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dc.contributor.authorVanwijnsberghe, Dominique
dc.contributor.authorDebergh, Jacques
dc.contributor.authorSaverwyns, Steven
dc.contributor.authorSanyova, Jana
dc.contributor.authorPypaert, Jean-Luc
dc.contributor.authorFraiture, Pascale
dc.contributor.authorMartens, Didier
dc.contributor.authorLust, Jacques
dc.contributor.authorLaemers, Suzanne
dc.contributor.authorPhilippot, Paul
dc.contributor.authorMortiaux, Laure
dc.date2008
dc.date.accessioned2022-09-16T09:42:22Z
dc.date.available2022-09-16T09:42:22Z
dc.identifier.citationDominique Vanwijnsberghe (ed.), Autour de la Madeleine Renders : un aspect de l'histoire des collections, de la restauration et de la contrefaçon en Belgique dans la première moitié du XXe siècle (Brussels: Royal Institute for Cultural Heritage KIK-IRPA, 2008).en_US
dc.identifier.isbn978-2-930054-09-4
dc.identifier.urihttps://orfeo.belnet.be/handle/internal/10109
dc.descriptionDecember 1920. Bruges banker and collector Emile Renders bought a painting in very poor condition at a public auction. It was a copy of one of the Louvre's gems: the famous Magdalene from Rogier van der Weyden's Braque Triptych. Six years later, when it resurfaced, the unremarkable painting had mysteriously become a magnificent masterpiece, attributed to Hans Memling's entourage. How can this strange metamorphosis be explained?en_US
dc.languagefraen_US
dc.publisherRoyal Institute for Cultural Heritage (KIK-IRPA)en_US
dc.titleAutour de la Madeleine Renders : un aspect de l'histoire des collections, de la restauration et de la contrefaçon en Belgique dans la première moitié du XXe siècleen_US
dc.typeBooken_US
dc.subject.frascatiArtsen_US
dc.audienceScientificen_US
Orfeo.peerreviewedNoen_US


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