Photography Credits

Barbour, Daphne; Lomax, Suzanne Quillen

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Photography Credits

Daphne Barbour, Suzanne Quillen Lomax

Facture: Conservation Science Art History Volume 4: Series, Multiples, Replicas

Photography Credits

Author

Daphne Barbour, Suzanne Quillen Lomax

PublisherNational Gallery of Art

Stable URL: https://aaeportal.com/?id=-20877

Photography Credits

The Portraits of Giuliano de’ Medici by Sandro Botticelli

Figs. 1, 4, 7, 11, 14, Gregory Williams, Department of Imaging and Visual Services, NGA; figs. 2, 6c, 8c, 9, 10, Fondazione Accademia Carrara, Bergamo; figs. 3, 6b, 8b, 15, 16, © Staatliche Museen zu Berlin, Gemäldegalerie / Christoph Schmidt; figs. 5, 17, 20, Elizabeth Walmsley, Painting Conservation Department, NGA; figs. 6a, 8a, 13, Elizabeth Walmsley and Douglas Lachance, Painting Conservation Department, NGA; fig. 12, Douglas Lachance, Painting Conservation Department, NGA; fig. 18, Villa Medici, Poggio a Caiano; fig. 19, National Gallery of Art Library, A. W. Mellon New Century Fund.

“Comparable to the Very Tips of Their Spades”: Technical and Political Connections among Serial Busts of Charles V

Figs. 1, 9, 21, Lee Ewing, Department of Imaging and Visual Services, NGA; figs. 2, 6, © Photographic Archive Museo Nacional del Prado, Madrid; fig. 3, Kunsthistorisches Museum, Vienna, photo: KHM-Museumsverband; fig. 4, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2018; fig. 5, Ladislaus E. Graf Batthy´ny, Bürgerstiftung Güssing; figs. 7, 17, 18, Kunsthistorisches Museum, Vienna, photos: Dylan Smith, Object Conservation Department, NGA; figs. 8, 15, 16, 19, 20, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2018, photos: Dylan Smith, Object Conservation Department, NGA; fig. 10, Ladislaus E. Graf Batthy´ny, Burgerstiftung Güssing, photo: Dylan Smith, Object Conservation Department, NGA; figs. 11–14, Object Conservation Department, NGA, photos: Dylan Smith, Object Conservation Department, NGA.

The Mellon Mercury: Investigating a Giambologna Replica

Figs. 1, 7, 18 and pp. 67, 101, Lee Ewing, Department of Imaging and Visual Services, NGA; fig. 2, The Metropolitan Museum of Art, New York, Gift of D. W. Langton, transferred from the Library (1991.1073.145); fig. 3, Museo Nazionale del Bargello, Florence, Tuscany, Italy / Alinari Archives, Florence / Bridgeman Images; fig. 4, The Metropolitan Museum of Art, New York, Gift of Burton Emmett, 1929; fig. 5, Museo Civico Medievale, Bologna, Italy; fig. 6, Kunsthistorisches Museum, Vienna, KHM-Museumsverband; fig. 8, Kunstsammlungen und Museen Augsburg, Maximilianmuseum, Foto: Achim Bunz; fig. 9, Bibliothèque nationale de France; fig. 10, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2018; figs. 11, 12, © Victoria and Albert Museum, London; fig. 13, Académie de France à Rom–Villa Medici; fig. 14, National Gallery of Art Library; fig. 15, Object Conservation Department, NGA; fig. 16, Museo Nazionale del Bargello, Florence, Tuscany, Italy / Bridgeman Images; fig. 17, Pavlosk State Museum, St. Petersburg, Russia; fig. 19, © Devonshire Collection, Chatsworth, Reproduced by permission of Chatsworth Settlement Trustees; fig. 20, Académie de France à Rome–Villa Medici, photo: G. Causati–P. Zagami; fig. 21, Fonderia Artistica Ferdinando Marinelli, Florence.

Auguste Rodin and the Question of the Original in Sculpture

Fig. 1, Musée des beaux-arts de Quimper, Dépôt du Fonds national d’art contemporain, © photo: Bernard Galéron; fig. 2, Museum of Fine Arts, Boston, Bequest of Major Henry Lee Higginson, photo: © 2019 Museum of Fine Arts, Boston; fig. 3, Collection Thyssen-Bornemisza; fig. 4, © Agence photographique du Musée Rodin–Jerome Manoukian; fig. 5, Lee Ewing, Department of Imaging and Visual Services, NGA; fig. 6, photo: Yves Bourel; figs. 7, 8, 13, © Musée Rodin, photo: Christian Baraja; fig. 9, Calouste Gulbenkian Museum, Lisbon, Founder’s Collection; fig. 10, © Musée Rodin, photo: Hervé Lewandowski; fig. 11, Ny Carlsberg Glyptotek, Copenhagen, photo: Ole Haupt; fig. 12, Thielska Galleriet, Stockholm; fig. 14, Rodin Museum, Philadelphia Museum of Art, Bequest of Jules E. Mastbaum, 1929; fig. 15, Used with permission of Philadelphia Inquirer, Copyright © 2018, all rights reserved; fig. 16, Point de Vue; fig. 17, Courtesy of the University of Louisville; fig. 18, Robert B. Haas Family Arts Library, Yale University; fig. 19, Courtesy of Antoine Armager; fig. 20, © Agence photographique du Musée Rodin–Pauline Hisbacq.

