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Exhibition List
Thomas E. Rassieur and Kate Harper
Description: Rembrandt’s Journey: Painter · Draftsman · Etcher
Rembrandt’s Journey: Painter · Draftsman · Etcher
All objects are by Rembrandt, except for no. 114 and the verso of no. 144. The identifying numbers for Rembrandt works in standard catalogues are abbreviated as follows: B. (Bartsch 1797) and H. (Hind 1923) for prints and copper plates; Ben. (Benesch 1973) for drawings; and Br. (Bredius 1937) and Corpus (Corpus 1982–89)...
Author
Thomas E. Rassieur and Kate Harper
PublisherMuseum of Fine Arts, Boston
Copyright© 2003 by Museum of Fine Arts, Boston
https://doi.org/10.37862/aaeportal.00241.007
Stable URL: https://aaeportal.com/?id=-21078
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Exhibition List
Compiled by Kate Harper and Thomas E. Rassieur
All objects are by Rembrandt, except for no. 114 and the verso of no. 144. The identifying numbers for Rembrandt works in standard catalogues are abbreviated as follows: B. (Bartsch 1797) and H. (Hind 1923) for prints and copper plates; Ben. (Benesch 1973) for drawings; and Br. (Bredius 1937) and Corpus (Corpus 1982–89) for paintings. States of prints are indicated with roman numerals following the Bartsch number. If the states given differ from those of White and Boon 1969, they are marked with an asterisk (*) and explained in a note. Measurements are height before width. For prints, the measurements are those of the platemark, unless otherwise indicated. Watermark (wm.) classifications for prints are those of Ash and Fletcher 1998 and Hinterding diss. 2001, unless otherwise indicated. A dagger (†) indicates that the copper plate for that print still exists. The identifying numbers for collectors are those of Lugt 1921 and 1956. Objects exhibited only in Boston or Chicago are so indicated.
1 The Presentation in the Temple, 1630
B. 51, II; H. 18
Etching
10.2 × 7.8 cm (4 × 3 1/16 in.)
In plate: RHL 1630
Provenance: Pierre Mariette (1634–1716, Paris, cf. Lugt 1790), 1674; Richard Gutekunst (1870–1961, Stuttgart, London, Bern, Lugt 2213a); sequestered by the British government in 1914 and sold as penalty for “trading with the enemy” by order of a public trustee through Garland-Smith & Co., London, 2–3 December 1920, as part of lot 185; to Meatyard (London); sold by Sotheby Parke Bernet, New York, 15 February 1980, lot 1034; Artemis-Boerner (New York and London); to MFA, June 2000.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 2000.647
2 The Presentation in the Temple, 1639–41
B. 49, II; H. 162 †
Etching and drypoint
21.2 × 29 cm (8⅜ × 11 7/16 in.)
Provenance: Possibly Arthur Pond (about 1705–1758); John Barnard (died 1784, London, Lugt 1419); his bequest to John Kenrick (died about 1798); his sale London, Philipe, 16 April 1798 and following days, lot 63; to Thomas Philipe (died about 1817, London, Lugt 2451); probably John Gibbs (mid-19th century, London, cf. Lugt 1081 and 1125); Henri Vever (1854–1943, Paris, cf. Lugt 2491bis); appeared at auction London, Sotheby’s, 30 June 1998, as part of lot 129 but withdrawn; sale, London, Sotheby’s, 11 December 1998, lot 75; Artemis-Boerner (New York and London); to MFA, March 2001.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 2001.140
3 The Presentation in the Temple (in the dark manner), 1654
B. 50, only state; H. 279
Etching, drypoint, and engraving
21 × 16.2 cm (8¼ × 6⅜ in.)
Provenance: Franz Rechberger (1771–1841, Vienna, Lugt 2133); Dukes d’Arenberg (Brussels and Nordkirchen, Lugt 567); their sale, London, Christie et al., 14–17 July 1902, probably part of lot 391; Lessing J. Rosenwald (1891–1979, Philadelphia, Lugt 1760b); his gift to the National Gallery of Art, 1951.
National Gallery of Art, Washington, Rosenwald Collection, 1951.12.1
4 Christ at Emmaus, 1634
B. 88, only state; H. 121
Etching
10.2 × 7.4 cm (4 × 2 15/16 in.)
In plate: Rembrandt f. 1634
Provenance: Helmut H. Rumbler (Frankfurt); to MFA, June 2000.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 2000.649
5 Christ at Emmaus, 1654
B. 87, I; H. 282 †
Etching on Japanese paper
21 × 15.9 cm (8¼ × 6¼ in.)
In plate: Rembrandt f. 1654.
Provenance: Ambroise Firmin-Didot (1790–1876, Paris, Lugt 119); his sale, Paris, Pawlowski, et al. 16 April–12 May 1877, lot 840; Francis Seymour Haden (1818–1910, London, Lugt 1227); his sale London, Sotheby’s, 15–18 May 1891, lot 447; to E. F. J. Deprez (London); Paul Davidsohn (born 1839, London and Berlin, Lugt 654); his sale, Leipzig, Boerner, 26–29 April 1921, lot 81; William G. Russell Allen (1882–1955, Boston); to his niece, Lydia Evans Tunnard (1913–1980, New Haven); her gift to MFA, December 1960.
Museum of Fine Arts, Boston. Gift of Mrs. Christopher Tunnard in memory of W. G. Russell Allen, 60.1543
6 Christ at Emmaus, 1654
B. 87; H. 282
Copper etching plate
21.3 × 16.3 cm (8⅜ × 6 7/16 in.)
Provenance: Probably Clement de Jonghe (1624/25–1677, Amsterdam); Pieter de Haan (1723–1766, Amsterdam); his sale, Amsterdam, Weyers & Castelein, 9 March 1767, lot 30; to Fouquet (probably Pierre, Jr., 1729–1800), for Claude-Henri Watelet (1718–1786, Paris); to Pierre-François Basan (1723–1797, Paris), 1786; inherited by Henry-Louis Basan (died before 1819); to Auguste Jean (died 1820, Paris), 1809–10; inherited by his widow and sold at her death, 1846; to Auguste Bernard (Paris), 1846; inherited by his son Michel Bernard (Paris); to Alvin-Beaumont (Paris), 1906; to Robert Lee Humber (died 1970, Greenville, NC), 1938; inherited by his sons (on loan to the North Carolina Museum of Art, Raleigh); sold to Artemis (London) and Robert M. Light (Santa Barbara), about 1992; from Artemis to The Art Institute of Chicago, 1993.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1993.181
7 The Circumcision, 1626
Seidlitz 398, III*; H. 388
Etching and engraving
21.5 × 16.8 cm (8 9/16 × 6½ in.)
In plate (not in Rembrandt’s hand): Rembrant fecit LP. Berendrech. ex.
Provenance: Joseph Gulston (1745–1786; Ealing Grove, Middlesex, England, Lugt 2986); probably included in his sales, London, Greenwood, January–March 1786; C. Naumann (active mid-19th century, probably Germany, Lugt 1939); John Witt Randall 1813–1892, Boston, Lugt 2130); given by his sister Belinda L. Randall to Harvard College, 1892; transferred to the Fogg Art Museum.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Gift of Belinda L. Randall from the collection of John Witt Randall, R 823 NA
*White and Boon describe two states, but there is an intermediate state (Hinterding diss., 514–15). The first state is illustrated in Boon 1963, pl. 1. The second state, in which hatching is added to the upper end of the stair rail and to the baluster beneath it as well as to the drip pan of the sconce, is illustrated in Münz 1952 I, pl. 208. In many areas around the edges, the hatching is also completed to the edge of the plate. In the third state the inscriptions and borderline are added.
8 The Rest on the Flight into Egypt, 1626
B. 59, only state; H. 307
Etching
21.7 × 16.5 cm (8 9/16 × 6½ in.)
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-120
9 The Flight into Egypt (a sketch), 1626
B. 54, I; H. 17
Etching and engraving
Sheet: 14.6 × 12.2 cm (5¾ × 4 13/16 in.)
wm: Basilisk variant C’.d
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-108
10 Peter and John at the Gate of the Temple, about 1629
B. 95, only state; H.5
Etching
22.1 × 16.9 cm (8 11/16 × 6⅝ in.)
wm: Countermark NA variant A.d.
Provenance: Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58), acquired by the British Museum, 11 September 1848.
Lent by the Trustees of the British Museum, London, 1848.9.11.50
11 Samson Betrayed by Delilah, 1628–30
Br. 489; Corpus A24
Oil on panel
61.3 × 50.1 cm (24⅛ × 19¾ in.)
Signed and dated (possibly not by Rembrandt): RHL 1628
Provenance: Possibly Stadholder Frederik Hendrik (1584–1647, The Hague), 1632 (as by Jan Lievens); possibly King Frederick Wilhelm of Prussia (1688–1740) at Honselaersdijk, early eighteenth century; possibly included in a consignment of paintings sent to Berlin in 1742; probably Berliner Schloss (as by Govert Flinck), 1793; transferred to the Berlin museum by Emperor Wilhelm II of Germany, 1906.
Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Gemaldegalerie, 812 A
12 Self-Portrait, Bust, about 1628–29
Ben. 54
Pen and brown ink, brown wash and white watercolor
12.7 × 9.4 cm (5 × 3 11/16 in.)
wm: section of a crown (like Churchill 274, coat of arms with three cross-beams)
Provenance: Sir Thomas Lawrence (1769–1830, London, Lugt 2445); Samuel Woodburn (1786–1863, London, cf. Lugt 2584); William Esdaile (1758–1837, London, Lugt 2617); sold London, Christie and Manson, 17 June 1840, lot 58 (?): “Rembrandt’s portrait, a slight sketch; from Sir Joshua Reynold’s collection” to Woodburn (?); Edith Mendelssohn Bartholdy, Leipzig, 1924; Cornelis Hofstede de Groot (1863–1930, the Hague, Lugt 561); his sale Leipzig, Boerner, 4 November 1931, lot 160; Van Diemen; I. de Bruijnvan der Leeuw (Spiez, Switzerland); by whom given given to the Rijksmuseum 1949, with rights to ownership until 28 Nov. 1960.
Rijksmuseum, Amsterdam, RP-T-1961.75
13 Self-Portrait (bare-headed, roughly etched), 1629
B. 338, only state; H. 4
Etching, touched with pen in dark gray ink
17.4 × 15.5 cm (6⅞ × 6⅛ in.)
In plate: RHL 1629 (in reverse)
Inscribed, verso, in black chalk or graphite (early 17th-century hand but probably not Rembrandt’s): 2 Wtenbogaert 2 Ulespiegels / 2 [..] solemans [?] printen [?]
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-723
14 Self-Portrait, 1629
Br. 8; Corpus A20
Oil on panel
89.5 × 73.5 cm (35¼ × 28 15/16 in.)
Signed and dated: “RHL . . . 9”
Provenance: Richard Grenville, second Duke of Buckingham and Chandos (1797–1861, Stowe House, Buckinghamshire); probably seized by his creditors, 1847; sold, Stowe House, 15 September 1848, lot 421; Lord Ward (probably William Ward, first Earl of Dudley from 1860, 1817–1885, Himley Hall and Whitley Court); Sawyer (Hinton St. George) Somerset; sale London, Christie’s, 13 July 1895, lot 81; to Tooth (probably Arthur Tooth, London); P. & D. Colnaghi (London); to Isabella Stewart Gardner(1840–1924), February 1896.
The Isabella Stewart Gardner Museum, Boston, P21N6
Boston only
15 Self-Portrait (frowning, bust), 1630
B. 10, II; H. 30
Etching
7.2 × 6 cm (2 13/16 × 2⅜ in.)
Provenance: Possibly Jan Six (1618–1700, Amsterdam); possibly Arnold Houbraken (1660–1719, Dordrecht and Amsterdam); possibly Arthur Pond (about 1705–1758); John Barnard (died 1784, London, Lugt 1419); his bequest to John Kenrick (died about 1798); his sale London, Philipe, 16 April 1798 and following days, part of lot 18; to Thomas Philipe (died about 1817, London, cf. Lugt 2451); Lessing J. Rosenwald (1891–1979, Philadelphia, Lugt 1760b); his gift to the National Gallery of Art, 1943.
National Gallery of Art, Washington, Rosenwald Collection, 1943.3.7051
16 Self-Portrait (open-mouthed as if shouting), 1630
B. 13, II; H. 31
Etching
7.3 × 6.2 cm (2⅞ × 2 7/16 in.)
In plate: RHL 1630
Provenance: First Karl Paar (1772–1819, Vienna, Lugt 2009); inherited by his son; probably sold on the eighth or ninth day of his sale, London, Sotheby’s, 13–26 July 1854, part of lot 1409; to Evans; August Artaria (1807–1893, Vienna, Lugt 33); his sale, Vienna, Artaria and Co., 6–13 May 1896, lot 369; George Washington Vanderbilt (1862–1914, Asheville, NC); John Pierpont Morgan (1837–1913, New York), after 1905.
The Pierpont Morgan Library, New York, RvR 14
17 Self-Portrait in a Cap, 1630
B. 320, only state; H. 32
Etching
5.1 × 4.6 cm (2 × 1 13/16 in.)
In plate: RHL 1630
Provenance: Walter Francis, 5th Duke of Buccleuch and 7th Duke of Queensberry (1806–1884, London and Dalkeith, Scotland, Lugt 402); his sale, London, Christie’s, 19–22 April 1887, l Qt 1760 or 1761; George Washington Vanderbilt (1862–1914, Asheville, NC); John Pierpont Morgan (1837–1913, New York), after 1905.
The Pierpont Morgan Library, New York, RvR 442
18 The Artist in His Studio, about 1628
Br. 419; Corpus A18
Oil on panel
24.8 × 31.7 cm (9¾ × 12½ in.)
Provenance: Morton sale, London, Christie’s, 27 April 1850, [probably not sold, as unsold pictures passed to Lady Morton’s brother, Baron Churston, and were sold by his descendants in 1925]; by descent to John Reginald Lopes Yarde-Buller, third Baron Churston (1873–1930) by 1925; his sale, London, Christie’s, 26 June 1925, lot 14; Robert Langton Douglas (1864–1951, London), probably by 1936; to Mrs. Zoe Oliver Sherman (died 1945, Boston); her gift to MFA, 1938.
Museum of Fine Arts, Boston. Zoe Oliver Sherman Fund in memory of Lillie Oliver Poor, 38.1838
19 An Artist in His Studio, early to mid-1630s
Ben. 390
Pen and brown ink
20.5 × 17 cm (8 1/16 × 6 11/16 in.)
Provenance: Edward Bouverie (1767–1858, Delapré Abbey, Northampton, Lugt 325); his sale, London, Christie’s, 20 July 1859, lot 24; Lewis Huth Walters; Dr. Francis Springell [originally Sprinzels] (1898–1974, Prague and Portinscale, Cumberland); his widow; sold London, Sotheby’s, 30 June 1986, lot 41.
The J. Paul Getty Museum, Los Angeles, 86.GA.675
Boston only
20 An Elderly Woman (Rembrandt’s mother, head and bust), 1628
B. 354, II; H.1
Etching and drypoint
6.6 × 6.4 cm (2⅝ × 2 9/16 in.)
In plate: RHL 1628 (2 in reverse)
Provenance: P. & D. Colnaghi (London); to Adolph Weil Jr. (1915–1995, Montgomery, Alabama), 9 July 1971; his widow Jean K. Weil; by whom given to the Hood Museum of Art.
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; gift of Jean K. Weil in memory of Adolf Weil, Jr., Class of 1935, PR.997.5.115
21 An Elderly Woman (Rembrandt’s mother, seated at a table), about 1631
B. 343, II; H. 52
Etching and engraving
14.8 × 13.1 cm (5 13/16 × 5 3/16 in.)
In plate: RHL. f.
Provenance: Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); to Samuel Woodburn (1786–1853, London, cf. Lugt 2584); to John Heywood Hawkins (died between 1870 and 1880, London and Bignor Park, Sussex, cf. Lugt 1471); sold through P. & D. Colnaghi (London) to Walter Francis, 5th Duke of Buccleuch and 7th Duke of Queensberry (1806–1884, London and Dalkeith, Scotland, Lugt 402); his sale, London, Christie’s, 19–22 April 1887, lot 2075; Horatio Greenough Curtis; Mrs. Horatio Greenough Curtis; her bequest to MFA, June or July 1927, received September 1940.
Museum of Fine Arts, Boston. Gift of Mrs. Horatio Greenough Curtis in memory of her husband, Horatio Greenough Curtis, 27.1395
22 Standing Beggar, 1630
Ben. 30
Black chalk, with white watercolor
29.4 × 17 cm (11 9/16 × 6 11/16 in.)
Provenance: Jacob de Vos Jacobsz. (1803–1882, Amsterdam, Lugt 1450); sold Amsterdam, Roos, et al., 22–24 May 1883, lot 412; acquired by the Vereniging Rembrandt, 1889.
Rijksmuseum, Amsterdam, RP-T-1889-A-2046 (R)
23 Beggar in a High Cap, Leaning on a Stick, about 1629
B. 162, only state; H. 15
Etching
15.6 × 12 cm (6⅛ × 4¾ in.)
wm: Strasbourg Bend G.a.
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-245
24 The Blind Fiddler, 1631
B. 138, I; H. 38
Etching
7.8 × 5.3 cm (3 1/16 × 2 1/16 in.)
In plate: RHL 1631
Provenance: Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); Baron Jan Gijsbert Verstolk van Soelen (1776–1845, The Hague and Soelen, Lugt 2490); his sale, Amsterdam, De Vries, et al., 26 October 1847 and following days, lot 361 or 363; Teylers Museum, Haarlem.
Teylers Museum, Haarlem, KG 3706
25 A Beggar Seated on a Bank (Self-Portrait), 1630
B. 174, only state; H. 11
Etching
11.5 × 6.9 cm (4½ × 2 11/16 in.)
In plate: RHL 1630
Provenance: Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 79), 1995; to MFA, September 1997.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 1997.144
26 Beggar Seated Warming His Hands at a Chafing Dish, about 1630
B. 173, II; H. 8
Etching
7.7 × 4.6 cm (3 1/16 × 1 13/16 in.)
Provenance: Alexander John Godby (1853–1934, Baltimore, Lugt supplement 1119b); his sale, London, Sotheby’s, 29–30 January 1935, part of lot 146; to Frits Lugt (1884–1970, Paris and the Hague, Lugt 1028); P. & D. Colnaghi (London); Jorge Miguel Steiner; through C. G. Boerner (Dusseldorf) to MFA, April 1970.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 1970.316
27 Sheet of Studies (with head of the artist), about 1631–32
B. 363, I; H. 90
Etching
10.1 × 11.4 cm (4 × 4½ in.)
wm: Strasbourg Lily with initial L variant A.a.
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-764
28 Self-Portrait (with plumed cap and lowered sabre), 1634
B. 23, I; H. 110
Etching
19.7 × 16.2 cm (7¾ × 6⅜ in.)
wm: Basilisk variant B’.a.
In plate: Rembrandt f. 1634
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-42
29 Three Studies of Old Men’s Heads, about 1630
B. 374, only state; H. 25
Etching
10.5 × 8.4 cm (4⅛ × 3 5/16 in.)
wm: fragment
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-780
30 Old Man in a Gorget and Black Cap, about 1631
Br. 81; Corpus A42
Oil on panel
83.1 × 75.7 cm (32 11/16 × 29 13/16 in.)
Signed: RHL
Provenance: Sale, Amsterdam, 10 June 1767, lot 14; to Ketelaar; M. P. W. Boulton (Tew Park, Oxfordshire); sale, London, 9 December 1911, lot 14; P. & D. Colnaghi and Obach (London); Julius Böhler (Munich); Marczell von Nemes (Budapest); sale Paris, 17 June 1913, lot 60; Julius Böhler (Munich); H. Reinhardt (New York); Evalyne M. Cone Kimball (about 1840–1921, Chicago); her bequest to The Art Institute of Chicago, 1922.
The Art Institute of Chicago, Mr. and Mrs. W. W. Kimball Collection, 22.4467
31 Bust of an Old Man, 1633
Br. 633; Corpus A74
Oil on paper laid on panel
10.6 × 7.2 cm (4 3/16 × 2 13/16 in.)
Signed and dated: Rembrandt .1633.
Provenance: Possibly Mrs Van Sonsbeeck, before 1751; sale, Fr. Szarvady, Paris, 21 February 1874, lot 39; V. Boric (Paris), 1881; sale, Paris, 1900; to F. Kleinberger (Paris), 1900; to Baron Emile Janssen (Brussels); his sale, Amsterdam, Frederik Muller, 26 April 1927, lot 94; to M. Knoedler and Co. (New York); Andrew William Mellon (1855–1937, Washington), by 1935; Paul Mellon (1907–1999, Upperville, VA); Arthur Amory Houghton, Jr. (born 1906, Queenstown, MD), by 1955; Richard Feigen and Co. (New York), to Saul Phillip Steinberg (New York) 1986; his sale, New York, Sotheby’s, 30 January 1997, lot 39; private collection, Japan.
