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Man in a Red Cloak

Style of Rembrandt (Dutch, 1650s or early 1660s)

Medium:
Oil on wood
Dimensions:
15 1/8 x 12 1/4 in. (38.4 x 31.1 cm)
Classification:
Paintings
Credit Line:
The Jules Bache Collection, 1949
Accession Number:
49.7.36
  • Catalogue Entry

    Forthcoming

  • Signatures, Inscriptions, and Markings

    Inscription: Inscribed (lower right): Rembr[andt] / f. 1659[?]

  • Provenance

    Consul Eduard F. Weber, Hamburg (by 1883–at least 1885); [Sedelmeyer, Paris]; Maurice Kann, Paris (by 1894–d. 1906; his estate, from 1906; sold to Gimpel and Wildenstein); [Gimpel & Wildenstein, Paris and New York, by 1916–19; sold for $40,000 to Bache]; Jules S. Bache, New York (1919–d. 1944; his estate, 1944–49; cats., 1929, unnumbered; 1937, no. 37; 1943, no. 36)

  • Exhibition History

    Amsterdam. Stedelijk Museum. "Rembrandt Schilderijen," September 8–October 31, 1898, no. 103.

    Detroit Institute of Arts. "Thirteenth Loan Exhibition of Old Masters: Paintings by Rembrandt," May 2–31, 1930, no. 63 (as "Rembrandt's Son Titus," lent by Jules Bache, New York).

    Amsterdam. Rijksmuseum. "Rembrandt Tentoonstelling," July 13–October 13, 1935, no. 25 (as "Mansportret," lent by Jules S. Bache, New York).

    New York. World's Fair. "Masterpieces of Art: European Paintings and Sculpture from 1300–1800," May–October 1939, no. 306 (as "Titus, Son of Rembrandt," by Rembrandt, lent by the Jules S. Bache Collection, New York).

    New York. The Metropolitan Museum of Art. "The Bache Collection," June 16–September 30, 1943, no. 36 (as "A Young Man with a Black Cap," by Rembrandt).

    New York. The Metropolitan Museum of Art. "Rembrandt/Not Rembrandt in The Metropolitan Museum of Art," October 10, 1995–January 7, 1996, no. 33.

    New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.

  • References

    Wilhelm [von] Bode. Studien zur Geschichte der holländischen Malerei. Braunschweig, 1883, pp. 534, 571, no. 98, as in the collection of Consul E. Weber, Hamburg; comments on similarities with the "Portrait of a Man ('The Auctioneer')" (MMA 14.40.624), whom he tentatively identifies as Thomas Haring [Haeringh].

    Eugène Dutuit. Tableaux et dessins de Rembrandt. Paris, 1885, pp. 42, 63, 70, no. 336, as in the Weber collection, Hamburg.

    Émile Michel. Rembrandt: His Life, His Work, and His Time. English ed. New York, 1894, p. 239, as in the Maurice Kann collection.

    C[ornelis]. Hofstede de Groot. De Rembrandt Tentoonstelling te Amsterdam. Amsterdam, [1898], unpaginated, no. 103.

    Illustrated Catalogue of 300 Paintings by Old Masters of the Dutch, Flemish, Italian, French, and English Schools. Paris, 1898, p. 158, no. 140, ill. p. 159.

    Malcolm Bell. Rembrandt van Rijn and His Work. London, 1899, pp. 83, 157.

    Marcel Nicolle. Rembrandt aux expositions d'Amsterdam et de Londres. Paris, 1899, p. 42, ill. p. 39.

    Wilhelm [von] Bode with the assistance of C. Hofstede de Groot. The Complete Work of Rembrandt. 6, Paris, 1901, pp. 23, 150, no. 459, pl. 459, as "Small Portrait of a Man Turning to the Spectator".

    Wilhelm R. Valentiner. Rembrandt und seine Umgebung. Strasbourg, 1905, p. 51, as a portrait of Titus; suggests that the sudden turn of the head could be influenced by Raphael or Palma Vecchio.

    Adolf Rosenberg. Rembrandt, des Meisters Gemälde. 2nd ed. Stuttgart, 1906, pp. 404, 417, ill. p. 338, as a portrait of a man.

    Auguste Marguillier. "Collection de feu M. Maurice Kann." Les arts 8 (April 1909), p. 16.

    Adolf Rosenberg. Rembrandt, des Meisters Gemälde. 3rd ed. Stuttgart, 1909, pp. 562, 578, ill. p. 419, as a portrait of Titus.

    C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 6, London, 1916, p. 221, no. 411, as with Gimpel and Wildenstein, New York.

    D. S. Meldrum. Rembrandt's Paintings. London, 1923, p. 200, pl. CCCLXIV, as "Portrait of a Man ('Titus')".

    A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill., as "A Young Man with a Black Cap," aged about twenty-five.

