Rembrandt

Illustration number 0001526354
Dimensions: 4272x3347 pixels
License under CC BY-NC-SA by copyright: Gemäldegalerie (Staatliche Museen zu Berlin)

Illustration number 1001236055
Dimensions: 650x515 pixels
License under PUB DOM

Illustration number 0000271073
Dimensions: 650x499 pixels
License undetermined

Illustration number 0001114099
Dimensions: 2527x1923 pixels
License undetermined

Suggested searches in RKDimages

Object information

Object category: painting
Support/medium: canvas on panel
The wood used for this panel comes from the same tree as the wood used for the panels of four other Rembrandt paintings: 'Self portrait wearing a beret and two golden chains' from the Museo Thyssen-Bornemisza in Madrid [RKDImages no. 30283], 'Christ and the woman taken in adultery' of The National Gallery London [RKDImages no. 52807], the 'Portrait of Herman Doomer' from The Metropolitan Museum of Art in New York [RKDImages no. 32162] and the 'Portrait of Aletta Adriaensdr' from the Museum Boijmans van Beuningen in Rotterdam [RKDImages no. 2961] (Corpus of Rembrandt Paintings 1982-2015, vol. 4 (2005), no. IV 2).
Shape/dimensions: rectangle (landscape format) 62.7 x 81.1 cm

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

stamp (mark) on the back: RCA/DOG IN/ROMA
On the backside: Branded stamp: Slightly oval border 2.0 x 1.9 cm, with inscription: RCA/DOG IN/ROMA
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?).
label on the back: TR 9006 / 63
On the backside: label with red serrated edge and printed border: [typewritten] "TR 9006 / 63"
label on the back: 729
On the backside: paper label, 2.5 x 4.5 cm, handwritten in red chalk: "729"
label on the back: [Printed] Staatliche Museen Berlin – Gemäldegalerie / Inv.-Nr. / Kat.-Nr [handwritten] III/431/828K, Predigt Johannis
On the backside: "[Printed] Staatliche Museen Berlin – Gemäldegalerie / Inv.-Nr. / Kat.-Nr. [Handwritten entry: at Inv.Nr.: Roman and Arabic numerals, divided by a diagonal line. At cat. no.: Arabic numerals and letters] III/431, 828K, Predigt Johannis"
label on the back: [printed] Staatliche Museen Preußischer Kulturbesitz / GEMÄLDEGALERIE BERLIN / Kat. Nr. [typewritten] 828K, Rembrandt, Die Predigt Johannes d.T., Um 1634/35
On the backside: "[printed] Staatliche Museen Preußischer Kulturbesitz / GEMÄLDEGALERIE BERLIN / Kat. Nr. [typewritten] 828K, Rembrandt, Die Predigt Johannes d.T., Um 1634/35"
label on the back
On the backside: Small remnants of a paper label with the approximate dimensions of 5 x 5 cm
inscription (document by form) on the back: e. 828K
On the backside: writing in white chalk: "e. 828K"
inscription (document by form) on the back: June 25/92
On the backside: writing in white chalk: "June 25/92" (sale Christie's 25 June 1892)

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.: 1634/1635 (1634 - 1635)

Subject

Title Title of the art-work in Dutch: De prediking van Johannes de Doper
English title: John the Baptist preaching
Genre: history (genre)
Keywords: New Testament and Apocrypha, preaching, audience, statue, architecture, in a landscape
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.: 73C11
John the Baptist preaching (perhaps Christ among the bystanders)