Private Collection
32 Seated Old Man, about 1639
Pen and brown ink, brown wash, white watercolor, scoring
16.4 × 12.9 cm (6 7/16 × 5 1/16 in.)
Verso, in pen and brown ink, a sketch of a standing woman
Provenance: Chevalier Ignace-Joseph de Claussin (1766–1844, London and Paris, Lugt 485); his sale, Batignolles, Dumesnil-Schroth, 2 December 1844, lot 42; to Guichardot (Paris); F. van den Zande (died by 1855, Paris; Lugt 2680); his sale, Paris, Guichardot, et al., 30 April 1855 and following days, lot 2988; Emile Norblin; his sale, Paris, Blaisot et al., 16–17 March 1860, lot 37; W. Nijman; Richard Ederheimer (born about 1885, New York, Lugt 1711); Savile Gallery (London); acquired by Frits Lugt (1884–1970, Paris and the Hague, Lugt 1028), 28 May 1930.
Collection Frits Lugt, Institut Néerlandais, Paris, 4502
Chicago only
33 Old Man with a Divided Fur Cap, 1640
B. 265, I; H. 170
Etching and drypoint
15.2 × 13.8 cm (6 × 5 7/16 in.)
In plate: Rembrandt f 1640
Provenance: Cambridge University Library; transferred to Fitzwilliam Museum, 1876.
The Fitzwilliam Museum, University of Cambridge, AD 12.39-214
34 Four Studies of Male Heads, mid-1630s
Ben. 339
Pen and brown ink, brown wash
12.6 × 15.8 cm (4 15/16 × 6¼ in.)
Provenance: Jonathan Richardson Sr. (1665–1745, London, Lugt 2183); Thomas Hudson (1701–1779, London, Lugt 2432); John Knight (London); sale, London, Phillips 19 July 1841, lot 120; Charles Sackville Bale (1791–1880, London, Lugt 641); his sale, London, Christie’s, 10 June 1881, lot 2427; to [Jeffrey?] Whitehead; P. & D. Colnaghi (London); Jonkheer H. Teixeira da Mattos (Vogelenzang); Franz Koenigs (1881–1941, Haarlem, cf. Lugt 1023a); Paul Cassirer (1871–1926, Amsterdam); sale, London, Sotheby’s 20 November 1957, lot 70; P. & D. Colnaghi (London); Mrs. Donald Methuen; sale, London, Christie’s 7 April 1970, lot 124; P & D Colnaghi (London); New York, Christie’s, 11 January 1994, lot 385; Maida and George Abrams (Boston), 1994.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Loan from Maida and George Abrams, ABR 115
35 Daniel and Cyrus before the Idol Bel, 1633
Br. 491; Corpus A67
Oil on panel
23.4 × 30.1 cm (9¼ × 11⅞ in.)
Signed and dated: Rembrant f 1633
Provenance: Pieter Croon (Amsterdam), by 1650; Barton Booth (1681–1733); bequeathed to his widow Hester Santlow Booth; by inheritance, to her grandson Edward Eliot; possibly by inheritance to the Earl of St. Germans (Port Eliot, Cornwall), by 1921; offered for sale by The Trustees of the Earl of St. Germans’ Heirlooms Settlement, London, Christie’s, 15 April 1992, lot 28, but unsold; Thomas Agnew & Sons (London); to the J. Paul Getty Museum, Los Angeles in 1995.
The J. Paul Getty Museum, Los Angeles, 95. PB.15
36 The Circumcision, 1630
B. 48, only state; H. 19
Etching and drypoint
9 × 6.4 cm (3 9/16 × 2½ in.)
wm: Strasbourg Lily with initials BA
Provenance: Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); to Samuel Woodburn (1786–1863, London, cf. Lugt 2584), 1846; Ambroise Firmin-Didot (1790–1876, Paris, Lugt 119); his sale, Paris, Pawlowski, et al. 16 April–12 May 1877, lot 777; Dr. August Sträter (1810–1897, Aachen, Lugt 787); his sale, Stuttgart, Gutekunst, 10–14 May 1898, lot 680; Marsden Jasael Perry (1850–1935, Providence, RI, Lugt 1880); his sale, Stuttgart, Gutekunst, 18–23 May 1908, lot 1148; Gustav von Rath (born 1888, Crefeld, Lugt 2772); C. G. Boerner (Dusseldorf, catalogue 71, 1979, no. 37); C. G. Boerner (Catalogue 88, no. 36) 1987; Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 26), 1995; to S. William Pelletier, August 2000.
S. William Pelletier, Athens, Georgia, 2000.8.2.10
37 The Presentation in the Temple, 1630
B. 51, II; H. 18
Etching
10.3 × 7.8 cm (4 1/16 × 3 1/16 in.)
In plate: RHL 1630
Provenance: Unidentified French collection, probably assembled in the 18th century; sold London, Sotheby’s, 6 December 1990, lot 112; to Thomas E. Rassieur.
Thomas E. Rassieur Collection
38 Christ Disputing with the Doctors, 1630
B. 66, I; H. 20
Etching
10.8 × 7.8 cm (4 5/16 × 3⅛ in.)
wm: Eagle with Basel Crozier variant D.a.
In plate: RHL 1630
Provenance: Clayton Mordaunt Cracherode (1730–1799, London, Lugt 606); bequeathed by him to the British Museum.
Lent by the Trustees of the British Museum, London, 1973.U.756
39 The Angel Appearing to the Shepherds, 1634
B. 44, III; H. 120
Etching, engraving, and drypoint
26.2 × 21.8 cm (10⅜ × 8⅝ in.)
wm: Strasbourg Lily variant D.a.
In plate: Rembrandt. f. 1634
Provenance: Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); to John Heywood Hawkins (died between 1870 and 1880, London and Bignor Park, Sussex, cf. Lugt 1471); his sale London, Sotheby’s, 29 April 1850, lot 874; to “Webber” (perhaps Hermann Weber, 1817–1854, Bonn, Lugt 1383); Berlin Kupferstichkabinett (cf. Lugt 1606); George Washington Vanderbilt (1862–1914, Asheville, NC); John Pierpont Morgan (1837–1913, New York), after 1905.
The Pierpont Morgan Library, New York, RvR 65
40 Christ Carrying the Cross, mid-1630s
Ben. 97
Pen and brown ink, brown wash
14.5 × 26 cm (5 11/16 × 10¼ in.)
Inscribed: Rembrant
Provenance: Sir John Charles Robinson (1824–1913, London, Lugt 1433); acquired by the Berlin Kupferstichkabinett 1880.
Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupferstichkabinett, KdZ 1554
41 Calvary, mid-1630s
Ben. 108
Pen and brown ink and brown wash, touched with white watercolor, with section replaced and redrawn by Rembrandt
21.8 × 17.9 cm (8 9/16 × 7 1/16 in.)
Provenance: Sir Michael Ernest Sadler (1861–1943, Oxford, Lugt 1915c); his sale, London, Sotheby’s, 12 December 1928, lot 108; to Jacob H. J. Mellaart (died 1970s, London and Holland), possibly for the Kupferstichkabinett, Berlin.
Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupferstichkabinett, KdZ 12954
42 Descent from the Cross (a sketch), 1642
B. 82, only state; H. 199
Etching and drypoint
14.9 × 11.6 cm (5⅞ × 4 9/16 in.)
In plate: Rembrandt. f. 1642
Provenance: Evans (London); to the British Museum.
Lent by the Trustees of the British Museum, London, 1860.7.28.647
43 Lamentation at the Foot of the Cross, 1634–35
Ben. 154
Pen and brown ink and brown wash, red and perhaps some black chalk, reworked in monochrome oil paint; sheet made up of cut sections of paper
21.6 × 25.4 cm (8½ × 10 in.)
Inscribed on a remnant of the old mat, in pen and brown ink, by Jonathan Richardson, Junior: Rembrandt has labour’d this Study for the Lower part of his famous Des:/:cent from the Cross, grav’d by Picart, & had so often chang’d his mind in/the Disposition of the Clair-Obscur, which was his Point Here, that / my Father & I counted, I think, Seventeen different peices [sic] of Paper.
Provenance: Jonathan Richardson, Sr. (1665–1745, London, Lugt 2184); Jonathan Richardson, Jr. (1694–1771, London, Lugt 2170); Sir Joshua Reynolds (1723–1792, London, Lugt 2364); Richard Payne Knight (1750–1824, London, Lugt 1577); bequeathed by him to the British Museum, 1824.
Lent by the Trustees of the British Museum, London, O0.9–103
44 Lamentation at the Foot of the Cross, 1634–35
Br. 565; Corpus A107
Oil on cut paper, mounted on panel
31.9 × 26.7 cm (12 9/16 × 10½ in.)
Provenance: Collection of J. Barij [Jean or Jacob de Bary?] (Amsterdam), by 1730; Joseph Smith (about 1674–1770, Venice), by 1738; to King George III of England (1738–1820, cf. Lugt 1200), 1762; passed into the collection of the Surveyor of the King’s Pictures, Richard Dalton (about 1715–1791, London, cf. Lugt 782), his sale, London, 9–11 April 1791, second day, lot 19; to Grosier for Sir Joshua Reynolds (1723–1792, London, Lugt 2364); his sale, London, 13 March 1795, third day, lot 38; to Sir George Beaumont (1753–1827, Coleorton, Leicestershire) 13 March 1795; his gift to the British Museum for the proposed National Gallery, 1823; transferred to the National Gallery, 1828.
The National Gallery, London, NG 43
45 Christ Carried to the Tomb, 1645
B. 84, only state; H. 215
Etching and drypoint
12.9 × 10.7 cm (5 1/16 × 4 3/16 in.)
In plate: Rembrant.
Provenance: Goodman-Walker (Boston); to The Art Institute of Chicago, March 1933
The Art Institute of Chicago, The Clarence Buckingham Collection, 1933.794
46 The Entombment, 1630s
Br. 554; Corpus A105
Oil on panel
32.1 × 40.3 cm (12⅝ × 15⅞ in.)
Provenance: Probably identical with a sketch described in the inventory of Rembrandt’s possessions dated 25–26 July 1656; possibly the collection of Robert Strange (1721–1792, London, cf. Lugt 2239), 1769 (his catalogue, London, 1769, no. 59): sold, London, Christie’s, 7–9 February 1771, lot 61; Dr. William Hunter (1718–1778, Glasgow); his bequest to University College, Glasgow, 1783.
Hunterian Art Gallery, University of Glasgow, GLAHA 43785
47 The Incredulity of Thomas, 1634
Br. 552; Corpus A90
Oil on panel
53.1 × 50.5 cm (20⅞ × 19⅞ in.)
Signed and dated: Rembrandt. f 1634
Provenance: Maria Rutgers (widow of Ameldonck Leeuw); by descent, her son David Leeuw (1631/2–1703), inventoried 7 February 1653; Anna van Lennep (widow of P. Roeters and granddaughter of David Leeuw), by 1759; her sale, Amsterdam, 30 January 1759, lot 1; to the De Neufville brothers; probably Pieter Leendert de Neufville (Amsterdam); Johann Ernst Gotzkowski (1710–1775, Berlin), by 1764; to Empress Catherine II of Russia (1729–1796, Czarina from 1762, St. Petersburg), 1764; transferred from the imperial collection to the newly created Imperial Hermitage Museum, 1852; transferred from the Hermitage State Museum to the Pushkin Museum, 1964.
The Pushkin Museum of Fine Arts, Moscow, 261.9.
48 Ecce Homo (Christ before Pilate), 1634
Br. 546; Corpus A89
Oil on paper laid on canvas
54.5 × 44.5 cm (21 7/16 × 17½ in.)
Signed and dated: Rembrandt. f. 1634
Provenance: Perhaps identical with the ‘Ecce Homo’ in grisaille in the inventory of Rembrandt’s possessions dated 25–26 July 1656; possibly Jan van de Capelle (1624/6–1679, Amsterdam), 1680 estate inventory no 13; Valerius Rover (1686–1739, Delft), 1738 inventory no. 8; Johan Goll van Franckenstein (Amsterdam), before 1827; to A. Brondgeest, (probably Albertus Brondgeest, 1786–1849, The Hague and/or Amsterdam), 1827; to Thomas Emerson (London); Jeremiah Harman, by 1836; his sale, London, Christie’s, 17–18 May 1844, lot 92; to John Smith; to G. Blamire; his sale, London, 7–9 November 1863, lot 57; to Mulvaney; Sir Charles Lock Eastlake (1793–1865, London); Lady Eastlake (Elizabeth Rigby, 1809–1893); under the terms of Sir Charles’ will, sold by her executors for a nominal sum to The National Gallery, 1894.
The National Gallery, London, NG1400
49 Christ before Pilate, 1635–36
B. 77, II; H. 143
Etching and engraving
54.9 × 44.7 cm (21⅝ × 17⅝ in.)
wm: Strasbourg Lily variant C.c.a.
In plate: Rembrandt f. 1636 cum privile.
Provenance: Lessing J. Rosenwald (1891–1979, Philadelphia, Lugt 1760b); his gift to the National Gallery of Art, 1943.
National Gallery of Art, Washington, Rosenwald Collection, 1943.3.7175
50 Bearded Old Man Seated in an Armchair, 1631
Ben. 20
Red and black chalk on pale yellow prepared paper
23.3 × 16 cm (9 3/16 × 6 5/16 in.)
Provenance: John Heywood Hawkins (died between 1870 and 1880, London and Bignor Park, Sussex, cf. Lugt 1471); his sale London, Sotheby’s, 29 April 1850, lot 1027; William Mitchell (died 1908, London, Lugt 2638); his sale Frankfurt, Prestei, 7 May 1890, lot 84; Moriz von Kuffner (1854–1939, Vienna and Zurich); Stephan von Kuffner (Vienna and Zurich); Von Kuffner family (Zurich); sale London, Sotheby’s, 26 November 1970, lot 16; to Alain Delon (born 1934, Paris) as “St. Cyre.”; to the current owner.
Private Collection
51 Joseph Telling His Dreams, 1633–34
Br. 504; Corpus A66
Oil on paper laid on cardboard
55.8 × 38.7 cm (21 15/16 × 15¼ in.)
Signed and dated: R[..]brandt. f: 163[.]
Provenance: Ferdinand Bol (1616–1680, Amsterdam, 1669 inventory); Due de Tallard, sale Paris 22 March-13 May 1756, lot 157; Nogaret; his sale, Paris, Lebrun, 18 March 1782, lot 51.; Six van Hillegom (Amsterdam, cat.1900, no. 124) in 1836; Jhr. Jan Willem Six van Vromade (1857–1926, Amsterdam); his sale, Amsterdam, 29 June 1920, no. II; A. W. Volz (The Hague), from 1928; his bequest to the Rijksmuseum through the Vereniging Rembrandt, 1946.
Rijksmuseum, Amsterdam, A3477
52 Joseph Telling His Dreams, 1638
B. 37, II; H. 160 †
Etching
11.1 × 8.4 cm (4⅜ × 3 5/16 in.)
wm: fragment
In plate: Rembrant f 1638
Provenance: Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P414
53 Two Women and a Turbaned Figure, 1638
Ben. 168
Pen and brown ink, brown wash, white watercolor
13.9 × 12.5 cm (5½ × 4 15/16 in.)
Provenance: Thomas Dimsdale (1758–1823, London, Lugt 2426); Hamian; Stopford Augustus Brooke (1832–1916, London); his sale London, Sotheby’s, 28 May 1924, lot 75; to [Frederick John?] Parsons (died 1935, London, cf. Lugt 2881); Cornelis Hofstede de Groot (1863–1930, the Hague, Lugt 561); his sale Leipzig, Boerner, 4 November 1931, lot 163.
Private Collection, New York
54 Sleeping Watchdog, 1637–40
Ben. 455
Pen and brown ink, brown wash
14.3 × 16.8 cm (5⅝ × 6⅝ in.)
Provenance: Lucien Guiraud (Paris); sold Paris, Drouot, 14–15 June 1956, lot 62; to MFA through Maurice Gobin (born 1883, Paris, cf. Lugt 1124a) and William H. Schab (New York).
Museum of Fine Arts, Boston. John H. and Ernestine A. Payne Fund, 56.519
55 Sleeping Puppy, 1639–40
B. 158, II*; H. 174
Etching and drypoint
3.8 × 8.1 cm (1½ × 3 3/16 in.)
Provenance: William Esdaile (1758–1837, London, Lugt 2617); D. G. Arozarena (active late 1850s and early 1860s, South America and Paris, Lugt 109); his sale, Paris, Clement, 11 March 1861 and following days, lot 655; C. G. Boerner (Dusseldorf); to MFA, November 1981.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 1981.397
*White and Boon describe three states: the full plate (6.4 × 10.5 cm), the reduced plate (4.7 × 9 cm), and the further reduced plate (3.9 × 8.1 cm). T. Rassieur finds no evidence that the plate was reduced in two stages. The sheet of the so-called second state in the British Museum measures 4.7 × 9 cm and has no platemark at the left and bottom edges. The only impression in the Rothschild collection that is larger than 3.9 × 8.1 cm measures 4 × 8.8 cm—smaller than the purported first reduction. Thus, there appear to be only two discernible states from Rembrandt’s lifetime. The plate was reworked at a later date.
56 The Holy Family, about 1632
B. 62, only state; H. 95
Etching
9.6 × 7.3 cm (3¾ × 2⅞ in.)
wm: Strasbourg Lily
In plate: RHL.
Provenance: John Postle Heseltine (1843–1929, London, cf. Lugt 1507); John Innes (1852–1929, Glasgow, cf. Lugt 1477a); Charles C. Cunningham, Jr. (born 1934, Boston); National Gallery of Art, 1975.
National Gallery of Art, Washington, Print Purchase Fund (Rosenwald Collection), 1975.5.1
57 The Holy Family with Angels, 1645
Br. 570
Oil on canvas
117 × 91 cm (46 × 36 in.)
Signed and dated: Rembrandt f. 1645
Provenance: Sale, Adriaen Bout, The Hague, 1733; Pierre Crozat (Paris), before 1740; François Crozat, Baron du Châtel (Paris), before 1750; Louis-Antoine Crozat, Baron de Thiers (Paris); acquired by the Imperial Hermitage, St. Petersburg, 1772.
The State Hermitage Museum, St. Petersburg, 741
58 Self-Portrait with Saskia, 1636
B. 19, I; H. 144 †
Etching
10.4 × 9.3 cm (4⅛ × 3 11/16 in.)
In plate: Rembrandt. f 1636
Provenance: Edward Vernon Utterson (1775 or 1776–1856, London, Lugt 909); Henry F Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P390
Boston only
Self-Portrait with Saskia, 1636
B. 19, I; H. 144 †
Etching
10.4 × 9.3 cm (4⅛ × 3 11/16 in.)
In plate: Rembrandt. f 1636
Provenance: Dethomas (probably Máxime, 1867–1928, Paris, Lugt 669a); Albert Roullier (1858–1920, Chicago, cf. Lugt 170); to Clarence Buckingham (1854–1913, Chicago, Lugt 497) March 1910; to his sisters, Katherine (died 1937, Chicago) and Lucy-Maud (died 1920, Chicago); bequeathed by Katherine Buckingham to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1797
Chicago only
59 Saskia with Pearls in Her Hair, 1634
B. 347, only state; H. 112
Etching
8.6 × 6.6 cm (3⅜ × 2⅝ in.)
In plate: Rembrandt f. 1634
Provenance: No recorded provenance
Teylers Museum, Haarlem, KG 3908
60 Three Heads of Women, One Asleep, 1637
B. 368, II; H. 152 †
Etching
14.1 × 9.6 cm (5 9/16 × 3¾ in.)
In plate: Rembrandt f 1637
Provenance: Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); probably sold to Samuel Woodburn (1786–1853, London, cf. Lugt 2584), 1846; Christian David Ginsburg (1831–1914, Palmer’s Green, England, Lugt 1145); possibly included in his sale, London, Sotheby’s, 20–23 July 1915, as part of lot 444; possibly to P. & D. Colnaghi (London); Craddock & Barnard (Tunbridge Wells, England); Lee Max Friedman (1871–1957, Boston, cf. 1749a); given to MFA by his estate, 13 November 1958.
Museum of Fine Arts, Boston. Gift of the Estate of Lee M. Friedman, 58.1051
61 The Great Jewish Bride, 1635
B. 340, II; H. 127
Etching and drypoint
22.1 × 16.8 cm (8 11/16 × 6⅝ in.)
wm: Strasbourg Lily with initials BA variant A.b.
