follower of Rembrandt and Joshua Reynolds

Object category: painting
Support/medium: canvas, oil paint
Shape/dimensions: rectangle (landscape format) 98 x 119 cm

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

label on the back: STAATLICHE MUSEEN BERLIN/ GEMÄLDEGALERIE KAT.NR.-[Typewritten:] 828F / Rembrandt / Die Vision Daniels
On the backside: blank form: "STAATLICHE MUSEEN BERLIN/ GEMÄLDEGALERIE KAT.NR.- [Typewritten:] 828F / Rembrandt / Die Vision Daniels" (inventory note KFM6, after 1918 until approx. 1945)
label on the back: Staatliche Museen Berlin – Gemäldegalerie / Inv.-Nr. / Kat. Nr. [Handwritten in brownish black ink:] III / 372, / 828F / Vision Daniels
On the backside: blank form: "Staatliche Museen Berlin – Gemäldegalerie / Inv.-Nr. / Kat. Nr. [Handwritten in brownish black ink:] III / 372, / 828F / Vision Daniels"
label on the back: Staatliche Museen Preußischer Kulturbesitz / GEMÄLDEGALERIE BERLIN / Kat. Nr. [Typewritten:] 828F /Drost, Willem [with handwritten addition: zugeschrieben] / Die Vision Daniels
On the backside: printed inventory note with border and diagonal line: "Staatliche Museen Preußischer Kulturbesitz / GEMÄLDEGALERIE BERLIN / Kat. Nr. [Typewritten:] 828F /Drost, Willem [with handwritten addition: zugeschrieben] / Die Vision Daniels"
label on the back: 710
On the backside: rectangular paper label, handwritten in red chalk: "710"
label on the back: LK 10 / [ ]4 / rechts oben
On the backside: paper label: "[handwritten in black ink] LK 10 / [ ]4 / rechts oben". "LK 10" and "rechts oben" were struck-through and "[ ]8" was added. This label is covered by the backing paper pasted over the edges.
label on the back: TR 9006/58
On the backside: label with red toothed edge and printed border, filled in with typewriter: "TR 9006 /58" (Wiesbaden, American registration number).
label on the back: [Printed] S.L. No. / The Metropolitan Museum of Art / LOAN EXHIBITION [stamped] M-98
On the backside: "[printed] S.L. No. / The Metropolitan Museum of Art / LOAN EXHIBITION [stamped] M-98".
label on the back: [printed:] MINNEAPOLIS ART / INSTITUTE / No. / Lent by" [Typewritten:] "L48.1240 / Cleveland/Museum of Art
On the backside: "[printed:] MINNEAPOLIS ART / INSTITUTE / No. / Lent by [typewritten:] "L48.1240 / Cleveland/Museum of Art". This label covers the backing paper pasted over the edges.
label on the back: Zollamtlich abgefertigt/ZOLLAMT / WIESBADEN / HAUPTBAHNHOF
On the backside: rectangular paper label, green printed characters: "Zollamtlich abgefertigt" and green horizontal bar – over it a round stamp: "ZOLLAMT / WIESBADEN / HAUPTBAHNHOF" in the centre an emblematic animal (walking lion?). This label covers the backing paper pasted over the edges.
label on the back: [handwritten:] W 213 2+) [rectangular sketch with rectangular marking, the upper long side of which is annotated with 15, and the vertical short side with 12] Siemens / I / 144 mAs / 828F / 30.3.32
On the backside: x-ray note from 1932 by Wehlte: "[handwritten:] W 213 2+) [rectangular sketch with rectangular marking, the upper long side of which is annotated with 15, and the vertical short side with 12] Siemens / I / 144 mAs / 828F / 30.3.32".
label on the back: [handwritten:] W 213 [rectangular sketch with rectangular marking, the upper short side of which is annotated with 30, and the vertical long side with 42] Siemens / I / 292 mAs / 828F / 30.3.32
On the backside: x-ray note from 1932 by Wehlte: "[handwritten:] W 213 [rectangular sketch with rectangular marking, the upper short side of which is annotated with 30, and the vertical long side with 42] Siemens / I / 292 mAs / 828F / 30.3.32"
number on the back: 130
On the backside: writing in white chalk: "130"
number on the back: 130
On the backside: writing in white chalk, half covered by the backing paper pasted over the edges: [presumably] "130"
number on the back: 29
On the backside: Writing in blue wax crayon, surrounded by a rectangular border: "29". One side of the rectangle is located on the backing paper pasted over the edges.
inventory number on the back: 828F #
On the backside, on the canvas: writing in white chalk "828F #".

