Inscribed bottom center on door: Rembrandt f. 1645
40 3/8 × 33 1/2 in. (102.5 × 85.1 cm)
Mr. and Mrs. Martin A. Ryerson Collection
Extended information about this artwork
W[illiam] Buchanan, Memoirs of Painting, with a chronological history of the importation of pictures by the great masters into England since the French Revolution, vol. 2, London, 1824, p. 72, no. 163.
John Smith, A Catalogue raisonné of the works of the most eminent Dutch, Flemish, and French Painters, vol. 7, London, 1836, no. 532.
C. Vosmaer, Rembrandt. Sa vie et ses oeuvres, 2nd ed., The Hague, 1877, p. 538.
L[ouis] G[onse], “La vente de San Donato,” Chronique des arts et de la curiosité, no. 11, March 13, 1880, pp. 82-83.
Wilhelm Bode, Studien zur Geschichte der holländischen Malerei, vol. 2, Braunschweig, 1883, pp. 497, 609, no. 373.
Eugène Dutuit, Tableaux et dessins de Rembrandt. Catalogue historique et descriptif. Supplément à l’oeuvre complet du Rembrandt, Paris, 1885, pp. 9, 11, 21, 68, no. 310.
Art Institute of Chicago Annual Report, 1891, pp. 10-11, 31, no. 5.
Emile Michel, Rembrandt, sa vie, son oeuvre et son temps, Paris, 1893, French ed.?
Art Institute of Chicago Annual Report, 1895, p. 43.
Art Institute of Chicago, General Catalogue of Paintings, Sculpture and other Objects of Art in the Museum, 1901, no. 11, ill.
Art Institute of Chicago, Important facts regarding The Art Institute of Chicago with reproductions of the Demidoff Masterpieces, Chicago, 1905, p. 9, ill. p. 10
Malcolm Bell, Rembrandt van Rijn, London, 1901, p. 156.
Wilhelm Bode and C. Hofstede de Groot, The Complete Work of Rembrandt. History, description and heliographic reproduction of all the master’s pictures with a study of his life and his art, vol. 4, 1900, no. 301, fig. 301.
Art Institute of Chicago, General Catalogue of Sculpture, Paintings, and other Objects, Chicago, 1907, p. 156, ill.
Art Institute of Chicago, General Catalogue of Sculpture, Paintings, and other Objects, Chicago, 1907, p. 159-60, ill.
Adolf Rosenberg, Rembrandt. Des Meisters Gemälde, 3rd, ed., ed. W.R. Valentiner (Klassiker der Kunst), Stuttgart and Leipzig, 1909, pp. 323 ill., 560.
C. Hofstede de Groot, A Catalogue raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on the Work of John Smith, trans. Edward G. Hawke, vol. 6, London, 1916, pp. 187-8, no. 324.
Daniel Catton Rich, “Die Ausstellung Fünf Jahrhunderte der Frühmalerei’ in Chicago,” Pantheon 12 (1933), p. 376.
Hans Tietze, Meisterwerke europäischer Malerei in Amerika (Vienna, 1935), p. 337, no. 174, ill.
Jakob Rosenberg, Rembrandt, Cambridge, Mass., 1948, p. 51, fig. 78.
Charles Fabens Kelley, “Chicago: record years,” Art News 51, 4 (1952), pp. 57, 59, ill.
A. B. de Vries, Rembrandt, Baarn, 1956, p. 54.
Jakob Rosenberg, Seymour Slive, E.H. Ter Kuile, Dutch Art and Architecture 1600-1800, Harmondsworth, 1966, p. 97.
Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), p. 190, pl. 5.
Benjamin A. Rifkin, “Rembrandt and His Circle, Part 3”, Art News 68, 7 (1969), pp. 33, ill., 90.
Juri Kusnezow, “Neue Forschungen zu Rembrandts ‘Danae’,” Bildende Kunst, no. 7 (1970), p. 377, fig. 7.
John D. Morse, Old Master Paintings in North America, New York, 1979, pp. 229 –30, ill. 213.
Sotheby Parke Bernet & Co., Highly Important Old Master Drawings from the Collection of Tobias Christ of Basel, April 9, 1981, p. 67, under no. 32.
