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Rembrandt or follower of Rembrandt or possibly Barent Fabritius

Tobit and Anna awaiting the return of their son, 1659
Rotterdam, , inv./cat.nr. VdV 65
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or follower of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or possibly <a class="recordlink artists" href="/explore/artists/27137" title="Barent Fabritius"><span class="text">Barent Fabritius</span></a> <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or follower of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or possibly <a class="recordlink artists" href="/explore/artists/27137" title="Barent Fabritius"><span class="text">Barent Fabritius</span></a> <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or follower of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or possibly <a class="recordlink artists" href="/explore/artists/27137" title="Barent Fabritius"><span class="text">Barent Fabritius</span></a>
provenance
whereabouts
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Object information
Object category
painting
Support/medium
panel, oil paint
The painting of Tobit and Anna is painted on top of a still life depicting two fish on a platter, a candlestick with a burning candle and two glasses.
Shape/dimensions
rectangle (landscape format) 41,8 x 54,6 cm
Signature/inscription
Information about the signature, dating, inscription or any other mark on the front or back of the art work
  • with signature and date lower left: Rembrandt f. 1659
    The date was long thought to be 1650. After restoration in 1947 the date 1659 became visible, although it was already recognized as such in 1932 (Brockwell 1932, p. 74). According to Giltaij both signature and date are not authentic (Giltaij 1994, no.30). Van de Wetering however, suggests that the painting could have been signed by Rembrandt himself (Corpus of Rembrandt Paintings 1982-, vol. 5 (2011), no. V 28).
Current attribution
Rembrandt
or follower of Rembrandt
or possibly Barent Fabritius
For a long time the attribution of this painting remained undisputed. In 1986, however, Tumpel wrote that he was "not completely convinced of its authenticity" (Tumpel 1986, no. 28*). In 1994 Giltaij also expressed doubts about Rembrandt's authorship of the painting and attributed the painting to a pupil of Rembrandt, possibly Barent Fabritius (Giltaij 1994, no. 30). In the latest volume of the Corpus of Rembrandt Paintings the painting was reattributed to Rembrandt (Corpus of Rembrandt Paintings 1982-, vol. 5 (2011), no. V 28).
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.
1659 (1659)
There are different opinions about the authenticity of the signature and the date on the painting (Giltaij 1994, no.30; Corpus of Rembrandt Paintings 1982-, vol.5 (2011), no. V 28).
Provenance
Exhibitions and literature
Documentation
Entered on: 2002-09-16; Last modification: 2017-09-19

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