Current attribution: follower of Rembrandt
: and Joshua Reynolds
Rejected attribution: Willem Drost
: Carel Fabritius
: Rembrandt
The present painting was always viewed as an autograph Rembrandt, until doubted by Sumowski, arquing the improbablity that Rembrandt would have followed his own drawing, which is now in the collection of the Louvre in Paris, so faithfully. He attributes the painting to a pupil of Rembrandt, possibly Carel Fabritius (Sumowski 1957-1958, p. 236-237). Almost all subsequent authors have concurred with Sumowski that this is a painting by a pupil rather than the master himself, although Sumowski's suggestion that Carel Fabritius may be the author has not been accepted. In 1984 Bruyn identified the pupil as Willem Drost; an attribution which has found favor with Foucart, Manuth, Broos and eventually Sumowski (Bruyn 1984, p. 111; Brown/Kelch/Van Thiel 1991, vol. 1, no. 82; Foucart 1992, p. 230; Sumowski 1983-1994, vol. 5, p. 3063 (rejects attribution) Sumowski 1983-1994, vol. 6, p. 3586 (accepts attribution)). While Bikker rejects this attribution to Drost, he remarks that it must be admitted that entire passages are "unreadable" because of the work's poor condition, compounding the difficulties in assigning it an author (Bikker 2005, no. R3). Kleinert and Laurenze-Landsberg have demonstrated that the original paintlayers have been removed radically to the groundlayer and that the work was completely recreated by Joshua Reynolds (Bevers/Kleinert/Laurenze-Landsberg p. 71-72).

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.: c. 1650-1652 (1650 - 1655)

Most probably the Louvre drawing, dated c. 1650-1652, shows the original state of the painting.

Subject

Title Title of the art-work in Dutch: Het visioen van Daniël (Daniël 8:17)
English title: The vision of Daniel
Genre: undetermined
Keywords: history (genre), Old Testament and Apocrypha, vision, young man, angel, ram, male goat (animal), river
Iconclass code Iconclass codes and text contain specific scenes and names. An Iconclass code or notation is a code from the multi-lingual Iconclass system for subject retrieval. For more information about this system, see www.iconclass.nl.: 71P52
second vision of Daniel (Daniel 8): the archangel Gabriel explains the vision
11G1835
miracles of the Archangel Michael
: (Daniël 8:17)

Artistically related to other work Such as a preparatory studie, comparable composition, other version, or copy of the artwork in this record.

related to
Rembrandt, Het visioen van Daniël (Daniël 8:17)
used as model for
Anoniem
anonymous sale; London Christie's, 1841-05-31, no. 98 (Lugt 16231:"After Rembrandt, Daniel's Vision"; according to an annotation in a copy of the sale catalogue (RKD, The Hague) sold for £1,4 to Adams)
used as model for
Anoniem
A.W. Parry, his sale; London Christie‘s, 1902-03-22, no. 67 ("Rembrandt, Daniel’s Dream, 38 x 47 inch (96,5 x 119,3 cm)"; sold for 36 guineas to S.T. Smith)
used as model for
Anoniem
Sir Edmund Lechmere of the Rhydd Court, his sale; London Christie's, 1918-05-27. no. 29 ("The Vision of Daniel, 39 x 46 1 /2 inch (99,1 x 118,1 cm)"; sold for 6 guineas to Smith

After Sir Edmund Lechmere had sold the original painting in 1883, he commisioned Bode to arrange a copy after the painting (Stockhausen 2000, p. 258).
copied in print by
Wilhelm Hecht
published in: W. Bode, A. Goldschmidt, Die Gemälde-Galerie der Königlichen Museen zu Berlin, Berlin 1899-1909, vol. 4, p. 48, plate between pages 46 /47