Art Institute of Chicago 100 Masterpieces, Chicago, 1983, p. 18, pl. 22.
Gary Schwartz, Rembrandt, his life, his paintings, New York, 1985, p. 243, fig. 269.
Werner Sumowski, Drawings of the Rembrandt School, ed. and trans. by Walter L. Strauss, vol. 8, New York, 1984, p. 4056, under no. 1804x.
Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. 3, Landau/Pfalz, , pp. 1951, 1954, 2010, no. 1326, p. 1326.
Peter C. Sutton, A Guide to Dutch Art in America, Grand Rapids, 1986, pp. 48, 50, fig. 67.
J. Bruyn, review of Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. 2 in Oud Holland 101 (1987), pp. 299-30, fig. 6.
David R. Smith, “’I Janus:’ Privacy and the Gentlemanly Ideal in Rembrandt’s Portraits of Jan Six,” Art History 11 (1988), 51, fig. 50.
J. Bruyn, review of Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. 3 in Oud Holland 102 (1988), pp. 328-29, 333 n. 30.
Jacques Foucart, Peintres rembranesques au Louvre, les dossiers du département des peintures, no. 35, exh. cat., Musée du Louvre, Paris, 1988, pp. 80-81, ill.
Rembrandt van Rijn, Girl at a Window, exh. cat., Dulwich Picture Gallery, Dulwich, 1993, p. 64, under no. 13, ill, 65.
Neil Harris, “Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893-1993,” Chicago, , p. 24, pl. 6.
Albert Blankert, “Rembrandt and his Followers: Notes on Conneoisseurshop—its Potential and Pitfalls” in Rembrandt and his Pupils. Papers given at a Symposium in Nationalmuseum, Stockholm, 2-3 October 1992, ed. Görel Cavalli-Björkman, Stockholm, 1993, pp. 94, 97 n. 23.
Walter Liedtke, “Some Paintings not by Rembrandt in the Metropolitan Museum” Rembrandt and his Pupils. Papers given at a Symposium in Nationalmuseum, Stockholm, 2-3 October 1992, ed. Görel Cavalli-Björkman, Stockholm, 1993, p. 138.
Arthur Wheelock, “A ‘Girl with a Broom’: A Problem of Attribution” in Rembrandt and his Pupils. Papers given at a Symposium in Nationalmuseum, Stockholm, 2-3 October 1992, ed. Görel Cavalli-Björkman, Stockholm, 1993, pp. 142-55, figs. 6, 7.
Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. 6, Landau/Pfalz, , p. 3628, no. 1326.
Celeste Brusati, Artifice and Illusion. The Art and Writing of Samuel van Hoogstraten, Chicago and London, 1995, p. 278 n. 62, as implausible as Hoogstraten.
Walter Liedtke, review of Nationalmuseum, Stockholm, Rembrandt and his Age in Burlington Magazine 134 (1992), p. 830.
Celeste Brusati, Artifice and Illusion. The Art and Writing of Samuel van Hoogstraten, Chicago and London, 1995, p. 278 n. 62.
Walter Liedtke in Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship, exh. cat., New York, Metropolitan Museum of Art, 1995, vol. 2, pp. 28, 38, 136.
Arthur K. Wheelock, Jr., The Collections of the National Gallery of Art, Systematic Catalogue, Dutch Paintings of the Seventeenth Century, Washington, D.C., 1995, pp. 292, 295 n. 19, fig. 6.
Rüdiger Klessmann, “Eine Schenkung an Polen. Holländische Gemälde aus der Sammlung Lanckoronska,” Weltkunst 17 (1995), pp. 2253-54, fig. 5.
JoLynn Edwards, Alexandre-Joseph Paillet, Expert et marchand de tableaux à la fin du XVIIIe siècle, Paris, 1996, p. 304, no. 120.
Léon Krempel, Studien zu den datierten Gemälden des Nicolaes Maes (1634-1693), Petersberg, 2000, pp. 34, 367, no. F 9, fig. 431.
Rembrandt et son école. Collection du musée de l’Ermitage de Saint Pétersbourg, exh. cat., Musée des Beaux-Arts, Dijon, 2003, pp. 152-154, fig. 29a.