Artistically related

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

based on
Rembrandt, Luisteraars voor "De prediking van Johannes de Doper"
based on
Rembrandt, Studies voor de drie schriftgeleerden in "De prediking van Johannes de Doper"
based on
Rembrandt, Studie voor de drie schriftgeleerden in "De prediking van Johannes de Doper" en een schets van een vrouwenbuste (recto)
based on
Rembrandt, Schetsen van koppen (verso)
based on
Rembrandt
preliminary studies of John the Baptist, 1634-1635, red chalk, 176 x 186 mm, London, Courtauld Institute Galleries, Prince Gate Collection (Ben. 142 A)
based on
Rembrandt, Kop van een man met een hoge hoed van bont en een zelfportret
based on
attributed to Rembrandt
preliminary studies of negro with feathered head and arrow holder, c. 1634-1635, pen and brown ink, 150 x 110 mm, Stockholm, Nationalmuseum (Ben. A 20)
copied in drawing by
Rembrandt
pen and wash drawing of the painting in frame, c. 1655, 145 x 204 mm, Paris, Louvre, Département des arts graphiques, L. Bonnat Bequest (Ben.969)
used as model for
Jan van Noordt, De prediking van Johannes de Doper
"Saint John the Baptist preaching", oil on panel, 49,5 x 65 cm, Oldenburg, Landesmuseum für Kunst und Kulturgeschichte
used as model for
Jean-Pierre Norblin de la Gourdaine
nine drawings of various figures in Warsaw, Muzeum Narodowe. One drawing is dated 1805, five others 1806. Norblin did the drawings after his return to Paris from Poland in 1804 (see exhibition catalogue La tradition rembranesque. Dessins-estampes, Warsaw 1961, no. 23-31).
used as model for
Jean-Pierre Norblin de la Gourdaine
"Saint John the Baptist preaching", oil on carton, 50 x 65 cm, Warsaw, Muzeum Narodowe, inv. no. 77948
used as model for
Benjamin West
mentioned by Smith 1829-1842, vol. 7 (1836), no. 124
copied in print by
Jean-Pierre Norblin de la Gourdaine, De prediking van Johannes de Doper
copied in print by
Peter von Halm
"Saint John the Baptist preaching", 255 x 316 mm, Kupferstichkabinett, SMB, inv. no. 77-1910 (location: O Gal 11/8)

published in: W. Bode, A. Goldschmidt, Die Gemälde-Galerie der Königlichen Museen zu Berlin, Berlin 1899-1909, vol. 4, p. 28

Provenance

Collection(s)

private collection Jan Six (1618-1700), Amsterdam
1658 - 1702-04-06 It may be assumed from a deed dated 13 September 1658 that the painting was then already owned by Jan Six (1618-1700) (Strauss/van der Meulen 1979, Doc. 1652/7, 1658/18). After his death in 1700 his wife Margaretha Six-Tulp sold the art collection at auction on 6 April 1702.
private collection Jan Six (1668-1750), Amsterdam
1702 - 1750 Jan Six (1668-1750) bought the present painting at the auction of the estate of his father Jan Six (1618-1700). In 1718 Houbraken described the painting as part of the collection of Jan Six: "Als ook het stukje de predikinge van Johannes den Dooper, in 't graauw geschildert; verwonderlyk om de natuurlyke verbeeldingen der toeluisterende wezenstrekken, en veranderlyke bekleedingen by den Heere Postmeester Johan Six mede tot Amsterdam te zien" (Houbraken 1718-1721, vol.1, p. 261). Antoine-Joseph Dezallier d’Argenville described the painting as in his possession as well (d’Argenville 1745-52, vol. 3, p.119).
private collection Jan Six (1730-1779), Amsterdam
by descent from Jan Six (1668-1750)
1750 - 1779
private collection Jan Six (1756-1827), Amsterdam
by descent from Jan Six (1730-1779)
1779 - 1803 In 1803 the painting was sold to art dealer Louis-Bernard Coclers (1741-1817) in Liège (Six 1893, p. 155).
private collection Louis Bernard Coclers, Leiden/Paris/Amsterdam/Luik
1803 - In 1803 Louis-Bernard Coclers acquired (at least) three paintings from the Six collection: "Saint John the Baptist preaching" and "Woman taken in adultery" (National Gallery, London) by Rembrandt and "Dentist by candlelight" by Gerrit Dou (Kimbell Art Museum, Texas).
Private collection
About 1805 in a private collection in France. Jean-Pierre Norblin de La Gourdaine (1745-1830) reproduced a print, an oil sketch and nine drawings after the present painting. One drawing is dated 1805 and another five are dated 1806. At that time Jean-Pierre Norblin de La Gourdaine was active in France (in 1804 he returned from Poland to France) (Kaak 1994, p. 91).
private collection Joseph Fesch, Rome
- 1845-03 According to Bode and Vosmaer cardinal Joseph Fesch (1763-1839) acquired the painting for 40.000 francs at an auction (Bode 1893, p. 213, Vosmaer 1868, p. 488). End date is date of the sale of the estate of the cardinal.
private collection Prince of Canino and Musignano, Canino
1845-03 - Charles Lucien Jules Laurent Bonaparte, Prince of Canino and Musignano (1803 –1857) acquired the painting at the auction of the estate of cardinal Joseph Fesch. The prince relinquished the picture to Lord William Ward (1817-1885) (Cassell 1854, vol. 1, p. 398; Dutuit 1885, p. 44).
private collection William Ward ( 1st Earl of Dudley), Londen (Engeland)
- 1892-06-25 In 1854 Waagen described the painting as part of the collection of William Ward (Waagen 1854, vol. 2, p. 237). In 1857 Ward lent the painting to the exhibition "The Art Treasures of the United Kingdom" (Manchester 1857, no. 675). End date is date of sale.
art dealer P. & D. Colnaghi Ltd., London
1892-06-25 - 1892 In 1892 bought at auction for 2500 pounds and in 1892 sold for 56.379,60 Mark (2.760 pounds) to the Gemäldegalerie (Von Stockhausen 2000, p. 308, no. 541).
Gemäldegalerie der Königliche Museen zu Berlin, Berlin , inv./cat.nr III/431 (1892-09-29)
1892 - 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 0/145). 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 no. 18, (162) (123); image no. 94 (Farmer 2002, p. 187). 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 K
1892 - From 1998 onwards the collection of old master paintings of the Staatliche Museen is located in the Gemäldegalerie at the Kulturforum.

