A CORPUS OF

REMBRANDT PAINTINGS

Stichting Foundation Rembrandt Research Project

A CORPUS OF

REMBRANDT PAINTINGS

MCMLXXXIX

MARTINUS NIJHOFF PUBLISHERS Dordrecht • Boston • London

Stichting Foundation Rembrandt Research Project

A CORPUS OF

REMBRANDT PAINTINGS

J. BRUYN • B. HAAK • S.H. LEVIE

P.J.J. VAN THIEL· E. VAN DE WETERING

with the collaboration if L. PEESE BINKHORST -HOFFSCHOL TE • J. VIS

translated by

D. COOK-RADMORE

MCMLXXXIX

MARTINUS NIJHOFF PUBLISHERS Dordrecht • Boston • London

Frontispiece:

Detail of no. A 106, John the Baptist preaching, Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie

Of this edition 125 copies have been specially bound and numbered 1-120 and I-V. Subscribers to the complete special bound set will receive subsequent volumes with an identical number.

The copies with roman numbers are solely for publishers' use.

This is copy number

Stichting Foundation Rembrandt Research Project A CORPUS OF REMBRANDT PAINTINGS III

© 1989, Stichting Foundation Rembrandt Research Project MCMLXXXIX, Martinus Nijhoff Publishers

Dordrecht . Boston' London Softcover reprint of the hardcover 1 st edition 1989

ISBN-13: 978-94-010-6852-9 e-ISBN-13: 978-94-009-0811-6 DOl: 10.1007/978-94-009-0811-6

Library of Congress Catalogue Card Number 82-18790

The publication of this work has been made possible by the fmancial support of the Netherlands Organization for Scientific Research (NWO) and the Prins Bernhard Fonds.

VI

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Contents

PREFACE IX

XI PHOTO ACKNOWLEDGMENTS

X-RAY ACKNOWLEDGMENTS Xlii

BIBLIOGRAPHICAL AND OTHER ABBREVIATIONS

Introduction

Chapter I STYLISTIC FEATURES OF THE 1630S: THE HISTORY PAINTINGS 3 (j. B. , E.V. D.W.)

Chapter II STUDIO PRACTICE AND STUDIO PRODUCTION (j.B.) 12

Chapter III A SELECTION OF SIGNATURES, 1635-1642 (j.B. ) 51

BIOGRAPHICAL INFORMATION 1635-1642 57

Catalogue

NOTES ON THE CATALOGUE 62

Paintings by Rembrandt A 105 The Entombment, [1633/16351.

Glasgow, Hunterian Art Gallery, University of Glasgow 65

A 106 John the Baptist preaching, [1634/16351. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie 70

A 107 The Lamentation, [1634/35]. London, The National Gallery 89

A 108 Abraham's sacrifice, 1635. Leningrad, The Hermitage Museum 101

A 109 Samson threatening his father-in-law, [16351. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie 114

A llO Belshazzar's feast, [c. 1635]. London, The National Gallery 124

A III The prodigal son in the tavern, [c. 1635]. Dresden, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister 134

A ll2 Flora, [1635]. London, The National Gallery 148

A ll3 The rape of Ganymede, 1635. Dresden, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister 161

A 114 Minerva, 1635.

XIV

Tokyo, Japan private collection (Deposit Bridgestone Museum of Art, Tokyo) 168

A 115 Portrait of Philips Lucasz., 1635. London, The National Gallery 175

A 116 The blinding of Samson, [1636]. Frankfurt-am-Main, Stadelsches Kunstinstitut 183

A ll7 Susanna at the bath, 1636. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis 196

A ll8 The Ascension, 1636. Munich, Bayerische Staatsgemaldesammlungen, Alte Pinakothek 202

A ll9 Danae, [1636-1643]. Leningrad, The Hermitage Museum 209

A 120 The standard-bearer, 1636. Paris, private collection 224

VII

A 121

A 122

A 123

A 124

A 125

A 126

A 127

A 128

The angel Raphael leaving Tobit and his family, [1637]. Paris, Musee du Louvre 232 Half-length figure of a man in 'Polish' costume, 1637. Washington, D.C., The National Gallery of Art 242 The wedding of Samson, 1638. Dresden, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister 248 The risen Christ appearing to Mary Magdalene, 1638. London, Buckingham Palace, H.M. Queen Elizabeth II 258 Landscape with the Good Samaritan, 1638. Krakow, Muzeum Narodowe 265 The Entombment, [c. 1635/16391. Munich, Bayerische Staatsgemaldesammlungen, Alte Pinakothek 271 The Resurrection, [c. 1635/1639]. Munich, Bayerische Staatsgemaldesammlungen, Alte Pinakothek 280

Man in oriental costume (King Uzziah stricken with leprosy?), [c. 16391. Chatsworth, The Duke of Devonshire and Trustees of the Chatsworth Settlement 289

A 129 Portrait of a man, standing (Comelis Witsen?), [16391. Kassel, Staatliche Kunstsammlungen Kassel, Schloss Wilhelmshohe 297

A 130 Portrait of a man holding a hat, [C.1639]. Los Angeles, Cal., The Armand Hammer Collection 305

A 131 Portrait of a young woman, probably Maria Trip, [1639]. Amsterdam, Rijksmuseum (on loan from the Familie van Weede Stichting) 312

A 132 Portrait of Aletta Adriaensdr., [16391. Rotterdam, Museum Boymans-van Beuningen, Willem van der Vorm Foundation 321

A 133 A dead bittern held high by a hunter, [1639]. Dresden, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister 328

A 134 Dead peacocks and a girl, [c. 16391. Amsterdam, Rijksmuseum 334

A 135 The Concord of the State, [later 163os]. Rotterdam, Museum Boymans-van Beuningen 341

A 136 Landscape with a stone bridge, [late 1630S]. Amsterdam, Rijksmuseum 357

A 137 Mountain landscape with a thunderstorm, [c. 1640]. Braunschweig, Herzog Anton Ulrich-Museum 362

A 138 The Visitation, 1640. Detroit, Mich., The Detroit Institute of Arts 367

A 139 Self-portrait, 1640. London, The National Gallery 375

A 140 Portrait of Herman Doomer, 1640. New York, N.Y., The Metropolitan Museum of Art 382

