A Corpus of Rembrandt Paintings I - 1625–1631

722 Pages·1982·63.918 MB·English

A CORPUS OF
REMBRANDT
PAINTINGS
Stichting Foundation
Rembrandt Research Project
A CORPUS OF
REMBRANDT
PAINTINGS
MCMLXXXII
MARTINUS NI]HOFF PUBLISHERS
The Hague • Boston • London
Stichting Foundation
Rembrandt Research Project
A CORPUS OF
REMBRANDT
PAINTINGS
]. BRUYN • B. HAAK· S.H. LEVIE
P.].]. VAN THIEL· E. VAN DE WETERING
with the collaboration of
L. PEESE BINKHORST-HOFFSCHOLTE
translated by
D. COOK-RADMORE
MCMLXXXII
MARTINUS NI]HOFF PUBLISHERS
The Hague • Boston • London
Frontispiece:
Detail of no. A6, History painting, Leiden, Stedelijk Museum de Lakenhal,
on loan from the State-owned art collection department, The Hague.

v.
Of this edition 200 copies have been specially bound and numbered 1 - 915 and 1-
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.
Stichting Foundation Rembrandt Research Projert Distributor for the United States and Canada:
A CORPUS OF REMBRANDT PAINTINGS I Kluwer Boston Inc./lgo Old Derby Street/Hinghnm,
MA 02043/USA
© [98z, Stichting Foundation Rembrandt Research Project Distributor for all other countries:
MCMLXXXII, Martlnus NijholTPublishers Kluwer Academic Puhlishen; Group/Distribution Center/
The Hague Boston London P.O. Box 322/3300 AH Dordrecht/The Nt:therlands
All rights reserved. No part of this publication may be
reproduced, stored in a retrieval system, or transmitted in
any form or by any means, mechanical, photocopying,
recording, or otherwise, without the prior written permission
Library of Congress Catalogue Card Number 82-1879° of the publishers.
~artinus NijhoA· Publishers/P.O. Box 566/
250 [ CN The Hague/The Nt:therlands
Typesetting ilnd printing-
Koninklijke Drukkerij Van de Garde, Zaltbommcl
Lithography - Repro-Koningsvcld, The Hague
Paper - Lutkic & Smit Papier, Culemborg
The publication of this work has been made possible by the Binding and uillding lIlateriab - Paardckooper/Wohrmann,
financial suppOrt of the Netherlands Organization for the Ad Zutphen
vancement of Pure Research (Z.W.O.).
ISBN-13: 978-94-009-7519·4 e-ISBN-13: 978-94-009-7517-0
001: 10.1007/978-94-009-7517-0
Contents
PREFACE IX A 15 Judas, repentant, returning the pieces of silver, 1629.
History of the Project IX England, private collection IJ7
The starting point for the study IX A 16 The supper at Emmaus, [1629]. Paris, Musee
Objective and working method X Jacquemart-Andre 196
Some reflections on method XIII A 17 An old man asleep by the fire, perhaps typifying Sloth,
The catalogue XVII 1629. Turin, Galleria Sabauda 202
Acknowledgments xx A 18 The artist in his studio, [1629]. Boston, Mass.,
Museum of Fine Arts 208
PHOTO ACKNOWLEDGMENTS XXIV A 19 Self-portrait, 1629. Munich, Bayerische
X-RAY ACKNOWLEDGMENTS XXVI Staatsgemaldesammlungen, Alte Pinakothek 214
BIBLIOGRAPHICAL AND OTHER ABBREVIATIONS XXVII A 20 Self-portrait, 1629. Boston, Mass., The Isabella
Stewart Gardner Museum 218
A 2 1 Self-portrait, [1629]. The Hague, Koninklijk Kabinet
Introduction
van Schilderijen, Mauritshuis 225
A 22 Self-portrait in a cap, with the mouth open, [1629].
Chapter I
Japan, MOA Museum 231
THE STYLISTIC DEVELOPMENT (J.B., E.V.D.W.) 3 A 23 Bust of a young man, [1629]. Cleveland, Ohio, The
Cleveland Museum of Art 241
Chapter II
A24 Samson betrayed by Delilah, [1629/1630]. Berlin
PAINTING MATERIALS AND WORKING METHODS (E.V.D.W.) II (West), Staatliche Museen Preussischer Kulturbesitz,
Gemaldegalerie 249
Chapter III
A 25 David playing the harp to Saul, [1629/ I 630].
