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
Prof. Dr. Nils Büttner
This article was published in: Birgit Ulrike Münch, Andreas Tacke, Markwart Herzog, and Sylvia Heudecker (eds.), "Fälschung - Plagiat - Kopie: Künstlerische Praktiken in der Vormoderne", Michael Imhof Verlag, Petersberg, 2014, pp. 27-40.
Büttner3_articleBüttner2014a
