© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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Young Girl in a Gold-Trimmed Cloak

1632

Rembrandt van Rijn
(Leiden 1606 – 1669 Amsterdam)oil on oval panel
59 x 44 cm
signed and dated in dark paint along thebackground, center right: “RHL van Rijn / 1632”
RR-104Currently on view at: The National Museum ofChina, Beijing

How To Cite
Manuth, Volker. "Young Girl in a Gold-Trimmed Cloak." In The Leiden Collection Catalogue. Edited by
Arthur K. Wheelock Jr. New York, 2017.
https://www.theleidencollection.com/archive/.
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© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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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
girl with curly, somewhat frizzy blond hair. Although she stares directly at
the viewer 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. Light falling from the upper left also enlivens her presence by
picking up nuances of her features, including her pronounced forehead,her somewhat asymmetrical eyes, the slight pout of her mouth, and the
beginnings of a double 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 Rembrandt plays with light against dark anddark 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 withsmoothly blended strokes, and rendered her blond hair with flowing,
individual touches of the brush. He vigorously applied heavily laden paintFig 1. Rembrandt van Rijn,
Portrait of Saskia van
Uylenburgh, 1633, silverpoint onvellum, 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.
Andersto create the pattern of radial pleats of the white blouse, whereas hepicked out the decorative motifs of the gold embroidery on her black gownwith thick highlights. Finally, Rembrandt’s carefully placed accents lend
weight and substance to the strand 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, soonafter he moved from Leiden to Amsterdam, at a time when his portraits
and tronies (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, as Rembrandt infused both with personal
characterizations that seem distinctive and reflective of a specificindividual. This issue is particularly relevant for Young Girl in a GoldTrimmed Cloak, which has often been identified as a portrait but should

Fig 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

instead be considered a tronie.
The sitter is most frequently identified as Saskia van Uylenburgh,© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
Page 4 of 14

Rembrandt’s first wife.[2] However, Rembrandt and Saskia probably did
not meet until a year after this painting was executed.[3] Moreover, acomparison of 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, for instance, has a more rounded head and morechildlike features. Another proposed identification for the sitter isRembrandt’s younger sister Elisabeth (Lysbeth).[4] However, Rembrandt
executed this painting in Amsterdam and Lysbeth 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
portrait of a specific individual, family member or not.[6] Even apart fromthe problems inherent in the above proposed identifications, there is theissue of the figure’s dress. Her outfit, with its high-necked, pleated, white
blouse and dark cloak edged with gold embroidery, as well as the string of
pearls in her hair and her pearl ear drops, harkens back to elegant

Fig 3. Isaac de Jouderville /Circle of Rembrandt van Rijn,
Bust of a Young Woman, 1632,
oil on panel, 59.4 x 43.2 cm(oval), Morehead Planetarium andScience Center, University ofNorth Carolina, Chapel Hill, N.C.
Image courtesy of the North
Carolina Museum of Art, Raleigh,N.C.

sixteenth-century fashions.[7] Such imaginative, fanciful outfits arecharacteristic of the tronies that Rembrandt and Jan Lievens (1607–74)
depicted in Leiden during the late 1620s and early 1630s. Thesepaintings, which came in different sizes and different degrees of finish,included depictions of young girls, wrinkled graybeards, weatheredsoldiers, and exotic potentates. They were made, in part, in preparation forhistory paintings, but also as works to be sold on the open market.
The same model appears in two other paintings that Rembrandt executedin 1632: A Young Woman in Profile with a Fan in Stockholm (fig 2) andBust of a Young Woman in a Cap

in a private collection in

Switzerland.[8] In the Stockholm painting she is shown in strict profile to theleft and wears similar clothing and pearl jewelry.[9] In the other painting,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

