This painting was bought on eBay with a Certificate Of Authenticity and guaranteed authentic and original on 06 January 2014 from Sulis Fine Art. Provenance; Egerton Family- 19th Century Watercour. After purchase I had it professionally framed with archival glass. Very beautifully done with what it looks like watercolor brush work and the use of a cut reed as a fine pen. This painting was bought on eBay with a Certificate Of Authenticity and guaranteed authentic and original on 06 January 2014 from Sulis Fine Art. Provenance; Egerton Family- 19th Century Watercour. After purchase I had it professionally framed with archival glass. Very beautifully done with what it looks like watercolor brush work and the use of a cut reed as a fine art pen.
This lovely little ink & watercolour brush & cut read pen drawing and painting is actually signed Vincent 1888 on the left hand side.
Totally amazing signature wouldn't you agree?
Vincent had all kinds of ideas of making paintings & of what to paint & how to make extra money. Here you can see how he painted this fish market painting at the waterfront at the Hague capital in the Netherlands. What a fantastic work of art to escape the public's & art experts eye for all these years. It does have that same feelings of his painting of The Lottery, like a sense of despair. The lady I bought it from told me it was her friends husbands painting that he had bought in Europe when he lived there. He insisted the painting be hung over the fireplace for all the married life. She said her friend hated this painting and wanted to sell it to me and had her bring it in to my art gallery. She said her friends husband had died and she told her she just wanted it off her wall and had her bring it to me telling me she would take anything I offer her that was reasonable. I then told her I thought this was a very valuable painting painted by Vincent van Gogh. I let her call her friend to tell her the news and after she took the phone away from her ear and asked what I would give her friend while she was on the phone with her. I hymmed and hawed for a minute and then said all I'd be able to give her now at this time was $175.00 and another $175.00 in thirty days, totaling $350.00. Her friend agreed very happily on the phone she said. She then left the painting in my care and took my check for $175.00 giving me her friends address where to send the balance in thirty days.
This report from The Art Newspaper reached me an hour ago:
A painting catalogued simply as “Oil on Board, Triple Portrait with Lady Fainting” sold today, 22 September for $870,000 at Nye & Company Auctions in Bloomfield, New Jersey, against an estimate of $500-$800. The sleeper hit (lot 216), is believed to be a long-lost panel by a teenaged Rembrandt.
The 12.5 in x 10 in panel was described by the auction house as “Continental School, 19thC, appears unsigned”, and potential buyers were advised that the condition included “paint loss, some restoration to paint, wood cracks”. The painting shows an unconscious young woman with a handkerchief (presumably holding smelling salts) held to her nose by an older figure, while a man (perhaps her husband) looks on.
Three others from the series are known: The Operation, The Sense of Touch and Three Singers, the Sense of Hearing are owned by the New York collector Tom Kaplan of the Leiden Gallery, New York, while The Spectacle Seller, The Sense of Sight is in the Museum de Lakenhal in Leiden.
Judging from the poor images available, the painting fits perfectly into that missing niche in Rembrandt’s oeuvre. The conception of the subject, the way the emotions and sensations are depicted and the figure types match to a tee the other three known paintings of the senses.
Even the difference in size corroborates the supposition that it belongs to the same series. The other three paintings were enlarged early on to the size of the New Jersey panel, 31.75 x 25.4 cm. If the new panel turns out to have added pieces reaching these dimensions, with an embedded panel of about 21 x 17.5 cm., as do the others, this will clinch the case in the aspect of physical properties, leaving little room for doubt that they are by the same hand, Rembrandt’s. The remark in the auction house description concerning “wood cracks” hints that this may be the case.
An image of the back of the panel, illustrated above from a tweet by Rembrandt’s room, does not solve the issue. Are the angled cuts on four sides just bevelling on a whole panel? If they are added pieces of wood, are the dimensions of the smaller interior really no larger than 21 x 17.5 cm., the size of the other panels? They look bigger.
If the painting is a composite of five panels, it is to be hoped that the new owner does not decide to follow the example of the former owners of the other three paintings of the senses and remove the additions. They belong to early stages – perhaps the very earliest stages – of the painting’s existence.
If the panel is however an integral 31.75 x 25.4 cm., the possibility must be considered that it is a copy after a lost Rembrandt. Another, slimmer possibility is that some of the five senses were originally smaller, that Rembrandt decided midway through his series that a larger format would be better, changed to the bigger size for the last one or two paintings and added strokes of wood to the three that were already finished.
In 1984 I wrote of the three known paintings: “There is every reason to assume that these three paintings of the senses (where are the other ones?) are the earliest surviving works by Rembrandt, although not all scholars agree on this.” (Rembrandt, his life, his paintings, New York 1985 [published in Dutch in 1984], p. 34.) Among the scholars who had their doubts were the members of the Rembrandt Research Project, which in vol. I of A corpus of Rembrandt paintings saw weaknesses wherever it looked. However, the RRP did not reject the possibility that they were made by Rembrandt, a position embraced in vol. VI by Ernst van de Wetering, with interesting remarks.
