museums and institutions:
Attributed works:
1. Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).
Attributed works:
10. Cross section of paint photographed in reflected light at 250x from the dark red table cloth in Aristotle contemplating a bust of Homer, by Rembrandt (Metropolitan Museum of Art, New York). The two layers of colour contain mixtures of red earth pigment with red lake over a double ground (only the upper layer of ground is present in the sample).
Attributed works:
11. Unmounted sample photographed in transmitted light at 280x of a fragment of smalt glaze in oil from the lining of the cloak, main field, in Fig.1. There is extreme discoloration of both pigment and medium in the paint layer. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
12. Cross section of paint from Fig.1 showing the dull green patch just below the forearm containing azurite, smalt and ochre. Beneath is a layer of mixed pigment duplicating the colour of the brown quartz ground. Incomplete layer structure, photographed in reflected light at 250x. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
13. X-Radiograph Detail of Fig.1 Showing the Partially Completed Earlier Figure Beneath the Surface on the Main Canvas. The Image Has Been Turned Anticlockwise Through 90°. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
14. X-Radiograph Detail of Fig.1, Lower Left Corner, Showing the Junction of the Main Canvas and Added Strips. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
15. X-Radiograph of Self Portrait at the Age of Sixty-Three, by Rembrandt. 86 by 70.5 cm. (National Gallery, London).
Attributed works:
16. Detail of the Red Sleeve of the Woman Spilling Wine, Lower Right, in Belshazzar's Feast, by Rembrandt (National Gallery, London). Some Blanching Is Evident in the Red Glaze Layers.
Attributed works:
17. Infra-Red Photograph Detail of Fig.1, Showing the Use of Vermilion (Light Areas) in the Paint of the Cloak at the Shoulder. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
2. The Arrangement of Canvas Pieces in Fig.1, with Dimensions in Centimetres; The Drawing Is Not to Scale. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
3. X-Radiograph of Fig.1. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
4. Detail of Fig.1. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
5. Cross section of paint from Fig.1, photographed in reflected light at 250x, showing the red cloak extended on to the lower canvas addition (D in Fig.2). A double ground, orange below and light greyish brown above, is present with a further layer of paint containing lead white over this. The cloak comprises several layers of red and yellow lake combined with a little vermilion. There is a thin underpaint containing bone black and other translucent dark-coloured pigments. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
6. Cross section of paint from Fig.1, photographed in reflected light at 250x, from the dark background above the figure extended on to the upper canvas addition (A in Fig.2). Two layers of ground are present: a mid-orange lower priming and a light orange upper priming containing a significant proportion of lead white. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
7. Cross Section of Paint from Fig.1, Photographed in Reflected Light at 250x, Showing a White Impasto Touch on the Armour Applied Directly on to the Brown Quartz Ground. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
Attributed works:
8. Cross section of paint from Fig.15, photographed in reflected light at 250x, showing pentimento of the turban. As in Fig.1, lead white impasto is applied directly on to the textured brown ground (layers of paint forming the finished background pass over the white paint of the turban). [Self Portrait at the Age of Sixty-Three, by Rembrandt. 86 by 70.5 cm. (National Gallery, London).]
Attributed works:
9. Cross section of paint from Fig.1, photographed in reflected light at 250x, showing orange-coloured impasto of the bow tied at the man's throat, made up of yellow ochre and yellow lake. The translucent dark-brown layer beneath represents the sketched design brushed directly on to the quartz ground, seen here as the lowest layer. [Man in Armour, by Rembrandt, Photographed after Cleaning and Restoration. 137.5 by 104.5 cm. (Art Gallery and Museum, Glasgow).]
