Self-portrait with sketchbook

Original Lost
Chapter
Part of the Rembrandt Research Project Foundation book series (RRSE, volume 4)

Abstract

One mezzotint by Jacob Gole (1660–1724) and at least six painted versions are known of this lost Self-portrait. Most of the paintings give the impression of being old. The successive rediscoveries of these paintings repeatedly raised the question of whether any of the versions then known could be the original prototype. Bredius included two of them in his catalogue as paintings by Rembrandt.1 In his revised edition of Bredius’ book, Gerson included three which, however, he described as copies of a lost original.2 Later authors have adopted his view. In Chapter III on pp. 101–108 we attempted to explain why also in our view none of the existing versions can be considered as the prototype. Moreover, we conclude that the print by Gole gives by far the most faithful image of the lost prototype, which is why this print is included below as an independent version (version 1). Of the painted versions, the one in San Francisco is most likely to have originated in Rembrandt’s workshop as a copy after the original.

Keywords

Quartz Charcoal Lost Chalk Massicot 

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Notes

  1. 3.
    See also II A 54 and A. Rüger, V. Manuth in: exhib. cat. Wisdom, knowledge and magic. The image of the scholar in Dutch seventeenth century painting, Kingston 1996/97, no. 15.Google Scholar
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    Van de Wetering 1997, pp. 58–60, fig. 72.Google Scholar
  3. 6.
    C. Müller Hofstede, ‘Rembrandts Selbstbildnis mit Skizzenbuch’, Pantheon 26 (1968), pp. 375–390.Google Scholar
  4. 7.
    K. Bauch, ‘Zu einem verschollenen Selbstbildnis Rembrandts’, Pantheon 27 (1969), pp. 224–226, esp. 226.Google Scholar
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    J.E. Wesseley, Jacob Gole. Verzeichnis seiner Kupferstiche und Schabkunstblätter, Hamburg 1889, no. 111.Google Scholar
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    Müller Hofstede, Rembrandts Selbstbildnis mit Skizzenbuch‘, Pantheon 26 (1968) op. cit.6, p. 375.Google Scholar
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    R.R. Tatlock, ‘An unpublished Rembrandt self-portrait’, Burl. Mag. 46 (1925), pp. 258–259, 261; A.L. Mayer, ‘Notes and Letters, “An unpublished Rembrandt self-portrait”’, Burl. Mag. 47 (1925), p. 160.Google Scholar
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    G.F. Waagen, Treasures of art in Great Britain III, London 1854, p. 333.Google Scholar
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    Rembrandts Selbstbildnis mit Skizzenbuch’, Pantheon 26 (1968), pp. 375–390 See note 6.Google Scholar
  10. 15.
    F. Broun, ‘Rembrandts in the collection of Sir Joshua Reynolds’, unpublished typescript 1984, no. 21.Google Scholar
  11. 17.
    H. Kühn, ‘Untersuchungen zu den Pigmenten und Malgründen Rembrandts,durchgeführtandenGemäldender Staatlichen Kunstsammlungen Dresden’, Maltechnik-Restauro 83 (1977), pp. 223–233, esp. 229.Google Scholar
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    Report by J. Plesters from the National Gallery, London, dated 29 August 1973.Google Scholar

Copyright information

© Stichting Foundation Rembrandt Research Project 2005

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