Issue 3 (April 2022)

Articles

• Justin Davies & Ingrid Moortgat: The punch mark VHB : possible identification as the panel maker’s mark of Hans van Beemen alias Hans van Herentals (died 1624)
• Justin Davies: Evidence of a previously unknown set of Van Dyck’s Apostles in Schloss Woyanow, Danzig in the early Twentieth century and an examination of one of the panels
• Andrea Seim: Planks from the same oak tree found in different paintings
• Justin Davies: Art historical considerations on same tree planks found in different paintings
• Joost Vander Auwera: Jacques Jordaens, his panels and panel makers: identifications and patterns
• Justin Davies: Van Dyck’s Apostles: introduction, overview and a new document
• Johannes Edvardsson: Dendrochronological and panel mark results from the Besançon and Konstanjevica na Krki Van Dyck related Apostles
• Alexis Merle Du Bourg: The provenance of the sets of contemporary panels of Van Dyck’s Apostles in Besançon and Konstanjevica na Krki
• Ingrid Goddeeris: Identifying new avenues for nineteenth-century provenance research through a focus on the Belgian art dealer Léon Gauchez using online museum files and digitised journals
• James Innes-Mulraine: To Land upp into the Garden there’: Van Dyck’s lost London studio found at last

Issue 2 (December 2021)

Articles

• Ingrid Moortgat: Close family and guild ties: the Gabron dynasty of panel makers in seventeenth-century Antwerp
• Justin Davies: Van Dyck’s use of panels made by the Gabron family: occurrences and new findings
• Joost Vander Auwera: The 1660–1661 Antwerp court case about a series of Van Dyck’s Apostles: two new documents and some reflections on the course of justice and the potential for new discoveries
• Joost Vander Auwera: The 1660–1661 court case on the Apostles series by Van Dyck: A Who’s Who of the Antwerp artistic scene in the post-Rubens and post-Van Dyck era
• Andrea Seim: The Remigius van Leemput series in the Royal Collection: its importance for dating small panels
• Justin Davies: The impact of JVDPPP’s dendrochronological findings for the dating and attribution of the small panels related to Van Dyck’s Iconography
• Justin Davies: Anthony Van Dyck, his panels and panel makers: identifications and patterns
• Joost Vander Auwera: Jordaens’s re-use and enlargement of panels in light of the studio practices and art theory of his day: the example of The Adoration of the Shepherds in Bristol
• Justin Davies: The Adoration of the Shepherds: now found to have hung in Jordaens’s house in Antwerp
• Alexis Merle du Bourg & Rafaella Besta: Reflections on the history of Van Dyck’s “Böhler Apostles”
• Joost Vander Auwera: An Old Woman in the Fitzwilliam Museum: Jordaens not Van Dyck

Issue 1 (July 2021)

Articles

• Sara Mateu: Seventeenth-century Antwerp panels in context
• Justin Davies and Ingrid Moortgat: Notes on the Panel Makers’ Petition of 13 November 1617 with their marks
• Andrea Seim et al.: Dendrochronology as a tool for studying panelpaintings – background, strengths and limitations
• Joost Vander Auwera: Jacques Jordaens and his use of panels: an introduction
• Justin Davies: Anthony Van Dyck and his use of panels: an introduction
• Alexis Merle du Bourg: Rubens, Van Dyck and Jordaens in the collection of the French painter Hyacinthe Rigaud (1659–1743)
• Ingrid Moortgat: New evidence of Rubens’s renovation of his Antwerp house (Rubenshuis) in 1615
• James Innes-Mulraine: ‘Mr Pullenbrooke and Mr Kernings two Dutchmen and servants to his said late Majesty’: New information on Cornelis van Poelenbergh and Alexander Keirincx
• Justin Davies: The red wax seal of Jan-Baptista I Anthoine (1624–1691), the Postmaster-General of Antwerp and his collection of Van Dyck paintings