Collection(s)

art dealer Peter Anthony Motteux, London (England)
1714 - Probably identical with an entry in the sale catalogue "'Motteux's Sale of Pictures": "Daniel's Vision of the Ram. Rembrandt" (London 1714-1717, no. 41). Peter Anthony Motteux was an art dealer in London and sold the paintings in his own auction Room in the Little Piazza in Covent-Garden, London.
private collection Joshua Reynolds (Sir), London
In the catalogue of Ralph’s Exhibition in April 1791 the painting was described as in the collection of Sir Joshua Reynolds (London 1791, no. 48). At that time Reynolds valued the painting at 600 guineas (Farington 1978-1984, vol. 2, p. 316).
Special status 1792
private collection Lady Inchiquin
by descent from her uncle Sir Joshua Reynolds
1792 - 1795 In 1795 the collection of Reynolds had to be sold at auction to pay off Lord Inchiquin's debts. With the help of the artist Joseph Farington (1747-1821) a minimum price for the most important paintings was determined (Farington 1978-1984), vol. 2, p. 299, 311, 313).The present painting did not reach this minimum price and was, togeher with "Susanna and the elders" (Gemäldegalerie SMB, cat. no. 828 E), bought back by the heirs via someone called Wilson (Farington 1978-1984), vol. 2, p. 316).
private collection Charles Offley
1795 - 1796 On 22 March 1795 the present painting, together with "Susanna and the elders", was sold to Charles Offrey (1747-1821) through his brother-in-law Joseph Farington (together for 280 guineas, Farington 1978-1984, vol. 2, p. 318).
private collection Joseph Berwick, Hallow Park
1796 - 1798 On 31 January 1796 the present painting and the "Susanna and the elders" was sold to Joseph Berwick (d. 1798) through Joseph Farington for 350 guineas. At that time the residence of Berwick was under construction, so the paintings were temporary located in the house of Farington (Farington 1979-1984, vol. 2, p. 485-486, 488). The painting must still have been there in the autumn of 1797. Farington showed the painting to different persons and the painter Richard Smirke borrowed it from Farington to reproduce a copy (Farington 1978-1984, vol. 2, p. 541; vol. 3 p. 889).
private collection Mary Berwick, The Rhydd
by descent from her father Joseph Berwick. Mary Berwick was married to Sir Anthony Lechmere, 1st Baron (1766-1849), Rhydd Court, Hanley Castle (Worcestershire).
1798 -
private collection Sir Edmund Hungerford Lechmere (2nd Baron), The Rhydd
by descent from his mother Lady Mary Lechemere (1769-1820) and his father Sir Anthony Lechmere (1766-1849
- 1856
private collection Sir Edmund Lechmere, The Rhydd
by descent from Sir Edmund Hungerford Lechmere, 2nd Baron (1792-1856)
1856 - 1883 During his England-journey from March until June 1879 Wilhelm Bode visited the collection of Lechmere on 30 Mai 1879. He described the painting in his travel report (SMB-ZA, IV/NL Bode 0054, p. 54). In 1882 Sir E.H. Lechmere lent "The vision of Daniel" to the "Worcestershire Exhibition" (Worcester 1882, no. 68). In 1883 the present painting, together with "Susanna and the elders", was on loan from the collection of Sir E.H. Lechmere to the Royal Academy for the exhibition: "Exhibition of works by the Old Masters and by deceased Masters of the British School" (London 1883, no. 234). The paintings were noticed by Wilhelm Bode (Gaethgens/Paul 1997, vol. 1, p. 177), but he must have seen them already in 1879. During his England-journey from March until June 1879 Bode visited the Lechmere collection (Stockhausen 2000, p. 156).
art dealer Charles Sedelmeyer, Paris (France) , inv./cat.nr 136 (catalogue 1898)
1883
private collection Oscar Hainauer, Berlin
1883 - 1884 In 1883 Oscar Hainer bought the present painting and "Susanna and the elders" from the art dealer Sedelmeyer. In the same year he gave the paintings on loan to the Gemäldegalerie. On 24 March 1883 the Gemäldegalerie decided to purchase the paintings for 260.000 francs. In April 1884 the acquisition of the paintings was laid down in a contract between de museum and Oscar Hainauer. Only in 1886/1887 the Gemäldegalerie paid Hainauer 214.000 Mark for the paintings (Stockhausen 2000, p. 75, 308, no. 539).
Gemäldegalerie der Königliche Museen zu Berlin, Berlin , inv./cat.nr III/372 (inventory 1884)
1884 - In 1904 the painting was transferred to the Kaiser Friedrich Museum (at present Bodemuseum). In the period from September 1941 – September 1942 the painting, together with other works of art of the Gemäldegalerie, was located in the flak towers of Leitturm Berlin-Friedrichshain. From 11 March - 7 April 1945 the paintings were transported from Berlin to the salt mines of Kaiseroda-Merkers, where the works of art were stored until they were discovered and confiscated by the Americans. On 17 April 1945 they moved the works of art, including the painting, to the Reichsbank in Frankfurt am Main. From 20 August-31 August 1945 the works of art were removed from the Reichsbank and temporary stored in the Central Art Collecting Point Wiesbaden, located in Landesmuseum Wiesbaden (inventory number WIE 0/142). The present painting, together with more than 200 other works of art of the Gemäldegalerie, moved from 20 November until 7 December 1945 to The National Gallery in Washington (Box nr. 12 (295) (18); Image no. 68 (Farmer 2002, p. 186)). Most probably the painting was transported back to Wiesbaden in April 1949. On 20 April 1949 the American trusteeship was handed over to the state Hessen. On 11 January 1956 the works of art of the Berlin Gemäldegalerie officially came within the escrow of Berlin and the return of the works of art from Wiesbaden to Berlin began. The collection of paintings was located in the Gemäldegalerie in Dahlem (Berlin West) until 1998.
Gemäldegalerie (Staatliche Museen zu Berlin), Berlin , inv./cat.nr 828 F
From 1998 onwards the collection of old master paintings of the Staatliche Museen is located in the Gemäldegalerie at the Kulturforum.

