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Rembrandt omgeving van Rembrandt

Zittende man met baard en baret, 1645 gedateerd
Berlin, Gemäldegalerie (Staatliche Museen zu [..]
herkomst
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Object gegevens
Objectcategorie
schilderij
Drager/materiaal
doek, olieverf
Vorm/maten
staande rechthoek 110 x 82 cm
Signatuur/opschrift
Informatie over de signatuur, datering, opschrift of merk op de voor- of achterzijde van het kunstwerk
  • draagt signatuur en datum linksonder: Rembrandt.f. 1645
    According to Gerson the signature is not authentic (Gerson 1968, p. 498). After technical research the Gemäldegalerie concluded that the signature should be accepted as original. According to Laurenze-Landsberg and Kleinert the painting has been dated twice. Underneath the "5" that is visible today, originally a "3" was present and the painting had first been dated 1643 (Claudia Laurenze-Landsberg and Katja Kleinert, research project Berlin Gemäldegalerie).
  • inscriptie op de achterzijde: T.P.N. °.. 24
    On the backside: inscription on the lining canvas in vermilion: "T.P.N. °.. 24." (auction Théodore Patureau 1857, no. 24).
  • verzamelaarsmerk op de achterzijde: Königliche Museen Berlin
    On the backside: red seal with the Prussian eagle and the inscription "Königliche Museen Berlin" [Royal Museums Berlin] recessed in a drill hole with a diameter of 3 cm.
  • etiket op de achterzijde: LK 5,Gestell 4, rechts oben
    On the backside: yellowed paper, 3.5 cm x 5 cm, handwritten in black ink: "LK 5,Gestell 4, rechts oben". Text in black ink struck-through, next to it is written: "Kiste '8 [crate '8]" (the short line in front of the 8 is perhaps a 1),
  • etiket op de achterzijde: 710
    On the backside: red crayon on paper label: "710"
  • etiket op de achterzijde: TR 9006 / 64
    On the backside: label with red serrated edge and printed border: "[typewritten] TR 9006 / 64"
  • etiket op de achterzijde: [printed] S.L. No. / The Metropolitan Museum of Art / LOAN EXHIBITION [stamped] M-95
    On the backside: paper label with serrated edge: "[printed] S.L. No. / The Metropolitan Museum of Art / LOAN EXHIBITION [stamped] M-95".
  • etiket op de achterzijde: [printed] MINNEAPOLIS ART / INSTITUTE / No. / Lent by [typewritten] L48.1213 / Cleveland/Museum of Art
    On the backside: label: "[printed] MINNEAPOLIS ART / INSTITUTE / No. / Lent by [typewritten] L48.1213 / Cleveland/Museum of Art".
  • etiket op de achterzijde: Staatliche Museen Berlin – Gemäldegalerie, Inv.-Nr.. III/99, Kat.Nr. 828 A. / Rabbiner
    On the backside: blank form and handwritten in black ink: "Staatliche Museen Berlin – Gemäldegalerie, Inv.-Nr.. III/99, Kat.Nr. 828 A. [the A was amended in pencil] / Rabbiner [rabbi]".
  • etiket op de achterzijde: Staatliche Museen Berlin, Gemäldegalerie, Kat.Nr. 828 A, Rembrandt, Bildnis eines Rabbiners
    On the backside: blank form filled out with typewriter: "Staatliche Museen Berlin, Gemäldegalerie, Kat.Nr. 828 A, Rembrandt, Bildnis eines Rabbiners [Portrait of a Rabbi]".
  • etiket op de achterzijde: Kat.Nr. 828A, Rembrandt Harmensz van Rijn, Bildnis eines alten Mannes, 1645, LW, Ort / neu: 430,5
    On the backside: current paper label: "Kat.Nr. 828A, Rembrandt Harmensz van Rijn, Bildnis eines alten Mannes [Portrait of an Older Man],1645, LW, Ort / neu: 430,5".
  • nummer op de achterzijde: 99
    On the backside: inventory number of 1833 stencilled on in black, covered by paper strips, only lower arc of a 9 and a 9 are visible (stencil: Altes Museum).
  • inscriptie op de achterzijde: douer à m΅ Suermond – Hotel de Bade
    On the backside: writing in white chalk on the lower crossbar: "douer à m΅ Suermond – Hotel de Bade"
Huidige toeschrijving
Rembrandt
omgeving van Rembrandt
Since the work was first mentioned in 1777, it had continuously been considered as an autograph painting by Rembrandt. Despite the fact that in 1857 doubts about the attribution were raised by Blanc, the attribution to Rembrandt remained (Blanc 1857, p. 524-25). Although Gerson leaves the attribution of the work unchallenged in his 1968 publication, he nevertheless points out the, in his opinion, false signature of the painting. With a reference to Gerson's observation, Tumpel attributed the painting in 1986 to the circle of Rembrandt (Tümpel 1986, no. A 42). After a renewed appraisal of the work, Van de Wetering reattributed the painting to Rembrandt in the last volume of the Corpus of Rembrandt Paintings (Corpus of Rembrandt Paintings 1982-2015, vol. 6 (2015), no. 203). The Gemäldegalerie is not completely convinced by the arguments of Van de Wetering and attributes the painting to Rembrandt (?) (Claudia Laurenze-Landsberg and Katja kleinert,research project Berlin Gemäldegalerie).
Datering
Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes.
1645 gedateerd (1643 - 1645)
The depiction of the old man with beard and beret that is visible today was preceded by a different version. According to the technical examinations this first version must have been worked out if not entirely, then at least to a large extent and alterations were made in the second version. Since the the painting was dated twice (to wit 1643 and 1645; see remark signature) it is reasonable to presume that the first version of the painting was in 1643 in fact entirely finished, before in 1645 alterations were once again made (Claudia Laurenze-Landsberg and Katja Kleinert, research project Berlin Gemäldegalerie).
Artistiek verband
Artistiek verband met ander werk
Zoals een voorbereidende tekening, vergelijkbare compositie, andere versie, herhaling of kopie van het hier beschreven kunstwerk.
  • als voorbeeld gebruikt voor
    George Hayter
    "An old man with a beard and beret", oil on canvas, 35,6 x 28,3 cm, Collection of Her Majesty the Queen, Winsor Castle; inscription on the reverse: "Copied by George Hayter M.A.S.L. / from an original picture by Rembrandt /in his possesion. in 1818 / and Humbly presented by Him / To Her Royal Highness The Princess Victoria /&c-&c-&c/ on Her R. Highness attaining Her / Eightenth Birthday /May 24.1837".