Provenance: Nicholas Mossloff (1847–1914, Moscow, Lugt 1802); P. & D. Colnaghi (London); to MFA, October 1934.
Museum of Fine Arts, Boston. George Nixon Black Fund, 34.604
62 The Great Jewish Bride, 1635
B. 340, IV; H. 127
Etching
22.2 × 16.9 cm (8 11/16 × 6⅝ in.)
In plate: R 1635 (in reverse)
Provenance: The British Museum, London; Paul J. Sachs (1878–1965, Cambridge, Lugt 2091); his gift to the Fogg Art Museum.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Gift of Paul J. Sachs, M 208
63 Saskia as St. Catherine (“The Little Jewish Bride”), 1638
B. 342, only state; H. 154
Etching and drypoint
11 × 7.8 cm (4 5/16 × 3 1/16 in.)
In plate: Rembrandt f. 1638 (in reverse)
Provenance: W. Stewart; sold Lucerne, Gilhofer and Rauschburg, 7 August 1936; Felix Somary (1881–1956, Vienna and Zurich); N. G. Stogdon and Artemis (London, Somary catalogue 1985); Adolph Weil, Jr. (1915–1995, Montgomery, Alabama); his widow Jean K. Weil; by whom given to the Hood Museum of Art.
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; gift of Jean K. Weil in memory of Adolf Weil, Jr., Class of 1935, PR 997.5.114
64 Jacob Caressing Benjamin, about 1645
B. 33, I; H. 148 †
Etching
11.8 × 9 cm (4⅝ × 3 9/16 in.)
In plate: Rembrandt. f
Provenance: Walter Francis, Duke of Buccleuch (1806–1884, London and Dalkeith, Scotland, Lugt 402); his sale, London, Christie’s, 19–22 April 1887, lot 1885; Joseph R. Ritman (1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 8), 1995; to Eijk and Rose-Marie van Otterloo (Marblehead, MA), 1999; their gift to MFA, 26 March 2003.
Museum of Fine Arts, Boston. Gift of Eijk and Rose-Marie van Otterloo in honor of Clifford S. Ackley, 2003.113
65 Jacob Caressing Benjamin, about 1645
B. 33; H. 148
Copper etching plate
12 × 9 cm (4¾ × 3 9/16 in.)
Provenance: Clement de Jonghe (1624/25–1677, Amsterdam, in his estate inventory, 1679); Pieter de Haan (1723–1766, Amsterdam); his sale, Amsterdam, Weyers & Castelein, 9 March 1767, lot 43; to Fouquet (probably Pierre, Jr., 1729–1800), for Claude-Henri Watelet (1718–1786, Paris); to Pierre-François Basan (1723–1797, Paris), 1786; inherited by Henry-Louis Basan (died before 1819); to Auguste Jean (died 1820, Paris), 1809–10; inherited by his widow and sold at her death, 1846; to Auguste Bernard (Paris), 1846; inherited by his son Michel Bernard (Paris); to Alvin-Beaumont (Paris), 1906; to Robert Lee Humber (died 1970, Greenville, NC), 1938; inherited by his sons (on loan to the North Carolina Museum of Art, Raleigh); sold to Artemis (London) and Robert M. Light (Santa Barbara), about 1992; from R. M. Light to MFA, 1993.
Museum of Fine Arts, Boston. William Francis Warden Fund, 1993.91
66 Abraham Casting out Hagar and Ishmael, 1637
B. 30, only state; H. 149
Etching and drypoint
12.6 × 9.6 cm (4 15/16 × 3¾ in.)
In plate: Rembrandt f 1637
Provenance: Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P405
67 Abraham and Isaac, 1645
B. 34, I*; H. 214 †
Etching and drypoint
15.7 × 13.3 cm (6 3/16 × 5¼ in.)
wm: fragment, possibly Strasbourg Lily
In plate: Rembrant. 1645.
Provenance: William Beckford (1760–1844, Fonthill Abbey, Wiltshire, according to the Webster catalogue; Beckford collection dispersed about 1840); John Webster (1810–1891, Aberdeen, Lugt 1554, 1555); his sale, London, Sotheby’s, 9 May 1889, lot 24; Captain Gordon Wright Nowell-Usticke (1894– about 1972, New York and Christiansted, St. Croix); his sale, New York, Parke-Bernet, 30 April–1 May 1968, lot 217; Charles C. Cunningham, Jr. (born 1934, Boston); British Rail Pension Fund; its sale, London, Sotheby’s, 29 June 1987, lot 63; C. G. Boerner (Dusseldorf); Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 9), 1995; to Eijk and Rose-Marie van Otterloo (Marblehead, MA), 1999; their gift to MFA, 26 March 2003.
Museum of Fine Arts, Boston. Gift of Eijk and Rose-Marie van Otterloo in honor of Clifford S. Ackley, 2003.114
*White and Boon mention that other authors list two states, but they decided to list only one. As the Artemis/Sotheby’s catalogue of the Ritman collection points out, the slight reduction at the upper edge of the plate described by Biörklund and Barnard 1968 was also accompanied by burnishing of the foul-bitten area at the left and the addition of a few descending diagonal lines. The present impression precedes these changes.
68 Abraham’s Sacrifice, 1655
B. 35, only state; H. 283
Etching and drypoint
15.6 × 13.1 cm (6⅛ × 5 3/16 in.)
wm: unclear fragment
In plate: Rembrandt f 1655 (d and 6 in reverse)
Provenance: Henry F Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P408
Boston only
Abraham’s Sacrifice, 1655
B. 35, only state; H. 238
Etching and drypoint on Japanese paper
15.6 × 13.1 cm (6⅛ × 5 3/16 in.)
Provenance: Jan Chalón (1738–1795, Amsterdam, Paris, and London, Lugt 439); St. John Dent (died about 1884, London and Milton, Hampshire, Lugt 2373); Emil Schròter (died about 1912, Dresden, Lugt 2270); his sale, Stuttgart, Gutekunst, 7–11 May 1912, lot 906; to Keppel (New York); Richard Gutekunst (1870–1961, Stuttgart, London, Bern, Lugt 2213a); sequestered by the British government in 1914 and sold as penalty for “trading with the enemy” by order of a public trustee through Garland-Smith & Co., London, 2–3 December 1920, lot 166; to Reader (London); Alfred Strolin (1871–1954, Lausanne) or perhaps his son Alfred Strölin (1912–1974, Lausanne and Paris); to The Art Institute of Chicago, 1954.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1954.10
Chicago only
69 The Visitation, 1640
Br. 562; Corpus A138
Oil on panel
56.6 × 47.8 cm (22 5/16 × 18 13/16 in.)
Signed and dated: Rembrandt. 1640.
Provenance: Hieronymous van der Straten, magistrate and burgomaster of Goes (d. 1662); Prince Eugene of Savoy (1633–1736, Vienna, inv. no. 122); by descent, Maria Ann Victoria of Savoy; purchased, with the bulk of Prince Eugene’s collection, by Carlo Emmanuele III of Savoy, King of Sardinia (1730–1773, Turin), 1741; possibly confiscated by French officers during the French occupation of the Piedmont; R. Lerondelle, Paris; taken to England by Sebastien Érrard (1752–1831), 1808; Robert, second Earl of Grosvenor (1767–1845),1812; sold by his grandson Hugh Richard Arthur Grosvenor, second Duke of Westminster (1879–1953), 1913; Baron Alfred Charles de Rothschild (1842–1918, Halton Manor); bought by M. Knoedler & Co. (New York), 1924; acquired by the Detroit Institute of Arts, 1927.
The Detroit Institute of Arts, City of Detroit Purchase, 27.200.
70 The Death of the Virgin, 1639
B. 99, I; H. 161
Etching and drypoint
40.9 × 31.5 cm (16⅛ × 12⅜ in.)
wm: Strasbourg Lily variant K.a.a.
In plate: Rembrandt f. 1639.
Provenance: Pieter Cornelis Baron van Leyden, Leiden (1717–1788); acquired by the Dutch state, 1807; acquired by Amsterdam, Rijksmuseum, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-623
71 Jan Cornells Sylvius, 1646
B. 280, I; H. 225
Etching, drypoint, and engraving
27.8 × 18.9 cm (10 15/16 × 7 7/16 in.)
wm: Strasbourg Bend variant A.c.
In plate: Rembrandt 1646.
Provenance: Probably Arthur Pond (about 1705–1758); Sir Edward Astley (1729–1802, Norfolk, Lugt 2774); probably included in his sale, London, Langford, 27 March 1760 and following days; Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); probably included in his sale, London, Christie’s, 17–18 July 1893; Francis Bullard (1862–1913, Boston, Lugt 982); to his sister Katherine Eliot Bullard (1866–1920, Boston); to their brother Dr. William Norton Bullard (1853–1931, Boston); his gift to MFA, April 1923.
Museum of Fine Arts, Boston. Gift of William Norton Bullard, 23.1017
Boston only
Jan Cornells Sylvius, 1646
B. 280, II; H. 225
Etching, drypoint, and engraving
27.7 × 19 cm (10⅞ × 7½ in.)
wm: Strasbourg Bend variant A.a.a.
Provenance: Alfred Hubert (died 1908, Paris, Lugt 130); his sale, Paris, Danlos, 25–29 May 1909, lot 754; to Obach & Co (London); A. H. Hahlo & Co. (New York); to Clarence Buckingham (1854–1913, Chicago, Lugt 497), March 1912; to his sisters, Katherine (died 1937, Chicago) and Lucy-Maud (died 1920, Chicago); bequeathed by Katherine Buckingham to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1808
Chicago only
72 Ephraim Bueno (Bonus), Physician, 1647
B. 278, II; H. 226
Etching, drypoint, and engraving
24 × 17.7 cm (9 7/16 × 6 15/16 in.)
wm: IHS variant B.b.
In plate: Rembrandt f. 1647
Provenance: Cabanoff-Rosgousky; Dr. Lippmann (possibly Friedrich Lippmann, 1839–1903, Berlin); to Harvard University, 1882.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Gray Collection of Engravings Fund, G4929
73 Ephraim Bueno, 1647
Br. 252
Oil on panel
19 × 15 cm (7½ × 5⅞ in.)
Provenance: Willem Six; possibly sold, Amsterdam, G. Schoemaker, et al., 12 May 1734, lot 89; to Philip van Dijk; Graaf van Wassenaer d’Obdam; his sale, The Hague, P. de Hondt, 19 August 1750, lot 8; Philip van Dijk (The Hague), 1753; Gerret Braamcamp; possibly sold, Amsterdam, P. van der Schley, et al., 31 July 1771, lot 178; to P. Fouget; Jan Lucas van der Dussen (Amsterdam), 1774!?]; William Ponsonby, 2nd Earl of Bessborough (1704–1793); sold (possibly by his son Frederick Ponsonby, 3rd Earl of Bessborough, 1758–1844), London, Christie’s, 5 February 1801, lot 38; to Sir WW. Wynne (possibly Watkin Williams, 1772–1840, Wynnstay, Denbighshire); to N. N. Louden, 1801; Jonkheer Goll van Franckenstein (Amsterdam); possibly sold, Amsterdam, J. de Vries, et al., 1 July 1833, lot 67; to Jan Six; by descent to Jonkheer Jan Willem Six van Vromade, (1857–1926, Amsterdam, on loan to the Rijksmuseum, 1915–20); his sale, Amsterdam, F. Muller, 29 June 1920; Dr. Fritz Mannheimer (1890–1939, Amsterdam); lent by the Stichting Nederlands Kunstbezit, 1948; the Dienst voor’s Rijks Verspreide Kunstvoorwerpen, 1949; transferred to the Rijksmuseum, 1960.
Rijksmuseum, Amsterdam, A3982
74 Jan Six, 1647
B. 285, IV; H. 228 †
Etching, drypoint, and engraving on Japanese paper
24.8 × 19.6 cm (9¾ × 7 11/16 in.)
In plate: IAN SIX. AE. 29 Rembrandt f. 1647:
Provenance: Probably Arthur Pond (about 1705–1758); Sir Edward Astley (1729–1802, Norfolk, Lugt 2774); his sale, London, Langford, 27 March 1760 and following days, possibly lot 80; John Barnard (died 1784, London, Lugt 1419), dated 26 April 1760; his bequest to John Kenrick (died about 1798); his sale London, Philipe, 16 April 1798 and following days, lot 349; to Thomas Philipe (died about 1817, London, cf. Lugt 2451); George Hibbert (1757–1837, London, Lugt 2849); his sale, London, Philipe, 17 April 1809 and following days, lot 250; to Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); possibly to Samuel Woodburn (1786–1853, London, cf. Lugt 2584), 1846; James Reiss (1812–1899, Manchester and London, Lugt 1522); his sale, London, Christie’s, 6–10 May 1901, lot 738; to Kennedy & Co. (New York, cf. Lugt 857); to Henry Harper Benedict (1844–1935, New York, cf. Lugt 2936), October 1914; sold by his heirs, London, Sotheby’s, 7 March 1963, lot 62; Otto Schafer (1912–2000, Schweinfurt); his sale, New York, Sotheby’s, 13 May 1993, lot 52; to Artemis (London); to the present owner.
Private Collection
75 The Pancake Woman, 1635
B. 124, II; H. 141 †
Etching
10.7 × 7.7 cm (4 3/16 × 3 1/16 in.)
In plate: Rembrandt. f. 1635
Provenance: William Esdaile (1758–1837, London, Lugt 2617); Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P518
Boston only
The Pancake Woman, 1635
B. 124, II; H. 141 †
Etching
10.8 × 7.8 cm (4¼ × 3 1/16 in.)
In plate: Rembrandt. f. 1635
Provenance: Dethomas (probably Máxime, 1867–1928, Paris, Lugt 669a); Albert Roullier (died 1920, Chicago, cf. Lugt 170); to Clarence Buckingham (1854–1913, Chicago, Lugt 497), March 1910; to his sisters, Katherine (died 1937, Chicago) and Lucy-Maud (died 1920, Chicago); bequeathed by Katherine Buckingham to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1818
Chicago only
76 The Hog, 1643
B. 157, I; H. 204
Etching and drypoint
14.5 × 18.8 cm (5 11/16 × 7⅞ in.)
In plate: Rembrandt f 1643
Provenance: Henri Vever (1854–1943, Paris, cf. Lugt 2491bis); by descent until sold, London, Sotheby’s, 30 June 1998, lot 106; to Robert M. Light (Santa Barbara); to the Harvard University Art Museums.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Anonymous Fund for the Acquisition of Prints Older than 150 Years, M 23935
77 The Star of the Kings, 1645–47
Ben. 736
Pen and brown ink with brown wash
20.4 × 32.3 cm (8 1/16 × 12 11/16 in.)
wm: Basel Crozier
Verso (visible only through the backing): sketch of a man
Provenance: Anton Maria Zanetti (1680–1767, Venice); Count Moritz von Fries (1777–1826, Vienna, cf. Lugt 2903); Andrew James; his sale, London, Christie’s, 28 April, 1873, lot 73; to Sir George Salting (1835–1909, London, Lugt 2261); his bequest to the British Museum, 1910.
Lent by the Trustees of the British Museum, London, 1910.2.12.189
78 Old Man in a Fur Cap, 1645–48
Ben. 724
Black chalk
12.9 × 9.4 cm (5 1/16 × 3 11/16 in.)
Provenance: Friedrich August II, King of Saxony (1797–1854, Dresden, Lugt 971); by descent; P & D Colnaghi (London), 1949; Percy Moore Turner (died about 1951, London, cf. Lugt 2003); sold, Amsterdam, Sotheby Mak van Waay, 18 Nov. 1980, lot 50A; to the present owner.
Private Collection
79 The Star of the Kings, 1651
B. 113, only state; H. 254 †
Etching, drypoint, and engraving
9.3 × 14.1 cm (3 11/16 × 5 9/16 in.)
Provenance: P. & D. Colnaghi (London); Francis Bullard (1862–1913, Boston, Lugt 982); to his sister Katherine Eliot Bullard (1866–1920, Boston); to their brother Dr. William Norton Bullard (1853–1931, Boston); his gift to MFA, April 1923.
Museum of Fine Arts, Boston. Gift of William Norton Bullard, 23.1015
80 Self-Portrait with a Beret, 1635–38
Ben. 437
Red chalk
12.9 × 11.9 cm (5 1/16 × 4 11/16 in.)
Provenance: Valerius Rover (1686–1739, Delft, cf. Lugt 2984a); C. F. U. Meek; Lessing J. Rosenwald (1891–1979, Philadelphia, Lugt 1760b); his gift to the National Gallery of Art, 1943.
National Gallery of Art, Washington, Rosenwald Collection, 1943.3.7048
81 Self-Portrait Leaning on a Stone Sill, 1639
B. 21, II; H. 168
Etching
20.5 × 16.3 cm (8 1/16 × 6 7/16 in.)
wm: Countermark PDB’ variant A.a.
In plate: Rembrandt f. 1639
Provenance: James Reiss (1812–1899, Manchester and London, Lugt 1522); his sale, London, Christie’s, 6–10 May 1901, lot 431; to Loeffler; Geraldine G. Bellinger; her bequest to private collector (Boston); to MFA as partial purchase and partial gift through Robert M. Light (Santa Barbara), February 1982.
Museum of Fine Arts, Boston. Anonymous gift and Katherine E. Bullard Fund in memory of Francis Bullard, 1982.181
82 Self-Portrait (in a flat cap and embroidered dress), 1642
B. 26, only state; H. 157 †
Etching
9.2 × 6.1 cm (3⅝ × 2⅜ in.)
In plate: Rembrandt f.
Provenance: Baron Ludwig Maximilian Freiherr von Biegeleben (1812–1872, Vienna, Lugt 385); George Biörklund (born 1887, Stockholm, Lugt 1138c); C. G. Boerner (Düsselforf); to MFA, 13 September 1972.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 1972.878
Boston only
Self-Portrait (in a flat cap and embroidered dress), 1642
B. 26, only state; H. 157 †
Etching
9.4 × 6.2 cm (3 11/16 × 2 7/16 in.)
In plate: Rembrandt f.
Provenance: John H. Wrenn (1841–1911, Chicago, Lugt 1475); Ethel Wrenn (died 1924); her bequest to The Art Institute of Chicago, 1924.
The Art Institute of Chicago, John H. Wrenn Memorial Collection, 1924.613
Chicago only
83 Self-Portrait (in a flat cap and embroidered dress), 1642
B. 26; H. 157
Copper etching plate
9.5 × 6.2 cm (3¾ × 2 7/16 in.)
Provenance: Pieter de Haan (1723–1766, Amsterdam); his sale, Amsterdam, Weyers & Castelein, 9 March 1767, lot 69; to Fouquet (probably Pierre, Jr., 1729–1800), for Claude-Henri Watelet (1718–1786, Paris); to Pierre-François Basan (1723–1797, Paris), 1786; inherited by Henry-Louis Basan (died before 1819); to Auguste Jean (died 1820, Paris), 1809–10; inherited by his widow and sold at her death, 1846; to Auguste Bernard (Paris), 1846; inherited by his son Michel Bernard (Paris); to M. Alvin-Beaumont (Paris), 1906; to Robert Lee Humber (died 1970, Greenville, NC), 1938; inherited by his sons (on loan to the North Carolina Museum of Art, Raleigh); sold to Artemis (London) and Robert M. Light (Santa Barbara), about 1992; Robert M. Light, 1993; his gift to Harvard University Art Museums, 1994.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Gift of Robert M. Light in memory of Jakob Rosenberg, 1994.120
84 Sheet of Studies, 1638–45
B. 372, only state; H. 155
Etching
7.7 × 6.7 cm (3 1/16 × 2⅝ in.)
Provenance: Cambridge University Library; transferred to Fitzwilliam Museum (inv. no. AD.12.39–49, Lugt 2475), 1876; probably sold London, Sotheby’s, 2 April 1878; Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P732
85 The Artist Drawing from a Model, about 1639
B. 192, I; H. 2311
Etching, drypoint, and engraving with touches of black chalk
23.2 × 18.4 cm (9⅛ × 7¼ in.)
Provenance: Pierre Remy (active second half of the eighteenth century, Paris, Lugt 2173); acquired by the British Museum, 14 December 1895.
Lent by the Trustees of the British Museum, London, 1895.12.14.111
86 A Man Drawing from a Cast, 1641
B. 130, I; H. 1911
Etching
9.4 × 6.4 cm (3 11/16 × 2½ in.)
Provenance: De Visser (perhaps A.G. de Visser, active 19th century, the Hague); Teylers Museum, Haarlem.
Teylers Museum, Haarlem, KG 3695
87 Jan Asselyn, Painter, about 1647
B. 277, I; H. 227 †
Etching, drypoint, and engraving on oatmeal paper
21.8 × 17 cm (8 9/16 × 6¾ in.)
wm: Wheel variant A.a.
