Adam van Vianen Utrecht c Silversmith working in Utrecht. Brother of Paulus Willemsz. van Vianen.

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1 1 Adam van Vianen Utrecht c Silversmith working in Utrecht. Brother of Paulus Willemsz. van Vianen. Christiaen van Vianen Utrecht 1600/ Silversmith. The son of Adam van Vianen. There seems to be some confusion regarding the family members. According to the family tree published in the exhibition catalogue Zeldzaam Zilver uit de Gouden Eeuw, Utrecht 1984, Christiaen is the son of Adam, while the Rijksbureau in the Hague inserts a son of Adam, Adam (II), as the father of Christiaen. Following the first source, Christiaen continued the shop after Adam s (I) death in Around 1650 Christiaen published more than forty prints after his fathers designs, the Constighe Modellen, van vescheijden Silvere Vaten, en andere sinnighe werken, gevonden en geteeckent door den vermaerden E. Adam van Vianen Uitgegeven door sijnen Soon Christiaen van Vianen tot Uijtrecht, en in kooper geetst door Theodor van Kessel. It is not clear if the drawings in Stockholm, all from Charles de Ligne s collection, are by Adam himself or by Christiaen. Only one of the drawings corresponds to an etching in Constighe Modellen. Several of the other drawings are indented for transfer, and may have been intended for a planned continuation of the series.

2 2 #1 Designs for Two Salt Cellars Red chalk, pen in black and brown ink, on brown paper, 382x195 mm. NM 132/1973 The design at the top is executed entirely in black ink and traced for transfer. The design at the bottom is drawn in brown ink over red chalk, with hatchings in black ink. The red chalk looks like a counter-proof. No watermark. Chain lines: mm. Mark of J. G. De la Gardie (Lugt 2722a). Reported inscription on the back of the mount Hyllan VIII, pen and brown ink (Löberöd). Provenance: Prince Charles de Ligne (Bartsch 1794, p. 201, no. 3); Duke Albert of Sachsen-Teschen; Count J. G. De la Gardie (Lugt 2722a); Gift to the museum in Exhibitions: Utrecht, Centraal Museum, Zeldzaam Zilver uit de Gouden Eeuw. De Utrechtse edelsmeden Van Vianen, , no. 92.

3 The design of the salt cellar on top is reproduced in the Constighe Modellen, no

4 4 #2 Designs for Auricular Ornaments for a Plate Black chalk, pen and brown ink, on brown paper, 234x369 mm. NM 130/1973 Ruled framing lines in black chalk. Traced for transfer. No watermark. Chain lines: 30 mm. Inscribed in the lower left corner Van Vianen N:o 1, pencil. Mark of J. G. De la Gardie (Lugt 2722a). Reported inscription on the back of the mount Hyllan VIII, pen and brown ink (Löberöd). Provenance: Prince Charles de Ligne (Bartsch 1794, p. 201, no. 1); Duke Albert of Sachsen-Teschen; Count J. G. De la Gardie (Lugt 2722a); Gift to the museum in Exhibitions: Utrecht, Centraal Museum, Zeldzaam Zilver uit de Gouden Eeuw. De Utrechtse edelsmeden Van Vianen, , no. 89. This and the following drawing are on the same kind of coarse paper and identical in execution. They have both been traced for transfer.

5 5 #3 Design for a Large Plate Black chalk, pen and brown ink, on brown paper, 234x289 mm. NM 131/1973 Ruled framing lines in black chalk. Traced for transfer. Some stains at the lower left. No watermark. Chain lines: 30 mm. Mark of J. G. De la Gardie (Lugt 2722a). Provenance: Prince Charles de Ligne (Bartsch 1794, p. 201, no. 131); Duke Albert of Sachsen-Teschen; Count J. G. De la Gardie (Lugt 2722a); Gift to the museum in Exhibitions: Utrecht, Centraal Museum, Zeldzaam Zilver uit de Gouden Eeuw. De Utrechtse edelsmeden Van Vianen, , no. 93.

6 6 #4 Design for a Frame or Nische and a Candlestick Black chalk, pen in brown, point of brush in brown, brown wash, 260x198 mm. NM 133/1973 The candlestick is on a separate piece of paper, cut out along the contour, and pasted on to the larger sheet. Double framing lines in black chalk or pencil. Small hole in the upper right corner. Vertical fold in the centre. No watermark. Chain lines: mm. Mark of J. G. De la Gardie (Lugt 2722a). Inscribed on the mount Van Vianen, and N:o 5, pencil. Provenance: Prince Charles de Ligne (Bartsch 1794, p. 201, no. 4); Duke Albert of Sachsen-Teschen; Count J. G. De la Gardie (Lugt 2722a); Gift to the museum in Exhibitions: Utrecht, Centraal Museum, Zeldzaam Zilver uit de Gouden Eeuw. De Utrechtse edelsmeden Van Vianen, , no. 90.

7 The design is similar to the frame of the title page of the Constighe Modellen, but the circle segment drawn inside it somehow transforms it to a framed niche. The glued in candle stick is slightly different in manner. Perhaps this arrangement is Christiaen s, but the candlestick is Adam s? 7

8 8 #5 Design for a Candelaber Black chalk, pen and brown ink, brown wash, 202x132 mm. NM 134/1973

9 9 Verso: A few lines indicating a vase shape, black chalk. Ruled framing lines in black chalk on the vertical sides only. The paper has wrinkles, a small tear in the upper margin, lower right corner is torn. Vertical fold in the centre. No watermark. Chain lines: 24 mm Mark of J. G. De la Gardie (Lugt 2722a). On the verso Hyllan VIII, pen and brown ink. Provenance: Prince Charles de Ligne (Bartsch 1794, p. 201, no. 5); Duke Albert of Sachsen-Teschen; Count J. G. De la Gardie (Lugt 2722a); Gift to the museum in 1973.

10 10 #6 Design for a Bowl with a Nymph and a Satyr Black chalk, point of brush and brown ink, 122x188 mm. NM 135/1973 Framing lines in graphite, and a graphite line drawn below the design. Watermark: Fragment. Chain lines: 24 mm. Numbered at the bottom centre N:8, pencil, and signed (?) in the lower right corner Vianen Fecit, pen and brown ink. Mark of J. G. De la Gardie (Lugt 2722a). Provenance: Prince Charles de Ligne (Bartsch 1794, p. 201, no. 7); Duke Albert of Sachsen-Teschen; Count J. G. De la Gardie (Lugt 2722a); Gift to the museum in Exhibitions: Utrecht, Centraal Museum, Zeldzaam Zilver uit de Gouden Eeuw. De Utrechtse edelsmeden Van Vianen, , no. 91. Probably a design for a print. The framing lines indicate an area for an inscription along the bottom.

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