Object data
pen and brown ink, with brown wash, on Japanese paper toned with light brown wash
height 94 mm × width 86 mm
Rembrandt van Rijn, after anonymous
Amsterdam, c. 1656 - c. 1658
pen and brown ink, with brown wash, on Japanese paper toned with light brown wash
height 94 mm × width 86 mm
inscribed: lower right, in brown ink, 14
stamped: lower left, with the mark of Hudson (L. 2432); lower right, with the mark of Richardson (L. 2184); below that, with the mark of Houlditch (L. 2214)
inscribed on verso: upper centre, by Lord Selsey, in brown ink, N: 29. / Bought at Hudsons sale / A:D: 1779; lower centre, by Roupell, in brown ink, autograph of Lord Selsey. At whose / sale in 1872 many years after his death / his books and drawings were sold at / Sotheby’s in London by the representatives / of the widow of his son. Purchased by / me from that sale RPR; lower right, with the mark of Roupell, in brown ink, RPR (L. 2234)
stamped on verso: lower left, with the mark of Heseltine (L. 1507); lower centre, with the mark of the museum (L. 2228)
Watermark: None visible through lining
Laid down
...; collection Jonathan Richardson the elder (1667-1745), London (L. 2184); his sale, London (Cock), 22 January (11 February) 1747 sqq., no. 70 (‘A book of Indian Drawings, by Rembrandt, 25 in number’), with 24 other drawings, withdrawn;1 from whom purchased, through the mediation of his son Jonathan Richardson II (1694-1771), London, possibly by Richard Houlditch the younger (?-1760), London (L. 2214); ? his sale, London (Langford), 12 (14) February 1760 sqq., possibly no. 58 (‘One by Rembrandt’), £4.10.0, to Thomas Hudson (1701-79), London (L. 2432);2 his sale, London (Langford), 15 March 1779 sqq., no. 29, to John Peachey, 2nd Baron Selsey (1749-1816), Sussex;3; his son Henry John Peachey, 3rd Baron Selsey (1787-1838) and his wife, Anna Maria Louisa Irby (1792-1870), Sussex;4 sale, John Peachey, 2nd Baron Selsey (1749-1816, Sussex), London (Sotheby’s), 20 June 1872 sqq., no. 2635, with one other drawing, £1.2.0, to the dealer Noseda, London, for Robert Prioleau Roupell (1798-1886), London (L. 2234);5 his sale, London (Christie’s), 12 (13) July 1887 sqq., no. 1101 (‘Two Oriental Heads. From the Hudson and Selsey Collections’), £5.10.0, to the dealer Alphonse Wyatt Thibaudeau (c. 1840-92), London, for John Postle Heseltine (1834-1929), London (L. 1507);6 ...; sale, Henry Oppenheimer (1859-1932, London), London (Christie’s), 10 (13) July 1936 sqq., no. 288, 580 gns, to the dealer P. & D. Colnaghi & Co., London, for Isaac de Bruijn (1872-1953) and his wife, Johanna Geertruida de Bruijn-van der Leeuw (1877-1960), Spiez and Muri, near Bern;7 by whom donated to the museum, 1949, but kept in usufruct; transferred to the museum (L. 2228), 1960
Object number: RP-T-1961-83
Credit line: Gift of J.G. Bruijn-van der Leeuw, Muri
Copyright: Public domain
Rembrandt Harmensz van Rijn (Leiden 1606 - Amsterdam 1669)
After attending Latin school in his native Leiden, Rembrandt, the son of a miller, enrolled at Leiden University in 1620, but soon abandoned his studies to become an artist. He first trained (1621-23) under the Leiden painter Jacob Isaacsz van Swanenburg (c. 1571-1638), followed by six months with the Amsterdam history painter Pieter Lastman (c. 1583-1633). Returning to Leiden around 1624, he shared a studio with Jan Lievens, where he aimed to establish himself as a history painter, winning the admiration of the poet and courtier Constantijn Huygens. In 1628 Gerard Dou (1613-75) became his first pupil. In the autumn of 1631 Rembrandt moved to Amsterdam, where his career rapidly took off. Three years later he joined the Guild of St Luke and married Saskia Uylenburgh (1612-42), niece of the art dealer Hendrik Uylenburgh (c. 1587-1661), in whose house he had been living and working. She died shortly after giving birth to their son Titus, by which time Rembrandt was already in financial straits owing to excessive spending on paintings, prints, antiquities and studio props for his history pieces. After Saskia’s death, Rembrandt lived first with Titus's wet nurse, Geertje Dircx (who eventually sued Rembrandt for breach of promise and was later imprisoned for her increasingly unstable behaviour), and then with his later housekeeper, Hendrickje Stoffels (by whom he had a daughter, Cornelia). Mounting debts made him unable to meet the payments of his house on the Jodenbreestraat and forced him to declare bankruptcy in 1656 and to sell his house and art collection. In the last decade of his life, he, Hendrickje and Titus resided in more modest accommodation on the Rozengracht, but Rembrandt continued to be dogged by continuing financial difficulties. His beloved Titus died in 1668. Rembrandt survived him by only a year and was buried in the Westerkerk.
