On December 7, 2018 the exhibition Rembrandt Privé [Rembrandt Privately] opened at the city archives of Amsterdam. In an earlier post on my blog I mentioned the project RemDoc – Rembrandt Documentation which offers a searchable database with images, transcriptions and many English translations of seventeenth-century documents pertaining to Rembrandt van Rijn (1606-1669). The exhibit show documents held at the Stadsarchief Amsterdam, the largest municipal archive in the Netherlands, some original works by Rembrandt, a number of maps and the chance to gain access to augmented reality around the documents using a tablet. The legal nature of many documents will soon become clear in this post.
Stories of love, art and money
I started to admire Rembrandt already as a child. His paintings, drawings and etchings are so much alive with people. Paintings from the Dutch Golden Age helped shaping my perceptions of the seventeenth century. I was soon aware of the many decisive turns in Rembrandt’s life. The way he portrayed people both in sorrow and joy, and the dark hours of his own life offered a healthy antidote to viewing the Dutch Republic in too much sunlight. The catalogue of the major Rembrandt exposition in Amsterdam in 1969 was a book I have seen many times. It often referred to historical documents about Rembrandt and his works.
Reading about somebody in a book is one thing, seeing the works of an artist in museums adds much to it, but somehow having the documents in front of you stirs the imagination even more. The Rembrandt Documentation project of the Huygens Institute in Amsterdam and the Radboud University Nijmegen gives you online access to many thousand documents. There was an older work, Die Urkunden über Rembrandt (1575-1721) by C. Hofstede de Groot (The Hague 1906; online, Universität Heidelberg) with transcriptions and commentaries for nearly 500 documents, followed by W.L. Strauss and M. van der Meulen, The Rembrandt Documents (New York 1979) and M. Roscam Abbing, Rembrandt 2006, II: New Rembrandt Documents (Leiden 2006). The online project has a wider time range, 1424 to 1799, and offers much more documents, and also references about Rembrandt in art literature. Sometimes Hofstede de Groot did not record texts completely. Commentaries can be very different and convincing explanations no longer missing. An example: Hofstede de Groot gave a large extract from an attestatio de vita from July 26, 1632 (no. 25, p. 24-25; RemDoc, no. 4399) made by a notary inquiring about Rembrandt’s health, but the reason for this inquiry was not clear to Hofstede de Groot. In 1979 it became clear it had to do with a rent subscribed to by one hundred citizens with the stipulation the full sum would be paid back to the longest living subscriber.
The exhibit at the city archive shows a selection of documents around a number of themes and events in Rembrandt’s life. Often two documents are shown, with either a print next to them or an image of a painting in the background, most of them from the collections of the Rijksmuseum and the Rembrandthuis. With the tablet you can focus on a document and start a short podcast about the document or documents. Often you will see a seventeenth-century map in the background showing you the exact location in the inner city of Amsterdam. The image to the left centers on a document about the execution of Elsje Christiaens, a Danish servant convicted for murder hanging at the display gallows in 1664 on the other side of the IJ, the estuary to the north of Amsterdam. Rembrandt often made sketches in this region. He drawed this young woman twice.
The exhibition shows some familiar documents, and although I had already some expectations, the legal nature of many documents is indeed striking. To mention just a few of them, the betrothal of Rembrandt and his first wife Saskia van Uijlenburgh in 1634, an ecclesiastical procedure about his later mistress Geertje, some testaments, the inventory of his bankruptcy in 1656, and the inventory of his house after his death in 1669 are all legal documents.
The death-bed inventory of Rembrandt’s house in 1669 is rather special. It belongs to documents more or less damaged by the 1762 fire in the city hall. Several documents have now been restored and digitized. Until now the transcriptions of this document in RemDoc (no. 13471; Hofstede de Groot, no. 306) could only be incomplete. It is a reminder that a historical state of affairs can change indeed. Illegible or missing words can become clear. In the case mentioned above a document which seemed inexplicable can be studied anew, placed in a context and yield new information. The readability of old Dutch documents was the theme in a post I wrote earlier in 2018. I proposed to everyone wanting to learn online to decipher Dutch documents from the seventeenth century to start with the documents about Rembrandt. As an example I showed an image of an obligation Rembrandt had got into for the purchase in 1639 of his house in the Sint Anthoniebreesteeg for which he had failed in 1653 to pay four years of interest (RemDoc no. 4628). Even if not for all documents images and an English translation is available, a fair number of archival records can be used to gain also palaeographical skills.
Among the archival records on display I want to single out two documents. The first is a complaint from the Portuguese merchant Diego d’Andrada in 1654 about a portrait of a young lady Rembrandt had made for him (RemDoc, no. 1661) with clauses about the way Rembrandt was going to act to fulfill the wishes in accordance with the regulations of the painters guild.
