Lucretia

1664

Rembrandt van Rijn

Artist, Dutch, 1606 - 1669

Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”

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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. He received many commissions for portraits and history paintings, and attracted a number of students who came to learn his method of painting.

The tragic story of Lucretia, recounted by Livy, took place in Rome in the sixth century BC during the reign of the tyrannical ruler Tarquinius Superbus. Rembrandt portrays Lucretia in utter anguish, right before her act of suicide. The tension surrounding that awful moment poignantly captures the moral dilemma of a woman forced to choose between life and honor.

Lucretia's husband, Collatinus, had boasted to his fellow soldiers that her loyalty and virtue were greater than that of their wives. Taking him up on the challenge, the men immediately rode to Rome where they discovered Lucretia and her handmaidens spinning wool. Lucretia's very virtue enflamed the desire of Sextus Tarquinius, son of the tyrant, who secretly returned to the house a few days later. Lucretia received him as an honored guest, but he later betrayed that hospitality by entering her chamber and threatening to kill her if she did not yield to him. The next day Lucretia summoned her father and husband, disclosed what had happened, and told them that, even though they deemed her an innocent victim, she was determined to end her life in order to reclaim her honor. Lucretia then drew a knife from her robe, drove it into her heart, and died. Overwhelmed by grief and anger, Lucretia’s father, her husband, and two accompanying friends swore to avenge her death. Lucretia's rape and death triggered a revolt that led to the overthrow of monarchical tyranny and the creation of the Roman Republic.

On View

West Building Main Floor, Gallery 51

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Artwork overview

  • Medium

    oil on canvas

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    overall: 120 x 101 cm (47 1/4 x 39 3/4 in.)
    framed: 159.1 x 139.4 x 16.5 cm (62 5/8 x 54 7/8 x 6 1/2 in.)