Auction(s)

Christie (London (England)) 1795-03-11 - 1795-03-14, lotnr. 81 [Fourth Day's Sale]
Contributor Sir Joshua Reynolds
Name buyer : via Wilson heirs Reynolds , 178,18 guinea

according to an annotation in a copy of the sale catalogue [RKD, The Hague]; Graves 1921, p. 377; Burlington Magazine 1945, p. 269 , Lugt no 5284: "81 Rembrandt. The Vision of Daniel. This picture has much novelty in its effect there always is a striking effort of a greatz genius in the works of Rembrandt. Sir Joshua estimated this picture very highly, stiling it the finest work of Rembrandt".

Exhibitions

A Catalogue of Ralph’s exihibition of pictures Great room in the Haymarket , London (England) , 1791 , cat. no. 48
Worcestershire Exhibition Worcester (England) , 1882 , cat. no. 68
Exhibition of Works by the Old Masters and by Deceased Masters of the British School [etc.], [1880-1889] Royal Academy of Arts , London (England) , 1883-01 - 1883-03 , cat. no. 234
Rembrandt-Ausstellung [Berlijn, 1930] Akademie der Künste Berlin , Berlin (city) , 1930-02-22 - 1930-04-06 , cat. no. 379
Paintings from the Berlin museums : exhibited at the request of the department of the army National Gallery of Art [Smithsonian Institution] , Washington (D.C.) , 1948-03-17 - 1948-05-25
Paintings from the Berlin museums : exhibited in co-operation with the department of the army of the United States of America Metropolitan Museum of Art , New York City , 1948-05-17 - 1948-06-13 , cat. no. 98
Paintings from the Berlin museums : exhibited in co-operation with the department of the army of the United States of Americ Philadelphia Museum of Art , Philadelphia (Pennsylvania) , 1948 , cat. no. 98
Masterpieces of Paintings. Saved from the German Salt Mines. Property of the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America (The Art Institute of Chicago) The Art Institute of Chicago , Chicago (Illinois) , 1948-07-15 - 1948-08-04 , cat. no. 98
Paintings from the Berlin Museums. Exhibited in Co-operation with the Department of the Army of the United States of America (Museum of Fine Arts Boston) Museum of Fine Arts Boston , Boston (Massachusetts) , 1948-08-14 - 1948-08-31 , cat. no. 98
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America Detroit Institute of Arts , Detroit (Michigan) , 1948-09-10 - 1948-09-26 , cat. no. 98
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America Cleveland Museum of Art , Cleveland (Ohio) , 1948-10-06 - 1948-10-22 , cat. no. 98
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America The Minneapolis Institute of Arts , Minneapolis (Minnesota) , 1948-11-02 - 1948-11-17 , cat. no. 98
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America M.H. de Young Memorial Museum , San Francisco , 1948-12-11 - 1948-12-29 , cat. no. 98
