The complete work of Rembrandt : history, description and heliographic reproduction of all the master's pictures, with a study of his life and his art

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THE COMPLETE WORK

OF

REMBRANDT

HISTORY, DESCRIPTION AND HELIOGRAPHIC REPRODUCTION
OF ALL THE MASTER’S PICTURES
WITH A STUDY OF HIS LIFE AND HIS ART

THE TEXT BY

WILHELM BODE

DIRECTOR OF THE ROYAL GALLERY, BERLIN

ASSISTED BY

C. HOFSTEDE DE GROOT

LATE DIRECTOR OF THE PRINT ROOM, AMSTERDAM MUSEUM

FROM THE GERMAN BY FLORENCE SIMMONDS

FOURTH VOLUME

CHARLES SEDELMEYER, PURLISHER

G, RUE DE LA ROCHEFOUCAULD, G
1 9°°

NO

v.MU

X

LANDSCAPES AND STILL-LIFE SUBJECTS
FROM ABOUT 1657 TO 1645

emurandt may be said to have brought his individual style to perfection,
IS '■ anc* t0 *lave g‘ven l^e freest artistic expression of which it was

capable, shortly after 1 635, in the pictures to which my last chapters
were devoted. The stage of maturity he had now entered upon shewed
l| ; irv no abatement of the creative power that marked the fervid activity
of his brilliantly successful youth; but just as mastery soars above
T pupilage, he rose far above his earlier achievement in variety, in

depth of emotion, in firmness of drawing, and delicacy of painting. In that
palace of fancy he had reared in the first ten years of his independence he now
began to install himself as in a home, adding spacious rooms and quiet nooks, and
making them into chambers many and manifold of intimate spiritual life.

In this fourth volume I shall deal only wiLh the early part of this period of free
and restless and purposeful activity, a term of about eight years. It is not, however,
easy to determine the precise close of this epoch, for a picture such as the
Staalmeesters , painted in 1662, shews the artist in all his freshness, and is even
perhaps the most accomplished work of art produced by Rembrandt. It was not
given to him, unfortunately, to live to a ripe old age, for he died at sixty-three. But
the last twelve or fifteen years of his life were so full of privation and sorrow, making
him, while still comparatively young, a hermit in the prosperous city where he dwelt,
that his character and with it his art speedily lost touch, as it were, with his country
and his times, and took on aspects often sharply opposed to the art of his contem-
poraries. Thus it came to pass that with all his greatness and spirituality, he shewed
certain asperities, and that together with the lofty simplicity and easy breadth that
mark bis perfect mastery, his perfect knowledge of his aims and of the means by
which to attain them, he betrays at times a certain superficial uncouthness. These
were signs that spoke of advancing age, signs we only detect in the work of Titian
when he had passed his eightieth year, and in that of Michelangelo, Frans Hals, and
others when they were but little younger. Other unmistakable tokens of failing
vigour are the inequality of these later works, and the indifference the master shews
towards certain tasks imposed on him, tasks which kindled no fire of enthusiasm in
him, lying as they did outside the range of his narrowing perceptions. Such tokens

are more particularly to be observed during the last decade of Rembrandt’s life.
We may therefore perhaps classify as the works of his old age all pictures painted
from i65q or 1660 onwards. The year 1 658 is signalised by a series of works of
almost equal excellence, still to be coupled with those which mark the steady
development of the artist in his maturity, and in some instances, with those which
mark its apogee.

The first years of that period of maturity to which I have devoted the present
volume are characterised primarily by endeavours to give increased subtlety and
richness to chiaroscuro, and thereby to intensify the expressive and emotional
qualities of all the works produced, compositions, portraits, or studies. This result
the master achieves by repeated essays in the treatment of light, more particularly
sunlight and its effects in interiors, problems in which he had already shewn a
deep interest in his earliest works. The naturalistic rendering of sudden irruptions
of light which formed his point of departure, and in which he had gradually
achieved the utmost mastery by means of incessantly varied experiments, tends
more and more to merge itself into an idealistic system of illumination, in which
the source of light sheds its golden effulgence over a small but important portion
of the composition in the midst of surrounding gloom or semi-obscurity, lighting
up the darkness with the most delicate reflections. This radiance is no normal
sunlight, no ordinary artificial light. It shines like the light of another world, a
world of Rembrandt s inner vision, to which this illumination of his gave its peculiar
charm, its poignant effect.

The final development of this most original treatment of light, the Rembrandt-
esque chiaroscuro lor which the master has been especially admired at all times, took
place in the first years ot the period with which we are now concerned. If his
renderings of sudden irruptions of light in enclosed spaces date from his earliest
beginnings, as we have seen, it was not until about 1 635 that he succeeded in
tempering the realistic harshness of these effects and the density and darkness of
the contrasted shadows, by infinities of animating and modulating reflections. His
efforts in this direction coincided with a very marked circumscription of local
colours, notably in the smaller pictures, to which the monochrome sketches produced
at this period may have further contributed. Pictures such as The Angel leaving
the Family oj Tobias and Christ and Maty Magdalen at the Tomb , painted in 1637
and 1 638, vigorous as they are in illumination, have little more local colour than
the said sketches. In the pictures of the next five or six years, this characteristic
becomes more pronounced and more general, while, at the same time, the illuminated
spaces become smaller, and the shadows larger and more energetic, though more
velvety in their depths, and relieved by subtler reflections.

For some ten years, Rembrandt had studied the problem of illumination almost
exclusively 111 pictures of interiors. His first pure landscape is dated i638. Like

several others of about the same period closely akin to it, it deals entirely with a
powerful effect of light, and is therefore almost devoid of local colour. In my
u Studien zur Geschichte der hollandisclien Malerei ”, l have already fully discussed
the peculiar place occupied by Rembrandt’s landscapes in his art : “ To those who
can see nothing but the baldest realism in Rembrandt’s pictures, his landscapes must
seem fairly enigmatic achievements. But those whose eyes are struck and whose
souls are stirred by the poetry of arrangement and illumination in his works will
recognise more clearly than ever in his landscapes the truly poetic spirit by which
he transfigures the objective truths of Nature, and evolves from them a profoundly
significant work of art. It is in these that he shews how little sympathy he had with
the bluntly realistic tendencies of his fellow-countrymen, in these that he appears
most evidently as the idealist, the true poet. It is of course true that Rembrandt
has left us many tokens of his capacity to render the characteristic landscape of
his fatherland with absolute simplicity and fidelity ; but the picturesque views and
studies that he made here and there, are only to he found among his drawings
and etchings. The numerous landscape-drawings left by the master, when they are
not studies for pictures or for the backgrounds of pictures, invariably reproduce
some simple landscape-motive of his home, apparently with topographic exactness.
But he always chose his point of view so skilfully, and so modified the lines by
slight alterations that nearly every drawing is a complete picture, so sincere, so
delicate in feeling and so artistically perfect that no other artist, not even the great
Dutch masters of landscape, ever gave such renderings of their native land. The same
may be said of the etchings contemporary with his landscape-pictures. Only a
very few of these (such as The three Trees) deal with vigorous effects of light; the
rest are simple pictures of the master’s home, quiet in feeling, but of unexampled
truth, intensity, and taste.

u This simple, topographically faithful character that marks the drawings and
etchings, and is indeed peculiar to the earlier Dutch landscape-painters, is con-
spicuously absent in Rembrandt’s painted landscapes. Even when, as in the Canal
with Skaters of the Cassel gallery, he faithfully reproduces some familiar scene of his
home, we are scarcely reminded of Holland by the picture. Rembrandt neither
sought nor found either that beauty in the harmony of lines and forms of Nature
which Claude and the Poussins discovered, nor that joyous concert of colours which
Rubens’ splendour-loving genius evolved from landscape. In this domain once
more, it was rather the spiritual life of things, the mood or character of landscape,
that the master strove to render. Rembrandt was the first to patiently observe
the life of Nature and to give pictorial expression to the moods produced in the
spectator by times and seasons, rain and sunshine, the agitation or the calm of
inanimate creation. He carried out the task he thus set himself with a force and
grandeur in which he has no rival. In this mysterious communing with the spirit

— 3 —

of Nature, in this power of evoking a world for himself here as elsewhere, Rem-
brandt stands side by side with Rubens, and above all other painters. ”

The early pictures by Rembrandt in which the scene is laid in the open air
have very modest landscape settings : an unattractive hillside with trees, always in
shadow, and in the foreground a few large-leaved plants or tree-stumps of fantastic
shape, in which he gives a bizarre turn to studies made from natural forms. The
Rape of huropa, of i63a, with its picturesque bridge, and its glimpse of a little
Dutch port in the distance, is the first of these pictures that reveals a more delicate
observation of Nature, in curious contrast with the fantastic character of the
foreground and middle distance. The first etching in which we find a landscape
setting in harmony with the grandiose composition is the Angels appearing to the
Shepherds of 1634. The valley that opens on the left, with its mirror-like pool and
the ruins of a lofty bridge, the hill with a castle beyond, the tall trees behind the
shepherds, all this reminds us of the structure of the first landscape-pictures,
especially the Landscape of the Brunswick Gallery. Still more closely akin to these
is the rich and impressive background of the sketch, The Preaching of John the
Baptist, in the Berlin Gallery, painted at about the same time, in which the landscape
(added when the sketch was enlarged) contributes very powerfully to the effect
aimed at in the composition.

The Landscape with the Good Samaritan (Plate 229), in the Czartoryski Museum
at Cracow, dated very distinctly i638, serves, unlike most of the landscape pictures,
as the setting for a Scriptural episode, though this is entirely subordinated to the
mise-en-scene. In a wide valley, illuminated in the foreground by an abrupt ray of
sunlight, and enclosed by precipitous mountains in the distance, a city lies in the
gloom of an approaching thunder-storm. An avenue of mighty trees, the dusky
outline ol which is merged in the black clouds, leads up to it. In the foreground
is the wounded man, on a horse, accompanied by the Samaritan. The effect of
light is grand and solemn, and the treatment, in spite of its sketchy breadth and its
almost monochromatic colour, shews the most delicate calculation in its perfect
expression ol the mood or aspect the painter sought to suggest.

The Landscape with a Column (Plate 23o), in the collection of Herr G. von
Rath ol Buda-Pesth, has much the same character. Here again we see in the fore-
ground on the right a group ol fine old trees bowed and bent by the fury of a
storm; they are connected with a wood further back, leading up to a steep and
rocky mountain. At the foot of the mountain are the terraces of a town, from
which a river flows through several arches towards the foreground. In the front is
a stone bridge with a waggon, and on the opposite bank a high column with a statue
(not an obelisk, apparently). A sunbeam, breaking through the murky clouds of a
passing storm, casts its sudden gleam on a portion of the river, which flashes hack
a luminous reflection. Here again the abrupt contrast of dark shadows and strong

— 4 —

sunlight, the reflections of which gradually disclose a wealth of details in the penum-
bra, enhance the effect of a striking natural phenomenon.

The Mountain-City in a Storm (Plate 23 1), in the Ducal Gallery at Brunswick,
brings us to a mountain on the steep declivity of which lies a city, strongly illuminated
by a sudden glare of light. It is enclosed in front by a high viaduct with a ruined
tower, through the arches of which a river rushes in cascades towards the foreground.
On the road to the river is a carriage with four horses, and in the distance a wide
valley, darkened by the heavy clouds that lower above it. Here the effect has
greater unity, and the treatment of light is still more striking. The colour, though
almost uniformly brown, is relieved by a patch of blue sky, and, in certain loaded
passages of the light foreground, by plants and bushes, touches of dull green and red.

These three pictures are so closely akin in composition, in their vigorous effects
of light, and in their monochromatic and sketchy handling, that they were probably
all painted in i638, or at latest in 1639. The Slone Bridge over a Canal (Plate 232),
formerly in the Marquis of Lansdowne’s collection at Bowood, and now the property
of Mr. James Reiss of London, is neither signed nor dated. The sinister effect of a
gathering storm, with the harsh streaks of light, and the brooding shadows that
herald it, the drawing of the trees, the manner in which the landscape is animated
by a travelling-carriage at the inn-door, and a few very small figures, the almost
monochromatic yellowish-brown colour, the broad, sketchy treatment, shew such
affinities with the landscapes described above that it is impossible to question
Rembrandt’s authorship. The simple motive, quite in the manner, of a Jan van
Goyen or a Salomon van Ruysdael, of whom the drawing of the trees also reminds
us, makes it probable that the picture was painted a year or two earlier than the
other three.

The Landscape with a Fortress (Plate 233), in the Wallace Museum, London,
aims at the same effects as the above landscapes. It is, however, simpler in its
motive, which again suggests the painter’s native land. A fortress surrounded by
a broad moat and outlying buildings under lofty trees rises in the middle distance
for the protection of a town, indicated in the brilliantly illumined background. The
lurid lights and shadows of an approaching storm hang over the stronghold, and
over the foreground, where the corn is being loaded into carts, and where a
sportsman appears with his dogs. Scenery of much the same character, but even
simpler, is treated in the small Stormy Landscape with a River (Plate 234) in the
Grand-Ducal Gallery at Oldenburg, a picture of about the same size as Mr. Reiss’
landscape, with which it may be very fitly coupled. A harsh ray of sunshine breaks
through sullen clouds upon the river and the trees on its banks; in the middle
distance is a stone bridge with seven arches. A little picture in Lord Northbrook’s
collection, London (Plate 235), unfortunately much damaged by the manner in which
the fibres of the panel have worked through the paint, was originally marked by the

— 5 —

same penetrating charm that distinguishes this special group of landscapes. Over a
stretch of flat country, in the distance of which the towers of a town are indicated
a mass of cloud hangs in picturesque variety of outline, and shrouds the details of
the landscape in a hazy shimmer. In the foreground on the high road leading over
the bridge arc a pedlar, and a coach with four horses; the latter, together with
one or more wayfarers, or a horseman, appears in nearly all these landscapes.

The delicate elaboration of the details in these three smaller pictures inclines
me to believe that they were painted rather after than before ib4o, though certainlv
not much later. 1 may class with them a landscape of the same size, A desolate
Highland F alley (Plate a36) in the National Gallery, Edinburgh, the sentiment, colour,
and treatment of which connect it with this period, if indeed it is to be accepted as
the work of Rembrandt. The picture shews the broad stony bed of a shallow
mountain-stream, with I lie steep declivities of its right hank; a pale ray of sunshine
relieves the dusky vaporous atmosphere of the mountain; a solitary horseman
advances, following the course of the stream. Did Rembrandt ever visit a moun-
tainous region? Had he ever seen Norway? We know not, though we may conclude
that this was not the case from his studies and sketches, as well as from his pictures.
But may he not have built up this lively picture of a mountain-scene from the studies
of the friend who alone among landscape-painters approached him even in sentiment
from Hercules Scgers’ sketches and pictures of the wild highlands of Norway?
As far as we can say from our present knowledge of the landscape-painters of
Rembrandt's circle, Segers is the only one besides the master to whom the authorship
ot the picture might he attributed; hut in its poetry of sentiment, as well as in the
vigorous, almost monochromatic brown of the colour, it shews less affinity with the
few authenticated pictures of this master than with Rembrandt’s landscapes. 1 have
therefore included it among Rembrandt’s works, though with reservations, and have
discussed it in this place.

Among the various landscapes attributed to Rembrandt in Smith’s “ Catalogue
Raisonne ”, where pictures by Roghman, Ph. de Koning and others are confused
with the master’s works, we find a Jl oody liiver-Scene with Cows (Plate 237), in the
possession of Sir Robert Peel of Drayton Manor. This picture has been completely
overlooked since, and had it been included in any of the more recent exhibitions,
its authenticity would, no doubt, have been sharply contested. The composition
itself is of an unusual kind; a river, in the quiet waters of which the sunny air is
broadly mirrored, is enclosed between wooded hanks; on the hill above the curve
behind which the river disappears, a town with one or two massive towers lies in full
sunshine. The road, which winds along the hank on the left under trees, is enlivened
by several figures, and, quite in the foreground, by a few cows. Instead of the
far-reaching distances with lofty horizons of all the other pictures, we have here
merely the opening of a narrow highland valley, showing only a strip of sky, and

instead of the grandiose rendering of natural phenomena, the simple suggestion of
a warm summer day. The figures and animals again, which are comparatively large,
are very hastily treated, especially the former, and the colour, though the prevailing
lone is a light golden brown, is nevertheless richer; (lie brown foliage lias a
greenish lustre, and the cows, as well as the costumes of some of the figures in
the- foreground, shew touches of strong local colour. On the other hand, the
drawing and treatment of the foliage, the outline of the mountain city, with its Ion
clumsy towers, the impressive vigour ol the illumination and the sense of draughts-
manship displayed in the treatment of the cattle have all the character of Rembrandt’s
work, and differ entirely from that of the landscape-painters influenced by him, from
honing, Roghman, and the youthful J. Lievens to Lcupenius, Furnerius, Roomer, and
other pupils more directly dependent on Rembrandt at this middle period. In my
judgment, therefore, we should not be justified in rejecting this picture; but it we
accept it as a work of Rembrandt s, we ought probably to refer it to a somewhat
later date than the others of the group, perhaps to about tfijS.

The master’s desire for a richer and more varied knowledge of Nature manifested
itself at this time in another genre. The first of the still-life studies by Rembrandt
known to us were painted in the years immediately preceding 1640. We learn from
the inventory taken after the declaration of his bankruptcy that he owned several
still-life pieces, the majority of which were of the kind popular in his native city
of Leyden under the title of Vanilas : a group of objects bearing reference to mor-
tality and death. They are all described as “ re-touched ” by Rembrandt, and were
probably without exception the work of pupils. Rut in the same inventory we find
inscribed as by the master’s own hand a few small pictures of dead animals, one
with a brace of hares, and a pig ( Schildereitie van een varcken). The still-life pieces
painted at the same time as the earlier landscapes are also studies of dead ani-
mals, interesting to the master by reason of their colour, form, and structure, and
generally painted at a sitting. Under his hand these studies invariably became
finished pictures. Actual still-life would have offended his strong creative instinct,
since even the most accomplished master of the genre must confine himself to
tasteful arrangement, faithful and picturesque rendering of his materials, delicacy of
colour and of chiaroscuro in his flower and fruit-pieces, “ breakfasts , / amtates ,
and similar subjects.

A large dated picture of this description, A Sportsman with, a Bittern (Plate 238),
in the Dresden Gallery, might also be included among the master s portraits ot
himself. A young man in whose features it is easy to trace those of the artist,
holds his gun in his left hand, and with his right is about to hang a slaughtered

— 7 —

bittern on a nail by its legs. The manner in which the proud bird is brought
completely into the foreground, and shewn under a strong light, while the sportsman
appears in the penumbra behind it, the utmost care being bestowed on the execution
of the creature, in contrast to the sketchy treatment of the human figure, justifies
us in including this work among Rembrandt's still-life studies (as does Rembrandt’s
sale-catalogue, where it figures as een piloor), although the artist also gave the picture
a half genre- like, half portrait-like character even in the arrangement, thereby raising
the work far above the level of an ordinary still-life.

Much after the same fashion, Rembrandt made a picture of a second I a roe
study, more sketchily treated, the Dead Peacocks (Plate 23g), belonging to
Air. W. C. Cartwright, of Aynhoe Park. A little girl, inside an open window,
contemplates a couple of dead peacocks, one of which hangs against the shutter,
while the other lies on a sill before the window, over a basket with apples. Both
pictures are treated in the characteristic, almost monotonous scheme of brown
colour : the picture with the peacocks, which is not dated, may, judging by its more
summary handling, have been painted earlier than that with the dead bittern, though
certainly not before i638. Another still-life, of a totally different character, °a
slaughtered ox hanging in a shed, dated if>3y, and belonging to Herr von Rath of
Buda-Pesth, I shall discuss later, together with two very similar studies of the same
subject painted between i65o and 1660. The date and monogram (a single Rj of
the Pesth picture are not by Rembrandt’s own hand.

The master’s pictures and drawings of this period shew us with what pleasure
and with what brilliant success he made studies of animals from life at this time, and
how eagerly he availed himself of opportunities, comparatively rare in the seventeenth
century, of observing the wild beasts of travelling menageries. A series of magni-
ficent studies of elephants, dromedaries, lions, etc., belongs to these years.

XI

BIBLICAL COMPOSITIONS OF FBOM 1610 TO 1046
THE MARCH OUT OF FRANS BANNING COCQ’S COMPANY
OF THE CIVIC GUARD

tendency to stronger contrasts in illumination, to a more delicate
elaboration of chiaroscuro, and to a more restricted use of local
colour is no less pronounced in the figure-pieces of this period than
in the landscapes I have just described. The master’s delight in
landscape compositions and effects manifests itself also in several of
the former in the importance of their landscape-backgrounds and the
care with which they are treated, just as it had already manifested itself in
various works anterior to these. Like the pictures of the years 1637 and i63S,
the majority of the Biblical subjects painted between 1640 and 1647 contain
figures of small size; the actors are generally fewer in number, and the conception is
at once simpler and more moving, more direct in its appeal to the sympathies ol the
spectator, than in the earlier works. The violent contrast between these quiet little
pictures and the agitated compositions with life-size figures from which they are
only divided by a space of some few years, is one hardly to be paralleled in the
career of any other artist.

So far, we know of no figure-piece painted by Rembrandt in the year i63q; but
there are three of the following year, dated works, closely akin one to another, all
marked in a very high degree by tile distinguishing qualites I have mentioned. The
Dismissal of H agar (Plate 240), in Mr. Constantine A. Ionides’ collection at Brighton,
an incident repeatedly painted by Rembrandt, and always in a novel manner"’,
lays the scene of the drama at the outer gate of a palace, the vague outline
of which, with its tower-like storeys pierced by a few windows here and there,
reminds us of the ruins of ancient Semitic palaces brought to light by recent
excavations. Clad in a rich Oriental costume, her tearful eyes fixed on Abraham,
Hagar, mounted on a mule which Ishmael leads by the bridle, rides away aimlessly
into the gathering darkness. The light of a lamp, invisible to the spectator, falls lull

1 A. similar but somewhat earlier version is in the RouroiantzoH Museum at Moscow, where it was Krsl noticed
by Dr tV. Bredius. As we were not able to get a photograph of this picture in time, we must reserve our description and repro-
duction of it for the Supplement (at the end of vol. VII) . Remarkable for its delicacy of sentiment and the beauty of tls landscape, it
was painted, according to the signature, in the year 1637.

on Hagai-, shewing her in all the intensity of her grief, which refuses to recognise
the irrevocable nature of the fate that has come upon her. The patriarch, standing
in a dignified attitude beside her, seeks, somewhat against his better feelings,
to impress it upon her. The peculiar twilight produced by the contrasting play
of the artificial light, and the last gleams before tile approach of night indicated
m tl,e distance on the left, m a meadow dotted with cattle, is turned to account by
the artist with great delicacy of observation to enhance the impression he seeks to
convey, and is very happily expressed by the sketchy and almost monochromatic
treatment.

I lie effect ol evening light in a slightly larger picture of the same year, the Duke
of Westminster’s Salutation of the Virgin and St. Elizabeth (Plate 241") at Grosvenor
House is, on the other hand, bright and powerful. This scene has the air of a domestic
episode of some legendary time and place, in which a deep and intimate emotion
finds expression among personages of princely rank. The Virgin, dainty as some
royal lady, stands at the portal of a palace, between the aged Zacharias and atten-
dant servants, and receives the reverent embrace of Elizabeth. In the distance
behind them a town lies in the shadow of twilight, dominated by a Gothic cathedral
"ith a massive unfinished tower. We find a similar church under various aspects in
many drawings and pictures of this period.

Ihe small Holy Family in the Louvre (Plate 242), known as La Menage du
Menutsier, is probably the best known and the most highly esteemed of Rembrandt’s
pictures of the Holy Family painted at this period. It owes its popularity primarily to
Its magical effect of evening light in an interior, a light that spreads its glowing
radiance over the piece of landscape seen through the open window. But the
expression of happiness in the two women, busying themselves with motherly dcli<dn
about the sleeping naked babe, whose little figure is illumined by a warm ray of
sunshine, while Joseph works behind them in the shadow near the window, the
delicate elaboration of the interior with its manifold details in chiaroscuro, fully
justify the fame of the work. Nevertheless, the versions of this subject painted a
feu years later rise above this by the beauty of the local colour, which by that
time the master had again contrived to combine with his chiaroscuro.

These three little pictures of the year 1640 will enable both the student and the
artist to note with delight the increasing subtlety in Rembrandt’s rendering of nature
how, for instance, he paints patches of light in the open air in a rich, enamelled
impaslo giving them an almost plastic form, whereas he fused them more in interiors
and how he tends to give his shadows something of the nature of washes of Indian
mk This consummate master, the most imaginative, the most many-sided, the most
pi o oun o artists, offers us perpetual surprises after a fashion peculiar to himself

great,aS arU *e d,fferenCes pictures painted in the same year, a compo-

sition such as the so-called Night-JVatck at Amsterdam is unique, not only among

IO

contemporary pictures, but in Rembrandt’s whole work. We shall therefore reserve
it for special discussion at the close of this chapter.

The Hight-JV alch was finished in 1642; a year earlier Rembrandt painted the
only Biblical composition of this period known to us, the Sacrifice of Manoah
(Plate 243), in the Royal Gallery at Dresden. As in the small pictures, the figures
in this large work are full-length, a characteristic peculiarity of this time more
especially, though it may he said in a general way to mark Rembrandt’s earlier
and middle periods. In spite of the difference of dimension, the picture shews
affinities with the small works mentioned above in choice of subject, and in senti-
ment. Here too, the expression of intimate emotion, the absorption in silent prayer,
the consciousness of the holy presence of the angel who announces God’s message
to the couple, furnish the strangely moving motives of the picture. But the
treatment and colour are unusual, mainly in consequence of the difference of
dimension. True, the large surface is in shadow, with the exception of a small
portion; hut the figures, illuminated or touched by a bright ray of sunshine, shew
well-defined local colours in the light, of great interest for purposes of comparison
with the Night-Jf'atch, which was begun at about the same time. The woman’s
lemon-coloured gown, which tones off into the warm loaded white of the sleeve
on which the light falls most strongly, is partly covered by a mantle of dull
cinnabar-red, while the white-bearded husband wears a loose crimson gown of a
subdued tint, which, like the red and yellow flames of the burnt offering, are in
chiaroscuro. The white garment of the angel who soars away into darkness is
tinted by the smoke rising from the fire to a delicate tone of pale blue, which,
together with a few dull green touches that indicate a vine against the barely
perceptible wall of the house, makes a fine contrast to the yellows and reds, or
bluish red tints of the principal group. This carefully finished work may in some
respects be reckoned among the most important and harmonious of Rembrandt’s
pictures.

A picture painted in the following year, 1642, differs from this, and still more
from the contemporary N ight-IV atch , in that, though of moderate dimensions,
it contains figures on a rather larger scale than those of 1640. This is the Recon-
ciliation between David and Absalom (Plate 244)? in the Hermitage at St. Petersburg,
hitherto erroneously described as The Return of Jacob to Isaac. A flood of sunshine,
enhanced by the brilliant gala-dresses of the actors, illuminates the scene, and
reflects the joy of the reconciliation. I know no other picture by Rembrandt so
light and gay in tone as this. Ring David is dressed almost entirely in white; he
wears a turban of white silk, and a long white silk Oriental mantle, beneath which
is a pale blue robe. His son Absalom, who, full of remorse at the fratricide of
which he has been guilty, throws himself on his father’s breast, wears a pale pink
riding-coat edged with gold, over which his long, bright hair falls on his shoulders;

Iiis sword hangs on a golden bandolier. It is only in the shadow in the foreground
that a deeper tone of red-brown, which tells comparatively little as a local colour,
affords a vigorous contrast of darker tones. In the middle distance is a town,
which the artist meant for Jerusalem. It is drawn hastily and vaguely, as in the
Chris I and Mar)- Magdalen of Buckingham Palace, and other pictures of this period.
The massive dome that rises above the city is Romanesque in style. Drawings
in the Brunswick Museum, in the Albertina, in the Berlin Print Room and elsewhere
contain studies of similar stately churches; a closer examination of these might
perhaps give us some information as to the extent of Rembrandt’s travels.

We have already spoken of a little sketch in grisaille , The Descent from the
Cross (Plate i^5) in the National Gallery of London, mentioning it in connection
with other monochrome sketches of a rather earlier date (Cf. Vol. Ill, p. 29 et set/.).
As far as a coating of dirt and old varnish, which might easily he removed, would
allow me to judge, the composition is as skilful as the sentiment is delicate and
lively.

In the year 1642, the artist lost his young and charming wife. In the autumn
of 1641 she had borne him a boy, who was baptised on September 22 by the name
of Titus; on June 19 of the following year, the mother was buried in the Oude Kerk.
For this filth and only surviving child, the widow of a trumpeter, one Hendrikje
Dirks, was chosen as nurse [Minnemoer). Whereas all Saskia’s other children
had died in infancy, Titus grew to manhood, and became his father’s pupil, though
Rembrandt had to suffer the supreme grief of his only son’s death shortly before
his own end. It was perhaps due to the trumpeter’s widow that the beautiful boy
grew up to youth and manhood. She seems to have loved the child as if he had
been her own, for she bequeathed all her little property to him, though she bad
been very badly treated by his father.

The year after the death of Saskia, whose fading features her husband recorded
yet once again in the Berlin portrait (l> (see later), spiritualised, but still full of
charm, is signalised by one of those many representations of naked beauties for
which the master found a pretext in the ancient Jewish legends of the Bible, so
characteristically Oriental, even in their sexual aspects. The work in question is
the Toilette of Bathshcba after the Hath (Plate 246), in Baron Steengraclit’s collection
at the Hague. Bathshcba is represented by a beautiful young woman of a pro-
nouncedly individual type, strongly illuminated by the rays of the evening sun,
who sits by a marble basin under the lofty structure of the palace at Jerusalem,
after her bath, while a negress combs her long hair, and an old woman dexterously
cleans her nads. The picture shews a perfection, a truth and delicacy of drawing,
a cleanness ol modelling, a fusion of the luminous tints, a clearness and enamelled

Probably painted on the ground of a picture begun shortly before her death.

12

brilliance of the colours in the light, and a refinement of chiaroscuro achieved in
very few other works of this period.

The work that has been recognised from the outset as Rembrandt’s master-
piece in this genre, however, is The IFoman taken in Adultery (Plate 247), in the
London National Gallery. We can trace this picture from the time of its com-
pletion, when it became the property of the dealer De Renialme, from whom it
passed into the Six Collection. The scene is enacted by a number of small figures,
most delicately elaborated, and illumined by the brilliant sunlight that breaks in
upon them as they stand under the massive dusky cupola of the temple, while in
the choir on one side, approached by a lofty staircase, the High Priest carries on

his sacred functions in the subdued half-light, before a reverent multitude. The

manner in which these numerous figures stamp themselves at once on the perception
in the clearest and most penetrating fashion, in spite of their small dimensions
and the vast space in which they are set, the way in which the reflected light of

the sunbeams that fall on the main group illumines the dark recesses of the

Temple, the delicate rendering of colours within the brownish tones of the sombre
architecture, the grave serenity of the Saviour’s tall figure, as he gazes pitifully
at the beautiful sinner at his feet, and in contrast thereto, the harsh types of the
Pharisees and of the men who have seized her, all this is rendered with the utmost
refinement and the greatest delicacy. The figures are certainly too small and
remote to touch us very deeply, while the stalwart, and almost beautiful figure of
the Saviour has still that touch of the magnetiser or magician Rembrandt gives
to the person of the Saviour in several of his youthful works, notably the Resur-
rection of Lazarus. The years immediately after this shew his higher conception
of a Christ-like type, one which in depth of feeling and loving comprehension
was perhaps the loftiest of which the master was capable.

Two pictures, small in size, yet almost sketchy in their freedom of treatment,
lead up to a series of Holy ■ Families. They are evidently a pair, though 1 am unable
to point out any special connection between them. One is The Angel warns Joseph
to flee into Egypt (Plate 248), the other The blind Tobit discovers the Theft of the
Goat by his Wife. (Plate 249). Both are in the Royal Gallery of Berlin. In the
first, the appearance of the white and shining angel in the darkness, lighting up the
group of sleepers, is the expression of the sudden inspiration that gives definite
to™' to Joseph s shadowy vision. It is characteristic of this picture, that the paint is
no longer laid on thinly and fluidly, and that flashes of colour no longer light up
the prevailing brown, as was still very notably the case in the If Oman taken in
Adultery , but that the colours in the light are more vigorous, that they are laid on
broadly in a rich impasto, and that all sorts of delicate tones irradiate the whole,
a method Rembrandt gradually worked out, and made his characteristic treatment,
f he pendant, painted in the same style and illuminated in the same manner by the

:3 —

evening light falling from a high window, is even superior to the Josephs Dream in
delicacy of sentiment, in the deep and touching emotion it exhales. The blind and
helpless Tobit, strong in his rectitude and his trust in God, is represented at the
moment when, discovering the theft of the goat by its cries, he firmly hut calmly
reproves his wife, who thinks herself justified by the extremity of their distress, and
exhorts her to further faith and patience.