  • Accession

    1937.1.76

More About this Artwork

Scholarly Article:  Dutch Paintings of the Seventeenth Century: Lucretia, 1664

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

Jean-Joseph-Pierre-Augustin Lapeyrière [1779-1831, known as Augustin Lapeyrière, then de Lapeyrière], Paris; (his sale, Galerie Le Brun, Paris, 19 April 1825 and days following [originally scheduled for 14 March 1825 and days following], no. 143). Michael M. Zachary [d. 1837], London;[1] (sale, Phillips, London, 14-15 April 1826, 1st day, no. 64, bought in); (Zachary sale, Phillips, London, 31 May 1828, no. 25); purchased by Sir Thomas Lawrence [1769-1830] for Hugh Andrew Johnstone Munro [1797-1864], London, and Novar House, near Evanton, Ross-shire, Scotland.[2] Paul Pavlovich Demidoff [1839-1885], Prince of San Donato, near Florence; (his sale, at his residence, Florence, 15 March-10 April 1880, no. 1146). (Léon Gauchez, Paris); (sale, Christie, Manson & Woods, London, 13 July 1889, no. 56, bought in); (Léon Gauchez, Paris), until at least 1893.[3] (Bourgeois & Cie., Paris); (Leo Nardus [1868-1955], Suresnes, France, and New York);[4] Matthew Chaloner Durfee Borden [1842-1912], New York, by 1906;[5] (his estate sale, American Art Association, New York, 13-14 February 1913, 1st day, no. 28); (M. Knoedler & Co., New York and Paris);[6] sold 1913 to (Frederik Müller and Co., Amsterdam); sold 1913 to August Janssen [1863-1918], Amsterdam;[7] his estate; sold 1919 with the entire Janssen collection to (Jacques Goudstikker, Amsterdam).[8] Hermann Heilbuth [1861-1945], Copenhagen, by 1920.[9] (Ehrich Brothers, New York), in 1921.[10] (M. Knoedler & Co., New York and Paris); sold November 1921 to Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1] Although the main seller at the April 1826 sale was Lord Berwick, there were also other consignors. One annotation in the Wallace Collection (London) Library’s copy of the sale catalogue indicates that Zachary was the consigner of the NGA painting; another annotation next to the Lucretia entry reads “Sir T Lawrence.” The Getty Provenance Index© Database, Sale Catalogs, lot 0064 from sale catalog Br-2806, identifies the latter annotation as indicating a previous owner.
[2] This information is given by Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, 10 vols., Esslingen and Paris, 1907-1928: 6(1915):120, no. 218 (also English edition, 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):143-144, no. 218). However, the Wallace Collection (London) Library’s copy of the sale catalogue is annotated with the name “Woodin” as the buyer (The Getty Provenance Index© Database, Sale Catalogs, lot 0025 from sale catalog BR-3135). Munro acquired a significant collection that was dispersed in sales both before and after his death, but the painting has not been located in any of the sale catalogues. Hofstede de Groot lists a Munro sale in London on 26 March 1859 (given as 26 March 1851, in the 1920-1921 exhibition catalogue), which has not been identified; the painting does not appear in a sale of Munro’s English pictures held in London on 26 March 1860.
[3] Although Algernon Graves, Art Sales from early in the eighteenth century to early in the twentieth century (mostly old master and early English pictures), 3 vols. London, 1918-1921: 2:383, gives the buyer at the 1889 sale as Wontner, the painting was in fact bought in and returned to the consignor, Gauchez. This information was kindly provided by Lynda McLeod, Librarian, Christie’s Archives, London, in her e-mail of 28 March 2013 (in NGA curatorial files). Émile Michel (Rembrandt: Sa vie, son oeuvre et son temps, Paris, 1893: 489) saw the painting in Paris, but did not identify the owner, who is named by Malcolm Bell (Rembrandt Van Rijn and His Work, London, 1899: 157).
[4] Jonathan Lopez kindly provided this information (oral communication, 13 October 2006). See also Jonathan Lopez, "'Gross False Pretences': The Misdeeds of Art Dealer Leo Nardus," Apollo, 2nd ser., vol. 166, no. 548 (December 2007): 78, 80, 82 nn. 25, 26.
[5] Wilhelm von Bode and Cornelis Hofstede de Groot, The Complete Work of Rembrandt: History, Description and Heliographic Reproduction of All the Master's Pictures, with a Study of His Life and His Art, translated by Florence Simmonds, 8 vols., Paris, 1897-1906: 8(1906):152, no. 595.
[6] Newspapers speculated that Knoedler’s might have been buying for the New York collector Henry Clay Frick; copies of various articles are in NGA curatorial files.
[7] The 1913 sales are described by Ben Broos, Great Dutch Paintings from America, exh. cat. The Hague and Zwolle, 1990: 69-70. See also Gerhardus Knuttel, "De Lucretia En Andere Werken Van Rembrandt Bij De Firma Fred. Muller & Co. Amsterdam," Elsevier’s Geïllustreerd Maandschrift 47, no. 2 (January-June 1914): 137-144.
[8] “Janssen Paintings Sold in Holland,” The Milwaukee Journal (3 August 1919): 10; Otto Hirschmann, “Die Sammlung August Janssen,” Der Cicerone 12 (January 1920): 17-18.
[9] The painting was included in a 1920-1921 exhibition of Heilbuth’s collection in Copenhagen.
[10] René Gimpel, Journal d’un collectionneur: marchand de tableaux, Paris, 1963: 184-185.

Associated Names

Exhibition History

1832

  • British Institution for Promoting the Fine Arts in the United Kingdom, London, 1832, no. 44.[1]

1909

  • The Hudson-Fulton Celebration, The Metropolitan Museum of Art, New York, 1909, no. 105.

1920

  • A Collection of Paintings [H. Heilbuth], Statens Museum for Kunst, Copenhagen, 1920-1921, no. 63.

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. 23, repro.

1991

  • Rembrandt's Lucretias, National Gallery of Art, Washington, D.C.; Minneapolis Institute of Arts, 1991-1992, brochure.

