Abstract

In 1999 a group of nineteenth-century glass negatives were transferred to the Rijksmuseum from the University of Leiden’s Print Room. The negatives came from the estate of the Dutch artist Laurens Lodewijk Kleijn (1826-1909), who also made them. Kleijn lived in Rome between 1851 and 1868, became interested in photography and began to experiment with the medium. While he was in Italy, he came into contact with Princess Marianne, who awarded him a number of commissions. He also looked after her sizeable collection, first in Rome, later in her museum in Erbach. As the curator, Kleijn photographed part of the collection and the museum’s interior. These photographs were used for a museum catalogue and for picture postcards. The Rijksmuseum’s glass negatives show a variety of artworks from the princess’s collection. There are more experimental shots, too, family photographs and portraits, and photographs of paintings by Kleijn and of his studio. Thanks to the surviving glass negatives – and the artist’s estate as a whole – it was possible to reconstruct his interesting life story and take a fresh look at the history of photography.

Highlights

  • Painter and the curator of her Museum Reinhartshausen, whereupon Kleijn and his family moved to Erbach.[32]. He received a number of commissions from the princess, including a design for a mural for her second palace in Camenz in 1871.33 The design, The Wedding at Cana and Belshazzar’s Feast, was photo­ graphed and is among the glass negatives

  • There is an interesting letter to Keller in which he asks him to send two unmounted proofs of all his photographs to the Italian artist Luigi Gregori (1819-1896).[50]

  • The note on the back tells us that Kleijn photographed them during their travels through Italy in 1856-57 in the garden of the Protestant hospital on the Tarpeian Rock in Rome.[52]

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Summary

Introduction

< Fig. 1 laurens lodewijk kleijn (attributed to), Portrait of a Boy, c.

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