Rembrandt

Illustration number 0000370395
Dimensions: 534x659 pixels
License undetermined

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Object information

Object category: painting
Support/medium: panel (mahogany), oil paint
painted on Honduran mahogany
Shape/dimensions: rectangle (portrait format) 80.6 x 67.3 cm

Signature/inscription Information about the signature, dating, inscription or any other mark on the front or back of the art work

with signature and date lower right: Rembran[dt] f. 16[4]8
The signature and date are not indisputably reliable (Liedtke 2007, no. 150).

Current attribution: Rembrandt

Date Exact or approximate dating of the described art work; the search parameters adopted for this art work in this database, are found in brackets.: dated 16[4]8 (1648)

Although signature and date are not indisputably reliable, the date of 1648 is probably correct. The painting's quality, its strong similarity with Rembrandt portraits of the 1640s, the type of composition and costume details support the conclusion that the picture was painted by Rembrandt in the second half of the 1640s (Liedtke 2007, no. 150).

Subject

Title Title of the art-work in Dutch: Portret van een man met handschoenen in de hand
English title: Portrait of a man holding gloves
Genre: undetermined
Keywords: portrait, man's portrait, bust-length portrait, head to the right, body facing right, hat, flat collar with tassels, glove/gloves in hand
: In the nineteenth century an inscription at the top of the painting read "Portrait de Jansenius, père d’une nombreuse famille, mort en 1638, âgé de 53 ans" . On the basis of this inscription the sitter was identified as Cornelius Jansenius (1585-1638) in the early art-historical literature (Smith 1829-1842, vol. 7 (1836), no. 297; Vosmaer 1877, p. 562; Bode 1883, p. 585, no. 190).This identification was doubted by Dutuit in 1885 and Wurzbach in 1886 and rejected by Bredius in 1890 (Dutuit 1885, no. 340; Wurzbach 1886, no. 146; Bredius 1890, p. 108). Most probably between 1907 and 1909 (when the portrait was on the market) the "Jansenius" inscription came off when it was cleaned (Liedtke 2007, no. 150).

Provenance

Collection(s)

private collection Jacques-François-Léonor Grimaldi de Valentinois (duc), Paris
private collection monsieur de Séréville, Paris
- 1812-01-22 end date is date of auction
private collection Charles-Maurice prins de Talleyrand, Paris
1812-01-22 - 1831 sold in 1831 for 500 livres through Smith to Ashburton
private collection Alexander Baring (1st Baron Ashburton), London (England)
1831 - 1848 After the death of Alexander Baring in 1848 the painting remained in the possession of the Barons of Ashburton.
private collection Francis Denzil Edward Baring (5th Baron Ashburton), London (England)
1889 - 1907 sold in 1907 to Sulley & Co
Arthur J. Sulley & Co., London
1907 -
art dealer Charles Sedelmeyer, Paris (France)
- 1909 sold in 1909 for $125,000 to Benjamin Altman
private collection Benjamin Altman, New York City
1909 - 1913
The Metropolitan Museum of Art, New York City , inv./cat.nr 14.40.620
bequest of Benjamin Altman
1913 -

Auction(s)

Paillet, Alexandre Joseph (Paris) 1812-01-22 - 1812-01-24, lotnr. 19
Contributor monsieur de Séréville
Name buyer : sold to to Lebrun for prince Talleyrand , 5,071 FRF

according to an annotation in a copy of the sale catalogue (RKD, The Hague) , Lugt 8106: "19.- Le portrait de Jansénius, morceau recommandable du côté de l'art, ainsi que par l'intérêt du personnage qui est représenté presque à mi-corps, la tête tournée de trois-quarts, coiffé d'un chapeau rebattu et portant un petit collet de batiste qui se détache sur un habillement noir. Malgré la renommée de cet immortel coloriste, dont le nom seul est un éloge, nous arrêterons l'attention des curieux et des connoisseurs sur cette production qui frappe par son étonnante vérité et la force des traits. H. 30p., l. 24. B. Ce portrait est cité dans Descamps".

Exhibitions and literature

Exhibitions

Exhibition of works by the Old Masters and by Deceased Masters of the British School Royal Academy of Arts , London (England) , 1890 - 1891 , no. 152, as "Portrait of a Man," lent by Lord Ashburton
Rembrandt / not Rembrandt in the Metropolitan Museum of Art: aspects of connoisseurship Metropolitan Museum of Art , New York City , 1995-10-10 - 1996-01-17 , no. 9
The age of Rembrandt : dutch paintings in the Metropolitan Museum of Art Metropolitan Museum of Art , New York City , 2007-09-18 - 2008-01-06 , no catalogue

