VAN OOSTSANEN THE FIRST DUTCH MASTER
E T A N O D TO ! JACOB
Image on front Dirck Jacobsz, Jacob Cornelisz van Oostsanen painting his wife Anna, ca. 1550, oil on panel, 62.1 Ă— 49.4 cm, Ohio, Toledo Museum of Art Workshop of Jacob Cornelisz van Oostsanen, Sketchbook from the Studio of Cornelisz van Oostsanen, c. 1520-1535, 48 double-sided sheets, 14.5 x 10 cm; Kupferstichkabinett, Berlin
ADDRESS Amsterdam Museum
Stedelijk Museum Alkmaar
Kalverstraat 92
Canadaplein 1
Amsterdam
Alkmaar
POSTAL ADDRESS
2
Postbus 3302
Postbus 53
1001 AC Amsterdam
1800 BC Alkmaar
T: +31 (0)20 5231 822
T: +31 (0)72 5489 789
E: info@amsterdammuseum.nl
E: museum@alkmaar.nl
INDEX PAGE Foreword
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Jacob Cornelisz van Oostsanen
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The exhibition
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Help us
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RESTORATION The navity of Christ
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Temptation of Christ
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The martyrdom of St Bartholomew
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EDUCATION Bird’s-Eye view of Amsterdam
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Special sketchbook
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TECHNICAL RESEARCH Miracle on canvas
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TRANSPORT Noli me tangere
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Jan Gerritsz van Egmond
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Transport
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Overview international free loan
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Tax benefits
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Contact
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David and Abigail. More information on pag. 28
FOREWORD Two museums and a church share a dream: to present the magnificent, relatively unknown work of an early sixteenth-century Dutch master, Jacob Cornelisz van Oostsanen, to a wider audience. In an innovative exhibition concept, Van Oostsanen, The First Dutch Master encapsulates that dream, an exhibition of art and social history based on the life and work of Jacob Cornelisz van Oostsanen, artist and print designer, contemporary of Albrecht Dßrer and Lucas van Leyden. The exhibition is planned as a triptych, to be shown simultaneously from 15 March to 29 June 2014 at three locations: Amsterdam Museum, Stedelijk Museum Alkmaar and St Lawrence’s church in Alkmaar. This will be the first time that the surviving oeuvre of this leading early Dutch master is brought together in a major survey of his work. Many of the objects, now in some of the best known museums around the world, will appear in Holland for the first time in centuries. We have been working on this ambitious project for over three years, and it is a dream that needs your support if it is to become reality. It is a unique survey of a fascinating oeuvre of the highest quality, presented in a manner designed to appeal to a broad public and made possible with crucial financial support from external participants. This booklet provides an overview of the various elements and activities that make up this project and are essential to the realisation of the exhibition. We are currently looking for funding for the subsidiary projects described here, which are available for adoption by those interested in providing financial backing. Here we explain how you can get involved. Your donation is more than welcome! Our thanks in advance, on behalf of all those working on the project. Kind regards, Paul Spies Director, Amsterdam Museum
Lidewij de Koekkoek Director, Stedelijk Museum Alkmaar
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JACOB CORNELISZ VAN OOSTSANEN ‘Not without reason has fast expanding Amsterdam sung the praises, regarding our Art of Painting in those early years, of that exceptional resident and burgher, that leading master in the use of the brush, the much-celebrated, renowned Jacob Cornelisz of Oostzaan in Waterland.’ (Karel van Mander, The Book of Painters, Haarlem 1604). Jacob Cornelisz van Oostsanen is the earliest artist we know by name in Amsterdam. He was born in the village of Oostzaan, around 1470, and moved to Amsterdam around 1500. There he bought a house with an adjoining studio on Kalverstraat. He painted ceilings and panels (triptychs, individual portraits and other work) for churches, monasteries and burghers as well as making over two hundred woodcuts. He also produced designs for stained-glass windows and religious paraphernalia such as clerical vestments. While his early work harks back to the medieval tradition, his later production clearly shows the influence of the Renaissance ideals which he imbibed not least through his famous pupil, Jan van Scorel. Jacob Cornelisz’s extant oeuvre consists of around 35 minutely detailed paintings and two hundred equally meticulous woodcuts of unprecedented quality. He ranks among the finest masters of the Northern Netherlands in the first half of the sixteenth century.
