sign in sign up
<<
Home , Concord of the State, Ferdinand Bol, Hamilton Kerr Institute, Slaughtered Ox, Teylers Museum, The Blinding of Samson

A CORPUS OF PAINTINGS Stichting Foundation Rembrandt Research Project

A CORPUS OF REMBRANDT PAINTINGS

MCMLXXXIX MARTINUS NIJHOFF PUBLISHERS Dordrecht • Boston • Stichting Foundation Rembrandt Research Project

A CORPUS OF REMBRANDT PAINTINGS

J. BRUYN • B. HAAK • S.H. LEVIE P.J.J. VAN THIEL· E. VAN DE WETERING

with the collaboration if L. PEESE BINKHORST-HOFFSCHOL TE • J. VIS

translated by D. COOK-RADMORE

MCMLXXXIX MARTINUS NIJHOFF PUBLISHERS Dordrecht • Boston • London Frontispiece:

Detail of no. A 106, John the Baptist preaching, Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie

Of this edition 125 copies have been specially bound and numbered 1-120 and I-V. Subscribers to the complete special bound set will receive subsequent volumes with an identical number. The copies with roman numbers are solely for publishers' use.

This is copy number

Stichting Foundation Rembrandt Research Project Distributor for the United States and Canada: A CORPUS OF REMBRANDT PAINTINGS III Kluwer Academic Publishers 101 Philip Drive © 1989, Stichting Foundation Rembrandt Research Project Norwell MA 02061 MCMLXXXIX, Martinus Nijhoff Publishers USA Dordrecht . Boston' London Softcover reprint of the hardcover 1st edition 1989 Distributor for all other countries: Kluwer Academic Publishers Group P.O.Box 322 3300 AH Dordrecht The

ISBN-13: 978-94-010-6852-9 e-ISBN-13: 978-94-009-0811-6 All rights reserved. No part of this publication may be DOl: 10.1007/978-94-009-0811-6 reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publishers: Martinus Nijhoff Publishers P.O. Box 163 3300 AD Dordrecht The Netherlands

Manufactured in the Netherlands: Library of Congress Catalogue Card Number 82-18790 Typesetting and textprocessing - Euroset, Lithography - Nauta en Haagen, Amsterdam The publication of this work has been made possible by the Printing - Boom-Ruygrok Offset, H

VI Contents

PREFACE IX A 121 The angel Raphael leaving Tobit and his family, [1637]. PHOTO ACKNOWLEDGMENTS XI Paris, Musee du 232 X-RAY ACKNOWLEDGMENTS Xlii A 122 Half-length figure of a man in 'Polish' costume, 1637. BIBLIOGRAPHICAL AND OTHER ABBREVIATIONS XIV Washington, D.C., The of Art 242 A 123 The wedding of , 1638. Dresden, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister 248 A 124 The risen Christ appearing to Mary Magdalene, 1638. Introduction London, Buckingham Palace, H.M. Queen Elizabeth II 258 Chapter I A 125 Landscape with the Good Samaritan, 1638. STYLISTIC FEATURES OF THE 1630S: THE HISTORY PAINTINGS 3 Krakow, Muzeum Narodowe 265 (j. B. , E.V. D.W.) A 126 The Entombment, [c. 1635/16391. Munich, Bayerische Staatsgemaldesammlungen, Alte Chapter II Pinakothek 271 STUDIO PRACTICE AND STUDIO PRODUCTION (j.B.) 12 A 127 The Resurrection, [c. 1635/1639]. Munich, Bayerische Staatsgemaldesammlungen, Alte Chapter III Pinakothek 280 A SELECTION OF SIGNATURES, 1635-1642 (j.B.) 51 A 128 Man in oriental costume (King Uzziah stricken with leprosy?), [c. 16391. BIOGRAPHICAL INFORMATION 1635-1642 57 Chatsworth, The Duke of Devonshire and Trustees of the Chatsworth Settlement 289 A 129 Portrait of a man, standing (Comelis Witsen?), [16391. Kassel, Staatliche Kunstsammlungen Kassel, Schloss Wilhelmshohe 297 Catalogue A 130 Portrait of a man holding a hat, [C.1639]. Los Angeles, Cal., The Armand Hammer NOTES ON THE CATALOGUE 62 Collection 305 A 131 Portrait of a young woman, probably Maria Trip, [1639]. Paintings by Rembrandt Amsterdam, (on loan from the Familie A 105 The Entombment, [1633/16351. van Weede Stichting) 312 Glasgow, Hunterian Art Gallery, University of A 132 Portrait of Aletta Adriaensdr., [16391. Glasgow 65 Rotterdam, Boymans-van Beuningen, Willem A 106 John the Baptist preaching, [1634/16351. van der Vorm Foundation 321 Berlin (West), Staatliche Museen Preussischer A 133 A dead bittern held high by a hunter, [1639]. Kulturbesitz, Gemaldegalerie 70 Dresden, Staatliche Kunstsammlungen Dresden, A 107 The Lamentation, [1634/35]. Gemaldegalerie Alte Meister 328 London, The National Gallery 89 A 134 Dead peacocks and a girl, [c. 16391. A 108 Abraham's sacrifice, 1635. Amsterdam, Rijksmuseum 334 Leningrad, The Hermitage Museum 101 A 135 The , [later 163os]. A 109 Samson threatening his father-in-law, [16351. Rotterdam, Museum Boymans-van Beuningen 341 Berlin (West), Staatliche Museen Preussischer A 136 Landscape with a stone bridge, [late 1630S]. Kulturbesitz, Gemaldegalerie 114 Amsterdam, Rijksmuseum 357 A llO Belshazzar's feast, [c. 1635]. A 137 Mountain landscape with a thunderstorm, [c. 1640]. London, The National Gallery 124 Braunschweig, Herzog Anton Ulrich-Museum 362 A III The prodigal son in the tavern, [c. 1635]. A 138 The Visitation, 1640. Dresden, Staatliche Kunstsammlungen Dresden, Detroit, Mich., The Detroit Institute of Arts 367 Gemaldegalerie Alte Meister 134 A 139 Self-portrait, 1640. A ll2 Flora, [1635]. London, The National Gallery 375 London, The National Gallery 148 A 140 Portrait of Herman Doomer, 1640. A ll3 The rape of Ganymede, 1635. New York, N.Y., The Metropolitan Museum of Dresden, Staatliche Kunstsammlungen Dresden, Art 382 Gemaldegalerie Alte Meister 161 A 141 Portrait of Baertje Martens, [1640] . A 114 , 1635. Leningrad, The Hermitage Museum 390 Tokyo, Japan private collection (Deposit Bridgestone A 142 Saskia as Flora, 1641. Museum of Art, Tokyo) 168 Dresden, Staatliche Kunstsammlungen Dresden, A 115 Portrait of Philips Lucasz., 1635. Gemaldegalerie Alte Meister 395 London, The National Gallery 175 A 143 Portrait of the Mennonite preacher Camelis Claesz. A 116 , [1636]. Anslo and his wife Aeltje Gerritsdr. Schouten, 1641. Frankfurt-am-Main, Stadelsches Kunstinstitut 183 Berlin (West), Staatliche Museen Preussischer A ll7 Susanna at the bath, 1636. Kulturbesitz, Gemaldegalerie 403 The Hague, Koninklijk Kabinet van Schilderijen, A 144 Portrait of Nicolaes van Bambeeck, [16411. 196 Brussels, Musee Royal des Beaux-Arts 416 A ll8 The Ascension, 1636. A 145 Portrait of Agatha Bas, 1641. Munich, Bayerische Staatsgemaldesammlungen, Alte London, Buckingham Palace, H.M. Queen Pinakothek 202 Elizabeth II 424 A ll9 Danae, [1636-1643]. A 146 The company of captain Frans Banning Cock and Leningrad, The Hermitage Museum 209 lieutenant Willem van Ruytenburgh, A 120 The standard-bearer, 1636. called , 1642. Paris, private collection 224 Amsterdam, Rijksmuseum 430

