© 2024 The Leiden Collection

Portrait of Rembrandt in Oriental Dress
Page 2 of 11

Portrait of Rembrandt in Oriental Dress
Isaac de Jouderville(Leiden ca. 1612 – 1645/48 Amsterdam)ca. 1631
oil on panel
70.8 x 50.5 cm
false signature and date in dark paint, upper left
corner: “Rembrandt ft. 1641”
IJ-100How to cite
Surh, Dominique. “Portrait of Rembrandt in Oriental Dress” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by
Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–23. https://www.theleidencollection.com/archive/(archived December 2023).
A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by apermanent URL. New versions are added only when a substantive change to the narrative occurs.

© 2024 The Leiden Collection

Portrait of Rembrandt in Oriental Dress
Page 3 of 11

Portrait of Rembrandt in Oriental Dress is a fascinating workshop copy by Isaac deComparative Figures

Jouderville, executed toward the end of his apprenticeship with Rembrandt van Rijn
(1606–69) from 1629 to 1631.[1] Based on Rembrandt’s own full-length self-portrait,
signed and dated 1631 in the Petit Palais in Paris (fig 1), Jouderville’s larger panel
differs from its prototype in its cooler tonalities, more exaggerated chiaroscuro, andcrisper silhouette. The most obvious difference between the two paintings, however,is that Jouderville’s version does not depict the large dog in the foreground of
Rembrandt’s painting. Rembrandt added the curly, long-haired poodle at a later date,probably in 1633.[2]As in Rembrandt’s original, Jouderville has portrayed the artist gazing at the viewer as
he stands in contrapposto, with one hand resting on a cane and the other held akimbo.
His fanciful costume includes a turban with a feathered aigrette, a velvet cloak closed
at one shoulder with buttons, and a short silk tunic with golden brocade and fringe,
tied by a sash at the waist.[3] The fascination with exotic dress is evident in otherFig 1. Rembrandt van Rijn, The Artist
in Oriental Costume, with a Poodle at
His Feet, 1631, oil on panel, 66.5 x 52
cm, Musée du Petit Palais, Paris, no.
925

works by Rembrandt from this period, as in Man in Oriental Costume (“The NobleSlav”), 1632, in the Metropolitan Museum of Art, and Daniel and Cyrus before the
Idol Bel, 1633, in the J. Paul Getty Museum.[4] Rembrandt, however, portrayedhimself in oriental dress only on this one occasion.[5]For most of its recorded history, Portrait of Rembrandt in Oriental Dress wasconsidered to have been painted by the master. This attribution was based largely on
its Rembrandtesque style and subject matter; the “signature” and date at the upper
left—“Rembrandt ft. 1641”—were apparently added in the nineteenth century.[6] In
1983, Ernst van de Wetering proposed that Portrait of Rembrandt in Oriental Dresswas painted by an apprentice in Rembrandt’s workshop and suggested Jouderville as
the most likely candidate.[7] Van de Wetering’s proposal is convincing, for
Jouderville’s Bust of a Young Man from the early 1630s in the National Gallery of
Ireland, one of his few signed paintings, shares a number of stylistic features with theFig 2. Isaac Jouderville, Bust of aYoung Man, ca. 1631–35, oil on panel,
48 x 37 cm, National Gallery of
Ireland, Dublin, NGI.433

present work (fig 2). The overly emphasized highlights of the richly appointed fabric,
the frizzy hair, and the thin contour of light around the figure leave little doubt thatthese two paintings are by the same hand.
The reason for Rembrandt’s choice to portray himself in exotic costume is difficult toascertain.[8] Nevertheless, it is significant that Rembrandt felt the composition was
worthy of being replicated by a workshop apprentice.[9] Because Rembrandt and
Jouderville were in both Leiden and Amsterdam in 1631, it is also unclear in whichcity the prototype and this copy originated. In the summer of 1631, Rembrandt began
his business arrangement with the Amsterdam dealer Hendrick van Uylenburgh, andhe received a number of portrait commissions requiring his presence in

Fig 3. Isaac Jouderville, Man in© 2024 The Leiden Collection

Portrait of Rembrandt in Oriental Dress
Page 4 of 11

Amsterdam.[10] Scholars have suggested that Jouderville may have accompanied
Rembrandt to Amsterdam as an assistant in Uylenburgh’s workshop, since the last

