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A CATALOGUE RAISONNE 



OF THE 



WORKS OF THE MOST EMINENT DUTCH PAINTERS 
OF THE SEVENTEENTH CENTURY 



MACMILLAN AND CO., LIMITED 

LONDON BOMBAY CALCUTTA 
MELBOURNE 

THE MACMILLAN COMPANY 

NW YORK BOSTON CHICAGO 
DALLAS SAN FRANCISCO 

THE MACMILLAN CO. OF CANADA, LTD. 

TORONTO 




A Catalogue Raisonne 

OF THE WORKS OF THE 

Most Eminent Dutch Painters 
of the Seventeenth Century 

Based on the Work of 

JOHN SMITH 

BY 
^> 

C. HOFSTEDE DE GROOT 

[WITH THE ASSISTANCE OF KARL LILIENFELD, HEINRICH 
WICHMANN, AND KURT ERASMUS] 

TRANSLATED AND EDITED BY 

EDWARD G. HAWKE 

VOLUME VI 




MACMILLAN AND CO., LIMITED 
ST. MARTIN'S STREET, LONDON 

GERMAN EDITION : PAUL NEFF VERLAG (MAX SCHREIBER) 
ESSLINGEN ; AND F. KLEINBERGER, 9 RUE DE I/ECHELLE, PARIS 



COPYRIGHT 



PREFACE 

ADVERSE circumstances had delayed the printing of this volume 
even before the war broke out. Thus the volume appears a year 
late. 

The work has in the main been compiled on the system 
followed in the earlier volumes. It is to be noted that for the 
first time the names of collections mentioned in the footnotes to 
the Comparative Table of Numbers at the end of the Rembrandt 
section have been included in the Index. This seemed desirable in 
view of the master's importance and the elaborate nature of the 
table and the footnotes. 

In preparing the Maes section the author has imposed on 
himself a restriction for the following reasons. The life-work of 
this painter falls into two parts, wholly distinct in style and 
quality the genre -pieces of his youth, which establish his 
fame and justify his appearance in this work ; and, on the other 
hand, the numerous portraits of his later life which in them- 
selves would not entitle him to a place here. To separate these 
categories was difficult if not impossible. For one thing, the 
author's precursor John Smith mentioned some of these later 
pictures ; again, there are numerous portraits both of the early 
period and of the period of transition which, as works of art, do 
not rank lower than many of the genre-pieces. One could not 
draw a line between these and the late portraits that should 
perhaps be ruled out. The author has therefore differentiated as 
follows. 



vi PREFACE 

The catalogue includes all the portraits by Maes of sitters 
who can be identified, whether these portraits are in existence or 
are known only from sale - catalogues. It includes also the 
unidentified portraits whose present whereabouts is known to the 
author, or which he has himself seen at sales or in exhibitions 
without knowing where to find them now, and also the portraits 
in earlier sales which are described with precision or, above all, 
which are dated. But all other imperfectly described portraits in 
old sales and exhibitions have been omitted. 

This plan will be followed in the coming volumes in respect 
of imperfectly described sea-pieces by W. van de Velde, land- 
scapes by Van Goyen, night scenes by Van der Neer, flower- and 
fruit-pieces by Rachel Ruysch and Jan van Huysum. It will be 
applied more strictly as the artistic interest of the painter concerned 
diminishes. But care will be taken to mention all the pictures 
described by John Smith. 

The author has received assistance and encouragement from 
many quarters in preparing this volume, which includes the work 
of the great master of the Dutch school, and is therefore especially 
important. To all who have helped him he would express his 
most grateful thanks. 

The author's former helpers, Dr. Karl Lilienfeld and Heinrich 
Wichmann, have collaborated in the Rembrandt section, and Dr. 
Kurt Erasmus in the section devoted to Maes. 

C. HOFSTEDE DE GROOT. 

THE HAGUE, 

April 1915. 



TRANSLATOR'S NOTE 

As in the previous volumes, the translator has, from personal 
knowledge, or with the help of others, been able to amplify 
the descriptions of certain pictures in British collections, and 
to note some changes of ownership. He has added a 
considerable number of references, especially to the English 
edition in one volume (1903) of M. Emile Michel's justly 
popular study of Rembrandt. He has given to the etchings, 
many of which are mentioned in the entries, the numbers of 
Mr. A. M. Hind's catalogue, which represents the chronological 
arrangement adopted in the British Museum Print Room and 
should in time replace the clumsy and unscientific catalogue 
of Bartsch. These additions and corrections are enclosed within 
brackets. The translator has again added an Index of the 
Painters and Engravers mentioned in the text. 

The translator has to thank Mr. D. S. MacColl, Keeper of 
the Wallace Collection, Mr. Herbert Cook, and Mr. D. S. 
Meldrum, among others, for much kindly assistance in the 
preparation of this volume. 

EDWARD G. HAWKE. 



Vll 



DIRECTIONS TO THE READER 

1. The pictures are arranged according to their subjects in the follow- 
ing groups : Sacred History, Mythology, Profane History, Allegory, 
Genre, Portraiture, Landscape, Still-Life, and Undescribed Pictures. 

2. Within each group the pictures known to exist are described as far 
as possible in the alphabetical order of the names of the towns where they 
are preserved. 1 Then follow the pictures known only from descriptions in 
books, in the chronological order of the notices referring to them. 

3. The numbering is continuous. Pictures the descriptions of which 
are lacking in precision are given numbers with letters appended ; this 
signifies that any such picture is probably recorded under a separate number 
with a full description. In exceptional cases, however, newly discovered 
pictures have had to be inserted in their proper places in the list and 
assigned numbers with letters. 2 

4. The titles of the pictures known to the compiler by personal 
inspection, and of a few known to him from trustworthy reports or good 
photographs, are printed in capitals. 

5. In the measurement of pictures the height precedes the breadth. 
The terms "right" and "left" are used from the spectator's point of 
view. 

6. In the descriptions of pictures not known to the compiler, the 
critical remarks are copied from the book or sale-catalogue quoted as an 
authority for the existence of the picture. 

7. In the case of sales extending over several days, the date of the first 
day is given even if the picture in question was sold on a later day. 

1 In cases where a picture has changed hands while the book was passing through the press, it 
has not always been possible to adhere to this rule. 

- In several cases, while the book has been passing through the press, two pictures separately 
described have been found to be identical. In such cases, where time permitted, the two entries 
have been amalgamated and one of the numbers left blank. Translator's Note. 



IX 



CONTENTS 



PACK 

PREFACE ........ v 

TRANSLATOR'S NOTE ....... vii 

DIRECTIONS TO THE READER . . . . . ix 

REMBRANDT 

BIOGRAPHY ....... I 

PUPILS AND IMITATORS ...... 6 

A CLASSIFIED SUMMARY OF THE CONTENTS . . .22 

CATALOGUE RAISONNE ...... 24 

CHRONOLOGICAL INDEX OF DATED PICTURES . . . 445 

COMPARATIVE TABLE OF NUMBERS ..... 456 

NICOLAES MAES 

BIOGRAPHY . . . . . . .473 

PUPILS AND IMITATORS ...... 476 

A CLASSIFIED SUMMARY OF THE CONTENTS . . . 478 

CATALOGUE RAISONNE* ...... 479 

CHRONOLOGICAL INDEX OF DATED PICTURES . . . 601 

COMPARATIVE TABLE OF NUMBERS ..... 605 

INDEX OF COLLECTIONS AND COLLECTORS .... 607 

INDEX OF PAINTERS AND ENGRAVERS . . . -633 

xi 



SECTION XXII 



REMBRANDT 



REMBRANDT HARMENSZ VAN RIJN was born on July 15, 1606, in the 
Weddesteeg, Leyden. He was the son of the miller Harmen Gerritsz 
van Rijn and Cornelia (or Neeltge) Willemsdochter van Zuytbrouck. His 
parents destined him for a scholarly career. He therefore attended the 
Latin school and was enrolled on May 20, 1620, as a student at the 
University of Leyden. We do not know how long he studied there. It 
is only certain that his parents soon recognised that their son's natural 
inclination towards art was too strong for them to put any obstacles in the 
way. They allowed Rembrandt to give up his learned studies and sent 
him as a pupil to Jacob Isaacsz van Swanenburgh, an architectural painter, 
trained in Italy, of whose art we can only form some idea through two 
almost precisely identical views of St. Peter's, now at Augsburg and 
Copenhagen. We look in vain in Rembrandt's work for any trace of his 
three years of study under this painter. Rembrandt then went for six 
months to Pieter Lastman in Amsterdam, and finally settled in Leyden. 
Here he remained from 1626 the earliest date on a picture of his (see 64^) 
till about the middle of 1631, and then went to Amsterdam, where he 
stayed till his death on October 4, 1669. 

In his own country, he made a wedding trip to Friesland. He is re- 
ported in 1633 as living for a time at Rotterdam. A sketch of Dordrecht, 
now at Chantilly (HdG. 575), shows that he visited that town. He must 
have been often in his native town and at The Hague. He must, too, have 
passed through his birthplace at other times, in executing commissions for 
portraits, carrying out special studies or visiting relations, or for other 
reasons. As for foreign travel, we only know with some certainty that he 
lived in England for eighteen months about the years 1661-62. In the 
same year, 1661, he painted some men and women belonging to religious 
orders see 189, 191, 192, and also 157, 164, 168, 170, and 173 whom he 
could have seen neither in Holland nor in England. Probably he went or 
returned by way of the Catholic southern provinces ; but the artistic pro- 
ductions of the Flemish school which he may have seen there, exerted no 
visible influence on his own works. 

Rembrandt married in 1634 Saskia van Uylenburch, who came of a 

VOL. VI I B 



2 REMBRANDT SECT. 

respected patrician family ot Friesland. She bore him several children, 
among whom only Titus, who was born in 1641, came to man's estate. 
Saskia died in the year following the birth of Titus. Rembrandt took into 
his house Geertje Dircks, a trumpeter's widow, to look after the infant, 
and formed later an illicit connection with Hendrickje Stoffels (or Jagers). 1 
She also bore him several children who all, save a daughter Cornelia, died 
quite young. 

As a consequence of his passion for collecting and of unfortunate 
commercial speculations, Rembrandt, soon after he had bought a house in 
the Breestraat, for which he could not pay the price down (1639), became 
involved in financial difficulties which led in 1656 to his bankruptcy. 
His artistic collections were inventoried on July 25, 1656, and soon after- 
wards sold by public auction. Apparently he remained insolvent till his 
death. He was buried in the Westerkerk, October 8, 1669. Titus and 
Hendrickje had died before him. 

Rembrandt was, like most of his contemporaries, a very industrious and 
prolific artist. More than 650 oil-paintings of his are known. More than 
seventy others were in existence, as we know from contemporary references 
to them in documents. There are also about 300 etchings, and some 2000 
drawings of his have been preserved while certainly as many have been 
lost. 

Rembrandt's subject-matter includes above all the Biblical history and 
the portrait. There is also a group of figure-pieces treated like genre, and 
there is a large number of figure-studies and heads. In the province of 
landscape, besides about two dozen oil-paintings, the wonderful etchings 
and drawings are especially to be noticed. In still-life only a few paint- 
ings of dead animals peacocks and oxen have survived. 

From all that we know and may infer, Rembrandt must have received 
from his mother a sincerely religious upbringing, and must have read much 
in the Bible when he was a child. The familiarity which he thus gained 
with the Biblical narratives and his pronounced liking for them, made 
him the first great artist who rendered these narratives, stripped of 
the Roman Catholic tradition, in a truly Protestant spirit. There are no 
aureoles, no figures conceived in an idealistic manner ; there is no exalta- 
tion of the Virgin as the Mother of God ; above all, there is no special 
sentiment for Church and Altar, for piety and reverence. Rembrandt re- 
garded the Biblical figures from a purely human standpoint ; he sought to 
represent events just as if they had occurred to men like himself and his 
class. His intimate relations with the large Jewish population of Amster- 
dam and with their peculiarities of character was of great use to him in 
this matter. He saw in their houses and among the Orientals, almost as 
numerous, who then frequented the world-famous port of Amsterdam, the 
peculiar costumes and accessories which he used to give local colour to his 
Biblical compositions. Pictures like " Simeon in the Temple " (The Hague, 
80), "The Visitation" (Rothschild, 74), "Jacob blessing the Sons 
of Joseph" (Cassel, 22), and "The Return of the Prodigal Son" 
(Petrograd, 113), are in their way unexcelled masterpieces of religious 
painting and human feeling. 

1 To judge from this double name, she was the daughter of a Stoffel Jager. 



xxii REMBRANDT 3 

In Rembrandt's portraiture we distinguish two large groups, namely, 
that of portraits painted to order, in which Rembrandt had to meet the 
wishes of his patrons, and that of portraits which he painted through an 
artistic impulse without being fettered in any way. The first-named 
belong mainly to the period of his youth, when he had yet to make a 
name for himself and to found a career. From the years between 1630 
and 1641 about a hundred of these portraits have been preserved, while 
from that time onwards not more than thirty-five or forty are to be noted. 
These portraits which were commissioned are recognisable by the simple 
lighting, the precise rendering of the fashion in dress, which was at that 
time very rich and complicated, and the careful execution. Probably they 
were also good likenesses a matter of importance to the patrons who 
ordered them. Among them are groups like "Dr. Tulp's Anatomy Lesson" 
(932), "The Shipbuilder" (933), and Anslo and his Wife" (620) ; full- 
length figures like the portraits of Pellicorne and his wife (666 and 667), 
Elison and his wife (645 and 646), and Daey and his wife (637 and 638) ; 
and masterpieces like the "Old Lady" of 1634 in the National Gallery 
(856), the " Nicolaes Ruts " (670), the " Elisabeth Bas " (622), the " Young 
Lady with a Fan" (860), the "Old Woman with Folded Hands" in the 
Havemeyer collection (870), and the " Harmen Doomer" in the same 
collection (642). 

When Rembrandt had become one of the most famous painters of 
his century as Orlers says as early as 1641 and people had to stoop to 
entreaty if they would be painted by him, he could impose his own terms 
instead of having them dictated by others. He could light his models in 
the way that seemed to him most beautiful ; he could adorn them in the 
manner that he thought appropriate to their character, indicate to them 
the best pose to take, and determine the degree of finish in the execution. 
Free from all external hindrances, he could then create ; he no longer 
aimed at securing so exact a likeness of his sitter. 1 Thus there came 
into existence masterpieces such as the portraits of the married couples 
in the collection of the Duke of Westminster (748 and 864) and in 
the Metropolitan Museum, New York, formerly in the collection of 
B. Altman (755 and 869), the "Nicolaes Bruyningh " at Cassel (628), 
and above all the "Jan Six" at Amsterdam (712), perhaps the finest and 
most expressive of all. 

Closely related to the portraits and not always to be clearly ilis- 
tinguished from them are the studies of heads and figures, of which i we 
have a very large number by Rembrandt. To these belong most of his 
portraits of himself and the pictures which he painted of his nearest 
relatives. In them he attaches less importance to obtaining a likeness to 
the features, as in a portrait, than to securing a particular effect in regard 
to the decoration plumes and a velvet cap, a gorget, a fur cloak, gold 
ornaments and the like or to the expression on the face and the emotion 
of the sitter, or again to the lighting a special arrangement of light with 
shadows. The rendering of spiritual feeling in these is above all 
unsurpassed. What Rembrandt could suggest in the eyes, the features, 

1 It is hard to believe, for example, that Jan Six at the age of thirty-six really looked as he 
does in Rembrandt's portrait. 



4 REMBRANDT SECT. 

the hands, even in the full-length figures of his models, no other artist 
has imitated him by attempting to do. The distance separating him in 
this respect from even his most accomplished pupils like Maes and Carel 
Fabritius is particularly great, though some pupils came very near to him 
in other externals, such as the rich colour of the personal adornment and 
the effects of light. 

How far a number of figures in Eastern dress, like the so-called 
"Young Polish Rider" (268), the pseudo - Sobieski (271), and the 
"Turkish Nobleman" in the collection of W. K. Vanderbilt (349) were 
models dressed out by Rembrandt or portraits of genuine Orientals whom 
Rembrandt saw in Amsterdam, is a question that has not yet been solved 
and that is probably insoluble. 

Studies of this kind are distributed over the whole of Rembrandt's 
artistic career. The " Money-Changer " at Berlin (282) and the pictures 
of St. Paul at Stuttgart (179), Ndrnberg (177), and Vienna (180) are early 
works of this class. As in these, he delighted, even in his later pictures 
of the same kind, in giving to his models by the addition of an attribute, 
such as a book, a pen, or a knife, a secondary Biblical significance which 
was rightly understood long ago. 

There are, on the whole, about two hundred single figures which 
fall under this head. Especially remarkable among them are the old 
men and women of the mature period, such as those in the collection 
of the Duke of Devonshire (399), at Dresden (376), and at Petrograd 
(506), as well as a number of pictures for which Hendrickje (at Berlin, 
716, and New York, 719), Titus (New York, 706), and Rembrandt 
himself (Louvre, 569 ; Lord Iveagh, 556 ; H. C. Frick, 563 ; Duke 
of Buccleuch, 554 ; and M. Kappel, 527) served as models. 

The genre-pieces produced by Rembrandt are for the most part 
studies with several figures rather than pictures of manners in the sense 
understood by the other Dutch painters, Jan Steen, Ter Borch, Vermeer, 
and the rest. His masterpiece of this kind is the double portrait, 
"Rembrandt and Saskia," at Dresden (334); the "Comely Young 
Woman" at her toilet, at Petrograd (309), is ravishing in its delicacy. 
Among the interiors with figures the " St. Anastasius " at Stockholm 
(186) and the c< Philosophers " in the Louvre (233, 234) are as rightly 
famous as the " Youthful Daniel at the Window " at Copenhagen (54) 
and some " Holy Families " at Cassel (90), in the Louvre (93), and at 
Petrograd (94). 

Rembrandt's work in still -life is limited to some paintings of 
slaughtered oxen hanging from a beam, very rich in colour the Louvre 
example, 972, is especially fine and to the "Two Dead Peahens" of 
the Cartwright collection (968), in which, on the other hand, the rich 
colour of the birds is subordinated to the prevailing harmony. 

As a landscape-painter Rembrandt is especially celebrated for his 
etchings and drawings in which, on the one hand, he gives with the 
slightest means a picturesque charm to the simplest subjects in his native 
country, which, on the other hand, he also represents in a dramatic 
manner the effects of light and the tumult of the elements. In his 
painted landscapes with very few exceptions such as the "Winter 



xxn REMBRANDT 5 

Landscape" at Cassel (943) and "The Mill" in the Widener collection 
(952) Rembrandt makes no attempt to interpret Dutch nature in a 
realistic fashion. In the colour as in the effects of light he gives free 
play to his fancy in the colour, where he loves to give up local colour 
for a treatment which is almost in monochrome ; in the lighting, where 
he allows the sunbeam to enter only through a small opening in the 
overhanging clouds, so that it illuminates one leading passage and the 
other extensive portions of the picture remain in shadow. As far as the 
subject goes, most of Rembrandt's landscapes are the pure product of 
his fantasy. Such combinations of mountain and river landscapes, of 
waterfalls and navigable canals, of Roman ruins and Dutch windmills, 
have in fact scarcely existed anywhere, and the fortresses, castles, 
cathedrals and the like that have been added to these are devoid of 
reality. There may be traced in these remarkable imaginary pieces the 
influence of the pictures and etchings of his great predecessor Hercules 
Seghers, whom Rembrandt held in a high degree of honour. 

Reference has been made to Rembrandt's unsurpassed power of 
representing character and depicting emotion. A few words remain to 
be said about his drawing, his colour, and his light and shade. 

Rembrandt has been called a weak draughtsman. That is true of 
him from the standpoint of Italian art, which lays down the rule of neat 
outlines, exact proportions, and the accurate application of perspective and 
foreshortening. Throughout his whole life he may be reproached in these 
mutters with mistakes which would scarcely be excused in an art student. 
But if drawing be regarded not as an end but as a means, Rembrandt 
understood, as no one else has done, how to attain through it the aim of 
his compositions. The same is true of colour. Rembrandt was not a 
colourist who charms the eye through the purity and richness of many 
unbroken stretches of colour, harmoniously juxtaposed. But no one has 
excelled him in using the effect of one or a few colours in his pictures to 
such good purpose that from a distance they capture the observer by their 
splendour of hue and, when viewed closely, lose nothing of their force. 
In the pictures which he painted between his thirtieth and his fortieth 
year the prevailing tones are green and blue combined with much yellow ; 
in the work of his later period, on the other hand, the tones which 
produce the effect are for the most part wonderful deep reds. It is 
remarkable, as one finds by close study of a complex colour-scheme which 
looks uniform, how the most varied combinations are used to attain this 
result. In the carnations and in the beards of old men there are blurs 
of colour which one would not suspect when viewing the colour-scheme 
as a whole. 

Rembrandt's light and shade probably originated in the practice, 
common in his youth, of painting, not in a studio with large windows 
facing north, but in an ordinary room with side-windows which could 
be closed at will by shutters at the top or the bottom. Such rooms may 
be seen in several interiors by A. van Ostade. The artist sits fairly near 
the light and his model stands or sits in a well-lighted position, but the 
rest of the room is in half-shadow. Direct sunlight, which modern 
painters avoid as far as possible when they are working in the studio 



6 REMBRANDT SECT. 

because it is unsteady, was utilised by Rembrandt for his own purposes. 
The sun throws a strong light on the principal parts of his compositions 
and produces effective shadows. But Rembrandt does not use this eftect 
of concentrated sunlight falling on objects only in his interiors. In the 
Night Watch," for example, it shines between the tall gabled houses in 
the narrow Amsterdam gracht"and possibly also between the tops of 
the very leafy trees that grow along the water's edge. The master 
obtained a similar effect, as we have already noted, in a number of 
his landscapes. 

We are very far from supposing that we have given an exhaustive 
account of Rembrandt's art. The space available does not permit us to 
say more. But the reader will expect nothing of the kind in this place. 
Those who wish for more precise information may find an abundance 
of stimulating matter in the extraordinarily rich literature devoted to 
Rembrandt. 



PUPILS AND IMITATORS OF REMBRANDT 

As the chief of the Dutch school, Rembrandt exercised a wide and 
profound influence on his contemporaries. His influence extended not 
only to the younger of them who were, in a narrower or broader sense, 
his pupils, but also to his contemporaries and rivals, even to many older 
artists who, when Rembrandt appeared, had left their student days behind 
them and yet appropriated what was new in Rembrandt's art. An attempt 
will be made in the following pages to mention all these artists in chrono- 
logical order. Some general considerations must come first. 

In various quarters the attempt has been made to divide Rembrandt 
students into two classes, namely, a more or less sceptical group which tries 
to exclude from the master's collected work much that is not genuine and 
to assign it to his pupils, and a somewhat large-hearted group which 
endeavours to enlarge the list of his works as far as possible, and con- 
tinually to ascribe to the master more newly discovered pictures. To the 
latter group, which in no way renounces the right of sane criticism, but 
stands in opposition to the hypercriticism practised at the expense of 
Rembrandt's work, belongs, with W. von Bode and W. R. Valentiner, 
the author of this book. That he has had a definite share in the 
rediscovery of many a lost Rembrandt and in the identification of many 
a well-known picture that has been rejected from the master's work, he 
will certainly not deny. A man who travels a great deal, visits many 
remote galleries and museums, frequents numerous sales of small and even 
insignificant collections, and is called into consultation by many owners 
of pictures, collectors as well as dealers, will often be the first to see a 
hitherto unknown Rembrandt, and thus will have the so-called honour 
of the discovery which naturally escapes those colleagues of his who are 
more rigorously chained to their desks. But only in one out of perhaps 
sixty or a hundred cases in which he has to examine a new-found picture 



xxii REMBRANDT 7 

attributed to Rembrandt will he have the joy of discovering in it once 
more the master's hand ; thus he brings upon himself the ill-will of the 
generous and imprudent critic who strives above all to make the series 
of Rembrandt's works as comprehensive as possible. Yet those critics 
who sit still in their studies should remember that there are still many 
Rembrandts to be discovered. The author published in the Leidxhr 
Jaarboekje of 1906 a list of sixty of Rembrandt's pictures, now lost, which 
were mentioned in Rembrandt's day in inventories and complimentary 
verses, or are attested by contemporary prints. 1 In the nine years that 
have since passed not one of all these authentic pictures has come to 
light, but their number has been raised to seventy by further research in 
the archives. All these pictures would remain to be traced if we had not 
to allow for the fact that a certain number of them have perished through 
fire, shipwreck, or the ignorance of their owners. In view of the fabulous 
rise in the market-value of even the smallest pictures by Rembrandt, and 
the consequent eager search for them, it is not surprising that unknown 
Rembrandts should be always turning up. 

Those critics, however, who take part in research principally from 
their studies, usually put forward the following arguments : 

First of all, in the Rembrandt material if the phrase may be allowed 
which has come down to us, there prevail such great differences in 
quality that it cannot possibly all come from Rembrandt, even if one 
takes account of the artist's development or, in other words, tries to 
arrange the pictures in chronological order. Secondly, Rembrandt had 
so many pupils, few or none of whose pictures have come down to us and 
whose names, in part at least, are not even known, that it is to be assumed 
that their productions go about the world under the flag of their master 
and are to be sought in his collected work. 

To the first argument the answer is that no form of human activity, 
whether of hand or brain, develops in uninterrupted succession from the 
second-rate to perfection. No billiard-player plays so well that he has 
not his bad days ; there is no chess-master who does not make a false 
move on the board at one time or another. There is no orator, poet, or 
musician who is not liable to err in the same way. The slightest physical 
discomfort, the smallest disturbance from without, above all, the least 
mental pre-occupation has a damaging effect on the labours of any 
mortal, even of a genius. 2 Any one who does not recognise this, dis- 
regards one of the principal factors in the critical determination of 
authenticity. Moreover, no painter is uninfluenced, even unconsciously, 
by the question whether he is free to work as he will or is bound by the 
conditions of a commission ; there is no portrait-painter who is not more 
sympathetic to one model than to another. Then, too, one has to con- 
sider an artist's greater or lesser capacity for working to a certain scale. 
A man who is accustomed to paint on a small canvas will at first be less 
sure of himself when he is face to face with a large canvas. Thus, just 

1 All thoie pictures are noted in their proper places in the following catalogue. 

2 We know from the Urkunden see Nos. 154, 169, 213, 253, 278, 360, 407 that Rembrandt, 
in his closing years, often found it difficult to finish a picture or to alter it to the purchaser's fincy. 



8 REMBRANDT SECT. 

as Rembrandt's large etchings seem strange in their technique when we 
pass to them from a study of the smaller prints, we have to moderate our 
expectations when we turn, for example, from the "Simeon in the 
Temple" at The Hague (80) to the life-size " Holy Family " at Munich 
(92), though both date from the year 1631. We have to do the same 
when, a few years later, we encounter the large Biblical scenes of the 
so-called " Storm and Stress " period, such as " Belshazzar's Feast " (52), 
"The Blinding of Samson" (33), "Abraham's Sacrifice," and the rest. 
We ask with amazement if this is the same master who in these very 
years created the wonderfully intimate "Philosophers" in the Louvre 
(233 and 234), the " Healing of Tobit " in the Arenberg collection (69), 
or "The Ascension " at Munich (149). 

We must leave these examples to show that just as a high-road only 
ascends a pass by winding and turning back upon itself, so the artist, not by 
a dead straight or steadily ascending line, but only in zigzags or with rises 
and falls, can attain the height of his genius. Thus doubts as to the 
genuineness of a picture are not tenable on the sole ground that it does 
not fit into a course of development which, in order of time, is steadily 
progressive. 

We pass to the second argument, that of the numerous pupils whom 
Rembrandt had and who remain unknown. Their pictures, it is urged, 
must be concealed among the master's works and must be sought out by 
diligent study. 

These more or less numerous pupils certainly existed. Now and then 
a hitherto unknown name, like Leendert Cornelisz van Beyeren (Urkunden^ 
No. 51) or Jan van Glabbeeck (Urkunden, No. 149), peeps out of the dark- 
ness of the records. What did these unknown pupils paint ? What 
did they make of their careers ? Why are their names not mentioned by 
contemporary biographers, like De Bie and Sandrart, Hoogstraten and 
Houbraken, while Bol, Flinck, Eeckhout, Maes, and so many others whom 
we shall consider later, were thought to be worthy of notice ? Probably 
they were ignored because they did not achieve much in art, possibly 
because they gave up painting soon after leaving Rembrandt's studio. 
While we can, on the whole, scarcely distinguish the works of the best and 
most famous of Rembrandt's pupils from those of the master himself, is it 
possible that these unknown and undistinguished pupils had a considerable 
share in the work ascribed to Rembrandt which the keenest eyes have 
hitherto failed to discover ? Believe it who will ; but in our view the 
productions of these scholars are to be sought in the great mass of second- 
er third-rate pictures which are scattered in museums, collections, and sales 
as the work of " unknown pupils of Rembrandt." The best proof of the 
correctness of this opinion is afforded by the hitherto unknown pupils who 
have gradually come to light through the discovery of signed pictures, like 
Isaac de Jouderville, Carel van der Pluym, Reinier van Gherwen, Heiman 
Dullaert, Abraham van Dijck, Jacob van Dorsten, and others. None of 
them reaches the standard of the master's best pupils, as known up to the 
present. That hypercriticism, which at every tenth picture says " School- 
piece," has thus so far yielded only negative results ; it has rejected and 



xxn REMBRANDT 9 

rejected again. Anything positive, such as the revelation of a pupil's 
distinct individuality, even if he remained provisionally anonymous, it has 
not attained, in regard to either the pictures or the etchings or the draw- 
ings. Where, in the course of years, opinions have been changed by 
profound study, and pictures which were once attributed to Rembrandt 
are now taken from the master, that has virtually always been done by 
the class of critics who are accused of desiring to assign the largest possible 
number of works to the painter, at any cost a desire naturally alien to 
the scientific spirit which seeks only for truth. 

Passing, after these preliminary remarks, to a consideration of the 
pupils, we must first set aside the large body of copyists working from 
Rembrandt's etchings. The popularity and wide dispersion of these 
prints even in Rembrandt's lifetime are demonstrated from different 
points of view. The early prints, above all, very soon fell into the hands 
of professional copyists, whose names, undeserving of the honour, have 
not come down to us. The large etchings of the Passion, the other 
Biblical subjects, and the studies of heads, in particular, fell victims to 
this mania for copying. It is known, for instance, that as early as 1647 
a painted copy of the " Ecce Homo" (Bartsch 77) was set up as an altar- 
piece in the village church of Hela in West Prussia ; in the town-hall at 
Reval a similar picture has hung since 1667 (see the Urkunden, No. 109). 
Such copies have been preserved in alarming numbers, but, except in the 
composition, they show little or no kinship with Rembrandt's style or 
technique. As a rule they are especially weak in colour, as the copyist in 
this respect found nothing to guide him in his original. Thus they show 
that, in cases where Rembrandt painted as well as etched a subject (see, 
for example, Nos. in, 134, 199), the copies were made not from the 
picture but from the etching. 

It is impossible here to notice all the pupils whose names are unknown 
to us, but who survive in their vigorous productions. They are unknown 
either because they never signed their works or because their signatures 
have been scraped out and replaced by Rembrandt's name. One can 
only hope to learn their identity if, sooner or later, an unsuspected 
signature comes to light, as for example through the removal of a 
signature of Rembrandt or of one of his prominent pupils which has 
been painted over it. This has occurred in the case of the first identified 
picture by Isaac de Jouderville, over whose signature the name of G. Dou 
had been inscribed (see below for further details, p. 13). 

To this group of unknown pupils of the early period belongs a painter 
who signs with the letter " R " possibly "J. R." and by whom half a 
dozen pictures are known. These are mostly heads of old men, rich in 
colour and with expressive faces. The most easily accessible of his 
pictures is the head of an old man in the Munich Pinakothek. 1 In 
composition they have the closest affinity to the studies of heads by 
Rembrandt and Lievens in their Leyden period. Probably the painter 
also belonged to Leyden. He may perhaps be identified with a certain 

1 1904 catalogue, No. 358 ; recently transferred to the branch gallery at Erlangen. 



10 



REMBRANDT SECT. 



Jan Rijckert, who is mentioned in the registers of the Leyden guild for 
1648, but of whose art nothing is known. The name is mentioned in 
connection with the stately portraits, life-size three-quarter lengths dated 
1635, of Pieter de la Court and Janneke des Planques of Leyden, which 
are also signed with the monogram " R." or "J. R. " and show the hand 
of a competent painter under the influence of the youthful Rembrandt. 
Whether the hand is the same as that of the studies of heads just noticed 
remains uncertain. One of the two portraits was shown at Utrecht in 
1894 and the other at The Hague in 1903 ; the woman's portrait is now 
in the Philadelphia Gallery. 

A " Minerva at her Studies " (lent by A. Bredius to the Royal Gallery, 
The Hague, No. 626) is also so closely related to Rembrandt's early 
works that the owner thinks himself able to recognise in it the master's 
own hand. The author is not yet convinced that this theory is correct. 

A "Rest on the Flight into Egypt," now in the Berlin Museum, 
which bore Rembrandt's name when it was in the Suermondt collection, 
and a "Job comforted by his Friends," which was in the possession of a 
Paris dealer in 1911-12, belong to the same period. The "Job" bears 
faint traces of an original signature. 

Newton Robinson, the London collector who died recently, owned an 
interior, with an elaborate still-life group of arms and armour in the fore- 
ground and a man in Rembrandtesque attire in the middle distance, from 
the hand of a painter who must have known Rembrandt and Dou at the 
time when they were working together. 

The able painter of the " Beheadal of Saint John the Baptist " in the 
Rijksmuseum, Amsterdam (No. 921), variously ascribed to Rembrandt 
himself, Drost, and C. Fabritius, must have been a contemporary of 
G. Flinck, F. Bol, and Victors in Rembrandt's studio, about 1633-35. 
The old woman, for instance, recalls the Rebecca type in the pictures of 
Flinck and Victors, while the executioner and the corpse remind one of 
Jan Lievens in his Leyden period. 

Several large historical pieces in English collections, all formerly attri- 
buted to Rembrandt "Joseph in Prison interpreting Dreams," at Woburn 
Abbey (cf. 19), "The Blind Belisarius," at Lowther Castle (Sm. Suppl. 
4 ; cf. note 3 to the comparative table at end), and a third picture now 
at Ditchley, near Oxford seem to the author, if his memory does not 
deceive him, to come from the same coterie of painters. 

The same may be said of the "Man with a Hawk," which at the 
L. Lesser sale in London, February 10, 1912, No. 181, attracted attention 
by its' really high artistic quality (cf. 286), and, lastly, of the so-called 
" Niece of the Due de Nivernois as a Shepherdess," in the Harrach Gallery, 
Vienna, which is most closely related to Govert Flinck among the known 
pupils (Wurzbach 378 ; cf. note 84 to the comparative table at end). 

An " Interior with a Family saying Grace," which occurs in two 
versions, in the Hermitage and at Bridgewater House, is most nearly akin 



xxn REMBRANDT n 

in style to the work of Rembrandt and his pupils in the years 1640- 
1650. It was engraved as a Rembrandt in the Choiseul Gallery (Sm. 
143 and 144 ; cf. notes 50 and 51 to the comparative table at end). 

One of the greatest puzzles is still afforded by a very effective picture 
which occurs frequently a " Man with a large Slouch Hat " reading a 
large book in front of a light background. Smith describes this composi- 
tion three or four times, and the author knows of at least six existing 
examples in the collections of Sir Frederick Cook, John G. Johnson, the 
Comte de Bsenval, the picture photographed by Braun, No. 16, 416, and 
others to which the name of Carel Fabritius is most commonly appended. 
None of these shows clearly the style of any known pupil of Rembrandt 
or of the master himself. It is not altogether impossible that all these 
examples may be traced back to a lost original by Rembrandt. A copy 
exists, or was in existence, bearing the date 1643. ^ ls quite possible 
that this correctly represents the time when the original was painted. 

A once famous picture engraved in mezzotint by MacArdell in the 
eighteenth century which must also have been painted by a very able 
pupil of Rembrandt at about the same period as the last-named, is the 
"Two Geographers or Mathematicians" at a table with a globe and 
instruments, now in the collection of Arthur Lee, M.P. (Sm. 181 ; cf. 
note 6 1 to the comparative table at end). 

Among the anonymous pupils who appear about 1655, and who must 
therefore have enjoyed Rembrandt's teaching shortly before or after 1650, 
the painter of the large picture in the National Gallery, London, No. 757, 
"Christ blessing Little Children" (Sm. 81 ; cf. note 31 to the compara- 
tive table at end), is probably the best known. He stands somewhere 
between B. Fabritius, Eeckhout, and Maes, and is notable for his talent in 
composition, the expressiveness of his faces, and his feeling for colour and 
light and shade. Whether two other large pictures, " The Labourers in 
the Vineyard" (Wurzbach 87 ; cf. note 35 to the comparative table at 
end), in the Stadel'sches Kunstinstitut, Frankfort-on-Main, No. 181, and 
"Christ shown to the People" (Sm. 87 ; cf. note 34 to the comparative 
table at end), in the Budapest Museum, No. 368, are quite clearly by the 
same hand, as the author once thought, now seems uncertain. In any case, 
they belong to the same group, as well as a "Christ mocked " (127) not 
seen by the author in the Mussin-Puschkin collection, Petrograd. 

A " Man with a Fur Cap," in the sale of E. F. Weber of Hamburg, 
No. 251, was very closely related to Rembrandt, but no one ventured to 
attribute the picture to him, or could assign another painter for it. It 
showed the greatest similarity to the Dresden "Man in a High Red Velvet 
Cap trimmed with Fur" (3778), and must, like that, have been painted 
about 1655. 

Interesting examples of the imitation of Rembrandt by pupils as yet 
nameless are afforded by a " Drunken Lot and his Daughters," in the 
Rath Museum, Budapest (No. 2), and, in the Yussupoff collection, 
Petrograd, a "Youth with a Hurdy-Gurdy outside a House," with an old 



12 



REMBRANDT SECT. 



man and two children standing at the open half-door. 1 The pictures come 
from very different hands. They have this in common they are both 
exact copies of sketches by Rembrandt. The original for the first-named 
picture is in the Goethe-Haus, Weimar (reproduced by Lippmann, 192^) ; 
the original for the second picture is in the collection of H. Oppenheimer, 
London (reproduced by HdG. iii. 70). Both these painters, though not 
without talent, show by their slavish borrowing their lack of inventive 
genius. 

Among the landscapes from the circle of Rembrandt's pupils, one still 
seeks in vain the name of a painter for the large and impressive " Hilly 
Landscape" at Dresden. It is very much like the landscape by A. 
de Gelder in the Berlin Museum, and yet seems to be the work of 
another hand. 2 

Last of all, attention may be drawn to another landscape-painter, who, 
externally, comes very near to Rembrandt in his views of flat country, 
rendered almost in monochrome. He betrays himself above all by a 
certain emptiness in his composition. The author has seen his pictures 
in the Groningen Museum, in the Swedish mansion of Kulla Gunnarstorp 
near Helsingborg, and in the collection of the late Sir W. J. Farrer, 
Sandhurst Lodge (cf. 967*: ; photographed by Braun, No. 29, 205). 

In the notes on the entries in the following catalogue, the attentive 
reader will notice how often old copies after Rembrandt have been 
catalogued under the names of pupils (cf. the notes on 69, 317, 324, 346, 
and 387). 

Rembrandt was, from the outset of his career, in Leyden, the centre 
of a group of painters of his own age, upon whom he exercised a deter- 
mining influence. To them belongs, first of all, JOHANNES LIEVENS 
(1607-1674), who, although a year younger, had gone to Lastman's studio 
before Rembrandt. No early works of his, showing the influence 
of that teacher, are known. From the first he appears to us as a rival of 
Rembrandt, from whom he is only distinguishable with great difficulty. 
His heads of old men often pass, or used to pass, under Rembrandt's 
name, and Rembrandt's pass as his (cf. pictures at The Hague, Petrograd, 
and at Schwerin, for which see note 47 to the comparative table at end). 
The famous poet, Constantijn Huygens, mentions both painters in the 
same breath, without letting us know which of the two he thought the 
more highly gifted (cf. Urkunden^ No. 18). He remarks justly that Rem- 
brandt's "judicium et affectuum vivacitas " surpassed the "audaciam 
argumentorum formarumque superbiam " of Lievens. When Rembrandt 
removed to Amsterdam, Lievens too left Leyden. He went to Antwerp, 
and there came under the influence of Antony van Dijck and, through 
him, under that of Titian. From that time his works no longer show 

1 The author's former collaborator, Dr. K. Lilienfeld, provisionally claims this picture for 
Aert de Gelder, without having seen it. See his recent work, Arent de Gelder, hit Life and hit 
ffork, The Hague, 1914, No. 142. 

2 Lilienfeld, in hii Arent de Gelder, No. 279, maintains, though not with complete cer- 
tainty, that it is De Gelder's work. 






xxii REMBRANDT 13 

that their painter once strove after the same ideals as Rembrandt. Only 
his landscapes or landscape backgrounds show later an effective combination 
of the influences of Rembrandt and Brouwer. 

As to ISAAC DE JOUDERVILLE (about i6i2-about 1645), a native of 
Leyden, living only a few doors from Rembrandt, there is no documentary 
evidence of his having been Rembrandt's pupil, but his few existing works 
prove it most clearly. A fully signed study of a head is in the Irish 
National Gallery, Dublin ; another, unsigned, was shown in the Rem- 
brandt Exhibition, Leyden, 1906, from the collection of A. Bredius. 

JAN JORISZ VAN VLIET was also a Leyden man. As the etcher of 
Rembrandt's youthful works he unquestionably did very much to spread 
the master's fame. Until a very recent period many such early pictures 
by Rembrandt passed under the name of Van Vliet, although on the 
etchings Rembrandt was invariably named as their creator. In the same 
way other youthful works of Rembrandt, which had not been etched by 
Van Vliet, were attributed to that reproductive artist, although, so far as 
we know, he never worked as a painter. The error is now obsolete, but 
coloured copies of Van Vliet's etchings still pass as originals by Rem- 
brandt in the hands of dealers. 

(CoRNELis) BROUWER must have known Rembrandt's early works, 
to judge from his one picture in the Cassel Gallery (No. 256) represent- 
ing the Unfaithful Servant, or rather the Youthful Samuel with Eli the 
High Priest. The priest, for instance, was painted from a well-known 
old model of Rembrandt's. Whether the master influenced Brouwer 
directly or through Gerard Dou, of whom one is reminded by Brouwer's 
painting of detail, the author does not venture to determine. 

An early work of the Dordrecht painter PAULUS LESIRE (i6n-after 
1656), in the Hanover Museum, recalls so clearly the youthful pictures of 
Rembrandt, in the handling and the light and shade as well as in the 
composition and the pose of the model, that there must have been some 
connection between the painters. Later, Lesire joined the following of 
Van der Heist, as in his pictures in the Metz Museum and elsewhere. 1 



The artist HENDRIK. DE THIER or THIEER (born in 1603), wno 
came from Dordrecht, left a few etchings after Rembrandt or in his 
manner, but in painting followed paths of his own. In his portraits he 
comes near to Jacob Gerritsz Cuyp, and in his still-life to Pieter Claesz 
and W. Heda, as in his picture in the Mansi Gallery, Lucca. 

In what relation the Haarlem painter, WILLEM DE POORTER (active 
about 1630-1645), stood to Rembrandt has not yet been explained. There 
is at Dresden a copy by him of Rembrandt's "Simeon in the Temple" 
(80), and his other pictures are more or less akin to this picture in 
composition and style. He must have come to know Rembrandt shortly 
before or after his removal from Leyden to Amsterdam, and fell under 
his influence. 

1 Must not the inscription " P. Lcsen," on a very Rembrandtesque study of a head in the 
Hofmuseum, Vienna, No. 1289, be read as P. Lesire ? 



I4 REMBRANDT SECT. 

The name of Rembrandt's most famous Leyden pupil, GERARD Dou, 
need only be mentioned here, as a section of this work (in Volume I.) has 
already been devoted to him. 

We must note, too, Rembrandt's connection with a group of still-life 
painters in Leyden at the outset of his career. This group, centring in 
DAVID BAILLY, included his two nephews PIETER and HARMEN STEEN- 
WIJK, PIETER POTTER, JAN DAVIDSZ DE HEEM, and an unknown painter, 
a picture by whom is in the Thieme collection, Leipzig. In their works, 
mostly "Vanities," are found the same elements which Rembrandt em- 
ployed as accessories in his early pictures of Apostles and Saints. The 
lighting, too, and the choice of colours are the same as with Rembrandt. 
Pictures by members of the group are not seldom attributed to unknown 
followers of Rembrandt of the period 1628-30. 

When Rembrandt went to Amsterdam, he found there a vigorous artist- 
life. In portraiture, above all, good work was being done. Painters like 
CORNELIS VAN DER VOORT (who had died a little while before), DIRCK 
SANTVOORT, NICOLAES ELIASZ, and especially THOMAS DE KEYSER, had 
attained a freedom of handling which the Leyden painter of five- or six-and- 
twenty still lacked. The Utrecht painter PAULUS MOREELSE, who had 
painted, among other things, a large group of civic guards in Amsterdam, 
belongs to this group. Rembrandt soon overtook and surpassed them all, 
but gratefully acquired from them a certain breadth of style which he had 
not had before. As examples of the confusion caused by affinities of style 
one may mention that 736A (a portrait of a young man) was formerly 
attributed to Thomas de Keyser, and that Moreelse's portraits of women 
at Bergamo and Budapest once passed under the name of Rembrandt. 
Santvoort's few Biblical scenes for instance, the "Christ at Emmaus," in 
the Louvre, and a similar picture at Moscow were painted entirely under 
Rembrandt's influence. 

NICOLAES MOEYAERT (1592-93-^00^1655), a historical and portrait 
painter of the school of Elsheimer, especially renowned in Catholic circles, 
soon became strongly influenced by Rembrandt, as his pictures in the 
Rijksmuseum and at Brunswick, Schleissheim, and elsewhere show. Still 
more decisively was this the case with his pupil SALOMON KONINCK (1609- 
1656), who became a whole-hearted follower of Rembrandt, and was one 
of his most talented imitators. He seems to have been specially affected 
by the pictures which Rembrandt painted for the Stadholder Frederick 
Henry (see 78, 82*, 130, 134, 140, 141, 149). 

PIETER QUAST (1607-1647), who, especially in his Biblical scenes, 
depended very much on Rembrandt, was, like Koninck, a working painter 
when Rembrandt went to Amsterdam in 1631. An interesting object of 
Rembrandt's influence was H. M. SORGH in his pictures at Brunswick and 
Dresden and in the former Steengracht collection. All these represent 
the parable of the Labourers in the Vineyard, and for all of them Rem- 
brandt's picture of that subject in the Hermitage (116) served as a model. 

ROELAND ROGHMAN, who was born about 1620, and not, as has hitherto 
been supposed, as early as 1597, was of the school of Hercules Seghers. 



xxn REMBRANDT 15 

Houbraken tells us of his friendship with Rembrandt. Roghman's initials, 
" R. R.," have often in the past been taken for those of Rembrandt, although 
the difference in their styles ought to have prevented such a mistake from 
being made. The best known examples of this confusion are the two 
landscapes at Cassel (Sm. 606, 607 ; cf. note 112 to the comparative table 
at end). 

The first painter who became a pupil of Rembrandt in Amsterdam 
was JACOB ADRIAENSZ BACKER (1608-1651) of Harlingen. He had already 
enjoyed the teaching of Lambert Jacobsz at Leeuwaarden. He must have 
advanced rather far in art when he entered Rembrandt's studio in 1631 or 
1632, for in 1633 he was commissioned to paint the women governors of 
the orphan asylum a master-work for a youth of five-and-twenty, such as 
few painters in this age have carried out. Several very fine portraits of 
women (as in the Wallace collection, No. 89), and even his later studies 
of heads, at Dresden, Munich, and elsewhere, which testify to a rapid decline 
of his powers, are those of his works which were longest confused with 
those of Rembrandt (see Bode 231 and Sm. 478 ; cf. notes 64 and 100 to 
the comparative table at end). 

About 1633-35 there must have been at work in Rembrandt's studio 
a group of pupils who appear as independent painters from about 1635. 
These were, first of all, FERDINAND BOL (1616-1680), GOVERT FLINCK 
(1615-1660), JOHANNES VICTORS (about i62O-after 1676), and then 
ABRAHAM VAN DEN HECKE, G. HORST, JACOB VAN DORSTEN, and 
REINIER VAN GHERWEN. 

Jn their Biblical scenes with life-size figures, their studies of figures 
adorned with fur cloaks, iron gorgets, and plumed caps, and their com- 
missioned portraits, they followed the example of their master not only 
during the period when they were working in his studio, but also in the 
works which he produced after they had become independent. For Bol, 
reference may be made to the pictures mentioned in notes 6, n, 54, 62, 
82, 103, and 104 in the comparative table at the end. As to Flinck, one 
recalls the portraits of Govert Centen in the Rijksmuseum (No. 1260), and 
of the so-called Manasseh ben Israel in the De Jonge collection, Paris 
exhibited in Paris, 1911, No. 33 ; a study of a head, completely inspired 
by Rembrandt, in the collection of Count Stecki, Romanof, exhibited at 
The Hague, 1903, No. 25 cf. 263 (Brunswick) ; and the pictures at 
Vienna mentioned in notes 4, 10, and 44 to the comparative table at end. 
Johannes Victors attains only an external similarity to his master in the 
composition and arrangement of his life-size historical pieces, on which 
occur dates from 1640; but he painted several portraits which are in no 
wise inferior to those of Bol and Flinck as in the collection of W. Gum- 
precht, Berlin, and the sale of Princesse Mathilde, Paris. 

Gerrit Horst, the dates of whose birth and death are unknown, is 
remembered especially for his two large historical pieces in the Berlin 
Museum (Nos. 807, 824). Abraham van den Hecke, who was already 
married in 1635, is known for his representations of the repentant Judas 
(Petrograd, No. 1712) and similar subjects ; but he was rather an adapter 



1 6 REMBRANDT SECT. 

than a characteristic imitator. For he also copied, in a way that is often 
deceptive, painters like Jan Miense Moelnaer and his son-in-law Gerrit 
Lundens, who were related in quite a different fashion to Rembrandt. 
Jacob van Dorsten is only known by one picture a portrait of an old 
man at Dresden (No. 1607) and Reinier van Gherwen only by two 
W0 rks "Abraham's Sacrifice" at Munich (No. 354), and a figure-study 
at Vienna (No. 1275). Little is known of their lives. To judge from 
the style of their pictures, they belonged to this group of Rembrandt's 
pupils. 

An artist who is commonly mentioned in a different connection is the 
sea- and landscape-painter SIMON DE VLIEGER (1601-1653). That he now 
and then took Rembrandt as a model is shown by his landscapes with 
houses and figures at Copenhagen (No. 375) and Amsterdam (No. 2561). 
In both of these the tone and lighting are quite Rembrandtesque j in the 
second, "Sportsman returning Homeward," a man in a Rembrandtesque 
costume, with an expression on his face reminding one of the master, looks 
out of a window just as Rembrandt has used this motive in pictures and 
etchings as in B 90 [Hind 101], "The Good Samaritan," and others. 

A painter who is named in documents as a pupil of Rembrandt, though 
none of his works can be traced, is LEENDERT CORNELISZ VAN BEYEREN 
(1620-1649), who died young. He appears as Rembrandt's pupil in 1637. 
In the documents (Oud Holland^ v. 236) are mentioned a " Tobias " and a 
" Christ shown to the People " by him. The second picture has been 
identified with the Budapest picture (Sm. 87), to which reference has been 
made (see p. n). But it does not seem quite certain that this picture can 
have been painted by 1649 J tne style points rather to a date about 1655. 

GERBRAND VAN DEN EECKHOUT (1621-1674) and PHILIPS KONINCK 
(1619-1688) must have been Rembrandt's pupils not very long after the 
painters just named. Eeckhout was working on his own account in 1641 
and Koninck in 1640. Eeckhout was active in almost every branch of 
his art as a painter, a draughtsman, or an etcher. He left a number of 
very sound portraits, and, above all, in his early Biblical scenes with small 
figures, was a successful imitator of his master (cf. notes 29, 30, and 99 to 
the comparative table at end). His later compositions, with life-size figures, 
leave one cold and lack vitality. His genre-pieces were influenced by G. ter 
Borch (cf. Vol. V. p. 6). 

Philips Koninck in his genre-pieces is related to Jan Miense Molenaer ; 
he ranks as a portrait-painter almost with Govert Flinck, and in his few 
Biblical pictures with Lievens. But he owes the special place which he 
occupies in Dutch art to his grand landscapes panoramas of the Dutch 
plains intersected with rivers and other water-courses. They were painted 
from the hills near Arnhem or Nymwegen or from the dunes. Often the 
dunes stand out against the horizon as a white sunlit range of hills. The 
landscapes are largely conceived, and are arched over with an imposing sky 
broken up with great masses of clouds. One of the finest of them, in the 
Wantage collection, long passed as Rembrandt's masterpiece in landscape 
(Sm. 596 ; cf. note 106 in the comparative table at end). 






xxn REMBRANDT 17 

Whether the few landscapes pictures, etchings, and drawings which 
have come down to us from his relative JACOB KONING are by the elder or 
younger artist of that name has not yet been settled. A fact which tells 
against the ascription to the elder man is that he was already married in 
1638 and, therefore, independent, whereas the works named were certainly 
not produced before 1655. In spite of their not inconsiderable artistic 
qualities, they show a dependence on alien models the picture at Rotter- 
dam (No. 157) on A. van de Velde, and the drawings and etchings on 
Rembrandt so that one prefers to regard them as the work of a young 
man rather than as that of a mind which had been active for twenty-five 
years. On the other hand, as against the attribution to the younger Jacob 
Koning, there is the fact that the pictures, portraits, and panoramic views 
of northern towns, which are certainly his, and which were painted in 
Scandinavia, are painfully weak. The life-size " Woman weighing Gold " 
at the Hermitage (No. 869), which looks like a somewhat weak imitation 
of Nicolaes Maes, might also be rather by the younger than by the older 
Jacob Koning. 

In connection with this artist may be mentioned several others who 
occupied themselves with landscape, namely, PIETER DE WITH (at work 
in 1659), ABRAHAM FURNERIUS (born about 1621), and JOHANNES LEU- 
PENIUS (1647-1693). De With etched some plates in the manner of 
Rembrandt, which long passed as his works. There are some drawings 
by De With in the same style. The same may be said of Abraham 
Furnerius, who was a contemporary of S. van Hoogstraten in Rembrandt's 
studio, and of Johannes Leupenius, whose drawings of views in the 
neighbourhood of Amsterdam occupy a middle place between similar 
drawings by Jan Lievens and Rembrandt. Neither man, so far as is 
known, ever painted. 

CAREL VAN DER PLUYM l was a kinsman of Rembrandt, who entered 
the Guild of St. Luke at Leyden in 1648. His signed picture of 1655 in 
the Leyden Museum (1908 catalogue, No. 271) shows the strong influence 
of Rembrandt, in much the same way as he affected G. van den Eeckhout. 
From this picture and a similar one in the Cavens collection, Brussels, 
also representing a scholar, 2 it may be inferred that Van der Pluym was a 
pupil of Rembrandt at about the same time as Van den Eeckhout. 

SAMUEL VAN HOOGSTRATEN (1627-1678) went to study under Rem- 
brandt about 1642, after the death of his father Dirck. He was by 
disposition a theorist with eclectic fancies strongly expressed. Thus his 
pictures show the influence of the most varied masters, and least of all 
that of Rembrandt. Onlv in his drawings is he more closely akin to the 
master. He strove to follow Rembrandt in the technique of his pen and 
wash drawings, in the composition and light and shade. In expression 
and freedom of handling he remained far behind Rembrandt. His chief 

1 Dominicus Jansz van der Pluym married in 1624 Cornelia Zuytbrouck, a cousin of Rem- 
brandt. Carel was his son. 

a Probably it is identical with 243*. A third picture occurred in a London sale a few years 
ago. [Ste also 115.] 

VOL. VI C 



jg REMBRANDT SECT. 

piece, "The Death of the Virgin," passed until the De Vos sale of 1883 
as one of Rembrandt's finest drawings. 

CAREL FABRITIUS was a contemporary of Van Hoogstraten in Rem- 
brandt's house. Reference should be made to the section devoted to him 
in Vol. I. 

LAMBERT DOOMER (1622-23-1700), who appears as a working artist 
as early as 1645, must have been a pupil of Rembrandt almost at the 
same time as, or shortly after, Hoogstraten. There is, indeed, no direct 
evidence of such a connection. But it may be inferred with reason from 
the fact that Lambert's father was Rembrandt's frame-maker, that his 
parents were both painted by Rembrandt, and that the style of several of 
his pictures notably two small heads of old men in the former Azam 
collection at Bordeaux is thoroughly Rembrandtesque. Besides those 
two heads, his numerous landscape sketches and his attractive landscape in 
the Rijksmuseum (No. 790) show in a successful fashion the influence 
of the master. This is less evident in the portraits which gradually 
descend from the level of an imitation of Van der Heist to that of the 
aping of De Baen. 

If we suppose that young artists as a rule went to Rembrandt when 
they were from fifteen to eighteen years of age, NICOLAES MAES 
(1632-1693) must have gone to him about the years 1648-50. He begins 
with dated pictures about 1654. It was, with few exceptions, his genre- 
pieces with from one to three figures which established his reputation 
as one of the most successful imitators of his master. As the next section 
is devoted to him, it will suffice here to mention his name. 

It may be assumed that BERNAERT FABRITIUS enjoyed Rembrandt's 
instruction at about the same time, although there is no written evidence 
of this. The series of his dated pictures begins in 1650. They show the 
types, the costume, the light and shade, and the characteristic composition 
of Rembrandt. He shares with Maes a preference for a colour-scheme of 
red, white, and black. His own talent is best expressed in some life-size 
figure-studies at Frankfort-on-Main and elsewhere. 

A somewhat incomprehensible artistic figure is that of CONSTANTIJN 
A. RENESSE (1626-1680), the son of a professor of theology, a scion of an 
old noble family, and, perhaps, an amateur rather than a professional artist. 
The few etchings and drawings of his that remain are very Rembrandtesque. 
This is less noticeable in the only picture that can with any certainty 
be ascribed to him, a family group round a spinet in the Czernin Gallery, 
Vienna (No. 132). This is mentioned in a family inventory of 1781, and 
is said to represent the painter's household. It is, however, in so bad a 
condition that it is scarcely possible to judge of its merits. 

WILLEM DROST was, until lately, almost as hard to understand. He 
was confused with Jacob van Dorsten, Gerrit Horst, and P. Drost, and 
was given the Christian name Cornelis. Two etchings in the collected 
works of Rembrandt (B. 328 and 362) may be ascribed to him ; one is 
signed in full. The dates on his rare pictures are 1654 and 1655. 



xxii REMBRANDT 19 

Externally, he comes fairly near to Rembrandt. He stands at about 
the same artistic level as Bernaert Fabritius. 

ABRAHAM VAN DIJCK (1635-36-1672) is a similar figure. Apart from 
a picture of a painter at his easel, occurring in several versions, which must 
have been painted about 1640-45 and, therefore, cannot be his work, it is 
difficult to understand how he can have painted the pictures in the De 
Alan and Von Schwabach collections both dated 1655 and the " Old 
Lady" at Brussels (No. 368), coinciding in style with the De Man picture 
and bearing the date 1654 and a false Rembrandt signature. His portrait 
of a woman in the Palace, Sigmaringen, reminds one of Maes. Of his 
two pictures in the sale Von Nesselrode and others, Amsterdam, 
April 27, 1909, Nos. 9 and 10 one suggested an imitation of G. Metsu 
and the other of Brekelenkam. The author possesses a picture which, 
without the signature, would perhaps be assigned to the school of 
Constantijn Netscher and which can scarcely have been painted in 
the lifetime of Abraham van Dijck, who died in 1672. The author cannot 
yet offer a provisional solution of this problem, and would only state the 
fact that there was a pupil of Rembrandt named A van Dijck paint- 
ing in the manner of the pupil last mentioned (in pictures at Sigmaringen, 
Oldenburg, and in the Von Schwabach and De Man collections). 
Judging from the signature, this artist was identical with the painter of 
the Von Nesselrode and De Groot pictures ; judging from the style, the 
"Old Lady "at Brussels is by the same hand. This picture has a re- 
painted passage below the false Rembrandt signature j probably the old 
signature of the real painter is concealed under it. 

With regard to HEIMAN DULLAERT (1636-1684), Houbraken relates 
that a "Mars in Armour " painted by him looked so like a Rembrandt that 
it was sold under the master's name. Houbraken says also that at a first 
glance he took a "Hermit praying" by Dullaert for a Rembrandt. The 
only signed example of Dullaert that is known a " Urine Doctor " in the 
author's collection does not show such striking similarity to Rembrandt's 
work. It reminds one of the school of Brekelenkam, and in the composi- 
tion alone has a great likeness to Rembrandt's " Youthful Daniel at the 
Window " (54). According to the documents, Dullaert's connection with 
Rembrandt began in 1653. He is said to have always been on friendly 
terms with him and with Philips Koninck. JAN VAN GLABBEECK, who 
is mentioned in connection with Rembrandt in 1653, t ^ ie sa 6 vear as 
H. Dullaert, and is expressly described as his pupil (Urkunden^ No. 149), 
is otherwise completely unknown. On the same occasion appears also 
JACOBUS LEVECQ (1634-1675)53 Dordrecht painter; a very Rembrandt- 
esque portrait of a man by him is in the collection of the Duke of Leinster 
at Carton, Ireland exhibited at the Royal Academy Winter Exhibition, 
London, 1878, No. 264 while later works by him, such as the picture of 
1665 in the Porges collection, shown at The Hague, 1903, No. 70, are 
good examples of the fashionable portraiture of that day. 

Rembrandt's own son TITUS (1641-1668) was also a painter. Even in 
the inventory of 1656 pictures of his are mentioned three dogs, a painted 



20 



REMBRANDT SECT. 



book, and a Madonna. As none of his works has been preserved, we can 
form no idea of his art. 

AERT DE GELDER (1645-1727) closes in a worthy manner the list of 
Rembrandt's pupils. He studied first under S. van Hoogstraten and was 
with Rembrandt about 1660. He shared his master's love of figures in 
fantastic dress, and pleases us by the delicate tone of his colouring, his 
breadth of handling, and his harmonious light and shade. His draughts- 
manship often leaves something to be desired. How often people have 
tried to pass off his works as those of Rembrandt is shown by the notes 
5, 12, 45, 88, and 98 to the comparative table at end. 

A special class of pupils have purposely been left out of account in the 
preceding pages. These are the foreigners who came to study under 
Rembrandt and then returned home, thus exercising no influence on the 
development of the Dutch school. They were the following : 

BERNARD KEIHL, a Dane, born in 1625, who was with Rembrandt 
about 1648-56 and who lived from 1656 to 1687 in Rome, where he 
supplied Baldinucci with information about Rembrandt's life (Urkunden^ 
No. 360). His remaining works show few traces of the influence of his 
master. 

GODFRIED KNELLER (1645-1723), of Ltibeck, who was Rembrandt's 
pupil in the master's closing years, but followed very different paths in 
England. 

THOMAS MATTHISEN or MATHIAS, probably a Dane, copies by whom 
of Rembrandt's compositions are preserved in Danish country-houses see^ 
for instance, the note on 310. He may have known Rembrandt's art 
indirectly, through KAREL VAN MANDER the third, grandson of the 
artist-biographer, who visited Denmark. Some pictures by this Karel van 
Mander, such as a " Peter's Repentance " at Copenhagen (No. 194), show 
the influence of Rembrandt much as in the work of Salomon Koninck. 

JOHANN ULRICH MAIR (about 1630-1704), of Augsburg, was, Sandrart 
says, a pupil of Rembrandt. At eighteen, according to a manuscript note 
on an etching in the Albertina, he " imitated Rembrandt's colour." In his 
pictures all traces of Rembrandt's teaching are lost. 

JURRIAEN OVENS (1623-1678), of Tonningen in Holstein, was, with 
Paudiss, the most notable of Rembrandt's pupils from foreign countries. 
He is said to have been with Rembrandt as early as 1642 ; he remained in 
Holland till 1663 and then returned home. His best pictures are those 
which he painted in Holland, but they show only superficial traces of his 
master's influence. 

CHRISTOFFEL PAUDISS (about 1618-1666-67) is said to nave been with 
Rembrandt at the same time as Ovens. He came from Lower Saxony, 
and worked later at Dresden, Vienna, and Freising. His figure-studies 
are inspired with Rembrandtesque feeling, but are somewhat monotonous 
in colour. They might almost be characterised as weak Aert de Gelders. 



xxn REMBRANDT 21 

MICHIEL WILLEMANS (about 1629-1706), of Kttnigsbcrg, Prussia, 
went to Holland in his twentieth year, and was there associated with 
Jacob Backer (who died in 1651) and with Rembrandt. The master did 
not exercise a lasting influence on Willemans' art, as is shown by the 
numerous pictures of his which are preserved in Silesian churches. On 
the contrary, FRANS WULFHAGEN, of Bremen, is said by Houbraken to 
have held Rembrandt's style of painting in honour until his death. No 
pictures of his have survived to confirm this statement. 

A painter hitherto wholly unknown, named HENRICH JANSEN (1625- 
1667), of Flensburg, Schleswig, is mentioned for the first time in the 
recently published Year-book of the Danish art-collections (1914 ; p. 158). 
He is said to have studied under Rembrandt at Amsterdam from 1645 to 
1648, and to have been in Holland once again in 1651. Of his surviving 
pictures one is a copy of the "Christ as the Gardener," at Buckingham 
Palace (142), and another is a scene in the Temple which is also said to be 
strongly influenced by Rembrandt (possibly a copy of" The Circumcision," 



So long as the art of Rembrandt was admired it was imitated, and there 
were many who borrowed from him. Three may be named here the 
two Germans C. W. F. DIETRICH (1712-1774) and J. G. TRAUTMANN 
(1713-1769), and the Italian G. B. CASTIGLIONE (1616-1670), the first 
two as painters and the third especially as an etcher. 

The painters whose works have been commonly regarded as examples 
of Rembrandt are, to give only a few specially striking instances, 
HERCULES SEGHERS, as in the large "Hilly Landscape" in the Uffizi, 
Florence ; ADRIAEN BROUWER, as in the " Landscape with a Pool," at 
evening with fishermen, in the collection of the Duke of Westminster, 
London (HdG. 237) ; J. VERMEER VAN DELFT, as in the "Portrait of a 
Woman " in the Budapest Museum (HdG. 43) ; and JAN VAN DE 
CAPPELLE, as in his sea-pieces in the Liechtenstein Gallery, Vienna, and 
the Hermitage. Pictures by LEONARD BRAMER and BENJAMIN CUYP 
also pass with exceptional frequency under the name of Rembrandt. Both 
of them, indeed, have a way of treating light and shade which suggests a 
direct influence not hitherto proved. PETRUS SCHOTANUS worked in the 
same direction, but more feebly by several degrees. 

JACOB DE WET, a somewhat older Haarlem painter, has in the course 
of centuries been deprived of many of his works which have been sold as 
alleged Rembrandts, like his imitators, A. NERANUS, GIJSBERT SIBYLLA, 
A. trAEL, J. COLAERT, and ADRIAEN VERDOEL. Of the last-named, 
Houbraken says that he was an immediate pupil of Rembrandt, while other 
authorities name Bramer and J. de Wet as his masters (for further details 
see Urkunden^ No. 415). 



22 



REMBRANDT SECT. 



TRANSLATOR'S NOTE 

In the references added to the entries in the Catalogue 

"Sm." = Smith, "Catalogue Raisonne," vol. vii. (1836). 

"Sm. Suppl." = Smith, "Catalogue Raisonne," Supplement (1842). 

" Bode " = Bode, " Studien zur Geschichte der hollandischem Malerei " 

(1883). 
" Dut." = Dutuit, "L'CEuvre Complet de Rembrandt" (1881-1885), 

vol. iii. 

Wb." = Wurzbach, "Rembrandt Galerie " (1886). 
" B.-HdG." = Bode and Hofstede de Groot, " The Complete Work of 

Rembrandt" (1897-1906). 
" Michel " = Emile Michel, " Rembrandt " (Paris, 1 893) ; page references 

within square brackets to the English edition in one volume of 1903. 
"Urkunden" = "Urkunden uber Rembrandt, 1575-1721," edited by 

C. Hofstede de Groot (The Hague, 1906). 

In the entries 

" Hoet " = " Catalogus of Naamlyst van Schilderyen, meet derzelven 
pryzen Zedert een langen reeks van Jaaren zoo in Holland als op 
andere Plaatzen in het openbaar verkogt. Benevens een Verzame- 
ling van Lysten van Verscheyden nog in Wesen zynde Cabinetten 
uytgegeven door Gerard Hoet." Two volumes. [Covering sales 
from 1676 to 1752.] (The Hague, 1752.) 

" Terw." = The continuation of Hoet's work in a third volume, covering 
sales from 1752 to 1768, and describing the Royal collection at The 
Hague, by Pieter Terwesten. (The Hague, 1770.) 

"Parthey " = "Deutscher Bildersaal. Verzeichniss der in Deutschland 
vorhandenen (Mbilder verstorbener Maler aller Schulen. In alpha- 
betischer Folge zusammengestellt von Gustav Parthey." (Berlin, 
1863-64.) 



A CLASSIFIED SUMMARY OF THE CONTENTS 

I. BIBLICAL SUBJECTS, 1-194;'. 

1. Old Testament, 1-54*. 

2. Apocrypha, 55-70. 

3. Unexplained Old Testament subjects, 71-71^. 

4. New Testament, 72-156*. 

5. Undescribed, 156^, 194*. 

6. Heads of Christ, 157-167. 

7. Apostles and evangelists, 168-185*. 

a. Named, 168-182. 

b. Unnamed, 183-185*. 



xxii REMBRANDT 23 

8. Saints, monks, hermits, 186-194^. 

a. Named, 186-188*7. 
3. Unnamed, 189-194^. 

II. MYTHOLOGY, 195-216. 

III. PROFANE HISTORY, 216*7-226*-. 

IV. ALLEGORY, 227. 

V. GENRE, 228-343. 

1. Pictures of single figures, sometimes with subordinate figures, 228- 

33*'- 

A. Men, 228-295*7*. 

i. At work, 228-289. 

a. Mental occupations, 228-260*7. 

(1) Philosophers, scholars, priests, 228-259. 

(2) Artists, 259*7-2603, 293. 

b. Manual occupations, 261-289. 

(1) Soldiers, cavaliers, horsemen, 261-281. 

(2) Trades, 282-289. 

ii. Recreation : conversation, meditation, rest, sleep, amuse- 
ment, smoking, and eating, 290-295^. 

B. Women, 296-332*-. 

i. Trades, domestic work, 296-304. 

Rising from bed, toilet, the bath, 305-312. 
ii. Recreation, 3 1 3-332^ 

a. Reading, devotion, prayer, 313-323. 

b. At the window, and so forth, 3 24-3 3 zc. 

2. Pictures of several figures, 333-343. 
VI. STUDIES OF HEADS, 344-523^. 

1. Men, 344-4943. 

a. Oriental. 344-360*7. 

b. Other adults, 361-488. 
f. Boys, 489-4943. 

2. Women, 495-520. 

3. Sex not stated, 521-523^. 

VII. PORTRAITS, 524-938. 

I. Single figures, and identified family groups, 524-925*7. 
a. Sitters known, 524-729. 



24 REMBRANDT SECT. 

i. The painter, 524-604. 

(a) Alone, 5 24-60 1 a. 

(b) With others, 602-604. 

ii. The painter's wife, 605-6180. 
Hi. Other known sitters, 619-729. 

b. Sitters unknown, 730-92 5*. 

i. Men, 730-844^. 
ii. Women, 845-924/7. 
iii. Sex not stated, 924^-925*7. 

2. Groups except identified family groups, 926-938. 
VIII. LANDSCAPES, 939-967^- 
IX. STILL-LIFE AND ANIMALS, 968-988. 



CATALOGUE RAISONNE 

i. Abraham presenting Sarah to Abimelech. 8111.617. In the 
foreground of a hilly landscape, numerous persons with camels are halting. 
Abraham and his wife have dismounted and approach an antique house to 
the left. Abimelech descends the steps to welcome them. An old woman- 
servant stands at the top of the steps, leaning on the balustrade, and looks 
on. Among the patriarch's followers, a servant helps a woman to descend 
from her camel. Twilight under a cloudy sky. 

Canvas, about 58 inches by 72 inches. 

In the collection of William Cole, Twickenham ; it was offered for sale in 
1832 through J. Woodin, for 3000, but as no more than 1500 was offered, 
the picture remained in the family (1836, Sm.). 

i*. ABRAHAM ENTERTAINING THE ANGELS. They 

sit, half reclining, round a covered table in front of his dwelling. The 
Lord in white sits, seen in full face, and makes a gesture as if speaking. 
The angel to the left raises a morsel to his lips ; the other angel, with his 
back to the spectator, sits on the ground ; his sleeves and under-garment 
are red. Abraham kneels to the right, listening to the word of the Lord. 
He holds a cup in his right hand, and a large jug with the lid half raised in 
his left. He wears a lilac-grey coat. In the open door to the right is 
Sarah. Small full-length figures. [Cf. 2.] 

Signed below in the left centre, "Rembrandt f. 1646." 

In the Stanley collection, Quantock Lodge. 

In the possession of F. Mliller and Co., Amsterdam. 

In the collection of August Janssen, Amsterdam. 

ib. ABRAHAM WITH THE ANGELS. Bode 316 ; Out. 2 ; 
Wb. 386 ; B.-HdG. 223. He sits in the twilight, to the left of his 



xxn REMBRANDT 25 

house-door, at a round table covered with a white cloth. He is turned to 
the right. He has long white hair and beard, and wears a dark purple 
coat, lined with fur and adorned with gold buttons. He holds a knife in 
his right hand, which leans on the table ; he stretches out his left hand to 
the dish, to carve the roast. He looks at the Lord, who, in the guise of 
the angel in the centre, is addressing him. The Lord, who is seen in 
profile, is beardless, with long fair hair, and wears a light yellow robe with 
bluish reflections in it ; He gesticulates with outstretched hand. The 
nearer angel, seen from the back, has long hair, fair almost to whiteness, 
wears a white robe with gold ornaments, and has many-coloured win us. 
The third angel, behind the table and seen almost in full face, has black 
hair and a dark robe. They watch the effect of the Lord's words on 
Abraham. Beyond to the right is a dark, wooded landscape. In the 
house-door to the left is Sarah, who is turned to the left. Warm evening 
light. Three-quarter lengths, life size. Painted about 1636-37. Bode 
(iii. 194) says that the picture has been much repainted in part, and the 
drawing weak in many places, and timid handling as well as the somewhat 
unusual types appear to show that it was completed with the assistance of 
pupils. [Possibly identical with if.] 
Canvas, 48^ inches by 64 inches. 

Etched by N. MossolofF in Les Rembrandts de rErmitage. 
Mentioned by Vosmaer, pp. 264, 540 ; by Bode, pp. 480, 599 ; Dutuit, 
p. 38 ; Michel, pp. 338, 566 [258-9, 441]. 
Acquired by the Empress Catherine II. 
In the Hermitage Palace, Petrograd, 1901 catalogue, No. 791. 

if. Abraham and the Three Angels. [Possibly identical with \b 
and I*/.] 

Mentioned by Hofstcde de Groot, Urkunden Uber Rembrandt, No. 1 10. 

In the collection of Martin van den Broeck, Amsterdam, who exchanged 
it among other pictures with Andrics Ackersloot, for ropes, masts, and iron. 

id. Abraham and the Angels. [Possibly identical with ib and if.] 

In the collection of Ferdinand Bol, Amsterdam ; in the inventory of 
October 8, 1669, No. 42. See A. Brcdius, Oud Holland, 1910, p. 234. 

2. Abraham entertaining the Angels. Sm. 2 ; Dut. i ; Wb. 
484. The heavenly guests of the patriarch sit at table in the foreground 
of a hilly landscape. Free and sketchy in style. [Cf. i#.] 

[Dated 1646 ; panel, 6J inches by 8| inches according to Sm.] 

Mentioned by Hofstede de Groot, Urkunden Uber Rembrandt, No. 386. 
Sales. Jan Six, Amsterdam, April 6, 1702, No. 40 (31 florins 10). 

Benjamin West, London, June 23, 1820 (304 : ios., bought in). 
In the collection of J. Haldiman. 
In the collection of R. Saunderson, London, 1836 (Sm.). 

2<7. Abraham and the Angels. 

Exhibited at the British Institution, London, 1840, No. 16. 
Then in the collection of Sir Thomas Baring, London. 

3. Lot. Wb. 242 ; Dut. 5 ; B.-HdG. ii.- He is drunk, and sits 



26 REMBRANDT SECT. 

open-mouthed on the ground. He has a beard, and wears a fur-trimmed 
cloak. In his outstretched hand is an empty cup. His legs are extended 
towards the spectator. Beside him to the left, turning towards him, sits 
one daughter, seen from the back in a three-quarter view ; in her right 
hand is the wine-jug, while her left hand is raised. Behind them, on a bank, 
is the other daughter with her neck exposed ; she lays her left hand on her 
bosom and looks down on the drunken pair. She wears a chain round her 
neck and a veil on her head. To the right is a cliff ; to the left are various 
objects. In the distance is a landscape with a bridge and tower. Painted 
about 1628-30. 

There are several indifferent copies. 

The original is lost. Described from an engraving by J. J. van Vliet, with 
the inscription: "R H L. (monogram) van Rijn jnventor 1631 J. G. van 
Vliet : fecit." 

4. Lot Sm. 7 ; Dut. 6. Dressed in Oriental costume, he sits in a 
drunken state within a cave, between his two daughters. He holds a silver 
cup, which one daughter is taking to fill from the jug which she holds. 
He has his arm round his daughter's waist. 

The original is lost. Described by Sm. from a print by Hadweg. 

5. THE DISMISSAL OF HAGAR. Sm. 3 ; Dut. 3 ; Wb. 
269 ; B.-HdG. 240. Hagar weeping, seated on an ass, rides out of an 
archway in the twilight. The young Ishmael leads the ass by a cord. 
Bright light from an unseen source falls on the woman's figure. In 
half-shadow to the left stands Abraham, speaking earnestly to her. To 
the right is Ishmael in a short hunting dress. All are in rich Oriental 
costume. In the background is a high building ; to the left is a view of 
a meadow with cattle. Small full-length figures. The picture was begun 
as a "Flight into Egypt," and afterwards altered to a "Dismissal of 
Hagar." 

Signed to the right at foot, "Rembrandt f. 1640"; oak panel, 
15^ inches by 21 inches. 

Mentioned by Vosmaer, p. 522 ; Dutuit, p. 49 ; Michel, p. 559 [433]. 

Exhibited at the British Institution, London, 1832, No. 28 ; at the Royal 
Academy Winter Exhibition, London, 1894, No. 95, and 1899, No. 49; at 
Amsterdam, 1878, No. 46. 

Sales. W. Fabricius, Haarlem, August 19, 1749 (Hoet, ii. 264), No. 12 

(320 florins, Van Dijk). 
Woodburn, London, 1818 (bought in). 

In the collection of P. C. Crespigny, 1836 (Sm.). 

In the collection of Constantine A. lonides, first in London and then in 
Brighton ; bequeathed to the Victoria and Albert Museum, 1904. 

In the Victoria and Albert Museum, London, 1904 catalogue, No. 78. 

6. The Dismissal of Hagar. Sm. 5 ; B.-HdG. 334. In a rich 
landscape stands Abraham, turned to the right. He wears a light turban, 
and a reddish -brown cloak with a figured border tied round the waist, 
which shows underneath it his coat and long shirt-sleeves. He grasps the 
hand of Hagar as he looks earnestly at her, and places his right hand with 



xxii REMBRANDT 27 

the gesture of blessing on the head of Ishmael, who stands at his side. 
Hagar, with her left hand, puts her handkerchief to her tearful eyes ; she 
wears a white cap, a striped jacket, and dark skirt. To the right is seen 
a building with a square tower and a bridge ; in front of it are a horse- 
man and a goat. To the left are a girl milking a cow, and two goats. 
Small full-length figures. If genuine, it was painted about 1650. The 
authenticity of the picture is much disputed ; the author has not yet 
formed any definite conclusion. 

Signed to the left at foot, " Rembrandt f." a later signature used to 
stand somewhat lower down, but disappeared when the picture was restored ; 
canvas, 43 inches by 43 inches. 

A study for the picture a drawing in black chalk is in the Albcrtina, 
Vienna, HdG. 1397. 

Exhibited at the British Institution, London, 1824, No. 100 ; at the Guild- 
hall Art Gallery, London, 1903, No. 192 ; at Manchester, 1857, No. 838. 

Sale. (Possibly) Amsterdam, October 30, 1823, No. 233 (9 florins 15); 
measuring 39^ inches by 56^ inches. 

In the collection of the Earl of Denbigh, Newnham Paddox, who lent it in 
1824. 

In the possession of Colnaghi and Obach, London. 

6a. Abraham and Hagar. Sm. 4*. Very finely rendered. 
23! inches by 32 inches. 

Sit/f. Adriaan Bout, The Hague, August II, 1733 (Hoet, i. 390), No. 80 
(105 florins). 

6b. The Dismissal of Hagar and Ishmael. Especially artistic. 
Salt. Amsterdam, April 15, 1739 (Hoct, i. 580), No. 85 (42 florins). 

6c. Abraham with Hagar and Ishmael. A good and powerfully 
painted picture. 

Sale. Willem van Haansbergen, The Hague, June 19, 1755 (Tcrw. 
130), No. 55 ; but No. 157 of the original catalogue (ll florins, 
H. Wannaar ; but 21 florins, according to Terw.). 

6d. Abraham and Hagar. 

In the Bouchicr Cleve collection, London, 1761 ; see London and its Environ* 
described. 

7. Abraham, Sarah, and Hagar in a Landscape. To the left 
Abraham is seen moving away. Sarah reproaches him for his relations 
with Hagar, who stands to the right. The house and large clumps of 
trees form the right background. The interpretation of this incident 
seems to be erroneous, as it does not accord with any Biblical scene. 

Signed to the left at foot ; 50 inches by 56^ inches. 

Sale. SicrstorpfF, Berlin, April 19, 1887, No. 101. 

j a. Abraham preparing Isaac for the Sacrifice. Possibly a 
painted copy after the etching, Bartsch 34 [Hind 214]. 
25 inches by 2oJ inches. 

Sale. Comte Fraula, Brussels, July 21, 1738 (Hoet, i. 539), No. 236 
(29 florins). 



28 REMBRANDT SECT. 

8. ABRAHAM'S SACRIFICE. Bode 104 ; Dut. 4* ; Wb. 98 ; 
B.-HdG. 208. The same composition as in 9, with variations, the chief 
of which is in the pose of the angel ; here he flies from the back of the 
picture, on the right, and is seen foreshortened. The details of the accessories 
are brighter in colour. Isaac rests on a white instead of a dark piece of 
clothing. On the right the tree is seen more clearly and the brazier is 
wanting. To the left is added the ram with his horns caught in the 
thicket. Life size, full-length figures. 

Signed to the right on the lower edge, "Rembrandt verandert en 
overgeschildert 1636" j canvas, 77 J inches by 52 inches. 

A sketch for the picture, in red and black chalk, is in the British Museum 
Print-room, HdG. 866. 

Engraved in mezzotint by J. G. Raid. 

Mentioned by Vosmaer, p. 507; Bode, pp. 431, 572; Dutuit, p. 30; 
Michel, pp. 208, 554 [159-60, 439]. 

In the Mannheim Gallery. 

In the Aeltere Pinakothek, Munich, 1911 catalogue, No. 332. 

9. ABRAHAM'S SACRIFICE. Sm. i ; Bode 317; Dut. 4; 
Wb. 387 ; B.-HdG. 207. He kneels, turning to his right, behind his son, 
who is bound and almost naked, and with his left hand presses the boy's 
head down on the wood-pile. The angel, appearing from the clouds to 
the left, seizes Abraham's right hand, which is extended for the sacrificial 
blow. The old man, turning round in amazement, drops his knife. He 
wears a dark purple coat and a bluish-green furred robe, with a silver- 
mounted sheath in his girdle. The angel, who has long fair curls, wears 
a loose shirt, and a blue cloak over his left arm. In the right background 
are a tree-trunk and a lighted brazier ; to the left is a rocky valley. 
Strong light falls from the left on the back and hands of the angel, on 
Abraham's face and Isaac's body. Life size, full-length figures. 

Signed on the left at foot, "Rembrandt f. 1635" ; canvas, 77 inches 
by 53 inches. 

For a replica with variations, see 8. 

An old copy, formerly in the Cremer collection, Brussels, is in the 
collection of Sir Frederick Cook, Bart., Richmond. Another copy was in the 
sale : Felix Ravaisson-Mollien, Paris, November 23, 1903, No. 87. 

Engraved in mezzotint by J. G. Haid, 1767, and by J. Murphy, 1781 ; by 
Winkles ; in outline by J. Sanders ; in the Description de FErmitage, by F. 
Labenski, i. No. 4 ; in outline in R6veil, v. 302. Etched by N. Mossoloff in 
Les Rembrandt s de /' Ermitage. 

Mentioned by Vosmaer, pp. 152, 507 ; Bode, pp. 431 f, 599 ; Dutuit, p. 
37; Michel, pp. 207, 566 [159, 441]; Waagen, The Hermitage Collection, 
p. 1 80. 

Sale. (Possibly) Amsterdam, September 16, 1760, No. i (100 florins, De 
Winter). 

In the Walpole collection, Houghton Hall, 1767 catalogue, p. 88 [valued 
in 1779 at ^3> according to Sm.] ; sold as a whole in 1779 to the Empress 
Catherine II. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 792. 

10. The Meeting of Isaac and Rebekah. 



xxn REMBRANDT 29 

Exhibited at the British Institution, London, 1862, No. 65. 
Then in the collection of E. C. Stuart Cole, London. 

11. Isaac blessing Jacob. Isaac, seated beside his bed, holds in his 
right hand the hand of Jacob, which is covered with a hairy skin. The 
gesture of Isaac's left hand and the expression on his face show that he 
doubts whether the youth kneeling before him is his elder son. Jacob 
hides his bare left hand behind his back. Life-size figures. Broad and 
rich in style ; full of expression. 

Canvas, 41 inches by 50^ inches. 

Sales. X. de Burtin, Brussels, July 21, 1819, No. 138 (1000 francs, 

bought in). 
X. de Burtin of Brussels, Paris, 1839, No. 27 (670 francs). 

12. ISAAC REFUSING ESAU HIS BLESSING. Sm. 10 ; 
B.-HdG. 217. He lies, from right to left, in a bed in the baroque style, 
with carved and gilt feet, posts and canopy, and with green curtains drawn 
aside in front. Isaac's left hand hangs down limply at the bedside ; with 
his right hand he makes a slight gesture, as if he is speaking. The upper 
part of his body is supported on high pillows. A white beard frames his 
pallid features ; on his head is a brown cap ; his body is enveloped in a 
light grey furred robe. On the bed is a bright figured coverlet. In front 

kneels in lost profile to the right, folding his hands on his breast. 
He has thick black hair and slight whiskers. Over his brownish-red 
hunting dress, embroidered with gold, hangs his quiver ; the bow lies on 
the floor in front of him. At the back of the bed Rebekah pushes back 
the curtain and listens to the conversation. In the right foreground is a 
table with a purplish-red cover, on which are cups of silver-gilt. Small 
full-length figures. Painted about 1636. 

Signed at foot in the right centre, " Rembrandt f. " : the last 
letters have been repainted by a later hand ; oak panel, 22i inches by 
27 inches. 

Exhibited at the British Institution, London, 1867, No. 43 ; at the Royal 
Academy Winter Exhibition, London, 1899, No. 9; at the Guildhall Art 
Gallery, London, 1903, No. 1870. 

Sale. D. letswaart, Amsterdam, April 22, 1749 (Hoet, ii. 241), No. 34 
(234 florins 10 ; but, according to others, 54 florins 10, Dalens). 

In the possession of the Antwerp dealer Laneker ; sold by him in 1754 to 
Sir Henry Bankes, father of the first Lady Brownlow. 

In the collection of Earl Brownlow, Belton House, Grantham. 

1 2*. The Meeting of Laban and Rachel. A striking picture; 
powerfully painted. 

38 inches by 50 inches. 

Sale. Amsterdam, April 2, 1754 (Terw. 85), No. 35 (50 florins). 

13. JACOB WRESTLING WITH THE ANGEL. Sm. 14 ; 
Bode 30 ; Dut. 10 ; Wb. 17 ; B.-HdG. 410. The angel, clad in a long 
coat of dull white, with outspread wings, puts his right leg and his left 
hand on either side of Jacob, and looks down at him with a calm smile. 
Jacob wears a brownish coat ; he is seen almost from the back, standing 



3 o REMBRANDT SECT. 

out dark against the angel. Brownish background. Life-sized figures. 
Painted about 1659. 

Signed on the right at foot on an added piece cut from the picture, 
which was at first larger, " Rembrandt f. " ; canvas, cut down all round, 
54J inches by 46 inches. 

Mentioned by Vosmaer, pp. 358, 560; Bode, pp. 511, 562; Dutuit, p. 
26 ; Michel, pp. 446, 551 [346, 436]. 

Salt. (Possibly) J. B. Horion, Brussels, September I, 1788, No. 172 (102 
florins, Loriol) measuring 69 inches by 66 inches. 

In the Solly collection, Berlin, 1821. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828 ; it was 
there in 1836 [valued by Sm. at 525]. 

14. JOSEPH TELLING HIS DREAMS. Sm. 185 Bode 9; 
Dut. ii ; Wb. 347 ; B.-HdG. 212. He is in front of a canopied bed, 
in which his mother, half sitting up, listens attentively. His father, who 
looks at him with an anxious expression, is seated, turning half right, with 
his bearded head in profile ; he rests his left hand on his knee and his left 
foot on a low stool. The boy stands bareheaded, in profile to the right, 
wearing a short coat, and makes an emphatic gesture with his right hand. 
Three of his brothers sit at table on the extreme left ; two converse together 
and point derisively at Joseph. A fourth, with both hands resting on a 
stick, stands, bending forward and listening attentively. Behind him, 
another brother is listening. A younger brother, apparently Benjamin, 
stands somewhat higher, close to Joseph and to the brother standing next 
to him. To the right is a dog asleep. Small full-length figures. Grisaille. 
Painted about 1633. 

Signed, "Rembrandt f. 163-" ; paper, 20 inches by 15 inches. 

A study in red chalk for Jacob, of 1631, was in the sale: Mitchell, 
Frankfort-on-Main ; HdG. 1322. 

Etched by Rembrandt in reverse with considerable variations, 1638 ; Bartsch 
37 [Hind 160]. Etched also by Denon. 

Mentioned by Vosmaer, pp. 168, 518 ; Bode, pp. 432, 558 ; Dutuit, p. 53 ; 
Michel, pp. 236, 565 [182, 440]. 

Saks. W. Six, May 12, 1734, Amsterdam (84 florins, with pendant) 
according to Sm. Hoet names no picture answering to the de- 
scription. It might be identical with one of the three " grauwtjes " 
(grisailles), named under lot No. 174 by Hoet, i. 419, which were 
sold together (for 30 florins). 

Prince de Carignan, Paris, July 30, 1742 (1101 francs, with No. 69). 
Due de Tallard, Paris, March 22, 1756, No. 157 (329 francs, Remy). 
J. de Vos, Amsterdam, July 2, 1833 (H7 florins). 

In the collection of J. Six van Hillegom, Amsterdam, 1900 catalogue, 
No. 124. 

14*. Joseph and his Brothers. An oil sketch. 
Paper, 8 inches by 10 inches. 

Sale. Schonborn-Pommersfelden, Paris, May 17, 1867, No. 102 

r *i i \ ' 

francs, Mil berg). 

14^. Joseph interpreting Dreams. 



xxn REMBRANDT 31 

In the collection of Ferdinand Bol, Amsterdam ; in the inventory of 
October 8, 1669, No. 16. See A. Bredius, Qud Holland, 1910, p. 234. 

15. JOSEPH'S BLOOD-STAINED COAT. Sm. 19 and 615 ; 
Bode 202; Dut. 13; Wb. 175; B.-HdG. 335. In the courtyard of a 
palatial building overgrown with vine, the coat is brought to the aged Jacob, 
who collapses in despair and stretches out his hands as if lamenting. He 
wears a light grey robe open at the breast ; his beard is snow-white. 
Round him are two men and several women ; one man puts his left hand 
under Jacob's shoulder to raise him up, the other man kneels at his side. 
To the right, behind Jacob, a girl in white holds his left hand ; two boys, 
with folded hands, and an old woman look on sympathetically. Behind the 
group is a negress. A white poodle barks at the messenger, who is bare- 
footed and is dressed in brown ; he exhibits the blood-stained white coat, 
at which a hunting dog is sniffing. Beside him to the right a youth in 
blue is weeping ; behind him a group of herdsmen and retainers come in 
through the gateway. Two women, in half-shadow to the right, look over 
a balustrade in front of the house. In a recess above them are various 
objects, including a shining brass kettle. On the tiled roof of the porch 
sits a peacock. Small full-length figures. 

Canvas, 48^ inches by 38^ inches. 

Mentioned by Vosmaer, p. 519; Bode, pp. 525, 586; Dutuit, p. 44; 
Michel, p. 557 [432]. 

Exhibited at the British Institution, London, 1818, No. I 39 ; 1855, No. 95; 
and 1867, No. 117 ; at the Royal Academy Winter Exhibition, 1899, No. 98 ; 
at the Grafton Gallery, London, 1911, No. 58 ; at Amsterdam, 1898, No. 105. 

Sale. R. Strange, London, 1775 (Lord Stanley, afterwards Earl of Derby). 

In the collection of the Earl of Derby, London. 

1 6. JOSEPH'S BLOOD-STAINED COAT. Bode 318 ; Dut. 
12 ; Wb. 388 ; B.-HdG. 340. The aged Jacob, in a red coat, stands to 
the right, on a terrace. He is turned to the left and leans his elbow on 
the balustrade ; he raises his hands and stares at the blood-stained coat held 
out before him by a messenger in dull green, who kneels in front of him on 
the left. Behind the messenger stands a son in a brighter greyish-green 
costume ; he speaks to his father and makes a lively gesture with his hands. 
In the centre the youthful Benjamin plays with a bird. Half-length figures, 
life size. Painted about 1650. 

Signed at top to the left, "Rembrandt f. " ; canvas, 6iJ inches by 
67 inches originally 51 J inches by 47 inches, but enlarged all round to 
make it a pendant to 121 (Petrograd). 

Etched by N. Mossoloff in Lei Rembrandts de /' Ermitage. 

Mentioned by Vosmaer, p. 519; Bode, pp. 479, 599; Dutuit, p. 38; 
Michel, pp. 338, 566 [258, 441]. 

Sale. An artist, Paris, 1773 (1160 francs). 

In the Baudouin collection, Paris ; bought as a whole by the Empress 
Catherine II. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 793. 

i6rf. Tamar's Virtue saves her from Death at the Stake. A 



32 REMBRANDT SECT. 

careful and timidly executed youthful work. Harmonious, brilliant in 
colour, and very expressive. 

Panel, 24 inches by 34 inches. 

Sale. P. L. Hambrouck, Malines, November 5, 1841, No. 7. 

1 6b. Tamar (?). A woman, leaning her right arm on a bank, raises 
with her left hand the veil which hangs partly over her head. Strongly 
painted. 

Canvas, 30 inches by 26 inches. 

Sale. Soeterwoude, Leyden, August 14, 1776, No. 4. 

17. JOSEPH BEFORE POTIPHAR. Sm. 20; Bode 161 ; 
Dut. 15 ; Wb. 1 8 ; B.-HdG. 402. Beside a large and richly ornamented 
bed, with a canopy and a bluish-green curtain that is drawn back, the wife 
of Potiphar sits in a purplish-red arm-chair to the right. She wears a dress 
of the colour of almond-blossom, trimmed with ermine. To the right, a 
little behind her, stands Potiphar in profile to the left ; he wears a golden 
yellow coat, a cuirass, a turban, and a sabre. The woman sets her foot on 
Joseph's bluish-grey cloak lying before her, and speaks excitedly to her 
husband, pointing at Joseph. He has a blue coat, and stands to the left, on 
the other side of the bed ; he looks upward and raises his hands in a gesture 
of entreaty. Small full-length figures. 

Signed above Joseph's cloak, "Rembrandt f. 1655 " > canvas, 44 inches 
by 34^ inches. 

An old copy is in the collection of T. B. Walker, Minneapolis. 

Etched by K. Koepping. 

Mentioned by Vosmaer, p. 570 ; Bode, pp. 483, 549, 581 ; Dutuit, p. 26 ; 
Michel, pp. 399, 551 [308, 436] ; Waagen, ii. 246. 

Exhibited at the British Institution, London, 1824, No. 57 ; in the Royal 
Academy Winter Exhibition, London, 1877, No. 130. 

Sales. Lord Willoughby, London, 1820 (189, Hickman and Carpenter). 
Sir Thomas Lawrence, London, May 15, 1830 (598 : ios., Bone). 

In the collection of Joseph Neeld, Grittleton House, 1836 (Sm.). 

In the collection of Sir John Neeld. 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 Paintings," 
No. 141 ; sold by him in 1883 to the Berlin Museum. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828H. 

18. JOSEPH BEFORE POTIPHAR. Sm. 21 and 22; Bode 
319 ; Dut. 14 ; Wb. 389 ; B.-HdG. 401. Beside a large canopied bed, 
with pillows and a greenish-blue curtain that is drawn back, the wife of 
Potiphar sits in a red arm-chair to the right. She wears a loose bright red 
gown, which she has thrown on carelessly. She speaks excitedly to her 
husband, who stands to the right, a little behind her. She sets her foot on 
Joseph's red cloak, lying on the floor, and rests her left hand on her bosom. 
With the right hand she points at Joseph, who stands to the left, on the 
far side of the bed. He looks down and clasps his hands. He has long 
fair hair, and wears a long robe with yellow and red stripes. Potiphar 
wears a yellow Oriental robe, a turban, and a curved sabre. Sunlight falls 
from the left, illumining most strongly the bed and the woman's figure. 
Small full-length figures. 



xxn REMBRANDT 



33 



Signed on the left at foot, "Rembrandt f. 1655 " the last figure has 
been altered from a 4 ; canvas, 42 inches by 38^ inches. 

Etched by Exshaw ; by Mossoloff in Les Rembrandts dc /' Ermitage, and 
once again. 

Mentioned by Vosraaer, p. 551 ; by Bode, pp. 508, 599; by Dutuit, p. 
39 ; by Michel, pp. 399, 566 [308, 441]. 

Safe. G. Hoet, The Hague, August 25, 1760 (Terw. 225), No. 44 (100 
florins, Yvcr). 

In the Gotzkowski collection, Berlin ; bought with the collection by the 
Empress Catherine II. for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 794. 

19. Joseph in Prison interpreting the Dreams of Pharaoh's 
Butler and Baker. Sm. 23. If this was identical with the picture of 
the same subject, still existing, which Waagen described in the collection 
of the Duke of Bedford, Woburn Abbey, in 1857 (Suppl. p. 333), it was 
not the work of Rembrandt. 

Sale. Prince de Carignan, Paris, June 18, 1743 (noi francs). 

19*. Joseph interpreting the Dreams of Pharaoh's Butler 
and Baker. It is uncertain whether this was an original. 

Sale. J. A. van Kinschot, Delft, July 21, 1767 (Terw. 614), No. 87 but 
No. 23 of the original catalogue (10 florins 10, DC Run). 

19^. Joseph going to meet his Father Jacob. Dut. 16 ; Wb. 
308. 

Signed, and dated 1667. 

Exhibited at Marseilles, 1861. 

Then in the Perrct collection, Marseilles. 

20. Joseph presenting his Father to Pharaoh. Pharaoh sits 
at a table under a red canopy, upon a throne approached by six steps. 
He wears a turban and a cloak richly embroidered with gold, and holds a 
sceptre. Below to the right are two priests, one of whom sits in an 
arm-chair. Below to the left Joseph's father kneels at the steps and 
stretches out his hands in an attitude of entreaty. A little way behind 
him his son, dressed in purple, stands among his brethren with numerous 
attendants. At the back is a guard of soldiers. 

Signed on the left at foot, "Rembrandt fee. 1661 " ; canvas, 20 
inches by 24^ inches. 

Exhibited at Cologne, 1840, No. 147. 

Sale. J. G. Riedinger, Cologne, May 1841, No. 58. 

21. Jacob as a Bearded Old Man. Sm. 127. In profile. 
The original is lost. 

Described by Sm. from an etching by G. F. Schmidt. 

22. JACOB BLESSING THE SONS OF JOSEPH. Sm. 
17 ; Bode 55 ; Dut. 9 ; Wb. 47 ; B.-HdG. 404. The patriarch in bed 
is partly sitting up, supported by his son Joseph, who stands behind him 
a little to the right. He turns in profile to the right and is about to bless 
his grandchildren, who stand beside him to the right. Joseph, who wears 

VOL. vi D 



34 



REMBRANDT SECT. 



a full and bright-coloured turban, gently lays his father's right hand on 
the fair curls of his elder son, who stands before the old man with his arms 
reverently crossed on his breast ; the dark-haired younger brother, beside 
him to the left, looks up. Jacob has a long and full grey beard ; he wears 
a yellowish-white cap and a bright-coloured cloak, and has a fox's fur 
round his shoulders. On the right, nearer the front, Joseph's wife stands 
beside her husband. She wears a dark greenish-brown dress with rich 
jewels, a bluish head-dress embroidered with gold, and a veil which covers 
part o'f her forehead and falls behind her. To left and right are dark 
curtains ; on the bed is a red coverlet. At the back is a brownish wall. 
Life-size figures, almost full length. 

Signed to the left on the side of the bed, "Rembrandt f. 1656"; 
canvas, 69! inches by 83^ inches. 

There are two pen-drawings of the subject, which were studies for this 
picture; one is in the Stockholm National Museum, HdG. 1544; the other 
is in the Amsterdam Print-room, HdG. 1161. 

Etched by Claessens and Oortman in the Musee Franfais ; by J. de Frey in 
Filhol, vi. p. 374; by W. Unger and N. Mossoloff. 

Mentioned by Vosmaer, pp. 343, 555 ; by Bode, pp. 509, 565 ; by Dutuit, 
p. 28 ; by Michel, pp. 422, 552 (307, 327-28, 437). 

Acquired for Cassel in 1752 or a little later. 

In the chief Cassel inventory of 1749, No. 731. 

In the Louvre, Paris, 1806-1815. 

In the Cassel Gallery, 1903 catalogue, No. 249 (old No. 227) [valued by 
Sm. in 1836 at 840]. 

23. THE FINDING OF MOSES. Sm. 24; Bode 155; Dut. 
17 j Wb. 2325 B.-HdG. 195. Beside a secluded creek of the Nile, 
surrounded by tall trees, Pharaoh's daughter stands to the left with four 
attendant women on steps bounded by a low balustrade. They sur- 
round the cradle in which lies the infant Moses. While a negress behind 
her places a white drapery round her nude form, she looks with surprise 
at the child. The four attendants, who are either undraped or partly or 
wholly dressed, kneel beside the cradle, into which they look curiously ; 
a woman who is bathing comes hastily through the water from the 
right. On the balustrade, the bathers' dresses, green, blue, and brown, 
are spread out ; on them lies a large Eastern umbrella. In the left fore- 
ground are large water-plants. Golden evening light falls from the left 
on the group. Small full-length figures. Painted about 1635. The 
signature, now illegible, and the date 1656 on the wall to the left are by 
a later hand. 

Oval canvas, i8j inches by 23! inches. Probably the picture was 
not oval originally, as a strip of canvas about 2j inches wide seems to 
have been added later at the foot. The Crozat catalogue gives the size 
as 27 pouces by 32 pouces ; that is, 29 inches by 34! inches. 

A pen-drawing, which was a study for the picture, is in the collection of 
Dr. Hofstede de Groot, The Hague ; reproduced, HdG. 46. 

Etched by Basan, 1771, in the " Choiseul Gallery," No. 41. 

Mentioned by Vosmaer, pp. 117, 493 ; by Bode, pp. 453, 491, 581 ; by 
Dutuit, p. 47 ; by Michel, pp. 312, 555 [238, 433]. 



xxii REMBRANDT 35 

Exhibited at the British Institution, London, 1824, No. 93. 
Saks. Crozat, Paris, June 1751 (560 francs, Ledoux). 

Due de Choiscul, Paris, April 6, 1772, No. 12 (2031 francs, 

Boileau). 
Prince de Conti, Paris, April 8, 1777, No. 284 (1400 francs, 

Langlicr). 

Boileau, Paris, March 4, 1782 (1200 francs). 
Robert de Saint-Victor, Paris, November 26, 1822, No. 67 (2550 

francs, according to Dutuit). 

In the collection of Sir Robert Peel, Bart., Drayton Manor, 1836 (Sm.). 
In the possession of the Paris dealer F. Kleinberger. 

In the collection of John G.Johnson, Philadelphia, 1914 catalogue, No. 
474- 

23^. The Finding of Moses. 

Sa/f. Amsterdam, November 8, 1734, No. 54. 

23^. The Finding of Moses. 

In the collection of J. Merian, Frankfort-on-Main ; offered for sale by Jacob 
Heldewir of Frankfort, 1752 (Hoet, ii. 349), No. 131 (priced at 113 florins). 

24. Moses with the Tables of the Law. He is seated, almost 
in full face. His right hand rests on the Tables of the Law before him ; 
he points to them with a wand in his left hand. A fine picture, vigorously 
painted. 

Canvas, 78 inches by 57 inches. 

Sale. Amsterdam, June 13, 1770, No. 3 (236 florins). 

5 MOSES BREAKING THE TABLES OF THE LAW. 
Sm. 25 ; Bode 29; Dut. 18 ; Wb. 23 ; B.-HdG. 409. Moses wears a 
long dull white robe with a red girdle and a brownish cloak flowing 
behind him. He holds up in both hands the Tables of the Law, on 
which the Ten Commandments are inscribed in gold letters, and is about 
to fling them down. In the dark background are the cliffs of Sinai. 
Life-size figure, seen to the knees and in full face. 

Signed on the right at foot, "Rembrandt f. 1659"; canvas, 66 
inches by 54 inches. 

Etched by Kriiger, 1770. 

Mentioned by Vosmaer, pp. 358, $60 ; by Bode, pp. 511, 561 ; by Dutuit, 
p. 26 ; by Michel, pp. 446, 551 [346, 436]. 

In the Prussian Royal collection, Sans Souci, 1770. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 811. 

25*7. Moses striking Water from the Rock. 

Sale. Brussels, August I, 1842, No. 89. 

AARON. See the notes to the "Oriental with a White 
Turban," in the collection of the Duke of Devonshire, Chatsworth (346). 

26. THE ANGEL AND THE PROPHET BALAAM.- 

The prophet, in an Eastern robe with a turban, sits, turned to the left, 
on the ass which has fallen down under him ; he strikes her with his 



36 REMBRANDT SECT. 

staff. In a cloud behind him to the left appears the angel, with his sword 
lifted in his right hand. To the right behind Balaam are two men- 
servants ; beyond them are two horsemen, one of whom has the features of 
Rembrandt's father. In the distance is a high hill. In the right fore- 
ground are some large lettuces. The principal figure and the ass are 
taken from a drawing by Dirk Vellert in the Brunswick Print-room. 
Reproduced by N. Beets in Onze Kunst, 1912, p. 144. Painted about 
1628. 

There are traces of a signature ; oak panel, 26 inches by i8J inches. 

In the collection of S. Maris, Amsterdam. 
In the possession of the Amsterdam dealer J. Goudstikker. 
In the collection of Gustav Ritter Hoschek von Miihlheim, Prague, 1907 
catalogue, No. 101. 

In the possession of the Paris dealer F. Kleinberger. 

In the collection of the late Ferdinand Hermann, New York. 

26*. The Prophet Balaam. 

Sale. Alphonso Lopez, Paris, mid-December 1641. Mentioned in a letter 
from Claude Vignon to Fran9ois Langlois. See Hofstede de Groot, 
Urkunden fiber Rembrandt, No. 90. 

27. MANOAH'S SACRIFICE. Sm. 35; Bode 76; Dut. 19; 
Wb. 71 ; B.-HdG. 243. In the left foreground burns the sacrificial 
fire. Beside it in the middle Manoah kneels with clasped hands. He is 
seen almost in full face, has a full grey beard, and wears a deep purplish- 
red robe. Beside him, to the right, his wife kneels in profile to the left ; 
she has a light yellow robe with long white under-sleeves, and has drawn 
her red cloak over her gold-embroidered Jewish head-dress. Above, to the 
left, the angel in white, seen from the back, soars away. In the dark 
background is Manoah's house overgrown with vine. Full length, life- 
size figures. 

Signed at top to the right, "Rembrandt f. 1641 " ; canvas, 96 J inches 
by 113 inches. 

There are sketches in pen and ink and wash, more or less different, in the 
Print-rooms at Stockholm (reproduced by Lippmann, No. 128), Dresden (HdG. 
202), Berlin (reproduced by Lippmann, No. 22), and Paris (HdG. 594), as well 
as in the collections of P. Mathey (reproduced by HdG. iii. 29) and A. E. 
Gathorne Hardy (HdG. 978). 

Engraved by Jacobus Houbraken. 

Mentioned by Vosmaer, pp. 215, 526 ; by Bode, pp. 444, 568 ; by Dutuit, 
p. 28 ; by Michel, pp. 267, 553 [205-6, 438]. 

In the Electoral collection, Dresden, since the time of Guarienti's inventory 
(before 1753). 

In the Dresden Gallery, 1908 catalogue, No. 1563. 

28. The Angel Raphael. He is seen almost to the knees, and is 
turned a little to the right. He looks down. His long curly hair falls 
on his white robe. Above his head is a halo, formed of many shining 
stars. Said to be a fragment of a picture by Barent Fabritius, represent- 
ing "Manoah's Sacrifice," which was last in the Gebhardt sale, Berlin, 
November 10, 1911, No. 92. 



xxn REMBRANDT 



37 



Panel, 10 inches by 9 inches ; enlarged on three sides from an original 
size of 9! inches by 7 inches. 

Engraved by C. Courtry. 

As to the genuineness of the picture, see Hofstcde de Groot, Repertorium Jtlr 
Kunstwisscnschaji, I 899, No. 1 60. 

Exhibited at the Royal Academy Winter Exhibition, London, 1887, No. 83. 

In the possession of the London dealer Martin Colnaghi. 

Sale. D. Sellar of London, Paris, June 6, 1889, No. 57 (5000 francs). 

In the possession of the Paris dealer C. Sedelmeycr, "Catalogue of 300 
Paintings," 1898, No. 146. 

In the collection of Adolphe Schloss, Paris. 

In the possession of the Paris dealer C. Sedelraeycr. 

In the collection of Alfred Strasser, Vienna. 

In the possession of the Paris dealer F. Klcinberger. 

In the collection of the late Adolphe Schloss, Paris. 

280. Manoah and his Wife at the Sacrifice. The angel soars 
up to heaven in the smoke from the altar. Effective and masterly in style. 

Sale. A. G. van Taak, widow of D. W. van Vloten, Utrecht, April 10, 
1815, No. i*. 

The Angel disappearing from Manoah. A picture which 
occurred under this title in an Amsterdam sale, April 9, 1783^35 probably 
a scene from the story of Tobias. [See note to 70.] 

29. THE YOUTHFUL SAMSON. He sits, turned three- 
quarters right, in a massive arm-chair. He rests his right hand on the 
arm of the chair, and lays his left hand on a small table. His head, framed 
in his long curls, is turned three-quarters left. He wears a martial 
cloak of brocade falling over his knees, which is clasped round the hips 
with a girdle and across the breast with a broad gold brooch. Under the 
cloak is seen his fine shirt. A heavy fur robe is thrown round his shoulders. 
On his head is a large white turban spangled with gold and precious stones, 
and adorned with a heron's plume. A curtain and several columns fill the 
greyish-brown background. The light falling from the left strikes the 
turban, the left side of the face, and the shoulder down to the breast. 
Painted about 1636. [Cf. 263 and 736.] 

Canvas, 60 inches by 49 inches. 

Mentioned by Hofstede de Groot in Onze Kunst, 1912, p. 186. 
In the collection of William Hope, London. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," 1913, xii. No. 23. [Cf. Burlington Mag. xxvi. p. 256.] 

30. SAMSON'S MARRIAGE FEAST. Bode 77 ; Dut. 20 ; 
Wb. 72 ; B.-HdG. 222. The wedding guests recline or sit on couches, 
in the antique manner, round a banqueting table with a white linen cloth. 
In the centre behind the table the bride with serious face sits, somewhat 
raised up, in front of a curtain with a gold pattern. She wears a rich white 
gown, strongly lighted, with a short ermine cloak, several gold chains and 
strings of pearls, and has a coronet on her loosely flowing hair. She holds 
her hands clasped on her bosom. At her left sits Samson in a long white 



38 REMBRANDT SECT. 

silk robe. He turns round to a group of six young Philistines, the players, 
who stand behind the couch with a light blue covering and listen attentively 
to the riddle which he propounds to them. One of them has Rembrandt's 
features j another in a dull blue robe holds a flute in front of him ; a third, 
in front and seen in profile, leans on his harp. In the left foreground a 
couple, seen from the back, are embracing and kissing ; the man in light 
green and the woman in dark green sit on a red drapery with a gold border. 
At the bride's right a girl in dull red turns away from the man in blue at 
her side, who presses her to take a shallow cup of wine. Near them, but 
farther to the left, a man with a turban and a high plume has risen and 
speaks vivaciously to several women at the left corner of the table. Behind 
them a waiting-woman goes away. In the right foreground is a gold 
flagon in a large wine-cooler. On the table in the centre is a large dish 
with a goblet in it. Bright light falls from above to the left on the 
bridal pair and the white tablecloth. Full-length figures, about half 
life size. 

Signed in the centre at foot, "Rembrandt f. 1638"; canvas, 50 \ 
inches by 70 inches. 

Etched by Ant. H. Riedel, 1814; by N. Mossoloff, 1875; anc ^ by L. 
Friedrich. Lithographed by Hanfstaengl. 

Mentioned by Vosmaer, pp. 137, 157, etc., 517 ; by Bode, pp. 43 f., 568 ; 
by Dutuit, p. 28 ; by Michel, pp. 227, 553 [174-5, 43^] '> by Phil. Angel, Lof 
der Schilderkunst, Leyden, 1642 ; and in DC Bie's Gulden Cabinet, 1661, No. 361. 
See also P. J. Frederiks, Oud Holland, vi. p. 120; and Hofstede de Groot, 
Urkunden iiber Rembrandt, Nos. 91, 159, 237. 

In the Dresden inventory of 1722, A. 1144. 

In the Dresden Gallery, 1908 catalogue, No. 1560. 

31. SAMSON THREATENING HIS FATHER-IN-LAW. 

Sm. 1 66 ; Bode 28 ; Dut. 21 ; Wb. 19 ; B.-HdG. 2io. In front of the 
entrance to a palace with moulded columns and pilasters, the iron-bound door 
of which is shut, Samson stands turned a little to the right. He raises his 
right fist threateningly at his father-in-law, who thrusts his head out of a 
window to the right. The father-in-law holds the window-shutter with 
his right hand, and makes a deprecating gesture with his left. He has a 
full beard and wears a red skull-cap. Samson, whose features recall those 
of the painter, has long and thick black hair falling on his shoulders and 
confined on the top of his head by a narrow gold circlet ; he has a heavy 
moustache and a stubbly beard. He wears a greenish-yellow coat with a 
flowered pattern, fastened by knots, a parti-coloured girdle in which his 
Eastern sword hangs on his right hip, and a heavy cloak over his left 
shoulder and his left arm, which is bent ; two negro boys seen to the left 
behind Samson hold up the end of the cloak. Bright light falls from above 
to the left on the upper part of Samson's figure and on the old man. Life- 
size figures, seen to the knees. It was once entitled, inaccurately : " Duke 
Adolphus of Guelders holding his old father Arnoud captive." 

Signed on the right half-way up, on the base of a column, " Rembrandt 
ft. 163-" ; the last figure was worn off under the frame, and was probably 
a 5 or a 6 ; canvas, 62 inches by 51 J inches. 

There were replicas at Glendon Hall (Sm. 167) and at Hamilton Palace, 



xxn REMBRANDT 39 

1854 (Waagcn, iii. 462, 308) ; the Hamilton Palace version was in the sale, 
1882, No. 1034, anc * i ts P rcsent whereabouts arc unknown. 

Etched by G. F. Schmidt, 1756; by Leader, 1765 ; by D. Berger, the 
younger, 1767 ; by Oortman, 1809 ; by Berdini in the Musee Napoleon and in 
Rcveil. 

Mentioned by Vosmaer, pp. 153, 507 ; by Bode, pp. 429, etc., and 561 ; 
by Dutuit, p. 25 ; by Michel, pp. 219, 551 [168-9, 43^]- 

According to the Berlin catalogue it was inherited from the House of 
Orange in 1676, meaning that it was part of the estate of Amalia von Solms, 
wife of Prince Frederick Henry of Orange-Nassau. But against this is the fact 
that the picture is not mentioned either in the inventories of that Princess nor 
in the lists showing the division of her property. 

In the Prussian Royal Palace, Potsdam, 1786; see Nicolai, Beschrcibung von 
Berlin, iii. 1209. 

In the Royal Gallery, Berlin, from 1830. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 802. 

31^7. Samson asleep. Delilah causes an old woman to cut off 
his hair. 

Panel, 27 inches by 33 inches. 

In the Palace, Cassel, 1783 inventory, No. 136. 

32. SAMSON IN THE LAP OF DELILAH. Bode 41 ; 
Dut. 22 ; VVb. 32 ; B.-HdG. 6. On the floor in front Samson, with 
his back to the spectator, lies asleep ; his head is in the lap of Delilah, who 
sits upon a step. He wears a sulphur-yellow coat confined by a parti- 
coloured girdle to the end of which is fastened a yataghan. Delilah, in a 
violet-blue dress with a wide border which has a pattern of large blue 
flowers on a gold ground, holds up in her right hand some of Samson's 
hair which she has cut off. She turns round towards the Philistines who 
creep into the room. One of them, bare-headed and with a full beard, 
> a short yellowish-brown coat with a dull-coloured cloth wound 
diagonally across his body ; he holds a sword in his right hand which is 
extended behind him, and raises his left hand before him. To the right, 
behind the brownish curtain of the bed, appears another Philistine, wearing 
a helmet and holding a drawn sword. On the floor are a dish and one or 
two pots of various metals. Small full-length figures. 

Signed to the left on the step with the monogram, "RHL 1628 " ; 
oak panel, 24 inches by 19 inches. 

Mentioned by Bode, p. 370; by Dutuit, p. 26; by Michel, pp. 2 
[22, 437] ; by Bredius, N cderlandfche Kunstbode, 1881, p. 182. 

Exhibited at Berlin, 1883, No. 30 in the long gallery, and 1890, No. 221 ; 
at Amsterdam, 1898, No. 2. 

In the collection of the Stadholder, later of the King of Prussia, Hons- 
holrcdijk, inventories of 1707, 1713, and 1719, No. 39; in the Queen's 
oratory, No. 37. Thus it did not form part, as the Berlin catalogue suggests, 
of the inheritance from the House of Orange in 1676, meaning that it was 
part of the estate of Amalia von Solms. 

In the collection of the German Emperor, Berlin, who gave it to the 
museum in 1906. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 8izA. 



40 REMBRANDT SECT. 

33. THE BLINDING OF SAMSON. Bode 134; Dut. 23; 
Wb. 379; B.-HdG. 211. In the foreground of a room opening to the 
back, Samson lies on the floor, just overcome by the Philistines. He is 
seen half foreshortened from right to left. One man has seized him from 
behind and fallen with him. Another, in full armour, grasps Samson's 
beard with his left hand and with the right thrusts his dagger into the 
right eye of his shrieking victim. A third soldier, also in full armour, 
binds a double chain round Samson's right wrist. Behind them, in shadow 
on the extreme right, comes a fourth man in a turban, with shield and 
uplifted sword. A fifth man, on the extreme left, stands in profile to the 
right with his legs wide apart, showing dark against the brilliancy of the 
background. He wears a cuirass, a dark red doublet, trunk hose, a fur- 
trimmed cap, and a sword ; he holds his halberd in front of the prisoner. 
Samson's breast, arms, and legs are bare. He presses his left foot on the 
ground and convulsively twitches his right foot in the air. To the right 
of him, Delilah in light blue rushes away at the back with a cry of 
triumph ; her hands are outstretched, the left hand grasping Samson's 
shorn locks and the right hand holding the scissors. Her features recall 
those of Saskia. On the floor lie carpets and draperies ; on a table to the 
left are a dish and an ewer. Large curtains hang from the ceiling and are 
partly drawn back. The light comes from the anteroom beyond. Life- 
size figures, full length. 

Signed in the centre at foot, "Rembrandt f. 1636" ; canvas, 95 inches 
by 114^ inches. 

Probably identical with the picture which Rembrandt sent with a letter of 
January 12, 1639, to Constantijn Huygens, as a recompense for the trouble 
which he had given Huygens, as secretary to Prince Frederick Henry of Orange. 
See Vosmaer, pp. 190, etc.; the catalogue of the Huygens Exhibition, The 
Hague, 1896, Nos. 824, 833 ; Michel, p. 220, note [170, note] ; Hofstede de 
Groot, Urkunden iiber Rembrandt, No. 65. 

A copy, in the Cassel Gallery since the 1749 inventory, 1903 catalogue, 
No. 252, long passed as the original (Sm. 31). 

Etched by F. Landerer, 1760. Engraved in outline in Reveil ; engraved 
in mezzotint by Jacobi, 1785. 

Mentioned by Vosmaer, pp. 156, 511 ; by Bode, pp. 429, etc., 577 ; by 
Dutuit, p. 50 ; by Michel, pp. 220, 560 [170, 430] ; [and by W. R. Valentiner 
in the Burlington Magazine for June 1906, vol. ix. pp. 168-175]. 

In the collection of Count Schonborn-Buchheim, Vienna, 1896 catalogue, 
No. 93 ; traceable there since 1760. 

Acquired in 1905 for Frankfort. 

In the Stadel'sches Kunstinstitut, Frankfort-on-Main, No. 642. 

Hannah and Samuel. [See 154.] 

33*. The Story of Saul. 

66 inches by 77 inches. 

Sa/f. Jacques de Roore, The Hague, September 4, 1747 (Hoet, ii. 208), 
No. 1 10 (54 florins, Dublin). 

33/>. Jesse's Messenger to David. 



xxn REMBRANDT 41 

Exhibited at Liverpool, 1823, No. 41. 

Then in the collection of Thomas Hargreaves. 

34. DAVID BRINGING GOLIATH'S HEAD TO SAUL. 

Saul stands in the centre, turned to the right, and looks on David, who 
kneels before him. Saul wears a turban and a sumptuous cloak, the train 
of which is borne by two boys. David holds the giant's head in his left 
hand and the sword in his right. Between the two figures stands the old 
bearded Samuel, who bends down to the head. Behind David is another 
man in Eastern dress. The group is encircled by a crowd of soldiers. In 
the left foreground is a mounted archer, half seen from the back. In the 
right foreground two soldiers stand out as dark silhouettes against the 
brilliancy of the background. A dog barks at David. Small full-length 
figures. Painted about 1628. 

Signed with the monogram and an illegible date ; panel, loj inches by 
15 inches. 

Mentioned by C. Hofstede de Groot in Onze Kumt, 1909, p. 176. 

Sale. At Robinson and Fisher's, London, February 18, 1909, as by 

Kec knout. 

In the possession of the London dealer Richardson. 

In the possession of the Munich dealer Heinemann ; exhibited on loan in 
the Aeltere Pinakothek, Munich. 

35. DAVID PLAYING THE HARP BEFORE SAUL. 
Sm. 32; Bode 92; Dut. 27; Wb. 86; B.-HdG. 46. In the right 
foreground, in front of a large curtain, Saul sits on a low arm-chair. He 
has a fixed stare and is in a state of great excitement, grasping his javelin 
firmly in his right hand. Beside him to the left is a table with a greenish 
cover. In front of it on the left the youthful David, in shadow and turned 
to the right, kneels playing the harp. Saul wears over his long dull blue robe 
with a gold border a reddish velvet cloak with a broad gold chain : a golden 
pheasant is fixed as an ornament in his gay turban. Behind him is a 
curtain of almost neutral tint. Small full-length figures. Painted about 
1630-31. Formerly ascribed to Salomon Koninck. 

Oak panel, 24! inches by 20 inches. 

Engraved by W. de Leeuw ; see Bartsch, ii. 131, No. 44. 

Mentioned by Bode, p. 431 ; by Dutuit, p. 29 ; by Michel, pp. 153, 553 



Sale. Amsterdam, August 14, 1771, No. 10 (241 florins, Winter). 

In the De Neufville-Gontard collection, Frankfort-on-Main ; acquired in 
1817 by the Kunstinstitut. 

In the StadePsches Kunstinstitut, Frankfort-on-Main, 1900 catalogue, 
No. 183. 

36. DAVID PLAYING THE HARP BEFORE SAUL. 
B.-HdG. 529. Saul sits to the left on an elevated throne and listens with 
emotion to the playing of David, who stands to the right at the foot of 
the throne and is turned a little to the left. David has a stubbly moustache 
and wears a red tunic which shows his white shirt at the neck and wrists. 
The king has a dark beard, and wears a rich variegated turban and a silver 
crown with several points. He is clad in a deep purplish-red cloak lined 



42 REMBRANDT SECT. 

with gold, which is open in front to show his gold-embroidered robe. 
With his left hand he grasps at a brownish-purple curtain beside him, to 
dry his tears on it ; under his right arm is a javelin. Life-size figures, 
seen to the knees. Painted about 1665. The original outlines, afterwards 
corrected, of the back of the throne and of the crown show that the king 
was first seated about 6 inches lower. The picture was once cut up into 
two pictures ; the right portion of the curtain above David disappeared in 
the operation and has been restored by a modern hand. 

Canvas, 52 inches by 65^ inches. 

A pen-drawing of the subject reversed, in the collection of Leon Bonnat, 
Paris (HdG. 673), shows above David several figures of soldiers, guards and 
others. 

Engraved by Decisy. 

Mentioned by Michel, p. 446 [346]. 

Exhibited at Cologne, 1876 ; and at Amsterdam, 1898, No. 1 1 8. 

Sales. A. J. Petit, Malines, July 5, 1826, No. 223 (no florins, Pieretz). 
Due de Caraman, Paris, May 10, 1830. 

In the Didot collection, Paris. 

Sale. Oudry, Paris, April 17, 1869, No. 52 (12,500 francs, Durand-Ruel). 

In the possession of the Paris dealer S. Bourgeois. 

In the collection of Baron A. von Oppenheim, Cologne. 

In the Georges collection, Epernay. 

In the possession of the Paris dealer Durand-Ruel. 

In the collection of H. O. Havemeyer, New York. 

In the possession of the Paris dealer Durand-Ruel. 

In the collection of Dr. A. Bredius, The Hague ; exhibited on loan since 
1899 m tne Ryal Gallery, The Hague, 1910 catalogue, No. 621. 

King Saul. See the study of a man's head in the collection of 
Quincy A. Shaw, Boston. 

36*. The Story of David and Jonathan. 

Rembrandt, in March 1659, promised to deliver this picture, on which he 
was then engaged, to his creditor Lodewijk van Ludick within a year. See 
Hofstede de Groot, Urkunden ilber Rembrandt, No. 213. Probably it is the 
picture mentioned in the inventory of the goods of another creditor, Herman 
Becker, taken on October 19, 1678. See A. Bredius, Oud Holland, 1910, pp. 
196, etc. 

36^. The Meeting of David and Jonathan. 
28 inches by 28 inches. 

Sales. Laurens van der Hem, Amsterdam, April 19, 1713 (Hoet, i. 148), 

No. 13 (105 florins). 

Jan van Beuningen, Amsterdam, May 13, 1716 (Hoet, i. 202), 
No. 40 (80 florins). 

37. David and Abigail. 

In the collection of J. Merian, Frankfort-on-Main ; offered for sale by Jacob 
Heldewir of that city, 1752 (Hoet, ii. 349), No. 132 (priced at 113 florins). 

37*7. Saul consulting the Witch of Endor. Sm. 30 ; Dut. 26 ; 
Wb. 476. The king, disguised as a Levite, stands beside the witch. He 



xxn REMBRANDT 



43 



holds an open book in one hand and a staff in the other. The ghost of 
Samuel rises from the earth. 

About 30 inches by 22 inches. 

Etched by F. Oeser ; described by Sm. from the print. 

In the Bachmann collection, Magdeburg. 

In the collection of Jaumann, dean of the cathedral, Rottenburg. 

37^. The News of Saul's Death being brought to David. 
The Amalekite treats him with the honour due to a prince. Finely 
painted. 

69^ inches by 97 inches. 

Sale. J. D. Baron d'Ablaing van Gicsenburg, Utrecht, October 26, 
No. 4. 

38. THE RECONCILIATION OF DAVID AND ABSA- 
LOM. Sm. 15; Bode 359; Dut. 8 ; Wb. 422; B.-HdG. 244. 
David stands in the foreground of a landscape, in the left background of 
which is seen Jerusalem with the Temple and a column before it. David, 
in royal robes, with both hands draws Absalom towards him. Absalom, 
seen from the back, has flung himself weeping on his father's breast. 
David wears a light blue robe trimmed with gold fringe and a silvery white 
mantle, a white turban with a tall plume, and a dark girdle. Absalom ha-. 
a gold circlet on his luxuriant fair hair ; he wears a short pink tunic richly 
embroidered with gold, high boots with spurs, and a broad and sumptuously 
decorated belt from which hangs a sword in a handsome scabbard. On the 

? round to the right lie his reddish-brown cloak and a quiver with arrows, 
n the shadow beyond is a fragment of a wall overgrown with foliage. 
Dark sky ; bright light falls from the left on a group. Small full-length 
figures. Possibly the picture may represent Jonathan bidding farewell to 
David. In the centre at top a square piece has been inserted. 

Signed in the centre at the very foot, "Rembrandt f. 1642 " ; said to 
be oak panel, 29 inches by 24^ inches. 

A first sketch for this picture, in pen-and-ink and wash, is in the collection 
of C. Hofstede de Groot, The Hague ; reproduced, HdG. 42. 

Mentioned by Vosmaer, p. 531 ; by Bode, pp. 447, 604 ; by Dutuit, p. 38 ; 
by Michel, pp. 277, 567 [212, 442]. 

In the pavilion called Monplaisir, in the gardens of the Russian Imperial 
Palace, Peterhof [it was there in 1836 (Sm., who valued it at 420)] ; trans- 
ferred to the Hermitage in 1882. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 1777. 

39. KING DAVID WITH HIS HARP. He is turned slightly 
to the left and gazes thoughtfully into space. He holds his finely carved 
harp in his left arm, and has his hands clasped before him. He wears a 
turban with a crown on it, and has an earring in his left ear. His face is 
framed in dark whiskers. Half-length, almost life size. 

Signed, "Rembrandt f. 1651 " ; oak panel, 12 inches by 10 inches. 

Exhibited at the British Institution, London, 1822, No. 28. 

In the Jennens collection, London. 

In the collection of Earl Howe, Gopsall. 



44 REMBRANDT SECT. 

In the possession of Sir G. Donaldson, London. 

In the possession of A. Sulley and Co., London. 

In the possession of Sir G. Donaldson, London. 

In the collection of S. L. Swaab, The Hague. 

In the possession of the Paris dealer F. Kleinbergcr. 

In the collection of Marczell von Nemes, Budapest, 1910 catalogue, No. 39. 

In the collection of Dr. Lanz, Mannheim. 

40. BATHSHEBA AT HER TOILET. Sm. 33 j Bode i6 5 
Dut. 28 ; Wb. 351 j B.-HdG. 246. Beside the steps leading down to a 
bath, Bathsheba, undraped, sits turned to the left on a stone balustrade 
covered by an Oriental carpet. She holds her left hand on her breast and 
leans on her right hand. Her white shift falls over her right thigh. A 
negress in shadow behind her, with a gay head-dress and broad bracelets, 
combs her long fair hair. An old woman in a dark purple dress, a yellowish 
kerchief and a black hood, squatting on the ground with her figure turned 
to the left, is attending to Bathsheba's feet. The lady's clothes lie below 
and behind her ; they include a heavy cloak of gold brocade lined with 
ermine, and a bluish-green robe. Beside her to the left is a silver dish in 
which are a gold cross and a gold chain. In front to the right are a pair 
of peacocks. To the right the background is dark, apparently a sort of 
grotto. To the left, in half-shadow, is the palace of King David ; from 
its topmost battlement the king looks down on Bathsheba. In the 
distance the towers of Jerusalem are indicated. Small full-length 
figures. 

Signed on the steps to the left, " Rembrandt ft. 1643"; oa ^ P ane l> 
24! inches by 32 inches. 

Engraved by J. M. Moyreau the younger, by Smith, by Burnet, by Legrand 
in the " Poullain Gallery." Etched by W. Steelink in Van Someren, Qude 
Kunst in Nederland. 

Mentioned by Vosmaer, pp. 250, 532 ; by Bode, pp. 451, 559 ; by Dutuit, 
p. 54 ; by Michel, pp. 301, 565 [230-31, 440]. 
Exhibited at Amsterdam, 1898, No. 56. 
Sales. Willem Six, Amsterdam, May 12, 1734 (Hoet, i. 413), No. 56 (265 

florins, Hoogenbergh). 
Bicker van Zwieten, The Hague, April 12, 1741 (Hoet, ii. 21), No. 

130 (350 florins, De Hond). 

In the collection of Count Bruhl, Dresden, according to the Poullain cata- 
logue. 

Sales. Poullain, Paris, March 15, 1780, No. 37 (2400 francs, Le Brun). 
Le Brun, Paris, April n, 1791, No. 53 (1200 francs, bought in). 
A. de la Hante, London, 1814 (105, Geddies). 
Sir T. Lawrence, London, June 17, 1830 (^157 : los., Smith). 
G. J. Vernon, London, 1831 (160 : 135., Emmerson). 
T. Emmerson, London, June 1832 (^252). 

Heris (Bire) of Brussels, Paris, March 25, 1841, No. 6 (7880 francs). 
In the collection of Steengracht van Oosterland, The Hague. 
In the collection of the late Jonkheer H. A. Steengracht van Duivenvoorde, 
The Hague; sold in Paris, June 9, 1913, No. 61 (1,000,000 francs, with 10 
per cent commission, Duveen Brothers). 

