Year: 1998
Type: article
Abstract: In 1919 McGill received a seventeenth century print from the estate of the Reverend Canon Thomas W. Mussen: The Descent from the Cross.In recent years this print has been dismissed by a local print dealer, on unspecified grounds, as a "bad impression, not by Rembrandt."This article contradicts the dealer's opinion and relates McGil17s fine print (etching) to the plate from which two impressions were taken -one in the British Museum, London, the other in the Metropolitan Museum of Art, New York.Both have been directly linked to the Dutch baroque artist, Rembrandt Harmenz van Rijn, by their respective museum print exverts and authenticated by the Amsterdam based committee, the Rembrandt Research Project.' En 1919, la succession du Re've'rend Canon Thomas W. Mussen donne d McGill une gravure du XVIF siicle intitule'e The Descent from the Cross (Descente de la Croix).Un marchand d7art a re'cemment dit de cette gmvure, sans aucun motif, qu'elle e'tait une Srds mauvaise impression [et ne pouvait] 2tre attribue'e a Rembrandt".Cet article rLfute l'opinion du marchand et met en lumidre le lien qui existe entre la gravure en possession de McGill et la plaque d partir de laquelle deux impressions ont e'te' tire'es, l'une figurant au British Museum d Londres et 17autre au Metropolitan Museum of Art d New York.Toutes deux ont e'te' directement attribue'es au peintre baroque hollandais Rembrandt (Harmenszoon van Rijn) par les spe'cialistes de ces deux itablissements.Elle a par ailleurs e'te' authentifie'e par le Rembrandt Research Project', d Amsterdam.
Source: Fontanus
DOI: 10.26443/fo.v10i.156
Author: Maria L. Brendel
Institution: Museum of London
Language: English
Subfield: Conservation
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: hybrid
OpenAlex ID: W2611202844