.jpg?maxwidth=3840)
拍品 139
FOLLOWER OF REMBRANDT HERMANSZ. VAN RIJN, 18TH CENTURY
Manoah’s Sacrifice
已結束2022年12月9日
成交價
GBP 10,080
更多資訊
專家說明
This is another, slightly different, version of a painting in the Staatliche Kunstsammlungen in Dresden which was first located in an inventory in 1747 of the private collection of Augustus III (1696-1763), the Elector of Saxony and King of Poland.
The subject is of Old Testament figure Manoah and his childless wife. An angel appeared to Manoah's wife and told her that she would give birth to a son who would deliver Israel from the Philistines. After the angel left, Manoah tells his wife, 'We shall surely die, because we have seen God.'
The painting in Dresden bears the signature 'Rembrandt f 1641' and was always regarded as a Rembrandt, and published repeatedly as such by the likes of Smith (1829-42), Hübner (1857), Vosmaer (1877), Bode (1897), Hofstede de Groot (1897 and 1907), Rosenberg (1904), Valentiner (1909) and Bredius (1935), until Martin doubted the attribution in 1936 (Martin 1936, p. 505). Sumowski proposed an attribution to Jan Victors, which was accepted by Gerson in 1968 (Sumowski 1957-1958, p. 231; Gerson 1968, p. 496). In 1989, the RRP attributed the painting to Willem Drost (Corpus of Rembrandt Paintings, vol. 3, 1989, no. C 83). This attribution was rejected by Bikker in 2005 (Bikker 2005, p. 125-128, R1). The painting is currently listed as a work by Abraham van Dijck on the website of the Staatliche Kunstsammlungen Dresden (accessed 10/04/2022), but this attributed has been rejected by David de Witt, who considers it to be by a follower of Rembrandt.
The subject is of Old Testament figure Manoah and his childless wife. An angel appeared to Manoah's wife and told her that she would give birth to a son who would deliver Israel from the Philistines. After the angel left, Manoah tells his wife, 'We shall surely die, because we have seen God.'
The painting in Dresden bears the signature 'Rembrandt f 1641' and was always regarded as a Rembrandt, and published repeatedly as such by the likes of Smith (1829-42), Hübner (1857), Vosmaer (1877), Bode (1897), Hofstede de Groot (1897 and 1907), Rosenberg (1904), Valentiner (1909) and Bredius (1935), until Martin doubted the attribution in 1936 (Martin 1936, p. 505). Sumowski proposed an attribution to Jan Victors, which was accepted by Gerson in 1968 (Sumowski 1957-1958, p. 231; Gerson 1968, p. 496). In 1989, the RRP attributed the painting to Willem Drost (Corpus of Rembrandt Paintings, vol. 3, 1989, no. C 83). This attribution was rejected by Bikker in 2005 (Bikker 2005, p. 125-128, R1). The painting is currently listed as a work by Abraham van Dijck on the website of the Staatliche Kunstsammlungen Dresden (accessed 10/04/2022), but this attributed has been rejected by David de Witt, who considers it to be by a follower of Rembrandt.