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Old Woman Plucking a Fowl

Rembrandt1650/1655

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist, specializing in history paintings and portraiture. He received many commissions and attracted a number of students who came to learn his method of painting.


Traditionally, Old Woman Plucking a Fowl has been associated with a work listed in the 1734 sale of paintings owned by Willem Six, where "Een Hoenderwyf, van Rembrant" (A vendor of fowl, by Rembrandt) was purchased for 165 guilders. No one would confuse this painting as it looks today with a work by Rembrandt. It was reworked in the eighteenth century and then heavily restored in the early twentieth century. With so many layers of overpaint, it is virtually impossible to determine the original character of the image. The dead bird on the woman’s lap, which has survived fairly well intact, is the sole exception. The vigorous execution of this animal does reveal a boldness of touch that provides a glimpse of the qualities that the rest of the painting may originally have possessed.

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  • Title: Old Woman Plucking a Fowl
  • Creator: Follower of Rembrandt van Rijn
  • Date Created: 1650/1655
  • Physical Dimensions: overall: 133 x 104.7 cm (52 3/8 x 41 1/4 in.) framed: 162.6 x 136.2 cm (64 x 53 5/8 in.)
  • Provenance: Possibly Willem Six [1662-1733], Amsterdam;[1] possibly (his estate sale, Amsterdam, 12 May 1734, no. 170); possibly Wilkins. Possibly John(?) or W.(?) Blackwood; possibly (his sale, Mr. Prestage, London, unknown dates in 1757, 2nd day, no. 70).[2] Francis Charteris, de jure 7th earl of Wemyss [1723-1808], Gosford House, Longniddry, East Lothian, Scotland; Ralph Willett [1719-1795], Great Canford, Dorset; bequeathed to his cousin, John Willett Adye [d. 1815], who later assumed the surname Willett in lieu of Adye; (his sale, Peter Coxe & Co., London, 31 May-2 June 1813, 2nd day, no. 62, bought in); (sale, Christie's, London, 8 April 1819, no. 124); Anthony Stewart [1773-1846], London; sold to Andrew Geddes [1789-1844], London, by December 1820; (sale, Christie & Manson, London, 23 May 1835, no. 94, bought in); by inheritance to his wife, Mrs. Andrew Geddes; (Geddes estate sale, Christie & Manson, London, 8-12 and 14 April 1845, 5th day [12 April], no. 646, bought in); (sale, Christie, Manson & Woods, London, 30 November 1867, no. 53); (Alimonde).[3] Étienne-Edmond Martin, baron de Beurnonville [1825-1906]; (his sale, by Paul Chevallier, Paris, 3 June 1884 and days following, no. 295). Madame Levaigneur, Paris; (her estate sale, Hôtel Drouot, Paris, 2-4 May 1912, no. 29); (F. Kleinberger & Co., Paris and New York); (Kleinberger sale, American Art Association, New York, 18 November 1932, no. 50); (L.J. Marion); Dr. and Mrs. Walter Timme, Cold Spring, New York; gift 1956 to NGA. [1] Francis Kleinberger, letter to the editor, _The Burlington Magazine_ 11 (July 1912): 296–297, reconstructs much of the earlier provenance of the painting, through the 1912 sale, based on “the researches of Mr. W. Roberts.” His account does not include the 1757 Blackwood sale, and instead speculates that Charteris might have acquired the painting on the continent during his tour from 1739 to 1744. [2] This information comes from a two-volume manuscript in the library of the Victoria and Albert Museum, London, containing transcripts of collection and sale catalogues from the years 1711 to 1759; these volumes are partially examined by Frank Simpson, "Dutch Paintings in England before 1760," _The Burlington Magazine_ 95 (January 1953): 42. [3] Helen Smailes, _Andrew Geddes, 1783–1844, Painting-Printmaker, “A Man of Pure Taste”_, Edinburgh, 2001: 49–50, 113 n. 76.
  • Rights: CC0
  • Medium: oil on canvas
National Gallery of Art, Washington DC

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