Young Woman at an Open Half-Door

London, British Institution, Pictures of the Italian, Spanish, Flemish, Dutch, and French Schools, 1818, no. 100.

John Smith, A Catalogue raisonné of the works of the most eminent Dutch, Flemish, and French Painters, vol. 7, London, 1836, no. 532.

to George Hibbert, London [Hibbert and Sir Simon Clarke supplied the funds for Bryan’s extensive purchases at the Robit sale and retained many of the pictures]

Art Institute of Chicago, Works of Old Dutch Masters, 1890, no. 5.

Eugène Dutuit, Tableaux et dessins de Rembrandt. Catalogue historique et descriptif. Supplément à l’oeuvre complet du Rembrandt, Paris, 1885, pp. 9, 11, 21, 68, no. 310.

by descent to A. Holland Hibbert [for this and the following transaction see the memorandum cited above]

Art Institute of Chicago, Rembrandt after Three Hundred Years. An Exhibition of Rembrandt and his Followers, no. 8, traveled to Minneapolis Institute of Arts and Detroit Institute of Arts.

Art Institute of Chicago Annual Report, 1895, p. 43.

sold through Durand-Ruel, Paris, June 1890, as part of a group of Dutch and Flemish paintings, many from the Demidoff collection, with funds advanced by Martin A. Ryerson and other trustees of the Art Institute [annual report 1891]

London, British Institution, Pictures by Italian, Spanish, Flemish, Dutch, French and deceased English masters, 1844, no. 23.

C. Vosmaer, Rembrandt. Sa vie et ses oeuvres, 2nd ed., The Hague, 1877, p. 538.

offered for sale, Christie’s London, 13 1829, no. 68, bought in

Art Institute of Chicago, Paintings, Sculptures and other objects exhibited during the World’s Congresses, 1893, no. 5.

Art Institute of Chicago Annual Report, 1891, pp. 10-11, 31, no. 5.

sold by him to Prince Paul Demidoff (died 1885), San Donato, 1880

W[illiam] Buchanan, Memoirs of Painting, with a chronological history of the importation of pictures by the great masters into England since the French Revolution, vol. 2, London, 1824, p. 72, no. 163.

De Gueffier, Paris

the cost of 1894.1022 was re-imbursed by Ryerson.

London, British Institution, Pictures by Italian, Spanish, Flemish, Dutch, French and English masters, 1857, no. 87.

Wilhelm Bode, Studien zur Geschichte der holländischen Malerei, vol. 2, Braunschweig, 1883, pp. 497, 609, no. 373.

copy in curatorial file]

Detroit Institute of Arts, Loan Exhibition of Paintings by Rembrandt, no. 42.

Emile Michel, Rembrandt, sa vie, son oeuvre et son temps, Paris, 1893, French ed.?

by descent to Princess Demidoff (formerly Princess Lise Troubetzkoi), 1885

Vienna, Kunsthistorisches Museum, Rembrandt - Hoogstraten. Colour and Illusion, Oct. 8, 2024–Jan. 12, 2025, fig. 80 as by Hoogstraten; Amsterdam, Museum Rembrandthuis, The Illusionist. Samuel van Hoogstraten, Feb. 1–May 4, 2025.

Sabine Pénot, ed., Rembrandt - Hoogstraten. Colour and Illusion, exh. cat. (Vienna: Hannibal, 2024), 165, 168 (ill.), 169 cat. 80 as by Hoogstraten, 258.

Celia Hilliard, "'The Prime Mover': Charles L. Hutchinson and the Making of the Art Institute of Chicago," Art Institute of Chicago Museum Studies 36,1 (2010), pp. 43, 44.

Jonathan Bikker, Willem Drost (1633-1659): A Rembrandt Pupil in Amsterdam and Venice (New Haven and London, 2005, pp. 152-153, 189, fig. R21a.

Rembrandt et son école. Collection du musée de l’Ermitage de Saint Pétersbourg, exh. cat., Musée des Beaux-Arts, Dijon, 2003, pp. 152-154, fig. 29a.

Léon Krempel, Studien zu den datierten Gemälden des Nicolaes Maes (1634-1693), Petersberg, 2000, pp. 34, 367, no. F 9, fig. 431.