In plate: Rembr f 16[..]
Provenance: Cornelis Ploos van Amstel (1726–1798, Amsterdam, cf. Lugt 2034); his heirs; through Christian Josi (before 1765–1828, Amsterdam and London, cf. Lugt 573) to Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); John Heywood Hawkins (died between 1870 and 1880, London and Bignor Park, Sussex, cf. Lugt 1471); Walter Francis, 5th Duke of Buccleuch and 7th Duke of Queensberry (1806–1884, London and Dalkeith, Scotland, Lugt 402); his sale, London, Christie’s, 19–22 April 1887, lot 2014; Alfred Hubert (died 1908, Paris, Lugt 130); his sale, Paris, Danlos, 25–29 May 1909, lot 751; to Wilhelm A. Gaiser (died about 1916, Stuttgart); Otto Gerstenberg (1848–1935, Berlin, Lugt 2785, 1840c); Harris G. Whittemore (died about 1937, Naugatuck, CT, Lugt 1384a); Lessing J. Rosenwald (1891–1979, Philadelphia, Lugt 1760b); his gift to the National Gallery of Art, 1944.
National Gallery of Art, Washington, Rosenwald Collection, 1944.2.61
88 Jan Lutma, 1656
B. 276, I; H. 290 †
Etching and drypoint
19.9 × 15 cm (7 13/16 × 5⅞ in.)
wm: Foolscap with five-pointed collar variant N.a.b.
Provenance: William Esdaile (1758–1837, London, Lugt 2617); Henry Brodhurst (active 1840s-1870s, Mansfield, England, Lugt 1296); through P. & D. Colnaghi (London) to Danlos and Delisle (Paris), about 1883–84; Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P1607
Boston only
Jan Lutma, 1656
B. 276, I; H. 290 †
Etching and drypoint
19.7 × 14.9 cm (7¾ × 5⅞ in.)
Provenance: Robert Dighton (about 1752–1814, London, Lugt 727); John H. Wrenn (1841–1911, Chicago, Lugt 1475); Ethel Wrenn (died 1924); her bequest to The Art Institute of Chicago, 1924.
The Art Institute of Chicago, John H. Wrenn Memorial Collection, 1924.626.
Chicago only
89 The Goldsmith, 1655
B. 123, I; H. 285 †
Etching and drypoint on Japanese paper
7.7 × 5.7 cm (3 1/16 × 2¼ in.)
In plate: Rembrandt f. 1655
Provenance: William Esdaile (1758–1837, London, Lugt 2617); Nathaniel Smith (about 1740–after 1800, London, Lugt 2296); James Norman (active second half of the eighteenth century, Bomley, Lugt 3024); possibly by descent to Archibald Cameron Norman; Albert Roullier (died 1920, Chicago, cf. Lugt 170); to Miss [probably Katherine] Buckingham, 1915; bequeathed by Katherine Buckingham (died 1937, Chicago, cf. Lugt 497) to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1761
90 The Young Couple and Death, 1639
B. 109, only state; H. 165
Drypoint
Sheet: 10.8 × 8.1 cm (4¼ × 3 3/16 in.)
In plate: Rembrandt f. 1639
Provenance: Probably Arthur Pond (about 1705–1758); Sir Edward Astley (1729–1802, Norfolk, Lugt 2774); probably included in his sale, London, Langford, 27 March 1760 and following days; Pierre Remy (active second half of the eighteenth century, Paris, Lugt 2173); Jan Chalón (1738–1795, Amsterdam, Paris, and London, Lugt 439); to his son-in-law, Christian Josi (before 1765–1828, Amsterdam and London, Lugt 573); sold through Thomas Philipe (died about 1817, London, cf. Lugt 2451) to Sir Reginald Pole Carew (1753–1835); his sale, London, Wheatley, 13–15 May 1835; Lessing J. Rosenwald (1891–1979, Philadelphia, Lugt 1760b); his gift to the National Gallery of Art, 1943.
National Gallery of Art, Washington, Rosenwald Collection, 1943.3.7196
91 The Flute Player, 1642
B. 188, II; H. 200
Etching and drypoint
11.8 × 14.5 cm (4⅝ × 5 11/16 in.)
wm: Basel Crozier
In plate: Rembrandt. f 1642 (2 in reverse)
Provenance: Alexandre-Pierre-François Robert-Dumesnil (1778–1864, Paris, cf. Lugt 2200); his sale, London, Phillips 12–14 April 1836, lot 185; Richard Dawnay, 10th Viscount Downe (1903–1965, Wykeham Abbey, Scarborough, Lugt 719a); to his son John Christian George Dawnay, 11th Viscount Downe, (1935–2003, Wykeham Abbey); his sale, London, Sotheby’s, 7 December 1972, lot 259; L. Lancy (possibly Leslie E., died 1996, Pennsylvania); Helmut Rumbler, Frankfurt (Catalogue 10, 1979, no. 88); Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 84), 1995; to The Art Institute of Chicago, 2001.
The Art Institute of Chicago, The Clarence Buckingham and Amanda S. Johnson and Marion Livingston Endowments, 2001.118
92 The Sleeping Herdsman, 1643–44
B. 189, only state; H. 207
Etching and engraving
7.9 × 5.8 cm (3⅛ × 2 5/16 in.)
Provenance: Henry Danby Seymour (1820–1877, London and Trent, Lugt 176); Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P571
93 The Monk in the Cornfield, about 1646
B. 187, only state; H. 224
Etching and drypoint
5.1 × 6.9 cm (2 × 2 11/16 in.)
Provenance: Possibly Jan Six (1617–1700, Amsterdam); Pierre Remy (active second half of the eighteenth century, Paris, Lugt 2173); probably part of a Rembrandt group acquired from Pierre Aved and passed on by Remy to Thomas Major (1714 or 1720–1799, London); John Barnard (died 1784, London, Lugt 1419); his bequest to John Kenrick (died about 1798); his sale London, Philipe, 16 April 1798 and following days, lot 217; to “C”(possibly Clark); Hermann Weber (1817–1854, Bonn, Lugt 1383); his sale, Leipzig, Weigel, 28 April 1856 and following days, lot 296; Cronstern (Schleswig-Holstein); by descent to family of Graf Plessen (Nehmten, Schleswig-Holstein); their sale, London, Christie’s, 10 December 1991, lot 78; to Artemis (London), probably for Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 83), 1995; to The Art Institute of Chicago, 2001.
The Art Institute of Chicago, The Clarence Buckingham and Amanda S. Johnson and Marion Livingston Endowments, 2001.119
94 The French Bed (“Ledikant”), 1646
B. 186, III; H. 223
Etching, drypoint, and engraving
12.5 × 22.4 cm (4 15/16 × 8 13/16 in.)
In plate: Rembrandt f. 1646. (both sixes in reverse)
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-633
95 Adam and Eve, 1638
B. 28, II; H. 159
Etching
16.3 × 11.6 cm (6 7/16 × 4 9/16 in.)
In plate: Rembrandt. f. 1638.
Provenance: Henry Danby Seymour (1820–1877, London and Trent (Sherborne, Dorset), Lugt 176); Henry F Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P402
Boston only
Adam and Eve, 1638
B. 28, II; H. 159
Etching
16.2 × 11.6 cm (6⅜ × 4 9/16 in.)
In plate: Rembrandt. f. 1638.
Provenance: Adolf Schwarz (Amstelveen); Robert M. Light (Santa Barbara); to The Art Institute of Chicago, 1987.
The Art Institute of Chicago, Gift of Marjorie Blum Kovler Foundation Collection and the Harry and Maribel G. Blum Foundation Collection, 1987.247
Chicago only
96 Nude with a Snake (Cleopatra), about 1637
Ben. 137
Red chalk and white chalk
24.7 × 13.7 cm (9 11/16 × 5 7/16 in.)
Provenance: Fournet (Paris); Mrs. Otto Gutekunst (London); Villiers David (London); his sale, Christie’s, London, July 7, 1981, lot 120.
The J. Paul Getty Museum, Los Angeles, 81.GB.27
97 Joseph and Potiphar’s Wife, 1634
B. 39, I; H. 118 †
Etching
9 × 11.5 cm (3 9/16 × 4 7/16 in.)
wm: Strasbourg Lily
In plate: Rembrandt. f. 1634.
Provenance: J. E. de Wit (died about 1895, Portland, ME); probably purchased after his death by C. J. Davis (Portland, ME).
The Pierpont Morgan Library, New York, RvR 56
98 Jupiter and Antiope, about 1631
B. 204, II; H. 44
Etching, engraving, and drypoint
8.5 × 11.3 cm (3 5/16 × 4 7/16 in.)
In plate: RHL.
Provenance: August Artaria (1807–1893, Vienna, Lugt 33); his sale, Vienna, Artaria and Co., 6–13 May 1896, lot 721; probably Alfred Strölin (1871–1954, Lausanne); his son Alfred Strolin (1912–1974, Lausanne and Paris); his sale, Bern, Klipstein & Kornfeld, 7 June 1961, lot 81; sold London, Sotheby’s, 19 November 1982, lot 585; Adolph Weil, Jr. (1915–1995, Montgomery); his widow Jean K. Weil; her gift to the Hood Museum of Art.
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; gift of Jean K. Weil in memory of Adolf Weil, Jr., Class of 1935, PR.997.5.97
99 Jupiter and Antiope, 1659
B. 203, I; H. 302
Etching, drypoint, and engraving on Japanese paper
13.8 × 20.5 cm (5 7/16 × 8 1/16 in.)
In plate: Rembrandt f 1659.
Provenance: Josef Camesina de Pomal (1765–1827, Vienna, Lugt 429); Artaria and Co. (Vienna); Friedrich August II, King of Saxony (1797–1854, Dresden, Lugt 971); Queen Marie; Prince Georg (later King); Prince Johann-Georg; sold Leipzig, Boerner, 14–15 November 1933, lot 689; sold, London, Sotheby’s (auction 125), 1963, lot 125; Otto Schafer (1912–2000, Schweinfurt); his sale, New York, Sotheby’s, 13 May 1993, lot 39.
Private Collection
100 Studies of a Woman and Two Children, late 1630s–early 1640s
Ben. 300
Pen and brown ink
13.6 × 13.2 cm (5⅜ × 5 3/16 in.)
wm: fragment, Strasbourg Lily with letters PR below, at top center, identical to Schatborn 1985, cat. no. 27 (about mid-1640s); similar to Ash/Fletcher 1998, variant E’.a. (1637–1654); Churchill no. 378 (1636).
Inscribed by Rembrandt: een kindeken met een oudt jack op sijn hoofdken (“a little child with an old jacket on his head”)
Provenance: Dr. Christian David Ginsburg (1831–1914, Palmer’s Green, Middlesex, Lugt 1145); possibly included in his sale, London, Sotheby’s, 20–23 July 1915; Victor Koch (London); Heinrich Eisemann (possibly 1889–1972, Zurich and London); Stefan Zweig (1881–1942, Vienna, London, and Rio de Janeiro); his brother, Alfred Zweig (died about 1979, New York); sold, New York, Sotheby Parke Bernet, 30 May 1979, lot 81; to the present owner.
Private Collection
101 Two Studies of a Child Pulling off the Cap of an Old Man, 1639–40
Ben. 659
Pen and brown ink, touched with brown wash, on paper washed pale brown
18.9 × 15.7 cm (7 7/16 × 6 3/16 in.)
Provenance: Thomas Lawrence (1769–1830, London, Lugt 2445); to William Esdaile (1758–1837, London, Lugt 2617); his sale, Christie’s, 17 June 1840, lot 50; to Hodgson; Andrew James; his sale, Christie’s 28 April 1873, lot 112; to Sir George Salting (1835–1909, London, Lugt 2261); his bequest to the British Museum, 1910.
Lent by the Trustees of the British Museum, London, 1910.2.12.185
102 Three Studies of a Child and One Study of an Old Woman, 1640–45
Ben. A10
Pen and brown ink and brown wash, white watercolor
21.4 × 16 cm (8 7/16 × 6 5/16 in.)
wm: Posthorn
Provenance: Thomas Dimsdale (1758–1823, London, Lugt 2426); probably sold by his heirs to Samuel Woodburn (1786–1853, London, cf. Lugt 2584); Marsden Jasael Perry (1850–1935, Providence, RI, Lugt 1880); Duveen Brothers (New York); to Meta and Paul J. Sachs (1878–1965, Cambridge, Lugt 2091); their gift to the Fogg Art Museum, 1949.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Gift of Meta and Paul J. Sachs, 1949.4
103 Sick Woman with a Large White Headdress, about 1641–42
B. 359, only state; H. 196
Etching and drypoint
6.1 × 5.1 cm (2⅜ × 2 in.)
Provenance: Dukes d’Arenberg (Brussels and Nordkirchen, Lugt 567); Lessing J. Rosenwald (1891–1979, Philadelphia, Lugt 1760b); his gift to the National Gallery of Art, 1951.
National Gallery of Art, Washington, Rosenwald Collection, 1951.10.480
104 Sheet of Studies (with a woman lying ill in bed), about 1641–42
B. 369, only state; H. 163
Etching
13.5 × 15.1 cm (5 5/16 × 5 15/16 in.)
Provenance: Charles Delanglade (born 1870, Marseille, Lugt 660); William H. Schab (New York); to the Fogg Art Museum, 1962.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Gifts for Special Uses Fund, Alpheus Hyatt Fund, William M. Prichard Fund, M 13972
105 The Small Lion Hunt (with two lions), late 1620s
B. 115, only state; H. 180
Etching and abrasion
15.4 × 12.1 cm (6 1/16 × 4 15/16 in.)
wm: Serpent variant A.a.
Provenance: Joseph Maberly (1783–1860, London and Cuckfield, Sussex, Lugt 1845); his sale, London, Sotheby, 26–30 May 1854; part of lot 525; to Walter Benjamin Tiffin (1795–1877, London, cf. 2609) for the British Museum.
Lent by the Trustees of the British Museum, London, 1851.5.30.3
106 The Large Lion Hunt, 1641
B. 114, I; H. 181
Etching and drypoint
22.5 × 30 cm (8⅞ × 11 13/16 in.)
In plate: Rembrandt f 1641
Provenance: Cambridge University Library; transferred to Fitzwilliam Museum, 1876.
The Fitzwilliam Museum, University of Cambridge, AD 12.39-14
107 The Baptism of the Eunuch, about 1641
B. 98, I; H. 182 †
Etching and drypoint
18.3 × 21.3 cm (7 3/16 × 8⅜ in.)
In plate: Rembrandt. f 1641
Provenance: Cambridge University Library; transferred to Fitzwilliam Museum, 1876.
The Fitzwilliam Museum, University of Cambridge, AD 12.39-30
108 The Triumph of Mordecai, about 1641
B. 40, II*; H. 172
Etching and drypoint
17.2 × 21.3 cm (6¾ × 8⅜ in.)
wm: Words, variant ZZ.zz
Provenance: Edward Hippisley (his sale, London, Sotheby’s, 23 May 1848, lot 137); Francis Seymour Haden (1818–1910, London, Lugt 1227); his sale, London, Sotheby’s, 15–19 June 1891, lot 436; to Frederick Keppel (1845–1912, New York, cf. Lugt 1023); Henry Studdy Theobald (1847–1934, London, Lugt 1375); his sale, Stuttgart, Gutekunst, 12–14 May 1910, lot 590; to Muller [possibly Frederik Muller & Cie]; Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 18), 1995; to the National Gallery of Art, 1998.
National Gallery of Art, Washington, New Century Fund, 1998.25.2
*White and Boon describe only one state, but T. Rassieur found in the Bibliothèque Nationale, Paris, an early impression printed before the addition of drypoint shading on the hand of the woman grasping the basket at far left (diagonals) and on the tail of the horse (verticals above the leg). The Paris impression is also before a number of short strokes in various directions on the lower left leg and foot of the twisting man to the right of the horse. The Washington impression was apparently printed shortly after these changes, for the burr of the strokes on the man’s leg is unusually pronounced.
109 The Flight into Egypt, 1633
B. 52, I; H. 105
Etching
8.9 × 6.2 cm (3½ × 2 7/16 in.)
In plate: Rembrandt. inventor et fecit. 1633
Provenance: Lessing J. Rosenwald (1891–1979, Philadelphia, Lugt 1760b); his gift to the National Gallery of Art, 1951.
National Gallery of Art, Washington, Rosenwald Collection, 1951.10.475
110 The Rest on the Flight (a night piece), 1644
B. 57, I; H. 208 †
Etching
9.2 × 5.9 cm (3⅝ × 2 5/16 in.)
Provenance: Felix Slade (1790–1868, London, Lugt 2290); his bequest to the British Museum, 1868.
Lent by the Trustees of the British Museum, London, 1868.8.22.663
111 The Rest on the Flight (lightly etched), 1645
B. 58, only state; H. 216
Etching and drypoint
13.1 × 11.6 cm (5 3/16 × 4⅝ in.)
In plate: Rembrandt. f. 1645.
Provenance: Felix M. Warburg (1871–1937, New York); his widow and their children; their gift to Vassar College, 1941.
The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York, Gift of Mrs. Felix M. Warburg and her children, 1941.1.63
112 The Rest on the Flight into Egypt, 1647
Br. 576
Oil on panel
34 × 48 cm (13⅞ × 18¾ in.)
Signed and dated: Rembrandt f. 1647
Provenance: Richard Colt Hoare (1758–1838, Stourhead); by descent to Sir Henry Hoare (London); his sale, Christie’s, London, 1 June 1883, lot 68; to The National Gallery.
The National Gallery of Ireland, Dublin, NGI 215
113 The Flight into Egypt (a night piece), 1651
B. 53, IV; H. 253 †
Etching, engraving, and drypoint
12.7 × 11.1 cm (5 5/16 × 4¾ in.)
In plate: Rembrandt f. 1651 (6 in reverse)
Provenance: Henry F Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P440
114 Hercules Segers (Dutch, 1589/90–1638)
Tobias and the Angel, 1620s
Etching printed in green ink
Sheet: 20.2 × 27.6 cm (7 15/16 × 10⅞ in.)
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-796
115 The Flight into Egypt (altered from Hercules Segers), 1653
B. 56, IV; H. 266
Etching, drypoint, and engraving
21.2 × 28.4 cm (8⅜ × 11 3/16 in.)
wm: Strasbourg Lily variant C.a.
Provenance: John Heywood Hawkins (died between 1870 and 1880, London and Bignor Park, Sussex, cf. Lugt 1471); his sale London, Sotheby’s, 29 April 1850, lot 877; to John Webster (1810–1891, Aberdeen, Lugt 1554–55); possibly included in his sale London, Sotheby’s, 9 May 1889; P. & D. Colnaghi (London); A. A. Hahlo & Co. (New York); to MFA, June 1916.
Museum of Fine Arts, Boston. Gift of the Visiting Committee, M26200
116 Two Thatched Cottages with Figures at a Window, 1635–40
Ben. 796
Pen and brown ink, corrected with white watercolor
13.2 × 20.2 cm (5¼ × 7 15/16 in.)
Provenance: Possibly Nicolaes Anthonis Flinck (1646–1723, Rotterdam); William Cavendish, second Duke of Devonshire (1665–1729, Chatsworth, cf. Lugt 718); by descent to Andrew Cavendish, the eleventh Duke (born 1920, Chatsworth); sold on behalf of the Chatsworth Settlement, Christie’s, London, July 3, 1984, lot 61; art market, New York.
The J. Paul Getty Museum, Los Angeles, 85.GA.93
117 Cottages and Farm Buildings with a Man Sketching, 1642–45
B. 219, only state; H. 213
Etching
12.9 × 20.9 cm (5 1/16 × 8¼ in.)
wm: Strasbourg Lily with initials LC variant A.a.b.
Provenance: Joseph Daniel Böhm (1794–1865, Vienna, Lugt 272); D. G. Arozarena (active late 1850s and early 1860s, South America and Paris, Lugt 109); his sale, Paris, Clement, 11 March 1861 and following days, lot 705; Artaria & Co. (Vienna, Lugt 90); Walter Cummings Baker (1893–1971); his gift to The Metropolitan Museum of Art, 1962.
The Metropolitan Museum of Art, New York. Gift of Walter C. Baker, 62.664.1
118 Landscape with a Cottage and Haybarn, 1641
B. 225, only state; H. 177
Etching and drypoint
12.7 × 32 cm (5 × 12⅝ in.)
wm: fragment of Strasbourg Lily
In plate: Rembrandt f 1641
Provenance: Ernst Theodore Rodenacker (about 1840–before 1894, Dantzig, Lugt 2438); probably sold to P. & D. Colnaghi (London, though possibly sold by Boerner, Leipzig, 15 June 1897); Atherton Curtis (1863–1943, New York and Paris, Lugt 94) and his first wife Louise Burleigh Curtis (born 1869–1910); his second wife and widow, Ingeborg Flinch; sold Bern, Gutekunst & Klipstein, 28 April 1955, lot 110; to C. G. Boerner (Dusseldorf); C. G. Boerner (catalogue 100, no. 46), 1993; private collection (Tokyo); with Pace Prints (New York); to MFA, June 2000.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 2000.645
119 The Windmill, 1641
B. 233, only state; H. 179
Etching
14.5 × 20.8 cm (5 11/16 × 8 3/16 in.)
wm: Countermark LB variant A.a.
