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For queries about offprints, copyright and republication of your article, please contact the publisher via [email protected] TECHNICAL STUDIES OF PAINTINGS: PROBLEMS OF ATTRIBUTION (15th-17th CENTURIES)

Papers Presented at the Nineteenth Symposium for the Study of Underdrawing and Technology in Painting held in , 11-13 September 2014

Edited by

Anne Dubois, Jacqueline Couvert and Till-Holger Borchert

PEETERS

PARIS – LEUVEN – BRISTOL, CT

2018 Table of Contents

Editors’ Preface VII In Memoriam Roger Van Schoute IX

1 KEYNOTE LECTURE – Willem van Aelst and the Market for Still-life Painting in . Reattri bution of an Early Work Melanie Gifford 1 2 The Beaune Last Judgement. Sorting out and his Assistants Griet Steyaert and Rachel Billinge 26 3 Philip the Good Bare-headed. In Search for Original and Copy Stephan Kemperdick 50 4 The Middendorf by a Follower of Maryan W. Ainsworth 60 5 Albrecht Bouts in Sibiu: a Unique Self-portrait in ‘Memento Mori’ Valentine Henderiks 74 6 Le Triptyque de l’Adoration des Mages (Turin-Gênes) et le mécénat d’Hendrik Keddekin, abbé de Ter Doest Véronique Bücken 86 7 Revising Friedländer. The ‘Underdrawing Connoisseurship’ and the Master of the Turin Adoration Maria Clelia Galassi 98 8 A New Virgo Lactans of the Gold Brocade Group Caterina Virdis Limentani 112 9 The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Marés. An Unusual Altarpiece Carmen Sandalinas Linares, Bart Fransen and Elisabeth Van Eyck 122 10 XRF Analysis of Pigments in the Donne Hours (Louvain-la-Neuve, Archives de l’Université, ms. A2) Anne Dubois 138 11 The Saint Michael Altarpiece in Spišská Kapitula. A Preliminary Report Ingrid Ciulisová 150 12 The Goldene Tafel from Lüneburg, c. 1420. New Findings about Painting Process and Characteristics Babette Hartwieg 160 13 Master or Assistant? Painted Alterations in the Pleydenwurff Workshop Dagmar Hirschfelder, Beate Fücker, Katja von Baum, Lisa Eckstein and Joshua P. Waterman 178 14 The Painted Wings of the Passion Altarpiece of Güstrow. A Vast Collective Enterprise Catheline Périer-D’Ieteren 196 15 Reading between the Lines… Attribution Problems regarding Early Sixteenth Century Louvain Painters Marjan Debaene and David Lainé 210 16 The of the True Cross in Veurne in Connection to a Drawing in Rotterdam. Working Process and Attribution Judith Niessen and Margreet Wolters 224 17 The Contribution of Technical Art History to the Reconstruction of the Oeuvre of Pieter I Claeissens Anne van Oosterwijk 238 18 Two ‘New’ Paintings by . Technical Studies, Connoisseurship and Provenance Research Peter van den Brink and Dan Ewing 250 19 The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem Nicola Christie and Lucy Whitaker 268 20 The Oeuvre of Jan Swart van Groningen Reconsidered Katrin Dyballa 284 21 Identifying Two Family Members in Jacob Cornelisz’s Amsterdam Workshop: Cornelis Buys and Cornelis Anthonisz Molly Faries and Daantje Meuwissen 298 22 Who is the Man in Red and Who Painted Him? Mary Kempski and Lucy Whitaker 310 23 Hans Holbein Hans of . Findings from the Recent Examination, Cleaning and Restoration Claire Chorley 326 24 A Case of Mistaken Identity. A Version of the Good Shepherd by Pieter Brueghel the Younger Dominique Allart, Christina Currie, Pascale Fraiture and Steven Saverwyns 338

Bibliography 351 List and biographies of contributors 371 Photo Credits 374 A.

B.

