ÉCOLE DE REMBRANDT (LEYDE 1606-1669 AMSTERDAM) - photo 1
ÉCOLE DE REMBRANDT (LEYDE 1606-1669 AMSTERDAM) - photo 2

ÉCOLE DE REMBRANDT (LEYDE 1606-1669 AMSTERDAM)

Sold
€ 44 100
Auction dateClassic
22.03.2023 15:00UTC +02:00
Auctioneer
CHRISTIE'S
Event location
France, Paris
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Archive
ID 922134
Lot 38 | ÉCOLE DE REMBRANDT (LEYDE 1606-1669 AMSTERDAM)
ÉCOLE DE REMBRANDT (LEYDE 1606-1669 AMSTERDAM)

Saint Thomas reconnaissant le Christ

plume et encre brune, traits d'encadrement à la plume et encre brune

19,5 x 27,6 cm (7 5/8 x 10 7/8 in.)





Provenance

Herman de Kat (1784-1865), Rotterdam (selon une inscription sur l’ancien montage) ;

Joannes de Clercq (1842-1867), Amsterdam ; par héritage à son frère,

Pieter de Clercq (1849-1931) ; par héritage à son fils,

Samuel de Clercq (1876-1962), La Haye ; par héritage aux propriétaires actuels.



Literature

W. Sumowski, Bemerkungen zu Otto Beneschs Corpus der Rembrandt-Zeichnungen II, Bad Pyrmont, 1961, p. 16 (comme Rembrandt).

W. Sumowski, ‘Zwei Rembrandt-Originale’, Pantheon, XXII, no 1, janvier-février 1964, p. 30-34, fig. 2, et ill. de couverture ill. (comme Rembrandt).

P. Schatborn, Tekeningen van Rembrandt, zijn onbekende leerlingen en navolgers, La Haye, 1985, p. 182-183, sous le no 86, fig. 86a (comme attribué à Van Hoogstraten).

G.S. Keyes in Rembrandt et la figure du Christ, cat. exp., Paris, Musée du Louvre, Philadelphie, Philadelphia Museum of Art, et Detroit, Detroit Institute of Arts, 2011-2012, pp. 15, 247, sous le no 52 (comme école de Rembrandt) [Édition anglaise sous le titre Rembrandt and the Face of Jesus].



Post lot text

REMBRANDT SCHOOL, SAINT THOMAS RECOGNISING CHRIST, PEN AND BROWN INK, PEN AND BROWN INK FRAMING LINES

Peter Schatborn has suggested that the drawing is the prototype of another version of the composition at the Rijksmuseum, Amsterdam (inv. RP-T-1889-A-2052; see op. cit., no. 86, ill.). Both he and Martin Royalton-Kisch consider it a work by a pupil; Schatborn suggested the name of Samuel van Hoogstraten for both the Amsterdam drawing and the present sheet (the former is now given to him in full in the Rijksmuseum’s online catalogue at www.rijksmuseum.nl, consulted in October 2022). Martin Royalton-Kisch thinks the style closest to that of Willem Drost, even if he remarks that the latter ‘isn't generally as delicate.’ (e-mail, 27 February 2023). The pupil responsible for the present drawing drew inspiration from a painting by Rembrandt dated 1634 at the Pushkin State Museum of Fine Arts, Moscow (inv. Ž-2619; see M. Senenko, Collection of Dutch Paintings. XVII-XIX Centuries, Moscow, 2009, pp. 318-322, ill.), and especially a drawing by him formerly in the collection of Georges Renand, dated to the early 1640s, when Van Hoogstraten was in Rembrandt’s studio (O. Benesch, The Drawings of Rembrandt, London, 1973, III, no. 511a, fig. 673; Schatborn, op. cit., p. 182, fig. 86b). It can be further noted that in 1949, Van Hoogstraten produced a painting of the same subject, clearly related to the composition of the drawing (Landesmuseum Mainz, inv. 1180; see W. Sumowski, Gemälde der Rembrandt-Schüler, II, Landau, 1983, no. 824, ill.).
Artist:Samuel van Hoogstraten (1627-1678)
Applied technique:Ball pen
Medium:Acrylic glass, Plastic
Art style:Old Masters
Place of origin:Western Europe, Europe, The Netherlands
Auction house category:Drawings
Address of auction CHRISTIE'S
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