Index

Compiled by Maria Oldal

Welcome to the Index to Master Drawings Volumes 1-56 (1963-2018). This resource is available free of charge. A printed annual Index is inserted in the winter issue of each volume before mailing.

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MASTER DRAWINGS

Index to Volumes 1–56

1963–2018

Compiled by Maria Oldal

[email protected]

 

 

The subject of articles or notes is printed in CAPITAL letters; book and exhibition catalogue titles are given in italics; volume numbers are in Roman numerals and in bold face. Included in individual artist entries are authentic works, studio works, copies, attributions, etc., arranged in sequential order within the citations for each volume. When an author has written reviews, that designation appears at the end of the review citations. Names of collectors are in italics. Abbreviated names of Italian churches are alphabetized as if fully spelled out: “Rome, S. <San> Pietro in Montorio” precedes “S. <Santa> Maria del Popolo.”

 

 

Concordance of Master Drawings volumes and year of publication:

 

I1963XII1974XXIII–XXIV1985–86XXXV1997XLVI2008
II1964XIII1975XXV1987XXXVI1998XLVII2009
III1965XIV1976XXVI1988XXXVII1999XLVIII2010
IV1966XV1977XXVII1989XXXVIII2000XLIX2011
V1967XVI1978XXVIII1990XXXIX2001L2012
VI1968XVII1979XXIX1991XL2002LI2013
VII1969XVIII1980XXX1992XLI2003LII2014
VIII1970XIX1981XXXI1993XLII2004LIII2015
IX1971XX1982XXXII1994XLIII2005LIV2016
X1972XXI1983XXXIII1995XLIV2006LV2017
XI1973XXII1984XXXIV1996XLV2007LVI2018

 

 

À l’ombre des frondaisons d’Arcueil: Dessiner un jardin du XVIIe siècle, exh. cat. by Xavier Salmon et al. Review. LIV: 397–404

  1. S. coll. XII: 148–50, fig. 19 (Dandré-Bardon)

Aachen, Hans von. IV: 444–45, fig. 5; XXII: 324–26, fig. 1; XXXIX: 109, fig. 5

Aachen, Suermondt-Ludwig-Museum. XII: 63, fig. 1 (Rembrandt)

Aar, Jan Govertsen van der. XXXI: 253, fig. 49 (portrait of)

Abate, Niccolò dell’. IV: 59; IX: 66–67; XXV: 226–27, fig. 8; XXVIII: 9, 17, 31, figs. 5a-5b, 27 (after); 265–67, figs. 1–2; XLV: 20, 22, figs. 13–14; L: 39, fig. 8

Abbate, Niccolò dell’, see Abate, Niccolò dell’

Abbatini, Guido Ubaldo. LVI: 61, fig. 38 (after)

Abbeville, Musée Boucher de Perthes. XVIII: 383–84, figs. 2–3 (Poussin), notes 7–8

Abbey, Edwin Austin. XXXI: 40, fig. 5

Abbot, Francis, formerly. LV: 495, 502, fig. 11 (C.W.E. Dietrich in the manner of Rembrandt)

Abbott, P.A.J. and M.P.K. XLVI: 469, 504, 513, figs. 34, 90, 105 (Gainsborough)

Abelló, Juan. XLVIII: 437, 441, figs. 3, 7 (Francisco Pacheco), note 11; 451, fig. 9 (inscription on anonymous drawing), note 39; 544–46; LII: 458, figs. 11–12 (Pacheco), note 21

Aberdeen, Art Gallery and Museums. XVI: 405–06, pl. 19 (Wilson); XXI: 182 (review)

Aberystwyth, National Library of Wales. XXII: 330 (review)

Abildgaard, N. A. XVII: 286

Abingdon, Berks., Private coll. XI: 45–48, figs. 1–2, note 2, pl. 43 (Dadd)

Abrams, George S. XXXVI: 5–8 (EGBERT HAVERKAMP-BEGEMANN)

Abrams, Maida and George. XI: 403 (review); XX: 284–85, pl. 29 (Doomer); XXVII: 122, fig. 11 (Lievens), note 17; XXVIII: 305–06, 309, figs. 4–7 (Van der Haagen); XXX: 443–49; XXXI: 255, 262, figs. 52, 61–62 (Goltzius); XXXVI: 5–8, figs. 1 (Jan van Goyen), 2 (Jan Lievens erroneously reproduced as Cornelis Bega), 3 (Cornelis Saftleven), 4 (Jan Lievens), 5 (Gerrit de Heer); 217, figs. 1 (Cornelis Bega), 2 (Jan Lievens); XLII: 258–61 (review); XLIII: 28, 56, fig. 21 (Van der Cooghen); XLIX: 197, fig. 39 (Simon de Vlieger), note 41; 363, fig. 26 (Jan Lievens), note 31; LIII: 455, fig. 2 (Bol), note 12

______ (promised gift to the Fogg Art Museum). XXXVIII: 238, fig. 6 (Buytewech), note 16

______, formerly. XLIII: 22, 27, 31, 48, 53, 58, figs. 17, 19 (Van der Cooghen, after Jacob Jordaens), 34 (Van der Cooghen)

Abromaitis, Michael J. XLII: 179 (LETTER)

Academy. The Academic Tradition in American Art. National Collection of Fine Arts, Smithsonian Institution. Review. XVIII: 48

Accorsi, Pietro, formerly. LI: 31–38, figs. 2 (Passarotti), 4 (Maganza), 5–7 (Allegrini), 10, (Bassetti), 12 (Barbelli), 15 (Novelli), 17 (Duranti), notes 5, 8, 11–13, 16, 18, 21, 23

Achenbach, Sigrid. Eduard Bendemann (1811–1889), exhibition catalogue. Review. XLVI: 257–61

Acireale, Catania, Accademia di Scienze, Lettere e Belle Arti degli Zelanti e dei Dafnici. XLV: 370, 380, figs. 5, 26 (Vieira Lusitano), notes 17, 40

Ackerman, Gerald M. XIII: 161–69 (GLEYRE)

Ackland, NC, University of North Carolina at Chapel Hill, Ackland Art Museum. XXXIX: 261, fig. 1 (C.-N. Cochin the Younger), note 10

______, ______, ______, Peck coll. XXXIX: 432–33 (review)

Ackley, Clifford S. LIII: 435–38 (JACQUES DE GHEYN II)

Acton, David. Master Drawings from the Worcester Art Museum. Review. XXXVII: 308

Adam, Blair. IX: 162–65, figs. 3–5, pl. 38 (Robert Adam)

______, Edina. LV: 311–16 (JACOPO LIGOZZI)

______, James. IX: 161–62, fig. 1

______, John. IX: 161–62, figs. 1–2

______, Robert. IX: 161–71, figs. 1, 3–6, pls. 38–46; XVI: 53–57, fig. 2, pls. 39–41

______, William. IX: 168–69, fig. 8 (?)

Adama van Scheltema, Frederik, formerly. XLIII: 54, fig. 63 (Van der Cooghen); LVI: 198, 221, fig. 10 (Van Musscher)

Adams, Eric. Francis Danby. Varieties of Poetic Landscape. Review. XII: 176–80

______, Frederick B. XL: 179–80 (obituary)

Adelaide, Art Gallery of South Australia. XXXIV: 303, fig. 1 (Cortona), note 1; XVIII: 147–48, pl. 19 (G. B. Tiepolo)

Adhémar, Jean. XVIII: 155–68 (FRANÇOIS CLOUET)

Adler, Wolfgang. Jan Wildens. Der Landschaftsmitarbeiter des Rubens. Review. XIX: 312–14

______. Landscape. Corpus Rubenianum Ludwig Burchard. Part XVIII, Vol. I. Review. XXIII–XXIV: 249–51

Adolph Frederick, King of Sweden, formerly. LII: 27, 42, figs. 42 and covers (Genga)

Adrien, Christian and Isabelle. LV: 69, 102, figs. 204, 329 (A. Bloemaert)

“Aelbrecht”. L: 346, fig. 29 (after Hans Bol)

Aelst, Evert van. LIII: 20, fig. 17

______, Pieter Coecke van, see Coecke van Aelst, Pieter

______, Willem van. LIII: 50, front cover

Aeneid, see Virgil. Aeneid

Aerdenhout, Van Tienhoven Foundation. LV: 155–57, figs. 4–8 (Bosboom), notes 19–24

Aertsen, Pieter. III: 355–68, figs. 1–4, 5 (after), 6, pls. 1–9; IV: 413–15, fig. 1, pl. 28; XII: 34–36, fig. 2; XVIII: 134–41, figs. 1–2, pl. 15; LV: 405, fig. 6

Gli affreschi di Paolo III a Castel Sant’Angelo. Progetto ed esecuzione, 1543–1548. 2 vols. Review. XXV: 173–75

Agen, Musée des Beaux-Arts. L: 448, fig. 9 (Jean-Baptiste Oudry), note 50

Agnolo, Baccio d’, see Baccio d’Agnolo

Agosti, Giovanni. Disegni del Rinascimento in Valpadana. Review. XL: 260–61

Agresti, Livio. XLII: 348, fig. 15; XLVII: 85–86, 90, figs. 2, 4, 8

Agüero, Cristina. LII: 491–512 (JOSÉ DEL CASTILLO)

Águila, Miguel de Espinosa Maldonado y Saavedra, Conde del, formerly. XLVIII: 447–53, figs. 1–7

Aguirre, Andrés Ginés de, see Ginés de Aguirre, Andrés

Aikema, Bernard. XXXV: 63–66 (DORIGNY); 404 (LETTER); XXXVI: 211–13 (REVIEW); 251–74 (GIOVANNI BATTISTA); XXXVII: 196–97; 303–04 (REVIEWS); XLII: 361–69 (GIAMBATTISTA TIEPOLO); L: 543–48 (REVIEW)

Ainsworth, Maryan W. XXVII: 5–38 (NORTHERN RENAISSANCE DRAWINGS); XXVIII: 223 (LETTER); XXIX: 63–65 (REVIEW); XLI: 240–65 (GERARD DAVID and the BENING WORKSHOP); 305–16; 397–98 (REVIEWS); XLIII: 235–38 (LETTER)

______, ed., Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance, the Complete Works. Review. XLIX: 253–60

Aix-en-Provence, Atelier Cézanne. V: 273, fig. 7 (Cézanne)

______, Musée Arbaud. XII: 140–42, fig. 3 (Dandré-Bardon); XLIII: 199, fig. 9 (Daret), note 38

______, Musée Granet. XII: 140–42, figs. 1–2 (Dandré-Bardon)

Ajaccio, Corsica, Palais Fesch–Musée des Beaux-Arts. XXXIX: 300, figs. 1–2 (Boucher after Solimena); XLVIII: 398, fig. 4 (Étienne Parrocel), note 11

Albani, Francesco. III: 412–13; IV: 304 (studio of); VII: 152–55, pls. 29–32; XXII: 310–15, figs. 1, 4–5; XXX: 218, fig. 2; XXXIV: 5, fig. 2 (attributed to, after Agostino Carracci); XXXVI: 390, fig. 22 (formerly attributed to); XLIV: 299–332, figs. 1 (attributed to), 2, 5 (attributed to), 6, 7 (copy after), 8–10, 11 and 15 (attributed to), 17–19, 21 (attributed to), 22–25, 26 (attributed to), 27, 29–30; 369, fig. 1; XLVI: 49, figs. 10–11

______, Giovanni Francesco, Cardinal, formerly. XLIII: 468, 480, figs. 18, 28 (Cortona)

Albany, NY, Institute of History & Art. XXXIII: 74–80 (review), figs. 1–2 (Cole); XXXV: 116–34, figs. 3 (Hennessey), 4 (Palmer), 5 (Thompson), 6 (Thompson ?), 7 (Cafferty), 8 (Boughton), 9 (Thompson), 10 (J. M. Hart), 11 (Thompson), 12 (Calverley), 13–20 (Thompson), 21 (Boughton), 22–25 (Thompson), 26 (W. Hart), 27–29 (Thompson), 30 (Dix), 31–32 (Thompson), notes 11, 19, 22, 26, 28–29, 35, 37–41, 43, 45–51, 54, 56–63; 142–44, figs. 1 (Cole), 2 (Durand), 3 (Ingham), 4 (Morse), 5 (Weir), 6 (J. L. Morton), 7 (H. J. Morton), note 6; XXXVI: 8, fig. 1 (Calverley), note 2

Albert, Duke of Sachsen-Teschen, formerly. XXXI: 404, fig. 2 (Agostino Carracci), note 3; XLII: 338, fig. 5 (G. Salviati); XLIII: 19, 29, 43, 47, 53, 64, figs. 9, 28, 55 (Van der Cooghen); 479, fig. 27 (Cortona); XLIV: 338, fig. 4 (Van den Bossche); XLV: 380, fig. 25 (Vieira Lusitano), note 39; XLVII: 174–89, figs. 1–13, 15, 17, 19, 23, 25–26 (Étienne Parrocel), note 5; 304, 308, 312–14, figs. 52 (“False Amand” hand after Dughet), 59 (anonymous after Dughet), 63–64 (“False Amand” hand after Dughet?), 65 (“False Amand” hand after Dughet); LII: 43, fig. 60 (Genga); 72, 75, 77, 83–84, figs. 18, 22–23, 28, 30 (Jan de Visscher); 277, 287, 293, 307, 328, 333, 335, figs. 2, 3b, 14b, 21, 42 (Coecke van Aelst); LV: 512, fig. 35 (Van Dyck)

Alberti, Cherubino. IV: 135–36, fig. 6; XIII: 12–23, figs. 1, 10, 12 (etchings); XX: 247, 252–56, pl. 7; XLVIII: 293, figs. 8a–b (engraving after Polidoro da Caravaggio); LII: 227, fig. 42

Alberti family. XXIII–XXIV: 405–07

Albertinelli, Mariotto. II: 281–82; V: 198

Albi, Musée Toulouse-Lautrec. XLVII: 228, fig. 17 (J.-L. David), note 29

Albin, Eleazar. XLV: 438, 440, 476, figs. 3, 4–5 (etchings), 6–7, 8–9 (etchings), 11 (etching), 63, 64 (etching)

Alborese, Giacomo. XIV: 272–74, fig. 3, pl. 32; XXI: 166, fig. 1

Albrecht Altdorfer. Zeichnungen, Deckfarbenmalerei Druckgraphik. Review. XXVI: 277–85

Albrecht Dürer. Kritischer Katalog der Zeichnungen. Review. XXIII–XXIV: 90–94

Alburquerque, Kira d’. XLIX: 67–94 (GIOVANNI BATTISTA FOGGINI)

Alcaide, V. M. Nieto. Carlo Maratti. Review. III: 174

Alcamo, Chiesa Madre. XXXIII: 47, fig. 6 (Borremans)

Alciato, Andrea. LVI: 471, fig. 18 (woodcut)

Alcubierre, Conde de coll., formerly. XXXVII: 377, fig. 13 (circle of Pacheco), note 22

______, Doña María del Pilar de Senmenat y Patiño Despujol Osorio, the dowager Marquesa de Monistrol de Noya y de Aguilar, Condesa de, formerly. XLVIII: 437, 441, figs. 3, 7 (Francisco Pacheco), note 11; 451, fig. 9 (inscription on anonymous drawing), note 39; 544–46

Aldegrever, Heinrich. VIII: 141–48, figs. 1–2, 4–9, pls. 28–37

Aldobrandini, Olimpia. LIII: 387, fig. 2 (portrait of)

Alençon, Musée de Peinture, Hôtel de Ville. V: 139, pl. 9 (Jouvenet); XV: 166, note 6, pl. 25a (Restout)

Alexander i of Russia. XXXII: 113, figs. 19–20 (portraits of)

Alexander, Jonathan. XXXVI: 205–08 (REVIEW)

Alford, Robertson F. X: 118, fig. 3 (Gaulli), note 21

______, W. H., formerly. LII: 375, fig. 6 (unidentified Brussels tapestry factory), note 23

Algardi, Alessandro. III: 413, pl. 41; XII: 377–78, fig. 1, pls. 46–47; LVI: 45, 49 figs. 24–26 (after), 27, 29 (after)

Algarotti, Francesco. XXI: 392–96

______, formerly. XXXII: 338, fig. 32 (L. Tiepolo)

Aliense. VII: 156–57, pl. 33 (frame); XLVII: 452–57, figs. 1, 2 (portrait of), 3–6

All for Art. The Ricketts and Shannon Collection. Review. XVIII: 53–54

Allegrini, Francesco. XXV: 263–69, figs. 1–7, pls. 20a-24b; XLVII: 79–81, figs. 1–5; LI: 33–35, figs. 5–9

Allen, Denise, see Brooks, Julian, with Denise Allen and Xavier F. Salomon

______, Elizabeth K. XXXII: 175; XXXIII: 74–80; 426–28 (REVIEWS); XXXV: 115–41 (LAUNT THOMPSON); 403 (REVIEW); XXXVI: 8–12 (CALVERLEY)

Allentown, PA, Art Museum. IV: 60 (review)

______, Muriel and Philip Berman Collection. XXX: 151–52, 154, fig. 10 (Veronese), note 23

Alli, Silvio degli. VIII: 253, fig. 4

Allori, Alessandro. II: 290; XIV: 41–42, pl. 11; XX: 127, pls. 11–12; XXV: 146–49, figs. 1 (tapestry after), 2, pl. 4; XXVI: 56; LI: 3, fig. 1 and front cover (formerly attributed to); LVI: 482–85, figs. 1–5, 6 (after)

______, Cristofano. XXI: 36–58 passim, figs. 22–25

Allou, Gilles. XXII: 64–65, fig. 1

Allwood, E. C., formerly. LII: 348, fig. 89 (attributed to the workshop of Coecke van Aelst)

Almeida, Francesco da. XXXII: 124, fig. 37 (?)

Alnwick Castle, Duke of Northumberland coll. V: 382-83, figs. 1-2 (Licinio)

Alsteens, Stijn. XLVI: 382–85 (HANS SÜSS VON KULMBACH); XLVIII: 105–20 (REVIEW); L: 264–65 (LETTER); LI: 105–15 (REVIEW); LII: 275–362 (PIETER COECKE VAN AELST); LIII: 443–50 (BREENBERGH); 531–34 (REVIEW); LIV: 385–90 (BARTHOLOMEUS SPRANGER)

______, see also Buvelot, Quentin, and Stijn Alsteens

Altdorfer, Albrecht. XXVI: 277–85

Altena, I. Q. van Regteren, see Regteren Altena, I. Q. van

Alteroff, A. N., formerly. XLIII: 60, back cover (Van der Cooghen)

Altissimo, Cristofano dell’. LV: 387, fig. 12

Alumni Who Collect. I. Drawings from the 16th Century to the Present. Review. XXI: 67

Alunno di Benozzo. II: 283

Alunno di Domenico, see Bartolomeo di Giovanni

Alvin-Beaumont, Victor, formerly. XLIV: 426, fig. 26 (Mercier), note 40

Amalteo, Pomponio. XI: 239–67, figs. 1–3, 6–16, pls. 1–11, 13–18; XXXIV: 175, 179, 181, figs. 10, 17 (or Pordenone), 22, 24

Amand, Jacques-François. LII: 112, fig. 1

Ambrogi, Domenico degli. XIV: 270–72, fig. 1, pl. 31

American Drawings, Benjamin West to Ben Shahn. Selections from the Paul Magriel Collection. Review. XIX: 57

American drawings. Books and catalogs. Review. XV: 282–83

The American Face and Figure. Drawings from the Collection of John Davis Hatch. Review. XIII: 178

The American Personality. The Artist-Illustrator of Life in the United States, 1860–1930. Review. XV: 188

An American Perspective. Nineteenth-Century Art from the Collection of Jo Ann & Julian Ganz, Jr. Review. XXIII–XXIV: 421

Ames, Winslow. I, 3: 37–39 (F. GUARDI); IV: 434 (BELLANGE); XIII: 379–400 (BOUCHARDON); XXI: 3–16 (LECLERC and COYPEL)

______, Mr. and Mrs. Winslow. XVIII: 372, note 17, pl. 39 (Lievens)

Ames-Lewis, Francis. XXII: 78–80; XXVIII: 80–82 (REVIEWS); XXXIII: 388–404 (GOZZOLI); XXXVII: 62–66 (REVIEWS); XXXIX: 415–20 (REVIEW)

______. Drawing in Renaissance Italy. Review. XXII: 329–30

______, and Elizabeth Clegg. XXV: 237–41 (ANTONIO and PIERO POLLAIUOLO)

Amhem, Gemeentemusea Amhem. XLIV: 70, fig. 4 (Kerkhoff), note 15

Amherst, MA, Amherst College, Mead Art Museum. L: 153, figs. 1–3 (Haskell), notes 2–4

Amico di Donato. XLIX: 95–117, figs. 1–3 (attributed to), 5–8 (attributed to), 10–16 (attributed to), 18–66 (attributed to)

Amiens, Musée de Picardie. XVII: 47, note 15, pl. 40 (Millet); XXVIII: 172, fig. 37 (J. Jordaens the Younger); XXXI: 233, fig. 25 (Goltzius)

______, Musée des Beaux-Arts. XII: 140–43, fig. 5 (Dandré-Bardon)

Amigoni, Jacopo. XII: 41–48, figs. 1, 2 (engraving after), 3, 4–5 (engravings after), 6, pls. 33–37

Amling, Carl Gustav von. XXIII–XXIV: 9, fig. 3 (engraving); XXXIX: 188, fig. 17

Amman, Jost. XLIX: 52–62, figs. 1 (after Lucas Cranach the Elder), 3 (after Virgil Solis), 4 (after Albrecht Dürer), 5–9

Ammann, Edith, see Theilmann, Rudolf, and Edith Ammann

Amorosi, Antonio. V: 12, pl. 1

Amsler, Samuel. LIV: 70, 75–76, figs. 6 and 13 (engravings), 12 (portrait of)

Amstel, Ploos van, see Ploos van Amstel, Cornelis

Amstelveen, Bibliotheek Amstelland. LIV: 363, fig. 113 (anonymous artist)

Amsterdam, Amsterdam Museum. LIII: 326, fig. 31 (Waterloo), note 33; 518, fig. 5 (Langendijk), note 8

______, Amsterdams Historisch Museum. XVI: 24–25, fig. 23 (Brondgeest); XXXV: 369, fig. 4 (Berchem), note 14; XXXIX: 371, 385, figs. 6 (Salomon de Braij after himself), 23 (Joseph de Braij after Jan de Braij), notes 16, 37; XLIX: 343, figs. 142–43 (Rembrandt); 389, fig. 2 (Hoogstraten), note 5

______, ______, Fodor coll. XII: 254–56, pl. 31 (Rubens); XIII: 254–56, fig. 4 (Picart), note 24; XVI: 3–24, fig. 24 (Van Mieris), pls. 1, 19 (Van Mieris); XVII: 4–5, 10, 18, 21, pls. 1, 7 (A. van de Velde); XX: 404 (review); XXI: 175–76 (review); XXIII–XXIV: 251–54 (review), fig. 1 (Delaroche); XXXIII: 187 (review); XLIV: 17, fig. 17 (De Vlieger), note 46; XLV: 187, fig. 1 and front cover (Hoogstraten), note 1; XLIX: 341, figs. 134, 136 (Rembrandt)

______, art market. XXXV: 159, fig. 11 (Van Goyen), note 19

______, ______, formerly. I, 4: 27, 31, note 14, pl. 23 (Pozzoserrato); XVI: 31–32, pl. 25 (Van Mieris); XIX: 30, pl. 31a (Quillard); XXXVI: 403–04, figs. 7–9 (Louis de Caulery), notes 19–20, 22; LV: 15, fig. 34 (A. Bloemaert?)

______, N. Beets, formerly. XXXVI: 404, fig. 9 (Louis de Caulery), note 22

______, P. de Boer, formerly. XLIX: 43, fig. 27 (Schiavone), note 53

______, P. & N. de Boer Foundation. XLIII: 39, 62, fig. 45 (Van der Cooghen); L: 348, fig. 31 (Hans Bol), note 61; 378, fig. 27 (Jan Siberechts), note 26; LV: 24, 98, 110, 112, figs. 64, 316, 363, 370 (A. Bloemaert); 317, 321, figs. 1 (Verboom), 4 (Beresteyn), notes 1, 44

______, ______, formerly. LIII: 337, fig. 50 (De Vlieger), note 51

______, De Bosch et al., formerly. LV: 61, fig. 177 (A. Bloemaert)

______, Paul Brandt, formerly. LII: 75, 83, fig. 25 (Jan de Visscher); 313, 336, fig. 50 (Coecke van Aelst)

______, Bruil & Brandsma, formerly. LV: 110, fig. 364 (A. Bloemaert)

______, Christie’s, formerly. XXXI: 222, 234, 236, 244, 249, 258, 270, 272, fig. 4 (circle of Goltzius), figs. 26, 28, 36–42, 46, 57, 73–76 (Goltzius); XXXVI: 18, 20, figs. 2 (Abraham Bloemaert), 3 (Cornelis Bloemaert the Elder), 5 (Abraham Bloemaert), notes 9, 13; XXXVIII: 58, fig. 1 (Van der Haagen), note 9; XLIII: 27, 53, fig. 19 (Van der Cooghen, after Jacob Jordaens); XLIV: 16, 19, 39, figs. 15 (De Vlieger), 21 (Willem van de Velde i), 50 (De Vlieger), notes 43, 49, 86; 348, fig. 15 (Van den Bossche); XLIX: 191, 218, figs. 27 (Simon de Vlieger), 87 (Jan van Goyen), notes 27, 108; L: 378, fig. 25 (Jan Siberechts), note 26; 533, fig. 3 (Willem van Mieris), note 3; LII: 66, 83, fig. 6 (Jan de Visscher after Wouwerman); 347, fig. 87 (attributed to the workshop of Coecke van Aelst); LIII: 323, 332, figs. 22 (Esselens), 39 (De Vlieger), notes 24, 41; LIV: 327, fig. 53 (Pieter Holsteyn the Younger after Frans Post?), note 64; LV: 30, 52, 59, 82, 89, 101, 103, 110, figs. 78 (attributed to A. Bloemaert), 149, 172, 255, 278, 324, 332–33, 362 (A. Bloemaert); 322, fig. 7 (Beresteyn), note 46

______, Cultural Heritage Agency of the Netherlands. LVI: 215, fig. 48 (Van Musscher), note 61

______, ______ (on deposit at the Museum Gouda). LVI: 208, fig. 33 (Van Musscher), note 38

______, Kunsthandel Douwes, formerly. L: 340, fig. 17 (Hans Bol), note 37

______, Fodor coll., see Amsterdam, Amsterdams Historisch Museum, Fodor coll.

______, Gemeente Archief. XXX: 438–42

______, Gemeentemusea. IV: 394, pl. 21 (Oudry); XII: 157–61, pls. 22–24, 28, 33 (Van Gogh); XX: 387 (review); XXI: 175–76 (review)

______, Glerum, formerly. XLIX: 486, fig. 9 (Francis Barlow), note 29; LV: 111, fig. 366 (A. Bloemaert)

______, Goudstikker, formerly. LIV: 52, fig. 9 (Vernansal), note 17

______, Houthakker, formerly. XXXI: 273, fig. 77 (Goltzius); LII: 68, 82, fig. 13 (Jan de Visscher); 301, 330, fig. 31 (Coecke van Aelst)

______, IJver, formerly. XLV: 8, fig. 5 (Paolo Farinati)

______, Hendrick de Leth, formerly. LV: 37, 106, figs. 101, 346 (A. Bloemaert)

______, Rob Kattenburg, formerly. XLIV: 37, fig. 47 (De Vlieger), note 78

______, Koninklijk Oudheidkundig Genootschap (on deposit in the Rijksmuseum). LVI: 201, figs. 17, 19 and back cover (Van Musscher)

______, Hendrik de Leth, formerly. LVI: 198–99, 221, figs. 10, 12 (Van Musscher)

______, Salomon Lilian, formerly. LVI: 204, 222, figs. 21–22 (Van Musscher)

______, Van den Linden and De Winter, formerly. LVI: 208, 223, fig. 32 (copy after Van Musscher)

______, Mak van Waay, formerly. XLIV: 10, figs. 5, 9 (De Vlieger), notes 32, 34; LVI: 209, fig. 37 (Matthijs Naiveu), note 40

______, F. Muller, formerly. LV: 26, fig. 66 (A. Bloemaert); 320–21, figs. 2–3 (Beresteyn), notes 42–43

______, Frederik Muller & Cie, formerly. LVI: 194, 198, 207, 209, 220–21, 224, figs. 1–2, 10, 29–30 (Van Musscher), 36 (Matthijs Naiveu after Van Musscher), 37 (Matthijs Naiveu), note 40

______, Nederlands Scheepvaart Museum. XX: 116–17, fig. 1 (H. Vroom)

______, Robert Noortman, formerly. LVI: 204, 222, figs. 21–22 (Van Musscher)

______, Nystad-Laurentius Gallery, formerly. XXXI: 253, figs. 50–51 (Goltzius)

______, Private coll. II: 156, pl. 21 (Vellert); X: 262, pls. 27, 29a (Ter Borch); XVI: 5–6, fig. 4 (Dou); XXVIII: 68, fig. 14 (Vrancx), note 44; XXXV: 165, 169, figs. 18, 24–26, 28–30 (Van Goyen), notes 33–35, 37–38, 40; XLIII: 103, fig. 1 (Vermeyen), note 5; LIV: 323, fig. 47 (Frans Post), note 55; LV: 8, 40, 70, 93, 106–7, figs. 11, 14, 108, 209, 212, 291–92, 344, 349 (A. Bloemaert)

______, Rembrandthuis. XXIX: 61–62 (review); XLIX: 343, fig. 139 (Rembrandt); 359, fig. 16 (Jan Lievens), note 21; LIII: 457, fig. 3 (photo of his studio)

______, Rijksdienst voor het Cultureel Erfgoed. LIII: 315, fig. 7 (Schouman), note 10

______, Rijksmuseum. II: 51–52, fig. 3 (Gobelin tapestry); V: 161, fig. 2 (Ostade); 377, fig. 2 (after Rubens); VII: 50, fig. 1 (Laroon); VIII: 272–73, pl. 26 (Claude Lorrain); IX: 65–66 (review); 123–26, fig. 3 (Franceschini), note 24; XI: 45–48, fig. 3 (Steen), note 4; 366, fig. 1 (Dürer); XX: 118, fig. 3 (H. Hondius i); XXII: 406–07, fig. 2 (L. Carracci); XXIII–XXIV: 51–52, fig. 7 (Matham); XXV: 376, notes 34–35, pls. 21a-b (Kempeneer); XXVII: 7–8, fig. 3 (circle of Van Eyck); 111, fig. 6 (Rembrandt); 120–22, figs. 6 (Rembrandt), 7 (Lievens), 8–10 (Rembrandt); 138, 142–44, figs. 21, 29–30 (Rembrandt); XXIX: 52, fig. 1 (L. Carracci), note 1; 61–62 (review); XXXV: 302–04 (review); XXXVI: 67, fig. 3 (Callott); XXXVIII: 175, fig. 18 (Natoire), note 41; XL: 265–68 (review); XLIV: 10, fig. 7 (De Vlieger); XLVIII: 10, fig. 10 (Govert Flinck), note 32; XLIX: 307, 310, figs. 29, 37, 42 (Rembrandt), notes 18, 22–23; L: 530, fig. 6 (Jan Steen), note 33; LIII: 437, fig. 6 (Jacques de Gheyn ii), note 10; LIV: 303, 308, 327–28, figs. 12–15, 17, 20–22, 24–25, 56, 59 (Frans Post), notes 35–36; 375, fig. 8 (Rembrandt); LV: 157, 169, figs. 9 (Doll’s house of Petronella Dunois), 25 (Van der Goes), notes 25, 76; LVI: 194, 197, 201, 211, figs. 4 (Adriaen van Ostade), 9, 18, 39 (Van Musscher), notes 5, 9, 26, 44

______, ______ (on deposit from the Koninklijk Oudheidkundig Genootschap). LVI: 201, figs. 17, 19 and back cover (Van Musscher)

______, ______ (on long-term loan to the Mauritshuis, The Hague). LIV: 296, fig. 3 (Frans Post), note 23

______, ______, Rijksprentenkabinet. I, 2: 3–15, figs. 1, 3, pl. 5 (De Gheyn iii); I, 3: 10, note 21, pl. 4b (Perino del Vaga); I, 4: 38–41, notes 6–8, pl. 26 (Ketel); II: 13, fig. 8 (after Marcantonio Raimondi); 294–95, fig. 1 (Greuze); 389–90, 394–95, note 20, pl. 16 (Ligorio); III: 131, 148, 150, pl. 8 (Cornelis van Haarlem); 364, pl. 9 (Aertsen); IV: 141–42, pl. 15 (Rubens); 171 (review); V: 40, fig. 2 (Verhaecht); 55, pls. 45–46 (Boucher); VI: 28–29, notes 10, 12–13, pls. 9–11 (Baburen); 246–47, fig. 2 (Caccianemici); VIII: 146, note 21, pl. 34b (Aldegrever); 388–89, note 7, pls. 25–26 (Bononi); IX: 255–57, notes 9, 34, pls. 31 (Savery), 42 (Doomer); X: 260–63, pls. 23–26 (Ter Borch); 365–73, pl. 24a (Bononi); XII: 124–27, figs. 2, 4–5 (Laurentz); 182–83 (review); 241, note 18, pl. 8a (Poussin); 351–58, note 11, pls. 1–3, 5–8 (Grandjean); XIII: 142–44, figs. 1 (Cort), 2 (anonymous artist), 3 (J. Saenredam); 248–49, fig. 8 (Lucchese); 250–53, fig. 3, pls. 22–23 (De Hooghe); XIV: 252, pl. 8 (A. Bloemaert); XVII: 158–59, fig. 5 (Roghman); 166, pl. 33a (Dieu); XIX: 42–44 (review); 446–47, note 10, pl. 33 (Dorigny); 460–61, fig. 1 (J. Muller); XX: 386–87, 398–99 (reviews); XXI: 407, pl. 37 (Carreño de Miranda); XXIII–XXIV: 421–22 (review); XXV: 4–41 passim, figs. 3, 9, 14, pls. 14, 22 (Poelenburg); XXVII: 119, fig. 4 (Lastman), note 10; 131–32, 143–44, figs. 8, 31 (Rembrandt), notes 5, 20; 153–54, fig. 25 (Maes), note 20; XXVIII: 22, fig. 33 (attributed to Van Thulden, after Primaticcio), note 82; 324, figs. 8–9 (Cats), note 8; XXIX: 278, 281, fig. 13 (Rembrandt); 410, fig. 4 (Rembrandt), note 6; XXX: 299, fig. 26 (Annibale Carracci), note 54; XXXI: 238, 260, figs. 30, 60 (Goltzius); XXXII: 357, figs. 8–9 (Collaert, after Stradanus); XXXV: 155, fig. 1 (Van Goyen); 247, fig. 16 (Watteau, after Van Dyck and Rubens), note 42; 356, fig. 20 (Molyn); 381, figs. 2–3 (H. Bloemaert, after Tintoretto), note 11; XXXVI: 36, fig. 1 (Rembrandt), note 11; 49, fig. 7 (Jean de la Chambre, the Younger), note 19; 215 (review); XXXVII: 71, fig. 3 (Pieter de Grebber?); XXXIX: 371, 384, figs. 7 (Jan de Braij after Salomon de Braij), 22 (Joseph de Braij after Jan de Braij), notes 17, 36; XL: 117, figs. 6–7 (Muziano), note 19; XLIII: 13, 17, 19, 21, 28–29, 31, 39, 41, 48–50, 55–58, 60, 63, front cover, figs. 3 (Van der Cooghen), 4 (Cornelis Bega), 5, 10 (Van der Cooghen), 11 (Jan de Braij), 12, 24, 26, 30–31 (Van der Cooghen), 32 (attributed to Van der Cooghen), 33, 38, 47, 49, 51, 66–69, 71 (Van der Cooghen), note 41; 94, fig. 5 (Swanevelt); 104, fig. 4 (Vermeyen); XLIV: 10, 17, 22, 33, 35, 39, figs. 6, 8, 19, 28–29, 43, 46, 51 (De Vlieger), notes 54–55, 75; 56, figs. 1, 3 (Delamonce), notes 8–9; XLV: 152–54, figs. 8–9 (Molenaer), 10 (Vinckboons), notes 19, 24–25; XLVI: 43, 47, 54, front cover (Van Dyck), note 54; 111, fig. 3 (18th-century Rembrandt imitator?), note 4; 301, fig. 10c (Barocci), note 40; XLVII: 510, fig. 4 (Rembrandt), note 8; XLVIII: 30, fig. 32 (Govert Flinck), note 81; 52, 57, figs. 16 (Van den Eeckhout), 20 (copy after Van den Eeckhout), notes 45, 52; 91, figs. 34, 36 (Hollar), notes 82–83; XLIX: 73, 75, 85, figs. 12–13 (Foggini); 180–81, 183, 201, 217, figs. 3, 6–9, 13, 46 (Simon de Vlieger), 82 (Esaias van de Velde), notes 7, 10, 14, 49, 102; 254, fig. 1 (Jan Gossart), note 7; 294, 302, 310, 314, 319, figs. 2, 21, 39, 51–52, 55–56, 65, 67 (Rembrandt), notes 3, 33; 325, 333, figs. 80 and front cover (Rembrandt); 364, 366, figs. 28 (Jan Lievens), 32 (Rembrandt), notes 33, 38; 375, 382, 384, figs. 6, 29, 34 (Jan Victors), notes 18, 40; 394, fig. 11 (Hoogstraten), note 11; 457, figs. 41–42 (Theodoor van Thulden after Primaticcio), notes 70–71; 499, 503, figs. 38 (Boetius Adams Bolswert after Bloemaert), 42 (Adriaen Collaert after Maerten de Vos), notes 64, 72; 539, fig. 11 (Hans Holbein the Younger), note 54; L: 296–300, 313, 317, 322, figs. 1–2, 5–10 (etchings by Hieronymus Cock after Matthijs Cock), 31 (copy after Matthijs Cock), 36 (Jan van Scorel), notes 24, 73; 330, 346, 349, figs. 1, 27–28 (Hans Bol), 32 (anonymous engraving after Hans Bol), 33 (engraving by Adriaen Collaert after Hans Bol), notes 12, 53, 64, 67; 378, 384–86, 388, figs. 20, 30–32 (Jan Siberechts), 38–42 (inscriptions by Siberechts), notes 26, 32; 533, fig. 1 (Willem van Mieris), note 7; LI: 195–220, figs. 4, 10, 37, 41, 45, 53, 65, 69, 77 (De Bruyn); 369, fig. 9 (Scheemaeckers), note 60; 448, figs. 3–4 (De Hooghe), notes 23, 25; 523, fig. 1 (Barocci), note 6; LII: 59, 66, 68, 70, 73, 79, 83, figs. 2 (Cornelis van Noorde after Cornelis or Jan de Visscher), 7 (Jan de Visscher after Wouverman), 9 (Cornelis Visscher after Titian?), 10 (Cornelis Visscher after Guido Reni), 11 (Lambert Visscher), 15 (CornelisVisscher), 20 (Jan de Visscher), 31 (Cornelis Visscher), notes 7, 48, 50–52, 57, 61; 192, fig. 15 (Jacques Callot after Muziano), note 21; 209, 212–14, 218, 220, 222, figs. 8, 14–15, 17, 23, 27, 32, 36 (woodcuts by Hans Holbein the Younger), notes 14, 17, 20, 26, 28, 32, 36; 295, 301, 313, 330, 335–36, figs. 23, 31, 50, 66 (Coecke van Aelst); 458, fig. 16 (Cornelis Cort after Titian), note 23; LIII: 191, 198–99, 202, figs. 1, 12–13 (Lucas van Leyden), 4, 8 (anonymous after Lucas van Leyden), 7 (Hendrick Hondius i after Lucas van Leyden), 11 (Goudt after Lucas van Leyden), 16 (Hans Baldung Grien), 17 (title page to portfolio of prints assembled by Johannes Wtenbogaerdt), notes 4, 7, 10, 20–21, 26, 34, 39; 238, fig. 1 (Peter Candid), note 9; 315, 320–21, 323, 326, 334–35, 339, figs. 1, 14, 16, 47, 54 (De Vlieger), 3–4 (Rademaker), 5 (Roghman), 8 (anonymous), 23 (Esselens), 30, 43 (Waterloo), notes 4, 6, 8, 11, 25, 32, 44, 49, 55; 431, fig. 1 (Domenico Pellegrini), note 3; 461, figs. 2–3 (Gerard ter Borch the Younger), notes 9–10; 469, figs. 2–3 (Jan Worst), note 11; 485–87, 493, figs. 1 (inscription in the hand of Gabburri), 3 and no. 36 (Gaspare Redi), 4 (Aegidius Sadeler ii), notes 6–7; 516, fig. 2 (Jacob Houbraken), note 3; 517, fig. 4 (Langendijk), note 7; LIV: 9, fig. 11 (Foschi), note 29; 71, fig. 7 (Ramboux), note 17; 175, fig. 52 (Cornelis Cort), note 84; 294, 317, 323, figs. 2 (Matham), 39, 48 (Brosterhuyzen), notes 7, 49, 56; 373, fig. 6 (Rembrandt), note 26; 382, fig. 4 (Aegidius Sadeler after Marten de Vos), note 13; 521, fig. 21 (Goltzius), note 47; LV: 5, 22, 33–34, 36, 47, 56, 63–64, 81, 94, 97, 105, figs. 98, 183, 187, 296, 310, 341 (A. Bloemaert), 6, 88 (copy after A. Bloemaert), 54 (Jan Harmensz. Muller after A. Bloemaert), 93 (B. Dolendo after A. Bloemaert?), 131(Goltzius), 160 (B. A. Bolswert), 252 (Jan Saenredam after A. Bloemaert), notes 13, 19, 29, 44; 321–22, 327, figs. 5–7, 9 (Beresteyn), 14–15 (Verboom), notes 45–46, 48, 54; 469, fig. 7 (F. Fenzoni), note 15; 493, 509, 526, figs. 10 (Van Dyck), 47 (Watteau); LVI: 163, fig. 20 (Annibale Carracci), note 27; 183–91, figs. 2–3 (Isaac van Ostade), 4–5, 7–10, 13 and front cover (Visscher), notes 2–4, 11; 194, 197, 199–202, 211, 213, 215–16, 221–22, figs. 3 (Adriaen van Ostade), 8, 15, 49 (Van Musscher), 11, 45, 55 (Bloteling after Van Musscher), 13 (Munnickhuysen after Van Musscher), 14, 41, 47 (Pieter van Gunst after Van Musscher), 16 (Sluyter after Arnold Houbraken and Arnold Boonen), 20, 40 (Jacob Houbraken after Van Musscher), 38 (Jacobus Baptist after Van Musscher), 40 (Jacob Houbraken after Pothoven after Van Musscher), 51, 56 (Pieter Schenk after Van Musscher), 53 (Jacob Gole after Van Musscher), notes 4, 13, 17–18, 23, 28, 43, 45, 50, 57, 60, 62, 65, 67, 71, 76; 336, 339, 343, figs. 2 (Paul Bril?), 11–12 (Jacques Callot?), 17 (Aegidius Sadeler after Paul Bril), notes 5, 22, 49; 413, fig. 7 (Berchem), note 11; 469, figs. 14 (Bonasone), 15 (Monogrammist IHS), notes 31–32; 498, fig. 27 (Claude Lorrain), note 47

______, Roos, formerly. XXXVII: 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4; LII: 66, 83, fig. 6 (Jan de Visscher after Wouwerman); LV: 11, fig. 21 (A. Bloemaert); 320, fig. 2 (Beresteyn), note 42

______, Roos, De Vries, and Brondgeest, formerly. LII: 293, 333, fig. 21 (Coecke van Aelst)

______, Scheepvaartmuseum. LIV: 323, fig. 50 (Frans Post), note 58

______, Van der Schley, formerly. LVI: 198, 221, fig. 10 (Van Musscher)

______, Van der Schley et al., formerly. LII: 61, 82, fig. 3 (Jan de Visscher); 276, 293, 325, 333, figs. 1, 3a, 21 (Coecke van Aelst); LV: 43, figs. 117–18 (A. Bloemaert)

______, Van der Schley and Pruyssenaar, formerly. LV: 499, fig. 16 (Berchem)

______, Six coll. XII: 351–58, note 19, pls. 4, 9–11 (Grandjean); XLIX: 341, figs. 132–33 (Rembrandt)

______, ______, Pandora Album. XLIX: 342, figs. 137–38 (Rembrandt)

______, Slebes et al., formerly. LV: 82, fig. 257 (A. Bloemaert)

______, Sotheby’s, formerly. XXXI: 242, 249, 270, figs. 34, 45, 73–74 (Goltzius); XXXIX: 382, fig. 17 (Dirck de Braij? after Salomon de Braij), note 31; XLIV: 23, fig. 31 (De Vlieger), note 57; 69, fig. 1 (Hulswit), note 7; XLV: 149, 155, figs. 4 (Molenaer), 11 (Potuyl), notes 11, 28; XLIX: 59, fig. 9 (Jost Amman); 188, figs. 21–22 (Jacob Esselens), note 22; L: 392, fig. 48 (Jan Siberechts?), note 44; LIII: 321, 333, 335, figs. 18 (Waterloo), 42 (copy after De Vlieger, possibly by Waterloo), 44 (De Vlieger), notes 20, 43, 45; 490–91, nos. 15 (copy after Helmbreeker’s self-portrait), 22 (Martin Mijtens ii); LV: 55, 109, figs. 158, 361 (A. Bloemaert); 328, fig. 17 (Verboom), note 57

______, Sotheby Mak van Waay, formerly. XXXVI: 77, fig. 4 (Van Noordt), note 17; 403, figs. 7–8 (Louis de Caulery), notes 19–20; XLIV: 347, fig. 14 (Van den Bossche); XLIX: 180, fig. 2 (Simon de Vlieger), note 6 ; LII: 68, 77, 82, figs. 13 (Jan de Visscher), 29 (Cornelis Visscher), note 60; LVI: 199, 221, fig. 12 (Van Musscher)

______, Stadsarchief. XLVIII: 79, 84, 90, fig. 13, 19–20 (Berckenrode), 14 (anonymous), 27, 29 (Hollar), notes 52, 76; LVI: 213, figs. 42, 44 (Johannes Tangena after Van Musscher), note 51

______, Stedelijk Museum Amsterdam. L: 187, fig. 1 (Matisse), note 1

______, Stedelijk Museum, Fodor coll., see Amsterdam, Amsterdams Historisch Museum, Fodor coll.

______, Henk J. Stokking Art Gallery. XXVIII: 163, fig. 30 (after Jordaens)

______, Swart, formerly. LII: 277, 287, 301, 327–28, 330–32, figs. 2, 3b, 13, 14a–b, 31–37 (Coecke van Aelst)

______, University of Amsterdam, Library. XLVIII: 86, fig. 24 (Jan Mol)

______, ______, ______, Special coll. LVI: 216, figs. 50 (Jan Stolker? after Van Musscher), 52 (Ludolf Bakhuizen), notes 63, 66

______, Van Gogh Museum. XX: 381–82, fig. 1 (Van Gogh); XLIV: 98, fig. 4 (Van Gogh)

______, R.W.P. de Vries, formerly. XLVII: 282, 311, fig. 22 (“False Amand” hand? after G. F. Grimaldi); LII: 68, 75, 79, 82–84, figs. 13, 25, 32 (Jan de Visscher); LVI: 194, 207, 220, figs. 1–2, 29–30 (Van Musscher)

______, De Vries…Roos, formerly. LVI: 208–9, 223–24, figs. 32 (copy after Van Musscher), 36 (Matthijs Naiveu after Van Musscher)

______, De Winter, formerly. LII: 61, 82, fig. 3 (Jan de Visscher)

______, De Winter and IJver, formerly. LVI: 199, 221, fig. 12 (Van Musscher)

Ananoff, Alexandre. L’Oeuvre dessiné de Boucher. Catalogue Raisonné I. Review. V: 54–66

Anastasi, William. LII: 519, fig. 8

Anckarsvärd, Michael Gustaf, formerly. LII: 307, 335, fig. 41 (Coecke van Aelst)

Ancona, Museo Civico. XIX: 280–86, figs. 8–10, pl. 35 (Titian)

______, Private coll. VII: 157, pl. 34 (Guercino); XV: 22–25, figs. 1–2, pls. 17–20 (Ligorio)

Andersen, Wayne V. I, 4: 44–46 (CÉZANNE); V: 265–80 (CÉZANNE)

Anderson, Harry W. and Mary Margaret. LVI: 367, fig. 21 (Wayne Thiebaud), note 17

______, Susan. LIII: 471–76 (CORNELIS DUSART)

Andover, MA, Phillips Academy, Addison Gallery of American Art. L: 202, fig. 6 (Sol LeWitt), note 48

Andrea del Sarto: The Renaissance Workshop in Action, exh. cat. by Julian Brooks, with Denise Allen and Xavier F. Salomon. Review. LIV: 101–6

Andrea Mantegna. Review. XXXI: 172–76

Andrea Palladio, 1508–1580. The Portico and the Farmyard. Review. XIII: 401–02

Andreani, Andrea. L: 84, fig. 5a (chiaroscuro woodcut after Malpizzi); LIV: 171, fig. 38 (chiaroscuro woodcut)

Andreasi, Ippolito. XXII: 3–28, figs. 1–2 (after), 3 (attributed to), 4–5 (after Giulio Romano), 6 (circle of), pls. 1–2, 3–13 (after Giulio Romano), 14–26

Andréossy, Comte Antoine François, formerly. LV: 435, fig. 1 and front cover (Dürer), note 1

Andrews, Keith. II: 157–60 (BRONZINO); V: 379–81 (NATIONAL GALLERY OF SCOTLAND); VI: 158–62 (REVIEW); 260–61 (ULIVELLI); 289–90; VIII: 53–54 (REVIEWS); IX: 38–39 (ELSHEIMER); XIII: 3–7 (ELSHEIMER); XVIII: 176–78; XX: 398–99; XXII: 212–14 (REVIEWS); 294–98 (P. DE GREBBER)

______. Catalogue of German Drawings in the National Gallery of Scotland. Review. XXXII: 396–97

______. Catalogue of Netherlandish Drawings in the National Gallery of Scotland. Review. XXVI: 49–52

______ coll. II: 169; VI: 372, note 37, pl. 14 (Reni); XXV: 24, pl. 1 (Poelenburg)

Angeli, Giulio Cesare. XL: 139, fig. 6

Fra Angelico. II: 282; XLVIII: 510, fig. 14

Angeluccio. IV: 375–83, figs. 1–3, pls. 1–13; IX: 367–83, pls. 14a, 15b, 17b

Angers, David d’. XI: 277–79, fig. 1; XLI: 140–50, figs. 1–13

Angers, Musée des Beaux-Arts. XI: 277–79, fig. 1 (David d’Angers); XV:170, note 28, pl. 33a (Restout); XVII: 133, pl. 11 (Poussin); XXXVI: 123, fig. 1 (Isaac Oliver, copleted by Peter Oliver), note 2; XLI: 140–50, figs. 1–7, 9–13 (David d’Angers), notes 12–16, 19–20, 24, 27, 31

______, Musée des Tapisseries. XXV: 393–404, figs. 4, 14 (Bondol and Bataille)

______, Musée Pincé. XLVII: 355, figs. 2–4, 6–8 (Cornelis de Vos), note 6; LV: 73, 83, figs. 221, 261 (A. Bloemaert)

Ango, Jean-Robert. XXXVII: 35–46, figs. 1–16; XXXIX: 292, 294, figs. 4 (? and Hubert Robert), 5 (?), 6 (and Hubert Robert), 8 (and Hubert Robert); XLVII: 150, 155, figs. 23 (? after Daniele da Volterra), 24 (after)

Angulo, Diego, and Alfonso E. Pérez Sánchez. A Corpus of Spanish Drawings. Vol. I. Spanish Drawings, 1400–1600. Review. XIV: 176–80

______. A Corpus of Spanish Drawings. Vol. III. Seville School, 1600–1650. Review. XXV: 165–70

______. A Corpus of Spanish Drawings. Vol. IV. Valencia, 1600–1700. Review. XXVIII: 87–92

Ann Arbor, MI, University of Michigan Museum of Art. III: 150; 282–83 (review); VII: 166, note 12, pl. 38a (Canuti); XI: 161–63, note 2, pl. 27 (Monti); XIII: 178 (review); XVIII: 370, pl. 34 (Jordaens); XXX: 378, figs. 32–33 (Toeput); XLVII: 474, fig. 4 (Delacroix), note 4; L: 81, fig. 1 (Malpizzi); LI: 111, fig. 4 (Johann König), note 49

Annear, Harold Desbrowe, formerly. XLVI: 496, fig. 80 (Gainsborough)

Annenberg, Mr. and Mrs. Walter H., formerly. XLVII: 447–51, figs. 1–4 (Cézanne), note 1

Annesley, Noël. XXXV: 227–28 (LORE HEINEMANN)

Anonymous artist. V: 377, fig. 2 (engraving after Rubens);VII: 54, pls. 29, 32; VIII: 139–40, figs. 9, 11–12; X: 12, pls. 10–12; 42–43, fig. 1; XIII: 6, fig. 2; 142–43, fig. 2 (engraving after Goltzius); XV: 159, fig. 22; 368–69, fig. 3; XVI: 39–40, fig. 4 (after Filippino Lippi); 160–61, fig. 4 (engraving after Della Bella); 443, fig. 6 (retouched by Rubens); XVIII: 22–23, fig. 10; 159–60, fig. 6, note 9; XIX: 29, pl. 27; XXI: 145–47, fig. 11 (after Lamberti); XXIII–XXIV: 47–48, pl. 22; XXV: 136, fig. 7 (after Michelangelo); 143–45, note 3, pl. 2 (after Roberti); XXVI: 122, fig. 1 (after Crayer); 223, fig. 3 (woodcut after Parmigianino); XXVII: 355–56, fig. 15; XXVIII: 172, fig. 36; 315, fig. 1; XXX: 203, figs. 4, 6; XXXI: 269, fig. 72 (engraving after Goltzius); 372, fig. 9 (engraving after Mantegna); XXXIII: 157, fig. 2 (engraving after Paradisi); XXXVI: 137, fig. 21 (after Peter Oliver), note 106; XXXIX: 115, 132, figs. 4 (after Schongauer), 24 (after Dürer); 321, fig. 5; XL: 139, 144, figs. 9 (engraving), 10 (Porcelain Meissen Ware), 15 (engraving); XLI: 18, fig. 4; 112–13, fig. 10 (after Michelangelo); XLIII: 361, figs. 12–13 (after Bandinelli after Raphael); XLIV: 294, fig. 19; 372, fig. 1 (after Michelangelo); 429–31, 434–44, figs. 30–34 (after Watteau), 35 (after Watteau and Vleughels), 42–48, 52–73; 457, fig. 9 (etching after Watteau); 503, fig. 9 (engraving); XLV: 397, fig. 2 (etching and aquatint after Goya); 440, 445–46, 451, 471–72, figs. 12 (associated with Konrad Gesner), 13 (woodcut), 14–15 (woodcuts after Pierre Gourdelle?), 17 (woodcut after Pierre Gourdelle?), 19 (associated with Konrad Gesner), 20 (woodcut after Pierre Gourdelle?), 21 (woodcut), 22, 23 (woodcut after Pierre Gourdelle?), 25 (associated with Konrad Gesner), 26 (woodcut), 27 (associated with Konrad Gesner), 28 (woodcut), 29 (associated with Konrad Gesner), 30 (woodcut), 31 (after anonymous artist associated with Konrad Gesner), 32 (woodcut), 53, 55, 60–62; 531, figs. 4–5; XLVI: 95, fig. 6; 353, 356, figs. 3–4 (after Bartolommeo Ramenghi? after Parmigianino), 5 (after Parmigianino); XLVII: 76, fig. 8 (engraving after Gaulli); 280, 293–94, 302, 306–11, 315, figs. 21, 40, 43 (after Dughet), 45 (after Moucheron), 51 (copyist after the “False Amand” hand after Dughet), 55, 57–59 (after Dughet), 60–62, 66–67; XLVIII: 79, fig. 14 (etching or engraving); 459, fig. 3 (and Domenico Stagi); XLIX: 208, fig. 68; 457, fig. 40 (after Theodoor van Thulden); 490, 505, 521, figs. 19 (engraving), 47 (etching and engraving), 80 (engraving after Giuseppe Arcimboldo); L: 349, fig. 32 (engraving after Hans Bol); LI: 6, fig. 4 (engraving published by Antoine Lafréry); 454, fig. 9; LIII: 16, 43, 52, figs. 15, 39, 47; 191, figs. 4–5, 8, 10 (after Lucas van Leyden); 215, fig. 4 (etching); 279–80, 282, 290–91, figs. 8–9, 12 (after Taddeo Zuccaro), 28 (engraving published by Hieronymus Cock), 29 (anonymous, perhaps Avanzino Nucci after Peruzzi); 315, fig. 8; 428, fig. 4 (engraving); 489–90, nos. 8 (copy after Cavedone’s self-portrait), 15 (copy after Helmbreeker); LIV: 173, fig. 46 (chiaroscuro woodcut after Raffaellino da Reggio); 314, 363, figs. 30 (after Frans Post), 113 (engraving); 382, fig. 5; 385, fig. 1 (with Bartholomeus Spranger); LV: 59, 66, 78, 103, figs. 171, 197, 241, 335; 382, fig. 7; LVI: 39, 62, figs. 14 (after), 15, 39 (after); 293, 297, 301, figs. 6 and 18 (after Daniele da Volterra), 13 (after Daniele da Volterra or studio); 326, figs. 23 (formerly attributed to Luca Giordano), 24–25 (formerly attributed to Cavedone)

______ (of the Second Avian Project). XLV: 436–513 passim, figs. 1, 16, 18, 39 (Pierre Vase?), 47–51, 54, 59, 69, 72, 75, 77, 84, 97–99, 102, 114, 117–18, 122, 124

______, c. 1570. I, 3: 52, pl. 37

______, 16th century. XXXI: 341–42, fig. 20; 383, fig. 12; LIII: 425, fig. 1

______, 17th century. XLV: 531–32, figs. 6–8; LVI: 37, fig. 11 (?)

______, 18th century. XLI: 348, fig. 6; XLVI: 111, figs. 1–3 (Rembrandt imitator?); LVI: 74–76, figs. 54, 55 (after Giovanni Battista Gaulli), 56 (after Giulio Romano and Giovanni Francesco Penni), 57 (after Carlo Rainaldi and Francesco Bolognese), 58 (after Pietro da Cortona)

______, Ancient Roman. LVI: 35, fig. 5 (copy after a lost Greek model); 468–69, figs. 11, 13

______, ______, 1st century bc. LVI: 476, fig. 8

______, ______, c. ad 117–138. LVI: 465, fig. 6

______, the Antique. LVI: 35, 37, 62, 64–67, 69, figs. 4, 10, 40, 42–44, 46–47, 49 (all after); 465, 468, 472, figs. 5, 10, 12, 19 (all after)

______, Antwerp, c. 1520–30. XXXVI: 55, fig. 3

______, Austrian Master, 1424. V: 24–31, pl. 17

______, Bruges, see Anonymous artist, Netherlandish, Southern

______, Brussels tapestry factory, see Unidentified Brussels tapestry factory

______, Burgundian artist. XLVI: 214, fig. 10

______, Dutch (c. 1650–60). XXXIX: 404, fig. 10

______, English, 18th century. LVI: 489, fig. 7

______, Flemish, see Anonymous artist, Netherlandish, Southern

______, French. XIX: 30, pl. 30a; XLVII: 153, 155, fig. 25; LVI: 85, fig. 3 (after Carlo Rainaldi and Francesco Bolognese); 174, figs. 12–13

______, French (before 1378). XXV: 392–93, fig. 2

______, French (16th century). XLVI: 322–52, figs. 2–8, 11 (woodcut), 12, 13 (woodcut), 14, 16, 18–26

______, French (17th century). XVII: 140, pl. 18; XVIII: 138–39, fig. 4

______, French (Lyonnais, 16th century). LII: 165, figs. 49–50 (drawn woodblocks)

______, French (school of Fontainebleau). XV: 153, fig. 16

______, German. LI: 225, fig. 4; LVI: 489, fig. 5 (?)

______, German (1493). XXXIV: 125, fig. 4

______, German (16th century). XXII: 468, fig. 1; XLIX: 539, fig. 9

______, German (Gothic). XVIII: 27–29, pl. 11

______, German (Nuremberg). XXIII–XXIV: 506, fig. 2

______, German (Nuremberg, c. 1490). III: 401

______, German (Weimar). XXXII: 318, fig. 10

______, Greek, Ancient. XLIII: 334, fig. 17 (bronze)

______, Haarlem School, c. 1650. LV: 506, fig. 23

______, Hellenistic. XLI: 129, fig. 2

______, Hungarian. V: 28–29, fig. 8

______, Italian. II: 388–89, 393, 397, figs. 4–5, note 38, pl. 28; XXIX: 195, fig. 1; XLV: 114, fig. 22; XLVI: 9, 17, fig. 17

______, Italian (c. 1325–50). XLVI: 193, fig. 5

______, Italian (c. 1560). XXVI: 27–28, 39, fig. 23

______, Italian (16th century). XXVI: 6–8, 40, fig. 4; XXXVIII: 230, fig. 5; XLI: 49, fig. 1; XLIX: 257, fig. 7 (woodcut)

______, Italian (18th century). XLIX: 150, fig. 8 (after Giulio Romano and Giovanni Francesco Penni); LIII: 493, no. 39 (copy after Titian)

______, Italian (Bolognese). VII: 421–22, fig. 6; XXXIV: 14, fig. 13

______, Italian (Bolognese, 16th century). VIII: 139–40, pl. 27

______, Italian (Central). XXXII: 386, figs. 1–2

______, Italian (Emilian). XXXI: 341–42, figs. 12, 22

______, Italian (Emilian, 16th century). XXI: 141, pl. 4

______, Italian (Emilian, 18th century). XXI: 148, pls. 16–17

______, Italian (Ferrara, 1470–80). III: 11, 15, fig. 20

______, Italian (Florentine). X: 15–19, pl. 14; XII: 275–76, fig. 25; XXV: 237–41, figs. 1–4 (after A. Pollaiuolo); XXXI: 340, fig. 3; XXXVII: 59, fig. 4 (after A. Pollaiuolo); XLVI: 391, fig. 4 (Maturino?)

______, Italian (Florentine, 1465–80). III: 12, 15, fig. 21

______, Italian (Florentine, 15th century). XXXIII: 30, figs. 1–3

______, Italian (Florentine, c. 1530–40). XLIII: 318, fig. 1

______, Italian (Florentine, Baroque). XX: 260–72

______, Italian (Florentine or Bolognese, late 17th-century). LIII: 489, no. 4

______, Italian (Lombard). XXIII–XXIV: 178, 180, 185, figs. 7, 14

______, Italian (North). IV: 135–36, fig. 5; LV: 305, fig. 24

______, Italian (North, B. Parentino?). LV: 305, fig. 23

______, Italian (North, 16th century). XXXIV: 207, fig. 2; XLVIII: 341, figs. 1, 5, 7–9, 11, 13

______, Italian (North, 17th century). XXI: 142–43, fig. 7

______, Italian (Piedmontese). XI: 361–64, pl. 13

______, Italian (Roman). XI: 361–64, pl. 14

______, Italian (Roman, 16th century). VIII: 138, pl. 25; XV: 120, pl. 5; XXI: 141, pl. 5

______, Italian (Roman, 17th century). XLI: 122, fig. 4; XLII: 265, fig. 7

______, Italian (Roman, c. 1690–95). LV: 497, 522, fig. 14

______, Italian (Tuscan). VIII: 397–98, fig. 1; XX: 239–46, fig. 1, pls. 1–3

______, Italian (Umbrian). VIII: 397–98, fig. 2

______, Italian (Umbrian-Marchigian). VIII: 398–99, fig. 4

______, Italian (Venetian). IX: 40–41, fig. 4; XIX: 277–78, fig. 3, pl. 30; XLII: 319, fig. 4 (woodcut); XLVI: 10, fig. 9

______, Italian (Venetian, c. 1520). XXXI: 393, fig. 4

______, Italian (Veronese, late 15th century). LV: 302–5, figs. 19, 21 (partially reworked), 20, 22

______, Italian (Veronese, 16th century). VIII: 140, fig. 10

______, Liechtenstein Master. I, 2: 34–38, fig. 1, pls. 24–31; III: 47–48, fig. 1, pls. 38–39

______, Neapolitan School. XLVI: 9, 24, fig. 37

______, Netherlandish. XLIII: 227, fig. 1 (after Jan van Eyck)

______, Netherlandish? LII: 235, figs. 5–7

______, Netherlandish (c. 1400). XXV: 406–07, fig. 18

______, Netherlandish (17th century). XXXIX: 407, fig. 12 (or German?)

______, Netherlandish, Northern. V: 162, pl. 22; XXX: 444, fig. 1; XXV: 72, fig. 4 (? retouched by Rubens)

______, Netherlandish, Southern. XV: 161, pl. 17; XVI: 45–48, pl. 36

______, Netherlandish, Southern (c. 1650). XXXIX: 405, 408, figs. 11, 14 (?)

______, Netherlandish, Southern (Bruges, before 1403). XXV: 402–03, fig. 13

______, Northern (early 16th century). XXXIV: 127, fig. 6

______, Portuguese. XLVIII: 469–71, figs. 3–4, 6, 8–9

______, Roman. L: 214, fig. 4 (sculpture, copy of a Hellenistic Greek bronze by Boethos of Chalkedon, c. 250–200 bc)

______, Roman (2nd century ad). XLV: 387, fig. 6; L: 55, fig. 9 (sculpture); LI: 5, fig. 2 (copy after a Greek prototype)

______, Roman (3rd century ad). LI: 21, fig. 10

______, Roman (late 3rd century ad). LI: 23, fig. 11

______, Roman School. XLVI: 17, 28, figs. 19, 46

______, Roman School (16th century). XLV: 387, 389, figs. 4–5

______, Spanish (Baroque). XXI: 401–07

______, Spanish (Madrid). XVIII: 22, fig. 9

Anonymous draftsman, see Anonymous artist

Anonymous engraver. LV: 544, fig. 5 (after Audubon)

Anonymous photographer. LV: 243, fig. 20

Anonymous printmaker. LI: 453–54, 460, 462, figs. 4, 6, 8 (etching and engraving after Simpol), 17 (etching and engraving after Elye), 20 (etching and engraving after Picart); LV: 235–37, 242, 245, figs. 9 (illustration in La Chronique des Arts et de la curiosité, 1879), 10 (illustration in La Vie Parisienne, 1882), 11 (print of the Exposition de la Société des Aquarellistes, 1882), 13 (illustration in the Catalogue de l’exposition de la Société des Aquarellistes, 1884), 19 (front page of Le Blanc & Noir, August 1888), 21 (ensemble of caricatures regrouped by Le Blanc & Noir, 1888)

Anonymous school, see Anonymous artist

Anonymous sculptor, active in the Marches. XLVI: 8, 17, fig. 18

Anonymous woodcutter. LII: 289–90, fig. 19 (woodcut after Coecke van Aelst)

Anonymus Foro Semproniensis. XXXI: 379, 381, figs. 9–10

Anselmi, Michelangelo. VIII: 278, 281, pls. 29c (attributed to), 34–35; XLVI: 8, 18, figs. 21 (after Correggio), 22; XLIX: 22, 25, figs. 10–12; L: 507–22, figs. 2 (after), 3–8, 23–26

Anslo, Cornelis Claesz. XLIX: 307, figs. 31–34 (portraits)

“L’Antinoro.” VIII: 134, pl. 18

Antoniacci, Cesare. LVI: 343, 345, 347, figs. 15–16, 18 (?), 19–20 (etching), 24–26

Antonio di Donnino del Mazziere. L: 25, fig. 7

Antoon van Dyck et son iconographie. Eaux-fortes, gravures et dessins de la Fondation Custodia, Collection Frits Lugt. Review. XX: 287

Antwerp, Begijnhofkerk. I, 3: 24–26, fig. 5 (Jordaens)

______, Church of St. Charles Borromeo. XXVI: 44–49, fig. 2 (Seghers), note 7

______, Koninklijk Museum voor Schone Kunsten. III: 355–56, fig. 1 (Aertsen); VII: 260–61, fig. 1 (F. Floris); XII: 134–35, fig. 2 (A. Francken); XV: 403–17 (review); XVI: 296–99, figs. 4 (Keirincx), 7 (Govaerts), notes 7, 21; XIX: 152–53, fig. 3 (L. and J. Doetechum), pl. 31 (P. Bruegel); XXII: 82–85 (review); XXIII–XXIV: 223–25, fig. 9 (Jordaens); XXVII: 322, fig. 2 (C. de Vos), note 6; 329, fig. 16 (C. de Vos); XXVIII: 147, fig. 8 (Jordaens); XXXIII: 81–82 (review); XXXV: 270, 277, figs. 4, 14 (Smits), notes 8, 24; XLI: 217, fig. 2 (Jan van Eyck); XLIX: 192, fig. 31 (Jan van de Cappelle), note 31; LI: 313, fig. 26 (Pieter Bruegel the Elder), note 71; LII: 388, fig. 2 (Rubens), note 14

______, Museum Mayer van den Bergh. XLI: 233, fig. 3 (Ghent-Bruges illuminator), note 11; 242, 244, 254, figs. 6 (Maximilian Master), 15, 21 (G. David), note 12; XLV: 147, figs. 1 and back cover (Molenaer), note 7; LV: 75, fig. 229 (A. Bloemaert)

______, Museum Plantin-Moretus. XV: 162–63, fig. 1 (Cornelis Galle ii), note 10; 403–17 (review); XVIII: 61 (review); XXX: 407, figs. 15, 17 (Agostino Carracci), note 47; XLIX: 533, 539–40, figs. 1 (ex-libris of the Golitsyn princes), 10 (Rubens after Hans Holbein the Younger), 12 (inscription in the book of copies by Rubens after Holbein), note 53; LI: 325, fig. 1 (Van den Wyngaerde), note 18; 344, 346, 348, figs. 1, 4–5 (Vrancx); 362, 365, figs. 2 (Faydherbe), 3 (Van der Voort), 4 (Verbrugghen), notes 8, 30–31; 389, fig. 18 (Verhagen), note 18

______, Rijksarchief. LII: 278, fig. 5 (autograph receipt by Coecke van Aelst), note 12

______, Royal Museum of Fine Arts, see Antwerp, Koninklijk Museum voor Schone Kunsten

______, Rubenshuis. I, 3: 24–26, fig. 6, note 37, pl. 15 (Jordaens); XXIX: 426, fig. 8 (Van Mildert); XXXIII: 82–83 (review); XLI: 305–16 (review)

______, Stedelijk Prentenkabinet. I, 3: 21–22, fig. 3 (Jordaens); IV: 446–47, figs. 7–8 (Rubens); VIII: 162–63, fig. 2 (Van Dyck), note 5; XXI: 163–66, note 5, pl. 39 (Fruytiers); XXIII–XXIV: 216–17, 223–25, pls. 27, 34 (Jordaens); XXVIII: 149, 172, figs. 10 (Jordaens), 36 (unknown artist)

______, Stichting Terninck. XXIII–XXIV: 49, fig. 4 (Boeckhorst)

______, Lowet de Wotrenge Fine Art, formerly. LV: 48, fig. 134 (studio of A. Bloemaert?)

Antwerp Drawings and Prints, 16th-17th Centuries. Review. XVIII: 277

Antwerp Master, so-called Pseudo-Bles. XXXVI: 52–59, figs. 1, 2 (after)

Anzelewsky, Fedja. VI: 262–65 (MARTIN SCHONGAUER); XXXVII: 262–70 (M. SCHONGAUER)

______. Dürer und seine Zeit. Review. VI: 55

Apelles coll. XXXVII: 383, fig. 19 (Alonso Cano), note 29

______, formerly. XLV: 327, 334, fig. 6 (Cano)

Apgar, Garry. XXIII–XXIV: 254–57 (REVIEW)

Apollonio di Giovanni. XII: 127–28, fig. 1 (attributed to)

Aquila, Francesco. XVII: 150, fig. 2 (engraving after Gherardi)

______, Johannes. V: 28–29, fig. 7

______, Pietro. II: 49, fig. 3; XXIII–XXIV: 9, fig. 2 (engraving after Voet); XXXI: 356, fig. 13

______, Pompeo Cesura dell’. II: 172

Aranjuez, Convento de S. Pascual. XLVIII: 499, fig. 2 (Federico de Madrazo), note 8

Architectural Drawings from Lowther Castle, Westmorland. Review. XXI: 181

Arcimboldo, Giuseppe. XLIX: 521, fig. 80 (engraving after)

Arensberg, Louise and Walter, formerly. XLII: 9, fig. 6 (Picasso), note 13

Aretino, Spinello, see Spinello Aretino

Arezzo, Badia di SS. Flora e Lucilla. XLIX: 165, fig. 4 (Vasari), note 9

______, Casa Vasari, Sala del Camino. L: 502, fig. 10 (workshop of Vasari)

______, Conservatorio di S. Caterina. XIX: 428–31, figs. 2, 5 (Spinelli), note 13

______, Fraternita dei Laici, Collezione Bartolini. L: 498–500, figs. 5 (Vasari), 7 (watermark on Vasari sheet), notes 17, 21

______, Galleria e Museo Medioevale e Moderno. XIX: 426–36, figs. 1, 7 (Spinelli), note 10

______, Palazzo Comunale. XIX: 428–30, fig. 4 (Spinelli), note 16

______, Pinacoteca. XXX: 88, fig. 8 (Vasari)

______, S. Domenico. XIX: 428–41, figs. 3, 6, 8 (Spinelli), note 15

______, S. Margherita, formerly (destroyed). XXXVI: 181, fig. 1 (Vasari)

Argenville, Dezallier, d’, see Dezallier d’Argenville, Antoine-Joseph

Argoutinsky-Dolgoroukoff, Wladimir, Prince, formerly. XLV: 204–5, figs. 6, 8 (copy after Elsheimer, Hendrik Goudt?), note 13; 298, fig. 12 (El Greco), note 22

Ariccia, Palazzo Chigi. X: 20–22, fig. 2 (Bernini)

Armand, Alfred, formerly. XLVI: 193, fig. 4 (Bezzi), note 18; LII: 70, 82, fig. 17 (Jan de Visscher)

Armstrong, Carol. A Degas Sketchbook. Review. XL: 255–57

Arnhem, Gelders Archief. LIII: 324–26, figs. 25 (De Vlieger), 26 (Waterloo), 27 (Herman Saftleven), 28 (Esselens), notes 27–30

Arona. IX: 365, fig. 1 (sculpture designed by Cerano)

Arp, Hans. L: 164, 168, figs. 3, 7

Arpino, Cavaliere d’ (Giuseppe Cesari). III: 258; 407; XXVII: 207, fig. 17 (after); XLVI: 219, fig. 5; LII: 98, fig. 9 (ascribed to); LIII: 489, no. 1 (self-portrait); LIV: 517, 521, figs. 17–18, 20, 23 (or studio of)

Arras, Musée des Beaux-Arts. LIV: 52, fig. 7 (Vernansal), note 15; LVI: 173, fig. 9 (Jean-Baptiste Corneille after Girolamo da Treviso), note 19; 517, 526, figs. 2, 21 (Louis Silvestre the Younger), notes 5, 40

Arrighi, Ludovico degli. LII: 433, figs. 6–10 (writing manual)

Arrigo Fiammingo, see Broeck, Hendrik van den

The Arrogant Connoisseur. Richard Payne Knight, 1751–1824. Review. XXI: 181–82

Arsoli, Palazzo Massimo. XLVI: 80, figs. 40, 42 (Benefial), notes 80, 82

Art and Autoradiography. Insights into the Genesis of Paintings by Rembrandt, Van Dyck, and Vermeer. Review. XXII: 332

L’art en Lorraine au temps de Jacques Callot. Review. XXXIII: 64–68

The Art Institute of Chicago. French Drawings and Sketchbooks of the Eighteenth Century. Review. XVIII: 48

Art market. XXXI: 224, fig. 7 (Goltzius); XXXVIII: 452, figs. 7–8 (Boscoli), notes 13–14; XLII: 320, 324–25, 328, figs. 7, 9, 16, 19, 28 (Campagnola)

______, formerly. XXV: 362, note 6, pl. 2 (Kempeneer); XXXII: 393, fig. 1 (Giovanni da Udine), note 2; XLII: 355, fig. 8 (J. Tintoretto), note 17; XLV: 149, fig. 4 (Molenaer), note 11

Art of Paolo Veronese, 1528–1588. Review. XXVII: 229–34

L’arte del disegno. Festschrift für Christel Thiem. Review. XXXV: 402–03

Arteaga y Alfaro, Matías. XX: 257–58, pl. 8; XXI: 407, pl. 39

Artemio. LVI: 450, fig. 19

Arts Council of Great Britain. XIII: 177, 401–02 (reviews)

Asam, Cosmas Damian. XXXIX: 174, fig. 1

______, Egid Quirin. XXXIX: 183, fig. 13

Asch, Pieter van. LIII: 19, fig. 16

Aschaffenburg, Galerie. XXXIV: 298, fig. 7 (Coxcie, after Raphael), note 15

Ascott House, Lord Anthony de Rothschild coll. XXVII: 147, fig. 8 (Maes), note 4

Ashby, Thomas. XXVII: 239–42 (review)

Asheville, NC, Brunk Auctions, formerly. XLVI: 515, fig. 110 (Gainsborough)

Askew, Ian, formerly. LV: 79, fig. 243 (A. Bloemaert and a later hand)

Asolo, Cathedral. XVI: 44–45, fig. 1 (Romanino)

Aspertini, Amico. II: 32–36, pls. 20–27; III: 18–20, figs. 22–27; XXVI: 56, fig. 3; XXIX: 145–72, figs. 1–21

Aspland, A., formerly. XLVI: 471, fig. 40 (Gainsborough)

Asselyn, Jan. XXVII: 167, fig. 3; XXXVII: 192, figs. 1–2 (follower of)

Assisi, Sacro Convento. XL: 147, fig. 22 (Sermei)

______, S. Maria degli Angeli, Cappella delle Stimmate. XL: 142, 144–45, figs. 13 (Giorgetti), 17, 19 (Sermei)

Astorga, Marquis of, formerly. XXXVII: 107, 133, fig. 7 (Luca Giordano), note 11

Atget, Xavier. XIII: 64–65

Athens, National Gallery–Alexandros Soutzos Museum. XLV: 304, fig. 21 (El Greco), note 42

______, National Museum. XXVI: 255, fig. 1 (statue of Poseidon)

Athon, Frederick B., formerly. XLIV: 517, fig. 2 (Nattiez), note 3

Atkinson, John Augustus. LVI: 254, 261, figs. 9–12, 14, 27 (all etching and aquatint)

Atlanta, GA, Emory University, Michael C. Carlos Museum. XLVIII: 160, figs. 8–9 (Polidoro da Caravaggio), note 9

______, High Museum of Art. XIX: 56 (review)

Attenborough, David, et al. Amazing Rare Things: The Art of Natural History in the Age of Discovery. Review. XLV: 546–50

Aubert, Gauthier. XLV: 91–102 (MARQUIS DE ROBIEN); 404–5

Aubonne, Vaud, unidentified source, formerly. XLIX: 107, figs. 32–33 (Amico di Donato)

Auckland, NZ, Auckland Art Gallery. LV: 14, fig. 29 (A. Bloemaert)

Audenaerd, Robert van. IV: 424–29, figs. 3–4, 6; X: 241–52, figs. 4, 13–14 (engravings)

Audette, Louis and Anna Held. XLI: 414, figs. 1–2 (Julius S. Held)

Audran, Charles. XLVII: 461, fig. 2 (engraving)

______, Claude ii. II: 142–52, fig. 1, pls. 10–19; XVII: 141–42, fig. 11 (engraving after Poussin); LVI: 541, fig. 3

______, Girard. LIV: 34, fig. 27 (engraving)

______, Jean. XLIV: 469, figs. 10, 13, 15 (? and Gillot, etchings); LVI: 520, fig. 9 (etching)

Audubon, John James. XXII: 331; XLII: 24, fig. 2–3; 129, fig. 6; L: 439–95, figs. 1 (portrait), 2–8, 10–16, 18, 20–47, 49–50, 52; LV: 539–48, figs. 1, 3–4, 5 (after), 6–8

Augsburg, Bayerische Staatsgemäldesammlungen. XXIX: 43, fig. 11 (after Strigel), note 17

______, Rathaus. XIV: 64–66 (review)

______, Städtische Kunstsammlungen. XII: 377–78, note 1, pls. 46–47 (Algardi)

______, ______, Graphische Sammlung. XXXIX: 395–408, figs. 1 (F. Floris), 2 (Monogrammist H. F. of 1583), 3 (Marten de Vos), 4–5 (J. de Moor), 7 (Roghman), 8 (Rubens School, circle of Erasmus ii Quellinus), 10 (Dutch School), 11 (Flemish School), 12 (Netherlandish [or German?] School), 13 (circle of Jan Muller or Adriaen de Vries), 14 (Flemish School); XLIX: 99, 104, figs. 14, 20–22 (Amico di Donato)

Augustijns, J. XXVIII: 153, fig. 16 (Jordaens)

Aumale, Henri-Eugène-Philippe-Louis dOrléans, duc d’, formerly. XLV: 306, fig. 25 (El Greco), note 46; XLVII: 301, fig. 50 (“False Amand” hand)

Austin, A. Everett, Jr., formerly. XLII: 137, fig. 4 (G. B. Tiepolo)

______, W. D., formerly. LIV: 164, 191, fig. 28 (Raffaellino da Reggio)

Austin, TX, University of Texas, Archer M. Huntington Art Gallery. XXV: 282–83 (review)

______, ______, Blanton Museum of Art. XLIII: 178, fig. 21 (Federico Zuccaro), note 34; LIV: 34, figs. 24–25 (Licherie), note 55

______, ______, ______, Suida-Manning coll. XXXIX: 174, figs. 1 (C. D. Asam), 2 (Schmidt)

Australia, Private coll. XLVI: 533, back cover (Gainsborough)

Austria, Private coll. XLVI: 472, 531, figs. 41, 138 (Gainsborough)

Austrian Master, 1424, see Anonymous artist, Austrian Master, 1424

Avelli, Francesco Xanto. LIII: 288, fig. 27 (? or Nicola da Urbino)

Avercamp, Hendrik. III: 48–50 (formerly attributed to)

Auvercx, Albert, formerly. LII: 316, 339, figs. 54–54a and front cover (Coecke van Aelst and workshop)

Avery-Quash, Susanna, see Syson, Luke, and Dillian Gordon, with Susanna Avery-Quash

Avesa, S. Maria del Tagliaferro, formerly. LII: 464, figs. 3–4 (Ottino), note 2

Avignon, Bibliothèque Municipale. XLV: 74, figs. 5–9 (aquatints after Pierre ii Mignard)

______, Musée Calvet. IV: 39–45, pls. 33–34 (Cézanne); XLVII: 184, figs. 33–36 (Étienne Parrocel), notes 19–22; XLVIII: 256, fig. 5 (Étienne Parrocel), note 16; XLIX: 75, 85, fig. 16–17 (Foggini); 105, figs. 23–24 (Amico di Donato); LVI: 502, fig. 33 (Claude Lorrain), note 55

Avnet, Mr. and Mrs. Francis, formerly. XLVI: 500, fig. 84 (Gainsborough)

______, Lester, formerly. XXXIII: 144, fig. 1 (U. Gandolfi), note 2

______, Lester and Joan. VI: 412–13 (review)

Avont, Pieter van. XXXIX: 403, fig. 9 (and Wouters)

Azaincourt, Blondel d’. V: 57–58, note 21

Azzia, Alessandro d’. VII: 303–07, figs. 1–2, pl. 46 (portrait of)

Azzolino, Decio. III: 386–87

______, Giovanni Bernardino. LII: 534, fig. 6 (wax head)

______, Pompeo. III: 386–87

 

Babinet, Alexandre, formerly. XLVII: 486, fig. 7 (Bedeschini), note 9

Baburen, Dirck van. VI: 27–30, fig. 1, pl. 11

Bacchiacca. XXVIII: 201, fig. 3 (attributed to)

Baccio Bandinelli, 1493–1560. Drawings from British Collections. Review. XXVI: 137–38

Baccio d’Agnolo. XXV: 253, fig. 11 (?)

Baccio del Bianco. XIII: 67; XV: 365–75, figs. 1–2, pls. 21–31; XLVII: 53–69, figs. 1–6

Il Baciccio, see Gaulli, Giovanni Battista

Backer, Jacob Adriaensz. XXXVI: 74–79, figs. 1, 2 (copy after); LVI: 208–9, figs. 34–35

______, Jacob de i. VIII: 134–36, pl. 19a (attributed to); XX: 283–84, pl. 27

Bacou, Roseline. I, 1: 41–43 (SOGLIANI); II: 40–44 (CARRACCI); XXI: 255–62 (PAOLO VERONESE)

______, and Maurice Sérullaz. Great Drawings of the Louvre Museum. Review. VIII: 56

Badalocchio, Sisto. VIII: 280–81, fig. 1, pls. 32b-33; XX: 157–58, fig. 1; XXXVI: 411, fig. 4

Badarocco, Giovanni Raffaelo. XXIII–XXIV: 246, pl. 60

Baden-Baden, Staatliche Kunsthalle. XXII: 455–61 (review)

Bader, Alfred. XXVII: 147,153, fig. 4 (Maes)

Baderou, Suzanne and Henri. XVIII: 391–92

______, formerly. LIV: 56, fig. 14 (Vernansal), note 24

Badgley, Anne Verriest, formerly. XXXI: 246, fig. 43 (Goltzius)

Badile, Antonio ii (1424/25–1507/12), formerly. LVI: 443–62, figs. 1–2 (G. A. da Lodi), 3–4 and back cover (Nicola Giolfino), 5–6 (follower of Andrea Mantegna), 7 (Giovanni i Badile), 8–9 (Giovanni ii Badile), 10 (Pietro Paolo Badile), 11 (Nicolò Badile), 12 (Stefano da Verona or his circle), 13 (Antonio Faso), 14 (Bernardino, called Il Boraga after Marcantonio Raimondi after Raphael), 15 (Francesco iii Badile), 16 (Gaetano Laordillo), 17–18 (Rufo), 19 (Artemio), 20 (Marco Zoppo), 21 (Bernardo Parentino), 22 (G. A. da Lodi), notes 4–5, 13, 15, 17–18, 32, 36–37, 39–41, 45, 48, 50–52, 62, 64, 72

______, Francesco iii (c. 1492–before 26 April 1575). (c. 1492–LVI: 448, fig. 15

______, Giovanni i (c. 1379–1448/51). LIV: 263, fig. 2; LVI: 446, fig. 7

______, Giovanni ii (Don Giovanni; c. 1449–1514). LVI: 446, figs. 8–9

______, Nicolò (after 1440–after 1466). LVI: 448, fig. 11

______, Pietro Paolo (c. 1427–after 6 October 1500). LVI: 448, fig. 10

Baer, Curtis O. VI: 170 (REVIEW)

______. Landscape Drawings. Review. XII: 181

______ coll. I, 4: 17; III: 380, 404; IX: 368–69, fig. 2 (Claude Lorrain), note 34

______, formerly. XLV: 332, fig. 14 (Cano); LIII: 331, fig. 38 (copy after De Vlieger, possibly by Waterloo), note 39

______, Dr. George M. XII: 243, pl. 12 (Poussin)

______, Katherine. XIX: 31, fig. 3 (Watteau)

______, Ronni. XXXV: 196–98 (REVIEW)

Bagley, Richard. I, 4: 10, 14

Baglione, Giovanni. I, 3: 60, pl. 43a; I, 4: 4–13 passim; VIII: 267–69, figs. 1–2, pls. 22–23; XXXI: 414–18, figs. 1–8; XXXVI: 355–77, figs. 1 (portrait of), 2–4, 5 (after Correggio), 6–30; 378–97, figs. 1–28; XXXVIII: 465–66, fig. 1

Baglioni, Baccio d’Agnolo, see Baccio d’Agnolo

Bagnacavallo, see Ramenghi, Bartolommeo, called Bagnacavallo

Bagnacavallo Junior, see Ramenghi, Giovanni Battista, called Bagnacavallo Junior

Bagnères-de-Bigorre, Musée Salies. V: 298, fig. 2 (Jongkind), notes 18–19

Bagnoli di Sopra, Palazzetto Widmann. XXXV: 63, fig. 2 (Dorigny)

Bagnoregio, Capuchin Church. XLVI: 63, fig. 5 (Benefial), note 22

Bail, Louis. The Human Head. A Correct Delienation of the Anatomy, Expressions, Features, Proportions, and Positions of the Head and Face. XL: 350–51, fig. 10 (book illus.)

Bailey, Colin J. XIII: 40–47 (SCHWIND); 274–80 (FRIEDRICH); XIV: 68 (LETTER); XVIII: 149–54 (KUPELWIESER); XXI: 172–74 (FRIEDRICH)

______, Stephen M. XIX: 441–42 (VAN UDEN); XXXVII: 277–86 (ANTONIO CARRACCI)

Baillio, Joseph. XLIV: 498–510 (LAMI)

Baker, Christopher. English Drawings and Watercolours, 1600–1900: National Gallery of Scotland. Review. XLIX: 549–51

______, Mr. and Mrs. Edward D. XLV: 241, fig. 1 (Guercino)

______, Elizabeth E., formerly. XXXV: 122–23, 126, fig. 11 (Thompson), 12 (Calverley), 15 (Thompson); XXXVI: 8, fig. 1 (Calverley)

______, George, formerly. XLVI: 472, 496, 510, 528–29, figs. 43, 78, 101, 132–33 (Gainsborough)

______, Walter C. I, 2: 28–31; 50; II: 138, 141; IV: 63, pl. 40 (Cortona); X: 15–19, fig. 1 (Ferucci)

______, ______, formerly. LIV: 64, fig. 1 (Watteau), note 12

Bakewell, Derbyshire, Trustees of the Chatsworth Settlement, see Chatsworth, Devonshire coll.

Bakhuizen, Ludolf. LVI: 216, fig. 52

Bakker, B., E. Fleurbaay, and A. W. Gerlagh. De verzameling Van Eeghen, Amsterdamse tekeningen, 1699–1950. Review. XXX: 438–42

Baldi, Lazzaro. XIX: 53; XXI: 144–45, fig. 10 (after); XLV: 111, fig. 8

Baldini, Pietro Paolo. XXIX: 3–29, figs. 1–33, pls. 1–18

Baldinucci, Filippo, formerly. XLIII: 469, 471, 478, figs. 19–20 (Cortona); LII: 48, fig. 71 (workshop of Luca Signorelli, Genga?)

______, Francesco Saverio, formerly. LII: 48, fig. 71 (workshop of Luca Signorelli, Genga?)

Baldovinetti, Alesso. XII: 261–62, pl. 33 (attributed to)

Balducci, Giovanni, called Il Cosci. XXVIII: 198–99, figs. 1–2 (attributed to); XLVI: 12, fig. 10

Baldung, Hans, called Grien or Grün. XIX: 180–83; XXXIX: 126, fig. 16; LIII: 199, figs. 15 (after), 16 (woodcut)

Bale, Charles Sackville, formerly. XXXVI: 27, fig. 2 (Murillo); XLV: 304, 306, figs. 20, 25 (El Greco), notes 41, 46

Balechou, Jean-Joseph. XLV: 99, fig. 10 (engraving after Huguet)

Balis, Arnout. Rubens Hunting Scenes. Corpus Rubenianum Ludwig Burchard. Part XVIII, Vol. II. Review. XXVI: 138–39

Balla, Giacomo. LI: 547, fig. 7

Baltimore, MD, Maryland State Archives, Maryland Commission on Artistic Property, Peabody Art Coll. (on loan to the Baltimore Museum of Art). XLII: 69–70, figs. 1 (Boissieu), 2 (J.-L. David), 3 (Delacroix), notes 5, 9, 12

______, Museum of Art. IX: 283 (review); XVIII: 57, 389 (reviews); XXXIV: 414, fig. 1 (Gamelin), note 1; XLIX: 336, fig. 118 (Rembrandt)

______, ______, George A. Lucas coll. XLII: 70–72, figs. 4 (Delacroix), 5 (Millet), notes 18–19

______, Walters Art Museum. IX: 147, fig. 2 (Turchi); XXXIII: 39, fig. 9 (Pierron after Pozzi); XLII: 73–75, figs. 6 (A. Bida), 7 (Bouguereau), 8 (P. Gavarni), 9 (E. Beaumont), notes 22, 26, 28, 31; 367, fig. 9 (G. B. Tiepolo); LIV: 522, fig. 22 (Stefano Maderno); LV: 196, figs. 1 (Léon Bonvin), 2–3 (Sèvres Porcelain Manufactory), notes 4–5

Bambach, Carmen C. XXV: 131–42 (MICHELANGELO); XXVIII: 197–215 (REVIEW); XXX: 9–30 (RAPHAEL); XXXV: 67–72 (REVIEW); XXXVII: 55–62 (REVIEW); 287–93 (MARCANTONIO FRANCESCHINI); 407–15 (SPANISH BAROQUE DRAWINGS AT THE METROPOLITAN MUSEUM OF ART); XLVII: 452–57 (ANTONIO VASSILACCHI, CALLED ALIENSE); LI: 116–17 (LETTER); LII: 423–28 (BRONZINO)

______. Drawing and Painting in the Italian Renaissance Workshop. Theory and Practice, 1300–1600. Review. XXXIX: 415–20

______, ed. Leonardo da Vinci: Master Draftsman. Review. XLIII: 376–78

______. Michelangelo: Divine Draftsman and Designer. Review. LVI: 385–90

______, Hugo Chapman, Martin Clayton, and George R. Goldner. Correggio and Parmigianino. Master Draftsmen of the Renaissance. Review. XL: 258–59

______, see also Wolk-Simon, Linda, and Carmen C. Bambach

Bandinelli, Baccio. II: 287; 398, pls. 32–33 (formerly attributed to); III: 165; XIX: 3–14, figs. 1–4, 6 (after), pls. 1–15, 16 (studio of), 17; XXVI: 137–38; XXVIII: 202, fig. 5; XXXI: 395–97, figs. 1, 3–4; XLI: 108, fig. 5; XLIII: 361–62, figs. 12–13, 15 (after); XLVI: 192, fig. 3

Banner, Lisa A. XXXVII: 394–406 (SPANISH DRAWINGS AT THE METROPOLITAN MUSEUM OF ART); XLV: 359–66 (FRANCISCO DE SOLÍS); XLVI: 120–21 (review); XLVIII: 544–46 (REVIEW)

Banta, Andaleeb Badiee. L: 49–58 (PARMIGIANINO); LIV: 107–14 (REVIEW)

Baptist, Jacobus. LVI: 211, fig. 38 (etching and engraving after Van Musscher)

Barabé, Pierre-André. XLV: 74, figs. 5–9 (aquatints after Pierre ii Mignard)

Barata, Lorenzo. XXV: 16–17, fig. 7 (?)

Barbalonga, Antonio. V: 152–54, figs. 7–9

Barbarigo, Catarina, formerly. LII: 27, 42–43, figs. 41, 58 (Genga)

______, Contarina and Cecelia, formerly. LII: 27, 42–43, figs. 41, 58 (Genga)

Barbault, Jean. LIII: 109–20, figs. 1–2, 5 (after), 7 (after), 9, 11

Barbelli, Gian Giacomo. LI: 35, figs. 12–14

Barberi, Giuseppe. XLII: 40, fig. 3

Barberini coll. III: 387, fig. 3 (bookbinding)

Barbier, Anzoletto, see Trevisani, Angelo

Barbiere, Domenico del. XIII: 247–48, pl. 18

Barbieri, Giovanni Francesco, called Guercino see Guercino

Barcelona, Artur Ramon Art, formerly. LII: 471, fig. 1 (Ribera), note 1

______, Museu Nacional d’Art de Catalunya. XXII: 310–12, fig. 1 (Annibale Carracci and Francesco Albani); XXXIII: 56–57 (review); XXXVII: 422, fig. 8 (J. de Castillo); XLV: 391–94 (review)

______, Museu Picasso. XLVII: 21, fig. 3 (Picasso), note 12

______, Private coll. XXV: 374–75, fig. 12 (Kempeneer); XLV: 347, fig. 1 (Bazzicaluva), note 15

Barcham, William, and Anthony Panzera. LIII: 343–64 (GIOVANNI BATTISTA TIEPOLO)

Barck, Comte Nils de. LV: 175–210, figs. 2 (portrait of), 4b (note in his hand)

______ coll., formerly. LV: 175–210, figs. 3 (F. Barocci), 4a, 13, 16–17 (Rubens), 5 (Rubens after Leonardo da Vinci), 6 (David Teniers ii), 7 (A. F. van der Meulen), 8a–b (J. Courtois), 9 (C. Maratta), 10 (Agostino Carracci), 11 (G. B. Castiglione), 12, 18 (Jacob Jordaens), 15 (copy after Rubens), 19 (Jan Breughel the Elder)

______, Comtesse Pauline de. LV: 175–210, fig. 1 (portrait of)

Barckman, Mrs. L. LV: 176, fig. 2 (lithograph portrait of Comte Nils de Barck)

Bardini, Stefano, formerly. XXXII: 343, figs. 5, 9, 11, 13 (L. Tiepolo)

Barendsz., Dirck. X: 168

Bargellesi, Dr. Giacomo. X: 376, pl. 36b (Bononi)

Barham, Barons, formerly. XLIII: 508, fig. 2 (Guercino), note 2

Bari, Pinacoteca Provinciale. XL: 149, fig. 24 (Giordano)

Barigozzi Brini, Amalia, and Rossana Bossaglia. Disegni del settecento lombardo. Review. XIII: 65–66

Barlow, Francis. XLIX: 479–532, figs. 13, 6, 8–9, 10 (etching), 11, 12 (after), 13–17, 18 (after), 20–24, 25 (etching), 26, 27 (etching), 28–34, 35 (etching after), 36–37, 39, 40 (engraving after), 41, 43–44, 45–46 (etchings after), 49, 51 (etching after Barlow and others), 52 (etching), 53, 55a–b (etchings after), 56 (etching after), 57, 58 (etching after), 59–60, 61 (etching), 64 (etching after), 65, 66–69 (etchings after), 70, 71 (etching after), 72–73, 74 (etching), 75–77, 78 (copy after?), 79a–b (etchings), 81, 82 (etching after), 83–89

Barnard Castle, Durham, Bowes Museum. I, 1: 55–57 (review)

Barne, Lt. Col. St. J. XI: 36, fig. 2 (Dahl)

Barnes, Bernadine. XXVI: 239–48 (MICHELANGELO)

Barni, Camille, formerly. XLV: 24, fig. 17 (Taddeo Zuccaro), note 44

Barocchi, Paola. Vasari Pittore. Complementi al Vasari Pittore. Mostra di disegni del Vasari e della sua cerchia. Review. III: 54–56

Barocci, Federico. III: 28, pl. 22 (after); IV: 149–50, pls. 17–18; V: 379, pl. 2; XIII: 347–70 passim; XIV: 56–64, pls. 33–38; XVI: 452; XIX: 174–75, fig. 2; XX: 34, fig. 1, pl. 39; XXV: 285–87; XXVI: 249–52, figs. 1–4, pl. 13; XXXIX: 47, fig. 2; XLI: 378–83, figs. 1–6; XLIV: 232–36, figs. 1–2; XLV: 219, fig. 11; XLVI: 291–321, figs. 1–17 and back cover; 377–81, figs. 1–3; LI: 189–94, figs. 1–2, 3 (?), 4; 521–24, fig. 1; 550; LV: 176, fig. 3

Barockberichte. Informationsblätter des Salzburger Barockmuseums zur bildenden Kunst des 17. und 18. Jahrhunderts. Review. XXXIX: 191–92

Baroni, Alessandra. L: 495–506 (VASARI)

______, Giancarlo. I, 4: 10, 18

______, Jean-Luc, formerly. XXXIII: 313, fig. 96 (T. Zuccaro)

Le Baroque en Bohème. Review. XX: 289

Barros, Eleuterio de. XXXII: 118, fig. 28 (engraving after Bartolozzi)

Barry, James. XXI: 408–09, pls. 40–41; XXII: 220; XXIX: 307–10, figs. 1–5

Bartee, Thomas C. (on loan to Cambridge, MA, Harvard University Art Museums, Fogg Art Museum). XXVI: 220–29, note 6, pl. 1 (B. Campi)

Barth, Carl. LIV: 70, fig. 6 (after)

Barthélemy-Labeeuw, Laure, see Rosenberg, Pierre, and Laure Barthélemy-Labeeuw

Bartoli, Pietro Santi. XXI: 140, fig. 5 (?); XXXIV: 11, fig. 6 (engraving after Annibale Carracci)

Bartolini, Lorenzo. XVI: 302–08, fig. 1, pls. 48–49, 50a (after), 50b-52, 53 (after), 54; XX: 149–56 passim, figs. 1–3

Bartolo, Domenico di, see Domenico di Bartolo (Ghezzi)

Bartolomeo di Giovanni. II: 282

Bartolommeo, Fra. II: 282–83, 292, pl. 29; XIX: 289–91, fig. 3; XXXII: 176; XL: 154–60, figs. 1–5; XLIII: 278, figs. 3–4; XLVI: 215, fig. 14; LII: 101, fig. 12; LIV: 105, fig. 8

Bartolozzi, Francesco. XXIX: 203, fig. 6; XXXII: 99–128, figs. 1–4, 5 (engraving after Cipriani), 6, 7 (engraving after Cipriani), 8, 9 (engraving after Hoppner), 10–16, 17 (engraving after D. Pellegrini), 18–19, 20 (engraving after Desnoyer), 21, 22 (self-portrait), 23–27, 28 (engraving after), 29–36

Bartsch, Adam von. XXXVI: 40, fig. 7 (after Rembrandt)

______, Andreas, formerly. LV: 48, fig. 134 (studio of A. Bloemaert?)

Barwick, Thomas W. and Ann M. XL: 335, fig. 7 (T. Robinson), note 15

Bary, Hendrick. XVI: 12–14, fig. 16 (engraving after Frans van Mieris)

Baseglia, S. Croce. XI: 241–45, figs. 1–2 (Amalteo)

Basel, Kunstmusem, see Basel, Öffentliche Kunstsammlung

______, Öffentliche Kunstsammlung. V: 265–77, figs. 3, 6–7, pls. 14, 16, 17b-18, 20, 22 (Cézanne); VI: 8–11, fig. 4 (Bergognone), notes 13–14; XII: 394 (review); XIX: 315 (review); XXXIII: 226, fig. 1 (T. Zuccaro); XXXIV: 404, fig. 6 (Daumier), note 14; LV: 211, 216, figs. 5, 8 (Cézanne), 6 (Cézanne and a child’s hand), notes 5, 13

______, ______, Kupferstichkabinett. I, 4: 44–46, note 9, pl. 39 (Cézanne); 54–57 (review); IV: 39–40, fig. 1 (Cézanne); V: 161, fig. 3 (Ostade); VII: 265–77, pls. 1–15a (F. Floris); XIII: 41–44, figs. 1–2 (Schwind); XVII: 44–45, note 3, pls. 37–38 (Millet); XVIII: 57 (review); XXXI: 226, figs. 10–13 (Goltzius); XXXIV: 127, 135, 143, figs. 6 (northern, early 16th century), 19, 22 (J. Schweiger? after M. Schongauer), 38 (L. Schongauer); XXXVI: 53, fig. 2 (after Antwerp Master); XXXIX: 120, 125, fig. 13 (Huber), note 24; XLI: 354, front cover (Dürer); XLIV: 168, 202, 205, fig. 69 (Kulmbach)

______, Private coll. XXV: 264–66, pl. 24b (Francesco Allegrini)

Baskett, John. VII: 49–50 (REVIEW)

______, and Dudley Snelgrove. The Drawings of Thomas Rowlandson in the Paul Mellon Collection. Review. XVI: 62–63

Basine, N. V., formerly. XXXVI: 53, fig. 1 (Antwerp Master), note 1

Basire, James i. XLV: 257, fig. 3 (? after Abraham de Verwer)

Bassano del Grappa, Museo Civico. III: 394–95, figs. 10–11, pl. 31 (G. B. Tiepolo); V: 289, pl. 30 (De Marchis); VI: 138–41, note 18, pl. 33 (G. A. Guardi); 361, fig. 5 (U. da Carpi); IX: 362, note 17, pl. 9 (Ciampelli); XIV: 34–35, notes 13, 17, 20, 22, pls. 3–4a, 5–7a (Schiavone); XXVII: 362–66, figs. 4–8 (Canova); XXXIII: 167–69 (review); XXXVI: 265, fig. 16 (Giovanni Battista Tiepolo); XLI: 130, 132, 135, figs. 3–9 (Canova), note 12–13, 16, 22

Bassano, Jacopo. XXXIII: 167–69; XXXV: 182–84, figs. 1–2

Bassetti, Apollonio, Canon, formerly. L: 91, figs. 1–2 (Bissoni), note 1; LII: 5, 8, 10, 28, 35–36, 40, 43, figs. 5, 9, 11, 44, 52–53 (Genga)

______, Marcantonio. XLII: 380, fig. 10; LI: 35, figs. 10–11

Bastie d’Urfé, Château. XXVI: 10–13, figs. 7, 10 (Sermoneta)

Bataille, Nicolas. XXV: 393–404, figs. 4, 14 (tapestries)

Batarda, Eduardo Fernandes. XLV: 387–90 (MUSEUM OF THE FACULTY OF FINE ARTS, UNIVERSITY OF OPORTO)

Bates, William, formerly. LII: 16, 41, fig. 23 (Genga); 289, 346, fig. 18 (workshop copy after Coecke van Aelst)

Bath, Kingsley Gallery, formerly. XLVI: 530, fig. 134 (Gainsborough)

Batoni, Pompeo. XVI: 131–50, figs. 3–4, 10–11, pls. 1–25; XXI: 178; XLII: 8, fig. 5; XLIX: 542, fig. 13

Batorska, Danuta. IX: 251–53 (GRIMALDI); X: 145–50 (GRIMALDI); XIV: 169–71 (GRIMALDI); XX: 130–31 (PERETTI GALLERY); XXXII: 40–49 (GRIMALDI); XXXV: 43–49 (GRIMALDI)

Battista da Sangallo, see Sangallo, Battista da

Baudequin, Jean-Christophe. XXXII: 262–69 (GUY FRANÇOIS)

Baudouin, Pierre Antoine. LV: 493, fig. 9

Baudous, Robert Willemsz. de. XIV: 168–69, fig. 3 (engraving)

Baumgart, Fritz. Grünewald. Tutti i disegni. Review. XIII: 293

Baumgartner, Johann Wolfgang. VIII: 294–95, fig. 1; XXXIX: 110, fig. 6

Bayer, Andrea. XXXIII: 167–69; XXXV: 192–95; XLIV: 87–89 (REVIEWS)

Bayern, Prinzessin Adelgunde von, formerly. XLVI: 480–81, figs. 55–56 (Gainsborough)

Bayeu y Subías, Francisco. IV: 36–39, figs. 1–3, pls. 30–32; VI: 31–36, figs. 2, 4–6, 8, pls. 14–21

______, Ramón. VI: 31–36, figs. 1, 3–7, pl. 13 (attributed to)

Bayonne, Musée Bonnat-Helleu, Musée des Beaux-Arts de Bayonne. I, 1: 23–29, pls. 23–24, 27b (Géricault); III: 267; IV: 129, pl. 4 (Rubens); 171 (review); 264–66, 269, 281–82, pls. 7, 11 (Ingres); VIII: 401, pl. 39 (Uccello); XII: 374–75, note 17, pl. 42 (Volterrano); XIII: 116, 129, fig. 11 (Dürer); XIV: 381, fig. 8 (Rosso); XVI: 25, pl. 7 (Van Mieris); XIX: 434–38, notes 33, 38, pl. 20 (Spinelli); XXVI: 126, fig. 4 (Crayer), note 45; 242–45, fig. 7 (Michelangelo), note 6; XXXII: 398, fig. 1 (Primaticcio); XXXIV: 377, 387, figs. 3–5, 16 (Géricault), notes 12, 30; 397, fig. 10 (Prud’hon), note 19; XLVII: 222–23, figs. 4–7 (J.-L. David), notes 11–14; 474, figs. 2–3 (Delacroix), note 3; XLIX: 314, fig. 53 (Rembrandt); 348, fig. 154 (Rembrandt); L: 316, fig. 34 (Titian), note 65; LIII: 494, no. 44 (Watteau); LIV: 84, back cover (Guercino), note 21; LV: 76, fig. 233 (A. Bloemaert); 208, 301, figs. 11, 15 (B. Parentino)

Bazin, Nicolas. LIV: 42, fig. 39 (engraving)

Bazzano, S. Stefano. XIV: 159–61, fig. 2 (G. Gandolfi)

______, Suffraggio, Oratory. XIV: 160–61, fig. 1 (G. Gandolfi)

Bazzicaluva, Ercole. XLV: 345–53, figs. 1–6; LVI: 341, fig. 14

Bean, Jacob. I, 1: 53–54; II: 293–96 (REVIEWS); III: 50–52 (VOUET); 266–68 (CLAUDE LORRAIN); 405; IV: 309–10 (REVIEWS); 419–21 (G. M. CRESPI); V: 304; VI: 169–70 (REVIEWS); 259 (CIGOLI); VII: 55–57; 169–70; 428–31 (REVIEWS); VIII: 390–91 (ANNIBALE CARRACCI); IX: 68–69; X: 163–65; 386–87; XI: 52; 293–94; XII: 394–95; XIII: 64–66; XIV: 64–66; 421–22; XV: 48–50; 422; XVI: 311–13; 452; XVIII: 179; 386–87; XIX: 53–54; XX: 386–87 (REVIEWS); XXI: 17–20 (LA FOSSE); XXII: 216; XXVI: 140 (REVIEWS); XXXI: 74 (obituary); 336–37 (tribute); 480–84 (bibliography); L: 3, fig. 2 (portrait)

______. 15th and 16th Century Italian Drawings in The Metropolitan Museum of Art. Review. XXI: 410–12

______. 17th Century Italian Drawings in the Metropolitan Museum of Art. Review. XVIII: 169–71

______, and Lawrence Turcic. 15th-18th Century French Drawings in The Metropolitan Museum of Art. Review. XXIII–XXIV: 247–49

Bearden, Romare. XLII: 126, fig. 3

Beardsley, Aubrey. VII: 47–49; XXXII: 176; LIII: 523–30, figs. 1–10

Beatrizet, Nicolas. XVII: 136–37, fig. 6 (engraving); XLVIII: 443, fig. 14 (engraving after Michelangelo)

Beauchamp, Chr., formerly. XLIV: 348, fig. 15 (Van den Bossche)

Beaujean, Dieter. XXXVI: 398–408 (LOUIS DE CAULERY)

Beaumont, Edouard de. XLII: 75, fig. 9

______, George Francis, Sir. V: 291–95, fig. 1, note 14, pls. 35–40, 42–43 (Beaumont), 41 (Girtin)

______, George Howland, Sir. V: 291–95, fig. 1, pls. 35–40, 41 (after), 42–43

Beaune, Hôtel-Dieu. XXXIV: 125, fig. 1 (Rogier van der Weyden)

Beauneveu, André. XXV: 393–400, figs. 3, 8 (workshop)

Beaven, Lisa. XLI: 14–29 (CARDINAL CAMILLO MASSIMI)

Beccafumi, Domenico. IV: 413–15; VII: 170, pl. 45; XLII: 140, fig. 9; XLVI: 8, 19, fig. 23 (copy after); 239, fig. 14

Beck, Hans-Ulrich. XXXIV: 192–94 (VAN GOYEN); XXXV: (PIETER MOLYN); XXXIX: 395–408 (NETHERLANDISH DRAWINGS IN AUGSBURG); XL: 265–68 (REVIEW); XLIX: 118–19 (his obituary)

______. Ein Skizzenbuch von Jan van Goyen. Review. V: 198

______. Pieter Molyn, 1595–1661. Katalog der Handzeichnungen. Review. XXXIX: 61–62

______, James. XXII: 328 (REVIEW)

Becker, David P. XXXVIII: 223–32 (JAMES BOWDOIN’S DRAWINGS COLL.)

______. Drawings for Book Illustration. The Hofer Collection. Review. XVIII: 389

Beckerath, Adolf von. XLIII: 109–11

______, formerly. XLIII: 21, 49, fig. 14 (Van der Cooghen, after Jacob Jordaens); XLIV: 337–38, 346, figs. 3, 5, 12 (Van den Bossche)

Beckwith, James Carroll. XLIII: 415–39, front cover, figs. 2, 4–9, 10 (portrait of), 11–14, 24–29

Bédard, Sylvain. XLIV: 487–92 (JOUVENET)

Bedeschini, Giulio Cesare. XLVII: 484–88, figs. 1–7

Bedford, Cecil Higgins Art Gallery. XLVI: 490, fig. 71 (Gainsborough)

Bedoli, Alessandro Mazzola. XLIX: 17–32, figs. 1, 3 (attributed to), 5 (attributed to), 6–7, 14–15, 17 (attributed to, after Parmigianino), 18 (attributed to), 19

______, Girolamo Mazzola. II: 243–67, figs. 1–2, 3 (after), pls. 1–16; VIII: 284, pls. 44 (attributed to), 45–46; IX: 283; XXXI: 341, fig. 13; XXXVIII: 460–64, figs. 1–5; XLIX: 18, figs. 1 (after), 2, 8, 9 (after); LI: 165–80, figs. 1 (after), 2–27; LIII: 61–62, 75, figs. 2 (after), 3–4, 22

Beer, M. de, formerly. XLIV: 422, fig. 17 (Mercier), note 29

Beets, Nicolaas, formerly. XLIII: 41, 63, fig. 46 (Van der Cooghen)

Bega, Cornelis. III: 124–25; XII: 36–37, pl. 27; XXXVI: 217, fig. 1; XLIII: 13, 17, figs. 3 (portrait of), 4, 8 (portrait of)

Begemann, Egbert Haverkamp-, see Haverkamp-Begemann, Egbert

Béguin, Sylvie. I, 3: 30–34 (FRÉMINET); IV: 56–59 (REVIEW); XIX: 157–60 (ROCHETEL); XXI: 68 (LETTER); XXVIII: 275–79 (SOENS)

______, Mario Di Giampaolo, and Mary Vaccaro. Parmigianino. The Drawings. Review. XLI: 388–91

Béhague, Comtesse Martine Marie Pol de, formerly. XX: 404 (review); XXXI: 244, figs. 36–42 (Goltzius)

Beijer, Jan de. XXII: 217–19, figs. 1, 2 (after)

Beinaschi, Giovan Battista. III: 258, 407

Beistegui, Juan de, formerly. XLV: 24, fig. 17 (Taddeo Zuccaro)

Belag, Andrea. L: 231–44, figs. 1–22, and front cover

______ coll. L: 231–32, 236–40, figs. 2–5, 7–10, 12–22, and front cover (Andrea Belag), notes 2–6, 11–14, 16–19, 22

Belgium, art market, formerly. XLIX: 112, figs. 50–51 (Amico di Donato); LV: 69, fig. 207 (copy after A. Bloemaert)

______, Private coll. XVIII: 361, pl. 17 (Jordaens); XXVIII: 154, fig. 18 (Jordaens); XXXI: 221, 258, figs. 2, 57 (Goltzius); LV: 179, figs. 8a–b (J. Courtois), note 44

Belkin, Kristin Lohse. Corpus Rubenianum Ludwig Burchard, XXIV: The Costume Book. Review. XXI: 59–62

______. Corpus Rubenianum Ludwig Burchard, XXVI: Copies and Adaptations from Renaissance and Later Artists: (1) German and Netherlandish Artists. Review. XLVII: 379–81

Bella, Stefano della. I, 2: 47–48, pl. 43; VII: 294–303, fig. 3, pls. 34–45; VIII: 243–66, figs. 5–6, pls. 1–21; XIII: 54–60; XIV: 260–70, pls. 16–30; XV: 181–84; 347–65, figs. 1–3, 5–6 (etchings), 7–8 (after), 9, 13 (after), pls. 1–20; XVI: 156–62, figs. 4–5, pls. 27–31; XVIII: 227–36, pls. 1–12; XLI: 30–43, figs. 1–2, 6, 8, 10–11, 13, 15, 19–21; XLII: 179

Bella Pittura. The Art of the Gandolfi. Review. XXXIII: 177–81

Bellange, Henri. XXXVIII: 155–58, figs.1, 2 (etching after), 3–4

______, Jacques de. I, 4: 32–38, fig. 1, note 2, pl. 25; IV: 434, pl. 45; V: 381, pl. 17; XXII: 298–303, figs. 3–5; XLII: 78–79, fig. 1

Bellarmino, Roberto, Cardinal. XLVII: 75–76, figs. 6–8 (portraits of)

Bellinger, Katrin. XXXIII: 260–61, figs. 36–37 (T. Zuccaro)

Bellini, Filippo. XIII: 347–70, figs. 1–5, 7–15, pls. 1–20

______, Giovanni. VII: 434; XIX: 285, fig. 12; L: 36, front cover (or Vittore Belliniano)

______, Jacopo. XXIII–XXIV: 397–98

Belliniano, Vittore. L: 36, fig. 3, front cover (or Giovanni Bellini)

Belluno, Museo Civico. XVI: 51, fig. 1 (Monaco)

______, S. Pietro. XLIX: 42, fig. 25 (Schiavone), note 51

Belriguardo, Sala delle Vigne. XLIII: 493, fig. 7 (Girolamo da Carpi)

Belsey, Hugh. XLVI: 427–541 (GAINSBOROUGH); XLIX: 549–51 (REVIEW)

Belton House, Lincolnshire, Lord Brownlow coll. XLIV: 414, fig. 7 (Mercier)

Beltrami, Luca, formerly. XLIX: 73, 75, 80, 85–89, figs. 14–15, 18, 24, 39–40, 46–50, 56–57 (Foggini)

Benard, Robert. XIII: 258–59, fig. 2 (engraving after Jouvenet); XXIII–XXIV: 390–91, figs. 1–2 (engravings after De Boissieu)

Benati, Daniele. The Drawings of Annibale Carracci. Review. XLIII: 512–26

Benavente, Samuel de Lion. LVI: 218, fig. 56 (portrait of)

Benefial, Marco. XLVI: 61–90, figs. 1–50; LIII: 489, no. 3 (self-portrait)

Benesch, Eva. XII: 63 (LETTER); XIV: 166–69 (VINCKEBOONS)

Benesch, Otto. I, 3: 29–30 (TINTORETTO); III: 47–48 (ANONYMOUS LIECHTENSTEIN MASTER); 182 (obituary)

______. Collected Writings. Vol. I. Rembrandt. Review. IX: 68

______. The Drawings of Rembrandt. Review. XIII: 291–93

______. Meisterzeichnungen der Albertina. Review. III: 173

Bening, Alexander. XLI: 245, 252, figs. 17–18 (or Simon Bening ?), 19 (?)

______, Simon. XVII: 362–67, figs. 6–7, 9; XLI: 245, 252, figs. 17–18 (or Alexander Bening ?), 20 (or workshop)

Bennett, Mary. William Holman Hunt. Review. VII: 432–33

______, Shelley M. XVII: 273–77 (STOTHARD)

Bénodet, Parish Church. VI: 395–99, figs. 2–3 (photographs)

Benso, Giulio. XXIII–XXIV: 245, pl. 58

Benvenuto Tisi da Garofalo, see Garofalo (Benvenuto Tisi)

Béraudière, Comte Jacques-Victor de la, formerly. XLIV: 420, fig. 15 (Mercier), note 26

Berchem, Nicholaes Pietersz. XXXV: 367–79, figs. 1, 2 (after Moeyaert), 4–14; LIII: 489, no. 4 (after); LV: 499, fig. 16; LVI: 413, figs. 6–7

Berckenhagen, Ekhart. Die französischen Zeichnungen der Kunstbibliothek Berlin. Review. XII: 393–94

Berckenrode, Balthasar Florisz. van. XLVIII: 79, 84, figs. 13, 19–20 (engraving)

Bereleigh, East Meon, Hampshire, Tyrwhitt-Drake coll. XLIX: 488, fig. 15 (Francis Barlow), note 40

Berendsen, Olga. X: 31–33 (CIPRIANI)

Berenson, Bernard. I disegni dei pittori fiorentini. Review. II: 278–93

______. The Drawings of the Florentine Painters. Review. IX: 282

Beresford-Jones, Richard Duncan, formerly. XLVI: 462, fig. 23 (Gainsborough)

Beresteyn, Claes van. LV: 317–32, figs. 2–4, 5–6 (etchings), 7–8, 9 (etching)

______, Eltjo Aldegondus van, formerly. LV: 320, fig. 2 (Beresteyn), note 42

Il Bergamasco, see Castello, Giovanni Battista, called Il Bergamasco

Bergamini, Giuseppe, Fabrizio Magani, and Giuseppe Pavanello. Giuseppe Bernardino Bison, pittore e disegnatore. Review. XXXVIII: 79

Bergamo, Accademia Carrara. I, 3: 58–60, fig. 1, pl. 43a (Baglione); I, 4: 30–32; II: 255, 262; IV: 61–62, pl. 39 (Loth); 182–84; 411, figs. 1–2 (Vivarini); VI: 8–11, fig. 2 (Bergognone), notes 13–14; VIII: 149–53, figs. 2, 6 (Palma il Giovane), notes 13, 34; XIV: 312–13 (review); XXI: 20–32, pls. 24–36 (Franceschini); 64–65 (review); XXX: 159–60, 165, fig. 19 (Veronese), note 41; XLII: 372, fig. 2 (Palma Giovane), note 5; L: 81, fig. 2 (Malpizzi); LII: 20, fig. 29 (Genga), note 43; LIII: 490, 492, nos. 11 (Crespi), 29 (Faldoni)

______, Galleria Lorenzelli, formerly. XLV: 523, fig. 3 (Hoefnagel), note 12

Berge-Gerbaud, Mària van. XXXVIII: 83; XLIII: 113–14 (LETTERS); XLVII: 458–59 (PETER ILSTED); 527–28 (CARLOS van HASSELT, obituary)

Bergen-op-Zoom, Markiezenhof. L: 345, figs. 26, 37 (Hans Bol), note 52

______, St. Gertrudiskerk. L: 350, fig. 36 (photograph of)

Bergh, Cornelis van den, formerly. XLIII: 31, 39, 63–64, figs. 37, 48 (Van der Cooghen)

Bergmüller, Johann Georg. XXXIII: 43–50, figs. 1–2; XXXIX: 163, fig. 6; XLVI: 211, fig. 5

Bergognone, Ambrogio. VI: 3–20, figs. 2–6, note 5, pls. 1–2

Bergsträsser, Gisela. III: 260–64 (JAN BRUEGHEL THE ELDER); X: 355–56 (CORREGGIO); XXII: 28–43 (DALBERG COLLECTION)

______. Niederländische Zeichnungen, 16. Jahrhundert, im Hessischen Landesmuseum Darmstadt. Review. XVIII: 50–51

Bergues, Musée des Beaux-Arts. XXV: 415, pl. 46 (attributed to Vouet)

______, Musée du Mont-de-Piété. III: 358, pl. 3a (Aertsen); XII: 242, pl. 9 (Poussin); XVI: 419, 446 (review); XVIII: 383–84, fig. 4 (Poussin), note 9; LI: 373, fig. 13 (Quellinus), note 86; LIV: 42, fig. 37 (Licherie), note 66

Berkeley, CA, Private coll. LI: 484, fig. 4 (Diebenkorn), note 11

______, Richard Diebenkorn Foundation. LI: 484, 498, figs. 5, 22–23 (Diebenkorn), notes 12, 34–35

______, University of California, Art Museum. VII: 180–81 (review)

Berkshire, England, Private coll., formerly. XXXIII: 144–45, figs. 3–4 (M. Gandolfi), note 5

Berlin, Alte Nationalgalerie. XXXVI: 430–32 (review)

______, Amsler & Ruthardt, formerly. XLVII: 139, 147, 154–55, figs. 9–10, 16, 19 and front cover (Hubert Robert); XLIX: 99, 105, fig. 16 (Amico di Donato); LII: 75, 84, fig. 26 (Jan de Visscher)

______, Auctionata Paddle 8 AG, formerly. LV: 80, fig. 249 (A. Bloemaert)

______, Gerda Bassenge, formerly. XLVII: 145, 155, fig. 17 (Hubert Robert); L: 389–91, figs. 44–45 (Jan Siberechts?), note 40; LIII: 492, no. 31 (Ruijter); LV: 45, 48, 77, 80, figs. 126, 237–38, 249 (A. Bloemaert), 134 (studio of A. Bloemaert?)

