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REMBRANDT the LATE WORKS Supplement with Provenance, Selected Literature and Bibliography

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REMBRANDT THE LATE WORKS supplement with provenance, selected literature and bibliography Marjorie E. Wieseman, Jonathan Bikker, Erik Hinterding and Marijn Schapelhouman With Albert Godycki and Lelia Packer A list of works included in the exhibitions The Agony in the Garden, about 1648–55 Clump of Trees with a Vista, 1652 at the National Gallery, London (15 October Pen and brush and brown ink, 19.6 × 19 cm Drypoint, 15.6 × 21.1 cm (i); 12.4 × 21.1 cm (ii) 2014–18 January 2015) and the Rijksmuseum, The Syndics of the Fitzwilliam Museum, Signed and dated lower right: Rembrandt. f 1652 Amsterdam (12 February 2015–17 May 2015). Cambridge (2140) (in state ii) Works illustrated in the exhibition catalogue [cat. 116] White and Boon 222; nhd 272 Rembrandt: The Late Works are followed by their catalogue number in square brackets. provenance i/ii: Ashmolean Museum, Oxford Works exhibited in only one venue are Samuel Woodburn (1783–1853) (wa1855.425) indicated by ‘London’ or ‘Amsterdam’ Possibly sale London (Christie’s), 4 ff. June [london, cat. 10] beside their catalogue number. 1860, under lot 766 (£2, to Colnaghi) i/ii: Rijksmuseum, Amsterdam Collection Frederick, Lord Leighton (1830–96) (printed with irregular surface tone, To cite this Supplement we suggest using His sale London (Christie’s), 15–16 July 1896, rp-p-ob-454) M.E. Wieseman, J. Bikker et al., Rembrandt: lot 427 (16 gns., to Dunthorne) [amsterdam, cat. 59] The Late Works, Supplement, online edn, Ricketts and Shannon; bequeathed in 1937 by ii/ii: The Syndics of the Fitzwilliam Museum, National Gallery, London 2014, Charles Haslewood Shannon Cambridge (printed with surface tone, www.nationalgallery.org.uk/rembrandt/ ad.12.39-388) the_late_works/supplement. catalogue raisonné [london, cat. 11] Ben. 626 (as about 1648–50) ii/ii: Rijksmuseum, Amsterdam (printed with some irregular surface tone, selected literature rp-p-ob-455) Valentiner 1925–34, vol. 2, no. 452 [amsterdam, cat. 60] Hall et al. 1982/2005, p. 182, no. 549 selected literature Perlove and Silver 2009, p. 280 White 1999, pp. 242–5 M. Royalton-Kisch in Amsterdam and Christ disputing with the Doctors, 1652 London 2000, pp. 285–9, no. 70 Hinterding 2008, pp. 410–14, no. 174 Etching and drypoint , 12.6 × 21.4 cm Signed and dated lower left: Rembrandt. f. 1652. White and Boon 65; nhd 267 Homer reciting Verses (‘Pandora ’, Album i/ii: Rijksmuseum, Amsterdam. Bequest of Amicorum Jan Six, fol. 40r), 1652 Mr and Mrs De Bruijn-van der Leeuw, Muri, Pen and brush and brown ink with Switzerland (printed with light surface tone, white bodycolour, 19 × 14 cm rp-p-1962-34) Inscribed and dated bottom: Rembrandt [amsterdam, cat. 90] aen Joannus Sicx. 1652. selected literature Six Foundation, Amsterdam P. van der Coelen in Rotterdam 2006, pp. 84–5 [Loan decision pending at the time of publication, cat. 25] Hinterding 2008, pp. 136–8, no. 51 Perlove and Silver 2009, pp. 236–9 provenance Collection Jan Six (1618–1700) By descent in the Six family The Agony in the Garden, about 1652 Under the ownership of the Six Foundation Etching and drypoint, 11.1 × 8.4 cm from 1922 Signed and dated lower right: Rembrandt. f. 165 catalogue raisonné White and Boon 75 (as 1657); nhd 269 Ben. 913 i/iii: Ashmolean Museum, Oxford. Presented selected literature by Chambers Hall, 1855 (wa1855.400.1) [london, cat. 117] Six 1924, pp. 380–1 i/iii: Rijksmuseum, Amsterdam. Bequest of Möller 1984, pp. 78–81 Mr and Mrs De Bruijn-van der Leeuw, Muri, P. Schatborn in Berlin, Amsterdam and Switzerland (rp-p-1962-38) London 1991b, pp. 109–12, no. 31 (A) [amsterdam, not illustrated] Courtright 1996, pp. 488–9 White 1999, pp. 65–6 selected literature Royalton-Kisch and Schatborn 2011, Hinterding 2008, pp. 160–2, no. 61 p. 342, no. 66 Perlove and Silver 2009, pp. 280–3 Schatborn 2011, p. 319 2 Peasant Family on the Tramp, about 1652 selected literature London 1991b, pp. 254–5, no. 31 Scallen 1992, pp. 201–300 Etching, 11.3 × 9.3 cm Giltaij 1988b, pp. 90–1 White and Boon 131; nhd 266 G. Luijten in New York, Fort