LOT DETAILS

Materials:

oil on panel

Measurements:

15.67 in. (39.80 cm.) (height) by 11.57 in. (29.40 cm.) (width)

Markings:

with traces of an added signature 'RH v Rin' ('RH' linked, centre right)

Condition:

In an early seventeenth-century, Dutch, ebony, cassetta frame (supplied by Wiggins, ref. 10898B).

Exhibited:

Munich, Neue Pinakothek, Sammlung Schloss Rohoncz, 1930, no. 268. Leiden, Stedelijk Museum de Lakenhal, Rembrandt als Leermeester, 1 June-1 September 1956, no. 14. Basel, Kunstmuseum Basel, Im Lichte Hollands. Holländische Malerei des 17. Jahrhunderts aus des Sammlungen des Fürsten von Liechtenstein und aus Schweizer Besitz, 14 July-27 September 1987, no. 79. Melbourne, National Gallery of Victoria; and Canberra, National Gallery of Australia, Rembrandt: A Genius and his Impact, 17 October 1997-15 February 1998, no. 1. The Hague, Koninklijk Kabinet van Schilderijen Mauritshuis, Summer Presentation, 2000. Kassel, Staatliche Museen Kassel, Gemäldegalerie Alte Meister, Schloss Wilhelmshöhe; and Amsterdam, Museum het Rembrandthuis, The Mystery of the Young Rembrandt, 3 November 2001-26 May 2002, no. 74. Kyoto, National Museum; and Frankfurt am Main, Städelsches Kunstinstitut und Städtische Galerie, Rembrandt Rembrandt, 3 November 2002-8 January 2003, no. 3. Vienna, Graphische Sammlung Albertina, Rembrandt, 26 March-27 June 2004, no. 18. Amsterdam, Van Gogh Museum, Rembrandt - Caravaggio, 24 February-18 June 2006, no. 3.

Literature:

A.L. Mayer, 'The exhibition of the Castle Rohoncz Collection in the Munich Pinakothek', Apollo, 12, August, 1930, p. 96, illustrated. V. Bloch, 'Zum frühen Rembrandt', Oud Holland, 50, 1933, pp. 98, 100 and 102, fig. 2. A. Bredius, The Paintings of Rembrandt, Vienna and London, 1936-7, p. 6, fig. 132. R. Heinemann, Stiftung Sammlung Schloss Rohoncz, Lugano-Castagnola, 1937-41, I, p. 126, no. 344; II, pl. 124. L.G.G. Ramsay, ed., 'The Connoisseur's Diary, Colour-plate: Cover', The Connoisseur, 133, March 1954, p. 120, no. 536 (where it records that Valentiner attributes the painting to Lievens). W.R. Valentiner, 'The Rembrandt Exhibition in Holland, 1956', The Art Quarterly, 19, 1956, p. 404, note 3. K. Bauch, Rembrandt Gemälde, Berlin, 1966, p. 8, pl. 109. H. Gerson, Rembrandt Paintings, Amsterdam, 1968, p. 194, no. 28, illustrated. A. Bredius, revised by H. Gerson, Rembrandt: The Complete Edition of Paintings, Vienna, 1969, pp. 121 and 558, no. 132, illustrated. G. Arpino, P. Lecaldano, L'opera pittorica completa di Rembrandt, Milan, 1969, p. 93, no. 9, illustrated. J. Bolten, The Hidden Rembrandt, Oxford, 1978, p. 171, no. 10. C. Brown, Rembrandt, The Complete Paintings, London, 1980, p. 14, no. 8, illustrated. J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, E. van de Wetering, A Corpus of Rembrandt Paintings, I, The Hague, Boston and London, 1982, pp. 14, 16 and 124-8, no. A8, illustrated. G. Schwartz, Rembrandt: his life, his paintings, New York, 1985, p. 62, fig. 50. C. Tümpel, Rembrandt, All Paintings in Colour, Antwerp, 1993, pp. 56 and 408, no. 126. L. de Vries, 'Tronies and other single figured Netherlandish paintings', Leiden Kunsthistorisch Jaarboek, VIII, 1989, pp. 191-2 and 201, no. 23. L.J. Slatkes, Rembrandt: catalogo completo dei dipinti, Florence, 1992, p. 320, no. 208, illustrated. H. Gutbrod, Lievens und Rembrandt: Studien zum Verhältnis ihrer Kunst, Frankfurt am Main, 1996, pp. 139-42. B.P.J. Broos, in J. Turner, ed., The Dictionary of Art, XXVI, London, 1996, p. 154. P. van der Ploeg, 'Ontmoetingen in het Mauritshuis. Face to face at the Mauritshuis', Mauritshuis in focus, 13, 2000, p. 13, no. 2. W. Liedtke, 'Rembrandt in Australia', Apollo, 148, February 1998, pp. 54-5, illustrated. B.P.J. Broos, A. van Suchtelen, eds., Portraits in the Mauritshuis 1430-1790, Zwolle, 2004, pp. 213-4, no. 23, fig. 48a. R. van Straten, Young Rembrandt: The Leiden Years, 1606-1632, Leiden, 2005, pp. 62-3, fig. 70. C. Vogelaar, G. Korevaar, eds., Rembrandt's Mother, Myth and Reality, Zwolle, 2005, p. 83, fig. 76. Gemäldegalerie Staatliche Museen zu Berlin, Rembrandt, Genie auf der Suche, Berlin, 2006, pp. 192-4, figs. 12 and 15. J. Benamou-Huet, 'Portrait d'un collectionneur: Pieter C.W.M. Dreesmann, de père en fils mais jamais la même chose', Les Echos, 2 June 2006, p. 106, illustrated. T. Dibbits, in Rembrandt - Caravaggio, exhibition catalogue, Amsterdam, 2006, pp. 42-4, no. 5, illustrated. D. Hirschfelder, Tronie und Porträt in der niederländischen Malerei des 17.Jahrhunderts, Berlin, 2008, pp. 14, 42, 46-8, 52-4, 61, 117-8, 206, 249, 315, 317 and 420, no. 381, pl. IV and fig. 80. E. van de Wetering, Rembrandt in nieuw licht, Amsterdam, 2009, p. 34, pl. 35.

Provenance:

(Possibly) Leo Nardus (1868-1955). Arnold van Buuren, from whom acquired by Boehler and Goudstikker, in February 1929, when authenticated by Hofstede de Groot. Heinrich Baron Thyssen-Bornemisza de Kászon et Impérfalva (1875-1947), Schloss Rohoncz, Rechnitz and then Villa Favorita, Lugano-Castagnola, by 1930, and thence by descent to. Countess Batthyány, née Thyssen-Bornemisza, until before 1954. J.H. van Stratum, Geneva, by 1956, by whom consigned to the following sale,. Anonymous sale; Christie's, London, 29 March 1974, lot 54 (unsold). Herman and Lila Shickman, New York, by whom sold to the following,. with Noortman, Maastricht, from whom acquired, on 19 April 2002, by. Pieter and Olga Dreesmann (inventory no. B16).