2001

  • Rembrandt's Women, National Gallery of Scotland, Edinburgh; Royal Academy of Arts, London, 2001, no. 141, repro.

2006

  • Rembrandt?: The Master and his Workshop, Statens Museum for Kunst, Copenhagen, 2006, no. 18, repro.

2014

  • Rembrandt: The Late Works, National Gallery, London; Rijksmuseum, Amsterdam, 2014-2015, no. 115, repro.

Bibliography

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):79, no. 192

1832

  • British Institution for Promoting the Fine Arts in the United Kingdom. Catalogue of pictures by Italian, Spanish, Flemish, Dutch, and English masters with which the proprietors have favoured the Institution. Exh. cat. British Institution. London, 1832: no. 44.

1854

  • Waagen, Gustav Friedrich. Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss.. 3 vols. Translated by Elizabeth Rigby Eastlake. London, 1854: 2:137, no. 1.

1859

  • Blanc, Charles. L’Oeuvre Complet de Rembrandt. 2 vols. Paris, 1859–1861: 2: 435.

1860

  • Waagen, Gustav Friedrich. Handbook of Painting: The German, Flemish and Dutch Schools. 2 vols. London, 1860: 1:345.

1863

  • Muller, Frederik. De Nederlandsche geschiedenis in platen. 4 vols. Amsterdam, 1863: 156, no. 1266.

1868

  • Vosmaer, Carel. Rembrandt Harmens van Rijn, sa vie et ses œuvres. The Hague, 1868: 314, 497.

1873

  • Blanc, Charles. L’Oeuvre de Rembrandt. 2 vols. Paris, 1873: 2:435.

1877

  • Vosmaer, Carel. Rembrandt Harmens van Rijn: sa vie et ses oeuvres. 2nd ed. The Hague, 1877: 367, 573.

1879

  • Mollett, John W. Rembrandt. Illustrated biographies of the great artists. London, 1879: 95.

1883

  • Bode, Wilhelm von. Studien zur Geschichte der holländischen Malerei. Braunschweig, 1883: 524, 608-609, no. 375.

1885

  • Dutuit, Eugène. Tableaux et dessins de Rembrandt: catalogue historique et descriptif; supplément à l'Oeuvre complet de Rembrandt. Paris, 1885: 60, 70, repro.

1886

  • Michel, Émile. Rembrandt. Les Artistes Célèbres. Paris, 1886: 97, 99, repro.

1892

  • Müntz, Eugene. "Rembrandt et l’art italien." Gazette des Beaux-Arts 34 (July 1892): 196-211.

1893

  • Michel, Émile. Rembrandt: Sa vie, son oeuvre et son temps. Paris, 1893: 488-489.

1894

  • Michel, Émile. Rembrandt: His Life, His Work, and His Time. 2 vols. Translated by Florence Simmonds. New York, 1894: 2:170-171, 238.

1897

  • Bode, Wilhelm von, and Cornelis Hofstede de Groot. The Complete Work of Rembrandt. 8 vols. Translated by Florence Simmonds. Paris, 1897-1906: 8:152-153, no. 595, repro.

1899

  • Bell, Malcolm. Rembrandt van Rijn and His Work. London, 1899: xvi, 86, 157.

1905

  • Veth, Jan. "Rembrandtiana. I. Rembrandt's wijze van adapteeren." Onze Kunst 4 (July-December 1905): 79-90.

1906

  • Michel, Émile. Rembrandt Harmensz. van Rijn: A Memorial of His Tercentenary. New York, 1906: 110-111.

  • Veth, Jan. "Rembrandts Anpassungsort." Kunst und Künstler 4 (June 1906): 231-242.

  • Wurzbach, Alfred von. Niederlandisches Kunstler-Lexikon. 3 vols. Vienna, 1906-1911: 2(1910):415.

1907

  • 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):143-144, no. 218.

  • 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):120, no. 218.

1908

  • Rosenberg, Adolf. Rembrandt, des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 3rd ed. Stuttgart and Berlin, 1908: repro. 467, 564.