THE DOCUMENTARY VALUE OF EARLY GRAPHIC REPRODUCTIONS Frankfurt am Main, Stadelsches Kunstinstitut 258
(j. B.) 35
A 26 S. Paul at his writing-desk, [1629/ I 630]. Nuremberg,
Germanisches Nationalmuseum 266
Chapter IV
A27 An old woman at prayer (commonly called
A DESCRIPTIVE SURVEY OF THE SIGNATURES (J. B.) 53 Rembrandt's mother), [1629/1630]' Salzburg,
Salzburger Landessammlungen-Residenzgalerie 272
BIOGRAPHICAL INFORMATION 61 A28 Jeremiah lamenting the destruction ofJ erusalem,
1630. Amsterdam, Rijksmuseum 276
A:9 Bust of an old man in a fur cap (commonly called
Catalogue
Rembrandt's father), 1630. Innsbruck, Tiroler
Landesmuseum Ferdinandeum 285
NOTES ON THE CATALOGUE 64 A 30 The raising of Lazarus, [1630/ I 63 I]. Los Angeles,
Cal., Los Angeles County Museum of Art 293
Paintings by Rembrandt A31 Andromeda, [1630/1631]' The Hague, Koninklijk
A I The stoning ofS. Stephen, 1625. Lyon, Musee des Kabinet van Schilderijen, Mauritshuis 309
Beaux-Arts 67 A32 Bust of an old woman (commonly called Rembrandt's
A 2 Balaam and the ass, 1626. Paris, Musee Cognacq-Jay mother), [1630/1631]' Windsor Castle, H. M. Queen
74 Elizabeth II 315
A 3 Tobit and Anna with the kid, 1626. Amsterdam, A33 Self-portrait, [1630/1631]' Liverpool, Walker Art
Rijksmuseum 82 Gallery 322
A 4 Christ driving the moneychangers from the Temple, A34 Simeon in the Temple, 1631. The Hague, Koninklijk
1626. Moscow, Pushkin Museum of Fine Arts 88 Kabinet van Schilderijen, Mauritshuis 331
A5 The baptism of the eunuch, 1626. Utrecht, A35 Christ on the cross, 1631. Le Mas d'Agenais, Lot et
Rijksmuseum Het Catharijneconvent 94 Garonne, parish church 338
A6 History painting (subject unidentified), 1626. Leiden, A 36 S. Peter in prison, [163 I]. Belgium, private collection
Stedelijk Museum de Lakenhal 104
346
A 7 Musical allegory, 1626. Amsterdam, Rijksmuseum A37 An old woman reading, probably the prophetess Anna
II4 (commonly called Rembrandt's mother), 1631.
A8 Bust ofa man in a gorget and cap, [1626/1627]. Amsterdam, Rijksmuseum 351
Whereabouts unknown 124 A38 Minerva in her study, [1631]. Berlin (West),
A9 David with the head of Goliath before Saul, 1627. Staatliche Museen Preussischer Kulturbesitz,
Basle, Oeffentliche Kunstsammlung Basel 129 Gemaldegalerie 358
AIO The rich man from the parable, 1627. Berlin (West), A 39 The abduction of Proserpina, [1631]. Berlin (West),
Staatliche Museen Preussischer Kulturbesitz, Staatliche Museen Preussischer Kulturbesitz,
Gemaldegalerie 137 Gemaldegalerie 365
All S. Paul in prison, 1627. Stuttgart, Staatsgalerie 143 A 40 The artist in oriental costume, with a poodle at his
A 12 Simeon in the Temple, [1627/1628]. Hamburg, feet, 1631. Paris, Musee du Petit Palais 373
Hamburger Kunsthalle 150 A41 Bust ofa young man in a plumed cap, 1631. Toledo,
Two old men disputing, probably S. Peter and Ohio, The Toledo Museum of Art 383.
S. Paul, [1628]. Melbourne, National Gallery of A 42 Half-length figure of an old man in a gorget and black
Victoria 159 cap, [1631]. Chicago, Ill., The Art Institute of
Self-portrait, [1628]. Amsterdam, Rijksmuseum 169 Chicago 391
VII
Paintings Rembrandt's authorship of which cannot be positively either Bust of an old man. Leipzig DDR, Museum der
accepted or rejected bildenden Kiinste 593
B 1 Three singers (Hearing). The Hague, Cramer Bust of an old man wearing a cross. Kassel, Staatliche
Gallery 399 Kunstsammlungen Kassel, Schloss Wilhelmshohe 598
B 2 The operation (Touch). The Hague, Cramer Gallery Bust of an old man looking downwards. Copenhagen,
405 Statens Museum for Kunst 603
B 3 The spectacles-pedlar (Sight). S. Peter Port, Guernsey, Bust of an old man in a gorget and cap (commonly
colI. D. H. Cevat 410 called Rembrandt's father). Leningrad, The
B 4 A man in a gorget and plumed cap. Malibu, CaL, J. Hermitage Museum 605
Paul Getty Museum 416 Bust ofa man in a cap (commonly called Rembrandt's
B 5 The artist in a cap and pleated shirt. Stockholm, father). Cambridge, Mass., The Fogg Art Museum
Nationalmuseum 424 6II
B 6 Bust of a laughing man in a gorget. The Hague, Bust ofa man in a cap (commonly called Rembrandt's
Koninklijk Kabinet van Schilderijen, Mauritshuis father). Kassel, Staatliche Kunstsammlungen Kassel,
Schloss Wilhelmshohe 615 .