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VAN OOSTSANEN (1470-1533). THE FIRST DUTCH MASTER! The presentation is designed as a triptych, to appear simultaneously at three locations, which offers an opportunity to approach Jacob Cornelisz from three different angles. In Stedelijk Museum Alkmaar, the show is called The Master and his Oeuvre. Numerous paintings, woodcuts, drawings, stained-glass windows and embroidered robes are brought together to provide a near complete art-historical overview of the master’s life and work. At Amsterdam Museum, visitors experience how the people of Amsterdam lived and worked in and around 1500, how they ran their city and worshipped. The show explores Jacob Cornelisz’s studio on Kalverstraat, telling the story of this innovative cultural entrepreneur. The artist’s Amsterdam patrons are introduced. Paintings and prints by the artist’s sons and grandsons are also shown. They continued the family business far into the sixteenth century. In Alkmaar’s St Lawrence’s church, the Last Judgment is the highpoint, quite literally. Jacob Cornelisz and his assistants completed this ceiling painting in 1518. The presentation explains the significance of the depiction, how it came to be attributed to the artist’s studio and how it was recently restored. Finally, Jacob’s Country provides a topographical link between the three locations: a series of routes connect Amsterdam, Oostzaan and Alkmaar, offering a taste of the atmosphere and surroundings in which Jacob Cornelisz lived. One of the key aspects of the success of this project is the exceptional generosity of the various museums and private collectors who are lending exhibits for the presentations, understanding as they do the tremendous importance of this unique opportunity to bring the artist’s oeuvre together and to show it to the public. This wide-ranging presentation is accompanied by extensive research into this comparatively well-documented artist, whose work spans the end of the Middle Ages and the beginning of the Renaissance, providing new insights into the relatively less well-known Dutch art of around 1500. Art historians emphasise the importance of the exhibition to scholarship. In particular, in addition to generously lending items from its collection, Amsterdam’s Rijksmuseum will also provide expertise. Nijmegen’s Radboud University will contribute by making research and education resources available to Dr D. Meuwissen, a specialist in Jacob Cornelisz.
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HELP US REALISE VAN OOSTSANEN, THE FIRST DUTCH MASTER! Van Oostsanen, The First Dutch Master is an ambitious exhibition project providing a unique overview of a surprising oeuvre of exceptional quality designed to appeal to a wide audience. A project that would be impossible to realise without additional funding. That is why we are asking everyone who wants to see Van Oostsanen, The First Dutch Master succeed, to lend their support.
HOW TO CONTRIBUTE? This booklet outlines the different aspects of the project, all of which are crucial to the realisation of the exhibition. The subsidiary projects described here have yet to be funded and are available for adoption either partially or entirely through a financial donation by those who wish to see the project succeed. These subsidiary projects are conveniently grouped in four categories:
• RESTORATION Not all the works are in good condition. In some cases this is due to simple aging, while external influences may also have had an impact, such as poor climate or earlier restoration. The condition of the paintings varies considerably and for each work there is a separate restoration plan.
• EDUCATION A key aspect of the project is education. The exhibition gives young and old an opportunity to follow the career of this Amsterdam master and to gain an insight into his world. Products are being developed for different sections of the public, including lectures, multi-media tools and school packs, as well as cultural-history bicycle tours of North Holland.
• TRANSPORT Moving historical objects can be extremely risky. Apart from the obvious need for security to protect these valuable works, account must also be taken of aspects such as the vibration of motorised vehicles, climatic changes and swings of temperature which may affect the condition of delicate paintings that are centuries old.
• RESEARCH It is crucial to study these works both to determine their condition and to find out more about the artist’s methods. Research can also help us learn about the man behind the art: who was Jacob Cornelisz and what was his life like?