1909

  • Valentiner, Wilhelm R. Catalogue of a collection of paintings by Dutch masters of the seventeenth century. The Hudson-Fulton Celebration 1. Exh. cat. Metropolitan Museum of Art. New York, 1909: xxiii, 106, no. 105, repro., 156, 159.

  • Rosenberg, Adolf. Rembrandt: Des Meisters Gemälde. Edited by Wilhelm R. Valentiner. Klassiker der Kunst in Gesamtausgaben 2. Stuttgart and Leipzig, 1909: repro. 467, 564.

  • Cox, Kenyon. "Art in America, Dutch Paintings in the Hudson-Fulton Exhibition I." The Burlington Magazine 16, no. 81 (December 1909): 183.

1910

  • Waldmann, Emil. "Die Ausstellung holländischer Gemälde des 17. Jahrunderts in New York." _Zeitschrift für Bildende Kunst _ 21 (January 1910): 76, repro.

  • Valentiner, Wilhelm R. Catalogue of a Loan Exhibition of Paintings by Old Dutch Masters Held at the Metropolitan Museum of Art in Connection with the Hudson-Fulton Celebration. New York, 1910: 12, repro. 354, 355, no. 105.

1911

  • Valentiner, Wilhelm R., and Augusto Floriano Jaccaci. Old and modern masters in the collection of M.C.D. Borden. 2 vols. New York, 1911: 1:11, 44, no. 7, repro. opp. 44.

1913

  • Graves, Algernon. A Century of Loan Exhibitions, 1813–1912. 5 vols. London, 1913-1915: 3(1914):1005.

1914

  • Beets, N. "Een 'print van Rafel' en Rembrandt's Lucretia." Nieuwe Rotterdamsche Courant (1 January 1914): 1.

  • Knuttel, Gerhardus. "De Lucretia en Andere Werken van Rembrandt Bij de Firma Fred. Muller & Co. Amsterdam." Elsevier’s Geïllustreerd Maandschrift 47 (February 1914): 139, 140, repro.

  • Veth, Jan. "Rembrandt's Lucretia." Beelden en Groepen 25 (1914): 116-126.

1915

  • Havelaar, Just. Oud-Hollandsche figuurschilders. Haarlem, 1915: 154-155.

1919

  • Havelaar, Just. Oud-Hollandsche figuurschilders. 2nd ed. Haarlem, 1919: 153.

1920

  • Hirschmann, Otto. "Die Sammlung August Janssen." Der Cicerone 12 (January 1920): 17, 18.

  • Madsen, Karl. Catalogue of a Collection of Paintings: Exhibited in the Danish Museum of Fine Art. (H. Heilbuth Collection). Exh. cat. Statens Museum for Kunst, Copenhagen, 1920: 108-111, fig. 63, repro.

1921

  • Gold, Alfred "Die Sammlung Hielbuth." Der Cicerone 13 (March 1921): 89-93, repro. 91.

1922

  • Neumann, Carl. Rembrandt. 2 vols. Revised ed. Munich, 1922: 2:612 n.1, 624.

1923

  • Meldrum, David S. Rembrandt’s Painting, with an Essay on His Life and Work. New York, 1923: 203, pl. 444.

1926

  • Weisbach, Werner. Rembrandt. Berlin, 1926: 571, fig. 192, repro.

1931

  • Valentiner, Wilhelm R. Rembrandt Paintings in America. New York, 1931: no. 164, repro.

1932

  • Rijckevorsel, J. L. A. A. M. van. "Rembrandt en de Traditie." Ph.D. diss., Rijksuniversiteit Nijmegen, 1932: 222.

1935

  • Bredius, Abraham. Rembrandt Schilderijen, 630 Afbeeldingen. Utrecht, 1935: no. 484, repro.

  • Bredius, Abraham. Rembrandt Gemälde, 630 Abbildungen. Vienna, 1935: no. 484, repro.

