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[[File:Alexander van Papenhoven - Communion bench with putti, St Peter Church Leuven (detail).jpg|thumb|388px|''Communion bench with putti'', St Peter's Church Leuven]]
[[File:Alexander van Papenhoven - Communion bench with putti, St Peter Church Leuven (detail).jpg|thumb|388px|''Communion bench with putti'', St Peter's Church Leuven]]


'''Alexander van Papenhoven''' ([[Antwerp]], 14 July 1668 – Antwerp, 15 February 1759) was a Flemish sculptor, architect and art educator, who is best known for the church furniture which he made for the principal churches in Flanders.<ref name=rkd>[https://rkd.nl/explore/artists/206295 Alexander van Papenhoven] at the [[Netherlands Institute for Art History]]</ref> He worked mainly in Antwerp, but early in his career he was also active for some years in Denmark.<ref name=ox>[https://doi.org/10.1093/gao/9781884446054.article.T065167 Cynthia Lawrence, ''Papenhoven, Alexander van (b Antwerp, 1668; d Antwerp, 1759)'']. Grove Art Online. Oxford Art Online. Oxford University Press. Web.7 April 2021.</ref>
'''Alexander van Papenhoven''' ([[Antwerp]], 14 July 1669 – Antwerp, 15 February 1759) was a Flemish sculptor, architect and art educator, who is best known for the furniture which he made for the principal churches in Flanders.<ref name=rkd>[https://rkd.nl/explore/artists/206295 Alexander van Papenhoven] at the [[Netherlands Institute for Art History]]</ref> He worked mainly in Antwerp, but early in his career he was also active for some years in Denmark.<ref name=ox>[https://doi.org/10.1093/gao/9781884446054.article.T065167 Cynthia Lawrence, ''Papenhoven, Alexander van (b Antwerp, 1669; d Antwerp, 1759)'']. Grove Art Online. Oxford Art Online. Oxford University Press. Web.7 April 2021.</ref>


He played an active role in the administration of the Antwerp [[Guild of Saint Luke]] and the [[Royal Academy of Fine Arts (Antwerp)|Academy of Antwerp]], in an attempt to revive the arts in Antwerp.<ref name=brab>[https://archive.org/details/gri_geschiednisd00bran F.J. van den Branden, ''Geschiedenis der Academie van Antwerpen, bekroond in den prijskamp door de regeering der stad Antwerpen uitgeschreven, ter gelegenheid van het tweehonderdjarig bestaan der Academie van beeldende kunsten''], De Vlaamsche School. Jaargang 11. J.-E. Buschmann, Antwerpen 1865 {{in lang|nl}}</ref> His oeuvre stands at the juncture in Flemish sculpture when the flamboyance of the High Baroque gave way to Classicism which emphasized the clarity of design.<ref name=ox/>
He played an active role in the administration of the Antwerp [[Guild of Saint Luke]] and the [[Royal Academy of Fine Arts (Antwerp)|Academy of Antwerp]], in an attempt to revive the arts in Antwerp.<ref name=brab>[https://archive.org/details/gri_geschiednisd00bran F.J. van den Branden, ''Geschiedenis der Academie van Antwerpen, bekroond in den prijskamp door de regeering der stad Antwerpen uitgeschreven, ter gelegenheid van het tweehonderdjarig bestaan der Academie van beeldende kunsten''], De Vlaamsche School. Jaargang 11. J.-E. Buschmann, Antwerpen 1865 {{in lang|nl}}</ref> His oeuvre stands at the juncture in Flemish sculpture when the flamboyance of the High Baroque gave way to Classicism which emphasized the clarity of design.<ref name=ox/>


