SWIDDE, Willem - Nationalmuseum

Transcription

1
Willem Swidde
Amsterdam c. 1660 – Stockholm 1697
Little is known about Swidde´s training and early activity. He was recommended
by the publisher Nicholas Visscher in Amsterdam to the Swedish quartermaster
general Erik Dahlbergh, who needed an engraver for the illustration of his
historical and topographical works. Swidde arrived in Sweden in 1688. His first
task was the engravings for the De Rebus a Carlo Gustavo Sveciae Regis, the
history of King Carl X Gustaf of Sweden (1622-1660). Dahlbergh, who had
served in the king‟s military campaigns in Poland, Germany and Denmark, had
collected the documentatation and prepared the illustrations. A number of them
had been engraved in Paris 1667-74, but then it came to a halt. The remaining
illustrations - 18 of a total of 123 plates - were engraved by Swidde, and the
work, with a text written by the German historian Samuel Pufendorf, was
published in Nuremberg in 1696. In 1690 Lemke also began transferring to the
copper Dahlbergh‟s drawings for a topography of Sweden, the Suecia Antiqua et
Hodierna,. This was a larger undertaking that occupied Swidde for the rest of his
short life. He produced 76 plates. This meant a closer collaboration with
Dahlbergh, who appreciated his capacity as a draftsman and came to rely on his
judgment. When he had the opportunity, Swidde confronted Dahlbergh‟s
amateurish drawings with reality and suggested improvements from life - ”na‟t
leven”. In other cases he only corrected the perspective. This collaboration is
demonstrated by preserved drawings as well as by the correspondance between
the two. Even when there are no drawings to show it, the procedure is borne out
by differences between Dahlbergh‟s drawings and Swidde‟s etchings.1
1
B. Magnusson, Att illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986 (Summary in English).
2
[Swidde]
#1
The Second Day of the Battle at Warszaw
Pen and brown ink ink, brown wash, irregularly chaped, c. 250x440 mm.
RA, Dahlberghs saml., vol. C1-C2, kartor o. ritn., no. 51:3
The troops at the bottom centre, forming a wide curve, is on a separate piece of
paper. Vertical folds. Squared in graphite.
Watermark: Rider with a hat on a stick.
Chain lines: 26 mm.
Inscribed in block letters with geographical names, and with names of troups in
latin, as well as numbers indicating troups, all in pen and brown ink. Inscriptions
in Dutch: At the top left bok de sind p(…) niet, vertically along a undulating line
below the troups on the left wat dese bekken dyk(?), and in the swamp on the
lower right Moeras, pen and brown ink.
Provenance: To the state archives c. 1710.
Bibliography: B. Magnusson, ”Lemkes bataljmålningar på Drottningholm och
deras förlagor”, Konsthist. Tidskr, XLIX (1980), p. 125, fig. 8,; B. Magnusson, Att
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 70, 74.
Etched by Swidde for Pufendorf‟s De Rebus a Carolo Gustavo …, pl. 41. The
model for the print consists of three pieces of paper, including drawings for part
of the decorative frame, the battle itself, and the foreground staffage. The
present drawing of the central and right part of the battle replaced a slightly
different one by Erik Dahlbergh, that had a less successful perspective and other
3
shortcomings (RA CC 51:2; ref a). Swidde is undobtedly responsible for the
improved version with its explanatory notes in Dutch in the same ink as the
drawing. His hand is best seen in the lively background landscape, while in the
battle itself he was forced to adhere striktly to Dahlbergh. Dahlbergh did not
permit any deviations as to the topgraphy and the positions of the troups, In
fact, he has retouched the troups drawn at the upper left in a darker ink. He did,
however, give his collaborators a free hand regarding other matters. Thus, the
painter Johan Philip Lemke invented the cavalry battle that fills the foreground, it
is on a separate strip of paper (RA CC 51:1; ref b).
Lemke was simultaneously engaged by Dahlbergh to paint a series of battles at
the Royal Palace of Drottninghom outside Stocholm. The The second day‟s action
at Warszaw was painted 1690-93 (Drh 143).
Ref a
Ref b
4
[Swidde]
#2
Carl X Gustaf‟s Entry into Landskrona
Pen and brown ink, brown wash, 108x355 mm.
UUB, Palmskiöld, vol. 305, p. 447.
Squared in red chalk. Indented recto and verso.
Watermark: Foolscap (fragment).
Chain lines: 25 mm.
Provenance: E. Palmskiöld (1667-1719); Acquired by the Uppsala University
Library in 1724.