In plate: Rembrandt f 1641
Provenance: Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P614
120 Small Gray Landscape (house and trees beside a pool), about 1640
B. 207, only state; H. 175
Etching
3.8 × 8.3 cm (1½ × 3¼ in.)
Provenance: Probably Comte de Fries, Baron Jan Gijsbert Verstolk van Soelen (1776–1845, The Hague and Soelen, Lugt 2490); his sale, Amsterdam, De Vries, et al., 26 October 1847 and following days, lot 498; Teylers Museum, Haarlem.
Teylers Museum, Haarlem, KG 3772
121 The Landscape with the Three Trees, 1643
B. 212, only state; H. 205
Etching, drypoint, and engraving
21.3 × 27.8 cm (8⅜ × 10 15/16 in.)
wm: Foolscap with five-pointed collar variant A.a.b.
In plate: Rembrandt f 1643
Provenance: Henry Osborne Havemeyer (1847–1907, New York); his widow, Louisine Waldren Elder Havemeyer; her bequest to The Metropolitan Museum of Art, 1929
The Metropolitan Museum of Art, New York, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 29.107.31
122 The Boat House, 1645
B. 231, I; H. 211
Etching and drypoint
12.7 × 13.4 cm (5 × 5¼ in)
In plate: Rembrandt. 1645.
Provenance: Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); John Heywood Hawkins (died between 1870 and 1880, London and Bignor Park, Sussex, cf. Lugt 1471); Walter Francis, 5th Duke of Buccleuch and 7th Duke of Queensberry (1806–1884, London and Dalkeith, Scotland, Lugt 402); his sale, London, Christie’s, 19–22 April 1887, lot 1975; George Washington Vanderbilt (1862–1914, Asheville, NC); John Pierpont Morgan (1837–1913, New York), after 1905.
The Pierpont Morgan Library, New York, RvR 324
123 A Clump of Trees with a Drawbridge, about 1645
Ben. 1256
Black chalk
9.4 × 15.1 cm (3 11/16 × 5 15/16 in.)
wm: fragment
Provenance: Count General Antoine-François Andreossy (1761–1828, France); his sale, Paris 13 April 1864 and following days, lot 394 (with Ben. 1255); to Ambroise Firmin-Didot (1790–1876, Paris, Lugt 119); his sale, Paris, Danlos et al., 16 April 1877 and following days, lot 79 (with Ben. 1255); William Mitchell (1820–1908, Australia and London); his sale, Frankfurt, Prestei, 7 May 1890 lot 90 (with Ben. 1255); to F. F J. Deprez and Otto Gutekunst (London) for the British Museum.
Lent by the Trustees of the British Museum, London, 1890.5.12.161
124 A Clump of Trees in a Fenced Enclosure, about 1645
Ben. 1255
Black chalk
9.5 × 15 cm (3¾ × 5¾ in.)
wm: fragment of a crowned shield
Provenance: Count General Antoine-François Andreossy (1761–1828, France); his sale, Paris 13 April 1864 and following days, lot 394 (with Ben. 1256); to Ambroise Firmin-Didot (1790–1876, Paris, Lugt 119); his sale, Paris, Danlos et al., 16 April 1877 and following days, lot 79 (with Ben. 1256); William Mitchell (1820–1908, Australia and London); his sale, Frankfurt, Prestei, 7 May 1890 lot 90 (with Ben. 1256); to E. F. J. Deprez and Otto Gutekunst (London) for the British Museum.
Lent by the Trustees of the British Museum, London, 1890.5.12.160
125 The Omval, 1645
B. 209, I; H. 210
Etching and drypoint
18.7 × 22.7 cm (7⅜ × 8 15/16 in.)
In plate: Rembrant. 1645
Provenance: Dukes d’Arenberg (Brussels and Nordkirchen, Lugt 567); possibly in their sale, Christie et al., London, 14–17 July 1902, as part of lot 423; to Obach (London); William H. Schab (New York); to The Art Institute of Chicago, 1951.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1951.229
126 Winter Landscape, 1646
Br. 452
Oil on panel
16.6 × 23.4 cm (6 9/16 × 9 3/16 in.)
Signed and dated: Rembrandt f. 1646
Provenance: Possibly Lodewijk van Erprecum (Amsterdam, his inventory of 4 November, 1692, lists “een winterje van Rembrandt”); Landgraf Wilhelm VIII of Hesse, 1682–1760, possibly acquired in 1752 through Gerard Hoet (Kassel collection inventory of 1749, no. 768, p. 68); Landgräfliche Collection, Hessen-Kassel, until 1803 (1783 inventory, no. 128, p. 75); Electoral Collection, Hessen-Kassel, 1803–06; Musée Napoleon, Paris, 1807–15; Electoral Collection, Hessen-Kassel, 1816–66 (1816 inventory, no. 469); Kassel Gallery, after 1866; Gemäldegalerie, Schloss Wilhelmshöhe, Staatliche Kunstsammlung, after 1967.
Staatliche Museen Kassel, Gemäldegalerie Alte Meister, GK 241
127 Six’s Bridge, 1645
B. 208, III; H. 209
Etching and drypoint
13 × 22.7 cm (5⅛ × 8 15/16 in.)
In plate: Rembrandt f. 1645
Provenance: Christian Josi (born before 1765–1828, Amsterdam and London, Lugt 573); his sale London, Christie’s, 18 March 1829 and following days, second day, lot 79; to Chevalier Ignace-Joseph de Claussin (1766–1844, Paris and London, cf. Lugt 485); John Webster (1810–1891, Aberdeen, Lugt 1554–55); his sale London, Sotheby’s, 9 May 1889, lot 94; to A. Danlos (Paris); Paul Davidsohn (born 1839, London and Berlin, Lugt 654); his sale Leipzig, Boerner, 26–29 April 1921, lot 174; sold Leipzig, Boerner, 25–27 May, 1925, lot 1143; to Gilhofer & Ranschburg for Felix Somary (1881–1956, Vienna and Zurich); with Artemis and N. G. Stogdon, 1985 (catalogue no. 32); Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 93), 1995; to Eijk and Rose-Marie van Otterloo (Marblehead, MA), 1999; their gift to MFA, 26 March 2003.
Museum of Fine Arts, Boston. Gift of Eijk and Rose-Marie van Otterloo in honor of Clifford S. Ackley, 2003.116
128 “Winter Landscape” (Landscape with a Farmstead), about 1648–50
Ben. 845
Brown ink and brown wash on paper prepared with a light brown wash
6.7 × 16 cm (2⅝ × 6 5/16 in.)
Provenance: Count General Antoine-François Andreossy (1761–1828, France); probably included in his sale, Paris 13 April 1864 and following days; Ambroise Firmin-Didot (1790–1876, Paris, Lugt 119); possibly included in his sale, Paris, Danlos et al., 16 April 1877 and following days; Frieherr Max von Heyl zu Herrnsheim (1844–1925, Darmstadt, Lugt 2879); his sale, Stuttgart, Gutekunst, 25 May 1903, lot 246; Charles A. Loeser (1864–1928); his bequest to the Fogg Art Museum, 1932.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Bequest of Charles A. Loeser, 1932.368
129 The Raising of Lazarus, 1642
B. 72, I; H. 198 †
Etching and drypoint
15 × 11.5 cm (5⅞ × 4½ in.)
wm: Foolscap with five-pointed collar variant A.a.
In plate: Rembrandt f. 1642 (2 in reverse)
Provenance: Carl Benjamin Brüsaber (1815–1876, Hamburg, Lugt 309); probably included in his sale, Berlin, Sagert, 28 April 1873 and following days; Emil Schröter (died about 1912, Dresden, Lugt 2270); his sale, Stuttgart, Gutekunst, 7–11 May 1912, lot 937; Nasrudin Gallery (Boston); to MFA, November 1976.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 1976.744
130 The Raising of Lazarus, 1642
B. 72; H. 198
Copper etching plate
15 × 11.5 cm (5⅞ × 4½ in.)
Provenance: Nicolaes Visscher (Amsterdam); Claude-Henri Watelet (1718–1786, Paris); to Pierre-Francois Basan (1723–1797, Paris), 1786; inherited by Henry-Louis Basan (died before 1819); to Auguste Jean (died 1820, Paris), 1809–10; inherited by his widow and sold at her death, 1846; to Auguste Bernard (Paris), 1846; inherited by his son Michel Bernard (Paris); to Alvin-Beaumont (Paris), 1906; to Robert Lee Humber (died 1970, Greenville, NC), 1938; inherited by his sons (on loan to the North Carolina Museum of Art, Raleigh); sold to Artemis (London) and Robert M. Light (Santa Barbara), about 1992; from R. M. Light to MFA, 24 March 1993.
Museum of Fine Arts, Boston. William Francis Warden Fund, 1993.92
131 Tobias and the Angel Taking Leave of Raguel, early 1650s
Ben. 871
Brown ink, touched with white watercolor
19.4 × 27.3 cm (7⅝ × 10¾ in.)
wm: Strasbourg Lily
Provenance: Karl Eduard von Liphart (1808–1891, Bonn and Florence, Lugt 1687); his grandson Reinholt Freiherr von Liphart (active late nineteenth century, Dorpat, Lugt 1758); his sale, Leipzig, Boerner, 26 April 1898, lot 300; to “G. v.d. Eeckhout”; Cornells Hofstede de Groot (1863–1930, the Hague, Lugt 561); by whom given (with rights to ownership to 14 April 1931) to the Rijksmusem, 1906.
Rijksmuseum, Amsterdam, RP-T-1930-18
132 The Blindness of Tobit, 1651
B. 42, I; H. 252
Etching and drypoint
16.1 × 12.9 cm (6 5/16 × 5 1/16 in.)
wm: fragment of Foolscap with five-pointed collar
In plate: Rembrandt f. 1651
Provenance: Mrs. De Bruijnvan der Leeuw; her bequest to the Rijksmuseum, 1962.
Rijksmuseum, Amsterdam, RP-P-1962-18
133 Tobias Healing His Father’s Blindness, about 1640–45
Ben. 547
Pen and brown ink, and white watercolor
21.1 × 17.7 cm (8 5/16 × 6 15/16 in.)
wm: fleur de lys
Provenance: Chevalier Ignace-Joseph de Claussin (1766–1844, Paris and London, cf. Lugt 485); his sale Paris, Schroth, 2 December 1844, lot 53; to George Jacob Johan van Os (Paris and Amsterdam); his sale, Paris, Roussel & Defer, 20–22 January 1851, lot 179; possibly Pierre Defer (1798–1870, Paris, Lugt 739); his son-in-law Henri Dumesnil (1823–1898, Paris, Lugt 739); his sale Paris, 10–12 May 1900, lot 87; to Joseph Reinach (1856–1921, Paris); possibly Mme. Pierre Goujon; to Wildenstein and Co. (New York); to Cleveland Museum of Art, 1969.
The Cleveland Museum of Art, J. H. Wade Purchase Fund, 1969.69
Chicago only
134 The Angel Departing from the Family of Tobias, 1641
B. 43, I; H. 185 †
Etching and drypoint
10.3 × 15.4 cm (4 1/16 × 6 1/16 in.)
wm: fragment (three lobes)
In plate: Rembrandt f. 1641
Provenance: David Tunick (New York); Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 21), 1995; to MFA, March 2001.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 2001.139
135 Christ Preaching (“The Hundred Guilder Print”), about 1648
B. 74, I; H. 236
Etching, drypoint, and engraving on Japanese paper
27.8 × 38.8 cm (10 15/16 × 15¼ in.)
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-601
136 Christ Preaching (“La Petite Tombe”), about 1652
B. 67, only state; H. 256
Etching and drypoint
15.4 × 20.6 cm (6 1/16 × 8⅛ in.)
Provenance: Francis Bullard (1862–1913, Boston, Lugt 982); to his sister Katherine Eliot Bullard (1866–1920, Boston); to their brother Dr. William Norton Bullard (1853–1931, Boston); his gift to MFA, April 1923.
Museum of Fine Arts, Boston. Gift of William Norton Bullard, 23.1011
Boston only
Christ Preaching (“La Petite Tombe”), about 1652
B. 67, only state; H. 256
Etching and drypoint
15.5 × 20.7 cm (6⅛ × 8⅛ in.)
Provenance: Dethomas (probably Máxime, 1867–1928, Paris, Lugt 669a); Albert Roullier (died 1920, Chicago, cf. Lugt 170); to Clarence Buckingham (1854–1913, Chicago, Lugt 497), March 1910; to his sisters, Katherine (died 1937, Chicago) and Lucy-Maud (died 1920, Chicago); bequeathed by Katherine Buckingham to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1749
Chicago only
137 Christ Preaching (“La Petite Tombe”), about 1652
B. 67, only state; H. 256
Etching and drypoint on Japanese paper
15.4 × 20.5 cm (6 1/16 × 8 1/16 in.)
Provenance: Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P454
138 Medea or The Marriage of Jason and Creusa, about 1648
B. 112, I; H. 235
Etching and drypoint on Japanese paper
23.9 × 17.8 cm (9 7/16 × 7 in.)
Provenance: Possibly Alfred Morrison (1821–1897, London & Fonthill, cf. Lugt 144, 151); Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P503
139 The Rat-Poison Peddler, 1632
B. 121, III; H. 97
Etching and engraving
14 × 12.5 cm (5½ × 4 15/16 in.)
wm: Countermark HN variant a.a.
In plate: RHL 1632 (3 and 2 in reverse)
Provenance: Mrs. De Bruijnvan der Leeuw; her bequest to the Rijksmuseum, 1962.
Rijksmuseum, Amsterdam, RP-P-1962-59
140 Beggars Receiving Alms at the Door of a House, 1648
B. 176, I; H. 233 †
Etching, drypoint, and engraving
16.5 × 12.9 cm (6½ × 5 1/16 in.)
In plate: Rembrandt. f. 1648.
Provenance: Cambridge University Library; transferred to Fitzwilliam Museum, 1876
The Fitzwilliam Museum, University of Cambridge, AD 12.40-37
141 Abraham and the Angels, 1646
Br. 515
Oil on panel
16 × 21 cm (6 5/16 × 8¼ in.)
signed and dated: Rembrandt f. 1646
Provenance: Ferdinand Bol (1616–1680, Amsterdam); Jan Six (1617–1700, Amsterdam); his sale, Amsterdam, 6 April 1702, lot 40; Benjamin West (1728–1820, London); his sale, London, Christie’s, 23–24 June 1820, lot 58; J. Haldiman; Richard Saunderson, 1836; Sir Thomas Baring (1772–1848, London); Stanley (perhaps Edward and Mary Dorothy or their son Capt. F. A. V., Quantock Lodge, Somerset); Frederik Muller & Co. (Amsterdam); A. Janssen (Amsterdam); Catalina von Pannwitz (Heemstede, later New York); private collection (England); Aurora Art Trust, 1986.
Aurora Art Fund, Courtesy of Stiebel, Ltd.
142 Abraham Entertaining the Angels, 1656
B. 29, only state; H. 286 †
Etching and drypoint on Japanese paper
16 × 13 cm (6 5/16 × 5⅛ in.)
In plate: Rembrandt f. 1656.
Provenance: Jan Chalón (1738–1795, Amsterdam, Paris, and London, Lugt 439); to his son-in-law, Christian Josi (before 1765–1828, Amsterdam and London, Lugt 573); sold through Thomas Philipe (died about 1817, London, cf. Lugt 2451) to Sir Reginald Pole Carew (1753–1835); his sale, London, Wheatley, 13–15 May 1835, lot 34; William Esdaile (1758–1837, London, Lugt 2617), by 1837; probably Alfred Strölin (1871–1954, Lausanne); his son Alfred Strölin (1912–1974, Lausanne and Paris); his sale, Bern, Klipstein at Kornfeld, 7 June 1961, lot 11; private collection; Artemis/Boerner (New York); St. Louis Art Museum, 1999.
The Saint Louis Art Museum. Gift of Sidney and Sadie Cohen Foundation in memory of llene Cohen Edison, 104.1999
143 Drawing after an Indian Miniature, 1656–61
Ben. 1187
Pen and brown ink, brown and gray wash, and white watercolor with scraping, on Japanese paper
19.4 × 12.4 cm (7⅝ × 4⅞ in.)
Provenance: Jonathan Richardson, Sr. (1665–1745, London, Lugt 2184); his sale, London, Cock, 11 February 1747 (1746 old style) and following days, 18th night, part of lot 70, at first withdrawn and then sold with two other portfolios; Arthur Pond (about 1705–1758); sale, London, Langford, 8th day, May 3rd, 1759, lot 65; “four Chinese men seated under a tree, drinking tea”; Ralph Willet (engraved when in his collection by S. Watts, 1767); his sale, London, Philipe, 13 June 1808 and following days, lot 463; to Allen; Thomas Dimsdale (1758–1823, London, cf. Lugt 2426, according to Lawrence Gallery catalogue); Sir Thomas Lawrence (1769–1830, London, Lugt 2445, described in his MS inventory, case 1, drawer 2, 54, 85: “Four Turks sitting under a Tree drinking Coffee”, pen and bistre on India paper); William Esdaile (1758–1837, London, Lugt 2617); his sale, London, Christie’s, 17 June 1840, lot 115; to Samuel Woodburn (1786–1853, London, cf. Lugt 2584); sale, Christie’s, 7 June 1860, lot 770; to [Jeffrey?] Whitehead; John Charles Robinson (1824–1913, London); John Malcolm of Poltalloch (1805–1893, Poltalloch, Argyleshire, and London, Lugt 1489); his son John Wingfield Malcolm (1833–1902); sold to The British Museum, 1895.
Lent by the Trustees of the British Museum, London, 1895.0915.1275
144 Abraham Entertaining the Angels, 1656
B. 29; H. 286
Copper etching plate
16.2 × 13.3 cm (6⅜ × 5¼ in.)
verso oil painting: attributed to Peeter Gysels (Flemish, 1621–1690), River Landscape with Villages and Travelers
Provenance: Acquired 1946 by private collection (Yorkshire, England); sale, London, Christie’s, 26 June 1997, lot 94; to the National Gallery of Art, Washington.
National Gallery of Art, Washington, Gift of Ladislaus and Beatrix von Hoffmann and Patrons’ Permanent Fund, 1997.85.1a/b
145 The Shell, 1650
B. 159, II; H. 248
Etching, drypoint, and engraving
9.7 × 13.2 cm (3 13/16 × 5 3/16 in.)
In plate: Rembrandt. f. 1650.
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-242
146 Saint Jerome (in a dark chamber), 1642
B. 105, I; H. 201 †
Etching, drypoint, and engraving
15 × 17.6 cm (5⅞ × 6 15/16 in.)
In plate: Rembrandt f 1642
Provenance: Ambroise Firmin-Didot (1790–1876, Paris, Lugt 119); his sale, Paris, Danlos, et al., 16 April–12 May 1877, lot 862; William G. Russell Allen (1882–1955, Boston); to his niece, Mrs. Lydia Evans Tunnard (1913–1980, New Haven); her gift to MFA, January 1962.
Museum of Fine Arts, Boston. Gift of Mrs. Lydia Evans Tunnard in memory of W. G. Russell Allen, 61.1363
147 Saint Jerome (beside a pollard willow), 1648
B. 103, III*; H. 232
Etching and drypoint
18.2 × 13.4 cm (7 3/16 × 5¼ in.)
wm: Foolscap with five-pointed collar
In plate: Rembrandt. f 1648
Provenance: Chevalier Ignace-Joseph de Claussin (1766–1844, Paris and London, Lugt 485); Paul Mathey (1844–1929, Paris, Lugt 2100b); his sale, Paris, Delteil, 9 April 1924; Henri-Jean Thomas (Born 1872, Paris, Lugt 1378); his sale, Paris, Rousseau, 22 June 1951, lot 64; Richard H. Zinser (about 1883–1983, Forest Hills); sold by his descendants through Nicholas G. Stogdon (Oxford) to MFA, June 2002.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 2002.137
*White and Boon describe two states, but T. Rassieur observed an intermediate stage between them (impressions in the British Museum and in the Collection Frits Lugt, Paris, both printed on Japanese paper). In this state Rembrandt had not yet added the following: diagonal shading on Jerome’s left shoulder outside of the collar of his cloak, a few diagonal strokes in the shawl above his right thumb, a cluster of very fine diagonal strokes at the left end of the lower board beneath Jerome’s right hand, about four fine diagonal strokes above the strong diagonal extending from his left shoulder to above his neck, and a few very fine vertical strokes to his left temple. The exhibited impression has these additions.
