Abstract
As expounded in Chapter III, p. 127 ff, this painting shows such material, technical and stylistic affinities with the ‘Self-portrait’ in Melbourne (IV 21), that there can be no reasonable doubt that both works are from the same hand, and must have originated in Rembrandt’s workshop. In this entry, it will suffice to furnish technical details and information concerning its provenance.
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Notes
Roger Fry, ‘A self-portrait by Rembrandt’, Burl. Mag. 38 (1921), pp. 262–263, ill. p. 260.
S. van Hoogstraeten, Inky ding tot de hooge schoole der schilderkonst, Rotterdam 1678, pp. 227–228; J. von Sandrart, Teutsche Académie des Bau-, Bild-und Mahlerey-Künste, Nuremberg 1675, (ed. by Pelzer, Munich 1925) Part II, Book III, Chapter XXII, p. 203.
Bohdan Marconi, ‘Jedenascie Obrazów z Nieznanej Galerii Sułkowskich w Rydzynie’ [Eleven paintings from an unknown gallery Sulkowski Rydzyna], in: JVadbitka z Biuletynu Historii Sztuki [Bulletin of Art History], R. XIX (1957) no. 2, pp. 169–177; idem, ‘Korespondencje-Polemiki’ [Correspondence-polemics of the article of the Sulkowski’s Gallery in Rydzyna], op. cit. R. XX (1958), no. 3/4, pp. 381–382, in the translated attachment stated as ‘not yet published’: ‘no. 17 Rembrandt, selfportrait, ca. 1660, oil canvas. Reverse: AS 95/white/’.
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© 2005 Stichting Foundation Rembrandt Research Project
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(2005). ’self-portrait’. In: A Corpus of Rembrandt Paintings. Rembrandt Research Project Foundation, vol 4. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-4441-0_27
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