Bibliography: B. Magnusson, Att illustrera fäderneslandet, Ars Suetica 10,
Uppsala 1986, pp. 72, 75.
Etched by Swidde 1689 for Pufendorf‟s De Rebus a Carolo Gustavo …, pl. 90 (the
upper part). For the lower part, see the following no.
5
[Swidde]
#3
Carl X Gustaf‟s Entry into Malmö
Graphite, pen and brown ink, grey wash, 160x413 mm.
RA, Dahlberghs saml., vol. C1-C2, kartor o. ritn., no. 60
Vertical fold in the centre. A tear in the right margin, the bottom margin uneven.
Squared in pencil and in red chalk.
Watermark: Coat of arms (fragment).
Chain lines: 23-25 mm.
Inscribed in the drawing with the names of the main buildings (Dahlbergh), and
in the lower left margin a trompetters / en keteltrommen (Swidde), pen and
brown ink.
Provenance: To the state archives c. 1710.
Bibliography: B. Magnusson, Att illustrera fäderneslandet, Ars Suetica 10,
Uppsala 1986, pp. 72, 75.
Etched by Swidde 1689 for Pufendorf‟s De Rebus a Carolo Gustavo …, pl. 90 (the
lower part). This and the previous drawing were originally a single sheet. The
indication of a cartouche and the frame pattern is typical of Dahlbergh, but the
drawing is by Swidde. However, the squaring in graphite shows that the the
drawing was first copied from another drawing, possibly by Dahlbergh, in order
to adopt the design to the plate size (the small squares in graphite lie under the
drawing). It was then squared again in red chalk (those, larger squares are on
top of the drawing). Perhaps a painting by Lemke was also planned, calling for
an enlargement, but no such painting is known.
6
[Swidde]
#4
Ekolsund from the South
Pen, point of brush, wash, 234x348 mm.
KB, Nescher 91
Losses along the right margin Letter-folded. The foreground traced, outlines in
red chalk on the verso.
Watermark: Amsterdam coat-of-arms.
Chain lines: 24 mm.
Provenance: S. L. Gahm Persson (1725-1794): D. G. Nescher (1753-1827);
Acquired by the Royal Library in 1828.
Bibliography: S. Wallin, Erik Dahlberg. Teckningarna till Svecia Antiqua et
Hodierna, II, Stockholm 1966, p. 27, figs. 835 (no attr.); B. Magnusson, Att
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 169, 190, fig. 108;
B. Magnusson, ”Sweden illustrated”, Baroque Dreams. Art and Vison in Sweden
in the Era of Greatness, Uppsala 2003, p.52, fig. 16.
The model for one of the two prints in the Suecia Antiqua et Hodierna
representing Ekolsund, just north of Stockholm. It was etched by Swidde in 1690
(Plate I:91). The drawing differs radically from Dahlbergh‟s drawings with its low
view-point and meticulously rendered details. It was evidently made by Swidde
to show his capacity as an independent draughtsman, and he pointed to the fact
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in a letter to Dahlbergh, where he asked to get the drawing back since he had
spent so much work on it: ik vezoeke Uw genaade dat ik dese tekeningh van
Ekolsund weeder magh bekomen en voor mij behouden de wijl deselwe seer
sindelijk gearbijt is (Jan. 7, 1691).
Even if Dahlbergh must have approved of it, it did not conform to his usual way
of rendering palaces, so a few years later (1694), he made a new drawing,
showing the two L-shaped pavillions in a frontal, symmetrical view.2 Swidde
etched this too, in 1697 (Plate I:90). Only one of the pavillions was ever finished,
so Swiddes rendering is the one that corresponds to the actual state at the time.
2
Wallin, op.cit., fig. 829.
8
[Swidde]
#5
Rosersberg, the Garden Side
Graphite, point of brush in grey, grey wash, 222x369 mm.
KB, Dahlb. 5:6
Watermark: Fleur-de-lis.
Chain lines: 25 mm.
Inscribed at the bottom a (indicating the hedge in the foreground) te sien dat dit
zoo veel lager kompt om dat het huis grooter kan komen, pen and grey ink.
Provenance: RA (State Archives) from c. 1710; Transferred to the Royal Library
in 1880.
