Self-portrait with a necklace

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Self-Portrait with a Neck (Rembrandt van Rijn)
Self-portrait with a necklace
Rembrandt van Rijn , ca.1629
Oil on oak
38.2 x 31.0 cm
Germanisches Nationalmuseum, Nuremberg

The self-portrait with a necklace is an oil painting by the Dutch painter Rembrandt van Rijn . The work is executed in portrait format on oak and was painted around 1629. Previously, Rembrandt had repeatedly placed his portrait as a secondary character in paintings with biblical or historical depictions and had painted several actual self-portraits.

The self-portrait is owned by the city of Nuremberg and is on permanent loan in the Germanic National Museum. Until 1998 it was a copy of the original in the Mauritshuis in The Hague . At the turn of the century, the version of the Germanisches Nationalmuseum was identified as the original, based on which the portrait in the Mauritshuis and other copies were painted in Rembrandt's workshop.

description

Self-portrait of Rembrandt , 1629, etching, 174 × 154 mm, Rijksprentenkabinet , Amsterdam

The painting shows the half- length portrait of the young Rembrandt turned three quarters to the right, who has turned his head to the viewer and is looking at him. Rembrandt has a slightly rosy complexion and wears medium-length brown curls that fall a little over the forehead. On the left side of the head he wears a cadenette or love lock that hangs down over his shoulder. The clothes seem to be a dark doublet, over which he wears an iron collar and a white scarf. The necklaces and the cadenette - in the meaning of the early 16th century - identify him as a young aristocrat or officer. Rembrandt refrains from being portrayed in bourgeois clothing and instead chooses with great self-confidence the clothing of a class to which he actually does not belong. The background of the painting is gray-brown in various shades and seems to represent a wall. The light falls on Rembrandt from the left, so that it illuminates the right half of Rembrandt's face and is reflected by the neck, but leaves the left eye in the penumbra.

The painting has the format 38.0 × 30.9 cm and is painted with oil paint on oak wood. The dendrochronological examination by Peter Klein , according to origin of the wood of this painting from the same tree as the bust of a laughing man in the Rijksmuseum Amsterdam .

According to Rudolf Bergau , it bears the remains of a monogram consisting of the letters R, H and F, barely visible. In the fourth edition of the painting catalog of the Germanisches Nationalmuseum in 1909, it was only stated that the letter R was at the bottom right. The staff of the Rembrandt Research Project found no signature when they examined the painting in 1969. It was not until the end of the century that remnants of the monogram RHL were found in the upper right corner of a new investigation .

background

Self-portrait with an open mouth , Rembrandt van Rijn, 1628 to 1629, drawing, 12.7 × 9.5 cm, British Museum , London

Hardly any other well-known painter has as many self-portraits as there are of Rembrandt. Rembrandt painted self-portraits as independent works throughout his entire artistic activity. In addition, there are numerous self-portraits, which he placed in works such as history paintings as secondary characters. Especially at the beginning of his artistic life, Rembrandt painted himself in poses that reveal strong emotions. He wanted to practice the representation of such emotions. Many of his self-portraits show Rembrandt in civil clothing or as a painter. But he has also dressed up in various costumes, for example in the self-portrait with a neck-collar . A drawing by Rembrandt, dated 1628 or 1629, which has been in the British Museum since 1799 , is referred to in literature as a study for some of his early self-portraits, including the self-portrait with a cloak .

The necklace appears in numerous paintings by Rembrandt and in several self-portraits, while there is only one etching that shows Rembrandt with a cadenette. The cadenette or love lock, always worn on the left, was a fad of the 1620s and 1630s and was particularly widespread among young aristocrats in England, France and Germany. Accordingly, they were often depicted in portraits of this group of people. They were hardly widespread in the Netherlands and portraits by Dutch painters show them almost exclusively on depictions of foreign aristocrats. In this respect, the portrayal of Rembrandt is a rare exception. The collar emerged from the armor previously worn , which had lost its importance with the advent of firearms. In Rembrandt's time, the collar was an accessory used by soldiers and members of the Amsterdam vigilante group, especially officers. Rembrandt himself owned a choker, which was listed in his property register in 1656. Still, it is extremely doubtful that Rembrandt actually wore a cadenette or ever wore a choker for any purpose other than painting. In this respect, the portrait is not a self-portrait in the strict sense, but a tronie with Rembrandt's facial features.

