Diplomatic World 67

1
Mirjam Neumeister, Gemälde von Anthonis Van Dyck,
Gemäldegalerie, in Lange & B. U. Münch (ed) Reframing
pp. 522-552. ‘weergaey’ 1627, n°15; ‘copye’ 1627 n° 19;
40
We are grateful to Arnout Balis for his opinion on these paint-
Bayerische Staatsgemäldesammlungen, München, Alte
Jordaens, 2018, p. 275.
‘conterfeytsel’ p 524 n°4.
ings in March 2021 and to Joost Van der Auwera in February
Pinakothek Hirmer 2019, p. 25.
17
Karel van Mander, Het Schilderboeck, 1604, Frans Floris
36
Justin Davis in Joos Van der Auwera Justin Davis et al.,
2022.
2
Sheldon L. & Macaro G., Materials as Makers: how useful are
18
Alexander Nagel and Christopher Wood, Anachronic
Jordaens Van Dyck Journal. The Research publication
41
Joost Van der Auwera & Sabine van Sprang, Rubens, een
distinctive materials as indicators of Master or Copist? In
Renaissance, New York 2010, pp. 7-34.
of the JVD Panel Painting Project, I, 7.2021, pp 50 & 53.
Genie aan het werk, Brussels KMSK Cat. Exh. 14.9.2007-
Hermens E, (ed), European Paintings 15-18th century.
19
Jos Van den Branden, Geschiedenis der Antwerpse
37
Angel Vergara & Friso Lammertse, The Young Van Dyck, Cat.
27.1.2008.
Copying, Replicating and Emulating. London Archetype
Schilderschool, Antwerp Buschmann 1883, pp. 230-231
Exh. Museo del Prado, Thames & Hudson London 2013,
42
Katelijne Van der Stichelen et al., Young Anthony Van Dyck
publications 2014, pp. 105-12.
20
Carl Van de Velde, Frans Floris (1519-1570): leven en werken,
p. 55-56.
revisited: a multidisciplinary approach to a portrait once attrib-
3
Nils Büttner, The Hands of Rubens: On Copies and their
Brussel Paleis der Akademien 1975, vol.1 472-473, doc. 78.
38
Joost Van der Auwera & Sabine van Sprang, Rubens, een
uted to Peter Paul Rubens ‘A Rubens for the Rubenshuis’, Art
Reception, in T. Nakamura (ed), Appreciating the Traces
21
Maria Loh, Originals, Reproductions and ‘a Particular Taste’ for
Genie aan het werk, Brussels KMSK Cat. Exh. 14.9.2007-
Matters International Journal for Technical Art History, 6, 2014.
of an Artists’s Hand, vol. II, Kyoto 2017, pp. 41-54.
Pastiche, in Neil de Marchi & Hans van Miegroet (ed.), Mapping
27.1.2008. p.37.
4
Molly Faries, Technical Studies of Early Netherlandish painting:
Markets for Paintings in Europe 1450-1750, Brepols Turnhout
39
Susan Barnes et al., Sir Anthony van Dyck, 2004, pp. 18-19,
A Critical overview of recent developments, in Molly Faries
2006, 237-262.
‘not van Dyck’.
and Ron Spronk, eds., Recent Developments in the Technical
22
Arnout Balis, Rubens and his Studio: Defining the Problem, in
Examination of Early Netherlandish painting: Methodology,
Joos Vander Auwera & Sabine van Sprang (ed.), Rubens
Limitations & Perspectives, Cambridge, Harvard university Art
A Genius at Work, Brussels KMSK 2007, pp. 30-51.
Museums, 2003, p. 30.
23
Harold Deceulaer and Ann Diels, Artists, Artisans, Workshop
5
Lisbet Helmus, Journeymen and Servants. Century Employ-
practices and Assistants in the Low Countries, in Maximiliaan
ment Contracts with Painters from the Netherlands, in Making
Martens & Natasja Peeters (ed.), Invisible Hands? The role and
and Marketing. Studies of painting Process in Fifteen- and
Status of the Painter’s Journeyman in the Low Countries c.