______, Bode Museum. IV: 304, pl. 36 (Canini); XLV: 373, fig. 12 (Sacchi), note 24

______, ______, formerly. XVIII: 364, fig. 5 (Rubens)

______, Boerner and Graupe, formerly. LII: 75, 84, fig. 26 (Jan de Visscher)

______, Deutsche Staatsbibliothek, see Berlin, Staatsbibliothek zu Berlin, Preussischer Kulturbesitz

______, Former Cultural Possessions of Prussia. VIII: 44, fig. 2 (Rubens)

______, J. Goldsche, formerly. XXXVI: 18, 20, figs. 2 (Abraham Bloemaert), 3 (Cornelis Bloemaert the Elder), note 9

______, Jagdschloss Grunewald. XXV: 13–14, fig. 6 (Poelenburg); XXVIII: 150, fig. 12 (Jordaens)

______, Kaiser- Friedrich-Museum see Berlin, Bode Museum

______, Kaiser-Friedrich-Museum, formerly (destr.). LVI: 11, fig. 11 (Lucas Cranach the Elder), note 25

______, Private coll. XXV: 266, fig. 2 (Francesco Allegrini); XXXI: 473, figs. 9–10 (G. David), note 40; L: 249, fig. 6 (Gerhard Richter), note 9

______, Schloss Charlottenburg. XII: 51–52, fig. 2 (Watteau); XXIII–XXIV: 102–06 (review); 353, 359–60, figs. 1, 13 (Cazes); XXXI: 112, fig. 15 (Watteau)

______, Leo Spik, formerly. XLIV: 431, fig. 35 (anonymous artist after Watteau and Vleughels)

______, Staatliche Museen zu Berlin, Preussischer Kulturbesitz. VII: 264–65, fig. 4 (statue of Nike); XIV: 249, 253, fig. 10 (A. Bloemaert); 375–78, fig. 1 (Rocchetti); XVI: 11, 14, fig. 15 (Van Mieris), note 27; XVII: 4–5, 18, fig. 1 (A. van de Velde)

______, ______, Gemäldegalerie. XII: 53–54, fig. 3 (Watteau); 261–62, fig. 1 (Tura); XXXI: 429, fig. 4 (Antonio Carracci); XLVI: 361, fig. 18 (Mazzolino), note 25; XLVII: 134, fig. 5 (Hubert Robert after Luca Giordano), note 12; XLIX: 306–7, 310, figs. 26, 32, 36 (Rembrandt), notes 17, 19, 21; LI: 309, fig. 23 (Pieter Bruegel the Elder), note 62; LIII: 463, fig. 2 (Pieter Lastman), note 3

______, ______, ______, formerly. XXVIII: 161, fig. 28 (Jordaens)

______, ______, Kunstbibliothek. III: 406, figs. 1–2 (Perino del Vaga); IV: 172, pl. 38 (Perino del Vaga); XI: 174, pl. 36 (Stradanus); XII: 61, 393–94 (reviews); XIII: 240–49, pls. 16–17 (Du Cerceau), 18 (Domenico del Barbiere), 19–21 (unknown artist); XIV: 132–33, note 40, pl. 8a (Stradanus); XV: 352, note 28, pl. 5 (Della Bella); 419–21 (review); XIX: 30, pl. 30b (Pater); 270–73, note 18, pl. 23 (Spada); XX: 266–67, fig. 9 (Giovanni da San Giovanni); XXI: 166–72, pls. 40, 43–45 (Mitelli); XXII: 6, 11–12, pls. 1–2 (Andreasi); XXIII–XXIV: 57–60, figs. 2–4 (Piranesi), notes 7, 10–11; 197, fig. 4 (Perino del Vaga), note 28; XXVIII: 334, fig. 4 (Oppenord), note 4; XXX: 320–21, fig. 1 (Grimaldi), note 1; XXXIII: 230, fig. 6 (T. Zuccaro); XLVII: 161, 166, figs. 4–8, 10 (Gillot), notes 6, 9; L: 311, fig. 28 (Hans Vredeman de Vries with figures by Hieronymus Cock), note 51; LI: 372, fig. 12 (Verbrugghen), note 76

______, ______, formerly. XLVII: 150, 155, fig. 23 (Jean-Robert? Ango after Daniele da Volterra)

______, ______, Kunstgewerbemuseum. XLI: 342, fig. 2 (after Dürer)

______, ______, ______, formerly (destroyed). XXXV: 54, fig. 2 (Vellert)

______, ______, Kupferstichkabinett. I, 1: 4–9, note 10, pls. 2–3 (Parmigianino); I, 2: 9, fig. 4 (De Gheyn iii); I, 3: 34–37, pl. 20 (Rubens); II: 9–10, 14, note 20, pl. 3b; 385–86, fig. 2 (Rubens); 27, fig. 1 (Perugino), note 1; 296–97 (review), pl. 43 (Testa); III: 130, 148, pl. 4 (Cornelis van Haarlem); 150; 157, fig. 3 (Van der Stockt); 363, pl. 7 (Aertsen); 404; IV: 22–24, fig. 2 (Strigel); 27, pl. 19 (Primaticcio); 177, pl. 45a (Perino del Vaga); 378–82, fig. 3, pls. 1–9, 11 (Angeluccio); 420, note 1; V: 160–61, fig. 1, pl. 20 (Ostade); 168, pls. 25–26 (Canuti); 197–98 (reviews); VI: 21, notes 1, 3, pls. 3–4 (Mazzoni); 391, pls. 30–33 (Bernini); VII: 30–33, notes 19, 21, 25–26, pls. 19, 23–24 (G. P. Panini); VIII: 3–30, notes 3, 10, 21, 52–53, pls. 2, 9, 14b, 15 (R. Savery); 397–98, fig. 2 (Umbrian school); IX: 68 (review); 150, pl. 24 (Turchi); 243–45, notes 17, 22, 30, pls. 8, 11, 18a (Ligorio); 255–56, notes 14, 16, 22, pls. 32–33, 37 (Doomer); 367, pls. 14a, 15b (Angeluccio); 385, notes 18–20, pls. 34–35 (Sacchi); X: 25, note 6, pl. 18 (Bosse); 27, note 33, pl. 25 (Mola); 119–20, pl. 1 (Gaulli); 126–33, note 6, pl. 12 (Pordenone); 253–54, fig. 16 (Gaulli); XI: 10–11, note 20, pl. 3 (Venusti); 139, note 16, pl. 4 (Veronese); 379–82, figs. 1–2 (Ulivelli); XII: 59–60; 360–61, note 11, pl. 16a (Bertoia); 381–84, figs. 4–8 (Menescardi), note 15, pl. 50b (G. B. Tiepolo); XIII: 67 (letter); 290–91, 401 (reviews); XV: 51–52, fig. 1 (Heemskerck); 264, fig. 4 (Veronese); 350, note 20, pls. 3b, 4b (Della Bella); XVI: 163, 168, notes 3, 44, pls. 32 (Leone), 43 (circle of Castiglione-Leone); 255–83, figs. 1, 3–4, 6, 9, notes 9, 11, 14, 18, 28, 33, 41, 43–47, 49–50, 52, 60, 62–65, 67, 69, 71, pls. 1–11a, 12–22, 24–28a, 29–31 (Menzel); 419, 439–41 (review); XVII: 41, pl. 32 (De Boissieu); 148, note 13, pl. 20 (Gherardi); 166, pls. 33b-34a (Dieu); 360, 384, fig. 1 (Hirschvogel); 392–401, fig. 1, pls. 8–9 (C. Massys); XVIII: 30–32, note 8, pl. 14 (Letterini); 139–40, fig. 5 (Oostzanen), note 18; 279 (review); 371, note 6, pl. 40 (Lievens); XIX: 8–9, note 27, pls. 7–8 (Bandinelli); 147–53, pls. 20 (P. Bruegel copy), 30 (P. Bruegel); 286, fig. 13 (Titian); 302–06, figs. 1, 3 (Titian); 402–03, 410–12, figs. 9, 16–18 (L. Constable), notes 31, 49–50); XX: 249–51, figs. 3 (Matham), 4 (Goltzius); 361, note 46, pl. 10b (Farinati); XXII: 160–61, notes 8, 12, pls. 5, 9 (D. Ghirlandaio); 295, 297, fig. 3 (F. P. de Grebber), note 4; XXIII–XXIV: 65, notes 14–15, pls. 34–35 (Polidoro da Caravaggio); 77–78, fig. 2 (J. Savery); 90–94 (review); 214, 222, pls. 25a, 33b (Jordaens); 552, fig. 7 (Dürer), note 23; XXV: 29, 41–47, figs. 26, 32, pls. 11, 23, 27 (Poelenburg); XXVI: 233–35, fig. 2 (Schön); 249–50, fig. 3 (Barocci); 277–85 (review); XXVII: 111–12, fig. 7 (Rembrandt); 118, 123, figs. 2 (Lastman), 15 (Rembrandt), note 7; 130, 142–44, figs. 4, 28 (Rembrandt), notes 3, 19; 147–48, 153, figs. 9, 24 (Maes), notes 5, 19; XXVIII: 281, 283, figs. 4–5 (Salvestrini), note 7; 320, fig. 1 (A. Solimena), note 1; XXIX: 56, fig. 8 (Guercino), note 17; 352, 356, 361, 370, 376, 378, 380–81, 383, figs. 13, 23 (G. B. Pace); 410, fig. 3 (Rembrandt), note 4; XXX: 402, fig. 7 (L. Carracci), note 32; XXXI: 226, fig. 9 (Goltzius); 391, fig. 2 (Heemskerck), note 15; 471, fig. 5 (G. David), note 24; XXXII: 170, fig. 1 (Lancret), note 2; 273, fig. 2 (Heemskerck), note 4; 361, fig. 4 (Richter), note 20; XXXIII: 51, fig. 2 (Vasari), note 2; 152, figs. 2–3 (Elsheimer), 5 (P. Bruegel), note 2; 227–30, figs. 2–5 (T. Zuccaro); XXXIV: 139, 142, figs. 30, 33, 35 (M. Schongauer); 249, fig. 9 (Correggio), note 74; 298, fig. 8 (Coxcie), note 17; 356, 360, figs. 8, 13 (Delaune); 365, fig. 1 (Le Moyne), note 6; XXXV: 16, fig. 18 (Annibale Carracci), note 72; 54, figs. 5–6 (Vellert); 350, 357, 360, 363, figs. 12, 22, 32, 34 (Molyn); 376, fig. 17 (engraving by Dorigny, after Vouet), note 36; 394–95, figs. 2 (Goltzius, after Polidoro da Caravaggio), 3–4 (Goltzius); XXXVI: 18, 20, figs. 1, 6, 11 (Abraham Bloemaert), 12 (Cornelis Bloemaert the Elder?), 13 (Abraham Bloemaert), 14 (Cornelis Bloemaert the Elder?), notes 7, 14; 40, figs. 8–10 (Rembrandt), notes 34–35; 46, figs. 5–6 (Jacob Quina the Younger), 8 (Jean de la Chambre, the Youner), notes 10, 12, 20; 61, figs. 3–4 (Dürer), notes 9–10; 198, figs. 1–2 (Raphael), note 1; 367, 371, figs. 14, 19 (Baglione), notes 35, 38; 413, fig. 7 (Correggio), note 11; 431, fig. 1 (Menzel); XXXVII: 57, 59, figs. 1 (workshop of Mantegna), 4 (Florentine artist after A. Pollaiuolo); 171, 174–75, figs. 7–8 (G. Romano); 303–04 (review); 309, fig. 4 (Springinklee); XXXVIII: 128, fig. 6 (Vouet), note 20; 453, fig. 12 (Boscoli), note 18; XXXIX: 120, 126, figs. 7 (Horny), 16 (Baldung), notes 22, 40; 145, fig. 2 (A. Heinrich), note 6; 268, fig. 10 (C.-N. Cochin the Younger), note 27; 295, fig. 12 (Robert after Giordano), note 18; 319, fig. 4 (Watteau); 387, fig. 25 (Jan de Braij after Soutman), note 41; XLI: 221, 223, figs. 5 (Zweder van Culemborg Masters ?), 6 (Master of the Dresden Prayerbook ?), 7 (Master of the Dresden Prayerbook); 284, fig. 27 (Vrancke van der Stockt); XLIII: 17, 21, 36, 41, 43, 48–49, 59–61, 63, figs. 6 (Van der Cooghen), 14 (Van der Cooghen, after Jacob Jordaens), 40, 50, 53, 57, 70 (Van der Cooghen); 103, fig. 2 (Vermeyen), note 7; 171, fig. 12 (Federico Zuccaro), note 18; XLIV: 7, 33, figs. 1 (De Vlieger), 45 (Van de Cappelle? after De Vlieger), notes 23, 71; 129–99 passim, figs. 2, 4–5, 22, 32–33, 35–36, 39, 44, 57, 59, 62, 70, 89, 103–4, 107–9 (Kulmbach); 338, 346, figs. 5, 12 (Van den Bossche); XLV: 192, 196, figs. 4, 7 (Hoogstraten), notes 32, 38; 211, fig. 1 (Agostino Carracci), note 3; 252, fig. 5 (Tintoretto); XLVI: 65–66, 68, 72, 74, 77, 79–80, 84, figs. 7, 9–10, 15, 23–25, 27, 29, 36, 38, 41 and back cover, 45 (Benefial), notes 25, 31–32, 38, 55–57, 59, 63, 74, 76, 81, 87; 257, fig. 1 (Bendemann), note 1; 293–94, 296, 301, 305, 307, 309, figs. 1b–h, 7c–e, 8b, 9d–e, 11d, 12b, 12d–g, 14 (Barocci), notes 15, 25, 29, 38, 42, 44, 56–58; 522, fig. 123 (Gainsborough); XLVII: 132–34, 139, 143, 145, 147, 149–50, 153–55, figs. 1 (Hubert Robert after Bernini), 3 (Hubert Robert after Luca Giordano), 7, 9–10, 12, 14, 16–17, 19–20 and front cover (Hubert Robert), 22 (attributed to Hubert Robert), 23 (Jean-Robert? Ango after Daniele da Volterra), 24 (anonymous French); 290, fig. 37 (Dughet), note 63; 465, figs. 2–3 (Willem van Mieris), note 9; 502, figs. 1–2 (Piranesi), note 1; XLVIII: 7, 10, figs. 2, 7 (Govert Flinck), notes 18, 29; 33, 40, 44, 46, 54, 57, 61, figs. 1, 8, 18, 34 (Van den Eeckhout), 22 (copy after Van den Eeckhout), 2, 6–7 (Rembrandt), notes 9, 11, 20, 25, 47, 55, 68; 159–60, figs. 5, 7 (Polidoro da Caravaggio), notes 7–8; 230, 232, figs. 5 (Hieronymus Bosch), 6 (Grünewald), 9 (Van Gogh), notes 4–5, 8; 251, fig. 8 (Guercino), note 33; XLIX: 54, fig. 4 (Jost Amman after Albrecht Dürer), note 11; 99, 105, fig. 6 (Amico di Donato); 206, fig. 66 (Simon de Vlieger), note 67; 257, fig. 6 (Jan Gossart), note 15; 296, 302, 306, 310, 313, 315, figs. 7, 17, 27–28, 35, 38, 45, 58 (Rembrandt); 328, fig. 92 (Rembrandt); 348, 350–51, figs. 153, 163–65 (Rembrandt); 357, figs. 6, 11 (Rembrandt), note 12; 373, 377, 380, figs. 5 (Rembrandt), 13, 26 (Jan Victors), notes 12, 30; 395, fig. 12 (Hoogstraten), note 33; L: 264, fig. 1 (Gossaert); 299, 306, 320, figs. 12 (Matthijs Cock), 21 (Master of the Small Landscapes after Matthijs Cock), note 44; 547, fig. 3 (workshop of Titian), note 3; LI: 301, 303, 306, 308, figs. 8, 17, 19, 30, 32 (Pieter Bruegel the Elder), notes 50, 55, 60; 395, 403, figs. 9 and back cover (Bosch); LII: 75–76, 83, figs. 24, 27 (Jan de Visscher); 201, fig. 1 (Pietro Damini), note 1; 306, 314, 336, 344, figs. 38 (Jan Gossart), 53 (Coecke van Aelst), 81 (workshop of Coecke van Aelst), note 64; 373, 376, figs. 3, 5, 10 (attributed to the workshop of Coxcie), note 18; 453, 456, 458, 460, figs. 1, 6, 8, 13, 17 (Pacheco), note 8; LIII: 75, fig. 21 (Gandini), note 56; 83, 85, figs. 4, 6 (Cesi), note 9; 389, figs. 4–5 (Ottavio Leoni), notes 15, 17; 446, fig. 4 (Moeyaert), note 13; 451–52, figs. 3–4 (Rembrandt), note 6; 463, figs. 1 (Rembrandt), 3 (Van den Eeckhout), notes 2, 4; 473, fig. 6 (Dusart), note 10; 490, no. 15 (copy after Helmbreeker’s self-portrait); LIV: 81–100, figs. 1–5, 7–11, 16, 21 (Thibaudeau’s manuscript “Dictionary of Marks and Monograms of Amateurs”); 349, fig. 95 (Albert Eckhout), note 116; LV: 25, 28, 32, 38, 71, 84, 103, figs. 65, 102, 264 (copy after A. Bloemaert), 73, 85, 215–16, 334 (A. Bloemaert), 335 (anonymous artist); 182, figs. 14a–j (A. W. Thibaudeau’s catalogue of the drawings of the Comte de Barck); 211, 221, figs. 1–2, 14 (Cézanne), notes 2, 27; 305, fig. 24 (late 15th-century North Italian, B. Parentino?), note 69; 325, fig. 12 (Verboom), note 51; 355, fig. 14 (H. Bosch), note 16; 504, fig. 21 (J. Jordaens); LVI: 5–7, 15, figs. 2, 4, 6, 19 (Lucas Cranach the Elder), notes 9, 18, 41; 157, fig. 9 (Rembrandt), note 16; 311, fig. 4 (Goltzius), note 9; 389, fig. 7 (Michelangelo), note 6; 448, 452, figs. 12 (Stefano da Verona or his circle), 20 (Marco Zoppo), notes 39, 62; 507, fig. 43 (Claude Lorrain), note 69

______, ______, ______, formerly. III: 12, fig. 15 (Cossa and Roberti); IX: 275–76, figs. 6–7 (L. Tiepolo); XXXV: 392, fig. 1 (Goltzius)

______, Staatliche Schlösser und Garten, Schloss Charlottenburg. XLIV: 426, fig. 28 (Watteau)

______, ______, Nationalgalerie. XIX: XXIII–XXIV: 551, 561–62 (review)

______, Staatsbibliothek zu Berlin, Preussischer Kulturbesitz. VII: 269–73, figs. 13, 15 (Codex Pighianus, folios 292b, verso, 293)

______, Nicolaas Teeuwisse, formerly. LV: 66, fig. 196 (A. Bloemaert)

Berlin-Charlottenburg, Kunstbibliothek, see Berlin, Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kunstbibliothek

______, Nationalgalerie, see Berlin, Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Nationalgalerie

______, Staatliche Museen, see Berlin, Staatliche Museen zu Berlin, Preussischer Kulturbesitz

Berlin (East), Nationalgalerie, Sammlung der Handzeichnungen, see Berlin, Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Nationalgalerie

______, ______, Kupferstichkabinett, see Berlin, Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupferstichkabinett

Bern, Bernisches Historisches Museum. VIII: 55 (review)

______, Kornfeld & Klipstein, formerly. XXXVII: 262, 265, 269, figs. 5–6 (M. Schongauer), note 7; XLIX: 99, 115, fig. 7 (Amico di Donato)

______, Kunstmuseum. XVIII: 52 (review)

______, Auktionshaus Stuker, formerly. XLIX: 58, 60, figs. 6, 9 and back cover (Jost Amman)

______, Triple Gallery, formerly. XLIX: 112, fig. 52 (Amico di Donato)

Bernard, Jean, formerly. XLIII: 21, 31, 50, 63, figs. 12, 37 (Van der Cooghen)

Bernardini, Maria Grazia, et al. Caravaggio, Carracci, Maderno: La Cappella Cerasi in Santa Maria del Popolo a Roma. Review. XLII: 177

Bernardino, called Il Boraga. LVI: 448, fig. 14 (after Marcantonio Raimondi after Raphael)

Bernasconi, Juan and Felix, formerly. XXXI: 222, fig. 4 (Goltzius); LIII: 477, fig. 1 (Federico Zuccaro), note 6

Bernini, Gian Lorenzo. VI: 383–91, pls. 18–23, 24 (studio of), 25–30, 31–33 (studio of); X: 20–22, figs. 1, 4, pl. 16; 111–25, figs. 2–3 (studio of), note 19; XIII: 158–60, pls. 23–24; XVII: 286; XX: 389–93; XXIII–XXIV: 54–55, fig. 1, pl. 31; 100–02; XLI: 119–27, figs. 1–3, 5–6; XLVII: 132, 154, fig. 1 (after); 182, fig. 22 (after); LIII: 207, figs. 1 (here attributed to), 2; LVI: 33, 35, 54–55, 59, 68, figs. 2 (after), 3, 33–34 (after), 37 (after), 48 (after?)

Bernstein, Barbara. LIV: 406, fig. 2 (partial view of installation)

Berolzheimer, Michael, Dr., formerly. LV: 95, fig. 302 (A. Bloemaert)

Berote, Gendarme de, coll., formerly. LV: 99, fig. 317 (A. Bloemaert)

Berrettoni, Niccolò. IV: 422–24; XIV: 51–55, figs. 1–3, pls. 25–32; XXI: 144, pl. 14a

Berruguete, Alonso. XXXVII: 354, fig. 3

Berthoud, Nicholas Augustus, formerly. LV: 543, fig. 4 (Audubon), note 15

Berti, Luciano. Pontormo. Disegni. Review. IV: 311

Bertoia, Jacopo. II: 169–73, figs. 1–2, pls. 37–38; VIII: 284–85, pl. 47; XII: 359–67, figs. 1–6, pls. 12–24; XXXII: 281, fig. 1

Bertoja, Jacopo, see Bertoia, Jacopo

Bertone, Virginia, ed., Disegni del XIX secolo della Galleria Civica d’Arte Moderna e Contemporanea di Torino: Fogli scelti dal Gabinetto Disegni e Stampe. Review. LI: 539–49

Bertrand, Anne. XXX: 223–26 (REVIEW)

Beruete y Moret coll., formerly. XXXVII: 374, fig. 6 (copy after Alonso Cano), note 16

Besançon, Bibliothèque Municipale. LIII: 507, fig. 1 (Hubert Robert), note 2

______, Musée des Beaux-Arts et d’Archéologie. I, 3: 40–43, fig. 2, pls. 23–31 (Delacroix); II: 157, 160; 252, 262; 369–70, note 34, pl. 1 (Bronzino); III: 376, pl. 12 (Grimaldi); IV: 286–87, fig. 2 (Jordaens); VI: 121, pl. 14 (Domenichino); 271, note 2, pls. 34 (Horst), 35a (Van Gherwen); XII: 243–44, notes 25, 39, pls. 11a, 21a (Poussin); XIII: 362, pl. 20 (F. Bellini); XVII: 42, pl. 33b (De Boissieu); XIX: 23–25, note 3, pl. 21 (D. Crespi); XX: 357–58, note 36, pl. 11 (O. or G. Farinati); XXII: 221 (review); 412–13, 424, pl. 9 (L. Carracci); 441–43, pl. 41 (Fragonard); XXIII–XXIV: 47–48, 50, notes 5, 16, pls. 21 (Crayer), 27 (Bronckhorst?); 216–17, pl. 26a (Jordaens); 419–20 (review); 563–67 (review); XXV: 33, pl. 18 (Poelenburg); XXVI: 340, fig. 1 (Lefèvre); XXVII: 57, 59–60, fig. 4 (Crayer); 147, fig. 5 (Maes), note 3; XXVIII: 149–50, 161, 163, figs. 11, 29 (Jordaens); 262, fig. 3 (Bronzino); XXIX: 353, 367–68, 378, fig. 15 (M. Pace); XXXVIII: 35, fig. 3 (Fenzoni), note 21; XXXIX: 324, fig. 6 (Watteau); XLV: 179, fig. 17 (Jacques Rousseau), note 31; XLVII: 133, fig. 2 (Hubert Robert), note 6; 309, fig. 60 (anonymous); XLIX: 235, fig. 8 (La Traverse), note 82; 542, figs. 13 (Pompeo Batoni), 14 (Anton Raphael Mengs), notes 56–57; L: 54, figs. 7–8 (Parmigianino), note 19; LII: 16, 41, figs. 20–22 (Genga); 97, 104, figs. 8 (Simon Vouet), 9 (Jordaens), notes 5, 68; 425, fig. 4 (Bronzino); LIV: 31, fig. 19 (Licherie), note 48; LVI: 244–45, figs. 14–15, 17 (studio? of Jacques Louis David), note 34; 537–43, figs. 1 (Jacques Blanchard), 2 (Claude Mellan), 3 (Claude ii Audran), 4 (Jean-Antoine Watteau), notes 7, 18, 29, 31; 547, fig. 4 (Suvée), note 17

Besnus, Michel-Amédée, formerly. LV: 6, fig. 7 (A. Bloemaert)

Betskoy, Ivan Ivanovic, formerly. LVI: 5, 11, 14, figs. 1, 5, 7, 9, 12, 14 (Lucas Cranach the Elder), 17, 21 (workshop copy of Lucas Cranach the Elder), notes 8, 22, 33

Bettagno, Alessandro. Disegni di Gianbattista Piranesi. Review. XVII: 56

______. Disegni veneti del settecento della Fondazione Giorgio Cini e delle collezione venete. Review. II: 180–81

Betti, Niccolò. XX: 127, pl. 13

Beuckelaer, Joachim. III: 363

Beuningen, D. G., formerly. XXXII: 346, fig. 22 (L. Tiepolo)

Beurdeley coll., formerly. II: 256–57, 261, 265, note 31, pl. 12 (Bedoli)

Bevan, William, formerly. XLVI: 525, fig. 129 (Gainsborough)

Bevers, Holm. XXXV: 392–96 (GOLTZIUS); XXXVIII: 70–73 (REVIEW); XLVIII: 39–72 (GERBRAND VAN DEN EECKHOUT); XLIX: 371–88 (JAN VICTORS); L: 397–408 (REVIEW); LIII: 463–66 (REMBRANDT AND VAN DEN EECKHOUT)

Bey (Ain), Parish Church. LVI: 169, fig. 2 (Chaperon), note 5

Beyers coll., formerly. XXXI: 236, fig. 28 (Goltzius)

Béziers, Musée des Beaux-Arts. XXXV: 186, fig. 3 (Vien), note 8

Bezzi, Giovanni Francesco, called Il Nosadella. XLVI: 193, fig. 4

Bianchini, Francesco. XXXII: 52, fig. 2 (engraving)

Bianco, Baccio del, see Baccio del Bianco

Biancolelli, Domenico. XLIV: 466, fig. 3 (engraving after ?)

Bibiena family. II: 173

Biblioteca Digital Curt Nimuendajú. LIV: 345, fig. 85 (Georg Marcgraf)

Bicart-Sée, Lise. XLV: 54–66 (DÉZALLIER D’ARGENVILLE); 87–90 (NOURRI); 103–5 (SAINT-MORYS)

______, see also Labbé, Jacqueline, and Lise Bicart-Sée

______, see also Lhinares, Laurence, and Lise Bicart-Sée

Bick, Malcolm. IX: 282 (review)

Bida, Alexandre. XLII: 73, fig. 6; LV: 230, fig. 3

Bideford, Burton Art Gallery and Museum (on loan from London, Tate Modern/Edinburgh, National Galleries of Scotland). LII: 517, fig. 5 (Richard Long), note 14

Bie, Jacques de. LV: 482, fig. 6 (ill. from Cesare Ripa, Iconologie, ou nouvelle explication de plusieurs images, Paris, 1677)

Bierstadt, Albert. XVIII: 376–78, fig. 1, pls. 48–51; XLII: 31, fig. 11

Bigari, Vittorio. XIV: 387–88, fig. 2, pl. 9

Bigi Iotti, Alessandra, and Giulio Zavatta, eds. La linea continua: Disegni antichi dei Musei Civici di Reggio Emilia, exh. cat. Review. LIV: 537–42

Bigongiari coll. XXI: 50, 52, figs. 18–19 (Cigoli)

Bijl, H. R. coll. XXXV: 157, fig. 6 (Van Goyen), note 12

______, formerly. XXXV: 157, fig. 5 (Van Goyen), note 11

Biliverti, Giovanni. XX: 268–69, fig. 11, pls. 17–20; XXI: 275–82, figs. 1–6, pls. 32–45; XXIX: 198–207, figs. 4–5, 7–9

Billwiler, Johann Lorenz. XXII: 50, 52, fig. 6 (etching after Merz)

Bindman, David. William Blake. His Art and Times. Review. XXI: 62–64

Bingham, George Caleb. VI: 291–92

______, Harry Payne (on loan to the Metropolitan Museum of Art). VII: 39, fig. 1 (Manet)

Binghamton, NY, State University of New York, Art Gallery. IX: 282 (review)

Binion, Alice. XIV: 390–96 (CANALETTO); XVI: 50–52 (A. GUARDI); XVIII: 373–75 (CANALETTO); XXI: 392–96 (SAGREDO COLL.); XXII: 431–33 (PIAZZETTA); 450–52; XXV: 288–92 (REVIEWS)

______. I disegni di Giambattista Pittoni. Review. XXII: 444–49

Binstock, Benjamin. XLV: 187–200 (SAMUEL VAN HOOGSTRATEN)

Birago, Giovanni Pietro. XLIX: 296, fig. 6 (engraving after Leonardo)

Birke, Veronika. XXXI: 404–07 (AGOSTINO CARRACCI)

______. Guido Reni Zeichnungen. Review. XX: 40–45

______. Italian Masters of the Sixteenth and Seventeenth Centuries. The Illustrated Bartsch. Vol. 40. Review. XXVI: 369–81

Birkenhead, Williamson Art Gallery and Museum. XLVI: 500, fig. 83 (Gainsborough)

Birmingham, Barber Institute of Fine Arts. VIII: 169, fig. 1 (Zompini); XVI: 408, fig. 3 (Wilson)

______, City of Birmingham Museum and Art Gallery. XVIII: 391 (review); XXII: 461–63 (review); XXVI: 348, fig. 9 (Lefèvre); XLIV: 81, figs. 3–4 (Rossetti), notes 18–19; XLVI: 526, fig. 130 (Gainsborough)

Birmingham, AL, Birmingham Museum of Art. XVI: 61–62, 419, 446–47 (reviews); LI: 69, fig. 7 (Hunt), note 37

Biron, Villa Loschi. XXXII: 316, fig. 2 (G. B. Tiepolo)

Bischoff, Elmer. LI: 495, 507, figs. 19, 33

Bison, Giuseppe Bernardino. I, 3: 56–57; XVI: 65–66; XXXVIII: 79, fig. 1

Bisschop, Jan de. II: 166, pl. 35b (formerly attributed to); VIII: 389, fig. 2; XIX: 25–27, pl. 22; XLVII: 83, fig. 7; L: 508, fig. 2 (etching after Michelangelo Anselmi); LVI: 301, figs. 19 and 21 (etchings after Daniele da Volterra)

______, Richard. LV: 170, fig. 26

Bissoni, Giovanni Battista. L: 91–94, figs. 1–3

Bjurström, Per. III: 48–50 (P. BRUEGEL THE ELDER); 264–65 (POUSSIN); VII: 58–61 (LETTER); XXXVI: 12–17 (JOHAN SYLVIUS); LVI: 119 (obituary and portrait)

______. Drawings from the Age of the Carracci. Seventeenth-Century Bolognese Drawings from the Nationalmuseum, Stockholm. Review. XLI: 58–62

______. Drawings in Swedish Public Collections. Vol. 1. German Drawings. Review. XII: 60–61

______. Drawings in Swedish Public Collections. Vol. 2. French Drawings, Sixteenth and Seventeenth Centuries. Review. XV: 174–77

______. Drawings in Swedish Public Collections. Vol. 3. Venice, Brescia, Parma, Milan. Review. XIX: 39–42

______. Drawings in Swedish Public Collections. Vol. 4. French Drawings, Eighteenth Century. Review. XXII: 64–70

______. Drawings in Swedish Public Collections. Vol. 5. French Drawings, Nineteenth Century. Review. XXV: 420

______. Feast and Theatre in Queen Christina’s Rome. Review. IV: 304–05

______. Giacomo Torelli and Baroque Stage Design. Review. I, 1: 49

______. Italian Drawings from the Collection of Giorgio Vasari. Darwings in Swedish Public Collections. Review. XL: 263–65

______. Nicola Pio as a Collector of Drawings. Review. XL: 262–63

______, Catherine Loisel, and Elizabeth Pilliod. Italian Drawings. Vol. IV: Florence, Siena, Modena, Bologna. Drawings in Swedish Public Collections, Vol. 8. Review. XLIII: 527–31

Blake, William. XIII: 178; XXI: 62–64; XXXVIII: 279, fig. 1; 313, fig. 3; 342, fig. 3

______. Illustrations to the Divine Comedy of Dante. Review. VIII: 56

Blanchard, Gabriel. LVI: 176, fig. 14

______, Jacques. LVI: 539, fig. 1

Blanchet, Louis Gabriel. LVI: 87, fig. 12 (after Carlo Maratti)

______, Thomas. XLVI: 42, fig. 4

Blas, Javier, and José Manuel Matilla. El libro de los Desastres de la Guerra. Review. XLII: 80–84

______, ______, and José Miguel Medrano. El libro de Los Caprichos. Dos siglos de interpretaciones. Review. XLII: 80–84

Blasis, C. The Code of Terpsichore. (1828). XLI: 156, fig. 9 (repr. of dance positions in ballet)

Bleyerveld, Yvonne, and Ilja M. Veldman, The Netherlandish Drawings of the 16th Century in the Teylers Museum. Review. LV: 399–407

Bleyl, Matthias. XXI: 285–87 (VISENTINI)

Bliss, (James) Howard, formerly. XLVI: 516, 524, figs. 111, 126 (Gainsborough)

______, Miss Susan Dwight, formerly. XLVII: 282, 301, fig. 24 (“False Amand” hand after G. F. Grimaldi)

Blitzer, Charles. VI: 148–55, pls. 45–47 (Lely)

Bloch, E. Maurice. George Caleb Bingham. The Evolution of an Artist, and George Caleb Bingham. A Catalogue Raisonné. Reviews. VI: 291–92

______, I., Dr., formerly. LV: 103, figs. 332–33 (A. Bloemaert)

______, Jan, formerly. LII: 72, 83, fig. 19 (Jan de Visscher)

Bloch, Vitale. III: 138–39, fig. 11 (Cornelis van Haarlem)

______, formerly. XLV: 317, fig. 45 (El Greco), note 72

Bloemaert, Abraham. III: 129, fig. 4; VI: 28–29, fig. 2, note 16; 257–59, pls. 19–25; IX: 276–77, fig. 1; 399–400, figs. 1–2 (etchings by Boucher after); XII: 39, pl. 28a; XIV: 247–60, figs. 10–12, 14, 15–17, 21 (engravings), pls. 1, 3–5a, 6–11, 13, 15; XXXVI: 17–25, figs. 1–2, 4–7, 9, 11, 13; XLIX: 499, fig. 38 (engraving after); LI: 108, fig. 3; LV: 3–120, figs. 1, 2 (copy after), 3–5, 6 (copy after), 7–11, 14–15, 17 (copy after), 18–23, 24 (copy after), 25–29, 30 (copy after), 31–33, 34 (?), 35–38, 39 (and a later hand), 40–42, 43 (copy after), 44 (copy after?), 45, 46 (copy after), 47–50, 51 (copy after), 52, 53 (copy after?), 54 (after), 55–56 (copy after?), 57, 58 (copy after), 59, 60 (copy after?), 61–64, 65 (copy after), 66–68, 69 (after), 70–75, 76 (after?), 77 (? reworked by Jacob de Wit?), 78 (attributed to), 79–80, 81 (copy after), 82–85, 86 (copy after), 87 (?), 88 (copy after), 90–92 (copy after?), 93 (after), 94–99, 100 (copy after), 101, 102 (copy after), 103 (and a later hand), 104–6, 107 (copy after), 108–12, 113 (?), 114–23, 124–25 (copy after), 126–28, 129 (copy after), 130, 132–33, 134 (studio of?), 135–40, 141–42 (?), 143 (copy after), 144–50, 151 (copy after), 152 (and a later hand?), 153 (?), 154–55 (copy after), 156 (and a later hand), 157–59, 161, 163–65, 166–68 (copy after), 169–70, 172–73, 174 (?), 175–80, 181–82 (copy after), 183–85, 187, 188 (with a later hand?), 189–96, 198–202, 203 (copy after), 204–6, 207 (copy after), 208–16, 217 (copy after), 218–21, 223–25, 226–28 (copy after), 229–33, 234 (after), 235–39, 240 (copy after), 242, 243 (and a later hand), 244–45, 246 (after), 247–51, 252 (after), 253–63, 264 (copy after), 265 (after?), 266 (copy after?), 267–68 (manner of), 269–70 (?), 271–97, 298 (copy after), 299–304, 306–7, 309–34, 336–41, 342 (copy after), 343 (and a later hand?), 344–54, 355 (copy after), 356–57, 358 (and a later hand), 359–63, 364 (and a later hand?), 365–72, 373 (attributed to), 374

______, Cornelis. VI: 42–43, fig. 1; XVI: 391–93, figs. 7–9 (engravings after Canini); LV: 64, fig. 186 (copy after)

______, ______, the Elder. XXXVI: 17–25, figs. 3, 8 (?), 10 (?), 12 (?), 14 (?); LV: 96–97, figs. 305, 308 (?)

______, Frederick. XIV: 247–60, figs. 15–17, 21 (engravings after A. Bloemaert)

______, Hendrick. XXXV: 380–91, figs. 1, 2–4 (after Tintoretto), 5–8, 9 (after Reni), 10

Bloemen, J. F. van. V: 8, fig. 2

Blok, Johanna Koerten, formerly. LVI: 199, 221, fig. 12 (Van Musscher)

______, Rhea Sylvia. XLVIII: 368–73 (LUGT ONLINE); LV: 153–74 (BOSBOOM)

Blokhuyzen, Dirk Vis, formerly. XLIII: 13, 15, 17, 38, 50, 57, 64, figs. 2, 7–8, 42 (Van der Cooghen); LII: 276, 325, figs. 1, 3a (Coecke van Aelst)

Blomberg, formerly. XLIV: 342, fig. 36 (Guercino)

Blome, Arnold, formerly. XLIII: 241, fig. 2 (Mola)

Bloomfield Hills, MI, Cranbrook Academy Galleries. III: 150; VI: 25, fig. 2 (Palma Giovane), note 10

Bloomington, IN, Indiana University, Art Museum. VII: 422, fig. 7 (after Gherardi), note 48; XXIII–XXIV: 94–100 (review)

Bloot, Pieter de. LIII: 9, fig. 7

Blooteling, Abraham. XVI: 13–15, fig. 18 (mezzotint after Frans van Mieris); LVI: 199, 213, 218, figs. 11, 45 (engravings after Van Musscher), 55 (mezzotint after Van Musscher)

Bloteling, Abraham, see Blooteling, Abraham

Blum, John, formerly. XXXIX: 303, fig. 3 (Boucher), note 20

______, Robert Frederick. XLII: 116, fig. 7

Blume, Andrew C. XXIX: 52–58 (GUERCINO)

Blumenthal, George. X: 264, note 5, pl. 31 (Boucher?)

Blundell, Charles Robert, formerly. XLV: 370, fig. 6 (Vieira Lusitano), note 18

______, Henry, formerly. L: 9, 13, figs. 1, 3 (Zoppo), note 1

Blunt, Anthony. IX: 173–74 (OBITUARY for JOHANNES WILDE); X: 20–22 (BERNINI); XI: 186 (LETTER); 359–64 (WADDESDON MANOR); XII: 239–48 (POUSSIN); XIV: 3–31 (POUSSIN); XV: 174–77; 279–80; 419–22; XVI: 57–59, 313 (REVIEWS); 156–62 (DELLA BELLA); XVII: 119–46 (POUSSIN); XVIII: 49–50 (REVIEW); 144–47 (COLOMBEL); XIX: 459–60 (LETTER); XX: 22–24 (POZZO)

______. Drawings by Michelangelo, Raphael, and Leonardo, and Their Contemporaries. Review. XII: 182

______. The Drawings of Poussin. Review. XVIII: 381–86

______. Supplements to the Catalogues of Italian and French Drawings, with a History of the Royal Collection of Drawings. Review. XI: 52–54

______ coll. III: 405–06, pls. 32 (Perino del Vaga), 33 (Le Brun); XII: 21, note 80, pl. 23 (Zucchi)

______, see also Friedlaender, Walter, and Anthony Blunt

Boalsburg, PA, Boalsburg Estate Society. VI: 29, fig. 2 (A. Bloemaert), note 16

Bober, Jonathan. XXVI: 219–32 (CREMONESE DRAWINGS FOR CHARLES V); LIII: 431–34 (DOMENICO PELLEGRINI)

______, Phyllis Pray, and Ruth Rubenstein. Renaissance Artists and Antique Sculpture. A Handbook of Sources. Review. XXVI: 272–74

Boccaccino, Boccaccio. XXXI: 351, fig. 1 (circle of)

______, Camillo. XXVI: 219–21, fig. 1

Boccati, Giovanni. II: 283, pl. 31

Boccazzi, Franca Zava, see Zava Boccazzi, Franca

Bochner, Mel. XLII: 131, fig. 8

Bocholt, Historisches Rathaus. XXIII–XXIV: 416 (review)

Bocksberger, Johann, the Younger. IX: 40–41, fig. 3

Bodnár, Szilvia. XLIII: 186–92 (JOHANN KELLERTHALER)

Boeckhorst, Jan (Johann). XV: 162–66, figs. 3–4, pls. 18–20; XXIII–XXIV: 48–49, figs. 3–4, pls. 24–25

Boel, Pieter. XLIX: 482–83, figs. 4, 5 (etching after)

Boer, P. and N. de. I, 2: 35–37, note 3, pl. 26 (anonymous Liechtenstein Master); III: 363, pl. 5 (Aertsen); IV: 310; V: 40, note 7, pl. 30 (Van de Velde); XVII: 42, pl. 34a (De Boissieu); 267, 271, fig. 6 (Boucher), note 31; XVIII: 134–35, fig. 2 (Aertsen); XXIII–XXIV: 226, pl. 38 (Jordaens); XXV: 26–27, fig. 8 (Poelenburg); XXVII: 159, fig. 35 (Maes), note 36

Boerner, C. G., formerly. VI: 272, pl. 35b (Van der Pluym); XXXI: 415, fig. 6 (Baglione), note 9; XXXIX: 407, fig. 13 (circle of Jan Muller or Adriaen de Vries)

Boers, Everhardus, formerly. XLIII: 39, 62, fig. 45 (Van der Cooghen)

Boggs, Jean Sutherland. IV: 46–47 (REVIEW)

Bohlin, Diane De Grazia, see De Grazia, Diane

Böhm, Joseph Daniel, formerly. XLIX: 159, figs. 1–2 (Michelangelo), note 1

Bohn, Babette. XXII: 405–25 (L. CARRACCI); XXV: 219–36 (L. CARRACCI); XXVI: 369–81 (REVIEW); XXX: 396–414 (CARRACCI FAMILY); XXXII: 163–68 (REVIEW); XXXIII: 189 (LETTER); XLI: 58–62 (REVIEW); XLII: 207–36 (ELISABETTA SIRANI); 269–71; XLIII: 527–31 (REVIEWS)

______, see also Mann, Judith W., and Babette Bohn

Boijmans, Frans Jacob Otto, formerly. XLIII: 28, 56, fig. 27 (Van der Cooghen); LV: 328–29, figs. 18–20 (Verboom), note 58

Boissieu, Jean-Jacques de. VIII: 35–36, pl. 35; XVII: 34–43, fig. 1, pls. 25–36; XXIII–XXIV: 389–95, figs. 1–4 (after), pls. 51–53; XLII: 69, fig. 1; LV: 500, fig. 17

______ coll., formerly. LII: 27, 42–43, figs. 41, 58 (Genga)

Boizot, Louis Simon. LV: 491, fig. 6

Bol, Ferdinand. V: 197; VII: 159–62, fig. 6; XII: 35–36, fig. 3 (attributed to); XX: 284, pl. 28; XL: 246, fig. 2; XLVIII: 25, fig. 26; LIII: 455–58, figs. 1 (here attributed to), 2

______, Hans. L: 329–56, figs. 1, 3–28, 29 (after), 31, 32–33 (engravings after), 34–35, 37, front cover

Boldini, Giovanni. XLIX: 249–52, figs. 1–2

Bolingbroke, Henry St John, 1st Viscount, formerly. XLIX: 90, fig. 59 (Foggini)

______, Horace, formerly. LIII: 443, fig. 1 (Breenbergh), note 4

Bologna, Accademia delle Belle Arti. XXI: 167–68, pls. 41–42 (Colonna)

______, Biblioteca Comunale dell’Archiginnasio. XLII: 207, fig. 1 (L. Martelli after E. Sirani); XLVII: 76, fig. 7 (Greuter), note 20

______, Casa Mentasti. V: 169–72, fig. 1 (Caccioli)

______, Cassa di Risparmio. XXXIV: 281–82, 285, 290, figs. 3, 5, 9, 11, 14, 16, 19 (etchings by Mitelli, after De’Rossi), notes 8, 10, 14, 18, 19, 22, 25; XLII: 222, fig. 39 (E. Sirani), note 73

______, Chiesa di Corpus Domini (destroyed). XVIII: 44–45, fig. 6 (Franceschini); XXI: 24, 28, fig. 6 (Franceschini); XXV: 222–23, fig. 5 (L. Carracci); XXXVII: 287, 290, figs. 2–4 (M. Franceschini), note 3

______, ______, Cappella Monti. IX: 128–29, fig. 6 (Franceschini)

______, Collezioni Comunali d’Arte. LIV: 243, fig. 4 (Pasinelli), note 12

______, Galleria Davia-Bargellini. XIV: 387, fig. 1 (Franceschini)

______, Istituto per la Storia di Bologna. XXII: 417–18, fig. 13 (L. Carracci)

______, Madonna di S. Luca. XI: 29–30, fig. 2 (Creti)

______, ______, Santuario. VI: 370–71, fig. 4 (Reni)

______, Museo Civico. II: 169–70, fig. 1 (Bertoia?); XIV: 56–64 (review); XXV: 285–87 (review); XXXVIII: 77–78 (review)

______, Museo Morandi. LVI: 364, fig. 17 (Giorgio Morandi), note 13

______, Palazzina della Viola. VII: 290–92, fig. 5 (Imola)

______, Palazzo Aldrovandi. XIV: 387–88, fig. 2 (Bigari)

______, Palazzo Comunale. V: 170–71, fig. 2 (Caccioli)

______, Palazzo dell’Archiginnasio. I, 1: 57–58 (review); IX: 66–67 (review)

______, Palazzo di Giustizia. IX: 126, fig. 4 (Franceschini and Haffner)

______, Palazzo Fava. IV: 29–32, figs. 1 (Annibale Carracci), 3 (Agostino Carracci); 311 (review); VIII: 40–41, fig. 3 (Annibale Carracci)

______, ______, Sala di Europa. LIV: 228, fig. 9 (Agostino Carracci)

______, ______, Sala di Giasone. LIV: 225, fig. 2 (Agostino Carracci)

______, Palazzo Magnani. XXX: 404, fig. 11 (Agostino Carracci), note 36

______, Palazzo Malvezzi. XXXI: 466, fig. 6 (U. Gandolfi)

______, Palazzo Marescotti. XX: 27, fig. 1 (Rolli)

______, Palazzo Marescotti-Brazzetti. XXI: 22–23, fig. 1 (Franceschini)

______, Palazzo Pepoli Campogrande. V: 168, fig. 4 (Canuti); XXVIII: 315, 317, 319, fig. 2 (Canuti and Santi)

______, Palazzo Poggi. XXX: 402, figs. 4, 6 (Tibaldi)

______, ______, Sala d’Ulisse. XLIV: 309, fig. 12 (Tibaldi)

______, Palazzo Sampieri. XVII: 405, 408, fig. 10 (Guercino)

______, Pinacoteca Nazionale. II: 266; III: 8, 10, fig. 11 (Cossa); V: 387–88, fig. 1 (L. Carracci); VI: 120–21, fig. 8 (Domenichino), note 20; 364–65, figs. 1, 3 (Reni), note 21; IX: 131–32, note 49, pl. 12 (Franceschini); XI: 161–63, note 5, pls. 28–31 (Monti); 269–71, note 3, pl. 26 (Cesi); XII: 265–73, figs. 8–9 (Maineri); XIV: 160, note 13, pl. 31 (G. Gandolfi); 274–75, fig. 6 (Rolli), note 18; XVII: 245–51, figs. 3, 5 (Domenichino); XXII: 409–13, figs. 6–7, 9, note 15 (L. Carracci); XXV: 227–28, fig. 9 (L. Carracci); XXIX: 145, figs. 1–2 (Aspertini), note 3; XXXI: 47–48, 50, 52, figs. 1, 5 (Guercino), 6 (Pasqualini), notes 1, 14, 15; 404, fig. 1 (Agostino Carracci), note 2; XXXIV: 76, fig. 7 (Ricci or Gionima?); XXXVI: 159, fig. 10 (Carlo Cignani); XXXVII: 47, fig. 2 (workshop of Francesco Monti), note 4; 304–05 (review); XXXVIII: 77–78 (review); XL: 226, fig. 19 (Tiarini); XLII: 210–11, 218, figs. 5, 7, 20 (E. Sirani), notes 19, 45; XLIV: 87–89 (review); 313, 321, figs. 17, 27 (Albani), notes 61, 94; XLV: 220, fig. 12 (Agostino Carracci), note 24; XLVI: 101, fig. 3 (Gandolfi), note 4; LIV: 243, fig. 2 (Francesco Maria Francia), note 7; LVI: 325, fig. 22 (Cavedone), note 44

______, ______ (on deposit at the Oratory of S. Colombano). XLIV: 305, fig. 6 (Albani), note 31

______, ______, Gabinetto Disegni e Stampe. XXXVI: 159, fig. 12 (Meloni after Carlo Cignani), note 23

______, Portico di S. Luca, 11th Chapel. XLVI: 101, fig. 4 (Gandolfi)

______, Private coll. IX: 134, pl. 17 (Franceschini); XI: 27, note 24, pl. 13b (Creti); XLVIII: 200, fig. 8 (Kaiserman and Pinelli), note 35

______, Sale delle Belle Arti. XLIV: 87–89 (review)

______, S. Bartolomeo. VII: 166–67, fig. 2 (Rolli), note 18; IX: 128–30, figs. 7–8, note 46, pls. 10–11 (Franceschini); XXI: 24, 26, fig. 5 (Franceschini); 166–72, fig. 1 (Colonna and Alborese), pl. 41 (Colonna)

______, S. Benedetto. LVI: 327, fig. 27 (Cavedone), note 53

______, S. Colombano, Oratorio. XLIV: 306–7, figs. 8–9 (Albani)

______, ______ (on deposit from the Pinacoteca Nazionale). XLIV: 305, fig. 6 (Albani), note 31

______, S. Domenico. IX: 132–33, fig. 10 (Franceschini); XI: 269–71, fig. 2 (Cesi); XIV: 271–72, fig. 2 (Calvaert)

______, ______, Chapel of the Rosary. XXI: 169–70, fig. 4 (Mitelli and Colonna)

______, S. Francesco. XL: 231, fig. 26, 28 (Tiarini)

______, S. Gerolamo della Certosa. XLII: 213, fig. 10 (E. Sirani)

______, S. Giacomo Maggiore. VII: 290–91, fig. 3 (Imola); XIII: 370–72, fig. 1 (Samacchini); LI: 25, fig. 20 (Passarotti), note 60

______, S. Giovanni in Monte. LIII: 81, fig. 1 (Cesi)

______, S. Gregorio. VIII: 40–41, fig. 4 (Annibale Carracci)

______, S. Martino Maggiore. XXVI: 8–10, fig. 6 (Sermoneta)

______, S. Paolo. XVII: 409, 411, fig. 16 (Guercino)

______, S. Paolo Maggiore, Arrigoni Chapel. LVI: 325, fig. 21 (Cavedone), note 42

______, ______, Fabretti Chapel. LVI: 321–22, figs. 9, 16 (Cavedone), notes 24, 36

______, S. Petronio. II: 34–35, fig. 3 (Giovanni da Modena)

______, ______, Cospi Chapel. XIV: 272–74, figs. 3 (Alboresi), 4 (Mondini)

______, S. Pietro. XVIII: 43–44, fig. 5 (Marchesi)

______, S. Salvatore. LVI: 329, figs. 36–39 (Cavedone), note 63

______, S. Maria dei Servi. VII: 289–90, fig. 1 (Imola); XVIII: 42–44, fig. 4 (Marchesi)

______, ______, Convent. XI: 29, fig. 1 (after Creti)

______, S. Maria della Vita, Oratorio. XIV: 270–71, fig. 1 (Domenico degli Abrogi); LVI: 319, fig. 4 (Cavedone), note 16

______, SS. Vitale ed Agricola. XLVI: 353, fig. 9 (Bartolommeo Ramenghini?), note 6

______, Seminario. VII: 132, 145, fig. 2 (Fontana)

Bolognese, Francesco. LVI: 76, fig. 57 (after); 85, figs. 3 (after), 4

Bolognese artist, see Anonymous artist, Italian (Bolognese)

Bolognese Drawings from the Schloss Fachsenfeld Collection. Review. XX: 157–60

Bolognese Drawings in North American Collections, 1500–1800. Review. XX: 388–89

Bolswert, Boëtius Adamsz. XLIX: 499, fig. 38 (engraving); LV: 56, fig. 160 (engraving)

______, Schelte Adamsz. II: 269, fig. 1; LV: 26, 28, figs. 69 (after A. Bloemaert), 76 (engraving after A. Bloemaert?)

Bolten, Jaap. VII: 123–47 (SEVERINO DA CINGOLI); VIII: 295 (LETTER); XXVIII: 193–96 (REVIEW); XXXVI: 17–25 (ABRAHAM BLOEMAERT); LV: 3–120 (ABRAHAM BLOEMAERT)

______. Groninger Museum voor Stad en Lande. Dutch Drawings from the Collection of Dr. C. Hofstede de Groot. Review. VIII: 410–15

______. Het Noord- en Zuidnederlandse Tekenboek, 1600–1750. Review. XVIII: 56

Bolzano, Castelroncolo. XXIII–XXIV: 185–86, fig. 15 (fresco)

Bolzoni, Marco Simone. LIV: 147–204 (RAFFAELLINO MOTTA DA REGGIO); LV: 453–64 (AURELIO LOMI)

Bonacina, G. B. III: 384, fig. 1; XXIII–XXIV: 54–55, fig. 1 (engraving after Bernini)

Bonaiuti, Andrea. XIX: 433–37, fig. 11

Bonasone, Giulio. IV: 130, 140, fig. 10; XXI: 154–55, fig. 2 (engraving); XXVIII: 124–25, fig. 2 (engraving); L: 545, 547, figs. 2, 4 (engravings after Titian); LVI: 469, fig. 14 (engraving after Giulio Romano)

Boncompagni family. XXXII: 163, fig. 1 (portrait of a member)

Bondol, Jean. XXV: 393–404, figs. 4, 14 (tapestries)

Bondy, Oscar C., formerly. XLII: 164, fig. 5 (Gossaert), note 8

Bonello coll. X: 377, pl. 42b (Bononi)

Bonington, Richard Parkes. III: 286–90, pls. 36–40; XXV: 292–95; XXXII: 171–73; XLVII: 489–92, figs. 1–3 (after Van Thulden after Rubens)

Bonn, August Bödiger, formerly. LV: 48, fig. 134 (studio of A. Bloemaert?)

Bonn, Rheinisches Landesmuseum. L: 527, fig. 3 (Adam Elsheimer), note 15

Bonna, Jean. XLIV: 198; 471, fig. 12 (Gillot); 521, fig. 1 (Watteau); L: 518, fig. 25 (Michelangelo Anselmi), note 45; LI: 197, fig. 1 (Ligozzi); LIV: 149, 188, fig. 3 (Raffaellino da Reggio); LV: 104, fig. 336 (A. Bloemaert); LVI: 498, fig. 24 (Claude Lorrain), note 44

Bonnat, Léon, formerly. XLIX: 539, fig. 8 (copy after Rembrandt), note 50

Bonnet, Louis-Marin. X: 264–83, figs. 1–2, 4, 6–7, 11–13 (engravings after Boucher), pls. 31, 33b-34, 36 (?); XXXV: 237, 246, 250, figs. 10, 28, 41, 44 (engravings after Rubens)

Bonola, Giorgio. LI: 116, fig. 2 (inscription)

Bononi, Carlo. VII: 413–24, figs. 1–2 (studio of), 3–5, pls. 24–26; VIII: 387–90, fig. 1, pls. 25–26; X: 363–78, figs. 1, 7–11, pls. 23–42; XVIII: 25–27, fig. 1, pls. 7–10; XIX: 444, pls. 26–28; XXXI: 409–11, figs. 1–8

Bonvin, Léon. XXXI: 129, fig. 2; LV: 195–98, fig. 1; LVI: 416, fig. 1

Boon, Karel G. II: 153–56 (VELLERT); IX: 55–59 (REVIEW); XXIX: 173–80 (POSTMA); XXX: 227–28 (LETTER)

______. Catalogue of the Dutch and Flemish Drawings in the Rijksmuseum. II. Netherlandish Drawings of the Fifteenth and Sixteenth Centuries in the Rijksmuseum. Review. XIX: 42–44

______. The Netherlandish and German Drawings of the XVth and XVIth Centuries of the Frits Lugt Collection. Review. XXXIII: 324–33

Boonen, Arnold. LVI: 201, fig. 16 (after)

Boorsch, Suzanne. XXXI: 368–76 (MANTEGNA)

Bor, Paulus. XXXVII: 71, figs. 1–2 (after)

Bora, Giulio. Disegni di Manieristi lombardi. Review. XI: 54–55

Il Boraga, see Bernardino, called Il Boraga

Borba, Marquis of. XXXII: 124, fig. 37 (portrait of)

Borbón, Don Pedro Alcántara de Borbón y, Duke of Dúrcal, formerly. XXXI: 350–63, figs. 1 (circle of Boccaccino), 2 (Roncalli), 3–4 (Mola), 5 (Gargiulo), 6 (circle of Luca Giordano, Nicolò Rossi?), 7 (Fracanzano?), 8–9 (Stanzione), 10–11 (Falcone), 12 (Vaccaro?), 13 (Pietro Aquila), 14 (Francesco di Maria?), 15 (Giaquinto)

Ter Borch family coll., formerly. XLIII: 29, 57, 63, figs. 31, 33, 67 (Van der Cooghen)

Borch, Gerard ter. I, 2: 15, pl. 9a (formerly attributed to); X: 260–63, pls. 22–29; XII: 395

______, ______, the Elder. XXI: 143, pl. 8

______, ______, the Younger. LIII: 459–61, figs. 1–3

Borcht, Hendrick van der ii. XIX: 15–17 (engraving after Parmigianino)

Bordon, Paris. XLII: 375, fig. 4

Borea, Evelina. Domenichino. Review. IV: 312

Borghese, Pauline, Princess (née Bonaparte), formerly. LV: 79, fig. 243 (A. Bloemaert and a later hand)

Borghese coll., formerly. L: 60, 62, figs. 3–4 (Veronese), note 18

Borghini, Vincenzo. V: 283, pl. 25b; XI: 172–73, pl. 33; XLIX: 171–74

______ coll. IV: 54 (review)

Borgo, Giovanni Paolo dal. VII: 56, pl. 33

Borgo S. Lorenzo, Chiesa del Crocifisso. XXXIII: 31, fig. 4 (Piero di Cosimo)

Borgo Sansepolcro, S. Lorenzo. XXIX: 303, fig. 3 (Raffaellino del Colle)

Il Borgognone, see Cortese, Guglielmo

Borgognone, Ambrogio, see Bergognone, Ambrogio

Borne, François. XLIII: 242 (OBITUARY for MARIANNE ROLAND MICHEL)

Borremans, Guglielmo. XXXIII: 43–50, figs. 5–7

Borromeo coll. XLVI: 393, fig. 1 (Camillo Procaccini), note 4

Borromeo, Federico, Cardinal, formerly. LII: 36, 46, fig. 56 (Genga)

Borssom, Anthonie van. XXXVI: 45–52, figs. 2–3

Borwick, Leonard, formerly. 492, fig. 73 (Gainsborough)

Bos, Cornelis. II: 10–11, fig. 6; VI: 292; LII: 295, fig. 24 (or workshop, engraving after Coecke van Aelst)

Bosboom, Johannes. LV: 153–74, figs. 1–8, 10–18, 20–23, 24 (portrait of), 26 (his studio)

Bosch, Bernardus de, formerly. LV: 43, figs. 117–18 (A. Bloemaert)

______, Hieronymus. XIX: 284, fig. 11; XLI: 293–304, figs. 1–2, 3 (follower of), 4, 5 (engraving after), 6 (tapestry by follower of), 7 (follower of), 8 (engraving by follower of), 9 (follower of); XLVIII: 230, fig. 5; LI: 393–407, figs. 1 (and workshop), 2 (his mark), 4–5 (and workshop), 6–9 and back cover

______, Jeronimo de, formerly.LV: 61, fig. 177 (A. Bloemaert)

______, Jeronimo de ii, formerly. LVI: 201, figs. 17, 19 and back cover (Van Musscher)

Boschi, Fabrizio. VII: 148–51, fig. 1, pls. 22–24; XLVI: 118, figs. 1–2

Boscoli, Andrea. II: 291; XIII: 21–23, pl. 4; XXXVIII: 448–59, figs. 1–13

Bosio, Francesco. XXV: 272–76, figs. 1–2 (etchings after), pls. 26–39; XXIX: 385–409, figs. 1–2 (signatures), 3–6 (etchings after), 7–8

Bossaglia, Rossana, see Barigozzi Brini, Amalia, and Rossana Bossaglia

Bosschaert, see Wileboirts, Thomas, called Bosschaert

Bossche, Philips van den. XLIV: 333–53, figs. 1 (after), 2 (attributed to), 3–8, 9 (after), 10–15, 16 and back cover (?)

Bosse, Abraham. X: 23–25, figs. 1–2, pls. 17–18; XVI: 157–58, fig. 2 (engraving)

Bossi, Giuseppe. XXXIX: 5, fig. 5 (after Michelangelo)

Bossi-Beyerlen, formerly. XXXII: 347, figs. 31, 35–36 (L. Tiepolo)

Boston, MA, art market, formerly. XXXI: 242, fig. 35 (Goltzius); LII: 27, 42, fig. 41 (Genga)

______, Goodspeeds Book Shop, formerly. LV: 54, fig. 154 (copy after A. Bloemaert)

______, Isabella Stewart Gardner Museum. VII: 180 (review); XI: 4–19, fig. 1 (Venusti), note 11; XLVIII: 330, fig. 8 (Titian), note 7; LVI: 389, fig. 8 (Michelangelo), note 7

______, Robert M. Light & Co., formerly. LV: 104, fig. 340 (A. Bloemaert)

______, Museum of Fine Arts. I, 4: 35, fig. 1 (Bellange); II: 58–60 (review); III: 251–52, 256, pl. 10 (Dupont); VI: 55–56 (review); VII: 35, pl. 25 (Ingres); X: 267–68, fig. 5 (Boucher); XI: 282, fig. 3 (Rossetti); XII: 252–54, pl. 29 (Rubens); XIII: 177 (review); XVI: 132–33, 145, figs. 1–2 (Copley), 11 (Panini); XVIII: 54 (review); XIX: 403–04, fig. 11 (L. Constable), note 34; XX: 239–46, figs. 3, 5–7 (Master of the Barberini Panels); 395–97, fig. 3 (Pissarro); XXI: 162, pl. 38 (Murillo); 420–21 (review); XXII: 60–61, fig. 4 (Daumier); 331 (review); XXIII–XXIV: 32–33, fig. 2 (Pontormo), note 26; 378, fig. 2 (Watteau), note 7; 551, 556–57 (review); XXVI: 348, pl. 32 (Lefèvre); XXVIII: 304, fig. 2 (Van der Haagen), note 10; XXIX: 30, 42, fig. 2 (Dürer), note 2; XXX: 283, fig. 18 (Boucher); XXXI: 17; 365, fig. 2 (Fra Carnevale); 395, fig. 2 (Enea Vico, after Bandinelli); XXXVIII: 58, fig. 2 (Van der Haagen), note 4; XXXIX: 284, fig. 7 (Gabriel de Saint-Aubin), note 14; XL: 299, 302, figs. 1–3 (J.M.W. Turner); 346, 349, 351, 353, 355–56, figs. 1–2, 9 (Rimmer), 11 (W. S. Mount), 13–15, 17 (Rimmer), note 31; XLIV: 458, fig. 12 (Lancret), note 29; LIII: 435–36, figs. 1, 4 (Jacques de Gheyn ii), note 1; LIV: 374, fig. 7 (Rembrandt), note 3; LV: 233, figs. 6–8 (J.-F. Millet), note 32

______, ______, Harvey D. Parker coll. XLI: 349, fig. 8 (Dürer), note 32; XLIV: 204

______, Public Library. XVII: 274, pl. 36 (Stothard); XXIX: 120, fig. 2 (La Farge); XXXVII: 127, 137, fig. 32 (Luca Giordano)

Botti, Rinaldo. LIII: 489, no. 5 (self-portrait)

Botticelli, Sandro. II: 283–84; XXXVIII: 300, fig. 5 (and Filippino Lippi); LVI: 183, fig. 1 (with drawings by Giorgio Vasari and Filippino Lippi)

Botticini, Francesco. II: 284; XXXII: 151–54, figs. 1–4

______, Raffaello. II: 284

Boubli, Lizzie. XXXVII: 349–64 (SPANISH DRAWINGS)

______. L’Atelier du dessin italien à la Renaissance: Variante et variation. Review. XLIII: 384–86

Bouchardon, Edme. XIII: 379–400, figs. 1–11, 12 (follower of), 13, pls. 24–43; XXIX: 241, fig. 9 (after Maratti); XLVII: 191–220, figs. 1–2 (after), 3–7, 8 (with corrections by Jean Duvivier), 10–12, 13 (after), 14–17, 18–19 (after), 20 and back cover; LII: 114, fig. 4; LIII: 481, figs. 1–2, 3 (portrait of), 4 (caricature of); LVI: 31–84, figs. 1, 2 (after Gian Lorenzo Bernini and Giulio Cartari), 4 and 40 and 42–44 and 46–47 (after the Antique), 7 (after Camillo Rusconi), 8 (after Agostino Cornacchini), 10 and 14 and 39 (after anonymous artist), 12 (after Giulio Mazzoni), 16–18 (after Antonio Raggi), 20–21 (after Giovanni Francesco Romanelli), 24–26 and 29 (after Alessandro Algardi), 28 (after Giacomo della Porta and Taddeo Landini), 30 (after Lorenzetto), 31 (after Francesco Moderati), 32 (after Camillo Rusconi), 33–34 and 37 (after Gian Lorenzo Bernini), 35 (after Pierre Legros ii), 38 (after Guido Ubaldo Abbatini), 41 (after Giambologna), 45a–b, 48 (after Gian Lorenzo Bernini?), 49 (after the Antique and Pietro da Cortona), 50a–b, 51–52, 53 (after Francesco Nuvolone and Carlo Marcellini, after Ciro Ferri); 85–96, figs. 1 (after Domenichino), 6 (after Pier Francesco Mola), 7–8 (after Carlo Maratti), 13–24; 97–104, figs. 1–4

Boucher, François. III: 258, pl. 12; IV: 157–63, figs. 1–3 (after), pls. 21–23; V: 54–66, figs. 1–3, pls. 44–49; IX: 280–81; 398–403, figs. 1–4, pls. 41–42; X: 264–83, figs. 3, 5, 9, 14, 16, pls. 30–39, 40–41 (after); XII: 172–76; XIII: 258–60, pl. 24; XIV: 247–60, figs. 1–9 (etchings), 13 (after), 18, 19–20 and 22 (after), 23, 24–27 (after), pls. 2, 5b, 12, 14; XVII: 261–72, figs. 1 (after), 6, pl. 34; XXII: 65–66, fig. 2; XXIII–XXIV: 367–77, figs. 2–3 (after), 4–6; XXX: 255–86, figs. 1–10, 13–27; XXXIV: 72–79, fig. 1; XXXIX: 300–06, figs. 1–2 (after Solimena), 3; LII: 244, fig. 1; LIV: 399, fig. 3; LV: 76, fig. 234 (after A. Bloemaert)

Bouchot-Saupique, Jacqueline. I, 3: 40–43 (DELACROIX); III: 166–69 (TOULOUSE-LAUTREC)

Boudin, Eugène. VI: 395–404, figs. 1, 5, pls. 49–55; XVIII: 57

Boughton, George H. XXXV: 120, 129, figs. 8, 21

Bouguereau, William-Adolphe. XLII: 74, fig. 7

Bouleau-Rabaud, Wanda. I, 2: 32–34 (VITI)

Boullogne, Louis de. XXXII: 3–25, figs. 3–6, 7 (etching after), 8–9, 10 (etching after), 11–13, 14 (etching after), 15–16, 17 (etching after), 18–20, 21 (etching after), 22–24, 25 (etching after), 26–33; XXXVII: 181–88, figs. 1–10; XLVI: 104–8, figs. 1–7

______, the Younger. LI: 471–80, figs. 1–2, 6–11

Boulogne-sur-Mer, Musée Municipal. XXVII: 129–30, fig. 2 (Lastman), note 2

Bourbon, Louis-François de, Prince de Conti, formerly. XLV: 19, 24, figs. 12 (Sermoneta after Raphael), 17 (Taddeo Zuccaro); LV: 493, 502, 509–10, figs. 10, 30 (Van Dyck), 19 (R. Lafage), 31 (Rubens)

Bourdon, Sebastian (Sébastien). VIII: 32, pl. 26; LVI: 171–73, figs. 5–7

Bourgevin Vialart de Saint-Morys, Charles-Paul-Jean-Baptiste de, see Saint-Morys, Charles-Paul-Jean-Baptiste de Bourgevin Vialart de

Bourguignon, Hubert-François, see Gravelot

Bournemouth, Alistair Mathews, formerly. XLIX: 159, figs. 1–2 (Michelangelo), note 1

Bouteiller, L. XIX: 18, fig. 1 (lithograph after Parmigianino)

Boutelou, Guillaume. XVIII: 157, 160, fig. 4

Bouts, Dieric. XLI: 313, fig. 5 (infrared photograph); XLII: 60, fig. 4 (attributed to)

Bouverie, Anne, formerly. XLIII: 508, fig. 2 (Guercino), note 2

______, Elizabeth, formerly. XLIII: 508, fig. 2 (Guercino), note 2

______, John, formerly. XLIII: 508, fig. 2 (Guercino), note 2

Bouzari, Alex. L: 309, 319, fig. 25 (Matthijs Cock)

______ coll., formerly. LV: 28, 48, figs. 74, 128 (A. Bloemaert)

 

Bow, Ian, formerly. XLVI: 496, fig. 80 (Gainsborough)

______, John Roger, formerly. XLVI: 496, fig. 80 (Gainsborough)

Bowdoin, James. XXXVIII: 223–32, fig. 1 (portrait of)

______, ______ iii, formerly. XLV: 380, fig. 24 (Vieira Lusitano), note 37

Bowers, Barbara. LIV: 407, fig. 4

Bowron, Edgar Peters, and Joseph J. Rishel. Art In Rome in the Eighteenth Century. Review. XL: 167–70

Boyer, Jean-Claude, see Gerin-Pierre, Claire, Arnauld Brejon de Lavergnée, Barbara Brejon de Lavergnée, and Jean-Claude Boyer

______, Linda. IV: 169 (LETTER)

Boys, Thomas Shotter. XIII: 177–78

Boyvin, René. XIII: 240–49, fig. 1

Bozzolo, Church of S. Francesco, Chapel of Giulio Cesare Gonzaga. LIV: 512, fig. 7 (Gaspare Celio)

Bracci, Pietro. XLI: 174–76

Bracken, William Worth. LVI: 149–68 (REMBRANDT)

Bracquemond, Félix. LV: 150, fig. 4; 241, fig. 18

Bradford, Yorkshire, City Art Gallery and Museum. XI: 174–75, fig. 1 (Vasari)

Bradley, Edson, formerly. LII: 372–73, figs. 1, 4 (tapestry from the factory of Jan i Raes), note 12

Braganza, Don Sebastian Gabriel de Borbón y, formerly. XXXI: 350–63, figs. 1 (circle of Boccaccino), 2 (Roncalli), 3–4 (Mola), 5 (Gargiulo), 6 (circle of Luca Giordano, Nicolò Rossi?), 7 (Fracanzano?), 8–9 (Stanzione), 10–11 (Falcone), 12 (Vaccaro?), 13 (Pietro Aquila), 14 (Francesco di Maria?), 15 (Giaquinto)

Braham, Allan, and Hellmut Hager. Carlo Fontana. The Drawings at Windsor Castle. Review. XIX: 456–57

______, Helen. Rubens. Paintings, Drawings, and Prints in the Princes Gate Collection. Review. XXIX: 314–15

Braij, Dirck de. XXXIX: 382, 389, figs. 16 (after unknown artist), 17 (? after Salomon de Braij), 28 (woodcut after Jan de Braij)

______, Jan de. XXXIX: 371, 383–84, 387–89, figs. 7–8 (after Salomon de Braij), 19 (and Salomon de Braij), 21 (after Salomon de Braij), 22–24 (after), 25 (after Soutman), 26 (after himself), 27, 28 (after); XLIII: 19, fig. 11 (after Salomon de Braij)

______, Joseph de. XXXIX: 376, 379, 386–87, figs. 9 (after Salomon de Braij), 10–12 (? after Salomon de Braij), 13 (or Dirck de Braij? after Salomon de Braij), 14 (? after Salomon de Braij), 22–24 (after Jan de Braij); XL: 269, fig. 1 (after Salomon de Braij)

______, Salomon de. XXXIX: 367–94, figs. 1–6 (after himself), 7–14 (after), 15 (after Heemskerck), 17–18 (after), 19 (and Jan de Braij), 20, 21 (after); XL: 269–70, fig. 1 (after), 2; XLIII: 19, fig. 11 (after)

De Braij studio. XXXIX: 382, fig. 18 (after Salomon de Braij)

Bramantino. I, 2: 32

Brambilla, Ambrogio. LII: 458, fig. 10 (etching)

Brame, M. IV: 262–63, fig. 4 (Ingres)

______, Philippe, and Theodore Reff. Degas et son oeuvre. A Supplement. Review. XXIII–XXIV: 551, 560–61

Bramer, Leonard. V: 197; VI: 28–29, note 14, pls. 9–10; LIII: 13, 25, figs. 11, 21

Brander, Kirstine. IX: 281–82 (REVIEW)

Brandi, Giacinto. XXXI: 439, fig. 6

Brandt, Caspar. LVI: 199, 215, figs. 14, 46 (portraits of)

______, Gerard, the Elder. LVI: 213, figs. 41–42 (portraits of)

______, Gerard, the Younger. LVI: 199, figs. 12–13 (portraits of)

______, Paul, formerly. XLV: 167, fig. 1 (Jacques Rousseau), note 3

______, W. A. XI: 41–43, pls. 28, 35–37, 40 (Dahl)

Brangwyn, Frank, Sir, formerly. XXXI: 409, fig. 5 (Bononi), note 8

Brannen, J. Wallace. L: 199, figs. 4–5 (master printer of Sol LeWitt lithographs)

Braque, Georges. XXXVIII: 302, fig. 6; XL: 10, fig. 2 (etching)

Bratislava, Slovenská Národna Galéria. XXXIV: 90, figs. 1–2 (Mednyánszky)

Brauner, Victor. XL: 62, fig. 7 (collage with Lam)

Braunschweig Master of 1506. XXVII: 310–13, figs. 1–5

Braunschweig, Dom. XXVII: 313, figs. 3–5 (Braunschweig Master of 1506)

______, Herzog Anton Ulrich-Museum. I, 4: 14; III: 138, 140, 148, pl. 12 (Cornelis van Haarlem); IV: 155–57, fig. 2 (Buytewech); 440–41, 446, figs. 3–4 (Rubens), 6 (school of Rubens); XVI: 293–98, figs. 2 (Keirincx), 6 (Keuninck), notes 1, 4, 11, 14, pls. 45 (Keirincx), 47 (Govaerts); XVIII: 368–69, fig. 7 (Jordaens); XXI: 67 (review); XXIII–XXIV: 545–47, note 8, pl. 27 (W. Crabeth); XXVII: 316, fig. 4 (Joos van Winghe); 329, fig. 15 (C. de Vos); 370–72 (review); XXXI: 225, 235, figs. 8, 27 (Goltzius); XXXVII: 247, fig. 16 (Malinconico), note 34; XLI: 221, fig. 4 (Rohan Master); XLV: 160, fig. 15 (Molenaer), note 38; XLVIII: 29, fig. 31 (Govert Flinck), note 79; 39, 57, 63, figs. 23–25, 28, 38 (Van den Eeckhout), notes 7, 56, 72; 75, 91, 95, figs. 3, 30, 32, 41, 43, 44–47 (Hollar), notes 10, 79, 87, 89; XLIX: 360, fig. 18 (Pieter Lastman), note 23; 373, fig. 2 (Jan Victors), note 8; LIV: 5–6, figs. 2, 4 (Andrea del Sarto), note 7; 369–70, figs. 1 (Rembrandt), 2 (Roos), 3 (vol. 13 of the drawing coll.), notes 4, 8; LV: 74, fig. 226 (copy after A. Bloemaert)

______, Landesmuseum. XVIII: 116–17, fig. 1 (after J. Muller)

Bray (Dutch family of artists), see Braij

Bray, Jan de. LII: 59, fig. 1

______, Xavier. XXXVII: 416–28 (VELÁZQUEZ and JOSÉ DEL CASTILLO)

Brazilaï-Hollander, Galila, formerly. LV: 23, fig. 59 (A. Bloemaert)

Breazeale, William. XLV: 527–33 (OTTO MARSEUS VAN SCHRIECK); XLVI: 205–26 (EDWIN BRYANT CROCKER); XLVIII: 163–66 (GIULIO ROMANO)

Breenbergh, Bartholomeus. III: 258; XXV: 3–10; LIII: 443–50, figs. 1–3, 4–5 (after), 6; LVI: 414, fig. 8 (?)

Breitenbach, Edgar. XV: 401–03 (WEST)

Brejon de Lavergnée, Arnauld. Dijon, Musée Magnin. Catalogue des tableaux et dessins italiens, XVe-XIXe siècles (Inventaire des collections publiques françaises, 24). Review. XIX: 53–54

______, see also Gerin-Pierre, Claire, Arnauld Brejon de Lavergnée, Barbara Brejon de Lavergnée, and Jean-Claude Boyer

______, Barbara. XVII: 56 (NOTICE); XIX: 445–55 (DORIGNY); XXIII–XXIV: 229–31 (LORENZO DE FERRARI); 347–51 (VOUET); XXIX: 284–300 (SARAZIN); LVI: 537–43 (REVIEW)

______. Musée du Louvre, Cabinet des dessins, Inventaire général des dessins, Ecole française, Dessins de Simon Vouet, 1590–1649. Review. XXV: 414–19

______, and Pascale Cugy. LI: 451–70 (“ALBUM ELYE”)

______, and Séverine Lepape. XLVI: 322–52 (16TH-CENTURY FRENCH TAPESTRY DESIGNS)

______, see also Gerin-Pierre, Claire, Arnauld Brejon de Lavergnée, Barbara Brejon de Lavergnée, and Jean-Claude Boyer

Brême, Dominique, and Hélène Gasnault et al., De Vouet à Watteau, un siècle de dessin français: Chefs d’oeuvre du Musée des Beaux-Arts et d’Archaeologie de Besançon. Review. LVI: 537–43

Bremen, Kunsthalle. II: 414–19 (review), figs. 3–6 (Delacroix); III: 135, 140, 148, pls. 13–14 (Cornelis van Haarlem); IV: 185, pl. 47 (after Veronese); VIII: 57 (reviews); X: 365–73, pl. 23 (Bononi); XV: 18 (review); XVI: 66, 419, 447 (reviews); 400, fig. 2 (Wals); XVII: 49, note 18, pl. 42 (Millet); XVIII: 55, 57, 278–79 (reviews); XXII: 296, note 11, pls. 18–21 (P. de Grebber); 332 (review); XXIII–XXIV: 353, pl. 9 (Cazes); XXX: 143, 146–47, fig. 1 (Veronese), note 7; XXXII: 365, fig. 6 (Wagner), note 22; XXXIV: 18, fig. 14 (Annibale Carracci), note 95; XXXV: 367, 369, 372, figs. 1, 5–15 (Berchem), notes 4, 15–16, 19–22, 26–29, 31; XXXVI: 211–13 (review); 390, fig. 28 (Baglione), note 36; XLIII: 108–9 (review); XLIV: 145, 168, 194, figs. 27, 124 (Kulmbach); XLIX: 194, fig. 36 (Simon de Vlieger), note 37; 372, figs. 1, 3, 10, 17 (Jan Victors), note 5; L: 344, figs. 24–25 (Hans Bol), note 49; LI: 221–28, figs. 1–2 (Dürer), notes 10, 13; LV: 79, fig. 244 (A. Bloemaert)

______, ______, formerly. IV: 155–57, fig. 1 (Buytewech); VIII: 15, note 29, pl. 8 (R. Savery); XXXIV: 205, fig. 1 (India), note 1; XLVIII: 30, figs. 33 (Govert Flinck), 34 (Rembrandt), notes 83–84; XLIX: 181, fig. 5 (Simon de Vlieger), note 9

______, ______, formerly (lost during World War ii). XLIV: 155, 169, 181, 197, figs. 48, 71–72, 99 (Kulmbach); LI: 225, figs. 3 (Dürer), 4 (anonymous German), notes 15, 17

______, ______, formerly (until 1943). XLIV: 199

Brenninkmeijer, A. LV: 89, fig. 281 (A. Bloemaert)

Brentwood, Essex, Brandler Galleries, formerly. XLVI: 516, fig. 111 (Gainsborough)

Brero, Giulio Cesare, formerly. XLIX: 249–51, figs. 1–2 (Boldini), notes 4, 9

Brescia, Moretto da. XXXVII: 20, 24, fig. 24 (formerly attributed to)

Brescia, Civici Musei d’Arte e Storia. XXXII: 371, fig. 3 (Mantegna), note 2

______, Pinacoteca Tosio-Martinengo. XV: 29, note 17, pl. 27 (Malosso)

______, S. Faustino Maggiore. XVII: 31, fig. 3 (G. D. Tiepolo)

______, S. Francesco. XXII: 305–06, fig. 3 (Maffei)

______, S. Maria del Carmine. XIV: 388–89, fig. 3 (Monti)

Bresdin, Rodolphe. XVI: 172–76, figs. 1–2, pls. 44–45

Breslau, see Wroclaw

Brest, Musée des Beaux-Arts. LVI: 517, fig. 6 (Louis Silvestre the Younger), note 9

Breteuil, Jacques Laure Le Tonnelier de, formerly. XXXVII: 35–46, figs. 1–16 (Ango), notes 7, 18–22, 24, 29–30, 32–36, 38, 40

Breton, André. XL: 62, fig. 6 (with Lam and Hérold); LI: 259, fig. 3 (with Jacqueline Lamba and Yves Tanguy)

Brettell, Richard, and Christopher Lloyd. A Catalogue of Drawings by Camille Pissarro in the Ashmolean Museum, Oxford. Review. XX: 393–98

Breu, Jörg, the Elder. XLIV: 202

Breugel, Pieter, see Bruegel, Pieter, the Elder

Breughel, Jan i, the Elder. II: 57–58; III: 260–64, fig. 1, pls. 18–19; V: 39, pl. 27; XX: 370–71, figs. 1–2, pls. 12–13; XLVII: 468–73, figs. 1 (engraving with Pieter de Jode i), 4–5 (after); L: 360, fig. 5; LV: 188, fig. 19

______, the Younger. L: 391, fig. 47 (after)

______, Pieter, see Brueghel, Pieter, the Younger

Briganti, Giuliano. Pietro da Cortona o della pittura barocca. Review. I, 2: 49–51

______ coll. I, 2: 51, pl. 46 (Cortona)

Briggs, Jo. LV: 195-98 (LÉON BONVIN)

______, Henry, formerly. XLVI: 429, 453, fig. 2 (Gainsborough), note 4

Brighton, Museum and Art Gallery. XXIX: 271, fig. 7 (Lievens)

______, Private coll. XLVI: 474, fig. 45 (Gainsborough)

Bril, Mattheus. III: 260–62, fig. 2

______, Paul. III: 260 (formerly attributed to); XXV: 3–11, fig. 2 (after), pls. 7a-b (after); L: 357, 361–62, figs. 1 (after Pieter Bruegel the Elder), 6–7, 8 (etching); LVI: 336, 343, figs. 2 (? etching), 17 (after); 489, fig. 4 (school of)

Brink, Sonja. XXXIII: 157–61 (PARADISI); XLV: 223–28 (DOMENICHINO); XLVI: 261–64 (REVIEW)

______. Disegnatore Virtuoso. Die Zeichnungen des Pier Francesco Mola und seines Kreises. Review. XLII: 262–68

Brinquart, L., formerly. X: 34–35, pl. 34 (Wille)

Brisbane, Queensland Art Gallery. XXI: 182 (review)

Brisighella, S. Francesco. XIX: 164–66, fig. 1 (Guercino), note 1

Bristol, City Museum and Art Gallery. VIII: 32, 34, fig. 3 (Le Brun); XXI: 181; XXII: 331 (reviews)

Bristol School of Artists. Francis Danby and Painting in Bristol, 1810–1840. Review. XII: 176–80

British Drawings and Watercolors, 1775–1925. Review. XX: 47–48

British Museum Yearbook I. The Classical Tradition. Review. XV: 188

British Portrait Drawings, 1600–1900. Review. XXI: 181

British Rail Pension Fund, formerly, see London, British Rail Pension Fund

British Watercolors and Drawings, 1750–1910. Review. XXI: 183

British Watercolours. A Golden Age, 1750–1850. Review. XVI: 187–88

Brizio, Francesco. V: 379, pl. 3; XXVI: 372, 375–77, figs. 7–8, 10; XXXIV: 13, fig. 10 (after L. Carracci); XXXVIII: 409, fig. 19 (engraving after Agostino Carracci); XLV: 211, fig. 2 (engraving with Agostino Carracci); XLVI: 9, 21–22, figs. 30, 33

Brno, Czech Republic, Moravian Gallery. IX: 257, note 30, pl. 40 (Doomer); XIV: 395, fig. 6 (Canaletto); XVIII: 129, pl. 4 (J. Muller); XXII: 86–88, fig. 1, note 2; XXVII: 329, fig. 14 (C. de Vos), note 30; XXXII: 331, fig. 26 (G. B. Tiepolo), note 32; XXXVIII: 132, fig. 13 (Perrier), note 32; XLV: 177, fig. 14 (Jacques Rousseau), note 28; XLVII: 357, fig. 5 (follower of Cornelis de Vos), note 31

______, Moravian Museum. L: 340, fig. 16 (Hans Bol), note 36

Brocard, Nicole Willk-, see Willk-Brocard, Nicole

Broch, Mark. XLIII: 109–11 (REVIEW)

Brocklesby Park, see Yarborough, Earl of

Brodovitch, Alexey. XLVI: 152, fig. 7

Broeck, Crispijn van den. XLVII: 462–63, fig. 1

______, Hendrik van den. XIX: 160–63, fig. 1, pl. 34

______, Meyer van den, formerly. XLVII: 370, fig. 7 (workshop of Willem van Herp), note 16

Broeder, Frederick A. den. XXXIX: 435

Broglio coll. XLV: 309, fig. 29 (El Greco), note 51

Bronchorst, Jan Gerritsz van. XXIII–XXIV: 50–51, fig. 6, pl. 27 XXV: 11, 41, 57–59, figs. 5 and 45 (after Poelenburg)

Brondgeest, A. XVI: 24–25, fig. 23 (after Frans Van Mieris)

Bronze, David. LI: 379–92 (VERHAGEN)

Bronzino, Agnolo. II: 157–60, fig. 1, pls. 22–29; 284; 363–82, figs. 1–6, 8–11, pls. 1–9; VIII: 372–73, fig. 12; XI: 165–71; XIV: 39–43, fig. 1, pl. 10; XIX: 289–93, figs. 1–2, 4, 7, pls. 36–37; XXVIII: 262–64, figs. 1–3; XXX: 421, fig. 3; XLIII: 292–315, figs. 2, 5–6, 9–10, 11 (tapestry), 13 (tapestry), 14, 21 (tapestry), 23, 24 (tapestry), 27 (tapestry); 372–75, figs. 1–3; XLVIII: 147–54, figs. 1–5; XLIX: 13–16, fig. 1; LI: 3–14, figs. 1 and front cover, 6 and 9 (after his design), 7–8; LII: 423–28, figs. 1–7

Brooke, Caroline. XLII: 302–14 (VITTORE CARPACCIO)

Brooklyn, NY, Museum of Art. XL: 318, fig. 1 (H. Farrer), note 7; 333, 335, figs. 3, 8 (T. Robinson), notes 6, 16

Brooks, Julian. XXXVIII: 448–59 (A. BOSCOLI)

______. Guercino: Mind to Paper. Review. XLV: 241–47

______, with Denise Allen and Xavier F. Salomon. Andrea del Sarto: The Renaissance Workshop in Action, exh. cat. Review. LIV: 101–6

______, Romaine. XLII: 126, fig. 5

Broos, Ben. Oude tekeningen in het bezit van de Gemeentemusea van Amsterdam waaronder de collectie Fodor. Rembrandt en tekenaars uit zijn omgeving. Review. XXI: 175–76

______, and Marijn Schapelhouman. Nederlandse tekenaars geboren tussen 1600 en 1660. Oude tekeningen in het bezit van het Amsterdams Historisch Museum waaronder de collectie Fodor. Review. XXXIII: 187

Brophy, John, formerly. XLII: 335, fig. 1 (G. Salviati)

Brosterhuyzen, Jan van. LIV: 317, 323, figs. 39 and 48 (etching and engraving)

Brown, Mr. and Mrs. Britt, formerly. XVIII: 377–78, fig. 1 (Bierstadt), note 5

______, Christopher. XV: 181; XVI: 63–64 (REVIEWS); XX: 370–71 (JAN BRUEGHEL)

______, David Alan. XIII: 136–41 (CORREGGIO); XV: 31–44 (ZANETTI); XVI: 67–68 (LETTER); 287–93 (BRYSON BEQUEST: PRE-RAPHAELITE DRAWINGS)

______, and Charles Seymour, Jr. XII: 127–33 (VERROCCHIO and LEONARDO)

______, David Blayney. XVII: 278–79 (CONSTABLE); XX: 45–46, 161–62; XXI: 289–92; XXII: 463–68; XXVI: 274–77 (REVIEWS)

______. Ashmolean Museum, Oxford. Catalogue of the Collection of Drawings. Vol. IV. The Earlier British Drawings. Review. XXII: 214–16

______, and David Landau. XIX: 18–22 (PERINO DEL VAGA and PARMIGIANINO)

______, Jack, family, formerly. LII: 192, fig. 29 (Muziano), note 25

______, Joan. LI: 517, figs. 41–42

______, Jonathan. XI: 374–77 (SPERLING: SPANISH DRAWINGS); XII: 286–89 (REVIEW); 367–72 (RIBERA); XIII: 60–63 (REVIEW); 235–40 (HERRERA THE YOUNGER); XIV: 46–51 (VELÁZQUEZ); 176–80; XVIII: 270–74; XIX: 184–87; XX: 45 (REVIEWS); XXI: 160–63 (MURILLO); 401–07 (SPANISH BAROQUE MASTERS); XXIII–XXIV: 415–16 (REVIEW); XXXVI: 25–29; XLVII: 460–61 (MURILLO)

______. Jusepe de Ribera. Prints and Drawings. Review. XII: 394–95

______. Murillo and His Drawings. Review. XV: 184–85

______ and Susan Grace Galassi. Goyas Last Works. Review. XLV: 394–98

______ et al. The Spanish Manner: Drawings from Ribera to Goya, exhibition catalogue. Review. XLVIII: 541–43

______, Thomas Neilson, formerly. XLVI: 517, fig. 114 (Gainsborough)

Brown coll. XVI: 152, fig. 1 (Leonardo)

Brownlow, Eleanor, Viscountess Tyrconnel. XLIV: 414, fig. 6 (portrait of)

______, Lord, coll., see Belton House, Lincolnshire, Lord Brownlow coll.

Brondgeest, Albertus, formerly. XLIV: 73–74, figs. 5–6 (Hulswit), note 25

Broyel, Abraham van, formerly. LVI: 198, 221, fig. 10 (Van Musscher)

Bruegel, Pieter, the Elder. II: 55–58; III: 3; 48–50, pls. 40–43; IV: 131–32, pls. 7–8, 9b (after); VIII: 3–30, fig. 6, pls. 2b, 18; XII: 34–35, fig. 1 (after); XIX: 146–56, figs. 1–3 (after), pls. 18–19, 20 (after), 21–26a, 26b (after), 27–31; XXIII–XXIV: 75–90 passim; XXVI: 57, fig. 1; XXXIII: 154, fig. 5 (engraving); XXXVIII: 224–25, fig. 2 (?); 443–47, figs. 1, 2 (engraving after), 3; XLVI: 227, fig. 1; L: 357, 359, figs. 1 (after), 2–3, 4 (copy after); LI: 291–322, figs. 1–2, 3 (copy after), 4–13, 14 (after), 15–19, 20 (after), 21, 22 (after), 23–36, 37 (after) and front cover; LVI: 365, fig. 19

Bruegel. Une dynastie de peintres. Review. XIX: 54–55

Brueghel, Jan, the Elder, see Breughel, Jan, the Elder

______, Pieter, the Younger. II: 56, 58; IV: 132–34, fig. 1, pl. 9a (after)

Bruel, Willem van den, formerly. LII: 317, 338, figs. 55, 70 (Coecke van Aelst and workshop)

Brugerolles, Emmanuelle. XLVII: 462–63 (CRISPIJN VAN DEN BROECK)

______, and David Guillet. Le dessin en France au XVIIe siècle dans les collections de l’École des Beaux-Arts. Review. XLI: 404–07

______, et al. The Male Nude: Eighteenth-century Drawings from the Paris Academy, exh. cat. Review. LII: 243–48

______, et al. Suite française: Dessins de la collection Jean Bonna. Review. XLIV: 520–21

Bruges, Groeningemuseum. XXVII: 24–25, figs. 27–28 (G. David); LVI: 545–46, 550, figs. 1–2, 8 (Suvée), notes 6, 11, 33

______, Church of Onze Lieve Vrouw. XLIII: 103, fig. 5 (Orley)

______, Sint Jacobskerk. XXIII–XXIV: 48–49, fig. 3 (Boeckhorst)

______, Stedelijke Musea, Steinmetzkabinet. VII: 277, pl. 15b (F. Floris); XXVI: 44–49, note 1, pl. 23 (Seghers)

Bruggen, Conrad van der. XXIII–XXIV: 222, fig. 8 (after Jordaens)

Brühl, Count. V: 390

Brühl, Heinrich, Graf von, formerly. LVI: 529, fig. 24 (Louis Silvestre the Younger), note 48

Brujn, J. XXXVI: 74, fig. 1 (Backer), note 2

Brunet-Denon, Dominique-Vivant, Baron, formerly. XLV: 16, 27, figs. 11, 19 (Federico Zuccaro after Correggio)

Brunetti, Giulia. I disegni dei secoli XV e XVI della Biblioteca Marucelliana di Firenze. Review. XXXVI: 214

Brunner, Michael. XXXVIII: 55–57 (TINTORETTO)

Brunswick, ME, Bowdoin College Museum of Art. II: 154–56, pl. 20 (Vellert); IV: 448 (review); VII: 421–22, fig. 6 (Bolognese artist), note 47; XVIII: 62 (review); XIX: 29, pl. 29a (F. Vieira the Younger); XXII: 43–46, note 4, pl. 34 (Vellert); XXXVIII: 223, 228–30, figs. 1 (Malbone), 2 (P. Bruegel the Elder?), 3 (Sustris), 4 (Poccetti), 5 (Italian artist, 16th century), notes 2, 39, 42–43, 46; XLV: 380, fig. 24 (Vieira Lusitano), note 37; XLVII: 282, 301, fig. 24 (“False Amand” hand after G. F. Grimaldi); L: 523, fig. 1 (copy after Adam Elsheimer), note 2; LII: 289, 346, fig. 18 (workshop copy after Coecke van Aelst)

Brunswick Master, see Braunschweig Master of 1506

Brusasorci, Domenico. VII: 292–93, fig. 1, pl. 31; XL: 162, fig. 1; XLV: 250, fig. 4

______, Felipe. LII: 467, fig. 6

Brussels, Archives de la Ville. LI: 368, fig. 8 (Doncker), note 52

______, art market, formerly. XXIX: 426, fig. 17 (Rubens) XLVII: 286, 303, fig. 32 (“False Amand” hand after Dughet)

______, Pierre Bergé & Associés, formerly. XLVII: 229, figs. 19–20 (J.-L. David), note 31

______, Bibliothèque Royale de Belgique. I, 3: 22–23, pl. 12 (Jordaens); II: 269, fig. 1 (Bolswert); XXVIII: 9, 17, 31, figs. 6, 14, 22 (attributed to Van Diepenbeeck, after Primaticcio), 27 (attributed to Van Diepenbeeck, after Abbate), 32 (attributed to Van Diepenbeeck, after Primaticcio), notes 35–36, 43, 77, 100; XXXI: 264; XLI: 296, fig. 7 (follower of Bosch), note 25; XLII: 242, figs. 9, 11 (Johannes Wierix), notes 36, 44; XLIV: 340, fig. 7 (Van den Bossche); L: 336, fig. 11 (Hans Bol), note 27; 359, fig. 2 (Pieter Bruegel the Elder), note 10; LI: 294, fig. 3 (copy after Pieter Bruegel the Elder), note 21; 366, fig. 5 (Verbrugghen), note 36

______, Alain Ferraton, formerly. LV: 8, fig. 14 (A. Bloemaert)

______, Galerie Fievez, formerly. XLVII: 368, fig. 2 (Willem van Herp), note 9

______, Henri Godts, formerly. LV: 55, 72, figs. 157, 218 (A. Bloemaert)

______, Horta, formerly. LV: 78, fig. 242 (A. Bloemaert)

______, Musée d’Art Ancien. XV: 403–17 (review); XX: 350, note 19, pl. 3 (Farinati); XLIX: 196, fig. 37 (Simon de Vlieger), note 38; L: 366, fig. 2 (Jan Siberechts), note 7

______, Musée de la Ville de Bruxelles (Maison du Roi)/Museum van de Stad Brussel (Broodhuis). LII: 316, 339, figs. 54–54a and front cover (Coecke van Aelst and workshop)

______, Musée du Cinquentaire. II: 156

______, Musées Royaux des Beaux-Arts de Belgique. VI: 56 (review); VII: 137–38, pl. 16 (Severino da Cingoli); 181 (review); 261–63, fig. 2 (F. Floris); VIII: 57 (review); XIV: 48–50, fig. 4 (Rubens); 132, note 33, pl. 6 (Stradanus); XV: 187 (review); XVII: 13–14, 23, pl. 6b (A. van de Velde); XIX: 56 (review); XXIII–XXIV: 224–25, fig. 10 (Jordaens); 503–17, pls. 1–19 (Erhard Schön or workshop); XXVII: 7–8, figs. 1–2 (Christus); 153–54, fig. 26 (Maes), note 21; XXVIII: 12, 31, fig. 18 (Van Thulden), note 54; XXX: 374, 384, figs. 10, 12 (Toeput, after Hoefnagel); XXXII: 165, fig. 2 (attributed to B. Passarotti), note 17; XXXV: 269, fig. 2 (Smits); 380, 386, figs. 1, 6 (H. Bloemaert), note 8; XXXVI: 85, fig. 4 (De Crayer); XLI: 244, fig. 10 (G. David); 313, fig. 5 (Dieric Bouts, infrared photograph); XLIV: 70, fig. 3 (Hulswit), note 13; XLVII: 369, fig. 5 (Willem van Herp), note 14; LI: 367, fig. 6 (Jan Claudius de Cock), note 47; LII: 205, 214, 218, 220, figs. 1, 19–21, 24–25, 28–29 (Cantagallina), notes 3, 23–24, 29–30; LIII: 338, fig. 53 (De Vlieger), note 54; LIV: 179, 184, fig. 58 (Raffaellino da Reggio); 323, fig. 45 (Frans Post), note 53; 392, fig. 1 (Jan Mostaert), note 8

______, ______, De Grez coll. III: 135, 148, 150, pl. 10 (Cornelis van Haarlem); VI: 287, pl. 38 (Farinati); XVI: 25–26, pl. 4 (Van Mieris); XX: 122, note 36, pl. 8 (H. Vroom); XXVII: 327, figs. 10–11 (C. de Vos), note 21; XXXV: 343, 347, 352–53, figs. 3, 6, 16–19 (Molyn); XXXIX: 376, 383, figs. 9 (Joseph de Braij after Salomon de Braij), 16 (Dirck de Braij after unknown artist), notes 20, 30; L: 334, fig. 7 (Hans Bol), note 23; LII: 79, 84, fig. 32 (Jan de Visscher); LV: 18, 37, 61, 82, 95, 106, figs. 44 (copy after A. Bloemaert?), 101, 178, 257, 299, 346 (A. Bloemaert)

______, Palais des Beaux-Arts. XIX: 54–55 (review)

______, Private coll. I, 3: 21–22, note 24, pl. 11 (Jordaens); LII: 317, 339, 347, figs. 56 (Coecke van Aelst and workshop), 87 (attributed to the workshop of Coecke van Aelst); 379, fig. 16 (attributed to the workshop of Coxcie), note 40; LIII: 288, fig. 25 (Léonard Thiry or his circle after Peruzzi), note 42; LIV: 149, 188, fig. 3 (Raffaellino da Reggio); LV: 26, 35, 76, 78–80, 96, figs. 68, 96, 232, 242, 247–48, 250, 304 (A. Bloemaert), 305 (C. Bloemaert the Elder?)

______, Royal Library, see Brussels, Bibliothèque Royale de Belgique

______, Librairie Florimond Tulkens, formerly. LII: 301, 331, figs. 33, 35 (Coecke van Aelst)

______, Guillaume Verbelen, formerly. LII: 316, 339, figs. 54–54a and front cover (Coecke van Aelst and workshop)

______, Jean Willems, formerly. LV: 78, fig. 242 (A. Bloemaert)

Bryant, Julius. LIII: 99–108 (WILLIAM KENT)

Bruyn, Abraham de. LI: 195–220, figs. 4, 10, 37, 41, 45, 49, 53, 57, 61, 65, 69, 77 (engravings)

______, J. III: 355–68 (AERTSEN)

Bryson, J. N., formerly. XLIV: 416, 441, figs. 12 (Mercier), 65 (anonymous artist), note 21

Buccleuch, Duke of, Boughton House. IV: 285–86, pl. 19 (Domenichino); X: 122, pl. 11a (Gaulli)

Buchanan, W., formerly. XXXVI: 26, fig. 1 (Murillo)

Bucharest, National Library of Romania. XLIX: 97, 105, figs. 3, 25 (Amico di Donato)

______, National Museum of Art in Romania. XLII: 174, fig. 1 (Vouet); XLVII: 72, fig. 3 (Gaulli), note 6

______, Romanian Academy Library. LII: 184, fig. 7 (Muziano), note 10

Buck, Stephanie. XLI: 228–39 (HUGO VAN DER GOES)

Buckinghamshire, National Trust, Waddesdon Manor, see Rothschild, James A. de, Waddesdon Manor

______, Private coll. XLVIII: 317, fig. 1 (Salviati after Parmigianino), note 23

Budapest, Magyar Nemzeti Múzeum. II: 266; III: 131–32, fig. 5 (Cornelis van Haarlem); V: 28, fig. 6 (Kolozsvari); XII: 243–44, notes 29, 40, pls. 13, 21b (Poussin)

______, Museum of Fine Arts. I, 1: 38, fig. 2 (Kulmbach); I, 2: 4; II: 385–86, fig. 1 (Cort), note 8; III: 250–51, 256, pl. 6 (Dupont); IV: 4, 19; 175, pl. 40 (Perino del Vaga); V: 255–64, fig. 1, pls. 1–7, 9–10, 12 (Annibale Carracci); 396–99, pls. 31–32 (Ricci); 407–10 (review); VII: 139, pl. 21 (Severino da Cingoli); VIII: 141, note 3, pls. 28–29 (Aldegrever); 364, pl. 1 (Pontormo); XII: 268–69, fig. 15 (Verrocchio); XVII: 280–84, fig. 2 (D. Crespi), note 14, pls. 44b-45a (G.C. Procaccini); 367–79, 384–90, figs. 11–21, 24, 26, 28–29, 31, pls. 4–7 (Hirschvogel); XVIII: 116–17, 129, fig. 2 (after J. Muller), pl. 11 (J. Muller); XXV: 276, pl. 39 (Bosio); 415, fig. 1 (Vouet); XXVI: 10–11, 37, note 19, pl. 4 (Sermoneta); 134–35, fig. 3, notes 13–14, pl. 46 (A. Milani); XXVII: 218–19, note 25, pl. 27 (R. Ghirlandaio); 233–34, fig. 3 (Jamnitzer), note 7; XXIX: 145, figs. 3, 4 (Aspertini), note 4; 387, 390, figs. 3–6, 9–13 (Mattioli), notes 10, 22–25; XXX: 399, fig. 2 (Annibale Carracci, after Correggio), note 27; XXXI: 222, fig. 5 (Goltzius); 464, figs. 1–2 (U. Gandolfi), note 14; XXXIV: 160, figs. 17–18 (Battista da Sangallo, after Michelangelo), note 46; XXXV: 27–28, figs. 35, 40 (Annibale Carracci), note 107, 113; XXXVI: 382, 390, figs. 6–7, 26 (Baglione), notes 9, 33; 413, fig. 8 (Correggio), note 12; XXXVII: 262, fig. 1 (copy after M. Schongauer); XXXIX: 294, fig. 10 (Robert after Fragonard), note 16; XLII: 269–71 (review); 345, fig. 11 (after G. Salviati?); XLIII: 276, fig. 2 (Leonardo), note 14; 441, fig. 1 (Mola), note 13; XLIV: 148, 169, 177, 185, 203–4, figs. 34, 74, 102 (Kulmbach); 369, 371, figs. 1 (Albani), 2 (Faccini), 3 (attributed to Jusepe de Ribera), notes 1–3; XLVI: 109–13, figs. 1 (18th-century Rembrandt imitator?), 4 (Furnerius), 6 (Roos), notes 2, 5, 7; XLVII: 89, fig. 7 (Samacchini), note 17; 469–71, figs. 1 (engraving by Pieter de Jode i and Jan Breughel i), 3 (engraving by Agostino Carracci after Tintoretto), 5 (Aegidus Sadeler ii after Jan Breughel i), notes 1, 3, 10; XLIX: 13, fig. 1 (Agnolo Bronzino), note 2; 27, fig. 16 (Parmigianino), note 35; 152, fig. 10 (Perino del Vaga), note 22; 344, fig. 144 (Rembrandt); L: 369, 378, figs. 6, 24 (Jan Siberechts), notes 11, 26; 517, fig. 24 (Michelangelo Anselmi), note 34; LII: 383, figs. 18 (Coxcie), 19 (attributed to the workshop of Coxcie), notes 37, 47; LIV: 11, fig. 13 (Foschi), note 32; 52, fig. 9 (Vernansal), note 17; 323, fig. 49 (Frans Post), note 57; LV: 35, 65, 99, 106, figs. 95, 191, 320–21, 348 (A. Bloemaert); LVI: 11, fig. 10 (Lucas Cranach the Elder), note 24; 468–69, 476, figs. 12 (Girolamo da Carpi after the Antique and Giulio Romano), 16 (Girolamo da Carpi), 32–33 (Domenico Zaga after Polidoro da Caravaggio), notes 29, 64

______, Történeti Múzeum (Castle). V: 25, fig. 2 (model)

Buenos Aires, Museo Nacional de Bellas Artes. XXXIX: 45–57, figs. 1–8, notes 8, 17, 21, 25, 28, 30, 34, 37; 58–60 (review); XLI: 395, figs. 2–3 (Rubens), note 10

______, Private coll. XLVI: 160, 162, 166, 169, figs. 3, 5 and back cover, 11, 13–14 (Lisa), notes 17, 20, 35, 42–43

Buffalo, NY, Albright-Knox Art Gallery. XL: 14, fig. 9 (Gorky); LI: 487, fig. 8 (Corbett), note 15

Bugiardini, Giuliano. II: 284, pl. 32

Bühler, H. I, 1: 23–27, note 6, pls. 21, 27a (Géricault)

Bühler coll., formerly. XXVII: 341, 350–51, fig. 1 (Géricault), note 3

Bunzl, Yvonne Tan, see London, Yvonne Tan Bunzl

Buontalenti, Bernardo. VII: 53–55, pls. 30–31; IX: 391–98, fig. 1, pls. 38 (studio of), 40; XIII: 21–23, pl. 4

Burchard, L., and R.-A. d’Hulst. Rubens Drawings. Review. IV: 435–54

Burchard, Ludwig coll., formerly. XXXV: 242, fig. 35 (Watteau, after Rubens)

Burchfield, Charles. XXXVIII: 258, fig. 5

Burghley House, see Exeter, Marquess of

Burgos, Cathedral, formerly. LII: 375, 377, figs. 7, 9, 11 (tapestry from the factory of Frans Geubels), notes 24, 26

Burke, James D. XIV: 384–86 (COLLAERT)

Burmester, Andreas, see Renger, Konrad, and Andreas Burmester

Burnand, Eugène. XLVII: 496, fig. 5

Burne-Jones, Edward. XI: 279–88, pls. 30–39; XVI: 290, pl. 44; XXXVIII: 236, fig. 3; LI: 68, 70, figs. 6, 9

Burney, Charles, Archdeacon of Kingston, formerly. XLVI: 471, fig. 40 (Gainsborough)

______, Edward Francis. XXII: 331

Burnley, Towneley Hall Art Gallery and Museums. XXI: 182 (review)

Burnod, Véronique, see Joannides, Paul, and Véronique Burnod

Burns, Clara May, formerly. XXXIX: 303, fig. 3 (Boucher), note 20

Burrell, William, Sir, formerly. XLVIII: 179, fig. 1 (Guercino), note 1

Burrini, Giovanni Antonio. VI: 239b-41, fig. 1, note 14; XX: 158–59, fig. 3

Buscot Park, Faringdon coll., see Faringdon coll.

Bute, Marquess of, Dumfries House. IX: 161–62, fig. 1 (Adam brothers)

Butkin, Muriel C. XXVIII: 389, fig. 3 (Pils)

______, Noah L., formerly. XXXVII: 35–46, figs. 1–16 (Ango), notes 7, 18–22, 24, 29–30, 32–36, 38, 40

Butlin, Martin. VI: 50–53, 277–80; XXI: 62–64 (REVIEWS)

Butôt coll., formerly. XLIX: 188, fig. 24 (Jacob Esselens), note 24

Butts, Barbara. XXIII–XXIV: 517–26 (DÜRER and VON KULMBACH); XXVI: 41–44 (DÜRER); 277–85; XXVIII: 187–92 (REVIEWS); XLI: 341–58 (ALBRECHT DÜRER); XLIV: 127–212 (KULMBACH)

______. Modern German Drawings, 1875–1950. Review. XXXV: 401

Buvelot, Quentin, and Stijn Alsteens. LI: 445–50 (WOUWERMAN)

Buytewech, Willem. IV: 155–57, figs. 1–2, pl. 20; XIII: 170–73; XXXV: 397–400, figs. 1–4; XXXVIII: 238, fig. 6; XLV: 96, fig. 9

Byrne, Janet S. XIII: 240–49 (BOYVIN, DU CERCEAU); XV: 147–61 (DU CERCEAU); XXI: 263–70 (DU CERCEAU)

______. Renaissance Ornament Prints and Drawings. Review. XX: 406

______ coll., formerly. XLIX: 73, 75, 85, figs. 14–15 (Foggini)

Byrne-Ivy, Mary Palmer Calverley, formerly. XXXVI: 8, fig. 1 (Calverley)

 

C A New England coll., formerly. LV: 8, fig. 11 (A. Bloemaert)

Cabezas, Hervé. Renaissance de la collection de dessins du Musée Antoine-Lécuyer, 1550–1950. Review. XLIV: 524–25

Le cabinet d’un amateur. Review. XVI: 64–65

Caccianemici, Vincenzo. VI: 246–48, figs. 1 (after), 2, pl. 10

Caccioli, Giovanni Battista. V: 169–72, figs. 1–2, pls. 27–28

Cacho Casal, Marta. XLV: 391–94 (REVIEW); XLVIII: 447–55 (FRANCISCO PACHECO)

Cades, Giuseppe. II: 18–26, figs. 1–2, pls. 6–15; III: 258; XLII: 14, fig. 11

Cádiz, Museo de Cádiz. XXXVII: 238, fig. 2 (G. Simonelli)

Cadogan, Jean K. XXII: 159–72 (D. GHIRLANDAIO)

Caen, Musée des Beaux-Arts. XI: 141–42, fig. 4 (Veronese); XVIII: 146–47, note 7, pl. 18 (Colombel); 368–69, pl. 31 (Jordaens)

Cafà, Valeria. LI: 15–30 (PASSAROTTI)

Cafferty, James Henry. XXXV: 120, fig. 7

Caffieri, Jacques. LI: 252, fig. 5 (or Philippe Caffieri)

______, Philippe. LI: 252, fig. 5 (or Jacques Caffieri)

Cagli (Pesaro-Urbino), Oratory Church of Sant’Angelo Minore. LI: 152, fig. 8 (Viti), note 17

Cahill, Timothy. XL: 305–16 (JOHN RUSKIN)

Caillebotte, Gustave. XXVI: 107–18, figs. 1, 3–16, 17 (after Watteau), 18–19, pl. 1–9, 10 (after E. Le Sueur), 11–25

Cajés, Eugenio. XXI: 402, pl. 22

______, Patricio. XXXVII: 396, fig. 3

Calandrucci, Giacinto. V: 12, pl. 2; XXI: 143–44, fig. 8, pls. 11–13 (attributed to); XXXVIII: 172, 175, figs. 12, 13–14 (after)

Calcinate, S. Maria Assunta. XXVI: 28, fig. 24 (Sermoneta)

Caldine, Convent of the Maddalena. XIX: 289–91, fig. 3 (Fra Bartolommeo)

Calhau, Fernando. XLV: 398, figs. 1–2

Caliari, Benedetto. XI: 145–49, fig. 10, pls. 13–15; XXV: 261–62, fig. 1 (?); XXX: 161–62, fig. 21; XXXIII: 133, fig. 1

______, Carletto. XI: 140–41, pl. 7; XLII: 376, fig. 5

______, Gabriele. XI: 144–45, fig. 8

______, Paolo, see Veronese, Paolo

California, Private coll. XIII: 379–400, pls. 24–26a, 27–43 (Bouchardon); XLIII: 181, fig. 25 (Federico Zuccaro), note 42; LI: 482, figs. 2–3 (Grillo), notes 9–10; LVI: 339, figs. 9–10 (etching), 11–12 (? etching)

Callot, Jacques. I, 1: 45, pls. 40–41; III: 170–71; V: 381, pl. 18; VII: 433; XXXIII: 64–68, fig. 1; XXXVI: 67, fig. 3 (etching); LII: 192, fig. 15 (engraving after Muziano)

Callow, William. XXII: 85–86

Calmann, Gerta. Ehret, Flower Painter. Review. XVIII: 174–76

Calonge, de, Mrs., formerly. XLVII: 373, fig. 17 (studio of Willem van Herp), note 35

Calvaert, Denis. XIV: 271–72, fig. 2; XXXV: 6, fig. 4

Calverley, Charles. XXXV: 123, fig. 12; XXXVI: 8–12, fig. 1

Calvet, Arlette. VI: 37–42 (JACQUES-LOUIS DAVID)

Calvi, Giulio, called il Coronaro. XXV: 150–51, fig. 1, pl. 5

Calvière, Charles-François, Marquis de. XLV: 68, fig. 1 (portrait of)

______ coll., formerly. XLIII: 177, fig. 18 (Federico Zuccaro), note 29; XLV: 13, fig. 8 (Domenichino); 67–86, figs. 2 (Luca Penni), 3 (Manglard), 4 (Perrier); XLVI: 193, figs. 4 (Bezzi), 5 (Italian, c. 1325–50), notes 18, 20; LII: 68, 82, fig. 12 (Jan de Visscher); LIV: 160, 194, fig. 19 (Raffaellino da Reggio)

Calyo, Nicolino. XLII: 27, fig. 6

Camaldoli, Archicenobio. XXX: 88, fig. 6 (Vasari)

______, SS. Donato e Ilarione. XLIII: 328, fig. 2 (Vasari)

Camassei, Andrea. II: 175–76, fig. 1; LIII: 211, fig. 3 (after)

Cambiaso, Luca. XLII: 167, fig. 7

Cambridge, Fitzwilliam Museum. I, 3: 26, note 35, pl. 14a (Jordaens); I, 4: 14; II: 283; III: 251, 256, pl. 5 (Dupont); 375, 377, pls. 10, 16 (Grimaldi); IV: 307, fig. 4 (G. B. Tiepolo); 382, pl. 10 (Angeluccio); V: 40, fig. 1 (Van Nieulandt); 196–97 (review); VI: 394, pl. 42 (L. Tiepolo); VIII: 280, note 12, pl. 33 (Badalocchio?); X: 25, note 2, pl. 19 (Mola); XI: 42, pl. 32 (Dahl); 279–87, notes 2, 21, pls. 30, 37 (Burne-Jones); XII: 43, l. 33a (Amigoni); 240, 244, pls. 4, 22 (Poussin); 368–69, pl. 29a (Ribera); XIV: 252, pl. 6 (A. Bloemaert); 302–06, 308–09 (reviews); XV: 187–88 (review); XVI: 66 (review); 152, fig. 2 (Leonardo); 285–86, fig. 1 (Cézanne), note 9; 397–98, pl. 13 (Goltzius); 401, fig. 3 (Wals); XVII: 261–72, note 1, pl. 34 (Boucher); XVIII: 38–40, notes 2, 5, pl. 21 (Puvis de Chavannes); 53–54 (review); 227–36, pls. 1–12 (Della Bella); 360–61, fig. 1 (Titian); XIX: 46–47 (review); XX: 30–33, fig. 3, notes 1, 6, pls. 37 (Primaticcio), 38 (J. Tintoretto); 288 (review); XXI: 32–36, pls. 37–41 (Lasinio); 182 (review); 278, note 21, pl. 40 (Biliverti); XXIII–XXIV: 396, note 1, pl. 54 (Chasse); 420–21 (review); XXVI: 137–38 (review); XXVII: 147, figs. 6–7 (Maes), note 4; 197–98, notes 14, 20, pls. 3–4, 6 (Cigoli); XXVIII: 7, fig. 3 (Rubens), note 19; XXIX: 307, 310, figs. 2–3, 5 (Barry); XXX: 378, 386–87, fig. 26 (Toeput); XXXI: 228, fig. 15 (Goltzius); 409, figs. 3, 5 (Bononi), notes 4, 8; XXXII: 56, fig. 4 (Pontius, after Rubens); XXXIII: 32, fig. 6 (Donzello); 232, fig. 7 (T. Zuccaro); XXXV: 23, fig. 27 (Annibale Carracci), note 92; 165, fig. 23 (Van Goyen), note 32; XXXVI: 132, fig. 10 (Peter Oliver), note 94; 411, fig. 4 (Badalocchio), note 8; 436 (review); XL: 176–78 (review); XLI: 409–10 (review); XLIV: 213, fig. 2 (attributed to Rubens, after Adriaen T. Key), note 2; 232, 234, figs. 1–2 (Barocci); 480, fig. 33 (Gillot); XLVII: 513, fig. 1 (Polidoro da Caravaggio), note 1; XLIX: 163, fig. 1 (Vasari), note 1; 185, 202, 205, 211, figs. 14–17, 49, 55, 72 (Simon de Vlieger), notes 15–18, 51, 60, 75; L: 82, fig. 3 (Malpizzi); 374, fig. 12 (Jan Siberechts), note 17; LI: 43, fig. 6 (Poussin); LII: 471–72, fig. 2 (Ribera), note 2; LIII: 113, fig. 3 (Clérisseau), note 22; 337, fig. 52 (De Vlieger), note 53; 493, no. 37 (Tuscher); LV: 258, fig. 12 (Degas), note 51; LV: 258, fig. 12 (Degas), note 51; LVI: 322, fig. 11 (Cavedone), note 27

______, ______ (on loan from private coll.). XLIV: 309, fig. 11 (attributed to Albani)

______, King’s College, Chapel. II: 153–56, figs. 1–2 (Vellert); XXII: 43–46, figs. 1–2 (after Vellert); XXIII–XXIV: 513–14, fig. 10 (East window, attributed to James Nicholson)

______, ______, Muniment Room. XXIII–XXIV: 510, fig. 6 (James Nicholson)

Cambridge, MA, Fogg Museum, see Cambridge, MA, Harvard Art Museums, Fogg Museum

______, Harvard Art Museums, Arthur M. Sackler Museum. XLIV: 237–42 (review)

______, ______, Busch-Reisinger Museum. XXXVII: 305–06 (review)

______, ______, Fogg Museum. I, 1: 25, fig. 2 (A. J. B. Thomas); I, 2: 27–29, notes 17, 23–24, pls. 19–21 (Delacroix); I, 3: 55, note 2, pl. 38 (Le Brun); 57–58, note 2, pl. 41 (Montorsoli); III: 376, 378, pl. 17 (Grimaldi); IV: 155–57, pl. 20 (Buytewech); 390, pls. 16–19 (Oudry); V: 305 (review); VI: 44–47 (review); VII: 38–45, fig. 2, note 1, pls. 27–28 (Manet); 303–07, figs. 1–2, note 1, pl. 46 (Ingres); IX: 264–71, 282 (reviews); X: 150–55, note 1, pl. 28 (Caravoglio); XII: 159–61, pls. 26, 31 (Van Gogh); XIII: 151–52, note 37, pl. 13 (Jacques Stella); XIV: 129, note 18, pl. 4 (Vasari); XV: 188 (review); 252, note 23, pl. 7 (Dosio); XVII: 6, 10, 22, pl. 3 (A. van de Velde); XVIII: 55, 62, 390 (reviews); 362, 370, pls. 18, 35 (Jordaens); XIX: 128–29, fig. 2 (Constable), notes 5–6; 146–50, pls. 18–19 (P. Bruegel); 315 (review); XX: 278–79, note 4, pl. 26 (Le Brun); 284, pl. 27 (Backer); 378–79, fig. 2 (Manzi); XXI: 178 (review); XXII: 173, note 2, pl. 16 (A. Pollaiuolo); 311–12, note 7, pl. 39 (Annibale Carracci); XXIII–XXIV: 386–87, note 32, pl. 50 (Lancret); 520–21, fig. 5 (Kulmbach), note 15; XXV: 370–72, note 25, pl. 16 (Kempeneer); XXVI: 134, note 6, pl. 44 (A. Milani); 259–66, figs. 1–5, pls. 15, 19 (Gainsborough); XXVII: 154–55, 159, figs. 28, 36 (Maes), notes 27, 37; XXVIII: 54, fig. 1 (Vrancx), note 3; 257–60, figs. 1 (Toulouse-Lautrec), 3 (Picasso), 4 (Degas); XXIX: 255–58, figs. 1, 7 (Michelangelo), note 1; 387, 390, fig. 1 (Bosio), note 8; XXX: 148, fig. 5 (Veronese), note 13; XXXI: 183, fig. 1 (La Hyre), note 4; 274, fig. 78 (Vrancx or Goltzius); XXXIII: 67, fig. 1 (Callot), note 11; 233, fig. 8 (T. Zuccaro); XXXIV: 55, fig. 40 (Annibale Carracci), note 255; 366–67, figs. 3 (Le Moyne, on loan), 4 (Le Moyne), notes 8, 10; XXXV: 238, fig. 38 (Watteau, after Rubens); 293–97 (review); XXXVI: 270–74, figs. 23–33 (Giovanni Battista Tiepolo); XXXVII: 63, figs. 1–2 (Filippino Lippi); XXXVIII: 119, fig. 2 (Poussin); 125, fig. 4 (Perrier), note 15; 156, fig. 3 (H. Bellange), note 10; 190–92 (review); 233–39, figs. 1 (Pontormo), 2 (Ingres), 3 (Burne-Jones), 4 (Watteau), 5 (Poussin), notes 4, 7, 10, 12, 15–16; 409, fig. 21 (Agostino Carracci), note 60; XXXIX: 159–68, figs. 1 (Zingg), 2 (Horny), 3 (Klengel), 4 (Kobell), 5 (Dietzsch), 6 (Bergmüller), notes 3–6, 8, 10; 181, figs. 11 (Koch), 12 (Zingg); 226, fig. 10 (La Fosse); 292, fig. 6 (Robert and Ango), note 11; XL: 46, fig. 6 (D. Smith), note 9; XLI: 309, figs. 2–4 (Simon Marmion ?); XLII: 258–61 (review); 363–64, fig. 4 (G. B. Tiepolo), note 11; XLIII: 323, fig. 6 (F. Salviati), note 29; 336, fig. 22 (Vasari), note 23; 420, fig. 10 (J. S. Sargent), note 16; 500–501, 505, figs. 2–3, 5 (Volterrano), 7 (Pontormo), 8 (Volterrano), notes 3, 12, 15–16; XLIV: 137, 166, fig. 19 (Kulmbach); 237, figs. 1–2 (Degas), notes 1–2; 471, 476, figs. 16 (studio ? of Gillot), 17 (Gillot), note 33; XLV: 304, figs. 20, 23 (El Greco), note 41; XLVI: 363, fig. 20 (Parmigianino), note 29; 481–82, 487, figs. 57–58, 65 (Gainsborough); XLVII: 198, back cover (Bouchardon); 278, fig. 19 (Dughet), note 46; L: 337, fig. 14 (Hans Bol), note 31; 357, figs. 1 (Paul Bril after Pieter Bruegel the Elder), note 1; LI: 301, figs. 9, 36 (Pieter Bruegel the Elder), note 51; LII: 184, fig. 5 (Muziano), note 8; 301, 330, fig. 32 (Coecke van Aelst); 388, fig. 3 (Deodat van der Mont), note 15; LIII: 471, fig. 1 (Dusart), note 2; 497, figs. 2–3 (Greuze), note 4; 503–6, figs. 1, 3 (Fragonard), 2 (Fragonard and Marguerite Gérard), notes 1–3; 523–30, figs. 1–10 (Beardsley), notes 7, 11–12, 15, 20; 531–34, figs. 1 (Rembrandt), 2 (Diepenbeeck), 3 (Crabeth), 4 (Mostaert), back cover (Jacques de Gheyn ii), notes 5–7, 9; LV: 58, 104, 107, 109, figs. 169, 340, 350, 360 (A. Bloemaert); 302, fig. 18 (Master of the Scholz Triumphal Procession?), note 60; 504, 523, figs. 20 (Fragonard), 44 (Greuze); LVI: 330, fig. 41 (Cavedone), note 67; 414, fig. 8 (Breenbergh?), note 12; 487, 495, 502, figs. 1, 15, 34 (Claude Lorrain), notes 7, 30, 56

______, ______, ______ (on deposit). LIII: 507, fig. 2 (Hubert Robert), note 3

______, ______, ______ (on loan from Thomas C. Bartee). XXVI: 220–29, note 6, pl. 1 (B. Campi)

______, ______, ______, Maida and George Abrams coll. XLIII: 22, 27, 48, 51, figs. 17, 19 (Van der Cooghen, after Jacob Jordaens), 58 (Van der Cooghen); XLVIII: 7, fig. 1 (Govert Flinck), note 15; LIII: 3–58, figs. 1 (front cover of album), 7 (Pieter de Bloot), 8 (Van Knibbergen), 9, 44 (Cornelis Saftleven), 10, 35, 45 (Van der Haagen), 11, 21 (Bramer), 12, 42 (Van Goyen), 13, 36 (Adriaen van Ostade), 14, 22, 34 (De Vlieger), 15, 39, 47 (anonymous), 16 (Pieter van Asch), 17 (Evert van Aelst), 18 (Joris Cruijdaen), 19 (Pieter Steenwijck), 20 (Palamedes Palamedesz.), 23 (Van Groenewegen), 24, 26 (Ryckhals), 25 (Van Couwenbergh), 27 (Anthonie Palamedesz.), 28 (Pieter Potter), 29, 32 (Ludolf de Jongh), 30 (Van Fornenburgh), 31, 41 (Pieter Jansz. Quast), 33 (Verschuring), 37, 46 (Petrus Staverenus), 38 (Dirck Govertsz.), 40, back cover (Emanuel de Witte), 43 (Govert Flinck), front cover (Willem van Aelst), note 1; 532, front cover (Rembrandt), note 2; LV: 67, 101, figs. 198, 326–27 (A. Bloemaert)

______, ______, ______ (promised gift). LV: 14, fig. 32 (A. Bloemaert)

______, Harvard University, Houghton Library. XV: 365–75, fig. 3 (unknown artist), pls. 21–31 (Baccio del Bianco); XVIII: 389 (review); XXXVIII: 156, fig. 1 (H. Bellange), note 7; XLI: 25, fig. 16 (engraving after Massimi); XLIV: 225, figs. 5–6 (Henricus a Sancto Petro); L: 454, 456, 461–62, 465, 467, 469–71, 474, 476, figs. 16, 18, 21, 23, 25, 27, 29, 31, 33, 35, 37, 39–40, 42, 44–45, 47 (Audubon), notes 76, 82, 97–98, 104–11, 113, 115, 118, 120; LII: 153, 156, 160–61, 167–68, 170–74, figs. 13, 30, 40, 42, 55–60, 68–69, 71–75 (Bernard Salomon)

______, ______, Museum of Comparative Zoology. L: 456, fig. 19 (Audubon), note 83

______, ______, ______, Ernst Mayr Library. L: 478, fig. 49 (repro. of detail in fig. 48 in the “Mississippi River Journal,” c. 1820–21), note 124; LV: 539, figs. 1 (Audubon), 2 (A. Wilson), notes 2–3

Camden, NJ, Rutgers University, Robinson Library. LIV: 483, fig. 5 (Giacometti)

Cametti, Bernardino. XXI: 137, fig. 1, pl. 1

Camilo, Francisco. XI: 376, pl. 31; XXXVII: 400, fig. 7

Campagnola, Domenico. V: 380, pl. 4; XV: 411, pl. 47a; XVII: 261–72, figs. 3–4; XLII: 315–32, figs. 3, 6–10, 12, 14–17, 19–24, 26, 28, 30–31, 33–39; L: 316, fig. 35; LIV: 64, figs. 2–3 (after)

______, Giulio. XXXI: 368–72, figs. 1–8 (engravings after Mantegna); LIII: 179, fig. 1

Campaña, Pedro de, see Kempeneer, Peeter de

Campana, Pietro. XXXIII: 36, fig. 5 (after Pozzi)

Campbell, Richard. XVIII: 32–38 (MEYNIER)

Campen, Jacob van. XXIII–XXIV: 50–52, fig. 7, pls. 28–30 (?)

Camper, Pieter. Works of the Late Professor Camper on the Connexion Between the Science of Anatomy and the Arts of Drawing, Painting, and Statuary. XL: 352, fig. 12 (book illus.)

Campi, Antonio. XXVI: 219–25, fig. 5

______, Bernardino. XXIII–XXIV: 207–08, figs. 1–3, pl. 14; XXVI: 220–29, figs. 6–7, pl. 1; XXXII: 380–82, figs. 1–3

______, Giulio. XXVI: 219–32 passim, fig. 2, pls. 2–6

Campiglia, Giovanni Domenico. XVI: 137–41, figs. 5–7; LIII: 489, no. 7 (self-portrait)

Campin, Robert. 238–40, figs. 1 (here attributed to), 2–3 (here attributed to, infrared reflectograms)

Campion, Charles-Philippe, formerly. XLVI: 193, fig. 5 (Italian, c. 1325–50), note 20

Campione, C.-P. XXIX: 198, fig. 1

Camuccini coll., formerly. LVI: 498, figs. 28, 30 (Claude Lorrain), 29 (copy after Claude Lorrain), notes 48–50

Canada, Private coll. XXXVIII: 57, fig. 1 (F. Salviati), note 5; XLIV: 412, fig. 4 (Mercier), note 7

______, ______, formerly. XLVI: 502, fig. 85 (Gainsborough)

Canaletto, Antonio. I, 1: 49–53, pl. 43; IX: 67; XI: 181–83, fig. 1; XIV: 390–96, figs. 1–6, pls. 11–16; XVIII: 373–75, fig. 1, pls. 46–47; XXI: 285–87, fig. 1; XXXVIII: 325, fig. 5; XXXIX: 108, fig. 3

Candia, Giovanni Mario, Marchese de, formerly. LII: 5, 46, fig. 2 (workshop of Luca Signorelli, Genga?)

Candid, Peter. XVIII: 59–60; XLV: 89, fig. 4; LIII: 237–47, figs. 1–3, 6 (after), 7–8, 9 (here attributed to), 10 (or his workshop, here attributed to), 11 (? here attributed to)

Canedy, Norman W. The Roman Sketchbook of Girolamo da Carpi. Review. XVI: 180–85

Canini, Giovanni Angelo. III: 258; IV: 304, pl. 36; XVI: 387–97, figs. 1–9, pls. 1–10, 11 (attributed to), 12; XLIII: 442, 445, back cover, figs. 3, 4 (here attributed to), 5–7, 9; XLVI: 219, fig. 16

Cano, Alonso. XXI: 403–04, pls. 26–28; XXXVII: 373–93, figs. 1–2, 5–6 (copy after), 7, 9–10, 11 (sculpture), 12, 14–16, 17 (copy after), 18–19, 22, 26; 445, fig. 1 (follower of), 2; XLV: 325–44, figs. 1–2, 3 (after), 4–6, 7 (after), 8, 11, 12–13 (after), 14, 15 (after), 16–18, 19 (after), 20–22, 23–24 (after), 25–26, 27 (after), 28–29, 30 (after)

Canova, Antonio. XXII: 48–49, 52, fig. 2 (portrait of); XXVI: 255–56, fig. 3; XXVII: 358–67, figs. 1–8; XLI: 128–39, figs. 1, 3–9

Cantagallina, Remigio. LII: 205–30, figs. 1–2, 3 (after Bernard Salomon), 5 and front cover (after Bernard Salomon), 7 (after Hans Holbein the Younger), 9–12 and 18 (after unknown artist?), 13 and 16 (after Hans Holbein the Younger), 19–21, 22 (after Hans Holbein the Younger), 24–25, 26 (after Hans Holbein the Younger), 28–29, 30–31 (after Hans Holbein the Younger), 33–34, 35 (after Hans Holbein the Younger), 41 (after Bernard Salomon); LVI: 337, fig. 6 (etching)

Cantalucci, Cesare. V: 21

Cantalupo, Palazzo Camuccini. II: 22, 26, note 14, pl. 12 (Cades)

Cantarini, Simone, called Il Pesarese. XXXVII: 304–05; 374, 377, figs. 3–4 and 8 (etchings); XLVI: 197, fig. 9; 208, fig. 2

Cantelli, Giuseppe. Disegni di Francesco Furini e del suo ambiente. Review. XI: 54–55

Canterbury, Royal Museum. XV: 3–15, pls. 1–12 (F. Guardi), 13–15 (G. Guardi); XVII: 239–44, pls. 1–12 (G. D. Tiepolo), 13 (after G. B. Tiepolo)

Cantofoli, Ginevra. XLII: 228, figs. 42–43

Canuti, Domenico Maria. V: 165–68, figs. 1–4, pls. 23–26; VII: 164–68, fig. 1, pls. 36–38a; XXVIII: 315–19, figs. 2–3; XXXIX: 54, fig. 8

Cape Town, National Gallery of South Africa. I, 4: 59, fig. 1 (Rosa); III: 378, pl. 18 (Grimaldi); IV: 378–80, 383; XIII: 362, pl. 13 (F. Bellini)

Cap-Ferrat, see St.-Jean-Cap-Ferrat

Capet, Marie-Gabrielle. XLII: 147, fig. 2

Caporali, Giovanni Battista. XXI: 419–20, fig. 1

Cappel, Carmen Bambach, see Bambach, Carmen C.