In the possession of Duveen Brothers, Paris. 



xxii REMBRANDT 45 

la the collection of B. Altraan, New York; bequeathed in 1913 to the 
Metropolitan Museum. 

In the Metropolitan Museum, New York. 

40*. BATHSHEBA WITH DAVID'S LETTER. She sits, 
turned slightly to the right, in an arm-chair and looks straight before her. 
She holds the letter in her left hand, which hangs down, and leans her 
right hand on the arm of the chair. She wears a rich white brocaded dress, 
.ind has pearls at her throat and in her hair which flows down her back. 
Beside her to the right is a table with a brownish-purple cloth, on which 
are various objects. Beyond are a pillar and a curtain. In the left fore- 
ground is a step. Painted about 1634. 

Signed on the back of the chair with the monogram, " R H L " ; 
panel, 2iJ inches by i8i inches. 

Exhibited at Leyden, 1906, No. 37 ; and at the Royal Gallery, The Hague, 
1906-8. 

In the collection of J. van Wageningen thoe Dekama, Jelsum. 
In the possession of the Paris dealer F. Kleinberger. 
In the collection of Ludwig Mandl, Wiesbaden. 

41. BATHSHEBA AFTER HER BATH. Sm. Suppl. i ; 
Bode 285; Dut. 29; Wb. 271 ; B.-HdG. 354. She sits, completely 
undraped, in profile to the left on her towel and shift. Her right leg 
is thrown over her left knee. She leans on her left hand, and holds in 
her right the letter from David, over which she appears to be pondering. 
To the left in front of her an old woman crouches, turned to the right ; 
she wears a dull red dress and a dark cap and is attending to Bathsheba's 
feet. Bathsheba wears round her neck a gold pendant on a black ribbon, 
and has a bracelet on her right arm above the elbow. Her hair is loosely 
confined on the back of her head by a string of pearls ; curls fall on the 
right shoulder and a narrow red ribbon on the left shoulder. Behind 
her lies her handsome dress of golden yellow brocade. The upper part 
of her figure is strongly lighted from the front. Full-length figures, life size. 

Signed on the seat above the feet, "Rembrandt f. 1654"; canvas, 
56^ inches by 56^ inches. 

Etched by Courtry in the Gazette des Beaux- Arts, 1876, and in the third 
volume of Dutuit. 

Mentioned by Vosmaer, pp. 320, 551 ; by Bode, pp. 487, 549, 595 ; by 
Dutuit, p. 35 ; by Michel, pp. 390, 562 [302, 434]. 

Sales. -W. Young Ottley, London, May 25, 1811 G8io). 

W. Young Ottley, London, March 4, 1837 Giio : 53., Peacock). 

In the possession of the London dealer Peacock. 

In the collection of Comte Maison, Paris. 

Sale. Paul Perier, Paris, March 16, 1843, No. 35 (6350 francs). 

In the La Cazc collection, Paris; bequeathed in 1869 to the Louvre. 

In the Louvre, Paris, 1907 catalogue, No. 2549 (old No. 96). 

42. BATHSHEBA AFTER HER BATH. B.-HdG. 558. 
She sits on a grassy bank, turned to the right and looking at the spectator. 
She holds a spray of flowers in her right hand. An old woman with 
spectacles on her nose, who is turned to the left, is paring her toe-nails. 



46 REMBRANDT SECT. 

Bathsheba's shift has slipped down, leaving the upper part of her body ex- 
posed ; her handsome dress of gold brocade is draped about her lower 
limbs. She wears a double gold chain round her neck, a jewelled cap on 
the back of her head, and a pearl in her ear. In the right background is 
seen King David's palace. Small full-length figure. 

Signed to the left on the grassy bank, " R H L. 1632" ; oak panel, 
10 inches by 8 inches. 

A copy, almost life size, is in the possession of a Pans dealer ; another copy, 
of the head only, is in a private collection at Wiesbaden. 

Etched in reverse by an anonymous imitator of Rembrandt ; this etching is 
attributed to Rembrandt by Bartsch, No. 127. 

Sales. Willem van Wouw and others, The Hague, May 29, 1764, No. 40 

(4 florins 14) ; by Rembrandt or in his manner. 
Amsterdam, January 25, 1830, No. 65 (19 florins 5, Gruijter). 
In the Rennes Museum, 1884 catalogue, No. 138. 

43. Bathsheba receiving David's Letter. Sm. 34, 584. A 
handsome and portly woman, with long flaxen hair falling in tresses on her 
shoulders, sits in a chair. She wears a richly embroidered robe and mantle. 
She rests one hand on the arm of the chair and holds in the other hand a 
letter, on the contents of which she appears to be reflecting. In front of 
her is a toilet-table with a cloth, on which are a mirror and a jewel-casket. 
On the farther side of the table is an elderly woman, the king's messenger. 
The figure is seen to the knees. 

The original is lost. Described by Sm. from an engraving by J. G. Haid, 
entitled " Rembrandt's Mistress." 

43*. The Prophet Nathan. 

Sale. Amsterdam, April 17, 1708, No. 186. 

44. David sacrificing at the Threshing - Floor of Gideon 
(Araunah?). Sm. 39. 

Exhibited at the British Institution, London, 1819, by Sir A. Lechmere. 
In the collection of Sir A. Lechmere, Bart., The Rhydd, 1836 (Sm.). 

44*. David. A small picture. 

In the possession of the Amsterdam dealer Gerrit Uylenburch ; mentioned 
in the inventory of his goods to be sold, May 27, 1675. See Hofstede de Groot, 
Urkunden tiber Rembrandt, No. 331. 

44^. The Dedication of Solomon's Temple. Grisaille. 

In the collection of Rembrandt, Amsterdam ; mentioned in the inventory 
of his goods to be sold, July 25, 1656, No. 91. See Hofstede de Groot, Urkunden 
Uber Rembrandt, No. 169. 

45. Solomon and the Moabite Women. Fourteen life-size 
figures in front, besides a large number of figures of priests and singers at 
the back. 

91 J inches by 131 inches. 

Sale. A. van Kinschot, Rotterdam, September 20, 1756, No. i. 
Probably identical with a picture by J. Lievens in the sale : J. van der 



xxn REMBRANDT 



47 



Linden van Slingeland, Dordrecht, August 22, 1785, No. 246 (52 florins, 
A. Delfos). 

45*. Solomon in the Temple. Wb. 143. 

Exhibited at Leeds, 1868, No. 729. 

Then in the collection of Sir George Armytagc. 

45/>. Haman and Mordecai. Haman in a royal robe sits proudly 
in an arm-chair and listens angrily to what Mordecai, who stands before 
him, has to say. On a table to the left are a crown, a sceptre, and other 
precious things. Fine in colour and vigorously painted. 

Canvas, 42 J, inches by 53 inches. 

Sale. P. J. de Jariges, Amsterdam, October 14, 1772, No. 25 (141 florins, 
Van Dccl). 

46. AHASUERUS AND HAMAN AT ESTHER'S FEAST. 
Sm. 37 ; B.-HdG. 411. To the right, at the richly appointed table, sits 
Esther, wearing a mantle of whitish-yellow brocade over a yellowish-red 
dress with wide undersleeves of light yellow and handsome ornaments. 
She draws the attention of the king, seated on her right, to Haman, who 
sits on the left on a dark carpet. Haman, who wears a dull red mantle 
and a gay turban, is turned to the right and looks gloomily straight before 
him. Ahasuerus wears a yellowish-red cloak with an ermine collar over a 
yellow robe, and a white silk turban with gold ornamentation. In front, 
before the table, is a gold ewer. Strong light, almost evenly distributed. 
Small full-length figures. 

Signed on the left at foot, "Rembrandt f. 1660"; canvas, 28^ inches 
by 37 inches. 

A study in the collection of J. Pierpont Morgan, New York ; formerly in 
the collection of Fairfax Murray, London, HdG. 1077. An old copy made 
from this drawing is in the collection of Friedrich August II., Dresden. 

Possibly in the collection of Jan Jakobsz Hinloopen, Amsterdam, 1662. 
Celebrated in verse in that year by Jan Vos. See Hofstede de Groot, Urkunden 
iiber Rembrandt, No. 247, and No. 407, 17. 

In the Geelvink collection. 

Sale. Gerard Hoet, The Hague, August 25, 1760 (Terw. 225), No. 45 
(185 florins, Yver). 

In the RumjanzofF Museum, Moscow, 1901 catalogue, No. 574. 

46*2. King Ahasuerus, Esther, and Haman seated at Table. 

Half-length figures, life size. 

In the collection of Dr. Joseph Flies, Berlin, 1786; see Nicolai, Beschrelbung 
von Berlin, ii. 838. 

47. MORDECAI KNEELING BEFORE ESTHER. Sm. 
36 ; Wb. 360 ; B.-HdG. 530. On a raised throne to the left sits Queen 
Esther, turned to the right, with her left elbow resting on a balustrade 
and her right hand at her side. Beside her to the right, behind the balus- 
trade, which is hung with blue stuff, stands the king, turning towards four 
soldiers seen in the right background. He points with his golden sceptre 
to Mordecai, who is on his knees to the right before the steps of the throne 



48 REMBRANDT SECT. 

and respectfully raises his hands towards Esther. The queen wears a light 
yellow silk dress with wide sleeves, and over it a gold brocade mantle lined 
with ermine, and a gold head-dress like a crown from which a veil falls at 
the back. A string of large pearls is wound in her hair, with a ruby on 
the forehead; in her ears are pendants, each containing a large pear-shaped 
pearl. Mordecai's red mantle is fastened by a golden sash over his left 
shoulder j he has a diadem on his brown hair, which is streaked with grey, 
and wears an earring in his left ear. The king wears a glittering turban 
with a small crown, and a dark greyish-brown mantle over his dark robe, 
which is held on the left shoulder by a gold clasp. Above Esther's head 
is a canopy of dark brown material with a pattern, from which hang two 
tassels. At the foot of the throne is a decoration of winged angels' heads. 
Full-length figures, life size. The picture is also described as " Haman, 
prostrate, supplicating for mercy from Esther." But this description is 
not borne out by the aged features of the man and by Ahasuerus' sceptre 
stretched out as a sign of favour. Painted about 1665. [Pendant to 

JI 3-] 

Canvas, 94 inches by 76 inches. 

There are studies for the figure of Mordecai on a drawing in the collection 
of C. Hofstede de Groot, The Hague, HdG. 1261. 
Mentioned by Vosmaer, p. 570 ; by Dutuit, p. 14. 

Exhibited at Cologne, 1876, No. 64; at Antwerp, 1877; at Amsterdam, 
1898, No. 123. 

Saks. Jan de Gise, Bonn, August 30, 1742 (Hoet, ii. 63), No. 5 (80 florins, 
bought in). 

Elector of Cologne, Bonn, May 14, 1764 (3000 francs, bought in). 
In the collection of the Due d'Ansesume, Paris. 
Sales. Reaujon, Paris, April 25, 1787, No. 34 (731 francs 05, Le Brun). 

Coders, Paris, February 9, 1789. 

Lord Rendlesham, London, 1809 (^210). 

Mortimer, London, 1829 (903, bought in). 

London, May 5, 1860, No. 325. 

Paris, 1868. 

In the collection of J. Husson Yvon, 1876. 
In the collection of Felix Bamberg, Messina, 1877. 
In the collection of Charles, King of Roumania, Bucharest, No. 126. 

47*. MORDECAI BEFORE AHASUERUS AND ESTHER. 
B.-HdG. 213. A Biblical prince in a long robe and turban, on a high 
throne under a sumptuous canopy, bends his head towards a suitor kneeling 
to the right on the steps of the throne and motions him to rise, stretching 
out his hands towards the man. To the right, beside the throne, stands a 
young woman, who looks on sympathetically. In front to the left are a 
youth and an old man on a bench, half seen from the back. Small full- 
length figures. Grisaille. Painted about 1634. The apparently correct 
title of this picture, which has hitherto been known as " A Suitor before 
a Prince," is due to Dr. W. R. Valentiner ; see the Rembrandt volume of 
Klassiker der Kunst^ third edition. 

Oak panel, 1 1 inches by loj inches. 

Exhibited at Amsterdam, 1698, No. 29. 



xxn REMBRANDT 49 

In the collection of Ldon Bonnat, Paris. 

In the Musce Bonnat, Bayonnc, 1903 catalogue, No. 41. 

48. THE FALL OF HAMAN. Sm. 38 ; Bode 320 ; Dut. 30 ; 
Wb. 390 ; B.-HdG. 531. In front stands Haman, looking down. He 
lays his right hand on his breast with an affirmative gesture and holds his 
left hand in his girdle. He wears a large red robe with white sleeves, a 
dark cloak over his left shoulder, and a handsome yellow turban with a 
plume and a broad band of pearls; at his breast is a jewelled chain. Farther 
back to the right, behind a table with a white cover, stands Ahasuerus ; he 
wears a robe of brocade with an ermine collar, a white turban surmounted 
by a small crown, and a heavy gold chain round his neck. To the left 
behind Haman is old Mordecai, bare-headed, with a full white beard and a 
brown robe. The light falls from above to the left. Dark background. 
Half-length, life size. Painted about 1665. 

Signed on the right at foot, " Rembrandt f. "j canvas, 50^ inches by 
46^ inches. 

Engraved in mezzotint by R. Houston, 1773 ; engraved on steel by S. Free- 
man. Etched by N. Mossoloff in Les Rembrandt* de /' Ermitage. 

Mentioned by Vosmacr, p. 570; by Bode, pp. 479, 599 > by Dutuit, p. 38 ; 
by Michel, pp. 329, 566 [251, 441]. 

Sale. W. Six, Amsterdam, May 12, 1734, No. 59 (83 florins, F. Beudcker). 

In the collection of John Blackwood, London, 1773. 

In the collection of the Empress Catherine II. of Russia. 

In the Hermitage Palace, Pctrograd, 1901 catalogue, No. 795. 

480. Esther and Ahasuerus. 

In the possession of the Amsterdam dealer Johannes dc Renialme ; men- 
tioned in the inventory of his estate, June 27, 1657 ; valued by A. Camerarius 
and M. Krctzer at 350 florins, and therefore a fairly large picture. See Hofstede 
dc Groot, Urkundcn ilber Rembrandt, No. 177. 

48^. Queen Esther. 

In the collection of the widow of Captain Aldert Mathijsz, Amsterdam ; 
mentioned in the inventory of her estate, 1682 (valued at 830 florins). See 
Hofstede de Groot, Urkunden liber Rembrandt, No. 355. 

48^. Esther, Haman, and Ahasuerus. 

Sale. C. A. de Calonne, London, March 23, 1795, fourth day of sale, No. 
55 (^7 : I 5 s -) iee Buchanan, i. 246. 

49. JEREMIAH MOURNING OVER THE DESTRUC- 
TION OF JERUSALEM. Sm. 9 and 190 ; Bode 353 ; Dut. 7 ; 
Wb. 428 ; B.-HdG. 39. At the foot of a pillar, near the entrance of a 
grotto, sits the aged prophet, turned to the left. He wears rich Eastern 
dress, and sits upon and beside a purplish-red velvet drapery with a broad 
blue border on which baroque flowers are embroidered in gold. He leans 
his head on his left hand ; his right hand is behind him. He wears a dull 
violet-blue fur cloak over his tunic, which is fastened with knots. Beside 
him to the right are gold vessels, a large flask, and a book inscribed " Bible." 
In the left distance is seen the city on fire, with soldiers and distracted 
citizens. A small full-length figure. 

VOL. VI E 



50 REMBRANDT SECT. 

Signed in the centre at foot with the monogram " R. H. L. 1630" ; 
oak panel, 23 inches by 18 inches. 

A copy is in the Von Liphart collection, Dresden ; another is in a private 
collection at Copenhagen. [Another version, canvas, 15^ inches by 12 inches, 
is in the Glasgow Art Gallery, 1911 catalogue, No. 814. Translator^ 

Etched by G. F. Schmidt, 1768, as "Lot" (Wessely, 158). [Also called 
"Anchises in a Cave," Sm. 190.] 

Mentioned by Vosmaer, pp. 87, 486 ; by Bode, p. 384 ; by Dutuit, p. 54 ; 
by Michel, pp. 52, 567 [40-42, 442]. 

In the Cesar collection, Berlin, 1768. 

In the collection of Count Sergei Stroganoff, formerly in Petrograd, now in 
Paris. 



. Ezekiel showing the Treasures of his House. 

Sale. George Morant, London, April 15, 1844, No. 338. 

50. NEBUCHADNEZZAR AND THE GOLDEN IMAGE. 

In the centre stands the king, wearing a turban surmounted by a small 
gold crown. He points with his sceptre to the right, and looks at a young 
man (Daniel ?) who approaches from the left, bowing respectfully, with his 
left hand at his breast, and making an expressive gesture with his right. 
On a table to the right are a cloth with a border, a metal dish, and a candle- 
stick. A chandelier hangs from above. Beyond stands the great image. 
In the distance are a wine-cooler and an ewer. Small figures. 

Signed on the right at foot, and dated 1631 ; panel, 9 inches by nj 
inches. 

In the collection of the Earl of St. Germans, Port Eliot, Cornwall. 

51. The Three Men in the Burning Fiery Furnace. The king 
sits at one side and calls out to the men. A great crowd marvel at the 
miracle. In the background is the great image, with other statues and 
buildings. Extraordinarily fine and natural j vigorously painted. 

Panel, 29 inches by 43 inches. 

Sale. J. W. Barthman Wuytiers, Utrecht, September 17, 1792, No. 53 
(51 florins, Van Hiel). 

52. BELSHAZZAR'S FEAST. Sm. 40 ; Bode 168 ; Dut. 40 5 
Wb. 177; B.-HdG. 209. At a table with a greenish cloth, on which 
fruit and wine are served on rich plate, King Belshazzar sits amid his wives 
and favourites. Alarmed at the unearthly noise, the king has sprung up, 
and looks behind him to the right at the hand which has written l Mene 
Tekel " on the wall in letters of flame. Staring at the signs, he stretches 
out his left hand convulsively, and with his right hand mechanically grasps 
at a bowl, thus upsetting a gold wine-cup. His head, turned in profile to 
the right, is bearded, and is surmounted by a high white silk turban with 
a small crown. An ornament with two horses' tails holds the turban 
together ; its ends fall behind him as a sort of veil. The king wears a 
heavy mantle of gold brocade lined with fur, with a large clasp at the 
breast, over a tunic with knots, on which hangs a gold chain adorned with 
pearls and precious stones. In front of the king to the right a young 
woman has risen to her feet -, she is seen from the back, much fore- 



xxn REMBRANDT 51 

shortened. She wears a red dress, cut low on the bosom, and in her 
agitation shakes the gold wine-cup which she holds in her right hand. To 
the left of the table in the immediate foreground is another young woman 
in lost profile, turning her face away and leaning her right arm on the arm 
of her chair. She wears a hat with a tall plume, a pearl in her right ear, a 
pearl necklace, and a deep blue bodice, tightly fitting. Between her and 
the king are a third young woman and, at her side, a bearded old man, 
both of whom look with alarm at the king. They wear rich pearls on 
their heads ; the woman, whose long hair is unbound, clasps her hands before 
her bosom. In half-shadow, behind the old man, is the head of a young 
woman, who stands playing the flute. Bright light is diffused from the 
fiery inscription over the whole scene. Lire-size figures, seen almost to 
the knees. Painted about 1634-35. 
Canvas, 65 J inches by 8ii inches. 

The half-length picture of "An Oriental" at Munich (348) is perhaps a 
study for this picture. 

A copy by Tillemans was in the collection of Charles Jennens, London, 
1761 ; see London and its Environs described, printed for R. and J. Dodsley at 
Pall Mall, vi. 1761. 

Engraved in mezzotint by H. Hudson, 1725, in the Fulwood collection. 

Mentioned by Bode, pp. 430 f, 582 ; by Dutuit, p. 44 ; by Michel, pp. 
220, 556 [169-170, 432] ; by Pennant, Tour to Alston Moor, \~ 

Exhibited at the British Institution, London, 1821, No. 21, and 1852 ; at 
Manchester, 1857, No. 695 ; at the Royal Academy Winter Exhibition, 
London, 1899, No. 58. 

In the collection of T. Fulwood, 1725. 

In the collection of H. Winstanley ; bought from him (for 125). 

In the collection of the Earl of Derby, Knowsley House, near Liverpool ; 
it has been there since 1736, according to the catalogue. 

53. THE VISION OF DANIEL. Sm. 55 ; Bode 256 ; Dut. 
39 ; Wb. 22 ; B.-HdG. 332. In the left foreground, the youthful 
Daniel kneels, turned to the right. He wears a greenish garment with 
yellowish sleeves. He crouches trembling at the appearance of the angel, 
who steps behind him, lays his right hand on Daniel's shoulder, and points 
with his left to the ram with two horns appearing on the for side of the 
river of Ulai. The youthful angel has coloured wings, and wears a long 
white robe girdled with a coloured cloth. The background is a mountain 
landscape enveloped in twilight, with the royal palace of Susa amid trees at 
the foot of the hills. Small full-length figures. Painted about 1650. 

Canvas, 38 inches by 46 inches. 

A pen-and-ink sketch is in the collection of Leon Bonnat, Paris ; reproduced 
by Lippmann, 176. 

Etched by K. Kocpping in the "Berlin Gallery." 

Mentioned by Bode, pp. 482, 591 ; by Dutuit, p. 26 ; by Michel, pp. 339, 
551 [259-60,436]. 

Exhibited at the British Institution, London, 1819, No. 42 ; at the Royal 
Academy Winter Exhibition, London, 1883, No. 2^4. 

Sale. Sir Joshua Reynolds, London, March n, 1795 [.178 : ios., according 
to Sm.]. 



52 REMBRANDT SECT. 

In the collection of Sir E. Lechmere, Bart., The Rhydd. 
In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 300 
Paintings," No. 137 ; sold to Berlin in 1883. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828F. 

54. THE YOUTHFUL DANIEL AT THE WINDOW. 
B.-HdG. 320. In a room a young beardless man stands on the left at a 
window, reading a book, which he holds in his right hand. He leans 
against the edge of a table behind him, rests his right elbow on the window- 
sill, and holds his left hand in his girdle. He wears a red cap trimmed with 
fur, a dark dull green robe, a brown doublet, and red slippers, one of which 
has come off. On the window-sill lies a fur cloak with a red collar. On 
the table is a bright red Persian carpet, on which are several folios, a 
massive gilded candlestick, and an inkpot. In front of it is an arm-chair 
with a dull green cushion and a back of the same colour. On the wall 
above the table hang a shield with tassels, a sword in a red scabbard 
ornamented with yellow, and a Persian shawl. In the left foreground a 
javelin is placed against the wall. In the right background is a bed with 
a dark red cover, a white pillow, and green curtains. Through the window, 
the dull cherry-coloured curtains of which are drawn back to the left, is 
seen a landscape with high buildings. On the wall outside grows a green 
vine. A small full-length figure. Painted about 1646. 

Canvas, 25 inches by 29 inches. 

Mentioned by A. Rosenberg, Zeitschrift fiir bildende Kunst^ xxii. p. 163. 
Exhibited at the British Institution, London, 1864, No. 91 ; at the Royal 
Academy Winter Exhibition, London, 1883, No. 226, and 1899, No. 19 [as 
"Man reading"] ; at Amsterdam, 1898, No. 63. 

Safes. S. J. Stinstra and others, Amsterdam, May 22, 1822, No. 145. 

Sir W. W. Knighton of Blendworth Lodge, London, May 21, 1885. 
Otto Pein of Berlin, Cologne, October 29, 1888, No. 65 (40,000 

mark). 

In the Jacobson collection, Copenhagen ; bequeathed to the Glyptothek 
[before 1899]. 

In the Ny Carlsberg Glyptothek, Copenhagen. 

54*7. Daniel. A small picture. 

In the collection of Pieter Croon, Amsterdam, February 20, 1650. See 
Hofstede de Groot, Urkunden fiber Rembrandt, No. 128. 

55. SUSANNA AT THE BATH. Sm. 41 ; Bode 255 ; Dut. 
36; Wb. 21 ; B.-HdG. 322. Susanna, turning to the left, is about to 
descend the stone steps from the right into the water. She is surprised by 
the two Elders. One of them tries with his left hand to tear away her 
bathing-towel, and makes a threatening gesture with his clenched right fist. 
The more aged of the two men, behind to the right, hobbles forward out 
of the shadow. Susanna, shivering, stands with one foot in the water ; 
with her right hand she presses the towel firmly against her body with a 
gesture of alarm, and holds her left arm before her bosom. She looks out 
of the picture with an expression of dread and entreaty. On the stone 
bench to the right lies her rich gown of brilliant red. To the left, beyond 
the basin, are the terraces, arcades, and towers of the royal palace of Babylon. 



xxn REMBRANDT 



53 



On the bank is a peacock. A couple are walking amid the bushes. 
Small full-length figures. 

Signed on the right at foot on the edge of a step, " Rembrandt f. 
1647 " ; oak panel, 30 inches by 36 inches. 

There are painted studies for the Susanna in the Louvre (58) and in the 
collection of Leon Bonnat, Paris (60) ; for the elder in front in the Bischoffsheim 
collection, Paris (59), and in the Von Nemcs collection, Budapest (56). 

A finished drawing is in the Landesgalerie, Budapest, reproduced in 
Handzeichnungen der Albertlna, 286. A study in red chalk is in the Berlin Print- 
room, reproduced by Lippmann and Hofstcde de Groot, 20. A chalk study for 
the Susanna is also in the Berlin Print-room, reproduced by Lippmann, 197. 
Several pen-and-ink studies for the elder in front were in the collection of 
J. P. Heseltine (HdG. 986 and 1021). 

Engraved in mezzotint by R. Earlom, 1769. 

Mentioned by Bode, pp. 485, 591 ; by Dutuit, p. 25 ; by Michel, pp. 323, 
551 [247, 249-50, 436]. For the relation of this and other pictures of 
"Susanna" by Rembrandt to a picture by Lastman, see Valentiner in the 
Z.eitsfhrift filr bildcnde Kunst, November 1907, and Kurt Freise, P. Lastman, pp. 
249, etc. 

Exhibited at the Royal Academy Winter Exhibition, London, 1883, 
No. 236. 

Possibly in the collection of Adriaen Banck, Amsterdam, who in 1647 bought 
a " Susanna " from Rembrandt for 500 florins and sold it to Adriaen Maen of 
Schiedam in 1660 for 560 florins. See Hofstede de Groot, Urkunden liber 
Rembrandt, Nos. 207, 732. 

Sales. Baron Schonborn, Amsterdam, April 16, 1738 (Hoct, i. 511), No. 66 

but No. 65 of the original catalogue (700 florins). 
J. A. J. Aved, Paris, November 24, 1766 (2760 francs). 

In the collection of Edmund Burke, London, 1769. 

Sale. Sir Joshua Reynolds, London, March 11, 1795 (^156, according to 
Sm.). 

In the collection of Sir E. Lechmerc, Bart., The Rhydd, till 1883. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 300 
Paintings," No. 135 ; sold in 1883 to Berlin. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828E. 

56. STUDY OF AN ELDER'S HEAD FOR THE 
" SUSANNA." A study for 55. Half-length, in profile to the left. 
He holds his clenched right fist before his chin. He wears a high cap, 
and has a small peaked beard and whiskers. 

Panel, 9 inches by 7 inches. 

A replica, relatively somewhat narrower, is in the Bischoffsheim collection 

(59). 

Exhibited at Dtlsseldorf, 1912, No. 44. 

In the collection of Count Rizea. 

In the possession of the London dealers Dowdeswell. 

In the possession of the Paris dealer F. Kleinberger. 

In the collection of Marczell von Nemes, Budapest, sold in Paris, June 17, 
1913, No. 62 (54,000 francs). 

57. SUSANNA AT THE BATH. Sm. 42 ; Bode 12 ; Dut. 
33 ; Wb. 337 ; B.-HdG. 193. Susanna, undraped, rises to the left to 



54 REMBRANDT SECT. 

descend into the bath, and turns her face towards the spectator. She 
appears to be startled by a rustling behind her in the bushes, where the 
face of one of the elders is visible to the right. With her right hand she 
covers her thighs with a white linen cloth, and holds her left hand up to 
her bosom. On the stone bench to the right, from which she is rising, 
lie her deep red dress, trimmed with gold, and her embroidered shift. Her 
dull golden hair, fastened on the top of her head with a black ribbon, falls 
over her right shoulder and on to her back. She wears a string of large 
pearls round her neck and two pearl bracelets on each arm. The low 
stone pillar beside the steps leading down to the water is curiously carved ; 
upon it, behind her to the left, is a casket of ointment standing in a gold 
salver. In the background is the courtyard of the palace of Babylon, with 
a projecting wing shaped like a tower, a terrace, and a low balustrade 
above. Beyond is a hill. Strong light falls from the left on the woman's 
figure and on the white shift. Small full-length figure. 

Signed on the right at foot, Rembr ant f. (The letters to the right 

f. 163 7 

of the vertical line are on an added strip) ; oak panel, 19 inches by 15 J 
inches a strip ij inches wide has been added on the right. 

The picture appears to have been painted for a frame rounded at top. 

Engraved in outline by A. L. Zeelander after the drawing by Heideloff in 
Steengracht's work on The Hague Gallery, No. 27. 

Mentioned by Vosraaer, pp. 163, 514 ; by Bode, pp. 451, 558 ; by Dutuit, 
p. 36 ; by Michel, pp. 226, 565 [174, 440]. 

Sale. P. J. Snijers, Antwerp, May 23, 1758 (Tcrvv. 202), No. 39 (157 
florins). 

In the collection of G. van Slingeland, The Hague. 

In the private collection of the Stadholder William V., The Hague, 1770 
(Terw. p. 709). 

In the Royal Gallery, The Hague, 1910 catalogue, No. 147 [Sm. valued it 
in 1836 at 315]. 

58. SUSANNA AT THE BATH (or, A WOMAN BATH- 
ING). Bode 286 ; Dut. 37 ; Wb. 272 ; B.-HdG. 324. Susanna, turned 
to the left, is about to descend the steps into the bath. She places her right 
foot in the water and turns her head sideways towards the spectator, with 
an expression of alarm. With her right hand she presses a large bathing- 
towel against her body, and with her left hand holds her hair, which is 
falling over her right shoulder. Full light falls from the front on the 
figure, which is strongly relieved against a dark background of trees. Full- 
length, about a third of life size. Painted about 1647. A study for 55 
(Berlin). [Possibly identical with 6i, although this was said to be dated 
1653 anc ^ to be smaller.] 

Oak panel, 24 J inches by 19 inches. 

Engraved by R. Earlom. 

Mentioned by Vosmaer, pp. 214, 526 ; by Bode, pp. 486, 595 ; by Dutuir, 
p. 35 ; by Michel, pp. 325, 526 [249, 435]. 

In the La Caze collection, bequeathed to the Louvre in 1869. 
In the Louvre, Paris, 1907 catalogue, No. 2550 (old No. 97). 



xxn REMBRANDT 55 

59. STUDY OF AN ELDER'S HEAD FOR THE 
"SUSANNA." A study for 55 (Berlin). A replica of 56 (M. von 
Nemes), for which see the description. 

Panel, ioi inches by 9 inches. 

In the collection of L. Nardus, Suresnes. 

Sale. P. Widener and others, Amsterdam, June 30, 1909, No. i v 

In the possession of the Paris dealer F. Kleinberger. 

In the collection of F. de Bischoffsheim, Paris. 

60. STUDY OF THE HEAD OF SUSANNA. Bode 290 ; 
Dut. 35 ; Wb. 294 ; B.-HdG. 323. In profile to the left, turning her head 
to the spectator and holding her left hand at her bosom. She has dark 
eyes, and brown hair falling over her right shoulder and covered at the back 
of the head with a yellow cap. Round her left wrist is a gold bracelet. 
Dark background. A small half-length. A study for 55 (Berlin). 

Oak panel, 8 inches by 7 inches. 

Mentioned by Bode, pp. 486, 596 ; by Dutuit, p. 5 1 ; by Michel, pp. 325, 
565 [249, 435]. 

Exhibited at Amsterdam, 1898, No. 67 ; in Paris, 1911, No. 129. 
Sale. His de la Salle of Paris, London, 1880. 
In the collection of Le"on Bonnat, Paris. 

61. Susanna at the Bath. She sits, seen in profile, completely 
undraped at the edge of the water beneath a cliff. Under her is a white- 
cloth covering her clothes. Her whole back is in strong light, while the 
front of her body is in light and shade. Her long fair hair is in charming 
disorder. She has not yet noticed the two elders, who are concealed 
behind her and, leaning on a balustrade, watch her eagerly. Reeds and 
other water-plants form the accessories. Painted thickly and broadly, but 
not without care. 

Panel, 17 inches by 13 inches. 

Sale. X. de Burtin, Brussels, July 21, 1819, No. 141 (228 florins). 

6ia. Susanna at the Bath, surprised by the Elders. Very 
effective. 
Panel. 
Sale. Amsterdam, January 25, 1830, No. 64 (30 florins, Esser). 

6i/>. Susanna at the Bath. Sm. 618 ; Dut. 38. She descends 
the steps of the bath timidly, and appears to have noticed some movement 
near her. With one hand she hastily presses to her body the loose gar- 
ment round her lower limbs, and raises the other hand with a gesture of 
fright. Her body is bent forward and her eyes are cast down. Behind 
her lies the cushion, on which she has undressed. In the background one 
of the elders is dimly visible. [Possibly identical with 58 (Louvre).] 

Dated 1653 ; panel, 19 inches by 14 inches. 

Sale. Sir Joshua Reynolds, London, March 1 1, 1795 (156). 

In the possession of the London dealer Yates, for sale, 1836 (Sm.). 

6 it. Susanna's Accusers before the Judge. In a great hall, 
illumined by a broad beam of light, Daniel sits as judge on a throne 
upon a dais. He is pronouncing judgment on the two elders ; one ot 



56 REMBRANDT SECT. 

them pleads for mercy, while the other is struck by a guard. Susanna 
stands beside Daniel, with her hands clasped and her eyes cast up to heaven. 
She is surrounded by various dignitaries. At the foot of the dais is a 
scribe. At the door of the hall stands a soldier with a halberd. A com- 
position of fourteen figures. To judge from the style, the picture might 
be by Leonard Bramer. 

Panel, 24 inches by 33 inches. 

In the collection of the Abbe Du Jardin, Bruges, catalogue of about 1840. 

bid. The Head of Blind Tobit. Sm. 149. Seen in full face. 
He has a bushy grey beard. He wears a red cap and a plain reddish- 
brown coat. 

I2j inches by i8J inches probably the reverse. 

Sale. Viscountess Hampden, London, April 16, 1834 (47 : 5s.). 
In the collection of Dr. Fletcher, Gloucester, 1836 (Sm.). 

62. TOBIAS BIDDING FAREWELL TO HIS PARENTS. 
B.-HdG. 593. In the right foreground of a homely room the, angel 
stands, turned to the left, in front of a table with a cover. He has a 
light robe ; his hat is in his right hand, and his grey-green cloak is thrown 
over his left shoulder. Behind the table Tobias, in a dull yellow cloak 
over an embroidered white shirt, stretches out his right hand to bid fare- 
well to his father who sits on a chair in shadow to the left. Behind the 
two stands the mother, in a dull red jacket and red head-dress. In front of 
the table is a low chair with a red cushion. Small full-length figures. 
Painted about 1661-63. 

Traces of a signature are on the left at foot ; canvas, 25 inches by 30 
inches. 

In the Hermitage Palace, Petrograd ; brought out of the store-room into 
the gallery in 1904. 

63. Tobias setting out from his Home. Sm. 46. 

In the collection of the Duke of Brunswick, 1836 (Sm.). Sm. confused 
the museums at Oldenburg and Brunswick. The picture which he mentions 
is a school-piece at Oldenburg. 

64. TOBIT AND HIS WIFE. Sm. 51 ; Bode 34; Dut. 41 j 
Wb. 20 ; B.-HdG. 249. In a homely room, into which the full light 
of evening penetrates from a tall window with the lower casement open 
on the left, the aged Tobit sits behind the fire burning on the floor. He 
is turned to the left. He holds his stick in his left hand, and raises the 
right as if to reprove his wife, who stands beside him to the left, for 
stealing the goat. The wife, in black with a kerchief on her head, holds 
the goat with her right hand. To the right, in the dark background, is a 
bed. To the left, in a recess by the window, are pots and crockery. 
Small full-length figures. [Pendant to 85.] 

Signed on the right at foot, "Rembrandt f. 1645"; panel of an 
unknown foreign wood, 8 inches by loj inches. 

Mentioned by Vosmaer, pp. 262, 537 ; by Bode, pp. 475, 562 ; by Dutuit, 
p. 25 ; by Michel, pp. 301, 551 [230, 436]. 



xxii REMBRANDT 57 

Sale. Amsterdam, April 17, 17^9, No. 103 (27 florins, Yvcr). 

In the picture gallery in the Royal Palace, Berlin, as early as 1786 ; see 
Nicolai, Beschreibung von Berlin, ii. 885. 

In one of the Royal palaces, Potsdam ; transferred to the Berlin Museum, 
1830 [valued by Sm. in 1836 at 84]. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 805. 

64*. TOBIT'S WIFE BRINGING THE GOAT TO HER 
HUSBAND. Tobit sits in a room, wearing a dull light red robe 
trimmed with fur and having a wide flowered border. His wife has a 
coloured kerchief, a reddish skirt kilted over a grey petticoat, and a light 
grey jacket. At the man's feet is a poodle. To the right is a fire ; above 
to the right is a basket. 

Signed on the left with the monogram " R H," and dated 1626 ; oak 
panel, I5J inches by 12 inches. 

In the Shugin collection, Moscow 

65. TOBIT AND HIS WIFE. Sm. 50 (?) ; Dut. 42; Wb. 
167 ; B.-HdG. 331. In the left background of a homely room, beside 
the hearth with a pot on the fire, the aged Tobit sits in a thoughtful 
attitude, turned to the right with his hands folded. Nearer the front, on 
the left, his wife, seen from the back, sits spinning at the window. 
Tobit wears a dark brown robe, trimmed with fur, and a cap. His wife 
wears a red jacket, and a white cap and apron. Through the open 
window to the left is a view of a courtyard with a green tree in front of 
a red roof. In the window hangs a bird-cage. On the floor to the left 
are two crutches and a broom. Small full-length figures. 

Signed at foot in the left centre, " Rembrandt f. 1650" ; oak panel, 
i6J inches by 21 J inches. 

Mentioned by Dutuit, p. 43 ; by Michel, p. 559 [432]. 
Exhibited at the Guildhall Art Gallery, London, 1895, t No. 100; at the 
Royal Academy Winter Exhibition, London, 1899, No. 47. 

Sales. (Possibly) P. van Buytenc, Delft, October 29, 1748 (Hoet, ii. 231), 

No. 91 (28 florins). 
D. Fiers Kappeyne, Amsterdam, April 25, 1775, No. 81 (200 

florins, Yver). 
(Possibly) R. de Saint Victor, Paris, November 26, 1822 (1800 

francs). 

(Possibly) Erard, Paris, April 23, 1832 (982 francs, Chaplin) [Sm. 
gives the dimensions of the picture in this and the preceding sale 
as 12 inches by 15 inches]. 

In the collection of Sir Francis Cook, Bart., Richmond. 
In the collection of Sir Frederick Cook, Bart., Richmond. 

66. Tobit and his Wife. Sm. 49 ; Wb. 494 ; B.-HdG. xvii. 
They sit at a window to the right of a homely room. The woman, with 
her back to the spectator, sits on an upturned basket near the front at her 
spinning-wheel. Tobit, farther back, is turned to the left ; his hands are 
folded and his eyes closed. Beside him, to the left, is a table with cooking 
utensils on it ; at the back is a bed. On the floor in the left foreground 
is a lighted fire, with two pots and some firewood. The light enters at 



58 REMBRANDT SECT. 

the window and illumines most vividly the figure of Tobit. Painted 
about 1636-38. 

See Hofstede de Groot, Urkunden iiber Rembrandt, No. 45. 

An old copy is in the Hofje van Aarden, Leerdam ; another is in a private 
collection in Philadelphia. 

The original is lost. Described from an engraving by W. de Leeuw, with 
the inscription, "Rembr, van Rijn inv. W. d. Leeuw fecit," and a quatrain by 
C. G. Plempius. 

67. TOBIAS AND THE ANGEL. At the foot of a hill. The 
angel, turned to the left, sits on the ground, holding a staff in his left hand ; 
his feet are bare. In front of him stands Tobias, clad in a red coat ; he 
bends down to the right and adjusts his garment on his left leg. On the 
extreme left is a little dog at a pool. In the background to the right is a 
lofty cliff, while to the left is a spacious landscape with sky. Small full- 
length figures. Painted about 1650. Formerly attributed to Govert 
Flinck. 

Signed on the left at foot, " R." ; canvas, 34 inches by 29 \ inches. 

A pen-and-ink sketch for the picture is in the collection of Leon Bonnat, 
Bayonne ; reproduced by Lippmann, 183. 

In the possession of the Berlin dealer Auerbach. 

Sale. H. Emden of Hamburg, Berlin, May 3, 1910, No. 80 as the work 
of Govert Flinck. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 8z8N ; given 
by the director, W. Bode, in 1910. 

68. TOBIAS AND THE ANGEL. Sm. 44, 45, 47, and Suppl. 
19 j Wb. 230 ; B.-HdG. 344. Near the side of a rocky hill, beside the 
edge of a pool in the immediate foreground, Tobias, in a reddish-brown 
coat, sits on the ground, shrinking back from the fish which rises from 
the water to the right, and at which his dog is barking. The angel, in 
white, with outspread wings, stands behind Tobias, encouraging him and 
ready to help him up. The water spreads to the right along the foot of 
the hill, to which a road leads under a viaduct. Above is a small fort. In 
the twilight of late evening. Small full-length figures. Painted about 
1655. 

Oak panel, 31 inches by 27 inches. 

Like numerous episodes from the Book of Tobit, this has afforded Rembrandt 
material for numerous drawings ; but as they differ in details, it cannot be 
definitely asserted that they were studies for this particular picture. Those 
which resemble the composition most closely are a drawing in the Albertina, 
HdG. 1406, photographed by Braun, No. 70675 ; a drawing in the Dresden 
Print-room, reproduced by Woermann, Dresdener Handxeichnungen, viii. 296 ; and 
a drawing in the Klinkosch sale. 

Engraved in mezzotint by James MacArdell. 

Mentioned by Waagen, iii. 207 [by Michel, p. 431]. 

Exhibited at the British Institution, London, 1839, No. 18 ; at the Royal 
Academy Winter Exhibition, London, 1893, No. 89 ; 1899, No. 87 ; and 1912, 
No. 53 ; at Amsterdam, 1898, No. 87. 

Sales. Jacques de Roore of Amsterdam, The Hague, September 4, 1747 
(Hoet, ii. 208), No. 109 (121 florins, Van Spangen or W. Gibbs). 



xxn REMBRANDT 59 

Sir Joshua Reynolds, London, March 1 1, 1795 [i i : i is., according 

to Sm.]. 
Robit, London, 1801, No. 137 of Bryan's catalogue ; see Buchanan, 

Memoirs of Painting, ii. 71. 

G. Hibbert, London, June 13, 1829 [94 : ios., according to Sm.]. 
Lord Northwick, Thirlstane House, Cheltenham, July 26, 1859, 

No. 1705. 

In the collection of John Graham-Gilbert, Glasgow ; bequeathed to the city 
by Mrs. Graham-Gilbert in 1877. 

In the Glasgow Art Gallery, 1911 catalogue, No. 805. 

68*. LANDSCAPE WITH FIGURES REPRESENTING 
THE STORY OF TOBIAS AND THE ANGEL. Sm. 43. In 
a hilly landscape the angel leads Tobias, who carries the fish under his 
right arm, over the great stones in the foreground, giving a passage over a 
stream which widens on the right into a pool. Beyond is a great clump 
of trees. To the left is a view of the hilly distance with a cottage amid 
trees. On the road sits a man, seen from the back ; in the distance are 
two small figures. Painted about 1655. The picture used to hang too 
high to be properly estimated. Since it has been hung lower, and thus 
made accessible for close examination, the doubts as to its authenticity 
seem to the author no longer justifiable. The peculiar cracks in the 
sky are probably caused by undue exposure to sunlight. 

Panel, 22 inches by 34 inches. 

Engraved by J. Appleton. 

Mentioned by Vosmacr, p. 315, note I ; by Dutuit, p. 32 [by Michel, 



. 

Exhibited at the British Institution, London, 1815, No. 26. 
In the collection of John Barnard, London. 
In the possession of the London dealer T. Emmerson. 

In the collection of the Rev. W. Holwell-Carr, who bequeathed it in 1831 
to the National Gallery. 

In the National Gallery, London, 1911 catalogue, No. -:. 

68. Tobias and the Angel. 

Mentioned by A. Bredius in the Revue de fArt Ancicn et Moderne, xxviii. 

P- 4*3- 

In the collection of Lambert Doomer, Amsterdam ; in the inventory of his 
effects, 1700. 

68 t \ Tobias and the Angel. 

Exhibited in the British Institution, London, 1858, No. 95. 
Then in the collection of Earl Howe, Gopsall. 

68^. Tobias and the Angel. 
25^ inches by 19! inches. 

Exhibited in the Royal Academy Winter Exhibition, London, 1885, 
No. 135. 

Then in the collection of Stephen Tucker. 

69. TOBIAS RESTORING HIS FATHER'S SIGHT. 

Sm. 52 ; Bode 21 ; Dut. 43 ; Wb. 4 ; B.-HdG. 216. Near the window 
to the left of a homely room sits Tobit. His son, in a green robe and a 



60 REMBRANDT SECT. 

white turban, stands behind him, anointing his blind eye with the ointment 
that he has brought home from his journey. In front of the old man stands 
his wife, turned to the right ; she holds his hands during the operation. 
The angel, in a white robe, with wings outstretched, stands to the left 
behind the group, and looks on attentively. In the dark foreground, on 
the extreme left, two other figures are dimly visible. The lines of the 
roof are seen above. In the background there is a pot on the fire ; on the 
wall are some onions ; near them is a winding staircase with a barrel below 
it. On a bench near Tobit lie his son's travelling-cloak and sword. In 
the left foreground are a chair, a spinning-wheel, and a basket ; to the 
right is a dog. The light falls from the left through the window upon the 
main group. Small full-length figures. 

Signed to the left on the back of the chair, "Rembrandt f. 1636 " ; 
oak panel, 19 inches by 15 J inches. 

An old copy in the Brunswick Museum, 1910 catalogue, No. 239^, there 
attributed to G. van den Eeckhout, is more than a third wider on the right, 
showing the beginning of the staircase, a pump, kitchen utensils, and a cat, at 
which the dog is barking. Probably, therefore, the Brussels composition has 
been cut down on the right, for Marcenay's etching shows the whole dog, and, 
in the left foreground, a group of five spectators. 

Etched by A. Marcenay, 1755, and, with variations, by Greenwood. 
Mentioned by Vosmaer, pp. 164, 511 ; by Bode, pp. 445, 560; by Dutuit, 
p. 50 ; by Michel, pp. 231, 560 [178, 430]. 
Exhibited at DUsseldorf, 1904, No. 367. 

Sales. (Possibly) Baron Schonborn, Amsterdam, April 1 6, 1738 (Hoet, i. 
511, and Terw. 22), No. 69 but No. 70 of the original catalogue 
(30 florins) ; measuring 12 inches by 20 inches. 
(Possibly) Count Fraula, Brussels, July 21, 1738 (Hoet, i. 530), No. 

135 (175 florins) ; measuring nj inches by 22^ inches. 
Prince de Carignan, Paris, July 30, 1742 (i 101 francs, with pendant, 

" Joseph telling his dreams," 14) ; see Ch. Blanc, i. 33. 

In the collection of the Marquis Voyer d'Argenson, Paris, 1755 ; according 
to the inscription on Marcenay's etching. 

Sales. Jan Gildemeester, Amsterdam, June II, 1800, No. 181 (1005 

florins, Westerwoud) ; measuring 18 inches by 15 inches. 
G. Hibbert, London, June 13, 1829 (.113 : 5s., Jennings). 
In the collection of the Due d'Arenberg, Brussels ; W. Burger's catalogue, 
No. 52. 

69*. Tobias restoring his Father's Sight. 

In the collection of Charles Jennens, London, 1761 ; see London and its 
Environs described, printed for R. and J. Dodsley at Pall Mall. 

70. THE ANGEL DEPARTING FROM THE FAMILY 
OF TOBIT. Sm. 53 ; Bode 268 ; Dut. 44 ; Wb. 270 ; B.-HdG. 
219. The family of Tobit are assembled at the house-door on the left. 
The angel, seen from the back, wears a long white robe and a pale red 
jacket embroidered with gold ; he flies up to the right in a gleaming cloud, 
filling the upper right portion of the picture. Tobit, bare-headed, with a 
long white beard, has fallen on his knees in an attitude of devotion before 
the steps, and presses his folded hands on the ground. Behind him is his 



xxn REMBRANDT 61 

son, half-kneeling ; with open mouth, he looks up in astonishment, and 
stretches out his hands. Of the two women in the doorway, the young 
daughter-in-law Sarah, turned to the right, has her hands folded, and looks 
up with a devout air at the angel, while the aged Anna turns away her 
head in alarm and lets her crutch fall. Anna wears a large dark hood, 
while Sarah's hair is covered with a transparent veil. The dog, barking 
in fear, cowers against the two women. Above the house-door grows a 
vine ; to the right is a view of a wooded slope in the distance. Small full- 
length figures. 

Signed on the left at foot on a base, "Rembrandt f. 1637"; oak 
panel, 27 inches by 2o inches. 

The composition is based, as Vosmaer has already remarked, on a wood- 
engraving after Maerten van Heemskerck. See Hofstede dc Groot in the 
Jahrbuch der Komglichen Preusi'nchen Kunstsammlungen, 1894, iii. 
A copy occurred in the 

Sales. P. C. Hasselaar, Amsterdam, November 28, 1797, No. 2 (705 

florins, Achtienhoven for Brentano). 

J. A. Brentano, Amsterdam, May 13, 1822, No. 281 (590 florins). 
F. J. Mensart and others, Amsterdam, September 2, 1824, No. 

146 (430 florins, Engelberts). 
(Probably) O. W. J. Berg, Amsterdam, July 7, 1825, No. 93 (370 

florins). 

A later replica, in which the angel, contrary to the legend, flies towards the 
family of Tobit, was 

Engraved by A. Walker in the Nathaniel Hone collection, 1765 ; and 

by J. P. Cook. 

Mentioned by Waagcn in the Wombwell collection, 1854 (ii. 308) ; by 
Sra. 54 ; by Vosmaer, p. 514 ; by Michel, p. 232, note [179, note]. 
Sales. De Mortain, Paris, February 5, 1776 ; sec Ch. Blanc, i. 348. 

F. G. Baron van Lynden van Hcmmcn and others, Amsterdam, 

November 10, 1846, No. 96 (125 florins, Roos). 
Fraser and others, London, May 7, 1904, No. 101. 

A version on copper was in the sale : Stadnitsky and M tiller, Amsterdam, 
May i 6, iS}i, No. 82 (78 florins, Van den Berg). 

Probably also the picture panel, 25 A inches by ^\\ inches described as 
44 The Angel disappearing from the Family of Manoah " in the sale, Amster- 
dam, April 9, 1783, No. 45, was a similar replica or copy. 

Other copies are in the Wesendonck collection, formerly in Berlin, and in 
the collection of Theodore Duret, Paris. 

Engraved by Denon, J. de Frey, Malbete in the Musf'e Frartfais, Prevost in 
Filhol (ii. 141), in London (ii. 55), and A. F. Oescr. 

Mentioned by Vosmaer, pp. 164, 514 ; by Bode, pp. 444 /, 594 ; by Dutuit, 
p. 35 ; by Michel, pp. 232, 562 [178-9, 4.34]. 

Sale. Count Fraula, Brussels, July 21, 1738 (Hoet, i. 543), No. 281 (300 

florins). 

In the French Royal collection; in the Luxembourg in 1750, and in the 
Louvre since 1785 (Engerand, p. 527). 

In the Louvre, Paris, 1907 catalogue, No. 2536 [valued by the experts in 
1816 at 30,000 francs]. 

71. A LARGE INTERIOR WITH A HIGH PRIEST. - 

The priest has the features of Rembrandt's father. He stands in profile 



62 REMBRANDT SECT. 

to the left at a table, serving as an altar, on which are two lighted candles. 
He wears a golden robe and is writing in a book upon the altar. The 
altar-cloth has a gold and silver border. Above the edge of the altar hangs 
a print. Painted about 1631-32. 

Panel, about 22^ inches by i8J inches. 

A copy is in the collection of Madame von Czosnowska, at present housed 
in Count Zieduszycki's Gallery, Lemberg. 

Mentioned by Hofstede de Groot in Onze Kunst, 1912. 

Sales. Amsterdam, September 7, 1803, No. 139 (350 florins). 

(Probably) Van Roothaan, Amsterdam, March 29, 1826, No. 52 

(31 florins, Engesmet) as by J. Lievens. 
In the collection of T. Humphry Ward, London. 
In the collection of J. Walter, London. 

71*. A Prophetess. A small picture. 
Sale. Amsterdam, April 17, 1708, No. 268. 

'jib. A Princess casts herself at the Feet of a Personage of 
High Rank. The personage advances leaning on a staff. Several figures 
at the back. 

Panel, 14 inches by 10 inches. 

Sale. O. A. Spitzen, Zwolle, October 15, 1889, No. 7. 

7 i<r. A Patriarch on his Couch. A visitor blesses him. Near 
him is a youth with two hounds. Vigorously painted. 
Canvas, 24^ inches by 31 J inches. 
Sale. J. Danser Nijman, Amsterdam, August 16, 1797, No. 231 (37 florins). 

72. ZACHARIAS IN THE TEMPLE. Sm. 135 ; B.-HdG. 

42. He stands turned to the right, almost in profile, holding with both 
hands an open folio. He has a full grey beard and wears a rich and 
fantastic priestly costume, consisting of a long white under-garment with 
wide sleeves and over it a light gold-embroidered mantle fastened with a 
brooch. He has a head-dress shaped like a helmet and adorned with gold ; 
a long veil falls down from the back of it. On the right is an octagonal 
table with a greyish-green cloth ; on it stands a large silver vase, near 
which is leaning the priest's staff. Farther back is an arm-chair. To the 
left, behind the prophet, is a dark curtain, apparently concealing a throne 
or altar. A small full-length figure. Painted about 1631-32. The figure 
of the priest is repeated very nearly in Rembrandt's etching "The Cir- 
cumcision," Bartsch 48 [Hind 19] ; in this he holds a staff, and smoke 
rises from the vase on the table. 

Signed on the right at foot, " Rembrandt f." ; oak panel, 23 inches 
by 19 inches. 

An old copy is in the Schwerin Museum, 1882 catalogue, No. 577, doubt 
fully attributed to Salomon Koninck. 

Exhibited at Amsterdam in the Rembrandt Exhibition, 1898, No. 19, and 
by the dealers Fred. Muller and Co., 1906, No. 107; and in Paris, 1911, 
No. 115. 

Sale. De Julienne, Paris, March 30, 1 767 ( 1 50 francs) according to Dutuit. 

In the collection of Jeremiah Harman, 1836 (Sm.). 



xxn REMBRANDT 63 

Sale. J. Harman, London, May 17, 1844 (157 : ics., Baillic). 
In the collection of Captain E. Purvis, 1875. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 300 
Paintings," No. 1 17. 

In the collection of A. Lchmann, Paris. 

720. The Holy Ghost appearing to Zacharias and Elisabeth. 
Vigorously painted. 

Panel, i8i inches by 17^ inches. 

Sale. Amsterdam, April 27, 17/4, No. 29. 

73. The Annunciation. Sm. 56. The Virgin kneels beside a little 
fountain. On the opposite side of it stands the angel with outspread 
wings, delivering the heavenly message. A choir of angels is seen above, 

The original is lost. Described by Sm. from the engravings by Lagrencc 
and Deprcel. 

74. THE SALUTATION. Sm. 57 ; Bode 240; Dut. 45 ; Wb. 
258 ; B.-HdG. 241. On the terrace of a palatial building adorned with 
a fantastic column, which stands on a hill to the left high above a town, 
Elisabeth greets Mary, who comes as the day is waning. Mary, in profile 
to the left, is embraced by the aged Elisabeth, who looks on her with 
emotion ; a negress takes off her travelling-cloak. In the doorway to the 
left the aged Zacharias comes forward, leaning his left hand on a boy's 
shoulder. The driver of Mary's ass with the animal is seen on the left, 
half-way down the hill. In front of the group is a light brown poodle, 
half-cropped. Mary wears a bluish-green jacket and a dark purple skirt ; 
she has a white cap tied with a red ribbon. Elisabeth wears a cherry- 
coloured gown and a substantial head-dress of many colours. The negress 
is in dark red. The white-bearded Zacharias and his youthful attendant 
are bare-headed and wear dark clothes. In the left foreground are a peacock 
and peahen with their young ; to the right is a stone basin. In the distant 
valley is a town with a church in a heavy Gothic style. Smoke rises from 
Zacharias' house behind the group of women. Small full-length figures. 

Signed in the centre at foot on a step, "Rembrandt 1640"; oak 
panel, rounded at top, 22i inches by 19 inches. 

Engraved by J. Burnet, 1813 ; etched by P. J. Arcndzen in Hofstcdc de 
Groot, Masterpieces of Dutch Art In English Collections. 

Mentioned by Vosmaer, pp. 212, 522 ; by Bode, pp. 447, 589 ; by Dutuit, 
p. 49 ; by Michel, pp. 266, 588 [204-5, 434] '> by Waagen, ii. 165 ; by Mcusel, 
Miscellanea, vol. xv. p. 163. 

Exhibited at the British Institution, London, 1834, No. 114 ; at the Royal 
Academy Winter Exhibition, London, 1870, No. 36; 1895, No. 88; 1899, 
No. 52 ; and at Amsterdam, 1898, No. 45. 

In the collection of the King of Sardinia. 

In the collection of Prince Eugene of Savoy, Vienna, No. 122. 

Imported into England by Nieuwenhuys about 1807; purchased by the 
Marquis of Westminster in 1812. 

In the collection of the Marquis, afterwards Duke, of Westminster, London ; 
1888 catalogue, No. 33 [in this collection in 1899]. 

In the collection of Alfred de Rothschild, Halton Manor. 



64 REMBRANDT SECT. 

75. Zacharias in the Temple. Sm. 134. This is probably the 
subject of the picture described by Sm. as follows : " A priest performing 
evening service. The interior of a Jewish temple, with an altar on the 
right, before which a priest is performing service. Several persons are 
present, some of whom are at their devotions, and a youth holds the skirt 
of the priest's robe. The gloom of evening gives a solemn effect to the 
scene. This is a finished study." 

In the collection of Major-General Davy, Tracy Park, 1836. 

76. The Naming of John the Baptist. Zacharias writes the 
name on a tablet. Ten figures. 

21 J inches by 28 J inches. 

Sale. Count Fraula, Brussels, July 21, 1738 (Hoet, i. 526), No. 91 
(17 florins). 

77. THE ADORATION OF THE SHEPHERDS. Sm. 58; 
Bode 172; Dut. 48; Wb. 121 ; B.-HdG. 316. On the left sits the 
Virgin Mary in a red gown, with the Child lying in front of her. She 
looks at two shepherds opposite to her, who kneel in adoration before the 
Child. Joseph stands to the right behind the Virgin ; beside him are two 
other figures. The right side of the picture is occupied by other country 
folk, who draw near out of the gloom of the lofty stable. In front of 
them is a bearded old man with a lantern ; close to him are a woman 
carrying a child, a boy with a dog, and two men. On the left, behind 
the Holy Family, is an ox. A basket hangs on a post above the principal 
group. Small full-length figures. 

Signed, "Rembrandt f. 1646" ; canvas, 25 inches by 22 inches. 

A copy is in the Metropolitan Museum, New York, 1908 catalogue, 
No. 241. 

A finished pen-and-wash drawing, which occurs also in several less fine 
examples, was in the collection of J. P. Heseltine, London ; reproduced by 
Lippmann, No. 88. 

Engraved by S. Bernard, R. W. Sievier, J. Burnet, H. C. Shenton. 

Mentioned by Vosmaer, pp. 265, 540 ; by Bode, pp. 475, 583 ; by Dutuit, 
p. 32 ; by Michel, pp. 322, 556 [247, 431]. 

Exhibited at the British Institution, London, 1815, No. 41. 

Sales. Marechal de Noailles, Paris, 1767 (2751 francs). 
Bandeville, Paris, December 3, 1787 (3000 francs). 
Tolozan, Paris, February 23, 1801 (10,000 francs). 

In the collection of John Julius Angerstein, London ; bought as a whole in 
1824 for the National Gallery. 

In the National Gallery, London, 1911 catalogue, No. 47. 

78. THE ADORATION OF THE SHEPHERDS. Sm. 59 ; 
Bode 105 ; Dut. 49 ; Wb. 100 ; B.-HdG. 315. In the right foreground 
sit the Virgin Mary and Joseph. They show the Child to the astonished 
shepherds, three of whom on the left have fallen on their knees in adora- 
tion, while others come forward with a lantern. Bright light falls from a 
lamp, which Joseph holds. Behind him in the gloom are seen the ox and 
the ass ; on a beam above are some hens. Small full-length figures. 






xxn REMBRANDT 65 

Signed on the left at foot, "... ndt f. 1646"; canvas, rounded at 
top, 38^ inches by 28^ inches. 

Etched by C. Hess. 

Mentioned by Vosmaer, pp. 265, 540 ; by Bode, pp. 475, 572 ; by Dutuit, 
p. 30 ; by Michel, pp. 322, 554 [247, 439] ; by Hofstcde de Groot, Urkunden 
fiber Rembrandt, No. 107. 

In the collection of Prince Frederick Henry of Orange, Stadholder of the 
Netherlands, to whose commission Rembrandt painted it, with a "Circumcision 
of Christ," now lost (82*7), for 2400 florins. 

In the collection of the Prince's widow, Amalia von Solms, in the Oude 
Hof, The Hague, 1667 inventory, No. 67 ; but not in the inventory of the 
effects divided among her four daughters. 

Probably, therefore, in the collection of the grandson of Amalia von Solms, 
William III. of Orange, King of England, till 1702. 

In the collection of Johann Wilhelm, Elector Palatine (who died in 1716), 
Dusscldorf ; see Van Gool, ii. p. 538 ; transferred with that collection to 
Munich in 1806. 

In the Aeltere Pinakothek, Munich, 1911 catalogue, No. 331 [Sm. valued 
it in 1836 at 630]. 

78*. The Nativity. 

It is uncertain whether two or more of the following were identical : 
In the collection of Lodewijck van Ludick, Amsterdam, about 1662 ; 
bought by him from Rembrandt with a "Circumcision" (83*7) for 600 florins. 
See Hofstede de Groot, Urkundcn tiber Rembrandt ', No. 253. 

In the collection of Louis Rinaldi, Amsterdam ; sold by him, February 16, 
1684, to Jacques La VCSHC (for 50 florins). See A. Bredius, Qud Holland, 1910, 
p. 10. 

Sales. Johan van Tongeren, The Hague, March 24, 1692 (Hoet, i. 14), 

No. 59 (152 florins) ; very fine. 

Willem van Haansbergen, The Hague, June 19, 1755 (Terw. 130) 
No. 56 but No. 232 of the original catalogue (10 florins 10 
Vcrsteeg) ; fine light and shade. 

79. The Adoration of the Shepherds. Sm. 60, and Suppl. 31. 
[This picture is composed of about the same number of figures as the pre- 
ceding (78, iMunich) ; but the Virgin is here seen seated on the left, with 
her hands united, and her head inclining down in an attitude of devotion. 
Joseph stands on the farther side of the crib, with a lighted candle in one 
hand, the flame of which he screens with the other ; two shepherds are 
kneeling in adoration, and a third stands near with a staff in his hand ; the 
remainder of the shepherds, and others, are on the right, and some of them 
appear to be conversing together.] 

Canvas, 21 J inches by 27 J inches. 

The same subject was engraved by Falbe (Sm.). 

In the possession of the dealer Lafontaine, who imported it into England 
in 1818 [but not finding a purchaser at 472 : ios., he took it back to Paris, 
according to Sm.]. 

In the Boursault collection, Paris, 1836 ; bought as a whole by the dealer 
Arteria for Edmund Higginson before 1842 (Sm.). 

Sale. E. Higginson of Saltmarsh Castle, London, June 1846, No. 101 
Cfno, Baily). 

VOL. VI F 



66 REMBRANDT SECT. 

79*. The Adoration of the Shepherds. 

45j inches by 35 inches. 

Sale. J. Gillott, London, April 19, 1872, No. 344 (zz : is., Everard). 

80. SIMEON IN THE TEMPLE (or, The Presentation 
in the Temple). Sm. 64 and 68 ; Bode 10 ; Dut. 52 ; Wb. 338 ; 
B.-HdG. 44. In the right centre foreground of a lofty Gothic temple 
the grey-haired Simeon, clad in a flowing robe of gold brocade, kneels, 
holding the Child in his arms. Beside him kneels the Virgin Mary, in 
a light blue gown and veil ; she looks at the Child. To the left, a little 
nearer the front, stands the high priest, with his back to the spectator ; he 
wears a long robe of deep purple and a coloured head-dress, and raises his 
arms to bless the Child. Round the group are several old men ; among 
them kneels Joseph, holding the dove. In the immediate foreground to 
the right sit two old men, seen in profile. In the right background is a 
high flight of broad steps, leading to the high priest's throne, above which 
is a high canopy. On the steps are many figures. 

Signed on the right at foot with the monogram, "R H L 1631 "; 
oak panel, 24 inches by 19 inches. 

A rounded strip 5 inches high was added in the eighteenth century at the 
top of the panel to make it match " The Young Mother " by Gerard Dou (i 10) 
in the same gallery ; this addition is now covered by the frame. 

A copy by W. de Poorter is in the Dresden Gallery, No. 1394. Another 
copy by Van Schijndel is in the Loeb collection, Caldenhof, near Hamm. 

Engraved by J. de Frey in the Musee Franfais ; by Devilliers the elder, after 
Plonski, in the Musee Napoleon ; in aquatint by Bierweiler ; in outline by Hei- 
deloff in Steengracht's work on the gallery. Lithographed by C. C. A. Last in 
Desguerrois' work on the gallery; by J. D. Steuerwald in Een Kunstpraatje ; 
chromolithographed by Spanier ; engraved on wood by J. W. G. Zimmermann 
and Berthold. All the reproductions, except the copy by Poorter, show the 
rounded piece added at the top. 

Mentioned by Vosmaer, pp. 101, 488 ; by Bode, p. 390 ; by Dutuit, p. 36 ; 
by Michel, pp. 52, 565 [51, 440]. 

Sale. Adriaen Bout, The Hague, August n, 1733 (Hoet, i. 391), No. 82 
(830 florins). 

In the collection of the Stadholder at the Castle of Loo. 

In the collection of the Stadholder William V., The Hague (Terw. 708). 

In the Louvre, Paris, 1795-1815. 

In the Royal Gallery, The Hague, 1910 catalogue, No. 145 [Sm. valued it 
in 1836 at /i 890]. 

8 1. SIMEON IN THE TEMPLE (or, The Presentation 
in the Temple). Sm. 66 and 67 ; Bode 97 ; Dut. 51 ; Wb. 92 ; 
B.-HdG. 7. On the right, near a column, the aged Simeon kneels 
in profile to the left, holding on his left arm the half- naked Child, 
whose form radiates light. Simeon makes a gesture with his right hand 
as if addressing the Virgin Mary, who kneels to the left with her hands 
clasped and looks anxiously at the Child. To the left, nearer the front, 
kneels Joseph, seen almost from the back ; he holds his hat in his clasped 
hands and wears a dark brown coat. Behind the group stands the pro- 
phetess Anna ; she wears a grey gown and a striped and coloured hood, 



xxn REMBRANDT 67 

and lifts her hands in the act of bles^in.:. She stands out dark against 
the wall which is in full sunlight. Simeon wears a light purplish- 
robe, with a broad cape of fox's fur. The Virgin Mary wears a blue 
cloak drawn over her head. To the right is a candle [in a bracket fixed 
on or near the column] ; below it is a descending flight of stairs. Small 
full-length figures ; Sm. wrongly says that there are seven (Sm. 66). Painted 
about 1628. 

Oak panel, 22 inches by 17 inches. 

In an imaginary drawing by Stolkcr of Rembrandt's studio, now in the British 
Museum, this picture stands on the easel. 

A pasticcio after this picture was in the sale : J. L. Menke, Cologne, 
October 27, 1890, No. 40. 

Etched in reverse by Weisbrod and Le Bas, in the Le Brun Gallery, 1792 ; 
etched by W. Ungcr in the Weber Gallery, No. I. 

Mentioned by Vosmaer, p. 489 ; by Bode, p. 368 ; by Dulait, p. 41 ; by 
Michel, pp. 29, 553 [22-3, 438]. 

Sale. (Possibly) M. de Jeude, The Hague, April 18, 1735 (Hoet, i. 437), 

No. 101 (41 florins). 

In the collection of the Comte de Lasse, according to the Vassal dc St. 
Hubert sale-catalogue. 

Saks. Comte de la Guiche, Paris, March 4, 1771. 

Vassal de St. Hubert, Paris, January 17, 1774, No. 2 3 ('5 francs). 

Comte Dubarry, Paris, November 21, 1774 (ilio francs). 

E. G. van Tindinghorste, Amsterdam, March 26, 1777, No. 55 

(3000 florins). 

In the possession of the dealer Le Brun, 1792. 
In the ducal collection at the Schloss, Sagan. 

In the collection of Count Hohenzollern -Hechingen, Lowenbcrg, 1881 
[bought from a Grtlnbcrg dealer by Weber in 1881]. 

Sale. E. F. Weber of Hamburg, Berlin, February 20, 1912, No. 212 [No. 

248 of the sale-catalogue] (225,000 mark, C. Sedelmeycr). 
In the Hamburg Kunsthalle. 

Si a. The Virgin Mary handing the Child to Simeon. A very 
fine masterpiece. 

42^ inches by 54 inches. 

Sab. M. van Hoeken and T. Hartsoeker, The Hague, May I, 1742 (Hoet, 
ii. 55), No. 17 (153 florins). 

8 \b. Simeon in the Temple. See Sm. 65. 
29 inches by 25 inches. 

Sale. Gerard Bicker van Zwieten, April 4, 175 5, The Hague (Terw. 121), 
No. 56 (80 florins). 

8i<r. The Presentation in the Temple. The high priest (? the 
aged Simeon) rises from his seat and with a dignified air stretches out 
his hand as if in the act of blessing. A golden altar-table and a vase 
are represented realistically and afford relief to the glittering robe of the 
high priest. A picture that is warmly painted in every respect. 

Sale. London, June 13, 1807, No. 22 (121 : i6s., probably Eckhardt). 



68 REMBRANDT SECT. 



. Simeon. 

It is uncertain whether two or more of the following were identical : 

In the collection of Dirck van Cattenburgh, Amsterdam, 1671 ; painted 
to his order and still unfinished a few months before Rembrandt's 
death. See A. Bredius in Oud Holland, 1909, p. 239. 

In the collection of Abraham Heyblom, Dordrecht, 1685 inventory, No. 13 ; 
see A. Bredius in Oud Holland, 1910, p. 12. 

Sales. Amsterdam, April 17, 1708, No. 361. 

Strawberry Hill, April 25, 1842, No. 100 (36: 155., Dommes) ; 
with a great effect of light and shade. Said in the catalogue to 
have been bought from a very old man, for whose grandfather it 
was said to have been painted. 

[Cf. Sm. 65, a picture in the collection of Horace Walpole, engraved by R. 
Earlom, measuring about 30 inches by 24 inches.] 

8i<?. Simeon with the Child in his Arms. He wears the robe of 
a high priest. Half-length figures, more than life size. 

Signed, and dated 1633 ; canvas, 35 J inches by 37 inches. 
Sale. L. Casterman and others, Antwerp, July 19, 1858, No. 113. 

8 if. Simeon with the Child. He kneels before a large round 
table covered with a red velvet carpet. The high priest addresses the 
Virgin Mary, and Joseph offers two turtle-doves. Ten persons stand round. 
A golden crown lights up the scene. 

Signed, and dated 1646 ; panel, 32 inches by 26 inches. 

Sale. L. Casterman and others, Antwerp, July 19, 1858, No. 114. 

82. THE CIRCUMCISION OF CHRIST. Sm. 69, and cf. 
70; Bode 137; Dut. 53; Wb. 241 ; B.-HdG. 518. In the stable at 
Bethlehem the Virgin Mary sits in the centre with the Child, under a 
canvas roof, above which is seen a ladder. A kneeling priest in a heavy 
yellow robe performs the rite of circumcision on the Child all clad in 
white. The Virgin wears a dull red gown with a yellow apron, a green 
and white striped veil, and a white kerchief. To the left of this group 
stands Joseph in a dull green robe and a white turban. He writes in a 
book which he holds before him in his left hand. A man with a fair red 
beard stands beside him to the right and looks at the book. On the ex- 
treme left behind them is a group of five men ; one has a light-coloured, 
and another a red, turban. In the immediate foreground to the left a 
boy looks on curiously. Farther back are two men, and a girl looking 
out of a window. On the right in half-shadow is a cow turned to the 
right. Full light from the left falls on the main group, and on the 
coverlet in the manger, which is used as a cradle. . Small full-length 
figures. 

The scene, represented in the stable, does not exactly suit the idea of 
" The Circumcision," which was performed in the Temple. The kneel- 
ing figure recalls rather one of the Magi in adoration. The old man 
standing and writing in a book might originally have been Zacharias 
declaring " His name is John." The elements of the three different 
episodes cannot all be linked to any one of them. Probably Rembrandt, 
while at work on the picture, passed from one subject to the other. 






xxn REMBRANDT 69 

Signed on the right at foot, "Rembrandt f. 1661 " ; canvas, 22i 
inches by 30 inches. 

Mentioned by Vosmaer, pp. 361, 562 ; by Bode, pp. 525, 578 ; by Dutuit, 
p. 48 ; by Michel, pp. 462, 555 [360-61, 433] ; by Waagen, iii. 459. 

Exhibited at Leeds, 1868, No. 735 ; at the Royal Academy Winter Exhibi- 
tion, London, 1899, No. 5 ; at Amsterdam, 1898, No. 115. 

Saks. Isaak van den Blooken, Amsterdam, May n, 1707 (Hoct, i. 98), 

No. I (230 florins) ; a masterpiece. 

(Possibly) Amsterdam, May n, 1756 (Tenv. 136), No. 7 (205 
florins) ; although here the dimensions given are reversed, 29^ 
inches by 22^ inches. 

In the collection of Earl Spencer, Althorp ; it was there in 1836 (Sm.) and 
in 1899. 

In the possession of the London dealers A. Sullcy and Co. ; sold by them to 
P. A. B. Widener. 

In the collection of the late P. A. B. Widener, Philadelphia. 

82*. The Circumcision of Christ. Wb. 486. In the right centre 
the chief group is on a dais like an altar. On the right the grey-bearded 
high priest sits on his throne ; he is turned to the left and wears the 
priestly head-dress and a white garment ; over the back of his throne is 
laid his long gold-embroidered robe. He holds the Child before him, over 
a basin with a columnar foot, while a young priest robed in green 
performs the rite of circumcision. Behind them another priest, with a 
pastoral staff in his hand, stands erect, and seen in full face. In the right 
foreground, below this group, two maidens in white, holding gold vases, 
kneel with their backs to the spectator. On the left beside the altar-like 
dais kneels a bare-footed man (? Joseph) turned to the right ; behind him 
is a woman (? The Virgin Mary), from the back of whose head falls a long 
veil. Behind them, and to the right behind the kneeling maidens, are 
other figures. In the left background three bearded men may be seen in 
the choir seats, which are panelled high up the back. Painted in 1646. 

Semicircular at top. 

A copy on canvas, 39 inches by 29 inches is in the Brunswick Gallery, 
1910 catalogue, No. 241 ; it was there as early as 1710. 

Mentioned by Hofstedc de Groot, Vrkunden fiber Rembrandt, No. 107. 

In the collection of Prince Frederick Henry of Orange, Stadholder of the 
Netherlands, to whose commission Rembrandt painted it, with an "Adoration 
of the Shepherds" (78), for 2400 florins. 

In the collection of the Prince's widow, Amalia von Solms, in the Oude 
Hof, The Hague, 1667 inventory, No. 68 ; but not in the inventory of the 
effects divided among her four daughters. 

Probably, therefore, in the collection of the grandson of Amalia von Solms, 
William III. of Orange, King of England, till 1702. 

In the collection of Johann Wilhelm, Elector Palatine (who died in 1716), 
Dusseldorf ; see Van Gool, ii. p. 538. 

82^. The Circumcision of Christ. 
Copper. 

Sale. Joan de Vries, October 13, 1738, The Hague (Hoet, i. 561), No. if 
(8 1 florins). 



70 REMBRANDT SECT. 

83. The Circumcision of Christ. Sm. 70. 

The original is lost. Described from a print published (but not, as Sm. says, 
engraved) by P. Berendrecht. See Bartsch, Rembrandt, ii., anonymous pieces, 
No. 7. Probably not genuine. 

83*. The Circumcision. 

It is uncertain whether two or more of the following were identical : 

In the collection of Ferdinand Bol, inventory of October 8, 1669, No. 14 ; 
see A. Bredius in Oud Holland, 1910, pp. 234, etc. 

In the collection of Lodewijck van Ludick, Amsterdam, about 1662 ; bought 
by him from Rembrandt with a "Nativity" (j%a) for 600 florins. Rembrandt 
was to improve the figure of the man performing the rite. On panel. See 
Hofstede de Groot, Urkunden ttber Rembrandt, No. 253. 

Sale. L. Schermer, Rotterdam, August 17, 1758, No. 63. 

83^. The Circumcision. Especially well painted. 

24 J inches by 17 J inches. 

Sale. Sonne and others, Amsterdam, July 5, 1759, No. 83 (2 florins 15). 

83*:. The Circumcision. With many figures. 
26 inches by i8J inches. 

Sale. P. Roelfsema and others, Groningen, June 22, 1863, No. 96 in the 
upper anteroom. 

84. THE ADORATION OF THE MAGI. Sm. 61, 62, 63 ; 
Bode 182 ; Dut. 50 ; Wb. 133 ; B.-HdG. 406. On the left, in front 
of a tumble-down shed, sits the Virgin Mary, turned to the right. She 
wears a dull red gown, over which is a light yellowish-green shawl, and 
has a black kerchief on her head. She holds in front of her the Child 
wrapped in swaddling clothes. One of the Magi kneels before the Child 
and offers a gift. Behind him kneel two attendants who, like the king, 
wear rich yellow robes. Behind this group stands the Ethiopian king in 
a striped robe of dark green and yellow ; he hands the crown of the 
kneeling king to an attendant. To the right, the third king, wearing an 
olive-coloured coat and a mantle of gold brocade lined with red, holds up 
his hands in wonder. An attendant to the right of him carries a censer. 
In the background are retainers with camels. In shadow on the extreme 
left is Joseph. A ray of light from the star falls on the roof of the shed 
and faintly illumines the darkness of night, in which eleven figures in front 
and eight farther back may be distinguished in all. Small full-length 
figures. 

Signed at foot, "Rembrandt f. 1657"; oak panel, 48 J inches by 41 
inches. 

Old copies are in the collection of the Earl of Northbrook, London, and 
elsewhere. 

Mentioned by Vosmaer, pp. 353, 557 ; by Bode, pp. 511, 584 ; by Dutuit, 
p. 33 ; by Michel, pp. 431, 556 [336, 430] ; by Waagen, ii. 5. 

Exhibited in the British Institution, London, i8i5,No. 32; 1826, No. 
1 8 ; 1827, No. 13 ; and 1845, No. 2 ; in the Royal Academy Winter Exhibi- 
tion, London, 1875, No. 152; 1887, No. 123 ; 1899, No. 66. 



xxii REMBRANDT 71 

Sales. Amsterdam, May 17, 1715 (Hoct, i. 185), No. I (2010 florins). 

J. van Beuningen, Amsterdam, May 13, 1716 (Hoet, i. 202), No. 39 

(1500 florins). 
Jaqucs Meyers, Rotterdam, September 9, 1722 (Hoct, i. 281), No. 

168 (180 florins). 
Willem Six, Amsterdam, May 12, 1734 (Hoet, i. 414), No. 58 

(250 florins, S. Ligtenhorst). 
W. Lormier, The Hague, July 4, 1763 (2300 florins) according to 

Dutuit, p. 4. 
(Possibly) Servad, Amsterdam, June 25, 1/78, No. 80 (1000 florins, 

Fouquet) ; although this was catalogued as on canvas. 
Amsterdam, June 26, 1799, No. i (4500 florins, Yver). 
Pierre Grandpre, Paris, February 1 6, 1809 (70,000 francs, bought in). 
A. de la Hante, London, 1814 (215 : 55., according to Sm.). 
In the Royal collection, Buckingham Palace, London, 1885 catalogue, No. 
154 ; it was in the Royal collection, 1836 (Sm.). 

84^7. The Adoration of the Magi. 

It is uncertain whether two or more of" the following were identical : 

In the collection of Herman Becker, Amsterdam ; in the inventory of his 
estate, October 19, 1678. The collection contained a second version in the 
manner of Rembrandt. See A. Bredius, Oud Holland, 1910, pp. 196, etc. 

In the collection of Constantijn Ranst, Amsterdam, about 1714. A small 
picture. See A. Bredius, Oud Holland, 1910, p. 15. 

Sale. Baron J. Got de Grote, London, March 29, 1776 (399 : ios.) ; see 
W. Roberts, Memorials of Christie' i, i. 34. 

84^. The Adoration of the Magi. 
Panel, 23 inches by 19 inches. 

Salt. Baron Eduard von Niesewand of Miihlheim, London, June 9, 1886, 
No. 25. 

841-. Herod questioning the Magi. A work of the school of 
Rembrandt, according to VVaagen. 

16 inches by 32 inches. 

In the collection of Sir Culling Eardley, Belvedere, near Erith, 1761 ; see 
London and its Environs described, printed for R. and J. Dodsley at Pall Mall. 
It was there in 1857 ; see Waagen, iv. 283. 

85. THE ANGEL WARNING JOSEPH IN A DREAM 
TO FLEE INTO EGYPT. Sm. 71; Bode 35; Out. 54; w b- 
24; B.-HdG. 248. In the stable at Bethlehem the Virgin Mary sits 
dozing on the right ; her arms are round the sleeping Child. In the 
centre and farther back Joseph sits asleep, leaning his head on his right 
hand. The angel, in a white robe enveloped in light, who is above him 
to the right, lays his hand on Joseph's shoulder to urge him to flee into 
Egypt. On the extreme left is a door ; to the right is the head of a 
lowing cow. The supernatural light falling from above spreads from the 
angel over the Virgin and Child. Small full-length figures. [Pendant 
^o 64.] 

Signed in the centre at foot, "Rembrandt f. 1645"; panel of an 
unknown foreign wood, 8 inches by 10^ inches. 



72 REMBRANDT SECT. 

Engraved by Hess. 

Mentioned by Vosmaer, pp. 262, 537 ; by Bode, pp. 475, 562 ; by Dutuit, 
p. 25 ; by Michel, pp. 300, 551 [230, 436] ; by Nicolai, Beschreibung von Berlin 
(1786), ii. 885, No. 18. 

In one of the picture galleries in the Prussian Royal palaces at Berlin and 
Potsdam ; transferred to the Berlin Museum in 1830. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 806. 

86. THE ANGEL WARNING JOSEPH IN A DREAM 
TO FLEE INTO EGYPT. B.-HdG. 336. In the stable at 
Bethlehem Joseph in a brownish-red coat sits asleep on a heap of straw in 
the centre. His hands are folded on his breast ; his head, covered with a 
red fur cap, is slightly bent down. The angel in white, enveloped in a 
luminous cloud, approaches from the left and touches Joseph's shoulder 
with his right hand. In the right foreground the Virgin Mary sits asleep, 
leaning against Joseph's knee. She has pulled over her head the blue 
cloak lined with red in which she has wrapped the Child. On the other 
side of a partition behind the group to the right are the ass and three cows. 
Small full-length figures. Painted about 1650. 

Canvas, 42 inches by 33 inches. 

A sketch for the picture is in the Berlin Print-room ; reproduced by 
Lippmann, No. 17. Another is in the collection of C. Hofstede de Groot, The 
Hague ; reproduced by Lippmann and Hofstede de Groot, No. 95. 

Mentioned by Michel, p. 559 [429]. 

Sale. Amsterdam, July 26, 1775, No. 251 (80 florins, Yver, bought in). 

In the possession of Professor Alois Hauser, Munich, 1885 ; bought from 
him through K. von Pulszky for the Budapest Museum. 

In the Museum of Fine Arts, Budapest, 1910 catalogue, No. 544. 

86*. The Flight into Egypt. Sm. 179. An old man and a 
woman go hand in hand along the road and carry a lantern. 
Panel, 5^ inches wide. 

Described by Sm. from an anonymous print as "An Old Man with a Lantern 
in his Hand, conducting a Woman home on a Fine Moonlight Night." 

Sale. J. van der Velden, Amsterdam, December 3, 1781, No. 56 ; second 
part of sale. 

86. The Flight into Egypt. The Virgin Mary sits on the ass 
which is led by Joseph. Vigorous and good in the treatment of the light. 
Panel, u inches by 10 inches. 

Sa/e. J. L. Strantwijk, Amsterdam, May 10, 1780, No. 207 (40 florins, 
De Wilde). 

86r. The Flight into Egypt. 

Exhibited at the British Institution, London, 1824, No. 24. 
Then in the collection of William Lushington. 

87. THE HOLY FAMILY RESTING ON THE FLIGHT 
INTO EGYPT. B.-HdG. 37. The Holy Family rest in the fore- 
ground, in front of a steep cliff, out of which has grown a great tree, now 
dead. The Virgin Mary, seated in the centre, gives the breast to the 
Child wrapped in swaddling-clothes in her lap. She wears a high felt hat 



xxn REMBRANDT 



73 



over a kerchief which covers the back of her head ; a light flowered wrap 
is round her shoulders, and a parti-coloured fur coverlet is on her lap. 
Behind her to the left sits Joseph ; he is bare-headed and has a dark coat, 
and is deeply absorbed in reading a book. In the immediate foreground 
lie a large bottle and a staff beside a coverlet. On the tree-trunk above 
the Virgin hang the ass's saddle and a large flat cradle. To the left is a 
view of wooded country. Small full-length figures. Painted about 1630. 

Oak panel, 30^ inches by 25^ inches. 

Exhibited at the Royal Academy Winter Exhibition, London, 1882, No. 
1 01 ; 1899, No. 91 ; and 1912, No. 50. 

In the collection of the late A. R. Boughton Knight, Downton Castle, near 
Ludl 

88. THE HOLY FAMILY RESTING ON THE FLIGHT 
INTO EGYPT (or, Shepherds reposing at Night). Sm. 603 ; 
Bode 261 ; Dut. 55 ; Wb. 197 ; B.-HdG. 342. On a moonlit night, 
the Holy Family are resting on the bank of a broad sheet of water. The 
Virgin Mary, with the Child at her breast, sits on the left by a fire 
beneath tall trees. Beside her sits Joseph. A shepherd stirs the fire. 
Other herdsmen with their sheep and cattle press forward from the right. 
In the background is a man with a lantern, followed by cows. Beyond 
the trees are the ruins of a castle, through the windows of which shines 
the moon, which is partly obscured by passing clouds. Small full-length 
figures. 

Signed on the left at foot, "Rembrandt f. 1647"; oak panel, 13^ 
inches by 19 inches. 

Engraved by Canot, and by J. Wood. 

Mentioned by Bode, pp. 491, 592 ; by Dutuit, p. 45 ; by Michel, pp. 
366, 555 [282, 431]. 

Exhibited in the Royal Academy Winter Exhibition, London, 1870, No. 29 ; 
1894, No. 91 ; 1899, No. 5 1 - 

In the collection of Sir Richard Colt Hoare, Bart., Stourhead, 1836 (Sm.). 

Sale. Sir Henry Hoare, Bart., London, June I, 1883 (504, Irish National 
Gallery). 

In the Irish National Gallery, Dublin, 1898 catalogue, No. 215. 

89. THE HOLY FAMILY RESTING ON THE FLIGHT 
INTO EGYPT. B.-HdG. 132. Amid the ruins of a stately build- 
ing the Virgin Mary, turned slightly to the left, sits on the ground with 
the Child on her lap. On the ground beside her to the right lies Joseph ; 
he leans his head, covered with a wide-brimmed hat, on his left hand, and 
looks at the Virgin. Somewhat farther to the right, at the back, is the 
horse. A partly ruined wall in the right foreground, on which a man 
leans, hides a fire which illumines the group. "Small full-length figures. 
A sketch in brown on a brown ground, painted about 1634 or 1635. 

Signed at foot to the left, " Rembrandt f." ; paper on oak panel, 
15 inches by 14 inches. 

Sale. Lady Morton, London, 1850. 

In the collection of M. W. Howgate, Leeds ; bought from it in 1894 for 
The Hague. 

In the Royal Gallery, The Hague, 1910 catalogue, No. 579. 



74 REMBRANDT SECT. 

89*. The Holy Family resting on the Flight into Egypt 

In a hilly landscape. The Virgin Mary with the sleeping Child sits in 
front. Joseph leans against a tree. In front lie a saddle and some 
utensils. 

Canvas, 51 inches by 76 inches. 

Sale. The widow of P. J. Oosthuyse van Rijsenburg, born M. de Jongh, 
The Hague, October 18, 1847, No. 267. 

90. THE HOLY FAMILY WITH THE CURTAIN. Sm. 
174; Bode 56; Dut. 60 ; Wb. 48; B.-HdG. 252. In a painted 
frame, consisting on the left of a grooved pilaster and, at foot, of a gilt 
moulding in the baroque style from which a red curtain is drawn back to 
the right, is seen the Virgin Mary seated on a low chair and tenderly 
pressing the Child to her. The Child is in red. His Mother wears a 
dark green gown, and a white kerchief and cap adorned with blue and 
red ribbons. To the left of her is the cradle ; behind her is the bed. In 
the centre is a wood fire, near which are a pot and a cat. The cottage is 
built in the ruins of a building with pointed arches; in the courtyard to 
the right Joseph is chopping wood. Bright sunlight falls from the left on 
the Virgin and on the centre foreground. Small full-length figures. 

Signed at foot in the right centre, "Rembrandt ft. 1646"; oak 
panel, rounded at top, 18 inches by 26 J inches. 

Engraved by W. Oortman, 1 802, in the Musee Francis ; etched by W. 
Unger, 1870. 

Mentioned by Vosmaer, pp. 264, 540 ; by Bode, pp. 474, 565 ; by Dutuit, 
p. 27 ; by Michel, pp. 300, 552 [229-30, 437]. 

In the possession of the Amsterdam dealer Jacques de Roore (sold for 125 
florins to W. Lormier). 

Said to have been in the sale : W. Lormier, The Hague, July 4, 1763 
(Terw. 328), No. 220 (400 florins). But according to Lormier's store-room 
catalogue of December 1754, it was sold by him on June 18, 1752, to the 
Landgraf of Hesse (for 735 florins). 

In the Palace, Cassel, 1783 inventory, No. 133. 

In the Louvre, Paris, 1806-15. 

In the Cassel Gallery, 1903 catalogue, No. 240 [valued by Sm. in 1836 at 
735]- 

goa. The Virgin and Child. 

In the'Jcollection of Rembrandt, Amsterdam, 1656 ; inventory of his goods 
for sale, No. 78. See Hofstede de Groot, Urkunden iiber Rembrandt, No. 169. 

90^. The Virgin Mary and the Child. 

Canvas, 28J inches by 23^ inches. 

In the Cassel Gallery, 1783 inventory, No. 76, but not now there. 

91. THE HOLY FAMILY, known as THE CRADLE. 

Sm. 145; Bode 153; Dut. 58; Wb. 157; B.-HdG. 250. In a large 
homely room, lighted by a candle, sit two women. The Virgin Mary, 
seen almost from the back and hiding the light with her figure, reads a 
large book which she holds with both hands. Beside her to the left is the 
Child in a cradle. Beyond, near the wall, Elisabeth, holding a cord 



xxn REMBRANDT 75 

attached to the cradle, is dozing. Her shadow is thrown in broad outline 
on the wall. On the left a staircase leads to the upper rooms. Below it, 
in half-shadow, is seen the figure of Joseph. On the right, in front of a 
closed window, is a large table with household utensils on it. Beside the 
cradle is a spinning-wheel. Small full-length figures. Painted about 
1644. 

Oak panel, 24 inches by 30^ inches. 

There are several old copies ; one of them, in grisaille, was in the sale : 
London, June 22, 1901, No. 35. 

Engraved by Guttenberg in the Orleans Gallery ; engraved in mezzotint 
icArdell ; etched by Denon. 

Mentioned by Bode, pp. 474, 580 ; by Dutuit, p. 43 ; by Michel, pp. 299, 
555 [228,433]. 

Exhibited at the British Institution, London, 1815, No. 40 ; at the Royal 
Academy Winter Exhibition, London, 1882, No. 101, and 1912, No. 51. 

In the collection of the Due d'Orleans, Paris, till 1793; sold later to 
Payne Knight (for 1050) see Buchanan, i. 196. 

In the collection of the late A. R. Boughton Knight, Downton Castle, near 
Ludlow. 

92. THE HOLY FAMILY IN THE CARPENTER'S 
SHOP. Bode 103; Dut. 56; Wb. 99; B.-HdG. 38. The Virgin 
Mary sits on the left, in full face, holding on her lap the sleeping Child 
wrapped in swaddling-clothes and lying on a coverlet of fox's fur. 
She looks down at Him. She wears a pinkish-purple gown and has a 
transparent veil on her head. In the right foreground Joseph bends across 
the cradle to look down at the Child ; he wears a dull green coat open at 
the throat. On the wall are carpenter's tools ; on the floor to the left 
are a pot and a log of wood. Full-length, life-size figures. 

Signed on the right at foot, "Rembrandt f. 1631"; canvas, 77 
inches by 52 inches. 

Etched by P. Halm. 

A drawing which is a study for the picture is in the Albertina, Vienna 
(HdG. No. 1412). 

Mentioned by Vosmaer, pp. 104, 489 ; by Bode, p. 390 ; by Dutuit, p. 
30 ; by Michel, pp. 78, 554 [54, 438]. 

Sale. Amsterdam, August 17, 1735 (Hoct, i. 442), No. 4 (100 florins); 
unusually fine. 

In the Mannheim Gallery, with the pictures from which it was transferred 
to Munich in i 799. 

In the Schleissheim Gallery in the first half of the nineteenth century. 

In the Aeltere Pinakothek, Munich, 1911 catalogue, No. 324. 

93. THE HOLY FAMILY (or, The Carpenter's Household). 
Sm. 73 ; Bode 274 ; Dut. 57 ; Wb. 273 ; B.-HdG. 242. In the centre 
of a homely room, the Virgin Mary sits on a low chair, holding the naked 
Child to her breast. She wears a dull greenish gown and a dull red jacket. 
On the left Elisabeth, holding her spectacles and book on her lap with 
her left hand, bends over to look at the Child. At the open window to 
the left behind this group stands Joseph, with his back to the spectator ; 
he is at work on a board. To the left in front of the women is the cradle. 



76 REMBRANDT SECT. 

On the extreme left is a tall chimney-piece ; on the farther side of it is a 
cat on chair, in front of a bed. On the back wall hang carpenter's tools. 
A beam of warm sunlight enters at the window and falls on the Child and 
the floor. Small full-length figures. 

Signed on the left at foot, "Rembrandt f. 1640"; oak panel, 16 
inches by 13 J inches. 

An old copy is in the Uffizi, Florence, 1910 catalogue, No. 922. 
Engraved by Le Bas, Martini, Probst ; by De Frey for the Musee Franfais ; 
by Devilliers in Filhol, v. 291. Etched by Veyrassat and C. Courtry. 

Mentioned by Vosmaer, pp. 211, 522 ; by Bode, pp. 446, 594 ; by Dutuit, 
p. 35 ; by Michel, pp. 266, 562 [203-4, 434-J- 

Sales. Isaac van Thye, Amsterdam, April 22, 1711 (Hoet, i. 140), No. I 

(900 florins). 

Comtesse de Verrue, Paris. 

Gaignat, Paris, December 1768, No. 19 (5450 francs). 
Due de Choiseul-Praslin, Paris, February 18, 1793 (17,120 francs, 

Le Brun). 

In the Louvre, Paris, 1907 catalogue, No. 2542; it was there in 1816 
(valued by the experts at 25,000 francs). 

94. THE HOLY FAMILY WITH THE ANGELS. Sm. 
72; Bode 321 ; Dutuit 59; Wb. 391 ; B.-HdG. 251. In the fore- 
ground of a carpenter's workshop, the Virgin Mary sits on a low chair, 
holding a large open book on her left arm. She rests her left foot on a 
foot- warmer and leans over to the left to draw the green curtain of the 
cradle in which the Child lies asleep under a red fur-lined coverlet. The 
Virgin wears a deep red gown and dark blue skirt, and a white kerchief 
and cap. Behind her in half-shadow, Joseph, in a brown working-dress, 
is shaping a yoke with his axe. From above to the left child-angels 
flutter down, throwing a bright light on the Virgin and the cradle. Full- 
length figures, almost half life-size. 

Signed on the left at foot, "Rembrandt f. 1645 " ; canvas, 46 J inches 
by 36 inches. 

An old copy without the angels was in the possession of an English dealer 
in 1899, and afterwards in the possession of a New York dealer. 

Another copy without the angels was in the sale : London, June 7, 1912, 
No. 23 (15 : 155.). 

A pen-drawing for the picture is in the collection of Leon Bonnat, Paris ; 
reproduced by Lippmann-Hofstede de Groot, No. 20. 

A study in chalk for the Child in the cradle was in the collection of J. P. 
Heseltine, London, and is now in the collection of H. Oppenheim, London ; 
reproduced by Lippmann, No. i883. 

Engraved by J. Vendramini, 1836 ; by J. Sanders in outline in F. Labenski, 
Description de I Ermitage, i. 28. Etched by N. MossolofF in Les Rembrandts de 
P Ermitage. Lithographed by H. Robillard in Gohier Desfontaines and P. 
Petit, Galerie de V 'Ermitage ', i. 4. 

Mentioned by Vosmaer, pp. 262, 537 ; by Bode, pp. 474, 599 ; by Dutuit, 
p. 38 ; by Michel, pp. 299, 566 [228-9, 441] ; by Waagen, The Picture Gallery 
of the Hermitage, p. 177. 

Sale. Adriaen Bout, The Hague, August n, 1733 (Hoet, i. 390), No. 81 
(150 florins) ; said to measure 43 J inches by 55 inches. 



xxn REMBRANDT 77 

In the Crozat collection, Paris ; bought for the Hermitage by the Empress 
Catherine ii. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 796 [said by 
Sm. in 1836 to be well worth 2100]. 

94. The Virgin and Child. 

Mentioned by Hofstede de Groot, Urkunden iiber Rembrandt, No. 169. 
In the collection of Rembrandt, Amsterdam ; inventor)' of his goods for 
sale, July 25, 1656, No. 78. 

94^. The Holy Family. 

It is uncertain whether two or more of the following were identical : 

In the possession of the Amsterdam dealer Johannes de Renialme ; inventory 
of his goods, June 27, 1657 ; two examples, No. 299, valued by A. Camerarius 
and M. Kretzer at 120 florins, and another unnumbered valued at 36 florins. 
See Hofstede de Groot, Urkunden ttber Rembrandt, No. 177, 

Sa/fs. Amsterdam, March 6, 1708 (Hoet, i. ill), No. 17 (70 florins). 
Amsterdam, June 27, 1752, No. 4. 

94*-. A Holy Family. Admirably painted. 
22 inches by 25^ inches. 

Sale. Gerard Hoet, The Hague, August 25, 1760 (Terw. 225), No. 46 
(105 florins, Yver). 

94</. The Holy Family by Candlelight. Joseph, an aged man, 
reads a book. The Virgin, as an old woman, sits by the fire and gives 
the child broth. Especially delicate in execution. [Possibly identical 
with 96.] 

Panel, 8 inches by 10 inches. 

Sale. Middelburg, April 20, 1779, No. 265. 

94^. The Holy Family in a Grotto. The Virgin Mary looks at 
the Child in the Manger. Joseph holds a torch, which illumines the 
scene. Thickly painted ; not ineffective as viewed from a distance. 

Panel, 9^ inches by 8 inches. 

Sale. J. F. de Vinck de Wesel, Antwerp, August 16, 1814, No. 157 (23 
francs). 

94/! The Holy Family. The Virgin Mary and Joseph are reading. 
The Child lies in the Cradle. 

Exhibited in Manchester, 1857, No. 1043. 

Sale. Samuel Rogers, London, April 28, 1856, No. 643. 

In the collection of John W. Brett, 1857. 

95. The Holy Family. Sm. 75. Reposing in the shade of a tree. 
Panel, 8 inches by 9 inches. 

In the collection of the Duke of Brunswick, Salzdahlum ; quoted from the 
catalogue by Sm. in 1836, but not now at Brunswick. 

96. The Holy Family. B.-HdG. iii. On the right sits the Virgin 
Mary, turned a little to the left. She holds in her lap the Child, whom 
she is feeding with a spoon in her right hand. She is brightly illumined by 



78 REMBRANDT SECT. 

the light of a fire burning near her. Joseph, seated in the left foreground 
with his back to the spectator, stands out as a dark mass against the fire. 
Full-length figures. Rounded at top. The composition, according to 
Bode, shows the characteristics of a youthful work by Rembrandt about 
1628-29; the author, however, regards the attribution as uncertain. 
[Possibly identical with 94^.] 

The original is lost. Described from a lithograph inscribed, " Rembrandt 
Pinxit. imp. lith. Langlade Aubusson. Langlade del." 

96^7. The Virgin and Child. With the evangelists St. Luke and 
St. Mark, and several other figures. 

Dated 1638 ; panel, 20 J inches by 28 inches. 

Mentioned by Meusel, Miscellanea, 1779, ii. 31. 
In the collection of J. Fesch, Basel, 1779. 

96^. Christ at the Age of Twelve among the Scribes. 

Sale. Joan de Vries, The Hague, October 13, 1738 (Hoet, i. 561), No. 29 
(47 florins). 

q6c. Christ conversing with the Pharisees. 

Canvas, 19! inches by 24 inches. 

Sale. Prince de Rubempre, Brussels, April n, 1765 (Terw. 403), No. 116 
(80 florins). 

<)6ca. Christ teaching in the Temple. Numerous small figures. 
Two high priests sit on raised seats. The scribes have the appearance of 
Dutch Jews and peasants. Strong contrasts of light. Warm colour. 
Possibly by S. Koninck and identical with the engraved picture at 
Munich, Sm. 28 (see note 28 to the Comparative Table). 

Mentioned in MeusePs Museum fttr Kttnstler und Kunstliebhaber, vol. x., 
Mannheim, 1790. 

Then in the Electoral Palace, Munich. 



. Christ among the Scribes. [Pendant to 112*.] 

Sale. Bryan, London, May 17, 1798, No. 39 (71 : los.) ; see Buchanan, 
i. 275. 

96*. Christ among the Scribes. 

Exhibited at Leeds, 1868, No. 800. 

Then in the collection of Matthew Anderson, Jesmond Cottage, near 
Newcastle. 

96/ The Baptism of Christ. 

Exhibited at the British Institution, London, 1847, No. 27, and 1867, 
No. 119. 

In the collection of Lord Alford, 1847. 

In the collection of Lady Marion Alford, 1867. 

97. JOHN THE BAPTIST PREACHING. Sm. 124 and 125; 
Bode 205; Dut. 47; Wb. 182; B.-HdG. 215. In a rich hilly land- 
scape traversed in the middle by a broad stream, the preacher has assembled 



xxn REMBRANDT 79 

a large crowd of listeners round him near a slope to the right. H 
turned to the left and, with his right hand uplifted, addresses them with 
lively gesture. Around him, people of all countries and ranks, of the 
most varied character, are resting, attracted by the words of the preacher 
from the desert. John wears his long robe of camel's hair with a girdle. 
At his feet fall two figures, who have the features of Rembrandt and his 
mother. There are children who quarrel and are hushed, learned men, 
and people of humble station. Behind John, near a rocky cliff to the 
right, is a group including Persian and Indian warriors. To the left of 
John, beyond the dense crowd, is a tall column with the bust of an emperor. 
In the centre foreground is the high priest with two Pharisees, concocting 
evil designs against the preacher as they pass. In front of them to the 
right is a woman who lets her child relieve itself. In the left foreground 
are two dogs coupling. Farther back is a group resting ; it includes a 
negress, a Slovak, and a woman in the dress of Saskia. A little behind 
them, two Eastern merchants on horseback halt and listen reverently ; their 
caravan behind them is marching towards the river. Farther up the stream 
is a high bridge, leading to a hill-town high up to the left. Bright light 
falls on the central portion, in front of which the group of the three Jewish 
priests who are plotting treachery stands out in harsh contrast. Small 
full-length figures. Grisaille. Painted about 1635-36. 

Paper fastened on oak panel, 24^ inches by 32 inches enlarged by about 
4 inches on each side by the painter. 

A pen-sketch for the frame, with an indication of the composition, is in the 
collection of Leon Bonnat, Paris ; reproduced by Lippmann, No. 172 A. 

Engraved by J. R. Norblin, 1808, on a larger scale, reversed, with the false 
date 1656, and the foreground partly repainted as it was then. 

Mentioned by Vosmaer, pp. 344/, 555 ; by Bode, pp. 432 note, 510, 586 ; 
by Dutuit, p. 44 ; by Michel, p. 557 [330-31, 437] ; by Hoogstraaten, Inlcyding, 
1678, p. 183 ; Houbraken, Groote Schouburg, 1715, i. 261 ; Bode, Jahrbuch der 
Koniglichen Preussischen Kunst-Sammlungcn, xiii. 213, etc.; J. Six, Oud Holland^ 
xi. 155 ; Hofstede de Groot, Urkunden Uber Rembrandt^ Nos. 195, 386. 

Exhibited in Manchester, 1857, No. 675; and at the Royal Academy 
Winter Exhibition, London, 1871, No. 345. 

A picture of the same subject was in the 
Sales. Robit, May 11, 1801. 

Heathcote, London, 1805 (Dormer). 

In the collection of Jan Six, Amsterdam, 1658-1702. 

In the collection of Jan Six the younger, Amsterdam, who bought it for 
710 florins ; sold in 1803 by the Six family to the Amsterdam dealer Coders. 

In the collection of Cardinal Fesch, Rome, 1836 (Sm.) [it was copied by 
Benjamin West, according to Sm.]. 

Sale. Cardinal Fesch, Rome, March 17, 1845, No. 189 (14,000 scudi). 

In the collection of P. Norton, 1857. 

In the collection of Lord Ward, later Earl of Dudley, London. 

Sale. Earl of Dudley, London, June 25, 1892, No. 19 (2625, Berlin 
Museum). 

In the Kaiser Fricdrich Museum, Berlin, 1911 catalogue, No. 828. 

98. Nicodemus. Represented as an old man with a long beard, 
wearing a black velvet cap, a red velvet doublet, a large black cloak, a 



80 REMBRANDT SECT. 

close-fitting pleated collar, and a jewel with a ruby at his breast. Broadly 
handled. Of the painter's best period. 
Panel, 20 inches by i6J inches. 

Sale. P. M. Kesler, C. Apostool, and others, Amsterdam, May 13, 1844, 
No. 72 (2810 florins, Roos). 

99. Nicodemus visiting Christ by Night. Sm. 85 ; Dut. 90 ; 
Wb. 449. Christ, seen in profile, sits on the right addressing Nicodemus, 
who sits in front of Him listening attentively. 

Dated 1632 (or more probably 1652 ?). 

The original is lost. Described from a mezzotint by Greenwood. 

100. CHRIST AND THE WOMAN OF SAMARIA. Sm. 
80; B.-HdG. 408. In front of the open door of an old and half-ruined 
building to the right sits Christ, in profile to the left, beside a large well. 
He speaks to the woman of Samaria, in a red bodice, standing behind the 
well. She stops while drawing up the bucket to listen to the Lord's words. 
Between her and Christ a boy's head is seen above the edge of the well. 
From the left middle distance three figures approach. The scene is closed 
at the back with a large ruin. Warm evening light. Small full-length 
figures. 

Signed on the right at foot, "Rembrandt f. 1659" but 1655, 
according to the 1911 catalogue; oak panel, rounded at top, i8J inches 
by 15 J inches. 

Sale. Prince de Conti, Paris, March 15, 1779, No. 128 (160 francs, 
Boileau). 

In the Van Mulden collection, Brussels. 

In the collection of Lewis Fry, Bristol. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 300 
Paintings," No. 151. 

In the collection of Rodolphe Kann, Paris, 1907 catalogue, No. 71 ; bought 
as a whole by the dealers Duveen Brothers, August 1907. 

In the possession of Duveen Brothers, Paris. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 8nB. 

101. CHRIST AND THE WOMAN OF SAMARIA. In 

the foreground of a landscape Christ sits at the well, seen almost in full 
face. With right hand outstretched He seems to address the woman of 
Samaria, who stands to the right, leaning her left arm on the edge of the 
well and listening to Him. Six or seven youths approach from the left 
background. In the dark landscape trees may be seen to the right, while 
in the left distance is a great building. Christ wears a wine-red robe ; the 
woman wears an olive-green gown with a white jacket and a yellow skirt. 
Small full-length figures. 

Signed in full on a stone in the centre, and dated 1655 ; panel, 24! 
inches by 19! inches. 

Exhibited at Leeds, 1889, and at Leyden, 1906, No. 47. 

Sale. H. Reydon and others, Amsterdam, April 5, 1827, No. 130 (550 

florins, Brondgeest) ; measuring 22 inches by 1 8 inches. 
In the Sheepshanks collection, Harrogate. 



xxii REMBRANDT 81 

In the possession of R. Langton Douglas, London. 

In the possession of the dealers M. Knoedler, London. 

In the collection of Marcus Kappel, Berlin. 

102. CHRIST AND THE WOMAN OF SAMARIA. 
B.-HdG. 592. [Cf. Sm. 80.] In a vaulted well-house, Christ sit 

the left addressing the woman of Samaria, who stands behind the well, on 
the edge of which she rests her yellow bucket. She wears a straw hat. 
From below to the right five youths come forward. Beyond is a castle 
on a hill bathed in evening light. Small full-length figures. 

Signed on the well in the centre, "Rembrandt f. 1660"; c. 
23^ inches by 29^ inches. 

Engraved by R. Houston [while in the collection of J. Blackwood]. 

Saks. Bicker van Svvieten, The Hague, April 12, 1741 (Hoet, ii. 12), 

No. 133 (6 florins). 
J. Blackwood, London, February 20, 1778. 

In the Hermitage Palace, Petrograd, No. 1858; taken out of the store- 
room in 1903. 

io2<7. Christ and the Woman of Samaria. 

It is uncertain whether the following were identical : 

In the collection of Herman Becker, Amsterdam; in the inventory of his 
goods, October 19, 1678. See A. Bredius, Oud Holland, 1910, p. 196 note, etc. 
Sale. Willem van Wouw and others, The Hague, May 29, 1764, No. 39 
(5 florins 25). 

i02<. Christ and the Woman of Samaria at the Well. 

Exhibited in Suffolk Street, London, 1834, No. 201, by an unnamed 
dealer. 

102^. The Calling of St. Peter in the Boat. 

Mentioned by A. Bredius, Oud Holla nd, 1908, p. 221. 

In the collection of Jacques Specx, Amsterdam ; in the inventory of his 
goods, 1652. 

I02t. The Calling of St. Matthew. A very comprehensive and 
fine picture with figures, spirited in drawing, brilliant and harmonious in 
colour. 

Sale. Duca di San Pietro, London, June 22, 1811 (i 522 : ios., apparently 
bought in). 

103. CHRIST IN THE STORM. Sm. 82 ; Bode 219; Out. 
71 ; Wb. 20 1 ; B.-HdG. 1 20. A fishing- boat, making to the left, is 
uplifted at the bow by a great wave, while the storm tears away the sail. 
The murky clouds open to the left and let a ray of pale light fall on the 
forepart of the boat, over which the foam of the wave is dashing. Christ, 
seated in the stern near the tiller, is awakened from sleep by the terrified 
disciples who surround Him. Another group are striving with all their 
might to furl the sail. The disciples wear dull-coloured costumes, prin- 
cipally of dark red, pale yellow and pale blue, with dull green, yellowish, 
bluish, and pink tones. Small figures. The title " St. Peter's Boat," 
though used by Houbraken, is inaccurate. The picture illustrates St. 
Matthew viii. 23-25, St. Mark iv. 37-39, or St. Luke viii. 22-25. 

VOL. vi <' 



82 REMBRANDT SECT. 

Signed to the right on the tiller, "Rembrandt f. 1633"; canvas, 63^ 
inches by 51 inches. 

A study for the picture is in the Dresden Print-room ; reproduced by Woer- 
mann, No. 219. 

A picture corresponding to the description 29 inches by 36^ inches which 
was in the sale : Schamp d'Aveschoot, Ghent, September 14, 1840, No. 210 
(125 francs, De Schrijver of Bruges), was, according to the catalogue, a finished 
sketch from the Braamcamp collection. But this collection contained only the 
picture here described, which passed at the sale to the Hope family, in whose 
possession it remained till 1898. 

Engraved in outline in Reveil ; engraved by J. Fittler ; etched by Exshaw. 

Mentioned by Vosmaer, pp. 1 19, 497 ; by Bode, p. 436 ; by Dutuit, p. 45 ; 
by Michel, pp. 152, 558 [116-17, 433] 5 b 7 Waagen, ii. 115 ; by Houbraken, 
Groote Schouburg, i. 260 ; by Hofstede de Groot, Urkunden fiber Rembrandt, 
No. 407, 1 6. 

Exhibited at the British Institution, London, 1818, No. 146; 1835, No. 
73 ; and 1850, No. 42 ; at the Royal Academy Winter Exhibition, London, 
1 88 1, No. 1 68; at the South Kensington Museum, London, 1891, No. 3. 

In the collection of Jan Jacobsz Hinloopen, Amsterdam, about 1650-60. 

In the collection of Augustus III., King of Poland, Hubertusburg, to 1765 
(Vosmaer, p. 498). 

Sale. G. Braamcamp, Amsterdam, July 31, 1771, No. 172 (4360 florins, 
Jan Hope). 

In the collection of Henry Philip Hope, Deepdene, 1836 (Sm.). 

In the collection of Henry Thomas Hope, London, 1854 (Waagen, ii. 115). 

In the collection of Lord Francis Pelham Clinton Hope, Deepdene ; bought 
as a whole in 1898 by the London dealers P. and D. Colnaghi and A. Wert- 
heimer. 

In the collection of Mrs. John L. Gardner, Boston, catalogue, p. 14. 

1 03*7. Christ in the Storm. He is awakened by the disciples. 
Vigorously painted. 

34J inches by 49! inches. 

Sale. J. M. Cok, Amsterdam, December 16, 1771, No. 167 (90 florins, 
Van der Schley). 

103^. Christ in the Boat. A grand composition in Rembrandt's 
most powerful style. 

Sale. Bryan, London, May 17, 1798, third day, No. 27 (68 : 55.) ; see 
Buchanan, i. p. 288, etc. 

103^. Christ going with Jairus to heal his Daughter. Un- 
usual and fine. 

Sale. C. Troost, S. Arensklauw, and others, Amsterdam, March 16, 1750, 
No. 2 (132 florins, Haazebroek). 

103^7. The Healing of Jairus's Son (?). 

Panel, loj inches by 17 inches. 

Sale. De Julienne, Paris, March 30, 1767 (240 francs) according to 
Dutuit. 

103^. The Daughter of Herodias. She is receiving John the 



XXII 



REMBRANDT 83 



Baptist's head from the executioner. The scene is lighted by a candle in 
a woman's hand. 

Panel, 7 A inches by 5^ inches. 

Sale. J. F. Wolschot, Antwerp, September i, 1817, No. 443. 

104. THE WOMAN TAKEN IN ADULTERY. Sm. 112 ; 
Bode 171 ; Out. 69; Wb. 122; B.-HdG. 247. In the lofty vaulted 

Temple at Jerusalem Christ stands in the middle distance, before some 
low steps, surrounded by several disciples. He looks at the adulteress who 
kneels weeping before Him to the right ; she has been brought to Him 
by a group of Pharisees and priests. Christ, bare-footed and bare-headed, 
with long hair falling on His shoulders, wears a long smooth robe with 
wide sleeves. The adulteress wears a handsome red gown with a long 
golden mantle, the train of which is held by a guard in armour. A bearded 
priest, clad in a long robe with a hood, lifts her veil with his left hand and, 
addressing Christ, makes an expressive gesture with his right. Another 
priest, also bearded, stands to the right of him and awaits with close atten- 
tion the Lord's reply. To the right of Christ stand two disciples. In 
the right foreground are two aged men in Eastern costume, seen almost 
from the back. A numerous group moves beyond the steps up to the 
right towards the richly gilt throne of the high priest, in front of which 
i two truncated golden pillars. Bright light falls from above to the 
left on the principal group. The remaining portions of the lofty building 
lie in a mysterious half-shadow. Small full-length figures. 

Signed, "Rembrandt f. 1644"; oak panel, rounded at top, 32 J inches 
by 25^ inches. 

Engraved by J. Burnet ; by G. H. Phillips, 1835 ; and b y W - T - Fl 7 in 
Jones's National Gallery. 

Mentioned by Vosmaer, pp. 258, 535 ; by Bode, pp. 474, 583 ; by Dutuit, 
p. 32 ; by Michel, pp. 302, 556 [231, 431] ; by Waagen, i. 352 ; by Hofstedc 
de Groot, Urkunden liber Rembrandt, Nos. 291, 407. 

In the collection of Jan Six, Amsterdam, for whom Rembrandt painted it. 
Probably in the possession of the Amsterdam dealer Johannes de Renialme, 
who at his death in 1657 possessed "Het Vroutge in overspel " ("The Woman 
in Adultery") by Rembrandt. It was the first item in the inventory, and was 
valued by the experts Adam Camerarius, painter, and Martin Kretzer, collector, 
at 1500 florins the highest price in the whole collection. 

Sales. Willem Six, Amsterdam, May 12, 1734 (Hoet, i. 411) (2510 florins). 
T. Hellinx, Amsterdam, August 6, 1778 (Wubbels) according to 
Vosmaer, p. 535, who probably confuses this picture with 105*7. 
On the contrary, J. Six, in Oud Holland, xi. 155, maintains that 
the picture remained in the possession of the Six family from 
1734 to 1803. 

In the possession of the Amsterdam dealer Coders, who sold it to the Paris 
dealer Lafontaine in 1803 (for 36,000 francs). 

Sale. Lafontaine, London, June 13, 1807, No. 44 (5250, bought in). 
In the collection of J. J. Angerstein, London, from 1807 ; bought as a 
whole in 1824 for the National Gallery. 

In the National Gallery, London, 1911 catalogue, No. 45. 

105. THE ADULTERESS BEFORE CHRIST. Sm. 113; 



84 REMBRANDT SECT. 

Bode 141 ; Dut. 70; Wb. 219; B.-HdG. 338. On the left, in front 
of a house- wall, stands Christ with a youthful disciple, probably John, 
while from the right three scribes lead forward the adulteress. Christ, in 
a dark red cloak, with long brown curls and a full beard, clasps His hands 
and looks earnestly at the young woman. She wears a low-cut cherry- 
coloured silk gown and, bending forward, puts a white cloth to her eyes 
to wipe away her tears. In the centre is an old bearded man with a black 
cap and a black robe edged with gold embroidery. He touches with his 
right hand the left forearm of Christ and addresses Him earnestly, enforc- 
ing his speech with a gesture of his outstretched left hand. Another scribe 
on the extreme right, wearing a red costume and a sort of Phrygian cap, 
takes off the veil from the woman's head. Above this group is seen the 
head of a young man in a black cap. Half-length figures, life size. 
Painted about 1645-55. 

Canvas, 45 J inches by 54 inches. 

A lost drawing by Rembrandt for this composition, which B. Picart etched 
in reverse in his Impostures Innocentes, published in 1734, contains two more 
figures both on the right and on the left. See Hofstede de Groot, Repertorium 
fur Kunstwissenschaft, 1899, p. 160 ; Onze Kunst, December 1912, p. 173 ; and 
C. Sedelmeyer, The Adulteress before Christ, published by the author, Paris, 1912. 

Engraved on wood by Baude. 

Mentioned by Vosmaer, pp. 259, 572 ; by Bode, pp. 508, 578 ; by Dutuit, 
p. 46 ; by Waagen, iii. 126 ; [by Michel, pp. 259, 436]. 

Exhibited at Amsterdam, 1898, No. 62. 

In the collection of the Duke of Maryborough, Blenheim, 1836 (Sm.). 

Bale. Duke of Marlborough, London, June 26, 1886, No. 37 (231, 
Robinson). 

In the collection of Sir Charles J. Robinson, London. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," ii. No. 32 [bought from Sir C. J. Robinson in 1891]. 

In the collection of E. F.Weber, Hamburg; acquired in 1895 in exchange 
for "The Apostle James" (170) from C. Sedelmeyer. 

Sale. E. F. Weber of Hamburg, Berlin, February 20, 1912, No. 250 
(40,000 mark, Sedelmeyer). 

In the possession of the Paris dealer C. Sedelmeyer. 

In the collection of T. B. Walker, Minneapolis. 

105*7. The Adulteress before Christ. Superb in composition, 
strong in colour. 

Canvas, rounded at top, 51 inches by 27! inches. 

Sale. T. Hellinx, Leyden, August 6, 1778, No. 2 (196 florins, Wubbels). 

105^. The Adulteress before Christ. He points to the Dutch 
inscription on the ground. A composition of eleven figures. A slight 
sketch, but admirable in composition and lighting. 

Panel, nj inches by loj inches. 

Mentioned by Waagen, iv. 147. 

In the collection of Lord Overstone, London, 1857 ; but not now in the 
Wantage collection. 

106. THE RAISING OF LAZARUS. Under great curtains, 



xxn REMBRANDT 85 

Christ stands in profile to the right with His left hand uplifted. At His 
feet are the head and shoulders of Lazarus lying in the tomb. In the right 
foreground is a figure in profile to the left. Terrified spectators are to t he- 
left behind Christ and to the right behind Lazarus. This study corre- 
sponds to the eighth state (in Seidlitz's enumeration) of the large etching 
of this subject, Bartsch 73 [Hind 96], so that it was not a preliminary 
study for the etching. Painted about 1633. Cf. io/c. 

Mentioned by H. Nassc in the Mtinchener Jahrbuch, 1911, iii. 224 ; and by 
Hofstede dc Groot, Onze Kunst, 1912, p. 178. 

In the possession of the Paris dealer G. Neumans. 
In the possession of the Munich dealer J. Bohlcr. 
In the collection of Professor Frciherr F. W. von Hissing, Munich. 

107. The Raising of Lazarus. Sm. 83 (?) ; B.-HdG. 45. 
Christ stands on the grave-stone behind the open grave, raising His 
right hand in the act of blessing. He wears a loose coat of dull purple 
and has a brownish cloak over His left shoulder. Lazarus, wrapped in 
white linen, is in the grave and slowly raises his head and shoulders as he 
feels his new life. In the immediate left foreground, in shadow before 
the grave, kneels a young woman in a deep green gown. Behind her is 
an old man with a long black beard and a purplish-red coat, seen in 
profile. To the left, at the side of Christ, two men and a young woman 
in green bend forward in astonishment towards the grave. In shadow to 
the right are seen the heads of five men. On the stone wall to the right 
above the grave hang the weapons of Lazarus : an Eastern sword, a quiver 
covered with red velvet, and, farther away, the bow and a turban. Small 
full-length figures. Painted about 1630. 

Signed on the right at foot, " Remb . . . " ; oak panel, 16 inches by 
14 inches. 

Mentioned by Dutuit, p. 18 ; by Michel, p. 564 [436] ; by Hofstede de 
Groot, Urkunden Uber Rembrandt, No. 169. 

Possibly in the collection of Rembrandt, in the inventory of whose goods in 
1656 a " Raising of Lazarus " occurs as No. 38. 

Sales. David Grenier, Middelburg, August 18, 1712, No. 96 (32 florins). 
(Possibly) Amsterdam, June 4, 1727 (Hoet, i. 316), No. 2 (105 

florins) ; this is Sm. 83. 
In the Le Brun collection, 1811 (?). 

In the possession of the Paris dealer C. Scdelmeyer, 1891, "Catalogue of 
300 Paintings," No. 116. 

Sale. C. T. Ycrkes, New York, April 5, 1911, No. 83 (11,100 dollars, 

E. Brandus of New York). 
In the collection of W. Gates, New York. 

1 07 A. The Raising of Lazarus. Precisely the same composition 

^7- 
Panel, 37! inches by 32^ inches. 

Engraved in outline, slightly shaded, by Klauber, according to the 
De Morny catalogue. 

In the collection of G. Winckler, Leipzig, according to the DC Morqy 
catalogue. 



86 REMBRANDT SECT. 

Salei. Duval of Geneva, London, May 12, 1846. 

Comte de Morny, Paris, May 24, 1852, No. 17 (3100 francs). 

Jules Beer, Paris, May 29, 1913, No. 52 (42,000 francs, Trotti). 
In the possession of C. Sedelmeyer, Paris, "Catalogue of 100 Paintings," 
xii., 1913, No. 20. 

107^7. The Raising of Lazarus. A very fine cabinet-piece. 
8J inches by nj inches. 

Sale. P. L. de Neufville, Leyden, March 15, 1736 (Hoet, i. 461), No. 35 
(24 florins). 

107^. The Raising of Lazarus. 

26 inches by 32 inches. 

Sale. Crozat, Paris, June 1751 (50 francs) ; see Ch. Blanc, i. 63. 

107^. The Raising of Lazarus. With numerous figures. [Pos- 
sibly identical with 106.] 
1 6 inches by 13! inches. 

In the collection of George III., King of England, in the inventory of 
1760-70 ; noted by L. Cust. 

107^. The Raising of Lazarus. 

12 J inches by 15 \ inches. 

In the collection of G. Strange, London, 1769 catalogue, No. 59 ; sold 
later (for 12 : I2s.). 

107*. The Raising of Lazarus. According to the description, 
precisely similar in composition to the large etching, Bartsch 73 [Hind 
96]. Vigorously painted. 

Panel, 38 J inches by 32 inches. 

Sale. P. J. de Jariges, Amsterdam, October 14, 1772, No. 24 (35 florins, 
Odon). 

io7/ The Raising of Lazarus. 

It is uncertain whether two or more of the following were identical : 

In the collection of Rembrandt, Amsterdam ; inventory of his goods for 
sale, July 25, 1656, No. 38 [cf. 107]. 

In the possession of the Amsterdam dealer Johannes de Renialme ; in the 
inventory of June 27, 1657, No. 294, valued by A. Camerarius and M. Kretzer 
at 600 florins. 

In the collection of Abraham Fabritius, Amsterdam ; inventory of November 
4, 1670. See Hofstede de Groot, Urkunden tiber Rembrandt, Nos. 169, 177, 321. 

Sales. Amsterdam, September 16, 1739, No. 15 (210 florins or 220 

florins, according to Hoet) ; fifteen figures. 
Antwerp, February 24, 1851, No. 38 ; signed, on panel. 

107^. The Raising of Lazarus. A sketch. 
Panel, 9 inches by 7^ inches. 

Sale. Count von Brabeck and Count Andreas von Stolberg of Soder, 
Hanover, October 31, 1859, No. 213. 

107/7. The Good Samaritan. 



xxn REMBRANDT 87 

Exhibited at the British Institution, London, 1862, N< 
Then in the collection of Thomas Kibble. 

108. THE GOOD SAMARITAN BINDING UP THE 
TRAVELLER'S WOUNDS. B.-HdG. 330. In the foreground of 
a hilly landscape the traveller who has been robbed lies on the road to the 
right. He is clad only in a long shirt. He turns round towards the 
Samaritan, dressed in a red coat and coloured turban, who crouches behind 
him in the act of binding up his wounds. Farther back a dark grey 
horse, with its hind-quarters towards the spectator, is tied to a tree. 
Behind the group a travelling cloak of a dark yellowish grey, with a 
golden yellow border, lies on the ground. On the road to the left is the 
Levite, in a dark and dull brown robe and a red cap ; he seems to be 
absorbed in reading a book. In the background is the priest. Small 
full-length figures. Painted about 1650. 

Signed on the left at foot, " Rembrandt f." ; canvas, 39 inches by 
51 J inches. 

Possibly identical with the picture of the Samaritan, retouched by Rem- 
brandt, that is mentioned in Rembrandt's inventory of 1656 ; see Rovinski, 
No. 33. 

Cf. the numerous drawings of this subject by Rembrandt, two in the Berlin 
Print-room resemble the picture in composition ; one is reproduced by Lippmann, 
No. 25 ; the other, from the Habich collection, Casscl, is reproduced in the 
sale-catalogue. 

Mentioned by Michel, pp. 330, 564 [251-2, 436] ; by Hofstedc de Groot, 
Urkunden liber Rembrandt , No. 169. 

Exhibited in Amsterdam, 1898, No. 77 ; in Paris, 1911, No. in. 

In the collection of T. Humphry Ward, London. 

In the possession of the Paris dealer C. Sedelmeycr, "Catalogue of 300 
Paintings," No. 130. 

In the collection of Jules Porgcs, Paris. 

io8<7. The Good Samaritan. He is binding up the traveller's 
wounds. Behind the group is the horse, with other accessories. Fine in 
composition, brilliant in colour, and of the painter's best period. 

Canvas, 79 inches by 65^ inches. 

Sales. Amsterdam, April 22, 1809, No. 108 (100 florins). 

W. Reyers, Amsterdam, September 21, 1814, No. 129 (13 florins 50, 

Frankinet). 
W. Wreesman Borghartz, Amsterdam, April 1 1, 1816, No. 148 

(15 florins 25, Mensart). 

io8/>. The Good Samaritan. He is lifting the wounded traveller 
on to his own horse, in a hilly landscape. Life-size figures. 
Canvas, 79 inches by 65^ inches. 
Sale. Amsterdam, January 19, 1778, No. 54 (71 florins, Fouquet). 

109. THE GOOD SAMARITAN ON HIS WAY TO THE 

INN. Sm. 600 ; B.-HdG. 229. Through a broad valley, traversed by a 
stream flowing to the front, a road runs amid high trees on the right. In 
the middle distance this road bends to the left, crosses the stream by a stone 



88 REMBRANDT SECT. 

bridge, and goes towards a distant town, on the walls of which are wind- 
mills. The stream, which forms some rapids, flows to a farm enclosure, 
near which is a wooden bridge. A steep hill closes the valley to the left. 
On the road in the immediate foreground, the good Samaritan comes from 
the right, accompanying the wounded traveller whom he has placed on his 
own horse. To the left is the priest, praying with uplifted hands ; beside 
him is a boy. From the right two persons approach, coming from the 
wood. A coach with four greys moves towards the bridge in the middle 
distance. From the dull stormy sky breaks a ray of sunlight, brightly 
illumining the meadows in the middle distance. In the greyish-brown 
scene, the steely-blue loin-cloth of the wounded man and the dull red 
saddle are almost the only local colours. 

Signed on the right at foot, "Rembrandt f. 1638"; oak panel, 
i8J inches by 26 inches. 

Mentioned by Michel, pp. 314, 559 [239, 429]. 

Exhibited at Amsterdam, 1898, No. 42 ; at the Royal Academy Winter 
Exhibition, London, 1899, No. 29. 

Sales. M. D. van Eversdijck, The Hague, May 28, 1766 (Terw. 533), 
No. 75 but No. 8 1 of the original catalogue (39 florins, 
De Cros). 

Vassal de Saint Hubert, Paris, January 17, 1774, No. 22 (851 francs). 
In the Czartoryski Museum, Cracow, No. 105. 

no. THE GOOD SAMARITAN AT THE INN. Dut. 64; 
Wb. 263 ; B.-HdG. 329. By the high stone steps of an inn, a group of five 
persons, seen by candlelight, are engaged round the unfortunate traveller, 
who has just been lifted from the horse. He is naked to the waist, his 
head is bound up, and his legs are wrapped in a cloth. One man holds him 
under the arms ; another, kneeling, grasps his legs and lays him carefully on 
the ground. A boy looks on, while the Samaritan, seen from the back, in a 
long coat and a turban, holds the light, against which a figure stands out 
as a dark mass. Behind the group a flight of steps ascends to the left ; 
a maid-servant stands on the top. Small full-length figures. A sketch in 
grisaille. Painted about 1648. 

Canvas, 12 inches by 15 inches. 

Mentioned by Dutuit, p. 49 ; by Michel, pp. 330, 554 [252, 439]. 

Exhibited at Amsterdam, 1898, No. 48. 

In the collection of Henry Willett, Brighton. 

In the possession of the Paris dealer C. Sedelmeyer. 

In the collection of Alfred Thieme, Leipzig, 1900 catalogue, No. 67. 

In the collection of W. Bode, Berlin ; given by him to the museum. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 8126. 

in. THE GOOD SAMARITAN. Sm. 119; Bode 232 ; Dut. 
63; Wb. 243; B.-HdG. 123. At the inn. In the middle distance a 
man lifts the wounded traveller, who is naked to the waist, from the horse ; 
a boy standing in front to the right holds the horse's bridle. The little 
nag, a grey, has a blue cloth edged with gold strapped on its back in place 
of a saddle. The scene is laid in front of a house with a flight of broad 
steps, which have no balustrade. On the top of the steps the Samaritan 



xxn REMBRANDT 89 

in Eastern dress pays the reckoning to the old innkeeper, who stands bare- 
headed before him. From a window to the right a guest with a plumed 
hat looks out ; his features resemble those of the painter. In the left 
background, near some trees, is a well, with a girl drawing water. The 
full light of evening falls on the wounded man and the horse. Small 
full-length figures. Painted about 1632. 

Apparently there are traces of a signature on the right at foot, near the 
steps ; oak panel, 1 1 inches by 8 inches [10 inches by 8 inches, with a 
piece added at the top, according to the catalogue]. 

Etched by Rembrandt in reverse on a plate of the same size, with the 
addition of a dog seated in front, in 1632-33, Bartsch 90 [Hind 101], 

Engraved by C. Evrard ; etched by Binet, 1771, in the " Choiseul Gallery," 
No. 43. 

