Head of an Aged Woman

1655/1660

Dutch 17th Century

Painter

Rembrandt van Rijn

Related Artist, Dutch, 1606 - 1669

Rembrandt Workshop

Attributed to

Shown from the chest up, a pale-skinned older woman looks down and to our right in front of a shadowy background in this vertical painting. Brushstrokes are visible throughout, especially in the woman’s face and clothing. Her shoulders square toward us but she looks down and to the side with heavy-lidded, sunken eyes. Her face is deeply lined between her eyebrows, down the sides of her nose, and at the corners of her mouth. Her cheeks sag in jowls on either side of a fleshy chin, and her thin lips are set in a line. A cream-white cloth wraps across her forehead and covers her head. An earth-brown, voluminous hood rests across the crown of her head and droops to her shoulders, where it meets the cloak fastened at her throat over a steel-gray garment. The background is also dark brown and signed to our left near the woman’s shoulder, “Rembrandt 1957.”

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After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist, specializing in history paintings and portraiture. He received many commissions and attracted a number of students who came to learn his method of painting.

Rembrandt and members of his workshop frequently painted tronies, informal bust-length figure studies that were not considered to be portraits. The large number of such studies that have survived from Rembrandt's workshop indicates that the creation of tronies was one way by which the master taught his manner of painting. In this small tronie, an old woman stares out from under a white headpiece, her black cape fastened at the neck. Rembrandt's paintings of old women from the mid-1650s served as models for the student who created this particular panel. Abraham van Dijck (1635/1636–1672), who seems to have studied with Rembrandt in the early 1650s, is the most likely artist of this painting. The same model appears in several other of Van Dijck’s works, in particular his The Old Prophetess, c. 1655–1660, now in the Hermitage.

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Artwork overview

  • Medium

    oil on panel

  • Credit Line

    Widener Collection

  • Dimensions

    overall: 21.1 x 17.5 cm (8 5/16 x 6 7/8 in.)

  • Accession Number

    1942.9.64

More About this Artwork

Scholarly Article:  Dutch Paintings of the Seventeenth Century: Head of an Aged Woman, 1655/1660

This horizontal painting shows a group of eight light-skinned musicians and onlookers gathered closely around a rectangular, carpet-covered table. The front edge of the table runs parallel to the bottom edge of the painting, and seems close to us. Shown from about the waist up, the men and women’s vivid lapis-blue, coral-red, buttercup-yellow, lilac-purple, and moss-green garments fall in crisp folds. Bright reflections on the fabric suggest a satin-like material. Two women wear feathers in their hair and one man’s hat is plumed. One man, wearing crimson red and black, sits with his back to us to our left on the near side of the table. He holds the neck of a bass viol, about the size of a cello, with his left hand, and points to pages of an open music book with the bow in his right hand. The other people cluster on the far side of the table. A man to the left plays a violin; a woman at the center plays a guitar-sized bandora, and a woman to our right plays a lute. The musicians, along with a man who leans over the table from between the two women, look down at the music books. A young man behind the woman at the center holds up a glass of pale liquid with his right hand as he touches his left forefinger to his smiling lips. A man and woman stand close together in the background to our right, in the top right corner of the canvas.

