A selection of signatures, 1635–1642
In our assessment of paintings the signature has always played a very subordinate role; and where the material contained in the present volume is concerned, too, this approach will prove to be justified. Comparison of the inscriptions on these works shows time and again that the borderline between signatures that convince one as being autograph and those that do not does not at all coincide with that between paintings that can be seen as autograph and those that are unacceptable as such. This chapter will not do much more than illustrate this general truth; for a deeper insight one would need more facts and greater expertise — facts about the stratification of the paint at the point in question (where an intervening layer of varnish can point to a later addition), and expertise in the analysis of handwriting, which would allow us with greater precision to recognize Rembrandt’s own hand.
KeywordsPresent Volume National Gallery Workshop Assistant Authentic Signature Genuine Signature
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