Cappelle, Jan van de. XLIV: 33, 39, fig. 45 (? after De Vlieger), 49; XLIX: 192, 205, 217, figs. 31, 56–58 (attributed to, after Simon de Vlieger), 60–62 (attributed to, after Simon de Vlieger), 69–70 (embellished by ?), 80–81 (attributed to), 84 (attributed to), 85–86

Capponi, Alessandro Gregorio, formerly. XXXII: 158, figs. 1–2 (Poussin)

______, Marchese Gino, formerly. XLVII: 346, 348, figs. 1 (Luigi Sabatelli), 2–3 (Giuseppe Sabatelli), notes 4, 8

Capra, M., formerly. XLIX: 73, 90, figs. 10–11 (Foggini)

Caprarola, Palazzo Farnese. XXIX: 185, fig. 5 (Vecchi); LIV: 214–16, figs. 10–11, 13–16 (Taddeo Zuccaro and assistants)

______, ______, Sala degli Angeli. XII: 361–63, fig. 4 (Bertoia)

______, ______, Sala dei Fatti Farnesiani. LIV: 219, fig. 17 (Taddeo Zuccaro and assistants)

Caprioli, Aliprando. LIV: 161, fig. 22 (engraving)

Caracas, Fundación Armando y Anala Planchart. XL: 37, fig. 17 (Reverón), note 30

______, Galería de Arte Nacional. XL: 27, 29, 34, 36–37, figs. 4, 8, 12–13, 16 (Reverón), 14–15 (Los Ríos), notes 12, 17, 27–28, 30

______, Museo Armando Reverón. XL: 25, 28, figs. 1, 6 (Reverón)

______, Private coll. XL: 28, fig. 5 (Reverón), note 13

Caracciolo, Giovanni Battista. III: 407–08; XLVI: 15, fig. 15

Caraglio, Giovanni Jacopo. I, 4: 23–26; IX: 22–25, fig. 12 (engraving after Rosso); XLVI: 369, fig. 6 (engraving)

Caravaggio, Polidoro da, see Polidoro da Caravaggio

Caravoglio, Bartolomeo. X: 150–55, fig. 1, pl. 28

Carcassonne, Musée des Beaux-Art. XXXIX: 368, fig. 2 (Salomon de Braij after himself), note 12

Carderera y Solano, Valentín, formerly. XLV: 326, 332, 336, 338–39, figs. 2, 21, 25 (Cano), 27 (Juan Antonio del Castillo after Cano)

Cardi, Lodovico, called Cigoli, see Cigoli, Lodovico

Cardiff, National Museum of Wales. XXI: 289–92 (review)

Cardon, Charles Léon, formerly. LII: 316, 339, figs. 54–54a and front cover (Coecke van Aelst and workshop)

Carducho, Vicente. XI: 374–75, pls. 26–29; XXI: 402, pl. 23; XXXVII: 398, fig. 4; LII: 481–90, figs. 1–3, 4–9 and cover (or studio of), 11, 12 (or studio of), 13–14; LIII: 295–312, figs. 2–12

Cardyn-Oomen, Dorine, see Schoonbaert, Lydia M. A., and Dorine Cardyn-Oomen

Carey, William Paulet, formerly. LIV: 173, 193, fig. 47 (Raffaellino da Reggio)

Caricature and Its Role in Graphic Satire. Review. X: 168

Carl Friedrich Lessing, 1808–1880. Handzeichnungen aus dem Cincinnati Art Museum. Review. XIX: 54

Carl Theodor, Elector of Bavaria, formerly. LIV: 151, 191, fig. 7 (Raffaellino da Reggio)

Carlevaris, Luca. II: 180–82; VIII: 167–70

Carli, Raffaele. II: 282, 285

Carlos III, King of Spain, formerly. XXXII: 348, figs. 39, 41 (L. Tiepolo)

Carlson, Victor. IV: 157–63 (BOUCHER); XXXIV: 414–17 (GAMELIN); XXXV: 185–88 (PIERRE); XXXIX: 288–99 (HUBERT ROBERT); XLIV: 522–23 (REVIEW); XLVII: 131–58 (HUBERT ROBERT)

Carmignano. S. Michele. XLIII: 284, fig. 11 (Pontormo)

Carmontelle, Louis Carrogis. XI: 360–63, pl. 4

Carnevale, Fra, called Master of the Barberini Panels. XXXI: 363–67, figs. 1–3

Carolsfeld, Schnorr von. I, 2: 56

Carpaccio, Vittore. I, 4: 47–54; XI: 403; XVIII: 387; XLII: 302–14, figs. 1–11; XLVII: 330, fig. 2 (after)

Carpentier, Charles le. LIV: 497, fig. 9 (etching)

Carpi, Girolamo da. XVI: 180–85; XLIII: 488–99, figs. 1–2, 3 (after Michelangelo), 5 (after Parmigianino), 7–9, 10–11 (after Polidoro da Caravaggio), 12–13 (after Giulio Romano); LVI: 463–81, figs. 1–3 (after Raphael), 5 (after the Antique), 7, 9, 10 (after the Antique), 12 (after the Antique and Giulio Romano), 16–17, 19 (after the Antique), 20 (after Polidoro da Caravaggio), 23 (copy after), 26, 30 and 34 (after Polidoro da Caravaggio)

______, Ugo da. VI: 361, fig. 5; XIX: 302, fig. 1 (woodcut after Titian); XLVI: 369, fig. 7 (chiaroscuro woodcut); XLVIII: 317, fig. 3 (chiaroscuro woodcut after Parmigianino), note 27; L: 315, fig. 33 (woodcut after Titian)

Carpio, Don Gaspar de Haro y Guzmán, 7th Marqués del, formerly. XLVI: 3–35, figs. 1 (Maratti), 3 (Luzio Romano and Cavalori; fol. 20 from the Del Carpio vol.), 4, 14 (Falcone), 5 (binding from the Del Carpio vol.), 6, 29, 31–32 (Agostino Carracci), 7, 38–41, 43 (Guido Reni), 8 (Ligozzi), 9 (Venetian School), 10 (Balducci), 11 (Magnoni), 12 (Agostino Carracci), 13 (Annibale Carracci), 15 (Caracciolo), 16 (Preti), 17 (Italian School), 18 (anonymous sculptor, active in the Marches), 19, 46 (Roman School), 20 (Ludovico Carracci), 21–22 (Anselmi), 23 (Beccafumi), 24 (Polidoro da Caravaggio), 25 (Vanni), 26–27 (Cristoforo Roncalli), 28 (De’ Vecchi), 30, 33 (Brizio), 34–35 (Grimaldi), 36 (Cavedone), 37 (Neapolitan School), 42 (school (?) of Guido Reni), 44–45 (Lanfranco), 47 (Testa); XLVIII: 463–81, figs. 1 (Tintoretto), 2 (Juan Gómez de Mora), 3–4, 6, 8–9 (anonymous Portuguese artist), notes 60, 64, 69, 71, 73

Carpioni, Giulio. II: 423, pls. 42b-43

Carr, Mr., formerly. XLVI: 474, fig. 47 (Gainsborough)

Carracci, Agostino. II: 48–49, pl. 43; IV: 3–32, fig. 3; 300; VI: 255–57, note 1, pl. 18; 368, note 25, pl. 11; VII: 410–13, fig. 1, pls. 21–22; VIII: 59, fig. 2; XIII: 371–72, fig. 2 (engraving after Samacchini); XXX: 396–414, figs. 8–11, 15–18; XXXI: 404–06, figs. 1–2; XXXII: 165, figs. 3 (attributed to), 4 (after); XXXIII: 421, figs. 1–2 (attributed to); XXXIV: 5, 21, 25, figs. 2 (after), 19–20, 24; XXXV: 7, fig. 6, 16; XXXVI: 298, 300, figs. 4, 6; XXXVII: 8, 12, figs. 8–10 (formerly attributed to), 11, 13, 19–20 (formerly attributed to); 139, fig. 1 (engraving after Bernardo Castello); XXXVIII: 393–423, figs. 1 (engraving), 2–6, 7 (engraving), 8–12, 15, 16 (engraving?), 17 (engraving after), 18, 19 (after), 20–24, 26–28; XXXIX: 435; 449, fig. 12; 516, 521, figs. 3, 5 (here attributed to); 529, fig. 1 (follower of, or Annibale Carracci); XLIV: 313, fig. 20; XLV: 211–22, figs. 1 (engraving), 2 (engraving with Brizio), 3 (attributed to), 4–10, 12; XLVI: 8–9, 12, 21–22, figs. 6, 12, 29, 31–32; XLVII: 470, fig. 3 (engraving after Tintoretto); LIV: 225–34, figs. 1–3, 6–11, 13–14; LV: 181, fig. 10

______, Annibale. II: 40–49, figs. 1–3 (after), pls. 32–42; 160–63, fig. 1, pls. 30–31; III: 412–13, fig. 6, pls. 34–40 (and studio); IV: 29–32, fig. 1, pls. 21–22; 47–49, fig. 1, pl. 35; 300; V: 255–64, fig. 1, pls. 1–7, 8 (after), 9, 10 (after), 11, 12 (after), 13; VII: 169, pl. 43; 410, pl. 23; VIII: 40–42, figs. 1–4, pl. 40; 390–91, fig. 1, pls. 27–28; IX: 404, fig. 1 (studio of); XIII: 372–74, figs. 1–2, pl. 22; 375–79, fig. 2 (school of); XIV: 275–76, fig. 8 (after); XV: 268–69, pl. 27; XXII: 310–15, figs. 1–4, pls. 39–40; XXX: 287–313, figs. 2–3, 5–10, 13–14, 15–16 (attributed to), 18, 19 (attributed to), 20–21, 22 (attributed to), 24–26, 28–29; 396–414, figs. 1–2 (after Correggio); XXXII: 204, fig. 1 (after); XXXIV: 6, 11, 13, 18, 21, 25, 28, 51, 54–55, 65, figs. 3, 6 (engraving after), 8, 11–12 (attributed to a follower of), 14–15, 21, 22 (school of), 25–26, 27 (school of), 29 (school of), 34 (attributed to), 36–38, 40, 43; XXXV: 3–42, figs. 1, 2 (after), 7–15, 17–19, 21, 22 (after), 23, 24 (after), 25–27, 28–29 (after Correggio), 30, 31 (after Correggio), 32–43; XXXVI: 296–97, figs. 2–3, 5; XXXVIII: 413, fig. 25; XLI: 59, fig. 1; XLIII: 442, fig. 2; 518, fig. 4; 529, figs. 1 (or follower of Agostino Carracci), 2; XLIV: 309, 322, figs. 13, 28; XLV: 363, fig. 10 (attributed to); XLVI: 13, fig. 13; 50, figs. 13–14; 195, fig. 8; XLVII: 380, fig. 1 (after); XLVIII: 376, fig. 4; LIV: 226, figs. 4–5; LVI: 163, fig. 2 (etching, engraving, and drypoint)

______, Antonio. XXXI: 428–31, figs. 1–6; XXXIV: 3, 10, 13, 59, figs. 1, 5, 9 (attributed to), 42 (attributed to); XXXVII: 277–86, figs. 1–9, 10 (?);XLIII: 445–46, 449, 452, figs. 8 (here attributed to), 10, 11 (here attributed to), 13–15 (here attributed to), 16

______, Franceschino. XXXIV: 28, fig. 28

______, Ludovico. V: 387–89, figs. 1, 2 (engraving after), pl. 27; VI: 372, note 36, pl. 13; XVII: 51–52, fig. 1, note 2, pl. 43; XVIII: 40–47, figs. 1–3, pl. 22; 392–93; XXII: 405–25, figs. 1–13, pls. 1–19; XXIII–XXIV: 204–05, pl. 11; XXV: 219–36, figs. 1–7, 9–11, pls. 1–18; XXVI: 370–81, figs. 2, 9 (?), 11; XXVII: 223–25, figs. 2, 3 (after), pl. 32 (after); XXIX: 52, 55, fig. 1; XXX: 396–414, figs. 3, 5 (after Tibaldi), 7, 12–14; XXXI: 339, fig. 1; XXXIV: 13, 20, 48, 50, 53, 55, figs. 7, 10 (after), 16 (attributed to), 17, 31, 33 (attributed to), 35, 39; 244, fig. 2 (attributed to); XXXVI: 294, fig. 1; XXXVIII: 169, figs. 2, 3 (after); 404, figs. 13–14; XLIII: 515–16, figs. 1 (here attributed to), 2; XLIV: 302, 310, 313, figs. 3 (engraving after), 14 (attributed to), 16; XLVI: 9, 18, fig. 20; LVI: 321, fig. 7

______ family. XI: 403; XVIII: 51–52; XXXIII: 420–25; XXXV: 20, fig. 20 (after); XXXVI: 292–304

Carreño de Miranda, Juan. XXI: 407, pl. 37; XXXVII: 411–12, figs. 6–7; XLV: 354–58, figs. 1 (attributed to), 2–4

Carriera, Rosalba. XLV: 2, 43, back cover

Carroll, Alison. XVIII: 147–48 (G. B. TIEPOLO)

______, Eugene A. IX: 15–37 (SALVIATI, ROSSO FIORENTINO)

______. Rosso Fiorentino. Drawings, Prints, and Decorative Arts. Review. XXX: 109–13

Carrucci, Jacopo, see Pontormo, Jacopo da

Cars, Laurent. XX: 17–18, figs. 6–7 (engravings after Gravelot)

Carson, Marco, formerly. XLVI: 148, fig. 1 (Pollock)

Cartari, Giulio. LVI: 33, 35, figs. 2 (after), 3

Cartaro, Mario. XIII: 349–50, fig. 2 (engraving after F. Bellini)

Cartier, Claude, formerly. XXXI: 116, fig. 19 (Watteau)

______, M. and Mme. Louis, formerly. XXXI: 116, fig. 19 (Watteau)

Cartons d’artistes du XVe au XIXe siècle. Review. XII: 170–72

Casal, Marta Cacho. XLV: 391–94 (REVIEW)

Casale sul Sile, Parish Church. XVII: 33, fig. 5 (G. D. Tiepolo)

Caso, Jacques de. X: 155–61 (RODIN)

Caspar Wolf, 1735–1783. Landschaft im Vorfeld der Romantik. Review. XIX: 315

Cassatt, Mary. XLII: 119, fig. 11

Cassirer, Paul. I, 4: 14

Castagno, Andrea del. II: 284; XII: 261–62, pl. 34 (attributed to)

Castaldi coll. XI: 27–28, note 26, pl. 15 (Creti)

Casteele, Frans van de, see Castello, Francesco da

Castel Bolognese, S. Petronio. IV: 13–14, fig. 5 (Fenzoni); LV: 469, fig. 6 (F. Fenzoni), note 14

Castelbarco Albani, Count Aldrighetto di. V: 146–48, fig. 2 (Domenichino)

Castelfranco, Pietro Damini da, see Damini, Pietro

Castelfranco, Cathedral. XI: 138–39, fig. 1 (Veronese)

______, S. Giacomo Maggiore. XLII: 218, fig. 18 (E. Sirani)

Castellas, Raimon. XXXIII: 56–57

Castello, Bernardo. XXIII–XXIV: 244, pl. 57; XXXVII: 139, fig. 1 (after); 383, fig. 21 (after)

______, Félix. LII: 490, fig. 10

______, Francesco da. XXIX: 181–86, figs. 1–3 (after Vecchi)

______, Giovanni Battista, called Il Bergamasco. XXIII–XXIV: 244, pl. 54a; XXXIII: 414–17, figs. 1–3, 4 (attributed to); XLV: 363, figs. 11–12

______, Valerio. III: 258, pl. 13a; XI: 294, pl. 40; XIII: 26–40, figs. 1–5, 7–8, pls. 8–22; XX: 132–35, figs. 1–3, pls. 28–29

Castiglione, Baldassare. XLIX: 349, fig. 158 (portrait)

______, Giovanni Benedetto. LIV: 107–14, figs. 1 (monotype), 2–5; LV: 181, fig. 11

Castiglione: Lost Genius: Masterworks on Paper from the Royal Collection, exh. cat. by Timothy J. Standring and Martin Clayton. Review. LIV: 107–14

Castillo, José del. XXXVII: 416–28, figs. 1–4, 8–11; LII: 491–512, figs. 1–3, 4–7 (attributed to), 8, 9 (attributed to), 10–13, 16–23

______, Juan Antonio del. XLV: 327–44, figs. 3, 7, 12–13, 15, 19, 23, 27, 30 (attributed to, after Cano)

Castillo y Saavedra, Antonio del. XLV: 393, fig. 2; LII: 528, fig. 4

Casteras, Susan P. XXXIII: 425–26 (REVIEW)

Castiglione, Giovanni Benedetto. V: 380, pl. 5; VI: 144–48, figs. 1–2, pls. 34–37a, 37b (after), 38–44; VII: 61–62, figs. 1–2; X: 163; XVI: 163–72, fig. 3, pls. 35, 38–39, 43 (circle of); XLII: 6, fig. 3; 122, back cover; XLVI: 54, fig. 17

Castres, Musée Goya. XXXI: 432, fig. 2 (Vien); XLVIII: 439, 441, 443, figs. 5, 9, 17 (Francisco Pacheco); LII: 455, fig. 3 (Pacheco), note 13; LV: 337, figs. 6–7 (Houasse), note 9–10

A Catalogue of the Paintings and Drawings in the Collection at Wilton House, Salisbury, Wiltshire. Review. VI: 292–93

Catelani, Pietro. VII: 170, pls. 46–48

Catesby, Mark. XLV: 550, fig. 6

Cate, Hendrikus Egbertus ten, coll., formerly. XLIX: 217–18, fig. 84 (Jan van de Cappelle), note 105

Catherine, the Great, formerly. LII: 293, 313, 336, figs. 22, 49 (Coecke van Aelst and workshop)

Cati, Pasquale. XLVII: 90–92, figs. 9–12

Catlett, Elizabeth. XLII: 15, fig. 15

Cats, Jacob. XXVIII: 323–31, figs. 1–2, 4 (signatures), 5, 6 (signature), 7–9, 10 (signature), 11–12, 13 (signature)

Cauchi, John. IV: 62–63, fig. 3 (Lanfranco)

Caucig, Francesco. XVIII: 61–62; 253–57, pls. 32, 33b, 35, 38, 39b; XXII: 48–49, 55, pl. 35b (portrait of)

Caula, Sigismondo. XXXII: 26–32, figs. 1–5 (attributed to), 6

Caulery, Louis de. XXXVI: 398–408, figs. 1–4, 6–9

Caus, Isaac de. XVIII: 388

Causa Picone, Marina. Disegni della Società napoletana di storia patria. Review. XV: 279–80

Cavaceppi, Bartolomeo. I, 3: 34–35

______ coll., formerly. XLV: 376, fig. 19 (Vieira Lusitano), note 32; XLVI: 194, figs. 6–7 (Pisanello), notes 28–29

Cavalier, Odile. XLV: 67–86 (MARQUIS DE CALVIÈRE)

Cavalieri, Giovanni Battista. XXV: 135–36, fig. 5 (after Michelangelo)

Cavalieri coll., formerly. XII: 264–73, figs. 7, 23 (Roberti)

Cavalori, Mirabello. XXX: 420–28, figs. 1–2, 4–7, 8 (attributed to); XLVI: 6, fig. 3

Cavedone, Giacomo. XXXIV: 59, fig. 41; XLVI: 9, 23, fig. 36; LIII: 489, no. 8 (copy after his self-portrait); LVI: 317–34, figs. 1, 3–6, 8–22, 24–25 (formerly attributed to), 26 (copy after), 27, 28 (formerly attributed to), 30 (formerly attributed to), 32–41

Cavendish, Lord, coll., see Holker Hall, Lord Cavendish coll.

Cavendish, William, 2nd Duke of Devonshire, see Chatsworth, Duke of Devonshire coll.

Caviglia-Brunel, Susanna. Charles-Joseph Natoire (1700–1777). Review. LI: 525–38

Cavina, Anna Ottani. Felice Giani, 1758–1823, e la cultura di fine secolo. Review. XXXIX: 425–30

Caylus, Anne-Claude-Philippe de Tubières, Comte de. XVII: 264–66, fig. 5; XXXV: 237, fig. 29 (engraving after Rubens); XLVII: 169, fig. 16 (etching after Gillot); 209–10, figs. 18–19 (etching and engraving after Bouchardon); XLVIII: 164, fig. 4 (etching after Giulio Romano)

______ coll., formerly. XXXI: 112, fig. 14 (Watteau); 441, fig. 3 (aquatint and wood engraving after Pietro de Pietri); LII: 344, fig. 83 (attributed to the workshop of Coecke van Aelst)

Cazes, Pierre-Jacques. XXIII–XXIV: 352–63, figs. 1–2, 4, 6–11, 13–14, pls. 9–29

Cazort, Mimi. XXIII–XXIV: 408–10 (REVIEW); XXXIII: 144–51 (M. GANDOLFI)

Ceán Bermúdez, Juan Agustín, formerly. XLV: 328–29, 332, 334, 338–39, figs. 8, 11, 14, 25 (Cano), 27 (Juan Antonio del Castillo after Cano)

Cecchi, Alessandro. XXV: 146–49 (ALLORI)

Cecchi Conti, Francesco. XLVII: 61, fig. 7 (engraving)

Cecco Bravo, see Montelatici, Francesco, called Cecco Bravo

Celio, Gaspare. LIV: 509–36, figs. 1–3, 4 (after Giuseppe Valeriano?), 5–16, 19, 24–27, 28 (after), 29, 31–32

Cellier-Lefebre, Mme., formerly. XLIV: 441, fig. 64 (anonymous artist)

Cellini, Marina. XLVIII: 260 (LETTER)

______, Benvenuto. XXXI: 396–97, figs. 5, 6 (sculpture), 7

Cellony, Joseph ii. XII: 148–51, fig. 20

Cenáculo Villas-Boas, Manuel do, formerly. XLV: 376, fig. 20 (Vieira Lusitano), note 33

Ceneda (Vittorio Veneto), Cathedral, see Vittorio Veneto, Cattedrale di Ceneda

Cennini, Pietro Paolo. XXI: 144–45, fig. 9 (?)

Cent dessins du Musée Teyler. Review. XI: 402

Cent dessins français du Fitzwilliam Museum, Cambridge. Review. XIV: 308–09

Cento, Chiesa del Rosario. XVII: 413, fig. 19 (Guercino)

______, Pinacoteca Civica. V: 304 (review); XVII: 405, 408, fig. 9 (Guercino); XXV: 360–62, fig. 1 (Kempeneer)

Central Europe, 1600–1800. Review. X: 168

A Century of Modern Drawings from the Museum of Modern Art in New York. Review. XXII: 331

Cerano, see Crespi, Giovanni Battista

Cérenville, René de, formerly. LII: 327, fig. 62 (Coecke van Aelst, retouched by a later hand)

Cerete Basso near Bergamo, Parish Church. VI: 138–39, fig. 3 (G. A. Guardi)

Cerini, Pietro. XLVII: 95, fig. 1

Cerquozzi, Michelangelo. IV: 375, 380; LIV: 543, back cover

Certani, Antonio, formerly. IV: 32, note 8; XLIX: 109, fig. 41 (Amico di Donato)

Cesare da Sesto. XXXI: 340, fig. 6 (?); XXXVI: 130, fig. 6 (attributed to, after Leonardo da Vinci)

Cesari, Giuseppe, see Arpino, Cavaliere d’

Cesari D’Arpino, Giuseppe, see Arpino, Cavaliere d’

Ceschi coll., formerly. XIV: 160, note 16, pl. 32 (G. Gandolfi)

Cesena, Cassa di Risparmio. XLII: 218, fig. 24 (E. Sirani)

Cesi, Bartolomeo. X: 365–67, figs. 2–5; XI: 269–71, fig. 2, pl. 26; LIII: 81–88, figs. 1, 3–7

Cesura, Pompeo, see Aquila, Pompeo Cesura dell’

Cézanne, Paul. I, 4: 44–46, 54–57, pls. 38–39; IV: 39–45, figs. 1, 4, pls. 33–34; V: 182–87, figs. 1, 4, pls. 34, 37; 265–80, figs. 1–3, 5–8, 10, pls. 14–23; XII: 183; XVI: 285–86, fig. 1, pl. 36; XXXVIII: 273, fig. 6; XLIV: 285, 288, figs. 8–10, 12 (after Polidoro da Caravaggio), 13 (after); XLVII: 447–51, figs. 1–4; XLVIII: 232, fig. 8; LV: 211–24, figs. 1–3, 4 (and a child’s hand), 5, 6 (and a child’s hand), 8–10, 11–12 (and a child’s hand), 14; LVI: 362, fig. 15

Ch. A. coll. XVII: 169, pl. 44a (Dieu)

Chabal-Dussurgey, Pierre. LV: 230, fig. 4

Chaïkin, Nathan. Célestin Nanteuil. Review. XXV: 171–72

Chailly, Claude. LII: 246, fig. 3

Chalette, Jean. XXXIV: 418–20, fig. 1

Chambre, Jean de la, the Younger. Caulery, Louis de. XXXVI: 45–52, figs. 7–10

The Changing Image. Prints by Francisco Goya. Review. XIII: 177

Chanler, Mrs. Gertrude Laughlin. XXI: 179 (review); XXVI: 356, note 1, pl. 41 (Nattier)

______, Mrs. Hubert, formerly. XXXVII: 35–46, figs. 1–16 (Ango), notes 7, 18–22, 24, 29–30, 32–36, 38, 40

Chantereau, Jérome-François. XXII: 66, fig. 3

Chantilly, Château. XXIX: 289, fig. 17 (Sarazin)

______, Musée Condé. II: 160–63, fig. 1 (Annibale Carracci); III: 377; IV: 42–44, fig. 8 (Poussin); IX: 155–56, fig. 1 (Dürer); 370–71, pl. 19a (Dughet); X: 15–19, fig. 2 (Ferrucci); XII: 240, 242, notes 12, 34–35, pls. 5, 10a, 17–18 (Poussin); XVI: 26, pl. 3 (Van Mieris); XVIII: 155–56, fig. 3 (F. Clouet); XIX: 10–11, note 38, pl. 15 (Bandinelli); XXII: 300–02, fig. 4 (Bellange), note 25; 305, note 7, pl. 32 (Maffei); XXIII–XXIV: 194, 196, fig. 2 (Perino del Vaga), note 15; XXXI: 390, fig. 1 (Michelangelo); XXXIV: 356, fig. 9 (Delaune); XXXV: 360, fig. 28 (Molyn); XXXVI: 372, fig. 22 (Baglione), note 41; XXXVIII: 132, fig. 16 (Perrier), note 38; XLI: 206, fig. 6 (Limburg Brothers), note 12; XLV: 306, fig. 25 (El Greco), note 46; XLVII: 301, fig. 50 (“False Amand” hand); L: 36, fig. 3 (Belliniano), front cover (Bellini or Belliniano), note 36; LI: 12, fig. 5 (Poussin), note 12; LII: 4, 12, 40, 46, figs. 1 (workshop of Luca Signorelli, Genga?), 12 (Genga); LIII: 479, fig. 2 (Watteau), note 7; LV: 527, fig. 50 (Watteau)

Chapel Hill, NC, University of North Carolina, Ackland Art Museum. XXXV: 347, fig. 11 (Molyn); XLVI: 451, fig. 13 (Gainsborough)

Chaperon, Nicolas. XIX: 448–49, fig. 8; XXIII–XXIV: 348–49, fig. 3 (after), pl. 4; LVI: 169–71, figs. 1–2, 4

Chapman, Agneta. XLVII: 464–67, figs. 1–2, 4 (portraits of)

______, Hugo. LVI: 385–90 (REVIEW)

______. Michelangelo Drawings: Closer to the Master. Review. XLIV: 362–65

______. Padua in the 1450s. Marco Zoppo and his Contemporaries. Review. XXXVIII: 76

______, see also Bambach, Carmen C., Hugo Chapman, Martin Clayton, and George R. Goldner

______, John Gatsby. The American Drawing Book. XL: 349, fig. 7 (book illus.)

Chappell, Miles. XXI: 36–58 (COLLECTOR’S MARK LUGT 2729); 64–65 (REVIEW); XXII: 287–94 (CIGOLI); XXVII: 195–214 (CIGOLI); XXIX: 198–207; XXX: 330–36 (REVIEWS); XXXI: 407–09 (OLIVIERO GATTI); XXXIII: 188–89 (LETTER); XXXVIII: 467–69 (REVIEW); XLIII: 339–48 (LATER FLORENTINE DRAWING); XLIV: 354–57 (CIGOLI); XLVI: 116–20 (REVIEW)

Chappuis, Adrien. Les dessins de Paul Cézanne au Cabinet des Estampes du Musée des Beaux-Arts de Bâle. Review. I, 4: 54–57

______ coll. V: 272, pl. 19 (Cézanne)

Chardin, Jean-Baptiste-Siméon. VII: 58–61, figs. 1–4; LVI: 107, fig. 3

Chardin, 1699–1779. Review. XVIII: 54

Charkow, Ukraine, see Kharkiv, Ukraine

Charles I, King of England, formerly. XXXVI: 123, fig. 1 (Isaac Oliver, completed by Peter Oliver)

Charles ii, King of England. XXX: 314–19, figs. 1–7 (portraits of)

Charles ii, King of Spain. XLV: 357, fig. 4 (portrait of)

Charles v, Holy Roman Emperor. XXVI: 219–32

Charles Albert of Sardinia, formerly. LII: 73, 83, fig. 21 (Jan de Visscher)

Charles Gleyre, 1806–1874. Review. XVIII: 279

Charles Joseph Fürst de Ligne. Review. XXI: 180

Charles Meryon. Prints and Drawings. Review. XIII: 177

Charlotte, NC, Mint Museum of Art, formerly. XLVI: 515, fig. 110 (Gainsborough)

Chasse, Barthélemy. XXIII–XXIV: 396, pl. 54

Chassériau, Théodore. XVIII: 389

Chasteau, Nicolas. LVI: 523, fig. 14 (etching after Louis Silvestre the Younger)

Château, Mlle. XLV: 68, fig. 1

Chatelain, Jean-Baptiste. XLVI: 431, fig. 4 (etching); XLVII: 325, figs. 1 (etching after Dughet), 2 (after)

Chatsworth House, Derbyshire, Duke of Devonshire and Trustees of the Chatsworth Settlement. I, 1: 3, 9, note 4, pl. 1a & b (Parmigianino); 53–54, note 1, pl. 46 (Reni); I, 4: 11, 14, pl. 9 (Trometta); II: 262; 390, 395, note 26, pl. 20a (Franco); III: 28, pl. 23 (Rubens); IV: 129; 424–26, pl. 39b (Maratti); VI: 123–25, pls. 17–18 (Domenichino); 250–51, note 10, pl. 12 (Cortona); 267, fig. 4 (Vasari); VIII: 46–47, fig. 5 (Van Dyck); IX: 7–14, note 25, pls. 5–7 (Master of the Months of Lucas); 38–39, fig. 1 (Elsheimer); 245–46, notes 35, 40, pls. 22a, 24 (Ligorio); 388, pl. 28a (Sacchi); XIII: 136–41, note 10, pl. 7 (Correggio); XIV: 33–34, note 10, pl. 2 (Schiavone); XV: 259–66, note 19, pls. 12, 20–22, 25 (Veronese); 268, note 4, pl. 27 (Annibale Carracci); XVII: 417–26, notes 6, 9, pls. 34–39 (Maratti); XIX: 28–29, pls. 25–26a (Quillard); 56–57 (review); 148–49, pl. 21 (P. Bruegel); XXII: 160–61, notes 9, 13, pls. 6, 10 (D. Ghirlandaio); 411–25 passim, note 17, pls. 5, 14 (L. Carracci); XXIII–XXIV: 39–43, notes 13, 20, 26, pls. 6, 10, 15 (Schedoni); 65–67, figs. 3–4 (Polidoro da Caravaggio), notes 18–19; 539–40, fig. 5 (Van Dyck), note 23; XXVI: 344, pl. 18 (Lefèvre); 359–60, fig. 2 (Raphael?); XXVII: 73–78 (review); 303–09, fig. 1 (Michelangelo), note 1; XXVIII: 4, fig. 1 (Passeri), note 9; 135, fig. 9 (Perino del Vaga), note 22; 298, fig. 3 (Van Dyck), note 6; 412, 414, fig. 6 (Claude Lorrain), note 13; XXIX: 276, fig. 11 (Soutman); XXXI: 106, fig. 6 (Watteau); 259, fig. 58 (Goltzius); 383, fig. 12 (anonymous artist), note 37; 428, fig. 2 (Antonio Carracci), note 4; XXXII: 163, fig. 1 (B. Passarotti), note 7; XXXIII: 30, figs. 1–3 (Piero di Cosimo and Florentine school), notes 1–2; XXXIV: 10, 13, 18, 20–21, 25, 55, 59, figs. 5 (Antonio Carracci), 7 (L. Carracci), 11–12 (attributed to a follower of Annibale Carracci), 15 (Annibale Carracci), 16 (attributed to L. Carracci), 18 (Annibale Carracci), 19 (Agostino Carracci), 21 (Annibale Carracci), 24 (Agostino Carracci), 37 (Annibale Carracci), 39 (L. Carracci), 42 (attributed to Antonio Carracci), notes 67, 82, 92, 99, 107, 114, 118, 128, 135, 248, 252, 259; 195–205 (review); 242, 244, 249, 251–52, 254, 260, figs. 1 (Passeri), 4 (Domenichino), 5 (Correggio), 6 (Lafranco), 10 (Maratti), 11–12 (Correggio), 16 (Morandi), notes 50, 52, 64, 76, 134; XXXV: 6, 16, figs. 4 (Calvaert), 19 (Annibale Carracci), notes 24, 74; 192–95 (review); XXXVI: 123, 130, 132, 134, 136–38, figs. 2–3 (Peter Oliver), 7 (Peter Oliver, after Leonardo da Vinci), 8–9, 12–13, 15, 17–19 (Peter Oliver), 21 (anonymous artist after Peter Oliver), 24 (Peter Oliver), notes 9, 82, 92–93, 95–96, 100, 102–04, 106, 110; 294, 298, figs. 1 (Ludovico Carracci), 4 (Agostino Carracci); XXXVII: 160, fig. 3 (Giulio Romano); XXXVIII: 161, figs. 4–6 (Pater), note 10; XXXIX: 226, fig. 8 (La Fosse after Rubens); XL: 240, fig. 1 (Rembrandt), note 4; XLI: 399–404 (review); XLII: 304, fig. 5 (Carpaccio), note 13; XLIII: 445, 449, figs. 8, 11, 13 (Antonio Carracci), notes 23, 29, 35; XLVI: 3, fig. 1 (Maratti), note 4; 498, fig. 81; XLVII: 280, 306, 309, figs. 21 (anonymous after Dughet), 55 (anonymous); XLVIII: 20, fig. 20 (Rembrandt), note 57; 150, fig. 4 (Bronzino); XLIX: 20, fig. 5 (Alessandro Mazzola Bedoli), note 18; 149, fig. 3 (Giulio Romano), note 6; 255, fig. 2 (Jan Gossart), note 8; 296, fig. 9 (Pieter Claesz. Soutman), note 6; 330, figs. 98–99 (Rembrandt); L: 83, fig. 4 (Malpizzi); LI: 189, fig. 1 (Barocci), note 1; 295, fig. 4 (Pieter Bruegel the Elder), note 29; 441, fig. 12 (Raphael), note 18; LII: 181, fig. 1 (Muziano), note 5; 233, fig. 4 (Peter Oliver), note 16; LIII: 70–71, figs. 15–16 (Gandini), notes 51–52; LIV: 171, 184, figs. 41, 66 (Raffaellino da Reggio)

______, ______, formerly. XLVI: 296, fig. 7a (Barocci), note 26

Chaumont (Haute-Marne), Musée d’Art et d’Histoire. XLVII: 208, fig. 17 (Bouchardon), note 129; LVI: 92, fig. 24 (Bouchardon), note 32

Chauveau, François. XXVIII: 74–79, figs. 1–2, 3 (engraving), 4; XXXVIII: 139–54, figs. 1–25

Chedel, Pierre-Quentin. IV: 158–61, fig. 1; XXIII–XXIV: 369–70, fig. 2 (engraving after Boucher)

Chemnitz, St.-Petri-Schlosskirchgemeinde. LVI: 14, fig. 18 (workshop or follower of Lucas Cranach the Elder), note 34

Chenel, Álvaro Pascual, see Pascual Chenel, Álvaro

Cheney, Edward, formerly. XXXII: 347, fig. 32 (L. Tiepolo); XLIV: 433, fig. 40 (Nollekens)

______, Iris. XI: 165–71; XXXII: 64–67 (REVIEWS)

Chennevières-Pointel, Charles Philippe, marquis de. XXXVIII: 117–23, fig. 1 (portrait of); L: 262, fig. 2 (inscription)

_____ coll., formerly. XXXVIII: 119, 121, 123, figs. 2 (Poussin), 3 (Le Brun), 4 (Le Moyne), 5 (Hutin); XLIV: 434, fig. 42 (anonymous artist); LV: 26, fig. 66 (A. Bloemaert); 179, figs. 6 (David Teniers ii), 7 (A. F. van der Meulen), 8a–b (J. Courtois); 321, fig. 3 (Beresteyn), note 43; 479, figs. 1 (Lemoyne), 3 (his collector’s mark), note 1; LVI: 241, fig. 9 (Jacques Louis David), note 26

Chenu, Pierre. XX: 11, 12, fig. 5 (engraving after Gravelot)

Chéron, Louis. LVI: 179, figs. 17–18 (autograph copies after?), 19–21

Cherry, Mrs. Wendell. XLVII: 478, fig. 2 (Henri Lehmann), note 5

Cherry Valley, CA, Edward-Dean Museum of Decorative Art. XXXV: 185, fig. 1 (Pierre), note 1

Chevalier, Paul, formerly. LV: 486, 503, fig. 2 (Fragonard after Van Dyck)

Chevrier-Marcille coll., formerly. XLIV: 435, fig. 43 (anonymous artist)

Chiantorre, Giuseppe, formerly. LIV: 149, 188, fig. 3 (Raffaellino da Reggio)

Chiarenza, Carl. VII: 38–45 (MANET)

Chiari, Giuseppe. XXI: 143, pl. 10 (attributed to); XXXI: 441, fig. 4 (formerly attributed to)

Chiarini, Marco. V: 289–91 (DE MARCHIS); VIII: 51–53 (REVIEW); XIV: 383–84 (PULZONE); XVI: 185–87 (REVIEW); XXXI: 448–53 (FRANCESCO CONTI); XLIX: 50–51 (MALOSSO)

______. Claudio Lorinese. Disegni. Review. IX: 67

______. I disegni della Biblioteca Riccardiana di Firenze. Review. XXXVIII: 467–69

______. I disegni italiani di paesaggio, 1600–1750. Review. XIII: 66–67

Chicago, IL, Arthur Ackerman & Son, formerly. XLVI: 461, fig. 21 (Gainsborough)

______, Art Institute of Chicago. I, 2: 27; 56; I, 3: 21; II: 138, 141; III: 36–47, pls. 30–31 (Pisanello); 389, 392, fig. 5, pl. 28 (G. B. Tiepolo); IV: 157–63, fig. 1, pls. 21–23 (Boucher); 179, note 9; 185, pl. 58 (Creti); 383, 399, pl. 25 (Oudry); V: 176, pl. 32 (Watteau); VIII: 284, note 41, pl. 45 (Bedoli); XII: 172–76 (review); XIII: 35, pls. 11–12 (Castello); 158–60, pl. 15 (De’ Rossi); XIV: 135, note 51, pl. 10b (Vasari); XV: 186–87 (review); XVI: 404–08, pls. 15b, 23, 24b (Wilson); XVIII: 48, 173–74, 179, 275–76, 386 (reviews); XIX: 50–52 (review); XX: 374–75, fig. 1 (Lehmann); XXIII–XXIV: 382–85, figs. 10–11 (Lancret), note 22; 551, 558–59 (review); XXVII: 223–27, pls. 31–32 (G. M. Crespi); 341–56, figs. 3–4, 6–8 (Géricault), notes 7, 9, 13–14, 16; XXX: 263, fig. 14 (Boucher); 331, fig. 1 (Ligozzi), note 2; XXXI: 104, fig. 2 (Watteau); XXXIII: 47, fig. 7 (Borremans), note 19; 146, fig. 6 (M. Gandolfi), note 12; 414, fig. 2 (G. B. Castello), note 4; XXXIV: 442, fig. 3 (Redon); XXXVII: 110, 119, 134, 136, figs. 12, 26 (Luca Giordano); 156, fig. 2 (Raphael), note 2; 238, fig. 1 (G. Simonelli), note 7; XXXVIII: 172, figs. 12 (Calandrucci), 13 (Natoire after Calandrucci), notes 24–25; 241–48, figs. 1 (Fragonard), 2 (Watteau), 3 (G. F. de’ Maineri), 4 (Claude Lorrain), 5 (Greuze); XXXIX: 286, fig. 10 (Gabriel de Saint-Aubin), note 21; 295, fig. 11 (Robert? after Fragonard); XL: 66, fig. 12 (Lam); 360–61 (review); XLI: 153, fig. 2 (Degas), note 9; XLII: 352, fig. 3 (J. Tintoretto); XLIII: 446, fig. 10 (Antonio Carracci), note 28; XLIV: 502, fig. 6 (Lami), note 25; XLVI: 50, figs. 13–14 (Annibale Carracci), note 91; 525, fig. 128 (Gainsborough); XLVIII: 15, fig. 15 (Govert Flinck), note 44; 200, fig. 7 (Pinelli), note 34; 398, back cover (Étienne Parrocel), note 8; XLIX: 200, fig. 4 (Simon de Vlieger), note 46; L: 102, fig. 2 (Tiepolo), note 77; 360, fig. 4 (copy after Pieter Bruegel the Elder), note 12; 555, fig. 2 (Degas), note 5; LII: 31, 44, fig. 46 (Genga); LIII: 73, figs. 17–18 (Gandini), note 54; LIV: 64, fig. 3 (Watteau after Domenico Campagnola), note 14; LV: 16, 38, figs. 37 (A. Bloemaert), 103 (A. Bloemaert and a later hand?); 217–19, figs. 9–10 (Cézanne), 11–12 (Cézanne and a child’s hand), notes 21–23, 25; 250, 255–56, figs. 2, 10 (Degas), notes 9, 39; 396, fig. 5 (G. M. Crespi?); LVI: 107, fig. 3 (Chardin), note 4; 362, fig. 15 (Cézanne), note 11; 446, fig. 9 (Giovanni ii Badile), note 18

______, ______ (on anonymous loan from a private coll.). XLIII: 430, fig. 23 (J. S. Sargent), note 40

______, ______, Margaret Day Blake coll. XII: 158, pl. 25 (Van Gogh)

______, ______, Charles Deering coll. XXXIV: 74, fig. 4 (18th-century imitator of Rembrandt), note 8

______, ______, Gurley coll. VII: 166, note 10, pl. 37 (Canuti); XI: 43, pl. 41 (Thornhill); XXI: 272–73, note 10, pl. 30 (Circignani); XXII: 186–87, note 4, pl. 27 (retouched by Rigaud)

______, ______, Helen Regenstein coll. LIV: 399, fig. 3 (Boucher), note 6; LVI: 495, fig. 18 (Claude Lorrain), note 35

______, ______, Regenstein Foundation. XXIII–XXIV: 243, note 16, pl. 53 (L. de’ Ferrari)

______, ______, Ryerson and Burnham Libraries. XLVII: 150, 155, fig. 24 (Saint-Non)

______, ______, ______, Mary Reynolds coll. LII: 514, fig. 3 (cover of The Blind Man, no. 1)

______, ______, John H. Wrenn Memorial coll. XXXIV: 441, fig. 1 (Delacroix)

______, Leslie Hindman Auctioneers, formerly. LV: 53, fig. 152 (A. Bloemaert and a later hand?)

______, Newberry Library, Wing Foundation. XIX: 252–67, figs. 1, 4–5, pls. 8, 10–14a (Spada)

______, Private coll. XXVI: 249–52, note 1, pl. 13 (Barocci); XXXV: 246, fig. 45 (Watteau, after Rubens); 281, 286, figs. 1, 6 (Faccini), notes 1, 7; XLVI: 296, fig. 7a (Barocci), note 26; LV: 470, fig. 14 (F. Fenzoni), note 22; LVI: 510, fig. 51 (Claude Lorrain), note 78

______, Terra Foundation for the Arts. XL: 334, 341–42, figs. 6, 10–12 (T. Robinson), notes 23–24, 27

______, University of Chicago, David and Alfred Smart Gallery. XIX: 314–15 (review); XXI: 67 (review); XXIX: 115–44, figs. 3–16, 19–26 (La Farge)

Chiddingly, East Sussex, Lee Miller Archives, Roland Penrose Estate & the Penrose Collection. XLVII: 32, fig. 24 (Lee Miller’s photograph of Picasso)

Chieti, Private coll., formerly. LII: 14, 40, fig. 19 (Genga)

Chigi-Saracini coll. VIII: 364–68, pls. 2, 5 (Pontormo)

Childs, Elizabeth C. XXXVIII: 73–76 (REVIEW)

Chin, Barbara, and Alodie Larson. XLVIII: 380–82 (DIGITAL RESOURCE FOR AUCTION CATALOGUES)

Chodowiecki, Daniel Nikolaus. XXXIX: 188, fig. 18

Chong, Alan. XXV: 3–62 (POELENBURG)

Christ, Tobias, formerly. XLV: 389, fig. 7 (Coello)

Christian, John. XI: 279–88 (BURNE-JONES)

Christiansen, Keith. XXXI: 363–67 (FRA CARNEVALE); XXXV: 293–97 (REVIEW)

Christie-Miller, S. V. II: 393, 397, note 38, pl. 28 (anonymous Italian artist)

Christina, Queen of Sweden. III: 383–89; IV: 299–304; IX: 251–53; XXIII–XXIV: 5–30 passim

______ coll., formerly. XXXVIII: 426–28, figs. 1–4 (Goltzius)

Christus, Petrus. XXVII: 7–8, figs. 1–2

Chu, Petra ten-Doesschate. XII: 390–92 (COURBET); XXII: 455–61 (REVIEW); XXV: 175–76 (LETTER); 420 (REVIEW)

Chuppin, Médard. XXII: 298–303, fig. 1 (after), pls. 24–26

Church, Frederic E. XL: 356, fig. 16; XLII: 48, fig. 10

Churchill, Sidney John Alexander, formerly. XLIX: 70, 82–83, figs. 9, 31–33 (Foggini)

Churriguera, José Benito. XXXVII: 400, fig. 8

Ciamberlano, Luca. XXXII: 165, fig. 4 (after Agostino Carracci)

Ciampelli, Agostino. IX: 359–64, figs. 1–2, pls. 1–10

Ciampolini, Marco. LIV: 235–40 (STEFANO VOLPI)

Cibo, Gherardo. VII: 123–47, pls. 1–21; XIV: 43–45, pls. 12–21; XXVIII: 193–96, figs. 1–2

Cicogna coll., formerly. LIV: 193, fig. 81 (Raffaellino da Reggio)

Cifka, Wenceslau, formerly. XXXII: 99–128, figs. 1, 4, 6, 8, 14, 16, 18–19, 21, 23–24, 27, 29–30, 32–36

“Cifka Album.” XV: 401–03, fig. 1, pls. 48–49 (West)

Cignani, Carlo. IV: 419, pl. 33; IX: 119–38, pl. 1; X: 162–63, fig. 1; XXXVI: 154–80, figs. 2, 4 (probably assisted by Marcantonio Franceschini, and Luigi Quaini?), 9–11, 12 (engraving after), 13–14, 16–18, 19 (close copyist of), 27; 159, fig. 11; LIII: 490, no. 9 (self-portrait)

Cigoli, Lodovico. III: 28, 405; VI: 259, fig. 1, pl. 26; IX: 363, fig. 3; 391–98, figs. 2–4, pls. 37, 39; XIX: 293–99, fig. 1, pls. 38–40, 41 (attributed to), 42–49; XX: 260–63, figs. 1–4, pls. 11–12; XXI: 36–58, figs. 6–19, 20–21 and 31 (circle of); XXII: 287–94, figs. 1, 6 (after), pls. 1–8, 9–11 (attributed to); XXVII: 195–214, figs. 1–7, 8 (after F. Salviati), 9–16, 17 (after Cesari D’Arpino), 18–21, pls. 1–21; XXVIII: 211, 215, figs. 16 (attributed to), 17 (attributed to Cigoli or his circle); XXX: 333–34, fig. 3; XXXIII: 169–75, figs. 1–2 (?), 3; XLII: 63, fig. 9; XLIII: 341–45, figs. 1–8; 529, figs. 1–2 (portraits of); XLIV: 53, fig. 6; 354–57, figs. 1–3

Cincinnati, OH, Art Museum. VIII: 144, fig. 5 (Aldegrever); XVIII: 48 (review); XIX: 54 (review); XXI: 3–16, figs. 1–5, pls. 1–19 (Leclerc and Coypel); XXXVII: 377, fig. 10 (Alonso Cano); XXXIX: 115, fig. 1 (Master E. S.), note 1

Cingoli, Messer Ulisse Severino da, see Cibo, Gherardo

Cini, Vittorio, formerly. XLIX: 109, fig. 41 (Amico di Donato)

Cinq siècles de dessin. Collections du Musée Jenish. Review. XXXVII: 308

Cioffi, Irene. XXII: 434–40 (GIAQUINTO)

Cipriani, Giovanni Battista. XXXII: 104–06, figs. 5, 7 (engravings after)

______, Sebastiano. X: 31–33, fig. 1, pl. 31

Circignani, Niccolò, see Pomarancio, Niccolò

Civitavecchia, Castle of S. Severa Lazio. XVI: 179, pl. 46b (photograph)

Claremont, CA, Pomona College. Montgomery Art Gallery. XIV: 422–23 (review)

Clark, Alvin L., Jr. XXVIII: 74–79 (CHAUVEAU); XXIX: 318 (LETTER); XXXI: 179–84; XXXIII: 69–70 (REVIEWS); XXXVIII: 124–38 (PERRIER); XXXIX: 307–09 (SAMBIN); XLIV: 493–97 (TORTEBAT); LIII: 497–502 (GREUZE); LIV: 15–20 (CHARLES LE BRUN and SÉBASTIEN LE CLERC)

______ and Margaret Morgan Grasselli. L: 409 (obituary of Jean-François Méjanès)

______, Anthony Morris. II: 18–26 (CADES); V: 3–23 (PIO); VII: 182 (LETTER); XIV: 422–23 (REVIEWS)

______ coll. XX: 405 (review)

______, formerly. XLII: 8, fig. 5 (Batoni), note 8

______, Colin. XVIII: 268–69 (WILLE)

______, Kenneth, and Carlo Pedretti. The Drawings of Leonardo da Vinci in the Collection of H. M. the Queen at Windsor Castle. Review. IX: 66

______, Kenneth, Sir, later Lord Clark of Saltwood, formerly. XLVI: 429, 453, fig. 2 (Gainsborough), note 4

______, Kenneth, Sir and Lady. I, 4: 44–45, note 3, pl. 38 (Cézanne); III: 378; V: 277, pl. 21 (Cézanne)

______, Robert Sterling, formerly. XLII: 111–24, figs. 1 (Dürer), 2 (Watteau), 3 (Prud’hon), 4 (Meryon), 5 (Monet), 6 (Courbet), 7 (R. F. Blum), 8 (Homer), 9 (Goya), 10 (Degas), notes 6, 8–9, 12, 16, 18, 21, 23, 30, 32

Clarke, Louis C. G. XX: 288 (review)

Classic Ground. British Artists and the Landscape of Italy, 1740–1830. Review. XX: 406

Claude Lorrain, see Lorrain, Claude

Claude Lorrain (1600–1682). Review. XXIII–XXIV: 418

Claude Lorrain, 1600–1682. Review. XXIII–XXIV: 419

Claude Lorrain. Sketchbook. Review. XXVI: 142

Claye, Elaine. XII: 41–48 (AMIGONI)

Clayton, Martin. XLII: 315–32 (DOMENICO CAMPAGNOLA); XLIII: 376–78 (REVIEW)

______, see also Bambach, Carmen C., Hugo Chapman, Martin Clayton, and George R. Goldner

Clayton, Martin, see also Standring, Timothy J., and Martin Clayton

Clegg, Elizabeth. XXXIV: 89–91 (REVIEW)

______, see also Ames-Lewis, Francis, and Elizabeth Clegg

Clement vii, Pope. XXV: 242–60 passim

Clement ix, Pope. LIII: 105, fig. 11 (portrait of)

Clement xi, Pope (Cardinal Gian Francesco Albani). XXIX: 235–54

______ coll., formerly. XLIII: 468, 480, figs. 18, 28 (Cortona)

Clerck, Hendrik de. LII: 99, fig. 10

Clérisseau, Charles Louis. LIII: 113, fig. 3

Clerk, John. XVI: 53–57, figs. 1–4

Clermont-Ferrand, Musée. XII: 149–51, fig. 24 (Troy)

Cleve, Cornelis van. XLIII: 103, fig. 1 (formerly attributed to)

Cleveland, OH, Cleveland Museum of Art. I, 2: 28, 31; II: 287, pl. 35 (Filippino Lippi); III: 376, pl. 13 (Grimaldi); VIII: 6, note 14, pl. 5 (R. Savery); IX: 256, note 27, pl. 38 (Doomer); 268–69, figs. 2–4 (Lorenzi?); XIV: 64–66 (review); XV: 8–9, fig. 3 (F. Guardi); XVI: 452 (review); XVII: 44–45, fig. 1 (Millet), note 4; XVIII: 54, 389–90 (reviews); XIX: 30, fig. 2 (Pater); 432–38, notes 28, 37, pl. 19 (Spinelli); XX: 287 (review); XXII: 59, pl. 43 (Daumier); 331 (review); XXV: 72, fig. 4 (Northern Netherlandish artist, retouched by Rubens); XXVII: 62, fig. 10 (Crayer?), note 16; 167, fig. 3 (Asselyn), note 7; 242, fig. 1 (Nieulandt the Younger?); XXXI: 449, fig. 1 (Francesco Conti), note 9; XXXIII: 181–83 (review); 235, fig. 9 (T. Zuccaro); XXXIII: 181–83 (review); 235, fig. 9 (T. Zuccaro); XXXVI: 296–97, figs. 2–3 (Annibale Carracci); XXXVIII: 249–59, figs. 1 (Degas), 2 (Fragonard), 3 (Michelangelo), 4 (Picasso), 5 (Burchfield); XL: 174–76 (review); XLI: 274, fig. 18 (Vrancke van der Stockt); L: 108, 110, figs. 11–12, 17 (Tiepolo), notes 107, 109, 123; LI: 107–8, figs. 1 (Lagnau), 2 (Vrancx), 3 (Abraham Bloemaert), notes 10–12; 537, fig. 8 (Natoire), note 38; LVI: 387, figs. 3–4 (Michelangelo), note 3; 443, 450, figs. 5–6 (follower of Andrea Mantegna), 16 (Gaetano Laordillo), notes 13, 46

Cleves, Städtisches Museum Haus Koekkoek. XXII: 218–19 (review)

Cleyn, Francis, the Elder. XLIX: 435–79, figs. 1–2 (and associates), 3, 4 (and associates), 7–12, 13 (etching), 14–15, 16 (after), 17–19, 20 (after), 21–22, 23 (after), 25 (after), 26–34, 35 (after), 43–44, 45 (circle of), 46, 47 (and Perino del Vaga, after), 48–50, 53 (after Giambologna), 54 (after), 55–59, 60 (after), 61–63, 64 (after), 65–66 (and Raphael, after), 67, 68 (and Raphael, after), 69, 70 (and Raphael, after), 71, 72 (after), 73–74 and front cover; L: 259–61, figs. 1 (after Johann Gregor van der Schardt), 3 (after Barthélemy Prieur), 5 (after Aegidius Sadeler)

Clifford, Timothy. XII: 393–94 (REVIEW)

Clifford coll., formerly. XXXII: 238, fig. 14 (attributed to Salviati)

Clouet, François. XVIII: 155–68, figs. 1, 3, 5, 7–8, 9 (atelier of), 10–11; XLVIII: 376, fig. 2

Clovio, Giulio. XXIII–XXIV: 31–36, fig. 1, pl. 1; XXXIV: 162, fig. 21 (after Michelangelo?); LII: 456, fig. 4 (engraving after)

Cobb, E., formerly. XLVI: 460, fig. 20 (Gainsborough)

______, Mrs. H.P.C., formerly. XLVI: 460, fig. 20 (Gainsborough)

Cobenzl, Karl, Count, formerly. XLV: 8, 10, 13, 27, figs. 5 (Paolo Farinati), 7 (Taddeo Zuccaro), 9, 18 (Federico Zuccaro); LII: 293, 313, 336, figs. 22, 49 (Coecke van Aelst and workshop); LVI: 319–20, 322, 324, 326–27, 329, figs. 1, 3, 6, 10, 15, 20, 32–35 (Cavedone), 23 (anonymous artist, formerly attributed to Luca Giordano), 26 (copy after Cavedone), 28, 30 (formerly attributed to Cavedone), 29 (Bartolomeo Schedoni?), notes 15, 19, 25, 35, 40, 45, 52, 54, 56, 58, 60

Coburg, art market, formerly. XLIX: 59, fig. 7 (Jost Amman)

______, Kunstsammlungen Veste Coburg. I, 1: 48; IV: 141, pl. 14 (Peruzzi); 154–55, fig. 7 (Delaune); VII: 268–70, figs. 11–12 (Codex Coburgensis, folios 118, 182b); XI: 154, note 6, pl. 18b (Van Dyck); XIX: 10–11, note 37, pl. 14 (Bandinelli); XXI: 67 (review); XLIV: 144, 173–74, figs. 26, 81 (Kulmbach)

Coburn, Alvin Langdon. LV: 206, fig. 4 (photograph)

Coccapani, Giovanni. XXI: 36–58 passim, figs. 5, 26–27 (?);LIII: 490, no. 10 (self-portrait)

______, Sigismondo. XXI: 36–58 passim, figs. 28–31 (?); XXII: 86–88, fig. 1

Cochin, Charles-Nicolas. XXIII–XXIV: 354–55, 358–59, figs. 3, 5, 12; 370, fig. 3 (engraving after Boucher); XXXI: 146–162, figs. 1–10, 12–14; XXXII: 5, 8–9, 12, 14, 16, 18, figs. 2, 7, 10, 14, 17, 21, 25 (etchings after Louis de Boullogne), notes 5–11; XXXIV: 435–38; XLVI: 39, fig. 3 (engraving)

______, Charles Nicolas, the Younger. XXXIX: 260–78, figs. 1–2, 3 (after), 4–7, 8–9 (and Slodtz), 10–15; XLVI: 215, fig. 13; LIII: 116, fig. 8

______, Nicolas. XI: 361–64, pl. 10

Cock, Hieronymus. VII: 123–47, figs. 5–6, 8–10; XLVIII: 335, fig. 20 (engraving); L: 296, 311–13, 323, figs. 1–2 and 5–10 (etchings after Matthijs Cock), 26 (?), 27, 28 (with figures by him), 30 (etching after Matthijs Cock); LIII: 290, fig. 28 (anonymous engraving published by him)

______, Jan Claudius de. LI: 367, figs. 6–7

______, Jan Wellens de. XLVI: 212, fig. 7

______, Matthijs. VII: 123–46, fig. 4; L: 295–328, figs. 1–2 (after), 3–4, 5–10 (after), 11–20, 21 (after), 22–25, 29, 30 (after), 31–32 (copy after), 37–38

Cocke, Richard. X: 25–31 (MOLA); XI: 138–49 (VERONESE); XV: 259–68 (VERONESE); XXII: 173–77 (A. POLLAIUOLO); XXV: 260–63 (VERONESE); XXIX: 347–84 (PACE)

______. Pier Francesco Mola. Review. X: 386

______. Veronese’s Drawings. Review. XXIII–XXIV: 398–404

Cocks, Somers. XXXIII: 157, fig. 1 (Paradisi), note 1

Coclers, Louis Bernard, formerly. LII: 66, 83, fig. 6 (Jan de Visscher after Wouwerman)

Codex Coner, Hand Two. XV: 152–53, fig. 10, note 8

Codex Escurialensis. XV: 107–46, figs. 3, 5–6, 8; XVI: 35–37, fig. 2

Coecke van Aelst, Pieter. II: 154, 156; III: 26, pl. 19a; 404; IV: 141–42, pl. 15 (after); XLIII: 106–7, fig. 1 (circle of), 2; XLIX: 258, fig. 8; LII: 275–362, figs. 1–2, 3a–b (signatures), 4, 5 (receipt), 6–7, 7a (signature), 8, 8a (signature), 9–10, 11 (retouched by Rubens), 12–14, 15 (after), 16, 18 (workshop copy after), 19 (after), 20–21 and back cover, 22 (and workshop), 23 (attributed to), 24 (after), 25 (attributed to the workshop of), 31–37, 39 (circle or follower of), 40–46, 47 (attributed to), 48, 49 (and workshop), 50, 51 (attributed to), 52 (workshop of), 53, 54–56 and front cover (and workshop), 57 (workshop of), 58 (and workshop), 59 (and workshop and Jan Cornelisz. Vermeyen and workshop?), 61, 62 (retouched by a later hand), 63–65, 66 (attributed to), 67–70 (and workshop), 71–80 (Jan Cornelisz. Vermeyen and Coecke van Aelst and workshops), 81 (workshop of), 82–84 (attributed to the workshop of), 85–86 (workshop of), 87–89 (attributed to the workshop of); LIV: 379–84, figs. 1 (workshop of), 2–3

Coello, Claudio. XXI: 405–07, fig. 2, pls. 34b-36; XLV: 389, fig. 7 (attributed to)

Coenen, Baukje J. L. XLIII: 5–90 (VAN DER COOGHEN)

Cohen, Charles E. X: 126–33 (PORDENONE); XI: 239–67 (AMALTEO); XIII: 131–35 (LOTTO); XXXIV: 168–91 (PORDENONE)

______. The Art of Giovanni Antonio da Pordenone. Review. XXXVI: 214–15

Cohen, Karen B. XLVII: 413 (portrait); L: 7, fig. 12 (portrait)

______ coll. XXXVIII: 3–28, figs. 2, 4, 6–7, 10–26 (Daubigny); XLVII: 414–32, figs. 1–8, 10–20 and front cover (Delacroix)

Cohn, Marjorie B. VII: 303–07 (INGRES) ; LIII: 507–10 (HUBERT ROBERT)

______, see Ellis, Margaret Holben, and Marjorie B. Cohn

Coke, Viscount. XXIX: 252, fig. 17 (Passeri), note 31

Colchester, Borough Council. XIX: 132–33, fig. 5 (Constable), note 14

Cole, Thomas. XXXIII: 74–80, figs. 1–2; XXXV: 142–43, 150, figs. 1, 11; LIV: 439, fig. 7

Coleman, Robert Randolf. XXII: 178–85 (BERNARDINO LANINO)

Collaert, Adriaen. X: 139, fig. 1 (engraving), note 16; XLIX: 503, fig. 42 (engraving after Maerten de Vos); L: 349, fig. 33 (engraving after Hans Bol), note 67; LIII: 81, fig. 2 (after Bernardino Passeri)

______, Johannes. XIV: 384–86, fig. 1, pl. 6; XXXII: 357, figs. 8–9 (engravings after Stradanus)

Colle, Raffaellino del, see Raffaellino del Colle

Colle di Val d’Elsa (Siena), Cathedral. XVIII: 352–53, fig. 2 (Melchiori), note 15

______, Museo Civico e Diocesano d’Arte Antica. LII: 8, fig. 6 (Genga), note 21

La collecció Raimon Castellas. Dibuixos i gravats del Barroc al Modernisme del Museu Nacional d’Art de Catalunya. Review. XXXIII: 56–57

The Collecting Muse. A Selection from the Nathalie and Hugo Weisgall Collection. Review. XVI: 65

Collections de Louis XIV. Dessins, albums, manuscrits. Review. XVI: 57–59

Collector’s mark Lugt 2729. XXI: 36–58, figs. 1–4

College Park, MD, University of Maryland, Art Gallery. XVIII: 279 (review)

Collignon, François. VIII: 418–20, fig. 3

Collin, P., formerly. XXXVI: 53, fig. 1 (Antwerp Master), note 1

Colmar, Musée d’Unterlinden. XXXIV: 128, 135, 139, figs. 8 (Schongauer workshop), 9 (M. Schongauer), 11 (attributed to Schongauer workshop), 13–14 (Schongauer workshop), 15 (M. Schongauer), 17, 24, 26, 28 (Schongauer workshop), 29 (M. Schongauer); XXXVII: 265, 269, fig. 7 (workshop of M. Schongauer)

______, Private coll. LVI: 550, fig. 7 (Suvée), note 31

Cologne, City Hall. XXX: 189, fig. 3 (photograph)

______, Heberle/Lempertz, formerly. LV: 12, fig. 24 (copy after A. Bloemaert)

______, Lempertz, formerly. LV: 12, fig. 24 (copy after A. Bloemaert)

______, Kölnisches Stadtmuseum. VI: 134–35, note 5, pl. 26 (G. A. Guardi); XXX: 185, 188, 197, figs. 1–2 (Cornelis Floris), notes 15–16

______, Kunsthalle. XVI: 419, 421–25 (review)

______, Kunsthaus Lempertz, formerly. XXXVI: 266, fig. 19 (Giovanni Battista Tiepolo); XLIV: 431, fig. 35 (anonymous artist after Watteau and Vleughels)

______, Ernst Wilhelm Nay Foundation. XLV: 405 (LETTER)

______, Private coll. XXXII: 56, fig. 2 (Pontius, after Rubens)

______, Universität Köln, Bibliothek für Wirtschafts- und Sozialgeschichte Köln. LIII: 94, fig. 5 (Matthäus Merian the Elder after Hollar)

______, Universitäts- und Stadtbibliothek. LIII: 215, fig. 4 (anonymous), note 11

______, Wallraf-Richartz-Museum & Corboud Foundation. I, 3: 19–21, note 13, pl. 9 (Jordaens); II: 268–71, pl. 17 (G. Seghers); III: 141–42, 148, pl. 15 (Cornelis van Haarlem); 355, 360, fig. 4 (Aertsen); IV: 306, fig. 1 (G. B. Tiepolo); V: 41, pl. 31 (Saftleven); 400, note 1; VI: 293 (review); XII: 371–72, pl. 35a (Ribera); XVII: 166, pls. 34b-35a (Dieu); XVIII: 55–56 (review); 136–37, fig. 3 (Master of the St. Bartholomew Altarpiece); XXI: 279, note 30, pl. 42b (Biliverti); XXII: 295–96, figs. 1–2 (F. P. de Grebber), note 3; XXIX: 353, 368–69, fig. 17 (attributed to M. Pace); XXXI: 221, fig. 1 (Goltzius); 441, figs. 1, 4 (Pietro de Pietri), notes 3, 6; XLII: 249, fig. 16 (Johannes Wierix), note 69; XLIII: 186, fig. 2 (Johann Kellerthaler), note 5; XLVI: 259, fig. 5 (Runge), note 5; XLVII: 484, figs. 4–5 (Bedeschini), notes 5–6; XLIX: 373, fig. 4 (Jan Victors), note 10; LII: 296, 344, figs. 25, 83 (attributed to the workshop of Coecke van Aelst); LIII: 191, fig. 15 (Jan Wierix after Hans Baldung Grien), note 33; LVI: 23, 26, figs. 1, 5, 8 (Giuseppe Passeri), note 2

Colombel, Nicolas. XVIII: 144–47, fig. 1, pls. 17–18

Colonna, Angelo Michele. XXI: 166–72, figs. 1, 4, pls. 41–42

______, Gerolamo Mengozzi. LIII: 357, fig. 19

______, Stefano. XLVIII: 147, figs. 1–2 (portraits)

Columbus, OH, Columbus Museum of Art. XL: 342, fig. 13 (T. Robinson), note 26; XLVII: 269, fig. 8 (Dughet), note 26

Colunga (S. Lazzaro di Savena), S. Giovanni Battista. LVI: 322, fig. 17 (Cavedone), note 37

Colville, Norman. VII: 27–34, figs. 1–3 (G. P. Panini)

Comans, Michiel ii. LVI: 197, figs. 8–9 (portrait of)

Comer, Christopher D. XXII: 298–303 (CHUPPIN)

Compagno, Scipione. L: 119, fig. 2

Compiègne, Musée National du Château de Compiègne. LV: 150, fig. 4 (Bracquemond), note 14

Compton, Watts Gallery. XI: 280, fig. 1 (Watts)

Conca, Sebastiano. V: 12, pl. 3

Condé-sur-l’Escaut, Hôtel de Ville. XXVI: 122, fig. 1 (unknown artist, after Crayer)

Conforti, Michael. XIV: 67 (LETTER)

Conisbee, Philip. Portraits by Ingres. Image of an Epoch. Review. XXXIX: 65–67

Conrad, Heinrich, formerly. LV: 12, fig. 24 (copy after A. Bloemaert)

Consetti, Antonio. XXIII–XXIV: 420

______, Jacopo (Jacopino). XXIII–XXIV: 420

Consigli coll. XV: 28, note 13, pl. 25 (Malosso)

Constable, Alfred Abram. XIX: 395–425

______, John. IV: 166–68, pl. 31; VII: 426–27, pl. 32; XII: 396; XVI: 188; XVII: 273–77, pl. 42b; 278–79, pl. 43; XIX: 123–45, figs. 1–7, pls. 1–17; 391–425, figs. 2–3; XXI: 37l-72, fig. 1; XXII: 70–78, figs. 1–6; XXXVIII: 82–83; 313, fig. 4; XLVI: 544, fig. 4; XLVIII: 239, fig. 35; LVI: 506, fig. 41 (after Claude Lorrain)

______, Lionel. XIX: 397–425, figs. 5–11, 15–19, pls. 1–7; XXI: 182

Constable. Paintings, Watercolours, and Drawings. Review. XV: 187–88

Constable Sketchbooks in the Louvre. Review. XXII: 70–78

Constantiner, Victor. XLVI: 148, fig. 1 (Pollock)

Contarini, Giulio. XXV: 159–63, figs. 1–3 (busts of), pls. 11–14a, 15a, 16–18, 20–22 (all portraits of)

Conti, Francesco. XXXI: 448–50, figs. 1–11

______, Louis-François, Prince de, see Bourbon, Louis-François de, Prince de Conti

______, Princess of. LI: 452, fig. 2 (portrait)

Contini, Roberto. XXXIII: 169–75 (REVIEW)

______. Bilivert, saggio di ricostruzione. Review. XXIX: 198–207

Contini-Bonacossi coll. XIII: 132, fig. 1 (Lotto)

______, formerly. XLI: 9, fig. 8 (Spinello Aretino), note 24

Convocação I and II: Art Works by Fernando Calhau at the CAMJAP. Review. XLV: 398–400

Cooghen, Leendert van der. XLIII: 5–90, figs. 1–3, 4 (portrait of), 5–10, 12, 13–19 (after Jacob Jordaens), 20–24, 25 (or after), 26–31, 32 (attributed to), 33–37, 38 (etching), 39–46, 47 (etching), 48, 49 (etching), 50, 51 (etching), 52–70, 71 (etching), 72, 73–75 (attributed to)

Cooke, Elizabeth Miles, formerly. XLIX: 99, 110–12, figs. 12–13, 44–49 (Amico di Donato)

Cooney, J. Patrick. XI: 379–83 (SPERLING: ULIVELLI); XII: 372–76 (VOLTERRANO)

Cooper, Douglas. I, 4: 54–57; VI: 281–86, 405–10 (REVIEWS)

______, Samuel. XXX: 314–19, figs. 1–2

Coornhert, Dirck Volkertsz. II: 37

Copenhagen, Nationalmuseet. LIV: 349, figs. 94, 96 (Albert Eckhout), notes 115, 117

______, Royal Museum of Fine Arts, see Copenhagen, Statens Museum for Kunst

______, Statens Museum for Kunst. I, 1: 48; I, 3: 17–19, fig. 1 (Jordaens); I, 4: 57; II: 128–31, 134, 139–41, figs. 4–7 and pl. 9b (after Rubens); 390, 395, note 22, pl. 17 (Giulio Romano); III: 28–29, pl. 26a (Rubens studio); VII: 181, 434 (reviews); IX: 165, pl. 40a (Robert Adam); X: 168 (review); 352, fig. 2 (Holbein), note 8; 362, note 24, pls. 21–22 (Cortese); 386, pl. 55 (Mola); XVI: 296–97, fig. 5 (Keirincx), note 8; XIX: 392–94, fig. 2 (Constable), note 4; XXI: 160, pl. 26 (Murillo); 277, note 18, pl. 39a (Biliverti); XXII: 296, note 12, pl. 22 (P. de Grebber); XXIII–XXIV: 244, note 22, pl. 55 (Tavarone); 350, note 15, pl. 7 (Dorigny); XXV: 47–48, pl. 28 (Poelenburg); XXVI: 126–27, fig. 5 (Crayer), note 48; 339, pl. 1 (Lefèvre); XXIX: 11, 15, fig. 34 (after Cortona), pl. 5 (Baldini), notes 38, 41; 425–26, figs. 2, 4, 6–7, 9, 11–12, 14, 16, 18, 20 (Panneels); XXX: 185, 190, 196, fig. 5 (workshop of Cornelis Floris), note 27; XXXI: 64 (review); 256, 267, figs. 54, 68 (Goltzius); XXXII: 252, fig. 1 (Saly), note 6; XXXIII: 82–83; 414, fig. 4 (attributed to G. B. Castello), note 7; XXXIV: 127, fig. 5 (M. Schongauer); XXXV: 248–49, figs. 8, 15, 32, 40, 43 (Panneels, after Rubens), notes 47–51; 351, fig. 15 (Molyn); XXXVI: 84, fig. 2 (De Crayer), note 3; XXXVII: 115, 135, fig. 16 (Luca Giordano); XXXIX: 225, fig. 6 (La Fosse); XLI: 205, 212, figs. 1, 12 (Limburg Brothers), note 1; 397–98 (review); XLIII: 29, 53, fig. 29 (Van der Cooghen); XLIX: 99, 105, fig. 16 (Amico di Donato); L: 265, fig. 2 (Gossaert), note 6; 371, fig. 9 (Jan Siberechts), note 14; LI: 349–59, figs. 1–3 (Rubens cantoor), 4–6 (Panneels after Rubens or Van Dyck); 367, fig. 7 (Jan Claudius de Cock), note 48; LIII: 473, fig. 4 (Dusart), note 8; LIV: 328, fig. 58 (Pieter Holsteyn the Elder after Frans Post?), note 68; LV: 56, fig. 159 (A. Bloemaert)

______, ______, Kongelige Kobberstiksamling. IX: 244, note 23, pl. 12 (Ligorio); 257, note 31, pl. 41 (Schellinks); XI: 157–58, note 34, pls. 24–25 (Van Dyck); XII: 16, note 62, pl. 17 (Zucchi); 256–57, pl. 32 (Rubens); XIII: 3–8, note 5, pl. 1 (Elsheimer); XIV: 422 (review); XVII: 286 (reviews); XVIII: 276 (review); XLVIII: 13, fig. 12 (Govert Flinck or copy after?)

______, Thorvaldsens Museum. II: 23, 26, note 15, pl. 13 (Cades); VII: 430, pl. 35 (Guercino)

Copley, John Singleton. XVI: 132–33, figs. 1–2; LI: 56, fig. 8

Coppenol, Lieven Willemsz. van. XLIX: 344, figs. 144–45 (portraits)

Corbett, Edward. LI: 487, fig. 8

Cordellier, Dominique. XXVIII: 426–31 (VARIN)

______. Polidoro da Caravaggio, exhibition catalogue. Review. XLVI: 386–92

______, see also Faietti, Marzia, ed., with the collaboration of Dominique Cordellier

Córdoba, Museo de Bellas Artes. XXXVII: 445, fig. 1 (follower of Alonso Cano); XLV: 361, fig. 5 (Ribera), note 26; XLVIII: 516–38, figs. 1–5, 7–23 and back cover (Rafael Romero de Torres), 6 (Rafael Romero de Torres?), notes 11, 18–20

Cordys, Jan. XXIII–XXIV: 226–27, fig. 14 (after Jordaens)

Corenzio, Belisario. III: 405; VIII: 136, pl. 19b

Corinth, Lovis. XV: 188

Cormack, Malcolm. III: 286–90; XIV: 306–08; XXV: 284–85 (REVIEWS)

______. J. M. W Turner. R.A. Review. XIV: 302–06

Cornacchini, Agostino. LVI: 36–37, figs. 8 (after), 9

Corneille, Jean-Baptiste. XLVIII: 352–54, figs. 1–2; LVI: 173, figs. 8, 9 and 11 (after Girolamo da Treviso)

______, Michel, the Younger. VIII: 32, pl. 28

Cornelis van Haarlem, Cornelis. III: 123–54, figs. 1, 5–16, pls. 1–15; XV: 51–54, figs. 2–3; XVIII: 121–22, fig. 6, pl. 5 (after)

Cornelius, Peter. XXXIX: 125, 139, figs. 15 (after), 32 (and F. Overbeck)

Il Coronaro, see Calvi, Giulio, called Il Coronaro

Corot, Jean-Baptiste-Camille. LVI: 112, fig. 12

Correggio. I, 4: 58, fig. 1; VIII: 277–79, pls. 29–32a; X: 355–56, pl. 2; XIII: 136–41, figs. 1–2, 3 (after), pl. 7; XV: 256–57, fig. 1, pl. 9; XXIII–XXIV: 199–204; XXVIII: 83–86, fig. 1; XXIX: 426, fig. 16 (after); XXX: 396–414, figs. 1–2 (after); XXXI: 340–42, figs. 9–10, 11 (?), 21 (circle of?); XXXIV: 7, fig. 4 (after); 244, 251, figs. 5, 8–9, 11–12, 13 (attributed to); XXXV: 25, figs. 28–29, 31 (after); 50–53, figs. 1–2; XXXVI: 170, fig. 20; 360, fig. 5 (after); 409–16, figs. 1–2, 5–9; XXXVIII: 267, fig. 3; XL: 258–59; XLIV: 51, fig. 5; XLV: 16, 27, figs. 11 (after), 19 (after); 89, fig. 3; XLVI: 8, 18, fig. 21 (after); L: 507, figs. 1 (workshop of), 9–15 (workshop of), 16–18, 19–21 (workshop of); LI: 116, fig. 1

Corsham, Frederick Henry Paul, 2nd Baron Methuen of, formerly. LVI: 483, fig. 4 (Allori), note 5

Corsham, Wiltshire, Corsham Court. LVI: 483, fig. 4 (Allori), note 5

Corsini coll., formerly. XL: 222, fig. 13 (Tiarini), note 44

Corsini, Neri Maria, Cardinal, formerly. XLIII: 459, 478, fig. 1 (Cortona)

______, Tommaso, Prince, formerly. XLIII: 459, 478, fig. 1 (Cortona)

Cort, Cornelis. II: 385–86, 393–94, fig. 1; III: 24–25, fig. 4; XIII: 142–43, fig. 1 (engraving after Titian); XXXVII: 383, fig. 20 (engraving after G. Mostaert); XLV: 328, fig. 9 (engraving after Federico Zuccaro); XLVIII: 442, fig. 12 (engraving after Federico Zuccaro); L: 547, fig. 6 (engraving after Titian); LII: 456, 458, figs. 5, 7 (engravings after Federico Zuccaro), 16 (engraving after Titian); LIV: 175, 194, figs. 50 (after), 52 (engraving)

Cortese, Guglielmo. III: 258; X: 356–60, fig. 1, pls. 3–16; 360–63, pls. 17–22; XVII: 286; XIX: 53; XXX: 217, fig. 1; XXXVIII: 172, figs. 10, 11 (after)

Cortona, Museo Diocesano. XXX: 417, fig. 2 (Signorelli)

Cortona, Enrico. XLV: 405 (LETTER)

______, and Marco Riccomini. XLIV: 229–31 (BARTOLOMEO FENIS)

______, Pietro da. I, 2: 49–51, pls. 46–47; III: 258, pl. 13b; 405; IV: 62–63, pl. 40; 302–03, fig. 3; VI: 250–51, pl. 12; IX: 371, pl. 22a; XI: 294, pl. 42; XVII: 140–42, fig. 9 (follower of); XXV: 153–56; XXVIII: 414, fig. 7 (circle of); XXIX: 3–4, 8–9, 11, 15, 18, 21, fig. 34 (after); XXXIV: 303–08, figs. 1–4; XXXVI: 417–20, fig. 1; XLI: 22, fig. 10; XLIII: 457–87, figs. 1–3, 4 (after), 5–18, 19–20 (later retouched), 21–22, 23 (studio of), 24–28; LVI: 69, fig. 49 (after); 506, fig. 42 (after)

Il Cosci, see Balducci, Giovanni, called Il Cosci

Coscogno, Parochial Church. XLII: 212, fig. 9 (E. Sirani)

Cosimo iii de’ Medici, Grand Duke of Tuscany, formerly. L: 91, figs. 1–2 (Bissoni), note 1

Cosimo, Piero di, see Piero di Cosimo

Cossa, Francesco. III: 3–20, figs. 2b-16, 18–19, pls. 1–8; 290–91

Costa, Lorenzo, the Younger. XXII: 27–28, fig. 7

Costamagna, Philippe. XLIII: 274–91 (FLORENTINE DRAFTSMANSHIP); XLVIII: 147–54 (BRONZINO)

______, see also Monbeig Gougel, Catherine, Philippe Costamagna, and Michel Hochmann

Costanzi, Placido. XXI: 145–48, fig. 14, pls. 14b-15 (attributed to)

Cosway, Maria. XLI: 395, fig. 4 (etching after Rubens), note 12

______, Richard, formerly. L: 508, figs. 3–8 (Michelangelo Anselmi), note 6

Cotelle, Jean, le Fils. XXX: 429–34, figs. 1–2 (?), 7–8

Cotman, John Sell. XI: 393–98, figs. 1, 3, pl. 48; XVII: 286; XXII: 331

______. Drawings of Normandy in Norwich Castle Museum. Review. XIII: 294–95

Cotte, Robert de. XI: 362–64, pl. 16 (attributed to); XXXVI: 425–28; LI: 245, fig. 1 (office of)

Cotton, William, formerly. XLIV: 420, fig. 16 (Mercier), note 28

______, ______ ii, formerly. XLIV: 420, fig. 16 (Mercier), note 28

______, ______ iii, formerly. XLIV: 420, fig. 16 (Mercier), note 28

Cotton Puffs, Q-Tips®, Smoke and Mirrors: The Drawings of Ed Ruscha, exhibition catalogue by Margit Rowell, with an essay by Cornelia H. Butler. Review. XLIII: 220–23

Cottrell-Dormer, T. XI: 39–40, fig. 6 (Dahl); XIX: 441–42, fig. 1 (Van Uden and D. Teniers ii), note 1

Courbet, Gustave. XII: 390–92, pl. 51; XXII: 455–61, figs. 1–4; XXIII–XXIV: 257–63, figs. 1–2, 4–6; XXXVIII: 358, fig. 4; XLII: 115, fig. 6

Courtois, Guillaume, see Cortese, Guglielmo

______, Jacques. LV: 179, figs. 8a–b

Courtrai, Church of Our Lady. XXV: 392–400, fig. 3 (Beauneveu)

______, Musée des Beaux-Arts. VIII: 20–21, fig. 7 (R. Savery)

Cousin, Charles, formerly. L: 26, 28–29, figs. 8–9, 10, 12 (Rustici), note 23

______, Jean, the Younger. IV: 150–55, figs. 2–6, pl. 19

Coutan-Hauguet coll., formerly. XXXIV: 381, fig. 14 (Géricault), note 24

Coutts, Howard. XVIII: 142–44 (VERONESE); XXIII–XXIV: 398–404; XXVII: 229–34; XXIX: 194–98 (REVIEWS)

Couture, Thomas. I, 4: 44–45, fig. 1; XVIII: 391; XLVII: 506–7, figs. 1–2

Couvay, Jean. IV: 289–90, fig. 2; XXIII–XXIV: 349, fig. 3 (after Nicolas Chaperon)

Couwenbergh, Christiaen van. LIII: 29, fig. 25

Cox, David. XXII: 461–63

Coxcie, Michiel. XXXIV: 292–302, figs. 1, 3, 5–6, 7 (after Raphael), 8; XLIV: 213, figs. 3, 4 (after); LII: 371–86, figs. 3 (workshop of), 5 (workshop of), 10 (workshop of), 14, 15–17 (attributed to the workshop of), 18, 19 (attributed to the workshop of)

Cox-Rearick, Janet, see Rearick, Janet Cox

Coyle, Heather Campbell. L: 157–60 (ROBERT HENRI)

Coypel, Antoine. XXI: 3–16, figs. 1–3, 5, pls. 1–19; 283–85, pl. 46; XLVII: 200, fig. 9 (engraving after); LI: 473, figs. 3–5; LII: 515, fig. 4

Cozens, Alexander. XX: 35–38

______, John Robert. XX: 35–38; XLIX: 350, fig. 2 (attributed to)

Crabeth, Dirck Pietersz. LIII: 532, fig. 3

______, Walter. XXIII–XXIV: 544–51, figs. 1–5, pls. 27–29

Crace, Frederick. XLII: 50, fig. 14

Cracherode, Rev. Clayton Mordaunt, formerly. LIV: 151, 189, figs. 5, 75 (Raffaellino da Reggio); LV: 511, fig. 33 (Ruisdael)

Cracow, Jagiellonska University Library. 314, 317, 327, 345, 348–49, 361, figs. 30 (anonymous artist after Frans Post), 31, 36, 86, 89 (Albert Eckhout after Frans Post or vice versa?), 32 (Georg Marcgraf after Albert Eckhout or Frans Post?), 37, 92–93, 97–98 (Albert Eckhout), 55, 87–88, 110 (Georg Marcgraf after Frans Post?), notes 42–44, 47, 65, 107, 110

______, National Museum, Czartoryski coll. XXXI: 395, fig. 3 (Bandinelli), note 3; XLI: 255, fig. 26 (G. David), note 42

Craft, Catherine. L: 161–86 (PAPER IN TWENTIETH-CENTURY DRAWING)

The Craft of Art. Originality and Industry in the Italian Renaissance and Baroque Workshop. Review. XXXVI: 210–11

Craig, W. M. XVI: 165–66, fig. 3

Cranach, Lucas, the Elder. XII: 394; XXVI: 282–83, figs. 1–3; XXXVII: 309, figs. 1–2 and 5 (or his workshop); XLIV: 198, 200, 205; XLIX: 53, figs. 1 (after), 2 (woodcut); LI: 229–42, fig. 2 (woodcut); LVI: 3–18, figs. 1–2, 3 (woodcut), 4–16, 17 (workshop copy), 18 (workshop or follower of), 19–20, 21 (workshop of), 22 (or workshop)

______, the Younger. LI: 229–42, figs. 1 and back cover

Crayer, Gaspar de. XXIII–XXIV: 46–48, fig. 1, pls. 20–21, 23; XXVI: 119–32, figs. 1 (after), 2–6, pls. 26–39, 40–41 (after Titian), 42–43 (after Rubens); XXVII: 53–63, figs. 1–9, 10 (?); XXXVI: 83–90, figs. 1–4

Crecolini, Antonio. V: 18; XXI: 144–45, fig. 10 (?)

Credi, Lorenzo di. II: 293; XII: 268–72, fig. 16; XXXI: 340, figs. 4–5 (or R. Ghirlandaio)

Crema, S. Maria delle Grazie. LI: 35, fig. 13 (Barbelli)

Cremer, J. Theodor. I, 4: 58–59, pl. 41 (Guercino)

______, formerly. XLIX: 217–18, fig. 84 (Jan van de Cappelle), note 105

Cremona, Cathedral. LII: 373, 377, figs. 2, 13 (tapestries from the factory of Jan i Raes), note 12, 28

______, Municipio. XV: 28–29, fig. 1 (Malosso), note 4

______, Museo Civico “Ala Ponzone”. XXXVII: 189–92 (review); XLIX: 51, fig. 2 (Malosso), note 4

______, S. Sigismondo. XXVI: 221, 225, figs. 1 (C. Boccaccino), 6 (B. Campi)

Crescentino, S. Bernardo. X: 150–55, fig. 1 (Caravoglio)

Crespi, Daniele. VII: 293–94, fig. 1, pls. 32–33; XVII: 281–82, fig. 2, pl. 51a; XIX: 23–25, figs. 1–3, pls. 20–21

______, Giovanni Battista, called Il Cerano. IX: 364–66, figs. 1 (sculpture designed by), 2, pls. 11–13; XII: 58–59, fig. 2; XX: 273–75, pls. 21–23; XL: 135, 137, fig. 1–3

______, Giuseppe Maria. IV: 419–21, figs. 1–3, pls. 32, 34–36; XXVII: 223–27, fig. 1 (etching), note 7, pls. 31, 32 (after L. Carracci), 33–34; LIII: 490, no. 11 (self-portrait); LV: 393–98, figs. 1–4, 5–6 (?)

Crespi, Senator Mario, heirs of. VI: 139–41, figs. 4–5 (G. A. Guardi)

Creti, Donato. IV: 185, pl. 48; XI: 25–32, figs. 1 (after), 2, pls. 9–23; 403; XLIX: 95–117, figs. 4, 9, 17

______, see also Amico di Donato

Cristall, Joshua. XXVIII: 345–48, fig. 3

Croce, Dr. Carlo. XXVIII: 198–99, 209, figs. 1 (Balducci), 2 (attributed to Balducci), 4 (Salviati), 10 (attributed to Salviati), notes 8, 24, 34

Crocker, Edwin Bryant. XLVI: 205, fig. 1 (portrait of)

______, ______ coll., formerly. XLVI: 205–26, figs. 1 (Shaw), 2 (Cantarini), 3 (Krug), 4 (Zeizig), 5 (Bergmüller), 6 (Domenico Quaglio the Younger), 7 (Jan Wellens de Cock), 8 (Goltzius), 9 (Cornelis Schut the Elder), 10 (Burgundian artist), 11 (Loir), 14 (Fra Bartolommeo), 15 (Cavaliere d’Arpino), 16 (Canini), 17 (Högger), notes 3, 40, 54–56, 59, 65, 67–68, 72, 75, 80, 82, 88

______, Edwin Bryant and Margaret Eleanor Rhodes, formerly. XLV: 527–33, figs. 1–2 (Schrieck), 4–5 (anonymous artist), 6–8 (17th-century artist), notes 1, 7, 9–13; XLVIII: 163, figs. 1, 6 (Giulio Romano), note 1

______, William, formerly. XLVI: 150, fig. 2 (Pollock)

______, Mrs. William. XLVI: 150, fig. 2 (Pollock)

Cronstedt, Carl Johan. II: 143–52

Croockewit-Van Eeghen, Catharina, formerly. LV: 86, figs. 267–68 (manner of A. Bloemaert)

Cropper, Elizabeth. XIII: 281–88 (REVIEW)

______. The Ideal of Painting. Pietro Testa’s Düsseldorf Notebook. Review. XXVI: 363–69

Crosato, Giovanni Battista. II: 178; 421, pl. 42a

Cross, Emma. XL: 356, fig. 18

Crozat, Pierre. XLV: 38, fig. 1 (portrait of)

______ coll., formerly. XXXI: 395, fig. 4 (Bandinelli), note 5; 441, fig. 1 (Pietro de Pietri); XXXII: 54–59, figs. 1 (Rubens), 2 (Pontius, after Rubens); XXXVI: 181, fig. 3 (Vasari), note 8; 319–22; XXXVII: 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4; XLV: 8, 10, 13–14, 16, 19, 23–24, 27, figs. 5 (Paolo Farinati), 7, 17 (Taddeo Zuccaro), 9, 18 (Federico Zuccaro), 10 (Federico Zuccaro after Luca Signorelli), 11, 19 (Federico Zuccaro after Correggio), 12 (Sermoneta after Raphael), 16 (Tarchiani); 95, fig. 7 (Bernard van Orley); XLVI: 193, fig. 5 (anonymous Italian, c. 1325–50), note 20; XLVIII: 163, figs. 1, 6 (Giulio Romano), note 1; L: 35, fig. 2 (Raphael? or Gianfrancesco Penni?), note 29; LII: 27, 42, fig. 42 and cover (Genga); 279, 291, 332–33, figs. 6, 20 and back cover (Coecke van Aelst); LIV: 160, 179, 193–94, figs. 19, 59 and back cover (Raffaellino da Reggio); LV: 178–90, figs. 3 (F. Barocci), 4a, 13, 16–17 (Rubens), 5 (Rubens after Leonardo da Vinci), 6 (David Teniers ii), 7 (A. F. van der Meulen), 8a–b (J. Courtois), 9 (C. Maratta), 10 (Agostino Carracci), 11 (G. B. Castiglione), 12, 18 (Jacob Jordaens), 15 (copy after Rubens), 19 (Jan Breughel the Elder); 493, 502, 508–10, 519, figs. 10, 29–30, 43 (Van Dyck), 19 (R. Lafage), 27–28 (circle/school of N. Poussin); LVI: 319–20, 322, 324, 326–27, 329, figs. 2, 10 (Cavedone), 23 (anonymous artist, formerly attributed to Luca Giordano), 26 (copy after Cavedone), 28, 30 (formerly attributed to Cavedone), 29 (Bartolomeo Schedoni?), 31 (formerly attributed to Victor Honoré Janssens) notes 25, 45, 52, 54, 56, 58, 59

Cruijdaen, Joris. LIII: 21, fig. 18

Cruikshank, George. VII: 181; XXXIV: 406, fig. 9 (etching)

______, Isaac. IV: 186

Cugy, Pascale, see Brejon de Lavergnée, Barbara, and Pascale Cugy

Cummings, F. Alan. XLVI: 461, fig. 22 (Gainsborough)

______, Thomas Seir. XXXV: 148, 153, fig. 16

Cunego, Domenico. XXXVII: 19, fig. 21 (engraving after G. Reni); XLIV: 302, fig. 3 (engraving after Ludovico Carracci)

Cungi, Camillo. XLVII: 64, fig. 10 (and Filippo Gagliardi, engraving)

Cuno, James. XXXII: 277–80 (REVIEW)

Curia, Francesco. III: 180, pl. 41; 413

Curti, Francesco. XIV: 275, fig. 7 (etching after Tamburini)

Cuyp, Aelbert. XL: 65–68, fig. 1; LIV: 467, fig. 40

Cuzin, Jean-Pierre. Fragonard. Review. XLIII: 217–20

Czeczowiczka, Edwin, formerly. LII: 75, 84, fig. 26 (Jan de Visscher)

Czére, Andrea. XX: 273–75 (G. B. CRESPI); XXVI: 133–37 (MILANI); XXIX: 385–409 (BOSIO); XXXI: 463–69 (GANDOLFI BROTHERS); XXXVI: 378–97 (BAGLIONE)

______. L’Eredità Esterházy. Disegni italiani del Seicento dal Museo di Belle Arti di Budapest. Review. XLII: 269–71

______. 17th-Century Italian Drawings in the Budapest Museum of Fine Arts: A Complete Catalogue. Review. XLIV: 368–71

 

Dabell, Frank. XXXVI: 208–10; 436–37; XXXVIII: 78; XL: 263–65 (REVIEWS)

______, and Jay Weisberg. XXXIV: 318 (LETTER)

Dacos, Nicole. XXV: 359–89 (KEMPENEER); XXIX: 181–86 (CASTELLO)

Dadd, Richard. XI: 45–48, figs. 1–2, 4, pl. 43

Dahl, Michael. XI: 34–45, figs. 1–2, 4 (after), 5–7, pls. 26–40, 42

Dahls Dresden. Review. XIX: 57

Dalberg, Emmerich Joseph von, Duke. III: 257; XXII: 28–43, fig. 1 (portrait of)

______ coll., formerly. XLVII: 290, 310, fig. 38 (“False Amand” hand after Dughet); LII: 283, 325, fig. 11 (Coecke van Aelst, retouched by Rubens)

Dalí, Salvador. LI: 260, fig. 4

Dallas, TX, Dallas Museum of Art. LV: 238, front cover (Degas), note 50

______, Meadows Museum. LVI: 395–408 (review)

Dalli Regoli, Gigetta. XXXIII: 30–35 (PIERO DI COSIMO)

Dalton, Emily S., formerly. XLV: 180, figs. 19–20 (Jacques Rousseau?), notes 35–36; XLVII: 524, fig. 1 (Van Dyck), note 1

Dambrun, Jean. XXXI: 155, fig. 11 (engraving after Cochin)

Damen, Giada. LV: 393–98 (REVIEW)

Damery, Chevalier de, formerly. XLVI: 377, fig. 1 (Barocci), note 2; LV: 527, fig. 50 (Watteau)

Damini, Pietro. LII: 201–4, figs. 1–4

Damm, Heiko. LIII: 237–47 (REVIEW)

Dance, Nathaniel. XLIX: 350, fig. 1 (attributed to)

Danby, Francis. XII: 176–80

Dandré-Bardon, Michel-François. VIII: 35, pl. 32; IX: 69, pl. 25; XII: 137–51, figs. 1–12, 13–14 (attributed to), 15–19, 21, 25, pls. 7–20

Daneda, Giovanni Stefano. XXIX: 311–13, figs. 1–2

Dania, Luigi. IV: 293–94 (G. A. GUARDI); VI: 30 (G. A. GUARDI); 394–95 (F. GUARDI); VII: 157 (GUERCINO); IX: 262–64 (G. A. GUARDI); XI: 383–86 (F. GUARDI); XIV: 43–45 (SEVERINO DA CINGOLI); XV: 22–25 (LIGORIO)

Danieli, Michele. LIV: 241–46 (LORENZO PASINELLI)

Danforth, Mrs. Murray S., formerly. XLII: 163, fig. 4 (Van Gogh)

Daniell, Edward, formerly. LV: 507, fig. 26 (C. Parrocel)

Daniels, David M. V: 56, pl. 48 (Boucher); VI: 412; X: 266–68, fig. 3 (Boucher); XIII: 259–60, pl. 24 (Boucher); XVI: 271, note 51, pl. 23 (Menzel)

______, formerly. XXXIX: 177, figs. 5 (Thoma), 6 (Menzel); XLIX: 99, 107, figs. 18a–b (Amico di Donato)

Danske Tegninger. Review. XVIII: 276

Dantan, Jean-Pierre, formerly. XXXIV: 375, fig. 1 (Géricault), note 6

Dante Alighieri. V: 31–35

Danti, Vincenzo. XIII: 8–12, figs. 1–2, pls. 2–3

Danyau, Georges, formerly. XLV: 339, fig. 26 (Cano)

Danzig, Pomeranian Museum, see Gdansk, Pomeranian Museum

D’Arcangelo, Chris. L: 195, fig. 2 (with Sol LeWitt)

D’Arco, Carlo. XLIX: 7, fig. 9 (etching)

Daret, Jean. XLIII: 193–207, figs. 1–11

______, P. XXIX: 285, fig. 5 (after Sarazin)

Darlington, Durham, Raby Castle. XII: 46–47, fig. 6 (Amigoni)

Darmstadt, Hessisches Landesmuseum. I, 1: 44–45, note 5, pl. 39 (Polidoro da Caravaggio); I, 2: 10, 12, notes 31–32, pl. 7 (De Gheyn iii); I, 3: 31–34, note 10, pl. 19 (Fréminet); I, 4: 10, 14, pl. 3 (Trometta); II: 175–76, fig. 1 (Camassei); 293, pl. 40a (Tamagni); 392, 396, fig. 7, note 33, pl. 24 (Rubens); 423, pl. 42b (Carpioni); 424, pl. 44 (Michelangelo); III: 26, pl. 19a (Coecke van Aelst); 124, 131–34, 148, fig. 6, pl. 9 (Cornelis van Haarlem); 260–63, pls. 18–19 (J. Brueghel the Elder); IV: 433, note 43; VI: 124–25, fig. 13 (Domenichino); 272–75, fig. 4 (Van Savoy); VII: 152–53, notes 6, 13, pls. 29–30 (Albani); VIII: 14–15, fig. 4d (R. Savery); IX: 363–64, fig. 3 (Cigoli), note 21; X: 164 (review); 355–56, note 1, pl. 2 (Correggio); XI: 16, note 31, pl. 7 (Venusti); XII: 140–51, figs. 6, 9–11, 25 (Dandré-Bardon); XIII: 35, pl. 10a (Castello); XV: 167, note 13, pl. 28 (Restout); XVI: 419, 447 (review); XVII: 42, pl. 33a (De Boissieu); 166, pl. 35b (Dieu); XVIII: 50–51 (review); XIX: 277, pl. 29 (Titian); XX: 263, fig. 4 (Cigoli); XXI: 278, notes 23–24, pl. 41 (Biliverti); XXII: 28–43, notes 17, 90, 74, 64, 119, 27, pls. 27 (Delaune), 28 (Domenichino), 29 (Morazzone), 30 (Muziano), 32 (Quast), 33 (Natoire); 160–61, note 11, pl. 8 (D. Ghirlandaio); 303, note 2, pl. 27 (Maffei); 440–43, pl. 40 (Fragonard); XXIII–XXIV: 48, note 10, pl. 23 (Crayer); XXV: 26, 30, pls. 7a (Poelenburg, after Bril), 12 (Poelenburg); XXVII: 59–60, fig. 6 (Crayer), note 11; XXVIII: 9, fig. 13 (attributed to Van Diepenbeeck, after Primaticcio), note 41; XXIX: 379–80; XXXI: 439, fig. 6 (Brandi), note 10; XXXIII: 43, 45, figs. 1 (Bergmüller), 3 (Van Loon), notes 2, 6; XXXV: 363–64, figs. 35, 37 (after Molyn); 376, fig. 16 (La Hyre), note 33; XXXVI: 401, fig. 5 (Master of the St. Petersburg Sketchbook), note 15; XXXVII: 248, fig. 18 (De Matteis); XXXVIII: 161, fig. 8 (Watteau), note 14; XXXIX: 130, fig. 20 (Fohr after Dürer), note 51; XL: 231, fig. 29 (Tiarini), note 61; XLII: 352–54, fig. 7 (J. Tintoretto), note 13; XLIII: 107, fig. 2 (Coecke van Aelst); XLIV: 322, fig. 29 (Albani), note 103; 468, fig. 7 (Gillot), note 20; XLV: 20, fig. 13 (Niccolò dell’Abate); 46, fig. 8 (Seiter), note 40; XLVI: 66, 68, figs. 11, 13 (Benefial), notes 33, 36; XLVII: 290, 310, fig. 38 (“False Amand” hand after Dughet); XLVIII: 67, fig. 41 (Van den Eeckhout), note 75; XLIX: 197–99, figs. 40, 42 (Simon de Vlieger), notes 42, 44; LII: 68, 82, fig. 14 (Jan de Visscher); 283, 325, fig. 11 (Coecke van Aelst, retouched by Rubens); LIII: 436, fig. 3 (Jacques de Gheyn ii), note 7; LIV: 59, fig. 19 (Vernansal), note 29; LV: 28, fig. 77 (A. Bloemaert? reworked by Jacob de Wit?); LVI: 505, fig. 38 (Claude Lorrain), note 62

______, Hessisches Staatsarchiv. XXVI: 233–34, note 6, pl. 7 (circle of Schön)

Dasent, Arthur Irwin, formerly. XLVI: 463–64, figs. 25–26 (Gainsborough)

Dashkov, Pavel, formerly. LVI: 259, fig. 24 (Patersson), note 19

Daubigny, Charles François. XXXVIII: 3–28, figs. 1 (after), 2, 3 (after), 4, 5 (after), 6–8, 9 (lithograph), 10–26; XLIV: 498, fig. 1 (after “JB”)

Daullé, J. XIV: 257, fig. 20 (engraving after Boucher)

Daumier, Honoré. VI: 405–10; IX: 264, pl. 51; XVIII: 278–79; XXII: 56–63, figs. 1–5, pls. 39–45; XXXII: 71, 275–80; XXXIV: 400–13, figs. 1–2, 5–7, 8 (lithograph), 11–12, 14–15; XXXVI: 216, fig. 1; XXXVIII: 73–76; LVI: 112, fig. 11

Daumier Drawings. Review. XXXII: 277–80

Dauner, Gudrun. XLIII: 488–99 (GIROLAMO DA CARPI)

Davent, Leon. LIII: 288, fig. 26 (etching after Léonard Thiry or his circle)

David, Gerard. XXVII: 9–11, 22–34, figs. 6–7, 10–11, 20–36, 37–38 (workshop of), 39–40; XLI: 240–65, figs. 2–4, 7, 10, 12–15, 21–27; XLIII: 227, fig. 3

______, Giovanni. XXXI: 469–74, figs. 1–5

______, Jacques-Louis. VI: 37–42, figs. 1–2, pls. 22–31; VIII: 36, fig. 6, pls. 38–39; XXXVIII: 189, fig. 1; XLII: 69, fig. 2; XLVII: 221–36, figs. 1–20, 21 (after), 22–24; LIV: 495, fig. 7 (portrait of); LVI: 233–48, figs. 1–7, 9–13, 14–15 (studio of?), 16, 17 (studio of?)

David Cox, 1783–1859. Review. XXII: 461–63

David Hockney Foundation, Inc. XLVII: 9, figs. 9 and front cover (Hockney), notes 8, 10

David Hunter Strother. “One of the Best Draughtsmen the Country Possesses.” Review. XXXV: 403

David-Weill, Pierre, formerly. XLII: 147, fig. 2 (Capet)

Davidsohn, Paul, formerly. XLIII: 21, 50, 54, figs. 12, 64 (Van der Cooghen)

Davidson, Bernice F. I, 3: 3–16 (PERINO DEL VAGA); I, 4: 19–26 (PERINO DEL VAGA); VII: 404–09 (PERINO DEL VAGA); IX: 60–62 (REVIEW); 285 (LETTER); XI: 3–19 (VENUSTI); XXI: 152–59 (DANIELE DA VOLTERRA); XXVIII: 123–41 (PERINO DEL VAGA); XXXVII: 198–99 (obituary)

______. Mostra di disegni di Perino del Vaga. Review. IV: 170–82

______, Gail S. XIII: 147–57 (STELLA)

Davies, Randall, formerly. XLVI: 427–28, 447, fig. 1 (Gainsborough), note 1

Davies-Colley, Miss Barbara, formerly. XLVI: 520, fig. 119 (Gainsborough)

Davis, Alexander Jackson. XLII: 20, fig. 1

______, Bruce. XX: 28–30 (RICCI); XXV: 153–56 (MOLA and CORTONA); XXVI: 143 (LETTER); XXIX: 48–51 (MOLA)

______, Charles. XXI: 292–93 (LETTER)

______, Elliot Bostwick. XL: 332–44 (WILLIAM RIMMER)

______, Gilbert, formerly. XLVI: 487–88, figs. 66–67 (Gainsborough)

______, Richard S., formerly. XXXIV: 406, 409, figs. 11, 14 (Daumier), notes 19, 34

______, Stuart. XLII: 139, fig. 8

Dayton, OH, Art Institute. X: 164–65 (review); XXIII–XXIV: 55–60, notes 2, 6, pls. 32–33 (Piranesi)

De achtergrond belicht. Ontwerpen voor het theater, 1580–1850. Review. XV: 187

Dearborn Massar, Phyllis, see Massar, Phyllis Dearborn

Debesse, Claude Guillaume, formerly. LV: 502, fig. 19 (R. Lafage)

Debret, Jean-Baptiste. XLVII: 231, fig. 21 (lithograph after J.-L. David)

De Burlet coll. IV: 135–36, pl. 10 (Rubens)

Decker, Paul. XV: 272–76, figs. 3, 5

Dedum, Willem, Baron van, formerly. LIV: 334, fig. 71 (Frans Post), note 82

Dee, Elaine Evans. V: 305–06 (REVIEWS); VII: 61–62 (LETTER); XXVIII: 332–37 (OPPENORD)

Defeo, Jay. LI: 493-94, figs. 15–16

Defer-Dumesnil, formerly. XXXI: 112, 119, figs. 11–12, 21–22 (Watteau)

Defoer, H. L. M. XVIII: 134–41 (AERTSEN)

Degas, Edgar. IV: 47; V: 194–96; XVI: 177–78; 284–85, pls. 33–35; XX: 376–80, figs. 1–2, pl. 17; XXIII–XXIV: 551–63, figs. 1–2; XXVIII: 260, fig. 4; XXXVIII: 249, fig. 1; XL: 255–57, figs. 1–2; XLI: 151–62, figs. 1–2, 4–8; XLII: 11, fig. 8; 59, fig. 1; 119, fig. 10; 162, figs. 2–3; 176–77; XLIV: 237–42, figs. 1–3; 517, fig. 1; XLVI: 230, fig. 5; XLVIII: 235, fig. 11; L: 553–55, figs. 1–2; LV: 238, fig. 15 and front cover; 249–60, figs. 1 (monotype), 2 (etching and drypoint), 3, 4 (soft-ground etching, aquatint, and drypoint), 5–7, 8 (counterproof), 9, 10–12 (monotype)

Degas at Harvard. Review. XLIV: 237–42

Degas e l’Italia. Review. XXIII–XXIV: 551–53

Degas in the Art Institute of Chicago. Review. XXIII–XXIV: 551, 558–59

Degas. Pastelle, Ölskizzen, Zeichnungen. Review. XXIII–XXIV: 551, 561–63

Degas. Form and Space. Review. XXIII–XXIV: 551, 553–56

Degas. The Dancers. Review. XXIII–XXIV: 551, 558

Degenhart, Bernhard, and Annegrit Schmitt. Corpus der italienischen Zeichnungen, 1300–1450. Part I. Süd- und Mittelitalien. Review. VIII: 396–402

______. Corpus der italienischen Zeichnungen, 1300–1450. Part II. Venedig, 1300–1400. Addenda zu Süd- und Mittelitalien. Reviews. XIX: 308–10; XXII: 78–80

______. Jacopo Bellini. Der Zeichnungsband des Louvre. Review. XXIII–XXIV: 397–98

______. Pisanello und Bono da Ferrara. Review. XXXVI: 208–10

Deglatigny, Louis, formerly. XLVII: 145, 155, fig. 17 (Hubert Robert); 305, fig. 54 (“False Amand” hand after Dughet); LV: 479, figs. 1 (Lemoyne), 3 (his collector’s mark), note 1

De Grazia, Diane. XII: 359–67 (BERTOIA); XX: 347–69 (FARINATI); XXII: 452–55 (REVIEW); XXIII–XXIV: 199–204 (CORREGGIO); 405–07; XXVIII: 83–86; XXXI: 60–63 (REVIEWS); 350–63 (NEAPOLITAN DRAWINGS); XXXIII: 175–81 (REVIEWS); XXXVI: 292–304 (CARRACCI); XXXVIII: 77–78 (REVIEW); 249–60 (DRAWINGS IN THE CLEVELAND MUSEUM OF ART); XLI: 388–91 (REVIEW)

______. Bertoia, Mirola, and the Farnese Court. Review. XXXII: 280–83

______. Prints and Related Drawings by the Carracci Family. A Catalogue Raisonné. Review. XVIII: 51–52

______, and Carter E. Foster. Master Drawings from The Cleveland Museum of Art. Review. XL: 174–76

De Heer, Gerrit. XXXVI: 6, fig. 5

Dejuinne, François-Louis. XIII: 261–74, fig. 2 (lithograph after Ingres), pl. 27

De Kooning, Willem. L: 181, fig. 15

Delacre coll., formerly. XXXI: 232, 269, figs. 24, 71 (Goltzius)

Delacre, Maurice, formerly. XLIII: 51, fig. 58 (Van der Cooghen)

Delacroix, Eugène. I, 2: 20–31, fig. 1, pls. 15–21; I, 3: 40–43, fig. 2, pls. 22–31; I, 4: 41–43, pls. 28–37; II: 414–19, figs. 1–6; III: 52–54; IV: 39–44, figs. 2–3 (photographs of), 5–7; V: 182–87, figs. 2–3, pls. 35–36; 404–06, pls. 40–45; XVII: 46, 48, fig. 6; XX: 374–76, pl. 16; XXXIV: 441, fig. 1 (lithograph); XL: 249–54, figs. 1–5; XLII: 70, fig. 3; XLIII: 224–26; XLVII: 414–32, figs. 1–20 and front cover; 474–77, figs. 1–4; 489–92; 493–97, figs. 1–4; LVI: 111, fig. 9

Delahunty, Gavin. Gerhard Richter, 2010. Review. L: 245–52

Delamonce, Ferdinand. XLIV: 55–68, figs. 1, 2 (engraving after), 3–11

Delany, Dr. Barry, formerly. XLIX: 159, figs. 1–2 (Michelangelo), note 1

Delaroche, Paul. XXIII–XXIV: 253, fig. 1; XLVIII: 508, fig. 12

Delaune, Etienne. IV: 154–55, fig. 7; XXII: 31, pl. 27; XXX: 174–75, 178–80, fig. 22; XXXIV: 351–64, figs. 1, 2–6 (engravings), 7–14; XLVI: 336, fig. 15 (or Baptiste Pellerin?)

Delaware, Private coll. XXXVII: 255, fig. 24 (De Matteis), note 51

Delbanco coll., formerly. XVI: 165–66, fig. 2 (Leone)

Delhaes, István, formerly. XXXI: 464, fig. 1 (U. Gandolfi), note 14

Delmont, Deodat van der Mont. LII: 387–91, figs. 1, 3

Delon, Alain. XXVII: 111, fig. 4 (Rembrandt)

Deloye, formerly. XXXI: 233, fig. 25 (Goltzius)

Del Po, Giacomo, see Po, Giacomo del

Delvaux, A. IV: 269–70, fig. 5

De main de maître. Masterful Studies. Three Centuries of French Drawings from the Prat Collection. Review. XXXI: 64–66

De Marchis, Alessio. V: 289–91, pls. 30–34

De Maria, Walter. XLVIII: 230, fig. 4

Demarteau, Gilles. X: 270–78, fig. 15 (engraving after Boucher); XIV: 258–59, figs. 24–27 (engravings after Boucher)

Demele, Christine. LI: 221–28 (REVIEW)

De Michel-Ange à Géricault. Dessins de la donation Armand-Valton. Review. XX: 286–87

Dene, Dorothy. LI: 73, fig. 12 (portrait of)

Denison, Cara D. XXVIII: 265–67 (ABBATE); XLIV: 520–21 (REVIEW)

______. French Drawings, 1550–1825. Review. XXVI: 142–43

Denkstein, Vladimir. Hollar Drawings. Review. XX: 403–04

Denmark, Private coll., formerly. XXXI: 242, fig. 35 (Goltzius)

Denon, Baron Dominique-Vivant. LIII: 1, 2–3 (etchings), 4, 5 (etching), 6–7 (here attributed to), 8

______, formerly. XLV: 16, 27, figs. 11, 19 (Federico Zuccaro after Correggio); LIV: 197, fig. 88 (Raffaellino da Reggio?)

Dente da Ravenna, Marco. XLIII: 362, fig. 15 (engraving after Bandinelli)

Denver, CO, Art Museum. IX: 8–11, fig. 7 (tapestry); XII: 362–63, note 25, pl. 18b (Bertoia); XXI: 67 (review)

De’ Pietris, Pietro Antonio, see Pietri, Pietro de

De Raphael à Matisse. 100 dessins du Musée Fabre. Review. XIX: 55

De Ricci à Tiepolo. Review. XX: 289

Dermoyen brothers. LII: 363, figs. 2–3 (tapestry after Orley)

Derow, Jonathan P. XXVI: 259–71 (GAINSBOROUGH)

Dervaux, Isabelle. XLVI: 227–50 (INTERVIEW); XLVIII: 227–44 (INTERVIEW WITH TERRY WINTERS); LIV: 404–8 (REVIEW); LVI: 355–68 (IN CONVERSATION WITH WAYNE THIEBAUD)

Desboutins, Marcellin. XX: 378, fig. 1 (etching)

Deshays, Jean-Baptiste Henri. III: 258, pl. 17b; LV: 501, back cover

Desmas, Anne-Lise. LVI: 31–84 (EDME BOUCHARDON)

______, et al. Bouchardon: Royal Artist of the Enlightenment. Review. LVI: 97–104

Desnoyer, Auguste. XXXII: 113, fig. 20 (engraving after)

Desperet, E., formerly. XXXI: 395, fig. 3 (Bandinelli), note 3; XLIII: 51, fig. 59 (Van der Cooghen)

Desrais, Louis-Claude. LI: 252, fig. 6

Dessau, Anhaltische Gemäldegalerie. XXVI: 282, fig. 1 (L. Cranach the Elder); LVI: 310, fig. 3 (Goltzius), note 6

______, ______, Graphische Sammlung. XLIV: 204; XLVIII: 167, fig. 1 (Tobias Stimmer), note 4

______, Schloss Wörlitz. XXIX: 425, fig. 3 (Rubens)

Le dessin à Gênes du XVIe au XVIIIe siècle. Review. XXIII–XXIV: 242–47

Dessins baroque florentins du Musée du Louvre. Review. XX: 163–66

Dessins de Dürer et de la Renaissance germanique. Review. XXXIII: 164–67

Dessins de l’école flamande au siècle de Rubens. Review. XVI: 419, 446

Dessins de la collection du Marquis de Robien conservés au Musée de Rennes. Review. X: 387

Dessins de la collection His de la Salle. Review. XIV: 422

Dessins de Liotard. Review. XXXIII: 333–36

Dessins de maîtres des Pays-Bas méridionaux et septentrionaux née avant 1600. Review. XX: 404

Dessins des Musées de Marseille. Review. X: 161–63

Dessins du Musée Atget conservés à la Bibliothèque de la Faculté de Médecine de Montpellier. Review. XIII: 64–65

Dessins du Musée de Dijon. Review. XIV: 422

Dessins du XVe au XVIIIe siècle dans les collections privées de Belgique. Review. XXVI: 140

Dessins espagnols. Maîtres des XVIe et XVIIe siècles. Review. XXX: 326–30

Dessins flamands et hollandais du dix-septième siècle. Collections de l’Ermitage, Leningrad, et du Musée Pouchkine, Moscou. Review. XI: 176–78

Dessins flamands et hollandais du dix-septième siècle. Review. XII: 395

Dessins français du Metropolitan Museum of Art, New York, de David à Picasso. Review. XII: 61–62

Dessins français et italiens du XVI et du XVII siècle dans les collections privées françaises. Review. X: 164

Dessins genevois de Liotard à Hodler. Review. XXIII–XXIV: 254–57

Dessins hollandais du Musée de Grenoble. Review. XVIII: 277

Dessins italiens de l’Albertina de Vienne. Review. XIII: 291

Dessins parisiens du XVIII siècle. Review. XIII: 61

Dessins vénitiens de la Collection Frits Lugt. Review. XXXVI: 436–37

Destailleur, H., formerly. XXXVIII: 156, fig. 1 (H. Bellange), note 7

Detaille, Édouard. LV: 237, fig. 12

Detroit, MI, Detroit Institute of Arts. VIII: 18–19, note 45, fig. 6 (R. Savery); IX: 51–54, pl. 24 (Goeree); 277–78, fig. 2 (Wtewael); XIII: 370–72, note 2, pl. 21 (Samacchini); XXII: 217–19, fig. 1 (Beijer); XXIII–XXIV: 245, note 38, pl. 59 (Strozzi); XXVII: 70–73 (review); XXX: 256, 280, fig. 3 (Boucher); XXXIV: 170, fig. 2 (Pordenone), note 4; 314–15 (review); XXXV: 347, fig. 10 (Molyn); XL: 117, fig. 9 (J. Tintoretto), note 20; XLV: 171, fig. 5 (Jacques Rousseau), note 11; XLIX: 301, figs. 15–15a (Rembrandt), note 12; LI: 174, fig. 25 (Bedoli), note 36; LV: 43, figs. 115–16 (A. Bloemaert)

Deurle, Dhondt-Dhaenens Museum. XXXV: 271, fig. 8 (Smits), note 12

Deusch, Werner E. coll. II: 421, pls. 41 (Perino del Vaga), 42a (Crosato)

Deutsch, E. III: 160, pl. 26a (Palma Giovane)

______, Niklaus Manuel. XIII: 295; XVIII: 52

______, Mrs. Richard, formerly. XLII: 139, fig. 6 (De Kooning)

Deutsche Künstler um Ludwig I. in Rom. Review. XX: 46–47

Deverell, Walter Howell. XVI: 291, pls. 37, 39

Devizes, Wiltshire, Wiltshire Archaeological Society. XI: 394–95, fig. 2 (Prout), note 9

Devonshire, William, 2nd Duke of, formerly. LIV: 171, 184, figs. 41, 66 (Raffaellino da Reggio)

DeVonyar, Jill. XLIV: 237–242 (REVIEW)

______, and Richard Kendall. XLI: 151–62 (DEGAS)

______. Degas and the Dance. Review. XLII: 176–77

Dewing, Thomas Wilmer. XLII: 126, fig. 4; LI: 78, fig. 16

DeWint, Peter. XLVII: 325, fig. 2 (after Chatelain after Dughet)

DeWitte, Debra J. LV: 225–48 (DRAWINGS ON VIEW IN PARIS, 1860–90)

Dezallier dArgenville, Antoine-Joseph. XLV: 54, fig. 1 (portrait of)

______ coll., formerly. XXV: 276–81, figs. 1 (Lanfranco), 2 (F. Francken), 3 (J.-C. François), 4 (autograph letter); XXXII: 149–50, figs. 3, 15–17, 19–21 (Diziani); XXXVII: 248, fig. 19 (De Matteis), note 41; XXXVIII: 132, fig. 15 (Perrier), note 37; XLIV: 49, fig. 1 (Knupfer); XLV: 54–66, figs. 2 (Pordenone), 3–4 (his inscriptions), 5 (Passarotti); XLVIII: 179, fig. 1 (Guercino), note 1; LI: 39–48. figs. 2, 8, 10 (Poussin), note 6; LV: 34, fig. 91 (copy after A. Bloemaert?); 507, fig. 24 (A. van Ostade)

D’haene, Virginie. L: 295–328 (MATTHIJS COCK); LIV: 379–84 (WORKSHOP OF PIETER COECKE VAN AELST)

Dhikeos, Nicos, formerly. XL: 250, fig. 3 (Delacroix), note 5; XLIV: 57, fig. 7 (Delamonce), note 24

Dibbits, Taco. XLIX: 291 (FOREWORD TO THE REMBRANDT DRAWINGS: THE CORE LIST ISSUE)

El dibujo español de los siglos de oro. Review. XIX: 184–87

Dibujos italianos de los siglos XVII y XVIII en la Biblioteca Nacional. Review. XXIII–XXIV: 411–15

Dibujos valencianos del siglo XVII. Review. XXXIII: 57–58

Dickson, Mrs. Jefferson. X: 155–61, pls. 29–43 (Rodin)

Di Domenico, Yves, and Olivier Michel. XLVIII: 253–59; L: 262–63 (LETTERS)

Diebenkorn, Richard. XLII: 158, fig. 14; LI: 484, 496–99, 503, 507, figs. 4–5, 20–23, 30, 32; LVI: 115, back cover

Dieffenbacher, Jörg. Die Schwalbacher Reise gezeichnet von Anton Mirou, in Kupfer gestochen von Matthäus Merian d.Ä., 1620. Review. XLIV: 89–92

Diepenbeeck, Abraham van. XI: 176–77, figs. 1–2; XV: 162–63, fig. 2; XXVIII: 3–53 passim, 5a-5b (after Abbate), 6–7, 10, 13–14 (attributed to, after Primaticcio), 15–16 (after Primaticcio), 17, 19–20, 21–22, 25 (attributed to, after Primaticcio), 27 (attributed to, after Abbate), 29, 32, 34, 36, 39 (attributed to, after Primaticcio); XLII: 149, fig. 5; LIII: 532, fig. 2; LV: 501, fig. 18

Dietrich, Christian Wilhelm Ernst. LV: 495, fig. 11 (in the manner of Rembrandt)

Dietzen coll., formerly. LV: 12, fig. 24 (copy after A. Bloemaert)

Dietzsch, Johann Christoph. XXXIX: 162, fig. 5

Dieu, Antoine. XVII: 161–69, figs. 1–2, pls. 33–47

Díez, José Luis. XLV: 401–3 (PUBLICATION NEWS)

______. Eduardo Rosales. Publication News. XLV: 401–3

Di Federico, Frank R. X: 3–14 (TREVISANI)

Di Giampaolo, Mario, see Béguin, Sylvie, Mario Di Giampaolo, and Mary Vaccaro

Dijl, Dirk van, formerly. XLIII: 36, 61, fig. 41 (Van der Cooghen)

Dijon, Chartreuse de Champmol. XXV: 408, fig. 21 (Claus Sluter and workshop); XLI: 206, fig. 8 (Claus Sluter)

______, Musée des Beaux-Arts. III: 56, pl. 48a (Vasari); VIII: 367, fig. 6 (Pontormo); XIII: 372–74, note 2, pl. 22 (Annibale Carracci); XIV: 422 (review); 423, fig. 1 (Testa); XV: 412, pl. 47b (Rubens); XIX: 453–54, note 21, pl. 39 (Dorigny); XXI: 279, note 34, pl. 44 (Biliverti); XXII: 221 (review); XXIII–XXIV: 254–57 (review); XXVIII: 129, 132, fig. 6 (Perino del Vaga), note 19; XXXII: 33, fig. 1 (G.C. Procaccini), note 2; XLV: 23, fig. 16 (Tarchiani); XLVIII: 22, figs. 22–23 (Govert Flinck), note 62; LIII: 275, 284, 287, figs. 1, 4, 13, 22–23 (Peruzzi), note 1

______, Musée Magnin. XV: 170, fig. 6 (Restout); XIX: 53–54 (review); XLIII: 199, fig. 6 (Daret), note 34; LIV: 385, fig. 1 (Spranger with an anonymous artist), note 6

Dilbeek, Belgium, Private coll. XXVIII: 142–43, figs. 1, 3 (Jordaens)

Dillis, Johann Georg von. XXXIX: 188, fig. 20

Dimsdale, Thomas, formerly. XLVI: 192, fig. 3 (Bandinelli), note 14

Dine, Jim. L: 211–30, figs. 1–3, 5–25

______ coll., formerly. L: 176, fig. 12 (Jasper Johns), note 57

Disegni antichi del Museo Correr di Venezia. Review. XXIII–XXIV: 420

Disegni degli Alberti. Il Volume 2503 del Gabinetto Nazionale delle Stampe. Review. XXIII–XXIV: 405–07

I disegni dei Consetti nelle collezioni della Biblioteca Civica di Storia dell’Arte Luigi Poletti. Review. XXIII–XXIV: 420

I disegni dei maestri. Review. X: 166

I disegni del Codice Resta. Review. XVIII: 276

Disegni del seicento romano. Review. XXXVII: 294–99

Disegni dell’Europa Occidentale dall’Ermitage di Leningrado. Review. XXIII–XXIV: 417–18

Disegni di Bernardo Poccetti. Review. XX: 38–39

Disegni di Federico Barocci. Review. XIV: 56–64

Disegni di Lodovico Cigoli, 1559–1613. Review. XXXIII: 169–75

Disegni di Tiziano e della sua cerchia. Review. XV: 45–46

Disegni di Tommaso Minardi, 1787–1871. Review. XXIII–XXIV: 416–17

Disegni incisioni e bozzetti del Carlevarijs. Review. II: 181–82

Disegni italiani del Teylers Museum Haarlem. Review. XXII: 452–53

Disegni italiani di paesaggio. Review. XIII: 66–67

Disegni tedeschi da Schongauer a Liebermann. Review. XXVIII: 187–92

Disegni umbri del Rinascimento da Perugino a Raffaello. Review. XXI: 417–20

Disegni veneti del settecento della Fondazione Giorgio Cini e delle collezioni venete. Review. II: 180–81

Disegni veneti del settecento nella Biblioteca Ambrosiana. Review. XIX: 53

Disegni veneti di collezioni inglesi. Review. XXII: 219–20

Dittrich, Christian. X: 137–43 (VAN NOORT)

______. Van Eyck, Bruegel, Rembrandt. Niederländische Zeichnungen des 15. bis 17. Jahrhunderts aus dem Kupferstich-Kabinett, Dresden. Review. XXXVIII: 70–73

Diupert, Rosa. XXXII: 253, fig. 3 (portrait of)

Dix, Charles Temple. XXXV: 134, fig. 30

Diziani, Gaspare. II: 178, 180; 411, fig. 1; XXV: 288–90; XXXII: 129–50, figs. 1–5, 7–25

Dobroklonsky, M. V. II: 407–09 (ANDRÉ LE BRUN); III: 183 (obituary)

______. Catalogue of Drawings of the Italian Schools of the 17th and 18th Centuries at the Hermitage. Review. II: 174–76

Dobson, William. XLIX: 461, fig. 51 (attributed to)

Dodd, W., formerly. XLVI: 465, fig. 28 (Gainsborough)

Doesschate Chu, Petra ten-, see Chu, Petra ten-Doesschate

Doetecum, Lucas and Johannes van. XIX: 146–56, figs. 1–3 (etchings after P. Bruegel); LI: 303, 316, figs. 14, 37 (etching and engraving after Pieter Bruegel the Elder)

Dolendo, Bartholomeus. LV: 34, fig. 93 (engraving after A. Bloemaert)

Dolgorukov, Alexey Ivanovich, formerly. XLIX: 533–48, figs. 6 (Quirin Marck after Van Dyck), 7 (Van Dyck), 8 (copy after Rembrandt), 9 (anonymous 16th-cent. German), 10 (Rubens after Hans Holbein the Younger), 13 (Pompeo Batoni), 14 (Anton Raphael Meng), notes 47–48, 50, 52–54, 56–57

Domenichino. I, 3: 34–35; IV: 285–86, fig. 1, pl. 19; 312; V: 144–58, figs. 1–11, pls. 11–15, 18–19; VI: 111–31, figs. 1–16, pls. 1–23; VIII: 389, fig. 2 (engraving after); XVII: 245–60, figs. 1–13, pls. 14–33; XXII: 36, pl. 28; 216; XXXI: 426–27, figs. 1–4; XXXIV: 244, fig. 4; XXXV: 189–91, figs. 1–2; XLV: 13, fig. 8; 223–28, figs. 1–2, 4–7; LVI: 85, figs. 1 (after), 2

Domenico di Bartolo (Ghezzi). VIII: 397–98, fig. 3

Domenico di Michelino. II: 284

Domenico Tiepolo’s Punchinello Drawings. Review. XVIII: 178–79

Domodossola (Novara), SS. Gervasio e Protasio. XXXIII: 117, fig. 6 (Varallo)

Domville family, formerly. XLVI: 512, fig. 104 (Gainsborough)

Don, Daniel A., formerly. LI: 54, fig. 4 (Trumbull), note 23

Donaldson, George, formerly. XLVI: 500, fig. 83 (Gainsborough)

Donatello. XLV: 91, fig. 3

La donation Suzanne et Henri Baderou au Musée de Rouen. Review. XVIII: 391–92

Doncker, Pierre de. LI: 368, fig. 8

Dongen, Dr. J. A. van, formerly. XLIII: 31, 58, fig. 34 (Van der Cooghen); LV: 342, fig. 10 (Verboom), note 49

______, Kees van. XXXII: 399

______. The Van Dongen Nobody Knows. Early and Fauvist Drawings, 1895–1912. Review. XXXVI: 316–18

Doni, Anton-Francesco. LV: 379, fig. 4 (woodcut)

Donker, C. P., formerly. LII: 68, 82, fig. 13 (Jan de Visscher)

Donnadieu, Alcide, formerly. XLII: 337, fig. 3 (G. Salviati)

Donnellon, Jeffrey. XXII: 435–36, fig. 2

Donzello, Piero di. XXXIII: 32, fig. 6

Doomer, Lambert. IX: 253–59, pls. 28, 32–35, 37–38, 40, 42, 43 (attributed to); XX: 284–85, pls. 29–30

Dorati, Antal. VI: 372, note 37, pl. 15 (Reni)

Dordrecht, Mak, formerly. LV: 38, fig. 102 (copy after A. Bloemaert)

Doré, Gustave. XXXIV: 406, 409, figs. 10, 13 (engravings)

Dooren, Kees van. XL: 135–53 (MUSEO FRANCESCANO DRAWINGS); XLVI: 61–90 (BENEFIAL)

Dorigato, Attilia, see Pignatti, Terisio, and Attilia Dorigato

Dorigny, Louis. XXXV: 63–66, figs. 1–2, 3 (after), 4; 376, fig. 17 (engraving after Vouet); XLII: 385, fig. 17

______, Michel. III: 51, fig. 2; XIX: 445–55, figs. 1–7, 9 (engravings), 10–13, pls. 29–40; XXIII–XXIV: 349–50, fig. 5, pl. 7

______, Nicolas. XXIX: 252, fig. 16 (after Passeri); XLVI: 3, fig. 2 (engraving after Maratti); 47, fig. 9

Döring, Thomas. XXXVII: 71–72 (LETTER); LIV: 369–78 (REMBRANDT)

Dorothea Sophia, Countess Palatinate of Neuburg and Duchess of Parma. LI: 454, figs. 7–9 (portraits)

Dörrien, Emilie, formerly. XLII: 345, fig. 12 (after G. Salviati)

Dorset, Lulworth Manor, see Liverpool, Walker Art Gallery, Weld-Blundell coll.

Dosio, Giovanni Antonio. XV: 243–55, fig. 11, pls. 1–8

Dou, Gerard. XVI: 5–7, 23–24, figs. 4, 22

Douce, Francis, formerly. XLVIII: 456, fig. 2 and front cover (Jusepe de Ribera and Domenico Stagi), note 7

Doudeauville, duchesse de, formerly. XLIV: 416, figs. 9–10 (Mercier), note 17, 19

Douglass, Donald. XL: 335, fig. 9 (T. Robinson), note 18

Dowley, Francis H. II: 50–55 (LA FOSSE); IV: 422–34 (MARATTI); V: 42–47 (VAN LOO)

Doyen, Gabriel-François. XII: 279–82, pls. 35–40; XXIII–XXIV: 208–09, fig. 4, pl. 15

The Draftsman’s Eye. Late Italian Renaissance Schools and Styles. Review. XX: 287

Draiflessen coll. (Liberna). LII: 283, 325, 328, figs. 10, 12–12a (Coecke van Aelst)

Draner. LV: 232, fig. 5 (illustration in the Revue Comique, 1880s)

Draper, James David. VI: 42–43 (POUSSIN); VII: 27–34 (PANINI); XIV: 308–09; XXVI: 137–38 (REVIEWS)

______, and Guilhem Scherf. Augustin Pajou: Dessinateur en Italie, 1752–1756. Review. XXXVII: 69–70

Drawing 1400–1600, Invention and Innovation. Review. XXXIX: 434

Drawing in Bologna, 1500–1600. Review. XXXIII: 80–81

Drawing in England from Hilliard to Hogarth. Review. XXVI: 274–77

Drawing in the Italian Renaissance Workshop. Review. XXII: 329–30

Drawing in the Twenty-first Century: The Politics and Poetics of Contemporary Practice, ed. by Elizabeth A. Pergam. Review. LIV: 404–8

Drawing. Technique and Purpose. Review. XX: 45–46

Drawings and Prints by the Carracci. Review. XI: 403

Drawings and Prints of the First Maniera, 1515–1535. Review. XI: 402

Drawings and Watercolours by Peter de Wint. Review. XIX: 46–47

Drawings by E. F. Burney in the Huntington Collection. Review. XXII: 331

Drawings by Fragonard in North American Collections. Review. XVIII: 60

Drawings by Gaspar van Wittel (1652/3–1736) from Neapolitan Collections. Review. XVIII: 278

Drawings by George Romney from the Fitzwilliam Museum. Review. XVI: 66

Drawings by Gianlorenzo Bernini from the Museum der bildenden Künste, Leipzig, German Democratic Republic. Review. XXIII–XXIV: 100–02

Drawings by Johan Tobias Sergel. Review. XVIII: 53

Drawings by Johann Michael Rottmayr. Review. XIX: 314–15

Drawings by Michelangelo from the British Museum. Review. XVIII: 54

Drawings by Michelangelo. Review. XIII: 176–77

Drawings by Seventeenth Century Italian Masters from the Collection of Janos Scholz. Review. XIII: 176

Drawings by the Great Spanish Artists. Publication News. XLV: 401–2

Drawings by Tiepolo and Guardi from the Princes Gate Collection. Review. XXI: 179

Drawings from Maine Collections. Review. XVIII: 62

Drawings from the Bequest of W. F. Watson, 1881–1981. Review. XXI: 183

Drawings from the Collection of Louis C. G. Clarke. Review. XX: 288

Drawings from the Collection of Mr. and Mrs. Eugene V. Thaw. Review. XV: 186–87

Drawings from the Holy Roman Empire, 1540–1680. A Selection from North American Collections. Review. XXII: 320–28

The Drawings of Filippino Lippi and His Circle. Review. XXXVII: 62–66

The Drawings of Andrea Palladio. Review. XXI: 65–66

The Drawings of Nicolas Poussin. Catalogue Raisonné. Review. XIII: 281–88

Dreesmann, Dr. Anton C. R. XXIII–XXIV: 421 (review)

______, formerly. XLIV: 412, 431, figs. 3 (Mercier), 34 (anonymous artist after Watteau), note 6

Dreher, Derick. XXXVI: 216 (LETTER)

Dresden, Gemäldegalerie Alte Meister. XIII: 132–33, fig. 2 (Lotto); XVI: 5–6, fig. 3 (Van Mieris); 265–66, fig. 7 (Menzel), note 32; 293–94, figs. 1, 3 (Keirincx), notes 2, 5; XXIX: 426, fig. 15 (Rubens); XLIX: 333, fig. 106 (Rembrandt); 379, figs. 20, 22 (Jan Victors), note 33; L: 336, fig. 9 (Hans Bol), note 25; LVI: 194, fig. 5 (Adriaen van Ostade), note 6; 525, fig. 18 (Louis Silvestre the Younger), note 32

______, ______, formerly. XI: 269, fig. 1 (C. Procaccini); XIII: 277, fig. 1 (Friedrich)

______, Pinakothek. III: 13, fig. 18 (Cossa and Cicognara?)

______, Sächsische Landesbibliothek–Staats- und Universitätsbibliothek Dresden. XXVI: 43, figs. 3–4 (Dürer), notes 12–13; XXXVI: 59–66, figs. 1–2, 7–10 (Dürer), notes 7–8, 17, 22; LV: 357, fig. 19 (A. Dürer), note 20

______, Staatliche Kunstsammlungen, Kupferstich-Kabinett. I, 2: 4, pl. 3 (De Gheyn iii); 37; I, 3: 23, pl. 13 (Jordaens); II: 131, 138–39, figs. 8, 12 (Rubens); 376–77, 382, note 65, pl. 9 (Bronzino); III: 47–48, pl. 38 (anonymous Liechtenstein Master); 150; 358, pl. 3b (Aertsen); VII: 139, pl. 15 (Severino da Cingoli); 261–63, fig. 3 (F. Floris); VIII: 14–15, 19, 25, fig. 4c, notes 41, 51, pls. 11, 16 (R. Savery); 57 (review); 153, note 37, pl. 43 (Palma Giovane); IX: 127, fig. 5 (Franceschini), note 34; 147–48, fig. 3 (Turchi); 282 (review); X: 137–43, notes 9, 17, 22, 25, pls. 22–25 (Van Noort); XIV: 40–42, note 7, pl. 10 (Bronzino); 137, note 66, pl. 13b (Naldini); XVIII: 130, pl. 2 (J. Muller); 371, notes 3, 8–9, pls. 36, 41–42 (Lievens); XIX: 157–60, note 1, pl. 32 (Rochetel); XXIII–XXIV: 221, pl. 33a (Jordaens); XXIX: 18, pl. 11 (Baldini); 202, fig. 5 (Biliverti); XXV: 8–54 passim, figs. 4, 12, 17–20, 23–25, 28, 37–40, pls. 13, 19–21, 24, 31 (Poelenburg); 284–85 (review); 415, pl. 47 (attributed to Vouet); XXVII: 315–16, fig. 3 (Joos van Winghe), note 7; 329, figs. 17–18 (C. de Vos), note 33; XXX: 378, 384, 388, figs. 7, 30 (Toeput); XXXII: 365, 367, 369, figs. 5, 8, 12 (Richter), notes 21, 29, 36; XXXV: 63, fig. 1 (Dorigny), note 10; 359, fig. 26 (Molyn); XXXVI: 70, fig. 4 (Rembrandt School), note 10; 74, fig. 2 (copy after Backer), note 4; 256, 258, 260, 262, 265–67, 270, 272–74, figs. 2a, 6a, 9a, 13a, 16a, 19a, 20a, 25a, 28a, 31a, 32a (Francesco Zucchi engravings after Giovanni Battista Tiepolo); XXXVIII: 37, fig. 17 (Fenzoni), note 39; 70–73 (review); XXXIX: 146, fig. 3 (A. Heinrich), note 7; XL: 217, fig. 7 (Tiarini), note 27; XLI: 217, fig. 1 (Jan van Eyck), note 9; 313, fig. 6 (follower of Hugo van der Goes); XLIV: 136–203 passim, figs. 17, 30, 40, 42, 46–47, 52, 65, 75–77, 83, 91–92, 94–95, 101, 110–11, 119 (Kulmbach); 343, fig. 11 (Van den Bossche); XLVI: 49, fig. 11 (Albani), note 87; XLVIII: 15, 20, 25, figs. 19, 25 (Govert Flinck), notes 49, 64; 63–64, figs. 35, 39–40 (Van den Eeckhout), notes 69, 73; 112, fig. 5 (Schellinks), note 47; XLIX: 63, fig. 1 and front cover (Uffenbach), note 6; 196, 203, 205–8, figs. 38, 50, 52–53, 63–65, 67 (Simon de Vlieger), 56–58, 60–62 (Jan van de Cappelle after Simon de Vlieger), 68 (anonymous), 69–70 (Simon de Vlieger embellished by Jan van de Cappelle?), notes 39, 55, 57, 59, 61, 63–66, 68, 70–72; 326, 331, figs. 82, 105 (Rembrandt); 354, 364–65, 368, figs. 2, 29, 31, 37 (Jan Lievens), notes 6, 35, 37, 44; 375, 379–80, figs. 8–9, 11–12, 16, 21, 23, 25 (Jan Victors), notes 22–23; L: 313, 323, fig. 32 (copy after Matthijs Cock); 336, 350, figs. 12, 34 (Hans Bol), notes 30, 70; LII: 26, 42, fig. 38 (Genga); 64, 70, figs. 5, 16 (Cornelis Visscher), notes 45, 53; LIV: 350, 360–61, figs. 99 (Niedenthal), 109 (Wagener after Georg Marcgraf or Frans Post?), 111 (Wagener after Georg Marcgraf?); 399, fig. 2 (Natoire), note 5; LV: 4, 7, 10–11, 13, 18–19, 39–40, 43–46, 57–58, 63, 66, 72, 74–75, figs. 1, 8, 19, 28, 47, 109, 114, 120, 184 (A. Bloemaert), 17, 43, 107, 125, 129, 166, 168, 217, 227–28 (copy after A. Bloemaert), 162 (copy after Jan Saenredam?), 197 (anonymous artist), note 36; LVI: 13, fig. 15 (Lucas Cranach the Elder), note 27

______, Zwinger, bedroom ceiling (destr.). LVI: 532, fig. 28 (Louis Silvestre the Younger)

Das Dresdner Kupferstich-Kabinett und die Albertina. Meisterzeichnungen aus zwei alten Sammlungen. Review. XVII: 285

Dreyer, Peter. VI: 21–24 (MAZZONI); VII: 24–25 (MARATTI); 170–73 (REVIEW); XII: 377–78 (ALGARDI); XXVIII: 320–22 (ANGELO SOLIMENA); XXXI: 432–36 (MARATTI); XXXVIII: 62–65 (STEIDL); LIII: 179–90 (GIORGIONE)

Drost, Willem. LIII: 490, no. 12 (portrait of)

Drottningholm Palace, Swedish Royal coll. XLIX: 462, 467, figs. 54, 60 (after Francis Cleyn), notes 90, 101

______, ______, Stairs. XXXVI: 13, fig. 1 (Johan Sylvius)

Drouais, François-Hubert. XLIX: 534, fig. 2 (engraving after)

Drukier, Gale and Ira. LI: 259, fig. 3 (André Breton, Jacqueline Lamba, and Yves Tanguy)

Dubaut, Pierre. II: 134, 138, 140

______, formerly. XXVII: 53, 55, 57, fig. 1 (Crayer), note 4

Dubini, Francesco, formerly. LI: 35, figs. 10 (Bassetti), 12 (Barbelli), 15 (Novelli), 17 (Duranti), notes 16, 18, 21, 23

Dublin, R. B. Bennett, formerly. LVI: 525, fig. 17 (Louis Silvestre the Younger), note 31

______, National Gallery of Ireland. V: 384–85, pl. 24 (Naldini); 411–12 (review); VI: 271–72, fig. 1 (Horst); XX: 373–74, pl. 14 (Vasari); XXIII–XXIV: 349–50, fig. 4 (Poërson); XXVII: 156, fig. 32 (Maes), note 31; XXVIII: 161, fig. 24 (Jordaens); XXIX: 347–48, 350–51, fig. 3 (attributed to G. B. Pace), note 4; 426, fig. 13 (Van Dyck); XLIII: 516, fig. 2 (Ludovico Carracci), note 19; XLVIII: 175, fig. 4 (Pierre Dumonstier i or Étienne Dumonstier ii), note 6; XLIX: 39, fig. 15 (Navarrete), note 31; L: 497, fig. 3 (Vasari), note 12; LIV: 311, figs. 28–29 (Frans Post), note 38

Dubreuil. I, 3: 30–34

Du Cerceau, Jacques Androuet. XIII: 240–49, figs. 3–7, pls. 16–17; XV: 147–61, figs. 1–2, 5–7, 11, 17–21, pls. 9–16; XXI: 263–70, figs. 1 (workshop), 2, 3 (workshop), 4–5, 7 (workshop), pls. 11–12, 13 (workshop), 14–16, 17–27 (workshop)

Duchamp, Marcel. L: 167, 174, figs. 5, 11

Duclaux, Lise. Musée du Louvre, Cabinet des dessins. Inventaire général des dessins. École française. Vol. XII. Nadar-Ozanne. Reviews. XIV: 421–22; XVI: 309–11

Dudley, Thomas. XLIX: 522, fig. 82 (? etching after Francis Barlow)

Dudok van Heel, S.A.C., see Schatborn, Peter, and S.A.C. Dudok van Heel

Duff-Gordon, Henry, Sir, formerly. XXXII: 346, fig. 23 (L. Tiepolo)

Dufour, Lydia. XLVI: 175–86 (EUGENIO LUCAS VELÁZQUEZ)

Dughet, Gaspard. II: 164, 166, fig. 1; III: 172–73, fig. 1; 369, 371, 373–74; VIII: 31–33, figs. 1–2, note 14, pls. 22–24; IX: 367–83, figs. 3, 5–11, pls. 16b, 19–21, 22b, 23b, 24b; XXI: 182–83; XLVII: 267–324, figs. 1 (and Carlo Maratta), 3–19, 20–21 (after), 26–27 (after), 28, 29 (after), 30, 31–32 (after), 33 (etching after), 34–35 (after), 36–37, 38 (after), 39, 40 (after), 41, 43 (after), 44, 51–52 (after), 54 (after), 57–59 (after), 63–64 (after?), 65–67 (after); 325, figs. 1 (etching after), 2 (after)

Dugmore, Edward. LI: 488, fig. 10

Duits, Charles, formerly. LV: 60, 96, figs. 174 (A. Bloemaert?), 307 (A. Bloemaert)

______, Clifford, formerly. LIII: 451, figs. 1–2 (Rembrandt), note 2

Duitse Tekeningen, 1400–1700. Uit Nederlandse openbare verzamelingen. Review. XVII: 285

Duke, Leonard Gordon, formerly. I, 2: 50; XLVI: 472, fig. 43 (Gainsborough)

Dulwich, Dulwich Picture Gallery. LIV: 467, fig. 40 (Aelbert Cuyp), note 85

Du Maurier, George. XI: 281–82, fig. 2 (engraving)

Dumonstier, Pierre i. XLVIII: 173, figs. 1–3, 4–5 (or Étienne Dumonstier ii)

Dunbar, Burton L. iii. XVII: 392–401 (C. MASSYS)

______ et al., eds., A Corpus of Drawings in Midwestern Collections, [II B]: Sixteenth-century Northern European Drawings. Review. LI: 105–15

Dundee, Art Gallery. XXIX: 349–50, 352, fig. 7 (attributed to G. B. Pace), note 9

Dundhs, Jane, Lady. XXXII: 107, figs. 8–9 (portraits of)

Dunkel, Peter, Dr., formerly. XLVI: 480–81, figs. 55–56 (Gainsborough)

Dunstall, John. XLIX: 506, fig. 51 (etching after Francis Barlow and others)

Dupan, Jules, formerly. X: 264, pl. 33a (Boucher?)

