Rembrandt

Illustration number 0001526267
Dimensions: 3428x4365 pixels
License under CC BY-NC-SA by copyright: Koninklijk Kabinet van Schilderijen Mauritshuis

Illustration number 0000271850
Dimensions: 510x650 pixels
License undetermined

Illustration number 0000131324
Dimensions: 1902x2386 pixels
License undetermined

Illustration number 0000003107
Dimensions: 471x650 pixels
License undetermined

Illustration number 0000003108
Dimensions: 477x650 pixels
License undetermined

Illustration number 0000003196
Dimensions: 471x650 pixels
License undetermined

Illustration number 0000003209
Dimensions: 472x650 pixels
License undetermined

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Object information

Object category

painting

Physical connection Reference in ‘composite artworks’: artworks that are/were connected, such as alterpieces, decorative pieces incorporated in panelling, and works of art that were intended to be displayed together, such as pendants and series.

pendant (companion piece)

When the painting belonged to Willem V, the upper corners were sawn off and an arch-shaped part added on, so that it could function as a pendant to “The Young Mother” by Gerard Dou [RKDimages no. 25012].

Support/medium

panel (oak), oil paint

Shape/dimensions

rectangle (portrait format) 60.9 x 47.9 cm
The semi-circular top added in the 18th century was removed in 1983, and in 1989 the sawn-off corners were filled in, thus restoring the painting to its original rectangular shape (Noble e.a. 2008).

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

monogrammed and dated lower right: RHL. 1631 (RHL in ligature)
bottom right on the side of the chair seat

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 1631 (1631)

Subject

Title Title of the art-work in Dutch: Het loflied van Simeon
Other (former) title Other title(s) or name(s) which the work of art has had, or by which it is also known. This sometimes involves rejected identifications of the subject or sitter.: Simeon in the temple
English title: Simeons song of praise
Genre: history (genre)
Keywords: history (genre), New Testament and Apocrypha, temple, vault, baldachin, group of people, child, priest, prophet, dove / pigeon, staff, book, candle-lighting, stairs, pillar, arch (structural element), altar, kneeling, blessing
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.: 73B42
Simeon, holding the Christ-child, sings his canticle: 'Nunc dimittis'

Artistically related

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

used as model for
Willem de Poorter
panel; 60 x 48.5 cm; Staatliche Kunstsammlungen, Gemäldegalerie, Dresden, no. 1391

Corpus of Rembrandt paintings, vol. 1 (1982), no. A 34 copy 1
used as model for
Anoniem
panel; 55.9 x 48.3 cm; in 1965 in the A. Soós collection, London

as by Rembrandt (Soós 1965); Corpus of Rembrandt paintings, vol. 1 (1982), no. A 34 copy 2
copied in drawing by
Aert Schouman, De opdracht in de tempel (Lucas 2:22-40)
copied in print by
Johannes Pieter de Frey, Présentation au Temple
copied in print by
Frederik Christiaan Bierweiler, De lofprijzing van Simeon
copied in print by
Antoine Abraham Goujon-Devilliers, La présentation au temple
copied in print by
Nicolaus Heideloff, Het loflied van Simeon
copied in print by
Anoniem, Het loflied van Simeon

Provenance

Collection(s)

