© 2020 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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Young Girl in a Gold-Trimmed Cloak
Rembrandt van Rijn
(Leiden 1606 – 1669 Amsterdam)1632
oil on oval panel
59 x 44 cm
signed and dated in dark paint along thebackground, center right: “RHL van Rijn /1632”
RR-104

How to cite
Manuth, Volker. “Young Girl in a Gold-Trimmed Cloak” (2017). In The Leiden Collection Catalogue, 2nd ed.
Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artwork/young-girl-in-agold-trimmed-cloak/ (archived May 2020).
A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive ismanaged by a permanent URL. New versions are added only when a substantive change to the narrative
occurs.

One of the miracles of Rembrandt van Rijn’s paintings of individuals is that

Comparative Figures

the expressions of his sitters never seem frozen. Even their personalities
seem to evolve as one interacts with their gazes. These qualities are
particularly evident in this charming depiction of an elegantly robed young girlwith curly, somewhat frizzy blond hair. Although she stares directly at theviewer from the center of this oval panel, the slight twist of her body, with one
shoulder higher than the other, helps soften her formal appearance. Lightfalling from the upper left also enlivens her presence by picking up nuancesof her features, including her pronounced forehead, her somewhat
asymmetrical eyes, the slight pout of her mouth, and the beginnings of adouble chin. The shaded right side of her face, moreover, seems to recede
more deeply into space than her lit side, a subtle difference in structure that
adds character to her face. Even the color shifts in the ocher background, as© 2020 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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Rembrandt plays with light against dark and dark against light, help create
the sense that she is a living and breathing individual with a personality far
more lively than first intimated by her restrained pose.
Rembrandt enhanced the pictorial character of the image with his distinctive
painting techniques. He modeled the girl’s flesh tones with smoothly blended
strokes, and rendered her blond hair with flowing, individual touches of thebrush. He vigorously applied heavily laden paint to create the pattern ofradial pleats of the white blouse, whereas he picked out the decorative motifsof the gold embroidery on her black gown with thick highlights. Finally,
Rembrandt’s carefully placed accents lend weight and substance to thestrand of pearls in her hair and the single pearl hanging from her right ear.
Rembrandt painted Young Girl in a Gold-Trimmed Cloak in 1632, soon after
he moved from Leiden to Amsterdam, at a time when his portraits andtronies (imaginative character studies of individual figures) were in great
demand.[1] It is oftentimes difficult to tell the difference between these two
types

of

paintings,

asRembrandt

infused

both

with

personal

characterizations that seem distinctive and reflective of a specific individual.
This issue is particularly relevant for Young Girl in a Gold-Trimmed Cloak,
which has often been identified as a portrait but should instead be

Fig 1. Rembrandt van Rijn, Portraitof Saskia van Uylenburgh, 1633,
silverpoint on vellum, 185 x 107
mm, Kupferstichkabinett derStachtlichen Museen zu Berlin,
inv. KdZ 1152,© Foto: Kupferstichkabinett der
Staatlichen Museen zu Berlin –Preußischer
Kulturbesit, Fotograf/in: Jörg P.
Andersconsidered a tronie.
The sitter is most frequently identified as Saskia van Uylenburgh,Rembrandt’s first wife.[2] However, Rembrandt and Saskia probably did notmeet until a year after this painting was executed.[3] Moreover, a comparisonof the sitter in this painting and the silverpoint drawing Rembrandt made of
Saskia in Friesland in 1633 on the occasion of their engagement (fig 1)
reveals clear differences. The girl in the Leiden Collection painting, forinstance, has a more rounded head and more childlike features. Anotherproposed identification for the sitter is Rembrandt’s younger sister Elisabeth(Lysbeth).[4] However, Rembrandt executed this painting in Amsterdam andLysbeth apparently spent her whole life in Leiden, where she was buried in
the Pieterskerk in 1655.[5]It is highly unlikely, indeed, that Rembrandt has here painted a formal portraitof a specific individual, family member or not.[6] Even apart from theFig 2. Rembrandt van Rijn, A
Young Woman in Profile with aFan, 1632, oil on canvas, 72 x 55
cm, Nationalmuseum, Stockholm,
inv. NM 583, photo: Erik Cornelius/ Nationalmuseum