427
B 7 Bust of an old man in a cap (commonly called Bust of a man looking downwards. Oxford, Ashmolean
Rembrandt's father). The Hague, Koninklijk Kabinet Museum 619
van Schilder~jen, Mauritshuis 431 Bust of a man wearing a gold chain. Leiden, Stedelijk
Museum de Lakenhal 623
Paintings Rembrandt's authorship of which cannot be accepted Bust of a laughing man (commonly called a Self
C I Samson betrayed by Delilah. Amsterdam, portrait of Rembrandt). ColI. Baron Edmond de
Rijksmuseum 439 Rothschild 626
C 2 Esther's feast. Raleigh, N. C., The North Carolina Bust of a young man laughing. Amsterdam,
Museum of Art 446 Rijksmuseum 629
C 3 Tobit and Anna. London, The National Gallery 46r Bust of a young man (commonly called a Self-portrait
C4 Tobit at his son's return. New York, N.Y., coIL]. of Rembrandt). Cambridge, Mass., The Fogg Art
William Middendorf II 467 Museum 634
C 5 The flight into Egypt. Tours, Musee des Beaux-Arts Bust of Rembrandt. Private collection 638
478 Bust of Rem brand t. Private collection 645
C 6 The rest on the flight into Egypt. Formerly Ludlow, Bust of a young man (commonly called a Self-portrait
Downton Castle, colI. D. Lennox 483 of Rembrandt). New York, N.Y., The Metropolitan
C 7 The tribute money. Ottawa, The National Gallery of Museum of Art 650
Canada 488 Bust of a young man (commonly called a Self-portrait
C 8 Christ at the column. Belgium, private collection 497 of Rembrandt). Private collection 654
C 9 Minerva in her study. Denver, Col., The Denver Art Bust of a young man (commonly called a Self-portrait
Museum 502 of Rembrandt). Sweden, private collection 658
C IO A biblical or historical nocturnal scene (fragment). Bust of an old woman (commonly called Rembrandt's
Tokyo, Bridgestone Museum of Art 508 mother). The Hague, Koninklijk Kabinet van
C I I The foot operation. Switzerland, private collection Schilderijen, Mauritshuis 662
512 Bust of an old woman (commonly called Rembrandt's
C 12 Travellers resting. The Hague, Koninklijk Kabinet mother). Essen, call. H. von Bohlen und Halbach 667
van Schilderijen, Mauritshuis 519 Bust of an old woman (commonly called Rembrandt's
C 13 Two old men disputing. The Hague, Cramer Gallery mother). Basle, private collection 671
Bust of a young girl. Helsinki, Sinebrychoff Art
524
C 14 A man reading in a lofty room. London, The National Museum, The Fine Arts Academy of Finland 673
Gallery 529
C 15 A scholar reading. Braunschweig, Herzog Anton
Ulrich-Museum 533
Tables and Indexes
C 16 A hermit reading. Paris, Musee du Louvre 539
C 17 A Christian scholar in a vaulted room. Stockholm, TABLE OF TECHNICAL REFERENCE MATERIAL 679
Nationalmuseum 547
TABLE OF DENDROCHRONOLOGICAL DATA 683
C 18 A man writing by candlelight. Milwaukee, Wise., colI.
INDEX OF PAINTINGS CATALOGUED IN VOLUME I 686
Dr. A. Rader 554
Present owners 686
C 19 An old woman reading. Salisbury, Wilts., Wilton
Previous owners 687
House, colI. Earl of Pembroke 559
Engravers 691
C 20 An old man with his arms crossed over his chest.
Subjects 691
Boston, Mass., Museum of Fine Arts 567
C 2 I Half-length figure of a man in a turban. Philadelphia, INDEXES OF COMPARATIVE MATERIAL AND LITERARY
Penn., Philadelphia Museum of Art 572 SOURCES 693
Drawings and etchings by (or attributed to) Rembrandt
C 22 Head of an old man. Milwaukee, Wise., call. Dr. A.