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America Los Angeles County Museum , Los Angeles (California) , 1949-01-04 - 1949-01-22 , cat. no. 98
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America City Art Museum of St. Louis , Saint Louis (Missouri) , 1949-01-31 - 1949-02-17 , cat. no. 98
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America City Art Museum of St. Louis , Pittsburgh (Pennsylvania) , 1949-02-27 - 1949-03-14 , cat. no. 98
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America Toledo Museum of Art , Toledo (Ohio) , 1949-03-22 - 1949-03-31 , cat. no. 98
Returned masterworks = Zurückgekehrte Meisterwerke aus dem Besitz Berliner Museen. X. Ausstellung [1949] Landesmuseum/Central Collecting Point , Wiesbaden (city) , 1949-05-14 - 1949-12-31 , cat. no. 145
120 Beroemde schilderijen uit het Kaiser-Friedrich-Museum te Berlijn Rijksmuseum Amsterdam , Amsterdam (city) , 1950-06-17 - 1950-09-17 , cat. no. 87
Chefs-d'oeuvre des musées de Berlin [Brussel, 1950] Paleis voor Schone Kunsten , Brussels , 1950-09-27 - 1950-12-27 , cat. no. 87
Chefs-d'oeuvre des musées de Berlin Petit Palais des Champs-Élysées , Paris , 1951-02-02 - 1952-05-10 , cat. no. 108
Meisterwerke aus den Berliner Museen : Europäische Malerei des 17. und 18. Jahrhunderts Museum Dahlem , Berlin (city) , 1951-09-07 - 1952-03-30 , cat. no. 82
Meisterwerke aus den Berliner Museen und Schlössern. Gemälde alter Meister. Gemälde aus dem 19. Jahrhundert Museum Dahlem , Berlin (city) , 1953-05-09 - 1953-11 , cat. no. 55
Rembrandt : Gedächtnis-Ausstellung 1606-1669 : Gemälde - Zeichnungen - Radierungen Museum Dahlem , Berlin (city) , 1956-05-27 - 1956-07-15 , cat. no. 18
The impact of a genius : Rembrandt, his pupils and followers in the seventeenth century Kunsthandel K. & V. Waterman , Amsterdam (city) , 1983-04-22 - 1983-05-17 , cat. no. 3
The impact of a genius : Rembrandt, his pupils and followers in the seventeenth century Groninger Museum , Groningen (city) , 1983-05-20 - 1983-06-20 , cat. no. 3
Rembrandt : Der Meister und seine Werkstatt Altes Museum [SMBPK] , Berlin (city) , 1991-09-12 - 1991-11-10 , cat. no. 82
Rembrandt : de meester & zijn werkplaats Rijksmuseum Amsterdam , Amsterdam (city) , 1991-12-04 - 1992-03-01 , cat. no. 82
Rembrandt : The Master and his Workshop National Gallery [London] , London (England) , 1992-03-26 - 1992-05-14 , cat. no. 82
Im Lichte Rembrandts Westfälisches Landesmuseum für Kunst und Kulturgeschichte , Münster (city, Germany) , 1994 , cat. no. 57
Rembrandt and the Rembrandt school : the Bible, mythology and ancient history National Museum of Western Art [Tokyo] , Tokyo (city) , 2003-09-13 - 2003-12-14 , cat. no. 18
Rembrandt : Britain's discovery of the master Scottish National Gallery , Edinburgh , 2018-07-07 - 2018-10-14 , cat. no. 11