Mentioned by Vosmaer, pp. 120, 497; by Bode, p. 436; by Dutuit, 
p. 48 ; by Michel, pp. 104, 558 [80, 434]. 

Exhibited at the British Institution, London, 1818, No. 70 ; at the Bethnal 
Green Museum, London, 1872, No. 138; at the Royal Academy Winter 
Exhibition, London, 1889, No. 119. 

Sales. Julienne, Paris, March 30, 1767 (1800 francs 1551 francs, accord- 
ing to Dutuit Boileau). 

Due dc Choiseul, Paris, April 6, 1772, No. 9 (1580 francs, Hackart). 
Prince de Conti, Paris, April 8, 1777, No. 285 (1150 francs, 

Langlier). 
Nogaret, Paris, March 18, 1782 (900 francs). 

\. de Calonne, London, March 23, 1795, No. 35 of the fourth 
day (65 : as.). 

M. Bryan, London, May 17, 1798, No. 38 of the first day 
( 7 t : IOS.). 

, London, 1807 (94 : ios., bought in), 
.ird Coxe, London, 1813 (147 : ios.). 
In the collection of the Marquess of Hertford, 1836 (Sm.). 
In the Wallace Collection, London, 1913 catalogue, No. 203. 

112. THE GOOD SAMARITAN. Sm. 118; Bode 269; Dut. 
65 ; Wb. 275 ; B.-HdG. 328. At the inn at nightfall the wounded 
traveller, in a greyish-brown cloak and reddish coat, is borne by two men 
to the open stone steps on the right. Near him, to the left, the horse is 
held by a groom in a red cap and a bluish-green coat. The Samaritan 
stands on the steps, looking sympathetically at the wounded man ; he 
wears a long pale pink coat and a large turban, and holds his purse in his 
right hand. At his side stands the hostess. Three persons look out of 
the open window. Below them, in a corner formed by a projection of 
the building, are two horses, a chestnut and a grey, seen from the back 
beside a pump. In the foreground is a hen with her chickens ; on the 
extreme left is a tub. On the left is a view of a fortified town with hills 
beyond. Full-length figures, more than a fourth of life size. 

Signed, "Rembrandt f. 1648 " ; canvas, 45^ inches by 54 inches. 

A pen-drawing, a sketch for the picture, is in the Boymans Museum, 
Rotterdam, reproduced by HdG. iii. 50 ; two others are in the Louvre, repro- 
duced by HdG. iii. 13 and 606. 



90 REMBRANDT SECT. 

Etched by Denon, Oortman, De Frey, Longhi in the Musee Franfais. See 
Filhol, v. 314. 

Mentioned by Vosmaer, pp. 278, 543 ; by Bode, pp. 477, 594 ; by Dutuit, 
p. 35 ; by Michel, pp. 330, 562 [252-4, 434]. 

Sale. J. van der Linden van Slingeland, Dordrecht, August 22, 1785, No. 
325 (400 florins, Fouquet for King Louis XVI.). 

[Valued by the experts in the Louvre, 1816, at 30,000 francs (Sm.).] 

In the Louvre, Paris, 1907 catalogue, No. 2537. 

ii2a. The Good Samaritan. An excellent and effective picture. 
[Pendant to 96^.] 

Sale. Bryan, London, May 17, 1798, No. 38 (73 : ios.) ; see Buchanan, 
i. 278. 

ii2b. Christ in the House of Mary and Martha. Martha is 
baking cakes in an iron pan from Liege, at a stove in the Dutch style. 

Mentioned by Houbraken, ii. 246. See Hofstede de Groot, Urkunden liber 
Rembrandt, No. 421. 

ii2r. The Prodigal Son's Departure. He sits on a black horse. 
His mother holds a handkerchief to her face. The father waves him a 
farewell. At the side are buildings. Farther away is a church. 

Panel, 9^ inches by u inches. 

Sale. M. P. D. Baron van Sijtzama and others, Leeuwaarden, June 13, 1849, 
No. 117. 

113. THE RETURN OF THE PRODIGAL SON. Sm. 

117; Bode 322; Dut. 66; Wb. 392; B.-HdG. 533. The prodigal 
son, in a tattered garment of coarse linen with a hempen girdle, kneels in 
the left foreground before his aged father, who wears a yellow coat under 
a red cloak and a green cap. The father bends forward and draws his son 
towards him, laying his hands on the young man's shoulders. On the 
right an old man, in profile to the left, stands leaning on his staff and 
watching ; he wears a yellowish-white coat, a red cloak, and a high cap. 
Beside him, farther back, sits a man with a large moustache and a broad 
black hat. Behind the group is a house ; a young woman leans against the 
wall to the right, looking on curiously. A woman comes forward through 
an archway. The light falls from the left on the group. Full-length figures, 
life size. Painted about 1669. [Pendant to 47.] 

Signed on the left at foot, " R. van Rijn " ; canvas, 104! inches by 
82 inches a strip about 4 inches wide has been added on the right side 
and at foot. 

Etched by N. Mossoloffin Les Rembrandts de /' Ermitage. 
Mentioned by Vosmaer, pp. 155, 512 ; by Bode, pp. 527, 600 ; by Dutuit, 
p. 39 ; by Michel, pp. 506, 566 [394'5 44 1 ]- 

Sales. Jan de Gise, Bonn, August 30, 1742 (Hoet, ii. 63), No. 4 (695 

florins). 
Elector of Cologne, Paris, 1 764 ; withdrawn and soon afterwards 

sold for 5400 francs cash and a picture by Luca Giordano, valued 

at 600 francs, to the Due d'Ansesume, Paris. 
In the collection of the Empress Catherine II. ; bought in 1797. 
In the Hermitage Palace, Petrograd, 1901 catalogue, No. 797. 



xxn REMBRANDT 91 

113^. The Prodigal Son. 

Sale. Isaac Hoogenbergh, Amsterdam, April 10, 1743 (Hoct, ii. 84), No. 
45 (31 florins). 

114. THE UNFAITHFUL SERVANT. [Now officially cata- 
logued as " The Centurion Cornelius " ; formerly catalogued as " The 
Unmerciful Servant "; often called *' The Workers or Labourers in the 
Vineyard."] Sm. 114 ; Bode 229 ; Dut. 62 ; Wb. 244 ; B.-HdG. 339. 
He is brought from the right by two bailiffs before his master, who stands 
to the left behind a table. The lord wears a cherry-coloured coat, a dark 
cloak over his left shoulder, and a yellow turban. He leans his right hand 
on the table, upon which lie papers and books. He is speaking and extends 
his left hand towards the servant, who, holding his cap before him with 
both hands, listens anxiously to his master's words. The servant's shirt is 
open, showing part of his breast. Of his custodians, the younger man in 
front wears a steel helmet with a plume and a gorget over a reddish-brown 
coat ; the older man at the back has curly hair and a moustache, and is seen 
onlv to the waist. Life-size figures, seen to the knees. Painted about 
1650. 

Canvas, yoj inches by 86 inches. 

A copy is in the picture gallery in the Royal palace, Aschaffenburg, No. 244. 

A pen-drawing for this picture is in the Amsterdam Print-room ; reproduced 
by Lippmann-HdG. 78. 

Engraved in mezzotint by James Ward, 1800 [as "The Centurion 
Cornelius "]. 

Mentioned by Vosmaer, pp. 282, 544 ; by Bode, pp. 526, 589 ; by Dutuit, 
p. 49 ; by Michel, pp. 354, 490, 558 [271, 382, 434, as "The Workers in the 
Vineyard"]; by Waagen, ii. 158, and iv. 87 [by D. S. MacColl, Burlington 
Magazine, May 1913, No. cxxii. p. 101, and F. Schmidt-Degener, Burlington 
Magazine, June 1913, No. cxxiii. p. 171]. 

Exhibited at Manchester, 1857, No. 14; at the Bethnal Green Museum, 
London, 1872, No. 101 ; in the Royal Academy Winter Exhibition, London, 
1889, No. 158. 

In the possession of the London dealer Michael Bryan, 1800. According 
to the Stovve sale-catalogue, Bryan bought it in Amsterdam from the representa- 
tives of the family for whom Rembrandt was said to have painted it ; Bryan is 
said to have escaped with the picture from Amsterdam the night before the 
French troops entered the city [January 19, 1795], and to have sold it to the 
Duke of Buckingham. [Buchanan, i. 296, says that Bryan bought it from the 
Boers family. Cf. 152.] 

Sa/f. Duke of Buckingham, Stowe, August 15, 1848, No. 438 (^2300, 
Mawson for Lord Hertford) [called "The Unmerciful Servant"]. 

In the collection of the Marquess of Hertford, London. 

In the Wallace Collection, London, 1913 catalogue, No. 86. 

115. The Unfaithful Servant. He comes from the right in a 
humble manner, holding his cap in his right hand before his body, and 
approaches his master, who sits facing the spectator beside a table, leaning 
his right hand on the arm of his chair, and making a gesture of refusal 
with his left hand. The master has a beard, and wears a turban and a long 
robe. On the table are an open book, papers, and a gold cup. To the 



92 REMBRANDT SECT. 

left is a window. Although this picture is not now regarded as a 
Rembrandt, the author thought it not impossible that it was an original 
which had been somewhat overcleaned. However [J. O. Kronig, in the 
Burlington Magazine^ January 1915, vol. xxvi. p. 172, states that] the 
picture, when recently cleaned, was found to bear the signature of Carel 
van der Pluym [under the false Rembrandt signature]. 

Panel, 17 inches by 21 J inches. 

In the collection of Sir Frederick Cook, Bart., Richmond, No. 162. 

116. THE LABOURERS IN THE VINEYARD. Sm. 115; 
Bode 323 ; Dut. 67 ; Wb. 393 ; B.-HdG. 220. In a lofty hall the lord 
of the vineyard sits in the left middle distance at a round table with a dull 
reddish-brown cloth, near a large arched window divided into two by a 
pillar. He has a beard, and wears Eastern dress a high cap and a purplish- 
brown furred cloak over a pale blue coat. He motions away two discon- 
tented labourers who press towards him ; one of them, cap in hand, points 
to the labourers who have already been paid. To the left, with his back 
to the window, is the steward looking up from his book. On the extreme 
left, before and behind him, are bales, chests, and numerous books and 
papers. Farther back, to the right, is a group of four labourers ; one of 
them joyfully shows his wages to the others. On the extreme right a 
labourer is rolling a cask. Two others carry a chest up the steps leading 
to a door. Another figure is seen at the door. In the right foreground 
is a dog. A cat plays in the centre. From the ceiling hangs a round bird- 
cage. Brilliant evening light falls from the left through the window upon 
the wall, and is delicately distributed on the group round the lord of the 
vineyard. Warm brownish tone with little local colour. Small full-length 
figures. 

Signed to the right at foot on a step, " Rembrandt f. 1637 " ; oak panel, 
12 inches by i6J inches. 

A copy under the name of G. van den Eeckhout was in the sale : A. Jaffe, 
Berlin, October 15, 1912, No. 90. The picture 13 inches by io inches in 
the sale : Martin, Paris, 1802 (1180 francs, Madame Lagrange), was probably 
another copy ; see C. Blanc, ii. 307. 

Studies for the picture are in the Boymans Museum, Rotterdam, HdG. 
1 349 ; and in the collection of the late J. Pierpont Morgan, New York, HdG. 
1082. 

Engraved by Fessard, 1767, in the Crozat collection. This plate was later 
worked upon by Martin Piert, the principal figure was altered, and Piert's name 
was added, with the probably mythical assertion that the original was in the 
Vanderduren collection ; see Bartsch, Anleitung zur Kupferstichkunde, ii. 145. 
Also engraved by T. Chevtchenko, 1858. Etched by N. Mossoloff in Les 
Rembrandts de I Ermitage. Engraved on wood by Seriakoff. Lithographed by 
Huot in Gohier Desfontaines and Petit, Galerie de F Ermitage, i. 10. 

Mentioned by Vosmaer, pp. 165, 514 ; by Bode, pp. 446, 600 ; by Dutuit, 
p. 38 ; by Michel, pp. 234, 562 [179-80, 441] ; by Waagen, p. 177. 

In the Crozat collection, Paris. 

In the Walpole collection, Houghton Hall ; bought by the Empress 
Catherine II. in 1779. 

In the Hermitage Palace, Petrograd, 1*901 catalogue, No. 798 [valued by 
Sm. in 1836 at ^367 : ios.]. 



xxn REMBRANDT 93 

n6a. The Labourers in the Vineyard. In an old building the 
aged lord of the vineyard, richly dressed, sits at a table covered with a 
carpet, at which his steward pays the labourers. Some have already been 
paid, while others are still at work. Farther back are a money-box, 
books, papers, and other accessories. The light falls from the side 
through two windows, creating a fine effect. Vigorous and pleasing in 
colour. 

Panel, 20 inches by 24 inches. 

Sales. Amsterdam, July 25, 1803, No. 65 (350 florins, Roos). 

Madame C. Rijkman, Amsterdam, October 15, 1829, No. 17 (700 
florins, Waller for Kluitcnaar). 

117. THE TRIBUTE-MONEY. In the centre of a lofty hall 
like a temple, Christ stands with right hand uplifted before three scribe>, 
one of whom holds out before Him the tribute-money. On the right is 
another group of four men, some seated and others standing. Below to 
the left two persons come up some steps. At a window above to the 
right is a bearded Rabbi. 

Signed at top to the right in a cartouche, " R H L 1629 " ; panel, 16 
inches by 13 inches. 

In the possession of R. Langton Douglas, London. 
In the collection of Alfred Beit, London. 
In the collection of Otto Beit, London. 

118. THE TRIBUTE -MONEY. Sm. in, and Suppl. 20 ; 
Bode 196 ; Dut. 68 ; Wb. 153 ; B.-HdG. 403. In the interior of the 
Temple Christ stands in the centre, before a large bay. He is in profile 
to the left and wears a brown cloak over a blue coat, which He lifts with 
His left hand while He stretches out the right. A Pharisee, in profile, 
wearing a large red cap and a coat predominantly yellow and red in colour, 
holds out the tribute-money before Him. Between them is a Jew with a 
rich head-dress, seen in full face. To the left are two other Jews. On 
the right is a group of seven figures, partly in half-shadow. A woman 
watches the scene through a window. Full light falls on the main group 
and on the wall to the left, beside which stands a bench decorated with 
simple Renaissance patterns. Small full-length figures. 

Signed to the left at foot on the bench, "Rembrandt f. 1655 " ; 
canvas, 25 inches by 33^ inches. 

Engraved in mezzotint by MacArdell [while in the Blackwood collection]. 
Mentioned by Vosmaer, p. 537 ; by Bode, p. 508 ; by Dutuit, p. 42 ; by 
Michel, pp. 399, 557 [308, 432]. 

Exhibited at the British Institution, London, 1815, No. 38, and 1858, No. 
76 ; at the Royal Academy Winter Exhibition, London, 1899, No. 21. 
Sales. Prince Rubempre, Brussels, 1765. 

Blackwood, London, February 20, 1778. 

Robit, Paris, May 21, 1801, No. 116 (8850 francs, Lafontaine). 

J. Webb, London, 1821 (Reile). 

Sir Simon Clarke, London, May 8, 1840 (630, Woodburn). 
In the possession of the London dealer Woodburn, 1853. 
$*&._- Wynn Ellis, London, May 27, 1876 UV*, \V. B. Beaumont). 



94 REMBRANDT SECT. 

In the collection of Wentworth B. Beaumont (afterwards Lord Allendale), 
1899. 

In the collection of Lord Allendale, London. 

uSa. The Widow's Mite. A fine composition of nineteen figures. 
2oJ inches by 28 inches. 

Sale. Count Fraula, Brussels, July 21, 1738 (Hoet, i. 526), No. 90 (52 
florins). 

1 1 8. Christ washing Peter's Feet. A small picture. 

In the collection of Abraham Jacobsz Greeven, Amsterdam ; in the inventory 
of his collection for sale, March 10, 1660. See Hofstede de Groot, Urkunden 
uber Rembrandt, No. 227. 

119. Christ washing Peter's Feet. Vigorous; grisaille. 
Panel, 19 inches by 24 inches. 

In the collection of Hermann Becker, Amsterdam ; in the inventory of his 
goods, October 19, 1678. See A. Bredius, Oud Holland, 1910, p. 196, etc. 

Sale. Huybert Ketelaar, Amsterdam, June 19, 1776, No. 175 (4 florins 75, 
F. Kemper). 

1190. The Jews take Counsel together. A good picture. 
Panel, 32^ inches by 41 inches. 

Sale. Madame d'Hariague, Paris, April 14, 1750, No. 28 (1200 francs); 
the catalogue was by Mariette, according to an old note. 

1 20. Christ at Gethsemane. Sm. 89. Christ is on His knees. 
An angel descends in a stream of light to minister to Him. The three 
disciples are asleep. Only the principal group is illumined. 

Panel, 16 inches by 15 inches. 

Etched by Denon and' ; by W. Brockedon. 

Sale. Baron Vivant Denon, Paris, 1826, No. 104 (2251 francs, Perignon). 

According to Dutuit, p. 14, this is probably identical with an A. 

de Gelder in the collection of Sir F. Cook, Bart., Richmond. 

121. ST. PETER DENYING HIS MASTER. Sm. no; 
Bode 324 ; Dut. 72 ; Wb. 394 ; B.-HdG. 405. In the centre fore- 
ground stands Peter, wearing a large yellowish-white cloak which he has 
drawn over his head. He turns, raising his left hand to enforce his denial, 
to a maid-servant in a bright red bodice, who from the left holds up a 
candle to the disciple's face and, gesticulating vigorously with her right 
hand which hides the flame of the candle, denounces his statement as 
untrue. In the immediate left foreground sits a bare-headed soldier in full 
armour ; he sets down the large gourd-shaped bottle from which he is 
drinking and looks at the disciple. Beside him to the right on a bench 
are his helmet and sword. Behind him to the left stands another soldier. 
Farther back on the extreme right are six male figures in dim light, who, 
to judge from their dress, are scribes and Pharisees. The figures are seen 
to the knees. Painted about 1656. 

Signed on the right at foot (partly repainted), " Rembrandt f." ; 
canvas, 61 inches by 67 inches. 



xxn REMBRANDT 95 

A smaller old copy is in the possession of a Berlin dealer. 

Ktched by N. Mossoloff in Lfs Rembrandts de ? Ermitage. 

Mentioned by Vosmaer, p. 547 ; by Bode, pp. 511, 600 ; by Dutuit, p. 39 ; 
by Michel, pp. 424, 566 [328-30, 441] ; by Descamps, y\c da Pcintrc^ i. 307. 

In the collection of the Marquis Voyer d'Argenson, Paris. 

Sa/e. Comte de Vence, Paris, February 9, 1761 (500 francs). 

In the collection of Comtc Baudouin, Paris, 1780 ; bought as a whole by the 
Empress Catherine II. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 799 [valued by 
Sm. in 1836 at 1050]. 

122. ST. PETER REPENTANT. Bode 288 ; Dut. 96 ; Wb. 
290; B.-HdG. 41. Peter, kneeling on the ground beside a pillar and 
wringing his hands in prayer, looks straight before him with a distracted 
air. He is turned three-quarters left. He wears a dull brown coat and a 
black under-garment ; his greenish-grey cloak is behind him to the right. 
Reside him on the ground are his keys and a bundle of straw for his bed. 
Dull sunlight falls on the kneeling figure. The background, of the colour 
of dull grey stone, is painted in a thin and sketchy manner. A small full- 
length figure. 

Signed on the right at foot with the monogram, "RHL 1631"; 
oak panel, 23 inches by 19 inches. 

An old copy of the picture, with additions in the background, is in the 
collection of Count Karl Lanckoronski, Vienna. A second old copy, under the 
name of G. Dou, was in the possession of a Dutch dealer in 1900, and in a 
private collection in Brussels in 1912. Another old copy, under the name of 
Ludovico Carracci, was in the possession of a London dealer in 1913 ; the 
straw was not shown but the apostle's left foot was visible. 

The composition was etched by G. F. Schmidt (Wessely, No. 170) in 1770 
as the work of F. Bol, then in the Trible collection, Berlin. Possibly the 
etcher worked from the old copy now belonging to Count Lanckoronski. 

Mentioned by Vosmaer, p. 489 ; by Bode, p. 385 ; by Dutuit, p. 54. 

Exhibited at the Palais du Corps Legislatif, Paris, 1874 wrongly catalogued 
as then in the collection of E. Andre ; in Brussels, 1886 ; at Amsterdam, 1898, 
No. 17. 

In the collection of Prince de Chalais, Paris. 

In the collection of Prince de Rubempre de Merode, Brussels. 

i22<7. St. Peter lamenting. Half-length. 

In the picture gallery in the Royal palace, Berlin, 1786; see Nicolai', 
Bcschrcibung von Berlin, ii. 886. 

123. JUDAS GIVING BACK THE THIRTY PIECES 
OF SILVER. Sm. 131 ; B.-HdG. 10. In a spacious hall, supported 
by a central pillar, Judas kneels on the floor in the right foreground, before 
the throne of the high priest. Despairingly, he wrings his hands from 
which he has just flung down the thirty pieces of silver. His loose 
brownish-grey dress is open at the neck and breast. The high priest, 
seated, turns away in anger ; he wears a dull red robe embroidered with 
gold over a dull purple coat held together with a sash, and has a light 
turban. Behind him stands another priest with a threatening gesture ; he 



96 REMBRANDT SECT. 

has a tall cap, and wears a greenish-blue Eastern dress with a deep blue 
sash. Behind him to the right two Pharisees look on with a half- 
compassionate air. In the left foreground a priest in a dull brown dress, 
seen from the back, sits at a table with books, and looks round at the 
silver. Behind him three old men in Eastern dresses of dull and sad colours 
look on astonished at the incident. On the pillar to the right behind the 
high priest a glittering steel shield hangs on a greenish curtain. From 
the background on the extreme right, several figures come up the steps. 
Small full-length figures. Painted about 1628 or 1629. 

Signed on the step of the throne with the small monogram " R " 
(apparently modern), while a second large monogram may apparently be 
distinguished in the centre at foot j canvas, 30^ inches by 40 inches. 

A copy of the same period was in the collection of Henry Willett, Brighton. 
A second copy is travelling about Holland. A third version is noted in the 
possession of Julius Bohler, Munich, by Bode, Art in America, i. 112. 

The figure of Judas was etched in 1634 by J. J. van Vliet (Bartsch 22, as 
pendant to B. 21) ; Sm. 131 described the picture from this print ; noted, Wb. 
462. 

Gersaint mentions the picture, and notes the likeness of Judas to the figure 
in Van Vliet's etching, B. 22. 

Mentioned by Constantijn Huygens, before 163 I (cf. Oud Holland, ix., 1891, 
p. 125) ; Young, A Tour in Ireland in 1776-79 [1780 edition, vol. i. p. 3] 
cf. Historical Manuscripts Commission, izth Report, Appendix x. p. 335 ; 
Michel, pp. 60, 563 [45-7, 535]. _ 

Exhibited in the British Institution, London, 1867, No. 159. 

Sale. (Possibly) R. Alexander, London, 1775 (Martin). 

In the collection of James, first Earl of Charlemont, Dublin, 1776. The 
family exhibited the picture at the British Institution in 1867, so that this 
cannot have been the similar picture in the sale : Duke of Buckingham, 
Stowe, August 15, 1848, No. 409 (32 : us., Davis). 

In the possession of the Paris dealer F. Kleinberger, 1884. 

Sale. G. Detsy, Paris, March 28, 1884, No. 36 (2100 francs) ; as of the 
school of Rembrandt. 

In the possession of the Paris dealer Haro, 1892. 

Sale. Martinet, Paris, February 27, 1896, No. 35 (53,000 francs, bought in 
by Henry Haro for the Martinet family). 

In the collection of Baron Arthur dc Schickler, Paris. 

124. CHRIST AT THE COLUMN (or, The Flagellation). 
Bode 75; Dut. 74; Wb. 68 ; B.-HdG. 534. Two executioners are 
engaged in binding Christ to the column ; He wears only a cloth about 
his loins. One man, in red breeches and shirt, who kneels on the right, is 
fastening fetters round His ankles. The other man, dressed in a yellow 
jerkin with dark puffed sleeves and brownish-red breeches, who is on the 
left, draws Christ's bound hands up the column with a rope. On the right, 
behind the kneeling man, are his helmet, cuirass, and sword. Bright light 
falls from the left on the upper part of Christ's body. In the dark back- 
ground is seen a column ; to the right is a passage. Full-length figures, 
about a third of life size. 

Signed almost in the centre at foot, "Rembrandt f. 1668 " (not 1658) ; 
canvas, 37^ inches by 29 inches. 



xxn REMBRANDT 



97 



An old copy was in the 

Safes. Broadwood and others, London, March 25, 1899, No. 101. 

S. Bourgeois, Cologne, October 27, 1904, No. 67 (Cardon of 
Brussels, 7900 francs) ; measuring 44^ inches by 32^ inches. 
A pen-drawing for one of the executioners is in the collection of C. Hofstede 
de Groot, The Hague ; reproduced, HdG. iii. 92. 

Mentioned by Vosmaer, pp. 371, 565 ; by Bode, pp. 527, 567 ; by Dutuit, 
p. 28 ; by Michel, pp. 503, 553 [392;4> 43?]- 
Exhibited at Amsterdam, 1898, No. 122. 

Sale. (Possibly) Amsterdam, March 20, 1764, No. 5 (79 florins). 
In the collection of L. van Heythuysen, 1800. 
Sa/t. W. Bcckford, Fonthill Abbey, February 23, 1802 (bought by 

Fresham). 

In the Winter collection, Heidelberg. 
In the possession of the dealer Schmitt. 
In the Darmstadt Museum, 1885 catalogue, No. 347. 

125. CHRIST AT THE COLUMN (or, The Flagellation). 
Bode 44; Dut. 75; Wb. 33; B.-HdG. 317. A youth with long 
reddish -brown curls, wearing only a cloth about his loins, stands half- 
turned to the left beside a stone table ; his hands are bound behind him. 
He looks down. In the left foreground are steps going downward. A 
small full-length figure. A study painted about 1646. 

Oak panel, 13 inches by 1 1 inches. 
Etched by Gaujean. 

Mentioned by Bode, p. 563 ; by Dutuit, p. 41 ; by Michel, p. 551 [439]. 
Exhibited in Berlin, 1890, No. 470. 

Sa/e. Baron de Beurnonville, Paris, 1881, No. 435 (10,000 francs). 
In the collection of Adolf von Carstanjen, Berlin ; now in the possession 
of the Von Carstanjen trustees. 

Exhibited on loan in the Acltere Pinakothck, Munich. 

126. CHRIST AT THE COLUMN. B.-HdG. 540. In front 
of a lofty column Christ sits, turned slightly to the left, on a round stone 
pedestal, the place of torture, to a ring in which His hands, bound behind 
His back, are fettered. He wears only a white cloth about His loins. His 
head, encircled with a halo, is turned towards the spectator. His eyes are 
cast down. He has long brown hair and a full brown beard. To the left 
behind the column, beyond steps leading down into a hall, stands a soldier, 
seen to the knees. He holds a long halberd in his right hand, and wears a 
greenish coat, a grey neckcloth, and a brownish-purple cap with a plume. 
In the right background is another soldier, in a steel cap and cuirass, hold- 
ing a halberd. In the right foreground lie a cuirass, a bamboo reed, rods, 
thorny branches, and a large shield on a purple cloak. Greyish-brown 
background. The light falls from the left at top. Full length, about a 
third of life size. Painted about 1628. 

Canvas, 29^ inches by 25 inches 30^ inches by 26 inches, according 
to the Aynard sale-catalogue. 

Sale. Edouard Aynard, Paris, December I, 1913, No. 79. 
Said to be in a private collection, Vienna. 

127. Christ being mocked. Christ stands undraped, with the 
VOL. vi H 



98 REMBRANDT SECT. 

crown of thorns and the reed. The blood flows from His wounds over 
the breast and the left arm. One soldier wears a turban and a green 
doublet slashed with white. Another soldier wears a red and brown dress, 
a cuirass, and a red cap. He kneels before Christ, and rests his right hand 
on a large brass pot. Behind him is a third soldier in profile, with a 
pointed helmet and a gorget, who looks at Jesus and laughs. The back- 
ground is a dark wall. Life-size figures. To judge from the engraving 
and from the photograph published at the time of the Petrograd ex- 
hibition, the authenticity is doubtful, and the picture appears to be the 
work of the artist who painted the " Ecce Homo" at Budapest, 1906 
catalogue, No. 368. 

Canvas, 76 inches by 48 inches. 

Engraved in aquatint in the sale-catalogue of 1869. 

Exhibited at Petrograd, 1908, No. 239. 

Sale. Prince Koucheleff-Besborodko, Paris, June 5, 1869, No. 29 (19,000 

francs). 
In the collection of Countess Mussin-Pushkin, Petrograd. 

127*7. Christ being scourged. 

In the collection of Rembrandt, Amsterdam ; in the inventory of his goods 
for sale, July 25, 1656, No. 62, with a copy of it under No. 302. See Hofstede 
de Groot, IJrkunden liber Rembrandt, No. 169. 



. Christ being mocked. 

Sales. Amsterdam, May 16, 1730 (Hoet, i. 350), No. 30 (i 8 florins 25). 
Amsterdam, November 8, 1734, No. 94. 

127*. Christ being scourged. 

Sale. Guerin and others, The Hague, September 13, 1740, No. 49 
(i florin 10). 



. Christ mocked by a Guard. 

31 inches by 40 inches. 

Sale. Seger Tierens, The Hague, July 23, 1743 (Hoet, ii. 113), No. 223 
(22 florins 25). Wrongly identified, in B.-HdG., with the Darm- 
stadt picture (124), the height of which is greater than its width, 
and which does not represent the " Mocking." 

127*. Christ with the Crown of Thorns and the Reed. 

Panel, 6 inches by 5 inches. 

In the Schloss Altstadt, Cassel, 1783 catalogue, No. 117. 
i27/ Christ being scourged. 

Exhibited at the British Institution, London, 1845, No. 2 5- 
Then in the collection of Sir R. Westmacott. 

128. CHRIST BEFORE PILATE. Sm. 88 ; Bode 207 5 Dut. 
76 ; Wb. 185 ; B.-HdG. 214. Upon a raised terrace, Pilate, in profile to 
the right, sits on his judgment seat under a high canopy. He is assailed by 
the Jews, who in savage excitement demand from him the condemnation of 
Christ. Drawing back before the petitioners, he makes animated gestures 



xxn REMBRANDT 99 

with his hands as if refusing and trying to pacify. A group of four 
men in the dress of Jewish priests, with tall head-dresses, phylacteries, 
and other characteristic details, press towards him, shouting and threaten- 
ing. Behind him, at a somewhat higher elevation, stands Christ, seen 
in full face and wearing the crown of thorns and the purple robe. His 
hands are bound before Him ; He looks upward as if in prayer. He is 
surrounded by a detachment of soldiers with lances and halberds. A few 
steps lower down than Pilate, a priest with outstretched left hand tries 
to appease the mob which, closely packed, fills the forecourt of the palace 
and presses through the high arched entrance on the right. Above the 
entrance is a clock ; near on it, on a lofty ornamental pedestal, is a bust 
of an emperor, crowned with laurel. Full light falls on the group of 
Jews before Pilate. Small full-length figures. Grisaille. 

Signed on the right half-way up below the clock, "Rembrandt ft. 
'633" j canvas, 2ii inches by 17^ inches. 

Possibly identical with the " Ecce Homo" in grisaille, mentioned in Rem- 
brandt's inventory of 1656, and in the inventory of the goods left by the painter 
Jan van de Cappelle, 1680. See Hofstcde de Groot, Urkunden Uber Rembrandt ', 
Nos. 169, 350. 

Etched by Rembrandt, 1634-35, in reverse and on a slightly larger scale, 
B. 77 [Hind 143]. Engraved by an unknown hand. 

Mentioned by Vosmaer, pp. 341, 553 ; by Bode, pp. 432, 586 ; by Dutuit, 
; by Michel, pp. 202, 557 [156, 432]. 

Salt. W. Six, Amsterdam, M. ^4 (probably Hoet, i. 419), N< 

In the collection of J. Goll van Franckenstcin, Amsterdam, who sold it in 
to the Amsterdam dealer A. Brondgcest. 

In the possession of the London dealer T. Emmerson. 

In the collection of Jeremiah Harman, 1836 (Sm.). 

Salt, J. Harman, London, May 17, 1844 (127 : is., Smith). 

In the possession of the dealer Smith, who, according to a MS. note in his 
own copy of his catalogue, sold it to G. Blainie. 

In the collection of Sir Charles Eastlake ; sold for a nominal sum, under 
the terms of his will, to the National Gallery, 1894. 

In the National Gallery, London, 1911 catalogue, No. 1400. 

129. PILATE WASHING HIS HANDS. Bode 145; Out. 
73 ; Wb. 224 ; B.-HdG. 532. In front of the wall of a massive building, 
hung with a curtain on the right, Pilate sits in a chair in the right fore- 
ground, turned to the left. He wears a broad flat cap of black stuff, adorned 
with narrow gold lace and pearls, and a yellow silk robe with a broad gold 
embroidered border over a black velvet coat, on which hangs a gold chain 
of several strands with a medallion. A youthful page stands before him, 
dressed in a green coat with loose gold-embroidered sleeves. The page 
holds in his right hand a shallow silver salver under Pilate's hands, over 
which he pours water with his left hand. A long towel is thrown over 
the page's fore-arm and shoulder. Behind Pilate stands an old man look- 
ing on ; he wears a yellow robe, and a yellow cap with a broad gold hoop 
on his thick grey hair. To the left is a low balustrade, behind which press 
soldiers with helmets, spears, and halberds ; among them is a negro. Life- 
size figures, seen to the knees. Painted about 1665. 



ioo REMBRANDT SECT. 

Canvas, 51^ inches by 66 inches. 

A copy of the head of Pilate, by Dietrich, is in the Rumjanzoff Museum, 
Moscow, 1901 catalogue, No. 694. 

A pen-drawing for the picture is in the collection of J. Six, Amsterdam ; 
HdG. 1233. 

Mentioned by Bode, pp. 480, 579 ; by Dutuit, p. 47 ; by Michel, pp. 434, 

563 [330, 436]. 

In the collection of Lord Palmerston, Broadlands, since 1 794. 

In the collection of Lord Mount Temple, Broadlands. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of ioo 
Paintings," i. 32. 

In the collection of Rodolphe Kann, Paris, 1907 catalogue, No. 68 ; bought 
as a whole by Duveen Brothers. 

In the collection of B. Altman, New York ; bequeathed in 1913. 

In the Metropolitan Museum, New York. 

130. THE ELEVATION OF THE CROSS. 8111.91; Bode, 
1 06 ; Dut. 8 1 ; Wb. 1 01 ; B.-HdG. 124. In the centre foreground, the 
Cross, to which Christ is fastened, is raised from the right by four execu- 
tioners. The man on the left of the group wears a cuirass and helmet. 
The man in the centre, wearing a light blue coat, has the features and the 
familiar blue cap of the painter. Two other men, in shadow to the right, 
support the Cross from the back. Behind this group is the Roman 
centurion on a grey horse ; he wears a rich Eastern dress, consisting of a 
light turban, a coat of gold brocade with a sash, and a deep purple cloak. 
He leans his right hand, grasping a mace, on his hip. To the left, in half 
shadow, is a group of four Pharisees. To the right, farther back, soldiers 
bring forward the two thieves. A night scene. Full light falls from the 
left on the body of Christ, who casts His eyes upward as if in pain. Small 
full-length figures. Produced at the same time as its pendant, "The 
Descent from the Cross" (134), which was painted in 1633. 

Canvas, rounded at top, 38 inches by 28^ inches. 

Engraved by Hess. 

A copy was in the sale : J. Durlacher, Frankfort-on-Main, December n, 
1906, No. 1 1 8. 

A chalk drawing for the picture is in the Albertina, Vienna, HdG. 1423. 

Mentioned by Vosmaer, pp. 119, 497 ; by Bode, p. 434 ; by Dutuit, p. 30 ; 
by Michel, pp. 157, 554 [120, 438]; by Hofstede de Groot, Urkunden fiber 
Rembrandt, No. 48. 

In the collection of Frederick Henry, Prince of Orange, for whom Rem- 
brandt painted it in 1633. 

In the collection of the Prince's widow, Amalia von Solms, at the Oude 
Hof, The Hague, 1667 inventory, No. 69; but not in the inventories of the 
goods divided among her four daughters. 

Probably, therefore, in the collection of her grandson William III., Prince of 
Orange and King of England, till 1702. 

In the collection of Johann Wilhelm, Elector Palatine (who died in 1716), 
Diisseldorf, No. 215 ; see Van Gool, ii. 538. Transferred to Munich in r8o6. 

In the Aeltere Pinakothek, Munich, 1911 catalogue, No. 327. 

131. The Elevation of the Cross. Sm. 92. A study for the 



xxn REMBRANDT 101 

Munich picture (130). [" This masterly study, apparently for the preced- 
:ncture, is composed of a number of figures, among which is seen 
conspicuously the Saviour attached to the Cross, which several men are in 
the act of raising. An officer, mounted on a brown horse, with his back 
to the spectator, is on the left, and on the opposite side may be noticed a 
man stooping to take something from a basket. The gloom which pre- 
vails is partly relieved by a. stream of light bursting from the midst of 
dark clouds. Painted in a free and spirited manner" (Sm.).J 
Panel, 15^ inches by nA inches. 

Exhibited at the British Institution, London, 1834, No. 85. 
Sale. Sir Charles Bagot, London, June 17, 1836 (Brondgeest). 

132. CHRIST ON THE CROSS. B.-HdG. 318. In a barren 
hilly landscape, in front of an evening sky with heavy clouds, the dead 
body of Christ hangs on the Cross which is seen foreshortened at a slope 
to the left. A small full-length figure. A sketch painted about 1646. 

Oak panel, 13 inches by 9^ inches. 

An old copy from the Cavens collection, Brussels, and the collections of 
Henri dc Rochcfort and L. Bonnat, Paris, was exhibited at Leyden, 1906, No. 
42, and in Paris, 1911, No. 131. 

Exhibited in Berlin, 1890, No. 218. 

Etched by L. Gauchcrel. 

[Mentioned by Michel, pp. 436, 439.] 

In the collection of Augustus III., King of Poland, Warsaw. 

Sales. J. W. Wilson, Paris, March 14, 1881 (9150 francs, Marquis de 

Charley). 
C. Pillet, Paris, 1885. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 300 
paintings," No. 147. 

In the collection of C. von Hollitscher, Berlin. 

In the collection of E. Otlet, Paris, formerly Brussels. 

In the collection of John G. Johnson, Philadelphia, 1914 catalogue, 
No. 478. 

132*. The Crucifixion. A sketch. 

In the collection of Rembrandt, Amsterdam ; No. 79 in the inventory of 
his goods for sale, July 25, 1656. See Hofstede de Groot, Urkunden liber Rem- 
brandt, No. 169. 

132^. Christ on the Cross. With accessories. 

13 inches by 1 1 inches. 

Sales. Baron Schonborn, Amsterdam, April 16, 1738 (Hoet, i. 511), No. 

67 (Tenv. 22), No. 66 (71 florins). 
Lempereur, Paris, May 24, 1/73, No. 62 (112 francs 95). 

132*:. Golgotha. Christ on the Cross between the two thieves. In 
the foreground soldiers cast lots for Christ's garment. Others remove 
the instruments of the Passion. Several officers are represented on horse- 
back. At the foot of the Cross are the Virgin Mary, St. John, and the 
Magdalen. Dark sky. In all, twenty-four figures. 

Panel, 36^ inches by 29 inches. 

Sale. J. A. Snijers, Antwerp, April 27, 1818, No. 105. 



102 REMBRANDT SECT. 

133. THE DESCENT FROM THE CROSS. On the left 
stands the Cross, from which the body of Christ is being lowered. A 
man on a ladder to the left holds the trunk firmly with his right arm. 
An old man with a long white beard supports the hips. On a ladder to 
the right stands a man with a torch, shading his eyes from the light with 
his left hand. In the right foreground are several figures, cut off at the 
knees by the lower edge of the picture. Among these on the extreme 
right is the Virgin Mary, turned to the left ; she collapses in a faint and 
is caught by an old woman beside her. Close to her on the left is an old 
man in Eastern dress, probably Joseph of Arimathaea. In the background 
on the extreme left another figure is visible. This is a replica of 135 
(Hermitage), with differences both in details and in the composition as a 
whole. 

Signed in full, and dated 1651 ; canvas, 56 \ inches by 42 inches. 

Possibly identical with 135*, the picture which was among Rembrandt's 
goods sold in 1656, No. 293. 

Mentioned by Hofstede de Groot, Onze Kunst, 1909, p. 179. 

Sale. Viscountess Hampden, London, April 16, 1834. 

In the collection of J. A. Beaver, Lancashire, 1840. 

In the collection of E. W. Parker, Skirwith Abbey, Cumberland. 

Sale. London, July 2, 1909, No. 99 (8190, Kleinberger). 

In the possession of the Paris dealer F. Kleinberger. 

In the collection of F. Gans, Frankfort-on-Main. 

134. THE DESCENT FROM THE CROSS. Sm. 93 ; 
Bode 107; Dut. 82; Wb. 102 ; B.-HdG. 125. The dead body of 
Christ is let down from the Cross, which stands a little way back in the 
centre. A man in a fur cap and a light grey coat, standing on a ladder 
placed behind the Cross, holds the top of the winding-sheet which is under 
the body. A man in light blue, on a ladder to the left, holds the corpse 
by the right arm. A bald-headed old man in a pale purple coat, standing 
on a ladder half-way down to the right, grasps Christ's left arm near the 
shoulder. Two young men support the body from below ; the foremost 
wears a yellow flowered coat. A little to the right of the group stands 
Joseph of Arimathaea, seen in lost profile, resting his left hand on a stick. 
He wears a coloured turban, a dark brown cloak lined with fur, and a 
light brown coat with a gold chain. In the left corner of the foreground, 
in a pallid half-light with dull colour, the Virgin Mary collapses in a 
swoon. Three women stand beside her. Behind them, and in front of 
some trees, is a group, in which two grey-bearded old men who are weep- 
ing are noticeable in front. In the right distance is the gate of Jerusalem 
with the Temple above it. Evening. Full light falls from above to the 
left on the body of the Lord, and on the sheet spread under Him. Small 
full-length figures. Painted in 1633. [Pendant to 130 (Munich).] 

Signed indistinctly on the left at foot, " Rembrandt f." ; oak panel, 
rounded at top, 35^ inches by 22 inches. 

A copy was in the collection of Henriette Catharina von Anhalt, daughter 
of Frederick Henry, Prince of Orange ; in the division of the inheritance, 1708, 
No. 7 (valued at 80 taler), it passed to Maria Eleanora von Radzivil. Another 
copy is in the collection of A. Duncker, Leipzig. 



xxn REMBRANDT 



103 



Etched by Rembrandt himself, B. 81 [Hind 102, 103]. 

Engraved by Hess and by J. L. Raab. 

Mentioned by Vosmaer, pp. i 19, 497 ; by Bode, p. 434 ; by Dutuit, p. 30 ; 
by Michel, pp. - r [120-22, 438] ; by Hofstede de Groot, Urkundcn ilber 

Rembrandt, No. 48. 

In the collection of Frederick Henry, Prince of Orange, for whom 
Rembrandt painted it in 1633. 

In the collection of the Prince's widow, Amalia von Solms, at the Oude 
Hof, The Hague, 1667 inventory, No. 70 ; but not in the inventories of the 
goods divided among her four daughters. 

Probably, therefore, in the collection of her grandson William III., Prince 
of Orange and King of England, till 1702. 

In the collection of Johann Wilhelm, Elector Palatine (who died in 1716), 
Dllsseldorf, No. 214 ; see Van Gool, ii. 538. Transferred to Munich in 1806. 

In the Aeltere Pinakothck, Munich, 1911 catalogue, No. 326. 

135. THE DESCENT FROM THE CROSS. Sm. 94; 
Bode 325 j Dut. 83 ; Wb. 395 ; B.-HdG. 126. From the lofty Cross in 
the centre the dead body of the Lord, with the winding-sheet under it, is 
being let down. Above, in shadow, two men are drawing out the nail 
from the left hand which is still fastened to the Cross. A man on a 
ladder to the left, also in shadow, grasps the body under the arm with his 
right hand. Another man to the right, seen in full face and wearing a 

yellow coat, holds the lower part of the body firmly with both arms. 

a ladder to the light stands a youth holding a candle and shadi; 
with his cap. Another light, also hidden from the spectator, is held 
man standing on the ground. A third and feebler light is in the left fore- 
ground near the women. At the foot of the Cross, Nicodemus and 

al men and women receive the body, for which some women in the 
left foreground spread a cloth on the ground. Near them two other 
women and an old man are lamenting aloud. In front is Joseph of 
Arimathrta, with a stick in his left hand ; he has his back to the spectator, 
and wears a dark purplish robe and a turban. On the right, a little way 
back, in the midst of a close-packed group, the Virgin Mary falls in a 
swoon and is caught by a woman. In the distance is Jerusalem. In the 
immediate foreground to the right a dog sniffs at a thistle. Small full- 
length figures. [Compare the replica, 133.] 

Signed in the centre at foot, " Rembrandt f. 1634" ; canvas, 63 inches 
by 46 i inches. 

Possibly identical with the large picture (135^), which was among 
Rembrandt's goods offered for sale in 1656, N< 

Engraved by Le Bas ; etched by N. Mossoloff in Les Rembrandt* de 
r Ermitage. 

Mentioned by Vosmaer, pp. 144, 502 ; by Bode, p. 435, by Dutuit, 
by Michel, pp. 159, 566 [122,441]; by Hofstede de Groot, Urkunden liber 
Rembrandt, No. 169 ; by A. Bredius, Oud Holland, 1910, p. 

In the collection of Catharina Elisabeth Bode, widow of Valerius de 
Reuver, Amsterdam ; in the inventory of her effects, October 27, 1703. 

In the collection of V. de Reuver, Delft, to whom it was allotted ii 
from his brother's estate, at a valuation of 800 florins made by the broker 
J. Zomcr. An offer of 1000 ducats for it was made to V. de Reuver in 1710 on 



104 REMBRANDT SECT. 

behalf of the Elector Palatine ; and similar offers were made later by Prince 
Eugene of Savoy and by the Comte de Morville, the French Envoy. Acquired 
with the collection, in 1750, by the Landgraf of Hessen-Cassel (Hoet, ii. 396). 

In the Cassel Gallery, 1783 catalogue, No. 99. 

Taken away by the French in 1806 and sent to Malmaison. 

In the collection of the Empress Josephine, Malmaison; bought in 1813 
by the Emperor Alexander I. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 800. 

135^7 and b. The Descent from the Cross. With another large 
picture. 

Mentioned by Hofstede de Groot, Urkunden ilber Rembrandt, No. 169. One 
picture may be identical with 133 ; the other and larger picture may be 
identical with 135 (Hermitage). 

In the collection of Rembrandt, Amsterdam ; in the inventory of his goods 
for sale, July 25, 1656, Nos. 293, 37. 

135*:. The Descent from the Cross. 

Mentioned by Hofstede de Groot, Urkunden iiber Rembrandt, No. 177. 

This may be identical with 135/7 or 135^. 

In the possession of the Amsterdam dealer Johannes de Renialme ; in the 
inventory of his estate, June 27, 1657, No. 301, valued by A. Camerarius and 
M. Kretzer at 400 florins. 

135^. The Descent from the Cross. The dead Christ is most 
strongly illumined with the white linen cloth and the other figures. 
Joseph of Arimathaea stands on the left. To the right, farther back, are 
numerous figures, with the holy women. Vigorous, natural, and excel- 
lently painted. 

Panel, 37 inches by 30 inches. 

Sale. J. W. Barchman Wuytiers, Utrecht, September 17, 1792, No. 52 
(14 florins 75, Roos). 

. The Descent from the Cross. 



Exhibited at the British Institution, London, 1856, No. 40. 
Then in the collection of Wynn Ellis, London. 

135*. The Descent from the Cross. 

Sale. London, July 16, 1869, No. 167. 

136. CHRIST TAKEN DOWN FROM THE CROSS. 

Sm. 96 ; Bode 170 ; Dut. 85 ; Wb. 123 ; B.-HdG. 245. At the foot of 
the Cross lies the body of the Lord extended on a sheet. The disciples 
are mourning over Him. His head and shoulders rest on the lap of the 
Virgin Mary, who falls in a swoon and is supported by several women. 
The Magdalen fervently embraces His feet. On the left, others stand 
weeping and lamenting at the foot of the Cross, against which are placed 
two ladders. Beyond, on either side of the Cross, are the crosses of the 
two thieves, who are still suspended on them. In the distance Jerusalem is 
indicated. Late evening. A pallid light falls on the principal group. 
Small full-length figures. A sketch in brown and grey tones. A study 
for the master's etching of 1642, B. 82 [Hind 199]. 



xxn REMBRANDT 105 

Oak panel, rounded at top, 13 inches by n inches. 

A sketch for this composition, executed in chalk, Indian ink, and oil-colour, 
is in the British Museum Print-room. Rembrandt so often altered the sheet by 
cutting out the parts which did not please him, that it now consists of seventeen 
different pieces of paper. Reproduced by Lippmann, No. 103. A hasty pen-and- 
ink sketch is in the Stadel'sches Kunstinstitut, Frankfort-on-Main, HdG. 332. 

Etched by Bernard Picart in Impostures Innoccr.tes, 1734. Engraved by 
J. I). Jackson ; by J. Burnet ; by Freeman in Jones's National Gallery. 

Mentioned by Vosmaer, pp. 282, 544 ; by Bode, pp. 432, 583 ; by Dutuit, 
p. 32 ; by Michel, pp. 298, 556 [228, 431] ; by Waagcn, i. 353. 

Exhibited at the British Institution, London, 1823, No. 95. 

Sale. Amsterdam, September 25, 1743 (Hoet, ii. 124), No. 13 (14 florins 5). 

In the collection ofj.de Bary, Amsterdam, according to the inscription in 
Picart's etching ; sold in 1759. 

In the collection of George III., King of England, in the inventory of about 
1760-70 ; noted by L. Cust. 

Sale. Sir Joshua Reynolds, London, March 1 1, 1795 (43 : is., Sir George 
Beaumont). 

Presented by Sir George Beaumont to the National Gallery, 1826. 

In the National Gallery, London, 1911 catalogue, No. 43. 

137. The Disciples mourning at the Cross (or, The Deposi- 
tion). Sm. 95; Bode 156; Dut. 84; Wb. 118; B.-HdG. 337. In 
the twilight of approaching night, the body of the Lord is seen stretched 
out full length on a white linen cloth at the foot of the Cross. He is sup- 
ported by an old man with a long white beard, who kneels behind Him. 
On the extreme right the Virgin Mary in a red hood kneels, supporting 
her Son's head. Behind them St. John and several other young men are 
mourning. On a ladder leaning against the Cross stands a man ; only 
the lower half of his legs can be seen. On the left the Magdalen leans 
against the Cross, supporting her head on her left arm. In the extreme 
left foreground, in half-shadow, a woman kneels at Christ's feet. In the 
distance are the buildings of Jerusalem. Full light falls on the body and 
on the group to the right. Life-size figures. The authenticity of this 
picture is often contested ; to the author the question does not yet seem 
ripe for settlement. 

Signed in the right centre, "Rembrandt f. 1650"; canvas, 71 inches 
bv 78; \ inches ; originally rounded at top, but strips nearly an inch wide 
have been added on the left and on the right, while a strip about four 
inches wide has been added at foot. 

A pen-and-ink sketch for the figure of the youth on the extreme right is in 
the National Museum, Stockholm, HdG. 1572. 

Exhibited at the British Institution, London, 1835, ^ so - 11 S > at tne Irish 
National Gallery, Dublin, for several years round about 1880; at the Royal 
Academy Winter Exhibition, London, 1875, No. T 53> an ^ 1899, No. 94. 

Mentioned by Vosmaer, p. 522 ; by Bode, p. 581 ; by Dutuit, p. 42 ; by 
Michel, p. 555. 

In the collection of the Marquess of Abercorn, 1836 (Sm.). 

In the collection of the Duke of Abercorn, Baron's Court, Ireland, in 1899- 

In the possession of the London dealers Forbes and Paterson. 

In the collection of the Comtesse de Beam, Paris. 



io6 REMBRANDT SECT. 

138. THE ENTOMBMENT. Sm. 99 and 101 ; Bode 78 ; Dut. 
86 bis ; B.-HdG. 129. A studio replica of 140 (Munich) ; yet partly 
worked over by Rembrandt (1653), especially in the principal group and 
the holy women in front. Certain details, like the basket with the spade 
in front, were then painted out. Small full-length figures. 

Signed on the tomb, "Rembrandt f. 1653"; canvas, rounded at top, 
39 inches by 27 inches. 

Mentioned by Vosmaer, pp. 167, 519 ; by Bode, p. 435 ; by Dutuit, p. 29 ; 
by Michel, p. 162 [123-4, 438]. 

Sale. (Possibly) J. van den Blooken, Amsterdam, May 11, 1707 (Hoet, 
i. 99), No. 2 (290 florins) uncommonly fine. 

In the collection of the dowager Madame van den Sanden-Munter, from 
whom Lormier bought it through Monje (for 1038 florins). 

In the possession of W. Lormier, The Hague, 1752 (Hoet, ii. 436). 

Sale. Willem Lormier, The Hague, July 4, 1763 (Terw. 328), No. 221 
but No. 219 of the original catalogue (2300 florins, Voet) ; 
acquired in 1763 for the King of Poland. 

In the collection of Augustus III., King of Poland. 

In the Royal Gallery, Dresden, 1908 catalogue, No. 1566 [valued by Sm. 
in 1836 at 315]. 

139. THE ENTOMBMENT. Sm. 100 and 158 ; B.-HdG. 
130. In the foreground of a cavern the body of the Lord is held in 
the winding-sheet by a youth with both hands. A grey-bearded old man on 
the left supports the corpse by the shoulder, and a third man, kneeling, holds 
the feet. On the extreme left, somewhat nearer the front, stands a digni- 
fied old man with a long beard, probably Joseph of Arimathaea. Near the 
youth in the centre is Nicodemus, apparently gazing at the set features of 
the Lord. On the right, weeping women and disciples come forward out 
of the gloom of the grotto. A sketch in grisaille, painted about 1633. 
Small full-length figures. The sketch corresponds with the principal 
group in "The Entombment" of 1639 (140). 

Oak panel, I2j inches by 16 inches. 

Etched by Basan under the title of "Les Morts Ensevelis." 

Mentioned by Vosmaer, p. 519, note 2 ; by Waagen, iii. 283 ; by Hofstede 
de Groot, Urkunden liber Rembrandt, No. 169. 

Possibly in the collection of Rembrandt, in the inventory of whose goods 
for sale, July 25, 1656, is noted a sketch of "The Entombment," No. 1 1 1. 

In the collection of William Hunter, Glasgow, bequeathed in 1783 to the 
University. 

In the Hunterian collection, University of Glasgow [1880 catalogue, 
No. 14]. 

140. THE ENTOMBMENT. Sm. 98; Bode 108 ; Dut. 86; 
Wb. 103 ; B.-HdG. 128. The body of Christ is lowered in the winding- 
sheet into a stone sepulchre, placed in the foreground of a lofty cavern 
which opens at the back. A youth on the left, in a striped light blue 
coat, is at Christ's head and holds the body beneath the arms. Another 
man, standing high up behind the sepulchre, holds the lower part of the 
body by the twisted sheet. An old man on the right holds the feet. The 
light falling full on the principal group comes from a candle held by an 



xxn REMBRANDT 107 

old man in a dark dress, seen from the back, who is on the extreme left of 
the foreground, a* well as from another candle in the hand of an old man 
with a turban and a light purple cloak, probably Nicodemus, who stands a 
little higher up at the head of the sepulchre. Joseph of Arimatha*a, in 
Eastern dress, stands higher to the left. Beside him, a youth looks 
sorrowfully at the Lord's pallid features. To the right of this group is 
another old man. In the right foreground, at the foot of the sepulchre, 
the Virgin Mary sits weeping ; she wears a deep purple mantle which she 
has drawn over her head. Beside her to the right are two women ; one 
of them has a wide turban with red stripes. Near them, on the extreme 
right, hangs a lantern. In front, a basket with a spade in it rests against 
the sepulchre. To the left, above the tomb, is a large curtain with a 
golden shield in the centre. Towards the middle distance, in the darkness 
of the cavern, are various figures. Through the opening of the cavern is 
seen Calvary in the light of the setting sun. Small full-length figures. 
Completed in January 1639. [Pendant to 141.] 
Canvas, rounded at top, 37 inches by 2/| inches. 

A studio-replica, retouched by Rembrandt himself in 1653, is in the Dresden 
Gallery (138). 

Old copies arc in the Dresden Gallery, No. 1572; in the Brunswick 
Gallery, No. 516 ; and in the collection of E. Brandt, Wiesbaden. 

A copy occurred in the Lormier sale of 1763 (Terw. No. 328), as well as 
138 (Dresden), which was sold there. 

A copy, measuring 57 inches by 51 inches, was in the sale : E. Aynard, 
Paris, December I, 1913, No. 80. 

Engraved by Hess. 

Mentioned by Vosmaer, pp. 166, 519 ; by Bode, p. 434 ; by Dutuit, p. 30 ; 

iichcl, p. 159 [123-4, 43 8 ] J by Hofstede dc Groot, Urkunden liber Rem- 
brandt, Nos. 47, 4S, 65, 70. 

In the collection of Frederick Henry, Prince of Orange, for whom Rem- 
brandt painted it. 

In the collection of the Prince's widow, Amalia von Solms, at the Oud Hof, 
The Hague, 1667 inventory, No. 71 ; but not in the inventories of the goods 
divided among her four daughters. 

Probably, therefore, in the collection of her grandson William III., Prince of 
Orange and King of England, till 1702. 

In the collection of Johann Wilhelm, Elector Palatine (who died in 1716), 
DUsseldorf, No. 217 ; see Van Gool, ii. 538. Transferred to Munich in 1806. 

In the Aeltere Pinakothek, Munich, 1911 catalogue, No. 330. 

140*7. The Entombment. 

ationed by A. Bredius in Qud Holland, 1910, p. 234. 

In the collection of Ferdinand Bol, Amsterdam, inventory of October 8, 
1669. 

140^. The Entombment. 
46 inches by 37^ inches. 

Sale. G. Bicker van Zwieten, The Hague, April 4, 1755 (Tcrw. 121), 

^7 (61 florins). 

140.. The Entombment. With numerous figures and accessories. 
Powerful and extremely accomplished. 



io8 REMBRANDT SECT. 

52 inches by 48 inches. 

Sale. (Supplementary) G. and W. van Berckel, Amsterdam, March 24, 
1761, No. 79. 

140^. The Entombment. A capital picture. 

Sale. Van Haeften, Leyden, June 15, 1764 (Terw. 369), No. I (180 
florins, Dr. Tak). 

140*. The Entombment. A sketch. 
32 inches by 42 inches. 

Sale. Baroness de Beyer, Brussels, May 25, 1784, No. 46 (55 francs). 

i4p/ The Entombment. 

Canvas, 35^ inches by 29 inches. 

Sale. J. B. Horion, Brussels, September I, 1788, No. 89 (185 florins). 

140^. The Entombment. Sketched in broad touches, with great 
sureness of hand. 

Mentioned by Junker in Meusel's Neue Miscellanea, 1795, p. 186. 
In the Von Ziegler collection, SchafFhausen, 1795. 

141. THE RESURRECTION. Sm. 102 ; Bode 109 ; Dut. 87; 
Wb. 104; B.-HdG. 131. A youthful angel with fair curls, in a loose 
white robe, hovers over the tomb in a flood of brilliant light and lifts 
up the massive stone cover. On the right the Saviour, still wrapped in 
the grave-clothes, looks up at the angel and slowly raises Himself in the 
tomb. In the left foreground is the guard ; some of the soldiers are asleep 
or just waking, while others jump down from the grave-stone or run away 
down the steps. The light is reflected from their armour and weapons 
and illumines the sombre group, in which only a few blue and red tones 
are dully effective. On the right at foot, two of the holy women, full of 
pious wonder, kneel beside the tomb. A night-scene into which the un- 
earthly light penetrates with dazzling effect. Small full-length figures. 
[Pendant to 140.] 

Signed at foot somewhat to the left, "Rembrandt f. 1639"; canvas, 
rounded at top, 37^ inches by 28 inches. 

An old copy in the Augsburg Museum, 1899 catalogue, No. 569 on 
canvas, 32 inches by 27 inches is possibly identical with 141^. 

Engraved by Hess. 

Mentioned by Vosmaer, pp. 166, 519; by Bode, p. 434; by Dutuit, p. 30; 
by Michel, p. 159 [124-5, 438] ; by Hofstede de Groot, Urkunden ilber Rem- 
brandt, Nos. 47, 48, 65, 70. 

In the collection of Frederick Henry, Prince of Orange, to whose order 
Rembrandt painted it. 

In the collection of the Prince's widow, Amalia von Solms, at the Oude Hof, 
The Hague, 1667 inventory, No. 72 ; but not in the inventories of the goods 
divided among her four daughters. 

Probably, therefore, in the collection of her grandson William III., Prince 
of Orange and King of England, till 1702. 

In the collection of Johann Wilhelm, Elector Palatine (who died in 1716), 



xxn REMBRANDT 109 

Dtlsseldorf, No. 218; see Van Gool, ii. 538. Transferred to Munich in 
1806. 

In the Acltere Pinakothek, Munich, 1911 catalogue, No. 329. 

141 tf. The Resurrection. 

In the collection of Rembrandt, Amsterdam ; in the inventory of his goods 
for sale, July 25, 1656, No. 113. See Hofstede dc Groot, Urkunden fiber Rem- 
brandt, No. 169. 

. The Resurrection. 



Mentioned by Bredius, Revue de f Art Ancien et Moderne, xxviii. 412. 
In the collection of Lambert Doomer, Amsterdam ; in the 1700 inventory 
of his effects. 

i4i/>. The Resurrection. In the foreground the terrified guards 
stumble over one another in their wild flight. Boldly painted. 
Canvas, 30^ inches by 25^ inches. 

Possibly identical with the copy mentioned under 141, at Augsburg. 
Sale. (Supplementary) G. Braamcamp, Amsterdam, July 31, 1771, No. 5 
(180 florins, John Greenwood). 

14 if. The Resurrection. A sketch. 

Sale. Borremans, Brussels, June 5, 1781, No. 206 (10 francs). 

141^. The Resurrection. The angel raises the grave-stone. The 
terrified soldiers are flung one upon another. This great composition has 
;i poignant truth of expression and a powerful colour-scheme. From the 
description, it was probably a copy of 141 (Munich). 

Panel, 10 inches by 13 inches or 23 inches by 35 inches. 

Sale. Ghent, April 26, 1841, No. 123. 

142. CHRIST AS THE GARDENER (or, Christ and 
Mary Magdalene at the Tomb). Sm. 103 ; Bode 183 ; Dut. 88 ; 
Wb. 134; B.-HdG. 221. In a roclcy grotto to the right, to which 
several steps lead up from the foreground, is the tomb of Christ, built of 
smooth-hewn stones. On the edge of it sit two youthful angels, clad in 
white. The one to the left has stretched out his right leg on the breast- 
work ; the other, on the extreme right, is seen in lost profile to the left, 
seated on the raised head of the sepulchre. In front of the tomb, Mary 
Magdalene, in a red mantle and kerchief, has sunk on her knees, weeping. 
She turns her head in astonishment towards the Lord, who addresses her 
from behind. Christ, in the dress of a gardener, has long dark curls and 
carries a spade in His right hand. He wears a broad-brimmed straw hat, 
and a long white robe confined by a girdle in which is a knife. His left 
hand is on His hip. Mary Magdalene's pot of ointment stands on the 
ground in front of her. In the right foreground are tall plants. Behind 
Christ is a great tree. In front of the rocky wall to the left are seen in 
the distance the towers and holy places of Jerusalem. On the steps lead- 
ing down into the valley are a woman with a flat broad-brimmed hat and 
another figure, who are going away. The morning light falls on the 
buildings of Jerusalem and touches the figure of the Lord and the face of 
the Magdalen. Small full-length figures. 



no REMBRANDT SECT. 

Signed on the tomb to the right, "Rembrandt f. 1638"; oak panel, 
23! inches by 19^ inches. 

A copy signed "Gt. F.," and ascribed to G. Flinck, is in the Royal Gallery, 
The Hague, 1910 catalogue, No. 631. 

Pen-and-ink sketches for the picture are in the Dresden Print-room, HdG. 
226 ; in the Louvre, Paris, reproduced by HdG. 6 ; and in the collection of 
C. Hofstede de Groot, The Hague, reproduced by Lippmann-HdG. 99. A 
fourth, now lost, was engraved by M. Pool. 

Engraved by G. Lewy. 

Mentioned by Vosmaer, pp. 165, 517 ; by Bode, pp. 447, 584; by Dutuit, 
p. 32 ; by Michel, pp. 234, 556 [i 80, 430] ; by Waagen, ii. 5. 

Exhibited at the British Institution, London, 1826, No. 24, and 1827, 
No. 19; at Manchester, 1857, No. 842; in the Royal Academy Winter 
Exhibition, London, 1882, No. 117 ; 1893, No. 93 ; 1899, No. 28. 

In the collection of Willem van der Goes, Leyden. 

In the collection of V. de Reuver, who bought it in 1721 (for 213 florins 
50) ; bought with the collection, in 1750, for the Cassel Gallery (Hoet, ii. 393). 

In the Schloss Altstadt, Cassel, 1783 inventory, No. 41. 

Taken by the French in 1806 and sent to Malmaison. 

In the collection of George IV., King of England, who had bought it in 
1816. 

In the Royal collection, Buckingham Palace, 1885 catalogue, No. 41. 

143. NOLI ME TANGERE. Bode 46 ; Dut. 89 ; Wb. 39 ; 
B.-HdG. 333. At dawn, the figure of the risen Christ, enveloped in a 
pale light, stands out against a lofty cliff, showing on the right the open- 
ing of the sepulchre, and on the left giving place to a view over tall trees. 
He holds the loose winding-sheet together with His left hand, and raises 
the right hand as He addresses Mary Magdalene with the words, " Touch 
Me not." She kneels on the right before Him in an attitude of fervent 
devotion ; she wears a long cloak over a dark purple dress with red sleeves, 
and has a long white veil on her head. On the ground beside her is the 
pot of ointment. Small full-length figures. 

Signed on the right at foot, "Rembrandt f. 1651 "; canvas, 26 inches 
by 31 J inches. 

A copy, of the end of the eighteenth century, is at Schloss Podhorce, 
Galicia. 

A pen-and-ink sketch, in reverse, in the Stockholm Print-room, HdG. 
1559, reproduced by Kruse, ii. 21, is possibly a preliminary study for the 
picture. 

Etched by W. Unger. 

Mentioned by Vosmaer, pp. 286, 549 ; by Bode, pp. 482, 564 ; by Dutuit, 
p. 26 ; by Michel, pp. 340, 552 [180, 260, 437]. 

In the Ducal Gallery, Salzdahlum, transferred with the collection to Bruns- 
wick. 

In the Brunswick Gallery, 1910 catalogue, No. 235. 

1430. Christ appearing to Mary Magdalene. According to the 
description of St. John, with a high rocky tomb. 

In the collection of H. F. Waterloo; painted for him before 1660, and 
celebrated in verse in that year by Jeremias de Dekker. See Hofstede de Groot, 



xxn REMBRANDT 



1 1 1 



Urkunden Uber Rembrandt, No. 221 ; K. H. dc Raaf, in Oud Holland, 1912, p 6 
[Michel, p. 388]. 

i43/;. Christ appearing to Mary Magdalene. Very fine. 
Canvas, 19^ inches by 23^ inches. 

Sale. H. A. Wittewaall, Utrecht, March 30, 1775, No. 27 (18 florins, 
Schuurman). 

144. CHRIST AT EMMAUS. Bode 367; Out. 92; Wb. 8; 
B.-HdG. 327. In a large room Christ, seated between the two disciples, 
is breaking the bread. To the left, one of the disciples, seen from the 
back, raises his clasped hands in astonishment. To the right, the other 
disciple, leaning his left hand on the arm of his chair and his right hand 
on the table, looks searchingly at Christ. This man's head hides the 
candle, brought in by an old maid-servant, which illumines the scene. 
Ik-side her is a young man-servant with a dish. The scene is enclosed in 
a painted black frame, in front of which a green curtain is drawn back to 
the left. Small full-length figures. 

Signed on the right at foot, " Rembrandt f. 1648"; canvas, 33^ inches 
by 42 inches. 

udy for the head of Christ is 159 (Bredius). 

py is in the collection of Edward Lindley Wood, Temple Newsam, 
near Leeds. 

Mentioned by Vosmaer, p. 544 ; by Bode, pp. 477, 607 ; by Dutuit, 

Michel, pp. 333, 560 [255, 430]. 
Sale. Sonne and others, Amsterdam, July 5, i~59, No. 7 (115 florins, De 

Wcde). 

In the Royal Gallery, Copenhagen, 1896 catalogue, No. 277; it has been 
there since 1759. 

145. CHRIST AT EMMAUS (or, The Pilgrims of Emmaus). 
Sm. 104; Bode 271 ; Dut. 91 ; Wb. 274; B.-HdG. 326. In a lofty 
room, in front of a shallow recess, Christ and the two disciples sit at table, 
while a young man-servant, coming from the right, brings in a dish. 
Christ, in a dull reddish-grey coat and a bluish-grey cloak, looks upward, 
and is breaking the bread, at which the disciples recognise their Lord. 
The disciple on the left, wearing a dark brown coat and seen from the 
back, raises his clasped hands. The disciple seated on the right, who 
wears a light brown coat with red under-sleeves and is seen in profile, rests 
his left hand on the arm of his chair and his right hand on the table, and 
looks searchingly at Christ. The light falls from the left. To the right 
is a door ; near it is a coat-stand. Under the table is a dog. Small full- 
length figures. 

-d on the left at foot, "Rembrandt f. 1648"; oak panel, 27 
inches by 26 inches. 

Engraved by Denon, by J. de Frey (in the Musfe Franfais}, by Oortman, 
Varin, and Gaillard : Filhol, viii. 507. 

Mentioned by Vosmaer, pp. 279, 544 ; by Bode, pp. 476, 594 ; by Dutuit, 

; by Michel, pp. 332, 562 [254, 434]. 

Sales. W. Six, Amsterdam, May 12, 1734 (Hoet, i. 413), No. 57 (i~o 
florins, Wilkens). 



ii2 REMBRANDT SECT. 

Comte de Lasse, Paris, May 17, 1775. 

Randon de Boisset, Paris, February 3, 1777 (10,500 francs, King 

Louis XVI.). 

In the Louvre, Paris, 1907 catalogue, No. 2539 ; valued by the experts in 
1816 (at 30,000 francs). 

146. CHRIST AT EMMAUS (or, The Pilgrims of Emmaus). 
B.-HdG. 519. In the centre, behind a table with a dark greyish-green 
cover, sits Christ in white, with a pale light around His head. On the 
left, seen almost from the back, one of the disciples, in a yellow coat, 
clasps his hands in pious wonder. On .the right, the other disciple, in red, 
seen in lost profile, looks earnestly at the Lord ; he rests his left hand on 
the arm of his chair, and his right hand on the edge of the table in front 
of him. To the left is a large window ; the lower casement is open and 
admits the full light of evening into the room. In front is an iron balus- 
trade over which lies a light garment. Small full-length figures. Painted 
about 1 66 1. 

Canvas, 19 inches by 25 J inches. 

A pen and wash drawing for this picture is in the collection of C. Hofstede 
de Groot, The Hague, HdG. 1276. 

In the Louvre, catalogued before 1852 as by Rembrandt, and after 1852 as 
of the school of Rembrandt ; 1872 catalogue, No. 420. 

In the Chateau of Compiegne, 1874-1901, as of the school of Rembrandt, 
No. 172. 

In the Louvre, Paris, since 1901, under the name of Rembrandt; 1907 
catalogue, No. 2555A wrongly described as "a pupil's work retouched by 
the master or a sketch begun by the master and finished by a pupil." 

147. CHRIST AT EMMAUS. B.-HdG. 9. Christ sits at the 
table in the right foreground. He has a black beard and black hair. His 
face stands out dark against the wall, which is vividly illumined by a 
candle hidden by His figure. He is seen in profile, and wears a dark grey 
coat. In front of the table, in shadow, a disciple in a dull dark green 
coat with a sash has fallen on his knees in astonishment before the Saviour. 
To the left of him is his overturned stool. Behind the table sits the other 
disciple, in a dull yellowish-brown coat half open at the breast ; he starts 
with terror and looks fixedly at Christ. Behind him, a knapsack hangs on 
a pilaster in the wall. On the table, which is covered with a cloth, are 
some roast meat, a silver cup, and some dishes. In the left background, a 
maid-servant is at work ; she stands out dark against a light. Small full- 
length figures. Painted about 1629. 

Signed on the right at foot with the monogram " R H L " ; paper on 
oak panel, 14^ inches by 16 inches. 

Exhibited at Amsterdam, 1898, No. 8 ; in Paris, 1911, No. 124. 

Mentioned by Dutuit, p. 19; by Michel, pp. 155, 563 [118, 435]. 

Sales. Comte F. de Robiano, Brussels, May i, 1837, No. 545 (500 francs 

or 300 francs). 

Dr. Le Roy d'Etiolles, Paris, February 21, 1861. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 300 
Paintings," No. 115. 



xxn REMBRANDT 113 

Sale. C. Sedelmeycr, Vienna, December 20, 1872. 
In the Epstein collection, Vienna. 

In the collection of Edouard Andre, Paris ; bequeathed by his widow in 1912 
to the Institut de France. 

In the Musee Jacquemart-Andre, Paris. 

147^7. Christ at Emmaus. The Lord is vanishing. Very brightly 
painted and of extraordinary skill. 

Sale. Ghent, September 23, 1777, No. 94. 

i47/>. Christ at Emmaus. 
35^ inches by 41 inches. 

Sale. Baroness de Beyer, Brussels, May 25, 1784, No. 73 (61 francs). 

148. THE INCREDULITY OF ST. THOMAS. Sm. 109 ; 
Bode 326 ; Dut. 93 ; Wb. 396 ; B.-HdG. 133. In the centre, Christ, 
with hair and beard of a deep black, is surrounded by an aureole. He 
reveals Himself to the incredulous apostle Thomas, opening His white robe 
and touching the open wound with His right hand. An aged apostle on 
the right side, in a steely blue coat and a blue cloak lined with fur, recoils 
before Him in fear. From the left, the Virgin Mary, Mary Magdalene, 
and several of the apostles press forward to the Lord. Another apostle 
rises from a chair on the left beside the table, behind which three apostles 
are seen in shadow. In the right foreground, in half-shadow, is a sleeping 
apostle ; he wears a dull vermilion cloak and a greyish-yellow coat. Behind 
him are two other apostles. The dark room is illumined by the aureole 
round the risen Christ. Small full-length figures. 

Signed on the left at foot, " Rembrandt f. 1634 " ; oak panel, 21 inches 
by 20 inches. 

Engraved by R. Laurie. Etched by N. Mossoloff in Les Rembrandts de 
FErmitage. 

Mentioned by Vosraacr, pp. 144, 502 ; by Bode, p. 436 ; by Dutuit, p. 37 ; 
by Michel, p. 506 [441]. 

In the collection of the widow of Philip van Dijk as early as 1733. 

Sales. P. van Dijk, The Hague, June 13, 1753 (Terw/72), No. 49 (100 

florins, Visscher). 
Anna van Lennep, widow of Pieter Roeters, Amsterdam, January 30, 

1759, No. i (i 100 florins, the brothers De Neufville). 

In the Gotzkowsky collection, Berlin, bought as a whole by the Empress 
Catherine II. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 80 1. 

148*. The Incredulity of St. Thomas. 

Sale. Amsterdam, November 8, 1734, No. 23. 

149. THE ASCENSION. Sm. 108 ; Bode no; Dut. 94; Wb. 
105 ; B.-HdG. 127. In the centre at top, on a cloud borne by angels, 
stands Christ, dressed in white, with a large white robe. He looks 
upward and stretches out His arms ; a flood of light pours down upon 
Him from the Dove. Groups of little angels with coloured wings are 
to right and left at the edge of the clouds. Below the group, the eleven 

VOL. vi i 



ii4 REMBRANDT SECT. 

apostles kneel on the ground ; they gaze upward, wondering and excited. 
They are in half-shadow, in which only a few brownish-red and bluish 
tones are distinguishable. In the left foreground is a palm ; in the right 
distance is Jerusalem. A night scene, into which the unearthly radiance 
penetrates. Small full-length figures. 

Signed on the right at foot, "Rembrandt f. 1636"; canvas, rounded 
at top, 36^ inches by 26J inches. 

Engraved by Hess. 

Mentioned byVosraaer, pp. 163, 511 ; by Bode, p. 434; byDutuit, p. 30; 
by Michel, pp. 159, 554 [122, 438]; by Hofstede de Groot, Urkunden Uber 
Rembrandt, Nos. 47, 48. 

In the collection of Frederick Henry, Prince of Orange, for whom Rem- 
brandt painted it. 

In the collection of the Prince's widow, Amalia von Solms, at the Oude 
Hof, The Hague, 1667 inventory, No. 73 ; but not in the inventories of the 
goods divided among her four daughters. 

Probably therefore in the collection of her grandson William III., Prince of 
Orange and King of England, till 1702. 

In the collection of Johann Wilhelm, Elector Palatine (who died in 1716), 
Dttsseldorf, No. 219 ; see Van Gool, ii. 538. Transferred to Munich in 1806. 

In the Aeltere Pinakothek, Munich, 1911 catalogue, No. 328. 

149^. A Scene from the Life of Christ. With numerous figures. 
Sale. The Hague, June 8, 1820, No. no. 

150. The Feast of Pentecost. A good picture, powerfully painted. 
53! inches by 39 inches. 

Sales. C. Troost, S. Arensklauw, and others, Amsterdam, March 16, 1750, 

No. 242. 

B. Cronenburgh and others, Amsterdam, March 22, 1752, No. 13 
(100 florins, De Lith). 

151. The Vision of St. Peter. The apostle leans over a large 
balustrade, and is apparently meditating on the vision of the great sheet 
with the unclean beasts. 

Canvas, 14 inches by 29 inches. 

Sale. L. B. Coders, Amsterdam, April 8, 1816, No. 95 (2 florins, Bernard). 

152. The Centurion. A masterpiece. 

In the collection of the Boers family, The Hague, for whom it was said to 
have been painted, and from whom Bryan bought it. [Cf. 1 14.] 

Sale. Bryan, London, May 17, 1798, third day, No. 59 (^1522 : IDS.) ; 
see Buchanan, i. 288, etc. 

153. St. Philip baptizing the Eunuch. Sm. 126; Dut. 61 ; Wb. 
443 ; B.-HdG. i. In the centre foreground is the eunuch, turned to the 
left and bending down. Behind him stands St. Philip as an old man with 
a grey beard ; with his left hand he sprinkles the eunuch's head. Behind 
the group, a negro on a horse waits beside the travelling coach. Beyond 
are other figures. In the left foreground is a pool. Beside this, and also 
to the right, are small plants. Described from the copy at Oldenburg. 



xxn REMBRANDT 115 

Copies of this youthful work, painted about 1628-30, repeatedly occur. 
Among them the picture in the Grand Ducal Gallery, Oldenburg, perhaps 
comes nearest to the original, but is certainly not by Rembrandt. Another 
copy is at Schwcrin, No. 856. The small catalogue states that the original 
xvas in the Tolstoy collection, Odessa, and formerly in the Mocenigo collection, 
Venice. 

Etched by J. J. van Vliet. 

Mentioned by Hofstede de Groot, Urkunden iiber Rembrandt, Nos. 17, 371. 
[Possibly identical with 153^.] 

153*. St. Philip baptizing the Eunuch. [Possibly identical 
with 153.] 

Sab. Amsterdam, April 6, 1695 (Hoet, i. 24), No. 48 (46 florins). 

i53/>. The Angel delivering St. Peter from Prison. Sm. 122. 
The angel leads St. Peter by the hand from the prison. The three 
soldiers of the guard lie asleep on the ground. 

The original is lost. Described by Sm. from the circular etching by J. de 
Frcy. 

154. TIMOTHY AND HIS GRANDMOTHER. Sm. 123; 
Bode 212; Dut. 25; Wb. 186; B.-HdG. 325. The grandmother sits 
in the foreground of the Temple at Jerusalem, in front of a richly decorated 
recess ; she has a closed book on her lap, and holds her spectacles in her 
right hand. She wears a red dress, a dark veil hanging down her back and 
across her shoulders over a white head-dress, and a white kerchief on her 
bosom. At her side a fair-haired boy in brown kneels in prayer. On the 
other side the old woman's stick is leaning against a chair. In the left 
background is seen Simeon with the Child Christ in front of a wall on 
which hang the two Tables of the Law divided by the brazen serpent. 
Small full-length figures. 

Signed on the left at foot, "Rembrandt f. 1648"; mahogany panel, 
1 6 inches by 12^ inches. 

A copy, from the collection of the Prince de Chimay, was in the possession 
of a Paris dealer about the year 1903. Possibly this was the picture 
measuring 15 inches by 26 inches entitled "The Education of Joash," in the 
sale : Sebastien Erard, Paris, 1831, No. 122 (1690 francs). 

Celebrated in verse by Govert Bidloo in his description of the collection of 
Filips de Flines ; see his Mengclpofzij, Leyden, 1718, p. 181. Here, as elsewhere 
in the older authorities, the scene is described as " Hannah with her young son 
Samuel," which is contradicted by the New Testament scene in the background. 
It is entitled by B.-HdG. [as by Sm.], " The Prophetess Anna in the Temple " ; 
but the Bible says nothing of any boy in relation to her. The correct interpre- 
tation was first given by Dr. Joh. Dyserinck in the Leidsche Jaarboekje of 1906, 
pp. 103, etc. 

Engraved by Fittlcr in the Stafford Gallery. 

Mentioned by Vosmaer, p. 546 ; by Bode, pp. 476, 587 ; by Dutuit, p. 45 ; 
by Michel, pp. 327, 557 [250-51, 432] ; by Hofstede de Groot, Urkunden Uber 
Rembrandt, No. 383. 

Exhibited in the British Institution, London, 1837, No. 80. 

Sales. Filips de Flines, Amsterdam, April. 20, 1700 (Hoet, i. 55), No. 30 
(300 florins). 



ii6 REMBRANDT SECT. 

Jacques de Roore of Amsterdam, The Hague, September 4, 1747 
(Hoet, ii. 208), No. 106 (350 florins, G. Hoet). 

De Julienne, Paris, March 30, 1767 (1801 francs). 
In the collection of the Marquis of Stafford, London. 
In the collection of Lord Francis Egerton, 1836 [Sm., who valued it at 



In the collection of the Earl of Ellesmere, Bridgewater House, London, 
1851 catalogue, No. 168. 

155. Timothy and his Grandmother (or, The Nun and the 
Child). Sm. 27 ; Bode 344 ; Dut. 24 ; Wb. 398. The grandmother, 
turned three-quarters left, wears the dress of a nun. She sits in an 
arm-chair, holding a rosary in her left hand, and resting her right hand on 
the back of the child Timothy. He leans on her lap, turned to the right, 
and looks at a book in his right hand. The old woman wears on her head 
a black veil, falling over a white kerchief. Timothy is dressed in green 
silk. Greenish-brown background. Three-quarter length figures, life 
size. The authenticity is questioned by Bode and others, but the author 
regards it as in nowise impossible. Probably painted about 1648. 

Signed on the arm of the chair to the right, u Rembrandt fc."; canvas, 
46 J inches by 37 J inches. 

A copy ascribed to G. Flinck is in the Breslau Museum. 

Engraved [in mezzotint] by James Walker ; etched by N. Mossoloff in Les 
Rembrandts de TErmitage. 

Mentioned by Vosmaer, p. 547 ; by Bode, p. 479 ; by Dutuit, p. 38 ; by 
Michel, pp. 328, 567 [251, 441]. 

In the Crozat collection, Paris. 

In the Walpole collection, Houghton Hall ; bought in 1779 by the Empress 
Catherine II. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 822. 

156. A Vision from the Apocalypse. 

Canvas, 14^ inches by 30^ inches. 

Sale. L. B. Coders, Amsterdam, April 19, 1819, No. 77 (i florin). 

156*. The Death of the Virgin. Possibly a coloured copy of 
Rembrandt's etching, Bartsch 99 [Hind 161]. 

Exhibited at Leeds, 1 868, No. 576. 
Then in the collection of Dr. Copland. 

156^. A Biblical Scene. Full of figures. 
26 inches by 31 inches. 

Sale. Bicker van Zwieten, The Hague, April 12, 1741 (Hoet, ii. 22), 
No. 134 (14 florins). 

156*:. A Biblical Scene. 

Signed, "Rembrandt." 

Sale. Amsterdam, June 16, 1828, No. 155 (12 florins, Van der Meer). 

157. THE RISEN CHRIST. Bode 27; Dut. 77; Wb. 15; 
B.-HdG. 416. He wears the white winding-sheet, which leaves His breast 



xxn REMBRANDT 117 

bare. His head is turned a little to the right ; His dark eyes look at the 
spectator. He has long dark -brown curls and a full beard parted in 
the centre. Behind His head an aureole is lightly indicated. Strong 
liiiht falls from the left on the right half of the face and on the breast. 
Half-length, life size, without the hands. 

Signed on the left on a line with the throat, "Rembrandt f. 1661 " ; 
oval canvas, 32 inches by 25 inches. 

Exhibited at Amsterdam, 1898, No. 1 12. 

Mentioned by Vosmaer, pp. 361, 561 ; by Dutuit, p. 25 ; by Michel, 

>3> 55 1 [344 436]. 

In the picture gallery in the Palace, Aschaffenburg, 1883 catalogue, No. 58, 
as by A. dc Gelder ; 1902 catalogue, No. 238. 

158. HEAD OF CHRIST. B.-HdG. 41 3. Turned three-quarters 
left. The head is slightly inclined. Long dark curls and a short full 
beard. In a reddish-brown cloak. Half-length, without the hands, about 
half life size. Painted about 1656-58. 

Oak panel, 10 inches by 8 inches. 

Mentioned by Michel, pp. 451, 443, 563 [270, 343, 435]. 

Salt. John Henderson, London, February 13, 1882. 

In the collection of Rodolphe Kann, Paris, 1907 catalogue, p. 72 ; bought 
as a whole in 1907 by the dealers Duveen Brothers. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 8nC; pre- 
sented by Herr and Frau Martin Bromberg of Hamburg. 

159. HEAD OF CHRIST. Almost in full face. The arms are 
folded on the breast. The long dark hair and a slight beard frame the 
face. The mouth is opened a little. In a homely brown robe. Half- 
length. Painted about 1648. 

Panel, 10 inches by 8 inches. 

tudy for the Christ in the "Christ at Eramaus," 144 (Copenhagen). 
Safe. Lempereur, Paris, May 24, 1773, No. 61 (140 francs). 
In the collection of Dr. A. Bredius, The Hague ; purchased in 1912 from 
the collection of A. Wiegel at Cassel. 

1 60. HEAD OF CHRIST. Bode 295; Dut. 78; Wb. 301; 
B.-HdG. 414. Long dark curls, a short full beard, and dark eyes. Turned 
to the right. In a brownish-red coat, showing at top the hem of the shirt. 
Strong light falls from the left on the upper part of the right side of the 
face. Dark background. Life size. Painted about 1659. 

Canvas, i8J inches by 14^ inches. 

Mentioned by Bode, pp. 522, 597 ; by Dutuit, p. 5 I ; by Michel, p. 563 

[435]- 

Exhibited at Amsterdam, 1898, No. 109 ; in Paris, 1911, No. 125. 

Sale. J. Wandelaar, Amsterdam, September 4, 1759, N- '3 (5 fl" ns Io 
J. Enschede). 

In the possession of the Paris dealer C. Sedelmeycr, "Catalogue of 300 
Paintings," No. 149. 

In the collection of Maurice Kann, Paris. 

In the possession of the Paris dealer F. Kleinberger. 

In the collection of Isaac D. Fletcher, New York. 



n8 REMBRANDT 



SECT. 



161. HEAD OF CHRIST. B.-HdG. 591. Seen in full face. 
The head is bent to the left ; the eyes look upward. Christ has black 
hair, parted in the middle, and a full beard. He wears a dull red coat. 
His right hand lies on his breast. The light falls from the left at top. 
Greenish-grey background. A small half-length, with one hand. Painted 
about 1658. [Pendant to 464^] 

Signed on the right at top, " Rembrandt f." ; oak panel, 10 inches by 
9 inches. 

Sa/e. J. vander Marck, Amsterdam, August 25, 1773, No. 264 (12 florins 10, 

with pendant, Fouquet). 
In the Imperial Palace at Pavlovsk, near Petrograd. 

162. CHRIST WITH FOLDED ARMS. Bode 352; Dut. 
79; Wb. 426 ; B.-HdG. 415. He is seen in full face, and bends His 
head slightly to the left. He is bare-headed, with dark brown hair. He 
wears a dull red coat, and has a dark cloak over His left shoulder. His 
arms are crossed on His breast. Life size, more than half-length. Painted 
about 1659. 

.... Canvas, 43 inches by 35 J inches. 

Etched by Schmidt, Barnet, A. L. Gilbert. 

Mentioned by Bode, pp. 522, 603 ; by Dutuit, p. 54 ; by Michel, pp. 443, 

567 [343,442]- 

Exhibited at the Austrian Museum, Vienna, 1873 ; in the Palais du Corps 
Legislatif, Paris, 1874. 

Sales. Cardinal Fesch, Rome, March 17, 1845. 
De Forcade, Paris, April 2, 1873. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 300 
Paintings," No. 150. 

In the Bamberger collection, Paris. 

In the collection of Count Alexander Orloff Davidoff, Petrograd. 

163. HEAD OF CHRIST. Wb. 324; B.-HdG. 412. Almost 
in full face. Long dark curls and a thin full beard. In a reddish-brown 
cloak. Half-length, about half life size. Painted about 1656-58. 

Oak panel, 13 inches by uj inches. 

Mentioned by Vosmaer, p. 555 ; by Bode, p. 523 ; by Dutuit, p. 53. 
In the collection of Madame de Saulcy, Paris. 
In the collection of the Comte de la Begassiere, Paris. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of loo 
Paintings," vii. No. 33. 

In the collection of John G. Johnson, Philadelphia, 1914 catalogue, No. 480. 

164. CHRIST. Sm. 78 ; Dut. 80 ; B.-HdG. 417. He is seen in 
full face ; His large dark eyes look at the spectator. His hands are 
clasped on the crook of a pilgrim's staff. He has a short fair beard. His 
long and wavy fair hair falls on His shoulders and is covered at the back 
by a transparent black veil with a red hem. He wears a brownish-red 
cloak, showing the white shirt in front. He stands before a dark wall 
with a pilaster to the right. Life size, half-length, with the hands. 

Signed on the right a little below the shoulder, "Rembrandt f. 1661 " ; 
canvas, 37^ inches by 324 inches. 



xxn REMBRANDT 119 

Etched by Schmidt, and by Barnet. 

Mentioned by Vosmaer, p. 562 ; by Dutuit, p. 58. 

Exhibited at Amsterdam, 1898, No. 114. 

In the collection of Sir Bethel Codrington, Bart., 1836 (Sm.). 

Sales. Sir B. Codrington, London, May 12, 1843 (252). 

Baron von Mecklenburg, Paris, December 11, 1854, No. 15 (13,100 
francs, Radvansky probably Raczynski according to a MS. 
note in Sm.'s own copy of his catalogue). 
In the collection of Count Edward Raczynski, Ragolin, Posen. 

1640 and b. Two Heads of Christ. 

In the collection of Rembrandt, Amsterdam ; in the inventory of his goods 
for sale, July 25, 1656, Nos. 115, 118. See Hofstede de Groot, Urkunden Uber 
Rembrandt, No. 169. 

1 64^. Head of Christ. 

In the collection of the painter Jan van de Cappelle, Amsterdam ; in the 
inventory of his goods, 1 680, No. 56. See Hofstede de Groot, Urkunden Uber 
Rembrandt, No. 350. 

164^. Christ. 

Sale. Cornelis Dusart, Haarlem, August 21, 1708, No. 138. 

164^. Christ. 

Sale. Willcm Six, Amsterdam, May 12, 1734 (Hoet, i. 419), No. 173 
but No. 174 of the original catalogue (14 florins 10). 

165. Head of Christ. Sm. 353. Represented as a man of about 
twenty-six, with a thin face, long black hair parted in front, and a scanty 
beard and moustache. Seen in a three-quarter view. A brown cloak 
covers his shoulders. 

Panel, 9 inches by 7 inches. 

Exhibited in the British Institution, London, 1832, No. 107. 

In the collection of Colonel Hugh Baillie, 1836. Sm. describes it among 
the portraits of men. According to a MS. note in his own copy of his 
catalogue, it was sold as a " Head of Christ " in the sale : Baillie, London, 
1858 (64 : is., Pelin or Peters). 

1 66. Head of Christ. Sm. 107. In profile. 

The original is lost. Described by Sm. from a mezzotint by Greenwood. 

167. Head of Christ. B.-HdG. xix. Turned to the right, almost 
in profile, with a thin moustache and beard, and long curls falling on the 
shoulders. The head is slightly bowed. The eyes are closed and the lips 
parted. 

The original is lost. Described from a mezzotint by B. Picart, inscribed 
"Zenon philosophe " ; see Prof. J. Six in Oud Holland, 1897, p. 4. 

Sale. Widow of B. Picart, Amsterdam, May 15, 1737, No. 39 
(8 florins 10). 

168. THE APOSTLE BARTHOLOMEW. Sm. 359 ; Bode 
154; Dut. 434; VVb. 158; B.-HdG. 508. Seated, in full face; he is 



120 REMBRANDT SECT. 

bare-headed, with short dark hair and a moustache. He looks thoughtfully 
at the spectator, rests his chin on his left hand, and holds a knife in his 
right. He wears a greenish-grey coat, open in front to show the high- 
necked shirt, and bound with a girdle. A brown cloak hangs loosely over 
his shoulders. Dark background. Pale light falls from the left and 
touches his face and breast. Half-length, life size. [Formerly known as 
Rembrandt's Cook."] 

Signed on the right at foot, " Rembrandt f. 1661 " ; canvas 34 J inches 
by 29^ inches. 

Engraved by Charles Phillips [under the title of "The Assassin"]; in 
mezzotint by R. Houston [in 1757, while in the Blackwood collection]. 

Exhibited at the Royal Academy Winter Exhibition, London, 1882, 
No. 234 ; 1899, No. 99 ; and 1912, No. 52. 

Sales. Principe Trivulzio, Amsterdam, August 29, 1764, No. 109 (22 

florins) ; measuring 41 inches by 27 inches. 
Amsterdam, November 30, 1772, No. 137. 
J. Blackwood, London, February 20, 1778. 
Lapeyriere, Paris, April 14, 1817 (1770 francs). 
Lord Radstock, London, May 12, 1826. 
E. W. Lake, London, 1845 (bought in). 
E. W. Lake, London, 1848 (to Earle). 

In the collection of the late A. R. Boughton Knight, Downton Castle, near 
Ludlow. 

169. THE APOSTLE BARTHOLOMEW. He sits, seen in 
full face, in an arm-chair and turns his head to the left. His face is 
framed in his thick hair and his dark beard. In the right hand he holds a 
knife. A thick cloak falls over his right knee. Bright light touches his 
face. The knife was formerly painted out and changed into a book. 

Signed in full and dated 1657 canvas, 50 J inches by 40 inches. 

[Exhibited at the Metropolitan Museum, New York, from January 1913.] 
In the collection of Prince Lavalle, who took it to Russia in the reign of 
the Empress Catherine II. 

In the collection of the Princess Troubetzkoy, born Lavalle. 
In the collection of the Countess Davidoff, born Troubetzkoy. 
In the collection of her grandson Wasilli Davidoff. 
In the possession of the London dealers Thomas Agnew and Sons. 
In the possession of the dealers Duveen Brothers, New York. 
In the collection of Henry Goldman, New York [from 1912], 

169*. THE APOSTLE BARTHOLOMEW. Half-length, life 
size. He holds a knife in the right hand. Finely drawn and admirably 
painted. Painted about 1631. 

Panel, 29 J inches by 21 J inches. 

Engraved twice in mezzotint by J. de Groot, once as a whole and once the 
head only. 

Sales. J. M. Quinkhard, Amsterdam, March 15, 1773, No. 10 (160 florins, 

Van den Bogaard). 
J. Caudri, Amsterdam, September 1809, No. 62 (140 florins, 

Coders). 

In the collection of Sir G. Douglas Clerk, Bart., Penicuik. 
In the possession of R. Langton Douglas, London. 



xxn REMBRANDT 121 

170. THE APOSTLE JAMES. B.-HdG. 485. He is turned 
in profile to the right and clasps his hands in prayer at his breast. His 
head is bare ; he has coarse brown hair and a thin beard. He wears a 
yellowish - brown pilgrim's cloak; the collar is fastened on the right 
shoulder with a scallop-shell. At the neck is seen the pleated white shirt. 
Before him to the right his pilgrim's hat lies on a table. Somewhat faint 
daylight enters from the left foreground. The background is a moderately 
well lighted wall, against which leans the pilgrim's staff. Half-length, 
life size. Compare 1941-. 

Signed on the right at foot, " Rembrandt f. 1661 " ; canvas, 35^ inches 
by 31 inches. 

Etched by A. Kruger in the Zeltschrift fitr bildendc Kunst, 1892. 

Mentioned by Michel, pp. 480, 553 [374, 438] ; by Woerraann, Graphische 
Klinste, xiv. 32. 

Catalogued in the exhibition, Paris, 1909, as No. 123, but not shown. 

In the Mackenzie collection, Kintore. 

In the collection of Sir Charles J. Robinson. 

In the possession of the Paris dealer C. Scdelmeyer, "Catalogue of 100 
Paintings," iii. No. 29. 

In the collection of E. F. Weber, Hamburg, 1872 catalogue, No. 213 ; 
given in exchange for "The Adulteress before Christ " (105) to the Paris dealer 
C. Scdelmeyer in 1895. 

In the collection of Maurice Kann, Paris. 

In the possession of the dealers Duveen Brothers, Paris. 

In the possession of the New York dealer Henry Rcinhardt. 

In the Willis collection, Toledo, Ohio. 

i-i. ST. JOHN THE BAPTIST. Bode, 144; Out. 46 i Wb. 
223; B.-HdG. 134. He bends forward a little, turning slightly to the 
right and looking straight before him. He has thick dark brown hair 
and beard. He wears a heavy brown cloak over his grey hair-shirt. In 
the light background to the right is his reed cross. Half-length, life 
size, without the hands. 

Signed on the left above the shoulder, "Rembrandt ft. 1632"; oval 
oak panel, 25 J inches by 19 inches. 

Mentioned by Dutuit, p. 47 ; by Michel, p. 561 [443]; by Hofstede de 
Groot, Urkunden ilber Rembrandt^ No. 152. 

Exhibited at the Royal Academy Winter Exhibition, London, 1876, 
No. 239 ; at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 80. 

Possibly in the collection of Jan Ingcls, advocate, of Amsterdam, in the 
inventory of whose goods, January 7, 1654, is noted, "In the vestibule : a St. 
John, by Rembrandt." 

In the collection of Lord Palmerston, Broadlands. 

In the collection of the Rt. Hon. W. Cowper Temple, Broadlands. 

In the collection of Lord Mount Temple, Broadlands. 

In the possession of the Paris dealer C. Sedelmeyer, 1890, "Catalogue of 
300 Paintings," No. 118. 

In the collection of Charles Stewart Smith, New York. 

1710. St. John the Baptist. Sm. 137. 



122 REMBRANDT SECT. 

The original is lost. Mentioned by Sm. from the mezzotint by W. 
Vaillant (Wessely, No. 78). 



Head of St. John. 

Mentioned by Hofstede de Groot, Urkunden liber Rembrandt^ No. 387. 
In the collection of Hyacinthe Rigaud, Paris, who, in a catalogue drawn 
up, May 17, 1703, valued it at 100 francs. 

172. STUDY FOR THE HEAD OF ST. MATTHEW. 
B.-HdG. 523. Seen in full face. He bends slightly to the left, in which 
direction he is looking. He has curly hair and a grey beard. He wears 
a brown cap and a greyish-brown dress. Strong light falls from above to 
the left. Dark background. Two-thirds of life size. Painted about 
1 66 1 as a study for 173 (Louvre). Cf. 173-5. 

Oak panel, as enlarged, 10 inches by 8J inches j the original size was 
8J inches by 7 inches. 

Etched by L. Flameng in the Wilson catalogue. 

Mentioned by Dutuit, p. 22 ; by Michel, pp. 432, 563 [336, 435]. 

Exhibited at Amsterdam, 1898, No. 108. 

In the collection of the Marquis d'Aligre, Paris. 

Sale.]. W. Wilson, Paris, March 14, 1881. 

In the collection of L. Bonnat, Paris. 

In the Musee Bonnat, Bayonne, 1903 catalogue, No. 40. 

173. ST. MATTHEW THE EVANGELIST. Sm. 136 > 
Bode 270 ; Dut. IO2 ; Wb. 276 ; B.-HdG. 521. He sits behind a table 
with a book open before him, and gazes thoughtfully into the distance. 
He is turned three-quarters right, and wears a coloured cap. His left hand 
is at his untrimmed and tangled beard ; his right hand, holding a pen, 
rests on the book. He wears a loose chestnut-brown robe. An angel 
with rich fair curls at the back to the left lays his right hand on the 
evangelist's right shoulder and speaks to him. Half-length, life size. Cf. 
172 and 174-5. 

Signed in the right centre, "Rembrandt f. 1661 "; canvas, 38 inches 
by 32 inches. 

Mentioned by Vosmaer, pp. 361, 562 ; by Bode, pp. 523, 594 ; by Dutuit, 
p. 35 ; by Michel, pp. 463, 562 [361-2, 434]. 

Etched by Claessens in the Musee Franfais ; by Oortman in the Musee 
Napoleon, in Filhol, viii. 509, and Landon, ii. 57. 

In the Louvre, Paris, 1907 catalogue, No. 2538: 

174. STUDY FOR THE HEAD OF ST. MATTHEW. 

Bode 248 ; Dut. 418 ; Wb. 162 ; B.-HdG. 522. He is seen almost 
in full face, turned a little to the right, in which direction he is looking. 
He has a white beard and wears a brown cap and a grey coat. Full light 
falls from the left. Dark background. Two-thirds of life size. Painted 
about 1 66 1 as a study for 173 (Louvre). Cf. 172, 173, 175. 
Oak panel, 9 inches by 7! inches. 

Mentioned by Michel, pp. 432, 563 [336, 435] ; Dutuit, p. 43. 
Exhibited at the Royal Academy Winter Exhibition, London, 1882, No. 99. 
In the collection of A. Buckley, New Hall. 



xxn REMBRANDT 123 

In the collection of Rodolphe Kann, Paris ; sold as a whole in 1907 to 
Duveen Brothu 

In the possession of the dealers Duveen Brothers, Paris. 

In the possession of the Paris dealer F. Kleinbergcr. 

In the collection of L. Nardus, Suresnes. 

In the collection of the late P. A. B. Widener, Philadelphia. 

175. STUDY FOR THE HEAD OF ST. MATTHEW. 

Half-length. He is seen in full-face, turned slightly to the right, in which 
direction he is looking. He has a short grey beard, and wears a dark cap 
and coat. Full light falls from the left. Dark background. Two-thirds 
of life size. Painted about 1661 as a study for 173 (Louvre). Cf. 172-4. 
Oak panel, 9^ inches by 8 inches. 

See Hofstede de Groot, in Onze Kunst, December 1912, pp. 182, 188. 

In the collection of Paul Mathey, Paris. 

In the possession of the Paris dealer F. Kleinberger. 

In the collection of Ludwig Mandl, Wiesbaden. 

176. ST. PAUL WRITING TO THE THESSALONIANS. 
Bode 206 ; Dut. 100 ; Wb. 183 ; B.-HdG. 34. He sits, seen in full-face, 
in an arm-chair, turning away from the table and looking straight before 
him. He has a long stiff grey beard and grey hair and wears a loose 

>h robe. He holds a pen in his right hand and leans the elbow on 
the table. On the dull green table-cloth to the left are some writings ; 
on the top the Apostle's Second Epistle to the Thessalonians is clearly 
legible (II. Thessalonians, chapter ii. i) : " '/jwTo)/iei' <Se r/zus aSeA.</>oi . . . 
Against a dull greyish background. Pale light. Three-quarter 
length, life si/.c. Painted about 1629-30. 

Signed on the paper to the left, " R. f." ; canvas, 43 inches by 
39 inches. 

A small copy, dating from the eighteenth century, is in the collection of 
Oskar Huldschinsky, Berlin. 

An old copy, life size, under the name of Joachim von Sandrart, is in the 
Budapest Museum, 1898 catalogue, No. 422 ; not in the new catalogue. 

Exhibited at the Royal Academy Winter Exhibition, London, 1871, No. 367. 

Mentioned by Bode, p. 426 ; by Dutuit, p. 44 ; by Michel, p. 557. 

Sale. De Meulan, Paris, April 2, 1778 (464 francs). 

In the collection of Lord Ward, later Earl of Dudley. 

Sale. Lord Dudley, London, June 25, 1892, No. 20 (546, Sedelmeycr). 

In the possession of the Paris dealer C. Sedelmeyer, 1892, "Catalogue of 
300 Paintings," No. 113. 

In the collection of J. H. Harjes, Paris ; presented to Bremen in 1912. 

In the Bremen Kunsthalle. 

177. ST. PAUL AT HIS WRITING-TABLE. Dut. 103; 
Wb. 36 ; B.-HdG. 3. In front of a brightly illumined wall, he sits, seen 
in full face, at a table to the right, with a dark greenish-grey cover, on 
which lie several folios. His right arm, with the pen in the hand, hangs 
over the arm of his chair ; his left hand rests on the table. The apostle, 
who has a rich beard and grey hair, looks thoughtfully before him. He 
wears a dull greyish-yellow cloak, without sleeves, held together with a 



124 REMBRANDT SECT. 

coloured sash ; under it he has a grey coat of thick material. Full light 
probably from the sun, not from a candle falls on the back wall, against 
which the folios on the table stand out dark. On a wooden pillar in the 
right background hang three yataghans with coloured tassels. Small 
figure, almost full-length. Painted about 1628. 
Oak panel, i8J inches by 15 J inches. 

Mentioned by Bode, pp. 366, 646 ; Dutuit, p. 41 ; Michel, p. 554 [439]. 

Exhibited at Berlin, 1890, No. 222. 

Sales. Freiherr von Fechenbach, Berlin, 1882. 

Bodeck-Ellgau of Heidenfeld near Schweinfurt, Cologne, November 

10, 1890, No. 70 (17,100 mark) ; acquired for Ntirnberg. 
In the Germanic National Museum, Niirnberg, No. 326. 

178. ST. PAUL AT HIS WRITING-TABLE. Sm. Suppl. 
30; Bode 147 ; Dut. 101 ; Wb. 264, 312 ; B.-HdG. 382. He sits in 
an arm-chair, turned to the left in profile, and supports his head with his 
left hand in a thoughtful attitude. His right hand, holding the pen, rests 
on his hip. He has a greyish beard. He wears a black cap and a brown 
fur-trimmed coat with red sleeves. On the table to the right are several 
large sheets of paper. On the wall above them hangs a large sword. 
Dark background ; the light falls from the left at top. Life-size figure to 
below the knee. Painted about 1656. [Probably a pendant to 182.] 

Signed on the right at foot on the edge of the table, " Rembrandt f." ; 
canvas, 51 J inches by 40 J inches. 

Mentioned by Vosmaer, pp. 359, 561 ; by Bode, pp. 523, 579 ; by Dutuit, 
p. 49 ; by Michel, pp. 450, 555 [348-9* 434]- 

Exhibited at the British Institution, London, 1838, No. 12 ; 1841, No. 71 ; 
and 1846, No. 75, in each case as a portrait of Cornelis Pietersz Hooft. It 
was lent in 1838 and 1846 by Viscount Alford, and in 1841 by Sir George 
Hayter, in whose sale it appeared London, May 3, 1845 (262 155., Nieu- 
wenhuys). Thus there were two distinct pictures, or Lord Alford bought 
back in 1845 the picture which had formerly belonged to him. 

Sales. Van Schuylenburg, The Hague, September 20, 1735 (Hoet, i. 447), 
No. 31 (150 florins, Backer) ; very vigorous and fine, not inferior 
to Titian. 
Comte de Pourtales-Gorgier, Paris, March 27, 1865, No. 182 



In the collection of Lord Wimborne, formerly Sir Ivor Guest, Canford 
Manor. 

In the possession of the London dealers A. Sulley and Co. 
In the collection of the late P. A. B. Widener, Philadelphia. 

179. ST. PAUL IN PRISON. Bode 122; Dut. 98 ; Wb. 116; 
B.-HdG. 2. He is bare-headed, with a long grey beard. He sits on 
a bench in front of a brightly-illumined wall. He leans his chin on his 
right hand, and holds a book on his knee with his left hand. He has a 
steely-grey sleeveless coat, from which protrude the green-lined sleeves of 
his greyish-purple doublet. He sits on a reddish-green cover. Beside him 
to the left are books in brownish bindings, a wallet and a large two- 
handed sword. Above to the left is part of the barred window, through 
which strong sunlight falls on the figure. A small full-length figure. 



xxn REMBRANDT 125 

Signed on a paper lying on the apostle's knee, " Rembrandt fecit," 
and on the bench a little lower down, " R. f. 1627 " ; oak panel, 28 inches 
by 23 inches. 

Etched by O. Baldinger in the Zfitschrift flir bildendc Kunst, 1874. 

Mentioned by Vosmaer, pp. 84, 486 ; by Bode, p. 365 ; by Dutuit, p. 31 ; 
by Michel, pp. 26, 554 [21, 439]. 

At Schloss Pomraersfelden, since 1719. 

Bale. Count Schonborn of Pommcrsfelden, Paris, May 17, 1867, No. 96 
(4000 francs, Stuttgart Museum). 

In the Royal Museum, Stuttgart, 1907 catalogue, No. 265. 

180. ST. PAUL AT HIS WRITING-TABLE. Bode 123; 
Dut. 99 ; Wb. 370 ; B.-HdG. 35. The aged apostle, with a long grey 
beard and grey hair, sits on the left at a table on which lies an open folio, 
with a sheet of paper upon it. He has stopped writing and looks 
thoughtfully before him. His left arm rests on the book ; his right hand, 
which holds the pen, rests on the arm of his chair. He wears over a dull 
yellow doublet a pale bluish robe held in place by a coloured Eastern girdle. 
On the table is a dull blue cover with a wide gold border. By the wall at 
the back, behind the books, stands a large two-handed sword. Three- 
quarter length, life size. The signature "Rembrandt f." has almost 
entirely disappeared. The date, 1636, given by Michel and Krafft, if it 
was genuine, must have been wrongly read for 1630. 

Canvas, 50 inches by 44 inches. 

A copy 47 inches by 39^ inches was in the sale : Duke of Somerset, 
London, June 28, 1890 (315). 

An old copy is in the collection of John W. Gates, Chicago ; it was 
formerly in the collection of M. C. D. Borden, New York (B.-HdG. 36), and 
in the possession of the Paris dealer C. Sedelmeycr, * Catalogue of 300 
Paintings," No. 1 14. 

Rembrandt's etching, B. 149 [Hind 4*], and the red chalk study for it in 
the Louvre, Lippmann 158, are closely related to this picture. 

Etched by W. Unger in the Imperial Gallery, Vienna ; in Llitzow's 
accompanying text, its authenticity is wrongly questioned. 

Mentioned by Vosmaer, pp. 97, 512 ; by Bode, p. 426 ; by Dutuit, p. 33 ; 
by Michel, pp. 218, 560 [168, 430]; by Hofstcde dc Groot, Urkunden Uber 
Rembrandt, No. 409. 

In the Palace, Prague, inventory, No. 452 ; in the Imperial collection from 
1718. 

In the Imperial Gallery, Vienna, 1907 catalogue, No. 1270. 

iSorf. St. Paul. 

Mentioned by Hofstedc de Groot, Urkunden Uber Rembrandt, No. 292. 
In the collection of Gerrit van Heusden, Amsterdam ; in the inventory of 
his goods, 1667. 

i8o/>. St. Paul. 
Panel. 

In the collection of George III., King of Great Britain ; in the inventory 
of about 1760-70 ; noted by L. Cust. 

181. ST. PETER. Dut. 97; Wb. 434; B.-HdG. 135. The 



126 REMBRANDT SECT. 

apostle halts as if pacing to the left, and looks with a keen glance at the 
spectator. With his left hand he presses the key to his breast ; in his 
right hand is his staff. He is bare-headed, and has grey hair and a grey 
beard. He wears a brown cloak over a black coat. Full light falls from 
above to the left on his head and hand. Dark background. Half-length, 
life size. 

Signed on the right beside the shoulder, "R H L van Ryn 1632" ; 
canvas, 32^ inches by 24! inches. 

An old copy is in the Boymans Museum, Rotterdam, 1907 catalogue, 
No. 256. 

Mentioned by Dutuit, p. 40 ; by Michel, p. 561 [442]. 

In the collection of Carl von Crakow, who is said to have bought it in 
Holland in 1646. 

In the collection of T. Gyllenskold, Stockholm, as a Ribera ; bought from 
the collection in 1887 for the Stockholm Museum. 

In the Stockholm Museum, 1900 catalogue, No. 1349. 

1 8 1*. St. Peter. 

Sale. J. A. Sichterman, Groningen, August 20, 1764, No. 292. 

i8i. St. Peter in Prison. Sm. 121. The venerable apostle 
kneels in prayer, with his hands bound behind him. 
Panel, 22 J inches by 19 inches. 

Sale. Due de Choiseul-Praslin, Paris, February 18, 1793 (1500 francs). 

182. ST. THOMAS. Sm. 370; Bode 68; Dut. 325; Wb. 57 ; 
B.-HdG. 383. An old man sits, seen in full face, at a writing-table, with 
papers and an ink-pot on it. He leans on his right elbow in a thoughtful 
attitude ; he holds the pen in his right hand, and has in his left hand, 
resting on the arm of his chair, a set square which is his attribute. He is 
bare-headed, and has grey hair and a full grey beard. He wears a loose 
brown cloak trimmed with fur, under which are seen the red sleeves of 
the coat and, at the breast, a piece of the white shirt. The background is 
a dark-grey wall. The light falls from the left at top. Life-size figure, 
to below the knee. [Probably a pendant to 178. Cf. 469.] 

Dated on the edge of the table to the left, 1656 ; canvas, cut down all 
round, 48 inches by 36 inches. 

Etched by N. Mossoloff. 

Mentioned by Vosmaer, pp. 346, 556 ; by Bode, pp. 515, 566 ; by Dutuit, 
p. 28 ; by Michel, pp. 418, 552 [324-5, 437]. 

In the chief Cassel inventory of 1749, No. 297, as "Archimedes." 
[Entitled by Sm. "The Geometrician," and by Michel "The Mathematician."] 

In the Louvre, Paris, 1806-15. 

In the Cassel Gallery, 1903 catalogue, No. 246 (old No. 224) [valued by 
Sm. in 1836 at ,350]. 

183. THE EVANGELIST. B.-HdG. 525. He sits, seen in full 
face and turned slightly to the left, writing in a book which lies on a desk 
before him. He has a thin beard. A dull green cloak lies on his left 
shoulder, over his brownish-red coat. A yellow cloth, falling behind him, 
is wound round his head like a turban ; under it is a white kerchief. 



xxn REMBRANDT 



12' 



Dark background. Bright light falls from the left. Half-length, life size. 
Painted about 1663. 

Signed on the left beside the shoulder, "Rembrandt f. 166-" (the last 
figure being cut off) ; canvas, 42 inches by 32^ inches. 

Exhibited at Manchester, 1857. 

In the possession of the London dealer T. Emraerson. 

In the collection of Mrs. Hall, London. 

In the collection of T. Humphry Ward, London. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 100 
Paintings," iv., No. 33. 

Sale. T. Lavvric and Co., London, January 28, 1905 (T. Lavvric). 

184. A YOUNG EVANGELIST. Bode 112; Dut. 214; Wb. 
1 08 ; B.-HdG. 527. He stands behind a table, seen in full face. He 
looks up to the left. He has long dark hair, parted in the middle. He 
wears a costume with red and yellow stripes, strong in colour. On the 
table lie papers, which he grasps with his left hand ; he holds a pen in his 
right hand. Dark background. The light comes from the left. Half- 
length, life size. Painted about 1663. 

Canvas, 39 inches by 30^ inches. 

Mentioned by Bode, pp. 515, 573 ; by Dutuit, p. 30. 

In the Schloss, Wlirzburg. 

In the Schlcissheim Gallery, No. 260, as by G. van den Eeckhout. Trans- 
ferred to Munich in 1881. 

In the Aeltcrc Pinakothck, Munich, 1911 catalogue, No. 345 ; until 1901 
catalogued as by Carel Fabritius, but now doubtfully assigned to Rembrandt. 

185. THE EVANGELIST; also known as THE ACCOUNT- 
ANT. Sm. 275, and Suppl. 9 ; Wb. 195 ; B.-HdG. 526. He stands 
behind a table, on which lies an open book. He is seen in full face, 
turned slightly to the right and leaning both hands on the table. He 
holds a pen in his right hand, and looks keenly at the spectator. He has 
a thin shaven moustache, and long dark hair under a bright red cap. He 
wears a reddish gown ; an under-garment, exposed at the breast, is cut 
square, showing the shirt at the throat. Dark background. The light 
falls from the left. Half-length, life size. Painted about 1663. 

Canvas, 40^ inches by 32 inches. 

Engraved in mezzotint by W. Humphrey, 1765. 
Mentioned by Michel, pp. 247, 561 [443]. 

Exhibited at the Royal Academy Winter Exhibition, London, 1889, 
No. 166; at the Hudson -Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 104. 

Sales. Sir Joshua Reynolds, London, March n, 1795 (52 : ios.). 
T. Hardman, Manchester, 1838 (about 73 : ios.). 
Thomas Green, London, 1874. 
Mrs. Owen Roe, London, 1889. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 300 
Paintings," No. 152. 

In the collection of P. C. Handford, Chicago. 

In the possession of the New York dealer E. Fischhoff. 

In the collection of Charles M. Schwab, Pittsburg. 



128 REMBRANDT SECT. 

185*. An Evangelist. 

Sale. J. A. Sichterman, Groningen, August 20, 1764, No. 232. 

1 86. ST. ANASTASIUS. Sm. 130 ; Bode 361 ; Dut. 104 ; Wb. 
435 ; B.-HdG. 40. In a lofty vaulted room, the father of the Church 
sits, somewhat retired, behind a round table with a greenish cover. He is 
absorbed in the perusal of a folio which lies before him. He wears a long 
cloak of dull purple, fastened in front with cords, and a red cap. He leans 
his left hand on the arm of his chair. Beside him to the right is a tall 
round window with a deep embrasure ; the last warm light of evening 
passes through the opening. Against the pillar behind him is a stone altar 
with a crucifix. To the left are two curtains, drawn back, between which 
is seen the inner part of the cell. A small full-length figure. 

Signed on a parchment above the saint's head, " Rembrandt ft. 1631 " ; 
oak panel, 24 inches by 19 inches. 

Etched in reverse by P. de Balliu (Bartsch, ii. 119, No. 2) ; by L.Loewenstam 
in the Tidsknft ftir bildende Konst, 1885. 

Engraved on wood by J. Peterson in the Museum, Stockholm, 1888. 

The saint's figure, in reverse, occurs in Rembrandt's etching, Bartsch 66 
[Hind 20]. 

Mentioned by Vosmaer, p. 489 ; by Bode, p. 385 ; by Dutuit, p. 40 ; by 
Michel, pp. 65, 567 [50-51, 442] ; in the Zeitsc hrift fiir bildende Kunst, xvii. 52, 
164 ; in the Repertorium fiir Kunstwissenschaft, iv. 445 ; in the Athenaeum, 
1878 ; in the Beilage of the Augsburger Allgemeine Zeitung, March 1878. 

Sale. M. D. van Eversdijck, The Hague, May 26, 1766 (Terw. 533), 
No. 76 but No. 83 of the original catalogue (Meusche). 

In the collection of Louisa Ulrica, Queen of Sweden, No. 274. 

In the collection of Gustavus III., King of Sweden. 

In the National Museum, Stockholm, 1900 catalogue, No. 579. 

1 86*. St. Cecilia. 

5iJ inches by 40 inches. 

Sale. Bicker van Zwieten, The Hague, April 12, 1741 (Hoet, ii. 21), 
No. 132 (125 florins). 

187. ST. FRANCIS. Sm. 133; B.-HdG. 218. In a grotto, the 
saint kneels in profile to the right. His head and feet are bare ; he wears 
the habit of his order. He holds a crucifix to his breast with both hands, 
and looks at a large book lying open on a bank before him. To the right, 
in front of the book, is a skull. Behind the saint is the straw mat which 
forms his bed. Strong light falls on his head. A small full-length figure. 

Signed on the right at foot, "Rembrandt f. 1637"; oak panel, 
23 inches by i8j inches. 

An old copy was engraved by Guttenberg in the Galerie du Palais Royal. 
It was in the Crozat collection, Paris, 1751 ; in the Orleans sale, London, 
1795, No. 6 (see W. Buchanan, i. 196) ; and latterly in a private collection at 
Budapest. 

Mentioned by Dutuit, pp. 3, 9. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," iii. No. 31. 



xxn REMBRANDT 129 

In the collection of Alfred Beit, London. 
In the collection of Otto Beit, London. 

188. St. Jerome. Sm. 128 and 129 ; Wb. 444 ; B.-HdG. iv. He 
kneels, seen almost from the back and turned to the left, before an open 
folio which is placed against a wall of rock. He holds a crucifix. He- 
wears a homely garment, which stands out dark against the brightly 
illumined rock. Beside him to the left, a rosary, a cloth, an iron collar, 
an hour-glass, a pilgrim's flask, and other things lie in disorder. Behind 
him to the left the lion reposes beside some shrubs. The ground in front 
to the left is in shadow. Painted about 1630. 

The original is lost. It was in Rembrandt's possession ; in the inventory 
of his goods for sale, 1656, No. 14. 

Described from an old copy panel, 40! inches by 35^ inches now in the 
Suermondt Museum, Aachen. It came from the Suermondt collection, with 
which it passed to the Berlin Museums ; Berlin store-room catalogue, 1886, No. 
8o6C. Vosmaer, p. 418, regarded it as genuine. Possibly it was identical with 

*94/ 

A second copy is in the Boucher de Perthes Museum, Abbeville, No. 140. 

Mentioned by Hofstede de Groot, Urkunden ttber Rembrandt, Nos. 17, 
169, 388. 

A study in red chalk for the picture is in the Louvre, Paris ; reproduced by 
Lippmann, No. 152. 

An etching in reverse by J. J. van Vliet is signed, " Rt. v. Ryn. jn. J. G. v. 
Vliet fee. 1631." 

i88tf. Mary Magdalene. Sm. 138. 

The original is lost. 

Described by Sm. from a mezzotint by J. Kleine, engraved from a picture 
in the collection of " Hcrr Wohlgebornen " (sic}. 

Johana Christian Brand engraved a half- length of a Magdalen in the 
collection of Count Palffy ; it may or may not have been this picture. 

189. AN AGED NUN. B.-HdG. 511. She stands, seen in full 
face, with her head slightly bowed and her hands before her. In her right 
hand is a rosary. She wears a loose white robe and a closely fitting head- 
dress, over which, from the head downward, hangs a cloak of a dark neutral 
tint with a few touches of dull red and gold. Dark background. Full 
light falls on the white robe and is reflected on to the face which is in 
half-shadow. Half-length ; life size. Unfortunately much damaged. 

Signed on the right, half-way up, " Rembrandt f. 1661 " ; canvas, 45 \ 
inches by 32 inches. 

Mentioned by Michel, pp. 395, 562 [306, 434]. 

In the collection of the Prince de Salm, confiscated at the time of the French 
Revolution : since then at Epinal. 

In the Musee des Vosges, Epinal, 1880 catalogue, No. 101. 

190. A CAPUCHIN FRIAR READING. Sm. 132 ; Bode 
1 60 ; Dut. 431 ; Wb. 257 ; B.-HdG. 483. A man of about fifty. He 
sits, turned slightly to the right, with his head inclined on his right 
shoulder. He reads a paper which he holds up in his left hand. His right 
arm hangs down in front from the arm of his chair. He has a tangled 

VOL. vi K 



130 REMBRANDT SECT. 

grey beard. He wears a roughly sewn garment, and has drawn his pointed 
hood over his head. Dark background. The light touches the hood and 
falls on the side of the paper, which is turned to the face, the paper thus re- 
flecting the light on to the head. Half-length; life size. [Pendant to 467.] 
Signed on the right above the shoulder, " Rembrandt f. 1661 " ; canvas, 
29 inches by 24 inches. 

Mentioned by Vosmaer, p. 561 ; by Bode, pp. 537, 581 ; by Dutuit, p. 49 ; 
by Michel, pp. 444, 556 [345, 434]. 

Exhibited at the British Institution, London, 1835, No. 121 ; lent by the 
Earl of Wemyss. 

Sale. Comte de Vence, Paris, 1750 (142 francs, with pendant, 467 
according to Sm.). 

In the collection of the Earl of Wemyss, Gosford House, Scotland. 

191. PORTRAIT OF A CAPUCHIN FRIAR. Bode 178; 
Dut. 430 ; Wb. 128 ; B.-HdG. 484. An aged man seen in full face. His 
hands are clasped ; he looks straight before him. He has a small untrimmed 
beard. He is wrapped in the dull brown robe of his order, and has drawn 
the hood over his head. The light falls from the left at top and touches 
the right side of the face. Dark background. Half-length, life size. 
Painted about 1661. 

Canvas, 34^ inches by 25^ inches. 

Mentioned by Bode, pp. 538, 584 ; by Dutuit, p. 32 ; by Michel, pp. 444, 

556 [345- 6 434 

In the collection of the Duke of Northumberland, who gave it to the 
National Gallery in 1838. 

In the National Gallery, 1911 catalogue, No. 166. 

192. THE HERMIT READING. B.-HdG. 557. An old man 
with grey hair and a long grey beard sits, turned to the left. He is wrapped 
in a loose greyish-purple cloak, and reads a folio which he holds with both 
hands. Behind him to the right is the thatched roof of a hut. In the 
background are grey walls, on which the bricks are in places uncovered. 
The light falls from above to the left. A small full-length figure. 

Signed on the right at foot, " RHL . 1630 " j oak panel, 23 inches by 
1 8 inches. 

An old copy, under the name of S. de Bray, is in the Bachofen collection, 
Basel, 1907 catalogue, No. 72 ; it was once called a Rembrandt. 

A carefully executed drawing in red chalk and pen and ink is in the Weimar 
Museum ; HdG. 521. 

Sales. Prince de Conti, Paris, April 8, 1777 (1050 francs). 

Abbe Renouard, Paris, February 10, 1780 (399 francs). 

In the collection of Madame Helflinger, Paris, about 1848. 

In the collection of Albert Kaempfen, Paris, who gave it to the Louvre. 

In the Louvre, Paris, 1907 catalogue, No. 2541/2. 

193. A YOUNG CAPUCHIN FRIAR. Bode 354; Dut. 432 ; 
Wb. 427 ; B.-HdG. 482. He is turned to the left. His head is slightly 
bent on his right shoulder. He casts down his eyes in a reverential attitude, 
and clasps his hands, which are barely visible. He wears a greyish-brown 
robe, and has drawn his large pointed hood over his head. Dark back- 



REMBRANDT 



131 



ground, illumined at top on the right. Full light falls from the left on the 
lower part of the face. Half-length, nearly life size. 

Signed on the background to the left, beside the shoulder, " Rembrandt 
f. 1 66 1 " ; canvas, 34 inches by 31 inches. 

Mentioned by Bode, p. 603 ; by Dutuit, p. 54 [by Michel, pp. 345, 442]. 
In the collection of Count Sergei Stroganoff, formerly in Pctrograd, now 
in Paris. 

194. THE OLD MAN PRAYING. B.-HdG. 594. He is 
turned to the right. He clasps his hands in prayer, and looks with half- 

d eyes before him to the right. He leans his elbows on a table, upon 
which a large book lies open. He wears a loose greyish-purple cloak. He 
has thick grey hair and a b'\z grey beard. Greyish-brown background. 
The light falls from above to the left. Half-length, life size. 

cJ on the right, half-way up, "Rembrandt f. 1661 " ; canvas, 
33 inches by 26^ inches. 

^chloss Rohrau, from which it passed to the Harrach collection. 
In the collection of Count Harrach, Vienna, 1897 catalogue, No. 218. 



. A Hermit in a Cave. A fine piece. 

Mentioned by 7. C. von Uftcnbach, Merhulirdige Rtiscn, ii. 211 ; by Hof- 
tcde de Groot, VrkunJcn liber Rembrandt, No. 388. 

In the collection of the theological Professor Bothe (?), Bremen, March 1710. 

i94/>. A Hermit. 

Sale. The widow of E. Drakenborch, Utrecht, November 12, 1748, No. 44. 

1941. A Pilgrim Praying. Cf. 170. 

Heirs of Ca her, A. Schouman, and others, The Hague, 

July 15, 1749, No - I22 ( 2 florins 18). 

194^. A Hermit Praying. A masterpiece. 
In the collection of Lady Betty Gcrmaine. 

Sa/e. Countess of Holdcrncss, London, March 6, 1802, No. 81 (73 : i6s., 
Lord Yarmouth) ; see Buchanan, i. 309, etc. 

194^. A Pious Hermit in a Grotto. 

Canvas, 32^ inches by 27! inches. 

Siile. J. Bogaert, Bruges, September 18, 1821, No. 48. 

i94/ A Hermit Praying. Very fine. [Possibly identical with 
I oo. J 

Panel, 31 inches by 31 inches. 

In the collection of Baron dc Castell Bedernau. 

Sale. Baron dc Castell, Hamburg, July 21, 1824, No. 249. 

i94. A Hermit in a Cave. 

Signed, " Rembrant " ; panel. 

Sale. A. J. Petit, Malines, July 5, 1826, No. 99 (i 8 florins, Rozcboom). 

194/1. A Hermit. 

Sa/e. Antwerp, May 6, 1828, No. 128. 



132 REMBRANDT SECT. 

195. ANDROMEDA. Her arms are bound above her head to the rock 
against which her figure stands out light. The nude body, only the lower 
part of which is lightly draped, is turned a little to the left, while the head 
is turned to the right. Andromeda's feet are hidden by a large stone in 
front. Above, on the rock, are bushes. Below to the right are reeds. 
Painted about 1634. 

Panel, 14 inches by 10 inches. 

Exhibited at Leyden, 1906, No. 39. 
In the Van den Bosch collection, Brussels. 

In the collection of A. Bredius ; exhibited on loan in the Royal Gallery, 
The Hague, 1910 catalogue, No. 707. 



Argus being lulled to sleep by Mercury. [Pendant to 
208*.] 

45! inches by 39 inches. 

Sale. Paris, June 19, 1764, No. 20. 

195^. A Bacchante, or Votary of Bacchus. 

In the collection of Johann Wilhelm, Elector Palatine (who died in 1716), 
Dtisseldorf ; see Van Gool, ii. 565. 

196. BELLONA. B.-HdG. 569. She wears armour, and stands, 
seen in full face, before a recess. She rests her right hand on a sword. 
She holds in her left hand a shield with the head of Medusa, inscribed 
underneath " BELLONA." On her head she wears a helmet with a large 
plume, from under which her abundant hair falls on her shoulders. Her 
breast is covered with a steel cuirass, below which is a red velvet drapery 
richly embroidered in gold. A jewelled bandolier is slung from the right 
shoulder round her breast. Life-size figure, to the knees. [Saskia?] 

Signed on the left at foot, "Rembrandt f. 1633 " ; canvas, 48^ inches 
by 36 inches. 

Sale. Duke of Buckingham, Stowe, August 15, 1848, No. 424 (53 : iis., 

Roe). 

In the collection of W. W. Pearce, London, 1872. 
In the collection of the Comte de PEspine, Brussels. 
Sales. Baron de Beurnonville, Paris, June 2, 1884 (20,000 francs, Feral) ; 

see Paul Eudel, 1885, p. 406. 

Baron de Beurnonville, Paris, January 29, 1885 (12,000 francs). 
In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," viii. No. 32. 

In the possession of Sir George Donaldson, London. 
In the possession of Duveen Brothers, New York. 

197. DANAE(?). Sm. 173; Bode 327; Dut. 1085 Wb. 385; 
B.-HdG. 194. A young woman, undraped, lies from right to left on a 
bed furnished with soft linen pillows and hung with dull bluish material 
under a richly gilded canopy. She reclines on her left side ; her feet only 
are hidden in the bed-clothes. She leans her left arm on the pillow, but 
raises her head and shoulders, and, lifting her right arm, looks expectantly 
towards the left. In the background an old woman in a brown cap and a 
kerchief with green and yellow stripes pushes back the curtain on the far 



xxn REMBRANDT 



'33 



side of the bed, and looks towards the left. The young woman's chestnut- 
brown hair is fastened at the back with reddish-gold combs. On each 
forearm she wears a gold bracelet with large pearls between bright red 
ribbons ; round her left wrist is a double string of pearls. The bed-cover 
is embroidered in reddish yellow ; the curtains are a pale olive green. At 
the end of the baroque bedstead is the freely carved and gilt figure of a 
Cupid bound and weeping bitterly. The old woman carries a bunch of 
keys and a large bag. In the right foreground is a table having a pale red 
cover with a rich gold border ; in front of the bed are a pair of elegant 
white slippers embroidered with gold. Full-length, life-size figure. A 
definite interpretation of this scene has not yet been attained. The pose 
and look of the young beauty contradict the identification of her as Danae, 
and also that of her as the daughter of Raguel, the bride of the young 
Tobias. The work cannot be connected with the " Dianae " mentioned 
in Rembrandt's inventory, because "Dianae" stands rather for Diana than 
for Danae, and also because no painter's name is attached to that picture. 

Signed on the left at foot with a somewhat damaged signature, " Rem- 
brandt f. 1636" ; canvas, 74 inches by 81 inches. 

Etched by N. MossolofF in Les Rembrandts de F Ermltage ; by L. Flamcng in 
the Gazette des Beaux- Arts^ 1870, and in Dutuit, iii. 