==Life==
==Life==
Alexander van Papenhoven was born in Antwerp as the son of Cornelis and Maria Fasseur. He was baptized on 14 July 1669 in the [[St. Andrew's Church, Antwerp|Saint Andrew's Church]] of Antwerp. His father was a sculptor who specialized in puppet making. Alexander received his initial artistic training from his father. He then joined the workshop of [[Artus Quellinus II|Artus Quellinus the Younger]], at the time the most prominent Flemish sculptor.<ref name=fran>Edward Van Even, ''La table de communion de l'église de Saint-Pierre a Louvain exécutée en 1707 par Alexandre Van Papenhoven d'Anvers'', Bulletin des commissions royales d'art et d'archéologie, Belgique. Ministère de l'intérieur et de l'instruction publique, Belgium. Commission royale des monuments et des sites, 1884, pp. 241-257 {{in lang|fr}}</ref> He probably collaborated with his master on the high altar of the [[St. Mary's Church, Lübeck|St. Mary's Church]] in [[Lübeck]] around 1697.<ref name=rkd/> In the guild year 1698-1699 he became a 'wijnmeester' ('wine master', a free master who was the son of an existing member) of the Antwerp [[Guild of Saint Luke]].<ref name=liggeren>[https://books.google.com/books?id=sTgkIV9Rx8YC Ph. Rombouts and Th. van Lerius, ''De Liggeren en andere Historische Archieven der Antwerpsche Sint Lucasgilde, onder Zinkspreuk: "Wy Jonsten Versaemt" afgeschreven en bemerkt door Ph. Rombouts en Th. Van Lerius, Advokaet, onder de bescherming van den raed van bestuer der koninklyke Akademie van beeldende Kunsten, van gezegde Stad''], Volume 2, Antwerp, 1872, pp. 608, 613, 615, 658, 659, 669, 678, 696, 704, 710, 714, 720, 731, 748, 759 {{in lang|nl}}</ref>
Alexander van Papenhoven was born in Antwerp as the son of Cornelis and Maria Fasseur. He was baptized on 14 July 1669 in the [[St. Andrew's Church, Antwerp|Saint Andrew's Church]] of Antwerp. His father was a sculptor who specialized in puppet making. Alexander received his initial artistic training from his father. He then joined the workshop of [[Artus Quellinus II|Artus Quellinus the Younger]], at the time the most prominent Flemish sculptor.<ref name=fran>Edward Van Even, ''La table de communion de l'église de Saint-Pierre a Louvain exécutée en 1707 par Alexandre Van Papenhoven d'Anvers'', Bulletin des commissions royales d'art et d'archéologie, Belgique. Ministère de l'intérieur et de l'instruction publique, Belgium. Commission royale des monuments et des sites, 1884, pp. 241-257 {{in lang|fr}}</ref> He probably collaborated with his master on the high altar of the [[St. Mary's Church, Lübeck|St. Mary's Church]] in [[Lübeck]] around 1697.<ref name=rkd/> In the guild year 1698–1699 he became a {{Lang|nl|wijnmeester}} ('wine master', a free master who was the son of an existing member) of the Antwerp [[Guild of Saint Luke]].<ref name=liggeren>[https://books.google.com/books?id=sTgkIV9Rx8YC Ph. Rombouts and Th. van Lerius, ''De Liggeren en andere Historische Archieven der Antwerpsche Sint Lucasgilde, onder Zinkspreuk: "Wy Jonsten Versaemt" afgeschreven en bemerkt door Ph. Rombouts en Th. Van Lerius, Advokaet, onder de bescherming van den raed van bestuer der koninklyke Akademie van beeldende Kunsten, van gezegde Stad''], Volume 2, Antwerp, 1872, pp. 608, 613, 615, 658, 659, 669, 678, 696, 704, 710, 714, 720, 731, 748, 759 {{in lang|nl}}</ref>
