Editing Evert Collier (section)

==Life==
Collier was baptized Evert Calier in [[Breda]], [[North Brabant]].<ref name=RKD>[https://rkd.nl/en/explore/artists/17728 Edwaert Collier] in the [[RKD]]</ref>  He was trained in [[Haarlem]], where his earliest paintings show the influence of [[Vincent Laurensz van der Vinne]], who became a member of the [[Haarlem Guild of St. Luke]] in 1649, and whose son [[Laurens van der Vinne]] listed "Evert Colier" in 1702 as one of the Haarlem guild members who had known his father.<ref name=HRLM>De archiefbescheiden van het St. Lukasgilde te Haarlem 1497-1798, Hessel Miedema, 1980, {{ISBN|90-6469-584-9}}</ref> Van der Vinne was probably his teacher when Collier registered with the Haarlem guild in 1664.<ref>Though Collier is listed in the Haarlem guild register as a member on a page headed "1646", the last two digits must have been switched and he probably became a member in 1664 (a year suspiciously lacking member registrations), like other members listed with him and mistakenly registered on that page, such as [[Evert Oudendijck]] and [[Egbert van Heemskerck]].</ref> They both later influenced the Haarlem still-life painter Barend van Eisen.<ref name=RKD/>

By 1667, Collier had moved to [[Leiden]], where he became a member of the [[Leiden Guild of St. Luke]] in 1673. He moved to [[Amsterdam]] by 1686 and to London in 1693. He returned to Leiden in the years 1702–1706, based on signed and dated works there, but was back in London at the end of his life where he was buried September 8, 1708 at [[St James's Church, Piccadilly|St. James's, Piccadilly]].<ref>According to Paul Taylor, Londen, July 1999</ref>

The [[Denver Art Museum]], the [[Honolulu Museum of Art]], the [[Indianapolis Museum of Art]], the [[National Portrait Gallery (United Kingdom)]], the [[Rijksmuseum]] (Amsterdam), the [[Art Institute of Chicago]] and the [[Tate]] (London) are among the public collections having paintings by Evert Collier.

The US historian, Dror Wahrman, has written a book on Collier's ''[[trompe-l'œil]]'' works, ''Mr. Collier's Letter Racks'' (OUP, 2014). The book brings together a wide range of the painter's still lifes from the late 17th and early 18th centuries, mostly from the time when Collier was living in London. Their themes were almost exclusively arrangements of journals, engravings, letters, medals, combs, sealing wax sticks and other ephemera, signifying an updating of the older ''[[memento mori]]'' still life model.