Abstract
Stylistically, this painting is so far removed from Rembrandt that we initially considered omitting it from the Corpus. However, once it became demonstrably clear, during the completion of this book, that the painting must have originated in Rembrandt’s workshop, it fulfilled a crucial role — together with the closely related work in the Fogg Art Museum in Cambridge, Mass. (IV 22) — in our development of an understanding of the origin of ‘self- portraits’ that are not thought to be autograph works by Rembrandt but which nevertheless must have been painted before his eyes.
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Notes
Portrait of Rembrandt in the manner of Rembrandt MGV 104/4, Report on the status of the painting at July 23, 1997 by John Payne, Senior Conservator of Painting [Melbourne, National Gallery of Victoria].
Sir Charles Holmes, ‘A Rembrandt portrait from Welbeck’, Burl. Mag. 62 (1933), pp. 103–107 and plate II.
Timothy Potts, ‘’Holland to New Holland”: Rembrandt in Australia“, in: Blankert 1997, p. 15 (caption).
Bauch 1966, 334, 335.
Timothy Potts, op. cit.5, p. 18.
Jakob Rosenberg, Rembrandt, 2nd edition, London 1969, p. 371; Bauch 1966, 335.
John Gregory, ‘The paintings and drawings’, in: Rembrandt in the collections of the National Gallery of Victoria, Melbourne 1988, pp. 21–76, esp. p. 72.
H. Kühn, Anlage II in: C. Müller Hofstede, ‘Das Stuttgarter Selbstbildnis von Rembrandt’, Pantheon 21 (1963), pp. 99–100; Kühn 1965, pp. 191–210.
U. Hoff, European paintings before 1800 in the National Gallery of Victoria, 4th edition, Melbourne 1995, pp. 234–235.
C. Fairfax Murray, Catalogue of the pictures belonging to His Grace the Duke of Portland, at Welbeck Abbey, and in London, London 1894, no. 6.
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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_26
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