Oriental Costume, ca. 1631–35, oil on
panel, 66 x 50 cm, private collection

payment receipt pertaining to Jouderville’s apprenticeship with Rembrandt is dated 19
November 1631.[11]Jouderville’s Portrait of Rembrandt in Oriental Dress is a relatively rare example ofthe type of didactic exercises that must have been an integral part of Rembrandt’s
workshop practice.[12] We know that making painted copies after Rembrandt’s work,
both as an exercise in imitation and as emulation of the master’s style, was animportant part of Rembrandt’s method of instruction. Nevertheless, very few direct
copies after his paintings, such as this one, survive.[13] Jouderville was more likely tomake variants of Rembrandt’s compositions. His Man in Oriental Costume (fig 3), forexample, is loosely based on Rembrandt’s self-portrait in Paris (fig 1). A painting
convincingly attributed to Jouderville, Bust of a Young Woman in Chapel Hill
(RR-104, fig. 3), is similarly derived from one of Rembrandt’s paintings from theearly 1630s, Portrait of a Girl Wearing a Gold-Trimmed Cloak, in the present
collection (RR-104).[14] Jouderville was also able to adapt pictorial elements in
Rembrandt’s paintings to create his own independent works, as in his Minerva in Her
Study in Denver, which draws freely on Rembrandt’s Old Woman Reading in the
Rijksmuseum, Amsterdam.[15]X-radiographs of Rembrandt’s Paris self-portrait have revealed that the master madea number of changes to this work. Initially he shortened the length of his legs andpainted his feet anew, but then he added the poodle, which covers his feet.[16] Becauseof the close correspondence between the longer legs in Rembrandt’s original andthose in Jouderville’s copy, the Rembrandt Research Project concluded that
Jouderville’s variant must represent the original appearance of Rembrandt’s
painting. Thus, aside from its own intrinsic qualities, this portrait is a fascinating
document of Rembrandt’s only known effort to paint a full-length self-portrait.

- Dominique Surh, 2017

© 2024 The Leiden Collection

Portrait of Rembrandt in Oriental Dress
Page 5 of 11

Endnotes
1. For a discussion of the sources documenting Jouderville’s apprenticeship with Rembrandt, see thebiography of the artist by Piet Bakker.
2. Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 1: 1625–1631, Stichting Foundation
Rembrandt Research Project (The Hague, 1986), 1: 374–82; Ernst van de Wetering et al. A Corpus of
Rembrandt Paintings, vol. 6: Rembrandt’s Paintings Revisited: A Complete Survey, with the collaborationof Carin van Nes, Stichting Foundation Rembrandt Research Project (Dordrecht, 2014), 2: 840.
3. Marieke de Winkel, Fashion and Fancy: Dress and Meaning in Rembrandt’s Paintings (Amsterdam,
2006), 260–61, notes the Turkish costume is also found in three other paintings by Rembrandt and was
depicted by the Italians as well.
4. Walter Liedtke, “Man in Oriental Costume,” in Dutch Paintings in the Metropolitan Museum of Art (NewYork, 2007) 2: 554–67, no. 142.
5. On Rembrandt’s self-fashioning, see Marieke de Winkel, “Rembrandt’s Clothes: Dress and Meaning in
His Self-Portraits,” in Ernst van de Wetering et al., A Corpus of Rembrandt Paintings, vol. 4: SelfPortraits, Stichting Foundation Rembrandt Research Project, (Dordrecht, 2005), 4: 45–87. For the
depiction of exotic Turkish dress in Rembrandt’s paintings, see also Marieke de Winkel, Fashion andFancy: Dress and Meaning in Rembrandt’s Paintings (Amsterdam, 2006), 260–61; and Josua Bruyn et al.,A Corpus of Rembrandt Paintings, vol. 1: 1625–1631, Stichting Foundation Rembrandt Research Project(The Hague, 1986), 1: 380.
6. The earliest mention of the painting, in the Le Rough collection sale in Paris, 27 April 1818, no. 46,
describes the work in detail yet makes no mention of a signature at the upper left, suggesting that it wasadded later.
7. Ernst van de Wetering, “Isaac Jouderville, a Pupil of Rembrandt,” in Albert Blankert et al., The Impactof Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century: Paintings from Museums andPrivate Collections (Exh. cat. Amsterdam, Waterman Gallery; Groningen, Groninger Museum)(Amsterdam, 1983), 66.
8. Van de Wetering suggested that the Paris Self-Portrait (A40) should be categorized as one in which
Rembrandt used his own face without originally intending the painting to be a self-portrait; see Ernst
van de Wetering, “Rembrandt’s Self-Portraits: Problems of Authenticity and Function,” in Josua Bruyn
et al., A Corpus of Rembrandt Paintings, vol. 1: 1625–1631, Stichting Foundation Rembrandt Research
Project (The Hague, 1986), 1: 380; Ernst van de Wetering et al., A Corpus of Rembrandt Paintings, vol.
4: Self-Portraits, Stichting Foundation Rembrandt Research Project (Dordrecht, 2005), 4: 182.
9. On the growing market for artists’ self-portraiture in the seventeenth-century, particularly Rembrandt’s,
see Ernst van de Wetering’s chapter “Rembrandt’s Self-Portraits: Problems of Authenticity andFunction,” in Ernst van de Wetering et al., A Corpus of Rembrandt Paintings, vol. 4: Self-Portraits,© 2024 The Leiden Collection