A 141 Portrait of Baertje Martens, [1640] . Leningrad, The Hermitage Museum 390

A 142 Saskia as Flora, 1641. Dresden, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister 395

A 143 Portrait of the Mennonite preacher Camelis Claesz. Anslo and his wife Aeltje Gerritsdr. Schouten, 1641. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie 403

A 144 Portrait of Nicolaes van Bambeeck, [16411. Brussels, Musee Royal des Beaux-Arts 416

A 145 Portrait of Agatha Bas, 1641. London, Buckingham Palace, H.M. Queen Elizabeth II 424

A 146 The company of captain Frans Banning Cock and lieutenant Willem van Ruytenburgh, called The Night watch, 1642. Amsterdam, Rijksmuseum 430

CONTENTS

Paintings Rembrandt's authorship of which cannot be positively either accepted or rejected B 9 Ahasuerus condemning Haman, who begs mercy of

Esther. Bucharest, Muzeul de Arta al Republicii socialiste Romania 487

B 10 Bust of Rembrandt with an architectural background. Paris, Musee du Louvre 498

B 11 Half-length figure of a youth in a cap and gorget. Florence, Galleria degli Uffizi 506

B 1.2 River landscape with a windmill. . Kassel, Staatliche Kunstsammlungen Kassel, Schloss Wilhelmshohe 514

Paintings Rembrandt's authorship of which cannot be accepted C 83 Manoah's sacrifice.

Dresden, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister 523

C 84 David's parting from Jonathan. Leningrad, The Hermitage Museum 533

C 85 The departure of the Shunammite woman. London, Victoria & Albert Museum 542

C 86 Tobias healing his blind father. Stuttgart, Staatsgalerie 551

C 87 The Holy Family with S. Anne. Paris, Musee du Louvre 557

C 88 The parable of the labourers in the vineyard. Leningrad, The Hermitage Museum 568

C 89 Half-length figure of an old woman, presumably the prophetess Anna. Vienna, Kunsthistorisches Museum 576

C 90 S. Francis at prayer. Columbus, Ohio, The Columbus Museum of Art 583

C 91 Scholar at a table with books and a candlestick.

C 92

C 93

C 94

C 95

C 96

C 97

C 98

C 99

C 100

C 101

C 102

C 103

C 104

C 105

Budapest, Szepmiiveszeti Muzeum 587 Half-length figure of Rembrandt. England, private collection 592 Half-length figure of Rembrandt. Woburn Abbey, Beds., The Duke of Bedford 597 Half-length figure of Rembrandt. Ottawa, The National Gallery of Canada 603 Half-length figure of a young woman in fanciful costume. Private collection 608 Bust of Rembrandt in a black cap. London, The Wallace Collection 612 Bust of Rembrandt. Pasadena, Cal., Norton Simon Museum of Art 619 Bust of a man with a plumed cap. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis 625 Bust of a man wearing a cap and gold chain. Sao Paulo, Museu de Arte de Sao Paulo Assis Chateaubriand 633 Man with dishevelled hair. Previously New York, Acquavella Galleries 637 Bust of a man in oriental dress. Amsterdam, Rijksmuseum 640 Bust of a rabbi. Hampton Court Palace, H.M. Queen Elizabeth II 646 Bust of a young woman (commonly called the artist's wife). Washington, D.C., The National Gallery of Art 651 Portrait of a man in a slouched hat and bandoleer. U.S.A., private collection 657 Portrait of a woman. Cleveland, Ohio, The Cleveland Museum of Art 661

C 106 Portrait of a man.

England, Coli. Duke of Westminster 668

VIII

C 107 Portrait of a woman. England, Coil. Duke of Westminster 674

C 108 Portrait ot Antonie Coo pal. Boston, Mass., Museum of Fine Arts, on anonymous loan 679

C 109 Portrait of an old man in tabbard. Mertoun, Berwickshire, The Duke of Sutherland 685

C 110 Portrait of a man in a doorway. Private collection 691

C III Portrait of Petronella Buys. Formerly New York, Coil. Mr Andre Meyer 695

C 112 Portrait of a 70-year-old woman. New York, N.Y., The Metropolitan Museum of Art 699

C 113 Portrait of Anna Wijmer. Amsterdam, Six Collection 705

C 114 Portrait of a seated woman with a handkerchief. Toronto, Art Gallery of Ontario 716

C 115 Bust of a woman with a book, in fanciful dress. Los Angeles, Cal., Wight Art Gallery, University of California 723

C 116 Landscape with the baptism of the Eunuch. Hanover, Niedersachsische Landesgalerie, on loan from Pelikan AG Hannover 729

C 117 Landscape with obelisk. Boston, Mass., Isabella Stewart Gardner Museum 737

C 118 Landscape with a seven-arched bridge. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie 743

C 119 Landscape with a moated castle. London, The Wallace Collection 749

C 120 Landscape with a walled town. Madrid, Coil. Duke of Berwick and Alba 756

C 121 Wooded landscape with a castle. Whereabouts unknown 760

C 122 A slaughtered ox. Glasgow, Art Gallery and Museum 764

Corrigenda et Addenda 773

Tables and Indexes

TABLE OF TECHNICAL REFERENCE MATERIAL 779 TABLE OF DENDROCHRONOLOGICAL DATA, including revisions

for volumes I and II 783 INDEX OF PAINTINGS CATALOGUED IN VOLUME III 788

Present owners 788 Previous owners 789 Engravers 792 Subjects 793

INDEXES OF COMPARATIVE MATERIAL AND LITERARY SOURCES 795 Drawings and etchings by (or attributed to) Rembrandt 795 Works by artists other than Rembrandt 796 Literary sources 800

CONCORDANCE 801

Preface

This volume is something of a Siamese twin to the one preceding it. The period it covers is, despite unmistakeable changes in Rembrandt's style, so closely connected with that of the previous years that it is only when one surveys the whole of his first ten years of activity in Amsterdam that the cohesion in his work becomes really clear. This is why in Volume II we summarized the characteristics of his portraits from those years, while in the present volume the same is attempted for the history paintings. Many of the catalogue entries that follow were written at the same time as those for Volume II; in this respect as well there is no real break between the two.