likewise signed and dated 1632, she wears a plumed beret.[10] A fourth
painting depicting the same model, 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 model by Rembrandt, and his workshop
makes it highly unlikely that Young Girl in a Gold-Trimmed Cloak was acommissioned portrait. Interestingly, the same model, in a nearly identicalcostume, 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,© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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and as the woman (Esther?) in the Old Testament scene in Ottawa(fig4).[12]In the eighteenth century, Young Girl in a Gold-Trimmed Cloak was partof the distinguished collection of Jean de Jullienne (1686–1766) in Paris,
where it was considered a pendant to the Chapel Hill painting, which is
likewise oval in shape and has exactly the same dimensions.[13] The firstmention of these paintings as pendants occurs in the Catalogue desTableaux de M. de Jullienne , ca. 1756, a room-by-room inventory of thepaintings displayed in Jullienne’s Parisian hotel, illustrated with 152
miniatures in pen and watercolor.[14] It is unlikely, however, that theseworks were conceived as pendants. Not only were they executed on
different types of wood (the Leiden Collection painting is on Spanish
cedar, whereas the Chapel Hill painting is on oak), they differ stylisticallyand qualitatively.[15] Even though Rembrandt’s pupil, presumably Isaac de
Jouderville, must have had access to the same model, the physiognomic
details of the Chapel Hill painting are softer and less vividly defined, andthe lighting does not similarly set off the head and upper body from thebackground.[16] Most importantly, she lacks the compelling presence thatso endears her to all viewers of Rembrandt’s subtle masterpiece in the
Leiden Collection.
The journey of Young Girl in a Gold-Trimmed Cloak through to its
accession by the Leiden Collection is extremely well documented andquite fascinating. Sold in Paris in 1767 after the death of Jean deJullienne, the painting spent more than a century in France before Furst
Johannes II, prince of Liechtenstein acquired it in 1893. Between 1908
and 1929 it was in the collection of the Rt. Reverend Georgius Schmid vonGruneck, 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 and then generously placed it on long-term loan atvarious museums so that it could be studied by scholars and enjoyed by awide public. In 1975, however, Young Girl in a Gold-Trimmed Cloak wasstolen from the Museum of Fine Arts, Boston, and the brazen character of
the theft brought the painting great notoriety. The theft had beenorchestrated by Myles J. Connor Jr., who, wearing a beard, glasses, atweed suit and a fedora, escaped with the work, aided by accomplices
firing shots at the steps of the museum.[17] A year later the painting wasrecovered in dramatic fashion by state and federal officials who returned it© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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to the museum, where it stayed until the family put it up for auction in 1986.
That sale (to a private collector) compounded the painting’s fame because
it sold for $10.5 million—a record for a work by the Dutch artist and thesecond highest price ever paid at auction for an Old Master painting.[18] In
2007 this masterpiece was acquired in a private sale by the Leiden
Collection (see Provenance).

-Volker Manuth© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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Endnotes
1. Reliably signed and dated paintings by Rembrandt of single figures that most likely
originated in Amsterdam before 1632 are the Portrait of Nicolaes Ruts, Frick Collection,
New York, inv. 43.1.150 (see Stichting Foundation Rembrandt Research Project,A Corpus
of Rembrandt Paintings, vol. 2, 1631–1634, ed. Josua Bruyn et al. [Dordrecht, Boston, andLancaster, 1986], no. A43), and the Portrait of a Man at a Writing Desk , The State
Hermitage Museum, St. Petersburg, inv. 741 (see Stichting Foundation Rembrandt
Research Project, A Corpus of Rembrandt Paintings , vol. 2, 1631–1634, ed. Josua Bruyn etal. [Dordrecht, Boston, and Lancaster, 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 andLeipzig, 1904), 26. The year of

Lysbeth’s birth is unknown, but there is information indicating that she was younger thanRembrandt. This can be deduced from the inventory of the estate of Rembrandt’s mother,
who was buried on 29 July 1640 in Leiden. The document (dated 2 November 1640)
includes the names of her four living children, who are listed according to age. Elisabeth ismentioned 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. de Baer, De Leidse verwanten van Rembrandt van Rijn en hun Leidse
afstammelingen tot heden (Leiden, 1992), 2.
6. Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings , vol.
2, 1631–1634, ed. Josua Bruyn et al. (Dordrecht, Boston, and Lancaster, 1986), 170; seealso Dagmar Hirschfelder, Tronie und Porträt in der niederländischen Malerei des 17.
Jahrhunderts(Berlin,2008),

121–22;FranziskaGottwald,

Das

Tronie:Muster–Studie–Meisterwerk, die Genese einer Gattung der Malerei vom 15. Jahrhundert
bis zu Rembrandt (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 thepast in general. See Jaap van der Veen, “Faces from Life: Tronies and Portraits in© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
Page 8 of 14

