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Last updated: 6/23/2019
Home / Gallery Tour 1 / Old Master Drawings and Prints / Gallery Tour 2 / Artists
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Old Master Paintings, Drawings, and Prints: Willem Buytewech (Rotterdam, 1591/92-1624)

North Italian Illuminated Manuscript / Italian Old Master Drawings: An Overview / Italian School, 16th-Century Drawings
Michelangelo Buonarotti (After) / Raphael / Giulio Romano / Perino del Vaga / Marcantonio Raimondi / Parmigianino
Titian (after) / Andrea Schiavone / Tintoretto / Veronese / Taddeo Zuccaro / Federico Zuccaro / Alessandro Casolani
Jacopo Palma il Giovane / Cherubino Alberti / Luca Cambiaso / Annibale Carracci / Ludovico Carracci

Italian School, 17th-Century Drawings / Bolognese School / Giovanni Baglione / Matteo Rosselli / Ercole Bazzicaluva
Baldassare Franceschini called Il Volterrano / Pier Francesco Mazzuccelli, il Morazzone / Odoardo Fialetti / Simone Cantarini
Domenichino / Francesco Albani / Giovanni Lanfranco / Guercino / Pier Francesco Mola / Antonio Busca

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1497 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Giulio Bonasone / Giovanni Battista Franco /Girolamo Fagiuoli / Cherubino Alberti
Titian (after) / Tintoretto (after) / Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci
Agostino Carracci / Simone Cantarini / Elisabetta Sirani / Gerolamo Scarsello

Netherlandish School, 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / Rembrandt School

Netherlandish Printmakers 16th-17th Centuries: Lucas van Leyden, Maarten van Heemskerck, Cornelis Cort
Philips Galle, Abraham de Bruyn, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Maarten de Vos, Jan Sadeler, Aegidius Sadeler, Raphael Sadeler
Crispin de Passe, Magdalena de Passe, Wierix Brothers, Rembrandt, Rembrandt School, Jan Lievens, Jan Joris van Vliet,
Ferdinand Bol, Govert Flinck
German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Joseph Heinrich Roos
German 16th century printmakers: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair,
Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Hans Holbein (After), Hopfer Brothers, Georg Pencz, Hans Schäufelein,
Virgil Solis, Wolfgang Stuber

French Drawings: Charles de La Fosse / Etienne Parrocel / François Boucher / Jean-François de Neufforge / Mouricault
French printmakers: Etienne Delaune / Rene Boyvin /Thomas de Leu / Jean Cousin the Younger / Jacques Callot
Abraham Bosse / Sebastien Bourdon / Claude Gelle "le Lorraine" / Jean LePautre
Claudine Bouzonnet Stella / Antonette Bouzonnet Stella / Gabriel Perelle

19th-Century Drawings / 20th-Century Drawings
Although Willem Buytewech was born in Rotterdam in 1591/92 and died there in 1624, his work is is best seen with that of the younger artists working in Haarlem at the beginning of the 17th century (he was admitted to the Haarlem Guild of St. Luke in 1612). Maria van Berge-Gerbaud's article on Buytewech in the Grove Dictionary of Art, 5: 323-326, stresses his "highly praised versatility," which, she suggests, "emerges not only from his use of different techniques but also from his great range of subjects, especially in his drawings: religious and historical scenes, figures, interiors, scenes of everyday life, allegories, groups, architectural features, landscapes, designs for book illustrations, etc. Only a few works are dated, making it difficult to establish a chronological and stylistic development, especially as they were produced over such a short period" (p. 323). The most important critical study is Willem Buytewech 1591-1624 (Paris: Institut Néerlandais, 1974), the catalogue of a joint exhibition at the Museum Boysmans-van Beuningen in Rotterdam and the Institut Néerlandais in Paris, with an introductory essay by E. Haverkamp Begemann.

Select Bibliography: E. Haverkamp Begemann, Willem Buytewech (Amsterdam: Institut Néerlandais, 1959); J. GIltay et al; introduction by E. Haverkamp Begemann, Willem Buytewech 1591-1624 (Paris: Institut Néerlandais, 1974)
Methuselah and his children (see (Jan Sadeler, TIB 7001.34, Holl. 1980 34). Grisaille on wood after an engraving by Jan Sadeler based on a drawing by Maarten de Vos, c. 1612-15. Although our piece is not done in one of his later styles, Haverkamp Begemann (1974) includes a 1615 drawing very reminiscent of Goltzius or Matham (Willem Buytewech 1591-1624, item 24, plate 46) and the commentary notes that familiarity with the works of 16th-century Northern European artists could have been expected at that time (e.g., Rudolph II’s fixation on Durer, the Lucas van Leyden revival in Goltzius’ circle). Given that the Wierix brothers made engravings after Durer's prints for their Master’s pieces, it seems possible that Buytewech made this for a similar purpose (which would suggest a date of c. 1612). Another possibility is that given the sheer number of drawings by Maarten de Vos (1531-1603) made for engravers and print publishers (c. 1600 engravings were made based upon his drawings), Buytewech could have been familiar with them in general and this one in particular and may have chosen it to advertise his familiarity with the traditions of late 16th-century Netherlandish art and his skill at working in different media; it could also have been a commission for a young artist just beginning a career that might have been useful from a financial point of view as well as showing his ability to meet a patron’s needs. If Buytewech was born in 1591, he was about 24-25 years old when he did the Goltzius-style “Homme en costume de fantasie”; when he was admitted master in 1612 (in Haarlem, where he had been living since 1611), he was then 21-22 and perhaps feeling a need to show his mastery of all of the recent Netherlandish styles. Buytewech's drawings were interesting enough that some of them were engraved by others (including C. van Kittensteyn, G. van Schneydel, and Jan II van de Velde) and collected by others including Rembrandt. Interestingly, his drawings make much higher prices at auction than his paintings (Christie's NY and London records 4 sales between 2002 and 2006 ranging from Please call or email for current pricing information (a small study of a man in the manner of Goltzius or Matham [Haverkamp Begemann plate 46]) to Please call or email for current pricing information (the two in the middle sold for Please call or email for current pricing information and Please call or email for current pricing information), all of which were in one of his later styles and all of which were much smaller than ours. Condition: very good save for a small chip lower edge center; the wood has warped and it has been mounted on a wood cradle to prevent further warping and to stabilize it. Image size: 398x613mm (15-3/4x24-3/16 inches). Price: Please call or email for current pricing information.
The work is signed with Buytewech's monogram, which is shown in many of the works reproduced in Willem Buytewech 1591-1624, including in the illustration on the front cover.
Jan Sadeler (Dutch, 1550-1600), Methuselah and his children (TIB 7001.034, Holl. de Vos 46). Engraving after Maarten de Vos, 1586. One of the many collaborations between Maarten de Vos and Jan Sadeler, here as part of a series on The Story of the Family of Seth (1586). Inscribed at top: "VI"; "Sadel: auct: scalpsit / Vos figur" lower right. The story of the Creation, Fall, and its Consequences may have seemed to offer a way of understanding the religious wars during the period, especially in the Netherlands, where Spanish armies were frequently unleashed upon towns and cities where Protestants could be found and slaughtered. Image size: 208x274mm. Included with the painting above.

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