This is not to say that Rembrandt research has stood still since 1986 (when Volume II appeared). Christian Tilmpel has published a monograph in which, while the main stress is on iconographic interpretation, a critical stance is taken on the matter of attributions. This is indeed something that has over the last few years been seen on a far greater scale than before; our approach to the subject may have contributed to this change - at all events it naturally had a bearing on the way our publication was received. The de attribution by the West-Berlin Gemaldegalerie, supported by thorough technical investigation, of their Man in a golden helmet has been the most headline-catching example of this new trend in recent years!. As the present volume was going to press the National Gallery in London, which enjoys a well-merited reputation on the matter of scientific research combined with a critical attitude to its own collection, organized an exhibition on Art in the making. Rembrandt; the catalogue for this2 was available just in time for us to incorporate a small number of changes in the text of our own entries.

A slightly different viewpoint is provided by the study of Rembrandt's pupils and what they meant for the production of his workshop. Time and again, recognizing the hand of a studio collaborator can help in delimiting the autograph work of the master. Werner Sumowski has in the past few years published the second and third volumes of his Gemalde der Rembrandt-Schuler3 , which has already become an indispensable aid in studying the work, especially the mature work, of Rembrandt's various pupils. The exhibition announced by the Musee du Louvre of paintings by Rembrandt's pupils and drawings done by himself and. his followers4

unfortunately came too late to be taken into account. One of the introductory chapters of the present volume is indeed, continuing E'om what was said on the matter in Chapter II of Volume II, devoted to the problems of the workshop production. A special place goes here to the landscapes traditionally attributed to Rembrandt, which at the start posed considerable problems in respect of their relationship, attribution and dating;

IX

we believe we have found satisfactory answers to some of these - but only by focussing our attention also on the later work of Flinck and, especially, Bol.

The basis for selecting the material to be considered was again, as for Volume II, Horst Gerson's Rembrandt paintings of 1968. Only two paintings, both formerly belonging to the Lanckoronski collection in Vienna (Br. 219 and 359; Gerson 225 and 224), cannot be traced and could therefore not be covered. The number of works rejected or omitted by Gerson but accepted by us, totalled four in both Volume I and Volume II; this time there is only one - a painting that Bredius, too, did not include in the Rembrandt canon (our no. A 130). The number of unsolved attribution problems - the B-numbers - come to four, and in each case this classification is due to the difficulty of assessing the painting in the condition in which it has survived. Among the C-numbers a dozen paintings can with a greater or lesser degree of certainty be linked with a known pupil, while in a number of other cases groups of two or more works can be ascribed to a single but as yet nameless hand. We are well aware that many problems still remain in this area. It is after all easier to defme the personality of a pupil as this can be seen in his maturity than as one mayor would like to imagine it during his learning years. In the case of a particularly adaptable artist like Ferdinand Bol, especially, the assumptions and suggestions advanced here about the part he played in the production of the studio occasionally offer a far from homogeneous picture. A stronger personality like Carel Fabritius, on the other hand, can be recognized with remarkable certainty from the very first works he produced in Rembrandt's studio. Among the colleagues with whom we have had fruitful discussions on this and similar problems, special mention must be made of Frits J. Duparc of Montreal and Martin Royalton-Kisch in London.

We have once again made grateful use oftechnical information made available to us by a variety of persons and institutions. On one particular point the interpretation of this information has undergone a change; as explained in greater detail in the Table of dendrochronological data, a modified view of the origin of the wood used for the panels has led to different conclusions being drawn from the measurements made, and thus to somewhat different datings. For these reasons, we give a table summarizing the dendrochronology findings not only from the panels discussed in the present volume but from those in Volumes I and II as well.

Weare as grateful as before to all the experts and bodies who have given us vital support in the scientific sphere, for the generosity they have shown in placing the results of their research at our disposal. This applies in particular to the Central Research Laboratory for Objects of Art and Science

PREFACE

in Amsterdam (which has moreover been housing the Project since 1985), the Hamilton Kerr Institute of the University of Cambridge, the Scientific Department of the National Gallery, London, the Ordinariat fur Holzbiologie of the University of Hamburg, Marco Grassi of New York and Maria del Carmen Garrido of the Prado Museum in Madrid.

As with the first two volumes, a great many people helped to make the appearance of this book possible. First of all, of course, we must mention (by its new name) the Netherlands Organization for Scientific Research (NWO), which not only for years on end bore the cost of the research work but has also provided a special subsidy for the publication of Volume III. The Prins Bernhard Fonds, Amsterdam, made an invaluable contribution by taking on part of the costs. Thanks are once again due to the owners, public and private, of the paintings discussed in this volume for the readiness with which they granted us facilities and assistance in studying their property. Only a small number of them were regrettably not prepared to consent to photographs of their pictures being reproduced; in these cases we have had to resort to old (and inevitably inadequate) reproductions. Among the many colleagues who helped us we must, in addition to those already mentioned in Volumes I and II, offer special thanks to Albert Blankert, Lizzie Boubli, Francis Broun, Peter Day and Bert M. Meijer. Cynthia Schneider we mention once again, for being kind enough to make available to us a version of her as yet unpublished book on Rembrandt's landscapes.

Within our own closer circle, all honour goes to those whose help and care were vital for the writing and production of the book. Mr Jacques Vis contributed substantial parts of the text, including the majority of the entry for the Night watch. The translator, Mr Derry Cook-Radmore, was as always a model of devotion and of care for accuracy that extended to perfection in the wording, and Mrs L. Peese Binkhorst - assisted at particularly tense times by Mrs D. Adang-Dhuygelaere - kept all the editing, organisational and administrative reins in a firm hand. Their task was made none the easier by the fact that from the very earliest stages of preparing the book one could sense not only the blessings but also the problems that were going to flow from technical advances. The publisher, finally, watched with the care already familiar to us over the production of what is in many respects a most demanding kind of publication.

x

It is likely that this volume is the last to be dealt with by the writing team as this is constituted today. It has been obvious for some while that the time the project is taking makes it necessary to bring in younger blood, while keeping as far as possible the experience already gained. The authors are confident that answers to the problems this presents have been or will be found.