Auction(s)

Christie's, Londen (Engeland), 1892-06-25, lotnr. 19
Contributor: Earl of Dudley William Ward
Name buyer : Paul & Dominic Colnaghi, 2500

according to an annotation in a copy of the sale catalogue [RKD, The Hague]; Graves 1921, vol. 2, p. 383, Lugt no. 50974: "St. John Preaching in the Wilderness…"dans ce petit cadre, d’un prix inestimable, sont réunis un très-grand nombre de figures. Grisaille prepare au bitumen et melee ca et là de quelque tous précieux" – BLANC, L’Oeuvre de Rembrandt. Smith’s Catalogue Raisonné, Part VII, p. 54, No. 124. From the Fesch Collection. 24 in. By 31 in".
Zomer, Jan Pietersz (Amsterdam (city)) 1702-04-06, lotnr. 38
Contributor Jan Six (1618-1700)
Name buyer : Jan Six (1668-1750) , 710 gulden

according to an annotation in a copy of the sale catalogue [RKD, The Hague] , Lugt no. 183: "St. Jans Predicatie, in’t Graauw, van Rembrandt van Ryn, zo raar en ongemeen konstig als te bedenken is".
George (Rome) 1845-03-17 - 1845-04, lotnr. 189-173
Contributor archevêque de Lyon Cardinal Joseph Fesch
Name buyer : Prince Canino und Musignano , 14.000 scudo

according to an annotation in a copy of the sale catalogue [RKD, The Hague] , Lugt 17682: "Rembrandt, La Prédication de Saint Jean-Baptiste, [….]. Toile marouflée sur bois, forme cintrée. H. 1 p. 11 p. 6 l. – L. 2 p. 6 p. 4 l".

Exhibitions and literature

Exhibitions

Art treasures of the United Kingdom Art Treasures Palace , Manchester , 1857-05-05 - 1857-10-07 , cat. no. 675
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 , cat. no. 153
Paintings from the Berlin Museums. Exhibited in Co-operation with the Department of the Army of the United States of America (The Metropolitan Museum of Art) Metropolitan Museum of Art , New York City , 1948-05-17 - 1948-06-12 , cat. no. 94
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. 94
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. 94
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. 94
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 , p. 20
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 , p. 20
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 , p. 20
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 , p. 20
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 , p. 20
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 , p. 20
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 , p. 20
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 , p. 20
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. 141
120 Beroemde schilderijen uit het Kaiser-Friedrich-Museum te Berlijn Rijksmuseum Amsterdam , Amsterdam (city) , 1950-06-17 - 1950-09-17 , cat. no. 80
Chefs-d'oeuvre des musées de Berlin [Brussel, 1950] Paleis voor Schone Kunsten , Brussels , 1950-09-27 - 1950-12-27 , cat. no. 80
Chefs-d'oeuvre des musées de Berlin Petit Palais des Champs-Élysées , Paris , 1951-02-02 - 1952-05-10 , cat. no. 101
Meisterwerke aus den Berliner Museen : Europäische Malerei des 17. und 18. Jahrhunderts Museum Dahlem , Berlin (city) , 1951-09-07 - 1952-03-30 , cat. no. 84
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. 57
Rembrandt. Gedächtnis-Ausstellung. 1609-1669. Gemälde, Zeichnungen, Radierungen Staatliche Museen Berlin [SMBW] , Berlin (city) , 1956-05-27 - 1956-07-15 , cat. no. 8
Rembrandt : Der Meister und seine Werkstatt Altes Museum [SMBPK] , Berlin (city) , 1991-09-12 - 1991-11-10 , cat. no. 20
Rembrandt : de meester & zijn werkplaats Rijksmuseum Amsterdam , Amsterdam (city) , 1991-12-04 - 1992-03-01 , cat. no. 20
Rembrandt : The Master and his Workshop National Gallery [London] , London (England) , 1992-03-26 - 1992-05-14 , cat. no. 20
De wereld binnen handbereik : Nederlandse kunst- en rariteitenverzamelingen, 1585-1735 Amsterdams Historisch Museum , Amsterdam (city) , 1992-06-26 - 1992-10-11 , cat. no. 154
Uylenburgh & Zoon : kunst en commercie van Rembrandt tot De Lairesse 1625-1675 Museum Het Rembrandthuis , Amsterdam (city) , 2006-09-16 - 2006-12-10 , p. 158
Du dessin au tableau au siècle de Rembrandt Fondation Custodia/Collection Frits Lugt , Paris , 2017-02-03 - 2017-05-07 , cat. no. 61