Ill. 24.1. The three known versions of the Good Shepherd by Pieter Brueghel the Younger. A: Kronacker Collection, oil on panel, 40.1 x 54.6 cm, unsigned. B: former Pollack Collection, oil on panel, 40.5 x 59.3 cm, signed ‘·P·BREVGHEL’. C: , KMSKB/MRBAB, oil on panel, 41.3 x 57 cm, signed and dated ‘P·BREVGHEL ·1616·’

C. 24 A Case of Mistaken Identity A Version of the Good Shepherd by Pieter Brueghel the Younger

Dominique Allart, Christina Currie, Pascale Fraiture and Steven Saverwyns

ABSTRACT: An unsigned version of the Good Shepherd in time, it belonged to the Princeton University the Kronacker Collection has been variously attributed Museum. Glück’s attribution was later contested by to members of the Bruegel dynasty over the years, and Georges Marlier, the author of an important mono- was offered for sale in 2012 at auction as a painting by Jan Brueghel the Younger (1601-1678). Its attribution was graph on Pieter Brueghel the Younger published in reconsidered after examination at the Royal Institute for 1969.3 Marlier, who examined the work after clean- Cultural Heritage (KIK-IRPA). Following usual protocol, ing, identified Pieter Bruegel the Elder’s style in all the painting was subjected to a detailed scientific inves- parts of it except the face of the shepherd. Accord- tigation, including infrared reflectography, X-radiography, ing to him, the face was left unfinished by Pieter tracing and dendrochronology. In addition, Raman spec- troscopy was carried out on the underdrawing, without Bruegel the Elder, and probably later completed by sampling. The results of these examinations were com- Jan Brueghel the Elder. This was also the convic- pared with those from a signed and dated version of tion expressed by Fritz Grossmann, in the third edi- the same composition by Pieter Brueghel the Younger tion of his famous book on Bruegel. According to in the Royal Museums of Fine Arts of Belgium (KMSKB/ him, ‘the lively lines of the underdrawing now vis- MRBAB) and from another signed version from the for- mer Pollack Collection. The conclusion drawn as regards ible here [i.e. after cleaning] in the hands, in some the attribution of the Kronacker version was unambi- of the sheep, as well as several pentimenti, indicate guous, and firmly reassigns the painting to the hand of an original work, not a copy’. Therefore, he stated Pieter Brueghel the Younger. that ‘the composition, at least in outline, must —o— have been drawn on the panel by the designing art- ist, obviously Pieter Bruegel the Elder’. He recog- The history of attribution nized the master’s hand in the shepherd’s garment, In 2012, the reappearance of an unsigned version but thought that Jan Brueghel the Elder was of the Good Shepherd on the Paris art market responsible for the completion of the painting. He attracted considerable media attention in France recognized his manner especially in the wolf and (ill. 24.1a). Indeed, this painting, from a private the background landscape.4 Thus, Marlier and Belgian collection, the Kronacker Collection, Grossmann both agreed on an attribution to Pieter had at times been attributed to Pieter Bruegel Bruegel the Elder for an important part of the com- the Elder.1 position. This opinion was reiterated by Philippe The painting was first published by Gustav and Françoise Roberts-Jones in the catalogue of the Glück in 1935 as a copy by Pieter Brueghel the acclaimed exhibition on the Bruegel dynasty held Younger after a lost original by his father.2 At that in Brussels in 1980.5 Jacques Foucart, the reviewer 340 dominique allart, christina currie, pascale fraiture and steven saverwyns of the exhibition catalogue, remained reluctant Technical and stylistic analysis on a total attribution to Pieter Bruegel the Elder, The technical evidence on the Kronacker version but acknowledged the great master’s authorship for will be examined in comparison with the other two the landscape.6 known versions, starting with the paint layer, As usual for a Bruegelian composition, several which is where the confusion first set it.13 versions have come down to us. In this case, three versions are known. The other two are almost iden- Condition tical to the Kronacker version. The second version, The condition of the Kronacker version goes some signed ‘·p·brevghel’, was already mentioned by way to explain why art historians have misjudged Glück in 1935 (ill. 24.1b).7 At that time, it the painting in the past. Although there are belonged to Ernst and Gisela Pollack in Vienna. no significant losses, the paint layer has been Looted by the Nazis in 1942, it was recovered by somewhat abraded during cleaning. This damage the descendants of the Pollack Family in 2001. In influences greatly our perception of the painting. April 2006, it was sold by Christie’s in New York as Because it is not a straightforward loss to paint and a replica by Pieter Brueghel the Younger after a lost ground, it is difficult to quantify. In the head of the composition by his father. Peter van den Brink shepherd, the highlights on the hair curls are brought this version to our attention in 2004.8 mostly lost and the flesh tones are missing some of The third version was unknown until it was their substance (ill. 24.2a). As a result the ground left to the Royal Museums of Fine Arts (KMSKB/ layer is exposed in places. The brown lower fore- MRBAB) in Brussels in 1989, as part of the Frans ground is lighter than it should be owing to over- Heulens-Van der Meiren Bequest (ill. 24.1c).9 cleaning and the black sheep, which contrast little It can be considered a benchmark in the series, with the white sheep alongside them, are clearly since it is signed by Pieter Brueghel the Younger thinner than they should be. and dated 1616. Klaus Ertz, the great connoisseur The former Pollack version seems to be in a of the Brueghel family, claimed it is a work by similar condition to that of the Kronacker paint- Pieter Brueghel the Younger, and we completely ing. This version has suffered even more abrasion agree with him. Painterly technique and under- to the hair, and the flesh tones also seem worn drawing style are typical of the artist. Therefore, (ill. 24.2b). Some of the facial features have been this version was included as an autograph painting reinforced with a mid-pink colour during a former by Pieter Brueghel the Younger in our book The restoration, conferring a somewhat crude appear- Brueghel Phenomenon.10 ance. The brown foreground also shows signs of According to Ertz, the Kronacker version of the abrasion. The Royal Museums of Fine Arts version, Good Shepherd differs from the Brussels Museums on the other hand, has a sense of volume and three- version in both style and quality.11 He states that dimensionality missing in the other two, thanks to the Kronacker version is a weak copy after the the presence of thicker flesh tones, the excellent Brussels Museums version, painted by a less gifted condition of the brown and black glazes in the painter, maybe Jan Brueghel the Younger, the lower foreground, and well-conserved details such nephew of Pieter the Younger. This is the last as the sheep and shepherd’s hair curls (ill. 24.2c).14 published opinion expressed on the Kronacker The composition has a more dynamic and rhyth- version, formerly attributed to Pieter Bruegel the mic feel, owing to the preservation of its contrasts: Elder. As a result, the painting was presented for the dark stony ground with the shepherd and wolf auction in Paris in 2012 as a work by Jan Brueghel juxtaposes with the light, sweeping earth patterns the Younger.12 The bewildering question of its in the upper right, giving way to the green fields to attribution will be re-examined here. the left and finally to the distant bluish town and a case of mistaken identity 341