Several contemporary Holy Families , pictures larger in size and more elaborate
in treatment than the two little works in the Berlin Gallery, breathe the same
harmony of spiritual peace, of unclouded domestic happiness in lowly circumstances,
in the midst of poverty and labour. They are raised to a higher level than that
of simple domestic genre, and are stamped as “ Holy Families ” by the magical
light, the chiaroscuro, that expression of Rembrandt’s deepest emotion, which he
brought to its greatest artistic perfection during the years when these pictures
were painted. And it was in these very years that the artist’s happiness was most
heavily overcast, and that he himself was engaged in contests which throw a dismal
light upon his domestic morality. Saskia died in June, 1642; within two or three
years, the master formed an illicit connection with the trumpeter’s widow, who,
engaged as nurse to Titus, had undertaken the management of the house. It
continued until he forsook her for the pretty maid-servant of the establishment,
when he turned her out of doors, and braved an ignominious lawsuit, in which,
111 spite of his denials, judgment was given against him. Nevertheless, relying on
the lax justice of the times, he left the widow without means, and even persecuted
her relentlessly, while on the other hand he allowed the young maid-servant, who
filled the place of a wife to him until her death, to be excommunicated by the
religious community to which they belonged on account of her connection with
him, a connection which further caused his own complete exclusion from the more
refined circles of society. The stories we used to read in the old biographies,
without giving too much credence to them, have been confirmed in the most
positive manner by prosaic law-documents and civic records. These, however,
cannot enable us to read the heart of the artist, nor to know how far the trumpeter’s
widow, Whose brother was a common sailor, had disgusted him and embittered
us life. Who can say that he has seen into the soul of his dearest friend, and
noted all its struggles? How much less can we form a judgment centuries after
the event, on the evidence of ruthless legal acts, especially at a time when the
swnmwn jus too frequently became the summa injuria\ These very documents in
the archives further testify that in spite of the ban under which he lived, in spite
of the decay of his fortune, his final bankruptcy, and his extreme poverty, Rembrandt
found happiness in his home with this young woman, that he painted the most
exquisite pictures of her down to the time of her death, and that she proved the
most faithful of companions in his reverses. Rembrandt, who with Spinoza repre-

— 14 —

seats the loftiest expression of genius produced by the brilliant culture of seventeenth
century Holland, had further a vigorous and caustic character, which must be
judged by a standard peculiar to itself, a character the manifestations of which
could hardly be acceptable to the sanctimonious rectitude of the stiff Mynheers of
his day. But he has himself given us the measure of it; he who runs may read it
in his works, which in their depth and warmth of feeling, as also in their occa-
sional overflowing strength and crudity of passion, speak to us in language more
lively and subjective than the works of any other master.

Among the series of Holy Families mentioned above, which, by reason of the
types, costumes and surroundings they borrowed from the humble life of contemporary
Holland, generally bear the name of The Carpenter s Family , or some kindred title,
we have already made acquaintance with the delightful little picture of 1640 in the
Louvre. A much copied interior, known as The Cradle (Plate 25o), formerly one
of the most highly prized treasures of the Orleans Collection, and now in the
possession of Mr. A. R. Boughton Knight of Downton Castle, is doubtless, like all these
compositions, which were formerly classified as genre pictures, a Biblical incident.
In the cosy room of a Dutch artisan’s dwelling, by the light of a candle concealed
by her head, Mary reads the Scriptures aloud to the aged Anne, who, falling asleep,
has ceased to rock the Child’s cradle by means of the string she holds in her hand.
The effect of light, unusually true to nature for this period of the master s life
(about i643-i645), is much enhanced by the tall shadow of Anne on the wall. The
general effect is intimate and cheerful.

That all these so-called Carpenter s Families are really Holy Families is abun-
dantly proved by a beautiful composition on a rather larger scale in the Hermitage
at St. Petersburg (Plate a5i), painted in i645. Here, a bevy of little angels and
cherubs float downward in a cloud to the cradle of the Infant Christ, from which the
Virgin carefully removes the coverlet; Joseph is busily at work in the darker portion
of the room. The supernatural light that streams from the angels is concentrated
on the Child, whose yellow sleeves and brilliant crimson coverlet make up an unusually
magnificent colour-harmony with Mary’s paler cherry-coloured gown in the penumbra.
It was just at this time, indeed, that the monochromatic colouring of preceding
years was suddenly abandoned for rich and brilliant harmonies.

The most fascinating of these pictures, and, in its way, one of the most beautiful
of the master’s works, is The Holy Family with the Curtain (Plate 2^2) in the Royal
Gallery at Cassel, painted in 1646. The sacred theme is no longer indicated by
diadems and aureoles ; the supernatural element is suggested by representing the
scene as taking place upon a sort of stage, behind a curtain which has been drawn
back, enclosed in a simulated frame. Here too, the arrangement and the sentiment
raise the work above the level of a mere rendering of quiet domestic bliss over which
Heaven keeps watch, as in the Hermitage picture. The peaceful cot the withdrawal

— i5 —

of the curtain reveals to us has been put together by Joseph among the ruins of a
Gothic building, a massive pillar of which is visible against the side of the room that
opens on the court, where Joseph is still at work in the gathering darkness. The
Virgin sits in the foreground of this spacious room, illumined by a mysterious ray
of light in comparison with which the firelight on the hearth seems pale. She clasps
the Child tenderly, as if soothing or hushing it to sleep. A. ray of joyous light breaks
into this interior, as into the others, but the surrounding darkness, the fantastic
building, the timorous manner in which the Child presses against his mother, as if
to find rest with her, give to the scene something of the character of Goethe’s
Erlkoenig, a foreboding of mortality in the midst of the purest and highest happi-
ness. fins deeply poetic impression Rembrandt reproduces with the utmost artistic
perfection. The colour is as beautiful as in the St. Petersburg picture, but it is
fuller in tone, deeper and more mysterious.

In June, .64,, Rembrandt finished the largest picture he ever painted, The
March out of Captain Frans Banning Cocq’s Company of the Civic Guard (Plate a53)
now in the R.jksmuseum at Amsterdam. The conflict of opinion that obtained even
among contemporaries concerning this picture to an extent unequalled in the case
of any other work by the master, has been more or less permanent, and has been
revived with renewed vigour of late. The exhibition of the picture among the
masters works collected together at Amsterdam in ,898 in honour of the majority
of Ql‘Cen Wllhelmina’ When’ ,01' the first time since it left the Trippenhuis in l885
■ t was seen under proper conditions of illumination, i. e, a full warm side-light’
emonstrated even to the ordinary lay spectator that the title Night-Watch by which
he picture had been known for a century, was misleading; it did more : it shewed
hat many of the adverse criticisms directed against the illumination, the colour
the composition and even the conception of the work, more especially by artists’
were wholly undeserved, or at least very much exaggerated. The illumination of the
p.ctm. in the subdued and diffused top-light of the new Rijksmuseum was so
imperfect, it had darkened so much, and was so disfigured by perished varnish, and
by the ancient repaints which still mar its beauty, even after a very successful
rehning and revival of the varnish, that the effect it produced was not the right
one, and was even in some respects absolutely false. In the bright warm side-light
which it is to be hoped will soon be permanently ensured to the picture, _ it
be me evident that the master had represented the scene in sunlight, not ce tainly

Which was Rembrandts characteristic method of illumination, especially at the
period when the March out was painted. The contrasts of light and shadow were no

l6

doubt less violent originally, the effect of light more homogeneous, the shadows
lighter and more transparent; this it is necessary to remember in any appreciation
of the picture. But even in the state in which it left the master’s hand, it differed
so entirely from the works of the same order that had been produced in Holland
in great numbers throughout the century preceding it, that we cannot wonder at
the difference of opinion that prevailed concerning it among contemporaries, nor at
the fact that among the general public this opinion was in the main hostile. But,
this was merely a proof, as it would be in our own times, that the work was above
the Philistine level, that the worthy burghers it represents were raised by the genius
of the master to the special world of Rembrandt’s artistic imagination, a world
inaccessible to the herd. The criticism of Rembrandt’s pupil Samuel van IToogslraten
on this picture is so apt, that even now it scarcely calls for amendment or addition.
Speaking of 44 symmetrv, analogy, and harmony ”, he finds fault with the prosaic
arrangement of the figures in the Dutch 44 shooting-pieces 44 True artists ”, he
continues, 44 are able to give unity to their works. Rembrandt has been careful
of this in his picture at the Doelen, too careful, in the opinion of many persons,
for he was far more concerned with the general effect of his picture, than with the
fidelity of the individual portraits he was commissioned to paint therein. And yet,
whatever may be urged against it, this work, in my judgment, is likely to outlive
all its rivals by virtue of its highly pictorial conception, its admirable composition,
and the vigour, which, in the opinion of many, makes all other pictures look like
coloured cards beside it. Yet 1 wish he had put more light into it.

Hoogstraten, who wrote these words a generation after the March out was
painted, had himself fallen under the influence of the emasculating 44 classic
tendencies which were predominant even before Rembrandt’s death. As an author,
too, he thought himself bound to shew a certain deference to his public, and lie
therefore records the verdict of opponents. But under his somewhat reticent mode
of expression, we feel that his heart glowed as he thought of the masterpiece.

Rembrandt’s March out was attacked mainly because he had failed to give faithful
and individual likenesses of the various marksmen portrayed. 1 confess that as far
as one can judge at this distance of time, the reproach seems to me undeserved.
Where among these seventeen portraits do we note one face that is like another, or
that strikes one as empty and wanting in character? We find, on the contrary, a
wealth of very individual heads, which Ravesteyn or Hals might have made more
scrupulously like the originals, but to which they would not have given an effect
so plastic and so impressive. The conception, and the dramatic setting, which have
been criticised as inappropriate and therefore as further defects, seem to me, on
the contrary, to give this work its extraordinary superiority over all other groups ot
the same class in Holland. For this is precisely what makes a picture of it; it
is this which presents the various personages to us in their individual forms, and

— 17 —

in their common action we are shewn their characteristic manner of moving and
comporting themselves in a fashion truly astonishing. The stalwart figure of the
Lord of Purmerland advances boldly into the foreground as the leader of the
company of marksmen who follow him; the little bustling lieutenant at his side, the
broad-shouldered standard-bearer, who proudly unfurls his banner, the lean, elderly
pikeman on the right, who sedately emphasises by a gesture the speech he is
making to his neighbour, the vivacious dandy in red, who hastily loads his gun as
he marches, and even the figures in the middle-distance and in the background, down
to the drummer, whose pock-marked face has grown crimson with the energy with
which he wields his drum-sticks, calling the marksmen together, — all are living,
individual figures. It is true, that they are raised out of the sphere of the common-
place; but shall we make it a reproach to Rembrandt that he has not shewn us the
captain as a pushing money-grubber, nor his subordinates as tailors and glove-makers?
Was he bound to follow the beaten track trodden by hundreds of Dutch painters
before and after him? The outward appearance of his worthy countrymen had been
reproduced by numerous excellent portrait-painters, above all by Frans Hals, with
a fidelity and artistic freedom lie could not hope to surpass. In his portraits,
therefore, he sought further and above all to express character, temperament and
sentiment. This highly subjective manner of conception, which led him to repre-
sent his sitters in some phase of movement or excitement, had already governed
him in the famous work of his youth, the Anatomy Lesson , where he had attempted,
not altogether successfully indeed, to make a group of portraits the representation
of a dramatic and very animated lecture. This conception manifests itself again
in the great masterpiece of his old age, The Syndics of the Drapers Corporation , and

necessarily made itself felt in such a work as the portrait-group entrusted to him

by one of the two shooting-guilds of Amsterdam, that of the quarter known as
Wijk I. Here, while again lie had recourse to his dramatic composition and his
chiaroscuro, he chose, just as he did in his portraits of single persons, when once
he had worked out his artistic idiosyncracy, an illumination that was neither simple
daylight, nor a sudden burst of sunlight, nor even artificial light, but Rembrandt s
own peculiar light, his chiaroscuro. It was by means of this that Rembrandt
transfigured a trivial event of everyday life, and made of it a lively scene full of
dramatic force, so that this muster of the civic guard looks like an episode in the
great period of Dutch history, a sally of burghers against the Spanish enemy. Are
we to take the master to task on this account? Ought we to condemn him,

because we cannot exactly tell by what aperture the light enters, or whether the

perspective is absolutely correct, because the costumes, to some extent fanciful, were
selected and completed to satisfy the artist’s pictorial sense, because a number of
accessory figures are introduced among the marksmen, to heighten the movement
and animation? Rembrandt made use of means exactly similar in his Syndics of

the Drapers Corporation ; but applied to a few figures seated round a table, and seen
only to the knees, the effect is less striking and less fantastic. The later picture,
too, is in much better preservation, and has none of the re-paints and decoloura-
tions which still disfigure the March out , and make it impossible to judge it fairly,
either as a whole, or in such details, notably, as the drawing. But the full and
favourable side-light in which the picture was seen at the Rembrandt Exhibition has
at least helped towards a juster appreciation of the work, even in this particular,
than Fromentin, misled by the poor condition of the picture at the time, accorded
it in his brilliant hook “ Les Maitres d’autrefois

In the favourable light of the Exhibition, even the colour, in spite of the damage
it has suffered, proved its claim to a higher estimate, and Fromentin’s pronounce-
ment : u Le ton disparait dans la lumiere, comme il disparait dans I’ombre. L’ombrc
est noiratre, la lumiere blanchatre was shewn to he perverse and unjust. The colour,
and I he light (and with Rembrandt the two are inseparable), are the means by which
the composition makes its full effect. There is perhaps no other picture by the
master in which the local colour is so strong and expressive. The light falls fullest,
not on the principal figure, Captain Banning Cocq, Lord of Purmerland and Ilpen-
dam, but on his neighbour, Lieutenant Willem van Ruytenburg, Lord of Vlaardingen,
to whom he gives orders; but as the latter is dressed entirely in bright yellow and
white, he is, so to speak, partly absorbed into the light, and the captain, in his
sombre purple costume, relieved on the other side by the fanciful, brightly illumin-
ated figure of the little fair-haired girl, stands out as the dominant personality of the
scene. Flanking this group, we see in the penumbra two animated marksmen,
busy with their muskets, both in red, one in dull crimson, the other in pale
brownish red. Further towards the sides and the background, more neutral tones
of gray and black prevail, together with a few pale bluish and greenish tints and
cold lights, glancing off the polished surfaces of gorgets and shields. Everything
is most carefully calculated to give effect to the light, and animation to the
composition .

The study of archives that has been in progress for the last twenty years,
throwing a new light on many aspects of Dutch art, has yielded much important
information hearing on the history of this picture, a work w hich marks as it were
the central point ol Dutch painting. We learn therefrom that Rembrandt delivered
the picture, for which he received the large price of 1600 gulden (each person
represented paid an average price of 100 gulden, more or less according to his place
in the composition), as early as June, 1642. From these sources also we learn
that the title of Night-JVatch bestowed on the work in the eighteenth century is a
totally mistaken one. In an album formerly belonging to Banning Cocq himself,
the picture is described thus : The young Lord of Purmerland gives his IJeutenant
the Lord of Vlaardingen orders to march out his troop. The discovery of two copies

— 19 —

was also of much Importance to the criticism of the work. One, the larger and
more careful of the two, is the picture by Gerrit Lundens in the London National
Gallery, long accepted as a sketch by Rembrandt himself; the other, a small washed
drawing in an album of Banning Cocq’s, the last page of which was filled in 1 655.
It is now in the possession of a descendant of one of his heirs. Both these copies
executed during Rembrandt’s life-time reproduce the picture very superficially. The
water-colour is clearly the work of an amateur, perhaps Banning Cocq himself, who
probably commissioned Lundens to paint his copy. Whereas various unimportant
variations in the portraits, in the bright, commonplace illumination, in the architec-
ture, etc., are evidently due to the mediocrity of the copyists, and their mistaken
conception of the work, especially of the darkest part in shadow, one divergence
is extremely remarkable : in both copies there is an extension of the picture on
the top, and on either side; on the left, indeed, there are even three additional figures.
Near the spearman of the balustrade, who now brings the composition to an end
on this side, there are, further back on the balustrade, two young men, and in front
of them apparently, leaning over the coping-stone, a hoy. A good many years ago,
indeed, attention was drawn — by Rolloff first, as far as I know, in Raumer’s
“ Taschenbuch ”, 1 854 — to a statement made by the painter Jan van Dijk, who
drew up an inventory of the pictures in the Rathhaus at Amsterdam in 1758. Accord-
ing to this authority, when Rembrandt’s March out of the Shooting Company was
brought to the Rathhaus from the Doelen in 1715, a strip was cut off it on either
side, as it was found to be two large for the space in the guard-room for which it was
destined. Thus a part of the drummer on the right, and two figures on the left (of
the spectator) disappeared. 1 hose who wished to know how the work appeared in
its complete state were referred by Van Dijk to the “ model ”, then in the possession
of Mynheer Boendermaker of Amsterdam.

It seems therefore incontestable, as indeed had been generally believed in recent
times, that the March out suffered a notable mutilation, and that it has come down
to 11s disfigured to some extent in composition and effect. It was not until the
occasion of the Rembrandt Lxhibition in Amsterdam, that a question was raised among
certain artists as to whether the mutilation of the picture had ever taken place. The
doubts thus cast on the fact have been very skilfully urged by Jan Veth. Taking
as his starting-point the contention that the JMarch out in its present form is a
complete composition, which, as the copies shew, would be injured rather than
improved by additions, he tests the credibility of the evidence which asserts the
mutilation of the picture, and comes to the conclusion that Jan van Dijk, who tells
the story, wrote forty-three years after the removal of the picture to the Rathhaus,
and that Ins assertion was based on the supposed sketch for the picture (“model”),
which was in reality Lundens’ copy. This copy he declares suspect by reason of
certain arbitrary modifications, shewing a total want of comprehension, its obvious

20

desire to improve upon (!) the portraits, to introduce more light, and to give cleanness
and precision to the details, even where the shadow is deepest. The same, he argues,
may be said of the water-colour sketch in Banning Cocq’s album ; and further, when
the picture was restored some fifty years ago, the old edges of the canvas were still
intact, and the red ground of the picture was still visible upon them.

If this be indeed the case, or if the old canvas has been cut, could be easily deter-
mined by an examination of the picture without its frame, after removing the paper
pasted on the edges of the canvas. Pending this, 1 think we can only accept
Veth’s hypothesis as such, without shutting our eyes to the weighty considerations
that tell against it. The testimony of Jan van Dijk is not, after all, so very remote,
for though he first wrote down his statement as to the mutilation of the picture
forty-three years after its removal to the Rathhaus, he was then an old man, and had
been for decades past the curator of the pictures in the Rathhaus. Then again, the
assumption that Lundens consciously deviated in any important particulars from the
original is quite unsupported by evidence, and is most improbable in the case of a
second-rate painter like the copyist. His alterations and “ improvements ” are akin
to those made by many copyists of the present day, because the original is incom-
prehensible to them ; they reproduce it as they understand it, and by the means at
their disposal. This applies perfectly to Luiulens’ treatment of the architecture, which
he has lighted up brilliantly, without in the least grasping the sense of the forms; but
it does not hold good of the group on the left of the picture, which also appears in
the water-colour sketch in Banning Cocq’s album. This sketch has no connection
whatever with Lundens’ copy, and was probably earlier, for it contains neither the
erection over the doorway, nor the details of the wall to the left of the gate, which
Lundens evolved from his own fancy. This latter is, indeed, darker and more uniform
than in the original, though in the foreground and on the right side the sketch
shews rather more of the picture than Lundens’ copy. The idea that the person who
ordered the two copies designed these additions to the original, in order to correct
what he considered to be the weak points of the picture, seems to me one which
involves an exaggerated conception of a layman’s boldness, even in those art-loving
days ; and indeed, the hasty sketching of the work, obviously with the intention of
laying stress on Banning Cocq’s military functions (as Jan Veth himself allows), tells
against the theory of variations so difficult and so deliberate. The fact that the two
little figures are not included in the list of personages inscribed on the shield in the
background on the left cannot be accepted as evidence that Rembrandt did not
introduce them in his picture; for they are certainly not portraits, but, like some
ten other figures, notably the children in the foreground, accessories introduced to
give greater animation to the scene. The two young men and the child, chance
spectators who have paused a moment on tlieir way to look at the sight, were added
by the master just as he added the simulated frames and curtains in certain other

— 21

pictures painted at the same time : to make the illusion stronger, the impression
more vivid. They further fulfil the purpose of giving depth to the composition,
and of enabling it to die away in a passage of subdued light — instead of in strong
shadow, as it does in its present state, — an artistic subtlety we may generally note in
Rembrandt’s pictures. The addition in the copies of one or two figures of small size
in the corners of the composition is quite in accordance with the master’s artistic
procedure, whereas the two tall straight figures, standing up like pillars in the corners
of the original, are both inartistic and un-Rembrandtesque.

A little more foreground too, and a little more space and light above the figures
we now see in the picture, would in no wise detract from the effect. Nearly all
his richer compositions abundantly prove that Rembrandt was never a niggard
in the matter of space. I may instance two of his largest works, the Sacrifice of
Manoah , of the same period as the March out , and a picture closely akin to
the latter in dimensions and composition, the Conspiracy of Claudius Civilis,
ill the National Museum at Stockholm. According to the pen-drawing in the Munich
Print Room, this much mutilated picture had originally a lofty vault with a flight
of steps in the foreground, which gave an element of extraordinary solemnity and
grandeur to the composition. On the whole, I think the evidences of the mutilation
of the March out are too numerous and varied to allow of their rejection on artistic
considerations of a purely conjectural kind.

XII

PORTRAITS OF THE MASTER HIMSELF
AND OF HIS RELATIONS AND FRIENDS FROM 1658 TO 1645

he majority of khe pictures painted at this period are portraits, using
the term in rather a wide sense. Side hy side with those painted to
order, or as tokens of friendship, with portraits of the master himself
and of his near relations, we find a series no less rich and varied,
studies of heads and costume-studies which we should now describe as
character-pictures .

The portraits of himself, in which we can follow the master’s
image almost year by year, were executed with peculiar care at this period. In
conception they are even occasionally somewhat studied and ornate; the handling is
conscientious and thorough; the illumination is powerful, though without strong
contrasts, and in most cases, the local colours are very slightly indicated.

I give the first place among these works to a full-length life-size figure in the
Cassel Gallery, The Artist (?) preparing to go out (Plate 254)* The picture was for-
merly called a portrait of the Burgomaster Six, to whom it bears not the faintest
resemblance. The classification of the work among Rembrandt’s portraits of himself,
which I sought to justify in my “ Studien zur Geschichte der hollandischen Malerei ”,
was not accepted by the director of the Gallery, nor by various competent critics. As
a hypothesis, however, I am still inclined to support it. The person represented is
apparently just of the age the artist was at this period ; he bears a striking resem-
blance to various other portraits of Rembrandt both in feature and in such details
as his long light-brown hair, and the shape of his beard. The likeness is especially
strong, for instance, to the large etching of i63g, the same year in which this portrait
was painted. The simple civilian costume, guiltless of any fanciful or artistic acces-
sory, is certainly unusual in Rembrandt’s own portraits ; but this is not enough to
convince us that the master may not for once have represented himself thus. The
fashionable dress, the sedate attitude and the surroundings are, however, the factors
that prevent us from at once recognising Rembrandt in this man of two or three and
thirty, dressed to go out into the town.

Rembrandt at this period shews a manifest anxiety to give a pleasing turn to his
presentments of himself. The fashion of his beard, his costume, his attitude, the
amiable expression he gives his features, the care he bestows on the execution, all

— 23 —

betray a certain regard for his appearance and his person. This is evident both in the
Duke of Bedford’s attractive half-length at Woburn Abbey, Rembrandt in a furred
Cloak with a double Gold Chain (Plate 255), unfortunately a much damaged picture,
and in the famous portrait in the National Gallery, London, Rembrandt leaning on a
stone Sill (Plate 256). The London picture, which reproduces the master’s features at
this period with especial care and apparently with especial accuracy, is nevertheless
slightly monotonous in its light-brown general tone; the attitude is somewhat studied;
besides which the delicacy of the drawing and the colour has been to some extent
damaged by restoration. It is dated 1640. In the undated picture at Woburn Abbey,
the artist looks younger; it was therefore very probably painted in i638.

A portrait of the year 1 643, in the possession of the Grand Duke of Saxony at the
Castle of Weimar, Rembrandt in a red Cap (Plate 257), is richer in colour. It is in
excellent condition, powerful in colour, and very effective in its harmony. How
freely the master was in the habit of treating his own features may be specially noted
here in the large, expressive, and well-opened eyes, for in most of his portraits, those just
mentioned, for instance, and the etching of i63q, his eyes are small and half closed.
A picture closely akin to this, and probably contemporary, though it is more monoton-
ous in colour and bears no date, is the Rembrandt in an Oval (Plate 258), in the Grand-
Ducal Gallery at Carlsruhe. Originally oval, it has been made square by subsequent
enlargement. It is hasty in treatment, and somewhat common-place in conception.

The master represents himself in unwonted splendour in Captain Holford’s larger
picture of the following year, Rembrandt seated , holding a short Sword in a red Sheath
(Plate 259). The head here is somewhat unmeaning, and in contrast to all the
portraits described above, almost vulgar. The manner in which the artist, resting
comfortably in the chair, grasps with both hands the oriental sword in its rich sheath
of velvet and silver, fully revealed by the light that strikes upon it, throws the per-
sonality of the sitter altogether into the background; he appears as the guardian of a
costly treasure. In colour and illumination, however, as in its elaborate execution,
the picture has great beauty, which unfortunately cannot be fully appreciated owing
to its faulty condition.

Another portrait of about the same period is exhibited with the Leuchtenberg
Collection in the Imperial Academy at St. Petersburg, Rembrandt with short Hair in a
broad flat Cap (Plate 260). This too, unfortunately, is in poor condition. The picture
is simple, indeed almost commonplace in arrangement and conception, but on the
other hand, it is evidently an unusually faithful rendering of the master’s personality.
Here for the first time we note the fuller and firmer features characteristic of Rem-
brandt s portraits in middle age; but as yet there are no wrinkles, and the complexion
is fresh; the date of the picture, therefore, is probably not later than 1645. Very
similar to this, though obviously the work of a disciple, is a portrait of Rembrandt
in the Liechtenstein Gallery at Vienna, perhaps a pasticcio of the Leuchtenberg picture.

The most sympathetic and important among the portraits of the master himself
painted at this period, is a work probably of about i645, in the collection of the
Queen of England at Buckingham Palace, the Rembrandt in a wide Cap , his left Hand
on his Cloak (Plate 261). A. strong light touches the earnest, powerful features, leaving
the rest of the picture in shadow.

W05

The years between 1640 and if>45 were full of sorrows lor Rembrandt; death
separated him for ever from those most dear to him; his mother died in 1640, and two
years later his wife Saskia was taken from him. The images of both, with which the
master has familiarised us in so many portraits and studies, reappear in his work
shortly before their deaths, after an interval in which we lose sight of them, and
reappear in pictures of touching beauty and tenderness.

A year before her death, in 1639, the old mother from Leyden seems to have
paid a final visit to her famous son at Amsterdam, unless, indeed, Rembrandt made a
pilgrimage to Leyden, during which he painted the Portrait of Rembrandt! s 'Mother
with her Hands on the Crook of a Stick (Plate 262), now one of the ornaments of the
Imperial Museum at Vienna. Seldom indeed has age been so truthfully, so impres-
sively treated as here; and seldom did even Rembrandt himself, the master who has
had no equal as a diviner of thought and feeling, so spiritualise bodily infirmity in the
forlorn features of an old age bearing the impress of widowhood, of bygone times, of
past joys and sorrows in every line, or express it with such loving sympathy. She stands
before 11s in her picturesque winter costume, returning perhaps from some brief
errand out of doors, supporting her weary body with both hands on her high crooked
stick, her mouth slightly open, as if taking breath. A strong light falls on the
delicate, carefully painted head; the thin transparent brown shadows give the picture
a warm brownish general tone, but the local colours, notably a rich, deep red, make
their full effect in the refined harmony.

A picture in the- Hermitage catalogued as a portrait of Rembrandt's mother
represents Hn old JHoman , her Hands clasped over a pair of Spectacles on a Rook in her
Lap (Plate 263). The picture is dated 1 643 , so was painted three years after the
death of Rembrandt’s mother. But this would not be a sufficient reason for dis-
carding the ancient title, for the artist might have tried to bring the beloved image of
his mother vividly before him once again, even at this lapse of time. A further fact in
its favour is that the attitude and the whole arrangement are strikingly akin to those
of one of the early etchings, Rembrandt' s Mother in a black Veil (Bartsch 343). But the
original of the picture was obviously younger than Rembrandt’s mother, even in the
earliest pictures and etchings. She has fuller, handsomer and more regular features,
but less expression in her eyes. That the work is a portrait of some old lady closely

related to Rembrandt seems very probable from her costume, one of tbe master’s own
invention, in which he habitually represented his mother. The picture has very little
local colour, but glows with deep golden tones and brilliant carnations; the execution
is particularly careful. The master made many alterations, before he completed it to
his satisfaction.

The last picture Rembrandt painted of his wife before her death, the three-
quarters length of Saskia holding a Pink in her Hand (Plate 264) in the Dresden
Gallery, executed in 1641, is by no means inferior to the last portrait of his mother.
In one we have an image of ripe old age, in the other a vision of blooming youth, each
fixing its happy gaze in its own fashion endearingly on the beloved artist. Nothing in
Saskia’ s rounded contours and fresh tints, enhanced by the fine deep crimson of
the gown and tbe sparkling ornaments, foreshadows that imminent death, which was
to bring on the artist in its wake not only tbe bitterest sorrow, but trials increasing
year by year, cares ever heavier, and distress ever more cruel till the close of his life.

A second portrait of this period, a bust of a young woman in a high head-dress
and rich costume, has been, like the Dresden picture, accepted as a portrait of Rem-
brandt’s wife ever since we have known of Saskia van Uylenborch’s existence. This
Saskia in a high Head-dress , her left Hand on her Breast (Plate 265), is in the Berlin
Gallery. The curious indecision of the drawing, enhanced by the various pentimenti
now revealed by the thin impasto, the contrast between the extraordinary breadth of
certain passages, and the almost over-elaborate fusion of the flesh-tints, are explained
by tbe date on tbe picture. Saskia’s last illness no doubt prevented its completion,
and it was not until 1643, the year after his wife’s death, that Rembrandt finished it
from memory, giving an almost phantom effect to the melancholy smile, the loyal
expression, and tbe vague contours.

It lias been of late contested that these two pictures are portraits of Saskia, or at
least it has been urged that their identity is open to question. I can see no grounds
for this opinion. Between these and the group of early portraits painted for tbe most
part during tbe first two years after tbe betrothal, there is an interval of from six to
seven years. It is no wonder, therefore, that Saskia, who had meantime borne her
husband four or five children, should have become broader and fuller, and that she
should no longer have the slender figure she boasted as a bride and a young wife,
setting aside tbe fact that the sacque-like, waistless dress of the Dresden portrait with a
pink, was probably designed by the master himself with a view to the condition of his
wife, who gave birth to tbe boy Titus in the summer of 1641. Besides, this picture
shews the strongest possible affinity with the portrait of Saskia in the group of herself
and her husband which hangs opposite. Originally too, the master gave her here, as in
the two girlish portraits at Cassel and Dresden, the large plumed hat, now distinctly
visible through the over-paint. This u Rembrandt-hat ” he reserved exclusively for
Saskia; no other of his numerous female sitters wears this picturesque head-gear.

As far as the artistic value of the pictures is concerned, it is, of course, of no
importance whether they represent Saskia or not, and whether a series of portraits
shew us Rembrandt’s father, his sister, his son, or any other models. But these
questions have a distinct hearing on our judgment of Rembrandt as a man, and our
comprehension of the character of his art, to say nothing of the fact that the relation
of the sitters to the artist certainly gives additional interest to the pictures. It is, no
doubt, ridiculous to build up baseless hypotheses, and to seek to identify some relative
or acquaintance of the master in every portrait, the costume or treatment of which
suo-o-ests a certain intimacy between the painter and the sitter. But when a series of
portraits of the same person exists, when evidences ot the most diverse kinds combine
to indicate an individual closely related to the artist, when we know from con-
temporary documents that this or that person was painted by him, it is plainly our
duty to point out such personalities among his portraits, and to support our hypothesis
in every legitimate fashion. He who has gradually familiarised himself with the
extraordinarily prolific genius ot Rembrandt, who has seen his pictures, his drawings
and bis etchings over and over again, and who, out ol the fullness ot his knowledge,
seeks their origin in the most varied directions, in order to increase his own enjoyment
of them and, it it be given him to do so, to enlighten and stimulate that of others, such
a student knows that photographic exactness is not the aim of the master in certain
portraits. Likeness, indeed, as we cannot too strongly insist, was otten modified by
the mood of the artist and frankly subordinated to some special essay in illumination,
chiaroscuro, or arrangement, so that many of these pictures are, as a fact, adaptations
or arrangements half genre- like in character. It needs no specialist to recognise this
in the extant portraits of the master by himself, amounting, with pictures, etchings,
and drawings, to nearly a hundred. He who approaches Rembrandt with the eye of a
photographer, the pedantry of a schoolmaster, and the morality of a father confessor,
will never attain to real enjoyment of his art, to say nothing of real comprehension.