October 1988

REFERENCES

1 J. Kelch ed., Der Mann mit dem Coldhelm. Eine Dokumentation ... , Berlin

(Gemaldegalerie Staatliche Museen Preussischer Kulturbesitz) 1986 (Bilder im Blickpunkt).

2 D. Bomford, C. Brown, A. Roy, Rembrandt, London (The National Gallery)

1988/89 (Art in the making). 3 W. Sumowski, Cemalde der Rembrandt-Schiller, Landau/Pfalz 1983, vol. II

G. van den Eeckhout-I. de Joudreville, vol. III B. Keil-J. Ovens. 4 J. Foucart, Peintres rembrane5que5 au Louvre, Paris (Musee du Louvre)

1988/89 (Les dossiers du departement des peintures 35). Rembrandt et son ecole, de55ins du Musee du Louvre, Paris 1988.

Photo acknowledgments

AMSTERDAM, Amsterdam Historical Museum (photo Rijks­museum-Stichting Amsterdam): Chapter II fig. 45. A 144 fig. 5

-, Gemeentearchief:· A 144 fig. 6 -, Verenigde Doopsgezinde Gemeente (photo Rijksmuseum-

Stichting Amsterdam): Chapter II fig. 34 -, Rijksmuseum (photo Rijksmuseum-Stichting Amsterdam):

Chapter II figs. 12, 27, 40. Chapter III fig. 17. A 106 figs. 10, 12, 20. A 108 fig. 4. A 109 fig. 8. A 114 fig. 6. A 116 fig. 6. A 121 fig. 8. A 123 figs. 8, 9. A 126 fig. 5· A 134 figs. 1, 3, 4, 5· A 136 figs. 1, 3 (colourplate). A 137 fig. 5· A 138 fig. 7. A 143 fig. 8. A 146 figs. 1, 2,3,4,5,6,8,10,11,12,13,15,16,17,18,19,20,21,22,23, 26, 27 (colourplate), 28, 29, 30. B 9 figs. 6, 7. B 10 fig. 6. C 83 fig. 7. C 84 fig. 9. C 85 figs. 5, 6. C 86 fig. 6. C 101 figs. 1, 3, 4

-, - (on loan from the Familie van Weede Stichting) (photo Rijksmuseum-Stichting Amsterdam): A 131 figs. 1, 3, 4

-, Six Collection (photo Art Promotion Six): C 113 figs. 1, 3, 4, 5, 6 ANTWERP, Koninklijk Museum voor Schone Kunsten (photo

copyright A.C.L. Brussel): C 109 fig. 5 BERLIN (West). Staatliche Museen Preussischer Kulturbesitz,

Gemaldegalerie: Frontispiece (colourplate). A 106 figs. 3, 7. A 143 fig. 8

-, - (photo Jorg P. Anders): Chapter I fig. 3. Chapter II fig. 16. A 109 fig. 1. A 117 fig. 5. A 143 figs. 1, 12, 13· C 118 figs. 3, 4

-, - (photo Rijksmuseum-Stichting Amsterdam): A 106 fig. 1 -, - (photo Walter Steinkopf): Chapter II fig. 41. Chapter III

fig. 6. A 106 figs. 4, 5, 6. A 109 figs. 3, 4, 5· A 143 figs. 3, 4, 5, 6, 14. C 118 fig. 1

-, Staatliche Museen Preussischer Kulturbesitz, Kupferstich­kabinett (photo Jorg P. Anders): Chapter II fig. 2. A 106 figs. 14, 18. A 107 fig. 9. A III fig. 7· A 117 fig. 4

BESAN«;:ON, (France), Musee des Beaux-Arts et d'Archeologie: A 119 fig. 7. C 86 fig. 5

BOSTON, Mass., Museum of Fine Arts: Chapter III figs. 2, 23. C 122 fig. 4

-, - (on anonymous loan): C 108 figs. 1, 3, 4, 5. -, The Isabella Stewart Gardner Museum: Chapter I fig. 4.

Chapter II fig. 38. C 117 figs. 1, 3, 4, 5 BRAUNSCHWEIG, Herzog Anton Ulrich-Museum (photo B.P.

Keiser): A 119 fig. 11. A 137 figs. 1, 3, 4· B 9 fig. 8. C 86 fig. 4 BRNO, Moravska Galerie: C 90 fig. 4 BRUSSELS, Musees royaux des Beaux-Arts (photo copyright

A.C.L. Brussel): Chapter III fig. 11. A 144 figs. 1, 3, 4 BUCHAREST, Muzeul de Arta al Republicii socialiste Romania: B 9

figs. 1, 3 BUDAPEST, Szepmuveszeti Muzeum: C 91 figs. 1, 2, 3 CAMBRIDGE, Mass., The Fogg Art Museum, Harvard University,

Bequest Nettie G. Naumberg: Chapter II fig. 11 CHATSWORTH, Devonshire collections (photo courtesy of the

Courtauld Institute London): A 106 figs. 15, 16. A 140 figs. 5, 6 -, - (photo National Gallery London): A 128 fig. 1 -, - (photo Devonshire collections): A 128 figs. 3, 4 CLEVELAND, Ohio, The Cleveland Museum of Art: C 105 figs. 1, 3,

4 COLUMBUS, Ohio, The Columbus Museum of Art: Museum

Purchase, Derby Fund: C 90 figs. 1, 2, 3 COPENHAGEN, Statens Museum for Kunst: A 146 fig. 25. C 113 fig. 7 DARMSTADT, Hessisches Landesmuseum: C 87 fig. 5. C 113 fig. 8 DETROIT, Mich., The Detroit Institute of Arts: Chapter II fig. 13.