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Vault painting, Big Church Alkmaar.... Some of the exhibits deserve closer scrutiny. These are marked as highlighted objects. If you would like to help us realise this dream and if you are interested in supporting one of the subsidiary projects please contact Denise de Boer, funding manager at Amsterdam Museum (T. +31 (0)20 5231721 or d.deboer@amsterdammuseum.nl). She will be able to tell you more about the various ways you can donate, and the fiscal benefits that a donation to an ANBI cultural institution can provide. To show our gratitude for your support you will receive a certificate specifying the part of the project to which you have donated and we will keep you informed about our overall progress as well as the specific aspect that you have helped realise. Donors who provide over € 500 will be invited to an exclusive preview of the exhibition accompanied by art historians associated with the project. For donors who provide € 1,000 or more, we will lay on an exclusive tour of Jacob’s Country in which you will learn about the late medieval cultural heritage of North Holland and the paintings of Jacob van Oostsanen in situ.
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RESTORATION NATIVITY OF CHRIST
,0 0 0 . € 25
RK O W Y KE
AMAZING HARBOUR VIEW In this painting, the artist shows the birth of Christ. The newborn infant is in a stone crib in the centre of the composition. Mary and Joseph are kneeling at either side. Angels appear everywhere, playing music. On the far right in the foreground is Margriet Boelen, who donated this work, and across from her, her brother Vechter. The two figures in the centre beside the infant Christ are their parents, who had died some fifty years before this panel was painted. The panel was donated by a woman, which was unusual at the time. Another unusual aspect is the view of the shipyards and ships in the background. Besides being the earliest known depiction of a harbour in Northern Netherlandish art, it is also a unique example of the theme as a background to a Nativity scene - after all, Bethlehem is hardly a coastal town. In fact, the monastery to which the work was given was called St Andrew’s in Safe Haven. So the reference to the name apparently was probably more important than topographical accuracy.
CONDITION This panel requires restoration. Two large cracks have appeared between the three separate planks of the panel. More paint will be lost along these gaps unless they are restored. The panel also needs to be attached more securely into the frame, to prevent the wood from warping. If the wood wraps, it might cause more cracks and loss of paint. Finally, the removal and replacement of the discoloured varnish is also highly desirable. The old layer of resin has yellowed and does no justice at all to the wonderful Nativity of Christ that it covers.
Jacob Cornelisz van Oostsanen, The Nativity of Christ, 1512, oil on panel, 128 x 177 cm; Museo e Galleria Nazionale di Capodimonte, Naples
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RESTORATION TEMPTATION OF CHRIST
€
,0 0 27.5
BACK TO ITS ORIGINAL SHAPE This painting began as a bell-shaped side wing of a large altarpiece. Nothing remains of that original shape. The curvaceous top of the panel was sawn away and a large inset was added on which a rudimentary blue sky and trees were painte. In fact, in the top left corner, the original shape of the panel can be seen shining through the current paintlayers. The Temptation of Christ is a depiction of the trials that Christ endured from the devil in the forty days he spent in the wilderness after his baptism. Although it is not a unique theme in early Dutch art, the way Jacob Cornelisz treated it certainly is. Instead of showing the temptations, he shows what happened after: Christ surrounded by angels after the devil has been vanquished.
CONDITION Although the original paint surface is in reasonable condition, restoration is clearly necessary. This Temptation of Christ once formed the side panel of the largest altarpiece known to have been made by Jacob Cornelisz. The original bell shape of the painting is lost; apparently a rectangular shape was thought to be more attractive. The proposed restoration will concentrate first on stabilising the thin panel and paint layers, and then on removing the discoloured retouches and yellowed varnish. The panel might probably also be restored to its original shape, by removing the added insert and the later added trees.
Jacob Cornelisz van Oostsanen, The Temptation of Christ, 1526 - 1528, oil on panel, 163 x 90 cm Suermondt-Ludwig Museum, Aken.
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RESTORATION MARTYRDOM OF ST BARTHOLOMEW
0,4 1 . € 28
A HIDDEN MASTERPIECE This panel of the Martyrdom of St Bartholomew was discovered in 1996 when an inventory was being made for an exhibition. The picture shows scenes from the life of St Bartholomew, one of the apostles. Interestingly, the format, iconography and style of the panel closely resemble that of another panel also ascribed to Jacob Cornelisz in Berlin, showing scenes from the life of St Hubertus. Both works were probably originally made for the same altarpiece and are reunited in this exhibition. The panel, one of the earliest known works by Jacob Cornelisz, is of unprecedented quality. Which is all the more reason for a thorough restoration.