[[File:Alexander van Papenhoven - Panel of a communion bench with putti playing music andf holding a book.jpg|thumb|323px|left|''Communion bench with putti'', St. Michael's Church, Leuven]]
[[File:Alexander van Papenhoven - Panel of a communion bench with putti playing music andf holding a book.jpg|thumb|323px|left|''Communion bench with putti'', St. Michael's Church, Leuven]]
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He likely returned to Antwerp more permanently around 1707/8 as he took on pupils from the guild year 1707–08. He was in the Guild year 1715-16 dean of the Guild.<ref name=liggeren/> In the 18th century Antwerp's standing as an artistic centre was in steep decline. The Guild experienced serious financial difficulties and the Antwerp Academy had to interrupt its art classes regularly due to lack of funds. On 2 March 1731 van Papenhoven lent 500 guilders to the Guild in Antwerp and signed a loan to the Guild on 29 July 1733.<ref name=rkd/> By 1640 the situation had significantly deteriorated. In order to save the Academy and art education in Antwerp Alexander van Papenhoven, [[Jan Pieter van Baurscheit the Younger]], Pieter Balthazar Bouttats, Jacob Rottiers, Marten Jozef Geeraerts and [[Pieter Snyers]] signed on 17 August 1741 a deed, in which they undertook to administer and teach at the Academy free of charge. Van Papenhoven also became one of the directors of the Academy. The support of these artists permitted the Academy to raise funds from prominent personalities in the city which ensured its survival.<ref name=brab/>
He likely returned to Antwerp more permanently around 1707/8 as he took on pupils from the guild year 1707–08. He was in the Guild year 1715-16 dean of the Guild.<ref name=liggeren/> In the 18th century Antwerp's standing as an artistic centre was in steep decline. The Guild experienced serious financial difficulties and the Antwerp Academy had to interrupt its art classes regularly due to lack of funds. On 2 March 1731 van Papenhoven lent 500 guilders to the Guild in Antwerp and signed a loan to the Guild on 29 July 1733.<ref name=rkd/> By 1640 the situation had significantly deteriorated. In order to save the Academy and art education in Antwerp Alexander van Papenhoven, [[Jan Pieter van Baurscheit the Younger]], Pieter Balthazar Bouttats, Jacob Rottiers, Marten Jozef Geeraerts and [[Pieter Snyers]] signed on 17 August 1741 a deed, in which they undertook to administer and teach at the Academy free of charge. Van Papenhoven also became one of the directors of the Academy. The support of these artists permitted the Academy to raise funds from prominent personalities in the city which ensured its survival.<ref name=brab/>


