro (English: A Musical Party, painted with his usual powerful effect of chiaro scuro ). The painting was sold to a Chatfield for £ 9 and 9 Shillings.

The next clue as to the whereabouts of the painting is a sticker on the back confirming the cleaning of the painting and the application of varnish : This painting was / Cleaned and varnished / By / Chalmers & Son / Picture Cleaner / number 118 & 153 Hi […] / Edinburgh . The company name Chalmers & Son was used from 1823 to 1841. The addresses 118 and 153 High Street are occupied for different periods, only from 1823 to 1825 both company headquarters were maintained. In addition to cleaning pictures, the Chalmers also made picture frames; their customers were public and private collectors in Edinburgh and across Scotland. The sticker suggests that the painting was in private Scottish ownership from 1823 to 1825.

There is no proof of ownership for the painting for a period of more than 100 years. On November 16, 1936, Frank Cripps' collection was auctioned at Christie's in London. As lot number 155, the music making company was sold to the British art dealer Edward Speelman for 2100 guineas . The latter sold the painting to his Dutch colleagues Benjamin and Nathan Katz in Dieren , who had taken over their parents' art dealer D. Katz around 1930 . In D. Katz's sales catalogs, the painting was listed as number 70 in 1937 and number 86 in 1938. In 1937 the picture was also listed in the sales catalog of the Schaeffer Galleries in New York City , which worked for D. Katz as an art agent in the United States . The painting was exhibited for sale by Schaeffer Galleries in New York, Los Angeles, and Tulsa in 1937 and 1938, along with three other works by Rembrandt. The picture was then returned to D. Katz in The Hague.

On August 2, 1940, D. Katz sold the music making company to the art dealer Alois Miedl , who after the death of Jacques Goudstikker illegally acquired and continued his company. The painting was one of several hundred paintings that D. Katz sold to the Miedl vh Jacques Goudstikker art dealer in Amsterdam for 1.8 million guilders . In a restitution proceeding in the Netherlands with the aim of returning more than 100 paintings to the heirs of Benjamin and Nathan Katz, it was decided in 2013 that this sale was a normal business for an art dealer. Benjamin Katz had stated even after the liberation that he was not put under pressure by Miedl. On September 20, 1940, Miedl sold the painting for 85,000 guilders to the Maria Almas-Dietrich gallery in Munich . Almas-Dietrich was one of Adolf Hitler's most important art suppliers and played an important role in the system of appropriation of looted art by Hitler and other protagonists of the Nazi state. The painting was taken over into the holdings of the special order Linz with the inventory number 1042 .

After the end of the Second World War, the music making company was recorded in the Munich Central Collecting Point , with the inventory number 1405 affixed to the back in black ink . As looted art of Dutch origin, it was returned to the Stichting Nederlands Kunstbezit on December 4, 1945 . At the request of the brothers Nathan and Benjamin Katz , the painting was restituted in 1947. Actually, it should have fallen to the Dutch state because of the voluntary sale under German occupation. After Nathan's death in 1949, his estate was dissolved in two auctions. The painting was auctioned on April 25, 1951 by Maurice Rheims at the Charpentier Gallery in Paris , catalog number 59. The buyer was the French entrepreneur Marcel Boussac , for a hammer price of 7.8 million francs or 80,000 guilders.

The painting was in the gallery of the British art dealer Edward Speelman in Zug in 1975 . The Rijksmuseum Amsterdam bought it in 1976 for 648,000 Dutch guilders. The acquisition succeeded with the support of several foundations, including the Vereniging Rembrandt and the Prins Bernhardfonds .

Exhibitions (chronological)