Mentioned by Vosmaer, pp. 155, 266, 512 ; by Bode, pp. 449, etc., 600 ; 
by Dutuit, p. 38 ; by Michel, pp. 223, 566 [171-3, 441]. 

In the Crozat collection, Paris ; acquired by Catherine II., Empress of 
Russia. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 802 [valued by 
Sm. in 1836 at .630]. 

197*. Dan6 (Danae). A large picture. 

Mentioned by A. Brcdius in Oud Holland, 1908, p. 223. 
In the collection of Clara dc Valaer, widow of Eduart van Domselaer, 
Amsterdam ; in the inventory of her goods, October 16, 1660. 

198. DIANA BATHING. The goddess, undraped, sits with her 
hounds round her by a pool of water in a wooded retreat near steep cliffs. 
Small full-length figures. Painted about 1635. 

Panel, 18 inches by 14 inches. 

In the possession of the London dealers T. Agnew and Sons. 
In the collection of George Salting, London ; bequeathed in 1910 to the 
National Gallery. 

In the National Gallery, London, 1911 catalogue, No. 2358. 

199. DIANA AT THE BATH. B.-HdG. 47. The goddess, 
undraped, with a white cap on her head, sits upon her shift on the bank, 
and turns her face to the spectator. Her body is turned to the left ; her 
feet are in the water. Her arms rest on the cherry-coloured velvet robe, 
adorned with gold embroidery of a baroque design, which lies beside her 
to the left at the foot of a tree. On the robe is her quiver of arrows ; the 
bow lies on the ground to the left. To the right is a dark background. 
The light falls from the right evenly over the whole body. A small full- 
length figure. Painted about 1630-31. 

Oak panel, 7 inches by 6 inches. 



1 34 REMBRANDT SECT. 

Etched by Rembrandt himself, the same size as the original, Bartsch 201 
[Hind 42]. A chalk drawing for it is in the British Museum ; reproduced by 
HdG. iv. 75. 

[Mentioned by Michel, p. 436.] 

Exhibited in Paris, 1911, No. 117. 

In the Duclos collection, Paris. 

Sa/e. Hulot, Paris, May 9, 1892, No. 42 (Warneck) ; as of the school of 
Rembrandt. 

In the collection of E. Warneck, Paris. 

200. DIANA, ACTION, AND CALLISTO. Sm. 191 ; Bode 
26; Dut. 107; Wb. 14; B.-HdG. 196. In a pool on the edge of a 
thick gloomy wood, through which only on the left is there a vista of the 
bluish-green hilly distance, Diana and her nymphs take their bath at 
evening when Actaeon, while hunting, takes them by surprise. The 
goddess stands in the centre foreground with a crescent moon in her thick 
disordered hair. She turns to the left and recognises the huntsman, clad 
in a bluish-green hunting-dress adorned with gold, who, stiff with sudden 
astonishment, stands on the bank to the left behind her. As she throws 
water on him with both hands, the unhappy man's transformation begins, 
and stag's horns sprout on his forehead beside his diadem. Close to him 
are his uneasy pack, who are attacked by Diana's hounds. Four of her 
nymphs seek refuge in the water behind the goddess. Farther to the left 
and in the centre foreground are several bathers, most of whom do not yet 
suspect that anything has happened. Among them, in the immediate 
foreground, a nymph stands erect in the shallow water, with a parti- 
coloured cloth round her hips and a plumed turban. Behind her to the 
right is another group of nymphs, who hasten to the bank where their 
clothes are lying. On the extreme right and higher up the bank, above a 
heap of blue, red, and yellow draperies, near which lie the hunting weapons 
and the spoils of the chase, a group of seven nymphs, mostly undraped, are 
engaged round Callisto, who has refused to join in the bathe. To discover 
the cause of her refusal, they have flung her to the ground, though she resists, 
screaming and scratching. In a dense group they pursue their inquiry in 
the roughest manner. A nymph on the extreme right, raising her thick 
disordered hair from her eyes, looks down at Actaeon. Behind her, in 
shadow, is a dark horse with a Persian saddle-cover, to which are fastened 
a bow and a quiver. In the thicket, almost in the centre, are seen two 
comrades of Actaeon. Small full-length figures. The nude female figures 
in the water in the left foreground recall the figures in " Diana at the 
Hunt," by Domenichino, in the Borghese Gallery, Rome. 

Signed on the landscape in the right centre, " Rembrandt fc. 1635 " ; 
canvas, 28J inches by 38 inches. 

An old copy, without the Callisto episode on the right, was in the 

Safes. W. Btirger, Paris, December 5, 1892, No. 27; as by Philips 

Koning. 

E. Goldschmidt, Berlin, April 27, 1909, No. 55. 

Mentioned by Vosmaer, p. 508 ; by Bode, pp. 439, 449, 561 ; by Dutuit, 
p. 41 ; by Michel, pp. 223, 551 [171, 439]. 

Exhibited at Dttsseldorf, 1886, No. 272 ; at Amsterdam, 1898, No. 32. 



xxn REMBRANDT 135 

Sate. Paris, i 

In the collection ot" Prince Salm-Salm, Anholt. 

201. THE RAPE OF EUROPA. Sm. 188 ; Wb. 3 o6i B.-HdG. 
71. In the immediate left foreground Jupiter in the form of a white bull 
plunges into the water. On his back he bears Europa, who clings on to 
him with both hands, and looks back in despair at her women friends on 
the shore. They are beside themselves at the spectacle. One sits with 
uplifted hands. Another, seen in profile, stands beside her. On the road 
behind, a third girl is in front of the waggon, drawn by four grey hoi 

in which stands a large sunshade. The driver, a negro, rises and looks in 
amazement at the bull. At the back are tall trees. In the immediate 
right foreground are large lettuce plants. In the left distance is a port 
with cupolas and flat towers, one of them with a crane, beside which lie 
vessels, while a bridge leads to it. Pale blue sky with clouds. The costumes 
of the women, of rich material and fantastic cut, are purplish red, greenish 
blue, purple, and brown, trimmed with broad gold lace and adorned with 
chains and veils. Small full-length figures. 

Signed, "Rembrandt f. 1632" ; oak panel, 24 inches by 30^ inches. 

A good old copy was for a long time in the possession of a Dutch dealer. 

Mentioned by Vosmaer, pp. 1 17, 492 ; by Bode, p. 438 ; by Dutuit, p. 20 ; 
by Michel, p. 108 [83] ; by P. Lacroix, Annafa des Artistes, 1862. 

Salts. Comtesse de Verrue, Paris, March 27, 1737, No. 86 (86 francs). 
Due de Morny, Paris, May 31, 1865, No. 70 (9100 francs, Say). 

In the collection of the Princesse de Broglie, born Say. 

In the possession of the London dealers T. Agncw and Sons. 

In the collection of Leopold Koppel, Berlin ; it was for a time exhibited 
on loan in the Kaiser Friedrich Museum, Berlin. 

20 1 a. Europa. / 

tioncd by A. Brcdius, Qud Holland, 1908, p. 221. 

In the collection of Jacques Spccx, Amsterdam ; in the inventory of his 
goods, 1652. 

202. FLORA. Sm. 543 ; B.-HdG. 420. She is turned towards the 
spectator. She has brown eyes ; her head, slightly inclined, is in profile 
to the left. With the left hand she holds up her skirt, which is full of 
flowers ; she offers some blossoms with her right hand. She wears a 
narrow yellow ribbon on her dark brown hair, which falls in ringlets on 
her shoulders and is covered at the back with a small dark brown cap, in 
which is fastened a large spray of cherry blossom. She wears a loose white 
robe with many folds and wide sleeves, open at the throat, and a yellow 
skirt held up by a coloured sash with tassels. In her ear is a large pearl ; 
round her neck is a pearl necklace. The bright and even daylight comes 
from the left. The background has been repainted. Half-length ; life 
size. Painted about 1656-58. 

Canvas, 40 inches by 36^ inches. 

Exhibited at Amsterdam, 1898, No. 106 ; and in the Royal Academy 
Winter Exhibition, London, 1899, No. 95. 
[Etched by A. Pond, according to Sm.] 
In the collection of Earl Spencer, Althorp ; it was there in 1836 (Sm.). 



136 REMBRANDT SECT. 

203. FLORA. Sm. 508; B.-HdG. 190. Half-length, in profile to 
the left. She turns her face a little to the right and looks into the distance. 
She holds an exquisite bouquet of flowers at her bosom with her left hand ; 
in her right hand, which is not shown, is a stick. She wears a veil over 
her light brown hair, which falls back sidewards over her brow. On her 
forehead is a garland of yellow, pink, and blue flowers. Her bluish-green 
flowered gown, with wide sleeves, is fastened on her bosom with two rows 
of buttons ; it is cut low, and shows the embroidered chemise. At her 
back a yellow straw hat hangs by a pink ribbon with touches of white 
passing over her left shoulder. Dark background. Half-length, life size. 
Painted about 1633-34. 

Oak panel, oval (but originally rectangular), 27 J inches by 21 inches. 

Mentioned by Dutuit, pp. 3, 6. 

Exhibited at Amsterdam, 1898, No. 31. 

Sales. Angran de Fonspertuis, Paris, March 4, 1748 (2001 francs, with 330, 

" A Young Girl at a Window," Blondel de Gagny). 
Blondel de Gagny, Paris, December 10, 1776, No. 71 (679 francs) ; 

it was then rectangular. 

In the collection of Sir Charles J. Robinson, London. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," 1894, i. No. 33. 

In the collection of Adolphe Schloss, Paris. 
In the possession of the Paris dealer F. Kleinberger. 

In the collection of the late A. de Ridder, Cronberg, 1910 catalogue, No. 
35 ; exhibited on loan at the Stadel'sches Kunstinstitut, Frankfort-on-Main. 

204. FLORA. A young girl, with the features of Saskia. She is 
turned to the right, and bends her head towards the spectator. She holds 
a shepherd's staff in her right hand in front of her bosom. She wears a 
low-cut striped gown. A garland of flowers lies on the veil which falls 
from her head on to her shoulders. She has pearls in her ears and at her 
throat. On her bosom is a jewelled chain. Painted about 1635. [Possibly 
identical with 2060.] 

Signed in full on the right on a level with the hands ; oval, transferred 
from canvas to panel in 1765, 26 J inches by 20 inches. 

Mentioned by Bode, Zeitschrift ftir bildende Kunst, 1905. 

Exhibited at Leyden, 1906, No. 53. 

In the collection of J. H. Meyer de Stadelhofen, Hermance, near Geneva. 

In the possession of the Paris dealer Kramer. 

205. FLORA. Sm. 493 ; B.-HdG. 186. She stands turned slightly 
v to the left, and bends her face, which has the features of Saskia, a little to 

the right. Her right hand leans on a tall staff entwined with flowers. In 
her left hand she holds a loose bunch of flowers. Her rich golden hair 
falling down on either side is covered at the back with a dark blue cap 
having a narrow gold border, from which a long veil worked with gold 
threads falls away behind to the left. Round her forehead is a little gar- 
land of flowers. Her bluish-green gown with a gold border has loose light 
yellow sleeves and a short gold-embroidered bodice, cut low at the neck in 
a square. Her fine chemise is open, showing the bosom. She has a white 



xxii REMBRANDT 137 

skirt, and a gold chain round her waist. Full light falls from the left on 
the whole figure. Dark background with foliage. Life size, almost full 
length. 

Signed on the left at foot, to the right of the staff, " Rembrandt f. 
1633 " ; oak panel, 48^ inches by 384 inches. 

There arc several old copies, probably of the eighteenth century 

1 . In the Bonde collection, Stockholm ; see Granberg, Co/lections Privecs. 

No. 348. 

2. B.-HdG. 187. Canvas, 48 inches by 38 inches. 
In the collection of Mrs. Ellice, Invergarry. 
Uode 257 ; Dut. 274 ; Wb. 213 ; B.-HdG. 1 88. 
Canvas, 6i inches by 50^ inches. 

[Engraved by Pether, i 763", in the collection of W. Fortescue (Sm.).] 
Mentioned by Bode, pp. 425, 592 ; by Dutuit, pp. 3, 10, 46 ; by 

Michel, pp. 175, 559 [135, 433]. 
Sale. Due dc Tallard, March 22, 1756, No. 156 (602 francs) 

according to Dutuit [and Sm.]. 
In the collection of William Fortescue according to Dutuit [and 

Sm.]. 

In the collection of Sir Joshua Reynolds ; sold in London, 1795. 
In the collection of Sir Edmund Lechmere, The Rhydd. 
In the collection of Lockctt Agnew, London. 

Before the example at Dalkcith Palace was known, this copy was 

universally regarded as the original. The canvas is in proportion 

narrower and taller than the original ; the figure, relatively to the 

surface of the picture, is smaller and too much elongated at foot. 

Mentioned by Vosmaer, p. 508 ; by Michel, p. 175 [135] ; by Waagen, iii. 

3 14, and iv. 436. 

Exhibited at Manchester, 1857, No. 666; in Edinburgh, 1883; in the 
Royal Academy Winter Exhibition, London, 1899, No. 77. 

In the collection of the Duke of Buccleuch, formerly at Dalkeith Palace, 
near Edinburgh, but now at Montagu House, London [it was at Dalkcith in 
1836, according to Sm., who valued it at 600]. 

206. FLORA. Bode 336 ; Dut. 267 ; Wb. 412 ; B.-HdG. 189. 
She stands, in profile to the left. She turns her face, which has Saskia's 
features, with a slight inclination towards the spectator. In her right 
hand she holds a staff entwined with flowers diagonally before her ; she 
lifts up her long mantle in front with her left hand. Her hair, adorned 
with a large garland of flowers, falls in long curls down her back. In her 
ear is a pearl. She wears a dress of gay pattern with loose sleeves, a scarf 
crossed on her bosom, and a light blue mantle falling from her shoulders. 
The light, which is evenly distributed, falls from the left. Thick bushes 
form a dark background. Life size, three-quarter length. Wrongly called 
until now "The Jewish Bride." 

Signed on the left below the right hand, "Rembrandt f. 1634"; 
canvas, 50 inches by 40 inches. 

Etched by N. Mossoloff in Les Rembrandt* de rErmitage ; and in the Zeit- 
schrift fiir bildende Kunsf, viii. 

Mentioned by Vosmaer, pp. 504, etc. ; by Bode, pp. 424, 60 1 ; by Dutuit, 
p. 37 ; by Michel, pp. 175, 567 [134, 441]. 



138 REMBRANDT SECT. 

Sale. Herman Aarentz, Amsterdam, April II, 1770 (2600 florins, bought 

in) ; according to Van Eynden and Van der Willigen, iii. 384. 
Acquired by Catherine II., Empress of Russia, for the Hermitage. 
In the Hermitage Palace, Petrograd, 1901 catalogue, No. 812. 

206^. Flora. Sm. 522. A young woman, almost in full face. Her 
brows are decked with a wreath of flowers. She wears an embroidered 
robe and a muslin scarf, with pearls at her neck and bosom, and a gold 
chain. [Possibly identical with 204.] 

Oval, 24 inches by 18 inches. 

Sale. Destouches, Paris, March 21, 1794 (451 francs, J. B. P. Le Brun). 

207. THE RAPE OF GANYMEDE. Sm. 197 ; Bode 79 ; Dut. 
1 06 ; Wb. 70 ; B-HdG. 197. The eagle of Zeus, seen in front with out- 
stretched wings, rises towards the heavens. He holds with his beak the 
clothing, and with his talons the left arm, of the fair curly-haired boy, 
who, turned sharply to the left and almost seen from the back, faces round 
to the spectator as if crying loudly, and with his right hand tries to repulse 
the bird. His light blue dress and shirt are pulled up by the eagle's claws 
so as to expose the whole of the boy's lower limbs. On the left the corner 
of a scarf with a tassel flaps in the wind. The boy, who in his fright 
makes water, holds cherries in his left hand. Bright light falls from the 
left full on the boy. The sombre background contains on the left at foot 
some clumps of trees, before which in the foreground are the pinnacles of 
a building. Full length, life size. 

Signed at top on the hem of the shirt, "Rembrandt ft. 1635 " ; oak 
panel, 68 J inches by 52 inches. 

A drawing showing a sketch for the picture is in the Dresden Print-room ; 
reproduced by Lippmann, No. 136. 

Engraved by C. G. Schultze, by A. Cardon in Reveil, by L. Noel in " The 
Dresden Gallery." 

Mentioned by Vosmaer, pp. 154, etc., 507; by Bode, pp. 439, 568; by 
Dutuit, p. 28 ; by Michel, pp. 221, etc., 553 [170-71, 438]. 

Sales. Amsterdam, April 26, 1716 (Hoet, i. 191), No. 33 (175 florins). 

W. van Velthuyzen, Rotterdam, April 15, 1751, No. 46. Bought 
in the same year at Hamburg through Heinecken for Dresden. 

In the Dresden Gallery, 1908 catalogue, No. 1558. 

207*. Juno. 

Mentioned by Hofstede de Groot, Urkunden iiber Rembrandt, No. 278 ; by 
A. Bredius, Oud Holland, 1910, pp. 196, etc. 

In the collection of Herman Becker, Amsterdam, for whom Rembrandt 
painted it ; he had not finished it in 1665. See the inventory of Becker's 
effects of October 19, 1678. 

208. MARS. Sm. 309*7 ; B.-HdG. 418. A young man, standing in 
profile to the left and looking straight before him. He is in full armour 
with visor raised ; his helmet is decorated in front with a dolphin motive. 
He has a shield on his left arm, and holds up his lance in his right hand. 
He has a golden green scarf round his neck, and a dark red cloak lined 
with fur over his armour. A pearl is attached to his left ear by a red 



xxn REMBRANDT 139 

ribbon. Architectural background. The strong light is reflected in the 
helmet and cuirass. Life size, more than half-length. Above the left 
eye is a pentimento of the visor which was originally lowered ; another is 
near the left corner of the mouth. The features strongly remind one of 
Rembrandt's son Titus. [Pendant to 210.] 

Signed on the left on a level with the girdle, "Rembrandt f. 1655 " ; 
canvas, 53^ inches by 40^ inches enlarged all round in modern times-. 

Engraved in mezzotint by J. G. Haid, 1764 [as "Achilles," in the collec- 
tion of Joshua Reynolds]. 

Mentioned by Vosmaer, p. 579 ; by Moes ; Iconographia Batara, No. 
6694, 7 [by Michel, p. 431 ; by Reynolds, Discourses, ed. Roger Fry, 1905, 
p. 252]. 

Exhibited at the British Institution, London, 1860, No. 60 ; at the Royal 
Academy Winter Exhibition, London, 1893, No. in, and 1899, No. 85; at 
Amsterdam, 1908, No. 86. 

Sales. Comte Fraula, Brussels, July 21, 1738 (Hoct, i. 545), No. 309 
(50 florins); as "Rembrandt's Son with Helmet, Shield, and 
Armour," 50^ inches by 39 inches. 
Sir Joshua Reynolds, London, March 1 1, 1795 [as "Achilles"]. 

In the collection of John Graham-Gilbert, Glasgow ; bequeathed by his 

w to the city in 1877. 

In the Glasgow Art Gallery, 1911 catalogue, No. 806 [as "A Man in 
Armour"]. 

2o8tf. Medea and Jason. [Pendant to 195^.] 

45^ inches by 39 inches. 

Salt. Paris, June 19, 1764, No. 20. 

209. MINERVA CHERISHING WISDOM. Bode 32 ; 
Dut. 31; Wb. 29; B.-HdG. 68. In the foreground of a room a 
young woman sits in front of a table. She is turned to the left, but bends 
her face towards the spectator. She wears a bluish-green dress shot with 
silver, over which is a deep purplish-red cloak with a gold border of a 
baroque pattern, which covers her arms. On her loose fair hair is a 
laurel wreath, in which is fastened an upright spray of foliage. On the 
wall hangs a trophy a shield with Medusa's head, a sword, and a helmet. 
On the table below these lie some folios, a lute, and a cuirass. A small 
full-length figure. Painted about 1632. Much faded and cracked 
through being exposed to sunlight for many years. 

Traces of a monogram on the right, almost in the centre ; oak panel, 
23 J inches by 19 inches. 

Mentioned by Bode, p. 562 ; by Dutuit, p. 25 ; by Michel, pp. 107, 551 
[82-3, 436]. 

In one of the Royal palaces, Berlin, as " Minerva by Rembrandt." Possibly 
it formed part of the Orange inheritance. Perhaps it was identical with 
"A Lady" by Rembrandt, No. 37 in the inventory of the Chateau, Honshol- 
redijk, 1707, 1713, and 1719. 

In the Berlin Gallery. At the opening of the Museum in 1830 it was 
catalogued as by F. Bol, and was soon transferred to the storeroom. It was 
exhibited again from 1880 and given back to Rembrandt. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828C. 



140 REMBRANDT SECT. 

210. MINERVA. Sm. 309; Bode 333; Dut. 404; Wb. 400; 
B.-HdG. 419. The goddess, turned to the left almost in profile, is repre- 
sented as a handsome young woman wearing a gilt helmet, adorned with 
the owl and a red plume. On her bosom she wears a rich cuirass and a 
sash. A long curl falls in front on her shoulder. She holds a lance in 
her gloved right hand ; on her left arm is a shield with Medusa's head. 
The light comes mainly from the left. Dark background. Life size, 
half-length. Painted about 1655. [Pendant to 208.] 

Canvas, 46^ inches by 36 inches. 

Etched by N. Mossoloff in Les Rembrandts de I' Ermitage. 

Mentioned by Vosmaer, p. 579 ; by Bode, pp. 480, 60 1 ; by Dutuit, p. 38 ; 
by Michel, pp. 342, 506 [260-61, 441]. 

Sale. Amsterdam, June 5, 1765 (Terw. 457), No. 48 (52 florins). 

In the collection of Comte Baudouin, Paris ; acquired by Catherine II., 
Empress of Russia. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 809 [valued by 
Sm. in 1836 at 500]. 

211. MINERVA AT HER STUDIES. B.-HdG. 67. She 
sits on the left at a round table, on which lies a greenish-blue cloth with a 
gold border. She is absorbed in a book. She wears a purple dress and a 
purple cloak with a wide border of gold brocade ; the cloak hangs over 
the back of the chair. On the table are a book, a lute, an Eastern shawl, 
and other things. On a shelf in the right background are books and a 
globe. Above to the left, on a semicircular pilaster, a steel shield with 
Medusa's head hangs over a dull purple banner. The loose and abundant 
brown hair is combed back from the youthful face and held by a gold 
hoop. The light falls from the left. A small full-length figure. Painted 
about 1631. 

Oak panel, 17 inches by 14 inches. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," 1896, iii. No. 32. 

In the collection of P. Charbonneaux, Rheims. 

In the possession of the Paris dealer F. Kleinberger. 

211 a. Minerva. 

Mentioned by A. Bredius, Oud Holland, 1910, pp. 196, etc. 
In the collection of Herman Becker, Amsterdam ; in the inventory of his 
effects, taken October 19, 1678. 

212. PHILEMON AND BAUCIS. Sm. 194; Dut. in ; 
Wb. 493 ; B.-HdG. 407. In a large barn-like interior Jupiter and 
Mercury sit at table on the right, within a partitioned space. Jupiter, 
seen in full face, has a long grey beard and wears a red coat. Mercury, 
in profile to the left, sits on the right, wearing a yellowish-red coat. The 
old couple kneeling on the left offer them a goose. On the table is a dish 
of apples. In the left background the fire blazes on the hearth. A lamp, 
hidden by the figure of Mercury, illumines the night-piece. Small full- 
length figures. 

Signed on the left at foot, "Rembrandt f. 1658"; oak panel, 
21 J inches by 27 inches. 



xxn REMBRANDT ,41 

Among the studies for this picture, two pen-drawings are in the Berlin 
Print-room, reproduced by Lippmann, 30, and HdG. 90 ; a third is in the 
Amsterdam Print-room, reproduced by Lippmann-HdG. 24. 

Engraved in mezzotint by Thomas Watson, 1772. 

Mentioned by Vosmaer, pp. 252, 533 ; by Dutuit, p. 58 ; by Michel, 
pp. 446, 561 [346-7,443]. 

In the possession of the Paris dealer C. Scdelmeyer, "Catalogue of 300 
Paintings," 1898, No. 317. 

Salt. C. T. Yerkes, New York, April 5, 1910, No. 81 [(^6400, Gate*)]. 

In the possession of the New York dealers Scott and Fowles. 

In the collection of O. H. Kahn, New York. 

213. THE RAPE OF PROSERPINE. Bode 31 ; Dut. 105; 
Wb. 1 6 ; B.-HdG. 70. Pluto with his three-horsed chariot, on which he 
holds the abducted Proserpine, is about to plunge into the waves to the 
right. Three black horses with rich harness draw the fantastic chariot, 
which is mounted with gilt ironwork and has the head of a brown lion in 
front. Pluto wears a gold-embroidered brown cloak over his nude limbs, 
and drives his horses by a chain. He holds with both arms Proserpine, 
who in her despair clutches at his face with her hands. She wears over a 
light silk gown a white cloak shot with gold, and has a spray of flowers in 
her fair hair. The basket of flowers which she carried falls from the 
chariot to the left. Two of her companions are on the left, in light 
purple and lilac dresses ; one of them carries a quiver at her back 

grasp at her cloak to rescue her, but are dragged along at the side of the 
chariot in its impetuous course through the flowery meadow. On the 
shore in the left foreground are tall thistles and lotus plants j to the right 
is a steep bank with bushes. Small full-length figures. Painted about 
1632. 

Oak panel, 33 inches by 31 inches. 

Mentioned by Vosmaer, pp. 1 17, 492 ; by Bode, p. 438 ; by Dutuit, p. 25 ; 
by Michel, pp. 107, 551 [83, 436]. 

In the collection of the Stadholder ; later in that of the King of Prussia, 
Honsholrcdijk, in the inventories of 1707, 1713, and 1719, No. 144; taken to 
Berlin in 1720. 

In one of the Royal palaces, Berlin ; until then always regarded as a 
Rembrandt. 

In the Berlin Gallery ; formerly ascribed to J. G. van Vliet. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 823. 

214. THE SIBYL. B.-HdG. 528. A young woman seated, 
turned three-quarters right. Her head is bent forward ; she looks to the 
left. She holds with both hands a large book on her lap. She wears a 
dark gown relieved by greenish reflections, a gold-coloured cloak, and a 
light turban ornamented with precious stones and a string of pearls. At 
the back is a brown curtain. The light falls from the left, touching the 
turban and the shoulders and leaving the face in shadow. In the distance 
is a dark landscape. Life size, more than half-length. Painted about 1667. 

Signed on the right, and dated 1654, according to the Beurnonville 
catalogue, but the signature and date are no longer to be found ; canvas, 
38 inches by 30 inches. 



142 REMBRANDT SECT. 

Engraved in mezzotint. 

Exhibited at the Metropolitan Museum, New York, 1906 ; and at the 
Hudson-Fulton Celebration, Metropolitan Museum, 1909, No. 101. 

In the Barnett collection, London, 1881. 

Sales. Baron E. de Beurnonville, Paris, June 2, 1884 (18,100 francs). 
Baron E. de Beurnonville, Paris, January 29, 1885. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," vii. No. 31. 

In the possession of the London dealers Lawrie and Co. 

Sale. Lawrie and Co., London, January 28, 1905, No. 102 (3360, 
T. Lawrie). 

In the collection of Theodore M. Davis, Newport, Rhode Island. 

215. VENUS AND CUPID. 801.193; Bode 275 ; Dut. 112; 
Wb. 288 ; B.-HdG. 439. Venus has the features of Hendrickje Stoffels. 
She sits, turned three-quarters right. She wears a dark green dress open 
at the throat to show the linen chemise open in front under the loose 
striped and delicately pleated silk vest. On her lap lies a dark cloak. Her 
dark hair is confined in a net cap. In her ears are pearl pendants ; round 
her neck are a pearl necklace and a thin gold chain. On her knees stands 
her child with coloured wings, wearing a short sleeveless shirt ; she presses 
his head tenderly against her. Full light falls from the left on both the 
heads. Dark background. Life size, more than half-length. Painted 
about 1662. 

Canvas, 44 inches by 35 inches. 

Mentioned by Vosmaer, p. 572 ; by Bode, pp. 523, 549, 595 ; by Dutuit, 
p. 35 ; by Michel, pp. 463, 562 [362, 434]. 

Sales. P. Six, Amsterdam, September 2, 1704, No. 50 (65 florins). 

Marechal de Noailles, Paris, 1767 (150 francs). 
In the Louvre, Paris, 1907 catalogue, No. 2543. 

215*. Venus. A large picture. 

Mentioned by A. Bredius, Oud Holland, 1910, xxviii. p. 9. 
In the collection of Jan d'Ablijn, Amsterdam, June 25, 1644; valued by 
David Colijns and Johannes Kaersgieter at 400 florins. 

215^. Venus and Cupid. 

Mentioned by A. Bredius, Oud Holland, 1910, pp. 196, etc. 
A copy of this picture was in the same collection. 

In the collection of Herman Becker, Amsterdam ; in the inventory of his 
effects, taken October 19, 1678. 

2 1 6. Many Scenes from Ovid's " Metamorphoses." 

According to Baldinucci, Rembrandt painted these in oil on the walls of 
the house belonging to a merchant who was a magistrate of Amsterdam. See 
Hofstede de Groot, Urkunden ttber Rembrandt, No. 360. 

2160. Archimedes attacked by the Roman Soldiers. 

Canvas, 44 inches by 55 inches. 

Sales. Peeters d'Aertselaer and Cleydael, Antwerp, August 27, 1817, 
No. 45 (26 florins). 



xxn REMBRANDT 143 

2\6b. Heraclitus and Democritus. Sm. 157. In one picture. 
Democritus, in a fur robe, turns his smiling face to the spectator and 
extends his right hand(?) towards a globe. Heraclitus, with a doleful 
face, wipes his streaming eyes. He stands to the right, wearing a yellow 
mantle, and also points with one hand at the globe. 

Canvas, 43 inches by 54 inches. 

Mentioned in London and its Environs described, 1761. 

Sales. Sir G. Yonge, London, March 25, 1806 (ji 10 : 5$.). 
Sir Gregory P. Turner, London, 1815 (168). 

In the collection of J. R. West, Alcote, 1836 (Sm.). 

217. HOMER. B.-HdG. 524. The aged poet, whose features 
show a certain resemblance to the Farnese bust in the Naples Museum, sits 
in an arm-chair, turned a little to the right. He has a dull yellow robe, 
showing at his breast a red under-garment and part of the shirt. Round 
his shoulders is a yellow silk shawl. A small cap covers his curly grey 
hair on which lies a narrow gold hoop. He has a curly grey beard. His 
left hand grasps the robe ; the uplifted right hand moves in expressive 
accompaniment to the poet's words. The background is in half-shadow ; 
the light comes from the left. Life size, to the knees. The poet is 
dictating his verses to a person who must have been on the right but is now 
cut off; in the right lower corner the tips of two of this person's fingers, 
holding a pen, are alone visible, near a sheet of paper and an inkpot. 

Signed on the left at top, "... andt f. 1663" ; canvas, 43 inches 
by 33 inches, cut down on both sides. 

A study for the composition, in which the youthful scribe is seen besides 
Homer, is in the Stockholm National Museum. See }. Kruse, Oud Holland, 
xxvii. pp. 221, etc. 

See for this picture and its relation to the antique busts of Homer, Dr. 
J. Six, Oud Holland, xv. pp. I, etc. 

Exhibited at Amsterdam, 1898, No. 117. 

In the possession of the London dealers S. T. Smith and Son. 

In the collection of T. Humphry Ward, London. 

In the collection of Dr. A. Bredius ; exhibited on loan since 1894 in the 
Royal Gallery, The Hague, 1910 catalogue, No. 584. 

218. LUCRETIA. Sm. 192; Bode 375; Dut. 114; Wb. 357; 
B.-HdG. 595. Seen in full face with the lips parted. She inclines her 
head slightly to the left, in which direction she is looking. With her 
right hand she points a dagger at her breast ; her uplifted left hand is 
stretched out. She wears a rich dress of greenish gold with wide sleeves 
and a laced bodice. Round her throat are a pearl necklace and a string 
with a pendant ; in her ear is a pearl. Life size, more than half-length. 

Signed on the left, "Rembrandt f. 1664"; canvas, 46 inches by 
39 inches. 

Exhibited at the British Institution, London, 1832, No. 44 ; at the Hudson- 
Fulton Celebration, Metropolitan Museum, New York, 1909, No. 105 [lent 
by M. C. D. Borden] ; [in London, June 1913, by M. Knoedler and Co.] ; at 
Amsterdam, 1913. 

Etched by W. Koepping in V Art, and in the Demidoff sale-catalogue. 



144 REMBRANDT SECT. 

Mentioned by Vosmaer, pp. 367, 564 ; by Bode, pp. 524, 608 ; byDutuit, 
p. 58 ; by Michel, pp. 489, 563 [380-82, 435]. 

Sales. Lapeyriere, Paris, April 19, 1825 (1300 francs). 
London, 1826 (199 : ios., bought in). 
Michael Zachary, London, 1828 (^115 : ios., Sir T. Lawrence for 

Munro). 

H. A. J. Munro of Novar, London, March 26, 1859. 
Prince Paul Demidoff, San Donato, near Florence, March 15, 1880, 

No. 1146 (14,700 francs). 

In the possession of the Paris dealer S. Bourgeois. 
Sale. M. C. D. Borden, New York, February 13, 1913 (26,000, 

M. Knoedler and Co.). 

In the possession of Fred. Muller and Co., Amsterdam. 
In the collection of August Janssen, Amsterdam. 

219. Lucretia. A large picture. 

Mentioned by Hofstede de Groot, Urkunden ttber Rembrandt, No. 190. 
In the collection of Abraham de Wijs and Sara de Potter, Amsterdam ; in 
the inventory of the goods for sale, March I, 1658. 

220. Lucretia. Dut. 1 15 ; Wb. 267. She has a dagger in her right 
hand, and holds a cord in her left hand. " Of nobler composition and 
greater breadth of light than is usual in Rembrandt ; at the same time the 
treatment is of singular breadth and spirit " (Waagen). 

Dated 1666. 

In the Wombwell collection, London, 1854 (Waagen, ii. 308). 

220a. Lucretia with the Dagger. The sitter is a genuine Dutch- 
woman, but the expression of pain is well rendered not only in the features 
but also in the pale colour. Admirably painted. 

Mentioned by Waagen, iv. 477. 

In the Radziwill collection, according to the Burdon catalogue. 

Sales. London, 1853 (Burdon). 

W. W. Burdon of Newcastle, London, 1862 (bought in). 

221. The Emperor Marcus Aurelius. Half-length. 
Panel, 26^ inches by 20 inches. 

Safe. Balthasar Schmidt, Berlin, June 20, 1891, No. 83. 

222. The Death of Seneca. He sits to the left in front of a grey- 
bearded officer. His friends stand weeping behind him. With a telling 
gesture the dying man resolutely stretches out his left arm, with the blood 
flowing from the veins. A slave kneeling before him opens a vein in his 
left foot ; the old man's right foot is plunged in a vessel full of water. 
[Pendant to 226.] 

Panel, 1 1 inches by 9 inches. 

In the collection of G. Winkler, Leipzig, 1768 catalogue, No. 499. 

223. SOPHONISBA TAKING THE POISONED CUP. 
Sm. 195 ; Bode 380 ; Dut. 113 ; Wb. 441 ; B.-HdG. 191. She sits on 
a high arm-chair, leaning her left arm on a table with a reddish-yellow 
carpet, upon which lies an open folio. She holds her right hand at her 



xxn REMBRANDT 145 

breast. She is seen in full face, turning her head a little to the right and 
looking at the spectator. Her fair hair falls loose on her shoulders ; she 
wears strings of pearls on her head and her arms, a double string round her 
neck, and a pearl in each ear. She wears a high under-bodice of thick 
white material with a pattern in pale blue and yellow ; over it she wears a 
silk gown with buttons, open in front, and a narrow ermine collar, 
against which a fine gold chain set with blue stones stands out in sharp 
relief. From the left approaches a maid-servant in dark purple, seen in 
lost profile. Kneeling reverently before her mistress, the maid offers her 
a nautilus cup with the poison, sent by her captive husband Masinissa, so 
that she may not fall alive into the hands of Scipio. In the left back- 
ground, scarcely visible near a curtain, stands an old maid-servant. Full 
light falls from the left foreground on the queen's figure. Life size, 
almost full length. Wrongly catalogued as "Queen Artemisia." 

Signed on the left arm of the throne, "Rembrandt f. 1634" ; canvas, 
56 inches by 61 inches. 

Etched by F. A. Milius. 

Mentioned by Vosmacr, pp. 136, 502 ; by Bode, pp. 425, 610 ; by 
Dutuit, p. 34; by Michel, pp. 179, 561 [137-8,442]. 

In the Prado, Madrid, 1907 catalogue, No. 1544. 

224. SUESSA COMMANDING HIS FATHER Q. FABIUS 
MAXIMUS TO DISMOUNT. Sm. Suppl. 3; Dut. 116; Wb. 
487. Suessa, in a yellow robe with a yellow scarf round his helmet, rides 
to the right. He has a baton in his right hand, and is attended by a troop 
of soldiers, mounted and on foot. Beside him to the right stands his grey- 
bearded father, whose horse is held by the bridle behind to the right. 
In the right background a road passes over two lofty arches to the entrance 
of a fort ; on the road are numerous soldiers. Behind Suessa are several 
banners, among which may be distinguished one with an eagle, another 
witli the head of a woman, and the third with a hand. The scene is taken 
from Livy or Valerius Maximus ; described in Houbraken. 

Signed, "Rembrandt f. 1653" though Sm. gave the date as 1646 ; 
canvas, 70^ inches by 77 J inches. 

A study for the picture is on the back of the drawing, HdG. 84, in the 
Berlin Print-room. 

Mentioned by C. G. 't Hooft, Onze Kunst, 1907 ; by A. W. Wcissmann, 
Qud Holland, 1907, p. 8l ; by Vosmaer, p. 541 ; by Dutuit, p. 57. 

Exhibited at Leydcn, 1906, No. 46 ; at the Burlington Fine Arts Club, 
London, 1908, No. 12. 

Possibly in the Amsterdam Town Hall, in the place where a picture of the 
same subject by Licvens now hangs. 

Salf. Amsterdam, November 28, 1808, No. 51 (62 florins, Coders). 

In the possession of the London dealer Farrer, 1836. 

In the collection of Lord Ashburnham, Shernfold Park, Frant, Sussex. 

In the Newgass collection, London, 1906. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 100 
Paintings," xii. 1913, No. 18. 

225. THE CONSPIRACY OF THE BATAVIANS. Bode 
360 ; Dut. 32 ; Wb. 433 ; B.-HdG. 520. Eleven men are assembled 

VOL. VI L 



146 REMBRANDT SECT. 

round a long table, in the light of a candle in the centre which is hidden 
by a figure in front. To the left sits the one-eyed Claudius Civilis, seen 
in full face, with a full brown beard and long hair falling on his shoulders. 
He wears a sort of tiara on his head, and a broad gold chain on his breast. 
He holds his sword in front of him ; four of the conspirators cross it with 
their swords. To the left of him is an old man with a long beard, 
probably a priest, with a long head-dress falling down his back ; to the 
right is a beardless man with grey hair ; both of them lay their hands on 
the leader's sword. On the long side of the table nearest to the spectator 
is a group of three men, seen from the back. One has risen from his seat. 
Another old man, whose head obscures the light, holds a goblet in front of 
him. A third man to the left, standing on a lower level, raises his hand. 
At the right end of the table is another group of three men ; among them 
is a laughing old man, seated, with a red cap on his head and a richly 
decorated goblet before him. Dark background. The holder of the lower 
sword touching the leader's sword from the right is not visible. Life-size, 
full-length figures. Painted for the decoration of an arched space in the 
large gallery of the new Amsterdam Town Hall and put up there in 1661. 
It was taken back by Rembrandt for alterations, and was replaced by a 
picture by Jurriaen Ovens, which is still in the same position. The 
episode represented is described by Tacitus, Historiae^ iv. 13, etc. 

Canvas, 78 inches by 123^ inches ; originally it measured 279 square 
feet (26 square metres), and was probably cut down by Rembrandt 
himself. 

There are four studies for this picture, HdG. 409-412, in the Munich 
Print-room. 

Etched by C. Waltner in the Gazette des Beaux- Arts, 1874, and in Dutuit, 
iii.; by W. Unger in the Tidskr iff for bildande Konst, 1875. Reproduced in 
colours in Suecia lllustrata. 

Mentioned by Vosmaer, pp. 364, 563 ; by Bode, pp. 483, 605 ; by Dutuit, 
p. 40 ; by Michel, pp. 466, 567 [363-6, 442] ; by De Roever, Oud Holland, x. 
pp. 137, etc. ; by Goethe, Chronique des Arts ; by Hofstede de Groot, Urkunden 
ttber Rembrandt, Nos. 249, 253, 6 ; by Madsen, Studier fra Sverige. 

In the Amsterdam Town Hall, 1662 ; see M. Fokkens, Beschrijvinge der 
wijdf vermaarde Koop-Stadt Amstelredam, pp. 159, etc. 

In the collection of Madame A. J. Peill, born Grill ; given by her to the 
Academy of Fine Arts, Stockholm. 

In the Royal Palace, Stockholm ; exhibited from 1785 to about 1810 ; lent 
to the Museum from 1865. 

In the National Museum, Stockholm, 1900 catalogue, No. 578. 

226. The End of a Wounded Hero. His friends try to save 
him from death. A boy standing before him hands a sponge from a bowl 
to a friend, who draws the arrow from the hero's breast. The physician, 
standing opposite on the right, feels the hero's pulse with his left hand, and 
lays his right hand carefully on the pale forehead. The wounded man's 
armour lies in the foreground of the tent ; through a narrow opening on 
the left is seen the neighbouring camp. [Pendant to 222.] 

Panel, 1 1 inches by 9 inches. 

In the collection of G. Winkler, Leipzig, 1768 catalogue, No. 500. 



xxn REMBRANDT 147 

226*7. A Historical Scene. A woman kneels before a mounted 
officer in the midst of a large crowd. Sketchy, but masterly and effective 
in style. 

Canvas, 23^ inches by 26 inches. 

Wrongly identified in B.-HdG. with 11 

Sale. De Bcchr and Van Leeuwen, Amsterdam, November 14, 1815, No. 84 
(150 florins, Brondgcest). 

226^. A Historical Scene. 

Salt. Haarlem, April 12, 1740, No. 28. 

2261-. A Large Historical Scene. Four figures. Very delicately 
rendered and powerfully painted. 

Sale. The Hague, April 29, 1769, B. No. i. 

226^. A Historical Scene. 

Panel, 27$ inches by 36 inches. 

Sale. Amsterdam, October n, 1810, No. 74 (6 florins, Pakker). 

226*. A Historical Sketch. 

Sale. Rotterdam, April 25, 1830, No. 152 (42 florins, Van Eyck). 

227. DE EENDRACHT VAN T LANT. (The Concord of 
the State.) Sm. 198 ; BodeiS; Dut. 117; Wb. 342 ; B.-HdG. 321. 
In an enclosed space, filling the left half of the foreground, a chained lion lies 
on an outspread carpet. He lays his left fore-paw on a bundle of arrows and 
looks furiously to the left. There, at the edge of the picture, Justice with 
her eyes bandaged and the sword in her hand stands behind two thrones. 
She leans her shoulders against the back of one throne, and with her sword 
transfixes the royal crown on the seat of the other throne. In the scales of 
her balance lie documents, probably representing the privileges of the United 
Provinces. At the back, charters are fastened on a pillar which rises to the 
top of the picture. The carpet on which the lion lies is raised up high on 
the right and fastened on a bank, on which are figured the arms of the city 
of Amsterdam with the Imperial crown above and the inscription "Soli Deo 
Gloria." To these are linked in a series above the lion the arms of other 
Dutch towns those of Haarlem and Leyden may be distinguished ; they 
are connected by clasped hands, the symbol of the union of the " Beggars." 
The whole of the right half of the picture is occupied by a detachment of 
cuirassiers preparing for the march. At the back are the walls of a fortress, 
garnished with cannon and musketeers. Horsemen with their commander 
at their head make a sortie against the enemy advancing from the left 
distance. A leafless tree rises in the centre of the picture. In front a 
soldier mounts his horse. Painted in brown on brown, except the sky, 
which is tinted dark blue. 

Signed on the right at foot, "Rembrandt f 1641" (not 1648, as 
hitherto supposed ; see Schmidt Degener) ; oak panel, 29^ inches by 40 
inches. 

Mentioned by Vosmaer, pp. 280, 544 ; by Bode, pp. 478, 559 ; by Dutuit, 
p. 36 ; by Michel, pp. 335, 565 [256-7, 440] ; by Waagen, ii. 79 ; by Hofstede 



148 REMBRANDT SECT. 

de Groot, Urkunden fiber Rembrandt, No. 169, and Oud Holland, 1912, p. 178 ; by 
F. Schmidt Degener, Onxe Kunst, 1912. 

Sale. Amsterdam, July 6, 1768 (10 florins 10, Zaayer). 
In the collection of George III., King of England ; inventory of about 
1760-70 ; noted by L. Cust. 

Sales. Sir Joshua Reynolds, London, March II, 1795 (18 : 7 : 6). 
Benjamin West, London, 1820 (78 : 155.). 
London, 1827 (259 : 75.). 

In the collection of Samuel Rogers, London, 1836 (Sm.). 
Sales. S. Rogers, London, April 28, 1856 (63, Nieuwenhuys). 

Paris, March 20, 1865 ; bought for the Boymans Museum. 
In the Boymans Museum, Rotterdam, 1907 catalogue, No. 238. 

228. THE SCHOLAR. Bode 47 ; Out. 369 ; Wb. 43 ; B.-HdG. 

43. He sits to the left at a table, leaning his head on his left hand, and is 
absorbed in a book. He wears a black cap and a black sleeveless cloak, 
showing the shirt at the throat and wrists, over a dark brown coat. On 
the dull steel-blue table-cover with a green floral border lie several large 
books in brown covers ; some of them on the right lean against a book- 
case with a green curtain. Light greyish-green wall. A small full-length 
figure. 

Traces of the signature and the date are on the left, " R . . . 3 " 
(probably 1631) ; oak panel, 20 inches by 17 J inches. 

Etched by W. Unger. 

Mentioned by Vosmaer, p. 498 ; by Bode, p. 387 ; by Dutuit, p. 26 ; by 
Michel, p. 552 [437] ; by H. Riegel, Beitr'dge, ii. 236. 

In the Ducal collection, Salzdahlum. 

In the Brunswick Gallery, 1910 catalogue, No. 234. 

229. AN OLD MAN SEATED IN AN ARM-CHAIR. 
B.-HdG. 589. He is in profile to the left. He reads a book which 
he holds on his knees. He has long white hair and a white beard. He 
wears a small black cap, and a light yellow coat with wide sleeves, open at 
the throat to show the shirt. Dark background. The light falls from the 
right top corner. Life size, half-length. Painted about 1656. 

Canvas, 25 inches by 23 inches. 

Mentioned by Michel, p. 563 [435]. 

Sales. H. A. J. Munro of Novar, London, June I, 1878, No. 83. 

Baron de Beurnonville, Paris, 1884. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 300 
Paintings," 1898, No. 142. 

In the collection of John H. Harjes, Paris ; given by him to Bremen, 1912. 
In the Bremen Kunsthalle. 

230. THE RABBI AT HIS STUDY-TABLE. Dut. 396; 
Wb. 383 ; B.-HdG. 293. In front of a wall with semicircular pilasters 
an old man with a beard sits in an arm-chair, turned half-right. He is in 
a thoughtful attitude, with both hands clasped on his stick. He wears a 
dark cap and a heavy cloak lined with ermine over a doublet embroidered 
with gold. On the carpet covering the table, to the right, a closed folio 
lies on a reading-desk ; beside it are a brass candlestick and several smaller 



REMBRANDT 149 

books. The light falls from the right foreground on the face. A small 
full-length figure. 

Signed on the left at foot, "Rembrandt f. 1642"; oak panel, 
28 incho by 21 j inches. 

Etched by W. Ungcr in the work published by Pulszki and Tschudi on the 
Budapest Gall- 
Mentioned by Dutuit, p. 33 ; by Michel, p. 559 [429]. 
Sale. (Most probably) Amsterdam, May 23, 1798, No. 157 (20 florins 10, 

Berkenbosch). 

In the Esterhazy collection ; bought in 1869 for the State. 
In the State Museum, Budapest, 1898 catalogue, No. . 
In the Museum of Fine Arts, Budapest, 1906 catalogue, No. 340. 

231. AN OLD MAN WITH A WHITE BEARD. Sm. 
392, 453 i Bode 8 9 J Dut - 4 6 J Wb - 79 i B.-HdG. 386. He is seated 
in full face, turned a little to the left, and holds a book in his right hand, 
which is seen only in part. His grey hair is covered with a black cap 
adorned in front with jewels. Over his dark red coat is a black cloak, 
thrown open but fastened in front with a gold brooch. Dark blue back- 
ground. Full light falls from the right on the head. Life size, half- 

th. 

cd on the left at top, "Rembrandt f. 1654"; oa ^ panel, 40^ 
inches by 31 inches. 

Etched by Anton Riedel, 1764 ; by K. Koepping, 1889. 

Mentioned by Vosmaer, pp. 321, 551 ; by Bode, pp. 503, 569 ; by Dutuit, 
p. 29 ; by Michel, pp. 398, 553 [307, 438]. 

.ired in Poland before 1742 tor the Electoral Gallery, Dresden. 

In the Dresden Gallery, 1908 catalogue, No. 1567 [valued in 1836 by 
Sm. at 367 : ios.]. 

232. A YOUNG MAN RISING FROM HIS WRITING- 
TABLE. Sm. 324; Bode 250; Dut. 305; Wb. 171 and 203; 
B.-HdG. 272. Behind a table spread with a Turkey carpet of a black 
and red pattern and covered with books, a young man rises and stretches 
out his left hand to take his red cap hanging on the wall to the right. 
He leans his right hand, with the fingers extended, on the table. His 
smooth pale face is framed in long dark brown and rather curly hair. 
He wears a dull grey-green coat with yellow trimming, short yellowish- 
brown sleeves, and, under them, long loose shirt-sleeves fastened with a 
gold clasp. On the books to the right lies a small plaster mask. Strong 
light falls from the left, across the face, on the hands and books. Dark 
background. Life size, half-length. 

Signed, "Rembrandt f. 1644 J canvas, 44^ inches by 42 inches. 

Mentioned by Vosmaer, p. 536 ; by Bode, pp. 495, 591 ; by Dutuit, p. 44 ; 
by Michel, pp. 304, 559 [232, 432] ; by Waagen, iii. 16. 

Exhibited at the Royal Academy Winter Exhibition, London, 1881, 
No. 161, and 1899, No. 

In the collection of the late Lady Cowper, Panshanger ; it was there in 
1836 (Sm.). 

In the collection of the late Lady Desborough. 



150 REMBRANDT SECT, 

233. THE PHILOSOPHER MEDITATING. Sm. 153 and 
155 ; Bode 272 ; Dut. 371 ; Wb. 277 ; B.-HdG. 122. Against the back 
wall of a room, the space in which is largely occupied by a winding stair 
on the right, an aged man sits on the left at a table with books in front of 
a tall window. He faces the spectator, with his hands folded, and looks 
earnestly at the floor in front of him. He wears a brownish cloak lined 
with fur, and has a red cap on his bald head. In the right foreground 
a woman stirs the fire in a lofty fireplace with her right hand, and grasps 
with her left hand at a large pot hanging by a chain. At the fireplace are 
pots, pans, and the like. In the dark upper part of the staircase a woman 
with a pail is going away. In the left middle distance is an easy-chair. A 
wooden door to the left under the stairs leads down into the cellar. Small 
full-length figures. [Pendant to 234.] 

Signed on the left at foot, "R H L. van Ryn 1633"; oak panel, 
nj inches by 13 inches. 

A study in red chalk for the philosopher is in the Berlin Print-room ; 
reproduced by Lippmann, No. 2. 

Engraved by Surugue as " The Philosopher lost in Contemplation " ; by 
R. Houston, Hertel, W. Baillie (in the Choiseul Gallery), and Michael Bisi. 
Etched by Watelet and by G. Longhi in the Muse'e Fran$ais ; by Devilliers, 
Filhol, viii. 575 ; Landon, ii. 67. 

Mentioned by Vosmaer, pp. 120, 498 ; by Bode, p. 386 ; by Dutuit, p. 34 ; 
by Michel, pp. 153, 562 [117-18, 434]. 

Sales. Willem Six, Amsterdam, May 12, 1734 (Hoet, i. 419), No. 171 

but No. 172 of the original catalogue (50 florins, with pendant). 

Comte de Vence, Paris, February 9, 1761 (3999 francs, with 

pendant). 
Due de Choiseul, Paris, April 6, 1772, No. 8 (14,000 francs, with 

pendant). 
Randon de Boisset, Paris, February 27, 1777, No. 49 (10,900 francs, 

with pendant, Millon the nephew of the late owner). 
Comte de Vaudreuil, Paris, November 24, 1784, No. 28 (12,999 
francs, with pendant, Paillet ; but 24,999 francs, according to 
Engerand, Tableaux achetes pour k Rot, p. 560). 
In the collection of Louis XVI., King of France. 
In the Louvre, Paris ; 1907 catalogue, No. 2540. 

234. THE PHILOSOPHER WITH AN OPEN BOOK. 

Sm. 152 and 154; Bode 273; Dut. 372; Wb. 278; B.-HdG. 121. 
At the near end of a vaulted stone gallery, an old man sits in an arm- 
chair on the right in front of a large window. He is turned to the right. 
He rests his right hand on the arm of the chair and looks at a book lying 
open before him on the table under the window. He supports his bearded 
chin on his left hand. A loose dark fur-lined cloak covers his black coat ; 
a flat purple cap is on his bald head. From the ceiling above him hangs 
a bird-cage. In the immediate foreground to the left is a winding stair- 
case ; behind it a broad passage leads to some low steps. A small full- 
length figure. Painted about 1633. [Pendant to 233.] 

Oak panel, nj inches by 13 inches. 

A variant was in the sale : H. G. Nahuys van Burgst, Antwerp, September 
13, 1858, No. 87. 



xxn REMBRANDT 151 

Engraved by Surugue as' "The Philosopher absorbed in Meditation" ; by 
R. Houston, Hcrtel, W. Baillie (in the Choiseul Gallery), and Michael 
Etched by Watelet and by G. Longhi in the Musee Franfais ; by Devillicrs, 
Filhol, iv. 261. 

Mentioned by Vosmaer, pp. 120, 498 ; by Bode, p. 386 ; by Dutuit, p. 35 ; 
by Michel, pp. 153, 562 [117-18, 434]. 

Sales. Willem Six, Amsterdam, May 12, 1734 (Hoct, i. 419), No. i~i 

but No. 172 of the original catalogue (50 florins, with pendant). 

Comtc dc Vcncc, Paris, February 9, 1761 (3999 francs, with 

pendant). 
Due de Choiseul, Paris, April 6, 1772, No. 7 (14,000 francs, with 

pendant). 
Randon de Boisset, Paris, February 27, 1777, No. 49 (10,900 francs, 

with pendant, Millon the nephew of the late owner). 
Comtc de Vaudreuil, Paris, November 24, 1784, No. 28 (12,999 
francs, with pendant, Paillet ; but 24,999 francs, according to 
Kngerand). 

In the collection of Louis XVI., King of France. 
In the Louvre, Paris ; 1907 catalogue, No. 2541. 

235. A Man mending a Pen. He sits, turned three-quarters left, 
at a table on which lie an open book, some papers, and, to the left, three 
bags of money. He holds the pen in his left hand and the knife in his 
right hand, which is resting on the table. He wears a plain blue coat 
with a light collar, and has a cap on his head. Behind him to the left an 
hour-glass stands on a shelf with many papers. The light comes from 
the left. Half-length, a little over life size. The author has not been 
able to form any definite opinion as to this effective picture, and hesitates 
between Rembrandt and Lievens. It was in any case painted about 1628- 
1629. [Possibly identical with 253.] 

Canvas, 49^ inches by 42 inches. 

Sa/es. Sebastien Erard, Paris, August 7, 1832, No. 124 (255 francs). 

Rev. Basil Beridgc, London, April 8, 1911 (.504, Partridge, Lewis, 
and Simmons) [catalogued as measuring 36^ inches by 31^ 
inches]. 

In the possession of the Paris dealer G. Neumans. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," xii. 1913, No. 19. 

236. A MIDDLE-AGED SCHOLAR. Bode 119; Out. 380; 
Wb. 382 ; B.-HdG. 198. He sits facing right and turns his head round 
towards the spectator. He holds his left hand at his chin, and with his 
right hand touches the folio lying open on the table, which is covered 
with a greyish carpet having a pattern. He wears a reddish-purple cap 
with a narrow gold border and a veil hanging from the back over his 
rough grey hair. He has a large dark blue velvet cloak trimmed with 
fur, and over it two gold chains set with precious stones. He wears a 
plain gold ring on the forefinger of his right hand. On the table, behind 
the open book, several folios are piled up ; behind them is a globe ; in 
front of them is a pewter inkstand. At the side of the table a curtain is 
hung in front of the stone wall. The light, which is evenly distributed, 
comes from the left. Life size, almost full length. 



152 REMBRANDT SECT. 

Signed on the left at foot, "Rembrandt f. 1634"; canvas, 56 inches 
by 54 inches. 

Mentioned by Bode, pp. 427, 574 ; by Dutuit, p. 49 ; by Michel, pp. 218, 
560 [168, 429]. 

In the collection of Count Nostitz, Prague, 1905 catalogue, No. 170 ; it 
has been there since 1819. 

237. A MAN OF ABOUT FIFTY -FIVE HOLDING A 
ROLL OF PAPER IN HIS RIGHT HAND. B.-HdG. 379.- 
He is in full face, turned a little to the right, and looks at the spectator. 
He wears a reddish-brown coat lined with grey, with a white shirt-collar 
under it. His dark hair is in disorder. His tangled beard stands out 
light against the strong colour of his face. A pentlmento of the white 
collar is visible at the throat under the grey facing of the coat ; another 
of the beard, which was originally longer, is seen at the breast. Life size, 
half-length. Painted about 1650. 

Canvas, 24 inches by 18 inches. 

Exhibited at the Royal Academy Winter Exhibition, London, 1886, No. 6 1 ; 
at Amsterdam, 1898, No. 80. 

Sale. (Probably) Comte Fraula, Brussels, July 21, 1738 (Hoet, i. 539), 
No. 242 (18 florins). 

In the collection of Colonel Sterling, London. 

In the collection of T. Humphry Ward, London. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 300 
Paintings," 1898, No. 143. 

In the Municipal Gallery, Strasburg, Alsace, 1899 catalogue, No. 124. 

238. A BOY READING. Sm. 357 ; Bode 129 ; Dut. 427 ; Wb. 
368 ; B.-HdG. 443. The boy, aged about fifteen, has the features of 
Titus van Rijn. He sits in an arm-chair, turned three-quarters right. 
He holds a book in front of him with both hands. A high round cap on 
his head covers his light reddish hair, which falls in curls on his shoulders. 
His black cloak is thrown back over the chair, leaving the dark brown 
coat uncovered. He has a narrow white collar and cuffs. The light, 
falling from the left at top, touches part of the face and the right hand. 
Dark background. Life size, half-length. Painted about 1656-57. 

Canvas, 28 inches by 24^ inches. 

Etched by Stampart, Prenner, and W. Unger. 

Mentioned by Vosmaer, pp. 355, 559 ; by Bode, pp. 534, 576 ; by Dutuit, 
p. 34 ; by Michel, pp. 450, 560 [350, 430] ; by Moes, Iconographla Batava, 
No. 6649, 5. 

In the Imperial Gallery, Vienna, 1907 catalogue, No. 1144 ; it has been 
there since 1745 [Sm. valued it in 1836 at 267 : ios.]. 

239. AN OLD SCHOLAR AT HIS WRITING-TABLE. 
Sm. 411; Bode 136; Dut. 394; B.-HdG. 298. He sits in full face 
behind a table, looking thoughtfully to the left. He holds a pen in his 
right hand, and rests his right arm on a low desk, covered with a writing- 
book, which stands on the table before him. He wears a dark purple 
cloak lined with fur, fastened across his breast with a handsome silver 
chain, and has a black cap on his head. Full light falls from the left at 



xxu REMBRANDT 



'53 



top on the bearded face, on the hand, and on the leaves of the book. 
Dark ground, illumined on the left. Life size, half-length. [Pendant 

* 33 1 -] 

Signed at foot on the desk, "Rembrandt f. 1641 "; oak panel, 41 
inches by 30 inches. 

Etched by G. F. Schmidt, 1770, as " Le Pere dc la Fiancee" ; and by W. 
Unger. 

Mentioned by Vosmaer, p. 526 ; by Bode, pp. 458, 467, 577 ; by Dutuit, 
p. 49 ; by Michel, p. 271 [208]. 

Exhibited in Vienna, 1873, No. 106. 

In the collection of Count Kameke, Berlin, 1770. 

In the collection of Stanislaus Poniatowski, King of Poland, at the Lazicnski 
Palace, Warsaw. 

In the collection of Prince Joseph Poniatowski, 1812. 

In the collection of Count Casimir Rzewuski. 

In the collection of Count Casimir Lanckoronski, Vienna. 

In the collection of Count Karl Lanckoronski, Vienna. 

240. THE SCHOLAR BY CANDLELIGHT. Sm. 185 ; 

B.-HdG. 4. An old man sits on the left, turned a little to the right. 
He is writing at a table. A dark cap with a narrow band covers his grey 
hair. Over his coat is a dark grey cloak of thick material. A large folio 
placed open on the table before the writer stands out quite dark, obscuring 
a candle which illumines the wall and some objects to the right, including 
a globe. On the wall is fastened a letter. A small three-quarter length. 
Painted about 1627. Closely related to "The Money - Changer " at 
Berlin (282). From time to time, since 1822, it has been wrongly 
ascribed to G. Dou, on the strength of the obviously modern inscription 
" G. D. F." on the letter upon the wall. 
Copper, 5 inches by 5 inches. 
A copy on wood was in the 

Salts. H. Zoeppritz and others, London, May 15, 1908, No. 93 
(315, Durlacher) ; wrongly identified in the sale-catalogue 
with Sm. 185, the original. 

Sir C. Turner of London, Berlin, November 17, 1908, No. 70. 
Etched in reverse by J. B. P. Le Brun in the " Galerie Lc Brun," 1790, 
as a Rembrandt. In Le Brun the print is said to measure 6 inches by 5^ 
inches, " of the same size as the original " ; but the shape of the print shows 
that there is a misprint in the figure for the height. 
Exhibited at Amsterdam, 1898, No. I. 
Sales. J. van der Marck, Amsterdam, August 25, 1773, No. 261 (25 florins 

10, Hellein). 
J. B. P. Le Brun, Paris, April u, 1791 (610 francs, Le Brun) ; see 

C. Blanc, ii. 129. 
Robert de St. Victor of Rouen, Paris, November 26, 1822 (320 

francs). 

In the Dubois collection, Vienna. 
In the collection of Frau Mayer, Vienna. 

2400. A Young Student He wears a purplish -red cap and a 
black costume and sits on a stool by a peat fire. A pair of tongs hangs at 
the fireside. 



154 REMBRANDT SECT. 

Canvas, 6iJ inches by 51 J inches. 

Prince Frederick Henry gave to the English Ambassador, and he in turn 
gave to the King of England, a picture by Lievens of precisely the same sub- 
ject. As Rembrandt's early pictures bear a very close resemblance to those of 
Lievens, and as there is no work by Lievens answering to this description in the 
Royal inventories, it is easy to suppose that there has been a mistake in the 
attribution. See for further details Hofstede de Groot, Urkunden Uber Rembrandt, 
No. 75- 

Given by Lord Ancrum. 

In the collection of Charles I., King of England ; in the inventory of 
about 1639, p. 146, No. 84. 

240^. A Priest. 

Mentioned by Hofstede de Groot, Urkunden Uber Rembrandt, Nos. 77, 99. 

In the possession of the Amsterdam dealer Johannes de Renialme ; valued 
in the inventory of April 25, 1640, No. 19, at 100 florins. In 1644 he gave it 
as a pledge, valued at the same amount. 

241. An Astrologer. He sits at a table with a book before him. 
On the table are a globe, a skull, and astrological instruments. 

Panel, 25 inches by 22 inches. 

Mentioned by Hofstede de Groot, Urkunden ilber Rembrandt, No. 215. 

In the collection of the Archduke Leopold Wilhelm, Vienna ; in the in- 
ventory of July 14, 1659, folio 249, No. 553. Not now to be traced in the 
Austrian Imperial collections. 

241*. A Doctor with his Books. 

Mentioned by Hofstede de Groot, Urkunden Uber Rembrandt, No. 285. 
In the collection of Henric Bugge van Ring and his wife Aeltge Henricx 
van Swieten, Leyden, 1666. 

241^. A Philosopher. 

Mentioned by Hofstede dc Groot, Urkunden Uber Rembrandt, No. 349. 
In the collection of Volckwijn Momma, Amsterdam ; in the inventory of 
his goods made on November 25, 1679. 

24 i<r. A Man reading. A small picture. 

Sale. Hendrik Trip, Amsterdam, May n, 1740 (Hoet, ii. 5), No. 12 
(6 florins). 

242. A Man writing. A small picture. 

It is uncertain whether the following were identical : 

Sales. Amsterdam, April 15, 1739 (Hoet, i. 580), No. 88 (10 florins). 

Guerin and others, The Hague, September 13, 1740, No. 45 
(4 florins 2). 

242*7. A Philosopher holding a Lighted Candle. A small 
picture. 

Sale. Fr. Trimble, Rotterdam, April 5, 1747, No. 97. 

243. A Youth writing near a Hanging Lamp. 

Panel, 16 inches by loj inches. 



xxn REMBRANDT 155 

Mentioned by Hofstedc dc Groot, Urkunden liber Rembrandt, No. 409. 

In the collection of the Emperor Charles VI. at Prague ; in the inventory 
of April 8, 1718, folio 6, No. 90, and in the inventory of October 5, i 
folios 6 and 7, No. 66. Taken from the Imperial Gallery, June i, 1748, 
through J. A. de France by J. M. Rausch for the newly instituted Imperial 
Treasury ; not now to be found in the Imperial collections. 

24-^. A Man writing in his Room. 
21 j inches by i8i inches. 

Sale. D. letswaart, Amsterdam, April 22, 1749 (Hoct, ii. 241), No. 35 
but No. 36 of the original catalogue (21 florins 10, Bragge). 

243^. An Astronomer. [Probably identical with a Carel van der 
Pluym in the Cavens collection, Brussels. See Introduction, p. 17.] 
38^ inches by 32 inches. 

Sale. Crozat, Paris, June 1751 (262 francs, with the head of a girl, 
Cressent) ; the girl's head was in the style of "La Crasseuse " (330) ; 
see Ch. Blanc, i. 63. 

243*: and d. A Philosopher. Life size, three-quarter length. Two 
pictures of the same subject. Very good. 

Sale. Count van Hogendorp, The Hague, July 27, 1751 (Hoet, ii. 307), 
No. 155 (22 florins 10) and No. 156 (20 florins). 

243^. A Philosopher. 
42 inches by 45 inches. 

Sale. Maria Bcukclaar and Anthony de Waart, The Hague, April 19, 
1752 (Hoet, ii. 324), No. 163 (6 florins). 

243*7. A Philosopher. 

Sale. Sir Luke Schaub, London, April 26, 1758, second day, No. 28 
(8 : 8s., Bretingham). 

243/1 An Old Man meditating. He sits at a table. A good and 
powerfully painted picture. [Pendant to 3200.] 
35 inches by 30^ inches. 

Sale. J. de Bary, Amsterdam, November 26, 1759, No. 13 (142 florins, 
with pendant, Van Diemen). 

244. An Astrologer. He is measuring a globe. Artistic and power- 
fully handled. 

24^ inches by 23^ inches. 

Sale. (Supplementary) G. and W. van Berckel, Amsterdam, March 24, 
1761, No. 92. 

244*7. An Old Man seated at a Window writing. Life size. 
Unusually good. 

Sale. J. A. Sichterman, Groningen, August 20, 1/64, No. i. 

244^. An Old Man at his Studies. In a room. With many 
accessories. 

Sale. J. A. Sichterman, Groningen, August 20, 1764, No. 3. 



156 REMBRANDT SECT. 

244^. A Philosopher in his Study. 
1 8 inches by 20 inches. 

Sale. Pictures from the collections of Cardinal Mazarin and the Prince 
de Carignan, Due de Valentinois, London, February 26, 1765, 
third day, No. 20. 

244*:. A Venerable Old Rabbi in his Study. 

Sale. J. Koerten, widow of A. Blok, Haarlem, August 7, 1765, No. 16. 

245. A Rabbi with the Pentateuch. Sm. 418. A beardless 
man of about thirty, seen in a three-quarter view, sits holding in both 
hands the Pentateuch enclosed in a handsome case. He wears a large 
velvet cap and a silk cloak which hides most of his costume. Round his 
neck is a gold chain, from which hangs a medal. 

Canvas, 67 inches by 36 inches. 

The original is lost. 

Described from an engraving by J. G. Haid, 1765 (Sm.). 

245*7. A Philosopher in his Study. He sits at a table, on which 
lies an open book. Farther away are other accessories. Very good ; 
powerfully painted. 

Canvas, 16 inches by 19 J inches. 

Sale. J. de Kommer, Amsterdam, April 15, 1767, No. 24 (5 florins 5, 
Helmers). 

246. A DEVOUT YOUTH. He clasps his hands on a closed 
book. He is seen in full face. He wears a red and brown cloak, an 
olive- green jacket, and a shirt with golden -brown trimming. Half- 
length, life size. 

Canvas, rounded at top, 33! inches by 26J inches (formerly 36^ inches 
by 28J inches). 

Sale. G. Hoet, The Hague, August 25, 1760 (Terw. 225), No. 47 

(84 florins, Schouman). 

In the collection of G. Winkler, Leipzig, 1768 catalogue, No. 493. 
In the collection of T. Humphry Ward, London. 
Sales. Blakeslee and Dowdeswell, New York, April 7, 1904, No. 33 (160 

dollars, Benjamin). 
G. G. Benjamin, New York, March 18, 1913 (525 dollars, W. R. 

Valentiner) as the work of Carel Fabritius. 
In the collection of W. R. Valentiner, New York. 
In the possession of Steinmeyer and Sons, Paris. 

246*. A Man reading a Book. He holds the book in his hand. 
He wears a tall hat. Very good ; powerfully painted. 
Canvas, 28^ inches by 23^ inches. 
Sale. Amsterdam, March 6, 1769, No. 8. 

246^. An Old Man holding a Pen. He is lost in thought. A 
book lies before him. 

Panel, 28 inches by 22j inches. 

In the collection of J. Fesch, Basel, 1779 ; see Meusel, Miscellanea, p. 31. 



xxn REMBRANDT 15- 

246u A Bald-Headed Old Man. He gazes reverently at some 
object. Masterly in style. Half-length. 
Panel, 20 inches by i6 inches. 

Sa/f. P. Locquet, Amsterdam, September 22, 1783, No. 326 (21 florins, 
Fouquet). 

246^. An Old Man reading a Book. He is seated, and wears a 
yellow coat, a cloak, and a purplish-red cap. On the floor in front lie 
books. An effective and powerfully painted picture. 

Panel, 9^ inches by ~\ inches. 

Sale. P. A. }. Knijff, Antwerp, July 18, 1785, No. 71 (41 florins, 
Huybreght). 

246*. A Man mending a Pen. 

9 inches by 5j inches. 

Sale. Brussels, November 15, 1786, No. 37 (8 francs). 

2467: A Physician. 

Sale. J. van der B , Rotterdam, May 14, 1787, No. 20. 

246^. A Man at his Devotions. Head. Very natural ; power- 
fully painted. 

Oval panel, 1 1 inches by 8 inches. 

Sale. Amsterdam, April 16, 1792, No. 78 (4 florins, Van der Schlcy). 

247. A Philosopher in his Study. Very well rendered ; of the 
master's best period. 

Sale. Bryan, London, May 17, 1798, No. 32 (88 : 45.) ; see Buchanan, 
i. 290. 

247/7. An Old Man apparently reading a Book. He wears a 
turban ; round his neck is a gold chain, from which hangs a medal. 
Panel, 10 inches by 7 inches. 
Sale. Amsterdam, September 7, 1803, No. 140 (70 florins). 

247^. A Man reading a Book. He holds the book in his right 
hand, and rests the left hand in his coat. Half-length. Powerfully 
painted. 

Panel, 25 inches by 19 J inches. 

In the Van Moorsel collection. 

Sale. Van Nijpels and others, Antwerp, July 15, 1805, No. 24. 

247<r. A Man mending a Pen. 

7 inches by 8 inches. 

Sale. Hoorn, July 8, 1817, No. 148 (6 florins 10). 

248. A Philosopher. 

It is uncertain whether two or more of the following were identical : 

In the collection of Catharina Gerbert, widow of Elias Nuyts, Amsterdam ; 

in the inventory of her estate taken October 2, 1715 (valued by J. Zomer at 

25 florins). See A. Bredius, Oud Holland, 1910, p. 17. 



158 REMBRANDT SECT. 

Sales. De Amory, Amsterdam, June 23, 1722 (Hoet, i. 259), No. 87 (15 

florins). 

Widow of E. Drakenborch, Utrecht, November 12, 1748, No. 43. 
In the Merian collection, Frankfort -on- Main ; offered for sale there by 
Jacob Heldewir, 1752 (and priced at 30 florins). See Hoet, ii. 350, No. 194. 
Sale. Laurent Leyssens, Antwerp, August 27, 1817, No. 16; old, on 
canvas. 

248*7. The Philosopher meditating. 
Canvas, 22 inches by 16^ inches. 

Sale. (Supplementary) X. de Burtin, Brussels, July 21, 1819, No. 6 (39 
florins). 

248^. An Old Man with a Globe. Broad and masterly in 
treatment. 

Panel, 24 inches by 20 inches. 

Sale. Amsterdam, July 19, 1826, No. 36 (35 florins, Roos). 

248*:. A Person studying. Seated at a table in a study. Various 
objects lie on the floor. Well drawn. 
Panel. 

Sale. Amsterdam, December 3, 1827, No. 49 (375 florins, Van Campen). 

248^. A Philosopher. He sits in an arm-chair at a table, on which 
are a globe, a skull, and some old parchments. 
Panel, 6 inches by 8 inches. 

Sale. P. F. de Noter, Ghent, December 27, 1842, No. 59. 

248*. A Man writing. He sits at a table. He wears a red costume, 
a green cloak, and a turban of a golden colour. 
Signed and dated. 

Exhibited at Manchester, 1857. 

Safes. Thomas Emmerson, London, May 27, 1854. 

Mrs. Hall, London, January 11, 1896, No. in. 

249. A Philosopher at his Studies. Sm. 148. An aged man, 
in plain clothes, with spectacles on his nose, sits in a room, with a large 
book open on the table before him. Beside him is a globe. On the floor 
is a pile of books. 

The original is lost. 

Described by Sm. from a small anonymous print. 

250. An Old Man in a Fur Cap and Robe. Sm. 365. He 
sits on the far side of a table, on which are papers and books. He appears 
to have just ceased writing, and leans his head pensively on his left hand. 

The original is lost. 

Described by Sm. from a small anonymous print. 

251. A Jewish Priest. Sm. 381. Half-length. He has a long 
beard, and wears a phylactery. His dress chiefly consists of a fur robe. 

The original is lost. 

Described by Sm. from an engraving by Van Bergen. 



XXII 



RKMBRANDT 159 



251^. A Young Man, seated at an Arched Window, mend- 
ing a Pen. Sm. 395. Books lie on a covered table beside him. On 
a stool in front are more books, and others lie on the floor. 

The original is lost. 

ribcd by Sm. from the prints of R. Houston and W. Baillic, engraved 
after a picture in the collection of J. Blackwood. 

252. A Man mending a Pen. Sm. 396. He stands on the far 
side of a table, on which lie several large open books and papers. 

The original is lost. 

Described by Sm. either from the print by Spooner or from that by Charles 
Phillips. 

The same subject is engraved also by R. J and by De Groot. 

253. A Venerable Man mending a Pen. Sm. 397. He has a 
large beard, and sits at a table on which are several books. 

The original is lost, unless it was identical with 235. 
Described by Sm. from an anonymous etching. 

254. An Old Rabbi. Sm. 405. He has a large grey beard, and sits 
in profile at a table with a cover. He rests his elbow on the table and 
le:ms his head on his hands. He wears a large high cap like a turban, 
and a velvet cloak over a coat with embroidered sleeves. On a shelf at 
the back are some books. 

The original ^ 

Described by Sm. from a mezzotint engraving by MacArdell. 

A mezzotint by W. Pethcr corresponds to the description. 

255. A Man holding a Book. Sm. 409. He looks about fifty- 
five, and ! -:ve face. He is seen almost in profile, reading the 
book. He wears a large hat and a close-fitting doublet. If this picture 
was identical with the picture repeatedly described by Sm. (Sm. 156, 380, 
475) and now known in numerous examples in the collections of Sir 
F. Cook, John G. Johnson, the Comte de Besenval, and others it was 
not an original by Rembrandt. 

Described by Sra. from the engraving by Debucourt. 

In the collection of the Marquis Gerini, when engraved. 

256. An Old Man holding a Closed Book on his Knee. Sm. 

421. The fingers of his left hand are between the leaves of the book. 
He sits, seen almost in full face, at a table with a cover, on which he rests 
his right hand. He wears a large cloak and a cap. Through an archway 
at the back are seen distant buildings. 

The original is lost. 

Described by Sm. from an etching by G. F. Schmidt. 

257. An Old Man reading by Lamplight. 501.424. He wears 
spectacles and sits almost in profile, leaning his head on his hand, with a 
large book open on the table before him. His cap and costume are black. 
On the table are an hour-glass, an open book, and other objects. 



160 REMBRANDT SECT. 

The original is lost. 

Described by Sm. from an engraving by J. de Frey. 

258. An Elderly Man at a Table. Sm. 441. He has a short 
square beard, and is seen in full face, seated at a table. He holds his spec- 
tacles in one hand and a pencil in the other. Both his hands rest on a 
large sheet of paper upon the table. He wears a small black cap, a fur- 
lined cloak, and a shawl round his neck. 

The original is lost. 

Described by Sm. from an engraving by J. G. Hertel. 

259. An Old Man holding a Pen. Sm. 450. He has a thick 
beard and is seen in a three-quarter view, seated at a table. He holds a 
pen in one hand and rests his head thoughtfully on the other. He wears 
a fur cap and a coat. On the table are a closed book and papers , a pile of 
books is at the side, with an hour-glass standing on them. 

The original is lost. 

Described by Sm. from an etching by B. Wilson. 

259*. A Singer. 

Mentioned by Hofstede de Groot, Urkunden iiber Rembrandt, No. 296. 
In the collection of Jan Jansz van Rhijn, Leyden ; in the inventory of his 
estate, April 19, 1668, No. 153. 

260. A Painter at his Easel in a Room. 

A picture of this subject, the size of which is not given, and which is 
known to the author only through a photograph from which its authen- 
ticity cannot be definitely determined, is in the collection of W. Chase, 
New York. The painter, in blue, with palette and brushes stands in the 
left background of a room, studying the effect of a picture on an easel in 
the right foreground. On the brightly lighted wall close to the painter 
hangs a palette. To the right is a view into a dark room adjoining. If it 
is genuine, it was painted about 1628-29. 

19 inches by 22 inches. 

Sale. Baron de Heusch de Landwijck, Brussels, July 21, 1778 (40 francs). 

260*. A Man with a Flute in his Hand. He wears a fur cap, 
a cuirass, and a cloak. Skilfully painted. 
Canvas, 32 inches by 26 inches. 
Sale. I. de Moni, Leyden, April 17, 1784, No. I (21 florins 15, Carree). 

260^. A Youth apparently drawing. 

Sale. Amsterdam, January 25, 1825, No. 117 (15 florins 15, Nobell). 

26oc. A Man with a Roll of Music. 

Exhibited at the British Institution, London, 1860, No. 117. 
Mentioned in London and its Environs described, 1761. 
In the collection of Charles Jennens, Ormond Street, London, 1761. 
In the collection of Earl Howe, Gopsall. 

261. AN ELDERLY MAN WITH A GILT HELMET. 
B.-HdG. 356. He is turned a little to the right j his eyes are cast down. 



XXII 



REMBRANDT 161 



H wears a dark coat with purplish-red sleeves. On his head is a richly 
wrought gilt helmet with ear-pieces and a plume of short white and red 
feathers. Dark background. Strong light falls from the left at top on tin 
helmet and, touching the face as it passes, on the breast. Life size, half- 
length. The sitter is identified as Rembrandt's brother Adriaen. But as 
Adriaen was a poor shoemaker in Leyden while Rembrandt lived in Amster- 
dam, and as moreover Adriaen van Rijn died in 1652 while this model 
occurs in pictures of the year 1654, the identification is not very probable. 
Painted about 1650. See the notes to 384 and 442 ; cf. 420, 423. 
Canvas, 26^ inches by 20i inches. 

Exhibited at Amsterdam, 1898, No. 75. 

Mentioned by Bode, Qud Holland, 1891, p. 4 ; by Dr. Laban, Zrituhrift fur 
bildende Kunst, 1898, pp. 73, etc. 

Acquired from the De Bockart collection, Fribourg, Switzerland, by the 
London dealers P. and D. Colnaghi ; bought from them in 1897 by the Kaiser 
Kriedrich Muscumvcrcin, Berlin, and since exhibited 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 8llA. 

262. STUDY FOR AN ORIENTAL PRINCE. B.-HdG. 
578. With a velvet cap, a small serrated crown, and a long white beard. 
The face is strongly lighted from the left. The eyes look down to the 
right. A small half-length. Painted about 1645. 

Panel, 8i inches by 7 inches. 

In the collection of the late Quincy A. Shaw, Boston, U.S.A. 

263. A Youth with a Two- Handed Sword. Bode 49; Dut. 
133; Wb. 42; B.-HdG. 162. He is about twenty-two years of age. 
He stands, inclined half-left, and turns his face to the spectator. His 
right hand grasps the hilt of a two-handed sword which the youth has 
placed before him. He is beardless. His luxuriant locks are pushed 
back, but a few short curls fall over his brow. He wears a black cap 
with two dull green ostrich feathers. His coat, of a vivid blue, is cut 
square at top, showing the shirt at the breast ; over it is a brown cloak. 
Full light falls from the left across the head ; the greenish-grey background 
is fairly bright. Life size, half-length. Painted about 1633. The author 
has lately convinced himself that this is not a Rembrandt. He regards it 
as an early work of Govert Flinck in the style of the study of a head in 
the collection of Count Stecki. 

Oak panel, 25 inches by i8 inches. 

Etched by Schrocder under the name of Philips Koning. 

Mentioned by Bode, pp. 409, 564 ; by Dutuit, p. 26 ; by Ricgcl, ii. 
pp. 250-51 ; [by L. Cust in the Burlington Magazine, vol. xxvi. (March 191 5), 
p. 256, who compares it with 736 (Tzfi) and 29]. 

In the Ducal Gallery, Salzdahlum ; see Eberlein, No. 42, Cabinet iii. 

In the Brunswick Gallery, 1910 catalogue, No. 239. 

264. A SOLDIER IN STEEL ARMOUR. Sm. 343 ; Bode 
69 ; Dut. 413 ; Wb. 63 ; B.-HdG. 464. He holds a lance in both hands, 
leaning it against his left shoulder. He stands, resting his left arm on a 
bank. His body is turned to the right ; his head and his eyes are turned 

VOL. VI M 



1 62 REMBRANDT SECT. 

a little to the right. His luxuriant dark hair is in disorder ; he has a dark 
brown beard. The light falls from the left at top. Dark background, in 
which some trees may be distinguished. Life size, to the knees. 

Signed by a later hand on the right, "Rembrandt f. 1655" under 
which are traces of the original signature ; canvas, 45 inches by 36 inches. 

Etched by Oortraan, Filhol, vi. 377, in the Musee Napoleon. 

Mentioned by Vosmaer, pp. 340, 553 ; by Bode, pp. 512, 566 ; by Dutuit, 
p. 27 ; by Michel, pp. 398, 552 [307-8, 437]. 

Bought through General von Donop for the Cassel Gallery. 

In the principal inventory of 1749, No. 535 ; in the inventory of 1783, 
No. 31. 

In the Louvre, Paris, 1806-15. 

In the Cassel Gallery, 1903 catalogue, No. 245 (old No. 223). 

265. A CRUSADER. He is turned to the right, but looks at the 
spectator. He wears a large slashed head-dress with a white plume, and a 
plain costume with a Maltese cross on the right shoulder. Half-length. 
Painted about 1655, according to Madsen. 

26J inches by 20 inches. 

Mentioned by Karl Madsen, Eilleder of Rembrandt, 1911, pp. 77, etc. 
In one of the Royal palaces, Copenhagen, probably since 1775, certainly 
since 1814. 

In the Royal Gallery, Copenhagen. 

266. AN OFFICER. Half-length, turned to the right. His head 
is seen in full face, with long curls, a moustache, and a short beard. He 
wears a bronze-coloured jacket and a steel gorget. There are rings in his 
ears and a chain round his neck. About half life size. Painted about 
1631. 

Panel, yj inches by 6 inches. 

In the possession of the Paris dealer F. Kleinberger. 

In the collection of L. Nardus, Suresnes ; given by him in 1907 to Leyden. 

In the Town Museum, Leyden, 1908 catalogue, No. 281. 

267. A YOUNG NEGRO ARCHER. Bode 234 ; Dut. 376 ; 
Wb. 253 ; B.-HdG. 148. He stands, turned to the left and looking in 
that direction. He is about twenty years of age, and has protruding lips 
and short hair in small curls. He holds a bow at his breast with his right 
hand. The quiver hangs over his shoulders by a rich gold chain. There 
are large pearls in his ears and a narrow gold chain round his neck. He 
has a loose brownish-green coat over a fine pleated shirt, adorned below 
with a gold chain having large pearls as pendants. Full light falls from 
the left across the face and on the white shirt. Light grey background. 
In a painted oval frame. Life size, half-length. Painted about 1634. 

Traces of a signature occur below the bow to the right ; oak panel, 
26 inches by 20 inches. 

Mentioned by Dutuit, p. 48 ; by Michel, pp. 152, 558 [116, 434] ; [by 
D. S. MacColl, Burlington Magazine, April 1913, No. cxxi. pp. 36-37, contest- 
ing the authenticity]. 

Exhibited at Bethnal Green Museum, London, 1872, No. 172 ; at the Royal 
Academy Winter Exhibition, London, 1889, No. 153. 



xxn REMBRANDT 163 

Possibly identical with "A Moor" occurring in the inventory of the effects 
of the Amsterdam dealer Johannes de Renialme, June 27, 1657, No. 300 (valued 
at 12 florins) ; see Hofstede de Groot, Vrkunden ttber Rembrandt, No. i 
Sales. (Possibly) London, 1772 (^5 : 17 : 6, Marquess of Carnarvon). 

Duke of Buckingham, Stowe, August 15, 1848, No. 410 (263 : i is., 

S. M. Mavvson, for Lord Hertford). 
In the collection of the Marquess of Hertford, London. 
In the Wallace collection, London, 1913 catalogue, No. 238. 

268. A YOUNG POLISH RIDER. B.-HdG. 466. He is said 
to be in the uniform of the Lysowski regiment. In a hilly landscape he- 
rides to the right on a greyish-white horse, with a panther's skin as a 
saddle-cloth, and turns his comely beardless face towards the spectator. 
He wears a long light yellow coat, closely fastened at the top with many 
blue buttons, tight-htting breeches of bright red, buff boots, and a red cap 
with a broad fur brim. He holds a mace in his right hand, which he rests 
on his hip ; at his right side hang an Eastern quiver of leather and a bow, and 
on cither side hangs a long sword. The reins are of red Russia leather ; on 
the horse's neck a fox's brush, turned to the back, flaps in the breeze. In 
the distance is a great castle on a lofty hill ; to the left, at the foot of the 
hill, is seen a waterfall in half-shadow, while to the right is a small lake 
with buildings on the bank and a watch-fire. The rays of the setting sun 
fall from the left on the horseman. Full-length figure, nearly half life size. 
Painted about 1655. 

d on .1 stone to the right, "Re . . ." ; canvas, 46 inches by 
53 inches. A strip about 5 inches wide has been added at foot ; on the 
trip of at least equal width has been cut off and replaced by a 
IT'S breadth of canvas. 

Mentioned by Bode, p. 499 ; by Michel, pp. 373, 560 [287, 429]. 

Exhibited at Amsterdam, 1898, No. 94. 

In the collection of Count Tarnowski, Dzikow, Galicia. 

In the possession of the London dealers M. Knoedler. 

In the collection of H. C. Frick, New York. 

269. THE STANDARD-BEARER WITH A BROAD 
SASH. Sm. 279 ; Bode 262 ; Dut. 436 ; Wb. 256 ; B.-HdG. 370. 
He is about sixty years of age. He stands, seen in full face, carrying a 
glove in his right hand, and holding with his gloved left hand a banner 
bearing the arms of the city of Amsterdam. A black hat with a bright 
white feather covers his grey hair. He wears a dark brown coat with gold 
buttons, over which hang a dark bluish-green sash and a sword in a rich 
gold-embroidered sword-belt. At the back is a grey wall with a rusticated 
pillar to the right. Full light falls from the left foreground on the whole 
figure. Life size, three-quarter length. 

Signed on the left at foot, "Rembrandt fe 1654 "j canvas, 55 inches 
by 45 i inches. 

Engraved in mezzotint by W. Pether. 

Mentioned by Bode, pp. 539, 592 ; by Dutuit, p. 49 ; by Michel, pp. 500, 

559 [39, 434]- 

Exhibited at Manchester, 1857, No. 680 ; at the British Institution, London, 



1 64 REMBRANDT SECT. 

1860, No. 27 ; at the Royal Academy Winter Exhibition, London, 1871, No. 77 ; 
at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, 
No. 98. 

Sale. Sir Joshua Reynolds, London, March 11, 1795. 

In the collection of the Earl of Warwick, Warwick Castle. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 100 
Paintings," iii. No. 30. 

In the possession of the London dealer C. J. Wertheimer. 

In the possession of the London dealers Thomas Agnew and Sons. 

In the collection of George J. Gould, New York. 

270. A STANDARD-BEARER. Sm. 201, and Suppl. 23 ; Bode 
300; Dut. 148 ; Wb. 313 ; B.-HdG. 206. He stands in profile to the 
right, turning his face round and looking at the spectator. With his left 
hand he holds a large white banner on his shoulder ; his right hand is on 
his hip. Over his brown curls he wears a slashed cap with a brown 
plume j his face is shaved, save for the long moustache. Over his yellowish- 
brown coat, trimmed with lace, he wears an iron gorget and a broad sash 
from which a sword hangs at his side. He has loose sleeves and a white 
collar and wrist-bands. Strong light from the left touches his back and 
his face and falls full on the banner. Life size, three-quarter length. 
The man has Rembrandt's features. 

Signed on the right at foot, "Rembrandt 163-" the last figure, now 
illegible, was probably a 5 ; canvas, 50 inches by 42 inches. 

A copy is in the Cassel Gallery, 1903 catalogue, No. 251 (Wb. 53) ; it has 
been there since the 1749 inventory, and was etched by N. Mossoloff. 

Another copy is in the collection of the late P. A. B. Widener, Phila- 
delphia, 1908 catalogue, No. 242. Other copies were in the 

Sales. J. F. Wolschot, Antwerp, September i, 1817, No. 12. 

Duke of Buckingham, Stowe, August 15, 1848, No. 415 

(54 : I2s., Wakeford Attree). 
Etched by P. Louw, J. F. Clerck, G. Haid. 

Mentioned by Vosmaer, pp. 340, 554 ; by Bode, p. 597 ; by Dutuit, p. 52 ; 
[by Michel, pp. 166-7, l6 9 43^]. 

Exhibited at the British Institution, London, 1819, No. 59, and 1836, 
No. 34. 

Sales. L. van Heemskerk, Leyden, September 2, 1771, No. I (61 florins, 

Delfos) ; to judge from the price, this was one of the copies. 
G. F. J. de Verhulst, Brussels, August 16, 1779, No - 8o ( ! 354 florins 

or, according to other authorities, 1290 francs, Fouquet). 
Le Boeuf, Paris, 1782 (5300 francs). 
Robit, Paris, May 21, 1801, No. 117 of Bryan's catalogue (3095 

francs, Lafontaine). 

In the collection of George IV., King of England, who exchanged it with 
Lafontaine for other pictures. 

In the possession of the London dealer Lafontaine. 
In the collection of Sir Simon H. Clarke, London. 

In the collection of Lady Clarke, Oak Hill, 1836 (Sm., who valued it 
at 525). 

Sale. Sir Simon Clarke, Bart., London, May 8, 1840 (840, Baron James 

de Rothschild, Paris). 
In the collection of Baron Henry de Rothschild, Paris. 



xxn REMBRANDT 165 

271. A MODEL IN THE DRESS OF A SLAV PRINCE. 

Sm. 310 ; Bode 335 ; Dut. 387 ; Wb. 402 ; B.-HdG. 228. A man of 
about forty-five with a big moustache stands turned to the right, loo 
keenly at the spectator. In his uplifted right hand he holds a general's 
baton with a gold top. Round his high fur cap is a jewelled gold chain, 
with a large heraldic ornament in the centre. In his ear is a large pearl. 
He wears a reddish-brown cloak with a broad fur collar, over which lies a 
massive gold chain ; on his right shoulder is the decoration of the three 
horse-tails as a rich pendant. Full light falls from the left on the right 
side of the face. Brownish-grey background. Life size, to the knees. 
[Formerly called "Sobieski."] 

Signed on the right at top, "Rembrandt f. 1637"; oak panel, 38^ 
inches by 26^ inches. 

Etched by N. Mossoloff in Les Rembrandts de I* Ermitage ; by H. Struck, 
1888. Lithographed by Huot in La Galcrie de f Ermitage, by Gohier Dcsfontaincs 
and Petit, ii. 19. 

Mentioned by Vosmaer, p. 5 i 5 ; by Bode, pp. 464, 601 ; by Dutuit, p. 38 ; 
by Michel, pp. 216, 507 [167, 441]. 

Acquired by Catherine II., Empress of Russia. 

In the Hermitage Palace, Pctrograd, 1901 catalogue, No. 811 [Sm. valued 
it in 1836 at 315]. 

272. A SOLDIER ADJUSTING HIS CUIRASS. Sm. 284 ; 
Bode 312 ; Dut. 145 ; Wb. 327 ; B.-Hd.G. 205. He stands, turned a 
little to the left and bending his head in that direction. He looks at the 

Mtor, and is buckling his belt. He wears greaves and a cuirass ; his 
helmet is on a table to the left. He has long dark hair, but no beard. 
From under the cuirass project the embroidered sleeves of his coat, with 
white wristbands. On the wall to the right is a paper. Strong light falls 
from the left at top on the figure. Life size, seen to the hips. Painted 
about 1640-42. 

Canvas, 40 inches by 33 inches. 

Engraved by F. Leenhof in L 'Art, in the San Donate catalogue, and in 
Dutuit. 

Mentioned by Bode, p. 598 ; by Dutuit, p. 53 ; by Michel, p. 561 [443]. 
Exhibited at the British Institution, London, 1818, No. 78 ; >. 31 ; 

and 1857, No. 89; at the Exposition des Cent Chefs-d'oeuvre, Paris, 1883; 
at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, 
No. 85. 

In the De Gueffier collection, Paris, March i, 1791. 

Sales. Robit, Paris, May 21, 1801, No. 119 (3450 francs, Hibbert) ; see 

W. Buchanan, ii. 62. 

George Hibbert, London, June 13, 1 829 (420, bought in, Nathaniel 
Hibbert, who in 1870 refused an offer of 4000 for the picture). 
In the collection of Lord Holland, London. 

In the collection of A. Holland Hibbert, London ; sold by him in 1880 to 
Prince Demidoff (for 5000). 

Sales. Prince Demidoff, San Donate, March 15, 1880, No. 1114 (100,000 
francs, bought in); sold privately in 1882 to E. Secrctan (for 
100,000 francs). 
E. Sccretan, Paris, July i, 1889, No. 152 (24,500 francs, Goupil). 



166 REMBRANDT SECT. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 300 
Paintings," 1898, No. 132. 

In the possession of Button, New York, 1892. 

In the collection of Richard Mortimer, Tuxedo, near New York. 

2720. A Soldier in Armour. 

Mentioned by Hofstede de Groot, Urkunden iiber Rembrandt, No. 169. 
In the collection of Rembrandt, Amsterdam ; in the inventory of his effects 
for sale, July 25, 1656, No. 12. 

272^. An Armed Man. 

Mentioned by Hofstede de Groot, Urkunden iiber Rembrandt, No. 387. 
In the collection of Hyacinthe Rigaud, Paris ; he valued the picture at 
600 francs in his catalogue made on May 17, 1703. 

272*:. A Muscovite Envoy. Powerfully painted. 

Sale. Herman van Swol, Amsterdam, April 20, 1707 (Hoet, i. 98), No. 15 
(49 florins). 

272^. A Standard- Bearer. 

It is uncertain whether two or more of the following were identical : 

In the collection of the widow Boogaard, who was married a second time to 
A. Thierens, Delft ; in her inventory of May 13, 1667. See Hofstede de Groot, 
Urkunden iiber Rembrandt, No. 293. 

In the collection of Herman Becker, Amsterdam ; in the inventory of his 
effects, October 19, 1678. See A. Bredius, Oud Holland, 1910, pp. 196, etc. 

Sale. Allard van Everdingen, Amsterdam, April 19, 1709, No. 34. 

272*. A Turkish Prince or Grand Vizier. Skilful, and power- 
fully painted. 

Sale. Govert Looten, Amsterdam, March 31, 1729 (Hoet, i. 333), No. 7 
(71 florins). 

272/ A Hero in Armour. 
36^ inches by 30 inches. 

Sale. Marinus de Jeude, The Hague, April 18, 1735 (Hoet, i. 434), No. 53 
(5 florins 15). 

272^. A Soldier. In the artist's best manner. 
28J inches by 22 inches. 

Sale. Joan de Vries, The Hague, October 13, 1738 (Hoet, i. 560), No. 9 
(100 florins). 

273. An Officer in Armour, with a Steel Helmet. Sm. 250. 

Canvas, 48^ inches by 40^ inches. 

Sale. Prince de Carignan, Paris, June 11, 1743 (503 francs). 

273^7. A Negro with an Arrow. Very powerfully painted, three- 
quarter length, under life size. 

Sale. Amsterdam, January 24, 1763, No. 12 (3 florins 5, Van den Berg). 

273^. A Persian King. Standing, by candlelight. Powerfully 
painted. 



xxn REMBRANDT 167 

Panel, 21 i inches by 17 inches. 

Sab. Amsterdam, June 8, 1763, No. 32 (26 florins, De Quicker). 

2731. A Man on Horseback. 
Panel, loj inches by 8J inches. 

Mentioned by Dutuit, p. 5. 

Sale. J. van Laneker, Antwerp, May 23, 1769 (50 florins). 

273^. A Man in a Cuirass. He wears a fur cap and a cloak, and 
holds a flute in his hand. 

Canvas, 32 inches by 26 inches. 

Sale. L. de Moni, Leyden, April 13, i~"2, No. 94 (53 florins, Moni). 

274. A Soldier. He stands before a balustrade ; on it lies a hat, 
with a white plume, which he grasps with his left hand. In his right 
hand he holds a trumpet as if about to blow it. Life size, about half- 
length. Powerfully painted and well finished. 

Canvas, 39 inches by 34^ inches. 

Sale. Huybert Ketelaar, Amsterdam, June 19, 1776, No. 171 (300 florins, 
Wubbcls). 

274</. A Man holding a Sabre. Skilfully painted. 
Panel, 28 inches by 22^ inches. 

Sale. S. Loquet and others, The Hague, Septcml -9, No. 94 

(30 florins, Wubbcls). 

274^. A Soldier holding a White Banner. He wears a cap 
with a white plume. A large three-quarter length. 
25^ inches by 30 inches. 
Sale. Comte d'Orsay, Paris, April 14, 1790 ; see Ch. Blanc, ii. 127. 

2744-. A Knight. With a mail gorget, a gold chain, and, on his 
head, a round hat. Powerfully painted. 
Panel, 24 inches by 20 inches. 
Sale. Rotterdam, June 9, 1828, No. 29. 

275. An Officer. Sm. 464. About twenty-eight years of age. He 
is seen almost in full face, and has a dark beard and moustache. He wears 
an oddly shaped black cap with two feathers, and a very dark costume, with 
a steel gorget and a gold chain. " Painted in the artist's finished 
manner" (Sm.). 

Panel, 27^ inches by 2oJ inches. 

In the collection of Madame Dansaert, Brussels, 1836 (Sm.). 

2750. A Soldier. Half-length. 

Sale. William II., King of Holland, The Hague, September 9, 1851, 
No. 89. 

275/>. An Old Soldier. In a cuirass. He wears a red costume, and 
a helmet. 

Canvas, 29 inches by 22^ inchu 



1 68 REMBRANDT SECT. 

Sale. Count von Brabeck and Count Andreas von Stolberg, Hanover, 
October 31, 1859, No. 214. 

2751-. A Man in a Cuirass and a Black Cap. According to 

Dutuit its authenticity was doubtful ; it was attributed alternately to 
F. Bol, S. Koninck, and Dietrich. 

Canvas, 24 J inches by 19 \ inches. 

Mentioned by Dutuit, p. 21. 

In the Catelan collection, Paris. 

Sale. F. Delessert, Paris, March 15, 1869 (5100 francs). 

275^. Head of a Young Soldier. With a cap and a gorget. 

Canvas, 23 inches by 17 inches. 

Sale. C. and F. Sandberger, Cologne, June 14, 1875, No. 51. 

275*. A SOLDIER. He is inclined to the right, and, with parted 
lips, looks at the spectator. He has thick curly hair, and a slight 
moustache and imperial. He wears a plumed cap, a gorget, and a brown 
coat. In his right ear, which is alone visible, is a pearl. A heavy double 
chain hangs from the left shoulder to the right hip. On the breast is a 
medallion. The left hand grasps the sword-hilt. Strong light falls from 
the left on the right side of the face and the gorget. Half-length. 

Panel, oval, 24! inches by 18 inches. 

An old copy of the head is in a private collection in Philadelphia. It was 
exhibited in the Royal Gallery, The Hague, 1893. 

Mentioned by Hofstede de Groot, Onze Kunst, 1912, part 2, xii. p. 177. 
Engraved in reverse by J. Caron. 
In the collection of Prince A. de Broglie, Paris. 
In the possession of T. Agnew and Sons, London. 

Sale. C. Fairfax Murray, Paris, June 15, 1914, No. 23 (315,000 francs, 
bought in). 

276. An Officer. Sm. 399 and 460 ; Dut. 360 ; Wb. 445. Half- 
length. He is in profile to the right, and looks straight before him. He 
has long curls and a slight moustache. He wears a fur cap with two 
large feathers, a steel gorget, a fur cloak, and a chain across his shoulders, 
with a gold pendant at his breast. 

Although Van Vliet's etching mentions Rembrandt not as "pic tor" but 
only as "inventor," it must be inferred from what we know of his other prints 
(see, for example, 3 and 188) that the etcher had a painted composition before 
him. Sm. describes this picture once from Daulby, p. 266, No. 9, and again 
from Daulby, p. 329, No. 28. In the latter case the print is entitled "A 
Polander," and by Gersaint in 1751 (p. 292) is called " Une Te'te Polonaise." 
It may therefore be assumed that the picture of " Een Polakje," which was of 
almost exactly the same size as Van Vliet's etching 8 inches by 6 inches 
and which occurred in the 

Sales. G. van Oostrum and others, The Hague, September 23, 1765, 

No. 92 (i 2 florins, Van der Wai). 
G. van de Polder, widow of G. Cocq, and others, The Hague, 

October 2, 1769, No. 25 (3 florins) 

represented this composition and was probably a copy of the etching. In 
modern times copies of this kind occur not infrequently. 



xxn REMBRANDT 169 

Mentioned by Hofstede de Groot, Urkundcn fiber Rembrandt, No. ijE. 

The original is lost. Described from the etching by J. J. van Vlict, 
Bartsch 26, inscribed, "R H L van Rijn jn 1631 J G van vlict fecit." Later 
states call the sitter Georgius Ragozy, and a copy in reverse calls him " Scand- 
rebcc, Roy d'Albanic." 

277. A Soldier. Sm. 420 and 477 ; Wb. 498. He is seen in a 
three-quarter view. He wears a dark velvet cap, bordered with gold lace, 
put sideways on his head, and a cuirass which is mostly hidden by a large 
cloak. In his ear is a pearl. 

The original is lost. Described by Sm. from a mezzotint by G. Graham ; 
it is wrongly entitled " Admiral Tromp," and is more likely to be a portrait of 
the painter. 

278. A Soldier. Sm. 425. He is seen in full face, and looks about 
fifty years of age. He has a long thin face and strong features, with a 
small beard and moustache. He wears a high velvet cap with a gold band, 
a steel gorget, and a fur cloak over one shoulder, covering half his body. 

The original is lost. Described by Sm. from an engraving by Boetius. 

279. A Soldier. Sm. 456. He looks about fifty-six years of a 
and has an animated countenance. He is seen almost in full face, 
wears a large plumed cap, a steel gorget over a richly embroidered doublet, 
and a large cloak. A gold ornament hangs from an antique chain on his 
breast. He appears to be standing, with one hand on the top of a staff, 
while the other hand is concealed by the cloak. 

The original is lost. Described by Sm. from two anonymous mezzotints of 
different sizes. 

280. A Soldier in Armour on a Richly Caparisoned Horse. 
Sm. 462. 

The original is lost. Described by Sm. from an engraving attributed to 
Jan Lievens, but no such engraving by Lievcns is known. 

281. A Young Officer. Sm. 480. Seen in a three-quarter view. 
He wears a large cap, of a singularly broken form, with a feather at the 
back. He wears a large cloak, covering part of his steel gorget ; his hands 
appear to hold up the cloak in folds in front. 

The original is lost. Described by Sm. from an engraving by J. L. Krafft. 

282. THE MONEY-CHANGER. Bode 33 ; Dut. 354 ; Wb. 
28 ; B.-HdG. I. Behind a table sits an old man with a thin beard, 
having the features of Rembrandt's father. He wears a dull purple cap, 
a pale blue coat, and a narrow ruff. He examines a coin in his right hand 
by the light of a candle, and grasps the candlestick with his left hand. 
[The right hand obscures the candle-flame.] On the table, covered with 
a bluish-green cloth, thick folios and documents are heaped up ; beside 
them are a purse, a balance, and some coins. In the left background near 
the stove is an open cupboard. A small half-length. [Compare 240.] 

Signed to the left on a book, " R H 1627 " ; oak panel, I2| inches by 
i6\ inches. 



ijo REMBRANDT SECT. 

Mentioned by Bode, p. 367 ; by Dutuit, p. 25 ; by Michel, pp. 26, 551 
[21, 436] ; by Bredius, Nederlandsche Kunstbode, 1881, p. 182. 

Sale. M. D. van Eversdijck, The Hague, May 28, 1766 (Terw. 533), 
No. 77 but No. 82 of the original catalogue (20 florins, 
Lemmens). 

Probably the picture in the Oakley collection, exhibited at Suffolk Street, 
London, 1834, No. 142. 

In the collection of Sir Francis Cook, Bart., Richmond. 

In the collection of Sir Charles Robinson, London ; given by him to the 
Berlin Museum, 1881. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828D. 

283. A SPORTSMAN. Sm. 171 ; Bode 80 ; Dut. 392 ; Wb. 76 ; 
B.-HdG. 238. He has the features of Rembrandt. He holds up a dead 
bittern by the legs in his right hand, to hang it on a hook fastened in a 
beam above to the left. He holds his gun in his left hand. He wears a 
dull red coat and a red cap with a tall plume, from under which his fair 
curly hair comes out on his forehead and at the sides of his head. He has 
a slight moustache. Full light falls from the left on the bird and casts a 
shadow on the sportsman's face. Dark background. Three-quarter length, 
somewhat under life size. 

Signed on the beam above to the left, "Rembrandt fc. 1639"; oak 
panel, 48 inches by 35! inches. 

Etched by A. Riedel, 1754. 

Mentioned by Vosmaer, pp. 162, 519 ; by Bode, pp. 453, 568 ; by Dutuit, 
p. 28 ; by Michel, pp. 228, 553 [175, 438]. 

Apparently the picture described in the inventory of Rembrandt's goods 
made on July 25, 1656, as "een pitoor" ( = Butor, bittern). 

In the Electoral Gallery, Dresden, from the time of Guarienti's inventory 
(before 1753). 

In the Royal Gallery, Dresden, 1911 catalogue, No. 1561. 

283* and b. A Small Life-Study, and A Life-Study from Nature. 

Mentioned by Hofstede de Groot, Urkunden liber Rembrandt, No. 169. 
In the collection of Rembrandt, Amsterdam ; in the inventory of his goods 
of July 25, 1656, Nos. 59 and 297. 

283*:. A Small Nude Man. Probably a study from the model. 

Mentioned by Hofstede de Groot, Urkunden tiber Rembrandt, No. 370. 
Sale. Amsterdam, September 22, 1694 (Hoet, i. 21), No. 73 (o florins 15). 

283^. A Fisherman. 

Sale. W.van Haansbergen, The Hague, June 19, 1755, No. 250 (2 florins 15, 
Hasebroek). 

283*. A Man with an Oriental Turban. His features resemble 
those of Rembrandt. On his hand he holds an eagle or other bird of prey. 
Vigorously painted. 

Canvas, 31 inches by 25 \ inches. 

Sale. J. de Kommer, Amsterdam, April 15, 1767, No. 3 (2 florins 10, 
Schouten). 



xxn REMBRANDT 



171 



284. A Grey- Bearded Fisherman. He offers a fish for sale, taking 
it with his left hand from the full tub. Behind him to the right, a boy 
looks on curiously. The fisherman is seen in full face ; he wears a black 
cap and has his sleeves turned up. Half-length, life size. 

Canvas, 43 inches by 37 inches. 

Salt. H. Woltcrs, Amsterdam, May 4, 1757, No. 17, 

In the collection of B. Cronenburgh, Amsterdam. 

In the collection of G. Winklcr, Leipzig, 1768 catalogue, No. 468. 

284*7. A Young Man with a Gold Coin in his Right Hand. 
He wears a red velvet cloak and a black velvet cap. Half-length, in full 
face. Cleverly painted. 

Canvas, 23 inches by 20 inches. 

Sale. J. van dcr Linden van Slingeland, Dordrecht, August 22, 1785, 
No. 326. 

284^. An Old Man with Game and Poultry. Very well painted, 
and in good preservation. 

Sale. C. A. de Calonnc, London, March 23, 1795. 

284*-. An Old Sailor with a Moustache. 
Panel, uj inches by 9 inches. 

Sale. J. A. Bcnnet, Leydcn, April 10, 1829, No. 48 (12 florins, Chaplin). 

284^. The Spectacle-Dealer. Finely rendered. Possibly a painted 
copy of the etching, Bartsch 129 [Hind 139, "The Quacksalver"]. 
Canvas. 

Probably identical with the "Spectacle-Seller," which had been sold as early 
as 1640, and which is mentioned by Hofstedc dc Groot, Urkunden liber Rem- 
brandt, No. 76. 

Sale. Brussels, September 17, 1855, No. 63. 

285. The Painter's Colour-Grinder. 

Exhibited at Manchester, 1857, No. 913. 
Then in the collection of P. Norton, London. 

286. A Man in a Plumed Hat, with Hawk on Wrist. Wb. 
266. Of singular depth of warm colouring. If it was identical with " The 
Falconer," in the sale of L. Lesser, London, February 10, 1912, No. 181, 
it was not the work of Rembrandt. 

In the Wombwell collection, London, 1854 ; see Waagen, ii. 308. 

287. A Sportsman with a Hawk on his Left Wrist. He wears 
a large cloak of brown velvet with a black collar falling like a "pelerine" 
or long cape on the shoulders and the green doublet. On his breast is a 
double gold chain, below which hangs a knight's cross. Beneath tl. 
the girdle, in which rests the thumb of the gloved right hand. The man 
wears a large broad felt hat with a red velvet lining and a large plume. 

Canvas, 39^ inches by 32 inches. 

In the collection of Lord Coventry, London. 



1 72 . REMBRANDT SECT. 

Sales. George, Paris, 1853 (6100 francs) ; see C. Blanc, ii. 500. 

Giljdnet, Paris, April 18, 1863, No. 85 (10,000 francs, bought in). 

288. A Man of about Fifty. Sm. 393. He looks like a labourer. 
He is seen almost in full face. He has a bushy beard and curly hair ; his 
jacket is open at the breast. 

The original is lost. Described by Sm. from a print by J. G. Hertel. 

289. A Turkish or Armenian Merchant. Sm. 410. He wears 
his national costume, a small turban, an embroidered cloak buttoned in 
front and girt with a sash, and a fur-lined cloak. Full length. He holds 
a cane in one hand ; the other hand is on his hip. 

The original is lost. Described by Sm. from a print by G. Longhi. 
Possibly the original was a Rubens; see note 91 to the comparative table on 
Sm. 433. 

290. A Middle-Aged Man. Sm.466 ; B.-HdG.468. He seems to 
be talking vivaciously. Seated in his arm-chair on his dressing-gown, which 
he has thrown off behind him, he turns to the left. His right arm rests on 
the arm of the chair, with the hand outstretched to the right with a speaker's 
gesture ; his left hand is on his hip. He wears a slashed cap of purplish 
red, adorned with a white plume. Over his black doublet he has a bluish- 
green coat ; round his shoulders is a light grey shawl with many folds, 
which reaches to his knees and is bound round his hips with a narrow red 
band. On his breast are a gold chain and a ruby brooch. Brown back- 
ground, illuminated on the right. Life size to the knees. 

The picture is tentatively assigned by W. R. Valentiner, Klassiker der 
Kunst, p. 541, to Willem Drost, on the strength of an engraving by 
J. F. de Frey, inscribed: "Drost pinxit 1654." I n tne sa ^ e f H. van 
Maarseveen, Amsterdam, October 28, 1793, No. 4, a picture agreeing 
with the above description, was catalogued as a copy by Drost after 
Giorgione. Copies drawn by J. de Frey and J. Lauwers also name Drost 
as the painter. In the place where the picture hangs, the author has been 
unable either to form a definite conclusion as to its authenticity, or to 
confirm its likeness to the authentic works of Drost. If it is genuine, it 
was painted about 1655. 

Canvas, 41 J inches by 36 J inches. 

In the collection of Baron James de Rothschild, Paris. 

In the collection of Baron Edouard de Rothschild, Ferrieres. 

291. A MAN'S PORTRAIT. Sm. 348 ; Bode 180 ; Dut. 426 ; 

Wb. 1 29 ; B.-HdG. 460. An elderly man of fifty-five or sixty, in a medi- 
tative attitude, with his hands clasped. He sits, inclined slightly to the left 
and looking thoughtfully aside, beside a table on the left. A closed book lies 
on the brownish-red table-cover. He wears a dark fur cloak, and has a 
dull red cap on his grey hair. His full beard, clipped close, is turning grey. 
Dark background. Strong light comes almost from the front. Half-length, 
life size. " Nothing ever came from the pencil of the painter more perfect 
in art than this portrait ; the breadth and style of its execution are truly 
wonderful" (Sm.). 

Signed, "Rembrandt f. 1659" ; canvas, 39 inches by 32 J inches. 



xxn REMBRANDT 



'73 



Exhibited in the British Institution, London, 1815, No. 33 ; 1832, No. 48 ; 
1843, No. 101 ; 1851, No. 19. 

Mentioned by Vosmaer, pp. 268, 549 ; by Bode, pp. 536, 584 ; by Dutuit, 
p. 32 ; by Michel, pp. 450, 556 [349-5 o > 43*]- 

In the collection of N. W. Ridley [Colborne, 1836]. 

In the collection of Lord Colborne, who bequeathed it in 1854 to the 
National Gallery. 

In the National Gallery, London, 1911 catalogue, No. 243. 

292. AN OLD MAN IN AN ARM-CHAIR, THOUGHT- 
FULLY LEANING HIS BALD HEAD ON HIS RIGHT 
HAND. Sm. 326; Bode 151; Dut. 422 ; Wb. 178; B.-HdG. 381. 
He is about sixty. He sits in a wooden arm-chair, in full face, inclined to 
the right. He rests his right elbow on the arm of the chair ; his left hand 
grasps the boss of the other arm. He has a full grey beard. Hi- 

purple cloak lined with ermine, under which at the breast and wri- 
seen a bright red coat. Dark brown background. Bright light falls from 
the left on the forehead and, crossing the face, on the shoulder and left 
hand. Three-quarter length, life size. 

Signed at top to the right, "Rembrandt f. 1652 ' ; canvas, 44^ inches 
by 35 inches. 

Engraved in mezzotint by C. Phillips. 

Exhibited at Amsterdam, 1898, No. 85 ; at the British Institution, London, 
1837, No. 55 ; at the Royal Academy Winter Exhibition, 1876, No. 243, and 
1899, No. 54. 

Mentioned by Bode, pp. 515, 580 ; by Dutuit, p. 44 ; by Michel, p 

555 [336, 434 

In the collection of the Duke of Devonshire, formerly at Chiswick House, 
now at Devonshire House, London ; it was in this collection in 1836 (Sm.). 

293. AN OLD MAN ASLEEP AT THE FIRESIDE. 
Dut. 355 ; Wb. 363 ; B.-HdG. 8. In a bare room an aged man, with 
the features of Rembrandt's father, sits to the right near a large hearth in 
which a fire burns. He has crossed his legs, and dozes with his head 
resting on his right hand. He wears a greyish-brown cloak over a dark 
purple coat, and a tall hat like a turban. On the floor in front of the 
hearth are an earthenware pot and a pair of tongs. On the wall hangs a 
dead snipe. A small full length. [Possibly identical with 293 h. Cf. 301.] 

Signed at foot with the monogram, li R H L 1629"; oak panel, 
20 J inches by 16 inches. 

Etched in reverse as the work of J. Lievens by A. Moitte in the Le Brun 
Gallery. 

Mentioned by Bode, pp. 368, 646 ; by Dutuit, p. 

In the Destouches collection. 

In the possession of the Paris dealer J. B. P. Lc Brun. 

Sale. (Possibly) H. Stokvisch, C. Hcnning, and others, Amsterdam, May 
22, 1823, No. 108 (100 florins, Brondgeest). 

In the Turin Museum, 1909 catalogue, No. 393 ; probably taken from the 
store-room. 

293*7. A Youth blowing Soap-Bubbles. 

24! inches by 20^ inches. 



i 7 4 REMBRANDT SECT. 

Sale. Jacques de Roore, The Hague, September 4, 1747 (Hoet, ii. 208), 
No. 107 (140 florins, Hoet). 

293^. A Youth looking out of the Window. [Possibly identical 
with 295.] 

32 inches by 24^ inches. 

Sale. Jacques de Roore, The Hague, September 4, 1747 (Hoet, ii. 208), 
No. 1 08 (125 florins, De Wit). 

293*:. An Old Man smoking. He holds a glass. 
I2j inches by 8J inches. 

Sale. (Supplementary) B. Cronenburgh and others, Amsterdam, March 22, 
1762, No. *23. 

293^. Portrait of a Young Man. Half-length. He holds a piece 
of bread in his hand, and carries his hat under his arm. Probably of the 
early period. 

Mentioned by Dutuit, p. 5. 

Sale. De Julienne, Paris, March 30, 1767 (133 francs). 

293*. A Young Peasant holding a Linseed Cake. 

Sale. The Hague, April 29, 1769, No. 48 (2 florins 14). 

2o,3/. A Man with a Flute in his Hand. Delicately rendered 
and vigorously painted. 

Sale. The Hague, April 13, 1771, Letter S., No. 8. 

293^. Head of an Old Man. With a grey beard ; looking up 
with emotion. Finely rendered with delicate brush-strokes. Some thought 
it the work of A. van Dyck. 

Canvas on panel, 13 J inches by ii inches. 

Sale. G. Braamcamp, Amsterdam, July 31, 1771, No. 176 (92 florins, A. 
van Aalst). 

293^. A Man seated by the Fireside. [Possibly identical with 

2 93-] 

Panel, 19 J inches by 17 inches. 

Sale. J. M. Quinkhard, Amsterdam, March 15, 1773, No. 12 (25 florins). 

294. An Old Man looking at something attentively. Wb. 447. 
Half-length. He has a long white beard and wears a cap. He rests 
both hands on a stick. Very naturally painted. 

Dated 1631 ; panel, 26 J inches by 2iJ inches. 

Sale. Nicolaas de Bruyn, Leyden, May 10, 1774, No. 3 (34 florins). 

2940. Head of an Old Man looking up with Emotion. Well 

rendered with a delicate brush. 
Panel, 31 inches by 20 J inches. 
Sale. G. J. de Servais, Malines, July 21, 1775, No. 112 (100 florins 16). 

294^. A Man who seems to be unwell. He clings to a table on 
which are an. earthenware jug and a glass. Vigorously painted. 



xxn REMBRANDT , 75 

Panel, 10 inches by 7^ inches. 

Salt. Amsterdam, October 30, 1780, No. 47 (12 florins, Fouquct). 

295. A Youth looking out of the Window. Sm. 262. He 
leans on the sill, with a cushion under his arm. He wears a rich costume 
and a cap adorned with pearls and jewels. [Possibly identical with 293^.] 

Panel, 31 inches by 23^ inches. 

Sale. P. Locquet, Amsterdam, September 22, 1783, No. 311 (299 ii 

295*. An Old Man praying". In Eastern dress. 

In the picture gallery, Potsdam, 1786, No. 174 ; see Nicola'f, iii. 1212. 

295^. An Old Man in an Arm-Chair. Beside a table on which 
stands a glass of beer near a copper candlestick. Masterly in handling. 
Panel, 15^ inches by 12* inches. 

Sale. Amsterdam, June 16, 1802, No. 145 (23 florins 10, Reycrs). 

295^. A Youth holding a Dove. 

Sale. A. Delfos and others, The Hague, June 10, 1807, No. 82. 

295^. A Thoughtful Old Man. Vigorous and broad in style. 
Panel, 32} inches by 24 inches. 

Sale. B. Papenhuijzen, Dordrecht, August 23, 1841, No. 39. 

296. AN OLD WOMAN WEIGHING MONEY. Sm. 168 ; 
Bode 91 ; Dut. 397; Wb. 84; B.-HdG. 304. An old woman 
turned to the right, at a table covered with a greenish carpet. With the 
left hand she puts a gold coin on a balance which she holds in her right 
hand and watches closely. She wears a brownish-purple dress trimmed 
with fur, and a long white veil on her head. On the table are several 
ornaments ; behind to the right is a brownish-red curtain. By the wall is 
an open cabinet with various articles of furniture. Strong light falls from 
above to the left on the figure. Three-quarter length, life size. 

Signed at top to the left, perhaps by a later hand, " Rembrandt f. 
1643' ; canvas, 45 inches by 39 J inches. 

Etched by A. Riedcl in 1754, by A. H. Riedel in 1814, by J. van dcr 
Bruggen, by W. Baillie, by G. F. Schmidt. 

Mentioned by Vosmaer, pp. 253, 533 ; by Bode, pp. 468, 570 ; by Dutuit, 
p. 28 ; by Michel, pp. 303, 553 [232, 438]. 

Sale. G. Uilenbroek, Amsterdam, October 23, 1741, No. 11. 

In the Electoral Gallery, Dresden ; in the 1754 inventory. 

In the Royal Gallery, Dresden, 1908 catalogue, No. 1564. 

297. A WOMAN WITH A KNIFE (or, Rembrandt's 
Cook). Sm. 594 ; B.-HdG. 465. She is about forty-five. She stands 
at a window ; the casement is opened inwards. Her left hand, holding a 
knife, rests on the sill ; she holds her unseen right hand on the side of the 
window and looks attentively down to the left. She has very red and 
vulgar features and dark eyes. She wears a red dress over a white bodice, 
which shows a red under-garment at the throat, and a thick red hood 
lined with brown over her hair, which is smoothly combed back. A broad 



176 REMBRANDT SECT. 

white kerchief round her shoulders hangs down loosely in front. She wears 
small ear-rings. Strong light falls from the left. Dark background. Half- 
length, life size. Painted about 1655-57. 
Canvas, 29^ inches by 24! inches. 

An old copy is in the Caen Museum, No. 143. 

Exhibited at Amsterdam, 1898, No. 92 ; at the British Institution, London, 
1822, No. 23 ; at the Royal Academy, 1907, No. 58 ; and at the Grafton 
Galleries, 1911, No. 59. 

Mentioned by Michel, pp. 447, 563 [347, 435]. 
Sales. Blondel de Gagny, Paris, December 10, 1776. 

Lapeyriere, Paris, April 14, 1817, No. 8 (Lord Radstock). 

Lord Radstock, London, May 12, 1826 (79 : i6s.). 

E. W. Lake, London, 1845 (115:105., bought in), and 1848 

(29 : 8s., Earle). 

In the collection of Mrs. Martineau, London, 1875. 
Sale. Nieuwenhuys, London, July 17, 1886 (173 : 5s., Sedelmeyer). 
In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 300 
Paintings," 1898, No. 144. 

In the collection of Leopold Goldschmidt, Paris. 

In the possession of the London dealers T. Agnew and Sons. 

In the collection of F. C. K. Fleischmann, London. 

In the collection of Mrs. Fleischmann, London. 

298. A WOMAN PLUCKING A FOWL. Sm. 164; Dut. 
385 ; Wb. 293 ; B.-HdG. xviii. She sits, inclined slightly to the left, 
and holds on her lap with the unseen left hand a fowl whose feathers she 
is pulling out with the right hand. Her eyes are cast down. She wears 
a steely-blue dress, trimmed with fur, and partly open at the throat, an 
apron, and a red kerchief on her head. In a window-recess in the wall to 
the left is a dish ; a musket stands leaning against the recess. Full length ; 
life size. Painted about 1640. The picture had been repainted early in 
the eighteenth century. Among other changes, the woman was given the 
features of Rembrandt's mother, the right wing of the fowl was altered, the 
woman's left hand was placed upon the fowl, and the recess with the dish and 
musket was covered up. 

Signed, " Rembrandt f." ; canvas, 53 inches by 42 inches. 

Engraved in mezzotint by R. Houston after the repainting ; engraved by W. 
Baillie [as "Rembrandt's Mother"]. 

Mentioned by Bode in the Cicerone of July 1912 ; by A. Bredius in the 
Burlington Magazine, vol. xxi. p. 164 (June 1912) and p. 359 (September 
1912), and vol. xxii. p. 121 (November 1912) ; by F. Kleinberger in the Bur- 
lington Magazine, vol. xxi. p. 296 (August 1912), and vol. xxii. p. 49 (October 
1912) and p. 122 (November 1912) ; by Hofstede de Groot in Onze Kunst, 
1912, p. 178. 

Exhibited in Florence, 1737, p. 8 of the catalogue, and 1767, p. 19 of the 
catalogue ; in the British Institution, London, 1861, No. 17. 

Sale. Willem Six, Amsterdam, May 12, 1734 (Hoet, i. 419), No. 169 (165 
florins, Wilkens). 

In the collection of Francis Charteris, Earl of Wemyss [where Houston 
engraved it]. 

In the collection of Ralph Willett. 



xxn REMBRANDT 






Sales. J. W. Willett, London, May 21, 1813, No. 124 (95 : i is., bought 

in). 

London, April 8, 1819, No. 124 (57 Stewart). 

Andrew Geddes and others, London,; May 23, 1835, No. 94 

C99 : '5 s -. bought in). 
Andrew Geddes, London, April 12, 1845, No. 646 (325:105., 

bought in). 

In the collection of the widow of A. Geddes, London, 1861. 
Sales. Baron de Bcurnonville, Paris, June 3, 1884, No. 295 (14,000 

francs, Madame Levaigneur). 
Madame Levaigneur, Paris, May 2, 1912, No. 29 (480,000 francs, 

Kleinberger). 
In the possession of F. Kleinberger, Paris. 

299. A YOUNG MAID-SERVANT WITH A BROOM. 

Sm. 177; Bode 348; Dut. 410; Wb. 415; B.-HdG. 398. A young 
girl of thirteen or fourteen leans with folded arms on a fence. In her left 
hand she holds a broom against the fence, and looks attentively at the spec- 
tator. She wears a white chemisette with full sleeves and a red bodice. In 
her fair auburn hair is a white ribbon. An upturned pail hangs on the 
fence to the right ; to the left, apparently, is the upper part of a jug. Dark 
background. Strong light falls from above to the left on the right half of 
the face and on the arms. Half-length, life size. 

Signed on the edge of the pail, "Rembrandt f. 1654 (or 1651)"; 
canvas, 43^ inches by 36^ inches. 

Etched by N. Mossoloffin La Rembrandts de f Ermitage. 

Mentioned by Bode, pp. 504, 603 ; by Dutuit, p. 39 ; by Michel, pp. 393, 
567 [303-4, 441]. 

In the Crozat collection, Paris ; bought from it by the Empress Catherine II. 
for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 826 [valued there 
by Sm. in 1836 at .315]. 

299*. A Maid-Servant. 

Mentioned by Hofstede de Groot, Urkunaen liber Rembrandt, No. 322. 
In the collection of Jan Boursse, Amsterdam, who died November 24, 1671 ; 
mentioned in the inventory of his effects. 

299^. A Woman with an Infant. 

In the collection of Abraham Hcyblom, Dordrecht ; in a 1685 inventory, 
No. 44. See A. Bredius, Oud Holland, 1910, vol. xxviii. p. 12. 

300. Study of a Female Model. 

Mentioned by Hofstede de Groot, Urkunden liber Rembrandt, Nos. 80 and 

33- 

It is uncertain whether two of the following were identical : 

In the collection of Rembrandt, Amsterdam ; in the inventory of his effects 

on July 25, 1656, No. 80, and also No. 303 (small). 

Sale. Amsterdam, September 22, 1694 (Hoet, i. 21), No. 62 (12 florins). 

300*. A Shepherdess. 

Sale. Amsterdam, April 17, 1708, No. 362. 
VOL. vi N 



178 REMBRANDT SECT. 

300^. A Woman putting her Child to Bed. 

In the collection of J. Merian, Frankfbrt-on-Main, 1752 (Hoet, ii. 349), 
No. 129 ; then being offered for sale by J. Heldewir (for 225 florins). 

3OOf. A Woman looking through a Magnifying-Glass. 
37J inches by 28J inches. 

Sale. P. J. Snijers, Antwerp, May 23, 1758 (Terw. 202), No. 38 (30 
florins). 

300^. An Old Woman with Game and Poultry. Extraordi- 
narily rich in colour, carefully rendered, and well preserved. 

Sale. C. A. de Calonne, London, March 23, 1795, No. 18 (2$ : 2s.). 

301. The Miserly Woman (or, Avarice). Sm. 186. She sits in 
front of a boarded partition, in the light of a dying fire. With pursed 
mouth, she looks at the spectator. In her right hand she holds an object 
described by Ch. Blanc as a money-bag. In front of her stand a pot of 
money and an oil lamp on a tall stand. From the chimney-piece hang a 
bundle of onions and a dead duck. On the window-sill, which cuts off the 
scene at the lower edge, lie piles of money and a bond. A dog, lying on 
a money-bag, looks grimly at the spectator. To judge from the print, 
it may very well be an early work in the style of the " Old Man asleep " 
at Turin (293). 

[Canvas, according to Sm.], 44 inches by 33 inches; Ch. Blanc, ii. 214, 
gives the size as 47 \ inches by 40 inches. 

Etched by A. Cardon fils, 1792. 

Sale. Fran9ois Pauwels, Brussels, August 22, 1803, No. 75 (186 francs 13 
probably florins, for Blanc gives the price as 400 francs [and 
Sm. the price as 186 florins, or 16] Lafontaine). 

301^. A Young Woman. Half-length. In one hand she holds a 
crystal glass ; with the other hand she covers up a pile of gold and silver 
coins. 

Panel, 31 inches by 19 J inches. 

Sale. T. Loridon de Ghellinck, Ghent, September 3, 1821, No. 145. 

302. A Young Mother. Sm. 176; Dut. 393. She wears a red 
cap and a brown jacket with red sleeves. She sits holding an infant in her 
lap. A " masterly finished study " (Sm.). 

Signed in full, and dated 1640 ; panel, 10 inches by 9 inches. 

Exhibited at the British Institution, London, 1828, No. 85, and 1835, 
No. 90. 

Sale. Comte Pourtales, London, 1826 (36 : 155.). 
In the collection of Peter Rainier, 1836 (Sm.). 
Sale. Peter Rainier, London, 1845 ($2 : IDS., Smith). 
In the collection of H. Labouchere, London, 1845. 
Sales. P. van Cuyck, Paris, February 7, 1866 (Dutuit). 

London, 1873 as a "Daughter of a Burgomaster" from the 
Pourtales collection (T. Agnew and Sons). 

303. An Old Beggar- Woman. Sm. 183. She stretches out her 



xxn REMBRANDT 179 

right hand, begging for an alms. She wears a kerchief wound round her 
head like a cap, and a dress which leaves part of her bosom exposed. Half- 
length, full face. 

The original is lost ; described from the print. 

Etched by G. F. Schmidt as "La Poilleuse," and by Thanert. 

304. A Morisco Woman with a Vase. Sm. 187. 

The original is lost ; desc: ^m. from an anonymous print. 

305. A YOUNG WOMAN IN BED [officially entitled; 
Hendrickje Stoffels]. Sm. 151 ; Bode 223; Dut. 405; VVb. 220, 
B.-HdG. 435. She bears the features of Hendrickje Stoffels. Leanin 

her right arm, she raises herself lightly from her pillow and pushes aside a red 
curtain with her left hand. Her hair is confined in a head-dress of silver 
net, from which hangs a clasp set with precious stones. Full light from 
the left falls on the bare shoulder and arm ; the larger half of the face 
and the neck are in shadow. Warm brown background. Half-length, 
life size. 

Signed on the left at foot, "Rembrandt f. 1657" (the last figure is 
not quite clear) ; oak panel, rounded at top, 32 inches by 26 inches. 

Copied by J. E. Liotard in 1757 in a pastel portrait of its owner, Franfois 
Tronchin, beside whom the picture stands on an easel. See Humbert, La Vie de 
J. E. Liotard, Amsterdam, 1897, p. 129; with a reproduction of the pastel, 
now in the Tronchin collection at Bessinges. 