148 Saint Jerome Reading in an Italian Landscape, about 1654
B. 104, II; H. 267
Etching, drypoint, and engraving on oatmeal paper
25.7 × 20.8 cm (10⅛ × 8 3/16 in.)
wm: Wheel (probably similar to variant A.a.)
Provenance: Cabinet Brentano-Birckenstock (founded 1765 by Johannn-Melchior Birckenstock (1738–1809, Vienna and Frankfurt, Lugt 345); sold following the death in 1869 of Antonia, Birckenstock’s only daughter, wife of Franz Brentano, Frankfurt, Prestei, 16 May 1870, lot 1338; bought by Marseille Holloway (died about 1910, London, Lugt 1875); Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P496
Boston only
Saint Jerome Reading in an Italian Landscape, about 1654
B. 104, II; H. 267
Etching, drypoint, and engraving
26 × 20.9 cm (10¼ × 8¼ in.)
wm: Strasbourg Bend D’.a.a.
Provenance: Princes Waldburg-Wolfegg (Wolfegg, Lugt 2542); sale, Leipzig, Boerner, 14–15 May 1934, lot 537; to Alfred Strólin (1871–1954, Lausanne); Richard H. Zinser (about 1883–1983, Forest Hills); to The Art Institute of Chicago, 1941.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1941.1048
Chicago only
149 Saint Francis Praying beneath a Tree, 1657
B. 107, II; H. 292
Drypoint with etching and engraving on Japanese paper
18 × 23.8 cm (7 1/16 × 9⅜ in.)
In plate (superimposed over his signature from the first state): Rembrandt f. 1657 (d in reverse)
Provenance: Count Moritz von Fries (1777–1826, Vienna, cf. Lugt 2903); Baron Jan Gijsbert Verstolk van Soelen (1776–1845, The Hague and Soelen, Lugt 2490); his sale, Amsterdam, De Vries, et al., 26 October 1847 and following days, probably lot 293; Weber and Van der Kolck, Brussels; Dukes d’Arenberg (Brussels and Nordkirchen, Lugt 567); William H. Schab (New York); to MFA, May 1951.
Museum of Fine Arts, Boston. 1951 Purchase Fund, 51703
Boston only
Saint Francis Praying beneath a Tree, 1657
B. 107, II; H. 292
Drypoint with etching and engraving on Japanese paper
18 × 23.8 cm (7 1/16 × 9⅜ in.)
In plate (superimposed over his signature from the first state): Rembrandt f. 1657 (d in reverse)
Provenance: Six; Pierre Remy (active second half of the eighteenth century, Paris, Lugt 2136); De Kat (possibly Huize Groenhof, Soestdijk); Johann Paul Friedrich Kalle (1804–1875, Cologne and Bonn, Lugt 1021); sold Frankfurt 1850; Dr. August Sträter (1810–1897, Aachen, Lugt 787); his sale, Stuttgart, H. G. Gutekunst, 10–14 May 1898, lot 740; Richard H. Zinser (about 1883–1983, Forest Hills); to The Art Institute of Chicago, 1954.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1954.1190
Chicago only
150 Faust (The Scholar in His Study), about 1652
B. 270, I; H. 260 †
Etching, drypoint, and engraving
21 × 16 cm (8¼ × 6 5/16 in)
Provenance: Henri Vever (1854–1943, Paris, Lugt 2491bis); by descent until sold, London, Sotheby’s, 30 June 1998, lot 118; to Robert M. Light (Santa Barbara); to Alan and Marianne Schwartz (Detroit).
Alan and Marianne Schwartz Collection
151 Christ Driving the Moneychangers from the Temple, 1635
B. 69, I; H. 126 †
Etching and engraving
13.8 × 17.1 cm (5 7/16 × 6¾ in.)
wm: Strasbourg Bend variant A.c.
In plate: Rembrandt. f. 1635
Provenance: Robert Dighton (about 1752–1814, London, Lugt 727); probably with Frederick Keppel & Co. (New York, cf. Lugt 1023); Tracy Dows (born 1871, New York, Lugt 2427); to Frederick Keppel & Co., February 1911; S. S. Rosenstamm (1860–about 1919, New York, Lugt 2839); his sale, New York, American Art Galleries, 27 January 1920, lot 75; Lee Max Friedman (1871–1957, Boston, cf. Lugt 1749a); given to MFA by his estate, 13 November 1958.
Museum of Fine Arts, Boston. Gift of the Estate of Lee M. Friedman, 58.1052
152 Christ Appearing to the Apostles, 1656
B. 89, only state; H. 237
Etching on Japanese paper
16.2 × 20.8 cm (6⅜ × 8 3/16 in.)
In plate: Rembrandt. f. 1656.
Provenance: Francis Bullard (1862–1913, Boston, Lugt 982); to his sister Katherine Eliot Bullard (1866–1920, Boston); to their cousin Ellen Twistleton Bullard (1865–1959, Boston); her gift to MFA, November 1925.
Museum of Fine Arts, Boston. Gift of Miss Ellen T. Bullard, 25.1146
Boston only
Christ Appearing to the Apostles, 1656
B. 89, only state; H. 237
Etching 16.3 × 21.2 cm (6 7/16 × 8⅜ in.)
wm: Countermark HP
In plate: Rembrandt. f. 1656.
Provenance: Franz Rechberger (1771–1841, Vienna, Lugt 2133), 1801; Dukes d’Arenberg (Brussels and Nordkirchen, Lugt 567); William H. Schab (New York); to The Art Institute of Chicago, 1951.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1951.228
Chicago only
153 The Adoration of the Shepherds, 1656–57
B. 46, IV; H. 255 †
Etching, drypoint, and engraving
14.9 × 19.6 cm (5⅞ × 7 11/16 in.)
wm: fragment of Strasbourg Lily
Provenance: Franz Rechberger (1771–1841, Vienna, Lugt 2133); Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P428
Boston only
The Adoration of the Shepherds, 1656–57
B. 46, IV; H. 255 †
Etching, drypoint, and engraving
14.9 × 19.7 cm (5⅞ × 7¾ in.)
Provenance: August Artaria (1807–1893, Vienna, Lugt 33); his sale, Vienna, Artaria, 6–13 May 1896, lot 442; to Artaria; Marsden Jasael Perry (1850–1935, Providence, RI, Lugt 1880); his sale, Stuttgart, Gutekunst, 18 May 1908 and following days, lot 1145; Keppel (New York); to Clarence Buckingham (1854–1913, Chicago, Lugt 497) March 1909; to his sisters, Katherine (died 1937, Chicago) and Lucy-Maud (died 1920, Chicago); bequeathed by Katherine Buckingham to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1735. Chicago only
154 Presentation in the Temple (in the dark manner), 1654
B. 50, only state; H. 279
Etching, drypoint, and engraving
20.9 × 16.2 cm (8¼ × 6⅜ in.)
wm: Foolscap with seven-pointed collar variant B.b.
Provenance: John Heywood Hawkins (died between 1870 and 1880, London and Bignor Park, Sussex, Lugt 1471); Wilhelm Eduard Drugulin (1825–1879, Leipzig, Lugt 2614); his sale 25 November 1865, lot 1454; to C. G. Boerner, Leipzig; George Räth (1828–1904, Budapest, Lugt 1206); his sale, Vienna, Posonyi, 11 January 1869, lot 779; B. N. Tchicherine, 1870; sold Leipzig, Boerner, 11–13 November 1930, lot 896; to Alfred Strölin (1871–1954, Lausanne); sold Bern, Gutekunst & Klipstein, 6 June 1939, lot 235; Alfred Strölin (1871–1954, Lausanne); to The Art Institute of Chicago, 1950.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1950.1508
155 The Entombment, 1654
B. 86, I; H. 281
Etching on Japanese paper
21 × 15.9 cm (8¼ × 6⅜ in.)
Provenance: Keppel (New York); to Clarence Buckingham (1854–1913, Chicago, Lugt 497), March 1909; to his sisters, Katherine (died 1937, Chicago) and Lucy-Maud (died 1920, Chicago); bequeathed by Katherine Buckingham to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1756
156 The Entombment, 1654
B. 86, II; H. 281
Etching, drypoint, and engraving on vellum
20.6 × 15.7 cm (8⅛ × 6 3/16 in.)
Provenance: Edward Rudge (1763–1846, Evesham, Worcestershire, cf. Lugt 900); by descent to John Edward Rudge; his sale, London, Christie’s, 16–17 December 1924, lot 114; Eldridge Reeves Johnson (1867–1945, Merion, PA, and Camden, NJ); his sale, New York, Parke-Bernet, 3–4 April 1946, lot 154; Captain Gordon Wright Nowell-Usticke (1894– about 1972, New York and Christiansted, St. Croix); his sale, New York (Parke-Bernet), 30 April–1 May, 1968, lot 315; Charles C. Cunningham, Jr. (born 1934, Boston); Norton Simon (1907–1993, Pasadena); Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 50), 1995; to The Art Institute of Chicago, 1997.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1997.419
157 The Entombment, 1654
B. 86, II; H. 281
Etching, drypoint, and engraving
20.9 × 16.2 cm (8¼ × 6⅜ in.)
wm: fragment of Foolscap with five-pointed collar
Provenance: Possibly Ernst Peter Otto (1724–1799, Leipzig, Lugt 895); to his widow; to their son-in-law Mr. Clauss; possibly included in the third Otto sale, Leipzig, Weigel, 17 May 1852 and following days; Wilhelm Koller (died 1871, Vienna, Lugt 2632); probably included in his sale, Vienna, Posonyi, 5 February 1872 and following days; Francis Bullard (1862–1913, Boston, Lugt 982); to his sister Katherine Eliot Bullard (1866–1920, Boston); to their brother Dr. William Norton Bullard (1853–1931, Boston); his gift to MFA, April 1923.
Museum of Fine Arts, Boston. Gift of William Norton Bullard, 23.1013
158 The Descent from the Cross by Torchlight, 1654
B. 83, only state; H. 280 †
Etching with drypoint
21.2 × 16.5 cm (8⅜ × 6½ in.)
wm: Foolscap with seven-pointed collar
In plate: Rembrandt. f 1654 (a in reverse)
Provenance: C. G. Boerner (Dusseldorf, catalogue 69, no. 43), 1978; Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 48), 1995; to Eijk and Rose-Marie van Otterloo (Marblehead, MA), 1999; their gift to MFA, 26 March 2003.
Museum of Fine Arts, Boston. Gift of Eijk and Rose-Marie van Otterloo in honor of Clifford S. Ackley, 2003.115
Boston only
The Descent from the Cross by Torchlight, 1654
B. 83, only state; H. 280 †
Etching and drypoint
21.6 × 16.4 cm (8½ × 6 7/16 in.)
wm: Foolscap with five-pointed collar variant G.a.
In plate: Rembrandt. f 1654 (a in reverse)
Provenance: C. G. Boerner (Dusseldorf, catalogue 73, no. 83), 1980; private collection, U.S.A., 1985–2000; Boerner/Artemis (London and New York); to The Art Institute of Chicago, 2001.
The Art Institute of Chicago, Restricted gift of Anne Searle Bent, 2001.121
Chicago only
The Descent from the Cross by Torchlight, 1654
B. 83, only state; H. 280 †
Etching and drypoint on Japanese paper
20.9 × 15.6 cm (8¼ × 6⅛ in.)
In plate: Rembrandt. f 1654 (a in reverse)
Provenance: Probably Arthur Pond (about 1705–1758); Sir Edward Astley (1729–1802, Norfolk, Lugt 2775); probably included in his sale, London, Langford, 27 March 1760 and following days; Jan Chalon (1738–1795, Amsterdam, Paris, and London, Lugt 439); to his son-in-law, Christian Josi (before 1765–1828, Amsterdam and London, Lugt 573); sold through Thomas Philipe (died about 1817, London, cf. Lugt 2451) to Sir Reginald Pole Carew (1753–1835); his sale, London, Wheatley, 13–15 May 1835; Sir Godfrey Nicholson (1901–1991, Winterbourne, Berkshire); Artemis (London); private collection, Switzerland; Boerner/Artemis (London and New York); to The Art Institute of Chicago 2001.
The Art Institute of Chicago, Claudia S. Cassell, Richard Franke, Mr. and Mrs. Robert Hixon Glore, Louise Landau, Randall Rademaker, and Print & Drawing and Purchase funds; Stanley Field, Suzanne Lord Folds, Everett D. Graff, Hannan, Henry M. Huxley, William McCallin McKee, and Print and Drawing Capital Campaign endowments; through prior acquisitions of Stanley Field, Katharine Kuh and Miss Ellen N. Lamotte, 2001.120
Chicago only
159 Christ at Emmaus, 1654
B. 87, I; H. 282 †
Etching on Japanese paper
21.1 × 15.9 cm (8 5/16 × 6¼ in.)
In plate: Rembrandt f. 1654.
Provenance: Pierre Mariette (1634–1716, Paris, Lugt 1788), 1682; Otto Gerstenberg (1848–1935, Berlin, Lugt 2785, 1840c); probably to P & D Colnaghi (London) and Harlow & MacDonald (New York), 1922; Richard H. Zinser (about 1883–1983, Forest Hills); to The Art Institute of Chicago, 1944.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1944.605
160 David in Prayer, 1652
B. 41, I; H. 258 †
Etching and drypoint on Japanese paper
14.2 × 9.5 cm (5 9/16 × 3¾ in.)
In plate: Rembrandt f. 1652
Provenance: Cronstern (Schleswig-Holstein); by descent to family of Graf Plessen (Nehmten, Schleswig-Holstein); their sale, London, Christie’s, 10 December 1991, lot 41; to Helmut Rumbler (Frankfurt); to MFA, October 1994.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 1994.279
161 The Adoration of the Shepherds (with the lamp), 1654
B. 45, I; H. 273 †
Etching
10.5 × 12.8 cm (4⅛ × 5 1/16 in.)
wm: Foolscap with seven-pointed collar variant D.b.
In plate: Rembrandt. f.
Provenance: Johann Carl Diedrich Hebich (1818–1891, Hamburg, Lugt 1250); probably included in his sale, Stuttgart, Gutekunst, 15–16 November 1880; Alfred Strölin (1871–1954, Lausanne); anonymous gift to The Art Institute of Chicago, 1952.
The Art Institute of Chicago, Anonymous gift, 1952.19
162 The Circumcision in the Stable, 1654
B. 47, I*; H. 274 †
Etching
9.5 × 14.5 cm (3¾ × 5 11/16 in.)
In plate: Rembrandt f. 1654 (d in reverse)
Provenance: Cambridge University Library; transferred to Fitzwilliam Museum, 1876.
The Fitzwilliam Museum, University of Cambridge, AD 12.39-93
*White and Boon describe two states, the second of which is probably posthumous. Martin Royalton-Kisch (Amsterdam/London 2000, 304–306) separates the first state into two phases: the first being, as in the present impression, prior to burnishing that removed the spots in the diagonal shading in the upper background, as well as burnishing that straightened the shoulder line of the bare-headed man standing in the shadows to the right and lightened the shadows near his arm. Of these changes, the most obvious is the removal of the background spots.
163 The Flight into Egypt (crossing a brook), 1654
B. 55, I; H. 276 †
Etching and drypoint
9.7 × 14.6 cm (3 13/16 × 5¾ in.)
wm: fragment
In plate: Rembrandt f. 1654
Provenance: Felix M. Warburg (1871–1937, New York); his widow and their children; their gift to The Metropolitan Museum of Art, 1941.
The Metropolitan Museum of Art, New York, Gift of Felix M. Warburg and His Family, 1941, 41.1.45
164 The Virgin and Child with the Cat and Snake, 1654
B. 63, I; H. 275 †
Etching
9.5 × 14.5 cm (3¾ × 5 11/16 in.)
wm: Foolscap with seven-pointed collar variant D.b.
In plate: Rembrandt. f. 1654.
Provenance: Sale London, Sotheby’s, 30 November 1989, lot 154; to Raymond E. Lewis (Larkspur Landing, CA); to MFA, December 1990.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 1990.599
Boston only
The Virgin and Child with the Cat and Snake, 1654
B. 63, I; H. 275 †
Etching on Japanese paper
9.1 × 14.3 cm (3 9/16 × 5⅝ in.)
Provenance: Robert M. Light (Santa Barbara); to The Art Institute of Chicago, 1982.
The Art Institute of Chicago, Everett D. Graff Endowment and Print and Drawing Club Fund, 1982.448.
Chicago only
165 Christ Disputing with the Doctors, 1654
B. 64, only state; H. 277 †
Etching
9.5 × 14.3 cm (3¾ × 5⅝ in.)
In plate: Rembrandt. f. 1654.
Provenance: Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P451
166 Christ Returning from the Temple with His Parents, 1654
B. 60, only state; H. 278
Etching and drypoint
9.5 × 14.4 cm (3¾ × 5 11/16 in.)
In plate: Rembrandt f 1654.
Provenance: Unidentified French collection, probably assembled in the 18th century; sold Sotheby’s, London, 6 December 1990, lot 114; Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 33), 1995; to MFA, June 2001.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 2001.272
Boston only
Christ Returning from the Temple with His Parents, 1654
B. 60, only state; H. 278
Etching and drypoint
9.4 × 14.4 cm (3 11/16 × 5 11/16 in.)
In plate: Rembrandt f 1654.
Provenance: Dethomas (probably Maxime, 1867–1928, Paris, Lugt 669a); Albert Roullier (died 1920, Chicago, cf. Lugt 170); to Clarence Buckingham (1854–1913, Chicago, Lugt 497), March 1910; to his sisters, Katherine (died 1937, Chicago) and Lucy-Maud (died 1920, Chicago); bequeathed by Katherine Buckingham to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1801.
Chicago only
167 The Agony in the Garden, about 1657
B. 75 only state; H. 293
Etching and drypoint
11.2 × 8.3 cm (4 7/16 × 3¼ in)
In plate: Rembrandt f. 165[.]
Provenance: Francis Seymour Haden (1818–1910, London, Lugt 1227); his sale London, Sotheby’s, 15–18 May 1891, lot 464; to Bouillon; probably with Kennedy & Co. (New York); Henry Harper Benedict (1844–1935, New York, Lugt 2936); sold by his widow; sold, New York, Sotheby Parke-Bernet, 10 May 1973; to MFA.
Museum of Fine Arts, Boston. Katherine E. Bullard in memory of Francis Bullard, 1973.288
Boston only
The Agony in the Garden, about 1657
B. 75, only state; H. 293
Etching and drypoint on Japanese paper
11 × 8 cm (4 5/16 × 3⅛ in.)
In plate: Rembrandt f. 165[.]
Provenance: Adam Gottlieb Thiermann (died about 1860/61, Berlin, Lugt 2434); sold by his widow to the Berlin Kupferstichkabinett (Lugt 1606); Stonehill (New York); to The Art Institute of Chicago (through J. [probably Jean] Goriany, New York), 1941.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1941.1046.
Chicago only
168 Christ Crucified between Two Thieves (“The Three Crosses”), 1653
B. 78, II; H. 270
Drypoint
38.4 × 45 cm (15⅛ × 17 11/16 in.)
wm: Strasbourg Bend variant D’.a.a.
Provenance: Dukes d’Arenberg (Brussels and Nordkirchen, Lugt 567); their sale, Christie et al., London, 14–17 July 1902, lot 399; to Kennedy (New York); Albert Blum (1882–1952, Switzerland and Short Hills, NJ, Lugt 79b); August Laube (Zurich); to MFA, November 1977.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard and Bequest of Mrs. Russell W. Baker, 1977.747
169 Christ Crucified between Two Thieves (“The Three Crosses”), 1653
B. 78, II; H. 270
Drypoint on vellum
38.1 × 43.8 cm (15 × 17¼ in.)
Provenance: Felix M. Warburg (1871–1937, New York); his widow and their children; their gift to The Metropolitan Museum of Art, 1941.
The Metropolitan Museum of Art, New York, Gift of Felix M. Warburg and His Family, 41.1.31
170 Christ Crucified between Two Thieves (“The Three Crosses”), 1653–55
B. 78, IV; H. 270
Drypoint
38.3 × 45 cm (15 1/16 × 17 11/16 in.)
wm: Strasbourg Lily variant La. and IHS variant A.d.a.
Provenance: Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P19573
Boston only
Christ Crucified between Two Thieves (“The Three Crosses”), 1653–55
B. 78, IV; H. 270
Drypoint and engraving
38.2 × 44.8 cm (15 1/16 × 17⅝ in.)
wm: Arms of Amsterdam (?)