A.

B.

Ill. 24.2. Detail, shepherd’s face, showing comparable brushwork in the three versions. A: Kronacker Collection (ill. 24.1a). B: former Pollack Collection (ill. 24.1b). C: Brussels (ill. 24.1c). C. 342 dominique allart, christina currie, pascale fraiture and steven saverwyns sky. Although possibly painted slightly more thickly tree trunks for the sheep overlapping them. These than the other two, the version is clearly in a better reserves, visible in IRR, are found in exactly the state of preservation. same places in all three versions, with the excep- tion of one of the sheep at the back in the Brussels Paint application and style Royal Museums version, which has been painted Taking into account these differences in condition, on top of the tree (Ill. 24.4a-c). The most compa- the order of execution and brushwork in the three rable brushwork among the three versions is versions appear nonetheless exceedingly alike. found in the shepherd’s face, and in particular the The paintings were executed following a similar right eyebrow, nose and mouth and the highlights pattern, starting with the sky and progressing under the eye sockets (Ill. 24.2a-c). The stylistic through to the foreground. In the Kronacker and similarity in this area is such that it is hard to imag- Brussels Royal Museums versions, the distant town ine more than one hand being involved in the on the horizon was brushed in while the sky paint execution. was still soft, as were the narrow tree trunks to the right, with brown paint added later. For the more Underdrawing: material and style substantial trees to the left, on the other hand, Turning to the underdrawing, all three paintings reserves were retained in the sky paint. These can show a similar dry, wiry outline drawing for the be seen in the X-radiographs of all three versions entire composition, suggestive of graphite or black (Ill. 24.3a-d).15 Likewise, reserves were left in these chalk. Apart from some of the slender trees to

A. B.

C. D. Ill. 24.3. Painterly reserves for trees in sky paint. A: Kronacker Collection (ill. 24.1a), normal light. B: idem, X-ray, detail. C: Brussels (ill. 24.1c), normal light. D: idem, X-ray, detail a case of mistaken identity 343

A.

