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Tables and Indexes Bibliography Corpus VI Tables and Indexes Bibliography Corpus VI Adams 1998 Baraude 1933 A.J. Adams (ed.), Rembrandt’s Bathsheba Reading King David’s Letter, H. Baraude, Lopez: agent financier et confident de Richelieu, Paris 1933. Cambridge 1998. Bartsch Amsterdam 1956 A. Bartsch, Catalogue raisonné de toutes les estampes qui forment l’oeuvre de A. van Schendel et al., Rembrandt – tentoonstelling ter herdenking van de Rembrandt, et ceux de ses principaux imitateurs, 2 volumes, Vienna 1797. geboorte van Rembrandt op 15 juli 1606: schilderijen, exhib. cat. Amster- dam (Rijksmuseum) 1956. Bascom 1991 P. Bascom, Rembrandt by himselff, exhib. cat. Glasgow (Glasgow Museums Amsterdam 1991 and Art Galleries) 1991. C. Tümpel et al., Het Oude Testament in de Schilderkunst van de Gouden Eeuw, exhib. cat. Amsterdam (Joods Historisch Museum) 1991. Bauch K. Bauch, Rembrandt: Gemälde, Berlin 1966. Amsterdam 1998 B. van den Boogert et al., Buiten tekenen in Rembrandts tijdd, exhib. cat. Bauch 1933 Amsterdam (Museum Het Rembrandthuis) 1998. K. Bauch, Die Kunst des jungen Rembrandt, Heidelberg 1933. Amsterdam/Groningen 1983 Bauch 1960 A. Blankert et al., The Impact of a Genius. Rembrandt, his Pupils and Fol- K. Bauch, Der frühe Rembrandt und seine Zeit: Studien zur geschichtlichen lowers in the Seventeenth Century, exhib. cat. Amsterdam (Waterman Bedeutung seines Frühstils, Berlin 1960. Gallery) – Groningen (Groninger Museum) 1983. Bauch 1962a Art and Autoradiography K. Bauch, ‘Rembrandts Christus am Kreuz’, Pantheonn 20 (1962), M.W. Ainsworth et al., Art and Autoradiography: Insights into the Genesis of pp. 137-144. Paintings by Rembrandt, Van Dyck, and Vermeer, New York (The Metro- politan Museum of Art) 1982. Bauch 1962b K. Bauch, ‘Ein Selbstbildnis des frühen Rembrandt’, Wallraf- Art in the Making I Richartz-Jahrbuchh 24 (1962), pp. 321-332. D. Bomford et al., Art in the Making: Rembrandt, exhib. cat. London (The National Gallery) 1988-89. Bauch 1972 J. Bauch et al., ‘Dating the wood of panels by a dendrochronologi- Art in the Making II cal analysis of the tree-rings’, Nederlands Kunsthistorisch Jaarboekk 23 D. Bomford et al., Art in the Making: Rembrandt, new edition, London (1972), pp. 485-496. (The National Gallery) 2006. Bauch/Ekstein 1981 B. J. Bauch, D. Ekstein, ‘Woodbiological investigations on panels of Rem- see: Bartsch brandt Paintings’, Wood Science and Technology 15 (1981), pp. 251-263. Backes 1988 Baumstark 2005/06 Klaus Backes, Hitler und die bildenden Künste. Kulturverständnis und Kunst- R. Baumstark et al., Von neuen Sternen: Adam Elsheimers ‘Flucht nach politik im Dritten Reich, Cologne 1988. Ägypten’, exhib. cat. München (Alte Pinakothek) 2005-06. Bader Collection Beck 1624 D. de Witt, The Bader Collection: Dutch and Flemish Paintings, Kingston, D. Beck, Spiegel van mijn leven. Een Haags dagboek uit 1624, ed. S.E. Ontario 2008. Veldhuysen, Hilversum 1993. Bailey 1994 Bedaux 1992 A. Bailey, Responses to Rembrandt: Who painted the Polish Rider?, New J.B. Bedaux, ‘Velázquez’s Fable of Arachne (Las Hilanderas): a con- York 1994. tinuing story’, Simiolus 21 (1992), pp. 296-305. Bailey 2011 Ben. C.B. Bailey, ‘Rembrandt van Rijn, ‘The Polish rider’, c. 1655’ in: see: Benesch C.B. Bailey et al., Rembrandt and His School: Masterworks from the Frick and Lugt Collections, exhib. cat. New York (The Frick Collection) Benesch 2011, pp. 38-45. O. Benesch, The Drawings of Rembrandt, 6 volumes, London 1954-57; enlarged and edited by E. Benesch, London 1973. Bar-Efrat 1987 S. Bar-Efrat, ‘Some remarks on Rembrandt’s ‘Jacob blessing Ephra- Benesch 1944 ïm and Manasseh’’, Burlington Magazinee 129 (1987), pp. 594 -595. O. Benesch, ‘Rembrandt and the Gothic Tradition’, Gazette des Beaux-Artss 26 (1944), pp. 285-304 (reprinted in: O. Benesch, Collected Writings, I: Rembrandt, ed. E. Benesch, New York 1970, pp. 147-158). 