Two important pictures have passed from the Princesse de Sagan’s collection to
that of Mr. H. O. Havemeyer of New York, three-quarters length portraits of A Young
Man by a Pillar, holding a plumed Hat in his Hand (Plate 266), and of his wife,
A Young JHoman resting her right Hand with a Fan oil the Back of a Chair (Plate 267).
Both are dressed in rich fanciful costumes quite in Rembrandt’s taste. The man wears
the steel gorget, a cap, a doublet with very full sleeves and a sleeveless tunic over it;
the woman, the rich pleated chemisette, and the short corslet-bodice with the rich
ornament over it worn by Saskia and by other ot the master s womankind in earlier
pictures. Both portraits shew already increasing richness in the colour, which is,
moreover, very deep and lull; the flesh-tones are brilliant, and conception and
personalities are alike attractive. The artist evidently painted this young acquaintance
and his charming wife with genuine pleasure.

To this same year, 1643, belong the famous and stately portraits ol another young

married couple, The Falconer (Plate 268) and The Falconers Wife (Plate 269), in the
Duke of Westminster’s collection at Grosvenor House, London. They are dressed in
the same fashion as the other couple. The woman also wears over her costume a la
Saskia a fur-lined mantle, and holds a fan in her left hand, an accessory the master was
fond of introducing at this period. The handsome, fair-haired husband, in a wide cap,
and a coat with full slashed sleeves, holds a falcon on his left wrist, and carries the
falcon’s box at his side, to denote his passion for the sport. Compared with Mr. Have-
ineyer’s pictures, these are lighter in tone, and more uniform in colour; in action and
expression they are more restrained and more aristocratic.

Another of these portraits in fancy costume, painted in 1643, A Young Man in a
steel Gorget and a Cap with a blue Feather , in the Dresden Gallery (Plate 270), gives an
unpleasant impression of indifference, which is enhanced by the heavy, monotonous
brown tone, partly due, no doubt, to the dull, dark varnish. The obvious weaknesses
of this picture cause us to doubt its genuineness at a .first glance; hut the whole
conception, the attitude, the costume, and the uniform brown tone agree with other
pictures painted by the master at this time. A careful cleaning of this picture, which
hut for the varnish is in good condition, woidd no doubt improve it greatly, and restore
its Rembrandtesque character. We may form a very good idea of the original
effect of this work from a similar picture in M. Adolphe Thiem’s collection at San
Remo, Half-length of a Man in a Gorget and a wide Cap , with outstretched Hand
Plate 171). This portrait, which is dated 1644, has long borne the strange title of the
Connetable de Bourbon ! The fanciful costume, the same in which Rembrandt decked
himself and his intimates, is enough to put this tradition out of court. The sitter
wears the slashed velvet coat with full sleeves, the broad flat cap, the gold chain and
the steel gorget, which Rembrandt, fired perhaps by the military group painted in 1642,
began to introduce in his portraits again; this, as far as I know, is the last, however,
in which it appears. The picture is particularly rich and deep in the dark colours,
though the transparency of the brownish shadows is perfectly preserved.

Another of these portraits of one of Rembrandt’s familiars, the Young Man rising
from a // riting-table (Plate 2.72) in EaiTCowper’s collection at Panshanger, bears the
date ifi44- Here, in contrast to all the portraits enumerated above, the local colours,
consisting in the main of a variety of reds, are vigorously emphasised ; the handling is
richer and broader, while the illumination, on the other hand, is less fused, and has even
a spotty effect. I liese various indications might lead one to assign the picture to 1 65 1
or i652, but for the unquestionable authenticity of the date it bears. It is too original
and important to be the work of a pupil, as was recently suggested, besides which, the
signature is undoubtedly by Rembrandt s own hand. Among the scriptural subjects of
this period, we find other such instances of vivid colouring, where red, Generally a ma-
gnificent cherry-colour in the light, is the dominant tint. The genre- like treatment
of the portrait is another characteristic feature of Rembrandt’s manner at this period.

— a 8 —

XIII

PORTRAITS PAINTED TO ORDER
FROM 1657 TO 1645

he portraits Rembrandt painted to order at this period differ far less
from the more intimate renderings of himself, his friends and his
relations than was the case during the first years of his establishment
ifiJjpIv at Amsterdam. They are, it is true, easily to be distinguished from
fclilM the latter by the fashionable costumes of the sitters; but the powerful
chiaroscuro the master now extended to all his portraits alike, and the
-Xl 4 ' free and picturesque handling he had definitely adopted make these por-

traits of aristocratic or wealthy Dutchmen differ very slightly in essentials from
those of persons closely connected with him. The even and careful execution which
especially distinguishes his work at this time is very marked here. In the female
portraits it tells advantageously; but in the male portraits, combined with the
sobriety of the costumes, and the strong chiaroscuro, it often produces a somewhat
prosaic effect. Hence some of the female portraits painted soon after 1640 are among
the most beautiful the master produced, whereas the male portraits, often pendants to
the above, are less satisfactory, and in some cases, in spite of their genuine signatures,
their authenticity has even been called in question. For the same reason, it has been
possible till quite lately to pass off a whole series of pictures of this period painted
by Ferdinand Bol as the works of Rembrandt, by the simple device of painting over
the real signature, and forging that of Rembrandt. Thus prepared for the market,
they have commanded the admiration and the prices due to genuine works by the
master. Among the series, 1 may mention the portraits of a young married couple in
Lord Ashburton’s collection, a female portrait of Captain Holford’s at Tetburv, and
the portraits of Bol himself and of his wife in the Munich Pinacothek, on which Bol’s
signature has been brought to light again. Just as Jacob Backer successfully imitated
Rembrandt’s female portraits painted from i63o to 1 635, Bol for some considerable
time made the portraits of this later period his models, reproducing their careful fused
handling with considerable success, and even approaching the simple, and in some
cases rather commonplace conception, very closely. Of course, it is only necessan
to hang the most insignificant of his master’s portraits of this period beside the best
of his to recognise the gulf between teacher and pupil, between native genius and
a talent developed by contact therewith.

— 29

Two male portraits seem to stand as it were on the boundary-line between this
and i lie foregoing period. Strictly speaking, they ought perhaps rather to have been
discussed among the works of the latter. Unfortunately, it has only been possible
as vet to get a photograph of one of these pictures, which have but lately come to
light, and I regret to say that I have seen neither. The one we reproduce is the Por-
trait of an elderly Man in an Arm-chair, his left Hand on the Tassel of his Collar
(Plate 273 ), in the Earl of Mansfield’s collection at Scone Palace. As far as it is pos-
sible to judge from the photograph, the master seems to have taken little pleasure in the
painting of the picture, which is dated i638; both in conception and in treatment, it
is somewhat lacking in vivacity and expression. The same remarks apply, I believe,
to the Moscow portrait, a reproduction of which we hope to include in the Supple-
ment. It is true that the Mansfield portrait is very much injured by a recent addition
to the lower part of the canvas. A female portrait of the following year, i63p : A
young Lady standing against a Balustrade , holding a Tan in her left Hand (Plate 274),
belongs to the family of van Weede van Dijkveld at Utrecht, and is now exhibited
at the Rijksmuseum at Amsterdam. The features of the sitter are far from beautiful,
and the fashion of her hair, which hangs over her face, and falls away from it in smooth
straight bands on either side, is peculiarly unbecoming to her. But the delicate elab-
oration of the rich costume, the refinement of the drawing, the enamel-like modelling
of the flesh, and the luminous chiaroscuro make this well-preserved picture one of
the most conspicuous works ol the period.

The Bust Portrait of the Gilder Paulas Doomer Plate 275), in Mr. Henry
0. llavemeyer’s collection at New York, is, according to the inscription it bears,
a work of the year i(>4o. The animated expression, the unusual elaboration of the
technique, the high price commanded by the picture, and its traditional title, I.e
Doreur , have combined to make it one of the most interesting of Rembrandt’s rvorks
to the general public for many years past. Recent researches in the archives have
shewn the ancient title, llembrandt’s Gilder , to be most probably the correct one.
The hypothesis that the designation Doreur was perhaps a corruption of the proper
name Doomer, and that the picture rvas a portrait of Rembrandt’s pupil, Lambert
Doomer, is shewn to be a fallacy by the mere age of the sitter, a man yvell on in the
forties, xvliereas Rembrandt s pupil yvas not yet tyventy in the year 1640. It has,
however, been established that the father of this painter, Pauhis Doomer, yvas a frame-
maker and gilder in Amsterdam, and it is very probable that lie, in accordance with
the old tradition, yvas the person represented. The simple dress, the attitude and
the type seem also to suggest an artisan. V document in the archives further tells
us of the existence of a portrait of Paulus Doomer by Rembrandt; the gilder’s widow
bequeathed it to her son, the painter Lambert, on condition that he should have copies
of it made for his brothers and sisters. Three old copies of the picture are, in fact,
extant : one is in the Brunswick Gallery, another in the Duke of Devonshire’s collec-

tion in London, while a third was in the hands of a dealer a few years ago. The
original, which was sold in 1 865 for i55,ooo fr. (£6,aooJ at the Due de Morny’s sale
(the highest price ever attained by a Rembrandt up to that time), owes its fame to its
warm light and elaborate chiaroscuro, hut above all to the extraordinary fusion of
the painting. Now, after several decades during which there has been a complete
reaction in the standards by which works of art are judged, the Gilder no longer satisfies
(hose lofty demands we have learnt to make on the powers of Rembrandt.

The same careful technique, combined with soft, (used handling, distinguishes two
portraits of elderly men, both in broad-brimmed hats. One, probably a little earlier
than the Doreur , is the Portrait of ail old Man with a scanty • white Beard , his Gloves in
his left Hand , seated in a. red Chair (Plate 276) in Lord Scarsdale’s collection at
Kedleston Hall. The sitter, perhaps a Protestant divine, has worn features with
a gentle expression. The second, an Elderly' Man with a pointed while Beard , his
Gloves in his left Hand (Plate 277), in Lord Ashburton’s collection at the Grange,
Hants, is, according to the inscription it bears, a supposed portrait of Jansenius. But
l he clumsy French inscription : Portrait de Jansenius pere dunne nomb reuse Jamil le inort
en 1638 age de 53 ans , though its dates are correct, is manifestly an eighteenth century
addition. It is possible that the sitter s name was actually Janssens, and that this was
transformed into the more famous synonym at a later date. The picture, executed
in 164* or 1642, and therefore after the death of Jansenius, has the animated expres-
sion, the energetic features of a portrait obviously painted from life. In technique it is
broader and fatter than the two portraits mentioned above.

We have further a number of portraits of old women painted at this period,
all marked by the same careful and elaborate handling, luminous quality of the
carnations, and simple, but delicate and sympathetic conception. A well-known
example familiar to the public by the intermediary of an old copy belonging to Lord
Yarborough, which has been repeatedly exhibited as an original of late, is the por-
trait, painted in 1640, of An old Lady' looking to the left , her Hands folded (Plate 278),
in Mr. Henry 0. Havemeyer’s collection at New York. The wrinkled features arc
treated much in the same manner as in the Vienna portrait of Rembrandt’s mother,
painted a year earlier. The brown ground is left untouched more or less in the
shadows, and gives the flesh the peculiarly luminous tone which is further enhanced
bv the rich blacks and bluish whites of the gown and linen.

The Old Woman in the National Gallery, painted in 1 G3 4 , is treated much in the
same way 5 compared, however, with the careful drawing and modelling of the later
picture, its handling, though there is a certain coarseness in its breadth, has greater
freshness and vivacity. I should be inclined to class the dignified portrait of Elisa-
beth Bus , widow of Admiral Swartenhout (Plate 279), among the pictures of 164 1.
This fine work was bequeathed to the Rijksmuseum of Amsterdam some twenty years
ago b\ the van der Poll family. The large features, the vigorous intelligent expression.

— 3i —

the powerful figure, reveal an old woman of peculiar energy and freshness, the
worthy mate of the Dutch naval hero. In spite of its careful finish, the dimensions
of this picture, the rich arrangement, akin to that of the portraits of ecclesiastics
painted in i63 7, the depth and force of the dark costume, which enhances the
brilliance and significance of I he imposing head that rises above the large white
ruff, give it a marked superiority to all the contemporary portraits of old women
to which it is allied, even to the three-quarters length of Anna JVijmer , Mother of
Jan Six (Plate 1280), still in the possession of the Six family, at Amsterdam. Here the
master evidently sought to give the best of which he was capable, as we sec by the
careful drawing and modelling, the delicate illumination and chiaroscuro, and the
extreme refinement of the handling, especially that of the very individual head. But
he has gone almost too far in his endeavour, and even the great diviner of souls has
been unable to make these indifferent, reticent features, and weary, unfathomable
eyes very eloquent, faithfully as he has reproduced them. This picture was probably
painted when Rembrandt first made the acquaintance of the burgomaster Six, with
whom he kept up his relations until his old age, more, as we know, to the advantage
of the lordly patrician than to that of the artist.

The portrait of An old Lad V, fall j ace , with her Hands folded (Plate 28 ij, in
the Hermitage, is more attractive, because of its frank and loyal expression, in spite
of the insignificant and ugly features. The pale face is carefully modelled in liquid
colour, whereas the dark, fur-lined costume, is broadly treated in a rich warm impasto.
To judge by its affinities with the pictures mentioned above, we cannot date this work
later than 1641 or 1642.

A large double portrait of the year 1641 combines the qualities of the portraits of
this period with broader handling and more animated action. This is the Mennonite
Preacher Cornelias Claesz Anslo and a 1C o man (Plate ■282), in the Berlin Gallery.
The artistic value of this picture, which, in size also, is 011c of Rembrandt’s most
important works, admits of no dispute. Unfortunately, the reproduction gives but a
poor idea of the original. The chiaroscuro is so delicate, the effect of light so spirited,
the tonality, animated by the red of the carpet and the dull green of the curtain
on the book-shelf, is so warm and luminous, and in addition to all this, the handling
is so piquant and so varied, harmonising so perfectly with the intention and illumina-
tion of each separate passage, that the picture takes high rank, not only among the
works of this period, but among Rembrandt’s pictures in general. The peculiar
charm of the composition lies, however, in the manner in which the two persons are
characterised and brought into relation one with another, and the skill with which the
master has made the setting and the illumination contribute to the lively effect of the
dramatic motive. 1 his motive he has made the basis of this portrait-group, as he had
done in the case of the contemporary March oat of the Shooting Company. What
then is the dramatic import of this picture, and who is the woman whom the preacher

— 32 —

addresses with such animation? A satisfactory answer to these questions is difficult,
a positive solution is not practicable at present. The picture was formerly known in
England as Anslo and his Mother or Anslo and his Wife. That the former title could
not have been the right one is shewn by the ages of the sitters : the Mennonitc,
who was in his fiftieth year in 1641, is manifestly ten, or at least five years older
than his supposed mother. To judge by the relative ages, therefore, the woman might
very well be Anslo’s wife. This hypothesis is further supported by the fact that in
the little Anslo-Ifofje ” at Amsterdam, founded by the preacher’s father, a tradition
still survived after the middle of last century, according to which the woman repre-
sented with Cornelius Claesz Anslo was his wife, Aaltje Gerritse Schouten. Against
this, however, we must set the relation of the two persons to one another, as I endea-
voured to shew in my “ Studien zur Geschichte der hollandischen Malerei ”, and at
greater length in an appreciation of the picture at the time of its purchase for the
Berlin Gallery in 1894. The preacher is evidently speaking words of consolation to
the woman, who sits beside him humble and downcast. Would it not have been in
itself a strange idea to liave painted the portraits of a married couple in a situation
perfectly incomprehensible to the spectator? Would the artist have placed the hus-
band in this hieratic pose beside his wife, and have represented him as admonishing
her thus solemnly ex cathedral Would he have given her this timid and almost
subservient demeanour? When Rembrandt did paint the portrait of a minister’s wile
(I have in my mind M. Henri Schneider’s picture in Paris), we have a dignified persona-
lity, richly if not fashionably attired. But this is not the case here. It therefore seems
all the more probable to me that the person represented was not the preacher’s wife, but
a member of his community, a penitent, who had turned to him in her distress for
comfort and counsel. The artist wished to shew the revered Mennonite of Amsterdam
“ in the exercise of his profession, in his solicitude for the salvation of his flock, in
the power of his eloquence upon the mind; this he could not have done more effectively
than by the introduction of a woman seeking consolation; it is by this that the picture
is raised above the domain of simple portraiture to that of the grand historic style. ”
That the owners ol the picture in the second half of last century, perhaps descendants
of Anslo or his heirs, should have identified the woman of the picture with the wife
whose name they still retained, was very natural; but it is by no means a proof of this
identity.

A comparison ol this with the allied double portraits of the earlier period, the
Shipbuilder and his Wife , with the two pictures representing the artist and his wife,
and, on the other hand, with another famous picture of a later time, the so-called
Jewish Bride in the Van der Hoop Collection of the Rijksmuseum, offers interesting
points d’appui lor a closer study of the master, and suggests a variety of problems, the
solution ol which, as in the present case, is not always possible. The Anslo and a
If oman is further of great interest to 11s, in that we are able to follow the master step

— 33 —

by step in his industrious preparation lor t lie work, as we can do with very lew other
pictures by Rembrandt. The preliminary essays that have come down to us are the
etching of 1641 and the studies made for it the year before : the large full-length
drawing of Anslo in Baron Edmond de Rothschild’s collection in Paris, and a study
for the whole composition in Mr. Heseltine’s collection in London, where, however, the
figure of Anslo is replaced by that of a Rabbi.

This year 1641, to single out one among many, offers a brilliant example of
Rembrandt’s faculty for and delight in creation. In this one year, setting aside his
production as etcher and draughtsman, the master was at work on the colossal picture
of the “ Shooting Company ”, containing over twenty full-length figures; at the same
time he painted the large portrait of Anslo, and the still more important Sacrifice of
iManoah; the Mother of Jan Six , the Saskia at Dresden and several Rabbis also belong
to this year, to which a good many undated pictures should further in all probability
he assigned. But even this does not exhaust the tale o( this year s works; according to
the dates on the pictures themselves, the master also painted a large and magnificent
female portrait with its pendant, and a second and hardly less finished portrait of a
young woman, the pendant of which is no longer extant, or at least has not yet been
recognised as such. The Portrait of a Gentleman with curly Hair leaning against
the Embrasure of a Window (Plate 9.83) is in the Brussels Museum; the famous
companion-picture, the Portrait of a young Lady with a Fan (Plate 984) in the
collection of Her Majesty the Queen of England at Buckingham Palace. The portrait
of the man is marked by the peculiar elaboration and the strong chiaroscuro of this
period; it is a very thorough, but still a somewhat ordinary work, judged by the high
standard we apply to Rembrandt’s productions. The portrait of the woman, on the
other hand, is one of the most attractive of the master’s creations, delightful by reason
of the searching and highly individual expression of the sitter, and the piquant line
of her mouth, the full light that falls warmly over her figure, her beautiful costume,
enlivened bv a few light touches of local colour, and by rich jewels, the fat impasto,
the lightl \ touched shadows, and the careful, enamel-like treatment of the details in the
light, which gives extraordinary brilliance to the picture. The plastic effect is
enhanced by the setting of the figure in the embrasure of a window, a device to
which Rembrandt often resorted during this year, in order to justify his method of
introducing light, and to increase its effect. A second female portrait closely akin to
this is the Young Lady leaning against a Table and pointing with her right Hand to one
Side (Plate 985), now in Lord Iveagh’s collection in London. The pale thin features
of this sitter arc certainly less attractive, but the attitude and action are no less lively
and individual; the illumination is more subdued, but the chiaroscuro is very delicately
worked out, the rich colour very luminous, and the drawing extremely refined.

V pair of dignified male portraits, both three-quarters lengths of persons in rich
costumes, date from the year ifi>43. One, in Mr. Henry O. Havemeyer’s collection in

New York, die Portrait of a young Man in a high broad-brimmed Hat , his left Hand on
his Breast (Plate 286), is of special interest from the brilliant light on the background
against which the figure is relieved. In conception and colour, as in its careful
elaboration, this picture recalls contemporary portraits by F. Bol painted under the
influence of such works as this by Ills master. The second is a strikingly uninteresting
portrait of a Young Man with a small pointed Beard , his right Hand on las Breast , standing
at a Door (Plate 287), in Mrs. Alfred Morrison’s collection, London; the unintelligent
expression of the light watery eyes adds to the unpleasant impression made by this
portrait. The care with which the costume, notably the striped silk doublet, is treated,
the simple illumination, and even the attitude, recall the earliest portraits painted by
Rembrandt in Amsterdam, such as that of the poet Jan Hermans/. Krul of if>33 in the
Cassel Gallery, etc.

What a contrast to this is the contemporary portrait, hardly less carefully and
elaborately treated, of an aristocratic old lady in M. Louis Lebeuf de Montgermont’s
collection in Paris : the Portrait of an old Lady , an Eyeglass m her right Hand which
rests on a Book in her Lap (Plate 288). The lady, a widow between sixty and seventy
years old, dressed in black with a fur-trimmed jacket, the same costume that appears
in tie portraits of Anna Six and other old women painted at this period, has a high,
narrow head, and frank expressive features, which she controls with patrician calm.
A strong light falls on the broad gauffered ruff, and is reflected on the more softly
illuminated face; another ray of light touches the hands with their small white
cuffs. The dull red of the chair-back, the subdued glint of the gold edges and
silver clasp of the book, relieve the deep blackish tones of the picture almost
imperceptibly. It takes a special place among Rembrandt’s portraits by reason of
its peculiarly distinguished harmony. In arrangement and illumination it stands
mid-way between the St. Petersburg portrait of the old woman (cf. p. 25) and the
numerous studies of old women painted between i65o and 1660.

A female portrait which also belongs to this period fit is dated 1644) was pro-
nounced so long ago as the beginning of the present century the pendant to a por-
trait of a fair-haired young man, with which it has remained ever since. The supposed
couple arc said to be the Burgomaster Jan Six and his wife. But setting aside the
fact that the portraits of this well-known personage shew no sort of likeness to
the fair-haired youth, the picture of the latter belongs to a much later date than
its reputed pendant. It is contemporary with, or perhaps even later than Rembrandt’s
famous portrait of the Burgomaster, and was therefore painted at least ten years
after the portrait of the supposed wife. This again is on panel, while that ot the
young man is on canvas, and the identity of size and shape (a rounded oval) was
obviously bestowed upon the male portrait when some dealer or collector made it into
a companion picture for that of the young woman. This Young Lady with loose Hair
standing near a Balustrade (Plate 289), now in the possession of Mr. Alexander

Henderson of London, wears almost the same costume as the young women of the
Buckingham Palace and Van Weede van Dijkveld portraits. Her coiffure , her
ornaments and the rich lace on her gown are nearly identical with theirs. The
delicately fused impasto has an effect as of translucent enamel : the hand that rests on
the balustrade is exquisitely drawn; the face with its dainty aquiline nose and firm
chin is instinct with health and vigour. But in arrangement and in delicacy of
chiaroscuro the picture hardly equals the female portraits at Buckingham Palace and
in Lord Iveagli s collection, painted a year or two earlier.

The portraits of an old couple which were together in Cardinal Fesch’s collec-
tion, were separated at the sale of his pictures. The names given them, ,/. C. Sylvius
and the Wife of J. C. Sylvius are certainly erroneous. The Portrait of an aged Minister
in a furred Cloak seated at a Writing-table (Plate 290), dated 1645, is now in the
collection of Herr A. von Carstanjen at Berlin. The noble and serious, almost gloomy
features, relieved only by a slight ray of light that glances off them on to the open
hook before him, have little in common with the plain, in fact, ugly face of Sylvius,
who died in i638, and whose appearance is familiar to us from the etchings. Such
likeness as there is lies in such superficial traits as the scanty beard. The picture,
unfortunately much darkened by an old varnish, shews both in the broad, soft treat-
ment, and in the illumination, much of the freedom that marks Rembrandt’s portraits
of old men painted ten years later. The pendant, hardly of equal merit, Jn elderly
Cady m a Chair , a Handkerchief in her Hand (Plate 291), in Captain Holford’s col-
lection at Dorchester House, London, is illuminated by a bright diffused light that
harmonises well with the jovial expression of the fresh, energetic features.

XIV

CHARACTER STUDIES AND STUDIES OF HEADS
PAINTED FROM ABOUT 1658 TO 1647

he character studies Rembrandt had been in the habit of painting from
his earliest period are also to be found among the works of 1640 to 1645.
At first he continued so to arrange and adorn his studies of heads
of aged men that the designations of Rabbi , Philosopher or Savant
afterwards given them still appear justifiable in most cases. In the
inventories and sale-catalogues of the master’s own time, and of that
V' 34’ immediately following it, they figure as “ een priester ”, “ een rabijn ”,

“ een oud mans tronie ”, or under some kindred title. But he now began to
make such studies larger and more imposing, often painting them at half- or three-
quarters length, and, in accordance with his style of conception at this period, he
gives them less fantastic costumes, and heads and figures more attractive and often,
indeed, handsome. In addition to the Rabbis and Old Men , we note a series of genre-
likc studies of women, which now appear for the first time in the master’s work.
The earliest are of young girls. It was not till about i65o that Rembrandt began to
take peculiar pleasure in the study of old age, which he rendered with striking truth
and tenderness in a great variety of feminine figures. These genre- like studies of
young girls, too, arc less fantastic in their costumes at this period. The sitters are
represented either in their simple but picturesque everyday dress, or in the costume in
which the master usually painted the young women who were friends or relations of
his own.

The earliest of these Rabbis , after an interval of from four to five years during
which, as far as we know, Rembrandt painted no work of this kind, is a picture
which first came into notice at a sale in London a few years ago, the Bust Portrait
of a Rabbi in a broad- Cap (Plate 292), now in M. Jules Forges’ collection in Paris.
Ibis work, a broadly painted study from nature, dated 1640, is somewhat lifeless;
the pose is not very carefully chosen, and the almost monotonous grayish-brown tone
is unrelieved by any vigorous effect of light. A larger picture of the following year
(cl. p. 3g) belonging to Count Karl Lanckoronski, will he discussed presently in
connection with the female portrait to which it is the pendant.

The Rabbi at a Study-Table (Plate 2g3) in the Buda-Pesth Gallery belongs to the
following year, 1042. The master has made this study of a richly dressed old man

— 37 —

seated, into a genre- like picture by means of the room in which lie has placed
his sitter, the table with its accessories, and the general arrangement of the work, so
that we might almost class it with the scriptural compositions and oilier figure-subjects.
In arrangement, and notably in the accessories, the picture is closely akin to the
Anslo (cf. p. 32 el set 7.); the studies for the two indeed are almost identical. The
colouring is an almost uniform light brown with grays and blacks, the illumination
is drawn from the bright reflections of sunlight falling into the room. In conception,
this Rabbi is more commonplace than some of the early single figures, apostles, savants ,
and saints.

The Head of an Elderly Jew in a small Cap , his right Hand inside his Coat
(Plate 294), in the Hermitage at St. Petersburg, is several years later in date, and
proportionately richer in illumination, and more interesting in the handling and
the carnations of the admirably drawn head. The picture has been added to 011
every side, and coarsely retouched in the background, the cloak, and a part of
the cap, which gives it an unpleasant effect. One is therefore tempted, as 1 myself
was at a first glance, to give the preference to another example, painted on panel,
in Earl Brownlow’s collection at Ashridge. But this, a study of a head clumsily
enlarged to a bust, is, as is evident even under the dirt and yellow varnish that obscure
it, more monotonous in colour, and poorer in drawing and modelling. On a second
examination, l can only accept the St. Petersburg version as authentic.

The Hermitage owns a second and larger Rabbi of 1645, very closely related
to two similar pictures in the Berlin and Dresden Galleries. The first of these
also bears the date i6j5, and the undated example in the Dresden Gallery was,
to judge by its character, painted at about the same time. All three are three-
quarters length figures of elderly men with handsome heads, carefully trimmed and
luxuriant beards, wide caps, and full fur-trimmed mantles over dark brown tunics.
But, in the Dresden picture, the drawing and treatment of the loose mantle betray the
fact that it was painted over the original garment sometime during the last century.
I he picture in the Hermitage of a man of refined expression and somewhat sickly
features, A Rabbi , seated ', a Stick in his Hands and a high Feather in his Cap (Plate 2q5),
soft and picturesque in treatment, and richer in colour than usual, especially in the
carnations, appears to have been early a favourite work of Rembrandt’s, as there are
several old copies of it, the best being perhaps that in the Munich Gallery. The
picture in the Dresden Gallery, A Rabbi , seated , with a gold Chain and a Cane in his
right Hand (Plate 296), is already marked by a fat, even treatment of the flesh in rich
tones which denote an extraordinary delicacy of observation, and are varied with
great skill, fused in some parts, in others frankly juxtaposed. The tame handling
of the folds in the repainted cloak and cap have a very disturbing effect. The Berlin
picture of A Rabbi , seated , with a Gold Chain , his Eyes overshadowed by the broad
Brim oj his Cap (Plate 297), is drier in texture, and, as in the Dresden picture, the

attitude of the handsome, dignified sitter, is somewhat studied. Neither shews the
delicate sensibility of the St. Petersburg example.

A very peculiar picture of this class has come down to us together with its
pendant, the portrait of a pretty young girl at a window. They are known as The
Jewish Bride and The Father of the Jewish Bride , and belong to Count Karl Lancko-
ronski of Vienna. It is difficult to suggest any hypothesis as to the relations between
the young girl and the old man, or their connection with the artist. That some
such connection existed seems probable from the costume of the young girl, which
closely resembles that worn by Saskia. Nothing, however, shews her to be a bride,
while her features refute the tradition of her Jewish birth. To suppose the Old Savant
at his IVriting-table (Plate 298) to be The Father of the Jewish Bride , drawing up his
daughter’s marriage-settlement, as was formerly suggested, was a flight of fancy quite
in keeping with the fantastic interpretations given to Rembrandt’s pictures in the
eighteenth century. His cap, his mantle, and his gold chain certainly characterise the
old man as one of the numerous Rabbis or Savants painted between i63o and 1 64 5 ;
but used to connect him with the pendant, such a designation, or indeed any
attempt at a solution, becomes fallacious. We must content ourselves with the
general description of the picture given above. The monotonous colour, the elaborate
execution, and the chilly illumination produce a somewhat unsatisfactory effect.
This fused handling, careful drawing, and minute execution harmonise far better
with the conception of the pretty Young Girl in a broad-brimmed Cap , her Hand on a
Window-Sill (Plate 299). The carnations, too, are peculiarly luminous here; the
costume is rich, deep, and of velvety lustre, so that early last century the picture was
justly accepted as one of Rembrandt s most attractive works. Some five and twenty
years ago, the Viennese critics offered up these two pictures a sacrifice to their science,
pronouncing them unworthy of the master, and ascribing them to his pupil, Christoffer
Paudiss. It is more comprehensible that they should have failed to recognise the
hand of Rembrandt, as the knowledge of most of them was derived solely from
pictures in Vienna, than that they should have singled out as the author that belated
pupil of the master’s who is so well and richly represented in Vienna, and whose
pictures have not the slightest affinity with these two works.

This young beauty at a window in Count Lanckoronski’s collection leads up to
a group of female figures of a genre-\\ke character painted during the next few years.
We may enjoy them without racking our brains overmuch to discover who these
young girls were, and what these renderings of them mean. They are simple studies
from the life of Amsterdam, appearing for the first time in Rembrandt’s art, motives
which struck the master’s eye in the street or from the windows of his house, which he
retained, and which he swiftly took down on the spot and transformed into animated
pictures. Now it would be an orphan girl in her picturesque costume at a half
open door, now a young maid-servant in the embrasure of a window, or some kindred

- 39 -

figure. The artist, who no longer found congenial themes in his own home since
his wife’s death, sought them out of doors, and there lighted upon these simple,
genre-like types, which he treated to some extent like portraits. A very characteristic
feature of these pictures is the arrangement of the figure in the embrasure of a window,
a disposition we likewise note in various contemporary portraits, especially of young
women, not only at this period, but earlier and later upon occasions. Rembrandt
evidently meant to enhance the plastic effect of the figure, and to give greater plausi-
bility and truth to the concentrated light by this device.