Worth and M. Schapelhouman in Amsterdam and Cleveland 1990, pp. 110–11, no. 37 London 2000, pp. 293–7, no. 72 i/iii: Rijksmuseum, Amsterdam C.S. Ackley in Boston and Chicago 2003, (rp-p-ob-220) pp. 222–3, no. 148 [amsterdam, cat. 13] The Three Crosses, 1653 Hinterding 2008, pp. 224–6, no. 88 selected literature Drypoint, 38.5 × 45 cm Stratton 1986, p. 81 Signed and dated lower left: Rembrandt. f. 1653. A Woman bathing in a Stream, 1654 Hinterding 2008, pp. 270–1, no. 111 White and Boon 78; nhd 274 Oil on panel, 61.8 × 47 cm i/v: The British Museum, London (printed Signed and dated on the bank, bottom left: with surface tone on vellum, 1842,0806.139) Rembrandt f 1654 A Scholar in his Study (‘Faust’), about 1652 [london, not illustrated] The National Gallery, London (ng 54) Etching, engraving and drypoint, 21 × 16 cm i/v: Rijksmuseum, Amsterdam. Bequest of [cat. 95] White and Boon 270; nhd 270 Mr and Mrs De Bruijn-van der Leeuw, Muri, Switzerland (printed with surface tone on provenance i/vii: The Syndics of the Fitzwilliam Museum, vellum, rp-p-1961-1196a) Possibly in the sale Andrew Hay (d. 1754), Cambridge (ad.12.39-185) [amsterdam, cat. 62] London, 4–5 May 1739, first day, lot 20 [london, cat. 91] iii/v: Rijksmuseum, Amsterdam (‘Rembrandt – A Woman going into a Bath’; £6 19s) i/vii: Rijksmuseum, Amsterdam. Bequest of (rp-p-ob-617) Almost certainly in the sale [Blackwood], Mr and Mrs De Bruijn-van der Leeuw, Muri, [cat. 63] London (Langford), 18–19 March 1756, first Switzerland (Japanese paper, rp-p-1962-122) iv/v: The Victoria and Albert Museum, day, lot 60 (‘Rembrandt. A Woman going into [amsterdam, not illustrated] London, Ionides Bequest (cai.637) the Water holding her Coats pretty high, i/vii: Graphische Sammlung Albertina, Vienna [london, cat. 64] and laughing at what she sees reflected’; (cartridge paper, dg1926/429) iv/v: Rijksmuseum, Amsterdam. Bequest of £19 8s 6d, to Raymond) [amsterdam, cat. 61] Mr and Mrs De Bruijn-van der Leeuw, Muri, Collection Peter Burrell, Baron Gwydir selected literature Switzerland (Japanese paper, rp-p-1962-40) (1754–1820), Grimsthorpe Castle, Lincolnshire, [amsterdam, not illustrated] and London (possibly acquired after 1811) Hinterding 2008, pp. 475–8, no. 198 Sale Lord Gwydir, London (Christie’s), 8–9 Maisak 2008 selected literature May 1829, second day, lot 72 (‘A Girl entering Perlove and Silver 2009, pp. 63–7 P. van der Coelen in Rotterdam 2006, the Bath, the countenance marked with much pp. 143–50 beauty, and the drawing not ungraceful; the Hinterding 2008, pp. 171–4, no. 64 handling is in Rembrandt’s very bold and spirited Farmhouse on a River, about 1652 or 1653? Perlove and Silver 2009, pp. 296–300 manner; some rich drapery behind the figure, and Pen and brown ink on brown cartridge paper, the transparency of the water, add greatly to the 12 × 22.6 cm enchanting effect’; £173 5s, to Carr) Museum Boijmans Van Beuningen, Rotterdam Saint Jerome reading in Collection Reverend William Holwell Carr (Koenigs Collection) (r 114) an Italianate Landscape, about 1653 (1758–1830) [cat. 9] By whom bequeathed to the Gallery in 1831 Etching and drypoint, 25.9 × 21 cm provenance White and Boon 104; nhd 275 catalogues raisonnés Collection John Postle Heseltine (1843–1929), i/ii: Rijksmuseum, Amsterdam (printed with Smith 165 London (l. 1507) surface tone on Japanese paper, rp-p-ob-184) HdG 306 Julius Wilhelm Böhler (d. 1966), Lucerne, whose [amsterdam, cat. 22] Bredius 1935, no. 437 collection was purchased by Franz W. Koenigs ii/ii: The Syndics of the Fitzwilliam Museum, Bredius and Gerson 1969, no. 437 (1881–1941), Haarlem, in 1929 (l. 1023a) Cambridge (printed with surface tone on Corpus v, no. v 19 On loan to the Museum Boymans, Japanese paper, ad.12.39-376) Rotterdam, 1935–9 selected literature [london, cat. 23] MacLaren and Brown 1991, vol. 1, pp. 332–3 Acquired by Daniël George van Beuningen ii/ii: Rijksmuseum, Amsterdam. Bequest of (with earlier literature) (1877–1955), Rotterdam, and donated to Mr and Mrs De Bruijn-van der Leeuw, Muri, C. Brown in Berlin, Amsterdam and the Stichting Museum Boymans Switzerland (cartridge paper, rp-p-1962-52) (Boymans Museum Foundation), 1940 London 1991a, pp. 246–9, no. 40 [amsterdam, not