Literature

Williams 1831 , vol. 1, p. 166
Smith 1829-1842 , vol. 7 (1836), no. 55
Bode 1883 , p. 591, no. 255
London 1882-1885 , catalogue 1883, no. 234
Rosenberg 1883 , column 473-475
Muther 1889 , p. 285-286
Berlin 1891 , p. 227
Michel 1893 , p. 339-340
Bode/Hofstede de Groot 1897-1905 , vol. 5, no. 332
Sedelmeyer 1898 , no. 136
Berlin 1898 , p. 247-248
Berlin 1904 , p. 315-316
Von Wurzbach 1906-1911 , vol. 2, p. 396
Valentiner 1905 , p. 58
Berlin 1906 , p. 315-316
Rosenberg/Valentiner 1909 , p. 298, 559
Berlin 1909A , p. 229
Posse 1911 , p. 183
Fischel [s.a.] , p. 23, 90
Berlin 1912 , p. 354
Hofstede de Groot 1907-1928 (German edition) , vol. 6 (1915), p. 35, no. 53
Graves 1918-1921 , vol. 2, p. 377
Roh 1921 , p. 42
Van Dyke 1923 , p. 69
Weisbach 1926 , p. 382, 417, 522
Friedländer 1930 , no. 379
Berlin 1932 , p. 127
Lugt 1929-1933 , no. 1121
Benesch 1935 , p. 46
Bredius 1935 , no. 519
Borenius 1945 , p. 269
Hanfstaengl 1947 , p. 94
Rosenberg 1948 , vol. 1, p.127-128; vol.2, ill. 173
Detroit 1948 , no. 98
Chicago 1948 , no. 98
New York 1948 , no. 98
Washington 1948A , no. 145
Hamann 1948 , p. 337-339
Wiesbaden 1949 , no. 145
Amsterdam 1950 (Berlin) , no. 87
Brussels 1950 , no. 87
Paris 1951 , no. 108
Berlin 1952 , no. 82
Zimmermann 1956 , no. 18
Sumowski 1957-1958 , p. 236, 273, 275 , as possibly by Carel Fabritius and retouched by Rembrandt
Goldscheider 1960 , no. 9c
Redslob 1964 , p. 126, 246
Bauch 1966 , no. 29
Bredius/Gerson 1969 , no. 519
Benesch 1973 , vol. 5, no. 901
Berlin 1975 , p. 354
Broos 1977 , p. 55
Farington et al. 1978-1998 , vol. 2, p. 316, 318, 485-86, 488, 541, vol. 3, p. 889
Clark 1978 , p. 81
Blankert 1983 , no. 3
Sumowski 1983-1994 , vol. 1 (1983), p. 13; vol. 5 (1990), p. 3063, note 16; vol. 6 (1994), p. 3586 , in vol. 5 Sumowski rejects the attribution to Willem Drost; in vol. 6 he accepts the attribution to Drost
Bruyn 1984 , p. 111
Bruyn 1984A , p. 148, 153-155
Kelch 1986 , p. 13, 15
Bock et al. 1986 , p. 28
Paris 1988 , no. 55
Brown/Kelch/ Van Thiel 1991 , vol. 1, no. 82
Bok 1991 , p. 46
Foucart 1992 , p. 230
Klessman 1992 , p. 454
Broos/De Boer 1993 , under no. 34
Tümpel/Beer/Arnhold 1994 , no. 57
Bock/Grosshans 1996 , p. 42, 333
Gaethgens/Paul 1997 , vol. 1, p.177-178;vol. 2, p. 175-176
Von Stockhausen 2000 , no. 179
Kofuku/Manuth 2003 , no. 18
Bikker 2005 , p. 131-133, R3
Bevers/Kleinert/Laurenze-Landsberg 2015 , p. 71-72
Kleinert/Laurenze-Landsberg 2016 , p. 69, ill. 2
Seifert et al. 2018 , no. 11