Chapter III fig. 8. A 138 figs. 1, 3, 4 (colourplate), 5, 6. C 98 fig. 4

DORDRECHT, Dordrechts Museum (photo Stijns Dordrecht): Chapter II fig. 46. C 116 fig. 6

DRESDEN, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister: Chapter I fig. 8. Chapter III fig. 14. A 111 figs. 1, 3, 4, 5· A 113 figs. 1, 2, 3, 4· A 123 figs. 1, 2, 4, 5· A 126 figs. 7, 8. A 133 figs. 1, 3, 4. A 142 fig. 1. C 83 fig. 1

-, - (photo Deutsche Fotothek Dresden): Chapter II fig. 17. A 133 fig. 2. A 142 figs. 2, 4· C 83 figs. 2, 3

-, -, Kupferstich-Kabinett: A 113 fig. 5· C 83 fig. 4

XI

DUBLIN, National Gallery of Ireland: Chapter II figs. 19, 28. Chapter III fig. 21. A 119 fig. 8. C 113 fig. 9

FLORENCE, Galleria degli Uffizi (photo Gabinetto Fotografico soprintendenza Beni Artistici e Storici di Firenze): B 11 figs. 3, 4

-, - (photo Rijksmuseum-Stichting Amsterdam): B 11 fig. 1

FRANKFURT AM MAIN, Stadelsches Kunstinstitut (photo Ursula Edelmann Frankfurt): Chapter III fig. 13. A III fig. 6. A 116 figs. 1, 3, 4 (colourplate), 5, 8

GLASGOW, Art Gallery and Museum: Chapter III fig. 24. C 122 figs. 3, 5

-, - (photo Rijksmuseum-Stichting Amsterdam): C 122 fig. 1 -, Hunterian Art Gallery, University of Glasgow: A 105 figs. 3, 4 -, - (photo Rijksmuseum-Stichting Amsterdam): A 105 fig. 1 GRUNDLSEE (Austria), Roman Catholic Church (photo RKD The

Hague): A 127 fig. 8 HAARLEM, Teylers Museum: Chapter II fig. 3 THE HAGUE, Koninklijk Kabinet van Schilderijen, Mauritshuis

(photo Stichting Vrienden van het Mauritshuis): Chapter III fig. 22. A 117 fig. 3· C 98 fig. 5. C 117 fig. 6

-, - (photo Rijksmuseum-Stichting Amsterdam): A 117 fig. 1. C 98 figs. 1, 3

-, dealer S. Nystad (photo A. Dingjan): A 122 fig. 5 HAMPTON COURT, Copyright reserved to H.M. Queen Elizabeth II

(Photo Studios, London): C 102 fig. 1 -, - (photo courtesy of the Courtauld Institute of Art London):

C 102 fig. 3 HANOVER, Niedersachsische Landesgalerie: B 12 fig. 6 -, - (on loan from Pelikan AG Hannover): Chapter II fig. 47.

C 116 figs. 1, 3, 4, 5 ITHACA, N.Y., Herbert F. Johnson Museum, Cornell University

(photo Geoffrey Clements, New York): Chapter II fig. 31 KASSEL, Staatliche Kunstsammlungen Kassel: Chapter II figs. 25,

51. Chapter III fig. 10. A 129 figs. 1, 3, 4. B 12 figs. 1, 3, 4, 5 -, - (formerly) (Bildarchiv Foto Marburg): A 116 fig. 7 KRAKOW, Muzeum Narodowe: Chapter II fig. 37. Chapter III

fig. 18. A 125 figs. 1, 3, 4, 5 LENINGRAD, The Hermitage Museum: Chapter I figs. 2, 7. Chapter

II figs. 8, 43, 49· A 108 figs. 1, 2, 3. A 119 figs. 1, 2, 4. A 141 figs. 1, 2, 3· C 84 figs. 1,3· C 88 figs. 1, 3, 4

LIVERPOOL, National Museums & Galleries on Merseyside (Walker Art Gallery): C 101 fig. 5

LONDON, The British Museum, Trustees of: Chapter II fig. 1. Chapter III fig. 19. A 107 figs. 4, 5, 6, 7. A 108 fig. 5. A 112 fig. 6. A 120 fig. 4. A 131 fig. 5. A 143 figs. 10, 11. C 87 fig. 7.

-, Buckingham Palace, Copyright reserved to H.M. Queen Elizabeth II (Photo Studios, London): A 124 figs. 1, 3. A 145 figs. 1, 3, 4·

-, - (photo A.C. Cooper London): Chapter III fig. 12. A 145 fig. 5 -, The Courtauld Institute Galleries (photo courtesy of the

Courtauld Institute London): A 106 fig. 13 -, The Iveagh Bequest, Kenwood (photo copyright English

Heritage): Chapter II fig. 30 -, The National Gallery: Chapter I fig. 6. Chapter III figs. 7,9.

A 107 figs. 1, 3. A 110 figs. 1, 3, 4, 6. A 112 figs. 1, 3, 4, 5· A 115 figs. 1, 3, 4, 6. A 139 figs. 1, 3, 4

-, Victoria & Albert Museum: C 85 figs. 1, 3, 4 -, The Wallace Collection: C 96 figs. 1, 3 -, - (photo Christopher Hurst, Cambridge): Chapter II fig. 42.

C 96 fig. 4· C 119 figs. 1, 3, 4, 5 LOUISVILLE, Kentucky, lB. Speed Art Museum (photo Gemeente

Musea Amsterdam): Chapter III fig. 1

LOS ANGELES, Cal., The Armand Hammer Collection (photo Brenner): A 130 figs. 1, 3, 4

-, Collection of the Regents of the University of California, Wight Art Gallery, UCLA, Willetts l Hole Collection (photo l Paul Getty Museum, Malibu): C 115 fig. 1

-, - (photo Los Angeles County Museum of Art, Conservation Center): C 115 fig. 3

MADRID, Coll. Duke of Berwick and Alba (photo Rijksmuseum­Stichting Amsterdam): C 120 fig. 1

PHOTO ACKNOWLEDGMENTS

MAINZ, Landesmuseum: C 91 fig. 4 MALIBU, Cal., The J. Paul Getty Museum: A 130 fig. 5

MERTOUN, Berwickshire, The Duke of Sutherland (photo The National Galleries of Scotland): C 109 figs. I, 2, 3

MEXICO CITY, private collection: Chapter II fig. 6 MUNICH, Bayerische Staatsgemaldesammlungen: Chapter II

figs. 5, 9, 10, 15, 44· Chapter III fig. 20. A 108 figs. 6, 8, 9, '10.

A 118 figs. 1,3, 4· A 120 fig. 5· A 126 figs. 1,3, 4· A 127 figs. I, 3, 4,

5 -, Staatliche Graphische Sammlung: A 142 fig. 5.

