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Acknowledgements
This research took place as part of a PhD research project, funded by FWO (project no. G0D2618N). The authors gratefully acknowledge the involved collections (the Mauritshuis, Museum Gouda, The Kremer Collection, Redivivus Conservation Studio, the Frans Hals Museum) for the opportunity to examine paintings by Michael Sweerts. A special thanks to Edwin Buijsen, Carol Pottasch, Abbie Vandivere, Sabrina Meloni, Gwen Boevé-Jones, Kimberly Frost, André Jordaan, George Kremer, Mireille te Marvelde, Marrigje Rikken, Ingmar Reesing and Julia Zwijnenburg.