Literature

Smith 1829-1842 , vol. 7 (1836), p. 108, no. 297 , on the basis of an old inscription, calls it a portrait of Cornelius Jansenius, dated 1661; gives provenance information, stating that it is currently in the Ashburton collection
Waagen 1837-1838 , vol. 2 (1838), p. 86
Vosmaer 1877 , p. 562
Bode 1883 , p. 585, no. 190
Dutuit 1885 , no. 340 , as a portrait of an old man, wrongly identified as Jansenius
Von Wurzbach 1886 , no. 146 , as Jansenius
Bredius 1890-1904 , issue 1890, p. 108
Michel 1894 , vol. 2, p. 162-164, 234 , states that the inscription is false and the date 1661 is suspicious; dates it 1645–48
Bell 1899 , p. 85, 143
Bode/Hofstede de Groot 1897-1905 , vol. 4 (1900), no. 277 , as "An elderly man with a pointed gray beard holding his gloves in his left hand, erroneously called the Portrait of Cornelius Jansenius"; dates it about 1642
Rosenberg 1906 , p. 190
Rosenberg/Valentiner 1909 , p. 264
Sedelmeyer 1911 , no. 28
Hofstede de Groot 1907-1928 (German edition) , vol. 6 (1915), no. 757
Valentiner 1914B , p. 355–56 , dates it 1641
Valentiner 1921 , p. 125
Monod 1923 , p. 304
Valentiner 1931 , no. 73 , dates it about 1640-42
Bredius 1935 , no. 221
Bauch 1966 , no. 387 , tentatively suggests the inscribed date is 1643
Gerson 1968 , p. 498, no. 245 , dates it to the second half of the 1640s, calling the execution "rather weak"
Bredius/Gerson 1969 , no. 221
Lecaldano/Arpino 1969 , no. 264 , dates it about 1645
Bolten/Bolten-Rempt 1978 , no. 322
Tümpel 1986 , no. 209
Liedtke 1990 , fig. 36 , lists its attribution to Rembrandt with a question mark
Von Sonnenburg/Liedtke 1995 , vol. 1, no. 9, considers the date 1648 to be convincing, whether or not it was inscribed by Rembrandt himself.; vol. 2, no. 9, as by Rembrandt; states that infrared examination reveals a date of 1648
Lank 1996 , p. 124
Edwards 1996 , p. 328-329
Ketelsen/ Röver-Kann 2000 , p. 32, 40 (note 144) , calls it typical of Rembrandt portraits of the late 1640s
Scallen 2004 , p. 375 (note 49)
Klein 2005 , p. 30
Quodbach 2007 , p. 31–32, 35, 70
Liedtke 2007 , vol. 2, no. 150

G. F. Waagen, Works of art and artists in England, London 1838, vol. 2, p. 273
"Visits to private galleries", Art-Union 9 (April 1, 1847), p. 123, as "Portrait of Jansen"
Handbook of the Benjamin Altman Collection, New York 1914, no. 24, notes that the old inscription and false date have been removed, and states that it is in the style of the 1640s
D. S. Meldrum, Rembrandt's Paintings, London 1923, p. 194, as "Portrait of a Man (wrongly called Jan Six)" [sic]; dates it about 1642
Alan Burroughs, "Rembrandts in the Metropolitan Museum", The Arts 4 (November 1923), p. 272
Pierre Cabanne, Rembrandt, Paris 1991, p. 150, no. 6
William Grimes, "An Enigma Sometimes Wrapped in a Fake", New York Times (October 1, 1995), p. H34

Visual documentation

Visual documentation

Location image Location of the image in the visual documentation.

BD/Digital Collection (img.nr. 0000370395)

Project: The Rembrandt Database
RemBench

Technical documentation

The RKD manages a collection of technical documentation that has been given to us by external researchers and museums or which stems from the RKD's own research with infrared reflectography. Documentation can be accessed by appointment at the RKD. While not all technical documentation has been entered in the database at present, new data is added on a regular basis.

3 hits in RKD technical, relating to:

Technical examination type

sample

cross-section DI847_1, 1962-11 1 hits
edge of the painting
concerns a sample of the ground

Research and restoration projects

research project Burroughs X-ray documentation project, 1925 — 1944 1 hitsinvolved_persons: Alan Burroughs
The Straus Center for Conservation and Technical Studies at the Harvard Art Museums houses the Alan Burroughs Collection of X-Radiographs, the ﬁrst systematic, large-scale X-ray documentation project assembled to address issues of the authenticity and attribution of paintings. Many of the X-rays were produced between 1925 and 1944 by Burroughs—a Harvard graduate (1920) who became a Fogg Museum research fellow and the keeper of X-ray "shadowgraphs". Today the collection contains approximately 8,000 X-radiographs of over 4,450 paintings from the great collections of America and Europe.
The X-rays can also be found in the online database of the Harvard Art Museums: https://www.harvardartmuseums.org/collections?q=Rembrandt+burroughs
study Rembrandt's grounds and pigments, 1962 — 1976 1 hitsinvolved_persons: Hermann Kühn
The study focused mainly on grounds, and to some extent on paint layers. Samples were taken of 75 panel and canvas paintings attributed to Rembrandt.
Prof. Dr. Hermann Kühn took the samples at the painting's institution with a stereomicroscope after which he analyzed them at the Doerner Institut in Munich.
For more information: Hermann Kühn, Untersuchungen zu den Malgründen Rembrandts, 1965, p. 189-210, in: Jahrbuch der Staatlichen Kunstsammlungen in Baden-Württemberg, vol. 2
For more information: Hermann Kühn, Untersuchungen zu den Pigmenten und Malgründen Rembrandts, durchgeführt an den Gemälden der Staatlichen Kunstsammlungen Kassel, in: Maltechnik Restauro : Internationale Zeitschrift für Farb- und Maltechniken, Restaurierung und Museumsfragen 82 (1976), p. 25-33

External links: MET - The Collection Online

Permalink: https://rkd.nl/explore/images/231527

Creation date: 2012-12-17; Last modified date: 2021-12-07

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Rembrandt

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