The second document involved also the presence of Portuguese merchants in Amsterdam, the burial of Francisco d’Angola in 1659 who had lived in the same street with Selijelij Krablije. Rembrandt could meet in the very street where he lived black people who lived as servants in the houses of Portuguese merchants. In Amsterdam it was forbidden to have slaves, but one can assume in some cases such servants were in fact slaves. Amsterdam had become in the seventeenth century one of Europe’s most important financial and trade centers. You might encounter anyone and anything, and thus Rembrandt’s world stretched far beyond Holland.
More archival records
The Stadsarchief Amsterdam is rightly famous for its digitization service. Some 30 million images of archival records are currently available online. Indexes exist for a steadily growing number of record series, and in most cases they lead you to digital images, too. The ondertrouwregisters (betrothal registers) are probably the most praised record series of the municipal archive, because uniquely for this kind of resource the Amsterdam records often contain additional information about the partners, their professions, origin and family.
In 1906 Hofstede de Groot noted in the acknowledgements he had not used himself the notarial registers of Amsterdam, because this rich resource had not yet been adequately inventoried. He had mostly to rely on the transcriptions and editions of the people who had gained access to them thanks to the guidance of archivists. It is one thing to have now at your computer screen full access to digitized images of these registers using the finding aid (toegang 5075), but another thing to find quickly relevant acts. Here the crowdsourcing project Alle Amsterdamse Akten steps in which aims to digitize and create indexes for a staggering volume of notarial registers, good for 3,5 linear kilometer in 700 cupboards. The project overview gives a current number of nearly six million digitized pages, some 680 volunteers at the Dutch transcribing platform Vele Handen [Many Hands] and 267,000 documents. There are more than ten thousand registers from 731 notaries in the Early Modern period. The website contains special dossiers about six themes, among them Rembrandt and also slavery with highlights among the notarial acts, some of them newly found, others already known.
After free registration you can start searching in the notarial registers from Amsterdam at the website Notarieel Archief Amsterdam. You can search for descriptions, type of act, first names and surnames for two persons, location, day, month and year, or choose a particular notary. When searching for Rembrandt van Rhijn you will immediately get a choice of variant spellings in a dropdown menu, both for Rembran(d)(t) and R(h)ijn. At this point I can no longer hide the fact that the exhibit can be visited in a Dutch and English version, but the other websites of the Stadsarchief Amsterdam are completely in Dutch. The press kit for the exhibit in four languages and the display texts for the documents are the exceptions, but the tablet scripts and transcriptions are only available online in Dutch. There is a strong case to add at least a search interface in one other language. It is some solace to be able to download the 1998 repertory of notaries in Amsterdam between 1524 and 1810 by A.J. Bosma. Earlier on an overview had been created of more than 5000 notarial acts in cases of gross avery between 1700 and 1810, damage to ships in emergency situations, an important resource next to an index on these cases of maritime law heard by a special court. I wrote a paragraph about these verdicts in an earlier post.
Rembrandt and Vermeer in documents
It seems wise to see Rembrandt not in isolation. John Michael Montias (1928-2005) was an economic historian who became an art historian focusing on the social context of art. He found and transcribed lots of Early Modern probate inventories mentioning works of art which can be searched in the Montias database of the Frick Museum, New York. The Meertens Institute for Dutch Ethnology has created the Boedelbank, a database with Dutch probate inventories from four regions seen as a resource for the history of material culture. In 1989 Montias published Vermeer and his milieu. A web of social history, translated into Dutch as Vermeer en zijn milieu (Amsterdam 1993). Over the years Montias had traced some 450 documents in seventeen Dutch and Belgian archives – not only in Delft! – with direct and indirect about information about Vermeer, his family and people associated with him. The Dutch edition contains as an appendix (pp. 331-403) an enlarged version of the list of documents with a number of full transcriptions. The number of documents for Vermeer is definitely lower than for Rembrandt. Even if such documents do not allow for strict conclusions about the content of his art works, they enormously raise the awareness about the multiple contexts of Dutch art in the seventeenth century.
In the face of an ocean of specialized art literature about Rembrandt and Vermeer the point I liked to make here is not only the legal nature of many archival records in the Amsterdam exhibition, but also the presence of many other persons in these documents. Rembrandt and Vermeer were supreme masters in portraying people who you seem to know and understand in an uncanny way. The Dutch historian Geert Mak wrote a book about the Six family [De levens van Jan Six. Een familiegeschiedenis, 2016; The many lives of Jan Six. A portrait of an Amsterdam dynasty, 2017], a merchant dynasty with Jan Six at its very heart, a friend of Rembrandt, portrayed twice by him. The painting is still owned by his descendants. Viewing someone in his familiar surroundings or in the streets of his hometown is also a metaphor for viewing law not as an isolated element of society, but vitally connected to its utmost veins. Finding and recreating such connections is surely challenging, but searching for a subject in vivo is more rewarding and revealing than staying content with results in a supposedly detached laboratory. At the end of 2018 I would almost say: Keep calm and study legal history!