The best known picture of this class is the Young Girl leaning on a Window-ledge
and looking out (Plate 3oo), in the Dulwich Gallery. A little housemaid, hardly full-
grown as yet, has paused in her work, and fixes her large eyes dreamily on the street.
The day is warm, and on the upper part of her body she wears only a coarse chemise,
the sleeves of which she has rolled up on her arms. The fresh face with the deep
brown hair and the dark eyes seen by the warm evening light contrasts in a very
piquant fashion with the dull white of the chemise. Rembrandt here shews strong-
affinities with similar pictures of Murillo’s painted rather later. The Spanish master,
indeed, has various points of contact with Rembrandt, in conception, in chiaroscuro,
and in colour, as far as a Dutchman and a Spaniard of those days, an earnest Reformer
and a fervent Catholic, could be said to have anything in common.

The little maidservant at the window was painted in i645; the Young Orphan Girl
at an open Window (Plate 3oi) in the Art Institute at Chicago belongs to the same vear.
The young girl is far from beautiful; the small oblique eyes destroy any charm the
head might otherwise have. The picture has also suffered from over-cleaning. Rut
the deep strong red of the costume, and the illumination, which, while it glances with
a ray of strongly concentrated light on the head, nevertheless seems to bathe the whole
figure in radiance, give a peculiar fascination to the picture. A very similar work,
A } oung Orphan Girl tn the Costume oj her Institution 1 leaning with both arms on a
window-sill (Plate 3o2), is in the Duke of Redford s collection in London. In the very
unfavourable light in which it is hung, I have been unable to form an opinion as to
whether it is entirely by the hand of Rembrandt or not. Dr. de Groot was no more
successful than myself. The photograph betrays signs of hastiness in the modelling
of the hands, in the folds of the chemisette, and even to some extent in the head,
and a monotonous darkness in the surroundings, which are either due to over-cleaning
or re-painting.

A work very attractive in its animation is the Half-length of a richly dressed Girl ,
holding out a Medal on a Chain (Plate 3o3), belonging to Mr. Robert Hoe of New York.
It is difficult to determine the date of this picture. Certain details seem to point

ie costume of this and of the preceding picture is no longer that of the Orphanages of Amsterdam, though

to 1 638 or i63g; but the freedom of the arrangement and handling incline me rather
to class it as contemporary with the pictures described above, to which it is closely
akin in motive and conception.

A well-known picture in the Dresden Gallery, The old Woman weighing Gold
(Plate 3o4), has a genre-Y\k.e motive almost identical with that of the earliest dated
picture by Rembrandt known to us, The Money-Changer of 1627, though the old
woman of the Dresden picture is life-size, and essentially different in conception.
The genre- like treatment must not therefore be allowed to tell against the authen-
ticity of the picture, though the signature and date (Rembrandt f 1643) are certainly
not by the master’s own hand. What really seems startling in a work of Rembrandt’s
is the soft fused handling, combined with the commonplace colour, and the poverty of
the arrangement and treatment of such accessories as the curtain, the cupboard, etc.
Nowhere do we recognise the touch of the master-hand. And yet the chiaroscuro
is so delicate, the drawing so excellent, that I cannot venture to pronounce against
Rembrandt’s authorship of the work, especially as it does not remind me of any of
his pupils or disciples. The exaggerated carefulness of execution and the genre- like
motive are further quite in the manner of the period to which the false signature and
date (perhaps copied from the original inscription) assign the picture.

At the earliest stage of Rembrandt’s activity we noted a considerable series of
studies of heads, most of them painted from himself, a few from his father and his
mother. These, however, were rarely studies for particular pictures, but rather
exercises the young artist set himself in problems of illumination, composition, and
drawing. Even such studies as these disappear after a time, and between i63o and 1640
we find them succeeded by character-studies of heads, Rabbis, old men, etc. It is
not until soon alter 1640 that certain studies of heads re-appear, which, owing to their
small size, and their hasty and unpretentious character have been almost entirely over-
looked hitherto. As far as they have been noticed at all, these works, occurring very
rarely in public galleries, have been dated from ten to fifteen years too late by critics.
From about i655 until 1660, Rembrandt returned to a certain uniform strong brown
tone, tempered, however, by a greater variety of gradations, especially in the flesh,
and combined with a very broad, loaded treatment, and peculiar chiaroscuro. During
the last few years various small studies of this later time (some of them dated) have
come to light. Very characteristic of the period, they differ essentially from the group
of works we are now considering. Among these little studies exclusively of male
heads, and generally of men of advanced age, only a few of which are signed, there is
a finished head dated 1647, two ol‘ three hasty studies of the year 1 643, and another
broadly sketched head, the likeness of which to the Rabbi at a Study-table of 1642 in

— 41 —

the Buda-Pesth Gallery (cf. p. 37) justifies us in assigning it to the same year. The
close affinity of the remaining studies to these little pictures, the almost monochromatic
colour of a more or less clear brown, through which the ground appears a good deal in
the shadows, the combination in most cases of sketchy treatment with comparatively
careful, fused handling of the flesh, enable us to unhesitatingly class this group of
little studies among works painted from about 1640 to 1647.

The most highly finished, and therefore also the richest in colour of these is the
signed study of the Head of an old Man with a thick Beard , in a Cap and a reddish
Coat (Plate 3o5), dated 1647 (not i644> as was f°rmei>ly stated), belonging to Baron
Harinxma tlioe Sloten of Leeuwarden, an expressive little work, shewing its relation to
contemporary pictures in the richer tones of the carnations and the reddish local
colour of the coat. Very broad and sketchy in treatment as compared with this
is the little Study' of the Head of a bearded old Man, leaning on his left Hand (Plate 3o6),
now in the collection of M. A. Scldoss of Paris, dated 1643. The outlines are boldly
drawn with the brush in fat, rich strokes. The drawing and shape of the hand recall
those of the Rabbi of 164$ in the Berlin Gallery. The small Study' of the Head of a
white-bearded .old Man in Profile (Plate 307), in M. Edouard Warneck’s collection in
Paris, seems to be from the same model. Here again the head is very luminous; the
whole is broadly sketched in clear browns and grays, the hands being merely indi-
cated. This head has so much in common with that of the Rabbi, at a Study-table in
the Buda-Pesth Gallery (though this, certainly, is seen full-face), that it was probablv
painted from the same model, and in the same year, 1642.

A similar, but more carefully finished head, the little Study of a Head of an old
Jew in a fur Cap (Plate 3o8), occurs in three examples of almost the same size, exactly
resembling one another, all claiming to be originals. The Louvre possesses the first,
the Cassel Gallery the second, and Mr. Quincy A. Shaw of Boston the third. None
ol the three struck me as works to which we must necessarily deny the parentage of
Rembrandt. They are not, certainly, masterly productions; in colour they are dull
and gloomy, and the handling has not the light touch, so perfectly expressive of the
forms, that characterises most of the rest of these hasty little studies; but the quality
ol the carnations, and the manner in which touches of red are introduced almost
imperceptibly in the brown general tone tell in favour of their authenticity. T am
inclined to give the preference to the example I saw in Mr. Quincy Shaw’s collection at
Boston; the Cassel picture, too, which approaches it very closely, is decidedly superior
to the Louvre example, which, added to its other deficiencies, is much disfigured bv
dirty varnish; the space over the head, the only variation from the other two pictures,
is disagreeable in effect. As far as I have been able to see, not one of the three
pictures is signed; that Rembrandt should have exactly repeated such an unimportant
study three times over, is scarcely credible. Was there perhaps a fourth unques-
tionably authentic example, of which these three pictures are school-replicas? A con-

temporary engraving of this head exists, by Rembrandt’s pupil, S. van Hoogstraten,
on which, strange to say, the person depicted is described as the Anabaptist Jan
van Leyden.

The Cassel Gallery, and Mr. Quincy A. Shaw’s collection at Boston each possess
another study of a head purporting to be the pendant to that of the man in the fur cap;
but they were both transformed into pendants at a later date, the one by enlargement,
the other by reduction, and the dimensions of the heads themselves do not agree.
The Cassel picture, a Study of a bare-headed old Man with a scanty white Beard and
grizzled Hair (Plate 3oq), is in its modelling, illumination, and firm handling a charac-
teristic work ol this period (about i 64 3 or ifi44)j and unquestionably genuine. In type
and expression this little head looks like a study for one of the actors in the IV Oman
taken in Adultery of the London National Gallery, or one of the apostles in the various
versions of the Supper at Emmaiis. The Boston picture, a small Study of the Head oj
an old Man wearing a fur Cap with a Crown round it1'1, is obviously a study for some
projected scriptural picture of this period. This head, lightly sketched in clear brown
tones, hears the master’s genuine signature. The small Study of the Head of a Jew,
with a scanty black Beard and a dark Cap (Plate 3io), in the Bridgwater Gallery,
London, evidently from the same model as the pictures in the Louvre (Plate 3o8j, etc.,
is bolder and more spirituel in treatment, especially in the head itself, which alone is
carefully finished. Closely akin to this is the small Study of a broad-shouldered old
Man in a small slouched Hat (Plate 3n) in the Corporation Art Gallery at Glasgow.
Like many other valuable pictures in this interesting collection, it has been much
injured by over-cleaning and re-touching.

I know of two more studies of this kind in private collections in England, each
from about ten to fifteen centimetres higher than the majority of the heads described
above. The small Bust of a Man with a black Beard , in a high broad-brimmed Hal
(Plate 3 1 a), is in the possession of Sir John Neeld of Grittleton House, and the small
Study of the Head of a. bearded Jew in a fur Cap , full-face (Plate 3i3), evidently a study
for a Christ, in Earl Cowper’s collection at Panshanger. The prevailing tone in both
is a deep brown. The Grittleton picture is signed, but it is peculiarly heavy in colour
and treatment. The largest of these studies, and also the best, is the small Study of
the Head of a young Jew with a black velvet Cap (Plate 3 1 4) in the Berlin Gallery, a
work closely akin to the Biblical pictures of 1646 in its stronger local tints, broad fat
touch, and vigorous effect.

i. As the photograph received from Boston was unsatisfactory, we defer the reproduction of this picture for inclusion in
the supplement.

CATALOGUE

OF

REMBRANDTS PICTURES

PART IV.

LANDSCAPE WITH THE GOOD SAMARITAN

(CZARTORYSKI MUSEUM, CRACOW)

229

LANDSCAPE WITH THE GOOD SAMARITAN

(CZARTORYSKJ MUSEUM, CRACOW)

A road winds to the right under high trees through a wide valley, watered by a
river flowing towards the foreground; in the middle distance this road bends to the
left, crosses the river by a stone bridge, and approaches a town in the distance, on the
ramparts of which are several wind-mills. The river, which forms several rapids on
its way, flows towards a walled farm, near which is a wooden bridge. A precipitous
mountain shuts in the valley on the left. On the road in the immediate foreground,
the Good Samaritan advances from the right, leading his horse on which he has placed
the wounded man. To the left is the priest, praying with uplifted hands, a boy beside
him. Two persons approach from the thicket on the right. In the middle distance,
a coach drawn by four white horses makes its way to the bridge. A ray of sunshine
breaks through the murky clouds, lighting up the luxuriant meadows in the middle
distance. The steel-blue loin-cloth of the wounded man, and the dull red of the
saddle are almost the only touches of local colour that relieve the stormy gray-
brown tonality.

Signed below on the right: Rembrandt f. 1638.

Oak panel. H. om,465; w. o'", 66.

Exhibited at Amsterdam in 1898, at the Royal Academy, London, in 1899.
Michel, pp. 3 1 4» 55g.

Vassal de Saint-Hubert Collection, Paris, 1774-
Czartoryski Museum, Cracow.

- 48 -

230

LANDSCAPE WITH A COLUMN

(HERR GEORG VON RATH’S COLLECTION, BUDA-PESTH)

250

LANDSCAPE WITH A COLUMN

(HERR GEORG VON RATH’S COLLECTION, BUDA-PESTH)

A broad river flows from a precipitous mountain, winding towards the foreground,
where it is crossed by a road over a stone bridge, which passes a lofty column,
and leads to a town. A second bridge, on two high arches, spans the river, which
breaks into a cataract near the city. A water-mill stands by the riverside in the fore-
ground on the left; on the right, a group of mighty trees, bent and twisted by the storm;
behind them, a wood, extending to a mountain in the middle of the composition. On
the road, in the immediate foreground, a pedestrian, and a rider in a red cap on a
gray horse, with a dog, advance towards the spectator. A waggon stands on the nearer
of the two bridges; further back, a travelling carriage with two horses approaches the
column. A strong ray of sunshine breaks from the sullen sky and falls on the middle
distance.

Below on the right, a signature, added by a later hand : R. 16S8-
Painted about i638.

Oak panel. H. o“,55; w. oa,jt5.

Exhibited at Amsterdam in 1898
Michel, pp. 3i4, 559.

Baron de Beurnonville’s Collection, Paris, 1881, 1 883, 1884.
A. Posonyi Collection, Vienna.

Herr Georg von Rath’s Collection, Buda-Pestli.

— 5o —

-

251

MOUNTAIN-CITY IN A STORM

(DUCAL GALLERY, BRUNSWICK)

251

MOUNTAIN-CITY IN A STORM

(DUCAL GALLERY, BRUNSWICK)

On the left, half-way up a mountain, lies a city with an old church, on which
falls a harsh ray of sunshine. A river rushes towards the middle distance through
the lofty arches of a viaduct. On a road in the foreground on the left, a rider on a
white horse seen from behind, with a boy beside him. On the left, several horses,
which are being driven towards a farm at the foot of the mountain. On the bank to
the right, a ferry-house, from which a ferry-boat has just set out to put some horses
across. On the opposite bank is a farm with a well, and a cluster ol trees. At the
end of the bed of the river on the right, a range of hillocks. Immediately in the
foreground on the right of the road, a cluster of little red flowers, but for which, and
the patch of blue sky on the left, the picture is almost a monochrome of brown. The
sky is covered with heavy storm-clouds on the right.

Signed below on the right : Rembrandt f .

Painted about i638.

Oak panel. H. om,52; w. om,7a.

Etched by W. Unger.

Smith, n°6n; Vosmaer, pp. 3i4» 556; Bode, pp. 452, 491* 564? n° 48; Dutuit, p. 26, n°444>
Wurzbach, n°46; Michel, pp. 3i3, 552.

Riegel, Beitrdge II, 245.

Ducal Gallery at Salzdahlum ; whence, after its return from Paris, it was transferred to the
Ducal Gallery of Brunswick. (N° a36 in Catalogue of 1898.)

— 52 —

■ ■ M

A STONE BRIDGE OVER A CANAL

(MR. JAMES REISS’ COLLECTION, LONDON)

252

A STONE BRIDGE OVER A CANAL

(MR. JAMES REISS' COLLECTION, LONDON)

The broad arch of a high bridge near an inn with a red gable, spans a canal, which
flows from the left towards the foreground. Beyond, a farm with a hay-stack among
trees, and, further on, a church-tower. Standing before the inn, a cart with passen-
gers seen from behind; on the road, a peasant, driving a cow from left to right, and
immediately in the foreground, a second cow. Several other figures near the bridge.
Under the bridge, and in front of it, a boat; in the latter, two boatmen, one of whom
propels the boat with a pole. Dark sky, from which a bright ray of sunshine lights
up the group of trees and the buildings among them. Painted almost entirely in tones
of gray and brown.

Painted about 1637-1638.

Oak panel. H. om,29; w. om,4<>-

Exhibited at the Royal Academy, London, 1899.

Bode, pp. 492> ^79, n° T43; Dutuit, p. 46, n° 447! Wurzbach, n°2i2; Michel, p. 3 1 4 •
Waagen, Art Treasures , III, p. 164.

Lapeyriere Collection, Paris, 1817.

James Gray Collection, Versailles, i863.

Marquis of Lansdowne’s Collection, Bovvood, i883.

Mr. James Reiss’ Collection, London.

- 54 -

.

' .lliiiOSt Ml’, .<

.

255

A LANDSCAPE WITH A FORTRESS

(WALLACE MUSEUM, LONDON)

f

III

!

I

From an elevation in the foreground, on which stands a young gentleman in
a cap with a tall feather, holding a stick, and attended by a servant with two large
grayhounds, the eye wanders over a wide plain; in the middle distance on the right
is a little fortress, surrounded by water, and approached by a drawbridge. In the
foreground is a road, leading through a cornfield to a town in the distance. On the
road, a travelling-carriage with two horses, and a boy running after it; farther to
the left, a hay-cart behind a wayside farm. In the distance on the right, on the
brightly illuminated summit of a flat-topped hill, a tower with outlying buildings;
on the left, the town, on tlie further side of a broad river, on which is a large ship.
Several small figures on the road and in a boat in the water; a few cows, swans
and ships enliven the whole. Cloudy sky. A. vigorous effect of light, combined
with an almost monochromatic, grayish-brown scheme of colour, relieved only by a
few dull pale red or greenish tones.

Painted about 1640.

Oak panel. H. ou',46; w. o'", 63.

lien casleei van Rembrandt is one of the items in the inventory of Juffrouw Geertruyt Brasser,
Widow of Johann van der Chijs, Delft, April 1692.

Engraved by Maillet in the Choiseul Gallery.

Exhibited at the Royal Academy, London, 1889.

Smith, ^098; Vosmaer, pp. 3 10, 534; Bode, pp. 492> 58q, n" a38; Dutuit, p. 48, n° 446 ; Wurz-
bacli, n° 255; Michel, pp. 3i4, 558.

Waagen, Art Treasures, II, p. i58.

De Julienne Collection, Paris, 1767.

Due de Choiseul s Collection, Paris, 1772.

Prince de Conti’s Collection, Paris, 1777.

Comtesse de Vaudreuil’s Collection, Paris, 1 784 -
De Calonne Collection, Paris, 1788.

De Calonne Collection, London, 1795.

Geo. W. Taylor Collection, London, 1823.

Marquis of Hertford’s Collection, London.

Sir Richard and Lady Wallace's Collection.

Wallace Museum, London.

— 50 —

[ A 1 ORTRESS

.

254

STORMY LANDSCAPE WITH A RIVER

(GRAND-DUCAL GALLERY, OLDENBURG)

254

STORMY LANDSCAPE WITH A RIVER

(GRAND-DUCAL GALLERY. OLDENBURG)

A river which descends from wooded heights on the right, bends towards the
left in the foreground, and loses itself in the flat distance. In the foreground on the
right, a plain wooden bridge, and in the middle distance, a stone bridge on seven
arches with a toll-house. Below the bridge are boats with high masts and above it
a few rowing boats. In the foreground, an angler. On a projecting tongue of land
in the middle of the picture, a dense group of trees in full sunshine, and on the right,
a cluster of houses in the gloom of an approaching storm.

Painted about i6/jo.

Oak panel. II. o"1,'**); w. om,'(o.

Etched by C. Onken in Bode’s Oldenburg Gallery.

Yosmaer, pp. 3io, 53/§ ; Bode, pp. 49 2, £74, n°
Michel, pp. 3r4, 554 ■

Bode, Genuilde-Galerie zu Oldenburg , p. 34-

117; Dutuit, p. 3i, n° 448; Wurzbach, n° n3;

Bought in 1801 for the

Grand-Ducal Gallery, Oldenburg. (N° in Catalogue, 197.

— 58 —

■

i . W 'ir/Li.'li n" I i ’

■

235

A DUTCH LANDSCAPE WITH A TOWN
IN THE DISTANCE

(EARL OF NORTHBROOK’S COLLECTION, LONDON)

255

A DUTCH LANDSCAPE WITH A TOWN IN THE DISTANCE

(EARL OF NORTHBROOK'S COLLECTION, LONDON)

A flat landscape, in which a broad road leads over a stone bridge to a fortress-
like house behind a group of trees, and turns on the right to a town with a church,
a wind-mill, and fortifications, brightly illumined by sunshine. The distance on the
left lies in shadow. The lofty sky is covered with clouds. Immediately in the fore-
ground, on the road, a man in red trousers seen from behind, carrying a load, and a
dog. A coach drawn by four white horses approaches from the right. On the other
side of the bridge, a horseman.

Painted about 1640.

Oak panel. H. om,22; w.

Exhibited at Amsterdam in 1898; at the British Institution in 1 843, and at the Royal Academy,
London, 1889 and 1899.

Bode, pp. 492, 588, n° 225; Dutuit, p. 47, n° 44$; Wurzbach, n° 229; Michel, pp. 3i4, 558.
Waagen, Art Treasures, IV, p. 98.

Woodburn Collection, London, 1 854 -
Thomas Baring Collection, London.

Earl of Northbrook’s Collection, London.

— Go —

H i kNDSCAPE WITH TOWN IN THE OIS i iNCE

* “ t landscape , in which a broad ro *4 leads over a stone bridge to a fortress-

*

)« in -lmdow. The lofty a ‘red with clouds. Immediate! « »l for

on the id, «i man in ' seen from behind, carrying a .

256

A DESOLATE HIGHLAND VALLEY

(NATIONAL GALLERY OF SCOTLAND, EDINBURGH)

}i

A DESOLATE HIGHLAND VALLEY

(NATION VL GALLERY OF SCOTLAND, EDINBURGH)

A flat mountain-stream winds along a wide highland valley, enclosed on the right
by lofty clilfs. On the right hank, a cluster of low bushes; on the left, in the middle
distance, a horseman riding away. On the road in the immediate foreground, a
carriage and a flock of sheep, which the master afterwards painted out, but which
have now come through the over-paint. Dark sky, brightening slightly to the left.
A dull ray of sunshine pierces the dusky mist that overhangs the river.

Painted about i64°-

Oak panel. II. om,u9; w.

Waagen, Art Treasures , III, p. 274.

Sir James Erskine’s (of Torrie) Collection. Bequeathed by him to the Edinburgh University.
Exhibited in the

National Gallery of Scotland, Edinburgh. (N° in Catalogue of 1892, 553.)

v*

.

• i “hang!, ils- i. 1 ■ i ■-

mm

A WOODY RIVER-SCENE WITH COWS

(SIR ROBERT PEEL'S COLLECTION, DRAYTON MANOR)

257

A WOODY RIVER-SCENE WITH COWS

(SIR ROBERT PEEL'S COLLECTION, DRAYTON MANOR)

In the foreground on the left a road winds under high trees along a broad river,
above the high wooded hanks of which a town with several churches rises on an
eminence to the left. A couple of peasants are resting by the road in the foreground
on the left. The man wears a blue jacket, the woman a red dress and a white
head-cloth. She reads aloud to the man from a sheet in her hand; a large dog is
asleep beside them. At the edge of the water on the right, three cows. Various
figures on the road in the middle distance.

Painted about 1O46.

Oak panel. II. o'",'!?'!; w. om,5a

In Rembrandt’s inventory of i656 there is a picture described as A Shepherd with his Flock (Fen
Herdersdriffie ; cf. Rovinski, n° Go).

Smith, i Papa; Dutuit, p. 3.

Jacques dc Roore Collection, The Hague, 1747-
Lord Radstock’s Collection, 1826.

Pinney Collection.

Sir Robert Peel’s Collection, Drayton Manor, England.

— 64 —

A SPORTSMAN WITH A BITTERN

(ROYAL GALLERY, DRESDEN)

258

A SPORTSMAN WITH A BITTERN

(ROYAL GALLERY, DRESDEN)

A sportsman, whose features are those of the artist, is about to hang a dead

bittern, which he holds up by the legs with his right hand, on a hook fastened to a

beam above him on the left. In his left hand he holds his gun. He wears a dull

red coat and a red cap with a tall feather, from beneath which his light brown hair

falls across his forehead and on to the side of his face. He has a slight moustache.
A full light falls from the left on the bird and throws its shadow across the artist’s face.
Dark background.

The figure is a three-quarters length, somewhat less than life-size.

Signed on the beam above on the left : Rembrandt fc. 1639.

Oak panel. H. im,ai; w. om,89.

Probably the picture described in Rembrandt’s inventory of i654 as een pitoor (=butor,
bittern), Rovinski, n° 348.

Etched by A. Riedel in 1 7->4 -

Smith, n" 17 1; Vosmaer, pp. 162, 019; Bode, pp. 4^3, 568, n° 80; Dutuit, p. 28, n° 392;
Wurzbach, n° 76; Michel, pp. 228, 553.

Mentioned in the Guarienti inventory (drawn up before 1753) of the Electoral Gallery, now the
Royal Gallery, Dresden. (N° in Catalogue of 1899, 1 £>G 1 . J

— 66 —

:»se fraturcp t lisf. I iitng a dead

.

- smw :

DEAD PEACOCKS

(MR. W. C. CARTWRIGHT'S COLLECTION, AYNHOE PARK.)

259

DEAD PEACOCKS

(MU. W. C. CARTWRIGHT S COLLECTION, AVNHOE PARK)

A dead peacock lies from left to right against a basket of apples on a poultry-dealer’s
slab. A second peacock hangs above it on the side of an open shutter. A young
girl leans with both arms on the sill; she wears a bluish red gown and a white cap
over her short curly hair, and looks at the birds. The light is subdued; a ray of
sunshine falls on the right wing of the bird against the shutter.

Half length, life-size.

Signed below on the right : Rembrandt.

Painted about i638.

Canvas. II. im,375; w. i“,29-

The following entry occurs in the inventory of the historian Tobias van Domselaer, Amsterdam,
September i685 : Een groot schildenj met twee paeuwen van Hembrandl (Prot. Not. D. Doornielc).

Exhibited at the British Gallery, London, 1819, i83g, at Amsterdam, 1898, Royal Academy,
London, 1878, 1899.

Smith nos i5o, 620, Supplement, n° 2; Bode, pp. 453, 585, n° 200; Dutuit, p. 43, n° 391;
Wurzbach, n° 166; Michel, pp. 23o, 557.

Collection of W. Six, Amsterdam, 1734 (Hoet, I, p. 419)-

Mr. W. C. Cartwright’s Collection, Aynhoe Park, Banbury, formerly in London.

— 68 —

THE DISMISSAL OF HAGAll

(MR. CONSTANTINE A. 10NIDES' COLLECTION, BRIGHTON)

ixm

THE DISMISSAL OF HAGAR

(MR. CONSTANTINE A ION1DES' COLLECTION, BRIGHTON)

Hagar, weeping, rides out from beneath a vaulted archway at nightfall, seated on an
ass which the youthful Ishmael leads by a halter. An invisible lantern casts a brilliant
liu-lit over her figure. Abraham stands in the penumbra on the left, addressing her
with much animation; Ishmael to the right, in a short hunting tunic. All three are
richly dressed in Oriental fashion. In the background, a lofty building; to the left,
a glimpse of a meadow with cattle, seen dimly in the twilight.

Small, full-length figures.

Signed below on the right : Rembrandt f. 4040.

Oak panel. H. w.

Exhibited at the British Gallery, London, . 83a, at the Royal Academy, London, 1894, 1899; at
Amsterdam, 1898.

Smith n" 3; Vosmaer, p. 522; Dutuit, p. /|9, n" 396; Wurzbach, n“ 269; Michel, p. 55g.

Hi

A

W. Fabricius Collection, Haarlem, 17/19 (lloet, II, p. 2O4).

Woodburn Collection, 1818, bought in.

L. Crespigny Collection.

Mr. Constantine A. louides’ Collection, Brighton, formerly in London.

r\:Y%

THE SALUTATION OF THE VIRGIN
AND ST. ELIZABETH

DUKE OF WESTMINSTER'S COLLECTION, LONDON)

THE SALUTATION OF THE VIRGIN AND ST. ELIZABETH

(DURE OF WESTMINSTER'S COLLECTION, LONDON)

On the terrace of a palatial building, ornamented with a fanciful pillar, which
stands to the left on a hill overlooking a town, Elizabeth receives her youthful cousin
at sunset. Mary has ascended the hill on the right. A negro-woman removes her
travelling mantle, while the aged Elizabeth embraces her, gazing enthusiastically
into her face. The aged Zacharias approaches through the doorway on the left,
resting his left hand on the shoulder of a boy. Mary’s ass-driver with a loaded ass
appears on the left, half-way up the hill. In front of this group a light-brown,
half-shorn poodle. Mary, in profile to the left, wears a blue-green jacket, a dark
violet skirt, and a white cap, bound round her head by a red ribbon. Elizabeth wears
a cherry red gown and a heavy many-coloured head-cloth; the ncgress is dressed in
dark red. The white-bearded Zacharias and his young servant are bareheaded, and
wear dark garments. In the foreground to the left, peacocks with their young, and
on the right a stone basin. In the distance in the valley, a town with a massively
built Gothic church. A cloud of smoke rises from Zacharias’ palace behind the group
of women.

Small, full-length figures.

Signed below in the centre on one oi the steps : Rembrandt 1640.

Oak panel, rounded at the top. H. om,565; w.

Engraved by Burnet (i8i3), by John Young in the Grosvcnor Gallery.

Etched by P. J. Arendzen in Ilofstede de Groot’s Masterpieces.

Exhibited at the Royal Academy, London, 1870, 1895, 1899; at Amsterdam 1898.

Smith, n° 5y; Vosmaer, pp. 212, 522; Bode, pp. 447i ^89, n° 240; Dutuit, p. 49? n° 45; W urzbach,
n° 258; Michel, pp. 26G, 558.

Waagen, Art Treasures , II, p. i65.

The King of Sardinia’s Collection. Brought to England by Nieuwenhuys about 1807.

Since 1812, in the

Duke of Westminster’s Collection, Grosvenor House, London. (N° in Catalogue, 33.)

> or ' ■ :l\ \\M ST. HLIZAlU/m

toi.% Klizabetli receives her youthful cousin

."i :ln

l> tl .the lit this )U|. . ht. Ill-own,

i •! tl . • ,<i .. . i« ' . 1870, 189$, *8995 at Amsterdam 1898.

THE HOLY FAMILY

(THE LOUVRE, PARIS)

In the middle of a simple room, Mary, seated on a low chair, dressed in a dull
green gown and a red jacket, holds the naked Infant to her breast. To the left,
St. Elizabeth, holding her spectacles and a book on her lap, and looking at the
Child. Behind this group, to the left, near the open window, Joseph, seen from
behind, is preparing a piece of wood. In front of the women, on the left, a cradle, and
quite to the right a high fire-place. Behind it, a bed, and a chair, on which is a cat.
Carpenter’s tools hang against the wall of the background. A warm ray of sunshine
falls through the open window on the body of the Infant Saviour and the floor.

Small, full-length figures.

Signed below on the right : Rembrandt f. i640.

Oak panel. H. o“,/,i ; w.

There is an old copy of this picture in the Uffizi at Florence, ascribed to Rembrandt.

Engraved by Le Bas, Martini, Probst, by de Frey for the Muse'e Francais , and by Devilliers
in Filhol’s work, vol. V, p. 291.

Etched by Veyrassat, and by Ch. Courtry.

Smith, n° ^3; Vosmaer, pp. 21 t, 522; Bode, pp. 44b, 5g4, n° 274; Dutuit, p. 35, n° 57; Wurzbach,
n° 273; Michel, pp. 266, 562.

Isaac van Thye Collection, Amsterdam, 1711.

Comtesse de Verrue’s Collection, Paris.

Gaignat Collection, Paris, 1768.

Choiseul-Praslin Collection, Paris, 1793.

The Louvre, Paris. (N° in Catalogue, 4iod

— 74 ■

THE SACRIFICE OF MANOAH

(ROYAL GALLERY, DRESDEN)

245

THE SACRIFICE OF MANOAH

(ROYAL GALLERY, DRESDEN)

Manoali and his wife kneel reverently on the ground, watching the flight of the
white-robed angel who soars away from them on the left, after announcing to them the
birth of their son Samson. In the foreground on the left, the burning fire of the
sacrifice; near it, in the centre, Manoali, seen almost full face, with a gray beard, his
clasped hands uplifted, dressed in a deep violet red gown. Near him on the right
kneels his wife in profile to the left, dressed in a light yellow gown with long white
under-sleeves; a long red mantle is drawn over her head, on which she wears the
gold-embroidered cap of Jewish women. In the dark background, Manoah’s house,
with a climbing vine against it.

Life-size figures, full length.

Signed above on the right : Rembrandt f. 1641.

Oak panel. H. am,4»; w. 2“, 83.

There are pen and ink sketches washed with Indian ink for this picture in the Print Rooms at
Stockholm, Dresden and Berlin, differing more or less lrom the painting.

Engraved by Jacobus Houbraken.

Smith, n° 35 ; Vosmaer, pp. 2i5, 526; Bode, pp. 444» 568, n" 76; Dutuit, p. 28, n° 19; Wurzbach,
n° 71 ; Michel, pp. 267, 553.

Mentioned in the Guarienti inventory (drawn up before 1753), of the Electoral Gallery, now the
Royal Gallery, Dresden. (N° in Catalogue, 1 563.)

