Jacob Shown Joseph’s Blood-Stained Coat

Prints and Drawings

c. 1660

Aert de Gelder
Dutch, 1645-1727

This work is now recognized as a clear example of Arent de Gelder’s individual style. A pupil of Rembrandt’s in the last stage of his career, De Gelder’s drawings can be characterized by their straight, loose lines; the placement of darker accents; and a focus on contours of the figures to the exclusion of defining the volume within the forms.

Status: Currently Off View
Department: Prints and Drawings

Artist: Aert de Gelder
Title: Jacob Shown Joseph’s Blood-Stained Coat
Place: Netherlands (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.: 1655–1665
Medium: Pen and brown ink, with brush and brown wash, with touches of white opaque watercolor, on buff laid paper, laid down on ivory laid paper
Inscriptions: Inscribed verso, lower left: "PRo, Mo"; lower center, in graphite: "Rembrandt: Original Drawing; The Bretherin of Joseph Reporting His death to Jacob/ From the Lord of Shrewsbury Coll."
Dimensions: Primary/secondary supports: 12.1 × 18.6 cm (4 13/16 × 7 3/8 in.)
Credit Line: The Charles Deering Collection
Reference Number: 1927.5189
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/49224/manifest.json

Daniel Catton Rich, “Two Drawings by Rembrandt,” The Art Institute of Chicago Bulletin XXIII:4 (1929), pp. 40–41 (ill., p. 40) (as Rembrandt).
W. R. Valentiner, Die Handzeichnungen Rembrandts (New York, 1934), vol. II: p. xxxiv–xxxv, fig. 35 (as Arent de Gelder).
Otto Benesch, The Drawings of Rembrandt (London, 1957), vol. VI: p. 385, no. A83, fig. 1748 (as Rembrandt).
Werner Sumowski, Bemerkungen zu Otto Beneschs Corpus der Rembrandt-zeichnungen, II (Bad Pyrmont: 1961), p. 26, no. A 83 (as Arent de Gelder).
Peter Schatborn, “Rembrandt’s Late Drawings of Female Nudes,” in Walter Strauss and Tracie Felker, eds., Drawings Defined (New York: Abaris Books, 1987), pp. 306-307, fig. 2.
Peter Schatborn, “Rembrandts late tekeningen van vrouwelijke naaktfiguren.” Kroniek van het Rembrandthuis, XXXIX (1987), no. 2, pp. 28-40 (ill., p.29, fig. 2); discussed on p. 28.
Holm Bevers, Peter Schatborn, and Barbara Welzel, Rembrandt: The Master and His Workshop: Drawings and Etchings, exh. cat. (New Haven and London: Yale University Press, in association with National Gallery Publications, London, 1992), under cat. 47, pp. 148 (ill) (as Arent de Gelder).
Holm Bevers, Lee Hendrix, William W. Robinson, and Peter Schatborn, Drawings by Rembrandt and His Pupils: Telling the Difference, exh. Cat. (Los Angeles, J. Paul Getty Museum, 2009), under cat. no. 39, p. 231 (ill) (as Arent de Gelder).

Art Institute of Chicago, A Century of Progress, Exhibition of Paintings and Sculpture, Lent from American Collections, June 1 to November 1, 1933, cat. 813, p. 87, (as Rembrandt).
Art Institute of Chicago, [Loan Exhibition of ] Paintings, Drawings, and Etchings by Rembrandt and His Circle, Dec. 19, 1935–Jan. 19, p. 39, cat. 50 (as Arent de Gelder).
Worcester Art Museum, Rembrandt and his Circle, A Loan Exhibition of Paintings, Drawings, and Etchings, Feb. 4–Mar. 1, 1936, p. 45, no. 50 (as Arent de Gelder).
Art Institute of Chicago, Rembrandt After Three Hundred Years, Oct.25–Dec.7, 1969, pp. 194 and 266 (ill.), cat. 182 [as Aert de Gelder]; also the Minneapolis Institute of Arts, Dec. 22, 1969–Feb. 1, 1970; and the Detroit Institute of Arts, Feb. 24–Apr. 5, 1970.
Dordrechts Museum, Arent de Gelder, 1645–1727: Rembrandts laatste leering, Oct. 10, 1998–Jan. 24, 1999, pp. 113-114, fig. 2, and p. 255, cat. no. 59 (ill).
The Art Institute of Chicago, “Rubens, Rembrandt, and Drawing in the Golden Age”, September 28, 2019 - January 5, 2020, pp. 69 (ill.), 72-73, 297, cat. 21, cat. by Victoria Sancho Lobis, et. al.

Unknown collector [stamps (not in Lugt) recto, lower right and lower left, in black]. 15th Earl of Shrewsbury (1753–1827), Alton Towers, Staffordshire, England [verso inscription]. Possibly sold, Sotheby’s, London, Mar. 13–15, 1858. Charles Deering (1852–1927), Chicago [stamp (Lugt 516) verso, lower right, in blue]; by descent to his daughters, Mrs. Chauncey McCormick (née Marion Deering; 1886–1965), Chicago and Mrs. Richard Ely Danielson (née Barbara Deering; 1885–1957), Chicago; given to the Art Institute of Chicago, 1927.

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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. Learn more.

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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.

Learn more.