Hodierna, II, Stockholm 1966, p. 46, fig. 1103 (no attr.); B. Magnusson, Att
The model for the plate I:127 of Svecia Antiqua et Hodierna. Rosersberg was one
of the most important palaces near Stockholm, and it is unusually well
represented in the Suecia. Dahlbergh had three plates engraved in Paris around
1670. In the 1690s the gardens were modernized and expanded, and no less
than eight prints were devoted to them. Swidde made the etchings 1695-96, and
his drawing was probably done during that campaign. Most likely it is based on
drawings and sketches by others, since the preserved models for the other plates
are by Dahlberghs assistant Johan Lithén (two are missing). With the
9
characteristic economy of a professional printmaker, Swidde has only finished
one half of the symmetrical design.
In a letter on March 23, 1696, Dahlbergh wrote to a collaborator that Swidde‟s
rendering of the palace displeased him, becase in his own drawing the building
appeared much grander, and grunted that the engraver stubbornly followed his
own ideas. Since Swidde‟s two other views were etched in 1695, Dahlbergh must
refer to the present drawing, and that will explain Swidde‟s note note in the
margin, that the hedge should made lower, so that the building looked bigger.
10
[Swidde]
#6
Sjöö towards the Garden
KB, Dahlb. 5:25
Watermark: Bend.
Chain lines: 28 mm.
Inscriptions at the bottom cut off and illegible. Inscribed on the verso Nota.
Voor’t byten te stoppen / de loden op de voor grond dar te langh was, pen and
brown ink.
in 1880.
Hodierna, II, Stockholm 1966, p. 50, fig. 1169 (no attr.); B. Magnusson, Att
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 170, 193, fig. 109.
Swidde etched two plates of Sjöö for Svecia Antiqua et Hodierna, in 1696. This is
the model for the second one, plate I:138. The other model is lost. According to
Dahlbergh‟s lists of drawings, both of them were finished by 1694.
This is a fine example of Swidde‟s mature style. Thin lines that have not been
erazed show the precise perspective construction. Since the garden is
symmetrical, one half has been left unfinished. Enough details have been
indicated, mostly with the brush,for the engraver to be able to complete the
view. The background scenery is indicated with simple but varied strokes of chalk
and brush, quite different from Dahlbergh‟s monotonous manner. Lively and
more forceful is the brush work in the two trees framing the scene. The figures in
the foreground, that would stand out in the print more darkly etched, have been
11
drawn in pen and ink, sketchily but varying the thickness of the lines. The
drawing, though in a sense “unfinished”, gives an excellent idea of what the
finished print would look like.
12
[Swidde]
#7
Gripenberg
KB, Dahlb. 5:26
Green stains in the centre.
No watermark.
Chain lines: 24 mm.
Inscribed at the top Siöö, pen and brown ink.
in 1880.
Hodierna, IV, Stockholm 1970, p. 41, fig. 2275 (no attr.); B. Magnusson, Att
An unfinished drawing for the print III:92 in the Svecia Antiqua et Hodierna. The
drawing repeats in reverse a preliminary drawing by Dahlbergh. 3 It corresponds
in style to the drawings of Rosersberg and Sjöö. Dahlbergh‟s lists of finished
drawings indicate that there was a finished model by 1692, and perhaps this
drawings, combined with Dahlberghs own, were deemed sufficient. However it
was not engraved til 1704, and then by van der Aveele. He used these drawings
3
Wollin, op.cit., fig. 2272.
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but made changes to the buildings and modified the foreground. It is not clear if
he recorded recent modifications or just imprivised on the unfinished drawings he
worked from.
In several cases Dahlbergh‟s assistants gave Swidde drawings to work on, that
belonged to the third volume of the Suecia, before the first two volumes were
finished. This annoyed Dahlbergh, and in this case it probably explains the delay
before it was engraved.
14
[Swidde, reworking Dahlbergh]
#8
King Erik Knutsson‟s Chapel at Varnhem Abbey (top), and the Tombstone of the
King and Queen (bottom)
Graphite, grey wash, pen and brown ink, 271x169 mm.
KB, Dahlb. 9:56b
All four corners cut.
Laid down.
in 1880.
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 169, 205, 251.
Model for plate III:69 in Svecia Antiqua et Hodierna. Swidde had this and a
number of other drawings engraved in Holland in 1691. In the upper scene
Swidde has only retouched Dahlbergh‟s neatly finished drawing in pencil and
wash, adding the small figures that people the chapel in pen and ink. The scene
15
below in pen and ink is in Swidde‟s hand. He has copied the tomb slab from a
clumsy pencil drawing,4 and added the view with a church on the right, which
has nothing to do with Varnhem.
4
Wollin, op.cit. fig. 2182.
16
[Swidde]
#9
King Inge‟s Chapel at Varnhem Abbey (top), and his Tombstone (bottom)
KB, Dahlb. 9:57
All four corners cut.