Portrait of Rembrandt in Oriental Dress
Page 6 of 11

Stichting Foundation Rembrandt Research Project, (Dordrecht, 2005), 4: 89–317.
10. Jaap van der Veen, “Hendrick Uylenburgh’s Workshop 1631–1638,” in Uylenburgh and Son: Art andCommerce from Rembrandt to De Lairesse, 1625–1675 (Exh. cat. London, Dulwich Picture Gallery;
Amsterdam, Museum Het Rembrandthuis) (Zwolle, 2006), 126–35.
11. Jaap van der Veen, “Hendrick Uylenburgh’s Workshop 1631–1638,” in Uylenburgh and Son: Art andCommerce from Rembrandt to De Lairesse, 1625–1675 (Exh. cat. London, Dulwich Picture Gallery;
Amsterdam, Museum Het Rembrandthuis) (Zwolle, 2006), 136; see also Piet Bakker’s biography of
Jouderville in the present catalogue.
12. For the dates of Jouderville’s apprenticeship with Rembrandt, and the documentary evidence thatsuggests he went to Amsterdam to continue his tutelage with Rembrandt, see Piet Bakker’s biography of
Jouderville in the present catalogue.
13. Ernst van de Wetering, “Isaac Jouderville, a Pupil of Rembrandt,” in Albert Blankert et al., The Impactof Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century: Paintings from Museums andPrivate Collections (Exh. cat. Amsterdam, Waterman Gallery; Groningen, Groninger Museum)(Amsterdam, 1983), 66; Toshiharu Nakamura, “Rembrandt’s Workshop and Rembrandt as a Teacher,”in Rembrandt, His Teachers, and Pupils (Exh. cat. Tokyo, Bunkamura Museum of Art; Chiba,
Kawamura Memorial Museum of Art; Yamaguchi, Yamaguchi Prefectural Museum of Art) (Tokyo,
1992), 199–209; Ernst van de Wetering et al., A Corpus of Rembrandt Paintings, vol. 4: Self-Portraits,
Stichting Foundation Rembrandt Research Project, (Dordrecht, 2005), 4: 182, fig. 145.
14. Ernst van de Wetering, “Isaac Jouderville, a Pupil of Rembrandt,” in Albert Blankert et al., The Impactof Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century: Paintings from Museums andPrivate Collections (Exh. cat. Amsterdam, Waterman Gallery; Groningen, Groninger Museum)(Amsterdam, 1983), 59–69. For the Young Woman with a Necklace in Chapel Hill, see Josua Bruyn etal., A Corpus of Rembrandt Paintings, vol. 2: 1631–1634, Stichting Foundation Rembrandt Research
Project (The Hague, 1986), 2: 680–84, no. C58.
15. Ernst van de Wetering, “Isaac Jouderville, a Pupil of Rembrandt,” in Albert Blankert et al., The Impactof Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century: Paintings from Museums andPrivate Collections (Exh. cat. Amsterdam, Waterman Gallery; Groningen, Groninger Museum)(Amsterdam, 1983), 66; Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt
Paintings, 6 vols., ed. Josua Bruyn et al. (Dordrecht, Boston, and London, 1982–2014), 1: 502–7, C9.
16. A revision involving the adjustment of the legs was also found in an X-radiograph of Rembrandt’s SelfPortrait in Liverpool (A33) from about the same time as the self-portrait in the Petit Palais. See Josua
Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2, 1625–1631, Stichting Foundation Rembrandt
Research Project (Dordrecht, 2005), 2: 840.
17. The signature of the Paris self-portrait, which reads, “Rembrant.f 1631” is highly revealing of its periodof execution. Not only was it painted on top of an original “RHL” monogram, but there was only a shortperiod between 1632 and 1633 in which Rembrandt used this form of signature. It therefore seems© 2024 The Leiden Collection