  • Schaeffer Galleries , New York City, USA, April 1937. Rembrandt exhibition , catalog no. 1.
  • Museum in Los Angeles, April to May 1938.
  • Tulsa Art Association, Tulsa, Oklahoma, USA, 1938.
  • Mauritshuis , The Hague, Netherlands, 1946. Exhibition Herwonnen art-related. Tentoonstelling van uit Duitschland teruggekeerde Nederlandsche kunstschatten (German: Reclaimed art possession . Exhibition of Dutch art treasures returned from Germany ), catalog no. 45.
  • Centraal Museum , Utrecht, Netherlands, 1952; Royal Museum of Fine Arts , Antwerp, Belgium, 1952. Caravaggio en den Nederlanden exhibition , catalog no. 59.
  • Rijksmuseum Amsterdam , Netherlands, 1976. Exhibition Tot lering en vermaak (German: To learn and entertain ), catalog no . 54.
  • Museum De Lakenhal, Leiden, Netherlands, 1976–1977. Exhibition portrayed dead Leyden anno 1626 , catalog p. 28.
  • Gemäldegalerie Alte Meister , Kassel, Germany, 2001–2002; Museum Het Rembrandt House , Amsterdam, Netherlands, 2002. Exhibition The young Rembrandt. Riddle about its beginnings / Het mysterie van de jonge Rembrandt , catalog no. 22nd
  • Museum De Lakenhal , Leiden, Netherlands, 2005–2006. Exhibition of Rembrandt's moeder. Mythe en werkelijkheid (German: Rembrandt's mother. Myth and truth ), catalog no . 1.
  • Phoenix Art Museum , Arizona, USA, 2007; Portland Art Museum , Oregon, USA, 2007. Exhibition Rembrandt and the Golden Age of Dutch art: Treasures from the Rijksmuseum, Amsterdam (German: Rembrandt and the Golden Age of Dutch Art. Treasures from the Rijksmuseum Amsterdam ), catalog no. 85.
  • National Museum of Western Art , Tokyo, Japan, 2011; Nagoya City Art Museum , Nagoya, Japan, 2011. Rembrandt exhibition : The Quest for Chiaroscuro , catalog no. 82.

literature

Web links

Commons : Society making music  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c Vitale Bloch: Music in the Rembrandt House .
  2. ^ A b c Henri LM Defoer: Rembrandt van Rijn, De Doop van de Kamerling .
  3. ↑ a b c d Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. I. pp 114-117.
  4. ^ Ernst van de Wetering: De jonge Rembrandt aan het werk .
  5. ↑ Karin Groen: Significant aspects of Rembrandt's vroegste schilderijen .
  6. ^ Ernst van de Wetering: Rembrandt, a biography .
  7. ↑ a b c d Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. I. pp. 117-123.
  8. ↑ a b c Anonymous: Keuze uit de aanwinsten. Pp. 24-27.
  9. ^ A b Günter Bandmann: Melancholy and Music. Pp. 11-21.
  10. ^ Laurens J. Bol: Rembrandts Musicerend gezelschap: een vanitas-allegorie .
  11. ^ Roelof van Straten: Een nieuwe interpretatie van Rembrandt's Musicerend gezelschap .
  12. ^ A b Jan WJ Burgers: The Lute in the Dutch Golden Age. Pp. 196-199.
  13. ↑ a b Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. VI. Werk 11, p. 484.
  14. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. II. Work A 47 The rape of Europa , pp. 145–150.
  15. ↑ a b Julius Held: Two Rembrandts .
  16. ↑ Gerard Knuttel: Rembrandt's Earliest Works .
    Vitale Bloch: The Problem of the Early Rembrandt (Letter to Knuttel, and his answer).
  17. ^ Abraham Bredius: The Paintings of Rembrandt. Plant 632, p. 27.
  18. ↑ Kurt Bauch: Rembrandt. Painting. Plant 97.
  19. ↑ Abraham Bredius: Rembrandt. Third edition. Revised by Horst Gerson. Plant 632.
  20. ^ Horst Gerson: Rembrandt paintings. Plant 18.
  21. ^ Christian Tümpel: Rembrandt. Myth and Method. Plant 118.
  22. ^ Diana Davis: A Bonfire of Regency Vanities: The Wanstead House Sale of 1822 , Website Home Subjects , accessed October 26, 2019.
  23. ↑ a b c d e f Musicerend gezelschap, Rembrandt van Rijn, 1626 on the Rijksmuseum Amsterdam website , accessed on October 26, 2019.
  24. ↑ British picture restorers, 1600-1950 , National Portrait Gallery website , August 2019, accessed October 26, 2019.
  25. ↑ British picture frame makers, 1600-1950 , site of the National Portrait Gallery, August 2019, accessed on 26 October of 2019.
  26. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. I. p. 123.
  27. ↑ Museum Gouda loses Man with a high cap by Ferdinand Bol after decision to restitute the painting to the heirs of Nathan and Benjamin Katz , website CODART, January 25, 2013, accessed on October 26, 2019.
  28. ↑ a b c Rembrandt. Musical company, 1626 gedateerd on the website of the RKD - Nederlands Instituut voor Kunstgeschiedenis , accessed on October 26, 2019.
  29. ↑ Musician Society , data sheet li001048 in the database “Collection of the Special Order Linz”, website of the German Historical Museum , accessed on October 26, 2019.
  30. ^ Koninklijk Kabinet van Schilderijen Mauritshuis (ed.): Herwonnen Kunstbezit. Werk 45, p. 21.
  31. ↑ Eddy de Jongh (ed.): Tot lering en vermaak. Plant 54.