691 BIBLIOGRAPHY CORPUS VI Berger 1901 Bolten 1981 E. Berger (ed.), Quellen für Maltechnik während der Renaissance und deren J. Bolten et al., Rembrandt and the Incredulity of Thomas: papers on a redis- Folgezeit, Munich 1901 (reprint 1973). covered painting from the seventeenth century, Leiden 1981. Berlin 1975 Br. J. Kelch et al., Gemäldegalerie Berlin, Staatliche Museen Preußischer Kultur- see: Bredius besitz: Katalog der ausgestellten Gemälde des 13.-18. Jahrhunderts, Berlin 1975. Br./Gerson see: Bredius/Gerson Berlin 2006 E. van de Wetering et al., Rembrandt: Genie auf der Suche, exhib. cat. Bredius Berlin (Gemäldegalerie) 2006. A. Bredius, Rembrandt: Schilderijen, Utrecht 1935 (German edition: Rembrandt: Gemälde, Vienna 1935; English edition: The Paintings of Biens 1636 Rembrandt, London 1937). C.P. Biens, De Teecken-Const, Amsterdam 1636. Bredius/Gerson Bikker 2006 A. Bredius, Rembrandt: The Complete Edition of the Paintings, revised by J. Bikker, Willem Drost (1633-1659): A Rembrandt Pupil in Amsterdam H. Gerson, London 1969. and Venice, New Haven 2006. Bredius 1909 Bl. A. Bredius, ‘Uit Rembrandt’s laatste levensjaar’, Oud Hollandd 27 see Blankert 1997/98. (1909), pp. 238-240. Black 2012 Bredius 1910a P. Black et al., Rembrandt and the Passion, exhib. cat. Glasgow A. Bredius, ‘Rembrandtiana’, Oud Hollandd 28 (1910), pp. 1-18. (Hunterian Art Gallery) 2012. Bredius 1910b Blankert 1973 A. Bredius, ‘Rembrandtiana II: de nalatenschap van Harmen Beck- A. Blankert, ‘Rembrandt, Zeuxis and ideal beauty’, in: Album Amico- er’, Oud Hollandd 28 (1910), pp. 193-204. rum J.G. van Gelder, The Hague 1973, pp. 32-39. Bredius 1911 Blankert 1975 A. Bredius, ‘De nalatenschap van Rembrandt’s schoondochter’, A. Blankert, Kunst als regeringszaak in Amsterdam in de 17de eeuw: Rondom Oud Hollandd 29 (1911), pp. 112-118. schilderijen van Ferdinand Boll, exhib. cat. Amsterdam (Royal Palace) 1975. Bredius 1920 A. Bredius, ‘An Unknown Masterpiece by Rembrandt’, Burlington Blankert 1982 Magazinee 36 (1920), pp. 208-209. A. Blankert, Ferdinand Bol (1616-1680): Rembrandt’s pupill, Doornspijk 1982. Bredius 1921 A. Bredius, ‘Wiedergefundene ‘Rembrandts’’, Zeitschrift für bildende Blankert 1997-98 Kunst, n.s., 32 (1921), pp. 146-152. A. Blankert et al., Rembrandt: A Genius and His Impact, exhib. cat. Mel- bourne (National Gallery of Victoria) – Canberra (National Gal- Bredius 1936 lery of Australia) 1997-98. A. Bredius, ‘Ein wiedergefundener Rembrandt’, Pantheonn 18 (1936), p. 277. Bode 1881 W. Bode, ‘Rembrandt’s früheste Thätigkeit: der Künstler in seiner Breen 1920 Vaterstadt Leiden’, Die graphischen Künstee 3 (1881), pp. 49-72. J.C. Breen, ‘Johannes Amos Comenius te Amsterdam’, Maandblad Amstelodamumm 7 (1920), pp. 89-90. Bode 1883 W. Bode, Studien zur Geschichte der holländischen Malerei, Braunschweig Brochhagen 1968 1883. E. Brochhagen, ‘Beobachtungen an den Passionsbildern Rem- brandts in München’, in: Munuscula discipulorumm … Hans Kauffmann Bode/Hofstede