Literature

Van Hoogstraten 1678 , p. 183
Houbraken 1718-1721 , vol. 1, p. 261
Dézallier d'Argenville 1745-1752 , p. 119
Smith 1829-1842 , vol. 7 (1836), no. 124, 125
London 1854 , vol. 1, p. 398
Waagen 1854 , vol. 2, p. 237
London 1857 , no. 675
Vosmaer 1868 , p. 289-292, 487-488
Bode 1892 , p. 213-218
Michel 1893 , p. 557
Jaffé 1895 , p. 7
Bode/Hofstede de Groot 1897-1905 , vol. 3, no. 215
Bode 1883 , p. 432, 586, no. 205
Dutuit 1885 , p. 44, no. 47
Six 1893A , p. 155
Berlin 1898 , p. 248-249
Sarre 1904 , p. 148 (note 2)
Berlin 1904 , p. 316-317
Valentiner 1905 , p. 8 (note 1), 95-96
Von Wurzbach 1906-1911 , vol. 2, p. 396
Hofstede de Groot 1906 (Urkunden) , p. 243, no. 195; p. 443, no. 386
Six/Martin 1907 , p. 143-143, 148
Goekoop-de Jongh 1907 , p. 41-42
Hofstede de Groot 1907-1927 (English edition) , vol. 6 (1914), no. 97
Rosenberg/Valentiner 1909 , p. 174, 554 (note 174)
Berlin 1909A , p. 230
Posse 1911 , p. 178
Fischel [s.a.] , p. 88, XXIII
Berlin 1912 , p. 355
Neumann 1918 , p. 77-88
Graves 1918-1921 , vol. 2, p. 383
Van Regteren-Altena 1921 , p. 149
Van Dyke 1923 , p. 92
Weisbach 1926 , p. 175, 203-207
Kauffmann 1926 , p. 159
Berlin 1931 , p. 387-388
Van Rijckevorsel 1932 , p. 136
Berlin 1932 , p. 122
Benesch 1935 , p. 26
Bredius 1935 , no. 555
Kauffman 1944 , p. 146
Hamann 1948 , p. 153, 156, 157, 321
Detroit 1948 , p. 20
New York 1948 , no. 94
Chicago 1948 , no. 94
Washington 1948 , no. 153
Wiesbaden 1949 , no. 141
Amsterdam 1950 (Berlin) , no. 80
Brussels 1950 , no. 80
Paris 1951 , no. 101
Berlin 1952 , no. 84
Münz 1953 , p. 149
Slive 1953 , p. 97-99, 180
Boeck 1953 , p. 210
Zimmermann 1956 , no. 8
Sumowski 1957-1958 , p. 228
Emmens 1964 , p. 89
Benesch 1964 , p. 118-119
Bauch 1966 , no. 63
Haverkamp-Begemann 1967 , p. 110
Erpel 1967 , no. 60
Gerson 1968 , nr. 71
Haak 1968 , p. 117
Bredius/Gerson 1969 , no. 555
Brochhagen 1969 , p. 164
Tümpel/Tümpel 1970 , under no. 70 and no. 71
Kolloff 1971 , p. 502, 582 (note 70)
Berlin 1975 , p. 350-351
Broos 1977 , p. 59
Bolten/Bolten-Rempt 1978 , no. 234
Ulrich 1979 , p. 94
Strauss/Van der Meulen 1979 , doc. 1652/7, 1658/18
Sumowski 1983-1994 , vol. 1 (1983), p. 140
Schwartz 1984 , no. 179
Bock et al. 1986 , p. 63
Tümpel 1986 , no. 96
Corpus of Rembrandt Paintings 1982-2015 , vol. 3 (1989), no. A 106
Brown/Kelch/ Van Thiel 1991 , volume paintings: no. 20; volume drawings and prints: p. 41
Schatborn/Tümpel/Tümpel 1991 , p. 74-76
Slatkes 1992 , no. 77
Bergvelt/Kistemaker 1992 , no. 154
Kaak 1994
Bock/Grosshans 1996 , p. 101
Blankert/Blokhuis 1997 , p. 66
Van de Wetering 1997 , p. 75
Gaethgens/Paul 1997 , vol. 1, p. 177-178; vol. 2, p. 179, 224
Schama 1999 , p. 408-409, 441, 462, 578 and 590
White et al. 1999 , p. 89
White 1999C , p. 18, 55
Wetering 2000 , p. 47-50
Von Stockhausen 2000 , no. 541
Zell 2002 , p. 70-72
Nadler 2003 , p. 129
Scallen 2004 , p. 112, 346 (note 28)
Corpus of Rembrandt Paintings 1982-2015 , vol. 4 (2005), p. 361
Bevers 2006 , no. 11-12
Alexander-Knotter/Hillegers/Voolen 2006 , p. 42
Bomford et al. 2006 , p. 103-104
Lammertse/Van der Veen 2006 , p. 158-159
Schwartz/Calster 2006 , p. 236
Schwartz 2006 , p. 103-106, no. 185; p. 236, no. 391
De Winkel 2006 , p. 124, 202-205
Sigal-Klagsbald/Merle du Bourg 2007 , p. 62
De Witt 2007 , p. 107
Albers 2008 , p. 40
Knotter 2009 , p. 29-30
Perlove/Silver 2009 , p. 264-269
Corpus of Rembrandt Paintings 1982-2015 , vol. 5 (2011), p. 50, 69, 178, 179, 184, 315, 355, 422, 653
Schatborn 2011 , p. 306
Royalton-Kisch/Schatborn 2011 , p. 330-331
Weststeijn 2013 , p. 312-313
Rutgers/Rijnders 2014 , p. 33
Verdi 2014 , p. 92-98
Corpus of Rembrandt Paintings 1982-2015 , vol. 6 (2015), no. 110
Sluijter 2015 , p. 137-138, 185
Rumberg/Bevers 2016 , p. 45
Luijten et al. 2016 , no. 61
Jonker et al. 2017 , p. 13