1936

  • Bredius, Abraham. The Paintings of Rembrandt. New York, 1936: no. 484, repro.

1937

  • Jewell, Edward Alden. "Mellon's Gift." Magazine of Art 30, no. 2 (February 1937): 82.

1941

  • Kieser, Emil. "Über Rembrandts Verhältnis zur Antike." Zeitschrift für Kunstgeschichte 10 (1941/1942): 142.

  • National Gallery of Art. Preliminary Catalogue of Paintings and Sculpture. Washington, 1941: 165, no. 76.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 240, repro. 30.

  • Bredius, Abraham. The Paintings of Rembrandt. 2 vols. Translated by John Byam Shaw. Oxford, 1942: 1:29, no. 484; 2:repro.

1943

  • Benesch, Otto. "The Rembrandt Paintings in the National Gallery of Art." The Art Quarterly 6, no. 1 (Winter 1943): 31-32, 33 fig. 14.

1948

  • Rosenberg, Jakob. Rembrandt. 2 vols. Cambridge, MA, 1948: 1:170, 2:fig. 245.

1949

  • National Gallery of Art. Paintings and Sculpture from the Mellon Collection. Washington, 1949 (reprinted 1953 and 1958): 84, repro.

1950

  • Stechow, Wolfgang. "Review of Jakob Rosenberg, Rembrandt, 1948." The Art Bulletin 32 (September 1950): 252-255.

1951

  • Stechow, Wolfgang. "Lucretia Statua." In Essays in Honor of Georg Swarzenski. Edited by Oswald Goetz. Chicago and Berlin, 1951: 114-124, note 46.

1959

  • Benesch, Otto. "Rembrandt and Ancient History." The Art Quarterly 22 (Winter 1959): 308-333.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 314, repro.

1964

  • Rosenberg, Jakob. Rembrandt: Life and Work. Revised ed. Greenwich, Connecticut, 1964: 286, 360, fig. 245, note 33a, repro. 286.

1965

  • National Gallery of Art. Summary Catalogue of European Paintings and Sculpture. Washington, 1965: 109.

1966

  • Gimpel, René. Diary of an Art Dealer. Translated by John Rosenberg. New York, 1966: 161.

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture: 1600–1800. Pelican History of Art. Baltimore, 1966: 74.

  • Bauch, Kurt. Rembrandt Gemälde. Berlin, 1966: 15, no. 284, repro.

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1: 234, color repro.

1967

  • Livermore, Ann. "Rembrandt and Jansen: a new interpretation." Apollo 85 (April 1967): 240-245, fig. 9.

1968

  • Gerson, Horst. Rembrandt Paintings. Amsterdam, 1968: 430, 503, no. 373, repro. 431.

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 97, repro.

1969

  • Haak, Bob. Rembrandt: His Life, His Work, His Time. Translated by Elizabeth Willems-Treeman. New York, 1969: 313, no. 531, color repro.

  • Held, Julius S. Rembrandt's 'Aristotle' and Other Rembrandt Studies. Princeton, 1969: 95, fig. 3, repro.

  • Bredius, Abraham. Rembrandt: The Complete Edition of the Paintings. Revised by Horst Gerson. 3rd ed. London, 1969: repro. 394, 596, no. 484.

  • 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: 6, 33, no. 23, repro.

1970

  • Benesch, Otto. Otto Benesch Collected Writings. 2 vols. Edited by Eva Benesch. London and New York, 1970: 1:140-146, fig. 119.

1972

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture, 1600 to 1800. The Pelican History of Art 27. Revised paperback ed. Harmondsworth, 1972: 126.

1973

  • Held, Julius S. "Das gesprochene Wort bei Rembrandt." In Neue Beiträge zur Rembrandt-Forschung. Edited by Otto van Simson and Jan Kelch. Berlin, 1973: 111-125, repro. 78.

1975

  • National Gallery of Art. European paintings: An Illustrated Summary Catalogue. Washington, 1975: 284, repro.