B.

Ill. 24.4. Detail, sheep, showing similar underdrawing style and use of reserves in the three versions. A: Kronacker Collection (ill. 24.1a). B: former Pollack Collection (ill. 24.1b). C: Brussels (ill. 24.1c) C. 344 dominique allart, christina currie, pascale fraiture and steven saverwyns

Graphite reference Counts

Underdrawing

Black chalk reference

1000 1100 1200 1300 1400 1500 1600 Raman shift / cm-1

Ill. 24.5. Raman spectra of underdrawing in Kronacker version (ill. 24.1a), with reference curves for graphite and black chalk the right and small adjustments to the sheep, the above the white ground. This layer structure is paint layer follows the underdrawing closely in all entirely typical of Pieter Brueghel the Younger’s versions. paintings. In both the Brussels Royal Museums and In the Kronacker version, the underdrawing is Pollack versions, IRR reveals the tell-tale sweeping exposed at the surface in places. The slight lower- brushstrokes characteristic of a carbon-containing ing of the profile of a black sheep during painting imprimatura, but its position versus the under- means that the black drawing lines of its horns are drawing was not determined. fully visible. Following local removal of the varnish The drawing style is virtually indistinguishable from this spot, it was possible to carry out analysis in the three paintings. Although each underdraw- of the drawing by Raman spectroscopy without ing is fundamentally an outline drawing of the having to take a sample. In ill. 24.5, the Raman composition, there are many shared idiosyncratic spectrum of the sample is in red, and is shown notations. These include the series of short hatches alongside the reference spectra for graphite and for the shepherd’s nose and neck tendon, the short black chalk. The position of the Raman bands as dashes marking his cheek and the manner in which well as their shape indicate graphite rather than his eyes are outlined (ill. 24.6). In the sheep, simi- black chalk. Pagès-Camagna, Duval and Guichar- larities include the broken scalloped line for the naud first used this method for the analysis of uppermost sheep and the set of strokes making up independent drawings by Gustave Moreau,16 and the lower sheep’s tail (ill. 24.4). The same nervous we have since used it for the identification of the line is apparent throughout in the three drawings, underdrawing material in six paintings by Pieter the drawing tool lifted frequently along the way. Brueghel the Younger, including the Kronacker Good Shepherd. Of these, five were identified as The transfer process graphite, one as black chalk.17 Pieter Brueghel the Younger almost always used Close examination reveals that the underdraw- pricked cartoons to transfer his compositions or at ing in the Kronacker painting lies directly on top of least parts of them, as demonstrated in a previous a thin greyish imprimatura layer, itself situated study.18 We were able to test out this possibility for a case of mistaken identity 345

A.

B.