Laid down.
in 1880.
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 169, 205, 251.
Model for plate III:70 in Svecia Antiqua et Hodierna. Swidde had this and a
number of other drawings engraved in Holland in 1691. The upper scene is
completely drawn in pencil and wash in Dahlbergh‟s neat manner. The scene
below in pen and ink is in Swidde‟s hand. As in the previous drawing, he has
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copied the tomb slab from a clumsy pencil drawing,5 and added the view with a
town on the right, which is his own invention.
5
Wollin, op.cit. fig. 2185.
18
[Swidde]
#10
Coat of Arms of the Provinces Medelpad, Ångermanland and Gästrikland
Pen and grey ink, grey wash, 244x148 mm.
KB, Dahlb. 8:24
Ruled framing lines in grey ink. Traced for transfer, traces of red chalk on the
verso, as well as grey etching ground.
No watermark.
Chain lines: 24 mm.
Colour notes in the drawing in pen and grey ink: On the left blaauw / velt / 2
witte golven; centre: 3 haringen / blaauw velt; right: en hart / en zoo / veel
koegels / als er zijn. Inscribed at the bottom Nota: de vreede veeren bordn / met
enkele asseringen al in de lenghte / de lauwe werdn ook enkele, en alles met
kloeker naalden / zoo op de plaat te maken, pen and ink.
in 1880.
Hodierna, III, Stockholm 1968, pp. 45f, fig. 1793 (no attr.); B. Magnusson, Att
19
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 171, 200, 252, fig.
110.
Model in reverse for plate
Holland by “Müller 1696”.
mentioned in Dahlbergh‟s
obviously adressed to the
II:60 in Svecia Antiqua et Hodierna., engraved in
He is probably identical with Josef Mulder, who is
correspondance. Swiddes notes on the drawing are
engraver.
20
[Swidde]
#11
Coat of Arms of the Province of Västerbotten (fragment)
KB, Dahlb. 8:31a
The sheet has been cut diagonally, following the contour of the mountain range
in the background.
No watermark.
Chain lines: 26 mm
in 1880.
Hodierna, III, Stockholm 1968, p. 48, fig. 1828 (no attr.); B. Magnusson, Att
The drawing belonged to the model in reverse for plate II:70 in Svecia Antiqua et
Hodierna. It shows the Milky Way and several sodiac signs, including Ursa Maior
and Minor with the Polar Star. At some point this elaborate composition must
21
have been discarded, and when van den Aveele finally etched the plate in 1701,
only a bear is seen in the sky.
22
[Swidde]
#12
Head of an Elk
Graphite, 148x94 mm.
KB, Dahlb. 8:31b
Verso: Small sketch of a garden parterre with a fountains with the inscription
grass(?), pencil (Dahlbergh).
Chain lines: 24 mm.
Inscribed in pen and ink (top to bottom): No 1. het verschiet geheel / de
beelden; No 2. het verschiet / beelden / potten; de groote faciate wel na te sien.
Als bij 1: 2: 3 / te vraagen na de vleugels op de voorplaas / na de dessynen op
de seyde.
in 1880.
Hodierna, III, Stockholm 1968, p. 48, fig. 1830 (no attr.); B. Magnusson, Att
23
Study for the coat of arms of the province of Västerbotten, plate II:70 in Svecia
Antiqua et Hodierna. The profile of the horn is seen in the discarded model for a
part of that plate (See previous no.). Curiously the heraldic animal of
Västerbotten is a reindeer, not an elk.
The inscription has nothing to do with the coat of arms, but refers to a print for
the façade and gardens of a palace, and there is a small sketch by Dahlbergh of
parts of a garden with fountains on the verso.6 The way the text is disposed
around the elk„s head shows that it was drawn first.
Dahlbergh‟s sketch is perhaps for a part of the garden at Eriksberg, whith Swidde
etched in 1694. He had etched a first plate in 1690 (I:14), and van den Aveele
would produce a third in 1699 (I:13). All coat of arms of Sweden‟s northern
provinces appear on Dahlbergh‟s list of finished drawings, except Västebotten.
6
Wallin, op.cit., fig. 1829.
24
#13
The Town of Kalmar
Graphite, grey wash, pen and red ink, 210x427 mm.
KB, Nescher 303
The drawing is composed of three sheets joined vertically.
Chain lines: 23 mm.
Provenance: S. L. Gahm Persson (1725-1794): D. G. Nescher (1753-1827);
Acquired by the Royal Library in 1828.