'

reverent I) on the groom he flight of the

1 , sped ham!' I, dressed in a deep violet red _ own. '(ear him on the right

:

■

A

THE RECONCILIATION
BETWEEN DAVID AND ABSALOM

THE HERMITAGE, ST. PETERSBURG)

244

THE RECONCILIATION BETWEEN DAVID AND ABSALOM

(THE HERMITAGE, ST. PETERSBURG)

In the foreground of a landscape, in which Jerusalem and the temple with a pillar
before it are seen in the background on the left, David is standing in regal attire.
He holds out both hands to clasp Absalom, who throws himself weeping on his
father’s breast. David wears a light blue under-dress trimmed with gold fringe
under a silvery white drapery; on his head, a white turban with a tall feather, and
round his waist a dark girdle. Absalom, his wavy fair hair confined by a gold circlet,
wears a short rose-coloured tunic with gold embroideries, high hoots with spurs, and
a broad richly embroidered bald rick from which hangs a sword in a costly sheath.
His reddish brown mantle and a quiver with arrows lie on the ground. In the shadow
behind, a piece of wall with green creepers. Dark sky; bright light falls on the group
from the left.

Small, full-length figures.

Signed below in the centre : Rembrandt /'. i642.

Oak panel. H. om,^3; w. om,6i5.

The first sketch for this picture, a pen drawing washed with Indian ink, is in the possession of
Dr C. Hofstede de Groot, The Hague (reproduced in the catalogue of the Artaria Sale, Vienna, n° iio4)-

Smith, n° i5 ; Vosmaer, pp. 53 1 ; Bode, pp. 447? 6o4, n° 35q; Dutuit, p.38, n° 8; Wurzbach, n° 422 ;
Michel, pp. 277, 567.

Removed in 1882 from the Pavilion Monplaisir in the garden of the imperial castle at Peterhof, to
The Hermitage, St. Petersburg. (N° in Catalogue, 1777.)

- 78 -

«

i

'

it \( i k n »N ;rs david \m vbsalom

I PETERSBURC.

of a landscape, in whicli Jerusalem and the temple with a pillar

THE DESCENT FROM THE CROSS

(NATIONAL GALLERY, LONDON)

245

THE DESCENT FROM THE CROSS

(NATIONAL GALLERY, LONDON)

The body of the Saviour lies stretched on a cloth at the foot of the cross; his
friends bewail him. The upper part of the body rests on the lap of the Virgin, who
sinks back in a swoon, supported by several women; the Magdalen clasps the feet
ardently. Other persons stand weeping and lamenting beneath the cross on the left;
two ladders rest against it. Between them the crosses of the malefactois, who are
still hanging on them. Jerusalem is indicated in the distance. Night begins to fall;
a subdued light illumines the principal group.

Small, full-length figures. A sketch, in grays and browns.

Oat panel. Rounded at the top. H. om,3a5; w.

Design for the master's etching of 1642.

The British Museum Print Room owns a drawing for this composition in chalk, Indian ink and
oil-colour. This sheet was so often altered by cutting away the parts with which the master was
dissatisfied, that it now consists of sixteen separate pieces of paper. Reproduced in Lippmann s work,
n° io3. There is another rough sketch in pen and ink at the Staedel Institute, Frankfort.

Etched by Bernard Picart in Les Impostures innocentes.

Engraved by J. B. Jackson, by J. Burnet, and by Freeman in Jones’ National Gallery.

Smith, nc 96; Vosmaer, pp. 282, 544; Bode, pp. 432, 583, n° 170; Dutuit, p. 32, n 8j,
Wurzbach, n° 123; Michel, pp. 298, 556.

Waagen, Art Treasures , I, p. 353.

J. de Barry Collection, Amsterdam (according to the inscription on Picart’s print); sold in 1759.
Sir Joshua Reynolds’ Collection; bought by Sir George Beaumont, and presented by him in 1826

to the

National Gallery, London. (N° in Catalogue, 43.)

80 —

:aml weeping at< la enling beneath the cros: )n the left;
it. Between them n • -i of the malefactors, who are

THE TOILETTE OF BATHSHEBA
AFTER THE BATH

(BARON STEENGRACHT VAN DUIVENVOORDE’S COLLECTION, THE HAGUE)

246

THE TOILETTE OF BATHSHEBA AFTEB THE BATH

(1IARON STEENGRACHT VAN DUIVENVOORDES COLLECTION, THE HAGUE)

Batlisheba is seated, naked, on a stone balustrade covered with an Eastern rug
beside some steps leading down into a bath. She supports herself with her right
hand, pressing her left against her breast; her white chemise lies across her right thigh.
A. negress with a many-coloured head-cloth and broad bracelets, standing in the
shadow behind her, combs her long fair hair, and an old woman in a dark violet dress,
with a yellowish liead-cloth and a hlack hood, crouches on the ground, trimming her
toe-nails. Batlisheba’ s garments (a heavy mantle of gold brocade with ermine lining,
and a bluish green gown) lie under and behind her. Beside her on the right, a silver
bowl with a gold ewer and chain in it. A pair of peacocks in the foreground on the
right. Dark background on the right, apparently a kind of grotto. In the penumbra
on the left, King David’s palace, from the roof of which the King looks down at the
bather. The towers of Jerusalem are indicated in the distance.

Small full-length figures.

Signed on the steps to the left : Rembrandt ft. 1643.

Oak panel. H. om,Gu; w. o'",8i.

Engraved by J. M. Moyrenu, jun., by Smith, by Barnet, and by Legrand in the Poullain Gallery.
Etched by W. Skeling in van Someren’s Oude Kunsl in Nederland.

Exhibited at Amsterdam, 1898.

Smith, „• 33; Vosmaer, pp. n5o, 53a; Bode, pp. 45., 559, n" .6; Dutuit, P. 54, n" 28; Wurzbach,
n“ 35 1 ; Michel, pp. 3oi, 565.

Willem Six Collection, Amsterdam, 1734, sold to Hoogenbergh (Hoet, I. p. 4 >3).

Van Zwieten Collection, The Hague, 174* (Hoet, II, p- 21).

Count Brulil’s Collection, Dresden (according to Wurzbach).

Poullain Collection, Paris, 1780.

Le Brun Collection, Paris, 1791.

A. de la Ilante Collection, Paris, i8i4; bought by Geddies.

Sir Thomas Lawrence’s Collection, London, i83o.

J. G. Vernon’s Collection, London, i83i.

Thomas Emmerson’s Collection, London, i832, bought b> Phillips.

Heris Collection (Colonel de Bii’e, Brussels), Paris, 1841 •

Baron Steengracht van Duivenvoorde s Collection, 1 he Hague*

— 82 —

.I1 I . I • I " ■

THE WOMAN TAKEN IN ADULTERY

(NATIONAL GALLERY, LONDON)

THE WOMAN TAKEN IN ADULTERY

(NATIONAL GALLERY, LONDON)

Jesus stands in the middle distance, in front of some low steps in the lofty vaulted
Temple of Jerusalem, accompanied by several of his disciples. He looks down at the
weeping woman kneeling before him on the right, who has been brought to him by
a group of priests and Pharisees. He is bare-headed and bare-looted, and wears a long
plain robe with wide sleeves; the woman is dressed in a magnificent red gown with
a lone1 mantle of gold tissue, the train of which is seized by a man-at-arms in armour.

O o '

A bearded priest in a long cymar with a hood raises her veil with his left hand, and
makes an expressive gesture with his right, apostrophising the Saviour. A second
priest, also bearded, stands beside him on the right, and awaits Christ’s reply with
keen attention. To the right ol Jesus stand two disciples; in the foreground on the
right, two old men in Oriental dress, seen almost from behind. A group ol many
figures passes up the steps in the background towards the High Priest’s throne, in
front of which stand two short gold pillars. A bright light falls from above on the
left on the principal group, leaving the rest of the building in mysterious shadow.

Small full-length figures.

Signed below on a step : Rembrandt [ 1644.

Oak panel. Rounded at the top. H.

w. o“,6'|.

.J.

Johannes de Renialme, art-dealer at Amsterdam, at his death in 1657 owned “ het vroutge in
overspel ” by Rembrandt. It was the first item on the inventory, and was valued by the assessors Adam
Camerarius, painter, and Martin Kretzer, collector, at i5oo gulden, the highest valuation given to anything
in the collection.

Engraved by J. Burnet, by G. 11. Phillips (1 835) and by W. T. Frey in Jones’ National Gallery.

Smith, n" 1 12; Vosmaer, pp. 208, 535; Bode, pp. 474, 583, n° 171 ; Dutuit,p. 3a, n° 69; Wurzbach,
n° 122 ; Michel, pp. 3oa, 556.

Waagen, Art Treasures , 1, p. 352.

Painted for Jan Six of Vromade.

Willem Six Collection, Amsterdam, 1734 (Hoet, I, p. 411)-

J. Hellinx Collection, Amsterdam, 1778, bought by Wibbels(i).

Coders Collection, Amsterdam, bought by Lafontainc in i8o3.

Angerstein Collection, London, from 1807. Bought with the rest of this collection in 1824 for the

National Gallery, London. (N° in Catalogue, 45-)

1. According lo Vosmaer, p. 535. J. Six, Oud Holland XI, p. i55, declares the picture to have remained in the Six family

1734 to i8o3.

'

lie is ban- headed and bare-footed, and « ea lung

'

248

THE ANGEL

TO FLEE

WARNS JOSEPH
INTO EGYPT

(ROYAL GALLERY, BERLIN)

248

THE ANGEL WARNS JOSEPH TO FLEE INTO EGYPT

(ROYAL GALLERY, BERLIN)

Mary lies asleep in the stable at Bethlehem, her arm round the sleeping Child.
In the middle of the picture, more in the background, Joseph, who has fallen asleep in
a sitting position, his head resting on his right hand. The angel, approaching him
from above on the right, in a radiant white garment, lays a hand on his shoulder,
exhorting him to flee into Egypt. On the extreme left a door, to the right the head of
a cow. The supernatural light that breaks into the stable from above radiates from
the angel and spreads itself over the Virgin and Child.

Small full-length figures.

Signed below in the middle : Rembrandt f. 1645-

Panel of some unknown foreign wood. H. on,,ao; w. om,27.

Companion picture to n° 249-

Professor Elders of Gottingen owns a hasty pen-drawing for this picture.

Engraved by Hess.

Smith, n" 71; Vosmaer, pp. 262, 53^; Bode, pp. 47^, 062, n°35; Dutuit, p. 20, n° 54; Wurzbach,
n° 24; Michel, pp. 3oo, 55i.

Removed in i83o from the Royal Palace at Potsdam to the
Royal Gallery, Berlin. (N° in Catalogue, 806.)

— 86 —

, |{ -llik-l li 1 lit* ■ ■ • -!<••■: -ingf Child.

e, more in the backgrt

on -his right hand. The angel, appn

249

THE BLIND TO BIT DISCOVERS HIS WIFE’S
THEFT OF THE GOAT

(ROYAL GALLERY, BERLIN)

249

THE BLIND TOBIT DISCOVEBS HIS WIFE’S
THEFT OF THE GOAT

(ROYAL GALLERY, BERLIN I

In a humble room, into which the full light of evening falls from a high open
window on the left, the blind and aged Tobit sits on the further side of a fire burning
on the floor. He holds his stick in his left hand, and raises his right, reproaching his
wife, who stands beside him on the left dressed in black and with a heavy head-cloth,
for the theft of the goat she holds with her left hand. A bed in the dark background
on the right; jars and household utensils in a hollow in the wall near the window.

Small full-length figures.

Signed below on the right : Rembrandt /'. 1645.

Panel of some unknown foreign wood. II. o,n,ao; w, o'", 37.

Companion picture to nu 248.

Pen drawing in the Albertina at Vienna.

Smith, n° 5i; Vosmaer, pp. 262, 537: Bode, pp. 475, 062, n° 34; Dutuit, p. 25, n° 4i : Wurzbach,
n° 20; Michel, pp. 3oi, 55i.

Removed in i83o from the Royal Palace at Potsdam to the
Royal Gallery, Berlin. (N° in Catalogue, 8o5.)

— 88 —

ND TOUT DISCOVERS HIS WIFI 'S

THEFT OF THE GOAT

left, ihe blind and aged Tobit sits on the further side of a fir burning

■

THE HOLY FAMILY

KNOWN AS “ THE CRADLE "

(MR. A. R. BOUGHTON KNIGHT’S COLLECTION, DOWNTON CASTLE)

250

THE HOLY FAMILY

KNOWN AS “ THE CRADLE ”

(MR. A. R. BOUGHTON KNIGHT S COLLECTION, DOWNTON CASTLE)

Two women are seated in a large, plain room, lighted by a candle. One of them,
the Virgin, seen from behind, and hiding the light with her figure, reads from a large
book she holds in her hands. Near her to the left, a cradle with the child; and behind
it, St. Anne, who is falling asleep with the string of the cradle in her hand. Her
shadow is seen in a large silhouette against the wall. To the left is a staircase leading
to the higher rooms of the house; beneath it, Joseph’s figure is discernible in the
penumbra. To the right, in front of a closed window, a large table with household
utensils. Near the cradle a spinning-wheel.

Small, full-length figures.

Painted about 1644-

Oak panel. H. o",6o; w. o'", 77.

Several old copies of this picture exist.

Engraved by Guttenberg, in the Orleans Gallery , and scraped in mezzotint by Mac Ardell.

Etched by Denon.

Exhibited in the British Gallery, London, i8i5, and in the Royal Academy, 1882.

Smith, n‘ 45; Bode, pp. 474, 58o, n" i53; Dutuit, p. 43, n" 58; Wurzbach, n” l5y; Michel,
pp. 299, 555.

Orleans Gallery, Paris, 1793.

Payne Knight Collection.

Mr. A. R. Boughton Knight’s Collection, Downton Castle, England.

— 90 —

,y., ■ ■ ■

III;

251

THE HOLY FAMILY WITH THE ANGELS

(THE HERMITAGE, ST. PETERSBURG)

254

the holy family with the angels

(THE HERMITAGE, ST. PETERSBURG)

Mary is seated on a low chair in the foreground of a carpenter’s shop, her left
foot on a footwarmer, a large open book on her arm. She leans to the left to draw
the green curtain back from the cradle and look at the Child, who is asleep under a
red fur-lined coverlet. She wears a crimson dress and a dark blue skirt, a white
head-cloth and a little cap. Behind her in the penumbra, Joseph, in his brown
working-dress, is shaping a yoke with his axe. Angels float downwards from above
on the left, shedding a brillant light on the Virgin and the cradle.

Full-length figures about half the size of life.
Signed below on the left : Rembrandt f . 1645.

Canvas. H. « m, 1 7 ; w. <>“,91.

There is a pen-sketch for this picture in M. Lton Bonnat’s collection, Paris, exhibited in London
in 1899, n" in Catalogue, 17 4. There is also a sketch for the Child in the cradle in the Heseltine Collection,
London, reproduced in Lippmann's work, n" 188 bis. An old copy was for sale in England in 1899.

Engraved by J. Vendramini (l836), and by J. Sanders in outline in F. Labenski’s Description de
l’ Er milage, I, p. 28.

Etched by N. Mossoloff in Les Rembrandt de VErmitage.

Lithographed by II. Robillard in Gohier-Desfontaines and P. Petit's Galerie de VErmitage , I, p. 4-

Smith, n" 72 ; Vosmaer, pp. nfia, 537 ; Bode, pp. 474. $99. n" 3m ; Dutuit, p. 38, n° 5g; Wursbach,
n° 3pi ; Michel, pp. 299, 566.

Waagen, Die Gemaldesammlung der Kaiserlichen Eremitage, 2ded., p. 177.

Adriaen Bout Collection, The Hague, 1733.

Crozat Collection, Paris. Bought by Catherine II in 1771 with the rest of the collection for
The Hermitage, St. Petersburg. (N° in Catalogue, 796.)

— 92 —

/':1m-

252

THE HOLY FAMILY WITH THE CERTAIN

(ROYAL GALLERY, CASSEL)

252

THE HOLY FAMILY WITH THE CURTAIN

(ROYAL GALLERY, CASSEL)

The Virgin is seated on a low chair, pressing the Infant Jesus tenderly against her.
The scene is enframed by a painted border, consisting on the left of a fluted pilaster
and above of a gilded rod, from which hangs a red curtain, drawn back towards the
right. The Child is dressed in red. The Mother wears a dark green gown, and a white
kerchief and cap, the latter trimmed with blue and red ribbons. To the left of her
the cradle, behind her the bed. In the centre a wood-fire, and near it a cat and a pot.
The hut in which the holy family is installed is built among the ruins of a Gothic
edifice, in the courtyard of which Joseph is chopping wood on the right. A bright
light falls from the left upon the Virgin and the centre of the foreground.

Small full-length figures.

Signed below, half-way to the right: Rembrandt ft. 1646.

Oat panel. Rounded at the top. H. oB1,45; w. om,67.

Engraved by W. Oortman (1802) in the Musee frangais.

Etched by W. Unger (1870).

Smith, n° 174; Yosmaer, pp. 264, 54o; Bode, pp. 474? 565, n°56; Dutuit, p. 27, n° 60 ; Wurzbach,
n°48; Michel, pp. 3oo, 552.

According to a manuscript note in Vosmaer’s catalogue of the Willem Lormier Collection, 1752, it
was sold by Lormier to the Electoral Gallery, now the

Royal Gallery, Cassel. (N° in Catalogue, 218.)

94 —

■ I

I

'

THE MARCH OUT
OF FRANS BANNING COCQ’S
COMPANY OF THE CIVIC GUARD

ERRONEOUSLY CALLED “ THE N1GHTWATCH ”

(RIJK.SMUSEUM, AMSTERDAM)

255

THE MARCH OUT OF FRANS FANNING COCQ’S
COMPANY OF THE CIVIC GUARD

ERRONEOUSLY CALLED : “ THE NIGHTWATCH

(RIJK.SMCSEUM, AMSTERDAM)

From the great gate of a massive stone building, from which two or three steps
ead down into the street, the captain, Banning Cocq, with Ids marksmen, advances
:owards the spectator upon a road running by the side of a canal and across a bridge.
He occupies the centre of the foreground, and is dressed in a deep violet costume
with a gold embroidered red scarf. In his gloved right hand lie holds his stick and a
glove; with his outstretched left hand lie emphasises his remarks to Ills lieutenant,
Willem van Ruytenburcli, who marches beside him on Ins right. Ihe lieutenant turns
attentively to Ids captain, holding a halberd in his left hand, and resting his right
upon his hip. He is dressed entirely in yellow, with a white scarf, and bluish white
fringes on the halberd and the edges of his gloves. Behind him on the right, a
marksman dressed in dull red examines his gun, while further on tlienglit, a drummer
in green beats the tattoo. Behind the latter, a slender, elegant young officer, also m
green, gives orders to his neighbour, pointing to the side, and carrying his halberd
reversed over his left shoulder. Over and under his outstretched arm is a group of
several marksmen with long lances. To the left of Banning Cocq, the most striking
figure is that of a marksman in red, pouring powder into his gun. In front of him,
on the extreme left, a boy with a large powder-horn and a helmet runs in front of the
troop, while a little further back a marksman with a halberd, in a gilded helmet and
cuirass, sits upon the wall of the bridge, and looks round at the spectator. Behind
these figures the heads of three other persons are visible. In the centre of the picture,
rising above the others, several other marksmen emerge from the shadow of the
gateway. Conspicuous among them is the standardbearer, who holds up the striped
green and yellow ensign with his right hand. Between these and the two leaders two
Httle girls in light yellowish green garments have thrust themselves; the one most in
the foreground, who lias a fowl slung on her girdle, looks round towards the spec-
tator. A young lad standing astride before them discharges bis gun to the right,
where a marksman visible behind Banning Cocq and Ruytenburcli pushes aside the
stock with liis hand.

-96-

A strong light falls from above on the left on to the principal group of the two
leaders and the foremost of the two little girls, dying away gradually to the left and
right.

There are altogether twenty-nine figures in the picture, seventeen of which are
portraits of marksmen belonging to the second district of Amsterdam, whose names are
inscribed on the shield hanging above to the right of the centre. According to this
they are : Frans Banning Cocq, Heer van Purmerland cn Ilpendam, Capiteyn, —
Willem van Ruytenburch van Vlacrding, Heer van Vlacrdingcn, Leutcnant, — Rombout
Kemp, Sergeant, — Reynicr Engclen, Sergeant, — Barent Harmansen, — Jan Adriaen-
sen Kcyser, — Elbert Willcmsen, — Jan Clasen Leydeckers, — Jan Ockersen, —
Jan Pieterscn Bronchorst, — Herman Jacobsen Wormskcrck, — Jacob Dercksen de

Roy, — Jan van der Hcede, — Schcllingwou, — Jan Brugman, — Claes van

Cruysbcrgen.

Full-length figures, life-size.

Signed to the left of the centre on the step : Rembrandt f. 1G42.

Canvas. II. 3m,65; w. 4m,38.
Original size about II. 3"',87 ; w. 5m,02.

Frans Banning Cocq, horn February 23, iGo5, the son of JanJansz Ivock of Bremen, and Lysheth
Frans Benningcndochtcr, married in iG3o Maria Ovcrlander, heiress of Purmerland and Ilpendam. Member
of the Council in iG3/j and Burgomaster of Amsterdam in i65o. He died there on January i, iG55, without
offspring.

According to a statement made by two of the persons represented, Bronchorst and Cruyshergen,
published in Ond Holland, III, 1 885, p. 91, Rembrandt received 1G00 gulden for this picture, making an
average of 100 gulden for each marksman.

A copy by Gerard Lundens in the London National Gallery (Smith, n° i4o), formerly ascribed to
Rembrandt himself (we give a reproduction below), and a washed drawing in a family-album belonging to
Frans Banning Cocq, the last page of which was fdlcd in iG55 (it is now in the possession of his descendant
Jhr. I), de Graeff van Polsbroek at the Hague), both shew that the picture itself was formerly larger on every
side than at present. On the left in particular a strip about 5o centimetres wide, with two figures beyond
the canal and the head of a child, has been cut away. This was done when the picture was brought from
its former domicile in the great hall of the Kloveniersdoelen to the chamber of the little Council of War
in the Town Hall — now the Royal Palace — and was probably an expedient to adapt the canvas to a space
between two doors.

There is a hasty pen-drawing of the two principal figures in M. Leon Bonnat’s Collection, Paris.

A water-colour drawing by Jacob Cats (1741-1799), in the Wurfbain Collection, Arnheim. A
black chalk drawing by II. Pothovcn (1725-1795), in the R. W. P. deVries Collection, Amsterdam.

Engraved by L. A. Claessens, by J. W. Kaiser, and in outline by Reveil.

Etched by Leopold Flameng, N. Mossoloff, W. Unger, Ch. Waltner, C. L. Dake.

Woodcut by D. J. Sluyten, and in the Nederlandsch Magazijn in 1837; of the two principal figures
only, by Timothy Cole.

! I

Lithograph by A. Mouilleron; by Desguerrois and C°, after a drawing by Clermans; separate heads
by Zimmermann. Chromolithograph by Tresling.

Exhibited at the Rembrandt Exhibition, Amsterdam, 1898.

Schaep, De Schilderijen in de Brie Doelens , i653.

Aenistels Oudheid , VII, pp. iai-i/ji.

S. van Hoogstraaten, Intending tot tie Ilooge Sclioole der Schilderkunst , 1G78, pp. 17G, 3o6.
Baldinucci, Cominciamenlo e Progresso clell' Arte di inlagliare in rame , Firenze, i6(>8, p. 78.

Cf. Emile Michel, Oud Holland, 1890, VIII, pp. 1G2-171.

Jan van Dijk, Kimst- cn historiekundigc Beschrijving ran en aanmerkingen over alle dc Schtlde-

rijen op hct Stadhuis to Amsterdam, 1758.

D. C. Mover, Oud Holland, 1886, IV, pp. 198-211.

D' J. Dvserinck in De Gids, 1890, pp. 235-276, where other recent literature on the subject is

quoted.

Jan Veth, Bijdrage over Rembrandt in Tweemaandelijksch Tijdschrift, 1899, p. 44* • A,so Pu_
blished separately.

Smith, nc i3p; Vosmaer, pp. 2l8-23o, 53o; Bode, pp. Igji et seq., 557, n" I ; Dutuit, p. 3b,
n° 194 ; Wurzbach, n° 332; Michel, pp. 283-292, 564.

Palace,

Painted in 1642 for the great hall of the Kloveniersdoelen, Amsterdam.

Removed in 1715 to the Chamber of the little Council of War in the Town Hall, the present Royal

Removed in 1 81 5 to the Trippenhuis, and from thence in i885 to the new Rijksmuseum. Property
of the city of Amsterdam.

The Rijksmuseum, Amsterdam (N° in Catalogue ol 1887, 1246).

254

REMBRANDT (?) PREPARING TO GO OUT

(ROYAL GALLERY, CASSEL)

REMBRANDT (?) PREPARING TO GO OUT

(ROYAL GALLERY. CASSEL)

A man of about thirty-two, probably Rembrandt himself, standing and facing the
spectator, bis right elbow resting on a pedestal. He has long, light brown hair, a
moustache and a small pointed beard, and is dressed in the black costume of a civilian
of the period : a broad-brimmed hat, a doublet, a short cloak, knee-breeches with
bows, stockings and low shoes, and a simple closely fitting white collar, ilis left
hand is gloved, his right glove has fallen to the ground. He stands in the foreground
of a lobby, near the entrance-door. A strong light from the left illumines the upper
half of his body.

Full-length, life-size.

Signed below on the left : Kembranc/t ft. 1639.

Canvas. II. t "',98 ; w. im,ii

The identity of the sitter with Rembrandt himself has been questioned, but hardly on suflicient

grounds.

Etched by W. Unger and by N. Mossoloff.

Smith, n° 271 ; Vosmacr, pp. 170, 520; Bode, pp. /|55> 566, n° 61; Dutuit, p. 27, n° i5i ;
Wurzbach, n° 49; Michel, pp. 214, 55a.

The inventory of 1749 shews that it was already at that date in the Electoral Gallery, now the
Royal Gallery, Cassel (N° in Catalogue, 217)-

.

’

' 1

255

REMBRANDT IN A FURRED CLOAK
WITH A DOUBLE GOLD CHAIN

(THE DUKE OF BEDFORD'S COLLECTION, WOBURN ABBEY)

255

REMBRANDT IN A FURRED CLOAK
WITH A DOUBLE GOLD CHAIN

(THE DUKE OF BEDFORD'S COLLECTION, WOBURN ABBEY)

Standing, turned half-way to the right, and looking at the spectator, his left hand
grasping the^urred cloak he wears over a dark hrown doublet with a high fur collar.
He has a small moustache, and wears a cap of dark brown fur on his brown hair. A
long gold chain with a medallion passes twice round his neck, and falls on Ins
breast! A moderate light falls from in front on the left on to his right cheek. Rather
a light background of uniform brown.

Half-length, life-size.
Painted about i638.

Canvas. H. w. om,-ji5.

Smith, n°2i4; Vosmaer, p. 5*3; Bode, pp. »-*G6; Dutuit, p. 43, »• .43; Wurzbach.

n° 1 5/» ; Michel, p. 55g.

Waagen, Art Treasures , 111, p. 465; IV, p. 335.

Presented to Charles I. of England by Lord Ancrum.

In the possession of the Dukes of Bedford since 1748.

The Duke of Bedford’s Collection, Woburn Abbey, England.

(N1 88 in Catalogue of 1897.)

102

Canvat. H- " ■ **

... U M v ■' l-.n : ' s‘

256

REMBRANDT LEANING ON A STONE SILL

(NATIONAL GALLERY, LONDON)

256

REMBRANDT LEANING ON A STONE SILL

(NATIONAL GALLERY, LONDON)

He stands behind a low wall or balustrade leaning liis right arm on the ledge,
turning half-way to the right, and looking at the spectator. He has curly brown hair,
a short moustache, and an imperial. On his head he wears a dark flat velvet cap. A
dark full cloak with striped sleeves and fur trimming is open in front over a doublet
cut out at the breast and shewing a finely pleated shirt. His right hand rests on the
sill. A strong light comes from above on the left. The dark background is lighted
up below on the right.

Half-length, life-size.

Signed on the right of the ledge : Rembrandt ft. 1640 conterfeyct.

Canvas. II. o^g^S; w. om,7g.

Etched by N. Mossoloff, and by Ch. Waltner.

Vosmaer, pp. 2o5, 5a3; Bode, pp. 468, 583, n° 170; Dutuit, p. 32, n° 102; Wurzbach, n" 126;
Michel, pp. 270, 556.

Waagen, Art Treasures , I, p. 354-

General Dupont's Collection, Paris. Bought from his heirs, Messieurs de Richemont, in 1861,

for the

National Gallery, London. (N° in Catalogue, 672.)

104 —

.

»•* from above on the left. Th< lai bac^ro . 1 I', >1

257

REMBRANDT IN A RED CAP

(COLLECTION OF H. R. H. THE GRIND DURE OF SAXONY- WEIMAR, WEIMAR)

237

REMBRANDT IN A RED CAP

(COLLECTION OF H. R. H. THE GRAND DURE OF SAXONY -WEIMAR, WEIMAR)

Almost full face, looking at the spectator. He lias gray blue eyes, short, crisp
brown hair, a small moustache and imperial, and a fresh florid complexion. He wears
a red cap. a brown fur-trimmed cloak, and under it, just visible at the breast, a dull
cherry-red slashed doublet, which shews a plain turn-down shirt collar edged with
narrow lace. Across the breast, a double gold chain. A bright light falls on the face
from above on the left. Dark, greenish gray background.

Bust, life-size, the hands not seen.

Signed on the left above the shoulder : Rembrandt f. 1643.

Canvas. H. om,6i; w. om,48.

Lithographed by Delpech in 1823.

Engraved in outline by A. L. Zeelander in the Gallery of King William II. of Holland.

Exhibited at Amsterdam in 1867 and 1898, and in the Royal Gallery at the Hague in 1894-

Smith, n" 216; Vosmaer, pp. 258, 534; Bode, pp. 455, 55g, n"i5; Dutuit, p. 53, n" t53; Wurzbach,
n°343; Michel, p. 565.

Sold by Smith in Paris in 1823 to a Brussels dealer.

Collection of the Prince of Orange, afterwards William [1. of Holland, The Hague, i85o.

Collection of Prince Henry of the Netherlands, The Hague.

Collection of H. R. II. the Grand-Duchess of Saxony, The Hague, afterwards at Weimar.
Collection of II. R. fl. the Grand Duke of Saxony-Weimar, Weimar.

I06

ft

in| "■

amed clo .••«! umlo- ii. r

258

REMBRANDT IN A SMALL CAP
AND WITH PEARL EARRINGS

(GRAND-DUCAL GALLERY, CARLSRUHE)

258

REMBRANDT IN A SMALL CAP
AND WITH PEARL EARRINGS

(GRAND-DUCAL GALLERY, CARLSRUHE)

Standing, turning to the right and looking at the spectator. He wears over his
short crisp hair a small dark brown cap trimmed with gold, earrings with a pearl, a
dull red cloak over a greenish brown coat ornamented with three gold stripes, and
shewing a dull white puffed silk shirt at the top. He holds his right hand before his
breast under his cloak. A strong light falls on to the right side of his face.

Bust, life-size.

Signed below on the right : Re...
Painted about i643-i6/|5.

Oak panel. H. om,7a; w. o“,5g.
Originally, an oval. II. om,685; w. om,565.

Exhibited at Amsterdam in 1898.

Vosmaer, p. 499; Bode, pp. 498, 56a, n" 54; Dutuit, p. 26, n- i55; Wurzbach, n" 95; Michel
pp. 3o8, 552.

Grand-Ducal Gallery, Carlsruhe. (NQ in Catalogue of 1894, 238.)

I08

.'/•'I • • • ' I

.

259

REMBRANDT SEATED
HOLDING A SHORT SWORD
IN A RED SHEATH

(CAPTAIN HOLFORD’S COLLECTION, DORCHESTER HOUSE, LONDON)

259

REMBRANDT SEATED

HOLDING A SHORT SWORD IN A RED SHEATH

(CAPTAIN HOLFORD'S COLLECTION, DORCHESTER HOUSE, LONDON)

Seated in an arm-chair, facing and looking at the spectator, but turned slightly
to the right. He rests his left arm on the arm of the chair; in his right hand he holds a
broad sword in a red sheath richly encrusted with silver against his left arm. His
curly dark brown hair, falling on to his shoulders on either side of his face, is crowned
liy a dark violet cap with a gold chain . Blue eyes, a short fair moustache and imperial.
A dark mantle which hangs from his right shoulder shews beneath it a dark violet
doublet, and beneath this again, a gray silk shirt, daintily pleated at the neck and
wrists. A gold chain with a large pendant hangs from his shoulder across Ins

breast.

Half-length, life-size.

Signed on the right on a level with the breast : Rembrandt ft. 1644.

Canvas. H. im,o2; w. om,855.

Scraped in mezzotint by J. G. Haid in 1760.

Exhibited at the Royal Academy, London, 1894, 1899, and at Amsterdam in 1898.

Smith, n- 458; Vosmaer, pp. 36,, 564; Dutuit, pp. 45, 58, n- 343; Wurzbach, n^gl.
Waagen, Art Treasures , II, p. 200.