CONDITION This painting is in urgent need of restoration: behind the old, yellowed varnish lies a masterpiece of the highest quality. The wood of the panel has warped slightly, causing cracks across the painting. Paint has also begun to (see detail) form ‘blisters’. These problems can eventually lead to loss of paint. Moreover, parts of the painting have retouched, presumably by earlier restorers. The conservation and restoration treatment will lead to an immediate improvement of the work’s condition: a paint surface that is better readable and more authentic.
© Stichting
burg Atelier Lim Restauratie
Jacob Cornelisz van Oostsanen, The Martyrdom of St Bartholomew, c. 1490-1510, oil on panel, 120 x 69.7 cm; St Bartholomew parish, Poeldijk
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EDUCATION BIRD’S-EYE VIEW OF AMSTERDAM
€
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AMSTERDAM’S EARLIEST MAP These days, maps and city views are available at the click of a mouse, on Google Earth for example. Yet at one time, people relied on artists for depictions of the world. Cornelis Anthonisz (1500-1561), Jacob Cornelisz’s grandson, was the first to paint a large plan of the city. He must have climbed all the church towers of Amsterdam to make this map. What makes this earliest known map of Amsterdam particularly special is its wonderful sense of a view of the city from the air. It seems to invite the viewer to look more closely and the details give something of a flavour of the city at the time. Many of the prominent buildings are identifiable: Dam Square with the old town hall and Nieuwe Kerk, Oude Kerk, St Anthonis gate. The many monasteries are shown in detail and most of the houses can be individually distinguished. Jacob Cornelisz’s studio is also recognisable. An animated film will bring the painting to life. This is the Amsterdam of Jacob Cornelisz.
EDUCATION The presentation enables visitors to see Amsterdam through the artist’s eyes. This is the bustling commercial city, loyally Catholic, at the cusp of the Golden Age. It takes time to do the necessary research into the many different buildings and to visualise all the details in a realistic animation. Indeed, this is a long-term project, since the product will continue to be used after the exhibition finishes: this painting is one of Amsterdam Museum’s finest exhibits.
Cornelis Anthonisz, Bird’s-Eye View of Amsterdam, 1538, oil on panel, 116 x 159 cm; Amsterdam Museum, Amsterdam
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EDUCATION SPECIAL SKETCHBOOK
€
,0 0 16.0
T H G I L H HIG
GLIMPSE BEHIND THE SCENES One of the most exceptional exhibits is the so-called Berlin sketchbook. It comprises 48 pages with drawings on either side, originally from Jacob Cornelisz’s studio. The wonderful sketches that fill these pages include portraits, figures, city views, perspective sketches, ornaments and animal studies. It is one of the earliest examples of a sketchbook containing studio models in the Northern Netherlands. It is astonishing that this book survived in such good condition, and is almost complete. The pages of the book seem to lead us into the master’s studio: these drawings were used as examples by apprentices and constantly reused. Many of the drawings are reflected in Jacob Cornelisz’s paintings and woodcuts. And they also convey something of the atmosphere of late medieval Amsterdam: the picture shown here is of a decaying corpse impaled on a pole. The scene was sketched by Jacob Cornelisz or a colleague at Volewijck, a small peninsula on the north bank of the River IJ. It was here that the bodies of the condemned were displayed as a warning to others after their execution on Dam Square.
EDUCATION The book will be shown in a display cabinet, with only one page visible at a time. This will be at Amsterdam Museum. Yet we want visitors to both museums to see the book: it provides a wonderful insight into Jacob Cornelisz’s method. The entire Berlin sketchbook will be digitalised for the exhibition. Visitors will be able to leaf through the pages on-screen, to view the sketches, enlarge the pictures and compare what they see with the paintings. The idea is to relate this to the viewers’ own experience: to take up the challenge, for example, of finding the owl hidden in one of Jacob Cornelisz’s paintings, or the ship or the man drawn in the sketchbook. And to recognise the locations in Amsterdam as they were 500 years ago...