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 168, 206, 251, fig.
107.
Dahlbergh‟s model for plate III:76 of the Svecia Antiqua et Hodierna. The
drawing was ready in 1687, and Swidde had it engraved in Holland in 1691. As
always in this period Dahlbergh used pencil and a light wash, and before sending
it off, Swidde made it easier to read by redrawing all outlines in red ink.
25
#14
Buildings at Järntorget, Stockholm
Red chalk, 310x402 mm.
KB Dahlb. 2:35verso
26
Recto: The State Bank at Järntorget, Stockholm, graphite, grey wash, red chalk.
Vertical fold in the centre.
Watermark: Seven provincies.
Chain lines: 23 mm.
in 1880.
Hodierna, I, Stockholm 1963, p. 39, figs. 552, 541 (no attr.); B. Magnusson, Att
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 163, 186, figs. 102,
104; B. Magnusson, ”Sweden illustrated”, Baroque Dreams. Art and Vison in
Sweden in the Era of Greatness, Uppsala 2003, pp.52f, fig. 17.
The recto is Erik Dahlberghs model, datable to 1687, for the plate I:54 in Svecia
Antiqua et Hodierna. Swidde executed the etching in 1691. As was his habit,
Dahlbergh used pencil and grey wash. Swidde made changes in the perspective
and inserted the real buildings on the right instead of Dahlbergh‟s coulisse-like
façades. These buildings are studied by Swidde on the verso of Dahlbergh‟s
drawing. He has also made small sketches in red chalk in the margin of the
recto. On January 11, 1691, he wrote to Dahlbergh that he hoped he would
approve of the print although he had made changes, adding that it pleased the
27
painter Ehrenstrahl: ik heb alles na’t leven verandert en bij gedaan, het
behaaght de heer Ehrenstraal heel wel.7 Dahlbergh did approve.
7
KB, Handskr., M 11:3, bunt 11.
28
#15
Carl Sparre‟s Palace in Stockholm
Graphite, grey wash, black chalk, 320x410 mm.
KB Dahlb. 2:34
Composed of two pieces of paper, joined horisontally; however the
correspondance of watermark and chain lines show that this was originally one
shet, cut and then reassembled again. Stains of green water-colour in the upper
left.
Watermark: Fleur-de-lis.
Chain lines: 25-27 mm.
Inscribed in the upper margin even langh and x zweij pielasters, black chalk.
in 1880.
Hodierna, I, Stockholm 1963, p. 39, figs. 31-535 (no attr.); B. Magnusson, Att
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 165f, 186, fig. 105.
29
The drawing is Erik Dahlbergh‟s model, in graphite and grey wash, datable 1687,
for the plate I:53 in Svecia Antiqua et Hodierna. It was modified by Swidde, who
etched it in 1692. Dahlbergh surrounded the palace with a simple screen of
trees, avoiding the complexity of the real surroundings. However, with a few
strokes of black chalk Swidde introduced the townscape that could actually be
seen beyond the park. He also noted the situation of the palace in a small plan,
sketched in the left margin.
30
#16
The Royal Palace of Drottningholm
Graphite, grey wash, black chalk, 297x635 mm.
KB Dahlb. 3:49
The drawing is composed of two sheets. The inscription at the bottom is on a
separate piece of paper. Several vertical folds.
Chain lines: 26 mm.
Inscribed at the bottom Icon Magnificentissimi Palatii Drottningholmensis, cum
omnibus circumcirca amoenitatibus / DROTT (Dahlbergh), and het woort
drottningholm moet in Capitaal letters syn gelyk ik op de ploot geschetset heb
(Dahlbergh), both pen and brown ink.
in 1880.
Hodierna, II, Stockholm 1966, p. 27, figs. 778, 777 (no attr.); B. Magnusson, Att
illustrera fäderneslandet, Ars Suetica 10, Uppsala 1986, pp. 167f, 189.
Dahlbergh‟s drawing for the print I:79 in the Svecia Antiqua et Hodierna. Swidde
made the etching in 1691. He writes in a letter to Dahlbergh on July 8, that he
had been to the palace outside Stockholm to confront the drawing and make the
necessary changes: ik heb met de tekeningh na drottningholm geweest, en alles
geobserwert en getekent. Swidde added a background landscape of his own and
indicated with e few strokes that the trees in the formal garden ought to be full
grown (although they were newly planted). He also suggested this in his letter:
… de boomen in de gaarden dunkt mij beter zoo vollwassen te vertoonen … .

SWIDDE, Willem - Nationalmuseum

Transcription

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