In 1742 van Papenhoven was commissioned to make a new pulpit for the Cathedral of Antwerp, which he finished to universal acclaim.<ref name=rkd/> Around this time a conflict arose between the Academy and the Guild over the right to give drawing classes, which were at the time given by the Academy but were regarded by the Guild as a potential source of income for itself. The dispute was only settled in 1749 when the Guild renounced all its rights to control the Academy and to teach the drawing classes. Van Papenhoven and others were at the same time officially affirmed by the city administration as director-teachers of the Academy.<ref name=brab/>
In 1742 van Papenhoven was commissioned to make a new pulpit for [[Cathedral of Our Lady (Antwerp)|Antwerp Cathedral]], which he finished to universal acclaim.<ref name=rkd/> Around this time a conflict arose between the Academy and the Guild over the right to give drawing classes, which were at the time given by the Academy but were regarded by the Guild as a potential source of income for itself. The dispute was only settled in 1749 when the Guild renounced all its rights to control the Academy and to teach the drawing classes. Van Papenhoven and others were at the same time officially affirmed by the city administration as director-teachers of the Academy.<ref name=brab/>


Van Papenhoven trained many pupils, the best known of whom was [[Gaspar van der Hagen]] who had a successful career in London where he worked in the workshop of Flemish emigree sculptor [[John Michael Rysbrack]]. Another pupil of his who became a successful sculptor was [[Alexander Franciscus Schobbens]], who was his godson. Other pupils include Peeter Overlaet, Augustinus op de Laye, Jacobus Brunel, Joannes-Franciscus Allefelt (Alevelt), Jan Baptist van den Her(d)t, Andreas Schuyf, Philippus Delvout, Ignatius Frans Verellen and Arnoldus-Johannes van den Bos.<ref name=rkd/>
Van Papenhoven trained many pupils, the best known of whom was [[Gaspar van der Hagen]] who had a successful career in London where he worked in the workshop of Flemish emigree sculptor [[John Michael Rysbrack]]. Another pupil of his who became a successful sculptor was [[Alexander Franciscus Schobbens]], who was his godson. Other pupils include Peeter Overlaet, Augustinus op de Laye, Jacobus Brunel, Joannes-Franciscus Allefelt (Alevelt), Jan Baptist van den Her(d)t, Andreas Schuyf, Philippus Delvout, Ignatius Frans Verellen and Arnoldus-Johannes van den Bos.<ref name=rkd/>
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Papenhoven completed many commissions in Antwerp including a wooden prie-dieu in Antwerp Cathedral and various statues of saints, biblical figures and angels in the outdoor Calvary at [[St. Paul's Church, Antwerp]]. A terracotta modello of one of these statutes is in the collection of [[Royal Museums of Fine Arts of Belgium]] in Brussels. He also created marble communion benches for two churches in Leuven. In 1711 he executed the high altar in the Church of our Lady in Wuustwezel after a design by [[Pieter Scheemaeckers]].<ref name=ox/>
Papenhoven completed many commissions in Antwerp including a wooden prie-dieu in Antwerp Cathedral and various statues of saints, biblical figures and angels in the outdoor Calvary at [[St. Paul's Church, Antwerp]]. A terracotta modello of one of these statutes is in the collection of [[Royal Museums of Fine Arts of Belgium]] in Brussels. He also created marble communion benches for two churches in Leuven. In 1711 he executed the high altar in the Church of our Lady in Wuustwezel after a design by [[Pieter Scheemaeckers]].<ref name=ox/>


It was believed in the past that van Papenhoven worked on the decoration of the Palace of [[Sanssouci]] built between 1745 and 1747 for [[Frederick the Great]] in Potsdam.<ref name=fran/> A white marble statue of ''Amor and Cupid'' signed by him was once in the garden of Sanssouci in Potsdam. It was originally commissioned by [[William III of England]] around 1700 and was therefore not linked to Sanssouci. Its role was initially to serve as a garden statue.<ref name="University of London">{{Cite journal|journal=[[University College London]]|date=2008|author=Leon E. Lock |title=Flemish sculpture: Art and manufacture c.1600–1750|url=https://discovery.ucl.ac.uk/id/eprint/1444314/1/U591616.pdf|pages=40}}</ref> It was much admired by his contemporaries. In his collection of poems entitled ''Der Frühling und andere Gedichte'' published in 1749 the German poet [[Ewald Christian von Kleist]] dedicated two poems to the work one of which is entitled ''Über die Statüe der Venus an die sich Amor schmiegt'' (About the statue of Venus up against whom Amor is nestled).<ref>[https://books.google.com/books?id=h6zdDwAAQBAJ Ewald Christian von Kleist, ''Der Frühling: und andere Gedichte''], Books on Demand, 2020, p. 56 {{in lang|de}}</ref> The statue is now located at [[Oranienburg]] near Berlin.<ref name="University of London"/>
It was believed in the past that van Papenhoven worked on the decoration of the Palace of [[Sanssouci]] built between 1745 and 1747 for [[Frederick the Great]] in Potsdam.<ref name=fran/> A white marble statue of ''Amor and Cupid'' signed by him was once in the garden of [[Sanssouci]] in Potsdam. It was originally commissioned by [[William III of England]] around 1700 and was therefore not linked to Sanssouci. Its role was initially to serve as a garden statue.<ref name="University of London">{{Cite journal|journal=[[University College London]]|date=2008|author=Leon E. Lock |title=Flemish sculpture: Art and manufacture c.1600–1750|url=https://discovery.ucl.ac.uk/id/eprint/1444314/1/U591616.pdf|pages=40}}</ref> It was much admired by his contemporaries. In his collection of poems entitled {{Lang|de|Der Frühling und andere Gedichte}} ('''Spring'' and Other Poems') published in 1749 the German poet [[Ewald Christian von Kleist]] dedicated two poems to the work one of which is titled {{Lang|de|Über die Statüe der Venus an die sich Amor schmiegt}} ('On the statue of Venus up against whom Amor is nestled').<ref>[https://books.google.com/books?id=h6zdDwAAQBAJ Ewald Christian von Kleist, ''Der Frühling: und andere Gedichte''], Books on Demand, 2020, p. 56 {{in lang|de}}</ref> The statue is now located at [[Oranienburg]] near Berlin.<ref name="University of London"/>


