1. A Corpus Vol. II, pp. 60–61. For a summary of the current state of affairs see, E. van de Wetering, ‘The question of authenticity: an anachronism? (A summary)’, in: G. Cavalli-Björkman (ed.), Rembrandt and his pupils. Papers given at a symposium in the Nationalmuseum Stockholm, 2–3 October 1992, n.p. [Stockholm] 1993, pp. 9–13.
2. E. de Jongh in: ‘Cultured Supplement’ of the NRC Handelsblad, 18 May 1990; and also in Kunstschrift 34 (1990), no. 2, pp. 2–3.
3. F. Lugt, ‘Italiaansche kunstwerken in Nederlandsche verzamelingen van vroeger tijden’, O. H. 53 (1936), pp. 97–135, esp. 110–112.
4. J.G.C.A. Briels, Vlaamse schilders in de JVoordelijke Nederlanden in het begin van de Gouden Eeuw, 1585–1630, Haarlem n.d. [1987], and his dissertation cited in note 8.
5. G. Geerts et al., Van Dale. Groot woordenboek der JVederlandse taal, 3 vols., Utrecht/Antwerp n.d. [1984, 11th edition], under ‘authentiek’ and its derivative forms. Walter Benjamin interpreted the term as it relates to publications on painting of the 16th to 18th century as ‘the perceived uniqueness of the original work of art’, quoted by J.M. Muller in: ‘Measures of authenticity: the detection of copies in the early literature on connoisseurship’, Studies in the History of Art 20 (1989), pp. 141–149.