Les ventes observées, preuves comparables, historiques d’indice et recherches modélisées restent distincts.
Ventes publiques du même artiste classées par technique, année de création, dimensions et date de vente.
Paul Delaroff (St. Petersburg, Russia), 1906
Thomas Agnew & Sons (London, England)
Scott & Fowles (New York, New York)
Otto H. Kahn (New York, New York), 1910, presented by his children to the Metropolitan Opera Associa...
Metropolitan Opera Association, sold through M. Knoedler & Co., (New York, New York), to the Clevela...
The Cleveland Museum of Art, Cleveland, OH
Paul Delaroff (St. Petersburg, Russia), 1906 Thomas Agnew & Sons (London, England) Scott & Fowles (New York, New York) Otto H. Kahn (New York, New York), 1910, presented by his children to the Metropolitan Opera Association, New York, 1950; Metropolitan Opera Association, sold through M. Knoedler & Co., (New York, New York), to the Cleveland Museum of Art, 1950. The Cleveland Museum of Art, Cleveland, OH
Dutch Painting, The Golden Age. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 5-February 27, 1955). In Memoriam: Leonard C. Hanna, Jr.. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958). Style, Truth and the Portrait. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963). The Scholar in Art. The Cleveland Museum of Art, Cleveland, OH (April 19-28, 1968). Dutch Art and Life in the Seventeenth Century. The Cleveland Museum of Art, Cleveland, OH (July 10-September 2, 1973). Study purposes for Rembrandt exhibition in May 2002. National Gallery of Art (organizer). Study purposes/The Apostle Paul. National Gallery of Art, Landover, MD (organizer) (March 17, 2000-March 17, 2001). Rembrandt in America. North Carolina Museum of Art, Raleigh, NC (organizer) (October 30, 2011-January 22, 2012); The Cleveland Museum of Art, Cleveland, OH (February 19-May 28, 2012); Minneapolis Institute of Art, Minneapolis, MN (June 24-September 16, 2012). Gallery One 2012. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-March 5, 2017). The Royal Gallery, The Hague, 1908-9 Special Loan Exhibition of Paintings by the Great Dutch Masters of the 17th Century, Galleries of Scott & Fowles Co., New York, 1914, no. 13 Rembrandt and his Pupils, The North Carolina Museum of Art, Raleigh, North Carolina, 1956, no. 28 (repr.) Trends in Paintings: 1600-1800, Albright Art Gallery, Buffalo, 1957, p. 24, repr. p. 25. Masterpieces of Art: In Memory of William R. Valentiner 1880-1958, North Carolina Museum 	of Art, Raleigh, North Carolina, April 6- May 17, 1959, no. 74, p. 134, repr. p. 135. Style, Truth and the Portrait, The Cleveland Museum of Art, October 1-November 10, 1963, cat. no. 17 (repr.) In Memoriam Leonard C. Hanna, Jr., The Cleveland Museum of Art, 1958, no. 71. Dutch Art and Life in the Seventeenth Century, The Cleveland Museum of Art, July 10-Sept. 2, 1973 (no catalogue) North Carolina Museum of Art (10/30/2011 - 1/22/2012), The Cleveland Museum of Art (2/19/2012 - 5/28/2012), and Minneapolis Institute of Arts (6/24/2012 - 9/16/2012): "Rembrandt Paintings in America: Collecting and Connoisseurship"
Amsterdam of the early 1600s was a religiously tolerant city, attracting many Jewish settlers of both Sephardic (Spanish and Portuguese) origin and Ashkenazic (Eastern European) descent. Rembrandt lived among both denominations and found inspiration in the manner and dress of the Ashkenazim, who maintained traditional comportment and attire and were less affluent than their Sephardim counterparts. As a result, many of the unidentified portraits from Rembrandt's late period once carried Jewish associations, but because of a lack of sufficient evidence, those assignations have since been reconsidered. Such is the case with <em>Portrait of a Man</em>, which was once considered a portrait of the Dutch Jewish philosopher Baruch Spinoza (1632–1677) as well as a representation of a Jewish student. Rembrandt's authorship of the painting has also undergone reassessment. The broad and thinly painted cloak and hat suggests the painting is likely a workshop product and while it does display Rembrandt's characteristic interest in a sitter's introspection, the figure's thoughtfulness remains comparatively superficial.
Ventes observées: 0 · Ventes comparables: 0 · Provenance: 6 · Expositions: 9.