For a long time, the Nuremberg self-portrait with a necklace was only a copy of the supposed original in the Mauritshuis in The Hague . It was not until the year 2000 that a debate broke out among art historians, which resulted in the identification of the Nuremberg version as the original. The version of the Mauritshuis is therefore a copy painted in Rembrandt's workshop. It was quite common for Rembrandt's works to be copied by his students. Often this happened several times for educational purposes, as in this self-portrait. Other motifs that sold well were copied by employees in Rembrandt's workshop for commercial reasons. It was customary for the master - Rembrandt - to sign the works of his students and employees with his own name, and the painters' guild even forbade students from signing works themselves. In the case of Rembrandt, there is also the fact that a great many of his dating took place long after the painting, perhaps shortly before a picture was sold. Both circumstances make the attribution and dating of works by Rembrandt, his workshop or those around him much more difficult.

Copy in the Mauritshuis, The Hague

Copy of the Mauritshuis
Copy of the Mauritshuis, in the frame

The painting is painted in oil on a panel made of vertically grained oak in the format 37.9 × 28.9 cm. The board consists of one piece and is about nine millimeters thick on the left and about twelve millimeters on the right. The back is planed smooth and painted dark, with the exception of approximately 4.5 to 5 centimeters wide bevels, which probably come from a later period. The dendrochronological examination indicates 1610 as the earliest possible year of tree felling. That would mean an unusually long time before the portrait was painted. However, this can easily be justified with the fact that annual rings were lost due to the later reduction in size of the painting. In 1752 the portrait had the current dimensions, so the reduction must have taken place before this year. Based on the standard dimensions for early works from Rembrandt's workshop, the height will have been reduced by no more than three and the width by a maximum of two and a half centimeters. Since the original has a monogram on the lower right edge, it is believed that an earlier signature or date was removed when the painting was reduced in size.

The primer shows through in some places and consists of a yellowish white layer that contains lime. At least in some places there is a further layer that contains white lead and also has a yellowish tone due to the brown pigment. This second layer is typical of Rembrandt's paintings from his Leiden period. The condition of the paint layer is good, there are only a few spots of paint loss and an inconspicuous craquelure .

reception

As early as the 1870s, the attribution of the original, which at that time was still considered a copy, was the subject of art historical research and a number of publications in Nuremberg. In 1870 the picture was not included in a list of Rembrandt's early self-portraits written by Wilhelm Bode , while he mentioned the version in The Hague and two versions of another early self-portrait in Kassel and - monogrammed and dated 1629 - in Gotha. In 1875, the art historian Rudolf Bergau attempted an attribution to Govaert Flinck based on the similarity of the painting style. At the time, the Germanisches Nationalmuseum regarded the portrait as a work by Rembrandt. Alfred von Wurzbach replied to this in the same year , who attributed both portraits to Rembrandt's workshop because of a slight shade of green. He also described the three prints of the motif from the 18th and 19th centuries. Wilhelm Bode vigorously contradicted von Wurzbach at the next opportunity and named the shade of green as characteristic of Rembrandt's early works, so both the version in The Hague and the Nuremberg portrait were to be ascribed to Rembrandt himself. Bode later praised the Hague version as being artistically much higher, which is why it is a copy of the Nuremberg picture by Rembrandt himself. In the first volume by Bodes and Cornelis Hofstede de Groot's table work with the works of Rembrandt, published in 1897, the Hague self-portrait has the number 16, while the Nuremberg version is listed as an authentically signed contemporary reproduction.

For almost the entire 20th century it was undisputed that the version in the Mauritshuis was the original with several copies in Nuremberg and other places. This was also followed by Cornelis Hofstede de Groot in his catalog raisonné published in 1915, where it was numbered 544. This view was also followed in the catalog raisonnés of Abraham Bredius (1935, no. 6), Kurt Bauch (1966, no. 295) and Horst Gerson (1968, no. 39). In 1982 the members of the Rembrandt Research Project wrote in the first volume of their Corpus of Rembrandt Paintings about the version in the Mauritshuis that there could be no doubt about the authorship of Rembrandt and the dating to 1629 because of several details and the consistently high quality of the painting . They called the Nuremberg painting a very faithful copy of the version of the Mauritshuis, which could be dated to the 17th century. It is of relatively high quality, but also shows clear weaknesses, especially in the neck area. It cannot be ruled out that the portrait was made around 1630 in Rembrandt's circle.