"Motteux's Sale of Pictures", circa 1714-17; transcribed in Houlditch Manuscript vol 2, p.36, mid 18th cent, National Art Library, pressmark 86.00.18; in 'The art world in Britain 1660 to 1735,' at http://artworld.york.ac.uk; accessed 3 July 2015
exh. cat. A Catalogue of Ralph’s exihibition of pictures. To be seen at no 28, Hay-Market, Great Room, Haymarket (London) 1791, no. 48
exh. cat. Worcestershire Exhibition,Worcester Engine Works, Shrub Hill (Worcester) 1882, p. 50, no. 68
W. Bode, A. Goldschmidt, Die Gemälde-Galerie der Königlichen Museen zu Berlin, Berlin 1899-1909, vol. 4, p. 37-38
F. Schmidt-Degener, Rembrandt, Amsterdam 1906, p. 14, p. 92-93
Führer durch die Königlichen Staatlichen Museen zu Berlin. Das Kaiser-Friedrich-Museum, Berlin 1911 (expanded and revised 7th edition of 1878), p. 509
J.C. van Dyke, New Guides to Old Masters. Berlin, Dresden. Critical Notes on the Kaiser-Friedrich Museum and the Royal Gallery, Dresden, New York 1914, p. 89.
Führer durch das Kaiser Friedrich-Museum, Berlin 1914 (expanded and revised 5th edition of 1904), p. 93
Führer durch die Staatlichen Museen zu Berlin. Das Kaiser-Friedrich-Museum, Berlin 1919 (expanded and revised 4th edition of 1910), p. 489
H. Makowsky, Beschreibendes Verzeichnis der Gemälde im Kaiser Friedrich Museum, Berlin/Leipzig 1921 (expanded and revised 8th edition of 1878), p. 380-381
C. Neumann, Rembrandt, München 1922, p.375, fig. 93
A. Hentzen, Meisterwerke der europäischen Malerei. 220 Bilder der Berliner Gemäldegalerie, Berlin 1944, p. 13
exh. cat. Paintings from the Berlin Museums. Exhibited in Co-operation with the department of the army, Philadelphia Museum of Art (Philadelphia) 1948, no. 98
exh. cat. Meisterwerke aus den Berliner Museen und Schlössern. Gemälde alter Meister. Gemälde aus dem 19. Jahrhundert, Museum Dahlem (Berlin) 1953, no. 55
E. Rücker, G. Neumann, G. Arnolds, Staatliche Museen Berlin. Gemälde des XIII. bis XVIII. Jahrhunderts, Berlin (West) 1956, p. 59; 1958 (expanded and revised 3rd edition of 1956), 1959, 1960, 1961, 1962, p. 70-71; 1963 (expanded and revised 8th edition of 1956) 1964, 1966, 1968, p. 90
H. Focillon, L. Goldscheider, Rembrandt, London 1960, p. 174
F. Broun, Sir Joshua Reynolds' Collection of Paintings, Dissertation Princeton University 1987, Ann Arbor Michigan 1993, p. 96-97; Appendix, p. 33-34, 37-38, 53-56
W.I. Farmer, Die Bewahrer des Erbes. Das Schicksal deutscher Kulturgüter am Ende des Zweiten Weltkrieges, Berlin 2002, p. 186
B. Savoy, Ph. Sissis, Die Berliner Museumsinsel. Impressionen internationaler Besucher (1830-1990). Eine Anthologie, Vienna/Cologne/Weimar 2013, p. 231
Bevers/Kleinert/Laurenze-Landsberg 2015, p. 71-72

Visual documentation

Location image Location of the image in the visual documentation.

TD/Digital collection (img.nr. 0001526351)
BD/Digital Collection (img.nr. 1001218586)

Project: The Rembrandt Database
The Rembrandt Database - research project Berlin Gemäldegalerie

20 hits in RKD technical, relating to:

Technical examination type

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
research project, 1929 — 1933 1 hitsinvolved_persons: Kurt Wehlte; Helmut Ruhemann; Jakob Von Danzas
conservation, 1941 — 1948 1 hitsThe stretcher of the painting was strenghtened by applying backing paper to the edges of the stretcher, most probably between 1941 and 1948. The paperlabel "LK 10 / [ ]4 / rechts oben", applied during storage in the flak towers of Leitturm Berlin-Friedrichshainis in 1941/1942, is covered by the backing paper; the exhibition label "MINNEAPOLIS ART / INSTITUTE" from 1948 covers the backing paper.
exhibition Paintings from the Berlin Museums. Exhibited in Co-operation with the Department of the Army of the United States of America, 1945 — 1948 2 hits
After the Second World War paintings from the collection of the Gemäldegalerie Berlin were temporary stored in the Central Art Collecting Point Wiesbaden, located in Landesmuseum Wiesbaden. From 20 November until 7 December 1945 more than 200 paintings were transported to Washington for an exhibition in the National Gallery of Art in 1948. Some of the paintings made an exhibition tour through the United States ("Paintings from the Berlin Museums. Exhibited in Co-operation with the Department of the Army of the United States of America"). By the end of 1948 (and some in April 1949) the paintings were transported back to Wiesbaden.
exhibition 120 Beroemde schilderijen uit het Kaiser-Friedrich-Museum te Berlijn, 1950-06 — 1950-09 1 hits
During the exhibition at the Rijksmuseum in Amsterdam x-rays were made of 12 paintings from the Kaiser-Friedrich-Museum in Berlin.
conservation, 1964-06-01 1 hitsinvolved_persons: Alexander Lobodzinski; Hans Böhm (1911-1989)
"Das Bild mit Terpentin abgerieben und mit der Hand durchfrottiert, damit der eingeschlagene Firnis wieder etwas transparenter wird. Lobodzinski / Böhm" (note on record card, GG-SMB/Dokumentation Restaurierung).
condition check, 1969-07-02 1 hits"Befund und Zustand 2.7.1969: Ringsum schwache Reste von Spanngirlanden. Ränder sehr ausgebrochen, gekittet und retuschiert. Zustand: Viele starke und großflächige Übermalungen, vor allem in der Landschaft aber auch in den Gewändern der Figuren. Diese Übermalungen sind teilweise grob kraqueliert, wohl weil Terrfarben gebraucht wurden, wie im 18. Jahrhundert in England üblich. Der ganze Grund ist übergangen, so auch ganz um die Engelsfigur herum. Der Schatten auf der Brust des Engels ist eine einzige Retusche" (note on record card (probably by Hans Böhm), GG-SMB/Dokumentation Restaurierung).
research project Neutron Autoradiography, 1983 — 2015 2 hitsinvolved_persons: Jan Kelch; Carl-Otto Fischer; Wolfgang Leuther; Klaus Slusallek; Claudia Laurenze-Landsberg; Brigit Schröder-Smeibidl; Andrea Denker
Thanks to the collaboration of nearly three decades with the Helmholtz-Zentrum Berlin, the Berlin Gemäldegalerie is the only museum in the world able to make consistent and systematic use of neutron-activation autoradiography (NAAR) and gamma-ray spectroscopy in the examination of paintings. Neutron-induced autoradiography is an exceptionally versatile and successful method to examine paintings in a nondestructive manner. It provides insight into the pigments used, the brushwork, the state of preservation of the various layers of paint, and the many stages that went into creating the work. In combination with other technical examination methods, NAAR presents us with a special opportunity to take a detailed look at a painter’s creative process. The long-term project between the two institutions aims to scientifically reassess paintings.
conservation, 1991-08-08 1 hitsinvolved_persons: Beatrix Graf
"Oberfläche gereinigt. Ränder/Ecken mit PVA gefestigt. Kleine Aquarellretuschen. Graf" (note on record card, GG-SMB/Dokumentation Restaurierung).
research project Rembrandt in change of perspective: an interdisciplinary approach. New art technological and art historical analyses of Rembrandt paintings from the Gemäldegalerie., 2011 — 2016 10 hitsinvolved_persons: Claudia Laurenze-Landsberg; Katja Kleinert
The Gemäldegalerie presides over one of the most comprehensive collections of Rembrandt paintings in the world. These paintings are part of a long-term interdisciplinary research project, made possible by the generous support of the Andrew W. Mellon Foundation and the Staatliche Museen zu Berlin.
The aim of this research project is to conduct for the first time in-depth analysis by comparing data of technical research (in particular neutron-activation autoradiography) with art-historical findings. The core of these examinations consists of an integrated study on provenance, exhibition history and restoration history on the one hand, and new analyses of the painting techniques on the other. By linking material-technical and art-historical facets, the findings can be embedded in their original iconographic and cultural-historical context. The project will focus on new insights relating to the genesis of the paintings, the development of subjects and motifs, as well as Rembrandt’s artistic and painterly technique. By combining technical and art-historical research within an interdisciplinary team the project will achieve innovative results that are beyond previous research.
All relevant information covered in the project will subsequently be made accessible to the public as part of the online Rembrandt Database.

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Creation date: 2015-07-03; Last modified date: 2021-12-14

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