studio of Rembrandt

studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>

Illustration number 0001526314
Dimensions: 4959x6011 pixels
License under CC BY-NC-SA

Illustration number 1001212252
Dimensions: 532x650 pixels
License under PUB DOM

Illustration number 0000374115
Dimensions: 1263x1599 pixels
License undetermined

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Object information

Object category: painting
Support/medium: panel (oak), oil paint
Shape/dimensions: rectangle (portrait format) 47.2 x 38.8 cm
Before 1755 the painting was reduced in size on the righthand side, originally measuring 47.2 x 65 cm (Tümpel 1986, no. 13; Corpus of Rembrandt Paintings 1982-2015, vol. 3 (1989), no. C 86).

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 left: Rembrandt f / 16..
According to the RRP the signature is surely not authentic. However, it is possible that the date is original (Corpus of Rembrandt Paintings 1982-2015, vol. 3 (1989), no. C 86).

Current attribution: studio of Rembrandt
Rejected attribution: Rembrandt
With the exception of Bode in 1883, Rembrandt's authorship of this painting was never doubted until Tümpel suggested that it could be a copy (Bode 1883, p. 445; Tümpel 1986, no. 13). The RRP stated that the painting was "from Rembrandt's circle, probably connected with a lost work from his hand" (Corpus of Rembrandt Paintings 1982-2015, vol. 3 (1989), no. C 86). This disattribution was not followed by all art historians (see for instance: Pächt/Lachnit 1991, p. 135; Rettich/Klapproth/Ewald 1992, p. 350-351; Schwartz 2006, p. 360). In the online collection catalogue of the museum the painting is listed as a work from Rembrandt's studio.

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. 1636 (1634 - 1638)

although both signature and date are not considered to be authentic by all art historians, the painting is generally dated around 1636 (Corpus of Rembrandt Paintings 1982-2015, vol. 3 (1989), no. C 86; Rettich/Klapproth/Ewald 1992, p. 350-351)

Subject

Title Title of the art-work in Dutch: Tobias geneest zijn vader Tobit van blindheid
English title: Tobias healing his blind father
Genre: undetermined
Keywords: history (genre), Old Testament and Apocrypha, blindness, angel, interior view, canopy bed, archangel, spinning wheel
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.: 71T77
the healing of Tobit: Tobias puts the gall of the fish on his father's eyes
: (Tobias 11:13-15)

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
follower of Rembrandt
canvas 48.5 x 65 cm., Braunschweig, Herzog Anton Ulrich-Museum, cat.no. 262 (formerly Eeckhout)
copied in print by
Antoine de Marcenay de Ghuy, Tobie recouvrant la vue
reproduces the painting in reverse

Provenance

Collection(s)

private collection Victor-Amédée de Savoie (prins de Carignan), Turijn/Paris
- 1741 After the death of the prince in 1741 the painting was sold at auction on July 30, 1742.
private collection Marc Antoine René de Voyer d'Argenson - marquis de Paulmy, Paris
According to the inscription on the reproduction print by Antoine de Marcenay the painting was part of the collection of Marc-René de Voyer d'Argenson in 1755.
1755 - 1782
private collection Jan Jansz. Gildemeester, Amsterdam
- 1800-06-11 Greeff 1907, p. 12; Stuttgart 1962, p. 162
art dealer/collection George Hibbert, Clapham (London)
- 1829-06-13 date of auction
Kunsthandel Nieuwenhuijs, Paris
bought from Nieuwenhuijs by Auguste d'Arenberg (Bürger 1859, p. 18)
private collection Auguste prins d' Arenberg, Brussels
bought from Nieuwenhuijs by Auguste d'Arenberg between 1829 and 1833 (Bürger 1859, p. 18)
art dealer
London; The painting was bought by the Staatsgalerie Stuttgart from an art dealer in London (Beye/Thiem 1984, p. 82, no. 11).
- 1958
Staatsgalerie Stuttgart, Stuttgart , inv./cat.nr 2521
1958 -

Auction(s)

de Poilly, Parijs, 1742-07-30
Contributor: Victor-Amédée de Savoie (prins de Carignan)