How nice if one of the other two has now surfaced in Bloomfield, New Jersey. The manner in which it emerged, in an auction house not used to handling old masters, with a low estimate, is proof enough that the painting is not a new forgery. It is the same pattern of events by which the self-portrait on copper now in the Getty Museum returned to sight in 2006, in a farming auction house in the Cotswolds.
Even as a copy, this is an exciting new discovery. It should also be an encouragement to anyone with an old painting of a certain quality to consult an expert on the possibility that it is a missing masterpiece. To start with, take a second look at any panel painting measuring 31.75 x 25.4 cm. depicting the sense of taste. But don’t stop there. Forgotten masterpieces can be retrieved in the most unlikely places. If it can happen to Rembrandt – twice in a decade – it can happen to anyone.
© Gary Schwartz 2015. Published on the Schwartzlist on 24 September 2015.
After posting the above, I realized that the image of the painting provided by Rembrandt’s room was better than I thought. Click on it, and it enlarges, revealing far more detail. These details show clear breaks in facture, color and condition around the central motif. By measuring the ratio between the whole image and the central one, I arrive at dimensions of 22.8 x 18.1 cm. for the latter. This is pretty close to the 21 x 17.5 cm. of the three other paintings.
This picture does not correspond to what we see on the back of the painting, which really looks like one bevelled panel. A possible explanation for this is that Rembrandt started painting the series on the small, cramped scale of the central motifs and decided when they were finished that he would prefer a more commodious format. Thereupon he pasted the original paintings onto larger panels, which he then filled out with surrounding slats that he painted to enlarge the compositions and the space.
In 1984 I suggested that the additions were perpetrated and painted by Rembrandt himself, in disagreement with the Rembrandt Research Project, which dated them to the eighteenth century. The new evidence seems to bolster my position. If my version of events is correct, it is all the more regrettable that the additions to the other paintings were removed.
Two early readers of the column let me know that they think the fainting person looks more like a young man than a woman, and I am inclined to agree. 24 September 2015, 20:00.
What marvelous brushstrokes we have here!
As I vanrijngo see, the same as Rembrandt and Vincent van Gogh did, Vincent's trees should become understandable when Vincent himself alluded to his sunflower pictures as to symbolizing "gratitude". Referring to the intensity in which he painted, and precisely in connection with the masterfully constructed paintings of the sunflowers. He says that, face to face with nature, he is seized with such excitement as to fall into fainting fits. This excitement, he explains, is of the same kind as that is experienced by people when they are overcome with gratitude. What exactly did he mean by this? Indeed, when one really thinks about his Sunflowers and studies them, one can grasp what he really meant.
Was this church drawing about missing works of art or just a plain church drawing of the two brothers with Jo and the baby drawn in a church hymnal?
Well, what the heck, I see Vincent puzzled about missing works of art and wondering what could have happened to them as he was thinking about going outside and smoking his pipe.
He was supposed to have went outside of church to smoke his pipe like is shown, and then disappeared on that Sunday morning walking all the way back to where he had come from on the train for his last visit with Theo, Jo & the baby Vincent in May or June of 1890.
This above is what the Vincent van Gogh experts have to say about this first look at this drawing sketch.
This yellow picture of the hand on the shoulder of Jo while she is getting ready to kiss her little baby Vincent. This is in the dress area in the wedding of Theo & Jo, drawn and painted in water color by Vincent van Gogh below.
This wedding w/c drawing and cut out of this drawing below shows us Jo's face,... Theo's wife that the artist had drawn right into the forehead of this drawing of Theo. Supposedly this artist de Haan they say signed it on that cuff of his shirt. Now why in the world would Meyer de Haan use a Vincent technique drawing Jo's face into Theo's forehead here below? Jo's face is above his left eyebrow on his forehead & in his hairline and hair.
Vincent: " I have always had the coarse of lusts of a beast. I forget everything in favor of the external beauty of things, which I cannot reproduce, for in my pictures I render it as sometimes ugly and coarse, whereas nature seems perfect to me.
Kind of a cartoon drawing he made of Jo in a pencil sketch above.
The way that I see art is more than likely the same way Vincent van Gogh sees his own art work. In his pictures he says he rendered them as something most would consider as ugly and coarse as the lust of a beast. Most today call these works of art as being romantic. If you look at a few of the picture above you just might find yourself seeing as Vincent did and as I do. As Vincent would sometimes say, himself when face to face with nature, you might be able to see a women facing her lover while sometimes even being embraced. If you think about it, there has to be something about his works of art to make them so desireable. Now,.. imagine the same as you look at his Sunflowers!
Rembrandt was once quoted as stating;
"You do not haft to go to Italy to paint an Italian sunset", when showing his etching of his three trees to the Dutch person he said that to. How true this statement was and turned out to be.
Rembrandt had only once left his homelands of Holland. Only one time in his life was he to do that, and that was to go to Friesland to marry his new bride Saskia at her home with her remaining family of brothers and aunts and uncles.