Portrait of Rembrandt in Oriental Dress
Page 7 of 11

likely that Rembrandt backdated the painting to 1631, while adding a new signature, in 1633. See Josua
Bruyn et al., A Corpus of Rembrandt Paintings, vol. 1: 1625–1631, Stichting Foundation Rembrandt
Research Project (The Hague, 1986), 1: 379; Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol.
2, 1625–1631, Stichting Foundation Rembrandt Research Project (Dordrecht, 2005), 2: 840; Ernst van
de Wetering et al., A Corpus of Rembrandt Paintings, vol. 4: Self-Portraits, Stichting Foundation
Rembrandt Research Project (Dordrecht, 2005), 4: 182–83.

Provenance
Madame Le Rouge, Paris (her sale, Paris, 27 April 1818, no. 46, as by Rembrandt [for 2,460 francs to
Bruno]).
G. Couteaux, Paris.
Chevalier van Deuren de Beauré (his sale, Paris, 26 February 1844, no. 45, as by Rembrandt).
Alexandre Tardieu (his sale, Hôtel des ventes, Rue des Jeûneurs, Paris, France, Paris, 4 February 1851,
no. 14, as by Rembrandt [to Etienne Leroy]).
François Nieuwenhuys Collection, Paris, by 1852.
Piérard de Valenciennes (his sale, Paris, 20–21 March 1860, no. 66, as by Rembrandt).
Éduoard Kums, Antwerp (his sale, Antwerp, 17–18 May 1898, no. 126, as by Rembrandt [for 22,000
francs to Le Roy, Paris and Bruxelles]).
A. M. Byers, Pittsburgh, by 1900.
Baron Arthur de Schickler, Paris, by 1916 [Edouard Jonas Gallery, New York, 1927].
Private collection, Switzerland, by 1936.
M. C. de Coppet, Ghent.
Private collection [Emmanuel Moatti, Paris, 2004].
From whom acquired by the present owner in 2004.

Exhibition History
The Edouard Jonas Galleries, New York, 1927.
Amsterdam, Museum het Rembrandthuis, on loan with the permanent collection, 1995–2004.
London, National Gallery, “Rembrandt by Himself,” 9 June–5 September 1999; The Hague,
Mauritshuis, 25 September 1999–9 January 2000, no. 29b [lent by the Museum het Rembrandthuis, inv.
276].
© 2024 The Leiden Collection

Portrait of Rembrandt in Oriental Dress
Page 8 of 11

Norfolk, Virginia, The Chrysler Museum, on loan with the permanent collection, 2010–2011 [lent by
the present owner].
Brooklyn, New York, Brooklyn Museum, on loan with the permanent collection, March 2013–March
2016 [lent by the present owner].
Paris, Museé du Louvre, “Masterpieces of The Leiden Collection: The Age of Rembrandt,” 22
February–22 May 2017 [lent by the present owner].
Beijing, National Museum of China, “Rembrandt and His Time: Masterpieces from The Leiden
Collection,” 17 June–3 September 2017 [lent by the present owner].
Shanghai, Long Museum, West Bund, “Rembrandt, Vermeer and Hals in the Dutch Golden Age:
Masterpieces from The Leiden Collection,” 23 September 2017–25 February 2018 [lent by the present
owner].
Moscow, The Pushkin State Museum of Fine Arts, “The Age of Rembrandt and Vermeer: Masterpiecesof The Leiden Collection,” 28 March 2018–22 July 2018 [lent by the present owner].
St. Petersburg, The State Hermitage Museum, “The Age of Rembrandt and Vermeer: Masterpieces of
The Leiden Collection,” 5 September 2018–13 January 2019 [lent by the present owner].
Abu Dhabi, Louvre Abu Dhabi, “Rembrandt, Vermeer and the Dutch Golden Age. Masterpieces fromThe Leiden Collection and the Musée du Louvre,” 14 February–18 May 2019 [lent by the present
owner].
Amsterdam, Hermitage Amsterdam, “Rembrandt and his Contemporaries: History Paintings from The
Leiden Collection,” 4 February–27 August 2023, no. 2 [lent by the present owner].