Engraved in mezzotint by Richard Cooper the younger, 1777; engraved 
in line by an unknown hand when in the Maynard collection ; engraved on 
wood by Jonnard for the Magazine of Art \ 1893. 

Mentioned by Vosmaer, p. 547 ; by Bode, p. 588 ; by Dutuit, p. 47 ; by 
Michel, pp. 39. 555> 55.8 [302, 431]. 

Exhibited at the British Institution, London, 1865, No. 109 ; in the Royal 
Academy Winter Exhibition, London, 1883, No. 235. 

In the collection of the Prince de Carignan of Turin, Paris, July 30, 1742. 

In the collection of Fran9ois Tronchin, Geneva, i 

In the Vitturi collection, Venice, No. 34; see Buchanan, i. 329. 

In the collection of Lord Maynard, London. 

In the collection of Lady Mildmay, London, 1836. 

In the collection of Sir H. St. John Mildmay, London, 1883. 

Salt. C. J. Wertheimcr, London, March 19, 1892 ($150, W. M*Ewan, 
M.P.) [the official Edinburgh catalogue states that the picture 
was bought in, and sold privately a few days later for S77S to 
W. M'Ewan] ; presented by the purchaser to the Scottish National 
Gallery, 1892. 

In the Scottish National Gallery, Edinburgh, 1909 catalogue, No. 31. 

306. A WOMAN BATHING. Sm. 165 ; Bode 173 ; Dut. 407 j 
Wb. 124; B.-HdG. 353. She has stepped down from the steep bank 
into the water, carefully holds up her chemise with both hands and looks 
in front of her. A red dress trimmed with gold lies behind her to the 
left on the bank, which appears to be overgrown with bushes on the right. 
Strong light falls from above to the left on 7he figure. A small full-len 

A "masterly production" (Sm.). 



180 REMBRANDT SECT. 

Signed on the bank to the left, "Rembrandt f. 1654"; oa ^ panel, 
24 inches by 18 inches. 

Engraved by P. Lightfoot in Jones's National Gallery. 

Mentioned by Vosmaer, pp. 320, 551 ; by Bode, pp. 486, 583 ; by Dutuit, 
p. 32 ; by Michel, pp. 391, 556 [302, 431] ; by Waagen, i. 354. 

Sale. Lord Gwydyr, London, March 10, 1829 (173 : 55., Holwell Carr). 

In the collection of the Rev. William Holwell Carr ; bequeathed with the 
collection in 1831 to the National Gallery. 

In the National Gallery, London, 1911 catalogue, No. 54. 

307. A YOUNG WOMAN, WITH SASKIA'S FEATURES, 
AT HER TOILET. B.-HdG. 159. She sits, seen in full face, behind 
a little toilet-table and looks at the spectator as she laces her bodice. Her 
dark brown hair, confined by a gold hoop and three gold clasps, falls in 
curls on either side of her head. Her dark green dress with slashed sleeves 
leaves her throat and part of her breast exposed. A cloak of an indefinite 
golden brown colour falls over her left shoulder. She wears a string of 
pearls round her neck and a single pearl in her ear. On the red table- 
cover stand a mirror, seen from the side, and a jewel case ; near these lie a 
comb and a ring. Above, to the left, is part of a curtain. Bright light 
falls from above on the face and breast. Half-length, life size. Painted 
about 1635. 

Signed half-way up on the right, " Rem . . . " ; oak panel, 29 inches 
by 25 inches. 

Etched by K. Koepping. 

Mentioned by Michel, p. 565 [440]. 

Exhibited at Amsterdam, 1898, No. 40; at the Royal Academy Winter 
Exhibition, London, 1899, No. 76 ; at the National Loan Exhibition, London, 
1909-10, No. 43; [at the French Gallery, London, 1915, No. 15]; at the 
Royal Gallery, The Hague, 1889-1901, 1895 catalogue, No. 552. 

In the Duclos collection, Paris. 

In the collection of E. Secretan, Paris. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 300 
Paintings," 1898, No. 131. 

In the collection of Dr. A. Bredius, The Hague. 

In the collection of Edmund Davis, London. 

308. AN OLD WOMAN CUTTING HER NAILS. Sm. 

180; Wb. 425 ; B.-HdG. 477. She is sixty or seventy years of age. 
She sits, seen in full face, in an arm-chair in front of an untidy bed. She 
rests her right elbow on the arm of the chair and, looking down to the 
left, is carefully cutting the nail of her left forefinger. She wears a white 
cap under a large yellow kerchief, and a loose brown cloak lined with fur, 
which reveals a dark dress open at the throat to show the chemisette and a 
yellow undergarment. The red dress and chemisette are also seen at the 
wrists. Strong light falls from above. Dark background ; more than 
three-quarter length, life size. 

Signed on the left at foot, "Rembrandt f. 1658"; canvas, 50 inches 
by 40 inches. 

Engraved in mezzotint by J. G. Haid ; etched by N. Mossoloff. 



xxn REMBRANDT 181 

Exhibited at Amsterdam, 1898, No. 101. 

Mentioned by Vosmaer, p. 544 ; by Michel, pp. 449, 563 [347-8, 435]. 
In the Ingham Foster collection, England. 
In the Bibikoff collection, Pctrograd. 
In the collection of N. Mossoloff, Moscow. 

In the collection of Rodolphe Kann, Paris, 1907 catalogue, No. 67. 
In the possession of the dealers Duveen Brothers, New York. 
In the collection of Benjamin Altman, New York ; bequeathed as a whole 
in October 1913 to the Metropolitan Museum. 
In the Metropolitan Museum, New York. 

309. A COMELY YOUNG WOMAN. Bode 339 ; Dut. 409 ; 
Wb. 413 ; B.-HdG. 400. She has fair hair. She sits, turning half-left, 
in a red arm-chair, and studies in the black-framed mirror before her the 
effect of an ear-ring which she is putting on. The mirror is supported 
against a dark red cushion on a table with a dark cover. She holds the 
pearl between the palms of her hands and bends her head down slightly 
towards the left shoulder. She wears a pink gown and a white kerchief, 
a gold bracelet on either arm, and a string of pearls in her hair. A brown 
drapery hangs before the grey wall on the right. Full light falls from the 
left on the upper part of the figure. Half-length, about half life size. The 
picture is a copy by Rembrandt himself of a portion of 337 (Buckingham 
Palace). 

Signed on the cushion close to the mirror, "Rembrandt f. 1654"; 
oak panel, 16 inches by 13 inches. 

Etched by N. Mossoloff in Les Rembrandt* de FErmitage. 

Mentioned by Vosmaer, p. 558 ; by Bode, pp. 504, 602 ; by Dutuit, p. 39. 

Sales. (Possibly) Coenraad Baron Drostc, The Hague, July 21, 1734 (Hoet, 

i. 426), No. 49 (50 florins). 
Godefroy, Paris, April 22, 1748 (Agard). 

In the collection of Comte Baudouin, Paris ; acquired with it by the 
Empress Catherine II. for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 817. 

310. A Young Woman at her Toilet. B.-HdG. 192. She is 
about twenty-five. She stands, turning half-left and leaning her left hand 
on a table with a red cover, before a mirror in an ebony frame, held out by 
an old woman standing a little way back on the left. She wears a rich 
golden-yellow dress trimmed with red, and partly exposing the throat and 
bosom, with full white and red sleeves, and a small cap with several 
coloured plumes from which depends a long black veil caught up at the 
waist. She has a string of pearls on her head, another round her neck, a 
pearl in her ear, and a gold brooch with a large stone at her bosom. 
Behind her to the right is a curtain. The maid-servant, in a large black 
hood, looks inquiringly at her. Bright light falls from the left on the 
young woman's head and bosom. Small half-length figures. If it is 
genuine, it was painted about 1637-38. The attribution is not quite 
certain. 

Oak panel, 16 inches by 12 inches. 

A copy, life size, by the little-known painter Thomas Mathias, is in the 
castle of Frcdensborg, Copenhagen, catalogue No. 84. 



1 82 REMBRANDT SECT. 

In the collection of Comte Baudouin, Paris, 1788 ; acquired with it by the 
Empress Catherine II. for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 833. 

311. A YOUNG WOMAN AT HER TOILET [formerly 
called The Jewish Bride]. 8111.4945 Dut. 366 ; B.-HdG. 69. She 
sits facing the spectator, inclined to the right, but with the head in full face. 
She wears a sleeveless mantle of a strong brownish red, lined with golden 
yellow, and embroidered with gold in broad strips. Under the mantle is 
a light purple gown also embroidered with gold, with full muslin sleeves 
having more gold embroidery. A clasp with a pale blue plume is in her 
dishevelled hair, which an old maid-servant in dull green, standing behind 
her, is in the act of combing. Behind her is a table with silver-ware, 
ornaments, books, and other objects ; beyond the table hangs a dull purple 
curtain. Against the wall to the right, which is divided by pilasters, is a 
bench with a cushion. Small full-length. 

Signed in the centre at foot on the step, "Rembrandt f. 1632"; 
canvas, 43 inches by 37 inches. 

The sketch for this picture is in the Albertina, Vienna, HdG. 1453. 
Exhibited at the British Institution, London, 1818, No. 35. 
Mentioned by Vosmaer, p. 495 ; by Dutuit, p. 15 ; by Michel, pp. 169, 
560 [130, 430] ; by Moes, Iconographia Batava, No. 6686, 8. 

Sales. Madame de Bandeville, Paris, December 3, 1787 (1800 francs). 

Lord Rendlesham, London, June 20, 1806 (367 : ios., bought in). 
Earl of Mulgrave, London, May 12, 1832 (120 : 153., Seguier). 
Sir W. W. Knighton of Blendworth Lodge, London, May 21, 1885. 
In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 300 
Paintings," 1898, No. 120. 

In the collection of Prince Liechtenstein, Vienna. 

311*. A Courtesan at her Toilet. 

Mentioned by Hofstede de Groot, Urkunden uber Rembrandt, No. 169. 
In the collection of Rembrandt, Amsterdam ; in the inventory of his effects 
for sale, July 25, 1656, No. 39. 

31 1. Study of a Nude Woman. 

In the inventory of the effects left by Lambert Doomer, who died at 
Amsterdam, July 2, 1 700. See Bredius in La Revue de F Art Anc'ien et Moderne, 
xxviii. 413. 

3 1 if. A Woman admiring herself at her Toilet -Table. 

[Possibly identical with 309.] 

Mentioned by Hofstede de Groot, Urkunden Uber Rembrandt, No. 404. 
In the collection of Coenraad Droste, before 1717. 

Sale. Coenraad Baron Droste, The Hague, July 21, 1734 (Hoet, i. 426), 
No. 49 (50 florins). 

312. A Young Lady with Flaxen Hair. Sm. 170. She stands 
almost in full face, fastening her right sleeve. She has pearls in her hair, 
and wears a white kerchief, a dark dress, and a greenish mantle. On the 
table are a mirror and a vase, near an open window. " A brilliant and 
beautiful work " (Sm.). 



xxn REMBRANDT 183 

Panel, 39 inches by 31 1 inches. 

In the collection of J. Berkeley Owen, 1836 (Sm.). 

313. AN AGED WOMAN [formerly called Rembrandt's 
Aunt]. Sm. 575. She sits in a thoughtful attitude before a large book, 
which she holds with both hands ; her head is inclined a little to the 
right. She wears a fur cap over a kerchief striped in blue and white, 
and a heavy brown fur cloak over a purplish -grey bodice, open at 
the throat to show the finely pleated chemisette. Half-length, strongly 
illumined from the left. Painted about 1630. 

Panel, 10 inches by 8 inches. 

Etched by Weiss after a drawing by M. Kellcrhoven, 1798. 

Mentioned by Hans Naumann in the Zeitschnft fllr bildende Kunst, October 
1908 ; by Hofstede de Groot in Onze Kunst, 1909, p. 176, and 1912, p. 184. 

In the collection of Count Schall Riaucourt, Gaussig ; it was there in 
1798. 

314. An Old Woman with Clasped Hands. B.-HdG. 375. 
About sixty. She looks down to the right. Her hands are clasped at her 
breast as if in prayer. She wears a large white head-dress, and a white 
kerchief over a dull red dress. Bright light falls on the kerchief and head- 
dress, and on the right background. A small half-length. The little 
picture is now attributed to Karel Fabritius. If it is by Rembrandt, it 
was painted about 1650. 

Oak panel, 8 inches by 6 inches. 

Exhibited at Amsterdam, 1898, No. 88; at the Royal Academy Winter 
Exhibition, London, 1899, No. 24. 

In the Sideroff collection, Pctrograd. 

In the collection of Dr. A. Bredius ; exhibited on loan in the Royal Gallery, 
The Hague, 1910 catalogue, No. 610. 

315. AN OLD WOMAN IN A DARK HEAD-DRESS, 
READING. Sm. 548; Bode, 198; Dut. 331 ; Wb. 161 ; B.-HdG. 
395. About seventy. She sits, seen in full face, in an arm-chair, reading 
a large book bound in vellum, which she supports on her raised knee and 
holds with both hands. Her head is covered with a dark olive-green cap, 
lined with golden material, over a white kerchief. She wears a loose dark 
red mantle without sleeves, and a plain wrap. The light falls from above 
to the left across the head on the white wrap. Half-length, life 
Painted about 1654. 

Signed on the right at foot, " Re . . ." ; canvas, 32 inches by 26 
inches. 

Kngraved in mezzotint by James M'Ardell. 

Mentioned by Bode, pp. 536, 585 ; by Dutuit, p. 43 ; by Michel, pp. 448, 

557 [347, 432]- 

Exhibited at the British Institution, London, 1815, No. 27 ; at Amsterdam, 
1898, No. 93 ; in the Royal Academy Winter Exhibition, London, 
179, and 1899, No. 8. 

In the collection of the Duke of Buccleuch, Montagu House, London, 
since about 1750. 



1 84 REMBRANDT SECT. 

316. A WOMAN READING [formerly called The Pro- 
phetess Anna]. Sm. 592 ; Bode 115 ; Dut. 119 ; Wb. 112 ; B.-HdG. 
23. She sits in an arm-chair, in a three-quarter view to the right. She is 
reading a large Bible spread open on her lap, upon which rests her right 
hand; the left hand is not shown. She wears a purplish-red gown trimmed 
with fur. On her head is a hood covered with gold brocade and held fast 
with a parti-coloured Turkish scarf. Greyish background. Full light 
falls from the left on the book, which casts reflections on the face. 
Almost full length, under life size. She has the features of Rembrandt's 
mother. 

Signed with the monogram "RHL 1631"; oak panel, 24 inches 
by 19 inches. 

A copy was in the sale: Elector of Saxony, Amsterdam, May 22, 1765 
(Terw. 443), No. 142 (41 florins). 

Etched in reverse by J. G. van Vliet (Bartsch 18) ; etched by L. Ktihn in 
Bode, Bilderlese aus kleineren Gemalde-Sammlungen Deutschlands. 

Mentioned by Vosmaer, pp. 105, 490 ; by Bode, p. 381 ; by Dutuit, p. 31; 
by Michel, pp. 40, 554 [31-2, 439] ; by Moes, Iconographia Batava, No. 9404, 7. 

In the collection of Count SchSnborn, Pommersfelden ; in the 1719 cata- 
logue. 

Sale. Schonborn of Pommersfelden, Paris, May 17, 1867, No. 97 (12,500 
francs, Oldenburg Gallery). 

In the Grand Ducal Gallery, Oldenburg, 1890 catalogue, No. 192. 

317. A Woman of about Fifty-five. B.-HdG. 359. She is 
turned to the left with her face in profile. She holds in both hands a 
book, from which she looks up at the spectator. She wears a white 
kerchief round her head, and a red dress which exposes the pleated white 
chemisette at the throat. A fur cloak is thrown back on her shoulders. 
To the left is a window-sill. Full light falls from the left, across the 
head, upon the book. Half-length, life size. If it is by Rembrandt, it 
was painted about 1650. The attribution is not quite certain ; see 
Hofstede de Groot in Repertorium fur Kunstwissenschaft^ 1911, p. 372. 
[Pendant to 426.] 

Oak panel, 22 inches by 17 inches. 

A copy enlarged all round, under the name of Ferdinand Bol, is in the Orleans 
Museum. Another, under the name of Nicolaes Maes, is in the Montpellier 
Museum, 1890 catalogue, No. 712; it came from the collection of Prince 
DemidofF, San Donate. 

Exhibited at Amsterdam, 1898, No. 74 ; in Paris, 1911, No. 174. 

In the collection of the Marquess of Ely, London, 1891 (^346 : ios., Casella). 

In the possession of the London dealer M. H. Colnaghi. 

In the collection of Jules Porges, Paris. 

317*. A YOUNG WOMAN WITH A BOOK. She holds 
the book before her with her right hand, which is only seen in part. She 
is turned a little to the left. She has long curly hair, covered by a turban- 
like head-dress with a veil depending from it, and wears a dark fur-trimmed 
gown showing the chemisette at the bosom. Half-length, life size. 

Signed in full on the left and dated 1635 ; panel, square, with added 
corners, 26 inches by 20 inches. 



xxn REMBRANDT 185 

A replica without the book and hand is in the collection of M. von Gut- 
mann, Vienna ; see Valentiner, p. 61. 

Mentioned by Hofstede de Groot in Onze Kunst, December 1912, p. i~;. 

In the Fitzjames collection, England. 

In the Villa Cellamare, Naples. 

In the possession of the Munich dealer Bohlcr. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," xii. No. 21. 

318. AN OLD WOMAN WITH A BIBLE ON HER LAP. 
Sm. 539; Bode 328; Dut. 318; Wb. 417; B.-HdG. 478. About 
sixty or seventy. She sits turned a little to the right, and looks at the 
spectator. Her right hand rests on a book in her lap ; her left hand is 
between the leaves. She wears a brown dress with red over-sleeves and a 
large white hood falling on her shoulders. On a small stool to the left i< 
a handkerchief. Full light falls from above to the left on the head and 
hand. Dark brown wall, panelled below. Almost full length, life size. 
Painted about 1658. 

Canvas, 53 inches by 42^ inches. 

Etched by N. Mossoloffin Let Rembrandt* de FErmitage. 

Mentioned by Vosraaer, p. 552 ; by Bode, pp. 502, 600; by Dutuit, p. 39; 
by Michel, pp. 394, 566 [305, 441]. 

In the Crozat collection, Paris ; acquired with it by the Empress Catherine II. 
for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 804 [valued by 
Sm. in 1836 at 367 : ios.]. 

319. AN OLD WOMAN WITH A LARGE BOOK ON 
HER LAP. Sm. 491,519; Bode 331 ; Dut. 122; Wb. 420, 480; 
B.-HdG. 263. About sixty-five. She sits to the right, looking at the 
spectator, and clasps her hands on the book lying on her lap. She holds a 
pair of spectacles in the fingers of her left hand. Over a dull lilac satin 
gown, snowing the white chemisette at the throat, she wears a heavy 
black velvet mantle trimmed with broad gold embroidery and held together 
by a large gold brooch. On her head she has a dark red hood falling on 
her shoulders. On a table with a dull green cover to the right are a 
coloured wooden bowl, a black girdle, and a stick. On the wall above 
hangs a small wallet. Full light falls from the left on the head and hands. 
Dark background, illumined to the right. Almost full length ; under 
half life size. 

Signed on the right above the wallet, "Rembrandt f. 1643"; oa ^ 
panel, 24 inches by 19^ inches. 

A study in black chalk for this picture is in King Friedrich August II. 's 
collection of drawings at Dresden ; reproduced by Lippmann, 140^. 

Etched by G. F. Schmidt ; by N. Mossoloff in Les Rembrandts de f Ermitagf, 
and a second time on a larger scale. Lithographed by Dollet in Gohier- 
Desfontaines and P. Petit, La Galerie de /' Ermitage, i. 8. 

Mentioned by Vosmaer, p. 533 ; by Bode, pp. 460, 60 1 ; by Dutuit, p. 38 ; 
by Michel, pp. 306, 566. 

Sale. (Possibly) De Julienne, Paris, March 20, 1767 (3401 francs, Remy). 

Acquired by the Empress Catherine II. for the Hermitage. 



1 86 REMBRANDT SECT. 

In the Hermitage Palace, Petrograd, 1910 catalogue, No. 807 [valued by 
Sm. in 1836 at .420]. 

320. AN OLD WOMAN READING. Bode 263; Dut. 118; 
Wb. 233 ; B.-HdG. 22. She has the features of Rembrandt's mother. 
She sits, turned to the left, bending over a large book which lies open on 
her lap (or on a table before her). She wears gold eyeglasses on her nose. 
Her head is covered with a large purple velvet hood, falling down at the 
back. Her brownish dress shows the top of the pleated chemisette at the 
throat ; her under-dress is of dark grey. Light grey background. Almost 
full length, a little under life size. Painted about 1629. 

Signed on the left at foot, "Rembrandt P."; canvas, 2Qj inches by 
24 inches. 

An old copy, enlarged to the feet, is in a private collection in London. It 
was in the sale : Aberdeen and others, London, March 20, 1899, No. 52 ; and 
was exhibited by Sir J. C. Robinson in the Royal Academy Winter Exhibition, 
London, 1902, No. 166 ; [canvas, 43 inches by 36 inches]. 

Mentioned by Bode, p. 381 ; by Dutuit, p. 47 ; by Michel, pp. 40, 559 
[31, 433] ; by Moes, Iconographia Batava, No. 9404, 5. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 36. 

In the collection of the Earl of Pembroke, Wilton House, 1907 catalogue, 
No. 83 ; it was there before 1730. 

320*. An Old Woman with a Book on her Lap. Very fine. 
If this was identical with a picture of the same subject in the collection of 
J. Forges, Paris (B.-HdG. 392), it was not an original by Rembrandt. 
[Pendant to 243 /] 

35 inches by 30 J inches. 

Sales. (Probably) Comte Fraula, Brussels, July 21, 1738 (Hoet, i. 545), No. 

311 (160 florins). 

J. de Bary, Amsterdam, November 26, 1759, No. 14 (142 florins, 
with pendant, Van Diemen). 

320^. A Woman reading a Book. Powerfully painted ; fine 
light and shade. According to a MS. note by J. van der Marek, it was 
not by Rembrandt. 

Panel, 23 J inches by i8J inches. 

Sale. J. A. van Kinschot, Delft, July 21, 1767, No. 25 (4 florins 8, De 
Pester). 

320^. An Old Woman praying. She stands before a table on 
which lies a book. She wears a hood, and a fur-lined cloak around her 
neck. Very delicately rendered ; in the style of G- Dou. 

Panel, 12 inches by 9 inches. 

Sale. Amsterdam, August 14, 1771, No. n (125 florins, Yver). 

321. An Old Woman seated. Sm. 581. Her head is bent for- 
ward. She has a large book open on her lap ; the fingers of one hand are 
between the leaves, while the other hand, holding her spectacles, rests on 
the book. She has on her head a black scarf, falling on her shoulders, 
and wears a dark silk gown trimmed with fur round the bosom, and a 
white kerchief. 



xxii REMBRANDT 187 

Engraved in mezzotint by P. Louw [and described by Sm. from the print]. 
Etched by G. F. Schmidt. 

In the possession of the Amsterdam dealer H. de Winter, about 1780. 

322. An Old Woman praying. With eyes cast down and clasped 
hands. She wears a red velvet cap, and has a clumsy woollen cloak 
round her shoulders. Admirable in expression and execution. In the 
style of G. Dou. [Possibly identical with "Rembrandt's Mother," 
687 (Czcrnin).] 

Panel, 6 inches by 5 inches. 

Sales. Pieter Leendert de Neufville, Amsterdam, June 19, 1765 (Terw. 
474), No. 79 but No. 8 1 in the original sale-catalogue (240 
florins, Locquct). 

P. Locquet, Amsterdam, September 22, 1783, No. 323 (455 florins, 
Fouquet). 

322^. An Old Woman with a Bible. Half-length. Very well 
rendered and of very fine quality. 

Sale. C. A. de Calonne, London, March 23, 1795 (105). 

322^. An Old Woman with a Book. Taken for Rembrandt's 
mother. She sits at a table, holding an old book in one hand and her 
spectacles in the other. Half-length, life size. 

Canvas, 40 inches by 31 inches. 

Sale. H. G. Nahuys van Burgst, Antwerp, September 13, 1858, No. 86. 

322.. An Old Woman holding a Book. 

Signed, " Rembrandt, 1594 (*/V)" ; canvas, 44 inches by 36^ inches. 

Sale. Count von Brabeck and Count Andreas von Stolberg, Hanover, 
October 31, 1859, No. 211. 

323. An Elderly Woman. Sm. 566. She sits, leaning her head 
pensively on one hand j the other hand, holding her spectacles, rests on a 
large book open before her. She wears a fur-trimmed mantle, and has a 
scarf on her head. 

A picture agreeing with this description passes under Rembrandt's name in 
the Speck von Sternburg collection, Lutzschena, 1889 catalogue, No. 234, but 
is not an original. Engraved in reverse by Fendi, Vienna, in the work on the 
collection. 

The original is lost. Described by Sm. from an etching by G. F. Schmidt. 

324. A YOUNG GIRL AT AN OPEN HALF-DOOR. Sm. 
532 ; Bode 376 ; Dut. 310 ; Wb. 358 ; B.-HdG. 301. She leans with 
both hands on the lower half of a door ; the upper half is open. She is seen 
in full face, looking down to the left. She has fair curly hair, combed back 
under a small white cap. She wears a dark brown jacket, a bodice of lighter 
brown, and a dark green apron. The dress is cut out a little at the throat 
to show the finely pleated chemisette, over which lies a double string of red 
coral. Bright light falls from above to the left on the forehead, the right 
side of the face, and the left hand. Dull background, illumined on the left. 
Half-length, life size. 



i88 REMBRANDT 



SECT. 



Signed in the centre at foot, "Rembrandt f. 1645"; canvas, 40 
inches by 33^ inches. 

A copy was in the sale : W. R. Williams and others, London, November 28, 
1903, No. 6 1 (325 : i os., Dowdeswell). 
Engraved by F. C. G. Geyser. 

Mentioned by Bode, p. 609 ; by Dutuit, p. 21 ; by Michel, pp. 303, 561 
[231-2,443]. 

Exhibited at the British Institution, London, 1818, No. 100 ; 1844, No. 
2 3 J l %S7i No. 87 ; and at the Hudson-Fulton Celebration, Metropolitan 
Museum, New York, 1909, No. 91. 

Sales. De Gueffier, Paris, March i, 1791. 

Robit, Paris, May 21, 1801, No. 163 (2500 francs, Hibbert). 
George Hibbert, London, June 13, 1829 (430, bought in by 

Nathaniel Hibbert). 

In the collection of Nathaniel Hibbert, London, 1857. 
Sale. Prince Demidoff, San Donato, March 15, 1880 (123,000 francs, 

bought in). 

In the collection of Martin A. Ryerson, who gave it in 1 894 to Chicago. 
In the Chicago Art Institute, 1907 catalogue, No. n. 

325. A YOUNG GIRL IN A RED CAP AT A WINDOW. 

Sm. 549 ; Wb. 483 ; B.-HdG. 399. She stands behind a window-sill, 
pushing back the heavy dark red curtain with her right hand. She leans 
her left hand on the sill, and looks out with a roguish smile. Her yellowish- 
brown dress is cut square at the throat to show the chemisette. A thick 
gold chain hangs down in front from her shoulders. She has small pearl 
ear-rings. On her hair, which is smoothly combed back, is a red cap. 
Half-length, life size. 

According to Sm., it was signed and dated 1645 probably a misprint 
for 1654 ; canvas, 34 inches by 28 inches. 

Mentioned by Vosmaer, p. 538. 

Exhibited at the British Institution, London, 1831, No. 53 ; 1861, No. 44. 
In the collection of Sir Matthew White Ridley, Bart., 1836 (Sm.). 
In the collection of Lord Ridley. 
In the possession of the Paris dealer F. Kleinberger. 

In the collection of the late A. de Ridder, Cronberg ; exhibited on loan in 
the Stadel'sches Klinstinstitut, Frankfort-on-Main, till 1913. 

326. A Young Girl leaning her Arms on a Ledge. B.-HdG. 
302. About sixteen. She is seen in full face, and looks at the spectator. 
Her fair hair curls over her brow, and is covered with a small gold-trimmed 
cap. Her dark dress shows at the throat the pleated chemisette with a fine 
ruffle. Round her neck is a string of coral. Bright light falls from above 
to the left. Dark background. Half-length, life size. The authenticity 
of the picture could not be determined in the place where it was hung j if 
an original, it was painted about 1645. 

Canvas, about 30 inches by 24 inches. 

Mentioned by Waagen, ii. 285. 

In the collection of the Duke of Bedford, London. 

327. A YOUNG GIRL AT A WINDOW. Sm. 178 ; Bode 
158; Dut. 309; Wb. 120; B.-HdG. 300. About fourteen. She is 



xxn REMBRANDT ,89 

turned to the left, and looks out of a window at the spectator. She rests 
both arms on the stone window-sill ; her left hand grasps a thin gold chain 
round her neck. Her luxuriant chestnut curls are confined at the back 
in a little cap with a gold band. The white chemisette leaves the throat 
half exposed. By the sill to the right is a low wooden partition, painted 
dark red. Strong light falls from the left foreground on the whole figure. 
Dark background. Half-length ; life size. 

Signed on the right at foot, "Rembrandt ft. 1645"; canvas, 31 
inches by 25 inches, rounded at top. 

A first sketch in black chalk is in King Friedrich August II. 's collection of 
drawings at Dresden, reproduced by HdG. iv. 25^. 

Etched by L. Loewenstam. Engraved by Surugue ; engraved in mezzotint 
by Save. 

Mentioned by Vosraaer, pp. 263, 538 ; by Bode, pp. 497, 581 ; by Dutuit, 
p. 31 ; by Michel, pp. 303, 555 [231, 431]. 

Exhibited at the British Institution, London, 1815, No. 14, and 1843, No. 
107 ; at the Royal Academy Winter Exhibition, 1899, No. 32. 

In the collection of Noel Desenfans (who died in 1807), London. 

In the collection of Sir Peter Francis Bourgeois (who died in 1811); 
bequeathed by him to Dulwich College. 

In the Dulwich College Gallery, London, 1914 catalogue, No. 163. 

328. A YOUNG GIRL WITH A MEDAL. B.-HdG. 303. 
About twelve. She stands, seen in full face, inclining her head to the left. 
She looks at the spectator, and shows in her left hand a gold medal fastened 
by a string to her girdle. Her right hand is on her bosom. Her fair hair, 
with the ringlets in front tied together, is uncovered, save for a bright scarf 
falling at the back. She wears a dull yellow mantle over a dress of the 
same colour, cut out at the throat to show the pleated chemisette, with a 
red sash. She has pearls in her ears, and strings of pearls round her neck, 
on her right hand, and round her waist. More than half-length ; slightly 
under life size. Painted about 1640-43. 

Canvas, 25 J inches by 21 inches. 

Mentioned by Michel, pp. 447, 561 [347, 443]. 

In the collection of Cotterill Dormer, Oxfordshire, where the picture is said 
to have been for a century. 

In the collection of Sir J. C. Robinson, London. 

In the possession of the Paris dealer C. Sedelmcyer, "Catalogue of 300 
Paintings," 1898, No. 133. 

In the collection of Robert Hoc, New York. 

In the collection of W. K. Bixby, St. Louis. 

329. A WOMAN WITH A ROSEBUD AT A WINDOW. 
B.-HdG. 514. About thirty. She leans with folded arms on a brown 
cushion at a window, holding a rosebud in her right hand and looking to 
the left. Her dark hair is combed back and confined by a small cap of 
dull white. She wears a plain brown bodice over a white chemisette with 
long sleeves. Dark background. The light falls from above to the left 
on the figure. Half-length, life size. Painted about 1664. 

Signed on the left at foot, " Rembrandt f." ; canvas, 33 inches by 26 
inches. 



190 REMBRANDT SECT. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 86. 
Sale. G. Bicker van Zwieten, The Hague, April 12, 1741 (Hoet, ii. 21), 

No. 131 but No. 137 of the original catalogue (250 florins, 

Van Olden). 
In the collection of Lord Leconfield, Petworth. 

330. A YOUNG GIRL AT A WINDOW, IN FULL 
FACE. Sm. 506 ; Bode 365 ; Dut. 315 ; Wb. 440 ; B.-HdG. 397. 
She leans her right arm on the window-sill and rests her head on her left 
hand. She wears a dull red jacket. Her dark hair is combed back into a 
small golden-yellow cap. The loose chemisette is slightly open at the 
throat, showing a string of pearls and a little black ribbon hanging down on 
the bosom. Dark background ; the figure is lighted from above to the 
left. Half-length, life size. Formerly known as " La Crasseuse." 

Signed in the centre at foot, "Rembrandt f. 1651 " ; canvas, 31 inches 
by 25 inches. 

Etched by L. Loewenstam. 

Mentioned by Bode, pp. 504, 606 ; by Dutuit, p. 40 ; by Michel, pp. 394, 
568 [304-5,442]; by Roger de Piles, 1715 edition, p. 423 ; by Granberg, 
Inventaire Generate, iii. No. 297. 

In the collection of Roger de Piles, Paris. 

In the collection of Duvivier, Paris. 

In the collection of the Comte d'Hoym, Paris. 

In the collection of De Morville, Paris. 

Sales. Angran de Fonspertuis, Paris, March 4, 1748, No. 435 (2001 francs, 

with 203, " Flora," Blondel de Gagny). 

Blondel de Gagny, Paris, December 10, 1776, No. 70 (6000 francs) ; 

it was then rounded at top and measured only 32 inches in height. 

Due de Lavalliere, Paris, February 21, 1781 (5500 francs, with 

pendant, 467/7) ; see C. Blanc, ii. 43. 
In the collection of Gustavus III., King of Sweden. 
In the Stockholm National Museum, 1900 catalogue, No. 584. 

331. A YOUNG GIRL AT A WINDOW. Sm. 567; Bode 
135 ; Dut. 395 ; B.-HdG. 299. About twenty. She stands, seen in full 
face, behind the black opening of a window, with her hands on the sill. 
A broad flat black cap covers her fair hair, which falls from under it on 
both sides ; she has a pearl in each ear. She wears a dull brownish-red 
bodice trimmed with pearls at the throat, and full slashed sleeves of the 
same colour, and a black under-dress with a dull yellowish sheen. Her 
bodice is adorned with several slender and costly chains ; a broad chain 
with a clasp hangs diagonally on her hip. Full light falling from the left 
touches the face and hands. Dark background, illumined somewhat to 
the left. Half-length, life size. [Pendant to 239.] 

Signed in the left background close to the arm, " Rembrandt f. 1641 " j 
oak panel, 41 J inches by 30 inches. 

Etched by G. F. Schmidt, 1769 [as " La Juive Fiancee "], and by W. Unger. 
Mentioned by Vosmaer, p. 526 ; by Bode, pp. 458, 467, 577 ; by Dutuit, 
p. 50 ; by Michel, p. 271 [208]. 

Exhibited at Vienna, 1873, No. 104. 

In the collection of Count Kameke, Berlin, 1770, 



xxn REMBRANDT 



191 



In the collection of Stanislaus Poniatowski, King of Poland, at the castle of 
Lazienski, near Warsaw, 1798. 

In the collection of Prince Joseph Poniatowski, i 

In the collection of Count Casimir Rzewuski. 

In the collection of Count Casimir Lanckoronski, Vienna. 

In the collection of Count Karl Lanckoronski, Vienna. 



An Old Woman warming her Hands. Very naturally 
painted. 

Sale. The Hague, April 24, 1737 (Terw. 14), No. 65 (i 8 florins 5). 

331^. A Girl leaning on a Closed Half-Door. 

31 inches by 27 inches. 

Sale. Seger Tierens, The Hague, July 23, 1743 (Hoet, ii. 113), No. 224 
(46 florins 5). 

33 ic. A Woman looking out of a Window. Strongly painted. 
39^ inches by 30^ inches. 

Sale. Frederik, Count Thorns, Leyden, April 7, 1750 (Hoet, ii. 285), 
No. 65 but No. 66 of the original catalogue (25 florins 10, 
Haazebroek). 

331^. A Young Girl at Play. 

13 inches by nj inches. 

In the collection of Nicolacs van Brcemen, The Hague, 1752 (Hoet, ii. 485). 

332. A Woman lying Asleep. Sm. 162. With both hands in 
her lap. Excellently painted. 

30 inches by 25 inches. 

Sale. A. van Kinschot, Rotterdam, September 20, 1756 (Tcrw. 161), 
No. 28 but No. 4 of the original catalogue (54 florins). 

3320. [Identical with 330.] 

332^. An Old Woman seated in Meditation. 

Sale. Haarlem, September 23, 1811, No. 76. 

332*:. An Old Woman. In a room. Through the open window a 
person in the street is seen approaching. Masterly in style. 
9 inches by 6J inches. 
Sale. Amsterdam, August 6, 1816, No. 64. 

333. SOLDIERS BY THE WATCH-FIRE. Bode 45; 
Dut. 95 ; Wb. 37 ; B.-HdG. 5. On the extreme left crouches a man 
illumined by the fierce light of an unseen fire. He turns his head to the 
right, where a soldier, seen almost from the back, sits in front of him in 
shadow. To the left, behind the crouching man, a soldier leaning on a 
shield sits dozing. On the right stand two soldiers conversing ; one of 
these, on the extreme right, is in full armour. In the left background of 
the room are four soldiers round a lighted candle. Small full-length 
figures. The earlier identification of this scene as " Peter among the 
Servants of the High Priest " seems untenable, as all the details character- 



192 REMBRANDT SECT. 

istic of this episode the high priest's maid-servant, the cock, the recogni- 
tion, and so on are lacking. 

Signed with the monogram " R H L.," and dated 1628; copper, 
8J inches by 6J inches. 

Etched by W. Rohr in the Graphische Kunste, 1881, and by W. Unger, 
according to the Pein catalogue. 

Mentioned by Bode, p. 373 ; by Dutuit, p. 41 ; by Michel, pp. 30, 553 
[23, 439] ; by Bredius in Nederlansche Kunstbode, 1881, iii. 182. 

Exhibited at Berlin, 1883, No. 82 in the Long Gallery. 

In the possession of the Berlin dealer Sagert, 1881. 

Sale. Otto Pein of Berlin, Cologne, October 29, 1 888, No. 64. 

In the collection of Karl von der Heydt, Berlin. 

334. REMBRANDT AND SASKIA. Sm. 1635 Bode 82; 
Dut. 147 ; Wb. 73 ; B.-HdG. 157. On a chair to the right, in front of 
a table, sits the painter. He is in profile to the left and turns his smiling 
face round to the spectator. He holds up a tall glass of brown beer in his 
right hand ; his left hand encircles the waist of his wife, who, seen from 
the back, sits on his right knee and also turns her face to the spectator. 
On the table, spread with a cover having a brownish pattern, are a fowl, a 
goblet, and a peacock pasty. The painter has a short moustache and long 
flowing hair ; he wears a reddish coat with full striped sleeves and a flat 
black velvet cap with two white ostrich-feathers, and has a sword at his 
side. At his throat is seen the pleated shirt ; at his wrist, a lace-trimmed 
ruffle. Saskia wears a pale blue gown and a short dark velvet bodice, 
slashed to show the full chemisette of fine stuff on the upper arm and cut 
low to expose it at the neck. A cap adorned with gold and surmounted 
by a string of pearls confines her curly hair, of a rich golden colour, at the 
back of the head. Her eyes are light brown. A gold chain with large 
stones hangs on her shoulders ; in her ear is a pearl. To the right is a 
greenish curtain. Bright light falls from the left on Saskia's whole figure 
and on Rembrandt's head and left arm. The background is fairly light. 
Almost full-length figures, life size. Painted about 1634-35. 

Signed half-way up on the left, " Rembrant f." ; canvas, 64 inches by 
52 inches. 

Engraved by H. Witthoeft, Ant. Riedel (1768), G. L. Hertel, H. Btirckner, 
A. H. Payne, G. Planer, A. Schultheiss, N. Mossoloff. Lithographed by 
F. Hanfstaengl, C. Wildt (1836), A. Maurin. 

Mentioned by Vosmaer, pp. i6q/i 518 ; Bode, pp. 417, 568 ; Dutuit, p. 28 ; 
Michel, pp. 182, 553 [139-4. 438]. 

Sale. Araignon, Paris, 1751. 

Bought in Paris by Le Leu, after 1751, for Dresden. 

In the Dresden Gallery, 1908 catalogue, No. 1559. 

335. AN ARTIST PAINTING A NUDE MODEL (or, The 
Painter's Study). B.-HdG. 352. In a studio lighted from the left 
an artist seated in the right foreground paints a nude female model seated 
on a throne of two steps. The young woman, relieved against a dark 
curtain, presses to her body with the right hand a sheet draped over her 
right shoulder and right thigh. She rests her right leg on a footstool, and 



xxn REMBRANDT 



'93 



leans with her right arm on some books lying on a table at her side. Her 
clothes and a white collar lie at the left side. Turning her comely head 
towards the picture, she follows with interest the work of the painter, 
wears a dark brown painting blouse with a red piece at the breast, and a 
red cap. Small full-length figures. Painted about 1650. The painter 
has the features of Rembrandt, the model those of Hendrickje. 
Oak panel, 20 inches by 24 inches. 

Mentioned by Waagcn, iv. 459. 

Sited at the Royal Academy Winter Exhibition, London, 1899, No. 92. 
Sa/f. (Possibly) Sir Luke Schaub, London, April 26, 1758, No. 40 of the 

second day (^27 : 6s., Gideon) ; pendant to 6700. 

In the collection of Archibald M'Lcllan, Glasgow ; bought by the city in 
May 1856. 

In the Glasgow Art Gallery, 1911 catalogue, No. 809 (old No. 3/9). 

336. TWO YOUNG NEGROES. B.-HdG. 513. The'. 
richly dressed and stand at a table. One, seen in full face, looking to the 
left, stands in the right foreground ; he leans his right arm on the greenish 
table-cover. The other, standing behind the table, leans his head on the 
right shoulder of his companion and looks down. Both have short black 
hair, slight moustaches, strongly protruding lips, and rich black com- 
plexions. Li-ht background. Dull light, falling almost from the back. 
length, life size. 

r at top, "Rembrandt f. 1661 '' ; can riches 

by 25 iiu 

Sale. DC Montribloud, Paris, February 9, 1784, No. 42 (540 fi 
Donjeux). 

In the collection of Lord Berwick, Attingham, Shrews: 
In the possession of the London dealer C. |. Wertheimer. 
In the possession of Sir George Donal ion. 

In the collection of Dr. A. Brcdius, The Hague ; exhibited on loan in the 
Royal Gallery, The Hague, 1910 catalogue, No. 685. 

REMBRANDT AND SASKIA ABOUT TO GO 

OUT (formerly called The Burgomaster Pancras and his Wife . 

298 j Bode 185 ; Dut. 222 ; Wb. 135 ; B.-HdG. 158. Saski.i 
at a toilet-table with a red velvet cover. She is studying in the mirror 
the effect of a pearl which she has just fastened in her ear. Beside ru 
the left stands Rembrandt, looking at the spectator ; he holds in both 
hands a string of pearls for his wife to put on. Saskia wears a bright 
yellow gown with gold brocade, and over it a heavy mantle of gold brocade 
lined with ermine, which falls at the back over the arm of the chair ar, 
held together in front by a chain. She wears a cap with a veil fa! 
down behind, and has on her brow a handsome jewelled ornament. Her 
gown has short sleeves slashed at the top ; it shows the fine pleated 
chemisette at the throat and wrists. In each ear is a pear-shaped pearl ; 
round the left arm is a double string of pearls ; on the right arm is a gold 
chain bracelet. Round her waist is a heavy gold chain in the baroque 
style. On the right forefinger is a smooth ring. The painter wears a 
dull green cloak with gold embroidery over a light green costume exposing 
VOL. vi o 



194 REMBRANDT SECT. 

the shirt at the throat ; on the breast hangs a double chain with a pendant. 
His green cap is adorned with broad gold lace and a plume. On the table 
stands an ebony-framed mirror, seen from the back ; behind it are a jewel- 
casket from which hangs a dark ribbon decorated with gold, and a book. 
Behind Rembrandt is a chair. The background is a large dull red drapery 
falling from the centre to both sides ; it is probably the curtain of a bed. 
Almost full-length figures, life size. Painted about 1634-35. Testimony 
to its genuineness, which some wrongly question, is afforded, among other 
things, by the fact that Rembrandt himself copied the figure of Saskia in 
a picture of 1654 (309). 

Signed on the back of the mirror, " Rembrant fecit " ; canvas, 
6 1 inches by 78 inches. 

Mentioned by Vosmaer, pp. 263, 538 ; by Bode, pp. 417;, 584 ; by Dutuit, 
p. 32 ; by Michel, pp. 1 80, 556 [138-9, 430] ; by Waagen, ii. 5. 

Exhibited at the British Institution, London, 1826, No. 17, and 1827, 
No. 25 ; at the Royal Academy Winter Exhibition, 1873, 1889, No. 163, and 
1899, No. 80 ; at Amsterdam, 1898, No. 36. 

Sale. Henry Hope, London, June 27, 1816 (.300 : 6s.). 

In the Royal collection, Buckingham Palace, London, 1885 catalogue, 
No. 30 ; it was in the Royal collection in 1836 (Sm.). 

337#. A Wedding. [Possibly identical with 30.] 

Mentioned by Hofstede de Groot, Urkunden iiber Rembrandt, No. 159. 
In the collection of Catherina Scharckens, widow of Cornelis Smout, 
Amsterdam ; in the inventory of her effects, December 7, 1654. 

337#rf. A Woman Fortune-Teller. A cabinet piece. 

If this is identical with the "Fortune-Telling Gipsy Woman with Two 
Children," in the Berlin Museum store-room, 1886 catalogue, ii. 300, and 
there variously described as by Ferdinand Bol, of the school of Rembrandt, and 
in the manner of Gerard de Wet, it is not the work of Rembrandt but a 
characteristic Jan Lievens. 

In the castle of Honsholredijk, in the King's bedchamber in the parterre ; 
in the inventories of 1707, 1713, and 1719, No. 121. 

337^. A Company of Three Persons. 

13 inches by 10 inches. 

Sale. Comte Fraula, Brussels, July 21, 1738 (Hoet, i. 532), No. 166 
(22 florins). 

337<r. Two Small Men rowing ( ? " Sturende " ). 

Sale. Amsterdam, August 9, 1739 (Hoet, i. 598), No. 39 (24 florins). 

337^. Two Persons reading by Lantern- Light. Skilful and 
good. 

Sale. Guerin and others, The Hague, September 13, 1740 (Terw. 28), 
No. 14 but No. 35 of the original catalogue (28 florins). 

337*. Two Philosophers studying a Globe. 

Sale. J. van Vliet, Amsterdam, December 16, 1750, No. i (100 florins). 

338. A Man smoking and a Woman spinning. Small figures. 



xxn MBRANDT 195 

To be precise, the catalogue reads "spinnet (not 'spinnent ') wijfje," which 
might mean "a woman at the spinet." It is also possible that the entrv 
refers to two pictures, each with a single figure. 
Sale. Amsterdam, June ;, 1754, No. 160. 

338*7. A Peasant standing and Another seated at the Fire- 
side. 

(Supplementary) C. Rcygcrsbcrgcn van Couwcrvcn, Lcydcn, J;. 
1765, No. 19. 

^38^. An Interior. Two persons at a table, with accessories. 

Panel, 11} inches by 15^ inches. 

Sale. B. C. Thienpont, The Hague, March 28, 1778, No. 47 (2 florins). 

338<r. Two Soldiers playing Cards. At a table j by candlelight. 
Broadly painted and strikingly effective. 

.el, 20 inches by 27 inches. 
Sak. J. F. Wolschot, Antwerp, September I, 1817, No. 328. 

338. A Gipsy Woman. 

hibited in the British Institution, London, 1824, No. 119. 
Then in the collection of Lord Charles Townshcnd. 

338^7. A Guard-Room. 

Sale. Mallinus brothers, Louvain, September 9, 1824, No. 876. 

338<. A Family Feast. In a room several persons sit at table to 
the left. On the ri^ht .in old couple enter the room and are greeted by 
the head of the house, his wife, and children. Powerful and masterly in 



Panel, 13 inches by i6J, iiu 

Sale. J. A. van Dam, Dordrecht, June I, 1829, No. 103 (210 florins, 
bought in). 

339. An Old Man in a High Vaulted Chamber. Wearing a 
large cloak, he sits at a table writing on a slate. He looks at the gold 
coins, vases, pearls, and other precious things lying on the table. Another 
man in Eastern dress holds a book. In the foreground are books, silver 
vases, and dishes. 

Panel, 21 inches by i8i inches. 

Saks. Amsterdam, July 19, 1826, No. 35 (260 florins, De Vrics). 
Rotterdam, April 26, 1830, No. 55 (245 florins, Lamme). 

339*. Three Well - Dressed Men. They hold ornaments and 
precious things in their hands. Signed. 
Panel, 41 inches by 39 inches. 
Salt. Amsterdam, April i, 1833, No. 14- (50 florins, Harrington). 

339^. A Man and a Woman weighing Gold in a Room. 
Death looks in at the window. 

Sa/f. B. Mallinus, Brussels, September 22, 1842, No. 3. 



196 REMBRANDT SECT. 

3396. An Old Married Couple. 
Canvas. 

Sale. Antwerp, February 24, 1851, No. 124. 

339</. A Group of Three Women. The young woman in the 
centre, richly dressed in a red mantle with a gold border, holds a basket of 
fruit. On a table with a green cover to the left stand a metal vase and a 
jewel casket. 

Canvas, 39^ inches by 46 inches. 

Sale. S. von Hirsch, Cologne, May 29, 1876, No. 132. 

340. A Philosopher and an Old Man conversing. Sm. 146. 
In a room. The philosopher, with a long beard, sits at a window ; he 
wears a black cap and a fur cloak. He has been reading a large book 
which he holds on his knees, and has been drawn into talk by an old man 
at his side. On the table lies a quantity of books and papers. On the 
floor are a globe, with other books and scrolls. 

The original is lost. Described by Sm. from a print by J. A. Claessens. 

341. A Man and a Woman (or, The Rustic Repast). Sm. 
172. A man and a woman sit together on a bank at the foot of a tree 
taking a meal. The man pours out a cup of liquor, the woman cuts a 
slice of bread. 

The original is lost. Described by Sm. from a print by Verbeek. 

342. A Wedding in a Church. Sm. 182. The bridal couple 
kneel at a step, holding each other by the hand. The priest, standing 
between them, performs the marriage rite. A chorister holds the skirt of 
his robe. At the side is a spectator. In the background are three men 
with spears. A large curtain hangs between the pillars ; there are other 
accessories. 

The original is lost. Described by Sm. from a print by S. W. Reynolds, 
entitled " Rembrandt's Marriage " ; probably a Biblical scene. 

343. Two Men conversing. Sm. 417. One of them sits with 
his back to the spectator. He wears a cap on his bald head, and a large 
cloak covering one shoulder and falling over the back of his chair. The 
other man, seen in full face, leans on a table, upon which lie a large open 
book and others closed. 

The original is lost. Described by Sm. from a print by R. Basset. 

344. AN OLD ORIENTAL WITH A LARGE GREY 
BEARD. He is turned a little to the right. He wears a large and 
richly embroidered turban, and a dark cloak which falls in folds over his 
shoulders ; under it is a light doublet. Bright light falls from the left on 
the left side of the face. Half-length, without the hands. 

Signed on the right at top, "Rembrandt f. 1637"; panel, 29 inches 
by 23^ inches. 

Exhibited at Berlin, 1914, No. 135. 
Engraved by Sommereau, 1775. 



xxn REMBRANDT 197 

In the collection of Ludovico Mirri, Rome, i 

In the picture gallery, Chateau Kinkempois ($)uincampoix r), near Liege. 
In the possession of the Paris dealer C. Sedelmcyer, "Catalogue of 100 
Paintings," 1911, xi. No. 27. 

In the Von Pannwitz collection, Berlin. 

345. AN ORIENTAL. B.-HdG. 543. Half-length, life 

the hands are not shown. He is turned a little to the left \ his head is 
in full face, and he looks at the spectator. He has a thin beard. An 
olive-green turban interwoven with gold threads is wound round his head. 
HU greenish-grey doublet, embroidered with gold, exposes the shirt at the 
throat ; across it hangs a double gold chain. A golden velvet cloak, 
trimmed with brown fur, hangs on his shoulders. Greyish-brown back- 
ed. Strong light falls from the left at top. Painted about 1629. 
night by many to be a portrait of Rembrandt's father. 
Signed ; canvas, 33 inches by 25^ inches. 

Exhibited at Leyden, 1906, No. 34. 

In the Donovan collection, England. 

In the collection of T. Humphry Ward, London. 

In the possession of the London dealers T. Agnew and Sr 

In the possession of the Paris dealer C. Scdelmeyer, "Catalogue of loo 
Paintings," 1899, v. No. 38. 

In the collection of Madame F. May, Brussels ; exhibited on loan in the 
Brussels Museum. 

346. AN ORIENTAL WITH A WHITE TURBAN. Sm. 

290; Bode 150; Out. 379; Wb. 180 ; B.-HdG. 199. He sits, turned 
.tor, with his hands clasped. H fair beard 

and a shaven upper lip. He wears a rich turban of white silk with yellow 
stripes, which is fastened in front by a gold brooch with a large stone, and 
which hangs down at the back as a sort of veil. His black fur-lined cloak 
with a fur collar is fastened in front with a handsome gold clasp, having a 
richly wrought medallion portrait in the centre. Under the cloak are seen 
tlie white shirt at the throat, a dark doublet with two horizontal stripes at 
the breast, and a white garment with coloured stripes at the wrists. On 
the right the spectator looks into an adjacent room, in which an arm-chair 
is placed at a table ; a book lies open on the table before a serpent entwin- 
ing a brazen pillar. Behind this is a recess, near which is a candle in a 
candlestick projecting from the wall. On the wall hangs a wallet. Half- 
length, life size. Possibly a representation of Aaron, to whom or to Moses 
the attribute of the brazen serpent belongs. 

Signed, "Rembrandt f. 1635"; oak panel, rounded at top, 42 inches 
by 32 inches. 

Numerous copies dating from the seventeenth and eighteenth centuries are 
known ; some of them are contemporary, such as 

(i.) Ascribed to S. Koninck, in the Berlin Museum, 1911 catalogue, 

No. 821. 

(ii.) In the Dresden Gallery, 1908 catalogue, No. 15 72 A. 
(iii.) At Emden. 

(iv.) At Turin, 1909 catalogue, No. 391 ; attributed to F. Bol. 
(v.) At the Amalienstift, Dessau. 



198 REMBRANDT SECT. 

(vi.) Formerly in the collection of Viscount Powerscourt, Powerscourt. 
Exhibited at the Royal Academy Winter Exhibition, London, 
1878, No. 167, and 1899, No. 57. 
Sale. E. Macrory and others, London, July 9, 1904, No. 119 

(283 : I os., Michaels). 

(vii.) At Lisbon, No. 224 ; attributed to F. Bol. 

Engraved in mezzotint by W. Pether, 1764 and 1776; engraved by Spencer; 
the head only engraved by GOrling. 

Mentioned by Bode, pp. 415, 427, 580; by Dutuit, p. 44; by Michel, pp. 
218, 555 [168, 432] ; in London and its Environs described, 1761, as being at 
Devonshire House, London. 

Exhibited at the Royal Academy Winter Exhibition, London, 1878, No. 
169, and 1899, No. 83 ; at the Guildhall Art Gallery, London, 1894, No. 47 ; 
at Amsterdam, 1898, No. 39. 

In the collection of the Duke of Devonshire, Chatsworth ; it was there in 
1764. 

347. A BEARDED ORIENTAL. Half-length. He is turned 
slightly to the left, and wears a soft turban and a cloak open at the breast 
to show some handsome embroidery. Both the turban and cloak are richly 
worked with gold and silver. The neck-cloth is greyish yellow ; the doublet 
is brownish grey. Painted about 1660. Unfortunately much over-cleaned. 

Panel, loj inches by 8J inches. 

Mentioned by Valentiner in Klassiker der Kunst, ii. p. 452 ; by Karl Madsen 
in Bilk der af Rembrandt, 1911, p. 62. 

In the Danish cabinet, 1737, as a Rembrandt. 
At Fredensborg Castle, 1799, as a F. van Mieris. 
In the Copenhagen Museum ; not yet catalogued. 

348. AN ORIENTAL. Bode in ; Dut. 370; Wb. 109; 
B.-HdG. 147. He has a grey beard, and is turned to the left. He holds 
in his left hand a stick with a metal mount. A whitish-yellow turban 
with a small plume covers his grey hair. He has a richly embroidered 
coat of bluish green, over which a heavy brocaded mantle of gold and 
silver thread is fastened with a large brooch. The grey background is 
fairly light. Half-length, showing one hand j life size. 

Signed in the left centre, "Rembrandt f. 1633"; oak panel, oval, 
34 inches by 25^ inches. 

Mentioned by Bode, p. 414; by Dutuit, p. 30; by Michel, p. 554 [168, 

438]. 

In the Zweibrucken Gallery till 1793. 

In the Mannheim Gallery, .with which the picture went to Munich in 
1799 after the death of the Elector Karl Theodor. 

In the Aeltere Pinakothek, Munich, 1911 catalogue, No. 325. 

349. A TURKISH NOBLEMAN. Sm. 285; Dut. 365; 
Wb. 450 ; B.-HdG. 145. About sixty. He stands, seen in full face, 
and looks at the spectator with a frown on his brow. His left hand, 
hidden by a cloak adorned with flowers and arabesques, rests on his hip ; 
his right hand leans on a stick. He wears a high turban, light in colour, 
to the right side of which a horse's tail is fastened by a clasp. He has 
pearls in his ears. Over his cloak is a variegated Eastern shawl with 



xxn REMBRANDT 199 

fringed ends. At his breast is a large gold ornament. Three-quarter 
length, life size. 

Signed on the right at foot, " R H L f . 1632"; canvas, 59 inches by 
inches. 



An old copy of the head is in the Chancnko collection, Kieff. Another 
copy was exhibited in the Royal Academy Winter Exhibition, 1912, No. 61, 
lent by Lord de Saumarc/. 

Engraved in mezzotint by an unknown hand, as Ubbi," according 

to Sm. Engraved in reverse by A. L. Zeclandcr in the work on the gallc- 
William II., King of Holland. Lithographed by G. F. Eilbracht in the Galerie 
Particulilre de* Tableaux de S. M. le Roi des Pays-Bas, as well as on a smaller 
scale in the Kunstehroniek of 1851. 

Mentioned by Vosmaer, pp. 116, 494; by Dutuit, p. 5 5 ; in London and 
its Environs described, 1761, as being in the collection of Paul Methucn, 
London. 

Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 79 [entitled "The Noble Slav"]. 

In the collection of Paul Methuen, Corsham Court. 

Sale. William II., King of Holland, The Hague, August 12, 1850, No. 91 
(4500 florins, Nieuwcnhuys). 

In the Tomline collection, Orwell Park. 

In the possession of the London dealer Wertheimcr. 

In the collection of H. M'Kay Twombly, New York. 

In the collection ot" W. K. Vanderbilt, New York. 

350. A MAN IN EASTERN DRESS WITH A POODLE. 

>1. 26 ; Out. 127; Wb. 298; B.-HdG. 550. About 
twentv-tive. He stands in the middle of a room, leaning his gloved left 
hand on .1 stick and his right hand on his hip. He wears a golden robe 
reaching to the knees ; it is embroidered with gold and adorned with 

AT by an Eastern girdle. Over it is a dark 
purple cloak, fastened on the right shoulder with three gold buttons. 

close-fitting breeches of dark green and low boots of soft leather. 
On his bushy brown curls is a high turban, striped brown and green, with 
a clasp and a heron's plume on the right side. He has a slight moustache. 
In the left background is a table with a grey-green cloth, on which lie a 
helmet, a *hawl, and other objects. A brown poodle with white spots, with 
its head to the right, crouches at the man's feet. Greyish-brown back- 
ground. The light falls from the left at top. Regarded by many as a 
portrait of the painter. 

Signed on the right at foot, " Rembrant f. 1631"; oak panel, 32 
inches by 21 inches. 

A copy of the same subject, without the poodle B.-HdG. 54 was sold 
in the Kums collection, Antwerp (22,000 francs, Lc Roy), passed into the 
collection of A. M. Byers, Pittsburg, and is now in the collection of the late 
Baron A. dc Schickler, Paris. 

Mentioned by Dutuit, p. 5 1 ; by Michel, p. 564. 

In the collection of the Corate de Vaudreuil, Pa 

Sale. Schamp d'Aveschoot, Ghent, September 14, 1840, No. 169 (15,190 
francs, Dutuit of Rouen). 

In the Dutuit collection, Rouen. 



200 REMBRANDT SECT. 

In the Petit Palais des Beaux-Arts, Paris; Dutuit bequest, 1907 catalogue, 
No. 925. 

351. AN ORIENTAL. Sm. 315 and 413 ; 6060337; 0111.384; 
Wb. 403 ; B.-HdG. 146. He stands, seen almost in full face, and looks 
straight before him. His black beard is here and there turning grey. His 
head is covered with a high parti-coloured turban adorned with a gold chain 
set with rubies and a plume of feathers in a gold clasp. He wears a 
dull crimson doublet under a large fur-lined cloak of brown material, held 
together with a golden girdle. He rests his left hand on a stick ; his 
right hand is thrust into his waist-band. Faintly lighted from the left. 
The background is a monotonous greyish brown. Half-length, life size. 
Painted about 1633. 

Signed in the left centre, " Rembrandt ft." ; canvas, 39 J inches by 
30 inches. 

Etched by G. F. Schmidt, 1756, by P. Louw, and by N. Mossoloff in Les 
Rembrandts de /' Ermitage . 

Mentioned by Dutuit, p. 38 ; by Michel, p. 567. 

In the Gotzkowski collection, Berlin ; with which it was acquired by the 
Empress Catherine II. for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 813 ; [valued by 
Sm. in 1836 at 200]. 

352. HEAD OF AN ORIENTAL. Turned to the left. He 
wears a turban with a pattern in yellow, red, and blue, and two clasps. 
His complexion is dark brown ; he has a dark moustache and beard. He 
wears a yellow and blue cloak trimmed with fur, and held together by a 
sash. A small half-length. Painted about 1628-29. [Possibly identical 
with 357*.] 

Panel, 6J inches by 4^ inches. 

In the collection of Professor Otto Lanz, Amsterdam, who bought it in 
Italy. 

In the collection of John G. Johnson, Philadelphia, 1913 catalogue, 

No. 473. 

353. AN ORIENTAL. Sm. 287. Half-length, turned to the 
right. He has a slight beard. His head and his eyes are turned towards 
the spectator. He wears a high turban decorated with a handsome chain, 
and a plain cloak open at the breast. Strong light falls from the left on 
the face and turban. 

Signed on the right, on a level with the shoulder, " Rembrandt f. 
1635 " ; canvas, 51 inches by 40 J inches. 

Engraved in mezzotint by P. Louw. 

Mentioned by Hofstede de Groot, Onze Kunst, 1912, p. 186. 
In the collection of H. Ketelaar, Amsterdam, about 1775. 
In the collection of Lord Barnard, Raby Castle. 

354. A YOUNG MAN WITH A TURBAN. Bode 264; 
Dut. 242 ; Wb. 141 ; B.-HdG. 49. The turban is fastened with a gold 
clasp. The beardless face is turned to the right. He wears a blackish 
coat with a sad-coloured Eastern shawl over it, and a broad gold chain 
across the breast. Dark background. Strong light from the left illumines 



xxn REMBRANDT 201 

the right half of the face. Half-length, without hands ; almost life size. 
Wrongly regarded by Emile Michel as a portrait of Gerard Dou. 

Signed on the right at foot with the monogram "RHL 1631"; 
oak panel, 20 inches by 16 inches. 

Exhibited at Manchester, 1857, No. 686 see Btlrger, Tresors <TArt, p. 246 ; 
at the Royal Academy Winter Exhibition, London, 1899, No. 46. 

Mentioned by Vosmaer, pp. 105, 489 ; by Dutuit, p. 33 ; by Michel, pp. 
4 6 > 559 [36-7. 43i] i by Waagcn, ii. 430. 

In the collection of King George III. ; in the Royal inventory about 1760- 

o, as noted by L. Cust. 

In the Royal collection, Windsor Castle. 

354/7. A Turbaned Head ("Turcxe Tronye"). 

Mentioned by Hofstede de Groot, Urkundcn Uber Rembrandt, Nos. 108, 284. 
In the collection of Anna Blommerts, Amsterdam, December 31, 1646. 
In the collection of the widow of Frederick Alcwijn, Amsterdam, December 
18, 1665. 

354/>. Head of a Man with a Short Beard and a Turban. 

Mentioned by Filippo Baldinucci, Cominclamento dell* arte dcW intagfiare in 
rame, 1686, p. 78 ; by Hofstede de Groot, Urkundtn Uber Rembrandt, No. 360, 3. 

In the Pamfili collection, Rome, 1686 ; not now to be found in the Doria 
Pamfili Gallery. 

3541. Head of a Man with a Turban. 

25 inches by iS. 1 . inches. 

Sale. Comtc Fraula, Brussels, July 21, 1738 (Hoct, i. 528), No. 112 
(2 florins 10). 

A Turbaned Head in Profile. 
8 inches by 6i inches. 

Count van Wassenaar-Obdam, The Hague, August 19, 1750 (Hoet, 
ii. 290), No. 9 (33 florins). 

354*-. A Head with a Brown Turban. 

8 inches by 6J inches. 

Sale. Count van Wassenaar-Obdam, The Hague, August 19, 1750 (Hoet, 
ii. 290), No. 10 (37 florins). 

354/: Head of a Man with an Oriental Cap. Half-length. A 
good picture, strongly painted. 

Canvas, 22 \ inches by i8J inches. 

Salt. Amsterdam, March 6, 1 769, No. 48. 

354^. A Persian. In profile to the left. His head is covered ; he 
wears a black coat or cloak. A good picture, broadly painted. [Pendant 
to 889;.] 

Oval, 25^ inches by 19^ inches. 

Salt. H. Aarcntz, Amsterdam, April 11, 1770, No. 2 (70 florins, with 
pendant, Meusche). 



202 REMBRANDT SECT. 

354/7. A Man holding a Turban. Half-length. Finely rendered 
and strongly painted. 

Sale. The Hague, April 13, 1771, No. 8, Letter S. 

354* andy. A Turk. Half-length. Two pendants of this subject. 

Panel, 12 J inches by 10 inches. 

Sale. J. Domisse, Middelburg, March 31, 1773, Nos. 23 and 24. 

354/. An Old Man in a White Turban with Blue Stripes. 
HalMength, in profile. He has a black beard and wears a green cloak. 
A good picture. 

Panel, 28 inches by 23 inches. 

Sale. Van Schorel, Antwerp, June 7, 1774, No. 47 (50 florins, Tillemans). 

355. An Old Man in an Eastern Cap. Seen in full face, with a 
large beard. A good picture, strongly painted. 

Panel, 28J inches by 24^ inches. 

Sale. Amsterdam, June 21, 1774, No. 179 (316 florins, Benoutzi). 

356. An Old Man with a Turban-Shaped Head-Dress. Half- 
length, life size ; in full face. The hands are clasped. Full sleeves of 
white stuff with variegated stripes fall on the hands. The man wears a 
black cloak with a gold brooch. A strongly painted picture of the master's 
best period ; the light is finely rendered. 

Panel, 36^ inches by 29! inches. 

Sales. Van Schorel, Antwerp, June 7, 1774, No. 46 (185 florins, Van 

Schorel). 

Chevalier Dormer van Beez, Antwerp, May 27, 1777, No. 132 (68 
florins, De Roy). 

356*7. A Turk. Very strongly painted ; light in tone. [Possibly 
identical with 357.] 

Panel, 5 inches by 4 inches. 

Sales. Ghent, September 23, 1777, No. 93. 

J. Clemens, Ghent, June 21, 1779, No. 226. 

357. An Oriental. Sm. 431. He wears a high turban-like head- 
dress. He is about forty and is beardless. He is seen almost in full face, 
with the head inclined to one side and slightly bent forward. His fur 
cloak exposes only a small part of the vest and pleated shirt. [Possibly 
identical with 356*7.] 

Panel, oval, 6 inches by 4^ inches. 

Engraved by Moreau. 

Sale. Poullain, Paris, March 15, 1780. 

357*7. A Turk. He wears a turban with a plume and a fur-lined 
cloak. Very skilful. [Possibly identical with 352.] 
Panel, 6 inches by 4! inches. 

Sale. P. A. J. Knijff, Antwerp, July 18, 1785, No. 8(15 florins, Stiber). 

358. A Persian. Half-length, in profile. He wears a turban adorned 



XXII 



REMBRANDT 203 



with pearls and precious stones and a gold-embroidered cloak, and holds a 
stick in his left hand. Very skilful ; strongly painted. 
Panel, 32 inches by 24 inches. 

Sale. J. van dcr Linden van Slingeland, Dordrecht, August 22, 1785, No. 
327 (250 florins, Laytschc). 

359. A Man in Turkish Dress. He wears a rich turban adorned 
with precious stones. He rests his hands on the back of a chair. Excel- 
lently handled ; fine in colour. 

Canvas, 36 inches by 29^ inches. 

Safe. Amsterdam, July 25, 1804, No. 66 (200 florins). 

359#. An Old Persian. Half-length. He holds his right hand in 
his cloak. He wears a turban, and has a striped cloth round his neck. 
Strongly painted. 

Panel, uj inches by 8 inches. 

Sale. J. F. de Vinck de Wesel, Antwerp, August 16, 1814, No. 35 (115 
francs). 

359^. A Man in Eastern Dress with a Turban. Almost in 

full face. Fine light and shade. 

cd in the background with the monogram ; 22j inches by 20 
inches. 

In the Vlassoff collection, Moscow, 1821 catalogue, No. 245. 

359<r. A Man in a Rich Eastern Dress. Half-length. He 
wears a hat with a plume and a gold chain. 
Panel, 24} inches by 1 8 iiu 

Dellafaillc dc Lcverghem, Antwerp, July 31, 1822, No. 4. 

359'/. A Turkish Nobleman. Half-length, in a fur coat. Very 
effective. 

Panel, 8 inches by 6 inches. 

Sale. M. P. D. Baron van Sijtzama and others, Leeuwaarden, June 13, 

1849, No - ! l6 - 

359</</. A Young Man with a Turban. 
Exhibited at Manchester, 1857, No. 6- 
Thcn in the collection of Robert Napier. 

359<\ An Old Oriental with a White Beard. Half-length; in 
full face. He wears a brown hat with gold lace. A fur cloak covers the 
breast and the right shoulder, of which only a small part is visible. 
Excellent light and shade. 

Signed on the left with the monogram. 

Sale. Senator Gaedertz, Lubeck, September 21, 1864, No. 113 (55 Lttbeck 
mark). 

359/ Head of an Oriental. 

Panel, 29^ inches by 22 inches. 

Sale. H. Rochussen and others, Rotterdam, November 3, 1869, No. 127 
(63 florins). 



204 REMBRANDT SECT. 

359. A White-Bearded Oriental with a Turban. Half-length, 
in profile. He wears a fur cloak. The shirt is open, exposing part of the 
breast. A fine picture of the middle period. 

Signed, " Rembr. f." ; canvas, 28 inches by 22 inches. 

Engraved by Riedel. 

In the collection of Professor Schadow. 

Sale. Carl Triepel, Munich, September 28, 1874, No. 4. 

360. A Man with a Turban. See Sm. 287. Half-length. 

Engraved by Preisler. 

In the collection of the Councillor Hartman. 

360^7. A Man with a Turban-Shaped Cap. Sm. 369. About 
fifty-five. Seen in profile. He wears a fur-trimmed cloak, a shirt, an 
embroidered vest, and a medal suspended from a chain. 

The original is lost. Described by Sm. from a print engraved by Riedel. 

361. AN OLD MAN WITH A ROUGH GREY BEARD 
AND HAIR. B.-HdG. 378. He is seen almost in full face, and looks 
to the right. His high forehead is lined. He wears a dull brown coat. 
The brownish background is fairly bright. The light in the picture is 
pale and flickering. Half-length, without hands ; life size. Painted about 
1650. 

Canvas on panel, 20 inches by 1 7 inches. 

Exhibited at Amsterdam, 1898, No. 78. 

In the collection of S. Mathey, Paris. 

In the collection of Leon Bonnat, Paris. 

In the Musee Bonnat, Bayonne, 1903 catalogue, No. 39. 

362. AN OLD MAN WITH A ROUGH GREYISH- 
BROWN BEARD AND HAIR. Dut. 399 ; Wb. 345 ; B.-HdG. 
305. He is turned half-right and looks far away. He wears a brown hat 
with a broad brim and a dark brown jacket over a yellow doublet. 
Evenly lighted from the left at top. Half-length ; about a third of life 
size. 

Signed on the left above the shoulder, "Rembrandt f. 1647"; oak 
panel, 9 inches by 8 inches. 

Exhibited in the "Pulchri Studio" club exhibition, The Hague, 1890, No. 
86 ; at the Royal Gallery, The Hague, 1895. 

Mentioned by Vosmaer, p. 536 ; by Bode, pp. 497, 646 ; by Dutuit, p. 53 ; 
by Michel, pp. 343, 565 [262, 440]. 

In the collection of P. A. V. van Harinxma thoe Slooten, Holwerd. 

In the collection of Baron R. van Harinxma thoe Slooten, Beetsterzwaag, 
Friesland. 

363. AN pLD MAN WITH A RED FUR CAP. B.-HdG. 

389. About sixty-five. He sits, seen in full face, in an arm-chair and 
turns his head slightly to the left. His arms rest on the chair. His left 
hand, which is raised a little, holds a stick. He has a long grey beard. 
He wears a golden-yellow cloak over a brown coat with a girdle, and has 
a tall red fur cap on his grey hair. Dark background. Full light falls 



xxn REMBRANDT 



205 



from the left foreground over the whole figure. A small full-length. 
Painted about 1654. The same model as in the similar picture, 450 (Sir 
F. Cook), and in 400 (L. Hirsch). 

Oak panel, 20 inches by 14 J inches. 

Exhibited at the Royal Academy Winter Exhibition, London, 1889, No. 117. 
Mentioned by Michel, pp. 398, 551, 558 [307, 436]. 

In the collection of T. Humphry Ward, London, 1890 ; acquired for 
Berlin. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828]. 

364. A RABBI. Sm. 293 ; Bode 39 ; Dut. 400 ; Wb. 27 ; B.-HdG. 
297. He sits, seen in full face. He rests his right arm on the arm of the 
chair and with his left hand grasps the breast of his dark cloak, which is 
lined with coloured fur. He has a grey beard, a shaven upper lip, and short 
hair ; his broad black cap shades his eyes. On his breast is a heavy gold 
chain. Full light falls from the left at top on the lower half of the face 
and the left hand. Three-quarter length, life size. 

Signed on the left at foot, "Rembrandt f. 1645 " ; canvas, 44 inches 
by 32^ inches. 

Lithographed by W. Le Roy in the Patureau catalogue. Lithographed by 
Leopold Flameng, 1873, for the Suermondt catalogue. 

Mentioned by Vosmaer, pp. 263, 538 ; by Bode, pp. 496, 563 ; by Dutuit, 
p. 25 ; by Michel, pp. 305, 551 [233, 436]. 

Exhibited at Munich, 1869 ; at Brussels, 1873, No. 134. 

Sales. W. Bcckford, Fonthill Abbey, September 17, 1822, No. 109 

(224 : 145.). 

(.. Robins, London, 1831 (147). 
Durand-Duclos, Paris, February 18, i> 

In the possession of the London dealer]. Nicuwenhuys, 1854. 
Salf. T. Patureau, Paris, April 20, 1857 (15,100 francs). 
In the collection of B. Suermondt, Aachen ; acquired with it for Berlin, 
1874. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828A. 

365. A YOUNG JEW. B.-HdG. 314. He is seen in full face, 
turned a little to the left, and looks at the spectator. He has black curly 
hair covered with a small black velvet cap, and a short dark beard. He 
wears a brown coat with a turned-down white collar, and a dark cloak. 
Strong light from the left. Brownish background, illumined on the right. 
Half-length; almost half life size. Painted about 1646. Cf. 790^. 

Oak panel, 9^ inches by 8 inches. 

In a private Belgian collection. 

In the possession of the Vienna dealer Friedrich Schwarz. Bought in 1896 
by the Kaiser Friedrich Museumsverein, Berlin. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828*4. 

365A. AN OLD MAN WITH A BEARD. Half- length, in 
full face. He wears a red velvet cap, and a fur-trimmed cloak exposing the 
coat in front. From the left shoulder hangs a gold chain, with a medal at 
the breast. Painted about 1640-45. 

Panel, 9 inches by 7 inches. 



206 REMBRANDT SECT. 

Exhibited at Berlin, 1914, No. 128. 

Sa/e. Duke of Sutherland, London, July u, 1913, No. 118 (1050, 

Dowdeswell). 
In the collection of Carl von Hollitscher, Berlin. 

366. AN OLD MAN WITH A BEARD. In lost profile to 
the right. He wears a flat cap, and has a coloured neck-cloth over his plain 
coat. Half-length, without hands. Painted about 1650-55. 

Panel, 9^ inches by yj inches. 

Mentioned by Valentiner, Klassiker der Kunst, ii. p. 504. 

Exhibited at Leyden, 1906, No. 530; in Berlin, 1909, No. 109. 

In the collection of A. Vollon, Paris. 

In the possession of the Paris dealer F. Kleinberger. 

In the collection of Marcus Kappel, Berlin, 1913 catalogue, No. 23. 

367. AN OLD MAN WITH A WHITE BEARD. With 

luxuriant hair falling in curls on his shoulders. He is turned a little to the 
right and looks at the spectator. The hands are thrust into the bosom of 
the plain coat. The light comes from the left and illumines most strongly 
the forehead and the hair. Half-length. 

Signed in full, and dated 1659 ; panel, 15 inches by 10^ inches. 

Mentioned by Hofstede de Groot, Onze Kunst, December 1909, p. 176. 

Exhibited in Berlin, 1914, No. 130. 

In the collection' of Sir G. Douglas Clerk, Bart., Penicuik. 

In the possession of R. Langton Douglas, London. 

In the collection of Marcus Kappel, Berlin, 1913, No. 24. 

368. AN OLD MAN IN A DARK BROWN COAT 
WITH A SMALL LACE COLLAR. With a brown cap over 
a reddish-brown kerchief. Half-length ; life size. It seems to have been 
painted first without the cap. 

Signed on the left, half-way up, " Rembrandt 1633 " ; panel, 24 inches 
by 20 inches. 

Mentioned by Waagen, iv. 502, as a good school-piece ; by Hofstede de 
Groot, Onze Kunst, December 1909, p. 178. 
In the Aufrere collection. 
In the collection of the Earl of Yarborough, Brocklesby Hall, Lincolnshire. 

369. AN OLD MAN WITH A BRISTLY BEARD. 
B.-HdG. 565. He is turned to the left, bends his head a' little forward, 
and looks to the left. His hair is rough. He has a greyish-brown cloak. 
The background is a light grey. The light falls from the left at top. A 
small half-length, without hands. 

Signed at top, "Rembrandt 1633"; oak panel, 3! inches by 2j 
inches. 

Sale. F. Szarvady, Paris, February 21, 1874, No. 39. 
In a private collection, Paris, 1900. 
In the possession of the Paris dealer F. Kleinberger. 
In the collection of Baron Leon Jansen, Brussels. 

370. AN OLD MAN WITH A LARGE HAT. A white 



xxn REMBRANDT 207 

cloth is tied round his brow. He is turned three-quarters left and thrusts 
his left hand into his reddish coat, which is slightly open in front. He 
looks down to the left. He has a long brown beard and moustache. A 
-mall half-length. Painted from the same model as 453 (Wachtmeister) 
about the same time, 1651. 

Panel, 10 inches by 9 inches. 

Exhibited in Paris, 1911, No. 126; in the Dilsscldorf Kunsthallc, 1912 
catalogue, No. . 

In the possession of the Paris dealer Sperling. 

In the possession of the Paris dealer F. Klcinberger, 191 i catalogue, No. 60. 
Sale. Marczcll von Nemes of Budapest, Paris, June 17, 1913, No. 61 
(95,000 francs). 

171. AN OLD MAN WITH A GOLD CROSS ON HIS 
BREAST. Bode 70 ; Out. 357 ; Wb. 58 ; B.-HdG. 32. In full : 
I turned a little to the left and looks in that direction. He has a short 
J white hair under a black cap. His large black velvet ^ 
'ittle of his grey coat at the breast, on which hangs a double 
chain with a large cr<< .vnish background. The light from 

the left at top touches the I 1 without hands ; almost life 

Signed in the right centre, " R H L. 1630"; oak panel, octagonal, 

by 22 inc 

Etched by W. Unger. 

:ioncd by Vosmacr, pp. 88, 486; by Bode, p. 381 ; Dutuit, ; 
Michel. 137]. 

Transferred from the New Cabinet at the Schloss to the Kunsthaus as early 

iccording to the new Casscl catalogue. 
In the chief Casscl inventor 
In the Louvre, Paris, 1806-15. 
In the Casscl Gallery, 1913 catalogue, No. 231 (old No. 209). 

372. AN OLD MAN WITH A BALD HEAD. Bode 72 ; 

Dut. 361 ; Wb. 6 1 ; B.-HdG. 136. He is turned to the left, inclines his 
head forward, and looks straight before him. He has a fair reddish I 
slightly tinged with grey. He wears a dark brown cloak. The light falls 
from the left at top full on the bald pate and touches the face. Half- 
length, without hands ; a little below life size. 

Signed on the right above the shoulder, " R H L. 1632 " ; oak panel, 
2O inches by 15^ inches. 

Mentioned by Vosmacr, p. 494 ; by Bode, p. 413 ; by Dutuit, p. 2 
Michel, pp. 1 10, 552 [84-5, 437]. 

In the chief Casscl inventory of 1749, No. 708. 

In the Louvre, Paris, 1806-15. 

In the Casscl Gallery, 1913 catalogue, No. 232 (old No. 210). 

373. AN OLD MAN WITH A STUBBLY GREY BEARD. 
Bode 71 ; Dut. 362 ; Wb. 62 ; B.-HdG. 137. He is turned a little to 
the left and looks straight before him. He has a dark cloak over a light 
brown coat, on which hangs a double gold chain with a medallion. Half- 



208 REMBRANDT SECT. 

length, without hands ; life size. The same old man is in a similar study 
in 405 (Metz Museum). 

Signed in the right centre, "R H L van Ryn 1632" ; oak panel, 23 J 
inches by 19 J inches. 

Mentioned by Vosmaer, p. 494 ; by Bode, p. 413 ; by Dutuit, p. 27 ; by 
Michel, pp. no, 552 [85, 437]. 

In the collection of V. de Reuver, Delft ; it was there in 1709, No. 39 in 
the inventory, valued at 30 florins ; in 1724 the painter Ph. van Dijk offered 
200 florins for it. See Hoet, ii. 396. Sold with the collection, 1750, to the 
Landgraf of Hesse. 

In the collection of Wilhelm VIII., Landgraf of Hesse. 

In the chief Cassel inventory, 1749, No. 555. 

In the Palace, Cassel, 1783 catalogue, No. 9163 in the first blue room. 

In the Louvre, Paris, 1806-15. 

In the Cassel Gallery, 1913 catalogue, No. 233 (old No. 211). 

374. A BARE-HEADED OLD MAN. Sm. 372 ; Bode 74 j 
Dut. 415 j Wb. 60 j B.-HdG. 309. Almost in profile, with a thin grey 
beard and dishevelled hair. He is turned to the left and looks at the 
ground. His dark coat shows a little of the shirt in front. Pale light 
comes almost from the front. Brownish background. Half-length, about 
a third of life size. Painted about 1643-44. [Pendant to 375.] Cf. 
789^, 790^. 

Oak panel, 8 inches by 6 inches. 

Mentioned by Bode, pp. 514, 567 ; by Michel, pp. 397, 552 [307, 437]. 

In the chief Cassel inventory, 1749, No. 658. 

In the Palace, Cassel, 1783 catalogue, No. 96 in the blue corner cabinet. 

In the Louvre, Paris, 1806-15. 

In the Cassel Gallery, 1913 catalogue, No. 247 (old No. 225). 

375. AN ELDERLY JEW IN A FUR CAP. Sm. 374; 
Bode 73 ; Dut. 416 ; Wb. 59. About fifty. He is seen in full face, 
and has grey hair and a dark beard. He wears a dark brown robe, showing 
at the throat a narrow strip of the shirt. The light falls from the left. 
Brownish background, illumined to the right. Half-length, about two- 
thirds life size. Painted about 1645. [Pendant to 374.] Cf. 789^. 

Oak panel, 8 inches by 6 inches. 

Exact replicas are 

1. Bode 282 ; Dut. 417 ; Wb. 285 ; B.-HdG. 308. 
Oak panel, 10 inches by 7^ inches. 

Engraved in Filhol, i. 71, and Landon, ii. 58. 

Mentioned by Bode, pp. 514, 595 ; Dutuit, p. 35 ; Michel, pp. 397, 

562 [307, 434]. 
In the Louvre, Paris, old collection; 1907 catalogue, No. 2546. 

2. Oak panel, 8J inches by 7 inches originally 7^ inches by 6 inches. 
In the collection of the late Quincy A. Shaw, Boston. 

3. In the Musee Lorin, Bourg, 1875 catalogue, No. 80 as a G. van den 

Eeckhout. 

4. In the collection of the late Adolphe Schloss, Paris 
and in many other places and at several sales [cf. 47 if]. 



xxir REMBRANDT 209 

Etched by Samuel van Hoogstraten, with the inscription "Jan van Lcyden"; 
and by P. I. 

Mentioned by Bode, pp. 514, 567; by Dutuit, p. 28; by Michel, pp. 397, 

552 [307, 4 

In the chief Cassel inventory of i ''59. 

In the Palace, Cassel, 1783 catalogue, No. 89 in the blue corner cabinet. 

In the Louvre, Paris, 1806-1^. 

In the Cassel Gallery, 1913 catalogue, No. 248 (old No. 226). 

375A. A MAN WITH A STEEL GORGET AND A BLUE- 
BLACK COCK'S FEATHER. B.-HdG. 548.- ! dark 
purple. He is inclined to the left, but his head and eyes are turned towards 
the spectator. He has dark hair. He wears a dark brown cloak. Over 
the steel gorget is drawn a dull green neck-cloth. Under the cloak a triple 
chain hangs across the dark brown doublet. Grey background. The 
Mils from the left at top. Half-length, without hands. 

ied on the left, half-way up, " R H L 1631 "; oak panel, 22i inches 
by 1 8 inches. 

Exhibited at the Chicago Art Institute, 1907, No. 1058; at the Hudson- 
Fulton Commemoration, Metropolitan Museum, New York, 1909, No 

Saff. John Corbett, London, June 18, 1904 (588, P. and D. Colnaghi). 
In the possession of the London dealers P. and D. Colnaghi. 

:hc collection of H. Tcixeira dc Mattos, Amsterdam. 
In the collection of Frank G. Logan, Chicago. 

376. AN OLD MAN IN PROFILE WITH CLASPED 
HANDS. - j Wb. 81 ; B.-HdG. 51 

In his seventies. He sits in profile to th< -Jcing in that direction. 

He has a thin grey beard. His coat, richly decorated with gold brocade, 
has a wide opening at the throat, showing the white shirt. Over the coat 
is a heavy black cloak lined with gold brocade. He wears a very wide 
hat adorned with a string of pearls. Dark background. Bright light 
falls from the left at top. Half-length ; life size. Painted about 16' 

Canvas, 32^ inches by 28 inches. 

Etched by A. Riedcl and by C. G. Schultze, 1769. 

Mentioned by Vosmacr, p. 578; by Bode, pp. 539, 570; Dutuit, p. 29; 
Michel, pp. 500, 553 [390-91, 438]. 
In the Dresden inventor 
In the Royal Palace, Warsaw, 1763. 
In the Dresden Gallery, 1908 catalogue, No. 1570. 

A RABBI WITH A GOLD CHAIN. Sm. 451; Bode 
87 j Dut. 401 ; Wb. 78 ; B.-HdG. 296. He sits, seen almost in full 
face, looking at the spectator. He leans his right arm on a pedestal. He 
beard, and long grey hair covered with a broad black cap. He wears 
a brown coat, with a gold chain and medallion on his breast, and a large 
dark velvet cloak. In his right hand is an Indian cane with a gohi 

cd left hand holds the right-hand glove. Half-length ; life size. 
Painted about 1645. The cap and cloak were completely repainted in 
the eighteenth century. "A picture of the highest excellence" (Sm.). 

Canvas, 38 inches by 32 in. 
VOL. vi P 



2io REMBRANDT SECT. 

Engraved by Dauzel and P. Tanje. 

Mentioned by Vosmaer, p. 551; by Bode, pp. 497, 569; Dutuit, p. 29; 
Michel, pp. 305, 553 [233, 438]. 

In the collection of Prince de Carignan, Paris, from which it was acquired 
for Dresden in 1742, according to Hiibner but certainly before 1753. 

In the Dresden Gallery, 1908 catalogue, No. 1571 [valued by Sm. in 1836 
at 472 : i os.]. 

37 7 A. A YOUNG MAN IN A DARK CAP WITH A BLUE 
FEATHER. Sm. 394, 444, 452 ; Bode 86 ; Dut. 298 ; Wb. 77 ; 
B.-HdG. 270. He stands, turned a little to the right, and looks in that 
direction. He rests his left hand, apparently, on his hip under his cloak, 
and holds his gloved right hand in front of him. He has a dark brown 
moustache and hair. He wears an iron gorget, and a dark cloak fastened 
in front by a gold chain. Bright light falls from the left on the right 
half of the face. Brown background. Half-length; life size. 

Signed on the right at top, "Rembrandt f. 1643"; canvas, 30 J inches 
by 26J inches. 

Etched by C. G. Schultze, 1767 and 1769; by A. Riedel, 1755 ; by J. G. 
Hertel ; by P. Tanje. 

Mentioned by Vosmaer, p. 534; by Bode, pp. 468, 569; by Dutuit, p. 29; 
by Michel, pp. 307, 553 [235, 438]. 

At Dresden since the time of the Guarienti inventory, before 1753. 

In the Dresden Gallery, 1908 catalogue, No. 1565 [valued by Sm. in 1836 
at 



3773. A MAN IN A HIGH RED VELVET CAP 
TRIMMED WITH FUR. Sm. 391 and 454 ; Bode 88 ; Dut. 424 ; 
Wb. 80 ; B.-HdG. 467. He sits in an arm-chair, seen almost in a front 
view. He lays his arm on the arm of the chair and turns his head almost 
in profile to the left. He wears a coloured coat with a pattern and a grey 
cloak. Full light falls from the left on the face and shoulder. Dark grey 
background. Half-length; life size. Painted about 1656. 

Canvas, 35^ inches by 27 inches. 

Engraved by A. Riedel. 

Mentioned by Bode, pp. 515, 569; by Michel, p. 553 [438]. 
At Dresden since 1765. 

In the Dresden Gallery, 1908 catalogue, No. 1568 [valued by Sm. in 1836 
at 200]. 

378. AN OLD MAN WITH A WHITE BEARD LOOK- 
ING DOWN. B.-HdG. 372. About sixty-five. Almost in full face. 
He inclines his head slightly to the right and casts his eyes down, opening 
his mouth as if to utter a slight groan. A small red cap covers his white 
hair. He wears a dark coat. The light comes from the left. Dark back- 
ground. Half-length ; life size. Painted about 1650. 

Signed, "Rembrandt f."; oak panel, 24^ inches by 18 inches. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 100. 

Mentioned by Michel, p. 555. 

Sale.C. W. Lewis, London, 1871 (Dublin Gallery). 

In the Irish National Gallery, Dublin, 1898 catalogue, No. 48. 



xxii REMBRANDT 211 

379. HEAD OF A YOUNG MAN. Seen almost in full 

He wears a plain brown dress. His disordered curls fall over his ears. 
Painted almost entirely in tones of brown and yellow. The hair is partly 
drawn in the wet pigment with the handle of the brush. Painted about 
1629. 

Circular, 8 inches in diameter ; probably rectangular at first. 

Mentioned by Hofstedc de Groot, Onzf Kunst y December 1909, t . i~~. 

.-.ibitcd at Lcydcn, 1906, No. 5 

In the collection of Prime Liechtenstein about 1766 according to the 
inscription on a seal on the back. 

In the collection of Count Tarnowski, Dzikow. 

380. AN OLD MAN WITH CLASPED HANDS. 111.344; 
Bode 374 ; Dut. 428 ; Wb. 354 ; B.-HdG. 479. About seventy. He 

n a red arm-chair at a table and rests his arms on the chair. He 
dark hair turning very grey and a rough grey beard. He wears a black 

and a dark brown cloak over a brownish 'n the table to the 

left is a low reading-desk with an open book. Full light falls from the left 
at top on the face, beard, and hands. Dark background. Three-quarter 
length ; life size. Painted about 1658. 

.: foot, "Rembrandt f. 16 . , 40^ inches by 33 

inch 

Eng r . 'urnier in the " Pitti Galler\ :a the 

i Vcr Cruys ; by Masquclier in the " Muse"c 
Napoleon." 

Mentioned by Vosrnaer, p. 562 ; by Bode, pp. 538, 608 ; by Dutuit, 

150, 566 [350, 440]. 

In the Palazzo Pitti, Florence, 1894 catalogue, No. 16 [valued by Sra. in 
183631 420]. 

ic Uffizi, Florence. 

381. A BEARDED OLD MAN IN A SMALL REDDISH- 
BROWN SLOUCH HAT. B.-HdG. 311.- He is seen in full face 
looking slightly to the left. His brown beard is turning grey. He wears 
a brown cloak ; part of his white shirt is seen at the breast. Strong light 
comes from the left. The background is illumined to the ri^ht. Half- 
length ; about a third of life size. Painted about 1645 ; damaged by 
over-cleaning. 

Oak panel, 9 inches by 8 inches. 

A copy is in the Loeb collection, Caldenhof, near Hamm. 
Sale. J. Rendorp, Amsterdam, July 9, 1794, No. 53 (2 florins, Vvcr). 
In the collection of John Graham-Gilbert, Yorkhill, Glasgow ; bequeathed 
to the city by his widow in i> 

In the Glasgow Art Gallery, 1911 catalogue, No. 

382. AN OLD MAN WITH A RED CAP. He looks at the 
spectator. He has a grey moustache and beard. Strong light falls on his 
brow. Half-length; three-quarters life size. Painted about 1660. 

Panel, 7^ inches by 6| inches. 

Mentioned by Hofstcde de Groot, Onze Kunst, December 1909, p. 182. 



212 REMBRANDT SECT. 

This, or 383, was exhibited at the British Institution, London, 1858, 
No. 122. 

In the collection of C. Jennens, London, about 1750 ; it passed by inherit- 
ance to the Howe family. 

In the collection of Earl Howe, Gopsall. 

383. A MAN WITH LONG WHITE HAIR, MOUS- 
TACHE, AND BEARD. In a red coat ; turned to the right. Half- 
length ; three-quarters life size. Painted about 1660. 

Panel, 9 J inches by 8 inches. 

Mentioned by Hofstede de Groot, Onze Kunst, December 1909, p. 181. 

This, or 382, was exhibited at the British Institution, London, 1858, 
No. 122. 

In the collection of C. Jennens, London, about 1750 ; it passed by inherit- 
ance to the Howe family. 

In the collection of Earl Howe, Gopsall. 

384. AN OLD MAN WITH A SCAR ON HIS BROW. 
Sm. 281 ; B.-HdG. 355. In full face, turned a little to the right. He is 
bare-headed, with thin unkempt hair and a short grey moustache and im- 
perial. He wears a brown robe, showing at the throat a narrow strip of 
the shirt. Greyish-brown background. The light falls from the left at 
top on the head. Half-length, without hands j life size. The subject is 
of the type called "Rembrandt's brother Adriaen." See the notes to 261 
and 442 ; cf. 420, 423. 

Signed on the left, half-way up, "Rembrandt f. 1650"; canvas, 31 
inches by 26 inches. 

Engraved by Albert Kriiger in Oud Holland, ix. Etched in the Recueil de 
Gravures by J. B. P. Le Brun, Paris, 1809, ii. No. 153. 

Mentioned by Dutuit, p. 14; by Michel, pp. 353, 565 [270, 440]; by 
Bode in Oud Holland, ix. p. I. 

In the possession of the Paris dealer J. B. P. Le Brun, 1809. 

Sales. S. Erard, Paris, April 23, 1832, No. 120 (1400 francs). 

Sir W. W. Knighton of Blendworth Lodge, London, May 21, 1885. 

In the collection of Sir C. J. Robinson, London, 1889. 

In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 300 
Paintings," 1898, No. 153. 

In the Royal Gallery, The Hague, 1910 catalogue, No. 560. 

385. AN OLD MAN LOOKING DOWN. B.-HdG. 576. 
Turned to the left, in a three-quarter view, and looking in that direction. 
He wears a black cap adorned with a gold chain. He has white hair and a 
short and stubbly white beard. He wears a dark red cloak, trimmed with 
fur, over a red coat, on the breast of which is a double gold chain with a 
medallion. Brownish-grey background. The light falls from the left at 
top. A small half-length, without hands. 

Signed on the right at top, "Rembrandt f. 1643"; oak panel, 8 
inches by 6 inches. 

In the collection of Rodolphe Kann, Paris, 1907 catalogue, No. 74. 
In the collection of M. Bromberg, Hamburg. 

386. A MAN WITH A POINTED BEARD. B.-HdG. 568. 



xxn REMBRANDT 213 

He is inclined to the left ; his head and eyes are turned towards the 
spectator. He wears a broad black velvet cap on his bushy hair ; he- 
a short and well-trimmed beard. He is in a black cloak, over which 
a rich gold chain ; the cloak is open at the throat. Dark background. 
The light falls from the left at top. Half-length, without hands lite 

;rd on the left above the shoulder, "Rembrandt f. 1635"; oak 
panel, 20 inches by 15^ inches. 

Sale. J. Ghijs, widow oi '..mcnfant, Zoctcrwoude, April 19, 

No. i (36 florins, Van Pottum). 

In the possession of the London dealer Martin H. Colnaghi. 
In the possession of the Paris dealer C. Scdelmeyer. 
In the collection of Rodman Wanamakcr, Philadelphia. 

In the possession of the Paris dealer C. Sedelmcyer, " Catalogue of IOO 
Paintings," xi. 1911, No. 26. 

:he collection of H. Budge, Hamburg. 

387. A RABBI WITH A FLAT CAP. Bode 165; 0111.3785 
\Vb. 140 ; B.-HdG. 201. He is seen in full face, inclining his head side- 
to the right. His beard is turning grey. He wears a flat black cap, 

under which a coloured veil is seen at the forehead and falling on the 
shoulders. He wears a black velvet cloak, under which a breast-plate 
richly worked in gold hangs from a chain round his neck. The light 
comes from the left at top. The brownish-grey background is fairly light, 
and is cncirled with a black oval stone frame. Half-length, without hands; 
life size. Cf. 8030. 

d on the left below the centre, " Rembrandt f. 1635"; maho- 
gany panel, rounded at top, 28 inches by 24 in 

A contemporary copy, under the name of Eeclchout, is in the Sucrmondt 
Museum, Aachen, 1883 catalogue, No. 156 ; it was acquired from the collection 
of Jacob dc Vos, junior, Amsterdam, 1883. Another c the RumjanzofF 

Museum, Moscow, 1901 catalogue, No. 579. A small copy of more recent 
origin was in the sale : Earl of Ellenborough and others, London, April 3, 
1914, No. 67 (840). 

Mentioned by Vosmaer, p. 508 ; by Bode, pp. 415, 582 ; Dutuit, p. 33 ; 
Michel, p. 556 [431]. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, ^- 9- 

In the collection of King George III. ; in the Royal inventory about 1760- 
17-0, as noted by L. Cust. 

In the Hampton Court Gallery, 1898 catalogue, No. 381. 

388. AN OLD MAN IN PROFILE. B.-HdG. 556. He is 
turned to the left, and bends forward, looking down. He has stubbly 

hair and beard, and wears a black coat. Light grey background. 
The light falls from the left at top. A small half-length, without" hands. 
Painted about 1630. 

Signed on the right at top with the monogram ; oak panel, 7^ inches 
by 6A inches. 

In the Royal picture gallery, Copenhagen, as cari\ ; removed from 

the store-room into the Museum, 1900. 

In the Copenhagen Museum, 1904 catalogue, No. 279^. 



214 REMBRANDT SECT. 

389. AN OLD MAN WITH A WHITE BEARD AND 
WHISKERS. He is turned a little to the left and looks in that direc- 
tion. He wears a plain dark coat ; his head is bare. The light comes 
from the left, leaving the right side of the face in shadow. Half-length, 
without hands ; life size. Painted about 1630. 

Panel. 

Mentioned by Karl Madsen, Eilleder af Rembrandt, 1911, p. 69. 
In the collection of Consul West, whence it came in 1809 to the Danish 
State. 

In the Copenhagen Museum, 1827 catalogue, No. 511. 

At Gottorp Castle since 1843. 

In the Copenhagen Museum store-room. 

At Fredensborg Castle since August 1871. 

In the Copenhagen Museum since 1909. 

390. AN OLD MAN WITH STUBBLY WHITE HAIR 
AND BEARD. Sm. 439 and 384* ; B.-HdG. 555. He is turned to 
the right and looks at the spectator. He has a dark brown cloak. The 
background is greyish brown. The light falls from the left at top. A 
small half-length, without hands ; painted about 1630, and not dated 1639 
(as Sm. said, on the authority of Longhi's print). 

Oak panel, 8 inches by 6J inches. 

Etched by H. de Thier, 1633. Engraved in an oval by G. Longhi, 1800, 
in the Gavazzeni collection. 

Exhibited at Amsterdam, 1898, No. 12. 

In the collection of F. Gavazzeni, Milan. 

In the collection of H. G. Bohn, London. 

In the collection of Percy Macquoid, London. 

In the collection of J. O. Gottschald, Leipzig, 1901 catalogue, No. 25 ; 
bequeathed in 1903 to Leipzig. 

In the Leipzig Town Museum, 1909 catalogue, No. 804. 

391. AN ELDERLY MAN WITH A STICK IN HIS 
HANDS (or, Portrait of a Jew Merchant). Sm. 415 ; Dut. 429 ; 
B.-HdG. 384. He sits in profile to the right and turns towards the 
spectator. He has a dark beard. He wears a brown fur cap with a bright 
feather and a grey silk doublet with full slashed sleeves ; a red cloak hangs 
over his left shoulder and his knees. The right arm rests on the arm of 
the chair. Dark background. Full light from the left falls across the 
figure. Seen to the knees ; life size. Painted about 1650. 

Canvas, 53 inches by 41 inches. 

Engraved by John Burnet ; by J. Rogers in Jones's National Gallery ; by 
G. Shenton. 

Mentioned by Vosmaer, pp. 367, 564; by Bode, pp. 497, 583 note; 
Dutuit, p. 32 ; Michel, pp. 432, 556 [431]. 

Exhibited at the British Institution, London, 1815, No. 34. 

In the collection of Sir George Beaumont, Bart., London ; presented to the 
nation, 1826 [valued by Sm. in 1836 at 525]. 

In the National Gallery, London, 1911 catalogue, No. 51. 

392. A JEWISH RABBI. Sm. 351 and 459; Bode 177; 



xxn REMBRANDT 



215 



Wb. 130 ; B.-HdG. 469. With a long; dark beard, moustache, and hair. 
He is in full face ; the head and the eyes are turned a little to the riirht. 
The forehead is wrinkled. He wears a brown coat and a dark cap. The 
light falls from the left at top on the lower part of the face. Dark back- 
ground. Half-length, without hands ; life size. Painted about 1657. 
Apparently the same model as the so-called " P. C. Hooft " (413). 
ied, " Rembrandt f. "; canvas, 30 inches by 26 inches. 

Engraved in mezzotint by T. Watson while in the collection of the Duke 
of Argyll. Also engraved by J. Watson, with a hat instead of a cap, according 
to Sm. 459. 

Mentioned by Vosmaer, pp. 354, 558 ; by Bode, pp. 516, 584 ; by Michel, 
pp. 432, 556 [336, 431]. 

In the collection of the Duke of Argyll. 

In the collection of Jeremiah Harman, Woodford, 1836 (Sm.). 

Sa/e, }. Harman, London, May 17, 1844 (430, Farrcr) ; acquired by the 
National Gallery, 1844 [for ^"473 : us.]. 

In the National Gallery, London, 1911 catalogue, No. 190. 

393. AN OLD MAN (or, A Burgomaster). Sm. Suppl. 6 ; 
B.-HdG. 512. About sixty-five. He sits turned to the right and looks 
at the spectator. He holds in his left hand a tall Spanish cane. His beard 
and hair are turning grey ; he wears a yellow cap with a white band. 
Over his white under-garment is a reddish-brown cloak which he holds 
together over his knees with the right hand. Dark background. Full 
light falls from above to the left on the head, breast, and hand. Seen to 
the knees ; life size. Painted about 1661. Formerly identified as J. Lutma. 
[Pendant to 857.] 

Canvas, 51 inches by 38 inches. 

Exhibited at the British Institution, London, 1837, No. 73, and 1858, 
No. 100. 

In the collection of Sir W. Middlcton, Bart., London, 1837. 

In the collection of Lady de Saumarez, London ; acquired from Lord de 
Saumarez in 1899 for the National Gallery with pendant (for 15,050 the 
pair). 

In the National Gallery, London, 1911 catalogue, No. 1674. 

394. [Identical with 742.] 

395. A JEW IN A BROAD BLACK HAT, SEATED. 
B.-HdG. 312. He sits, turned a little to the right, and looks at the spec- 
tator. He has dark brown hair and a dark beard. On his dark coat lies 
the loose shirt collar with tassels. Below, the hands clasped in front of 
the body are partly visible. Pale light from the left touches the face. 
Dark background. Half-length ; about a third of life size. Painted about 
1645. 

Signed on the right above the shoulder, " Rembrandt f." ; oak panel, 
with a flattened curve at top, 15 inches by 12 inches. 

Exhibited in the Royal Academy Winter Exhibition, London, 1899, No. 1 1 
[as "A Burgomaster"]. 

In the collection of Sir John Neeld, Bart., Grittleton House. 



2i6 REMBRANDT SECT. 

In the collection of Sir Audley W. Neeld, Bart., Grittleton House, 1899. 
In the possession of the London dealers T. Agnew and Sons. 

396. A JEW. Sm. 330 ; Bode 213 ; Dut. 419 ; Wb. 189 ; 
B.-HdG. 310. He sits, turned half-left, and looks straight before him. 
He has a brown beard. He wears a dark cap and a brown coat trimmed 
with fur. Full light comes from the front. Dark background, slightly 
illumined on the left at foot. Half-length ; about a third of life size. 
Painted about 1645. 

Oak panel, 8 inches by 6 inches. 

A copy was in the sale : E. Moll the elder and others, Amsterdam, 
December 15, 1908, No. 119 (800 florins). 

Engraved by J. Fittler from a drawing by W. Craig in the Stafford Gallery, 
iii. No. 70. 

Mentioned by Bode, pp. 514, 587; by Dutuit, p. 45; Michel, p. 557 
[432] ; Waagen, ii. 42. 

In the collection of the Marquess of Stafford. 

In the collection of Lord Francis Egerton, 1836 (Sm.). 

In the collection of the Earl of Ellesmere, Bridgewater House, London, 
1892 catalogue, No. 136. 

397. A RABBI IN A HEAVY FUR CLOAK. Sm. 264 ; 
Wb. 138; B.-HdG. 200. He stands, turned half-left, and looks at the 
spectator. He has a fine white beard. The upper part of the face, to 
below the eyes, is shaded by a flat velvet cap. At the breast is a gilt 
clasp. The cloak has loose sleeves. The left hand in front of the body 
is only seen in part. Three-quarter length ; life size. Painted about 
1632. 

Canvas, 39 inches by 30 inches. 

Engraved by P. Louw. 

Mentioned by Waagen, ii. 6 ; by Dutuit, p. 33. 

Exhibited at the British Institution, London, 1826, No. 16 ; 1827, No. 34 ; 
1831, No. 42. 

In the Royal collection, Buckingham Palace, London ; not in the catalogue, 
because it was not formerly exhibited in the gallery [it was in the collection 
in 1836 (Sm.)]. 

398. A MIDDLE-AGED RABBI. Sm. 447 ; Bode 203 ; Dut. 
383 ; Wb. 176 ; B.-HdG. 203. He is seen in full face and looks at the 
spectator. He has a cultured face, dark eyes, grey hair, and a big grey 
beard. He wears a black cap over a dark greenish-grey cloth fastened on 
the forehead with a gold clasp, and a dark, almost black, cloak over a dark 
green doublet with gold fringes at the breast and a golden girdle. Dark 
background. Strong light falls from the left on the brow, the right 
cheek, and the nostrils. Half-length, without hands ; life size. Painted 
about 1635. 

Signed on the right, half-way up, "Rembrandt f. 163 ." (the paint 
with the last figure is rubbed off) ; oak panel, 28J inches by 22 inches. 

Exhibited at Amsterdam, 1898, No. 37 ; at the British Institution, London, 
1818, No. 112, 1844, No - 2 > l8 55 No - 6 5> and 1867, No. 61 ; at the Royal 
Academy Winter Exhibition, 1899, No. 34. 



xxn REMBRANDT 217 

Mentioned by Bode, pp. 414, 586; by Dutuit, p. 44; Michel, pp. 218, 

557 [168, 432]. 

In the collection of the Earl of Derby, London [it was there in 1836 
(Sm.)]. 

399. AN OLD MAN OF ABOUT SIXTY- FIVE. Sm. 327 ; 
Bode 152; Dut. 437 ; Wb. 179; B.-HdG. 380. He sits in an arm- 
chair, seen in full face. His sunken features have a thoughtful air. He 
has a thin beard and short hair. He wears a dark cap and a brownish-red 
coat lined with brown, cut out square on the breast and held together with 
a chain round the shoulders. The under-garment of rough white woollen 
stuff is seen beneath the coat. He has a dark cloak trimmed with fur and 
lined with red. Both his arms lean on the arms of the chair ; the left 
hand apparently rests on a stick. Dark background. The light falls from 
the left on the face and the white under-garment. Half-length, without 
hands ; life size. 

Signed on the left, on a level with the shoulder, " Rembrandt f. 1651 "; 
canvas, 31^ inches by 26 inches. 

Mentioned by Bode, pp. 540, 580; by Dutuit, p. 44; Michel, pp. 500, 

555 [336, 39 432]. 

Exhibited at Amsterdam, 1898, No. 83 ; at the British Institution, London, 
1837, No. 10, and 1867, No. 51 ; at the Royal Academy Winter Exhibition, 
1899, No. 10. 

In the collection of the Duke of Devonshire ; formerly at Chiswick House, 
now at Devonshire House, London [it was in the collection, 1836 (Sm.)]. 

400. AN OLD MAN WITH A HIGH FUR CAP. B.-HdG. 

587. He is turned to the left and looks in that direction. His beard is 
turning grey. He wears a brownish cloak trimmed with fur. A small 
half-length, without hands. Painted about 1654. The same model as in 
363 (Berlin) and 450 (Sir F. Cook), and painted at the same time. 
Panel, nj inches by 9! inches. 

Exhibited at the National Loan Exhibition, Grafton Galleries, London, 
1909-10, No. 41. 

In the collection of V. H. Crosby. 

In the collection of Mrs. H. H. Hallahan. 

In the possession of the London dealers Dowdeswell. 

In the collection of Leopold Hirsch, London. 

401. AN OLD MAN OF ABOUT SEVENTY. Bode 224; 
Dut. 440 ; Wb. 228 ; B.-HdG. 516. He sits, seen in full face, turns his 
head a little to the right, and looks straight before him. He wears a black 
fur cloak fastened at the breast by a gold clasp with two pearls. He has 
thick grey hair and beard. On his head is a black cap. His right hand, 
seen only in part, holds a stick with a gilt top. Full light touches the 
right half of the face. Dark background. Half-length ; life size. 

Signed on the right at top, " Rembrandt f. 1667 " ; canvas, 28 inches 
by 23 inches. 

Mentioned by Bode, pp. 539, 588 ; by Dutuit, p. 47 ; Michel, pp. 500, 

558 [39> 433]; Waagen, iv. 98. 



2i 8 REMBRANDT SECT. 

Exhibited at Amsterdam, 1898, No. 121 ; at the Royal Academy Winter 
Exhibition, London, 1899, No. 17. 

In the possession of the London dealer T. Emmerson. 

In the collection of J. G. Vcrstolk van Soelen, The Hague, No. 40 ; sold 
as a whole in 1846 to Thomas Baring, Humphrey Mildmay, and Lord 
Overstone. 

In the collection of Thomas Baring, London. 

In the collection of the Earl of Northbrook, London, 1889 catalogue, 
No. 85. 

402. A WHITE-BEARDED OLD MAN IN A REDDISH- 
BROWN CAP. B.-HdG. 585. He is inclined to the right, turns his 
head round to the spectator, and looks down. He has curly grey hair. 
His light brown coat shows the shirt at the throat ; his right hand is half 
hidden in it. Greyish-brown background. The light falls from the left 
at top. Half-length ; life size. 

Signed on the right on a level with the shoulder, " Rembrandt 1656 " ; 
canvas, 26 inches by 22j inches. 

In the possession of Sir George Donaldson, London. 
In the collection of Sir J. B. Robinson, London. 

403. AN ELDERLY MAN WITH A CURLY GREY 
BEARD. B.-HdG. 581. He is inclined to the left and turns his face 
and eyes towards the spectator. He has curly brown hair. He wears a 
black velvet cap adorned with a thin gold chain, and a black cloak. Dark 
neutral background. The light falls from the left at top. Half-length, 
without hands ; life size. Painted about 1645. 

Oak panel, 30 inches by 24 inches. 

Exhibited at the Guildhall Art Gallery, London, 1903, No. 143. 
In the collection of Sir Henry St. John Mildmay, London. 
In the possession of the dealers M. Knoedler and Co., London. 
In the collection of W. K. Bixby, St. Louis. 

404. AN OLD MAN OF ABOUT SEVENTY. B.-HdG. 

377. He is turned to the right and looks before him. He is bare-headed, 
with thin white hair on the temples and a white beard. He wears a dark 
brown fur cloak over a dull red coat. Dark background. Full light falls 
from the left at top on the brow and touches the face. Half-length ; 
life size. Cf. 803*7. 

Signed on the right, half-way up the edge, "Rembrandt f. 1651"; 
canvas, 24 inches by 20 inches. 

Exhibited in the Leipzig Town Museum, 1888. 

In the collection of Freiherr Speck von Sternburg, Liitzschena, , 1889 
catalogue, No. 203. 

405. AN OLD MAN WITH A BLACK CAP. Bode 102 ; 
Dut. 373 ; Wb. 97 ; B.-HdG. 143. He is turned a little to the right 
and looks straight before him. He wears a black cap with a narrow gold 
band on his abundant white hair. His soft and curly white beard falls on 
his brown coat. On his breast, over the outer garment, hangs a narrow 
chain of several strands. Half-length, without hands ; life size. Very 



xxii REMBRANDT 219 

closely related in composition and colour to the [study of a head after the 
same model at Cassel (373). Wrongly identified as a portrait of C. Le 
Goulon, great-uncle of the donor. 

Signed on the right, " Rembrandt f. 1633 " ; oak panel, oval, 18 inches 
by i6i inches. 

An old copy is in the possession of A. J. ten Breul, The Hague ; it was 
exhibited at Utrecht, 1894, No. 418. Another copy is in the Gower collection, 
Nimes Museum, No. 109. 

Engraved by G. Longhi, 1800. 

Mentioned by Vosmaer, p. 520; Dutuit, p. 30; Michel, pp. in, 554 
[85-86,435]. 

In the collection of Balthasar, Marquis d'Ourchcs, who gave it to Metz in 
1866. 

In the Metz Museum, 1891 catalogue, No. 103. 

406. AN OLD MAN WITH A WHITE BEARD AND 
LUXURIANT HAIR. His hair falls in curls over his ears. He is 
turned a little to the right. Over his shoulders falls a dark cloak, open 
at the breast. The eyes are in shadow. Half-length, without hands. 
Painted about 1661. 

Panel, ioj inches by 8 inches. 

Mentioned by Hofstede dc Groot, Onze Kunst, December 1912, p. 188. 

In the possession of the Paris dealer S. Bourgeois. 

In the collection of the late Sir W. C. Van Home, Montreal. 

407. A YOUNG RABBI WITH A BLACK CAP. B.-HdG. 

509. About thirty. He is seen in full face and turns his head round a 
little to the right. He has dark grey hair and beard and a pale com- 
plexion. He wears a dark grey coat. Dark background, slightly illumined 
on the right. The light falls from the left at top on the face. Half- 
length, without hands ; life size. 

Signed on the right at top, "Rembrandt f. 1661"; canvas, 25^ inches 
by 22^ inches. 

In the Cotaner collection. 

In the collection of the Marquise de la Genia, Spain. 

In the collection of Rodolphe Kann, Paris, 1907 catalogue, No. 70. 

In the possession of Duveen Brothers, Paris. 

In the possession of M. Knoedler and Co., London. 

In the collection of the late Sir W. C. Van Home, Montreal. 

408. AN OLD MAN WITH A FLAT SLASHED CAR 

He is seen in full face and looks straight before him. He has long hair 
falling on his shoulders and a white beard. He wears a plain cloak, open 
at the breast and exposing the under-garment. Half-length, without hands. 
Painted about 1655. 

Canvas, 24 inches by 20 inches. 

Mentioned by Hofstede de Groot, Onze Kunst, December 1912, p. 181. 

Exhibited in Paris, 1911, No. 133. 

In the possession of L. Lesser, London. 

In the possession of F. Kleinberger, Paris, 1911 catalogue, No. 58. 



220 REMBRANDT SECT. 

In the collection of M. van Gelder, Uccle, near Brussels ; recently sold to 
Sir W. C. Van Home. 

In the collection of the late Sir W. C. Van Home, Montreal. 

408*. A MAN OF ABOUT FORTY. B.-HdG. 515. Seen 
almost in full face and looking straight before him. He has a stubbly 
dark beard. A flat dark cap covers his dark hair, which is fairly long. 
He has a black coat. The background is rather dark. A bright light 
illumines only part of the right cheek and the point of the nose. Painted 
about 1665. 

Signed in the right centre, "Rembrandt f. 166." (the last figure is 
cut off) ; oak panel, 19 inches by 14 inches. 

In the collection of the Marquess of Lothian, Newbattle Abbey. 

409. A RABBI WITH A GREYISH BEARD. Bode 169; 
Dut. 382 ; Wb. 221 ; B.-HdG. 2O2. He sits, seen in full face. He 
wears a velvet cap, adorned with several gold chains and with a medallion 
in front, and a dark cloak trimmed with fur. His breastplate has gold lace 
and a broad gold ornament on the upper edge. A portion of the white 
shirt is visible. Over the shoulders a heavy gold chain hangs down in 
front, carrying a medallion with three pearls. Full light falls from the 
left on the face and bust. Dark background. Half-length, without hands ; 
life size. Painted about 1635. 

Oak panel, 25 inches by 2oJ inches. 

Engraved by J. Young in the "Leigh Court Gallery," 1822, No. 58. 

Mentioned by Bode, pp. 414, 583 ; by Dutuit, p. 47. 

Sale. Sir Philip Miles of Leigh Court, London, June 16, 1884. 

In the collection of Prince Demidoff, San Donato, 1885. 

Sale. C. T. Yerkes, New York, April 5, 1910, No. 82 in the Edition de luxe 

of the catalogue. 
In the Morell collection, Newhaven, U.S.A. 

410. An Old Man with a White Beard. Bode 379 ; Wb. 362 ; 
B.-HdG. 33. Seen almost in full face, he leans his head on his right 
shoulder and looks before him. A cap of deep purple with gold stripes is 
set awry on the right side of the head. He wears a dark grey coat with 
broad gold lace. Half-length ; life size. Some of the hairs of the beard 
are drawn in the wet pigment with the handle of the brush. Dark grey 
background. 

This picture, which the author does not know from personal inspection, 
was painted from the same model as a series of heads of old men by 
J. Lievens, and is therefore regarded by some as the work of that artist. 
In any case, it was painted about 1630. 

Oak panel, 23 J inches by i8J inches. 

Mentioned by Bode, p. 609. 

Exhibited at the British Institution, London, 1821, No. 78 ; at Naples, 
1879. 

In the collection of G. J. Cholmondeley, London. 

In the possession of C. Sedelmeyer, Paris, " Catalogue of 300 Paintings," 
1898, No. 198. 

In the collection of E. G. Fabbri, New York. 



xxn REMBRANDT 221 

411. A MAN TURNING HIS HEAD ROUND ON HIS 
SHOULDER. Bode 98 ; Dut. 336 ; Wb. 93 ; B.-HdG. 459. About 
forty-five. He stands in profile to the right and looks at the spectator. 
A red cloak lined with yellow is thrown over his right shoulder. A high 
and broad black cap, light in tone, covers his long brown curls. He has 
dark eyes, a vivid complexion, and a slight moustache. Full light from the 
left touches the head. The background is illumined on the right. Half- 
length, without hands ; below life size. 

Signed on the right at foot, "Rembrandt f. 1659"; oak panel, 15 
inches by 12 inches. 

Exhibited at Amsterdam, 1898, No. 103. 

Mentioned by Bode, p. 571 ; by Dutuit, p. 42 ; Michel, pp. 450, 563 [350, 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 Paintings," 
1898, No. 140. 

In the collection of E. F. Weber, Hamburg. 

In the collection of Maurice Kann, Paris. 

In the possession of Gimpel and Wildenstein, New York. 

412. AN OLD MAN OF ABOUT SIXTY. B.-HdG. 376. 
He is seen almost in full face. His head is bent a little to the left ; he 
looks down. His beard is turning white ; on his white hair is a red cap. 
The dark robe is held together over the light under-garment with a 
jewelled gold clasp. Dark background, illumined above. The light falls 
from the left at top across the face. Half-length, without hands ; life size. 

Signed on the right at top, "Rembrandt f. 1650" ; canvas, 27 inches 
by 22 inches. 

Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 95. 

In the possession of T. Agnew and Sons, London. 

In the collection of George J. Gould, New York. 

413. A BEARDED MAN BEFORE A BUST OF HOMER 
(or, The Savant). Sm. 302; Bode 139; Dut. 316; Wb. 159; 
B.-HdG. 385. He stands, with his left hand on his hip, and rests his 
right hand on a bronzed bust of Homer which stands before him on a table 
to the left. He looks thoughtfully at the bust. The table is covered with 
a coloured Smyrna carpet. He wears a broad flat cap of a dark colour on 
his long brown hair ; he has a dark brown beard. Over his black coat is 
a white cloak of thin material with loose sleeves ; it is half-open. From 
the right shoulder to the left side hangs a gold chain of several strands with 
a medal. Dark background. Strong light falls from the left at top on the 
lower half of the face and the sleeves. Half-length ; life size. [Cf. 392.] 

Signed to the left on the table, "Rembrandt f. 1653"; canvas, 54 J 
inches by 52^ inches. 

The old identification of the subject as Pieter Cornelisz Hooft is untenable, 
for the features bear no resemblance to those of Hooft, who died in 1647. 
Professor J. Six suggests that it is a portrait of Torquato Tasso ; see Qud Holland, 
1897, p. 4. W. R. Valentiner in the New York catalogue thinks it more 
probably an ideal portrait of Virgil. 



222 REMBRANDT SECT. 

Exhibited in the British Institution, London, 1815, No. 39 ; in the Royal 
Academy Winter Exhibition, 1893, No. 125 ; in the Hudson-Fulton Celebration, 
Metropolitan Museum, New York, 1909, No. 97. 

Mentioned by Vosmaer, p. 551 ; by Bode, pp. 501, 578 ; by Dutuit, p. 43 ; 
by Michel, p. 555 ; [432]. 

In the collection of Sir Abraham Hume, Ashridge Park, 1836 (Sm.). 

In the collection of" Earl Brownlow, Ashridge Park. 

In the collection of Rodolphe Kann, Paris, 1907 catalogue, No. 65. 

In the possession of Duveen Brothers, Paris. 

In the collection of Mrs. Collis P. Huntington, New York. 

414. A JEW SEATED IN A BLACK CUSHIONED 
CHAIR. B.-HdG. 586. He is turned to the left and looks straight before 
him. He wears a reddish-brown doublet under a dark brown coat lined 
with fur, and a tall black felt cap with a yellow cord. The hands crossed 
on the knees are partly seen. Greenish-grey background. Half-length ; 
life size. Painted about 1657. 

Signed in the right centre, "Rembrandt 16 " (the last two figures 
are damaged) ; canvas, 33 inches by 27 inches. 

Exhibited in the Royal Gallery, The Hague, 1908-9. 
In the collection of Paul Delaroff, Petrograd. 
In the possession of T. Agnew and Sons, London. 
In the collection of O. H. Kahn, New York. 

415. AN OLD MAN IN FULL FACE. Bode 293; Dut. 
381 ; Wb. 292, 299; B.-HdG. 204. He looks down to the left. His 
face is deeply lined j he has dark eyes, dishevelled curls, and a grey beard. 
His purplish-grey robe shows the open shirt at the breast. Strong light 
from the left touches the right half of the face and the shirt. Dark back- 
ground illumined to the right. Half-length, without hands ; life size. 

Signed on the right above the shoulder, "Rembrandt f. 1635"; oak 
panel, 26 J inches by 21 J inches. 

Engraved by Jacquemart in the Gazette des Beaux- Arts and the DemidofF 
sale-catalogue. 

Exhibited at Amsterdam, 1898, No. 34. 

Mentioned by Vosmaer, p. 508; Bode, p. 589; Dutuit, pp. 21, 51 ; 
Michel, pp. 217, 563 [167, 435]. 

Sales. Auguiot, Paris, March I, 1875 (3 2O francs). 

Prince DemidofF, San Donate, March 15, 1880, No. 1035. 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 Paintings," 
1898, No. 127. 

In the collection of Leopold Goldschmidt, Paris, 1898. 

In the possession of T. Agnew and Sons, London. 

In the collection of R. W. Hudson, London. 

In the collection of F. O. Matthiessen, New York. 

In the possession of G. Fischhof, New York. 

In the collection of W. B. Leeds, New York. 

416. AN OLD MAN ALMOST IN FULL FACE. B.-HdG. 

140. He turns his head and his eyes slightly to the left. He has thin 
grey hair under a dull yellow cap, and a stubbly white beard. His complexion 
is a vivid red. He wears a red coat fastened with four buttons in front ; 



xxii REMBRANDT 223 

a gold medal on a black ribbon hangs on the breast. Over the coat is a 
black cloak lined with fur. Full light falls from the left at top on the 
Dark background. Half-length, without hands ; life size. Painted about 
1632. 

Signed with a forged signature, "Rembrandt 1648"; oak panel, 24^ 
inches by 19 inches. 

A copy is in the Gotha Museum, 1890 catalogue, No. 180. A second copy 
was in the sale : C. A. C. Ponsonby and others, London, March 28, 1908, 
No. 123. 

A zincotype after a drawing by R. Raudncr is given in Bode, Bilderlesc aus 
kleineren Sammlungen DeutschLinds^ ii. (Oldenburg Gallery), p. 33. 

Mentioned by Michel, p. 112 [86] ; Bode, Bilderlese, ii. 32. 

From the description, apparently identical with a half-length of an old man 
in the sale : Abbe Dcmie, Paris, June ii, 1772 (600 francs) ; a pendant to 
464.;. 

In the Grand Ducal Gallery, Oldenburg, 1890 catalogue, No. 195 (in the 
old collection). 

417. AN OLD MAN TURNED TO THE RIGHT. Bode 
116; Dut. 363; Wb. in ; B.-HdG. 141. He looks sideways at the 
spectator. He has thick and rather curly grey hair and a large grey beard, 
and wears a dark cloak. Pale sunlight falls from the left. Light grey 
background. Half-length, without hands ; life size. The same man i's 
seen in a study of a head, probably by Lievens, at Schwerin, 1882 catalogue, 
No. 854. 

icd on the right, close to the shoulder, " R H L van Ryn 1632" ; 
oak panel, 26^ inches by 20 inch 

Etched by L. Kuhn in Bode, Bilderlese aus kleineren Sammlungen Deutsch- 
lands, ii. (Oldenburg Gallery), p. 32. 

Mentioned by Bode, p. 413; Dutuit, p. 30; Michel, pp. 112, 554 [86, 

439]- 

In the Grand Ducal Gallery, Oldenburg, 1890 catalogue, No. 194; it was 
there in 1823. 

418. A BEARDED JEW. Wb. 204; B.-HdG. 313. He in- 
clines his head forward. He has long brown curls under a high fur cap. 
He wears a plain brown coat, exposing.at the breast the red under-garment 
and the plain shirt-collar. Pale light falls from the left on the right cheek. 
Dark background. Half-length ; about a third of life size. Painted about 
1646. Apparently a study for a Christ. 

Oak panel, I2j inches by 9 inches. 

Exhibited at the Royal Academy Winter Exhibition, London, 1881, No. 
72, and 1899, No. 14. 

In the collection of the late Lady Cowper, Panshanger. 
In the collection of the late Lady Desborough. 

419. A CAREWORN OLD MAN. Sm. 346 ; Bode 280 ; Dut. 
390 ; Wb. 286 ; B.-HdG. 142. He is seen in full face, with his head 
bent forward. His right hand is laid open on his breast. He has a stubbly 
beard turning grey and dark curly hair which is thin on top. He wears 
a brown coat. Fairly strong light falls from the left at top across the 



224 REMBRANDT SECT. 

head. The background is rather light. Half-length, with one hand; 
life size. 

Signed on the right above the arm, "Rembrandt f. 163-" (the last 
figure^" now illegible, was probably 3, though the 1907 catalogue suggests 8) ; 
oak panel, oval, 28 inches by 22 inches. 

Etched by Claessens in the Musee Franfais ; Landon, ii. 63 ; Filhol, i. 17. 

Mentioned by Vosmaer, p. 518 ; Dutuit, p. 35 ; Michel, p. 562 [434]. 

In the Louvre, Paris, old collection, 1907 catalogue, No. 2544 [it was valued 
by the experts in 1816 at 320 (Sm.)]. 

420. A MAN OF ABOUT FIFTY. B.-HdG. 357. Called 
Rembrandt's brother Adriaen. He is seen almost in full face, looking a 
little to the right. A small medallion hangs from a gold chain on his 
breast. He has curly white hair and a small white moustache and imperial. 
He wears a brown cloak over a dark grey coat, over the collar of which 
falls the plain unstarched shirt-collar. Dark greenish-grey background. 
The light falls from above to the left, touching the right side of the face. 
Half-length, without hands; life size. Painted about 1650. As to the 
identity of the sitter, see note to 261 ; cf. 384, 423, 426, 442. 

Canvas, 28 inches by 22 inches. 

Old copies exist in the collections of Dr. Werner Weisbach, Berlin, and 
Lord Northbrook, London. 

Etched by G. F. Schmidt. 

In the collection of Stanislaus Poniatowski, King of Poland, Warsaw. 

In the collection of Count Felix Nicholas Potocki, Paris ; exhibited on loan 
in the Louvre. 

421. A MAN FACING RIGHT. Bode 287; Dut. 330; Wb. 
284; B.-HdG. 471. He holds a tall stick in his left hand and looks 
straight before him. He has a small fair moustache and imperial. He wears 
a black cap on his brown curls, which fall on his shoulders, and a dark 
brown coat. Full light falls from the left. Well-lighted background. 
Half-length ; life size. 

Signed on the right at foot, "Rembrandt f. 1657 " ( tne J 97 catalogue 
says 1651) ; canvas, 33 inches by 26 inches. 

Mentioned by Vosmaer, p. 549; Bode, pp. 516, 597; Dutuit, p. 35 ; 
Michel, pp. 457, 562 [356, 435]. 

In the La Caze collection, Paris ; bequeathed to the Louvre, 1869. 
In the Louvre, Paris, 1907 catalogue, No. 2551. 

422. A YOUNG MAN WITH LONG DARK CURLS. 

Sm. 260; Bode 281; Dut. 333; Wb. 283; B.-HdG. 457. About 
thirty. Standing. He has a short moustache. He wears a broad cap 
adorned with a gold chain. His dark coat with gold buttons is half-open 
at the breast, showing the shirt. His left hand is in his coat. The light 
comes from the left at top. Dark background. Half-length, with one 
hand ; life size. 

Signed, "Rembrandt f. 1658 " ; canvas, 29 inches by 24 inches. 

Etched by J. S. King in U Art and Dutuit, iii. 

Mentioned by Vosmaer, pp. 357, 558 ; Bode, pp. 435, 595 ; Dutuit, p. 35 ; 
Michel, pp. 457, 562 [356, 434]. 



xxn REMBRANDT 225 

Sale. G. Braaracarap, Amsterdam, July 31, 1771 [225 florins, according 

to Sm.]. 

In the Musec Napoleon, Paris. 

In the Louvre, Paris, 1907 catalogue, No. 2545 [valued by the experts, 
1816, at 200]. 

423. AN OLD MAN WITH A GREY MOUSTACHE 
AND A SMALL GREY BEARD. Called Rembrandt's brother 
Adriaen. Seen in full face. The head and eyes are turned a little to the 
left. He wears a broad-brimmed hat and a plain brown coat. The light 
comes from the left and touches most strongly on the nose. Half-length. 
Painted about 1654. As to the identity of the sitter, see 261 ; cf. 384, 
420, 426, 442. 

30^ inches by 25^ inches. 

Mentioned by Hofstede de Groot, Onze Kunst, December 1912, p. 186. 

Sales. London, June 16, 1860, No. 64 (17 : 175., bought in) ; 

portrait of the painter. 

London, July 12, 1912, No. 88 (^6090, Huggins). 
In the possession of F. Kleinberger, Paris. 
In the collection of Carlos dc Beistcgui, Paris. 

424. AN ELDERLY MAN WITH A SAD FACE. B.-HdG. 

580. He is seen in full face, with his head turned a little to the left, 
looking at the spectator. His dishevelled hair falls over his brow ; he 
has an unkempt grey beard. He wears a dark cloak. Dark background. 
The light falls from the left at top. A small half-length, without hands. 
Painted about 1645. The same model as in 429 (A. Schloss) and 433 
(Warneck). 

Oak panel, 9 inches by ~i inches. 

Kxhibited at Leyden, 1906, No. 41. 

In the Cavens collection, Brussels. 

In the possession of F. Kleinberger, Paris. 

