On the other hand, attribution to an artist can be reinforced by knowing the identity of the sitter. Groups using this institution include museums, both domestic and foreign, art-historical institutions, private collectors, art dealers, auction houses, writers, editors and publishers of illustrated books and even organisers of TV quiz programmes have found their way to the Iconographic Bureau. Contact with the users usually involves an exchange of information and material which only enriches the pool of documentation. Documentation The Iconographic Bureau's filing system is based on the identity of the sitters, alphabetically arranged according to family name. In addition, there are cross indexing options for artist, date and collection.
Reproductions are available of a great many of the catalogued portraits.
Subdivided in 25-year periods with the material alphabetically organised by name of sitter, these reproductions give a reliable image of the social milieu, fashion trends and artistic quality throughout the centuries. The traditional interconnection with the RKD is underscored by the fact that C. Hofstede de Groot was responsible for the design of the fiches used by the Iconographic Bureau to document the portraits. Amsterdam The criteria for the registration of a portrait are virtually limitless. Neither rank nor class, nor questions of 'artistic worth' present an obstacle. Nor are there limitations as to time, so that even recent portraits represent a welcome addition to the documentation files.