Bader 576 693
Works by artists other than Rembrandt 694
C 23 Bust of a man in a plumed cap. USA, privatc
Literary sources 697
collection 581
C 24 Bust of an old man with a bald head. Kassel, CONCORDANCE 698
Staatliche Kunstsammlungen Kassel, Schloss
Wilhelmshohe 587
VIII
Preface
History of the Project The starting point for the study
Is there any need for a new catalogue of Rem Research naturally began from the point which
brandt's paintings? It was the growing conviction studies of Rembrandt had reached in the I960s,
that such is the case that led to the Rembrandt though without explicitly analysing the situation as
Research Project. There is, of course, a wealth of it then was. As time went on, however, we became
scholarly literature on the subject, but it is hard to confirmed in our impression that there is scarcely
avoid the impression that much oCits interpretation any verifiable, documented continuity in respect of
of the artist and his work is based on a picture of his the attribution of Rembrandt's paintings such as
pain ted oeuvre that in the course of time has become there has been, to some extent, for his etchings from
corrupted. By the I960s it was difficult for an im the 17th century onwards. Such continuity does exist
partial eye to accept all the works currently attrib for a tiny handful of paintings, but it is hard to
uted to Rembrandt as being by a single artist. describe these as a representative nucleus; they leave
From the outset, those launching the initiative the limits of the painted oeuvre entirely undefined.
realised that only conscientious examination, The process of illegitimate accretion to this oeuvre,
making use of up-to-date methods of investigation which took place in the T8 th and even as early as the
whenever possible, could warrant a radical revision 17th century, can be glimpsed from the prints put
of the Rembrandt canon. The prospect was thus out in those years and purporting to reproduce
already a daunting one. The time, moreover, hardly paintings by Rembrandt (see also Chapter III of the
seemed right for such an enterprise: preparations Introduction). \Vhen] ohn Smith published the first
were already under way for the 300th anniversary of catalogue of the paintings, in 1836, his work inevi
Rembrandt's death, in 1969, and major publica tably reflected a corrupted tradition and conse
tions dealing with the very same subject ofhis paint quently gave a distorted view. Eduard Kolloff
ings had been announced in anticipation of this ( 1854) and Carel V osmaer (1868) deserve credit for
event. But when the first of these appeared, in 1966, bringing some kind of order into chaos, as Scheltema
it gave the final impetus needed for translating what had done for the biography; but it was particularly
had been vague ideas into definite plans, and for the young \Vilhelm Bode who, in the I880s, pro
putting these plans into action. duced a corrected image of Rembrandt's work, es
Financial aid from the Netherlands Organization pecially that [rom the early years. Though a critical
for the Advancement of Pure Research made it pos tendency may have subsequently gained ground, it
sible to start on the first phase of the work in 1968. contributed relatively little to delimiting the painted
This included an intensive programme of travel, oeuvre. Knowledge of the work done by pupils grew,
during which pairs ofteam members together visited and undoubtedly this helped to bring about a sharp
various parts of the world gathering material on er picture of Rembrandt's own production. Yet only
works attributed to Rembrandt. This material com clearly identifiable works by these pupils were invol
prised a painstakingly detailed description of the ved in this hiving-off; what remained formed a re
painting as an object, together with photographic markably heterogeneous and extensive oeuvre. Bode
evidence. Success in this was, of course, wholly de himself (whose main interest had in the meantime
pendent on the goodwill of museum curators and shifted elsewhere) codified this, in collaboration
private collectors; almost without exception they with Hofstede de Groot, in a sumptuous work pub
were willing to let their paintings be examined, lished from 1897 to I goS by the art dealer
under the best possible conditions. This phase, Sedelmeyer; this may have been seldom consulted
during which almost all the relevant paintings were if only because of the weight of its eight bulky vol
examined, lasted some five years, from 1968 to 1972; umes - but it does seem, from subsequent catalogues
after this, paintings were examined or re-examined including that by Kurt Bauch in 1966, to have en
only occasionally. joyed a considerable authority. The vast amount of
Processing the assembled material was, for the research done by Hofstede de Groot, not only in
majority of the paintings discussed in the present 17th-century documents but also in the I8th
volume, done in two stages. The search for a suitable century sale catalogues available to him, provided
Corm oC editing and presentation, and experiments this conglomerate work with a documentary basis
with this, was followed from 1973 on by the writing that even today is bound to impress anyone who is
of draft texts. As this work progressed the most not familiar with the relative worth of 18th-century
effective way of dealing with the subject gradually attributions. The way in which HofStede de Groot, in
became clear, and the various drafts could then be the sixth volume of this Beschreibendes und kritisches
brought into line within a common framework. Verzeichnis (19 I 5), catalogued indiscriminately both
IX