Art Institute of ChicagoPublic domain

Jacob Shown Joseph’s Blood-Stained Coat

Aert de Gelder · c. 1660

Provenance

Ownership history

Unknown collector [stamps (not in Lugt) recto, lower right and lower left, in black]. 15th Earl of Shrewsbury (1753–1827), Alton Towers, Staffordshire, England [verso inscription]. Possibly sold, Sotheby’s, London, Mar. 13–15, 1858. Charles Deering (1852–1927), Chicago [stamp (Lugt 516) verso, lower right, in blue]; by descent to his daughters, Mrs. Chauncey McCormick (née Marion Deering; 1886–1965), Chicago and Mrs. Richard Ely Danielson (née Barbara Deering; 1885–1957), Chicago; given to the Art Institute of Chicago, 1927.

Recorded by Art Institute of Chicago.

Exhibitions

Art Institute of Chicago, A Century of Progress, Exhibition of Paintings and Sculpture, Lent from American Collections, June 1 to November 1, 1933, cat. 813, p. 87, (as Rembrandt).
Art Institute of Chicago, [Loan Exhibition of ] Paintings, Drawings, and Etchings by Rembrandt and His Circle, Dec. 19, 1935–Jan. 19, p. 39, cat. 50 (as Arent de Gelder).
Worcester Art Museum, Rembrandt and his Circle, A Loan Exhibition of Paintings, Drawings, and Etchings, Feb. 4–Mar. 1, 1936, p. 45, no. 50 (as Arent de Gelder).
Art Institute of Chicago, Rembrandt After Three Hundred Years, Oct.25–Dec.7, 1969, pp. 194 and 266 (ill.), cat. 182 [as Aert de Gelder]; also the Minneapolis Institute of Arts, Dec. 22, 1969–Feb. 1, 1970; and the Detroit Institute of Arts, Feb. 24–Apr. 5, 1970.
Dordrechts Museum, Arent de Gelder, 1645–1727: Rembrandts laatste leering, Oct. 10, 1998–Jan. 24, 1999, pp. 113-114, fig. 2, and p. 255, cat. no. 59 (ill).
The Art Institute of Chicago, "Rubens, Rembrandt, and Drawing in the Golden Age", September 28, 2019 - January 5, 2020, pp. 69 (ill.), 72-73, 297, cat. 21, cat. by Victoria Sancho Lobis, et. al.

Literature

Daniel Catton Rich, “Two Drawings by Rembrandt,” The Art Institute of Chicago Bulletin XXIII:4 (1929), pp. 40–41 (ill., p. 40) (as Rembrandt).
W. R. Valentiner, Die Handzeichnungen Rembrandts (New York, 1934), vol. II: p. xxxiv–xxxv, fig. 35 (as Arent de Gelder).
Otto Benesch, The Drawings of Rembrandt (London, 1957), vol. VI: p. 385, no. A83, fig. 1748 (as Rembrandt).
Werner Sumowski, Bemerkungen zu Otto Beneschs Corpus der Rembrandt-zeichnungen, II (Bad Pyrmont: 1961), p. 26, no. A 83 (as Arent de Gelder).
Peter Schatborn, “Rembrandt’s Late Drawings of Female Nudes,” in Walter Strauss and Tracie Felker, eds., Drawings Defined (New York: Abaris Books, 1987), pp. 306-307, fig. 2.
Peter Schatborn, “Rembrandts late tekeningen van vrouwelijke naaktfiguren.” Kroniek van het Rembrandthuis, XXXIX (1987), no. 2, pp. 28-40 (ill., p.29, fig. 2); discussed on p. 28.
Holm Bevers, Peter Schatborn, and Barbara Welzel, Rembrandt: The Master and His Workshop: Drawings and Etchings, exh. cat. (New Haven and London: Yale University Press, in association with National Gallery Publications, London, 1992), under cat. 47, pp. 148 (ill) (as Arent de Gelder).
Holm Bevers, Lee Hendrix, William W. Robinson, and Peter Schatborn, Drawings by Rembrandt and His Pupils: Telling the Difference, exh. Cat. (Los Angeles, J. Paul Getty Museum, 2009), under cat. no. 39, p. 231 (ill) (as Arent de Gelder).

Comparables