problems inherent in the above proposed identifications, there is the issue ofthe figure’s dress. Her outfit, with its high-necked, pleated, white blouse anddark cloak edged with gold embroidery, as well as the string of pearls in her
hair and her pearl ear drops, harkens back to elegant sixteenth-century
fashions.[7] Such imaginative, fanciful outfits are characteristic of the tronies© 2020 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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that Rembrandt and Jan Lievens (1607–74) depicted in Leiden during thelate 1620s and early 1630s. These paintings, which came in different sizes
and different degrees of finish, included depictions of young girls, wrinkled
graybeards, weathered soldiers, and exotic potentates. They were made, inpart, in preparation for history paintings, but also as works to be sold on the
open market.
The same model appears in two other paintings that Rembrandt executed in
1632: A Young Woman in Profile with a Fan in Stockholm (fig 2) and Bust ofa Young Woman in a Cap in a private collection in Switzerland.[8] In the
Stockholm painting she is shown in strict profile to the left and wears similar
clothing and pearl jewelry.[9] In the other painting, likewise signed and dated[10]

1632, she wears a plumed beret.

A fourth painting depicting the samemodel, Bust of a Young Woman in Chapel Hill (fig 3), was executed by one
of Rembrandt’s studio assistants, probably Isaac de Jouderville (ca.
1612–48).[11] The presence of these four paintings featuring the same modelby Rembrandt, and his workshop makes it highly unlikely that Young Girl in a

Fig 3. Isaac de Jouderville / Circleof Rembrandt van Rijn, Bust of aYoung Woman, 1632, oil on panel,
59.4 x 43.2 cm (oval), Morehead
Planetarium and Science Center,
University of North Carolina,
Chapel Hill, N.C. Image courtesyof the North Carolina Museum ofArt, Raleigh, N.C.

Gold-Trimmed Cloak was a commissioned portrait. Interestingly, the samemodel, in a nearly identical costume, appears in two of Rembrandt’s history
paintings from the early 1630s: as Europa in The Rape of Europa, in the J.
Paul Getty Museum, and as the woman (Esther?) in the Old Testamentscene in Ottawa (fig 4).[12]In the eighteenth century, Young Girl in a Gold-Trimmed Cloak was part ofthe distinguished collection of Jean de Jullienne (1686–1766) in Paris, where
it was considered a pendant to the Chapel Hill painting, which is likewise ovalin shape and has exactly the same dimensions.[13] The first mention of thesepaintings as pendants occurs in the Catalogue des Tableaux de M. de
Jullienne, ca. 1756, a room-by-room inventory of the paintings displayed in
Jullienne’s Parisian hotel, illustrated with 152 miniatures in pen andwatercolor.[14] It is unlikely, however, that these works were conceived as

Fig 4. Rembrandt van Rijn, A
Woman at Her Toilet, 1632/3, oilon canvas, 109.2 x 94.4 cm,
National Gallery of Canada,
Ottawa, inv. 6089, photo ©
National Gallery of Canada

pendants. Not only were they executed on different types of wood (theLeiden Collection painting is on Spanish cedar, whereas the Chapel Hill
painting is on oak), they differ stylistically and qualitatively.[15] Even though
Rembrandt’s pupil, presumably Isaac de Jouderville, must have had accessto the same model, the physiognomic details of the Chapel Hill painting aresofter and less vividly defined, and the lighting does not similarly set off thehead and upper body from the background.[16] Most importantly, she lacks
the compelling presence that so endears her to all viewers of Rembrandt’s
subtle masterpiece in the Leiden Collection.

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The journey of Young Girl in a Gold-Trimmed Cloak through to its accession
by the Leiden Collection is extremely well documented and quite fascinating.
Sold in Paris in 1767 after the death of Jean de Jullienne, the painting spent
more than a century in France before Furst Johannes II, prince ofLiechtenstein acquired it by 1891. Between 1908 and 1929 it was in thecollection of the Rt. Reverend Georgius Schmid von Gruneck, the bishop of
Chur in Switzerland. In 1929, Robert Treat Paine II, a descendant of one of
the signers of the Declaration of Independence, purchased the painting andthen generously placed it on long-term loan at various museums so that it
could be studied by scholars and enjoyed by a wide public. In 1975,
however, Young Girl in a Gold-Trimmed Cloak was stolen from the Museumof Fine Arts, Boston, and the brazen character of the theft brought thepainting great notoriety. The theft had been orchestrated by Myles J. Connor
Jr., who, wearing a beard, glasses, a tweed suit and a fedora, escaped withthe work, aided by accomplices firing shots at the steps of the museum.[17] A
year later the painting was recovered in dramatic fashion by state and federal
officials who returned it to the museum, where it stayed until the family put it
up for auction in 1986. That sale (to a private collector) compounded thepainting’s fame because it sold for $10.5 million—a record for a work by the
Dutch artist and the second highest price ever paid at auction for an Old
Master painting.[18] In 2007 this masterpiece was acquired in a private saleby the Leiden Collection (see Provenance).