At the end of the 20th century, the issue of the authenticity of the two portraits became topical again. While the debate of the late 19th century was a controversy among experts, one could now rely on the results of scientific research. In 1991, the Augsburg art historian Claus Grimm started the discussion after analyzing X-rays of both paintings. In the Nuremberg portrait, Grimm found a number of references to an elaboration of the painting, which was characterized by overpainting initial attempts with an improved representation. In contrast, there were no pentimenti on the version in the Mauritshuis . In 1998, a detailed preliminary drawing was detected under the Hague portrait by means of infrared reflectography , which is completely atypical for Rembrandt. Apparently a template had been removed from the Nuremberg version with which the Hague preliminary drawing was made. This prompted the organizers of the Rembrandt by himself exhibition in the London National Gallery and in the Mauritshuis to consider the Nuremberg picture as the original and that of the Mauritshuis as a copy. The Rembrandt Research Project also revised its attributions. Contributing to this was that Rembrandt's self-portrait with beret was identified as an original in the Indianapolis Museum of Art , while the copy that was previously considered an original is now considered a copy in the MOA Art Museum in Atami , Japan. But there was never any doubt that the portraits in Atami and The Hague were from the same hand. There is a lot to be said for Gerard Dou as a painter, but no formal attribution has yet been made.

Individual art historians maintain Rembrandt's authorship for both versions. The American Arthur K. Wheelock believes it not only possible, but also probable that Rembrandt also painted the copy in the Mauritshuis. The British historian Simon Schama and the Dutch art historian Eric Jan Sluijter also share this view.

Provenances

Original in Nuremberg, in the frame

Original in the Germanic National Museum

The portrait was in the art cabinet of Anton Paul Heinlein in Nuremberg until 1832. On April 9, 1832, it was auctioned by Johann Andreas Börner and acquired by Johann Jacob Hertel. It remained in his private collection until 1862. The portrait is the property of the city of Nuremberg and has been on permanent loan in the Germanic National Museum since 1875 or 1877.

Copy in the Mauritshuis

The painting is for the first time in the collection of Govert III. van Slingelandt (1694–1767). Van Slingelandt was a lay judge in Dordrecht and a senior tax officer. In the directory of his collection, the portrait is referred to as the head of a youth by Rembrandt. After van Slingelandt died on November 2, 1767, his collection was to be auctioned on May 18, 1768 in The Hague. Before the auction could take place, before March 1, 1768, the entire collection was bought by the governor of the Netherlands, 20-year-old Wilhelm V of Orange-Diez , for 50,000 guilders. After the French troops marched into the Netherlands, the portrait was confiscated and taken to Paris, where it remained in the Musée Napoleon until 1815. From 1815 to 1816 it was in the private collection of King Wilhelm I. From 1816 it was in the Royal Picture Gallery in The Hague, which in 1822 formed the basis for the Mauritshuis.

Exhibitions (chronological)