NEW YORK, N.Y., Estate of Walter P. Chrysler, Jr.: Chapter II fig. 7. A 109 fig. 7

-, The Metropolitan Museum of Art (Photograph Services): Chapter II figs. 21, 24, 26. Chapter III fig. 5. A 140 figs. I, 2

(colourplate), 4. C 112 figs. I, 2, 4

-, The Pierpont Morgan Library: A 106 fig. 17

-, Coll. Spencer A. Samuels: Chapter II fig. 39

ODESSA, Museum of Occidental and Oriental Art: C 97 fig. 2

OLDENBURG, Landesmuseum: A 106 fig. II

OTTAWA, The National Gallery of Canada: Chapter I fig. 5. C 94

figs. I, 3 OXFORD, Ashmolean Museum: C 83 fig. 8

PARIS, Bibliotheque Nationale (photo Bibl. Nat. Paris): A 105 fig. 5

- , Fondation Custodia (CoIl. F. Lugt): C 84 fig. 6 -, Musee du Louvre (photo RMN): Chapter III figs. 15, 16. A 121

figs. I, 4, 5, 6, 7· A 129 fig. 5· B 10 figs. I, 3, 4, 5· C 87 figs. I, 4

(colourplate) -, - (photo Laboratoire de Recherche des Musees de France):

A 121 fig. 3. C 87 fig. 3

-, - (photo A. Wengraf, London): Chapter II fig. 36

-, -, Departement des arts graphiques (photo RMN): A 106

figs. 8, 9· A 143 fig. 9· A 146 fig. 24· C 84 fig. 7

POTSDAM, Staatliche Schlosser und Garten Potsdam-Sanssouci: A 110 fig. 7

PRIV A TE COLLECTION

- (photo Claude Mercier, Geneva): A 119 fig. 6 - (photo Gebr. Douwes Fine Art, Amsterdam): A 121 fig. 10

- (photo Gemeente Musea Amsterdam): A 143 fig. 7

-, England (photo RKD The Hague): C 88 fig. 5 -, - (photo The National Gallery, London): Chapter I fig. I

-, - , By kind permission of His Grace the Duke of Westminster DL (photo Rijkmuseum-Stichting Amsterdam): C 106 figs. I, 3. C 107 figs. I, 3, 4

-, -, - (photo Hamilton Kerr Institute Cambridge): C 106 fig. 4

-,Japan (photo Rijksmuseum-Stichting Amsterdam): A 114 fig. I

-, - (photo R. van der Hilst): Chapter III fig. 3· A 114 figs. 3, 4, 5

- , New York (photo Oeffentliche Kunstsammlung Basel): Chapter II fig. 32

-, New Zealand: A 107 fig. 8

-, Paris (photo Roland Bonnefoy, Paris): A 120 figs. I, 2, 3

-, U.S.A. (photo M. Knoedler & Co. New York): A 139 fig. 6

RHEDE (BRD), Furst zu Salm-Salm (photo A. MeineJansen, Baarn): Chapter II fig. 33

ROTTERDAM, Museum Boymans-van Beuningen: Chapter II fig. 35· Chapter III fig. 25· A 135 figs. I , 3, 4, 5, 6, 7· A 146 fig. 14·

-, - (photo Kunsthistorisch Instituut der Universiteit Amsterdam): A 126 fig. 6

-, -, Willem van der Vorm Foundation (photo A. Frequin The Hague): A 132 figs. I, 3 .

SAN DIEGO, Cal., San Diego Museum of Art: Chapter II fig. 20

SHELBURNE, Vermont, Shelburne Museum (photo Rijksmuseum-Stichting Amsterdam): Chapter II fig. 29

STOCKHOLM, Nationalmuseum: A 106 fig. 19. C 83 fig. 6

STUTTGART, Staatsgalerie: C 86 figs. 1, 3 TORONTO, Art Gallery of Ontario: C 114 figs. 1, 3, 4, 5 VESTE COBURG, Kunstsammlungen: C 87 fig. 6

XII

VIENNA, Akademie der bildenden Kunste in Wien, Gemalde­galerie: Chapter II figs. 22 , 23

-, Graphische Sammlung Albertina (photo Lichtbildwerkstatte Alpenland): A 123 fig. 9

- , Kunsthistorisches Museum: Chapter II fig. 14. C 89 figs. 1, 3 , 4

WARSAW, Muzeum Narodowe: A 123 fig. 6

WASHINGTON, D.C., The National Gallery of Art (Andrew W. Mellon Collection): Chapter III fig. 4. A 122 figs. 1, 3, 4

-, - (Rosenwald Collection): A 139 fig. 5

-, - (Widener Collection): Chapter II fig. 52. C 103 figs. 1,3 WHEREABOUTS UNKNOWN

- (photo RKD The Hague): A 109 fig. 6 - (photo D. Cevat, Guernsey): A 112 figs. 7,8

- (photo Rijksmuseum-Stichting Amsterdam): A 127 fig. 7

- (photo Dusseldorf, C.G. Boerner): C 88 fig. 6 - (photo Acquavella Galleries New York): C 100 figs. 1,2

- (photo A. Dingjan The Hague): C 121 fig. 1

WINDSOR CASTLE, Royal Library, C 1989, Her Majesty Queen Elizabeth II: A 127 fig. 6

WINTERTHUR, Sammlung Oskar Reinhart, Am Romerholz: C 83

fig. 5 WOBURN ABBEY, The Duke of Bedford: C 93 figs. 1,3 ZURICH, Kunsthaus, Graphische Sammlung: A 123 fig. 7

X-Rays acknowledgements

AMSTERDAM, Rijksmuseum: A 131 fig. 2. A 134 fig. 2. A 136 fig. 2.

