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circle of Rembrandt

A scholar at his desk, ca. 1644
Cologne, Wallraf-Richartz-Museum & Fondation [..]
circle of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> circle of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> circle of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
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whereabouts
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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

It has been suggested that this painting is de pendant to the 'Portrait of a seated woman with a handkerchief' in the Art Gallery of Ontario, Toronto (RKD Images no. 35425) (Kelch/Van de Wetering 2006, no. 39; Luijten et al. 2016, p. 172-174, ill. 15).
Support/medium
canvas, oil paint
Shape/dimensions
rectangle (portrait format) 126 x 103 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 center right: Rembrandt f 164[4?]
    the last digit of the date is hardly legible and has been read as a 5 or a 4 (Bredius 1935, no. 237; Bauch 1966, no. 392). In the more recent art historical literature the last digit is considered to be a 4 (Vey/Kesting 1967, p. 87-88, no. 2527; Brown/Kelch/ Van Thiel 1991, p. 360, ill. 75a).
Current attribution
circle of Rembrandt
Rejected attribution
Rembrandt
This painting was always viewed as an autograph Rembrandt until doubted by Bauch in 1966. He suggested that Rembrandt designed the portrait and executed the face, but that the rest was painted by someone else (Bauch 1966, no. 392). Gerson removed the painting from Rembrandt's oeuvre, stating that it was made by a student, possibly Gerbrand van den Eeckhout (Bredius/Gerson 1969, no. 237). The RRP suggested the possibility of an attribution to Carel Fabritius (Corpus of Rembrandt Paintings 1982-2015, vol. 3, p. 722)
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. 1644 (1642 - 1646)
The last digit of the date is hardly legible and has been read as a 5 or a 4 (Bredius 1935, no. 237; Bauch 1966, no. 392). In the more recent art historical literature the last digit is considered to be a 4 (Vey/Kesting 1967, p. 87-88, no. 2527; Brown/Kelch/ Van Thiel 1991, p. 360, ill. 75a).
Provenance
Exhibitions and literature
Visual documentation
Entered on: 2013-03-11; Last modification: 2018-05-16

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