  • Rijksmuseum Amsterdam , Netherlands. Weerzien der meesters exhibition , June to September 1945, catalog no . 78 (copy of Mauritshuis)
  • Palais des Beaux-Arts de Bruxelles , Brussels, Belgium. Exhibition Au Palais des Beaux-Arts. La peinture Hollandaise de Jerome Bosch a Rembrandt , March 2 to April 28, 1946, catalog no. 78 (copy of Mauritshuis)
  • National Museum Stockholm , Sweden. Rembrandt exhibition . Sex pictures från utställningen i nationaluseum , 12 January to 15 April 1956, catalog no . 5 (copy of Mauritshuis)
  • Rijksmuseum Amsterdam, Netherlands. Rembrandt exhibition . Tentoonstelling ter herdenking van de geboorte van Rembrandt op July 15, 1606 , May 18 to August 5, 1956, catalog no. 6 (copy of Mauritshuis)
  • Boijmans Museum , Rotterdam, Netherlands. Rembrandt exhibition . Tentoonstelling ter herdenking van de geboorte van Rembrandt op July 15, 1606 , May 18 to August 5, 1956, catalog no. 6 (copy of Mauritshuis)
  • Morgan Library & Museum , New York City, USA. Exhibition William & Mary and their house , December 12, 1979 to March 16, 1980, catalog no. 97 (copy of Mauritshuis)
  • National Gallery of Art , Washington, DC; Kimbell Art Museum , Fort Worth, Texas; The Art Institute of Chicago , Illinois; Los Angeles County Museum of Art , California, USA; Art Gallery of Ontario , Toronto, Canada; Museum of Modern Art , New York City, USA. Mauritshuis exhibition . Dutch paintings of the Golden Age , 1982 to 1984, catalog no. 27 (copy of Mauritshuis)
  • Grand Palais , Paris, France. De Rembrandt à Vermeer exhibition , 1986, catalog no. 40 (copy of Mauritshuis)
  • Altes Museum , Berlin. Rembrandt exhibition . The master and his workshop , September 12 to November 10, 1991, catalog no. 4 (copy of Mauritshuis)
  • Rijksmuseum Amsterdam, Netherlands. Rembrandt exhibition . De meester & zijn werkplaats , December 4, 1991 to March 1, 1992, catalog no . 4 (copy of Mauritshuis)
  • National Gallery , London, UK. Rembrandt exhibition . The Master and his Workshop , March 26 to May 14, 1992, catalog no. 4 (copy of Mauritshuis)
  • National Gallery, London, UK. Exhibition Rembrandt by himself , June 9 to September 5, 1999, catalog no. 14a (original) and 14b (copy of Mauritshuis)
  • Mauritshuis , The Hague, Netherlands. Exhibition Rembrandt zelf , September 25, 1999 to January 9, 2000, catalog no . 14a (original) and 14b (copy of Mauritshuis)
  • Isabella Stewart Gardner Museum , Boston, Massachusetts, USA. Exhibition Rembrandt creates Rembrandt. Art and ambition in Leiden, 1629–1631 , September 22, 2000 to January 7, 2001, catalog no. 6 (copy of Mauritshuis)
  • Germanisches Nationalmuseum, Nuremberg. Exhibition in Rembrandt's workshop. The master in original, copy and study , July 19 to October 14, 2001, Ill. 27 (original and copy from Mauritshuis)
  • Kyoto National Museum , Japan. Exhibition Rembrandt Rembrandt , November 3, 2002 to January 8, 2003, catalog no. 7 (copy of Mauritshuis)
  • Städelsches Kunstinstitut , Frankfurt am Main, Germany. Exhibition Rembrandt Rembrandt , February 1 to May 11, 2003, catalog no. 6 (original) and 7 (copy of Mauritshuis)
  • Germanisches Nationalmuseum, Nuremberg. Exhibition Adventure Research , June 27, 2019 to January 6, 2020 (original)

More copies

painting

In the second volume of Iconographia Batava by Ernst Wilhelm Moes , published in 1905, another old copy is mentioned among the portraits of Rembrandt in addition to the version in the Mauritshuis as the original and the Nuremberg portrait, which should be in the possession of Abraham Bredius in The Hague. This copy was also mentioned by Cornelis Hofstede de Groot in his catalog raisonné from 1915. The copy, oil on wood in the format 35 × 32 cm, later entered the collection of J. Kronig in Monte Carlo.

A third copy, which is not particularly true to the original, oil on wood in the format 38.8 × 26.6 cm, was in the magazine of the Statens Museum for Kunst ; it was also mentioned by Hofstede de Groot.

In 1962, an art dealer at Zurich's Rindermarkt offered a fourth copy that had previously been in the art collection of Palais Attems in Graz .

Prints

The English engraver Valentine Green published a mezzotint on June 20, 1775 , the caption of which is Prince Rupert and was supposed to represent Ruprecht von der Pfalz, Duke of Cumberland . This is due to an earlier misidentification of the self-portrait, which was mistaken for a portrait of Ruprecht and which Green adopted. The format of the illustration is 46.4 × 35.2 cm larger than the painting, the panel measures 50.1 × 35.3 cm. The first disc state bears the inscription from the original image the same size, owned by Mr. Orme ( english From the original picture, of the same size, in the Possession of Mr. Orme ). Since the copy of the Mauritshuis was already there in 1775, the mezzotint must have been made from another copy.