Lugt no. 559: p. 24 "Deux Tableaux sur bois, de quatorze pouces de haut, sur dix-sept pouces large [= 37.8 x 45.9; hight and width were probably interchanged], répresentant, l’un Tobie à qui on guérit la vue, & l’autre Joseph qui explique les songes dans la Prison, tous deux par Rimbran."
Roelof Meurs Pruyssenaar1800-06-11, lotnr. 181
Contributor: Jan Gildemeester Jansz.
1005

according to an annotation in a copy of the sale catalogue (RKD, The Hague), Lugt no. 6102: "Dezelfde [Rembrand] No. 181. hoog 18, breed 15 duim [ = 46.3 x 38.6 cm]. Paneel. De oude Tobias van zyne blindheid genezen. Men ziet in dit kunstig tafereel, in een eenvouwdig en armelyk vertrek, den gemelden grysaard, die, op een stoel gezeten zynde, in dit tydstip van zyn nog korts te rug gekomen zoon, de herstelling van zyn gezicht, door middel van de door hem medegebragte gal der visch ontfangt; nevens hem staat de Engel, de beschermer en geleidsman van den jongen Tobias, welke hem schynt te vertroosten, en voor hem zyne vrouw, welke hem by de hand vast houd. De schoone ordonnantie, het Iicht en bruin, benevens de uitdrukking der hartstochten, geeven aan dit stuk een uitmuntende uitwerking."
Christie's, Londen (Engeland), 1829-06-13, lotnr. 34
Contributor: George Hibbert
108

108 guineaus, 3 shilling according to an annotation in a copy of the sale catalogue (RKD, The Hague), Lugt no. 12089: " An Interior, with Tobit anointing his Father’s Eyes. From the Collection of M. Gildermeister: - its is executed in the neat and labored manner of his best etchings, and is coloured with very pleasing effect."

Exhibitions and literature

Exhibitions

Rembrandts moeder : mythe en werkelijkheid Stedelijk Museum de Lakenhal , Leiden (city) , 2005-12-16 - 2006-03-19 , cat. no. 61

Literature

Bürger 1859 , p. 17-21
Bode 1883 , p. 445
Bode/Hofstede de Groot 1897-1905 , no. 216
Greeff 1907 , p. 10-14
Rosenberg/Valentiner 1909 , p. 178
Bredius 1935 , no. 502
Roosval 1942 , p. 39-42
Roosval 1943 , p. 46-50
Stuttgart 1962 , p. 162
Held 1964 , p. 15
Petermann 1964 , p. 75
Kühn 1965 , p. 200
Bauch 1966 , no. 16
Gerson 1968 , no. 75
Bredius/Gerson 1969 , no. 502
Held 1969 , p. 114
Broos 1981 , p. 38-39
Beye/Thiem 1984 , p. 82, no. 11
Schwartz 1984 , ill. 188
Tümpel 1986 , no. 13
Sumowski 1983-1994 , vol. 3 (1987), p. 1714, under no. 1141
Corpus of Rembrandt Paintings 1982-2015 , vol. 3 (1989), no. C 86
Sumowski 1983-1994 , vol. 4 (1989), p. 2408, under no. 1613
Brown/Kelch/ Van Thiel 1991 , p. 72
Pächt/Lachnit 1991 , p. 135
Rettich/Klapproth/Ewald 1992 , p. 350-351
Wiemann 1993 , p. 42-44
Vogelaar/Korevaar 2005 , no. 61
Schwartz 2006 , p. 360
Conzen/Klewitz 2008 , p. 89, no. 31

Visual documentation

Visual documentation

Location image Location of the image in the visual documentation.

BD/Digital Collection (img.nr. 0001526314)
BD/Digital Collection (img.nr. 1001212252)
BD/Digital Collection (img.nr. 0000374115)

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 DI613_4, 1962 1 hits
not specified
alternative sample no. S4

Research and restoration projects

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: website museum

Permalink: https://rkd.nl/explore/images/233580

Creation date: 2013-03-12; Last modified date: 2021-12-07

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