425. A RABBI SEEN IN FULL FACE. B.-HdG. 292. 
He looks at the spectator ; his face is turned a little to the left. He has 
blue eyes and a grey beard. A coloured cloth is wound round his head 
and covered with a broad black hat. His right hand is on his breast ; his 
left hand is half hidden in the coat below. Over his light brown under- 
garment, exposed in front, he wears a large dark cloak, fastened on the 
breast with a broad gold clasp. Pale light from the left at top touches the 
face. Greyish-brown background. Half-length ; life size. Cf. 790*:. 

Signed on the right below the shoulder, "Rembrandt f. 1642"; 
cedar panel, 30 inches by 24 inches. 

A copy is in the Augsburg Museum, No. 570. 

Etched by J. Daullc. 

Mentioned by Michel, p. 564 [435]. 

Exhibited at Amsterdam, 1898, No. 53 ; in Paris, 1911, No. 1 19. 

In the collection of Sir A. Aston, England. 

Sale. Anonymous, London, 1891. 

In the collection of Jules Porges, Paris. 

426. An Old Man with an Eye-Glass in his Right Hand. 

VOL. VI Q 



226 REMBRANDT SECT. 

B.-HdG. 358. He leans his hand on a ledge. He is turned to the right 
and looks in that direction. He has a short grey beard and ill-trimmed 
side- whiskers ; he wears a black cap on his grey hair. He has a black 
coat with red sleeves. His white shirt is exposed at the throat, the breast, 
and the upper part of the arm. A stick leans against his right shoulder. 
The light falls from the left on the right half of the face. Half-length ; 
life size. Painted about 1650. The sitter belongs to the type known as 
Rembrandt's brother Adriaen. Pendant to 317 ; see note on that picture. 
[Cf. 420, 423-] 

Oak panel, 22 inches by 17 inches. 

Exhibited at Amsterdam, 1898, No. 73 ; in Paris, 1911, No. 113. 

In the collection of the Marquess of Ely, London, 1891 (262 : ios., 
Casella). 

In the possession of Martin H. Colnaghi, London. 

In the collection of Jules Porges, Paris. 

427. AN OLD MAN, FACING LEFT. Sm. 244 ; B.-HdG. 
566. He looks at the spectator. He has a white beard, and white curls 
under a black cap. He wears a black cloak with gold lace and a red 
doublet, on the breast of which hangs a medal on a cord ; the shirt is 
exposed at the throat. Greyish-brown background. The light falls from 
the left at top. Half-length, without hands ; life size. Cf. 647. 

Signed on the left half-way up, "Rembrandt f. 1634"; oak panel, 
oval, 25 J inches by i8J inches. 

Etched by A. de Marcenay de Ghuy, 1771, in his folio (Euvre under the 
title " L'Homme a la toque." 

In the collection of Augustus, King of Poland, Warsaw. 

In the possession of F. Kleinberger, Paris. 

In the collection of the late Adolphe Schloss, Paris. 

428. AN OLD MAN IN FULL FACE. B.-HdG. 577. His 

head and eyes are turned to the right. He has a stubbly grey beard and 
moustache. He wears a black cap and a black cloak and doublet, on 
which hangs a gold chain with a medal. Greyish-brown background. 
The light falls from the left at top. A small half-length, without hands. 

Signed on the right at top, "Rembrandt f. 1643"; oak panel, 8 
inches by 6J inches. 

In the collection of N. C. de Gijselaar, Leyden. 

In the collection of J. H. Hoffmeister, Amsterdam. 

In the collection of the late Adolphe Schloss, Paris. 

429. AN OLD MAN ALMOST IN FULL FACE. B.-HdG. 
306. He is turned a little to the left and looks down, leaning his head 
on his left hand. He has stubbly brown hair and a long grey beard. He 
wears a dark brown dress with light brown sleeves, showing the white 
shirt at the wrists. Round his neck hangs a heavy gold chain with a 
cross. He wears a black cap with a gold clasp. Light brown background. 
A small half-length ; more than a third of life size. The same model as 
in 424 and 433. Cf. 790*:. 

Signed on the right at top, "Rembrandt f. 1643"; oa ^ panel, 9 
inches by 7J inches. 



xxii REMBRANDT 227 

Exhibited at Amsterdam, 1898, No. 57. 
In the possession of A. L. Nicholson, London. 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 100 Paintings," 
1899, v. No. 40. 

In the collection of the late Adolphe Schloss, Paris. 

430. A YOUNG MAN WITH A STICK (?) IN HIS OUT- 
STRETCHED LEFT HAND. -He is inclined to the left ; his head 
and his searching gaze are turned towards the spectator. He wears a 
brown coat and a hat adorned with jewels. On his upper lip is a slight 
trace of a moustache. Half-length, with one hand ; life size. Painted 
about 1664. 

Canvas, 30 inches by 25 inches. 

Exhibited at the Royal Academy Winter Exhibition, London, 1910, No. 62. 

In the Lane collection, King's Bromley Manor, in 1828. 

In the collection of J. Henry H. V. Lane, 1910. 

Sate. J. Henry H. V. Lane, London, December 13, 1912, No. 143 

(^1312 : ios., Lewis and Simmons). 
In the possession of Lewis and Simmons, London. 

In the possession of C. Sedelmeyer, Paris, " Catalogue of 100 Paintings," 
xii. No. 22. 

431. A YOUNG MAN IN PROFILE. Sm. 292 and 473; 
Dut. 261 ; B.-HdG. 567. He is turned a little to the left and looks in 
that direction. He has a slight beard. He has a dark red velvet cap 
adorned with a brown feather and a string of pearls on his thick curly hair. 
He wears a purplish-red cloak, embroidered with gold, and a greenish 
neck-cloth with a pattern, showing the white ruff of the shirt. Greyish 
background. The light falls from the left at top. Half-length, without 
hands; life size. Painted about 1633. Cf. 838. 

Oak panel, 27 inches by 21 inches. 

Etched by W. de Leeuw with Rembrandt's monogram and the date 1633. 
There is an engraving in reverse by Savery, according to Bartsch after this 
etching, and another with the address of F[ran9ois] L[anglois] D[it] Ciartres 
and the inscription " Gaston de Foix." 

Mentioned by Hofstede de Groot, Urkunaen fiber Rembrandt y No. 286. 

In the collection of the Due de Talleyrand, Valen9ay et Sagan, Paris. 

Sale. C. Sedelmeyer, Paris, May 25, 1907, No. 158. 

432. AN OLD MAN WITH A WHITE BEARD. He 

wears a dark cap. He is turned to the right in a three-quarter view and 
looks in that direction. He has a plain dark coat. The light, coming 
from the left, touches the left half of the face. Half-length, without 
hands. Painted about 1645. 

Mentioned by Hofstede de Groot, Onze Kunst, December 1912, p. 178. 

Exhibited in Paris, 1911, No. 118. 

In the collection of the Comte de Morny. 

In the collection of E. Warneck, Paris. 

433- AN OLD MAN WITH A WHITE BEARD, IN 
PROFILE. Bode 314 ; Dut. 421 ; Wb. 330; B.-HdG. 307. He is 
seated, turned to the left. He has a long white beard and a crooked nose, 



228 REMBRANDT SECT. 

and looks down. He wears a broad brownish-black cap and a brown cloak. 
The hands appear to be indicated in front of the breast. Bright light 
comes from the left foreground. Brownish background, partly illumined 
on the right. Half-length ; about a third of life size. Painted about 1643. 
The same model as in 424 and 429. 

Oak panel, 9 inches by 7 inches. 

A copy was in the sale : Hawley and others, London, March 1899, No. 
44 ; it is now in a private collection in Brussels. 

Mentioned by Bode, pp. 514, 598 ; Dutuit, p. 53 ; Michel, pp. 343, 564 

[436]. 

In the collection of E. Warneck, Paris. 

434. A YOUTH OF ABOUT SIXTEEN. B.-HdG. 474. 
He is seen in full face, inclining his head on his left shoulder. He wears a 
broad flat cap on his long dark hair. He wears a plain brown coat, over 
the high collar of which falls the narrow shirt-collar. Strong light comes 
from the left. Dark background, illumined on the right. A small half- 
length, without hands. Painted about 1657. 

Oak panel, 8J inches by 7 inches. 

Mentioned by Michel, p. 564 [pp. 262, 436]. 

Exhibited at The Hague, 1903, No. 116; in Paris, 1911, No. 116. 

In the collection of E. Warneck, Paris. 

435. AN OLD MAN WITH A WHITE BEARD. B.-HdG. 
144. He is turned a little to the right. His head faces to the front ; he 
looks at the spectator. His curly white hair is covered with a black cap. 
He has a dark coat. Greyish-brown background. Strong light falls from 
the left. A small half-length, without hands. Painted about 1633. 

Oak panel, 10 inches by 7^ inches. 

Mentioned by Michel, p. 558. 

In the collection of T. Humphry Ward, London, 1892. 
In the possession of C. Sedelmeyer, Paris, " Catalogue of 300 Paintings," 
1898, No. 128. 

In the collection of Dr. Max Wassermann, Paris. 
In the possession of Gimpel and Wildenstein, Paris. 

436. AN OLD MAN TURNED TO THE LEFT. B.-HdG. 

564. He looks at the spectator. He has a thick white beard, and wears 
a black cap adorned with a gold chain and a black cloak with a double 
gold chain across the breast. Dark background. The light falls from the 
left at top. Half-length, without hands ; life size. Painted about 1632. 
Signed on the left, on a level with the shoulders, " Rembrandt f." ; 
oak panel, 22 J inches by i8j inches. 

An old copy is in the Cassel Gallery, 1903 catalogue, No. 250 (old No. 228). 
Exhibited in the Royal Academy Winter Exhibition, London, 1890, No. 
68 ; 1899, No. 43 ; and 1912, No. 49. 

In the collection of George C. W. Fitzwilliam, Milton House, Peterborough. 

437. AN ELDERLY JEW, SEATED. B.-HdG. 294. He 
bends forward a little to the right and looks straight before him. His 
right hand is thrust into his red doublet, which is fastened by a small gold 



xxn REMBRANDT 229 

brooch and shows the pleated shirt at the throat. Over it he wears a 
black cloak. On his head is a broad black cap. He has a dark brown 
beard and short dark hair. Bright light falls from the left at top. Dark 
grey background. Half-length ; life size. Painted about 1643-45. 

Inscribed by a later hand, "Rembrandt f." ; oak panel, 20 inches by 
i6J inches enlarged from its original size of i8 inches by 14^ inches. 

An old copy panel, 27 inches by 23 inches is in the collection of Earl 
Brownlow, Ashridge Park ; it was exhibited at the British Institution, London, 
1831, No. 8, and at the Royal Academy Winter Exhibition, 1899, No. 50. 

A second copy is in the collection of the Earl of Carlisle, Naworth. A 
third was in the sale : Wedewer of Wiesbaden, Cologne, May I, 1899, No. 17 
as the work of F. Bol. 

Etched by N. Mossoloff in Les Rembrandt s de rErmitage. 

Mentioned by Vosraaer, p. 512 ; Dutuit, p. 40. 

Sale. Comte de Morny, Paris, May 24, 1852, No. 18 (8000 francs. 
Hermitage). 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 815. 

438. A JEW OF NEARLY SEVENTY. Sm. 311; Bcde 
342 ; Dut. 402 ; Wb. 406 ; B.-HdG. 295. He sits in an arm-chair in 
front of a pilaster ; he is turned half-left and looks straight before him. 
He holds a stick with both hands. He has a grey beard and hair. He 
wears on his head a cloth striped black and red, falling on his right 
shoulder, and fastened with a gold clasp ; over it is a black cap with a 
high green feather. His loose dark purple cloak, lined with fur, is 
fastened at the breast with a gold band, and exposes there the dull red under- 
garment. The white shirt is seen at the wrists. Full light falls from 
the left at top on the face and hands. Dark background, illumined on the 
right. Three-quarter length ; life size. The name Manasseh ben Israel 
formerly attached to this picture is erroneous, as is shown by comparing 
it with Rembrandt's etching of 1636, Bartsch 269 [Hind 146]. 

Signed on the left at foot, ". . . f. 1645" (the name went when 
the canvas was cut down); canvas, cut down on the left, 51 inches by 

inches. 

Old copies of this picture arc 

1. In the Schleissheim Gallery, 1905 catalogue, No. 791 ; lithographed 

by Kellerhoven (Sm. 428). 

2. In the Cassel Gallery, 1903 catalogue, No. 253 (old No. 231) (Dut. 

402*). 

3. In the Liechtenstein Gallery, Vienna ; see Vosmaer, p. 538. 

4. In the Elkins collection, Philadelphia. 

5. Sm. 354. In the collection of George Wilbraham, 1836 measur- 

ing 55 inches by 43 inches; exhibited at the British Institution, 
London, 1839, No. 81 ; "this fine portrait may be classed among 
the master's best works " (Sm.). 
Probably also the following were copies 

6. Sm. 446 ; engraved by Cooper when in the collection of the Duke 

of Buckingham ; in the sale : Duke of Buckingham, Stowc, 
August 15, 1848, No. 427 (109 :4s., J. H. Gurney). 

7. In the sale: W. Lowther and others, London, May 10, 1912, 

No. 95. 



230 REMBRANDT SECT. 

Etched by N. Mossoloffin Les Rembrandts de /' Ermitage, and a second time 
on a larger scale; also by B. Matthey, 1890. 

Mentioned by Vosmaer, p. 538 ; Bode, pp. 497, 602 ; Dutuit, p. 38 ; 
Michel, pp. 305, 567 [233, 441]. 

In the Crozat collection, Paris ; acquired by the Empress Catherine II. for 
the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 820 [valued by 
Sm. in 1836 at 250]. 

439. AN AGED MAN WITH A BROAD CAP. Sm. 312 ; 
Bode 334; Dut. 408; Wb. 401 ; B.-HdG. 387. He sits in an arm- 
chair turned a little to the left. His arms rest on the arms of the chair ; 
his hands are clasped before him. He has a long white beard and thin 
white hair. He wears a large brown cloak with gold lace. Dark back- 
ground. Full light falls almost from the front on the head and hands. 
Three-quarter length ; life size. 

Signed in the left background, "Rembrandt f. 1654"; canvas, 43 J 
inches by 33^ inches enlarged from an original size of 36 inches by 30 
inches. 

Before the picture went to the Hermitage, it had been enlarged by a broad 
strip at the bottom and a narrow strip on each of the other three sides, so as to 
make it a pendant to "An Old Woman in an Arm-Chair" (506). 

Etched by N. Mossoloffin Les Rembrandts de I* Ermitage. 

Mentioned by Bode, pp. 503, 601 ; Dutuit, p. 39 ; Michel, pp. 398, 567 

[307, 44 1 ]- 

In the collection of Comte Baudouin, Paris, 1780; acquired by the Empress 
Catherine II. for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 810. 

440. AN OLD MAN OF ABOUT SEVENTY. Sm. 317 ; 
Bode 340; Dut. 411 ; Wb. 405; B.-HdG. 388. He sits in an arm- 
chair turned a little to the left. His arms rest on the arms of the chair ; 
his hands are laid on one another. He has a close-trimmed white beard, 
and thin white hair covered by a greenish-yellow cap. He wears a 
brownish-red coat, and over it a greenish-black cloak which has slipped 
down from the right shoulder. Strong light from the left touches the 
head. Greenish-grey background. Three-quarter length ; life size. 
Painted about 1654. Professor Dr. J. Six proposes (Oud Holland^ 1897, 
p. 7) for this old man the name " Zeno," on the ground of his resemblance 
to an antique marble bust figured in J. Episcopius, Paradigmata Graphices, 
p. 50, but no longer to be found. 

Signed on the left at foot, "Rembrandt f."; canvas, 43 inches by 34 
inches. 

A portrait of the same old man is, according to the Hermitage catalogue, 
in the collection of the late Prince A. J. Lobanoff-Rostowsky, Petrograd. 

Engraved by Filloeul in the Brtthl Gallery, and by an anonymous engraver. 
Etched by N. Mossoloff in Les Rembrandts de P Ermitage. Lithographed by 
Huot in the Galerie de /'Ermitage, by Gohier-Desfontaines and P. Petit, 
i. 13. 

Mentioned by Vosmaer, p. 562; by Bode, pp. 503, 602; Dutuit, p. 39; 
Michel, pp. 398, 567 [307, 441]. 



xxn REMBRANDT 231 

In the collection of Count BrQhl, Dresden ; acquired by the Empress 
Catherine II. in 1769 for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 818 [valued by 
Sm. in 1836 at 400]. 

441. A MAN OF ABOUT FORTY- FIVE. Sm. 314; Bode 
343 ; Dut. 435 ; Wb. 407 ; B.-HdG. 510. He stands almost in a three- 
quarter view to the left. On his head is a black cap ; he has a long 
unkempt beard and long hair ; in his ear is a gold ring. He wears a 
greenish coat, with a dark cloak thrown over his shoulder. At his breast 
a gold chain hangs down from the right shoulder. Dark background, 
somewhat illumined on the right. The Tight falls from the right, touching 
the face. Half-length ; life size. 

Signed on the left background with traces of the name and a date 
which is probably to be read as 1661 ; canvas, 28 inches by 24 inches. 

Etched by N. Mossoloff in Les Rembrandt s de rErmitage. 

Mentioned by Bode, pp. 503, 602 ; Dutuit, p. 39 ; Michel, pp. 398, 567 
[307, 441]. 

In the collection of the Duchesse de St. Leu, Paris ; acquired from it in 
1829 for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 821. 

442. AN OLD MAN. Sm. 213 and 313 ; Bode 346 ; Dut. 317 ; 
Wb. 408 ; B.-HdG. 360. Known as Rembrandt's brother Adriaen. He 
is nearer sixty than fifty. He stands, turned a little to the right, and looks 
down in that direction. He has a short grey moustache and imperial ; on 
his grey hair is a broad flat cap of black material. He wears a black cloak 
over a dark coat, out of which comes one hand. The light falls from the 
left on the right side. Light background. Half-length ; life size. The 
date of the picture makes it improbable that the sitter was Adriaen van 
Rijn, who died in 1652. See note to 261, and compare 384, 420, 423, 
426. 

Signed on the left above the shoulder, "Rembrandt f. 1654"; canvas, 
29^ inches by 25 inches. 

Etched by N. Mossoloffin Les Rembrandt; ae rErmitage. 

Mentioned by Vosmaer, p. 579; Bode, pp. 503, 602 ; Dutuit, pp. 39, 317; 
Michel, pp. 398, 567 [307, 441]. 

In the collection of Count Briihl, Dresden ; acquired by the Empress 
Catherine II. in 1769 for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 824. 

443. AN OLD MAN FACING RIGHT. Dut. 368; Wb. 85; 
B.-HdG. 139. He has grey hair and beard. Over a dark purple cloak 
he wears a heavy gold chain, jewelled in the several links, with a large 
pendant. Brownish-grey background. Half-length, without hands ; life 
size. Painted about 1632. 

Oak panel, 25 \ inches by 18 inches. 

Exhibited at Leipzig, 1889, No. 187 ; at Munich, 1895, No. 44. 



232 REMBRANDT SECT. 

Mentioned by Hofstede de Groot, Sammlung Schubart, p. 15 ; Bode, p. 617 ; 
Dutuit, p. 41. 

In the Lohr collection, Leipzig. 

In the Von Boxberg collection, Dresden, 1882. 

Sale. Martin Schubart, Munich, October 23, 1899, No. 50 (P. and D. 
Colnaghi, London). 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 100 Paintings," 
1900, vi. No. 28. 

In the collection of C. A. Griscom, Philadelphia ; sold by auction, 1914. 

In the collection of Marcus Kappel, Berlin. 

444. A MAN IN FULL FACE. B.-HdG. 579- He looks at 
the spectator. He has unkempt black hair and a thin black moustache 
and beard. He wears a dark brown cloak over a reddish-brown doublet. 
Greyish-brown background. The light falls from the left at top. A 
small half-length without hands. Painted about 1643-45. 

Oak panel, 8 inches by 6J inches. 

Replicas were in the Semeonoff collection, Petrograd, 1906 catalogue, No. 
446; and in the sale: C. Turner of London, Berlin, November 17, 1908, 
No. 71. 

Etched by C. Courtry in the Wilson sale-catalogue. 

In the collection of the Marquis d'Aligre, Paris. 

Sale. John W. Wilson, Paris, March 14, 1881. 

In the collection of John G. Johnson, Philadelphia, 1913 catalogue, No. 477. 

445. A BEARDED JEW OF ABOUT FORTY- FIVE. 
B.-HdG. 473. He is turned a little to the left and looks straight before 
him. An unkempt black beard frames his pale and sunken cheeks. He 
wears a dark cloak and a red pot hat. Dark background. Bright light 
falls from the left on the face. Half-length, without hands ; barely half 
life size. Painted about 1655. 

Oak panel, 10 inches by 7! inches. 

In the Ravaisson collection, Paris. 
In the possession of Sir George Donaldson, London. 
In the Levy-Cardon collection, Brussels. 

In the collection of John G.Johnson, Philadelphia, 1913 catalogue, No. 
479- 

446. An Old Man with a Bald Head. Of a type resembling 
Rembrandt's father. He is turned three-quarters left j his head and eyes 
are turned upwards. He wears a fur-trimmed coat. The light comes 
from the left at top. Painted about 1630. [Pendant to 447.] 

In the Mac Ilhenny collection, Philadelphia ; noted by Dr. W. R. 
Valentiner. 

447. An Old Man with a Bald Head. Of a type resembling 
Rembrandt's father. He is turned a little to the right. His head is bent 
down to the left ; he looks on the ground. He wears a plain coat with a 
white pleated collar. Painted about 1630. [Pendant to 446.] 

In the Mac Ilhenny collection, Philadelphia ; noted by Dr. W. R. 
Valentiner. 



xxn REMBRANDT 233 

448. AN OLD MAN WITH A LONG BEARD. With 

thick hair. He is seen in full face and looks a little to the right. The 
light comes from the left, leaving the eyes in shadow. Half-length, with- 
out hands. Painted about 1645 on a panel, on which a head had been 
begun in the reverse direction. 

Mentioned by Hofstede de Groot, Onxe Kunst, December 1909, p. 179. 

In the possession of Messrs. Dowdeswell, London. 

In the collection of the late P. A. B. Widencr, Philadelphia. 

449. A JEW OF ABOUT FIFTY. B.-HdG. 582. He is 
seen in full face, with his head and eyes turned to the left. He has a short 
dark brown beard, and has a large black cap on his head. He wears a 
light yellow doublet over a finely pleated shirt, on which is seen a gold 
chain round his neck, and a dark cloak with stripes of red and of gold em- 
broidery. Light brownish-grey background. The light falls from the 
left at top. Half-length, without hands ; life size. Painted about 1650. 

Mahogany panel, 24 \ inches by 19 inches. 

Another example on canvas, 26^ inches by 23^ inches which is now 
regarded by Bode (Sammtung Kappel, p. 7) as the sole original, was 
Exhibited in Berlin, 1914, No. 133. 
In the possession of the Cambridge dealer Roe. 
In the collection of Richard Gwynn Vivian, London. 
Salt. Maurice Kann, Paris, June 9, 1911, No. 48 (270,000 francs, 

Klcinberger) ; and is now 

In the collection of Marcus Kappel, Berlin, 1914 catalogue, No. 22. 
In the possession of C. Sedelmeyer, Paris, "Catalogue of 100 Paintings," 
1905, ix. No. 27. 

In the collection of Maurice Kann, Paris. 
In the possession of C. Sedelmeyer, Paris. 
In the collection of the late P. A. B. Widencr, Philadelphia. 

450. An Old Man of about Sixty-Five. Sm. 248, and Suppl. 7 ; 
Dut. 412; Wb. 169; B.-HdG. 390. He sits, seen in full face, and 
turns his head to the left. Both his arms rest on the arms of the chair ; 
his left hand holds a long thin stick and his right hand grasps the knob of 
the chair-arm. He has a long and unkempt grey beard. He wears a high 
red fur cap arid a brown costume. Brown background, in front of which, 
to right and left, a curtain is drawn back. Pale light. A small figure, 
to below the knee. It corresponds in almost every respect with 363 
(Berlin). Owing to its poor condition, it is hard to determine whether 
this is a study from the painter's own hand or a school-repetition of that 
study. If it is an original it was painted about 1654. [Cf. a ^ so 400.] A 
" very admirable little picture " (Sm.). 

Oak panel, 13^ inches by loj inches. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 13. 
Engraved by Suruguc under the name of " Lc Pere de Rembrandt," 1759. 
Mentioned by Dutuit, p. 43 ; Michel, pp. 397, 559 [307, 432]. 
Sales. (Probably) Comte Fraula, Brussels, July 21, 1738 (Hoet, i. 531), 

No. 145 (10 florins 5). 
Comte de Vence, Paris, February 9, 1761 1750, according to Sm. 

(122 francs). 



234 REMBRANDT SECT. 

In the collection of E. W. Lake, 1842 (Sm.). 

In the collection of Sir Francis Cook, Bart., Richmond. 

In the collection of Sir Frederick Cook, Bart., Richmond. 

451. AN OLD MAN, BARE-HEADED AND SEEN IN 
FULL FACE. Bode 121 ; Dut. 425 j Wb. 115 ; B.-HdG. 476. 
His bald head is bent forward ; he looks into the distance. He has dark 
eyes, a white beard, and thin white hair at the temples. He has a golden- 
brown cloak with a pattern, fastened at the neck with an ornament. Full 
light falls from the top on the brow, touching the face, and leaving the 
eyes in shadow. Dark background. Half-length; life size. Painted about 
1665-67. 

Canvas, 22 J inches by 19 inches. 

Exhibited at Amsterdam, 1898, No. 120. 

Mentioned by Bode, pp. 515, 575 ; Dutuit, p. 31 ; Michel, pp. 398, 554 
[307, 439] ; Bode, Gem'dldegalerie in Schwerin, p. 6. 

In the Schwerin Museum, 1882 catalogue, No. 855. 

452. AN OLD MAN SEATED. Bode 362 ; Dut. 322 5 Wb. 
437 ; B.-HdG. 462. He wears ear-rings and holds a stick in his right 
hand. He sits, turned a little to the right, and looking straight before 
him. He has a short and thin grey beard j on his head is a large dark 
cap. He wears a dark reddish cloak, held together by a broad gold chain 
over the loose shirt, which is exposed at the breast. Pale light from the 
left touches the lower right side of the face and .falls across the shirt on the 
hand. Dark grey background, partly illumined on the left. Half-length ; 
life size. [Pendant to 510.] 

Signed on the left, "Rembrandt f. 1655 " ; canvas, 35! inches by 29 
inches. 

Mentioned by Bode, pp. 512, 605 ; Dutuit, p. 40 ; Michel, pp. 397, 568 
[307, 442]. 

In the Sack collection, Stockholm, 1799. 

In the collection of Gustavus III., King of Sweden. 

In the Stockholm National Museum, 1900 catalogue, No. 581. 

453. A MAN IN FULL FACE. B.-HdG. 583. He looks at 
the spectator. He has a long brown beard just turning grey. He wears 
a soft reddish-brown hat with a broad brim over a white kerchief, a brown 
coat with dark red sleeves, and a dark sleeveless cloak. His left hand is 
thrust into the coat. Grey background, somewhat illumined to the right. 
The light falls from the left at top. Half-length ; life size. The sitter is 
the same model as in 370. 

Signed on the left, half-way up, "Rembrandt f. 1651"; canvas, 30 J 
inches by 26 inches. 

Mentioned by Granberg, Tresors <T Art en Suede, 1911, p. 535. 
In the collection of Count Wachtmeister, Wanas, Sweden, 1895 catalogue, 
No. 54. 

454. A MAN OF ABOUT SIXTY- FIVE. B.-HdG. 470.- 
He sits, resting his right arm on the arm of his chair. He is turned to 
the right and looks in that direction. He has an unkempt white beard, 



xxn REMBRANDT 235 

and wears a broad black velvet cap on his curly grey hair. He wears a 
large black cloak, showing at the wrist a lighter coat. The light coming 
from the left touches the lower right side of the face and the right side 
of the picture. Illumined background. Half-length ; life size. Painted 
about 1655. 

Canvas, 32^ inches by 26 inches. 

Etched by C. Waltner. 

Mentioned by Michel, p. 564 [436]. 

Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 100. 

In the possession of L. Lesser, London. 

In the collection of C. Waltner, Paris. 

In the collection of W. A. Slater, Norwich, Connecticut ; exhibited on 
loan in the Corcoran Museum, Washington. 

455. A MAN OF ABOUT FIFTY-FIVE, STANDING. 
Sm. 356 ; B.-HdG. 475. He is seen almost in full face ; his right hand, 
placed on his breast, grasps a stick. He has a dark beard just turning 
grey ; on his short hair is a broad black cap. His reddish-brown cloak 
covers a white under-garment. Bright light falls from the left, across the 
face, on the breast and hair. Dark background. Half-length, with one 
hand ; life size. Painted about 1658. 

Signed on the right in the background (much over-cleaned), " Rem- 
brandt f." ; canvas, 28 inches by 24^ inches. 

Etched by W. Baillie, 1765, and by Prenner. 
Mentioned by Vosmaer, p. 559. 

In the Imperial Gallery, Vienna, 1907 catalogue, No. 1276 [valued by Sm. 
in 1836 at 157 : ios.]. 

456. AN OLD MAN WITH A FRETFUL EXPRESSION. 

He is inclined to the left and turns his head to the spectator. He has 
a small dark beard and unkempt hair, and wears a plain cloak. The light 
comes from the left. Half-length, without hands. Painted about 1630. 
Panel, 6 inches by 4 inches. 

Mentioned by Hofstede de Groot, Onze Kunst, December 1912, p. 188. 

In the possession of J. Schnell, Paris. 

In the possession of F. Kleinbergcr, Paris. 

In the collection of Stephan von Auspitz, Vienna. 

457. AN OLD MAN TURNED TO THE LEFT. Sm.325; 
Bode 267; Dut. 367; Wb. 155; B.-HdG. 138. He looks straight 
before him. His hands are clasped on the handle of his stick. His 
wedding-ring is on the little finger of his right hand. He has a white 
beard j his long hair is covered with a broad black cap. He wears a 
black cloak over a coat of dull red ; a gold chain of two strands with a 
medallion falls across his breast. The full sleeves of his white shirt hang 
out of the short coat-sleeves. Half-length; life size. Painted about 1632. 

Oak panel, 28 inches by 23 inches. 

Mentioned by Waagen, iii. p. 465 ; Bode, p. 414 ; Dutuit, p. 42 ; Michel, 
P- 559 [432]. 



236 REMBRANDT SECT. 

In the collection of the Duke of Bedford, Woburn Abbey ; G. Scharf's 1890 
catalogue, No. 413 [it was there in 1836, according to Sm.j. 

458. Harder Oom. The expression is incomprehensible. 
Octagonal. 

In the collection of Cornelis Joan Reyxs, Amsterdam ; in the inventory of 
his effects, November 7, 1659. $ ef A. Bredius in Oud Holland, 1908, p. 224. 

458*. An Old Man. With two hands. Skilful. 
26 \ inches by 2i| inches. 

Sale. Floris Drabbe, Leyden, April i, 1743 (Hoet, ii. 79), No. 53 (26 
florins, De Bruin). 

458^. Head of an Old Man with a Red Cap. 
8J inches by 7J inches. 

Sale. Count van Wassenaar-Obdam, The Hague, August 19, 1750 (Hoet, 
ii. 291), No. 12 (64 florins). 

458*:. Head of an Old Man with a Beard. 

8 inches by 6J inches. 

Sale. Count van Wassenaar-Obdam, The Hague, August 19, 1750 (Hoet, 

ii. 291), No. II (30 florins). 
In the collection of Count van Wassenaar, The Hague, 1752 (Hoet, ii. 402). 

458^ and e. An Old Man. [Two pendants.] 

8J inches by 7! inches. 

In the collection of H. Verschuuring, The Hague, 1752 (Hoet, ii. 482). 

458/and g. An Old Man. [Two pendants.] 

loj inches by 7 inches. 

In the collection of H. Verschuuring, The Hague, 1752 (Hoet, ii. 482). 

458/1. Head of a Man. [Pendant to 515^.] 

9 inches by yj inches. 

Sale. Philip van Dijk, The Hague, June 13, 1753 (Terw. 72), No. 51 
but No. 74 of the original catalogue (40 florins, with pendant, 
Van Breemen). 

458*'. Head of an Old Man. Admirably painted. 
22 inches by 19 inches. 

Sale. A. van Kinschot, Rotterdam, September 20, 1756 (Terw. 161), 
No. 29 but No. 2 of the original catalogue (37 florins, Muy- 
skens). 

458;. Head of an Old Man. Very fine. 
7 inches by 4^ inches. 

Sale. A. van Kinschot, Rotterdam, September 20, 1756 (Terw. 161), 
No. 30 but No. 3 of the original catalogue (19 florins, Muy- 
skens). 

458*. An Old Man. Half-length. 
14 inches by 8| inches. 



xxn REMBRANDT 



237 



In the collection of George III., King of Great Britain ; in the Royal 
inventory of about 1760-70 noted by L. Cust. 

4587. Head of an Old Man. Very skilful. 
28J inches by 39^ inches. 

Sale. P. Tanje and others, Amsterdam, December 7, 1761, No. 140 
(50 florins, D. W. Smit). 

458/77. Head of a Man. 
19^ inches by 16 inches. 

Sale. Antwerp, August 25, 1762 (Terw. 280), No. 28 (24 florins). 

458^. An Old Man with a Beard. Half-length. With a slouch 
hat ("ongetoomde hoed" ?) on his head. Very powerfully painted. 
24! inches by 2oJ inches. 
Sale. Amsterdam, January 24, 1763, No. 8 (9 florins 10, Asser). 

4580. Head of a Man. Life size. Very fine. 

Sale. Jacob Sncls, Baron van Deneke, The Hague, July II, 1763 (Terw. 
338), No. 6 but No. 5 of" the original catalogue (275 florins, 
G. van Haeften). 

458;). Head of a Man. Life size. 

Sale. Jacob Snels, Baron van Deneke, The Hague, July n, 1763, No. 87 
(14 florins). 

4587. Head of an Old Man with a Beard. Powerfully painted. 
Canvas, 2<>J inches by 2o inches. 

Sale. Prince Trivulzio, Amsterdam, August 29, 1764 (Terw. 393), No. 1 10 
(20 florins). 

459. A Man with a Full Clean -Shaven Face. Sm. 463. 
Known as "L'Ami de Rembrandt." He is turned a little to the left and 
looks at the spectator. He wears a high cap and a fur-trimmed cloak, 
exposing the light under- garment at the throat. Described from rhe 
print. 

Engraved by Romanet, 1765. 

Then in the collection of Rodolphe Frey, Basel. 

459*. A Good Head of an Old Man. 
Canvas, 28 inches by 22 inches. 

Sale. Amsterdam, September 17, 1766 (Terw. 575), No. 48 but No. 73 
of the original catalogue (196 florins, Yver ; apparently bought 
in, according to a MS. note by J. van der Marck). 

459^. A Rabbi with Clasped Hands. He wears a red cap or hat. 
By F. van Mieris, according to a MS. note by J. van der Marck. 
Panel, 27 J inches by 25^ inches. 

Sale. P. van Capcllo, Amsterdam, May 8, 1767 (Terw. 591), No. 58 
(130 florins, Meusche). 

460. An Old Man wearing a Gold Chain with a Medal. 

His head is turned towards his left shoulder. He wears a dark cloak and a 



238 REMBRANDT SECT. 

velvet cap with a large plume. Three-quarter length ; life size. Strongly 
painted and delicately rendered. 
Panel, 36 inches by 30^ inches. 

In the collection of the widow Alewijn-Geelvink, according to a MS. note 
by J. van der Marck. 

Sale. Amsterdam, June 10, 1767, No. 14 (34 florins, H. Ketelaar). 

461. An Elderly Man with a Thick Swollen Nose. Sm. 386. 
Half-length, seen almost in full face. His head is bare ; his hair and 
beard are short. He wears a plain coat, showing the light under-garment 
at the throat. The hands are not shown. 

Panel, 8J inches by 7 inches. 

Engraved by J. F. Bause. 

In the collection of G. Winkler, Leipzig, 1768 catalogue, No. 496. 

462. Head of a Youth with a Cap. A striped cloth bound round 
the cap hangs down on the shoulders. The head is turned to the left. 

Panel, 12 inches by 9 inches. 

In the collection of G. Winkler, Leipzig, 1768 catalogue, No. 497. 

463. Head of a Peasant. He is seen in full face and has a gloomy 
expression. He has a long beard and luxuriant whiskers tinged with 
grey ; he wears a broad-brimmed hat and a white neck-cloth. 

Canvas, 32 inches by 27 inches. 

In the collection of G. Winkler, Leipzig, 1768 catalogue, No. 492. 

4630. Head of a Man with a Black Cap. 

17 inches by 13^ inches. 

Sales. Count van Wassenaar-Obdam, The Hague, August 19, 1750 (Hoet, 

ii. 290), No. 3 (45 florins). 

J. H., Count van Wassenaar, Amsterdam, October 25, 1769, No. 41 
(no florins, Locquet). 

463*. Head of an Old Man. 

8J inches by 6 inches. 

Sales. Count van Wassenaar-Obdam, The Hague, August 19, 1750 (Hoet, 

ii. 290), No. 6 (23 florins). 

J. H., Count van Wassenaar, Amsterdam, October 25, 1769, No. 42 
(26 florins, Yver). 

463^. Head of an Old Man. Profile. 
7J inches by 6J inches. 

Sales. Count van Wassenaar-Obdam, The Hague, August 19, 1750, No. 5 

(26 florins). 

J. H., Count van Wassenaar, Amsterdam, October 25, 1769, No. 43 
(21 florins, Van der B ). 

464. An Old Man with a Reddish Cap. Half-length. He wears 
a fur coat. Broad and spirited in style. 

Panel, 12 inches by 9 inches. 

Sale. La Live de Jully, Paris, March 5, 1770, No. 34 (80 francs, Meunier). 



xxn REMBRANDT 



239 



464*. A Man with a Pointed Beard. Half-length. [Pendant to 
the " Old Man " of the same sale, mentioned under 416.] 

Panel, 23 inches high (or perhaps 13 inches by io inches). 

Mentioned by Dutuit, p. 6. 

Sale. Abbe Demie, Paris, June n, 1772 (75 francs). 

464^. An Old Man with a Grey Beard. Half-length. Good 
and strongly painted. 

Panel, 7^ inches by 6^ inches. 

Sale. P. de la Court van der Voort and others, Amsterdam, August 26, 

1772, No. 123 (6 florins, Van den Bogaard). 

464^ A Handsome Man with a Short Beard. Half-length. 
He wears a cloak and a turned-up hat, and has a chain of different coloured 
precious stones. 

34^ inches by 28 inches. 

Sale. Louis Michel Vanloo, Paris, November 1772 (1300 francs, Basan) ; 
see C. Blanc, i. 202. 

464^. An Old Man with a Large Beard. He wears a fur cap, 
and has a cloak wound round his body. Half-length. Strongly painted. 
Panel, 8| inches by 7^ inches. 

Sale. J. van der Marck, Amsterdam, August 25, 1773, No. 260 (35 florins, 
Van Damme). 

464*-. An Old Man with a Beard. In profile. [Pendant to 891*.] 
Panel, 9^ inches by 7^ inches. 

Sale. J. van der Marck, Amsterdam, August 25, 1773, No. 262 (29 florins 
10, Fouquet). 

464/1 Head of a Man with a Beard. Seen in full face. Strongly 
painted. [Pendant to 161. Possibly identical with 729.] 
Panel, 9^ inches by 8 inches. 

Sale. J. van der Marck, Amsterdam, August 25, 1773, No. 265 (12 florins 
10, with pendant, Fouquet). 

465. A Man holding a Letter. Seen in full face. Fine colour- 
ing ; skilfully painted. 

Panel, 16 inches by iij inches. 

Sale. J. van Leeuwaarden, widow of P. Merkman, Haarlem, September 21, 

1773, No. 8. 

466. Head of an Old Man with a Beard. Half-length. Skil- 
fully painted. 

Panel, 8 inches by 6 inches. 

Sale. Amsterdam, July 26, 1775, No. 254 (9 florins 5, Quinkhard). 

466*. An Old Man. [Pendant to 516^.] 
15 J inches by uA inches. 

Sale. H. Houtkamp, Alkmaar, March 19, 1776, No. 64. 



240 REMBRANDT SECT. 

466^. An Old Man with a Large Beard. In profile. He wears 
a fur coat, open in front. Half-length. Strongly painted. 
Panel, 23 J inches by 17 inches. 

Sale. Huybert Ketelaar, Amsterdam, June 19, 1776, No. 172* (7 florins, 
Wubbels). 

466^. An Old Man with a Short Beard. Broad in style. 
Panel, 7^ inches by 5 inches. 

Sale. Huybert Ketelaar, Amsterdam, June 19, 1776, No. 174 (2 florins 5, 
Vermeulen). 

466^. Head of an Old Man. 

Octagonal, 7 inches by 5^ inches. 

Sale. Brussels, February 22, 1777, No. 13. 

4.66e-g. Three Half-Length Portraits of Men. 
7J inches by 5 inches. 

Sale. Prince de Conti, Paris, April 28, 1777 (510 francs, with a fourth 
half-length by A. van Ostade). 

467. A Serious-Looking Old Man (or, " Le Vieillard Atrabil- 
aire"). Sm. 249, 474, and 407* ; B.-HdG. xxi. He is seen almost in 
full face and looks down to the right. He has a white beard, and long 
white hair under a plain cap. On his shoulders is a plain garment like 
a cloak. Half-length, without hands. Pendant to 190 ; also to the 
"Liesbeth van Rijn," known as " La Femme a la Plume" (700). 

Canvas, 29 inches by 24 inches. 

Engraved by W. Vaillant and by A. de Marcenay, 1 764 ; there is also a 
print signed " P. V. S. F." 

See Hofstede de Groot, Urkunden Uber Rembrandt, No. 335. 

Sales. Comte de Vence, Paris, 1750 (142 francs, with pendant, 190 

according to Sm.). 

La Live de Jully, Paris, March 5, 1770. 

De Peters, Paris, March 9, 1779 (853 francs, with pendant) ; this 
pendant was an oval, 22^ inches by 18 inches (700) see C. 
Blanc, i. 451. 

467*7. A Young Man with a Red Cap. Seen in full face. A 
gold chain hangs round his neck over his cloak. Half-length. [Pendant 
to 330*7.] 

32 inches by 25^ inches. 

Sale. Due de Lavalliere, Paris, February 21, 1781 (5500 francs, with 
pendant) ; see C. Blanc, ii. 43. 

468. A Youth standing. He leans his right hand on a cushion 
and rests his left hand on his hip. He wears a green coat with trimming 
and has a sash round his body. On his breast hangs a gold chain set with 
pearls and precious stones. He wears a red cap, the brim of which is laced 
and adorned with pearls, jewels, and a plume. A powerfully painted 
masterpiece. 

Panel, 34! inches by 27 inches. 



xxn REMBRANDT 241 

Sale. Jan Maul and others, Leyden, September 28, 1782, No. 78 (277 
florins, Coders). 

468*. Head of an Old Man. 
Panel, 7^ inches by 5| inches. 

Sale. P. Steijn and others, The Hague, October 7, 1783, No. 71 (8 
florins 10). 

469. A Man in Winter Dress. With a fur cap on his head and 
a stick in his hand. Three-quarter length. 

Canvas, 52 inches by 40 inches. 

In the Cassel Gallery, 1783 catalogue, No. 27. Not now at Cassel if it 
was not identical with "St. Thomas" (182). 

470. A Man with a Brown Cloak. And a black cap. Half- 
length. 

Panel, 2o| inches by 15 inches. 

In the Palace, Cassel, 1783 inventory, No. 133 ; not now at Cassel. 

4700. Head of a Youth. He looks down. 

Sale. I. de Moni, Leyden, April 17, 1784, No. 109 (15 florins). 

470^. An Old Man with a Grey Beard, in Antique Dress. 
Wearing a cap. Half-length, in full face. Very natural 
Panel, 8 inches by 7 inches. 
Sale. P. J. Geelhand, Antwerp, July 5, 1784, No. 20. 

4701-. A Young Man in a Brown Velvet Coat. Wearing a 
brown cap. He has a stout silk neck-cloth, and a broad green and gold 
sword-belt over his right shoulder. A good picture. 

Signed in full, and dated 1657 J canvas, 27 J inches by 17 J inches one 
of the two measurements was probably inaccurate. 

Sale. Amsterdam, July 4, 1785, No. 177 (10 florins 10, Martins). 

470^. A Man in Black with a Gold Chain. He wears a cap. 
Half-length. Powerfully painted and effective. 
Panel, 15 inches by 12 inches. 

Sale. P. A. J. Knijff, Antwerp, July 1 8, 1785, No. 36 (25 florins 10, 
Beekmans Leutzgen). 

471. A Young Man leaning his Arm on a Balustrade. He 

holds his hand at his breast. He wears a collar, a red cloak with trimming 
over a black under-garment, and a hat. Powerfully and skilfully painted. 
Panel, 36 inches by 27 inches. 

Sale. J. van der Linden van Slingeland, Dordrecht, August 22, 1785, No. 
328 (250 florins, Beekman). 

471*. An Aged Man with a Short Beard. His head is bare. 
He is turned a little to one side. Powerfully painted. 
Panel, oval, 26^ inches by 19^ inches. 

Sate. P. Yver and others, Amsterdam, March 31, 1788, No. 8. 
VOL. VI R 



242 REMBRANDT SECT. 

471^. Head of a Man with a Black Beard. 

7 inches by 5^ inches. 

Sale. Del Marmol, Brussels, March 24, 1791, No. 12 (34 francs). 

47 if. An Old Man with a Grey Beard. Wearing a cap. 
Panel, n inches by 8J inches. 

Sale. Aart Schouman, The Hague, October 17, 1792, No. 4 (16 florins, 
Spruijt). 

471^. An Old Man with White Hair and Beard. Sm. 266. 
He wears a black costume relieved by the gold of the buttons and button- 
holes. [Pendant to 902.] 

Panel, 24 J inches by 19 J inches. 

Sale. Due de Choiseul-Praslin, Paris, February 18, 1793 (2000 francs) ; see 
C. Blanc, ii. 159 [but cf. 902]. 

47 if. A Man with a Hat. The shadow of the brim falls on the 
face. Half-length. Broadly and skilfully painted. 
Panel, 10 inches by 8J inches. 
Sale. J. Rendorp, Amsterdam, October 16, 1793, No. 53 (21 florins, Yver). 

47 if. An Old Man. Sm. 271. Finely rendered; reminding one 
of Titian. 

Sale. C. A. de Calonne, London, March 23, 1795, No. 25 of the second 
day (^47 : 5s.) ; see Buchanan, i. 296. 

47 1. An Old Man with a Cloak. Wearing a velvet cap 
Strongly painted. 

Canvas, 33 inches by 29^ inches. 

Sale. P. Fouquet, Amsterdam, April 13, 1801, No. 62. 

471/2. An Old Man with a Grey Beard. Half-length. Excel- 
lent; broadly painted. [Pendant to 51 6c.] 
Panel, 19 inches by 14 inches. 

Sale. Countess van Sluypwijk-Moens, Amsterdam, April 20, 1803, No. 65 
(70 florins 2). 

471;. An Old Man in a Fur Coat and Cap. Carefully 
rendered. Probably one of the numerous replicas of 375 (Cassel). 
8J inches by 6J inches. 

Pendant to "A Richly Dressed Young Man " (809). 
Engraved in line and in mezzotint. 

Sale. Francois Pauwels, Brussels, August 22, 1803, No. 76 (1860 francs, 
with pendant, Couway) ; see C. Blanc, ii. 214. 

472. A Rabbi. Sm. 296. Half-length. 

Sale. Walsh Porter (second part), London, April 14, 1810 (203 : 143.). 

472*. Head of an Old Man with a High Cap. 

Panel, loj inches by 9 inches. 

Sales. Coypel, Paris, June n, 1777, No. 35. 

J. A. de Silvestre, Paris, February 28, 181 1, No. 117 (200 francs). 



xxn REMBRANDT 243 

472^. An Old Man with a Stick. 

Canvas, 41 inches by 37^ inches. 

Sale. R. Sondag and others, Rotterdam, July 5, 1813, No. 128. 

472^. A Youth wearing a Velvet Cap with a Plume. 
Powerfully painted ; well rendered. 

Sale. Amsterdam, October 5, 1813, No. 13 (3 florins 15, Vinkeles). 

47207. Head of a Rabbi. 

Exhibited at the British Institution, London, 1815, ^- 2 9- 
Then in the collection of Sir George Hayter. 

472^. Head of an Old Man. Well rendered in a fine pose. 
Panel, 19 inches by 14 inches. 

Sale. Breda, August 23, 1817, No. 33. 

472*-. A Young Man with a Gold Chain. In a three-quarter 
view. He wears a velvet cap with a white plume. Broadly painted ; 
strong colour. 

Panel, 26J inches by 21 inches. 

Sale. J. A. Snijers, Antwerp, April 27, 1818, No. 6. 

472/ A Man with a Cap, seated. Masterly in style. 
Canvas, 14^ inches by 12 inches. 

Sale. Amsterdam, July 16, 1819, No. 148 (101 florins, Van den Berg). 
4j2g. Head of a Man. 

Exhibited at the British Institution, London, 1823, No. in. 
Then in the collection of the Duke of York, London. 

472/;. Head of an Old Man. 

Exhibited at the British Institution, London, 1828, No. 82. 
Then in the collection of Sir William Gomm. 

472;. Head of an Old Man with a Blue Velvet Cap. There 
is gold lace on the cap. Round the neck he wears a rich gold chain with 
a medal and a white cambric collar with a border. In the ear is a pear- 
shaped pearl. Fine expression. 

Panel. 

Sale. P. F. Tiberghien, Brussels, May 22, 1828, No. 244. 

472;'. A Jew. Very characteristic. 

Panel, 16 inches by 12 inches. 

Sale. Rotterdam, June 9, 1828, No. 30. 

473. A Stout Elderly Man with a Large Hat Half-length, 
turned a little to the left. A fur-trimmed cloak covers the shoulders and 
shows the close-fitting under-garment of an Eastern type. Fine expres- 
sion ; powerfully painted in the master's last manner. Slightly damaged 
at the edge. It resembles the painter himself. 

Canvas, 23 J inches by 17 inches. 

Sale. M. P. KrUger, Hamburg, September i, 1828, No. 9. 



244 REMBRANDT SECT. 

473*. An Old Man with a Large Beard. With long hair. 
Half-length. The varnish is scorched. 

Signed, "R. van Ryn" ; panel, nj inches by 10 inches. 
Sale. M. P. KrUger, Hamburg, September I, 1828, No. 181. 

473^. Head of an Old Man. Very finely rendered. 

7j inches by 6 inches. 

Sale. John Clerk of Eldin, Edinburgh, March 14, 1833, No. 124 (20). 

474. An Old Man with a Thin Face. Sm. 362, and Suppl. u. 
He wears a plain brown dress and a dark velvet cap decked with beads. 
A medal, with the impression of a head, hangs from a ribbon in front. 
" Painted in a free and bravura manner " (Sm.). 

Panel, 25 inches by 18 inches. 

Exhibited at the British Institution, London, 1834, No. in. 
In the collection of Sir Charles Bagot, 1836 ; sold in that year, according 
to Sm. (for 53 : us.). 

474#. An Old Man. Sm. 467. He wears a large slouch hat and a 
dark cloak, and has a pearl collar round his neck. 
Canvas, 35 inches by 30 inches. 

In the Dresden Gallery, 1836 (Sm.) ; if it was not identical with 376, it 
is not now to be found at Dresden. 

475. An Old Man. 

It is uncertain whether two or more of the following are identical : 

In 1645 Christiaen Huygens, Leyden, copied an "Old Man" by Rem- 
brandt in pastel. See his letter to his brother Ludwig, June 29, 1645, in 
Hofstede de Groot, Urkunden liber Rembrandt, No. 104. 

In the collection of Paulus Ramers and Agatha de Bruyn, Amsterdam ; 
valued on November 5, 1649 ( at 4 2 florins). See H. de Groot, Urkunden, No. 
124. 

In the collection of Rembrandt, Amsterdam ; in the inventory of his effects, 
July 25, 1656, No. 103. See H. de Groot, Urkunden, No. 169. 

In the collection of Marten Pietersz Daey, Amsterdam ; in the inventory of 
his effects, November 3, 1659. See H. de Groot, Urkunden, No. 218. 

In the collection of Ferdinand Bol, Amsterdam ; in the inventory of October 
8, 1669. See A. Bredius, Oud Holland, 1910, p. 234. 

In the collection of Jan van Beaumont, Amsterdam, June 29, 1676 ; a small 
picture, valued (at 10 florins). See H. de Groot, Urkunden, No. 334. 

In the collection of Jacob Lois, Rotterdam ; in the inventory of his effects, 
October 30, 1680 ; two pictures. See H. de Groot, Urkunden, No. 351. 

In the collection of Hendrick Becker, Hermansz, Amsterdam ; in the in- 
ventory of his effects, July 22, 1688, valued by Catharina Schaack (at 2 florins 
10) ; "een Bestevaer " (an old man). See A. Bredius, Oud Holland, 1910, p. 11. 

In the collection of Madame van Sonsbeeck, The Hague, at the beginning 
of the eighteenth century; on paper, valued (at i florin 10). See A. Bredius, 
Oud Holland, 1906, p. 238. 

In the collection of Hyacinthe Rigaud, Paris, who valued the picture in 
an inventory of May 17, 1703 (at 100 francs). See H. de Groot, Urkunden, 
No. 387. 



xxn REMBRANDT 245 

Sales. Allart van Everdingcn, Amsterdam, April 19, 1709, No. 61. 
Amsterdam, May 17, 1715 (Hoet, i. 185), No. 2 (62 florins). 
Bernard Picart, Amsterdam, May 15, 1737 (Hoet, i. 476), No. 40 

(i 5 florins). 

Baron Schonborn, Amsterdam, April 16, 1738 (Hoet, i. 516), No. 
149 hut (Terw. 23), No. 103, and No. 150 in the original 
catalogue (27 florins 10). 

In the collection of Count van Wassenaar, The Hague, 1752 (Hoet, ii. 402). 
Sales. J. Graham and others, The Hague, July 24, 1775, No. 58 "small 

and quite natural." 
J. Christiaanze, Amsterdam, November 17, 1779, No. 271 (i florin 5, 

J. Yvcr). 

In the picture gallery at the Royal Palace, Berlin, 1786; see Nicolai, 
Beschreibung von Berlin, ii. 885, No. 26. 

Sales. C. A. de Calonne, London, March 23, 1795, No. 20 of the second 

day (7 117:6); see Buchanan, i. 229. 
Carolus et Demalines, Antwerp, August 12, 1837, No. 25 ; on 

panel. 

Brussels, August I, 1842, No. 88 ; a good head, fine light and 
shade. 

475<2. Head of an Old Man. With a small greenish cap. 

Canvas, 26 inches by 22 inches. 

Sale. Aguado, Paris, March 1843 (1010 francs). 

475/>. Head of a Rabbi. 

Exhibited at the British Institution, London, 1845, No. 113. 
Then in the collection of Viscount Alford, London. 

475<r. Head of a Man. Broadly painted. 
Panel, 8J inches by 7 inches. 

Sale. J. A. A. de Lclie and others, Amsterdam, July 29, 1845, No. 173 
(14 florins 25, Bogaard). 

475^. A Rabbi. 

8 inches by 6 inches. 

Mentioned by Dutuit, p. 18. 

Sale. Van Saceghem of Ghent, Brussels, June 2, 1851 (600 francs, De la 
Neuville for the Marquess of Hertford). 

475'. Portrait of a Rabbi. Glowing colour ; finely rendered. 

Exhibited at the British Institution, London, 1850, No. 77. 

In the collection of James Gray, London, 1854 ; see Waagen, ii. 366. 

475/: Head of a Bearded Old Man with a Red Cap. A 

precious example of the painter's broad style. 
Canvas, nj inches by 9^ inches. 

Mentioned by Dutuit, p. 19. 

Sale. W. Hope, Paris, May ii, 1858 (500 francs). 

476. Head of a Man. 



246 REMBRANDT SECT. 

It is uncertain whether two or more of the following were identical : 
In the collection of Herman Becker ; in the inventory of his effects, October 
19, 1678. See A. Bredius, Oud Holland, 1910, p. 196. 
Sale. Amsterdam, May 28, 1706, No. 70. 

In the collection of the Stadholder, later in that of the King of Prussia, 
Honsholredijk ; in the inventory of 1707, 1713, 1719, No. 187 (in the audience- 
chamber, No. 12). 

Sales. Nicolaes van Suchtelen, Hoorn, April 17, 1715 (Hoet, i. 181), No. 

45 (15 florins 15) ; skilful. 
Pieter Pellicorne, Amsterdam, April 4, 1724 (Hoet, i. 306), No. 29 

(13 florins) ; a small picture. 
The Hague, May 3, 1729 (Terw. 7), No. 75 (30 florins) ; very 

strong. 
Amsterdam, August 9, 1739 (Hoet, i. 598), No. 37 (26 florins) ; 

finely rendered. 

Amsterdam, August 9, 1739 (Hoet, i. 598), No. 38 (7 florins). 
W. van Grondesteyn and others, Rotterdam, March 30, 1758, 

No. 8. 

Jacob Snels, Baron van Deneke, The Hague, July II, 1763 (Terw. 
341), No. 56 but No. 86 of the original catalogue (13 florins, 
De Muyser) ; very natural. 

In the picture lottery, Zurich, 1790, No. 52 ; priced too high, according to 
Lavater in Meusel's Museum, xii. 

Sales. Leyden, November 4, 1783, No. 176 ; a small picture. 

L. Brasser and others, Rotterdam, April 7, 1794, No. 41 (3 florins 5) ; 

a small picture. 
Amsterdam, April 17, 1809, No. 138 (5 florins); panel, in old 

Dutch dress, masterly. 
F. A. J. Boijmans, Utrecht, August 31, 181 1, No. D. 57 ; powerfully 

painted and distinguished head. 

In the collection of the Earl of Lichfield ; exhibited at the British Institution, 
London, 1840, No. 107. 

In the collection of Lord Methuen ; exhibited at the British Institution, 
London, 1857, No. 80. 

In the collection of M. C. Wyatt ; exhibited at the British Institution, 
London, 1859, No. 84. 

476*. Head of a Jew. 

Exhibited at the British Institution, London, 1861, No. 72. 
Then in the collection of J. E. Fordham, London. 

476*. An Old Man. Wb. 477. Half-length. 

Dated 1641. 

In the possession of A. M. W. Gruyter, Amsterdam, 1867. 

477. An Old Man with a White Beard. Seen in profile. He 
wears a black cap falling down on his black coat. Dark background. 
Half-length. 

Canvas, 32 inches by 24 inches. 

In the collection of Count Schonborn, Pommersfelden ; in the catalogue of 
1719. 

Sale. Count Schttnborn of Pommersfelden, Paris, May 17, 1867, No. 100 
(550 francs, Jacquemart). 



xxn REMBRANDT 247 

477*. Head of an Old Man. 

Exhibited at Leeds, 1868, No. 828. 
Then in the collection of F. Cook. 

477/>. An Old Man in Profile. Wearing a high cap. Half-length, 
to the right. The light comes from the right. 
Panel, loj inches by 8 inches. 
Sale. Prince von der Leyen and others, Munich, June 26, 1871, No. 79. 

.j-jc. A Rabbi with a Dark Cap. He is seen in full face and 
looks at the spectator. His furred cloak is fastened at the breast with a 
gold buckle. Described from a photograph which does not enable a 
definite opinion to be formed regarding the authenticity of the picture. 

Exhibited in the " Staryje Gody" exhibition, Petrograd, 1908 ; not identi- 
fiable in the catalogue. 

478. An Old Man in a Fur-Trimmed Robe. Sm. 368. He is 
seen in profile. He wears a white handkerchief round his head and has a 
gold chain with a medal round his neck. 

The original is lost. Described by Sm. from a print by G. F. Schmidt. 

479. A Rabbi with a Long Bushy Beard. Sm. 387. Almost 
in full face. He wears a large velvet cap and a cloak which he holds up in 
front with one hand. On his breast is a rich ornament. 

The original is lost. Described by Sm. from a print by G. F. Schmidt. 
A picture corresponding with the description was engraved by Riedel and 
by J.Wright, 1766. 

480. An Old Man with a Long Bushy Beard. Sm. 390. 
With curly hair. In profile. He looks fixedly at some object. He wears 
a dark cloak, overlapping in front ; the hands are not shown. 

The original is lost. Described by Sm. from a print by G. F. Schmidt. 

481. A Young Man with a Simple Face. Sm. 401. The 
mouth is slightly open. The hair is parted in front. He wears a low cap 
set to one side and a close doublet showing a small part of the shirt. On 
his breast hangs an ornament. 

The original is lost. Described by Sm. from an anonymous print. 

482. An Old Man with a Grey Beard and a Bald Head. 

Sm. 404*. 

The original is lost. Described by Sm. from a print by Kreisler. 

482*. An Old Man. Sm. 435 ; B.-HdG. xx. He is seen almost 
in full face, with a long beard and a black cap. Half-length. 

The original is lost. Described by Sm. from a mezzotint by B. Picart, 
inscribed " Lucien, Auteur Grec." 

483. An Old Man with a Bald Head and a White Beard. 
Sm. 436. Almost in profile. He wears a large cloak over his shoulders. 

The original is lost. Described by Sm. from a print by Richard Houston. 



248 REMBRANDT SECT. 

484. An Old Rabbi with a very Long Beard. Sm. 437 ; Dut. 
403 ; Wb. 489. Seen in full face. He wears a broad velvet cap, and a 
large cloak bordered with fur over a dark silk vest. The hands seem to be 
clasped in front. 

Dated 1646. 

The original is lost. Described by Sm. from a print by W. Baillie. 
A picture corresponding with the description was engraved by an unknown 
hand. 

485. A Gentleman with a Black Velvet Cap. Sm. 438. About 
thirty-five, seen in a three-quarter view. He has a fine oval face with 
mustachios, and long flowing hair. He wears a black velvet cap adorned 
with a string of jewels, a large black cloak, a plain vest, and a neatly 
pleated shirt with a narrow edging. In the background are a curtain and 
the interior of a large room. 

The original is lost. Described by Sm. from an anonymous print in an oval. 

486. A Robust Man of about Thirty-five. Sm. 442. The body 
is seen in profile, the head almost in full face. He has bushy hair, and 
wears a small velvet cap, a close-fitting coat with a tag on the shoulder, 
and a scarf round his neck. 

Dated 1633. 

The original is lost. Described by Sm. from an etching apparently by 
T. Worlidge. 

487. A Young Man with a Small Moustache and Bushy 
Hair. Sm. 443. He wears a black velvet cap, a fur cloak, and a white 
shirt, only a small part of which is seen. 

The original is lost. Described by Sm. from a print by J. F. Schroter, 1790. 

488. A Man with a Strongly Marked Face. Sm. 479. In a 
three-quarter view. About forty. He wears a mezetin cap and a cloak 
which envelops his body, exposing only a small part of his vest and of two 
gold chains. 

The original is lost. Described by Sm. from a print by Claussin. 

489. A BOY WITH FAIR CURLS. Sm. 318; Bode 138; 
. 335 ; Wb. 242 ; B.-HdG. 440. Standing, seen in full face. About 

five or six years of age. He has greyish-blue eyes, parted lips, and red 
cheeks. He wears a light grey jacket, a white collar, and a yellow sash. 
On his long hair is a velvet cap with a red and a white plume over a yellow 
hood. On his left shoulder is an object not clearly distinguishable 
possibly a large bird. Dark background. Simple daylight falls almost 
from the front. Half-length ; life size. Painted about 1650. 

Canvas, 26 inches by 22 inches. 

Etched by P. J. Arendzen in Masterpieces of Dutch Art in English Collections. 

Mentioned by Bode, pp. 537, 578 ; Dutuit, p. 48 ; Michel, p. 555 [433]. 

Exhibited at Manchester, 1857, No. 18 ; at the Grafton Gallery, London, 
1895, No. 130; at the Royal Academy Winter Exhibition, London, 1899, 
No. 30, and 1907, No. 60 ; at Amsterdam, 1898, No. 95. 



xxn REMBRANDT 249 

In the collection of Earl Spencer, Althorp ; [sold in October 1915]. 
[In the collection of Herbert Cook, Richmond.] 

489*. A BOY WITH LONG CURLS. With a brown cap. 
He is in profile to the right but turns his head to the spectator. Over his 
right shoulder is a heavy cloak. Painted about 1650-60. 

Panel, 12 inches by 10 inches. 

In the Kribben collection, Berlin. 

In the possession of Cassirer, Berlin. 

In the collection of Herr Krupp von Bohlen und Halbach, Essen. 

490. A BOY WITH A COLOURED NECK-CLOTH. Bode 
302 j Dut. 374 ; Wb. 314 ; B.-HdG. 177. About five years old. He is 
turned a little to the right, but is seen almost in full face. He wears on 
his light brown hair a velvet cap with a narrow gold chain and a tall 
golden pheasant's feather held in place by a clasp. In his ear is a pearl. 
Over his coat hangs a heavy gold chain set with precious stones. Bright 
light falls from the left ; dark background. Half-length, without hands ; 
life size. The same boy figures in 491-493, and perhaps also in 494. 

Signed on the right, level with the shoulder, " Rembrandt 1633 " j oak 
panel, oval, iy inches by 13 inches. 

Etched by an unknown hand. 

Mentioned by Vosmaer, pp. 121, 500 ; Bode, pp. 404, 597 ; Dutuit, p. 52; 
Michel, pp. 142, 564 [108, 436]. 

Salts. Amsterdam, May 14, 1832, No. 79 (700 florins, Van Brienen). 

G. Th. A. M. Baron van Brienen van de Grootelindt of The Hague, 

Paris, May 8, 1865 (25,000 francs, Rothschild). 
In the collection of Baron James de Rothschild, Paris. 
In the collection of Baroness Nathaniel de Rothschild, Paris. 
In the collection of Baron Edouard de Rothschild, Ferriercs. 

491. A BOY IN A RICH DRESS (or, Portrait of a Boy). 
Bode 239 ; Dut. 260 ; Wb. 250 j B.-HdG. 178. He is inclined a little 
to the left and looks at the spectator ; his head is in full face. His brown 
curls are covered with a velvet cap adorned with a narrow gold chain and 
a plume fastened in front by a clasp. In each ear is a pearl. He wears a 
lilac cloak with gold brocade, held together in front with two clasps ; 
round his neck is a string of pearls. Evenly lighted from the left fore- 
ground ; the background is fairly light. A small figure, seen almost to 
the waist. The same boy figures in 490, 492, 493, and perhaps also 
in 494. 

Signed on the left, level with the shoulder, " Rembrandt f. 1633"; 
panel, 8 inches by 6| inches. 

Exhibited at the Bethnal Green Museum, London, 1872, No. 113; at the 
Royal Academy Winter Exhibition, 1889, No. 116. 

In the collection of the Marquess of Hertford, London. 

In the Wallace Collection, London, 1913 catalogue, No. 201. 

492. A BOY IN POLISH COSTUME. B.-HdG. 179. He 

stands, turned a little to the left, with his head in full face. On his thick 
curls is a red velvet cap with a narrow gold chain on the brim and a golden 



250 REMBRANDT SECT. 

pheasant's feather standing erect. In each ear is a pearl. He wears a 
dress of gold brocade under a red cloak with gilt clasps. A transparent 
yellow cloth and a string of pearls are round his neck, over the shirt which 
is scarcely seen. Full light falls from the left at top. Brownish-grey 
background. Half-length, without hands ; life size. Painted about 1634. 
The same boy figures in 490, 491, 493, and perhaps also in 494. 
Oak panel, rounded at top and bottom ; 26 J inches by 19 inches. 

Mentioned by Waagen, Die Gemdldesammlung in der Kaiserlichen Ermitage, 
second edition, p. 187. 

Acquired by the Empress Catherine II. for the Hermitage. 
In the Hermitage Palace, Petrograd, 1901 catalogue, No. 843. 

493. A BOY IN A DARK CLOAK. Bode 356; Dut. 375; 
Wb. 430 ; B.-HdG. 1 80. He is in profile to the right and turns his face 
to the spectator. He wears a dark velvet cap on his luxuriant hair, which 
falls down on either side and over his brow. In each ear is a pearl. The 
cloak has a border of gold brocade. Strong light from the left falls on the 
right cheek. Dark background. A small half-length without hands. 
The same boy figures in 490-492, and perhaps also in 494. 

Signed on the right, on a level with the shoulder, "Rembrandt f. 
J ^33 " > oa k panel, 7^ inches by 6J inches. 

Mentioned by Bode, pp. 404, 603 ; Dutuit, p. 54 ; Michel, pp. 142, 567 
[108, 442]. 

In the collection of Prince Yussupoff, Petrograd. 

494. A BOY WITH LUXURIANT CHESTNUT-BROWN 
CURLS. B.-HdG. 181. About seven years old. He is in profile to 
the left, turning his head half-round to the spectator and looking sidewards. 
He has dark eyes. In his left ear is a pearl. He wears a blue coat with 
gold clasps, showing the pleated white shirt at the throat. Bright light 
falls from the left, past the face, on the shirt and the left shoulder. Dark 
background in a black oval frame. Half-length, without hands ; life size. 
The boy is perhaps the same as in 490-493. 

Signed on the left, a little below the level of the shoulder, " Rembrandt 
f. 1634"; oak panel, i8j inches by 14 J inches. 

Exhibited at Amsterdam, 1898, No. 30; at the Royal Academy Winter 
Exhibition, London, 1899, No. 37. 

Sale. Sir Luke Schaub, London, April 26, 1758, No. 30 of the second day 
(32 : us., Duke of Portland). 

In the collection of the Duke of Portland, Welbeck Abbey, 1894 catalogue, 
No. 216 ; traceable there since the catalogue of 1831. 

494*. Head of a Boy. 

28 inches by 23 inches. 

Sale. Maria Beukelaar and Anthony de Waart, The Hague, April 19, 1752 
(Hoet, ii. 317), No. 51 (13 florins). 

494^. A Young Boy. 
Panel, 15 inches by 13 inches. 

Sale. Count von Brabeck, Count Andreas von Stolberg, Hanover, October 
31, 1859, No. 212. 



xxn REMBRANDT 



251 



494<r. A YOUNG GIRL. She is seen in lost profile to the left. 
She turns her head, which is slightly bent, over her left shoulder towards 
the spectator and looks down. She has fair reddish hair threaded with a 
reddish ribbon, and dark eyes. Over her white chemisette is a brownish-red 
dress. Half-length. Painted about 1650. [Probably identical with 919.] 

Panel, 10 inches by 8 inches. 

Exhibited at Berlin, 1914, No. 134.^. 

In the collection of Wynn Ellis, London. 

In the possession of F. W. Lippmann, London. 

In the possession of T. Agnew and Sons, London. 

In the collection of Marcus Kappel, Berlin ; not in the 1914 catalogue. 

495. A YOUNG GIRL. B.-HdG. 373. She looks down to the 
left. She is about twenty, with a fresh complexion and dark hair. She 
wears a brownish-red dress, a yellowish bodice, and a white kerchief round 
her neck. A small half-length. Painted about 1650. On the head and 
neck there are alterations, indicating a hood. 

Oak panel, 8 inches by 7 inches. 

Exhibited at Amsterdam, 1898, No. 82 ; at the Burlington Fine Arts Club, 
London, 1899, No. 36 ; at Berlin, 1909, No. I 14. 

In the collection of Sir Charles A. Turner, London. 
In the collection of P. von Schwabach, Berlin. 

496. AN ELDERLY WOMAN WITH A DARK RED 
HOOD. B.-HdG. 584. Under the hood is a white kerchief. She is in 
full face looking at the spectator. The lips are parted. In the ears are 
gold ear-rings. She wears a black fur-lined cloak, held together in front 
with two gold clasps, over a dark grey dress which shows the pleated shirt 
at the throat. Dark neutral background. The light falls from the left at 
top. Half-length, without hands ; almost life size. 

Signed to the left on a level with the shoulder, " Rembrandt f. 1652 " ; 
oak panel, 26 inches by 20 J inches. 

Exhibited at the Guildhall Art Gallery, London, 1903, No. 135. 
In the possession of Sir Hugh P. Lane, London. 
In the possession of Messrs. Dowdeswcll, London. 
In the collection of C. P. Taft, Cincinnati. 

497. A YOUNG GIRL WITH CLASPED HANDS. Sm. 
526; B.-HdG. 481. She sits, turned three-quarters right, on a chair 
upholstered in red and looks to the right. She wears a dark red dress, 
showing the white chemisette at the throat. The light falling from the 
left touches the face and shouldej-. Dark background, illumined to the 
left. Three-quarter length ; life size. 

Signed on the right half-way up, " Rembrandt f. 1660 " (the last figure 
may be a 6) ; canvas, 30^ inches by 26 inches. 

Etched in reverse in the small "Galerie Le Brun," No. 152 ; in this the 
girl wears a cap with a plume, which the cleaning of the picture has shown to 
be a later addition. 

Exhibited by Forbes and Paterson, London, 1902, No. 5. 

In the possession of J. B. P. Le Brun, Paris. 



252 REMBRANDT SECT. 

In the collection of Sir Walter Farquhar, London, 1894. 

Sale. Sir C. L. Eastlake and others, London, June 2, 1894 (703 : ios., 
M. H. Colnaghi). 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 100 Paintings," 
1895, ii. No. 29. 

In the collection of C. de Beistegui, Paris. 

In the possession of T. Lawrie and Co., London. 

In the collection of William A. Coats, Dalslcairth. 

498. AN OLD WOMAN WITH CLASPED HANDS. 
B.-HdG. 480. She sits in an arm-chair, turned to the right and looking 
in that direction. She wears a dark fur-trimmed dress with narrow red 
stripes on the sleeve in front j a large black velvet cap with a narrow gold 
edging, over a white kerchief, covers the head. Dark background, 
illumined a little to the right. Strong light falls from the left. Half- 
length ; life size. 

Signed on the right beside the chair, "Rembrandt f. 1661 " ; canvas, 
inches by 25^ inches. 

Exhibited at the British Institution, London, 1818, No. 121 ; at the Royal 
Academy Winter Exhibition, 1899, No. 78, and 1907, No. 56; by F. Muller 
and Co., Amsterdam, 1907, No. 36. 

In the collection of Sir A. Hume, London. 

In the collection of Earl Brownlow, London [who lent it to the Royal 
Academy in 1899]. 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 100 Paintings," 
1900, vi. No. 29. 

In the collection of E. F. Milliken, New York. 

Sale. Sir H. Bedingfield, Bart., and others, London, May 31, 1902, No. 
41 [the property of E. F. Milliken, sold for 5775]. 

In the possession of Sir George Donaldson, London [who lent it to the 
Royal Academy in 1907]. 

In the possession of F. Kleinberger, Paris. 

In the collection of F. von Gans, Frankfort-on-Main. 

499. A YOUNG GIRL WITH SHORT CURLY HAIR. 
B.-HdG. 552. She is inclined to the left ; her head and eyes are turned 
towards the spectator. A dark fur-trimmed cloak lies over her finely 
pleated chemisette ; the cloak is fastened at the left shoulder by a gold 
clasp. Bright background. Strong light falls from the left at top. Half- 
length, without hands ; three-quarters life size. Painted about 1629. 

Oak panel, 10 inches by 8 inches. 

Exhibited at Amsterdam, 1898, No. 10 ; at The Hague, 1903, No. no. 

In the possession of F. Kleinberger, Pajris. 

In the collection of D. F. Scheurleer, The Hague. 

In the possession of J. Goudstikker, Amsterdam. 

In the collection of Gustav Ritter Hoschek von Muhlheim, Prague. 

In the possession of J. Goudstikker, Amsterdam. 

In the SimbryskofF collection, Helsingfors. 

500. AN OLD WOMAN IN PROFILE TO THE RIGHT. 
B.-HdG. 391. About sixty. Seated. She wears a dull olive-green hood 
lined with gold brocade, under which is seen a striped kerchief j the hood 



xxn REMBRANDT 



253 



falls over her shoulder. She holds a key in her clasped hands. Her dark 
dress is cut low at the neck, under a wrap striped white and yellow. 
Round her waist is a red girdle. Dark background. Bright light falls 
from the left on the right side of the face and on the wrap. Half-length ; 
life size. Painted about 1650. 

Oak panel, 27 inches by 22 inches. 

Exhibited at Amsterdam, 1898, No. 47. 

Sale. J. H. van Heemskerk, The Hague, March 29, 1770, No. 9 (31 

florins 10, DC Bons). 

In the collection of Prince Adam Czartoryski, Pulawy, near Warsaw. 
In the collection of General Kicki, Warsaw. 
In the collection of Helene von Przybyslawska. 
In the possession of N. Steinmeyer, Cologne. 
In the collection of G. Martius, Kiel (formerly of Bonn). 

501. A GIRL OF ABOUT TWENTY. B.-HdG. 374. She 
is turned to the left in half-profile and bends her head forward. She has 
dark eyes and a bright complexion. Her light brown hair is combed back 
under a plain yellow cap. A white wrap is drawn round her shoulders, 
showing in front and on the upper arms the yellow gown cut out square 
at the throat. Round her neck is a double red band. Greenish-grey 
background, illumined to the right. Pale light. A small half-length. 
Painted about 1650. The same sitter as in 509. 

Oak panel, 8 inches by 7 inches. 

Exhibited at Amsterdam, 1898, No. 91. 
In the possession of Bourgeois, Cologne. 

In the collection of the late Freiherr Albert von Oppenheim, Cologne, 1904 
catalogue, No. 33. 

502. AN OLD WOMAN IN A RED DRESS. Bode 370 ; 
Wb. II ; B.-HdG. 396. She wears a dark cloak over the red dress. 
About seventy years of age. She is seen in full face and looks down. A 
large black hood trimmed with yellow covers her head. Her hands are in 
a band. Half-length ; life size. Painted about 1654. 

Canvas, 28 \ inches by 24 inches. 

Mentioned by Vosmaer, p. 581 ; Bode, p. 503 ; Dutuit, p. 50; Michel, 
PP. 395, S^i [306,430]. 

In the collection of Count Moltke, Copenhagen, 1885 catalogue, No. 32. 

503. A YOUNG WOMAN IN A DARK CAP WITH A 
BORDER AND A SHORT BLUE FEATHER. Sm. 559 ; 
Bode 164; Dut. 304; Wb. 194; B.-HdG. 537. About thirty. She is 
turned to the left in a three-quarter view, bends her head a little forward, 
and looks at the spectator. She wears a black flowered silk dress ; the full 
sleeves and the collar are slashed and filled in with white silk. Her dark 
hair is combed back smoothly. She has ear-rings, each with a large pearl. 
The light falls almost from the front. Moderately dark background. 
Half-length, without hands; life size. Painted about 1665. Ascribed, 
when at Hamilton Palace, to Velazquez. 

Canvas, 23 inches by 19 J inches. 



254 REMBRANDT SECT. 

Mentioned by Bode, p. 582 ; Dutuit, p. 45 ; Waagen, iii. p. 309. 
Exhibited at Montreal, 1906, No. I. 

In the collection of the Duke of Hamilton, Hamilton Palace ; it was there 
in 1836 (Sm.)- 

Sale. Alexander, Duke of Hamilton, London, June 17, 1882 (630, 

Winckworth). 

In the possession of Cottier and Co., New York. 
In the collection of R. B. Angus, Montreal, Canada. 

504. A YOUNG GIRL. She wears a soft hood, with two points 
on either side. She is turned a little to the left. Her plain dress shows a 
light under-garment at the throat and at an opening on the bosom. A 
cloak falls over her right shoulder. She wears pearls in her ears. 

Signed on the right half-way up, "Rembrandt f. 1651 " ; canvas, 23 
inches by 19 inches. 

In a copy in the collection of Count Wachtmeister, Wanas, 1895 catalogue, 
No. 55 (see Granberg, Tre'sors tf Art en Suede, ii. No. 327), which the author 
formerly regarded as the work of F. Bol, the girl is seen at half-length, with the 
right hand protruding from the wrap and holding a pink. Thus it is possible 
that the original once showed this composition and has been cut down. 

In the possession of Durand Ruel, Paris. 

In the collection of Mrs. Senff, New York. 

505. A YOUNG GIRL RESTING HER GLOVED RIGHT 
HAND ON A STICK. B.-HdG. 551. She is turned to the left and 
looks at the spectator. Her left hand is on her hip. Her bushy brown 
hair is adorned with a dark red plume. She wears a pearl in her ear and 
a string of pearls round her neck. She wears a greenish-grey gown 
decorated with fringes, an embroidered girdle of the same colour, a dark 
purple cloak lined with gold brocade and richly adorned with gold 
embroideries and precious stones ; the cloak is fastened on the bosom with 
a large gold clasp set with a red stone, and shows the pleated chemisette at 
the throat. In front of a grey wall at the back, to the left, is a table with 
a dark green cover, on which lie a lute, a book, and other objects ; to the 
right are seen several steps. Greyish-brown background. The light falls 
from the left at top. A small full-length. Painted about 1631. 

Canvas on panel, originally 23 J inches by 18 inches, enlarged to 27 
inches by 19 inches. 

Sale. F. H. Wente of Amsterdam, Paris, February 22, 1893,35 of the school 

of Rembrandt. 
In the collection of Baron A. de Schickler, Paris. 

506. AN OLD WOMAN SEATED IN AN ARM-CHAIR. 

Sm. 541 ; Bode 329; Dut. 320; Wb. 418; B.-HdG. 393. She is in 
full face, with her head inclined to the left. Her hands are clasped in her 
lap, apparently resting on a dark green cushion. She wears a red dress, a 
white kerchief, and a brown wrap. Her head is covered with a large black 
hood or bonnet over a close-fitting white cap. Strong light falls from the 
left at top on the lower part of the face and the upper part of the body. 
Well-lighted brownish background. Three-quarter length ; life size. 
Signed on the left above the chair, "Rembrandt f. 1654"; canvas, 



xxii REMBRANDT 255 



inches by 33^ inches originally 35 i inches by 30 J inches, but a 
broad strip has been added at foot and a narrow strip on the other three 
sides to make the picture a pendant of 439 (Hermitage). 

What was probably a copy occurred in the sale : Maria Theresia Wittcbol 
and De Labistraeten, Antwerp, June 19, 1804, No. 146 (335 francs). 

Etched by N. Mossoloffin Les Rembrandts de /' Ermitage. 

Mentioned by Vosmaer, p. 520; Bode, pp. 502, 600 ; Dutuit, p. 39; 
Michel, pp. 394, 566 [305, 441]. 

In the collection of Comte Baudouin, Paris, 1780 ; acquired with it by the 
Empress Catherine II. for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 805 [valued by 
Sm. in 1836 at 200]. 

507. AN OLD WOMAN IN A RED HOOD. Sm. 535 ; 
Bode 330 ; Dut. 319 ; Wb. 419 ; B.-HdG. 394. Her hood falls on her 
shoulders. She sits, seen in full face, and bends her head a little to the 
right. She wears a greyish-yellow gown, cut out square on the bosom to 
show the pleated chemisette, and a black fur-lined cloak. Her hands lie 
in her loose sleeves. Dark background. Pale light falls from the left on 
the figure. Half-length ; life size. 

Signed on the left half-way up, "Rembrandt f. 1654"; canvas, 29 \ 
inches by 25 inches. 

Etched by N. MossolofF in Les Rembrandt! de I* Ermitage ; and engraved by 
an unknown hand. 

Mentioned by Vosmaer, p. 520 ; by Bode, pp. 502, 60 1 ; Dutuit, p. 39 ; 
Michel, pp. 394, 566 [305, 441]. 

In the collection of Count Brtihl, Dresden. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 806 [valued by 
Sm. in 1836 at ^120]. 

508. AN OLD WOMAN WITH A LARGE DARK 
GREY-GREEN HOOD. B.-HdG. 472. Her hood rests on a white 
kerchief covering the brow. She is seen in full face, bending her head 
on her left shoulder and looking at the spectator. At her bosom is seen 
her light gown. Strong light falls from the left. The background is 
partly illumined. Half-length, without hands j less than half life size. 
See note on 518. 

Signed on the left half-way up, "Rembrandt f. 1657"; oa ^ panel, 
8J inches by 7 inches. 

Exhibited at Amsterdam, 1898, No. loo. 

Engraved by J. F. Bause, 1765. 

Probably in the collection of H. Verschuuring, The Hague, 1752 (Hoet, 
ii. 482). 

In the collection of G. Winkler, Leipzig, 1768 catalogue, No. 495. 

In the collection of Rodolphe Kann, Paris, 1907 catalogue, No. 75. 

In the possession of Duveen Brothers, London. 

In the possession of F. Kleinberger, Paris. 

In the collection of L. Nardus, Suresnes, near Paris. 

In the collection of the late P. A. B. Widener, Philadelphia. 

509. A GIRL WITH A YELLOW CAP. B.-HdG. 588. 
About twenty. She is turned a little to the left and looks straight before 



256 REMBRANDT SECT. 

her. Her brown hair is smoothly combed back. She wears a dark brown 
dress with light brown sleeves ; round her neck is a double red band, over 
the chemisette shown in the square opening of the dress. Brown back- 
ground. The light falls from the left at top. A small half-length, without 
hands. Painted about 1654. The same sitter as in 501. 

Probably on oak panel, originally 8J inches by 7 inches, rounded at 
top ; the little picture has since been let into a thick panel of lime wood, 
and is now rectangular, 9 inches by 7^ inches. 

In the collection of Baron Delfau de Pontalba, Senlis ; recently sold. 

510. AN OLD WOMAN WITH A WHITE KERCHIEF 
ON HER HEAD UNDER A BROAD BLACK VELVET 
CAP. Bode 363 ; Dut. 323 ; Wb. 438 ; B.-HdG. 463. She sits with 
clasped hands. She is turned to the left and looks in that direction. The 
kerchief covers the throat and is fastened on the bosom. She wears a dark 
brown cloak trimmed with light brown fur, open in front ; she has small 
white wristbands ; on one finger of the right hand is a ring with a large 
diamond. Pale light falls from the left. Dark brown background. Half- 
length; life size. [Pendant to 452.] 

Signed on the left, "Rembrandt f. 1655"; canvas, 34 J inches by 
29 inches. 

Etched by J. Klaus for the Tidskrift for Eildande Konst, although not used 
for it. 

Mentioned by Bode, pp. 512, 605 ; Dutuit, p. 40 ; Michel, pp. 397, 568 
[307, 442]. 

In the collection of Gustavus III., King of Sweden. 

In the National Museum, Stockholm, 1900 catalogue, No. 582. 

511. AN OLD WOMAN WITH A CRUTCH. Sm. 561; 
Bode 126 ; Dut. 121 ; Wb. 369 ; B.-HdG. 262. She stands, almost in 
full face, leaning both hands on her crutch. Her head is bent a little on 
one side ; her toothless mouth is half-open. A white cloth is tied round 
the head ; over it is a large reddish-brown velvet hood, adorned with 
fringes, falling down on the shoulders. She wears a black dress, showing 
at the top the finely pleated chemisette which fits closely at the throat ; 
over it is a velvet mantle lined with brown fur and fastened across the 
bosom with a large gold clasp. Strong light falls from the left at top on 
the face and bosom. Half-length ; life size. Commonly called " Rem- 
brandt's Mother." 

Signed on the left at foot, "Rembrandt f. 1639"; oak panel, oval, 
32 inches by 24! inches. 

Engraved by F. John, by J. Eissner in Perger's work on the Gallery, and by 
W. French. Etched by W. Unger. 

Mentioned by Vosmaer, pp. 202, 520 ; Bode, pp. 459, 575 ; Dutuit, p. 34 ; 
Michel, pp. 263, 560 [202, 430] ; by Moes, Iconographia Batava, No. 9409, 9. 

In the Imperial Austrian collection since Medici's 1783 catalogue. 

[In the Belvedere Palace, Vienna, 1836 (Sm., who valued it at 

In the Imperial Gallery, Vienna, 1907 catalogue, No. 1273. 

Si ia. Head of a Woman. 



xxn REMBRANDT 257 

In the collection of Dirck van Cattenburgh, Amsterdam. Sold by him with 
the painter's own portrait, 590, on December I, 1658, to his sisters Joanna and 
Margaretha van Cattenburgh. See A. Bredius, Oud Holland, 1910, xxviii. p. 7. 

511^. A Jewess. 

Mentioned by Hofstedc de Groot, Urkunden tiber Rembrandt, No. 
In the possession of the Amsterdam dealer Gerrit Uylenburch ; in the 
inventory of his bankrupt estate, March 27, 1675, folio 76 verso, No. 9. 

512. A Girl. 

It is uncertain whether the following were identical : 

In the collection of Cornclis Rutgers, Amsterdam ; in the inventory of 
November 4, 1638. See Hofstede de Groot, Urkunden, No. 62. 

In the collection of Hans aux Brebis, Amsterdam ; in the inventory of May 7, 
1678, No. 27 (valued at 30 florins). Sec Urkunden, No. 344. 

513. An Old Woman. 

It is uncertain whether two or more of the following were identical : 

In the collection of the widow Anna Blommerts ; in the inventory of 
December 31, 1646; a small picture. See Hofstede dc Groot, Urkunden, 
No. 108. 

In the collection of Jan van de Cappelle, Amsterdam ; in the inventory of 
his effects, 1680, No. 65. See Urkunden, No. 350. 

In the collection of Abraham Heyblom, Dordrecht ; in the inventory of 
1685, No. 41. See A. Bredius, Oud Holland, 1910, p. 12. 

514. A Woman. 

It is uncertain whether two or more of the following were identical : 

In the collection of Rembrandt, Amsterdam ; in the inventory of his 
bankrupt estate, July 25, 1656, No. 105. Sec Urkunden, No. 169. 

In the collection of Cruyshoeck, Delft, sold October 16, 1665. See 
Urkunden, No. 282. 

In the collection of Joanna Juliaens, widow of Willem Bogacrt, Amsterdam ; 
valued on April 30, 1698 (at 90 florins). See Urkunden, No. 297. 

In the collection of Hans aux Brebis, Amsterdam ; in the inventory of 
May 7, 1678, No. 31 (valued at 3 florins). See Urkunden, No. 344. 

In the collection of the widow J. Meurs, Amsterdam ; valued May 17, 1678 
(at 15 florins). See Urkunden, No. 345. 

In the collection of Abraham Veltcrs, Amsterdam ; in the inventory of his 
effects, October 30, 1690 ; a small picture. See Urkunden, No. 365. 

In the collection of Hyacinthe Rigaud, who in a catalogue made May 17, 
1703, valued a " Head of a Woman " (at 80 francs). See Urkunden, No. 387. 

515. A Woman holding a Flower. 

Mentioned by Hofstede de Groot, Urkunden, No. 387. 

In the collection of Hyacinthe Rigaud, who in a catalogue made May i ~, 
1703, valued it (at 800 francs). 

515^. A Young Turkish Woman. 

Sa/f. Gerard van Sypes (that is, Everard van Sypestein), Utrecht, April I i, 
1714 (Hoet, i. 172), No. i (30 florins). 

515^. Head of a Woman. Good. [Pendant to 458/7.] 
9 inches by 7^ inches. 
VOL. vi s 



258 REMBRANDT SECT. 

Sale, Philip van Dijk, The Hague, June 13, 1753 (Terw. 72), No. 51 
but No. 75 of the original catalogue (40 florins, with pendant, 
Van Breemen). 

516. A Negro Woman. 
Panel, 17 inches by 17 inches. 

Mentioned by Dutuit, p. I. 

Sales. Pieter Six, Amsterdam, September 2, 1804 (Hoet, i. 74), No. 51 

(16 florins). 
N. Tjark and others, Amsterdam, November 10, 1762, No. 151 

(5 florins 15, Sayer). 

516*7. A Woman with her Bosom uncovered. Half-length. 

Mentioned by Dutuit, p. 5. 

Sale. De Julienne, Paris, May 30, 1767 (53 francs). 

516^. A Woman. [Pendant to 466*7.] 

15! inches by uj inches. 

Sale. H. Houtkamp, Alkmaar, March 19, 1776, No. 65. 

5i6<r. An Old Woman with Deep Wrinkles. Half-length. 
Freely handled with a full brush, excellent in colour and true in lighting. 
[Pendant to 471/1.] 

Panel, i8j inches by 14 inches. 

Sale. Countess van Sluypwijk-Moens, Amsterdam, April 20, 1803, No. 65 
(70 florins 2, with pendant). 

Head of a Girl. 



Exhibited at the British Institution, London, 1815, No. 35. 
Then in the collection of W. Holwell Carr, London. 

$i6e. Head of an Old Woman. 

Exhibited at the British Institution, London, 1835, No. 58. 
Then in the collection of G. J. Vernon, London. 

517. A Woman with Parted Lips. Sm. 563. She is seen almost 
in profile. She wears a plain mantle and has a white cloth round her 
head. 

The original is lost. Described by Sm. from a print by G. F. Schmidt. 

518. An Elderly Woman with Strong Features. Sm. 572. 
She wears a plain white cap pinned under the chin, and a black cloak with 
a hood covering the head. From the description, this might be identical 
with 508. 

The original is lost. Described by Sm. from an engraving by J. F. Bause. 
In the Haid collection, Augsburg, when engraved. 

519. Mariana, a Young Wench. Sm. 5865 B.-HdG. xi. Half- 
length, turned to the right ; the head, however, is inclined a little to the 
left. She looks with a smile at the spectator. Her hair is combed back 
under a diadem ; the head is covered with a kerchief. The dress is cut 
low, exposing the full breasts. Round the shoulders hangs a gold chain 
with a medallion. Painted about 1634-36. 



xxn REMBRANDT 



259 



Mentioned by Hofstede de Groot, Urkunden ilber Rembrandt, No. 23. 
The original is lost. Described from a print by W. de Leeuw. Also 
engraved by C. Dankerts. 

520. An Old Woman in Profile. Sm. 588. She looks upwards. 
A large scarf covers her head and falls over her shoulders. Her cloak sits 
in folds round her neck ; it is striped. 

The- original is lost. Described by Sm. from an etching by J. G. Rein- 
heimer. 

520*. A Young Woman. Sm. 556. She wears a dark brown 
dress and has pearls in her ears. Her hands are in her muff. 
Canvas, about 28 inches by 24 inches. 

The original is lost. Described by Sm. from an old copy which even in 
his day had been much injured by exposure to the sun in the Royal collection, 
Hampton Court, 1908 catalogue, No. 543. 

521. A Small Standing Figure. 

Mentioned by Hofstede de Groot, Urkunden, No. 169. 

In the collection of Rembrandt, Amsterdam ; in the inventory of his 
bankrupt estate, July 25, 1656, No. 12. 

521*. A Head with Old-Fashioned Ornaments (" Antycque 
Tronic"). 

Mentioned by Hofstede de Groot, Urkunden, No. 177. 

In the possession of the Amsterdam dealer Johannes dc Renialme ; in the 
inventory of his effects, June 27, 1657, No. 304 (valued at 50 florins). 

52i/>. Two Heads. 

Mentioned by Hofstede de Groot, Urkunden, Nos. 1 14 and 267. 

In the collection of Tryntge Pieters, widow of Crijn Hendricksz Volmarijn, 
Rotterdam ; in the inventory of her effects, March 12, 1648 ; a small picture. 

In the collection of Dr. Gerard van Hoogeveen, Leyden ; in the inventory 
of his effects, January I I, 1665. 

52 1 c. A Large Head ("Trony int Groot Gedaen"). 

In the collection of Cornelis Dircxsz. Kool, Amsterdam. 

In the collection of Cornelis and Aletta van Kempen, grandchildren of the 
above, Amsterdam ; in the inventories of July 1670 and May 1682 (valued at 
60 florins). See A. Bredius, Oud Hoi/and, 1910, p. 9. 

522. A Small Head. 

It is uncertain whether two or more of the following were identical : 

In the collection of the painter Barent Tcunisz, Amsterdam ; in the 
inventory of January 25, 1629. See A. Bredius, Oud Hoi/and, 1910, p. i. 

In the collection of Pieter Gerritsz van Hogemade, Leyden ; in the 
inventory of her effects, July 24, 1652 (valued at 8 florins). Mentioned by 
H. de Groot, Urkunden, No. I 36. 

At Delft, in an inventory of November 12, 1652. Mentioned by H. de 
Groot, Urkunden, No. 138. 

In the collection of Catharina Gerbert, widow of Elias Nuyts, Amsterdam ; 
in the inventory of her effects, October 2, 1715; two pictures valued by 



260 REMBRANDT SECT. 

J. Zomer (at 5 florins and 30 florins). See A. Bredius, Oud Holland, 1910, 
p. 17. 

Sales. Amsterdam, October 8, 1700 (Hoet, i. 60), No. 36 (8 florins). 
Amsterdam, June 18, 1704, No. 46. 
Willem Six, Amsterdam, May 12, 1734 (Hoet, i. 419), No. 172 

(15 florins 10) ; two pictures. 

G. van Oostrum and others, The Hague, September 23, 1765, 
No. 55 (i florin 12, Louis) ; very natural. 

523. A Head. 

It is uncertain whether two or more of the following were identical : 

In the collection of the painter Barent Teunisz, Amsterdam ; in the 
inventory of January 25, 1629. See A. Bredius, Oud Holland, 1910, p. I. 

In the collection of the widow of Reyncke Gerrits, Amsterdam ; in the 
inventory of her effects, June 1647 (valued at 60 florins). See H. de Groot, 
Urkunden, No. 112. 

In the collection of Pieter Persijn, Hoorn ; bought on August 28, 1655, by 
Justus de la Grange, Delft (for 20 florins). See H. de Groot, Urkunden, 
No. 162. 

In the collection of Rembrandt, Amsterdam ; in the inventory of his 
bankrupt estate, July 25, 1656 four pictures, Nos. 23, 24, 48, 66. See H. de 
Groot, Urkunden, No. 169. 

In the collection of Abraham Varleth, Amsterdam ; in the inventory of his 
bankrupt estate, April 22, 1660 (valued at 48 florins, with another head by or 
after Rembrandt). Varleth had bought it from Pieter Heyblom. See H. de 
Groot, Urkunden, No. 229. 

In the collection of Gerard van der Voorde, Amsterdam ; in the inventory 
of September 20, 1663 (valued at 6 florins). See A. Bredius, Oud Holland, 1908, 

p. 222. 

In the collection of Gerrit Kinckhuysen, Haarlem ; in the inventory of his 
effects, 1666, valued by Willem Romeyn (at 20 florins). See A. Bredius, Oud 
Holland, 1910, p. 16. 

In the collection of Maria van Rommerswael, widow of Gotschalck van der 
Hulst, Dordrecht ; inventory of April 2, 1674. See A. Bredius, Oud Holland, 
1910, p. 14. 

In the collection of Herman Becker, Amsterdam ; in the inventory of his 
effects, October 19, 1678. Mentioned by A. Bredius, Oud Holland, 1910, 
p. 196. 

In the collection of Diederick Heynck, Amsterdam ; in the inventory of his 
effects, March 16, 1679 (valued at 5 florins). See H. de Groot, Urkunden, 
No. 347. 

In the collection of Catharina Deyl, widow of the painter Nicolaes Rosen- 
dael, Amsterdam ; two pictures in the inventory of her effects, March 7, 1687, 
Nos. 27, 116. See H. de Groot, Urkunden, No. 361. 

Sato. Amsterdam, May 16, 1695 (Hoet, i. 36), No. 45 (7 florins 5). See 

H. de Groot, Urkunden, No. 372. 

Amsterdam, October 8, 1700 (Hoet, i. 60), No. 35 (7 florins 5). 
Amsterdam, May 4, 1706, No. 31. 
Amsterdam, April 17, 1708, No. 269. 

In the collection of Catharina Gerbert, widow of Elias Nuyts, Amsterdam ; 
in the inventory of her effects, October 2, 1715, valued by J. Zomer (at 
5 florins). See A. Bredius, Oud Holland, 1910, p. 17. 

Sale. Amsterdam, May 6, 1716 (Hoet, i. 198), No. 90 (28 florins). 



xxn REMBRANDT 261 

In the collection of Johann Wilhclra, Elector Palatine (who died in 1716), 
Dtlsseldorf (see Van Gool, ii. 565) ; two pictures. They cannot be identified 
with any pictures now in the Bavarian Royal collections. 

Sales. Baron Schonborn, Amsterdam, April 16, 1738 (Hoet, i. 518), 
No. 190 but (Tcrw. 23) No. 104. and No. 101 of the original 
catalogue (22 florins 10) ; a good picture. 

J. Pompe and Jan van Huysum, Amsterdam, October 14, 1749 
(Hoet, ii. 270) (25 florins) ; 9^ inches by "j\ inches, old and 
finely rendered. 
J. van Vliet, Amsterdam, December 16, 1750, No. 2 (30 florins) ; 

very good. 
J. A. Sichtcrman, Groningen, August 20, 1/64, No. 249; very 

good ; pendant to a head by P. P. Rubens. 

In the picture gallery at the Royal Palace, Berlin, 1786 ; see Nicolai, 
Beschreibung von Berlin, ii. 885, No. 16; 886, No. 32 ; and 887, No. 101; 
three pictures, one of them " old " and another a pendant to a " Peter 
weeping," which cannot be identified with any now in the Berlin collections. 
Sale. J. P. L. J. Frenin, Cambrai, September 30, 1828, No. 41 ; "with a 
cap and a curious garment." 

523^-^. Four Heads. 

It is uncertain whether two or more of the following were identical : 

In the collection of Rembrandt, Amsterdam ; in the inventory of his bank- 
rupt estate, July 25, 1656; Nos. 45 and 90 (two each). See H. de Groot, 
Urkunden, No. 169. 

In the collection of Lambert Doomer ; in the inventory of his effects, July 
i 700 ; a small work. 

Sale. Parks, Brussels, May 4, 1835, No - 374- 

523^. A Child. Small. 

Sale. A. de Proli, Antwerp, August 23, 1762 (Tcrw. 277), No. 37 (21 
florins). 

524. PORTRAIT OF THE PAINTER. B.-HdG. 432.- 
Half-length ; a quarter life size. He is turned to the right and looks 
attentively at the spectator. Rather over fifty. He has a slight moustache 
and grey hair, with a reddish cap, pushed back over the right ear. He 
wears a dark cloak with a high collar lined with yellow. The light from 
the right touches the face. Illumined background. Painted about 1659. 

Oak panel, 12 inches by 9^ inches. 

In the collection of J. B. M. de Bourguignon de Fabregoules, Aix ; 
bequeathed to the town, 1863. 

In the Aix Museum, Provence, 1901 catalogue, No. 337. 

525. PORTRAIT OF THE PAINTER. Sm. 228 ; Bode 37 ; 
Dut. 135; Wb. 26; B.-HdG. 1 68. Half-length, without hands; life 
size. He is in profile to the right, but turns his face to the spectator. His 



long curls, falling on his shoulders, are covered with a broad slashed velvet 
cap adorned with a green feather and a thin gold chain. He has a small 
moustache. Over his grey cloak he wears a heavy gold chain fastened 
with a clasp on the breast, and a steel gorget, above which is seen the 
collar of the shirt. Bright light falls from the left on the right cheek and 



262 REMBRANDT SECT. 

on part of the gorget. Grey background. Painted about 1633-34. 
[Possibly identical with 585^] 

Oak panel, 22 inches by 18 inches. 

Engraved by Caronni. 

Mentioned by Vosmaer, pp. 148, 504 ; Bode, pp. 410, 562 ; Dutuit, p. 25 ; 
Michel, p. 551 [436] ; Moes, Iconographia Batava, No. 6693, 20 and 83. 

In the picture gallery, Potsdam, 1786; see Nicolai, iii. 1210, No. 87. 
Possibly the notice relates to 526. 

Jn the Prussian Royal palaces till 1830, when it was transferred to the 
Berlin Museum. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 803 [valued 
by Sm. in 1836 at 157 : ios.]. 

526. PORTRAIT OF THE PAINTER. Sm. 378 ; Bode 36 ; 
Dut. 134 ; Wb. 25 ; B.-HdG. 167. Half-length, without hands ; life size. 
He is inclined to the right ; his face is bent a little on one side and turned 
to the spectator. On his thick curly hair is a velvet cap. He has a mous- 
tache and an imperial. He wears a brown cloak with a fur collar, and a 
greenish neck-cloth with a pattern in pale colours. Strong light falls from 
the left on the right cheek. The grey background is fairly light. 

Signed on the right at foot, on a level with the shoulder, " Rem- 
brandt f. 1634" ; oak panel, 22 J inches by 18 inches. 

An old copy has been in the Grand Ducal Museum, Schwerin, since 1821 
at least ; see Moes, Iconographia Batava, No. 6693, 23. 

Engraved by A. L. Krttger ; etched by G. F. Schmidt and A. Kriiger ; 
lithographed by L. Heine. 

Mentioned by Vosmaer, pp. 148, 504 ; Bode, pp. 410, 562 ; Dutuit, p. 25 ; 
Michel, pp. 215, 551 [166, 436] ; Moes, Iconographia Batava, No. 6693, 22. 

In the picture gallery, Potsdam, 1786; see Nicolai, iii. 1210, No. 87. 
Possibly the notice relates to 525. 

In the Prussian Royal palaces till 1830, when it was transferred to the 
Berlin Museum. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 810. 

527. PORTRAIT OF THE PAINTER. Bode 1625 Dut. 
170; Wb. 226; B.-HdG. 507. Half-length, without hands; life size. 
About sixty. He is turned a little to the right and looks at the spectator. 
He has long flowing white hair covered with a bright purple cap with 
narrow gold stripes. He wears a dark coat showing the shirt at the throat. 
Dark background. Pale light falls from the left on the head. 

Signed on the left, on a level with the chin, "Rembrandt f. 1669" ; 
canvas, oval, 23^ inches by 20 inches. 

Mentioned by Bode, pp. 543, 582 ; Dutuit, p. 47; Michel, pp. 483, 556 
[376, 433] ; Waagen, ii. 246 ; Moes, Iconographia Batava, No. 6693, 64 
and 70. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 4 ; 
at Berlin, 1914, No. 134. 

In the collection of Sir John Neeld, Bart., Grittleton House. 

In the collection of Sir Audley Neeld, Bart., Grittleton House [who lent it 
for exhibition in 1899]. 

In the possession of R. L. Douglas, London. 



xxn REMBRANDT 263 

In the possession of M. Knoedlcr and Co., London. 

In the collection of Marcus Kappel, Berlin, 1914 catalogue, No. 21. 

528. PORTRAIT OF THE PAINTER. Sm. 212; B.-HdG. 
426. Half-length, without hands ; life size. About fifty. He is in full 
face, inclined a little to the right. He has a slight moustache. His dark 
hair is covered by a black velvet cap ; there is an ear-ring in his ear. He 
wears a brown cloak with a narrow fur collar standing up. At the breast 
are seen the red doublet and a narrow strip of the shirt. Over the doublet 
hangs a heavy gold chain with a medallion. The light falls from the left 
at top, illumining the right cheek. Dark background. 

Signed on the left at top, "Rembrandt f. 1655" the date is read as 
1651 in the 1898 Amsterdam catalogue, and as 1658 in the 1909 Berlin 
catalogue ; oak panel, 26 inches by 21 inches. 

A picture very closely related to this in composition is in the Aelterc 
Pinakothek, Munich, 1911 catalogue, No. 333 ; see 595. 

Mentioned by Waagen, ii. 80 ; Moes, Iconographia Batava, 6693, 50 
and 98. 

Exhibited at the British Institution, London, 1850, No. 32 ; at Amsterdam, 
1898, No. 84; in the Kaiser Friedrich Museum- Verein Exhibition, Berlin, 
1909, No. 1 12. 

Sale. Lord Carysfort, London, June 14, 1828 (69 : 6s., Rogers). 

In the collection of Samuel Rogers, London, 1836 (Sm.). 

Sales. S. Rogers, London, April 28, 1856 (325 : ios., Christie and Manson 

or Newman). 
Evans-Lombe, Paris, April 27, 1863 (6800 francs). 

In the possession of C. Sedelmcyer, Paris, "Catalogue of 100 Paintings," 
1895, ii. No. 30. 

In the collection of Robert von Mendelssohn, Berlin. 

529. PORTRAIT OF THE PAINTER. Sm. 422 (?) and 445; 
B.-HdG. 1 8. Half-length ; life size. He is seen in full face, inclined a 
little to the right. He wears a purple cap with a tall feather, a neck-cloth 
embroidered in gold, and a yellowish-green coat. A gold chain with a 
medal hangs round his shoulders. He has luxuriant curls. Strong light 
falls from the left at top on the lower part of the face and the shoulders. 

Signed in the right centre with the monogram, " R H L 1629 " j oak 
panel, 35 inches by 29 inches. 
Engraved by R. Cooper. 

Mentioned by Dutuit, p. 17 ; Moes, Iconographia Batava, No. 6693, 12. 
Exhibited in Manchester, 1857, No. 679. 

In the collection of the Duke of Buckingham, Stowe, 1836 (Sm.). 
Sales. Duke of Buckingham, Stowe, August 15, 1848, No. 421 (54 : 125., 

Lord Ward). 

London, July 13, 1895 (P. and D. Colnaghi). 
In the collection of Mrs. John L. Gardner, Boston. 

530. PORTRAIT OF THE PAINTER. B.-HdG. 17. Half- 
length, without hands ; life size. The head is in full face ; the body is 
inclined to the left. He wears a dark working dress. He is bare-headed 
and his thick brown curls are in disorder. His homely features are 
rendered with little charm. Full light falls on the blonde face. 



264 REMBRANDT SECT. 

Signed on the left, on a level with the chin, with the monogram, 
"RHL 1630"; oak panel, 19^ inches by 15 \ inches. 

Closely related to the small etching Bartsch 4 [Hind 2*]. 

Mentioned by Michel, p. 5 59 [429]; Moes, Iconographia Batava^ No. 6693, 13. 

Sales. (Possibly) A. Grill, Amsterdam, April 10, 1776, No. 31(15 florins 15). 

London, about the year 1857 (Count Julius Andrassy). 
In the collection of Count Julius Andrassy, Budapest. 

In the Museum of Fine Arts, Budapest, for a time, several years ago, but no 
longer there. 

531. PORTRAIT OF THE PAINTER. Bode 113; Dut.23 9 ; 
Wb. no; B.-HdG. 15. Half-length, without hands; under life size. 
About twenty years of age. He is turned to the right and looks straight 
before him with a smile. He wears a greyish-brown coat, below which 
the shirt is just visible. He has dark brown hair, with a small black cap 
pushed back on his head, and a thin beard. Light greyish-brown back- 
ground. Full light falls from the left. Painted about 1629. Closely 
related in the pose of the head and the facial expression to the small 
etching Bartsch 316 [Hind 34]. 

Signed on the right at the very top with the monogram, " R H L " ; 
oak panel, 16 inches by 13 inches. 

A copy is in the collection of Henry Heugel, Paris, formerly in the possession 
of Sir Charles Robinson, London ; see Moes, No. 6693, 5. 

Mentioned by Bode, p. 380 ; Dutuit, p. 41 ; Michel, p. 554 [439] ; Moes, 
Iconographia Batava, No. 6693, 4. 

In the collection of Count Esterhazy, Nordkirchen. 

In the possession of F. Kleinberger, Paris. 

In the collection of F. Stoop, Byfleet, Surrey. 

532. PORTRAIT OF THE PAINTER. Sm. 273; Bode 
146; Dut. 157; Wb. 117; B.-HdG. 348. Half-length ; life size. 
About forty-four. He has a moustache and imperial. He stands, inclined 
to the right and looking in that direction. He rests his left arm on a 
pedestal, with the left hand holding the guard of a great two-handed 
sword ; his right hand, grasping his gloves, is on his hip. He wears a 
purplish-red dress with long loose sleeves, and over it a breastplate and 
steel gorget, with a heavy gold chain on his breast. His curly brown hair 
is covered with a broad dark hat with one white and one dark ostrich 
plume. The light from the left foreground touches the face and breast. 
At the back is a wall. 

Signed on the right at foot, "Rembrandt f. 1650"; oak panel, 
rounded at top, 50 inches by 41 inches. 

Engraved in mezzotint by W. Pether, 1764 ; by A. Cardon, and by Dawe. 
Mentioned by Vosmaer, p. 508 ; by Bode, pp. 500, 579 ; Dutuit, p. 31 ; 
Michel, pp. 343, 555 [262, 431]; Waagen, iv. 448 ; Moes, Iconographia Batava, 
No. 6693, 47. 

Sales. Count Fraula, Brussels, July 21, 1738 (Hoet, i. 545), No. 308 (177 

florins). 

Lord Bessborough, London, February 5, 1801 [194: 55., according 
to Sm.]. 



xxn REMBRANDT 265 

In the collection of Richard, Viscount Fit/william, bequeathed in 1816 to 
Cambridge University. 

In the Fitzwilliam Museum, Cambridge, 1902 catalogue, No. iii. 152 
[catalogued as "Man with Plumed Hat" ; valued by Sm. in 1836 at 525]. 

533. PORTRAIT OF THE PAINTER. Bode 59; Out. 123; 
Wb. 50 ; B.-HdG. 1 1. Half-length, without hands j almost half life size. 
About twenty-one. He is turned to the right and looks straight before 
him. His brown curls hang in disorder round his head. Out of his 
brown coat peeps the narrow white collar of his shirt. Light grey back- 
ground. Strong sunlight falls from the left at top and illumines the lower 
half of the right cheek and the throat. The upper portion of the face is 
shaded by the hair, which is rendered in part with the brush-handle in the 
wet pigment. Painted about 1627-28. 

Oak panel, 8 inches by 6 inches. 

There is a copy 

Engraved by C. L. Dake. 

Mentioned by T. Frimmel, B fatter fiir Gem'dldekunde, 1907, p. 164. 

Probably in the Dubarry collection. 

In the collection of Dr. Gotthelf Meyer, Vienna, about 1873. 

In the possession of J. E. Goedhart, Amsterdam ; sold to S. B. 
Goldschmidt. 

Sale. S.B. Goldschmidt of Frankfort-on-Main, Vienna, March I i, 1907. 

In the Matsvanski collection, Vienna. 
Etched by J. J. van Vlict, 1634 (Bartsch 19). 

Mentioned by Vosmaer, pp. 122, 499; Bode, p. 376; Dutuit, p. 27; 
Michel, pp. 31, 552 [24, 437] ; Moes, Iconographia Batava^o. 6693, i. 
In the chief Cassel inventory of 1749. 
In the Palace, Cassel ; 1783 inventory, No. 102. 
In the Cassel Gallery, 1913 catalogue, No. 229 (old No. 208). 

534. PORTRAIT OF THE PAINTER. Sm. 375 ; Bode 60 ; 
Dut. 136; Wb. 51 ; B.-HdG. 169. Half-length, without hands ; life size. 
He leans behind a balustrade, seen in full face with a slight inclination to 
the right ; the lips are parted. He has brownish curls covered by a polished 
steel helmet with large white and blue ostrich plumes. In his ears are 
narrow round rings. He has a slight moustache and imperial. Under the 
brown cloak, loosely thrown round him, he wears a steel gorget over a 
bluish neck-cloth and a dark blue sash. Strong light falls from the left, 
across the helmet, on the right side of the face. Dark grey background. 

Signed on the right above the left shoulder, "Rembrandt f. 1634" ; 
oak panel, octagonal, 31 J inches by 25 J inches. 

Mentioned by Vosmaer, pp. 148, 504 ; Bode, pp. 41 1, 565 ; Dutuit, p. 27 ; 
Michel, pp. 215, 552 [166, 437] ; Moes, Iconographin Batara, No. 6693, 24. 

In the collection of Gerard Goeree, Delft, 1728 (sold for 90 florins to 
Valerius de Reuver). 

In the collection of Valerius de Reuver, Delft; No. 83 in the inventory 
preserved in the Amsterdam University Library. 

In the collection of Madame de Reuver, Delft (Hoet, ii. 293) ; acquired 
with it in 1750 by the Landgraf Wilhelm VIII. of Hessen-Cassel. 

In the Cassel Gallery, 1913 catalogue, No. 237 (old No. 215). 



266 REMBRANDT SECT. 

535- PORTRAIT OF THE PAINTER. Sm. 371 ; Bode 61 ; 
Dut. 151 ; Wb. 49 ; B.-HdG. 254. Full length ; life size. About thirty. 
He stands, seen in full face and looking at the spectator. His right elbow 
rests on a pedestal. A broad-brimmed hat covers the long and dull fair 
hair. He has a moustache and whiskers. He wears the black dress of a 
citizen of his day, a coat, a short cloak, knee-breeches with bows, stockings, 
and low shoes, and a plain close-fitting white collar. His left hand is 
gloved ; the right-hand glove lies on the ground. He stands in the fore- 
ground of a hall, near the house-door. Strong light from the left illumines 
the upper half of the body. It has been questioned, probably in error, 
whether this is a portrait of Rembrandt j F. Schmidt Degener regards it 
as a portrait of F. Banning Cocq. 

Signed on the left at foot, "Rembrandt ft. 1639 " ; canvas, 79 inches 
by 48 inches. 

Etched by W. Unger and by N. MossolofF. 

Mentioned by Vosmaer, pp. 170, 520 ; Bode, pp. 455, 566 ; Dutuit, p. 27 ; 
Michel, pp. 214, 552 [165, 437]; Moes, Iconographia Batava, No. 6693, 40 ; 
by F. Schmidt Degener, Oud Holland, xxxii. (1914), p. 219. 

In the chief Cassel inventory of 1749. 

In the Cassel Gallery, 1913 catalogue, No. 239 (old No. 217). 

536. PORTRAIT OF THE PAINTER. Sm. 227 5 Bode 62 ; 
Dut. 164 ; Wb. 52 ; B.-HdG. 349. Half-length, without hands ; life size. 
About forty-eight. He stands, turned half-right, and looks straight at the 
spectator. He wears a dull brown coat with a high collar, over which 
falls the loose and narrow shirt-collar. His greyish-brown curly hair is 
covered with a black cap that shades the brow and the eyes. The light 
falls from the left at top, illumining the right side of the face. Dark 
background. 

Signed in the right centre, "Rembrandt f. 1654" (or 1655?) Of 
the last uncertain figure the catalogue says : " The last figure with its 
pronounced angle to the left at foot is not to be read as a 9 but as a 4 ; 
yet it must be noted that the inventories of the De Reuver collection give 
1655 as the date." Canvas, 29 inches by 23 J inches. 

Engraved by Oortman (Filhol, v. 353) and in the Musee Napoleon. 

Mentioned by Vosmaer, p. 557; Bode, pp. 542, 566; Dutuit, p. 28; 
Michel, pp. 433, 552 [337, 437] ; Moes, Iconographia Batava, No. 6693, 51. 

In the collection of Franco van der Goes, Delft, 1721 (sold for 100 florins 
to Valerius de Reuver). 

In the collection of Valerius de Reuver, Delft, 1724; No. 69 in the 
inventory in the Amsterdam University Library. 

In the collection of Madame de Reuver, Delft (Hoet, ii. 293) ; acquired 
with it in 1750 for the Landgraf Wilhelm VIII. of Hessen-Cassel. 

In the Cassel Gallery, 1913 catalogue, No. 244 (old No. 222). 

537. PORTRAIT OF THE PAINTER. Sm. 203 ; Bode 81 ; 
Wb. 74 ; B.-HdG. 427. Half-length ; life size. About fifty. He is seen 
in full face, inclined a little to the right and looking at the spectator. He 
wears a black cap and a dark cloak open in front to show the breast and 
lower sleeves of a coat of a strong red hue. In his left hand he holds a 



xxn REMBRANDT 267 

sketch-book and ink-pot ; in his right hand is a pen with which he is 
sketching in the book. Brown background. 

Signed to the right at foot on the book, "Rembrandt f. 1657"; 
canvas, 34 inches by 26 inches. 

There were copies in the collection of Edward Lindlcy Wood, Temple 
Newsam, and probably in the sale : H. A. J. Munro of Novar, London, June i, 
1878, No. 84. 

Engraved in mezzotint by J. Gole ; engraved by Mogcl ; etched by A. 
Riedel. 

Mentioned by Vosmaer, pp. 354, 557 ; Bode, pp. 516, 568 ; Dutuit, p. 29; 
Michel, pp. 434, 553 [338, 438] ; Moes, Iconographia Batava, No. 6693, 57. 

In the Dresden inventory of 1722, A. 94. 

In the Dresden Gallery, 1908 catalogue, No. 1569. 

538. PORTRAIT OF THE PAINTER. Sm. 235, 345, 367, 
and 414 ; Bode 373 ; Out. 146 ; Wb. 353 ; B.-HdG. 170. Half-length; 
life size. He stands with his body inclined to the left and his face turned 
a little to the right ; he looks straight before him. He has no beard. His 
brown curls, falling down on either side and over the brow, are covered 
with a black cap. His coat is olive-coloured and richly embroidered with 
gold. Over a polished gorget, showing at the top the edge of the finely 
pleated shirt, lies a heavy gold chain with a pendant. On the left shoulder 
hangs a brownish-lilac cloak. Full light falls from the left on the lower 
part of the face and on the steel collar. The background to the left is 
illumined. Painted about 1634. A strip nearly 5 inches wide has been 
added at foot. To the left, just above the added strip, is the "f." of the 
signature, showing that the picture was once wider. Corrections above 
the cap prove that it was also taller to begin with. 

Oak panel, 24^ inches by 2oi inches. 

Engraved by Golgano Cipriani as " Philip, Count Hoorn " ; by Guadagnini, 
Martinet, G. F. Schmidt (1771), J. G. Seuter, J. M. Falbe, L. Townley (1778, 
in aquatint), J. J. Haid, P. Caronni, and T. Wrcnk (1790, in mezzotint). 
According to Sm., engraved by J. de Frey, Delacourt, Rosaspini. 

Mentioned by Vosmaer, pp. 149, 504 ; Bode, pp. 41 1, 608 ; Dutuit, p. 37 ; 
Michel, pp. 215, 566 [166, 440] ; Moes, Iconographia Batava, No. 6693, 30. 

Exhibited in the Academy of Design, Florence, 1 724, by the Marchese Carlo 
Gerini and his brothers. 

In the collection of Marchese Gerini as early as 1724 ; sold in 1818 to the 
Grand Duke for the Pitti collection. 

In the picture gallery of the Palazzo Pitti, Florence, 1894 catalogue, 
No. 60. 

539. PORTRAIT OF THE PAINTER. Bode 371 ; Dut. 160 ; 
Wb. 356 ; B.-HdG. 425. Half-length, without hands ; life size. About 
fifty. He is turned a little to the right and looks at the spectator. His 
short dark brown hair is covered by a black cap, which shades his brow ; 
he has a thin moustache. He wears a dark greyish-brown working dress, 
showing at the breast a piece of the reddish-brown under-garment and the 
turned-down shirt-collar. Dark background. The light falling from the 
left at top illumines the right cheek. Painted about 1655-58. 

Canvas, 28 \ inches by 23 inches. 



268 REMBRANDT SECT. 

Mentioned by Bode, pp. 541, 608 ; Dutuit, p. 37 ; Michel, pp. 457, 566 [356, 
440] ; Moes, Iconographia Batava, No. 6693, 56. The prints noted by Moes 
were engraved after the later portrait of the painter at the Uffizi (540) ; see 
Hofstede de Groot, Urkunden, Nos. 360, 407. 

One of the two portraits of the painter was in the Uffizi in the time of 
Baldinucci (1686) and Houbraken (1718). 

In the Uffizi, Florence, 1910 catalogue, No. 452. 

540. PORTRAIT OF THE PAINTER. Sm.2i8 5 Bode 372; 
Dut. 176; Wb. 355; B.-HdG. 504. Half-length, without hands; life 
size. Almost sixty. He stands inclined to the right and looking at the 
spectator. He has a slight moustache, and curly brownish hair covered by 
a broad dark cap, under which is seen a coloured kerchief. He wears a 
dull reddish-brown coat, cut square at top to show a dark under-gar- 
ment ; over the shoulders lies a black cloak lined with sombre red fur. 
On the breast a gold medal hangs from a dark yellow ribbon. Bright 
light falls from the left at top on the head. Dark background. Painted 
about 1664. 

Canvas, 28 inches by 22 inches ; modern additions have been made 
on all sides. 

A copy is in the Naples National Museum, 1893 catalogue, No. 17; 
mentioned by Bode 10, and Moes, Iconographia Batava, No. 6693, no. 

Engraved by Guttenberg, Bottinger, Townley (in aquatint) ; etched by 
G. F. Schmidt, 1771 ; lithographed by Landzedely, 1819. 

Mentioned by Vosmaer, pp. 371, 566 ; Bode, pp. 504, 608 ; Dutuit, p. 37 ; 
Michel, pp. 507, 566 [395, 440] ; Moes, Iconographia Batava, No. 6693, 68 ; 
Hofstede de Groot, Urkunden, Nos. 360, 407. 

One of the two portraits of the painter was in the Uffizi in the time of 
Baldinucci (1686) and Houbraken (1718). 

In the Uffizi, Florence, 1910 catalogue, No. 451. 

541. PORTRAIT OF THE PAINTER. B.-HdG. 173. Half- 
length ; life size. He is turned half-left and looks at the spectator. He 
has long hair and a slight moustache and imperial. He wears a brownish- 
red cap and a deep black velvet coat with gold lace, under which at the 
breast are seen the under-garment, the pleated shirt, and a double gold 
chain. The hands are folded at the breast. Harsh light falls from the left 
at top. Light bluish background. Painted about 1635. Much disfigured 
by over-cleaning. 

Oak panel, with the corners rounded almost into an oval ; 26 inches 
by 20 inches. 

Mentioned by Moes, Iconographia Batava, No. 6693, 36. 

Sale. (Probably) De Beehr and Van Leeuwen, Amsterdam, November 14, 
1825, No. 88 (400 florins, Brondgeest.) 

In the collection of Archibald M'Lellan, Glasgow ; bought as a whole by 
the city, 1856. 

In the Glasgow Art Gallery, 1911 catalogue, No. 810 ; [hung at present in 
the Lord Provost's rooms at the City Chambers]. 

542. PORTRAIT OF THE PAINTER. Sm. 470 ; Bode 95 ; 
Dut. 125 ; Wb. 90 ; B.-HdG. 13. A small half-length, without hands. 



xxii REMBRANDT 269 

He is turned to the right and bends round his head with a curious look 
towards the spectator. His brownish curls hang in disorder round his face. 
A soft narrow shirt-collar is seen above the dark coat. Grey background. 
Bright light falls from the left on the lower half of the face, leaving the 
eyes in deep shadow. A similar study of lighting in almost the same pose, 
with an added cap and a different costume, is the etching of 1633, Bartsch 
17 [Hind 108]. 

Signed to the right, on a level with the chin, with the monogram, 
" R H L 1629" ; oak panel, 7 inches by 5^ inches ; a strip rather over an 
inch wide has been added at foot. 

Etched in reverse, on a scale rather larger than that of the original, by 
J. J. van Vlict, Bartsch 19, dated 1634. 

Mentioned by Vosmaer, pp. 122, 499; Bode, p. 377; Dutuit, p. 29; 
Michel, pp. 31, 553 [24-5, 438] ; Moes, Iconographia Batava, No. 6693, 2. 

In the Gotha Museum, 1890 catalogue, No. iSi. 

543. PORTRAIT OF THE PAINTER. 8111.469; Wb. 496 ; 
B.-HdG. 12. Head, half life size. He is inclined to the left, turning his 
head to the right and smiling with a roguish expression at the spectator. 
He is bare-headed ; his dark brown curly hair is in disorder ; he has a thin 
beard. His lips are parted. Over his brown coat is a steel gorget. Bright 
light is reflected in the gorget and falls from the left on the right side of 
the head ; there are rich tones in the flesh colour, yellow and reddish lights 
with greenish-blue shadows. Some of the hair is worked in the wet pig- 
ment with the brush-handle. Painted about 1629-30. 

Copper, inlaid, 6 inches by 4^ inches ; a wooden edge about an inch 
wide is added on each side and covered by the frame. 

A copy is in the collection of Baron Herzog, Budapest. 
Etched in reverse, slightly larger than the original, by J. J. van Vliet, 
Bartsch 21, in a series dated 1634. A copy engraved in reverse is inscribed, 
"Dcmocritus H Rembrant Inventor F. L. D. Ciartrcs Excud." 

Mentioned by Vosmaer, p. 496 ; Dutuit, p. 19 ; H. de Groot, Urkunden, 
No. 28. 

Sa/fs. P. Steijn and others, The Hague, October 7, 1 783, No. 72 (2 florins 16). 
Munniks van Clcef of Utrecht, Paris, April 4, 1864. 
C. de Boissiere, Paris, February 19, 1883,35 "attributed to Rem- 
brandt." 

In the Langlois collection, Paris. 

In the possession of F. Kleinberger, Paris, who sold it in 1895 to the Royal 
Gallery. 

In the Royal Gallery, The Hague, 1910 catalogue, No. 598. 

544. PORTRAIT OF THE PAINTER. Sm. 243; Bode 13; 
Dut. 126 ; Wb. 340 ; B.-HdG. 1 6. Half-length ; under life size. He is 
turned to the right and looks straight before him. He has long thick hair. 
Over his dark coat is an iron gorget, with the narrow shirt-collar turned 
down over it. Greyish background. Full light falls from the left. Painted 
about 1629 or 1630. 

Oak panel, 15 inches by nj inches. 



270 REMBRANDT SECT. 

An old copy is in the collection of A. Bredius, The Hague ; Moes, 
No. 6693, 8. 

A second, contemporary, copy is in the Germanic Museum, NUrnberg. It 
is of the same size as the original and is said to bear on the right at foot the 
genuine monogram " R " and traces of a date. See as to the authenticity of this 
picture Zeitschrift fttr bildende Kunst, x. (1875) p. 381, xi. (1876) pp. 125, 222, 
xii. (1877) p. 32 ; and Hofstede de Groot in Verslagen omtrent 'sRijks verzame- 
lingen van Geschiedenis en Kunst, xvi. (1893) p. 53 ; Vosmaer, p. 89 ; Bode, 
p. 378, No. 114; Dutuit, p. 31, No. 124; Michel, p. 554 [439]; Moes, 
Iconographia Batava, No. 6693, 9. 

A third copy is in the store-room of the Copenhagen Museum ; formerly at 
Frederiksborg, No. 1634. 

Etched in reverse by Rembrandt, Bartsch 338 [Hind 4], dated 1629. A 
study for the picture and etching is in the British Museum ; reproduced by 
Lippmann-H. de Groot, No. 45. 

Engraved in mezzotint on a larger scale by Valentine Green, 1775, under 
the name of Prince Rupert. The inscription states that the original was then 
in the possession of Mr. Orme, London, while the picture at The Hague was 
then in the collection of the Stadholder. 

Engraved by Chataigner after Moreau in the Musee Napoleon, No. 29, 
ascribed to H. (sic) van Vliet ; by Massard the elder after a drawing by Dubois 
in the Musee Franfais. The text suggests that the picture might have been 
begun by Van Vliet, and says that it was restored in 1815 to the Prince of 
Hessen-Cassel. As the size is given as 29 inches by 35^ inches, it cannot have 
been the same picture. 

Mentioned by Vosmaer, pp. 89, 486 ; Bode, p. 378 ; Dutuit, p. 36 ; 
Michel, pp. 52, 565 [25-6, 440] ; Moes, Iconographia Batava, No. 6693, 7. 

In the collection of G. van Slingeland, The Hague, 1752 (Hoet, ii. 404). 

In the collection of the Stadholder, William V., from 1768 at least (Terw. 
709). 

In the Louvre, Paris, 1795-1815. 

In the Royal Gallery, The Hague, 1910 catalogue, No. 148. 

545. PORTRAIT OF THE PAINTER. Sm. 245 ; Bode 14; 
Dut. 137 ; Wb. 341 ; B.-HdG. 165. Half-length, without hands; life 
size. He is in profile to the right, but turns his face round to the 
spectator. He has curly hair and a slight moustache and imperial. He 
wears a dark brown slashed cap adorned with two ostrich feathers, gold 
ear-rings, a bluish-black coat with gold lace, a bandolier over it, and a steel 
gorget showing the neck-cloth. Bright light falls from the left on the 
right cheek. Greenish-brown background. Painted about 1634. 

Signed to the right on a level with the shoulder, " Rembrandt f." ; 
oak panel, 25 inches by i8J inches. 

A copy of the same size has been since 1771 in the Stockholm Museum, 
1900 catalogue, No. 346 ; Moes, No. 6693, 28. Another copy, by B. Barker, 
is in the Holburne Art Museum, Bath, 1902 catalogue, No. 196. 

Engraved by J. de Frey, 1795, * n tne Musee Franfais of Duchesne ; by 
Rosaspina after a drawing by Fragonard ; by Boutrois in the Annales du Musee 
of Landon ; by Chataigner after a drawing by S. Le Roy ; in outline by A. L. 
Zeelander after a drawing by Heideloff in Steengracht's work on the gallery ; 
by P. Zilcken, by Mock, by T. G. Appleton. Lithographed by J. C. d'Arnaud 
Gerkens in the Kunst Kroniek, 1 847 ; there is also a chromolithograph by Spanier. 



xxn REMBRANDT 271 

Mentioned by Vosmaer, pp. 148, 503 ; Bode, pp. 41 1, 558 ; Dutuit, p. 36 ; 
Michel, pp. 182, 115, 565 [132, 166, 440]; Moes, Iconographia Batava, 
No. 6693, 27. 

In the collection of G. van Slingeland, The Hague, 1752 (Hoct, ii. 404). 

In the collection of the Stadholder, William V., 1768 (Terw. 709). 

In the Royal Gallery, The Hague, 1910 catalogue, No. 149. 

546. PORTRAIT OF THE PAINTER. Half-length; life size. 
He is inclined to the left ; his head and eyes are turned towards the spec- 
tator. He has very fair curls. Over his shoulders is a red cloak with two 
gold buttons. 

Signed on the left at foot with the monogram, and dated 1628 ; panel, 
1 8 inches by 14! inches. 

In the possession of H. M. Clark, London, 1912. 

In the possession of Stcinmeyer and Sons, Paris. 

In the collection of C. Hofstede de Groot, The Hague. 

547. PORTRAIT OF THE PAINTER. Bode 54 ; Dut. 155 ; 
Wb. 95 ; B.-HdG. 258. Half-length; life size. He stands turned to the 
right and looking at the spectator. He wears on his short curly hair a 
small dark brown cap with gold lace, ear-rings with a pearl, and a pale red 
cloak over a greenish-brown coat with three gold stripes, showing at the 
throat a dull white pleated silk shirt. His right hand is at his breast under 
the cloak. Strong light falls on the right side of the face. Painted about 
1643-45. 

Signed on the right at foot, "Re . . ." ; oak panel, 28| inches by 
23$ inches originally oval, 27 inches by 22^ inches. 