Dupaty, Charles. XIII: 261–74

Dupérac, Étienne. V: 197

Dupin, Roger, formerly. LV: 76, 80, figs. 232, 250 (A. Bloemaert)

Dupont, Gainsborough. III: 243–56, figs. 1–3, pls. 1–2, 4–11; XXI: 373–74, fig. 3

______, ______ coll., formerly. XLVI: 531, fig. 137 (Gainsborough)

Dupré, Mrs. Catherine, formerly. XLVI: 456, fig. 15 (Gainsborough)

Duprey, Wilson G. LI: 118 (LETTER)

Dupuis. V: 176, fig. 5 (engraving after Jean-Antoine Watteau)

Du Puy, Herbert, formerly. XXXVI: 29, fig. 3 (Murillo)

Dupuy-Vachey, Marie-Anne. LIII: 229–36 (DOMINIQUE-VIVANT DENON); LIV: 491–500 (LEMOINE); LV: 485–538 (LUGT 1285: FROM GABRIEL HUQUIER TO PETER ADOLF HALL)

Duquesnoy, Hieronymus, the Younger. LI: 360, fig. 1

Durán, Pedro Fernández, see Fernández Durán, Pedro

Durand, Asher Brown. XXXV: 142–43, fig. 2; XLII: 29, fig. 9; LIV: 433–76, figs. 1–6, 8–16, 19–22, 25–26, 29–37, 39, 41–45 and front cover

Duranti, Fortunato. LI: 36, fig. 17

Durazzo, Giacomo, Count, fomerly. XXXVI: 266, fig. 19 (Giovanni Battista Tiepolo)

______, Marchese Jacopo, formerly. LIV: 9, figs. 10–11 (Foschi), notes 28–29

______, Marcello, formerly. XL: 231, fig. 27 (Tiarini), note 59

Đurđević, Ignjat. Divus Paulus apostolus in mari … Venice, 1730. XLIII: 210, fig. 2 (engraving by Francesco Zucchi)

Dürer, Agnes, formerly. LV: 435, fig. 1 and front cover (Dürer), note 1

______, Albrecht. I, 1: 35–41, figs. 1, 3, pls. 32–33; II: 35–36 (formerly attributed to); IV: 284–85, pl. 18; V: 409, fig. 1; VI: 55; VII: 431, fig. 3; VIII: 170; IX: 154–59, figs. 1–4, pl. 34; X: 19–20, pl. 15; 382–85; XI: 365–74, figs. 1–2, pls. 22–25; XIII: 115–30 passim, fig. 11; XIV: 287–99; XXIII–XXIV: 90–94; 517–26, figs. 1–3, 6–8, pls. 20–21; XXVI: 41–44, figs. 1–4, pl. 22; XXIX: 30–47, figs. 1–10, 13 (woodcut); XXXI: 376–86; XXXII: 273–74, fig. 1; XXXVI: 59–66, figs. 1–10; XXXVII: 262, 265, figs. 3 (after M. Schongauer), 4 (? after M. Schongauer); 309–11; XXXVIII: 293, fig. 1; XXXIX: 116, 120, 130, 132, 136, figs. 5, 8, 10, 20 (after), 21, 23, 24 (after), 28 (woodcut); XLI: 341–58, figs. 1, 2 (stained-glass after), 3–5, 7 (stained-glass after), 8–9, and front cover; XLII: 112, fig. 1; XLIV: 198–202, 204–5; XLIX: 54, fig. 4 (after); LI: 221–28, figs. 1–3; LV: 357, figs. 18–19; 435–52, figs. 1 and front cover, 2 (engraving), 9–12

______, Endres, formerly. LV: 435, fig. 1 and front cover (Dürer), note 1

Dürer to Cézanne. Northern European Drawings from the Ashmolean Museum. Review. XXI: 180

Durrieu. IV: 39–40, figs. 2–3 (photographs)

Dusart, Cornelis. V: 159–63; LIII: 471, 473, figs. 1, 4, 6 (all after Van Ostade)

Dusse, Jan Lucas van der, formerly. LV: 82, fig. 257 (A. Bloemaert)

Düsseldorf, art market, formerly. XXIX: 175, 179, fig. 5 (Postma), note 14

______, C. G. Boerner, formerly. XLIX: 199, fig. 41 (Simon de Vlieger), note 43; LII: 347, fig. 87 (attributed to the workshop of Coecke van Aelst); LIII: 319, fig. 11 (De Vlieger), note 15

______, Sabrina Förster, formerly. LV: 64, 79, 96, figs. 189, 247–48, 304 (A. Bloemaert), 305 (C. Bloemaert the Elder?)

______, Kunstakademie, formerly. XLV: 223, fig. 1 (Domenichino), note 4; 378, 380, figs. 21, 27 (Vieira Lusitano), notes 34, 41; XLVII: 302, fig. 51 (copyist after the “False Amand” hand after Dughet)

______, Kunstmuseum. I, 2: 8, 12, note 23, pl. 4 (De Gheyn iii); 49; II: 158, pl. 24 (Bronzino and Pontormo); IV: 63 (review); 286–87, fig. 1, pl. 20 (Jordaens); 424–26, fig. 2 (Maratti); V: 393, fig. 5 (Poussin); VI: 289–90, 293 (reviews); 388–90, pls. 18–29 (Bernini); VII: 170–73, pls. 49–53 (Maratti); VIII: 279–80, note 10, pl. 32a (Correggio); IX: 64–65 (review); 367–74, note 5, pls. 16b, 21b (Dughet); 385, pls. 32b, 33b (Sacchi); X: 20–22, fig. 3 (Bernini); 26, note 6, pl. 20 (Mola); 168 (review); 231–59, figs. 2–3, 14, 17 (Gaulli); 359–60, note 9, pls. 3–16 (Cortese); XI: 20–25, fig. 3 (Testa), note 5; 294 (review); XIII: 32, 35, fig. 6 (Piola), note 31, pl. 9 (Castello); XV: 246–55, figs. 2–10, 12 (Della Porta); XVI: 43–45, pl. 35 (Romanino); 267–68, fig. 8 (Menzel), note 32; 390–92, notes 22–23, 33, pls. 4, 9a (Canini); XVII: 149, note 18, pl. 21 (Gherardi); 286 (review); 423–26, note 36, pls. 40–42 (Maratti); XVIII: 55–56 (review); 353–57, notes 22, 32, 34–35, 39, 43, 51, pls. 3b, 5–7, 11, 13–14 (Melchiori); XIX: 9–10, note 33, pl. 11 (Bandinelli); XX: 28–30, note 2, pl. 36 (Ricci); 115–24, notes 1, 21, pls. 1 (H. Vroom), 7 (C. Vroom); XXI: 182–83 (review); XXII: 4–6, 12–20, 26, figs. 4–5, pls. 3–13 (Andreasi, after Giulio Romano); 194–205, pls. 29–41 (Molinari); 296, note 10, pl. 17 (P. de Grebber); XXIII–XXIV: 95, 99, fig. 1 (Sacchi); XXV: 154, fig. 2 (Mola), note 11; XXVI: 339–41, figs. 2–3, pls. 2, 5–6 (Lefèvre); XXIX: 236, 240–41, 247–51, figs. 3, 10–11, 13–16 (Passeri), notes 12, 24, 26; 349, 351–52, 356–57, 360–61, 370, 374, 376, 378–81, 383–84, figs. 9–10, 14 (G. B. Pace), 11–12 (Mola), notes 13–14; XXXI: 435, fig. 5 (Maratti), note 19; 438, figs. 3–4 (Gaulli), 5 (Barth. de Petris); 441, 443–44, figs. 5–6, 8, 10–11 (Pietro de Pietri), notes 12, 16, 21, 27, 30; XXXIII: 36–37, figs. 4, 7–8 (Pozzi), notes 8, 10–11; 235, figs. 10–11 (T. Zuccaro); XXXIV: 155, figs. 8–9 (Michelangelo), note 25; XXXVI: 382, 386, figs. 8–10, 16–17 (Baglione), note 11; 421–25; XXXVII: 231, fig. 1 (Rubens), note 3; XXXIX: 410, figs. 6–7 (Passeri), note 6; XLVII: 269, 275, 302, figs. 3, 7, 14, 16 (Dughet), 51 (copyist after the “False Amand” hand after Dughet), notes 21, 25, 33, 37; LVI: 326, fig. 24 (anonymous artist, formerly attributed to Cavedone), note 47

______, Museum Kunstpalast. XLII: 175, figs. 2–3 (Vouet); 263–65, figs. 1 (Mola), 2 (Mola or G. B. Pace), 3 (G. B. Pace after Salvator Rosa), 4–6 (G. B. Pace), 7 (Roman 17th cent.); XLIV: 221, figs. 3–4 (Gaulli), notes 7–8; XLV: 223, fig. 1 (Domenichino), note 4; 378, 380, figs. 21, 27 (Vieira Lusitano), notes 34, 41; XLVI: 62, 70, 77, 81, figs. 1, 19, 34, 43–44 (Benefial), notes 14, 45, 71, 85; 114–15, figs. 1, 3 (Sacchi), note 2; XLVII: 484, figs. 1, 3 (Bedeschini), notes 2, 4; XLVIII: 57, fig. 21 (copy after Van den Eeckhout), note 53; XLIX: 380, fig. 24 (Jan Victors), note 35; LI: 527, fig. 2 (Natoire), note 11; LIII: 225, fig. 1 (Sebastiano Ricci), note 5

______, ______, on loan from the Kunstakademie (NRW). LVI: 26, figs. 3–4, 6–7 (Giuseppe Passeri), notes 9–12

______, ______, Sammlung der Kunstakademie. XLI: 359–77, figs. 1–25, and back cover (Jean-Charles Frontier); XLIII: 476, fig. 24 (Cortona)

______, Städtische Kunstsammlungen. III: 172, fig. 1 (Dughet)

______, Stadtmuseum. LI: 454, fig. 9 (anonymous), note 29

Dutch Drawings of the Seventeenth Century from a Collection. Review. XVIII: 278

Dutch Figure Drawings from the Seventeenth Century. Review. XX: 398–99

Dutch Genre Drawings of the Seventeenth Century. Review. XI: 179–81

Duvivier, Jean. XLVII: 198, fig. 8 (corrections on Bouchardon drawing)

Dyce, Alexander, Rev., formerly. XLVI: 507, fig. 94 (Gainsborough); LII: 300, 326, fig. 30 (Coecke van Aelst); LV: 20, fig. 51 (copy after A. Bloemaert)

______, William. LI: 65–66, figs. 1–2, 4

______ coll., formerly. LII: 46, fig. 66 (Genga)

Dyck, Anthony van, see Van Dyck, Anthony

 

Eakins, Thomas. X: 168; XLII: 4, fig. 1

______, Mrs., formerly. XLII: 4, fig. 1 (Eakins), note 2

Earl of Pembroke coll., see Wilton House, Salisbury, Wiltshire, Earl of Pembroke coll.

Eaves, Ian D. D. XXII: 468 (LETTER)

Eccles, David, Sir (later Viscount), formerly. XLVI: 451, fig. 12 (Gainsborough)

Eckhout, Albert. LIV: 314, 317, 345, 348–49, figs. 31, 36, 86 and 89 (after Frans Post or vice versa?), 32 (after, or after Frans Post?), 37, 92–98

L’école de Fontainebleau. Review. XII: 169–70

Ecrosville, Église Saint-Aubin. XXIII–XXIV: 357, 359, fig. 10 (Cazes)

Edelinck, Gerard. IV: 430–31, fig. 8

______, Nicolas-Étienne. XLIV: 56, fig. 2 (engraving after Delamonce)

Edgar Degas. The Painter as Printmaker. Review. XXIII–XXIV: 551, 556–57

Ederheimer, E., formerly. XXXVII: 399, fig. 5 (Ribera), note 28

Edinburg, Dorothy Braude, formerly. LV: 16, fig. 37 (A. Bloemaert)

Edinburgh, Festival, Delacroix exhibition. III: 52–54

______, Merchants’ Hall. VIII: 56 (review); XI: 52 (review)

______, National Galleries of Scotland. I, 4: 10–11, pls. 7, 10 (Trometta); II: 172, pl. 38 (Bertoia); 274–76, pl. 25b (Mola); III: 160, pl. 27 (Palma Giovane); IV: 140–41, pl. 13 (Rubens); 310 (review); V: 20, pl. 13 (Germisoni); 379–81, pls. 2 (Barocci), 3 (Brizio), 4 (Campagnola), 5 (Castiglione), 6 (Farinati), 7 (Guercino), 8 (Lotto), 9 (Montelatici), 10 (Strozzi), 11 (Vasari), 12 (Goltzius), 13 (circle of Goltzius), 14 (Heemskerck), 15 (Ortkens), 16 (R. Savery), 17 (Bellange), 18 (Callot), 19 (Claude Lorrain), 20 (Wilkie), 21 (Schnorr von Carolsfeld); VI: 144, 147, note 4, pls. 34–35 (Castiglione); 260, pl. 28 (Ulivelli); 368, note 26, pl. 12 (Reni); VII: 149, note 8, pl. 24 (Boschi); VIII: 14–15, note 28, fig. 4e (R. Savery); 42, note 1, pls. 41–42 (Rubens); IX: 166–71, fig. 8, note 29, pls. 41, 43–44, 46 (Robert Adam); 243, note 16, pl. 7 (Ligorio); 368, pl. 17b (Angeluccio?); XII: 249–50, note 3, pl. 26b (Rubens); XIII: 35, pl. 13 (Castello); 362, pl. 7 (F. Bellini); XIV: 280–86, pls. 37 (Ramsay), 38–39 (Jacob More); XV: 185–86 (review); XVIII: 142–44, note 1, pl. 16 (Veronese); 392 (review); XX: 26, note 15, pl. 33 (Rolli); XXI: 183 (review); XXIII–XXIV: 50–52, pl. 28a (Van Campen?); 222, 224–25, pl. 35 (Jordaens); 506, fig. 2 (Nuremberg artist); XXV: 24, pl. 3a (Poelenburg); XXVI: 49–52 (review); XXVII: 310–13, figs. 1–2 (Braunschweig Master of 1506), notes l-2; XXVIII: 31–32, 34, fig. 28 (Rubens, after Primaticcio), note 102; XXX: 374, 385, fig. 18 (Toeput); 420, fig. 1 (Cavalori), note 4; XXXI: 57, fig. 4 (Macchietti), note 6; 224, 266, 274, figs. 6, 67 (Goltzius), 79 (Goltzius?); 422, fig. 3 (Schedoni), note 5; XXXII: 262, fig. 3 (G. François); 396–97 (review); XXXV: 5, fig. 1 (Annibale Carracci), note 21; 357, 364, figs. 23, 36 (Molyn); XXXVII: 8, 17–19, fig. 22 (G. Reni); XXXVIII: 396, 400, figs. 6, 8 (Agostino Carracci), notes 21, 28; XL: 154, fig. 1 (Fra Bartolommeo), note 1; XLI: 67, front cover (Silvestre family); XLIII: 28, 50, fig. 22 (Van der Cooghen); XLIV: 302, 325, figs. 3 (Cunego), 30 (Albani), note 110; XLV: 247–54, figs. 1 (Lotto after Michelangelo), 3 (Romanino), 4 (Brusasorci); 314, fig. 40 (El Greco), note 61; XLVI: 6, fig. 3 (Luzio Romano and Cavalori; fol. 20 from the Del Carpio vol.), notes 24–25; 194, fig. 7 (Pisanello), note 29; 505, fig. 91 (Gainsborough); XLVII: 306, fig. 56 (Jacques Rousseau); XLVIII: 324, fig. 12 (Salviati), note 47; XLIX: 39, fig. 18 (Navarrete), note 33; 549–51, figs. 1 (Nathaniel Dance), 2 (John Robert Cozens), notes 3–4; L: 311, fig. 27 (Hieronymus Cock), note 49; 382, fig. 26 (Jan Siberechts), note 27; LII: 23, 41, figs. 32–33 (Genga); 66, 84, fig. 8 (Jan de Visscher); LIII: 318, fig. 10 (De Vlieger), note 13; LIV: 178, 184, fig. 55 (Raffaellino da Reggio); Edinburgh, Scottish National Gallery. LV: 51, fig. 146 (A. Bloemaert); 297, fig. 9 (B. Parentino), note 38

______, ______ (on long-term loan from a private coll.) L: 542, fig. 2 (copy after Elsheimer), note 10

______, ______ (on long-term loan from the Duke of Sutherland). LI: 39, 44, figs. 1, 9 (Poussin); 66, fig. 4 (William Dyce), note 14

______, ______ (/London, Tate Modern, on loan to Burton Art Gallery and Museum, Bideford). LII: 517, fig. 5 (Richard Long), note 14

______, ______. Catalogue of Italian Drawings. Review. VII: 55–57

______, National Library of Scotland. IX: 161–63, fig. 2 (John Adam); XIV: 280–86, pls. 40 (Ramsay), 42 (Ramsay and More)

______, Palace of Holyroodhouse, Queen’s Gallery. XLV: 546–50 (review)

______, Royal Scottish Academy. IV: 140–41, pl. 13 (Rubens)

______, ______, formerly. XLV: 314, fig. 40 (El Greco), note 61; XLVI: 194, fig. 7 (Pisanello), note 29; 505, fig. 91 (Gainsborough); XLVII: 306, fig. 56 (Jacques Rousseau); LII: 23, 41, figs. 32–33 (Genga); 66, 84, fig. 8 (Jan de Visscher); LIV: 178, 184, fig. 55 (Raffaellino da Reggio)

______, University Museum. XXVIII: 159, fig. 21 (attributed to Veronese)

Edmonton, Alberta, Art Gallery. XXII: 330–31 (review)

Edward Lear, 1812–1888. Review. XXV: 164–65

Eeckhout, Gerbrand van den. V: 197; XLVIII: 39–72, figs. 1, 3–5, 8–9, 10 (copy after), 11–19, 20–22 (copy after), 23–32, 34–41; XLIX: 320, fig. 1 (attributed to); 391, fig. 4; LIII: 463, 465, figs. 3 (here attributed to), 4

Eeghen, Christiaan P. van. XXX: 438–42 (REVIEW); XXXV: 155–81 (JAN VAN GOYEN); XLIV: 3–47; XLIX: 179–221; LIII: 313–42 (SIMON DE VLIEGER); 391 (obituary)

______ coll. I, 2: 17, 19; XX: 119–20, fig. 4 (Van Poelenburg), note 25; XXXVI: 402, fig. 6 (Louis de Caulery), note 16; XLVI: 112, fig. 5 (De Vlieger), note 6

______ coll., formerly. LV: 86, 106, figs. 267–68 (manner of A. Bloemaert), 345 (A. Bloemaert)

______, Chris van, Jr. LV: 86, 101, 104, 106, figs. 267–68 (manner of A. Bloemaert), 325, 337, 345 (A. Bloemaert)

Egen, Gert van. XXX: 195, fig. 10

Egerton, Christopher, Col., formerly. XLVI: 427–28, 447, fig. 1 (Gainsborough), note 1

______, Mrs. Jack, formerly. XLVI: 427–28, 447, fig. 1 (Gainsborough), note 1

______, Judy. XVIII: 174–76 (REVIEWS)

Egger, Hermann, see Hülsen, Christian, and Hermann Egger

______, Jacob. XXII: 50, 55, pl. 38b (portrait of)

Ehlers, Prof. Ernst coll., formerly. XVI: 66–68, fig. 1 (Zanetti); XXXVI: 266, fig. 19 (Giovanni Battista Tiepolo)

Ehret, Georg Dionysius. XVIII: 174–76

Eidelberg, Martin, see Eidelberg, Martin P.

______, Martin P. V: 173–82 (WATTEAU); XIX: 27–39 (QUILLARD); XXIII–XXIV: 102–06 (REVIEW); XXXV: 234–66 (RUBENS); XXXVI: 320–22 (LETTER); XLIV: 411–49 (MERCIER)

18th-Century Drawings from California Collections. Review. XIV: 422–23

Eighteenth-Century Drawings from the Collection of Mrs. Gertrude Laughlin Chanlet. Review. XXI: 179

Eighteenth-Century French Drawings from the Musée Carnavalet. Review. XX: 47

Eighteenth-Century French Life Drawings. Review. XVI: 313

Eighteenth-Century Master Drawings from the Ashmolean. Review. XVIII: 57

Eighteenth-Century Spanish Drawings. Review. XVIII: 270–74

Eighteenth-Century Venetian Drawings from the Correr Museum. Review. II: 176–80

XVIII-Century Venice. Review. XIV: 311

Eighteenth-Century Watercolors from the Rijksmuseum Printroom, Amsterdam. Review. XXXVI: 215

Eisemann, Heinrich, formerly. LII: 281, 334, figs. 8, 40 (Coecke van Aelst)

Eisen, Charles. XLI: 65, fig. 1

Eisenach, Thüringer Museum. XXXII: 367, fig. 7 (Wagner), note 28

Eisenstadt, D. S., formerly. XXXVI: 55, figs. 4–5 (Willeboirts), note 17

Eisler, Colin. I, 4: 32–38 (BELLANGE); III: 290–91 (COSSA); VI: 148–55 (LELY)

Eitel-Porter, Rhoda. XLVII: 437–42 (GIOVANNI BATTISTA POZZO); LIII: 425–30 (A PORTRAIT IN THE MORGAN LIBRARY & MUSEUM); LIV: 266 (LETTER)

______, see also Turner, Nicholas, with Rhoda Eitel-Porter

Eitner, Lorenz. I, 1: 2l-34 (GÉRICAULT); XXXIV: 375–89 (GÉRICAULT)

Ekserdjian, David. XXX: 227 (LETTER); XXXI: 390–94 (PARMIGIANINO and MICHELANGELO); XXXII: 273–74 (DÜRER); 280–83 (REVIEW); 398 (LETTER); XXXIV: 205–07 (REVIEW); XLIII: 372–75 (BRONZINO); XLIV: 366–67 (REVIEW); XLV: 539–45 (REVIEW); XLVI: 367–73 (PARMIGIANINO); L: 259–61 (LETTER)

Elderfield, John. XL: 5–8 (AMERICAN DRAWING IN THE MID-20th CENTURY); 24–42 (ARMANDO REVERÓN)

______, and Robert Gordon. The Language of the Body. Drawings by Pierre-Paul Prud’hon. Review. XXXVI: 315–16

Eldin, Lord, formerly. XXXVI: 409, fig. 1 (Correggio), note 1

Elen, Albert J. XLIV: 69–76 (JAN HULSWIT); 99 (OBITUARY of BRAM MEIJ); 526 (LETTER); XLVII: 464–67; L: 533–38 (WILLEM VAN MIERIS)

______. Italian Late-Medieval and Renaissance Drawing-Books from Giovannino de’Grassi to Palma Giovane. A Codicological Approach. Review. XXXVIII: 78

Elisabeth-Louise Vigée Le Brun, 1755–1842. Review. XXI: 179

Ellesmere coll. IV: 29–31, fig. 2 (Annibale Carracci)

Ellinckhuysen, I. F., formerly. XLV: 173, fig. 7 (Jacques Rousseau), note 15

Ellis, Charles S. XXXI: 176–79 (REVIEW)

______, Margaret Holben, and Marjorie B. Cohn. LV: 435–52 (DÜRER’S ADAM AND EVE OF 1504)

Elout, C., formerly. XLIII: 21, 28, 49, figs. 14 (Van der Cooghen, after Jacob Jordaens), 26 (Van der Cooghen)

El Paso, TX, Museum of Art. XXV: 144–45, fig. 3 (Garofalo)

Elsheimer, Adam. I, 2: 7–12; VI: 158–62; IX: 38–39, fig. 1, pl. 16; XIII: 3–8, fig. 1, pl. 1; XXXIII: 152–56, figs. 1–3; XXXIX: 61, fig. 2; 108, fig. 1; XLV: 201–10, figs. 1–5, 6 (copy after), 7, 8 (copy after), 9; L: 523–32, figs. 1–2 (copy after), 3, 4 (after); 539–43, figs. 1, 2 (copy after); LII: 101, fig. 13 (ascribed to)

Elye, Matthieu. LI: 451, 460, figs. 1, 16, 17 (after)

Emiliani, Andrea. Federico Barocci (Urbino, 1535–1612). Review. XXV: 285–87

______, et al. Simone Cantarini detto il Pesarese, 1612–1648. Review. XXXVII: 304–05

Empoli, Jacopo da. II: 290; XXIII–XXIV: 205, pl. 12; XXXIII: 405–409, figs. 1–2

Empoli, Museo della Collegiata. XXXII: 151, fig. 2 (Botticini)

England, Priscilla S., formerly. XLVI: 481–82, 487, figs. 57–58, 65 (Gainsborough)

England, Private coll. II: 283, pl. 30a (Gozzoli); VIII: 6, 26, notes 13, 55, pls. 4, 19–20 (R. Savery); 409, pls. 42–44 (Claude Lorrain); XI: 42, pls. 33–34 (Dahl); 271, note 1, pl. 27 (Guercino); 279–87, note 4, pl. 32 (Burne-Jones); XII: 57–58, fig. 1 (C. Procaccini); XV: 257–58, note 2, pl. 10 (Perugino); XVI: 404, 406, pls. 16a, 20 (Wilson); XVIII: 149–54, note 1, pl. 20 (Kupelwieser); XIX: 129–30, fig. 3 (Constable), note 7; 402–03, fig. 10 (L. Constable), note 32; XX: 34, pl. 39 (Barocci); 132–33, fig. 1 (Castello), note 1; XXI: 161, 163, pl. 31 (Murillo); XXII: 73, fig. 4 (Constable), note 11; 211–12, fig. 3 (Guercino); XXIII–XXIV: 69, note 23, pl. 40 (Rubens); XXVI: 344, pl. 19 (Lefèvre); 348, pl. 34 (Lefèvre); XXIX: 20, pl. 16 (Baldini); 363, fig. 30 (Mola), note 14; XXXI: 170, figs. 1–2 (Wilkie), note 2; 241, fig. 33 (Goltzius); 339–42, figs. 1 (L. Carracci), 2 (circle of Mantegna), 3 (Florentine school), 4–5 (Lorenzo di Credi or R. Ghirlandaio), 6 (Cesare da Sesto?), 7 (Leonardo da Vinci?), 8–10 (Correggio), 11 (Parmigianino), 12 (Emilian school), 13 (Bedoli), 14 (Ligorio), 15–16 (Primaticcio), 17–18 (after Salviati?), 19 (De Gheyn ii), 20 (anonymous artist), 21 (circle of Correggio?), 22 (Emilian school); XXXVIII: 449, fig. 2 (Boscoli), note 4; XLII: 346, figs. 13–14 (after G. Salviati); XLIII: 22, 38, 53, figs. 18 (Van der Cooghen, after Jacob Jordaens), 44 (Van der Cooghen); 180, fig. 24 (Federico Zuccaro), note 41; XLV: 368, fig. 3 (Rowlandson); XLVIII: 459, fig. 3 (anonymous artist and Domenico Stagi), note 14; L: 374, 383, figs. 13, 28 (Jan Siberechts), notes 18, 29; 513, figs. 16 (Correggio), 22 (Francesco Maria Rondani), notes 23, 27; LI: 495, fig. 18 (Hassel Smith), note 29

______, ______, formerly. XLVI: 436, 457–58, 532, figs. 9, 16, 139 (Gainsborough); XLVII: 294, 307, fig. 43 (anonymous after Dughet); XLVIII: 147, fig. 1 (Bronzino), note 11

English Drawings and Watercolors, 1550–1850, in the Collection of Mr. and Mrs. Paul Mellon. Review. X: 287–88

English Influences on Vincent van Gogh. Review. XIII: 177

English Landscape. Review. XVI: 187–88

The English Miniature. Review. XX: 406

English Portrait Drawings & Miniatures. Review. XVIII: 52–53

English Watercolours and Drawings. The J. Leslie Wright Bequest. Review. XVIII: 391

Enrollment of the Volunteers. Thomas Couture and the Painting of History. Review. XVIII: 391

Enschedé, Johannes, formerly. XLIII: 19, 39, 47, 62, figs. 9, 45 (Van der Cooghen)

Enshaïan, Marie-Christine, see Ténèze, Annabelle, Marie-Christine Enshaïan, and Emmanuel Hincelin

Ensor, James. XLVIII: 235, fig. 13

Epifani, Mario. XLV: 534–38 (MICHELE PACE); L: 115–22 (REVIEW)

L’époque de Lucas de Leyde et de Pierre Bruegel. Dessins des anciens Pays-Bas. Collection Frits Lugt. Reviews. XX: 287; XXIII–XXIV: 75–90

Erasmus, Desiderius. X: 133–37

Erfurt, Angermuseum. XXXII: 369, fig. 11 (Wagner), note 35

Eriksson, David, formerly. XLVI: 520, fig. 120 (Gainsborough)

Erlangen, Universitätsbibliothek Erlangen-Nürnberg, Graphische Sammlung. I, 2: 36–38; III: 151; IV: 24–25, note 12; XVII: 377–78, fig. 30 (Pencz); XXXVII: 309, fig. 5 (Lucas Cranach the Elder); XXXIX: 116, fig. 5 (Dürer), note 9; XLIV: 137, 144, 166, 168, 171, 174, 178, 181, 199–200, figs. 20–21, 24–25, 68, 82, 90, 96 (Kulmbach); LI: 227, fig. 5 (Hans Süss von Kulmbach), note 21; LIII: 242, fig. 8 (Peter Candid), note 23; LVI: 9, 17, figs. 8 (Lucas Cranach the Elder), 22 (Lucas Cranach the Elder or workshop), notes 19, 42

Ernst, Max. LI: 259, fig. 2

Ernst, Archduke of Austria, formerly. LII: 320, 340–43, figs. 58 (Vermeyen and workshop), 59 (Vermeyen and workshop? and Coecke an Aelst and workshop), 71–80 (Vermeyen and Coecke van Aelst and workshops)

Errard, Charles, ii. LII: 112, fig. 2

Ertinger, Franz. XLIV: 466, fig. 3 (engraving after Biancolelli?); XLV: 43, fig. 3 (engraving)

Ervas, Paolo. XLVI: 374–76 (MENZOCCHI)

Escorial, see San Lorenzo del Escorial

Esdaile, William, formerly. IV: 164; XXXI: 228, fig. 15 (Goltzius); XLIV: 435, fig. 44 (anonymous artist); XLV: 23, fig. 16 (Tarchiani); 167, 171, figs. 1, 5 (Jacques Rousseau), notes 3, 11; 304, 306, figs. 20, 25 (El Greco), notes 41, 46; XLVI: 192, fig. 3 (Bandinelli), note 14; 431, 449, 464, 472, 504, 474, 490, 496, 510–12, 528, figs. 5, 7, 27, 43, 47, 70, 78, 101–3, 132 (Gainsborough), notes 25, 27; LV: 20, fig. 51 (copy after A. Bloemaert)

Esegrenio, Filippo. XLII: 381, fig. 11

Espinós Díaz, Adela. XXXVII: 365–67 (PEDRO DE CAMPAÑA)

______. Catálogo de dibujos. Vol. I. Siglos XVI-XVII. Museo de Bellas Artes de Valencia. Review. XX: 45

______. Catálogo de dibujos. Vol. II. Siglo XVIII. Museo de Bellas Artes de Valencia. Review. XXIII–XXIV: 415–16

______. Dibujos valencianos del siglo XVII. Review. XXXVII: 443

Esselens, Jacob. XLIX: 188, figs. 21–22 (tentatively attributed to), 23–24; LIII: 323, figs. 21–23

Essen, Museum Folkwang. XXXII: 367, fig. 9 (Richter), note 34; XXXIX: 148, fig. 6 (Friedrich), note 10

______, Private coll. L: 39, fig. 8 (Niccolò del Abbate), note 49

Esterházy, Miklós. XLII: 269–71

Esterházy, Nikolaus ii, formerly. XLVII: 469, fig. 1 (engraving by Pieter de Jode i and Jan Breughel i), note 1

Eugène Boudin. Review. XVIII: 57

Eugène Delacroix. Review. II: 414–19

Europäische Zeichnungen des 15.-18. Jahrhunderts aus dem Kupferstich-Kabinett Dresden, D.D.R. Review. XXV: 284–85

Europe, Private coll. XXXI: 172, fig. 1 (Mantegna), note 2; XXXVI: 29, 31, figs. 4, 6 (Andrea del Sarto), note 4; XXXVII: 105, 107, 110, 133–34, figs. 3, 7, 13 (Luca Giordano), note 11; XXXVIII: 41, 44, figs. 23–24 (Fenzoni), note 43; XLV: 150, fig. 5 (Molenaer), note 13

European and Russian Master Drawings from Leningrad. Review. XIII: 176

European Drawings, 1375–1825. Review. XIX: 172–77

European Drawings from Canadian Collections, 1500–1900. Review. XVI: 65

European Drawings in the Collection of the Santa Barbara Museum of Art. Review. XVII: 286

European Drawings Recently Acquired, 1972–1975. Review. XV: 186

European Master Drawings from the Collection of Peter Jay Sharp. Review. XXXIII: 337–38

Evans, Mark. LV: 262 (LETTER)

______, and Lucie Page. LIV: 67–80 (WILHELM VON KAULBACH)

Evanston, IL, Northwestern University, Block Art Gallery. XIX: 15–17, pl. 18 (Parmigianino)

Evelyn, John. I, 4: 57

Everdingen, Allart van. XLIX: 208, fig. 68 (formerly attributed to)

Évora, Museu de Évora. XLV: 376, fig. 20 (Vieira Lusitano), note 33

Ewald, Gerhard. Johann Carl Loth. Review. IV: 61–62

Ewing, Bayard, formerly. XLII: 168, fig. 8 (Picabia)

Exeter, Marquess of, Burghley House. IV: 428–29, fig. 5 (Maratti); XXIII–XXIV: 39, fig. 4 (Schedoni)

______, formerly. X: 249, fig. 11 (Gaulli)

Exeter, Royal Albert Memorial Museum and Art Gallery. XII: 44, pl. 34 (Amigoni); XIX: 133–34, fig. 6 (Constable), note 18

Eyck, Jan van. XXVII: 7–8, fig. 3 (circle of); XLI: 217, figs. 1–2; XLIII: 227–28, figs. 1 (after), 6 (and assistant), 7; 236, fig. 1 (and assistant)

Eyl Sluiter, H. van, formerly. XXXVII: 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4

 

Fabianski, Marcin. XXXV: 50–53 (CORREGGIO)

Fabre, François-Xavier, formerly. LVI: 45, figs. 24–25 (Bouchardon after Alessandro Algardi), note 37

Fabriano, Oratorio della Carità. XIII: 356–58, figs. 11–12 (F. Bellini)

______, S. Niccolò, Cappellone di S. Anna. XIII: 359, fig. 13 (F. Bellini)

Fabritius, Barend. XLIX: 396, fig. 14 (?)

Faccini, Pietro. XXII: 210–11, fig. 2 (attributed to); XXIX: 55, fig. 2 (etching); XXXV: 281–88, figs. 1–7; XLIV: 369, fig. 2

Fachsenfeld coll., see Stuttgart, Staatsgalerie, Graphische Sammlung, Koenig-Fachsenfeld coll.

Fadda, Elisabetta. L: 507–22 (MICHELANGELO ANSELMI); LI: 116–17; 263–64 (letters)

Faenza, Cathedral. VII: 289–90, fig. 2 (Imola)

______, Palazzo Milzetti. XIV: 398–405, figs. 1–8 (Giani)

______, Pinacoteca Communale. IV: 12, 14–16, figs. 6–8 (Fenzoni); XXXVIII: 38, fig. 22 (Fenzoni), note 42; LV: 466, 468–69, 472, figs. 1, 4, 8, 10–11, 15 (F. Fenzoni), notes 7, 12, 17, 19–20, 23

______, S. Stefano. XXXVIII: 49, fig. 31 (Fenzoni)

Faesch, Johann-Jacob, formerly. XLV: 20, fig. 13 (Niccolò dell’Abate)

Faietti, Marzia. XXIX: 145–72 (ASPERTINI); XXXI: 47–54 (GUERCINO)

______ and Alessandro Zacchi. Figure. Disegni dal cinquecento all’ottocento nella Pinacoteca Nazionale di Bologna. Review. XXXVIII: 77–78

______, ed., with the collaboration of Dominique Cordellier. Il Cinquecento a Bologna: Disegni dal Louvre e dipinti a confronto, exhibition catalogue. Review. XLIV: 87–89

Fairfax Murray, Charles, see Murray, Charles Fairfax

Faithorne, William, the Elder. XLIX: 516, fig. 71 (etching after Francis Barlow)

Falck, Jeremias. XLIX: 393, fig. 7 (engraving)

Falcone, Aniello. XXXI: 355, figs. 10–11

Falconetti, Angelo. VII: 146, fig. 7

Faldoni, Gianantonio. LIII: 492, no. 29

Falk, Tilman. XXXIII: 164–67 (REVIEW); XXXVI: 288–91 (GRÜNEWALD)

______. Staatliche Graphische Samlung München. Dialog über Jahrhunderte. Erwerbungen und Stiftungen 1990–2000. Review. XLI: 409–10

Falcone, Aniello. XLVI: 6, 14, figs. 4, 14

Falomir, Miguel. Tintoretto. Review. XLV: 247–54

“False Amand” hand. XLVII: 282, 284–86, 290, 301–6, 310–14, figs. 22 (? after G. F. Grimaldi), 24 (after G. F. Grimaldi), 25, 26–27 (after Dughet), 29 (after Dughet), 31–32 (after Dughet), 34–35 (after Dughet), 38 (after Dughet), 50, 51 (after), 52–53, 54 (after Dughet), 63–64 (after Dughet?), 65 (after Dughet)

Fano, Duomo. XXV: 224–25, fig. 7 (L. Carracci)

______, Palazzo Mariotti. XVII: 409–10, 412, fig. 17 (Guercino)

______, S. Paterniano. VIII: 387–88, fig. 1 (Bononi)

Fantuzzi, Antonio. L: 49, fig. 2 (etching after Parmigianino)

Farelli, Giacomo. L: 120, fig. 4

Fariat, Benedetto. XVIII: 357, fig. 8 (engraving after Melchiori)

Farina, Viviana. LII: 471–80 (RIBERA); LVI: 395–408 (REVIEW)

______. Al sole e all’ombra di Ribera. Review. LII: 531–38

Farinati, Giambattista. XX: 357, pl. 11 (?)

______, Orazio. XX: 357, pl. 11 (?)

______, Paolo. III: 27, pl. 21; V: 380, pl. 6; VI: 286–88, figs. 1–2, pls. 37–39; VIII: 57; XX: 347–69, figs. 1–21, pls. 1–10; XL: 163, fig. 3; XLV: 8, fig. 5; L: 65–70, figs. 1–3

Faringdon coll. XXIX: 347–51, 383, fig. 2 (G. B. Pace); XXXIV: 14, fig. 13 (anonymous Bolognese artist), note 93

Farnese, Alessandro. XXXIV: 51, fig. 34 (portrait of)

______, Elisabetta, formerly. XXXVI: 356, fig. 2 (Baglione), note 12

Farnham, Baron, Farnham, Cavan, Ireland, formerly. XLVIII: 160, figs. 8–9 (Polidoro da Caravaggio), note 9

Farren, William, formerly. XLVI: 472, fig. 42 (Gainsborough)

Farrer, Henry. XL: 317–31, figs. 1–10, 11 (etching)

Farrer coll., formerly. XLII: 352, fig. 2 (workshop of Tintoretto)

Fasanelli, James A. III: 36–47 (PISANELLO)

Faso, Antonio. LVI: 448, fig. 13

Fatio, Edmond, formerly. LIV: 205, fig. 1 (Ridolfi)

Fauchier-Magnan, Adrien, formerly. VI: 137, note 13, pl. 31 (G. A. Guardi)

Fawcett, H., formerly. XLIV: 432–33, figs. 37–38 (Nollekens)

Faxon, Alicia. XX: 376–80 (FORAIN)

Faydherbe, Lucas. LI: 362, fig. 2

Fearnside, Viola. XX: 257–58, note 1, pl. 8 (Arteaga y Alfaro)

Feigenbaum, Gail. XXXI: 66–69; XXXIII: 80–81 (REVIEWS)

Feilchenfeldt, Walter, formerly. LI: 259, fig. 2 (Ernst), note 3

Feinberg, Larry J. XXX: 420–28 (CAVALORI); XXXIII: 189–90 (LETTER)

Feinblatt, Ebria. V: 169–72 (CACCIOLI); 400–03 (G. B. TIEPOLO); VII: 164–68 (CANUTI and ROLLI); IX: 39–42 (REMBRANDT); XIV: 270–77 (BOLOGNESE DRAWINGS); XX: 25–28 (ROLLI); 388–89 (REVIEW); XXI: 166–72 (COLONNA and MITELLI); XXVIII: 315–19 (QUADRATURA DRAWINGS)

______. Agostino Mitelli Drawings. Review. III: 282–83

Feitama, Sybrand II, formerly. XLIII: 28, 56, fig. 27 (Van der Cooghen)

Feitelson, Lorser and Helen Lundeberg. V: 403, pls. 36–38 (G. B. Tiepolo); XXII: 452–54 (review)

Feldmann, Arthur, formerly. LII: 24, 42, fig. 36 (Genga)

Fenis, Bartolomeo. XLIV: 229–31, figs. 1 (attributed to), 2 (etching)

Fenwick, Mrs., formerly. XLIII: 334, fig. 18 (J. Zucchi), note 18

______, Thomas Fitzroy, Sir, formerly. XLII: 222, fig. 33 (E. Sirani), note 64; XLIII: 334, fig. 18 (J. Zucchi), note 18; LII: 38, 46, fig. 57 (Genga); 309, 334, fig. 46 (Coecke van Aelst); LIV: 149, 179, 189, 195–96, figs. 2, 57 and back cover (Raffaellino da Reggio)

Fenyö, Iván. II: 276–77 (GIAN ANTONIO GUARDI); V: 255–64 (ANNIBALE CARRACCI)

______. Meisterzeichnungen aus dem Museum der Schönen Künste in Budapest. Review. V: 407–10

Fenzoni, Ferraù. IV: 3–20, figs. 1–3, 4 (after), 5–8, pls. 1–4; XXXVIII: 29–54, figs. 1–31; LV: 465–78, figs. 1–20

Ferlay, Evelyne, and Nicolas Schwed. XLVII: 101–2 (JAN KRUGIER, obituary)

Fermo, Biblioteca Comunale. IV: 293–94, pls. 29 (Guardi)

Fernandes, Eduardo Batarda, see Batarda Fernandes, Eduardo

Fernández Durán, Pedro, formerly. XLV: 328–29, 334–35, 337–39, figs. 8, 11, 18, 22, 26 (Cano)

Fernández Navarrete, Juan, see Navarrete, Juan Fernández, called el Mudo

Fernandi, Francesco, called Imperiale. V: 22; XXXVII: 47, fig. 4 (and Giuseppe Valeriani)

Ferrara, Bono da. XXXVI: 210

Ferrara, Palazzo Schifanoia. III: 5–9, 11–13, figs. 2–4, 6–9, 13–14, 16

______, Pinacoteca. XVII: 406–07, 409, fig. 12 (Guercino)

______, Private coll. LII: 201, fig. 3 (Pietro Damini), note 3

______, S. Paolo. LVI: 467, fig. 9 (Girolamo di Carpi), note 20

______, S. Francesca Romana. XVII: 51, fig. 1 (L. Carracci)

______, S. Maria in Vado. VII: 414–16, figs. 3–4 (Bononi); X: 364–65, fig. 1 (Bononi); XVIII: 25–27, fig. 1 (Bononi)

Ferrari, Giovanni Andrea de’. XXIII–XXIV: 205–06, fig. 1, pl. 13

______, Gregorio de’. IV: 312–13, pl. 39; XI: 294, pl. 41

______, Lorenzo de’. IV: 312–13; XXIII–XXIV: 229–31, figs. 1–2, pl. 39; 243, pls. 39, 53; XXV: 156–58, pls. 9–10

Ferrero, Mercedes Viale, see Viale Ferrero, Mercedes

Ferretti, Giovanni Domenico. LIII: 490–91, nos. 12 (copy of Drost’s self-portrait?), 18

______, Duke Roberto. XXV: 222–23, note 9, pl. 9 (L. Carracci); 287–88; XXXIII: 26–70, figs. 45–47 (T. Zuccaro); 421, figs; 1–2 (attributed to Agostino Carracci), note 5

______, formerly. XLII: 335, fig. 1 (G. Salviati); XLIII: 172, fig. 13 (Federico Zuccaro), note 20

Ferri, Ciro. II: 176; III: 405–06, 413; IV: 185; 300, 302–03, figs. 1–2; VII: 169, pl. 44; XXXIV: 260, fig. 15; 306, fig. 5; XXXVII: 296, fig. 1; LIV: 259, fig. 1; LVI: 73, fig. 53 (after)

Ferris, Hugh. XLII: 52, fig. 15

Ferrucci, Francesco di Simone. VII: 169, pl. 41; X: 15–19, figs. 1–2 (attributed to)

Fessard, Etienne. XX: 7–8, fig. 4 (engraving after Gravelot); XXIII–XXIV: 360–61, figs. 15–17

Festetits, Graf Samuel von, formerly. XLIII: 54, fig. 64 (Van der Cooghen)

Fetti, Domenico. XLIX: 226, fig. 2; 393, fig. 7 (after)

Feyen-Perrin, Auguste. XLVII: 496, fig. 6

Il Fiamminghino, see Rovere, Giovanni Mauro della, called Il Fiamminghino

Fiammingo, Arrigo, see Broeck, Hendrik van den

______, Paolo. XVIII: 387–88

Fidelgo, Manuela, see Turner, Nicholas, with Manuela Fidelgo and José Alberto Seabra de Carvalho

Fidell-Beaufort, Madeleine. XXXVIII: 3–28 (DAUBIGNY)

Fielder, William and Louise. XXV: 152–53, pl. 7 (Schedoni)

Fiesole, Badia. XXXII: 380, fig. 1 (Campi)

Figino, Ambrogio. VI: 253–54, fig. 1, pls. 14–17

Filedt Kok, J. P. Rembrandt Etchings and Drawings in the Rembrandt House. Review. XI: 403

Finaldi, Gabriele, ed. Jusepe de Ribera: The Drawings: Catalogue raisonné. Review. LVI: 395–408

Finale (Emilia), Church of the Archepiscopal Seminary. XXXVI: 80, fig. 3 (Guercino)

Finch, Mr. and Mrs. Doak, formerly. XLVII: 294, 307, fig. 43 (anonymous after Dughet)

______, Heneage, 5th Earl of Aylesford, formerly. XXXVII: 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4

Finsen, Hanne. Nyt i Kobberstiksamlingen et udvalg af erhvervelser. Review. VII: 181, 434

Fiorentino, Rosso, see Rosso Fiorentino

Fiorenzuola d’Arda, Collegiata. XLVI: 70, fig. 18 (Benefial), note 42

Fiorini coll. LII: 377, fig. 12 (tapestry from an unidentified Brussels factory), note 27

Firenze e la Toscana dei Medici nell’Europa del cinquecento. Il primato del disegno. Review. XIX: 314

Fischer, Johann Martin. XXII: 49, 55, pl. 36 (portrait of)

______, Vincenz. XXII: 55, pl. 37a (portrait of)

Fischer Pace, Ursula V. XIV: 147–58 (GIMIGNANI); XXIX: 3–29 (BALDINI); XXXI: 436–41 (GAULLI)

______. Disegni di Giacinto e Ludovico Gimignani nelle collezioni del Gabinetto Nazionale delle Stampe. Review. XIX: 53–54

Fisher, Jay. Théodore Chassériau. Illustrations for Othello. Review. XVIII: 389

Fitzherbert, Alleyne, Baron St. Helens, formerly. XXXVI: 26–29, figs. 1–3 (Murillo)

Flameng, François, formerly. XLV: 236, figs. 1–2 (Michelangelo), note 1

Flaxman, John. IX: 283; XIX: 48–49

Flegel, Georg. XLV: 551, figs. 1 and back cover (destroyed during World War ii)

Fleming-Williams, Ian. III: 268–75 (JOHN SKIPPE)

______. Constable Landscape Watercolours and Drawings. Review. XV: 187–88

Flemish Drawings from the Witt Collection. Review. XVI: 419, 447–48

Flemish Drawings in the Age of Rubens. Selected Works from American Collections. Review. XXXIII: 181–83

Flemish Drawings of the Seventeenth Century from the Collection of Frits Lugt, Institut Néerlandais, Paris. Review. XI: 49–52

Flemish Old Master Drawings from the Royal Museums of Fine Arts of Belgium, Brussels. Review. XIX: 56

Fletcher, Miss J. L., formerly. XLVI: 456, fig. 14 (Gainsborough)

Fleurbaay, E., see Bakker, B., E. Fleurbaay, and A. W. Gerlagh

Flinck, Govaert. XXVII: 139–40, fig. 25; XLVIII: 4–38, figs. 1–5, 7–11, 12 (or copy after?), 14–19, 21–25, 28 (copy after), 29–33, 35, front cover; XLIX: 305, fig. 25 (attributed to, after Rembrandt); LIII: 47, fig. 43

______, N. A. coll., formerly. XL: 240, fig. 1 (Rembrandt), note 4

Flint, MI, Institute of Arts. XXXI: 163, fig. 2 (G. B. Tiepolo), note 5

Flis, Nathan. XLIX: 479–532 (FRANCIS BARLOW)

Florence, Accademia Toscana di Scienze e Lettere “La Colombaria”. LIII: 387–88, figs. 1–3 (Ottavio Leoni), notes 8–10

______, Archivio di Stato. XIII: 8–9, fig. 1 (Danti), note 5; LVI: 347, fig. 26 (Antoniacci), note 61

______, art market, formerly. XXIII–XXIV: 244, note 17, pl. 54a (G. B. Castello); XXVIII: 280–81, fig. 3 (Salvestrini)

______, Baptistery. VIII: 365, fig. 3 (Ghiberti); XIX: 431–38, fig. 10 (Ghiberti), note 26; XXVIII: 204, fig. 7 (Ghiberti); L: 23, 29, figs. 4, 13 (Rustici), note 10

______, Biblioteca Marucelliana. XV: 366–67, fig. 2 (Baccio del Bianco); XIX: 271–73, note 19, pls. 24–25 (Spada); XXI: 279–80, fig. 6 (Biliverti), note 33; XXII: 291–94, note 17, pls. 9–10 (Cigoli); XXVIII: 280, fig. 1 (Salvestrini), note 4; XXXVI: 214–15; 355, fig. 1 (Ottavio Leoni), note 1; XLIV: 356, fig. 3 (Cigoli), note 13; XLIX: 50, fig. 1 (Malosso); LII: 181, fig. 1 (Muziano), note 3

______, Biblioteca Medicea Laurenziana. V: 33, fig. 1 (Stradanus)

______, Biblioteca Nazionale Centrale. XLVII: 61, fig. 7 (Cecchi Conti); LII: 439, fig. 18 (copy by Ser Marco of Daniele da Volterra’s letter to Vasari)

______, Biblioteca Riccardiana. XIX: 261–70, pls. 17–21 (Spada); XXXI: 449–50, figs. 2–11 (Francesco Conti), notes 8, 11, 14–16, 19–20; XXXVIII: 469, fig. 1 (Vascellini)

______, Bibliothek des Kunsthistorisches Institut. LIII: 81, fig. 2 (Collaert after Bernardino Passeri), note 3

______, Bruscoli, formerly. XLIX: 75, 87, figs. 19, 45 (Foggini)

______, Casa Buonarroti. VI: 243–44, fig. 2 (Tribolo); XXII: 318–19, note 2, pl. 42 (Giani); XXV: 248–49, figs. 7 (Stefano di Tommaso Lunetti?), 11 (Baccio d’Agnolo?), note 24; XXVI: 242–43, fig. 3 (Michelangelo), note 6; XXVII: 65–69, figs. 1 (Michelangelo), 2 (Mini?); XXXIV: 149, 152, 161, figs. 4–5 (Michelangelo), 20 (associate of Michelangelo), notes 3, 15, 51; XXXIX: 7, fig. 7 (A. Mini), note 15; XLI: 110, figs. 8–9 (Michelangelo), note 30

______, Cathedral. III: 409, fig. 4 (Vasari and Zuccaro); IX: 391–98

______, Certosa di Galluzzo, see Galluzzo, Certosa di Val d’Ema

______, Chiesa della Regina della Pace. XXX: 421, fig. 3 (Bronzino)

______, Congregazione dei Poveri di S. Giovanni Battista, formerly. LIV: 179, 193, fig. 62 (Raffaellino da Reggio)

______, Convent of S. Marco. XLVIII: 510, fig. 14 (Fra Angelico), note 58

______, Corsini Gallery. II: 382, fig. 11 (Bronzino?)

______, Deposito della Soprintendenza. XIX: 3–11, figs. 1–2 (Bandinelli and Minga), note 1; XXV: 147, fig. 1 (Squilli, after Allori)

______, Fondazione Horne, see Florence, Museo Horne, Fondazione Horne

______, Galleria dell’Accademia. XXX: 95, fig. 23 (Perugino)

______, Galleria di Palazzo Mozzi Bardini. XLV: 318, fig. 47 (El Greco), note 75

______, Istituto Universitario Olandese di Storia dell’Arte. XX: 287 (review); XXIII–XXIV: 75–90 (review); XXXV: 302–04 (review)

______, Loggia dei Lanzi. LIII: 241, fig. 5 (Giambologna)

______, Maison Bibelot, formerly. LIV: 196, fig. 86 (Raffaellino da Reggio)

______, Museo Archeologico Nazionale. XLIII: 334, fig. 17 (ancient Greek bronze)

______, Museo Bardini. XXXII: 316, 318–19, figs. 5–6, 9, 11, 13 (L. Tiepolo)

______, Museo degli Argenti. XVII: 417–26, figs. 1–8 (Maratti)

______, Museo del Cenacolo di Andrea del Sarto. XXVII: 215, fig. 2 (R. Ghirlandaio)

______, Museo dell’Opera del Duomo. IX: 391–92, fig. (Buontalenti)

______, Museo dell’Opera di S. Croce. XIV: 40, fig. 1 (Bronzino)

______, Museo dell’Opificio delle Pietre Dure. V: 47–53, figs. 2, 5 (Zocchi)

______, Museo di San Marco. XL: 154, fig. 2 (Fra Bartolommeo)

______, Museo Horne, Fondazione Horne. I, 4: 60; II: 20, 25, note 4, pl. 7 (Cades); III: 375, 379, pls. 23–24 (Grimaldi); IV: 383; VII: 289, pl. 16 (Imola); XXXIV: 76, fig. 6 (Ricci or Gionima); XLIII: 357, fig. 4 (Raphael), note 13; LIII: 343–64, figs. 1, 3, 6–7, 10–11, 16 (Giovanni Battista Tiepolo), note 1

______, ______ (on deposit at the Uffizi). LII: 33, 44, fig. 48 Genga)

______, Museo Nazionale del Bargello. XXXI: 397, fig. 6 (Cellini), note 11; L: 29, fig. 15 (Rustici), note 27

______, Ognissanti, Refectory. XXII: 161–62, fig. 1, pl. 11 (D. Ghirlandaio)

______, Leo S. Olschki, formerly. XLVI: 175–86, figs. 1–8 (Lucas), notes 15–18, 20–21, 25, 27

______, Palazzo della Gherardesca, Chapel. LII: 224, figs. 37–38 (Scipione Stradanus)

______, Palazzo Pitti. IX: 19–25, fig. 5 (Salviati); XIX: 3–11, figs. 3–4 (Bandinelli and Minga?), note 4; 293–99, fig. 1 (Cigoli); XX: 262–63, fig. 3 (Cigoli); XXVII: 303, fig. 2 (Titian), note 6; XXX: 293, fig. 13 (Annibale Carracci); 420, fig. 2 (Cavalori, on deposit); XXXVI: 31, fig. 5 (Andrea del Sarto); XLI: 128, fig. 1 (Canova); XLIV: 53, fig. 6 (Cigoli), note 24; LIV: 7, 9, 12, figs. 6, 9 (Andrea del Sarto), notes 22–23, 31

______, ______, Galleria d’Arte Moderna. XLVII: 348, fig. 4 (Giuseppe Sabatelli), note 10

______, ______, Sala di Apollo. XXXIV: 306, fig. 5 (Cortona)

______, Palazzo Strozzi. XIX: 314 (review)

______, Palazzo Vecchio. V: 282, fig. 1 (Vasari); VI: 266–70, figs. 1–3, 5–6 (Vasari); VIII: 372–73, fig. 12 (Bronzino); IX: 27–29, fig. 15 (Salviati); XII: 5–6, fig. 1 (Vasari); XIX: 6–8, fig. 5 (Michelangelo); XX: 125–30, fig. 1 (Vasari); XXX: 88, 91, 94, figs. 11, 13 (Salviati), 21 (Karcher), note 16; LI: 3, 9, figs. 6, 9 (Nicolas Karcher and workshop, tapestry after design by Bronzino), note 6

______, ______, Chapel of Eleonora di Toledo. XLIII: 292, 297, figs. 2, 6 (Bronzino); LII: 426, fig. 6 (Bronzino)

______, ______, Sala dell’Udienza. XLIII: 294, fig. 3 (F. Salviati)

______, ______, Sala di Clemente vii. LV: 381, fig. 6 (Vasari)

______, ______, Sala Grande. XLIII: 331–32, 334, figs. 9, 12, 20 (Vasari)

______, ______, Scrittoio of Eleonora of Toledo. XLIII: 301, fig. 12 (F. Salviati)

______, Pergola. VIII: 246–47, fig. 2 (plan)

______, Private coll. II: 374–75, fig. 8 (Bronzino); XI: 181–83, figs. 2–3 (Canaletto); XIX: 10, note 35, pl. 12 (Bandinelli); XXXIII: 256, fig. 31 (T. Zuccaro); XXXVI: 390, fig. 25 (Baglione)

______, S. Giuseppe. XIV: 278–79, fig. 1 (Santi di Tito)

______, S. Lorenzo. I, 1: 41, fig. 1 (Sogliani); XXVII: 68, fig. 3 (Michelangelo); XXXIV: 149, fig. 2 (Michelangelo)

______, ______, Medici Chapel. XLIII: 490, fig. 4 (Michelangelo)

______, S. Michele Visdomini. IX: 360, fig. 1 (Ciampelli)

______, ______, Cortigiani Chapel. XLI: 9, figs. 6–7 (Spinello Aretino)

______, S. Simone. V: 384–85, fig. 1 (Naldini)

______, S. Croce. XXX: 201, 203, 206, figs. 2–3 (photographs)

______, S. Felicità. II: 368–69, figs. 3–5 (Bronzino); VII: 148–49, fig. 1 (Boschi); XIX: 290–92, fig. 5 (Pontormo)

______, S. Maria del Carmine. XLVIII: 460, fig. 5 (Domenico Stagi), note 17

______, ______, Brancacci Chapel. XII: 277–79, fig. 27 (Lippi)

______, S. Maria del Fiore, see Florence, Cathedral

______, S. Maria Novella. XXII: 165–67, figs. 2–3 (D. Ghirlandaio); XLIII: 153, fig. 11 (Filippino Lippi)

______, ______, Spanish Chapel. XIX: 433–37, fig. 11 (Bonaiuti)

______, ______, Strozzi Chapel. XVI: 39–41, figs. 4 (unknown artist, after Lippi), 5 (Lippi)

______, SS. Annunziata. VIII: 364, fig. 1 (Pontormo); XXXVI: 29, figs. 2–3 (Andrea del Sarto); L: 30, fig. 16 (Andrea del Sarto); LIV: 103, fig. 2 (Pontormo), note 3

______, SS. Gervasio e Protasio. XIX: 293–95, fig. 2 (Santi di Tito)

______, S. Spirito. XIV: 376–77, fig. 2 (photograph)

______, Soprintendenza per i Beni Artistici e Storici. XLIII: 301, 304–5, 309, figs. 11, 13, 27 (tapestries by Bronzino), 16, 26 (tapestries by Salviati), 19 (tapestry by Pagni da Pescia)

______, Sotheby’s, formerly. LIV: 163, 194, fig. 24 (Raffaellino da Reggio)

______, Spedale degli Innocenti. V: 384, 386, fig. 2 (Naldini)

______, Uffizi. I, 1: 6, note 16, pl. 6 (Parmigianino); 42–43, notes 11–12, 15–16, pls. 34–35a, 36 (Sogliani); 46–48, note 1, pl. 42 (Sustris); 55; I, 2: 47–48, note 2, pl. 43 (Della Bella); 49–50; I, 3: 9, 12, notes 15, 22, pls. 4a, 5a (Perino del Vaga); 46–47, note 10, pls. 32–33 (Raphael); 57–58 (review), pl. 42 (Vasari); I, 4: 11, 15, pl. 8 (Trometta); 23, note 16, pl. 19 (Perino del Vaga); II: 28–32, fig. 3 (Leonardo), pls. 17–19 (Perugino); 158–60, fig. 1, pls. 23a, 25 (Bronzino), 23b, 26 (Pontormo); 266; 281–82; 284–93 passim, pls. 32 (Bugiardini), 33 (D. Ghirlandaio), 40b, 41b (Tommaso); 365–82 passim, fig. 2, pls. 2–8 (Bronzino); III: 3–20, fig. 1 (Monogrammist S. E.), pls. 1–8 (Cossa); 26, pl. 18b (Hugo van der Goes); 54–55, pls. 46 (Stradanus), 47 (Vasari); 151; 160, pl. 24 (Palma Giovane); 177, pl. 40 (Foggini); 180, pl. 41 (Curia); 361, pl. 6 (Aertsen); 410–11, fig. 5 (Vasari); IV: 4–20, fig. 1, note 18, pls. 1–4, 6–7, 9–11, 13–14 (Fenzoni); 29–32, pls. 21–22 (Annibale Carracci); 63–64 (reviews); 170–82, pl. 36 (Perino del Vaga); 290–91, fig. 5 (Samacchini); 311–12 (review); 416–17, fig. 2 (Parmigianino); 420–21; 424–26, pl. 39a (Maratti); 434, pl. 45 (Bellange); V: 48–50, pls. 33–43 (Zocchi); 153–55, pls. 15, 18a (Domenichino), 16 (Barbalonga); 166, pl. 24 (Canuti); 169, pl. 27 (Caccioli); 260, pl. 8 (after Annibale Carracci); 283, pl. 25b (Borghini); 304 (review); VI: 251–52, fig. 1 (De’Vecchi); 360, fig. 4 (Setti), note 9; 367, 374–75, fig. 6, notes 13, 44, pl. 10 (Reni); VII: 53–55 (review), pls. 30–31 (Buontalenti); 139, pl. 14b (Severino da Cingoli); 148, note 5, pl. 22 (Boschi); 149–50, notes 10–11, 17, pls. 25–26, 28a (Rosselli); 289, pl. 17 (Imola); 292–93, note 3, pl. 31 (Brusasorci); 400–04, fig. 2 (Spinelli), notes 9–10; 404–09, fig. 2 (Fontana), notes 2, 4, 7, 14, 16, pls. 16 (Perino del Vaga), 18 (Sermoneta), 19–20 (Fontana); VIII: 51–53 (review); 133, fig. 2 (Zuccaro studio); 152, pl. 41 (Palma Giovane); 255–57, figs. 5–6 (Della Bella), note 1; 284, notes 42–43, pl. 46 (Bedoli); 364–73, figs. 10–11, pls. 3, 4b, 7a, 9a, 11 (Pontormo); 397–99, figs. 1 (Tuscan school), 4 (Umbro-Marchigian school); IX: 15–37, notes 1–2, 8–9, 11, 21, 46, figs. 1–2, 6, 8 (Salviati), 13 (Rosso Fiorentino), pls. 9–11, 13 (Salviati); 124, notes 20, 23, pls. 2, 4 (Franceschini); 243, note 18, pl. 9 (Ligorio); 251, pl. 25 (Grimaldi); 360–62, notes 5–6, 8–14, pls. 3, 5–8 (Ciampelli); 372–74, fig. 10 (Dughet), note 31; 391–98, figs. 2–4, note 5, pls. 38, 40 (Buontalenti); X: 3–14, pls. 1–13 (Trevisani); 15–19, fig. 4 (Verrocchio); 28, note 44, pl. 29 (Mola); 115, fig. 1 (Gaulli), note 17; 365–78, fig. 4 (Cesi), note 4, pls. 31b-34, 36a, 41a (Bononi); XI: 32–34, note 1, pls. 24–25 (Orsi); 145, note 52, pl. 14a (Veronese); 243–49, fig. 5 (Pordenone), pl. 2 (Amalteo); 269, note 1, pl. 25 (C. Procaccini); 402–03 (review); XII: 3–33, fig. 5, notes 12, 29, pls. 2, 4b (Zucchi); 127–33, note 12, pl. 2 (Verrocchio and Leonardo); 261–79, figs. 10 (B. Passarotti), 14 (Verrocchio), 16 (Credi), note 1, pls. 33 (Baldovinetti), 34 (Castagno); 291–92 (review); 362, note 22, pl. 18a (Bertoia); 369, pl. 30a (Ribera); 373–74, notes 8, 11–12, pls. 38a, 39b-40a (Volterrano); XIII: 23–24, fig. 1 (Napoletano); 35, pl. 15 (Castello); 66–67 (review); 238, pl. 6b (Herrera the Younger); 363, pls. 1, 6, 10, 16, 19 (F. Bellini); XIV: 32–35, notes 9, 15, pls. 1, 4b (Schiavone); 56–64 (review); 128–32, 137, notes 15, 31, 68, pls. 2 (Vasari), 5 (Stradanus), 12b (Naldini); 161–62, notes 25, 29, pls. 35, 37 (U. Gandolfi); 174, pl. 42 (Parmigianino); 270–74, notes 2, 9, 11, pls. 31 (Domenico degli Ambrogi), 32 (Alboresi), 33 (Mondini); 278–80, note 3, pl. 36 (Santi di Tito); 380–81, figs. 6 (Michelangelo), 7 (Pontormo); 383–84, note 2, pl. 5 (Pulzone); 411–12, figs. 11–12 (Giani); XV: 28–29, notes 11, 18, pls. 23, 28 (Malosso); 108–46, note 7, pls. 1–4, 6 (Raphael); 177–80, figs. 1–4 (Pontormo); 350, note 19, pl. 3a (Della Bella); 366, fig. 1 (Baccio del Bianco); XVI: 35–43, pls. 27–30, 32–34 (Lippi); 50–52, note 1, pl. 38 (A. Guardi); 167, note 32, pl. 42 (Leone); 302–08, notes 14, 16, 18–19, 21–22, pls. 48–51, 53 (Bartolini); 415–16, figs. 1–2 (Piattoli); XVII: 140–42, fig. 9 (follower of Cortona); 167, pl. 36a (Dieu); XVIII: 42–43, figs. 2–3 (L. Carracci), notes 3–4; 130, pl. 9b (J. Muller); 355, note 36, pls. 8–9 (Melchiori); XIX: 6–11, notes 11, 16, 20, 24, 30, 32, pls. 1, 3, 5–6, 9–10 (Bandinelli); 261–65, fig. 6, pl. 9 (Spada); 279, note 19, pl. 33 (Titian); 291–93, fig. 6 (Pontormo), fig. 7, note 11, pl. 37 (Bronzino); 293–99, fig. 3 (Santi di Tito), notes 7, 9, 11–12, 14, 16–19, pls. 38–49 (Cigoli); 426–36, notes 11, 18–19, pls. 9–12, 15–17, 22 (Spinelli); XX: 38–39 (review); 125–30, pls. 11–12 (Allori), 15–22 (Naldini), 24 (Santi di Tito); 149–56, figs. 1 (Bartolini), 2 (E. Rossi), 3 (Bartolini and E. Rossi), pls. 34–38, 42b-45 (E. Rossi); 252, pl. 6 (F. Zuccaro); 260–72, figs. 2 (Cigoli), 6–8 (Rosselli), 11 (Biliverti); XXI: 36–58, figs. 6–16, 20–21 (Cigoli), 22–23 (Allori?), 26–27 (G. Coccapani?), 28–31 (S. Coccapani?); 275–82, figs. 2–4, notes 3–4, 8, 12–16, 20, 28, pls. 32–33, 35–37, 39b (Biliverti); 417–20 (review); XXII: 6–7, 20, pl. 14 (Andreasi); 160, 167, notes 7, 27, pls. 4, 14 (D. Ghirlandaio); 176, note 22, pl. 17 (A. Pollaiuolo); 220–21 (review); 287–94, notes 9, 11–13, 15, pls. 1–6 (Cigoli); 306, note 18, pl. 35 (Maffei); 407–25 passim, note 21, pls. 2, 6, 10 (L. Carracci); XXIII–XXIV: 41, 43, fig. 9, note 24, pl. 13 (Schedoni); 65–66, fig. 2, notes 16–17, pl. 36 (Polidoro da Caravaggio); 210–11, fig. 8 (Oselli); 408–10, 417–18 (reviews); XXV: 37–38, 48, figs. 21–22, 32a (Poelenburg); 143–45, note 1, pls. 1, 3 (workshop of Garofalo, after Roberti); 147, fig. 2 (Allori); 219–25, notes 1, 3, 10, pls. 1–2, 11 (L. Carracci); 251, fig. 9 (Montorsoli); 272–76, pls. 37–38 (Bosio); XXVI: 21, 26, 37, notes 42, 53, pls. 14, 18 (Sermoneta); 134, note 7, pl. 45 (A. Milani); 221, note 8, pls. 2–3 (G. Campi); 239, 243, fig. 4 (Michelangelo); 249–52, figs. 2, 4 (Barocci), notes 4, 8; 341–42, 345–46, pls. 7–9, 21, 25–26 (Lefèvre); XXVII: 41, fig. 3 (Van der Goes); 195–214, figs. 1–2, 10–12, 15 (Cigoli), 17, 20 (Cigoli, after Cesari d’Arpino), notes 6, 19, 64, 68, 74–75, 81, pl. 16 (Cigoli); 219, note 28, pl. 28 (R. Ghirlandaio); 228, note 1, pl. 35 (Tommaso di Stefano Lunetti); 239, fig. 5 (Reni); XXVIII: 135, 138, figs. 10 (after Perino del Vaga), 11 (Perino del Vaga), notes 23, 26; 187–92 (review); 197–221 (review); 290–91, 294, fig. 3 (Herrera?), note 4; XXIX: 18, pl. 12 (Baldini), note 48; 55, fig. 4 (Guercino), note 13; 200, 203–04, figs. 3 (Giovanni), 6 (Bartolozzi), 7 (Biliverti); 244, 247–48, 252, fig. 12 (Passeri), note 23; 255–59, figs. 2–3 (Battista da Sangallo); 390, figs. 13, 15 (Mattioli), notes 27–28; XXX: 65, fig. 13 (Tibaldi); 88, 91, figs. 5 (Vasari), 14 (Salviati), note 23; 218, fig. 4 (Mola); 293, 295, 299, figs. 11–12, 17, 27 (Niobe and her Youngest Daughter; Psyche; The Dying Alexander–sculptures); 331, fig. 2 (Muziano), note 3; 335, fig. 3 (Cigoli); 368, 374, 378, 384–85, 387–88, figs. 4, 21, 29 (Toeput); 422–23, figs. 5 (Cavalori), 8 (attributed to Cavalori); XXXI: 237, fig. 29 (Goltzius); 407, fig. 1 (Oliviero Gatti), note 1; 414. figs. 2–3 (Baglione), note 4; 430, fig. 5 (Antonio Carracci), note 13; 472, fig. 8 (G. David), note 36; XXXII: 153, fig. 3 (Botticini), note 11; 165, fig. 3 (attributed to Agostino Carracci), note 18; 233, 238, 240, 243, figs. 5, 13 (Salviati), 15, 22–23 (Volterra), notes 7, 18, 26; 382, fig. 3 (Campi), note 6; XXXIII: 145, fig. 5 (M. Gandolfi), note 9; 169–75 (review); 239–55, figs. 13–30 (T. Zuccaro); 391, 399, figs. 4, 11 (Gozzoli), notes 12, 28; XXXIV: 135, figs. 25, 27 (attributed to Schongauer workshop); 155, 161, figs. 11 (Michelangelo), 19 (associate of Michelangelo), notes 29, 50; 183, fig. 27 (Pordenone), note 19; 205–07 (review); 303, 306, figs. 2–4 (Cortona), notes 19–20; XXXV: 50, fig. 4 (Raphael), note 6; XXXVI: 157, 159, 165, figs. 6 (Marcantonio Franceschini), 13–14 (Carlo Cignani), note 15; 185, fig. 4 (Vasari); 356, fig. 4 (Baglione), note 15; 386, fig. 15 (Baglione), note 16; 409, fig. 3 (Giovanni Lanfranco), note 6; XXXVII: 161, fig. 5 (Raphael), note 31; 278, 283, figs. 6 (Antonio Carracci), 10 (Antonio Carracci?), notes 14, 18; 297, fig. 2 (Picchiatti?), note 11; 381, 391, figs. 14 (Alonso Cano), 24 (Blas del Prado), notes 23, 37; XXXVIII: 37, 49, figs. 12, 30 (Fenzoni), notes 32, 51; 56, fig. 3 (J. Tintoretto), note 5; 396, 406–07, figs. 5 (Agostino Carracci), 16 (engraving by Agostino Carracci?), note 19; 461, fig. 1 (Bedoli), note 1; 467–69 (review); 470–71 (review); XL: 121–23, 125, figs. 13, 15–18, 21 (Muziano), notes 29, 32–33, 40; 161–67 (review); 217, 222–23, 225, 231, figs. 2–4, 6, 12, 14–15, 17, 25 (Tiarini), notes 21, 23, 26, 42, 45, 47, 49, 58; 260–61 (review); XLI: 15, 18, 22, 24, figs. 2, 9, 12, 15 (Massimi), notes 9, 21, 27, 34; 30–43, figs. 1, 6, 8, 10–11, 13, 15, 19–21 (Stefano della Bella), notes 25–27, 29, 31, 34–35, 37; 121, 126, fig. 2 (Bernini); 128, fig. 2 (Medici Venus); 279, fig. 14 (M. Schongauer); XLII: 211, 217, 225, figs. 6, 41 (E. Sirani), notes 22, 83; 309, fig. 10 (Carpaccio), note 24; 375–76, 384, figs. 3 (Titian), 7 (J. Tintoretto), 13–14 (P. della Vecchia), notes 29, 44, 88; XLIII: 91, 94, 96, figs. 1, 3, 6, 8, 11 (Swanevelt), notes 9, 11, 14, 16, 23; 146, 150, figs. 7–8, 10 (Filippino Lippi), note 12–13, 27; 171, 177, figs. 11, 19 (Federico Zuccaro), notes 17, 30; 286, figs. 14–15 (Pontormo), notes 56–57; 294, 304, 307, figs. 5, 23 (Bronzino), 15, 25 (F. Salviati), notes 13, 43, 69, 71; 328, 330, 333, figs. 1, 3, 5, 15 (Vasari), notes 5–7, 14; 341–43, figs. 1–3, 5, (Cigoli), notes 13, 23, 27, 31; 372, fig. 2 (Bronzino); 459, 461, 464–65, 467, 477, 481, figs. 2–5, 10–11, 14, 15, 25 (Cortona); 501, fig. 4 (Volterrano), note 8; XLIV: 166, figs. 66–67 (Kulmbach); 317, fig. 22 (Albani), note 79; 356, fig. 2 (Cigoli), note 8; XLV: 170, fig. 4 (Swanevelt), note 9; XLVI: 10–15, figs. 8 (Ligozzi), 9 (Venetian School), 10 (Balducci), 11 (Magnoni), 12 (Agostino Carracci), 13 (Annibale Carracci), 14 (Falcone), 15 (Caracciolo), 16 (Preti), notes 40–41, 46–47, 53, 55, 64, 71, 75; 44, fig. 7 (Parmigianino), note 65; 118, figs. 1–2 (Boschi), note 9; 295–96, 301, 305, 313, figs. 4–5, 7b, 7f, 8a, 8d–e, 9a, 9f–g, 10f, 11b, 12a, 17a–b (Barocci), notes 22–23, 25, 29–30, 38, 40, 42, 78–79; 388, fig. 2 (Polidoro da Caravaggio), note 7; XLVII: 86, 89–90, figs. 4, 8 (Agresti), 6 (Samacchini), notes 7, 16, 20; 350, figs. 5–6 (Giuseppe Sabatelli), note 13; XLVIII: 151, figs. 3, 5 (Bronzino), note 17; 185, fig. 9 (Livio Mehus after Guercino), note 32; 204, fig. 16 (Pinelli), note 46; 245–52, figs. 1–4, 6 (Guercino), 9 (Livio Mehus after Guercino), notes 10–11, 13, 20, 29, 34; 304, fig. 23 (Salviati after Rosso Fiorentino), note 57; 317, fig. 2 (Parmigianino), note 24; XLIX: 20, fig. 4 (Francesco Maria Rondani), note 17; 80, figs. 26–27 (Fogini), note 58; 97, 99, 106, figs. 4 (Creti), 8, 10, 26–27 (Amico di Donato), note 4; 365, fig. 30 (Jan Lievens), note 36; L: 23–25, 28, figs. 1–3, 11 (Rustici), 7 (Antonio di Donnino del Mazziere), notes 6, 9, 18; 53, fig. 5 (Parmigianino), note 14; 84, fig. 5 (Malpizzi); 91, figs. 1–2 (Bissoni), note 1; 498, 500, figs. 4, 9 (Vasari), notes 16, 24; LI: 20, fig. 6 (Passarotti), note 42; 148, fig. 4 (Genga), note 11; 167, 173, 177, figs. 3–4, 19, 26 (Bedoli), notes 18–19, 30, 39; 198, 200–201, 203, 205–6, 208–9, 213, 216–17, figs. 5, 8, 13, 15, 18, 25, 29, 33, 42, 46, 58, 67, 70 (Ligozzi), notes 10–11, 13–15, 18–20, 22–23, 28, 30–31; 263, fig. 1 (Rondani), note 2; LII: 5, 8, 10, 12, 20, 28, 34–36, 40–41, 43–44, figs. 5, 8–9, 11, 14, 28, 44, 52–53 (Genga), 51 (Genga with later reworkings), note 23; 181, 188, 192, figs. 3–4, 12, 16–17 (Muziano), notes 6, 16, 23; 206–7, 209, 212, 214, 218, 220, 227, figs. 2 (Cantagallina), 3, 5, 41 and front cover (Cantagallina after Bernard Salomon), 7, 13, 16, 22, 26, 30 (Cantagallina after Hans Holbein the Younger), 9–12, 18 (Cantagallina after unknown artist?), notes 5–6, 10, 25, 27, 31; 299, 330, fig. 28 (Coecke van Aelst); 425–26, figs. 3, 7 (Bronzino), note 18; 477, fig. 9 (Salviati), note 22; 481–84, 490, figs. 1–3 (Carducho), 10 (Castello), notes 2–4, 40; 535, fig. 7 (Ribera), note 15; LIII: 64, figs. 5, 8 (Gandini), notes 34, 38; 239, fig. 3 (Peter Candid), note 12; 436, fig. 5 (Titian), note 8; 483, fig. 3 (Ghezzi), note 15; LIV: 7, fig. 8 (Andrea del Sarto and workshop), note 26; 103, fig. 1 (Andrea del Sarto), note 2; 151, 153, 161, 171, 175, 179, 185–87, 197, figs. 8, 10–11, 20, 39, 49, 61, 67–73 and front cover (Raffaellino da Reggio), 87 (Raffaellino da Reggio?), 51 (Federico Zuccaro), note 83; 225, 228, 230, figs. 1, 3, 8, 11, 13–14 (Agostino Carracci), 12 (printed epithalamium); 236, fig. 1 (Volpi), note 14; 510, 512, 514–16, 521–22, 527, 529, figs. 1–3, 5–6, 9–10, 12, 14–15, 19, 24–27, 29, 31–32 (Gaspare Celio), 23 (Giuseppe Cesari, called Cavalier d’Arpino, or studio of), notes 12, 15–16, 24, 26, 32, 34, 36, 39, 45, 49–50, 53, 57, 59, 66; LV: 30, figs. 79–80 (A. Bloemaert); 311, fig. 1 (J. Ligozzi), note 1; 385, 387, figs. 10 (Raphael), 12 (Cristogfano dell’Altissimo), notes 66, 68; 453, fig. 1 (A. Lomi), note 1; 466, 469, 472, figs. 3, 12–13, 17–20 (F. Fenzoni), notes 9, 21, 25–26; LVI: 299, fig. 14 (Daniele da Volterra), note 34; 321, fig. 8 (Cavedone), note 23; 337–38, 343, 345, figs. 4–5, 7 (Giulio Parigi), 15–16 and front cover (Antoniacci), 18 (Antoniacci?), notes 11, 17, 47, 51; 403, fig. 3 (Jusepe de Ribera), note 45; 464–65, 467–68, 471, figs. 3 (Girolamo da Carpi after Raphael), 5, 10 (Girolamo da Carpi after the Antique), 7, 17 (Girolamo da Carpi), notes 6, 9, 17, 23, 43; 483, fig. 3 (Allori), note 3

______, ______ (missing). LI: 198, fig. 11 (Ligozzi), note 12

______, ______ (on deposit from the Museo Horne). LII: 33, 44, fig. 48 Genga)

______, ______, Galleria degli Uffizi. LVI: 468–69, figs. 11, 13 (Ancient Roman), notes 26, 30

______, ______, formerly. V: 155, pl. 18b (Domenichino)

______, Villa di Castello. XLIII: 501, fig. 6 (Volterrano); 529, fig. 2 (Annibale Carracci), note 1

______, Villa Petraia. XLIII: 500, fig. 1 (Volterrano)

Florentine Drawings at the Time of Lorenzo the Magnificent. Review. XXXVI: 210–11

Floris, Cornelis. XXX: 185–200, figs. 1–2, 4, 5 (workshop of), 6–9

______, Cornelis ii. III: 382–83

______, Frans. VII: 255–86, figs. 1–3, pls. 1–2, 3 (after), 4–5, 6–7a (after), 7b-9, 10 (after), 11–13, 14 (after), 15; XVIII: 387; XXXIX: 396, fig. 1

Flower, Dennis. VIII: 5, fig. 1 (R. Savery), note 9

Flowers in Books and Drawings, ca. 910–1840. Review. XX: 48

The Fodor Collection. Nineteenth-Century French Drawings and Watercolors from Amsterdams Historisch Museum. Review. XXIII–XXIV: 251–54

Foggini, Giovanni Battista. I, 2: 50–51, pls. 44–45; III: 177, pls. 38–40; IV: 169; XLIX: 67–94, figs. 1–59

Fohr, Karl Philipp. VII: 181; XXXIX: 130, figs. 19, 20 (after Dürer), 22; LIV: 70, fig. 6 (portrait of)

Fokke, Simon, formerly. XLIII: 29, 53, fig. 29 (Van der Cooghen)

Fontainebleau, Chapel of the Trinity. I, 3: 30–34, fig. 1 (Fréminet)

______, Palace. IV: 25–29; XXV: 223, fig. 6 (L. Carracci)

Fontán del Junco, Manuel, Celina Quintas, and Daniel Sepúlveda. LI: 87–104 (FERNANDO ZÓBEL)

Fontana, Carlo. XIX: 456–57

______, Jeffrey. XL: 154–60 (FRA BARTOLOMMEO)

______, Lavinia. VII: 129, 131–32, 145, fig. 2; XLII: 208–09, fig. 2–3

______, Prospero. VII: 404–09, figs. 1–2, 3–4 (attributed to), pls. 19–20

Fontanellato, Rocca. I, 1: 3–10

Fontanesi, Antonio. LI: 542, fig. 2

Fontebasso, Francesco. IX: 40, fig. 2; XXV: 290

Forain, Jean-Louis. XX: 376–80, note 9, pl. 17; XXIII–XXIV: 418

Forbes Magazine coll. XII: 386–88, fig. 12 (G. B. Tiepolo), note 25

Ford, Brinsley, Sir. XVI: 404–05, pl. 16b (Wilson); XLVII: 9, fig. 8 (Domenico Tiepolo), note 9

______, heirs of. L: 107, fig. 10 (Tiepolo), note 105

Forlani Tempesti, Anna. XIV: 260–70 (DELLA BELLA)

______. Raffaello. Disegni. Review. XXII: 328

______. The Robert Lehman Collection. Vol. V. Italian Fifteenth- to Seventeenth-Century Drawings. Review. XXXII: 383–86

Fornenburgh, Jan Baptist van. LIII: 34, fig. 30

Forlì, Archivio di Stato di Forlì, Sezione Cesena. LII: 14, fig. 18 (contract by Genga), note 45

______, Biblioteca Comunale. XVI: 414–18, note 2, pls. 29–37 (Piattoli); XXI: 29, 31, fig. 9 (Giani, after Franceschini); 66–67 (review); XXXVI: 170, fig. 19 (close copyist of Carlo Cignani)

______, Cathedral, Dome of Cappella della Madonna del Fuoco. XXXVI: 165, figs. 16–18 (Carlo Cignani)

______, Pinacoteca Comunale. III: 8–9, 14, fig. 18 (Cossa)

Forno, Federico dal. Paolo Farinati. Review. VI: 286–88

Forster-Hahn, Françoise. XVI: 255–83 (MENZEL)

Fortuny y Madrazo, Mariano, formerly. XLV: 295, fig. 7 (El Greco), note 12

Fort Worth, TX, Amon Carter Museum. XXXIV: 314–15 (review); XL: 322, 324, figs. 4, 8 (H. Farrer), notes 19, 29

______, Kimbell Art Museum. XXI: 179 (review); XXII: 328–29 (review); XXVIII: 92–94 (review); XXXII: 168–71 (review); XXXIII: 167–69 (review); XXXV: 20, fig. 21 (Annibale Carracci); LIII: 439, fig. 1 (Guercino), note 2

Forti, Simone. LIV: 247–58, figs. 2–7, 8 (choreograhy by), 9, 10 (video still of), 11–12

______ coll. LIV: 250–51, 255, fig. 3–6, 9, 12 (Simone Forti), notes 21, 23–25, 36, 40

Foschi, Pier Francesco. LIV: 9, figs. 10–11, 13, 14 (after Andrea del Sarto), 15

Fosse, Jean-Charles de la, see La Fosse, Jean-Charles de

Fossi Todorow, Maria. I disegni del Pisanello. Review. V: 188–91

Fossier, François. Les dessins du fonds Robert de Cotte de la Bibliothèque Nationale de France. Architecture et décor. Review. XXXVI: 425–28

Fossil Woods Master. XLV: 543, figs. 2 (attributed to), 3

Fossombrone, Biblioteca Civica Passionei. XIV: 43–45, pls. 12–21 (Severino da Cingoli); XXXI: 379, 381, figs. 9–10 (Anonymus Foro Semproniensis), notes 27, 30

Foster, Carter E. XXXIV: 92 (LETTER); 435–38 (REVIEW); XXXIX: 260–78 (CHARLES-NICHOLAS COCHIN)

______, see also De Grazia, Diane, and Carter E. Foster

Fouquet, formerly. XXXVII: 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4

______, Pieter, formerly. LV: 499, fig. 16 (Berchem)

Fra Bartolommeo, Master Draughtsman of the High Renaissance. A Selection from the Rotterdam Albums and Landscape Drawings from Various Collections. Review. XXXI: 176–79

Fracanzano, Francesco. XXXI: 353, fig. 7 (?)

Fragonard, Jean-Honoré. VI: 165–66, fig. 4; VIII: 35, pl. 34; XVIII: 60; XXII: 440–43, pls. 40–42; XXXIV: 400–01, figs. 3–4; 432–34, figs. 1, 3; XXXVII: 35–46, figs. 1–16 (formerly attributed to); XXXVIII: 241, fig. 1; 252, fig. 2; XXXIX: 294–95, figs. 9, 10–11 (after); XLIII: 217–20; XLIV: 522, fig. 1; LIII: 503–6, figs. 1, 2 (and Marguerite Gérard), 3; LIV: 491, figs. 1 (portrait of), 2–4 (self-portraits of), 6, 8–9 (portraits of); LV: 486–87, 496, 502–4, figs. 2 (after Van Dyck), 4, 13, 20; LVI: 110, fig. 8

Fragonard, exhibition catalogue by Jean-Pierre Cuzin. Review. XLIII: 217–20

Fragonard et le dessin français au XVIIIe siècle dans la collection du Petit Palais. Review. XXXIV: 430–35

Framingham, MA, Danforth Museum. XVI: 66 (review)

Franc Kaucic (Caucig), 1755–1828. Review. XVIII: 61–62

France, art market, formerly. XLIII: 51, fig. 58 (Van der Cooghen)

______, Private coll. IV: 289, fig. 1 (Vignon); XIV: 166–69, note 1, pl. 40 (Vinckeboons); XV: 170, note 32, pls. 34–37a (Restout); XVII: 39–41, pls. 25, 29–30a, 31 (De Boissieu); XX: 377–80, pl. 17 (Forain); XXI: 162–63, pl. 37 (Murillo); XXVI: 11–12, 39, fig. 8 (Tibaldi?); XXVII: 323, fig. 3 (C. de Vos), note 12; 350, fig. 10 (Géricault), note 21; XXVIII: 389–94, 399–406, figs. 2, 4–6, 8–10, 14–24 (Pils), notes 6–9, 13, 15, 22, 24, 27–32; XXIX: 298, fig. 14 (Sarazin), note 16; XXX: 225, fig. 2 (Vouet); XXXIII: 117, fig. 5 (Varallo), note 12; XLVIII: 199, back cover (Kaiserman), note 25; LII: 192, 195, figs. 19, 22 (Muziano), note 25; LIV: 59, fig. 20 (Vernansal), note 30; 259, 261, figs. 1 (Ciro Ferri), 2 (Andrea de Lione), notes 1, 12; LV: 47, 77, 83, 107, figs. 132, 239, 259, 351 (A. Bloemaert); LVI: 293, fig. 8 (Daniele da Volterra), note 23; 524, fig. 16 (Louis Silvestre the Younger), note 29; 548, fig. 5 (Suvée), note 21

______, ______, formerly. XLIII: 31, 63, fig. 37 (Van der Cooghen); XLIV: 414, fig. 6 (Mercier), note 9; XLV: 327, 334, fig. 6 (Cano); XLVIII: 147, fig. 1 (Bronzino), note 11; LIII: 207, fig. 1 (Bernini), note 1; LV: 64, fig. 189 (A. Bloemaert)

Francesca, Piero della, see Piero della Francesca

Franceschini, Baldassare, called Il Volterrano, see Volterrano

______, Marcantonio. IX: 119–38, figs. 1 (and Quaini), 2–3, 4 (and Haffner), 5–11, pls. 2–3, 4–6 (attributed to), 7–17; XIV: 387–89, fig. 1, pl. 8; XVIII: 44–47, fig. 6, pl. 25; XXI: 20–32, figs. 1–8, 9 (after), pls. 24–36; XXXVI: 154–80, figs. 2 and 4 (probably assisted by), 6, 8, 22, 24, 26; XLII: 150, fig. 10

Francesco I de’ Medici. XX: 125–30; XXXVII: 287–93, figs. 1–7

Francesco di Giorgio. XXXIV: 86–87; XXXVIII: 320, fig. 2 (circle of)

Francesco di Giorgio architetto. Review. XXXIV: 86–87

Francesco di Giorgio e il Rinascimento a Siena, 1450–1500. Review. XXXIV: 86–87

Francia, Francesco Maria. LIV: 243, fig. 2 (engraving)

Franciabigio. II: 284–85

Francis, Sam. LI: 490, fig. 11

Francken, Ambrosius. XII: 134–35, fig. 2

______, Frans. XXV: 278–79, fig. 2

Franckenstein, Goll van, see Goll van Franckenstein

Franco, Battista. LVI: 475, figs. 27–28 (after Polidoro da Caravaggio)

______, Giacomo. I, 4: 28, fig. 1

François, Guy. XXXII: 262–69, figs. 1–6

______, Jean-Charles. X: 270, fig. 10 (engraving after Boucher); XXV: 279–80, fig. 3 (etching after Watteau)

François Boucher in North American Collections. Review. XII: 172–76

Franits, Wayne. XXXI: 279–83 (VAN DYCK)

Frankfurt-am-Main, Antiquariat Baer, formerly. XXXVII: 262, 265, 269, figs. 5–6 (M. Schongauer), note 7

______, Joseph Fach Kunstantiquariat, formerly. LV: 104, fig. 338 (A. Bloemaert)

______, Historisches Museum. II: 363, pl. 8 (Aertsen)

______, Prestel, formerly. LV: 44, fig. 120 (A. Bloemaert)

______, Private coll., formerly. XLIII: 22, 48, fig. 16 (Van der Cooghen, after Jacob Jordaens)

______, Schirn Kunsthalle. XXVII: 234–39 (review)

______, Städel Museum. I, 2: 15–17, notes 13, 16, 25, pls. 9a, 10, 14 (Metsu); 36–37, pl. 30 (anonymous Liechtenstein Master); I, 3: 49, 53, note 16a, pl. 36 (Raphael); II: 159–60, note 15, pl. 28b (Bronzino); 161–63, note 5, pl. 30 (Annibale Carracci); III: 412–13, fig. 6 (Annibale Carracci); IV: 382; V: 137, pl. 1 (Jouvenet); VII: 430, fig. 2 (Guercino); VIII: 145, note 18, pls. 35–36a, b, d, 37 (Aldegrever); 283, note 33, pl. 42 (Parmigianino); IX: 387–88, pls. 27a, 28b (Sacchi); XII: 12, note 42, pl. 7b (Zucchi); 379–80, pl. 49 (G. B. Tiepolo); XIII: 173–75 (review); XV: 351, pl. 4a (Della Bella); XVI: 26, pls. 8, 14a (Van Mieris); XVII: 40, pl. 27b (De Boissieu); XVIII: 386–87 (review); XX: 251, pl. 5 (F. Zuccaro); XXI: 285–87, note 1, pl. 47 (Viscontini); XXII: 305, note 11, pl. 33 (Maffei); XXIII–XXIV: 245, note 35, pl. 58a (Benso); 377–78, 380, note 4, pl. 43 (Lancret); XXV: 42, pl. 25 (Poelenburg); 370–73, note 27, pl. 18 (Kempeneer); 418–19, fig. 6 (studio of Vouet); XXVII: 17, figs. 14, 16 (Holbein the Younger); 323, fig. 4 (C. de Vos), note 15; XXVIII: 12, 14, 17, figs. 15–16 (Van Diepenbeeck, after Primaticcio), 19 (Van Diepenbeeck), notes 49, 57; XXIX: 11, 18, pls. 4, 15 (Baldini), notes 37, 50; 357, 360, 376–78, fig. 25 (attributed to G. B. Pace); XXX: 367, 378, 384–85, figs. 1, 25 (Toeput); XXXI: 443, fig. 9 (Pietro de Pietri), note 26; XXXII: 277–80 (review); XXXIII: 256–58, figs. 32–34 (T. Zuccaro); XXXVI: 170, fig. 20 (Correggio), note 43; XXXVIII: 44, fig. 25 (Fenzoni), note 45; 131, fig. 9 (Perrier), note 24; 409, fig. 18 (Agostino Carracci); XXXIX: 243, fig. 24 (La Fosse), note 49; XLI: 254, fig. 22 (G. David), note 39; 346, fig. 4 (Dürer), note 12; XLII: 213, fig. 11 (E. Sirani); XLIII: 518, figs. 3 (Agostino Carracci), 4 (Annibale Carracci), note 29; XLIV: 21, figs. 24–25 (De Vlieger), note 51; 145–97 passim, figs. 28–29, 51 and front cover, 60, 84, 87, 121 (Kulmbach); XLV: 51, fig. 10 (Morandi), note 43; 201, 204–5, figs. 2–4, 7 (Elsheimer), 6, 8 (copy after Elsheimer, Hendrik Goudt?), notes 3, 8, 13–14; 215, figs. 6–7 (Agostino Carracci), note 13; XLVI: 49, fig. 10 (Albani), note 86; XLVII: 278, 293, 307, figs. 18 (Dughet), 40 (anonymous after Dughet), 57 (anonymous after Dughet), note 45; XLIX: 298, fig. 10 (Rembrandt); 348, fig. 157 (Rembrandt); 368, fig. 35 (Jan Lievens), note 43; L: 513, figs. 17–20 (Correggio), note 21; LII: 61, 82, fig. 3 (Jan de Visscher); 345, fig. 85 (workshop of Coecke van Aelst); LIV: 57, fig. 18 (Vernansal), note 28; 157, 188, fig. 16 (Raffaellino da Reggio); LV: 45, fig. 123 (A. Bloemaert); LVI: 13, fig. 16 (Lucas Cranach the Elder), note 28; 373, fig. 3 (Raphael), note 21; 388, fig. 6 (Sebastiano del Piombo?), note 5

______, Städelsches Kunstinstitut, see Städel Museum

Franklin, David G. XXXI: 55–59 (MACCHIETTI); XLVII: 346–52 (SABATELLI FATHER AND SON); XLVIII: 155–62 (POLIDORO DA CARAVAGGIO)

Die französischen Zeichnungen, 1570–1930. Kritischer und erläuternder Katalog. Review. XXVI: 141

Frascati, Villa Falconieri. X: 145–50, figs. 1–2 (Grimaldi)

Fraser, Peter D. XV: 375–87 (GORE and VAN DE VELDE)

Fratta, Domenico Maria. XXIX: 385, 387, 397, 399; XXXVII: 47–54, figs. 1, 3

Frederick, Margaretta S. XLIV: 77–86 (D. G. ROSSETTI)

Frederikssund, J. F. Willumsen Museum. XXII: 452, 454–55 (review); XXVII: 207, note 72, pl. 18 (Cigoli); XLV: 297, fig. 9 (El Greco), note 16; LVI: 322, fig. 13 (Cavedone), note 29

Freedberg, David. Rubens. The Life of Christ after the Passion. Corpus Rubenianum Ludwig Burchard. Part VII. Review. XXIII–XXIV: 249–51

Freer, Charles Lang. LV: 206, fig. 4 (photograph of)

______ coll. LV: 199–210, figs. 1–3, 5 and back cover (Whistler), notes 1, 14, 29, 33, 35

______ coll., formerly. LI: 8, fig. 16 (Dewing), note 98

Freilich, Dr. and Mrs. Marvin, formerly. XLVI: 451, fig. 12 (Gainsborough)

Fréminet, Martin. I, 3: 30–34, pls. 17–20; XII: 169, pl. 35

French and Italian Master Drawings from the Collection of Esmond Bradley Martin, Jr. Review. XXI: 67

French Architectural and Ornament Drawings of the Eighteenth Century. Review. XXXIII: 58–64

French Artists in Italy, 1600–1900. Review. X: 164–65

French Drawings and Sketchbooks of the Nineteenth Century. Review. XIX: 50–52

French Drawings from a Private Collection. Louis XIII to Louis XIV. Review. XVIII: 390

French Drawings from European Collections (The Former Armand Gobiet Collection). Review. XVIII: 278

French Drawings, Watercolors, and Pastels, 1800–1950. Review. XVIII: 48

French Drawings. Acquisitions, 1970–1984. Review. XXVI: 143

French 18th-Century Drawings in the Hermitage. Review. XXVI: 142

French Landscape Drawings and Sketches of the Eighteenth Century. Review. XVI: 309–11

French Master Drawings from The Pierpont Morgan Library. Review. XXXIII: 185–86

French Master Drawings from the Rouen Museum. From Caron to Delacroix. Review. XX: 403

French 19th-Century Drawings in the Whitworth Art Gallery. Review. XX: 48

Frerichs, L. C. J. VIII: 387–90 (BONONI)

______. Italiaanse Tekeningen I de 17de Eeuw. Review. XII: 182–83

______. Italiaanse Tekeningen II de 15de en 16de Eeuw. Review. XX: 386–87

Fresh Woods and Pastures New. Seventeenth-Century Dutch Landscape Drawings from the Peck Collection. Review. XXXIX: 432–33

Freund, Hermann Ernst. XLVI: 261, fig. 1

Frey, Jacob. IV: 430, fig. 7

Frezza, Giovanni Girolamo. VII: 24–25, fig. 1; XVI: 137–38, fig. 4 (engraving after Batoni); XVIII: 353–54, fig. 4 (engraving after Maratti); XXIX: 236, fig. 1 (after Ghezzi); XXI: 145–47, fig. 13 (engraving after Lamberti)

Frick, Helen Clay. V: 293, fig. 2 (Reynolds)

______, ______, formerly. XLVI: 464, fig. 27 (Gainsborough)

______, Henry Clay. XXXVIII: 285–92

Friedlaender, Walter, and Anthony Blunt. The Drawings of Nicolas Poussin. Catalogue Raisonné. Part IV. Review. III: 171–73

Friedländer, Max Jacob, formerly. LII: 313, 336, fig. 50 (Coecke van Aelst)

Friedmann, Walter, formerly. XLVII: 150, 155, fig. 23 (Jean-Robert? Ango after Daniele da Volterra)

Friedrich of Austria, Achduke, formerly. XLII: 164, fig. 5 (Gossaert), note 8; XLIII: 43, 64, fig. 54 (Van der Cooghen)

Friedrich of Habsburg, Duke of Teschen, formerly. LII: 347, fig. 88 (attributed to the workshop of Coecke van Aelst)

Friedrich, Caspar David. XIII: 274–80, figs. 1–3, pls. 28–32; XXI: 172–74, pl. 46; XXXIX: 110, fig. 9; 148, fig. 6; 179, 185, figs. 9, 14; XLVI: 258, figs. 3–4

Fries, Count Moritz von, formerly. XXXI: 415, fig. 6 (Baglione), note 9; XLV: 304, fig. 20 (El Greco), note 41; XLVI: 193, fig. 5 (Italian, c. 1325–50), note 20; LV: 60, 98, figs. 173, 316 (A. Bloemaert); 511, fig. 32 (Rubens)

Friso, Alvise dal. XXX: 168, fig. 25

Fróis Machado, Gaspar. XLV: 368, fig. 1 (engraving after Vieira Lusitano)

From Dürer to Boucher. Old Master Prints and Drawings from the Collection of the City of Manchester Art Gallery. Review. XXIII–XXIV: 418

From Fontainebleau to the Louvre. French Drawing from the Seventeenth Century. Review. XXVIII: 432–33

From Mantegna to Picasso. Drawings from the Thaw Collection at The Pierpont Morgan Library. Review. XXXV: 298–99

From Pisanello to Cézanne. Master Drawings from the Museum Boymans-Van Beuningen, Rotterdam. Review. XXIX: 62–63

From Poussin to Puvis de Chavannes. A Loan Exhibition of French Drawings from the Collections of the Musée des Beaux-Arts at Lille. Review. XIII: 176

From Schongauer to Holbein. Master Drawings from Basel and Berlin. Review. XXXIX: 63–65

From Studio to Studiolo. Florentine Draftsmanship under the First Medici Grand Dukes. Review. XXXII: 387–92

Frommel, Christoph Luitpold. Baldassare Peruzzi als Maler und Zeichner. Review. VIII: 57

Frontier, Jean-Charles. XLI: 359–77, figs. 1–25, and back cover

Frost, George. IV: 163–68, fig. 1, pls. 24–25a, 26–27a, 28–30, 32; XLVI: 435, fig. 8 (after Gainsborough)

______ coll., formerly. XLVI: 464, 474, 520, figs. 27, 47, 119 (Gainsborough)

Fruytiers, Philip. XXI: 163–66, figs. 1–3, pl. 39

Fryberger, Betsy. XLII: 145–59 (STANFORD UNIVERSITY DRAWINGS COLL.)

Fubini, Giorgio. II: 123–41 (RUBENS)

Fucci, Robert. LVI: 409–15 (REVIEW)

Fuente Pedersen, Eva de la, see Garff, Jan, and Eva de la Fuente Pedersen

Füger, Heinrich Friedrich. XXII: 48–49, 52, 55, fig. 6, pl. 35a (portrait of)

Fuhring, Peter. XXXIII: 58–64; LI: 243–56 (REVIEWS)

______. Design into Art. Drawings for Architecture and Ornament. The Lodewijk Houthakker Collection. Review. XXIX: 194–98

Fünfzig itelienische Zeichnungen des 16.-18. Jahrhunderts aus der Stiftung Ratjen, Vaduz. Review. XXXVI: 211–13

Furnerius, Abraham. V: 197; XLVI: 112, fig. 4

______, Johannes Claesz., Dr., formerly. LV: 48, fig. 134 (studio of A. Bloemaert?)

Fuseli, Henry. VI: 171; XI: 272–76, figs. 1–2, pl. 28; XIII: 293; XXVI: 253–58, pl. 14; XXVIII: 184, fig. 3 (engraving after); XXXIV: 432–33, fig. 2; XXXIX: 117, fig. 6; 181, fig. 10; XLI: 74–75

The Fuseli Circle in Rome. Early Romantic Art of the 1770s. Review. XVIII: 54–55

Füssli, Johann Rudolf. XXII: 50, fig. 4 (portrait of)

Fyt, Jan. XLIX: 482, fig. 4 (formerly attributed to)

 

Gabburri, Francesco Maria Niccolò. XXIII–XXIV: 367–77

______, formerly. XLVIII: 456, 459, figs. 2 (Jusepe de Ribera and Domenico Stagi), 3 (anonymous artist and Domenico Stagi), 4 (Pietro Antonio de Pietri and Domenico Stagi), notes 7, 15–16; LIII: 485–87, figs. 1–2 (inscriptions in his hand), 3 (Gaspare Redi), 4 (his inventory), nos. 1 (Arpino), 3 (Benefial), 4, 8 (anonymous), 5 (Botti), 6 (Callot), 7 (Campiglia), 9 (Cignani), 10 (Coccapani), 11 (Crespi), 12, 18 (Ferretti), 13–14 (Ghezzi), 15 (copy after Helmbreeker), 16 (Vaillant after Lely), 17 (Liotard), 19–20 (Mehus), 22 (Daniel Mijtens ii), 29 (Faldoni), 31 (Ruijter), 32 (Sabatini), 34 (Schalcken), 35 (Sirani), 36 (Redi), 37 (Tuscher), 39 (copy after Titian), 40 (Volterrano), 44 (Watteau), 45 (Zuccarelli), note 6

Gabrielli, Giovanni, called Il Sivello. XXXIV: 21, fig. 19 (portrait of)

Gagliardi, Filippo. XLVII: 64, fig. 10 (and Camillo Cungi, engraving); LIII: 2–3, 5–8, 15 (and Filippo Lauri)

Gaillard, René. XIV: 257, fig. 22 (engraving after Boucher); XVII: 262–63, fig. 1 (engraving after Boucher)

Gaillard-Longjumeau, Councillor de, formerly. XLV: 96, fig. 8 (Puget)

Gaines, John R., formerly. LVI: 495, front cover (Claude Lorrain), note 32

Gainsborough, Earls of, formerly. XLIII: 508, fig. 2 (Guercino), note 2

Gainsborough, John. XLVI: 456, fig. 15 (portrait of)

______, Margaret (c. 1728–1798). XLVI: 460, fig. 2 (portrait of)

______, Margaret (1751–1820), formerly. XLVI: 475, fig. 48 (Gainsborough)

______, Thomas. III: 243–53, 256, fig. 4, pl. 3; IV: 163–68 passim, fig. 2, pls. 25b, 27b; X: 45–47; XIX: 55–56; XXI: 367–91, figs. 2, 5, pls. 1–19; XXVI: 259–71, figs. 1–9, pls. 15–22; XXXVIII: 285, 291, fig. 1; XLVI: 417–541, figs. 1–3, 5, 7, 8 (after), 9–141, front and back covers; 544, fig. 3

Gainsborough and Reynolds in the British Museum. Review. XVIII: 58–59

Gainsborough Drawings. Review. XXII: 328–29

Galanini, Baldassare. XLVI: 356, fig. 12 (etching after Raphael and studio)

Galassi, Susan Grace. XXXVIII: 285–92 (DRAWINGS IN THE FRICK COLLECTION)

______, see also Brown, Jonathan, and Susan Grace Galassi

Galeotti, Sebastiano. VII: 56, pl. 34; XXIII–XXIV: 243, pl. 52b

Galestruzzi, Giovanni Battista. IX: 252–53, fig. 1 (etching); XXXII: 41–47, figs. 3–4, 6, 8, 11 (etchings); LVI: 474, 476, figs. 24–25 and 29 (etchings after Polidoro da Caravaggio)

Galitz, Kathryn Calley. L: 553–55 (REVIEW)

Gallant, Aprile. XLII: 58–67 (SMITH COLLEGE MUSEUM OF ART DRAWINGS COLL.)

Galle, Cornelis. LI: 255, figs. 8–10 (?)

______, Cornelis ii. XV: 162–63, fig. 1 (engraving after Boeckhorst)

______, Philip. II: 37–39, fig. 1(?)

______, Theodoor. XII: 133–34, fig. 1 (engraving after Rubens)

Galleria dell’Accademia di Venezia. Disegni lombardi. Review. XXI: 288–89

Galli coll. II: 245–46, 260, fig. 1 (Bedoli), note 7

Galli, Marco, Cardinal. XLVII: 72, fig. 3 (portrait of)

Gallucci, Gloria. XLVIII: 327–40 (VERONESE)

Galluzzo, Certosa di Val d’Ema. II: 364–65, fig. 1 (Bronzino); XXI: 276, fig. 1 (Biliverti), note 9

Gambara, Lattanzio. IV: 134–35, fig. 3 (?); XXIII–XXIV: 203, fig. 2

Gamberucci, Cosimo. XX: 164, fig. 1

Gamelin, Jacques. XXXIV: 414–17, figs. 1–2

Gamle mestertegninger fra Sophus Larpents samling. Review. XXXIX: 68

Gandini, Giorgio del Grano. VIII: 282–83, figs. 2–3, pls. 40–41; XXIII–XXIV: 200, fig. 1; LIII: 59–80, figs. 5–14, 15 (here attributed to), 16, 17–18 (here attributed to), 19–20, 21 (here attributed to)

Gandolfi, Gaetano. XIV: 159–65, figs. 1–2, pls. 28–32; XXXI: 466, figs. 7–8

______, Mauro. XXXIII: 144–51, figs. 3–6

______, Ubaldo. XIV: 159–65, figs. 3–5, pls. 33–39; XX: 158–60, fig. 4; XXIII–XXIV: 208, pl. 16; XXXI: 463–66, figs. 1–6; XXXIII: 144, 148, figs. 1–2, 7; XLVI: 101–3, figs. 1–5

______ family. XXXIII: 177–81

Gansevoort, Henry Sanford. XXXVI: 9, fig. 4 (portrait of)

______, General Peter. XXXVI: 9, fig. 2 (portrait of)

______, Judge Peter. XXXVI: 9, fig. 3 (portrait of)

Ganz, James A. XLII: 111–24 (CLARK ART INSTITUTE DRAWINGS COLL.); 176–77 (REVIEW)

______, Jo Ann & Julian, Jr. XXIII–XXIV: 421 (review)

______, Kate coll. XLIV: 283, fig. 7 (J. Johns), note 14

______, see also London, Kate Ganz, Ltd.

______, Paul coll. IV: 18–19, note 12; XXIX: 349, 352, fig. 5 (attributed to G. B. Pace)

Garbo, Raffaellino del. II: 285; LI: 71, fig. 10

Garches, near Paris, Hospital Chapel. XLIX: 222, fig. 2 (Rivalz), note 3

García de la Torre, Fuensanta. XLVIII: 514–40 (RAFAEL ROMERO DE TORRES)

______. Dibujos del Museo de Bellas Artes de Córdoba. Review. XXXVII: 443–48

Gardiner, Richard, formerly. XLVI: 472, fig. 41 (Gainsborough)

______, Susan. XXI: 373–74, fig. 4 (?)

Gardner, Rodney, formerly. XLVI: 524, fig. 127 (Gainsborough)

Gardonio, Matteo. XLIX: 249–52 (GIOVANNI BOLDINI)

Garff, Jan. Drawings by Rembrandt and Other 17th-Century Dutch Artists in the Department of Prints and Drawings, The Royal Museum of Fine Arts, Copenhagen. Review. XXXV: 196–98

______, and Eva de la Fuente Pedersen. Rubens Cantoor. The Drawings of Willem Panneels. A Critical Catalogue. Review. XXIX: 416–30

Gargiulo, Domenico, called Micco Spadaro. IV: 60; XXXI: 351, 353, fig. 5

Garlick, Kenneth. III: 52–54 (REVIEW)

Garofalo (Benvenuto Tisi). XXV: 143–45, fig. 3, note 1, pls. 1 and 3 (workshop of, after Roberti); XLVI: 353, fig. 10

Garofalo, Raffaele. LI: 23, fig. 14 (Passarotti), note 48

Garvey, Eleanor M. XXV: 164–65 (REVIEW)

Garzi, Luigi. V: 10–16, pls. 1, 5; XLV: 51, fig. 11; 114, figs. 23–24

Gasc, Amédée-Paul-Émile, formerly. LV: 65, fig. 192 (A. Bloemaert)

______, Charles, formerly. LII: 23, 41, fig. 31 (Genga); 95–110, figs. 2–4 (collector’s mark), 5 (signature), 6 (annotations and signature), 7 (Jusepe de Ribera), 8 (Simon Vouet), 9 (Arpino), 10 (Hendrik de Clerck), 11 (Goya), 12 (Fra Bartolommeo), 13 (Elsheimer), 14 (Mellin), 15 (Klotz), 16 (Jordaens), notes 3, 5, 10, 23–24, 38–39, 41, 43, 68

______, Paul-Émile, formerly. LII: 23, 41, fig. 31 (Genga); 95–110, figs. 1–2 (collector’s marks), 7 (Jusepe de Ribera), 8 (Simon Vouet), 10 (Hendrik de Clerck), notes 3, 5, 23

Gaskin, John. XVI: 156–58, pl. 27 (Della Bella)

Gaspard Dughet und die ideale Landschaft. Die Zeichnungen im Kunstmuseum Düsseldorf. Review. XXI: 182–83

Gassier, Pierre. Francisco Goya. Drawings. The Complete Albums. Review. XII: 285–86

Gathorne-Hardy, G. M. I, 1: 3, 9, note 8, pl. 4 (Parmigianino); X: 167 (review)

______, formerly. XXIII–XXIV: 72–73, fig. 5 (Perino del Vaga)

Gatta, Bartolomeo della. XXV: 137–38, figs. 8–9 (attributed to)

Gatteaux, Jacques Edouard, formerly. LII: 46, fig. 67 (Genga)

Gatti, Bernardino. VIII: 281, pls. 36–39; XXXIV: 185, fig. 28

______, Oliviero. XXXI: 407–408, fig. 1; XXXIII: 188–89

Gaud, Michel, formerly. XXVI: 17–18, 37, note 32, pl. 8 (Sermoneta); XXXIII: 280, 298, figs. 57, 77–78 (T. Zuccaro); XLII: 343, fig. 9 (G. Salviati); LV: 70, fig. 211 (A. Bloemaert)

Gauguin, Paul. LVI: 105, fig. 1

Gaulli, Giovanni Battista, called Il Baciccio. III: 258; X: 111–25, figs. 1, 3, pls. 1–11; 231–59, figs. 2–3, 5–6, 7–8 (after), 9–12, 13–14 (after), 15–18, pls. 1–21; XVII: 286; XXXI: 436–39, figs. 1–4, 7; XXXIX: 54, fig. 7; XLIV: 221–28, figs. 1–4; XLVII: 70–78, figs. 1–4, 5 (or copy after), 8 (after); LVI: 74, fig. 55 (after)

Gaultier, Léonard. XVIII: 155, fig. 2 (engraving)

Gavarni, Paul. XLII: 74, fig. 8

Gavazza, Ezia. Lorenzo de’ Ferrari. Review. IV: 312–13

Gawet, Franz, formerly. XLV: 530–32, figs. 2 (Schrieck), 4–5 (anonymous artist), 6–8 (17th-century artist), notes 7, 9–13

Gaywood, Richard. XLIX: 487, 489–90, 510, 514, 516, figs. 12, 18, 20, 55–56, 58, 63, 66–69 (etchings after Francis Barlow)

Gdańsk, Muzeum Narodowe w Gdańsku. XXXIV: 125, fig. 2 (Memling); LV: 24, fig. 60 (copy after A. Bloemaert?)

______, Pomeranian Museum. V: 400–03, figs. 1–2 (G. B. Tiepolo)

Gealt, Adelheid M., and George Knox. Domenico Tiepolo: A New Testament. Review. XLVII: 381–85

Geddes, Helen. XLI: 384–88 (REVIEW)

Gedenkschrift für Richard Harprath. Review. XXXVIII: 471

Gehler, Johann August Otto, formerly. XLII: 345, fig. 12 (after G. Salviati)

Geiger, Benno coll., formerly. IV: 420, note 1; XXVI: 19–20, 37, note 36, pl. 12 (Sermoneta); LV: 523, fig. 44 (Greuze)

Geismar, Pierre, formerly. XXXII: 343, fig. 19 (L. Tiepolo)

Geissler, Heinrich. XII: 184–85 (REVIEW)

Gelder, Dirk van. XVI: 172–76 (BRESDIN)

______, J. G. van. IV: 286–88 (JORDAENS); V: 39–42 (VAN DE VELDE); IX: 154–59 (DÜRER); XIII: 170–73 (REVIEW)

______, Justus de. L: 400, fig. 1

Gellatly, John, formerly. XXXI: 350–63, figs. 1 (circle of Boccaccino), 2 (Roncalli), 3–4 (Mola), 5 (Gargiulo), 6 (circle of Luca Giordano, Nicolò Rossi?), 7 (Fracanzano?), 8–9 (Stanzione), 10–11 (Falcone), 12 (Vaccaro?), 13 (Pietro Aquila), 14 (Francesco di Maria?), 15 (Giaquinto); XLII: 126, fig. 1 (Hassam)

Gellée, Claude, called Le Lorrain, see Lorrain, Claude

Gelli, Giovanbattista. Gelo di Pierfrancesco Giambullari (1546). XLIII: 307, fig. 22 (woodcut after Salviati)

Gelosi, Conte, formerly. XXXI: 409, fig. 3 (Bononi), note 4; XLIII: 479, fig. 27 (Cortona)

Gemito, Vincenzo. XLII: 14, fig. 12; LI: 545, fig. 6

Gemona, S. Giovanni Battista. XXXIV: 175, fig. 10 (Amalteo)

Geneva, art market, formerly. XLVII: 520, fig. 1 (Mola), note 1

______, Galerie de Loës, formerly. XLIV: 435, fig. 44 (anonymous artist)

______, Musée d’Art et d’Histoire. VII: 420–21, fig. 5 (Bononi), note 45; XXIII–XXIV: 254–57 (review); XXXIII: 333–36 (review); XXXVI: 33, fig. 2 (Van Muyden), note 3; XXXIX: 248, fig. 35 (La Fosse), note 70; XLIV: 520–21 (review); XLVII: 374, figs. 18 (D. Rijckaert iii after Willem van Herp), 19 (Willem van Erp), notes 42, 45; XLVIII: 232, fig. 7 (Liotard), note 6; LII: 159, 163, 165, figs. 34–35, 46–48, 51 (Bernard Salomon woodblocks), notes 30–31, 39; LIII: 491, no. 17 (Liotard)

______, Musée Rath. XXIII–XXIV: 254–57 (review)

______, Private coll. XXXVIII: 58, fig. 1 (Van der Haagen), note 9; XLII: 207, 225, fig. 40, front cover (E. Sirani), note 80; XLIV: 435, fig. 44 (anonymous artist)

Genga, Girolamo. LI: 148, fig. 4; LII: 3–58, figs. 1–2 (workshop of Luca Signorelli, Genga?), 3–6, 8–13, 14 (attributed to), 15–17, 18 (contract), 19–22, 23 (attributed to), 24–38, 39–40 (attributed to), 41–46 and cover, 47 (with later additions), 48 (workshop of), 49, 50 (workshop of), 51 (with later reworkings), 52–65, 66–68 (attributed to), 69–71 (workshop of Luca Signorelli, Genga?), 72–73 (attributed to)

Gennari, Cesare. XLVIII: 179–80, figs. 3–4

______, Lorenzo. LIII: 441, fig. 4

Genoa, Accademia Ligustica di Belle Arti. IX: 121–23, fig. 2 (Franceschini), note 17; XXX: 64, figs. 11–12 (Perino del Vaga)

______, art market, formerly. XX: 134–35, fig. 3 (Castello)

______, Comune. XXII: 431–32, note 6, pl. 27 (Piazzetta); XXVIII: 315, fig. 1 (unknown artist)

______, Museo di S. Agostino. XXXIII: 414, fig. 1 (G. B. Castello), note 3

______, Palazzo Carrega-Cataldi. XXIII–XXIV: 230–31 (L. de’ Ferrari)

______, Palazzo Ducale. XVI: 419, 447 (review); XXXI: 472, fig. 7 (G. David)

______, ______, Sala del Maggior Consiglio. XXI: 26, 29, fig. 7 (Franceschini)

______, Palazzo Reale. XIII: 27, fig. 1 (Castello)

______, Palazzo Rosso, Gabinetto Disegni e Stampe del Comune. IV: 313, pl. 39 (G. de’ Ferrari); VII: 431, pl. 38 (Guercino); IX: 132, note 50, pl. 13 (Franceschini); X: 365–77, fig. 6 (Savonanzi), pls. 35a, 38a, 41b (Bononi); XIII: 33, 35–36, fig. 7, pls. 16–19, 22 (Castello); XIV: 63, pl. 33 (Barocci); XVII: 410, 412, fig. 18 (Guercino); XXIII–XXIV: 204–07, notes 4, 17, 20, pls. 11 (L. Carracci), 12 (Empoli), 13 (G. A. de’ Ferrari); XXV: 228, fig. 10 (L. Carracci); XL: 221, 231, figs. 11, 27 (Tiarini), notes 41, 59; XLV: 380, fig. 28 (Vieira Lusitano), note 42

______, Private coll. XIII: 34, fig. 8 (Castello)

______, S. Maria in Carmine. XXXI: 473, fig. 12 (G. David), note 43

______, S. Maria in Passione. XIII: 29–32, figs. 2–4 (Castello); XX: 132–33, fig. 2 (Castello)

______, Villa Doria. XXIII–XXIV: 193–99, figs. 1–2, 3 (plan); XXV: 410–13, figs. 2–4 (Perino del Vaga)

Genoa-Quarto, S. Gerolamo. XXIII–XXIV: 206, fig. 1 (G. A. de’ Ferrari), note 22

Genoese Baroque Drawings. Review. XI: 293–94

Gent, Belgium, see Ghent

Georg, Prince of Prussia, formerly. LI: 454, fig. 9 (anonymous), note 29

George iii, King of England, formerly. XLIII: 468, 480, figs. 18, 28 (Cortona); XLVII: 305, fig. 53 (“False Amand” hand); LII: 36, 45, fig. 55 (Genga)

George Sand, une nature d’artiste: Exposition du bicentenaire de sa naissance. Review. XLIII: 226

Gerdts, William H. II: 58–60; IV: 309; VI: 170 (REVIEWS)

Gere, Charlotte. XV: 269–78 (WINDSOR DESIGN BOOK)

______. Victorian Jewellery Designs. Review. XI: 55

Gere, J. A. I, 1: 43–45 (POLIDORO DA CARAVAGGIO); I, 4: 3–18 (TROMETTA); VI: 249–51 (POLIDORO DA CARAVAGGIO); VIII: 123–40 (ZUCCARI); 172 (LETTER); IX: 173 (OBITUARY); 239–50 (LIGORIO); XI: 150–54 (PEREZ DA LECCIO); XV: 256–57 (CORREGGIO); XVI: 180–85; XXIII–XXIV: 61–74 (REVIEWS); XXXI: 70–73 (OBITUARIES); 339–49 (BRITISH SEVENTEENTH-CENTURY COLLECTION OF DRAWINGS); XXXIII: 219–22 (obituary); 223–323 (T. ZUCCARO)

______. Portrait Drawings, XV-XX Centuries. Review. XII: 395

______. Taddeo Zuccaro. His Development Studied in His Drawings. Review. IX: 60–62

______, and Philip Pouncey. Italian Drawings in the Department of Prints and Drawings in the British Museum. Artists Working in Rome c. 1550 to c. 1640. Review. XXII: 212–14

______ coll. III: 56, fig. 2 (Vasari); VI: 114–16, pl. 4 (Domenichino)

______, see also Pouncey, Philip, and J. A. Gere

Gerhardt, Robert E. LVI: 193–232 (MICHIEL VAN MUSSCHER)

Géricault, Théodore. I, 1: 21–34, fig. 3, pls. 20b-31; XX: 135–48, figs. 1–3, pls. 31–33; XXIII–XXIV: 563–67; XXVII: 341–57, figs. 1–15; XXXIV: 375–89, figs. 1–16; XLII: 147, fig. 3 (after Rubens); LIV: 82, fig. 6; LVI: 106, fig. 2

Gerin-Pierre, Claire, Arnauld Brejon de Lavergnée, Barbara Brejon de Lavergnée, and Jean-Claude Boyer. Simon Vouet ou l’éloquence sensible. Dessins de la Staatsbibliothek de Munich. Review. XLII: 173–75

Gerlagh, A. W., see Bakker, B., E. Fleurbaay, and A. W. Gerlagh

German Drawings from the Collections of H. M. the Queen, University College, London, and the Courtauld Institute of Art. Review. VIII: 170–72

German Master Drawings of the Nineteenth Century. Review. XI: 184–86

German Masters of the Nineteenth Century. Paintings and Drawings from the Federal Republic of Germany. Review. XX: 47

German noble family, formerly. XXXI: 221, fig. 2 (Goltzius)

Germany, formerly. XXXI: 267, fig. 69 (Goltzius)

______, art market. XXXIII: 258, fig. 35 (T. Zuccaro)

______, ______, formerly. XLV: 354, fig. 1 (Carreño de Miranda), note 3; XLVI: 480–81, figs. 55–56 (Gainsborough)

______, Private coll. V: 162, pl. 21 (Ostade); XXVIII: 129, 132, fig. 5 (Perino del Vaga), note 18; XXXI: 249, fig. 45 (Goltzius); XXXII: 55, fig. 1 (Rubens); XXXIII: 260–61, figs. 36–37 (T. Zuccaro); XXXV: 365, fig. 38 (Molyn); XXXVII: 262, 265, 269, figs. 5–6 (M. Schongauer), note 7; XXXVIII: 37, fig. 16 (Fenzoni), note 35; 58, fig. 3 (E. van de Velde), note 7; XLVIII: 213, fig. 31 (Pinelli), note 66; L: 523, fig. 2 (copy after Adam Elsheimer), note 3; LI: 159, figs. 1, 3 (Caravaggio), note 1; LV: 291, 293, 301–2, figs. 1–2, 14, 17 (B. Parentino), note 2

______, ______, formerly. XLVIII: 327–40, figs. 1–3, 6, 9, 12–16, 18, 22–23, 25–27, 29, 31–32 (Veronese), note 2; LIII: 229, fig. 1 (Dominique-Vivant Denon), note 2; LV: 81, figs. 253–54 (A. Bloemaert)

______, Private coll., c. 1983. XLV: 177, fig. 16 (Swanevelt), note 30

______, Southern, Private coll. XXXIX: 124, fig. 14 (Schwind), note 36

Germisoni, Filippo. V: 6, 19–20, pl. 13; XXI: 138–40, fig. 4, pls. 2–3 (?)