Ill. 24.6. Detail, shepherd’s face, revealing similar underdrawing style in the three versions, IRR. A: Kronacker Collection (ill. 24.1a). B: former Pollack Collection (ill. 24.1b); C: Brussels (ill. 24.1c) C. 346 dominique allart, christina currie, pascale fraiture and steven saverwyns the Good Shepherd through tracing the painted out- Dendrochronology revealed some more inter- lines of the Kronacker and Brussels Royal Museums esting facts about the Kronacker Good Shepherd. As versions, and superposing them with each other well as confirming that the plank is indeed from and with a reproduction of the Pollack version (Ill. the same tree as that of the Brussels Royal Muse- 24.7a-b). This shows a relatively good match for ums version, dendrochronological analysis shows the figures, but not for the shepherd’s hat or the that the tree originated from a local source from background, even when shifted. The level of cor- river basins of the Meuse and/or the Middle-Lower respondence suggests that the same cartoon may Rhine, rather than the Baltic region. Indeed, have been used for the transfer of the shepherd and a large tree giving planks of such exceptional wolf motif in the three paintings, but that the rest, width – 40 cm in the case of the Good Shepherd – including the shepherd’s hat and all the back- would be unusual for wood originating in the cold ground, was executed without pounced guidelines. Baltic forests.20 This may also explain why the shepherd and wolf Dendrochronology also showed that the self- motif are more tightly drawn than the sheep and same tree providing the wood for the two Good landscape background. Shepherd panels was also the source for three further paintings by Pieter Brueghel the Younger. This can Panel support be demonstrated by comparing their dendrochro- The Kronacker and Brussels Royal Museums ver- nological curves, which match perfectly (ill. 24.10). sions’ panel supports are intact and in excellent These panels comprise a version of the Wedding condition. The Pollack panel has been planed and Dance in the Open Air, unsigned, from the Museum battens attached. According to a 2004 technical of Fine Arts (KMSK) in , a version of the report by Caroline von Saint-George, it consists Winter Landscape with Bird Trap, dated 1622, from of two oak planks, the upper one narrower and of the Museum Mayer van den Bergh in Antwerp and a higher quality than the lower one.19 another version of the Winter Landscape with Bird The Kronacker and Brussels Royal Museums Trap, dated 1626, from the former Coppée-le Hodey versions are painted on single planks of radially Collection.21 The Kronacker Good Shepherd gives cut oak. They have both been manually planed in the most recent ring of the series: 1597. This date the horizontal direction and present bevelled edges does not include the missing sapwood rings, which and a generally neat and professional finish. They would have been removed by the panel-maker. The were both made by the Antwerp panel-maker estimated number of sapwood rings is between 18 Michiel Claessens, as attested by his distinctive and 34 for local oaks over 200 years old, as this tree clover stamp clearly present on the reverse sides undoubtedly was. This gives a terminus post quem (Ill. 24.8a-b). for the felling of the tree as 1615, just one year The X-radiograph of the Kronacker version before the painted date on the Brussels Royal reveals an undulating wood grain over the whole Museums Good Shepherd.22 panel, with a significant irregularity in the upper There is a ten-year interval between the earliest right. The wood grain is not as regular as that dated painting from the same tree, the Brussels typically seen in oak planks from the Baltic region Royal Museums Good Shepherd, 1616, and the (ill. 24.9a). The corresponding X-radiograph of latest one, the 1626 Winter Landscape, suggesting the Brussels Royal Museums version, when turned significant storage of the plank for at least certain upside down, shows exactly the same wood grain panels either by the panel-maker or by Brueghel and irregularity as the Kronacker version (ill. the Younger. 23 We know that Michiel Claessens 24.9b). It is clear that these two panels were cut made at least three of them. His clover mark from the same tree. was found on the two Good Shepherd and Wedding a case of mistaken identity 347

A.

B. Ill. 24.7. Possible cartoon use. A: tracings of Kronacker (ill. 24.1a) and Brussels (ill. 24.1c) versions’ superposed. B: tracing of Kronacker version (ill. 24.1a) overlaid on scaled image of Pollack version (ill. 24.1b) 348 dominique allart, christina currie, pascale fraiture and steven saverwyns

A. B. Ill. 24.8. Detail, identical Antwerp brands and panel-maker’s marks (Michiel Claessens) in the Kronacker and Brussels panels. A: detail of reverse, Kronacker Collection (ill. 24.1a). B: detail of reverse, Brussels (ill. 24.1c)