VII CONTENTS

Paintings Rembrandt's authorship of which cannot be positively either accepted or rejected C 107 Portrait of a woman. B 9 Ahasuerus condemning Haman, who begs mercy of , Coil. Duke of Westminster 674 Esther. C 108 Portrait ot Antonie Coo pal. Bucharest, Muzeul de Arta al Republicii socialiste Boston, Mass., Museum of Fine Arts, on anonymous Romania 487 loan 679 B 10 Bust of Rembrandt with an architectural background. C 109 Portrait of an old man in tabbard. Paris, Musee du Louvre 498 Mertoun, Berwickshire, The Duke of Sutherland 685 B 11 Half-length figure of a youth in a cap and gorget. C 110 Portrait of a man in a doorway. Florence, Galleria degli Uffizi 506 Private collection 691 B 1.2 River landscape with a windmill. . C III Portrait of Petronella Buys. Kassel, Staatliche Kunstsammlungen Kassel, Schloss Formerly New York, Coil. Mr Andre Meyer 695 Wilhelmshohe 514 C 112 Portrait of a 70-year-old woman. New York, N.Y., The Metropolitan Museum of Paintings Rembrandt's authorship of which cannot be accepted Art 699 C 83 's sacrifice. C 113 Portrait of Anna Wijmer. Dresden, Staatliche Kunstsammlungen Dresden, Amsterdam, Six Collection 705 Gemaldegalerie Alte Meister 523 C 114 Portrait of a seated woman with a handkerchief. C 84 David's parting from Jonathan. Toronto, Art Gallery of Ontario 716 Leningrad, The Hermitage Museum 533 C 115 Bust of a woman with a book, in fanciful dress. C 85 The departure of the Shunammite woman. Los Angeles, Cal., Wight Art Gallery, University of London, Victoria & Albert Museum 542 California 723 C 86 Tobias healing his blind father. C 116 Landscape with the baptism of the Eunuch. Stuttgart, Staatsgalerie 551 Hanover, Niedersachsische Landesgalerie, on loan from C 87 The Holy Family with S. Anne. Pelikan AG Hannover 729 Paris, Musee du Louvre 557 C 117 Landscape with obelisk. C 88 The parable of the labourers in the vineyard. Boston, Mass., Isabella Stewart Gardner Museum 737 Leningrad, The Hermitage Museum 568 C 118 Landscape with a seven-arched bridge. C 89 Half-length figure of an old woman, presumably the Berlin (West), Staatliche Museen Preussischer prophetess Anna. Kulturbesitz, Gemaldegalerie 743 Vienna, Kunsthistorisches Museum 576 C 119 Landscape with a moated castle. C 90 S. Francis at prayer. London, The Wallace Collection 749 Columbus, Ohio, The Columbus Museum of Art 583 C 120 Landscape with a walled town. C 91 Scholar at a table with books and a candlestick. Madrid, Coil. Duke of Berwick and Alba 756 Budapest, Szepmiiveszeti Muzeum 587 C 121 Wooded landscape with a castle. C 92 Half-length figure of Rembrandt. Whereabouts unknown 760 England, private collection 592 C 122 A . C 93 Half-length figure of Rembrandt. Glasgow, Art Gallery and Museum 764 Woburn Abbey, Beds., The Duke of Bedford 597 C 94 Half-length figure of Rembrandt. Ottawa, The National Gallery of Canada 603 Corrigenda et Addenda 773 C 95 Half-length figure of a young woman in fanciful costume. Private collection 608 C 96 Bust of Rembrandt in a black cap. Tables and Indexes London, The Wallace Collection 612 C 97 Bust of Rembrandt. TABLE OF TECHNICAL REFERENCE MATERIAL 779 Pasadena, Cal., Norton Simon Museum of Art 619 TABLE OF DENDROCHRONOLOGICAL DATA, including revisions C 98 Bust of a man with a plumed cap. for volumes I and II 783 The Hague, Koninklijk Kabinet van Schilderijen, INDEX OF PAINTINGS CATALOGUED IN VOLUME III 788 Mauritshuis 625 Present owners 788 C 99 Bust of a man wearing a cap and gold chain. Previous owners 789 Sao Paulo, Museu de Arte de Sao Paulo Assis Engravers 792 Chateaubriand 633 Subjects 793 C 100 Man with dishevelled hair. INDEXES OF COMPARATIVE MATERIAL AND LITERARY SOURCES 795 Previously New York, Acquavella Galleries 637 Drawings and etchings by (or attributed to) Rembrandt 795 C 101 Bust of a man in oriental dress. Works by artists other than Rembrandt 796 Amsterdam, Rijksmuseum 640 Literary sources 800 C 102 Bust of a rabbi. CONCORDANCE 801 Hampton Court Palace, H.M. Queen Elizabeth II 646 C 103 Bust of a young woman (commonly called the artist's wife). Washington, D.C., The National Gallery of Art 651 C 104 Portrait of a man in a slouched hat and bandoleer. U.S.A., private collection 657 C 105 Portrait of a woman. Cleveland, Ohio, The Cleveland Museum of Art 661 C 106 Portrait of a man. England, Coli. Duke of Westminster 668