Jonathan Bikker, Willem Drost (1633-1659): A Rembrandt Pupil in Amsterdam and Venice (New Haven and London, 2005, pp. 152-153, 189, fig. R21a.
Celia Hilliard, “‘The Prime Mover’: Charles L. Hutchinson and the Making of the Art Institute of Chicago,” Art Institute of Chicago Museum Studies 36,1 (2010), pp. 43, 44.
London, British Institution, Pictures of the Italian, Spanish, Flemish, Dutch, and French Schools, 1818, no. 100.
London, British Institution, Pictures by Italian, Spanish, Flemish, Dutch, French and deceased English masters, 1844, no. 23.
London, British Institution, Pictures by Italian, Spanish, Flemish, Dutch, French and English masters, 1857, no. 87.
Art Institute of Chicago, Works of Old Dutch Masters, 1890, no. 5.
Art Institute of Chicago, Paintings, Sculptures and other objects exhibited during the World’s Congresses, 1893, no. 5.
New York, Metropolitan Museum of Art, The Hudson-Fulton Celebration, 1909, no. 91.
Detroit Institute of Arts, Loan Exhibition of Paintings by Rembrandt, no. 42.
Art Institute of Chicago, Century of Progress, 1933, no. 75.
Art Institute of Chicago, Century of Progress, 1934, no. 107.
Amsterdam, Rijksmuseum, Rembrandt Tentoonstelling, 1935, no. 12.
Art Institute of Chicago, Paintings, Drawings, and Etchings by Rembrandt and his Circle, 1935/1936, no. 4, traveled to Worcester Art Museum.
Art Institute of Chicago, Paintings by the Great Dutch Masters of the Seventeenth Century, 1942, no. 27.
Philadelphia Museum of Art, Diamond Jubilee Exhibition. Masterpieces of Painting, 1950, no. 37.
New York, Metropolitan Museum of Art, Dutch Painting. The Golden Age. 1954, traveled to Toledo Museum of Art and Toronto, Art Gallery of Toronto
Art Institute of Chicago, Rembrandt after Three Hundred Years. An Exhibition of Rembrandt and his Followers, no. 8, traveled to Minneapolis Institute of Arts and Detroit Institute of Arts.
Berlin, Altes Museum, Rembrandt: The Master and his Workshop, 1991/1992, no. 72, as attributed to Samuel van Hoogstraten, traveled to Amsterdam, Rijksmuseum and London, National Gallery.
De Gueffier, Paris; sold Paillet, Paris, 1 March 1791, no. 67, “Une jeune Fille du pays de Frise, appuyée devant une croisée” (a young girl from Friesland leaning on a half-door”) together with a painting at half-length of a young soldier in armor, buckling his sword belt. François-Antoine Robit, Paris, sold Paillet and Delaroche, Paris, May 11 and following, 1801, no. 120, as a pendant to no. 119, portrait of a young warrior, for 2500 fr. to Lafontaine as an agent for Michael Bryan [see Edwards 1996, p. 304]; to George Hibbert, London [Hibbert and Sir Simon Clarke supplied the funds for Bryan’s extensive purchases at the Robit sale and retained many of the pictures]; offered for sale, Christie’s London, 13 1829, no. 68, bought in; by descent to Nathaniel Hibbert, until until 1875 [lent by him to London 1857 and memorandum dated April 28, 1905 of a conversation with Holland Hibbert in the Art Institute archives; copy in curatorial file]; by descent to A. Holland Hibbert [for this and the following transaction see the memorandum cited above]; sold by him to Prince Paul Demidoff (died 1885), San Donato, 1880; offered for sale Florence, Pillet, Le Roy and Mannheim, March 15-April 10, 1880, no. 1114, engraved, bought in [a half-length of a young warrior buckling his sword belt was no. 1120 in this sale, also engraved, and sold with 1894.1022 in the Gueffier, Robit and Hibbert sales, see Bikker 2005, no. R21]; by descent to Princess Demidoff (formerly Princess Lise Troubetzkoi), 1885; sold through Durand-Ruel, Paris, June 1890, as part of a group of Dutch and Flemish paintings, many from the Demidoff collection, with funds advanced by Martin A. Ryerson and other trustees of the Art Institute [annual report 1891]; the cost of 1894.1022 was re-imbursed by Ryerson.
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