Details

Provenance

Gerard Hoet II (1698–1760), Lange Voorhout 62, The Hague; His posthumous sale, The Hague, sold on the deceased’s premises (A. Franken and O. van Thol), 25 August 1760, lot 47, for 84 florins to Schouman (as Rembrandt); Acquired then or shortly after by Gottfried Winckler II (1731–1795), inv. no. 104, in the Gartenhaus at Katharinenstrasse 22, Leipzig, by 1768 (as Rembrandt); Possibly his son, Gottfried Winckler III, Leipzig, or one of his two other sons, who dispersed his collection; Thomas Humphry Ward (1845–1926), London; With Theron J. Blakeslee (1853–1914) and Dowdeswell, New York; His sale, New York, Mendelssohn Hall, 7 April 1904, lot 33, for $160 (as Carel Fabritius); Where acquired by George G. Benjamin, President of the American Art Annual, New York; His sale, New York (Plaza Hotel), American Art Association, 18 March 1913, for $525 (as Carel Fabritius); Where acquired by Wilhelm Reinhold Valentiner (1880–1958), New York and subsequently Germany; By whom sold ‘a year later’ to ‘a German dealer’; From whom acquired by Dr Karl Lanz, Mannheim (1873–1921), in 1916 with the intercession of Wilhelm von Bode; With Steinmeyer & Sons, Paris, according to Schulz (see

Exhibited

The Hague, Gemeentemuseum, August 1923.

Literature

); With Kurt Walter Bachstitz (1882–1949), The Hague and New York, by 1924 and probably by 1923; Friedrich (Fritz) Thyssen (1873–1951), by 1926, from 1950 in Argentina; His daughter, Anna (1909–1990), who married Graf Gabor Zichy de Zich Vásonkeö (1910–1974); Their son, Federico-Augusto, Count Zichy-Thyssen (1937–2014); The Budapester Foundation, from 8 August 2014.

Catalog summary

The Property of a Foundation Rembrandt Harmensz. van Rijn Leiden 1606 – 1669 Amsterdam Saint John on Patmos, half-length, his folded hands resting on the cover of a book, a palm tree behind him and his emblem of an eagle to the right, his head based on the features of Titus van Rijn oil on canvas, reduced, probably on all four sides, the upper corners made up slightly to the left and more to the right 81 x 63 cm.; 32 x 24¾ in. Provenance Gerard Hoet II (1698–1760), Lange Voorhout 62, The Hague; His posthumous sale, The Hague, sold on the deceased’s premises (A. Franken and O. van Thol), 25 August 1760, lot 47, for 84 florins to Schouman (as Rembrandt); Acquired then or shortly after by Gottfried Winckler II (1731–1795), inv. no. 104, in the Gartenhaus at Katharinenstrasse 22, Leipzig, by 1768 (as Rembrandt); Possibly his son, Gottfried Winckler III, Leipzig, or one of his two other sons, who dispersed his collection; Thomas Humphry Ward (1845–1926), London; With Theron J. Blakeslee (1853–1914) and Dowdeswell, New York; His sale, New York, Mendelssohn Hall, 7 April 1904, lot 33, for $160 (as Carel Fabritius); Where acquired by George G. Benjamin, President of the American Art Annual, New York; His sale, New York (Plaza Hotel), American Art Association, 18 March 1913, for $525 (as Carel Fabritius); Where acquired by Wilhelm Reinhold Valentiner (1880–1958), New York and subsequently Germany; By whom sold ‘a year later’ to ‘a German dealer’; From whom acquired by Dr Karl Lanz, Mannheim (1873–1921), in 1916 with the intercession of Wilhelm von Bode; With Steinmeyer & Sons, Paris, according to Schulz (see Literature ); With Kurt Walter Bachstitz (1882–1949), The Hague and New York, by 1924 and probably by 1923; Friedrich (Fritz) Thyssen (1873–1951), by 1926, from 1950 in Argentina; His daughter, Anna (1909–1990), who married Graf Gabor Zichy de Zich Vásonkeö (1910–1974); Their son, Federico-Augusto, Count Zichy-Thyssen (1937–2014); The Budapester Foundation, from 8 August 2014. Exhibited The Hague, Gemeentemuseum, August 1923. Literature F.W. Kreuchauff, Historische Erklärungen der Gemälde, welche Herr Gottfried Winkler in Leipzig gesammelt , Leipzig 1768, no. 493 (as Rembrandt; note: Winckler’s name is sometimes spelt Winkler); G. Hoet and P. Terwesten, Catalogus of naamlyst van schilderen, met derselver prysen …, vol. III, The Hague 1770, p. 225, no. 47 (as Rembrandt); C. Hofstede de Groot, A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century , London 1916, vol. VI, p. 156, no. 246 (as Rembrandt, portraying a devout youth); Gemälde-Sammlung Dr Karl Lanz, Mannheim , Mannheim 1917, p. 26, no. 59 (as Rembrandt, of Titus, circa 1658–59); W.R. Valentiner, ‘Schicksale eines Bildes,’ in Kunst und Künstler, 1920, pp. 132–36, reproduced facing p. 132 (as Rembrandt, of Titus, circa 1657); W.R. Valentiner (ed.), Rembrandt: wiedergefundene Gemälde (1910–1920) , Stuttgart and Berlin 1921, p. XXII, reproduced plate 81; revised ed., Berlin and Leipzig 1923, p. XXVII, no. 90, reproduced plate 86 (as Rembrandt, of Titus, circa 1656); A. Bredius, ‘Wiedergefundene “Rembrandts”’, in Zeitschrift für bildende Kunst, vol. XXXII, 1921, p. 150 (as Rembrandt, but weak, and not portraying Titus); A. Donath, in Bibliothek für Kunst und Antiquitätensammler , Berlin 1925, vol. 28, p. 159, reproduced plate 85; T. Borenius, Haus Thyssen. Die Sammlung, Berlin 1926, no. 10, reproduced (as Rembrandt, portrait of Titus); G.W. Schulz, ‘Gottfried Winckler und seine Sammlungen’, in W. Teupfer (ed.), Kunst und Ihre Sammlungen in Leipzig, Leipzig 1937, p. 100; W. Sumowski, Gemälde der Rembrandt-Schüler , vol. IV, Landau/Pfalz 1989, pp. 2877 and 2885, n.53, reproduced p. 2916 (as Rembrandt follower); D. Gleisberg, ‘"Liebe zur Kunst zur Mahlerey," Die Gemäldesammlung des Leipziger Bankiers Gottfried Winckler', in Leipziger Almanach , Leipzig 2011–12, reproduced p. 149, fig. 33 (the Wiegand watercolour showing the present painting hanging in the Gartenhaus), p. 189 (as by a Rembrandt follower, and as of Titus); S. Pabstmann, Impulse Rembrandt , in J. Nicolaisen & S. Weppelman (eds), exh. cat., Leipzig 2024, p. 79 (as the work of an unknown Rembrandt imitator; the Wiegand watercolour illustrating the present painting hanging in the Gartenhaus reproduced in the same catalogue, p. 257, fig. 49.3).