OTE
2
TOPAGES122-129
acLual work of his hand. " See also Michel Foucault,
12 Van Mander 1604, fol. 242v.
The Archaeology of Knowledge (London, 1972)
13 Raupp 1984.
[Lranslation of L 'a rcheologie du savoir (Paris, 1969)],
14 Alpers 1988.
chapter 3: "The formation of objects," pp. 40 - 49,
15 H. Perry Chapman, "Rembrandt's 'burgerlijk' self-
for anoLher take on this refreshingly pragmatic
portraits," Leids Kunsthistorisch Jaarboek 8 (1989),
methodological insight.
pp. 203 - 15; Chapman 1990. Stephen Greenblatt,
A rare, though famous, exception was the Medician
Renaissance Self-Fashioning: From More to
collecLion of artists' self-portraits. See: Wolfram
Shakespeare (Chicago, 1980).
Prinz, ed., Die Sammlung der Selbstbildnisse in den
16 See Slive 1953, p. 61.
Uffizien (Berlin, 1971); Karla Langedijk, Die Selbstbildnisse der hollandischen und flamischen Kunst/er
3
in der Galleria degli Autoritratti der Uffizien in
John Micha e l Montias : A Business
Florenz (Florence, 1992).
P a rtn e r a nd a Pupil : Two Conje c tural
See R. M. Dekker, "Egodocumenten: een literatuur-
E s s a ys on R e mbrandt 's E ntourage
overzicht," Tijdschrift voor geschiedenis 101 (1988),
4
pp. 161 - 90. The Erasmus UniversiLy website
I wish Lo acknowledge Lhe generous help in wriLing this
echo.fhk.eur.nl/ego, established by Dr. Dekker and
article of Albert Blankert, Alice Blankert, Marten Jan
his colleagues, is an excellent place Lo start any
Bok, Paul Crenshaw, Agnes Dunselman, Egbert
documentary or bibliographical search.
Haverkamp Begemann, Walter Liedtke, Nadine
See van de Wetering 1999, especially pp. 29-31, for
Orenstein, Gary SchwarLz, Wout Spies, and Christopher
references to the self-portraiture of Rembrandt's
Wood.
Dutch contemporaries. Since presenting this paper I have read E. Griffey, "The artist's role: Searching
Documents are in the Gemeentearchief Amsterdam,
for self-porLraiture in the sevenLeenth-century
unless otherwise stated. Guilders and stuivers are
Netherlands" (dissertaLion, University of London,
abbreviated in the manner: f. 1:10 (one guilder ten stuiv-
2001) which suggests that research into sales of
ers). There are 20 stuivers in a guilder.
collections of paintings in AmsLerdam during the period might produce evidence of a genuine,
1
For two recent exceptions, see Jonathan Bikker,
though small-scale, interest in such pictures.
"The Deutz broLhers, Ilalian paintings and Michie!
Celeste Brusati, for example in her discussion of
Sweerts:
possible meanings of trompe l'oeil: Brusati 1995,
Coymans's Journael," Simiolus 26 (1998), pp. 277 -
pp. 152 -62.
311; and Jaap van der Veen, "Onbekende
His face, copied from self-portrait sources, is found
opdrachtgevers van Rembrandt: Jacomo
in illustrations in SandrarL 1675, facing p. 356; and
Borchgraeff en Maria van Uffelen en hun portret-
Houbraken 1718, facing p. 272.
ten door Rembrandt, Jonson van Ceulen, Van Zijl,
7
See Slive 1953, especially pp. 28ff.
Van Mo! en Jacob Backer," Kroniek van het
8
Rosenberg 1948.
Rembrandthuis 98 (1998), pp. 15 -3 1.
9
Claude Levi-Strauss, The Savage Mind (London,
5
6
2
The identification of the witness to the testament of
1966), p. 256 [translation of La pensee sauvage
Rembrandt and Saskia van Uylenburgh turned out
(Paris, 1962)].
to be a main bu il di ng block for my second piece of
10 De Vries 1989. 11
ew informaLion from Elisabeth
Christian Ti.impel, "S tudien zur Ikonographie der
archival research in the text below. 3
In some Dutch archives (Haags Gemeentearchief,
Historien RembrandLs," Nederlands Kunshistorisch
The Hague; Gemeentearchief Schiedam), all notar-
Jaarboek 20 (1969), pp. 107 -98, especially pp. 160 ff.
ial documents have been indexed and can easily
229