As most of us can see, this woman above is not the same model whom he had married in the 1630's and supposedly painted in 1636 while calling this painting the Danae. No,... this painting was painted in 1654 when it was said Rembrandt reworked it. It does not display any of the mythological story of the Danae other than the possibly of being impregnated by Zeus.
Amazing etching of Rembrandt's of a wedding couple being introduced to the Grim Reaper. One might see exactly where I took it upon myself to draw in that little squiggly hair line and shaded in the dress area. This was to make it a little more understandable what was in this great artist Rembrandt's mind. He had every intention of carrying something like this out over the next few years of his life.
A portrait of a young lady who happens to be Rembrandt young mistress who when even younger was living as a maids helper in the house with Rembrandt and his now ailing wife Saskia, along with their regular house keeper.
This ink drawing shows Saskia in deep thought of her illness, while thinking and trying to put together a timeline of how and why she had become so ill in the last few years, and the loss of her three babies.
Saskia continuing to think about what has been causing her illness and why the extra expense of this little girl as a chamber maid, one who brings her warm milk and medicine and gives her her sponge bathes.
Possibly something is being said in these anagrams above about drinking milk? Oops,... It looks like like she spilled the last of her drink there at the bottom as she is holding her chest area. You see that dead Chicken hanging from that little ugly witches belt or whoever she is supposed to represent don't you? Lets assume it kinda means the same thing as that little drawing in Saskia blanket just above and to the right. You see the picture below her laying there with her eyes wide open in deep thought,.. I wonder, is that the Pied Piper playing a tune for her, as she is taking a rest stop on her way to having her last will and testimony made up with out Rembrandt knowledge?
Above is a kinda important video of Rembrandt's life, but a little sparse for good and rightful information but makes for a good foundation for more talk on the subjects mentioned.
Yes,... this is a very telling message if looked at and read right. Turned at ninety degrees & reversed, it does gives up some kind of a meaning that most would just as soon not see. The hand was telling us to read it in a mirror sideways, now this is the way it would be seen. Enough said,... you figure it out!
Well now,.... I'm going to assume that the most of you still won't & don't understand or can read this anagram as I see it or it was meant. Let's start with the assumed word at the top,... Ragla, Tetama, Ant sadla, as it circles using these 3 Types X Poison X In cross bones in the middle. These letters are on each side of the center cross bones Top M i I K showing the liquid being pored in to a pale of milk with the finger of a hand pointing to it running into the pale of milk.
My ink drawing of Rembrandt sitting in a old hand carved Dutch chair with the anagram of Dr. Faust in the back ground. My drawn anagram seem to have it's own meaning when looked at right when the total drawing is made smaller to see the metamorphic changes in the drawing. Enough said for now about this subject of change.
more to come.
Nancy my wife is in the above picture on the left with our dog lovey out in front of our appliance store. Some baby pictures of me and of my older brother on the right. In the middle is a art piece of a young girl with her hand outstretched to be paid for sweeping off the steps. Next to her stands a young boy artist with a clock of the 17th century hanging next to him, his dutch wooden clogs with a paint rag in one pocket and carrying in his other hand his paint pallet.
This painting above is of Doctor Van Loon, a good friend of his he had met below after this incident had happened below.
You can see the artist Rembrandt drawing on his artist drawing block above while the picture below shows his own signature ink marking stamp for his drawings next to his little finger.
No doubt in my own mind that this is the drawing he is preparing for this particular painting of "The Fight" he had painted here below.
The good doctor Van Loon and his French Count friend Eafrem Breuno I believe had witnessed this happening from inside a nearby tavern as the guardsman with the blunder-bust had shot and killed this man in red who is attacking the beggar-man that Rembrandt was drawing.
I believe the beggar-man model Is trying to protect himself from the advance of this man in red with this large rock in his hand with part of Rembrandt's equipment he was using.
You can see yourselves that this painting was painted from this drawing made by this artist Rembrandt right in the mist of all this action. The Guardsman With his foot planted and his blunder-bust pointing right at this guy in the red pulled the trigger as this renegade made his attack. As Van Loon and his good friend the count had described, this man jumped about five feet in the air before falling over dead.
This painting here represents The Woman of Samaria as the woman at the well. It depicts her profession as one of her customers is leaving as she is putting away for safe keeping what he had traded for her services.
You can just make out the hidden woman at the well.
My own school art drawing I drew in my college drawing class at B.S.U.
Can you see Judas kissing Jesus on his cheek as he is holding the back of His neck?
The is supposed to depict Judas trying to give one of the guards-man back the thirty pieces of silver he had received for betraying Jusus by giving him up by kissing him on his cheek to show them who Jesus was.
Just look at that half cast of a young baby boy,... then look a little to the right. What do we have here? Shall we just call it from the beginning to the end? Yes,... we have here a bronze head of the artist Rembrandt. If you do not believe me,.... well, I'll just show you a painted portrait of himself as he really looked in real life. Here below is a portrait of him with a portrait of his daughter Cornelia dressed as his son Titus used to dress when holding their pet monkey.
More to come and with the stories