Baum Katja von. Master or assistant? – painted alterations in the Pleydenwurff workshop
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Billinge Rachel. The Beaune last judgement - sorting out Rogier van der Weyden and his assistants
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Borchert Till-Holger (1967- )
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Brink Peter van den (1956- ). Two “new” paintings by Jan de Beer – technical studies connoisseurship and provenance research
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Brisman Shira (1979- ). The worth of ring rewritten
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Bucken Veronique. Le Triptyque de l'Adoration des Mages (Turin-Genes) et le mecenat d'Hendrik Keddekin abbe de Ter Doest
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Bushart Bruno (1919-2012)
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Carroll Jane Louise. Addressing power: Margaret of Austria and Burgundian Politics 1507-09
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Chorley Claire. Hans Holbein Hans of Antwerp - findings from the recent examination cleaning and restoration
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Christie Nicola. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem
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Ciulisova Ingrid (1960- ). The Saint Michael altarpiece in Spisska Kapitula - a preliminary report
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Cohn Werner (1905-1960)
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Currie Christina. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
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Debaene Marjan (1978- ). Reading between the lines... - attribution problems regarding early sixteenth century Louvain painters
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Dubois Anne. XRF analysis of pigments in the Donne Hours (Louvain-la-Neuve Archives de l’Universite ms. A2)
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Dyballa Katrin. The oeuvre of Jan Swart van Groningen reconsidered
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Eckstein Lisa. Master or assistant? – painted alterations in the Pleydenwurff workshop
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Eichberger Dagmar (1955- ). Maneuvering between competing courts: Jean Lemaire de Belges (1473-1515) chronicler and connoisseur
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Emmendorffer Christoph (1965- )
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Ewing Dan. Two new paintings by Jan de Beer – technical studies connoisseurship and provenance research
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Faries Molly (1940- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz
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Fraiture Pascale. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
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Fransen Bart (1973- ). The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
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Fucker Beate. Master or assistant? – painted alterations in the Pleydenwurff workshop
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Galassi Maria Clelia (1954- ). Revising Friedlander - the underdrawing connoisseurship” and the Master of the Turin Adoration
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Gifford E. Melanie. Keynotlecture - Willem van Aelst and the market for still-life painting in Paris - reattribution of an aarly work
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Grohn Hans Werner (1929-2009)
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Hartwieg Babette (1958- ). The Goldene Tafel from Liineburg c. 1420 - new findings about painting process and characteristics
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Henderiks Valentine. Albrecht Bouts in Sibiu: a unique self-portrait in Memento mori
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Hirschfelder Dagmar (1973- ). Master or assistant? – painted alterations in the Pleydenwurff workshop
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Holbein Hans (1497-1543)
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Hubach Hanns. Nikolaus Gerhaert von Leyden
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Ingersoll Catharine. The battle of Wenzenbach as a pictorial subject at the Habsburg and Wittelsbach courts
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Kemperdick Stephan (1960- ). Philip the Good bare-headed - in search for original and copy
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Kempski Mary. Who is the man in red and who painted him?
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Kirch Miriam Hall. Faith embodied: Jacob Heller Catharina von Melm and their altarpiece
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Kommer Bjorn R. (1942- )
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Krause Katharina (1960- )
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Laine David. Reading between the lines... - attribution problems regarding early sixteenth century Louvain painters
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LeZotte Annette. Eyes are the window to the soul: Joos van Cleve's Husband-and-Wife
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Limentani Virdis Caterina (1940-2018). A new Virgo Lactans of the Gold Brocade group
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McCusker Alisa. Hans Schwarz and Hans Holbein the Elder: training a portraitist in early sixteenth-century Augsburg
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Meuwissen Daantje (1970- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz
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Morrall Andrew. Art geometry and the landscape of ruin in the sixteenth-century German Kunstkabinett
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Muller Christian (historia sztuki)
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Muller Jurgen (1961- ). The cloak of mercy: reflections on Rembrandt's etching The Hundred Guilder Print
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Munch Birgit Ulrike (1975- ). Grunhans or how Hans Baldung became a Green Artist
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Niessen Judith (1971- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution
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Oosterwijk Anne van. The contribution of technical art history to the reconstruction of the oeuvre of Pieter I Claeissens
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Pearson Andrea G. Consumption as eroticism in early Netherlandish Devotional Art
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Perier-D'Ieteren Catheline (1944- ). The painted wings of the Passion Altarpiece of Giistrow - a vast collective enterprise
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Proctor Anne. The fragmentation and restoration of the tomb for San Giovanni Gualberto in sixteenth-century Tuscany
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Sandalinas Linares Carmen. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
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Saverwyns Steven. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
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Schauerte Thomas Ulrich (1967- ). Growing distance: the high altars of the Augustinian Canon Churches in Diesen and Rohr
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Silver Larry (1947- ). Re-Christening Altdorfer's Regensburg
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Springer Jaro (1856-1915)
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Stewart Alison G. Sebald Beham and the Augsburg printer Niclas vom Sand: new documents on printing and Frankfurt before 1550
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Steyaert Griet (1965- ). The Beaune last judgement - sorting out Rogier van der Weyden and his assistants
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Van Eyck Elisabeth. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
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Waterman Joshua P. (1974- ). Master or assistant? – painted alterations in the Pleydenwurff workshop
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Weiss Jessica (1980- )
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Weiss Jessica (1980- ). Relics of Los Reyes Católicos: The Retablo de Isabel and Spanish-Habsburg Dynastic Heirlooms
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Whitaker Lucy. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem
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Whitaker Lucy. Who is the man in red and who painted him?
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Whitman Coleman Sally. The dirty work of fifteenth-century landscape painting in Northen Europe
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Wolters Margreet (1958- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution
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Zabunyan Dork (1973- )
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