Manner of Rembrandt Christ and the woman taken in adultery
Lot 37
Manner of Rembrandt Harmensz. van Rijn Christ and the woman taken into adultery 45 x 54in (114 x 137cm)
Sold for US$ 66,100 inc. premium
Auction Details
European Paintings New York
26 Oct 2011 13:00 EDT

Auction 19224
Lot Details
Manner of Rembrandt Harmensz. van Rijn
Christ and the woman taken into adultery
oil on canvas
45 x 54in (114 x 137cm)

Footnotes

  • PROVENANCE:
    Duke of Marlborough, Blenheim Palace, before 1836, (Sale, Christie's, London, 26 June, 1886, as by Rembrandt)
    Sir Charles J. Robinson, London
    C. Sedelmeyer, Paris (The Sacred Hundred Paintings of the Old Masters) 1895, no. 32, as by Rembrandt)
    E.F. Weber, Hamburg, 1985 (Sale, Berlin, 20 February, 1912, no. 250)
    Sedelmeyer, Paris
    T.B. Walker, Minnesota
    Sale, Parke Bernet, New York, 17 June, 1982, lot 127.

    EXHIBITED:
    Amsterdam, Stedelijk Museum, 8 September-31 October, 1898, no. 62;
    St. Paul, Minnesota, St. Paul Institute, 1920 (as by Rembrandt);
    San Francisco, California Palace of the Legion of Honor, 1927 (as by Rembrandt);
    Chicago, Chicago Art Institute, Paintings, Drawings and Etchings by Rembrandt, 19 Dec., 1935-19 Jan., 1936, no. 12;
    Worcester, Mass., The Worcester Art Museum, Rembrandt and his Circle, 4 Feb.-1 March, 1936, no. 13 (as By Fabritius);
    New York, World's Fair, Masterpieces of Art, May-October, 1940, no. 100 (as by Rembrandt);
    Raleigh, North Carolina Museum of Art, Rembrandt and his Pupils, 16 Nov.-31 Dec., 1956, no. 25, illus. (as by Rembrandt)
    Montreal, The Museum of Fine Arts, Rembrandt and his Pupils, 9 Jan.-23 Feb., 1969, no. 55, illus. (as by Barend Fabritius)
    Minneapolis, The Minneapolis Institute of Arts, on loan from T.B. Walker.

    LITERATURE:
    J. Smith, Catalogue Raisonné..., 1836, vol. II, no. 113 (as by Rembrandt);
    G.F. Waagen, Treasures of Art in Great Britain, 1854, vol. III, p. 126 (as by Rembrandt);
    C. Vosmaer, Rembrandt, Sa vie et ses oeuvres, 1877, p. 572 (as by Rembrandt);
    W. Bode, Studien zur Geschichte der holländischen Malerei, 1883, pp. 508, 578, no. 141 (as by Rembrandt);
    M. Eugene Dutuit, Tableaux et dessins de Rembrandt, Catalogue historique et descriptif, 1885, p. 572;
    W. Bode and C. Hofstede de Groot, The Complete Works of Rembrandt, 1887-1906, no. 338 (as by Rembrandt);
    W.R. Valentiner, Rembrandt (Klassiker der Kunst), 1908, illus. (as by Rembrandt);
    A. Bredius, Burlington Magazine, August 1912, v. 21, pp. 284, 290 (as by a late follower of Rembrandt);
    C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. VI, 1916, pp. 83-84, no. 105;
    W.R. Valentiner, Rembrandt, Wiedergefundene Gamälde (Klassiker der Kunst, suppl.), 1923, no. 83 (as by Rembrandt);
    W.R. Valentiner, Carel and Barent Fabritius, Art Bulletin, September 1932, pp. 228, 231, fig. 34 (as by Barent Fabritius with retouching by Rembrandt);
    A.M. Hind, Rembrandt, 1932, pp. 67-68 (as by Barent Fabritius);
    D. Pont, Barent Fabritius, 1958, p. 131, no. 12 (as not by Barent Fabritius).

Saleroom notices

  • Werner Sumowski, Gemälde der Rembrandt-Schüler, Landau, 1983, vol. 1, pp. 85, 129 W. Sumoski has attributed the painting to an anonymous eighteenth-century follower of Rembrandt based on an anonymous drawing, which can be dated 1650/55. The composition is based on the main figures in Rembrandt's 'Christ and the woman taken into adultery' of 1646, now in the collection of The National Gallery London.
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