private collection Frederik Hendrik (Prince of Orange), The Hague/ Honselaarsdijk
The 1632 inventory of the stadholder’s quarters includes: “Een schilderije daerinne Symeon, sijnde in den tempel, Christus in sijne armen heeft, door Rembrants oft Jan Lievensz. gedaen” (Drossaers/Lunsingh Scheurleer 1974-1976, vol. 1). Because the inventory does not list any dimensions, it is uncertain which painting this refers to, although it is likely to be the picture now in the Mauritshuis and not the “Simeon in the Temple” of 1627/28 in the Hamburger Kunsthalle (De Vries 1978; Van der Ploeg/Vermeeren/Broos 1997; Jonckheere 2008).
1632 - 1675 In 1675, after the death of Frederik Hendrik’s widow, Amalia van Solms, the painting probably passed by descent to their daughter, Albertine Agnes of Nassau-Dietz.
private collection Albertine Agnes prinses van Oranje-Nassau (Fürstin van Nassau-Dietz), Leeuwarden/Oranjewoud/Oranienstein
A list drawn up in 1696 of the items to be sold from the estate of Albertine Agnes of Nassau-Dietz mentions “Van Simeon in de tempel” (Drossaers/Lunsingh Scheurleer 1974-1976, vol. 2). Although no painter is named, this may well refer to the painting in The Hague. Adriaen Bout, the next known owner, was probably at the sale of the estate of Albertine Agnes of Nassau-Dietz held in Leeuwarden in 1697 (De Vries 1978; Van der Ploeg/Vermeeren/Broos 1997; Jonckheere 2008).
1675 - 1696
private collection Adriaan Bout, The Hague
- 1733-08-11 Sold at the auction held at Van Zanten’s in The Hague on 11 August 1733 to Philip van Dijk, presumably acting on behalf of Willem Carel Hendrik Friso of Nassau (stadholder of Friesland and later Stadholder Willem IV).
private collection Willem IV (Prince of Oranje-Nassau), Noordelijke Nederlanden (historische regio)
1733 - 1751 by descent to Willem V (Prince of Orange)
private collection Willem V (Prince of Oranje-Nassau), The Hague/Apeldoorn/Leeuwarden/Oranienstein
Mentioned in the 1757/1759 inventory of the Schilderijcabinet of H.K. Hoogheyd at Paleis het Loo: “88: Simeon in den tempel met het kindeken Jesus door Rembrand hoog 2 voet 6 duym breedt 1 v. 8 d. [78.5 x 52.5 cm]” (Drossaers, Lunsingh Scheurleer 1974-1976, vol. 2). The painting was transferred from Paleis het Loo to The Hague in 1763 and placed in the stadholder’s picture gallery at the Stadhouderlijk Hof: “m. Simon in den Tempel met het kindeke door Rembrant hoogte 2v. 6d. breedte 1v. 8d.” (Drossaers, Lunsingh Scheurleer 1974-1976, vol. 2, p. 652, no. m); listed in the 1763-1764 inventory of paintings at the Stadhouderlijk Hof, The Hague: 'Simeon in den tempel met het kindeken door Rembrandt, in een dito Lijst [= 'een gesneede vergulde Lijst'] ... [Hoogte:] 2 [V.] 6 [D.] / [Breedte:] 1 [V.] 8 [D.] / [in the margin:] 'Van 't Loo' (Drossaers/Lunsingh Scheurleer 1974-1976, vol. 3, p. 18, no. 2); “Een uitmuntend Stuk, verbeeldende: Simeon in den Tempel met het Kind Jezus op zyn Armen, waar by Maria, Joseph en meer andere Figuuren, verwonderlyk schoon, zoo van Ordinantie als Dag, schaduw en uitvoerigheidt, door Rembrandt van Rhyn; op paneel - 2v. 6d x 1v. 8d” (Terwesten 1770); 1774 transfeerd to the Schilderijengalerij at the Buitenhof, The Hague; the catalogue of this collection (s.a.) includes: 'Van het Loo. / Simeon in den Tempel met het Kind Jesus in zijne Armen, waarbij Maria, Joseph en meer andere Figuuren; schoon zo van Ordonnantie, als van Dag en Schaduw en uitvoerigheid, op Paneel, in een dito [= 'Vergulde'] Lijst ... [Hoog:] 2 [vt] 6 [dm] / [Breed:] 1 [vt] 8 [dm] / door Rembrant van Rhijn.' (Drossaers/Lunsiongh Scheurleer 1974-1976, vol. 3, p. 227, no. 129)
1751 - 1795
Musée Napoléon, Paris
The inventory drawn up by Jean-Baptiste Pierre Lebrun of the stadholder’s collection of paintings, which was confiscated in 1795 by the French, includes: “8. Présentation au Temple [H] 2 P 3 p.9 [L] 2 P 2 p. 9 [75.68 x 72.81 cm] Rembrandt” (Boyer 1972).
1795 - 1815
private collection William I (King of the Netherlands), The Hague/Leeuwarden
1815 - 1816
Koninklijk Kabinet van Schilderijen Mauritshuis, The Hague , inv./cat.nr 145
1816 - housed from 1816 in the Prince William V Gallery; transferred to the Mauritshuis in 1822

