These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
(Possibly) Samson Gideon (1699–1762), London, and by descent to his son,
Sir Sampson Gideon, 1st Bt., later 1st Baron Eardley (1746-1824).
with Thomas Emmerson, London.
Baron Johan Gjsbert Verstolk van Soelen (1776-1845), The Hague, where acquired en bloc with the Verstolk van Soelen collection by the following in 1846,
with Chaplin, London, where acquired en bloc with the Verstolk van Soelen collection by a consortium of,
Samuel Jones Lloyd (1796-1883), later 1st Baron Overstone, Humphrey Mildmay (1794-1853), and Thomas Baring (1799-1873), London and Stratton Park, Hampshire.
Sir Thomas Baring, 2nd Bt., MP (1772-1848), Stratton Park, Hampshire, and by descent to his son,
Sir Francis Thornhill Baring, 3rd Bt., later Baron Northbrook (1796-1866), and by descent to his son,
Thomas George Baring, 2nd Baron Northbrook, later 1st Earl of Northbrook (1826-1904), and by descent to his son,
Francis George Baring, 2nd Earl of Northbrook (1850-1929), until sold between after 1916 and 1929.
(Possibly) with Colnaghi, London, September 1929.
Baron Heinrich Thyssen-Bornemisza (1875-1947), Villa Favorita, Castagnola, near Lugano, by 1930.
with Knoedler, New York, where acquired by the mother-in-law of the present owner.
Property of a Lady
G.F. Waagen, Galleries and Cabinets of Art in Great Britain: Supplement, London, IV, 1857, p. 98.
W. von Bode, Studien zur Geschichte der Holländischen Malerei, Braunschweig, 1883, pp. 539 and 588, no. 224.
E. Dutuit, Tableaux et Dessins de Rembrandt: Catalogue historique et descriptive...Supplement à L’Oeuvre complet de Rembrandt, Paris, 1885, III, pp. 47, 65 and 70, no. 440.
E. Dutuit, Rembrandt, Paris, 1885, pp. 47 and 70.
A. von Wurzbach, Rembrandt-Galerie, Stuttgart, 1886, no. 228.
F.G. Northbrook, T. Baring. J.P. Richter, and J.H.J. Weal, A Descriptive Catalogue of the Collection of Pictures belonging to the Earl of Northbrook, London, 1889, p. 62, no. 85.
E. Michel, Rembrandt: His Life and his Work and his Time, Paris, 1893, pp. 500 and 558.
W. von Bode and C. Hofstede de Groot, The Complete Work of Rembrandt, Paris, 1897, VII, pp. 12, 93-4, 178 and 213, no. 516.
M. Bell, Rembrandt van Rijn and his Work, London, 1899, pp. 86 and 150.
E. Michel, Rembrandt: His Life his Work and his Time, New York, 1903 (English edition), pp. 390 and 433.
E. Sharp, Rembrandt, London, 1904, p. 192.
W.R. Valentiner, Rembrandt: Klassiker der Kunst, Stuttgart and Berlin, 1908, p. 509.
A. Rosenberg, The Work of Rembrandt, New York, 1909, p. 509.
Dr. A von Wurzback, Niederländisches Künstler-Lexikon, Leipzig, 1910, p. 404.
H. Macfall, The History of Painting: The Dutch Genius, London, 1911, V, p. 123.
C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, London, 1916, VI, pp. 217-8, no. 401.
I. Errera, Répertoire des Peintures Datées, Paris, 1920, p. 322.
D. S. Meldrum, Rembrandt’s Paintings with an Essay on his Life and Work, London, 1923, pp. 86 and 203, pl. 439.
G. Biermann, ‘Die Sammlung Schloss Rohoncz’, Der Cicerone, July 1930, p. 362.
A.L. Mayer, ‘Die Ausstellung der Sammlung “Schloss Rohoncz” in der Neuen Pinakothek, Munchen’, Pantheon, July 1930, pp. 55 and 313.
A.L. Mayer, Apollo Magazine, August 1930, p. 89.
W.R. Deutsch, ‘Notes from the Continent’, The Antiquarian, September 1930, pp. 43 and 49.
The International Studio, October 1930, p. 86.
A. Bredius, Rembrandt Gemälde, Vienna, 1935, p. 14, no. 325, pl. 325.
K. Bauch, Rembrandt: Gemälde, Berlin, 1966, p. 13, no. 246, pl. 246.
A. Bredius, Rembrandt: The Complete Edition of the Paintings, revised by H. Gerson, London, 1969, pp. 252 and 575, no. 325, questioning the attribution without inspection of the original.
P. Lecaldano, The Complete Paintings of Rembrandt, London, 1969, p. 130, under ‘Altre opere rembrandtiane gia considerate dalla critica o presenti in pubbliche raccolte’.
A.K. Wheelock, Jr., ‘An art historian’s journey, and Rembrandt’s forgotten “Portrait of a bearded old man wearing a beret” revisited’, Kroniek van het Rembrandthuis, 2011, pp. 12-19.
Amsterdam, Stedelijk Museum, Rembrandt Tentoonstelling, September-October 1898, no. 121.
London, Royal Academy, Exhibition of works by Rembrandt, Winter Exhibition, 1899, no. 17.
Munich, Neue Pinakothek, Sammlung Schloss Rohoncz, 1930-1, no. 272.
Munich, The Sammlung Schloss Rohoncz Collection, 1937, no. 347.