JoLynn Edwards, Alexandre-Joseph Paillet, Expert et marchand de tableaux à la fin du XVIIIe siècle, Paris, 1996, p. 304, no. 120.

sold Paillet, Paris, 1 March 1791, no. 67, “Une jeune Fille du pays de Frise, appuyée devant une croisée” (a young girl from Friesland leaning on a half-door”) together with a painting at half-length of a young soldier in armor, buckling his sword belt. François-Antoine Robit, Paris, sold Paillet and Delaroche, Paris, May 11 and following, 1801, no. 120, as a pendant to no. 119, portrait of a young warrior, for 2500 fr. to Lafontaine as an agent for Michael Bryan [see Edwards 1996, p. 304]

Celeste Brusati, Artifice and Illusion. The Art and Writing of Samuel van Hoogstraten, Chicago and London, 1995, p. 278 n. 62, as implausible as Hoogstraten.

Arthur K. Wheelock, Jr., The Collections of the National Gallery of Art, Systematic Catalogue, Dutch Paintings of the Seventeenth Century, Washington, D.C., 1995, pp. 292, 295 n. 19, fig. 6.

Celeste Brusati, Artifice and Illusion. The Art and Writing of Samuel van Hoogstraten, Chicago and London, 1995, p. 278 n. 62.

Rüdiger Klessmann, “Eine Schenkung an Polen. Holländische Gemälde aus der Sammlung Lanckoronska,” Weltkunst 17 (1995), pp. 2253-54, fig. 5.

Walter Liedtke in Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship, exh. cat., New York, Metropolitan Museum of Art, 1995, vol. 2, pp. 28, 38, 136.

Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. 6, Landau/Pfalz, [1994], p. 3628, no. 1326.

Rembrandt van Rijn, Girl at a Window, exh. cat., Dulwich Picture Gallery, Dulwich, 1993, p. 64, under no. 13, ill, 65.

Neil Harris, “Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893-1993,” Chicago, [1993], p. 24, pl. 6.

Arthur Wheelock, “A ‘Girl with a Broom’: A Problem of Attribution” in Rembrandt and his Pupils. Papers given at a Symposium in Nationalmuseum, Stockholm, 2-3 October 1992, ed. Görel Cavalli-Björkman, Stockholm, 1993, pp. 142-55, figs. 6, 7.

Albert Blankert, “Rembrandt and his Followers: Notes on Conneoisseurshop—its Potential and Pitfalls” in Rembrandt and his Pupils. Papers given at a Symposium in Nationalmuseum, Stockholm, 2-3 October 1992, ed. Görel Cavalli-Björkman, Stockholm, 1993, pp. 94, 97 n. 23.

Walter Liedtke, review of Nationalmuseum, Stockholm, Rembrandt and his Age in Burlington Magazine 134 (1992), p. 830.

Walter Liedtke, “Some Paintings not by Rembrandt in the Metropolitan Museum” Rembrandt and his Pupils. Papers given at a Symposium in Nationalmuseum, Stockholm, 2-3 October 1992, ed. Görel Cavalli-Björkman, Stockholm, 1993, p. 138.

Berlin, Altes Museum, Rembrandt: The Master and his Workshop, September 13 - November 10, 1991, cat. 72, as attributed to Samuel van Hoogstraten; Amsterdam, Rijksmuseum, December 4, 1991 - March 1, 1992; London, National Gallery, March 26 - May 24, 1992.

Walter Liedtke, “The Collectors and Their Ideals,” in Ben Broos, Great Dutch Paintings from America, exh. cat. (The Hague, Mauritshuis, 1990), p. 35.

J. Bruyn, review of Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. 3 in Oud Holland 102 (1988), pp. 328-29, 333 n. 30.

Jacques Foucart, Peintres rembranesques au Louvre, les dossiers du département des peintures, no. 35, exh. cat., Musée du Louvre, Paris, 1988, pp. 80-81, ill.

David R. Smith, “’I Janus:’ Privacy and the Gentlemanly Ideal in Rembrandt’s Portraits of Jan Six,” Art History 11 (1988), 51, fig. 50.