Provenance: Richard H. Zinser (about 1883–1983, Forest Hills); to The Art Institute of Chicago, 1954.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1954.9
Chicago only
171 The Raising of the Cross, 1657–58
Ben. 1036
Pen and brown ink, brown wash, white watercolor
17.9 × 21.1 cm (7 1/16 × 8 5/16 in.)
Provenance: Private collection; to Berlin Kupferstichkabinett, 1925.
Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupferstichkabinett, KdZ 12013
172 An Allegory: The Phoenix, 1658
B. 110, only state; H. 295
Etching and drypoint
17.9 × 18.3 cm (7 1/16 × 7 3/16 in.)
In plate: Rembrandt f.1658
Provenance: Pierre Remy (active second half of the eighteenth century, Paris, Lugt 2173); probably part of a Rembrandt group acquired from Pierre Aved and passed on by Remy to Thomas Major (1714 or 1720–1799, London); John Barnard (died 1784, London, Lugt 1419); his bequest to John Kenrick (died about 1798); his sale London, Philipe, 16 April 1798 and following days, lot 159; Edward Rudge (1763–1846, Evesham, Worcestershire, cf. Lugt 900); by descent to John Edward Rudge; his sale, London, Christie’s, 16–17 December 1924, lot 139; to P. & D. Colnaghi (London); Leonard Gow (1859–1936); his sale London, Christie’s, May 31, 1937, lot 195; to Frits Lugt (1884–1970, Paris, cf. Lugt 1028); probably Alfred Strölin (1871–1954, Lausanne); his son Alfred Strölin (1912–1974, Lausanne and Paris); his sale Bern, Klipstein & Kornfeld, 7 June 1961, lot 56; Richard H. Zinser (about 1883–1983, Forest Hills); sold by his descendants through Nicholas G. Stogdon (Oxford) to The Art Institute of Chicago, 2001.
The Art Institute of Chicago, The Clarence Buckingham and Amanda S. Johnson and Marion Livingston Endowments, 2001.122
173 Christ Presented to the People, 1655
B. 76, II; H. 271
Drypoint on Japanese paper
38.3 × 44.9 cm (15 1/16 × 17 11/16 in.)
Provenance: William Cavendish, second Duke of Devonshire (1665–1729, Chatsworth, cf. Lugt 718); by descent to Andrew Cavendish, the eleventh Duke (born 1920, Chatsworth); sold on behalf of the Chatsworth Settlement, London, Christie’s, 5 December 1985, lot 183; to Frederick Mulder (London); to David Thomson (Toronto); through Artemis (London) to Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 44), 1995; to The Saint Louis Art Museum, 1999.
The Saint Louis Art Museum. Museum Shop Fund, Friends Fund, and funds given in honor of James D. Burke, Museum Director from 1980 to 1999 by Mr. and Mrs. Lester A. Crancer Jr., Mr. and Mrs. Christian B. Peper, the Ruth Peters MacCarthy Trust, an anonymous donor, Mr. and Mrs. Oliver Langenberg, Phoebe and Mark Weil, Mr. and Mrs. Sam Fox, the Sidney S. and Sadie Cohen Print Purchase Fund, the Julian and Hope Edison Print Fund, Margaret Grigg Oberheide, an anonymous donor, Mr. and Mrs. Kenneth F. Teasdale, Mr. and Mrs. John Bachmann, the Anne L. Lehman Charitable Trust, Anabeth Calkins and John Weil, Mrs. James Lee Johnson Jr., Mr. and Mrs. Jerome J. Sincoff, Mr. and Mrs. Sam Weiss, Marianne and Martin Gait III, and Mr. and Mrs. Andrew B. Craig III, 1.1999
174 Christ Presented to the People, 1655
B. 76, VIII; H. 271
Drypoint
35.7 × 45.6 cm (14 1/16 × 17 15/16 in.)
wm: Arms of Bern variant A’.a.
In plate: Rembrandt f 1655.
Provenance: Lessing J. Rosenwald (1891–1979, Philadelphia, Lugt 1760b); his gift to the National Gallery of Art, 1945.
National Gallery of Art, Washington, Rosenwald Collection, 1945.5.109
175 Joseph Sold into Slavery by His Brothers, about 1651–2
Ben. 876
Pen and brown ink, wash and white watercolor
15.8 × 20.5 cm (6¼ × 8 1/16 in.)
Provenance: Alphonse Wyatt Thibaudeau (about 1840–about 1892, Paris and London, Lugt 2473); Barthold Suermondt (1818–1887, Aachen, Lugt 415); possibly included in his sale, Frankfurt, Prestei, 5 May 1879 and following days; Berlin Kupferstichkabinett.
Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupferstichkabinett, KdZ 1119
176 Christ Healing Peter’s Mother-in-Law, 1650s
Ben. 1041
Pen and brown ink, brown wash, and white watercolor
17.1 × 18.9 cm (6¾ × 7 7/16 in.)
Provenance: Simon Fokke (1712–1784, Amsterdam); Count Moritz von Fries (1777–1826, Vienna, cf. Lugt 2903); E. Faesch (Lugt 846); F van den Zande; Wilhelm von Bode (1845–1929, Berlin); Max Lieberman (1847–1935, Berlin); Mrs. Kurt Riezler (Max Lieberman’s daughter Käthe, born 1885, White Plains); Schaeffer Galleries (New York,); Frederik Johannes “Frits” Lugt (1884–1970, Maartensdijk, Paris, Lugt 1028), 1942.
Collection Frits Lugt, Institut Néerlandais, Paris, 5794
Boston only
177 Abel Slain by Cain, 1650s
Ben. 860
Pen and brown ink
16.8 × 24.7 cm (6⅝ × 9¾ in.)
Provenance: Sir Thomas Lawrence (1769–1830, London, Lugt 2445); William Esdaile (1758–1837, London, Lugt 2617); Ch. S. Bale (1791–1880, London Lugt 640); Charles Fairfax Murray (1849–1919, London); Count De Robiano (perhaps Eugène, born 1848, Braine-le-Château); his sale, Amsterdam, Muller-Mensing, 15–16 July 1926, lot 417; donation from the New Carlsburg Foundation, 1926.
Statens Museum for Kunst, Copenhagen, 10094
Boston only
178 Noah’s Ark, 1660
Ben. 1045
Pen and brown ink, brush and brown wash, and white watercolor
19.9 × 24.4 cm (7 13/16 × 9⅝ in.)
wm: The Arms of Amsterdam
Provenance: Marie-Guillaume-Thérèse de Villenave (1762–1846, Paris, Lugt 2598); his sale, Paris, Alliance des Arts (Lugt 62), 1–7 December 1842; probably F. van den Zande (cf. Lugt 2680); sale, Paris, Hotel des Commissaires-Priseurs, 30 April 1855, lot 3041 or 2; Marquis de Biron; sale Paris, 9–11 June, 1914, lot 50; Paul Mathey (1844–1929, Paris, cf. Lugt 2100b); Alfred Strölin (1871–1954, Lausanne) or perhaps his son Alfred Strölin (1912–1974, Lausanne and Paris); to The Art Institute of Chicago, 1953.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1953.36
179 The Prophet Elisha and the Widow with Her Sons, 1650s
Ben. 1027
Pen and brown ink
17.2 × 25.4 cm (6¾ × 10 in.)
Provenance: August Artaria (1807–1893, Vienna, Lugt 33); Josef Carl von Klinkosch (1822–1888, Vienna, Lugt 577); probably included in his sale, Vienna, Wawra, 15 April 1889 and following days; Johann II, Prince of Liechtenstein (1858–1929, Vienna); Felix Somary (1881–1956, Vienna and Zurich); Rosenberg & Stiebel (New York); Charles C. Cunningham, Jr. (born 1934, Boston); Robert M. Light (Santa Barbara); to MFA, June 1980.
Museum of Fine Arts, Boston. Ernest W Longfellow Fund, Gift of Jessie H. Wilkinson—Jessie H. Wilkinson Fund, Charles H. Bayley Picture and Painting Fund, 1980.271
180 Peter and John at the Gate of the Temple, 1659
B. 94, II; H. 301 †
Etching and drypoint on Japanese paper
18.1 × 21.5 cm (7⅛ × 8 7/16 in.)
In plate: Rembrandt f. 1659
Provenance: Possibly Hugo Helbing (Munich, Lugt 1314); Hans Freiherr von und zu Aufsess (1801–1872, Aufsess and Nuremberg, Lugt 2749); Guy Mayer; to the Fogg Art Museum, 1951.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Gray Collection of Engravings Fund, G8849
181 Male Nudes Seated and Standing (“The Walker”), about 1646
B. 194, I; H. 222 †
Etching
19.8 × 12.9 cm (7 13/16 × 5 1/16 in.)
Provenance: Alexandre-Pierre-Francois Robert-Dumesnil (1778–1864, Paris, Lugt 2200); possibly in his sale, London 12–14 April 1836; William Benoni White (London, Lugt 2592); Adalbert Frieherr von Lanna (1836–1909, Prague, Lugt 2773); his sale, Stuttgart, 11–22 May 1909, lot 2634; Henry Study Theobald (1847–1934; London, Lugt 1375); his sale Stuttgart, Gutekunst, 12–14 May 1910, lot 656; to Richard Gutekunst (1870–1961, Stuttgart, London, Bern, Lugt 2213a); sequestered by the British government in 1914 and sold as penalty for “trading with the enemy” by order of a public trustee through Garland-Smith & Co., London, 2–3 December 1920, lot 123; to P. & D. Colnaghi (London); sold New York, Sotheby Parke Bernet, 10 May 1973, lot 174G; Robert M. Light (Santa Barbara); to James M. and Melinda A. Rabb (Boston).
James M. and Melinda A. Rabb
182 Male Nudes Seated and Standing (“The Walker”), about 1646
B. 194; H. 222
Copper etching plate
19.8 × 12.9 cm (7 13/16 × 5 1/16 in.)
Provenance: Pieter de Haan (1723–1766, Amsterdam); his sale, Amsterdam, Weyers & Castelein, 9 March 1767, lot 53; to Fouquet (probably Pierre, Jr., 1729–1800), for Claude-Henri Watelet (1718–1786, Paris); to Pierre-François Basan (1723–1797, Paris), 1786; inherited by Henry-Louis Basan (died before 1819); to Auguste Jean (died 1820, Paris), 1809–10; inherited by his widow and sold at her death, 1846; to Auguste Bernard (Paris), 1846; inherited by his son Michel Bernard (Paris); to Alvin-Beaumont (Paris), 1906; to Robert Lee Humber (died 1970, Greenville, NC), 1938; inherited by his sons (on loan to the North Carolina Museum of Art, Raleigh); sold to Artemis (London) and Robert M. Light (Santa Barbara), about 1992; from R. M. Light to James M. and Melinda A. Rabb (Boston).
James M. and Melinda A. Rabb
183 Nude Youth Seated before a Curtain, 1646
B. 193, I; H. 220
Etching
16.5 × 9.7 cm (6½ × 3 13/16 in.)
wm: Paschal Lamb variant A.b.
In plate: Rembrandt. f. 1646
Provenance: Philip Hofer (1898–1984; Cambridge); his gift to the Fogg Art Museum.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Gift of Philip Hofer, M13472
184 The Bathers, 1651
B. 195, I; H. 250 †
Etching
10.8 × 13.6 cm (4¼ × 5⅜ in.)
wm: fragment of a Foolscap
In plate: Rembrandt. f 1651 (the 5 corrected from a 3)
Provenance: Pierre Remy (active second half of the eighteenth century, Paris, Lugt 2173); Louis Godefroy (1885–1934, Paris, Lugt 2971a); his sale, London, Sotheby’s, 29 June 1937, lot 122; E. Brupbacher-Bourgeois; C. G. Boerner (Dusseldorf, catalogue 73, no. 40), 1980; Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 87), 1995; to The Art Institute of Chicago, 1997.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1997.418
The Bathers, 1651
B. 195; H. 250
Copper etching plate
11.2 × 13.9 cm (4 7/16 × 5½ in.)
Provenance: Clement de Jonghe (1624/25–1677, Amsterdam, in his estate inventory, 1679); Pieter de Haan (1723–1766, Amsterdam); his sale, Amsterdam, Weyers & Castelein, 9 March 1767, lot 54; to Pieter Yver (1712–1787, Amsterdam); Claude-Henri Watelet (1718–1786, Paris); to Pierre-François Basan (1723–1797, Paris), 1786; inherited by Henry-Louis Basan (died before 1819); to Auguste Jean (died 1820, Paris), 1809–10; inherited by his widow and sold at her death, 1846; to Auguste Bernard (Paris), 1846; inherited by his son Michel Bernard (Paris); to Alvin-Beaumont (Paris), 1906; to Robert Lee Humber (died 1970, Greenville, NC), 1938; inherited by his sons (on loan to the North Carolina Museum of Art, Raleigh); sold to Artemis (London) and Robert M. Light (Santa Barbara), about 1992; to the present owner.
Private collection, Chicago
Chicago only
185 Landscape with a View Toward Haarlem (“The Goldweigher’s Field”), 1651
B. 234, only state; H. 249
Etching and drypoint
12 × 31.9 cm (4¾ × 12 9/16 in.)
wm: Paschal Lamb variant A.a.b.
In plate: Rembrandt 1651.
Provenance: Pierre Mariette (1634–1716, Paris, cf. Lugt 1790), 1672; Possibly Alfred Morrison (1821–1897, London & Fonthill, Lugt 144).
The Metropolitan Museum of Art, New York, Purchase, Jacob H. Schiff Bequest, by exchange, and Edwin D. Levinson Gift, 45.20
186 Landscape with the House with the Little Tower, early 1650s
Ben. 1267
Pen and brown ink and brown wash
9.7 × 21.5 cm (3 13/16 × 8 7/16 in.)
Provenance: Paul Jodot (Paris); Otto Gutekunst (London); Baron Robert von Hirsch (1883–1977, Frankfurt and Basel); his sale, London Sotheby’s, 21 June 1978, lot 35; art market, New York.
The J. Paul Getty Museum, Los Angeles, 83.GA.363
187 Landscape with Trees, Farm Buildings, and a Tower, 1651
B. 223, III; H. 244
Etching
12.3 × 31.8 cm (4 13/16 × 12½ in.)
Provenance: Carl Julius Kollman (1820–1875, Dresden, cf. Lugt 1584); Marsden Jasael Perry (1850–1935, Providence, RI, Lugt 1880); his sale, Stuttgart, Gutekunst, 18–23 May 1908, lot 1291; General Brayton Ives (1840–1914, New York); his sale, New York, American Art Association, 6–14 April 1915 (the 13th), lot 751; to Albert Roullier (died 1920, Chicago, cf. Lugt 170); to Miss [probably Katherine] Buckingham; bequeathed by Katherine Buckingham (died 1937, Chicago, cf. Lugt 497) to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1775
188 Landscape with Three Gabled Cottages beside a Road, 1650
B. 217, III; H. 246
Etching and drypoint
16.1 × 20.2 cm (6 5/16 × 7 15/16 in.)
wm: Foolscap with five-pointed collar similar to variant C.a. with countermark UD
In plate: Rembrandt f. 1650
Provenance: French private collection; Helmut Rumbler (Frankfurt); to Alan and Marianne Schwartz (Detroit).
Alan and Marianne Schwartz Collection
189 Houses on the Schinkelweg (Landscape with an Inn), about 1652
Ben. 1314
Pen and brown ink, brown wash, white watercolor on paper prepared with gray wash
10 × 22.8 cm (3 5/16 × 9 in.)
Wm: Arms of Burgundy and Austria with the Golden Fleece
Provenance: Nicolaes Anthonis Flinck (1646–1723, Rotterdam, Lugt 959); William Cavendish, second Duke of Devonshire (1665–1729, Chatsworth, Derbyshire, cf. Lugt 718); by descent to Andrew Cavendish, the eleventh Duke (born 1920, Chatsworth, Derbyshire); sold on behalf of the Chatsworth Settlement, London, Christie’s, 6 July 1987, lot 15; to Maida and George Abrams (Boston).
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Loan from Maida and George Abrams, 25.1998.58
190 Landscape with a Haybarn and a Flock of Sheep, 1652
B. 224, II; H. 241
Etching
8.2 × 17.4 cm (3¼ × 6⅞ in.)
wm: fragment of Foolscap
In plate: Rembrandt f. 1652 (d in reverse)
Provenance: “J.W.” (unidentified seventeenth-century collector, Lugt 1551b); Arnold Herman Knapp (1869–1956, New York); his gift to the Fogg Art Museum.
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, Gift of Arnold Knapp, M 12901
191 Farmstead beside a Canal, about 1650–52
Ben. 1297
Pen and brown ink, brown wash
14.9 × 24.8 cm (5⅞ × 9¾ in.)
Provenance: Jan Pietersz. Zoomer (1641–1724, Amsterdam, Lugt 1511); Baron Jan Gijsbert Verstolk van Soelen (1776–1845, The Hague and Soelen, Lugt 2490); probably included in his first sale, Amsterdam, De Vries, et al., 22 March 1847 and following days; Jacob de Vos (1803–1882, Amsterdam, Lugt 1450); his sale, Amsterdam, Roos, 22–24 May 1883, lot 393; Francis Seymour Haden (1818–1910, London, Lugt 1227); his sale London, Sotheby’s, 15–19 June 1891, lot 571; to Frederick Keppel (1845–1912, New York, cf. Lugt 1023); Alfred Strölin (1871–1954, Lausanne) or perhaps his son Alfred Strölin (1912–1974, Lausanne and Paris); to The Art Institute of Chicago, 1953.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1953.37
192 Clump of Trees with a Vista, 1652
B. 222, II; H. 263
Drypoint
12.3 × 21.1 cm (4 13/16 × 8 5/16 in.)
wm: Countermark HW variant A.a.
In plate: Rembrandt f 1652 (d in reverse)
Provenance: George Coe Graves (about 1873–1932); his gift to the Metropolitan Museum of Art, 1920.
The Metropolitan Museum of Art, New York, The Sylmaris Collection, Gift of George Coe Graves, 1920, 20.46.4
193 Kostverloren Castle in Decay, about 1652
Ben. 1270
Pen and brown ink, brown wash, and white watercolor
10.9 × 17.5 cm (4 5/16 × 6⅞ in.)
wm: Foolscap
Provenance: Friedrich August II, King of Saxony (1797–1854, Dresden, Lugt 971); Willem J. R. Dreesmann (1885–1954, Amsterdam); sale, Amsterdam, F. Muller, 22–25 March 1960, lot 26; Richard H. Zinser (about 1883–1983, Forest Hills); to The Art Institute of Chicago, 1961.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1961.49
194 Landscape with a Cow Drinking, about 1652
B. 237, II; H. 240 †
Etching and drypoint
10.6 × 13.2 cm (4 3/16 × 5 3/16 in.)
wm: fragment of Foolscap
Provenance: De Kat (possibly Huize Groenhof, Soestdijk); Dr. August Sträter (1810–1897, Aachen, Lugt 787); his sale, Stuttgart, H. G. Gutekunst, 10–14 May 1898, lot 821; Werner Weisbach (1873–1953, Berlin and Basel, Lugt 2659a); his sale Bern, Gutekunst & Klipstein, 11 March 1954; C. G. Boerner (Dusseldorf), 1959; Otto Schafer (1912–2000, Schweinfurt); his sale, New York, Sotheby’s, 13 May 1993, lot 72; to Hill-Stone (New York); to the present owner.
Private Collection
195 Landscape with a Hunter, about 1653
B. 211, II; H. 265
Etching and drypoint
12.9 × 15.7 cm (5 1/16 × 6⅛ in.)
Provenance: Baron Dominique Vivant-Denon (1747–1825, Paris, cf. Lugt 779–80); his sale, Paris, Duchesne, 12 February 1827, but not sold; retained by his nephew [Vivant-Jean or Dominique-Vi-vant?] Brunet-Denon; sold to Samuel Woodburn (1786–1853, London, cf. Lugt 2584), March 1829; Francis Seymour Haden (1818–1910, London, Lugt 1227); his sale London, Sotheby’s, 15–18 May 1891, lot 437; to Meder (1857–1934, Vienna); Joseph H. Seaman; his sale, New York, Parke-Bernet, 1–2 December 1948, lot 181; to Richard Zinser (about 1883–1983; Forest Hills); sold by his descendants through Nicholas G. Stogdon (Oxford) to current owner.
Private Collection
196 Diana at the Bath, about 1631
B. 201, only state; H. 42
Etching
17.8 × 16 cm (7 × 6 5/16 in.)
wm: Double-Headed Eagle variant A.a.a.
In plate: RHL. f.