VIII Preface

This volume is something of a Siamese twin to the we believe we have found satisfactory answers to one preceding it. The period it covers is, despite some of these - but only by focussing our attention unmistakeable changes in Rembrandt's style, so also on the later work of Flinck and, especially, Bol. closely connected with that of the previous years The basis for selecting the material to be that it is only when one surveys the whole of his first considered was again, as for Volume II, Horst ten years of activity in Amsterdam that the cohesion Gerson's Rembrandt paintings of 1968. Only two in his work becomes really clear. This is why in paintings, both formerly belonging to the Volume II we summarized the characteristics of his Lanckoronski collection in Vienna (Br. 219 and 359; portraits from those years, while in the present Gerson 225 and 224), cannot be traced and could volume the same is attempted for the history therefore not be covered. The number of works paintings. Many of the catalogue entries that follow rejected or omitted by Gerson but accepted by us, were written at the same time as those for Volume totalled four in both Volume I and Volume II; this II; in this respect as well there is no real break time there is only one - a painting that Bredius, too, between the two. did not include in the Rembrandt canon (our This is not to say that Rembrandt research has no. A 130). The number of unsolved attribution stood still since 1986 (when Volume II appeared). problems - the B-numbers - come to four, and in Christian Tilmpel has published a monograph in each case this classification is due to the difficulty of which, while the main stress is on iconographic assessing the painting in the condition in which it has interpretation, a critical stance is taken on the survived. Among the C-numbers a dozen paintings matter of attributions. This is indeed something that can with a greater or lesser degree of certainty be has over the last few years been seen on a far greater linked with a known pupil, while in a number of scale than before; our approach to the subject may other cases groups of two or more works can be have contributed to this change - at all events it ascribed to a single but as yet nameless hand. We are naturally had a bearing on the way our publication well aware that many problems still remain in this was received. The de attribution by the West-Berlin area. It is after all easier to defme the personality of a Gemaldegalerie, supported by thorough technical pupil as this can be seen in his maturity than as one investigation, of their Man in a golden helmet has been mayor would like to imagine it during his learning the most headline-catching example of this new years. In the case of a particularly adaptable artist trend in recent years!. As the present volume was like Ferdinand Bol, especially, the assumptions and going to press the National Gallery in London, which suggestions advanced here about the part he played enjoys a well-merited reputation on the matter of in the production of the studio occasionally offer scientific research combined with a critical attitude a far from homogeneous picture. A stronger to its own collection, organized an exhibition on Art personality like Carel Fabritius, on the other hand, in the making. Rembrandt; the catalogue for this2 was can be recognized with remarkable certainty from available just in time for us to incorporate a small the very first works he produced in Rembrandt's number of changes in the text of our own entries. studio. Among the colleagues with whom we have A slightly different viewpoint is provided by the had fruitful discussions on this and similar problems, study of Rembrandt's pupils and what they meant special mention must be made of Frits J. Duparc of for the production of his workshop. Time and again, Montreal and Martin Royalton-Kisch in London. recognizing the hand of a studio collaborator can We have once again made grateful use oftechnical help in delimiting the autograph work of the master. information made available to us by a variety of Werner Sumowski has in the past few years persons and institutions. On one particular point the published the second and third volumes of his interpretation of this information has undergone a Gemalde der Rembrandt-Schuler3 , which has already change; as explained in greater detail in the Table of become an indispensable aid in studying the work, dendrochronological data, a modified view of the origin especially the mature work, of Rembrandt's various of the wood used for the panels has led to different pupils. The exhibition announced by the Musee du conclusions being drawn from the measurements Louvre of paintings by Rembrandt's pupils and made, and thus to somewhat different datings. For drawings done by himself and. his followers4 these reasons, we give a table summarizing the unfortunately came too late to be taken into dendrochronology findings not only from the panels account. One of the introductory chapters of the discussed in the present volume but from those in present volume is indeed, continuing E'om what was Volumes I and II as well. said on the matter in Chapter II of Volume II, Weare as grateful as before to all the experts and devoted to the problems of the workshop bodies who have given us vital support in the production. A special place goes here to the scientific sphere, for the generosity they have shown landscapes traditionally attributed to Rembrandt, in placing the results of their research at our which at the start posed considerable problems in disposal. This applies in particular to the Central respect of their relationship, attribution and dating; Research Laboratory for Objects of Art and Science

