Javascript must be enabled to continue!
Liesborn in Amsterdam. Jacob de Wits Porträt des Liesborner Abtes Gregor Waltmann von 1716
View through CrossRef
AbstractIn 1971 the Museum Abtei Lieborn of the Warendorf area came into possession of a remarkable and qualitative Portrait of Gregor Waltmann (1661-1739), who had been the abbot of the Benedictine Abbey of Liesborn between 1698 and 1739. During its restoration, the portrait could be identified as a signed work of the Amsterdam painter Jacob de Wit (1695-1754), dated 1716. To this day the only known portrait of De Wit was the Portrait of Pater Aegidius de Glabbais of 1718 (collection Commissie Monumentenzorg Minderbroeders Franciscanen Nederland).This article reconstructs the provenance of the Portrait of Gregor Waltmann, which was most likely assigned to Jacob de Wit by Gregor's brother Jan Woltman in Amsterdam. Most likely the abbot himself never saw his portrait; there is no account of a journey to Amsterdam in 1716, nor is there evidence that Gregor Waltmann knew the catholic painter personally. De Wit returned to Amsterdam from Antwerp in 1715 and devoted himself with success to portrait painting and was initially supported by the catholic community.In the early nineteenth century the portrait was still owned by the Woltman family, who had emigrated to Amsterdam from Lüdinghausen, Westfalen in the 1690s and who over generations had run the soap factory De Vergulde Hand. While the name of the painter over the course of time became forgotten, the catholic family kept the memory of the in 1739 deceased abbot alive with a memorial note.Hardly known outside the county of Münster the signed and dated portrait is an important prerequisite for the determination of further, possibly still preserved portraits of Jacob de Wit.
Title: Liesborn in Amsterdam. Jacob de Wits Porträt des Liesborner Abtes Gregor Waltmann von 1716
Description:
AbstractIn 1971 the Museum Abtei Lieborn of the Warendorf area came into possession of a remarkable and qualitative Portrait of Gregor Waltmann (1661-1739), who had been the abbot of the Benedictine Abbey of Liesborn between 1698 and 1739.
During its restoration, the portrait could be identified as a signed work of the Amsterdam painter Jacob de Wit (1695-1754), dated 1716.
To this day the only known portrait of De Wit was the Portrait of Pater Aegidius de Glabbais of 1718 (collection Commissie Monumentenzorg Minderbroeders Franciscanen Nederland).
This article reconstructs the provenance of the Portrait of Gregor Waltmann, which was most likely assigned to Jacob de Wit by Gregor's brother Jan Woltman in Amsterdam.
Most likely the abbot himself never saw his portrait; there is no account of a journey to Amsterdam in 1716, nor is there evidence that Gregor Waltmann knew the catholic painter personally.
De Wit returned to Amsterdam from Antwerp in 1715 and devoted himself with success to portrait painting and was initially supported by the catholic community.
In the early nineteenth century the portrait was still owned by the Woltman family, who had emigrated to Amsterdam from Lüdinghausen, Westfalen in the 1690s and who over generations had run the soap factory De Vergulde Hand.
While the name of the painter over the course of time became forgotten, the catholic family kept the memory of the in 1739 deceased abbot alive with a memorial note.
Hardly known outside the county of Münster the signed and dated portrait is an important prerequisite for the determination of further, possibly still preserved portraits of Jacob de Wit.
Related Results
Noordnederlandse majolica: kast opruimen
Noordnederlandse majolica: kast opruimen
AbstractThis article has been prompted by two recent works on the subject, the new and greatly expanded version published in 1981 of Nederlandse majolica by Dingeman Korf, a pionee...
De la scène artistique à la scène scolaire: extension des territoires de la médiation culturelle par le numérique dans les arts de la scène?
De la scène artistique à la scène scolaire: extension des territoires de la médiation culturelle par le numérique dans les arts de la scène?
Dans cette une étude exploratoire, nous décrivons comment des organismes des arts de la scène au Québec tentent, par des actions de médiation culturelle (MC) et la mise en place de...
Ptolemaios, Caligula und die fremde
abolla
– Neue Überlegungen zum Ende des letzten mauretanischen Königs
Ptolemaios, Caligula und die fremde
abolla
– Neue Überlegungen zum Ende des letzten mauretanischen Königs
Zusammenfassung
Der Tod des Ptolemaios von Mauretanien im frühen 1. Jahrhundert n. Chr. erscheint auch heute noch rätselhaft. In dieser Untersuchung soll daher neues...
Freemasonry and the Occult at the Court of Peter the Great
Freemasonry and the Occult at the Court of Peter the Great
AbstractThe reign of Peter the Great is regarded as one of the most significant and contentious epochs in Russian history. It has been customary to view the reforms of the period a...
‘Batavische constantie’
‘Batavische constantie’
Based on archival research, this article describes the actions taken by the city government to put Amsterdam into a state of defence during 1672, the so-called Disaster Year. Parti...
Le sculpteur Francesco Bordoni, collaborateur des Francini
Le sculpteur Francesco Bordoni, collaborateur des Francini
Der florentinische Bildhauer Francesco Bordini, der um 1601 im Gefolge seines Meisters Pierre de Franqueville nach Paris kam, war einer der wichtigsten Mitarbeiter Tommaso Francini...
Christoph Willibald Gluck in der Klaviermusik des 19. Jahrhunderts
Christoph Willibald Gluck in der Klaviermusik des 19. Jahrhunderts
Die musikgeschichtliche Bedeutung Christoph Willibald Glucks wurde im 18. und vor allem im 19. Jahrhundert festgeschrieben. Ab der Mitte der 1860er Jahre ist eine gehäufte Bearbeit...
La transformation des territoires nordiques urbanisés : Étude de la forme et des traits distinctifs des villages inuit du Nunavik
La transformation des territoires nordiques urbanisés : Étude de la forme et des traits distinctifs des villages inuit du Nunavik
Cet article s’intéresse à la forme de l’environnement bâti des villages inuit du Nunavik qui résulte d’un processus d’urbanisation relativement récent. Il s’agit de comprendre comm...