Gernsheim coll. IV: 30–31, fig. 4 (Annibale Carracci); VIII: 40, fig. 1 (Annibale Carracci)

Gerritsen, H. Ph., formerly. XLIII: 17, 46, figs. 3, 5 (Van deer Cooghen)

Gerritsz., Hessel. XIV: 166–69, fig. 1 (engraving after Vinckeboons)

Gerstenberg, formerly. I, 1: 15–20, note 10, pl. 12b (Goya)

Gerszi, Teréz. V: 396–99 (MARCO RICCI); XXX: 367–95 (TOEPUT); XLVII: 468–73 (PIETER DE JODE i and JAN BREUGHEL i)

______. Paulus van Vianen Handzeichnungen. Review. XXIII–XXIV: 416

______. Seventeenth-century Dutch and Flemish Drawings in the Budapest Museum of Fine Arts: A Complete Catalogue. Review. XLVI: 109–13

Gesner, Konrad. XLV: 440, 451, figs. 12, 19, 25, 27, 29 (associated with), 31 (attributed to La Grese, after anonymous artist associated with Konrad Gesner)

Gessi, Francesco. XXVII: 239, fig. 5 (?)

Das gestochene Bild. Von der Zeichnung zum Kupferstich. Review. XXVII: 370–72

Getty, J. Paul, formerly. LII: 376–77, fig. 8 (tapestry from the factory of Frans Geubels), note 25

Geubels, Frans. LII: 375–77, figs. 7–9, 11 (tapestry factory of)

______, Jacob ii. XXIII–XXIV: 214–15, fig. 1 (after Jordaens)

Gheeraerts, Marcus, the Elder. XLIX: 508, 513, figs. 54 (etching attributed to), 62 (etching)

Ghelfi, Barbara. XL: 213–38 (ALESSANDRO TIARINI); XLII: 178 (LETTER)

Ghent, Church of St. Michael. XV: 164–65, fig. 4 (Boeckhorst)

______, Museum van de Bijloke. XXV: 373–74, fig. 11 (tapestry after Kempeneer); XLV: 524, fig. 4 (Hoefnagel), note 14

______, Museum voor Schone Kunsten. XIX: 284, fig. 11 (after Bosch?); XXIII–XXIV: 421–22 (review); XXVI: 119–32, notes 13, 15–16, 19–20, 25, 28, 32, 36, 39, 43, 46–47, 52–53, 57, pls. 26–39 (Crayer), 40–41 (Crayer, after Titian), 42–43 (Crayer, after Rubens); XXXVI: 83, fig. 1 (De Crayer), note 2

______, Private coll. III: 141, fig. 14 (Cornelis van Haarlem)

______, Rijksuniversiteit Bibliotheek. X: 133–37, pls. 14–21 (Holbein)

______, St. Bavo. XLIII: 227, fig. 7 (Jan van Eyck)

______, Universiteitsbibliotheek. LII: 282, 327, fig. 9 (Coecke van Aelst); LIII: 158, fig. 17 (Piranesi), note 34

Ghent-Bruges illuminator. XLI: 233, fig. 3

Ghent Master. XLI: 313, fig. 7 (circle of Hugo van der Goes)

Gherardi, Antonio. VII: 413, 422, figs. 7 (after), 8; XVII: 147–52, figs. 1–2, pls. 19–22

Gherardini, Melchiorre. XXI: 288–89, fig. 1

Gherardo Cibo, alias Ulisse Severino da Cingoli. Disegni e opere da collezioni italiane. Review. XXVIII: 193–96

Gherwen, Reynier van. VI: 271, fig. 2, pl. 35a

Gheyn, Jacques de ii. III: 381–83, pl. 27; IV: 290–91, fig. 4 (attributed to); XII: 183; XXVI: 52–55; XXXI: 342, fig. 19; LIII: 435–38, figs. 1–4, 6–7; 532, back cover; LV: 403, fig. 4; LVI: 108, fig. 5

______, ______ iii. I, 2: 3–12, figs. 1–5, pls. 1–7

Ghezzi, Giuseppe. XXIX: 236, fig. 1 (after); XLIX: 175–78, figs. 3, 4 (after)

______, Pier Leone. XXXI: 454, fig. 4; XLIX: 177, fig. 4 (etching); LI: 527, fig. 2; LIII: 483, figs. 3–4; 490, nos. 13–14 (self-portraits)

Ghiberti, Lorenzo. VIII: 365, fig. 3; XIX: 431–38, fig. 10; XXVIII: 204, fig. 7

Ghidiglia Quintavalle, Augusta. Il Bertoia. Review. II: 169–73

Ghirardi, Angela. Bartolomeo Passerotti Pittore, 1529–1592. Catalogo generale. Review. XXXII: 163–68

Ghirlanda, Agostino. LV: 453, fig. 3 (and A. Lomi)

Ghirlandaio, Davide. II: 285

______, Domenico. II: 285, pl. 33; XXII: 159–72, figs. 1–3, pls. 1–14

______, Ridolfo. I, 3: 3–16 passim; II: 285; XXVII: 215–22, figs. 1–4, 6, pls. 22–30; 228, pl. 36; XXXI: 340, figs. 4–5 (or Lorenzo di Credi)

Ghisi, G. IV: 26–27, figs. 1–2

Giacometti, Alberto. LIV: 477–90, figs. 1–6

Giambologna. XLIX: 462, figs. 52, 53 (after); LIII: 239, 241, figs. 4–5; LVI: 63, fig. 41 (after)

Giampaolo, Mario di. XV: 28–31 (MALOSSO); XVIII: 47 (PULZONE); XXV: 150–51 (CALVI); XXXII: 380–82 (BERNARDINO CAMPI); XLVI: 393–96 (REVIEW); 545–46 (obituary), fig. 1 (portrait of)

______, and Andrea Muzzi. Correggio. I disegni. Review. XXVIII: 83–86

Giandomenico Tiepolo. Maestria e Gioco. Disegni dal mondo.Review. XXXVI: 310–13

Gian Lorenzo Bernini disegni. Review. XX: 389–93

Giani, Felice. XIV: 396–420, figs. 1–9, 11–12, pls. 17–40; XV: 284, fig. 1; XVIII: 253–57, figs. 1–3, pls. 30–31, 33a, 34, 36–37, 39a; XXI: 29, 31, fig. 9 (after Franceschini); XXII: 318–19, fig. 1, pl. 42; XLII: 41–42, figs. 4–5; XLVII: 81, fig. 6; LI: 544, fig. 4

Giaquinto, Corrado. XXII: 434–40, pls. 28–39; XXXI: 357, fig. 15; XXXVII: 416–26

Giani, Felice. XXXIX: 425–30

Gibbons, Felton. IV: 410–13 (VIVARINI)

______ coll., formerly. XL: 125, fig. 20 (Nebbia), note 38

Gibbs, Henry. XLIX: 455, figs. 36–38 (attributed to), 39

Gibson, Katharine. XXX: 314–19 (SAMUEL COOPER and THOMAS SIMON)

Gibson-Wood, Carol. XXXII: 203–29 (JONATHAN RICHARDSON)

Gigante, Giacinto. LIV: 455, fig. 28

Gigoux, J.-F., formerly. XLVII: 309, fig. 60 (anonymous)

______, Jean. I, 3: 40–43, fig. 1

______ coll., formerly. XLIX: 542, figs. 13 (Pompeo Batoni), 14 (Anton Raphael Mengs), notes 56–57

______, Jean-François, formerly. LII: 16, 41, figs. 20–22 (Genga)

Gijón, Instituto Jovellanos. IX: 65 (review)

______, ______, formerly. IV: 312–13, fig. 3 (F. Zuccaro); XVIII: 17–18, pl. 1 (Velázquez); XXV: 363, note 11, pl. 3 (Kempeneer)

______, ______ (destroyed 1936), formerly. XXXVII: 381, figs. 16 (Alonso Cano), 17 (copy after Alonso Cano), note 24

Gilbert, Creighton. VI: 3–20 (BERGOGNONE)

Giles, Laura M. XXVII: 223–27 (G. M. CRESPI); XXXVII: 156–64 (RAPHAEL)

Gillot, Claude. VIII: 35, pl. 31; XII: 49–56, pls. 38–39; XLIV: 464–86, figs. 1–2, 4–9, 10 (and Jean Audran?, etching), 11 (studio of ?), 12, 13 (and Jean Audran?, etching), 14 (studio of ?), 15 (and Jean Audran?, etching), 16 (studio of ?), 17–44; XLV: 43, fig. 4; XLVII: 159–73, figs. 1–8, 9 (tracing after), 10, 11 (tracing after), 12, 13 (? tracing after), 14 (after), 15, 16 (after)

______, Firmin. XVIII: 264–68, figs. 1–2, pls. 45–46

Gilpin, William. IX: 165–69, figs. 7–9

Giltaij, Jeroen. XV: 26–28 (SAENREDAM); XXVII: 111–17 (REMBRANDT); LIII: 45–58 (FERDINAND BOL); LV: 317–32 (CLAES VAN BERESTEYN and ADRIAEN VERBOOM)

______, and Friso Lammertse. XXXIX: 367–94 (DE BRAIJ FAMILY)

Gimignani, Giacinto. III: 176–77, figs. 2–3; XIX: 53; XXIX: 3–4, 13, 18, 21

______, Ludovico. XIV: 147–58, figs. 1–8, pls. 15–27; XIX: 53

Ginés de Aguirre, Andrés. LII: 509, fig. 24

Giocondo, Fra. VII: 274–75, fig. 19

Giolfino, Nicola. LVI: 443, 447, figs. 3–4 and back cover

Gionima, Antonio. XXXIV: 72, 76, figs. 2, 6–7 (or Sebastiano Ricci), 8

Giordano, Luca. III: 177–79; 258, pl. 14a; XIV: 386, pl. 7; XXXI: 353, fig. 6 (circle of, or Nicolò Rossi?); XXXVII: 103–37, figs. 1–32; 246, 254, figs. 14 (etching), 21; XXXVIII: 175, figs. 16, 17 (after); XXXIX: 295, fig. 12 (after); XL: 149, figs. 23–24; XLVII: 133–34, figs. 3 (after), 4, 5–6 (after); LII: 505, figs. 14–15; LVI: 326, fig. 23 (formerly attributed to)

Giorgetti, Giacomo. XL: 142, 144, figs. 12–14

Giorgione. XV: 38–40, fig. 5; XLVI: 46, fig. 8 (?); LIII: 179–90, figs. 3, 5 and 8 (here attributed to), 4, 6–7, 9

Giotto. XIX: 431–36, fig. 9

Giovanni Battista Piranesi. Review. XVIII: 61

Giovanni da Modena. II: 34–35, fig. 3

Giovanni da San Giovanni. XX: 266–68, figs. 9–10, pl. 16; XXIX: 200, fig. 3

Giovanni da Udine. I, 3: 50–51

Giovanni Morelli. Collezionista di disegni. Review. XXXV: 72–73

Giovanni, Bartolomeo di, see Bartolomeo di Giovanni

______, Matteo di. LI: 159, fig. 4

Giovannini, Giacomo. XXVII: 224–25, figs. 2–3 (engraving after L. Carracci)

Giovio, Paolo. XX: 371–74, fig. 1

Girke, Karin coll. XXXVII: 119, 136, fig. 28 (Luca Giordano)

Giroux, André, formerly. LV: 82, 88, 93–94, figs. 256, 277, 280, 292, 297 (A. Bloemaert)

Girtin, Thomas. V: 294, pl. 41; XIII: 293; XXXVIII: 280, fig. 2

Giudice, P. del. V: 289, pl. 31 (De Marchis)

Giusti coll., formerly. XXXVI: 79, fig. 1 (Guercino), note 1

Giusti, Francesco, formerly. XL: 219, 227, figs. 8, 18 (Tiarini), notes 29, 52; XLII: 210, fig. 4 (E. Sirani), note 18

______, Giuseppe, formerly. XLII: 222, fig. 35 (E. Sirani), note 72

Glackens, William James. XLII: 32, fig. 14

Gladbach, Bergisch, see Venator, Michael, and Bergisch Gladbach

Glasgow, Glasgow Museums. XLVIII: 183–84, 185, 187, 189, figs. 5, 7–8, 12, 15 (Guercino), 17 (Guercino or school), notes 18, 22, 27, 36, 44, 50

______, ______, Burrell coll. XXVII: 350, fig. 11 (Géricault); XLVIII: 179, fig. 1 (Guercino), note 1

______, ______, Kelvingrove Art Gallery and Museum. XXIII–XXIV: 221–22, fig. 7 (Jordaens)

______, University of Glasgow, Hunterian Museum and Art Gallery. XVI: 53–57, fig. 1 (Clerk), pl. 41 (Adam); XLVIII: 317, fig. 3 (Ugo da Carpi after Parmigianino), note 27

______, ______, Library. LVI: 471, fig. 18 (Andrea Alciato), note 44

Glasgow University’s Pictures. A Selection of Paintings, Drawings, Prints and Other Works from the Hunterian Museum, University of Glasgow. Review. XII: 62

Glass, Mr. and Mrs. Harry. XVI: 306, note 24, pl. 54 (Bartolini)

______, Julian Wood, Jr., formerly. XLVI: 452, fig. 13 (Gainsborough)

Glendale, CA, Samuel L. Francis Foundation. LI: 490, fig. 11 (Sam Francis), note 19

Gleyre, Charles. XIII: 161–69, figs. 1–5, pls. 26–37; XVIII: 279

Glockenden, Nikolaus. XVII: 362–67, figs. 5, 8, 10

Gnann, Achim. XXXVI: 198–204 (RAPHAEL); XLV: 229–35 (PENNI)

______. Raffael. Review. LVI: 369–84

______, and Domenico Laurenza. XXXIV: 292–302 (COXCIE)

Gobelins Manufactory. XXXVII: 271–76, figs. 2–3, 5–6

Gobiet, Armand. XVIII: 278 (review)

Godefroy, François. XXIII–XXIV: 390–93, figs. 3–4 (engravings after De Boissieu)

Goelet, John. IV: 257, 260–61, 280, pl. 3 (Ingres)

Goeree, Jan. IX: 51–54, pl. 24

Goes, Hugo van der. III: 26, pl. 18b (circle of); XXIX: 187–93, figs. 1–4, 5 (follower of), 6; XXVII: 39–52, figs. 1, 2 (follower of), 3–10, 11 (follower of), 12; XLI: 228–39, figs. 1, 2 (worshop of), 8 (follower of); 241, 253, fig. 1 (circle or workshop of); 313, figs. 6 (follower of), 7 (circle of); LV: 169, fig. 25 (copy after)

______, Johannes Antonides van der. LVI: 216, figs. 51–53 (portraits of)

Goethe, Johann Wolfgang von. VIII: 57

Gogh, Vincent van. XII: 156–65, pls. 22–23; XIII: 177; XX: 380–85, fig. 1, pl. 18; XLII: 50, back cover; 163, fig. 4; XLIV: 92–98, figs. 1–4; XLVI: 230, fig. 6; XLVIII: 232, fig. 9

Goguel, Catherine Monbeig, see Monbeig Goguel, Catherine

Golahny, Amy. XIX: 25–27 (DE BISSCHOP); XL: 243–48 (REMBRANDT)

The Golden Age. Dutch Seventeenth-Century Portraiture. Review. XIX: 315

Goldfarb, Hilliard T. XXVIII: 92–94; XXXIII: 64–68; XXXIV: 429–30 (REVIEWS); XLI: 404–07 (REVIEW)

Goldman, Jean. XXVI: 249–52 (BAROCCI); XXXV: 281–88 (FACCINI); XLIII: 273 (INTRODUCTION TO SIXTEENTH-CENTURY FLORENTINE DRAWINGS ISSUE)

______, Jean and Steven. XLIII: 344, fig. 6 (Cigoli), note 34; LIV: 178, 184, fig. 56 (Raffaellino da Reggio)

Goldner, George R. XXVIII: 262–64 (BRONZINO); XXXI: 172–76 (REVIEW); 426–27 (DOMENICHINO); XXXII: 371–79 (MANTEGNA); XXXVI: 29–32 (ANDREA DEL SARTO); XXXVIII: 76 (REVIEW); 346–52 (DRAWINGS IN THE J. PAUL GETTY MUSEUM AND THE METROPOLITAN MUSEUM OF ART); XL: 174–76; LIV: 101–6 (REVIEWS)

______. European Drawings. Catalogue of the Collections. Vol. I. Review. XXVII: 368–70

______ coll., formerly. XXXIII: 260–61, figs. 36–37 (T. Zuccaro)

______, see also Bambach, Carmen C., Hugo Chapman, Martin Clayton, and George R. Goldner

Goldstein, Carl. X: 23–25 (BOSSE)

______, Dr. M. A., formerly. XLV: 299, fig. 13 (El Greco), note 23

Goldyne, Joseph and Deborah, formerly. LV: 83, fig. 259 (A. Bloemaert)

Gole, Jacob. LVI: 216, fig. 53 (mezzotint and engraving after Van Musscher)

Golitsyn, Dmitry Mikhaylovich. XLIX: 533–48, fig. 2 (portrait)

______ coll., formerly. XLIX: 533–48, figs. 6 (Quirin Marck after Van Dyck), 7 (Van Dyck), 8 (copy after Rembrandt), 9 (anonymous 16th-cent. German), 10 (Rubens after Hans Holbein the Younger), 13 (Pompeo Batoni), 14 (Anton Raphael Meng), notes 47–48, 50, 52–54, 56–57

Goll van Franckenstein, Jonkheer Johan, the Younger, formerly. XLIII: 48, 58, figs. 57, 68 (Van der Cooghen); XLV: 204–5, figs. 6, 8 (copy after Elsheimer, Hendrik Goudt?), note 13; LV: 61, 65, figs. 178, 190, 193 (A. Bloemaert); LVI: 208, 223, fig. 32 (copy after Van Musscher)

______, Jonkheer Johann, the Elder. XXVIII: 323–31, figs. 3, 13

______ coll., formerly. XLV: 204–5, figs. 6, 8 (copy after Elsheimer, Hendrik Goudt?), note 13; LII: 79, 84, fig. 32 (Jan de Visscher); LV: 65, 106, figs. 190, 193, 346 (A. Bloemaert); LVI: 208, 223, fig. 32 (copy after Van Musscher)

______, Jonkheer Pieter Hendrik, formerly. XLIII: 48, 58, figs. 57, 68 (Van der Cooghen); XLV: 204–5, figs. 6, 8 (copy after Elsheimer, Hendrik Goudt?), note 13; LV: 65, figs. 190, 193 (A. Bloemaert); LVI: 208–9, 223–24, figs. 32 (copy after Van Musscher), 36 (Matthijs Naiveu after Van Musscher)

Goltzius, Hendrick. III: 126–42 passim; V: 191–93; 381, pls. 12, 13 (circle of); XIII: 142–44, figs. 2–3 (after), pl. 8; XVI: 397–98, figs. 1–2 (after), pl. 13; XIX: 174, 176, fig. 3; XX: 249–51, fig. 4; XXXI: 215–78, figs. 1–46, 47 (after Polidoro da Caravaggio), 48 (self-portrait), 49–55, 57–71, 73–77, 78–80 (?); 285, fig. 1; XXXV: 392, 96, figs. 1, 2 (after Polidoro da Caravaggio), 3–4; XXXVIII: 269, fig. 4; 424–43, figs. 1–4; XLV: 328, fig. 10 (after); XLVI: 212, fig. 8; LIII: 199, fig. 14; LIV: 521, fig. 21 (engraving); LV: 47, fig. 131 (engraving); 399–402, figs. 1–3 and back cover; LVI: 309–16, figs. 1–4, 7–9

Gómez de Mora, Juan. XLVIII: 467, fig. 2

Goncourt coll. XVI: 68

______, Edmond de. LV: 241, fig. 18 (portrait of)

______, coll., formerly. XLIV: 425, fig. 24 (Mercier), note 37

______, Jules de, formerly. XLIV: 425, fig. 24 (Mercier), note 37

Gonord, Pierre. XXXV: 247–48, 253, figs. 20, 48, 50–52 (engravings after Watteau after Rubens)

Gonzaga family. XXI: 66

Goodfriend, James and Carol. XXXI: 372, fig. 9 (engraving after Mantegna), note 22

Gordon, Dillian, see Syson, Luke, and Dillian Gordon, with Susanna Avery-Quash

______, Douglas H. coll., formerly. XXXV: 244, fig. 25 (Watteau, after Rubens)

______, George. XXVI: 49–52 (REVIEW)

______ coll. XVI: 66 (review)

______, Margot. LVI: 450, fig. 18 (Rufo), note 51

______, Margot and Leonard. XLII: 209, fig. 3 (L. Fontana)

______, Robert, see Elderfield, John, and Robert Gordon

Gore, Arthur, Sir, 7th Earl of Arran, formerly. XLVI: 500, fig. 84 (Gainsborough)

______, Charles. XV: 375–87, pls. 34, 36–38

Gorky, Arshile. XL: 9–23, figs. 1, 3, 5, 7–11; LIII: 369, fig. 3

Gornik, April. XLII: 131, fig. 9

Gorse, George L. XXIII–XXIV: 193–99 (PERINO DEL VAGA)

Gossaert, Jan. III: 403–05; XLII: 164, fig. 5; XLIX: 253–60, figs. 1–3, 6; L: 264–65, figs. 1–2; 306, fig. 38

Göteborg, Röhsska Konstlöjdmuseet. XV: 273–76, figs. 4, 6–7, 9 (Gunter)

Gothart-Nithart, Mathis, called Grünewald, see Grünewald, Matthias

Göttingen, Kunstsammlung der Universität. III: 130, 149, pl. 5 (Cornelis van Haarlem); 356, pl. 2a (Aertsen); IV: 6, 19, pl. 5 (Fenzoni); 61–62, fig. 1 (Loth); XIII: 145–47, fig. 1 (Houck), note l; XV: 403–17 (review); XVIII: 117, fig. 3 (after J. Muller), note 6; XXVII: 314, 317, 320, fig. 6 (Joos van Winghe), note 1; XLIII: 22, 48, fig. 16 (Van der Cooghen, after Jacob Jordaens); XLIV: 155, 176, fig. 49 and back cover (Kulmbach); 342, fig. 8 (Van den Bossche)

______, ______, Uffenbach coll. LVI: 208, 223, fig. 34 (Jacob Adriaensz. Backer after Van Musscher)

______, Niedersächische Staats- und Universitäts-Bibliothek. XXV: 408–09, fig. 23 (Kuthner)

Gottlieb, Carla. V: 296–303 (JONGKIND); VI: 395–404 (BOUDIN)

Gouda, Church of St. John the Baptist. XXIII–XXIV: 544–551, figs. 1–5 (W. Crabeth), notes 7, 21

______, Museum Gouda (on deposit from the Cultural Heritage Agency of the Netherlands). LVI: 208, fig. 33 (Van Musscher), note 38

Goudt, Hendrik. I, 2: 10; XLV: 204–5, figs. 6 (? copy after Adam Elsheimer), 8 (? copy after Adam Elsheimer); L: 528, fig. 4 (engraving after Adam Elsheimer); LIII: 198, fig. 11 (after Lucas van Leyden)

Goujon, Jean. XXI: 269–70, fig. 6, note 22

Gould, Cecil. XV: 45–48 (REVIEW); XXVII: 303–09 (MICHELANGELO); XXVIII: 434 (LETTER)

______, Mrs. M., formerly. XLVI: 460, fig. 20 (Gainsborough)

Goupy, Joseph. XLIV: 434, fig. 41

Gourdelle, Pierre. XLV: 445–46, figs. 14–15, 17, 20, 23 (after?)

Gouvernet, Charles-Frédéric de La Tour du Pin de Bourlon, marquis de, see La Tour du Pin de Bourlon, Charles-Frédéric de, marquis de Gouvernet

Govaerts, Abraham. V: 196; XVI: 293–302, figs. 7–8, pl. 47

Governolo, near Mantua, Parish Church. L: 87, fig. 8a (Malpizzi?), note 27

Govertsz., Dirck. LIII: 42, fig. 38

Goya y Lucientes, Francisco de. I, 1: 11–20, figs. 1–7, pls. 8–19; IV: 294–98, figs. 1–4, pls. 32–33; XII: 151–56, figs. 1–6, pl. 21; 285–86; XIII: 177; XXVII: 374–77 (review); XXXVIII: 311, fig. 1; XLII: 80–84, fig. 1; 118, fig. 9; XLV: 393, fig. 3; 394–98, figs. 1, 2 (after), 3; XLIX: 241, fig. 12 (etching and aquatint); LII: 99, fig. 11; 527, fig. 1

Goya and the Spirit of the Enlightenment. Review. XXVII: 374–77

Goya y el espíritu de la ilustración. Review. XXVII: 374–77

Goyen, Jan van. V: 198; XII: 39, pl. 28b; XXXIV: 192–94, figs. 1–2; XXXV: 155–81, figs. 1–38; XXXVI: 6, fig. 1; XLIX: 218, fig. 87; LIII: 15, 46, figs. 12, 42

Gozzoli, Benozzo. II: 282–84, pl. 30a; VI: 4–5, 14, fig. 1; VIII: 401, pl. 38; XII: 277–79, figs. 26, 28; XXXIII: 388–404, figs. 1–13 (workshop of)

Gradowczyk, Mario H. XLVI: 157–74 (ESTEBAN LISA)

Graf, Dieter. X: 356–60 (CORTESE); XXIX: 235–54 (PASSERI); XXXI: 441–48 (PIETRO DE PIETRI)

______. Die Handzeichnungen des Giuseppe Passeri. Review. XXXVI: 421–25

______. Handzeichnungen und Aquarelle, 1800–1850. Review. X: 168

______. Kataloge des Kunstmuseums Düsseldorf. Die Handzeichnungen von Guglielmo Cortese und Giovanni Battista Gaulli. Review. XVII: 286

Grafica del ’500, 2°. Milano e Cremona. Review. XXI: 64–65

Graham, Colonel Robert McCroskry, formerly. XXXI: 350–63, figs. 1 (circle of Boccaccino), 2 (Roncalli), 3–4 (Mola), 5 (Gargiulo), 6 (circle of Luca Giordano, Nicolò Rossi?), 7 (Fracanzano?), 8–9 (Stanzione), 10–11 (Falcone), 12 (Vaccaro?), 13 (Pietro Aquila), 14 (Francesco di Maria?), 15 (Giaquinto)

Grahl coll., formerly. II: 35–36, pl. 27 (Aspertini); IX: 26, 34, note 27, pl. 12 (Salviati); XI: 138, note 4, pl. 1 (Veronese)

Gramberg, Werner. Die Düsseldorfer Skizzenbücher des Guglielmo della Porta. Review. III: 281–82

Grammont, Saint-Barthélémy. XXVII: 57, 59, fig. 5 (Crayer)

Granacci, Francesco. II: 286

Granada, Cathedral. XLVII: 375, fig. 22 (Willem van Herp), note 52

______, ______ (on loan to the Fundación Rodriguez Acosta). XXXVII: 377, fig. 11 (Alonso Cano)

______, ______, High Altar. XXXVII: 383, fig. 18 (Alonso Cano)

La Granja (Segovia), Palacio Real, Colecciones Reales, Patrimonio Nacional. LV: 342–45, figs. 20, 22, 24 (Houasse), notes 23, 25

Grandjean, Jean. XII: 351–58, pls. 1–11

Granello, Nicolosio. XXIII–XXIV: 244, pl. 54b

Granet, François-Marius. LIV: 454, fig. 24

Grange-over-Sands, Cumbria, Holker Hall, see Holker Hall, Lord Cavendish coll.

Granville, OH, Denison Museum. IX: 43, pl. 18 (Maratti); LV: 13, fig. 26 (A. Bloemaert)

The Graphic Art of Federico Barocci. Review. XVI: 452

Graphik der Niederlande, 1508–1617. Review. XVIII: 279

Grasselli, Margaret Morgan. XIX: 310–12 (REVIEW); XXIII–XXIV: 377–89 (LANCRET); XXVI: 356–57 (NATTIER); XXXI: 103–27 (WATTEAU); XXXIV: 365–74 (LE MOYNE); XXXVIII: 159–66 (PATER); XXXIX: 310–34 (REVIEW); XLI: 62–69 (REVIEW); XLIV: 450–63 (LANCRET); XLVII: 443–46 (CLAUDE SIMPOL); LI: 471–80 (LOUIS DE BOULLOGNE THE YOUNGER); LII: 243–48 (REVIEW); LIII: 515–18 (JULIANA CORNELIA DE LANNOY AND DIRK LANGENDIJK)

______, see also Clark, Alvin L. Jr., and Margaret Morgan Grasselli

______, and Suzanne Folds McCullagh. XXXII: 168–71 (REVIEW)

Grassi, Luigi, formerly. XLIX: 99, 115, fig. 7 (Amico di Donato)

Gravelot. XX: 3–21, figs. 1–10, pls. 1–23; XXVIII: 338–43, figs. 1–4; XXXI: 156, fig. 15

Graves, John T., formerly. LVI: 205, 207, 223, figs. 23, 27–28, 31 (Van Musscher)

Grazia, Diane de, see De Grazia, Diane

Great Britain, Private coll. XI: 251–58, figs. 10–14, pl. 7 (Amalteo); XLII: 367, fig. 10 (workshop of G. B. Tiepolo), note 22; XLVII: 293, fig. 41 (Dughet), note 67; XLIX: 159, fig. 1 (Michelangelo), note 1

______, ______, formerly. XLVI: 492, fig. 74 (Gainsborough); XLVII: 513, fig. 1 (Polidoro da Caravaggio), note 1

Great Neck, NY, Private coll. XXVII: 156, fig. 33 (Maes), note 32

Grebber, Frans Pietersz. de. XXII: 295–97, figs. 1–2, 3 (attributed to)

______, Pieter de. XXII: 294–98, fig. 4, pls. 12–23; XXXV: 368, fig. 3; XXXVII: 71, figs. 1–2 (after), 3 (?)

El Greco. XLV: 291–324, figs. 1–9, 10 and front cover (attributed to), 11, 12–14 (attributed to), 15, 16 (attributed to), 19–20 (attributed to), 21 (or studio), 22–23 (attributed to), 24, 25–28 (attributed to), 29, 30–34 (attributed to), 35–37, 38–40 (attributed to), 41 (studio of), 42–43 (attributed to), 44, 45 (attributed to), 46, 47 (attributed to), 48, 49 (? attributed to), 50; XLVI: 121, fig. 2; LII: 429–52, figs. 1–4, 13–14, 22 (all attributed to), 15–16 (letter to Cardinal Farnese), 19 (inscription), tables 1–3 (handwriting samples)

Green, H. C., formerly. XLVI: 510, fig. 99 (Gainsborough)

______, Richard C. XXII: 194–205 (MOLINARI)

Greene, Edward B., formerly. LII: 75, 84, fig. 26 (Jan de Visscher)

______, Katrina. L: 153–56 (ERNEST HASKELL)

Greenhalgh, Michael. XXVI: 272–74 (REVIEW)

Greensboro, NC, University of North Carolina, Weatherspoon Gallery of Art. XL: 46, fig. 5 (D. Smith)

Greenville, SC, Bob Jones University Museum & Gallery. XVII: 254–55, fig. 9 (Domenichino); XLVI: 374, fig. 2 (Menzocchi), note 6; XLVIII: 183, fig. 6 (Guercino), note 20

Greenwich, National Maritime Museum. XIII: 293 (review); XV: 379–80, notes 22–25, pls. 33 (Van de Velde the Elder), 34, 36–38 (Gore), 35 (Van de Velde the Younger); XVII: 157–60, pls. 27–29 (Van de Velde the Elder), 31 (Van de Velde the Younger); XXI: 183 (review); XLIV: 21, 26, figs. 23 (De Vlieger), 34 (attributed to De Vlieger); XLIX: 203, 212, figs. 51, 77 (Simon de Vlieger), notes 56, 81

______, Ranger’s House, Wernher coll. LII: 306, fig. 39 (circle or follower of Coecke van Aelst), note 65

Gregori, C. XVI: 140–41, fig. 7 (engraving after Campiglia)

Gregg, Ryan E. LI: 323–42 (ANTON VAN DEN WYNGAERDE)

Grenoble, Musée de Grenoble. XLIII: 96, fig. 10 (Swanevelt), note 22; L: 119, fig. 3 (Santafede?), note 26; LIV: 43, fig. 40 (copy after Charles Le Brun), note 71; LV: 110, fig. 365 (A. Bloemaert)

______, Musée des Beaux-Arts. I, 3: 22, 27; XIII: 25–26, note 14, pl. 7 (Montero de Rojas); XXX: 210, fig. 1 (Fra Semplice da Verona); XLIII: 196, fig. 2 (Daret), note 23

______, Musée Municipal. XVIII: 277 (review)

Greuter, Johann Friedrich. XLI: 15, 24, figs. 3, 13 (engravings after Massimi); XLVII: 76, fig. 7 (engraving); LIII: 211, fig. 3 (engraving)

______, Matthäus. LIV: 171–73, figs. 43–44 (engravings)

Greuze, Jean-Baptiste. II: 294–95, fig. 1; XV: 280–82; XXXVIII: 248, fig. 5; 289, front cover; XLIV: 513, 515, figs. 1, 2 (attributed to); XLV: 103, fig. 1; LIII: 497–502, figs. 1–7; LV: 523, fig. 44

Greville, Charles, Sir, formerly. XLVI: 500, fig. 83 (Gainsborough)

______, George Guy, 4th Earl of Warwick, formerly. XLVI: 445, 500, figs. 11, 83 (Gainsborough); XLVII: 284, 290, 302, 310, figs. 25 (“False Amand” hand), 61 (anonymous)

Grez, Jean de, formerly. LII: 79, 84, fig. 32 (Jan de Visscher); LIV: 179, 184, fig. 58 (Raffaellino da Reggio)

Grien, Hans Baldung, see Baldung, Hans, called Grien or Grüne

Grien coll., formerly. XXXVIII: 46, fig. 27 (Fenzoni), note 47

Griffin, James R., formerly. XLVI: 490, fig. 71 (Gainsborough)

______, Mrs. W.L.A., formerly. XLVI: 490, fig. 71 (Gainsborough)

Griffith, Miss, formerly. XLVII: 70, fig. 1 (Gaulli), note 1

______, Moses. XX: 288

Griffiths, Antony. XLVIII: 356–67 (COLLECTIONS ONLINE: BRITISH MUSEUM)

Grillo, John. LI: 482, figs. 2–3

Grimaldi, Giovanni Francesco. II: 176; III: 369–80, figs. 1–3, pls. 10–26 (circle of); III: 413; IV: 300; V: 259; VII: 431, pl. 37; IX: 251–53, pls. 25–27; X: 145–50, figs. 1–2, pl. 27; XIV: 169–71, fig. 1, pl. 41; XX: 130–31, fig. 1, pls. 26–27; XXX: 320–25, figs. 1, 2 (engraving after Menghini), 3; XXXII: 40–49, figs. 1 (portrait of), 2, 5, 7, 10; XXXV: 43–49, figs. 1–10; XLVI: 9, 23, figs. 34–35; XLVII: 282, 301, 311, figs. 22, 24 (after)

Grimm, Ludwig Emil. XXXIX: 134, figs. 25–26

______, Samuel Hieronymus. XXII: 330

Griois, Charles-Pierre-Lubin, General baron, formerly. XLV: 24, fig. 17 (Taddeo Zuccaro)

Gris, Juan. XLII: 9, front cover

Griswold, William M. XXVII: 215–22 (R. GHIRLANDAIO); XXXI: 335 (EDITORS’ PREFACE); XXXII: 151–54 (BOTTICINI); XXXV: 229–33 (G. B. TIEPOLO and G. D. TIEPOLO); XXXVIII: 261–77 (DRAWINGS IN THE PIERPONT MORGAN LIBRARY); L: 7, fig. 12 (portrait)

Groenewegen, Pieter Anthonisz. van. LIII: 26, fig. 23

Grollemund, Hélène, see Trey, Juliette, with Hélène Grollemund

Gronau, Mrs. Carmen. IX: 140–41, fig. 1 (Turchi), note 4

Groningen, Groninger Museum voor Stad en Lande. VIII: 410–15 (review); XXXVI: 67, fig. 2 (Rembrandt), note 7; XLIII: 54, fig. 63 (Van der Cooghen); XLIX: 182, fig. 11 (Simon de Vlieger), note 12; L: 378, fig. 22 (Jan Siberechts), note 26; LIII: 469, fig. 4 (Jan Worst), note 14

Groot, Erlend de, and Peter van der Krogt, The Atlas Blaeuvan der Hem of the Austrian National Library. Review. XLVIII: 105–20

Gros, Pierre le, see Le Gros, Pierre

Grossman, Sheldon. X: 15–19 (VERROCCHIO)

Grossmann coll., formerly. XLII: 355, fig. 8 (J. Tintoretto), note 17

Grottaferrata, Abbazia di S. Nilo. V: 144–47, figs. 1, 3 (Domenichino); XVII: 245–46, fig. 1 (Domenichino)

Groult coll., formerly. XXXVIII: 160, fig. 2 (Pater), note 5

Grüne, Hans Baldung, see Baldung, Hans, called Grien or Grüne

Grünbaum, James. XXXI: 69 (LETTER)

Grünewald, Matthias. IX: 62–63; XIII: 293; XXXVI: 288–91, figs. 1–2; XLII: 61, fig. 6; XLIV: 198; XLVIII: 232, fig. 6

Grzymala, Monika. LIV: 405, fig. 1

Gsell, Friedrich Jakob, formerly. LV: 435, fig. 1 and front cover (Dürer), note 1

Guarana, Vincenzo. II: 180–81

Guardi, Francesco. I, 1: 51, pl. 44a; I, 3: 37–39, figs. 1–2, pl. 21; II: 178–79; 276–77, pls. 26–27; VI: 394–95, pls. 47–48; IX: 262–64, pls. 49–50; XI: 383–86, pls. 38–44; XV: 3–15, figs. 1–4, pls. 1–12; XXI: 179; XXV: 290–92; XXXVIII: 262, fig. 1

______, Giacomo. I, 1: 51–52, pl. 45; II: 179; XV: 3–15, pls. 13–15; XXV: 290–92

______, Gian Antonio. I, 1: 51, pl. 44b; II: 178; 276–77, pls. 26–27; IV: 293–94, pls. 29–31; VI: 30, pl. 12; 132–43, figs. 1–5, pls. 24–33; IX: 67; 262–64, pl. 48; XVI: 50–52, figs. 2–3, pl. 38

Guazzi, Anselmo. XLIX: 4, figs. 4, 5 (attributed to)

Gubernatis, Giovanni Battista de. LI: 540, 542, figs. 1, 3

Gucht, Gerard van der. VII: 9, fig. 2

Guelard, J. B. IV: 391–93, fig. 4

Guercino. I, 4: 58–59, pls. 40–41; II: 271; III: 407; V: 304, pl. 5; 380, pl. 7; VI: 169, fig. 1; VII: 157, pl. 34; 428–31, figs. 1–2, pls. 33–35, 36 (after), 38; XI: 271, pl. 27; 403; XVII: 401–17, figs. 1–19, pls. 10–33; XIX: 164–66, fig. 1, pls. 35–38; XXII: 211–12, fig. 3; XXV: 273–74; XXVIII: 186–87; XXIX: 52–58, figs. 3–8, pl. 21; XXXI: 47–54, figs. 1–5, 7–8; 60–63; XXXVI: 79–83, figs. 1–4; XXXVIII: 169, figs. 4, 5 (after); 305, fig. 1; XLII: 139, fig. 5; XLIII: 508–11, figs. 1–2; XLIV: 432, fig. 36; XLV: 241–47, figs. 1–4; XLVI: 246, fig. 26; XLVII: 518, fig. 2; XLVIII: 179–94, figs. 1–2, 5–8, 9 (after), 10–15, 16 (after), 17 (or school); 245–52, figs. 1–6, 7 (copy after), 8, 9 (after); LIII: 439–42, figs. 1–3; LIV: 84, back cover; LV: 523, fig. 45

Guercino. Master Draftsman. Works from North American Collections. Review. XXXI: 60–63

Guérin, Gilles. XXIX: 289, figs. 12, 15 (and Sarazin)

Guerin, Pierre. I, 1: 21–31 passim

Guerra, Giovanni. II: 176; IV: 48; XLVI: 91–100, figs. 1–5

Guffey, Elizabeth E. XXXIV: 390–99 (PRUD’HON and CONSTANCE MAYER); XXXVI: 315–16; XXXVII: 306–07; XXXIX: 65–67 (REVIEWS)

Guggenheim, Peggy, formerly. XLVI: 150, figs. 3, 5 (Pollock), notes 9, 11

Guichard, Claude. VIII: 270–71, fig. 1

Guicharnaud, Hélène. XXXII: 3–25; XXXVII: 181–88; XLVI: 104–8 (LOUIS DE BOULLOGNE)

Guido Reni und Europa. Ruhm und Nachruhm. Review. XXVII: 234–39

Guildford, Clandon Park (National Trust). XLIX: 488, fig. 16 (Francis Barlow), note 40

Guillain, S. XXXV: 6, 20, figs. 2, 22, 24 (engravings after Annibale Carracci)

Guillet, David, see Brugerolles, Emmanuelle, and David Guillet

Guiraud, Lucien, formerly. XLIV: 416, fig. 8 (Mercier), note 13

Guise, General John, formerly. LIV: 167, 192, fig. 33 (Raffaellino da Reggio)

Gulston, Joseph, formerly. XLV: 236, figs. 1–2 (Michelangelo), note 1

Gunnison coll., formerly. XLVII: 194, 196, 203, 206, 208, figs. 4, 7, 11, 15, 17 (Bouchardon), notes 40, 44, 85, 105, 129

Gunst, Pieter van. LVI: 199, 213, 215, figs. 14, 41, 47 (engravings after Van Musscher)

Gunter, Marcus. XV: 273–76, figs. 4, 6–7, 9

Gurley, William F. E., formerly. LII: 31, 44, fig. 46 (Genga)

Gustav iii, King of Sweden, formerly. LII: 27, 42, fig. 42 and cover (Genga)

Guthrie, James, Sir, formerly. XLVIII: 184, 187, 189, figs. 8, 15 (Guercino), 17 (Guercino or school), notes 27, 44, 50

Guy, Harold, formerly. XLVI: 148, fig. 1 (Pollock)

 

Haacke, I. 257, fig. 20

Haagen, Joris Abrahamsz. van der. XXVIII: 303–09, figs. 1–2, 4–7; XXXVIII: 58–61, figs. 1–2; LIII: 12, 39, 49, figs. 10, 35, 45

Haan, Galenus Abrahamsz. de. LVI: 215–16, figs. 47–50 (portraits of)

______, Maartje de, see Meij, A. W. F. M., with Maartje de Haan

Haarlem, Cornelis van, see Cornelis van Haarlem, Cornelis

Haarlem, Bubb Kuyper, formerly. LIII: 487, 493, fig. 3 and no. 36 (Redi); LV: 64, fig. 186 (copy after C. Bloemaert)

______, Frans Halsmuseum. III: 125–26, 141–42, figs. 1, 15 (Cornelis van Haarlem); XV: 51–54, figs. 2–3 (Cornelis van Haarlem)

______, Gemeentearchief. XXXIX: 389, figs. 27 (Jan de Braij), 28 (Dirck de Braij after Jan de Braij), note 48

______, Noord-Hollands Archief. XLIX: 200, fig. 43 (Simon de Vlieger), note 45; LIII: 315, fig. 9 (Van Kessel after De Vlieger), note 12; LIV: 292–368, figs. 6–7, 9–11, 15–16, 18–19, 23, 27, 29a–i, 33–35, 42, 44, 61, 67–70, 74–80, 90–91, 103–6, 108, 112, front and back cover (Frans Post), 51 (album binding), 52 (inscription on album flyleaf), 60 (album flyleaf), 63–66 (watermarks), 81–83 (inscriptions); LVI: 411, fig. 2 (Saenredam), note 3

______, Teylers Museum. I, 2: 16, 19, notes 18–19, pls. 11–12 (Metsu); II: 272, 275, pl. 18b (Mola); 297, pl. 47a (Testa); III: 386; IV: 136, 138–39, figs. 8 (after T. Zuccaro), 9 (Penni?), note 49; 299–304, figs. 1–2 (Ferri), 4 (Ribera); V: 387–89, pl. 27 (L. Carracci); VI: 112–18, pls. 3, 8–10 (Domenichino); VIII: 418–19, fig. 2 (Claude Lorrain); IX: 63–64 (review); 367, note 5, pls. 15a, 16a (Claude Lorrain); XI: 6–10, notes 9, 11, 17, pls. 1–2 (Venusti); 402 (review); XII: 40, fig. 1 (Koninck); 250–51, 258–59, fig. 3, note 13, pl. 27 (Rubens); 360, note 7, pl. 13 (Bertoia); 372, pl. 35b (Ribera); XVI: 8, fig. 8 (C. Visscher); 391–92, notes 32, 35, pls. 8, 10 (Canini); XVII: 9–10, 20, pl. 6a (A. van de Velde); XVIII: 122, 130, pl. 5 (J. Muller); XXI: 272, note 7, pl. 29 (Circignani); XXII: 452–53 (review); XXIII–XXIV: 5–30 passim; 41–42, note 26, pl. 16 (Schedoni); XXIX: 11, pl. 3 (Baldini), note 36; 381, fig. 33 (Mole); XXX: 435, fig. 2 (Mola); XXXI: 253, 264, figs. 49, 65–66 (Goltzius); 427, fig. 4 (Domenichino), note 2; XXXIV: 260, fig. 15 (Ferri); XXXVI: 378, fig. 1 (Baglione), note 3; 428–30 (review); XXXVII: 8, 19, 21, figs. 23, 26 (G. Reni); 235, fig. 6 (Pontius), note 8; XXXVIII: 427–28, figs. 2–4 (Goltzius); XXXIX: 5, fig. 3 (Michelangelo), note 11; 315, fig. 3 (Watteau); 379, 387, figs. 11–12, 14 (Joseph de Braij? after Salomon de Braij), 24 (Joseph de Braij after Jan de Braij); XL: 163, fig. 2 (Ligozzi); XLIII: 39, 41, 63, fig. 46 (Van der Cooghen); 277, front cover (Michelangelo), note 19; 442, fig. 3 (Canini), note 16; XLIV: 21, figs. 26–27 (De Vlieger), note 52; 69, fig. 2 (Hulswit), note 8; 303, fig. 4 (Reni); 358, fig. 1 (Michelangelo), note 2; 363, fig. 1 (Michelangelo); XLV: 157, fig. 4 (Molenaer), note 36; 196, fig. 8 (Hoogstraten), note 39; XLVII: 53, fig. 2 (Baccio del Bianco), note 3; 520, fig. 2 (Mola), note 4; XLVIII: 15, fig. 14 (Govert Flinck), note 42; XLIX: 294, 299, 301, 313, figs. 1, 12–13, 44 (Rembrandt), notes 10, 24; 350, figs. 161–62 (Rembrandt); LI: 159, figs. 2–3 (Caravaggio), note 2; LIII: 319, 335, figs. 13 (Herman Saftleven), 45 (De Vlieger), notes 18, 46; LIV: 330, fig. 62 (Pieter Holsteyn the Younger), note 74; LV: 14, 32, 43, 59, 61, 82, 107, figs. 30, 86 (copy after A. Bloemaert), 117–18, 172, 177, 255, 352 (A. Bloemaert); 327, fig. 16 (Verboom), note 55; 399–407, figs. 1–3 and back cover (Goltzius), 4 (Jacques de Gheyn ii), 5 (J. Stradanus), 6 (Pieter Aertsen), notes 3–4, 16, 21, 26, 29; 499, fig. 16 (Berchem); LVI: 194, 207, 220, figs. 1–2, 29–30 (Van Musscher); 309, 311, 313, figs. 2, 7 (Goltzius), notes 4, 10

Haarlem. The Seventeenth Century. Review. XXVI: 141

“Habé,” see Hallet, Giles

Habich, George Edward, formerly. XLIII: 21, 29, 49, 53, figs. 14 (Van der Cooghen, after Jacob Jordaens), 29 (Van der Cooghen); XLIV: 340, fig. 7 (Van den Bossche)

Haboldt, formerly. XXXIX: 382, fig. 18 (De Braij Studio after Salomon de Braij), note 32

Hackaert, Jan. XX: 39–40

Hackert, Jacob Philipp. XIV: 283–85, fig. 1

Haden, Francis Seymour, Sir, formerly. XLIII: 28, 49, fig. 26 (Van der Cooghen)

Hadley, Rollin van N. Drawings. Isabella Stewart Gardner Museum. Review. VII: 180

Haecken, Joseph von, formerly. XLIII: 28, 50, fig. 22 (Van der Cooghen)

Haffner, Enrico. IX: 126, fig. 4; XXVIII: 315, 317, 319, fig. 3

Hagen, Joris van der, see Haagen, Joris van der

Hagenburg, Schloss Hagenburg, formerly. XLIV: 431, fig. 35 (anonymous artist after Watteau and Vleughels)

Hager, Hellmut, see Braham, Allan, and Hellmut Hager

The Hague, Gemeente Museum. XVI: 172–76, figs. 1–2, note 1, pls. 44–45 (Bresdin); XIX: 57 (review)

______, Gemeentearchief. LV: 170, fig. 26 (Bisschop), note 82

______, House of Orange-Nassau Historic Collections Trust. LVI: 206, fig. 26 (Van Musscher), note 33

______, Koninklijke Bibliotheek. XXXVI: 45, figs. 1 (Jacob Quina the Younger), 10 (Jean de la Chambre the Younger), notes 5, 22; LIV: 335, fig. 73 (Georg Marcgraf), note 85

______, ______, Burchard Grossmann Album. XLIX: 329, fig. 95–96 (Rembrandt)

______, ______, Heyblocq Album. XLIX: 344, fig. 146 (Rembrandt)

______, Mauritshuis. XVI: 9–10, fig. 10 (Van Mieris); 299–300, fig. 8 (Govaerts), note 21; XXI: 178 (review); XXVII: 141–42, fig. 27 (Rembrandt); XLI: 308, fig. 1 (Van der Weyden, infrared reflectogram); XLIII: 231, figs. 9, 11, 13 (Van der Stockt); XLIV: 29, fig. 38 (De Vlieger), note 63; XLIX: 191, 217, figs. 28 (Simon de Vlieger), 29 (Jan Porcellis), 85 (Jan van de Cappelle), notes 28–29, 106; 345, fig. 150 (Rembrandt); LIV: 334, fig. 71 (Frans Post), note 82

______, ______ (on long-term loan from a private coll., Amsterdam). XLVII: 433, fig. 2 (Jan Steen), note 4

______, ______ (on lon-term loan from the Rijksmuseum, Amsterdam). LIV: 296, fig. 3 (Frans Post), note 23

______, Parkstraatkerk. XXXV: 387, fig. 10 (H. Bloemaert), note 32

______, Private coll. XXXV: 159, fig. 10 (Van Goyen), note 18; XLIX: 358, 363, figs. 12, 15, 25 (Jan Lievens), notes 18, 30

______, Rijksbureau voor Kunsthistorische Documentatie. XII: 125, fig. 2 (Lugt); LV: 169, fig. 2 (Verveer), note 74; 486, fig. 3 (anonymous sale catalog, Paris Basan and Guilleaumon, 15 November 1779), note 20

______, A. G. de Visser, formerly. LVI: 194, 207, 220, figs. 1–2, 29–30 (Van Musscher)

Halbertsma, Justus Hiddes, formerly. XLIII: 31, 58, fig. 34 (Van der Cooghen)

______, Marlite. XI: 163–64 (INGRES)

Halifax, Nova Scotia, Nova Scotia College of Art and Design (NSCAD) University, Permanent coll. L: 199, fig. 4 (Sol LeWitt), note 37

Hall, Peter Adolf. LV: 485–530, figs. 1 (his mark), 5, 6 (portrait bust of)

______ coll., formerly. LV: 485–530, figs. 2 (Fragonard after Anthony van Dyck), 7 (his inventory), 4, 13, 20 (Fragonard), 9, 15 (P. A. Baudouin), 10, 29–30, 34–36, 43 (Van Dyck), 11 (C.W.E. Dietrich in the manner of Rembrandt), 12 (Rembrandt), 14 (Roman School, c. 1690–95), 16 (Berchem), 17 (J.-J. de Boissieu), 18 (Diepenbeeck), 19 (R. Lafage), 21 (J. Jordaens), 22 (C. Netscher), 23 (Haarlem School, c. 1650), 24 (studio of A. van Ostade), 25 (Paulus Potter), 26 (C. Parrocel), 27–28 (circle/school of N. Poussin), 31–32 (Rubens), 33 (Ruisdael), 37 (A. van de Velde), 38 (C. de Vos), 39, 46 (C. Netscher), 40–42, 47–48, 50 (Watteau), 49 (copy after Watteau), 44 (J.-B. Greuze), 45 (Guercino), back cover (Deshays)

Hallé, Claude-Guy. XXIII–XXIV: 363–66, figs. 1 (portrait of), 2, pls. 30–42

Hallet, Giles. II: 126–27, 139

Hals, Frans. LIV: 293, fig. 1

Hamburg, Altonaer Museum. XXI: 183 (review)

______, art market, formerly. XXX: 104, fig. 24 (Salviati), note 17

______, Galerie Hans, formerly. XLVI: 494, fig. 76 (Gainsborough)

______, Thomas Le Claire. XLVII: 166, fig. 12 (Gillot), note 10

______, Hamburger Kunsthalle. I, 2: 15; I, 3: 24, fig. 4 (Jordaens), note 32; I, 4: 15; 57–59 (review); III: 150; 363; IV: 19, note 18; V: 398–99, pl. 33 (Ricci); VI: 293–94 (review); VII: 129–30, fig. 1 (Severino da Cingoli); 150, note 18, pl. 28b (Rosselli); IX: 260, note 1, pl. 44 (Sandrart); X: 23, note 2, pl. 17 (Bosse); XII: 135, note 14, pl. 6 (Rubens); 241, 243, notes 21, 24, pls. 8b, 10b (Poussin); XIII: 238–39, pls. 5–6a, 9, 11–12, 14 (Herrera the Younger), 15 (Torres); XIV: 34, fig. 4 (Schiavone), note 12; 248–54, fig. 11, pls. 7, 10 (A. Bloemaert); 384–86, note 4, pl. 6 (Collaert); 390–92, fig. 2 (Canaletto); XVI: 259, 262–63, figs. 2, 5, pl. 11b (Menzel); XVII: 7–8, 20, pl. 5 (A. van de Velde); XVIII: 371, note 16, pl. 45b (Lievens); XXI: 160, pls. 25, 27 (Murillo); XXIII–XXIV: 207–08, figs. 1–3 (Campi); XXV: 43, fig. 29 (Poelenburg); 360–74, notes 4, 29, pls. 1, 20 (Kempeneer); XXVII: 23, 32, fig. 24 (G. David); 223, note 6, pls. 33–34 (G. M. Crespi); XXVIII: 275, fig. 1 (Soens), note 4; 327, fig. 12 (Cats), note 13; XXXI: 255, fig. 53 (Goltzius); XXXIV: 143, fig. 37 (attributed to L. Schongauer); XXXV: 54, fig. 3 (Vellert); 155, fig. 2 (Van Goyen), note 2; 182, fig. 1 (Bassano), note 2; XXXVI: 61, fig. 5 (Dürer), note 11; 378, figs. 2–3 (Baglione), note 5; 398, fig. 1 (Louis de Caulery), note 8; XXXVII: 309, figs. 1–2 (Lucas Cranach the Elder or his workshop); XXXIX: 61, fig. 1 (Molyn); 368, fig. 4 (Salomon de Braij after himself), note 14; XL: 115, fig. 3 (T. Zuccaro), note 13; XLIII: 13, 46, fig. 1 (Van der Cooghen); 103–4, figs. 3, 6 (Vermeyen); XLIV: 16, fig. 13 (De Vlieger), note 40; XLV: 325–26, 331, 340, figs. 1, 4, 29 (Cano); XLVI: 192, fig. 3 (Bandinelli), note 14; XLVII: 72, fig. 5 (Gaulli or copy after), note 10; XLIX: 4, fig. 3 (Giulio Romano), note 6; 63, fig. 2 (Uffenbach); 191–92, 217, figs. 26, 30 (Simon de Vlieger), 86 (Jan van de Cappelle), notes 26, 30, 107; 256, fig. 4 (Master of the Lille Adoration), note 11; 319, fig. 69 (Rembrandt), note 36; 343, fig. 140 (Rembrandt); L: 331, fig. 3 (Hans Bol), note 16; 369, figs. 5, 7 (Jan Siberechts), note 10; 543–48, figs. 1 (workshop of Titian), 7 (Pietro de Marescalchi), notes 1, 7; LI: 298, fig. 6 (Pieter Bruegel the Elder), note 43; LII: 49, figs. 72–73 (Genga); 328–29, figs. 63–64 (Coecke van Aelst); 525–30, figs. 1 (Goya), 2 (Murillo), 3 (Valdés Leal), 4 (Castillo y Saavedra), notes 5–6, 10, 13; LIII: 244, fig. 10 (Peter Candid or his workshop), note 26; 315, 321, 324, 326, figs. 6 (Willaerts), 20, 32 (Waterloo), 24, 29 (De Vlieger), notes 9, 22, 26, 31, 34; 490, 493, nos. 13 (Ghezzi), 40 (Volterrano); LV: 57, 62–63, 65, 97–98, 108, figs. 164, 180, 185, 190, 193, 311–12, 314, 357 (A. Bloemaert); 395, fig. 3 (G. M. Crespi), note 17; LVI: 208, 223, fig. 32 (copy after Van Musscher); 293, fig. 2 (Daniele da Volterra), note 18; 474, 476–77, figs. 23, 34 (Girolamo da Carpi after Polidoro da Caravaggio), notes 54, 66

______, Hauswedell & Nolte, formerly. XXXI: 260, fig. 59 (Goltzius)

______, Kunsthandel Thomas le Claire. XLIV: 468, 475, 478–79, figs. 6, 26, 29 (Gillot)

______, ______, formerly. LIII: 229, fig. 1 (Dominique-Vivant Denon), note 2; LV: 43, 88, figs. 119, 275–76 (A. Bloemaert); 176, fig. 3 (F. Barocci)

______, Dr. Martin Moeller, formerly. LIV: 178, 184, fig. 56 (Raffaellino da Reggio)

______, Museum für Kunst und Gewerbe. XL: 139, fig. 10

______, Private coll. XXXV: 345, fig. 5 (Molyn); LV: 43, fig. 119 (A. Bloemaert)

______, ______, formerly. XXXI: 396, fig. 5 (Cellini), note 7

______, Städtische Galerie, formerly. LII: 287, 327, figs. 13, 14a (Coecke van Aelst); LV: 109, fig. 357 (A. Bloemaert); LVI: 208, 223, fig. 32 (copy after Van Musscher)

Hamerani, Giovanni. XXIII–XXIV: 8–9, fig. 1 (medal)

Hamilton, Hugh Douglas. LIV: 74, fig. 10

______, Jean. The Sketching Society, 1799–1851. Review. X: 168

______, see also Lambourne, Lionel, and Jean Hamilton

Hamilton, NY, Colgate University, Picker Art Gallery. XXIII–XXIV: 251–54 (review)

______, Ontario, Art Gallery. XX: 287 (review); XLIX: 380, fig. 27 (Jan Victors), note 36

Hammelmann, H. A. VII: 3–15 (VANDERBANK)

Hammer, Dr. Armand. X: 167 (review); 276, pl. 38 (Boucher); XX: 405 (review)

Hampton Court, Palace. XXIII–XXIV: 507–17 passim, figs. 3–5 (plan and elevations)

______, Royal Coll. Trust. XXXVI: 157, figs. 2, 4 (Carlo Cignani, probably assisted by Marcantonio Franceschini, and Luigi Quaini?), note 13; LV: 295, fig. 4 (Mantegna), note 25

Hannah, Robert. XXV: 270–72; XXXII: 50–53 (PIRANESI)

Hannover, Gottfried Wilhelm Leibniz Bibliothek–Niedersächsische Landesbibliothek. XLV: 440, fig. 13 (anonymous artist)

______, Kestner-Museum. XXXIII: 414, fig. 3 (G. B. Castello), note 5; XXXVI: 78, fig. 5 (Van Noordt), note 21

______, Landesmuseum. XV: 403–17 (review)

Hanover, NY, Dartmouth College Museum and Art Galleries. XIX: 314 (review)

Hans, Thoma. XXXIX: 177, fig. 5

Hans Baldung Grien. Prints & Drawings. Review. XIX: 180–83

Härb, Florian. XXXIII: 51–55 (VASARI); XXXVI: 181–88 (VASARI and JACOPO ZUCCHI); XLIII: 326–38 (VASARI)

______. The Drawings of Giorgio Vasari (1511–1574). Review. LV: 369–92

Hardie, Martin. Water-Colour Painting in Britain. Vol. II. Review. VI: 53–54; Vol. I. Review. VI: 288–89; Vol. III. Review. VII: 310–11

Hardy, John P. III: 250–51, 256, pl. 7 (Dupont)

Harprath, Richard. XXII: 3–28 (ANDREASI); XXXVIII: 471

Harriman, W. A. V: 183, fig. 1 (Cézanne)

Harris, Ann Sutherland. VI: 383–91 (BERNINI); VII: 152–55 (ALBANI); VIII: 58 (LETTER); IX: 384–91 (SACCHI); X: 143–45 (RUBENS); 360–63 (CORTESE); XI: 160–61 (SACCHI); XIII: 158–60 (ANGELO DE’ ROSSI and BERNINI); XVI: 399–403 (WALS); XVIII: 274–75; XX: 389–93; XXIII–XXIV: 94–100, 411–15; XXVII: 73–78 (REVIEWS); XXVIII: 434 (LETTER); XXX: 216–23 (REVIEW); 435–37 (MOLA); XXXII: 67–70; XXXIV: 195–205; 421–28; XXXV: 302–04 (REVIEWS); XXXVI: 421–25 (REVIEW); XXXVII: 55–61 (GUIDO RENI); XXXVIII: 393–423 (AGOSTINO CARRACCI); XXXIX: 420–24 (REVIEW); 435 (LETTER); XLI: 119–27 (BERNINI); XLII: 262–68 (REVIEW); XLIII: 440–56 (CANINI and ANTONIO CARRACCI); 512–26; XLVI: 114–15 (REVIEWS); XLVII: 267–324 (GASPARD DUGHET); LI: 39–48 (POUSSIN); 550; LIII: 207–12 (BERNINI)

______, and Jak Katalan. XXXIX: 58–60 (REVIEW)

______. Selected Drawings of Gian Lorenzo Bernini. Review. XVII: 286

______, Anthony. VII: 158–64 (REMBRANDT)

______, Edward, formerly. LV: 539, fig. 1 (Audubon), note 2

______, John. VII: 180 (REVIEW)

______. A Catalogue of British Drawings for Architecture, Decoration, Sculpture, and Landscape Gardening, 1550–1900, in American Collections. Review. X: 385–86

______, and A. A. Tait. Catalogue of the Drawings by Inigo Jones, John Webb, and Isaac de Caus at Worcester College, Oxford. Review. XVIII: 388

Harrison, Joseph, Jr., formerly. L: 456, fig. 17 (Charles Wilson Peale), note 79

Harrod, Henry Herbert, formerly. LV: 55, fig. 156 (A. Bloemaert and a later hand)

Hart, James M. XXXV: 122, fig. 10

______, William. XXXV: 115, 133, figs. 2, 26

Hartford, CT, Wadsworth Atheneum. III: 140, fig. 12 (Cornelis van Haarlem); IV: 417–19, pl. 30 (Orsi); XI: 145–46, fig. 10 (B. Veronese); XII: 10–12, fig. 3 (Zucchi); XXIX: 52, 55, pl. 21 (Guercino); XXXI: 45, fig. 10 (Homer), note 27; XXXIII: 51, fig. 3 (Vasari), note 6; XLVI: 507, 511, figs. 95, 102 (Gainsborough); LI: 70, fig. 8 (Hunt), note 40

Hartshorne, Albert, formerly. LV: 510, fig. 31 (Rubens)

Harvey, George. XLII: 29, fig. 10

Harzen, Georg Ernst, formerly. XLIII: 46, fig. 1 (Van der Cooghen); XLVI: 192, fig. 3 (Bandinelli), note 14; LII: 49, figs. 72–73 (Genga); 287, 327–29, figs. 13, 14a, 63–64 (Coecke van Aelst); LV: 109, fig. 357 (A. Bloemaert); LVI: 208, 223, fig. 32 (copy after Van Musscher)

Haseltine, William Stanley. XXXI: 3–20, figs. 1–15

Haskell, Ernest. L: 153–56, figs. 1–3

Hassam, Childe. XLII: 126, fig. 1

Hasse, Karl Ewald, formerly. XXXVI: 266, fig. 19 (Giovanni Battista Tiepolo)

Hasselt, Carlos van. XLVII: 527–28 (obituary, portrait)

______. Acquisitions récentes de toutes époques (Fondation Custodia, Collection Frits Lugt). Review. XII: 181–82

______. Dessin de paysagistes hollandais du XVIIe siècle. Review. VII: 433

______, René van, formerly. LV: 8, fig. 14 (A. Bloemaert)

Hatch, John Davis. XXXV: 113–14

______ coll. XIII: 178 (review)

______, formerly. XXXV: 115, fig. 2 (W. Hart)

Hatchlands Park, East Clandon, Surrey, Cobbe coll. XLVII: 275, fig. 11 (Dughet), note 30

Hatfield House. X: 35–40, pls. 37–46 (Wilkie)

Hattori, Cordélia. XXXVI: 319–20 (LETTER); XLV: 38–53 (PIERRE CROZAT); 405

______, see also Monbeig Goguel, Catherine, and Cordélia Hattori

Haupt, Ira. I, 4: 44, 46

Hauptman, Jodi, ed., Degas: A Strange New Beauty, exh. cat. Review. LV: 249–59

______, ed. Georges Seurat: The Drawings, exhibition catalogue. Review. XLVI: 251–56

Hauser, Ursula. LIII: 371, fig. 6 (Eva Hesse), note 35

Hausmann, David Bernhard, formerly. LV: 504, fig. 21 (J. Jordaens)

Hautekeete, Stefaan. L: 329–56 (HANS BOL)

Havana, Museo Nacional de Bellas Artes. XL: 68, fig. 16 (Lam)

Haverkamp-Begemann, Egbert. I, 2: 56; I, 4: 62; II: 53–58; III: 174; 403–05; IV: 49–52, 60, 310 (REVIEWS); 155–57 (BUYTEWECH); 413–15 (AERTSEN); V: 191–93; 196–98; 306; VI: 168–69; 292; VII: 173–78 (REVIEWS); 375–99 (WYNGAERDE); VIII: 55, 410–15 (REVIEWS); IX: 172 (OBITUARY); X: 165–66; XI: 49–52, 52–54, 176–78, 291–93 (REVIEWS); XII: 34–39 (SPERLING: DUTCH AND FLEMISH FIGURE DRAWINGS); 123–27 (REMBRANDT); 394 (REVIEW); XIII: 67; XIV: 67 (LETTERS); XIX: 178–80; XXIII–XXIV: 416 (REVIEWS); XXVII: 105–10 (REMBRANDT); XXVIII: 296–302 (VAN DYCK); XXXVI: 5–8; 90–91 (bibliography); L: 4, fig. 3 (portrait); LV: 549–50 (his obituary), fig. 1 (portrait of)

______ coll. XLIII: 31, 63, fig. 37 (Van der Cooghen)

______, Mary Tavener Holmes, Fritz Koreny, Donald Posner, and Duncan Robinson. The Robert Lehman Collection. Vol. VII. Fifteenth- to Eighteenth-Century European Drawings. Central Europe, The Netherlands, France, England. Review. XXXIX: 430–32

______, Standish D. Lawder, and Charles W. Talbot, Jr. Drawings from the Clark Art Institute. Review. IV: 46–47

______, and Anne-Marie Logan. European Drawings and Watercolors in the Yale University Art Gallery, 1500–1900. Review. X: 41–45

Hawes, Louis. XX: 35–38 (REVIEW)

Hawkins, C. H. T., formerly. XLVI: 516, fig. 111 (Gainsborough)

Hawley, John. LII: 59–94 (JAN DE VISSCHER)

______, and Marleen Ram. LVI: 183–92 (CORNELIS VISSCHER)

Hayes, John. III: 243–56 (GAINSBOROUGH DUPONT); IV: 163–68 (FROST); XV: 55–58 (REVIEW); XXI: 367–91 (GAINSBOROUGH)

______. The Drawings of Thomas Gainsborough. Review. X: 45–47

______. Rowlandson. Watercolours and Drawings. Review. XII: 62

______. Thomas Gainsborough. Review. XIX: 55–56

Hayley, William. XXII: 330–31

Haym, Nicola Francesco, formerly. XLIV: 433, fig. 38 (Nollekens); LVI: 507, fig. 44 (Claude Lorrain), note 70

Hayman, Francis. VIII: 392–95, pls. 29–37

Hayter, Stanley William. LI: 490, fig. 13 (engraving)

Heath, John Benjamin, Baron, formerly. XLVIII: 184, 187, 189, figs. 8, 15 (Guercino), 17 (Guercino or school), notes 27, 44, 50

Hebald, Cecile and Milton. V: 281, pls. 24–25a (Vasari); IX: 282 (review); XIV: 275, note 20, pl. 35 (Tamburini); XXXVIII: 452, fig. 9 (Boscoli), note 15

Hebborn, Eric. Drawn to Trouble. The Forging of an Artist. Review. XXX: 449

Hébert, Ernest, formerly. XXXVII: 35–46, figs. 1–16 (Ango), notes 7, 18–22, 24, 29–30, 32–36, 38, 40

Hecht, H. V: 185, fig. 4 (Cézanne)

Hecquet, formerly. XXXVII: 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4

Hedley, Jo. XXXIX: 223–59 (CHARLES DE LA FOSSE)

Hédou, Jules, formerly. XLIII: 468, 479, fig. 17 (Cortona)

Heemskerck, Maerten van. II: 37–39, fig. 1 (engraving after), pls. 28–31; 57–58; III: 26, pls. 19b-20; V: 381, pl. 14; X: 168; XV: 51–54, fig. 1; XXXI: 391, fig. 2; XXXII: 273, fig. 2; XXXIX: 380, fig. 15 (after); XLVIII: 171, fig. 3 (engraving)

Heemstede, Private coll., formerly. LV: 89, fig. 278 (A. Bloemaert)

Heffels, Monika. Germanisches Nationalmuseum, Nuremberg. Die deutschen Handzeichnungen. Vol. IV. Die Handzeichnungen des 18. Jahrhunderts. Review. VIII: 290–95

Hegi, Franz. XXII: 50–51, fig. 5 (aquatint after Merz)

Heidelberg, Berlinghof, formerly. XLIV: 431, fig. 35 (anonymous artist after Watteau and Vleughels)

______, Kurpfälzisches Museum. XXXIX: 146, fig. 4 (A. Heinrich), note 8

Heikamp, Detlef. VII: 53–55 (REVIEW)

Heil, Walter, formerly. XLVI: 438, fig. 10 (Gainsborough)

Heim, François-Joseph. XIII: 270–71, figs. 4–5

______ coll., formerly. XLIV: 416, figs. 9, 11 (Mercier), notes 17, 19

Heinemann, Lore. XXXV: 227–28

______ coll., formerly. XXXV: 229, fig. 1–2 (G. B. Tiepolo), 3–4 (G. D. Tiepolo)

______ and Rudolf J. coll. VI: 393, pl. 34 (G. B. Tiepolo); XI: 289–91 (review); 387–89, pls. 45–46 (G. D. Tiepolo); XII: 46, pl. 36b (Amigoni); XVI: 48–50, note 1, pl. 37 (G. B. Tiepolo); XVIII: 272–74, fig. 1 (Parez y Alcázar), note 1; XXXII: 333, fig. 27 (G. B. Tiepolo)

Heino, Stichting Hannema-de Stuers Fundatie, Kasteel het Nijenhuis. XXIII–XXIV: 225, fig. 11 (Jordaens); XXV: 48–49, fig. 33 (Poelenburg)

Heinrich Geissler zum Gedächtnis. Erwerbungen der Graphischen Sammlung Staatsgalerie Stuttgart, 1983–1990. Review. XXX: 451

Heinrich, August. XXXVII: 306, fig. 1; XXXIX: 143–58, figs. 1–5, 7–14

______, Theodore Allen. XVIII: 18–19, pls. 4–5 (Velázquez)

Heintz, Joseph. XXXIX: 175, fig. 4

______, the Elder. V: 196, pl. 38

Held, Ingrid. XLI: 414, fig. 2 (portrait of)

______, Julius S. II: 123–41 (RUBENS); VI: 47–50 (REVIEW); IX: 51–54 (GOEREE); X: 41–45 (REVIEW); XII: 249–60 (RUBENS); XIX: 172–77 (REVIEW); 316 (LETTER); 443–44 (JORDAENS); XXIII–XXIV: 46–53 (FLEMISH and DUTCH SEVENTEENTH-CENTURY ARTISTS); XXV: 421 (LETTER); XXVII: 53–63 (CRAYER); XXIX: 416–30; XXXI: 285–99; XXXIII: 324–33 (REVIEWS); XLI: 411–14 (obituary, with photograph), figs. 1–2

______. Rubens. Selected Drawings. Review. XXV: 63–82

______. The Oil Sketches of Peter Paul Rubens. A Critical Catalogue. Review. XXI: 412–17

______ coll., formerly. XXXIX: 175, figs. 3 (Master of the Liechtenstein Adoration), 4 (Heintz)

______, Mr. and Mrs. Julius S. I, 2: 37–38, pl. 31 (anonymous Liechtenstein Master); I, 3: 52–54, note 30, pl. 37 (anonymous, c. 1570); IX: 282–83 (review); XII: 15, note 54, pl. 15a (Zucchi); XIV: 162, note 31, pl. 38 (U. Gandolfi); XVIII: 48–49 (review); XX: 275–78, fig. 2 (Masucci), note 2

______, ______, formerly. LIII: 492, no. 31 (Ruijter)

______, Jutta. IV: 295–98 (GOYA); VI: 31–36 (FRANCISCO and RAMÓN BAYEU)

The Helen Regenstein Collection of European Drawings. Review. XV: 186–87

Hellen, Gustav von der, formerly. XXXI: 255, fig. 53 (Goltzius); LV: 65, figs. 190, 193 (A. Bloemaert)

______, Washington von der, formerly. LV: 65, figs. 190, 193 (A. Bloemaert)

Helliesen, Sidsel. XV: 16–21 (WTEWAEL)

Hellingman, Ineke. LV: 59, 111, figs. 170, 368 (A. Bloemaert)

Hellwig, Karin. XLV: 354–58 (CARREÑO DE MIRANDA)

Helmbreker, Dirk. XLIII: 17, fig. 7 (portrait of); LIII: 490, no. 14 (copy after)

Hem, Laurens van der. XLVIII: 105–20

Hemphill, Richard. XXXIII: 36–42 (POZZI); XXXIV: 279–91 (PIETRO DE’ ROSSI and MITELLI)

Hempstead, NY, Hofstra University, Emily Lowe Gallery. XVII: 44, 46, fig. 3 (Millet), note 6; XXI: 183 (review)

Hendecourt, Vicomte Bernard d’, formerly. XLIII: 21, 47, fig. 13 (Van der Cooghen, after Jacob Jordaens)

Hendrik Casimir ii, Count of Nassau-Dietz. LVI: 218, fig. 55 (portrait of)

Hendrix, Lee. XXXVIII: 353–58 (DRAWINGS IN THE GETTY MUSEUM); XLIX: 292 (INTRODUCTION TO THE REMBRANDT DRAWINGS: THE CORE LIST ISSUE); LIII: 519–22 (SEURAT AND PICHOT)

Henle, Dr. Günther. XI: 155–56, fig. 2 (Van Dyck), note 22

Henley-on-Thames, River and Rowing Museum. L: 366, fig. 4 (Jan Siberechts), note 9

Henneberg, Josephine von. XXX: 201–09 (VASARI)

Hennessey, William John. XXXV: 116, fig. 3

Henri, Robert. L: 157–60, figs. 1–2, 3 (etching), 4–5

Henri d’Orléans, Duc d’Aumale, formerly. LII: 4, 46, fig. 1 (workshop of Luca Signorelli, Genga?)

Henry Fuseli. Review. XIII: 293

Le héraut du dix-septième siècle. Dessins et gravures de Jacques de Gheyn II et III de la collection Frits Lugt. Review. XXVI: 52–55

Herbert Melbye’s Samling en illustreret oversigt. Review. XVII: 286

Herding, Klaus. XXIII–XXIV: 257–63; XXXII: 176 (LETTERS); XLV: 404–5 (LETTER)

Hérisset, Antoine. LI: 459, fig. 14 (etching and engraving after Simpol)

Herman, Frederick and Lucy Spigel. XXXVIII: 469, fig. 2 (M. Ricci)

The Hermitage. Western European Drawing. Review. XXIII–XXIV: 417–18

Hernandez, Sancho. XLVIII: 447, fig. 2 (portrait)

Hérold, Jacques. XL: 62, fig. 6 (with Lam and Breton)

Herp, Willem van. XLVII: 366–78, figs. 1–5, 6 (?), 7 (workshop of), 8–9, 10 (follower of), 11, 13–15, 16 (and studio), 17 (studio of), 18 (after), 19–22

Herpin, Clara-Adèle-Luce, formerly. LV: 39, fig. 106 (A. Bloemaert)

Herrera, Francisco de, the Elder. XXV: 165–67, fig. 1; XXXVII: 407, 409, figs. 1–3

______, ______, the Younger. XI: 377, pl. 34; XIII: 235–40, pls. 1–14; XX: 257–58, fig. 1; XXI: 407, pl. 38; XXVIII: 290–95, figs. 1–2, 3 (?)

Herrera Barnuevo, Sebastián de. XI: 376–77, pls. 32–33; XXI: 404, pls. 29–30; XXXV: 301, fig. 1; XLVIII: 493, fig. 27

Herrick, George Gardner, formerly. XLVI: 488, fig. 69 (Gainsborough)

______, Myron T., formerly. XLVI: 488, fig. 69 (Gainsborough)

______, Parmely W., formerly. XLVI: 488, fig. 69 (Gainsborough)

Herring, John. XXV: 160, note 19, pl. 17 (G. B. Tiepolo, after Vittoria)

Herrmann, Luke. XIX: 457–59 (REVIEW)

______. Beschreibender Katalog der Handzeichnungen in der Graphischen Sammlung Albertina. Vol. VII. Die englische Schule. Zeichnungen und Aquarelle britischer Künstler. Review. XXXII: 70–71

Herrmann estate, formerly. XLVI: 481, fig. 57 (Gainsborough)

Herrmann-Fiore, Kristina. XX: 247–56 (F. ZUCCARO and ALBERTI)

Hersey, G. L. VII: 16–24 (PISANELLO FOLLOWER)

Hersh, Jennifer N. XXXVI: 436; XXXVII: 301–03; XXXVIII: 80–82; XL: 360–61 (REVIEWS)

Hertfordshire, Private coll. XLVI: 462, fig. 23 (Gainsborough)

Hertzberg, Benjamin and Lilian, formerly. LV: 109, fig. 360 (A. Bloemaert)

Hervey, Christopher, formerly. XLIII: 508, fig. 2 (Guercino), note 2

______, John, formerly. XLIII: 508, fig. 2 (Guercino), note 2

Heseltine, John Postle, formerly. XLIV: 412, 414, 416, figs. 1, 4, 6, 8 (Mercier), notes 4, 7, 9, 13; XLVI: 438, 528, figs. 10, 131 (Gainsborough); LIV: 195, fig. 84 (Raffaellino da Reggio); LVI: 209, 224, fig. 36 (Matthijs Naiveu after Van Musscher)

Hess, Thomas B. coll. XL: 79, fig. 7 (De Kooning), note 28

Hesse, Eva. L: 205, fig. 8; LIII: 365–84, figs. 1–2, 5–6, 10–11

______, Henry, Prince, formerly. XXXVII: 242, fig. 10 (Malinconico), note 27

Heugel coll. XII: 49–50, fig. 1 (Watteau)

Heusinger, Christian von. Eugène Delacroix. Review. II: 414–19

Heuvel, B. de Geus van den. VIII: 18–20, note 42, fig. 5 (R. Savery)

Hewitt, Erskine, formerly. XLII: 44, fig. 8 (Oudry), note 22

______, Sarah, formerly. XLII: 44, fig. 8 (Oudry), note 22

Heydeck, Adolf von, formerly. XLVII: 293–94, 307–8, figs. 40 (anonymous after Dughet), 45 (anonymous after Moucheron), 57 (anonymous after Dughet)

Heyl zu Herrnsheim, Freiherr Max von, formerly. XLVIII: 327–40, figs. 1–3, 6, 9, 12–16, 18, 22–23, 25–27, 29, 31–32 (Veronese), note 2

Hibbert, George, formerly. XLVI: 477, 479–82, 487, 532–33, figs. 51–59, 65, 140–41 (Gainsborough)

Hildyard, Myles, formerly. XLIV: 425, fig. 23 (Mercier), note 36

______, Robert, Sir, formerly. XLIV: 425, fig. 23 (Mercier), note 36

Der Himmel auf Erden. Tiepolo in Würzburg. Review. XXXVI: 307–10

Himmelheber, Bernhard, formerly. LV: 81, fig. 254 (A. Bloemaert)

Hincelin, Emmanuel, see Ténèze, Annabelle, Marie-Christine Enshaïan, and Emmanuel Hincelin

Hingst, S. IV: 450 (review)

Hippert, Théodore, formerly. LV: 47, 108, figs. 132 (A. Bloemaert), 355 (copy after A. Bloemaert)

Hirsch, Robert von, Baron. III: 150; IV: 21; 40–41, fig. 4 (Cézanne); XI: 141–43, note 29, pl. 9 (Veronese)

______, formerly. XLIV: 420, fig. 15 (Mercier), note 26

Hirschvogel, Augustin. XVII: 359–92, figs. 1–3, 11–26, 27 (workshop of), 28–29, 31, pls. 1–7

______, Hans, the Younger. XLIV: 203–4

Hirshhorn, Joseph H., formerly. LI: 488, fig. 9 (Corbett), note 16; LIV: 479, fig. 1 (Giacometti), note 19

Hirshler, Eric E. IX: 43 (MARATTI)

Hirst, Michael. XIV: 375–82 (MICHELANGELO)

______. Michelangelo Draftsman. Review. XXVII: 64–70

Hirsvogel, Veit, the Elder. XLI: 348, fig. 7 (stained-glass window by the workshop of, after Dürer)

His de la Salle, Aimé-Charles-Horace, formerly. XIV: 422 (review); XLV: 23, fig. 16 (Tarchiani); XLVI: 193, fig. 4 (Bezzi), note 18; XLVII: 286, 303, fig. 29 (“False Amand” hand after Dughet); LV: 80, fig. 249 (A. Bloemaert); 187, fig. 16 (Rubens), note 63

Hiss, Alger. XLI: 414, fig. 1 (portrait of)

Hoare coll., see Stourhead, Wiltshire, The National Trust (Hoare coll.)

Hobhouse, A. L. I, 2: 50

Hobhouse, Arthur, Sir. IV: 452 (review)

Hochmann, Michel, see Monbeig Gougel, Catherine, Philippe Costamagna, and Michel Hochmann

Hochschild, Baron Carl, formerly. LIV: 190, fig. 76 (Raffaellino da Reggio)

Hockney, David. XLVII: 3–16, figs. 1–2, 3 (photographic collage), 9, 11, 14 and front cover

Hodge, Rupert. XV: 268–69 (ANNIBALE CARRACCI)

Hodgkin, Eliot, Mr. and Mrs.. IV: 262, 280, pl. 4 (Ingres)

Hodgkins coll., formerly. X: 276, pl. 35 (Boucher)

Hoe, Robert, iii, formerly. LVI: 205, 207, 223, figs. 23, 27–28, 31 (Van Musscher)

Hoefnagel, Elisabeth Veselaer, formerly. XLV: 522, fig. 1 (Hoefnagel), note 4

Hoefnagel, Joris. VII: 387–88, fig. 5; XXX: 374–77, 379, 384, figs. 8 (after), 9, 10–11 (after), 14–15 (after); XLV: 522–26, figs. 1–4; L: 346, fig. 30 (?)

______ coll., formerly. LI: 294, fig. 3 (copy after Pieter Bruegel the Elder), note 21

Hoentschel, Georges, formerly. XXXVII: 35–46, figs. 1–16 (Ango), notes 7, 18–22, 24, 29–30, 32–36, 38, 40

Hoerschelmann, Rolf von, formerly. LIII: 439, fig. 2 (Guercino), note 3

Hoesch, Henning, Dr. LV: 374, fig. 3 (Vasari), note 18

Hoetink, Hans R. Franse tekeningen uit de 19de eeuw. Review. VIII: 57

______, and G. Langemeyer. Gerard ter Borch. Review. XII: 395

Hofbauer, Michael. Cranach: Die Zeichnungen. Review. LI: 229–42

Hofer, Frances L. XVIII: 389

Hofer, Philip. Edward Lear as a Landscape Draughtsman. Review. VI: 410–12

______, see also Lewis, Wilmarth Sheldon, and Philip Hofer

______ coll., formerly. XLIV: 439, fig. 59 (anonymous artist)

Hofmann, Samuel. XVIII: 392

Hoffmann-Samland, Jens, et al. The Spanish Gesture: Drawings from Murillo to Goya in the Hamburger Kunsthalle, exh. cat. Review. LII: 525–30

Hofstede, Justus Müller. XI: 154–59 (VAN DYCK); XII: 133–37 (RUBENS)

Hofstede de Groot, Cornelis, formerly. XXXVI: 77, fig. 3 (Van Noordt), note 13; XLIII: 21, 50, 54, figs. 12, 63–64 (Van der Cooghen); LV: 326, fig. 13 (Verboom), note 52

Hogarth, William. III: 283–86; VI: 165–66, fig. 5; VII: 3–15, fig. 1, pl. 4b; LII: 237, 239, figs. 8–10

Hogenberg, Franz. XXX: 376–77, 379, figs. 11 (engraving and etching after Hoefnagel), 13 (engraving and etching), 15 (engraving and etching after Hoefnagel)

Högger, Andreas Renatus. XLVI: 219, fig. 17

Hohl, Reinhold. Von Toepffer bis Hodler. Die schweizer Zeichnung im 19. Jahrhundert. Review. VII: 181

Hokin, Jeanne, see Meller, Peter, and Jeanne Hokin

Holanda, Francisco de. XLIII: 330, fig. 7 (engraving)

Holbein and the Court of Henry VIII. Review. XVII: 53–56

Holbein, Hans, the Elder. X: 351–55, figs. 1–3, pl. 1

______, the Younger. III: 29, pls. 26b (after), 27; V: 377–78, fig. 3; VIII: 143–44, fig. 3; X: 133–37, pls. 14–21; XXVII: 17–18, figs. 14–16, 17 (workshop of), 18–19; XLVII: 9, fig. 6; XLIX: 539, figs. 10 (after), 11 (woodcut); LII: 207, 212–14, 218, 220, 222, figs. 7, 13, 16, 22, 26, 30–31, 35 (after), 8, 14–15, 17, 23, 27, 32, 36 (woodcuts); 231, fig. 1 (and workshop)

Holcomb, Adele M. XI: 393–98 (COTMAN)

______. John Sell Cotman. Review. XVII: 286

Holford, R. S., formerly. XXXVII: 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4

Holker Hall, Lord Cavendish coll. XLIII: 31, 59, fig. 36 (Van der Cooghen)

______, ______, formerly. XLVI: 431, 449, fig. 5 (Gainsborough), note 25

Holkham Hall, Norfolk, Coll. of Viscount Coke and the Trustees of the Holkham Estate. LIII: 105, figs. 12–13 (William Kent), note 26

Holkham Hall, see also Leicester, Earl of, Holkham Hall

Holl, Steven. XLII: 55, fig. 17

Holland, Ralph. VII: 435 (LETTER)

______ coll. I, 4: 9, 17, pl. 13 (Trometta); II: 253–54, 263–64, pls. 8–9 (Bedoli); III: 176–77, fig. 2 (Gimignani), pl. 38a (Foggini); IV: 61 (review); VII: 435, pl. 39 (Nucci); IX: 389–90, pl. 31b (Sacchi); X: 243–44, figs. 5–6 (Gaulli); XIII: 401 (review); XVI: 388, note 7, pl. 1 (Canini)

______, formerly. XLIX: 70, 82, fig. 3 (Foggini)

Holland-Hibbert, Hon. A. H., formerly. XLVI: 477, 479–82, 487, 532–33, figs. 51–59, 65, 140–41 (Gainsborough)

Holland-Martin, E. III: 270–75, fig. 1, pls. 25–31 (Skippe)

Hollander, Jacques, formerly. LV: 23, fig. 59 (A. Bloemaert)

Die holländische Landschaftszeichnung, 1600–1740. Hauptwerke aus dem Berliner Kupferstichkabinett. Review. XIII: 401

Hollandska mästare i svensk ägo. Review. VI: 169

Hollar, Wenceslaus. I, 4: 62; XVIII: 277–78; XX: 403–04; XXXIV: 312–14; XLVIII: 73–104, figs. 1–3, 4–5 (etching), 6, 7–8 (etchings after Rembrandt), 9, 10 (etching), 11–12, 15–17, 21–23, 25–30, 31 (etching), 32, 33 (etching), 34, 35 (etching), 36, 37 (etching), 38, 39 (etching), 40, 41 (etching), 42, 43 (etching), 44–47 (?), 48–50, 51–53 (etchings), 54, 55 (etching), 56; XLIX: 483, 485, 499, 506, figs. 5 (etching after Pieter Boel), 7 (etching after Rubens), 35 and 45 (etchings after Francis Barlow), 48 (etching); LIII: 89–98, figs. 1–4, 5 (after), 6–7, 8 (etching)

Holloway, James. XIV: 280–86 (RAMSAY)

Holme, James Wilson, formerly. XLVI: 495, fig. 77 (Gainsborough)

______, Samuel, formerly. XLVI: 495, fig. 77 (Gainsborough)

Holmes, Mary Tavener, see Stein, Perrin, and Mary Tavener Holmes

Holsteyn, Pieter, the Elder. LIV: 328, figs. 57–58 (after Frans Post?)

______, the Younger. LIV: 327, 330, figs. 53–54 (after Frans Post?), 62

Holthusen, Agnes and Wilhelm, formerly. XLV: 204–5, figs. 6, 8 (copy after Elsheimer, Hendrik Goudt?), note 13

Holy Ghost Master. XLI: 206, fig. 7

Homburger, Freddy and Regina T. IX: 282 (review); XII: 49–56, note 1, pls. 38–39 (C. Gillot)

Homer, Winslow. XXXI: 35–46, figs. 1–4, 6–10; XXXVIII: 296, fig. 3; XL: 348–49, figs. 3, 5; XLII: 48, fig. 11; 116, fig. 8; 160, fig. 1

Hondius, Hendrik i. XX: 118, fig. 3 (engraving); LIII: 191, figs. 2–3 (after Lucas van Leyden); LV: 85, fig. 265 (engraving after A. Bloemaert?)

______ ii. XVI: 47–48, fig. 1 (? engraving)

Hone, Galyon. II: 154–56

______, Nathanial, formerly. XLVIII: 456, fig. 2 and front cover (Jusepe de Ribera and Domenico Stagi), note 7; LV: 374, fig. 3 (Vasari), note 18

Hong Kong, Sotheby’s, formerly. LV: 67, 87, figs. 199, 273 (A. Bloemaert)

Honolulu, HI, Academy of Arts, Kress coll. XXXIII: 31, fig. 5 (Piero di Cosimo)

Honoré Daumier. Kunst und Karikatur. Review. XVIII: 278–79

Honthorst, Gerard (Gerrit) van. LV: 9, fig. 16; LVI: 411, fig. 4

Hooghe, Romeyn de. XIII: 250–58, figs. 1–3, pls. 22–23; LI: 448, figs. 3–4 (etchings)

Hoogstraten, Samuel van. XLV: 187–200, figs. 1 and front cover (attributed to), 2–3, 4–8 (?), 9 (attributed to); XLIX: 389–400, figs. 1–3, 6, 8–12

Hoogstraten, Sint-Katharinakerk. LI: 371, fig. 11 (Scheemaeckers)

Hooper, Arthur W., formerly. XLII: 149, fig. 5 (Diepenbeeck)

Hoopes, Donelson F. Eakins Watercolors. Review. X: 168

Hoppner, John. XXXII: 107, fig. 9 (engraving after)

Horne, Herbert P., formerly. LII: 33, 44, fig. 48 (Genga)

Horny, Franz. XXXIX: 120, figs. 7, 11; 162, fig. 2

Horst, Gerrit Willemsz. VI: 271, fig. 1, pl. 34

Horster, Marita. III: 165, pl. 35a (Vincenzo de’ Rossi)

Horton, Ronald, formerly. III: 250, 255, pl. 2 (Dupont)

Horvitz, Jeffrey E. XXXIV: 366, fig. 3 (Le Moyne), note 8; XXXVIII: 121, 123, figs. 4 (F. Le Moyne), 5 (Hutin); 156, fig. 4 (H. Bellange), note 11; 159, fig. 1 (Pater), note 3; 171, fig. 9 (Natoire after G. Passeri), note 19; XXXIX: 253, fig. 39 (La Fosse), note 79; 275, fig. 15 (C.-N. Cochin the Younger), note 42; 280–81, fig. 4 (Gabriel de Saint-Aubin), note 10; 307, fig. 2 (Sambin), note 3; XLIV: 437, fig. 49 (Oudry?); 477, 479, figs. 22–24, 31 (Gillot); 493, fig. 1 (Tortebat after Vouet), note 3; XLV: 216, fig. 8 (Agostino Carracci), note 15; LII: 167, figs. 53–56 (Bernard Salomon); LIV: 15, figs. 1 (Charles Le Brun), 2 (Sébastien Le Clerc after Charles Le Brun), notes 2–3

Hotchkiss, Thomas Hiram. XLII: 31, fig. 12

Houasse, Michel-Ange. LV: 333–46, figs. 1–24

Houbraken, Arnold. LVI: 201, fig. 16 (after)

______, Jacob. LIII: 516, fig. 2 (engraving after Niels Rode); LVI: 201, 211, figs. 20 (engraving after Van Musscher), 40 (engraving after Hendrik Pothoven after Van Musscher)

Houck, Peeter. XIII: 145–47, fig. 1; XIV: 68; XXVI: 351–56, figs. 2–4, pl. 40

Houdon. I, 1: 25, fig. 2

Houette, Paul, formerly. XLIX: 539, fig. 7 (Van Dyck)

Hougen, Paul. Edvard Munch. Handzeichnungen. Review. XVI: 66

Houlditch, Richard, formerly. XLVII: 306, fig. 56 (Jacques Rousseau)

Houlditch, Richard, the Elder, formerly. XLIV: 317, fig. 24 (Albani), note 83; 441, fig. 63 (anonymous artist)

______, Richard, the Younger, formerly. XLIV: 441, fig. 63 (anonymous artist)

Houston, TX, Barbara Davies Gallery, formerly. XLVI: 520, fig. 119 (Gainsborough)

______, Menil coll. L: 253–58 (review); LII: 513, 517, 519–20, figs. 2 (André Masson), 7 (Jasper Johns), 8 (Anastasi), 10 (Robert Morris), notes 3, 19, 21, 25

______, Museum of Fine Arts. IX: 278–79, fig. 3 (Speeckaert); XXIII–XXIV: 563, 567 (review); LIII: 501, fig. 4 (Greuze), note 8; LVI: 171, fig. 4 (Chaperon), note 9

______, Private coll., formerly. LV: 486, 503, fig. 2 (Fragonard after Anthony van Dyck)

Houthakker, Bernard. XIII: 251–52, fig. 2 (De Hooghe), note 8

______, formerly. XLIV: 348, fig. 15 (Van den Bossche)

______, Lodewijk, formerly. XXXI: 267, fig. 69 (Goltzius); LV: 59, 111, figs. 170, 368 (A. Bloemaert)

Houtven, Andrea van. XXXVII: 47–54 (FRATTA)

How Pleasant to Know Mr. Lear. Watercolors by Edward Lear from Rhode Island Collections. Review. XXI: 183

Howard, Andrew, formerly. XLVI: 520, fig. 119 (Gainsborough)

______, Jan. XLII: 160–72 (RHODE ISLAND SCHOOL OF DESIGN, MUSEUM OF ART COLL.)

______, Seymour. XXII: 47–55 (MERZ)

Howarth, David. XLIX: 435–78 (FRANCIS CLEYN THE ELDER)

Howe, Admiral. XXXII: 116, fig. 24 (portrait of)

Huber, Wolfgang. VIII: 170–71, fig. 1; XVII: 359, 362–63, fig. 4; XXXIX: 120, 125, fig. 13

Hubert Robert Drawings & Watercolors. Review. XVIII: 60

Hubrig, Ernst Wilhelm von, formerly. LII: 313, 336, fig. 51 (Coecke van Aelst)

Hudde, Johannes. LVI: 211, figs. 39–40 (portraits of)

Huddersfield, Art Gallery. XLVI: 445, fig. 11 (Gainsborough)

Hudson, Hugh. XLVII: 70–78 (GIOVANNI BATTISTA GAULLI); L: 9–20 (MARCO ZOPPO)

______, Thomas, formerly. XLVII: 524, fig. 1 (Van Dyck), note 1

Hudson River School. XXXIII: 74–80

Huet, Jean-Baptiste. XIII: 31, fig. 5 (engraving after V. Castello); XXX: 261, figs. 11–12, note 17

Huët, Jean-Baptiste, the Elder. XLVI: 215, fig. 12

Hugelshofer, W. Swiss Drawings. Review. VI: 47–50

Hughes, Arthur. XVI: 291, pl. 43

Hugo, Victor. XXXVIII: 80–82, fig. 1; XLI: 163–73, figs. 1, 5–6, 12–16 (portraits of)

Huguet, Jean-François. XLV: 99, fig. 10 (after)

Hulin de Loo, Georges, formerly. LII: 282, 327, fig. 9 (Coecke van Aelst)

Huls, Samuel van, formerly. LII: 277, 287, 301, 327–28, 330–32, figs. 2, 3b, 13, 14a–b, 31–37 (Coecke van Aelst)

Hülsen, Christian, and Herrmann Egger. Die römischen Skizzenbücher von Marten van Heemskerck. Review. XV: 51–54

Hulst, Roger-A. d’. I, 3: 17–28 (JORDAENS); XVIII: 360–70 (JORDAENS); XXVIII: 142–72 (JORDAENS)

______. Jordaens Drawings. Review. XV: 181

______, and M. Vandenven. Rubens. The Old Testament. Corpus Rubenianum Ludwig Burchard. Part III. Review. XXXII: 63–64

______, see also Burchard, L., and R.-A. d’Hulst

Hulswit, Jan. XLIV: 69–76, figs. 1–3, 5–6

Hulton, Paul H. VI: 162–68 (REVIEW)

______. The British Museum. The César Mange de Hauke Bequest. Review. VI: 412

______. The Work of Jacques Le Moyne de Morgues. Review. XVIII: 174–75

______, and Lawrence Smith. Flowers in Art from East and West. Review. XVIII: 174–75

Humann, Christian, formerly. XLV: 348, fig. 3 (Bazzicaluva), note 23

Humphrey, Peter, et al. The Age of Titian. Review. XLV: 247–54

Hundert Zeichnungen aus 5 Jahrhunderten. Review. XXV: 172–73

Hundertmal Kunst für Jedermann. Zur Eröffnung des Erweiterungsbaues und zur Wiedereröffnung der Kunsthalle (Bremen). Review. XXII: 332

Hunt, William Holman. VII: 432–33; LI: 69–70, figs. 7–8

______, William Morris. XXXVIII: 307, fig. 5

Hunt Manufacturing Company, formerly. XLII: 13–14, figs. 9 (R. Long), 10 (E. Murray), notes 19–20

Hunter, John. XXVI: 3–40 (SERMONETA)

Huntington, Archer M. I, 1: 11–12

Huquier, Gabriel, formerly. XXXII: 54, fig. 1 (Rubens); XLIII: 28, 56, fig. 27 (Van der Cooghen); LV: 485, 502, fig. 19 (R. Lafage)

______, ______, the Elder, formerly. XLV: 8, 10, figs. 5 (Paolo Farinati), 7 (Taddeo Zuccaro)

______, ______, the Elder or the Younger. XLV: 96, fig. 9 (Buytewech)

Huse, Norbert. XXIII–XXIV: 397–98 (REVIEW)

Huth, Charles Frederick, formerly. XLVI: 492, front cover (Gainsborough)

______, Noël Hugh Percival, formerly. XLVI: 492, front cover (Gainsborough)

______, Reginald, formerly. XLVI: 492, front cover (Gainsborough)

Hutin, Charles-François. XXXVIII: 123, fig. 5

Huxley, Mrs. Gervas. XI: 157–58, fig. 4 (Van Dyck)

Hyde de Neuville, Anne-Marguérite-Henriette Rouillé de Marigny, Baroness. XLII: 27, fig. 5

Huygens, Constantijn, the Younger. XXIII–XXIV: 421–22

______, Susanna Hoefnagel, formerly. XLV: 522, fig. 1 (Hoefnagel), note 4

Huygues, René, formerly. XXXVIII: 37, fig. 15 (Fenzoni), note 34

Huys, Frans. LI: 308, fig. 20 (engraving after Pieter Bruegel the Elder), note 61

Huysum, Jan van. III: 174

Hwang, Kira. L: 478, fig. 51 (her reproduction of Audubon’s mounting device)

 

Iaremitch coll., formerly. XXVI: 13–14, 18, 38, pl. 5 (Sermoneta)

Iarevitch coll., formerly. XII: 58, pl. 41 (C. Procaccini)

Ickworth, The National Trust. XII: 44–45, fig. 3 (Amigoni)

Iesi, Biblioteca Comunale. VII: 129, 139, pls. 1–2, 10 (Severino da Cingoli)

______, Duomo. XIII: 350–55, fig. 5 (F. Bellini)

______, Oratorio della Morte. XIII: 354–55, fig. 8 (F. Bellini)

Ilg, Ulrike. XLI: 30–43 (DELLA BELLA and LORCK); XLII: 179 (letter)

Ilsink, Matthijs. XLIV: 333–53 (VAN DEN BOSSCHE); LI: 393–407 (REVIEW)

______, et al., Hieronymus Bosch, Painter and Draughtsman: Catalogue raisonné. Review. LV: 347–68

Ilsted, Peter. XLVII: 45–59, fig. 1

Imbriglia, Dr. Joseph. XXXIX: 424, fig. 1 (Sacchi)

Imhoff, Willibald, formerly. LV: 435, fig. 1 and front cover (Dürer), note 1

Im Licht von Claude Lorrain. Landschaftsmalerei aus drei Jahrhunderten. Review. XXIII–XXIV: 418–19

Immagini anatomiche e naturalistiche nei disegni degli Uffizi, sec. XVI e XVII. Review. XXIII–XXIV: 408–10

Imola, Innocenzo da. II: 285; VII: 287–92, figs. 1–5, pls. 16–30

Imperiale, see Fernandi, Francesco, called Imperiale

Impruneta, S. Maria. VII: 149–50, fig. 2 (Rosselli)

India, Bernardino. XXXIV: 205, fig. 1

Indianapolis, IN, Indianapolis Museum of Art. XX: 47–48 (review); XLVII: 284, 302, fig. 25 (“False Amand” hand)

______, ______, Clowes coll. XXII: 69–70, fig. 6 (Watteau)

Ingham, Charles Crowell. XXXV: 142–43, 153, figs. 3, 15

Ingoni, Giovanni Battista. LIV: 538, fig. 2

Ingram, Bruce, Sir. I, 1: 52–53, pl. 45b (Guardi)

______, formerly. XXXI: 228, fig. 15 (Goltzius); XLIV: 437, figs. 50–51 (anonymous artist)

______, Michael, formerly. XLIX: 182, fig. 12 (Simon de Vlieger), note 13

Ingres, Jean-Auguste-Dominique. III: 276–80, fig. 1, pls. 32, 33 (after); IV: 255–83, figs. 1 (after), 4, 5–7 (after), 8–10, pls. 1–17; V: 305; VI: 44–47, pls. 33–34; 281–86; VII: 35–38, pls. 25–26; 303–07, figs. 1–2, pl. 46; IX: 283; XI: 163–64, pl. 32; 277–79, pl. 29; XII: 283; XIII: 261–74, figs. 1, 2 (after), 3, pls. 25–26; XVIII: 379–81; XIX: 315; XX: 286; 374–76, fig. 1, pl. 16; XXI: 65; XXIII–XXIV: 555–56, figs. 2 (after), 3; XXXVIII: 235, fig. 2; 267, back cover; XXXIX: 65–67, figs. 1–2; XLII: 60, fig. 3; XLIII: 224–26; XLVI: 228, fig. 4; XLVII: 7, fig. 4; LIV: 72, 77, figs. 9, 14; LV: 147–52, figs. 1–2

Ingres. Dessins sur le vif. Review. XXII: 221

Inman, Henry. XXXV: 148, fig. 8

Inness, George. IV: 309

Innsbruck, Tiroler Landesmuseum Ferdinandeum. IV: 306, fig. 2 (G. B. Tiepolo); XXXI: 466, fig. 7 (G. Gandolfi), note 32

Ipswich, Christchurch Mansion. XIX: 394, fig. 3 (Constable), note 8; LVI: 213, fig. 43 (Van Musscher), note 56

______, Museum. IV: 163–68, fig. 1, pls. 27a, 28–29, 32 (Frost)

Ireland, John, formerly. XLIV: 434, fig. 41 (Goupy)

______, Le Roy. Works of George Inness. Review. IV: 309

Ireland, Private coll. XLVII: 516, fig. 1 (Mola), note 1

Isaacs, Professor J., formerly. IX: 266, fig. 1 (G. B. Tiepolo)

______, Jacob, formerly. XLVIII: 158–59, figs. 4, 6 (Polidoro da Caravaggio), note 6

Isaacson, Robert. XI: 184–86 (REVIEW)

Isabey, Jean-Baptiste. XLII: 63, fig. 8; LII: 246, back cover; LIV: 494–95, figs. 5, 7

Iseman, Marjorie F. coll. XL: 54, fig. 13 (D. Smith), note 19

Isendoorn à Blois, Frederik Carel Theodoor van, Baron, formerly. XLIII: 19, 48, fig. 10 (Van der Cooghen)

Italian and Other Drawings, 1500–1800, from the Ralph Holland Collection. Review. XIII: 401

Italian Drawings from the Art Institute of Chicago. Review. XVIII: 173–74

Italian Drawings from the Collection of Duke Roberto Ferretti. Review. XXV: 287–88

Italian Drawings in the J. F. Willumsen Collection. Review. XXII: 452, 454–55

Italian Drawings Selected from Mid-West Collections. Review. X: 387

Italian Portrait Drawings, 1400–1800, from North American Collections. Review. XXIII–XXIV: 94–100

Italian Renaissance Drawings from the Musée du Louvre, Paris. Review. XIII: 291

Italian 17th Century Drawings from British Private Collections. Review. XI: 52

Italienische Zeichnungen des 15. und 16. Jahrhunderts aus eigenen Beständen. Review. XVIII: 386–87

Italienische Zeichnungen des 16.-18. Jahrhunderts. Review. XVIII: 274–75

Italienische Zeichnungen des 16. bis 18. Jahrhunderts. Review. XXXVI: 211–13

Italienische Zeichnungen des 16. Jahrhunderts. Katalog der Graphischen Sammlung des Stadtmuseums Linz. Review. XXX: 450–51

Italy, art market. LV: 40, fig. 108 (A. Bloemaert)

______, Private coll. XXII: 315–17, note 1, pl. 41 (V. de’ Rossi); XXV: 272–76, pls. 35–36 (Bosio); XXXVII: 103, 107, 110, 116, 133–34, 136, figs. 1, 6, 9, 19 (Luca Giordano); 241, figs. 5–6 (G. Simonelli), notes 16–17; XLIX: 383, fig. 31 (Jan Victors), note 42; LVI: 173, fig. 7 (Bourdon), note 16

Ithaca, NY, Cornell University, Herbert F. Johnson Museum of Art. XVIII: 278 (review); LIII: 372, fig. 8 (Matisse), note 38; LV: 91, fig. 286–87 (A. Bloemaert)

______, Cornell University Library. XXXII: 204, 206, 209, 218, figs. 1 (Richardson, after Annibale Carracci), 2, 6, 8, 16 (Richardson), notes 9, 19, 30, 32, 61

Ittman, W. M., Jr. V: 194–96 (REVIEW)

Ives, Colta. XXXII: 275–77; XXXV: 298–99; XXXVII: 70–71 (REVIEWS); XLVII: 474–77 (DELACROIX)

______, et al. Vincent van Gogh: The Drawings, exhibition catalogue. Review. XLIV: 92–98

Iwerson, Mr. & Mrs. Emilio. XI: 172–73, pl. 33 (Borghini)

Izquierdo, Eugenio, formerly. XLIX: 235, fig. 7 (La Traverse), note 73

 

  1. de Gheyn Drawings, 1565–1629. Review. XXVI: 52–55
  2. F. coll. XII: 147–50, fig. 18 (Dandré-Bardon)
  3. H. Fragonard e H. Robert a Roma. Review. XXIX: 430–35

J.M.W. Turner, 1775–1851. Acquerelli e incisioni dalle collezioni della City Art Gallery di Manchester. Review. XX: 47

J.M.W. Turner Watercolors from the British Museum. Review. XXI: 182

Jabach, Everhard. XVI: 57–59 (review); XLV: 4, fig. 1 (portrait)

______, formerly. I, 1: 7, note 19, pl. 7 (Parmigianino); XXXVII: 351, figs. 1–2 (Yáñez de la Almedina), note 18; XLV: 4–37, figs. 2 (his mount), 3 (his paraph), 5 (Farinati), 6, 20 (Primaticcio), 7, 17 (Taddeo Zuccaro), 8 (Domenichino), 9, 18 (Federico Zuccaro), 10 (Federico Zuccaro after Signorelli), 11, 19 (Federico Zuccaro after Correggio), 12 (copy after Raphael), 13–14 (Niccolò dell’Abate), 15 (Salimbeni), 16 (Tarchiani); 304, 306, 309, figs. 22, 26–27 (El Greco), notes 43, 47; XLVI: 195, fig. 8 (Annibale Carracci), note 32; 374, fig. 1 (Menzocchi), note 3; L: 34–35, 39–40, figs. 1 (Raphael?), 2 (Raphael? or Gianfrancesco Penni?), 9 (Biagio Pupini), 12 (Raphael? or his workshop?), note 19, 29, 50, 59; LII: 17, 24, 31–32, 41–45, figs. 25, 35, 45, 64–65 (Genga), 47 (Genga with later additions); 279, 291, 314, 320, 332–33, 348, figs. 6, 20 and back cover (Coecke van Aelst), 52, 57 (workshop of Coecke van Aelst); LIV: 156, 171, 192, figs. 15, 42, 80 (Raffaellino da Reggio)

______, Gerhard Michael. XLV: 7, fig. 4 (signature)

______ coll., formerly. XLV: 10, 13, 20, figs. 6 (Primaticcio), 8 (Domenichino), 13 (Niccolò dell’Abate)

Jackson, Thomas, formerly. XLVI: 472, fig. 41 (Gainsborough)

______, William, formerly. XLVI: 472, 531, figs. 41, 138 (Gainsborough)

Jacksonville, FL, Cummer Gallery of Art. IV: 448 (review)

Jacob Jordaens, 1593–1678. Vol. II. Drawings and Prints. Review. XXXIII: 81–82

Jacob Jordaens tekeningen en grafik. Review. XVIII: 61

Jacob Merz, 1783–1807. Review. XX: 288–89

Jacob van Ruisdael. Review. XXI: 178

Jacob, L. V: 175–76, figs. 3–4

______, Sabine. Italienische Zeichnungen der Kunstbibliothek Berlin. Architektur und Dekoration 16. bis 18. Jahrhundert. Review. XV: 419–21

Jacobs, Alain. LI: 360–78 (DRAWINGS BY FLEMISH SCULPTORS)

______, Fredrika Herman. XX: 371–74 (VASARI)

Jacoby, Beverly Schreiber. XVII: 261–72 (BOUCHER); XXIII–XXIV: 367–77 (BOUCHER); XXX: 255–86 (BOUCHER); XXXVIII: 190–92 (REVIEW); XXXIX: 300–06 (BOUCHER)

______, Joachim. XLIX: 63–66 (PHILIPP UFFENBACH); LVI: 369–84 (REVIEW)

______. Die Zeichnungen von Adam Elsheimer: Kritischer Katalog. Review. L: 539–43

Jacopo Bassano, ca. 1510–1592. Review. XXXIII: 167–69

Jacopo Palma il Giovane. Disegni inediti dell’Accademia Carrara di Bergamo e del Museo Fantoni di Rovetta. Review. IV: 182–84

Jacques Callot, 1592–1635. Review. XXXIII: 64–68

Jacques Sarazin. Sculpteur du Roi, 1592–1660. Review. XXXIII: 69–70

Jacques Villon. Review. XV: 188

Jaffé, Michael. II: 383–97 (RUBENS); III: 21–35 (RUBENS); IV: 127–48 (RUBENS); 285–86 (DOMENICHINO); VIII: 42–51, 269–72 (RUBENS); XXI: 397–401 (RUBENS); XXXII: 54–59 (RUBENS and PONTIUS)

______. The Devonshire Collection of Italian Drawings. Roman and Neapolitan Schools. Bolognese and Emilian School. Review. XXXIV: 195–205

______. The Devonshire Collection of Italian Drawings. Venetian and North Italian Schools. Review. XXXV: 192–95

______. The Devonshire Collection of Northern European Drawings. Review. XLI: 399–404

______. Van Dyck’s Antwerp Sketchbook. Review. VII: 46–47

______ coll. XI: 156, notes 14, 26, pls. 20, 22 (Van Dyck)

James Barry. The Artist as Hero. Review. XXII: 220

James, Andrew, formerly. LV: 517, fig. 41 (Watteau)

______, Carlo. Old Master Prints and Drawings. A Guide to Preservation and Conservation. Review. XXXVI: 432–35

______, Miss Sarah Ann, formerly. XLIV: 412, fig. 4 (Mercier), note 7

Jamnitzer, Christoph. XXVII: 234, figs. 1 (?), 2 (or follower), 3, note 7

Jan de Beijer. Zeichnungen von Emmerich bis Roermond. Review. XXII: 218–19

Jan Lievens Prenten & Tekeningen. Prints & Drawings, 1607–1674. Review. XXIX: 61–62

Jan Toorop, 1858–1928. Impressioniste, Symboliste, Pointilliste. Review. XVII: 286

Janis, Carroll. XLVI: 152–54, figs. 6a and front cover, 6b, 8 (Pollock)

______, Conrad. XLVI: 154, fig. 9 (Pollock)

Jans, Jan, the Younger. LVI: 521, fig. 11 (workshop of)

Janssens, Victor Honoré. LVI: 327, fig. 31 (formerly attributed to)

Japan, Private coll. XLI: 171, figs. 7–8 (Rodin), notes 24–25

Jarden, Richards. L: 199, fig. 4 (drafter of Sol LeWitt lithograph)

Jatta, Barbara. XXXII: 99–128 (BARTOLOZZI)

Jean-Auguste-Dominique Ingres. 53 dessins sur le vif. Review. XXI: 65

Jean-Baptiste Greuze, 1725–1805. Review. XV: 280–82

Jean-Louis Forain. Artist, Realist, Humanist. Review. XXIII–XXIV: 418

Jeaurat, Étienne. VI: 163–64, figs. 2–3 (?)

Jellisen, Meynert. XX: 117, fig. 2 (engraving after H. Vroom)

Jerusalem, Bezalel National Art Museum. X: 262, pl. 28 (Ter Borch)

______, Israel Museum. XXI: 65 (review)

Jesi, Italy, see Iesi

Joachim, Harold. The Art Institute of Chicago. French Drawings of the Sixteenth and Seventeenth Centuries. Review. XVIII: 179

______. The Art Institute of Chicago. Italian Drawings of the 15th, 16th, and 17th Centuries. Review. XVIII: 275–76

______. The Art Institute of Chicago. Italian Drawings of the 18th and 19th Centuries and Spanish Drawings of the 17th through 19th Centuries. Review. XVIII: 275–76

Joannides, Marianne. XXXIV: 317 (LETTER); XXXVI: 409–16 (CORREGGIO)

______, P. E. A. XXI: 183 (LETTER)

______, Paul. XXIX: 255–62 (MICHELANGELO); XXXII: 230–51 (SALVIATI and VOLTERRA); XXXIII: 418–20 (REVIEW); XXXIV: 148–67 (MICHELANGELO); XXXIX: 3–11 (MICHELANGELO); XLI: 105–18 (MICHELANGELO); XLIII: 356–71 (RAPHAEL); XLIV: 372–74 (LETTER); XLVI: 353–66 (PARMIGIANINO); XLVII: 237 (LETTER); XLVIII: 315–26 (SALVIATI); XLIX: 159–62 (MICHELANGELO); LI: 159–64 (CARAVAGGIO); 550 (LETTER)

______. Musée du Louvre, Département des Arts Graphiques, Inventaire général des dessins italiens, VI: Michel-ange, élèves et copistes. Review. XLIV: 366–67

______, and Véronique Burnod. XLV: 236–40 (MICHELANGELO)

______, see also Vaccaro, Mary, and Paul Joannides

Jode, Pieter de i. XLVII: 468–73, figs. 1 (engraving with Jan Breughel i), 2, 4 (after Jan Breughel i)

Johan (Jan) van Lintelo. Review. XXIII–XXIV: 416

Johann Philipp, Graf von Salm, Wild und Rheingraf. XLVIII: 376, fig. 2 (portrait)

Johann Wilhelm of Pfalz-Neuburg, formerly. XXXVII: 231, fig. 1 (Rubens), note 3

John Constable R. A., 1776–1837. A Catalogue of Drawings and Watercolours. Review. XV: 187–88

John F. Kensett Drawings. Review. XVIII: 49

John Flaxman, R. A. Review. XIX: 48–49

John James Audubon & His Sons. Review. XXII: 331

John Linnell. A Centennial Exhibition. Review. XXIII–XXIV: 420–21

John Sell Cotman, 1782–1842. Review. XXII: 331

John VI, King of Portugal and Brazil. XXXII: 111, figs. 16–17 (portraits of)

John, Gwen. VI: 171; XLII: 158, fig. 12

Johns, Christopher M. S. XXVII: 358–67 (CANOVA); XXVIII: 434 (LETTER); XXXVI: 313–15; XXXVII: 69–70; XL: 262–63 (REVIEWS); XLI: 74–75 (REVIEW); 128–39 (CANOVA); 174–76 (REVIEW)

______, Jasper. XLIV: 275–98, figs. 3–7, 13 (after Cézanne), 16–18 and front cover; L: 161, 167, 176, figs. 1, 4, 12; LII: 517, figs. 6–7

______ coll. XLIV: 275–94 passim, figs. 1 (De Kooning), 2 (Seurat), 8–10 (Cézanne), 11 (Passarotti), 12 (Cézanne after Polidoro da Caravaggio), 13 (J. Johns after Cézanne), 14 (Riley), 15 (Matisse), 16–17 (J. Johns), 19 (anonymous artist), notes 1–2, 15–21, 23–25, 27; L: 161, 167, figs. 1, 4 (Jasper Johns), 6 (Schwitters), notes 4, 20, 25; LII: 517, fig. 6 (Jasper Johns), note 18

Johnson, Alexander B. V., see Olson, Roberta J. M., and Alexander B. V. Johnson

______, Barbara Piasecka coll. (on deposit in the Chapel of the Visitation, Montecarlo). XXXV: 189, fig. 2 (Domenichino)

______, formerly. LII: 372, fig. 1 (tapestry from the factory of Jan i Raes), note 12; LV: 111, fig. 369 (A. Bloemaert)

______, Dorothy. XLI: 140–50 (DAVID D’ANGERS)

______, Henry, formerly. LII: 289, 346, fig. 18 (workshop copy after Coecke van Aelst)

______, Lee. II: 414–19 (REVIEW); XL: 249–54 (DELACROIX)

______, Mark M. Idea to Image. Preparatory Studies from the Renaissance to Impressionism. Review. XVIII: 389–90

______, Philip, formerly. L: 164, fig. 3 (Hans Arp), note 13

______, W. McAllister. IV: 25–29 (PRIMATICCIO); XI: 268 (PRIMATICCIO)

Johnston, Catherine. XX: 40–45 (REVIEW)

______, Sona.XL: 332–44 (T. ROBINSON)

Join-Lambert, Sophie, and Anne Leclair. Joseph-Benoît Suvée (1743–1807): Un Artiste entre Bruges, Rome et Paris. Review. LVI: 544–58

Joint, Don, formerly. XLIX: 53, 58, fig. 1 (Jost Amman)

Joll, Evelyn. VI: 53–54, 288–89; VII: 310–11; XI: 295–96; XIII: 51–52; XVI: 187–88 (REVIEWS)

Jolles, B., formerly. XXXVIII: 46, fig. 26 (Fenzoni), note 46

______, Boguslav, formerly. LV: 95, fig. 302 (A. Bloemaert)

______, Johannes Andreas, formerly. XLIII: 36, 62, figs. 43–44 (Van der Cooghen)

Jonckheere, Koenraad. XLIV: 213–20 (RUBENS)

Jones, Inigo. V: 193–94; XII: 62; XIII: 52–54; XVIII: 388; XXXVIII: 270, fig. 5

______, Leslie, et al., Drawing Surrealism. Review. LI: 257–62

______, Thomas. IX: 68

Jones-Parry, Thomas Parry, formerly. LII: 283, 325, figs. 12–12a (Coecke van Aelst)

Jongh, Ludolf de. LIII: 33, 37, figs. 29, 32

Jongkind, Johan-Barthold. V: 296–303, figs. 1–4, pls. 44–49; VI: 400, fig. 4 (photo), note 21; IX: 283

Jordaens, Jacob. I, 3: 17–28, figs. 1–2, 3 (after), 4–6, pls. 8–15; III: 259, pl. 16a; IV: 286–97, figs. 1, 2 (studio of), pl. 20; V: 198; VII: 173–78; XV: 181; XVIII: 55–56, 61; 360–70, figs. 2–3, 6 (studio of), 7, pls. 16–35; XIX: 443–44, fig. 1, pls. 24–25; XX: 289; XXII: 221; XXIII–XXIV: 214–28, figs. 1–14, pls. 25–38; XXVIII: 142–72, figs. 1–20, 22–25, 26 (studio of), 27–29, 30–31 (after), 32 (workshop of?), 33–35 (after); XXXIII: 81–82; XLIII: 21–27, figs. 13–19 (after); XLVII: 371, fig. 12; LII: 104, fig. 16; LV: 181, 188, figs. 12, 18; 504, fig. 21

______, the Younger. XXVIII: 172, fig. 37

Josi, Christian, formerly. XXXVII: 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4; XXXVIII: 58, fig. 3 (E. van de Velde), note 7

Joullain, François. XXIII–XXIV: 383–84, fig. 12 (engraving after Lancret)

Jouvenet, Jean. V: 135–43, figs. 1–4, pls. 1–10; VIII: 34, pls. 29–30a; XIII: 258–60, figs. 1, 2 (after), 3; XLIV: 487–92, figs. 1–5

Judrin, Claudie. XLI: 163–73 (RODIN)

Judson, J. Richard. I, 4: 38–41 (KETEL); V: 387–89 (L. CARRACCI); XIX: 42–44 (REVIEW)

______. Dirck Barendsz. Review. X: 168

______. The Drawings of Jacob de Gheyn II. Review. XII: 183

______. Rubens. The Passion of Christ. Corpus Rubenianum Ludwig Burchard, Part VI. Review. XL: 170–72

______, and Carl van de Velde. Book Illustrations and Title-Pages. Corpus Rubenianum Ludwig Burchard. Part XXI. Review. XXI: 59–62

Juel, Jens. XIV: 422

Jules Romain. L’histoire de Scipion, tapisseries et dessins. Review. XVIII: 60–61

Julia, Isabelle, see Rosenberg, Pierre, and Isabelle Julia

Julien, Jean-Antoine, called Julien de Parme. XXII: 67, fig. 4

______, Pascal. XXXIV: 418–20 (CHALETTE)

Julliene, Jean de. XIX: 32–35, fig. 6

Jung, Richard. XXIX: 62 (review)

Jung coll. XXV: 24, pl. 2 (Poelenburg)

Jungnickel, Ludwig Heinrich. XVII: 286

Jupp, Edward Basil, formerly. XLVI: 474, fig. 45 (Gainsborough)

Juvarra, Filippo. II: 173

 

Kabierske, Georg. LIII: 147–78 (PIRANESI)

Kähler, Julius, formerly. LV: 62–63, figs. 180, 185 (A. Bloemaert)

______, Toni, formerly. LV: 62, fig. 180 (A. Bloemaert)

______, Wofgang, formerly. LV: 63, fig. 185 (A. Bloemaert)

Kainen, Ruth and Jacob. XXXI: 246, fig. 43 (Goltzius)

Kaiserman, Franz. XLVIII: 195–226, figs. 1–5, 13, 19, back cover; 6, 8–11, 18, 26–28, 31 (and Pinelli); 14–15 (Pinelli possibly with Kaiserman?); 20–21, 23–25 (Kaiserman tracing Pinelli)

Kamenskaya, Tatiana. V: 390–95 (POUSSIN); VII: 424–26 (POUSSIN); IX: 171–72 (obituary)

Kang, Eun-Sung Juliana. LI: 435–44 (RAPHAEL)

Kann coll., formerly. XIV: 249, pl. 5b (Boucher)

Kansas City, KS, Milton McGreevy, formerly. LV: 67, fig. 200 (A. Bloemaert)

______, Nelson-Atkins Museum of Art. IX: 6, fig. 2 (tapestry); XXX: 419, fig. 5 (Signorelli), note 10; XLV: 160, fig. 17 (Molenaer), note 41; L: 95, fig. 1 (Tiepolo), note 1; LIV: 505, fig. 5 (Domenico Tiepolo), note 15; LV: 67, fig. 200 (A. Bloemaert); 362, fig. 29 (follower of H. Bosch), note 39

______, William Rockhill Nelson Gallery of Art, see Kansas City, KS, Nelson-Atkins Museum of Art

Kanter, Laurence B. XXX: 415–19 (SIGNORELLI)

Kaplan, Mrs. Jacob. IV: 258–60, 280, pl. 2 (Ingres)

Karcher, Nicholas. XXX: 104, fig. 21 (after Salviati); LI: 3, 9, figs. 6, 9 (and workshop, tapestry after design by Bronzino)

Karlsruhe, Staatliche Kunsthalle. XVIII: 177–78 (review); XIX: 54 (review); XXIX: 62 (review); XXXIV: 125, fig. 4 (German draftsman, 1493); XXXIX: 289, fig. 2 (Robert); XLVIII: 76, 86, figs. 6, 22–23 (Hollar), notes 19, 61; LIII: 147–78, figs. 1–2, 4–5, 16, 20–23, 25–27, 29, 34, 36–37, 39–40, 42–44 and front cover (Piranesi), 9–11, 18, 30, 45 (Piranesi or workshop), 12 (workshop of or copy after Piranesi), 13, 14–15 (workshop of Piranesi?), notes 10, 14, 17, 21, 27–28, 30, 33, 36, 41–42, 44–45, 47–48, 50–51, 53–54, 59, 61–62, 64–65, 67–70; LVI: 313, fig. 8 (Goltzius), note 25; 517, fig. 3 (Louis Silvestre the Younger), note 6

______, ______, Kupferstichkabinett. XXVI: 141 (review); XLIV: 176, fig. 86 (Kulmbach)

Karmel, Pepe. XL: 9–23 (ARSHILE GORKY)

Karolik, M. & M. II: 58–60

Kasper, Herbert. L: 65, fig. 1 (Paolo Farinati), note 6

Kasper coll. LIV: 176, 191, fig. 53 (Raffaellino da Reggio)

Kassel, Gemäldegalerie. LI: 181, fig. 2 (after Ligorio), note 3

______, Staatliche Kunstsammlungen, Kupferstichkabinett. II: 165–68, notes 11, 15, pls. 33–34, 36 (Romeyn); XI: 140–44, notes 25, 35, 45, pls. 8, 10, 12 (Veronese); XIX: 44–46 (review); XXXVII: 20, fig. 17 (school of G. Reni), note 63; 192, figs. 1–2 (follower of Jan Asselijn)

Katalan, Jak. XXVIII: 173–80 (NUCCI); XXXII: 60–62 (T. ZUCCARO); XL: 176–78 (REVIEW)

______ coll. XXXIII: 120, fig. 14 (Varallo), note 23

______ coll., formerly. XLV: 160, fig. 17 (Molenaer), note 41

Katz, Mrs. W. XIX: 127–28, fig. 1 (Constable), note 4; XXII: 73–74, fig. 6 (Constable), note 12

Kauffmann, C. M. XIX: 308–10 (REVIEW)

Kaufmann, Thomas Da Costa. XXXIX: 191–92 (REVIEW)

______. Drawings from the Holy Roman Empire, 1540–1680. A Selection from North American Collections. Review. XXII: 320–28

Kaulbach, Wilhelm von. LIV: 67–80, figs. 1–5, 8, 11, 12 (after); LV: 261–62

Kay, Arthur, formerly. III: 246–47, 250–51, 255–56, pls. 4, 8 (Dupont); XLVI: 461, 500, 514, 516, figs. 21, 83, 108, 111 (Gainsborough)

Keirincx, Alexander. XVI: 293–302, figs. 1–5, pls. 45–46

Kelder, Diane. Drawings by the Bibiena Family. Review. VII: 181

Kellerthaler, Johann. XLIII: 186–92, figs. 1–4

Kelly, David, formerly. LVI: 347, fig. 21 (circle of Giulio Parigi), note 57

______, Ellsworth. XLVI: 227–50, figs. 8–13

______, and Dorothea Rockburne. XLVI: 227–50 (DRAWING CONNECTIONS)

Kempeneer, Peeter de. XXV: 359–89, figs. 1–4, 5–7 and 11 (tapestries after), 12, pls. 1–22; XXXVII: 365–67, fig. 2

Kendal, Abbot Hall Art Gallery. XXII: 72–73, fig. 2 (Constable), note 9; XLVI: 431, fig. 6 (Romney)

Kendall, Richard. XL: 255–57 (REVIEW)

______, see also De Vonyar, Jill, and Richard Kendall

Kennedy, I. G. VIII: 415–20 (REVIEW)

Kensett, John F. XVIII: 49

Kent, William. LIII: 99–108, figs. 1–10, 12–13

______ coll., formerly. LIII: 485–87, figs. 1 (inscription in the hand of Gabburri), 2 (Gaspare Redi), note 6

Kent Master Coll. XLI: 105, fig. 2 (Michelangelo), note 1

Kenwood, Iveagh Bequest. XXI: 178 (review)

Kerkhoff, Daniël. XLIV: 70, fig. 4

Kessel, Jan van. LIII: 315, fig. 9 (after De Vlieger)

Ketel, Cornelis. I, 4: 38–41, fig. 1, pls. 26–27

Ketelsen, Thomas. XXXV: 182–84 (BASSANO)

Kettering, Alison McNeil. Drawings from the Ter Borch Studio Estate. Catalogue of the Dutch and Flemish Drawings in the Rijksprentenkabinet, Rijksmuseum, Amsterdam. Review. XXIX: 61–62

Kettering, Northamptonshire, Boughton House, Trustees of the 9th Duke of Buccleuch’s Chattels Fund. XLIX: 449, 454, figs. 23, 25, 35 (after Francis Cleyn), note 47

Keuninck, Kerstiaen de. XVI: 297–98, fig. 6

Key, Adriaen Thomasz. XLIV: 213–20, figs. 1–2 (after), 4 (after Coxcie)

Keyes, George S. XVI: 293–302 (KEIRINCX and GOVAERTS); XX: 115–24 (HENDRICK and CORNELIS VROOM); XXVII: 163–69; XXX: 443–49; XXXIII: 183–85 (REVIEWS); L: 523–32 (ADAM ELSHEIMER)

Kharkiv, Ukraine, Kunsthistorisches Museum, formerly. XLIII: 60, back cover (Van der Cooghen)

______, Museum of Fine Arts. XXXV: 347, fig. 9 (Molyn)

Kidde, Mr. R., formerly. XXXI: 350–63, figs. 1 (circle of Boccaccino), 2 (Roncalli), 3–4 (Mola), 5 (Gargiulo), 6 (circle of Luca Giordano, Nicolò Rossi?), 7 (Fracanzano?), 8–9 (Stanzione), 10–11 (Falcone), 12 (Vaccaro?), 13 (Pietro Aquila), 14 (Francesco di Maria?), 15 (Giaquinto)

Kiel, Schleswig-Holsteinischer Kunstverein, Kupferstichkabinett, formerly (lost after World War i). XLIV: 193, fig. 120 (Kulmbach)

Kieven, Elisabeth, and John Pinto. Pietro Bracci and Eighteenth-Century Rome. Drawings for Architecture and Sculpture in the Canadian Centre for Architecture and Other Collections. Review. XLI: 174–76

Killigrew, Thomas. XLIX: 514, fig. 63 (portrait)

King Baudouin Foundation (on deposit at the Prentenkabinet, Museum Plantin-Moretus, Antwerp). LI: 360, fig. 1 (Duquesnoy), note 1

The King’s Arcadia. Inigo Jones and the Stuart Court. Review. XII: 62

Kingston, Ontario, Queen’s University, Agnes Etherington Art Centre. LV: 111, fig. 367 (A. Bloemaert)

______, ______, ______, Bader coll. XLVIII: 25, fig. 24 (Govert Flinck), note 63

Kingston, RI, University of Rhode Island. XIII: 178 (review)

Kinkead, Duncan T. XX: 257–58 (ARTEAGA Y ALFARO)

Kirby, Joshua, formerly. XLVI: 438, 463–64, figs. 10, 25–26 (Gainsborough)

Kirwin, W. Chandler. XXIII–XXIV: 100–02 (REVIEW)

Kisch, Martin Royalton-, see Royalton-Kisch, Martin

Kitaj, R. B. XXXVI: 66–73, figs. 1, 5; XLVII: 10, fig. 10

______ coll. XXXVI: 70, fig. 5 (Kitaj), note 11

Kitson, Michael. VIII: 402–09 (REVIEW)

______. Claude Lorrain. Liber Veritatis. Review. XVI: 178–80

Klaver, Jacobus A. XXXI: 273, fig. 77 (Goltzius)

______, formerly. XXXV: 155, fig. 3 (Van Goyen), note 3; LII: 77, fig. 29 (Cornelis Visscher), note 60; LIII: 319, fig. 12 (Waterloo), note 17

Klein, Johann Adam. I, 2: 56

Klemm, David. Die Sammlungen der Hamburger Kunsthalle Kupferstichkabinett, ii: Italienische Zeichnungen, 1450–1800. Review. L: 543–48

Klengel, Johann Christian. XXXIX: 162, fig. 3

Klock, W. T. XI: 32–34 (ORSI)

Klotz, Valentin. LII: 102, fig. 15

Knab, Eckhart. II: 163–68 (ROMEYN); IX: 367–83 (CLAUDE LORRAIN, ANGELUCCIO, DUGHET, POUSSIN)

______. Jacques Callot und sein Kreis. Review. VII: 433

Knapp, Mrs. Catherine. XXXII: 211, fig. 12 (portrait of)

Kneller, Godfrey, Sir. XI: 34–45, fig. 3

Knibbergen, François van. LIII: 10, fig. 8

Knight, Gally, formerly. XXXVI: 29, fig. 3 (Murillo)

______, Henry M., formerly. XXXI: 253, figs. 50–51 (Goltzius)

______, Richard Payne. XXI: 181 (review)

______, ______ coll., formerly. XLIII: 52, fig. 61 (Van der Cooghen); XLVI: 193, fig. 5 (Italian, c. 1325–50), note 20; LI: 65, fig. 3 (Raphael), note 13; LV: 506, 509, 514, figs. 22 (C. Netscher), 27–28 (circle/school of N. Poussin), 37 (A. van de Velde)

Knipe, Penley, and Miriam Stewart. LIII: 523–30 (AUBREY BEARDSLEY)

Knowles, G. F. K., formerly. XXXI: 409, fig. 3 (Bononi), note 4

______, James, Sir, formerly. XLVII: 453, 456, figs. 1, 6 (Vassilacchi), note 1

______, William Pitcairn, formerly. XLIII: 29, 55–56, figs. 30, 66 (Van der Cooghen); LV: 320, fig. 2 (Beresteyn), note 42

Knox, George. III: 389–97; XI: 387–89; XII: 378–90; XVI: 48–50 (G. B. TIEPOLO); 61–62 (REVIEW); XVII: 28–34 (G. D. TIEPOLO); XVIII: 178–79; XIX: 53; XXXI: 184 (REVIEWS); XLV: 405 (OBITUARY)

______. Catalogue of the Tiepolo Drawings in the Victoria and Albert Museum. Review. XIV: 180–84

______. Piazzetta. A Tercentenary Exhibition of Drawings, Prints, and Books. Review. XXII: 450–52

______. Un quaderno di vedute di Giambattista e Domenico Tiepolo. Review. XIV: 311–12

______, and Thomas Martin. XXV: 158–63 (G. B. TIEPOLO)

______, see also Gealt, Adelheid M., and George Knox

______, Seymour H., Jr., formerly. LI: 487, fig. 8 (Corbett), note 15

Knupfer, Nicolaus. XLIV: 48–54, figs. 1–3

Kobell, Egidius, formerly. XLIV: 354, fig. 1 (Cigoli), note 1

______, Franz. XXXIX: 162, fig. 4

Koch, Mr. & Mrs. John. V: 55, fig. 2 (Boucher)

______, Joseph Anton. XXXIX: 181, fig. 11

______, Robert A. XIX: 180–83 (REVIEW)

______ coll. II: 3–6, 10–17, notes 1, 6, 22, 28, pls. 1–2, 4–5 (Rubens)

______, Victor, formerly. LIII: 451, figs. 1–2 (Rembrandt), note 2

Koelliker, Luigi. XLV: 4, fig. 1 (Van Dyck), note 2; 535, fig. 3 (Pace), note 21

Koenig-Fachsenfeld coll., see Stuttgart, Staatsgalerie, Grahische Sammlung, Koenig-Fachsenfeld coll.