Van Papenhoven also sculpted a number of statues of the Virgin that were attached to the facades of houses in Antwerp. An example is the [[:File:Alexander van Papenhoven - Virgin Mary and Child.jpg|''Virgin with child'']] now located at Markgravestraat 17 in Antwerp. It was originally located at the corner of Lombardenstraat and Lombardenvest in Antwerp. The statue shows a swaggeringly draped Virgin holding the child Jesus on her left arm. Both the Virgin and Child are crowned. The console is decorated with garlands and two winged angel heads. It was the work he made as the proof to be admitted as a master of the Guild of Saint Luke in 1698.<ref>[https://docplayer.nl/163425365-Wandelgids-antwerpse-madonna-s.html Wim Strecker, ''Beelden bewaren, een nog steeds actuele problematiek (en detailnota.s)''] in: 1814-2014, verdwenen, verschenen. Wandelgids (nieuwsbrief Vrienden van de Antwerpse Madonna's, nr. 21 [13de j. (2014), 1-2], p. 20 {{in lang|nl}}</ref>
Van Papenhoven also sculpted a number of statues of the Virgin Mary that were attached to the facades of houses in Antwerp. An example is the [[:File:Alexander van Papenhoven - Virgin Mary and Child.jpg|''Virgin with child'']] now located at Markgravestraat 17 in Antwerp. It was originally located at the corner of Lombardenstraat and Lombardenvest in Antwerp. The statue shows a swaggeringly draped Virgin holding the child Jesus on her left arm. Both the Virgin and Child are crowned. The console is decorated with garlands and two winged angel heads. It was the work he made as the proof to be admitted as a master of the Guild of Saint Luke in 1698.<ref>[https://docplayer.nl/163425365-Wandelgids-antwerpse-madonna-s.html Wim Strecker, ''Beelden bewaren, een nog steeds actuele problematiek (en detailnota.s)''] in: 1814-2014, verdwenen, verschenen. Wandelgids (nieuwsbrief Vrienden van de Antwerpse Madonna's, nr. 21 [13de j. (2014), 1-2], p. 20 {{in lang|nl}}</ref>


==Notes==
==Notes==
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==External links==
==External links==
*{{Commons-inline|Category:Alexander van Papenhoven|Alexander van Papenhoven}}
*{{Commons-inline}}


{{ACArt}}
{{ACArt}}
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[[Category:Flemish artists (before 1830)]]
[[Category:Flemish artists (before 1830)]]
[[Category:Artists from Antwerp]]
[[Category:Artists from Antwerp]]
[[Category:Architects of the Austrian Netherlands]]
[[Category:Architects from the Austrian Netherlands]]
[[Category:17th-century births]]
[[Category:17th-century births]]
[[Category:1687 births]]
[[Category:1687 births]]

Latest revision as of 06:02, 15 May 2024

Communion bench with putti, St Peter's Church Leuven

Alexander van Papenhoven (Antwerp, 14 July 1669 – Antwerp, 15 February 1759) was a Flemish sculptor, architect and art educator, who is best known for the furniture which he made for the principal churches in Flanders.[1] He worked mainly in Antwerp, but early in his career he was also active for some years in Denmark.[2]

He played an active role in the administration of the Antwerp Guild of Saint Luke and the Academy of Antwerp, in an attempt to revive the arts in Antwerp.[3] His oeuvre stands at the juncture in Flemish sculpture when the flamboyance of the High Baroque gave way to Classicism which emphasized the clarity of design.[2]

Life

[edit]

