Editorial

The Rembrandt Research Project

A VOCAL trend in art history today concerns itself more with the social history than with Stilkritik and connoisseurship. Yet even the most fervant practitioner of this 'new art history' will surely welcome the appearance of the first part of a modern catalogue of a major artist, in this instance the paintings of Rembrandt. Those still committed to the old fashioned discipline, when presented with the results of such intensive research, will require no such apologia. While addressing itself principally to the Rembrandtistes, the new publication raises a number of issues of wider interest to do with methods of connoisseurship in general, and in particular the writing of a catalogue raisonne.

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  • Front Matter

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  • Jan Lievens in Leiden and London

    By Christopher Brown

    IN 1783 Thomas Pennant published The Journey from Chester to London in the belief that 'the ground which is described in the following sheets, has been for some centuries passed over by the incurious Traveller; and has had the hard fortune of being constantly execrated for its dullness'. In the course of his journey, Pennant stopped at Combe Abbey, near Coventry, the seat of 'a jovial English baron', Lord Craven. Looking at the paintings hanging in the house, Pennant singled out for praise full-length portraits of the Winter King and Queen, Frederik V Elector Palatine and his wife, Elizabeth, the daughter of James I. The full-length of the Winter Queen was presumably the portrait of her by Honthorst, painted in 1642, now in the national Portrait Gallery (on loan from the National Gallery). 'The young Craven', he noted, 'was among her warmest devotees, and continued the attachment to the last moment of her life; possessed her deserved confidence, directed all her affairs, and gave a most distinguishing proof of his esteem by building for her use, at his estate in Berkshire, a magnificent palace'. Pennant went on to admire the collection of 'portraits of men of eminence in Germany [which] were brought over by the Queen of Bohemia, and by her bequeathed by will to Lord Craven'. The last two painting which caught Pennant's eye at Combe were: 'Two fine paintings by Rembrandt, of two philosophers; each with a noble pupil: one in Turkish dress; the other in an ermine rove. These young figures are called Prince Rupert and Price Maurice. The time of the residence of their mother [the Winter Queen] in Holland, agrees entirely with that of Rembrandt in Amsterdam, which makes the conjecture probable'.

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  • An Unknown Portrait Bust by Giuliano Finelli at Canepina

    By Minna Heimbürger

    AT Canepina, a fascinating village amidst a grove of old chestnut trees in an out-of-the-way corner of the Monti Cimini, south of Viterbo, lurks a distinguished seventeenth-century portrait bust carved in white marble (Figs.17-19). Conserved in the church of the Madonna del Carmine, according to the inscription under its niche, it represents Angelo Menicucci, the Carmelite monk who had embellished the church and erected the monastery at the beginning of the seventeenth century.

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  • Tradescant's Rarities. Essays on the Foundation of the Ashmolean Museum 1683, with a Catalogue of the surviving Early Collections

    By Ellis K. Waterhouse
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  • The Nineteenth Century Paintings in the Walters Art Gallery

    By John Ingamells
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  • Studies in the Arts at Sinai

    By Robin Cormack
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  • Franzosische Buchmalerei um 1450: der Jouvenel-Maler, der Maler des Genfer Boccaccio und die Anfange Jean Fouquets

    By Catherine Reynolds
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  • Goldschmiedekunst der Gotik in Mitteleuropa

    By R. W. Lightbown
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  • Hilliard and Oliver. The Lives and Works of Two Great Miniaturists

    By Susan Foister
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  • Orazio Gentileschi and the Poetic Tradition in Caravaggesque Painting

    By D. Stephen Pepper
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  • The Savonnerie, Its History. The James A. de Rothschild Collection at Waddesdon Manor

    By Peter Thornton
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  • British Landscape Painting

    By Philip Conisbee
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  • Karl Friedrich Schinkel - Das Architektonische Lehrbuch

    By Tilman Mellinghoff
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  • Die Nazarener in Rom. Ein deutscher Kunstlerbund der Romantik

    By Colin J. Bailey
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  • Jules Breton and the French Rural Tradition

    By Kenneth McConkey
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  • Segantini. Catalogo Generale

    By Sandra Berresford
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  • Kandinsky: Catalogue Raisonne of the Oil Paintings. Volume One, 1900-1915

    By Donald E. Gordon
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  • Kandinsky. Complete Writings on Art

    By Christina Lodder
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  • Islamic Metalwork from the Iranian World, 8th-18th Centuries

    By J. M. Rogers
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  • The History of Ottoman Turkish Textiles and Costume in Eastern Europe with Particular Reference to Hungary

    By Jennifer Wearden
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  • The Sociology of Art [and: The Rare Art Tradition]

    By Peter Burke
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  • Portraits at Leger. London

    By Brian Allen
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  • Degas at Artemis. London

    By Michael Wilson
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  • Vienna 1900. Edinburgh

    By Irit Rogoff
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  • Bénigne Gagneraux. Rome and Dijon

    By Helen Weston
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  • Dutch Water-Colours of the Nineteenth Century. Amsterdam

    By John Sillevis
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  • Willem de Kooning. Stockholm

    By Lynne Cooke
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