    Royal Cortissoz. "The Jules S. Bache Collection." American Magazine of Art 21 (May 1930), p. 259.

    Wilhelm R. Valentiner. Rembrandt Paintings in America. New York, 1931, unpaginated, no. 142, pl. 142, as a portrait of Titus.

    Arthur M. Hind. Rembrandt: Being the Substance of the Charles Eliot Norton Lectures Delivered before Harvard University, 1930–1931. Cambridge, Mass., 1932, p. 18, states that the sitter is the same as in a portrait, possibly of Titus, whose pendant is in the Widener collection, near Philadelphia.

    J. L. A. A. M. van Rijckevorsel. Rembrandt en de Traditie. Rotterdam, 1932, p. 150, cites Giorgione as a source for the pose.

    A[braham]. Bredius. Rembrandt Gemälde. Vienna, 1935, p. 13, no. 296, pl. 296, agrees with Schmidt-Degener [see Ref. 1935] in identifying the sitter with the man in the "Jewish Bride".

    Ernst Scheyer. "Die Rembrandt-Ausstellung in Amsterdam." Pantheon 16 (1935), p. 294, ill. p. 292.

    F. Schmidt-Degener. Rembrandt Tentoonstelling. Exh. cat., Rijksmuseum. Amsterdam, 1935, p. 57, no. 25, identifies the sitter with the man in the "Jewish Bride" (Rijksmusuem, Amsterdam).

    A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 37, ill.

    A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 36, ill.

    Jakob Rosenberg. Rembrandt. Cambridge, Mass., 1948, vol. 1, p. 49, calls it a "fine oil sketch" of the sitter who later appears in the "Jewish Bride" (Rijksmuseum, Amsterdam).

    Theodore Rousseau Jr. "Rembrandt." Metropolitan Museum of Art Bulletin 11 (November 1952), ill. p. 88.

    Otto Benesch. "Worldly and Religious Portraits in Rembrandt's Late Art." Art Quarterly 19 (Winter 1956), p. 352.

    Jakob Rosenberg. Rembrandt: Life & Work. rev. ed. London, 1964, p. 88.

    Kurt Bauch. Rembrandt Gemälde. Berlin, 1966, p. 22, pl. 426.

    A[braham]. Bredius. Rembrandt: The Complete Edition of the Paintings. 3rd ed. London, 1969, p. 572, no. 296, ill. p. 228, states that although the model is probably the same as in the "Jewish Bride," the attribution to Rembrandt is not convincing.

    Paolo Lecaldano in L'opera pittorica completa di Rembrandt. Milan, 1969, ill. p. 131, includes it among works of doubtful attribution.

    J. Bauch. Letter to John Brealey. November 30, 1977, notes that the tree from which this panel was made was felled not earlier than 1640 and not later than 1650.

    J. Bolten and H. Bolten-Rempt. The Hidden Rembrandt. Milan, 1977, p. 199, no. 489, ill.

    B[en]. P. J. Broos. Index to the Formal Sources of Rembrandt's Art. Maarssen, The Netherlands, 1977, p. 42.

    Werner Sumowski. "Nachträge Ortsregister." Gemälde der Rembrandt-Schüler. 5, Landau/Pfalz, 1983–[94?], p. 3090, no. 2038, ill. p. 3169, attributes it to Drost, about 1652–55.

    Paul Jeromack. "Être Rembrandt ou ne plus l'être." Connaissance des Arts no. 441 (November 1988), p. 106, ill., as perhaps an eighteenth-century copy.

    Walter Liedtke. "Dutch Paintings in America: The Collectors and Their Ideals." Great Dutch Paintings from America. Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, p. 52, calls it a "ruined imitation"; states that Bache bought it in 1919 for $40,000 from Wildenstein.

    Walter Liedtke in "Paintings, Drawings, and Prints: Art-Historical Perspectives." Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. 2, New York, [1995], pp. 89, 118–19, no. 33, ill. (color), as by a follower of Rembrandt, possibly a pupil or former pupil; states that Drost is a possibility; dates it between the early 1650s and early 1660s.

    Hubert von Sonnenburg. "Paintings: Problems and Issues." Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. 1, New York, 1995, p. 28, notes that the panel "could have been employed any time after 1642 but is generally dated after 1662" because of similarities with the "Jewish Bride".

    Catherine B. Scallen. Rembrandt, Reputation, and the Practice of Connoisseurship. Amsterdam, 2004, p. 363 n. 99.

    Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 2, pp. 708, 749, 754–57, 776, no. 171, colorpl. 171, as painted by a minor Rembrandt pupil or follower during the 1650s or early 1660s.

    Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), p. 42.



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