Auction(s)

Zanten, Cornelis van (The Hague (city)) 1733-08-11, lotnr. 82
Contributor Adriaan Bout
Name buyer : Philip van Dijk , 430 florijnen

according to an annotation in a copy of the sale catalogue [RKD, The Hague] , Lugt no. 427: “no. 82 Simeon in den Tempel curieus en uytvoerig geschildert, vol Beelden, van zyn alderbeste en uitvoerigste tyd, hoog 23, breet 18. en een half duym [60.2 x 48.8 cm].”

Exhibitions and literature

Exhibitions

Weerzien der meesters Rijksmuseum Amsterdam , Amsterdam (city) , 1945 , cat. no. 81
Au Palais des Beaux-Arts : la peinture Hollandaise de Jerome Bosch a Rembrandt Paleis voor Schone Kunsten , Brussels , 1946-03-02 - 1946-04-28 , cat. no. 80
Van Jeroen Bosch tot Rembrandt (Antwerpen) Koninklijke Musea voor Schone Kunsten van België , Antwerp (city) , 1946 , cat. no. 80
Rembrandt : tentoonstelling ter herdenking van de geboorte van Rembrandt op 15 juli 1606 Rijksmuseum Amsterdam , Amsterdam (city) , 1956-05-18 - 1956-08-05 , cat. no. 14
Rembrandt : tentoonstelling ter herdenking van de geboorte van Rembrandt op 15 juli 1606 Museum Boymans , Rotterdam (city) , 1956-08-08 - 1956-10-21 , cat. no. 14
150 jaar Koninklijk Kabinet van Schilderijen Koninklijk Kabinet van Schilderijen Mauritshuis , The Hague (city) , 1966 , cat. no. 11
Mauritshuis. Dutch paintings of the Golden Age (Washington D.C.) National Gallery of Art [Washington] , Washington (D.C.) , 1982 - 1983 , cat. no. 28
Mauritshuis. Dutch paintings of the Golden Age (Forth Worth) Kimbell Art Museum , Fort Worth (Texas) , 1982 - 1983 , cat. no. 28
Mauritshuis. Dutch paintings of the Golden Age (Chicago) The Art Institute of Chicago , Chicago (Illinois) , 1982 - 1983 , cat. no. 28
Mauritshuis. Dutch paintings of the Golden Age (Los Angeles) Los Angeles County Museum of Art , Los Angeles (California) , 1982 - 1983 , cat. no. 28
Mauritshuis. Dutch paintings of the Golden Age (Toronto) Art Gallery of Ontario , Toronto (Canada) , 1983 , cat. no. 28
Mauritshuis. Dutch paintings of the Golden Age (New York) Metropolitan Museum of Art , New York City , 1984 , cat. no. 28
Liefde, list en lijden : historiestukken in het Mauritshuis Koninklijk Kabinet van Schilderijen Mauritshuis , The Hague (city) , 1993-11-06 - 1994-02-20 , cat. no. 30
Vorstelijk verzameld : de kunstcollectie van Frederik Hendrik en Amalia Koninklijk Kabinet van Schilderijen Mauritshuis , The Hague (city) , 1997-12-06 - 1998-03-29 , cat. no. 22
Rembrandt? : the master and his workshop Statens Museum for Kunst , Copenhagen , 2006-02-04 - 2006-05-14 , cat. no. 2
Rembrandt : pintor de historias Museo Nacional del Prado , Madrid (city, Spain) , 2008-10-15 - 2009-01-06 , cat. no. 8
Rembrandt intime Musée Jacquemart-André , Paris , 2016-09-16 - 2017-01-23 , cat. no. 17
Jonge Rembrandt Museum De Lakenhal , Leiden (city) , 2019-11-02 - 2020-02-09 , cat. no. 107

