339 Latest Rembrandt

Rembrandt’s last dated drawing and the painting that was on his easel when he died both depict the same subject – Simeon with the Christ child in the Temple – in much the same way. In honor of the memorable exhibition Late Rembrandt Schwartz publishes some thoughts on these exceptional works.


Continue reading “339 Latest Rembrandt”

338 The young Walter Liedtke

On Tuesday evening, 3 February 2015, a commuter train from Grand Central Station to Westchester County and Connecticut crashed into an automobile on a crossing in Valhalla, New York. Of the more than 600 passengers in the train, six in the first car were killed in a fire caused by the crash. Among them was Walter Liedtke, a friend and colleague of Gary Schwartz. With their first exchange of letters. Continue reading “338 The young Walter Liedtke”

337 Here’s to Vincent and Theo, Anna, Eugène and Octave

The legendary single sale of a painting by Vincent van Gogh in his lifetime is not the art market discovery it is usually taken to be. It has a rich and moving background involving a cast of admirable characters, not least of them Henri Toulouse-Lautrec, who in Brussels challenged a vilifier of van Gogh to a duel. Continue reading “337 Here’s to Vincent and Theo, Anna, Eugène and Octave”

43 The Langbehn virus

In 1890 the fanatical cultural pessimist Julius Langbehn succeeded in convincing the German people that Rembrandt was not only one of them, but the best German of all. Rembrandt’s individuality and spirituality deserved to be taken as a model for a nation diseased by the degeneracy of Jews, journalists and academics. Art historians thought this was perfectly fine. Continue reading “43 The Langbehn virus”

123 The love of three Oranges

An exhibition at the Stedelijk Museum curated by Queen Beatrix gives rise to a comparison of her choices and those of her predecessors, Stadholder Frederik Hendrik in the seventeenth century and King Willem II in the nineteenth. The comparison is limited to the ratio between artists from the northern and southern Netherlands. The results are striking. (January 2001) Continue reading “123 The love of three Oranges”

326 Antwerp and Houghton Hall rehung

Three spectacular current exhibitions set out to restore the look and content of past displays of art. Antwerp Cathedral in the sixteenth century, an Antwerp merchant’s house in the seventeenth and the greatest English collection of the eighteenth have been endowed with their historical look and contents. Schwartz is deeply content. Continue reading “326 Antwerp and Houghton Hall rehung”

174 Shoot the piano player’s girlfriend

The source of François Truffaut’s movie Shoot the piano player has never been properly identified. In 2003 Schwartz revealed the film’s debt, via the novel by David Goodis that was Truffaut’s immediate inspiration, to Joseph Conrad’s immortal Victory. Ten years later, his discovery still ignored by the world, he sends it off once more. The P.S. predicted the onset of the debt crisis five years before the fall of Lehman Brothers. Continue reading “174 Shoot the piano player’s girlfriend”

Core list of Rembrandt drawings, section 7:
related to etched compositions

32 drawings, related to
20 etchings

For an explanation of the nature of this list, see Schwartzlist 301


      


  

Rembrandt, Old man with outspread arms, ca. 1628-29
Related to etching of Sts. Peter and John healing a cripple at the gate of the Temple of about 1629 (Bartsch 95)
Dresden, Kupferstichkabinett
References: Benesch 12. Dittrich and Ketelsen 2004, nr. 97. MRK 2010


 

Rembrandt, Man kneeling, ca. 1633
Related to group in left background, in reverse, of etching The ship of Fortune, from a book of 1633 (Bartsch 111)
Frankfurt, Städel Museum
References: Benesch 84. Not MRK 2010


 

Rembrandt, Entrance of a cottage, ca. 1633
The situation resembles that in the etched Good Samaritan of 1633 (Bartsch 90)
Hamburg, Kunsthalle
References: Benesch 462. Röver-Kann 2000, nr. 60. Schwartz 2006, pp. 16-18. Not MRK 2010


 

Rembrandt, Jacob being shown Joseph’s bloody cloak, ca. 1635-37
Related to the etching of the subject, dated 1633 (Bartsch 38)
Berlin, Kupferstichkabinett
References: Benesch 95. Bevers 2006, nr. 14. Not MRK 2010



Rembrandt, Joseph telling his dreams, ca. 1637
Rotterdam, Museum Boijmans Van Beuningen
References: on the verso of Benesch 161, not mentioned by Benesch. Giltaij 1988, sub nr. 13. Hinterding 2008, sub nr. 25. MRK 2010

Rembrandt, Studies of a woman reading and an Oriental, ca. 1637
New York, private collection
References: Benesch 168. Hinterding et al. 2000, sub nr. 31. Not MRK 2010

The drawings are related to Rembrandt’s etching, dated 1637, of Joseph telling his dreams (Bartsch 37). Also connected to this print is the drawing of a bearded old man in a private collection illustrated in Section 1: signed drawings (Benesch 20)


Rembrandt, Eve giving the apple to Adam, ca. 1638
Leiden University print room, inv. nr. AW1097
References: Benesch 164. Hinterding 2008, sub nr. 18. MRK 2010

Rembrandt, Eve giving the apple to Adam, ca. 1638
Private collection
References: Benesch 165. Hinterding 2008, sub nr. 18. Not MRK 2010

The drawings relate to Rembrandt’s etching of 1638 (Bartsch 28)


Rembrandt, Man in a tall fur hat, ca. 1635
Recurs in the etching, dated 1635, of The stoning of St. Stephen (Bartsch 97)
Frankfurt, Städel Museum
References: Benesch 297. Not MRK 2010