Workshop of Jacob Cornelisz van Oostsanen, Sketchbook from the Studio of Cornelisz van Oostsanen, c. 1520-1535, 48 double-sided sheets, 14.5 x 10 cm; Kupferstichkabinett, Berlin
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TECHNICAL RESEARCH MIRACLE ON CANVAS
0,1 9 . € 35
T H G I L H HIG
MIRACLE IN AMSTERDAM Eight paintings on canvas by Jacob Cornelisz van Oostsanen showing the Miracle of Amsterdam form one of Amsterdam Museum’s greatest treasures. The 2014 retrospective provides an opportunity to re-examine and work on these rare canvas paintings, to enable them to be presented in all their resplendent glory. The artist’s original depiction of the Miracle of the Holy City was probably painted around 1518. These surviving pieces show scenes from the story of the sacramental wafer in 1345. According to tradition, a man lay dying in a house on Kalverstraat and received the last sacrament. Sadly, he was unable to keep his food down and his vomit, including the wafer, was thrown on the fire by the maid. The next morning, the wafer was found in the ashes undamaged. Then when it was taken away it miraculously returned to the fireplace on Kalverstraat, repeatedly so, until it was brought to Oude Kerk in a solemn procession. After the miracle was officially recognised by the pope, a chapel was built on the site and it became a place of pilgrimage. Jacob Cornelisz’s canvases were probably part of the decoration of the chapel. The story continued to appeal in the sixteenth century and indeed it lived on today: in the nineteenth century, the annual silent procession was revived and now draws thousands of adherents to Amsterdam each year.
RESEARCH It is no longer known how the paintings that we now have were originally displayed. Were they perhaps processional banners, carried each year through the streets? Is that why they were painted on canvas rather than panel? Or were they intended for the chapel itself, to illustrate the miracle that had taken place there to the visiting pilgrims? Research into the paintings includes examination with x-radiography and infrared-reflectography. Minuscule samples of paint are also being analysed. We hope that this will help us determine the original function of the paintings and shed more light on the way the artist worked.
Jacob Cornelisz van Oostsanen, The Miracle of Amsterdam (in eight sections), c. 1518, tempera on canvas, varying from 76 x 27 cm to 112 x 39 cm; Amsterdam Museum, Amsterdam; on loan from Protestant Church, Amsterdam
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TRANSPORT NOLI ME TANGERE
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GH I L H G I H
JEWEL IN JACOB CORNELISZ’S CROWN When Mary Magdalen arrives at Christ’s tomb, following his crucifixion, she discovers that it is empty. She asks the gardener tending the cemetery where Christ’s body might be, only to realise that the man is in fact Christ himself: he has risen from the dead. He speaks to her: ‘Do not touch me, for I have not yet ascended to my Father’. The Latin - Noli Me Tangere - is inscribed on the hem of Christ’s robe. This is the earliest dated painting by Jacob Cornelisz: Mary Magdalen’s ointment jar shows the date in Roman numerals, MCCCCCVII (1507). The painting is meticulously detailed. Even the background is exceptionally precise; for example the two rabbits, no bigger than a pinhead.
TRANSPORT Moving these centuries-old objects involves considerable risks. For example, motorised transport causes vibration and changes into the relative humidity. Since temperaturechanges must be kept to a minimum, specially designed boxes are used which reduce the effect of vibration and compensate for the changing humidity. For the Noli Me Tangere series a special climate box is being developed: a so-called turtle box. It has inbuilt suspension and is made of transparent thermoplastic around a wooden frame, with felt upholstery and is hermetically sealed. These boxes keep any external effects to a minimum, and will allow the panel to be shown in all their splendour in Alkmaar.
Jacob Cornelisz van Oostsanen, Noli Me Tangere, 1507, oil on panel, 54.5 x 39 cm; Staatliche Museen, Gemäldegalerie, Kassel.