Koenigs, Franz, formerly. XXXII: 346, fig. 22 (L. Tiepolo); XLIV: 148, 186, 205, figs. 37–38 (Kulmbach); 338, 351, figs. 6 (Van den Bossche), 16 and back cover (Van den Bossche?); 416, 423, 442, figs. 10, 20 (Mercier), 66–67 (anonymous artist), notes 18, 32; 526 (letter)

______, Reinhard von, formerly. XLIX: 109, fig. 40 (Amico di Donato)

Koffler Foundation, see S. W. and B. M. Koffler Foundation

Kolodny family coll. LIII: 369, fig. 3 (Gorky), note 26

Kolozsvari brothers. V: 28, fig. 6 (bust reliquary)

Kondoianaki, N., formerly. LVI: 259, fig. 24 (Patersson), note 19

Konecňý, Lubomír. XXII: 86–88 (LETTER); XLI: 76 (LETTER)

König, Eberhard. XLI: 216–27 (FLEMISH ILLUMINATORS)

______, Johann. LI: 111, figs. 4–5

Koninck, Philips. XII: 40, fig. 1, pl. 30

Konowitz, Ellen. XXXV: 54–62 (DIRK VELLERT); XLIII: 106–7 (COECKE VAN AELST); XLIX: 253–60 (REVIEW)

Konstanz, Städtische Wessenberg-Galerie, Brandes-Sammlung. XXXIX: 368, fig. 1 (Salomon de Braij after himself), note 10

Kooning, Willem de. XL: 73–88, figs. 1–3, 4–5 (portraits of), 7–12; XLII: 139, fig. 6; 149, fig. 6; XLIV: 275, fig. 1; LIII: 379, fig. 12

Kopelman, Gabrielle, formerly. XLIV: 431, fig. 34 (anonymous artist after Watteau)

Kopp, Édouard. XLVII: 191–220 (BOUCHARDON); LII: 111–19 (REVIEW); LIII: 481–84 (BOUCHARDON AND GHEZZI)

______. The Learned Draftsman: Edme Bouchardon. Review. LVI: 97–104

Kops, Willem Philip, formerly. XLIII: 28, 49, 54, figs. 26, 63–64 (Van der Cooghen)

Koreny, Fritz. XXXIV: 123–47 (MARTIN SCHONGAUER); XLI: 201–03 (INTRODUCTION to Early Netherlandish Drawings issue); 266–92 (VRANCKE VAN DER STOCKT); XLIII: 227–35 (LETTER); LV: 347–68 (REVIEW)

______, et al., Hieronymus Bosch: Die Zeichnungen. Review. LI: 393–407

______, with Erwin Pokorny and Georg Zeman. Early Netherlandish Drawings from Jan van Eyck to Hieronymus Bosch. Review. XLI: 305–16

Korshunova, Milizia. VII: 308–10 (REVIEW)

Koschatzky, Walter. 200 Jahre Albertina. Review. VII: 433

Kossoff, Florence. IV: 415–18 (ORSI)

Kowalczyk, Bożena Anna, and Ger Luijten. Letà di Rembrandt: I disegni olandesi della Biblioteca Reale di Torino. Review. XLV: 255–57

Kraemer, Ruth S. XX: 3–21 (GRAVELOT); XXVIII: 338–43 (GRAVELOT); XXXI: 146–162 (COCHIN); XL: 182

______, see also Stampfle, Felice, with the assistance of Ruth S. Kraemer and Jane Shoaf Turner

Krahe, Lambert. IX: 64–65 (review); XI: 294 (review)

______, ______, formerly. XLIII: 476, fig. 24 (Cortona); XLV: 223, fig. 1 (Domenichino), note 4; 378, 380, figs. 21, 27 (Vieira Lusitano), notes 34, 41; XLVII: 302, fig. 51 (copyist after the “False Amand” hand after Dughet)

Kramarsky, Sally and Wynn, formerly. LII: 519, fig. 8 (Anastasi), note 21

______, Werner. XXVII: 111, fig. 5 (Rembrandt)

Krasner, Lee. L: 171, fig. 9

Krautheimer, Mrs. Richard. IV: 173, pl. 39 (Luzio Romano); XI: 26, note 6, pl. 9 (Creti); XII: 371, pl. 34b (Ribera)

Krautheimer coll., formerly. XL: 115, fig. 2 (T. Zuccaro), note 9

Krčma, Ed. LIII: 365–84 (EVA HESSE)

Kress, Samuel, formerly. XLI: 9, fig. 8 (Spinello Aretino), note 24

Kretschmar, F. G. L. O. van. XVI: 45–48 (UNKNOWN FLEMISH ARTIST)

Krogt, Peter van der, see Groot, Erlend de, and Peter van der Krogt

Kröker, Professor Peter. XII: 133–37, note 2, pl. 5 (Rubens)

Kromeríz, Czech Republic, Umeleckohistorické Muzeum. XXXIII: 262

Krug, Ludwig. XLIV: 199–200, 203; XLVI: 211, fig. 3

Krugier, Jan. XLVI: 546 (obituary notice); XLVII: 101–2 (obituary, portrait)

______, formerly. LIII: 477, fig. 1 (Federico Zuccaro), note 6

Krugier, Jan, and Marie-Anne Krugier-Poniatowski. XLV: 293, figs. 2–3 (El Greco); XLVIII: 27, fig. 28 (copy after Govert Flinck), note 73

Krugier-Poniatowski, Jan and Marie-Anne, formerly. XLII: 349, fig. 1 (J. Tintoretto), note 3; XLV: 293, figs. 2–3 (El Greco)

______, Marie-Anne. LI: 8, figs. 7–8 (Bronzino), note 28; LII: 20, 41, fig. 26 (Genga)

Krumbhaar, E. B. Isaac Cruikshank. Review. IV: 186

Kruyfhooft, Cécile. LV: 55, 72, figs. 157, 218 (A. Bloemaert)

Kuan, Christine. XLVIII: 374–79 (GERNSHEIM PHOTOGRAPHIC CORPUS OF DRAWINGS IN ARTSTOR)

Kuen, Franz Martin. XXXI: 184

Kühn-Nielsen, Peter. XII: 151–56 (GOYA)

Kuhrmann, Dieter. Zeichnungen der Dürerzeit. Review. VI: 55

Kulmbach, Hans Süss von. I, 1: 38, fig. 2; XXIII–XXIV: 517–26, figs. 4–5; XLIV: 127–212, figs. 1–77, 78 (retouched by Rubens), 79–124; XLVI: 382–85, figs. 1–2; LI: 227, fig. 5

Kultzen, Rolf. IV: 151–55 (COUSIN)

Kummer, Stefan, and Ulrich Sinn. Johann Martin von Wagner: Künstler, Sammler und Mäzen, exhibition catalogue. Review. XLVI: 261–64

Kunst des Cinquecento in der Toskana. Review. XXXIII: 188

Kunstsinn der Gründerzeit: Meisterzeichnungen der Sammlung Adolf von Beckerath, exhibition catalogue edited by Michael Roth and Susanne Schlichting. Review. XLIII: 109–11

Kupelwieser, Leopold. XVIII: 149–54, figs. 1–2, 3 (after), pl. 20

Kuri, Yōji. LIII: 370, figs. 4a–c (stills from animated film)

Kurlander, Amy. XLVII: 414–32 (DELACROIX)

Kutschera-Woborsky, Oswald von, formerly. XLIX: 110, fig. 43 (Amico di Donato)

Kuthner, N. XXV: 408–09, fig. 23

Kuznetsov, Y. I. IX: 171–72 (OBITUARY); XXIII–XXIV: 418

______. Risunski Rubensa. Review. XIV: 299–302

Kuznetzov, Alexei, formerly. LV: 479, fig. 1 (Lemoyne), note 1

 

  1. de N. coll. XVII: 168, pl. 41a (Dieu)

Labbé, Jacqueline, and Lise Bicart-Sée. XXV: 276–81 (DEZALLIER D’ARGENVILLE)

Lachenmann, David. XXX: 210–15 (FRA SEMPLICE DA VERONA); XXXIX: 103–13 (WOLFGANG RATJEN)

______ coll., XXXIII: 51, fig. 1 (Vasari), note 1; 275, fig. 52

______, formerly. XXXI: 124, fig. 28 (Watteau)

La Fage, Raymond. II: 176; XLV: 43, fig. 3 (after); LIV: 90, fig. 15; LV: 502, fig. 19

La Farge, John. XXIX: 115–44, figs. 1–26

La Faye, Hugues de. XXII: 299, fig. 1 (after)

La Fère, France, Church of La Fère. XIII: 258, fig. 1 (Jouvenet)

Lafitte coll., formerly. XLVII: 293–94, 307–8, figs. 40 (anonymous after Dughet), 45 (anonymous after Moucheron), 57 (anonymous after Dughet)

Lafont, Louise. VII: 35–38, note 11, pl. 26 (Ingres)

La Fosse, Charles de. XXXIX: 223–59, figs. 1, 2 (engraving after), 3–7, 8 (after Rubens), 9–41, 42 (and Watteau); XLI: 76

______, Jean-Charles de. II: 50–55, figs. 1–2, 4, pls. 44–46; XI: 362–64, pls. 20–21; XXI: 17–20, figs. 1–2, pls. 20–23

Lafréry, Antoine. LI: 6, fig. 4 (anonymous engraving published by)

La Gardie, Jacob Gustav de, Count. XXI: 180 (review)

“Lagneau.” XI: 360–64, note 2, pl. 1; LI: 107, fig. 1

Lagoy, Jean-Baptiste-Florentin-Gabriel de Meyran, Marquis de. XLVI: 187–204, figs. 1 (portrait of), 2 (collector’s mark, L. 1710)

______ coll., formerly. XLVI: 187–204, figs. 3 (Bandinelli), 4 (Bezzi), 5 (Italian, c. 1325–50), 6–7 (Pisanello), 8 (Annibale Carracci), 9 (Cantarini), notes 14, 18, 20, 28–29, 32, 36; LII: 283, 325, fig. 11 (Coecke van Aelst, retouched by Rubens)

La Grese, Isaac. XLV: 451–513 passim, figs. 31 (attributed to, after anonymous artist associated with Konrad Gesner), 41, 42 (? or attributed to Pierre Vase), 44, 46 (attributed to), 66–68, 70–71, 74, 80 (attributed to), 82 (attributed to), 83 (attributed to, after Pierre Vase), 85, 87, 88 (attributed to), 89–91, 93, 95–96, 100–101 (attributed to), 103, 104 (attributed to), 105 (or Pierre Vase), 106–7 (attributed to), 108, 110 (?), 112, 119 (attributed to), 120, 123 (attributed to)

La Hyre, Laurent de. III: 259; XXXI: 179–84, figs. 1–2, 3 (after); XXXV: 376, fig. 16; LIV: 28, fig. 12

Laing, Alastair. XLIV: 511–16; 524–25 (REVIEWS)

______, ______, et al. The James A. de Rothschild Bequest at Waddesdon Manor: Drawings for Architecture Design and Ornament. Review. LI: 243–56

______, David. V: 379; XV: 185–86 (review); XLVI: 194, fig. 7 (Pisanello), note 29; 505, fig. 91 (Gainsborough); LIV: 178, 184, fig. 55 (Raffaellino da Reggio)

______, _____, formerly. XLV: 314, fig. 40 (El Greco), note 61; XLVII: 306, fig. 56 (Jacques Rousseau); LII: 23, 41, figs. 32–33 (Genga); 66, 84, fig. 8 (Jan de Visscher)

La Live de Jully, Ange-Laurent. XXXIV: 92, figs. 1–2 (etchings after Jacques Saly)

Lallemand, Jean-Baptiste. VIII: 35, pl. 33

Lam, Wifredo. XL: 57–72, figs. 1–5, 6 (with Hérold and Breton), 7 (collage with Brauner), 8–12, 13 (portrait of), 15–17, 18 (etching), 19 (lithograph), 20 (etching), 21 (portrait of); XLII: 141, fig. 11

Lama, Giulia. XII: 183; XLII: 388, fig. 19

La Malfa, Claudia. XLIII: 145–59 (FILIPPINO LIPPI)

Lamarra, Francesco. III: 177

Lamba, Jacqueline. LI: 259, fig. 3 (with André Breton and Yves Tanguy)

Lamberti, Bonaventura. XXI: 145–47, figs. 12, 13 (after)

Lambourne, Lionel, and Jean Hamilton. British Watercolors in the Victoria and Albert Museum. An Illustrated Summary Catalogue of the National Collection. Review. XIX: 314

Lamers, Petra. Il Viaggio nel Sud dell’Abbé de Saint-Non. Review. XXXVI: 313–15

Lami, Louis-Eugène. XLIV: 498–510, figs. 5–8, 10–16 and back cover

Lammertse, Friso. XL: 169–70 (LETTER)

______, see also Giltaij, Jeroen and Friso Lammertse

Lamponi, Col.-comte E. R., formerly. XLVII: 286, 306, fig. 34 (“False Amand” hand after Dughet)

Lancaster, Lancaster University, Ruskin Library and Research Centre. XLVII: 329, 333–34, 339, 342, figs. 1 (Ruskin), 5, 8 (Ruskin photogravure), 10, 12–15, 18 and front cover (Ruskin), notes 2, 21, 30, 38, 49

Lancret, Nicolas. XI: 361–63, pls. 6–8; XXIII–XXIV: 377–89, figs. 5, 6 (after), 7–8, 9 (after), 10–11, 12 (after), 13–15, pls. 43–50; XXXII: 168–71, fig. 1; XLIV: 450–63, figs. 1–8, 10–15

Landau, David, see Brown, David Blayney, and David Landau

Landini, Taddeo. 49, fig. 28 (after)

Landolt, Robert. VII: 431, pl. 37 (Grimaldi); LV: 70, 83, figs. 210, 262 (A. Bloemaert)

______, formerly. L: 300, 322, fig. 16 (Matthijs Cock)

Landscape in Flemish and Dutch Drawings of the 17th Century. Review. XV: 187

Landscape in Perspective. Drawings by Rembrandt and his Contemporaries. Review. XXVII: 163–69

Landscape. The Artist’s View. Review. VII: 181

Die Landschaft im Jahrhundert Rembrandts. Review. XXXIII: 183–85

Landshut, Castle Trausnitz. I, 1: 46–47, fig. 1 (Sustris)

______, Chapel of the Stadtresidenz. XXIX: 173, 179, figs. 1–2 (Postma)

Landsinger, Sigmund, formerly. XLVIII: 175, fig. 4 (Pierre Dumonstier i or Étienne Dumonstier ii), note 6

Lane, Emily, formerly. XLVI: 458, fig. 18 (Gainsborough)

______, Richard James, formerly. XLVI: 458, 533, fig. 18 and back cover (Gainsborough)

Lanfranco, Giovanni. III: 407; IV: 62–63, fig. 3; V: 35–39, fig. 1, pls. 22–25; XXV: 277–79, fig. 1; XXXIV: 249, fig. 6; XXXVI: 13, fig. 2 (and Agostino Tassi); 409, fig. 3; XLVI: 9, 27, figs. 44–45; 52, figs. 15–16; 114–15

Lange, Hans W., formerly. XXXII: 347, fig. 31 (L. Tiepolo)

Langemeyer, G., see Hoetink, H. R., and G. Langemeyer

Langendijk, Dirk. LIII: 515–18, figs. 1 (copy after), 3–5

Langerhuizen, Pieter, formerly. XXXI: 253, figs. 50–51 (Goltzius); LV: 320, fig. 2 (Beresteyn), note 42; LVI: 194, 207, 220, figs. 1–2, 29–30 (Van Musscher)

Lanier, Jerome, formerly. XLVII: 513, fig. 1 (Polidoro da Caravaggio), note 1

______, Nicholas, formerly. XLVII: 513, fig. 1 (Polidoro da Caravaggio), note 1; LII: 36, 45, fig. 55 (Genga)

Lanino, Bernardino. III: 408; XXII: 178–85, figs. 1–3, 4–8 (workshop of), pls. 18–23, 24 (workshop of), 25 (circle of)

Lankrink, Philip, formerly. LII: 311, 334, fig. 48 (Coecke van Aelst)

______, Prosper Henry, formerly. II: 15; III: 21, 25; XXXII: 54, fig. 1 (Rubens); XLV: 314, fig. 40 (El Greco), note 61

Lanna, Adalbert von, Baron, formerly. XXXI: 241, fig. 33 (Goltzius); LII: 347, fig. 88 (attributed to the workshop of Coecke van Aelst); LV: 435, fig. 1 and front cover (Dürer), note 1

Lannoy, Juliana Cornelia. LIII: 515–18, fig. 2 (portrait of)

La Noüe, François de, formerly. XLV: 22, fig. 14 (Niccolò dell’Abate)

Lansing, Abraham. XXXVI: 9, fig. 5 (portrait photograph)

Laordino, Gaetano. LVI: 450, fig. 16

Laporte, John, formerly. XLVI: 445, fig. 11 (Gainsborough)

Lappoli, Giovanni Antonio. IX: 26–27, fig. 14 (?)

Largillierre and the Eighteenth-Century Portrait. Review. XXII: 330

Larionov, Alexey. LVI: 3–18 (LUCAS CRANACH THE ELDER)

Larmessin, Nicolas de. XXIII–XXIV: 363, 366, fig. 1 (engraving after Legros), note 1; 382, fig. 9 (engraving after Lancret)

La Rochelle, Société des Sciences Naturelles de la Charente-Maritime, Muséum d’Histoire Naturelle de la Rochelle, Archives. LV: 541, fig. 3 (Audubon), note 10

______, ______, ______, Bibliothèque Scientifique. L: 446–70, figs. 4–8, 10–15, 20, 22, 24, 26, 28, 30, 32, 34, 36, 38, and front cover (Audubon), notes 46–49, 51, 55, 58, 60, 63–64, 73, 97–98, 104–11

Laroon, Marcellus. VII: 49–50, fig. 1

Larpent, Sophus. XXXIX: 68

______, formerly. LIV: 180, 191, fig. 65 (Raffaellino da Reggio)

Larson, Alodie, see Chin, Barbara, and Alodie Larson

Lasinio, Carlo. XI: 283–86, fig. 4 (engraving); XXI: 32–36, figs. 1–3 (etching and engraving), pls. 37–41

Laske, Oskar. XVII: 286

Lasne, Michel. XXIII–XXIV: 348, fig. 1 (after Charles Le Brun)

Lastman, Pieter. XXVII: 118–20, figs. 2, 4–5; 129–30, figs. 1–2; XXIX: 410, fig. 2; XXX: 452; XLIX: 335, fig. 111 (after); 355, 360, figs. 3, 17–18; LIII: 463, figs. 1 (after), 2

La Tour du Pin de Bourlon, Charles-Frédéric de, marquis de Gouvernet, formerly. XLV: 16, 27, figs. 11, 19 (Federico Zuccaro after Correggio)

La Traverse, Charles F. de. X: 378–82, pls. 43–53; XLIX: 225–48, figs. 1, 5–11

______, Jean Balthasar de. LVI: 262, fig. 29

Latrowski coll. XXV: 156–57, note 8, pl. 10 (L. de’ Ferrari)

Lauder, Anne Varick. XXXIII: 188 (LETTER); XLII: 297–98 (REARICK TRIBUTE)

Laughlin, Irvin, formerly. XXXVII: 35–46, figs. 1–16 (Ango), notes 7, 18–22, 24, 29–30, 32–36, 38, 40

Laughlin, Irwin Boyle. XXI: 179 (review)

Laughton, Bruce. XVII: 44–50 (MILLET); XIX: 50–52 (REVIEW); XXII: 56–63 (DAUMIER); XXXIV: 400–13 (DAUMIER)

______. The Drawings of Daumier and Millet. Review. XXXII: 275–77

______. Honoré Daumier. Review. XXXVIII: 73–76

Launay, Elisabeth. XVI: 68 (LETTER)

Laurent de La Hyre, 1606–1656. L’homme et l’oeuvre. Review. XXXI: 179–84

Laurentz, Johann Daniel. XII: 123–27, figs. 2, 4–5 (etchings after Rembrandt)

Laurenza, Domenico, see Gnann, Achim, and Domenico Laurenza

Lauri, Filippo. LIII: 213–24, figs. 1, 9–10, 13–14 (here attributed to), 2–3, 5–8, 15 (and Gagliardi), 11–12

Laurin, Thorstin, formerly. VI: 165–66, fig. 5 (review)

Lauro, Giacomo. LV: 386, fig. 11

Lausanne, Fondation Jan Krugier. LVI: 448, fig. 13 (Antonio Faso), note 40; 510, fig. 52 (Claude Lorrain), note 79

______, Musée Cantonal. XIII: 161–69, figs. 2, 4–5, pls. 26–37 (Gleyre)

______, Reichlen Gallery, formerly. XLIX: 102, 107, fig. 19 (Amico di Donato)

Lauts, Jan. Carpaccio. Paintings and Drawings. Review. I, 4: 47–54

Laveissière, Sylvain. Pierre-Paul Prud’hon. Review. XXXVII: 306–07

Lavergnée, Barbara Brejon de, see Brejon de Lavergnée, Barbara

Lavin, Irving and Marilyn. XIII: 159–60, note 14, pl. 23 (Bernini)

Lawder, Standish D., see Haverkamp-Begemann, Egbert, Standish D. Lawder, and Charles W. Talbot, Jr.

Lawrence, Mrs. Cyrus J. XLII: 119, fig. 11 (portrait)

______, Sir Thomas, formerly. VIII: 123–40 passim (Zuccari); 287–90; XVIII: 58; XXXI: 395, figs. 1–2 (Bandinelli), notes 1, 3; XXXII: 398, fig. 1 (Primaticcio); XLII: 222, fig. 33 (E. Sirani), note 64; 336, fig. 2 (G. Salviati); XLIII: 297, fig. 8 (F. Salviati), note 25; 332, 334, figs. 13 (Vasari), 18 (J. Zucchi), notes 12, 18; XLV: 304, 306, figs. 20, 25 (El Greco), notes 41, 46; XLVI: 192, 194, figs. 3 (Bandinelli), 6–7 (Pisanello), notes 14, 28–29; 496, fig. 80 (Gainsborough); XLVII: 70, fig. 2 (Gaulli), note 2; XLIX: 59, fig. 9 (Jost Amman); LII: 4, 46–47, figs. 1, 69–70 (workshop of Luca Signorelli, Genga?); 307, 309, 334, figs. 43–46 (Coecke van Aelst); LIV: 149, 179, 189, 195–97, figs. 2, 57 and back cover (Raffaellino da Reggio), 88 (Raffaellino da Reggio?); LV: 26, fig. 66 (A. Bloemaert); 493, 509–10, figs. 10, 29–30 (Van Dyck)

Lawrence, KS, Spencer Museum of Art. XIII: 60–63 (review); LV: 54, fig. 154 (copy after A. Bloemaert)

Lazzarini, Gregorio. XLII: 385, fig. 15

Lea, Matthew Carey, formerly. XLII: 6, fig. 3 (Castiglione), note 6

Leader of My Angels. William Hayley and His Circle. Review. XXII: 330–31

Lear, Edward. VI: 410–12; XXI: 183; XXV: 164–65

Léau, Belgium, St. Leonhard. III: 355–59, figs. 3, 6 (Aertsen); IV: 414, fig. 1 (Aertsen)

Lebas, Hippolyte. XLII: 46, fig. 9

Le Bas, Jacques-Philippe. XX: 6–7, figs. 1, 3 (engravings after Gravelot); XXII: 68, fig. 5; XXIII–XXIV: 380–81, fig. 6 (engraving after Lancret)

Lebel, Robert. XI: 268, note 5, pl. 22 (Primaticcio); XII: 239, pl. 1 (Poussin); XVII: 122, note 9, pls. 2–3 (Poussin)

Leben, Edmond, formerly. LV: 47, fig. 130 (A. Bloemaert)

Le Blon, Michel. XXXI: 282, fig. 3 (engraving)

Le Brun, André. II: 407–09, pls. 34–40; XX: 278–79, fig. 1, pl. 26

______, Charles. I, 2: 40–47, figs. 1–3, pls. 34–42; I, 3: 54–55, pls. 38–39; II: 142–52 passim; III: 259; 406, pl. 33; VIII: 32, fig. 3, pl. 27; XXIII–XXIV: 348, fig. 1 (after), pl. 1; XXXVIII: 117, fig. 3; XLI: 70, fig. 1; LIV: 15–20, figs. 1, 2–3 (after), 4–5; 43, figs. 40 (copy after), 41 (after)

______, Elisabeth Louise Vigée, see Vigée Le Brun, Elisabeth Louise

Lecce, Matteo da, see Pérez de Alesio, Mateo

Le Claire, Thomas. XXXI: 124, fig. 28 (Watteau); XXXVII: 119, 136, fig. 28 (Luca Giordano)

______ coll., formerly. XXXI: 260, fig. 59 (Goltzius)

Le Clerc, Sebastien. XXI: 3–16, fig. 4, pls. 1–19; LIV: 15–20, figs. 2 (etching), 3

Lecomte, Maurice, formerly. XLIV: 505, fig. 15 (Lami), note 33

Lederman, Gabriele and Martin. XIX: 267, pls. 14b-16 (Spada)

Lee, Simon. XXI: 283–85 (COYPEL)

Leeds, Duke of, formerly. XLV: 315, fig. 42 (El Greco), note 65

Leeds, City Art Galleries. XI: 395–96, fig. 3 (Cotman); XVI: 407, pl. 24a (Wilson)

Leefdael, Jan van. XXIII–XXIV: 217, fig. 3 (after Jordaens)

Leeman, Fred. XXXVI: 316–18 (REVIEW)

Leembruggen, Gérard, formerly. LV: 11, fig. 21 (A. Bloemaert)

Lees, Walter. XXXVIII: 38, fig. 19 (Fenzoni), note 40

Leeuwarden, Museum of Friesland, Coll. Provincie Fryslân. LV: 165, fig. 19 (escutheon with coat of arms), note 67

Leeuwen, Hans van. XIII: 142–44, pl. 8 (Goltzius); XVIII: 54 (review); XX: 119–20, note 26, pl. 10 (C. Vroom); LII: 66, 83, fig. 6 (Jan de Visscher after Wouwerman)

______, formerly. XXXI: 236, fig. 28 (Goltzius)

Lefebre, Marie Adèle Julie, formerly. XLIV: 441, fig. 64 (anonymous artist)

Lefèvre, Valentin. XXVI: 335–50, figs. 1–11, pls. 1–39

Lefort, Paul, formerly. XLV: 327, 329, 332–39, figs. 6, 11, 14, 17–18, 20, 22, 26 (Cano)

Legnano, S. Magno. XXII: 178–80, figs. 1–3 (Lanino)

Legrand, Catherine. XXIX: 311–13 (DANEDA); XXXII: 33–39 (G. C. PROCACCINI)

Legros, Alphonse. LI: 74, fig. 13

______, Jean. XXIII–XXIV: 363, 366, fig. 1 (after), note 1

______, Pierre ii. LVI: 55, fig. 35 (after)

Le Gros, Pierre. XXIX: 236, fig. 2

Le Guay, Étienne-Charles. XLVI: 187, fig. 1

Lehman, Robert. II: 158; III: 15, note 18; 267; 375; IX: 254, note 3, pl. 29 (Rembrandt); XXXI: 163–169; XXXVIII: 317–37

Lehmann, Heinrich (Henri). IV: 270–71, fig. 7; XX: 374–75, fig. 1; XLVII: 478–83, figs. 1–4

Leicester, Earl of, Holkham Hall. I, 2: 50; II: 257–58, 262, 273, 275; III: 266–67, fig. 1 (Claude Lorrain); VII: 153, notes 17, 19, pls. 31–32 (Albani); IX: 124–25, note 25, pl. 5 (Franceschini); XV: 260, pl. 14 (Veronese); XVI: 65 (review); XVII: 251–52, fig. 6 (Domenichino); XX: 405 (review); XXIII–XXIV: 43, note 28, pl. 18 (Schedoni); XXVIII: 409, fig. 3 (Claude Lorrain), note 6; XXXVII: 23, fig. 29 (G. Reni), note 74; XLV: 223, fig. 2 (Domenichino), note 5

______ see also Holkham Hall, Norfolk, Coll. of Viscount Coke and the Trustees of the Holkham Estate

______, formerly. XXIX: 353, 356–57, 367–68, 376–77, figs. 16 (attributed to M. Pace), 26 (attributed to G. B. Pace); XXX: 218, fig. 2; XLII: 348, fig. 15 (L. Agresti); LI: 35, fig. 8 (Allegrini), note 14

Leiden, Burgersdijk and Niermans, formerly. LV: 41, figs. 111–12 (A. Bloemaert)

______, Coster and Boelhuis, formerly. LII: 299, 330, fig. 29 (Coecke van Aelst)

______, Rijksuniversiteit, Biblioteca Thysiana. XLIX: 513, fig. 62 (Marcus Gheeraerts the Elder), note 106

______, ______, Bibliotheek. VIII: 20–21, fig. 8 (R. Savery)

______, ______, Prentenkabinet. I, 4: 27, 31; III: 129, 137, 149–51, fig. 3 (J. Muller), pl. 7a (Cornelis van Haarlem); VII: 131, 141, pl. 8 (Severino da Cingoli); XVI: 26, pl. 24 (Van Mieris); 294–97, note 6, pl. 46 (Keirincx); XXV: 33, pl. 16 (Poelenburg); 370–73, notes 17, 21, 24, 28, pls. 8, 12, 15, 19 (Kempeneer); XXXII: 354, fig. 7 (Stradanus), note 16; XXXIX: 383–84, figs. 19 (Salomon and Jan de Braij), 20 (Salomon de Braij), 21 (Jan de Braij after Salomon De Braij), notes 33–35; XLIII: 41, 54, 64, 67, figs. 52, 64 (Van der Cooghen), 74 (attributed to Van der Cooghen); XLIX: 194, 212, figs. 35, 76 (Simon de Vlieger), notes 36, 80; 335, fig. 113 (Rembrandt); 354, fig. 4 (Jan Lievens), note 8

______, Stedelijk Museum De Lakenhal. V: 196 (review); XVI: 14–16, fig. 19 (Van Mieris the Younger); XLIX: 355, fig. 5 (Rembrandt), note 9

______, University Libraries, Special coll. LI: 301, fig. 12 (Pieter Bruegel the Elder), note 53; LII: 59, 68, 82, figs. 1 (Jan de Bray), 13 (Jan de Visscher), note 6; LIII: 191, fig. 2 (Hendrick Hondius i after Lucas van Leyden), note 5; LV: 7, 16, 31, 50, 87, figs. 9, 38, 140, 271 (A. Bloemaert), 81 (copy after A. Bloemaert); LVI: 198, 221, fig. 10 (Van Musscher)

Leighton, Frederic. LI: 73, fig. 12

Leipzig, C. G. Boerner, formerly. XXXVI: 77, fig. 3 (Van Noordt), note 13; 266, fig. 19 (Giovanni Battista Tiepolo); XLVII: 285, 293–94, 304, 307–8, figs. 26 (“False Amand” hand after Dughet), 40 (anonymous after Dughet), 45 (anonymous after Moucheron), 57 (anonymous after Dughet); LII: 68, 82, fig. 13 (Jan de Visscher); LIII: 444, fig. 2 (Breenbergh), note 11; LV: 101, figs. 326–27 (A. Bloemaert)

______, Kunst Auktions Hause, formerly. XLIV: 431, fig. 35 (anonymous artist after Watteau and Vleughels)

______, Museum der Bildenden Künste. III: 383–89, figs. 1–3 (anonymous artist); IV: 299–300; V: 140, pl. 10 (Jouvenet); VIII: 145, note 19, pls. 33a, 36c (Aldegrever); XII: 14, note 51, pl. 13 (Zucchi); XIII: 131–35, note 1, pl. 6 (Lotto); XV: 26–28, fig. 1 (Saenredam), note 2; XVIII: 373–75, pls. 46–47 (Canaletto); XXIII–XXIV: 17–19; 49, pl. 26 (Van Loon); 100–02 (review); XXV: 266, fig. 3 (F. Allegrini); XXXIV: 135, fig. 21 (after M. Schongauer); XXXV: 397, fig. 2 (Buytewech); XLI: 121, fig. 3 (Bernini); XLII: 345, fig. 12 (after G. Salviati); XLVII: 294, fig. 46 (Moucheron), note 75; XLVIII: 61, fig. 33 (Van den Eeckhout), note 67; LIII: 239, fig. 2 (Peter Candid), note 10; LIV: 52, fig. 8 (Vernansal), note 16; LV: 22, fig. 53 (copy after A. Bloemaert?)

______, Universitätsbibliothek. LI: 234, fig. 2 (Lucas Cranach the Elder), note 36

______, Weigel, formerly. LV: 98, fig. 314 (A. Bloemaert)

Lejeune, Maud. LII: 147–80 (BERNARD SALOMON)

Lely, Sir Peter. VI: 148–55, pls. 45–47 (circle of); XVIII: 59; LIII: 491, no. 16 (portrait of)

______ coll., formerly. XXXVIII: 57, fig. 1 (F. Salviati), note 5; L: 262; LIV: 167, 188, fig. 35 (Raffaellino da Reggio); LV: 12, fig. 24 (copy after A. Bloemaert)

Lemaire, Jean. XVII: 127, fig. 4

Lemgo, Weserrenaissance-Museum, Schloss Brake. LIV: 328, fig. 57 (Pieter Holsteyn the Elder after Frans Post?), note 66

Lemme, Fabrizio and Fiammetta Luly. XLVI: 84, fig. 48 (Benefial), note 89

Lemoine, Jacques-Antoine-Marie. LIV: 491, 497, fig. 1, 8 (after)

Lemoyne, François. XXXIV: 365–74, figs. 1–5, 6–10 (attributed to); XXXVIII: 121, fig. 4; XLI: 70, figs. 2–3; LV: 479–84, figs. 1–2, 4–5, 7–11

Le Moyne de Morgues, Jacques. XVIII: 174–75

Lempereur, Jean-Baptiste-Denis, formerly. XXXII: 56, fig. 1 (Rubens); XLV: 16, 27, figs. 11, 19 (Federico Zuccaro after Correggio); LIII: 477, fig. 1 (Federico Zuccaro), note 6

Lempertz, Heinrich Kaspar, Sr., formerly. LV: 12, 45, figs. 24 (copy after A. Bloemaert), 126 (A. Bloemaert)

Lenardi, Giovanni Battista. III: 413

Leningrad, Hermitage, see St. Petersburg, Hermitage

Lennox, Mr. D. P. H. XV: 16–21, fig. 3 (Wtewael)

Lennox-Boyd, Hon. Christopher. XIV: 284, pl. 41 (Jacob More)

Lenoir, Alexandre, formerly. L: 36, fig. 3 (Vittore Belliniano), front cover (Giovanni Bellini or Vittore Belliniano), note 36

Lenz, B., formerly. IX: 148, pl. 21 (Turchi)

Leonardi, Vincenzo. XLV: 542, fig. 1 (attributed to)

Leonardo da Vinci. II: 28–32, fig. 3, pl. 16; 286; III: 5, 12, 14, 18–20, notes 41, 43; IV: 129–30, pl. 5 (after); VII: 434; IX: 66; XII: 127–33, fig. 3, pl. 2; XVI: 151–56, figs. 1–4, pl. 26; XVII: 24–28, figs. 3–5, pl. 14; XXV: 70, fig. 3 (after); XXVIII: 80–82; XXIX: 276, figs. 10–11 (after); XXXI: 340, fig. 7 (?); XXXVI: 129–30, figs. 5–7 (after); XXXVIII: 317, fig. 1 (after); XLIII: 276, fig. 2; 349–55, figs. 1–6; 376–78; XLV: 2, 6; 88; 91, figs. 1–2 and front cover; 104; XLIX: 296, figs. 6 and 9 (after); L: 25, fig. 6; LV: 178, fig. 5 (after); LVI: 161, figs. 16–17 (after)

Leonardo da Vinci. Artist-Scientist-Inventor. Review. XXVIII: 80–82

Leonardo da Vinci: Master Draftsman, exhibition catalogue edited by Carmen C. Bambach. Review. XLIII: 376–78

Leonardo da Vinci. Nature Studies from the Royal Library at Windsor Castle. Review. XX: 404–05

Leonardo da Vinci. The Codex Hammer, Formerly the Codex Leicester. Review. XX: 405

Leonardo on Painting. Review. XXVIII: 80–82

Leonardo’s Return to Vinci. The Countess de Béhague Collection. Review. XX: 404

Leone, Andrea de. XVI: 163–72, figs. 1–2, 4, pls. 32, 33–34 (attributed to), 36–37, 40–42 (attributed to)

Leoni, Ottavio. XXXVI: 355, fig. 1; LIII: 385–90, figs. 1–5

Le Paon, Jean-Baptiste. VIII: 36, pl. 36

Lepape, Séverine, see Brejon de Lavergnée, Barbara, and Séverine Lepape

Lepeltier, L. V: 175, pl. 31 (Watteau)

Lépicié, B. V: 174, fig. 2

Le Prince, Jean-Baptiste. XI: 360–62, pl. 2

Lerma, Duke of. XXXVI: 275, fig. 1 (portrait of)

Le Roy, Felix, formerly. LII: 316, 339, figs. 54–54a and front cover (Coecke van Aelst and workshop)

Lessing, Carl Friedrich. XIX: 54

Lessing J. Rosenwald. Tribute to a Collector. Review. XXI: 179–80

Lestans, Parish Church. XXXIV: 181, fig. 22 (Amalteo)

Lestevenon, Willem Anne, formerly. XLII: 337, fig. 3 (G. Salviati); XLVI: 192, 194–95, 197, figs. 3 (Bandinelli), 6–7 (Pisanello), 8 (Annibale Carracci), 9 (Cantarini), notes 14, 28–29, 32, 36

Le Sueur, Eustache. II: 146; VIII: 32, pl. 25; XXIII–XXIV: 419–20; XXVI: 113, pl. 10 (after); LIV: 27, 32, figs. 9, 21

______, Nicolas. XXXI: 441, fig. 3 (aquatint and wood engraving after Pietro de Pietri)

Leth, Hendrik de, formerly. XLV: 204–5, figs. 6, 8 (copy after Elsheimer, Hendrik Goudt?), note 13; LII: 79, 84, fig. 32 (Jan de Visscher)

Lethière, Auguste. XI: 277–79, fig. 1 (David d’Angers), pl. 29 (Ingres)

Letterini, Bartolomeo. XVIII: 29–32, figs. 1–2, pls. 12–19

Leu, Hans. XLIV: 199

Leuschner, Eckhard. XXXVII: 138–55 (TEMPESTA); XLIV: 89–92 (REVIEW)

Levantis, A. G. XXI: 161, pl. 34 (Murillo)

Le Vasseur, Jean-Charles. XX: 19–20, fig. 10 (engraving after Gravelot)

Leveau, Jean-Jacques-André. XX: 19–20, fig. 9 (engraving after Gravelot)

Léveille, Auguste. XLI: 171, fig. 12 (woodcut after Rodin), note 30

Leventhal, David, formerly. LIII: 521, fig. 2 (Pichot), note 6

Leventritt, Mortimer C., formerly. XLII: 147, figs. 1 (G. B. Tiepolo), 2 (Capet)

Levey, Michael. VI: 44–47; IX: 62–63, 280–81; XV: 280–82; XVI: 309–11 (REVIEWS)

Lewes, Goringer’s, formerly. XLVI: 474, fig. XXX (Gainsborough)

Lewis, Gilbert, Sir, formerly. XXXII: 346, fig. 23 (L. Tiepolo)

______, John Frederick. XXXVIII: 343, fig. 5

______, Wilmarth Sheldon, and Philip Hofer. “The Beggar’s Opera” by Hogarth and Blake. Review. III: 283–86

Lewisburg, PA, Bucknell University, Kress Study Coll. XLI: 9, fig. 8 (Spinello Aretino), note 24

LeWitt, Sol. L: 193–210, figs. 1–3, 4–5 (lithographs), 6–7, 9 (photograph of), 10

______ coll. L: 204, fig. 7 (Sol LeWitt), note 56

______ estate. L: 207, fig. 10 (Sol LeWitt), note 63

Lexington, KY, University of Kentucky Art Museum. XXXVII: 8, 12, fig. 10 (G. Reni), note 23

Leyden, Diederik van, Baron, formerly. XLIII: 36, 38, 61–62, figs. 41, 43–44 (Van der Cooghen); LII: 61, 82, fig. 3 (Jan de Visscher); 276, 325, figs. 1, 3a (Coecke van Aelst)

______, Lucas van. III: 26, pl. 18a (circle of); X: 284–86, fig. 1, pl. 42; XIX: 174, 176, fig. 4 (engraving); XXIII–XXIV: 75–90 passim; XXXI: 256; LIII: 191–206, figs. 1, 6, 12–13 (engravings), 9 (etching), 2–5, 7–8, 10–11 (after)

Leyden, see Leiden

Lhinares, Laurence. LII: 95–110 (PAUL-ÉMILE AND CHARLES GASC); LIV: 81–100 (THIBAUDEAU); LV: 175–94 (THE COLLECTION OF COMTE NILS AND COMTESSE PAULINE DE BARCK)

______, and Lise Bicart-Sée. XLV: 106–17 (PIERRE PEYRON)

Lhuillier, Nicolas François David. LIII: 159, fig. 19 (?)

Liberman, Alexander, formerly. LIV: 483, figs. 3–4 (Giacometti), notes 35–36

Liberna coll., formerly. LII: 283, 325, 328, figs. 10, 12–12a (Coecke van Aelst)

Licherie, Louis. LIV: 21–48, figs. 1–8, 10–11, 13–20, 22–26, 27 (after), 28–38, 39 (after), 41 (after), 42–45

Licht, M. M. VIII: 379–87 (NICOLETTO DA MODENA)

Lichtenstein, Sara. IV: 39–45 (CÉZANNE); V: 182–87 (CÉZANNE)

Licinio, Bernardino. V: 382–83, figs. 1–2, pl. 22

Lieberman, William S. Seurat to Matisse. Drawing in France. Review. XII: 395

______ coll., formerly. L: 167, fig. 5 (Marcel Duchamp), note 21

Liechtenstein, Fürst Frans Joseph ii von, formerly. LV: 435, fig. 2 (Dürer), note 2

______, Fürst Johann von und zu, formerly. XLIII: 28, 49, fig. 26 (Van der Cooghen)

Liechtenstein, Prince, see also Vaduz, Liechtenstein, Coll. of the Regierenden Fürsten von Liechtenstein

Liechtenstein Master, see Anonymous artist, Liechtenstein Master

Liège, Bibliothèque de l’Université. L: 313, fig. 3 (etching by Hieronymus Cock after Matthijs Cock), note 53

______, Collections Artistiques de l’Université. XXV: 370, notes 22, 23, 26, pls. 13–14, 17 (Kempeneer)

______, ______ (Galerie Wittert). LI: 381, 387, 389, figs. 4–6, 8–9, 11, 13–14, 16, 19–20 (Verhagen) notes 8–9, 11, 14

______, Musée de l’Art Wallon. V: 198 (review)

Liender, Paulus van, formerly. XLIII: 31, 59, fig. 36 (Van der Cooghen)

Lievens, Jan. X: 43–44, fig. 2 (after); XVIII: 370–73, pls. 36–45; XXIII–XXIV: 541–42, fig. 9; XXVII: 120–24, 126, figs. 7 (etching), 11–14, 16; XXIX: 61–62; 266, 270–72, 275, 278–81, figs. 5, 7; 410–15, figs. 1 (attributed to), 5; XXX: 336–37, fig. 1 (after); XXXII: 56, fig. 3 (engraving after); XXXVI: 6, fig. 4; 217, fig. 2; XLVII: 509, fig. 3; XLIX: 352–70, figs. 1–2, 4, 7, 9–10, 12 (attributed to), 13, 15 (attributed to), 16 (etching), 21 (attributed to), 22 (etching), 23 (attributed to), 24, 25 (attributed to), 26, 28–31, 34–37

Life Lines. American Master Drawings, 1788–1962, from the Munson-Williams-Proctor Institute. Review. XXXIII: 426–28

Liffers coll. III: 141–43, fig. 16 (Cornelis van Haarlem)

Ligne, Prince Charles de, formerly. LIV: 90, figs. 19 (collector’s mark), 20 (Raphael), note 53

______, Charles Antoine Lamoral de. XXI: 180 (review)

______, Charles Joseph, Prince, Fürst de. XXI: 180 (review)

Ligorio, Pirro. II: 389–90, 394–95, pls. 15–16; IV: 142–43, pl. 16; IX: 239–50, figs. 1–4, pls. 1–24; XV: 22–25, figs. 1–2, pls. 17–20; XXXI: 341, fig. 14; LI: 181–88, figs. 1, 2–3 (after), 4–6, 7 (after), 8, 9 (after), 10, 11 (after), 12, 13 (after design by), 14, 15 (after design by)

Ligozzi, Jacopo. V: 31–35, pls. 18–21; XV: 353, fig. 4; XXX: 331, fig. 1; XXXIX: 108, fig. 2; XL: 163, fig. 2; XLVI: 10, fig. 8; LI: 195–220, figs. 1, 5, 8, 11, 13, 15, 18, 20, 22, 25, 29, 33, 38, 42, 46, 50, 54, 58, 62, 67, 70, 73 and front cover; LV: 311–16, figs. 1, 4

Lille, Musée des Beaux-Arts. VI: 37, 40, fig. 2, pl. 28 (J.-L. David); VII: 51–53 (review); VIII: 366, pl. 4a (Pontormo); XIII: 176 (review); XV: 168, fig. 3 (Restout); XVI: 15–16, fig. 21 (Van Mieris), note 40; XXII: 415–16, 424, pl. 13 (L. Carracci); XXIII–XXIV: 46–47, fig. 1 (De Crayer); 380–82, fig. 8, notes 13, 17–18, pls. 47–48 (Lancret); XXVI: 127, fig. 6 (Crayer), note 50; XXVII: 159, fig. 34 (Maes), note 35; 220, note 32, pl. 30 (R. Ghirlandaio); XXXIII: 138, fig. 7 (Veronese); XXXIV: 393, fig. 4 (Prud’hon), note 4; XXXV: 356, fig. 21 (Molyn); XL: 157, fig. 5 (Fra Bartolommeo), note 13; XLIII: 172, fig. 15 (Federico Zuccaro), note 26; XLVII: 371, fig. 12 (Jacob Jordaens); XLIX: 256, fig. 5 (Master of the Lille Adoration), note 14; LVI: 241, fig. 9 (Jacques Louis David), note 26

______, Musée Wicar. I, 2: 50; I, 3: 37–39, pl. 21 (Guardi); II: 282, 286, 289, 290, pls. 28 (Del Sarto), 30b (Filippino Lippi), 36 (Spinelli), 39 (Pontormo); V: 384–86, pl. 26 (Naldini); VI: 56 (review); XXVI: 19–20, 37, note 37, pl. 13 (Sermoneta)

______, Palais des Beaux-Arts. XXXVII: 165, fig. 1 (G. Romano), note 2; XLV: 24, fig. 17 (Taddeo Zuccaro); LII: 224, fig. 40 (Scipione Stradanus), note 46; LIII: 491, no. 16 (Vaillant); LIV: 151, 188, fig. 6 (Raffaellino da Reggio)

Lillini, Carlo. LIV: 454, fig. 23 (photograph)

Limburg Brothers. XLI: 205–06, 212, figs. 1 (circle of), 2–4, 6, 12

Limouze, Dorothy. XXII: 332 (LETTER)

Lincoln, NE, Private coll. LIV: 516, fig. 13 (Gaspare Celio), note 38

La linea continua: Disegni antichi dei Musei Civici di Reggio Emilia, exh. cat. ed. by Alessandra Bigi Iotti and Giulio Zavatta. Review. LIV: 537–42

Linnell, John. XXIII–XXIV: 420–21

Linsky, Mr. and Mrs. Jack. IX: 400–01, fig. 3 (Boucher)

Lintelo, Johan (Jan) van. XXIII–XXIV: 416

Linz, Stadtmuseum Linz-Nordico. XXX: 451; XXXII: 174 (review); XXXVII: 303–04 (review)

Lione, Andrea de. LIV: 261, fig. 2

Lionel Constable. Review. XXI: 182

Liotard, Jean-Étienne. XXVIII: 254–56, fig. 1; XXXIII: 333–36; XLVIII: 232, fig. 7; LIII: 491, no. 17 (self-portrait)

Lipchitz, Jacques. LIV: 255, fig. 13 (sculpture)

Liphart, Freiherr Karl Eduard von, formerly. XLIII: 54, fig. 63 (Van der Cooghen); XLVII: 285, 294, 304, 308, figs. 26 (“False Amand” hand after Dughet), 45 (anonymous after Moucheron)

Lippi, Filippino. II: 286, pls. 30b, 34; XII: 277–79, fig. 27; XVI: 35–43, fig. 5, pls. 27–34; XXXVII: 60, fig. 5 (workshop of); 63, figs. 1–2; XXXVIII: 300, fig. 5 (and Sandro Botticelli); XLIII: 145–59, figs. 1, 5–11; LVI: 183, fig. 1 (with drawings by Giorgio Vasari and Botticelli)

______, Filippo. II: 286–87, pl. 35; XLV: 91, fig. 5

Lips, Johann Heinrich. LV: 74, fig. 222

Lipton, formerly. XLVI: 472, fig. 43 (Gainsborough)

Lisa, Esteban. XLVI: 157–74, figs. 1–16

Lisbon, Academia das Ciências. XLV: 373, 376, figs. 13–14, 16 (Vieira Lusitano), notes 25, 29

______, Biblioteca Nacional Nacional de Portugal. XLVIII: 469, fig. 5 (Lucas Vorsterman the Elder), note 65

______, Collection of the Fundação Luso-Americana para o Desenvolvimento (on deposit at the Fundação de Serralves, Museu de Arte Contemporânea, Oporto). XLV: 398, fig. 2 (Calhau), note 1

______, Fundação Calouste Gulbenkian, Colecção CAMJAP. XLV: 398, fig. 1 (Calhau), note 1

______, Museu Calouste Gulbenkian. L: 533, fig. 2 (Willem van Mieris), note 4

______, Fundaçao Medeiros e Almeida. XXXV: 169, fig. 27 (Van Goyen), note 36

______, Fundaçao Ricardo do Espíritu Santo. XIX: 27, pl. 24 (Quillard)

______, Museu Nacional de Arte Antiga. II: 18, 20–26, notes 6, 19, pls. 8a, 14b (Cades); VII: 165, fig. 1 (Canuti), note 4; XV: 401–03, fig. 1, pls. 48–49 (West); XIX: 29, 33, pls. 28 (De Mattos), 34 (Quillard); XXXII: 99–126, figs. 1–4, 6, 8 (Bartolozzi), 9 (Bartolozzi, after Hoppner), 10–16 (Bartolozzi), 17 (Bartolozzi, after D. Pellegrini), 18–19 (Bartolozzi), 20 (Bartolozzi, after Desnoyer), 21–27 (Bartolozzi), 28 (Eleuterio de Barros, after Bartolozzi), 29–36 (Bartolozzi), 37 (Francesco de Almeida), 38–39 (Antonio da Silva?); XL: 177, fig. 1 (De Sequeira); XLV: 372, 380, figs. 9, 11, 23 (Vieira Lusitano), notes 21, 36; LI: 394, 396, figs. 1 (Bosch and workshop), 2 (mark of Bosch), note 3; LV: 351, fig. 4 (Master of the Haywain Triptych), note 11

______, Palácio das Necessidades, formerly. XLV: 380, fig. 23 (Vieira Lusitano), note 36

______, Private coll. XLVIII: 219, fig. 38 (Pinelli), note 96

______, Real Academia das Bellas Artes, formerly. XLV: 380, fig. 23 (Vieira Lusitano), note 36

______, S. Roque, Chapel of the Annunciation. XLV: 380, fig. 32 (Vieira Lusitano), note 45

Liss, Johann. XIV: 64–66, fig. 1

List, Herbert. IV: 312 (review); VII: 420, note 40, pl. 26 (Bononi); X: 376, pl. 42a (Bononi); XVIII: 274–75 (review)

______, ______ coll., formerly. LIII: 229, fig. 1 (Dominique-Vivant Denon), note 2

Listokin, Barbara Cyviner. XVIII: 376–78 (BIERSTADT)

Little Rock, AK, Arkansas Arts Center. XXXIII: 177–82 (review); LI: 55, fig. 6 (Trumbull), note 29

______, ______, Foundation coll. XXV: 272–75, pl. 26 (Bosio); XXIX: 387, fig. 2 (Bosio), note 9

Liverpool, Lady Lever Art Gallery. LIV: 167, 188, fig. 35 (Raffaellino da Reggio)

______, Walker Art Gallery. II: 30–31, figs. 5–6 (Perugino); XI: 141–42, fig. 5 (Veronese); XVI: 137, 139–40, fig. 5 (Campiglia); 408–09, fig. 4 (Wilson); XXII: 324–25, fig. 1 (Von Aachen); XXXIV: 5, fig. 2 (attributed to Albani, after Agostino Carracci), note 29; XXXVII: 25, fig. 30 (G. Reni), note 80; 277, fig. 4 (Antonio Carracci), note 11; XL: 127, fig. 24 (Muziano), note 44; XLII: 221, fig. 29 (E. Sirani), note 60; XLV: 370, fig. 6 (Vieira Lusitano), note 18; L: 9, fig. 1 (Zoppo), note 1; LIII: 493, no. 35 (Elisabetta Sirani); LIV: 151, 188, fig. 4 (Raffaellino da Reggio); 392, fig. 2 (Jan Mostaert), note 9

______, ______, Weld-Blundell coll. III: 25, pl. 16 (F. Zuccaro); XX: 26, note 11, pl. 30 (Rolli); 41–42, fig. 1 (Reni)

______, T. Winstanley, formerly. XLV: 370, fig. 6 (Vieira Lusitano), note 18; LIV: 151, 188, fig. 4 (Raffaellino da Reggio)

Livie, Bruce. XLIX: 118–19 (Hans-Ulrich Beck’s obituary)

Ljubljana, Narodna Galerija. XVIII: 61–62 (review)

Llanwarne (Herefordshire), Christ Cgurch. XXXVI: 55, fig. 3 (stained-glass roundel)

Lloyd, Christopher. VI: 243–45 (TRIBOLO); X: 351–55 (HOLBEIN); XI: 45–48 (RICHARD DADD); XVI: 284–87 (BRYSON BEQUEST. FRENCH DRAWINGS); XVIII: 264–68 (PISSARRO); XXVI: 107–18 (CAILLEBOTTE)

______, see also Brettell, Richard, and Christopher Lloyd

Lobanov, Nikita D., formerly. LV: 69, 99, figs. 205, 318 (A. Bloemaert)

Lobdell, Frank. LI: 486, 490, 502–3, 506–7, figs. 6 (offset lithograph), 7, 12 (offset lithograph), 27–29, 31, 34 and back cover

Loben Sels, M. J. and A. E., formerly. XLII: 150, fig. 7 (W. T. Richards)

Locarno, G., formerly. XLIX: 108, figs. 34–35 (Amico di Donato)

Location unknown. VII: 270–71, fig. 14 (Medea sarcophagus); X: 262, pl. 29b (Ter Borch); 277–78, fig. 16, pls. 39–40 (Boucher); XI: 38–42, fig. 5, pl. 31 (Dahl); XII: 58–59, fig. 2 (Cerano); 370–71, pl. 33a (Ribera); 384, note 15, pl.50a (G. B. Tiepolo); XIII: 24–25, fig. 2 (Wyck), notes 10–11, pl. 6 (Tassi); XIV: 162–63, fig. 5 (U. Gandolfi); 254, pl. 12 (Boucher); 274, fig. 5 (Rolli); XV: 168–70, notes 20, 29, pls. 30b, 33b (Restout); XVI: 11, 31, fig. 12, pl. 21a-b (Ploos van Amstel, after Van Mieris); 392, note 34, pl. 9b (Canini); XVII: 13–14, 22, fig. 9, pl. 10 (A. van de Velde); 29–30, 32–33, fig. 4, pls. 16–17, 23–24 (G. D. Tiepolo); 46–49, fig. 7, notes 11, 13, 39b (Millet); 129–31, pl. 9 (Poussin); 360–62, 375–76, figs. 3 (Hirschvogel), 27 (Hirschvogel workshop); XVIII: 168, pl. 21 (Master of the St. John Panels); 363–65, 370, pls. 19, 22–23, 33 (Jordaens); XIX: 30, 34, pls. 30a (anonymous French artist), 32, 36a (Quillard); 446, note 8, pl. 30 (Dorigny); XX: 129, pl. 23 (Maso da San Friano); 151, pls. 40–41 (E. Rossi); XXI: 161, note 9, pl. 3, (Murillo); 380, 390, pls. 3, 18b (Gainsborough); XXII: 50, fig. 4 (Merz), note 14; 67, fig. 4 (Julien de Parme); 178–79, note 7, pl. 20 (Lanino); 299, fig. 1 (Chuppin and La Faye); 426–27, note 3, pl. 20 (Morazzone); 468, fig. 1 (16th-century German artist?); XXIII–XXIV: 40, note 18, pl. 9b (Schedoni); 50–51, fig. 6 (Bronckhorst); 348, fig. 2 (after Perrier); XXV: 156, note 4, pl. 9 (L de’ Ferrari); 159–60, notes 17, 23, pls. 15a, 21 (G. B. Tiepolo, after Vittoria), 15b, 19 (G. D. Tiepolo); 266–68, fig. 5 (Francesco Allegrini); 370–73, note 18, pl. 9 (Kempeneer); XXVI: 352, fig. 3 (Houck), note 21; 356, fig. 1 (Nattier), note 2; XXVII: 47, fig. 11 (follower of Van der Goes), note 32; 148, 151, 156, figs. 13, 20, 30 (Maes), notes 8, 15, 30; 202–03, 208, figs. 6–7, 19, notes 52, 54, 61, 78, pls. 14–15 (Cigoli); 218–20, fig. 5 (Piero di Cosimo), notes 14, 18, 21, 26, pls. 24, 25b, 26 (R. Ghirlandaio); 327, fig. 13 (C. de Vos?), note 26; XXVIII: 23, 25, 30, fig. 24 (studio of Rubens, after Primaticcio), note 88; 143, 147, 153–54, 161–65, 171, figs. 4, 7, 17, 19, 25, 27 (Jordaens), 31 (after Jordaens), 32 (workshop of Jordaens?), 35 (after Jordaens); 414, fig. 7 (circle of Pietro da Cortona), 8 (Claude Lorrain), notes 14, 17; XXIX: 56, figs. 5–6 (Guercino), note 15; 181, 183, 185, figs. 1–4 (Castello); 206, fig. 9 (Biliverti); 356, 360–61, 374, 376, 378, 381, 383–84, figs. 21–22, 24, 27, 31 (G. B. Pace); XXX: 94, fig. 20 (Salviati), note 36; 223, fig. 9 (Mola); XXXI: 116, 122, 124, figs. 19, 26–27 (Watteau); 165, fig. 5 (G. B. Tiepolo); 282, fig. 4 (Van Dyck), note 8; 470, fig. 2 (G. David), note 15; XXXII: 238, fig. 14 (attributed to Salviati); 318, 326, 331, figs. 8 (G. D. Tiepolo), 20, 25 (L. Tiepolo), note 11; XXXIII: 43, fig. 2 (Bergmüller), note note 3; 144, 148, figs. 3–4 (M. Gandolfi), 7 (U. Gandolfi), notes 5, 13; 173, fig. 3 (Cigoli); 304–23, figs. 85–107 (T. Zuccaro); XXXIV: 193, fig. 2 (Van Goyen), note 11; 294, fig. 5 (Coxcie); 370–71, figs. 7–8 (attributed to Le Moyne), notes 15–16; 392–93, figs. 3, 7 (Prud’hon), 8 (circle of Prud’hon), notes 3, 7–8; 410, fig. 15 (Daumier), note 37; XXXV: 157, 159, 165, 174, figs. 4, 7–8, 12, 14 (Van Goyen), 16–17, 19–21, 34 (Van Goyen), notes 10, 14–15, 20, 26–29, 42; 246, 250, figs. 42 (Watteau, after Rubens), 47 (Rubens workshop); 360, fig. 33 (Molyn); XXXVI: 20, figs. 5, 9 (Abraham Bloemaert), 10 (Cornelis Bloemaert the Elder?), notes 13, 16; 77, fig. 3 (Van Noordt), note 13; 181, fig. 2 (Vasari), note 5; 266, 268, figs. 19, 21 (Giovanni Battista Tiepolo); 372, fig. 25 (Baglione), note 43; XXXVII: 7, 21, 24, figs. 5, 7, 28 (G. Reni), notes 12, 16, 72; 47, fig. 4 (F. Fernandi and G. Valeriani), note 4; 105, 107, 110, 116, 119, 133–34, 136, figs. 4, 8, 10, 21, 27 (Luca Giordano), note 29; 181, fig. 1 (Boullogne); 240, 242, figs. 2–3, 7 (G. Simonelli), note 20; 254, fig. 22 (De Matteis), note 48; 374, figs. 5–6 (copies after Alonso Cano), note 16; 377, fig. 13 (circle of Pacheco), note 22; XXXVIII: 37, 46, figs. 10, 27 (Fenzoni), notes 31, 47; 160, fig. 2 (Pater), note 5; 169, 172, 180, 183, figs. 5 (Natoire after Guercino), 6 (Annibale Carracci), 11 (Natoire after G. Cortese), 23 (Natoire, with G. P. Pannini?), 25 (Natoire after G. P. Pannini?), notes 7, 11, 22, 49, 53; 320, fig. 2 (circle of F. di Giorgio); 400, fig. 10 (Agostino Carracci), note 34; 449, fig. 3 (Boscoli), note 5; XXXIX: 248, fig. 37 (La Fosse); 291–92, figs. 3 (Robert), 5 (Ango?), notes 4, 8; 310, fig. 1 (follower of Watteau); XL: 30, fig. 10 (Reverón), note 19; 58, fig. 2 (Lam); 115, 125, 127, figs. 2 (T. Zuccaro), 20, 23 (Nebbia), notes 9, 38, 43; 135, fig. 2 (G. B. Crespi), note 4; 220, fig. 9 (Tiarini), note 30; 270, fig. 2 (Salomon de Braij); XLI: 171, fig. 6 (Rodin), note 23; 254, fig. 23 (G. David), note 40; XLII: 178, fig. 2 (A. Tiarini); 222, fig. 35 (E. Sirani), note 72; 240, 246, figs. 4, 15 (Johannes Wierix), notes 26, 60; 343–44, 348, figs. 9–10 (G. Salviati), 15 (L. Agresti); 367, fig. 11 (workshop of G. B. Tiepolo), note 23; XLIII: 52, fig. 62 (Van der Cooghen); 99, fig. 13 (Swanevelt); 172, 180, figs. 13, 23 (Federico Zuccaro), notes 20, 38; 343, fig. 4 (Cigoli), note 28; 361, fig. 13 (unidentified draftsman after Bandinelli after Raphael), note 41; XLIV: 19, 23, 39, figs. 20 (De Vlieger), 21 (Willem van de Velde i), 31, 50, 86 (De Vlieger), notes 48–49, 57; 83, figs. 5–6 (Rossetti), notes 26–27; 205; 213, fig. 4 (Adriaen T. Key), note 6; 221, fig. 2 (Gaulli), note 2; 229, fig. 1 (attributed to Fenis), note 1; 337, 347–48, figs. 3, 14–15 (Van den Bossche); 412–44 passim, figs. 1, 3–4, 6, 8–11, 15, 17, 19, 21, 23–24, 26 (Mercier), 31, 32–34 (anonymous artist after Watteau), 35 (anonymous artist after Watteau and Vleughels), 42, 45–48, 52–53, 55, 58, 60–62, 65, 73 (anonymous artist), notes 4, 6–7, 9, 13, 17–19, 26, 29, 31, 33, 36–37, 40; 467, 475, fig. 4 (Gillot); 505, fig. 15 (Lami), note 33; 518, fig. 3 (Nattiez), note 6; XLV: 38, fig. 1 (Troy); 71, fig. 3 (Perrier); 88, fig. 2 (Michelangelo); 149, 155, figs. 4 (Molenaer), 11 (Potuyl), notes 11, 28; 167, figs. 1 (Jacques Rousseau), 2 (Swanevelt), note 3; 298, 312, 317, figs. 12, 34, 45 (El Greco), notes 22, 56, 72; 332–33, 335, 337, 341, figs. 12–13, 15, 19, 23, 30 (Juan Antonio del Castillo after Cano); 372, 379–80, figs. 8, 22, 29 (Vieira Lusitano), notes 20, 35, 43; 523, fig. 3 (Hoefnagel), note 12; 535, fig. 2 (Pace), note 19; 545, fig. 4 (anonymous artist), note 7; XLVI: 65, 80, figs. 6, 39 (Benefial), notes 24, 79; 154, fig. 10 (Pollock); 356, fig. 2 (Bartolommeo Ramenghi), note 11; 396, fig. 4 (Camillo Procaccini), note 10; 431–533 passim, figs. 7, 14, 18, 20–21, 24, 30–31, 35–36, 40, 42–44, 46, 49–52, 54–55, 59–60, 63–64, 68–70, 72, 74–76, 78–79, 85–89, 92–93, 97–100, 103–4, 106–18, 120–22, 124, 126–27, 131, 133–35, 140–41 and front cover (Gainsborough), note 27; XLVII: 57–59, figs. 3, 5–6 (Baccio del Bianco), notes 9, 14, 16; 84, fig. 8 (workshop of Giulio Romano), note 11; 100, fig. 1 (Silvestre), note 2; 147, fig. 21 (Hubert Robert), note 49; 194, 196, 206, figs. 4, 7, 15 (Bouchardon), notes 40, 44, 105; 228, fig. 14 (J.-L. David), note 26; 286, 294, 305–6, 315, figs. 34 (“False Amand” hand after Dughet), 42 (Jacques Rousseau), 47 (Moucheron), 54 (“False Amand” hand after Dughet), 66–67 (anonymous after Dughet), notes 72, 76; 368–70, 372–73, figs. 2, 4 (Willem van Herp), 7 (workshop of Willem van Herp), 9–12, 15 (Willem van Herp), notes 9, 11, 16, 18–20, 27, 32; 383, back cover (Domenico Tiepolo), note 1; 439, fig. 5 (G. B. Pozzo), note 18; 479, fig. 3 (Henri Lehmann), note 8; 524, fig. 3 (studio of or copy after Van Dyck?); XLVIII: 34, fig. 36 (Govert Flinck), note 89; 50, fig. 13 (Van den Eeckhout), note 42; 98, fig. 54 (Hollar), note 99; 110, fig. 2 (Schellinks), note 22; 158, fig. 3 (Polidoro da Caravaggio), note 5; 197, 201, 207, figs. 1–2 (Kaiserman), 11, 18, 27 (Kaiserman and Pinelli), notes 19, 36–37, 50; 248, 251, figs. 5 (Guercino), 7 (copy after Guercino), notes 21, 32; 257, fig. 7 (Pierre Parrocel), note 18; 401, figs. 9–14 (Pierre Parrocel), notes 13, 15; XLIX: 43, fig. 27 (Schiavone), note 53; 86–90, figs. 41–42, 46–50, 52–57, 59 (Foggini); 99, 112–16, figs. 7, 15, 50–66 (Amico di Donato); 180, 182, 188, 191, 199, 201, 218, figs. 2, 12, 20 (Simon de Vlieger), 21–24 (Jacob Esselens), 25, 27, 41, 45 (Simon de Vlieger), 87 (Jan van Goyen), notes 6, 13, 21–25, 27, 43, 48, 108; 383, fig. 32 (Jan Victors), note 43; L: 105, fig. 5 (Tiepolo), note 95; 205, fig. 8 (Eva Hesse), note 58; 296, 300, 321, figs. 4, 13, 38 (Matthijs Cock); 340, 342–43, figs. 17, 20–21 (Hans Bol), notes 37, 41–42; 369, 378, 388, 391–92, figs. 8, 25 (Jan Siberechts), 35 (autograph of Jan Siberechts), 47 (Jan Siberechts after Jan Breughel the Younger), 48 (Jan Siberechts?), notes 12, 26, 42, 44; 533, fig. 3 (Willem van Mieris), note 3; LI: 35, fig. 8 (Allegrini), note 14; 184, figs. 12, 14 (Ligorio), notes 15–16; 189, fig. 3 (Barocci?), note 3; 197, 201, 211–12, 219, figs. 20, 50, 52, 73 and front cover (Ligozzi), notes 9, 16, 25–26, 33; 346, fig. 3 (Vrancx); 474, fig. 6 Louis de Boullogne the Younger), note 2; 529, fig. 4 (Natoire), note 19; LII: 14, 40, fig. 19 (Genga); 66, 75, 83, figs. 6 (Jan de Visscher after Wouwerman), 25 (Jan de Visscher); 192, fig. 18 (Muziano), note 24; 372–73, 375, 377, figs. 1, 4 (tapestry from the factory of Jan i Raes), 6 (tapestry from an unidentified Brussels factory), 7, 9, 11 (tapestry from the factory of Frans Geubels), notes 12, 23–24, 26; LIII: 7, fig. 5 (Pieter Steenwijck), note 25; 319, 321, 331–33, 335, figs. 11, 34, 39, 44 (De Vlieger), 12, 18–19, 40 (Waterloo), 38, 42 (copies after De Vlieger, possibly by Waterloo), notes 15, 17, 20–21, 36, 39–41, 43, 45; 477, fig. 1 (Federico Zuccaro), note 6; 489, 491, nos. 4 (Florentine or Bolognese, late 17th-century), 7 (Campiglia), 18 (Ferretti), 19 (Mehus), 22 (Daniel Mijtens ii), 39 (Italian 18th-century copy after Titian); 501, figs. 6–7 (Greuze), note 12; LIV: 25, 27, figs. 6, 10 (Licherie), notes 27, 36; 53, 55, 57, figs. 10, 13, 15–16 (Vernansal), notes 18, 22, 25–26; 149, 171, 179, 195–96, figs. 2, 57, 60, 84–86 (Raffaellino da Reggio), 43 (Greuter); 242–43, figs. 1, 5 (Pasinelli), notes 6, 12; 327, figs. 53–54 (Pieter Holsteyn the Younger after Frans Post?), notes 64–65; LV: 4, 6–7, 9–10, 12, 14–16, 19–21, 23, 26–27, 30–31, 33, 39, 45–46, 48–50, 52–55, 57–58, 60–64, 66–70, 73–74, 76–83, 87–89, 92, 94, 96–97, 101, 104, 108–11, figs. 3, 7, 10, 18, 31, 36, 45, 49, 52, 59, 66–67, 70–71, 82, 106, 126, 130, 138–39, 144, 149–50, 158, 165, 173, 176, 179, 189, 196, 199, 201, 208, 211, 213, 225, 231, 235, 237–38, 249, 253–54, 256, 259, 273–78, 280, 288–90, 297, 307, 324, 338–39, 361–62, 366, 369 (A. Bloemaert), 34, 142, 153, 174 (A. Bloemaert?), 78 (attributed to A. Bloemaert), 24, 58, 151, 167, 181–82, 186, 203, 207, 240, 298, 355 (copy after A. Bloemaert), 90 (copy after A. Bloemaert?), 134 (studio of A. Bloemaert?), 243, 358 (A. Bloemaert and a later hand), 152, 188, 364 (A. Bloemaert and a later hand?), 16 (Honthorst), 69 (Schelte Adamsz. Bolswert after A. Bloemaert), 222 (J. H. Lips), 241 (anonymous artist), 246 (Pierre Subleyras after A. Bloemaert), 308 (C. Bloemaert the Elder?), notes 17, 26, 41; 179, fig. 7 (A. F. van der Meulen), note 42; 325–26, figs. 10, 13 (Verboom), notes 49, 52; 382, fig. 7 (anonymous artist); 394, 396, figs. 2, 4 (G. M. Crespi), notes 11, 20; 472, fig. 16 (F. Fenzoni), note 24; LVI: 22, fig. 5 (Raffaellino da Reggio), note 5; 199, 209, 221, 224, figs. 12 (Van Musscher), 36 (Matthijs Naiveu after Van Musscher), 37 (Matthijs Naiveu), note 40; 242, fig. 10 (Jacques Louis David), note 27; 259, fig. 24 (Patersson), note 19; 347, figs. 21–23 (circle of Giulio Parigi), notes 57–58; 453, fig. 22 (G. A. da Lodi), note 72; 474–76, figs. 26, 30 (Girolamo da Carpi after Polidoro da Caravaggio), 27–28 (Battista Franco after Polidoro da Caravaggio), notes 59–60, 62; 483, fig. 5 (Allori); 489–90, 493, 495, 498, 502, 510, figs. 3, 9, 12, 17, 20–21, 23, 26, 32, 56 (Claude Lorrain), 4 (German School?), 7 (18th-century English artist), notes 10, 13, 15, 20, 25, 34, 38–39, 41, 46, 54, 83; 517, 523–24, 526, figs. 1, 5, 15, 19 (Louis Silvestre the Younger), 13 (Louis Silvestre the Younger with François Marot?), notes 4, 8, 21, 28, 33

______ (destroyed during World War II). XLV: 551, figs. 1 and back cover (Flegel)

______ (formerly L’vov, Lubomirski Museum). XLIV: 190, fig. 114 (Kulmbach)

L’Occaso, Stefano. XLIX: 3–12 (GIULIO ROMANO); 175–78 (CAMILLO PROCCACINI and GIUSEPPE GHEZZI); L: 79–90 (BERNARDINO MALPIZZI); LI: 181–88 (PIRRO LIGORIO)

Lochom, Michel van. XVI: 156–57, fig. 1 (engraving by studio of)

Lockett, Richard. Samuel Prout, 1783–1852. Review. XXV: 295

Locust Valley, NY, Private coll. LIV: 308, fig. 26 (Frans Post), note 37

Lodi, Giovanni Agostino da. LVI: 443, 453, figs. 1–2, 22

Loeser, Charles A. XVIII: 55 (review); 362, pl. 18 (Jordaens)

______, formerly. XXXVIII: 234, fig. 1 (Pontormo), note 4; XLIII: 323, fig. 6 (F. Salviati), note 29; 336, fig. 22 (Vasari), note 23; LII: 301, 330, fig. 32 (Coecke van Aelst); LV: 302, fig. 18 (Master of the Scholz Triumphal Procession?), note 60

Löffler, Erik P. XLIII: 102–5 (VERMEYEN)

Logan, Anne-Marie. IX: 276–80; XIV: 299–302 (REVIEWS); XV: 162–66 (BOECKHORST); 403–17; XVI: 419–50; XVIII: 50–62; 276–79; 386–92; XIX: 54–57; 312–16; XX: 46–48; 286–89; 404–06; XXI: 64–67; 175–76; 178–83; 412–17; XXII: 80–82; 218–19; 329–32; XXIII–XXIV: 417–23; XXV: 63–82; XXVI: 140–43; XXIX: 314–17; XXX: 227; 449; XXXV: 401–03 (REVIEWS); XXXVII: 231–37 (PONTIUS? and RUBENS); XLI: 391–97; 409–10 (REVIEWS); L: 6, fig. 10 (portrait)

______. The Collections of the Detroit Institute of Arts. Dutch and Flemish Drawings and Watercolors. Review. XXVII: 70–73

______, in collaboration with Michiel C. Plomp. Peter Paul Rubens: The Drawings. Review. XLIII: 213–16

______, see also Haverkamp-Begemann, Egbert, and Anne-Marie Logan

______, Carolyn. XXIX: 61–63; XXX: 451–52; XXXI: 285; XXXII: 174; XXXIII: 81–83; 187–88; XXXIV: 316; XXXVI: 215; 428–30; 436; XXXVII: 66–69 (REVIEWS)

Loir, Nicolas-Pierre. XLVI: 214, fig. 11

Loire, Stéphane. XLVII: 381–85 (REVIEW)

Loisel, Catherine, see Bjurström, Per, Catherine Loisel, and Elizabeth Pilliod

Lomazzo, Giovanni Paolo. L: 71–78, figs. 1–9

Lombard, Lambert. V: 198; XII: 34–35, pl. 25; XXVI: 51, fig. 1

Lomi, Aurelio. LV: 453–64, figs. 1–2, 3 (and Agostino Ghirlanda), 4 (workshop of), 5–8

London, Agnew’s. VI: 50–53 (review)

______, Agnew’s, formerly. XLVI: 436–532 passim, figs. 12, 23, 48, 58–59, 70, 73–75, 79, 104, 110, 117, 126, 131, 139 (Gainsborough); XLIX: 73, 90, figs. 10–11 (Foggini)

______, Thos. Agnew and Sons, formerly. XLII: 140, fig. 9 (Beccafumi); XLIV: 424, fig. 22 (Mercier), note 34

______, Albany Gallery, formerly. XLVI: 506, fig. 92 (Gainsborough)

______, Apsley House. XXVI: 255–56, fig. 3 (Canova)

______, art market. VI: 245, pls. 8–9 (Tribolo); XI: 279–87, note 5, pl. 33 (Burne-Jones); XVIII: 130, pl. 12 (J. Muller); XXI: 381–82, 389, pls. 5a, 7–9, 18a (Gainsborough); XXIII–XXIV: 42–43, note 27, pl. 17 (Schedoni); 229–30, fig. 1 (L. de Ferrari); XXXI: 232, 256, fig. 23, 55 (Goltzius); XXXIV: 76, fig. 8 (Gionima); 400, figs. 1–2 (Daumier), note 1; 426, fig. 1 (Poussin); XXXV: 159, fig. 13 (Van Goyen), note 21; XXXVII: 271, fig. 1 (F.-A. Vincent), note 1; XLV: 376, fig. 17 (Vieira Lusitano), note 30; LVI: 483, fig. 6 (Papini after Alessandro Allori), note 8

______, ______, formerly. IV: 164, pls. 24, 26, 30 (Frost); IX: 148–50, fig. 4, pl. 25b (Turchi); X: 373, fig. 11 (Bononi); XI: 26, note 12, pl. 10b (Creti); XII: 243, note 27, pl. 11b (Poussin); XIV: 390–91, fig. 1 (Canaletto); XV: 28, note 12, pl. 24 (Malosso); 166, note 8, pl. 26 (Restout); XVI: 30–32, pls. 12, 20a, 22, 26 (Van Mieris); 163–72, fig. 4, notes 10–11, 24, 28–29, pls. 33–34, 36, 40 (Leone), 39 (Castiglione); 404, pl. 15a (Wilson); XVII: 141–42, fig. 10 (attributed to G. P. Panini); 140, note 50, pl. 18 (17th-century French school); 280–84, notes 17–19, pls. 45b-47 (G.C. Procaccini); XVIII: 366–67, fig. 6 (Jordaens studio); XIX: 289–93, figs. 1–2, 4, note 4, pl. 36 (Bronzino); XX: 26–27, note 17, pl. 34 (Rolli); 129, pl. 25 (Vasari); 285, pl. 30 (Doomer); XXI: 54–56, figs. 24–25 (C. Allori?); 273, note 11, pl. 31 (Circignani); 278, note 21, pl. 40 (Biliverti); 288–89, fig. 1 (Gherardini); 419–20, fig. 1 (Caporali); XXII: 8–9, fig. 3 (Andreasi?); 209–12, figs. 1 (Sacchi), 2 (Reynolds); 428–29, note 12, pl. 25 (Morazzone); 446, fig. 1 (Pittoni); XXIII–XXIV: 234–36, fig. 3 (Molinari); XXV: 8, 26, 55, figs. 2 (Poelenburg, after Bril), 42 (pupil of Poelenburg); XXVI: 342–49, figs. 4, 6–7, 10, pls. 10, 22, 33, 35 (Lefèvre); 371–75, figs. 6 (G. L. Valesio), 9 (L. Carracci or G. L. Valesio), 10 (Brizio), note 11; XXVIII: 128–29, fig. 4 (after Perino del Vaga?), note 17; XXIX: 153, figs. 12, 16 (Aspertilli); 356, 360–61, 381, fig. 22 (G. B. Pace); XXX: 146–48, 152, 154, 164, 168, figs. 2, 6, 11–12 (Veronese), 25 (Alvise dal Friso), notes 8, 14, 50, 55; 284, fig. 19 (Boucher); 369, 378, 381, figs. 6, 17, 22 (Toeput), notes 13, 33; XXXI: 393, fig. 4 (anonymous Venetian artist); XXXII: 37, fig. 5 (G.C. Procaccini); XXXIV: 74, fig. 3 (Jan Steen); 207, fig. 2 (North Italian, 16th century), note 2; XXXV: 235, fig. 3 (Rubens), note 11; XXXIX: 292, fig. 5 (Ango?), note 8; XLV: 312, figs. 32–33 (El Greco), note 55; XLVI: 456, fig. 14 (Gainsborough); XLVII: 325, fig. 2 (Peter DeWint after Chatelain after Dughet), note 2; 460, fig. 1 (Murillo), note 1; XLVIII: 147, fig. 1 (Bronzino), note 11; LII: 24, 42, fig. 37 (Genga)

______, Artemis–Boerner, formerly. LV: 496, 503, fig. 13 (Fragonard)

______, Jean-Luc Baroni Ltd., formerly. XLV: 14, 16, 27, figs. 10 (Federico Zuccaro after Luca Signorelli), 11, 19 (Federico Zuccaro after Correggio); LII: 24, 42, fig. 37 (Genga); 475, fig. 7 (Ribera), note 16

______, Beaux Arts Gallery, formerly. XLVI: 445, fig. 11 (Gainsborough)

______, Katrin Bellinger. LIII: 490–91, nos. 14 (Ghezzi), 20 (Mehus)

______, Bonham’s, formerly. XXXI: 395, fig. 1 (Bandinelli), note 1; XLIV: 437, figs. 52–53 (anonymous artist); XLVI: 460, 491, 513, 531, figs. 19, 72, 105, 137 (Gainsborough); XLVIII: 155, figs. 1–2 (Polidoro da Caravaggio), note 2; LI: 69, fig. 7 (Hunt), note 37; LIV: 244, fig. 6 (Pasinelli), note 14; LV: 19, 53, figs. 45 (A. Bloemaert), 152 (A. Bloemaert and a later hand?); 472, fig. 16 (F. Fenzoni), note 24

______, Bridgewater House, formerly. XIII: 373, fig. 1 (Annibale Carracci)

______, British Library. XX: 6–7, figs. 1–2 (engravings after Gravelot); XXIII–XXIV: 511–12, figs. 7–8 (Erhard Schön); XXVIII: 193–96, fig. 2 (Cibo), note 2; XXXIX: 223, fig. 2 (engraving after La Fosse), note 2; XLI: 23, fig. 7 (Master of the Dresden Prayerbook), note 48; 236, fig. 7 (workshop of the Master of the Death of Absalom), note 27; 242, 244, figs. 2–3 (G. David), 5, 8–9, 11, 16 (Maximilian Master), notes 8, 11; XLIII: 208, fig. 1 (Passeri), note 1; XLVII: 76, fig. 8 (engraving after Gaulli), note 21; XLIX: 490, fig. 19 (anonymous), note 46; LI: 203, 205–6, 208, 212–13, figs. 49, 57, 61 (De Bruyn), 28, 31, 36 (De Nicolay); LV: 357, fig. 18 (A. Dürer), note 19

______, British Museum. I, 1: 3, 6, notes 5, 15, pls. 1c, 5b (Parmigianino); 24, pl. 25b (Géricault); 44–45, notes 1, 4, pl. 38 (Polidoro da Caravaggio); I, 2: 17; 32–34, figs. 1–2 (Viti), notes 1, 8; 38–39, notes 1, 3, pls. 32a, 33 (Rembrandt); 50; I, 3: 7–8, 13, notes 9, 13, pls. 2–3, 5b (Perino del Vaga); 44–54, pl. 34 (Raphael); I, 4: 10, 15, pls. 6, 14 (Trometta); 23, note 16, pl. 18 (Perino del Vaga); II: 33–36; 37–39, note 5, pl. 29 (Heemskerck); 125–27, 141, fig. 3, pl. 9a (Rubens); 157–58, 160, pl. 22 (Bronzino); 169, pl. 37 (Bertoia?); 172; 252–63 passim, pls. 7, 16 (Bedoli); 272–75; 276–77, note 5, pls. 26–27 (Guardi); 296–97, pl. 44 (Testa); III: 15–20, figs. 21 (“Otto print”), 25–27 (Aspertini), notes 18, 28, 43; 25, 29, pl. 26b (Rubens); 151; 160, pl. 25b (Palma Giovane); 250, 256, pl. 3 (Gainsborough); 267, fig. 2 (Claude Lorrain); 363; 372–79, fig. 1, pls. 11, 25–26 (Grimaldi); 384, fig. 1 (Bonacina); 390–97, figs. 1–9 (Monaco); IV: 7–9, 19; 21–25, pl. 15 (Strigel); 25–29, pls. 17–18, 20 (Primaticcio); 131, 134, pls. 7, 9b (Rubens); 149–50, pl. 18 (Barocci); 164, pls. 25a (Frost), 27b (Gainsborough); 378–79, 382–83, fig. 4, pls. 12–13 (Angeluccio); 438–39, fig. 1 (Rubens); V: 375–77, fig. 1 (Rembrandt); VI: 22, pl. 5 (Mazzoni); 27–29, note 1, pl. 8 (Van Dyck); 122, pl. 15 (Domenichino); 163, fig. 1 (Watteau); 170 (review); 243, pl. 3 (Tribolo); 364–66, 374, notes 6, 41, fig. 2, pl. 16 (Reni); 394, pl. 44 (L. Tiepolo); 412 (review); VII: 3–15, figs. 1 (Hogarth), 2 (Van der Gucht), note 24, pls. 1, 3a, 4a, 6, 8, 10 (Vanderbank); 30–31, notes 19–20, 22, pls. 18, 20 (G. P. Panini); 141, pl. 14a (Severino da Cingoli); 156, note 1, pl. 33 (Palma Giovane); 158, fig. 7, notes 1, 9, 26, pl. 35 (Rembrandt); 289, pls. 18–19 (Imola); 410, notes 8, 12, pl. 23 (Annibale Carracci); VIII: 15, note 30, pl. 7 (R. Savery); 46, fig. 4 (Rubens); 54–55 (review); 144, note 17, pl. 32b (Aldegrever); 153, note 39, pl. 44 (Palma Giovane); 162–66, figs. 1, 3, notes 1–2, pl. 52 (Van Dyck); 243–66, fig. 3, pls. 1–21 (Della Bella); 274, note 6, pl. 27 (Claude Lorrain); 277–78, pls. 29a & b (Correggio), 29c (attributed to Anselmi); 294–95, fig. 1 (Baumgartner); 382–84, figs. 4–6 (Nicoletto da Modena); IX: 150, pl. 25a (Turchi); 159–60, fig. 1 (Claude Lorrain); 168–71, note 41, pl. 45 (Robert Adam); 240–46, notes 7, 9, 14, 32, 38, pls. 1–3, 5, 19–20, 23 (Ligorio); 251, pl. 26 (Grimaldi); 270–71, fig. 5 (L. Tiepolo); 366, note 10, pl. 13 (Cerano); 367–83, figs. 11 (Dughet), 12–13, notes 5, 33, pls. 14b, 18a, 23a, 25a (Claude Lorrain); 387–89, pls. 29b, 36 (Sacchi); X: 15–19, fig. 3 (Verrocchio), pl. 14 (anonymous Florentine artist); 27, note 36, pls. 26–27a (Mola); 148–50, pl. 27 (Grimaldi); 241–53, figs. 4, 13, 15 (Gaulli); 284–86, fig. 1, note 2, pl. 42 (Lucas van Leyden); XI: 20–25, figs. 1–2, 4 (Testa), note 4; 28–30, notes 27, 47, 49, pls. 16, 23 (Creti); 42, pl. 30 (Dahl); 150–52, note 1, pl. 16 (Perez da Leccio); 268, pl. 24 (Primaticcio); XII: 4, 18–19, notes 3, 72, pls. 1, 20 (Zucchi); 41–48, figs. 2, 4–5 (Amigoni); 127–33, note 21, pls. 3–4 (Verrocchio); 160, pl. 29 (Van Gogh); 165, note 6, pl. 34 (Pastura); 363–64, note 32, pl. 23 (Bertoia); 368–69, pls. 27, 30b (Ribera); 395 (review); XIII: 36, pls. 14, 21 (Castello); 64, 66, fig. 1 (Pagani); 176–77 (review); XIV: 166–71, pl. 41 (Grimaldi); 306–08 (review); 378, fig. 4 (Michelangelo), note 8; 386, pl. 7 (Giordano); 392–93, fig. 4 (Canaletto); XV: 16–21, fig. 2 (Wtewael), note 6; 127–29, fig. 7 (Raphael); 188 (review); 252–54, fig. 11 (Dosio); 260–61, pl. 18 (Veronese); 395–99, figs. 8, 10, 12 (Piranesi), notes 13–15; 403–17, pl. 47a (Campagnola, retouched by Rubens); XVI: 26–28, pls. 6, 11, 15a, 17, 23 (Van Mieris); 53–54, fig. 2 (Clerk and Adam); 137–41, figs. 4 (Frezza), 6 (Campiglia); 165–66, fig. 3 (Wright engraving); 178–80 (review); 309–11 (review); 391–93, figs. 7, 9 (C. Bloemaert, after Canini); 397–98, fig. 2 (Matham); 410, pl. 26b (Wilson); XVII: 15, 19, pl. 8 (A. van de Velde); 273–77, pls. 35, 37–41a (Stothard); 286 (review); 360–61, 390–91, fig. 2, pl. 3 (Hirschvogel); XVIII: 18, 20, fig. 5 (Velázquez); 29, fig. 1 (Letterini); 54, 58–59 (reviews); 121–23, figs. 6–7 (J. Muller); 237–52, figs. 2–4 (Sadeler); 371, notes 5, 10, pls. 38, 43a (Lievens); XIX: 6–11, fig. 6 (Salamanca), notes 14, 36, 39, pls. 2, 13, 16 (Bandinelli); 151–52, pls. 26b-27 (P. Bruegel); 164–65, note 6, pls. 36–37 (Guercino); 271–73, note 19, pl. 26 (Spada); 310–12 (review); 428–29, pl. 14 (Spinelli); 444, notes 1, 4, pls. 26–28 (Bononi); 446, note 7, pl. 29 (Dorigny); XX: 130–31, pls. 26–27 (Grimaldi); 132–35, notes 4, 10, pls. 28, 30 (Castello); 286 (review); 350, note 18, pl. 2 (Farinati); 380–85, pl. 18 (Van Gogh); XXI: 160, pl. 28 (Murillo); 178–79, 181–82 (reviews); 264, pl. 16 (Du Cerceau); 370–88, fig. 4 (Gardiner), pls. 10a, 17 (Gainsborough); 399–400, figs. 3–4 (Zoppo); 403–04, pl. 28 (Cano); XXII: 73–74, fig. 5 (Constable), note 12; 160, notes 3–4, pls. 1–2 (D. Ghirlandaio); 173, note 1, pl. 15 (A. Pollaiuolo); 212–14 (review); 296, note 9, pl. 16 (P. de Grebber); 306, note 24, pl. 36 (Maffei); 331 (review); 407–25 passim, pls. 1, 18 (L. Carracci); 428, note 6, pl. 22 (Morazzone); XXIII–XXIV: 8–9, fig. 1 (Hamerani); 39, notes 15, 17, pls. 7, 8b-9a (Schedoni); 220, pl. 32 (Jordaens); 243, note 7, pl. 52a (P. G. Piola); 381–82, note 20, pl. 49 (Lancret); 400, fig. 1 (Veronese), note 6; 519–20, fig. 4 (Kulmbach), note 14; 538–42, figs. 2 (Van Dyck), 8 (Pontius), 9 (Lievens), notes 15, 28–29; XXV: 5–25, 54–55, figs. 1 (Poelenburg), 7 (Barata?), 41 (pupil of Poelenburg), note 56; 77, 81, figs. 7, 11 (Rubens); 246–48, fig. 4 (Michelangelo); 378–79, fig. 14 (Speeckaert), note 39; XXVI: 19–20, 27–28, 37–39, fig. 23 (unknown Italian artist, c. 1560), notes 34, 55, pl. 10 (Sermoneta); 243–45, fig. 5 (Michelangelo), note 7; 257, fig. 4 (east frieze of Parthenon); 274–77 (review); 372, fig. 8 (Brizio), note 16; XXVII: 122–24, figs. 12 (Lievens), 17 (Rembrandt), notes 18, 21; 134–42, figs. 12 (Rembrandt), 13 (Rubens and engraver), 15, 17, 20, 22–23 (Rembrandt), notes 9–10, 12, 15; 151, fig. 19 (Maes), note 14; 198–200, figs. 13, 16, notes 25, 74, 76, pls. 7–8, 20 (Cigoli); 305–07, figs. 3–4 (Michelangelo); 323, 327, fig. 9 (C. de Vos), note 20; XXVIII: 17, fig. 21 (attributed to Van Diepenbeeck, after Primaticcio), note 75; 74–75, figs. 1–2 (Chauveau), note 1; 125, 128, 138, figs. 2 (Bonasone), 3 (Reverdino), 13 (Perino del Vaga), note 29; 173, 176–77, figs. 2–3 (Nucci); 201, 209, figs. 3 (attributed to Ubertini), 12 (Tempesta), 14 (Poccetti), notes 19, 39; 268–70, fig. 2–3 (Rocca), note 3; 283, 286, 288, fig. 7 (Salvestrini), note 11; 327, fig. 11 (Cats), note 12; 414, figs. 9–11 (Claude Lorrain), notes 18, 20; XXIX: 15, 21, pl. 7 (Baldini), note 42; 49, pl. 19 (Mola); 149, 153, 159–60, figs. 8–9, 11, 17, 19 (Aspertini); 199, fig. 2 (Reynolds); 255–58, figs. 4–6 (Michelangelo); 263, 266, 270–72, 275–81, figs. 1–3 (Rembrandt), 5 (Lievens), 10, 14 (Rembrandt); 289–91, fig. 19 (Sarazin), note 19; 356, 361, 381, 383–84, figs. 20, 28 (G. B. Pace); 410–11, 413, fig. 1 (attributed to Lievens), note 1; XXX: 88, 94, figs. 9, 19 (Salviati); 261, fig. 11 (Huet), note 17; 315, fig. 6 (Roettier); 336, fig. 1 (Jacob Louijs, after Jan Lievens); 387, fig. 27 (Toeput); 407, fig. 18 (Agostino Carracci), note 49; 415, fig. 1 (Signorelli), note 1; XXXI: 270, figs. 73–74 (Goltzius); 381, 383, fig. 11 (assistant of Raphael), note 34; 415, 417, fig. 7 (Baglione), note 12; XXXII: 31, fig. 6 (Sigismondo Caula), note 31; 46, fig. 10 (T. Grimaldi), note 18; 56, fig. 3 (Pontius, after Lievens), note 10; 60–62, figs. 1–2 (T. Zuccaro), notes 1, 3; 206, 209, 214, 2l8–19, figs. 3, 9–10, 14–15, 18–20 (Richardson), notes 20, 33, 35, 51, 58, 62; 371, figs. 5, 7 (Mantegna), note 4; XXXIII: 263–65, figs. 37–40 (T. Zuccaro); 391, 394, figs. 5, 10 (Gozzoli), notes 15, 24; XXXIV: 13, 21, 28, 55, 65, figs. 8 (Annibale Carracci), 20 (Agostino Carracci), 28 (Franceschino Carracci), 38, 43 (Annibale Carracci), notes 87, 125, 140, 251, 313; 152, fig. 6 (Michelangelo), note 16; 170, fig. 3 (Pordenone), note 5; 205–07 (review); 249, 254, figs. 7 (Piombo), 13 (attributed to Correggio), notes 68, 92; 285, fig. 12 (Rossi), note 20; 293, fig. 3 (Coxcie), note 4; 310, fig. 1 (Rubens); 400–01, figs. 3–4 (Fragonard), notes 5, 8; XXXV: 7, 15, 27, figs. 7 (Annibale Carracci), 16 (Agostino Carracci), 33 (Annibale Carracci), notes 34, 67, 104; 43–45, figs. 5–10 (Grimaldi), notes 6–9; 159, 165, 169, 174, figs. 9, 22, 31–38 (Van Goyen), notes 16, 30, 41, 44–46; 246, fig. 27 (Rubens workshop); 343, 347, figs. 2, 7–8 (Molyn); 402 (review); XXXVI: 45, figs. 3 (Van Borssom), 4 (Jacob Quina the Younger), 9 (Jean de la Chambre the Younger), notes 7, 9, 20; 63, fig. 6 (Dürer), note 13; 129, 134, 137, 139, figs. 5 (Vorsterman after Leonardo da Vinci), 16, 22 (Peter Oliver), 25 (Isaac oliver), notes 78, 101, 107, 112; 265, 267, 269, figs. 17, 20, 22 (Giovanni Battista Tiepolo); 356, 371, figs. 3, 20 (Baglione), notes 13, 39; 412–13, figs. 5, 9 (Correggio), notes 9, 13; XXXVII: 192, fig. 3 (Schellinks); 254, fig. 21 (Luca Giordano); 262–65, figs. 3–4 (Albrecht Dürer after M. Schongauer), note 8; 381, 383, 387, 391, figs. 15, 22 (Alonso Cano), 25 (Pérez de Alesio), 26 (Alonso Cano), notes 23, 32, 35, 38; 411, fig. 5 (Murillo); XXXVIII: 35, fig. 4 (Fenzoni), note 22; 76 (review); 443, fig. 2 (engraving by P. Bruegel the Elder); XXXIX: 230, 238, 241, 254, figs. 11, 18, 23, 40 (La Fosse), notes 21, 33, 47; 388, fig. 26 (Jan de Braij after himself), note 43; XL: 243, fig. 1 (Rembrandt), note 1; 250–52, figs. 2, 5 (Delacroix); 258–59 (review); XLI: 108, fig. 6 (Michelangelo), note 17; 233, fig. 3 (circle of the Master of Mary of Burgundy), note 11; 269, 279, figs. 3, 23 (Vrancke van der Stockt), 13 (M. Schongauer); 346, 351, figs. 5, 9 (Dürer), notes 12, 34; XLII: 178, fig. 1 (A. Tiarini); 222, 228, figs. 33 (E. Sirani), 43 (G. Cantofoli), notes 64, 88; 238, 242, 250, figs. 1, 8, 10, 17 (Johannes Wierix), notes 9, 34, 38, 77; 258–61 (review); 303, fig. 1 (Carpaccio), note 7; 319, fig. 4 (Venetian artist); XLIII: 13, 50, 52, 60, figs. 2, 61, 72 (Van der Cooghen), note 31; 148, fig. 9 (Filippino Lippi), note 23; 162, fig. 3 (Federico Zuccaro), note 7; 227, fig. 1 (Netherlandish artist after Jan van Eyck), note 2; 276, fig. 1 (Verrocchio), note 12; 334, fig. 18 (J. Zucchi), note 18; 357, 359, 361–62, figs. 2–3, 8 (Raphael), 9 (Raimondi after Raphael), 10 (Raphael), 15 (Dente da Ravenna after Bandinelli), notes 11, 14, 25; 477, fig. 26 (Cortona); XLIV: 15, 23, 26–27, 37, 39, figs. 12, 32–33, 35, 37, 47, 52 (De Vlieger), notes 39, 58–59, 62, 78, 87; 137, 146, 166, 179, 189–90, 192, 194, 200, 202, figs. 18, 31, 106, 112–13, 115–18, 122 (Kulmbach); 317, fig. 23 (Albani), note 82; 334, fig. 2 (attributed to Van den Bossche), note 9; 358, fig. 2 (Michelangelo), note 5; 364, figs. 3–4 (Michelangelo); 414, 418, 432–34, 439, 441, figs. 5, 13 (Mercier), 37–40 (Nollekens), 41 (Goupy), 59, 63 (anonymous artist), note 22; 517, figs. 1 (Degas), 2 (Nattiez), note 3; XLV: 150–51, 156, figs. 6–7, 12 (Molenaer), notes 14, 18, 32; 170, 173, 177, figs. 3, 6 (Swanevelt), 15 (Jacques Rousseau), notes 6, 13, 29; 236, fig. 3 (Michelangelo), note 3; 302, fig. 18 (Palma Giovane), note 36; 309, 311, figs. 28, 31 (El Greco), notes 48, 52; 363, fig. 10 (Annibale Carracci), note 29; 368, 380, figs. 2 (engraving by Watts after Rocha), 30 (engraving by Watts after Vieira Lusitano); 552–53 (Online News), figs. 1–5 (John White); XLVI: 193–94, figs. 5 (Italian, c. 1325–50), 6 (Pisanello), notes 20, 28; 305, 311, figs. 12c and back cover (Barocci), notes 44, 70; 353, 360, figs. 1, 13–15 (Parmigianino), note 1, 23; 367, 369, figs. 2–3 (Parmigianino), 6 (Caraglio), 7 (Ugo da Carpi), notes 5, 7, 16–17; 384, fig. 2 (Kulmbach), note 13; 431, 438, figs. 4 (Chatelain), 10 (Gainsborough); XLVII: 7, 9, figs. 4 (Ingres), 7 (Rembrandt), notes 4, 7; 70, 75, figs. 1–2 (Gaulli), 6 (Villamena), notes 1–2, 18; 203, fig. 10 (Bouchardon), note 83; 269, 275, 286, 310, figs. 5, 10 (Dughet), 33 (Joseph Wood after Dughet), 61 (anonymous), notes 23, 29; 325, fig. 1 (Chatelain); 469, fig. 2 (Pieter de Jode i), note 2; 489–92, figs. 1–3 (Bonington after Van Thulden), 4 (Van Thulden after Rubens), 5 (Bonington after Van Thulden), 6–7 (Van Thulden after Rubens); 509, figs. 1 (Rembrandt), 3 (Lievens), notes 1, 5; XLVIII: 13, 15–16, 29, figs. 13 (Rembrandt), 16, 29–30 (Govert Flinck), notes 40, 45, 74–75; 43–44, 58, figs. 3, 5, 26 (Van den Eeckhout), note 15; 75, 78, 83–84, 91, 95, 97–98, figs. 2, 4–5, 9–10, 16, 21, 31, 33, 35, 37, 39, 41, 43, 48–53, 55 (Hollar), notes 9, 11–12, 45–46, 54, 80–81, 84, 86, 88, 91–92, 98, 100; 164–65, figs. 2–3, 5 (Lucas Vorsterman the Younger after Giulio Romano), notes 12–13, 15; 171, fig. 3 (Maarten van Heemskerck), note 20; 179, fig. 2 (Guercino), note 10; 292, fig. 1 (Salviati after Michelangelo), note 10; 320, 323, figs. 7 (Salviati after Polidoro da Caravaggio), (Salviati after Giulio Romano), notes 35, 42; 356–67; 376–77, figs. 2 (François Clouet), 5 (Cézanne), notes 4, 7; 395, fig. 1 (studio of Giulio Romano, retouched by Erasmus Quellinus ii), note 2; 442–43, figs. 12 (Cornelis Cort after Federico Zuccaro), 16 (Marcantonio Raimondi), note 31; 486–88, figs. 6–7 (Matías de Torres), 8–9 (Antonio Tempesta), note 21, 26, 29; XLIX: 35, 37, 42–45, figs. 3–7, 9, 24, 26, 30, 32 (Schiavone), 22 (Schiavone?), notes 13–15, 48, 50, 52, 57, 60; 53, fig. 2 (Lucas Cranach the Elder), note 1; 149, figs. 4–5 (Marcantonio Raimondi after Giulio Romano), notes 8–9; 165, fig. 3 (Vasari), note 7; 180, 192, 205, 217, figs. 32, 59 and front cover (Simon de Vlieger), 80 (Jan van de Cappelle), notes 4, 32, 62, 101; 228, fig. 4 (Salvator Rosa), note 21; 241, fig. 12 (Goya), note 117; 294, 296, 298, 301, 305, 307, 313–14, 318–19, figs. 3, 8, 16, 23, 30, 33, 46–47, 49–50, 54, 62, 64, 66, 68, 70, 75–76 (Rembrandt), 11 (J. G. van Vliet after Rembrandt), notes 4, 8, 25, 27–30, 32, 34–35, 37; 326–29, 331, 334–41, 343–44, figs. 83, 85–86, 88–91, 93, 103, 108–9, 114, 119–22, 125, 130–31, 141, 145 (Rembrandt); 354, 357–58, figs. 1, 7, 9, 10 (Jan Lievens), 14 (Rembrandt), notes 5, 14, 16, 20; 385, fig. 36 (Rembrandt), note 50; 389–91, 393, 396, figs. 1, 3 (Hoogstraten), 7 (Jeremias Falck), 14 (Barend Fabritius?), notes 4, 10, 17, 39; 443, fig. 13 (Francis Cleyn), note 31; 485–87, 489–93, 499, 501, 503, 505–8, 510–12, 514, 516, 518, 521–23, figs. 6, 8, 10–11, 13, 21–23, 25, 27, 41, 44, 49, 52–53, 59–61, 65, 70, 73–77, 81, 83–89 (Francis Barlow), 12, 18, 20, 56, 64, 66–69 (Richard Gaywood after Francis Barlow), 35, 45 (Wenceslaus Hollar after Francis Barlow), 40, 46 (William Vaughan after Francis Barlow), 47 (anonymous), 51 (John Dunstall after Barlow and others), 71 (William Faithorne the Elder after Francis Barlow), 80 (anonymous after Giuseppe Arcimboldo), 82 (Thomas Dudley? after Francis Barlow), notes 25, 30–31, 35, 37, 45, 55–56, 67, 71, 76–79, 81, 83, 91, 93, 99, 103–4, 110–13, 116–17, 122–23, 129–30, 132, 136, 138–39, 142–48; 539, fig. 6 (Quirin Marck after Van Dyck), note 47; L: 13–14, 16–17, figs. 5–7, 10–11 (Zoppo), 8 (Mantegna), notes 37, 39, 48, 50; 37, fig. 5 (engraving by Agostino Veneziano after Raphael); 57, fig. 11 (Primaticcio), note 31; 68, figs. 2–3 (Paolo Farinati), note 19; 71, fig. 1 (Lomazzo), note 8; 259, figs. 6 (Sadeler), 7 (Vicentino after Pordenone), notes 3–4; 307, 311, 315, 322–23, figs. 22 (Matthijs Cock), 26 (Hieronymus Cock?), 33 (woodcut by Ugo da Carpi after Titian), note 63; 336–37, 343, figs. 10, 13, 22 (Hans Bol), notes 26, 33, 45; 359, 362, figs. 3 (Pieter Bruegel the Elder), 8 (etching by Paul Bril), notes 11, 22; 374–75, 384, 388, 392, figs. 14–15, 29 (Jan Siberechts), 36 (inscription by Siberechts), 49 (Jan Siberechts?), notes 19, 31, 45; 508, 513, figs. 2 (etching by Jan de Bisschop after Michelangelo Anselmi), 21 (workshop of Correggio), notes 3, 22; 528–29, figs. 4 (engraving by Hendrick Goudt after Adam Elsheimer), 5 (Rembrandt etching), notes 21, 32; 541, fig. 1 (etching, copy after Adam Elsheimer), note 8; 547, figs. 4 (engraving by Bonasone after Titian), 6 (engraving by Cornelis Cort after Titian), notes 4, 6; LI: 5–6, figs. 3 (engraving by Salamanca), 4 (anonymous engraving published by Antoine Lafréry), notes 17, 19; 32, fig. 3 (Passarotti), note 6; 35, fig. 9 (Allegrini), note 15; 65, 71–72, figs. 1–2 (William Dyce), 3 (Raphael), 10 (Raffaellino del Garbo), 11 (Pietro Perugino), notes 7–8, 13, 45, 59; 171–72, figs. 13, 17 (Bedoli), note 27; 189, fig. 4 (Barocci), note 4; 195–220, figs. 3, 7, 17, 27, 32, 40, 44, 48, 56, 60, 63, 68, 76 (Weigel); 303, 308, 313, 316, figs. 14, 37 (Johannes or Lucas van Doetecum after Pieter Bruegel the Elder), 20, 22 (Frans Huys after Pieter Bruegel the Elder), 25, 33 (Pieter Bruegel the Elder), notes 56, 61, 68, 74; 442, fig. 13 (Raphael), note 19; LII: 5, 17, 38, 40–41, 46–47, figs. 3, 24, 57, 66 (Genga), 69–70 (workshop of Luca Signorelli, Genga?); 96, 99, fig. 6 (annotations and signature by Charles Gasc), 7 (Jusepe de Ribera), 11 (Goya), notes 3, 24; 237, fig. 8 (Hogarth), note 25; 289–90, 298, 307, 309, 334, 337, 348, figs. 19 (anonymous woodcutter after Coecke van Aelst), 26–27 (circle of Bernard van Orley), 43–46 (Coecke van Aelst), 67–69 (Coecke van Aelst and workshop), 89 (attributed to the workshop of Coecke van Aelst), notes 33, 56, 60; 363, fig. 1 (attributed to Bernad van Orley), note 1; 379, fig. 14 (Coxcie), note 38; 456, 458, figs. 5, 7, 15 (Cornelis Cort after Federico Zuccaro), 10 (Brambilla after Michelangelo), notes 18, 20; 473, fig. 3 (Ribera), note 4; 534, fig. 5 (Ribera), note 10; LIII: 113, fig. 4 (Piranesi), note 23; 191, figs. 3 (Hendrick Hondius i after Lucas van Leyden), 9 (Lucas van Leyden), notes 6, 11; 229, figs. 3, 5 (Dominique-Vivant Denon), note 4, 7; 241, figs. 6 (Jan Sadeler the Elder), 7 (Peter Candid), notes 16–17; 280, 284, figs. 10, 15–16, 20–21 (Peruzzi), notes 22, 39–40; 297, 305, figs. 1 (Stradanus), 8 (Carducho), notes 13, 42; 336, figs. 48–49 (De Vlieger), note 50; 428, fig. 5 (Enea Vico), note 12; 489, nos. 1 (Arpino), 5 (Botti); LIV: 11, figs. 14 (Foschi after Andrea del Sarto), 15 (Foschi), notes 34, 36; 24, fig. 4 (Licherie), note 25; 90, fig. 18 (Watteau), note 51; 151, 161, 166–67, 171, 173, 188–90, 197, figs. 5, 74–77 and back cover (Raffaellino da Reggio), 88–89 (Raffaellino da Reggio?), 22 (Caprioli), 29–32, 34, 36 (Diana Scultori), 38 (Andrea Andreani), 44 (Greuter), 46 (chiaroscuro woodcut after Raffaellino da Reggio), notes 52, 60, 62–66, 71, 74, 76; 226, figs. 4–5 (Annibale Carracci), note 9; 237, fig. 4 (Volpi), note 18; 243, fig. 3 (Marracci), note 10; 317, fig. 38 (Frans Post), note 48; 465, fig. 38 (Francis Towne), note 79; LV: 28, 85, figs. 76 (Schelte Adamsz. Bolswert after A. Bloemaert?), 265 (Hendrick Hondius the Elder after A. Bloemaert?); 230, fig. 3 (A. Bida), note 18; 256, fig. 11 (Degas), note 41; 297, fig. 7 (B. Parentino), note 35; 361, fig. 26 (Master of the Haywain Triptych), note 34; 441, fig. 12 (Dürer), note 19; 506–7, 511, 514, figs. 22 (C. Netscher), 26 (C. Parrocel), 33 (Ruisdael), 37 (A. van de Velde); LVI: 6, fig. 3 (Lucas Cranach the Elder), note 12; 21, fig. 3 (Raffaellino da Reggio), note 2; 100, fig. 2 (Bouchardon), note 11; 149–67, figs. 1–3, 7, 10, 15, 21–23 (Rembrandt), 17 (Rembrandt after Leonardo), notes 1, 24; 179, figs. 19, 21 (Louis Chéron), notes 40, 42; 249–62, figs. 1, 3, 5, 13, 16, 18, 30 (Skorodumov), note 1; 301, figs. 19, 21 (Jan de Bisschop after Daniele da Volterra), notes 51, 52; 322, fig. 14 (Cavedone), note 30; 447, 452, figs. 21 (Parentino), back cover (Nicola Giolfino), notes 34, 64; 474, 476, figs. 24–25, 29 (Galestruzzi after Polidoro da Caravaggio), notes 55–56, 61; 489, 505, 507, 510, figs. 6 (Claude Lorrain?), 37, 45, 47, 54 (Claude Lorrain), notes 14, 61, 72, 74, 81; 520, 523, 525, figs. 9 (Jean Audran after Louis Silvestre the Younger), 14 (Nicolas Casteau after Louis Silvestre the Younger), 17 (Louis Silvestre the Younger), notes 16, 22, 31

______, British Rail Pension Fund, formerly. XXXIII: 258, fig. 35 (T. Zuccaro); L: 309, 319, fig. 25 (Matthijs Cock); LIV: 149, 179, 195–96, figs. 2, 57 (Raffaellino da Reggio)

______, Alfred Brod Gallery, formerly. LV: 24, fig. 64 (A. Bloemaert)

______, Buckingham Palace, The Queen’s Gallery. VII: 434 (review); XII: 182 (review); XVII: 53–56 (review); XLV: 546–50 (review)

______, Yvonne Tan Bunzl. XXXIII: 266, fig. 42 (T. Zuccaro); XXXVII: 247, fig. 17 (Malinconico), note 35

______, ______, formerly. XXXIII: 310, figs. 81–82 (T. Zuccaro); XXXVI: 390, fig. 27 (Baglione), note 35; XLIV: 440, fig. 60 (anonymous artist); XLIX: 70, 84–85, figs. 6–7, 37–40 (Foggini); LIV: 164, 191, fig. 28 (Raffaellino da Reggio)

______, Burlington House. XIII: 51–52 (review)

______, Burlington Paintings, formerly. XLVI: 500, fig. 82 (Gainsborough)

______, Carta Fine Art, formerly. LIII: 444, fig. 2 (Breenbergh), note 11

______, Chiswick Auctions, formerly. LV: 93, fig. 293 (A. Bloemaert), note 58

______, Christie’s, formerly. XXXI: 112, fig. 16 (Watteau); 241, fig. 33 (Goltzius); 372, fig. 9 (engraving after Mantegna); 470, fig. 2 (G. David), note 15; XXXIII: 144–45, 148, figs. 3–4 (M. Gandolfi), 7 (U. Gandolfi), notes 5, 13; 269, 302, 306–309, 313, 317, figs. 45–46, 84, 87, 89–91, 96, 100 (T. Zuccaro); XXXIV: 255, fig. 14 (Rubens), note 110; XXXV: 281, fig. 2 (Faccini), note 2; XXXVI: 26–29, figs. 1–3 (Murillo); 268, fig. 21 (Giovanni Battista Tiepolo); XXXVII: 103, 105, 107, 110, 116–17, 133–35, figs. 1, 5, 7, 13, 17, 21, 23–25 (Luca Giordano), note 11, 29; 246, fig. 15 (Malinconico), note 32; 411, fig. 6 (Carreño de Miranda), note 19; XXXVIII: 38, fig. 19 (Fenzoni), note 40; 160, fig. 2 (Pater), note 5; 452, fig. 6 (Boscoli), note 12; XXXIX: 291, fig. 3 (Robert), note 4; XL: 220, fig. 9 (Tiarini), note 30; 250, fig. 3 (Delacroix), note 5; XLII: 337, 348, figs. 3 (G. Salviati), 15 (L. Agresti); 349, fig. 1 (J. Tintoretto), note 3; XLIII: 162, 180, figs. 4, 24 (Federico Zuccaro), note 9, 41; 334, fig. 18 (J. Zucchi), note 18; 508, fig. 2 (Guercino), note 2; 521, fig. 5 (Agostino Carracci), note 37; 441, back cover (Canini), note 8; XLIV: 23, 33, figs. 30, 41 (De Vlieger), notes 56, 66; 57, 62, figs. 7, 11 (Delamonce), notes 24, 61; 83, fig. 5 (Rossetti), note 26; 412, 416, 431–33, figs. 3, 12 (Mercier), 34 (anonymous artist after Watteau), 37–38 (Nollekens), notes 6, 21; XLV: 171, fig. 5 (Jacques Rousseau), note 11; 236, figs. 1–2 (Michelangelo), note 1; 304, 306, figs. 20, 25 (El Greco), notes 41, 46; 361, fig. 4 (Ribera), note 24; 387–89, figs. 3 (Polidoro da Caravaggio), 4–5 (anonymous artist, Roman School, 16th century), 7 (Coello), 8 (Merano), 9 (Jan van der Vaart); XLVI: 353, fig. 1 (Parmigianino), note 1; 429–533 passim, figs. 2, 5, 7, 9–10, 14, 20–21, 23, 25–29, 39–40, 43, 45–48, 51–59, 63–65, 69–70, 77–78, 80, 83–86, 92, 95, 98, 101–4, 107–9, 111, 113, 117–18, 120–22, 124–27, 132, 134, 139, 140–41, front and back covers (Gainsborough), notes 4, 25, 27; XLVII: 59, fig. 6 (Baccio del Bianco), note 16; 70, fig. 2 (Gaulli), note 2; 88, fig. 3 (Samacchini), note 11; 284, 294, 302, 305, 310, figs. 25 (“False Amand” hand), 42 (Jacques Rosseau), 54 (“False Amand” hand after Dughet), 61 (anonymous), note 72; 369–70, figs. 5, 10 (Willem van Herp), notes 14, 19; 439, fig. 4 (G. B. Pozzo), note 17; 453, 456, figs. 1, 6 (Vassilacchi), note 1; 489, figs. 1–3, 5 (Bonington after Van Thulden), note 1; 516, fig. 1 (Mola), note 1; XLIX: 73, 90, figs. 10–11 (Foggini); 99, 113, 115, figs. 7, 56–57 (Amico di Donato); 188, 212, figs. 20, 75 (Simon de Vlieger), notes 21, 79; L: 309, 319, fig. 25 (Matthijs Cock); 508, 518, figs. 3–8, 25 (Michelangelo Anselmi), notes 6, 45; 533, fig. 3 (Willem van Mieris), note 3; 542, fig. 2 (copy after Elsheimer), note 10; LI: 35, fig. 8 (Allegrini), note 14; LII: 5, 20, 40–41, 47, figs. 3, 26 (Genga), 69–70 (workshop of Luca Signorelli, Genga?); 101, fig. 12 (Fra Bartolommeo), note 38; 148–74 passim, figs. 3, 5, 7, 9, 11–13, 15, 17, 19, 22, 24, 26, 28, 30, 32, 36, 38, 40, 42, 44, 53–75 (Bernard Salomon); 307, 309, 317, 332, 334, 339, figs. 43–46, 65 (Coecke van Aelst), 56 (Coecke van Aelst and workshop); 485, figs. 4, 7–8 (Carducho or studio of), notes 23, 25; LIII: 477, fig. 1 (Federico Zuccaro), note 6; LIV: 149, 171, 176, 179, 188–91, 195–97, figs. 2, 45, 53, 57, 74, 76 and back cover (Raffaellino da Reggio), 88 (Raffaellino da Reggio?); LV: 6, 20, 73, 79, 81, 88–89, 104, figs. 7, 220, 254, 274, 281, 339 (A. Bloemaert), 51 (copy after A. Bloemaert), 246 (Pierre Subleyras after A. Bloemaert), note 41; 327, fig. 16 (Verboom), note 55; 374, fig. 3 (Vasari), note 18; 457, fig. 4 (workshop of A. Lomi), note 13; 486, 503, fig. 2 (Fragonard after Van Dyck); LVI: 199, 209, 221, 224, figs. 12 (Van Musscher), 36 (Matthijs Naiveu after Van Musscher), 37 (Matthijs Naiveu), note 40; 347, figs. 21–23 (circle of Giulio Parigi), notes 57–58; 476, fig. 30 (Girolamo da Carpi after Carvaggio), note 62; 490, 510, figs. 9, 52 (Claude Lorrain), notes 20, 79

______, Christie’s Archive. XLIX: 536, fig. 4 (Golitsyn–Dolgorukov sale catalogue), note 35

______, Christie’s South Kensington, formerly. XLVII: 369, fig. 4 (Willem van Herp), note 11; XLIX: 86, figs. 41–42 (Foggini); LIII: 489, no. 7 (Campiglia); LV: 51, 60, 111, figs. 144, 369 (A. Bloemaert), 174 (A. Bloemaert?)

