Rediscovered Rembrandt Valued at $15,000 Could Now be Worth 18M
A painting valued at $15,000 just two years ago is now expected to fetch up to $18 million at auction after being identified as the work of the Dutch master Rembrandt.
“The Adoration of the Kings” has been virtually unseen since the 1950s, when it first came to light.
It was acquired by collector J.C.H. Heldring in Amsterdam in 1955. His widow sold it to a German family in 1985, where it remained until it was sold by Christie’s in Amsterdam two years ago.
At the time of the sale, Christie’s attributed the biblical scene to the “Circle of Rembrandt,” suggesting it had been carried out by a student or an artist close to the famous painter, and estimated its value at between €10,000 and €15,000 ($10,600-$15,800).
The monochromatic painting, which measures 9.6 x 7.3 inches (24.5 x 18.5 centimeters), was purchased by an anonymous buyer for €860,000 ($908,000) at the Christie’s sale.
Although that was more than 50 times the painting’s estimated value at the time, it is now expected to fetch millions more, after emerging as “a work of great significance” by the Dutch painter, according to a press release from Sotheby’s.
After the anonymous buyer consigned it to Sotheby’s, the auction house embarked on an 18-month research project to arrive at the painting’s true attribution and value.
The examination, which involved x-rays and infrared imaging, as well as intensive discussions with leading Rembrandt scholars, led Sotheby’s to conclude the painting is “an autograph work by Rembrandt.” It now values the work at between £10 million and £15 million ($12.2 million-$18.3 million).
The auction house believes it was painted early in Rembrandt’s career, around 1628, when he would have been about 22 and living in the Dutch city of Leiden.
A rare find
The vast majority of Rembrandt’s works hang in museums around the world, and almost all of those that have come to auction over the past three decades “have been portraits or studies of single character heads,” according to the Sotheby’s release.
As such, “The Adoration of the Kings,” which depicts the encounter between the Three Wise Men and the baby Jesus, is a “fantastic opportunity” in the art world, George Gordon, co-chairman of Old Master Paintings Worldwide at Sotheby’s.
In a phone call, he said: “I would say that it’s particularly significant because it adds to our understanding of Rembrandt at this crucial date in his development and career, when he was clearly very ambitious and developing very quickly as an artist.”
The earliest reference to the painting appears to be from the 1714 inventory of a collector in Amsterdam, Constantijn Ranst. It was then offered for sale in 1814 and again in 1822 – after which it disappeared from view until the mid-20th century.
It was included in museum exhibitions and referenced as a Rembrandt work by leading Rembrandt scholars in the 1950s, but in 1960 German art historian Kurt Bauch, who only knew the painting from a black and white photograph, described it as a product of the Rembrandt School and omitted it from from the catalogue raisonné he was compiling. Thereafter, the painting was “entirely overlooked and completely ignored in the Rembrandt literature,” according to Sothebys.
Gordon sad that those bidding at the Christie’s auction in 2021 “must have thought it was much better than the description and that it might well be a Rembrandt.”
Sotheby’s close examination revealed a number of changes and revisions that Rembrandt made, including to the baby Jesus’ halo and the Virgin Mary’s headdress, according to the auction house.
“Very few narrative paintings by Rembrandt remain in private hands, making this an opportunity for a private collector or an institution that is as rare as it is exciting,” Gordon said in the news release.
“This sophisticated painting is in equal measure a product of Rembrandt’s brush and his intellect. All the hallmarks of his style in the late 1620s are evident both in the visible painted surface and in the underlying layers revealed by science, showing multiple changes in the course of its creation, and casting fresh light on how he thought,” he added.
By Lianne Kolirin.
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Details of the Divorce of Josephine and Napoleon (15 December 1809)
by Henri Frédéric Schopin
Michel Louis Etienne Regnaud in the back looking dead inside. He looks a lot like Louis Bonaparte here.
Napoleon placing his hand on the hands of his stepson, Eugène. Behind them is Napoleon’s brother-in-law, Joachim Murat, on the right.
Josephine with her daughter, Hortense. The man to the right of them is Cambacérès, the Arch-Chancellor of the Empire (Napoleon’s second-in-command).
Everyone else. They include Marshal Bessières holding a chair, Marshal Ney and the Vice-Grand Elector, Talleyrand.
The bee symbol used here was the symbol of the First French Empire. Almost everything with the Napoleonic bees were either altered or destroyed during the Bourbon Restoration.
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Of Plum Pudding and Other Pleasures
Flour of England,
Fruit of Spain
Met together
In a shower of rain,
Put in a bag
Tied round with a string;
If you tell me this riddle
I’ll give you a ring.
—traditional English riddle
Mrs. Cratchit’s Christmas Pudding
But now, the plates being changed by Miss Belinda, Mrs. Cratchit left the room alone—too nervous to bear witnesses—to take the pudding up and bring it in.
Suppose it should not be done enough! Suppose it should break in turning out! Suppose somebody should have got over the wall of the back-yard, and stolen it, while they were merry with the goose—a supposition at which the two young Cratchits became livid! All sorts of horrors were supposed.
Hallo! A great deal of steam! The pudding was out of the copper. A smell like a washing-day! That was the cloth. A smell like an eating-house and a pastrycook’s next door to each other, with a laundress’s next door to that! That was the pudding! In half a minute Mrs. Cratchit entered—flushed, but smiling proudly—with the pudding, like a speckled cannon-ball, so hard and firm, blazing in half of half-a-quartern of ignited brandy, and bedight with Christmas holly stuck into the top.
—from A Christmas Carol by Charles Dickens
An Old Christmas Fire
On one side was a table occupied by some chattering girls, cutting up silk and gold paper; and on the other were tressels and trays, bending under the weight of brawn and cold pies, where riotous boys were holding high revel; the whole completed by a roaring Christmas fire, which seemed determined to be heard, in spite of all the noise of the others. Charles and Mary also came in, of course, during their visit, and Mr Musgrove made a point of paying his respects to Lady Russell, and sat down close to her for ten minutes, talking with a very raised voice, but from the clamour of the children on his knees, generally in vain. It was a fine family-piece.
Anne, judging from her own temperament, would have deemed such a domestic hurricane a bad restorative of the nerves, which Louisa’s illness must have so greatly shaken. But Mrs Musgrove, who got Anne near her on purpose to thank her most cordially, again and again, for all her attentions to them, concluded a short recapitulation of what she had suffered herself by observing, with a happy glance round the room, that after all she had gone through, nothing was so likely to do her good as a little quiet cheerfulness at home.
—from Persuasion by Jane Austen
Brown Bread Recipe
One cup of sweet milk,
One cup of sour,
One cup of cornmeal,
One cup of flour,
Teaspoon of soda,
Molasses one cup,
Steam for three hours,
Then eat it all up.
—traditional American
Winter
A wrinkled crabbed man they picture thee,
Old Winter, with a rugged beard as grey
As the long moss upon the apple-tree;
Blue-lipt, an icedrop at thy sharp blue nose,
Close muffled up, and on thy dreary way
Plodding alone through sleet and drifting snows.
They should have drawn thee by the high-heapt hearth,
Old Winter! seated in thy great armed chair,
Watching the children at their Christmas mirth;
Or circled by them as thy lips declare
Some merry jest, or tale of murder dire,
Or troubled spirit that disturbs the night,
Pausing at times to rouse the mouldering fire,
Or taste the old October brown and bright.
—Robert Southey
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