Compiler of famous nineteenth-century catalogs of artist and monogram. His unpublished Lexikon der Nürnberger Künstler inspired the work of Ulrich Thieme and Felix Becker for their 37-volume work of the twentieth century.

His book, Manual of Oriental Antiquities (1889) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University.

Museum curator; author of first modern comprehensive catalog of prints, Le Peintre-graveur. Bartsch was the son of a court official of Prince Starhemberg of Austria. He studied academic subjects at the University in Vienna and then drawing and engraving at Viennese Academy of Arts (Kupferstecherakademie) under Jacob Schmuzer (1733-1811). From 1777-1781 he worked in the Imperial Library, cataloging books. Between 1783-4 he was sent to Paris with the print collection's registrar, Paul Strattmann, to acquire the print collection of the Johann Anton de Peters (1725-1795).

Collector and collaborator on catalogs of German and Netherlandish paintings with his brother Sulpiz. Melchior came from an old wealthy family who hoped he would become a scientist and his older brother, Sulpiz Boisserée, run the family business. The two were raised during the Napoleonic occupation of Cologne. Through his friend Johann B. Bertram he and Sulpiz became interested in art and especially that of the medieval era, a period well represented by the so-called Cologne school of painting, though much under appreciated.

Professor of Art History at the University of Amsterdam (1961-1985); lead art historian for the Rembrandt Research Project (RRP) catalogue raisonné, part of the Stichting Foundation Rembrandt Research Project. Bruyn studied art history at Utrecht University. In 1948, before he finished his study, he was involved in cataloging old paintings in the Rijksmuseum Kröller-Müller. In 1950 he was appointed assistant at the Amsterdam Rijksmuseum, where he helped prepare the 1952 exhibition Drie eeuwen portret in Nederland (Three centuries of portraiture in the Netherlands).

Author of Notizie sulla vita, 1859-1869, the first great history of Milanese art of the 14th to the 16th century; largely established the canon of early Milanese artists.

Giotto scholar and film critic; notes about Cecchi's opinions appear in Richard Offner's annotated catalog of the 1937 Mostra Giottesca. He acted as the translator of Italian Painters of the Renaissance by Bernard Berenson. His son (?) is the art historian Alessandro Cecchi.

Géricault scholar, wrote major attribution catalog on Géricault. Lorenz Eitner described as "one of the very best art-historical monographs produced in the nineteenth-century." His granddaughter was the art historian Françoise Henry.

Etcher and later dealer and cataloger of prints.

First author of a Van Gogh catalogue raisonné. De la Faille studied law at Utrecht University and participated in dramatic productions. He earned his doctor's degree in 1913. Instead of working as a lawyer, however, he focused on the contemporary art scene and ethnographic topics, writing for various newspapers and magazines.He also wrote fiction. After reading a 1917 article "Over de literatuur over Van Gogh" (On the literature concerning Van Gogh) by the conservator Herman F. E.

Collector and art historian, author of collection catalogs of the South Kensington Museum (later Victoria and Albert); considered "second founder" of the Ashmolean Museum, Oxford. Fortnum was the son of Charles Fortnum (1770-1860), a businessman, and Laetitia Stephens (1782-1853), his father's second wife. The younger Fortum was educated privately due to concerns of poor health. He joined his father's business briefly in London but hated commerce.

Cataloger of major corpus of Renaissance and Baroque prints. Hollstein was a major dealer in prints and drawings in Berlin before World War II. With the Nazi's rise to power in Germany, Hollstein, a Jew, was forced to take refuge in Amsterdam. He was given a permanent seat in the print room (Rijksprentenkabinet) of the Amsterdam Rijksmuseum, where he set about compiling an index and catalog of known examples of prints. He based his corpus on examples from the collection and his own extensive knowledge and business notes.

Degas scholar, wrote catalogue raisonné shortly after World War II. He contributed the essay "Le portrait-miniature en France, de la régence au règne de Louis-Philippe," in the 1912 L' Exposition de la miniature à Bruxelles.

Van Dyck scholar, catalogue raisonné author and curator, Cabinet des Estampes, Bibliothèque royale de Belgique. Marie Hendrickx obtained a doctoral degree in Philosophy and Letters in classics (Histoire de l'Antiquité) from the Université Libre de Bruxelles. In 1929 she joined the Bibliothèque royale de Belgique in Brussels as an intern. Her appointment as librarian followed in 1931. She worked at the Cabinet des Estampes (Printroom) under curator Louis I. J. J. Lebeer.