A copy is in the collection of Count Keyserling, Mitau ; exhibited there, 
1894, No. 286. Another copy, rectangular, is in the castle of GaunO, Den- 
mark ; exhibited at Copenhagen, 1891, No. 173. 

Mentioned by Vosmaer, p. 499 ; Bode, pp. 498, 565 ; Dutuit, p. 26 ; 
Michel, pp. 308, 552 [235, 437] ; Moes, Iconographia Batava, No. 6693, 44. 

Exhibited at Amsterdam, 1898, No. 60. 

In the Karlsruhe Gallery, 1894 catalogue, No. 238. 

548. PORTRAIT OF THE PAINTER. Bode 101 ; Dut. 
159 ; Wb. 96 ; B.-HdG. 347. A small half-length. A little over forty. 
He is in full face. He has curly brown hair and a slight moustache and 
imperial. A broad black cap shades the upper part of the face. He wears 
a dark coat with a plain narrow turn-down collar, and a red under-garment. 
Bright brown background, lightly laid in. The light from the left at top 
touches the face. Painted about 1650. 

Traces of a signature to the left on a level with the shoulder, 
"Re . . ." ; oak panel, 10 inches by 8J inches. 

Kngraved by F. L. Meyer. 

Mentioned by Vosmaer, pp. 347, 556 ; Bode, pp. 501, 571 ; Dutuit, p. 30 ; 
Michel, pp. 343, 551 [262, 438] ; Moes, Iconographia Batava, No. 6693, 49. 

Exhibited at Amsterdam, 1898, No. 81. 

In the Otto collection, Leipzig. 

In the Claus collection, Leipzig ; presented with it as a C. E. W. Dietrich 
to the town, 1860. 

In the Leipzig Town Museum, 1909 catalogue, No. 347. 



272 REMBRANDT SECT. 

549. PORTRAIT OF THE PAINTER. B.-HdG. 546. 
Half-length, without hands ; life size. He is turned to the right and 
looks at the spectator. The lips are parted, showing the teeth. On the 
thick curly hair is a black cap, shading the brow. He wears an iron gorget 
over a brown doublet and a greenish neck-cloth with a pattern. Dark 
background. Bright light falls from the left at top on the right cheek. 
Painted in 1628 or 1629. 

Signed on the right at foot, "RHL"; oak panel, 17 inches by 13 
inches. 

Copies are 

1. Sa/e. Robert and others, Cologne, March 27, 1893, No. 232. 

2. Exhibited in the Rembrandt Exhibition of Fred. Muller and Co., 

Amsterdam, 1906, No. 106. 
Sale. Pacully, Paris, 4 May 1903, No. 41. 
In the collection of E. Warneck, Paris. 

3. Exhibited in the " Starye Gody " Exhibition, Petrograd, 1908, 
No. 265. In the Gatchina Palace. 

Mentioned by Moes, Iconographia Batava, No. 6693, n. 

Exhibited at Amsterdam, 1898, No. 9. 

Sale. (Probably) P. Locquet, Amsterdam, September 22, 1783, No. 325 

(350 florins, Yver). 
In the collection of Prince Lubomirski, Lemberg. 

550. PORTRAIT OF THE PAINTER. Bode 175; Dut. 
152 ; Wb. 126 ; B.-HdG. 256. Half-length; life size. He stands behind 
a balustrade, on which he rests his right arm ; he is turned half-right and 
looks at the spectator. He has brown curly hair, a short moustache, and 
an imperial. He wears a flat dark velvet cap. His full dark cloak with 
striped sleeves and an edging of fur shows his doublet with a large opening 
at the throat, filled in with the finely pleated shirt. His right hand is on 
the balustrade. Strong light falls from the left at top. Dark background, 
illumined on the right at foot. 

Signed to the right on the balustrade, "Rembrandt f. 1640 conter- 
feyct " ; canvas, 39 inches by 31 J inches. 

Etched by N. Mossoloff and C. Waltner. 

Mentioned by Vosmaer, pp. 205, 523 ; Bode, pp. 468, 583 ; Dutuit, p. 32 ; 
Michel, pp. 270, 556 [207, 431] ; Waagen, i. 354; Moes, Iconographia Batava, 
No. 6693, 41. 

In the collection of General Dupont, Paris ; purchased from his heirs, 
MM. de Richemont, 1861, for the National Gallery [for 800]. 

In the National Gallery, London, 1911 catalogue, No. 672. 

551. PORTRAIT OF THE PAINTER. Bode 174; Dut. 
173 ; Wb. 127 ; B.-HdG. 433. Half-length; life size. About fifty-five. 
He stands inclined to the right, with the head in full face, and looks at 
the spectator. His hands are clasped. He wears a reddish-brown coat 
with a collar of bright fox's fur, and a brown cap, under which is a kerchief. 
Painted about 1659. 

Canvas, 33 inches by 27! inches. 

Mentioned by Vosmaer, p. 371 ; Bode, pp. 543, 583 ; Dutuit, p. 32 ; 
Michel, pp. 486, 556 [379, 431] ; Moes, Iconographia Batava, No. 6693, 65. 



xxn REMBRANDT 



2 73 



Sale. Viscount Midleton, London, July 31, 1851 (^430 : ios., C. Eastlake 

for the National Gallery). 
In the National Gallery, London, 191 i catalogue, No. 221. 

552. PORTRAIT OF THE PAINTER. B.-HdG. 547. 
Half-length, without hands ; almost life size. He is inclined to the right j 
his head and eyes are turned towards the spectator. He has thick curly 
hair and a slight moustache. He wears a neck-cloth with a pattern and 
a dark cloak, over which hangs a gold chain with a medal. Dark back- 
ground. The light falls from the left at top. Painted about 1629. 

Oak panel, 24 inches by i8i inches. 

An old copy was in the possession of an English dealer, 1914. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 53. 

In the collection of R. B. Bercns, London. 

552*. PORTRAIT OF THE PAINTER. At a very early 
age. In a painted frame. Half-length ; life size. 

Signed in full ; panel, about 30 inches by 24 inches. 
In the possession of Colnaghi and Obach, London. 

553. PORTRAIT OF THE PAINTER. Sm. 204 ; Bode 210 ; 
Dut. 166; Wb. 187 ; B.-HdG. 430. Half-length ; nearly half life size. 
About fifty-five. He is inclined to the right ; his head and eyes are turned 
towards the spectator. He has a small thin moustache and an imperial ; 
his curly hair, tinged with grey, is covered by a greenish-grey cap with 
narrow gold stripes. He wears a dark fur-lined cloak with a high collar. 
His hands are clasped in front. The light falls from the right full on the 
head. Dark background, partly illumined at top. 

Signed in the right background, half-way up, "Rembrandt f. 1659" J 
canvas, 20 inches by 17 inches, enlarged all round. 

Engraved in mezzotint by C. G. Lewis, 1836, for Smith's Catalogue Raisonne\ 
vol. vii. ; etched by P. W. Tomkins for the Stafford Gallery. 

Mentioned by Vosmaer, pp. 358, 560; Bode, pp. 541, 586; Dutuit, 
p. 45 ; Michel, pp. 433, 557 [337, 432] ; Waagen, ii. 42 ; Moes, Iconographia 
Btitava, No. 6693, 54. 

Exhibited at the British Institution, London, 1845, No. 60. 

Sale. Countess of Holderness, London, March 6, 1802 (^81 : i8s., Lord 
Gower). 

In the collection of the Marquess of Stafford, London. 

In the collection of Lord Francis Egerton, London, 1836 [valued by Sm. at 



In the collection of the Earl of Ellesmere, Bridgewater House, London, 
No. 1 86. 

554- PORTRAIT OF THE PAINTER. Sm.2i5 ; Bode 197 ; 
Dut. 165; Wb. 160; B.-HdG. 431. Half-length, without hands ; life 
size. About fifty-five. He is inclined to the right ; his head and eyes 
are turned towards the spectator. He has a slight moustache and imperial, 
and curly hair covered by a dark green cap with narrow gold stripes. He 
wears a dark coat with a high velvet collar. At the throat is seen a strip 
of the dull yellow lining. Subdued light falls from the left at top on the 
face. Dark background. Originally there was no cap. 

VOL. VI T 



274 REMBRANDT SECT. 

Signed to the right on a level with the shoulder, u Rembrandt f. 
1659"; canvas, 27 inches by 21 inches enlarged at a later date at the 
sides and especially at foot. 

Engraved in mezzotint by R. Earlom about 1767, and by H. Dawe. 

Mentioned by Vosmaer, pp. 358, 560 ; Bode, pp. 542, 585 ; Dutuit, p. 43 ; 
Michel, p. 557 [432]; Moes, Iconographia Batava, No. 6693, 60. 

Exhibited at the Royal Academy Winter Exhibition, London, 1872, No. 
1 8 1, and 1899, No. 6 ; at Amsterdam, 1898, No. 102. 

In the collection of George, Duke of Montagu [who died in 1790 ; his 
daughter and heiress married the third Duke of Buccleuch]. 

In the collection of the Duke of Buccleuch, Montagu House, London. 

555. PORTRAIT OF THE PAINTER. Sm. 200; Bode 187; 
Dut. 154; Wb. 137; B.-HdG. 261. Half-length; life size. He sits, 
inclined half-right, and turns his head to the spectator. His left hand, 
barely seen, is thrust into the breast of his cloak. He has a dark hat with 
a broad wavy brim on his short brown hair. He has a small moustache, 
combed upwards, and an imperial. In his ear is a gold ear-ring. He wears 
a black cloak held together by two gold chains over a dull red slashed coat 
with a high collar. Strong light falls from the left on the face. Dark 
brown background. Painted about 1646. 

Signed to the right on a level with the shoulder, " Rembrandt f. 
164-" (the last figure is under the frame); oak panel, 27 inches by 23 
inches. 

Mentioned by Vosmaer, pp. 515, 532 ; Bode, pp. 498, 585 ; Dutuit, p. 33 ; 
Michel, pp. 303, 556 [235, 431]; Waagen, ii. 5 ; Moes, Iconographia Batava, 
No. 6693, 46. 

Exhibited at the British Institution, London, 1821, No. 89 ; 1826, No. 1 1 ; 
and 1827, No. 133 ; at the Royal Academy Winter Exhibition, 1899, No. 70 ; 
at Manchester, 1857, No. 685. 

Sales. (Probably) Amsterdam, October 6, 1801, No. 55 (1650 florins, A. E. 

Sterk). 
Amsterdam, October 6, 1809, No. 55. 

In the Baring collection, London. 

In the Royal collection, Buckingham Palace, London, 1885 catalogue, 
No. 174. 

556. PORTRAIT OF THE PAINTER. Sm. 207 ; Bode 221; 
Dut. 172 ; Wb. 208 ; B.-HdG. 503. More than half-length ; life size. 
Between fifty-five and sixty. He stands, in full face, leaning his right 
hand on his hip and holding in his left hand his palette, brush, and maul- 
stick. He has a white cap on his grey hair. He wears a dull dark red 
coat, open at the throat to show a piece of the white shirt, over which is 
indicated a gold chain. On his shoulders is a dark fur-lined cloak. The 
background is a grey wall with a round disk to the right. The light falls 
from the left at top on the head, cap, and shirt. Painted about 1663. 
The picture is sketchily treated ; the hands in particular are scarcely 
laid in. 

Canvas, 45 inches by 38 inches. 

An old copy is in the Aix Museum, Provence. 



xxn REMBRANDT 275 

Etched by A. de Marcenay, 1755, and by P. D. Vlamynck. 

Mentioned by Vosmaer, p. 561 ; Bode, pp. 543, 588 ; Dutuit, p. 46 ; 
Michel, pp. 480, 558 [374, 433] ; Waagcn, ii. 151 ; Moes, Iconographia Batava, 
No. 6693, 55 and 66. 

Exhibited at the Royal Academy Winter Exhibition, London, 1877, No. 32, 
and 1899, No. 20 ; at Amsterdam, 1898, No. 99. 

Sale. Comte dc Vence, Paris, February n, 1761 (481 francs); see C. 
Blanc, i. 98. 

In the Henncssy collection, Brussels, 1767. 

Sale. Danoot, Brussels, 1828, No. 53 (9450 florins, Hcris). 

In the possession of Buchanan, London. 

In the possession of Nieuvvenhuys, London. 

In the collection of the Marquess of Lansdovvne, Bowood [in 1836, Sm.]. 

In the collection of Viscount Iveagh, London. 

557. PORTRAIT OF THE PAINTER. Dut. 130; Wb. 3 o2; 
B.-HdG. vii. Half-length. He is inclined to the left, but turns his head 
and eyes directly towards the spectator. He is bare-headed, with brown 
curly hair. The right side of his beardless face is in shadow. In his right 
ear hangs a pearl. A cloth is wound round the throat. Over his dark 
coat, on the breast, is a gold chain set with jewels, from which hangs a 
medal. The light comes from the left. 

Signed, "RHL. van Ryn. 1632"; oval panel, 22 inches by i6J 
inches. 

Engraved by Leopold Lowcnstam. 

Sales. A. Oudry, Paris, April 17, 1869, No. 54 (iioo francs, Sedelmeyer). 

Max Kami, Paris, March 3, 1879, No. 53 (5600 francs). 
In the collection of Senator Mir, Paris. 
In the possession of M. Knoedler and Co., London. 

558. PORTRAIT OF THE PAINTER. Bode 236; Dut. 
138; Wb. 249; B.-HdG. 166. Half-length, without hands; life size. 
He is seen in full face, inclined a little to the left and looking at the spec- 
tator. He has short curly hair, a moustache, and a slight beard. In his 
ear is a jewelled ear-ring. He wears a slashed cap of purple velvet with 
two dark ostrich feathers. Over his dark purple coat with striped sleeves 
is a steel gorget ; a heavy gold chain hangs from his right shoulder to his 
left side. Subdued light falls from the left on the right cheek and the steel 
gorget. Fairly dark background. Painted about 1634-35. 

Signed on the right above the shoulder, " Rembrandt f." ; oak panel, 
26 inches by 20 inches. 

Mentioned by Vosmaer, pp. 508, 523, 579 ; Bode, pp. 410, 589 ; Dutuit, 
p. 48; Michel, pp. 215, 558 [166, 434] ; Moes, Iconographia Batava, No. 
6693, 31. 

Exhibited at Bethnal Green Museum, London, 1872, No. 169 ; at the Royal 
Academy Winter Exhibition, 1889, No. 155. 

$*. William Wells of Redleaf, London, May 12, 1848 (183 : 155., Lord 
Hertford). 

In the collection of the Marquess of Hertford, London. 

In the Wallace Collection, London, 1913 catalogue, No. 55. 

559. PORTRAIT OF THE PAINTER. Bode 235 ; Dut. 



2 7 6 REMBRANDT SECT. 

139; Wb. 248; B.-HdG. 171. Half-length; life size. He stands in 
profile to the right, holding his head proudly and looking at the spectator. 
A flat dark blue cap with a thin gold chain round it covers his thick curly 
hair. He has a slight moustache and beard. In his right ear is a small 
pendant. Over his dark cloak with a broad fur collar are two gold chains ; 
he grasps the lower one with his gloved left hand. Full light falls from 
the left on the right side of the face. Light grey background. Painted 
about 1634. 

Signed on the right above the arm, " Rembrandt " ; oak panel, 
rounded at top, 25 inches by 19 J inches. 

A copy was in the sale : Alexander, Duke of Hamilton, London, June 17, 
1882 ; it is now in the collection of E. R. Thomas, New York. See Moes, 
No. 6693, 104. 

Mentioned by Vosmaer, p. 522 ; Bode, pp. 410, 589 ; Dutuit, p. 48 ; 
Michel, pp. 215, 558 [166] ; Moes, Iconographia Batava, No. 6693, 29. 

Exhibited at the Bethnal Green Museum, London, 1872, No. 184 ; at the 
Royal Academy Winter Exhibition, 1889, No. 159. 

Sales. (Probably) Gerard Hoet, The Hague, August 25, 1760 (Terw. 225), 

No. 48 (185 florins, Yver). 
(Probably) F. W. Baron van Borck, Amsterdam, May I, 1771, 

No. 6. 
Comte F. de Robiano, Brussels, May I, 1837, No - 544 (55 francs, 

Nieuwenhuys). 

Casimir Perier, London, May 5, 1848 (294, Lord Hertford). 
In the collection of the Marquess of Hertford, London. 
In the Wallace Collection, London, 1913 catalogue, No. 52. 

560. PORTRAIT OF THE PAINTER. Sm. 220 ; Bode 43 ; 
Dut. 174 ; Wb. 34 and 172 ; B.-HdG. 506. Half-length, without hands ; 
life size. About sixty. He stands, turned to the left almost in profile ; he 
looks at the spectator and smiles with open mouth. Over his dark coat 
hangs a broad yellow shawl. On his breast is a gold medallion. Below 
to the left is the maulstick ; above is a bust of an emperor, apparently 
painted. Dark background. The light comes from above and touches 
the head and shoulder. Painted about 1665. 

Canvas, 32^ inches by 25 inches. 

Etched by Jacquemart in the Gazette des Beaux-Arts, 1869, and in Dutuit, 
vol. iii. 

Mentioned by Vosmaer, pp. 371, 566; Bode, pp. 544, 563; Dutuit, p. 
41 ; Michel, pp. 507, 551 [395, 439]; Waagen, iv. 281 ; Moes, Iconographia 
Batava, No. 6693, 69 ; in London and its Environs described, 1761, when it was 
at Belvedere House. 

Exhibited at the British Institution, London, 1821, No. 90, 1845, No. 68, 
and 1862, No. 28 ; at the Corps Legislatif, Paris, 1874. 

In the collection of Sir Culling Eardley, Belvedere, 1761. 

In the collection of Lord Saye and Sele, Belvedere, 1836 (Sm.). 

Sales. Sir Culling E. Eardley, London, June 30, 1860. 

Double, Paris, May 30, 1881, No. 19 (23,150 francs). 

In the Von Carstanjen collection ; temporarily exhibited at the Aeltere 
Pinakothek, Munich, 

561. PORTRAIT OF THE PAINTER. B.-HdG. 502. 



xxn REMBRANDT 277 

Half-length, without hands ; life size. About fifty-six. He stands, 
turned half-right, and looks at the spectator. On his thick curly hair is a 
light grey house-cap with white stripes. His dark gown is open in front. 
Strong light falls from the left at top on the right side of the face. Dark 
background, partly illumined in places. Painted about 1662. 

Signed on the right at top by a later hand, " Rembrandt " ; oak panel, 
22\ inches by 17^ inches. 

In the collection of the Marquess of Lothian, Ncwbattle Abbey, Scotland. 

562. PORTRAIT OF THE PAINTER. Sm. 210 ; Bode 189 ; 
Dut. 168 ; Wb. 145 ; B.-HdG. 429. Half-length, without hands ; life 
size. About fifty-five. He wears a greenish coat, a brown cloak, and a 
black cap. The pale red under-garment is exposed at the breast. 

Signed, " Rembrandt f. 1660" ; canvas, 31 inches by 26 inches. 

Etched by G. F. Schmidt. 

Mentioned by Bode, pp. 543, 585 ; Dutuit, p. 42 ; Michel, pp. 434, 556 
[337' 8 > 43 l ] ; Waagen, ii. 103 ; Moes, Iconographia Batava, No. 6693, 61. 

Exhibited at the British Institution, London, 1829, No. 10 ; at the Royal 
Academy Winter Exhibition, 1890, No. 145. 

In the collection of the Due de Valentinois, Paris. 

Salt. Lord Radstock, London, May 12, 1826 (.299 : 5s., Baring). 

In the Baring collection, London. 

In the collection of Lord Ashburton, The Grange, 1836 (Sm.) ; sold as a 
whole, 1907. 

In the possession of C. Sedelmeycr, Paris. 

In the possession of A. Sulley and Co., London. 

In the collection of B. Altman, New York ; bequeathed in 1913 to the 
Metropolitan Museum. 

In the Metropolitan Museum, New York. 

563. PORTRAIT OF THE PAINTER. Sm. 225 ; B.-HdG. 
428. Three-quarter length ; life size. About fifty. He sits, seen in full 
face, looking at the spectator. He wears a loose yellow gown, a red girdle, 
a brown cloak with a white neck-cloth and gold-embroidered shoulder- 
straps. On his head is a dark cap over a brown skull-cap. He has a short 
moustache. He holds in his left hand a stick with a silver knob. Dark 
background. 

Signed to the right on the knob of the chair, " Rembrandt f. 1658 " ; 
canvas, 51 J inches by 40 inches. 

Mentioned by Michel, pp. 434, 558 [337, 433] ; Moes, Iconographia Batava, 
No. 6693, 58. 

Exhibited at the British Institution, London, 1815, No. 30; at the Royal 
Academy Winter Exhibition, 1889, No. 157, and 1899, No. 61 ; at the Hudson- 
Fulton Celebration, Metropolitan Museum, New York, 1909, No. 102. 

In the collection of the Earl of Ilchester, Melbury Park, 1815 and 1899. 

In the possession of M. Knoedler and Co., London. 

In the collection of H. C. Frick, New York, 1908 catalogue, No. 29. 

564. PORTRAIT OF THE PAINTER. Half-length, turned 
to the right. He wears a flat cap, a brown coat, and a reddish under-vest 
with a neck-band. Painted about 1628. 



278 REMBRANDT SECT. 

Signed to the right with the monogram, " R H L " ; panel, 8J inches 
by 6J inches. 

Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 74. 

In the collection of Leopold II., King of the Belgians, Brussels. 

In the possession of F. Kleinberger, Paris. 

In the collection of the late J. Pierpont Morgan, New York. 

565. PORTRAIT OF THE PAINTER. Dut. 158; Wb. 424; 
B.-HdG. 260. Half-length, without hands ; life size. He stands, seen 
almost in full face, looking at the spectator. He has a slight moustache 
[and imperial and short hair]. He wears a black cap and a black cloak 
trimmed with fur, fastened up and showing only a small piece of the shirt 
at the throat. A double gold chain hangs over his breast and shoulders. 
The strong features show fresh colouring. Full light from the left touches 
the head. Painted about 1640-43. 

Oak panel, 28 inches by 22j inches. 

Etched in outline by Muxel in the "Leuchtenberg Gallery," 1851, No. 147. 

Mentioned by Vosmaer, p. 544; Dutuit, p. 54; Michel, p. 567 [442] ; 
Moes, Iconographia Batava, No. 6693, 45. 

Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 90. 

In the collection of the Duke Eugen von Leuchtenberg, Petrograd, 1886 
catalogue, No. 107. 

In the possession of T. Lawrie and Co., London. 

In the collection of Herbert S. Terrell, New York. 

566. PORTRAIT OF THE PAINTER. Sm. 347; Bode 276 ; 
Dut. 132 ; Wb. 279 ; B.-HdG. 163. Half-length j life size. He is turned 
to the right but looks at the spectator. He is bare-headed, with thick 
curly hair, a short moustache, and an imperial. Over his dark purple velvet 
coat is a heavy gold chain set with jewels. Full light falls from the left j 
the background is rather light. [Possibly identical with 585^] 

Signed on the left below the centre, " Rembrandt f. 1633 " ; oak panel, 
oval, 23 inches by 18 inches. 

Engraved by Weisbrod, by Claessens, and by F. Smith. 

Mentioned by Vosmaer, pp. 149, 499 ; Bode, pp. 409, 595 ; Dutuit, p. 35 ; 
Michel, pp. 172, 562 [132, 434] ; Moes, Iconographia Batava, No. 6693, 18. 

In the Musee Napoleon, Paris. 

In the Louvre, Paris, 1907 catalogue, No. 2552 [valued by the experts, 
1816, at 8000 francs, Sm.]. 

567. PORTRAIT OF THE PAINTER. Sm. 199 and 253 ; 
Bode 277 ; Dut. 266 ; Wb. 280 ; B.-HdG. 164. Half-length ; life size. 
He is inclined half-right but turns his face to the spectator. On his thick 
curly hair is a black velvet cap adorned with a narrow gold chain. He has 
a slight moustache and imperial. He wears a black cloak showing at the 
breast a piece of the coat and at the throat the band of the shirt ; over the 
cloak hangs a long heavy gold chain set with jewels, on which he lays his 
gloved left hand. Full light falls from the left on the right side of the face. 
Light background. Cf. 833^7. 



xxn REMBRANDT 279 

Signed on the right, "Rembrandt f. 1634" (33?) ; oak panel, oval, 
27 inches by 21 inches. 

Engraved by Weisbrod in the " Choiscul Gallery," No. 96 ; by J. Smith ; 
by Claessens in the Musee Frartfais, in Filhol, i. 59, and Landon, ii. 60. 

Mentioned by Vosmaer, pp. 149, 503 ; Bode, pp. 410, 595 ; Dutuit, p. 35 ; 
Michel, pp. 172, 562 [132, 434] ; Moes, Iconographia Batava, No. 6693, 
Hofstede de Groot, Urkunden^ Nos. 75 and 363 ; Engerand, Tableaux achetes pour 
le Roi, p. 587. 

In the collection of Lord Ancrum, who gave it to Charles I. 
In the collection of Charles I., King of England ; inventory of about 1639, 
No. 87. 

In the collection of James II., King of England ; W. Bathoe's 1758 cata- 
logue, p. 12, No. 129 but No. 130 of the original catalogue. See note to 585. 
In the collection of Hyacinthe Rigaud, Paris (according to the Vencc cata- 
logue) ; valued in his inventory of May 17, 1703 (at 500 francs). See H. de 
Groot, Urkunden, No. 387. 

Sales. Comte de Vence, Paris, February 9, 1761 (400 francs). 

Due de Choiseul, Paris, April 6, 1772 (600 francs, Le Brun for the 
Royal collection) ; see Ch. Blanc, i. 191. But according to a 
letter from Paillet of June 27, 1785 (see Engerand), it was acquired 
by him in London for the King, on the advice of Hubert Robert 
(for 3065 francs). 

In the Louvre, Paris, 1907 catalogue, No. 2553 [valued by the experts in 
1816 at 8000 or 10,000 francs, Sm.]. 

568. PORTRAIT OF THE PAINTER. Sm.2i7; Bode 278; 
Out. 150 ; Wb. 281 ; B.-HdG. 176. Almost half-length ; life size. He 
stands in profile to the right, turning his head to the spectator. His thick 
hair hangs down ; he has a slight moustache and imperial. On his long 
hair is a black cap adorned with a thin golden jewelled chain. He wears 
a deep blue cloak embroidered in silver and a plain shirt finely pleated at 
the throat. In his ear is a pearl. He holds his left hand at his breast 
under the cloak. The architecture of the background consists of a pilaster 
on an incised base and a doorway arched at top. The light falls from the 
left at top right across the face. 

Signed on the right at foot, "Rembrandt f. 1637" ; oak panel, oval, 
32 inches by 24^ inches. 

Engraved by J. de Frcy in the Musee Franfais ; by Boutrois, Filhol, iv. 263 ; 
by Plonski ; and in Landon, ii. 59. Lithographed by W. de Koning. 

Mentioned by Vosmaer, pp. 170, 515 ; Bode, pp.454, 595 ; Dutuit, p. 35 ; 
Michel, pp. 215, 562 [166, 434] ; Moes, Iconographia Batava, No. 6693, 37. 

In the collection of Louis XVI., King of France. 

In the Louvre, Paris, 1907 catalogue, No. 2554 [valued by the experts, 
1816, at 8000 francs, Sm.]. 

569. PORTRAIT OF THE PAINTER. 8111.219; Bode 279 ; 
Dut. 167; Wb.282; B.-HdG. 434. Half-length; lifesize. About fifty- 
five. He stands at his easel, turned a little to the right and looking at the 
spectator. He has short grey hair, round which a white cloth is wound 
like a turban ; he has a short grey moustache. He wears a dark fur cloak. 
In his left hand he holds a palette and brush, in his right hand the maul- 



28o REMBRANDT SECT. 

stick. On the easel to the right stands a canvas. Full light falls on the 
head. Dark background. 

Signed by a later hand, "Rem. F. 1660"; canvas, 44 inches by 
34 inches. A strip about two inches wide has been added on the right, 
probably replacing the original strip on which the name of the artist may 
have been inscribed in full. 

A copy was in the sale : Herrenschwand of Berne, Paris, January 24, 1810 
(2500 francs, Paule) ; see C. Blanc, ii. 271. 

A copy of the head was last noticed in the collection of M. C. D. Borden, 
New York ; Sm. 229. 

Etched by De Frey in the Musee Fran^ais ; by Oortman in the Musee 
Napoleon ; in Filhol, v. 329. 

Mentioned by Vosmaer, pp. 359, 561 ; Bode, pp. 542, 595 ; Dut. p. 35 ; 
Michel, pp. 457, 562 [356, 434] ; Moes, Iconographia Batava, No. 6693, 62 ; 
Engerand, Inventaire des Tableaux du Roi, p. 267. 

In the collection of Louis XIV., King of France ; in Le Brun's inventory, 
No. 318 ; at Paris, 1690-91 ; at Versailles, 1706 ; and again later at Paris. 

In the Louvre, Paris, 1907 catalogue. No. 2555 [valued by the experts, 
1816, at 4000 francs, and by Sm., 1836, at 400]. 

570. PORTRAIT OF THE PAINTER. B.-HdG. 549 A 
small half-length, without hands. He is turned a little to the left and 
looks at the spectator. He has brown curly hair. He wears a dark brown 
cloak over a red doublet, showing the shirt at the throat, and a black cap. 
Bright light falls from the left. Grey background. Painted about 1631. 

Copper, 5j inches by \\ inches. 

Exhibited at the Portrait Exhibition, The Hague, 1903, No. 112 ; in Paris, 
1911, No. 122. 

Sales. Rotterdam, July 20, 1768, No. 26 (35 florins, Van der Marck). 

J. van der Marck, Amsterdam, August 25, 1773, No. 446. 
In the collection of Comte Duchatel, Paris. 
In the collection of Comtesse Henri Delaborde, Paris. 

571. PORTRAIT OF THE PAINTER. B.-HdG. 14. A 
small half-length, without hands. He is turned to the right and looks 
straight before him. On his thick brown curls is a black cap. He wears 
a dark greyish-brown coat with a steel gorget ; a gold medallion hangs on 
his breast. Light grey background. Painted about 1629. 

Oak panel, 10 inches by 8J inches original size, 8J inches by 
7! inches. 

A copy 5 inches by 4 inches was in the possession of Weustenberg, 
Berlin, 1909. 

Mentioned by Moes, Iconographia Batava, No. 6693, 3 and 10. 

Exhibited at Amsterdam, 1898, No. 7. 

In the collection of Ferdinando Meazza, Milan. 

In the possession of T. Lawrie and Co., London. 

In the collection of W. Beattie, Glasgow. 

In the possession of A. Sulley and Co., London. 

In the possession of E. Fischhof, Paris. 

572. PORTRAIT OF THE PAINTER. B.-HdG. 161. A 



xxn REMBRANDT 281 

small half-length, without hands. He is inclined to the right ; his head, 
slightly tilted back, is turned towards the spectator. He is beardless, with 
long and curly brown hair. He opens his mouth to laugh ; his eyes are 
half-closed. He wears a blackish coat, a white shirt, and a dark cap. 
Strong light falls from the left on the right side of the face. Brownish 
background. 

Signed on the right at top, " Rembrandt f. 1633 "; oak panel, 8 inches 
by 7 inches. 

Mentioned by Michel, p. 564 [436] ; Moes, Iconographia Batata, No. 
6693, i-. 

In the collection of E. Warncck, Paris. 

573. PORTRAIT OF THE PAINTER. Sm. 272 ; Bode 251; 
Dut. 129; Wb. 214; B.-HdG. 61. Almost life size, without hands. 
He is seen almost in full face looking straight at the spectator. A black 
hat covers his dark curly hair. He wears a black coat with yellow buttons, 
over which falls a white collar. Light background. Strong light falls 
from the left. [Pendant to 696, " Liesbeth van Rijn."] 

Signed on the right with the monogram, "RHL van Ryn 1632" ; 
oak panel, oval, 25 inches by 19 inches. 

There are copies in the Gotha Museum, 1890 catalogue, No. 182 ; in the 
Lind collection, Stockholm ; in the Le Mans Museum, 1905 catalogue, No. 50, 
under the name of F. Bol. There was one in the collection of Jos. Schmitz, 
Minden, 1884, and others occur repeatedly in the possession of dealers. 

Etched [under the title "Flamand"] by Voycr, on the same plate as the 
pendant etchtd by Ingouf, in the Galerie du Palais-Royal. 

Mentioned by Bode, p. 59 ; Dutuit, p. 46 ; Michel, pp. 100, 559 [82, 132, 
433] > Moes, Iconographia Ba;.. '693, 1 6. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 41. 

Sale. Comtessc de la Verrue, Paris, March 27, 1737, No. 14 (450 francs, 
with pendant) ; see C. Blanc, i. 2. 

In the collection of the Due d'Orlcans, Paris, 1792. 

In the collection of Lord Leconficld, Petworth. 

574. PORTRAIT OF THE PAINTER. Sm. 211 ; Dut. 163 
and 234 ; Wb. 205 and 237 ; B.-HdG. 346. Half-length ; life size. 
About forty-four. He is turned half-right and looks at the spectator ; his 
right hand is on his hip and his gloved left hand rests on a stick. He has 
a small moustache and imperial ; his greyish-brown hair is covered with a 
net cap with red meshes under a reddish-brown cap with a narrow gold 
edging. In his ear is a pearl. He wears a dark doublet with slashed 
sleeves of a dark olive colour and a square opening at the throat to show 
his yellow neck-kerchief and a fine shirt embroidered in gold on the 
edge. The light from the left background touches the brow, nose, and 
shirt. Dark background, partly illumined to the left. A "superlative 
example of portraiture " (Sm.). 

Signed on the right above the head, "Rembrandt f. 1650" ; canvas, 
35 inches by 28 inches. 

Mentioned by Dutuit, p. 48; Michel, p. 558 [433]; Waagcn, ii. 281 ; 
Moes, Iconographia Batava, No. 6693, 48. 



282 REMBRANDT 



SECT. 



Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 18 ; 
at thefcHudson-Fulton Celebration, Metropolitan Museum, New York, 1909, 
No. 94. 

Sale. Sebastien Erard, Paris, April 23, 1832, No. 119 (17,100 francs). 

In the collection of W. Williams Hope, 1836 (Sm.). 

Sale. W. Williams Hope, London, June 14, 1849 (483, Baron Rothschild). 

Tn the collection of Sir Anthony de Rothschild, London. 

In the collection of Lady de Rothschild, London, 1899. 

In the possession of T. Agnew and Sons, London. 

In the collection of the late P. A. B. Widener, Philadelphia. 

575. PORTRAIT OF THE PAINTER. Sm. 209, 230, and 
432 (?) ; Bode 259; Dut. 171 and 177; Wb. 206 ; B.-HdG. 501. 
Half-length, with hands ; life size. Fifty-five. He sits, turned to the 
right, and looks at the spectator. He holds in front of him some papers 
with Hebrew writing. He wears a dark brown cloak, the high collar of 
which shows in front a small piece of the white shirt. A kerchief striped 
white and yellow is wound round his head like a turban. At the breast a 
short sword or dagger is stuck into the coat. Dark background, illumined 
to the left. The light falls from the left at top and touches the head and 
the roll of papers. 

Signed on the left above the shoulder, "Rembrandt f. 1661 " ; canvas, 
36 inches by 30 inches. 

A copy is in the Riga Museum, 1899 catalogue, No. 187. 

Engraved by G. Longhi, 1799, in the Palazzo Corsini, Rome; and by 
C. Turner in mezzotint, 1809. 

Mentioned by Vosmaer, pp. 371, 566 ; Bode, pp. 542, 592 ; Dutuit, p. 46 ; 
Michel, pp. 483, 559 [376, 433] ; Waagen, iv. 447 ; Moes, Iconographia Batava, 
No. 6693, 63. 

Exhibited at the Royal Academy Winter Exhibition, London, 1878, No. 171, 
and 1899, No. 71. 

In the Fournier collection. 

In the Corsini collection, Rome; acquired in 1811 by Lord Kinnaird 
[Sm. says that it was sold in Lord Kinnaird's collection, 1813, for .210]. 

In the collection of Lord Kinnaird, Rossie Priory, Dundee. 

576. PORTRAIT OF THE PAINTER. Bode 246 ; Dut. 142 ; 
Wb. 235; B.-HdG. 175. Half-length; life size. He is inclined half- 
right ; his head is in full face and he looks at the spectator. He has a 
fresh complexion, a short moustache, and an imperial. On his short brown 
hair a blackish-green cap with a thin gold chain is pushed well back. His 
dark, almost black, cloak with greenish-gold lace and dull red lining is 
thrown open in front, showing the red doublet. He has a close-fitting 
white shirt with a gold chain across it. His left hand is hidden in the 
breast of his cloak. Bright light falls from the left on the right side 
of the face and the throat. Dark greyish -green and brownish back- 
ground. 

Signed on the right on a level with the shoulder, "Rembrandt f. 
1633" according to Bode, 1635 or 1638 (?) ; oak panel, 25 inches by 
20 inches. 

A contemporary copy was in the sale : Grimaldi of Cadiz, Amsterdam, 



xxn REMBRANDT 283 

December 4, 1912, No. 57 (17,000 florins, bought in) ; and in the sale : 
Berlin, May 5, 1914, No. 62. 

Mentioned by Michel, p. 557 [432]; Moes, Iconographia Batava, No 
6693, 35. 

Exhibited at the Royal Academy Winter Exhibition, London, 1890, No. 61, 
and 1899, No. 64. 

Sales. Earl of Portarlington, London, June 28, 1879 (1312 : ios.). 
Albert Levy, London, May 3, 1884 (1890). 

In the collection of H. Heywood Lonsdale, Shavington. 

577. PORTRAIT OF THE PAINTER. Half-length; life size. 
He stands, inclined to the left. His curly hair is covered with a plumed 
cap, which shades the brow of the beardless face. His coat has a soft neck- 
band. Over the dark cloak hangs a gold chain with a medallion. The 
light falls from the left on the face. 

Signed on the left with the monogram, " R H L," and dated 1631 ; 
panel, 32 inches by 26 inches. 

Mentioned in Onze Kunst, 1907. 

Exhibited at Leyden, 1906, No. 38 ; at the Hudson-Fulton Celebration, 
Metropolitan Museum, New York, 1909, No. 75. 

Sale. Stephen Lawley, London, March 19, 1906. 
In the possession of H. Reinhardt, Chicago. 
In the possession of M. Knoedler and Co., London. 
In the collection of E. D. Libbey, Toledo, Ohio. 

578. PORTRAIT OF THE PAINTER. Sm. 216 and 221 (?) ; 
Bode 15; Dut. 153; Wb. 343; B.-HdG. 257. Half-length, without 
hands ; life size. Seen almost in full face, he looks at the spectator. He 
has greyish-blue eyes, short curly brown hair, a short moustache, and an 
imperial ; the whole face is fresh in colour. He wears a red cap and a 
brown fur-lined cloak ; under it, at the breast, is seen a pale cherry-red 
slashed coat, exposing the plain turn-down shirt-collar edged with narrow 
lace. On the breast is a double gold chain. Bright light falls from the 
left at top on the face. Dark greenish-grey background. 

Signed on the left above the shoulder, " Rembrandt f. 1643 " > canvas, 
24 inches by 19 inches. 

Lithographed in 1823 by Delpech. Engraved in outline by A. L. Zeelander 
in the work on the collection of William II., King of Holland. 

Mentioned by Vosmaer, pp. 258, 534 ; Bode, pp. 455, 559 ; Dutuit, p. 53 ; 
Michel, p. 565 [440] ; Moes, Iconographia Batava, No. 6693, 42. 

Exhibited at Amsterdam, 1867, No. 160, and 1898, No. 55 ; at the Royal 
Gallery, The Hague, 1894. 

Sale. (Possibly) Due de Choiseul-Praslin, Paris, 1793 (lioo francs); said 
to be on panel. Sm. says that it was sold with a pendant, but 
probably confuses it with 588. 

In the possession of John Smith, London, who sold it in Paris, 1823, to a 
Brussels dealer (for 4000 francs). 

In the collection of the King of Holland, 1836 (Sm.). 

Sale. William II., King of Holland, The Hague, August 12, 1850, No. 87 
(3750 florins, Nieuwenhuys). 

In the collection of Prince Henry, The Hague. 



284 REMBRANDT SECT. 

In the collection of the Grand Duchess of Saxe-Weimar, The Hague, and 
later at Weimar. 

In the Grand Ducal Museum, Weimar, 1913 catalogue, No. 298. 

579. Portrait of the Painter. Half-length ; life size. He is 
turned to the right. He wears a brown overcoat, a red doublet, and a 
yellow cap with a white lining. The picture was hung too high and in 
too dark a place at the time of the author's visit to be properly examined. 
Experts who have seen it under more favourable conditions declare that it 
is genuine. 

Signed on the right, " Rembrandt f. 1665 " ; canvas, 30 inches by 24 
inches. 

Mentioned by Moes, Iconographia Batava, No. 6693, 67. 
In the Bulstrode collection. 

In the collection of the Duke of Portland, Welbeck Abbey, 1894 catalogue, 
No. 6. 

580. PORTRAIT OF THE PAINTER. Sm. 223; Bode 
124; Dut. 1625 Wb. 364; B.-HdG. 424. Three-quarter length ; life 
size. About fifty. He stands, seen in full face. He wears a black cap 
and a brown working-dress, open in front to show part of the black 
doublet and a small piece of the collar. The thumbs are thrust into the 
girdle. Dark background. Painted about 1655-57. 

Canvas, 45 inches by 32 inches. 

A copy on copper 8 inches by 6 inches is in the Wallace Collection, 
London, 1913 catalogue, No. 173 ; it was in the sale: Count Schonborn of 
Pommersfelden, Paris, May 17, 1867 [and was exhibited at the Royal Academy 
Winter Exhibition, London, 1889]. 

Etched by Prenner ; by J. Eissner in the Galerie du Musee de Vienne ; by 
N. Mossoloff, W. Unger, and W. French. 

Mentioned by Vosmaer, p. 537; Bode, pp. 541, 575; Dutuit, p. 34; 
Michel, pp. 457, 560 [356, 430] ; Moes, Iconographia Batava, No. 6693, 59. 

In the collection of the Emperor Charles VI. 

In the Imperial Gallery, Vienna, 1907 catalogue, No. 1274 [valued by 
Sm. in 1836 at j6oo]. 

581. PORTRAIT OF THE PAINTER. Sm. 222 j Bode 125 ; 
Dut. 175; Wb. 365; B.-HdG. 505. Half-length, without hands; life 
size. About sixty. He is seen in full face looking at the spectator. He 
wears a broad flat black hat, a reddish coat, and a brown cloak with a 
narrow standing collar. At the throat and the breast the shirt is 
exposed. Dark background. The light from the left touches the face. 
Painted about 1665. 

Signed on the left at top, " Rembrandt f." ; oak panel, 20 inches by 
1 6 inches. 

Mentioned by Vosmaer, p. 559; Bode, pp. 544, 575; Dutuit, p. 34; 
Michel, pp. 507, 560 [395, 430] ; Moes, Iconographia Batava, No. 6693, 53. 

In the Imperial Gallery, Vienna, 1907 catalogue, No. 1268 ; it can be 
traced there since 1783 ; see Mechel's catalogue, p. 91, No. 31 [Sm. valued it 
in 1836 at .210]. 

582. PORTRAIT OF THE PAINTER. Sm. 231, 241, and 



xxn REMBRANDT 285 

419 ; Bode 201 ; Dut. 131 ; Wb. 453 ; B.-HdG. 172. Half-length ; life 
size. He is seen in full face, inclined to the right, and looking at the 
spectator. He has short curly hair, a slight moustache and imperial. 
On his head is a black cap with a parti -coloured border. His fur- 
lined cloak covers a coat cut out straight in front, exposing a finely 
pleated shirt. Round his neck is a heavy gold chain ; another hangs 
diagonally across his breast, carrying a medallion that is only seen in part. 
Full light falls from the left on the right side of the face. Dark 
background ; the lower corners are rounded off in dark colour. Painted 
about 1634-35. 

Signed on the right, half-way up, " Rembrandt " ; oak panel, rounded 
at top, 23 inches by iyj inches. 

Engraved by Zildraam, and in reverse by J. G. Hertel ; engraved in 
mezzotint, in an oval stone frame, with the date 1632, by P. van Bleeck, i 

Mentioned by Vosmaer, p. 496 ; Bode, p. 586 ; Dutuit, p. 43 ; Michel, p. 
560 [430]; Waagen, iv. 150 ; Moes, Iconographia Batava, No. 6693, 32. 

Exhibited at the Royal Academy Winter Exhibition, London, 1878, No. 98 ; 
in the Exposition des Cent Chefs d'oeuvre, Paris, 1892. 

In the collection of Lord Palrncrston, Broadlands. 

In the collection of Lord Mount Temple, Broadlands. 

In the possession of C. Sedelmeycr, Paris, "Catalogue of 300 Paintings," 
1898, No. 130. 

Sale. Baron Hermann von Kttnigswarter of Vienna, Berlin, November 20, 
1906, No. 72 (180,000 mark, Gutmann). 

In the collection of Baron M. von Gutmann, Vienna. 

583. Portrait of the Painter. Half-length; life size. At an 
advanced age, with a black cap. The lighting is very powerful. As the 
picture hangs in the shadow of the window-wall its authenticity cannot be 
discussed. 

Canvas, 31 J inches by 25 J inches. 

In the collection of Prince Liechtenstein, Vienna, 1885 catalogue, No. 82. 

584. PORTRAIT OF THE PAINTER. Bode 131 ; Dut. 
141 ; Wb. 373; B.-HdG. 174. Half-length; life size. He stands in 
profile to the right, turning his head and eyes to the spectator. He has 
thick curly hair, and indications of a moustache and an imperial. He 
wears a velvet cap with two tall coloured ostrich feathers fastened with a 
gold clasp. A short purplish-grey cape, with a broad edging embroidered 
in gold and fringed, hangs open over the yellowish costume, showing a 
steel gorget and the shirt-collar. From the right shoulder hangs a short 
chain ; on the breast is a thin double gold chain with a medallion. He 
seems to rest both hands on his hips under the cape. Bright light falls 
from the left at top on the plumes in the cap, the lower part of the face, 
and the right shoulder. Rather dark background, against which the 
shadow of the plumed cap is relieved to the right. 

Signed, "Rembrandt f. 1635 " ; oak panel, 36^ inches by 28^ inches. 

A copy is in the Wiesbaden Museum ; see Moes, No. 6693, 34. Another 
copy, without the feathers in the cap, is in the National Museum, Rome, 
No. 761. 



286 REMBRANDT SECT. 

Engraved by J. Pichler, 1791 ; etched by W. Unger. 

Mentioned by Vosmaer, p. 508; Bode, pp. 411, 576; Dutuit, p. 50; 
Michel, pp. 215, 560 [166, 430] ; Moes, Iconographia Batava, No. 6693, 33. 
Exhibited at Leyden, 1906, No. 40. 
In the collection of Prince Liechtenstein, Vienna, 1885 catalogue, No. 84. 

585. PORTRAIT OF THE PAINTER. 8111.214; Bode 266; 
Dut. 143 ; Wb. 154 ; B.-HdG. 255. Half-length ; life size. He stands, 
inclined half-right, looking at the spectator. With his left hand he grasps 
the furred cloak which he wears over a dark brown coat with a high fur 
collar. A dark brown fur cap covers his brown hair. He has a small 
moustache. A long double gold chain with a medal lies on his breast. 
Fairly strong light falls from the left foreground on the right cheek. 
Uniformly brown and fairly light background. Painted about 1638. 

Canvas, 35 inches by 29 inches. 

Mentioned by Vosmaer, p. 523; Bode, pp. 411, 593; Dutuit, p. 43; 
Michel, p. 559 [432]; Waagen, iii. 465, and iv. 335; Moes, Iconographia 
Batava, No. 6693, 38. 

According to ScharPs catalogue it was 

In the collection of Charles I., King of England, to whom it was given 

by Lord Ancrum ; in the Royal inventory of about 1639, No. 87. 
In the collection of James II., King of England, W. Bathoe's catalogue 

of 1758, p. 12, No. 129 but No. 130 of the original catalogue. 
Scharf thus assumed that the Woburn picture is identical with that belong- 
ing to Charles I. But the description and measurements of the Royal inventories 
agree much better with 567 (Louvre). 

In the collection of the Duke of Bedford, Woburn Abbey, 1897 catalogue, 
p. 88 ; it was there in 1748. 

585*. Portrait of the Painter. In antique costume. 

Mentioned by Hofstede de Groot, Urkunden tiber Rembrandt, No. 177. 
In the possession of the dealer Johannes de Renialme, Amsterdam ; in the 
inventory of June 27, 1657, No. 292. 

585*. Portrait of the Painter. Head. 

Mentioned by H. de Groot, Urkunden, No. 364. 

In the collection of Willem Spieringh, Delft ; in the inventory of his effects, 
January 23, 1689. 

585^. Portrait of the Painter. In Persian dress. 

Mentioned by Moes, Iconographia Batava, No. 6693, 75. 

Sale. Amsterdam, June 10, 1705 (Hoct, i. 79), No. 30 (59 florins). 

585^. Portrait of the Painter. Three-quarter length, with both 
hands ; life size. Strong and well painted. 
40 inches by 31 J inches. 
Sale. Amsterdam, April 7, 1734 (Hoet, i. 409), No. 5 (no florins). 

585*. Portrait of the Painter. 

27^ inches by 23 inches. 

Sale. G. Uilenbroek, Amsterdam, October 23, 1741, No. 10 (120 florins, 
Bary). 



xxn REMBRANDT 287 

5857: Portrait of the Painter. With a gold chain. [Possibly 
identical with 525 or 566.] 

23 inches by 19 J inches. 

Sale. Count van Wasscnaar, The Hague, August 19, 1750 (Hoet, ii. 290), 
No. 2 (202 florins). 

585^. Portrait of the Painter. Strongly painted. 

24 inches by 20 inches. 

Sale. The Hague, December i i, 175$, No, 1 1. 

585/7. Portrait of the Painter. 

25^ inches by 19 \ inches. 

Sale. Amsterdam, September 16, 1760, No. 16 (75 florins, De Bruin). 

586. Portrait of the Painter. Half-length ; life size. Almost in 
full face, showing one hand. On the head is a cap. 

Canvas, 30^ inches by 25^ inches. 

Sale. J. de Kommer, Amsterdam, April 15, 1767, No. 47 (65 florins, 
Yver). 

586*. Portrait of the Painter. 
Oval, 35^ inches by 33^ inches. 

Sale. Sir R. Strange, London, 1771 (42, Lord Melbourne). 

586^. Portrait of the Painter. 

52 J inches by 41 inches. 

Sale.]. Blackwood, London, 1778 (63, J. B. P. Le Brun). 

587. Portrait of the Painter. As a soldier wearing an iron helmet 
and gorget. Strong and well painted. 

Panel, 25 J inches by igj inches. 

Sale. Amsterdam, July 17, 1782, No. 84. 

587*7. Portrait of the Painter. 
37 J inches by 31 J inches. 

In the collection of Eugene of Savoy, Vienna, 1783 catalogue, p. 167 ; 
printed in Meusel's Miscellanea, part 15. 

588. Portrait of the Painter. Sm. 233. Bare-headed, with a 
chain, from which hangs the so-called Order of St. Michael. 

Dated 1632 ; oval panel, 22 inches by 18 inches. 

Formerly a pendant to 615, a portrait of Saskia, which is now rectangular. 
Sales. De Gaignat, Paris, December 1768 (1501 francs, with pendant). 

C. A. de Calonne, Paris, April 21, 1788 (3407 francs, with 

pendant). 

Due de Choiseul-Praslin, Paris, February 16, 1793 (1601 francs, 
with pendant). 

589. Portrait of the Painter. Sm. 205. He is engaged at his 
studies. " Done in a spirited manner." 

Sale. Countess of Holderness, London, March 6, 1802 (52 : ios.). 



288 REMBRANDT SECT. 

590. Portrait of the Painter. 

It is uncertain whether two or more of the following were identical : 
In the collection of Andries Ackersloot, Amsterdam. By an agreement of 
March 28, 1647, with Martin van den Broeck, it was given by him with other 
pictures and jewels for ropes, masts, and iron. See H. de Groot, Urkunden, 
No. no. 

In the collection of Joanna and Margareta van Cattenburch, who bought 
the picture from their brother Dirck, December I, 1658. See A. Bredius, Oud 
Holland, 1910, p. 7. 

In the collection of Herman Becker, Amsterdam ; in the inventory of his 
effects, October 19, 1678. See A. Bredius, Oud Holland, 1910, p. 196. 

Sale. Amsterdam, April 9, 1687 (Hoet, i. 10), No. 100 (6 florins). See 
H. de Groot, Urkunden, No. 362 ; Moes, Iconographia Batava, 
No. 6693, 74. 

In the collection of Madame van Sonsbeck, The Hague ; valued about 1700 

by Antoni de Waardt (at 50 florins). See A. Bredius, Oud Holland, 1906, p. 238. 

Sale. Jan de Wale, Amsterdam, May 12, 1706 (Hoet, i. 93), No. 15 

(30 florins). 

In the collection of Sibrand van der Schelling, Amsterdam, 1711 ; very 
large. See Moes, Iconographia Batava, No. 6693, 77 ; H. de Groot, Urkunden, 
No. 393. 

Sale. Amsterdam, May 6, 1716 (Hoet, i. 198), No. 91 (20 florins). 
In the collection of Jan van Beuningen, 1718. See Moes, No. 6693, 79 ; 
H. de Groot, Urkunden, No. 407. 

Sales. Guerin, The Hague, September 13, 1740 (Terw. 28), No. 36 

(21 florins) and No. 48 (11 florins). 
Seger Tierens, The Hague, July 23, 1743 (Hoet, ii. 113), No. 228 

(20 florins). 

In the collection of Count Firmian, Salzburg, 1785, No. 175. See ]. Ber- 
noulli, Reisebeschreibung, xii. vol. iii. p. 225 ; reprinted in MeusePs Miscellanea, 
part 22, p. 225. 

Sales. Elias van der Hoeven, Rotterdam, July 20, 1768 (Terw. 664), 

No. 28 (35 florins). 

G. W. Borgner, Frankfort-on-Main, 1778 ; see Moes, No. 6693, 89. 
London, 1785 (84, Tassaert). 

In the collection of Lindenfels, Bayreuth, 1789 ; see Hirsching, Nachrlchten, 
iv. 403, noted by Moes, No. 6693, 92. 

Sales. Bryan, London, May 17, 1798, No. 19 of the second day (22 : is.); 
see Buchanan, i. 281. Pendant to "Rembrandt's Mother," 689^. 
W. Y. Ottley, London, May 25, 1811. Sm. 208. 

590*. Portrait of the Painter. At an advanced age. On the 
head is a cap. 

Canvas, 24} inches by 22 inches. 

Sale. (Supplementary) L. B. Coders, Amsterdam, August 7, 1811 (200 
florins, Roos ; bought in). 

590^. Portrait of the Painter. Effective light and shade. 
Canvas, 154 inches by 13 inches. 

In the collection of Baron Castell de Bedernau. 

Sale. Baron de Castell, Hamburg, July 21, 1824, No. 153. 



xxn REMBRANDT 289 

590^. Portrait of the Painter. Holding one hand on his breast. 

Canvas. 

Sale. A. J. Petit, Malines, July 5, 1826, No. 163 (4 florins, DC Nooter). 

59(W. Portrait of the Painter. With a gorget, and a fur cap on 
his head. Well and effectively painted. 
Canvas. 

Sa/f. P. A. de Genestet, Amsterdam, August 23, 1831, No. 118 (i florin, 
Buk). 

590^. Portrait of the Painter. Sm. 224. Over sixty. Almost 
in full face. Most of his face is in shadow. He has a small moustache 
and a bushy beard. He wears a white cap and a plain brown doublet, 
showing part of the shirt-collar and vest. 

Panel, 23 inches by 18 inches. 

In the Rijksmuseum, Amsterdam, 1836 (Sm.) ; not traceable in the cata- 
logues of that date nor in the Museum to-day. 

591. Portrait of the Painter. Sm. 236. In his youth. [Possibly 
identical with Sm. 240 (601) ?] 

Etched by T. Worlidge. Engraved in mezzotint by D. Martin [1737-98]. 
In the collection of the Duke of Argyll, when engraved. 

59i<7. Portrait of the Painter. Half-length, in profile. He is 
writing his name on a tablet. On his head is a cap. Round his neck 
hangs the so-called Order of St. Michael. 

Canvas, 30^ inches by 26$ inches. 

Sale. Schamp d'Aveschoot, Ghent, September 14, 1840, No. 14 (3030 
francs, Tence of Lille). 

592. Portrait of the Painter. Seen almost in a three-quarter view. 
He has a moustache and imperial. On his head is a fur cap trimmed with 
gold embroidery. He wears a black doublet under a blue cloak embroidered 
in silver. 

Signed with the monogram, and dated 1641 ; panel, 27 inches by 
2oJ inches. 

Sale. Heris (Colonel de Birc) of Brussels, Paris, March 25, 1841, No. 7 
(1010 francs). 

593. Portrait of the Painter. Sm. Suppl. 17. About thirty-three. 
In full face. The left side of the head is in shadow. His fair hair falls in 
curls on the shoulders. He wears a large black cap and a black cloak over 
a brown doublet buttoned up to the throat, showing only a small edging of 
white and part of a gold chain. 

Canvas, 30! inches by 24^ inches. 

Engraved by G. F. Schmidt. 

Exhibited at the British Institution, London, 1824, No. 99. 
In the collection of Peter Rainier. 
In the possession of Messrs. Smith, London. 

In the collection of James Morrison, Basildon Park, 1842 (Sm.) ; not now 
there. 

VOL. VI U 



290 REMBRANDT SECT. 

593*7. Portrait of the Painter. Dut. 178. About sixty. He 
wears a loose greenish coat and a white cap, and a cross of the so-called 
Order of St. Michael. 

26 inches by 21 inches. 

Mentioned by Moes, Iconographia Batava, No. 6693, 99. 
Exhibited at Brussels, 1855. 

In the Academy of Design, The Hague, according to the Patureau catalogue. 
Sale. T. Patureau of Antwerp, Paris, April 20, 1857, No. 25 (5800 francs, 
Didier). 

593^. Portrait of the Painter. Sm. 206. He rests his elbow on 
a window-sill and leans his head on his hand. He wears a brown coat 
with slashed sleeves and a cloak, one end of which covers his left arm. 
Part of his face and the hand are in light ; the rest is in half-shadow. 

31 J inches by 26 J inches. 

Mentioned by Moes, Iconographia Batava, No. 6693, 100. 
' In the Merivaux collection, Paris, 1806. 
In the Rostopchin collection. 
Sales. London, 1844 (P- Norton) ; Norton sold it to T. Garle (for 315). 

T. Garle, London, May 24, 1862 (i$7 : ios., Smith). 
In the possession of J. Smith, who sold it in 1862 to J. R. Poynder. 

594. Portrait of the Painter. Dut. 156 ; Wb. 163. Part of the 
face is in full light, very yellow in tone. 

Exhibited at the British Institution, London, 1829, No. 173 ; at the Royal 
Academy Winter Exhibition, 1882, No. 102. 

In the collection of the Earl of Caledon in 1829, in 1857, when Waagen 
saw it (iv. 150), and in 1882 ; but not now there. 

594*. [Identical with 833*.] 

595. Portrait of the Painter. At an advanced age. Half-length. 
He is turned to the left and looks at the spectator. His left hand is on his 
breast. He has a moustache. He wears a cap shading the upper part of 
the face. His coat is open at the breast, showing the shirt-collar. The 
light comes from the left, illumining the right side of the face. Related in 
composition to 528. 

Signed on the left at top, "Rembrandt f. 1654." 

The original is lost. 

Described from a copy Wb. 106 on oak panel, 32^ inches by 26 inches, 
with the top corners cut off diagonally. This was 

In the collection of Johann Wilhelm, Elector Palatine (who died in 
1716), DUsseldorf, 1719 catalogue, No. 93 ; see Van Gool, ii. 539. 
Afterwards 

In the Aeltere Pinakothek, Munich, 1911 catalogue, No. 333. 
Another copy Sm. 226 with the left hand holding a book, was 
Exhibited at the British Institution, London, 1824, No. 118. 
Then in the collection of William Gosling. 
Sales. Skeffington Smyth, London, March 3, 1906, No. 75 (^105, 

Parton). 

Sholto Montgomery Cay and others, London, July 8, 1910, 
No. 54. 



xxn REMBRANDT 291 

595^7. Portrait of the Painter. Wb. 225. At an advanced age. 
Strong in colour, rich in style. 

Mentioned by Waagen, ii. i 

In the collection of H. A. J. Munro, London, 1854. 

596. Portrait of the Painter. At an advanced age. Seen in 
full face. He wears a red coat and a black cap. He holds a stick with a 
gold tassel. 

Signed on the right at top, " Rembrandt F." 

The original is lost. 

Described from a copy in the castle of Kronenborg, Zealand, Denmark. 

597. Portrait of the Painter. Sm. 234; Dut. 161. About 
fifty -three. He is seen in a three-quarter view. He wears a plain 
cloak enveloping his body, and a dark cap of a loose and broken form. 

The original is lost. Described by Sra. from a print by G. Longhi. 

598. Portrait of the Painter. Sm. 237. Half-length. 
The original is lost. Described by Sm. from an etching by J. H. S. 

599. Portrait of the Painter. Sm. 238. 

The original is lost. Described by Sm. from an etching by T. Reeve. 

600. Portrait of the Painter. Sm. 239. A head. 

The original is lost. Described by Sm. from an etching signed " Rerab." 

60 1. Portrait of the Painter. Sm. 240. In a velvet cap. 
[Possibly identical with 833^. Cf. 591.] 

The original is lost. Described by Sm. from an etching by T. Worlidgc. 

6oia. Portrait of the Painter. Very young, laughing. Bare- 
headed, with a gorget. 

Mentioned by Moes, Iconographia Batava, No. 6693, 6. 
The original is lost. Engraved by L. A. Claessens as " Le Rireur" after 
Frans Hals ! 

602. Portrait of the Painter with his Wife. 

Mentioned by Hofstede de Groot, Urkunden^ No. 336. 

In the collection of the widow Louys Crayers, Amsterdam, 167-. 

603. Portrait of the Painter with his daughter Cornelia 

(born 1654 j died about 1680). 

Oval. 

The original is lost. 

A picture of this subject, originally an oval but now rectangular, is in the 
Lierre Museum, near Antwerp, No. 45. It is there attributed to Rembrandt. 
The author, when he saw it, was uncertain whether to assign it to Lievens, on 
account of the strong golden tone in the hair, or to give it to N. Maes, on 
account of the sharp contrast between white and red. 

Described by Hofstede de Groot, Urkundcn^ No. 387, from a copy by 
Hyacinthe Rigaud, Paris, who valued it in the inventory taken of his collection, 
May 17, 1703 (at 200 francs). 



292 



REMBRANDT SECT. 



604. Portrait of the Painter with Gerard Dou. 

Mentioned by Hofstede de Groot, Urkunden, No. 177. 

In the possession of the Amsterdam dealer Johannes de Renialme, in the 
inventory of June 27, 1657, No. 302. 

PORTRAIT OF THE PAINTER. Other pictures in 
which Rembrandt portrayed himself are 270 (Moes 6693, 71) ; 283 (Moes 
6693, 39) i 334 (Moes 6693, 25) ; 335 ; 337 (Moes 6693, 26 ) 5 and > ac- 
cording to other authorities, also 263 (Moes 6693, J 9) 5 35 (Moes 6693, 
14) ; and 746 (Moes 6693, 43). 

605. SASKIA VAN UYLENBURCH, wife of Rembrandt from 
1634 (born 1613 ; died June 14, 1642). Sm. 570 ; Bode 38 j Dut. 184 ; 
Wb. 30 ; B.-HdG. 265. Half-length ; life size ; seen in full face, but 
inclined a little to the left, and looking at the spectator. She has blue 
eyes and red lips tightly shut. With her left hand she holds at her bosom 
a dark cloak hanging over her right shoulder. Her fair hair falls loosely 
on her shoulders ; on the back of her head is a broad fur cap adorned with 
a string of pearls held in place with brooches. Her pleated chemisette is 
open at the throat, showing a pearl necklace with a broad clasp. Her 
gown, cut square on the bosom, has a pattern in golden yellow ; under 
the short wide sleeves of dull red are the pleated sleeves of the chemisette. 
On the bosom rests a heavy twisted gold chain, holding by a clasp the 
cloak on the left shoulder. Full light falls from the left on the face and 
neck. Dark background. As the picture is dated a year after Saskia's 
death, and as the resemblance, for example, to the Dresden portrait of 
1641 (609) is very slight, the identity of the sitter is by no means 
established. 

Signed on the right above the shoulder, "Rembrandt f. 1643"; 
panel of foreign wood resembling mahogany, 28J inches by 23^ inches. 

Engraved by W. Unger in the work on the Berlin Gallery. 

Mentioned by Vosmaer, pp. 209, 531 ; Bode, pp. 456, 563 ; Dutuit, p. 
25 ; Michel, pp. 303, 551 [231, 436] ; Moes, Iconographla Batava, 8168, 17 ; 
Nicolai, ii. 887, No. 90. 

In the Royal palaces, Potsdam ; transferred to the Berlin Museum, 1830. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 812. 

606. SASKIA VAN UYLENBURCH. B.-HdG. 152. Half- 
length, without hands ; life size. She is turned to the right, but looks at 
the spectator. She wears a green gown, cut open at the throat and 
embroidered with gold. Her throat is covered with a fine pleated 
chemisette fastened with a string of pearls. A long dark veil, falling 
down her back, is fastened in front on her brownish hair with a string of 
pearls and a clasp in which is a brown ostrich feather. In her right ear, 
which is alone visible, is a single pearl. Clear dark brown background. 
The light comes from the left. 

Signed on the right on a level with the shoulder, "Rembrandt f. 
1633 " ; oval oak panel, 26 inches by 19 inches. 
Mentioned by Moes, 8168, 5. 
In the collection of Lord Elgin, Broomhall, Scotland. 



xxn REMBRANDT 293 

607. SASKIA VAN UYLENBURCH. Sm. 489 and 495 ; 
Bode 63; Dut. 180; Wb. 64; B.-HdG. 150. Half-length ; life size. 
She stands with her body inclined to the left and her head in full profile 
to the left. On her fair auburn hair, kept in place by a chain wound 
round the head and by a kerchief, she wears a broad-brimmed hat of gold 
brocade, lined with red velvet and surmounted by a large white ostrich 
feather. She has a gown of a deep purplish red with very short sleeves ; 
from under it appears a rich embroidered silk chemisette of pale green, 
embroidered with pearls and precious stones at the throat and on the full 
hanging sleeves. She holds with her left hand a dark fur cloak thrown 
over her right shoulder ; in her right hand she holds to her bosom a little 
sprig of rosemary. She is richly adorned with pearls in her ears, at her 
throat, and in several bracelets on both arms. Full but softened light 
falls from the left on the face and throat. The greyish-brown background 
is rather dark. Painted about 1633. 

Oak panel, 39 inches by 30^ inches. 

A copy Sm. 530, and Suppl. 24 ; Wb. I with variations, dating from the 
eighteenth century, is in the Antwerp Museum, 1905 catalogue, No. 293 ; 
etched by A. Porel. It was in the 

Sales. Robit, Paris, May 21, 1801, No. 152 of Bryan's catalogue 

(^210, Sir Simon Clarke) ; see Buchanan, ii. 62. 
Sir Simon H. Clarke, London, May 8, 1840 (142 : i6s., 

Nieuwcnhuys). 
William II., King of Holland, The Hague, August 12, 1850 

(3700 florins, E. Le Roy of Brussels) ; [see 915]. 

Studies for the picture are in the Albertina, Vienna (HdG. 1431) and in 
the collection of C. Hofstcdc de Groot, The Hague. 

Etched by H. De Thier ; by Oortman (Filhol, vi. 395) ; by L. Flameng in 
the Gazette ties Beaux-Arts, 1869, and Dutuit, iii. ; by W. Unger, 1870 ; and 
N. Mossoloff, 1876. 

Mentioned by Vosmaer, pp. 133, 499; Bode, pp. 417, 566; Dutuit, p. 
27 ; Michel, pp. 174, 552 [133-4, 43 7J ; ]- Six in Oud Holland, 1894, p. 153 ; 
Moes, 8168, 2 ; Hofstedc dc Groot, Urkunden, Nos. 195, 386. 
In the collection of Rembrandt, Amsterdam, till 1652. 
In the collection of Jan Six, Amsterdam, who acquired it from Rembrandt. 
&J&. Jan Six, Amsterdam, April 6, 1702, No. 39 (510 florins, Nicolaes 

Six). 

In the collection of Nicolaes Six, Amsterdam. 
Sale. Willem Six, Amsterdam, May 12, 1734 (Hoet, i. 412), No. 36 

(270 florins, Valerius dc Reuver). 

In the collection of Valerius de Reuver, Delft ; No. 112 in the inventory 
preserved in the Amsterdam University library, where the picture is wrongly 
assigned to 1642. 

In the collection of Madame de Reuver, Delft (Hoet, ii. 393) ; acquired 
with it in 1750 for Wilhelm VIII., Landgraf of Hessen-Cassel. 

In the Royal Gallery, Cassel, 1913 catalogue, No. 236 (old No. 214); 
(valued by Sm. in 1836 at 525). 

608. SASKIA VAN UYLENBURCH. Sm. 579; Bode 83 ; 
Dut. 181; Wb. 82; B.-HdG. 151. Half-length, with one hand; life size. 
She is in profile to the left, with the head slightly bent down ; she turns 



294 REMBRANDT SECT. 

her smiling face to the spectator and rests her gloved right hand, which is 
alone visible, below her breast. She wears a broad slashed red velvet cap 
with a gold chain and a tall ostrich feather. Her blue gown, with a pattern, 
is cut low in the neck, showing a white cloth. Her hair falls loosely 
down her back. In her ear is a pearl ; round her throat is a pearl necklace. 
On her shoulder is a double knot. Bright light falls from the left at top 
on the lower part of the face, the throat, and the shoulder. Dark 
background. 

Signed to the left on a level with the shoulder, " Rembrandt ft. 1633 ; 
oak panel, 21 inches by 17 J inches. 

There are copies (i) in a private collection in London, and (2) in the 
sale : H. D. Roussel, Brussels, May 23, 1893, No. 62. 

Engraved by J. L. Kaab and by F. Bottcher ; etched by A. H. Riedel and 
by N. Mossoloff. 

Mentioned by Vosmaer, pp. 133, 499 ; Bode, pp. 416, 569 ; Dutuit, p. 28 ; 
Michel, pp. 173, 553 [133, 437]; Moes, 8168, 4. 

In the Dresden Gallery, 1908 catalogue, No. 1556 ; it has been there since 
1817. 

609. SASKIA VAN UYLENBURCH. Sm. 574; Bode 84; 
Dut. 183; Wb. 83; B.-HdG. 264. Three-quarter length; life size. 
She stands, seen in full face, with her head bent down a little to the left ; 
her brown eyes look with a smile at the spectator. Her left hand lies on 
her bosom ; her right hand, stretched out in front, holds a red flower with 
a double bloom. Another flower lies on the low grey stone wall to the 
left. She has brown hair, falling in short ringlets on her brow and in long 
curls on her shoulders. She wears a loose red gown with short sleeves ; a 
transparent wrap of brown gauze is wound round her from the right 
shoulder to the left hip. The gown, half open, is cut out wide to show the 
fine chemisette, also cut low, which she presses to her bosom with her left 
hand. Over her left forearm hangs a cloak. Her ornaments are a narrow 
diadem, pearl ear-rings, a pearl and a coral necklace with a brooch, a gold 
chain wound twice round her wrist, and two bracelets on her left arm. 
Bright light falls from the left at top on her figure. Dark background. 

Signed on the left at foot, "Rembrandt f. 1641 " ; oak panel, 39 inches 
by 33 inches. 

Etched in 1781 and again later by A. H. Riedel; and by W. Unger. 
Lithographed by Hanfstaengl. Engraved by D. J. Pound, and by A. Schultheiss 
in 1885. 

Mentioned by Vosmaer, pp. 209, 527 ; Bode, pp. 456, 569 ; Dutuit, p. 28 ; 
Michel, pp. 297, 553 [224-5, 2 3*> 438] ; Moes, 8168, 16. 

Sale. G. Bicker van Zwieten, The Hague, April 12, 1741 (Hoet, ii. 21), 
No. 131 (250 florins). 

In the Araignon collection, Paris ; acquired from it in 1742 for the Electoral 
Gallery, Dresden. 

In the Dresden Gallery, 1908 catalogue, No. 1562 [valued by Sm. in 
1836 at 367 : ios.]. 

610. SASKIA VAN UYLENBURCH. B.-HdG. 160. Study 
of a head. A small half-length, without hands. She sits, turned a little to 
the left, and looks at the spectator. She has fair ringlets, and wears a 



xxn REMBRANDT 295 

small cap embroidered with gold on the back of her head ; a large bluish- 
green plume is fixed in the cap and a transparent veil falls from the back of 
it. Round her throat is an olive-green wrap. On her reddish-purple 
gown lies a large gold medal. In the left ear, which is alone visible, hangs 
a pearl. Full Tight falls from the left on the right side of the face. Dark 
background, illumined to the right. Painted about 1633-34. [Cf. 886.] 
Oak panel, 5^ inches by 4 inches ; the corners are cut oft at an angle, 
but it was originally an oval. 

The study seems to have been used for the head of the woman bathing in 
the foreground of "Diana and Actaeon " (200). 

Mentioned by Moes, leonographia Batava, 6686, I, and 8168, 7. 
Exhibited at Amsterdam, 1898, No. 13 ; at the Royal Gallery, The Hague, 
1897-1907 ; at the Royal Academy Winter Exhibition, London, 1899, No. 26. 
In the Royal Gallery, Schlcissheim, near Munich. 
Sales. Goecke, Anrept-Elmpt, and others, Cologne, June 5, 1893, No. 143, 

under the name of Govert Flinck. 
J. Brade and others, Cologne, October 25, 1897 (300 mark, Hofstedc 

de Groot), under the name of Govert Flinck. 
In the collection of C. Hofstede de Groot, The Hague. 

611. SASKIA VAN UYLENBURCH. B.-HdG. 154. Half- 
length, without hands ; life size. She sits, turned half-left, with her face in 
profile, looking thoughtfully into the distance. Her very fair hair is neatly 
dressed ; a few ringlets stray on to her brow and temples. On her head is a 
small cap with two jewelled gold chains and a light green veil falling down 
her back and on her shoulders. In her left ear is an ear-ring with a large 
pearl ; round her neck are a string of pearls and a slender necklace with 
a gold cross. Her red gown, embroidered with gold, is cut low at the 
throat. A grey-green breast-plate with a design on it is fastened by two 
gold chains to the shoulders and exposes the chemisette. A loose cloak 
with a gold pattern falls over the shoulders and is fastened in front with a 
clasp. Full and evenly distributed light falls on the whole figure. The 
background is rather dark, but is illumined to the right ; the upper corners 
are rounded off in dark patches. 

Signed indistinctly because it has been partly repainted to the left on 
a line with the throat, "Rembrandt f. 1635"; oak panel, 27 inches by 
21 inches. 

Mentioned by Moes, Iconographia Batava, No. 8168, 10 ; [Michel, 137 (?), 
433]. 

Exhibited at the Royal Academy Winter Exhibition, London, 1893, No. 
101, and 1899, No. 84. 

In the collection of Henri Penon, Paris. 

In the collection of Samuel S. Joseph, London. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 300 
Paintings," 1898, No. 129. 

In the possession of M. Knoedler and Co., London. 

612. SASKIA VAN UYLENBURCH. Bode 294; Dut. 188 ; 
Wb. 300; B.-HdG. 149. Half-length, without hands ; life size. She 
is in profile to the left. A string of pearls and a gold clasp with a bow 
confine her fair hair, which is raised up at the back and is slightly curled 



296 REMBRANDT SECT. 

in front. There is another string of pearls round her neck ; in her ear is 
a large pearl ; at her bosom is a large ruby in a wide setting. She wears a 
black gown with a blue waistband and bows ; on it is a triple collar of rich 
lace. Dark greyish-brown background. 

Signed to the left at foot, "R H L van Ryn, 1632 " j canvas, 27 inches 
by 22 inches. 

Mentioned by Bode, pp. 400,' 421, 596; Michel, pp. 106, 563 [127-8, 
435] ; Dutuit, p. 51 ; Moes, No. 6686, 9, and No. 8168, I. 

Exhibited at Amsterdam, 1898, No. 22 ; in Paris, 1911, No. 121. 

Sales. De Mier of Vevey, Paris, 1840 ; see C. Blanc, ii. 439. 
J. Reiset, Paris, April 29, 1870. 

In the Courtin collection, Paris, 1872. 

Sale. Haro, Paris, May 30, 1892. 

In the collection of Edouard Andre, Paris ; bequeathed by his widow in 
1912 to the Institut de France. 

In the Mus6e Jacquemart-Andre, Paris. 

613. SASKIA VAN UYLENBURCH. Dut. 289 ; Wb. 13 ; 
B.-HdG. 155. Three-quarter length j life size. She stands, inclined half- 
right and turning her head to the spectator ; she rests her right hand on the 
back of a chair ; her left arm hangs down. A broad flat brown cap with a 
yellow ostrich feather covers her golden-brown hair. Her dull dark green 
gown is cut out square at the throat, exposing the crimped chemisette, which 
is partly open ; over the gown falls a short blackish-blue cloak fastened at the 
breast with a broad gold clasp. On the left shoulder the cloak is adorned 
with a long gold ornament with a large stone. A variegated gauze wrap 
is drawn back from the throat and over the shoulders. Round the neck is 
a string of pearls j in the ear is an ear-ring with a pearl. The hands are 
covered with loose deerskin gloves. The portrait is painted over an older 
picture that had been begun j this picture shows through in places. 

Signed on the right at top, "Rembrandt f. 1635"; oak panel, 39 
inches by 28 inches. 

There are copies 

1. In the Darmstadt Museum, 1885 catalogue, No. 348 Wb. 69; 

Moes, 8168, 12. 

2. Exhibited at Mainz, 1887, No. 64, as a Princess Fonti by Bernaert 

Fabritius, from the collection of Stephen Michel, Mainz. 
Formerly in the collection of Prince Fonti Moes, 8168, 13. 

3. In the possession of a Paris dealer, about 1900. Formerly in the 

collection of Baron Konigswarter, Vienna, under the name of 

Govert Flinck. 

Mentioned by Vosmaer, p. 524; Dutuit, p. 57 ; Michel, p. 551 [439]; 
Moes, No. 8168, II. 

Exhibited at Leipzig, 1889, No. 186. 

In the collection of Count Luckner, Altfranken, Dresden. 

In the collection of Baron Edmond de Rothschild, Paris. 

614. SASKIA VAN UYLENBURCH. B.-HdG. 156. Half- 
length, without hands ; life size. She is turned a little to the right and 
bends her head down to the right ; she is seen almost in full face. She 
has brown eyes and a fresh complexion. Her brown ringlets are fastened 



xxn REMBRANDT 297 

on both sides ; over them is a transparent gold-embroidered veil, held in 
place at top by a clasp with a black plume. In each ear is a pear-shaped 
pearl. Her gown, golden green in tone, has a pattern and is trimmed with 
gold brocade ; it is cut out in a round at the throat, showing the fine 
chemisette, and over it a collar richly worked in gold with a large pearl 
pendant. 

Signed on the right a little below the level of the shoulders, " Rem- 
b(r)andt f. 1636 " the " r " having been inserted afterwards by the painter; 
canvas, 31 inches by 26 inches. 

Mentioned by Moes, Iconographia Batava, No. 8168, 15. 
Exhibited at Amsterdam, 1878, No. 38, as the "Portrait of a Lady." 
In the collection of J. Carpenter Gamier, Rookesbury Park, Hampshire. 
In the collection of Sir C. J. Robinson. 

In the possession of the Paris dealer C. Sedelmeyer, " Catalogue of 100 
Paintings," 1899, No. 36. 

In the collection of A. M. Byers, Pittsburg. 

615. SASKIA VAN UYLENBURCH. Sm. 502, 576, 578; 
Wb. 454; B.-HdG. 153. Half-length, without hands ; life size. She 
is in profile to the right, but turns her head a little towards the spectator, 
at whom she is looking. She wears a dark blue cloak with narrow gold 
trimming at the throat, where the fine pleated chemisette is exposed. On 
the bosom lies a gold chain. On her reddish-gold hair is a fine veil with 
a coloured pattern, foiling down her back and on her shoulders. A pearl 
is attached by a long loop to her ear. Full light falls on the right side of 
the face. Dark background. Painted about 1633. 

Oak panel, 23 inches by 18 inches. 

A copy is in the collection of Madame J. J. Bachofen-Burckhardt, Basel, 
1907 catalogue, No. 73. 

Engraved in mezzotint by R. Reid, 1776, with a stone frame added. 
Exhibited at the British Institution, London, 1831, No. 85 ; at the Hudson- 
Fulton Celebration, Metropolitan Museum, New York, 1909, No. 81. 

Sales. De Gaignat, Paris, December 1768 (1501 francs, with pendant, 

588). 
E. A. de Calonne, Paris, April 21, 1788 (3407 francs, with pendant, 

588). 
De Choiseul-Praslin, Paris, February 18, 1793 (1601 francs, with 

pendant, 588). 

In the collection of Bouchier Clceve, London. 
Sales. W. Wells of Redleaf, London, May 1848 (62 : 2s., Davenport; 

probably bought in). 

W. Wells, London, May 10, 1890 (1690 : ios.). 
H. Bingham Mildmay, London, June 24, 1893, No. 58 (2800 : 75.). 
In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 
Paintings," 1894, No. 31. 

In the collection of the late P. A. B. Widener, Philadelphia, 1908 catalogue, 
No. 241. 

615*. Saskia van Uylenburch. Half-length. 

In the collection of Sir Robert Walpole, Houghton Hall, Norfolk, 1767 
catalogue, No. 48. 



298 REMBRANDT SECT. 

6 1 6. Saskia van Uylenburch. 

It is uncertain whether two or more of the following were identical : 

In the collection of Andries Ackersloot, Amsterdam ; given by him to Martin 
van den Broeck, by agreement of March 28, 1647, with other pictures and 
objects of value in exchange for ropes, masts, and iron. See Hofstede de Groot, 
Urkunden, No. no. [Cf. 590.] 

In the collection of the Prince of Wales before 1752 (Hoet, ii. 897). 

Sale. Bryan, London, May 17, 1798, No. 20 (76 : 135.) ; see Buchanan, 
i. 288 and 295. Formerly in the sale : Baron Nagel, London, 
March 18, 1795 (72 : 95.) Sm. 527. 

In the collection of Lady Clarke, 1836 ; formerly in the collection of Sir 
Simon H. Clarke. Exhibited at the British Institution, London, 1819, No. 67, 
and 1836, No. 36. 

617. Saskia van Uylenburch. Half-length; life size. She is seen 
in a three-quarter view, in her prime. She wears an Armenian costume ; 
over her gown is a cloak adorned with gold embroidery and gold clasps. 
Her chemisette is pleated in narrow folds and fastened at the throat. In 
her ears are jewelled pendants. Her hand is bare. Her hair is drawn back 
without ringlets and is surmounted with a plume. Her right hand lies on 
her bosom. 

Panel, 24 inches by i8J inches. 

In the collection of Baron Spaan-Lalecq, The Hague. 

Sales. X. de Burtin, Brussels, July 21, 1819, No. 140 (1000 florins). 

X. de Burtin, Brussels, November 4, 1841, No. 51* (200 francs, 
Giblet). 

6 1 8. Saskia van Uylenburch. Sm. 544 ; Dut. 182 ; Wb. 459. 
She is in three-quarter profile. She has curly brown hair with a green 
and a white plume. She wears pearls and a gold chain, a bodice with 
buttons, a small grey silk mantle, and a veil falling on her shoulders. 
" Painted in the artist's finished manner " (Sm.). [Probably identical with 
700.] 

Signed, and dated 1633 ova ^ P ane l 5 2 8J inches by 19 inches. 

Mentioned by Dutuit, pp. 17, 56. 

In the Lockhorst collection, Rotterdam. 

Sale. Cardinal Fesch, Rome, March 17, 1845, No. 195 (300 scudi). 

6iSa. Saskia van Uylenburch. Wb. 181. It corresponds to the 
etching of "The Great Jewish Bride" of 1634 that is, 1635 j Bartsch 
340 [Hind 127]. 

Mentioned by Vosmaer, p. 504. 

In the Donnadieu collection, London. 

SASKIA VAN UYLENBURCH. Other pictures in which 
Rembrandt probably portrayed his wife are 196, 204, 205, 206, 307, 
334, 337- 

619. ALLOTTE ADRIAENS (died 1656), wife of E lias Trip from 
1609. Sm. 538; Dut. 284; Wb. 473; B.-HdG. 571. Half-length, 
without hands ; life size. She is turned to the left and looks at the spectator. 
She wears a black gown, a close-fitting black cap, the point of which 



xxn REMBRANDT 299 

stretches over the brow, and a large ruff. Dark background. The light 
falls from the left at top. 

Signed, "Rembrandt f. 1639"; oak panel, 26 inches by 22 inches. 

A copy is in the collection of S. Laman Trip, The Hague. 
Mentioned by Dutuit, pp. 15, 16, 56. 

Exhibited at the Royal Academy Winter Exhibition, London, 1873, No. 
126, and 1899, No. 60. 

Saks. T. Emmerson, London, 1832 [in his possession 1836, according to 

Sm.]. 

(Possibly) Dubois, Paris, December 7, 1840 (3600 francs). 
Possibly in the Gaillard collection, Rouen. 
In the collection of Sir Francis Cook, Bart., Richmond. 
In the collection of Sir Frederick Cook, Bart., Richmond. 

619*7. Marquis d'Andelot (1620-1649) ; Caspar de Coligny, Marquis 
d'Andelot, afterwards Due de Chatillon. He was in Holland in 1633-34, 
and in the spring of 1640. He became Colonel of a Dutch infantry 
regiment in 1644. 

Mentioned by Jan Veth, Kumtehroniek, June 18, 1909, and Onxf Kunst, 
March 1912; by Hofstcdc de Groot, Oud Holland, 1912, p. 180, and 1913, 
p. 65. 

The original is lost. Celebrated by De Scudery in his collection of poems 
published May 1645 (vol. i. p. 171), where he says that d'Andelot would be 
taken for an Adonis if he were not armed, and for a queen of the Amazons if he 
wore his helmet. 

620. CORNELIS CLAESZ ANSLO (1592-1646), Mennonite 
preacher at Amsterdam, AND HIS WIFE AELTJE GERRITSE 
SCHOUTEN. Sm. 276 ; Bode 188 ; Dut. 197 ; Wb. 144 ; B.-HdG. 
282. Almost full-length figures ; life size. Anslo, seen almost in full face, 
sits at a table. He leans his right arm on the arm of the chair. He stretches 
out his left hand to the front and turns as if speaking to the woman seated on 
the right ; she, seen almost in profile to the left, turns towards him. Her 
hands rest in her lap ; in her left hand is a pocket-handkerchief. Anslo 
has a dark beard. He wears a broad-brimmed black hat, a narrow collar, 
and a large dark cloak, trimmed with fur, over his black coat. His wife 
wears a small white cap with ear-flaps, a thin and narrow cuff, and a black 
silk gown. To the left is the study-table with a brown cover ; a reading- 
desk with an open folio and a metal candlestick with two branches stand 
on the pale Smyrna carpet, which is half-turned back. Behind the preacher 
is a bookcase, almost hidden by a dull green curtain. Full light falls from 
the left on the right side of the preacher, on his left hand, and on the 
woman. A tradition traceable to the middle of the eighteenth century 
identifies the woman as Aeltje Gerritse Schouten, wife of Anslo. See as 
to this Bode, Jahrbuch der Ktiniglichen Preussischen Kunstsammlungen, xvi. 
(1895), PP- 3> *97 i J- Six, Oud Holland, 1909, p. 65. 

Signed on the left at foot, " Rembrandt f. 1641 " ; canvas, rounded at 
top corners, 68 inches by 83 inches. 

A smaller copy, dating from the eighteenth century, is in the Anslo-Hofje, 
Amsterdam. 



300 REMBRANDT SECT. 

A preliminary study in red chalk for the etched portrait of Anslo, B. 271 
(Hind 187), is in the British Museum, reproduced by Lippmann, 120. A pen 
drawing of 1640, in the collection of Baron Edmond de Rothschild, shows 
Anslo seated at full length and is a study for the painted portrait ; it is repro- 
duced, HdG. iii. 17. A pen-sketch for the same is in the Berlin Print-room, 
reproduced, HdG. iv. 38. A sketch for the books on the table to the left was 
in the collection of J. P. Heseltine, London ; reproduced, Lippmann 89. 

Engraved in mezzotint by Boydell, 1781. Etched by K. KSpping, 1899 ; 
by A. Krtlger in the Jahrbuch der Koniglichen Preussischen Kunstsammlungen, xvi. 

Mentioned by Vosmaer, pp. 208, 527 ; Bode, pp. 463, 585 ; Dutuit, p. 42 ; 
Michel, pp. 272, 556 [208-10, 431] ; Moes, 165 ; Waagen, iii. 27. 

Exhibited at the British Institution, London, 1815, No. 31. 

In the Aldewereld collection, The Hague, 1766. 

Sale. Sir Thomas Dundas, London, 1794 (540). 

In the collection of the Earl of Ashburnham, 1836 (Sm.). 

Sale. Earl of Ashburnham, London, July 20, 1850 (4200, withdrawn). 

In the collection of the Earl of Ashburnham, London ; required for Berlin 
in 1894. 

In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 828 L. 

SARA VAN BAERLE (?), wife of Philips van Dorp. 
[^885.] 

621. Adriaen Banck, merchant of Amsterdam. 

Mentioned by Hofstede de Groot, Urkunden, No. 232 ; Moes, 348. 
In the collection of Adriaen Banck, Amsterdam, who sold the picture, 
August 31, 1660, to Adriaen Maen (for 150 florins). 

622. ELISABETH JACOBSDR. BAS (1571-1649), widow of 
Admiral Jochem Heyndricksz Swartenhont (who died 1627). Sm. 553; 
Bode 3 ; Dut. 230 ; Wb. 334, 500 ; B.-HdG. 279. Three-quarter length ; 
life size. About sixty-five to sixty-seven. She sits in an arm-chair, turned 
a little to the left, and looks at the spectator. Her hands are folded ; in 
the right hand is her pocket-handkerchief. She wears a small white cap 
with ear-flaps, a broad stiff ruff and smooth cuffs trimmed with lace. Her 
gown, of black silk with a pattern, is fastened in front with a row of yellow 
buttons ; over it is a sleeveless mantle with broad fur trimming. On a 
table with a dark dim-coloured cover to the left lies a Bible. Full light 
falls from the left foreground on the figure. Dark background, partly 
illumined to the right. 

Painted about 1636-38. Formerly dated about 1642. The sitter, born 
in 1571, looks nearer sixty-five to sixty-seven than seventy-one, and the 
style of painting agrees more nearly with that of pictures like " An Old 
Lady in an Arm-Chair" at New York (868), "A Man in an Arm-Chair" 
in the Lehman collection (768), and " A Preacher " at Bridgewater House 
(744), than with that of the pictures of 1642. The picture, hitherto re- 
garded as one of Rembrandt's finest portraits of women, has recently been 
assigned by A. Bredius to F. Bol, though it far surpasses his best works. 
See as to this controversy A. Bredius and Hofstede de Groot in Oud 
Holland, 1911, p. 193, and 1912, pp. 74, 82, 174, 183. [See also 
Burlington Magazine, vol. xx. (March 1912), p. 330.] 

Canvas, 46 inches by 35 inches. 



xxn REMBRANDT 301 

Etched by C. Waltncr, P. J. Arendzen, C. L. Dake. 

Mentioned by Bode, pp. 461, 557 ; Dutuit, p. 36 ; Michel, pp. 306, 564 
[234-5, 439J ; Mocs, 379 ; J. G. Fredericks in Obreens Archief, p. 265. 

In the Key collection, Amsterdam. 

In the Meulenaar collection, Amsterdam. 

In the Mogge Muilman collection, Amsterdam, 1836 (Sm.). 

In the collection of J. S. H. van de Poll, Amsterdam, bequeathed in 1880 
to the Rijksmuseum. 

In the Rijksmuseum, Amsterdam ; 1911 catalogue, No. 2023. 

623. A Bavarian Princess (?). Sm. 531. Effective lighting. 
Vigorously painted with rich colours. 

Sale. Lord Crawford, London, 1806, No. 21 (73 : ios., Lord Ennisraore) ; 
see Buchanan, ii. 184. 

NICOLAES BERCHEM (?) and THE WIFE OF 
N. BERCHEM (?). [See 749, 864.] 

624. A MAN OF THE VAN BERESTEYN - VUCHT 
FAMILY. Dut. 248 ; Wb. 344 ; B.-HdG. 82. Three-quarter length ; 
life size. About fifty. He stands, inclined a little to the right, and looks 
straight before him. He is bare-headed ; he has grey hair, combed up 
high, and a pointed beard. He lays his right hand on his breast ; his 
gloved left hand, grasping the other glove, peeps out of the cloak. He 
wears a silk coat, striped grev and black, under a black cloak, a close-fitting 
pleated collar trimmed with lace, and narrow cuffs. Bright light falls from 
the left at top. Dark grey background, illumined to the right. 

The picture has suffered from heavy pressure in its transference to a 
new canvas. Nothing is known as to the identity of the sitter. He may 
just as well have belonged to some family related through a female line as 
to the Beresteyn family proper. [Pendant to 625.] 

Signed on the right in a line with the elbow, "RH L van Ryn 
1632 " ; canvas, 44 J inches by 35 A inches. 

Mentioned by Dutuit, p. 53 ; Michel, p. 1 19 [91, 443] ; Moes, 512. 
In the collection of the Beresteyn family, Chateau Maurik, Vucht, 1884. 
In the collection of the late H. O. Havemeyer, New York. 

625. A LADY OF THE VAN BERESTEYN -VUCHT 
FAMILY. Dut. 248 ; Wb. 344 ; B.-HdG. 83. Three-quarter length; 
life size. She stands to the left, seen almost in full face, at a table with a 
greenish-blue cover, on which she rests her left hand. She is of middle age. 
Her fair but greyish hair, combed well back from the face, is covered at the 
back with a small cap and fastened with a rosette-headed pin. She wears 
a flowered black silk gown with slashed and puffed sleeves ; she has a 
greenish-gold girdle, several strings of pearls at her throat and her wrists, a 
gold chain on her bosom, a broad lace-trimmed ruff over a soft lace collar 
fitting closely round her neck, and lace-trimmed cuffs. In her right hand 
she holds a black ostrich-feather fan by a gold chain. Cool light comes 
from the left. See notes to 624, to which this is a pendant. 

Signed on the right above the table, "RHL van Ryn 1632"; 
canvas, 44^ inches by 35^ inches. 



302 REMBRANDT SECT. 

Mentioned by Dutuit, p. 53 ; Michel, p. 119 [91, 443]. 

In the collection of the Beresteyn family, Chateau Maurik, Vucht, 1884. 

In the collection of the late H. O. Havemeyer, New York. 

MARGARETHA VAN BILDERBEECQ, wife of Willem 
Burchgraeff. [See 630.] 

626. Balthasar Bol (died between 1641 and 1652), surgeon, of 
Dordrecht. 

Mentioned by A. Bredius, Oud Holland, 1910, p. 234. 

In the collection of his son Ferdinand Bol, Amsterdam ; inventory of 
October 8, 1669, No. 54. 

627. EPHRAIM BONUS (died 1665), Jewish physician of 
Amsterdam. Sm. 2585 Bode 8; Dut. 200 ; Wb. 349; B.-HdG. 361. 
A small half-length. About thirty-five. He stands turned half-left 
and looking at the spectator. He has a full beard and brown hair. He 
wears a high black hat, a black costume, and a plain close-fitting collar, 
and cuffs. On the left forefinger is a jewelled ring. Strong light falls from 
the left on the right side of the face and on the collar. Dark background, 
illumined to the left. Painted about 1647. 

Oak panel, 7^ inches by 6 inches. 

Etched by Rembrandt himself in reverse, Bartsch 278 [Hind 226] ; by W. 
Steelink in Van Someren, Oude Kunst in Nederlund. Engraved by J. W. Kaiser. 
Mentioned by Vosmaer, pp. 277, 542 ; Bode, pp. 498, 558 ; Dutuit, p. 54 ; 
Michel, pp. 354, 565 [274, 440] ; Moes, 850. 

Exhibited at Amsterdam, 1876 and 1900, No. 126. 

Sales. Willem Six, Amsterdam, May 12, 1734 (Hoet, i. 415), No. 89 

(80 florins). 
Count van Wassenaar-Obdam, The Hague, August 19, 1750 (Hoet, 

ii. 290), No. 8 (36 florins). 
Philip van Dijk, The Hague, June 13, 1753 (Hoet, ii. 508), No. 

5 1 (40 florins, Braamcamp). 
Gerard Braamcamp, Amsterdam, July 31, 1771, No. 178 (200 

florins, P. Fouquet). 

J. L. van der Dussen, Amsterdam, October 31, 1774. 
In the collection of N. N., London, 1801, bought by Sir W. W. Wynn. 
Sale. J. Goll van Franckenstein, Amsterdam, July i, 1833, No. 67 (825 

florins, Six). 
In the collection of J. Six, Amsterdam. 

; EPHRAIM BONUS (?). [See 740, 747.] 

CONNTABLE DE BOURBON (?>. [See 758.] 

627*. Leonard Bramer (1596-1674), painter, of Delft. Strong 
colour. 

Sale. J. P. L. J. Fremin, Cambrai, September 30, 1828, No. 28. 

LEONARD BRAMER (?). [See 763.] 

627^. Lancelot van Brederode (?). Dut. 210; Wb. 466. Half- 
length. Seen in full face, with a broad hat. He has moustaches, or beard 



xxir REMBRANDT 303 

and long hair, and wears a pleated collar. The name of the sitter probably 
comes from Jan Stolker's imagination. 
Dated 1634. 

Mentioned by Vosraaer, p. 505 ; Dutuit, p. 56. 

The original is lost. Described by Wurzbach from a mezzotint by Stolker. 

627*:. Jan Jansz Brouwer, bookseller, of Amsterdam. 
Mentioned by Moes, Iconographia Batava, No. 1179. 

628. NICOLAES BRUYNINGH. Sm. 373 ; Bode 67 ; Dut. 
204 ; Wb. 54 ; B.-HdG. 367. Almost full length ; life size. About 
forty. He sits in an arm-chair ; seen almost in full face. He bends down 
to the left, leaning his right hand on the arm of his chair. He has long 
brown curls and a slight moustache. He wears a plain black coat with a 
smooth collar. The light from the left touches the head and figure. 
Brown background. 

Signed on the right above the arm of the chair, "Rembrandt f. 1652" ; 
canvas, 42 inches by 36 inches. 

Engraved by Oortman in the Muse'e Napoleon ; etched by W. Unger. 

Mentioned by Vosmaer, pp. 355, 558 ; Bode, pp. 533, 566 ; Dutuit, p. 28 ; 
Michel, pp. 429, 552 [334, 437] ; Moes, 1212 ; H. J. Heshuysen, Anuterdamtch 
Jaarboekje, 1900, p. 143. 

In the collection of Hillegonda Bruyningh, sister of Nicolaes Bruyningh and 
widow of Jan Graswinkcl, Delft ; given in exchange by her daughter in 1728 
(for goods to the value of 100 florins) through Valerius de Reuver. 

In the collection of Valerius de Reuver, Delft ; No. 82 in the inventory in 
the Amsterdam University Library. 

In the collection of Madame de Reuver, Delft, 1752 (Hoet, ii. 393); 
acquired in 1750 by Wilhelm VIII., Landgraf of Hessen-Cassel (for 40,000 
florins). 

In the Cassel Gallery, 1913 catalogue, No. 243 (old No. 221) ; [valued by 
Sm. in 1836 at 350]. 

628/7. George Buchanan (1506-1582), poet. In brown clothes. 
The attribution is as uncertain as the name of the sitter. 

Sales. Chambers and others, February 12, 1898, No. 137. 

Benjamin West and others, March 18, 1898, No. 245 (21, P. and 
D. Colnaghi). 

629. WILLEM BURCHGRAEFF, master-baker and corn-dealer 
of Rotterdam. Sm. 408 and 468 ; Bode 85 ; Dut. 202 and 262 ; Wb. 
75 ; B.-HdG. 96. Half-length, without hands ; life size. About forty. 
He looks straight out of the picture. He is bare-headed, with thick dark 
brown hair and a thin and pointed fair beard. Over his striped black coat 
is a large flat lace collar. The light falls from the left at top. Rather 
light greyish-brown background. [Pendant to 630.] 

Signed on the right above the shoulder, "Rembrandt f. 1633"; oval 
oak panel, 27 inches by 2oJ inches. 

Etched by A. Riedel the elder, 1754. 

Mentioned by Vosmaer, pp. 121, 500; Bode, p. 401 ; Dutuit, p. 28; 
Michel, p. 139 [107, 438] ; Moes, 1247, 2. 



304 REMBRANDT SECT. 

In the Dresden Gallery, 1908 catalogue, No. 1557 ; it has been there since 
the inventory of 1722 ; [valued by Sm. in 1836 at ji68]. 

630. MARGARETTA VAN BILDERBEECQ, wifeofWillem 

Burchgraeff. Bode 93 ; Dut. 203 ; Wb. 88 ; B.-HdG. 97. Half-length, 
without hands ; life size. About thirty-five. She is turned a little to the 
left and looks straight out of the picture. She has a plump smiling face 
with a fresh complexion ; her hair is combed smoothly back. She wears 
a black silk gown ; the bodice has diagonal stripes and bright buttons. 
She has a large and wide ruff and a white muslin cap with outspreading 
side-flaps and lace trimming. Full light comes from the left foreground. 
Dark background. [Pendant to 629.] 

Signed on the left below the centre, " Rembrandt f. 1633 " > ova ^ oa ^ 
panel, 26^ inches by 22 inches. 

Mentioned by Vosmaer, p. 500 ; Bode, p. 401 ; Dutuit, p. 29 ; Michel, 
p. 139 [107, 438] ; Moes, 667, 2. 

In the collection of the Burchgraeff family, from which it passed by 
inheritance to Van Myrop. 

In the collection of Burgomaster Van Myrop, Rotterdam. 

In the La Bouexiere collection, Paris, 1844. 

In the Stadel'sches Kunstinstitut, Frankfort -on -Main, 1900 catalogue, 
No. 182. 

631. N. Butner. Sm. 471. Nothing is known of the sitter. 
The original is lost. Described by Sm. from a print by J. Greenwood. 

PETRONELLA BUYS, wife of Philips Lucasz. [See 66 1.] 
JAN VAN DE CAPPELLE (?). [See 770.] 

632. Johan de Caullery, son of Joris de Caullery. 

Mentioned by Bredius, Oud Holland, 1892, p. 128 ; Moes, 1511 ; Hofstede 
de Groot, Urkundtn, No. 242. 

In the collection of Joris de Caullery, The Hague ; bequeathed by him, 
August 30, 1 66 1, to his daughter Josyna. 

633. JORIS DE CAULLERY (about i6oo-after 1661), officer. 
Bode 17 i Dut. 364 ; Wb. 346 ; B.-HdG. 84. Almost to the knees ; 
life size. He stands turned to the right and looking straight out of the 
picture. He is bare-headed, with a fresh complexion, thick and bushy 
dark hair, and a small pointed beard of the same colour. He wears a dull 
buff coat with a steel gorget, over which is a coloured neck-cloth. His 
right hand, which hangs down, holds a long musket ; his left hand, which 
is not seen, rests on his hip behind his sword, which is thrust into a broad 
bandolier embroidered with silver. The greyish background is fairly 
bright. Full light falls from the left at top. 

The identification of the sitter as Joris de Caullery rests on the fact 
that this man, who lived from about 1600 to after 1661, and who was first 
a vintner and innkeeper at The Hague and later captain of a ship, gave his 
daughter, on June 16, 1654, a portrait of himself holding a musket, painted 
by Rembrandt. This picture is the only known portrait with such an 
accessory. 



xxn REMBRANDT 305 

Signed to the right on a level with the sword-hilt, "R H L van Rijn 
1632 " ; canvas, 40 i inches by 33 inches. 

Mentioned by Vosmaer, first edition, p. 427 omitted from the second 
edition; Dutuit, p. 53; Michel, p. 118 [90, 440]; Hofstedc dc Groot, 
Vrkunden^ No. 156; Moes, 1512, 2. 

Exhibited at Amsterdam, 1867, No. 163 ; The Hague, 1881, No. 247 ; 
Brussels, 1882, No. 215 ; Paris, 1911, No. 127. 

In the collection of Josyna de Caullery, The Hague, to whom her father 
gave it, June 16, 16^4. 

In the collection of Ouarlcs van Uffbrd, The Hague, 1890. 

In the possession of the Amsterdam dealer A. Prcyer. 

Sak.C. T. Yerkes, New York, April 5, 1910, No. 84. 

In the possession of Jacques Scligmann, Paris. 

SUSANNA VAN COLLEN, wife of Jan Pellicorne. 
[Set 667.] 

634. ANTHONI COOPAL (1606-1672), a secret agent of the Stad- 
holder Frederick Henry. B.-HdG. 185. Half-length; life size. He is in 
profile to the right, but his face and eyes are turned towards the spectator. 
The left hand rests on the gloved right hand at his breast. He has 
luxuriant fair curls, a moustache, and imperial. He wears a broad-brimmed 
black hat, a black cloak, and a close-fitting collar and cuffs of fine lace. 
Full light falls from the left on the right side of the face and the shoulder. 

On the back is an old inscription, u Antoni Coopal, Marckgraef van 
Antwcrpcn, Gewesene Ambassaduer aan't Hof van Polen en Lngelant, 
Raetpensionaris van Flissinge in Xeelant, etc." His brother Francois 
married Saskia's sister Titia van Uylenburch. 

:i-d to the right on a level with the breast, "Rembrandt f. 
1635 " ; oak panel, 32 inches by 26 J inches. 

Srf/. (Possibly) E. W. Lake, London, 1845 (111 : 6s., bought in); 

and 1848 (33 : I2s., Norton) as "Polish Ambassador," 

rounded at top, 33 inches by 30 inches. 

In the possession of Thomas Lawrie and Co., London, 1898. 
In the collection of the late Baron Nathaniel de Rothschild, Vienna. 

FRANCOIS COOPAL and TITIA VAN UYLEN- 
BURCH. [Set 734, 860.] 

635. LIEVEN WILLEMSZ VAN COPPENOL (1598- 
1662), teacher and writing-master of Amsterdam. Sm. 306; Bode 65 ; 
Dut. 206 ; Wb. 56 ; B.-HdG. 74. Three-quarter length ; life size. 
About thirty-four. He sits turned to the right and looking straight 
before him. In his uplifted left hand is a goose-quill which he is 
sharpening with the penknife in his right. He is bare-headed, with short 
fair hair and a slight and very fair moustache. He has a round face. He 
wears a black coat and a plain close-fitting collar. On the table beside 
him to the right are some folios and a sheet of paper. Full light falls 
from the left on the right side of the head, on the collar, and the left hand. 
Grey background. Painted about 1632. Joost van den Vondel and Jan 
Vos celebrated this picture in verse. 

VOL. vi x 



3 o6 REMBRANDT SECT. 

Signed on the paper to the right, half-way up, " R H L van Rijn " ; 
canvas, 40 inches by 31 inches. 

A copy was perhaps the picture 26 inches by 23 inches in the sale : 
P. Roelfsema and others, Groningen, June 22, 1863. 

Mentioned by Vosmaer, pp. 114, 493; Bode, p. 400; Dutuit, p. 27; 
Michel, p. 115 [88-9, 437]- 

Etched by J. J. Oortman, W. Unger, and N. Mossoloff. 

In the De Wolff collection, Amsterdam, 1734 (sold for 120 florins to 
Valerius de Reuver). 

In the collection of Valerius de Reuver, Delft ; No. 1 1 1 in the inventory 
in the Amsterdam University Library. 

In the collection of Madame de Reuver, Delft, 1752 (Hoet, ii. 393) ; 
acquired in , 1750 by Wilhelm VIII., Landgraf of Hessen - Cassel (for 
40,000 florins). 

In the Cassel Gallery, 1913 catalogue, No. 234 (old No. 212). 

636. LIEVEN WILLEMSZ VAN COPPENOL. Sm. 307 ; 
Bode 193 ; Dut. 207 y Wb. 147 ; B.-HdG-456. A small figure to the knees. 
He sits turned to the left, and looks at the spectator. He wears a small 
black cap on his short grey hair, and has a thin white moustache and 
imperial. He wears a black coat and a black cloak over it. His sleeves are 
turned up, showing the red under-sleeves. He holds in his hands a roll of 
paper and a pen. Simple daylight. Dark background. Painted about 
1658. 

Paper, 14 inches by n inches. 

Etched in reverse, of the same size, by Rembrandt himself, Bartsch 283 
[Hind 300]. Engraved by Surugue in the Galerie Buonaparte. 

Mentioned by Vosmaer, p. 547 ; Bode, pp. 532, 585 ; Dutuit, p. 42 ; 
Michel, pp. 453, 557 [353, 432] ; Waagen, i. 103 ; Moes, 1704, i. 

Exhibited at the Royal Academy Winter Exhibition, London, 1890, No. 
66 ; at the Burlington Fine Arts Club, London, 1900, No. 19. 

Sales. J. Tijler, widow of L. van Beeks, Amsterdam, April 30, 1759, 

No. 2 (65 florins, De Busch). 
Jeronymus de Bosch, Amsterdam, October 5, 1767, No. 8 

(Fouquet). 

Baron de Saint Julien, Paris, June 21, 1784 (1500 francs). 
In the collection of Lucien Buonaparte, London, 1815 catalogue, No. 135 ; 
see W. Buchanan, ii. 292. 

In the collection of Lord Ashburton, The Grange, sold as a whole in 1907. 
In the collection of Alfred de Rothschild, London. 

LIEVEN WILLEMSZ VAN COPPENOL (?). [See 
775-] 

637. MAERTEN DAEY (i6o4-after 1650). Sm. 340; Bode 
303 ; Dut. 208 ; Wb. 316 j B.-HdG. 107. Full length ; life size. 
About thirty. He is seen almost in full face. He walks a little to the 
right on the parti-coloured stone floor, at the back of which is a step. He 
wears a very rich black costume, consisting of a coat with large stripes, 
breeches, and a short cloak of the same material, a broad and close-fitting 
lace collar, smooth cuffs, rosettes of lace at his waistband and on his shoes, 
and white stockings, with bows of rich lace on his garters. A broad- 



xxn REMBRANDT 307 

brimmed black slouch hat covers his thick fair hair ; he has a plump and 
beardless face. His right hand rests on his hip under the cloak ; his out- 
stretched left hand holds a glove. In the right background is a bluish- 
green curtain. [Pendant to 638.] 

Signed on the left at foot, "Rembrandt f. 1634" ; canvas, 82 inches 
by 52 inches. 

Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in the 
Nederlandsche Kunstbode, 1879, p. 2 ; and in Dutuit. 

Mentioned by Vosmaer, pp. 145, 502 ; Bode, p. 402 ; Dutuit, p. 52 ; 
Michel, p. 148 [112-14, 43^]; Moes, 1881. 

Exhibited at Aim: "67, No. 161. 

Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. 
Pruyssenaar and Adriaen Daey, who sold the pair to Van Winter 
for 12,000 florins). 

In the Van Winter collection, Amsterdam, which passed by inheritance to 
the Van Loons. 

In the Van Loon collection, Amsterdam ; sold as a whole in 1877 to the 
Rothschi! 

In the collection of Baron Gustave de Rothschild, Pari>. 

In the collection of Baron Robert de Rothschild, Paris. 

638. MACHTELD VAN DOORN (1605-1646), from 1629 the 
wife of Martin in. 551 ; Bode 304 ; Dut. 209 ; Wb. 317 ; B.-HdG. 
1 08. Full length ; life size. About thirty. She walks to the left along a 
footpath paved with stones, and looks at the spectator. She holds up in her 
ri^ht hand, by a gold chain, a rich fan of black ostrich feathers ; with her 

.ids a step, she lightly raises her handsome spotted 
i of black silk with a high bodice, against which her broad and close- 
fitting lace collar and her lace-trimmed wristbands stand out in relief. At 
her waistband and on her shoe are rosettes of lace. Her fair curls are 
caught up at the back in a cap ; a thick black veil falls from it down her 
hack. At her throat and on her arms are several strings of pearls, and 
there is a pearl in each ear. A gold ring hangs by a fine chain from her 
lace collar. In the right background is a bluish-green curtain. [Pendant 
to 637.] 

Signed, " Rembrandt f. 1634" ; canvas, 82 inches by 52 inches. 

Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; ' n Dutuit; 
and in the Nederlandsche Kunstbode, 1879. 

Mentioned by Vosmaer, pp. 254, 533 ; Bode, p. 402 ; Dutuit, p. 52 ; 
Michel, p. 148 [112-14, 43 6 J ; Mocs, 2075. 

Exhibited at Amsterdam, 1867, No. 162. 

Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. 
Pruyssenaar and Adriaen Daey, who sold the pictures for 12,000 
florins to Van Winter). 

In the Van Winter collection, Amsterdam, which passed by inheritance to 
the Van Loons, and was acquired as a whole in 1877 by the Rothschilds. 

In the collection of Baron Gustave de Rothschild, Paris. 

In the collection of Baron Robert de Rothschild, Paris. 

639. Jeremias de Decker (1610-1666), broker and poet of 
Amsterdam. Sm. 483 ; B.-HdG. xvi. Half-length, in full face ; he looks 



308 REMBRANDT SECT. 

at the spectator. He wears a broad-brimmed hat. His plump face is 
framed in large curls. His lips are parted ; he has a moustache and 
imperial. He wears a small white collar fitting closely on his coat, which 
is buttoned down the front. His cloak is thrown across his breast from 
the right shoulder to the left, falling in rich folds. The background is 
illumined behind the head. In an oval frame, round the top of which is a 
curtain ; on the right of the frame are a lyre and a laurel-wreath, while to 
the left are rolls of music. Painted about 1660. [Cf. 776.] 

Mentioned by Hofstcde de Groot, Urkunden, Nos. 222, 290, 291 ; by K. H. 
de Raaf, Oud Holland, 1912, pp. 1-8. 

The original is lost. Described from a print by Aquila (Arend van Halen). 

JEREMIAS DE DECKER (?). [See 776.] 
THE COUNTESS DESMOND (?). [See 688.] 

640. Geertghe Dircx (about i620-after 1656), nurse of Titus van 
Rijn. 

Mentioned by Hofstede de Groot, Urkunden, No. no. 

In the collection of Martin van den Broeck, Amsterdam, who by an agree- 
ment of March 28, 1647, gave it, with other pictures, to Andries Ackersloot in 
exchange for ropes, masts, and iron. 

In the collection of Andries Ackersloot, Amsterdam. 

641. Hendrick van Domselaer. 

Mentioned by A. Bredius, Oud Holland, 1908, p. 222. 

In the collection of Clara de Valaer, widow of Eduart van Domselaer, 
Amsterdam; in the inventory of her effects, October 16, 1660, valued by 
F. Bol and Jurriaan Ovens (at 42 florins). 

642. HERMAN DOOMER (before i6oo-before 1654), known 
as "Le Doreur" ("The Gilder"). Sm. 288, 334, and 335 ; Bode 291 ; 
Dut. 288 ; Wb. 295 ; B.-HdG. 275. Half-length ; life size ; he sits 
turned half right, looking at the spectator. His right hand grasps, in the 
shadow at his breast, the cloak hanging over his left shoulder. He wears 
a broad- brimmed black hat, his hair is cut short, and he has a dark 
moustache and beard. He wears a soft pleated collar over a black coat. 
Strong light falls from the left at top on the right side of the face and on 
the collar. Grey background. 

Signed, " Rembrandt f. 1640" ; oak panel, 29 inches by 21 J inches. 

Old copies are in the Brunswick Gallery, 1910 catalogue, No. 239^; in 
the collection of the Duke of Devonshire, London (inscribed, L. Doomer) ; in 
the collection of Dr. E. Kulenkampff, Bremen ; and in several other places. 

Engraved in mezzotint by Dixon ; engraved by I. de Witt the younger, and 
by N. Dupuis the younger ; etched by L. Flameng, Gazette des Beaux- Arts, 
1856, and by C. Waltner. 

Mentioned by Vosmaer, pp. 205, 523; Bode, pp. 464, 596; Dutuit, 
p. 52 ; Michel, pp. 270, 561 [207, 443] ; W. Martin, Bulletin van den Nederl. 
Oudheid. Bond, 1909, p. 126; Moes, No. 2074; A. Bredius, Oud Holland, 
1910, p. 2. 

Exhibited in Paris, 1883 ; at tne Hudson-Fulton Celebration, Metropolitan 
Museum, New York, 1909, No. 88. 



xxn REMBRANDT 309 

In the collection of Baartjen Martens, widow of Herman Doomer, who 
bequeathed the picture to her son Lambert, May 23, 1662, on condition that 
he should have a copy made for each of his five sisters. 

In the collection of Lambert Doomer, Amsterdam ; in the inventory of hib 
effects, July 1700. 

In the collection of Herman Voster, the younger, Amsterdam ; bequeathed 
to him by his uncle, L. Doomer. 

. -H. Woltcrs, Amsterdam, May 4, 1757, No. 61. 

In an anonymous collection, Geneva. 

In the collection of Anthony Cousin, London, 1769. 

Sale. Helsleuter (Van Eyl Sluyter ?) of Amsterdam, Paris, January 2;, 
1802 (5005 francs, Urrique) ; set C. Blanc, ii. 209. 

In the collection of the Duke of Ancaster (probably one of the many 
copies ?). 

In the collection of Madame Gentil de Chavagnac, Paris, June 20, 1854 
(25,000 francs). 

&*. Due de Morny, Paris, May 31, 1865, No. 68 (155,000 francs, 
Salamanca of Madrid). 

In the collection of the Duchess de Scsto, Madrid, 1882. 

In the possession of W. Schaus, New York. 

In the collection of the late H. O. Havemcyer, New York. 

643. Baartjen Martens (about 1600-1678), wife of Herman 
Doomer. Sm. 536 ; Bode 351 ; Dut. 290 ; Wb. 416 ; B.-HdG. 281. 
Half-length ; life size. About sixty. She sits in an arm-chair, turned a 
little to the left and looking straight before her. Her arms rest on the 
arms of the chair ; her hands arc folded in front of her j on the third 
finder of the left hand is a hoop-ring with a rosette. A close-fitting flat 
cap with small ear-flaps covers her dark hair to the fringe over her brow. 
A stiff ruff round her neck stands out against her dark gown, over which 
is a short fur-trimmed jacket. Strong light from the left at top falls 
directly on the upper part of the head and the ruff. Dark background, 
partly illumined to the right behind the figure. Painted about 1641. 

Signed on the left at foot, " Rembrandt f." ; oak panel, 30 inches 
by 22 inches. 

Copies are in the collection of the Duke of Devonshire, London (inscribed, 
L. Doomer) ; and in the Pichon collection, Paris. 

Etched by N. Mossoloff in Lcs Rembrandts de r Ermitage. 

Mentioned by Bode, p. 603 ; Dutuit, p. 38 ; Michel, p. 567 [442]; W. 
Martin, Bulletin van den Nederl. Oudheld. Bond, 1909, p. 126 ; A. Bredius, Oud 
Holland, 1910, p. 2. 

In the collection of L. Doomer ; in the inventory of his effects, July 1700. 

In the collection of Herman Voster the younger, Amsterdam ; bequeathed 
to him by his uncle, L. Doomer. 

Acquired by the Empress Catherine II. of Russia. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 829; [valued by 
Sm. in 1836 at 200]. 

MACHTELD VAN DOORN, wife of Maerten Daey. 
0*638.] 

644. Philips van Dorp (1587-1652), Admiral. Sm. 382 ; B.-HdG. 
xiv. Half-length. About forty-seven. He wears the uniform of an 



3 io REMBRANDT SECT. 

admiral, and is turned a little to the right, looking at the spectator. He 
wears a broad-brimmed hat with a plume. He has long hair, a moustache, 
and an imperial. Round his neck is a white collar over a gorget. A 
medal hangs from a ribbon on his breast. Over his doublet, buttoned in 
front, is a bandolier from which hangs his sword, only the hilt of which 
is seen. The light comes from the right. Painted about 1634. 

Mentioned by Moes, No. 2082 ; Hofstede de Groot, Urkunden^ No. 31. 

The original is lost. Described from a print by S. Savery, signed " S. Savry 
exc. Remb. van Ryn," with an inscription round it and verses, with the date 
1634 below. 

PHILIPS VAN DORP (?). [See 777, 786.] 

SARA VAN BAERLE(?), wife of Philips van Dorp. [See 
885.] 

Gerard Dou. [See 604.] 

645. JOHANNES ELISON (before 1581 -after 1639), Dutch 
pastor at Norwich. Sm. 487; Dut. 212; Wb. 325; B.-HdG. 109. 
Full length ; life size. He sits in an arm-chair in his study, turned to the 
right and looking at the spectator. His left hand, with the fingers spread 
out, is on his breast ; the right hand grasps the knob of the chair arm. 
He is dressed in black, with a narrow ruff and a black cap completely 
covering his hair. He has a full grey beard. Several books, some of them 
open, lie on a table to the right. In the background is a book-case with 
a dark curtain. The sitter has been wrongly identified as Hans Alenson, 
Mennonite pastor of Amsterdam, to whom he bears a superficial 
resemblance. [Pendant to 646.] 

Signed on the right at foot, "Rembrandt ft. 1634"; canvas, 69 
inches by 50 inches. 

Etched by L. Massard in the Schneider sale-catalogue. 

Mentioned by Waagen, iii. 432 ; Walpole, 1888, ii. 78 ; Vosmaer, pp. 
146, 503 ; Bode, pp. 360, 402, 646 ; Dutuit, p. 53 ; Michel, p. 149 [114-15, 
436] ; Moes, No. 117 ; Hofstede de Groot, Oud Holland, 1901, p. 91. 

In the Elison collection. 

[In a Yarmouth collection, in Walpole's time.] 

In the collection of Daniel Dover, 'Ludham, Norfolk, passing by inheritance 
to Colby. 

Sale. Samuel Colby of Little Ellingham, London, 1860 (1942 : ios., 
with pendant, Fisher). 

In the possession of the London dealer Fisher, 1863 ; sold by him to 
Schneider. 

Sale. Schneider, Paris, April 6, 1876, No. 29 (60,000 francs, bought in). 

In the collection of Eugene Schneider, Paris. 

646. THE WIFE OF JOHANNES ELISON. Dut. 213; 
Wb. 326; B.-HdG. no. Full length ; life size. She sits in an arm- 
chair, turned to the left and looking at the spectator. Her left hand lies 
in front of her ; her right hand is on the knob of the chair-arm. She is 
in black, with a ruff, and lace-trimmed cuffs and cap. The cap is almost 
hidden by a broad-brimmed black hat. In the right background is a 
curtain. [Pendant to 645.] 



xxn REMBRANDT 311 

Signed on the right at foot, "Rembrandt ft. 1634"; canvas, 69 
inches by 50 inches. 

Etched by A. Lerat in the Schneider sale-catalogue. 

Mentioned by Waagen, iii. 432 ; Walpole, 1888, ii. 78 ; Vosmacr, pp. 146, 
503 ; Bode, pp. 360, 402, 646; Dutuit, p. 53 ; Michel, p. 149 [114-15, 436] ; 
Hofstede dc Groot, Oud Holland, 1901, p. 91. 

In the Elison collection. 

[In a Yarmouth collection, in Walpole's time.] 

In the collection of Daniel Dover, Ludham, Norfolk, passing by inheritance 
to Colby. 

Sale. Samuel Colby of Little Ellingham, London, 1860 (1942 : ios., with 
pendant, Fisher). 

In the possession of the London dealer Fisher, 1863 ; sold by him to 
Schneider. 

Sale. Schneider, Paris, April 6, 1876, No. 30 (50,000 francs, bought in). 

In the collection of Eugene Schneider, Paris. 

647. Desiderius Erasmus (?) (1467-1536), scholar. Strong colour. 
[Possibly identical with 427. Pendant to 888^.] 

Oval panel, 25^ inches by 19 J inches. 

Sale. J. B. dc Troy and others, Paris, April 9, 1764, No. 44 (1005 francs, 
with a portrait of a woman). 

648. Evert van der Eycke. 

Mentioned by A. Bredius, Oud Holland, 1910, p. i i . 

In the collection of Evert van dor \:nstcrdam ; in the inventory of 

his effects, 1694. 

6480. Jacob de Farmars. A man in a room, writing at a table on 
which lies a tablet inscribed, "Mons. Jacob de Farmars a Francfort." 
In the Gogcl collection, Frankfort, 1782. 

649. Frederick Henry of Orange -Nassau (1584-1647), Stad- 
holder of the Netherlands. In profile. 

Mentioned by Kleinschmidt, Amalie von Oranien, p. 269. 
In the collection of Amalia von Solms, The Hague, 1667 inventory, 
No. 25. 

650. Andries de Graeff (1611-1677), Burgomaster of Amsterdam. 
Painted about 1642. 

Mentioned by Moes, No. 2860, i ; Hofstede de Groot, Urkunden, No. 208 ; 
A. Bredius, Oud Holland, 1912, p. 199. 

In the collection of Pieter de Graeff, Amsterdam ; in the inventory of 
March 8, 1709. 

HUGO GROTIUS (?) and his wife MARIA VAN 
REIGERSBERGEN (?). [See 733, 849.] 

THOMAS HARING (?). [See 756.] 

651. Moses Henriques, a Portuguese Jew. Sm. 472. 
The original is lost. Described by Sm. from an anonymous print. 



312 REMBRANDT SECT. 

CORNELIS HOOFT (?). [See 178.] 

PIETER CORNELISZ HOOFT (?). [See 413.] 

652. CATHARINA HOOGHSAET (1607 -after 1657). Sm. 
546, and Suppl. 32 ; Bode 247 ; Dut. 216 ; Wb. 234 ; B.-HdG. 454. 
Full length ; life size. She sits in an arm-chair, on which both her arms 
are stretched out ; she is turned to the left and looks in that direction. 
She holds a handkerchief in her right hand. She wears the black gown 
of a citizen's wife, with a plain flat white collar and a white cap, covering 
her hair, which is smoothly combed back. Beside her. to the left is a 
table with a Turkish carpet having a red pattern. Above the table a 
metal ring with a parrot hangs from a bracket fixed to the wall. In even 
daylight. Dark background. 

Signed to the left at top on two labels on the wall-bracket, " Catrina 
Hooghsaet, out 50 jaer, Rembrandt 1657"; canvas, 49! inches by 38^ 
inches. 

Mentioned by Vosmaer, p. 557; Bode, pp. 516, 590; Dutuit, p. 47; 
Michel, p. 558 [433] ; Waagen, ii. 336 ; Moes, No. 3684. 

Exhibited at the British Institution, London, 1851, No. 52 ; at the Royal 
Academy Winter Exhibition. 1873, No. 137, and 1899, No. 75 at tne Grafton 
Gallery, London, 1911, No. 60. 

Sale. Lord Le Despencer, London, 1831 (178 : ios.). 

In the possession of the London dealer Peacock, 1842. 

Sales. E. Higginson of Saltmarsh Castle, London, June 4, 1846 1842 

catalogue, No. 39 (^798, Turner, bought in). 
E. Higginson, London, 1860 (777, Farrer). 

In the collection of Lord Penrhyn, Penrhyn Castle. 

653. Anna Huybrechts (who died before 1669), widow of Jan 
van Loo. 

Mentioned by A. D. de Vries and N. de Roever, Oud Holland, 1884, p. 102, 
note 43 ; Bredius, Oud Holland, 1910, p. 6 ; Moes, No. 3853 ; Hofstede de 
Groot, Urkunden, No. 298. 

In the collection of Anna Huybrechts, Amsterdam, who bequeathed it by 
her wills of February 6, 1 666, and November 14, 1668, to her daughter Magda- 
lena van Loo. 

In the collection of Magdalena van Loo, wife of Titus van Rijn, Amsterdam. 

654. MAURITS HUYGENS (1595-1642), Secretary of the 
Council of State. Bode 99; Dut. 217; Wb. 94; B.-HdG. 76. A 
small half-length, without hands. He is turned a little to the right and 
looks straight before him. He is bare-headed, with thick dark brown 
curls and a slight moustache combed up at the ends. His dark grey coat 
is fastened at the breast with a girdle. He wears a close-fitting collar, 
trimmed with lace ; the strings with lace tassels hang on the breast. The 
light falls from the left ; the grey background is rather light. 

Signed, "RHL van Rijn 1632" j oak panel, n inches by 9 inches. 

Etched by Wilhelm Hecht in Bode's Bilderlese aus kleineren Gem'dlde- 
Sammlungen Deutschlands. 

Mentioned by Vosmaer, pp. 116, 493; Bode, p. 400; Dutuit, p. 42 ; 
Michel, p. 114 [88, 438] ; Moes, No. 3879. 



xxn REMBRANDT 313 

Exhibited at Amsterdam, 1858, No. 1780. 

Sale. D. Vis Blokhuyscn of Rotterdam, Paris, April i, 1870, No. 60 (8200 

francs, Wesselhoeft). 

In the collection of J. Wesselhoeft, Hamburg, bought in 1889 for the 
Kunsthalle. 

In the Hamburg Kunsthalle, 1889 catalogue, p. 32. 

HENDRICKJE STOFFELSDR. JAGERS. See Hen- 
driclcje StofTels. 

JANSENIUS (?). 0*757.] 
MATTHIJS KALKOEN (?). [See 764.] 

655. Koert Koper, bookseller of Amsterdam. 

Mentioned by Moes, No. 1701 ; Hofstede dc Groot, Urkunden, No. 228. 
In the collection of Koert Koper ; in the inventory of April 3, 1660. 

656. The Wife of Koert Koper. 

Mentioned by Hofstede de Groot, Urkunden, No. 228. 

In the collection of Koert Koper ; in the inventory of April 3, 1660. 

657. JAN HERMANSZ KRUL (1602-1644), smith and poet of 
Amsterdam. Bode 66; Dut. 219; Wb. 55; B.-HdG. 98. Three- 
quarter length ; life size. About thirty. He stands turned a little to the 
right and looking at the spectator. He has a fair, pointed beard. On his 
short fair hair is a broad-brimmed black slouch hat. His gloved left hand, 
grasping the other glove, holds together the black cloak, which is drawn 
under the pendent right arm. He wears a pleated coat of bright spotted 
silk, a flat pleated collar, with the strings hanging down, and plain close- 
fitting wristbands. The light falls from the left. In the background is 
light grey architecture with an open archway to the right. The upper 
corners are flat curves. It appears from the ledger of Valerius de Reuver, 
in the Amsterdam University library, that this is the picture by Rembrandt 
discussed in Oud Holland^ viii. 201. 

Signed on the left at foot, "Rembrandt f. 1633"; canvas, 49 inches 
by 37^ inches. 

Mentioned by Vosmacr, pp. 146, 503 ; Bode, p. 401 ; Dutuit, p. 27 ; 
Michel, p. 141 [107-8, 437] ; Moes, No. 4276, i. 

In the possession of the dealer Philip van Dijk, The Hague, 1735 (sold to 
Valerius de Reuver for 200 florins). 

In the collection of Valerius dc Reuver, Delft; No. 114 in the inventory 
now in the Amsterdam University library; sold, April 1738, to Anthony 
Rutgers, Amsterdam, who sold it to the Landgraf of Hesse (for 165 florins). 

In the chief Cassel inventory of 1749, No. 298. 

In the Cassel Gallery, 1913 catalogue, No. 235 (old No. 213). 

658. GERARD DE LAIRESSE (September n, i64O-July 21, 
1711), painter. Three-quarter length ; life size. He sits in an arm-chair, 
turned to the left and looking at the spectator. His left hand, which rests on 
the arm of the chair, holds a paper. His right hand is thrust into the coat at 
his breast. His rich curls fall on his broad and smooth white collar, which 
has two tassels. He wears a dark coat with a black cloak over it, and a 



314 REMBRANDT SECT. 

large broad-brimmed felt hat. The identification suggested by Schmidt 
Degener rests on the great similarity between this portrait and that of the 
artist's portrait in Houbraken's Groote Schouburgh. Further evidence may 
be found in the fact that Lairesse, like the sitter, is said to have been a 
syphilitic; cf. Houbraken, i. 285. 

Signed, "Rembrandt f. 1663" (or 1665, according to Degener); 
canvas, 44^ inches by 34^ inches. 

Mentioned by Bode, "Jahrbuch der Koniglichen Preussischen Kunst-Sammlungen, 
xxix. p. 181 ; F. Schmidt Degener, Onze Kunst, xxiii. 1913, i. p. 117. 
Exhibited in Berlin, 1909, No. no. 
Sales. Amsterdam, June 16, 1802, No. 144 (94 florins, Lafontaine). 

London, June 13, 1807, No. 16 (25 145.). 

London, about 1908. 

In the possession of Lewis and Simmons, London. 
In the collection of Leopold Koppel, Berlin. 

JOANNES ANTONIDES VAN DER LINDEN. The 

name was once wrongly given to 737. 

JUSTUS LIPSIUS AND HIS WIFE. The names were 
once wrongly given to 752 and 86 1. 

659. MARTIN LOOTEN. Bode 214; Dut. 220; Wb. 198; 
B.-HdG. 72. Half-length ; life size. He is turned to the right and looks 
straight before him. In the left hand he holds a letter and envelope with 
a gesture as if speaking, emphasised by the right hand on the breast. He 
has large fair whiskers and beard, and a fresh complexion. A high broad- 
brimmed hat covers his short hair. He wears a black cloth coat and cloak, 
a plain close-fitting collar, and plain narrow cuffs. Full light falls from the 
left, across the face, on the collar, hands, and letter. It is not yet precisely 
known who Martin Looten was. 

Inscribed on the letter, "Martin Looten, xi. January 1632," with four 
lines of writing of which the only legible words are 

Eersam . . . voors . . . 
. . . gansen .... 
.... godt bevolen. 

and under these the monogram " R H L " ; oak panel, 36 inches by 30 
inches. 

Mentioned by Waagen, i. 200; Vosmaer, pp. 114, 495 ; Bode, p. 400; 
Dutuit, p. 25 ; Michel, p. 117 [90, 432] ; Moes, No. 4639. 

