Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact support@jstor.org.
Burlington Magazine Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend
access to The Burlington Magazine
This content downloaded from 140.192.113.143 on Mon, 25 Apr 2016 18:03:51 UTC
All use subject to http://about.jstor.org/terms
Caravaggio's Rome.
In 1626 Bor returned to settle in his home town of
Amersfoort. There he had contact with prominent patrons,
probably very similar to those of Pieter de Grebber and other
Haarlem classicists. In 1638 - around the time Bor must have
been painting the Annunciation of the death of the Virgin ?Jacob
informing the Virgin that she will bear a son named Jesus.
Unlike the first Annunciation, the second does not appear in
the Bible and is only known from the Apocrypha.
The Annunciation of the death of the Virgin is a relatively
rare subject in Western art. Because of the Eucharistie signifi
cance of the incarnation of Christ, the first Annunciation is a
' The painting was sold at Sotheby's, Amsterdam, 14th May 2002, lot 48. The
National Gallery of Canada purchased the work from Hall & Knight Ltd., New
and to the right. The overall impression is of a very direct, loose painting technique,
allowing for an element of spontaneity.
York. Remarkably, the painting is unlined, a feature that has allowed Stephen Gritt,
2 For Bor's biography, see the entry by MJ. Bok in A. Blankert and LJ. Slatkes,
eds.: exh. cat. Holl?ndische Malerei in neuem Licht: Hendrick ter Brugghen und seine
two pieces of finen sewn together, with the seam running horizontally across the
middle. Examination by infra-red reflectography shows no evidence of a careful
laying out of the design, or of a transfer of an existing drawing. The only penti
mento is found in the location of the Angel's head, which has been shifted lower
Jahrbuch der k?niglich Preussischen Kunstsammlungen 37 (1916), pp. 105?15, who lists a
total of fourteen works, and J.W. von Moltke: 'Die Gem?lde des Paulus Bor von
Amersfoort', Westfalen. Hefte f?r Geschichte, Kunst und Volkskunde 55/1?2 (1977),
pp. 158?61, who fists twenty-six paintings.
This content downloaded from 140.192.113.143 on Mon, 25 Apr 2016 18:03:51 UTC
All use subject to http://about.jstor.org/terms
A NEWLY DISCOVERED PAINTING BY PAULUS BOR FOR THE NATIONAL GALLERY OF CANADA, OTTAWA
3 While at Sotheby's, the painting was attributed to Bor by Paul Huys Janssen (see
note i above). Huys Janssen has since confirmed his attribution via e-mail to David
Franklin (29th September 2003) of the National Gallery of Canada. The attribution
was also confirmed by LJ. Slatkes (letter, ist July 2003).
This content downloaded from 140.192.113.143 on Mon, 25 Apr 2016 18:03:51 UTC
All use subject to http://about.jstor.org/terms
A NEWLY DISCOVERED PAINTING BY PAULUS BOR FOR THE NATIONAL GALLERY OF CANADA, OTTAWA
26. The
enchantress,
by Paulus
Bor.
ci 640.
Canvas,
155.6 by
112.4 cm.
(Metro
politan
Museum of
Art, New
York).
s For which see Jacopo da Vor?gine: The Golden Legend, ed. G. Ryan and H.
Ripperger, New York 1969, p.456.
9 E.g. Pretiose, Donju?n, and the gypsy woman Maiombe (Centraal Museum, Utrecht),
whose subject is taken from Jacob Cats's Het Spaens heydinnetje (1637); see A. Blankert
1 ' For the painting for the church of Maria Minor in Utrecht, see B.J. Kaplan:
'Confessionalism and its limits: religion in Utrecht, 1600-1650', in J.A. Spicer and
L.F. Orr, eds.: exh. cat. Masters of Light: Dutch Painting in Utrecht during the Golden Age,
San Francisco (Fine Arts Museums), Baltimore (Walters Art Gallery) and London
(National Gallery) 1997-98, p.66. For Moeyaert's painting for the B?guinage church
in Amsterdam, see X. van Eck: 'The Artist's Religion: Paintings Commissioned for
Clandestine Churches in the Northern Netherlands, 1600-1800', Simiolus 27 (1999),
pp.74-76, esp. p.88; and R. Schillemans: 'Zeventiende- en vroeg achttiende-eeuwse
wisselaltaarstukken in de Amsterdamse Begijnhofkerk', De zeventiende eeuw 15 (1999),
This content downloaded from 140.192.113.143 on Mon, 25 Apr 2016 18:03:51 UTC
All use subject to http://about.jstor.org/terms