IX PREFACE

in Amsterdam (which has moreover been housing It is likely that this volume is the last to be dealt the Project since 1985), the Hamilton Kerr Institute of with by the writing team as this is constituted today. the University of , the Scientific It has been obvious for some while that the time the Department of the National Gallery, London, the project is taking makes it necessary to bring in Ordinariat fur Holzbiologie of the University of younger blood, while keeping as far as possible the Hamburg, Marco Grassi of New York and Maria del experience already gained. The authors are Carmen Garrido of the Prado Museum in Madrid. confident that answers to the problems this presents As with the first two volumes, a great many have been or will be found. people helped to make the appearance of this book possible. First of all, of course, we must mention (by October 1988 its new name) the Netherlands Organization for Scientific Research (NWO), which not only for years on end bore the cost of the research work but has REFERENCES also provided a special subsidy for the publication of 1 J. Kelch ed., Der Mann mit dem Coldhelm. Eine Dokumentation ... , Berlin Volume III. The Prins Bernhard Fonds, Amsterdam, (Gemaldegalerie Staatliche Museen Preussischer Kulturbesitz) 1986 (Bilder made an invaluable contribution by taking on part im Blickpunkt). of the costs. Thanks are once again due to the 2 D. Bomford, C. Brown, A. Roy, Rembrandt, London (The National Gallery) owners, public and private, of the paintings 1988/89 (Art in the making). 3 W. Sumowski, Cemalde der Rembrandt-Schiller, Landau/Pfalz 1983, vol. II discussed in this volume for the readiness with which G. van den Eeckhout-I. de Joudreville, vol. III B. Keil-J. Ovens. they granted us facilities and assistance in studying 4 J. Foucart, Peintres rembrane5que5 au Louvre, Paris (Musee du Louvre) their property. Only a small number of them were 1988/89 (Les dossiers du departement des peintures 35). Rembrandt et son regrettably not prepared to consent to photographs ecole, de55ins du Musee du Louvre, Paris 1988. of their pictures being reproduced; in these cases we have had to resort to old (and inevitably inadequate) reproductions. Among the many colleagues who helped us we must, in addition to those already mentioned in Volumes I and II, offer special thanks to Albert Blankert, Lizzie Boubli, Francis Broun, Peter Day and Bert M. Meijer. Cynthia Schneider we mention once again, for being kind enough to make available to us a version of her as yet unpublished book on Rembrandt's landscapes. Within our own closer circle, all honour goes to those whose help and care were vital for the writing and production of the book. Mr Jacques Vis contributed substantial parts of the text, including the majority of the entry for the Night watch. The translator, Mr Derry Cook-Radmore, was as always a model of devotion and of care for accuracy that extended to perfection in the wording, and Mrs L. Peese Binkhorst - assisted at particularly tense times by Mrs D. Adang-Dhuygelaere - kept all the editing, organisational and administrative reins in a firm hand. Their task was made none the easier by the fact that from the very earliest stages of preparing the book one could sense not only the blessings but also the problems that were going to flow from technical advances. The publisher, finally, watched with the care already familiar to us over the production of what is in many respects a most demanding kind of publication.