References
Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French
Painters. 9 vols. London, 1829–42, 6: 199; 7:109, no. 299, as by Rembrandt.
Von Bode, Wilhelm, and Cornelis Hofstede de Groot. Rembrandt: beschreibendes Verzeichniss seiner
Gemälde mit den heliographischen Nachbildungen: Geschichte seines Lebens und seiner Kunst. 8 vols.
Paris, 1897–1906, 1: 139, no. 54, as by Rembrandt van Rijn.
Von Wurzbach, Alfred. Niederländisches Künstler-Lexikon: Auf Grund Archivalischer Forschungen
Bearbeitet. 3 vols. Vienna and Leipzig, 1906–11, 2: 96.
Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of
the Seventeenth Century Based on the Work of John Smith. Edited and translated by Edward G. Hawke,
6: 199, under no. 350 (as a copy after Rembrandt van Rijn). 8 vols. London, 1907–28. Originallypublished as Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten höllandischen
Maler des XVII. Jahrhunderts. 10 vols. Esslingen and Paris, 1907–1928.
Bredius, Abraham. The Paintings of Rembrandt. 2 vols. Oxford, 1942, 1: 21, no. 16, as a copy after© 2024 The Leiden Collection

Portrait of Rembrandt in Oriental Dress
Page 9 of 11

Rembrandt.
Bruyn, Josua et al. A Corpus of Rembrandt Paintings. Vol. 1: 1625–1631. Stichting Foundation
Rembrandt Research Project. The Hague, 1982, under A40, 381, fig. 7.
Bruyn, Josua, et al. A Corpus of Rembrandt Paintings. Vol. 2: 1631–1634. Stichting Foundation
Rembrandt Research Project. The Hague, 1986, 17, fig. 4, 840.
Van der Wetering, Ernst. “Isaac Jouderville, a Pupil of Rembrandt.” In Albert Blankert, Ben Brooks,
Ernst van de Wetering, Guido Jansen, and Willem van de Wetering. The Impact of a Genius: Rembrandt,
His Pupils and Followers in the Seventeenth Century. Exh. cat. Amsterdam, Waterman Gallery;
Groningen, Groninger Museum. Amsterdam, 1983, 66, fig. 9, as by Isaac de Jouderville.
Sumowski, Werner. Gemälde der Rembrandt-Schüler. 6 vols. Landau and Pfalz, 1983–94, 2: 1447, no.
948, as by Isaac de Jouderville.
Nakamura, Toshiharu. “Rembrandt’s Workshop and Rembrandt as a Teacher.” In Rembrandt, His
Teachers, and His Pupils. Exh. cat. Tokyo, Bunkamura Museum of Art; Chiba, Kawamura Memorial
Museum of Art; Yamaguchi, Yamaguchi Prefectural Museum of Art. Tokyo, 1992, 203.
White, Christopher, and Quentin Buvelot, eds. Rembrandt by Himself. Exh. cat. The Hague,
Mauritshuis; London, National Gallery of Art. Zwolle, 1999–2000, 139, no. 29b, attributed to Isaac de
Jouderville.
Bruyn, Josua. “Rembrandt’s Workshop: Function and Production.” In Rembrandt: The Master and His
Workshop. Edited by Christopher Brown, Jan Kelch, and Pieter J. J. van Thiel, 72–73, fig. 83, 87. 2
vols. Exh. cat. Berlin, Altes Museum; Amsterdam, Rijksmuseum; London, National Gallery. New
Haven, 1991.
Van Straten, Roelof. Young Rembrandt: The Leiden Years, 1606–1632. Translated by R. Quartero and
D.J. Martin. Leiden, 2005. Originally published as Rembrandt´s Leidse Tijd, 1606–1632. Leiden, 2005,
309, no. 376.
Franken, Michiel. “Learning by Imitation: Copying Paintings in Rembrandt’s Workshop.” In Rembrandt:
Quest of a Genius. Edited by Bob van den Boogert, 160, no. 172. Exh. cat. Amsterdam, Museum het
Rembrandthuis; Berlin, Gemäldegalerie, Staatliche Museen zu Berlin. Zwolle, 2006.
Surh, Dominique. “Portrait of Rembrandt in Oriental Dress.” In Masterpieces of The Leiden Collection:
The Age of Rembrandt. Edited by Blaise Ducos and Dominique Surh, 40, no. 10. Exh. cat. Paris, Muséedu Louvre. Paris, 2017.
Yeager-Crasselt, Lara. “Portrait of Rembrandt in Oriental Dress.” In Rembrandt and His Time:
Masterpieces from The Leiden Collection. Edited by Lara Yeager-Crasselt, 22–3; 172, no. 1. Translatedby Li Ying. Exh. cat. Beijing, National Museum of China. Beijing, 2017.
Long Museum, West Bund. Rembrandt, Vermeer and Hals in the Dutch Golden Age: Masterpieces fromThe Leiden Collection. Exh. cat. Shanghai, Long Museum, West Bund. Shanghai, 2017, 44–45.
Yeager-Crasselt, Lara. “Portrait of Rembrandt in Oriental Dress.” In The Age of Rembrandt andVermeer: Masterpieces of The Leiden Collection. Edited by Polina Lyubimova, 230–31; 248, no. 82.
© 2024 The Leiden Collection