In 1804 a reproduction appeared in the first volume of Antoine Michel Filhol's work Galerie du Musée Napoleon , which was etched and engraved by Alexis Chataigner after Charles de Moreau . The title of the reproduction of the painting , which is not very faithful to the original and measuring only 13.9 × 10.4 cm, is VLIET , the portrait was apparently made by the Dutch painter Hendrick Cornelisz. Attributed to van Vliet . A little later, the 29th print in the Musée Français series was an engraving made by Jean Massard based on a drawing by Léon-Jean-Joseph Dubois in the format 20.1 × 14.1 cm.

  • Prince Rupert , mezzotint by Valentine Green, 1775

  • Tête d'un jeune homme , Alexis Chataigner, etching and engraving, 1804

  • Portrait , Jean Massard, etching and engraving, 1804 to 1810

literature

  • Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. I. 1625-1631. Martinus Nijhoff, The Hague, Boston, London 1982, ISBN 978-94-009-7519-4 , Chapter A 21 Self-portrait , pp. 225-230.
  • Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. IV. The self-portraits . Springer, Dordrecht 2005, ISBN 1-4020-3280-3 .

Web links

Individual evidence

  1. ↑ a b c d e f g h Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. I. , pp. 229-230.
  2. ↑ Peter Klein: Table of dendrochronological data . In: Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. IV. , Pp. 648-659.
  3. ↑ Rudolf Bergau: Once again the picture of Rembrandt's youth in the town hall in Nuremberg . In: Zeitschrift für bildende Kunst 1877, volume 12, p. 32, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Dzeitschriftfurbi12unse~MDZ%3D%0A~SZ%3D32~doppelseiten%3D~LT%3D~PUR%3D .
  4. ^ Germanisches Nationalmuseum (ed.): Catalog of the painting collection of the Germanisches Nationalmuseum in Nuremberg. IV edition . Verlag des Germanisches Museum, Nuremberg 1909, p. 119, painting No. 391, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Dkatalogdergemald00germ~MDZ%3D%0A~SZ%3D119~doppelseiten%3D~LT%3D~PUR%3D .
  5. ↑ a b Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. VI. Rembrandt's Paintings Revisited. A Complete Survey. Springer Science + Business Media, Dordrecht 2015, ISBN 978-94-017-9173-1 , pp. 494-495.
  6. ↑ a b Edwin Buijsen: Rembrandt's Self-Portrait with Gorget: debate on ongoing . In: Oud Holland - Journal for Art of the Low Countries , 2001, Volume 114, No. 2-4, pp. 155-163, doi: 10.1163 / 187501701X00460 .
  7. ↑ a b Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. IV. , Chapter Summary. The genesis of this volume and a survey of its contents , pp. XXIII-XXX.
  8. ↑ Martin Royalton-Kisch: Catalog of Drawings by Rembrandt and his School in the British Museum , website of the British Museum, accessed on October 3, 2019.
  9. ↑ a b c d Cornelis Hofstede de Groot: Descriptive and critical directory of the works of the most outstanding Dutch painters of the XVII. Century. Sixth volume. Paul Neff, Esslingen a. N. - Paris 1915, pp. 237-238, digitized version, Heidelberg University Library .
  10. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. IV. , Pp. 48-51.
  11. ↑ a b Eric Jan Sluijter: The Tronie of a Young Officer with a Gorget in the Mauritshuis: a second version by Rembrandt himself? . In: Oud Holland - Journal for Art of the Low Countries , 2001, Volume 114, No. 2-4, pp. 188-194, doi: 10.1163 / 187501701X00488 .
  12. ↑ a b c Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. I. , p. 225.
  13. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. I. , pp. 228-229.
  14. ^ Wilhelm Bode: On the Rembrandt literature . In: Zeitschrift für bildende Kunst 1870, Volume 5, pp. 169–176, especially p. 175, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Dzeitschriftfurbi06unse~MDZ%3D%0A~SZ%3D175~ double-sided%3D~LT%3D~PUR%3D .
  15. ^ Rudolf Bergau: On the knowledge of G. Flink . In: Zeitschrift für bildende Kunst 1875, volume 10, p. 224, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Dzeitschriftfurbi10unse~MDZ%3D%0A~SZ%3Dn269~ double-sided%3D~LT%3D~PUR%3D .