H. von Tschudi, "Erwerbungsbericht. Amtliche Berichte aus den Königlichen Kunstsammlungen, A. Gemälde-Galerie", Jahrbuch der Königlich-Preussischen Kunstsammlungen 14 (1893), column II
W. Bode, A. Goldschmidt, Die Gemälde-Galerie der Königlichen Museen zu Berlin, Berlin 1899-1909, vol. 4, p. 36-37
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. 87
Führer durch die Staatlichen Museen zu Berlin. Das Kaiser-Friedrich-Museum, Berlin 1914 (expanded and revised 5th edition of 1904), p. 93, 127
Führer durch die Staatlichen Museen zu Berlin. Das Kaiser-Friedrich-Museum, Berlin 1919 (expanded and revised 4th edition of 1910), p. 484
Führer durch das Kaiser Friedrich-Museum, Berlin 1920 (expanded and revised 6th edition of 1904), p. 146
H. Makowsky, Beschreibendes Verzeichnis der Gemälde im Kaiser Friedrich Museum, Berlin/Leipzig 1921 (expanded and revised 8th edition of 1878), p. 382
C. Neumann, Rembrandt, München 1922, p. 182
exhibition catalogue Paintings from the Berlin Museums. Exhibited in Co-operation with the department of the army, Philadelphia Museum of Art (Philadelphia), 19 June- 7 July 1948, no. 94
exhibition catalogue 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, 14 -31 August 1948, no. 94
Meisterwerke aus den Berliner Museen und Schlössern. Gemälde alter Meister. Gemälde aus dem 19. Jahrhundert, Ausstellungskatalog (Museum Dahlem) Berlin 1953, no. 57
E. Rücker, G. Neumann, G. Arnolds, Staatliche Museen Berlin. Gemälde des XIII. bis XVIII. Jahrhunderts, Berlin (West) 1956, p. 59-60; 1958 (expanded and revised 3rd edition of 1956), 1959, 1960, 1961, 1962, p. 71; 1963 (expanded and revised 8th edition of 1956) 1964, 1966, 1968, p. 91
M. Knotter, An Ingenious Device: Rembrandt’s Use of Hebrew Inscriptions, in: Studia Rosenthaliana, 33 (1999), p. 131-159; p. 141-143
exhibition catalogue Rembrandt's Treasures, The Rembrandt House Museum (Amsterdam) 1999/2000, p. 71