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TRANSPORT JAN GERRITSZ VAN EGMOND
€ 24
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GH I L H G I H
MEDIEVAL PROPAGANDA One of the most intriguing mysteries of Jacob Cornelisz’s oeuvre is a series of portraits of Jan Gerritsz van Egmond. They show the Alkmaar burgomaster (d. 1523) as a wealthy man, dressed in expensive clothes and holding a gold pomander. In the background is a landscape that may be the grounds of Nieuwburg castle near Alkmaar, which was Jan Gerritsz’s domain. What makes the portrait so interesting is that there are four versions, three of which will be shown in Alkmaar. At first sight the panels seem identical, yet they differ slightly in the decoration, the heraldry and the position of the hand. It is not clear which of the versions came first. And why Jacob Cornelisz was commissioned to paint so many copies of the same portrait is equally mysterious: one likely explanation is that they were intended to generate publicity for the subject. Another possibility is that they were to be distributed among Van Egmond’s children: he had seventeen.
TRANSPORT Besides the usual risks involved in transport, these portraits, which will be reunited on Dutch soil after almost five hundred years, also pose particular difficulties. The three works will be transported to Alkmaar from New York, Paris and Amsterdam, which will be a major expense. The exhibition offers a unique opportunity to compare these works and to subject them to closer inspection, since they have never been displayed as a series.
Jacob Cornelisz van Oostsanen, Jan Gerritsz van Egmond (three portraits), c. 1518, oil on panel, c. 42 x 32 cm; Musée du Louvre, Paris; Rijksmuseum, Amsterdam; private collection, New York
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Saul by the witch of Endor, 1526, oil on panel, 85.5 Ă— 122.8 cm, Rijksmuseum Amsterdam
TRANSPORT Special climate boxes have been developed to transport these fragile, centuries-old objects, to reduce the eects of vibration from motorised vehicles and swings in temperature and humidity. The valuable panels will come to Holland from around the world, raising transport costs considerably. Items will come from cities such as New York, Chicago, Naples, Antwerp, Copenhagen and Vienna, and modes of transport will include truck, train and plane. It is amazing that some of these works will be seen together for the first time in almost five hundred years. Appropriately, the panels, which have found new homes in leading museums around the world, will be reunited for this unique retrospective of Jacob Cornelisz van Oostsanen’s oeuvre in Holland.
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Circumcision. Jacob Cornelisz van Oostsanen, ca. 1517, oil on panel, 109,2 x 60,3 cm, Portland, Oregan, Portland Art Museum
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Mary Magdalen. Jacob Cornelisz van Oostsanen, ca. 1519, oil on panel, 48 x 40 cm, St. Louis Art Museum
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Navity with musical angels. Jacob Cornelisz van Oostsanen, 1512, oil on panel, 97 x 75 cm, Chicago, Art Institute
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Jacob Cornelisz painting his wife Anna. Dirck Jacobsz, 1550, oil on panel, ca. 62,1 x 49,4 cm, Toledo Museum of Art
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Portait of Jan Gerritsz van Egmond. Jacob Cornelisz. van Oostsanen, ca. 1518, oil on panel 42 x 32 cm, New York, Private collection
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Mary and child surrounded by musical angels. Jacob Cornelisz. van Oostsanen, ca. 1515, oil on panel, 71,8 x 55,3 cm, USA, Private collection
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The crucifixion. Jacob Cornelisz. van Oostsanen, 1507, oil on panel, 99,1 x 78 cm, USA, Private collection,
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David and Abigail. Jacob Cornelisz. van Oostsanen, 1507 - 1508, oil on panel, 87 x 67,5 cm, Copenhagen, Statens Museum for Art
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Noli me tangere. Jacob Cornelisz. van Oostsanen, 1507, oil on panel, 54,5 x 39 cm, Kassel, Museum Schloss Wilhelmshรถhe
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Christ as man of sorrows. Jacob Cornelisz van Oostsanen, 1509 - 1510, oil on panel, 23,5 x 16 cm, Antwerp, Museum Mayer van de Bergh
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Mary with musical angels and Pompejus Occo. Jacob Cornelisz van Oostsanen, ca. 1515, oil on panel, 107 x 30 cm, Antwerp, Koninklijk museum voor Schone Kunsten