Dance panels. The 1622 Winter Landscape shows no Conclusion sign of his stamp, although the reverse of the panel Based on technical findings and stylistic observa- is bevelled and planed in a way that is typical of tions, we firmly attribute the Kronacker version of his work. The finish is, however, characteristic of the Good Shepherd to Pieter Brueghel the Younger. professionally produced panels during the period in The somewhat compromised condition of the Antwerp.24 The 1626 Winter Landscape has been painting, with its areas of overcleaning, perhaps led thinned and cradled, so any evidence of markings to the errors of judgment in the past. The dendro- has been lost. The presence of the Antwerp brand chronological study, which gives 1615 as terminus – two hands and a castle – on the four intact panels post quem for the felling of the tree making up the gives a further clue as to the supply chain. The panel support, definitively eliminates the earlier Antwerp brand was ostensibly applied as a proof of hypothesis of Bruegel the Elder’s involvement in quality control by the dean of the panel-makers to the painting’s execution. The underdrawing type finished panels, normally prior to their delivery to and style, the precise positions of the reserves, the the artist. Rubbings of the markings show that the areas of wet-in-wet paint and the painterly brush- same branding irons were not used every time, work were found to be almost identical to corre- which suggests more than one visit by the dean. sponding features in Brueghel the Younger’s Brus- The castle brands on the Good Shepherd panels are sels Royal Museums version, as well as to those in identical, as are the hands, and the castle and hands the Pollack version. In terms of image transfer, it is are at the same distance from one another. The likely that the same cartoon was used to transfer hands in the Wedding Dance fit with those of the the motif of the shepherd and wolf for the three Good Shepherd, but not the castle, which was versions. Finally, the fact that the oak plank mak- branded with a different iron and at a different dis- ing up the Kronacker panel came from the same tance from the hands. Yet another iron (or irons) tree as the Brussels Royal Museums version and was used for the 1622 Winter Landscape, both for that they were both made by panel-maker Michiel the castle and the hands. Given this evidence, we Claessens and marked with an identical Antwerp can conclude that the four intact panels were brand adds additional circumstantial evidence that branded in at least three batches and were there- the two paintings must have been produced in the fore probably supplied to Brueghel the Younger on same workshop and during the same period, i.e. different occasions. around 1616. a case of mistaken identity 349

A.

B. Ill. 24.9. X-radiographs of the Kronacker (ill. 24.1a) and Brussels (ill. 24.1c) versions, showing that the panels are made from planks from the same tree; the Brussels version is shown upside down. A: Kronacker version (ill. 24.1a). B: Brussels (ill. 24.1c) 350 dominique allart, christina currie, pascale fraiture and steven saverwyns

1416 1450 1500 1550 1597

Winter Landscape, Antwerp, Museum Mayer van den Bergh (last ring = 1579) Winter Landscape, Coppée-Le Hodey collection (last ring = 1588) Wedding Dance, Ghent, Museum of Fine Arts (last ring = 1590) Good Shepherd, Brussels, Royal Museums of Fine Arts of Belgium (last ring = 1593) Good Shepherd, Kronacker collection (last ring = 1597)

All curves superposed (last ring = 1597)

Ill. 24.10. Dendrochronological curves for five panels of paintings by Pieter Brueghel the Younger from the same tree: Good Shepherd, Kronacker Collection (ill. 24.1a); Good Shepherd, Brussels (ill. 24.1c); Weddding Dance in the Open Air, unsigned, Ghent, Museum of Fine Arts; Winter Landscape with Bird Trap, signed and dated 1622, Antwerp, Museum Mayer van den Bergh; Winter Landscape with Bird Trap, signed and dated 1626, former Coppée-le Hodey Collection.