  • Walker, John. National Gallery of Art, Washington. New York, 1975: 283, no. 375, color repro.

1976

  • Sonnenburg, Hubertus von. "Maltechnische Gesichtspunkte zur Rembrandtforschung." Maltechnik-Restauro 82 (1976): 14.

1977

  • Broos, Ben P. J. Index to the Formal Sources of Rembrandt's Art. Maarssen, 1977: 49-50.

1979

  • Strauss, Walter L., and Marjon van der Meulen. The Rembrandt Documents. New York, 1979: 418.

1982

  • Kitson, Michael. Rembrandt. 2nd ed. Oxford, 1982: 48.

1984

  • Schwartz, Gary. Rembrandt: Zijn leven, zijn schilderijen. Maarssen, 1984: 330, no. 382, repro.

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 283, no. 369, color repro., as by Rembrandt van Ryn.

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture. The Pelican History of Art. Revised ed. Harmondsworth, 1984: 74.

1985

  • National Gallery of Art. European Paintings: An Illustrated Catalogue. Washington, 1985: 329, repro.

  • Schwartz, Gary. Rembrandt: His Life, His Paintings. New York, 1985: 330, no. 382, repro.

1986

  • Sutton, Peter C. A Guide to Dutch Art in America. Washington and Grand Rapids, 1986: 313.

  • Tümpel, Christian. Rembrandt. Translated by Jacques and Jean Duvernet, Léon Karlson, and Patrick Grilli. Paris, 1986: repro. 346, 403, no. 114.

  • Guillaud, Jacqueline, and Maurice Guillaud. Rembrandt: das Bild des Menschen. Translated by Renate Renner. Stuttgart, 1986: 371, no. 424, color repro.

  • Guillaud, Jacqueline, and Maurice Guillaud. Rembrandt, the human form and spirit. Translated by Suzanne Boorsch et al. New York, 1986: no. 424, color repro.

1989

  • Garrard, Mary D. Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art. Princeton, 1989: 237-239, no. 203, repro. 239.

1990

  • Buijsen, Edwin. "The Battle against the Dollar: The Dutch reaction to American collecting in the period from 1900 to 1914." In Great Dutch Paintings from America. Edited by Ben P. J. Broos. Exh. cat. Royal Picture Gallery Mauritshuis, The Hague; Fine Arts Museums of San Francisco. The Hague and Zwolle, 1990: 60-77, repro. 69.

1991

  • Wheelock, Arthur K., Jr., and George S. Keyes. Rembrandt's Lucretias. Exh. brochure. National Gallery of Art, Washington, 1991.

  • Bal, Mieke. Reading "Rembrandt": Beyond the Word-Image Opposition. Cambridge New Art History and Criticism. Cambridge, 1991: 64-74, 102, 105, 122, 140, 169, 245, 362, 448 n. 45, repro. 2.1.

  • Emison, Patricia. "The singularity of Raphael's Lucretia." Art History 14, no. 3 (September 1991): 372-396.

1992

  • Fehl, Philipp P. Decorum and wit: the poetry of Venetian painting: essays in the history of the classical tradition. Bibliotheca artibus et historiae. Vienna, 1992: 214, ill. 145.

1995

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1995: 280-287, color repro. 281.

1997

  • Fleischer, Roland E., and Susan C. Scott, eds. Rembrandt, Rubens, and the art of their time: recent perspectives. Papers in art history from the Pennsylvania State University 11. University Park, PA, 1997: no. 1-7, repro.

1998

  • Gibson, Sarah S. "Adultery." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 1:31.

  • Roberts, Helene E., ed. Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. 2 vols. Chicago, 1998: 1:31.

1999

  • Zuffi, Stefano and Francesca Castria, La peinture baroque. Translated from Italian by Silvia Bonucci and Claude Sophie Mazéas. Paris, 1999: 184, color repro.

  • Schama, Simon. Rembrandt's Eyes. New York, 1999: 660, repro.

