Pieter Bruegel and the Art of Laughter - AAAARG.ORG

notes to page 74 191
is generally assumed that Franckaert was a merchant from Nuremberg,
but Adolph Monballieu has observed that persons listed “in de Bloeme”
are identified by their occupations, not their place of origin, and suggests
that Franckaert was a dealer in “Nuremberg wares,” that is, knickknacks
or small objects of iron. Monballieu, cited in Van Mander-Miedema
1994–99, 3:259, commentary for fol. 233r32. In a document of 1553 Cornelis
Cock, a brother of the print publisher Hieronymus Cock, describes
himself as a coopman van norenborchswerken, that is, a “merchant of Nuremberg
wares”; see A. Monballieu, “P. Bruegels ‘Schaatsenrijden bij de St.-
Jorispoort te Antwerpen,’ de betekenis van het jaartaal 1553 en een
archiefstuk,” Jaarboek Antwerpen, 1981, 17–30, esp. 24.
30. For Granvelle as patron of the arts, see Piquard 1947–48; and Van
Durme 1953, pp. 247–249. For Bruegel’s pictures in Granvelle’s palace at
Brussels, see Wauters 1914. In addition to the 1564 Flight into Egypt (London,
Courtauld Gallery), other extant pictures by Bruegel have been
identified as from Granvelle’s collection, but such attempts remain speculative.
While in Naples, Granvelle tried to recover an unspecified number
of Bruegel paintings that had been plundered from his various
palaces; see Wauters 1914, p. 89. In December 1572 Granvelle’s vicar Maximilien
Morillon wrote the cardinal that the Bruegel paintings looted from
Granvelle’s palace were available on the open market but would be very
expensive to buy back. See also Claudia Banz, Höfisches Mäzenatentum in Brüssel:
Kardinal Antoine Perrenot de Granvelle (1517–1586) und die Erzherzöge Albrecht
(1559–1621) und Isabella (1566–1633), Berliner Schriften zur Kunst 12 (Berlin:
Gebrüder Mann, 2000), pp. 28–29.
31. Smolderen 1996, p. 9.
32. For the Bruegel paintings owned by Jonghelinck, see Van de Velde 1965,
esp. p. 123, doc. II, listing the works given by Jonghelinck as a security
for a debt of one Daniel de Bruyne. The original text reprinted in Denucé
1932, p. 5.
33. For a similar observation, see Müller 1999, p. 20.
34. For Bles and his workshop, see Gibson 1989, pp. 26–33; and Luc Serck,
“Henri Bles et la peinture de paysage dans les Pay-Bas méridionaux avant
Bruegel,” 6 vols. (Ph.D. diss., Université Catholique de Louvain, 1990),
who includes over one hundred items in his catalogue, some with many
copies. For the commercialization of art in Antwerp during the sixteenth
century, see Vermeylen 2003.