Print cataloger. He and Jan Frederik van Someren (1852-1930) wrote a catalog of engraved portraits beginning in 1888. The professor of Art History at Utrecht University, J. G. van Gelder, described Muller's work as one of the praiseworthy graphic studies of Netherlandish of the nineteenth and early twentieth centuries.

Scholar of art of the Venetian Renaissance; wroteTintoretto catalogue raisonné. Pallucchini's father was a civil engineer who moved his family to Venice in 1925. The younger Pallucchini was introduced to Venetian art by Maria Ciartoso Lorenzetti, whose husband, Giulio Lorenzetti (1886-1951), was writing the famous guidebook on the city. He graduated from college in 1931 from the University of Padua, writing his senior thesis on Giambattista Piazzetta and his school under Giuseppe Fiocco, a pioneer of art history in the Veneto area.

Classicist art historian and cataloger of British art collections; (presumed) author of the Baron von Munchausen tales. Raspe attended the universities of Göttingen and Leipzig. He was attached to the Göttingen university library in various aspects and translated works of philosophy (Leibniz) and literature. In 1767 he appointed professor of archaeology at the Collegium Carolinum in Cassel (Kassel) together with position of keeper of antique gems and collections of the Landgrave of Hesse.

The authoritative study of Marin is Sheldon Reich's John Marin: A Stylistic Analysis and Catalogue Raisonne (2 vols., 1970).

Scholar and catalogues raisonnés compiler; dealer of eighteenth-century French art; director of the Galerie Cailleux from 1982-1996. Roland Michel was a student of André Chastel who received her master’s degree at the Sorbonne in 1959 with a thesis on the still life and genre painter Anne Vallayer-Coster (1744-1818). This artist served as the subject of Roland Michel’s first article that appeared in Burlington Magazine in 1960, and of the later monograph, Anne Vallayer-Coster (1970).

Early champion of Germany Expressionism and author of the first graphics catalog of Schmidt-Rottluff. Born to wealthy Jewish parents in Jewish community of Brody, Schapire was privately tutored along with her sisters. In 1893 she moved to Hamburg, writing feminist essays, including "Ein Wort zur Frauenemanzipation" (A word on women's emancipation) in 1897.

Art dealer and writer; founded a model of catalogue raisonné writing; early scholar of Rubens and Rembrandt. Smith was the son of John Smith and Anne Smith. He apprenticed and worked as a carver and gilder, marrying at an early age the niece of Lord Mountjoy. All his sons were from that union. He founded a private art dealership in Great Marlborough Street, London and later New Bond Street where the dealers were clustered. His firm attracted wealthy customers such as Sir Robert Peel, the Duke of Wellington and the Rothschilds.

early developer of catalogue raisonné for antiquity

Librarian and Arabic scholar; helped identify and catalog masterworks in British collections. Strong was the son of Thomas Banks Strong, a War Office official, and Anna Lawson (Strong), a scholar of Hebrew. As a boy he studied drawing from Albert Varley, who gave him an edition of the Dictionary of Painters by Matthew Pilkington. Strong made a study of these artists, visiting to the National Gallery, London to supplement his interest. He attended St.

Together with William Young Ottley, wrote a catalog for the British Gallery, 1818. Tresham was an art student at the Dublin Society of Artists where he won a prize in 1773. After moving to London, he met John Campbell, later 1st Baron Cawdor (1753-1821). It was likely with Campbell that Tresham journeyed to Rome in 1775 where he remained for 14 years. In Rome he met the various artists who comprised the classical revival movement, including Antonio Canova (Tresham was Campbell's agent with Canova), Henry Fuseli, and Thomas Banks.

Classical art historian, administrator; developer of the illustrated museum catalog. Visconti was born to a scholarly family. At 14 he moved to Rome where he met Johann Joachim Winckelmann. Visconti succeeded Winckelmann at his death in 1768 as Commissioner of Antiquities. Pope Clement XIV and particularly Giovanni Angelo Braschi, the papal treasurer, encouraged him in founding the Vatican Museo Clementino in 1770. When Braschi succeeded Clement as Pius VI, Braschi through Visconti expanded the museum, renaming it as the Museo Pio-Clementino.