- Title: Self-Portrait
- Creator: Rembrandt van Rijn
- Date Created: 1659
- Physical Dimensions: overall: 84.5 x 66 cm (33 1/4 x 26 in.) framed: 122.9 x 104.1 x 8.9 cm (48 3/8 x 41 x 3 1/2 in.)
- Provenance: Purchased by George Brudenell, 4th earl of Cardigan [1712-1790, later George Montagu, duke of Montagu (new creation)], Montagu House, Whitehall, London, by 1767;[1] by inheritance to his daughter and sole heiress, Elizabeth, duchess of Buccleuch [1743-1827, née Lady Elizabeth Montagu, wife of Henry Scott, 3rd duke of Buccleuch and 5th duke of Queensberry, 1746-1812], Montagu House; by descent through the dukes of Buccleuch and Queensberry to John Charles Montagu, 7th duke of Buccleuch and 9th duke of Queensberry [1864-1935], Montagu House; sold 1928 to (P. & D. Colnaghi & Co., New York), on joint account with (M. Knoedler & Co., New York);[2] sold January 1929 to Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA. [1] The Knoedler prospectus for the painting (in NGA curatorial files) states that the painting was purchased by Brudunell in 1740. However, the first firm evidence for his ownership is a mezzotint after the self-portrait, dated 1767 and published by R. Earlom (1743-1822), which is inscribed as "From the Original Picture...In the Collection of his Grace the Duke of Montagu" (see John Charrington, _A Catalogue of the Mezzotints After, or Said to Be After, Rembrandt_, Cambridge, Massachusetts, 1923: 34-35, no. 49. According to an inventory of Montagu House, Whitehall, made in 1770, this painting and Rembrandt's _An Old Woman Reading_ (still at the Duke of Buccleuch and Queensberry's Drumlanrig Castle in Dumfriesshire, Scotland) were purchased together for 140 pounds; see Francis Russell's entry on _An Old Woman Reading_ in Gervase Jackson-Stops, ed., _The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting_, exh. cat., National Gallery of Art, Washington, D.C., New Haven and London, 1985: 363-364, no. 292. See also Burton B. Fredericksen, "Leonardo and Mantegna in the Buccleuch Collection," _The Burlington Magazine_ 133 (February 1991): 116. [2] Nicholas H.J. Hall, ed., _Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York_, New York, 1992: 24, fig. 24. According to the Getty Provenance Index® Database of Public Collections (J. Paul Getty Trust, Paintings Record 17095), there is no regular entry in Colnaghi’s stockbooks, but transactions for the painting are documented in Colnaghi's Private Ledger; the painting was Knoedler’s number A-409. The 1928 sale of the painting by the 7th duke is also confirmed by a letter of 28 November 1928, from Charles J. Holmes, then director of the National Gallery, London, to Otto Gutekunst of Colnaghi (in NGA curatorial files, received at the time of the 1937 gift). Gutekunst had shown Holmes the painting "in confidence" and Holmes wrote to ask if it could be lent briefly to the Gallery "before it crosses the Atlantic."
- Rights: CC0
- Medium: oil on canvas
DecorArts is a professional wall art company located in California.
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Giclée Quality Guarantee:
Giclée printing is meant to produce a product at a higher quality and longer lifespan than a standard desktop inkjet printer. The word was used to describe digital reproductions of conventional artworks (painting or drawing) or photographs.
There are at least three basic criteria which must be met in order for the print to be considered a true giclée...
- For giclée printing, the paper or substrate used to actually print the final piece must be acid free and consist of a 100% cotton base.
- Any image that is to be printed as a giclée needs to be created at a resolution of no less than 300 dots per inch (DPI). This is to ensure that the final print has the sharpest detail and lacks any of the fragmentation that can occur with images less than 300 DPI.
- The last step to creating or confirming a true giclée print is the type of ink and printer used. The biggest contrast between a standard inkjet print and a giclée print is that giclées are printed using pigment-based inks rather than the dye-based inks found in lower cost inkjets. Pigment-based inks have a longer life span that can last anywhere from 100 to 200 years without significant fading.
The Quality :
The quality of the giclée print rivals traditional silver halide and gelatin printing processes and is commonly found in museums, art galleries, and photographic galleries.
With Giclée printing technology, we are able to provide the best possible quality for the reproduction of fine art masterpieces as well as your personal photos. Our prints capture the subtlest of colors and contrasts, while retaining superb image sharpness.
- We use real wood (non-MDF) for our canvas stretcher bars
- The canvas depth of of each dimension will be 1.5" thick
All of our canvas prints are gallery wrapped. Your image will be visible in full on the front side of the canvas while the outer edges are either artistically extended or mirrored to wrap over the wood stretcher bars on all sides. Our canvases are hand-stretched over solid wood stretcher bars.
Our canvas art works arrive ready to hang right out the box! We will affix a sturdy sawtooth hanger to the back of your canvas and include in your package: two screws, two nails, a pair of gloves, and a gradienter (small water level to ensure art is hung straight).
Framed:
Our framed arts are specially designed for both classic art and personalized artwork. Choose from a variety of frames for the perfect one to suit the style of your home.
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