A 146 figs. 7, 9. C 101 fig. 2

-, Six Collection (X-ray Rijksmuseum-Stichting Amsterdam): C 113 fig. 2

BERLIN (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie: A 106 fig. 2. A 109 fig. 2. A 143 fig. 2. C 118

fig. 2

BOSTON, Mass., Museum of Fine Arts: C 108 fig. 2

-, The Isabella Stewart Gardner Museum: C 117 fig. 2

BRAUNSCHWEIG, Herzog Anton Ulrich-Museum: A 137 fig. 2

BRUSSELS, Musees Royaux des Beaux-Arts: A 144 fig. 2

BUCHAREST, Muzeul de Arta al Republicii socialiste Romania: B 9 figs. 2, 4, 5

CHATSWORTH, Devonshire collections (X-ray Hamilton Kerr Institute Cambridge): A 128 fig. 2

CLEVELAND, Ohio, The Cleveland Museum of Art: C 105 fig. 2

DETROIT, Mich., The Detroit Institute of Arts: A 138 fig. 2

DRESDEN, Staatliche Kunstsammlungen Dresden, Gemaldegalerie Alte Meister: A 111 fig. 2

-,- (X-ray M. Meier-Siem Hamburg): A 123 fig. 3. A 142 fig. 3

FLORENCE, Galleria degli Uffizi: B 11 fig. 2

FRANKFURT AM MAIN, Stadelsches Kunstinstitut (X-ray Ursula Edelmann Frankfurt): A 116 fig. 2

GLASGOW, Art Gallery and Museum (X-ray Rijksmuseum-Stichting Amsterdam): C 122 fig. 2

-, Hunterian Art Gallery, University of Glasgow: A 105 fig. 2

THE HAGUE, Mauritshuis: A 117 fig. 2. C 98 fig. 2

HAMPTON COURT, Copyright reserved to H.M. Queen Elizabeth II: C 102 fig. 2

HANOVER, Niedersachsische Landesgalerie (on loan from Pelikan AG Hannover): C 116 fig. 2

KASSEL, Staatliche Kunstsammlungen Kassel: A 129 fig. 2. B 12

fig. 2

KRAKOW, Muzeum Narodowe (X-ray v. Wawel): A 125 fig. 2

LENINGRAD, The Hermitage Museum: A 119 figs. 3, 5. C 84

figs. 2, 4. C 88 fig. 2

LONDON, Buckingham Palace, Copyright reserved to H.M. Queen Elizabeth II (X-ray Hamilton Kerr Institute Cambridge): A 124

fig. 2

-,- (X-ray courtesy of the Courtauld Institute London): A 145

fig. 2

-, The National Gallery: A 107 fig. 2. A 110 fig. 2. A 112 fig. 2. A 115

fig. 2. A 139 fig. 2

-, Victoria & Albert Museum: C 85 fig. 2

-, The Wallace Collection: C 96 fig. 2. C 119 fig. 2

LOS ANGELES, Cal., The Armand Hammer Collection (X-ray Art Museum Conservation Dept. Cincinnati): A 130 fig. 2

-, Collection of the Regents of the University of California, Wight Art Gallery, UCLA, Willetts J. Hole Collection (X-ray Los Angeles County Museum of Art, Conservation Center): C 115 fig. 2

MADRID, ColI. Duke of Berwick and Alba: C 120 fig. 2

MUNICH, Bayerische Staatsgemaldesammlungen: A 108 fig. 7. A 118 fig. 2. A 126 fig. 2. A 127 fig. 2

NEW YORK, N.Y., The Metropolitan Museum of Art: A 140 fig. 3.

C 112 fig. 3

OTTAWA, The National Gallery of Canada: C 94 fig. 2

PARIS, Musee du Louvre (photo Laboratoire de recherche des Musees de France): A 121 fig. 2. B 10 fig. 2. C 87 fig. 2

PRIVATE COLLECTION

-, England, By kind permission of His Grace the Duke of Westminster DL (X-ray Hamilton Kerr Institute Cambridge): C 106 fig. 2. C 107 fig. 2

-,Japan (X-ray Nationalmuseum Stockholm): A 114 fig. 2

ROTTERDAM, Museum Boymans-van Beuningen: A 135 fig. 2

-,- (X-ray RTD): A 132 fig. 2

STUTTGART, Staatsgalerie: C 86 fig. 2

TORONTO, Art Gallery of Ontario: C 114 fig. 2

VIENNA, Kunsthistorisches Museum: C 89 fig. 2

XIII

WASHINGTON, D.C., The National Gallery of Art: A 122 fig. 2.

C 103 fig. 2

WHEREABOUTS UNKNOWN (X-ray Stichting Vrienden van het Mauritshuis): C 121 fig. 2

WOBURN ABBEY, The Duke of Bedford (X-ray Hamilton Kerr Institute Cambridge): C 93 fig. 2

Bibliographical and other abbreviations

Art Bull. B.

B. I-XXI Bauch 1933 Bauch 1960

Bauch 1966 Bauch, Eckstein,

Meier-Siem

Ben.

Blankert Bol Br.

Br.-Gerson

Burl. Mag. Charrington

G.d.B.-A. Gerson Haak 1969 HdG

HdG I-X

HdG Urk.

Hind Hoet

Hoet-Terw. Hollst.

jb. d. Kunsth. Samml. Wien

jb. d. Pr. Kunsts. KHI Kuhn

Lugt

Mum New findings 1987

N.Kj. O.H. RKD

The Art Bulletin, New York 1 (1913) -A. Bartsch, Catalogue raisonne de toutes les estampes qUi forment roeuvre de Rembrandt et ceux de ses principaux imitateuTS, Vienna 1797 A. Bartsch, Le Peintre-Graveur, vols. I-XXI, Vienna 1803-21 K. Bauch, Die Kunst des jungen Rembrandt, Heidelberg 1933 K. Bauch, Der fruhe Rembrandt und seine Zeit. Studien zur geschichtlichen Bedeutung seines Fruhstils, Berlin 1960 K. Bauch, Rembrandt Gemalde, Berlin 1966

- J. Bauch, D. Eckstein, M. Meier-Siem, 'Dating the wood of panels by a dendrochronological analysis of the tree-rings', Nederlands Kunsthistorischjaarboek 23 (1972), pp. 485-496 O. Benesch, The drawings if Rembrandt. A critical and chronological catalogue, vols. I-VI, London 1954-57; enlarged and edited by Eva Benesch, London 1973 A. Blankert, Ferdinand Bol {1616-1680}. Rembrandt's pupil, Doomspijk 1982 A. Bredius, Rembrandt schilderijen, Utrecht 1935 A. Bredius, Rembrandt Gemalde, Vienna 1935 A. Bredius, The paintings if Rembrandt, London 1937 A. Bredius, Rembrandt. The complete edition if the paintings, revised by H. Gerson, London 1969 The Burlington MagaZine, London 1 (1903) -