- Volker Manuth, 2017

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Endnotes

1. Reliably signed and dated paintings by Rembrandt of single figures that most likely originatedin Amsterdam before 1632 are the Portrait of Nicolaes Ruts, Frick Collection, New York, inv.
43.1.150 (see Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2: 1631–1634,
Stichting Foundation Rembrandt Research Project [The Hague, 1986], no. A43), and thePortrait of a Man at a Writing Desk, The State Hermitage Museum, St. Petersburg, inv. 741(see Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2: 1631–1634, Stichting
Foundation Rembrandt Research Project [The Hague, 1986], no. A44). Both are dated 1631.
2. See Émile Michel, Rembrandt, sa vie, son oeuvre et son temps (Paris, 1893), 560; see also
Kurt Bauch, Rembrandt: Gemälde (Berlin, 1966), 24, no. 452 (as Saskia).
3. Saskia did not move from Friesland to Amsterdam until after her marriage to Rembrandt in
1634. For a biography of Saskia, see Ben Broos, Saskia. De vrouw van Rembrandt (Zwolle,2012), esp. 116–26.
4. This identification was suggested as early as 1883 by Wilhelm von Bode, Studien zur
Geschichte der holländischen Malerei (Braunschweig, 1883), 598, no. 311. See also Eugène
Dutuit, Tableaux et dessins de Rembrandt (Paris, 1885), 53, and Adolf Rosenberg,
Rembrandt: Des Meisters Gemälde (Stuttgart and Leipzig, 1904), 26. The year of Lysbeth’s
birth is unknown, but there is information indicating that she was younger than Rembrandt.
This can be deduced from the inventory of the estate of Rembrandt’s mother, who wasburied on 29 July 1640 in Leiden. The document (dated 2 November 1640) includes thenames of her four living children, who are listed according to age. Elisabeth is mentioned at
the end of this list, after her brothers Adriaen, Rembrandt, and Willem; see Walter L. Strauss
and Marjon van der Meulen, The Rembrandt Documents (New York, 1979), 191, 1640/9.
5. See P. J. M. Baer, De Leidse verwanten van Rembrandt van Rijn en hun Leidse
afstammelingen tot heden (Leiden, 1992), 2.
6. Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2:1631–1634, Stichting Foundation
Rembrandt Research Project (The Hague, 1986), 170; see also Dagmar Hirschfelder, Tronie
und Porträt in der niederländischen Malerei des 17. Jahrhunderts (Berlin, 2008), 121–22;
Franziska Gottwald, Das Tronie: Muster–Studie–Meisterwerk (Berlin, 2011).
7. In seventeenth-century inventories tronies are frequently described as foreign, outlandish,Turkish, or “antique,” a term that did not necessarily refer to classical antiquity but to the pastin general. See Jaap van der Veen, “Faces from Life: Tronies and Portraits in Rembrandt’s
Painted Oeuvre,” in Rembrandt: A Genius and His Impact, ed. Albert Blankert (Exh. cat.
Melbourne, National Gallery of Victoria; Canberra, National Gallery of Australia) (Zwolle,
1997), 69–80.
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8. For the painting in Stockholm, see Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol.
2: 1631–1634, Stichting Foundation Rembrandt Research Project (The Hague, 1986), A49;
for the painting in a private collection in Switzerland, see Josua Bruyn et al., A Corpus of
Rembrandt Paintings, vol. 2: 1631–1634, Stichting Foundation Rembrandt Research Project(The Hague, 1986), C61, and Ernst van de Wetering et al. A Corpus of Rembrandt Paintings,
vol. 4: Self-Portraits, Stichting Foundation Rembrandt Research Project (Dordrecht, 2005)(Corrigenda et addenda), 4: 629–35.
9. As pointed out in Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2: 1631–1634,
Stichting Foundation Rembrandt Research Project (The Hague, 1986), 2: 163, the depictionof the model in profile can be related to Rembrandt’s Portrait of Amalia van Solms, also from1632. The portrait is in Paris (Musée Jaquemaert-André, no. 423); see Stichting Foundation
Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. 2: 1631–1634, Josua
Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2: 1631–1634, Stichting Foundation
Rembrandt Research Project (The Hague, 1986), 2: A61.
10. In 1986 the Rembrandt Research Project described this painting as an old imitation, but in2005 it reversed this opinion and argued that the painting was autograph. See Ernst van deWetering et al. A Corpus of Rembrandt Paintings, vol. 4: Self-Portraits, Stichting Foundation
Rembrandt Research Project (Dordrecht, 2005) (Corrigenda et addenda), 4: 635. The
following summarized opinion appears in volume 2 (1986) of the Corpus (see C61): “An old
imitation, probably done outside Rembrandt’s circle” (p. 695).
11. For the painting in Chapel Hill (Morehead Planetarium, University of North Carolina), see
Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2: 1631–1634, Stichting
Foundation Rembrandt Research Project (The Hague, 1986), 2: C58.
12. Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2: 1631–1634, Stichting
Foundation Rembrandt Research Project (The Hague, 1986), 2: A47 and A64.
13. See sale catalogue Jean de Jullienne, Paris (Remy), 30 March–22 May 1767 [Lugt 1603], lot
131. The sale catalogue describes them as being on “oval panels of identical dimensions”(59.4 x 43.2 cm).
14. See Andreas Henning, “Pastels in Jean de Jullienne’s Collection as Recorded in the 1767
Sale Catalogue,” in Jean de Jullienne: Collector and Connoisseur, ed. Christoph Martin
Vogtherr, Andreas Henning, and Jennifer Tonkovich (Exh. cat. London, Wallace Collection)(London, 2011), 58, 67, 139.
15. Whether or not these works were both originally painted as ovals or were later reshaped toturn them into pendants is not known.
16. Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2: 1631–1634, Stichting
Foundation Rembrandt Research Project (The Hague, 1986), 2: 681.
17. Miles J. Connor, The Art of the Heist: Confessions of a Master Art Thief, Rock-and-Roller,© 2020 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
Page 8 of 15