Alexander van Papenhoven was born in Antwerp as the son of Cornelis and Maria Fasseur. He was baptized on 14 July 1669 in the Saint Andrew's Church of Antwerp. His father was a sculptor who specialized in puppet making. Alexander received his initial artistic training from his father. He then joined the workshop of Artus Quellinus the Younger, at the time the most prominent Flemish sculptor.[4] He probably collaborated with his master on the high altar of the St. Mary's Church in Lübeck around 1697.[1] In the guild year 1698–1699 he became a wijnmeester ('wine master', a free master who was the son of an existing member) of the Antwerp Guild of Saint Luke.[5]

Communion bench with putti, St. Michael's Church, Leuven

On 16 November 1698 he married Maria Bruynel or Bruyneel in the Saint Georges Church in Antwerp.[4] From circa 1700 he started working in Copenhagen where his master operated a workshop which was headed up by his master's son Thomas Quellinus. He must still have travelled back to Antwerp regularly as he appears in notarised documents in Antwerp in the years 1700 to 1707.[6] His wife died in 1708 and was buried on 2 June 1708.[1][4]

Angel with a ladder

He likely returned to Antwerp more permanently around 1707/8 as he took on pupils from the guild year 1707–08. He was in the Guild year 1715-16 dean of the Guild.[5] In the 18th century Antwerp's standing as an artistic centre was in steep decline. The Guild experienced serious financial difficulties and the Antwerp Academy had to interrupt its art classes regularly due to lack of funds. On 2 March 1731 van Papenhoven lent 500 guilders to the Guild in Antwerp and signed a loan to the Guild on 29 July 1733.[1] By 1640 the situation had significantly deteriorated. In order to save the Academy and art education in Antwerp Alexander van Papenhoven, Jan Pieter van Baurscheit the Younger, Pieter Balthazar Bouttats, Jacob Rottiers, Marten Jozef Geeraerts and Pieter Snyers signed on 17 August 1741 a deed, in which they undertook to administer and teach at the Academy free of charge. Van Papenhoven also became one of the directors of the Academy. The support of these artists permitted the Academy to raise funds from prominent personalities in the city which ensured its survival.[3]

In 1742 van Papenhoven was commissioned to make a new pulpit for Antwerp Cathedral, which he finished to universal acclaim.[1] Around this time a conflict arose between the Academy and the Guild over the right to give drawing classes, which were at the time given by the Academy but were regarded by the Guild as a potential source of income for itself. The dispute was only settled in 1749 when the Guild renounced all its rights to control the Academy and to teach the drawing classes. Van Papenhoven and others were at the same time officially affirmed by the city administration as director-teachers of the Academy.[3]

Van Papenhoven trained many pupils, the best known of whom was Gaspar van der Hagen who had a successful career in London where he worked in the workshop of Flemish emigree sculptor John Michael Rysbrack. Another pupil of his who became a successful sculptor was Alexander Franciscus Schobbens, who was his godson. Other pupils include Peeter Overlaet, Augustinus op de Laye, Jacobus Brunel, Joannes-Franciscus Allefelt (Alevelt), Jan Baptist van den Her(d)t, Andreas Schuyf, Philippus Delvout, Ignatius Frans Verellen and Arnoldus-Johannes van den Bos.[1]

He died on 15 February 1759 in Antwerp.[1]

Works

[edit]
Venus and Amor

Van Papenhoven was a versatile sculptor who worked in many materials including marble, wood and stucco. He created mainly church furniture, decorative architectural elements and statues. A number of his works were lost during the French occupation of the Austrian Netherlands following the French Revolution when many churches were forced to close by the occupiers and the church furniture was sold off. His work stands at the juncture in Flemish sculpture when the flamboyance of the High Baroque gave way to Classicism which was more concerned with clarity of design.[2]

Papenhoven completed many commissions in Antwerp including a wooden prie-dieu in Antwerp Cathedral and various statues of saints, biblical figures and angels in the outdoor Calvary at St. Paul's Church, Antwerp. A terracotta modello of one of these statutes is in the collection of Royal Museums of Fine Arts of Belgium in Brussels. He also created marble communion benches for two churches in Leuven. In 1711 he executed the high altar in the Church of our Lady in Wuustwezel after a design by Pieter Scheemaeckers.[2]