Literature

Hoet 1752 , vol. 1, p. 391, no. 82; vol. 3, p. 708-709
Terwesten 1770 , p. 708-709
Pommereul 1798 , p. 294
The Hague 1817 , p. 13, no. 90
Steengracht van Oostkapelle 1826-1830 , vol. 3, p. 41-42, no. 75
Smith 1829-1842 , vol. 7, p. 26-27, no. 64
Duchesne 1834 , p. 279
Nagler 1835-1852 (reprint 1904-1914) , vol. 12 (1842), p. 431
Immerzeel 1842-1843 , vol. 3, p. II
Burnet 1849 , p. 5
Peijpers 1852 , p. 24
Scheltema 1853 , p. 99
Bürger 1858-1860 , vol. 1, p. 192-194, 207; vol. 2, p. 169
Blanc 1859-1861 , vol. 2, p. 379
Waagen 1862 , vol. 2, p. 95
Vosmaer 1868 , p. 15-16, 421
De Stuers 1874 , p. 116-118, no. 114
Vosmaer 1877 , p. 15-16 and 421
De Jonge 1879 , p. 23, no. 145
Bode 1883 , p. 558
Dutuit 1885 , p. 2, 36, 59 and 65, no. 52
Bredius 1891 , p. 48, no. 316
Michel 1893 , p. 66 and fig. pl. 2, p. 565
Bredius/Hofstede de Groot 1895 , p. 325-327, no. 145 (289F)
Bode/Hofstede de Groot 1897-1905 , no. 44
De Swarte 1898 , p. 21
Van Balen 1898 , p. 26-31
Bell 1899 , p. 59, 175
Nicolle 1899 , p. II-III
Geffroy [1900] , p. 91-92
Rosenberg 1904 , p. XIV-XV
Marius 1905 , p. 23-24, 26
Valentiner 1905 , p. 66, 115
Bredius 1906A , p. 1
De Hartogh [1906]
Martin 1906 , p. 15
Von Wurzbach 1906-1911 , vol. 2, p. 400 and 412
Brown 1907 , p. 18, 210, 215, 224
Hofstede de Groot 1907-1927 (English edition) , vol. 6 (1915), no. 80
Valentiner 1907 , p. 157-168
Valentiner 1907A , p. 8
Rosenberg/Valentiner 1909 , p. 23 and 550
Freise 1911 , p. 270
Verhaeren 1912 , p. 34, 69, 100, no. 17, fig. 17
Bredius/Hofstede de Groot 1914 , p. 297, no. 145
Worm 1914 , p. IX, fig. 7
Kronig 1915 , p. 192
Coppier 1920 , p. 33-35, fig. II
Bredt 1921B , vol. 1, p. 15; vol. 2, p. 127
Weisbach 1926 , p. 125-128, 287, 314, 369, 612, note 4, fig. 18
Martin 1927 , p. 411
Luns 1931 , p. 16-17
Van Rijckevorsel 1932 , p. 21, 47, 91, fig. 23, 94
Bauch 1933 , p. 94-97 and fig. 85
Bredius 1935 , no. 543
Thieme/Becker 1907-1950 , vol. 24 (1935), p. 261, 264
Martin/Schneider 1935 , p. 273-275, no. 145
Martin 1936 , vol. 2, p. 13, 48, 52, 54, 62, 110 and fig. 8
Martin 1936-1937 , p. 60-61
Martin 1937A , p. 225-239
Knuttel 1938 , p. 247-248
Poortenaar 1940 , p. 16 and fig. 8
Stechow 1940 , p. 370-371, note 7
Veth 1941 (Rembrandt) , p. 45, fig. 15; p. 57, 130, 137
Bréal 1942 , p. 31, 69, 77 and fig. 11
Van Gelder [1942] , p. 19
Graul 1943 , p. XVII
Brussels 1946 , no. 80
Burckhardt 1947 , p. 33
Fischer 1948 , p. 10 and fig. 20
Hamann 1948 , p. 210, 213, 280 and fig. 146
Rosenberg 1948
Kalff 1949 , p. 84-86 and fig. 41
Gerson 1952 , p. 8
Münz 1953 , p. 160
Slive 1953 , p. 142
De Vries 1954 , p. 68, no. 145
Jahn 1956 , p. 17-18
Leymarie 1956 , p. 126
Müller Hofstede 1956 , p. 92
Van Schendel 1956 , no. 14
Sumowski 1956 A , p. 302
De Vries 1956 , p. 18, 49
Sumowski 1956 B , p. 263
Benesch 1957 , p. 39-40
Wischnitzer 1957 , p. 226
Sumowski 1957-1958 , p. 223