Rembrandt, The pancake woman, ca. 1635
Related to the etching of the same subject, dated 1635 (Bartsch 124)
Amsterdam, Rijksmuseum
References: Bredius 409. Schatborn 1985, nr. 6. Not MRK 2010


Rembrandt, Woman in a rich dress and a fur hat, seen from behind, ca. 1639
Related to woman in allegorical etching, dated 1639, of Death appearing to a wedding couple (Bartsch 109)
Leipzig, Museum der bildenden Künste
References: Benesch 321. Dittrich and Ketelsen 2006, sub nr. 107. Not MRK 2010


Rembrandt, Man kneeling in prayer; a woman’s head, ca. 1637
The kneeling man resembles the eunuch being converted in an etching of 1637 (Bartsch 98) and the woman the lower head on an etching dated to that year (Bartsch 367)
Vienna, Albertina
References: Benesch 357. Bisanz-Prakken 2004, nr. 32. Not MRK 2010


Rembrandt, The artist drawing from a model, ca. 1639
Related to the unfinished etching (Bartsch 192)
London, British Museum
References: Benesch 423 recto. Royalton-Kisch 1992, nr. 27. MRK 2010


Rembrandt, Study for a Presentation in the Temple, ca. 1639
Related to the etching of the subject (Bartsch 49)
Amsterdam, Amsterdam Historical Museum
References: Benesch 486. Broos 1981, nr. 8. Not MRK 2010


   

Rembrandt, Nude man kneeling, ca. 1640
Bayonne, Musée Bonnat
References: Benesch 477. Hinterding 2008, sub nr. 77, note 6. MRK 2010

Rembrandt, Three men being beheaded, ca. 1640
London, British Museum
References: Benesch 479. Royalton-Kisch 1992, nr. 35. Not MRK 2010

Rembrandt, Sketch of an executioner, ca. 1640
Amsterdam, Rijksmuseum
References: Benesch 482 verso. Schatborn 1985, nr. 19. MRK 2010

Drawings related to Rembrandt’s etching, The beheadal of St. John the Baptist, 1640 (Bartsch 92)


 
 

Rembrandt, Figure studies, ca. 1642
Amsterdam, Rembrandthuis
References: Bartsch 373. Ornstein-van Slooten et al. 1992, nr. 2. Not MRK 2010

Rembrandt, Two women walking (Ruth and Naomi?), ca. 1642
Brussels, Koninklijke Musea voor Schone Kunsten van België
References: Benesch 737. Hautekeete 2005, nr. 2. Not MRK 2010

The old woman with a walking stick in both drawings is related to the etching The Spanish gypsy Preciosa of 1642 (Bartsch 120)


Rembrandt, Sheet of studies, with a woman teaching a child to walk, ca. 1646
Related to background motif of the etching called Het rolwagentje, semi-nude boys and an old woman teaching a child to walk (Bartsch 194)
Stockholm, Nationalmuseum
References: Benesch 706. Magnusson 1992, nr. 147. Not MRK 2010






 

Rembrandt, Two sick women, ca. 1645-48
Amsterdam, Rijksmuseum
References: Benesch 183 recto. Schatborn 1985, nr. 21. MRK 2010

Rembrandt, Head of a sick woman, ca. 1645-48 (detail)
Amsterdam, Rijksmuseum
References: Benesch 183 verso. Schatborn 1985, nr. 21. MRK 2010

Rembrandt, Man standing, a cap inhis outstretched right hand, ca. 1645-48
London, Courtauld Gallery
References: Benesch 184. Hinterding et al. 2000, sub nr. 61. MRK 2010

Rembrandt, Blind old man guided by a woman, ca. 1645-48
Paris, Louvre
References: Benesch 185. Starcky 1988, nr. 39. MRK 2010

Rembrandt, Study for the group of the sick in The hundred-guilder print, ca. 1645-48
Berlin, Kupferstichkabinett
References: Benesch 188. Bevers 2006, nr. 40. MRK 2010

Rembrandt, Study of a seated beggar woman, supplicating, ca. 1645-48
Private collection
References: Benesch 388. Hinterding et al. 2000, sub nr. 61. MRK 2010

Rembrandt, Old man with a fur cap, ca. 1645-48
Peck Collection
References: Benesch 724. Peck 2003, nr. 6. Not MRK 2010

Rembrandt, Study for the Hundred-guilder print
Paris, Louvre
References: Benesch 543. Hinterding et al. 2000, p. 76. Not MRK 2010

Drawings related to the etching of Christ preaching and healing the sick, known as The Hundred-guilder print and completed in 1648 (Bartsch 74)


 

Rembrandt, St. Jerome reading in an Italian landscape, ca. 1650
Related to etching of the subject, ca. 1653 (Bartsch 106)
Hamburg, Kunsthalle
References: Benesch 886. Röver-Kann 2000, nr. 67. MRK 2010



Rembrandt after a Mughal miniature, Four sufis under a tree, mid-1650s
London, British Museum
References: Benesch 1187. Royalton-Kisch 1992, nr. 62. Not MRK 2010

Rembrandt after a Mughal miniature, Emperor Akbar and his son Selim, mid-1650s
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 1189. Giltaij 1988, nr. 30. Not MRK 2010

Both drawings fed into Rembrandt’s etching of Abraham entertaining the angels, 1656



 

Rembrandt, Christ comforted by the angel, mid-1650s
Hamburg, Kunsthalle
References: Benesch 899. Röver-Kann 2000, nr. 68. Not MRK 2010

Rembrandt, Christ comforted by the angel, ca. 1657
Cambridge, Fitzwilliam Museum
References: Benesch 626. Fitzwilliam Museum website. Not MRK 2010

Related to etching Bartsch 75, dated to about 1657