.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
Long considered to be an autograph work by Rembrandt, this small, spirited head study now divides scholarly opinion. Given to Rembrandt by Wilhelm Valentiner in 1921, an opinion apparently shared by Cornelis Hofstede de Groot, whose certificate dated April 1920 at one time accompanied the painting, its authorship was reportedly first doubted by David Carritt in the mid-twentieth century.
Recent dendrochronological analysis (report available upon request) suggests a terminus post quem of circa 1588, and the use of Baltic oak is a strong indicator that the panel pre-dates circa 1655. The broad, spirited brushwork has drawn comparisons with Rembrandt's later pupils from the 1640s and 50s, including Carel Fabritius and Jacobus Leveck. Two notable examples are a small, oval tronie at the Walker Art Gallery in Liverpool (inv. no. 959) now given to the circle of Carel Fabritius and dated to 1650-52; and a Head of a Pilgrim assigned to Rembrandt's studio and dated to circa 1648 (private collection)1. Both depict a model similar in appearance, rendered with a comparably rich application of paint. Other opinions on the present work however tend towards a later hand imitating Rembrandt's mature style.
1. Exhibited Paris, Musée du Louvre, Philadelphia Museum of Art and Detroit Institute of Art, Rembrandt and the Face of Jesus, 21 April 2011-12 February 2012, no. 34.
A note on the provenance
The Wernher chapter at Luton Hoo began when Sir Julius Wernher, 1st Bt. (1850-1912) purchased the estate in 1903. Wernher was a German-born diamond magnate naturalised in Britain in 1897; by his death, he was one of the wealthiest men in the United Kingdom. Throughout his life he amassed the foundations of the Wernher collection, which would grow to rival those of Britain’s greatest connoisseurs in its range, rarity and quality. It spanned more than a thousand years in history, from the early 10th Century to his own lifetime, and comprised Old Master paintings, Renaissance sculpture and an exceptional range of decorative arts and objects.
Sir Julius's discerning eye and zeal for collecting clearly passed down to his second son, Harold, who inherited Luton Hoo following his mother’s death in 1922. Originally built by celebrated Scottish architect Robert Adam within sweeping grounds designed by Capability Brown, the house had undergone an opulent remodelling in the Edwardian style under Sir Julius' direction, producing a magnificent backdrop for the Wernher collection, which continued to grow under the stewardship of Harold and his wife.
In 1917 Harold had married Lady Zia, or Countess Anastasia Mikhailovna of Torby; a descendant of Tsar Nicholas I of Russia, Lady Zia brought to Luton Hoo an exceptional collection of works by Fabergé along with other Renaissance and Russian artefacts. Upon the death of his elder brother Sir Derrick Wernher (1889-1948) who had no male issue, Harold inherited the Wernher baronetcy.
Recent dendrochronological analysis (report available upon request) suggests a terminus post quem of circa 1588, and the use of Baltic oak is a strong indicator that the panel pre-dates circa 1655. The broad, spirited brushwork has drawn comparisons with Rembrandt's later pupils from the 1640s and 50s, including Carel Fabritius and Jacobus Leveck. Two notable examples are a small, oval tronie at the Walker Art Gallery in Liverpool (inv. no. 959) now given to the circle of Carel Fabritius and dated to 1650-52; and a Head of a Pilgrim assigned to Rembrandt's studio and dated to circa 1648 (private collection)1. Both depict a model similar in appearance, rendered with a comparably rich application of paint. Other opinions on the present work however tend towards a later hand imitating Rembrandt's mature style.
1. Exhibited Paris, Musée du Louvre, Philadelphia Museum of Art and Detroit Institute of Art, Rembrandt and the Face of Jesus, 21 April 2011-12 February 2012, no. 34.
A note on the provenance
The Wernher chapter at Luton Hoo began when Sir Julius Wernher, 1st Bt. (1850-1912) purchased the estate in 1903. Wernher was a German-born diamond magnate naturalised in Britain in 1897; by his death, he was one of the wealthiest men in the United Kingdom. Throughout his life he amassed the foundations of the Wernher collection, which would grow to rival those of Britain’s greatest connoisseurs in its range, rarity and quality. It spanned more than a thousand years in history, from the early 10th Century to his own lifetime, and comprised Old Master paintings, Renaissance sculpture and an exceptional range of decorative arts and objects.
Sir Julius's discerning eye and zeal for collecting clearly passed down to his second son, Harold, who inherited Luton Hoo following his mother’s death in 1922. Originally built by celebrated Scottish architect Robert Adam within sweeping grounds designed by Capability Brown, the house had undergone an opulent remodelling in the Edwardian style under Sir Julius' direction, producing a magnificent backdrop for the Wernher collection, which continued to grow under the stewardship of Harold and his wife.
In 1917 Harold had married Lady Zia, or Countess Anastasia Mikhailovna of Torby; a descendant of Tsar Nicholas I of Russia, Lady Zia brought to Luton Hoo an exceptional collection of works by Fabergé along with other Renaissance and Russian artefacts. Upon the death of his elder brother Sir Derrick Wernher (1889-1948) who had no male issue, Harold inherited the Wernher baronetcy.