Description
This evocative character study is an early example of a type of subject that preoccupied the great Dutch master Rembrandt van Rijn throughout his long career. Although his large output included landscapes, genre paintings, and the occasional still life, he focused on biblical and historical paintings and on portraits. As an extension of these interests, the artist studied the effect of a single figure, made dramatic through the use of costume and rich, subtle lighting. Rembrandt collected costumes to transform his models into characters. Here, the gold chain and steel gorget suggest an honored military career, while the plumed beret evokes an earlier time. The broad black mass of the old man’s torso against a neutral background is a powerful foil for these trappings. The face is that of a real person, weathered and watchful, glowing with pride and humanity. The unidentified sitter, once thought to be the artist’s father, was a favorite model, appearing in many of the artist’s early works. The confident execution suggests that the young Rembrandt completed this picture about 1631, when he had left his native Leiden to pursue a career in the metropolis of Amsterdam; perhaps he wished to use this work to demonstrate his skill in a genre that combined history painting and portraiture.
Provenance
Jacob Alewijn, Amsterdam; by descent to his widow Margaretha Helena Graafland (died 1766); sold Amsterdam, June 10, 1767, no. 14, to Ketelaar, “Rembrandt. Het Hoofd van een Oud Man, zynde een Kniestuk, Levensgroote, met een dokere Mantel om, en een gouden Keten met een Medaille om den hals. Het hoofd is van vooren en op zyde te zien; gekeerd naar den linker Schouder, en gedekt met een Fluweelen Muts, voorzien met een groote Pluim. Zynde zeer helder, krachtig en uitvoorig op Paneel geschilderd. Hoog 35, breed 30 duim”(The head of an old man, knee-length and life size, wearing a dark cloak and a golden chain with a medallion around his neck. The head is seen from the front and to one side, turned toward the left shoulder, and covered with a velvet cap with a large plume. 90 x 77.1 cm) [For the identification of the consignor at this sale, see Rembrandt Research Project 1982, with evidence that the height of the picture was later slightly reduced]. Matthew Piers Watt Boulton, Tew Park, Oxfordshire; his estate sale Christie’s, London, December 9, 1911, no. 14, as the Father of Rembrandt for £220 10s. to Shepherd [annotated sale catalogue at Frick Art Reference Library; for the identity of 1922.4467 and the painting in the Boulton sale, see Bode 1912]. Lippmann, London, with a half share acquired by P. and D. Colnaghi, London, February 12, 1912 [letter from Lavinia Davies, Colnaghi, to Susan Wise, 28 November, 1977 in curatorial file]; Colnaghi sold their share in March, 1912, with Lippmann, Knoedler, and Julius Böhler sharing ownership in the picture [letter of Lavinia Davies cited above]; sold by Böhler to Marczell de Nemes, Budapest, 17 June, 1912; offered for sale Galerie Manzi, Joyant, Paris, 17-18 June, 1913, no. 60, as Portrait du père de Rembrandt, bought in and returned to Julius Böhler in July 1913 [letter from Julius Böhler to Susan Wise, September 20, 1977 in curatorial file]; sold by Julius Böhler to Reinhardt, New York [letter from Böhler cited above; in a letter of June 14, 1977, Julius Böhler noted that Reinhardt was the American representative for their firm]; sold to Mrs. W. W. Kimball, (died 1921), Chicago, by 1914 [Valentiner 1914]; bequeathed, 1922.
