Every effort has been made to trace copyright holders and obtain permission for the use
of copyright material. The publisher apologises for any errors or omissions in the list
below and would be grateful if notified of any corrections that should be incorporated
in future reprints or editions of this book.
“Et de presente habita ser vetor scarpaza depentor”: new documents
on Carpaccio’s house and workshop at San Maurizio by Gabriele Matino
A lost fifteenth-century drawing rediscovered: Donors Kneeling
in Adoration before the Virgin and Child with Saint Anne by Catheline Perier
V enice
B ruges
Fig. 2 © Adornes Domein
Fig. 13b © – Art in Flanders, photo Dominique Provost
Fig. 1 © Archivio fotografico G.A.VE – su concessione del Ministero dei beni e delle attività cul-turali
– Gallerie dell’Accademia di Venezia
Fig. 3 Image courtesy of Archivio di Stato di Venezia
Fig. 4 © Fondazione Musei Civici di Venezia
Figs. 5, 7 & 8 Courtesy of the author
M isc .
Fig. 2 Wikimedia
Fig. 6 Courtesy of Wolfgang Moroder
B ruxelles
Figs 1, 7 & 15 © Fondation Périer-D’Ieteren
Figs 6, 12b & 17 © KIK-IRPA, Bruxelles
Figs 11a, 11b, 11c, 12e & 19 © R. Van Belle
Fig. 13a © Peter Horree / Alamy Stock Photo
M adrid
Fig. 10 © Palacio Real, Madrid
Fig. 9 Public Domain Mark 1.0
Fig. 14 © Musée du Louvre, Dist. RMN-Grand Palais / Martine Beck-Coppola
A group of Madonnas by Carpaccio and Bartolomeo Veneto by Peter Humfrey
Fig. 4 Courtesy of the National Gallery of Art
A jaccio
Fig. 6 akg-images / Erich Lessing
B ergamo
Fig. 11 © Accademia Carrara
C ambridge (MA)
Fig. 5 Harvard Art Museums/Fogg Museum, Bequest of Mrs. Morton D. Mitchell,
in memory of her husband
Figs. 1, 2, 3, 4 & 7 © Sotheby’s
Fig. 9 © The National Gallery, London. Presented by Charles Loeser of Florence, 1898.
Fig. 10 Wikimedia Commons
Fig. 12 Per gentile concessione delle Gallerie Nazionali di Arte Antica (MIBACT)
– Bibliotheca Hertziana, Istituto Max Planck per la storia dell'arte/Enrico Fontolan
V enice
Fig. 8 © Fondazione Musei Civici di Venezia
Paintings of the Man of Sorrows by Titian and his studio, II by Paul Joannides
A lnwick
Fig. 16 © Collection of the Duke of Northumberland, Alnwick Castle
Fig. 8 & 9 images courtesy of Miguel Falaomir
B ologna
Fig. 14 Courtesy of Fondazione Federico Zeri, Università di Bologna
B rukenthal
Fig. 24 © Brukenthal National Museum Image Gallery
D ublin
Fig. 21 Wikimedia Commons
F lorence
Fig. 27 Gabinetto Fotografico delle Gallerie degli Uffizi
Figs. 6, 7 & 26 © Trustees of the British Museum
Figs. 4 & 5 © Christie’s Images / Bridgeman Images
Fig. 23 Courtesy of the British Library
M adrid
Figs. 1, 2, 3, 10, 11 & 19 © Photographic Archive Museo Nacional
Figs. 12, 13 & 20 Courtesy of Patrimomio Nacional
M ilan
Fig. 15 © Veneranda Biblioteca Ambrosiana/Mondadori Portfolio
P etworth
Fig. 25 © National Trust Images/Derrick E. Witty
Fig. 28 Courtesy of Boijmans van Beuningen Museum
V ienna
Fig. 18 © KHM-Museumsverband
Fig. 29 © The Albertina Museum, Vienna
M isc .
Fig. 17 Courtesy of the owner
Technical experimentation in the art of Sebastiano Del Piombo:
some further thoughts by Piers Baker-Bates
Boilly at the Wallace Collection by Yuriko Jackall and Nicole Ryder
Greco Exhibition Review by Miltos Karkazis
L ondon
Fig. 1, 2, 3, 4, 5, 7 & 12 Courtesy of The Wallace Collection
Fig. 1 © Benaki Museum / Gift of Dimitrios Sicilianos
Fig. 6 © Musée du Louvre, Dist. RMN-Grand Palais / Thierry Ollivier
Fig. 9 © Musée du Louvre, Dist. RMN-Grand Palais / Laurent Chastel
C hicago
Fig. 4 Courtesy of the Art Institute of Chicago / Gift of Nancy Atwood Sprague
in memory of Albert Arnold Sprague
M isc .
