museums and institutions:
Attributed works:
1. Cardinal Erard de la Marck, by Jan Cornelisz Vermeyen. c.1530. Panel, 64.3 by 55.2 cm. (Rijksmuseum, Amsterdam). Photograph taken after treatment in 2006.
Attributed works:
10. Detail of Fig.1, showing feathery brushstrokes on the edge of the hat.
Attributed works:
11. Detail of Fig.2, showing the feathery brushstrokes between the Virgin’s blue robe and the triangle of green drapery.
Attributed works:
12. Detail of the hands in Fig.1.
Attributed works:
13. The marriage at Cana, by Jan Cornelisz Vermeyen. c.1532. Panel, 66 by 85.4 cm. (Rijksmuseum, Amsterdam; on long-term loan to the Bonnefanten Museum, Maastricht).
Attributed works:
14. Detail of the left sleeve in Fig.1. Photograph taken during treatment, after filling and before retouching, with fills toned in.
Attributed works:
15. Detail of the left sleeve in Fig.1. Photograph taken after treatment.
Attributed works:
16. Anonymous copy after Fig.1. Undated, possibly seventeenth century. Panel, 50 by 65 cm. (Musée d’Art Religieux et d’Art Mosan, Liège).
Attributed works:
2. The holy family, by Jan Cornelisz Vermeyen. c.1530. Panel, 64 by 54.4 cm. (Netherlands Institute for Cultural Heritage, Rijswijk, on long-term loan to the Frans Hals Museum, Haarlem). Photograph taken after treatment in 2006.
Attributed works:
3. Infrared reflectogram assembly of Fig.1, before treatment. The image shows deliberate scratches and a large area of damage around the left eye, which was reconstructed in the late nineteenth century. (Image: Ron Spronk).
Attributed works:
4. Cardinal Erard de la Marck, by Jan Cornelisz Vermeyen. c.1545. Etching, 34.9 by 24.7 cm. (Rijksprentenkabinet, Amsterdam)
Attributed works:
5. Left sleeve in Fig.1 early in treatment, showing overpaint and wrinkled varnish. Three small cleaning tests have been made, revealing original paint, damage and more retouching underneath.
Attributed works:
6. Detail of Fig.1. Photograph taken during cleaning in stages, showing, from left to right: a) original paint (with some damages); b) lower layer of opaque overpaint (darkened); c) upper layer of ‘sauce’-like overpaint; b) lower layer of opaque overpaint.
Attributed works:
7. Fig.1 before treatment
Attributed works:
8. Cross-section of a sample taken from the green curtain in the background of Fig.1. a) varnish and overpaint layers; b) surface coating (found on both Figs.1 and 2); c) original copper green glaze (now discoloured brown); d) original green paint: azurite and some yellowish particles towards the bottom of the layer; e) peach-coloured preparatory layer: mostly vermilion with some red lake and black particles; f) ground: chalk.
Attributed works:
9. Cross-section of sample taken from the green curtain in the middle-ground of Fig.2. a) varnish layer, containing particles; b) surface coating (found on both Figs.1 and 2); c) original copper green glaze (now discoloured brown); d) original paint: azurite with white and black particles, more brownish towards bottom of layer; e) peach-coloured preparatory layer, containing lead white and vermilion;
f) ground: chalk