- J. Charrington, A catalogue if the mezzotints after, or said to be after, Rembrandt, Cambridge 1923 Gazette des Beaux-Arts, Paris 1 (1859) -H. Gerson, Rembrandt paintings, Amsterdam 1968 B. Haak, Rembrandt. Zijn leven, zi:jn werk, zijn tijd, Amsterdam [1969] C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten hollandischen Maler des XVII. jahrhunderts, vol. VI, Esslingen a. N. -Paris 1915 C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten hollandischen Maler des XVII. jahrhunderts, vols. I-X, Esslingen a. N. -Stuttgart-Paris 1907-1928 C. Hofstede de Groot, Die Urkunden uber Rembrandt, Haag 1906 (Quellenstudien zur hollandischen Kunstgeschichte, herausgegeben unter der Leitung von Dr. C. Hofstede de Groot, III) A. M. Hind, A catalogue if Rembrandt's etchings, vols. I-II, London 1912 G. Hoet, Catalogus if naamlyst van schilderyen, met derzelver pryzen ... , vols. I-II, The Hague 1752 see Terw. F. W. H. Hollstein, Dutch and Flemish etchings, engraVings and woodcuts, c. 1450-1700, vols. I - ,Amsterdam 1949 -

- jahrbuch der Kunsthistorischen Sammlungen in Wien, Vienna 1 (1883) -

- jahrbuch der Preussischen Kunstsammlungen, Berlin 1 (1880) -Kunsthistorisch Instituut, University of Amsterdam H. Kuhn, 'Untersuchungen zu den Malgrunden Rembrandts',jahrbuch der Staatlichen Kunstsammlungen in Baden-Wurttemberg 2 (1965), pp. 189-210 F. Lugt, Repertoire des catalogues de ventes, publiques interessant rart ou la curiosite . .. , premiere periode veTS 1600-1825, The Hague 1938 L. Mum, Rembrandt's etchings, vols. I-II, London 1952 P. Klein, D. Eckstein, T. Wazny,J. Bauch, 'New findings for the dendrochronological dating of panel paintings of the fifteenth to 17th century', [COM Committee for Conservation. 8th Triennial Meeting Sydney, Australia. 6-11 September, 1987- Preprints, Los Angeles 1987, pp. 51-54 Nederlands Kunsthistorischjaarboek, The Hague 1 (1947) -Oud Holland, Amsterdam 1 (1883) -Rijksbureau voor Kunsthistorische Documentatie (Netherlands Institute for Art History), The Hague

XIV

Rontgenonderzoek . .. Utrecht

Schneider Schneider-Ekkart

Schwartz 1984 Strauss Doc.

Sumowski 1957/58

Sumowski Drawings Sumowski Cemalde Terw.

Tumpel 1968

Tumpel 1969

Tumpel1971

Tumpel 1986

Van Gelder

Von Moltke FLinck V.S.

De Vries, T6th-Ubbens, Froentjes

WaLLr. -Rich. -jahrb. Zeitschr J b.K.

BIBLIOGRAPHICAL AND OTHER ABBREVIATIONS

M. E. Houtzager, M. Meier-Siem, H. Stark, H. J. de Smedt, Rontgenonderzoek van de oude schilderijen in het Centraal Museum te Utrecht, Utrecht 1967 H. Schneider, jan Lievens. Sein Leben und seine Werke, Haarlem 1932 H. Schneider, with a supplement of R. E. o. Ekkart,jan Lievens. Sein Leben und seine Werke, Amsterdam 1973 G. Schwartz, Rembrandt. Zijn leven, zy"n schilderijen, Maarssen 1984 W. L. Strauss und M. van der Meulen, with the assistance of S. A. C. Dudok van Heel and P. J. M. de Baar, The Rembrandt Documents, New York 1979 W. Sumowski, 'Nachtrage zum Rembrandtjahr 1956', Wissenschaftliche Zeitschrift der Humboldt-Universitat zu Berlin, Gesellschafts- und sprachwissenschaftliche Reihe 7 (1957/58) nr. 2, pp. 223-247 W. Sumowski, Drawings of the Rembrandt School I - , New York 1979 -W. Sumowski, Cemalde der Rembrandt-Schuler I - , Landau/Pfalz 1983 -P. Terwesten, Catalogus of naamlyst van schilderyen met derzelver pry zen .. "' vol. III, The Hague 1770 Chr. Tumpel, 'Ikonographische Beitrage zu Rembrandt. Zur Deutung und Interpretation seiner Historien', jahrbuch der Hamburger Kunstsammlungen 13 (1968),

PP·95-126 Chr. Tumpel, 'Studien zur Ikonographie der Historien Rembrandts. Deutung und Interpretation der Bildinhalte', NederLands Kunsthistorischjaarboek 20 (1969), pp. 107-198 Chr. Tumpel, 'Ikonographische Beitrage zu Rembrandt. Zur Deutung und Interpretation einzelner Werke', jahrbuch der Hamburger Kunstsammlungen 16 (1971), pp. 20-38 C. Tumpel (with contributions by Astrid Tumpel), Rembrandt, Amsterdam­Antwerpen 1986

- J. G. van Gelder, 'Rembrandts vroegste ontwikkeling', Mededelingen der Koninklijke NederLandse Akademie van Wetenschappen, afd. letterkunde, nieuwe reeks, deell6, nr. 5 (1953), pp. 273-300 (pp. 1-28)

- J. W. von Moltke, Covaert Flinck. 1615-1660, Amsterdam 1965 C. G. Voorhelm Schneevogt, Catalogue des estampes gravies d' apres p" P. Rubens, Haarlem 18 73 A. B. de Vries, Magdi T6th-Ubbens, W. Froentjes, Rembrandt in the Mauritshuis. An interdisciplinary study, Alphen aan de Rijn 1978 WaLLrafRichartz-jahrbuch, Kaln 1 (1924) -

Zeitschr. j Kunstgesch. -Zeitschrift Jur bildende Kunst, Leipzig, Berlin 1 (1866) -Zeitschrift Jur Kunstgeschichte, Berlin 1 (1932) -

xv