Fig. 8 Private Collection
Fig. 10 Courtesy of Sotheby’s
Fig. 11 Private Collection, USA, photo courtesy of Didier Aaron
C openhagen
Fig. 3 Courtesy of National Gallery of Denmark
The politics of masterpieces: the failed attempt to purchase Rembrandt’s
The Mill for the National Gallery by Barbara Pezzini
C ompton
Fig. 7 © Watts Gallery Trust.
N ew York
Fig. 5 Courtesy of The Metropolitan Museum of Art, New York Gift of Mr. and Mrs. Mark Fisch, 2007
F lorence
Fig. 6 Wikimedia
L ondon
Fig. 2 ©Tate, London 2019.
Fig. 3 © National Portrait Gallery, London
Figs. 8, 9 & 10 © Illustrated London News Group
G enoa
Fig. 4 Wikidata
Figs. 1, 4 & 6 Courtesy of the National Gallery of Art
Fig. 1 Courtesy of The Klesch Collection
W illiamstown
Fig. 11 Image courtesy of Clark Art Institute
Fig. 5 © Ministero per i Beni e le Attività Culturali e del Turismo
– Museo e Real Bosco di Capodimonte
The Ca’ Capello Layard and its art collection: a forgotten Anglo-Venetian treasure
house of the late nineteenth-century by Cecilia Riva
Fig. 2 Roma, Collezione Doria Pamphilj © 2020 Amministrazione Doria Pamphilj s.r.l.
W iesbaden
Fig. 3 Image courtesy of Museum Wiesbaden
Hendrik van Balen’s interpretation of the Rape of the Sabines
in a newly discovered work by Diane Wolfthal
A ntwerp
Fig. 5 © Royal Museum of Fine Arts Antwerp. Photo: Hugo Maertens
Fig. 15 Rubenshuis, Antwerp, Belgium / Bridgeman Images
B righton
Fig. 4 © Royal Pavilion & Museums, Brighton & Hove
F lorence
Fig. 11 Wikimedia
Fig. 3 © Agnew’s, London / Bridgeman Images
Fig. 8 © The National Gallery, London.
Fig. 10 Wikimedia
Fig. 12 Image courtesy of Wellcome Collection
M unich
Fig. 6 Wikimedia
N ew York
Fig. 2 Courtesy of The Frick Art Reference Library
Fig. 13 © RMN – Grand Palais (musée du Louvre)/Tony Querrec
Fig. 9 © Roma – Sovraintendenza Capitolina ai Beni Culturali
Fig. 14 Wikimedia
M isc .
Fig. 1 Private Collection / Photo © Christie’s Images / Bridgeman Images
Fig. 7 Courtesy of the author
B ologna
Figs 2, 4, 5, 6 & 18 Courtesy of Fondazione Federico Zeri, Università di Bologna
E dinburgh
Fig. 9 © National Library of Scotland
L ondon
Fig. 1 © Trustees of the British Museum
Figs. 7, 8, 14 & 16 Wikimedia (right?)
Fig. 11 © British Library
V enice
Figs. 3, 8 & 10 © Fondazione Giorgio Cini, Fototeca dell’Istituto di Storia dell’Arte
Fig. 13 Courtesy of I.R.E. Venezia, Fondo Fotografico Tomaso Filippi
M isc .
Figs. 12, 15 & 17 (originally 10, 12 & 13)
An exotic visitor to Paris: context and possible identities
for Claude-Marie Dubufe’s portrait by Will Elliot
L ondon
Fig. 1 Courtesy of Colnaghi, London
Fig. 2 Courtesy of Sotheby’s
Fig. 8 © Trustees of the British Museum
Fig. 9 © RMN-Grand Palais (musée du Louvre)
Fig. 13 Courtesy of Private Collection
Figs. 3 & 14 Courtesy of the author
Figs. 4, 6 & 12 Wikimedia
B eaune
Fig. 5 Wikimedia
L isieux
Fig. 11 Courtesy of the author
M ontargis
Fig. 7 Wikimedia
M isc .
Figs. 10 & 12 Wikimedia
Fig. 15 Courtesy of the author
M odena
Fig. 2 Wikimedia
N ew York
Fig. 5 Courtesy of the Metropolitan Museum of Art / Rogers Fund, 1956


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