Collection 2017-01-29T09:19:35+00:00

The collection

Paul Tetar van Elven is, as so many artists, also a passionate collector, porcelain and earthenware have his preference. Further he collects antiques and curiosa (furniture, costumes, weapons) and he regularly buys work from contemporary artists. The first board of the foundation is allowed to make a choice out of the inheritance of the artist, 30 years after his death. The gentlemen on the board feel free to make purchases for the arrangement of the house and if desirable to sell properties

Paintings

Paul Tetar was mainly active as a history painter. He preferred the national history. With works like ‘Johan de Wit signs the Act of Seclusion’, he joined the ‘exhibitions of living masters’.

Nearly every year Paul Tetar and his wife travel to famous museums, e.g. the Louvre in Paris and the Alte Gemaldegalerie in Dresden.  He is also a regular visitor to the Mauritshuis and the Rijksmuseum. He paints tens of copies after works by Rembrandt, Titiaan, Rafaël etc. Regularly Tetar receives an assignment for a portrait. In the museum mainly family portraits have been kept.

Porcelain and earthenware

Paul possesses quite a lot of ceramics. His collection shows a large diversity: Chinese Ming porcelain from the 17th century, Imari-porcelain from Japan, 18th century Famille rose, Amsterdams bont and of course Delft Blue.

Drawings

Also quite a few drawings have been retained. These are periodically exhibited in the Purple room. The subjects vary widely: many academic studies after models, religious scenes and preparatory studies.

Tetar the collector

The collection of paintings brought together by Paul Tetar gives a good impression of the taste of the owner. An important part of the works date from the 17th century, among which a grisaille by Adriaan van der Venne. Paul also owns works by contemporaries, amongst others from his half-brother Jean Baptist and his nephew Pierre.

Weapons, costumes and furniture

The arms in Tetar’s studio will mainly have been used as study material. No paintings are known on which the dresses have been depicted. Furniture of the 17th century had his preference. But he also decorated the house with 19th century imitations.