ArtworkStatus unknown

The Degradation of Haman before Ahasuerus and Esther

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paper (fiber product)16 × 19 Cm

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About the artwork
Artist supplied description.

Although many attributions are based on visual observation, technical methods in use since the early 1900s provide material evidence that can supplement what the unassisted eye can register. In other words, investigating a work’s material composition and physical structure allows experts to base an attribution on how a work was made in addition to what it looks like. Current forms of analysis include technical imaging like beta radiography, X-ray fluorescence spectroscopy, and hyperspectral photography, as well as examination under strong magnification. Technical analysis of this drawing has found that two distinct campaigns of execution took place at different times and that two different types of ink were used. These findings support a hypothesis that the drawing was started by a member of Rembrandt’s workshop and then corrected by Rembrandt or one of the more advanced students under his supervision.

Artwork metadata
Structured fields synced from connected systems.
Mediumpaper (fiber product)
Dimensions16 × 19 Cm
CertificateCertificate not provided
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
Mon
09
Feb
note

by descent to his daughters, Mrs....

by descent to his daughters, Mrs. Chauncey McCormick (née Marion Deering
Mon
09
Feb
exhibition

The Art Institute of Chicago, "Rubens, Rembrandt, and Drawing in the Golden Age", September 28, 2019 - January 5, 2020, pp. 65, 67 (ill.), 310, 334, cat. 18, cat. by Victoria Sancho Lobis, et. al.

The Art Institute of Chicago, "Rubens, Rembrandt, and Drawing in the Golden Age", September 28, 2019 - January 5, 2020, pp. 65, 67 (ill.), 310, 334, cat. 18, cat. by Victoria Sancho Lobis, et. al.
Mon
09
Feb
note

Shelley Perlove and George S. Keyes

Shelley Perlove and George S. Keyes (editors), Seventeenth-Century European Drawings in Midwestern Collections (South Bend Ind.: University of Notre Dame Press, 2014), pp. 174, no. 69, 175 (ill.) (as school of Rembrandt).
Mon
09
Feb
note

1885–1957), Chicago

1885–1957), Chicago
Mon
09
Feb
note

Hans Tietze, European Master Drawings in the United States

Hans Tietze, European Master Drawings in the United States (New York, 1947), pp. 150–151, no. 75 (ill.) (as Aert de Gelder).
Mon
09
Feb
exhibition

Worcester Art Museum, Rembrandt and his Circle, A Loan Exhibition of Paintings, Drawings, and Etchings, Feb. 4–Mar. 1, 1936, p. 44, no. 49 (as Arent de Gelder).

Worcester Art Museum, Rembrandt and his Circle, A Loan Exhibition of Paintings, Drawings, and Etchings, Feb. 4–Mar. 1, 1936, p. 44, no. 49 (as Arent de Gelder).
Mon
09
Feb
exhibition

Art Institute of Chicago, [Loan Exhibition of] Paintings, Drawings, and Etchings by Rembrandt and His Circle, Dec. 19, 1935–Jan. 19, p. 38–39, cat. 49 (as Arent de Gelder).

Art Institute of Chicago, [Loan Exhibition of] Paintings, Drawings, and Etchings by Rembrandt and His Circle, Dec. 19, 1935–Jan. 19, p. 38–39, cat. 49 (as Arent de Gelder).
Mon
09
Feb
exhibition

Art Institute of Chicago, A Century of Progress, Exhibition of Paintings and Sculpture, Lent from American Collections, June 1–November 1, 1933, p. 86, cat. 805 (as Arent de Gelder).

Art Institute of Chicago, A Century of Progress, Exhibition of Paintings and Sculpture, Lent from American Collections, June 1–November 1, 1933, p. 86, cat. 805 (as Arent de Gelder).
Mon
09
Feb
note

Daniel Catton Rich, “Two Drawings of the Rembrandt School,” Bulletin of the Art Institute of Chicago XXIII: 5

Daniel Catton Rich, “Two Drawings of the Rembrandt School,” Bulletin of the Art Institute of Chicago XXIII: 5 (1929), p. 53–55 (ill.) (as Aert de Gelder?).
Mon
09
Feb
note

W. McC. McK. “Drawings from the Charles Deering Collection,” Bulletin of the Art Institute of Chicago XXII

W. McC. McK. “Drawings from the Charles Deering Collection,” Bulletin of the Art Institute of Chicago XXII (May, 1928), p. 65 (as De Gelder)
Mon
09
Feb
note

15th Earl of Shrewsbury (1753–1827), Alton Towers, Staffordshire, England [Deering collection records]....

15th Earl of Shrewsbury (1753–1827), Alton Towers, Staffordshire, England [Deering collection records].  Charles Deering (1852–1927), Chicago [stamp (Lugt 516) verso, lower left, in blue]
Mon
09
Feb
note

given to the Art Institute of Chicago, 1927.

given to the Art Institute of Chicago, 1927.
Tue
09
Feb
note

Nathan Goldstein, The Art of Responsive Drawing, 5th ed.

Nathan Goldstein, The Art of Responsive Drawing, 5th ed. (Upper Saddle River, N. J., 1999), pp. 349–350, fig. 12.22.
Tue
09
Feb
note

1886–1965), Chicago and Mrs....

1886–1965), Chicago and Mrs. Richard Ely Danielson (née Barbara Deering
© Artist-Unknown. All rights reserved.