A Soldier, standing three-quarter length, buckling his belt, a helmet on a table nearby

细节

Willem Drost* (active by 1652-died after 1680)
A Soldier, standing three-quarter length, buckling his belt, a helmet on a table nearby
oil on canvas
40 x 32½in. (101.6 x 82.5cm.)

来源

De Gueffier; (+) sale, Paillet, Paris, March 1, 1791 as Rembrandt.
Citoyen M. Robit; sale, Paillet, Paris, May 11-18, 1801, lot 119 as Rembrandt 'Portrait d'un jeunne guerrier' (3450 francs to Michael Bryan).
Among the 'capital pictures, brought from Paris, principally from Mr. Robit's famous collection, and other distinguished cabinets' exhibited by Michael Bryan for sale by private contract at his gallery, 88 Pall Mall, London, Nov. 6, 1801-May 31, 1802, no. 119 as 'Rembrandt'.
Presumably retained by George Hibbert (one of Bryan's two financiers in his purchase at the Robit sale); Christie's, London, June 13, 1829, lot 420 as Rembrandt.
Nathaniel Hibbert, London, as Rembrandt.
Lord Holland, London.
A. Holland-Hibbert, London.
Blake, London, 1846, by whom sold for £5000 to
Prince Paul Demidoff, Palazzo San Donato, Florence; sale, Le Roy, Florence, March 15-April 10, 1880, lot 1120 as Rembrandt (unsold). M.E. Secrétan, Paris; sale, Gallerie Charles Sedelmeyer, Paris, July 1-4 (=1st day), 1889, lot 152 as Rembrandt 'Homme a l'armure' (23,000 francs to Boussod).
James F. Sutton, New York, 1892 as Rembrandt.
with Charles Sedelmeyer, 1898 as Rembrandt.
Richard Mortimer, Tuxedo, New York as Rembrandt.
with Duveen Brothers, New York as Rembrandt.
Judge Elbert H. Gary; sale, American Art Association, New York, April 20, 1928, lot 32 as Rembrandt 'portrait of Marquis d'Andelot' ($86,000 to the following).
with John Levy, New York as Rembrandt.
Frederik Brown, New York as Rembrandt.
Mr. and Mrs. Ferdinand Lammot Belin, Washington D.C., and by descent to the present owners.

出版

W. Buchanan, Memoirs of Painting, 1824, II, p. 63, no. 119 as Rembrandt.
J. Smith, A Catalogue Raisonné, etc., VII, 1836, p. 105, no. 284 as Rembrandt.
W. Bode, Studien zur Geschichte der holländischen Malerei, 1883, p. 598, no. 312 as Rembrandt, datable to circa 1632.
M.E. Dutuit, Tableau et dessins de Rembrandt, 1885, p. 21 as Rembrandt, the engraving illustrated.
E. Michel, Rembrandt, sa vie, son oeuvre, et son temps, 1894, p. 248 as Rembrandt.
M. Bell, Rembrandt van Rijn and his Work, 1899, p. 184 as Rembrandt, datable to the late 1640s.
W. Bode, Complete Work of Rembrandt, III, 1899, pp. 157-8, no. 205 as Rembrandt, illustrated.
Klassiker der Kunst, Rembrandt, 1906, p. 122 as Rembrandt, illustrated.
C. Hofstede de Groot, Meeningsverschillen omtrent werken van Rembrandt, in Oud-Holland, XXXI, 1913, pp. 65-6 as Rembrandt, illustrated.
C. Hofstede de Groot, A Catalogue Raisonné, etc., VI, 1916, p. 165, no. 272 as Rembrandt.
A. von Wurzbach, Rembrandt Gallerie, no. 327 as Rembrandt.
The American Art Annual, XXV, 1928, p. 461 as Rembrandt.
The Art News, XXVIII, April 26, 1930, p. 13 as Rembrandt.
The Art News, XXXIX, May 16, 1931, p. 33 as Rembrandt, illustrated on the back cover.
W.R. Valentiner, Rembrandt Paintings in America, 1931, no. 72 as Rembrandt, datable to 1642-4, illustrated.
The Art News, XXXIII, Oct. 1934, p. 10, illustrated (advertisement).
A. Bredius, The Paintings of Rembrandt, 1942, I, p. 25, no. 434; II, pl. 434.
K. Bauch, Rembrandt Gemälde, 1966, pp. 48-9, no. 434.
A. Bredius, revised edition by H. Gerson, Rembrandt the Complete edition of Paintings, 1969, p. 588 as School of Rembrandt, datable to the late 1640s.

展览

London, British Institution, 1818, no. 38 as Rembrandt.
London, British Institution, 1844, no. 31 as Rembrandt.
London, British Institution, 1859, no. 89 as Rembrandt.
Paris, Gallerie Georges Petit, Cent Chef d'Oeuvres', 1883, no. 120 as Rembrandt.
New York, Metropolitan Museum of Art, Hudson-Fulton Celebration, Sept.-Nov. 1909, p. 86, no. 85 as Rembrandt 'Portrait of Marquis d'Andelot', illustrated (catalogue by W.R. Valentiner).
Detroit, Detroit Institute of Arts, Paintings by Rembrandt, May 2-31, 1930, no. 33 as Rembrandt, illustrated.
Worcester, Worcester Museum, 1931 (on loan from Judge Gary).
Washington D.C., Philipps Memorial Gallery, Paintings and Sculpture owned in Washington, April 15-30, 1937, no. 25 as Rembrandt.

刻印

Ferdinand Leenhof.

更多详情

END OF SALE

拍品专文

Regarded since the eighteenth century as a work by Rembrandt, this painting was first reassigned to the master's school by A. Bredius (op. cit., 1969 p. 588). Similarly conceived three quarter length images of men in armor have been attributed to the talented Rembrandt pupil, Willem Drost, for example Man in Armor [Mars?], Gemäldegalerie, Kassel, Inv. no. 245, (W. Sumowski, Gemälde der Rembrandt-Schüler, I, 1983, no. 321). Compare also Drost's Man in Fanciful Constume with Beret formerly signed and dated 1654 (ex-collection Baron Alphonse du Rothschild; ibid., no. 331).

While he acknowledges smilarities with Drost's palette in the present lot, Werner Sumowski (in a letter dated August 6, 1996) also points to stylistic connections with the early work of Samuel van Hoogstraten (1627-1678) from the second half of the 1640s. He specifically compares Hoogstraten's Self Portrait of 16(4)4 in the Bredius Museum, The Hague, Inv. no. 56-1946 (ibid., II, no. 847, illustrated), in which the treatment of the sitter's cap is similar to that of the feathered helmet in the present painting. Although identified as a portrait of Marquis d'Andelot when exhibited in 1909 and when sold in 1928, the subject is unknown. As in Rembrandt's so-called Alexander the Great (versions in the Art Gallery and Museum, Glasgow and the Gulbenkian Foundation, Lisbon, Portugal) the armor and fancy costume evoke a figure from history or imagination.