Henry Isaac Collection, England, 1765. .

Captain Holford's Collection, Dorchester House, London (formerly at Westonbir ).

'

Heliogravure Lemc

260

REMBRANDT WITH SHORT HAIR
IN A BROAD FLAT CAP

(THE DURE OF LEUCHTENBERG'S COLLECTION, ST. PETERSBURG)

260

REMBRANDT WITH SHORT HAIR
IN A BROAD FLAT CAP

(THE DUKE OF LEUCHTENBERG'S COLLECTION, ST. PETERSBURG)

Standing, almost full face, looking at the spectator. He has a short moustache,
and wears a black cap and a black fur-trimmed cloak, fastened across the breast, and
shewing only a small piece of the shirt at the throat. A double gold chain hangs across
his breast and shoulders. The vigorous face is fresh and florid in colour. A strong
light from the left plays over the head.

Half-length, life-size.

Painted about i645.

Oak panel. H. om,7 1 ; w. om,5y.

Etched in outline by J. N. Muxel in the Leuchtenberg Gallery (i85i), n° 1 47 •

Vosmaer, p. 544; Dutuit, p. 54, n° 1 58 ; Wurzbach, n°424; Michel, p. 56^.

Collection of the Duke of Leuchtenberg, formerly in Munich, now exhibited in the Gallery
of the Imperial Academy of Arts, St. Petersburg.

Heliogravure’ Heuse

261

REMBRANDT IN A WIDE CAP
HIS LEFT HAND ON HIS CLOAK

(BUCKINGHAM PALACE, LONDON)

264

REMBRANDT IN A WIDE CAP
HIS LEFT HAND ON HIS CLOAK

(BUCKINGHAM PALACE, LONDON)

Seated, turned half-way to the right, his face turned to the spectator. The left
hand, only a portion of which is visible, is thrust into the breast of his coat. Over his
short brown hair he wears a wide dark cap. He has a short moustache with upturned
ends, and an imperial. A gold ring in his ear. A black cloak, held together by two
gold chains, hangs over a slashed dull red doublet with a high collar. A strong light
falls on to the face from the left. Dark brown background.

Bust, life-size.

Signed on the right on a level with the shoulder : Rembrandt f. 164. (the last number under the

frame).

Painted about 1646.

Oak panel. H. w. om,5']5.

Exhibited in London at the British Gallery, 1826, 1827, and at the Royal Academy in 1899.

Smith, n° 200; Vosmaer, pp. 5i5, 53a; Bode, pp. 498, 585, n« 187; Dutuit, p. 33, n« i54; Wurz-
bach, n° 137; Michel, pp. 3o3, 556.

Waagen, Art Treasures , II, p. 5.

Baring Collection, London.

Collection of H. M. the Queen of England, Buckingham Palace, London. (N“ in Cata-
logue, 174).

— n4 —

Oii ptacl. H. o*,6j4; v. o9,5'ji.

262

PORTRAIT OF REMRRANDT’S MOTHER
HER HANDS ON THE CROOK OF A STICK

(IMPERIAL GALLERY, VIENNA)

262

PORTRAIT OF REMRRANDT’S MOTHER
HER HANDS ON THE CROOK OF A STICK

(IMPERIAL GALLERY, VIENNA)

She is standing, almost full face to the spectator, resting’ her hands on the crook
of a stick; her head is slightly inclined to one side, her toothless mouth a little open.
A while cloth is bound round her head; over it she wears a full, reddish brown velvet
hood, edged with fringe, which falls upon her shoulders. Over the black under-dress,
which is cut away at the throat, shewing the closely fitting, finely pleated chemi-
sette, hangs a velvet mantle trimmed with brown fur, held together across the breast
by a large gold clasp. A strong light falls on the face and breast from above on
the left.

Half-length, life-size.

Signed below on the left : Rembrandt f. 1639.

Oak panel. Oval. H. om,8o; w. om,62.

Engraved by F. John, by J. Eissner (in Perger’s Work on the Vienna Gallery) and by W. French.
Etched by W. Unger.

Smith, n° 56i ; Vosmaer, pp. 202, 520 ; Bode, pp. 4^9, 575, n° 126 ; Dutuit, p. 34, n° 121 ; Wurzbach,
n° 36p ; Michel, pp. 263, 56o.

Mechel’s Catalogue of 1783 shews it to have been already in the Imperial collections at that date.
Now in the

Imperial Gallery, Vienna. (N° in Catalogue of 1896, 1273).

16 —

■

■

265

AN OLD WOMAN
HER HANDS CLASPED OVER
A PAIR OF SPECTACLES
ON A ROOK IN HER LAP

(THE HERMITAGE, ST. PETERSBURG)

263

AN OLD WOMAN

HER HANDS CLASPED OYER A PAIR OF SPECTACLES
ON A BOOK IN HER LAP

(THE HERMITAGE, ST. PETERSBURG)

A woman of about fifty-six, seated to the right, looking at the spectator, her hands
clasped over a large book on her lap; she holds a pair of spectacles between the fingers
of her left hand. Over her dull lilac satin gown, beneath which a white chemisette
shews at the throat, she wears a heavy black velvet mantle, bordered with a gold
embroidery, and held together by a large gold clasp. On her head, a dark crimson
hood, falling on to her shoulders. To the right, a table with a dull green cover, and
on it a painted wooden howl, a black girdle, and a stick. Above these, on the wall, a
little hand-basket. A strong light falls from the left on the face and hands. Dark
background, lighted up on the right.

The figure almost full-length, rather less than life-size.

Signed on the right, above the basket : Rembrandt f. i643.

Oak panel. H. om,6i; w. nm,49-

There is a drawing in black chalk for this picture in the collection of drawings made by Friedrich
August II. at Dresden. Reproduced by Lippmann, n° i4o b.

Etched by G. F. Schmidt, by N. Mossoloff in Les Rembrandt de V Er milage , and again on a larger

Lithographed by Dollet in Gohier-Desfontaines and P. Petit’s Galerie de FErmitage , I, part 8.

Smith, n" 49*» 5 iq ; Vosmaer, p. 533; Bode, pp- 46o, 6oi, n#33i; Dutuit, p, 38, n 122, Wurz-
bach, n°42o; Michel, pp. 3o6, 566.

Julienne Collection, Paris, 1767 (?). Bought by Catherine II for
The Hermitage, St. Petersburg. (N° in Catalogue, 807').

. Cf. note in Catalogue for the doubtful origin of this picture.

■

.

SASKIA STANDING
AND HOLDING OUT A PINK

(ROYAL GALLERY, DRESDEN)

264

SASKIA STANDING AND HOLDING OUT A PINK

(ROYAL GALLERY, DRESDEN)

She stands facing the spectator, and looking at him with smiling brown eyes, her
head slightly inclined to the left, her left hand upon her breast, her right extended,
holding out a red flower. A second blossom lies on the low stone wall to the left of
her. Her brown hair falls in short curls on her forehead, and in long locks on her
shoulders. Over her full short-sleeved crimson gown, a transparent brown gauze scarf
is wound from her right shoulder to her left hip. The half open bodice is cut out at
the throat, shewing the daintily pleated chemisette, which she presses against her
breast with her left hand. A cloak is slipping from over her left arm. Her ornaments
consist of a narrow diadem, pearl earrings, a pearl and coral necklace with a brooch, a
double gold chain slung round her body, and two bracelets on her left arm. A bright
light falls on the figure from above on the left. Dark background.

Three-quarters length, life-size.

Signed below on the left : Rembrandt f . 4644.

Oak panel. H. om,985; w. om,825.

Etched in 1781, and again by A. H. Riedel, and W- Unger.

Lithographed by Hanfstaengl.

Engraved by D. J. Pound, and by A. Schultheiss in i885.

Smith, n" 574; Vosmaer, pp.209, 527; Bode, pp. 456, 56g, n”84; Dutuit, p. 28, n“ i83; Wurzbach.
n° 83; Michel, pp. 297, 553.

Van Zvvieten Collection, The Hague, 1 74 1 (Hoet II, p. 21, n i3i).

Araignon Collection, Paris, from which it was bought in 1742 for the Electoral Gallery, now the
Royal Gallery, Dresden. (N° in Catalogue, i562).

20

SASKIA IN A HIGH HEAD-DRESS
HER LEFT HAND ON HER BREAST

(ROYAL GALLERY, BERLIN)

265

SASKIA IN A HIGH HEAD-DRESS
HER LEFT HAND ON HER RREAST

(ROYAL GALLERY, BERLIN)

Full face, turned slightly to the left, looking at the spectator. She has blue eyes,
and closely compressed red lips. With her left hand she holds together across her
breast the dark mantle which hangs over her right shoulder. On her loose light brown
hair, which falls over her shoulders, she wears at the hack of her head a wide fur cap
ornamented with a string of pearls, which is fastened by a clasp. The open, pleated
chemisette leaves the throat hare, displaying a pearl necklace with a broad clasp. The
dress, cut out over the breast, is of yellow brocade, and has short wide sleeves of dull
red, beneath which are the pleated sleeves of the chemisette. Across her breast she
wears a twisted gold chain, the clasp of which holds the mantle on to the left shoulder.
A full light falls from the left on to the face and throat. Dark background.

Bust, life-size.

Signed on the right above the shoulder : Rembrandt f. 1643.

Mahogany panel. H. om,^2; w. o“,58.

Etched by W. Unger in the Berlin Gallery.

Smith, n° 5^0; Vosmaer, pp. 209, 53i ; B6de, pp. 456, 563, n° 38; Dutuit, p. 25, n° 184 ; Wurzbach,
n° 3o; Michel, pp. 3o3, 55 1.

Removed from the Royal Palace at Potsdam in i83o to the
Royal Gallery, Berlin. (N° in Catalogue, 812).

122

- - fiei

A YOUNG MAN BY A PILLAR
HOLDING A PLUMED CAP IN IIIS HAND

(MR. H. O. HAVEMEYER'S COLLECTION, NEW YORK)

266

A YOUNG MAN BY A PILLAR
HOLDING A PLUMED CAP IN HIS HAND

(MR. H. O. IIAVEMEYERS COLLECTION, NEW YORK)

A man of about thirty, standing to the right in front of a pillar and a grayish
green curtain, turning slightly to the right, and looking at the spectator. In his
right hand he holds a dark cap with a red feather before his breast, while with
his outstretched left hand lie makes an expressive gesture, lie has curly brown
hair, and a very slight moustache and imperial. Over his dark violet doublet
with’ wide sleeves he wears a steel gorget and a short dark green mantle thrown
back over his shoulder. In the foreground to the left is the back of a chair
covered with red. A strong light falls from the left on the right side of the
face, the upper part of the body, and the right hand. Dark background, lighted
up round the head.

Three-quarters length, life-size.

There seems to be a signature below on the right.

Painted about i643.

Canvas. H. i“,i6; w. o'”, 96.

Companion picture to n° 267.

Vosmaer, pp. a55, 534; Bode, pp. 458, 469, 098, n‘ 3o8 ; Dutuit, p. 5a, n‘ 3o, ; Wur.bach, n* 3;
Michel, p. 562.

Baron de Seilliere’s Collection, Paris.

Princesse de Sagan’s Collection, Paris.

Mr. H. O. Havemeyer’s Collection, New "York.

— 124 —

I

I

i "ctator. In

■

A YOUNG WOMAN

RESTING HER RIGHT HAND WITH A
ON THE RACK OF A CII4IR

(MR. H. O. HAVEMEYER’S COLLECTION, NEW YORK)

267

A YOUNG WOMAN

RESTING HER RIGHT HAND WITH A FAN
ON THE BACK OF A CHAIR

(MR. H. 0. HAVEMEYER S COLLECTION, NEW YORK)

I

Standing, facing the spectator, holding her left hand against her hotly, and a
fan in her outstretched right hand, which rests on the hack o a chan. Her wavy
brown hair falls loosely on either side of her face, and ts held together at the
hack 'of her head hy a 'golden clasp. She has hrown eyes, and wears nch earr.ngs
a double row of large pearls round her neck, and four rows of pearls round each
wrist A deep purplish red robe, held together by a gold cham and a large go
Lp hangs over her dark green dress, which shews a finely pleated yellow, sh s, Ik
chemisette^ the breast. A full light falls on the face from in front. Undorm tar

background.

Three-quarters length, life-size.

Signed on the left upon the back of the chair

Rembrandt f. 1643-

Canvas. II. im,i6; w. om,96.

i,

Companion picture to n° 266.

Vosmaer, pp. a55, 534; Bode, pp. 458, 469. 598, n" 3n9;
Michel, p. 562.

Dutuit, p. 5a, n° 3o2 ; Wurzbach, n' 3m

Baron de Seilliere’s Collection, Paris.

Princessede Sagan’s Collection, Paris.

Mr. H. O. Havemeyer’s Collection, New \ork.

— 126 —

.

THE FALCONER

(DUKE OF WESTMINSTER'S COLLECTION, LONDON)

268

THE FALCONER

(DUKE OF WESTMINSTER'S COLLECTION, LONDON)

A man of about eight and twenty, standing at the foot of a flight of steps
turning to the right and looking round at the spectator. He points to the right with
his right hand, and holds a falcon on his (unseen) left hand. Over his long curly
fair hair he wears a hlack velvet cap. He has dark eyes, and a very slight moustache
and imperial, and wears a dark yellowish green doublet with very wide slashed
sleeves, and over it a short dark cloak, thrown back over his shoulder. Round his
neck is a variegated neckcloth, above which the edge of his pleated shirt is visible.
A hunting-poucli with metal fittings hangs from a heavy gold chain which is slung
from his left shoulder and passes under his left arm. A bright light from the left
illumines the figure. To the right, pcnlimenli in the painting of the falcon are now
noticeable. The bird was placed originally on the first finger of the right hand, also
re-painted, and was about to fly off to the left. Above, there are also traces of a
painted frame, simulating a flat arch.

Nearly three-quarters length, life-size.

Signed below to the left on the balustrade of the steps : Rembrandt f. 1643.

Canvas. H. i“,i3; w. o'", 97.

Companion picture to n° 269.

Exhibited at the Royal Academy, London, 1890, 1899; at Amsterdam in 1898.

Smith, n° 294; Vosmaer, pp. 256, 534; Bode, pp. 458, 5po, n° 241; Dutuit, p. 49, n° 299;
Wurzbach, n°26i; Michel, p. 246.

Waagen, Art Treasures , II, p. 166.

Grandpre Collection, Paris, 1809 (withdrawn at the sale).

Duke of Westminster’s Collection, Grosvenor House, London.

— 128 —

■ 1 [ A i ■:•:<') xr:ii

THE FALCONER S WIFE

(DUKE OF WESTMINSTER’S COLLECTION, LONDON)

269

THE FALCONER’S WIFE

(DURE OF WESTMINSTER’S COLLECTION, LONDON)

Standing, facing and looking at the spectator, but turning slightly to the left. She
holds a half open fan in her hands, which are clasped in front of her. Her light brown
wavy hair falls loosely on either side of her face and is confined at the back by a dark
cap ornamented with interlacing bands of gold and a red feather, fastened in with a
gold ornament. She wears a pear-shaped pearl in each ear, and others suspended from
her pearl necklace and her brooch. A mantle of red brocade trimmed with fur hangs
over the left shoulder, shewing only the slashed lilac sleeves and the dark green stoma-
cher of the gown, which is cut away at the throat over a finely pleated chemisette.
The wide pleated sleeves of the chemisette, and double rows of pearls are visible above
the wrists. The mantle is held together by a long gold chain. Behind the sitter is a
table with a dark red cover. A bright light from the left falls on the face, breast and
hands. Dark background, originally rounded at the top.

Nearly three-quarters length, life-size.

Signed on the right, halfway up the canvas : Rembrandt f. 1643.

Canvas. H. im, 1 3 ; w. o'", 97.

Companion picture to n°_268.

Exhibited at the Royal Academy, London, 1895, and 1899; at Amsterdam 1898.

Smith, n" 534; Vosmaer, pp. 256, 534; Bode, pp. 458, 590, n° 242; Dutuit, p. 49. n“ 3o°
Wurzbach, n° 262; Michel, p. 246.

Waagen, Art Treasures , II, p. 166.

Grandpre Collection, Paris, 1809 (withdrawn at the sale).

Duke of Westminster’s Collection, Grosvenor House, London.

i3o —

A YOUNG MAN IN A STEEL GORGET
AND A CAP WITH A BLUE FEATHER

(ROYAL GALLERY, DRESDEN)

270

A YOUNG MAN IN A STEEL GORGET
AND A CAP WITH A BLUE FEATHER

(ROYAL GALLERY, DRESDEN)

Standing, turned slightly to the right, and looking in the same direction. His left
hand seems to be resting on his hip under his cloak, his gloved right hand is
laid on his breast. He has dark brown moustaches and hair, and wears a dark plumed
cap, a steel gorget, and a dark cloak, held together in front by a gold chain. A bright
light falls from the left on to the right side of the face. Brown background.

Half-length, life-size.

Signed above on the right : Rembrandt f. 1643-

Canvas. H. om,765; w.

Etched by C. G. Schultze in 1767 and 1769, by A. Riedel in i755, by J. G. Hertel, and P. Tanje.

Smith, n“394, 444, 452; Vosmaer, p. 534; Bode, pp. 468, 569, n- 86; Dutuit, p. 29, n‘ 298;
Wurzbach, n° 77; Michel, pp. 307, 553.

Mentioned in the Guarienti inventory (drawn up before 1753) of the Electoral Gallery, now the
Royal Gallery, Dresden. (N" in Catalogue, t565).

— i3a —

■

.

bove on the right : lit brti ; - -'$•

A MAN IN A STEEL GORGET
AND A WIDE CAP
WITH OUTSTRETCHED HAND

(HERR ADOLF THIEM’S COLLECTION, SAN REMO)

274

A MAN IN A STEEL GORGET AND A WIDE CAP
WITH OUTSTRETCHED HAND

(HERR ADOLF THIEM'S COLLECTION, SAN REMO)

A man of about forty, standing, facing the spectator, his right hand outstretched.
With his gloved left hand he holds the black cloak that hangs over his left shoulder
against his breast. On his curly brown hair he wears a broad dark cap. Dark
moustache and pointed beard. Round his neck a steel gorget. He wears a black
velvet coat slashed across the breast. A full light falls from in front on the left of the
figure. Dark background, lighted up on the right.

Half-length, life-size.

Signed below on the left : Rembrandt f. iS44.

Canvas. H. om,9i ; w. om,rj^.

Formerly known by the wholly unaccountable title ol « Le Constable de Bourbon ».

Etched by C. Koepping.

Exhibited at the British Gallery, 1821, at Berlin, 1890, 1896.

Smith, n- 3oo; Vosmaer, p. 536; Bode, pp. 495, 598, n* 3.3; Dutuit, p. 53, n"3o6; Wurzbach,
n° 328; Michel, pp. 3o3, 554-

Lord Radstock’s Collection, London, 1826.

Lady Ailesburys Collection, London, 1881.

M. Ch. Sedelmeyer’s Collection, Paris.

M. E. Secretan’s Collection, Paris.

Herr Adolf Thiem’s Collection, San Reino (formerly at Berlin).

1 34 —

JHRTiFV ADOtV THIEM'S COLLECTION, RAN REMO)

eft hand h holds the black cloak that liao ' *houl.i r

Vosmaer. p. 536; 8. ?P- 4g5, Sgl. 3i>t Duluil' P ®< “ **■ Wurab*ohl

271

272

A YOUNG MAN

RISING FROM A WRITING-TARLE

(EARL GOWPER'S COLLECTION, PANSHANGER)

272

A YOUNG MAN RISING FROM A WRITING-TARLE

(EARL COWPER’S COLLECTION, PANSHANGER)

A young man rises from his seat behind a table covered with a black and red
Turkish rug and strewn with books. Resting his outspread right hand on the table,
he stretches his left out to take hold of a red cap hanging against the wall on the right.
His smooth pale face is enframed in long dark brown wavy hair. He wears a dull gray
green coat with yellow trimmings, short yellowish brown sleeves and long wide shirt
sleeves below them, fastened together with a gold clasp. A little plaster mask lies on
the books on the right. A strong light from the left falls across the face on to the
hands and books. Dark background.

Half-length, life-size.

Signed : Rembrandt f . i644.

Oak panel. H. w. t“,o5.

Exhibited at the Royal Academy, London, i88r, 1899.

Smith, n" 324; Vosmaer, p. 536; Bode, pp. 49$, 59i, n" 200; Dutuit, p. 44, n‘ 3o5 ; Wurzbach,
n05 1 71, 2o4; Michel, pp. 3o4, 55g.

Waagen, Art Treasures , III, p. 16.

Earl Cowper’s Collection, Panshanger, Herts.

— 1 36 —

, with yellow trimmings, short yellowish brown sleeves ..,.1

brvruUf. 1644.

273

PORTRAIT OF A IV ELDERLY MAN
IN AN ARM-CHAIR
HIS LEFT HAND ON THE TASSELS
OF HIS COLLAR

(EARL OF MANSFIELD'S COLLECTION, SCONE PALACE)

275

PORTRAIT OF AN ELDERLY MAN IN AN ARM-CEIAIR
HIS LEFT HAND ON THE TASSELS OF HIS COLLAR

(EARL OF MANSFIELD'S COLLECTION, SCONE PALACE)

A man of about fifty-five, seated to the right, looking at the spectator. He has a
grizzled moustache and pointed beard, and wavy hair, partly hidden by a broad-
brimmed black hat. Florid complexion. He wears a black coat, shewing a ong
waistcoat beneath, fastened with small buttons, a broad unstarched collar, and cuffs to
match. The right hand rests on the back of the chair; the left, on the little finger o
which is a ring, holds the tassels of the collar.

Half-length, life-size.

Signed above on the right : Rembrandt f. 1 638.

Canvas. H. i",o5; w. oB,8i5.
A strip about i5 centimetres wide was added below at a later period.

Bought by Lord Mansfield at a sale in London about 181
Earl of Mansfield’s Collection, Scone Palace, Perth.

— 1 38 —

■

274

A YOUNG LADY

STANDING AGAINST A BALUSTRADE
HOLDING A FAN IN HER LEFT HAND

(COLLECTION OF THE VAN WEEDE VAN DIJKVELD FAMILY, UTRECHT)

274

A YOUNG WOMAN STANDING AGAINST A BALUSTRADE
HOLDING A FAN IN HER LEFT HAND

(COLLECTION OF THE VAN WEEDE VAN DIJKVELD FAMILY, UTRECHT)

A woman of about five and thirty, standing, turning slightly to the left and looking
at the spectator. Her loose brown hair falls in little curls on her forehead. She
wears a low-necked gown of black brocade trimmed with rosettes, and over it a flat
collar, made of three rows of rich lace. Pearl ornaments in her ears, at her breast,
and round her neck and wrists. A little medallion with precious stones hangs from a
black string. Her right hand hangs beside her, her left rests on a stone balustrade,
holding a fan. She stands in front of a niche, flanked on the left by a caryatid.
Behind her is a dark curtain. The full light of day falls upon her from in front.
Pentimenti near the lower edge shew that there was originally a table near her, and that
there were large buttons on the left sleeve.

Half-length, life-size.

Signed below on the left •. Rembrandt f. 1639.

Cedar panel. H. im,o6; w. om,8i.

There is a carefully finished pen drawing for this picture in the Print-Room of the British Museum,
exhibited in 1899 under the number A 28.

Etched by L. Flameng in the Gazette des Beaux-Arts and in Dutuit’s work, vol. III.

Exhibited at Amsterdam 1872, 1898, at Brussels 1882, at The Hague 1890, at Utrecht 1894.

Vosmaer, pp. 170, 520 ; Bode, pp. 4^9, 55g, n° 19; Dutuit, p. 54, n° 283; Wurzbach, n° 352;
Michel, pp. 2i3, 565.

The property of the van Weede van Dijkveld family of Utrecht. Lent by the family since
the year 1896 to the Rijksmuseum, Amsterdam.

4o —

'

PORTRAIT

OF THE GILDER HERMAN DOOMER

KNOWN AS “ THE GILDER ”

(MR. H. O. HAVEMEYER'S COLLECTION, NEW YORK)

275

PORTRAIT OF THE GILDER HERMAN DOOMER

KNOWN AS “ THE GILDER ”

(MR. H. 0. HAVEMEYER'S COLLECTION, NEW YORK)

Seated, turned half-way to the right and looking at the spectator. His right
hand, in shadow, holds, the cloak that hangs from his left shoulder across Ins breast.
He has a dark moustache and pointed beard, and wears a broad-brimmed black hat
upon his short hair. An unstarched pleated collar hangs over his black coat. A strong
light from above on the left falls on the right half of his face and his collar. Gray
background.

Half-length, life-size.

Signed below on the right : Rembrandt/. 1640.

Oak panel. H. o“,7 3; w. o“,54.

From a recent discovery made by D' A. Bredius in the archives, we learn that the Christian name of
the odder (or more correctly worker in ebony) boomer, was not Paulus as stated in the introduction hut
Herman. Ills widow Baartjen Martens, on May n3. .GGa, bequeathed her own portrait and that of her
husband painted by Rembrandt, to her son Lambert, on condition that the latter should hate copies of
them made for each of his five brothers and sisters.

There are old copies in the Brunswick Museum ami in the Duke of Devonshire’s collection,
London (formerly at Chiswick House).

Scraped in mezzotint by Dixon, engraved by Is. de Witt Jr. and by N. Dupuis Jr.

hitched by L. Flameng in the Gazelle des Beaux-Arts , |865, and by C. Waltner.

Exhibited at the Cent chefs-eC amre , Paris, 1 883.

Smith, n“ 334, 335; Vosmaer, p. 2o5, ia3; Bode, pp. 464. SgG, if 291; Dutuit, p. 52, n" 288;

Wurzbach, n° at)5 ; Michel, pp. 270, 56i.

Mops, frnnnt'ra./jhia Batava, x\° loin.

Anonymous Collection at Geneva.

Anthony Cousin Collection, London, 1769.

Van Helsleuter Collection, Paris, 1802.

Duke of Ancaster’s Collection (?).

Gentil de Chavagnac Collection, Paris.

Due de Morny’s Collection, Paris, i860.

Duchesse de Sesto’s Collection, Madrid, 1882.

W. Schaus Collection, New York.

Mr. H. O. Havemeyer’s Collection, New York.

— 142 —

.

ialf-way to the light and looking at the spectator. Ills right
holds th, cl, I that hangs from his left shoulder across his breast.

H || s ’. iR S COl.LECTION. WEW YOHS.

276

PORTRAIT OF AN OLD MAN
WITH A SCANTY WHITE REAR!)
HIS GLOVES IN HIS LEFT HAND
SEATED IN A RED CHAIR

(THE REVEREND THE EARL OF SCARSDALE'S COLLECTION, KEDLESTON HALL)

270

PORTRAIT OF AN OLD MAN
WITH A SCANTY WHITE REAR!) HIS GLOVES
IN HIS LEFT HAND SEATED IN A RED CHAIR

(THE REVEREND THE EARL OF SCARSDALE'S COLLECTION, KEDLESTON HALL)

A man of about seventy, seated in an arm-chair slightly to the right, and looking
at the spectator. He has gray hair and a thin gray beard. He wears a broad-brimmed
black hat, a flat pleated collar, a black coat and a short cloak thrown back over bis
shoulder. In his left hand he holds his brown kid gloves. The back ol the chair is
covered with red leather, fastened with brass nails. A strong light from the lelt (alls
on the face and hands.

Half-length, life-size.

Signed above on the right : Rembrandt f.

Painted about i637~i638.

Canvas. H. om,85; w. om,675.

Scraped in mezzotint by R. Houston in 1757, and by Ch. Phillips.

Exhibited in the Art Treasures Exhibition, Manchester, .857, and at the Royal Academy, London,

in 1899.

Smith, n- 35a; Bode, pp. 497. 58a, n‘ i67;Dntuit, p. 48, n- 3u; Wurzbach, n" a^o; Michel,
pp. 3o5, 556.

John Barnard Collection, England.

The Reverend the Earl of Scarsdale’s Collection, Kedleston Hall, England.

ff

1,

— 144 -

-

AN ELDERLY MAN
WITH A POINTED GRAY BEARD
HOLDING HIS GLOVES IN HIS LEFT HAND

ERRONEOUSLY CALLED
THE PORTRAIT OF CORNELIUS JANSENIUS

(LORD ASHBURTON’S COLLECTION, TIIE GRANGE, HANTS)

277

AN ELDERLY MAN WITH A POINTED GRAY BEARD
HOLDING HIS GLOVES IN IIIS LEFT EIAND

ERRONEOUSLY CALLED THE PORTRAIT OF CORNELIUS JANSENIUS

(LORD ASHBURTON'S COLLECTION, THE GRANGE, HANTS)

Standing, a little to the right, and looking at the spectator. He has short gray
hair, partly covered by a high broad-brimmed black hat, and a gray moustache and
pointed beard. Over his plain black cloth doublet he wears a simple flat collar with
tassels. His short cloak is thrown back over his shoulder. In his left hand he holds
his gloves. A strong light falls from the left on the right side of his face and his
collar. Dark background, lighted up on the left.

Half-length, life-size.

Signed by a later hand : Rembrandt f. 166 i.

The inscription on the upper edge : Portrait de Janse.mus Pere dunne nomrreuse famille morten iG38
age ue 53 ars is also a later addition.

Painted about r642.

Oak panel. II. o”,8o; w. o“,65.

Exhibited at the Royal Academy, London, in 1890.

Smith, n° 297; Vosmaer, pp. 562; Bode, p. 585, n° 190; Dutuit, p. 4 2, n° 34o; Wurzbach, n" 146;
Michel, pp. 482, 557.

S6r6ville Collection, Paris, 1812.

Prince Talleyrand’s Collection, i83i, bought by Smith.

Lord Ashburton’s Collection, The Grange, Alresford, Hants (formerly at Bath House,
London).

— 146 —

.

'

mmm

278

PORTRAIT OF AN OLD LADY
LOOKING TO THE LEFT
HER HANDS CLASPED

(MR. H. O. HAVEMEYER'S COLLECTION, NEW YORE)

278

PORTRAIT OF AN OLD LADY
LOOKING TO THE LEFT HER HANDS CLASPED

(MR. H. 0. IIAVEMEYER'S COLLECTION, NEW YORK)

An old woman of eighty-seven, seated in an arm-chair, and looking to the left, her
fin-ure turned slightly in the same direction. Her elbows rest on the arms of the chair,
her hands are clasped. A close white cap with projecting shell-shaped side-pieces
appears under her black head-dress. She wears a wide soft gauffered ruff, a black
jacket trimmed with fur in front and on the shoulders over a dark dress, and narrow
cuffs. The evenly diffused light comes from in front. Brown background.

Half-length, life-size.

Signed on the right : Rembrandt f. 1640.

Above on the left : JET S\sE 87.

Oak panel. II. om,69; w. om,6o.

Lord Yarborough owns an old copy, which was exhibited at the Royal Academy in 1890 and 1899
(Waagen, Art Treasures , IV, p. 66, Dutuit, p. 4p)*

Etched by Bracquemont for the San Donato Catalogue, 1868, and by Ramus for the Narischkine
Catalogue.

Vosmaer, p. 523; Dutuit, p. 20; Wurzbach, n°3o7; Michel, pp. 268, 56i.

Gerrit Muller Collection, Amsterdam, 1827.

Comte de Robiano’s Collection, Brussels, 1837.

D. Nieuwenhuys Collection, Brussels.

Prince Anatole Demidoff’s Collection, San Donato, sold in Paris 1868.

Narischkine Collection, Paris, i883.

Baron de Beurnonville’s Collection, Paris, 1884 and 1 885 .

M. Rodolphe Kann’s Collection, Paris.

Mr. H. O. Havemeyer’s Collection, New York.

— 148 —

■

■ mail of eighty -seven, seated in an arm-chair, and looking to the left, her
(lightly in the same direction. Her elbows rest on lb. arm, of the cluilr,
clasped: A close white cap with projecting shell-shaped side-pieces

ler her black head-dress. She wears a wide of j ' Ted ruff, a black

rnlj diffused light comes from in front. Brown background. ■

Otic p'! 1. H. w. o",6o.

\ aria .rough. -V ns an old copy, -which w.,s eihiliited n't the Royal Academy in 1890 and 1899

279

PORTRAIT OF ELISABETH JACOBS BAS
WIDOW OF ADMIRAL
JOCHEM HEYNDRICKSZ SWARTENHONT

(RIJKSMUSEUM, AMSTERDAM)

279

PORTRAIT OF ELISABETH JACOBS BAS
WIDOW OF ADMIRAL
JOCHEM HEYNDRICKSZ SWARTENHONT

(RIJKSMUSEUM, AMSTERDAM)

An old lady of about seventy, largely and massively built, seated in an arm-chair
urned slightly to the left, and looking at the spectator. Her hands are clasped ; in the
right hand a handkerchief. She wears a little white cap with ear-pieces, a wide
starched ruff, and flat cuffs edged with lace. Over her flowered black silk gown, which
is fastened in front with a row of yellow buttons, she wears a sleeveless mantle trimmed
with broad bands of fur. To her left lies a Bible on a table covered with a dark olive
green cloth. A full light falls from in front on the left over the figure. Dark back-
ground, lighted up a little on the right.