Visual documentation

Visual documentation

Location image Location of the image in the visual documentation.

TD/Digital collection (img.nr. 0001526354)
BD/Digital Collection (img.nr. 1001236055)
BD/Digital Collection (img.nr. 0000271073)
, Original location BD/RKD/0550 - ONS/Religion, Mythology, Allegory, History and Literature: Rembrandt and School (img.nr. 0001114099)

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

29 hits in RKD technical, relating to:

Technical examination type

Research and restoration projects

conservation, 1892-02-27 1 hitsVermerk Protokoll über die Revision der Gemälde-Galerie:[…] Bei folgenden 10 Gemälden dieser Räume wurde zugleich Identität & ordnungsgemäßer Zustand festgestellt: 7) 828 K. Rembrandt
(note in protocol of the revision of the Gemäldegalerie SMB; Zentralarchiv SMB, ZA: I/GG 7).

"(...) und jetzt, nachdem das Bild einer notwendigen Reinigung unterzogen ist, sind zwar die dem Hoogstraeten so anstößigen Gruppen von Hunden wieder zum Vorschein gekommen, aber keine Spur einer Bezeichnung" (W. Bode, "Rembrandts Predigt Johannes des Täufers in der Königlichen Gemälde-Galerie", in: Jahrbuch der Königlich Preussischen Kunstsammlungen 13 (1892), p. 215).
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.
inventory, 1950 — 1958 1 hitsinvolved_persons: Dore Barleben
The research was carried out to document the paintings in the Central Collecting Point in Wiesbaden after their return from Washington.
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.
exhibition Meisterwerke aus den Berliner Museen. Europäische Malerei des 17. und 18. Jahrhunderts, 1951-09 — 1952-03 1 hits
involved_persons: Walter Steinkopf
Exhibition "Meisterwerke aus den Berliner Museen. Europäische Malerei des 17. und 18. Jahrhunderts" (Museum Dahlem Berlin, 7 September 1951 – ?? March 1952)
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, 1987-10 1 hitsinvolved_persons: Gerhard Pieh
"Die verschmutzte und blinde Firnisoberfläche wurde mit Terpentin, Wasser und alkalifreier Seife gereinigt. Da eine Firnisregenerierung nicht erforderlich war, wurde nur ein hauchdünner neuer Dammar-Firnis aufgetragen, um die alte Transparenz des mäßig vergilbten Firnisses wieder zu erreichen. G. Pieh" (treatment note on record card, GG-SMB/Dokumentation Restaurierung).
conservation, 1991-01-07 1 hitsinvolved_persons: Beatrix Graf
"Am rechten Rand abstehende eingerissene Leinwand mit Hautleim festgeklebt. EVT. Vorher schon mit Wachs bearbeitet – Klebefähigkeit des Hautleims sollte nach einiger Zeit überprüft werden. Graf" (treatment note on record card, GG-SMB/Dokumentation Restaurierung).
conservation, 1991-07-23 1 hitsinvolved_persons: Beatrix Graf
"Abstehende Leinwand am rechten Rand mit Wachs gefestigt (keine Klebefähigkeit des Hautleims). Ränder mit Pigmenten in AYAA retuschiert. Graf" (treatment note on record card, GG-SMB/Dokumentation Restaurierung).
conservation, 2002 2 hitsinvolved_persons: Gisela Helmkampf
conservation, 2002 1 hitsinvolved_persons: Gisela Helmkampf
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 9 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.

External links: online collection catalogue

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Creation date: 2002-11-19; Last modified date: 2022-09-28

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