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Rest on the flight to Egypt. Jacob Cornelisz van Oostsanen, 1515, oil on panel, diameter 29,7 cm, Aken, Suermondt Ludwich Museum
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Portrait of Jan Gerritsz van Egmond. Jacob Cornelisz. van Oostsanen, ca. 1518, oil on panel, 42 x 32 cm, Paris, Musee de Louvre
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Maria on a crescent moon and Anna selbsdritt Jacob Cornelisz van Oostsanen and atelier, ca. 1525, oil on panel, 30 x 18 cm - 31 x 15,5 cm, Staatsburg, Musee de la Ville Strasbourg
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Scenes from the life of Hubertus. Jacob Cornelisz van Oostsanen, 1510 - 1511, oil on panel, 118 x 68 cm, Berlin, Staatliche Gemäldesammlungen
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Triptych with Augustinus van Teylingen. Jacob Cornelisz van Oostsanen, ca. 1518, oil on panel, 42 x 32 cm - 50 x 17 cm, Berlin, Staatliche Gemäldesammlungen
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Sketchbook from the Studio of Cornelisz van Oostsanen. Workshop of Jacob Cornelisz van Oostsanen, beginning 16th century, 48 double-sided sheets, 14,5 x 10 cm, Kupferstichkabinett, Berlin
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Adoration with family Boelen. Jacob Cornelisz van Oostsanen, 1512, oil on panel, 120 x 77 cm, Napels, Museo e Galleria Nazionale di Capodimonte
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Sketchbook from the Studio of Cornelisz van Oostsanen. More information on pag. 19
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The three Anna’s. More information on pag. 28
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Zelfportret, 1533, Olieverf op paneel, 38 x 30 c,. Rijksmuseum Amsterdam
TAXBENEFITS FROM GIFTS TO AN ANBI CULTURAL INSTITUTION On 1 January 2012, Amsterdam Museum and Stedelijk Museum Alkmaar were registered as an ANBI, which classifies the museum as an institution for general benefit. A temporary additional income tax deduction is currently available to those paying tax in the Netherlands for a gift to an ANBI listed as a cultural institution. Effectively, it means you can increase your donation to Amsterdam Museum by 25 percent. Or in other words, for tax purposes, you can deduct an additional quarter of the sum you have donated. So on a gift of € 1,000, you can increase the deductable sum by 25 percent to € 1,250. Depending on your tax bracket, this will provide you with a tax reduction of between € 412.50 (for bracket 1) and € 650 (bracket 3). In some cases, businesses can also take advantage of this tax scheme. To qualify for a deduction, the tax authority requires a legitimate reason for the donation. Please ask us if you wish to know more about this option. The following conditions apply to deductions on general donations: •
Both museums do not provide any reciprocal service for donations.
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Printed documents, such as a bank statement or receipt, are sufficient to show the tax authority that you have made a donation.
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The total amount of your donation must be above the threshold limit.
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You may not claim more than the maximum deductable sum for donations.
The above information is from the Dutch tax authority website: www.belastingdienst.nl.
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Workshop of Jacob Cornelisz van Oostsanen, Sketchbook from the Studio of Cornelisz van Oostsanen, c. 1520-1535, 48 double-sided sheets, 14.5 x 10 cm; Kupferstichkabinett, Berlin Image on the back Cornelis Buys II, The separation of Jacob and Laban, ca. 1535, on panel, 94.1 x 108.9 cm, Private collection, to be seen at Paintings Gallery Johnny van Haeften LFT, London.
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CONTACT For questions regarding exhibition content or how to donate towards the project, please contact Denise de Boer, funding and sponsorship manager at Amsterdam Museum (T. +31 (0)20-5231721 or d.deboer@ amsterdammuseum.nl)
Amsterdam Museum Kalverstraat 92 Amsterdam
Postbus 3302 1001 AC Amsterdam
ADDRESS
POSTAL ADDRESS
T: +31 (0)20 5231 822 E: info@amsterdammuseum.nl
Stedelijk Museum Alkmaar Canadaplein 1 Alkmaar
Postbus 53 1800 BC Alkmaar T: +31 (0)72 5489 789 E: museum@alkmaar.nl
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HE WITH T OF T R SUPPO EFTEN LTD. HA Y VAN N N H O J
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