x Photo acknowledgments

AMSTERDAM, Amsterdam Historical Museum (photo Rijks• DUBLIN, National Gallery of Ireland: Chapter II figs. 19, 28. museum-Stichting Amsterdam): Chapter II fig. 45. A 144 fig. 5 Chapter III fig. 21. A 119 fig. 8. C 113 fig. 9 -, Gemeentearchief:· A 144 fig. 6 FLORENCE, Galleria degli Uffizi (photo Gabinetto Fotografico -, Verenigde Doopsgezinde Gemeente (photo Rijksmuseum- soprintendenza Beni Artistici e Storici di Firenze): B 11 figs. 3, 4 Stichting Amsterdam): Chapter II fig. 34 -, - (photo Rijksmuseum-Stichting Amsterdam): B 11 fig. 1 -, Rijksmuseum (photo Rijksmuseum-Stichting Amsterdam): FRANKFURT AM MAIN, Stadelsches Kunstinstitut (photo Ursula Chapter II figs. 12, 27, 40. Chapter III fig. 17. A 106 figs. 10, 12, Edelmann Frankfurt): Chapter III fig. 13. A III fig. 6. A 116 20. A 108 fig. 4. A 109 fig. 8. A 114 fig. 6. A 116 fig. 6. A 121 fig. 8. figs. 1, 3, 4 (colourplate), 5, 8 A 123 figs. 8, 9. A 126 fig. 5· A 134 figs. 1, 3, 4, 5· A 136 figs. 1, 3 GLASGOW, Art Gallery and Museum: Chapter III fig. 24. C 122 (colourplate). A 137 fig. 5· A 138 fig. 7. A 143 fig. 8. A 146 figs. 1, figs. 3, 5 2,3,4,5,6,8,10,11,12,13,15,16,17,18,19,20,21,22,23, 26, 27 -, - (photo Rijksmuseum-Stichting Amsterdam): C 122 fig. 1 (colourplate), 28, 29, 30. B 9 figs. 6, 7. B 10 fig. 6. C 83 fig. 7. -, Hunterian Art Gallery, University of Glasgow: A 105 figs. 3, 4 C 84 fig. 9. C 85 figs. 5, 6. C 86 fig. 6. C 101 figs. 1, 3, 4 -, - (photo Rijksmuseum-Stichting Amsterdam): A 105 fig. 1 -, - (on loan from the Familie van Weede Stichting) (photo GRUNDLSEE (Austria), Roman Catholic Church (photo RKD The Rijksmuseum-Stichting Amsterdam): A 131 figs. 1, 3, 4 Hague): A 127 fig. 8 -, Six Collection (photo Art Promotion Six): C 113 figs. 1, 3, 4, 5, 6 , Teylers Museum: Chapter II fig. 3 ANTWERP, Koninklijk Museum voor Schone Kunsten (photo THE HAGUE, Koninklijk Kabinet van Schilderijen, Mauritshuis copyright A.C.L. Brussel): C 109 fig. 5 (photo Stichting Vrienden van het Mauritshuis): Chapter III BERLIN (West). Staatliche Museen Preussischer Kulturbesitz, fig. 22. A 117 fig. 3· C 98 fig. 5. C 117 fig. 6 Gemaldegalerie: Frontispiece (colourplate). A 106 figs. 3, 7. -, - (photo Rijksmuseum-Stichting Amsterdam): A 117 fig. 1. C 98 A 143 fig. 8 figs. 1, 3 -, - (photo Jorg P. Anders): Chapter I fig. 3. Chapter II fig. 16. -, dealer S. Nystad (photo A. Dingjan): A 122 fig. 5 A 109 fig. 1. A 117 fig. 5. A 143 figs. 1, 12, 13· C 118 figs. 3, 4 HAMPTON COURT, Copyright reserved to H.M. Queen Elizabeth II -, - (photo Rijksmuseum-Stichting Amsterdam): A 106 fig. 1 (Photo Studios, London): C 102 fig. 1 -, - (photo Walter Steinkopf): Chapter II fig. 41. Chapter III -, - (photo courtesy of the Courtauld Institute of Art London): fig. 6. A 106 figs. 4, 5, 6. A 109 figs. 3, 4, 5· A 143 figs. 3, 4, 5, 6, C 102 fig. 3 14. C 118 fig. 1 HANOVER, Niedersachsische Landesgalerie: B 12 fig. 6 -, Staatliche Museen Preussischer Kulturbesitz, Kupferstich• -, - (on loan from Pelikan AG Hannover): Chapter II fig. 47. kabinett (photo Jorg P. Anders): Chapter II fig. 2. A 106 figs. 14, C 116 figs. 1, 3, 4, 5 18. A 107 fig. 9. A III fig. 7· A 117 fig. 4 ITHACA, N.Y., Herbert F. Johnson Museum, Cornell University BESAN«;:ON, (), Musee des Beaux-Arts et d'Archeologie: (photo Geoffrey Clements, New York): Chapter II fig. 31 A 119 fig. 7. C 86 fig. 5 KASSEL, Staatliche Kunstsammlungen Kassel: Chapter II figs. 25, BOSTON, Mass., Museum of Fine Arts: Chapter III figs. 2, 23. C 122 51. Chapter III fig. 10. A 129 figs. 1, 3, 4. B 12 figs. 1, 3, 4, 5 fig. 4 -, - (formerly) (Bildarchiv Foto Marburg): A 116 fig. 7 -, - (on anonymous loan): C 108 figs. 1, 3, 4, 5. KRAKOW, Muzeum Narodowe: Chapter II fig. 37. Chapter III -, The Isabella Stewart Gardner Museum: Chapter I fig. 4. fig. 18. A 125 figs. 1, 3, 4, 5 Chapter II fig. 38. C 117 figs. 1, 3, 4, 5 LENINGRAD, The Hermitage Museum: Chapter I figs. 2, 7. Chapter BRAUNSCHWEIG, Herzog Anton Ulrich-Museum (photo B.P. II figs. 8, 43, 49· A 108 figs. 1, 2, 3. A 119 figs. 1, 2, 4. A 141 figs. 1, Keiser): A 119 fig. 11. A 137 figs. 1, 3, 4· B 9 fig. 8. C 86 fig. 4 2, 3· C 84 figs. 1,3· C 88 figs. 1, 3, 4 BRNO, Moravska Galerie: C 90 fig. 4 LIVERPOOL, National & Galleries on Merseyside BRUSSELS, Musees royaux des Beaux-Arts (photo copyright (Walker Art Gallery): C 101 fig. 5 A.C.L. Brussel): Chapter III fig. 11. A 144 figs. 1, 3, 4 LONDON, The , Trustees of: Chapter II fig. 1. BUCHAREST, Muzeul de Arta al Republicii socialiste Romania: B 9 Chapter III fig. 19. A 107 figs. 4, 5, 6, 7. A 108 fig. 5. A 112 fig. 6. figs. 1, 3 A 120 fig. 4. A 131 fig. 5. A 143 figs. 10, 11. C 87 fig. 7. BUDAPEST, Szepmuveszeti Muzeum: C 91 figs. 1, 2, 3 -, Buckingham Palace, Copyright reserved to H.M. Queen CAMBRIDGE, Mass., The Fogg Art Museum, Harvard University, Elizabeth II (Photo Studios, London): A 124 figs. 1, 3. A 145 Bequest Nettie G. Naumberg: Chapter II fig. 11 figs. 1, 3, 4· CHATSWORTH, Devonshire collections (photo courtesy of the -, - (photo A.C. Cooper London): Chapter III fig. 12. A 145 fig. 5 Courtauld Institute London): A 106 figs. 15, 16. A 140 figs. 5, 6 -, The Courtauld Institute Galleries (photo courtesy of the -, - (photo National Gallery London): A 128 fig. 1 Courtauld Institute London): A 106 fig. 13 -, - (photo Devonshire collections): A 128 figs. 3, 4 -, The Iveagh Bequest, Kenwood (photo copyright English CLEVELAND, Ohio, The Cleveland Museum of Art: C 105 figs. 1, 3, Heritage): Chapter II fig. 30 4 -, The National Gallery: Chapter I fig. 6. Chapter III figs. 7,9. COLUMBUS, Ohio, The Columbus Museum of Art: Museum A 107 figs. 1, 3. A 110 figs. 1, 3, 4, 6. A 112 figs. 1, 3, 4, 5· A 115 Purchase, Derby Fund: C 90 figs. 1, 2, 3 figs. 1, 3, 4, 6. A 139 figs. 1, 3, 4 COPENHAGEN, Statens Museum for Kunst: A 146 fig. 25. C 113 fig. 7 -, Victoria & Albert Museum: C 85 figs. 1, 3, 4 DARMSTADT, Hessisches Landesmuseum: C 87 fig. 5. C 113 fig. 8 -, The Wallace Collection: C 96 figs. 1, 3 DETROIT, Mich., The Detroit Institute of Arts: Chapter II fig. 13. -, - (photo Christopher Hurst, Cambridge): Chapter II fig. 42. Chapter III fig. 8. A 138 figs. 1, 3, 4 (colourplate), 5, 6. C 98 C 96 fig. 4· C 119 figs. 1, 3, 4, 5 fig. 4 LOUISVILLE, Kentucky, lB. Speed Art Museum (photo Gemeente DORDRECHT, Dordrechts Museum (photo Stijns Dordrecht): Musea Amsterdam): Chapter III fig. 1 Chapter II fig. 46. C 116 fig. 6 LOS ANGELES, Cal., The Armand Hammer Collection (photo DRESDEN, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Brenner): A 130 figs. 1, 3, 4 Alte Meister: Chapter I fig. 8. Chapter III fig. 14. A 111 figs. 1, 3, -, Collection of the Regents of the University of California, 4, 5· A 113 figs. 1, 2, 3, 4· A 123 figs. 1, 2, 4, 5· A 126 figs. 7, 8. Wight Art Gallery, UCLA, Willetts l Hole Collection (photo A 133 figs. 1, 3, 4. A 142 fig. 1. C 83 fig. 1 l Paul Getty Museum, Malibu): C 115 fig. 1 -, - (photo Deutsche Fotothek Dresden): Chapter II fig. 17. A 133 -, - (photo Los Angeles County Museum of Art, Conservation fig. 2. A 142 figs. 2, 4· C 83 figs. 2, 3 Center): C 115 fig. 3 -, -, Kupferstich-Kabinett: A 113 fig. 5· C 83 fig. 4 MADRID, Coll. Duke of Berwick and Alba (photo Rijksmuseum• Stichting Amsterdam): C 120 fig. 1