Portrait of Rembrandt in Oriental Dress
Page 10 of 11

Translated by Daria Babich and Daria Kuzina. Exh. cat. Moscow, The Pushkin State Museum of Fine
Arts; St. Petersburg, The State Hermitage Museum. Moscow, 2018.
Ducos, Blaise, and Lara Yeager-Crasselt, eds. Rembrandt, Vermeer and the Dutch Golden Age.
Masterpieces from The Leiden Collection and the Musée du Louvre. London, 2019, 64, no. 7. [Exhibition
catalogue also published in French and Arabic.]
Franken, Michiel. “At Work: Young Rembrandt’s Materials and Techniques.” In Young Rembrandt.
Edited by Christopher Brown, An Van Camp, and Christiaan Vogelaar, 86, fig. 110, 87n43. Exh. cat.
Leiden, Museum De Lakenhal; Oxford, Ashmolean Museum, University of Oxford. Oxford, 2019.
Brown, Christopher, An Van Camp, and Christiaan Vogelaar, eds. Young Rembrandt. Exh. cat. Leiden,
Museum De Lakenhal; Oxford, Ashmolean Museum, University of Oxford. Oxford, 2019, 274.
Wheelock, Arthur K., Jr., Christiaan Vogelaar, and Caroline van Cauwenberge. Rembrandt and His
Contemporaries: History Paintings from The Leiden Collection. Exh. cat. Amsterdam, Hermitage
Amsterdam. Zwolle, 2023, 26–27, no. 2. [Exhibition catalogue also published in Dutch.]

Versions
Versions and Copies
1. Rembrandt van Rijn, The Artist in Oriental Costume, with a Poodle at His Feet, 1631, oil on panel, 66.5 x
52 cm, Musée du Petit Palais, Paris, inv. no. 925.

2. After Rembrandt, The Artist in Oriental Costume, oil on panel, 35 x 29 cm, Musée d’Archéologie et desBeaux-Arts, Vienna (Isère), no. 80; Corpus A40, Copy 2.

3. After Rembrandt, The Artist in Oriental Costume, oil on canvas, 30.5 x 24 cm, present whereabouts
unknown, formerly estate of F. Mogin-Zorn (sale, Brussels, 26–27 November 1974); Corpus A40, Copy
3.

Technical Summary
The support is a rectangular composite panel comprising two vertically grained oak planks of similar
widths.[1] The vertical panel join left of center extends through the feather plume and the figure’s proper
right eye, torso, and proper right shoe. There are no bevels, and the panel has been thinned and cradled.
There are eight import stamps, six paper labels, two paper label remnants and two small red wax dots, but noobvious panel maker’s mark.
A light-colored ground has been thinly and evenly applied. The paint has been applied smoothly along thebackground depicted in shadow and with short strokes of thicker paste and low brushmarkings along thebackground and foreground depicted in highlight. The figure’s drapery is painted in low impasto.
© 2024 The Leiden CollectionPowered by TCPDF (www.tcpdf.org)

Portrait of Rembrandt in Oriental Dress
Page 11 of 11

The painting is inscribed in dark paint along the upper left corner, although this is thought to be a later
addition.
No underdrawing is readily apparent in infrared images captured at 780–1000 nanometers. A compositionalchange visible in the infrared images is the lower edge of the figure’s drapery, which was shortened during
the paint stage. The X-radiograph reveals a halo of radio-opaque paint surrounding the upper half of the
figure and a rectangular form along the upper left quadrant that was painted out during the paint stage but
whose warm underlayer shows through.
The painting has not undergone conservation treatment since its acquisition in 2004 and remains in a goodstate of preservation.
Further technical information about this artwork is available in The Rembrandt Database.

Technical Summary Endnotes

1. The characterization of the wood is based on visual examination only. Bevels cut along the lower edge ofthe panel reverse between the fixed vertical cradle members suggest the panel had previously been
prepared for dendrochronology sometime prior to its acquisition.

© 2024 The Leiden Collection