______, Cock, formerly. XLIV: 342, fig. 36 (Guercino)

______, Edward Cohen, formerly. XXXIII: 323, fig. 107 (T. Zuccaro)

______, P. & D. Colnaghi. XXIII–XXIV: 402, fig. 2 (Veronese), note 13

______, ______, formerly. XXXI: 267, fig. 69 (Goltzius); XXXIII: 313–15, figs. 96–98 (T. Zuccaro); XXXVI: 266, fig. 19 (Giovanni Battista Tiepolo); XXXVII: 105, 133, fig. 5 (Luca Giordano); XLII: 112, figs. 1 (Dürer), 2 (Watteau); 325, fig. 10 (Campagnola); 337, fig. 3 (G. Salviati); 349, fig. 1 (J. Tintoretto), note 3; XLIV: 412, 414, 416, 432, 444, figs. 4, 6, 8, 12 (Mercier), 36 (Guercino), 72 (anonymous artist), notes 7, 9, 13, 21; XLVI: 451, 472, 526, figs. 12, 42, 130 (Gainsborough); LI: 471, fig. 1 (Louis de Boullogne the Younger), note 2; LII: 301, 331, figs. 34, 36 (Coecke van Aelst); LIII: 501, figs. 6–7 (Greuze), note 12; LIV: 188, fig. 74 (Raffaellino da Reggio); LV: 24, 69, 77, 88, 90, 103, 107, figs. 64, 206, 237–38, 239, 274, 283, 332–33, 351 and front cover (A. Bloemaert); 394, 396, figs. 2, 4 (G. M. Crespi), notes 11, 20; 435, fig. 2 (Dürer), note 2; 523, fig. 44 (Greuze)

______, Courtauld Gallery. XLVIII: 43, fig. 4 (Van den Eeckhout), note 16, 377, fig. 6 (Cézanne), note 8; 459, fig. 4 (Pietro Antonio de Pietri and Domenico Stagi), note 16; 484, 489–92, figs. 3, 10–24 (Matías de Torres), notes 14, 39, 42–55; XLIX: 25, figs. 11–12 (Michelangelo Anselmi), note 32; 33, 37, 41, figs. 1–2, 8, 10–11, 19 (Navarrete after Schiavone), note 1; 211, fig. 73 (Simon de Vlieger), note 76; 315, fig. 59 (Rembrandt); 384, fig. 33 (Jan Victors), note 45; 494, 503, figs. 34, 43 (Francis Barlow), notes 61, 74; LI: 296, 307–8, figs. 5, 18, 21 (Pieter Bruegel the Elder), notes 34, 58; LII: 47, fig. 68 (Genga); LIII: 117, fig. 9 (Barbault), note 30; 148, fig. 3 (Piranesi), note 12; 220, fig. 11 (Filippo Lauri), note 29; 299, 307, figs. 3–4 (Carducho), 13 (Pacheco), notes 31, 39, 56; LIV: 24, fig. 5 (Licherie), note 26; 527, fig. 30 (Cristofano Roncalli), note 58; LV: 57, fig. 163 (A. Bloemaert); 252, fig. 5 (Degas), note 23

______, ______, Seilern coll. XLIX: 331, 338–39, figs. 101–2, 123, 127 (Rembrandt)

______, Courtauld Institute of Art. XXV: 370–73, note 19, pl. 10 (Kempeneer); XLI: 241, 253, fig. 1 (circle or workshop of Hugo van der Goes); XLIII: 287, fig. 16 (Pontormo), note 60; XLIV: 217, figs. 5–6 (Rubens), notes 13–15

______, ______, Princes Gate coll. VII: 433 (review); XIX: 149–50, pls. 22–24 (P. Bruegel); XX: 405–06 (review); XXI: 179 (review); XXII: 448–49, fig. 2 (Pittoni); XXVIII: 296–99, fig. 1 (Rubens); XXXI: 111–12, figs. 8, 10 (Watteau); XXXII: 371–72, figs. 6, 11 (Mantegna); XLI: 229, fig. 2 (workshop of Hugo van der Goes), note 6; XLIV: 213, fig. 1 (attributed to Rubens, after Adriaen T. Key), note 1

______, ______, Witt coll. II: 37–39, note 6, pl. 30 (Heemskerck); III: 249–50; 376, 379–80, pl. 22 (Grimaldi); IV: 407, fig. 10 (Oudry), note 45; V: 290, pl. 32a (De Marchis); 387; VI: 148, pl. 41b (Castiglione); VII: 31, note 24, pl. 21 (G. P. Panini); VIII: 155–56, note 65, pl. 50b (Palma Giovane); 171–72, fig. 2 (Vogtherr); IX: 15–18, fig. 3 (after Salviati), note 3; 371, fig. 5 (Dughet); X: 20–22, pl. 16 (Bernini); 117, fig. 2 (Bernini), note 19; XI: 37–43, fig. 3 (Kneller), pls. 29, 39 (Dahl); XII: 48, pl. 37b (Amigoni); 369, pl. 29b (Ribera); XIII: 364, pl. 2 (F. Bellini); XIV: 312–13, fig. 1 (Della Rovere); XVI: 161–62, pls. 28–31 (Della Bella); 419, 447–48 (review); XVIII: 42–44, note 7, pl. 24 (Marchesi); XIX: 278–79, fig. 5 (Muxel); XX: 127, pl. 13 (Betti?); XXI: 279, note 27, pl. 42a (Biliverti); 405–06, pl. 34b (Coello); XXVI: 239–48, figs. 2 (after Michelangelo), 8 (student of Volterra), note 1; 264, fig. 6, note 21, pl. 16 (Gainsborough); XXVIII: 22, 31, fig. 23 (Van Thulden), note 83; XXIX: 11, 13, pl. 2 (Baldini); XXXI: 409, fig. 1 (Bononi), note 2; 422, fig. 5 (Schedoni), note 8; XXXII: 209, 211, 214, 218, figs. 5, 7, 12–13, 17 (Richardson), notes 29, 31, 39, 50, 61; 354, fig. 6 (Stradanus), note 15; XXXIV: 49, fig. 31 (L. Carracci); XXXVI: 133, 138, figs. 14, 23 (Peter Oliver), note 97, 109; 300, fig. 6 (Agostino Carracci); XXXVIII: 449, fig. 1 (Boscoli), note 3; 465, fig. 1 (Baglione), note 2; XLIII: 28, 47, fig. 25 (Van der Cooghen or after); XLIV: 438, 443, figs. 56, 68 (anonymous artist); XLV: 241–47, figs. 2–4 (Guercino); 350–51, figs. 5–6 (Bazzicaluva), notes 30, 34; XLVI: 510, 528, figs. 101, 132 (Gainsborough)

______, ______, ______, formerly. XXIX: 56, fig. 6 (Guercino), note 15; 237, fig. 4 (Passeri), note 15; 278, fig. 12 (Rembrandt)

______, Courtauld Institute Galleries. XXI: 179 (review); XXXIII: 80–81 (review); XXXV: 238, figs. 19, 39 (Watteau, after Rubens); XXXIX: 245, fig. 28 (La Fosse); XLVI: 542–45, figs. 2 (Turner), 3 (Gainsborough), 4 (Constable), notes 1–3

______, Frederick B. Daniell & Son, formerly. XLIV: 432–33, figs. 37–38 (Nollekens)

______, Richard Day, Ltd. XXX: 288, 292, fig. 4 (F. Panini), note 14

______, ______, formerly. LIII: 435–36, figs. 1, 4 (Jacques de Gheyn ii), note 1

______, Day & Faber, formerly. LV: 96, fig. 307 (A. Bloemaert)

______, De Beer Fine Art Co., formerly. XLIX: 73, 75, 85, figs. 12–13 (Foggini)

______, F. A. Drey, formerly. XLIV: 429, 440, figs. 30 (anonymous artist after Watteau), 61 (anonymous artist)

______, Dulwich College. XXXI: 112, fig. 13 (Watteau)

______, Dulwich Picture Gallery. XLIX: 339, fig. 128 (Rembrandt)

______, A. E. Evans & Sons, formerly. XLIV: 434, fig. 41 (Goupy)

______, 56 Princes Gate, see London, Courtauld Institute of Art, Princes Gate coll.

______, Fine Art Society, formerly. XLVI: 451, fig. 12 (Gainsborough)

______ and New York, Franses, formerly. LVI: 483, fig. 6 (Papini after Alessandro Allori), note 8

______, Deborah Gage Ltd., formerly. XLVI: 427–28, 447, fig. 1 (Gainsborough), note 1

______, Kate Ganz. XXX: 155, 157, figs. 15–16 (Veronese), note 34; 295, fig. 19 (attributed to Annibale Carracci), note 42

______, ______, formerly. L: 38, fig. 7 (Giulio Romano), note 48

______, ______, see also Ganz, Kate

______, Martyn Gregory, formerly. XLVI: 485, fig. 61 (Gainsborough)

______, Johnny van Haeften, formerly. LV: 7, 14, 30, figs. 10, 31 (A. Bloemaert), 78 (attributed to A. Bloemaert)

______, Harrari and Johns. XXVI: 375, fig. 11 (L. Carracci)

______, Tomás Harris, formerly. XLV: 295, fig. 7 (El Greco), note 12

______, Hayward Gallery. VIII: 415–20 (review); XXIII–XXIV: 551, 556–57 (review)

______, Hazlitt, Gooden & Fox, formerly. XXXI: 232, fig. 23 (Goltzius); XXXVII: 9, fig. 14 (G. Reni), note 30; XLVI: 431, 469–71, 485, 504, 525, 530, figs. 7, 37–38, 62, 128–29, 136 (Gainsborough), note 27; LI: 201, fig. 20 (Ligozzi), note 16; LV: 7, 14, figs. 10, 31 (A. Bloemaert)

______, Heim Gallery. VI: 163–64, fig. 2 (Jeaurat); XVIII: 276–77 (review)

______, ______, formerly. XXV: 159–60, figs. 2–3 (Vittoria); XLIV: 423, fig. 21 (Mercier), note 33; XLIX: 112, fig. 53 (Amico di Donato); LIV: 25, fig. 6 (Licherie), note 27; LVI: 517, fig. 5 (Louis Silvestre the Younger), note 8

______, Helikon Art Gallery, formerly. XL: 135, fig. 2 (G. B. Crespi), note 4

______, Heussner & Lauser, formerly. LIV: 70, fig. 6 (after Carl Barth), note 14

______, Historical Portraits Ltd., formerly. XLVI: 457, fig. 16 (Gainsborough)

______, Hobhouse Ltd., formerly. XXXI: 244, fig. 36–42 (Goltzius)

______, Joseph Hogarth, formerly. XLVI: 460, fig. 20 (Gainsborough)

______, Home House Society Trustees, see London, Courtauld Institute of Art, Princes Gate coll.

______, Italian Embassy (on loan from the Galleria Sabauda, Turin). LVI: 448, figs. 14 (Bernardino, called Il Boraga, after Marcantonio Raimondi after Raphael), 15 (Francesco iii Badile), notes 41, 45

______, King and Lochee, formerly. XLIV: 434, fig. 41 (Goupy)

______, ______, formerly. XLIII: 287, fig. 16 (Pontormo), note 60

______, Victor Koch, formerly. XLVI: 533, fig. 141 (Gainsborough)

______, Leger Galleries, formerly. XLVI: 429, 453, 521–22, 525–26, figs. 2, 121–22, 128–29 (Gainsborough), note 4

______, Leicester Galleries, formerly. XLVI: 524, fig. 126 (Gainsborough)

______, Lowell Libson, formerly. XLVI: 525, fig. 129 (Gainsborough)

______, Lorna Lowe, formerly. XXXIII: 323, fig. 107 (T. Zuccaro); XLV: 332, 336, 341, figs. 13, 30 (Juan Antonio del Castillo after Cano), 20 (Cano)

______, Maas Gallery, formerly. XLVI: 500, 516, figs. 84, 111 (Gainsborough)

______, McDonald & Nicholson, formerly. XLVI: 500, fig. 83 (Gainsborough)

______, Maggs & Co. Ltd., formerly. XLVI: 495, fig. 77 (Gainsborough)

______, John Manning Gallery, formerly. LV: 79, fig. 243 (A. Bloemaert and a later hand)

______, Marble Hill House. IX: 68 (review)

______, Marlborough Fine Art Ltd. XLVII: 10, fig. 10 (Kitaj), note 11

______, R. H. Massy, formerly. XLIV: 433, fig. 38 (Nollekens)

______, F. R. Meatyard, formerly. XLIV: 444, fig. 72 (anonymous artist); XLVI: 510, fig. 99 (Gainsborough)

______, J. Mitchell Galleries, formerly. VIII: 22–23, fig. 9 (R. Savery), note 47

______, Moatti Fine Arts, formerly. XLVIII: 199, fig. 3 (Kaiserman), note 24

______, John Morton Morris, formerly. XLVI: 485–86, figs. 62–63 (Gainsborough)

______, Anthony Mould Ltd., formerly. XLVI: 462, 488, 516, figs. 24, 68, 111 (Gainsborough)

______, National Gallery. II: 27–29, figs. 2, 4 (Perugino); IV: 416, fig. 1 (Orsi); VII: 158–64, figs. 1–2 (Rembrandt), note 2; VIII: 367–68, fig. 7 (Pontormo); X: 352, fig. 1 (Holbein), note 6; XII: 263, fig. 6 (Tura); XVI: 4, fig. 2 (Rembrandt); XIX: 25–26, fig. 2 (Veronese); 279–80, fig. 6, pl. 32 (Titian); XXI: 257, fig. 3 (Veronese); XXVII: 11, 24, 30, 32, figs. 8–9 (Master of St. Gudule), 25–26, 35–38 (G. David); 133–38, figs. 10–11, 14, 16 (Rembrandt), 18–19 (Rembrandt?); 153, fig. 23 (Maes), note 17; XXX: 95, fig. 22 (Perugino); XL: 265–68 (review); XLIII: 297, fig. 9 (Bronzino); XLIV: 39, fig. 49 (Van de Cappelle), note 85; 51, fig. 5 (Correggio), note 19; XLV: 317, fig. 44 (El Greco); XLVI: 294, fig. 3 (Barocci), note 16; XLVII: 269, 294, figs. 1 (Dughet and Maratta), 4, 44 (Dughet), notes 15, 22, 73; XLIX: 149, fig. 1 (Giulio Romano and G. F. Penni), note 4; 331, fig. 104 (Rembrandt), note 11; L: 59–64, figs. 1–2 (Veronese), note 1; 366, fig. 1 (Jan Siberechts), note 6; LI: 51, fig. 2 (Velázquez), note 7; 436, 438, figs. 3, 7 (Piombo), note 6

______, ______ (on loan from the Sir Denis Mahon coll.). XLIII: 508, fig. 1 (Guercino)

______, ______ (on loan from Hon. Lady Salmond). VIII: 364–67, figs. 2, 4–5 (Pontormo)

______, National Portrait Gallery. XI: 35, figs. 1 (Dahl), 4 (Vertue); XVIII: 58–59 (reviews); XXI: 371, 376–77, fig. 5 (Gainsborough); XXIII–XXIV: 421 (review); XXXIII: 425–26 (review); XLVII: 14, fig. 14 (Hockney), note 14; XLIX: 514, fig. 63 (William Sheppard or Shepherd), note 109

______, Gerald Norman, formerly. XLVI: 513, 530, figs. 105, 134 (Gainsborough)

______, Obach & Co., formerly. XLVIII: 175, fig. 4 (Pierre Dumonstier i or Étienne Dumonstier ii), note 6

______, Stephen Ongpin Fine Art. LIV: 72, fig. 9 (Ingres), note 22

______, ______, formerly. LV: 67, 87, figs. 199, 273 (A. Bloemaert)

______, Flavia Ormond, formerly. LIV: 176, 191, fig. 53 (Raffaellino da Reggio); LV: 60, fig. 175 (A. Bloemaert)

______, E. Parsons, formerly. XLV: 350–51, figs. 5–6 (Bazzicaluva), notes 30, 34

______, E. Parsons & Sons, formerly. XLVI: 477, 479, 507–8, 510, 532–33, figs. 51–52, 95–96, 100, 140–41 (Gainsborough); LII: 31, 44, fig. 46 (Genga); 301, 330, fig. 31 (Coecke van Aelst)

______, G. Parsons, formerly. XLIX: 70, 79, 82, 88, 90, figs. 8, 23, 30, 51, 58 (Foggini)

______, E. Paterson and Sons, formerly. XLVI: 523, fig. 125 (Gainsborough)

______, Paul Mellon Centre for Studies in British Art. XXII: 220 (review)

______, Messrs J. Pearson & Co., formerly. XLVI: 495, fig. 77 (Gainsborough)

______, Thomas Philipe, formerly. XLIV: 423, fig. 20 (Mercier), note 32; XLVIII: 456, fig. 2 and front cover (Jusepe de Ribera and Domenico Stagi), note 7; LII: 47, figs. 69–70 (workshop of Luca Signorelli, Genga?); 307, 334, figs. 43–45 (Coecke van Aelst); LIV: 149, 189, 195, fig. 2 and back cover (Raffaellino da Reggio)

______, Phillips, formerly. XXXVII: 110, 134, fig. 10 (Luca Giordano); XLIII: 181, fig. 25 (Federico Zuccaro), note 42; XLVI: 469–72, 496, 504, 520, figs. 34, 37–38, 42, 78, 90, 119 (Gainsborough); XLVIII: 317, fig. 1 (Salviati after Parmigianino), note 23; LIV: 169, 191, fig. 37 (Raffaellino da Reggio); LVI: 510, fig. 53 (Claude Lorrain), note 80

______, A. C. de Poggi, formerly. XLVII: 513, fig. 1 (Polidoro da Caravaggio), note 1

______, Private coll. I, 2: 38–39, note 2, pl. 32b (Rembrandt); I, 3: 37–38, fig. 1 (Guardi); I, 4: 27, note 9, pl. 21 (Pozzoserrato); II: 263; IV: 444–45, fig. 5 (Von Aachen); VIII: 132, fig. 1 (F. Zuccaro); 278, note 7, pls. 30–31 (Correggio); IX: 168–69, fig. 9 (Gilpin?); 264, pl. 51 (Daumier); X: 372–73, fig. 9 (Bononi); XI: 154, note 2, pl. 18a (Van Dyck); XII: 240, 243, notes 9, 32, pls. 4, 16 (Poussin); XV: 355, note 46, pl. 10 (Della Bella); XVI: 409, fig. 5 (Wilson); XVII: 139–40, pl. 17a (Poussin); XVIII: 130–31, pl. 10 (J. Muller); 368, pl. 30 (Jordaens); XX: 23–24, note 5, pl. 25 (Pozzo); XXIII–XXIV: 224, pl. 37b (Jordaens); XXV: 160, pl. 22 (G. B. Tiepolo, after Vittoria); XXVI: 28, 37, note 60, pl. 20 (Sermoneta); XXVII: 351, figs. 12–13 (Géricault), note 23; XXIX: 381, fig. 34 (G. B. Pace); XXX: 295, 298, figs. 16, 22 (attributed to Annibale Carracci), notes 39, 49; XXXI: 395–96, figs. 1 (Bandinelli), 5 (Cellini), notes 1, 7; XXXIII: 8, fig. 4 (Somm), note 29; 117, figs. 3, 7 (Varallo), notes 10, 15; XXXIV: 20, fig. 17 (L. Carracci), note 109; 380, fig. 9 (Géricault), note 20; XXXVI: 390, fig. 27 (Baglione), note 35; XXXVII: 116, 135, fig. 23 (Luca Giordano); XXXIX: 303, fig. 3 (Boucher), note 20; XLII: 388, fig. 20, cover (G. B. Tiepolo), note 116; XLIII: 172, front cover, fig. 16 (Federico Zuccaro), note 25; XLIV: 57, fig. 7 (Delamonce), note 24; XLV: 27, fig. 19 (Federico Zuccaro after Correggio); XLVI: 460, 465, 467, figs. 19, 28, 32–33 (Gainsborough); XLVIII: 147, fig. 1 (Bronzino), note 11; 213, fig. 32 (Pinelli), note 68; 318, fig. 4 (Salviati after Parmigianino), note 28; L: 106, 109, figs. 8, 15 (Tiepolo), notes 102, 117; 372, fig. 10 (Jan Siberechts), note 15; LI: 39–48. figs. 2, 8, 10 (Poussin), note 6; 171, fig. 11 (Bedoli), note 26; LII: 471, fig. 1 (Ribera), note 1; LV: 8, fig. 12 (Parmigianino), note 3; LVI: 520, fig. 8 (Louis Silvestre the Younger), note 15

______, ______, formerly. VII: 290, pls. 20, 23 (Imola); XXXI: 242, fig. 35 (Goltzius); XXXII: 347, fig. 35 (L. Tiepolo); XXXIV: 381, fig. 14 (Géricault), note 24; XXXVI: 413, fig. 6 (Correggio), note 10; XLVI: 473, fig. 44 (Gainsborough)

______, ______ (on loan to the National Gallery, London). XLIX: 302, fig. 19 (Rembrandt), note 14

______, Bernard Quaritch, formerly. XLV: 325, 331, 341, figs. 1, 29 (Cano)

______, Anthony Reed, formerly. XLVI: 438, 474, figs. 10, 46 (Gainsborough)

______, Crispian Riley-Smith. XLV: 326, 332, fig. 3 (Juan Antonio del Castillo after Cano), note 5

______, Kate de Rothschild, formerly. XLVIII: 398, fig. 2 (Étienne Parrocel), note 6

______, Royal Academy of Arts. VI: 162–68;VII: 178–79; XVI: 62–63; XIX: 48–49; XX: 405 (reviews); XXV: 164–65 (review); XXXV: 298–99 (review); XLVIII: 239, fig. 35 (Constable), note 16; LI: 67, fig. 5 (Watts), note 20; LIII: 494, no. 45 (Francesco Zuccarelli)

______, Royal Borough of Kensington and Chelsea, Leighton House Museum. LI: 73, fig. 12 (Leighton), note 62

______, Royal Institute of British Architects. IX: 68 (review); XII: 20, note 74, pl. 21b (Zucchi); XXI: 65–66 (review); LIII: 103, figs. 8–9 (William Kent), note 23

______, S. Franses Ltd. XLIX: 460, fig. 47 (after Perino del Vaga and Francis Cleyn), note 80

______, Salamander Fine Arts, formerly. LIII: 503, fig. 3 (Fragonard), note 3

______, Savile Gallery, formerly. XLV: 295, fig. 7 (El Greco), note 12

______, Sheepshanks, formerly. XIX: 28–29, pl. 26b (Quillard)

______, Michael Silverman, formerly. XLVI: 495, fig. 77 (Gainsborough)

______, Sir John Soane’s Museum. II: 286, pl. 34 (Filippino Lippi); VI: 244–45, fig. 3 (Tribolo); VIII: 246–47, note 12, fig. 2 (Pergola Theater); 379–87, pls. 12–24 (Nicoletto da Modena); IX: 164–67, fig. 6, pl. 42 (Robert Adam); XV: 120, note 18, pl. 5 (three unknown artists); 152–55, figs. 10, 14 (Codex Coner); LIII: 102, figs. 6–7 (William Kent), note 21; 159, fig. 19 (Lhuillier?), note 37

______, Society of Antiquaries, Harley coll. XLIX: 510, fig. 57 (Francis Barlow), note 97

______, Stephen Somerville Ltd., formerly. XLVI: 465–67, 469–71, figs. 29–38 (Gainsborough)

______, Somerville & Simpson Ltd., formerly. XLVI: 465–67, 469, figs. 29–34 (Gainsborough)

______, Sotheby’s, formerly. X: 376, pl. 25b (Bononi); XXXI: 106, 110, 116, 119, 122, figs. 5, 7, 20, 23–25 (Watteau); 262, figs. 61–64 (Goltzius); 411, fig. 8 (Bononi), note 13; 415, fig. 6 (Baglione), note 9; XXXII: 343–44, 347, figs. 19, 21, 32, 35–36 (L. Tiepolo); XXXIII: 173, fig. 3 (Cigoli); 262, 304, 311–13, 319, figs. 38, 85–86, 93–95, 102 (T. Zuccaro); XXXIV: 303, fig. 1 (Cortona), note 1; 400, figs. 1–2 (Daumier), note 1; XXXVI: 20, figs. 9 (Abraham Bloemaert), 10 (Cornelis Bloemaert the Elder?), note 16; 372, fig. 25 (Baglione), note 43; XXXVII: 5, 7, 12, 28, figs. 1–2, 5, 7 (G. Reni), notes 7, 12, 16; 35–46, figs. 1–16 (Ango), notes 7, 18–22, 24, 29–30, 32–36, 38, 40; 47, fig. 4 (F. Fernandi and G. Valeriani), note 4; 105, 107, 110, 122, 133–34, 137, figs. 3, 5, 8, 13, 30 (Luca Giordano); 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4; 242, fig. 7 (G. Simonelli), note 20; 247, fig. 17 (Malinconico), note 35; 287, fig. 1 (M. Franceschini), note 1; 374, figs. 2 (Alonso Cano), 5 (copy after Alonso Cano), notes 14, 16; XXXVIII: 46, fig. 28 (Fenzoni), note 48; 449, 452, figs. 3, 7–8 (Boscoli), notes 5, 13–14; XXXIX: 248, fig. 29 (La Fosse), note 57; 407, fig. 13 (circle of Jan Muller or Adriaen de Vries); XL: 125, 127, figs. 20, 23 (Nebbia), notes 38, 43; XLII: 321, fig. 7 (Campagnola); 349, fig. 1 (J. Tintoretto), note 3; 372, fig. 1 (B. Strozzi), note 3; XLIII: 240, fig. 1 (Mola); 281, fig. 6 (Pontormo), note 37; 445, fig. 5 (Canini), note 19; 465, 481, fig. 12 (Cortona); XLIV: 19, fig. 20 (De Vlieger), note 48; 348, fig. 15 (Van den Bossche); 414–40 passim, figs. 6, 15, 17, 19 (Mercier), 30 (anonymous artist after Watteau), 36 (Guercino), 37–38, 40 (Nollekens), 48, 52–53, 61 (anonymous artist), notes 9, 26, 29, 31; XLV: 229, figs. 1–2, 5 (Penni), note 1; 298, fig. 12 (El Greco), note 22; 387–88, figs. 1 (Maratti), 3 (Polidoro da Caravaggio); 531, fig. 3 (Schrieck), note 8; XLVI: 65, 80, figs. 6, 39 (Benefial), notes 24, 79; 427–530 passim, figs. 1–3, 7, 13–14, 18–20, 22, 39, 43–44, 60–62, 64, 68, 74–75, 78–79, 84, 88, 97, 99, 101, 105, 110–12, 114, 116–17, 120–22, 126–27, 132–33, 136 and front cover (Gainsborough), notes 1, 4–5, 27; XLVII: 57, fig. 3 (Baccio del Bianco), note 9; 368, 370, figs. 3, 9, 11 (Willem van Herp), notes 10, 18, 20; XLVIII: 158, fig. 3 (Polidoro da Caravaggio), note 5; 398, fig. 2 (Étienne Parrocel), note 6; XLIX: 85, 89, figs. 39–40, 56–57 (Foggini); 99, 112–15, figs. 7, 15, 52, 54–55, 58–59 (Amico di Donato); 182, 188, figs. 12 (Simon de Vlieger), 23 (Jacob Esselens), 25 (Simon de Vlieger), notes 13, 23; 326, fig. 81 (Rembrandt); L: 342, fig. 20 (Hans Bol), note 41; 374, 391, figs. 12 (Jan Siberechts), 47 (Jan Siberechts after Jan Breughel the Younger), notes 17, 42; LI: 3, figs. 1, 10–11 and front cover (Bronzino), note 4; 184, fig. 14 (Ligorio), note 16; 197, front cover (Ligozzi), note 9; 346, fig. 3 (Vrancx); 445, fig. 1 (Wouwerman), note 6; 474, fig. 6 Louis de Boullogne the Younger), note 2; LII: 17, 41, fig. 24 (Genga); 289, 317, 338, 346–47, figs. 18 (workshop copy after Coecke van Aelst), 55, 70 (Coecke van Aelst and workshop), 87 (attributed to the workshop of Coecke van Aelst); 379, fig. 16 (attributed to the workshop of Coxcie), note 40; 441, fig. 20 (draft or copy of a letter by Palma Giovane), note 53; 485, figs. 7–8 (Carducho or studio of), note 25; LIII: 443, fig. 1 (Breenbergh), note 4; 451, figs. 1–2 (Rembrandt), note 2; 490–91, nos. 12 (Ferretti’s copy of Drost’s self-portrait?), 20 (Mehus); 519, fig. 1 (Seurat), note 1; LIV: 149, 164, 167, 178, 184, 188, 191, figs. 3, 28, 35, 56 (Raffaellino da Reggio); LV: 24, 26, 33, 45, 49, 53, 58, 92, 104, 110, figs. 64, 66, 126, 138, 288, 336, 363 (A. Bloemaert), 87 (A. Bloemaert?), 90 (copy after A. Bloemaert?), 151, 167 (copy after A. Bloemaert), note 26; 291, 293, 301–2, figs. 1–2, 14, 17 (B. Parentino), note 2; 325–26, figs. 11, 13 (Verboom), notes 50, 52; LVI: 347, fig. 21 (circle of Giulio Parigi), note 57; 474–75, figs. 26 (Girolamo da Carpi after Polidoro da Caravaggio), 27–28 (Battista Franco after Polidoro da Caravaggio), notes 59–60; 489, 498, figs. 7 (18th-century English artist), 21 (Claude Lorrain), notes 15, 39

______, Sotheby’s Olympia, formerly. XLIV: 429, fig. 31 (anonymous artist after Watteau); L: 533, fig. 4 (Willem van Mieris), note 8

______, Spink, formerly. XLVI: 436, 494, 496, 500, 510, 513, 516, figs. 75, 78, 82, 99, 106, 113 (Gainsborough)

______, Spink-Leger, formerly. XLVI: 466, 532, figs. 30, 139 (Gainsborough)

______, Alec Stirling, formerly. LIII: 490–91, nos. 15 (copy after Helmbreeker’s self-portrait), 20 (Mehus), 22 (Martin Mijtens ii)

______, Henry A. Sutch, formerly. XLIV: 439, fig. 57 (anonymous artist)

______, Syon House, Duke of Northumberland coll., see Syon House, Duke of Northumberland coll.

______, Tate. LI: 490, fig. 13 (Hayter), note 21; LIII: 365, fig. 1 (Eva Hesse), note 3

______, Tate Britain. XLIV: 422, 425, figs. 18, 25 (Mercier), note 30, 39; XLVI: 523, fig. 125 (Gainsborough); XLIX: 455, fig. 39 (Henry Gibbs), note 65; 488, 492–93, 499, figs. 17, 24, 26, 28–33, 36–37 (Francis Barlow), notes 41, 60

______, Tate Gallery. VII: 4, pl. 3b (Vanderbank); XI: 272–76, fig. 1 (Fuseli), notes 2–3; 279–87, notes 6, pls. 34–35 (Burne-Jones); XII: 181, 395–96; XIII: 293; XV: 187–88; XIX: 55–56 (reviews); XXI: 182, 289–92 (reviews); 369–72, fig. 1 (Constable); XXII: 220, 463–68 (reviews); XL: 302, fig. 4 (J.M.W. Turner); XLVIII: 201, fig. 13 (Kaiserman), note 38

______, Tate Modern (/Edinburgh, National Galleries of Scotland, on loan to Burton Art Gallery and Museum, Bideford). LII: 517, fig. 5 (Richard Long), note 14

______, Trinity Fine Art, formerly. LV: 496, 503, fig. 13 (Fragonard)

______, Twenty-one Gallery, formerly. LII: 281, 333, fig. 7 (Coecke van Aelst)

______, University College of London. V: 196, pl. 38 (Heintz); VIII: 170–71, fig. 1 (Huber); 275, note 3, pl. 28 (Varallo)

______, ______, UCL Art Museum. LIII: 95, fig. 7 (Hollar), note 30

______, Rafael Valls Gallery. XXXI: 251, fig. 48 (Goltzius)

______, Rafael Valls Ltd., formerly. LV: 55, fig. 158 (A. Bloemaert)

______, Victoria & Albert Museum. I, 2: 50; I, 3: 19, 27; I, 4: 16; II: 5–6, fig. 2 (Raphael); 263; 374–75, fig. 7 (Settignano); 390, 395, note 23, pl. 18 (Giulio Romano); III: 52–53, 256, pl. 11 (Dupont); IV: 50; 165; V: 400; VI: 138, note 15, pl. 32 (G. A. Guardi); 145–48, note 8, pl. 42 (Castiglione); 356–57, fig. 3 (Setti); VII: 143, fig. 4 (M. Cock); 181 (review); 379–82, note 17, pls. 7, 10–12, 14a (Wyngaerde); VIII: 149–50, fig. 3 (Palma Giovane), note 13; 379–81, fig. 2 (Nicoletto da Modena); 408, pls. 40–41 (Claude Lorrain); IX: 63–64 (review); 69, pl. 25 (Dandré-Bardon); 244, note 28, pl. 17a (Ligorio); X: 15–19, fig. 5 (Verrocchio); 27, note 30, pl. 24 (Mola); 168 (review); XI: 55 (review); XII: 20, note 74, pl. 21a (Zucchi); 361–62, note 18, pl. 17 (Bertoia); 368, pl. 28a (Ribera); XIII: 21–23, pl. 4 (Buontalenti, Boscoli); XIV: 137, note 67, pl. 14 (Naldini); 159, note 7, pl. 29 (G. Gandolfi); 180–84 (review); 390–94, figs. 3, 5 (Canaletto); XV: 147–61, fig. 22 (unknown artist), notes 1, 15, pls. 9–10, 13–14 (Du Cerceau), 17 (unknown Flemish artist); 270–76, figs. 3, 5 (Decker), 8 (jewel); 355, note 51, pl. 14 (Della Bella); XVIII: 150–51, fig. 1 (Kupelwieser); XIX: 167–72 (review), figs. 1 (Polidoro da Caravaggio), 2 (Maganza), 3 (Piattoli); 314 (review); XX: 45–46 (review); 120–21, fig. 5 (C. Vroom); XXI: 66 (review); 379–80, pl. 2 (Gainsborough); XXII: 220, 329–31 (reviews); 417–18, 425, pl. 17 (L. Carracci); 461–63 (review); XXIII–XXIV: 218–20, pl. 29 (Jordaens); XXV: 44–45, fig. 30, pl. 26 (Poelenburg); XXVII: 151, 153, fig. 3 (Maes), note 16; XXVIII: 4, fig. 2 (Rubens), note 16; XXIX: 9, pl. 1 (Baldini); 195, fig. 1 (anonymous artist); XXXII: 133, fig. 5 (Diziani); XXXIV: 244, fig. 2 (attributed to L. Carracci), note 44; 281–83, 285, 290, figs. 1–2, 4, 8, 10, 13, 15, 18 (Rossi), notes 7, 9, 11, 13, 17, 21, 23, 26; XXXV: 345, 360, figs. 4, 31 (Molyn); XXXVIII: 171. fig. 8 (Passeri), note 19; XXXIX: 117, fig. 6 (Fuseli), note 10; 243, fig. 27 (La Fosse); XLI: 384, fig. 1 (Pisanello); XLIV: 279, fig. 4 (J. Johns), note 7; XLV: 180, figs. 19–20 (Jacques Rousseau), notes 35–36; 196, fig. 9 (Hoogstraten), note 48; XLVI: 507, fig. 94 (Gainsborough); XLVII: 194, fig. 3 (Bouchardon), note 35; 380, fig. 1 (Rubens? after Annibale Carracci), note 2; 524, fig. 1 (Van Dyck), note 1; XLIX: 70, 79, 82, 88, 90, figs. 8, 23 (with incorrect details in caption), 30, 51, 58 (Foggini); 257, fig. 8 (Pieter Coecke van Aelst), note 17; 445, 462, 468, figs. 16, 64 (after Francis Cleyn), 52 (Giambologna), notes 39, 88, 107; L: 40, fig. 11 (after Giulio Romano?), note 56; 300, 319, fig. 17 (Matthijs Cock); LI: 56, fig. 8 (Copley), note 34; 68, 77, fig. 6 (Burne-Jones), 14–15 (Sainton), notes 33, 86–87; 215, 217, 219, figs. 66, 71 (Vecellio), 75 (De Nicolay); 325, 327, 333, 335–39, figs. 4–5, 7, 16, 18–20, 23–30, 32 (Van den Wyngaerde), notes 21, 37, 40–41, 46–47, 49, 51, 53–54; 371, fig. 10 (Scheemaeckers), note 67; LII: 231, 233, 235, figs. 1 (Hans Holbein the Younger), 2–3 (Peter Oliver), 5–6 (anonymous Netherlandish? artist), notes 3, 15, 20–21; 300, 326, fig. 30 (Coecke van Aelst); LIII: 8, fig. 6 (Paulus Potter), note 28; 103, fig. 10 (William Kent), note 24; LIV: 67, 70–71, 74–76, figs. 1–5, 8 (Wilhelm von Kaulbach), 6, 13 (Samuel Amsler), 10 (Hugh Douglas Hamilton), 12 (Heinrich Merz), notes 1, 5, 7, 9, 11, 14, 24, 27, 29; LV: 13, 20, 34, 55, figs. 25, 94 (A. Bloemaert), 51, 155 (copy after A. Bloemaert), 156 (A. Bloemaert and a later hand); 305, fig. 24 (late 15th-century North Italian), note 70; 510, fig. 31 (Rubens); LVI: 336, fig. 3 (Giulio Parigi), note 10; 463, figs. 1–2 (Girolamo da Carpi after Raphael), note 4

______, ______, Picture Library. XLI: 22, fig. 10 (Cortona), note 25

______, Walker’s Galleries, formerly. XLVI: 510, fig. 99 (Gainsborough)

______, Wallace Collection. XII: 135–36, fig. 3 (Rubens); XXIII–XXIV: 380–86, fig. 7 (Lancret), note 16

______, Warburg Institute. XIII: 281–88 (review); LII: 432–34, figs. 5 (Palatino), 6–10 (Arrighi); LV: 379, fig. 4 (Anton-Francesco Doni), note 46

______, Ben Weinreb, formerly. XLIII: 477, fig. 26 (Cortona)

______, Wellcome coll. XLIX: 522, back cover (Francis Barlow), note 140; LVI: 205, fig. 24 (woodcut illustration from Cesare Ripa, Iconologia …, Padua, 1611)

______, Wildenstein. V: 411–12 (review)

______, ______, Royal coll. XXIX: 426, fig. 5 (Rubens)

______, Thomas Williams Fine Art, formerly. L: 389–91, figs. 44–45 (Jan Siberechts?), note 40; LIII: 451, figs. 1–2 (Rembrandt), note 2; LV: 16, 53, 96, figs. 39 (A. Bloemaert and a later hand), 152 (A. Bloemaert and a later hand?), 307 (A. Bloemaert)

______, R. E. A. Wilson, formerly. XLIV: 440, fig. 62 (anonymous artist); LIV: 9, figs. 10–11 (Foschi), notes 28–29

______, Andrew Wyld, formerly. XLVI: 436, 452, 477, 479–80, 487, 490, 494, 500, 512, 523, figs. 13, 51–52, 54, 64, 70, 75, 82, 104, 124 (Gainsborough)

Long, Richard. XLII: 13, fig. 9; LII: 517, fig. 5

Long Island, NY, Private coll. XXVII: 154–55, fig. 27 (Maes), note 24

Longhi, Pietro. VIII: 167–70, pl. 53

Longleat House, Wiltshire, Coll. of the 7th Marquess of Bath. XLIX: 205, fig. 54 (Simon de Vlieger), note 58

Loo, Carle van. V: 42–47, fig. 1, pl. 32

______, Hulin de, formerly. XXXII: 344, fig. 29 (L. Tiepolo)

Loon, Theodoor van. XXIII–XXIV: 49–50, fig. 5, pl. 26

Loper, Robert. LIV: 169, 191, fig. 37 (Raffaellino da Reggio)

López de Ayala, Alfonso. LI: 97, fig. 17 (Zóbel), note 32

López de Escuriaz, Diego. XXXVII: 396, fig. 2

López-Fanjul, María. XLVIII: 463–81 (MARQUÉS DEL CARPIO’S SPANISH COLLECTION OF DRAWINGS)

Loppem Castle, Belgium, Jean Van Caloen Foundation. XXXIX: 3–4, figs. 1 (Michelangelo), 2 (A. Mini), note 1

López-Fanjul y Díez del Corral, María. LII: 453–63 (FRANCISCO PACHECO)

Lorck, Melchior. I, 4: 57; XLI: 30–43, figs. 3–5, 7, 9, 12, 14, 16–18 (woodcuts)

Lorenzetto. XLIX: 154, fig. 16; LVI: 50, fig. 30 (after)

Lorenzi, Francesco. IX: 268–69, figs. 2–4; XII: 383–84, fig. 9

Lorenzo, Bicci di. II: 283

Loreto, Santuario della S. Casa. XIII: 350–51, fig. 4 (F. Bellini)

Lorillard, Pierre, formerly. XXXI: 246, fig. 44 (Goltzius)

Loring, Mr., formerly. XLVI: 429, 453, fig. 2 (Gainsborough), note 4

Lorrain, Claude. II: 166–67 (formerly attributed to); III: 266–68, figs. 1–2, pls. 22–24; 369–80; IV: 375–83, fig. 14; bV: 381, pl. 19; VI: 171; VIII: 272–75, fig. 1, pls. 26–27; 402–09, pls. 40–44; 415–20, figs. 1–2; IX: 67; 159–61, fig. 1, pls. 35–37; 260–62, fig. 1 (imitator of), pls. 46–47; 367–83, figs. 2, 4, 12–13, pls. 14b-15a, 16a, 18, 23a, 24a, 25a; XVI: 178–80, pl. 46a; XIX: 135–36, pl. 12 (after); XXIII–XXIV: 418–19; XXVI: 142; XXVIII: 409–25, figs. 1–4, 5 (signature), 6, 8–13; XXXVIII: 247, fig. 4; LVI: 486–516, figs. 1–3, 6 (?), 8–28, 29 (after), 30–40, 41(after), 42 (after Pietro da Cortona), 43–57, front cover

Lorrain, Musée Historique. XXXIII: 64–68 (review)

Los Angeles, CA, Armand Hammer Foundation. XXV: 70, fig. 3 (after Leonardo)

______, Kate Ganz coll., see Ganz, Kate

______, Getty Research Institute. XLVII: 221, fig. 2 (J.-L. David), note 4; XLIX: 70, 82–83, figs. 9, 31–33 (Foggini); LVI: 216, fig. 54 (Joost van den Vondel, “Substitit unda,” in J. Antonides van der Goes, De Ystroom, Amsterdam, 1671)

______, ______, Research Library. XLVII: 209–10, figs. 18–19 (Comte de Caylus after Bouchardon), notes 135, 143

______, J. Paul Getty Museum. XX: 403–05 (reviews); XXIII–XXIV: 200, note 4, pl. 10 (Parmigianino); XXV: 27, pl. 8 (Poelenburg); 64, fig. 1 (Rubens); 219–24, fig. 3 (L. Carracci); XXVI: 233, 235, pl. 12 (Schön); 378, fig. 12 (Reni), note 27; XXVII: 235, fig. 1 (Reni); 368–70 (review); XXX: 157, fig. 17 (Veronese), note 36; XXXI: 242, fig. 35 (Goltzius); XXXII: 371–72, figs. 1–2, 10 (Mantegna), note 1; XXXIII: 119, fig. 9 (Varallo), note 18; 267, fig. 44 (T. Zuccaro); XXXIV: 375, fig. 1 (Géricault), note 6; XXXV: 7, fig. 10 (Annibale Carracci), note 38; XXXVII: 24, fig. 27 (G. Reni), note 76; 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4; 305–06 (review); 368, fig. 1, 3 (Ribera), note 1; XXXVIII: 347–48, figs. 1 (Rembrandt), 2 (Raphael); 353–58, figs. 1 (F. Zuccaro), 2 (Piranesi), 3 (Rrud’hon), 4 (Courbet), 5 (Seurat); XXXIX: 3, 5, fig. 4 (Michelangelo), note 1; XL: 255–57, figs. 1–2 (Degas); XLII: 335, fig. 1 (G. Salviati); XLIII: 331, fig. 8 (Vasari), note 9; XLIV: 51, fig. 3 (Knupfer), note 14; 156, 169, 197, figs. 50, 73 (Kulmbach); 371, fig. 4 (Jusepe de Ribera), note 4; 477, fig. 25 (Gillot); XLV: 16, fig. 11 (Federico Zuccaro after Correggio); 204, fig. 5 (Elsheimer), note 9; 241–47 (review); 295, fig. 7 (El Greco), note 12; XLVI: 252, fig. 1 (Seurat), note 9; 301, fig. 10e (Barocci), note 81; XLVII: 5, fig. 3 (Hockney), note 3; 225, figs. 11–12 (J.-L. David), note 18; XLIX: 54, fig. 3 (Jost Amman after Virgil Solis), note 9; 164, fig. 2 (Vasari), note 4; 325, fig. 77 (Rembrandt); 368, fig. 36 (Jan Lievens), note 44; LI: 207, fig. 38 (Ligozzi), note 21; LII: 27, 42, fig. 41 (Genga); 68, 82, fig. 12 (Jan de Visscher); 277, 326, fig. 4 (Coecke van Aelst); 474, fig. 5 (Ribera), note 12; 532, fig. 1 (Ribera), note 4; LIII: 301, fig. 5 (Carducho), note 35; 329, 331, figs. 33, 37 (De Vlieger), note 35; 457, fig. 4 (Rembrandt), note 16; 471, fig. 3 (Adriaen van Ostade), note 6; 489, 492, nos. 3 (Benefial), 32 (Sabatini); 519–22, figs. 1 (Seurat), 2 (Pichot), notes 1, 6; LIV: 103, figs. 3–4 (Andrea del Sarto), note 4; 397, fig. 1 (Oudry), note 2; LV: 28, 46, 48, 93, 95, 101–2, figs. 74, 128, 133, 294–95, 300, 328, 330 (A. Bloemaert); 376, front cover (Vasari), note 33; LVI: 97–104 (review); 493, 503, figs. 10, 35 (Claude Lorrain), notes 23, 58; 553, fig. 11 (Suvée), note 50

______, ______, and Pasadena, CA, Norton Simon Museum. LI: 45, fig. 11 (Poussin), note 21

______, Los Angeles County Museum of Art. XIV: 275, fig. 6 (Curti); XV: 186 (review); XXV: 261–62, fig. 1 (B. Caliari?), note 18; XXIX: 266, 271, 281, fig. 4 (Rembrandt); XXIV: 43X8–40 (review); L: 194, fig. 2 (Sol LeWitt), note 9; LII: 376–77, fig. 8 (tapestry from the factory of Frans Geubels), note 25; LIII: 86, fig. 7 (Cesi), note 19

______, ______ (on deposit from the Norton Simon Museum, Pasadena, CA). IX: 39–42, pl. 17 (Rembrandt)

______, ______, Mr. & Mrs. George Gard da Sylva coll. XII: 161, pl. 32 (Van Gogh)

______, Museum of Contemporary Art. XL: 14, fig. 8 (Gorky), note 26

______, Private coll. LII: 114, fig. 4 (Bouchardon), note 26

______, University of California, Dickson Art Center. IX: 282 (review)

______, ______, Grunwald Center for the Graphic Arts. XXII: 64–65, fig. 1 (Allou)

______, University of Southern California Libraries, Special Collections. LIV: 249, fig. 1 (Eadweard Muybridge), note 15

Los Ríos, Victoriano de. XL: 34, 36, figs. 14–15

Loschwitz, Private coll., formerly (destroyed during World War ii). XXXIX: 145, fig. 1 (A. Heinrich), note 4

Loth, Carl. IV: 61–62, figs. 1–2, pl. 39

Lotto, Lorenzo. III: 416; V: 380, pl. 8; XIII: 131–35, figs. 1–3, pl. 6; XLV: 249, figs. 1 (attributed to, after Michelangelo), 2

Louijs, Jacob. XXX: 336–37, fig. 1 (engraving after Jan Lievens)

Louis i, Grand-Duke of Hesse, formerly. XLVII: 290, 310, fig. 38 (“False Amand” hand after Dughet); LII: 283, 325, fig. 11 (Coecke van Aelst, retouched by Rubens)

Louis xiv, King of France. LI: 453, figs. 3–4 (portraits)

______ coll., formerly. XLVI: 374, fig. 1 (Menzocchi), note 3; L: 34, 40, figs. 1 (Raphael?), 12 (Raphael? or his workshop?), notes 19, 59

Louis xiv. XVI: 57–59 (review)

Louis xviii. XXXI: 146

Louis of France, Duke of Burgundy. LI: 462, fig. 18 (portrait)

Louisa Ulrica of Prussia, Queen of Sweden, formerly. LV: 178–90, figs. 3 (F. Barocci), 4a, 13, 16–17 (Rubens), 5 (Rubens after Leonardo da Vinci), 6 (David Teniers ii), 7 (A. F. van der Meulen), 8a–b (J. Courtois), 9 (C. Maratta), 10 (Agostino Carracci), 11 (G. B. Castiglione), 12, 18 (Jacob Jordaens), 15 (copy after Rubens), 19 (Jan Breughel the Elder)

Louisville, KY, Cathedral. XXVII: 53, 55, 57, 59, fig. 2 (De Crayer)

______, J. B. Speed Art Museum. XVI: 187–88 (review)

Lousada, Anthony Baruch, formerly. XLVI: 485, fig. 61 (Gainsborough)

______, Julian George, formerly. XLVI: 485, fig. 61 (Gainsborough); LII: 64, 82, fig. 4 (Jan de Visscher)

Lovere, near Bergamo, Accademia Tadini. LI: 35, fig. 14 (Barbelli), note 20

Lovis Corinth. Review. XV: 188

Lowenhaupt, Warren H., formerly. XLVI: 507, 511, figs. 95, 102 (Gainsborough)

Lowther, Lancelot Edward, Sixth Earl of Lonsdale, see Westmorland, Lowther Castle

Lozowick, Louis. XLII: 130, fig. 7

Lübeck, Kulturstiftung Hansestadt Lübeck, St. Annen Museum. LII: 287, 327, figs. 13, 14a (Coecke van Aelst); LIV: 379, fig. 2 (Coecke van Aelst), note 8

______, Museum für Kunst und Kulturgeschichte. XLVI: 258, fig. 2 (Schadow), note 2

Luber, Katherine Crawford. XXIX: 30–47 (DÜRER); XXXII: 396–97 (REVIEW)

Lubin, Jacques. LIV: 43, fig. 41 (engraving)

Luca, Cathedral. LIII: 239, fig. 4 (Giambologna)

Lucas, E. Louise. Art Books. A Basic Bibliography. Review. VII: 182

______, George A., formerly. XLII: 72, figs. 4 (Delacroix), 5 (Millet), notes 18–19

______, Lionel, formerly. LIV: 188, fig. 74 (Raffaellino da Reggio)

Lucas Velázquez, Eugenio. XLVI: 175–86, figs. 1–8

Lucca, S. Frediano. II: 33–34, fig. 1 (Della Quercia); III: 18–20, figs. 22–23 (Aspertini)

Lucchese, Michele Greco. XIII: 248–49, fig. 8; XXV: 135–36, fig. 6 (engraving after Michelangelo)

Luccini, Antonio Francesco. XV: 358–62, figs. 10–12 (etchings)

Lucerne, Chillingworth, formerly. XLIV: 213, fig. 4 (Adriaen T. Key), note 6

______, Galerie Fischer, formerly. XXXVII: 262, 265, 269, figs. 5–6 (M. Schongauer), note 7

______, H. Gilhofer & H. Ranschburg, formerly. LII: 24, 42, fig. 36 (Genga)

Ludovisi, Ludovico, Cardinal. LIII: 387, fig. 1 (portrait of)

Ludwig, Dr. Peter. XVII: 362–67, figs. 6–7, 9 (Bening)

Lugano, Museo Cantonale d’Arte. XXX: 216–23 (review)

______, Private coll. XLIII: 356, fig. 1 (Raphael), note 7

______, Thyssen-Bornemisza coll., see Thyssen-Bornemisza coll.

Lugt, Frits. IX: 172 (obituary); XLVIII: 368–73

______ coll., formerly. L: 296, 300, 321, figs. 4, 13, 38 (Matthijs Cock); LII: 24, 42, fig. 36 (Genga); 64, 82, fig. 4 (Jan de Visscher); 281, 333–34, figs. 7–8, 40 (Coecke van Aelst)

______. Musée du Louvre. Inventaire général des dessins des écoles du Nord, Maîtres des anciens Pays-Bas nés avant 1500. Review. IX: 55–59

______, see also Paris, Institut Néerlandais

Luijten, Ger. LIII: 477–80 (WATTEAU AND FEDERICO ZUCCARO)

______, et al., eds. Drawings for Paintings in the Age of Rembrandt. Review. LVI: 409–15

______, see also Kowalczyk, Bożena Anna, and Ger Luijten

Luini, Aurelio. XXV: 151–52, fig. 1, pl. 6

Lukas Cranach. Gemälde, Zeichnungen, Druckgraphik. Review. XII: 394

Lulofs, Hiske. XXX: 320–25 (GRIMALDI)

Lulworth Manor, Weld-Blundell coll., formerly. LIII: 493, no. 35 (Elisabetta Sirani)

Lund, Kulturhistoriska Museet. III: 49–50, pls. 40, 42–43 (P. Bruegel); VIII: 13, 15, note 31, pl. 6 (R. Savery)

Lunetti, Stefano di Tommaso. XXV: 242–50, figs. 1, 5–8 (?)

______, Tommaso di Stefano. XXVII: 228, note 1, pl. 35

Lüthy, Hans A. XXIII–XXIV: 563–67 (REVIEW)

Luti, Benedetto. XLV: 43, fig. 5 (self-portrait); LI: 529, fig. 3 (after)

Lutij, Filippo. V: 22

Luxenberg, Alisa. XLIX: 225–48 (C. F. DE LA TRAVERSE)

Luyken, Jan. LVI: 200–201, figs. 15–16 (portraits of)

Luzzi, Luzio, see Romano, Luzio, also known as Luzio Luzzi

L’vov, Ukraine, Art Gallery. XXV: 159, note 15, pl. 13b (G. B. Tiepolo, after Vittoria)

______, Lubomirski Museum, formerly (current location unknown). XLIV: 190, fig. 114 (Kulmbach)

Lynch, Anne. XLVI: 456, fig. 14 (portrait of)

Lyon, art market, formerly. LII: 27, 42, fig. 41 (Genga)

______, Bibliothèque Municipale. LII: 148–74 passim, figs. 1 (printed page), 2, 4, 6, 8, 10, 14, 16, 18, 20–21, 23, 25, 27, 29, 31, 33, 37, 39, 41, 43, 45, 52 (woodcuts by Bernard Salomon), 3, 7, 9, 11–12, 15, 17, 19, 22, 32, 44 (Bernard Salomon); 207, 224, figs. 4, 6, 39 (Bernard Salomon), notes 12, 45

______, ______, formerly. XLVII: 72, fig. 4 (Gaulli), note 9

______, Galerie Michel Descours, formerly. XLVI: 508, fig. 97 (Gainsborough)

______, Musée de l’Imprimerie. LII: 165, figs. 49–50 (drawn woodblocks by anonymous 16th-century Lyonnais artist), notes 42–43

______, Musée des Arts Décoratifs. XLIX: 106, figs. 28–29 (Amico di Donato)

______, Musée des Beaux-Arts. XX: 404 (review); XXXIV: 162, fig. 21 (Giulio Clovio, after Michelangelo?), note 54; XXXVI: 316–18 (review); XLVII: 72, fig. 4 (Gaulli), note 9; XLIX: 222, fig. 1 (Rivalz), note 1; LIII: 282, fig. 12 (anonymous after Taddeo Zuccaro), note 28; LVI: 169, fig. 3 (Simon Vouet), note 6

______, Private coll., formerly. XXXIII: 133–37, figs. 1 (Benedetto Caliari), 2, 6 (Veronese), notes 8, 11, 21

Lyon region, Private coll., formerly. LV: 101–2, figs. 328, 330 (A. Bloemaert)

Lyons, Julius Lewis, formerly. XLVIII: 183–85, 187, 189, figs. 5, 8, 12, 15 (Guercino), 17 (Guercino or school), notes 18, 27, 36, 44, 50

 

  1. coll. XVII: 168–69, pls. 41b-43 (Dieu)
  2. & M. Karolik Collection of American Water Colors & Drawings. Review. II: 58–60

Maas, J., Esq. XI: 43, pl. 42 (Dahl)

Maastricht, Eddy Schavemaker, formerly. LVI: 204, 222, figs. 21–22 (Van Musscher)

Mabuse, see Gossaert, Jan

MacAvock, Jane. XLIII: 193–207 (JEAN DARET); 224 (REVIEW)

Macandrew, Hugh. X: 111–25; 231–59 (GAULLI); XVI: 131–50 (BATONI)

______. Ashmolean Museum, Oxford. Catalogue of the Collection of Drawings. Vol. III. Italian Schools. Supplement. Review. XX: 386–87

______. Italian Drawings in the Museum of Fine Arts, Boston. Review. XXI: 417, 420–21

Macchietti, Girolamo. II: 284; XX: 127–28, pl. 14; XXXI: 55–59, figs. 1–4; XXXII: 71

McCormick, Thomas J. Vassar College Art Gallery. Selections from the Permanent Collection. Review. VI: 412

McCrindle, Joseph F. coll. VII: 430, pl. 36 (after Guercino); XIII: 65–66, fig. 2 (Polidoro da Caravaggio); XXXII: 67–70

______, formerly. L: 49–51, figs. 1, 3–4 (Parmigianino), note 1

McCullagh, Susan Folds. XXXVIII: 241–48 (DRAWINGS IN THE ART INSTITUTE OF CHICAGO); XXXIX: 279–87 (GABRIEL DE SAINT-AUBIN); XLV: 406 (OBITUARY OF KONRAD OBERHUBER); LVI: 105–16 (REVIEW)

______, see also Grasselli, Margaret Morgan and Suzanne Folds McCullagh

McDonald, Mark P. XXXVII: 368–72 (RIBERA)

MacGeorge, B. B., formerly. XLII: 115, fig. 4 (Meryon)

McGrath, Elizabeth. Rubens. Subjects from History. Coorpus Rubenianum Ludwig Burchard. Part XIII. Review. XXXVII: 300–01

______, Robert L. V: 31–35 (LIGOZZI)

______, Thomas. XLIII: 500–507 (VOLTERRANO)

Machado, Gaspar Fróis, see Fróis Machado, Gaspar

McHale, Katherine. L: 95–114 (GIANDOMENICO TIEPOLO)

McIlhenny, Henry P., formerly. XLII: 11, fig. 8 (Degas), note 18

MacIntosh, David, formerly. XLVI: 353, fig. 1 (Parmigianino), note 1

Mackay, Mary Alice. XXXV: 142–54 (NEW YORK SKETCH CLUB)

Mackelvie, James Tanock, formerly. LV: 14, fig. 29 (A. Bloemaert)

MacKenzie, Norman, formerly. LIV: 9, figs. 10–11 (Foschi), notes 28–29

______, see also Regina, Saskatchewan, Norman Mackenzie Art Gallery

McKim-Smith, Gridley. XVIII: 3–24 (VELÁZQUEZ); 392 (LETTER)

McMullen, Roy. Degas. His Life, Times, and Work. Review. XXIII–XXIV: 551–52

MacPherson, Kenneth, formerly. XLVI: 148, fig. 1 (Pollock)

McTavish, David. XIII: 372–74 (ANNIBALE CARRACCI); XXXVIII: 66–70 (REVIEW); XLII: 333–48 (GIUSEPPE SALVIATI); XLVI: 377–81 (FEDERICO BAROCCI); 386–92 (REVIEW); XLVII: 325–28 (PETER DeWINT and GASPAR DUGHET); XLVIII: 291–314 (SALVIATI); LIII: 392 (obituary)

Maderno, Stefano. LIV: 522, fig. 22 (bronze cast)

Madison, WI, Elvehjem Museum of Art. X: 372–73, fig. 10 (Bononi), note 20

Madrazo, Mariano Fortuny y, see Fortuny y Madrazo, Mariano

Madrazo, Federico da. XLVIII: 498–513, figs. 1–7, 9–11, 13

Madrazo y Kuntz, Federico. XXXVII: 429–42, figs. 1–12

Madrid, Pedro de. XLVIII: 449, fig. 5 (portrait)

Madrid, Academia Real de Bellas Artes de San Fernando, see Madrid, Real Academia de Bellas Artes de San Fernando

______, art market, formerly. XLV: 327, 334, fig. 6 (Cano)

______, Biblioteca Francisco de Zabálburu. XLVIII: 469–71, figs. 3–4, 6, 8–9 (anonymous Portuguese artist), notes 60, 64, 69, 71, 73

______, Biblioteca Nacional de España. II: 24–26, note 20, pl. 15 (Cades); 46–49, note 3, pl. 41 (Annibale Carracci); III: 357, pl. 1 (Aertsen); IV: 12, note 17, pl. 8 (Fenzoni); 36–39, pls. 30–32 (Bayeu); 294–98, pls. 32–33 (Goya); VI: 31–36, pls. 13–21 (Bayeu); X: 378–82, pls. 43–53 (La Traverse); XI: 294, pl. 40 (Castello); XII: 239, note 5, pl. 2 (Poussin); XIII: 158–60, notes 5–11, pls. 16–22 (De’ Rossi); 237–38, pls. 1–4, 8 (Herrera the Younger); XV: 159, pls. 15–16 (Du Cerceau); XVIII: 19–23, figs. 6–7, pls. 2–3 (Velázquez), fig. 9 (Madrid artist); 355, note 38, pl. 10 (Melchiori); XIX: 29, pl. 27 (anonymous artist); 184–87 (review); XXI: 406, fig. 2 (Coello); XXII: 304–5, note 6, pls. 30–31 (Maffei); XXIII–XXIV: 411–15 (review); XXV: 416–17, fig. 3 (Vouet); XXVIII: 290–91, 294, fig. 2 (Herrera the Younger), note 3; XXIX: 380; XXX: 435, fig. 1 (Mola), note 1; XXXIV: 282–83, 290, figs. 6–7, 17 (Rossi), notes 15, 24; XXXVII: 255–56, fig. 23 (De Matteis), note 50; 366, fig. 1 (B. Salomon); XXXVIII: 139–54, figs. 1–14, 16–25 (Chauveau), notes 8, 10, 12, 16, 18–19, 21, 23, 25–29, 31–32, 34–35, 38, 40–44; XLII: 84, fig. 1 (Goya); XLIII: 228, fig. 5 (Master of the St. Lambrecht Votive Altarpiece, Cod. Vit. 25–28, fol. 28v), note 10; 445, fig. 6 (Canini), note 20; XLV: 293, fig. 4 (El Greco); 326, 332, 336, 338–39, figs. 2, 21, 25 (Cano), 27 (Juan Antonio del Castillo after Cano); XLVII: 461, fig. 2 (Audran), note 3; XLVIII: 449, fig. 6 (Francisco Pacheco); 482, 484, figs. 1, 5, 25 (Matías de Torres), notes 4, 17, 57; XLIX: 228, 231, 235, figs. 5–7 (La Traverse), notes 26, 41, 73; L: 300, 321, fig. 15 (Matthijs Cock); LII: 287, fig. 17 (anonymous manuscript); 499, figs. 4–7, 9 (Castillo), notes 18–20; LIII: 305, figs. 1–11 (Carducho), notes 46–47; LV: 333, 337–45, figs. 1, 5, 10, 12, 13–16, 18–19, 21, 23 (Houasse), notes 4, 8, 14, 16–19, 21–22, 24, 26

______, Centro de Estudios Europa Hispánica (CEEH). XLV: 403–4 (Publication News)

______, Collection Condes de Alcubierre. XXV: 363, note 12, pl. 4 (Kempeneer)

______, Fábrica Nacional de Moneda y Timbre. XXV: 365–66, note 14, pl. 6 (Kempeneer)

______, Fundación Juan March/Cuenca, Museo de Arte Abstracto Español. LI: 89–90, fig. 2 (photograph of Casas Colgadas), 3 (cover of Zóbel’s sketchbook), 4–16, 18–26 (Zóbel)

______, Fundación Lázaro Galdiano, Library. XLVIII: 447–49, figs. 1, 3 (Francisco Pacheco), notes 11, 13

______, Fundación Ortega y Gasset. XLVI: 169, fig. 12 (Lisa), note 41

______, Instituto de Valencia de Don Juan. XLIX: 39, fig. 14 (Navarrete), note 30

______, Museo Cerralbo. XXVII: 322, fig. 1 (C. de Vos), note 7; XXXVII: 422, fig. 10 (J. del Castillo), note 27

______, Museo Lázaro Galdiano. XI: 156–57, note 31, pl. 23 (Van Dyck)

______, Palacio de Oriente. IV: 296–97, fig. 5 (Pacheco)

______, Palacio Real. XXII: 434–40, fig. 1 (Sacchetti), pls. 28–37 (Giaquinto); XXIII–XXIV: 208, 210, fig. 5 (Mengs); XXXII: 338, fig. 38 (L. Tiepolo), note 44; XLVIII: 493, fig. 26 (Sebastián de Herrera Barnuevo), note 69

______, ______, Colecciones Reales, Patrimonio Nacional. LV: 337, fig. 8 (Houasse), note 11

______, El Pardo. IV: 37, fig. 2 (Bayeu)

______, Patrimonio Nacional. VI: 31–36, figs. 4–6 (Bayeu)

______, Museo Nacional del Prado. I, 1: 12–16, pls. 8, 13b (Goya); I, 3: 34–35, fig. 1 (Rubens); II: 45–49, note 1, pl. 39 (Annibale Carracci); 51, fig. 2 (La Fosse); III: 26, pls. 19b-20 (Heemskerck); 137–38, fig. 9 (Cornelis van Haarlem); IV: 38, fig. 3 (Bayeu); 139–40, pl. 12 (Rubens); V: 400–03, pls. 34–35 (G. B. Tiepolo); VI: 31–36, figs. 1, 3, 7–8 (Bayeu); 127–28, fig. 16 (Domenichino), note 42; X: 119, pl. 2 (Gaulli); XII: 151–56, pl. 21 (Goya); 286–89 (review); XIII: 239, pl. 13 (Herrera the Younger); XIV: 387–89, pls. 8 (Franceschini), 9 (Bigari), 10 (Monti); XVI: 419, 445–46 (review), figs. 10–11 (Van Thulden); XVII: 46–47, fig. 4 (Titian); 407, 410, fig. 13 (Guercino); XVIII: 3–24, fig. 1 (Velázquez); 270–74 (review); XXII: 304, fig. 1 (Veronese), note 6; 313–14, fig. 4 (Annibale Carracci and Francesco Albani); XXIII–XXIV: 411–15 (review); XXVI: 342, pl. 11 (Lefèvre); XXVII: 374–77 (review); XXVIII: 25, fig. 26 (retouched by Rubens?), note 89; 296–99, fig. 2 (Van Dyck); XXXII: 338, figs. 39, 41 (L. Tiepolo); XXXVI: 275, fig. 2 (Rubens); 385, fig. 13 (Baglione), note 14; XXXVII: 377, 383, figs. 7, 12, 16 (Alonso Cano), notes 17, 21, 24; 409, fig. 3 (F. Herrera the Elder), note 10; 417, 422, figs. 3–4 (J. del Castillo), 6–7 (Velázquez), notes 6, 22–23; XL: 176–78 (review); XLI: 271, fig. 8 (Vrancke van der Stockt); XLIV: 213, fig. 3 (Coxcie), note 3; XLV: 252, fig. 6 (Tintoretto, X-radiograph); 295, fig. 8 (El Greco), note 13; 326–28, 334, 337–40, figs. 5–6, 8, 11, 18, 22, 26, 28 (Cano); 355, fig. 2 (Carreño de Miranda), note 16; 361, 363, figs. 3 (Ribera), 11–12 (Giovanni Battista Castello), 13–14 (follower of Polidoro da Caravaggio), notes 23, 30, 32; 391–94 (review); XLVI: 115, fig. 2 (Sacchi), note 3; XLVII: 269, fig. 6 (Dughet), note 24; 439, fig. 3 (G. B. Pozzo), note 12; 473, fig. 6 (Patinir), note 16; XLVIII: 187, fig. 14 (Guercino), note 41; 437, 440–43, figs. 4, 6, 10–11, 13, 15 (Francisco Pacheco), note 13; 465, fig. 1 (Tintoretto), note 28; 484, fig. 2 (Matías de Torres), note 13; 501–2, 504–6, 509, figs. 3–7, 9–11, 13 (Federico de Madrazo), notes 12, 14, 17–18, 27, 32, 37, 54; XLIX: 39, 41–42, figs. 12, 20–21 (Navarrete), notes 28, 46; 149, fig. 2 (Giulio Romano or follower), note 5; LI: 173, fig. 21 (Bedoli), note 31; 189, fig. 2 (Barocci), note 2; LII: 455–56, 458, figs. 2, 9, 14 (Pacheco), note 11; 474, fig. 4 (Ribera), note 11; 491, figs. 11–12 (Carducho or studio of), notes 7, 43; 498–99, 502, 505–8, figs. 1–3, 8, 10–13, 16–23 (Castillo), 14–15 (Luca Giordano), notes 12, 33, 41, 57–58; LIII: 301–2, 305–6, figs. 6–7, 9, 12 (Carducho), notes 36, 40, 43, 49; LIV: 379, fig. 1 (workshop of Coecke van Aelst), note 2; LV: 333–34, 337–38, 341, figs. 2–4, 9, 11, 17 (Houasse), notes 5–7, 12–13, 20; 351, 355, 362, figs. 6, 15, 28 (H. Bosch), note 39; LVI: 395–408, fig. 2 (Jusepe de Ribera), note 40

______, ______ (on deposit at the Carthusian Monastery of El Paular, near Segovia). LII: 492, figs. 13–14 (Carducho), notes 51–52

______, Edmund Peel & Asociados, formerly. XLV: 348, fig. 3 (Bazzicaluva), note 23

______, Private coll. IV: 295–96, figs. 2–4 (Goya); XI: 144, fig. 7 (Veronese); XXXVII: 365, fig. 2 (Campaña), note 3; 424, fig. 11 (J. del Castillo), note 33; XL: 58, fig. 3 (Lam); XLVI: 157, 162, 164, 171, figs. 1, 6–7, 16 (Lisa), notes 5, 21, 24, 47; XLVII: 368–69, 373, figs. 3 (Willem van Herp), 6 (Willem van Herp?), 17 (studio of Willem van Herp), notes 10, 15, 35; 460, fig. 1 (Murillo), note 1; XLVIII: 470, fig. 7 (Diego de Saavedra Fajardo), note 70

______, ______, formerly. XVIII: 10–11, fig. 3 (after Velázquez)

______, Real Academia de Bellas Artes de San Fernando. III: 174, pl. 36 (Lanfranco); VI: 62; 116–31, fig. 15, notes 7, 40–41, pls. 5–6, 16 (Domenichino); IX: 150, pl. 26a (Turchi); XII: 371, pl. 33b (Ribera); XIII: 364, pl. 3 (F. Bellini); XIV: 46–47, fig. 1 (Velázquez); 51–55, notes 8–9, 11–20, pls. 23–24 (Maratti), 25–32 (Berrettoni); XVIII: 13–18, fig. 4 (Pacheco), note 16, pl. 6 (Velázquez); XXIX: 21, figs. 35–36, note 58 (Romanelli); XXXV: 8, fig. 11 (Annibale Carracci), note 45; 235, 247, fig. 21 (Rubens workshop); XXXVII: 417, figs. 1–2 (J. del Castillo), notes 4–5; XLIV: 221, fig. 1 (Gaulli), note 1; XLV: 357, fig. 4 (Carreño de Miranda), note 24; XLVI: 7–8, 17–29, figs. 5 (binding from the Del Carpio vol.), 6, 29, 31–32 (Agostino Carracci), 7, 38–41, 43 (Guido Reni), 42 (school (?) of Guido Reni), 17 (Italian School), 18 (anonymous sculptor, active in the Marches), 19, 46 (Roman School), 20 (Ludovico Carracci), 21–22 (Anselmi), 23 (Beccafumi), 24 (Polidoro da Caravaggio), 25 (Vanni), 26–27 (Cristoforo Roncalli), 28 (De’ Vecchi), 30, 33 (Brizio), 34–35 (Grimaldi), 36 (Cavedone), 37 (Neapolitan School), 44–45 (Lanfranco), 47 (Testa); XLVIII: 484, fig. 4 (Matías de Torres), note 15; XLIX: 39, figs. 16–17 (Navarrate), note 32

______, Real Biblioteca. XLVIII: 447–49, 452, figs. 2, 4–5, 7 (Francisco Pacheco), notes 12, 15–16, 38; 467, fig. 2 (Juan Gómez de Mora), note 43

______, Real Monasterio de la Encarnación, Patrimonio Nacional. LII: 509, fig. 24 (Ginés de Aguirre), note 60

______, Royal coll., formerly. XLV: 340, fig. 28 (Cano)

______, S. Jerónimo. XXI: 404–05, fig. 1 (Rizi)

______, Santander Central Hispano. XLV: 333, fig. 126 (Cano)

______, Museo Thyssen-Bornemisza. XLVI: 150, fig. 4 (Pollock), note 10

______, Thyssen-Bornemisza coll., see also Thyssen-Bornemisza coll.

Maella, Mariano Salvador. XLVIII: 549

Maes, Nicolaes. V: 197; XXVII: 146–62, figs. 1–36; XLVII: 500, fig. 4

Maestri del disegno nelle collezioni di Palazzo Abatellis. Review. XXXVI: 305–07

Maestri dell’invenzione. Disegni italiani del Rijksmuseum, Amsterdam. Review. XXXV: 302–04

Maffei, Francesco. XXII: 303–10, figs. 2–4, pls. 27–38

Magalotti, Lorenzo. LIII: 491, no. 18 (portrait of)

Magani, Fabrizio, see Bergamini, Giuseppe, Fabrizio Magani, and Giuseppe Pavanello

Maganza, Alessandro. XIX: 168, 170, fig. 2; XXIII–XXIV: 209, pl. 17; XLVI: 121, fig. 1 (?); LI: 32, fig. 4; LII: 441, fig. 21 (notes in his hand)

Maggi, G. B. XXII: 287–88, fig. 1 (engraving after Cigoli)

Maggiori, Alessandro. XLVIII: 260

______, formerly. XXXI: 409, fig. 5 (Bononi), note 8; XLII: 207, 225, fig. 40, front cover (E. Sirani), note 80

Magnadola de Cessalto, Villa Giusti. IX: 41–42, fig. 4 (anonymous Venetian draftsman)

Magnin, Jeanne, formerly. LIV: 385, fig. 1 (Spranger with an anonymous artist), note 6

______, Maurice, formerly. LIV: 385, fig. 1 (Spranger with an anonymous artist), note 6

Magnoni, Carlo. XLVI: 12, fig. 11

Magnusson, Börje. XIX: 160–63 (H. VAN DEN BROECK); LVI: 119 (OBITUARY OF PER BJURSTRÖM)

Magoon, Elias Lyman, Rev. XI: 393, notes 2, 4

______, formerly. XLII: 134, 137, figs. 1 (J.M.W. Turner), 2 (Ruskin), 3 (W. T. Richards)

Magreta, Todd. XLIX: 13–16 (BRONZINO)

Magriel, Paul. XIX: 57 (review)

Mahon, Denis, Sir. II: 274, 276, note 32, pl. 25a (Mola); IV: 300, pl. 35 (Guercino); V: 304; VI: 169–70 (review); XXIX: 55, fig. 3 (Guercino), note 12; XXXI: 423, fig. 8 (Schedoni); XXXVIII: 175, fig. 16 (Luca Giordano), note 40 (on loan to the National Gallery, London)

______ (on loan to the National Gallery, London). XLIII: 508, fig. 1 (Guercino)

______, and Nicholas Turner. The Drawings of Guercino in the Collection of Her Majesty the Queen at Windsor Castle. Review. XXVIII: 186–87

Mahoney, Michael. III: 383–89 (ODESCALCHI COLL.)

______. The Drawings of Salvator Rosa. Review. XV: 422

Maineri, Antonio. XII: 265–73, figs. 8–9, note 14

______, Gian Francesco de’. XXXVIII: 247, fig. 3

Maini, Giovanni Battista. XXXI: 454–58, figs. 1–3, 4 (caricature of), 5 (with L. Vanvitelli), 6–12

Mainz, Gemäldegalerie. III: 133–34, fig. 7 (Cornelis van Haarlem)

Maison, K. E. VI: 392–94 (TIEPOLO); IX: 264 (DAUMIER); X: 34–35 (WILLE)

______. Honoré Daumier. Catalogue Raisonné of the Paintings, Watercolors, and Drawings. Review. VI: 405–10

______ coll., formerly. XXXVII: 21, 24, fig. 28 (G. Reni), note 72

______, Stefanie. XXXII: 71 (LETTER)

Maisons-Laffitte, Château. XXIX: 289, figs. 11 (studio of Sarazin), 13 (Sarazin), 15 (Sarazin and Guérin)

Maitland, Richard, Lord, formerly. XXXI: 339–42, figs. 1 (L. Carracci), 2 (circle of Mantegna), 3 (Florentine school), 4–5 (Lorenzo di Credi or R. Ghirlandaio), 6 (Cesare da Sesto?), 7 (Leonardo da Vinci?), 8–10 (Correggio), 11 (Parmigianino), 12 (Emilian school), 13 (Bedoli), 14 (Ligorio), 15–16 (Primaticcio), 17–18 (after Salviati?), 19 (De Gheyn ii), 20 (anonymous artist), 21 (circle of Correggio?), 22 (Emilian school); XLII: 346, figs. 13–14 (after G. Salviati)

Major, Charlotte B., formerly. XLVI: 525, figs. 128–29 (Gainsborough)

Major Acquisitions of The Pierpont Morgan Library, 1924–1974. Drawings. Review. XII: 167–69

Málaga, Cathedral, Chapel of the Rosary. XXXVII: 374, fig. 1 (Alonso Cano)

Malaspina di Samazaro, Marchese Luigi, formerly. XXXII: 346, fig. 30 (L. Tiepolo)

Malbone, Edward Greene. XXXVIII: 223, fig. 1

Malcolm, John, 14th Laird of Poltalloch, formerly. XLIV: 418, 441, figs. 13 (Mercier), 63 (anonymous artist), note 22; XLV: 363, fig. 10 (Annibale Carracci), note 29; XLVI: 194, fig. 6 (Pisanello), note 28; LII: 46–47, figs. 66 (Genga), 69–70 (workshop of Luca Signorelli, Genga?); LIV: 190, 197, figs. 76 (Raffaellino da Reggio), 88 (Raffaellino da Reggio?)

______, John Wingfield, Col., formerly. XLV: 363, fig. 10 (Annibale Carracci), note 29; XLVI: 194, fig. 6 (Pisanello), note 28; LII: 46–47, figs. 66 (Genga), 69–70 (workshop of Luca Signorelli, Genga?); LIV: 190, 197, figs. 76 (Raffaellino da Reggio), 88 (Raffaellino da Reggio?)

Malibu, CA, J. Paul Getty Museum, see Los Angeles, CA, J. Paul Getty Museum

Malinconico, Nicola. XXXVII: 242–50, figs. 8–13, 15–17

Mallory, Sarah W. LII: 363–70 (BERNARD VAN ORLEY)

Malmö, Sweden, Private coll., formerly. XXXI: 242, fig. 35 (Goltzius)

Malosso, see Trotti, Giovanni Battista

Malpizzi, Bernardino. L: 79–90, figs. 1–5, 6 (after), 7–8, 8a (?), 9–10

Malthe, Ludvig, formerly. LIV: 180, 191, fig. 65 (Raffaellino da Reggio)

Malvasia, Carlo Cesare, Count. XXX: 396–414

Man and Nature. A View of the Seventeenth Century. Review. XX: 287

Manca, Joseph. XXV: 143–46 (ROBERTI)

Manchester, City Art Gallery. IV: 56–59 (review); XVIII: 259–60, fig. 1, note 15, pl. 42 (Pissarro); XIX: 129–31, fig. 4 (Constable), note 8; 414–15, fig. 19 (L. Constable), note 60; XX: 47 (review); XXIII–XXIV: 418 (review); XXV: 32–33, fig. 15 (Poelenburg); XXVII: 219–20, fig. 6 (R. Ghirlandaio), note 29

______, University of Manchester, John Rylands University Library. XLVIII: 75, 78–79, 83, 85, 88, 90–91, figs. 1, 11–12, 15, 17, 25–26, 28, 38 and back cover (Hollar), notes 8, 50–51, 53, 55, 65, 71, 85; LIII: 90–94, figs. 1–4, 6 (Hollar), notes 12–13, 15, 20, 26

______, Whitworth Art Gallery. XI: 279–87, note 7, pl. 36 (Burne-Jones); XII: 141–44, fig. 7 (Dandré-Bardon); XIII: 176, 293 (reviews); XVIII: 257–63, notes 2, 12, 24, 31, pls. 40–41, 43–44 (Pissarro); XIX: 57 (review); 401–03, fig. 8 (L. Constable), note 30; XX: 48 (review); XXI: 181–82 (review); XXII: 331 (review); XXVI: 21, 37, note 43, pl. 15 (Sermoneta); XLVII: 139, fig. 13 (Hubert Robert), note 30; L: 386, 389, figs. 33 (Jan Siberechts), 43 (inscription by Siberechts), note 33

Mandle, Roger. XI: 272–76 (FUSELI); XII: 289–91 (REVIEW)

______, see also Rogers, Ann, and Roger Mandle

Mandrella, David, et al. From Callot to Greuze: French Drawings from Weimar. Review. XLIV: 511–16

Manet, Edouard. VII: 38–45, figs. 1–3, pls. 27–28

Manierismus in Holland um 1600. Review. XVIII: 279

Manglard, Adrien. XLV: 71, fig. 3

Manley, Otto, formerly. XXXVIII: 275, fig. 7 (Schiele)

Mann, Judith W., and Babette Bohn et al. Federico Barocci: Renaissance Master of Color and Line, exh. cat. Review. LI: 521–24

______, Robert. XL: 334, fig. 4 (T. Robinson), note 9

Manni, G. XV: 361–62, fig. 13 (etching after Della Bella)

Manning, Bertina (Suida) and Robert L. see Suida-Manning coll.

______, formerly. XXXIX: 174, figs. 1 (Asam), 2 (Schmidt)

Mannozzi, Giovanni, called Giovanni da San Giovanni, see Giovanni da San Giovanni

Mano, José Manuel de la. XLVIII: 549 (LETTER)

Manocchi, Giuseppe. LI: 246, fig. 2

Mansfeld, Peter Ernst ii, Count von, formerly. LII: 320, 340–43, figs. 58 (Vermeyen and workshop), 59 (Vermeyen and workshop? and Coecke van Aelst and workshop), 71–80 (Vermeyen and Coecke van Aelst and workshops)

Mantegna, Andrea. XII: 262–79, figs. 3–5, 11–13, 24 (after); XXXI: 172–76, fig. 1; 340, fig. 2 (circle of); 368–72; XXXII: 371–79, figs. 1–4, 5 (engraving), 6–12; XXXVII: 57, figs. 1–3 (workshop of); L: 14–15, figs. 8–9; LV: 295, fig. 4; LVI: 108, fig. 4; 445, figs. 5–6 (follower of)

Manton, Edwin, Sir and Lady, formerly. XLVI: 427–28, 447, 481, 500, figs. 1, 56, 82, 84 (Gainsborough), note 1

Mantovano, Rinaldo. XLIX: 6, fig. 7 (attributed to)

Mantua, Biblioteca Comunale. XLIX: 7, fig. 9 (Carlo d’Arco), note 20

______, Museo della Città di Palazzo S. Sebastiano. XLIX: 6, fig. 7 (Rinaldo Mantovano), note 13

______, Palazzo d’Arco. XLIX: 175–77, figs. 1 (Camillo Procaccini), 3 (Giuseppe Ghezzi), 4 (Pier Leone Ghezzi after Giuseppe Ghezzi), notes 4, 12–13

______, Palazzo Ducale. II: 8, fig. 3 (Rubens); XVI: 419, 448 (review); XXIII–XXIV: 175–92, figs. 1 (plan), 2–6, 8–13, pls. 1–8 (Pisanello); LI: 183–84, figs. 3, 7, 9, 11, 13, 15 (after Ligorio)

______, ______, Camera degli Sposi. XII: 266–70, fig. 11 (Mantegna)

______, Palazzo “Malatesta”. XLIX: 4, fig. 4 (Anselmo Guazzi)

______, Palazzo del Te. L: 85, fig. 6 (Malpizzi); LVI: 173, fig. 10 (Girolamo da Treviso), note 20

______, ______, Sala di Ovidio. L: 55, fig. 10 (Giulio Romano)

______, S. Maria delle Grazie. XLIX: 10, fig. 14 (follower of Giulio Romano); 154, fig. 14 (Giulio Romano)

Manzi, M. XX: 378–79, fig. 2

Manzuoli, Tommaso. XX: 129–30, pl. 23

Marandel, J. Patrice. XX: 278–79 (LE BRUN)

Marandet, François. XLVII: 174–90 (ÉTIENNE PARROCEL); XLVIII: 352–54 (JEAN-BAPTISTE CORNEILLE); 397–405 (LETTER); XLIX: 222–24 (ANTOINE RIVALZ); LIV: 49–62 (GUY-LOUIS VERNANSAL); LVI: 169–82 (CHAPERON, BOURDON, POERSON, AND OTHERS); 517–36 (LOUIS SILVESTRE THE YOUNGER)

Marañon coll., formerly. XLV: 402, back cover (Rosales), note 2

Maratti (Maratta), Carlo. III: 174–75, pl. 37; IV: 422–34, figs. 1–2, 3–4 (after), 5, 6–8 (after), pls. 37–44; VI: 155–57, fig. 1, pl. 48; VII: 24–25, pls. 12–13; 170–73, pls. 49–53; IX: 43, pl. 18; XIV: 51–55, pls. 23–24; XVII: 417–26, figs. 1–8, pls. 34–39, 40–42 (after); XVIII: 353–54, fig. 4; XXI: 143, pl. 9 (attributed to); XXIX: 241, fig. 9 (after); XXXI: 432–35, figs. 1, 3–5; XXXIV: 251, fig. 10; XL: 169, fig. 1; XLI: 14, fig. 1 (after); XLV: 46, fig. 7; 387–88, figs. 1–2; XLVI: 3, fig. 1, 2 (after); 263, fig. 2; XLVII: 269, figs. 1 (and Gaspard Dughet), 2; LIII: 105, fig. 11; LV: 181, fig. 9; LVI: 87, figs. 7–8 (after), 9–11, 12 (after)

______ coll., formerly. XLIII: 468, 480, figs. 18, 28 (Cortona); L: 34, fig. 1 (Raphael?), note 19

Marcantonio, see Raimondi, Marcantonio

Marcellini, Carlo. LVI: 73, fig. 53 (after)

Marcgraf, Georg. LIV: 314, 317, 319, 323, 335, figs. 32 (after Albert Eckhout or Frans Post?), 40 and 43 (engraved maps with decorative motifs after Frans Post), 41 (engraving with decorative motifs after Frans Post), 55 (after Frans Post?), 73 (engraving after Frans Post), 85 (woodcut), 87–88, 110 (after Frans Post?), 109 and 111 (after?)

Marchesi, Giuseppe, called Il Sansone. XVIII: 42–44, figs. 4–5, pls. 23–24

______, Monica. XLIII: 349–55 (LEONARDO)

Marchetti, Giovanni Matteo, formerly. XLIII: 332, fig. 10 (Vasari), note 10; XLV: 229, figs. 1–2, 5 (Penni), note 1; XLVI: 193, fig. 5 (Italian, c. 1325–50), note 20

______, Cavaliere Orazio, formerly. XLIII: 332, fig. 10 (Vasari), note 10; XLV: 229, figs. 1–2, 5 (Penni), note 1; XLVI: 193, fig. 5 (Italian, c. 1325–50), note 20

Marchionni, Carlo. XLII: 40, fig. 2

Marciari, John. XL: 113–34 (G. MUZIANO); XLIII: 378–83 (REVIEW); L: 71–78 (GIOVANNI PAOLO LOMAZZO); LI: 521–24; LII: 525–30; LIV: 262–65; LVI: 391–94 (REVIEWS)

______, and Ian Verstegen. XLVI: 291–21 (BAROCCI)

Marcille, Eudoxe, formerly. XLIV: 435, fig. 43 (anonymous artist)

Marck, Johan van der, formerly. XLIII: 13, 19, 46, 48, 50, figs. 2–3, (Van der Cooghen), 4 (Bega), 10 (Van der Cooghen); LVI: 199, 221, fig. 12 (Van Musscher)

______, Quirin. XLIX: 539, fig. 6 (engraving)

Marcou, Paul Frantz, formerly. XLIII: 51, fig. 59 (Van der Cooghen)

Mare, Tiburce de. LIV: 497, fig. 8 (engraving)

Marenco, Bernardo. X: 150–55, fig. 2

Marescalchi, Pietro de. L: 547, fig. 7

Maria, Francesco di. XXXI: 357, fig. 14

Maria Luisa Gabriella of Savoy, Queen of Spain. LI: 460, figs. 16–17 (portraits)

Marie-Amélie de Bourbon-Sicile, Queen of the French. XLIV: 499, fig. 2 (portrait of)

Marie-Antoinette, Archduchess of Austria. XLVIII: 232, fig. 7 (portrait)

Marie Charlotte de La Porte, Marquise de Richelieu. LI: 459, fig. 15 (portrait)

Marie de Médicis. XXVIII: 4, fig. 2 (portrait of)

Marie Louise of Austria, Duchess of Parma, formerly. XLIX: 95, 107, figs. 1–2, 5 (Amico di Donato)

Mariette, Geneviève Thérèse. LVI: 92, front cover (portrait of)

______, Jean. LI: 453–54, 457, 459–60, 462, figs. 4, 6, 8, 14, 20 (etching and engraving published by), 10–12, 15 (etching and engraving after Simpol); LII: 113, fig. 3 (after a follower of Poussin)

______, Pierre-Jean coll., formerly. II: 294, pl. 42; IV: 54; 133–34; 178; 300; 419; V: 3–23 passim; 148, note 6 (Domenichino); 174–75, note 13 (Watteau); 283–85; 304 (review); XXXI: 404, fig. 2 (Agostino Carracci), note 3; XXXII: 149–50, figs. 11–12 (Gaspare Diziani); XXXVIII: 169, fig. 7 (after Annibale Carracci); XLIV: 59, fig. 8 (Delamonce), note 32; 319, fig. 25 (Albani), note 90; XLV: 13, 24, figs. 8 (Domenichino), 17 (Taddeo Zuccaro); XLVI: 36–60, figs. 1 (Passerotti), 2 (manner of Ribera), 4 (Blanchet), 5 (Liberale da Verona), 6–7 (Parmigianino), 8 (Giorgione?), 9 (Dorigny), 10–11 (Albani), 13–14 (Annibale Carracci), 15–16 (Lanfranco), 17 (Castiglione); 193, 195, figs. 4 (Bezzi), 8 (Annibale Carracci), notes 18, 32; XLVII: 284, 286, 302–3, 305, figs. 25 (“False Amand” hand), 29 (“False Amand” hand? after Dughet), 31 and 54 (“False Amand” hand after Dughet); XLVIII: 163, figs. 1, 6 (Giulio Romano), note 1; 260; L: 35, fig. 2 (Raphael? or Gianfrancesco Penni?), note 29; LII: 111–19, figs. 1 (Amand), 2 (Errard), 3 (Jean Mariette), 4 (Bouchardon), notes 4, 8, 12, 26; LV: 493, 502, 506, 508–10, 512–13, 515, figs. 10, 34–36 (Van Dyck), 19 (R. Lafage), 23 (Haarlem School, c. 1650), 27–28 (circle/school of N. Poussin), 31 (Rubens), 38 (C. de Vos)

Marignane, M., formerly. VII: 292, pl. 28 (Imola)

Marillier, Clément-Pierre. XII: 154–55, fig. 7 (after)

Marin, John. XLII: 10, fig. 7

Marinella, Giovanni Battista. XIV: 3–31

Marinelli, Sergio. Cinque secoli di disegno veronese. Review. XL: 161–67

______, see also Marini, Giorgio, with Sergio Marinelli

Marini, Giorgio, with Sergio Marinelli. I grandi disegni italiani del Museo di Castelvecchio a Verona. Review. XLI: 407–08

Markus, Frits. XXXIV: 445 (obituary)

Marlborough, Duke of, formerly. LVI: 507, figs. 44, 46 (Claude Lorrain), note 70

Marmion, Simon. XLI: 309, figs. 2–4 (?)

Maron, Anton. XVI: 142–43, fig. 9

Marot, François. LVI: 523, fig. 13 (? with Louis Silvestre the Younger)

Marquez de Aroche, Juan. XLVIII: 452, fig. 7 (portrait)

Marracci, Ippolito. LIV: 243, fig. 3 (etching)

Marsala, Museo degli Arazzi. XXV: 366–70, figs. 5–7 (tapestries after Kempeneer)

Marseille, art market, formerly. LII: 279, 332, fig. 6 (Coecke van Aelst)

______, Musée Cantini. X: 161–63, fig. 1 (Cignani)

______, Musées des Beaux-Arts. XVII: 42, pl. 35 (De Boissieu); XXVII: 208, fig. 18 (Cigoli), note 77; XXXVIII: 169, fig. 4 (Guercino), note 7; XLIII: 194, fig. 1 (Daret), note 18; XLVII: 174, 177, figs. 14, 16, 18, 20 (Pierre Parrocel), note 6; XLVIII: 254, 257, figs. 4, 6, 8, 11 (Pierre Parrocel), notes 9, 17, 19, 22; 404, fig. 27 (Étienne Parrocel), note 29; LVI: 301, fig. 16 (Daniele da Volterra), note 37

Marsh, Reginald. XLII: 140, fig. 10

Marshall, Alexander. XLV: 546, fig. 1

Marsigli-Paolazzi coll. IX: 133–35, fig. 11 (Franceschini), note 58

Marteau, François. XLVII: 192, 204, figs. 1–2 (medal and token after Bouchardon), 13 (medal after Bouchardon)

Martellange, Etienne. XXXIII: 367–87, figs. 3–8, 13–23

Martelli, Luigi. XLII: 207, fig. 1 (engraving)

Martin, Edward Holland, formerly. I, 3: 17–19, note 6, pl. 8 (Jordaens); LIV: 173, 191, fig. 45 (Raffaellino da Reggio); LV: 374, fig. 3 (Vasari), note 18

______, Esmond Bradley, Jr. XXI: 67 (review)

______, J. H. III: 274–75

______, James, formerly. LIV: 173, 191, fig. 45 (Raffaellino da Reggio); LV: 374, fig. 3 (Vasari), note 18

______, John Rupert. II: 160–63 (ANNIBALE CARRACCI)

______. Farnese Gallery. Review. IV: 47–49

______, ed. Rubens before 1620. Review. XI: 403

______, Thomas, see Knox, George, and Thomas Martin

Martinelli, Niccolò, see Trometta

Martini, Francesco di Giorgio, see Francesco di Giorgio

Martz, Louis L. XIII: 52–54 (REVIEW)

Maser, Edward A. V: 47–53 (ZOCCHI)

______, Mr. & Mrs. Edward A. II: 20, 25, note 8, pl. 9 (Cades); 401, 406, note 1, pl. 31 (C. Procaccini)

Maser, Villa Barbaro, Sala dell’Olimpo. XLVIII: 328, 330, 332, figs. 4–5, 7, 10, 17 (Veronese)

______, ______, Stanza dell’Amor Coniugale. XLVIII: 330, fig. 11 (Veronese)

______, ______, Stanza di Bacco. XLVIII: 335, figs. 19, 21 (Veronese)

Maset family, see Massé (or Maset) family

Maso da San Friano, see Manzuoli, Tommaso

Mason, Stefania. XLVI: 121–22

Mason Rinaldi, Stefania. Paolo Fiammingo. Review. XVIII: 387–88

Massachusetts, Private coll. XXVIII: 324, fig. 7 (Cats), note 7; LIII: 515, fig. 1 (copy after Dirk Langendijk), note 1

Massar, Phyllis Dearborn. VII: 294–303 (DELLA BELLA); VIII: 243–66 (DELLA BELLA); XIII: 12–23 (MEDICI MARRIAGE FESTIVAL); 54–60 (REVIEW); 67, 175 (LETTERS); XIV: 396–420 (GIANI); XV: 181–184 (REVIEW); 365–75 (BACCIO DEL BIANCO); XVIII: 227–36 (DELLA BELLA); XIX: 271–75 (SPADA); XXII: 318–19 (GIANI); XXIX: 208 (LETTER); XXXII: 26–32 (COSTUMES FOR A MODENA FESTIVAL); XXXVII: 35–46 (ANGO)

Massary, Madame. V: 298, pl. 45 (Jongkind)

Massé (or Maset) family, formerly. LVI: 169, fig. 2 (Chaperon), note 5

Massenet, Jules. XLIX: 249, fig. 1 (portrait)

Massimi, Carlo Camillo, Cardinal. III: 266–68; XIV: 3–31

Massimi, Camillo. XLI: 14–29, figs. 1 (portrait of), 2, 3 (engraving after), 6, 9, 12, 13 (engraving after), 15, 16 (engraving after)

Masson André. LI: 257, fig. 1; LII: 513, fig. 2

______, J., formerly. XXXII: 346, fig. 29 (L. Tiepolo)

______, Jean, formerly. X: 34, pl. 32 (Wille); XLVI: 197, fig. 9 (Cantarini), note 36; XLVII: 462, fig. 1 (Crispijn van den Broeck), note 4; LII: 287, 330, fig. 16 (Coecke van Aelst)

Massys, Cornelis. VII: 129–30, fig. 1; XVII: 392–401, fig. 1, pls. 8–9

______, Quentin. III: 3–5

Mastbaum album. X: 155–61, pls. 29–43 (Rodin)

Master B of the Die. XXXIV: 293, 295, figs. 2, 4 (engravings)

Master D. XXXVII: 355, fig. 4

Master Drawings and Watercolors of the Nineteenth and Twentieth Centuries. Review. XVIII: 57

Master Drawings by Géricault. Review. XXIII–XXIV: 563–67

Master Drawings from California Collections. Review. VII: 180–81

Master Drawings from the Collection of Ingrid and Julius S. Held. Review. XVIII: 48–49

Master Drawings from the Collection of the National Gallery of Art, and Promised Gifts. Review. XVIII: 61

Master Drawings of the Roman Empire from the Kunstmuseum, Düsseldorf. A Selection from the Lambert Krahe Collection. Review. XI: 294

Master Drawings Rediscovered. Treasures from Prewar German Collections. Review. XXXVII: 70–71

Master E. S. XXXIX: 115, fig. 1 (engraving)

Master L. D. XV: 153–56, fig. 15; XIX: 20–22, fig. 5 (etching after Parmigianino)

Master of 1499. XLI: 233, fig. 4

Master of 1518. XXVII: 8, figs. 4–5

Master of Mary of Burgundy. XLI: 233, figs. 3–4 (circle of)

Master of St. Gudule. XXVII: 11, figs. 8–9

Master of the Barberini Panels, see Carnevale, Fra, called Master of the Barberini Panels

Master of the Bruges Last Judgement. LV: 352, 355, figs. 7, 10, 12–13 (collaborator of)

Master of the Brunswick Diptych, see Braunschweig Master of 1506

Master of the Castello Nativity. II: 287

Master of the Death of Absalom. XLI: 236, fig. 7 (workshop of)

Master of the Dresden Prayerbook. XLI: 223, fig. 6 (?), 7

Master of the Garden of Love. XLIII: 227, fig. 2 (engraving)

Master of the Haywain Triptych. LV: 351, 357, 359–60, figs. 4, 21, 24–26

Master of the Heads, see Jamnitzer, Christoph

Master of the Liechtenstein Adoration. XXXIX: 175, fig. 3

Master of the Lille Adoration. XLIX: 256, figs. 4 (tentatively attributed to), 5

Master of the Marguerite d’Orléans, see Rohan Master

Master of the Médaillons Historiques. XXX: 174–84, figs. 1–21, 23–24

Master of the Months of Lucas. IX: 3–14, pls. 1–8; XXXIII: 410–13, figs. 1, 3

Master of the Rohan Hours, see Rohan Master

Master of the St. Bartholomew Altarpiece. XVIII: 136–37, fig. 3

Master of the St. John Panels. XVIII: 168, pl. 21

Master of the St. Lambrecht Votive Altarpiece. XLIII: 228, fig. 5

Master of the St. Petersburg Sketchbook. XXXVI: 401, fig. 5

Master of the Scholz Triumphal Procession. LV: 298, 302, figs. 10, 16, 18 (?)

Master of the Small Landscapes. L: 306, fig. 21 (after Matthijs Cock), note 44

Master of the Wolfgang Missal. XXXIX: 115, fig. 2

Master PM. XLI: 279, fig. 6

Masters of Color and Light. Homer, Sargent, and the American Watercolor Movement. Review. XXXVII: 301–03

Masterworks on Paper. Prints and Drawings from the Ringling Museums, 1400–1900. Review. XVIII: 56–57

Mastery and Elegance. Two Centuries of French Drawings from the Collection of Jeffrey E. Horvitz. Review. XXXVIII: 190–92

Masucci, Agostino. V: 6, 10, 14–15, fig. 1, pls. 10–12; XX: 275–78, figs. 1–2, note 1, pls. 24–25; XXXII: 40, fig. 1 Matham, Jacob. III: 22–23, fig. 3; XVI: 397–98, fig. 2 (engraving after Goltzius); XX: 249–50, fig. 3 (engraving)

______, Jan. XXIII–XXIV: 51–52, fig. 7 (? etching after Van Campen)

Matham, Jacob. XXXVII: 385, fig. 23 (engraving after T. Zuccaro)

______, Theodor. LIV: 294, fig. 2 (engraving with drypoint)

Mather, Frank Jewett, Jr., formerly. XXXVIII: 305, figs. 4 (F. Salviati), 5 (W. M. Hunt); L: 72, figs. 3–4 (Lomazzo), note 12

Mathieu, Gabriel. XLV: 370, fig. 7 (engraving after Vieira Lusitano)

Matilla, José Manuel, and José Miguel Medrano. El libro de la Tauromaquia. Review. XLII: 80–84

______, see also Blas, Javier, and José Manuel Matilla

______, see also Blas, Javier, José Manuel Matilla, and José Miguel Medrano

Matisse, Henri. IX: 283; XLIV: 291, fig. 15; XLVI: 231, fig. 7; L: 187–92, figs. 1, 2 (photograph of installation), 3 (diagrams of alternative options), 4 (photograph of); LIII: 372, fig. 8

Matteis, Paolo de. XXXVII: 248–56, figs. 18–20, 22–25; L: 118, fig. 1

Matthes, Christian Gottfried L., formerly. XLVII: 139, 143, 147, 154–55, figs. 9–10, 16, 19 and front cover (Hubert Robert)

Mattioli, Ludovico. XXV: 272–74, figs. 1–2 (etchings after Bosio), note 1; XXIX: 385–409, figs. 3–6 (etchings after Bosio), 9–12 (etchings), 13, 14 (etching), 15, 16 (etching), 17, 18 (etching), 19, 20 (etching), 21

Mattos, Manuel de. XIX: 28–29, fig. 1 (after), pl. 28

Maturino. XLVI: 391, fig. 4 (? Florentine artist)

Maugras, Gaston, formerly. LV: 39, 109, figs. 106 (A. Bloemaert) 358 (A. Bloemaert and a later hand)

Maurer, Hubert. XXII: 55, pl. 38a (portrait of)

Maurits, Johan, Count of Nassau-Siegen. LIV: 294, fig. 2 (portrait of)

Maximilian, Holy Roman Emperor. XXIX: 30–47, figs. 1–12, 14 (portrait of)

Maximilian Master. XLI: 244, figs. 5–6, 8–9, 11, 16

Mayer, Constance. XXXIV: 390–99, fig. 1

______, Tamar. LVI: 233–48 (JACQUES LOUIS DAVID)

Mayhew, Edgar de N. Sketches by Thornhill in the Victoria and Albert Museum. Review. VII: 181

______ coll. VII: 164, note 1, pl. 36 (Canuti)

Mayor, A. Hyatt. I, 1: 49; I, 4: 57; II: 173–74; III: 282–83; IV: 304–05; V: 193–94; XII: 285–86; XV: 184–85; XVII: 56 (REVIEWS)

______. 15th and 16th Century European Drawings. Review. VI: 56–57

______, William, formerly. XXXVII: 21, 24, fig. 28 (G. Reni), note 72; XLII: 336, fig. 2 (G. Salviati); XLIII: 55, fig. 65 (Van der Cooghen); XLV: 167, 177, figs. 1, 14 (Jacques Rousseau), notes 3, 28; LIV: 195, fig. 84 (Raffaellino da Reggio); LV: 526, fig. 47 (Watteau)

Mazziere, Antonio di Donnino del, see Antonio di Donnino del Mazziere

Mazzitelli, Alexandra, see Olson, Roberta J. M., and Alexandra Mazzitelli

Mazzola, Girolamo Francesco Maria, see Parmigianino

Mazzolino, Ludovico. XLVI: 353, 361, figs. 16–18

Mazzoni, Giulio. VI: 21–24, figs. 1–2, pls. 3–5; LVI: 39, figs. 12 (after), 13

Mazzuchelli, Pierfrancesco, called Morazzone, see Morazzone, Pier Francesco

Meaux, Musée Bossuet. XXXIV: 80, fig. 6 (Pierre)

Mechelen, Sint-Janskerk. LI: 379, 387, figs. 2, 17 (studio Verhagen, probably Valckx), notes 5, 16

Mecklenburg, Dukes of. XXIII–XXIV: 422–23

Meder, Joseph. The Mastery of Drawing. Review. XX: 399–402

Medici, Alessandro Ottavian de’, Cardinal, formerly. LVI: 483, fig. 6 (Papini after Alessandro Allori), note 8

______, Cosimo iii de’, Grand Duke of Tuscany, formerly. LII: 5, 8, 10, 28, 35–36, 40, 43, figs. 5, 9, 11, 44, 52–53 (Genga)

______, Francesco Maria de’, formerly. LIV: 179, 193, fig. 62 (Raffaellino da Reggio)

______, Leopoldo de’, Cardinal, formerly. XL: 217, 222–23, 225, figs. 2–4, 6, 12, 14–15, 17 (Tiarini), notes 21, 23, 26, 42, 45, 47, 49; LII: 12, 20, 34, 40–41, 44, figs. 14, 28 (Genga), 51 (Genga with later reworkings); 299, 330, fig. 28 (Coecke van Aelst); 481–84, figs. 1–3 (Carducho), notes 2–4; LIV: 153, 161, 175, 179, 185–87, figs. 10–11, 20, 49, 61, 67–73 and front cover (Raffaellino da Reggio)

Medici family tomb. XXIX: 255–62

Medici marriage festival, 1589. XIII: 12–23

Medicina, S. Mamante. XIV: 161–62, fig. 3 (U. Gandolfi)

Medina, Malta, Museum of the Cathedral. IX: 150, pl. 26b (Turchi)

Mednyánszky, László. XXXIV: 89–91, figs. 1–2

Medrano, José Miguel, see Blas, Javier, José Manuel Matilla, and José Miguel Medrano

______, see also Matilla, José Manuel, and José Miguel Medrano

Mehus, Livio. XLVIII: 185, fig. 9 (after Guercino); 251, fig. 9 (after Guercino); LIII: 491, nos. 19–20 (self-portraits)

Meider, Ludwig. XLII: 151, fig. 11

Meiere, Hildreth. XLII: 54, fig. 16

Meij, A. W. F. M. Duitse Tekeningen, 1400–1700. Review. XVII: 285

______, with Maartje de Haan. Rubens, Jordaens, Van Dyck, and Their Circle. Flemish Master Drawings from the Museum Boijmans Van Beuningen, Rotterdam. Review. XLI: 391–97

______, Bram. XLIV: 99 (obituary)

Meijer, Bert W. XII: 185 (LETTER); XVIII: 29–32 (LETTERINI); XIX: 276–89 (TITIAN); XXII: 303–10 (MAFFEI); XXXI: 414–21 (BAGLIONE); XLIII: 112–13 (LETTER); L: 91–94 (GIOVANNI BATTISTA BISSONI); 262 (LETTER)

______. I grandi disegni italiani del Teylers Museum di Haarlem. Review. XXVI: 140

Meiningen, Schloss Elisabethenburg. XXXII: 361, 367, figs. 1 (Richter), 3, 10 (Wagner), notes, 14, 19, 34

Meisel, Martin. XI: 55–58 (LETTER)

Meissner, Kurt. IV: 293–94; IX: 38–39, note 3, pl. 16 (Elsheimer); X: 165–66 (review); XXV: 172–73 (review), figs. 2 (Menzel), 3 (Montelatici)

______, formerly. XXXI: 240, 273, figs. 32, 77 (Goltzius)

Meissonnier, Juste-Aurèle. XI: 362–64, pl. 18

Meister der Gewandstudien. III: 402

Meisterzeichnungen aus drei Jahrhunderten. Niederländische Handzeichnungen des 17. bis 19. Jahrhunderts aus der Sammlung Hans van Leeuwen. Review. XVIII: 55

Méjanès, Jean-François. L: 409 (his obituary)

______. Hommage à Antoine Schnapper: Dessins français du XVIIe siècle du Louvre. Review. XLIII: 224

Melbourne, National Gallery of Victoria. III: 375; V: 64, pl. 49 (Boucher); XI: 285–88, note 26, pl. 39 (Burne-Jones); XXI: 397–401, fig. 1, note 1, pl. 20 (Zoppo, retouched by Rubens); XXV: 50, fig. 35 (Poelenburg); XXVII: 130, fig. 3 (Rembrandt); XLVIII: 13, fig. 11 (Govert Flinck), note 33; XLIX: 302, fig. 18 (Rembrandt), note 13; 335, fig. 112 (Rembrandt); LV: 8, fig. 13 (Parmigianino), note 5; LVI: 406, fig. 6 (Jusepe de Ribera), note 53

Melchett, Gwen, Lady. I, 2: 50

Melchiori, Giovanni Paolo. XVIII: 351–60, figs. 1–3, 5–7, 8 (after), pls. 1–15

Melissi, Agostino. XX: 165–66, fig. 3

Mellaart, Jacob Herman Jan, formerly. LII: 295, 335, figs. 23, 66 (Coecke van Aelst)

Mellan, Claude. III: 51, fig. 1; V: 392, fig. 4; XVII: 56; LVI: 540, fig. 2

Meller, Peter. III: 3–20 (FRANCESCO COSSA); XII: 261–79 (QUATTROCENTO DRAWINGS)

______, and Jeanne Hokin. XX: 239–46 (MASTER OF THE BARBERINI PANELS)

Mellin, Charles. LII: 102, fig. 14

Mellon, Paul. VII: 426–27, note 1, pl. 32 (Constable); XVI: 62–63 (review); XVII: 275, pl. 42b (Constable); XIX: 123–45, pls. 10, 15 (Constable)

______, formerly. XXXVIII: 338–45, figs. 1 (Stubbs), 2 (J.M.W. Turner), 3 (Blake), 4 (Rowlandson), 5 (J. F. Lewis), 6 (J. H. Mortimer)

______, Mr. and Mrs. Paul. IX: 165, pl. 40b (Robert Adam); X: 287–88 (review); XLIV: 424, fig. 22 (Mercier), note 34

Meloni, Francesco Antonio. XXXVI: 159, fig. 12 (engraving after arlo Cignani)

Melzi, Francesco. XVII: 24–25, fig. 1

Memling, Hans. XXXIV: 125, fig. 2

Mena Marqués, Manuela B. XIV: 51–55 (MARATTI and BERRETTONI)

______. Museo del Prado. Catálogo de dibujos. Vol. VI. Dibujos italianos del siglo XVII. Review. XXIII–XXIV: 411–15

Menabuoi, Giusto de’. XLI: 206, fig. 5; XLII: 315–32, figs. 5, 11, 13, 18, 25, 27, 29, 32

Menescardi, Giustino. XII: 381–84, figs. 4–8

Menghini, Nicolò. XXX: 320–25, fig. 2 (after)

Mengs, Anton Raphael. XXIII–XXIV: 209–10, fig. 5, pl. 18; XLIX: 542, fig. 14

Menon, Elizabeth K. XXXIII: 3–29 (HENRY SOMM)

Mensing coll., formerly. XLIX: 217–18, fig. 84 (Jan van de Cappelle), note 105

Menzel, Adolph. XVI: 255–83, figs. 1–9, pls. 1–32; XXV: 172–73, fig. 2; XXXVI: 430–32, fig. 1; XXXIX: 177, fig. 6; XLII: 150, fig. 9

Menzocchi, Francesco. XLVI: 374–76, figs. 1–2

Merano, Giovanni Battista. XLV: 389, fig. 8

Mercatale Val di Pesa, near San Casciano Val di Pesa (outside Florence). XLIII: 372, fig. 3 (Bronzino)

Merchtem, Nôtre-Dame. XXVII: 59–60, fig. 8 (Crayer)

Mercier, C.-A. XII: 154–55, fig. 7 (engraving after Marillier)

______, Philippe. XLIV: 411–49, figs. 1–4, 5 (etching), 6–27 and front cover, 36–73 (formerly attributed to)

______ coll. XLIV: 432, fig. 36 (Guercino)

Merian, Maria Sibylla. XLV: 548–50, figs. 2–5

______, Matthäus. XLV: 173, fig. 11

______, Matthäus, the Elder. IX: 40, fig. 1; XLIV: 89–92; LIII: 94, fig. 5 (engraving after Hollar)

Merthyr Tydfil, Cyfarthfa Castle Museum and Art Gallery. XLVI: 508, fig. 96 (Gainsborough)

Merton, Thomas, Sir. VIII: 399–401, fig. 5 (Della Quercia)

Meryon, Charles. XIII: 177; XLII: 115, fig. 4

Merz, Heinrich. LIV: 75, fig. 12 (engraving)

______, Jacob. XX: 288–89; XXII: 47–55, figs. 1–2, 3 (engraving after Van Dyck and Pontius), 4–6, pls. 35–38

______, Jörg Martin. XLIII: 457–87 (PIETRO DA CORTONA)

Messling, Guido. XLVIII: 167–72 (TOBIAS STIMMER); LI: 229–42 (REVIEW)

Mestral de St. Saphorin, Armand-Francois-Louis, formerly. XLIX: 102, 107, figs. 19, 32–33 (Amico di Donato)

Metcalf, George P., formerly. XLII: 166, fig. 6 (G. B. Tiepolo)

______, Jesse H., formerly. XLII: 160, fig. 1 (Homer)

Met Huygens op reis. Review. XXIII–XXIV: 421–22

Methuen, Barons of, Corsham Court. XIX: 11, note 40, pl. 17 (Bandinelli)

______, formerly. XXXVII: 5, figs. 1–2 (G. Reni), note 7

Metsu, Gabriel. I, 2: 13–19, pls. 8–14

Meulen, A. van der. III: 529

______, Adam Frans van der. LV: 179, fig. 8

______, Marjon van der. Rubens after the Antique. Corpus Rubenianum Ludwig Burchard. Part XXIII. Review. XXXIV: 309–12

Mexico, Private coll. XXIII–XXIV: 218, fig. 4 (tapestry after Jordaens); XL: 59, fig. 4 (Lam), note 6

Mexico City, Museo Nacional de San Carlos. XLVIII: 503, fig. 8 (Carlos Luis de Ribera), note 23

Meurice, Palmyre (née Granger). LV: 147–48, 150, figs. 1–4 (portraits of)

Meyer, Albert, formerly. XLIV: 429, fig. 31 (anonymous artist after Watteau)

Meyerson, Ronnie. XVII: 56 (Letter)

Meynier, Charles. XVIII: 32–38, figs. 1–2, pl. 20

Mia N. Weiner, see New York, NY, Mia N. Weiner

Michael Rysbrack Sculptor, 1694–1770. Review. XXI: 181

Michaud, Philippe-Alain. XLV: 398–400 (REVIEW)

Michel, Christian. Charles-Nicolas Cochin et l’Art des Lumières. Review. XXXIV: 435–38

______, Marianne Roland. XXIX: 430–35; XXXI: 64–66; XXXIII: 185–86 (REVIEWS); XXXVI: 425–28 (REVIEW)

______. Watteau et sa génération. Review. VI: 294

______, Olivier, see Di Domenico, Yves, and Olivier Michel

Michelangelo. II: 10, fig. 6 (after); 125–27; 139; 280, 284, 287–89; 385–86, 394, fig. 3, pl. 14; 399–401, fig. 1; 424, pl. 44; IV: 60; 130–31, pl. 5 (after); 151, fig. 1; 172–78 passim; 439, fig. 2 (after); XI: 3–19, fig. 1; XIII: 176–77; XIV: 375–82, figs. 4–6, pls. 1–4; XVIII: 54; XIX: 6–8, fig. 5; XXII: 318–19, fig. 1, pl. 42 (after); XXV: 131–42, figs. 1–2, 4, 5–7 (after); 242–60, figs. 3–4, 10 (attributed to); XXVI: 239–48, figs. 1–2 (after), 3–7; XXVII: 64–70, figs. 1, 3; 303–09, figs. 1, 3–5; XXIX: 255–62, figs. 1, 2–3 (after), 4–7; XXX: 72, 74; XXXI: 390–93, fig. 1; XXXII: 175; 233, 240–41, 243, figs. 8–10, 17–23 (after); 387, fig. 1 (after); XXXIV: 148–67, figs. 1, 2 (sculpture), 3 (assistant of), 4–12, 17–18 (after), 19–20 (associate of), 21 (after); XXXV: 67–72; XXXVII: 391, fig. 24 (after); XXXVIII: 167, fig. 1 (after); 254, fig. 3; XXXIX: 3–11, figs. 1, 3–4, 5 (after), 6; XLI: 105–18, figs. 1–4, 6–9, 10–11 (after); XLII: 50, fig. 13; XLIII: 277, front cover, fig. 4 (portrait of); 490, fig. 4; XLIV: 358–61, figs. 1–2; 362–65, figs. 1–4; 366–67; XLV: 88, fig. 2; 236–40, figs. 1–4; 249, fig. 1 (after); XLVIII: 292, fig. 1 (after); 443, fig. 14 (engraving after); XLIX: 159–62, figs. 1–3; LII: 458, fig. 10 (after); LVI: 385–90, figs. 1–5, 7–9

Michelangelo Drawings. Review. XXXII: 175

Michelez, Charles. LV: 225, fig. 1 (photograph)

Micheli, Parrasio. XV: 260–61, fig. 3

Michelino, Domenico di, see Domenico di Michelino

Michielin, Marijke. LIV: 21–48 (LOUIS LICHERIE)

Mickwitz, Margaretha. XXIII–XXIV: 200, fig. 1 (Gandini), note 3

Middelburg, Kunsthandel F. Laurentius, formerly. LII: 379, fig. 16 (attributed to the workshop of Coxcie), note 40

______, Th. Laurentius, formerly. LII: 322, fig. 60 (cover of “1637” album), note 93

Middletown, CT, Wesleyan University, Davison Art Center. XL: 328, fig. 11 (H. Farrer)

Mielich, Hans. XXV: 172, fig. 1

Mielke, Hans. XXIII–XXIV: 75–90 (REVIEW)

______. From Schongauer to Holbein. Master Drawings from Basel and Berlin. Review. XXXIX: 63–65

Mieris, Frans van. XVI: 3–34, figs. 1, 3, 5–7, 9 (after), 10, 12–13 (after), 14–15, 16 (after), 17, 18 (after), 20–21, 23–24 (after), pls. 1–20, 21 (after), 22–26

______, ______, the Younger. XVI: 14–16, fig. 19

______, Willem van. XVI: 14, 27–28, fig. 24 (after Frans van Mieris); XLVII: 464–67, fig. 1–4; L: 533–38, figs. 1–4

Mignard, Pierre ii. XLV: 74, figs. 5–9 (after)

Mijtens, Martin ii. LIII: 491, no. 22 (self-portrait)

Milan, art market, formerly. X: 371, fig. 8 (Bononi), note 12; XXIII–XXIV: 235–36, fig. 4 (Molinari); XXVII: 233–34, fig. 2 (Jamnitzer? or follower), note 7; LIV: 243, fig. 5 (Pasinelli), note 12

______, Biblioteca Ambrosiana. I, 2: 50; I, 4: 16; II: 123–41, figs. 1–2, 9, pls. 1–8 (Rubens); 263; VII: 293, note 2, pl. 32 (D. Crespi); VIII: 281, note 22, pl. 39 (Gatti); XII: 14–15, note 53, pl. 14 (Zucchi); 57–60 (review); 359, note 4, pl. 12 (Bertoia); XIII: 65–66 (review); XIV: 63, pl. 36 (Barocci); XVI: 391, note 30, pl. 7b (Canini); XVII: 24–27, figs. 1 (Melzi), 4 (Leonardo); 280–84, note 26, pls. 44a (G.C. Procaccini), 50 (Nuvolone); XVIII: 25, note 5, pl. 9 (Bononi); XIX: 7, note 19, pl. 4 (Bandinelli); 53 (review); 152, pl. 29 (P. Bruegel); XXI: 271, note 4, pl. 28 (Circignani); XXII: 179–81, note 9, pls. 21–22 (Lanino); 410, 423, pl. 4 (L. Carracci); XXIII–XXIV: 212–13, notes 2, 4, pls. 23–24 (Nuvolone); XXVI: 371–72, figs. 4–5 (G. L. Valesio), note 9; XXVIII: 9, figs. 5a-5b (Van Diepenbeeck, after Abbate), note 33; XXIX: 377; XXXI: 369, fig. 8 (Campagnola?), note 18; XXXIV: 6–7, figs. 3 (Annibale Carracci), 4 (after Correggio), notes 37, 43; XLI: 15, fig. 7 (Poussin), note 16; 119, fig. 1 (Bernini), note 5; XLIII: 172, fig. 14 (Federico Zuccaro), note 22; 304, fig. 14 (Bronzino), note 42; 361, fig. 12 (unidentified drafsman after Bandinelli after Raphael), note 38; XLIV: 204; LII: 36, 46, fig. 56 (Genga); LIII: 433, figs. 4–5 (Domenico Pellegrini), notes 11–12; LIV: 180, fig. 64 Federico Zuccaro), note 94

______, Galleria Stanza del Borgo. LII: 441, fig. 20 (draft or copy of a letter by Palma Giovane), note 53

______, ______, formerly. XLIX: 73, 89–90, figs. 10–11, 54 (Foggini)

______, Pinacoteca di Brera. III: 13, fig. 17 (Ercole Roberti); 161–63, fig. 4 (Palma Giovane); VI: 122–25, fig. 12 (Domenichino), note 27; VII: 56–57 (review), pls. 36 (Montelatici), 37 (Nucci), 39 (De’Vecchi); 410–11, fig. 1 (Agostino Carracci); VIII: 58–59, fig. 1 (De’Vecchi); XV: 260, fig. 1 (Veronese); XX: 274–75, note 9, pl. 23 (G. B. Crespi); XXII: 428–29, fig. 2 (Morazzone), note 11; XXV: 143–45, fig. 1 (Roberti); 219–20, fig. 1 (L. Carracci); XXXVII: 242, fig. 11 (Malinconico); XLI: 380, fig. 2 (Barocci), note 7; LI: 147–48, figs. 1–2 (Viti), note 4; LII: 14, fig. 17 (Genga), note 43; LV: 393, fig. 1 (G. M. Crespi), note 2; LIV: 538, fig. 2 (Ingoni), note 5

______, Castello Sforzesco. II: 34–36, pls. 20–25 (Aspertini); VII: 26, note 1, pl. 14 (G. C. Procaccini); XII: 374, note 16, pl. 41b (Volterrano); XVII: 282–83, fig. 3, note 33, pl. 51b (G. C. Procaccini); XXII: 427, fig. 1 (Morazzone); XXV: 151, fig. 1 (Luini), note 2; XXX: 399, fig. 1 (Annibale Carracci, after Correggio), note 26; XXXV: 25, fig. 28 (Annibale Carracci, after Correggio); 72–73 (review); XXXVI: 189, figs. 2–6 (Giovanni Mauro della Rovere), notes 5–8; XXXVII: 5, fig. 4 (G. Reni), note 10; XXXVIII: 394, figs. 2–3 (Agostino Carracci), note 16; LIV: 190, figs. 78–79 (Raffaellino da Reggio)

______, ______, Gabinetto dei Disegni. LIII: 433, fig. 2 (Domenico Pellegrini), note 7

______, Civica Raccolta delle Stampe Achille Bertarelli. LVI: 337, fig. 6 (Cantagallina), note 13

______, Civiche Raccolte d’Arte, Museo del Castello. XLIX: 106, fig. 30 (Amico di Donato)

______, Duomo. XXXI: 400, fig. 6 (C. Procaccini)

______, Finarte, formerly. XXXVII: 110, 134, fig. 9 (Luca Giordano); 241, fig. 5 (G. Simonelli), note 16; XLIX: 114, fig. 60 (Amico di Donato); LIV: 179, 195, fig. 60 (Raffaellino da Reggio)

______, Museo dei Beni Culturali Cappuccini. XLVI: 395, fig. 3 (Camillo Procaccini), note 9

______, Museo Poldi Pezzoli, formerly. XVI: 302–08, fig. 1 (Bartolini)

______, Palazzo Marino. XXIII–XXIV: 214–15, fig. 1 (tapestry after Jordaens)

______, Pinacoteca Ambrosiana. XXX: 93, fig. 16 (Salviati)

______, Porro & Cie, formerly. LIV: 163, 194, fig. 24 (Raffaellino da Reggio)

______, Private coll. VI: 132–33, figs. 1–2 (G. A. Guardi); IX: 43–50, pls. 19–21 (G. B. Tiepolo); XIV: 63, pls. 38–39 (Barocci); XVII: 24–28, pl. 14 (Leonardo); XVIII: 131, pl. 3 (J. Muller); XXVI: 346, pl. 27 (Lefèvre); XXX: 164, 168, fig. 23 (Veronese), notes 4, 51; XXXIII: 117, 120, figs. 1, 4, 13 (Varallo), notes 7, 22; 171, fig. 1 (Cigoli?), note 14; XXXVII: 248, fig. 20 (De Matteis); XL: 62, 64, figs. 7 (Lam and Brauner), 11 (Lam), note 12; LII: 534, fig. 6 (Azzolino), note 12

______, S. Ambrogio. VI: 11–12, note 15, fig. 5 (Bergognone)

______, S. Angelo. XXXII: 33, fig. 2 (G. C. Procaccini); XLIX: 175, fig. 2 (Camillo Procaccini), note 5

______, S. Antonio Abate. XXV: 219–22, fig. 2 (L. Carracci)

______, S. Marco, Chapel of St. Thomas of Villanova. XXXVI: 189, fig. 1 (Giovanni Mauro della Rovere)

______, ______, Foppa Chapel. L: 72, 76, figs. 2, 7–9 (Lomazzo)

______, S. Raffaele. VI: 253–54, fig. 1 (Figino)

______, S. Stefano. XVII: 281, fig. 1 (Nuvolone), note 25

______, S. Maria della Pace. XXXIII: 120, fig. 23 (Varallo)

______, S. Maria presso S. Celso, Chapel of the Pietà. VII: 26, fig. 1 (G. C. Procaccini)

______, Sotheby’s, formerly. XLIV: 518, fig. 3 (Nattiez), note 6; LIII: 491, no. 18 (Ferretti)

______, Stanza del Borgo, see Milan, Galleria Stanza del Borgo

______, Edoardo Testori, formerly. LII: 475, fig. 7 (Ribera), note 16

Milani, Aureliano. XXVI: 133–37, figs. 1–3, pls. 44–48

Mildert, Hans van, see Van Mildert, Hans

Mildura, Victoria, Mildura Arts Center. XLVI: 496, fig. 80 (Gainsborough)

Milford, CT, Christopher Bishop, formerly. LV: 20, fig. 50 (A. Bloemaert)

Millais, John Everett. XVI: 291, pl. 42

Millar, Oliver. The Age of Charles I. Painting in England, 1620–1649. Review. XII: 181

Millard, Charles W. XII: 156–65 (VAN GOGH)

Miller, Asher Ethan. XXXIV: 440–44; XLI: 73–74; XLII: 84–86; XLIII: 224–26 (REVIEWS); XLVII: 478–83 (HENRI LEHMANN)

______, Dwight C. VII: 410–13 (AGOSTINO CARRACCI); IX: 119–38 (FRANCESCHINI); XIV: 387–89 (BOLOGNESE DRAWINGS); XVIII: 40–47 (BOLOGNESE DRAWINGS); 392–93 (LETTER); XXI: 20–32 (FRANCESCHINI); XXIII–XXIV: 36–45 (SCHEDONI); XXV: 152–53 (SCHEDONI); XXVIII: 181–85 (DEL PO); XXXI: 421–25 (SCHEDONI); XXXII: 155–57 (SCHEDONI)

______, Lee. XLVII: 32, fig. 24 (photograph)

______, Michael J. XXVII: 239–42; XXX: 109–13 (REVIEWS)

Millet, Jean-François. XVII: 44–50, figs. 1–3, 7, pls. 37–42; XXXII: 275–77; LV: 233, 237, figs. 6–8, 14

Millon, Henry A., and Craig Hugh Smyth. Michelangelo Architect. The Façade of San Lorenzo and the Drum and Dome of St. Peter’s. Review. XXVII: 64–70

Milwaukee, WI, University of Wisconsin, College of Letters and Science. XVI: 419, 448 (review)

Minardi, Tommaso. XXI: 66–67; XXIII–XXIV: 416–17

Minei, Filippo. V: 18

Minga, Andrea del. XIX: 3–6, figs. 1–4

Mini, Antonio. XXVII: 68–69, fig. 2 (?); XXXIX: 4, 7, figs. 2, 7–8

Minneapolis, MN, Institute of Arts. XX: 403 (review); XXXI: 432, 434, figs. 3–4 (Maratti), note 15; 454, fig. 4 (Ghezzi); XXXIV: 438–40 (review); XLIII: 426, fig. 19 (J. S. Sargent), note 34; XLIX: 99, 107, figs. 18a–b (Amico di Donato); LV: 15, fig. 35 (A. Bloemaert)

______, ______, Joseph McCrindle coll. XLVII: 92, fig. 12 (Cati)

______, Private coll. XXX: 447, fig. 3 (Vinckboons), note 5; LII: 534, fig. 6 (Azzolino), note 12

Miotti, Dr. Tito, formerly. XVII: 29, pl. 15 (G. D. Tiepolo)

Miró, Joan. XL: 13, fig. 6

Mirola, Girolamo. II: 169–73; XXXII: 280–83

Mirou, Antoine. XLIV: 89–92

Miscellanea I. Q. van Regteren Altena. Review. X: 166–67

Mishin, Vitaly. LV: 479–84 (FRANÇOIS LEMOYNE)

Misrahi, Roger. XXXIII: 266, fig. 43 (T. Zuccaro)

Mitelli, Agostino. III: 282–83; XV: 357–58, figs. 7–8 (etchings after Della Bella); XXI: 166–72, fig. 4, pls. 40, 43–45

Mitelli, Giuseppe Maria. XXI: 168–69, figs. 2–3 (etchings); XXXIV: 279–91, figs. 3, 5, 9, 11, 14, 16, 19 (etchings after Rossi)

Mobile, AL, Mobile Museum of Art (on loan from the Mobile Public Library, Sims coll.). XLIV: 471, fig. 18 (Gillot), note 34

______, Mobile Public Library, Sims coll. (on loan to the Mobile Museum of Art). XLIV: 471, fig. 18 (Gillot), note 34

Modena, Giovanni da, see Giovanni da Modena

______, Nicoletto da, see Nicoletto da Modena

Modena, Biblioteca Civica di Storia dell’Arte Luigi Poletti. XXIII–XXIV: 420 (review)

______, Biblioteca Estense. XVII: 362–67, figs. 5, 8, 10 (Glockenden), note 15

______, Galleria Civica del Comune. XXIII–XXIV: 420 (review)

______, Galleria Estense. II: 257, 263, pl. 15 (Bedoli); VII: 293–94, fig. 1 (D. Crespi), note 1; XXII: 412–14, fig. 10 (L. Carracci); XXX: 404, fig. 9 (Agostino Carracci); XXXI: 409, fig. 2 (Bononi); XXXV: 25, figs. 29 (Annibale Carracci, after Correggio), 30 (Annibale Carracci); XL: 162, fig. 1 (Brusasorci), note 5; XLV: 297, fig. 11 (El Greco), note 20; XLVI: 353, 356, figs. 4 (after Bartolommeo Ramenghi? after Parmigianino), 7 (Giovanni Battista Ramenghi), notes 5, 12; LV: 295, fig. 5 (B. Parentino), note 30

______, Palazzo del Comune, Sala del Vecchio Consiglio. XXIII–XXIV: 38–39, fig. 3 (Schedoni); XXV: 152, fig. 1 (Schedoni)

______, S. Carlo. IX: 131–32, fig. 9 (Franceschini)

Moderati, Francesco. LVI: 52, fig. 31 (after)

Modersohn-Becker, Paula. XVI: 66

Modotti, Tina. XLII: 5, fig. 2 (portrait)

Moeyaert, Claes Cornelis. XXX: 444, fig. 2; XXXV: 367, fig. 2 (after); LIII: 446, fig. 4

Möhle, Hans. I, 2: 3–12 (JACQUES DE GHEYN iii)

______. Die Zeichnungen Adam Elsheimers. Review. VI: 158–62

Moir, Alfred, formerly. LV: 15, fig. 35 (A. Bloemaert)

Moitte, Jean-Guillaume. VIII: 36, pl. 37; XXIII–XXIV: 209, pl. 19

Mol, Jan. XLVIII: 86, fig. 24 (engraving)

______, Pieter van. XXIII–XXIV: 47–48, fig. 2, pl. 22 (after?)

Mol, Jakob Smitsmuseum. XXXV: 268, 270, 272, 276–77, figs. 1, 5–7, 9–11, 13 (Smits), notes 9–11, 18, 20, 23

Mola, Pier Francesco. II: 271–76, pls. 18–25; IV: 300; V: 260; VII: 56, pl. 35; X: 25–31, pls. 19–30; 386, pls. 54–56; XXIII–XXIV: 210, pl. 20; XXV: 153–56, figs. 1–2, pl. 8; XXVI: 143, fig. 1 (after); XXIX: 48–51, pls. 19–20; 347–84, figs. 11–12, 30, 33, 36; XXX: 216–23, figs. 3–9; 435–37, figs. 1–2; XXXI: 351, figs. 3–4; XLII: 262–68, figs. 1, 2 (or G. B. Pace); XLIII: 240–41, figs. 1–2; 441, fig. 1; XLVII: 516–19, fig. 1; 520–23, figs. 1–3; XLVIII: 403, fig. 22 (after); LVI: 87, figs. 5, 6 (after)

Molenaer, Jan Miense. XLV: 147–66, figs. 1 and back cover, 2–9, 12, 14–16, 17–18 (formerly attributed to), 19–21 (ascribed to)

Molinari, Antonio. XXII: 194–205, figs. 1–2, pls. 29–41; XXIII–XXIV: 232–41, figs. 1–6, pls. 40–51

Molinari-Pradelli, Francesco. IX: 126, note 31, pl. 7 (Franceschini); XI: 28, note 33, pl. 20 (Creti); XLVII: 290, fig. 39 (Dughet), note 65

Molinier, Charles, formerly. LV: 81, fig. 253 (A. Bloemaert)

Molyn, Pieter. XXXV: 341–66, figs. 1–34, 35 (after), 36, 37 (after), 38, 39 (after); XXXIX: 61, fig. 1

Momper, Joos de. XLVIII: 112, fig. 4

Monaco, Pietro. III: 389–97, figs. 1–4, 6–9; XVI: 51–52, fig. 1 (after G. B. Pittoni)

Monaco, Christie’s, formerly. XXXVII: 105, 133, fig. 4 (Luca Giordano); XXXVIII: 172, fig. 11 (Natoire after G. Cortese), note 22

______, Private coll. XLIV: 57, fig. 6 (Delamonce), note 23

______, Sotheby’s, formerly. XXXI: 116, fig. 19 (Watteau); XXXIII: 280, 298, figs. 57, 77–78 (T. Zuccaro); XXXVI: 181, fig. 2 (Vasari); XLII: 343, fig. 9 (G. Salviati); XLIV: 414, fig. 6 (Mercier), note 9; XLVIII: 257, fig. 7 (Pierre Parrocel), note 18; 401, fig. 14 (Pierre Parrocel), note 15

______, Sotheby Parke Bernet, formerly. XLIV: 431, 436, figs. 34 (anonymous artist after Watteau), 47 (anonymous artist)

Monbeig Goguel, Catherine. XIII: 347–70 (FILIPPO BELLINI); XXIII–XXIV: 232–41 (MOLINARI); XXXI: 399–404 (CAMILLO PROCACCINI); XLIII: 316–25 (F. SALVIATI); XLVII: 484–88 (BEDESCHINI)

______. Dessins toscans, XVIe–XVIIIe siècles, II: 1620–1800. Review. XLVI: 116–20

______. Musée du Louvre. Inventaire général des dessins italiens. I. Maîtres toscans nés aprés 1500, morts avant 1600. Vasari et son temps. Review. XI: 171–75

______, Philippe Costamagna, and Michel Hochmann. Francesco Salviati et la Bella Maniera: Actes des colloques de Rome et de Paris (1998). Review. XLIII: 378–83

______, and Cordélia Hattori, eds. LArtiste collectionneur de dessin, I: De Giorgio Vasari à aujourdhui. Review. XLV: 118

______, and Françoise Viatte. Musée du Louvre, Cabinet des dessins. Collection I. Dessins de la collection Jabach. Review. XVIII: 48

______, and Walter Vitzthum. Le dessin à Naples du XVIe siècle au XVIIIe siècle. Review. VI: 169–70

______ et al. Francesco Salviati o la Bella Maniera. Review. XXXVIII: 66–70

______ et al. L’Oeil et la Passion 2: Dessins italiens baroques dans le collections privées françaises, exh. cat. Review. LIV: 259–65

Mond, Robert, Sir, formerly. X: 146–47, fig. 1 (Rubens), note 7

Le monde paysan d’Adriaen et Isack van Ostade. Review. XX: 287–88

Mond, Sir Robert Ludwig, formerly. LIV: 164, 191, 195, figs. 28, 84 (Raffaellino da Reggio)

Mondini, Fulgenzio. XIV: 272–74, fig. 4, pl. 33

Mondo, Domenico. IV: 185, pl. 49

Mondriaan and The Hague School. Review. XIX: 57

Monet, Claude. XL: 335, fig. 7 (portrait of); XLII: 115, fig. 5

Mongan, Agnes. I, 2: 20–31 (DELACROIX); XX: 403 (REVIEW); XXVIII: 257–61 (FRENCH DRAWINGS); XXXV: 78 (obituary)

______, and Hans Naef. Ingres Centennial Exhibition. Review. V: 305

______ coll. IV: 306, fig. 3 (G. B. Tiepolo); XII: 45, pl. 36a (Amigoni)

______, Elizabeth. III: 170–71 (REVIEW)

Monkhouse, William Cosmo, formerly. XLVI: 463–64, figs. 25–26 (Gainsborough)

Monkiewicz, Maciej. XXXV: 397–400 (BUYTEWECH)

Monks Eleigh, Suffolk, Stanhope Shelton, formerly. XLVI: 475, fig. 48 (Gainsborough)

Monnet, Charles. XLIV: 523, fig. 2

Monogrammist H. F. of 1583. XXXIX: 397, fig. 2

Monogrammist IHS. LVI: 469, fig. 15 (engraving after Bonasone)

Monogrammist S. E. III: 4–5, 10–12, 18, fig. 1

Monreale, Collegiata. XLVI: 77, figs. 30, 32 (Benefial), notes 64, 67

Monro, Dr. Thomas, formerly. XLVI: 431, 449, 490, 504, 511–12, 514, 521–24, figs. 5, 7, 70, 102–3, 109, 121–26 (Gainsborough), notes 25, 27

Monsiau, Nicolas André. XLV: 106, fig. 1 (lithograph)

Mont, Deodat van der, see Delmont, Deodat van der Mont

Montagris, Church. XIII: 166–67, fig. 3 (Gleyre)

Montagu, Domenico. LIII: 114–15, figs. 5, 7 (after Barbault)

______, Jennifer. I, 2: 40–47 (LE BRUN); XII: 170–72 (REVIEW); XXXI: 454–63 (G. B. MAINI); XLVII: 94–95 (REVIEW)

Montaigu (Scherpenheuvel). XXIII–XXIV: 49–50, fig. 5 (Van Loon)

Montalcino, Madonna del Soccorso. LIV: 239, fig. 6 (Volpi), note 22

Montalegre, Joseph de. LII: 464, fig. 1 (engraving)

Montargis, Musée Girondet. LVI: 528, fig. 23 (workshop of Louis Silvestre the Younger), note 38

Montauban van Swijndregt, Hubertus Michiel, formerly. LII: 75, 83, fig. 25 (Jan de Visscher)

Montauban, Musée Ingres. VI: 45, pl. 34 (Ingres)

Monte Carlo, Christie’s, formerly. XXXIII: 133–37, figs. 1 (Benedetto Caliari), 2, 6 (Veronese), notes 8, 11, 21

______, Monte Carlo Art S.A. XLVI: 254, fig. 4 (Seurat), note 16

Montelatici, Francesco, called Cecco Bravo. V: 380, pl. 9; VII: 56, pl. 36; XXV: 172–73, fig. 3

Monte, Pablo de, see Navarro, Angel M., with Pablo de Monte and María Teresa Ortiz Naretto

Monteporzio, S. Gregorio. XXXVIII: 172, fig. 10 (G. Cortese)

Montero de Rojas, Juan. XIII: 25–26, pl. 7

Montez, Lola. LIV: 67, fig. 5 (portrait of)

Monti, Antonio Maria. XXIX: 385–409, figs. 22 (etching), 23–30

______, Francesco. IX: 67; XI: 161–63, pls. 27–31; XIV: 388–89, fig. 3, pl. 10; XXXVII: 47, fig. 2 (workshop of)

Montorsoli, Giovan Angelo. I, 3: 57–58, pls. 40–41; XXV: 242–60, figs. 2 (attributed to), 9

Montpellier, Faculté de Médecine, Bibliothèque Universitaire, Atger coll. XIII: 64–65 (review); XVII: 43, pl. 36b (De Boissieu)

______, Musée Atger. XXXVIII: 128, figs. 7–8 (Perrier), notes 21–22; 179, figs. 20–21 (Natoire), notes 43–44; LI: 527, 532, figs. 1, 6 (Natoire), notes 10, 26

______, Musée Fabre. I, 3: 57, pl. 40 (Montorsoli); II: 274–75, note 25, pl. 23b (Mola); III: 151; V: 177–79, fig. 8 (after Watteau); XV: 167, note 10, pl. 27 (Restout); XVI: 7–9, fig. 6 (Van Mieris); XIX: 55 (review); XXI: 152–59 passim, fig. 3, notes 1, 24, 28, pls. 18, 21 (Daniele da Volterra); XXX: 11, 22, figs. 5–6, 7 (Raphael), note 7; Montargis, Musée Girondet. LVI: 528, fig. 23 (workshop of Louis Silvestre the Younger), note 38

Montreal, Museum of Fine Arts. IX: 69 (review); XIV: 249, 255, fig. 14 (A. Bloemaert); XXII: 330 (review); XXXI: 230, figs. 16–22 (Goltzius)

______, Private coll. XLIX: 211, fig. 74 (Simon de Vlieger), note 78

Mooney, John. XV: 259, pl. 11 (Veronese)

Moor, J. de. XXXIX: 399, figs. 4–5

Moore, Clement C., ii. XLIX: 314, fig. 57 (Rembrandt); L: 389–91, figs. 44–45 (Jan Siberechts?), note 40; LV: 33, 45, 69, 90, 96, 108, 113, figs. 89, 127, 206, 282–83, 303, 356 and front cover (A. Bloemaert); 322, fig. 8 (Beresteyn), note 47

______, Elizabeth Stauffer, formerly. XLVI: 474, fig. 45 (Gainsborough)

Moral, Roberto Alonso, see Navarrete Prieto, Benito, and Alfonso E. Pérez Sánchez, with Roberto Alonso Moral

Moran, Thomas. XLII: 49, fig. 12

Morandi, Giorgio. LVI: 364, figs. 17, 18 (after)

______, Giovanni Maria. XXXIV: 260, fig. 16; XLV: 51, fig. 10

Morandini, Francesco. V: 384

Morassi, Antonio. VI: 132–43 (G. A. GUARDI); IX: 43–50 (G. B. TIEPOLO)

Morazzone, Pier Francesco. XXII: 35, pl. 29; 426–30, figs. 1–2, pls. 20–25; XXXIX: 51, fig. 5

More, Jacob. XIV: 280–86, pls. 38–39, 41–42

Moreau Le Jeune, Jean-Michel. XXXIV: 434, fig. 4

Morel, Francesco. XIV: 284, fig. 1 (engraving after Hackert)

Morelli, Domenico. LI: 545, fig. 5

______, Giovanni. XXXV: 72–73

______ coll., formerly. XLIX: 73, 75, 80, 85–89, figs. 14–15, 18, 24, 39–40, 46–50, 56–57 (Foggini); 106, fig. 30 (Amico di Donato); LIV: 190, figs. 78–79 (Raffaellino da Reggio)

Moresini, Cipriano. LIII: 428, fig. 5 (portrait of)

Morét, Stefan. LIII: 81–88 (BARTOLOMEO CESI)

Morgan, Alexander P. I, 1: 36, pl. 32 (Dürer)

______, J. P., Jr., formerly. XLV: 380, fig. 31 (Vieira Lusitano), note 44; XLVII: 53, fig. 1 (Baccio del Bianco), note 1; LV: 435, fig. 1 and front cover (Dürer), note 1; LVI: 526, fig. 20 (Louis Silvestre the Younger), note 38

______, J. Pierpont, Sr., formerly. XLV: 380, fig. 31 (Vieira Lusitano), note 44; XLVII: 53, fig. 1 (Baccio del Bianco), note 1; LV: 435, fig. 1 and front cover (Dürer), note 1; LVI: 526, fig. 20 (Louis Silvestre the Younger), note 38

Morisot, Berthe. LV: 238, fig. 17

Mormone, Mariaserena, ed. Ritorno al Barocco: Da Caravaggio a Vanvitelli, exhibition catalogue. Review. L: 115–22

Morse, Samuel F. B. XXXV: 142–43, 148, figs. 4, 9

Mortimer, John Hamilton. XXXVIII: 343, fig. 6

Morton, Henry Jackson. XXXV: 142–43, fig. 7

______, John Ludlow. XXXV: 142–43, fig. 6

Morris, John Morton, formerly. LIV: 494, fig. 5 (Isabey), note 13

______, Robert. LII: 520, fig. 10

Mosby, Dewey F. XII: 49–56 (CLAUDE GILLOT)

Moscow, Pushkin State Museum of Fine Arts. V: 41, pl. 29 (Van de Velde); VI: 132–34, note 2, pls. 24–25 (G. A. Guardi); VII: 142, pl. 11 (Severino da Cingoli); XI: 176–78 (review); XV: 165, note 20, pl. 20 (Boeckhorst); XVII: 67, pl. 36b (Dieu); XXIII–XXIV: 54–55, note 3, pl. 31 (Bernini); XXVII: 209, note 84, pl. 21 (Cigoli); 235, fig. 2 (Reni); XXIX: 426, fig. 10 (Van Dyck); XXXII: 270–72, figs. 1–6 (Otto van Veen); XXXIII: 270–74, figs. 48–51 (T. Zuccaro); XXXVI: 53, 55, figs. 1 (Antwerp master), 4–5 (Willeboirts), notes 1, 17; XLIV: 95, fig. 3 (Van Gogh); XLV: 149, fig. 3 (Molenaer), note 10; XLIX: 156, fig. 17 (Giulio Romano), note 30; 325, fig. 2 (Rembrandt); 375, 385, figs. 7, 37 (Jan Victors); LII: 77, fig. 29 (Cornelis Visscher), note 60; LIII: 459, fig. 1 (Gerard ter Borch the Younger), note 2; LV: 22, 37, 65, 83, 105, figs. 55 (copy after A. Bloemaert?), 100, 342 (copy after A. Bloemaert), 192, 260, 374 (A. Bloemaert), 344 (A. Bloemaert and a later hand?); 479, figs. 1 (Lemoyne), 3 (Chennevières and Deglatigny collectors’ marks), note 1; LVI: 259, 261–62, figs. 21–22 (Patersson), 26 (Quarenghi), 29 (J. B. de La Traverse), notes 16–17, 30, 33; 314, fig. 9 (Goltzius), note 28; 327, fig. 31 (formerly attributed to Victor Honoré Janssens), note 59

______, ______ (claimed by the State of the Netherlands). XLVIII: 22, fig. 21 (Govert Flinck), note 61

______, ______, Koenigs coll. (claimed by the State of the Netherlands). LV: 108, fig. 353 (A. Bloemaert)

______, Tretiakov Museum. XII: 279–82, notes 6, 8, 10–11, 14–16, 18, 21, 26–27, pls. 35–40 (Doyen)

Moser, Joann. XLII: 125–32 (SMITHSONIAN AMERICAN ART MUSEUM DRAWINGS COLL.)