XI PHOTO ACKNOWLEDGMENTS

MAINZ, Landesmuseum: C 91 fig. 4 VIENNA, Akademie der bildenden Kunste in Wien, Gemalde• MALIBU, Cal., The J. Paul Getty Museum: A 130 fig. 5 galerie: Chapter II figs. 22, 23 MERTOUN, Berwickshire, The Duke of Sutherland (photo The -, Graphische Sammlung Albertina (photo Lichtbildwerkstatte National Galleries of Scotland): C 109 figs. I, 2, 3 Alpenland): A 123 fig. 9 MEXICO CITY, private collection: Chapter II fig. 6 - , Kunsthistorisches Museum: Chapter II fig. 14. C 89 figs. 1, 3 , 4 MUNICH, Bayerische Staatsgemaldesammlungen: Chapter II , Muzeum Narodowe: A 123 fig. 6 figs. 5, 9, 10, 15, 44· Chapter III fig. 20. A 108 figs. 6, 8, 9, '10. WASHINGTON, D.C., The National Gallery of Art (Andrew W. A 118 figs. 1,3, 4· A 120 fig. 5· A 126 figs. 1,3, 4· A 127 figs. I, 3, 4, Mellon Collection): Chapter III fig. 4. A 122 figs. 1, 3, 4 5 -, - (Rosenwald Collection): A 139 fig. 5 -, Staatliche Graphische Sammlung: A 142 fig. 5. -, - (Widener Collection): Chapter II fig. 52. C 103 figs. 1,3 NEW YORK, N.Y., Estate of Walter P. Chrysler, Jr.: Chapter II WHEREABOUTS UNKNOWN fig. 7. A 109 fig. 7 - (photo RKD The Hague): A 109 fig. 6 -, The Metropolitan Museum of Art (Photograph Services): - (photo D. Cevat, Guernsey): A 112 figs. 7,8 Chapter II figs. 21, 24, 26. Chapter III fig. 5. A 140 figs. I, 2 - (photo Rijksmuseum-Stichting Amsterdam): A 127 fig. 7 (colourplate), 4. C 112 figs. I, 2, 4 - (photo Dusseldorf, C.G. Boerner): C 88 fig. 6 -, The Pierpont Morgan Library: A 106 fig. 17 - (photo Acquavella Galleries New York): C 100 figs. 1,2 -, Coll. Spencer A. Samuels: Chapter II fig. 39 - (photo A. Dingjan The Hague): C 121 fig. 1 ODESSA, Museum of Occidental and Oriental Art: C 97 fig. 2 WINDSOR CASTLE, Royal Library, C 1989, Her Majesty Queen OLDENBURG, Landesmuseum: A 106 fig. II Elizabeth II: A 127 fig. 6 OTTAWA, The National Gallery of Canada: Chapter I fig. 5. C 94 WINTERTHUR, Sammlung Oskar Reinhart, Am Romerholz: C 83 figs. I, 3 fig. 5 OXFORD, Ashmolean Museum: C 83 fig. 8 WOBURN ABBEY, The Duke of Bedford: C 93 figs. 1,3 PARIS, Bibliotheque Nationale (photo Bibl. Nat. Paris): A 105 fig. 5 ZURICH, Kunsthaus, Graphische Sammlung: A 123 fig. 7 - , Fondation Custodia (CoIl. F. Lugt): C 84 fig. 6 -, Musee du Louvre (photo RMN): Chapter III figs. 15, 16. A 121 figs. I, 4, 5, 6, 7· A 129 fig. 5· B 10 figs. I, 3, 4, 5· C 87 figs. I, 4 (colourplate) -, - (photo Laboratoire de Recherche des Musees de France): A 121 fig. 3. C 87 fig. 3 -, - (photo A. Wengraf, London): Chapter II fig. 36 -, -, Departement des arts graphiques (photo RMN): A 106 figs. 8, 9· A 143 fig. 9· A 146 fig. 24· C 84 fig. 7 POTSDAM, Staatliche Schlosser und Garten Potsdam-Sanssouci: A 110 fig. 7 PRIV ATE COLLECTION - (photo Claude Mercier, Geneva): A 119 fig. 6 - (photo Gebr. Douwes Fine Art, Amsterdam): A 121 fig. 10 - (photo Gemeente Musea Amsterdam): A 143 fig. 7 -, England (photo RKD The Hague): C 88 fig. 5 -, - (photo The National Gallery, London): Chapter I fig. I -, - , By kind permission of His Grace the Duke of Westminster DL (photo Rijkmuseum-Stichting Amsterdam): C 106 figs. I, 3. C 107 figs. I, 3, 4 -, -, - (photo Hamilton Kerr Institute Cambridge): C 106 fig. 4 -,Japan (photo Rijksmuseum-Stichting Amsterdam): A 114 fig. I -, - (photo R. van der Hilst): Chapter III fig. 3· A 114 figs. 3, 4, 5 - , New York (photo Oeffentliche Kunstsammlung Basel): Chapter II fig. 32 -, New Zealand: A 107 fig. 8 -, Paris (photo Roland Bonnefoy, Paris): A 120 figs. I, 2, 3 -, U.S.A. (photo M. Knoedler & Co. New York): A 139 fig. 6 RHEDE (BRD), Furst zu Salm-Salm (photo A. MeineJansen, Baarn): Chapter II fig. 33 ROTTERDAM, Museum Boymans-van Beuningen: Chapter II fig. 35· Chapter III fig. 25· A 135 figs. I , 3, 4, 5, 6, 7· A 146 fig. 14· -, - (photo Kunsthistorisch Instituut der Universiteit Amsterdam): A 126 fig. 6 -, -, Willem van der Vorm Foundation (photo A. Frequin The Hague): A 132 figs. I, 3 . SAN DIEGO, Cal., San Diego Museum of Art: Chapter II fig. 20 SHELBURNE, Vermont, Shelburne Museum (photo Rijksmuseum- Stichting Amsterdam): Chapter II fig. 29 STOCKHOLM, Nationalmuseum: A 106 fig. 19. C 83 fig. 6 STUTTGART, Staatsgalerie: C 86 figs. 1, 3 TORONTO, Art Gallery of Ontario: C 114 figs. 1, 3, 4, 5 VESTE COBURG, Kunstsammlungen: C 87 fig. 6

