de Nole

Show Summary Details

Quick Reference

Dutch family of sculptors.

(1) Colijn [Colyn] de Nole (b Kamerijk; fl Utrecht 1530–53/8). He was the son of the sculptor Guillaume de Nole from Kamerijk (now Cambrai), from whom he probably learned the principles of stone-carving and sculpture. In 1530 he established himself in Utrecht where he was registered as ‘Colyn Willems van Camerick, mason’ in the Buurtspraakboek (a record of the district). He was a member of the Saddlers’ Guild, the one to which painters and sculptors were admitted, and made stone figures, which in 1532 gave rise to a conflict with the Guild of Stonecutters, who thought de Nole ought to be a member of their guild. Whether de Nole actually held a position within the Saddlers’ Guild remains unknown, as the records covering the relevant years have been lost. In 1538–9 de Nole worked on a gravestone or tomb for Jo de Wit, dean of the Mariakerk, Utrecht, together with the city's master builder, Willem van Noort. In 1543 he was commissioned to make a sandstone chimneypiece for the sheriff's courtroom in the Oude Raadhuis, Kampen. It was made in Utrecht and shipped in parts to the Hanse town where he and his assistants worked on its installation in 1545. It is the only documented work by de Nole that has been preserved and is evidence that he was a gifted Renaissance sculptor who was influenced by the Mannerist work executed at the château of Fontainebleau during the reign of Francis I. It is unknown whether or not he was familiar with this work through direct experience or through prints. De Nole is also known as the sculptor who, like no other artist, managed to turn the prints of Cornelis Bos into splendid three-dimensional works of art.


From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.

Subjects: Renaissance Art.

Users without a subscription are not able to see the full content. Please, subscribe or login to access all content.