One example of activity is "The Polish Rider", in New York's Frick Collection. Rembrandt's authorship had been questioned by at least one scholar, Alfred von Wurzbach, at the beginning of the twentieth century, but for many decades later most scholars, including the foremost authority writing in English, Julius S. Held, agreed that it was indeed by the master. In the 1980s, however, Dr. Josua Bruyn of the Foundation Rembrandt Research Project cautiously and tentatively attributed the painting to one of Rembrandt's closest and most talented pupils, Willem Drost, about whom little is known. But Bruyn's remained a minority opinion, the suggestion of Drost's authorship is now generally rejected, and the Frick itself never changed its own attribution, the label still reading "Rembrandt" and not "attributed to" or "school of". More recent opinion has shifted even more decisively in favor of the Frick, with Simon Schama (in his 1999 book "Rembrandt's Eyes") and the Rembrandt Project scholar Ernst van de Wetering (Melbourne Symposium, 1997) both arguing for attribution to the master. Those few scholars who still question Rembrandt's authorship feel that the execution is uneven, and favour different attributions for different parts of the work.