Vincent van Gogh’s Three Portraits of Marcelle Roulin

Figs 1, 7a, 8a, 9, 10a, 11a, Private Collection; figs. 2, 4, 7b, 8b, 10b, 11b, 12, 13, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation); figs. 3, 7c, 8c (left), 10c, 11c, Department of Imaging and Visual Services, NGA; fig. 5, The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975; fig. 6, Philadelphia Museum of Art, Bequest of Lisa Norris Elkins, 1950; fig. 8c (right), Painting Conservation Department, NGA; fig. 14a, Inosuke Hazama, ed., Recueil important des oeuvres de Vincent van Gogh: Reproductions en couleurs (Tokyo, 1933), vol. 1, cat. 13; fig. 14b, © Stichting Kröller-Müller Museum, Otterlo.

The Story Not Told: The Examination and Treatment of Edward Steichen’s Oochens Series

Figs. 1a–d, 7–9, © 2019 The Estate of Edward Steichen / Artists Rights Society (ARS), New York, photo: Lea Ingold, Department of Imaging and Visual Services, NGA; fig. 1e, © 2019 The Estate of Edward Steichen / Artists Rights Society (ARS), New York, photo: Ric Blanc, Department of Imaging and Visual Services, NGA; figs. 1f–1l, © 2019 The Estate of Edward Steichen / Artists Rights Society (ARS), New York, photo: Christina Moore, Department of Imaging and Visual Services, NGA; figs. 1m–1o, 5a, 6a, 10, © 2019 The Estate of Edward Steichen / Artists Rights Society (ARS), New York, photo: Tricia Zigmund, Department of Imaging and Visual Services, NGA; fig. 2, image copyright © The Metropolitan Museum of Art, image source: Art Resource, NY; figs. 3, 4, 11–13, Paper Conservation Department, NGA; figs. 5b, 6b, © 2019 The Estate of Edward Steichen / Artists Rights Society (ARS), New York, photo: Paper Conservation Department, NGA.

Jean Dubuffet: Molding a New Reality

Figs. 1–2, Lee Ewing, Department of Imaging and Visual Services, NGA; fig. 3, © Tate, London 2018; figs. 4–6, © Archives Fondation Dubuffet, Paris, photos: Kurt Wyss; figs. 7, 8, 13, 15, © Fondation Dubuffet/ADAGP, Paris; fig. 9, Kröller-Müller Museum, Otterlo, photo: Shigeo Anzaï, Japan; figs. 10–12, 14, 16, 17, © Archives Fondation Dubuffet, Paris; fig. 18, Rob Shelley, Design Department, NGA.

To Print on Air: Robert Rauschenberg’s Hoarfrost Editions

Figs. 1–9, 13, © Robert Rauschenberg and Gemini G.E.L. / VAGA, New York, NY, photos: Lee Ewing, Department of Imaging and Visual Services, NGA, the image of the diver in Pull (fig. 5) is after a photograph taken by Morton Beebe; fig. 10, © Robert Rauschenberg Foundation; fig. 11, photo © 1974 Sidney B. Felsen; fig. 12, photo: Daniel B. Freeman; fig. 14, Adam Davies, Department of Imaging and Visual Services, NGA; fig. 15a, private collection, © Robert Rauschenberg Foundation and Gemini G.E.L., photo: Courtesy of Sotheby’s, Inc. © 2018; figs. 15b–d, all private collection, © Robert Rauschenberg and Gemini G.E.L, photo: © Christie’s Images / Bridgeman Images; fig. 16, © Robert Rauschenberg Foundation, digital image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY; fig. 17, © Robert Rauschenberg Foundation; fig. 18, Department of Imaging and Visual Services, NGA; fig. 19, photo: Peter Moore, © 2018 Barbara Moore / Licensed by VAGA at Artists Rights Society (ARS), NY, Courtesy Paula Cooper Gallery, New York; fig. 20, Lisha Deming Glinsman, Scientific Research Department, NGA; fig. 21, © Robert Rauschenberg Foundation and Gemini G.E.L., Los Angeles, © President and Fellows of Harvard College.

Paolo Veronese’s Finding of Moses: A Reassessment

Figs. 1, 4, 10c, Department of Imaging and Visual Services, NGA; fig. 2, © Photographic Archive Museo Nacional del Prado; figs. 3, 10a, The Morgan Library and Museum, New York; figs. 5–8, Douglas Lachance, Painting Conservation Department, NGA; fig. 9, Joanna Dunn, Painting Conservation Department, NGA; fig 10b, Douglas Lachance, annotated by Joanna Dunn, Painting Conservation Department, NGA.

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