DOI article:
Andrzejewska‑Zając, Alicja: Vivit post funera virtus: Odzyskany portret Hansa von Aachenaz kolekcji Jacoba Kabruna
DOI Page / Citation link:https://doi.org/10.11588/diglit.72800#0135
Alicja Viri clarissimi d. Andre[a]e Alciati iurisconsultis Mediol. ad d. Chonradum Peutingeru[m]
Andrzejewska- Augustanum, iurisconsultum Emblemaum liber, Augsburg 1531.
-Zając Weddigen Tristan, Italienreise als Tugendweg: Hendrick Goltzius' Tabula Cebetis, „Neder-
lands kunsthistorisch jaarboek" 2003, vol. 54, s. 99-139.
Wind Edgar, Platonic Tyranny and the Renaissance Fortuna on Ficino's Reading of „Laws"
IV, 709 A-712 A [w:] De artibus opuscula XL. Essays in honor of Erwin Panofsky,
ed. Millard Meiss, vol. 1, New York 1961, s. 492.
Wittkower Rudolf, Chance, Time and Virtue, „Journal of the Warburg Institute" 1938,
vol. 1, no. 4, s. 320.
Wouk Edward H., Frans Floris (1519/20-70): Imagining a Northern Renaissance, Leiden-
Boston 2018.
Zabuska Kalina, Straty wojenne. Kolekcja Jacoba Kabruna. Ryciny. Historia i dokumen-
tacja, t. 2, Poznań 2000.
Vivit post funera virtus. The Recovered Portrait of Hans von Aachen
from the Collection of Jacob Kabrun
In December 2018, "Art Sherlock" magazine reported that an engraving by Jan Saen-
redam (1565-1607) had been put up for auction at Galerie Bassenge in Berlin. It
was marked with a stamp and a number that were characteristic of the collection of
a Gdańsk merchant, Jacob Kabrun, a collection which, before the war, was the most
valuable and the most substantial part of the collection of the Gdańsk City Museum.
It emerged that the engraving was a war loss registered in the database of the Ministry
of Culture and National Heritage (MKiDN) with the number of 55029. Thanks to the
archival materials prepared by the employees of the National Museum in Gdańsk and
the intervention of the MKiDN Department of Restitution of Cultural Property, the work
of art was recovered. Currently, it is the only engraving of this Dutch artist among the
64 that were in Kabrun's collection before the war. It shows the bust of the outstanding
German artist, Hans von Aachen (1552-1615). The work was created on the basis of
a drawing ofhis student, Pieter Isaacsz (1569-1625). The article is an attempt to supple-
ment and expand the interpretation of the rich content accompanying the image of
the artist, as well as to present the context in which the engraving was created. This
portrait, enriched with additional spectacular elements, illustrates the success of Hans
von Aachen, who served as the court painter of Rudolf II. In addition to advising the
ruler on the creation of a collection of works of art, he carried out diplomatic missions
and made contacts with the most influential and powerful people in Europe at that
time. This multifaceted portrait is also a sign of the authors erudition and a testimony
to his skills and knowledge. This is not only a tribute of the younger artist to his teacher,
but also a well-thought-out strategy that was supposed to strengthen the reputation of
Pieter Isaacsz and contribute to his own fame.
134
Andrzejewska- Augustanum, iurisconsultum Emblemaum liber, Augsburg 1531.
-Zając Weddigen Tristan, Italienreise als Tugendweg: Hendrick Goltzius' Tabula Cebetis, „Neder-
lands kunsthistorisch jaarboek" 2003, vol. 54, s. 99-139.
Wind Edgar, Platonic Tyranny and the Renaissance Fortuna on Ficino's Reading of „Laws"
IV, 709 A-712 A [w:] De artibus opuscula XL. Essays in honor of Erwin Panofsky,
ed. Millard Meiss, vol. 1, New York 1961, s. 492.
Wittkower Rudolf, Chance, Time and Virtue, „Journal of the Warburg Institute" 1938,
vol. 1, no. 4, s. 320.
Wouk Edward H., Frans Floris (1519/20-70): Imagining a Northern Renaissance, Leiden-
Boston 2018.
Zabuska Kalina, Straty wojenne. Kolekcja Jacoba Kabruna. Ryciny. Historia i dokumen-
tacja, t. 2, Poznań 2000.
Vivit post funera virtus. The Recovered Portrait of Hans von Aachen
from the Collection of Jacob Kabrun
In December 2018, "Art Sherlock" magazine reported that an engraving by Jan Saen-
redam (1565-1607) had been put up for auction at Galerie Bassenge in Berlin. It
was marked with a stamp and a number that were characteristic of the collection of
a Gdańsk merchant, Jacob Kabrun, a collection which, before the war, was the most
valuable and the most substantial part of the collection of the Gdańsk City Museum.
It emerged that the engraving was a war loss registered in the database of the Ministry
of Culture and National Heritage (MKiDN) with the number of 55029. Thanks to the
archival materials prepared by the employees of the National Museum in Gdańsk and
the intervention of the MKiDN Department of Restitution of Cultural Property, the work
of art was recovered. Currently, it is the only engraving of this Dutch artist among the
64 that were in Kabrun's collection before the war. It shows the bust of the outstanding
German artist, Hans von Aachen (1552-1615). The work was created on the basis of
a drawing ofhis student, Pieter Isaacsz (1569-1625). The article is an attempt to supple-
ment and expand the interpretation of the rich content accompanying the image of
the artist, as well as to present the context in which the engraving was created. This
portrait, enriched with additional spectacular elements, illustrates the success of Hans
von Aachen, who served as the court painter of Rudolf II. In addition to advising the
ruler on the creation of a collection of works of art, he carried out diplomatic missions
and made contacts with the most influential and powerful people in Europe at that
time. This multifaceted portrait is also a sign of the authors erudition and a testimony
to his skills and knowledge. This is not only a tribute of the younger artist to his teacher,
but also a well-thought-out strategy that was supposed to strengthen the reputation of
Pieter Isaacsz and contribute to his own fame.
134