and Prodigal Son (New York, 2009), 171–210; Anthony M. Amore and Tom
Mashberg, Stealing Rembrandts: The Untold Stories of Notorious Art Heists (New York,
2011), 118–41.
18. The previous record price for an Old Master painting was set in 1985, when the J. Paul Getty
Museum paid $11,700,000 for Mantegna’s Adoration of the Magi (Christie’s, London, April
18, 1985, lot 16). The previous auction record for a Rembrandt was set in 1961, when the
Metropolitan Museum of Art paid $2,300,000 for Aristotle With a Bust of Homer (ParkeBernet, New York, November 15, 1961, no. 7), the last great work by the artist to have comeup at auction prior to Young Girl in a Gold-Trimmed Cloak.

ProvenanceJean de Jullienne (1686–1766), Paris, by 1756 (his sale, Pierre Remy, Paris, 30 March–22
May 1767, no. 131, with Young Woman with a Necklace, now in Chapel Hill, N.C. [1,210
livres to Donjeux]).
Duc de La Vallière (1708–80), (his sale, A. Paillet, Paris, 21 February 1781, no. 47, with
Young Woman with a Necklace, now in Chapel Hill, N.C. [2,000 livres to Solier]).
Marquis de Chamgrand / de Proth / Saint-Maurice / Bouillac (sale, A. J. Paillet, Paris, 20–24
March 1787, no. 25 [1,000 livres to Paillet]).
Charles-René-Dominique Sochet Chevalier Destouches (1727–94), (his sale, A. J. Lebrun,
Paris, 21 March 1794, no. 16 [651 francs to Basan]).
Comte de Sommariva (his sale, Charles Paillet, Paris, 18–23 February 1839, no. 90 [5,100
francs to Géunin]).
M. Valpinçon (his sale, Paris, Hôtel Drouot, 7–9 March 1881, no. 20 [8,450 francs to Charles
Sedelmeyer, Paris; to E. Secrétan for 15,000 francs, by 1883]).
E. Secrétan, by 1883 (his sale, Paris, Charles Sedelmeyer, 1–4 July 1889, no. 154 [29,500
francs to Charles Sedelmeyer]).
Fürst Johannes II von Liechtenstein (1840–1929), Vienna, by 1891.
The Rt. Rev. Georgius Schmid von Grüneck (bishop of Chur, Switzerland), by 1908; [toRobert C. Vose Gallery, Boston, 1929].
Robert Treat Paine II (1861–1943), Boston, 1929; by descent to his son Richard Cushing
Paine; by descent to his heirs, 30 April 1973; (sale, Sotheby’s, London, 10 December 1986,
no. 44).
Private collection, 1986–2007; (private sale, Sotheby’s, New York, 29 November 2007, no.
99).
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From whom acquired by the present owner in 2007.

