282:
28:
269:, he brought in the chemist Gosen van der Sleen to aid in his analysis. This was the first known case in the Netherlands of a chemist advising on a painting restoration project. With Van der Sleen's approval, he continued the restoration as planned, working with his son A.M., nephew C. F. Louis, and brother Carel to re-varnish the paintings. Although he published little himself, save for an article in the
106:
301:
originally completed as part of his chemistry thesis, was soon published internationally. Taking paint samples from a variety of
European masterpieces, he studied the chemical makeup of synthetic pigments used in oil painting over time. After Martin's death, the book was considered a "landmark" for
227:
in 1916. A firm proponent of investigating the physical properties, as much as the stylistic ones, of a given artwork, he came to disagree strongly with certain attributions made by his former mentor
Bredius. In 1921, he accepted a position as professor of Fine Art at the
302:
its technical analysis of pigmentation. Martin's heavily technical method of art analysis and formal chemical training were a relative novelty. He went on to some renown for his involvement in forgery trials throughout the 1930s and 1940s, including the highly publicized
264:
on a series of "dummy" paintings in order to discover which brand of fire extinguisher was best suited to saving an artwork. Derix is also thought to have assisted Martin in his publications on conservation and restoration. In his continuation of the Hals project at
222:
self-portrait. Well-known as the first to bring the so-called "Dutch method" of wax-resin lining outside the
Netherlands, he was called in by a government art appraiser to give his expert opinion on a case of suspected
314:
from 1938 until 1947. Working privately in his studio in the Hague, Martin published widely until his death in 1969, often collaborating with colleagues from the Delft
University of Technology and the
289:
Angenitus Martin de Wild, known as A. M. or Martin, was Derix de Wild's son. He sought to further the chemical approach to restoration promoted by his father and uncle. To this end, he enrolled at the
667:"U. of P. Will Teach the Technique and Care of Paintings: Carel F. L. de Wild Accepts Call of Institution to Occupy Newly Created Chair That Will Equip Specialists to Act as Curators of Collections".
1000:
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Household furniture, important paintings & objects of art : from the estate of the late Carel F. L. de Wild, expert on paintings and professor at the
University of Pennsylvania
995:
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Carel de Wild's son C. F. Louis trained with his uncle Derix for much of his youth, eventually establishing his own restoration practice. Immigrating to the United States from
248:
in 1911, the
Haarlem Committee of Supervision nominated his older brother, Derix, to continue restoring the city's twelve Hals group portraits. Like Carel, he worked at the
790:
The
Scientific Examination of Pictures: an investigation of the pigments used by the Dutch and Flemish masters from the brothers Van Eyck to the middle of the 19th century
232:, teaching the "technique and care of paintings." There, he was only able to give two lectures before retiring due to ill health, and died on May 12, 1922, at his home in
973:
650:"Rembrandt Harmenszoon van Rijn, 1606-1669, "Woman with a Bible" ["Old Woman with a Book"] [reattributed to Karel van der Pluym, 1625-1672]"
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of the
Netherlands. He worked at a studio in the Hague from 1895 until 1911, garnering commissions such as the controversial re-varnishing of twelve
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924:
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93:. Prominent internationally in the late nineteenth century and into the twentieth century, they were especially known for their advances in
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that led to several collaborative projects, often scientific in nature. For example, in July 1916, in response to a threat of
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Gallery
Bulletin, he remained well-occupied with his restoration business in the Hague until his death on December 4, 1932.
733:
Geschichte der
Restaurierung in Europa : Akten des internationalen Kongresses "Restauriergeschichte", Interlaken 1989
472:
281:
335:
229:
653:
607:
588:
569:
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397:"The Art of Conservation VII: Hopman and De Wild: The historical importance of two Dutch families of restorers"
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Bulletin of the American Group: International Institute for Conservation of Historic and Artistic Works
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946:"Documenting the Gilded Age: New York City Exhibitions at the Turn of the Twentieth Century: NYARC"
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233:
974:"New Ways of Seeing and Knowing: How Art Moved from the Laboratory to the University Lecture Hall"
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in 1911. During his time with Knoedler & Co., and subsequently at the independent practice on
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354:. He retired from his conservation practice in 1969, and passed away in 1987 at the age of 86.
768:
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Martin, Wilhelm (October 1, 1916). "Over conserveeren en restaureeren van oude schilderijen".
211:
203:
132:
35:. One of twelve Frans Hals group portraits that all four De Wild restorers worked to conserve.
343:
307:
187:
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de Wild, Derix (September 1, 1924). "The Cleaning of the Frans Hals Pictures at Haarlem".
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171:, Carel received an offer to work as an advisor and restorer with art dealing institution
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from the age of 13. Though he was initially trained in painting, the retirement of the
396:
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Levy-van Halm, J (1991). "Zur Geschichte der Restaurierung in Holland, eine Skizze".
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176:
144:
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74:
347:
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105:
112:
Carel de Wild was born on August 26, 1870, to Angenita Mertina Visser de Wild of
547:"Vermeer, Johannes, 1632-1675, "Reading a Letter" ["Mistress and Maid"]"
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249:
215:
195:
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90:
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954:"Art Collecting Files of Henry Clay Frick: Frick Collection, Digital Archives"
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457:. New York: Electronic Reproduction by the Metropolitan Museum of Art, 2014:
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224:
219:
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nominated Carel for this role. Beginning in 1894, he studied restoration in
27:
894:
de Wild, A.M. (May 1959). "A Vacuum Re-Lining Apparatus for General Use".
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after his father's death, he opened an independent conservation studio in
198:. He advised Frick on several major art purchases in the 1910s, including
60:
Carel F. L. de Wild, Derix de Wild, A. Martin de Wild, C. F. Louis de Wild
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de Wild, A.M. (1964). "Wiederfestigung von Leinwand und Bildschicht".