Most majority of the twenty-three known drawings by Rembrandt after Mughal paintings are portraits of Mughal rulers and courtiers at the seventeenth-century courts of Emperor Jahangir (1569-1627) and his son and successor, Shah Jahan (1592-1666). Besides the twenty-one examples assembled by Otto and Eva Benesch in the 1973 edition of the Rembrandt drawings corpus,8 two others have since been identified: the Medallion Portrait of Muhammad Adil Shah of Bijpur, formerly in the collection of Mrs Christian Aall in New York, later in that of Dr William K. Ehrenfeld (a noted collector of Indian paintings), and now in the Achenbach Foundation for Graphic Arts in the Fine Arts Museums of San Francisco (inv. no. 2000.70),9 and another, representing two female heads, which was seen in a French private collection by Frits Lugt in 1966 and by Martin Royalton-Kisch in 2002. There were once at least two more, for in 1747 a ‘book of lndian drawings by Rembrandt, 25 in number’, was briefly offered for auction in 1747 from the collection of the British portraitist and connoisseur Jonathan Richardson the elder.10
Rembrandt himself owned what are presumed to have been the original models from which his series of drawings was made. The Mughal paintings were described as ‘curious miniature drawings’ in the inventory of his household goods made on 25-26 July 1656 following his bankruptcy: ‘An album filled with curious miniature drawings, together with woodcut and copper engravings of various sorts of costumes’.11 The album’s prints of figures in different costumes might well have included the series of twelve figures in Italian dress by an anonymous engraver after drawings by Rembrandt’s teacher, Pieter Lastman.12 The Mughal paintings in Rembrandt’s collection had probably arrived in the Dutch Republic via Dutch artists who worked for the Verenigde Oostindische Compagnie (VOC or Dutch East India Company), which had an office in Agra, and later for Shah Jahan.13 It is not known what happened to Rembrandt’s ‘curious miniature drawings’ after the sale of the works on paper from his collection on 20 December 1658.14 The group was probably split up and dispersed to various collections.
Some of Rembrandt’s drawings closely resemble the Mughal paintings that form part of the wall decoration of Schloss Schönbrunn, near Vienna.15 Shortly before 1762, Empress Maria Theresa had the room now called the Millionenzimmer decorated with 266 Mughal paintings mounted in rocaille-shaped cartouches within carved wooden frames. We cannot, however, be certain that these versions are any of the ones that Rembrandt actually owned, for such Mughal art works were often copied and repeated by local artists with very little variation (sometimes even generations later), and many of Rembrandt’s drawings do not correspond precisely with those now in Schönbrunn. Moreover, the Schönbrunn paintings are now considered to be mostly provincial work of the late seventeenth or early eighteenth centuries, that is, too late for Rembrandt to have possessed them.16 However, they do have inscriptions in Dutch on their versos.
The relationship between Rembrandt’s drawings and his Mughal prototypes is interesting. Since there is a clear difference in style, they can scarcely be termed ‘copies’ in the strict sense of the word. Rembrandt basically remained true to his own style and was not interested in copying the paintings as accurately as possible. Inspired by his models, he created a new and unique type of drawing, recording the figures as if they had been sketched from life rather than from a two-dimensional source. Yet the technique of the originals did influence Rembrandt’s style. This can be seen in the fine handling of line and in the careful, but fluent layers of subtly coloured washes. It is, of course, unfair to characterize the Mughal models as stiff in comparison to Rembrandt’s drawings, as some authors have done: they reflect the established modes of expression for Mughal artists at the time. But Rembrandt’s experience of drawing from life led him to make the poses of the Indian figures more natural as he was copying them.17 He lent their faces the same expressive quality that he would have given a living model.
Rembrandt’s copies are usually dated to about 1656, the year of the bankruptcy inventory and the year of a dated etching, Abraham Entertaining the Angels (e.g. inv. no. RP-P-1954-135),18 whose composition and individual figures seem to depend on one of the drawn copies showing four Mughal elders, now in the British Museum in London (inv. no. 1895,0915.1275).19 However, since Rembrandt’s collection of works on paper was not sold until 1658, he could have carried on making copies of the Mughal originals for at least another couple of years. The style of the drawings resembles other drawings from the 1650s and, to some extent, from the 1660s. These copies, in turn, may have influenced Rembrandt’s own drawings to some degree.20 One characteristic of the copies is that no backgrounds have been indicated, although they appear in many of the known Mughal models. Only the figures were important to Rembrandt as can be seen after all in many of his drawings in which only figures and their interrelationships are depicted.
