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Lot Essay
The prototype, signed and dated 163., oil on canvas, 159 x 131 cm, is in the Gemäldegalerie Staatliche Museen Preussischer Kulturbesitz, Berlin (J. Bruyn, et al., op. cit., no.A 109). There are major differences between the prototype and the present copy: the format has been changed from upright to horizontal by an extension on the left, which shows the negro page in full; further he wears a feathered cap and a goat is depicted on his right. Finally, Samson's knees are depicted.
The Project recognised that Samson in the present picture shows the figure as originally intended; the bottom edge of the prototype having been trimmed by circa 10 cm. They left an explanation of the extension open, dismissing however the statement by Hofstede de Groot, followed by Bredius, Bauch and Gerson, that the Berlin prototype was only a fragment, as cusping along all edges of the prototype was observed. J. Kelch was the first to suggest that the left hand part of the present lot could be a later addition, having detected a vertical seam line corresponding with the left edge of the prototype.
The present picture has been recently physically examined by the Rembrandt Research Project. The technical data, found with the help of X-rays and pigment research, confirm that the canvas consists of two vertical strips with a seam corresponding with the left edge of the prototype. The width of 131,5 cm of the right strip of canvas matches the width of the prototype and probably equalled the standard measure of 2 ell, in which canvases were delivered (see E. van de Wetering, Rembrandt the Painter at Work, 2000, p.124, table C). The thread density fits with other pictures by Rembrandt from the same period, especially the Bellona of 1633 in the Metropolitan in New York (see E. van de Wetering, op. cit., p.103, table B). The ground consists of two layers, the first being in red ochre, the second of a lead white and black pigment. This is the type of ground frequently found in pictures by Rembrandt from his first Amsterdam years, for which see E. van de Wetering, op. cit., pp.129/30. E. van de Wetering, op. cit., p.109, points out that in Rembrandt's first few years in Amsterdam it is very improbable that paintings in his style were executed outside his studio. This has led the Project to conclude that the present copy must be a studio work and is an addition to the studio copies such as Abraham's Sacrifice in the Alte Pinakothek Munich (A 108) and the Archangel Raphael leaving Tobit (under A 121).
X-rays further demonstrated that the ground on the two pieces of canvas was not applied simultaneously, and that as all the edges show cusping, the left hand edge was added, possibly later, but still in Rembrandt's studio. The feathered hat worn by the page was probably available as a studio prop as it is similar to that in the Prodigal Son at Dresden (J. Bruyn, et al., op. cit., no.111) executed by Rembrandt circa 1635.
The subject is taken from Judges XV:1-3, in which is described Samson's anger at being repulsed by his father-in-law having brought a kid as a gift to reconcile his wife. The addition on the left in the present picture might therefore have been made so that the artist could demonstrate that he was indeed closely following the Biblical text. The inclusion of the kid crucial in the story, would have allowed immediate recognition of the subject. As pointed out by F. Gorissen, op. cit, pp.69/70, the identification of the subject of the Berlin was indeed long obscured; it was recognized by E. Kolloff, Rembrandt's Leben und Werke, 1854, pp.402 ff. Before then it was identified as an episode from the history of the province of Gelderland, showing Duke Adolf of Egmond in prison, for which see F. Gorissen, loc. cit.
Another studio copy, omitting the addition as shown in the present copy, is in the Chrysler Museum Norfolk, VA, inv. L 79.177 (J. Bruyn, op. cit, p.123, under no.A 109 copy no.2; p.121, fig.7).
The Project recognised that Samson in the present picture shows the figure as originally intended; the bottom edge of the prototype having been trimmed by circa 10 cm. They left an explanation of the extension open, dismissing however the statement by Hofstede de Groot, followed by Bredius, Bauch and Gerson, that the Berlin prototype was only a fragment, as cusping along all edges of the prototype was observed. J. Kelch was the first to suggest that the left hand part of the present lot could be a later addition, having detected a vertical seam line corresponding with the left edge of the prototype.
The present picture has been recently physically examined by the Rembrandt Research Project. The technical data, found with the help of X-rays and pigment research, confirm that the canvas consists of two vertical strips with a seam corresponding with the left edge of the prototype. The width of 131,5 cm of the right strip of canvas matches the width of the prototype and probably equalled the standard measure of 2 ell, in which canvases were delivered (see E. van de Wetering, Rembrandt the Painter at Work, 2000, p.124, table C). The thread density fits with other pictures by Rembrandt from the same period, especially the Bellona of 1633 in the Metropolitan in New York (see E. van de Wetering, op. cit., p.103, table B). The ground consists of two layers, the first being in red ochre, the second of a lead white and black pigment. This is the type of ground frequently found in pictures by Rembrandt from his first Amsterdam years, for which see E. van de Wetering, op. cit., pp.129/30. E. van de Wetering, op. cit., p.109, points out that in Rembrandt's first few years in Amsterdam it is very improbable that paintings in his style were executed outside his studio. This has led the Project to conclude that the present copy must be a studio work and is an addition to the studio copies such as Abraham's Sacrifice in the Alte Pinakothek Munich (A 108) and the Archangel Raphael leaving Tobit (under A 121).
X-rays further demonstrated that the ground on the two pieces of canvas was not applied simultaneously, and that as all the edges show cusping, the left hand edge was added, possibly later, but still in Rembrandt's studio. The feathered hat worn by the page was probably available as a studio prop as it is similar to that in the Prodigal Son at Dresden (J. Bruyn, et al., op. cit., no.111) executed by Rembrandt circa 1635.
The subject is taken from Judges XV:1-3, in which is described Samson's anger at being repulsed by his father-in-law having brought a kid as a gift to reconcile his wife. The addition on the left in the present picture might therefore have been made so that the artist could demonstrate that he was indeed closely following the Biblical text. The inclusion of the kid crucial in the story, would have allowed immediate recognition of the subject. As pointed out by F. Gorissen, op. cit, pp.69/70, the identification of the subject of the Berlin was indeed long obscured; it was recognized by E. Kolloff, Rembrandt's Leben und Werke, 1854, pp.402 ff. Before then it was identified as an episode from the history of the province of Gelderland, showing Duke Adolf of Egmond in prison, for which see F. Gorissen, loc. cit.
Another studio copy, omitting the addition as shown in the present copy, is in the Chrysler Museum Norfolk, VA, inv. L 79.177 (J. Bruyn, op. cit, p.123, under no.A 109 copy no.2; p.121, fig.7).