It was believed in the past that van Papenhoven worked on the decoration of the Palace of Sanssouci built between 1745 and 1747 for Frederick the Great in Potsdam.[4] A white marble statue of Amor and Cupid signed by him was once in the garden of Sanssouci in Potsdam. It was originally commissioned by William III of England around 1700 and was therefore not linked to Sanssouci. Its role was initially to serve as a garden statue.[7] It was much admired by his contemporaries. In his collection of poems entitled Der Frühling und andere Gedichte ('Spring and Other Poems') published in 1749 the German poet Ewald Christian von Kleist dedicated two poems to the work one of which is titled Über die Statüe der Venus an die sich Amor schmiegt ('On the statue of Venus up against whom Amor is nestled').[8] The statue is now located at Oranienburg near Berlin.[7]

Van Papenhoven also sculpted a number of statues of the Virgin Mary that were attached to the facades of houses in Antwerp. An example is the Virgin with child now located at Markgravestraat 17 in Antwerp. It was originally located at the corner of Lombardenstraat and Lombardenvest in Antwerp. The statue shows a swaggeringly draped Virgin holding the child Jesus on her left arm. Both the Virgin and Child are crowned. The console is decorated with garlands and two winged angel heads. It was the work he made as the proof to be admitted as a master of the Guild of Saint Luke in 1698.[9]

Notes

[edit]
  1. ^ a b c d e f g Alexander van Papenhoven at the Netherlands Institute for Art History
  2. ^ a b c d Cynthia Lawrence, Papenhoven, Alexander van (b Antwerp, 1669; d Antwerp, 1759). Grove Art Online. Oxford Art Online. Oxford University Press. Web.7 April 2021.
  3. ^ a b c F.J. van den Branden, Geschiedenis der Academie van Antwerpen, bekroond in den prijskamp door de regeering der stad Antwerpen uitgeschreven, ter gelegenheid van het tweehonderdjarig bestaan der Academie van beeldende kunsten, De Vlaamsche School. Jaargang 11. J.-E. Buschmann, Antwerpen 1865 (in Dutch)
  4. ^ a b c d Edward Van Even, La table de communion de l'église de Saint-Pierre a Louvain exécutée en 1707 par Alexandre Van Papenhoven d'Anvers, Bulletin des commissions royales d'art et d'archéologie, Belgique. Ministère de l'intérieur et de l'instruction publique, Belgium. Commission royale des monuments et des sites, 1884, pp. 241-257 (in French)
  5. ^ a b Ph. Rombouts and Th. van Lerius, De Liggeren en andere Historische Archieven der Antwerpsche Sint Lucasgilde, onder Zinkspreuk: "Wy Jonsten Versaemt" afgeschreven en bemerkt door Ph. Rombouts en Th. Van Lerius, Advokaet, onder de bescherming van den raed van bestuer der koninklyke Akademie van beeldende Kunsten, van gezegde Stad, Volume 2, Antwerp, 1872, pp. 608, 613, 615, 658, 659, 669, 678, 696, 704, 710, 714, 720, 731, 748, 759 (in Dutch)
  6. ^ Godelieve van Hemeldonck, Kunst en kunstenaars, s.p.: s.n. (2007), type script kept in the Felixarchief in Antwerp, S-1187 (in Dutch)
  7. ^ a b Leon E. Lock (2008). "Flemish sculpture: Art and manufacture c.1600–1750" (PDF). University College London: 40.
  8. ^ Ewald Christian von Kleist, Der Frühling: und andere Gedichte, Books on Demand, 2020, p. 56 (in German)
  9. ^ Wim Strecker, Beelden bewaren, een nog steeds actuele problematiek (en detailnota.s) in: 1814-2014, verdwenen, verschenen. Wandelgids (nieuwsbrief Vrienden van de Antwerpse Madonna's, nr. 21 [13de j. (2014), 1-2], p. 20 (in Dutch)
[edit]
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