illustrated] Leja 1996, pp. 321–7 catalogue raisonné selected literature London 2006, pp. 138–45 Ben. 1324 Kuretsky 1974, pp. 576–8 Colenbrander in Roscam Abbing 2006, vol. 1, H. Bevers in Berlin, Amsterdam and pp. 57–62 3 Bathsheba with King David’s Letter, 1654 The Adoration of the Shepherds, The Flight into Egypt, crossing Oil on canvas, 142 × 142 cm with the Lamp, about 1654 a Brook, 1654 Signed and dated, bottom left: Rembrandt ft 1654 Etching, 10.5 × 12.9 cm Etching, engraving and drypoint, 9.3 × 14.4 cm Département des Peintures, Musée du Louvre, Signed bottom, left of centre: Rembrandt. f. Signed and dated lower left: Rembrandt f. 1654 Paris (mi957) White and Boon 45; nhd 279 White and Boon 55; nhd 277 [cat. 112] i/iii: Rijksmuseum, Amsterdam i/i: Rijksmuseum, Amsterdam (rp-p-ob-113) provenance (printed with surface tone, rp-p-ob-87) [amsterdam, cat. 87] Sale William Young Ottley (1771–1836, [amsterdam, cat. 84] London), London (Christie’s), 25 May 1811, lot selected literature 90 (‘Bathsheba. Though deficient in beauty, the selected literature Hinterding 2008, pp.
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    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Rembrandt van Rijn Dutch, 1606 - 1669 The Circumcision 1661 oil on canvas overall: 56.5 x 75 cm (22 1/4 x 29 1/2 in.) framed: 81.3 x 99 x 8.2 cm (32 x 39 x 3 1/4 in.) Inscription: lower right: Rembrandt. f. 1661 Widener Collection 1942.9.60 ENTRY The only mention of the circumcision of Christ occurs in the Gospel of Luke, 2:15–22: “the shepherds said one to another, Let us now go even unto Bethlehem.... And they came with haste, and found Mary and Joseph, and the babe lying in a manger.... And when eight days were accomplished for the circumcising of the child, his name was called Jesus.” This cursory reference to this most significant event in the early childhood of Christ allowed artists throughout history a wide latitude in the way they represented the circumcision. [1] The predominant Dutch pictorial tradition was to depict the scene as though it occurred within the temple, as, for example, in Hendrick Goltzius (Dutch, 1558 - 1617)’ influential engraving of the Circumcision of Christ, 1594 [fig. 1]. [2] In the Goltzius print, the mohel circumcises the Christ child, held by the high priest, as Mary and Joseph stand reverently to the side. Rembrandt largely followed this tradition in his two early etchings of the subject and in his 1646 painting of the Circumcision for Prince Frederik Hendrik (now lost). [3] The Circumcision 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century The iconographic tradition of the circumcision occurring in the temple, which was almost certainly apocryphal, developed in the twelfth century to allow for a typological comparison between the Jewish rite of circumcision and the Christian rite of cleansing, or baptism.
  • Light and Sight in Ter Brugghen's Man Writing by Candlelight

    Light and Sight in Ter Brugghen's Man Writing by Candlelight

    Volume 9, Issue 1 (Winter 2017) Light and Sight in ter Brugghen’s Man Writing by Candlelight Susan Donahue Kuretsky [email protected] Recommended Citation: Susan Donahue Kuretsky, “Light and Sight in ter Brugghen’s Man Writing by Candlelight,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.4 Available at https://jhna.org/articles/light-sight-ter-brugghens-man-writing-by-candlelight/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 LIGHT AND SIGHT IN TER BRUGGHEN’S MAN WRITING BY CANDLELIGHT Susan Donahue Kuretsky Ter Brugghen’s Man Writing by Candlelight is commonly seen as a vanitas tronie of an old man with a flickering candle. Reconsideration of the figure’s age and activity raises another possibility, for the image’s pointed connection between light and sight and the fact that the figure has just signed the artist’s signature and is now completing the date suggests that ter Brugghen—like others who elevated the role of the artist in his period—was more interested in conveying the enduring aliveness of the artistic process and its outcome than in reminding the viewer about the transience of life. DOI:10.5092/jhna.2017.9.1.4 Fig. 1 Hendrick ter Brugghen, Man Writing by Candlelight, ca.