Resurrection of Christ

1. Possibly Helena Lens, widow of merchant Willem Heyblom, Dordrecht by 1673 [see inventory of the collection of Helena Lens, Nov. 18, 1673, Getty Archival Document N-1483]. Possibly transferred by her to Abraham and Franchois Heyblom in payment of a debt [see document cited above]. Mrs. J. Piper, England; sold Sotheby's, London, Nov. 13, 1968, lot 66 to Julius Weitzner [letter dated May 10, 2000, from Camilla Harris, Sotheby's, to Martha Wolff in curatorial file]; sold to the Art Institute, 1969.

Recorded by Art Institute of Chicago.

• Art Institute of Chicago, Rembrandt after Three Hundred Years: An Exhibtion of Rembrandt and His Followers, Oct. 25-Dec. 7, 1969, cat. 72; Minneapolis Institute of Arts, Dec. 22, 1969-Feb. 1, 1970; Detroit Institute of Arts, Feb. 24-Apr. 5, 1970.
• Vienna, Kunsthistorisches Museum, Rembrandt - Hoogstraten. Colour and Illusion, Oct. 8, 2024–Jan. 12, 2025, fig. 52; Amsterdam, Museum Rembrandthuis, The Illusionist. Samuel van Hoogstraten, Feb. 1–May 4, 2025, fig. 79.

• Art Institute of Chicago Annual Report 1968-1969 (1969): 14, 17.
• Art Institute of Chicago, Rembrandt after Three Hundred Years: An Exhibtion of Rembrandt and His Followers, exh. cat. (Chicago: Art Institute, 1969), 74-75 car. 72, 133 (ill.).
• Werner Sumowski, Gemälde der Rembrandt-Schüler vol. 2 (Landau/Pfalz: Edition PVA, 1983), 1293, no. 835, fig. 835.
• Peter C. Sutton, A Guide to Dutch Art in America (Grand Rapids, Michigan: Netherlands-American Amity Trust, 1986), 50.
• Peter Marijnissen, De Zichtbaere werelt: schilderkunst uit de Gouden Eeuw in Hollands oudste stad (Zwolle: Waanders, 1992), 25, 208, n1.
• Michiel Roscam Abbing, De schilder & schrijver Samuel van Hoogstgraten 1627-1678: Eigentijdse bronnen & oeuvre van gesigneeerde schilderijen (Leiden: Primavera Pers, 1993), 141, fig. 42.
• Celeste Brusati, Artifice and Illusion: The Art and Writing of Samuel van Hoogstraten (Chicago and London: University of Chicago Press, 1995), 356, no. 53.
• Peter Black and Erma Hermens, “A Note on Samuel van Hoogstraten’s Christ and the Women of Jerusalem” Apprenticeship, Practice, Influence,” in Rembrandt Now: Technical Practice, Conservation and Research, Marika Spring and Ashok Roy, eds. (London: National Gallery with Archetype Publications, 2022), 99-100.
• Stephanie Dickey, "Fragments of Evidence for Rembrandt's Genoese Commission?," in Not Always Rembrandt: 37 Studies in Baroque Art, Rudie van Leeuwen, Lilian Ruhe, and David de Witt, eds. (Turnhout: Brepols, 2023), 217n31.
• Sabine Pénot, ed., Rembrandt - Hoogstraten. Colour and Illusion, exh. cat. (Vienna: Hannibal, 2024), 114–15 cat. 52, 118 (ill.), 262.
• Nathalie Maciesza, Epco Runia, eds., Samuel van Hoogstraten: The Illusionist, exh. cat. (Zwolle: Wbooks, 2025), 88-89 fig. 79, 97 (ill.), 101–103, fig. 79a, 141.
• David de Witt, "Samuel van Hoogstraten's Drawings: History, Life, Universality. Method: Working from a Core Group," in Samuel van Hoogstraten (1627-1678): Catalogue Raisonné, The Hague, 2025, accessed April 22, 2024, <https://vanhoogstraten.rkdstudies.nl/samuel-van-hoogstratens-drawings-history-life-universality/method-working-from-a-core-group/>

Seated Female Nude

Art Institute of Chicago

Jacob and Esau (recto); Head of a Young Woman Asleep (verso)

Art Institute of Chicago

Stoning of Saint Stephen

Art Institute of Chicago

Frederick Douglass

Art Institute of Chicago

Simon Vouet

Art Institute of Chicago

The Bedroom

Art Institute of Chicago

Self-Portrait

Art Institute of Chicago

La Maison du Saumon, Chartres, from Vingt Lithographies du Vieux Paris

Art Institute of Chicago

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