Provenance: Arkady Nicolayevitch Alferoff [or Olferoff] (1811–1872, Bonn, Lugt 1727); his sale, Munich, Maillinger, 10–13 May 1869, lot 616; possibly Wilhelm Eduard Drugulin (1825–1879, Leipzig, Lugt 2614).
Teylers Museum, Haarlem, KG 3767
197 Woman Bathing Her Feet at a Brook, 1658
B. 200, only state; H. 298 †
Etching, drypoint, and engraving on Japanese paper
16 × 7.9 cm (6 5/16 × 3⅛ in.)
In plate: Rembrandt f.1658
Provenance: Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P584
Boston only
Woman Bathing Her Feet at a Brook, 1658
B. 200, only state; H. 298 †
Etching
15.9 × 7.9 cm (6¼ × 3⅛ in.)
In plate: Rembrandt f. 1658
Provenance: Edward Rudge (1763–1846, Evesham, Worcestershire, cf. Lugt 900); by descent to John Edward Rudge; his sale, London, Christie’s, 16–17 December 1924, lot 200; Bernard Houthakker (born 1884, Amsterdam, Lugt 1272); to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The John H. Wrenn Memorial Collection, 1938.60.
Chicago only
198 Woman Sitting Half-dressed before a Stove, 1658
B. 197, III; H. 296
Etching, drypoint, and engraving on Japanese paper
22.8 × 18.7 cm (9 × 7⅜ in.)
In plate: Rembrandt f. 1658
Provenance: Pieter Cornelis Baron van Leyden (1717–1788, Leiden, cf. Lugt 12); acquired by the Dutch state, 1807; acquired by the Rijksmuseum, Amsterdam, 1816.
Rijksmuseum, Amsterdam, RP-P-OB-256
199 Reclining Woman, 1658
B. 205, II; H. 299 †
Etching, drypoint, and engraving on Japanese paper
8.1 × 15.8 cm (3 3/16 × 6¼ in.)
In plate: Rembrandt f. 1658.
Provenance: Francis Seymour Haden (1818–1910, London, Lugt 1227); his sale London, Sotheby’s, 15–18 May 1891, lot 465; to A. Danlos (Paris); Henry Osborne Havemeyer (1847–1907, New York); his widow, Louisine Waldren Elder Havemeyer; her bequest to The Metropolitan Museum of Art, 1929
The Metropolitan Museum of Art, New York, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 29.107.28
200 Female Nude Seated on a Stool, about 1661–62
Ben. 1122
Pen and brown ink, brown wash, and white watercolor
21.2 × 17.4 cm (8⅜ × 6⅞ in.)
Provenance: Louis Corot (active nineteenth century, Nimes, Lugt 1718); Alfred Strölin (1871–1954, Lausanne) or perhaps his son Alfred Strölin (1912–1974, Lausanne and Paris); to The Art Institute of Chicago, 1953.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1953.38
201 The Woman with the Arrow, 1661
B. 202, II; H. 303
Etching, drypoint, and engraving
20.4 × 12.5 cm (8 1/16 × 4 15/16 in.)
wm: fragment of Strasbourg Lily
In plate: Rembrndt f. 1661 (d in reverse)
Provenance: Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P587
Boston only
The Woman with the Arrow, 1661
B. 202, II; H. 303
Etching, drypoint, and engraving
20.5 × 12.4 cm (8 1/16 × 4⅞ in.)
Provenance: Cabinet Brentano-Birckenstock (founded 1765 by Johannn-Melchior Birckenstock (1738–1809, Vienna and Frankfurt, Lugt 345); sold following the death in 1869 of Antonia, Birckenstock’s only daughter, wife of Franz Brentano, Frankfurt, Prestei, 16 May 1870, lot 1357; to Maillinger (probably Josef, Munich); Carl Schlösser (1827–1884, Elberfeld, Lugt 636); his sale Frankfurt, Prestei, 7 June 1880 and following days, lot 561; sold, Bern, Klipstein and Kornfeld, 1961; to The Art Institute of Chicago.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1961.346
Chicago only
202 Christ and the Woman of Samaria (among ruins), 1634
B. 71, I; H. 122 †
Etching
12.4 × 11 cm (4⅞ × 4 5/16 in.)
wm: Double-Headed Eagle, similar to variant A.a.
In plate: Rembrandt f. 1634
Provenance: Hermann Weber (1817–1854, Bonn, Lugt 1383); his sale, Leipzig, Weigel, 28 April 1856 and following days, probably lot 158; Dr. August Sträter (1810–1897, Aachen, Lugt 787); his sale, Stuttgart, Gutekunst, 10–14 May 1898; Richard Gutekunst (1870–1961, Stuttgart, London, Bern, Lugt 2213a); Henry Harper Benedict (1844–1935, New York, Lugt 2936); sold by his widow; R. E. Lewis, (Belvedere, CA); to MFA, September 1999.
Museum of Fine Arts, Boston. Katherine E. Bullard Fund in memory of Francis Bullard, 1999.267
203 Christ and the Woman of Samaria, 1657
B. 70, II; H. 294 †
Etching and drypoint
12.5 × 16 cm (4 15/16 × 6 5/16 in.)
In plate: Rembrandt f. 1657
Provenance: Probably Arthur Pond (about 1705–1758); Sir Edward Astley (1729–1802, Norfolk, Lugt 2774); probably included in his sale, London, Langford, 27 March 1760 and following days; Jan Chalon (1738–1795, Amsterdam, Paris, and London, Lugt 439); to his son-in-law, Christian Josi (before 1765–1828, Amsterdam and London, Lugt 573); sold through Thomas Philipe (died about 1817, London, cf. Lugt 2451) to Sir Reginald Pole Carew (1753–1835); his sale, London, Wheatley, 13–15 May 1835; Richard Dawnay, 10th Viscount Downe (1903–1965, Wykeham Abbey, Scarborough, Lugt 719a); to his son John Christian George Dawnay, 11th Viscount Downe, (1935–2003, Wykeham Abbey); his sale, London, Sotheby’s, 26 November 1970, lot 73; to Boerner (Dusseldorf); Charles C. Cunningham, Jr. (born 1934, Boston); his and his wife’s gift to The Pierpont Morgan Library, 1977.
The Pierpont Morgan Library, New York, Gift of Mr. and Mrs. Charles Cunningham, Jr., in honor of Felice Stamptle, 1977.10
204 Flora, about 1654
Br. 114
Oil on canvas
100 × 91.8 cm (39⅜ × 36⅛ in.)
Provenance: George John, 2nd Earl of Spencer (1758–1834; Althorp House, Great Brington, Northamptonshire), about 1822; in possession of the Spencer family until 1916; sold by Duveen (New York and London); Mrs. Collis P. Huntington (Arabella Duval Yarrington de Werison or Worsham, 1852–1924, New York and Los Angeles), about 1920; to (or perhaps owned jointly with) her son Archer Milton Huntington (about 1871–1955, New York); his gift to The Metropolitan Museum of Art, 1926.
The Metropolitan Museum of Art, New York, Gift of Archer M. Huntington, in memory of his father, Collis Potter Huntington, 26.101.10
205 Clement de Jonghe, 1651
B. 272, I; H. 251 †
Etching
20.6 × 16.1 cm (8⅛ × 6 5/16 in.)
wm: countermark RC
In plate: Rembrandt f. 1651
Provenance: Heneage Finch, Fifth Earl of Aylesford (1786–1859, London & Warwickshire, Lugt 58); Arkady Nicolayevitch Alferoff [or Olferoff] (1811–1872, Bonn, Lugt 1727); his sale, Munich, Maillinger, 10–13 May 1869, lot 621; William Pitcairn Knowles (1820–1894, Rotterdam and Wiesbaden, Lugt 2643); probably included in one of his two sales, Frankfurt, Prestei, 26 November 1877 and following days or 5 May 1879 and following days; Edward Smith, Jr. (second half of the 19th century, London, Lugt 2897); his sale, London, Sotheby’s, 20 November 1880; Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P642
Boston only
Clement de Jonghe, 1651
B. 272, I; H. 251 †
Etching
20.7 × 16.1 cm (8⅛ × 6 5/16 in.)
wm: Paschal Lamb variant A.a.a.
In plate: Rembrandt f. 1651
Provenance: Pierre Mariette (1634–1716, Paris, Lugt 1788), 1673; Galichon; Francis Seymour Haden (1818–1910, London, Lugt 1227); his sale London, Sotheby’s, 15–18 May 1891, lot 420; to Stevens; Robert Hoe (1839–1909, New York); his sale, New York, American Art Galleries, 18–25 February 1911, lot 3524; to Frederick Keppel (1845–1912, New York, cf. Lugt 1023); to Clarence Buckingham (1854–1913, Chicago, Lugt 497), July 1911; to his sisters, Katherine (died 1937, Chicago) and Lucy-Maud (died 1920, Chicago); bequeathed by Katherine Buckingham to The Art Institute of Chicago, 1938.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1938.1752
Chicago only
206 Clement de Jonghe, 1651
B. 272, III; H. 251 †
Etching, drypoint, and engraving
20.6 × 16.1 cm (8⅛ × 6 5/16 in.)
wm: Paschal Lamb variant B’.a.a.
In plate: Rembrandt f. 1651
Provenance: S. Kalmann (active late 19th century, Berlin, Lugt 1622b); his sale Leipzig, Boerner, 12 May 1906, lot 524; Rudolph Ritter von Gutmann (1880–1966, Vienna and Vancouver, Lugt 2770);
William H. Schab (New York); to MFA, 8 January 1948.
Museum of Fine Arts, Boston. William Francis Warden Fund, 48.5
Boston only
Clement de Jonghe, 1651
B. 272, III; H. 251 †
Etching with drypoint
20.8 × 16.2 cm (8 3/16 × 6⅜ in.)
wm: Paschal Lamb variant B’.a.b.
In plate: Rembrandt f. 1651
Provenance: Baron Dominique Vivant-Denon (1747–1825, Paris, cf. Lugt 779–80); his sale, Paris, Duchesne, 12 February 1827, but not sold; retained by his nephew [Vivant-Jean or Dominique-Vivant?] Brunet-Denon; sold to Samuel Woodburn (1786–1853, London, cf. Lugt 2584), March 1829; Baron Jan Gijsbert Verstolk van Soelen (1776–1845, The Hague and Soelen, cf. Lugt 2490); his sale Amsterdam, J. de Vries, et al., 26 October 1847 and following days, lot 606; John Webster (1810–1891, Aberdeen, Lugt 1554, 1555); John H. Wrenn (1841–1911, Chicago, Lugt 1475); his sale, London, Sotheby et al., 9 May 1889, lot 131; Julius Rosenberg (1845–1900, Copenhagen, cf. Lugt 1519); Mrs. Stephen Y. Hord (Lake Forest); to The Art Institute of Chicago, January 1934.
The Art Institute of Chicago, The Clarence Buckingham Collection, 1934.122
Chicago only
207 Thomas Haringh, about 1655
B. 274, II; H. 287
Drypoint and engraving
19.5 × 15 cm (7 11/16 × 5⅞ in.)
Provenance: Possibly Jan Pietersz. Zomer (1641–1724, Amsterdam, cf. Lugt 1511); Antonio Maria Zanetti (1680–1757, Venice); Zanetti’s descendants; Baron Dominique Vivant-Denon (1747–1825, Paris, cf. Lugt 779–80); his sale, Paris, Duchesne, 12 February 1827, but not sold; retained by his nephew [Vivant-Jean or Dominique-Vivant?] Brunet-Denon; sold to Samuel Woodburn (1786–1853, London, cf. Lugt 2584), March 1829; Thomas Wilson (died about 1865, London and Adelaide, cf. Lugt 2580); Walter Benjamin Tiffen or Samuel Woodburn; Sir Thomas Baring (1772–1848, London); his sale, London, Christie’s, 23–27 May 1831, lot 68; Baron Jan Gijsbert Verstolk van Soelen (1776–1845, The Hague and Soelen, cf. Lugt 2490); his sale Amsterdam, J. de Vries, et al., 26 October 1847 and following days, lot 617; Henry James Brooke (1771–1857, Clapham Rise, cf. Lugt 1324–25); his sale, London, Sotheby’s, 23 May 1853 and following days, lot 721; to Hermann Weber (1817–1854, Bonn, Lugt 1383); his sale Leipzig, Weigel, 28 April 1856 and following days, lot 391; to Cronstern (Schleswig-Holstein); by descent to family of Graf Plessen (Nehmten, Schleswig-Holstein); their sale, London, Christie’s, 10 December 1991, lot 98; Joseph R. Ritman (born 1941, Amsterdam); Sotheby’s and Artemis (New York and London, Ritman Catalogue, no. 108), 1995; to Eijk and Rose-Marie van Otterloo, (Marblehead, MA) 1999; their gift to MFA, 26 March 2003.
Museum of Fine Arts, Boston. Gift of Eijk and Rose-Marie van Otterloo in honor of Clifford S. Ackley, 2003.117
208 Arnold Tholinx, about 1656
B. 284, I; H. 289
Etching, drypoint, and engraving
19.8 × 14.9 cm (7 13/16 × 5⅞ in.)
wm: Strasbourg Lily variant E.zz.
Provenance: Grose (possibly Francis Grose, about 1731–1791, London); John Barnard (died 1784, London, Lugt 1419); his bequest to John Kenrick (died about 1798); his sale London, Philipe, 16 April 1798 and following days, lot 348; to Bryant; George Hibbert (1757–1837, London, Lugt 2849); his sale, London, Philipe, 17 April 1809 and following days; Sir Reginald Pole Carew (1753–1835); his sale, London, Wheatley, 13–15 May 1835; Baron Jan Gijsbert Verstolk van Soelen (1776–1845, The Hague and Soelen, Lugt 2490); his sale, Amsterdam, De Vries, et al., 26 October 1847 and following days, lot 657; John Heywood Hawkins (died between 1870 and 1880, London and Bignor Park, Sussex, cf. Lugt 1471); Walter Francis, 5th Duke of Buccleuch and 7th Duke of Queensberry (1806–1884, London and Dalkeith, Scotland, Lugt 402); his sale, London, Christie’s, 19–22 April 1887, lot 2028; George Washington Vanderbilt (1862–1914, Asheville, NC); John Pierpont Morgan (1837–1913, New York), after 1905.
The Pierpont Morgan Library, New York, RvR 399
209 Abraham Francen, 1657–58
B. 273, IV; H. 291 †
Etching and drypoint on Japanese paper
15.8 × 20.8 cm (6¼ × 8 3/16 in.)
Provenance: Count Moritz von Fries (1777–1826, Vienna, cf. Lugt 2903); Franz Rechberger (1771–1841, Vienna, Lugt 2133); Baron Jan Gijsbert Verstolk van Soelen (1776–1845, The Hague and Soelen, Lugt 2490); his sale, Amsterdam, De Vries, et al., 26 October 1847 and following days, probably lot 611; Henry Brodhurst (active 1840S–1870S, Mansfield, England, Lugt 1296); through P. & D. Colnaghi (London) to Danlos and Delisle (Paris), about 1883–84; George Washington Vanderbilt (1862–1914, Asheville, NC); John Pierpont Morgan (1837–1913, New York), after 1905.
The Pierpont Morgan Library, New York, RvR 373
210 Lieven Willemsz. van Coppenol, Writing Master, about 1658
B. 282, III; H. 269
Etching, drypoint, and engraving
26.1 × 19 cm (10¼ × 7½ in.)
Provenance: Johann Paul Friedrich Kalle (1804–1875, Cologne and Bonn, Lugt 1021); probably included in his sale, Frankfurt, Prestei, 22 November 1875 and following days; Henry F. Sewall (1816–1896, New York, Lugt 1309); purchased by MFA, November 1897.
Museum of Fine Arts, Boston. Harvey D. Parker Collection, P660
211 The Artist’s Son, Titus, 1656
B. ll, only state; H. 261
Etching on Japanese paper
9.5 × 7 cm (3¾ × 2¾ in.)
Provenance: Clayton Mordaunt Cracherode (1730–1799, London, Lugt 606); his bequest to the British Museum.
Lent by the Trustees of the British Museum, London, 1973 U.1071
212 Titus at His Desk, 1655
Br. 120
Oil on canvas
77 × 63 cm (30 5/16 × 24 13/16 in.)
Signed and dated: Rembrandt f. 1655
Provenance: Thomas Barnard (1728–1806), bishop of Limerick; his son Andrew Barnard (about 1762–1807, The Cape of Good Hope) and his wife Lady Anne Lindsay (1750–1825, London); then by descent in the Lindsay family; David Alexander Edward Lindsay, 10th Earl of Balcarres and 27th Earl of Crawford (1871–1940, Haigh Hall, Wigan), 1913; acquired by the Stichting Museum Boymans in 1940 with the support of Vereniging Rembrandt and 120 friends of the museum.
Museum Boijmans van Beuningen, Rotterdam, St 2
Boston only
213 Self-Portrait (etching at a window), 1648
B. 22, I; H. 229 †
Etching, drypoint, and engraving
16 × 13 cm (6¼ × 5⅛ in.)
Provenance: Thomas Worlidge (1700–1766, Bath and London, Lugt 2586), by 1757; probably included in his sale, London, Langford, 25 March 1767, and following days; probably Clayton Mordaunt Cracherode (1730–1799, London, cf. Lugt 606); probably part of his bequest to the British Museum (London); probably stolen by and recovered from Robert Dighton (about 1752–1814, London, Lugt 727), 1806; British Museum (London), deaccessioned between 1883 and 1910; Henry Studdy Theobald (1847–1934, London, cf. Lugt 1375); his sale, Stuttgart, Gutekunst, 12–14 May 1910, lot 581; to Meder, probably for Amsler & Ruthardt (Berlin); Otto Gerstenberg (1848–1935, Berlin, Lugt 2785); to P. & D. Colnaghi (London) and Harlow & Co (New York), 1922; from the latter to The Pierpont Morgan Library, 1923.
The Pierpont Morgan Library, New York, RvR 27
214 Rembrandt in Studio Garb, 1648–50
Ben. 1171
Pen with brown ink
20.3 × 13.4 cm (8 × 5¼ in.)
wm: unidentified
Inscribed on a strip pasted to the paper: “getekent door Rembrant van Rhijn naer sijn selver / sooals hij in sijn schilderkamer gekleet was”; on the cardboard mount: “Rembrant avec l’habit dans lequel / il avoit accoutume de peindre”.
Provenance: Pierre Crozat (1661–1740, Paris); sold Paris, 10 April 1741, lot 871; John Postle Heseltine (1843–1929, London, cf. Lugt 1507); his sale, Amsterdam, Muller, 27 May 1913, lot 1; August Janssen (Amsterdam); J. Goudtstikker. Gift to the Rembrandthuis, 1919.
Museum het Rembrandthuis, Amsterdam, 246
Boston only
215 Self-Portrait, 1659
Br. 51
Oil on canvas
84.4 × 66 cm (33¼ × 26 in.)
signed and dated: Rembrandt f. 1659
Provenance: George (Brudenell), 3rd Duke of Montagu and 4th Earl of Cardigan (1712–1790), by 1767; by inheritance to daughter Lady Elizabeth Montagu (1743–1827), wife of Henry, 3rd Duke of Buccleuch (1746–1812, Montagu House, London); John Charles Montagu-Douglas-Scott, 7th Duke of Buccleuch (1864–1935, London); P. & D. Colnaghi (New York), 1928; M. Knoedler (New York); to Andrew W. Mellon (1855–1937, Pittsburgh and Washington), January 1929; deeded to The A.W. Mellon Educational and Charitable Trust (Pittsburgh), 28 December 1934; to the National Gallery of Art, 1937.
National Gallery of Art, Washington, Andrew W. Mellon Collection, 1937.1.72
216 The Apostle James, 1661
Br. 617
Oil on canvas
original canvas: 92.1 × 74.9 cm (36¼ × 29½ in.)
signed and dated: Rembrandt f. 1661
Provenance: Probably sale of the heirs of Caspar Netscher (1639–1684, The Hague), The Hague, A. Schoutman, et al., 15 July 1749, lot 122; MacKenzies of Kintore; Sir J. Charles Robinson (London); Consul Edmund Friedrich Weber (Hamburg, catalogue 1872, no. 213); Charles Sedelmeyer Gallery (Paris, catalogue 1895, no. 29); Maurice Kann (Paris), 1901; Duveen Gallery (Paris); Reinhardt Galleries (New York), 1913; John North Willys (1873–1935, Toledo); Isabel van Wie Willys (formerly Mrs. John N. Willys); her sale, New York, Parke-Bernet, 25 October 1945, lot 16; to Billy Rose (1899–1966, New York); Oscar B. Cintas (1887–1957, Havana and New York); Mr. and Mrs. Stephen Carlton Clark (Stephen 1882–1960, Susan van der Poel born 1888, Cooperstown, NY), by 1955; the current owner.
Private Collection
Exhibition List
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