1577, acquired from the artist by Albrecht V, Duke of Bavaria (1528-1579); 1579, by succession to Wilhelm V, Duke of Bavaria (1548-1626); 1598, in the inventory of the Kunstkammer in Munich; 1626 by succession to Maximilian I, Elector of Bavaria; [1632 looted in Munich by Swedish officers (1632)?]; [unknown Spanish owner?] ; Chevalier Richard de Lédans, his sale (1816); unknown English owner staying in Brussels in 1832, given by him to the owner of an unknown Brussels hotel as a security for overdue accommodation costs; 1832, acquired from the hotel owner by the ‘Bibliothèque de Bourgogne’ in Brussels; In the Manuscript Department (ms. 11620) of the Royal Library of Belgium (1837); 1985, transferred to the Print Room, inv. S.I 23045
Materiaal
vellum mounted on oak panel
Tentoonstelling (annotatie)
1985, September-December, Brussels, Palace of Fine Arts, “Luister van Spanje en de Belgische steden, 1500-1700”; 1992, February-May, Antwerp, Royal Museum of Fine Arts, “America, bruid van de zon: 500 jaar Latijns-Amerika en de Lage Landen”; 2003, September-November, Essen, Villa Hügel, “The invention of the landscape: Flemish landscape painting from Patinir to Rubens, 1520-1660”; 2003, December-April, Vienna, Kunsthistorisches Museum, "The invention of the landscape: Flemish landscape painting from Patinir to Rubens, 1520-1660"; 2004, May-August, Antwerp, Royal Museum of Fine Arts - KMSKA, "De uitvinding van het landschap: van Patinir tot Rubens, 1520-1660"; 2005-2006, October-January, Munich, Neue Pinakothek, “In Europa zu hause: Niederländer in München um 1600/Citizens of Europe: Dutch and Flemish artists in Munich c. 1600”; 2014-2015, November-February, Brussels, Royal Library of Belgium, “Tussen de lijnen: tekeningen van oude meesters uit het Prentenkabinet van de Koninklijke Bibliotheek van België/ Between the Lines: Old Master Drawings from the Print Room of the Royal Library of Belgium”
Bibliografische referentie
E. Fétis, Les artistes belges à létranger, Brussel 1857, pp. 117-119; H. Hoys, "_'_"Fondations pieuses et charitables des marchands flamands à Madrid, in: Précis historiques, 1882, p. 320; J. Van den Gheyn e.a., Catalogue des manuscrits de la Bibliothèque royale de Belgique, Brussel 1919, vol. 10, nr. 6803; M.L. Hairs, Les peintres flamands de fleurs au XVIIe siècle, Parijs & Brussel 1955, p. 223; I. Bergström, "_'_"Georg Hoefnagel, le dernier des grands miniaturistes flamands, in: LOeil, jg. 101 (1963), pp. 5, 8; G. Langemeyer, "_'_"Die Nähe und die Ferne, in: G. Köhler (ed.), Stilleben in Europa, Münster (Westfälisches Landesmuseum für Kunst und Kulturgeschichte) & Baden-Baden (Staatliche Kunsthalle) 1979-1980, pp. 26-27, afb. 4; A.S. Corbacho, Iconografía de Sevilla, Sevilla 1975, pp. 2-7, pl. VIII; J. Ballesteros Fernández, Sevilla en el siglo XVII, Sevilla (Museo de Artes y Costumbres Populares) 1983-1984, pp. 135-136, cat. U.2 ; T. Vignau-Wilberg 1985, "_'_"Joris Hoefnagels Tätigkeit in München, in: Jahrbuch der kunsthistorischen Sammlungen in Wien, jg. 81 (1985), pp. 107-113; M.D. Cabra Loredo, Iconografía de Sevilla, I, 1400-1650, Sevilla 1988, cat. 35; L. Nuti, "_'_"The Mapped Views by Georg Hoefnagel: The Merchants Eye, The Humanists Eye, in: Word & Image, jg. 2 (1988), nr. 4, p. 217, afb. 13; A. Albus, Paradies und Paradox: Wunderwerke aus fünf Jahrhunderten, Frankfurt am Main 2002 , pp. 159-200; P. Diemer, E. Bujok & D. Diemer, Johann Baptist Fickler. Das Inventar der Münchner herzoglichen Kunstkammer von 1598, München 2004, p. 63, nr. 375; M. Ilsink, Bosch en Bruegel als Bosch. Kunst over kunst bij Pieter Bruegel (c. 1528-1569) en Jheronimus Bosch (c. 1450-1516) (Nijmeegse Kunsthistorische studies, 17), Nijmegen 2009, pp. 147-148, 182, afb. 65, 85; F. Marías, "_'_"Le carte corografiche delle città della penisola Iberica, in: Limmagine della città europea dal Rinascimento al Secolo dei Lumi, Venezia (Museo Correr), 2014, p. 80, afb. 3
View of Seville surrounded by allegorical representations
[Drawing]. - 1573. - 1 drawing
: watercolour, bodycolour and gold paint ; 217 x 323 mm. - E. Fétis, Les artistes belges à létranger, Brussel 1857, pp. 117-119; H. Hoys, "_'_"Fondations pieuses et charitables des marchands flamands à Madrid, in: Précis historiques, 1882, p. 320; J. Van den Gheyn e.a., Catalogue des manuscrits de la Bibliothèque royale de Belgique, Brussel 1919, vol. 10, nr. 6803; M.L. Hairs, Les peintres flamands de fleurs au XVIIe siècle, Parijs & Brussel 1955, p. 223; I. Bergström, "_'_"Georg Hoefnagel, le dernier des grands miniaturistes flamands, in: LOeil, jg. 101 (1963), pp. 5, 8; G. Langemeyer, "_'_"Die Nähe und die Ferne, in: G. Köhler (ed.), Stilleben in Europa, Münster (Westfälisches Landesmuseum für Kunst und Kulturgeschichte) & Baden-Baden (Staatliche Kunsthalle) 1979-1980, pp. 26-27, afb. 4; A.S. Corbacho, Iconografía de Sevilla, Sevilla 1975, pp. 2-7, pl. VIII; J. Ballesteros Fernández, Sevilla en el siglo XVII, Sevilla (Museo de Artes y Costumbres Populares) 1983-1984, pp. 135-136, cat. U.2 ; T. Vignau-Wilberg 1985, "_'_"Joris Hoefnagels Tätigkeit in München, in: Jahrbuch der kunsthistorischen Sammlungen in Wien, jg. 81 (1985), pp. 107-113; M.D. Cabra Loredo, Iconografía de Sevilla, I, 1400-1650, Sevilla 1988, cat. 35; L. Nuti, "_'_"The Mapped Views by Georg Hoefnagel: The Merchants Eye, The Humanists Eye, in: Word & Image, jg. 2 (1988), nr. 4, p. 217, afb. 13; A. Albus, Paradies und Paradox: Wunderwerke aus fünf Jahrhunderten, Frankfurt am Main 2002 , pp. 159-200; P. Diemer, E. Bujok & D. Diemer, Johann Baptist Fickler. Das Inventar der Münchner herzoglichen Kunstkammer von 1598, München 2004, p. 63, nr. 375; M. Ilsink, Bosch en Bruegel als Bosch. Kunst over kunst bij Pieter Bruegel (c. 1528-1569) en Jheronimus Bosch (c. 1450-1516) (Nijmeegse Kunsthistorische studies, 17), Nijmegen 2009, pp. 147-148, 182, afb. 65, 85; F. Marías, "_'_"Le carte corografiche delle città della penisola Iberica, in: Limmagine della città europea dal Rinascimento al Secolo dei Lumi, Venezia (Museo Correr), 2014, p. 80, afb. 3.