NOTES array, 12-inch focal length SWIR lens and 1.5-1.73μ narrow bandwidth filter. Guido van der Voorde carried out X-radiography with Agfa 1 Good Shepherd, 40.1 ≈ 54.6 cm, unsigned, Kronacker Collection. Structurix D7 film in 2002, which was scanned by Catherine Fondaire 2 Gluck 1935, pp. 163-164. with an Array corporation Laser Film Digitizer 2905HD in 2012. 3 Marlier 1969, pp. 263-264. 15 Caroline von Saint-George confirmed that there are reserves 4 Grossmann 1974, pp. 201-202, ills. 138-139. in the sky for the large tree trunks to the left, following her examination 5 Brussels 1980, p. 58, nr. 6. of the X-radiograph (Caroline von Saint-George, personal communica- 6 Foucart 1981. He contested the authorship of Pieter Bruegel tion, February 2015, and Caroline von Saint-George, unpublished the Elder for the figure of the shepherd (‘d’un pauvre dessin’ and ‘un peu technical report, March 2004). trop nettoyée, comme du reste tout le tableau’) as well as for the sheep, 16 Pagès-Camagna, Duval, Guicharnaud 2004. but not for the landscape (‘fort subtil et léger’). 17 For four of these cases, see: Currie and Saverwyns in Currie, 7 Pieter Brueghel the Younger, Good Shepherd, oil on panel, Allart 2012, vol. 3, pp. 986-995. Steven Saverwyns identified graphite 40.5 ≈ 59.3 cm, signed ‘·p·brevghel’, private collection, former Pollack in the sixth case, Pieter Brueghel the Younger, Two Peasants Binding Collection. Gluck 1935, p. 164, note 37. Faggots, 36.65 ≈ 27.35 cm (Birmingham, The Barber Institute of Fine 8 The Pollack version was examined by Peter van den Brink and Arts, inv. 44.11), in 2014 (IRPA dossier: 2013.12142). Christina Currie in 2004 at the Royal Museums of Fine Arts (KMSKB/ 18 Currie, Allart 2012, vol. 3, pp. 746-752. MRBAB) in Brussels. Caroline von Saint-George, who had previously 19 Caroline von Saint-George, unpublished technical report, studied the painting, kindly provided infrared and photographic docu- March 2004. We thank Caroline von Saint-George for her kind per- mentation, which were used for this study. The infrared reflectography mission to publish the following details from her report. According to was undertaken with a MUSIS 2007 camera from Art Innovation, her, the height of the upper board is 15.7 cm and the lower board Hengelo (used in the near infrared band 2: 950-1150 nm). 23.5 cm; the upper board has straight narrow rings while the lower one 9 Pieter Brueghel the Younger, Good Shepherd, oil on panel, 41.3 ≈ has a somewhat coarser texture and a more uneven year ring history. 57.0 cm, signed and dated ‘p·brevghel ·1616·’, Brussels, KMSKB/ Her examination of the X-radiograph includes a description of a very MRBAB. Schenking/Donation 1988, p. 32, nr. 8 (entry by Henri Pauwels). narrow, slightly diagonally positioned dowel hole, 0.4 cm in width and 10 See: Searching for the Hand of Pieter Brueghel the Younger, in 4.2 cm in length, located centrally between the two boards. If this Currie, Allart 2012, vol. 3, pp. 784-814. dowel hole were original, it would be exceptional in Brueghel the 11 Ertz 1998-2000, pp. 144-145. Younger’s panels, as no examples of dowels have been noted in his 12 Pierre Bergé & Associés, Drouot Richelieu, 11 June 2012, small format works. lot 15. The painting remained unsold. 20 Very few examples of wide planks from the Baltic region have 13 The Kronacker painting was studied and documented at the been noted from the fifteenth to the seventeenth century (Fraiture Royal Institute for Cultural Heritage (KIK-IRPA) in October-Novem- 2007; Fraiture 2009). ber 2012 (IRPA dossier 2012.11482). The X-radiograph was taken by 21 Fraiture 2012. Catherine Fondaire using Agfa Structurix D7 film and scanned with an 22 Hollstein 1965. Array corporation Laser Film Digitizer 2905HD. The infrared reflecto- 23 Fraiture 2012. gram (IRR) was made by Sophie De Potter using a Lionsystems infrared 24 There is also an ‘A’ marking on the 1622 Winter Landscape. camera with an InGaAs captor (900-1700 nm), 512 ≈ 640 focal plane According to Jorgen Wadum’s research on ‘A’ branded panels by array, 35mm SWIR lens, f1.4. Rubens, this ‘A’ marking represents a year mark for the year 1621-1622 14 The Royal Museums of Fine Arts version was studied on site (Wadum 1998, p. 198). He also discovered the Antwerp brand and at the museum in 2002. Sophie De Potter carried out infrared reflectog- ‘A’ mark on a privately owned copy (New York) of the Winter Landscape raphy with an Inframetrics InfraCAM SWIR (short-wave infrared) by Brueghel the Younger, signed and dated 1622. video camera with a PtSi captor (1100-2500 nm), 256 ≈ 256 focal plane Bibliography

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