Scholarly Series:  Dutch Paintings of the Seventeenth Century

Artwork history & notes

Provenance

Probably H. Verschuring, The Hague, by 1751. Gottfried Winkler [1731-1795], Leipzig, by 1765.[1] Possibly with (Stéphane Bourgeois [Bourgeois Frères], Paris), in 1893/1894.[2] Rodolphe Kann [1845-1905], Paris, by 1898;[3] purchased 1907 with the entire Kann collection by (Duveen Brothers, Inc., London, New York, and Paris);[4] sold to (F. Kleinberger & Co., Paris);[5] by exchange to (Leo Nardus [1868-1955], Suresnes, France, and New York); by exchange early 1909 to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[6] inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park; gift 1942 to NGA.
[1] Gerard Hoet, Catalogus of Naamlyst van Schilderijen..., 2 vols., The Hague, 1752, 2: 482, lists in the collection of H. Verschuring "Een Oud Vrouwtje door Rembrandt. h.9d., br. 8d." The next painting listed was a pendant of an old man. Both paintings were then catalogued in the Winkler collection in 1768: Franz Wilhelm Kreuchauf, Historische Erklaerungen der Gemaelde welche Herr Gottfried Winkler in Leipzig gesammelt, Leipzig, 1798: nos. 495 and 496. Three years earlier, in 1765, the painting had been engraved in reverse by J.H. Bause, who for some reason dedicated his print to Johann Jacob Haid of Augsburg. Bause also engraved the pendant (no. 496 from Winkler's catalogue); the description of the latter work is: "Der Kopf eines betagten Mannes, mit dickaufgeschwollener Nase, kurzem Haare und Barte." This painting has disappeared but is listed in Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century..., trans. Edward G. Hawke, 8 vols., London, 1907-1927: 6(1916):no. 461. A photograph of Bause's engraving of the old man is in the NGA curatorial files.
[2] Émile Michel, Rembrandt: His Life, His Work, and His Time, Trans. Florence Simmonds, 2 vols., New York, 1894: 2:238, gives the following description of a painting in the possession of "M. Steph. Bourgeois": "Bust Portrait of a Woman, three-quarter to the front, small size. About 1640. W[ood]. 7 7/8 x 6 1/2 inches." It is possible that this painting is in fact Head of an Aged Woman, and that Rodolphe Kann obtained it from Bourgeois, but so far no direct evidence has come to light that supports this theory. Bourgeois was the father-in-law of Leo Nardus, the dealer from whom Peter A.B. Widener received the painting in 1909.
[3] Kann lent the painting to an exhibition in Amsterdam in 1898.
[4] Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reels 38 and 39, boxes 115-118, Stock books, Paris Ledger, and Sales Book for the Kann Collection.
[5] Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 39, box 117, Paris Ledger, no. 1, Kann Collection.
[6] Nardus received this painting and NGA’s Head of Saint Matthew (1942.9.58) from Kleinberger in exchange for a portrait of a lady by Hans Memling. The same two paintings, along with ten others, were sent to Widener in early 1909, as replacements for a dozen paintings Nardus had sold to and then took back from the collector, after they were deemed by art historians of the day to be modern copies of “Old Masters.”
These two transactions involving Nardus are revealed in correspondence between Widener, his lawyer, John G. Johnson, Nardus, and Nardus’ assistant, Michel van Gelder, now in the John G. Johnson Collection Archives at the Philadelphia Museum of Art (box 5, folders 5 and 6, especially a letter, Michel van Gelder to John G. Johnson, 29 January 1909). The correspondence was found, transcribed, and kindly shared with the NGA by Jonathan Lopez (letter, sent with transcriptions, 24 April 2006, to Arthur K. Wheelock, Jr., in NGA curatorial files). See also Jonathan Lopez, “‘Gross False Pretenses’: The Misdeeds of Art Dealer Leo Nardus,”_ Apollo_, ser. 2, vol. 166, no. 548 (December 2007): 80–81, fig. 9.

Associated Names

Exhibition History

1898

  • Rembrandt: schilderijen bijeengebracht ter gelegenheid van de inhuldiging van Hare Majesteit Koningin Wilhelmina, Stedelijk Museum, Amsterdam, 1898, no. 100.

1969

  • Rembrandt in the National Gallery of Art [Commemorating the Tercentenary of the Artist's Death], National Gallery of Art, Washington, D.C., 1969, no. 8, repro., as by Rembrandt.

Bibliography

1752

  • Hoet, Gerard. Catalogus of naamlyst van schilderyen. 2 vols. The Hague, 1752: 2:482.

1768

  • Kreuchauf, Franz Wilhelm. Historische Erklaerungen der Gemaelde welche Herr Gottfried Winkler in Leipzig gesammelt. Leipzig, 1768: 201, no. 495.

1829

  • Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters. 9 vols. London, 1829-1842: 7(1836):182, no. 572.

1893

  • Michel, Émile. Rembrandt: Sa vie, son oeuvre et son temps. Paris, 1893: 563.

1894

  • Michel, Émile. Rembrandt: His Life, His Work, and His Time. 2 vols. Translated by Florence Simmonds. New York, 1894: 2:238.

1897

  • Bode, Wilhelm von, and Cornelis Hofstede de Groot. The Complete Work of Rembrandt. 8 vols. Translated by Florence Simmonds. Paris, 1897-1906: 6:26, 176, no. 472, repro., 8: 377.

1898

  • Hofstede de Groot, Comelis. Rembrandt: Collection des oeuvres du maître réunies, à l’occasion de l’inauguration de S. M. la Reine Wilhelmine. Exh. cat. Stedelijk Museum, Amsterdam, 1898: no. 100.

1899

  • Bell, Malcolm. Rembrandt van Rijn and His Work. London, 1899: 82, 158.

1900

  • Bode, Wilhelm von. Gemälde-sammlung des Herrn Rudolf Kann in Paris. Vienna, 1900: no. 6, repro.

1904

  • Rosenberg, Adolf. Rembrandt: des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. Stuttgart, 1904: 210, repro.

1906

  • Rosenberg, Adolf. Rembrandt, des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 2nd ed. Stuttgart, 1906: repro. 320.

1907

  • Sedelmeyer, Charles. Catalogue of Rodolphe Kann Collection. 2 vols. Paris, 1907: 1:iv, 76, no. 75, repro.

  • Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 8 vols. Translated by Edward G. Hawke. London, 1907-1927: 6(1916):255, 258, nos. 508, 518.

  • Bell, Malcolm. Rembrandt van Rijn. The great masters in painting and sculpture. London, 1907: 78, 136.