XII X-Rays acknowledgements

AMSTERDAM, Rijksmuseum: A 131 fig. 2. A 134 fig. 2. A 136 fig. 2. WASHINGTON, D.C., The National Gallery of Art: A 122 fig. 2. A 146 figs. 7, 9. C 101 fig. 2 C 103 fig. 2 -, Six Collection (X-ray Rijksmuseum-Stichting Amsterdam): WHEREABOUTS UNKNOWN (X-ray Stichting Vrienden van het C 113 fig. 2 Mauritshuis): C 121 fig. 2 BERLIN (West), Staatliche Museen Preussischer Kulturbesitz, WOBURN ABBEY, The Duke of Bedford (X-ray Hamilton Kerr Gemaldegalerie: A 106 fig. 2. A 109 fig. 2. A 143 fig. 2. C 118 Institute Cambridge): C 93 fig. 2 fig. 2 BOSTON, Mass., Museum of Fine Arts: C 108 fig. 2 -, The Isabella Stewart Gardner Museum: C 117 fig. 2 BRAUNSCHWEIG, Herzog Anton Ulrich-Museum: A 137 fig. 2 BRUSSELS, Musees Royaux des Beaux-Arts: A 144 fig. 2 BUCHAREST, Muzeul de Arta al Republicii socialiste Romania: B 9 figs. 2, 4, 5 CHATSWORTH, Devonshire collections (X-ray Hamilton Kerr Institute Cambridge): A 128 fig. 2 CLEVELAND, Ohio, The Cleveland Museum of Art: C 105 fig. 2 DETROIT, Mich., The Detroit Institute of Arts: A 138 fig. 2 DRESDEN, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister: A 111 fig. 2 -,- (X-ray M. Meier-Siem Hamburg): A 123 fig. 3. A 142 fig. 3 FLORENCE, Galleria degli Uffizi: B 11 fig. 2 FRANKFURT AM MAIN, Stadelsches Kunstinstitut (X-ray Ursula Edelmann Frankfurt): A 116 fig. 2 GLASGOW, Art Gallery and Museum (X-ray Rijksmuseum- Stichting Amsterdam): C 122 fig. 2 -, Hunterian Art Gallery, University of Glasgow: A 105 fig. 2 THE HAGUE, Mauritshuis: A 117 fig. 2. C 98 fig. 2 HAMPTON COURT, Copyright reserved to H.M. Queen Elizabeth II: C 102 fig. 2 HANOVER, Niedersachsische Landesgalerie (on loan from Pelikan AG Hannover): C 116 fig. 2 KASSEL, Staatliche Kunstsammlungen Kassel: A 129 fig. 2. B 12 fig. 2 KRAKOW, Muzeum Narodowe (X-ray v. Wawel): A 125 fig. 2 LENINGRAD, The Hermitage Museum: A 119 figs. 3, 5. C 84 figs. 2, 4. C 88 fig. 2 LONDON, Buckingham Palace, Copyright reserved to H.M. Queen Elizabeth II (X-ray Hamilton Kerr Institute Cambridge): A 124 fig. 2 -,- (X-ray courtesy of the Courtauld Institute London): A 145 fig. 2 -, The National Gallery: A 107 fig. 2. A 110 fig. 2. A 112 fig. 2. A 115 fig. 2. A 139 fig. 2 -, Victoria & Albert Museum: C 85 fig. 2 -, The Wallace Collection: C 96 fig. 2. C 119 fig. 2 LOS ANGELES, Cal., The Armand Hammer Collection (X-ray Art Museum Conservation Dept. Cincinnati): A 130 fig. 2 -, Collection of the Regents of the University of California, Wight Art Gallery, UCLA, Willetts J. Hole Collection (X-ray Los Angeles County Museum of Art, Conservation Center): C 115 fig. 2 MADRID, ColI. Duke of Berwick and Alba: C 120 fig. 2 MUNICH, Bayerische Staatsgemaldesammlungen: A 108 fig. 7. A 118 fig. 2. A 126 fig. 2. A 127 fig. 2 NEW YORK, N.Y., The Metropolitan Museum of Art: A 140 fig. 3. C 112 fig. 3 OTTAWA, The National Gallery of Canada: C 94 fig. 2 PARIS, Musee du Louvre (photo Laboratoire de recherche des Musees de France): A 121 fig. 2. B 10 fig. 2. C 87 fig. 2 PRIVATE COLLECTION -, England, By kind permission of His Grace the Duke of Westminster DL (X-ray Hamilton Kerr Institute Cambridge): C 106 fig. 2. C 107 fig. 2 -,Japan (X-ray Nationalmuseum Stockholm): A 114 fig. 2 ROTTERDAM, Museum Boymans-van Beuningen: A 135 fig. 2 -,- (X-ray RTD): A 132 fig. 2 STUTTGART, Staatsgalerie: C 86 fig. 2 TORONTO, Art Gallery of Ontario: C 114 fig. 2 VIENNA, Kunsthistorisches Museum: C 89 fig. 2