Exhibited at the British Institution, London, 1851, No. 13, and 1862, 
No. 13; at the Royal Academy Winter Exhibition, 1887, No. 93, and 1899, 
No. 63 ; at Amsterdam, 1898, No. 20. 

Sales. Cardinal Fesch, Rome, March 17, 1845, No. 190 (22,000 francs). 
Conyngham, London, April 25, 1849 G7 OO Holford). 

In the collection of Sir G. L. Holford, Dorchester House, London. 

660. PHILIPS LUCASZ (born before i6oo-died March 5, 1641), 
husband of Petronella Buys, Director-General of the Indies. [Officially 
catalogued as "A Man's Portrait."] Sm. 488; Bode 176; Dut. 140; 
Wb. 125; B.-HdG. 1 1 6. Half-length, without hands ; life size. About 



xxn REMBRANDT 315 

thirty-five or forty. He is turned to the right and looks straight before 
him. He is bare-headed, with short dark brown hair and a rather fair, 
pointed beard. On his bright black-spotted coat are the gold chain of five 
strands which he received as a reward for conducting to Holland the trading 
fleet of the East India Company, and a close-fitting lace collar, the pattern 
of which is drawn in black with a broad brush. Full light falls from the 
left. Dark grey background. [Pendant to 66 1.] 

The name of the sitter was probably once on the back, but has dis- 
appeared. Its connection with the following number depends on the 
similarity in shape, in material, and in composition, as well as in date. 
Lucasz set out from Batavia for Holland, December 20, 1633, and started 
again, May 2, 1635, for the Indies. 

Signed on the right at foot, "Rembrandt f. 1635" ; oval oak panel, 
30^ inches by 22^ inches. 

Mentioned by Waagen, i. 399 ; Bode, p. 411; Dutuit, p. 31; Michel, p. 556 
[431] ; Hofstede de Groot, OuJ Holland, xxxi. (1913), p. 236. 

In the collection of Sir Robert Pe.el, Bart., 1836 (Sm.) ; bought as a whole, 
1871, for the National Gallery. 

In the National Gallery, London, 1911 catalogue, No. 850. 

661. PETRONELLA BUYS (about 1605-1670), wife of Philips 
Lucasz. Sm. 497 ; Bode 2l6 ; Dut. 263, 272 ; Wb. 2OO, 458 ; B.-HdG. 
1 1 8. Half-length, without hands ; life size. About thirty. She is turned 
a little to the left, and looks with a friendly smile at the spectator. She 
wears a black gown with a gold chain of several narrow strands, a ruff 
trimmed with lace, and under this a second lace collar, close-fitting, with a 
rosette at her bosom. In her chestnut hair is a diamond clasp. The small 
cap on the back of her head is held in place by a hoop set with pearls. 
Round her neck is a double string of pearls. Full daylight enters from the 
left. Light grey background. [Pendant to 660.] 

On the back is inscribed, "Jonchvr. petronella Buys : syne Huysvr. 
naer dato getrout aen de Hr : Borgermr. Cardon." 

Signed on the left above the shoulder, "Rembrandt f. 1635"; oval 
oak panel, 30 inches by 23 inches. 

Mentioned by Bode, p. 405 ; Dutuit, p. 45 ; Michel, p. 558 [433] ; 
Hofstede de Groot, Oud Holland, xxxi. (1913), p. 236. 

Exhibited at Leyden, 1906, No. 49. 

Sales. C. S. Roos, Amsterdam, August 28, 1820, No. 85 (180 florins, 

Engclberts). 

C. E. Vaillant and J. Sargenton, Amsterdam, April 19, 1830, No. 
74 (540 florins, Roos). 

In the possession of the Amsterdam dealer Roos, 1836 (who priced it at 
500 florins), according to Sm. 

Sale. Adrian Hope, London, June 30, 1894, No. 56 (^1365). 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 Paintings," 
1898, No. 126. 

In the possession of M. Knoedler and Co., New York. 

In the collection of Joseph Jefferson, New York. 

In the possession of A. Preyer, The Hague. 

In the possession of F. Kleinberger, Paris. 



3i6 REMBRANDT SECT. 

In the collection of A. de Ridder, Cronberg. 

In the collection of M. van Gelder, Uccle, Brussels. 

JOHANNES LUTMA AND HIS WIFE. The names 
were once wrongly given to 393 and 857. 

Manasseh Ben Israel. [See 438 and 841.] 

BAARTJE MAARTENS, wife of HERMAN DOOMER. 

[See 643.] 

662. Nagel, Councillor of Nymwegen. Wb. 488. Half-length; life 
size ; with a hat. 

Said to date from 1647 ; canvas, 33 inches by 30 inches. 

Mentioned by Vosmaer, p. 542 ; Dutuit, p. 20 ; Moes, No. 5279. 
Sales. X. de Burtin, Brussels, June 21, 1819, No". 137 (1500 florins). 

X. de Burtin, Brussels, November 4, 1841, No. 52 (270 francs, 
Giblet). 

A. Stevens, Paris, May i, 1867. 

662^7. The Princess of Nassau (?). Sm. 498. She is elegantly 
attired, and stands holding a flower in one hand and resting the other on 
a stone pedestal. 

Canvas, 32 inches by 26 inches. 

Sale. J. A. J. Aved, Paris, November 24, 1766 (899 francs). 

663. Jan van Oldenbarneveld (?) (1547-1619), Grand Pensionary. 
At a great age. His hands rest on the arms of his chair. 

Canvas, 44 inches by 36^ inches. 

Sale. B. Ocke, Leyden, April 21, 1817, No. 107. 

Orange. See Frederick Henry (649) and William III. (489). 

664. DIRK VAN OS (i59i-after 1666), Dijkgraf van de Beemster. 
B.-HdG. 494. Half-length ; life size. About seventy. He is seated. 
He has long grey hair and whiskers, dark eyes, and a fresh complexion. 
His right hand rests on the arm of his chair ; his left forearm leans on the 
edge of a table. He holds in his left hand a cane with a silver top and a 
red tassel. His long black coat, with a double row of gold buttons, is partly 
open, showing the white shirt. He wears a flat close-fitting collar with 
lace, and tassels and wristbands to match. Over his shoulders is a long 
double gold chain with a Maltese cross. Apparently a red cloth covers 
his knees. To the right is a table with a dark red cover, on which are a 
pewter ink-pot, quills, a seal, and a paper Bright light falls from the left 
on the face. Painted about 1662. 

Canvas, 45 inches by 34 inches. 

On the right at top is a coat-of-arms, painted by a later hand or, three 
ox-heads gules, on the first ox-head a five-pointed star sable ; surrounded by an 
inscription, " D. VAN OS (DYKGRA) EF VAN D(E BEEMSTER). 

In the collection of Dr. Oxhotchinsky, Petrograd. 

In the possession of the New York dealer Blakeslee. 

In the collection of T. O. Sears, Boston. 



xxn REMBRANDT 



3'7 



665. Bombastus Theophrastus Paracelsus von Hohenheim 

(1493-1541). Half-length. 

Mentioned by Hofstcde de Groot, Urkunden, No. 333. 

Sale. Reynicr van der Wolf, Rotterdam, May 15, 1676 (Hoet, ii. 344), 
No. 14 (200 florins). 

666. JEAN PELLICORNE (i 5 9 7 -after 1645) WITH HIS 
SON CASPAR (1628-1680). Sm. 341 ; Bode 227 ; Dut. 223 ; Wb. 
245 ; B.-HdG. 79. Full-length figures ; life size. The father sits to 
the left, beside a table with a yellowish-red cover, and turns round to the 
right to take a money-bag with a label from his little son. He is about 
thirty-five. He has short dark hair and a dark [moustache and] pointed 
beard. He wears a broad black slouch hat, a striped black coat and 
breeches, and a short cloth cloak, with a close-fitting pleated collar and 
flat lace-trimmed wristbands. The boy to the right, bare-headed, with 
brownish hair, is in grey, with a flat collar and wristbands. Pale light, 
from the left, falls on the heads. Rather dark grey background. Painted 
about 1632. [Pendant to 667.] 

Signed on the right at foot, "Rembrandt ft."; canvas, 61 inches 
by 48 inches. 

Engraved in outline by A. L. Zeelander in the work on the King of 
Holland's collection. 

Mentioned by Waagen, ii. 158 ; Vosmaer, pp. 116, 494 ; Bode, p. 402 ; 
Dutuit, p. 48 ; Michel, p. 140 [107, 433] ; Moes, Nos. 5833, 5832. 

Kxhibited at Manchester, 1857, No. 15; at Bethnal Green Museum, 
London, 1872, No. 100 ; at the Royal Academy Winter Exhibition, London, 
1872, No. 90, and 1889, No. 156. 

Sale. The Dowager Madame J. van de Poll, born Valckenier, Amsterdam, 
November 14, 1842 (35,046 florins, with pendant, Nieuwenhuys). 
The pictures came into the Valckenier family because Eva 
Susanna, daughter of the young Caspar Pellicornc, who in 1678 
was Sheriff of Amsterdam, married in 1686 Pieter Ranst Valcke- 
nier (1661-1704). 

In the possession of the dealer Nieuwenhuys. 
Salf. William II., King of Holland, The Hague, August 12, 1850, No. 84 

(30,200 florins, with pendant, Mawson for Lord Hertford). 
In the collection of the Marquess of Hertford, London. 
In the Wallace Collection, London, 1913 catalogue, No. 82. 

667. SUSANNA VAN COLLEN (1606-1660), wife of Jean 
Pellicorne from February 17, 1626, WITH HER DAUGHTER 
(born in 1627). Sm. 552 ; Bode 228 ; Dut. 223 ; Wb. 246 ; B.-HdG. 
80. Full-length figures ; life size. The mother sits in an arm-chair, 
slightly to the left, and looks straight before her. She gives a coin 
from the purse in her left hand to her little daughter standing beside her to 
the right. The girl stretches out her left hand for it, but turns her face 
towards the spectator. The mother wears a flowered black gown with a 
gold-embroidered stomacher and a broad ruff. Her hair is combed back 
under a lace-trimmed cap ; she wears wristbands richly trimmed with lace, 
and bracelets. The child has fair hair and wears a frock of greenish-gold 



3 i 8 REMBRANDT SECT. 

brocade lined with green. Pale light falls from the left j dark background. 
[Pendant to 666.] 

Signed on the right at foot, "Rembrandt ft. 163" (2, probably); 
canvas, 61 inches by 48 inches. 

Engraved in outline by A. L. Zeelander in the work on the King of Holland's 
collection ; engraved on wood in the Kunstkroniek, 1843, p. 49. 

Mentioned by Waagen, ii. 158; Vosmaer, pp. 116,494; Bode, p. 402; 
Dutuit, p. 48 ; Michel, p. 140 [107, 433] ; Moes, No. 1641. 

Exhibited at Manchester, 1857, No. 16; at Bethnal Green Museum, 
London, 1872, No. 107 ; at the Royal Academy Winter Exhibition, London, 
1872, No. 101, and 1889, No. 165. 

Sale. The Dowager Madame J. van de Poll, born Valckenier, Amsterdam, 
November 14, 1842 (35,046 florins, with pendant, Nieuwenhuys). 
See note to 666 for the earlier history. 

In the possession of the dealer Nieuwenhuys. 

Sale. William II., King of Holland, The Hague, August 12, 1850, No. 85 
(30,200 florins, with pendant, Mawson for Lord Hertford). 

In the collection of the Marquess of Hertford, London. 

In the Wallace Collection, London, 1913 catalogue, No. 90. 

667*. Placas. 

Signed, "Rembrandt 1635." 

Mentioned by Moes, Iconographia Batava, No. 5949. 

668. THE HUSBAND OF CORNELIA PRONCK (1585- 
after 1632). Sm. 319; Bode 297; Dut. 246, 249; Wb. 309, 451; 
B.-HdG. 88. Half-length, without hands ; life size. He is turned to 
the right ; his head and eyes are directed towards the front. He has dark 
glossy hair, rather grey, and a pointed beard. He wears a broad-brimmed 
black slouch hat, a dark cloak over his black silk coat, and a ruff. The 
light falls from the left on the right side of the face and the collar. Fairly 
dark background. [Pendant to 669.] 

Signed to the right on a level with the mouth, "Rembrandt ft. 
1632 AE 47 " ; oval oak panel, 24 inches by i8J inches. 

Mentioned by Waagen, ii. 259 ; Vosmaer, pp. 494, 496 ; Bode, p. 400 ; 
Dutuit, p. 52 ; Michel, p. 138 [106, 435]. 

In the collection of Baron Lockhorst, Rotterdam, 1826. 

In the Galli collection, London, 1826. 

Sale. Wynn Ellis, London, May 27, 1876 (640 : ios.). 

In the possession of E. Warneck, Paris. 

In the collection of Henri Pereire, Paris. 

669. CORNELIA PRONCK (i6oo-after 1633). Bode 2985 
Dut. 225; Wb. 310; B.-HdG. 89. Half-length, without hands ; life 
size. She is turned a little to the left, and looks straight before her. She 
has a rather long face with an aquiline nose. She wears a flowered black 
gown, a ruff, and a lace-trimmed cap with flaps standing out at the sides 
over her hair, which is combed back. In the left ear, which is alone 
visible, is a pearl. Rather dark background. The light falls full from the 
left. On the back the name " Cornelia Pronck " is written in a con- 
temporary hand. [Pendant to 668.] 



xxn REMBRANDT 319 

Signed to the right above the shoulder, "Rembrandt ft. 1633 AET. 
33 " ; oval oak panel, 24 inches by 18^ inches. 

Ktchcd by Mongin in the Bcurnonvillc catalogue. 

Mentioned by Waagen, ii. 295 ; Vosraaer, p. 494 ; Bode, p. 400 ; Dutuit, 
p. 52 ; Michel, p. 138 [106, 435] ; Mocs, No. 6083. 

In the collection of Baron Lockhorst, Rotterdam, 1826. 

In the Galli collection, London, 1826. 

Sale. Wynn I ion, May 27, 1876. 

In the possession of K. Warneck, Paris. 

Sale. Baron de Beurnonville, Paris, May 9, 1881, No. 434. 

In the collection of Henri Percire, Paris. 

6690. Reixse or Rycxsz, father of Cornelis Joan Reixse. 

Mentioned by A. Bredius, Oud Holland, xxvi. (1908), p. 224. 
In the collection of Cornelis Joan Reixse, Amsterdam ; in the inventory or 
his effects, November 7, 1659. 

669^. The Wife of ... Reixse or Rycxsz. 

Mentioned by A. Bredius, Oud Holland, xxvi. (1908), p. 224. 
In the collection of her son Cornelis Joan Reixse, Amsterdam ; in the 
inventory of his effects, November 7, 1659. 

66o,<r. Rihel. A life-size portrait. 
45 inches by 33^ inches. 

Mentioned by Moes, No. 6430. 

Sale. Amsterdam, April 24, 1716 (Hoet, i. 191), No. 34 (76 florins). 

669^. Frederick Rihel (died before 1681), wholesale merchant of 
Amsterdam. On horseback. 

In the collection of Frederick Rihel, Amsterdam ; in the inventory of his 
effects, January 1 1, 1681, and once again. See A. Bredius, Oud Holland, xxviii. 
(1910), pp. 193, 195. 

Possibly identical with the only equestrian portrait by Rembrandt that 
answers to the description, the once so-called " Marshal Turenne," at Panshanger, 
772. 

670. NICOLAES RUTS (1573-1638), merchant of Amsterdam. 
Bode 215 ; Dut. 226 ; Wb. 199, 446 ; B.-HdG. 51. More than half- 
length ; life size. About fifty. He has strong, fresh-coloured features, 
with a short beard. He stands behind a chair covered with purplish-red 
leather, and rests his right hand on it. He is turned a little to the right, 
looking straight before him, and holds up an open letter in his left hand. 
He wears over a black coat a sleeveless fur-lined cloak of deep purple with 
a broad fur trimming, and has a broad fur cap on his head, which is framed 
in a wide pleated collar. The background is rather yellow. The light 
falls full from the left at top. The name of the sitter is taken from the 
inscription on a drawing by A. Delfos in the collection of Dr. C. W. J. J. 
Pape, The Hague : " Het portret van Nicolaes Ruts, levensgroot door 
Rembrandt van Rijn 1632 (!). A. Delfos 1799 thans by den heer Joost 
Romswinkel te Leiden." 

Signed on the right at top with the monogram, "RHL 1631"; 
mahogany panel, 48 inches by 36 inches. 



3 20 REMBRANDT SECT. 

Engraved in outline by A. L. Zeelander in the work on the King of 
Holland's collection. 

Mentioned by Vosmaer, pp. 490, 495 ; Bode, p. 382 ; Dutuit, p. 45 ; 
Michel, p. 557 [432] ; Hofstede de Groot, Urkunden, No. 49 ; Moes, No. 
6627. 

Exhibited at Amsterdam, 1898, No. 18*; at the Royal Academy Winter 
Exhibition, London, 1903, No. 43; at the Hudson - Fulton Celebration, 
Metropolitan Museum, New York, 1909, No. 77. 

In the collection of Susanna Ruts, widow of Johannes Boddens, Amsterdam ; 
in an inventory of March 18, 1636. 

In the collection of Joost Romswinkel, Leyden, 1799. 

Sales. Anthony Meynts, Amsterdam, July 15, 1823, No. 107 (4010 florins, 

Brondgeest). 
William II., King of Holland, The Hague, August 12, 1850, No. 86 

(3400 florins, Weimar). 
Adrian Hope, London, June 30, 1894 (4035). 

In the collection of J. Ruston, Lincoln. 

In the possession of the Paris dealer E. Fischhof. 

In the collection of Comte Boni de Castellane, Paris. 

In the collection of the late J. Pierpont Morgan, New York. 

670*. Michiel Adriaensz de Ruyter (March 24, i6o7-April 29, 
1676), Admiral. [Pendant to a picture in the Schaub sale mentioned 
under 335.] 

Sale. Sir Luke Schaub, London, April 26, 1758, No. 39 of the second day 
(16 : i :6, Steward). 

671. Michiel Adriaensz de Ruyter. Sm. 247. He wears armour 
and sits on a chair, leaning his hand on the arm. 

Sale. Marquis de Brunoy, Paris, December 2, 1776 (2201 francs, according 
to Sm. ; but 200 francs with pendant, " Rembrandt's Mother," 
689/7, according to Dutuit, p. 6). 

ADRIAEN HARMENSZ VAN RIJN, Rembrandt's 
brother. See 261, 384, 421, 424, 427, 442, and especially the notes on 
261 and 442. 

Cornelia van Rijn (1654 - before 1685), Rembrandt's 
daughter. [See 603.] 

672. HARMEN GERRITSZ VAN RIJN (born at Leyden, 
1568-buried there, April 27, 1630), miller, father of Rembrandt. B.-HdG. 
545. Half-length, with one hand ; life size. He sits turned to the left, 
in a three-quarter view, bending forward his head, which is almost bald. 
He looks down ; his lips are parted as if he is uttering a cry. He has a 
thin white beard. He wears a brown coat trimmed with fur ; his right 
hand is at his breast. Grey background. Bright light falls from the left 
at top. Painted about 1630. [Possibly the study for a repentant Judas 
or Peter.] 

Oak panel, 30 inches by 24 inches. 

In the collection of F. Newcombe, Bristol. 
In the Boston Museum. 



xxn REMBRANDT 321 

673. HARMEN GERRITSZ VAN RIJN. B.-HdG. 28. 
Half-length, without hands ; almost life size. His head is in full face ; he 
looks a little to the left. He has a short greyish beard. He wears a dark 
coat with a polished steel gorget, showing a piece of the shirt-collar at the 
throat. In his bright black cap a blue ostrich feather is fastened with a 
gold chain. Fairly light greyish ground. Painted about 1630. 

Signed on the right at top with a signature partly retouched, 
" Rembrandt f. " remains of the old signature show through the later 
paint ; oak panel, 26 inches by 20 inches. 

An old copy on canvas is in the Rijksmuseum, Amsterdam, 1911 catalogue, 
No. 2025 ; Moes, Iconographia Batava, No. 6687, 8. 

Mentioned by Michel, p. 557 [34, 432] ; Moes, No. 6687, 7. 

Exhibited at the Royal Academy Winter Exhibition, London, 1 884, No. 1 28. 

In the collection of William Whitting, Ashcroft, till 1877. 

In the collection of Sir Henry Bate Dudley, Ely. 

In the collection of William Chamberlain, Brighton. 

674. HARMEN GERRITSZ VAN RIJN. B.-HdG. 31. 
Half-length, without hands ; life size. He is turned to the left ; his head is 
in full face, and he looks straight out of the picture. On his bald head is 
a small black skull-cap ; he has a thin beard. The dark coat shows only 
a narrow edge of the shirt at the throat. The greyish-brown background 
is faintly illumined. The light falls from the left on the head. Painted 
about 1631. 

Oak panel, 19 inches by 14$ inches. 

Etched in reverse by Rembrandt himself in 1631 as a half-length, with a 
fur cap on the head and the eyes cast down ; Bartsch 263 [Hind 53]. 
Mentioned by Michel, pp. 45, 552 [35, 437] ; Moes, No. 6687, 10. 
Sale. Von Fricsen of Dresden, Cologne, March 26, 1885. 
In the collection of E. Habich, Cassel, 1891. 
In the Cassel Gallery, 1913 catalogue, No. 230. 

675. HARMEN GERRITSZ VAN RIJN. Half-length, with- 
out hands ; almost life size. He is inclined to the left, but his head and 
eyes are turned to the right. He wears a dark purple cloak, over which 
hangs a gold chain with a medallion. Round his neck is a small close- 
fitting steel gorget. In his right ear is a pearl. He has a short greyish 
beard, and curly hair covered by a broad-brimmed black hat with two dark 
ostrich feathers. Painted about 1631. 

Signed on the left at foot with the monogram "R H L" ; canvas, 32 
inches by 30 inches. 

There are copies 

I. Bode 217 ; Wb. 156 ; B.-HdG. 29. 

Mentioned by Moes, No. 6687, ii; Bode, p. 413; Dutuit, 

p. 43 ; Michel, pp. 44, 557, 561 [35, 432, 443]. 
Sale. Beresford Hope, London, May 1886. 
In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 

Paintings," 1898, No. in. 
In the collection of W. H. Beers, New York. 
In the collection of S. Neumann, London. 
VOL. VI Y 



322 REMBRANDT SECT. 

2. Sale. Martineau and others, London, March 10, 1902. 

3. Panel, 23 J inches by 19 inches. 

Sale. Causid-Brlick of Cassel, Frankfort-on-Main, February 10, 

1914, No. 25. 

Exhibited at Dtisseldorf, 1912, No. 43. 

Sale. M. P. W. Boulton, London, December 9, 1911, No. 14. 
In the possession of P. and D. Colnaghi and Obach, London. 
In the possession of Julius Bohler, Munich. 
Sale. Marczell von Neraes of Budapest, Paris, June 17, 1913, No. 60 

(516,000 francs, S. de Ricci). 
In the possession of Julius Bohler, Munich. 
In the possession of Reinhardt, New York. 
In a private collection, Chicago. 

676. HARMEN GERRITSZ VAN RIJN. B.-HdG. 30. 
Half-length, without hands ; almost life size. He is turned a little to the 
left, but the head is seen in full face, and he looks straight before him. He 
has a thin grey beard. His dark brown cloak with a fur collar exposes 
part of the dark coat underneath and the shirt at the neck. The artist 
has, by an afterthought, added later a steely-blue cap ; the colour on the 
brow, having worked through this, produces the effect of a thin golden web. 
Bright light from the left at top falls across the right side of the head. 
The dark background is partly illumined to the right. Painted about 
1629. 

Oak panel, i8J inches by 15 \ inches. 

A copy is in the Palace, Tsarskoe Selo, near Petrograd. 
Etched in reverse by Rembrandt himself in 1630 ; Bartsch 304 [Hind 21]. 
Mentioned by Michel, p. 44 [35, 440] ; Moes, No. 6687, I. 
In the collection of Mrs. Harrison, Sutton Place, 1892. 
In the collection of Anders Zorn, Paris. 

In the collection of A. Bredius, The Hague ; exhibited on loan in the 
Royal Gallery, The Hague, 1914 catalogue, No. 565. 

677. HARMEN GERRITSZ VAN RIJN. Sm. 461 ; Bode 
IOO ; Dut. 358 ; Wb. 380 ; B.-HdG. 2O. A small half-length, without 
hands. He is seen in full face, with the head turned a little to the right. 
He has a short and thin grey beard. He wears a blackish cloak with a 
broad brown fur collar. His high bluish-black cap is bound on the head 
with a brownish cloth. Light greyish-brown background. The light 
falls from the left at top. [Probably a pendant to 686.] 

Signed with the monogram "RHL 1630"; oak panel, 8J inches by 
6J inches. 

A copy by C. E. W. Dietrich is in the Schleissheim Gallery, 1914 
catalogue, No. 3363. Another copy is in the possession of a Paris dealer. 

Etched in reverse, the same size as the original, by J. J. van Vliet, 1633 ; 
Bartsch 24. 

Mentioned by Vosmaer, p. 487 ; Bode, p. 380 ; Dutuit, p. 33 ; Michel, 
p. 44, 560 [35, 429] ; Moes, No. 6687, 4. 

In an English collection. 

In the Hoppe collection. 



xxn REMBRANDT 323 

In the collection of J. Tschager, Vienna, who bequeathed it in 1856 to 
Innsbruck. 

In the Ferdinandeum, Innsbruck, 1899 catalogue, No. 599. 

678. HARMEN GERRITSZ VAN RIJN. B.-HdG. 542. 
A small half-length, without hands. He is turned to the right, but looks 
straight out of the picture. He wears a broad brown cap, throwing a deep 
shadow over the upper part of the face. He wears a grey cloak with an 
embroidered collar. Light grey background. Full light falls from the 
left at top on the lower part of the face. Painted about 1629. 

Oak panel, 8 inches by 6J inches. 

A second example, by Rembrandt, is in the collection of Ludwig Mandl, 
Wiesbaden (682). 

In the Royal Gallery, Copenhagen, 1904 catalogue, No. 2795 ; it has been 
there since the inventory of i J 

679. HARMEN GERRITSZ VAN RIJN. B.-HdG. 544. 
Half-length, without hands ; life size. He is inclined to the left, but his 
face and eyes are turned towards the spectator. He has a short beard. 
On the back of his head is a small black cap. He wears a black fur coat, 
and has a gold chain with a medallion on his breast. Light brown back- 
ground. The light falls from the left at top. 

Signed on the left, half-way up, " R H L 1631 " ; oak panel, 24 inches 
by 2oJ inches. 

Exhibited at Amsterdam, 1898, No. 18; at the Royal Academy Winter 
Exhibition, London, 1899, No. 27, and 1907, No. 54; at the Grafton Gallery, 
London, 1911, No. 51. 

Mentioned by Moes, No. 6687, 9. 

In the possession of P. and D. Colnaghi, London. 

In the collection of F. Fleischmann, London. 

In the collection of Mrs. Fleischmann, London. 

680. HARMEN GERRITSZ VAN RIJN. B-HdG. 25. A 
small half-length, without hands. He is inclined to the right ; his head 
is in full face, and he looks almost directly at the spectator. A small cap 
is thrust to the back of his head. His toothless mouth is shut ; he has 
a thin beard and moustache. He wears a fur-trimmed cloak, showing the 
shirt at the throat. Round his neck is a double gold chain with a 
medallion. Dark background. Strong light comes from the right. 
Painted about 1630. 

Oak panel, loj inches by 81 inches. 

Etched by J. Lievens, Bartsch 21. Copied in reverse by a pupil of 
Rembrandt, with a tuft of hair added on the forehead, and retouched by the 
master himself in 1635; tne so-called "First Oriental Head," Bartsch 286 
[Hind 131]. 

Mentioned by Michel, pp. 44, 558 [35] ; Moes, No. 6687, 5. 

In the collection of the Rev. Hugh Hutton, Round Cottage, Edgbaston. 

In the collection of T. Humphry Ward, London, 1892. 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 Paintings," 
1898, No. 112. 

In the collection of Dr. Melville Wassermann, Paris. 



324 REMBRANDT SECT. 

In the possession of G. Neumans, Paris, 1912 catalogue, No. 48. 
In the collection of John Jaffe, Nice. 

681. HARMEN GERRITSZ VAN RIJN. Bode 338 ; Dut. 
241 ; Wb. 404 ; B.-HdG. 27. Half-length, without hands ; slightly 
under life size. He is inclined to the left, but the head is in full face. 
He has a short moustache and imperial ; in each ear is a pearl. He wears 
a black hat with two dark grey feathers, a grey coat under a deep black 
cloak, a steel gorget, a coloured neck-cloth, and a gold chain with a 
pendant. Fairly light background. Painted about 1630. 

Signed on the right above the shoulder with the monogram 
" R H L " ; octagonal oak panel, 14 inches by io| inches. 

Etched by N. Mossoloff in Les Rembrandts de V Ermltage. 

Mentioned by Vosmaer, p. 487 ; Bode, p. 379 ; Dutuit, p. 37 ; Michel, 
pp. 43, 567 [34, 441] ; Moes, No. 6687, 6. 

Probably in the Crozat collection, and bought with it by the Empress 
Catherine II. for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 814. 

682. HARMEN GERRITSZ VAN RIJN. A.'repetition of 
678 (Copenhagen) by Rembrandt. 

In the possession of Julius Bahler, Munich. 

In the collection of Ludwig Mandl, Wiesbaden. 

682*. Harmen Gerritsz van Rijn. 

Mentioned by Hofstede de Groot, Urkunden, No. 101. 

In the collection of Sybout van Caerdecamp, Leyden ; in the inventory of 
February 23, 1644. 

682^. Harmen Gerritsz van Rijn. 

Mentioned by Hofstede de Groot, Urkunden, No. 350. 

In the collection of Jan van de Cappelle, Amsterdam ; in the inventory of 
his effects, 1680, No. 55. 

683. Harmen Gerritsz van Rijn. A small half-length, without 
hands. He is turned to the right, almost in profile, and looks down. 
On his bald head is a black cap. He wears a brown coat trimmed with 
fur. Greyish-brown background. Bright light falls from the left at top. 

Oak panel, 6J inches by 5 inches. 

The original, probably painted about 1630, is lost. Described from a copy 
in the Nantes Museum B.-HdG. 26 ; 1913 catalogue, No. 545, as by Willem 
van Vliet ; mentioned by Moes, No. 6687, 2. 

A second copy is in the Tours Museum, mentioned by Moes, No. 6687, 3. 
A third copy was in the sale : Dr. Paul Mtiller, Paris B.-HdG. 541. 

684. Harmen Gerritsz van Rijn. Sm. 388 and 400; Wb. 
497 ; B.-HdG. x. Half-length. He is inclined to the right ; his head 
is in full face, and he looks at the spectator. He wears a turban- 
shaped cap, on which a horse-tail is fastened with a clasp. He has a 
moustache and imperial. Round his shoulders is a cloak with a fur collar. 
Painted about 1630. 



xxn REMBRANDT 325 

The original is lost. Described from the print called " Mahomet," by 
J. J. van Vliet. Engraved also by Francois Langlois dit Ciartres and, as "Thomas 
Agniello," by J. de Frcy. The picture, corresponding to this print by Van 
Vliet, in the sale : (supplementary) E. B. Rubens and others, Amsterdam, 
August n, 1857, No. 299 on panel, 9 inches by 7^ inches was probably 
not the preliminary study by Van Vliet but a copy after his " Mahomet " print. 

684*. Harmen Gerritsz van Rijn. B.-HdG. v. Half-length, 
turned to the right. On his head is a cap adorned with a chain. 
Round his neck is a fur collar. He has a thin moustache and beard. 
Full light falls from the left on the wrinkled face. 

The original is lost. Described from a print by C. Phillips, dated 1769. 

HARMEN GERRITSZ VAN RIJN. Other pictures in 
which Rembrandt probably painted his father are 282, 293, 345, 446, 447. 

685. NEELTGEN WILLEMSDOCHTER VAN ZUYT- 

BROUCK (buried September 14, 1640), wife of Harmen Gerritsz van 
Riin. and mother of Rembrandt. B.-HdG. 21. Half-length ; life size. 



ERRATUM 

682. Since the book was published, the author has learned that 
this repetition of the Copenhagen portrait of Harmen Gerritsz van 
Rijn (678) is not by Rembrandt. It is a modern copy. 

Catalogue Raisonne, vol. vi. p. 5:4. 

In the collection of Arthur Sanderson, Edinburgh. 

In the possession of C. Sedelmcycr, Paris, "Catalogue of 100 Paintings," 
1911, xi. No. 31. 

In the possession of Sir George Donaldson, London. 

In the possession of Cottier and Co., New York. 

In the possession of A. Preyer, The Hague. 

In the collection of Herr Krupp von Bohlen und Halbach, Essen. 

685*. NEELTGEN WILLEMSDOCHTER VAN ZUYT- 

BROUCK. She is seen in full face, inclined to the right, with her 
head towards the spectator. She looks down ; her toothless mouth is 
half open. On her head is a grey veil ; she wears a black dress and a 
white collar. The light falls from the left and makes a shadow at foot 
to the right. Half-length. 

Signed to the right at top with the monogram ; panel, about 8i 
inches by 6J inches. 

Mentioned by A. Bredius, Burlington Magazine, September 1914, p. 3^5. 
In the collection of A. Silvestre, Geneva. 

686. Neeltgen Willemsdochter van Zuytbrouck. B.-HdG. 

19. A small half-length, without hands. She is turned to the left ; the 
face with downcast eyes is inclined towards the spectator. She wears a 
black dress and cap, both trimmed with fur ; a long parti-coloured veil 



324 REMBRANDT SECT. 

In the possession of G. Neuraans, Paris, 1912 catalogue, No. 48. 
In the collection of John Jaffe, Nice. 

681. HARMEN GERRITSZ VAN RIJN. Bode 338; Dut. 
241 ; Wb. 404 ; B.-HdG. 27. Half-length, without hands ; slightly 
under life size. He is inclined to the left, but the head is in full face. 
He has a short moustache and imperial ; in each ear is a pearl. He wears 
a black hat with two dark grey feathers, a grey coat under a deep black 
cloak, a steel gorget, a coloured neck-cloth, and a gold chain with a 
pendant. Fairly light background. Painted about 1630. 

Signed on the right above the shoulder with the monogram 
" R H L " i octagonal oak panel, 14 inches by loj inches. 

Etched by N. Mossoloff in Les Rembrandts de I* Ermitage. 

Mentioned by Vosmaer, p. 487 ; Bode, p. 379 ; Dutuit, p. 37 ; Michel, 

PP- 43, 5 6 7 [34. 44 1 ] ; Moes > No - 668 7 6 - 

Probably in the Crozat collection, and bought with it by the Empress 

Catherine II. for the Hermitage. 

In the Hermitage Palace, Petrograd, 1901 catalogue, No. 814. 

682. HARMEN GERRITSZ VAN 



by Hofstede de Groot, Urkunden, No. 350. 
In the collection of Jan van de Cappelle, Amsterdam ; in the inventory of 
his effects, 1680, No. 55. 

683. Harmen Gerritsz van Rijn. A small half-length, without 
hands. He is turned to the right, almost in profile, and looks down. 
On his bald head is a black cap. He wears a brown coat trimmed with 
fur. Greyish-brown background. Bright light falls from the left at top. 

Oak panel, 6J inches by 5 inches. 

The original, probably painted about 1630, is lost. Described from a copy 
in the Nantes Museum B.-HdG. 26 ; 1913 catalogue, No. 545, as by Willem 
van Vliet ; mentioned by Moes, No. 6687, 2. 

A second copy is in the Tours Museum, mentioned by Moes, No. 6687, 3' 
A third copy was in the sale : Dr. Paul Mtiller, Paris B.-HdG. 541. 

684. Harmen Gerritsz van Rijn. Sm. 388 and 400; Wb. 
497 ; B.-HdG. x. Half-length. He is inclined to the right j his head 
is in full face, and he looks at the spectator. He wears a turban- 
shaped cap, on which a horse-tail is fastened with a clasp. He has a 
moustache and imperial. Round his shoulders is a cloak with a fur collar. 
Painted about 1630. 



xxn REMBRANDT 325 

The original is lost. Described from the print called " Mahomet," by 
J. J. van Vliet. Engraved also by Fran9ois Langlois dit Ciartres and, as "Thomas 
Agniello," by J. de Frcy. The picture, corresponding to this print by Van 
Vliet, in the sale : (supplementary) E. B. Rubens and others, Amsterdam, 
August II, 1857, No. 299 on panel, 9 inches by 7^ inches was probably 
not the preliminary study by Van Vliet but a copy after his "Mahomet" print. 

684*7. Harmen Gerritsz van Rijn. B.-HdG. v. Half-length, 
turned to the right. On his head is a cap adorned with a chain. 
Round his neck is a fur collar. He has a thin moustache and beard. 
Full light falls from the left on the wrinkled face. 

The original is lost. Described from a print by C. Phillips, dated 1769. 

HARMEN GERRITSZ VAN RIJN. Other pictures in 
which Rembrandt probably painted his father are 282, 293, 345, 446, 447. 

685. NEELTGEN WILLEMSDOCHTER VAN ZUYT- 
BROUCK (buried September 14, 1640), wife of Harmen Gerritsz van 
Rijn, and mother of Rembrandt. B.-HdG. 21. Half-length; life size. 
She is seen in full face, wearing a large black cap, the sides of which fall 
on her brown dress. At the throat is seen a piece of the white chemisette, 
on which a pattern is drawn with the brush-handle. She looks downwards. 
The lips are parted, showing the teeth. Full light falls from the left. 
Light greenish background. Painted about 1630. 

Oak panel, 14 inches by nj inches. 

It is closely related to the etching, Bartsch 352 [Hind 2]. 
Mentioned by Moes, No. 9404, 6. 
Exhibited at Amsterdam, 1898, No. 16. 
In the collection of Arthur Sanderson, Edinburgh. 

In the possession of C. Sedelmeyer, Paris, "Catalogue of loo Paintings," 
191 1, xi. No. 31. 

In the possession of Sir George Donaldson, London. 

In the possession of Cottier and Co., New York. 

In the possession of A. Preyer, The Hague. 

In the collection of Herr Krupp von Bohlen und Halbach, Essen. 

685*. NEELTGEN WILLEMSDOCHTER VAN ZUYT- 

BROUCK. She is seen in full face, inclined to the right, with her 
head towards the spectator. She looks down ; her toothless mouth is 
half open. On her head is a grey veil ; she wears a black dress and a 
white collar. The light falls from the left and makes a shadow at foot 
to the right. Half-length. 

Signed to the right at top with the monogram ; panel, about 8J 
inches by 6J inches. 

Mentioned by A. Bredius, Burlington Magazine, September 1914, p. 3^5. 
In the collection of A. Silvestre, Geneva. 

686. Neeltgen Willemsdochter van Zuytbrouck. B.-HdG. 

19. A small half-length, without hands. She is turned to the left ; the 
face with downcast eyes is inclined towards the spectator. She wears a 
black dress and cap, both trimmed with fur ; a long parti-coloured veil 



326 REMBRANDT SECT. 

is fastened on her brow with an ornament set with a red stone. At the 
throat is the white ruffle of the chemisette. Light grey background. 
An even light falls from the left at top. 

The authenticity of the work is not quite certain. As a remarkable 
number of examples are oval or have a painted oval frame, it is probable 
that an original exists or did exist which was oval or was in a painted 
oval. If it is genuine, it was painted about 1628. 

Oak panel, 6J inches by 5 inches. 

Other examples are, or were 

1. In the collection of Prince Salm-Salm, Anholt ; it is doubtful 

whether this is a copy or a replica ; mentioned by Moes, 
No. 9404, 4. 

2. Panel, 9 inches by 7 inches. 

In the Brunswick Gallery, 1910 catalogue, No. 239*7, 7 inches. 
It is doubtful whether this is a copy or a replica ; Moes, 
No. 9404, 3. 

3. Panel, 8J inches by 6J inches. 

Exhibited at the Royal Academy Winter Exhibition, London, 

1899, No. 3. 

Mentioned by Moes, No. 9404, 2. 

In the possession of P. and D. Colnaghi, London, 1895. 
In the collection of W. C. Alexander, London. 

4. In the collection of Lord Rossmore, Rossmore. 

5. Panel, with a painted oval frame, 12 inches by 9 inches. 
Exhibited at Leyden, 1906, No. 50. 

In the collection of Leon Janssen, Brussels. 

Sale. C. Sedelmeyer, Paris, May 25, 1907, No. 159 (24,000 
francs). 

6. Oval panel, 8J inches by 7 inches. 

Sale. London, July 12, 1912, No. 30 (60 : i8s.). 

The pendant is probably " Rembrandt's Father " at Innsbruck (677), not 
the Nantes portrait (683) as Michel suggests. 

Mentioned by Michel, pp. 42, 565 [34, 440] ; Moes, No. 9404, i. 

Exhibited at The Hague, 1890, No. 87 ; at Amsterdam, 1898, No. 4 ; at 
the Royal Academy Winter Exhibition, London, 1899, No. I. 

Sales. (Probably) F. J. O. Boymans, Utrecht, August 31, 1811, No. B. 79. 
Fransen, Rotterdam, 1890, as in the manner of G. Dou. 

In the collection of A. Bredius, The Hague ; exhibited on loan in the 
Royal Gallery, The Hague, 1914 catalogue, No. 556. 

687. NEELTGEN WILLEMSDOCHTER VAN ZUYT- 

BROUCK. Sm. 492. Half-length ; turned to the left. Her wrinkled 
hands are lifted in prayer ; her eyes are closed, her lips parted. A large 
and bright red hood covers her head. A fur-trimmed cloak hangs round 
her shoulders. Her gown is cut square at the bosom, showing a kerchief 
folded crosswise and the pleated chemisette. Painted about 1628-30. 
[Cf. 322.] The author has carefully studied this picture afresh, after an 
interval of twelve years, and is convinced that the doubts cast on its 
authenticity are not justified. 

Panel, about 6 inches by 4 inches. 

In the collection of Count Czernin von Chudenitz, Vienna, No. 75. 



xxii REMBRANDT 327 

688. NEELTGEN WILLEMSDOCHTER VAN ZUYT- 
BROUCK. Bode 265; Dut. 120; Wb. 142; B.-HdG. 24. Half- 
length, without hands ; almost life size. She stands, turned to the right, 
and looking down in that direction. She has a dark purple head-dress, 
lined with gold brocade, which falls on the back of her fur cloak. A close- 
fitting collar comes up under her chin. Dark grey background. Full 
sunlight falls from the right at top on the head. Painted about 1630-31. 

Oak panel, about 20 inches by 14 inches. 

Mentioned by Bode, p. 382; Dutuit, p. 33; Michel, pp. 40, 559 [31, 
431] ; Hofstede de Groot, Urkunden, Nos. 75, 363 ; Moes, No. 9404, 8. 

Exhibited at the National Portrait Exhibition, London, 1866, No. 409, as 
"The Countess of Desmond"; at the Royal Academy Winter Exhibition, 
London, 1899, No. 45, under the same title. 

In the collection of Lord Ancrum, who gave it to Charles I. 

In the collection of Charles I., King of England ; inventory of about 1639, 
No. 1 01. 

In the collection of James II., King of England; W. Bathoe's 1758 
catalogue, p. 10, No. 1 13 but No. 1 14 of the original catalogue. 

In the Royal collection, Windsor Castle. 

689. Neeltgen Willemsdochter van Zuytbrouck. B.-HdG. vi. 
Half-length ; almost in full face. Her eyes are half open ; the expres- 
sion of the round face suggests indifference. She holds her left hand to 
her bosom. She wears a large black cloak which is pulled over the head, 
a gown with an embroidered stomacher adorned with a brooch, and 
a white fur round her neck. She wears on her brow a broad band 
decorated with pearls and a large stone. Dark grey background. 

Canvas, 15 \ inches by I2j inches. 

The original is lost. Described from an old copy in the Brunswick 
Museum, 1910 catalogue, No. 239^. 

An etching in reverse is signed "A. Riedel fe 1755"; see Moes, No. 
9404, 21. 

689*7. Neeltgen Willemsdochter van Zuytbrouck. With a 
pleated collar. She holds a book and a pair of spectacles. 

Sales. Marquis de Brunoy, Paris, December 2, 1776 (200 francs, with 671, 

"Michiel de Ruyter"). 
Dulac, Paris, November 30, 1778 (1099 francs) ; see C. Blanc, i. 439. 

689/>. Neeltgen Willemsdochter van Zuytbrouck. A small 
picture. 

Sale. C. A. de Calonne, London, March 23, 1/95, No. 33 (14: 145.) ; 
see Buchanan, i. 235. 

6894-. Neeltgen Willemsdochter van Zuytbrouck. [Pendant to 
the " Portrait of the Painter" in the Bryan sale (590).] 

Sale. Bryan, London, May 17, 1798, No. 20 of the second day. 

689^. Neeltgen Willemsdochter van Zuytbrouck (?). With a 
Bible on her lap. 

Dated 1643 ; panel. 



328 REMBRANDT SECT. 

In an anonymous collection (said to be that of De Julienne), Paris. 
Sale. W. Hamilton, London, March 27, 1801, No. 56 (51 195.); see 
Buchanan, ii. 75. 

689*, Neeltgen Willemsdochter van Zuytbrouck. Tenderly 
painted in fine colour. 

Panel, i6J inches by 12 inches. 

Sale. J. F. Wolschot, Antwerp, September I, 1817, No. 292. 

690. Neeltgen Willemsdochter van Zuytbrouck. Sm. 54.0. 
Half-length ; almost in profile. About sixty. She wears a plain white 
cap and a brown cloak bordered with fur. " Painted in the artist's finest 
manner " (Sm.). 

Panel, 21 inches by 14 inches. 

In the collection of Prince von Kaunitz, Vienna. 

Imported into England by Sm., who sold it to the Hon. George John 
Vernon. 

Sale. -G. J. Vernon, London, 1831 (63). 
In the collection of Lord Vernon, 1836 (Sm). 

690*. Neeltgen Willemsdochter van Zuytbrouck. At an ad- 
vanced age. In profile, wearing a cap and a fur-trimmed dress. Possibly 
a copy after Rembrandt's etching, Bartsch 348 [Hind 51]. 

Panel, 7 inches by 5 inches. 

In the collection of Lucas Schamp. 

Sale. Schamp d'Aveschoot, Ghent, September 14, 1840, No. 10 (250 
francs, Isaacs of London). 

690^. Neeltgen Willemsdochter van Zuytbrouck. Half-length. 
The hands are in a muff. The head is covered with a cap, over which is 
a hood shading the forehead. 

Panel, 8 inches by 7^ inches. 

Etched by Rembrandt, according to the sale-catalogue. 
Sale. Schamp d'Aveschoot, Ghent, September 14, 1840, No. 175 (730 
francs, Schrijvere of Bruges). 

690*:. Neeltgen Willemsdochter van Zuytbrouck. Known as 
"The Painter's Blind Mother." In the left hand she holds a black shawl. 
Warm and effective in tone. 

Sale. (supplementary) Scheibler and others, Aachen, September 13, 1842, 
No. 15. 

690^. Rembrandt's Mother. 
Oval, 32 inches by 24 inches. 

Sale. Paul Perier, Paris, March 1 6, 1843 (7101 francs, Mawson). 

690*. Neeltgen Willemsdochter van Zuytbrouck. At a very 
advanced age. Half-length ; in profile. A white cloth embroidered in 
colours covers her head and falls on her shoulders. 

Panel, i6J inches by 12 J inches. 

Sale. Cardinal Fesch, Rome, March 17, 1845, No. 193 (220 scudi). 



xxn REMBRANDT 329 

NEELTGEN WILLEMSDOCHTER VAN ZUYT- 
BROUCK. Other pictures in which Rembrandt probably painted his 
mother are 313, 316, 320. 

691. LIESBETH VAN RIJN (who died after 1651), Rembrandt's 
sister. B.-HdG. 66. Half-length, without hands ; life size. She stands, 
inclined to the left, and bends her head towards the spectator. She wears 
a purplish-red cloak, lined with fur, over a pale blue gown cut out in front 
and showing the edge of the chemisette. Round her neck is a string of 
pearls ; on her bosom is a triple gold chain ; in her fair reddish hair with 
ringlets in front are rubies, and a veil sewn with pearls falls down her 
back. Dark background. Full light falls from the left. 

Signed on the left at foot, "Rembrandt f. 1633" ; canvas, 24 J inches 
by 21 inches. 

Exhibited in Berlin by the Kaiser Friedrich Museumsverein, 1909, No. 107. 
In the collection of O. B. L. Mainwaring, London, 1892. 
In the collection of A. Polovtsoff, Petrograd. 
In the possession of Lawrie and Co., London. 

In the possession of C. Sedelmeyer, "Catalogue of 100 Paintings," 1906, 
No. 29. 

In the collection of C. von Hollitscher, Berlin, 1912 catalogue, No. 60. 

692. LIESBETH VAN RIJN. B.-HdG. 59. Half-length, 
without hands ; almost life size. She is inclined a little to the left ; her 
head is seen in full face, and she looks at the spectator. She wears a black 
dress lined with green fur, under which is seen a greenish-brown bodice. 
The chemisette is open at the throat, showing the clasp of a narrow 
gold chain. Her dark hair is combed back under a small cap of a dull 
golden tone. The greyish-brown background is rather light. Strong 
light falls from the left at top on the head, making the shadow dark. 
Painted about 1632. Unfinished ; on some parts, especially the hair, 
there is only the under-painting. 

Oak panel, 22 inches by i6J inches. 

An old copy is in the National Museum, Stockholm, 1900 catalogue, 
No. 591. 

Mentioned by Moes, No. 6686, n. 

In the collection ofT. Humphry Ward, London, 1894. 

In the collection of the late Alfred Thieme, Leipzig, 1900 catalogue, 
No. 66. [Bought for the Leipzig Museum in 1916.] 

693. LIESBETH VAN RIJN. Sm. 499 or 500; Dut. 192; 
Wb. 304 and 318 ; B.-HdG. 65. Half-length, without hands ; life size. 
She is inclined to the left, with the head in full face, looking at the 
spectator. Her fair reddish hair is in curls ; in her ear is a pearl. Her 
dark fur-trimmed cloak, showing a gold chain and the chemisette at the 
throat, is fastened in the bosom with a gold clasp. Dark background. 
Strong light from the left. [Pendant to 695.] 

Signed on the right at foot with the monogram " R H L van Rijn 
'633" ; oval canvas, 22 J inches by 17 inches. 

Etched by Courtry. 



330 REMBRANDT SECT. 

Mentioned by Vosmaer, p. 495 ; Dutuit, p. 20; Michel, pp. 173, 563 

[133,435]. 

Sales. De Julienne, Paris, March 30, 1767 (1210 francs, with pendant); 

on panel. 

Roehn, Paris, March 2, 1868. 
Rochard, Paris, April 7, 1868. 

In the possession of C. Sedelmeyer, Paris, 1869 ; "Catalogue of 300 Paint- 
ings," 1898, No. 121. 

In the collection of Max Kann, Paris, 1872. 

Sale. Brocks (or, according to others, Madame Blanc), Paris, April 16, 

1877 (21,100 francs, Rodolphe Kann). 
In the collection of Rodolphe Kann, Paris. 
In the collection of Baron Hirsch de Gereuth, Paris. 
In the collection of Sir J. B. Robinson, London. 

694. LIESBETH VAN RIJN. Sm. 555 ; Bode 374 (377) ; 
Dut. 190; Wb. 359; B.-HdG. 56. Half-length, without hands; life 
size. She is seen in full face, slightly inclined to the left but looking at 
the spectator. Her fair reddish hair is in curls ; a veil falls down the back 
of her head. She wears a dark gown trimmed with gold embroidery ; the 
pleated chemisette is seen at the throat. Dark background. Bright light 
falls from the left foreground on the head. 

Signed to the right in a level with the mouth, " R H L van Rijn 
1632" ; oval oak panel, 22 inches by 19 inches. 

Engraved by Boutrois ; by Laurent in the Musee Franfais. 
Mentioned by Bode, p. 421 ; Dutuit, p. 47 ; Michel, pp. 110, 566 [84, 
440] ; Moes, No. 6686, 2. 

In the Louvre, Paris, 1813 ; transferred by Napoleon to the Brera. 
In the Brera Gallery, Milan, 1901 catalogue, No. 449. 

695. LIESBETH VAN RIJN. Sm. 523, and Suppl. 15 ; Dut. 
191 ; Wb. 296; B.-HdG. 62. Half-length; life size. She is turned a 
little to the right and looks at the spectator. Her fair reddish hair is in 
curls ; in her ear is a pearl. Her black gown, richly embroidered with 
gold, shows at the neck the plain collar of the chemisette. Strong light 
falls from the left. Painted about 1632. [Pendant to 693.] 

Oval oak panel, 2oJ inches by 15 J inches. 

Etched in outline by Bracquemond in the Demidoff sale-catalogue. 
Mentioned by Vosmaer, p. 500 ; Dutuit, p. 51 ; Moes, No. 6686, 12. 
Sales. De Julienne, Paris, March 30, 1767 (1210 francs, with pendant). 
Destouches, Paris, March 21, 1794 (651 francs). 
London, about 1800. 
(Probably) Comte de Sommariva, Paris, February 18, 1839 (5100 

francs). 

Baron Nagell van Ampsen, The Hague, September 5, 1851, No. 53 
(5020 florins, Ross) [it was in the Baron's collection in 1842 
(Sm.)]. 
Prince Anatole Demidoff of San Donato, Paris, April 18, 1868 

(21,600 francs, Madame de Cassin). 
Marquise de Carcano, Paris, May 30, 1912, No. 171 (365,000 francs, 

Durand-Ruel). 
In the possession of Durand-Ruel, Paris. 



xxn REMBRANDT 331 

696. LIESBETH VAN RIJN. 801.524; Bode 252 ; Out. 187; 
Wb. 216; B.-HdG. 60. Half-length, without hands; almost life size. 
She is seen almost in full face, turned a little to the right, looking at the 
spectator. Her fair reddish hair is fastened at the back with a jewelled 
clasp. In her ear is a pearl. She wears a thin flat close-fitting lace collar 
over a greenish-black gown with a sash. A thin gold chain lies in several 
strands on her collar. Painted about 1631. [Pendant to 573.] 

Oak panel, 25 inches by 19 inches. 

Etched [under the title " Flamande "] by Ingouf the younger on the same 
plate as the pendant etched by Voyer, in the Galerie du Palais-Royal, Paris, 
1786-1809. 

Mentioned by Bode, p. 421 ; Dutuit, p. 46; Michel, pp. no, 559 [84, 
433] ; Moes, No. 6686, 4. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, 
No. 39. 

In the collection of the Due d'Orleans, 1792 ; see Buchanan, i. 196; 
[valued in 1795 at 150, according to Sm., and sold privately]. 

In the collection of Lord Leconfield, Petworth. 

697. LIESBETH VAN RIJN. Sm. 547; Bode 258 ; Out. 1 86; 
B.-HdG. 58. Half-length, without hands ; almost life size. She is seen 
almost in full face, inclined a little to the right, looking at the spectator. 
She wears a blackish-purple hat with a blue feather and gold lace ; in her 
dark hair is a chain. Over her muslin gown is a dark cloak fastened 
with a gold chain. Round her neck is a string of pearls with small gold 
balls at intervals. The greenish-grey background is rather light. A cool 
subdued light falls from the left on the head. 

Signed on the right, "RHL van Rijn 1632" (the last figures are 
under the frame) ; oval canvas, 27 inches by 21 inches. 

Mentioned by Bode, p. 421 ; Dutuit, pp. 19, 43 ; Michel, pp. 110, 559 
[84, 432] ; Moes, No. 6686, 3. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, 
No. 56. 

In a private collection, Paris, 1836 (Sm.). 

Sales. Madame Gcntil de Chavagnac, Paris, June 20, 1854 (3000 francs). 
Comtesse Lehon, Paris, April 2, 1861 (3000 francs). 

In the collection of Sir Francis Cook, Bart., Richmond. 

In the collection of Sir Frederick Cook, Bart., Richmond. 

698. LIESBETH VAN RIJN. Sm. 571; Bode 3 6 4 ; Out. 179; 
Wb. 439; B.-HdG. 63. Half-length; life size. She stands in profile 
to the left. In her gloved right hand, which is alone shown, she holds 
a feather fan with a gilt handle. Her brownish-red velvet cloak, with a 
broad strip of gold embroidery on the edges, is fastened at the bosom with 
a broad gold clasp. Her fine pleated chemisette is finished with a row of 
pearls at the throat. In her left ear is a large pearl. Her fair reddish curly 
hair is caught up at the back in a net, fastened with a jewelled clasp in 
which some flowers are placed. 

Signed on the right above the shoulder, "RHL van Rijn 1632"; 
canvas, 28^ inches by 21 inches. 



332 REMBRANDT SECT. 

Etched in reverse by W. de Leeuw ; see Bartsch, ii. 132, No. 45, who 
wrongly states that the original is the " Saskia," formerly in the De Reuver 
collection and now at Cassel: (607). 

An old copy B.-HdG. 64 ; Moes, No. 6686, 6 was formerly in the 
collection of the Earl of Denbigh, Newnham Paddox, and is now in the 
collection of W. C. Alexander, London. Another copy, of the head alone, is 
in the collection of Mrs. Alfred Seymour, London ; mentioned by Moes, 
No. 6686, 7. 

Mentioned by Vosmaer, p. 494; Bode, p. 417; Dutuit, p. 40; Michel, 
pp. 1 68, 568 [130,442]; Moes, No. 6686, 5; Granberg, Inventaire general, 
iii. 296. 

In the collection of K. G. Tessin, Stockholm ; probably sold in 1757 to 
Queen Louisa Ulrica. 

In the collection of Louisa Ulrica, Queen of Sweden, Stockholm. 

In the National Museum, Stockholm, 1900 catalogue, No. 583. 

699. LIESBETH VAN RIJN. Bode 311 ; Dut. 189; Wb. 329 j 
B.-HdG. 57. Half-length, without hands ; life size. She is seen in full 
face, looking at the spectator. She wears a deep purple cloak with a broad 
trimming of gold lace, showing at the throat a lightly pleated chemisette. 
She has short curly hair of a fair reddish hue ; in each ear is a pearl. Full 
light falls from the left at top on the face and neck. Greyish background. 

Signed on the right above the shoulder, "RHL van Rijn 1632"; 
oval oak panel, 23 J inches by 17^ inches. 

A copy by J. F. Grueber is in the Chauveau collection, Paris. 
Mentioned by Dutuit, p. 53 ; Bode, p. 311 ; Michel, pp. 168, 560 [130, 
430] ; Moes, No. 6686, 10. 

In the Valpin9on collection, Paris. 

Sale. E. Secretan, Paris, July i, 1889, No. 154 (29,500 francs, C. Sedel- 

meyer). 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 Paintings." 
In the collection of Prince Liechtenstein, Vienna. 

700. Liesbeth van Rijn. Sm. 589 ; Wb. 455 ; B.-HdG. xiii. 
Half-length. She is inclined to the right j her head and eyes are turned 
towards the spectator. Her bushy hair is adorned with two feathers and 
some pearls. In her right ear, which is alone visible, is a pearl ; there is 
a'string of pearls round her neck. Her gown is cut square at the bosom, 
snowing the fine pleated chemisette ; over it is a richly embroidered cloak, 
held across the breast by a thin chain with a clasp. On both shoulders 
falls a large head-veil, with a pattern on the lower edge and fringes. 
[Probably identical with 618. Pendant to 467.] 

Oval, 22 J inches by 18 inches. 

Mentioned by Dutuit, pp. 5, 7. 

Sales. La Live de Jully, Paris, March 5, 1770. 

De Peters, Paris, March 9, 1779 (8 5 3 francs, with 467) ; see 

C. Blanc, i. 451. 

The original is lost. Described from a print, " La Dame a la Plume," by 
A. de Marcenay. 

701. Liesbeth van Rijn. Sm. 593. 

The original is lost. Noticed by Sm. from an anonymous mezzotint. 



xxn REMBRANDT 333 

LIESBETH VAN RIJN. Other pictures in which Rem- 
brandt probably painted his sister or used her as a model are 42, 195, 
199, 311. 

702. TITUS VAN RIJN (baptized September 22, 1641 ; buried 
September 7, 1668), son of Rembrandt. B.-HdG. 441. About thirteen. 
Half-length j life size. He sits, seen in full face, behind a desk, so that 
only his head and hands are seen. He looks thoughtfully into the 
distance. His left hand grasps an ink-pot and, between the thumb and 
forefinger, holds a sheet of paper ; the right hand, holding a quill, supports 
his cheek. He has dark eyes, and rich fair curls under a dull red cap. He 
wears a dark greenish coat with dull red bands on the sleeves. Dark 
background. The light falls from the left at top. [Cf. Maes in, 
(Hermitage).] 

Signed on the left at foot, "Rembrandt f. 1655 " ; canvas, 30 J inches 
by 25 inches. 

Mentioned by Moes, No. 6694, i. 

Exhibited at the British Institution, London, 1866, No. 75 ; at the Royal 
Academy Winter Exhibition, 1899, No. 28 ; at Amsterdam, 1898, No. 90. 
In the collection of the Earl of Crawford, Haigh Hall, near Wigan. 

703. TITUS VAN RUN- B.-HdG. 445. About seventeen. 
Half-length, without hands ; life size. He stands, seen in full' face, turn- 
ing his dark eyes on the spectator. On his long light golden curls is a 
black hat. He has a slight fair moustache. He wears a black costume 
with a high closed collar, and a gold chain round his neck. Full light falls 
from the left on the right side of the face. The background is somewhat 
light. Painted about 1658. 

Signed on the left at foot, " Rembrandt f. " ; canvas, 30 inches by 
25 inches. 

A copy, attributed to F. Bol, is in a private collection in New York. 

Mentioned by Moes, No. 6694, 4 ; [by Michel, p. 433]. 

Exhibited at the British Institution, London, 1862, No. 15, and 1867, No. 
75 ; at the Royal Academy Winter Exhibition, London, 1893, No. 50, and 
1899, No. 82 ; at Amsterdam, 1898, No. 107. 

In the collection of Sir G. L. Holford, Dorchester House, London. 

704. TITUS VAN RIJN. Bode 230 j Dut. 433; Wb. 251 ; 
B.-HdG. 444. About sixteen. Half-length, without hands ; life size. 
He stands, seen almost in full face, looking at the spectator. He wears a 
dark cloak and a yellowish-brown coat, over which hangs a broad gold 
chain with a large medal. A red cap covers his rich golden curls. Full 
light falls from the front on the right side of the face. Dark background. 
Painted about 1657. 

Signed to the right above the shoulder, " R." j canvas, 26J inches by 
22 inches. 

Probably not identical with Sm. 221 [probably 578], as the Wallace 
Collection catalogue suggests. 

Mentioned by Vosmaer, pp. 547, 549 ; Bode, pp. 534, 589 ; Dutuit, p. 48 ; 
Michel, p. 433 [336-7]; Waagen, ii. 158 and iv. 87; Moes, Nos. 6694, 3 
and 9. 



334 REMBRANDT SECT. 

Exhibited at Manchester, 1857, 17, wrongly entitled "Jan Pellicorne" and 
identified with Sm. 216 (578); at Bethnal Green Museum, London, 1872, 
No. 190 ; at the Royal Academy Winter Exhibition, London, 1889, No. 155. 

Sale. William II., King of Holland, The Hague, August 12, 1850, No. 98 
(4000 florins, Brondgeest). 

In the collection of the Marquess of Hertford, London. 

In the Wallace Collection, London, 1913 catalogue, No. 29. 

705. TITUS VAN RIJN. About twenty-five. He is inclined to 
the left, but turns his face to the front. He has fine long hair under a 
black cap. His reddish-brown coat is trimmed with fur ; he has a white 
under-garment. The hands are not shown. The expression of the face 
is somewhat stiff. Dark background. Painted about 1652-54. 

Canvas, 29 inches by 24 inches. 

The attribution was proposed by W. R. Valentiner. 

Mentioned by Hofstede de Groot, Onze Kunst, December 1912, p. 175, 
note. 

In the collection of Noel Desenfans, London (who died in 1807). 

In the collection of Sir P. F. Bourgeois, London (who died in 1811); 
bequeathed to Dulwich College. 

In the Dulwich College Gallery, London, 1914 catalogue, No. 221, as of 
the school of Rembrandt. 

706. TITUS VAN RIJN. Bode 296 ; Dut. 324 ; Wb. 303 ; 
B.-HdG. 442. About thirteen. Half-length ; life size. He stands, seen 
in full face, with both hands on his hips. He has dark brown eyes, and 
chestnut brown curls under a broad-brimmed black hat with a white 
feather. In his ears are ear-rings, each with a large pearl. He wears a 
dark and dull red coat with greenish sleeves ; it is cut square across the 
throat, showing the lace-trimmed shirt. Bright light falls from the left. 
Rather dark background. 

Signed on the left at top, "Rembrandt f. 1655"; canvas, 31 J inches 
by 23^ inches. 

Mentioned by Bode, pp. 512, 597 ; Dutuit, p. 51 ; Michel, pp. 386, 563 
[299, 435] ; Moes, No. 6694, 2. 

Exhibited in Paris, 1897; in Amsterdam, 1898, No. 89; in the Guildhall 
Art Gallery, London, 1903, No. 154. 

In the collection of Count Podstatzky, Bohemia. 

In the collection of E. Secretan, Paris. 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 Paintings," 
1898, No. 139. 

In the collection of Rodolphe Kann, Paris, 1907 catalogue, No. 66. 

In the possession of Duveen Brothers, Paris. 

In the collection of B. Altman, New York ; bequeathed in 1913 to the 
Metropolitan Museum. 

In the Metropolitan Museum, New York. 

707. TITUS VAN RIJN. Sm. 379 ; Dut. 337 ; Wb. 239 ; 
B.-HdG. 466. About nineteen. Half-length ; life size. He sits, seen in 
full face, turning his head a little to the right and leaning his chin on his right 
hand. He wears a dark greyish-green costume with yellow sleeves and 
gold buttons, and a small white turn-down collar. A broad hat covers his 



xxn REMBRANDT 



335 



fair curls. The light falls rather from the right on the face and hand. 
Dark background. 

Signed to the right, half-way up, on the arm of the chair, " Rembrandt 
f. 1660" ; canvas, rounded at top, 31 inches by 26^ inches. 

A pen-drawing by Mathys van den Berghe shows the picture with a straight 
top. 

Mentioned by Dutuit, p. 48 ; Michel, pp. 432, 555 [336, 433] ; Waagen, 
iii. 398. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 97. 

In the collection of the Duke of Rutland, Belvoir Castle, No. 66 [it was there 
in 1836, according to Sm.]. 

In the possession of the Paris dealer Kramer. 

In the possession of Gimpel and Wildenstcin, Paris. 

708. TITUS VAN RIJN. B.-HdG. 590. Half-length, without 
hands ; life size. He is inclined to the left, but turns his face to the front 
and looks at the spectator. He is beardless, and wears a black velvet cap 
on his curly brown hair. He wears a reddish-brown coat with a black 
velvet collar, showing the shirt at the throat. Dark background. Bright 
light falls from the left at top. Painted about 1657. 

Canvas, 20^ inches by 16 inches. 
Sales. Anonymous, Paris, 1895 and 1900. 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 100 Paintings," 
1901, No. 34. 

In the collection of T. Humphry Ward, London. 
In the collection of George Salting, London. 
In the possession of Thomas Agncw and Sons, London. 
In the possession of the Paris dealer Jonas. 

709. TITUS VAN RIJN. Sm. 308 ; Bode 347 ; Out. 185 ; Wb. 
409 ; B.-HdG. 447. About twenty. Almost half-length, without hands ; 
life size. He stands, turned three-quarters right, looking at the spectator. 
He is beardless, with long fair reddish curls falling on the shoulders and 
covered by a flat light brown cap with a silver edging. He wears 
a yellowish -brown coat with large golden yellow buttons. Full light 
falls from the left on the face. Dark brown background. Painted about 
1660. 

Canvas, 28^ inches by 22 inches. 

Etched by N. Mossoloffin Les Rembrandts de VErmitage. 

Mentioned by Bode, pp. 534, 602 ; Dutuit, p. 39 ; Michel, pp. 456, 567 
[356, 441]. 

In the collection of Comte Baudouin, Paris ; acquired with it by the 
Empress Catherine II. for the Hermitage. 

In the Hermitage Palace, Pctrograd, 1901 catalogue, No. 825 [valued by 
Sm. in 1836 at 150]. 

709*7. Titus van Rijn. Leaning over a balustrade. 

Mentioned by Hofstede de Groot, Urkunden, No. 310; A. Bredius and 
N. de Roever, Oud Holland, ii. p. 102 ; Moes, No. 6694, 6. 

In the collection of his widow Magdalena van Loo, Amsterdam ; in the 
inventory of his effects, October 1669. 



336 REMBRANDT SECT. 

710. Titus van Rijn. Sm. 251 and 423. A youth, about fifteen, 
wearing a high cap over a striped kerchief, and a cloak buttoned in front 
and leaving the neck open. 

Engraved by A. L. Stein, 1770. 

The original is lost. Described by Sm. from the print. 

TITUS VAN RIJN. Other pictures in which Rembrandt 
probably painted his son are 208, 238. 

AELTJE GERRITSE SCHOUTEN, wife of Cornelis 
Claesz Anslo. [See 620.] 

711. Anna Maria van Schurman (1607-1678), poetess and 
scholar. She is in black with a white collar, wristbands, and cap, and holds 
a fan. 

Dated 1642 ; 31 inches by 25 J inches. 
Sale. Bibby, London, June 3, 1899. 

712. JAN SIX (1618-1700). Sm. 329 ; Bode 6 ; Dut. 228 ; Wb. 
348 ; B.-HdG. 371. More than half-length j life size. He stands, seen 
in full face, turned slightly to the left with his head bent over a little on 
the right shoulder, and looks straight out of the picture. He is about to 
go out j he has put his large black felt hat on his long fair reddish hair, 
and with the right hand, which holds one glove, he draws the other glove 
on to his left hand. He wears a light grey coat with yellow buttons ; 
over the left shoulder hangs a short bright red cloak with a collar and 
trimmings of gold lace. He has a plain collar and pleated wristbands. 
Dark grey background. The light falls from the left at top on the whole 
figure. Painted in 1654. The date is known from the couplet written 
by J. Six himself: 

AonlDas qVI sVM tenerls VeneratVs ab annls 
TaLIs ego lanVs SIXIVs ora tVLI. 

The sum of the capitals, M, D, L, X, V, I, gives the date 1654. 
Canvas, 44^ inches by 40^ inches. 

Engraved by J. W. Kaiser. Etched by P. J. Arendzen ; by W. Steelink in 
Van Someren, Oude Kunst in Nederland ; by Desboutin. 

Mentioned by Vosmaer, pp. 273, 556 ; Bode, pp. 532, 558 ; Dutuit, p. 54 ; 
Michel, pp. 452, 565 [351-3, 440]; Hofstede de Groot, Urkunden, No. 151 ; 
Professor Jan Six, Oud Holland, xi. (1893), p. 156; Moes, No. 7228, 4. 

Exhibited at Amsterdam, 1872, and 1900, No. 127. 

Painted for the sitter, and since preserved in his family. 

In the collection of J. Six, Amsterdam. 

713. JAN SIX. B.-HdG. 319. A small full-length. He stands at 
a window, leaning sideways. He supports himself with his right arm on 
the window-sill, and holds a paper before him in his left hand. He has 
long brown hair. He wears a light morning costume, a bright brown 
indoor jacket, showing the shirt at the throat, the breast, and the hands, 
black velvet breeches, and dark purple stockings and shoes. His black 
cloak and sword lie to the right on a table with a brown cover ; his hat 



xxn REMBRANDT 337 

lies before him on the window-sill. To the left are a curtain and a low 
stool with a red seat. Through the window, through which full sunlight 
falls across the upper part of the figure into the room, are seen trees and a 
stretch of sky. Painted about 1647. A sketch. 

Oak panel, 10 inches by 8 inches. 

A study for Rembrandt's etching of 1647, Bartsch 285 [Hind 228]. 

A washed pen-drawing in the Six collection, Amsterdam, as a first sketch 
shows Six with a dog leaping up at him ; reproduced by Lippmann-HdG. 
No. 53. 

Mentioned by Moes, No. 7228, 2 ; by Jan Six, Oud Holland, xi. 156, whose 
doubts, there expressed, as to the authenticity of the picture, appear to the author 
to be wholly unjustified [by Michel, pp. 275, 435]. 

Exhibited at Amsterdam, 1898, No. 68 ; Leydcn, 1906, No. 43 ; Paris, 
191 1, No. 120. 

In the collection of Leon Bonnat, Paris. 

714. Jan Six. Sm. 291. In full face. He wears a turned-up hat, 
with a diamond buckle in the ribbon. On his shoulders is a lace-collar ; 
his other clothes are black. 

Panel, 28 inches by 20 inches. 

In the collection of G. Braamcamp, Amsterdam. 

Sale. F. Pauwcls, Brussels, August 21, 1803, No. 74 (611 florins, Van 
Brcc). 

JAN SIX. The name was wrongly given to 735, 743, 766, 
767, 839. 

MARGARETHA TULP, wife of Jan Six. The name was 
wrongly given to 850, 872. 

ANNA WIJMERS, wife of Jan Six the elder. [See 728.] 

715. HENDRICKJE STOFFELS, Rembrandt's mistress (1626- 
shortly before July 21, 1664). Bode 140 ; Dut. 344 ; Wb. 222 ; B.-HdG. 
351. Three-quarter length ; life size. She is seen in full face, seated in 
front of a table with a red cover. Her 'right arm rests on the gilt arm of 
the chair ; her left arm is almost entirely hidden in a white cloak. Her 
hair is drawn back under a cap with gold trimming. From her ears hang 
pearls. Over her chemisette, open in front, she wears a white cloak of 
woollen stuff like fur. A double gold chain hangs on her bosom. To 
the left lies a reddish-brown dress. Dark background, with a bright red 
curtain to the left. Painted about 1660. 

Signed on the left at foot, "Rembrandt f. 166" the name and date 
have been partly repainted and are thus hard to read ; canvas, 40 inches 
by 33 inches. 

Mentioned by Bode, pp. 551, 578 ; Dutuit, p. 47 ; Michel, pp. 499, 555 
[39> 433] I ; Waagen, iii. 134, iv. 304 ; Moes, No. 7603, 2. 

Exhibited at Leeds, 1868, No. 731 ; at the Royal Academy Winter Exhibi- 
tion, London, 1882, No. 63, and 1899, No. 93 ; [at the National Loan Exhibi- 
tion, Grosvenor Gallery, London, 1914, No. 84]. 

In the collection of Edward Gray, Harringay House, Hornsey. 

In the collection of the late Charles Morrison, Basildon Park. 

[In the collection of Captain Archibald Morrison, Basildon Park.] 

VOL. VI Z 



338 REMBRANDT SECT. 

716. HENDRICKJE STOFFELS. Bode 40; Dut. 345 ; 5 Wb. 
31 j B.-HdG. 437. About thirty. Half-length ; life size. She is inclined 
a little to the left j her head is bent down ; she looks at the spectator. She 
leans her left arm on a window-sill ; her right hand holds the latch of the 
open casement. She wears a red morning gown lined with fur, exposing 
the chemisette at the bosom and its loose sleeves at the wrists. Her dark 
hair is confined in a cap of gold net. She has pearl ear-rings and bracelets. 
Painted about 1659. 

Canvas, 34 inches by 26 inches. 

Mentioned by Bode, pp. 550, 563 ; Dutuit, p. 26 ; Michel, pp. 464, 551 
[362, 436] ; Moes, No. 7603, 5. 

Sales. T. G. Graham White, London, March 23, 1878 (472 : ios.). 

John Wardell, London, May 10, 1879 (666 : 155.). 
In the possession of M. H. Colnaghi, London. 
In the possession of E. Warneck, Paris. 
In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 8286. 

717. HENDRICKJE STOFFELS. Half-length. She is seen 
in full face, turned a little to the right and looking at the spectator. Her 
hair is combed back and confined by a ribbon. Her curls fall on her 
shoulders to right and left. In her right ear, which is alone visible, hangs 
a large pearl. Her gown is cut square at the bosom, showing the pleated 
chemisette. On the hem of the gown at the bosom is a brooch. A fur 
cloak is thrown round her shoulders. Painted about 1660. 

Canvas, 26 inches by 21 J inches. 

Exhibited at Berlin, 1909, No. 108. 

In the exhibition of O. Huldschinsky, Berlin, 1909 catalogue, No. 21. 

717*. HENDRICKJE STOFFELS. She holds a handerchief to 
her tearful eyes. 

Oak panel, 8| inches by 6J inches. 

In the Holland collection, London. 

In the possession of F. W. Lippmann, London, 1914. 

In the collection of O. Huldschinsky, Berlin. 

718. HENDRICKJE STOFFELS. B.-HdG. 436. About 
thirty. Half-length ; life size. She sits, seen in full face, but inclined a 
little to the right, and looks at the spectator. She bends forward ; her 
arms are folded on her lap, and her hands are hidden in the dull white 
sleeves of her dark reddish-brown morning robe, which is cut square at 
the bosom to show the chemisette. Round her neck is a narrow ribbon. 
Her brown hair falls in curls on either side, and is covered at the back by 
a dark cap with a gold border. Bright light falls from the left at top on 
the right side of the brow and touches the cheek and nose. Dark brown 
background. Not quite finished. Painted about 1658. 

Signed on the right at top, " Rembrandt " (sic) ; oak panel, 29 inches 
by 2oJ inches. 

Mentioned by Michel, p. 559 [429] ; Moes, No. 7603, 4. 
Exhibited at Amsterdam, 1898, No. 107 ; at Berlin, 1909, No. ill. 
In the collection of Georg von Rath, Budapest. 



xxn REMBRANDT 339 

In the possession of P. and D. Colnaghi, London. 
In the collection of Robert von Mendelssohn, Berlin. 

719. HENDRICKJE STOFFELS. Half-length. She sits, in- 
clined to the right, bending her head and looking at the spectator. With 
the right hand she puts a string of pearls on her left wrist. Her red gown 
is cut out at the bosom, and the pleated chemisette is open ; on her bare 
breast lies a pearl necklace. In the left ear, which is alone visible, is a 
pendant with a pearl. On her hair is a cap. Painted about 1658. 

A copy is in the Dresden Gallery, 1908 catalogue, No. 1591, a^ the work of 
Bernaert Fabritius. 

Mentioned by Hofstede dc Groot, Onzf Kunst, 1999, p. 181. 

In the possession of L. Lesser, London. 

In the possession of Duveen Brothers, London. 

In the collection of B. Altman, New York; bequeathed in 1913 to the 
Metropolitan Museum. 

In the Metropolitan Museum, New York. 

720. HENDRICKJE STOFFELS. B.-HdG. 438. About 
thirty. Half-length ; life size. She is turned to the left and bends 
forward. She holds together with the right hand her loose dark brown 
morning robe, which is trimmed with reddish fur. The embroidered 
top of the chemisette is shown at the throat. Her hair is covered by a 
greenish-brown cap embroidered with gold and adorned with a gold chain 
and jewels. Full light comes almost from the front. Reddish -brown 
background. 

Signed on the right above the shoulder, "Rembrandt f. 1660"; 
canvas, 30 inches by 26J inches. 

Mentioned by Moes, No. 7603, 6. 

Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 103. 

In the. collection of the Marquise de la Gcnia, Spain. 

In the collection of Rodolphe Kann, Paris, 1907, No. 69. 

In the possession of Duveen Brothers, Paris. 

In the collection of Mrs. Collis P. Huntington, New York. 

721. HENDRICKJE STOFFELS. 801.512,550; Bode 283 ; 
Dut. 334 ; Wb. 287 ; B.-HdG. 350. Half-length ; life size. She sits, 
seen in full face and looking at the spectator. Her left hand is at her 
waist. Her rich fair hair is covered by a grey cap with small red ribbons ; 
in her ears are fine pearl pendants, and at her bosom a brooch of similar 
shape. Her brown dress, trimmed with fur, is open at the throat, showing 
a narrow strip of the chemisette. Round her left wrist is a double string 
of pearls. Strong light falls from the left at top, almost in front. Painted 
about 1652. 

Canvas, 28J inches by 24 inches. 

Engraved by Claessens in the Musee Franfais, in Filhol, i. 35 ; Landen, ii. 
641. Etched by K. Koepping in L' Art and Dutuit, iii. 

Mentioned by Vosmaer, pp. 321, 552 ; Bode, pp. 550, 595 ; Dutuit, p. 35 ; 
Michel, pp. 389, 562 [301, 434] ; Moes, No. 7603, i. 



340 REMBRANDT SECT. 

Sales. Due de La Valliere, Paris, February 21, 1781. 

Comte de Vaudreuil, Paris, November 24, 1784, No. 29 (1380 

francs, Paillet for King Louis XVI.). 
In the Louvre, Paris, 1907 catalogue, No. 2547. 

HENDRICKJE STOFFELS. Other pictures in which 
Rembrandt probably painted his mistress are 215, 305. 

722. ELEAZAR SWALMIUS (1582-1652), pastor at Amsterdam. 
Sm. 274 ; Bode 204 ; Dut. 229 ; Wb. 184 ; B.-HdG. 226. About fifty- 
five. Nearly full length ; life size. He sits in a low study-chair, turned a 
little to the right, and looks with a friendly air at the spectator. His left 
arm rests on the arm of the chair ; the right hand with outspread fingers 
is raised as if to emphasise what he is saying. He wears a large black robe, 
a narrow ruff", and a small cap. He has long hair brushed back and a 
beard tinged with grey, and a fresh complexion. Behind him to the 
left is a table with a dull green cover, on which are books. Fairly bright 
light falls from the left j the background is faintly illumined. 

Signed on the right at top, "Rembrandt f. 1637 ; canvas, 55 \ inches 
by 43J inches. 

A copy by Grimou is in the Nantes Museum, 1913 catalogue, No. 546. 
Another copy was in the sale : Rev. H. S. Trummer, London, 1895 (420, 
Wallis). 

Engraved by Malbete and H. Guttenberg in the Galerie d y Orleans. Engraved 
on wood under the name of R. Anslo in the Illustrated London News. 

Mentioned by Vosmaer, p. 169; Bode, pp. 462, 586; Dutuit, p. 44; 
Michel, pp. 214, 557 [164, 430] ; Waagen, ii. 237 ; Moes, No. 7719. 

Exhibited at Manchester, 1857, No. 679 ; at the Royal Academy Winter 
Exhibition, London, 1871, No. 370. 

In the collection of the Due d'Orleans, 1795 (sold privately for ^315 to 
W. Morland). 

Sales. Morland, London (^420, Woodburn). 

London, 1818 (315, Marquess of Buckingham). 
Duke of Buckingham, Stowe, August 15, 1848, No. 435 (850 : ios., 
Farrer for Lord Ward). 

In the collection of Lord Ward, later Earl of Dudley, London. 

In the possession of the Paris dealer Bourgeois, 1886; sold to Antwerp 
(for 200,000 francs). 

In the Antwerp Museum, 1905 catalogue, No. 705. 

722*. Eleazar Swalmius. 

29 inches by 25 J inches. 

Sale. Seger Tierens, The Hague, July 23, 1743, No. 226 (not sold). 

723. Eleazar Swalmius. Sm. 364; Bode xii. About sixty. 
Three-quarter length. He sits on an arm-chair, seen in full face, and 
looks at the spectator. He leans his right arm on the arm of the 
chair, and his left elbow on a table to the right, upon which lies a book. 
His left hand is on his breast. He wears a large furred cloak and a cap. 
He has grey hair and beard. The light comes from the right. 

Mentioned by Moes, No. 7719. 

The original is lost. 



xxn REMBRANDT 341 

Described from a print by J. Suyderhoef. Copies by R. Goos, J. Brouwer, 
A. Conradsz, and an anonymous hand ; see Bartsch, Rembrandt, ii. ; Appendix, 
No. 84. 

723*7. The Wife of Eleazar Swalmius. 
29 inches by 25^ inches. 

Sale. Scger Ticrcns, The Hague, July 28, 1743, No. 227 (not sold). 

ELIZABETH SWARTENHONT, born BAS. [See 
622.] 

JAN CORNELISZ SYLVIUS AND HIS WIFE. 
These names were wrongly given to 752, 86 1. 

723^. William Tell (?) (died in 1354), the liberator of Switzerland. 
A small picture, warm in colour. 

In the collection of the Marquess of Exeter, Burleigh House, London, 
1854 ; see Waagcn, iii. 406. 

724. Tilburg, Burgomaster. About seventy-eight ; life-size. He 
sits in an arm-chair, seen almost in full face. His right hand, holding 
his spectacles, rests on a table with a red cover, on which lie a book and 
the spectacle case. His moustache and beard are grey. His head is 
covered with a round hat, shading a great part of his brow. The rest 
of the face is brightly illumined. A triple-pleated collar is relieved against 
the black costume, consisting of a doublet and cloak. The girdle is 
fastened with a silver clasp. 

Canvas, 43 inches by 36^ inches. 

Mentioned by Moes, Iconographia Batava, No. 7982. 
Stiles. X. de Burtin, Brussels, July 21, 1819, No. 139. 

X. de Burtin, Brussels, November 4, 1841, No. 51 (200 francs 
Giblct). 

725. ARNOLD THOLINX (before i6oo-after 1656), physician 
of Amsterdam. Sm. 328; Bode 289; Dutuit 233, 423; Wb. 291; 
B.-HdG. 449. About sixty. Half-length, without hands ; life size. He 
is almost in full face ; his lips are parted. He has dark eyes, a grey 
moustache and beard, and short grey hair under a tall broad-brimmed 
black hat. Over his black coat lies a broad flat white collar. Full light 
falls from the left on the right sjde of the face and the collar. 

Signed on the right, a little below the shoulder, " Rembrandt f. 1656 " ; 
Canvas, 30 inches by 25 inches. 

Etched by Rembrandt, Bartsch 284 [Hind 289] ; by J. de Frcy (?), and by 
an anonymous hand in reverse. 

Mentioned by Vosmaer, pp. 352, 556 ; Bode, pp. 514, 596 ; Dutuit, p. 51 ; 
Michel, pp. 419, 563 [326, 435] ; Moes, 7949. 

Exhibited in Paris in the Exposition des Cent Chefs-d'CEuvre, 1883, and 
in 1911, No. 120 ; at Amsterdam, 1898, No. 98. 

Sale. G. Th. A. M. Baron van Brienen van de Grootelindt of The Hague, 
Paris, May 8, 1865, No. 29 (26,000 francs, Andre). 

In the collection of Edouard Andr, Paris ; bequeathed by his widow in 
1912 to the Institute de France. 

In the Musee Jacqucmart-Andre, Paris. 



342 REMBRANDT SECT. 

ALLOTTE ADRIAENS, wife of Elias Trip. [See 619.] 

Admiral (C.) Tromp. The name is wrongly given in Graham's 
mezzotint to 277, which is more likely to be a portrait of the painter. 

ADMIRAL (M. H.) TROMP. The name was wrongly 
given to 750. 

NICOLAES TULP. The name was wrongly given to 
732, 761. 

MARGARETHA DE VLAMING VAN OUDT- 
SHOORN, wife of Nicolaes Tulp. The name was wrongly given 
to 848. 

TURENNE. The name was wrongly given to 772. 

726. JOHANNES UYTTENBOGAERT (1557-1644), Remon- 
strant pastor at The Hague. Sm. 440; Dut. 264; Wb. 457 ; B.-HdG. 
562. Life-size figure to the knees. He stands, turned to the right, with 
the head almost in full face, looking at the spectator. He has a grey 
beard, and grey hair covered with a small black velvet cap. He wears a 
black coat and a fur-trimmed cloak and pleated collar. He holds his 
gloves in his right hand and lays the left hand on his breast. On a 
table to the right lie his hat and an open folio. Dark background. The 
light falls from the left at top. 

Signed to the right below the book, "Rembrandt f. 1633," and in- 
scribed to the left at top, " AET 76 " ; canvas, 48 J inches by 41 \ inches. 

An old copy in the National Museum, Stockholm, was regarded as the 
original until Lord Rosebery's picture was noticed. It is only a half-length, 
28 inches by 24 inches ; Bode 366 ; Dut. 257 ; Wb. 436 ; B.-HdG. 95. It is 
mentioned by Vosmaer, pp. 123, 500 ; Bode, p. 400 ; Dutuit, p. 40 ; Michel, 
p. 143 [109, 442]. 

A second copy 19 inches by 17 inches was in the sale : London, June 
22, 1901, No. 47. 

A third copy, under the name of G. Flinck, was in the sale : Bloch of 
Vienna, Amsterdam, November 14, 1905, No. 16. 

Engraved by G. Longhi, 1811, as " Burgomastro Olandese." 

Mentioned by Vosmaer, p. 500 ; Dutuit, p. 56 ; Hofstede de Groot, 
Urkunden, No. 29 ; Dr. B. Tideman, Oud Holland, 1903, p. 125. 

Probably in the collection of Abraham Anthonisz, Amsterdam, 1633. 

In the collection of the Earl of Rosebery, Mentmore. 

FRANQOISE VAN WASSENHOVEN. The name was 
wrongly given to 856. 

WILLIAM III. OF ORANGE - NASSAU. The name 
was wrongly given to 489. 

727. Abraham van Wilmerdoncx, Director of the West India 
Company, and his Wife. Painted in 1642. It is uncertain whether 
this was a double portrait or a pair. [Cf. 860.] 

Mentioned by Moes, No. 9125 ; Hofstede de Groot, Urkunden, No. 209. 
In the collection of Abraham van Wilmerdoncx, Amsterdam, for whom 
Rembrandt painted it for 500 florins. 



xxn REMBRANDT 



343 



728. ANNA WIJMER (1584-1654), wife of the elder Jan Six 
from 1606. Sm. 545, and Suppl. 16 ; Bode 7; Dut. 227; Wb. 350; 
B.-HdG. 280. Life size ; almost to the knees. She sits in an arm-chair, 
turned half-right, and looks at the spectator. Her right hand rests on the 
arm of the chair, her left hand on her bodice. She wears a white cap, a 
broad ruff, flat lace-trimmed wristbands, and a figured black dress trimmed 
in front with fur. Full light falls from the left on the head and hands. 
Brown background, in which a table with a carpet may be distinguished 
to the right. 

Signed and dated, "Rembrandt f. 1641 " ; cedar panel, 38 inches by 
32 inches. 

Engraved by J. Kaiser. Etched by W. Stcelink in Van Someren, Oude 
Kunst in Nederland ; and by P. J. Arendzen. 

Mentioned by Vosmaer, pp. 271, 536 ; Bode, pp. 460, 558; Dutuit, p. 54; 
Michel, pp. 269, 565 [206, 440] ; Moes, No. 9333. 

Exhibited at Amsterdam, 1872 and 1900, No. 125. 

Most probably painted for the sitter, and since preserved in the family. 

In the collection of J. Six, Amsterdam. 

729. Harmen van Zuylen van Nijvelt (born 1612), agent of the 
Prince of East Friesland at The Hague, and, according to Gaillard, 
forester of the county of Aurich. Half-length. He is turned three- 
quarters right and looks out of the picture. A broad-brimmed black hat 
covers his long fair curls and shades the upper part of the face. He has a 
moustache and whiskers. He wears a black coat and cloak, with a broad 
square close-fitting collar. Greyish-green background. 

Signed to the right at top, "Rembrandt f. 1631 " ; panel, 8 inches by 
6 inches. 

In the collection of J. van der Marck, Leyden, according to the Reigers- 
berg sale -catalogue ; if that statement was accurate, the portrait is to be 
identified with No. 265 in the Van der Marck sale of 1773 (464/). 

Sale. Countess Reigersberg, Cologne, October 15, 1890, No. 124. 

730. A MAN OF ABOUT THIRTY-FIVE. Sm. 304; Bode 
195 ; Dut. 277 ; Wb. 149 ; B.-HdG. 104. Half-length, without hands ; 
life size. He is in profile to the right, but turns his head and eyes to the 
spectator. His thick dark hair is covered by a broad-brimmed black hat. 
He has a large and rather fair beard. He wears a spotted black silk coat, 
a black cloak with a close-fitting pleated collar, and a sash with gold lace 
from the right shoulder to the left hip. Strong light falls from the left 
at top on the collar and the right cheek. Rather dark background. 
[Possibly identical with 793^.] 

Signed to the right on a level with the lower edge of the collar, 
"Rembrandt fee. 1635 " ; oval oak panel, 30 inches by 26 inches. 

Mentioned by Bode, p. 531 ; Dutuit, p. 42 ; Michel, p. 556 [431]. 
Exhibited at the Royal Academy Winter Exhibition, London, 1890, 
No. 97 ; at Berlin, 1914, No. 129. 

In the collection of the Due de Valentinois, Paris. 

In the collection of Comte Pourtalcs, Paris. 

In the possession of Sm., who sold it privately in 1825 (for 210). 



344 REMBRANDT SECT. 

In the collection of Lord Ashburton, the Grange, 1836 (Sm.) ; sold as a 
whole, 1907. 

In the possession of A. Sulley and Co., London. 

In the possession of C. Sedelraeyer, Paris, "Catalogue of 100 Paintings," 
xi. (191 1), No. 29. 

In the collection of C. von Hollitscher, Berlin, 1912 catalogue, No. 59. 

731. A YOUTH OF ABOUT FIFTEEN. Bode 166; Dut. 
240 j Wb. 236 ; B.-HdG. 48. Half-length, without hands ; a little under 
life size. He is turned to the right, and with a set mouth looks morosely 
at the spectator. He wears a brownish-purple coat over which falls a 
narrow shirt-collar. He is bare-headed, with short brown hair. Full 
light falls from the left on the head and the collar ; the left side of the 
head is in deep shadow. Greyish background, brighter to the right 
beside the head. Painted about 1629-30. 

Signed to the right at foot with the monogram " R H L." 

Mentioned by Bode, p. 379; Dutuit, p. 48 ; Michel, p. 556 [433] ; Sedel- 
meyer, An Open Letter, p. 6. 

Exhibited at Berlin, 1914, No. 136. 

In the collection of Earl Poulett, Hinton House. 

In the possession of C. Sedelmeyer, "Catalogue of 100 Paintings," ii. 
(1895), No. 31. 

In the collection of Adolf Thiem, San Remo, formerly Berlin. 

Sale. E. F. Weber of Hamburg, Berlin, February 20, 1912, No. 249 
(117,000 mark, Sedelmeyer). 

In the possession of C. Sedelmeyer, Paris. 

In the Von Pannwitz collection, Berlin. 

732. A YOUNG MAN WITH AN IMMATURE DARK 
BROWN BEARD. Bode 306 ; Dut. 235 ; Wb. 320 ; B.-HdG. in. 
About twenty-eight. Half-length, without hands ; life size. He is 
inclined a little to the right and looks out of the picture. He has a broad- 
brimmed slouch hat on his dark hair ; he has a brownish complexion with 
fresh red cheeks. He wears a black coat with a close-fitting pleated collar 
trimmed with lace. The light, falling from the left at top, throws the 
shadow of the figure palely against the greenish wall which is fairly well 
illumined. Formerly called, in error, Nicolaes Tulp. [Pendant to 848. 
Cf. 799*] 

Signed to the right above the shoulder, "Rembrandt f. 1634"; oval 
oak panel, 26 J inches by 21 inches. 

Mentioned by Vosmaer, pp. 113, 147, 503 ; Bode, p. 405 ; Dutuit, p. 52 ; 
Michel, p. 118 [91, 443 ?]. 

In the collection of Baron de Seilliere, Paris. 

In the collection of the Princesse de Sagan, Paris, who sold it in 1891 to 
Cottier. 

In the possession of the New York dealer Cottier. 

In the collection of Frederick Ames, Boston, whose widow gave it to the 
Museum in 1893. 

In the Boston Museum. 

733. A MAN OF ABOUT FORTY, once wrongly called Hugo 
Grotius. Bode 51 } Dut. 251 ; Wb. 44; B.-HdG. 86. Half-length, 



xxn REMBRANDT 345 

without hands ; life size. He is inclined to the right and looks straight 
out of the picture. He has short dark brown hair and a light brown 
moustache and beard. He wears a bright black spotted silk coat and a 
ruff. The greyish-brown background is rather light. Full light falls from 
the left at top. Authentic portraits of Hugo Grotius, who was in his 
fiftieth year in 1632, show no likeness to the sitter. [Pendant to 849.] 

Signed to the right below the centre, "Rembrandt ft. 1632" which 
has been changed by repainting into "Rembrandt fct. 1631"; oval oak 
panel, 25 inches by 19 inches. 

Engraved by G. Schroder. 

Mentioned by Vosmaer, pp. 105, 489 ; Bode, p. 400 ; Dutuit, p. 26 ; 
Michel, p. 139 [106, 437]. 

In the royal castle, Salzdahlum ; it was there from 1744. 
In the Brunswick Gallery, 1910 catalogue, No. 232. 

734. A MAN WITH LUXURIANT BROWN CURLS. 
Sm. 301 ; Bode 20 ; Dut. 294 ; Wb. 2 ; B.-HdG. 283. About forty. 
Half-length ; life size. He rests his right arm and left hand on the sill of 
an arched window ; he is seen in full face, inclined a little to the right and 
looking at the spectator. He wears a broad-brimmed hat, and has a short 
moustache and beard. He wears a short and loose black cloak over a dark 
coat, with a close-fitting flat collar and wristbands trimmed with broad lace. 
In his gloved right hand he holds his other glove. Full light falls from the 
left on the face and collar. The wall at the back is yellowish-grey and 
partly illumined to the left. [Pendant to 860.] 

F. Schmidt Degener has lately, in Onze Kunst, 1913, part 2, p. i, 
maintained that this is a portrait of Rembrandt's brother-in-law Francois 
Coopal, but without sufficient proof. See note to 860. 

Signed to the right at top, "Rembrandt f. 1641 " ; canvas, 42 inches 
by 33 inches. 

A copy is in the Johnson collection, Washington. 

Chromolithographed by De Notcr. 

Mentioned by Vosmaer, pp. 206, 527 ; Bode, pp. 458, 560 ; Dutuit, p. 34 ; 
Michel, pp. 271, 560 [207, 430]. 

In the possession of the dealers Nieuwenhuys and Dansacrt-Engels, who 
bought the picture and pendant in Holland, 1809. Sold by the heirs of 
Dansacrt-Engels to Brussels for the Museum in 1841 (for 15,000 francs). 

In the Brussels Museum, 1908 catalogue, No. 367. 

735. A YOUNG MAN WITH LONG FAIR CURLS, once 
wrongly called Burgomaster Six. Sm. 350; B.-HdG. 368. About 
twenty-five. He stands, turned half right, and looks at the spectator. 
He holds his black cloak together with his right hand. He has a thin 
light moustache and imperial. In the right background is a wall with a 
coat-of-arms in a baroque frame ; to the left, over a dark clump of trees, 
is a vista. Painted about 1652. [Pendant to 850.] 

Signed on the right at foot, " Rembrandt f." ; canvas, rounded at top, 
37 inches by 29 inches. 

Mentioned by Waagen, ii. 335. 

Exhibited at the British Institution, London, 1824, No. 56 ; 1844, No. 54 ; 



346 REMBRANDT SECT. 

1851, No. 89 ; and 1863, No. 26 ; at the Royal Academy Winter Exhibition, 
London, 1899, No. 38. 

[Imported into England by S. Woodburn, 1817, who bought the pair cheaply 
in a Dutch village, according to Sm.] 

In the collection of G. Agar Ellis, London. 

In the collection of Lady Dover, London; it was in this collection, 1836 
(Sm.). 

Sale. Viscount Clifden, formerly Lord Dover, London, May 6, 1893, No. 
20 (5775, Waneworth). 

In the collection of Lord Faringdon, Buscot Park. 

736. A YOUNG MAN. Sm. 332; Bode 299; Dut. 224; Wb. 
311 ; B.-HdG. 100. About twenty-five. Three-quarter length ; life size. 
He rises from a green arm-chair, inclined a little to the right. His 
shoulders and face are turned towards the spectator. His right hand, 
holding his gloves, leans on the arm of the chair ; his left hand with the 
fingers spread out is extended as if he is speaking. He wears a rich 
fashionable costume of flowered black silk with large tags at the waist, 
and has a black stufF cloak over his right shoulder and arm, with a close- 
fitting collar of rich lace and lace wristbands. On his dark curls is a 
broad-brimmed black slouch hat. He has a slight fair pointed beard. Pale 
daylight falls from the left foreground. Fairly light grey background. 
[Possibly pendant to 88 1.] [Cf. 29, 263.] 

Signed on the right below the hand, "Rembrandt f. 1633" ; canvas, 
50 inches by 40 inches. 

Mentioned by Vosmaer, pp. 121, 500; Dutuit, p. 52; Michel, p. 143 
[109-10, 435]. [Cf. L. Cust, Burlington Magazine, March 1915, p. 256.] 
Exhibited at Amsterdam, 1898, No. 24. 
In the collection of the Earl of Ashburnham, 1836 (Sm.). 
Sale. Lord Ashburnham, London, July 20, 1850 (^724 : ios., Farrer). 
In the possession of the London dealer Farrer, who sold it to Pourtales. 
Sale. Comte de Pourtales Gorgier, Paris, March 27, 1865, No. 181 (34,500 

francs, bought in). 

In the collection of Comte Edmond Pourtales, Paris. 
In the possession of M. Knoedler and Co., New York. 
In the collection of C. P. Taft, Cincinnati. 

736*. A BEARDLESS YOUNG MAN. Half-length ; life size. 
He is in full face, inclined to the right. He has long curls. He wears a 
broad-brimmed slouch hat, a plain close-fitting linen collar, and, over his 
black coat, a cloak with the end thrown over his right shoulder. Strong 
light falls on the right side of the face. Painted about 1632. 

In the possession of Thomas Lawrie and Co., London. 
In the collection of William Coats, Dalskairth, Scotland. 

737. A YOUNG MAN. Bode 25 ; Dut. 359 ; Wb. 5 ; B.-HdG. 
1 02. About twenty. Half-length ; almost life size. He is turned a little 
to the left, with his face towards the spectator. He has a slight moustache ; 
his luxuriant brown curls are covered by a flat broad-brimmed black hat. 
He is in black with a broad and close-fitting lace collar. His gloved left 
hand is only seen in part ; so, too, is the slashed sleeve on the upper part 



xxn REMBRANDT 347 

of the right arm. Dark grey background. Full light comes from the 
front. Painted about 1633. The picture, when in the Dansaert collec- 
tion, passed as a portrait of J. A. van der Linden and as having come by 
direct inheritance from his family. [Cf. 799^.] 
Oval oak panel, 26^ inches by 20^ inches. 

Mentioned by Dutuit, p. 50 ; Michel, p. 555 [431]. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, No. 88. 
In the collection of Antoine Dansaert, Brussels ; sold in 1891 to Dublin. 
In the Irish National Gallery, Dublin, 1898 catalogue, No. 319. 

738. AN ELDERLY MAN IN AN ARM-CHAIR. Sm. 
342; Bode 194; Dut. 276; Wb. 150; B.-HdG. 225. Between sixty 
and seventy years of age. Almost full length ; life size. He sits, turned 
half right, fixing his eyes on the spectator. His right hand rests on the 
arm of the chair ; the left hand holds the broad-brimmed black hat care- 
lessly on his knees. His hair, which is cut short, and his moustache and 
whiskers are grey. He wears a plain black coat and a loose ruff. His 
chair is of brown wood with a red seat. Behind him to the left is a table 
with a red cover. Bright light falls from the left on the right side of the 
face and the collar. [Pendant to 868.] 

Signed on the right at top, and dated 1637 ; canvas, 49 i inches by 38 
inches. 

Mentioned by Waagen, ii. 103 ; Bode, p. 585 ; Dutuit, p. 42 ; Michel, p. 
557 [451]- F- Schmidt Dcgener, in Onze Kunst, would date the picture about 
1640, contests its connection with 868, and rightly supposes the sitter to be a 
Mennonitc. 

Exhibited at the Royal Academy Winter Exhibition, London, 1871, No. 
114, and 1890, No. 151 ; at the Grafton Gallery, London, 1909, No. 39. 

Sales. M. ten Hove and J. A. Tourton, Amsterdam, April 8, 1760, No. I 
(585 florins, with pendant, Yver) ; dated 1635, according to the 
catalogue. 
Amsterdam, May 8, 1769, No. 65 (650 florins, with pendant, 

Fouquet). 

In the collection of Madame Hoofman, Haarlem, 1836 (Sm.). 
In the collection of Lord Ashburton, The Grange ; sold as a whole in 1907. 
In the possession of Sulley and Co., London. 

In the possession of C. Sedelmeyer, Paris, "Catalogue of 100 Paintings," xi. 
(1911), No. 25. 

In the collection of Lord D'Abernon, Esher. 

739. A MAN IN A LARGE SLOUCH HAT, said to be a 
member of the Raman family. Half-length, without hands ; life size. He 
is turned to the right and looks at the spectator. He has a dark brown 
beard and moustache, a narrow pleated collar, and a black coat. [Pendant 
to 882.] 

Signed to the right above the shoulder, "Rembrandt f. 1634"; oak 
panel, originally ten -sided with edges added later, 26^ inches by 20 J, 
inches. 

In the possession of F. Kleinbergcr, Paris. 

In the collection of the late A. de Ridder, Frankfort-on-Main, 1910 
catalogue, p. 35. 



348 REMBRANDT SECT. 

740. AN OLD MAN WITH A THIN WHITE BEARD 
AND GREY HAIR. Sm. 352 ; Bode 167 ; Dut. 311 ; Wb. 240 ; 
B.-HdG. 276. About seventy. Half-length ; life size. He sits in an 
arm-chair, inclined to the right, looking at the spectator. He wears a broad- 
brimmed black hat, a close-fitting pleated collar, a black coat, and a short 
cloak which is thrown back. In his left hand he holds his brown leather 
gloves. The back of the chair is upholstered in brownish-red leather 
with brass studs. Strong light falls from the left on the face and hands. 
Painted about 1637-38. 

Signed on the right at top, " Rembrandt f." ; canvas, 34 inches by 
27 inches. 

Engraved in mezzotint by R. Houston, 1757, and by C. Phillips. 

Mentioned by Bode, pp. 497, 582 ; Dutuit, p. 48 ; Michel, pp. 305, 556 
[233, 433] ; London and its Environs described, 1761. 

Exhibited at Manchester, 1857, No. 684; Leeds, 1868, No. 802; the 
Royal Academy Winter Exhibition, London, 1899, No. 12. 

In the collection of John Barnard, London, 1761; entitled " Ephraim 
Bonus." 

In the collection of Lord Scarsdale, Kedleston Hall ; it was there in 1836 
(Sm.). 

741. A YOUNG MAN WITH FAIR CURLS. Bode 368 5 
Dut. 326; Wb. 9; B.-HdG. 451. About twenty-five. Half-length, 
with one hand ; life size. He sits, seen in full face, leaning his right hand 
on the arm of his chair. He wears a grey hat trimmed with pearls on his 
long fair hair. He has a slight fair moustache. He wears a dark greenish 
coat with yellow stripes and full sleeves ; at the breast is seen the red 
doublet, exposing at the top the fine white shirt. Full light comes from 
the left. Dark background. Painted about 1656. [Pendant to 854.] 

Signed to the right at top partly repainted, "Rembrandt f." ; canvas, 
30 inches by 26 inches. 

Mentioned by Vosmaer, p. 578; Bode, pp. 514, 607; Dutuit, p. 34; 
Michel, pp. 417, 560 [323, 430]. 

In the royal cabinet, Copenhagen, since 1732 ; transferred later to the 
Museum. 

In the Copenhagen Museum, 1904 catalogue, No. 278. 

742. A MAN IN BROWN (or, a Man with a Cap). He is 

turned three-quarters right. Between the white shirt and the costume 
there is a red edging. He has a dark grey beard and white hair, and wears 
a brown cap. The background is brown at top and rather light round the 
hand. Painted about 1650. 

Signed in full to the right above the shoulder, with traces of a date ; 
canvas, 25 J inches by 21 inches. 

Mentioned by Bode, Zeitschrift fttr bildende Kunst, 1906, p. 9 ; Hofstede de 
Groot, Onze Kunst, 1909, p. 176. 

In the collection of the Duke of Sutherland. 

In the possession of Sulley and Co., London. 

In the collection of George Salting, London ; bequeathed to the nation 
in 1910. 

In the National Gallery, London, No. 2539. 



xxn REMBRANDT 349 

743. A YOUNG MAN WITH LONG FAIR CURLS, once 
wrongly called Jan Six. Dut. 351 ; Wb. 151 ; B.-HdG. 500. About 
thirty. Half-length ; life size. He sits, seen in full face, and looks straight 
before him. Both his arms rest on the arms of his red chair, in which he 
reclines to the right. He wears a black coat and a black cloak wrapped 
together across his knees, with red under-sleeves, plain narrow wristband^, 
and a plain flat collar with tassels. He is bare-headed, with a slight 
moustache. Dark background, partly illumined to the right. Full 
light falls from the left at top on the head and left hand. 

Signed in the centre at top, above the head, "Rembrandt f. 1667 " ; 
canvas, 40^ inches by 33 inches. 

Mentioned by Thomas Wilson, Descriptive Catalogue, 1836, p. 12 ; Vos- 
maer, p. 565. 

Exhibited at the Burlington Fine Arts Club, London, 1905, No. 13. 
In the collection of Lord Aylesford, London, before 1836. 
In the collection of Alfred Beit, London. 
In the collection of Otto Beit, London. 

744. A PREACHER. Sm. 280; Bode 209 ; Dut. 388; Wb. 188; 
B.-HdG. 227. Life size to below the knee. He sits in his study chair, 
seen in full face but inclined to the left, and looks keenly at the spectator. 
His right hand and left elbow rest on the arms of the chair. He has white 
hair and beard and a fresh complexion. He wears a small black cap, and 
a brownish-grey cloak with a fur lining and a fur collar ; the full open 
sleeves of the cloak expose the black sleeves of the coat and the narrow 
white wristbands. A white scarf is put loosely round his neck. To the 
left is a table. Daylight tails from the left foreground. 

Signed to the right at top, "Rembrandt f. 1637 " ; canvas, 53^ inches 
by 41 inches. 

An old copy is in the possession of the heirs of the painter Christ, Arnhem. 

Engraved by J. de Frey, and by P. W. Tomkins and E. Findcn in the 
Stajford Gallery^ iv. 69. 

Mentioned by Vosmacr, p. 515 ; Bode, pp. 462, 586; Dutuit, p. 45 ; 
Michel, pp. 214, 557 [164-5, 432]. 

Sale. Jan Gildemecster Jansz., Amsterdam, June 11, 1800, No. 182 
(1625 florins, W. Reyer>). 

In the collection of the Marquess df Stafford. 

In the collection of Lord Francis Egcrton, 1836 (Sm., who valued it at 

4)- 

In the collection of the Earl of Ellesmere, Bridgewater House, London, 

1882 catalogue, No. 173. 

744.7. A SMILING YOUNG MAN. Half-length ; life size. 
[He is inclined to the right, but turns his head round in full face. He has 
long curls, with the hair over his forehead, and a slight moustache. He has 
strong and rather sharp features. His gloved right hand is at his breast ; 
the position of the left hand is vaguely indicated. He wears a large soft 
black velvet hat, and a fur-trimmed brown cloak showing the shirt-collar 
at the throat. The background to the right is rather light. Full light 
falls on the left side of the face and the nose.] 



350 REMBRANDT SECT. 

Signed in full [to the left beside the shoulder], " Rembrandt f. 1662" ; 
[canvas, 35 inches by 2yJ inches]. 

[Exhibited by Colnaghi and Obach, London, December 1914 ; lent by 
O. Gutekunst.] 

[In a private English collection, where it is said to have been for over 
200 years.] 

In the possession of R. Langton Douglas, London. 

In the possession of Colnaghi and Obach, London. 

In the collection of O. Gutekunst. 

745. A YOUNG MAN WITH A CLOSE - FITTING 
PLEATED COLLAR. Bode 157; Dut. 128; Wb. 119; B.-HdG. 
77. About twenty-five. A small half-length, without hands. He is 
turned a little to the left and looks out of the picture. He has luxuriant 
and rather fair hair, and a slight fair moustache and imperial. He wears a 
black coat and a bright black spotted cloak. Full light falls from the right 
at top. Rather light grey background. 

Signed, "RH L van Rijn 1632" j oak panel, n inches by 9 inches. 

Mentioned by Bode, p. 408 ; Dutuit, p. 31 ; Michel, p. 172 [132, 431]. 

Exhibited at the Royal Academy Winter Exhibition, London, 1899, 
No. 1 6. 

Sale. (Possibly) Van Leyden, Paris, September 10, 1804, No. 152. 

In the collection of Noel Desenfans, London, who died in 1807. 

In the collection of Sir Peter Fra^ois Bourgeois, London, who died in 
1811 ; bequeathed by him to Dulwich College. 

In the Dulwich College Gallery, London, 1914 catalogue, No. 99 (old 
No. 189). 

746. A MAN HOLDING A SHORT SWORD IN A RED 
SILVER- MOUNTED SCABBARD. Sm. 458; Dut. 343; Wb. 
491 ; B.-HdG. 259. Half-length; life size. He sits in an arm-chair, 
seen in full face but inclined to the right, and looks at the spectator. His 
left arm rests on the arm of the chair. His dark brown curls fall down on 
both shoulders and are covered by a dark purple cap with a gold chain. He 
has blue eyes, and a small fair moustache and imperial. His dark cloak, 
hanging over his right shoulder, exposes his dark purple coat and his grey 
silk shirt finely pleated at the throat and wrists. A gold chain with a 
large pendant hangs from the shoulder on the breast. This has often been 
regarded as a portrait of the painter. 

Signed on the right, on a level with the breast, " Rembrandt ft. 
1644" ; canvas, 40 \ inches by 34 inches. 

Engraved in mezzotint by J. G. Haid in 1765. 

Mentioned by Vosmaer, pp. 367, 564 ; Dutuit, pp. 45, 58 ; Waagen, ii. 
200 ; [Michel, p. 432]. 

Exhibited at the Royal Academy Winter Exhibition, London, 1893, No. 
1 08, and 1899, No. 73 ; at Amsterdam, 1898, No. 61. 
In the collection of Henry Isaacs, England, 1765. 
Sales. E. G. van Tindinghorste, Amsterdam, March 26, 1777, No. 56 

(255 florins). 
P. Locquet, Amsterdam, September 22, 1783, No. 322 (210 florins, 

Fouquet). 
In the collection of Sir G. L. Holford, Dorchester House, London. 



xxii REMBRANDT 351 

747. A MAN STANDING AT A DOOR. 8111.339; B.-HdG. 
287. Three-quarter length ; life size. He stands in profile to the right, 
turning his head to the spectator. He holds his right hand at his breast. 
He has a fair moustache and beard, and short fair curly hair under a black 
hat. He has a broad close-fitting pleated ruff and flat wristbands. Over 
his striped black silk coat with full sleeves is a short and loose black velvet 
cloak, leaving the right arm free. Full light falls from the left on the face, 
shoulder, and right hand. In the dim background is the stone archvv 

Signed on the right at foot, " Rembrandt f. 1643 " i canvas (transferred 
from panel r), 41 inches by 30 inches. 

Mentioned by Michel, p. 558 [433]. 

Exhibited at the Royal Academy Winter Exhibition, London, 1892, No. 
129, and 1899, No. 62; [and at the National Loan Exhibition, Grosvenor 
Gallery, London, 1914, No. 6] as a portrait of Ephraim Bonus. 

Sale. Jurriaans, Amsterdam, August 28, 1817, No. 49 (1995 florins, De 
Vries) ; in panel. 

In the possession of Thomas Emmerson, London, 1836 [Sm., who describes 
it as on panel]. 

In the collection of Alfred Morrison, London. 

In the collection of Mrs. Alfred Morrison, London. 

[In the collection of Hugh Morrison, Fonthill, 1915.] 

747^. An Old Man of about Sixty-five. He sits, seen in full 
face. He wears a small cap on his white hair ; he has a white moustache 
and beard. He looks vaguely into the distance. He wears a plain white 
collar and a dark coat. The picture is hung so high that the question of 
its authenticity cannot be determined. 

Canvas, 27 inches by 21 inches. 

Exhibited at the British Institution, London, 1822, No. 95. 
In the collection of Sir Matthew White Ridley, London. 
In the collection of Viscount Ridley, London. 

748. THE MAN WITH A HAWK. Sm. 294 ; Bode 241 ; 
Dut. 299 ; Wb. 261 ; B.-HdG. 268. About twenty-eight ; life size ; 
almost to the knees. He stands at the foot of a staircase, turned to the 
right, and looks round at the spectator. With his outstretched right hand 
he points to the right ; on his left hand, which is not shown, he holds a 
hawk. On his long fair curls is a black velvet hat. He has a moustache 
and imperial. His eyes are dark. He wears a yellowish-green coat with 
very full slashed sleeves, and over it a short dark cloak which is thrown 
back. Round his neck is a parti-coloured scarf, which does not cover the 
hem of the pleated shirt. A massive gold chain passes from the left shoulder 
under the right arm ; from it hangs a hunting wallet with metal mountings. 
Bright light from the left illumines the figure. To the right are visible 
the original lines of the hawk, which at first perched on the right fore- 
finger also altered by the painter and was flying away to the left. 
Above are traces of a painted frame with a flattened arch. [Pendant to 
864.] 

Signed to the left at foot on the stair-rail, "Rembrandt f. 1643"; 
canvas, 45 inches by 38^ inches. 



352 REMBRANDT SECT. 

Mentioned by Vosraaer, pp. 256, 234 ; Bode, pp. 458, 590 ; Dutuit, p. 49 ; 
Michel, p. 246 [188] ; Waagen, ii. 166. 

Exhibited at the British Institution, London, 1815, No. 28, and 1834, No. 
127 ; at the Royal Academy Winter Exhibition, London, 1871, No. 126, 1895, 
No. 50, and 1899, No. 79 ; at the Grafton Gallery, 1910, No. 35 ; at Amsterdam, 
1898, No. 58. 

Sale. P. de Grandpre, Paris, February 16, 1809 (40,000 francs, with pendant, 
bought in) ; see C. Blanc, ii. 261. 

In the collection of the Duke of Westminster, London, 1888 catalogue, No. 
1 8 ; it was in the catalogue of 1820 [valued by Sm. in 1836 at ^800]. 

749. A MAN OF FORTY WITH A BROAD-BRIMMED 
SLOUCH HAT. Sm. 282 ; Bode 243 ; Dut. 198 ; Wb. 259 ; B.-HdG. 
362. Half-length ; life size. He sits, turned to the right almost in 
profile, and looks at the spectator. His left hand lies at his breast. He 
has a strong moustache and beard. On his luxuriant brown curls he has 
a broad-brimmed hat shading part of his face. He wears a smooth close- 
fitting white collar over a black cloak. Subdued light falls from the left 
at top. Grey background. Numerous corrections are visible in the lines 
of the throat, the collar, and the thumb. [Pendant to 865.] 

Signed to the right at foot, "Rembrandt f. 1647" ; cedar panel, 29 J 
inches by 26J inches. 

Engraved by Schiavonetti ; B. Richards, 1766 ; Dupuis. Lithographed by 
C. Hamburger in Smith, Catalogue Raisonne, Vol. V., as a portrait of Berchem. 

Mentioned by Vosmaer, pp. 277, 542 ; Bode, pp. 498, 590 ; Dutuit, p. 49 ; 
Michel, pp. 360, 559 [278, 434]; Moes, No. 5279; Waagen, ii. 166; F. 
Schmidt Degener, in Oud Holland, xxxii. (1914), p. 223, who regards it as a 
portrait of the painter H. M. Sorgh. 

Exhibited at the British Institution, London, 1834, No. 147, 1846, No. 66, 
and 1863, No. 126 ; at the Royal Academy Winter Exhibition, London, 1870, 
No. 92, 1895, No. 79, and 1899, No. 25 ; at the Burlington Fine Arts Club, 
London, 1871, No. 14 ; at the Royal Gallery, The Hague, 1891 ; at Amsterdam, 
1898, No. 65. 

In the collection of the Duke of Westminster, London, 1888 catalogue, 
No. 19 ; it was there in 1836 (Sm.). 

750. A MAN IN FANCY DRESS, once wrongly called Admiral 
Tromp. Bode 22 ; Dut. 332 ; Wb. 3 ; B.-HdG. 448. About fifty-five. 
Three-quarter length ; life size. He stands, seen in full face, looking 
straight before him. His long fair curls are in disorder ; he has a fair 
moustache. He wears a dull red coat, cut square at the throat to show the 
pleated shirt with broad gold lace, and over it a large fur-trimmed cloak. 
Round his neck is a thin gold chain ; a silver whistle hangs from a strap 
below the breast. His head is covered with a broad black hat. His right 
hand grasps at the girdle the hilt of a sword. 

Signed to the left at foot, "Rembrandt f. 1655" ; canvas, 45^ inches 
by 34^ inches. 

Mentioned by Bode, pp. 535, 560; Dutuit, p. 50 ; Michel, pp. 451, 561 
[350, 443]. 

Exhibited at Montreal, 1906, No. 2 ; at the Hudson-Fulton Celebration, 
Metropolitan Museum, New York, 1909, No. 99. 



xxn REMBRANDT 353 

In the collection of the Marquis dc Beaussct. 

In the collection of A. Allard, Brussels. 

Sale. Prosper Crabbe of Brussels, Paris, June 12, 1890, No. 43 (106,500 

francs, Tedesco). 

In the possession of W. Schaus, New York. 
In the collection of James Ross, Montreal. 

751. A YOUNG MAN HOLDING A HIGH BROAD- 
BRIMMED HAT WITH BOTH HANDS. Sm. 263 ; B.-HdG. 
570. Half-length ; life size. He stands, turned to the right, looking at 
the spectator. He has luxuriant curls and a slight moustache. He wears 
a flat linen collar, trimmed with lace, and a coloured cloak of bright 
watered silk. The light falls from the left at top. 

Signed to the right at foot, " Rembrandt 1637 " ; oak panel, 32 inches 
by 28 inches. 

Sale. Proley, Pari>, i~S- (3000 francs). 
In the collection of Prince Gagarin, Moso 

752. AN AGED PASTOR, once wrongly called J. C. Sylvius or 
Justus Lipsius. Sm. 349 ; Bode 42 ; Dut. 231 ; Wb. 35 ; B.-HdG. 290. 
Three-quarter length ; life size. He sits in an arm-chair at his writing- 
table, turned half-right, looking at the spectator. With his left hand he 
turns a leaf of the folio lying open on the table ; his right hand, resting on 
the arm of the chair, holds a pair of spectacles. He wears a dark cap on 
his hair, which is cut short ; behind his right ear is a quill. He has a thin 
dark beard. He wears a narrow ruffle over the high collar of his dark 
coat, over which is a large black fur cloak. On the dull red cover of the 
table are an inkpot and several books, including Calvin's Institutions. 
Strong light falls from the left on the face, collar, and book. Dark back- 
ground. The sitter resembles neither Justus Lipsius, who died in 1606, 
nor Jan Cornelisz Sylvius, who died in 1638. [Pendant to 861.] 

Signed, "Rembrandt f. 1645 " ; canvas, 52 inches by 44 inches. 

A pen-drawing, a first sketch for this picture, is in the collection of Friedrich 
August II. at Dresden, HdG. 304. 

A copy was in the sale : H. Doctsch, London, June 22, 1895, No. 400 
(44 : 2s., A. Smith). 

Etched by Leopold Flamcng, Gazette dei Beaux-Arts, and in Dutuit, iii. 
Mentioned by Vosmaer, pp. 260, 536 ; Bode, pp. 495, 563 ; Dutuit, p. 41 ; 
Michel, pp. 304, 551 [232,439]. 

Exhibited at the Exposition Retrospective, Paris, 1876; at Cologne, 1876, 
No. 62 ; at Berlin, 1883, No. 12. 

Stiles. Amsterdam, January 19, 1778, No. 53 (53 florins, Winter). 

L. B. Coders, Amsterdam, August 7, 1811, No. 63 (1400 florins, 

Roos). 

Cardinal Fesch, Rome, March 17, 1845, No. 191 (1445 scudi, Har- 
rington). 
W. Buchanan, London, 1846 (bought in). 

D. R. Blaine, London, 1857 (bought in). 

E. Pereire, Paris, March 6, 1872, No. 147 (38,500 francs, Cars- 
tanjen). 

In the collection of A. von Carstanjen ; at present exhibited at the Aeltere 
Pinakothek, Munich. 

VOL. VI 2 A 



354 REMBRANDT SECT. 

753. A PALE MAN WITH LONG DARK HAIR. Bode 
222 ; Dut. 339 ; Wb. 209 ; B.-HdG. 495. About forty. Half-length 
with one hand ; life size. He stands, seen almost in full face, looking 
straight before him. His left hand is in his black cloak, which envelopes 
the figure. He wears a large smooth close-fitting collar with tassels, and 
a high broad-brimmed black hat. He has a slight moustache, partly shaven, 
and dark eyes. The light falls from the left on the right side of the face 
and the collar. The background is illumined to the left. 

Signed in full, and dated 1664 ; canvas, 31 J inches by 25 inches. 

Mentioned by Bode, pp. 531, 588 ; Dutuit, p. 46 ; [Michel, p. 442]. 

Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 107. 

In the collection of the Marquess of Lansdowne, London, 1883. 

In the collection of H. G. Marquand, New York ; given by him in 1890 to 
the Museum. 

In the Metropolitan Museum, New York, 1914 catalogue, No. 240. 

754. A MAN WITH A LONG DARK BEARD AND 
LONG HAIR. B.-HdG. 496. About forty-five. Half-length, without 
hands ; life size. He stands, seen in full face, looking straight before him. 
He wears a dark coat, a plain soft white collar with tassels, and a low 
broad-brimmed black hat, which leaves the upper part of the face in shadow. 
The light falls from the left at top full on part of the right cheek and on 
the collar. The background is illumined at top and to the right. 

Signed to the left on a level with the shoulder, "Rembrandt f. 1665 " ; 
canvas, 28 inches by 25 inches. 

Mentioned by Michel, p. 561 [442]. 

Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 1 06. 

Sale. Sir W. W. Knighton of Blendworth Lodge, London, May 21, 1885 
(210). 

In the collection of H. G. Marquand, New York ; given by him in 1 890 
to the Museum. 

In the Metropolitan Museum, New York, 1914 catalogue, No. 239. 

755. A MAN WITH A MAGNIFYING-GLASS IN HIS 
RIGHT HAND. Bode 23 ; Dut. 347 ; Wb. 6 ; B.-HdG. 535. 
About fifty. Half-length ; life size. He sits, seen in full face ; his body 
is turned a little to the right, but he looks at the spectator. He is bare- 
headed, with luxuriant brown curls falling on his shoulders. His hand 
seems to rest on a table in front of him. He wears a red costume with a 
narrow collar ; on top of the full puffed and slashed sleeves are light steel 
armlets. A dark cloak falls over the right arm. Dark background, partly 
illumined at foot. Painted about 1662-65. [Pendant to 869.] 

Canvas, 37 inches by 29 inches. 

Mentioned by Bode, pp. 531, 539, 560 ; Dutuit, p. 50 ; Michel, pp. 501, 

563 [39 1 * 435]- 

Exhibited at Brussels, 1882; at the Hudson-Fulton Celebration, Metro- 
politan Museum, New York, 1909, No. 1070. 

Sale. Comte d'Oultremont of Brussels, Paris, June 27, 1889, No. 7 (45,000 
francs). 



xxn REMBRANDT 355 

In the possession of C. Scdelmeyer, Paris, "Catalogue of 300 Paintings," 
1898, No. 

In the collection of Maurice Kann, Paris. 

In the possession of Duveen Brothers, Paris. 

In the collection of Benjamin Altman, New York ; bequeathed in 1913 to 
the Museum. 

In the Metropolitan Museum, New York. 

756. A YOUNG MAN WITH PAPERS IN HIS HANDS. 
Bode 3 15; Dut. 215; Wb. 331 j B.-HdG. 458. Lite ^i/.e ; to the k 

He stands, turned to the right, looking at the spectator. He has thin pale 
features, dark eyes, and a slight moustache. His brown coat exposes the 
shirt at the breast. He wears a broad hat over a small cap upon his long 
dark hair. To the right, in half-shadow, is the dark-coloured bust of a 
man ; above it is a dark curtain, partly caught up. The light falls from 
the left, across the face, on the right arm. The sitter was once wrongly 
described as " Haring, the auctioneer." 

Signed on the back of the paper, "Rembrandt f. 1658" ; canvas, 43 
inches by 34 inches. 

Etched by W. Unger. 

Mentioned by Vosmaer, pp. 356, 559 ; Bode, pp. 534, 598 ; Dutuit, 

Exhibited at the Royal Gallery, The Hague, 1892 ; at the Hudson-Fulton 
Celebration, Metropolitan Museum, New York, 1909, No. 104^. 

Sate. Amsterdam, May 23, 1798, No. 156 (450 florins, A. Roos). 

In the collection of the Marchese d'lvrea, G 

Sales. Lippmann von Lissingenof Vienna, Paris, March 16, 1876, No. 35 

(175,000 francs). 

John W. Wilson or Paris, March 16, 1881 (200,000 francs, 

bought in). 

In the Wilbrenninck collection, The Hague. 

In the possession of Boussod, Valadon et Cic., Paris. 

In the collection of Maurice Kann, IV 

In the possession of Duveen Brothers, Paris. 

In the collection of Benjamin Altman, New York ; bequeathed in 1913 to 
the Museum. 

In the Metropolitan Museum, New York. 

757. AN ELDERLY MAN WITH GREY WHISKERS, 
once wrongly called Cornelius Jansenius. Sm. 297 ; Bode 190 ; Dut. 340 ; 
Wb. 146 ; B.-HdG. 277. Half-length ; life size. He stands, inclined 
to the right, looking at the spectator. A high broad-brimmed black hat 
covers his short grey hair. Over his plain black cloth coat is a plain flat 
and close-fitting white collar with tassels. His short cloak is thrown 
back. He holds his gloves in his left hand. Strong light falls from the 
left on the right side of the face and the collar. Dark background, 
illumined to the left. Painted about 1642. 

Formerly signed by a later hand, "Rembrandt f. 1661." The in- 
scription, "PORTRAIT DE JANSENIUS PERE DUNNE 
NOMBREUSE FAMILLE MORT EN 1638 AGE DE 53 ANS," 
which was on the upper edge, was also a later addition and disappeared 
when the picture was cleaned. 



356 REMBRANDT SECT. 

Oak panel, 32 inches by 26 inches. 

Mentioned by Vosmaer, pp. 562 ; Bode, p. 585 ; Dutuit, p. 42 ; Michel, 
pp. 482, 557 [375, 431]. 

Exhibited at the Royal Academy Winter Exhibition, London, 1890, 
No. 152. 

Sale. Sereville, Paris, January 21, 1812 (5071 francs). 

In the collection of Prince Talleyrand, for whom Sm. sold it privately, 
1831 (for 500). 

In the collection of Lord Ashburton, The Grange, 1836 (Sm.) ; sold as 
a whole in 1907. 

In the possession of Sulley and Co., London. 

In the possession of C. Sedelmeyer, " Catalogue of 100 Paintings," xi. 
(1911), No. 28. 

In the collection of Benjamin Altman, New York; bequeathed in 1913 
to the Museum. 

In the Metropolitan Museum, New York. 

758. A MAN WITH A GORGET AND A BROAD HAT, 

once wrongly called Le Connetable de Bourbon. Sm. 300 ; Bode 313 ; 
Dut. 306; Wb. 328; B.-HdG. 271. About forty. Half-length; life 
size. He stands, seen in full face, extending his right hand. With the 
gloved left hand he holds to his breast the black cloak over his left shoulder. 
He has brown curls, and a dark moustache and beard. He wears a black 
velvet coat slashed at the breast. A gold chain with a medallion hangs 
around his neck, upon the breast below the gorget. Full light falls from 
the left foreground on the figure. Dark background illumined to the 
right. 

Signed on the left at foot, "Rembrandt f. 1644"; canvas, 36 inches 
by 29^ inches. 

Etched by K. Koepping. 

Mentioned by Vosmaer, p. 536; Bode, pp. 495, 598; Dutuit, p. 53 ; 
Michel, pp. 303, 554 [232, 439]; F. Schmidt Degener, in Qud Holland, xxxii. 
(1914), p. 221, who regards it as a portrait of Constantijn Huygens. 

Exhibited at the British Institution, London, 1822, No. 22 ; at Berlin, 
1890, No. 220, and 1896. 

Sales. Lord Radstock, London, May 12, 1826 (215 : 55.). 
Lady Ailesbury, London, 1881 (Davis). 

In the possession of C. Sedelmeyer, Paris, " Catalogue of 300 Paintings," 
1898, No. 134. 

In the collection of E. Secretan, Paris. 

In the collection of Adolf Thiem, San Remo, formerly Berlin. 

In the collection of Benjamin Altman, New York; bequeathed in 1913 
to the Museum. 

In the Metropolitan Museum, New York. 

759. A MIDDLE-AGED MAN. Half-length. He is turned a 
little to the right and looks at the spectator. His light brown hair is 
grey at the temples. He has a pointed beard. He is in black, with a 
broad white lawn collar. There are yellowish-green tones in the shadows 
on the flesh. Painted about 1632. 

Signed " R." ; canvas, 26 inches by 21 inches. 



xxii REMBRANDT 357 

Mentioned by Hofstede de Groot, Onze Kunst, 1909, p. 176. 

Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New 
York, 1909, No. 

Srf&._Saint, Paris, May 4, 1846 (Roehn). 

In the Jecker collection. 

In the collection of Thomas Bryan, who in 1867 gave it with his collection 
to the Society. 

In the collection of the New York Historical Society, 1903 catalogue, 
No. 328. 

760. A MAN WITH A ROLL OF MUSIC IN HIS LEFT 
HAND. Sm. 481 ; B.-HdG. xv. Half-length. He is seen in full face. 
A broad-brimmed hat, turned up on the left, covers his curly hair, 
pointed beard is turning grey. He has a white pleated collar; a white- 
wristband is shown at the left wrist. On the little finger of the left hand 
is a ring. The costume is black. 

Signed in full on the right, and dated 1633 ; panel, 26 inches by 19 
inches. 

Engraved by J. Stolker in an oval, with a roll of music in the left hand ; 
also engraved by him in mezzotint, in a rectangular frame, without the hand 
or the music. 

.Jan Stolker, Rotterdam, March 27, 1786, No. 8 (29 florins). 

In the possession of M. Knoedler and Co., New York. 

In the collection of W. A. Clark, New York. 

761. A MIDDLE-AGED MAN, once wrongly called NicolaesTulp. 
Sm. 283; Bode 305; Dut. 247; Wb. 322; B.-HdG. 8 1. Half-length 
without hands ; life size. He is t