  16. ^ Alfred von Wurzbach: To the knowledge of Govaert Flinck, resp. Rembrandt’s . In: Zeitschrift für bildende Kunst 1875, Volume 10, pp. 381–383, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Dzeitschriftfurbi10unse~MDZ%3D%0A~SZ%3D381~ double-sided%3D~LT%3D~PUR%3D .
  17. ^ Wilhelm Bode: The first self-portraits of Rembrandt van Rijn . In: Zeitschrift für bildende Kunst 1876, Volume 11, pp. 125–126, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Dzeitschriftfurbi11unse~MDZ%3D%0A~SZ%3D175~doppelseiten%3D~LT%3D~PUR%3D .
  18. ^ Wilhelm Bode: Rembrandt's earliest activity. The artist in his hometown of Leiden . In: Die graphischen Künste 1881, Volume 3, pp. 49-72, in particular pp. 59-60, digitized, UB Heidelberg .
  19. ^ Wilhelm Bode: Studies on the history of Dutch painting . In: The graphic arts 1881, Volume 3, pp. 378–379, 558 and 573, digitized, UB Heidelberg .
  20. ^ Wilhelm von Bode: 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. First volume . Charles Sedelmeyer, Paris 1897, pp. 65–66, work no. 16, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Dgri_33125008076610~MDZ%3D%0A~SZ%3Dn137~ double-sided%3D~LT%3D~PUR%3D .
  21. ↑ Abraham Bredius: Rembrandt. Schilderijen. W. de Haan, Utrecht 1935, digitized version, Heidelberg University Library . German: Rembrandt. Painting. Phaidon-Verlag, Vienna 1935. English: The Paintings of Rembrandt. London 1937 (cited as Bredius ), Work No. 6.
  22. ↑ Kurt Bauch : Rembrandt. Painting. Walter de Gruyter, Berlin 1966, reprint 2018, ISBN 978-3-11-005007-3 , no.295.
  23. ^ Horst Gerson: Rembrandt paintings. Meulenhoff International, Amsterdam 1968. German: Rembrandt paintings. Complete works. Vollmer, Wiesbaden 1968, work no.39.
  24. ^ Claus Grimm: Research example Rembrandt. A critical appreciation of the Amsterdam research project . In: Restauro. Journal for Art Techniques, Restoration and Museum Issues 1992, Volume 98, No. 3, pp. 168–179, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchiv.ub.uni-heidelberg.de%2Fartdok%2F4194%2F1%2FGrimm_Forschungsbeispiel_Rembrandt_1992.pdf~GB%3D~A~3D~MDZ%3D%3D%3D%3D SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D .
  25. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. IV. , Pp. 172-175.
  26. ↑ a b Jørgen Wadum: Rembrandt under the Skin. The Mauritshuis Portrait of Rembrandt with Gorget in retrospect . In: Oud Holland - Journal for Art of the Low Countries , 2001, Volume 114, No. 2-4, pp. 164-187, doi: 10.1163 / 187501701X00479 .
  27. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. IV. , Chapter Corrigenda et Addenda , pp. 597-646, especially pp. 597-601.
  28. ↑ Rembrandt. Self Portrait with gorget, ca.1629 on the website of the RKD - Nederlands Instituut voor Kunstgeschiedenis , accessed on October 3, 2019.
  29. ↑ Gerard Hoet: Catalogus of naamlyst van schilderyen met derzelver pryzen. Tweede deel . Pieter Gerard van Baalen, The Hague 1752, p. 404, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Dcatalogusofnaaml02hoet~MDZ%3D%0A~SZ%3D404~ double-sided%3D~LT%3D~PUR%3D .
  30. ^ BWF van Riemsdijk: Schilderijen-Kabinetten in de XVIIIe Eeuw . In: Oud Holland 1892, Volume 10, pp. 219-228, doi: 10.1163 / 187501792X00451 .
  31. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. I. , p. 230.
  32. ↑ after Rembrandt or possibly Rembrandt. Self portrait with gorget, ca.1629 on the website of the RKD - Nederlands Instituut voor Kunstgeschiedenis , accessed on October 3, 2019.
  33. ^ Ernst Wilhelm Moes: Iconographia Batava. Beredeneerde lijst van geschilderde en gebeeldhouwde portretten van Noord-Nederlanders in previous eeuwen, Volume 2 (of 2). Amsterdam 1897–1905, p. 310, motif 6693, work 8, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Diconographiabat03moesgoog~MDZ%3D%0A~SZ%3Dn320~ double-sided%3D~LT%3D~PUR%3D .
  34. ^ Prince Rupert 1775 , description of the mezzotint on the Royal Collection Trust website , accessed October 3, 2019.