861:
140:
136:
124:'s top restorer Willem Anthonij Hopman necessitated a successor, and
848:
de Wild, A.M.; Froentejes, W (October 1950). "A Forged Frans Hals".
604:""Exhibition of Old Masters," M. Knoedler & Co., January 1912"
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252:, developing a close professional relationship with then-director
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104:
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in 1929. He worked in conjunction with American museums like the
261:
71:
792:. Translated by Scheffer, L.C. London: G. Bell and Sons, Ltd.
395:
Van Duijn, Esther; Te Marvelde, Mireille (October 1, 2016).
925:"C. F. Louis DeWild, 86, Dies; Longtime Painting Restorer"
735:. Worms: Wernersche Verlagsgesellschaft. pp. 105–07.
116:. He began his career in the arts early, studying at the
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de Wild, A.M.; Cursiter, S. (1937). "Picture Relining".
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A Real Van Gogh: How the Art World Struggles with Truth
33:
Regents of the St. Elisabeth's Hospital, Haarlem, 1641
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People associated with the Metropolitan Museum of Art
183:he opened in 1916, he worked closely with American
56:
40:
20:
1011:Conservation and restoration of cultural heritage
566:"Stuart, Gilbert, 1755-1828, "George Washington""
585:"Maris, Jacob, 1837-1899, "Windmills and Lock""
8:
587:. Letter to Henry Clay Frick. Archived from
568:. Letter to Henry Clay Frick. Archived from
549:. Letter to Henry Clay Frick. Archived from
346:. Notable paintings he restored include the
996:People associated with the Frick Collection
835:Technical Studies in the Field of Fine Arts
652:. Letter to Abraham Bredius. Archived from
218:landscape, later restoring Frick's prized
767:. Amsterdam: Amsterdam University Press.
316:International Institute for Conservation
602:Carstairs, Charles (February 1, 1912).
491:"Professor de Wild, Art Expert, Dead".
362:
342:, and, like his father before him, the
299:The Scientific Examination of Pictures,
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606:. Letter to F.W. Elroy. Archived from
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931:. New York City, NY. April 13, 1987.
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648:de Wild, Carel (February 6, 1917).
583:de Wild, Carel (October 27, 1916).
564:de Wild, Carel (January 15, 1918).
545:de Wild, Carel (November 1, 1919).
293:, completing a doctorate degree in
310:trial in 1946. He lectured at the
14:
699:Bulletin of the Bachstitz Gallery
244:After Carel's departure for the
26:
175:& Co, and departed for the
118:Royal Academy of Art, The Hague
291:Delft University of Technology
1:
260:, they tested the effects of
44:Netherlands / United States (
806:"Angenitus Martin de Wild".
788:Wild, de, A. Martin (1929).
621:"Interesting Picture Case".
526:(10): 1. December 14, 1918.
418:"Professor de Wild's Will".
629:(16): 1. January 22, 1916.
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336:Metropolitan Museum of Art
285:A. Martin de Wild in 1947.
230:University of Pennsylvania
143:on a scholarship from the
25:
471:: CS1 maint: location (
896:Studies in Conservation
850:The Burlington Magazine
518:"That Phila. Art Row".
499:(32): 6. May 20, 1922.
426:(33): 5. May 27, 1922.
340:National Gallery of Art
1006:Artists from The Hague
675:(30): 6. May 7, 1921.
350:and multiple works by
306:trial in 1932 and the
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70:was a Dutch family of
46:The Hague, Netherlands
991:Conservator-restorers
352:Piero della Francesca
312:University of Utrecht
284:
271:Kurt Walter Bachstitz
108:
79:conservator-restorers
814:(2): 9. April 1969.
761:Tromp, Henk (2010).
401:Burlington Magazine
322:C. F. Louis de Wild
295:inorganic chemistry
234:Larchmont, New York
163:After working with
151:group portraits in
656:on April 27, 2017.
610:on April 27, 2017.
591:on April 27, 2017.
572:on April 27, 2017.
553:on April 27, 2017.
459:Anderson Galleries
297:in 1928. His book
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110:
21:The De Wild Family
960:on April 27, 2017
669:American Art News
623:American Art News
520:American Art News
493:American Art News
420:American Art News
277:A. Martin de Wild
212:George Washington
204:Mistress and Maid
133:Hofstede de Groot
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188:Henry Clay Frick
165:Goupil & Cie
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181:Fifth Avenue
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91:connoisseurs
77:, including
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65:
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304:Otto Wacker
250:Mauritshuis
216:Jacob Maris
196:J.P. Morgan
122:Netherlands
83:art dealers
985:Categories
877:Maltechnik
837:: 161–178.
742:3884620827
718:Oude Kunst
358:References
149:Frans Hals
139:and later
883:: 97–111.
467:cite book
328:The Hague
225:art fraud
220:Rembrandt
902:(2): i.
681:25589808
635:25588790
532:25589377
505:25589975
432:25589977
214:, and a
173:Knoedler
87:painters
50:New York
964:July 6,
908:1504889
820:3179096
461:. 1924.
267:Haarlem
200:Vermeer
153:Haarlem
57:Members
906:
862:870559
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771:
739:
720:: 1–9.
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633:
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338:, the
194:, and
141:Berlin
137:Vienna
89:, and
904:JSTOR
858:JSTOR
816:JSTOR
677:JSTOR
631:JSTOR
528:JSTOR
501:JSTOR
428:JSTOR
169:Paris
966:2017
769:ISBN
737:ISBN
705:(8).
473:link
131:and
66:The
405:158
262:lye
202:'s
167:in
72:art
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