Bauch 1960 , p. 122
Marx 1960 , p. 32, 60, 80-81, 83, 112, no. 13 and fig. 13
Schulte Nordholt 1960 , p. 40a-b
Fry 1962 , p. 50-52 and fig. 10
Hugues 1962 , p. 6
De Fremery 1964 , p. 55-67 and fig. 1
Soós 1965
Bauch 1966 , no. 52
Rosenberg/Slive/Ter Kuile 1966 , p. 52, 189 and fig. 31b.
Lunsingh Scheurleer 1967 , p. 18, 29, 88 and 206, fig. 15
Gerson 1968 , no. 17
Haak 1968 , p. 64-65
Muller 1968 , p. 31, 34 and fig. 13
Bredius/Gerson 1969 , no. 543
Hayes 1969 , p. 5-7
Kitson 1969A , p. 16,84, no. 7 and fig. 7
Tümpel 1969 , p. 179, note 143 and p. 189-190
Bruyn 1970 , p. 8a-b
Tümpel/Tümpel 1970 , no. 48
Sass 1971
Bauch/Eckstein/Meier-Siem 1972 , p. 490-491
Boyer 1972 , p. 149-157, 153 no. 8
Vels Heijn 1973 , p. 24
Drossaers/Lunsingh Scheurleer 1974-1976 , vol. 1, p.186; vol. 2, p. 237, no. 313, p. 643, no. 88, p. 652, no. m, vol. 3, p. 18, no. 2, p. 227, no. 129
Pigler 1974 , p. 248
Brenninkmeyer-de Rooij 1976 , p. 170, no. 129
Broos 1977 , p. 57, no. 543
Hoetink 1977 , p. 197
Clark 1978 , p. 140
De Vries 1978 , no. 5
Van Gelder 1980 , p. 210
Strauss/Van der Meulen 1979 , p. 73
Bockemühl 1981 , p. 26-81 and fig. 1
Broos 1981 , p. 45 and 88, note 6
Wheelock 1981 , p. 166
Corpus of Rembrandt Paintings 1982-2015 , vol. 1 (1982), no. A 34
Sumowski 1983-1994 , p. 2409, no. 1617
Schwartz 1984 , no. 97
Blankert 1985 , p. 30-31, 37
Hoetink/Blankert 1985 , no. 70
Starcky 1985 , p. 255-264
Broos et al. 1986 , p. 83
Schatborn 1986 , p. 60-61
Tümpel 1986 , no. 43
Warnke 1986
Broos 1987 , no. 47
Kroon 1987 , p. 19
Moiso-Diekamp 1987 , p. 449-450, no. D5
Dessing 1988 , p. 80
Broos 1989
Corpus of Rembrandt Paintings 1982-2015 , vol. 3 (1989), p. 784
Van Eck 1991 , p. 18
De Boer/Leistra/Broos 1991 , p. 18
Pächt/Lachnit 1991 , p. 38, 138 and fig. 19
Vogelaar/Stroo 1991 , p. 19 and fig. 10, 42
Slatkes 1992 , no. 43
Broos et al. 1993 , no. 30
Sluijter-Seijffert/Van Leeuwen et al. 1993 , p. 123-124, no. 145
Slive 1995A , p. 58
Van der Ploeg/Vermeeren/Broos 1997 , cat. no. 22
Wetering e.a 2001 , p. 278
Wheelock/Goldfarb/Chong 2000 , p. 78
Korthals Altes 2003A , p. 44
Buvelot/Vermeeren 2004 , p. 256
Corpus of Rembrandt Paintings 1982-2015 , vol. 4 (2005), p. 650
Van Straten/Moerman 2005 , p. 175 fig. 289
Bomford et al. 2006 , p. 126
Noble/Pottasch/Van der Ploeg 2006 , no. 3, p. 9-30 (p. 10-14, fig. 4, 6-8, p. 13-15, fig. 9)
Rønberg/Pedersen/Van de Wetering 2006 , cat. no. 2
Runia/Suchtelen 2006 , p. 34-39
Schwartz/Calster 2006 , p. 363
Van de Wetering/Kelch/Van den Boogert 2006 , p. 130
Noble/Van Loon 2007 , p. 19-36
Jonckheere 2008 , p. 179-180, fig 122
Vergara/Posada/Westermann 2008 , no. 8
Noble et al. 2008 , no. 6
Rutgers/Rijnders 2014 , p. 45
Corpus of Rembrandt Paintings 1982-2015 , vol. 6 (2015), no. 47
Sluijter 2015 , p. 61
De Vries 2016 , p. 49-50
Starcky et al. 2016 , no. 17
Brown et al. 2019 , no. 107