Three-quarters length, life-size.
Painted about 1642.

Canvas. II. w. om,88.

Elisabeth, daughter of the master-baker Jacob Bas, born at Kampen about i5ji, married in
June i5q6 at Amsterdam the ship’s captain Jochem Heyndricksz, who afterwards became Lieutenant-
Admiral and took the name of Swartenhont from the house in which he lived. He died at Amsterdam
June 4, 1627; his widow was buried there on August 2, .649. (J. G. Frederiks in Ohreens Arclnef VI,
pp. 265 et seq.).

Etched by C. Waltner, by P. J. Arendzen, and by C. L. Dalte.

Smith, n" 553; Bode, pp. 46., 575, n" 3; Dutuit, p. 36, n" a3o; Wurzbach, n“ 334, 5oo; Michel,
pp. 3o6, 564.

Moes, Iconographia Batava , n° 379.

Inherited successively by the families of Rey, Meulenaar, Muilman and Van de Poll. In .880 it
passed with the rest of the Van de Poll bequest into the

Rijksmuseum, Amsterdam. (N° in Catalogue of 1887, 1249)-

(I, 0 the left, and looking at the s, etator. Her hands are clasped ; in the
, handkerchief She Wears a little white cap v.ilh . .-pieces, a wid<

■ulT, and flat culls edged with lace. Over her flowered 'dark silk gown, which

.1 in front with a row of yellow buttons, she wears a sir

'

nisterdam the sliip. cnptaia Jocl.cn Heyndrieksr iris, ntc-war. - In-on Ueot.-nant-

Braun. Clement 8cC.

PORTRAIT OF ANNA WIJMER
MOTHER OF THE BURGOMASTER JAN SIX

(SIX COLLECTION, AMSTERDAM)

280

PORTRAIT OF ANNA WIJMER
MOTHER OF THE RURGOMASTER JAN SIX

(SIX COLLECTION, AMSTERDAM)

Seated in an arm-chair, turned half-way to the right and looking at the spectator;
her right hand rests on the arm of the chair, her left upon her bodice. She wears a
small white cap, a wide ruff, flat cuffs edged with lace, and a black brocaded gown,
trimmed with fur in front. A full light from in front on the left falls on the face and
hands. Brown background, in which a table with a cloth is visible on the right.

Nearly three-quarters length, life-size.

Signed below on the right : Rembrandt f. 1641.

Cedar panel. II. om,96; w. om,8o.

Anna, daughter of Pieter Wijmer and Maria Pellerijn, was born at Flushing June 12, i584, and
there married Jan Six on September 9, 1606. She was the mother of the Burgomaster Jan Six van
Vromade. Her husband died in 1617 at the age of 42; his widow survived till i654-

Engraved by J. Kaiser.

Etched by Wilm. Steelink in Van Someren’s Oude Kunst in Nederland , and by P. J. Arendzen.
Exhibited at Amsterdam 1872.

Smith, n° 545, Supplement, n° 16; Vosmaer, pp. 271, 526; Bode, pp. 46o, 558, n° 7; Dutuit,
p. 54, n° 227 ; Wurzbach, n° 35o; Michel, pp. 269, 565.

This picture has remained ever since it was painted in the possession of the Six family.

Collection of the Six family, Amsterdam.

— 152 —

small whit p, a wide ruff, flat cuffs edged with lace, and a black brocaded gown,
trim in With fur in front. A full light from in front on the 1 f. t> face and

hands. wn background, in which a table with a cloth is visible on tl..- .1-

U-low on the right : Rembrandt f. (64 i.

film. Steeliak in Van Soineren'a Oude Kunalin Nederland , and by P. J. Arendren.
( \ naler. >m.

PORTRAIT OF AN OLD LADY
FULL FACE HER HANDS FOLDED

(THE HERMITAGE, ST. PETERSBURG)

284

PORTRAIT OF AN OLD LADY
FULL FACE HER HANDS FOLDED

(THE HERMITAGE, ST. PETERSBURG)

A woman of about sixty years old, seated in an arm-chair, turned slightly to the
left and looking at the spectator. Her elbows rest on the arms of the chair, her hands
are clasped before her; on the third finger of her left hand she wears a ring with a
cluster of precious stones. A flat cap with small ear-pieces conceals her dark brown
hair all hut the portion just above the forehead. She wears a stiff gauffered ruff, and
a short fur-lined jacket over a black gown. A strong light from above on the left
falls full upon the upper part of the head and the collar. Dark background, lighted
up slightly behind the figure on the right.

Half-length, life-size.

Signed below on the left : Rembrandt f.
Painted about 1641-1642.

Oak panel. II. om,76; w. om,$6.

Etched by N. Mossoloff in Les Rembrandt de l' Er milage.

Smith, n° 536; Bode, p. 6o3, n° 35i ; Dutuit, p. 38, n° 290; Michel, p. 567.

Acquired by the Empress Catherine II. Now in
The Hermitage, St. Petersburg.

— i54 —

PORTRAIT OF AN OLD LADY
LULL FACE HER HANDS FOLDED

(THE HERMITAGE. ST. PETERSBURG)

r

lift and looking at the spectator. H. i ■ Ibows i it on the arms of tb« n l«er hands
are clasp' I before her; on the third finger of h- . « ' • •• l'ir,n wlt'1 a

- , >( precious ston .A i ji ith small

hair all but the portio. . just above the forehead. Sir - \

a .short fur-lin i jacket over a black gown. A : . : ! r • left

falls full upon the upper part of the head and the collar. Dark background, lighted
up slighiU behind the figure on the right.

; .lf-length, life-size.

' gned below oil the left : Rembrandt f.

‘jiinted about iC»4i-i642.

Oak paoel. II. o"^ w. o'8,**;.

ussololTin Les Rembrandt de l l> milage.

..it, „ . . Iti.de, p. Co3, n- Hi I ; Dutuit, p. 38, n” 290; Michel, p. 567.

1 fin- Kinprcss Catherine II. Not m

rage. St. Petersburg. '

THE MENNONITE PREACHER
CORNELIS CLAESZ ANSEO
AND A WOMAN

(ROYAL GALLERY, BERLIN)

282

THE MENNONITE PREACHER CORNELIS CLAESZ ANSLO
AND A WOMAN

(ROYAL GALLERY, BERLIN)

Anslo is seated in the centre of the picture, facing the spectator, resting his right
hand on the arm of his chair, and holding out his left as he addresses the woman who
is seated to the right, her face turned towards him almost in profile to the left. Her
hands, the left holding a handkerchief, lie in her lap. Anslo has a dark beard and
wears a broad-brimmed black hat, a small ruff, and a wide, fur-trimmed dark cloak
over a black coat; the woman wears a little white cap with ear-pieces, a small trans-
parent ruff, and a black silk gown. To the left is a study-table with a brown cover, a
reading desk with open folios, and a metal candelabrum with two branches, over a
Smyrna rug of subdued colours, which is partly rolled back. Behind the preacher is
a bookcase, the greater part of it concealed by a green curtain. A full light falls from
the left on the right side of the preacher, on his left hand, and on the woman.

Life-size figure, almost full-length.

Signed below on the left : Rembrandt f. 1641 .

Canvas, the upper corners rounded ofT. H. im,72; w. am,og.

In the little Anslo-Hofje at Amsterdam there is a reduced copy made in the eighteenth century.

Cornelis Claesz Anslo, born 1592, died 1646, was a teacher of the so-called Waterlandish Men-
nonites at Amsterdam. Rembrandt etched a portrait of him a year before he painted this picture (Bartsch,
n° 271). The British Museum owns a drawing in red chalk for the etching; it is reproduced in Lippmann’s
work, n° 120. A pen-drawing of 1640 in Baron Edmond de Rothschild’s collection represents Anslo at
full-length, seated, and is a design for the painted figure. There is a sketch for the books on the table to
the left in Mr. J. P. Ileseltine’s Collection, London, reproduced in Lippmann’s work, n° 89. A tradition
which may be traced back to the middle of last century, and is connected with the copy in the Anslo-IIofjc,
affirms the woman represented to be Aeltje Gerritse Schouten, Anslo's wife. On this point, sec Intro-
duction, p. i34.

Scraped by Boydell in mezzotint in 1781.

Etched by Ch. Koepping 1899, by A. Kruger in the Ja/irbuch der K. Pr. Kunstsammlungen , XVI.

Exhibited at the British Gallery in i8i5.

Smith, n°276; Vosmaer, pp. 208, 527; Bode, pp. 463, 585, n° i88;Duluit, p. 42, n° 197 ; Wurzbach,
n° 1 44; Michel, pp. 272, 556.

Waagen, Art Treasures , hi, p. ij.

Moes, Iconographxa liatava , n° i65; Bode, Jahrbuch d. K. pr. Kunstsammlungen , XVI, pp. 3, 197.

Aldewereld Collection, The Hague, 1766.

Sir Thomas Dundas’ Collection, 1794.

Ashburnham Collection, London, i85o; included in the sale, but withdrawn.

Ashburnham Collection, London; acquired by private contract in 1894 for the

Royal Gallery, Berlin. (N° in Catalogue, 828L.)

— 1 56 —

282

285

PORTRAIT OF A MAN
WITH CURLY HAIR LEANING AGAINST
THE EMRRASURE OF A WINDOW

(ROYAL GALLERY, BRUSSELS)

285

PORTRAIT OF A MAN WITH CURLY HAIR
LEANING AGAINST THE EMBRASURE OF A WINDOW

(ROYAL GALLERY, BRUSSELS)

A man of about forty. He leans his right arm and left hand on the ledge of a
window with an arched top. Full face, turned slightly to the right and looking at the
spectator. He has a short moustache and small pointed heard, and rich brown curly
hair, partly covered hy a broad-brimmed hat. Over his dark dress he wears a short
full black cloak. His flat collar and cuffs are edged with wide lace. In his gloved
right hand he holds his left hand glove. A strong light falls from the left on his face
and collar. The background of masonry is grayish-yellow in colour, and is lighted up
a little on the left.

Half-length, life-size.

Signed above on the right : Rembrandt f. 1641.

Canvas. H. im,o5; w. o”,8J

Companion picture to n° 284-
Chromolithograph by De Noter.

Smith, n" 3oi; Vosinaer, pp. 208, 527; Bode, pp. 458, 56o, n’ 20; Dutuit, p. 34, n" 294;
Wurzbach, n° 2; Michel, pp. 271, 56o.

Bought (together with n" 284) in Holland in 1809 by the dealers Nieuwenhuys and Dansaert Engels.
Acquired by the town of Brussels in 1841 from the heirs of the latter for the
Royal Gallery, Brussels. (N° 397 in Catalogue of 1889.)

— 1 58 —

'

r : ! \\gv. . i a

■ !i brown curly
a short

Canv»s. H. i*,u5; w. o",81

‘

284

PORTRAIT OF A YOUNG LADY
IN THE EMRRASURE OF A WINDOW
HOLDING A FAN

(BUCKINGHAM PALACE, LONDON)

284

PORTRAIT OF A YOUNG LADY
IN THE EMRRASURE OF A WINDOW HOLDING A FAN

(BUCKINGHAM PALACE, LONDON)

A woman of about thirty. She stands in the embrasure of a window, facing
and looking at the spectator, resting her left hand on the door-post, and holding in
her right a richly ornamented, half-open fan. She has a dark complexion; her light
wavy hair is combed back from her forehead, and is covered with a lace cap at the
hack of her head, falling losely on each side of her face. Her long ear-rings are set with
diamonds. Her black brocaded gown has wide slashed sleeves with a yellow lining,
and a wide white stomacher, with a rich pattern of yellow flowers. The bodice is cut
out at the throat over a dainty lace chemisette. She wears a closely fitting flat collar
and cuffs of rich lace. A triple row of pearls round her neck, a diamond brooch on
her breast and triple strings of pearls on her arms complete her magnificent costume.
A full light from the left falls on her face, which is relieved against a dark background,
formed on the right by a violet curtain.

Half-length, life-size.

Signed below on the left : Rembrandt f. 1641.

Canvas. H. im,o5; w. o0,,85.

Companion picture to n° 283.

Etched by P. J. Arendzen.

Exhibited at the British Gallery, London, 1826, 1827, at the Royal Academy, London, 1889, 1899,
at the « Fair Women » Exhibition, London, 1894, at Amsterdam, 1898.

Smith, n° 5n; Vosmaer, pp. 206, 527; Bode, pp. 458, 584i n° 168; Dutuit, p. 32, n° 291;
Wurzbach, n° 139; Michel, pp. 271, 556.

Waagen, Art Treasures , II, p. 5.

Bought (together with n" a83) in Holland in 1809 by the dealers Nieuwenhuys and Dansaert
Engels, and sold by the former to
Lord Charles Townsend.

Collection of II. M. the Queen of England, Buckingham Palace, London. (N“ in Cata-
logue, 162.)

— 160 —

.

\ i "• - • ' ■ I !

-—

285

PORTRAIT OF A YOUNG LADY
STANDING RY A TARLE AND POINTING
WITH HER RIGHT HAND
TO THE RIGHT SIDE

(LORD IVEAGH’S COLLECTION, LONDON)

285

PORTRAIT OF A YOUNG LADY STANDING RY A TARLE
AND POINTING WITH HER RIGHT HAND
TO THE RIGHT SIDE

(LORD IVEAGH’S COLLECTION, LONDON)

A woman of about thirty, standing by a table with a red cover, and resting her
left hand on it, while with her other she points to the right. Facing the spectator,
hut turning her head to the left and looking in the same direction. Her light brown
hair is drawn into a simple white muslin cap at the back; in it she wears a gold pin
with a large head; a small pearl in each ear. She has blue-gray eyes, and a very
expressive mouth. Her large gauffered ruff, the red ribbons of which are untied,
shews aflat collar edged with lace below. Her black flowered gown is relieved by a
stomacher of yellow brocade. She wears flat cuffs trimmed with lace, a gold bracelet
on each arm, and a jewelled ring on the first finger of her right hand.

Nearly three-quarters length, life-size.

Signed below on the left : Rembrandt f. 1642-

Canvas. H. im,o8; w. om,935.
The upper corners concealed by the frame.

Exhibited at the British Gallery, London, 1829, at Amsterdam, 1898, at the Royal Academy,
London, 1884, 1899.

Smith, n° 5o3, Supplement , n° 21; Vosmaer, p. 53i ; Bode, pp. 458, 588, n° 220; Dutuit, p. 4b,
n° 296; Wurzbach, n#2io; Michel, p. 558.

Waagen, Art Treasures, II, p. i5i.

Julienne Collection, Paris, 1767.

La Live de Jully Collection, Paris, 1770.

Trouard Collection, Paris, 1779.

Abb6 Gevigny’s Collection, Paris, 1779.

Bought by Smith in Paris in 1822.

Lord Wharncliffe’s Collection, England.

The Marquis of Lansdowne’s Collection, London, 1840; sold in 1 883.

Lord Iveagh’s Collection, London.

— 162 —

• / IJtfc

286

PORTRAIT OF A YOUNG MAN
IN A HIGH RROAD-RRIMMED HAT
HIS LEFT HAND ON HIS RREAST

(MR. H. O. HAVEMEYER’S COLLECTION, NEW YORK)

286

PORTRAIT OF A YOUNG MAN
IN A HIGH RROAD-RRIMMED HAT
HIS LEFT HAND ON HIS BREAST

(MR. H. O. HAVEMEYER’S COLLECTION, NEW YORK)

Standing, turned half-way to the right, and looking in the same direction. He
lays his left hand on his breast, and with his right holds his black mantle together in
front. He has brown curly liair, brown moustaches and pointed beard, and wears a
high, broad-brimmed black hat, a closely fitting lace collar, a black silk doublet, and
broad cuffs edged with lace. On the first finger of his left hand is a ring with a large
stone. A bright light falls from the left on the right side of his face and the upper part
of bis body, and also lights up the background, so that the figure stands out in dark
relief against it. Architecture slightly indicated on the right.

Three-quarters length, life-size.

Signed below on the left : Rembrandt f. 1643-

Canvas. H. im,20; w. om,9a.

Formerly erroneously called a portrait of Jan Six.

Exhibited at the Corps l6gislatif, Paris, 1874-

Vosmaer, pp. a56, 534; Bode, p. 468, 598, n- 3io; Dutuit, p. 5a, n1 3o3; Wurzbach, n- 3a3;
Michel, p. 562.

Stiers d’Aertselaer Collection, Antwerp, 1822.

Baron von Mecklenburg’s Collection, Berlin, sold in Paris, 1854-
Baron de Seilliere’s Collection, Paris, 1861.

Princesse de Sagan’s Collection, Paris.

Mr. H. O. Havemeyer’s Collection, New York.

— 164 — ■

I

(MR. 8. O. HAVt.MEir.n'S COLLECTION, N*W YORK)

rimmed black hat, a closely fitting lace collar, .1 black : k. *1 t, and

ight light falls from the left on the right side of his face and th*- upper part
. , and also lights up the background, so that the figure stands out in dark

Collection, 1S< " York.

287

PORTRAIT OF A YOUNG MAN
WITH A POINTED REAR!)
STANDING AT A DOOR

(MRS. ALFRED MORRISON’S COLLECTION, LONDON)

287

PORTRAIT OF A YOUNG MAN WITH A POINTED BEARD
STANDING AT A DOOR

(MRS. ALFRED MORRISON'S COLLECTION, LONDON)

Standing to tlie right in profile, his head turned towards the spectator, his right
hand on Ins breast. He has a light beard and moustaches, and short, curly light hair
partly covered by a black hat. He wears a broad closely fitting gauffered ruff, flat
cuffs, a striped black silk doublet with wide sleeves, and over it a short, full black
velvet cloak, thrown hack from the right arm. A full light falls on his face from the
left. In the dim background a vaulted gateway is discernible.

Three-quarters length, life-size.

Signed below on the right : Rembrandt /'. 1643.

Canvas. H. i"',o25; w. o u,,;».

Exhibited at the Hoyal Academy, London, 1892, 1899.

Michel, p. 558.

Mrs. Alfred Morrison’s Collection, London.

— 1 (56 —

PORTRAIT OF AN OLD LADY
AN EYEGLASS IN HER RIGHT HAND
WHICH RESTS ON A ROOK IN HER LAP

(M. LOUIS LEBEUF DE MONTGERMONT'S COLI.ECTION, PARIS)

288

PORTRAIT OF AN OLD LADY
AN EYEGLASS IN HER RIGHT HAND
WHICH RESTS ON A BOOK IN HER LAP

(M. LOUIS LEBEUK DE MONTGERMONT'S COLLECTION, PARIS)

Seated in an arm-chair, turning slightly to the left, and looking in the same direc-
ion. She wears a black costume with a closely fitting fur lined jacket over it, a argc
Hat gauffered ruff, and a fiat dark velvet cap concealing her hair. Her arms rest on
the arms of the red leather chair in which she is seated. In her right hand she ho s
an eye-lass; the fingers of her left hand are placed between the leaves of a closed boo
with gilt edges and silver clasps on her lap. A subdued light from the left falls on the
t'n no find collar. Dark brownish background.

Three-quarters length, life-size.

Signed below on the left : Rembrandt f.1643.

Canvas. II. t”,o8; w. om,<)o.

Smith, n°5o5.

Thelleyson Collection, Paris, 1 777-
Anonymous Collection, Paris, 1783.
Montesquieu Collection, Paris, 1788.
De Calonnc Collection, Paris, i793-
Mr. John Allnutt’s Collection, London,
M. Louis Lebeuf de Montgermont’s

1 863. Bought by F. Nieuwenhuys.
Collection, Paris.

— 168 —

Hat gauffered rulT, and a flat dark velvet rap conceal!, h, h,„

• the fin#.-,- *f her left hand are placed betw een the leave ' ■

289

A YOUNG LADY WITH LOOSE HAIR
STANDING BY A BALUSTRADE

iRRONEOUSLY CALLED THE WIFE OF THE BURGOMASTER SIX

(MR. ALEXANDER HENDERSON'S COLLECTION, LONDON)

I

I'

11,

[f

i

289

V YOUNG LADY WITH LOOSE HAIR
STANDING BY A BALUSTRADE

ERRONEOUSLY CALLED THE WIFE OF THE BURGOMASTER SIX

(MR. ALEXANDER HENDERSON’S COLLECTION, LONDON)

A woman of about five and thirty, standing, turned slightly to the left, and
looking in the same direction. Her left hand, holding a pearl chain of several rows,
rests on the balustrade of a staircase; her right hangs by her side. Her hair, which is
confined under a little cap with a gold border and a double string of pearls at the back,
hangs in loose curls on either side of her face. Round her neck is a double string ot
pearls, and on her fine, closely fitting lace collar, a diamond brooch. Her black bro-
cated gown has a narrow pink stomacher embroidered with silver, and laced across the
bust with black cords. On her sleeves she wears wide cuffs, richly trimmed with lace.
A full light from above on the left is diffused over the figure, which stands out in rebel
against a dark background, lighted up a little on the right.

Half-length, life-size.

Signed below on the right : Rembrandt f. 1644.

Oak panel. Rounded at the top. H. om,9i5; w. om,725.

Exhibited in London at the British Institution, 1824, at the Royal Academy, 1899.
Smith, n° 558.

Waagen, Art Treasures , 11, p. 335.

In 1817 the picture was in the hands ol the dealer Woodburn.

Lord Dover’s Collection, London.

Viscount Clifden’s Collection, London, i8t)3.

Mr. Alexander Henderson’s Collection, London.

290

PORTRAIT OF AN AGED MINISTER
IN A FURRED CLOAK

SEATED AT A WRITING-TARLE

ERRONEOUSLY CALLED JAN CORNELISZ SYLVIUS

(HERR ADOLF VON CARSTANJEN'S COLLECTION, RERUN)

290

PORTRAIT OF AN VGED MINISTER
IN A FURRED CLOAK SEATED VT V W RITING-T. ARLE

ERRONEOUSLY CALLED JAN CORNELISZ SYLVIUS

(HEIlll ADOLF VON CARSTANJEN’S COLLECTION. RERUN)

Seated in an arm-chair at a writing-table, turned half-way to the right and
looking at the spectator. With his left hand he turns the page of an open folio on
the table; in his right, which rests on the arm of the chair, he holds his spectacles.
A dark skull-cap rests on his closely cut hair; a quill pen is stuck behind his right ear.
He has a scanty dark heard. A narrow ruff appears above the high collar of his dark
doublet, over which he wears a full black furred cloak. An ink-stand is placed on the
dull red table-cover, and several books, among them the Institutiones Calvini. A strong-
light from the left falls on his face, collar, and book. Dark background.

Three-quarters length, life-size.

Signed : Rembrandt f. 1645.

Canvas. H. in',3o; w. im,io.

Companion picture to n° 291.

There is a pen sketch containing the iirst idea for this picture, in the Friedrich August II. Collec-
tion at Dresden.

The sitter bears no resemblance either to Justus Lipsius, who had died in 160G, or to Jan Cornelisz
Sylvius, who died in i638.

Etched by Leopold Flameng for the Gazelle lies Bcaux-Arts (April, i864), and for Dutuit’s work, III.
Exhibited 'at the >■ Exposition Retrospective », Paris, 1876, at Cologne, 1876, and at Berlin, 1888.

Smith, n° 349; Vosmaer, pp. 2G0, 536; Bode, p. 49a, 563, n‘ 4a; Dutuit, p. 4i, n" a3i ; Wurzbach,
n° 35; Michel, pp. 3o4, 55i.

L. 13. Coders Collection, Amsterdam, 1 8 1 i .

Cardinal Fesch’s Collection, Rome, i84>.

W. Buchanan Collection, London, 184G (withdrawn).

I). R. Blaine Collection, London, 1807 (withdrawn).

E. Pereire Collection, Paris, 1872.

Herr Adolf von Carstanjen’s Collection, Berlin.

291

AN ELDERLY LADY SEATED IN A CHAIR
A HANDKERCHIEF IN HER LEFT HAND

(CAPTAIN G. L. HOLFORD'S COLLECTION, LONDON)

29 \

AN ELDERLY LADY SEATED IN A CHAIR
A HANDKERCHIEF IN HER LEFT HAND

(CAPTAIN G. L. HOLFORD’S COLLECTION, LONDON)

An elderly lady, well advanced in the fifties, sits in an arm-chair with a brown
back, facing the spectator, her head and eyes turned slightly to the left. Her right
hand rests on the arm of the chair, in her left she holds her handkerchief in front ol
her. A simple little white cap with ear-pieces conceals her hair, except just above
her forehead. She wears a plain black gown, a small ruff, and narrow cuffs. On the
third finger of her right hand, a jewelled ring. To the right is a table with a dark
purplish red cover, anil on it a book bound in leather. A strong light tails on the
figure from the left. Dark background, slightly lighted up on the right.

Three-quarters length, life-size.
Painted about i645.

Canvas. H. im,a65; w. im,oa.

Companion picture to n° 290.

Exhibited at Amsterdam 1898, at the Royal Academy, London, i8g3, 1899.

Smith, n° 557 ; Vosmaer, pp. 261, 536; Dutuit, p. 45, 57, n" a3a ; Wurzbach, n"48i.

Waagen, Art Treasures , II, p. 200.

L. B. Coders Collection, Amsterdam, 1811.

Cardinal Fesch’s Collection, Rome, 1 845.

Captain G. L. Holford's Collection, Dorchester House, London (formerly at Westonbirt).

— 17I —

i

n it. an - : ’>■ £ >’«>« n

back, facing the spectator, her head and ryes t ned iiyntl;

ft

292

BUST PORTRAIT OF A RABBI
IN A BROAD CAP

(M. JULES PORGES’ COLLECTION, PARIS)

292

BUST PORTRAIT OF A RABBI IN A BROAD CAP

(M. JULES PORGES’ COLLECTION, PARIS)

Full face, looking at the spectator, the head turned slightly to the right. Blue
eyes and a gray beard. A cloth of various colours is bound round his head under a
wide black biretta. His left band rests on his breast, his right is partly hidden in the
front of the coat beneath it. Over a light brown under-garment, transparent in front,
he wears a full dark cloak, fastened across the breast with a gold clasp. A subdued
light from above on the left touches the face. Grayish brown background.

Bust, life-size.

Signed on the right, above the shoulder : Rembrandt f. {642.

Cedar panel. H. ora,75; w. om,6i.

Etched by J. Daull6.

Exhibited at Amsterdam in 1898.
Midhel, pA564-

Sir A. Aston’s Collection, England.
Anonymous Collection, London, 1891.
M. Jules Porges’ Collection, Paris.

— 176 —

A RABBI AT A STUDY-TABLE

(NATIONAL GALLERY, BUDA-PESTH)

295

A RABBI AT A STUDY-TABLE

(NATIONAL GALLERY. BUDA-PESTH)

A bearded old man is seated in an arm-chair in front ol a wall with engaged
columns, in a meditative attitude. He is turned half way to the right, his hands
clasped over a stick, and wears a dark cap and a heavy mantle lined with ermine over
a gold-embroidered underdress. On a table covered with a cloth on fhe right is an
open folio on a reading-desk; near it a brass candlestick, and several small books.
The light falls on his figure from in front on the right.

Small, full-length figure.

Signed below on the left : Rembrandt f. 1642.

Oak panel. H. o w. o'", 545.

Etched by W. Unger in the work on the Pesth Gallery, published by Pulszki and Tschudi.
Dutuit, p. 33, n" 3f)6 ; Michel, p. 55p.

Eszterhazy Collection, with which it was bought in 1869 for the
National Gallery, Buda-Pesth. (N‘ in Catalogue, 235.)

— *78 —

ATIONW GALLERY BUDAPESTIIi

' Half way to the right, his hands

294

HEAD OF AN ELDERLY JEW
IN A SMALL GAP

HIS RIGHT HAND INSIDE HIS COAT

(THE HERMITAGE, ST. PETERSBURG)

294

HEAD OF A ELDERLY JEW IN A SMALL CAP
HIS RIGHT HAND INSIDE HIS COAT

(THE HERMITAGE, ST. PETERSBURG)

He is seated, leaning slightly to the right, and looking straight before him. His
right hand is thrust into his red under-dress, which is held together by a small gold
clasp, leaving the pleated shirt visible at the throat. Over it he wears a black cloak,
and on his head a black cap. He has a dark brown heard and short dark hair.
Brightly illumined from the left. Dark gray background.

Bust, life-size.

Signed by a later hand : Rembrandt /.
Painted about i643-i645.

On paper. H. om,5i ; w. o“,42.
Enlarged later. Original size. H. om,47i w. o'", 37.

There is a contemporary replica, slightly larger, and not by Rembrandt himself, in Lord Brownlow’s
collection at Ashridge. It was exhibited at the Royal Academy. London, in 1899.

Etched by N. Mossoloff in Les Rembrandt de VErmitage.

Vosmaer, p. 5i2; Dutuit, p. 40-

Collection of the Comte de Morny, Paris, i852, whence it was acquired for
The Hermitage, St. Petersburg. (N° in Catalogue, 81 5.)

— 180 —

Heliogravure Braun. Clemeni ftC"

295

A RABBI SEATED
A STICK IN HIS HANDS
AND A HIGH FEATHER IN HIS CAP

(THE HERMITAGE, ST. PETERSBURG)

295

A RABBI SEATED A STICK IN HIS HANDS

and a high feather in his cap

I THE HERMITAGE, ST. PETERSBURG)

A man near seventy. Seated in an arm-chair in front of a column, turned half-
way to the left and looking straight before him. He has a gray beard, and gray hair
over which is bound a black and red striped liead-clotli, fastened with a gold clasp,
the end falling on his shoulder; over the cloth, a black cap with a high green feather.
A full fur-lined mantle of dark purple is fastened across the breast by a gold embroi-
dered ribbon, shewing the dull red under-dress beneath. The white shirt is visible at
the wrists. He holds a stick with both hands before him. A full light from above on
the left falls on the face and hands. Dark background, lighted up on the right.

Three-quarters length, life-size.

Signed below on the left : f. 1645 (the name cut away with the edge of the canvas).

Canvas, cut away on the left. H. C.ag; w. im,i2

The name Manasse ben Israel formerly bestowed on this picture is, as a comparison with
Rembrandt's etching (Bartsch n" 269) shews, erroneous.

There are old copies of this picture in the Schleissheim Gallery (n° 445, formerly
lithographed by Kellerlioven, Smith, n‘ 4^8); in the Cassel Gallery (n* in Catalogue *3l),
Liechtenstein Gallery at Vienna. (Vosmaer, p. 538.)

at Munich,
and in the

Etched by N. MossololT in Us Rembrandt de [Ermitage , and again on a larger scale; also by
B. Matthe (1890).

Smith, n° 3 1 1 ; Vosmaer, p. 538; Bode, pp. 497. fi°2. n“ ^ Dutuit’ P- 38’ n° 'io2; Wurzbach'
n° 4 06; Michel, p. 3o5, 56 7.

Crozat Collection, Paris.

The Hermitage, St. Petersburg. (N° in Catalogue, 820.)

82 —

uu>

■

,

29 G

A RABBI SEATED
WITH A GOLD CHAIN
A CANE IN HIS RIGHT HAND

(ROYAL GALLERY, DRESDEN)

296

A RABBI SEATED WITH A GOLD CHAIN
A CANE IN HIS RIGHT HAND

(ROYAL GALLERY, DRESDEN)

Seated, almost full face, and looking at the spectator, resting liis right arm on a
ledge. He has a beard, and long gray hair, partly covered hy a wide dark cap. Over
his brown doublet with its gold chain and medallion he wears a full cloak of dark
velvet. In his right hand he holds an Indian cane with a gold knob, and in his gloved
left hand his right glove.

Half-length, life-size.

Painted about i645.

Canvas. H. om,955; w. om,8o5.

The cap and cloak were entirely repainted in the last century.

Engraved by Dauzel and P. Tanje.

Smith, n° /pi; Vosmaer, p. 55 1 ; Bode, pp. 497’ ^9, n° 87; Dutuit, p. 29, n° [\oi ; Wurzbach,
n° 78; Michel, pp. 3o5, 553.

According to Hiibner, this picture was bought in Paris in 1742 from the Carignan Collection; it
was certainly acquired before the year 1753 for the Electoral Gallery, now the
Royal Gallery, Dresden. (N° in Catalogue, 1 5y 1 .)