XIII Bibliographical and other abbreviations

Art Bull. The Art Bulletin, New York 1 (1913) - B. A. Bartsch, Catalogue raisonne de toutes les estampes qUi forment roeuvre de Rembrandt et ceux de ses principaux imitateuTS, Vienna 1797 B. I-XXI A. Bartsch, Le Peintre-Graveur, vols. I-XXI, Vienna 1803-21 Bauch 1933 K. Bauch, Die Kunst des jungen Rembrandt, Heidelberg 1933 Bauch 1960 K. Bauch, Der fruhe Rembrandt und seine Zeit. Studien zur geschichtlichen Bedeutung seines Fruhstils, Berlin 1960 Bauch 1966 K. Bauch, Rembrandt Gemalde, Berlin 1966 Bauch, Eckstein, - J. Bauch, D. Eckstein, M. Meier-Siem, 'Dating the wood of panels by a Meier-Siem dendrochronological analysis of the tree-rings', Nederlands Kunsthistorischjaarboek 23 (197 2), pp. 485-496 Ben. O. Benesch, The drawings if Rembrandt. A critical and chronological catalogue, vols. I-VI, London 1954-57; enlarged and edited by Eva Benesch, London 1973 Blankert Bol A. Blankert, Ferdinand Bol {1616-1680}. Rembrandt's pupil, Doomspijk 1982 Br. A. Bredius, Rembrandt schilderijen, Utrecht 1935 A. Bredius, Rembrandt Gemalde, Vienna 1935 A. Bredius, The paintings if Rembrandt, London 1937 Br.-Gerson A. Bredius, Rembrandt. The complete edition if the paintings, revised by H. Gerson, London 1969 Burl. Mag. The Burlington MagaZine, London 1 (1903) - Charrington - J. Charrington, A catalogue if the mezzotints after, or said to be after, Rembrandt, Cambridge 1923 G.d.B.-A. Gazette des Beaux-Arts, Paris 1 (1859) - Gerson H. Gerson, Rembrandt paintings, Amsterdam 1968 Haak 1969 B. Haak, Rembrandt. Zijn leven, zi:jn werk, zijn tijd, Amsterdam [1969] HdG C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten hollandischen Maler des XVII. jahrhunderts, vol. VI, Esslingen a. N. - Paris 1915 HdG I-X C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten hollandischen Maler des XVII. jahrhunderts, vols. I-X, Esslingen a. N. - Stuttgart-Paris 1907-1928 HdG Urk. C. Hofstede de Groot, Die Urkunden uber Rembrandt, Haag 1906 (Quellenstudien zur hollandischen Kunstgeschichte, herausgegeben unter der Leitung von Dr. C. Hofstede de Groot, III) Hind A. M. Hind, A catalogue if Rembrandt's etchings, vols. I-II, London 1912 Hoet G. Hoet, Catalogus if naamlyst van schilderyen, met derzelver pryzen ... , vols. I-II, The Hague 1752 Hoet-Terw. see Terw. Hollst. F. W. H. Hollstein, Dutch and Flemish etchings, engraVings and woodcuts, c. 1450-1700, vols. I - ,Amsterdam 1949 - jb. d. Kunsth. - jahrbuch der Kunsthistorischen Sammlungen in Wien, Vienna 1 (1883) - Samml. Wien jb. d. Pr. Kunsts. - jahrbuch der Preussischen Kunstsammlungen, Berlin 1 (1880) - KHI Kunsthistorisch Instituut, University of Amsterdam Kuhn H. Kuhn, 'Untersuchungen zu den Malgrunden ',jahrbuch der Staatlichen Kunstsammlungen in Baden-Wurttemberg 2 (1965), pp. 189-210 Lugt F. Lugt, Repertoire des catalogues de ventes, publiques interessant rart ou la curiosite . .., premiere periode veTS 1600-1825, The Hague 1938 Mum L. Mum, Rembrandt's etchings, vols. I-II, London 1952 New findings 1987 P. Klein, D. Eckstein, T. Wazny,J. Bauch, 'New findings for the dendrochronological dating of panel paintings of the fifteenth to 17th century', [COM Committee for Conservation. 8th Triennial Meeting Sydney, Australia. 6-11 September, 1987- Preprints, Los Angeles 1987, pp. 51-54 N.Kj. Nederlands Kunsthistorischjaarboek, The Hague 1 (1947) - O.H. Oud Holland, Amsterdam 1 (1883) - RKD Rijksbureau voor Kunsthistorische Documentatie (Netherlands Institute for Art History), The Hague

XIV BIBLIOGRAPHICAL AND OTHER ABBREVIATIONS

Rontgenonderzoek ... M. E. Houtzager, M. Meier-Siem, H. Stark, H. J. de Smedt, Rontgenonderzoek van de Utrecht oude schilderijen in het Centraal Museum te Utrecht, Utrecht 1967 Schneider H. Schneider, . Sein Leben und seine Werke, Haarlem 1932 Schneider-Ekkart H. Schneider, with a supplement of R. E. o. Ekkart,jan Lievens. Sein Leben und seine Werke, Amsterdam 1973 Schwartz 1984 G. Schwartz, Rembrandt. Zijn leven, zy"n schilderijen, Maarssen 1984 Strauss Doc. W. L. Strauss und M. van der Meulen, with the assistance of S. A. C. Dudok van Heel and P. J. M. de Baar, The Rembrandt Documents, New York 1979 Sumowski 1957/58 W. Sumowski, 'Nachtrage zum Rembrandtjahr 1956', Wissenschaftliche Zeitschrift der Humboldt-Universitat zu Berlin, Gesellschafts- und sprachwissenschaftliche Reihe 7 (1957/58) nr. 2, pp. 223-247 Sumowski Drawings W. Sumowski, Drawings of the Rembrandt School I - , New York 1979 - Sumowski Cemalde W. Sumowski, Cemalde der Rembrandt-Schuler I - , Landau/Pfalz 1983 - Terw. P. Terwesten, Catalogus of naamlyst van schilderyen met derzelver pry zen .. "' vol. III, The Hague 1770 Tumpel 1968 Chr. Tumpel, 'Ikonographische Beitrage zu Rembrandt. Zur Deutung und Interpretation seiner Historien', jahrbuch der Hamburger Kunstsammlungen 13 (1968), PP·95-126 Tumpel 1969 Chr. Tumpel, 'Studien zur Ikonographie der Historien Rembrandts. Deutung und Interpretation der Bildinhalte', NederLands Kunsthistorischjaarboek 20 (1969), pp. 107-198 Tumpel1971 Chr. Tumpel, 'Ikonographische Beitrage zu Rembrandt. Zur Deutung und Interpretation einzelner Werke', jahrbuch der Hamburger Kunstsammlungen 16 (1971), pp. 20-38 Tumpel 1986 C. Tumpel (with contributions by Astrid Tumpel), Rembrandt, Amsterdam• Antwerpen 1986 Van Gelder - J. G. van Gelder, 'Rembrandts vroegste ontwikkeling', Mededelingen der Koninklijke NederLandse Akademie van Wetenschappen, afd. letterkunde, nieuwe reeks, deell6, nr. 5 (1953), pp. 273-300 (pp. 1-28) Von Moltke FLinck - J. W. von Moltke, Covaert Flinck. 1615-1660, Amsterdam 1965 V.S. C. G. Voorhelm Schneevogt, Catalogue des estampes gravies d' apres p" P. Rubens, Haarlem 18 73 De Vries, T6th- A. B. de Vries, Magdi T6th-Ubbens, W. Froentjes, Rembrandt in the Mauritshuis. An Ubbens, Froentjes interdisciplinary study, Alphen aan de Rijn 1978 WaLLr. -Rich. -jahrb. WaLLrafRichartz-jahrbuch, Kaln 1 (1924) - Zeitschr J b.K. Zeitschrift Jur bildende Kunst, Leipzig, Berlin 1 (1866) - Zeitschr. j Kunstgesch. - Zeitschrift Jur Kunstgeschichte, Berlin 1 (1932) -

xv