Moses Griffith, 1747–1819. Artist and Illustrator in the Service of Thomas Pennant. Review. XX: 288

Mosquera de Figueroa, Cristobal. XLVIII: 447, fig. 1 (portrait)

Moss, Stanley coll. XXV: 370–83, fig. 17 (Jeremias van Winghe), note 20, pl. 11 (Kempeneer)

Mostaert, Gillis. XXXVII: 383, fig. 20 (after); LIII: 533, fig. 4 (here attributed to)

______, Jan. LIV: 391–96, figs. 1–2, 3 (?)

Mostra di disegni bolognesi dal XVI al XVII secolo. Review. XII: 291–92

Mostra di disegni spagnoli. Review. XI: 402–03

Mostra di Federico Barocci. Review. XIV: 56–64

Motherwell, Robert. XLII: 64, fig. 11; L: 172, fig. 10

Moucheron, Isaac de. II: 165–68, fig. 2; XLVII: 294, 308, figs. 45 (after), 46–47

Moudon, Musée Eugène Burnand. XLVII: 496, fig. 5 (Burnand), note 7

Mount, William Sidney. XL: 351, fig. 11; XLII: 32, fig. 13

Moureyre, Françoise de la. XXIX: 284–300 (SARAZIN)

Mouriau, A., formerly. LII: 72, 83, fig. 19 (Jan de Visscher)

Mousset, Charles, formerly. LII: 317, 338, figs. 55, 70 (Coecke van Aelst and workshop)

Moustier, Beatrice de. XLVI: 187–204 (MARQUIS DE LAGOY)

Mowbray, H. Siddons. XXXI: 21–34, figs. 1–16

Mower, Elsa Durand. VI: 294 (review)

______, Margaret, formerly. XLIV: 439, fig. 57 (anonymous artist); XLVII: 308, fig. 58 (anonymous after Dughet)

Moyreau, J. V: 177–79, fig. 7

______, Jean. XXIII–XXIV: 369, fig. 1 (engraving after Watteau)

El Mudo, see Navarrete, Juan Fernández, called el Mudo

Muehlig, Linda, see Sievers, Ann H., with Linda Muehlig, Nancy Rich et al.

Muensterberger, Werner and Helene. VII: 143, pl. 3 (Severino da Cingoli)

Mühlbacher, S., formerly. XLVIII: 254, fig. 3 (Pierre Parrocel), note 8

Muilman, Hendrik, formerly. XLIII: 54, fig. 64 (Van der Cooghen)

Mules, Helen. XXXI: 480–84 (BIBLIOGRAPHY OF JACOB BEAN)

Mulinari, Stefano. LIV: 525, fig. 28 (after Gaspare Celio)

Mullaly, Terence. VI: 286–88 (REVIEW); VII: 292–93 (BRUSASORCI)

______. Disegni veronesi del cinquecento. Review. XI: 54–55

Muller, Jan. IV: 60; XVIII: 115–33, figs. 1–4 (after), 5–7, pls. 1–14; XIX: 460–61, fig. 1; XXXIX: 407, fig. 13 (circle of or De Vries)

______, Priscilla E. XXV: 165–70; XXVII: 374–77; XXVIII: 87–92 (REVIEWS); 290–95 (HERRERA THE YOUNGER); XXX: 326–30; XXXIII: 56–58; XXXV: 299–302 (REVIEWS); XXXVII: 429–42 (FEDERICO DE MADRAZO Y KUNTZ); 443–48 (REVIEW); XLVI: 120–21 (LETTER)

______. Dibujos españoles en la Hispanic Society of America: Del Siglo de Oro a Goya. Review. XLV: 391–94

______, Jan Harmensz. LV: 22, figs. 54 (engraving after A. Bloemaert), 56 (copy after? or copy after A. Bloemaert)

______, Klaas, formerly. LV: 48, 78, figs. 134 (studio of A. Bloemaert?), 242 (A. Bloemaert)

Müller coll., formerly. XI: 138–39, note 12, pl. 3 (Veronese); LV: 25, 38, 50, fig. 65, 102, 143 (copy after A. Bloemaert)

Müller, Christian. From Schongauer to Holbein. Master Drawings from Basel and Berlin. Review. XXXIX: 63–65

______, Christoph. XLV: 160, fig. 16 (Molenaer), note 39; LV: 41, 85, figs. 111–12 (A. Bloemaert), 264 (copy after A. Bloemaert)

______, ______, formerly. XLVI: 257, fig. 1 (Bendemann), note 1

Müller Hofstede, Justus. II: 3–17 (RUBENS); IV: 435–54 (REVIEW)

Mulready, William. XI: 55

Munch, Edvard. XVI: 66

Muncie, IN, Ball State Teachers’ College. IV: 300, pl. 34 (Penni)

Mundy, E. James. XIX: 15–17 (PARMIGIANINO); XLIII: 160–85 (FEDERICO ZUCCARO)

______, James. LVI: 19–22 (RAFFAELLINO MOTTA DA REGGIO)

Munich, Alte Pinakothek. III: 260–61, fig. 1 (J. Brueghel); IV: 21–22, fig. 1 (Strigel); VI: 272–73, fig. 2 (Van Gherwen); VII: 291–92, fig. 4 (Imola); IX: 148–49, figs. 5–6 (Turchi); X: 353, figs. 3–4 (Holbein); XV: 5–6, fig. 1 (F. Guardi); XVI: 13–15, fig. 14 (Van Mieris); XVII: 7–8, 20, fig. 4 (A. van de Velde); XVIII: 363–64, fig. 4 (Rubens); XXI: 161, fig. 1 (Murillo); XXVII: 139–40, fig. 25 (Rembrandt and Flinck); XXIX: 266, 271, 281, fig. 6 (Rembrandt); XLI: 244, fig. 7 (G. David); XLIII: 228, fig. 4 (workshop of Hans Pleydenwurff); XLIX: 305, fig. 25 (Govert Flinck after Rembrandt), note 16; 333, fig. 107 (Rembrandt); LIV: 27, fig. 9 (Eustache Le Sueur), note 35; 355, fig. 102 (Frans Post), note 144

______, Galerie Arnoldi-Livie, formerly. XLIX: 58, 60, figs. 6, 9 and back cover (Jost Amman); LI: 3, figs. 1, 10–11 and front cover (Bronzino), note 4; LIV: 52, fig. 6 (Vernansal), note 14; LV: 394, fig. 2 (G. M. Crespi), note 11

______, art market. XVI: 15–16, fig. 20 (Van Mieris)

______, ______, formerly. XXV: 50–51, fig. 36 (Poelenburg); LII: 301, 326, 331, figs. 33, 35, 61 (Coecke van Aelst)

______, Bayerische Staatsbibliothek. XIV: 275–76, fig. 9 (Piloty); XXXIX: 130, 132, figs. 21, 23 (Dürer); XLII: 173–75 (review)

______, Bayerische Staatsgemäldesammlungen. XXVI: 125, fig. 2 (Crayer), note 41

______, ______, Schleissheim. XIV: 248–54, fig. 12 (A. Bloemaert); 384–85, fig. 1 (Collaert)

______, Bayerisches Nationalmuseum. XVII: 373–74, fig. 22 (Hirschvogel), note 33

______, Kunsthandel Katrin Bellinger, formerly. XLVI: 383, fig. 1 (Kulmbach), note 3; XLIX: 59, figs. 7–8 (Jost Amman); LII: 279, 332, fig. 6 (Coecke van Aelst); LV: 96, fig. 303 (A. Bloemaert)

______ and London, Katrin Bellinger. LI: 445, fig. 1 (Wouwerman), note 6

______, Glyptothek. L: 214, fig. 4 (Roman, copy of a Hellenistic Greek bronze by Boethos of Chalkedon, c. 250–200 bc)

______, Haus der Kunst. XXIII–XXIV: 419 (review)

______, Galerie Hugo Helbing, formerly. XLVII: 370, fig. 7 (workshop of Willem van Herp), note 16; LV: 95, fig. 302 (A. Bloemaert)

______, junk shop, formerly. XXXI: 124, fig. 28 (Watteau)

______, Ketterer Kunst, formerly. LV: 77, 80, 107, figs. 239, 249, 351 (A. Bloemaert)

______, Kunstbibliothek. LVI: 169–82, figs. 1 (Chaperon), 5–6 (Bourdon), 8 (Jean-Baptiste Corneille), 12–13 (anonymous French artist), 15 (Poerson), 17–18 (autograph copies after Louis Chéron?), 20 (Louis Chéron), notes 4, 12–13, 18, 28–29, 34, 37–38, 41

______, Neue Pinakothek. XXX: 227 (review)

______, Private coll. XXVII: 156, fig. 31 (Maes), note 30; XXVIII: 262, figs. 1–2 (Bronzino); XXXI: 426, fig. 3 (Domenichino); XXXIII: 120, fig. 10 (Varallo), note 21; XXXIV: 171, 175, 177, 179, 181, figs. 7–8, 11, 13, 15, 18, 21, 25–26 (after Pordenone); XXXIX: 120, 124, 130, 134, 136, 139, figs. 8 (Schnorr von Carolsfeld), 12 (Schwind), 19, 22 (Fohr), 27 (Steinle), 31 (Pforr), 32 (F. Overbeck and P. Cornelius), notes 27, 34, 50, 53, 62, 67, 72; XLV: 354, fig. 1 (Carreño de Miranda), note 3

______, ______, formerly. XXX: 157, 160–61, fig. 18 (Veronese), note 39; XXXVII: 262, 265, 269, figs. 5–6 (M. Schongauer), note 7

______, Residenz, Miniaturenkabinett. L: 331, 340, figs. 5–6, 18–19 (Hans Bol), notes 20–21, 38–39

______, Galerie Dr. Riedl. L: 334, fig. 8 (Hans Bol), note 24

______, Michael Rohe, formerly. LV: 84, fig. 264 (copy after A. Bloemaert)

______, Staatliche Graphische Sammlung. I, 1: 23–24, l. 26b (Géricault); 47; I, 2: 50–51, pl. 45 (Foggini); I, 4: 3–18 passim, pls. 1–2, 12b, 15b (Trometta); II: 38, fig. 1 (Gallé?); 159–60, note 14, pl. 28a (Bronzino); III: 130–31, 137–38, 149, pls. 3b, 6b, 11b (Cornelis van Haarlem); 160, pls. 23, 25a (Palma Giovane); 165, pl. 35b (Vincenzo de’ Rossi); 356, 362–63, pl. 4 (Aertsen); 415, fig. 8 (Daniele da Volterra); IV: 176, pl. 41b (Perino del Vaga); 441, fig. 4 (Raimondi); V: 197 (review); 384–85, pl. 23 (Naldini); VI: 294 (review); VII: 166, note 17, pl. 40 (Rolli); VIII: 57 (review); 149–54, notes 14–15, 47–50, pls. 38, 48–49 (Palma Giovane); 397–98, fig. 3 (Bartolo); IX: 147, pls. 18–19 (Turchi); XI: 27, note 13, pl. 11a (Creti); XII: 244, pl. 23 (Poussin); XIII: 8, note 4, pls. 2–3 (Danti); 365, pl. 8 (F. Bellini); XIV: 260–70, pls. 16–30 (Della Bella); 275–76, fig. 8 (after Annibale Carracci); XVI: 274, note 66, pl. 28b (Menzel); XVII: 373–75, figs. 23, 25 (Hirschvogel); XVIII: 59–60 (review); 119–20, fig. 5 (J. Muller); 134–35, fig. 1 (Aertsen); 279 (review); XX: 46–47 (review); 260–72, fig. 1, notes 7, 16, 22, 34, 39, 47, 53, 56, pls. 11–12 (Cigoli), 13–15 (Roselli), 16 (Giovanni da San Giovanni), 17–20 (Biliverti); XXI: 275, note 5, pl. 34 (Biliverti); XXII: 409, 423, pl. 3 (L. Carracci); XXIII–XXIV: 77–78, fig. 1 (J. Savery); 526–37, figs. 1–11 (follower of Rembrandt); XXVI: 349, fig. 11 (Lefèvre); XXVII: 112, fig. 8 (Rembrandt); 148, fig. 12 (Maes), note 7; 200, fig. 4 (Cigoli), note 35; XXIX: 205, fig. 8 (Biliverti); XXX: 149, fig. 7 (Veronese), note 18; 175, 178–79, figs. 18, 20–21, 24 (Master of the Médaillons Historiques), notes 11, 18–19, 28; 422, fig. 4 (Cavalori); XXXI: 64 (review); 397, fig. 7 (Cellini), note 12; 428, fig. 1 (Antonio Carracci), note 3; XXXIV: 3, fig. 1 (Antonio Carracci), note 2; XXXV: 28, fig. 43 (Annibale Carracci), note 115; 401–02 (review); XXXVI: 275, figs. 1, 3–5, (Rubens), note 2; 288, figs. 1–2 (Grünewald), note 1; 361, fig. 10 (Baglione), note 25; 399–400, figs. 3–4 (Louis de Caulery), notes 12–13; 436 (review); XXXVII: 57, fig. 2 (workshop of Mantegna); 142, 144, 146, 154–55, figs. 4, 6–7, 9, 11–13, 15–17 (A. Tempesta); 277, fig. 3 (Antonio Carracci), note 6; XXXVIII: 38, fig. 21 (Fenzoni), note 41; XXXIX: 115, 134, 136, figs. 3 (Schongauer), 26 (L. E. Grimm), 28 (Dürer), note 61; XL: 246, fig. 2 (Bol), note 8; XLI: 122, 126, figs. 5–6 (Bernini), note 14; 409–10 (review); XLIII: 99, fig. 12 (Swanevelt); 187, back cover, fig. 3 (Johann Kellerthaler), note 13; 334, fig. 19 (Vasari), note 20; XLIV: 129, 162, 165, 180–81, 199, 201, 205, figs. 3, 64, 93, 97–98 (Kulmbach); 347, fig. 13 (Van den Bossche); XLV: 292, fig. 1 (El Greco); XLVI: 296, fig. 8c (Barocci), note 29; 353, fig. 5 (after Parmigianino), note 4; XLIX: 6, fig. 6 (Giulio Romano), note 12; 338, 344, figs. 124, 147 (Rembrandt); 351, fig. 166 (Rembrandt); 392, fig. 5 (Rembrandt), note 15; 482, fig. 2 (Francis Barlow), note 21; L: 300, 319, fig. 18 (Matthijs Cock); LII: 326, 347, figs. 61 (Coecke van Aelst), 88 (attributed to the workshop of Coecke van Aelst); 435, fig. 11 (Vasari’s inscription); LIII: 288, 290, figs. 24 (Peruzzi), 28 (anonymous engraving published by Hieronymus Cock), notes 41, 48; 315, 320–21, figs. 2, 15, 17 (Waterloo), note 5; 439, fig. 2 (Guercino), note 3; LIV: 74, fig. 11 (Wilhem von Kaulbach), note 25; 151, 191, fig. 7 (Raffaellino da Reggio); LV: 98, fig. 315 (A. Bloemaert); LVI: 21, fig. 4 (Raffaellino da Reggio), note 4; 297, fig. 13 (anonymous artist after Daniele da Volterra or studio), note 32; 443, 446, 448, figs. 3–4 (Nicola Giolfino), 7 (Giovanni i Badile), 10 (Pietro Paolo Badile), notes 5, 15, 36; 472–73, figs. 19 (Girolamo da Carpi after the Antique), 20 (Girolamo da Carpi after Polidoro da Caravaggio), notes 47, 50

______, Staatliche Graphische Sammlung and Kunststiftung Ernst von Siemens. XLVI: 260, fig. 6 (Overbeck), note 6

______, Winterstein coll. XXXVII: 305–06, fig. 1 (A. Heinrich)

______, A. Weinmüller, formerly. LV: 95, fig. 302 (A. Bloemaert)

Munnickhuysen, Johan van. LVI: 199, fig. 13 (engraving after Van Musscher)

Munnikhuyzen, F., formerly. XLIII: 31, 36, 58–59, 62, figs. 34–35, 43–44 (Van der Cooghen)

Munro, Jane. XXIX: 307–10 (BARRY)

Münster, Church of St. Martin. XV: 163–64, fig. 3, pl. 19 (Boeckhorst)

______, Landesmuseum. VIII: 144, note 15, pl. 32a (Aldegrever)

______, Landesmuseum (on loan from the Church of St. Martin). XV: 163–64, note 14, pl. 19 (Boeckhorst)

______, Westfälisches Museumsamt. XXI: 65 (review)

Munsterbilzen, Onze-Lieve-Vrouw-ten-Hemelopneming. LII: 388, fig. 1 (Deodat van der Mont), note 12

Münz, Ludwig. Bruegel. The Drawings. Review. II: 55–58

Mura, Francesco de. XL: 150, figs. 25–26

Muralt-von Planta, Wilhelm, formerly. XLIX: 58, 60, figs. 6, 9 (Jost Amman)

Muraro, Michelangelo. Vittore Carpaccio. I disegni. Review. XVIII: 387

Murano, SS. Maria e Donato. XVIII: 30, fig. 2 (Letterini)

Murillo, Bartolomé Esteban. XV: 184–85; XXI: 160–63, fig. 1, pls. 24, 25 (after), 26–34, 35 (after), 36–37, 38 (after); XXXVI: 25–29, figs. 1–3; XXXVII: 409, 411, figs. 4–5; XLVII: 460–61, fig. 1; LII: 527, fig. 2

Murray, Charles Fairfax, formerly. XXXII: 347, fig. 32 (L. Tiepolo); XLI: 3, figs. 1–2 (Spinello Aretino), note 4; XLV: 380, fig. 31 (Vieira Lusitano), note 44; XLVI: 510, fig. 100 (Gainsborough); XLVII: 53, fig. 1 (Baccio del Bianco), note 1; LVI: 526, fig. 20 (Louis Silvestre the Younger), note 38

______, Elizabeth. XLII: 13, fig. 10

______, Lady Mary, of Henderland, formerly. XLIII: 28, 50, fig. 22 (Van der Cooghen)

Museo Civico d’Arte Antica … di bella mano. Disegni antichi della raccolta Franchi. Review. XXXVIII: 77–78

Muskavitch, Charles M. IV: 417–18, pl. 31 (Orsi)

Musscher, Michiel van. LVI: 193–232, figs. 1–2, 6–10, 11 (after), 12, 13–14 (after), 15, 17–19, 20 (after), 22–23, 25–31, 32 (copy after), 33, 34 (formerly attributed to), 36 (formerly attributed to), 38 (after), 39, 40–42 (after), 43, 44–45 (after), 46 (copy after), 47 (after), 48, 49 (mezzotint), 50–51 (after), 53 (after), 55–56 (after); 409, fig. 1

Musset, Alfred de. XLIV: 505, fig. 14 (portrait of)

Muxel, N. XIX: 278–79, fig. 5 (engraving)

Muybridge, Eadweard. LIV: 249, fig. 1 (collotype)

Muyden, Alfred van. XXXVI: 33–35, figs. 1–2

Muziano, Girolamo. II: 384–85, pls. 10–13; XVI: 428–29, fig. 4; XXII: 34, pl. 30; XXX: 331, fig. 2; XL: 113–34, figs. 1, 6–8, 11, 13–18, 21, 24–25, 27; LII: 181–200, figs. 1–4, 5 (attributed to), 6–8, 10–14, 15 (after), 16–23

Muzii, Rossana. The Famous Italian Drawings at the Capodimonte Museum in Naples. Review. XXX: 449–50

Muzzi, Andrea, see Giampaolo, Mario di, and Andrea Muzzi

______, Domenico. XLIX: 22, fig. 9 (after Girolamo Mazzola Bedoli); LI: 166, fig. 1 (ater Bedoli); LIII: 61, fig. 2 (after Bedoli)

Myers, Mary L. IX: 391–98 (BUONTALENTI and CIGOLI); XXXIX: 435 (LETTER)

 

Nabis und Fauves. Zeichnungen, Aquarelle, Pastelle aus Schweizer Privatbesitz. Review. XXVI: 141

Nadar, see Tournachon, Félix, called Nadar

Naef, Mr. and Mrs. Bernard. XII: 390, note 1, pl. 51 (Courbet)

______, Hans. III: 276–80; IV: 255–83; VII: 35–38; XI: 277–79; XII: 283; XIII: 261–74 (INGRES)

______. Die Bildniszeichnungen von J. A. D. Ingres. Review. XVIII: 379–81

Naeke, Gustav Heinrich. XXXIX: 188, fig. 19

Nagler, Karl Ferdinand Friedrich von, formerly. XLVII: 147, 155, fig. 20 (Hubert Robert); LII: 344, fig. 81 (workshop of Coecke van Aelst)

Naiveu, Matthijs. LVI: 209, figs. 36–37

Naldini, see Baldini, Pietro Paolo

______, Giovanni Battista. II: 282, 292; III: 259; V: 384–86, figs. 1–2, pls. 23–26; VIII: 369–70, fig. 9; XIV: 127–46, pls. 12b-14; XX: 128, pls. 15–22; XXXII: 387, figs. 1 (after Michelangelo), 2 (after Andrea del Sarto)

Namuth, Hans. XL: 77, figs. 4–5 (photographs)

Nancy, Musée des Beaux-Arts. III: 276, pl. 32 (Ingres); XXXIII: 64–68 (review); XLVII: 495–96, figs. 3 (Delacroix), 6 (Feyen-Perrin), notes 4, 7

______, Musée Historique Lorrain. XXII: 300–02, fig. 3 (Bellange), note 25

Nantes, Musée des Beaux-Arts. XLV: 103, fig. 1 (Greuze), note 1; LII: 12, fig. 13 (Genga), note 37; LIV: 35, fig. 29 (Licherie), note 59

______, Private coll. LII: 277, 326, fig. 4 (Coecke van Aelst)

Nanteuil, Célestin. XXV: 171–72, figs. 1–2

Naples, Castel Nuovo. VII: 16–24, fig. 1 (photograph)

______, Cathedral. V: 154–56, figs. 10–11 (Domenichino), notes 37, 40

______, ______, Cappella del Tesoro di San Gennaro. XVII: 256–57, fig. 13 (Domenichino)

______, Museo Borbonico, formerly. XXXVI: 356, fig. 2 (Baglione), note 12

______, Museo e Gallerie Nazionali di Capodimonte. I, 1: 57 (review); II: 257, 263, pl. 14 (Bedoli); 272–75, notes 13–14, pls. 19–21 (Mola); IV: 6, 19–20; V: 36–38, fig. 1, note 7, pls. 22–25 (Lanfranco); VI: 118–19, fig. 6 (Domenichino); VII: 21–22, fig. 7 (colossal antique horse’s head); XXIII–XXIV: 39–40, figs. 5–6 (Schedoni), note 19; XXV: 131–42 passim, figs. 1–2 (Michelangelo); XXVIII: 61, fig. 8 (Vrancx), note 20; XXX: 449–50; XXXI: 421, 423, figs. 2, 6 (Schedoni); XXXII: 155, fig. 1 (Schedoni), note 2; 238, fig. 12 (tapestry after Salviati); XXXVI: 356, fig. 2 (Baglione), note 12; 369, figs. 15–16 (Baglione), note 36; XXXVII: 110, 133, fig. 14 (Luca Giordano); 246, fig. 14 (Luca Giordano); XXXVIII: 461, fig. 4 (Bedoli), note 3; XLV: 318, fig. 48 (El Greco), note 76; 535, fig. 1 (Pace), note 18; XLIX: 18, fig. 1 (Alessandro Mazzola Bedoli), note 9; LII: 188, fig. 14 (Muziano), note 19; 363, figs. 2–3 (tapestry factory of the Dermoyen brothers, after Orley), note 2; LIV: 209–10, figs. 2, 5, 7 (Ridolfi), note 17; LVI: 483, fig. 1 (Alessandro Allori), note 1

______, Museo Nazionale di San Martino. IV: 61, pl. 37 (Vanvitelli); XXII: 434, pls. 38–39 (Giaquinto); XXXVII: 242, figs. 8–9 (Malinconico), notes 23, 25

______, Palazzo Reale. I, 1: 57 (review); XXIII–XXIV: 38, 41–42, figs. 2, 7, 8 (Schedoni), note 22

______, S. Filippo Neri. XLVII: 133, fig. 4 (Luca Giordano)

______, S. Chiara. XXXI: 55, fig. 2 (Macchietti)

______, ______, formerly (destroyed). XL: 150, fig. 26 (De Mura)

______, Società Napoletano di Storia Patria. I, 1: 57 (review); XV: 278–80 (review)

Napoleon i. XXVI: 253–58, fig. 3 (statue of)

Napoletano, Filippo. XIII: 23–26, fig. 1, pl. 5

Narbonne, Musée des Beaux-Arts. XIV: 249, 255, fig. 13 (after Boucher); LIII: 507, fig. 3 (Hubert Robert), note 4

Nash, Steven. VIII: 295–96 (LETTER)

Nasini, Giuseppe Nicola. V: 13, pl. 6

The National Collection of Watercolours in the Victoria and Albert Museum on Colour Microfiche. Review. XXII: 220

National Trust, Anglesey Abbey, Fairhaven coll. VIII: 272–75, fig. 1 (Claude Lorrain)

Natoire, Charles-Joseph. XI: 361–64, pl. 11; XXII: 32, pl. 33; XXXVIII: 167–86, figs. 1 (after Michelangelo), 3 (after L. Carracci), 5 (after Guercino), 9 (after G. Passeri), 11 (after (G. Cortese), 13–14 (after G. Calandrucci), 15, 17 (retouched by, after L. Giordano), 18–22 (retouched by), 23 (with G. P. Pannini), 25 (after G. P. Pannini); LI: 525–38, figs. 1, 3 (after Luti), 4 (after Preti), 6–8; LIV: 399, fig. 2; LVI: 43, fig. 23

Nattier, Jean-Baptiste. XXVI: 356–57, fig. 1, pl. 41

Nattiez, Claude. XLIV: 517–18, figs. 2–4

Nature Observed, Nature Interpreted. Nineteenth-Century American Landscape Drawings & Watercolors from the National Academy of Design and Cooper-Hewitt National Design Museum, Smithsonian Institution. Review. XXXIV: 314–15

Naughton, Gabriel. LV: 263 (obituary), fig. 1 (portrait of)

Naumann, Otto. XVI: 3–34 (VAN MIERIS); LV: 549–50 (obituary of Egbert Haverkamp-Begemann)

Navarrete, Juan Fernández, called el Mudo. XLIX: 33–49, figs. 1–2 (attributed to), 8 (attributed to), 10–11 (after Schiavone), 12–18, 19 (attributed to), 20–21, 23, 28–29

Navarrete Prieto, Benito. XLV: 345–53 (BAZZICALUVA); XLVIII: 435–46 (FRANCISCO PACHECO); 541–43 (REVIEW); 547–49 (A. E. PÉREZ SÁNCHEZ OBITUARY)

______ and Alfonso E. Pérez Sánchez, with Roberto Alonso Moral, Álbum Alcubierre: Dibujos de la Sevilla ilustrada del conde del Águila a la Colección Juan Abelló. Review. XLVIII: 544–46

Navarro, Angel M. XXXIX: 45–57 (ITALIAN DRAWINGS IN BUENOS AIRES)

______, with Pablo de Monte and María Teresa Ortiz Naretto. Dibujos italianos (siglos XVI al XVIII) en el Museo Nacional de Bellas Artes. Review. XXXIX: 58–60

______, Carlos G. XLVIII: 498–513 (FEDERICO DE MADRAZO)

Nay, Ernst Wilhelm. XLV: 405

Nazarieff, Serge, formerly. LV: 58, fig. 166 (copy after A. Bloemaert)

Neagle, John, formerly. LIV: 173, 193, fig. 47 (Raffaellino da Reggio)

Nebbia, Cesare. XL: 120, 125, 127, 129, figs. 12, 19–20, 22, 26; XLIV: 51, fig. 4

Nederlandske Tegninger, ca. l600-ca. 1700, I Nasjonalgalleriet. Review. XVI: 65; XVII: 285

Neeffs, Jacob. XXI: 165, fig. 3 (engraved title-page after Fruytiers)

Neel, Alice. XLII: 63, fig. 10

Neilson, John, Jr. XXXV: 148, 153, fig. 14

______, Nancy Ward. VII: 26 (G.C. PROCACCINI); 293–94 (D. CRESPI); 435 (LETTER); VIII: 275–76 (TANZIO DA VARALLO); IX: 364–66 (CERANO); XI: 269–71 (C. PROCACCINI and CESI); XII: 57–60, 169–70, 291–92; XIII: 178; XIV: 312–13 (REVIEWS); XVII: 280–84 (G. C. PROCACCINI); XXI: 288–89 (REVIEW); XXIII–XXIV: 212–13 (NUVOLONE); XXV: 151–52 (LUINI); XXXV: 72–73 (REVIEW); XXXVI: 189–97 (GIOVANNI MAURO DELLA ROVERE); XXXVII: 189–92; 304–05; XXXVIII: 470–71; XL: 260–61 (REVIEWS); XLI: 407–08 (REVIEW)

Negroli, Filippo. LII: 477, fig. 11 (burgonet)

Nelli, Pietro. V: 22

Nelson, Kristi. XXIII–XXIV: 214–28 (JORDAENS)

Nemours, Musée du Vieux Château. I, 4: 27, pl. 20 (Pozzoserato)

Neri, Manuel. LI: 513, figs. 38–40

Neroccio de’ Landi. V: 27, fig. 5

Nesselrath, Arnold. XVII: 417–26 (MARATTI); XXX: 31–60 (STANZA DELL’INCENDIO); XXXI: 376–89 (RAPHAEL)

The Netherlands, State of (on loan to the Boijmans Van Beuningen Museum, Rotterdam). XLIV: 148, 186, figs. 37–38 (Kulmbach); 526 (letter)

______, Private coll. VIII: 5,note 8, pl.10 (R. Savery); XXXIII: 5, 12, 17, figs. 2, 6–7, 17 (Somm), notes 23, 36–37, 51; XXXV: 358, fig. 25 (Molyn); XLIII: 28, 49, fig. 20 (Van der Cooghen); XLIV: 10, 16, 23, 33, figs. 5, 9 (De Vlieger), 15 (attributed to De Vlieger), 30 (De Vlieger), 41 (attributed to De Vlieger), 44 (De Vlieger), notes 32, 34, 43, 56, 66, 69; 73–74, figs. 5–6 (Hulswit), note 25; 198; XLVI: 160, fig. 4 (Lisa), note 18; XLVII: 509, fig. 2 (Rembrandt), note 2; XLIX: 212, figs. 75 (Simon de Vlieger), 84 (Jan van de Cappelle), notes 79, 105; LIII: 323, fig. 22 (Esselens), note 24; LV: 17, 27, 60, figs. 41, 72 (A. Bloemaert), 174 (A. Bloemaert?); LVI: 187, fig. 6 (Visscher), note 8

______, ______, formerly. XXXI: 253, fig. 49 (Goltzius); LIII: 485–87, figs. 1 (inscription in the hand of Gabburri), 2 (Gaspare Redi), note 6

Netscher, Caspar. LV: 506, 516, 525, figs. 22, 39, 46

Netto-Bol, M. H. L. The So-Called Maarten de Vos Sketchbook of Drawings after the Antique. Review. XV: 51–54

Neuberger, Susanne. XX: 260–72 (EARLY FLORENTINE BAROQUE DRAWINGS)

Neue Zeichnungen alter Meister. Review. XXI: 65

Neuilly-sur-Seine, Me Aguttes, formerly. XLVIII: 401, figs. 8–13 (Pierre Parrocel), note 13

______, Claude Aguttes, formerly. LV: 67, 69–70, 87–88, 90, figs. 199, 206, 208, 213, 273, 277, 280, 283 and front cover (A. Bloemaert)

Nevers, Musée des Beaux-Arts. XXIII–XXIV: 359–60, fig. 14 (Cazes)

New, Mrs., formerly. XLVI: 460, fig. 19 (Gainsborough)

New Britain, CT, Museum of American Art. XIX: 57 (review)

New Brunswick, ME, Bowdoin College Museum of Art. LV: 77, fig. 236 (A. Bloemaert)

New Brunswick, NJ, Rutgers University, The Jane Voorhees Zimmerli Art Museum. XXXIII: 24, fig. 22 (Somm), note 65

______, Rutgers University Library. XVIII: 376–78, pls. 48–51 (Bierstadt)

New Haven, CT, Private coll. XXVIII: 22, 31, figs. 8, 11 (attributed to Van Thulden, after Primaticcio), note 82; XXXIII: 275–78, figs. 53–54 (T. Zuccaro)

______, Yale Center for British Art. XVI: 62–63, 187–88; XVIII: 52–55; XX: 35–38, 161–62, 406 (reviews); XXI: 62–64, 289–92 (reviews); 383, pl. 10b (Gainsborough); XXII: 328–29 (review); XXIII–XXIV: 420–21 (review); XXIX: 307, figs. 1, 4 (Barry); XXXII: 171–73 (review); XXXIII: 70–74 (review); XXXIV: 312–14 (review); XXXVIII: 338–45, figs. 1 (Stubbs), 2 (J.M.W. Turner), 3 (Blake), 4 (Rowlandson), 5 (J. F. Lewis), 6 (J. H. Mortimer); XLIV: 424, fig. 22 (Mercier), note 34; XLVI: 457, fig. 17 (Gainsborough), note 73; XLIX: 481–82, 506, figs. 1, 3 (Francis Barlow), 50 (Robert Robinson), notes 19, 82; LIII: 101–2, figs. 1–3 (William Kent), note 15; LVI: 506, fig. 41 (John Constable after Claude Lorrain), note 66

______, ______, Paul Mellon coll. XVI: 406, fig. 6, note 11, pl. 21 (Wilson); XIX: 123–45, pls. 1–9, 11–14, 16–17 (Constable); 391–425, figs. 1, 4 (Stothard), note 11, pls. 1–7 (L. Constable), 8 (Orrock studio); XXI: 408, pl. 40 (Barry); XXVI: 264–65, 267, figs. 7–9, notes 23, 24, 39, pls. 17–18, 22 (Gainsborough); XXXII: 211, fig. 11 (Richardson), note 38; XXXVI: 123, fig. 4 (Peter Oliver after Titian), note 14; L: 366, fig. 3 (Jan Siberechts), note 8

______, Yale University Art Gallery. I, 4: 32–38, note 2, pl. 25 (Bellange); II: 8–10, figs. 4–5 (Rubens); III: 246–48 (Dupont); V: 40, pl. 28 (Van de Velde); 138, pl. 2 (Jouvenet); VIII: 42–43, fig. 1 (Rubens), note 2; 56 (review); X: 41–45, figs. 1 (anonymous draftsman), 2 (after Jan Lievens); XII: 127–28, fig. 1 (Apollonio di Giovanni); XIII: 66 (review); 151–52, fig. 6 (Jacques Stella), note 36; XVI: 452 (review); XVIII: 131, pl. 1 (J. Muller); XIX: 180–83 (review); XXII: 186–88, note 3, pl. 26 (retouched by Rigaud); XXV: 25, pl. 4 (Poelenburg); XXVI: 143 (review); 274–77 (review); XXVIII: 58, fig. 7 (Vrancx), note 6; 334, fig. 1 (Oppenord), note 1; XXXIII: 278, fig. 55 (T. Zuccaro); XXXV: 148–53, figs. 8 (Inman), 9 (Morse), 10 (Weir), 11 (Cole), 12–13 (Wall), 14 (Neilson), 15 (Ingham), 16 (Cummings), note 13; 367, fig. 2 (Berchem, after Moeyaert), note 5; XL: 12–13, figs. 5, 7 (Gorky), note 24; XLVI: 307, fig. 13 (Barocci), note 53; XLVIII: 14, front cover (Govert Flinck), note 41; 235, fig. 11 (Degas), note 9; XLIX: 217, fig. 83 (Esaias van de Velde), note 104; 488, fig. 14 (Francis Barlow), note 40; LI: 49, 54, 58, figs. 1, 4, 11 (Trumbull), notes 3, 23, 50; LII: 75, 84, fig. 26 (Jan de Visscher); 346, fig. 86 (workshop of Coecke van Aelst); LIII: 481, figs. 1–2 (Bouchardon), note 1; LV: 12, 73, figs. 23, 219 (A. Bloemaert); LVI: 205, 207, 223, figs. 23, 27–28, 31 (Van Musscher); 358, figs. 6 and back cover (Wayne Thiebaud), note 6

______, ______, Egmont coll. V: 382–83, pl. 22 (Licinio)

______, Yale University Library. IV: 164, pl. 25b (Gainsborough)

______, ______, formerly. LVI: 205, 207, 223, figs. 23, 27–28, 31 (Van Musscher)

New London, CT, Lyman Allyn Art Museum. XXII: 186, 188–89, note 5, pl. 28 (retouched by Rigaud); XXXI: 165, figs. 3–4 (G. B. Tiepolo), note 15; 183, fig. 2 (La Hyre), note 5; XLIII: 178, fig. 20 (Federico Zuccaro), note 33; LV: 59, 96, figs. 171 (anonymous artist), 306 (A. Bloemaert)

New York, NY, Didier Aaron, formerly. LV: 74, 76, figs. 225, 235 (A. Bloemaert)

______, American Museum of Natural History. XLV: 438, 440, 451, 476, figs. 4–5, 8–9, 11 (Albin), 30 (anonymous artist), 64 (Albin)

______, ______, Library. L: 478, fig. 48 (vol. 1, p. 132 of William Turton, transl. A General System of Nature…by Sir Charles Linné, London, 1806)

______, Anderson Auction Company, formerly. LVI: 205, 207, 223, figs. 23, 27–28, 31 (Van Musscher)

______, Anderson Galleries, formerly. XLVI: 533, fig. 141 (Gainsborough)

______, art market. XV: 405, fig. 1 (Soutman, retouched by Rubens); XXI: 160, 162, pl. 24 (Murillo); 384, pl. 13a (Gainsborough); XXXIV: 401, fig. 5 (Daumier), note 9; LII: 16, 41, fig. 23 (Genga); LVI: 483, fig. 6 (Papini after Alessandro Allori), note 8

______, ______, formerly. XIV: 36, pl. 7b (Schiavone); XV: 170, note 27, pl. 32b (Restout); XXV: 50, pl. 29 (Poelenburg); 366, note 15, pl. 7 (Kempeneer); XXVIII: 310, fig. 2 (Vouet?), note 10; XXIX: 387, figs. 7–8 (Bosio), notes 14, 16; XXX: 160, fig. 20, note 42; 218, 220, fig. 5 (Mola); XXXII: 253, fig. 3 (Saly), note 16; LII: 344, fig. 82 (attributed to the workshop of Coecke van Aelst); LV: 68, fig. 203 (copy after A. Bloemaert)

______, Ben Ali Haggin. XXXI: 5, 7–8, 11–13, 15, figs. 2–4, 7–9, 11–12 (Haseltine), notes 16–18, 23

______, C. G. Boerner, formerly. LII: 429, figs. 1–2 (El Greco), note 8

______, W. M. Brady & Co., formerly. LV: 88, fig. 274 (A. Bloemaert)

______, Brooklyn Museum. III: 247–48, 256, fig. 1 (Dupont); XXXVII: 301–03 (review)

______, Central Picture Galleries, formerly. XLVII: 294, 307, fig. 43 (anonymous after Dughet)

______, Century Association. XXXV: 115, fig. 1 (photograph by Sarony)

______, Christie’s, formerly. XXXIII: 144, fig. 1 (U. Gandolfi), note 2; 269, figs. 45–46 (T. Zuccaro); XXXVI: 266, fig. 19 (Giovanni Battista Tiepolo); 360, fig. 8 (Baglione), note 21; XXXVII: 103, 125, 133, 137, figs. 1, 31 (Luca Giordano); XXXVIII: 37, 41, figs. 13, 23 (Fenzoni), notes 33, 43; 169, fig. 6 (Annibale Carracci), note 11; XXXIX: 303, fig. 3 (Boucher), note 20; XL: 115, fig. 2 (T. Zuccaro), note 9; XLIII: 297, fig. 8 (F. Salviati), note 25; XLIV: 221, fig. 2 (Gaulli), note 2; 416, fig. 11 (Mercier), note 18; XLV: 10, fig. 6 (Primaticcio); 312, fig. 39 (El Greco), note 59; XLVI: 383, fig. 1 (Kulmbach), note 3; XLVII: 58, fig. 5 (Baccio del Bianco), note 14; XLVIII: 58, fig. 5 (Baccio del Bianco), note 14; XLIX: 364, fig. 27 (Rembrandt), note 32; L: 343, fig. 21 (Hans Bol), note 42; LI: 184, fig. 12 (Ligorio), note 15; LII: 114, fig. 4 (Bouchardon), note 26; 317, 338, figs. 55, 70 (Coecke van Aelst and workshop); 372–73, figs. 1, 4 (tapestry from the factory of Jan i Raes), note 12; 430, figs. 3–4 (El Greco), note 9; LIII: 493, no. 39 (Italian 18th-century copy after Titian); 521, fig. 2 (Pichot), note 6; LIV: 308, fig. 26 (Frans Post), note 37; LV: 7, 14, 17, 50, 61, 88, 113, figs. 10, 31, 41, 176, 276, 373 (A. Bloemaert), 142 (A. Bloemaert?); 543, fig. 4 (Audubon), note 15; LVI: 495, 498, figs. 26 and front cover (Claude Lorrain), notes 32, 46

______, Clinton Hill/Allen Tran Foundation. LI: 494, fig. 16 (Defeo), note 25

______, Colnaghi, formerly. XXXI: 228, fig. 14 (Goltzius); XXXVI: 33, fig. 1 (Van Muyden), note 1; 266, fig. 19 (Giovanni Battista Tiepolo); XXXVII: 255, fig. 24 (De Matteis), note 51; 271, fig. 1 (F.-A. Vincent), note 1

______, Columbia University. X: 387 (review)

______, ______, Avery Architectural and Fine Arts Library. III: 177, pl. 38b (Foggini); IV: 169; XLVI: 91–100, figs. 1–5 (Guerra); XLIX: 70, 82, fig. 3 (Foggini)

______, Cooper Union Museum. I, 2: 54–55 (review); I, 4: 17; IV: 289–90, pl. 22 (Vignon); 394, pls. 23–24 (Oudry)

______, Cooper-Hewitt National Design Museum, Smithsonian Institution. VII: 61–62, figs. 1–2 (Castiglione); IX: 6–14, note 20, pls. 2, 8 (Master of the Months of Lucas); X: 31–33, pl. 31 (Cipriani); XII: 368, pl. 28b (Ribera); XIII: 175 (letter); XIV: 159–60, note 11, pl. 30 (G. Gandolfi); 396–420, pls. 17–40 (Giani); XVI: 164, note 12, pl. 35 (Castigilone); XVIII: 32–38, note 2, pl. 20 (Meynier); 253–57, note 4, pls. 30, 33a (Giani); XX: 7–8, fig. 4 (engraving after Gravelot); 22–24, note 1, pl. 24 (Pozzo); 150–51, pl. 39a (E. Rossi); XXII: 318–19, fig. 1 (Giani); 331 (review); XXVIII: 334, figs. 2–3 (Oppenord), notes 2–3; XXIX: 285, fig. 2, note 7 (Sarazin); XXX: 93, fig. 17 (Salviati), note 31; XXXI: 9, 12, figs. 5, 10 (Haseltine), note 23; 37–38, 41, figs. 2–3, 6 (Homer), note 4, 12, 19; XXXII: 26–31, figs. 1–5 (attributed to Sigismondo Caula), notes 1, 5–10, 12–24; 352–54, figs. 1–5 (Stradanus), notes 5–12, 14; XXXIV: 314–15 (review); XXXVI: 362, fig. 12 (Baglione), note 29; XXXVII: 35–46, figs. 1–16 (Ango), notes 7, 18–22, 24, 29–30, 32–36, 38, 40; 290–91, figs. 6–7 (M. Franceschini), notes 8–9; XL: 349, 356, figs. 5 (Homer), 16 (Church); XLII: 37–57, figs. 1 (A. Pajou), 2 (C. Marchionni), 3 (G. Barberi), 4–5 (F. Giani), 6 (Oppenord), 7 (C. Wailly), 8 (Oudry), 9 (H. Lebas), 10 (Church), 11 (Homer), 12 (Moran), 13 (Michelangelo), 14 (F. Crace), 15 (H. Ferris), 16 (H. Meiere), 17 (S. Holl), back cover (Van Gogh), notes 10, 12, 15, 17, 20–24, 27, 29–31, 33–36; XLVIII: 217, fig. 36 (Pinelli), note 84; LV: 382, fig. 8 (J. Stradanus), note 50

______, David Smith Estate, Collection of Candida and Rebecca Smith. XL: 43, 45–46, 49, 51, 53–54, figs. 1–4, 7–12, 14, 16 (D. Smith), notes 2, 6–8, 11, 13–14, 16, 18, 20

______, Davis & Langdale, formerly. XLVI: 452, fig. 13 (Gainsborough)

______, Greenberg Van Doren Gallery. XLVI: 242, figs. 20–21 (Rockburne), notes 31–32

______, William Doyle Galleries, formerly. XLVI: 525, figs. 128–29 (Gainsborough); LV: 8, fig. 11 (A. Bloemaert)

______, Drawing Center. XX: 48; XXXVIII: 80–82; L: 245–52 (reviews)

______, Paul Drey Galleries, formerly. LII: 347, fig. 87 (attributed to the workshop of Coecke van Aelst)

______, Herbert E. Feist Gallery, formerly. XLV: 332, fig. 14 (Cano); XLVIII: 160, figs. 8–9 (Polidoro da Caravaggio), note 9

______, Finch College Museum of Art. VII: 434 (review)

______, Fordham University Library, Charles Allen Munn coll. LI: 55, 57, figs. 7, 10 (Trumbull), notes 30, 41

______ and London, Franses, formerly. LVI: 483, fig. 6 (Papini after Alessandro Allori), note 8

______, Frick Art Reference Library. XLVIII: 380–82, figs. 1–2 (auction catalogue pages)

______, Frick Collection. XXXII: 168–71 (review); XXXVI: 211–13 (review); XXXVII: 305–06 (review); XXXVIII: 285–92, figs. 1 (Gainsborough), 2 (Rembrandt), 3 (Whistler), 4 (Pisanello); XXXIX: 334–37 (review); XLIV: 511–16 (review); XLVIII: 261–62 (portrait photograph of Charles Ryskamp); 541–43 (review); LIV: 101–6 (review); LV: 491, figs. 6 (L. S. Boizot), 8 (A. Pajou)

______, Gimpel and Wildenstein, formerly. XLII: 337, fig. 4 (G. Salviati)

______, Lucien Goldsmith, formerly. XLIX: 115, fig. 62 (Amico di Donato)

______, Marian Goodman Gallery. LIV: 405, fig. 1 (Monika Grzymala), note 3

______, Bob P. Haboldt, formerly. XLIX: 201, fig. 45 (Simon de Vlieger), note 48

______, Hill-Stone, formerly. XXXIX: 407, fig. 13 (circle of Jan Muller or Adriaen de Vries); L: 89, fig. 10 (Malpizzi); LV: 27, fig. 71 (A. Bloemaert)

______, Hispanic Society of America. I, 1: 11–20, figs. 1, 3–7, pls. 9–12a, 13a, 16–19 (Goya); XXV: 166–67, fig. 1 (Herrera the Elder); XXVIII: 290–91, fig. 1 (Herrera the Younger), note 2; XXXVII: 429–42, figs. 1–12 (Madrazo y Kuntz), notes 12–13, 19, 21, 23, 26, 28, 31–32, 34; 445, fig. 2 (Alonso Cano), note 10; XLV: 299, fig. 15 (El Greco), note 26; 393, fig. 3 (Goya); 396–97, figs. 2 (anonymous artist after Goya), 3 (Goya); LII: 485, fig. 4 (Carducho or studio of), note 23

______, ______ (promised gift from a New York private coll.). XLV: 361, fig. 4 (Ribera), note 24; 392–93, figs. 1 (Pacheco), 2 (Castillo y Saavedra)

______, Jak Katalan. XXX: 217, fig. 1 (Cortese); 402, figs. 3, 5 (L. Carracci, after P. Tibaldi), note 31

______, Frederick Keppel & Co., formerly. XLV: 171, fig. 5 (Jacques Rousseau), note 11

______, J. J. Klejman Gallery, formerly. LV: 61, fig. 176 (A. Bloemaert)

______, Knoedler’s. XLII: 115, fig. 6 (Courbet)

______, Knoedler’s, formerly. XLVI: 438, 507, 519, 525, 528–29, figs. 10, 93, 117, 128–29, 131, 133 (Gainsborough)

______, Andrew Kreps Gallery. LIV: 407, fig. 4 (Andrea Bowers), note 6

______, Jason McCoy, Inc., formerly. XLVI: 148, fig. 1 (Pollock)

______, Martayan Lan. LI: 202, 206, 211, figs. 24, 35, 52 (Hans Weigel)

______, Metropolitan Museum of Art. I, 1: 11, 16; I, 2: 35, 37, note 4, pl. 27 (anonymous Liechtenstein Master); 50 (review); I, 3: 14, 16, note 24, pl. 7a (Perino del Vaga); 60, pl. 43b (Baglione); I, 4: 42–43, pls. 30, 35 (Delacroix); II: 40, 44, note 1, pls. 32–33 (Annibale Carracci); 399–401, fig. 2 (after Raphael), note 18; III: 51–52, fig. 2 (Dorigny), pl. 45 (Vouet); 130, 149, pl. 6a (Cornelis van Haarlem); 175, pl. 37b (Maratti); 177, pl. 39 (Foggini); 267–68, pls. 22–24 (Claude Lorrain); IV: 6, 19; 48, pl. 35 (Annibale Carracci); 161–62, fig. 3 (Saint-Non); 420–21, fig. 3, notes 1, 9, pl. 36 (G. M. Crespi); V: 42, pl. 32 (Van Loo); 175, pls. 29–30 (Watteau); VI: 44, pl. 33 (Ingres); 147, pl. 38a (Castiglione); 262–65, pls. 30–31 (M. Schongauer); VII: 24–25, pl. 12 (Maratti); 27, note 4, pls. 15–17 (G. P. Panini); 56–57, fig. 1 (Rosa), pl. 34 (Galeotti); 169, pl. 42 (Primaticcio); 431, fig. 3 (Dürer); VIII: 142–48, figs. 1–2, 4, 6, notes 12–13, pls. 30–31 (Aldegrever); 390–91, note 3, pl. 28 (Annibale Carracci); IX: 3–14, fig. 5 (tapestry), note 24; 127, note 33, pl. 8 (Franceschini); 244, note 25, pl. 15 (Ligorio); 264, 273–76 (review); 365–66, note 6, pl. 12 (Cerano); 391–98, note 4, pl. 37 (Cigoli); X: 19–20, pl. 15a (Dürer); 164, pl. 44 (Franceschini); 167 (review); XI: 28–29, notes 36, 46, pls. 18, 22 (Creti); 247–49, fig. 4 (Pordenone), pl. 5 (Amalteo); 294, pls. 41 (G. de’ Ferrari), 42 (Cortona); 382–83, note 8, pl. 37 (Ulivelli); 403 (review); XII: 61–62 (review); 372, pl. 36 (Ribera); 373–75, notes 5, 7, 23, pls. 39a, 45 (Volterrano); 377–78, fig. 1 (bronze after Algardi); XIII: 12–23, figs. 1, 10, 12 (Alberti), 2–9, 11, 13 (Scarabelli), note 3; 36, pl. 20 (Castello); 240–49, figs. 1 (Boyvin), 2 (Vico), 3–7 (Du Cerceau); 291 (review); 365, pl. 9 (F. Bellini); 371–72, fig. 2 (Agostino Carracci); 372–74, fig. 2 (Annibale Carracci); 382–87, figs. 3, 9–10 (Bouchardon); XIV: 32–33, figs. 2–3, 5 (Schiavone); 65, note 5, pl. 40 (Pagani); 161–63, notes 23, 26, 33, pls. 34, 36, 39 (U. Gandolfi); 375–82, note 1, pls. 1–4 (Michelangelo); XV: 147–56, figs. 1–2, 6–7, 11 (Du Cerceau), 3 (Vico), 4, 12 (Veneziano), 8–9 (Sadeler), 13 (Schnitt), 15 (Master L. D.), 16 (unknown artist), pls. 11–12 (Du Cerceau); 186 (review); XVI: 66 (review); 143, fig. 10 (Batoni); 393, note 36, pl. 11 (Canini); 405, pl. 17 (Wilson); 415, note 6, pls. 27–28 (Piattoli); XVII: 167, pls. 37–38 (Dieu); 262–64, figs. 1 (Gaillard), 3 (Campagnola), note 12; XVIII: 169–71 (review); 273–74, fig. 2 (Paret y Alcázar), note 2; 371, note 4, pl. 37 (Lievens); XIX: 15–17, fig. 1 (Van der Borcht); 23–25, note 1, pl. 20 (D. Crespi); 31–33, fig. 5 (Watteau imitator); 174, 176, fig. 4 (Van Leyden); 431–38, notes 23, 37, pls. 18, 21 (Spinelli); 453–54, note 20, pl. 38 (Dorigny); XX: 47 (review); 239–46, figs. 2, 4 (Master of the Barberini Panels); 259–60, note 1, pl. 9 (Vernansal); 275–78, note 3, pl. 24 (Masucci); 378, fig. 1 (Desboutin); 404–06 (review); XXI: 17–20, notes 2, 4, 7, 10, pls. 20–23 (La Fosse); 154–55, fig. 2 (Bonasone), note 12; 263–70, figs. 2, 4–5 (Du Cerceau), 6 (Goujon?), pls. 12, 14 (Du Cerceau), 13 and 17–27 (Du Cerceau workshop); 403–04, pls. 25 (Orrente), 29b (Herrera Barnuevo); 410–12 (review); XXII: 60–61, note 22, pl. 45 (Daumier); 291–94, note 16, pls. 7–8 (Cigoli); 332 (review); XXIII–XXIV: 247–49 (review); 378, 380–81, figs. 1 (Watteau), 6 (LeBas), notes 6, 14; XXV: 77–80, figs. 8–10 (Rubens); 151, note 5, pl. 6 (Luini); 252–53, fig. 10 (Michelangelo?); 363–65, note 13, pl. 5 (Kempeneer); XXVI: 56, fig. 3 (Aspertini); 239–48, fig. 1 (after Michelangelo), note 1; 345, pl. 23 (Lefèvre); XXVII: 17–18, figs. 17, 19 (Holbein the Younger); 147–48, fig. 10 (Maes), note 5; 200, note 34, pl. 9 (Cigoli); 223–24, fig. 1 (G. M. Crespi), note 7; 374–77 (review); XXVIII: 125, 129, fig. 1 (Perino del Vaga), note 12; 323, fig. 1 (signature of Cats), note 3; XXX: 63, figs. 9–10 (Perino del Vaga); 256, 259, 279, 282, figs. 1, 7–8 (Boucher); 295, fig. 15 (attributed to Annibale Carracci), note 38; 429, figs. 3–4 (Gobelins Manufactory), note 3; XXXI: 234, fig. 26 (Goltzius); 365, fig. 3 (Fra Carnevale); 368–69, figs. 5–7 (Campagnola?), notes 6, 13; 432, fig. 1 (Maratti), 3; 465, figs. 3–4 (U. Gandolfi); 472, fig. 6 (G. David), note 32; XXXII: 6, fig. 4 (Boullogne), note 4; 277–80 (review); 326, fig. 23 (L. Tiepolo); XXXIII: 51, fig. 4 (Vasari), note 7; 58–64 (review), fig. 1 (Taraval); 74–80 (review); 175–77 (review); XXXIV: 244, fig. 3 (Reni), note 45; XXXV: 7–8, 16, figs. 8, 12, 17 (Annibale Carracci), note 35, 48, 71; 76, fig. 1 (Parrocel); 358, fig. 24 (Molyn); XXXVI: 29, fig. 1 (Andrea del Sarto), note 1; 154, 157, 170, 174, figs. 1 (Andrea Pozzo), 9 (Carlo Cignani), 21 (Andrea Pozzo), 26 (Marcantonio Franceschini), 27 (Carlo Cignani), notes 18, 46, 49; 196, fig. 7 (Giovanni Mauro della Rovere), note 9; 255–63, figs. 1–15 (Giovanni Battista Tiepolo); 373, fig. 27 (Baglione), note 44; XXXVII: 175, fig. 10 (G. Romano), note 19; 271, figs. 3, 6 (Gobelins Manufactory, Months of Lucas Tapestry); 306–07 (review); 394–406, fig. 1 (Juan de Orea), 2 (López de Escuriaz), 3 (P. Cajés), 4 (V. Carducho), 5 (Ribera), 6 (A. de Pereda), 7 (F. Camilo), 8 (Churriguera), notes 3, 10, 18, 24, 28, 33, 36, 41; 407–15, figs. 1–2 (Herrera the Elder), 4 (Murillo), 6–7 (Carreño de Miranda), notes 1, 8, 11, 19, 23; XXXVIII: 132, fig. 14 (Perrier), note 33; 179, fig. 22 (Natoire), note 44; 187–89, fig. 1 (J.-L. David); 348–52, figs. 3 (Spranger), 4 (S. da Verona); XXXIX: 12–44, figs. 1–24 (Pinelli); 226, 238, figs. 9, 17 (La Fosse); 412, fig. 5 (Passeri); XL: 79, fig. 7 (De Kooning), note 28; 169, fig. 1 (Maratti); 217, 225, figs. 5 (Paggi), 16 (Tiarini), notes 25, 48; 322, fig. 3 (H. Farrer), note 16; XLI: 156, fig. 5 (Degas), note 19; 242, 244, 252, figs. 4, 13–14 (G. David), 20 (S. Bening or workshop); 269, fig. 2 (Vrancke van der Stockt); XLII: 79, fig. 1 (Bellange), note 4; XLIII: 146, fig. 6 (Filippino Lippi), note 11; 199, fig. 5 (Daret), note 33; 210–12, fig. 1 (Giambattista Tiepolo), note 2; 213–16 (review); 227, fig. 6; 236, fig. 1 (Jan van Eyck and assistant); 376–78 (review); XLIV: 97, fig. 1 (Van Gogh); 165, fig. 63 (Kulmbach); 333, 342, figs. 1, 9 (Wechter after Van den Bossche); 469, 471, figs. 11, 14 (studio ? of Gillot), notes 30, 32; XLV: 22, fig. 14 (Niccolò dell’Abate); 211, fig. 2 (Agostino Carracci with Francesco Brizio); 317, fig. 46 (El Greco), note 73; 332, fig. 14 (Cano); 355, fig. 3 (Carreño de Miranda), note 17; 395, fig. 1 (Goya); XLVI: 6, fig. 4 (Falcone), note 26; 46–47, figs. 8 (Giorgione?), 9 (Dorigny), notes 69, 76; 382, fig. 1 (Kulmbach), note 3; XLVII: 64, fig. 10 (Filippo Gagliardi and Camillo Cungi); 139, fig. 11 (Hubert Robert), note 26; 223, 226, 228–29, figs. 8, 13, 15–16, 19–20 (J.-L. David), notes 16, 24, 31; 286, 302, 311, figs. 31 (“False Amand” hand after Dughet), 36 (Dughet), 62 (anonymous), note 62; 453, 456, figs. 1, 6 (Vassilacchi), note 1; 470, fig. 4 (engraving by Pieter de Jode i after Jan Breughel i), note 6; XLVIII: 376, figs. 2 (Cézanne), 3 (Annibale Carracci), notes 3, 5; 443, fig. 14 (Beatrizet after Michelangelo), note 30; 493, fig. 26 (Matías de Torres), note 66; XLIX: 53, 58–60, figs. 1, 6–9 and back cover (Jost Amman); 67–90, figs. 1–2, 4–7, 14–15, 18–21, 23–25, 28–29, 34–40, 43–45, 51 (Foggini), notes 49, 57; 107, fig. 31 (Amico di Donato); 150, 153, figs. 9 (Agostino Veneziano after Raphael or Giulio Romano), 11–12 (Raphael workshop, attributed to G. F. Penni), notes 12, 18; 226, fig. 1 and back cover (La Traverse), note 8; 296, fig. 6 (G. P. Birago), note 5; 391, fig. 4 (Eeckhout), note 13; 447, fig. 20 (after Francis Cleyn), note 44; L: 60, 62, figs. 3–4 (Veronese), note 18; 158, fig. 5 (Robert Henri), note 11; 167, 174, 176, figs. 5, 11 (Marcel Duchamp), 12 (Jasper Johns), notes 21, 51, 57; 377, figs. 16–17 (Jan Siberechts), note 21; 533, fig. 4 (Willem van Mieris), note 8; 545, fig. 2 (engraving by Bonasone after Titian), note 2; LI: 54, 57, figs. 5, 9 (Trumbull), notes 25, 37; 174, fig. 23 (Bedoli), note 34; 215, fig. 62 (Ligozzi), note 29; 373, fig. 14 (Verbrugghen), note 88; 445, fig. 1 (Wouwerman), note 6; LII: 36, 44–45, figs. 54, 61–63 (Genga); 101, fig. 13 (Elsheimer), note 39; 279, 332, fig. 6 (Coecke van Aelst); 423, 426, figs. 1, 5 (Bronzino), note 6; 467, fig. 5 (Ottino), note 20; 477, fig. 11 (Negroli), note 25; LIII: 109, 114–15, figs. 1–2 (Barbault), 5, 7 (Domenico Montagu after Barbault), notes 1, 24, 26; 211, fig. 3 (Greuter after Camassei), note 8; 229–36, figs. 1–2, 6–7 (Dominique-Vivant Denon), notes 2, 11; 279–80, 288, figs. 8–9 (anonymous), 26 (Leon Davent after Léonard Thiry or his circle), notes 17, 44; 299, fig. 2 (Carducho), note 30; 353, 355, figs. 13, 15 (Giovanni Battista Tiepolo), notes 19, 22; 426, fig. 2 (Parmigianino), note 4; 443, fig. 1 (Breenbergh), note 4; 497, fig. 1 (Greuze), note 5; 511, fig. 1 (François-André Vincent), note 4; LIV: 31, fig. 17 (Licherie), note 46; 49, fig. 1 (Vernansal), note 1; 64, fig. 1 (Watteau), note 12; 173, 191, fig. 45 (Raffaellino da Reggio); 205, 210, figs. 1, 4, 6 (Ridolfi), note 1; 244, fig. 7 (Pasinelli), note 15; 497, fig. 9 (Carpentier), note 39; 543, back cover (Michelangelo Cerquozzi), note 1; LV: 24, 69, 86, 99, 103, figs. 61, 205, 318, 332–33 (A. Bloemaert), 269–70 (A. Bloemaert?); 148, fig. 4 (Ingres), note 11; 181–82, 188, figs. 13 (Rubens), 19 (Jan Breughel the Elder), notes 52, 74; 238, fig. 15 (Degas), 51; 252, fig. 4 (Degas), note 21; 314, fig. 4 (J. Ligozzi), note 16; 328, fig. 17 (Verboom), note 57; 469, fig. 9 (F. Fenzoni), note 18; 481, fig. 4 (Lemoyne), note 11; 487, 498, 502, figs. 4 (Fragonard), 5 (P. A. Hall), note 27; LVI: 161, fig. 16 (Rembrandt after Leonardo), note 23; 365, fig. 19 (Pieter Bruegel the Elder), note 15; 385–90, figs. 1, 5 (Michelangelo), notes 1, 4; 498, 503, figs. 31, 36 (Claude Lorrain), notes 53, 59

______, ______, The Cloisters. XLI: 205, figs. 2, 4 (Limburg Brothers), notes 6, 8; XLIII: 238–40, figs. 2–3 (Campin, infrared refectograms)

______, ______, H. O. Havemeyer coll. XXXIX: 67, fig. 2 (Ingres)

______, ______ (promised gift of the Karen B. Kohen coll.). XLVII: 474, fig. 1 (Delacroix), note 1; 493, fig. 2 (Delacroix), note 3

______, ______, Robert Lehman coll. XVI: 11–12, fig. 13 (after Van Mieris); XVIII: 58 (review); 374–75, fig. 1 (Canaletto); XIX: 56 (review); 303–06, fig. 2 (Titian); XXVIII: 147–49, 165, 167, figs. 9 (Jordaens), 33 (after Jordaens); XXIX: 15, note 41; 45, fig. 13 (Dürer), note 21; 284, fig. 1 (Sarazin), note 5; XXXII: 383–86, figs. 1–2 (Central Italian artist); XXXIV: 139, fig. 31 (M. Schongauer); XXXVIII: 79, fig. 1 (Bison), note 2; 317–37, figs. 1 (Rembrandt after Leonardo), 3 (T. Zuccaro), 4 (G. D. Tiepolo), 5 (Canaletto); XXXIX: 66, fig. 1 (Ingres); 120, fig. 8 (Dürer), note 26; 430–32 (review); XLII: 336, fig. 2 (G. Salviati); 379, fig. 8 (D. Tintoretto), note 55; XLIX: 339, fig. 126 (Rembrandt); 350, fig. 160 (Rembrandt); 396, fig. 13 (Renesse), note 35; L: 103–4, 107, 109, figs. 3, 9, 14 (Tiepolo), notes 90, 103, 116; LV: 252, fig. 6 (Degas), note 24

______, ______, Jack and Belle Linsky coll. XXXIV: 145, figs. 39–40 (L. Schongauer?)

______, ______, on loan from a private coll. XLI: 313, fig. 7 (Ghent Master, circle of Hugo van der Goes)

______, ______, Rogers Fund. XIII: 149–50, note 29, pl. 11 (Jacques Stella)

______, ______, Sperling bequest. XI: 374–79, notes 2, 4, 6–7, 11, 13, 17–18, 19, 22, pls. 26–29 (Carducho), 30 (Rizi), 31 (Camilo), 32–33 (Herrera Barnuevo), 34 (Herrera the Younger), 35 (Salvador y Gómez); 379–82, note 1, pl. 36 (Ulivelli); XII: 34–39, figs. 1 (after P. Bruegel), 2 (Aertsen), 3 (attributed to Bol), notes 1–2, 4–5, 8, 10–13, 15, pls. 25 (Lombard?), 26 (after Della Porta), 27 (Bega); 39–41, pls. 28a (A. Bloemaert), 28b (Van Goyen), 29 (Van Poelenburg), 30 (Koninck), 31 (Saftleven), 32 (Van Wittel); XIII: 160–61, note 1, pl. 25 (Willem van de Velde the Younger); XXXVIII: 63, fig. 1 (Steidl), note 3

______, ______, Thomas J. Watson Library. XLVII: 453, fig. 2 (Piccini)

______, ______, Whitney coll. XLVII: 478, figs. 1–4 (Henri Lehmann), note 1

______, ______, Whittelsey coll. XXXV: 251, fig. 53 (engraving by Pontius, after Rubens)

______, Frederick Mont, formerly. XLIV: 431, fig. 34 (anonymous artist after Watteau)

______, DC Moore Gallery. LI: 509–10, figs. 35–37 (Oliveira), notes 49–51

______, Morgan Library & Museum. I, 1: 5, note 14, pl. 5a (Parmigianino); I, 2: 4; 15; 24–26, fig. 1, notes 9, 11–12, pls. 15–17 (Delacroix); I, 3: 21, pl. 10 (Jordaens); I, 4: 10, 17, pl. 4 (Trometta); II: 134, 140; 297, pls. 45–46, 47b (Testa); III: 159–60, pls. 20, 22 (Palma Giovane); 284; 379; 381–83, pl. 27 (De Gheyn ii); 407; IV: 382; 412–13, fig. 4 (Vivarini workshop); VI: 147, pl. 38b (Castiglione); 266–71, note 1, pls. 32–33 (Vasari); VII: 3–15, pls. 2a, 5, 7, 9 (Vanderbank); 400–04, fig. 1 (Spinello Aretino), note 2, pl. 15 (Spinelli); VIII: 149–51, fig. 1, notes 5–6, 17–23, pls. 39–40 (Palma Giovane); 168–69, pl. 53 (Longhi); IX: 30–37, notes 62–64, pl. 15 (Salviati); 164, pl. 39 (Robert Adam); 264, 273–76 (review); X: 126–33, fig. 1 (Pordenone); 287–88 (review); XI: 43, pl. 38 (Dahl); 150–52, fig. 2 (Palma Giovane); 253–54, pls. 9–10 (Amalteo); 289–91 (review); 389–92, fig. 1, pl. 47 (Piranesi); 399–402 (review); XII: 16–17, note 64, pl. 18 (Zucchi); 167–69 (review); XIII: 289–90 (review); 382–84, fig. 4 (Bouchardon); XIV: 35–36, note 24, pl. 8 (Schiavone); 135, note 56, pl. 11b (Vasari); XV: 16–21, fig. 1 (Wtewael), note 5; 186–87 (review); 266, pl. 23 (Veronese); 393–95, fig. 6 (Piranesi), note 10; XVI: 45–48, pl. 36 (unknown Flemish artist); 54–55, pl. 39 (R. Adam); 59–61 (review); XVII: 14–15, 19, pl. 12 (A. van de Velde); XVIII: 54, 57, 61, 171–73 (reviews); 237–52, figs. 1 (M. de Vos), 5–6 (Jerome Wierix), pls. 13–29 (M. de Vos); 364–65, pl. 21 (Jordaens); 371, notes 11, 14, pls. 43b-44 (Lievens); XIX: 158–60, note 18, pl. 33 (Rochetel); 172–77 (review), figs. 1 (Strozzi), 3 (Goltzius); 316 (letter); XX: 3–21, figs. 8–10 (engravings after Gravelot), pls. 1–23 (Gravelot); 48 (review); XXI: 161, pl. 33 (Murillo); 398, fig. 2 (Rubens), note 3; XXII: 296, note 13, pl. 23 (P. de Grebber); XXIII–XXIV: 57–60, figs. 5–6 (Piranesi), notes 12–13; 79–80, fig. 3 (J. Savery); 222, 224–25, pl. 36 (Jordaens); 379–89 passim, fig. 14, notes 9, 25–26, 28–29, 31, pl. 45 (Lancret); 563–67 (review); XXV: 67, fig. 2 (Rubens, after Stimmer); 270–72, note 2, pl. 25 (Piranesi); 287–88 (review); 402–03, fig. 13 (Bruges, before 1403); XXVI: 41–42, fig. 2 (Dürer), note 9; 142–43 (review); 266, note 28, pl. 20 (Gainsborough); 359, fig. 1 (Raphael); XXVII: 201, 205, notes 41, 67, pls. 13, 17 (Cigoli); 314–17, fig. 2 (Joos van Winghe), note 1; XXVIII: 54, 66, fig. 13 (Vrancx), note 6; 254–56, fig. 1 (Liotard), note 1; 265, fig. 1 (Abbate), note 1; 323–28, figs. 2 (signature of Cats), 3 (signature of Franckenstein), 4 (signature of Cats), 5 (Cats), 6, 10, 13 (signatures of Cats), note 6; 338–43, figs. 1–4 (Gravelot); 344–49, figs. 3 (Cristall), 4–11 (Varley); XXIX: 59–60 (review); 157, fig. 10 (Aspertini); 301–03, fig. 2 (Raffaellino del Colle); 361, 383–84, fig. 29 (G. B. Pace); XXX: 149, 162, fig. 9 (F. Zuccaro, after Veronese), 21 (Caliari), notes 21, 45; 374, 385, fig. 14 (Toeput, after Hoefnagel); XXXI: 23, 28–30, 32, figs. 2, 7, 9–10, 12, 14 (Mowbray), notes 10, 16–17, 19–20, 22, 25; 146–57, 160–62, figs. 1–2, 4–10 (Cochin), 11 (Dambrun, after Cochin), 12 (Cochin), note 1; 246, fig. 44 (Goltzius); 285–99 (review); 290, 295, figs. 1–2 (engravings after Otto van Veen), fig. 3 (engraving); 469, fig. 1 (G. David), note 6; XXXII: 50, fig. 1 (Piranesi), note 2; 209, fig. 4 (Richardson), note 27; 338, figs. 32, 34 (L. Tiepolo); XXXIII: 185–86 (review); XXXIV: 179, fig. 19 (Pordenone), note 16; 370, fig. 6 (attributed to Le Moyne), note 13; 434, fig. 4 (Moreau Le Jeune); XXXV: 229–33, figs. 1–2 (G. B. Tiepolo), 3–4 (G. D. Tiepolo); 234, fig. 24 (workshop of Rubens), note 12; 293–97 (review); 298–99 (review); 368, fig. 3 (De Grebber), note 13; 397, fig. 3 (Buytewech); XXXVII: 20, 24, fig. 24 (G. Reni), note 65; 175, fig. 9 (G. Romano), note 17; 181, figs. 2–3 (Boullogne), notes 4–5; XXXVIII: 261–77, figs. 1 (Guardi), 2 (Piranesi), 3 (Correggio), 4 (Goltzius), 5 (Inigo Jones), 6 (Cézanne), 7 (Schiele); 311–16, figs. 1 (Goya), 2 (S. Palmer), 3 (Blake), 4 (Constable), back cover (Ingres); XXXIX: 289, fig. 1 (Robert), note 2; XL: 305–07, 311, 313, figs. 1–5 (Ruskin), notes 1, 12, 27; 326, fig. 10 (H. Farrer), note 36; XLI: 3, figs. 1–2 (Spinello Aretino), note 2; 49, fig. 1 (anonymous 16th-century Italian); 153, cover (Degas), note 9; 255, fig. 27 (G. David), note 43; XLII: 208–09, fig. 2 (L. Fontana), note 6; 330, fig. 33 (Campagnola); XLIII: 31, 58, fig. 34 (Van der Cooghen); XLIV: 19, fig. 22 and front and back cover (De Vlieger), note 50; 69, fig. 1 (Hulswit), note 7; 171, fig. 78 (Kulmbach, retouched by Rubens); XLV: 160, fig. 20 (Molenaer), note 44; 299, 302, 312, figs. 13, 19, 32–33, 38 (El Greco), notes 23, 55; 380, fig. 31 (Vieira Lusitano), note 44; 550, fig. 5 (Maria Sibylla Merian), note 5; XLVI: 121, fig. 2 (El Greco); 175–86, figs. 1–8 (Lucas), notes 15–18, 20–21, 25, 27; 227–50, figs. 1 (P. Bruegel the Elder), 2 (Rubens), 3 (Watteau), 4 (Ingres), 5 (Degas), 6 (Van Gogh), 14 (Beccafumi), 15–16 (Pontormo), 24–25 (Tintoretto), 26 (Guercino), notes 1–4, 6, 8, 24–25, 34–36; 313, fig. 17c (Barocci), note 80; 353, fig. 17 (Mazzolino), note 8; XLVII: 53, fig. 1 (Baccio del Bianco), note 1; 298, fig. 49 (Gaspar van Wittel), note 81; 464, fig. 1 (Willem van Mieris), note 3; 503, fig. 3 (Piranesi), note 7; 520, fig. 1 (Mola), note 1; XLVIII: 63, fig. 37 (Van den Eeckhout), note 71; XLIX: 73, 90, figs. 10–11 (Foggini); 102, 107, figs. 19, 32–33 (Amico di Donato); 194, fig. 33 (Simon de Vlieger), note 34; 331, fig. 100 (Rembrandt); 348, fig. 156 (Rembrandt); L: 53, fig. 6 (Parmigianino), note 16; 118, 120, figs. 1 (Paolo de Matteis), 4 (Giacomo Farelli), notes 18, 31; 362, fig. 7 (Paul Bril), note 19; 503, fig. 11 (Vasari), note 28; 549–52 (review); LI: 3, figs. 1, 10–11 and front cover (Bronzino), note 4; 152, fig. 7 (Viti), note 15; 259, fig. 2 (Ernst), note 3; 459, fig. 13 (Simpol), note 57; LII: 27, 48–49, figs. 39–40 (Genga); 239, fig. 10 (Hogarth), note 34; 301, 331, figs. 33, 35 (Coecke van Aelst); 436, 441, 446, figs. 13–14, 22 (El Greco), 21 (notes in the hand of Maganza), notes 39–40, 55; 485, figs. 5–6 and cover, 9 (Carducho or studio of), note 24; LIII: 153, 157, 163–64, 169, 174, figs. 6–7, 24, 28, 32–33 (Piranesi), 15 (workshop of Piranesi?), 46 (Piranesi or workshop), notes 15, 31, 46, 51, 56; 199, fig. 14 (Goltzius), note 27; 207, fig. 2 (Bernini), note 2; 337, figs. 50–51 (Waterloo), notes 51–52; 343–64, figs. 2, 4–5, 8–9, 12, 17, 21–23 (Giovanni Battista Tiepolo), note 2; 372, fig. 9 (Picabia), note 40; 425, 429, figs. 1 (anonymous 16th century), 6–7 (Enea Vico), notes 1, 16; LIV: 89, figs. 12–13 (Rembrandt), note 47; 148, fig. 1 (Taddeo Zuccaro), note 7; 164, 191, fig. 28 (Raffaellino da Reggio); 387, fig. 3 (Spranger), note 13; 392, fig. 3 (Jan Mostaert?), note 12; LV: 298, 302, figs. 10, 16 (Master of the Scholz Triumphal Procession), note 40; 355–57, figs. 16–17 (follower of H. Bosch), note 17; 369, figs. 1–2 (Vasari), note 5; 435, figs. 1–2 and front cover (Dürer), notes 1–2; 459, fig. 7 (A. Lomi), note 21; LVI: 31–84, figs. 1, 45a–b, 50a–b and 51–52 (Bouchardon), 2 (Bouchardon after Gian Lorenzo Bernini and Giulio Cartari), 4, 40, 42–44, 46–47 (Bouchardon after the Antique), 7 (Bouchardon after Camillo Rusconi), 8 (Bouchardon after Agostino Cornacchini), 10, 14, 39 (Bouchardon after anonymous artist), 12 (Bouchardon after Giulio Mazzoni), 16–18 (Bouchardon after Antonio Raggi), 20–21 (Bouchardon after Giovanni Francesco Romanelli), 24–25, 29 (Bouchardon after Alessandro Algardi), 28 (Bouchardon after Giacomo della Porta and Taddeo Landini), 30 (Bouchardon after Lorenzetto), 31 (Bouchardon after Francesco Moderati), 32 (Bouchardon after Camillo Rusconi), 33–34, 37 (Bouchardon after Gian Lorenzo Bernini), 35 (Bouchardon after Pierre Legros ii), 38 (Bouchardon after Guido Ubaldo Abbatini), 41 (Bouchardon after Giambologna), 48 (Bouchardon after Gian Lorenzo Bernini?), 49 (Bouchardon after the Antique and Pietro da Cortona), 53 (Bouchardon after Francesco Nuvolone and Carlo Marcellini after Ciro Ferri), 54 (anonymous 18th-century artist), 55 (anonymous 18th-century artist after Giovanni Battista Gaulli), 56 (anonymous 18th-century artist after Giulio Romano and Giovanni Francesco Penni), 57 (anonymous 18th-century artist after Carlo Rainaldi and Francesco Bolognese), 58 (anonymous 18th-century artist after Pietro da Cortona); 105–16, figs. 1 (Gauguin), 2 (Géricault), 4 (Mantegna), 5 (Jacques de Gheyn ii), 6 (Giandomenico Tiepolo), 7 (Watteau), 8 (Fragonard), 9 (Delacroix), 10 (J.M.W. Turner), 11 (Daumier), 12 (Corot), 13 (Seurat), 14 (Pollock), back cover (Diebenkorn), notes 1–2, 6–17; 355–68 (conversation with Wayne Thiebaud), fig. 16 (Prud’hon), note 12; 450, fig. 17 (Rufo), note 50; 526, fig. 20 (Louis Silvestre the Younger), note 38

______, ______ (Promised Gift of the Artist). L: 211–30, figs. 1–3, 5–25 (Jim Dine), notes 4–5, 8–9, 12–15, 19–20, 22

______, ______, Thaw coll. XXXIX: 179, 181, figs. 9 (Friedrich), 10 (Fuseli); XLVII: 222, fig. 3 (J.-L. David), note 8; XLVIII: 232, 235, 239, figs. 8 (Cézanne), 12 (Seurat), 36 (J.M.W. Turner), notes 7, 10, 16; LV: 186, fig. 15 (copy after Rubens), note 62

______, Museum of Modern Art. XII: 160, pl. 30 (Van Gogh); 395 (review); XXII: 331 (review); XL: 10, 12–13, 17, figs. 1, 3 (Gorky), 6 (Miró), 10–11 (Gorky), notes 4, 13, 38; XLIV: 294, fig. 18 and front cover (J. Johns), note 26; XLVI: 251–56 (review); L: 164, 181, figs. 3 (Hans Arp), 15 (De Kooning), notes 13, 70; LIV: 249, fig. 2 (Simone Forti), note 19; 483, figs. 3–4 (Giacometti), notes 35–36

______, ______ (partial and promised gift of Steven G. Perlman). LIV: 407, fig. 4 (Andrea Bowers), note 6

______, National Academy of Design. XX: 47, 403 (reviews); XXXIII: 337–38; XXXIV: 314–15 (reviews)

______, Francis M. Naumann, formerly. XLIX: 53, 58, fig. 1 (Jost Amman)

______, New-York Historical Society. XLII: 19–36, figs. 1 (A. J. Davis), 2–3 (Audubon), 4 (Saint-Mémin), 5 (Hyde de Neuville), 6 (N. Calyo), 7 (A. Robertson), 8 (Vanderlyn), 9 (Durand), 10 (G. Harvey), 11 (Bierstadt), 12 (T. H. Hotchkiss), 13 (W. S. Mount), 14 (Glackens), 15 (Tiffany Studios), notes 8, 14, 16, 18–22, 24–25, 27–30, 34; XLIII: 415–39, front cover (Beckwith), figs. 1 (J. S. Sargent), 2 (Beckwith), 3 (Emily Sargent), 4–9, 11–14 (Beckwith), 15–18, 20–22 (J. S. Sargent), 24–29 (Beckwith), 30–32 (J. S. Sargent), notes 1–3; XLV: 435–521, figs. 1, 10, 16, 18, 47–51, 54, 59, 69, 72, 75, 77, 84, 97–99, 102, 114, 117–18, 122, 124 (anonymous artist of the Second Avian Project), 3, 6–7, 63 (Albin), 12, 19, 25, 27, 29 (anonymous artist associated with Konrad Gesner), 22, 32, 55 (anonymous artist), 24 (Pierre Vase?), 31 (La Grese, after anonymous artist associated with Konrad Gesner), 33, 35–38, 43, 45, 56, 65, 76, 78–79, 81, 86, 111, 113, 116 (Pierre Vase), 34 (J. Saar), 39 (anonymous artist of the Second Avian Project, Pierre Vase?), 40, 73, 92, 94, 109, 115, 121 (Michel Petit), 41, 44, 46, 66–68, 70–71, 74, 80, 82, 85, 87–91, 93, 95–96, 100–101, 103–4, 106–8, 112, 119–20, 123 (La Grese), 42 (attributed to Pierre Vase or La Grese?), 83 (La Grese after Pierre Vase), 105 (top: Pierre Vase or La Grese, bottom: Michel Petit), 110 (La Grese?); L: 441, 472, 474, 476, 478, 480, figs. 2, 41, 43, 46, 50, 52 (Audubon), notes 5, 114, 116, 119, 126, 130; LIV: 433–76, figs. 1–6, 8–13, 15–16, 19–22, 25–26, 29–37, 39, 41–45 and front cover (Asher B. Durand), 7 (Thomas Cole), notes 1, 17; LV: 545–46, figs. 6–8 (Audubon), note 28–29, 31

______, New York Public Library. XLVIII: 114, fig. 6 (Schellinks), note 56

______, New York University, Grey Art Gallery and Study Center. XVIII: 279 (review); XXII: 331 (review)

______, Newhouse Galleries, formerly. LV: 496, 503, fig. 13 (Fragonard)

______, John Nicholson, formerly. XLVI: 500, fig. 84 (Gainsborough)

______, Pandora Old Masters, formerly. XLVIII: 155, figs. 1–2 (Polidoro da Caravaggio), note 2

______, Peggy Guggenheim’s Art of This Century Gallery, formerly. XLVI: 148, fig. 1 (Pollock)

______, Pierpont Morgan Library, see New York, Morgan Library & Museum

______, Pollock–Krasner Foundation. L: 171, fig. 9 (Krasner), note 41

______, Private coll. IV: 133, fig. 1 (P. Brueghel the Younger); 142–43, pl. 16 (Ligorio); 276–77, fig. 10 (Ingres); 290–93, note 17, pl. 25 (Vignon); 395–96, pl. 22 (Oudry); V: 298–300, fig. 4 (Jongkind); VI: 169, fig. 1 (Guercino); 396, figs. 1, 5, notes 5, 28, pl. 52 (Boudin); IX: 257, note 36, pl. 43 (Doomer); X: 266–83, figs. 4, 6, 12–13 (Bonnet), 15 (Demarteau), pls. 33b-34 (Boucher); XI: 140–41, note 23, pls. 5–6 (Veronese); XV: 166, note 5, pl. 24 (Restout); 355, notes 47, 50, pls. 11, 13 (Della Bella); XVII: 262–64, fig. 2 (Saint-Aubin), note 8; XVIII: 22–23, fig. 10 (Velázquez); 367, pl. 27 (Jordaens); XX: 27, notes 19, 22, pl. 35 (Rolli); XXI: 161, 163, pl. 32 (Murillo); 286–87, fig. 1 (Canaletto); 402–04, pls. 24 (Orrente), 30 (Herrera Barnuevo); XXII: 179–81, note 11, pl. 23 (Lanino); XXIII–XXIV: 354, pl. 10 (Cazes); XXV: 160, pl. 20 (G. B. Tiepolo, after Vittoria); 410–14, note 2, pl. 45 (Perino del Vaga); XXVII: 228, note 6, pl. 36 (R. Ghirlandaio); XXVIII: 63, figs. 9, 12 (Vrancx), notes 25, 30; 150–51, fig. 13 (Jordaens); 345, fig. 1 (Varley); 415–19, 423, fig. 12 (Claude Lorrain), note 28; XXIX: 289, fig. 12 (Sarazin); XXX: 284, figs. 21–22 (Boucher); XXXI: 119, figs. 23–24 (Watteau); 421, fig. 1 (Schedoni), note 3; 439, fig. 7 (Gaulli); XXXIII: 279, fig. 56 (T. Zuccaro); 406, fig. 2 (Jacopo da Empoli), note 18; XXXIV: 408, fig. 12 (Daumier), note 30; XXXVIII: 37, fig. 15 (Fenzoni), note 34; XL: 318, fig. 2 (H. Farrer), note 10; XLII: 337, fig. 3 (G. Salviati); XLIII: 372, fig. 1 (Bronzino), note 1; 441–42, back cover, fig. 4 (Canini), note 8; XLIV: 49, fig. 2 (Knupfer), note 8; 482–83, figs. 38, 41–42 (Gillot); XLV: 14, fig. 10 (Federico Zuccaro after Luca Signorelli); 211, fig. 3 (Agostino Carracci), note 5; 249, fig. 2 (Lotto); 312, fig. 39 (El Greco), note 59; XLVI: 159, 171, figs. 2, 15 (Lisa), notes 16, 46; 369, fig. 5 and front cover (Parmigianino), note 15; XLVII: 286, 294, 303, 307, figs. 35 (“False Amand” hand after Dughet), 43 (anonymous after Dughet); XLVIII: 327–40, figs. 1–3, 6, 9, 12–16, 18, 22–23, 25–27, 29, 31–32 (Veronese), note 2; XLIX: 294, 302, 310, figs. 4, 20, 41 (Rembrandt); 326, 330, 336, figs. 81, 97, 117 (Rembrandt); 357, fig. 8 (Rembrandt), note 15; 358, fig. 13 (Jan Lievens), note 19; L: 38, fig. 7 (Giulio Romano), note 48; 105, fig. 4 (Tiepolo), note 93; 377–78, figs. 18–19 (Jan Siberechts), note 23; LI: 310, figs. 24, 27, 31, 34 and front cover (Pieter Bruegel the Elder), note 65; LII: 344, fig. 82 (attributed to the workshop of Coecke van Aelst); 430, 439, 441, figs. 3–4 (El Greco), 17 (Vasari’s manuscript), 19 (El Greco’s inscriptions), notes 9, 48; LIII: 68, fig. 14 (Gandini), note 46; LVI: 92, fig. 21 (Bouchardon), note 29; 412, fig. 5 (Rembrandt), note 6; 487, 495, 498, 507, 510, figs. 2, 22, 44, 46, 50 and front cover (Claude Lorrain), notes 7, 32, 40, 70, 77

______, ______ (promised gift to the Hispanic Society of America). XLV: 361, fig. 4 (Ribera), note 24; 392–93, figs. 1 (Pacheco), 2 (Castillo y Saavedra)

______, ______, formerly. XLIII: 297, fig. 8 (F. Salviati), note 25; XLVI: 528, fig. 131 (Gainsborough)

______, Public Library. XXX: 444, figs. 1 (anonymous Dutch artist), 2 (Moeyaert), note 3; XXXIV: 92, figs. 1–2 (La Live de Jully, etchings after Saly); XLIV: 466, fig. 3 (engraving by Ertinger after Biancolelli?); XLV: 446, 451, figs. 21, 26, 28 (anonymous artist)

______, ______, Miriam and Ira D. Wallach Division of Art, Prints and Photographs. III: 382, fig. 1 (after Cornelis Floris ii); X: 264–65, fig. 2 (Bonnet); XLI: 395, fig. 4 (etching by Maria Cosway after Rubens), note 12

______, ______, Spencer coll. XVIII: 251–52, fig. 7 (engraving after Marten de Vos); XIX: 254–59, fig. 2, pls. 1–3 (Spada); XX: 11–12, fig. 5 (engraving after Gravelot); XXXI: 149, 155, figs. 3, 13 (Cochin), note 14

______, Robert Rauschenberg Foundation. L: 181, fig. 14 (Cy Twombly), note 68

______, Spencer A. Samuels Gallery. XXIX: 425, fig. 1 (Rubens)

______, Schaeffer Galleries, formerly. XLII: 139, fig. 5 (Guercino); LII: 344, fig. 83 (attributed to the workshop of Coecke van Aelst)

______, Charles Scribner’s Sons, formerly. XLII: 116, fig. 7 (R. F. Blum), note 21

______, Seiden and de Cuevas, Inc. XVII: 119, note 1, pl. 1 (Poussin)

______, Shepherd Gallery, formerly. XXXVII: 35–46, figs. 1–16 (Ango), notes 7, 18–22, 24, 29–30, 32–36, 38, 40

______, Herman Shickman Gallery, formerly. XLV: 348, fig. 3 (Bazzicaluva), note 23; LV: 83, fig. 259 (A. Bloemaert)

______, Charles E. Slatkin Galleries, formerly. XLIV: 422, 438, figs. 17 (Mercier), 55 (anonymous artist), note 29; LV: 58, fig. 169 (A. Bloemaert)

______, Solomon R. Guggenheim Museum, Tannhauser coll. XLIV: 95, fig. 2 (Van Gogh)

______, Sotheby’s, formerly. XXXIII: 258, fig. 35 (T. Zuccaro); XXXIV: 401, fig. 5 (Daumier), note 9; XXXVI: 367, fig. 13 (Baglione), note 34; XXXVII: 107, 133, fig. 6 (Luca Giordano); 244, fig. 12 (Malinconico), note 30; XLII: 222, fig. 35 (E. Sirani), note 72; 320, 324, figs. 9, 16 (Campagnola); 355, fig. 8 (J. Tintoretto), note 17; 365, fig. 5 (G. B. Tiepolo), note 14; XLIII: 179–80, figs. 22–23 (Federico Zuccaro), notes 36, 38; 343, fig. 4 (Cigoli), note 28; 356, fig. 1 (Raphael), note 7; 471, 480, fig. 21 (Cortona); XLIV: 423, 435, figs. 21 (Mercier), 44 (anonymous artist), note 33; XLV: 167, fig. 1 (Jacques Rousseau), note 3; 229, figs. 1–2, 5 (Penni), note 1; 348, fig. 3 (Bazzicaluva), note 23; XLVI: 105, fig. 3 (Boullogne), note 3; 356, fig. 2 (Bartolommeo Ramenghi), note 11; XLVII: 88, fig. 3 (Samacchini), note 11; XLVIII: 50, fig. 13 (Van den Eeckhout), note 42; 197, 201, 207, 209, figs. 1–2 (Kaiserman), 9–11, 18, 22, 26–27 (Kaiserman and Pinelli), notes 19, 36–37, 50; 248, fig. 5 (Guercino), note 21; XLIX: 59, fig. 7 (Jost Amman); 86–90, figs. 1, 20, 41–42, 48–49, 52–53, 55 (Foggini); L: 105, fig. 5 (Tiepolo), note 95; LI: 211–12, 219, figs. 50, 54, 73 (Ligozzi), notes 25–26, 33; LII: 16, 41, fig. 23 (Genga); 277, 326, fig. 4 (Coecke van Aelst); LIII: 321, fig. 19 (Waterloo), note 21; LIV: 149, 179, 195–96, figs. 2, 57 (Raffaellino da Reggio); LV: 9, 16, 62, 68, 81, 96, 111, figs. 16 (Honthorst), 37, 179, 201, 253, 256, 307, 367 (A. Bloemaert), note 7; LVI: 199, 221, fig. 12 (Van Musscher); 498, 510, figs. 23, 50 (Claude Lorrain), notes 41, 77

______, William H. Schab Gallery. XXVI: 28, 30, 37, note 61, pl. 21 (Sermoneta)

______, Swann Galleries, formerly. XLVI: 528, fig. 131 (Gainsborough); XLIX: 59, fig. 9 (Jost Amman)

______, David Tunick, formerly. LV: 16, 35, figs. 36, 96 (A. Bloemaert)

______, Monroe Warshaw, formerly. XLVII: 311, fig. 62 (anonymous); LV: 78, fig. 242 (A. Bloemaert)

______, Mia N. Weiner. XXV: 377–82, fig. 15 (Jeremias van Winghe), note 37, pl. 22 (Kempeneer); XXXIII: 319, fig. 102 (T. Zuccaro)

______, ______, formerly. XLIX: 88, figs. 52–53 (Foggini); LV: 4, 20, figs. 2 (copy after A. Bloemaert), 50 (A. Bloemaert)

______, Whitney Museum of American Art. XLIV: 279, fig. 3 (J. Johns), note 7; L: 256, fig. 2 (Richard Serra), note 31; LI: 493, fig. 15 (Defeo), note 22; LIII: 377, fig. 11 (Eva Hesse), note 53

______, Wildenstein, formerly. XLV: 295, 315, figs. 7, 42 (El Greco), notes 12, 65

______, Paul Worman Fine Art. XL: 342, fig. 14 (T. Robinson), note 28

Newark, NJ, Newark Museum. LIV: 443, fig. 14 (Asher B. Durand), note 33

Newberry, John S., formerly. XLIV: 429, fig. 30 (anonymous artist after Watteau)

Newbury, Dreweatts Donnington Priory (estate sale of Ian Eskew), formerly. LV: 79, fig. 243 (A. Bloemaert and a later hand)

Newcastle-upon-Tyne, Hatton Gallery, University of Newcastle-upon-Tyne. XIII: 401 (review)

Newcome, Mary. XIII: 26–40 (VALERIO CASTELLO); XVI: 163–72 (CASTIGLIONE and LEONE); XXIII–XXIV: 204–07 (PALAZZO ROSSO DRAWINGS); XXV: 156–58 (FERRARI); XXXI: 469–79 (GIOVANNI DAVID); XXXIII: 43–50 (BERGMÜLLER, VAN LOON, and BORREMANS); 414–17 (BERGAMASCO)

Newdegate, T. F. N. Fitzroy. II: 390, 395, note 25, pl. 19 (after Giulio Romano)

Nice, Musée Jules Chéret. XXXVIII: 175, figs. 14 (Natoire after Calandrucci), 15, 17 (retouched by Natoire), notes 36, 38–39

______, Galerie Robiony, formerly. LIV: 149, 188, fig. 3 (Raffaellino da Reggio)

Nichols, Annette. XL: 305–16

______, Kimberly. XL: 265–68 (TURNER)

______, Lawrence W. The “Pen Works” of Hendrick Goltzius. Review. XXXI: 285

Nicholson, Charles Archibald, Sir, 2nd Bt., formerly. XLVI: 458, fig. 18 (Gainsborough)

______, James. XXIII–XXIV: 510, 513–14, figs. 6, 9–10

Nicolaey, Arnaud. XLV: 173, fig. 10

Nicolas Lancret, 1690–1743. Review. XXXII: 168–71

Nicolay, Nicolas de. LI: 203, 205–6, 219, figs. 28, 31, 36, 75 (engravings)

Nicoletto da Modena. VIII: 379–87, figs. 1, 2 (attributed to), 3–8, pls. 12–24

Nicolson, Nigel, formerly. XLVI: 429, 452, fig. 3 (Gainsborough), note 5

Niedenthal, Samuel. LIV: 350, fig. 99

Niederländische Zeichnungen. Review. XXIII–XXIV: 422–23

Niederländische Zeichnungen des 17. und 18. Jahrhunderts. Katalog der Graphischen Sammlung des Stadtmuseums Linz-Nordico. No. VI. Review. XXXII: 174

Niemeijer, J. W. XII: 351–58 (GRANDJEAN)

______. Cornelis Troost. Review. XII: 289–91

Nieulandt, Willem van, the Elder. V: 39, fig. 1 (attributed to)

______, the Younger. XXVII: 242, fig. 1 (?)

Nieuwersluis, Museum Overholland. XL: 74–76, 81, figs. 1–3, 11 (De Kooning), notes 3, 13, 17, 43

Nigetti, Dionigi. XXX: 206, fig. 2

Nijman, Jan Danser, formerly. LV: 499, 506, 514, 516, figs. 16 (Berchem), 22, 39 (C. Netscher), 37 (A. van de Velde)

Nijmegen, Elias van. XI: 361–64, pl. 12

Niklaus Manuel Deutsch. Maler, Dichter, Staatsmann. Review. XVIII: 52

Nilsson, Gladys. 126, fig. 2

Nineteenth and Early Twentieth Century Drawings from the Musée Carnavalet. Review. XIX: 316

Nineteenth-Century American Landscape Drawings in the Collection of the Cooper-Hewitt Museum. Review. XXII: 331

Nineteenth-Century German, Austrian, and Hungarian Drawings from Budapest. Review. XXXIV: 87–89

Nineteenth-Century German Drawings in Copenhagen. Review. XXXI: 64

Ninove, Onze-Lieve-Vrouw-Hemelvaartkerk. LI: 379, 381, figs. 1, 3, 7, 10, 12, 15 (Verhagen), note 4

Nithart, Mathis Gothart, see Grünewald, Matthias

Nixon, Diane A. XLVIII: 261–62 (OBITUARY OF CHARLES RYSKAMP)

Noble Exercise. The Sporting Ideal in Eighteenth-Century British Art. Review. XX: 406

Nocera Inferiore, S. Anna. XXVIII: 320, fig. 2 (A. Solimena)

Nollekens, Joseph Francis. XLIV: 432–33, figs. 37–40

Nonantola, Archivio Abbaziale. XXV: 219–25, fig. 4 (L. Carracci)

Noon, Patrick. XXII: 85–86, 328–29; XXV: 292–95; XXXII: 70–71; XXXVIII: 82–83 (REVIEWS); 338–45 (PAUL MELLON’S DRAWINGS COLL.); XLVII: 489–92 (BONINGTON, DELACROIX, and RUBENS)

Noorde, Cornelis van. LII: 59, fig. 2 (etching after Cornelis or Jan de Visscher)

______ coll., formerly. XLIII: 28, 49, fig. 20 (Van der Cooghen)

Noordt, Jacob van. XXXVI: 77–78, figs. 3–5

Noort, Adam van. X: 137–43, pls. 22–25

Noortman, Robert and Angelique, formerly. LV: 109, fig. 361 (A. Bloemaert)

Norblin, Émile, formerly. LV: 496, 503, fig. 13 (Fragonard)

Norfolk, Private coll. XLVI: 531, fig. 137 (Gainsborough)

Norfolk, CT, Private coll. XLVIII: 200, fig. 6 (Kaiserman and Pinelli), note 33

Norfolk, VA, Chrysler Museum of Art. XVII: 31–33, fig. 6, pls. 21b-22 (G. D. Tiepolo); XVIII: 388–89 (review); XXVII: 201, note 40, pl. 12 (Cigoli); 323, 329, fig. 8 (C. de Vos), note 18; XLVII: 145, 155, fig. 18 (Hubert Robert), note 41; LIV: 506, fig. 6 (Domenico Tiepolo), note 20

Norman, Matthew. XLVIII: 173–78 (DUMONSTIER)

Normand coll. III: 378

Normand, Nicolas. LV: 68, 99, figs. 202, 317 (A. Bloemaert); LVI: 191, figs. 11–12 (Visscher), note 12

Northampton, MA, Smith College Museum of Art. XVIII: 31–32, note 12, pl. 16 (Letterini); XLII: 58–67, figs. 1 (Degas), 2 (Seurat), 3 (Ingres), 4 (attributed to Dieric Bouts), 5 (Rowlandson), 6 (Grünewald), 7 (Redon), 8 (Isabey), 9 (Cigoli), 10 (Neel), 11 (Motherwell), 12 (Tamayo), notes 2–9, 11–12, 14–15; 84–86 (review); XLIII: 345, figs. 7–8 (Cigoli), note 36; LIV: 82, fig. 6 (Géricault), note 13

Northbourne, Walter James, 4th Baron, formerly. XLVI: 429, 453, fig. 2 (Gainsborough), note 4

Northumberland, Duke of., coll., see Alnwick Castle, Duke of Northumberland coll. and Syon House, Duke of Northumberland coll.

Northumberland, Private coll. XLVI: 463–64, figs. 25–26 (Gainsborough)

Norton, MA, Wheaton College coll. XXVII: 218, note 16, pl. 25a (R. Ghirlandaio)

Norwich, Castle Museum. XIII: 294–95 (review)

Norwich, Xanthus, formerly. XLVI: 461, fig. 22 (Gainsborough)

Il Nosadella, see Bezzi, Giovanni Francesco, called Il Nosadella

Nosworthy, Richard, Sir. I, 3: 26, 28, note 37, pl. 15 (Jordaens)

Notre Dame, IN, University of Notre Dame, Snite Museum of Art. XXIII–XXIV: 421 (review); XXXI: 116, fig. 20 (Watteau); XLII: 215, fig. 13 (E. Sirani), note 35; LIII: 118, fig. 11 (Barbault), note 32

Nottingham, Castle Museum and Art Gallery. XII: 245, note 44, pl. 24 (Poussin); XVII: 275, pl. 41b (Stothard); XIX: 406–07, figs. 13–14 (Orrock studio), notes 43–44; XXV: 55–56, fig. 43 (Poelenburg)

______, University Art Gallery. XIII: 177–78; XXII: 329–30 (reviews)

Nourri, Jean-Baptiste-François. XLV: 87–90

______ coll., formerly. XLV: 88–89, figs. 1 (Titian), 2 (Michelangelo), 3 (Correggio), 4 (Peter Candid); LII: 291, 333, fig. 20 and back cover (Coecke van Aelst)

Nova, Alessandro. XXX: 83–108 (SALVIATI)

Novara, Private coll. XXXIII: 120, figs. 16, 18, 22 (Varallo), notes 25–26, 31

______, S. Gaudenzio, Cappella dell’Angelo Custode. XXXIII: 120, figs. 11–12, 15, 17 (Varallo)

Novato, CA, Private coll., formerly. XLV: 14, 16, 27, figs. 10 (Federico Zuccaro after Luca Signorelli), 11, 19 (Federico Zuccaro after Correggio)

Novelli, Pietro Antonio. LI: 36, figs. 15–16

Novosselskaya, Irina. XXXIV: 80–85 (PIERRE)

Noyons, Musée du Noyonnais. XXXIII: 69–70 (review)

Nucci, Avanzino. VII: 56, pl. 37; 435, pl. 39; XXIII–XXIV: 210, pl. 21; XXVIII: 173–80, figs. 1–8; LIII: 291, fig. 29 (anonymous, perhaps by him, after Peruzzi)

Nuremberg, Germanisches Nationalmuseum. I, 2: 9, fig. 5 (De Gheyn iii); I, 4: 29–30, fig. 3 (Schorer); VIII: 290–95 (review); X: 382–85 (review); XXIX: 30, 42, figs. 4, 9–10 (Dürer), note 4; XXXVI: 20, figs. 7 (Abraham Bloemaert), 8 (Cornelis Bloemaert the Elder?), note 16; XLIV: 173, 198, 203, figs. 79–80 (Kulmbach); LV: 71, 73, fig. 214, 224 (A. Bloemaert)

______, Museen der Stadt Nürnberg. XV: 403–17 (review)

______, Stadtarchiv Nürnberg. XLI: 348, fig. 6 (anonymous 18th century), note 26

______, Stadtbibliothek. XIII: 115–30, figs. 1–10, pls. 1–5 (Nuremberg Chronicle); XXVI: 233–36, note 7, pls. 8 (Schön), 9 (Schön?), 10–11 (Schön)

______, Collection of Hans-Christoph Freiherr von Tucher Stiftung, Museum Tucherschloss Nürnberg. XLI: 348, fig. 7 (stained-glass window by the workshop of Veit Hirsvogel the Elder after Dürer), note 27

Nuremberg Chronicle. XIII: 115–30, figs. 1–10, pls. 1–5

Nuremberg. A Renaissance City, 1500–1618. Review. XXV: 282–83

Nuvolone, Carlo Francesco. XVII: 281–82, fig. 1, pl. 50; XXIII–XXIV: 212–13, fig. 1, pls. 23–24; LVI: 73, fig. 53 (after)

 

Oakley, Mrs. R. Lawrence, formerly. XLII: 119, fig. 11 (Cassatt), note 33

Oberhuber, Konrad. I, 3: 44–54 (REVIEW); II: 398–401 (RAPHAEL); IV: 170–82; VIII: 276–87 (REVIEWS); XIX: 146–56 (P. BRUEGEL); XLV: 406 (obituary)

Oberlin, OH, Allen Memorial Art Museum. II: 37–39, note 2, pl. 28 (Heemskerck); XVI: 64 (review); XXIII–XXIV: 94–100 (review); XXXII: 387–92 (review)

O’Brian, Maureen C. Edgar Degas: Six Friends at Dieppe. Review. XLIV: 237–42

Ochtervelt, J. I, 2: 16, 19 (formerly attributed to)

O’Connor, Francis Valentine, see Thaw, Eugene Victor, and Francis Valentine O’Connor

Odescalchi, Baldassare d’Erba, formerly. XLVII: 520, fig. 2 (Mola), note 4

______, Don Livio, Duke of Bracciano, formerly. XLVII: 520, fig. 2 (Mola), note 4

______, Livio, Prince. III: 383–89; IV: 299–303; XXIII–XXIV: 5–30, figs. 1 (medal), 2–3 (portraits), 4 (inventory page)

______, formerly. XXV: 263–69, figs. 1–7, pls. 20a-24b (Francesco Allegrini)

Odilon Redon. Prince of Dreams, 1840–1916. Review. XXXIV: 440–44

Oehler, Lisa. XXXVII: 200, 309–11 (LETTERS)

______. Rom in der Graphik des 16. Bis 18. Jahrhunderts. Ein niederländischer Zeichnungsband der Graphischen Sammlung Kassel. Review. XXXVII: 192–95

______. Staatliche Kunstsammlungen Kassel, Kupferstichkabinett, Schloss Wilhelmshöhe. Vol. I. Niederländische Zeichnungen des 16. bis 18. Jahrhunderts. Review. XIX: 44–46

L’Oeil et la Passion 2: Dessins italiens baroques dans le collections privées françaises, exh. cat. by Catherine Monbeig Goguel et al. Review. LIV: 259–65

Oeuvres de Jordaens au Musée de Besançon. Review. XXII: 221

Oissel, Hély d’ coll., formerly. XXXV: 249, fig. 31 (Watteau, after Rubens)

O’Keeffe, Georgia. XLII: 14, fig. 14

Old Master Drawings. Review. XXII: 221

Old Master Drawings, 1550–1850. Review. XXII: 452, 455

Old Master Drawings from American Collections. Review. XV: 186

Old Master Drawings from Chatsworth. Review. XXVII: 73–78

Old Master Drawings from Christ Church, Oxford. Review. XI: 293

Old Master Drawings from Holkham. Review. XVI: 65

Old Master Drawings from the Collection of Joseph F. McCrindle. Review. XXXII: 67–70

Old Master Drawings from the David Laing Bequest. Review. XV: 185–86

Old Master Drawings from the Feitelson Collection. Review. XXII: 452–54

Old Master Drawings from the Gordon Collection. Review. XVI: 66

Old Master Drawings from the Malcolm Collection. Review. XXXV: 402

Old Master Drawings. Selections from the Charles A. Loeser Bequest. Review. XVIII: 55

Oldenburg, Peter. L: 4, fig. 5 (Master Drawings logo design)

Oliveira, Nathan. LI: 500, 509–10, figs. 24, 35–37

______ Estate. LI: 500, fig. 24 (Oliveira), note 36

Oliver, Edith, formerly. XLVI: 514, fig. 108 (Gainsborough)

______, Isaac. XXXVI: 123, 133, 139, figs. 1 (completed by Peter Oliver), 14 (formerly attributed to), 25

______, Mark, formerly. XLV: 295, fig. 7 (El Greco), note 12

______, Peter. XXXVI: 123–53, figs. 1 (and Isaac Oliver), 2–3, 4 (after Titian), 7 (after Leonardo da Vinci), 8–10, 12–19, 20 (etching), 21 (after), 22–24; LII: 233, figs. 2–3 (attributed to), 4

Olomouc (Moravia), State Library. XLII: 385, fig. 16 (P. Pagani), note 103

Olson, Roberta J. M. XVI: 302–08 (BARTOLINI); XX: 149–56 (EGISTO ROSSI); XXXV: 289–92 (SABATELLI); XXXIX: 12–44 (BARTOLOMEO PINELLI); 425–30 (REVIEW); XLI: 76 (LETTER); XLII: 19–36 (NEW-YORK HISTORICAL SOCIETY COLL.); XLIII: 415–39 (SARGENT and BECKWITH); XLVIII: 195–226 (FRANZ KAISERMAN AND BARTOLOMEO PINELLI); L: 439–95 (AUDUBON); LI: 539–49 (REVIEW); LIV: 433–76 (ASHER B. DURAND)

______. Italian Drawings, 1780–1890. Review. XVIII: 390–91

______, and Alexandra Mazzitelli. XLV: 435–521 (AVIAN WATERCOLORS); LV: 539–48 (AUDUBON)

______ coll., and Alexander B. V. Johnson coll. XLVI: 479, fig. 53 (Gainsborough)

Omaggio a Tiziano. Review. XV: 47–48

Omaha, NE, Joslyn Art Museum. IX: 7–8, fig. 4 (tapestry)

Omiccioli, Eveline Baseggio. L: 65–70 (PAOLO FARINATI)

100 of the Finest Drawings from Polish Collections. Review. XVIII: 276–77

O’Neil, Maryvelma Smith. XXXVI: 355–77 (BAGLIONE)

O’Neill, Mary. XX: 259–60 (VERNANSAL); XXII: 186–94 (RIGAUD)

Onofri, Crescenzio. XLVII: 278, fig. 20 (? after Dughet)

Oostzanen, Jacob Cornelisz. van. XVIII: 139–40, fig. 5

Opocno, Czech Republic. XXIX: 8, 15, figs. 26–27 (Baldini)

Oporto, Fundação de Serralves, Museu de Arte Contemporânea (on deposit from the Collection of the Fundação Luso-Americana para o Desenvolvimento, Lisbon). XLV: 398, fig. 2 (Calhau), note 1

______, Museu Nacional de Soares dos Reis. XL: 176–78 (review)

______, University of Oporto, Museum of the Faculty of Fine Arts. XLV: 387–90, figs. 1 (Maratti), 3 (Polidoro da Caravaggio), 4–5 (anonymous artist, Roman School, 16th century), 7 (Coello), 8 (Merano), 9 (Jan van der Vaart)

Oppé, A. Paul, formerly. XLVI: 523, fig. 125 (Gainsborough); XLVII: 516, fig. 1 (Mola), note 1; LV: 325, fig. 11 (Verboom), note 50

______, Miss Armide. III: 376, 379–80; XI: 152, note 16, pl. 17 (Perez da Leccio); XIII: 23–26, note 1, pl. 5 (Napoletano)

Oppenheim, Benoît. III: 156, fig. 2 (wood carving)

Oppenheimer, Henry, formerly. I, 2: 15; XIV: 256, pl. 14 (Boucher)

Oppenord, Gilles-Marie. XI: 362–64, note 6, pl. 17; XXVIII: 332–37, figs. 1–4; XLII: 43, fig. 6; LI: 250–51, figs. 3–4

Opperman, H. N. IV: 384–409 (OUDRY)

Opresco, George. XVII: 124–26, note 15, pl. 5 (after Poussin)

Oprescu, George, formerly. XLIX: 97, 105, figs. 3, 25 (Amico di Donato)

Orazi, Andrea Antonio. V: 13, 22, pl. 7

Orea, Juan de. XXXVII: 394, fig. 1

Orefice, Dorothy. XXV: 136, fig. 7 (anonymous, after Michelangelo)

Orenstein, Nadine. XXXIV: 312–14 (REVIEW)

Organisty, Adam. XXXIX: 409–14 (GIUSEPPE PASSERI)

Orgel, Stephen, and Roy Strong. Inigo Jones. The Theatre of the Stuart Court. Review. XIII: 52–54

Orléans, Henri-Eugène-Philippe-Louis d, duc d’Aumale, see Aumale, Henri-Eugène-Philippe-Louis dOrléans, duc d’

Orléans, Church of St. Pierre-de-Martroi. XV: 166–67, fig. 1 (Restout)

______, Musée des Beaux-Arts. I, 1: 23, 27, 30, pl. 25a (Géricault); IV: 290; 312; VIII: 369–70, fig. 9 (Naldini); X: 270, fig. 9 (Boucher); XII: 240, note 15, pl. 6 (Poussin); XIII: 384–85, fig. 7c (Bouchardon); XIV: 248, pl. 2 (Boucher); XV: 284, fig. 1 (Giani); XVIII: 382–83, fig. 1 (Poussin), notes 5–6; XX: 259–60, fig. 1 (Vernansal); XXII: 441–43, pl. 42 (Fragonard); XXIII–XXIV: 377–78, 382, note 5, pl. 44 (Lancret); XXV: 418, fig. 5 (studio of Vouet); XXIX: 288, fig. 9 (Sarazin); XXX: 219, 220, figs. 6–7 (Mola); XXXVIII: 131, fig. 10 (Perrier), note 27; XL: 163, fig. 3 (Farinati), note 14; XLIV: 522–23, figs. 1 (Fragonard), 2 (Monnet), notes 2–3; XLVII: 205, fig. 14 (Bouchardon), note 103; LIV: 49, fig. 2 (Vernansal), note 2; LV: 396, fig. 6 (G. M. Crespi?)

Orley, Barent van. III: 404

______, Bernard van. XLIII: 103, fig. 5; XLV: 95, fig. 7; LII: 298, figs. 26–27 (circle of); 363–70, figs. 1 (attributed to), 2–3 (after), 4–5 (workshop copy after)

Orloff, Alexis, Prince, formerly. XXXII: 344, fig. 21 (L. Tiepolo)

Ormond, Flavia. LV: 263 (OBITUARY for GABRIEL NAUGHTON)

______, Mrs. Francis, formerly. 420, fig. 10 (J. S. Sargent), note 16

Ornament and Architecture. Renaisssance Drawings, Prints, and Books. Review. XIX: 314

Ornans, Musée Gustave Courbet. XXII: 458–59, fig. 2 (Courbet)

Orrente, Pedro. XXI: 402–03, pls. 24–25

Orrock, James. XIX: 403–25, figs. 12–14 and pl. 8 (studio of)

Orsi, Lelio. III: 21 (formerly attributed to); 414, fig. 7; IV: 415–18, figs. 1, 3 (after), pls. 29–31; XI: 32–34, pls. 24–25; XXIII–XXIV: 417; LIV: 538, fig. 1

Ortalli, Massimiliano, formerly. XLIX: 95, 107, figs. 1–2, 5 (Amico di Donato)

Orte, Museo Diocesano. XXIX: 181, fig. 2 (Castello)

Ortiz Naretto, María Teresa, see Navarro, Angel M., with Pablo de Monte and María Teresa Ortiz Naretto

Ortkens, Aerdt. V: 381, pl. 15

Oselli, Gaspare. XXIII–XXIV: 210–11, fig. 8 (engraving after Vasari)

Osimo, Church of S. Filippo. XXI: 145–47, fig. 12 (Lamberti)

Oskar Laske, Ludwig Heinrich Jungnickel, Franz von Zülow. Drei österreichische Künstler der Jahrhundertwende und Zwischenkriegszeit. Review. XVII: 286

Oslo, Munch Museum. XVI: 66 (review)

______, Nasjonalgalleriet. V: 377–78, pl. 1 (Rembrandt); XII: 123–27, note 1, pl. 1 (Rembrandt); 169, pl. 35 (Fréminet); XV: 16–21, note 4, pl. 16 (Wtewael); XVI: 65 (review); XVII: 285 (review); XVIII: 30–32, notes 5, 9, 13–14, pls. 12–13, 15, 17–19 (Letterini); XIX: 57 (review); XXXI: 415, fig. 4 (Baglione), note 7; XXXIII: 281, figs. 58–59 (T. Zuccaro); XXXIX: 68 (review); 268, fig. 11 (C.-N. Cochin the Younger), note 32; XL: 240, fig. 3 (Rembrandt), note 5; XLIII: 66, fig. 73 (attributed to Van der Cooghen); LI: 301, figs. 11, 35 (Pieter Bruegel the Elder), note 52; LIV: 180, 191, fig. 65 (Raffaellino da Reggio)

______, Nasjonalmuseet. LII: 23, 41, fig. 31 (Genga); LVI: 13, fig. 13 (Lucas Cranach the Elder), note 26

Ostade, Adriaen van. V: 159–65, figs. 1–2, 4, pl. 20; XX: 287–88; XXII: 80–82; LIII: 15, 40, figs. 13, 36; 471–73, figs. 1 (after), 2–3, 4 (after), 5, 6 (after), 7; LV: 507, fig. 24 (studio of); LVI: 194, figs. 3 (etching and drypoint), 4–5

______, Isaac van. V: 159–65, fig. 3, pl. 21; XX: 287–88; XXII: 80–82; XXVI: 57, fig. 2; LVI: 183, figs. 2–3

Ostrow, Stephen E. VIII: 40–42 (ANNIBALE CARRACCI)

Ottawa, National Gallery of Canada. II: 176, pl. 39 (Pagani); III: 408–09, fig. 3 (F. Zuccaro); VII: 173–78 (review); X: 264, pl. 30 (Boucher); XVI: 65 (review); XVIII: 278 (review); XX: 46, 388–89 (reviews); XXII: 412, 424, pl. 7 (L. Carracci); XXIII–XXIV: 39, note 16, pl. 8a (Schedoni); 348, note 2, pl. 1 (Le Brun); XXVII: 151, fig. 18 (Maes), note 13; XXXIII: 36, figs. 1, 6 (Pozzi), note 1; 177–81 (review); XXXV: 301, fig. 1 (Herrera Barnuevo), note 5; XXXVI: 369, fig. 18 (Baglione), note 37; XXXIX: 334–37 (review); XLI: 53, fig. 2 (Perino del Vaga), note 25; XLII: 337, fig. 4 (G. Salviati); XLIII: 297, fig. 8 (F. Salviati), note 25; XLIV: 444, fig. 72 (anonymous artist); XLVII: 90, fig. 9 (Cati), note 22; 346, 348, figs. 1 (Luigi Sabatelli), 2–3 (Giuseppe Sabatelli), notes 4, 8; XLVIII: 155, 158–59, figs. 1–2, 4, 6 (Polidoro da Caravaggio), notes 2, 6; L: 105, fig. 6 (Tiepolo), note 97; LV: 468, fig. 5 (F. Fenzoni), note 13

Otterlo, Rijksmuseum Kröller-Müller. XXV: 27–28, figs. 10–11 (Poelenburg); XXVII: 200–01, note 38, pls. 10–11 (Cigoli); XXXV: 343, fig. 1 (Molyn); XXXVI: 20, fig. 4 (Abraham Bloemaert), note 10; XLVIII: 232, fig. 10 (Redon), note 8

Ottino, Pasquale. LII: 464–70, figs. 3–5

Ottley, William Young. XI: 119–37 passim

______, ______ coll., formerly. XLVI: 461, fig. 21 (Gainsborough); LII: 47, figs. 69–70 (workshop of Luca Signorelli, Genga?); 307, 334, figs. 43–45 (Coecke van Aelst); LIV: 149, 189, 195, fig. 2 and back cover (Raffaellino da Reggio)

Otto, Curt, Dr., formerly. LII: 68, 82, fig. 13 (Jan de Visscher)

Oudaan, Michiel, formerly. XXXVII: 231–33, figs. 2–5 (Pontius?, retouched and reworked by Rubens), note 4; LV: 37, fig. 101 (A. Bloemaert); LVI: 198, 221, fig. 10 (Van Musscher)

Oudenaarden, Willem, formerly. XLIII: 28, 49, fig. 20 (Van der Cooghen)

Oudenrogge, Jan van. V: 163–64, fig. 5

Oudry, Jean-Baptiste. IV: 384–409, figs. 1–3, 4 (after), 5–10, pls. 14–25; XLII: 44, fig. 8; XLIV: 437, fig. 49 (?); L: 448, fig. 9; LIV: 397, 401, figs. 1, 4 (with figures possibly by Hubert Robert), 5

Oukerke, L. van, formerly. XLIII: 21, 50, fig. 12 (Van der Cooghen)

Oukerken, W. van, formerly. XLIII: 17, 46, 60, figs. 5–6 (Van der Cooghen)

Overbeck, Friedrich. XXXIX: 139, fig. 32 (and P. Cornelius)

______, Johann Friedrich. XLVI: 260, fig. 6

Oviedo, Juan de. XLVIII: 436, fig. 2

Owen, Felicity. V: 291–95 (BEAUMONT)

Owens, Susan. The Art of Drawing: British Masters and Methods since 1600. Review. LII: 231–42

Oxford, Ashmolean Museum. I, 1: 48; I, 2: 12; 51, pl. 47 (Cortona); I, 3: 48, fig. 1 (after Raphael); I, 4: 12, 17, pls. 11, 15a (Trometta); 23, 26, pl. 17 (Perino del Vaga); II: 20–22, 25, notes 7, 9, pls. 8b, 10 (Cades); 160, pl. 29 (Bronzino); 252, 264, 267, pl. 6 (Bedoli); 274, 276; III: 137–39, 151, fig. 10 (Cornelis van Haarlem); 157–58; IV: 7, 20, fig. 3 (Fenzoni); 58; 383; V: 378, fig. 3 (Holbein); VI: 135, pl. 28a (G. A. Guardi); 243, pl. 2 (Tribolo); 356–57, fig. 2 (Setti); 394, pl. 41 (L. Tiepolo); VII: 379, note 18, pl. 1 (Wyngaerde); VIII: 40, note 2, pl. 40 (Annibale Carracci); 268, note 5, pl. 22 (Baglione); 281, pl. 37 (Gatti); 284, note 40, pl. 44 (attributed to Bedoli); 287–90 (review); 416–17, fig. 1 (Claude Lorrain); IX: 21–22, 33, fig. 10 (Salviati), note 17; 244, note 26, pl. 16a (Ligorio); 360, note 4, pls. 1–2 (Ciampelli); X: 27, note 29, pl. 23 (Mola); 120, pls. 3–4 (Gaulli); 231–59, figs. 2, 7–10, 12, 18, pls. 1–21 (Gaulli); 351–55, note 2, pl. 1 (Holbein); XI: 46–48, fig. 4 (Dadd), note 8; 54 (review); 143–46, notes 40, 54, pls. 11, 15 (Veronese); 279–87, note 3, pl. 31 (Burne-Jones); XII: 140–47, fig. 15 (Dandré-Bardon); 369–70, pl. 31b (Ribera); XIII: 147–57, fig. 1, notes 11, 23, pl. 10 (Jacques Stella); XIV: 135, note 50, pl. 9 (Zucchi); XV: 9–10, fig. 4 (F. Guardi); 28, note 8, pl. 22 (Malosso); 132, note 36, pls. 7–8 (Raphael); 243–55, note 8, pls. 1–4, 6, 8 (Dosio and Della Porta); 355, note 49, pl. 12 (Della Bella); XVI: 405–10, pls. 18a, 25b-26a (Wilson); XVII: 278–79, pl. 43 (Constable); 394–96, fig. 2 (Wyngaerde); XVIII: 57 (review); 131, pl. 13 (J. Muller); 264–68, figs. 3–4, notes 1, 10, pls. 45–46 (Pissarro); XIX: 18–22, pl. 19 (Perino del Vaga); XX: 42–43, fig. 2 (Reni); 386–87 (review); 393–98, fig. 2 (Pissarro); XXI: 41, 44, 50–51, figs. 5 (G. Coccapani), 17 (Cigoli), note 24; 172–74, pl. 46 (Friedrich); 180 (review); XXII: 214–16 (review); 412–14, 424, note 22, pls. 8, 11 (L. Carracci); XXIII–XXIV: 39, note 12, pl. 5 (Schedoni); 354, pl. 11 (Cazes); XXV: 245–48, fig. 3 (Michelangelo); 410–11, fig. 1 (Perino del Vaga); XXVI: 233–35, fig. 1 (Schön); XXVII: 129–30, fig. 1 (Lastman), note 1; 196–97, note 8, pl. 2 (Cigoli); 306, fig. 5 (Michelangelo); XXVIII: 14, fig. 20 (Van Diepenbeeck), note 59; 269, fig. 4 (Rocca), note 4; XXIX: 410, fig. 2 (Lastman), note 2; XXX: 9, 11, 22, figs. 1–3, 7 (Raphael), note 1; 174–76, 178–79, figs. 1–7, 13, 16–17, 19, 22–23 (Master of the Médaillons Historiques), notes 2–3, 8, 11, 16, 24, 26; 261, 282, figs. 9–10 (Boucher); XXXI: 66–69 (review); 275, fig. 80 (Goltzius?); XXXIII: 283, fig. 60 (T. Zuccaro); 367–87, figs. 3–8 (Martellange), 9–12 (Stella), 13–23 (Martellange), notes 9–12, 23, 25, 27–28, 31–32; XXXIV: 28, figs. 25 (Annibale Carracci), 29 (school of Annibale Carracci), notes 136, 147; 132, fig. 18 (after M. Schongauer); 152, 155, figs. 7, 10 (Michelangelo), note 17; 170, fig. 6 (Pordenone), note 11; XXXV: 6, 20, figs. 2, 22, 24 (Guillain after Annibale Carracci), 26 (Annibale Carracci), note 82; XXXVI: 414, fig. 10 (Raphael), note 14; XXXVII: 161, fig. 4 (Raphael), note 30; 368, fig. 2 (Ribera), note 13; XXXVIII: 404, figs. 13–14 (Ludovico Carracci); 449, figs. 4–5 449, fig. 3 (Boscoli), note 5, notes 6–7; XXXIX: 5, figs. 5 (G. Bossi after Michelangelo), 6 (Michelangelo), notes 12, 13; 225, fig. 7 (La Fosse), note 10; XLI: 58–62 (review); 62–68, figs. 3 (Saint-Aubin), 4 (circle of Watteau); 69 (review); 76 (letter); 108, fig. 7 (Michelangelo), note 17; 302, fig. 9 (follower of Bosch), note 42; XLII: 225, fig. 8 (E. Sirani), note 78; 386, fig. 18 (G. Piazzetta), note 108; XLIII: 168, fig. 9 (Taddeo Zuccaro), note 14; 305, fig. 20 (F. Salviati), note 57; 361–62, figs. 11 (Raphael), 14 (Raphael or assistant), notes 37, 46; XLIV: 152, 193, fig. 45 (Kulmbach); 363, fig. 2 (Michelangelo); 432, fig. 36 (Guercino); XLV: 236, fig. 4 (Michelangelo), note 5; 523, fig. 2 (Hoefnagel), note 11; XLVI: 356, 363, figs. 11 (Raphael), 19 (Parmigianino), notes 15, 28; 379, fig. 3 (Barocci), note 10; XLVII: 57, fig. 4 (Baccio del Bianco), note 11; 330, 340, figs. 2 (Ruskin after Carpaccio), 16 (Ruskin), notes 8, 44; 433, fig. 1 (Jan Steen), note 2; XLVIII: 456, fig. 2 and front cover (Jusepe de Ribera and Domenico Stagi), note 7; XLIX: 236–38, figs. 9–10 (La Traverse), note 91; 318, fig. 61 (Rembrandt); 347, fig. 151 (Rembrandt); 482, fig. 4 (Pieter Boel, formerly attributed to Jan Fyt), note 23; 521, figs. 79a–b (Francis Barlow), note 135; LI: 18, 24, figs. 2, 18 (Passarotti), notes 38, 56; 70, fig. 9 (Burne-Jones), note 42; 184, fig. 10 (Ligorio), note 14; 325, 327–28, 330–33, 335, 338, figs. 2–3, 6, 9–11, 15, 17, 21–22, 31 (Van den Wyngaerde), notes 19–20, 26, 29–35, 43, 56; 471, fig. 1 (Louis de Boullogne the Younger), note 2; LII: 475, fig. 6 (Ribera), note 13; LIII: 169, fig. 35 (Piranesi), note 60; 473, fig. 5 (Adriaen van Ostade), note 9; 489–90, nos. 8 (copy after Cavedone’s self-portrait), 10 (Coccapani); LIV: 227, fig. 6 (Agostino Carracci), note 10; LV: 385, fig. 9 (Vasari), note 64; 441, fig. 11 (Dürer), note 18; 466, fig. 2 (F. Fenzoni), note 8; LVI: 369–84, figs. 2 (Perugino), 5 (Raphael), notes 20, 27; 386, fig. 2 (Michelangelo), note 2; 510, fig. 55 (Claude Lorrain), note 82

______, ______, Bryson bequest. XVI: 284–87, notes 1, 4, 68, pls. 33–35 (Degas), 36 (Cézanne); 287–93, pls. 37, 39 (Deverell), 38 (Stephens), 40–41 (Siddal), 42 (Millais), 43 (Hughes), 44 (Burne-Jones)

____