Visual documentation

Visual documentation

Location image Location of the image in the visual documentation.

TD/Digital collection (img.nr. 0001526267)
BD/Digital Collection (img.nr. 0000271850)
, Original location BD/RKD/0550 - ONS/Religion, Mythology, Allegory, History and Literature: Rembrandt and School (img.nr. 0000131324)
, Original location BD/RKD/0550 - ONS/Religion, Mythology, Allegory, History and Literature: Rembrandt and School (img.nr. 0000003107)
, Original location BD/RKD/0700 - ONS/Dated Works (img.nr. 0000003108)
, Original location BD/RKD/0550 - ONS/Religion, Mythology, Allegory, History and Literature: Rembrandt and School (img.nr. 0000003196)
, Original location BD/RKD/0700 - ONS/Dated Works (img.nr. 0000003209)

Project: Dutch Public Collections 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.

79 hits in RKD technical, relating to:

Technical examination type

sample

pigment dispersion MH0145d-10 - 145d13 1 hits
not specified
scraping MH0145s/1 - 145s/7 1 hits
not specified
cross-section MH0145_x01, 2004 1 hits
not specified
The sample fell apart during taking.
cross-section MH0145_x01a, 2004-04-26 2 hits
architecture (blanched grey floor, lower left, near knees of kneeling man)
cross-section MH0145_x02, 2004-04-26 2 hits
background, architecture (background right: brown window/space near curtain)
cross-section MH0145_x04, 2005-01-06 2 hits
textile (blanched, dark brown curtain, upper right edge)
cross-section MH0145_x06, 2005-01-06 2 hits
staffage (dark reddish brown chair, lower right end, after varnish removal)
cross-section MH0145_x10, 2005-01-06 2 hits
architecture (bottom edge [dark grey floor], where black sketch / deadcoloring was left fully exposed, after varnish removal)
cross-section MH0145_x03, 2005-03 2 hits
architecture, staffage (greyish brown stairs, right edge, heavily cracked area)
cross-section MH0145_x07, 2005-03 2 hits
textile (shadow area on Maria's blue dress)
cross-section MH0145_x08, 2005-03 2 hits
textile (translucent dark green garment of figure to the right, behind Joseph, after varnish removal)
cross-section MH0145_x09, 2005-03 2 hits
textile (light green coat of figure directly behind Christ)
cross-section MH0145_x05, 2005-12 2 hits
staffage (chair, extreme lower right edge where paint is faded, cracked and cupped)