Sixteenth Century Netherlandish Workshops, Turnhout 2006,
1450)-c. 1650, Peeters, Leuven, 2006, pp. 1-32.
p. 203.
24
Karel Van Mander, op. cit. 1604, 60-61, f 200v.
6
Mirjam Neumeister, op. cit. 2019, p. 46.
25
Elisabeth Honig, Painting, and the Market in early Modern
7
A. Hart, G. Van der Snikt, O. Schalm, K. Janssens, G. Blanck-
Antwerp, New Haven - London, Yale University Press,
aertr, The Young Van Dyck’s fingerprint: a technical approach
1998, p. 196.
to assess the authenticity of a disputed painting, Heritage
26
Maria Loh, op. Cit. 2006, p. 239.
Science, Springer verlag 2017, pp. 5-22.
27
Maria Loh, op. Cit. 2006, p. 240-241.
8
L. Alba et al., Introduction to the Technical Studies: The artistic
28
Anna Tummers, By his Hand: The Paradox of Seventeenth
practice of the young Van Dyck, in Angel Vergara & Friso
century Connoisseurship, in Koenraad Jonckheere & Anna
Lammertse, op. cit, 2012, pp. 337-77.
Tummers (ed.), Art Market and Connoisseurship: A Closer look
9
Mirjam Neumeister, op. cit. 2019, p. 44, note 132.
at paintings by Rembrandt, Rubens and their Contemporaries,
10
Mirjam Neumeister, op. cit. 2019, P 81.
Amsterdam University Press, 2008, p. 36.
11
Joost Van der Auwera, The 1660-1661 Antwerp court case
29
Roose, Rubens Bulletin, Jaarboek Antwerp Museum, 1910,
about a series of Van Dyck’s Apostles: two new documents
pp. 216-220
and some reflections on the course of justice and the potential
30
Arnout Balis, op. cit. 1993 p.45 and note 57.
for new discoveries, Jordaens Van Dyck Journal, Brussels-
31
Christopher Wood, Indoor-Outdoor: The Studio around 1500,
Amsterdam 2021, pp. 28-40.
in Michael Cole & Mary Pardo (ed.), Inventions of the Studio,
12
Angel Vergara & Friso Lammertse, The Young Van Dyck,
Renaissance to Romantism, Chapel Hill, University of North
Cat. Exh. Museo del Prado, Thames & Hudson London 2013,
Carolina Press 2005, pp 38-50.
p. 20-28, see notes 75-81. See also Galesloot, 1868,
32
Joost Van der Auwera, Jacques Jordaens and his use of
pp. 603-604.
panels. An Introduction, in Joos Van der Auwera Justin Davis
13
Prisca Valkeneers, Van Timmerszoon tot Schilder aan het Hof.
et al., Jordaens Van Dyck Journal. The Research publication of
De adelijke ambities van Justus van Egmont,
the JVD Panel Painting Project, I, 7.2021, pp. 38-47.
in De Zeventiende Eeuw, vol. 27, n° 2, 2011.
33
Joost Van der Auwera, Jacques Jordaens 1593-1678. Allegory
14
Arnout Balis, Fatto do mio discepolo, Rubens’Studio Practice
of Fertility. The History and Creation of a Masterpiece, Silvana
reviewed: The Flight from Lot and his Family from Sodom,
Editoriale 2016, pp. 45-70. We are grateful to Joost Van der
T. Nakamura (ed), Exh. Cat. National Museum Western Art
Auwera for indicating this publication
Tokyo, 1993, pp. 97-127.
34
Joost Van der Auwera, Justin Davis et al., Jordaens Van Dyck
15
Arnout Balis & Nico Van Hout, Rubens Unveiled. Notes on the
Journal. The Research publication of the JVD Panel
Master’s Painting Techniques, Antwerp 2012.
PaintingProject, II, 12.2021, pp. 70-79.
16
Babette Hartwieg, Formatveranderungen an Holztafelbildern
35
Klaus Ertz, Jan Breughel II. Flämische Maler im Umkreis der
von Rubens. Beobachtungen an der Beständen der Berliner
Grossen Meister, Band I, Luca Verlag Freren 1984,
112 113