The Rijksprentenkabinet owns four drawings with Mughal subjects, three of which bear the mark of Jonathan Richardson the elder and must surely have been part of the album from his collection offered from sale in 1747 (the present sheet and inv. nos. RP-T-1961-82 and RP-T-1930-41). The fourth, Indian Archer (inv. no. RP-T-1897-A-3203), does not. Nor is the mark present on the example in the Harvard Art Museums/Fogg Museum in Cambridge (MA) (inv. no. 1932.366).21 The absence of the Richardson mark on both sheets, and the previous misidentification of their support as European paper, led some scholars to doubt the attribution to Rembrandt.22 However, it merely suggests either that the pair never belonged to Richardson, or that they were once the left half of sheets that were later cut in two, with the mark – always applied on the right side or centre of the sheet – remaining only on the other half. Certainly there are examples of drawings that combine two figures, such as Emperor Jahangir Receiving an Officer and Two Mughal Noblemen, in the British Museum (inv. nos. Gg,2.263 and 1895,0915.1281),23 and Two Mughal Noblemen in The Morgan Library & Museum in New York (inv. no. I, 208).24 In addition, another sheet in The Morgan, Indian Warrior with a Shield (inv. no. I, 207),25 shows clear traces of another figure on the right trimmed edge.
Four of the known drawings – including the present sheet and inv. no. RP-T-1930-41 – bear the mark of Richard Houlditch.26 Until recently, it was assumed that this was Richard Houlditch the elder (c. 1659-1736), who would have owned the drawings before Richardson. The latest research, however, shows that although the collection was begun by Richard the elder, it was his son, Richard Houlditch the younger (d. 1760), who applied the collector's mark,27 who was an active buyer at the 1747 Richardson sale and who may have got hold of some of the sheets from the withdrawn album of Rembrandt drawings through the mediation of Richardson’s son, Jonathan Richardson the younger. Another four of the Mughal subjects – including one in the British Museum (inv. no. 1910,0212.182),28 long paired with the present drawing – were eventually owned by Thomas Hudson, the brother-in-law of Jonathan Richardson the younger and the former pupil of his father.
Jahangir’s encouragement of portraiture during his reign is reflected in the museum’s two portraits of his son, Shah Jahan: inv. no. RP-T-1930-41 and the present sheet, in which he is depicted with one of his four sons. Here Shah Jahan is standing behind a balustrade, with a rug hanging over it. Like the individual portrait, he is shown in strict profile to the left, with jewels on his turban, around his neck, in his ear and around his upper arm. He holds a ring or bracelet in his left hand. The boy, seen diagonally from the front, also wears a turban and has laid his small hand on the balustrade. It is uncertain which of the emperor’s sons is represented. Ben Broos wrongly thought that the child was added by Rembrandt; according to Pauline Lunsingh Scheurleer, however, there are other Mughal miniatures showing portraits of a father and son.29 Shah Jahan was widely considered one of the greatest Mughal rulers, renowned for the monuments he had built, including the Taj Mahal, the tomb for his beloved wife, Mumtaz Mahal (1593-1631), the Red Fort and the mausoleum of his father, Jahangir.
Peter Schatborn, 2017
C. Hofstede de Groot, Die Handzeichnungen Rembrandts, Haarlem 1906, no. 1025; W.R. Valentiner, Rembrandt: Die Meisters Handzeichnungen, 2 vols., Stuttgart and elsewhere 1925-34, II (1934), no. 654 (c. 1656); O. Benesch, The Drawings of Rembrandt (rev. edn. by E. Benesch), 6 vols., London 1973 (orig. edn. 1954-57), no. 1196 (c. 1654-56); B.P.J. Broos, Index to the Formal Sources of Rembrandt’s Art, Maarssen 1977, p. 120, fig. 18; P. Schatborn, Catalogus van de Nederlandse tekeningen in het Rijksprentenkabinet, Rijksmuseum, Amsterdam, IV: Tekeningen van Rembrandt, zijn onbekende leerlingen en navolgers/Drawings by Rembrandt, his Anonymous Pupils and Followers, coll. cat. The Hague 1985, no. 59, with earlier literature; C. Tümpel, with A. Tümpel, Rembrandt: Mythos und Methode, Antwerp/Königstein im Taunus 1986, pp. 312-13, repr.; H. Bevers, P. Schatborn and B. Welzel, Rembrandt, the Master and his Workshop: Drawings and Etchings, exh. cat. Berlin (Kupferstichkabinett) and elsewhere 1991-92, no. 37; E. Starcky, Rembrandt: Les Figures, Paris 1999, p. 109, repr.; M. Schapelhouman, Rembrandt and the Art of Drawing, Amsterdam 2006, pp. 19-24, fig. 16; P. Lunsingh Scheurleer, ‘Collecting Indian Miniatures by Rembrandt and his Comtemporaries’, in N.D. Sabharwal, Changing images, lasting visions: India and the Netherlands, pp. 66-71, repr.; K.H. Corrigan, J. van Capen and F. Diercks (eds.), Asia in Amsterdam: The Culture of Luxury in the Golden Age, exh. cat. Amsterdam (Rijksmuseum)/Salem (MA) (Peabody Essex Museum) 2015-16, no. 79d; S. Schrader and W.W. Robinson, Rembrandt and the Inspiration of India, exh. cat. Los Angeles (J. Paul Getty Museum) (forthcoming 2018)
P. Schatborn, 2017, 'Rembrandt van Rijn, Shah Jahan and his Son, Amsterdam, c. 1656 - c. 1658', in J. Turner (ed.), Drawings by Rembrandt and his School in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.28578
(accessed 13 November 2024 05:21:25).