  • als voorbeeld gebruikt voor
    Anoniem
    "An old man with beard and beret", oil on canvas, 95,3 x 76,2 cm, sale Catholina Lambert, The American Art Galleries in the Grand Ballroom of New York's Hotel Plaza (New York), 21- 24 February 1916, lot no. 323

  • als voorbeeld gebruikt voor
    Anoniem
    "An old man with beard and beret", oil on canvas, 111,7 x 82,2 cm, Chistie's (Amsterdam), 12 October 1996, lot no. 22

  • als voorbeeld gebruikt voor
    Anoniem
    "An old man with beard and beret", oil on canvas, 110,2 x 80,3 cm, signed and dated on the reverse: "W Buchra/11-13II./1924", Christie's (Amsterdam), 2 September 2003, lot no. 17

  • in prent gebracht door
    Peter von Halm
    "An old man with beard and beret", etching, 369 x 265 mm, signed: "P. Halm", SMB-Kupferstichkabinett, inv. no. 78-1910

    published in: W. Bode, A. Goldschmidt, Die Gemälde-Galerie der Königlichen Museen zu Berlin, Berlin 1899-1909, vol. 4, p. 36

  • in prent gebracht door
    Léopold Flameng
    "An old man with beard and beret", etching, 265 x 170 mm, signed: "Léop Fl", SMB-Kupferstichkabinett, inv. no. 4052

    published in: Zeitschrift für Kunstgeschichte 9 (1874), p. 294

Herkomst
Tentoonstellingen en literatuur
Beelddocumentatie
Technische documentatie
Het RKD beheert een collectie technische documentatie die door externe onderzoekers en musea aan ons is overgedragen of voortkomt uit eigen onderzoek met infraroodreflectografie. Het materiaal waarvan hier de metadata zijn weergegeven, is op afspraak te raadplegen op het RKD. Vooralsnog is niet alle technische documentatie ingevoerd in de database. Regelmatig worden nieuwe gegevens toegevoegd.
Ingevoerd op: 2001-02-27; Laatste wijziging: 2018-08-31

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