Research and restoration projects

conservation, 1733 1 hitsinvolved_persons: Philip van Dijk
1733 (In or shortly after)
The rectangular panel was given an arched format. The upper corners were sawn off and an arch-shaped extension was added in order to match the format of Gerrit Dou's Young Mother, which served as a companion piece in Palace Het Loo. The alteration was carried out by the painter Philip van Dijk (Noble e.a. 2008, p. 105).
conservation, 1816 1 hits'Cleaned a little, filled and retouched at the top of the join, which is glued' by Regenmorter and Hulswit (Noble e.a. 2008, p. 105).
condition check, 1838 1 hits
conservation, 1841 1 hitsinvolved_persons: Nicolaas Hopman
'Washed, varnished mechanically removed [afgebloemd] and [application of] turpentine' by N. Hopman (Noble e.a. 2008, p. 105).
conservation, 1852 2 hitsinvolved_persons: Nicolaas Hopman
'Washed and buffed' by N. Hopman (Noble e.a. 2008, p. 105).
conservation, 1881 1 hitsinvolved_persons: Willem Anthonij Hopman
According to the report by Meloni/Noble on the conservation history: "Hopman proposes to rub the painting and the filling with balsam and to regenerate the painting." See also the report (March 2007) DOC-TD-0001490451.
'Regenerated' with copaiba balsam, W.A. Hopman (Noble e.a. 2008, p. 105).
conservation, 1887 1 hits
involved_persons: Willem Anthonij Hopman
According to the report about the conservation history by Meloni/Noble: "The proposed treatment is to drench the paint brush in balsam wherever the paint is flaking and to repeat this several times. The painting has to remain flat during the treatment. Brittle pieces of paint become more supple so that they can be pressed on the surface." See also the report (March 2007) DOC-TD-0001490451.
Raised paint laid flat with help of copaiba balsam (Noble 2008 e.a., p. 105)
conservation, 1915 — 1916 1 hits
involved_persons: Derix de Wild
'The old varnish regenerated, and varnished once' by D. de Wild (Noble 2008 e.a., p. 105).
conservation, 1918 1 hitsinvolved_persons: Derix de Wild
De Wild proposed to fix the paint, to remove a slight section of the varnish, to regenerate the remaining varnish and to re-varnish the painting
See also the report on treatment history 1733-1995 by Sabrina Meloni and Petria Noble (March 2007): http://www.rembrandtdatabase.org/Rembrandt/painting/2927/het-loflied-van-simeon/document/2862
conservation, 1920 1 hits
involved_persons: Derix de Wild
'Varnish regenerated' by De Wild (Noble 2008 e.a., p. 105).
conservation, 1937 — 1938 2 hits
involved_persons: J.C. Traas
See also the report on treatment history 1733-1995 by Sabrina Meloni and Petria Noble (March 2007): http://www.rembrandtdatabase.org/Rembrandt/painting/2927/het-loflied-van-simeon/document/2862
'Thick, darkened varnish layers and overpainted passages in upper part removed; loose paint consolidated and laid down; new fillings applied and touched up', by J.C. Traas (Noble 2008 e.a., p. 105).
conservation, 1962 1 hits
involved_persons: J.C. Traas
Restored by J.C. Traas (Noble 2008 e.a., p. 105)
conservation, 1982 — 1983 10 hits
involved_persons: Johannes Josephus Susijn
The reason for treatment is the transport of the painting to the USA
See also the report on treatment history 1733-1995 by Sabrina Meloni and Petria Noble (March 2007): http://www.rembrandtdatabase.org/Rembrandt/painting/2927/het-loflied-van-simeon/document/2862
Paint consolidated, join re-glued and two small retouchings, by J.J. Susijn. During this treatment the arch-shaped extension that had been added around 1733 was removed. A thick coat of lead white and glue still covers the reverse of the panel. This dates from the intervention in the eighteenth century, when a piece of canvas was attached to the back in order to strengthen the arched construction at the top. The canvas was removed between 1968 and 1978 (Noble 2008 e.a., p. 105).
The painting was studied with normal light and the infrared light photo was studied.
condition check, 1982 1 hitsinvolved_persons: Johannes Josephus Susijn
conservation, 1989 1 hits
It was not until 1989 that the sawn-off corners were reconstructed and the painting returned to its original rectangular format (Noble 2008 e.a., p. 105).
conservation, 2004 — 2005 33 hits
involved_persons: Jørgen Wadum; Petria Noble; Sabrina Meloni; Annelies van Loon
Conservation treatment by Jørgen Wadum (varnish removal), Petria Noble (retouching and technical research) and Sabrina Meloni (research into restoration and conservation history) (Noble 2008 e.a., p. 105).

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Creation date: 1996-05-15; Last modified date: 2023-04-03

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