  • Minor, Vernon Hyde. Baroque and Rococo Art and Culture. New York, 1999: 170, repro.

  • Jensen, Knud W. De glade givere: museernes bedste billeder. Exh. cat. Louisiana Museum of Modern Art, Humlebaek, 1999: 111, repro.

2000

  • Wright, Christopher. Rembrandt. Collection Les Phares 10. Translated by Paul Alexandre. Paris, 2000: 77, fig. 66.

2001

  • Brown, Ron. The Art of Suicide. London, 2001: 106, repro.

  • Bal, Mieke. Looking In: The Art of Viewing. Critical voices in art, theory and culture. Amsterdam, 2001: 96, repro.

  • Lloyd Williams, Julia. Rembrandt's Women. Exh. cat. National Gallery of Scotland, Edinburgh; Royal Academy of Arts, London. London, 2001: no. 141, repro.

2002

  • Dixon, Annette, ed. Women who Ruled: Queens, Goddesses, Amazons in Renaissance and Baroque Art. Exh. cat. University of Michigan Museum of Art, Ann Arbor. London, 2002: 73, repro.

2003

  • Golahny, Amy. Rembrandt's Reading: The Artist's Bookshelf of Ancient Poetry and History. Amsterdam, 2003: 148, 151, fig. 37.

  • Baines, Barbara J. Representing rape in the English early modern period. Mellen studies in literature: Jacobean drama 106. Lewiston, 2003: 250, repro. 15.

  • Waagen, Gustav Friedrich. Treasures of Art in Great Britain. Translated by Elizabeth Rigby Eastlake. Facsimile edition of London 1854. London, 2003: 2:137, no. 1.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington, 2004: 200-201, no. 157, color repro.

  • Braider, Christopher. Baroque Self-Invention and Historical Truth: Hercules at the Crossroads. Burlington, VT, 2004: 56, 58, repro.

2006

  • Rønberg, Lene Bøgh, and Eva de la Fuente Pedersen. Rembrandt?: The Master and His Workshop. Exh. cat. Statens Museum for Kunst, Copenhagen, 2006: 206, fig. 18.

2007

  • Lopez, Jonathan. "‘Gross False Pretenses’: The Misdeeds of Art Dealer Leo Nardus." Apollo ser. 2, 166, no. 548 (December 2007): 80-81, fig. 10.

2011

  • Keyes, George S., Tom Rassieur, and Dennis P. Weller. Rembrandt in America: collecting and connoisseurship. Exh. cat. North Carolina Museum of Art, Raleigh; Cleveland Museum of Art; Minneapolis Institute of Arts. New York, 2011: fig. 86, 154-156.

  • Bailey, Colin B. Rembrandt and His School: Masterworks from the Frick and Lugt Collections. Exh. cat. Frick Collection, New York, 2011: 20-21, color repro.

2014

  • Bikker, Jonathan, and Gregor J.M. Weber. Rembrandt: The Late Works. Exh. cat. National Gallery, London; Rijksmuseum, Amsterdam. London, 2014: no. 115, repro. (detail) 234, 243-245, repro. 246, 298.

  • Wieseman, M.E., Jonathan Bikker, et al. Rembrandt: The Late Works, Supplement with Provenance, Selected Literature and Bibliography. Online supplement to Exh. cat. National Gallery London; Rijksmuseum, Amsterdam. London, 2014, https://www.nationalgallery.org.uk/media/25834/rembrandt-supplement.pdf:19.

2018

  • Meersschaert, Erik. Adrian Brouwer--zo zijn leven, zo zijn werk. Oudenaarde, 2018: 256, 257, color repro.

2021

  • Quodbach, Esmée. "A forgotten episode from America's history of collecting: the rise and fall of art dealer Leo Nardus, 1894-1908." Simiolus 43, no. 4 (2021): 353-375, esp. 373 fig. 25.

Inscriptions

center left: Rembrandt / 1664

Wikidata ID

Q3976750

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