Catalogue d'une collection venant de l'étranger d'estampes anciennes & modernes, eaux-fortes, burin et manière noire, lithographies, photographies, portraits, dont plusieurs planches de cuivres gravées par Hollar, Livius, Vorsterman, etc., quelques dessins anciens, dont la vente aura lieu Hôtel des commissaires-priseurs, rue Drouot, n° 5, salle n° 7, les vendredi 25 et samedi 26 octobre 1867 [...] Me Delbergue-Cormont, commissaire-priseur [...] assisté de M. Vignères, marchand d'estampes


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Catalogue d'une collection importante, d'estampes anciennes, composée: d'eaux-fortes de maîtres divers, pièces de Rembrandt et de son école, gravures au burin, sujets et portraits français, portraits anglais, ouvrages à figures et oeuvres; Puis quelques dessins et miniatures et un manuscrit à dessins sur l'histoire de l'Angleterre; ayant fait partie du cabinet de Mr. le Comte C***, de la succession de feu Mr. J. van der Linden et autres...


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Drawing


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"This catalogue accompanies the exhibition Drawing: The Invention of a Modern Medium, on view at the Harvard Art Museums, Cambridge, Massachusetts, from January 21 through May 7, 2017."




Rembrandt and His Critics 1630–1730


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My greatest debt in the writing of this book is to my teacher Dr. Ulrich Middeldorf, who taught me the methodology of research in art history, and who guided my studies of art theory and criticism. This study, which in an earlier form was accepted as a doctoral dissertation by the University of Chicago, was begun under Dr. Middeldorf's guidance, and during all stages of its preparation I benefited from his invaluable suggestions and criticism. A United States Government Grant enabled me to complete my researches on Rembrandt in the Netherlands, where I studied at the Rijksuniversiteit te Utrecht with Dr. J.G. van Gelder, who was particularly generous with his knowledge and time. He read the manuscript and proofs, and offered numerous suggestions and additions which have been of great benefit to me. Special acknowledgement is made to the Kunsthistorisch lnstituut der Rijksuniversiteit te Utrecht for generously finding a place for this study in the Utrechtse Bij dragen tot de Kunstgeschiedenis. I am also much indebted to Dr. H. Schulte Nordholt of the Kunsthistorisch lnstituut for his valuable advice and his help inseeing the book through the press.