Exhibition History
Boston, Museum of Fine Arts, January 1930–February 1944, on loan with the permanentcollection for several months a year [lent by Robert Treat Paine II, Boston].
Worcester, Mass., Worcester Art Museum, “Rembrandt and His Circle: A Loan Exhibition of
Paintings, Drawings, and Etchings,” 4 February–1 March 1936, no. 3 [lent by Robert Treat
Paine II, Boston].
Boston, Museum of Fine Arts, “Art in New England: Paintings, Drawings, Prints from Private
Collections in New England,” 9 June–10 September 1939, no. 98 [lent by Robert Treat Paine
II, Boston].
Boston, Museum of Fine Arts, 7 July 1966–20 September 1986, on loan with the permanentcollection [lent by Richard Cushing Paine; after 30 April 1973 by his heirs].
Los Angeles, J. Paul Getty Museum, November 2007–October 2011, on loan with thepermanent collection [lent by the present owner].
Raleigh, North Carolina Museum of Art, “Rembrandt in America: Collecting andConnoisseurship,” 30 October 2011–22 January 2012; Cleveland, Cleveland Museum of Art,
19 February–28 May 2012; Minneapolis, Minneapolis Institute of Arts, 24 June–16 September
2012, no. 12 [lent by the present owner].
Los Angeles, J. Paul Getty Museum, on loan with the permanent collection, September 2012–
September 2014 [lent by the present owner].
Budapest, Szépm?vészeti Múzeum, “Rembrandt and the Dutch Golden Age,” 31 October
2014–15 February 2015, no. 95 [lent by the present owner].
Los Angeles, J. Paul Getty Museum, February 2015–November 2016, on loan with thepermanent collection [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 [lentby the present owner].
Moscow, The Pushkin State Museum of Fine Arts, “The Age of Rembrandt and Vermeer:
Masterpieces of The Leiden Collection,” 28 March 2018–22 July 2018 [lent by the present© 2020 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
Page 10 of 15

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 thepresent owner].
Abu Dhabi, Louvre Abu Dhabi, “Rembrandt, Vermeer and the Dutch Golden Age.
Masterpieces from The Leiden Collection and the Musée du Louvre,” 14 February–18 May
2019 [lent by the present owner].

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Versions
Versions and Copies© 2020 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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1. J. F. Grueber (possibly Johann Friedrich Gruber, d. 1681), whereabouts unknown (formerly or
still in the Chauveau Collection, Paris).

Technical Summary
The support is a single plank of vertically grained, oval-shaped Spanish cedar.[1] The slightly
irregular shape of the oval and small losses along the outer edges of the paint suggest the panel
may have been trimmed just slightly after the paint dried, but also opens the possibility that the
support was originally rectangular even if the composition was oval. The panel is unthinned anduncradled and has no bevels. Remnants of eight straight pieces of old paper tape create ahexagonal border along the outer edge of the oval panel reverse. Small black dots of resin or gum
exude from and stain the panel reverse along the cedar’s pores. Five red wax seals, two white
wax drips each with a horizontal thread embedded across them, one import stamp, three paperlabels, and a numerical inscription are located along the panel reverse but there are no stencils,
panel maker’s marks or machine tool marks. Two narrow parallel bands of adhesive residue
above and below the two white drips and four pinholes along the ends of both strips suggest a
rectangular label of some sort had previously been adhered to the panel reverse. An additional
short white string is embedded and connects the two red wax seals below the white wax dots.
A light-colored ground has been thinly and evenly applied followed by a pale brown imprimatura.
The paint has been built up in successive thin layers and smoothly applied with lively brushwork
through the background and with thicker paint, with some use of impasto through the figure’s
white shirt, flesh tones, and gold brocade trim. A granularity along some paint passages andpinpoint losses through others could benefit from further investigation. There is evidence of a now
missing brush hair between the figure’s eyes and a fiber of unknown origin caught in the paintalong the lower part of figure’s dress.
Infrared images captured at 900–1700 nanometers reveal lines of preparatory drawing, andcompositional changes visible in the images include a slight shift in the position of the face aroundthe chin and proper left eye.
The painting is signed and dated in dark paint along the background, center right.
The painting has not undergone conservation treatment since its acquisition in 2007 and remains
in a good state of preservation.[2]Further technical information about this artwork is available in The Rembrandt Database.

Technical Summary Endnotes

1. The characterization of the wood is based on Regis B. Miller’s June 2012 wood identification© 2020 The Leiden CollectionPowered by TCPDF (www.tcpdf.org)

Young Girl in a Gold-Trimmed Cloak
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report. The panel thickness was not measured.
2. Entry based on an examination report prepared by Yvonne Szafran, head of paintings
conservation, J. Paul Getty Museum, Los Angeles, 2011.

© 2020 The Leiden Collection