— 1 8-1 -

l

A RABBI SEATED WITH A GOLD CHAIN
HIS EYES OVERSHADOWED
BY THE BROAD BRIM OF HIS CAP

(ROYAL GALLERY, BERLIN)

297

A RABBI SEATED WITEI A GOLD CHAIN
HIS EYES OVERSHADOWED
BY THE BROAD BRIM OF HIS CAP

(ROYAL GALLERY. BERLIN)

Seated, lull face, Ills right arm on the arm of the chair, holding' a dark mantle
lined with fur across his breast with his left hand. He has a gray beard, a clean-
shaven upper li]), and short hair under a wide black cap; across his breast a heavy gold
chain. A full light from the left falls on the lower part of his face and his left hand,
leaving his forehead and eyes in the shadow of the cap.

Three-quarters length, life-size.

Signed below on the right : Rembrandt f. 4645.

Canvas. H. im,io; w oa,,8a.

Lithographed by N. Le Roy in the Patureau Catalogue.

Etched by Leopold Flameng in 1873 for the Suermondt Catalogue.

Exhibited at Brussels 1874.

Smith, n” 2q3 ; Vosmaer, pp. 203, 538 ; Bode. pp. /jqG, 363, Dutuit, p. 20, nu4oo; Wurzbach,
n" 27; Michel, pp. 3o5, 55 1.

Beckford Collection, Fonthill Abbey, i8a3.

Geo. Robins Collection, London, 1 83 1 .

Durand Duclos Collection, Paris, 18/17.

John Nicuwenhuys Collection, London, 1 8 5 4 -
Th. Patureau Collection, Paris, 1857.

B. Suermondt Collection, Aix-la-Chapelle, with which it was acquired for the
Royal Gallery, Berlin. (N“ in Catalogue, 828 V

— 186

298

AN OLD SAVANT AT HIS WRITING-TARLE

(COUNT KARL LANCKORONSKI’S COLLECTION, VIENNA)

T

j?

i ii

298

AN OLD SAY ANT AT HIS WRITING-TABLE

(COUNT KARL LANCKORONSKl'S COLLECTION, VIENNA)

lie is seated behind a writing-table, facing the spectator, looking meditatively to
the left, and resting his right arm with his pen on a low desk, covered with a
manuscript book, which stands on the table before him. He has a gray beard, and
wears a black cap, and a dark purple fur-trimmed mantle, held together across the
In-east by a magnificent silver chain. A strong light from above to the left falls on his
head, his hand, and the leaves of the book. Dark background, lighted up on the left.

Half-length, life-size.

Signed below on the desk : Rembrandt /'. 1641.

Oak panel. H. im,o4. L. om,j6.

Companion picture to n° 299.

Etched by G. F. Schmidt in 1770, and by W. Unger.

Exhibited at Vienna in 1873.

Smith, n° 4n ; Vosmaer, p. 526; Bode, pp. 458, 467, 5 77, n° 1 36 ; Dutuit, p. 49- n°394; Michel,

p. 271.

Count Kameke's Collection, Berlin, 1770.

Collection of King Stanislas Poniatowski of Poland, Castle of Lacienki, near Warsaw, 179^.
Prince Joseph Poniatowski s Collection, 1812.

Count Casimir Rzewuski’s Collection.

Count Casimir Lanckoronski's Collection, \ienna.

Count Karl Lanckoronski’s Collection, Vienna.

— 188 —

wy f

mm .

299

A YOUNG GIRL
IN A BROAD-BRIMMED CAP
HER HANDS ON A WINDOW-SILL

(COUNT KARL LANCKORONSKl'S COLLECTION, VIENNA)

299

A YOUNG GIRL IN A BROAD-BRIMMED CAP
HER HANDS ON A WINDOW-SILL

(COUNT KARL LANCKORONSKl'S COLLECTION, VIENNA)

A young girl of about twenty, standing, and facing the spectator, behind the black,
frame-work of a window, on which she rests her hands. She wears a broad flat black
cap over her loose brown hair, which falls on either side of her face, and a pearl in each
ear. Her dull brownish red bodice, with wide slashed sleeves of the same colour, is
finished at the throat with a pearl trimming, and shews beneath it a black under-dress,
shot with dull yellow. The bodice is ornamented with several narrow chains of
delicate workmanship, and a broad chain with a clasp hangs across her hips. A full
light from the left touches the face and hands. Dark background, lighted up slightly
on the left.

Half-length, life-size.

Signed on the left, in the background, near the arm : Rembrandt f. {641.

Oak panel. H. im,o4; w. om,76.

Companion picture to n° 298.

Etched by G. F. Schmidt in 1769, and by W. Unger.

Exhibited at Vienna in 1873.

Smith, n° 067; Vosmaer, p. 5aG; Bode, pp. 4-58, 467, .177, n° i35; Dutuit, p. 5o, n° 3p5 ; Michel,

p. 271.

Count Kameke’s Collection, Berlin, 1770.

Collection of King Stanislas Poniatowski, Castle ofjjacienki near Warsaw, 1 79 5 .
Prince Joseph Poniatowski’s Collection, 1812.

Count Casimir Rzewuski’s Collection.

Count Camisir Lanckoronski’s Collection, Vienna.

Count Karl Lanckoronski’s Collection, Vienna.

— 190 —

• YOX NT GIRL li\ v BROAD-BRLMMLD CAP

shot w~il ’ ■ ill! \ \v. The bodice is ornamented with several narrow chains of

V • «: villi a fasj*. hni a cm - ! • • hip- \ f:.il

light ironi » 1 le left touches the ace am1 lands. Dark background, lighted up slightly

/

300

A YOUNG GIRL IN A WHITE SHIRT
LOOKING OUT OF A WINDOW

(DULWICH GALLERY, NEAR LONDON)

500

A YOUNG GIRL IN A WHITE SHIRT
LOOKING OUT OF A WINDOW

DULWICH GALLERY, NEAR LONDON I

A girl of about fourteen, facing tlie spectator, and looking to the left out of a
window. Both her arms rest on the window-sill; in her left hand she holds a narrow
gold chain that hangs round her neck. She has thick curly chestnut hair, gathered
hito a little cap with a gold border at the back of her head. Her white shirt is open at
the throat. To the right of the window-sill is a low deep red shutter. A strong light
is diffused over the' whole figure from in front on the left. Dark background.

llalf-length, life-size.

Signed below on the right : licmbrantft ft. 1645.

Canvas, rounded at the top. II. om,77G w- om,525.

The lirst sketch in black chalk is in King Friedrich August II’s Collection of drawings at Dresden.

Etched by L. Lowenstam.

Engraved by Suruguc and in mezzotint by Sayc.

Exhibited at the Royal Academy, London, 1899.

Smith, n" 178; Vosmaer, pp. =G3, 538; Bode, pp. /197, 081, n" i58; Dutuit, p. 3i, n" 3op
Wurzbach, n" 120; Michel, pp. 3o3, 555.

Collection of Noel Desenfans (d. 1807).

Collection of Sir Peter Francis Bourgeois (d. 1811). Bequeathed by him to

The Gallery of Dulwich College, Dulwich, near London.

192 -

-

*■

• ! \ ' . kw1 ’s'">

.

■

AN ORPHAN GIRL AT AN OPEN WINDOW

(ART INSTITUTE, CHICAGO)

5 CM

AN ORPHAN GIRL AT AN OPEN WINDOW

(ART INSTITUTE, CHICAGO)

She stands, facing the spectator, and looking upward to the left, both hands on
the sill of a window. Her crisp fair hair is combed back from ber forehead into a
small white cap at the back of her head. She wears a dark brown jacket, a laced bodice
of lighter brown, and a dark green apron. A small opening at the throat shews the
finely pleated chemisette, over which lies a double row of coral beads. A bright light
from above on the left falls on her forehead, the right side of her face, and her left
hand. Subdued dark background, lighted up on the left.

Half-length, life-size.

Signed below in the centre : Rembrandt f. 1645.

Canvas. H. im,oo; w. om,84.

Engraved lry F. C. G. Geyser.

Exhibited at the British Gallery, London, 1818.

Smith, n" 532; Bode, p. hop; Dutuit, p. ai, n*3io (?); Wurzbach, n" 358; Michel, pp. 3o3, 56i.

Gueffier Collection, Paris, 1791.

Robit Collection, Paris, 1801.

Geo. Hibbert Collection, London, 1829 (bought in).

Prince Demidoff’s Collection, San Donato, 1880 (bought in).

Art Institute, Chicago.

— 194 —

502

A YOUNG ORPHAN GIRL LEANING
WITH ROTH ARMS ON A WINDOW-SILL

(DUKE OF BEDFORD’S COLLECTION, LONDON)

502

A YOUNG ORPHAN GIRL

LEANING WITH ROTH ARMS ON A WINDOW-SILL

(DURE OF BEDFORD'S COLLECTION, LONDON)

A girl of about sixteen, full face, looking out of a window at the spectator. She
has fair hair, curling over her forehead, and drawn into a cap trimmed with gold.
Her dark dress is cut away at the throat, shewing a pleated chemisette with a fine
ruffle. Round her neck she wears a string of coral beads. Bright light from above
on the left. Dark background.

Half-length, life-size.
Painted about i645.

Canvas. H. about w. about om,6o.

Waagen, Art Treasures . II, p. 280.

Duke of Bedford’s Collection, London.

— 196 —

505

A YOUNG GIRL HOLDING OUT A MEDAL
ON A CHAIN

(MR. ROBERT HOE’S COLLECTION, NEW YORK)

505

A YOUNG GIRL HOLDING OUT A MEDAL
ON A CHAIN

(MR. ROBERT HOE’S COLLECTION, NEW YORK)

A girl of about twelve, standing, facing and looking at the spectator, her head
inclined to the left. With her left hand she holds out a gold medal, attached to her
girdle by a cord, laying her right hand on her breast. She is bareheaded, and has lair
hair, plaited, the braids fastened together in front; a light veil hangs from the hack of
her head. She 'wears a dull yellow mantle over a gown of the same colour, cut out at
the throat over a pleated chemisette, a red scarf, pearls in her ears, and strings of
pearls round her right wrist, and her waist.

Rather more than half-length, less than life-size.

Painted about i64o to iG43.

Canvas. H. om,6/| ; w. om,53.

Michel, pp. 447 1 56i.

Cotterill Dormer Collection, Oxfordshire, where the picture remained for over a hundred years.
Sir Charles Robinson’s Collection, London.

M. Charles Sedelmeyer’s Collection, Paris.

Mr. Robert Hoe’s Collection, New York.

— 198

I uul at

*

304

THE OLD WOMAN WEIGHING GOLD

(ROYAL GALLERY, DRESDEN)

504

THE OLD WOMAN WEIGHING GOLD

(ROYAL GALLERY, DRESDEN)

An old woman is seated at a table covered with a green cloth, turned to the right.
With her left hand she is about to place a gold piece in the scales she holds in her right
hand, and watches attentively. She wears a brownish purple gown trimmed with lur,
and a long white veil on her head. On the table are various ornaments, and behind it
a brownish red curtain. On the wall is an open cupboard with various utensils inside.
A full light from above on the left falls across the figure.

Three-quarters length, life-size.

Signed above by a later hand : Rembrandt f. 1643.
Painted about i643.

Canvas. II. im,i3; w. om,9<j'j.

Etched by A. ltiedel in 1754, by A. H. ltiedel in 1 8 1 4 , by J- v. d. Bl-uggen, by W. Baillie, and by
G. F. Schmidt.

Smith, n° i68; Vosmaer, pp. 253, 533; Bode, pp. 468, 070, n° 91; Dutuit, p. 28, n° 397;
Wurzbacli, n° 84 ; Michel, pp. 3o3, 553.

The inventory of 1754 shews it to have been already at that date in the Electoral Gallery, now the
Royal Gallery, Dresden. (N“ in Catalogue, 1 564 )

200

HEAD OF AN OLD MAN
WITH A THICK BEARD
IN A CAP AND A REDDISH COAT

(BARON R. VAN HARINXMA TIIOE ST.OOTEN, BEETSTERZW A AG)

505

HEAD OF AN OLD MAN WITH A THICK BEARD
IN A CAP AND A REDDISH COAT

(BARON R. VAN IIARINXMA TIIOE SLOOTEN, BEETSTERZWAAG )

Turned half-way to the right, and looking into the distance. His hair and heard
are grizzled and unkempt. He wears a broad-brimmed brown hat, and a reddish jacket
over a yellow doublet. Diffused light from above on the left.

Bust, about a third of life-size.

Signed to the left above the shoulder : Rembrandt f. 1647.

Oak panel. II. om,a35; w. om,:>.o5.

Exhibited at the Pulchri Studio, The Hague, in 1890, and at the Royal Gallery, The Hague, 189a.

Vosmaer, p. 536; Bode, p. 4971 646; Dutuit, p. 53, n° 399; Wurzbach, n° 345; Michel, pp. 343, 565.

P. A. V. van Harinxma tlioe Slootcn Collection, Holwerd, Friesland.

Baron R. van Harinxma tlioe Slooten’s Collection, Beetsterzwaag, Friesland.

202

4

l

500

HEAD OF A BEARDED OLD MAN
LEANING ON HIS LEFT HAND

(M. ADOLPH SCHLOSS’ COLLECTION, PARIS)

506

HEAD OF A BEARDED OLD MAN
LEANING ON HIS LEFT HAND

(M. ADOLPH SCHLOSS' COLLECTION, PARIS)

Almost full face, turned slightly to the left, and looking down, his head resting on
his left hand. He has rough brown hair and a long gray beard, and wears a dark
brown dress with light brown sleeves, which shew the white shirt sleeve at the wrist.
Hound his throat is a heavy gold chain with a cross; on his head a black cap with
a gold clasp. Light brown background.

A small bust, rather more than a third of life-size.
Signed above on the right : Rembrandt f . 1643.

Oak panel. H. om,a3; w. o'Vg.

Several similar studies which have only recently come to light in M. A. Scliloss Collection,
Paris, Comte Cavens’ Collection, Brussels, and Mr. Quincy A. Shaw’s Collection, Boston, will he
reproduced and described in the Supplement.

Exhibited at Amsterdam, 1898.

A. L. Nicholson Collection, London.

M. Gh. Sedelmeyer’s Collection, Paris.

M. Adolph Scliloss’ Collection, Paris.

— 20/4 —

<

. , :V iv •nf 1 V •• - 1:1 NI V ''

507

HEAD OF A WHITE-BEARDED OLD MAN
IN PROFILE

(M. E. WARNECK/S COLLECTION, PARIS)

507

HEAD OF WHITE-BEARDED OLD MAN
IN PROFILE

(M. E. WARNECK'S COLLECTION, PARIS)

He is seated to the left, looking down, and has a long white beard and a hooked
nose. He wears a wide dark brown cap, and a brown cloak. The hands seem to
be indicated in front of his breast. Bright light from in front on the left. Brown
background,, lighted up a little on the right.

Half-length, about a third of life-size.
Painted about i643.

Oak panel. II. o“,23; w. om, 18.

The model is the same as in n° 3o6.

Bode, pp. 5i 4, 5f)8, n°3i/|; Dutuit, p. 53, n°/|2i ; Wurzbach, n“ 33o; Michel, pp. 3/, 3, 56/,.

M. E. Warneck’s Collection, Paris.

— 206 —

508

HEAD OF AN ELDERLY JEW
IN A FLR CAP

THE LOUVRE, PARIS)

308

HEAD OF AN ELDERLY JEW IN A FUR CAP

(THE LOUVRE, PARIS)

A man of about forty, full face, with gray hair and a dark beard, a fox-skin cap
upon his head. He wears a dark brown morning gown, above which a small strip of
his shirt shews at the throat. The light breaks in from the left. Brownish back-
ground, lighted up on the right.

Bust, about one third oflife-size.
Painted about i645.

Oak panel. H. om,a6; w. om,i9

There are original replicas, agreeing exactly with this :

1. in the Royal Gallery, Cassel (included in the inventory of 1749)’ n° *n catalogue, 226; oak panel,
h. ora,2o; w. om, 16 (Smith, n° 372; Vosmaer, p. 556; Bode, pp. 5i4> 567, n° 74; Dutuit, p. 28, n° 4i$; "W urz~
bach, n°6o; Michel, pp. 397, 552).

2. in Mr. Quincy A. Shaw's Collection at Boston : oak panel, h. om,22 ; w. om,i8; original size
h. om,i9 ; w. om,i5.

Etched by Samuel van Hoogstraeten under the title Jan van Leyden, and by P . Louw.

Engraved in Filhol’s work, I, p. 71, and in Landon’s, II, p. 58.

Bode, pp. 5i4, 5p5, n° 282; Dutuit, p. 35, n° 417; Wurzbach, n° 285; Michel, pp. 397, 562.

The Louvre, Paris.

— 208 —

509

A BAREHEADED OLD MAN
WITH A SCANTY GRAY BEARD
AND GRIZZLED HAIR

(ROYAL GALLERY, CASSEL)

A BAREHEADED OLD MAN

WITH A SCANTY GRAY BEARD AND GRIZZLED HAIR

(ROYAL GALLERY, CASSEL)

Looking down, turned to the left, and almost in profile. He is bareheaded and
has a scanty gray beard and disordered hair. He wears a dark doublet, shewing the
shirt at the throat. The subdued light comes almost from the front. Brownish
backgrou nd.

Bust, about one third of life-size.
Painted about i643 to 1644-

Oak panel. H. om,ao; w. om,i6.

Smith, n0 3^2; Bode, pp. 5i4, 567, nu 74; Wurzbach, n°6o; Michel, pp. 397, 552.

It is known to have been since 1749 in the Electoral Gallery, now the
Royal Gallery, Cassel. (N° in Catalogue, 225).

Heliojravort Letnercier

, !>' i

310

HEAD OF A JEW
WITH A SCANTY BROWN BEARD
AND A DARK CAP

(KAMI, OK ELLESMERE'S COLLECTION, LONDON )

HEAD OF A JEW
WITH A SCANTY BROWN BEARD
AND A DARK CAP

(EARL OF ELLESMERE’S COLLECTION, LONDON)

5)0

head of a jew with a scanty brown beard

AND A DARK CAP

(EiRL OF ELLESMERE'S COLLECTION, LONDON)

Seated, turned half-way to the left, and looking straight before him. He has a
dark cap, a brown beard, and a brown coat trimmed with fur. A. lull light comes from
the front. Dark background, lighted up a little below on the right.

Bust about one third of the size of life.

Painted about iG45.

Oak panel. H. om,2o; w. om,i5.

Engraved in tile Stafford Gallery byJ. Fittler after a drawing by Win, Craig, III, n" 70.

Smith, n° 33o; Bode, pp. 5i4, 587, n" ai3; Dutuit, p. 45, n- 4'!); Wurzbach, n" 189; Michel,

p. 557.

Waagen, Art Treasures , II, p. 4 2-

Earl of Ellesmere’s Collection, Bridgewater House, London. (N° in Catalogue, 1 36).

•212

PORTRAIT

OF A BROAD-SHOULDERED MAN
IN A SMALL SLOUCHED HAT

(CORPORATION ART GALLERIES, GLASGOW)

311

PORTRAIT OF A BROAD-SHOULDERED MAN
IN A SMALL SLOUCHED HAT

(CORPORATION ART GALLERIES, GLASGOW)

Full face, looking slightly to the left, with a grizzled beard. He wears a brown
cloak and a reddish brown slouched hat. A portion of his white shirt is visible at the
breast. A strqng light comes from the left. The background lighted up on the right.

Bust, about one third the size of life.

Painted about iG45; a good deal injured by over-cleaning.

Oak panel. H. om,24; w. ora,ai

Me Lellan Collection, Glasgow, with the rest of which it was bequeathed in 1 854 to the city of

Glasgow.

Corporation Art Galleries, Glasgow. (Nu in Catalogue of 189a, 38i).

— 214

• . ' 'I-- ! injured l»y • T-deaning.

312

BUST OF A MAN WITH A BLACK BEABD
IN A HIGH BROAD-BRIMMED HAT

(COLLECTION OF SIR A. W. NEEI.D, BART., GRITTLETON HOUSE, WILTS)

51 2

BUST OF A MAN WITH A BLACK BEARD
IN A HIGH BROAD-BRIMMED HAT

(COLLECTION OF SIR A. W. NEELD, BART.. GRITTLETON, HOUSE, WILTS)

Seated, turned slightly to the right and looking at the spectator. On his dark
brown hair he wears a broad-brimmed black hat. He has a dark beard. A limp shirt
collar with tassels is turned over his dark coat. Below, his folded hands are seen
in part in front of his body. A subdued light from the left touches his face. Dark
background.

Bust, about one-third the size of life.

Signed on the right, above the shoulder : Rembrandt f.
Painted about i645.

Oak panel, rounded of! at the top. H. o”^^ ; w. om,3o.

Exhibited at the Royal Academy, London, 1899.

Sir John Neeld’s Collection, Grittleton House, Wilts.

Collection of Sir A. W. Neeld, Bart., Grittleton House, Wilts.

— 216 —

3 1 3

BUST OF A BEARDED JEW FULL FACE

(EARL COWPER’S COLLECTION, PANSH ANGER, HERTS)

515

BUST OF A BEARDED JEW FULL FACE

(EARL COWPER’S COLLECTION, PANSHANGER, HERTS)

Nearly full face, the head slightly bent. He has long brown curls, and wears a
simple brown garment shewing a red under-dress and a plain shirt collar in front. A
subdued light falls from the left on the right cheek. Dark background.

Bust about one third of life-size.
Painted about 1646.

Oak panel. II. om,3i5; w. om,235.

Apparently a study for a Christ. In very poor condition, whence the ill-success of the pho-
tograph.

Exhibited at the Royal Academy, London, 1881, 1899.

Wurzbach, n° 204.

Earl Cowper’s Collection, Panslianger, Herts.

— 218 —

HEAD OF A YOUNG JEW
IN A BLACK SKULL CAP

(ROYAL GALLERY, BERLIN)

514

HEAD OF A YOUNG JEW IN A BLACK SKULL CAP

(ROYAL GALLERY. BERLIN)

Full face, turned slightly to the left, and looking at the spectator. He has curly
black hair under a black skull cap, and a short, dark beard. He wears a brown
doublet with a turned down white collar and a dark cloak. Powerful light from the
left. Brownish background, lighted up on the right.

Bust, nearly half the size of life.
Painted about i6/|d.

Oak panel. H. o'", 24$; w. om,an5.

Formerly in a private collection in Belgium.

Purchased by the Kaiser Friedrich Museumsverein, Berlin, in 1896, and placed for permanent
exhibition in the

Royal Gallery, Berlin. (N° in Catalogue, 828“).

220

CONTENTS OF VOLUME IV

Introduction

X. Landscapes and Still-Life Subjects from about 1637 to 1 645 1

XL Biblical Compositions of from 16/10 to 1646. The March out of Frans Banning Cocq's Company

of the Civic Guard q

XII. Portraits of the Master himself and of his Relations and Friends from i638 to 1645. ... a3

XIII. Portraits painted to Order from 1637 to i645 2q

XIV. Character Studies and Studies of Heads painted from about 1 638 to 1647 37

Catalogue of Rembrandt’s Pictures, Part IV

229. Landscape with the good Samaritan. (Czartoryski Museum, Cracow) 47

230. Landscape with a Column. (Herr Georg von Rath’s Collection, Buda-Pesth) 4q

231. Mountain-City in a Storm. (Ducal Gallery, Brunswick) 5i

232. A Stone Bridge over a Canal. (Mr. James Reiss’ Collection, London) 53

233. A Landscape with a Fortress. (Wallace Museum, London) 55

234- Stormy Landscape with a River. (Grand-Ducal Gallery, Oldenburg) 57

235. A Dutch Landscape with a Town in the Distance. (Earl of Northbrook’s Collection, London). 5q

236. A desolate Highland Valley. (National Gallery of Scotland, Edinburgh) 61

237. A woody River-Scene with Cows. (Sir Robert Peel’s Collection, Drayton Manor) 63

238. A Sportsman with a Bittern. (Royal Gallery, Dresden) 65

23g. Dead Peacoks. (Mr. W. C. Cartwright’s Collection, Aynlioe Park) 67

240. The Dismissal of Hagar. (Mr. Constantine A. Ionides’ Collection, Brighton) 69

241. The Salutation of the Virgin and St. Elizabeth. (Duke of Westminster’s Collection, London). 71

242. The Holy Family. (The Louvre, Paris) ^3

243. The Sacrifice of Manoah. (Royal Gallery, Dresden) 75

244- The Reconciliation between David and Absalom. (The Hermitage, St. Petersburg) 77

245. The Descent from the Cross. (National Gallery, London) 79

246. The Toilette of Bathsheba after the Bath. (Baron Steengracht van Duivenvoorde’s Collection,

The Hague) 81

247. The Woman taken in Adultery. (National Gallery, London) 83

248. The Angel warns Joseph to flee into Egypt. (Royal Gallery, Berlin) 85

249. The blind Tobit discovers his Wife’s Theft of the Goat. (Royal Gallery, Berlin) 87

a5o. The Holy Family, known as “ The Cradle ”. (Mr. A. R. Boughton Knight’s Collection,

Downton Castle) 89

a5i. The Holy Family with the Angels. (The Hermitage, St. Petersburg). 91

25a. The Holy Family with the Curtain. (Royal Gallery, Cassel) 93

253. The March out of Frans Banning Cocq’s Company of the Civic Guard, erroneously called

“ The Night-Watch ”. (Rijksmuseum, Amsterdam) p5

254. Rembrandt (?) preparing to go out. (Royal Gallery, Cassel) 99

255. Rembrandt in a furred Cloak with a double gold Chain. (The Duke of Bedford’s Collection,

Woburn Abbey) 101

2.56. Rembrandt leaning on a stone Sill. (National Gallery, London) io3

257. Rembrandt in a red Cap. (Collection of H. R. H. The Grand Duke of Saxony-Weimar, Weimar). io5

258. Rembrandt in a small Cap and with pearl Earrings. (Grand-Ducal Collection, Carlsruhe). . 107

209. Rembrandt seated, holding a short Sword in a red Sheath. (Captain Holford’s Collection,

Dorchester House, London) 109

260. Rembrandt with short Hair in a broad flat Cap. (Duke of Leuchtenberg’s Collection,

St. Petersburg) 111

261. Rembrandt in a wide Cap, his left Hand on his Cloak. (Buckingham Palace, London). . . . n3

262. Portrait of Rembrandt’s Mother, her Hands on the Crook of a Stick. (Imperial Gallery, Vienna). 1 15

263. An old Woman her Hands clasped over a Pair of Spectacles on a Book in her Lap. (The

Hermitage, St. Petersburg) 1 1 7

264. Saskia standing and holding out a Pink. (Royal Gallery, Dresden) 119

265. Saskia in a high Head-dress, her left Hand on her Breast. (Royal Gallery, Berlin) 121

266. A young Man by a Pillar holding a plumed Cap in his Hand. (Mr. H. O. Havemever’s Collec-

tion, New York) 123

267. A young Woman resting her right Hand with a Fan on the Back of a' Chair. (Mr. H. O. Have-

meyers’ Collection, New York) 120

268. The Falconer. (Duke of Westminster’s Collection, London) 127

269. The Falconer’s Wife. (Duke of Westminster’s Collection, London) 129

2-10. A young Man in a steel Gorget and a Cap with a blue Feather. (Royal Gallery, Dresden). . . 1 3 1

271. A Man in a steel Gorget and a wide Cap with outstretched Hand. (Herr Adolf Thiem’s Collec-

tion, San Remo) *33

272. A young Man rising from a Writing-Table. (Earl Cowper’s Collection, Panshanger) . . . . 1 35

2^3. Portrait of an elderly Man in an Arm-Chair, his left Hand on the Tassels of his Collar. (Earl of

Mansfield’s Collection, Scone Palace) *3 7

2-4. A young Lady standing against a Balustrade holding a Fan in her left Hand. (Collection of the

Van Weede van Dijkveld Family, Utrecht) i3g

275. Portrait of the Gilder Herman Roomer, known as 11 The Gilder ’’. (Mr. H. O. Havemeyer’s

Collection, New York) i4 1

276. Portrait of an old Man with a scanty Beard, his Gloves in his left Hand, seated in a red Chair.

(The Reterend the Earl of Scarsdale’s Collection, Kedleston Hall) >43

2--. An elderly Man with a pointed gray Beard holding his Gloves in his left Hand, erroneously called

The Portrait of Cornelius Jansenius. (Lord Ashburton’s Collection, The Grange, Hants). . 1 V*

278. Portrait of an old Lady looking to the left, her Hands clasped. (Mr. H. O. Havemeyer’s Collec-

tion, New York) 1 '17

279. Portrait of Elisabeth Jacobs Bas, widow of Admiral Jochem Heyndricksz Swartenhont.

(Rijksmuseum, Amsterdam) i49

280. Portrait of Anna Wijmcr, mother of tlje Burgomaster Jan Six. (Six Collection, Amsterdam). . r»i

281. Portrait of an old Lady, full face, her Hands folded. (The Hermitage, St. Petersburg). . . . ij3

282. The Mcnnonite Preacher Cornells Claes/ Anslo and a Woman. (Royal Gallery, Berlin). . . . t i.)

283. Portrait of a Man with curly Hair leaningagainst the Embrasure of a Window. (Royal Gallery. ►

Brussels) Irj7

284. Portrait of a young Lady in the Embrasure of a Window holding a Fan. (Buckingham Palace.

London) ,r>9

28.). Portrait of a young Lady standing by a Table and pointing with her right hand to the right Side.

(Lord Iveagh’s Collection, London) 1G1

286. Portrait of a young Man in a high broad-brimmed Hat, his left Hand on his Breast. (Mr. H. ().

Havemeyer’s Collection, New York) *63

287. Portrait of a young Man with a pointed Beard standing at a Door. (Mrs. Alfred Morrison’s

Collection, London)

288. Portrait of an old Lady, an Eye-Glass in her right Hand which rests on a Book in her Lap.

(M. Louis Lebeuf de Montgermont’s Collection, Paris) 167

289. A young Lady with loose Hair standing by a Balustrade, erroneously called “ The Wife of

the Burgomaster Six ”. (Mr. Alexander Henderson’s Collection, London) 169

290. Portrait of an aged Minister in a furred Cloak seated at a Writing-Table, erroneously called

Jan Cornells/. Sylvius. (Herr Adolf von Carstanjen’s Collection, Berlin) 171

291 . An old Lady seated in a Chair, a Handkerchief in her left Hand. (Captain G. L. Holford’s Collec-

tion, London)

292. Bust Portrait of a Rabbi in a broad Cap. (M. Jules Porges’ Collection, Paris) 175

->$3. A Rabbi at a Studv-Table. (National Gallery, Buda-Pesth)*. >77

2q4, Head of an elderly Jew in a small Cap, his right Hand inside his Coat. (The Hermitage,

St. Petersburg) *79

2 q5. A Rabbi seated, a Stick in his Hands and a high Feather in his Cap. (The Hermitage,

St. Petersburg)

20)6. A Rabhi seated with a gold Chain, a Cane in his right Hand. (Royal Gallery, Dresden). . . >83

297. A Rabbi seated with a gold Chain, his Eyes overshadowed by the broad Brim of his Cap.

(Royal Gallery, Berlin) *

298. An old Savant at his Writing-Table. (Royal Gallery, Berlini 187

299. A young Girl in a broad-brimmed Cap, her Hands on a Window-Sill. (Count Karl Lanckoronski s

Collection, Vienna) r®9

300. A young Girl looking out of a Window. (Dulwich Gallery, near London 1 191

301 . An Orphan Girl at an open Window. (Art Institute, Chicago) T9^

302. A young Orphan Girl leaning with both Arms on a Window-Sill. (Duke of Bedford s Collection,

London) r9^

303. A young Girl holding out a Medal on a Chain. (Mr. Robert Hoe’s Collection, New York"). . . 197

3o/| . The old Woman weighing Gold. (Royal Gallery, Dresden) >99

3o5. Head of an old Man with a thick Beard in a Cap and a reddish Coat. (Baron R. van Harinxma

thoe Slooten’s Collection, Reetsterzwaag) 201

3oG. Head of a bearded Man leaning on his left Hand. (M. Adolph Schloss Collection, Paris . . 20 >

307. Head of a white-bearded old Man in Profde. (M. E. Warneck’s Collection, Paris) 2o:>

308. Head of an elderly Jew in a fur Cap. (The Louvre, Paris) 207

309. A bareheaded old Man with a scanty gray Beard and grizzled Hair. (Royal Gallery, CasseL. . 209

310. Head of a Jew with a scantv brown Beard and a dark Cap. (Earl ol Ellesmere s Collection,

London) 2,1

3i 1 . Portrait of a broad-shouldered Man in a small slouched Hat. (Corporation Art Galleries,

Glasgow) 21 ’

3 r 2 . Bust of a Man with a hlack Beard in a high broad-brimmed Hat. (Collection of Sir A. W. Neeld,

Bart., Grittleton House, London) 21 J

313. Head of a bearded Jew full face. (Earl Cowper’s Collection, Panshanger, Hertsi 217

314. Head of a young Jew in a black Skull-Cap. (Royal Gallery, Berlin) 219

Printed

for

CM. SEDELMEYER

by

LAHURE

1 /' '

.vwca»a#ji;