Simiolus has become a journal of record for studies in Netherlandish art. Over the past decades, we have had the privilege of publishing many of the most influential and exciting papers in the field.

We are therefore interested in all original contributions on the history of Dutch and Flemish art especially, and if accepted, offer to pay for the cost of translation into English of manuscripts submitted in Dutch, German or French.

A confident start has been made with the publication of the first issue of volume 40 (2018). It will be followed by a rich double issue on Old age creativity in the fall, containing papers by – amongst others – Jeroen Stumpel, Frits Scholten, Jonathan Bikker, Philip Sohm and Matthi Forrer. The centerpiece in the last issue of volume 40 will be an important contribution by Boudewijn Bakker on the late medieval Utrecht artist Erhard Rewich and his journey to the Holy Land.

Current issue
Issue 39-4
Issue 39-3
Issue 39-1/2
Current issue

Articles in the current issue (vol. 40-1)


The first line of The Ghent altarpiece quatrain restored

Paul Claes


An addition to the Sauli family’s commissions in Bruges: the Genoa Annunciation triptych attributed to Jan Provoost

Maria Clelia Galassi


An unwritten chapter of Dutch collecting history: the painting collection of Pieter de Smeth van Alphen (1753–1809)

Laurens Meerman


Review: François Ier et l’art des Pays-Bas, Paris (Musée du Louvre)

matthias ubl

Issue 39-4

Articles in issue 39-4


The woodworker and the Redemption: the right shutter of the Merode triptych

Malcolm Russell


Imagining Hieronymus Bosch in colonial Peru: foreign sources, indigenous responses

Daan van Heesch


Baglione on Flemish diligenza and the Italian maniera pittoresca in landscape and still life

Stefano Pierguidi


The bad bat: on two painted fables by Pieter Boel in Frankfurt am Main and Munich

Lisanne Wepler


Jan Steen’s history paintings and Dutch art theory: comments and corrections by Gerard de Lairesse

Rosalie van Gulick


A nocturnal odalisque: Picasso’s Nude in front of a garden at the Stedelijk Museum, Amsterdam

Jan van Adrichem


Book review – Vermeer and the masters of genre painting

Peter Hecht


Book review – De l’expertise artistique à la vulgarisation au siècle des Lumières: Jean-Baptiste Descamps

Everhard Korthals Altes

Issue 39-3

Articles in issue 39-3


Hieronymus Cock’s Volck: her family, wealth and anxieties

B.P. Tuin


An imaginary visit to The Four Winds, the house and shop of Hieronymus Cock and Volcxken Diericx

Petra Maclot


Hieronymus Cock’s view of Antwerp (1557): its genesis and offspring, from Antwerp to Italy

Pieter Martens


Maurusias & Co.: the influence of Hieronymus Cock’s print series on bookbinding in sixteenth-century Paris

Fabienne Le Bars


The production of prints in France at the time of Hieronymus Cock

Séverine Lepape


The stocklist of Joannes Galle, print publisher of Antwerp, and print sales from old copperplates in the seventeenth century

Peter Fuhring

Issue 39-1/2

Articles in issue 39-1/2


Replicating the sanctity of the Holy Face: Jan van Eyck’s Head of Christ

Miyako Sugiyama


Attributing the Berlin Sketchbook to Cornelis Anthonisz

Daantje Meuwissen


Reformation, renovation and commemoration: the religious patronage of a Brabantine lord (Zoutleeuw, 1548–58)

Ruben Suykerbuyk


Pieter Bruegel, Bernard van Orley, realism and class

Ethan Matt Kavaler


Tobias or not Tobias: a Jesuit visual pun

Alphons Hamer


The silence of the mystic lambs: Jan van Eyck and André Cauvin’s film about The mystic lamb (1939)

Steven Jacobs


Hieronymus Bosch after 500 years: exhibitions and publications in 2016

Jan Piet Filedt Kok