de Groot zum 70. Geburtstag 19666, Berlin 1968, pp. 37-44. W. Bode, C. Hofstede de Groot, Rembrandt: Beschreibendes Verzeichnis seiner Gemälde mit den heliographischen Nachbildungen, Geschichte seines Leb- Broekhoff 1994 ens und seiner Kunst, 8 volumes, Paris 1897-1905. P. Broekhoff, ‘Een oude man in veelvoud: kopieën naar Rembrandts “Oude man” in Lissabon’, Kroniek van het Rembrandthuiss 1994, 1, pp. De Boer 1991 28-42. M. de Boer et al., Bredius, Rembrandt en het Mauritshuis!!!!, exhib. cat. The Hague (Mauritshuis) 1991. Broos 1975-76 B.P.J. Broos, ‘Rembrandt and Lastman’s Coriolanus: the History Bok 1990 Piece in 17th-century Theory and Practice’, Simioluss 8 (1975-76), M.J. Bok, ‘“Nulla dies sine linea”. De opleiding van schilders in pp. 199-228. Utrecht in de eerste helft van de zeventiende eeuw’, De zeventiende eeuww 6 (1990), pp. 58-75. Broos 1977 B.P.J. Broos, Index to the formal sources of Rembrandt’s art, Maarssen Bok 1994 1977. M.J. Bok, Vraag en aanbod op de Nederlandse kunstmarkt, 1580-1700, PhD dissertation, Universiteit Utrecht 1994. 692 BIBLIOGRAPHY CORPUS VI Broos 1983 Bruyn 1990 B.P.J. Broos, ‘Fame shared is fame doubled’, in: Amsterdam/Gro- J. Bruyn, ‘An unknown assistant in Rembrandt’s workshop in the ningen 1983, pp. 35-58. early 1660s’, Burlington Magazinee 132 (1990), pp. 715-718. Broos 2012 Bruyn 1991/92 B. Broos, Saskia: De vrouw van Rembrandt, Zwolle 2012. J. Bruyn, ‘Rembrandt’s Workshop: Function and Production’, in: Master/Workshop I, pp. 68-89. Brown 1991 N. MacLaren, National Gallery Catalogues: The Dutch School 1600-1900, Bruyn 1993 revised and expanded by C. Brown, 2 volumes, London 1991. J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, ‘Letter to the Editor’, Burlington Magazinee 135 (1993), p. 279. Brown 1995 J. Brown, Kings & Connoisseurs. Collecting Art in Seventeenth-Century Bruyn 1995 Europe, New Haven/London 1995. J. Bruyn, review of: Sumowski, Gemäldee IV, Oud Hollandd 98 (1995), pp. 101-112. Brown 2006 C. Brown, ‘Rembrandts reassessed’, Apollo 148 (2006), pp. 54-61. Buvelot 2010/11 Q. Buvelot, Made in Holland: Highlights from the collection of Eijk and Brown 2007 Rose-Marie de Mol van Otterloo, exhib. cat. The Hague (Mauritshuis) C. Brown: ‘The Rembrandt Year’, Burlington Magazinee 149 (2007), – San Francisco (Fine Arts Museum) 2010-11. pp. 104-108. Buysen 2000 Brown/Plesters 1977 E. Buysen, ‘Rembrandt’s Self-portrait with gorget: an ongoing debate’, C. Brown, J. Plesters, ‘Rembrandt’s ‘Portrait of Hendrickje Stoff- Oud Hollandd 114 (2000), pp. 155-163. fels’’, Apollo 106 (1977), pp. 286-291. Campbell 1971 Brown/Roy 1992 C.G. Campbell, Studies in the Formal Sources of Rembrandt’s Figure Com- C. Brown, A. Roy, ‘Rembrandt’s ‘Alexander the Great’’, Burlington positions, PhD dissertation, University of London 1971. Magazinee 134 (1992), pp. 286-297. Chapman 1990 Brückner 1997 H.P. Chapman, Rembrandt’s Self-Portraits: A Study in Seventeenth-Century C. Brückner, Rembrandts Braunschweiger ‘Familienbild’: seine thematische Identity, Princeton 1990. Figuren- und Farbkomposition und die Kunst Italiens, Hildesheim 1997. Charrington 1923 Bruyn 1959 J. Charrington, A Catalogue of the Mezzotints after, or said to be after, Rem- J. Bruyn, Rembrandt’s keuze van Bijbelse onderwerpen, Utrecht 1959. brandt, Cambridge 1923. Bruyn 1970 Chicago 1969 J. Bruyn, ‘Rembrandt and the Italian Baroque’, Simioluss 4 (1970), J.R.
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