  • Rosenberg, Adolf. The Work of Rembrandt, reproduced in over five hundred illustrations. Classics in Art 2. New York, 1907: 320, repro.

  • Hofstede de Groot, Cornelis. Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts. 10 vols. Esslingen and Paris, 1907-1928: 6(1915):224, 227, no. 508.

1908

  • Rosenberg, Adolf. Rembrandt, des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 3rd ed. Stuttgart and Berlin, 1908: repro. 440.

1909

  • Rosenberg, Adolf. Rembrandt: Des Meisters Gemälde. Edited by Wilhelm R. Valentiner. Klassiker der Kunst in Gesamtausgaben 2. Stuttgart and Leipzig, 1909: repro. 440.

1913

  • Hofstede de Groot, Cornelis, and Wilhelm R. Valentiner. Pictures in the collection of P. A. B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania: Early German, Dutch & Flemish Schools. Philadelphia, 1913: unpaginated, no. 36, repro., as by Rembrandt van Rijn.

  • Rosenberg, Adolf. The Work of Rembrandt, reproduced in over five hundred illustrations. Classics in Art 2. Edited by Wilhelm R. Valentiner. 2nd ed. New York, 1913: repro. 440.

1914

  • Valentiner, Wilhelm R. The Art of the Low Countries. Translated by Mrs. Schuyler Van Rensselaer. Garden City, NY, 1914: 248, no. 74.

1921

  • Rosenberg, Adolf. The Work of Rembrandt. Edited by Wilhelm R. Valentiner. Classics in Art 2. 3rd ed. New York, 1921: 440, repro.

1923

  • Meldrum, David S. Rembrandt’s Painting, with an Essay on His Life and Work. New York, 1923: 201, no. 383A.

  • Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1923: unpaginated, repro., as by Rembrandt.

1931

  • Valentiner, Wilhelm R. Rembrandt Paintings in America. New York, 1931: no. 131, repro.

  • Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1931: 52, repro., as by Rembrandt.

1935

  • Bredius, Abraham. Rembrandt Schilderijen, 630 Afbeeldingen. Utrecht, 1935: no. 392, repro.

  • Bredius, Abraham. Rembrandt Gemälde, 630 Abbildungen. Vienna, 1935: no. 392, repro.

1936

  • Bredius, Abraham. The Paintings of Rembrandt. New York, 1936: no. 392, repro.

1942

  • Bredius, Abraham. The Paintings of Rembrandt. 2 vols. Translated by John Byam Shaw. Oxford, 1942: 1:no. 392; 2:repro.

  • National Gallery of Art. Works of art from the Widener collection. Washington, 1942: 6, as by Rembrandt van Ryn.

1948

  • National Gallery of Art. Paintings and Sculpture from the Widener Collection. Washington, 1948: 42, repro., as by Rembrandt van Ryn.

1957

  • Duveen, James Henry. The Rise of the House of Duveen. New York, 1957: 234.

1959

  • National Gallery of Art. Paintings and Sculpture from the Widener Collection. Reprint. Washington, DC, 1959: 42, repro., as by Rembrandt.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 313, repro., as by Rembrandt van Rijn.

1965

  • National Gallery of Art. Summary Catalogue of European Paintings and Sculpture. Washington, 1965: 110, as by Rembrandt.

1966

  • Bauch, Kurt. Rembrandt Gemälde. Berlin, 1966: 15, no. 273, repro.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 98, repro.

1969

  • Bredius, Abraham. Rembrandt: The Complete Edition of the Paintings. Revised by Horst Gerson. 3rd ed. London, 1969: repro. 301, 581, no. 392.

  • National Gallery of Art. Rembrandt in the National Gallery of Art: Commemorating the tercentenary of the artist's death. Exh. cat. National Gallery of Art, Washington, 1969: 18, no. 8, repro.

1975

  • National Gallery of Art. European paintings: An Illustrated Summary Catalogue. Washington, 1975: 288, repro., as by Rembrandt.

1976

  • Fowles, Edward. Memories of Duveen Brothers. London, 1976: 52, 205.

  • Hoet, Gerard. Catalogus of naamlyst van schilderyen. 3 vols. Reprint of 1752 ed. with supplement by Pieter Terwesten, 1770. Soest, 1976: 2:482.

1985

  • National Gallery of Art. European Paintings: An Illustrated Catalogue. Washington, 1985: 334, repro.

1995

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1995: 330-333, color repro. 331.

2002

  • Quodbach, Esmée. "The Last of the American Versailles: The Widener Collection at Lynnewood Hall." Simiolus 29, no. 1/2 (2002): 71.

2007

  • Lopez, Jonathan. "‘Gross False Pretenses’: The Misdeeds of Art Dealer Leo Nardus." Apollo ser. 2, 166, no. 548 (December 2007): 80-81, fig. 9.

Inscriptions

center left by a later hand: Rembrandt / f.1657

Wikidata ID

Q20177386

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