An Old Man in a Fur Cap

CC0 Public Domain Designation

Painting and Sculpture of Europe

1650/60

Karel van der Pluym
Dutch, 1625-1672

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Karel van der Pluym
Title: An Old Man in a Fur Cap
Place: Holland (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1601–1700
Medium: Oil on cradled panel
Dimensions: 71.3 × 54.8 cm (28 1/16 × 21 9/16 in.)
Credit Line: Bequest of Chester D. Tripp
Reference Number: 1988.265
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/72190/manifest.json

J. O. Kronig, “Carel van der Pluijm: A Little Known Follower of Rembrandt,” Burlington Magazine 26 (1915), p. 177, no. 4.
A[braham] Bredius, “Wiedergefundene ‘Rembrandts,’” Zeitschrift für bildende Kunst 56 (1921), p. 147.
A[braham] Bredius, “Ein letztes Wort an Dr. Valentiner,” Kunstchronik und Kunstmarkt 57 (1922), pp. 393-94.
“Pictures Bring Best Prices in Stillwell Sale,” Art News 26, 10 (December 10, 1927), pp. 1, 12, no. 210 (ill.).
A[braham] Bredius, “Karel van der Pluym, neef en leerling van Rembrandt,” Oud-Holland 48 (1931), pp. 246-47, 255-56, 264, figs. 4 and 6.
A. Bredius, “Pluym, Karel van der” in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 27 (Leipzig: E. A. Seemann, 1933), p. 164.
Werner Sumowski, “Nachträge zum Rembrandtjahr 1956,” Wissenschaftliche Zeitschrift der Humboldt-Universität zu Berlin 7 (1957-58), p. 229.
Rondom Rembrandt. De verzameling Daan Cevat, exh. cat. (Leiden: Stedelijk Museum ‘De Lakenhal’, 1968), p. 18, under no. 26.
J[acques] F[oucart] in Le siècle de Rembrandt: tableaux hollandais des collections publiques françaises, exh. cat. (Paris: Musée du Petit Palais, 1970), p. 196, under cat. 189.
Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. 4 (Landau/Pfalz: Edition PVA, 1983), pp. 2366, 2380, no. 1598, ill.
Henry Adams, “If Not Rembrandt, Then His Cousin?,” Art Bulletin 46 (1984), pp. 434-5, 438, figs. 10-11, 31.
Art Institute of Chicago, Annual Report 1988-89 (Chicago: Art Institute of Chicago, 1988) p. 22, 55, 99, fig. 51.
Walter Liedtke in Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship, vol. 2, exh. cat. (New York, Metropolitan Museum of Art, 1995), p. 114, fig. 75, under no. 31.
Jonathan Bikker, Willem Drost (1633-1659): A Rembrandt Pupil in Amsterdam and Venice (New Haven and London: Yale University Press, 2005), pp. 32-34, 137, 178 n. 174, fig. R5a.
M[argaret] I[acono] in Colin B. Bailey et al., Rembrandt and His School: Masterworks from the Frick and Lugt Collections, exh. cat. (New York: Frick Collection, 2011), pp. 67-9, 72 n. 23-25, figs. 2, 4, under cat. 5.

Chicago, Art Institute of Chicago, A Century of Progress: Loan Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 72.
Chicago, Art Institute of Chicago, A Century of Progress: Loan Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 103.
Chicago, Art Institute of Chicago, Paintings, Drawings, and Etchings by Rembrandt and His Circle, December 19, 1935–January 19, 1936, cat. 25.
Worcester, Mass., Worcester Art Museum, Rembrandt and His Circle: A Loan Exhibition of Paintings, Drawings and Etchings, February 4–March 1, 1936, cat. 23.
Chicago, Art Institute of Chicago, Rembrandt After Three Hundred Years: An Exhibition of Rembrandt and His Followers, October 25–December 7, 1969; Minneapolis Institute of Arts, December 22, 1969–February 1, 1970; Detroit Institute of Arts, February 24–April 5, 1970, cat. 91.

Baron Pierre Joseph de Caters (died 1861), Antwerp, before 1861; his estate sale, Terbruggen, Antwerp, April 15, 1861, lot no. 2, as “Un vieux savant à barbe grise…” by Rembrandt. Probably Louis Lampe, Brussels, by 1906 when sold by him to Stillwell according to the 1927 Stillwell sale catalogue [this catalogue also asserts that the picture was in the collection of Prince Vladimir Potemkin]; John E. Stillwell, New York, probably from 1906; sold, Anderson Galleries, New York, December 1, 1927, lot no. 210, to Seidlitz and Van Baarn, New York, for $8,100 [buyer according to Art News, 1927, p. 120]. Chester D. Tripp (died 1974), Chicago, possibly as early as 1927 but at least by 1930 [registrar’s records of a loan to the Art Institute on June 17, 1930, R of O 4521, and Bredius 1931]; by descent to his widow, Jane B. Tripp (died 1988); bequeathed to the Art Institute of Chicago, 1988.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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