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.
8. For the painting in Stockholm, see Stichting Foundation Rembrandt Research Project, A
Corpus of Rembrandt Paintings, vol. 2, 1631–1634, ed. Josua Bruyn et al. (Dordrecht,
Boston, and Lancaster, 1986), A49; for the painting in a private collection in Switzerland, see
Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings , vol.
2, 1631–1634, ed. Josua Bruyn et al. (Dordrecht, Boston, and Lancaster, 1986), C61, andvol. 4 (2005) (Corrigenda et addenda), 629–35.
9. As pointed out in Stichting Foundation Rembrandt Research Project, A Corpus of
Rembrandt Paintings, vol. 2, 1631–1634, ed. Josua Bruyn et al. (Dordrecht, Boston, andLancaster, 1986), 163, the depiction of the model in profile can be related to Rembrandt’sPortrait of Amalia van Solms , also from 1632. The portrait is in Paris (Musée JaquemaertAndré, no. 423); see Stichting Foundation Rembrandt Research Project, A Corpus of
Rembrandt Paintings, vol. 2, 1631–1634, ed. Josua Bruyn et al. (Dordrecht, Boston, andLancaster, 1986), 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 Stichting
Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. 4, SelfPortraits, ed. Ernst van de Wetering (Dordrecht, 2005), Corrigenda et addenda, 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
Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings , vol.
2, 1631–1634, ed. Josua Bruyn et al. (Dordrecht, Boston, and Lancaster, 1986), C58.
12. Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings , vol.
2, 1631–1634, ed. Josua Bruyn et al. (Dordrecht, Boston, and Lancaster, 1986), 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 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.
© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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16. Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings , vol.
2, 1631–1634, ed. Josua Bruyn et al. (Dordrecht, Boston, and Lancaster, 1986), 681.
17. Miles J. Connor, The Art of the Heist: Confessions of a Master Art Thief, Rock-and-Roller,
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 1893.
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,© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
Page 10 of 14

no. 44).
Private collection, 1986–2007; (private sale, Sotheby’s, New York, 29 November 2007, no.
99).
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 ofArt, 19 February–28 May 2012; Minneapolis, Minneapolis Institute of Arts, 24 June–16
September 2012, no. 12 [lent by the present owner].
Budapest, Szépművészeti 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].

References© 2017 The Leiden CollectionYoung Girl in a Gold-Trimmed Cloak
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Descamps, Jean-Baptiste. La vie des peintres flammands, allemands et hollondois . 4 vols.
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Von Bode, Wilhelm. Studien zur Geschichte der holländischen Malerei . Braunschweig,
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Von Würzbach, Alfred. Rembrandt-Galerie. 1886, no. 329.
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Kunstchronik 24 (1889): 637.
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no. 10.
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Verzeichniss seiner Gemälde mit den heliographischen Nachbildungen . 8 vols. Paris,
1897–1906, 1:28, 145–47, no. 57.
Knackfuss, Hermann. Rembrandt. Translated by Campbell Dodgson. Leipzig, 1899, 18, fig.
19.
Sedelmeyer, Charles. Illustrated Catalogue of 300 Paintings by Old Masters of the Dutch,
Flemish, Italian, French, and English Schools: Being Some of the Principal Pictures Which
Have at Various Times Formed Part of the Sedelmeyer Gallery . Paris, 1898, 138–39, no.
122.
Höss, Karl. Fürst Johann II von Liechtenstein und die bildende Kunst. Vienna, 1908, 51.
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and Berlin, 1909, 56, 551.
Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent
Dutch Painters of the Seventeenth Century Based on the Work by John Smith . 8 vols.
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Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts .
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Versions
Versions and Copies
1. J. F. Grueber (possibly Johann Friedrich Gruber, d. 1681), whereabouts unknown (formerly
or still in the Chauveau Collection, Paris).

Versions Notes

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Young Girl in a Gold-Trimmed Cloak
Page 14 of 14

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, threepaper labels, 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 thepaint along 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 facearound the 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]Technical Summary Endnotes

1. The characterization of the wood is based on Regis B. Miller’s June 2012 wood
identification 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.

© 2017 The Leiden Collection