Exhibition Summary:

Westmont Ridley-Tree艺术博物馆收到了一份礼物，包括22幅伦勃朗的铜版画和一幅彼得·拉斯特曼(Pieter Lastman)的画作, Rembrandt’s teacher. 我们组织了一个展览，展出了83页的藏品目录, which includes an essay by Dr. Lisa DeBoer.

伦勃朗与阿姆斯特丹犹太人的关系是一个引人注目的故事. 大多数是西班牙和葡萄牙宗教裁判所的西班牙系犹太人. 许多代犹太人被迫否认他们的宗教遗产, 但在阿姆斯特丹，他们可以自由地恢复传统，回归犹太教.

伦勃朗住在阿姆斯特丹繁华的犹太人ag娱乐官网. 伦勃朗对新教旧约叙事的诠释, 伦勃朗向犹太神学家请教，对这些熟悉的主题有细致入微的看法. 他还为著名的犹太人绘制和蚀刻肖像.

Number of Works:

伦勃朗二十二幅蚀刻画(十九帧)

One Framed Drawing by Pieter Lastman

Total number of works: 23

Total number of framed pieces: 20

Frame Sizes:

18”x16” to 31”x28”

Space Requirements:

Approximately 120 + Linear Feet

Exhibition Supplements:

- 83页全彩展览目录可供出售. 每个场馆将免费收到10份目录. Additional catalogs are available for $20 each.

- Exhibition didactics, extended labels, time line, title wall text, 是否以数字文件的形式提供，可以根据不同的场地进行修改.

- Our essayist, Dr. Lisa DeBoer可以去做演讲.

Facility Requirements:

设施必须有气候和湿度控制，能够保持工作在68度(+/- 5度)和50%的湿度(+/- 4%). 照明必须控制在不超过10英尺蜡烛，空间必须没有自然光照射.

Security:

设施必须有有效的安全系统, 包括运动探测器和门窗传感器. 在展览开放时间，画廊必须有受过训练的保安或服务员在场. 所有工程必须使用安全硬件安装.

Preservation:

每个场馆每周都需要提供状况报告，并在抵达和离开时通过电子邮件发送给韦斯特蒙特·雷德利-特里艺术博物馆的藏品经理. 在任何情况下，没有韦斯特蒙特·雷德利-特里艺术博物馆藏品经理的直接书面同意，都不能打开装裱好的作品.

Transportation and Insurance:

参展商提供所有按比例的运输和保险费用. 展品的运输由参展商通过Westmont Ridley-Tree艺术博物馆认可的运输公司USArt安排, Artex, or Los Angeles Packing, Shipping, and Crating. 作品将到达两个开槽的板条箱，设计适合通过一个标准的36“门口. 每件作品都是单独包装的，包装在回程时可以重复使用. 开箱前必须在现场适应24小时. 在运输之前，必须向Westmont Ridley-Tree艺术博物馆提供列出展览中每件作品的保险证书.

Media/Credit:

Media credit “Gift of Dr. Howard Berger and Fran Berger. 由韦斯特蒙特·雷德利-特里艺术博物馆主办.“所有媒体报道应在每个场馆结束时提交给韦斯特蒙特·雷德利-特里艺术博物馆. 展览中每件作品的高分辨率图像均可根据要求提供.

Exhibition Fee:

$12,000 + shipping & insurance

Availability:

Booking available now through 2023. Six weeks minimum, eight weeks recommended.

- Currently reserved December 2018 – March 2019

Exhibition Checklist

  • 1. Rembrandt
  • Abraham Entertaining the Angels, 1656
  • B. 29, I/I (White & Boon only state); H. 286
  • Etching and drypoint on laid paper
  • 6 ¼ x 5 1/8 in.
  • Signed and dated lower left: Rembrandt ƒ. 1656
  • 水印:片段，斯特拉斯堡百合(未确定变体)
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 2. Rembrandt
  • Abraham Casting Out Hagar and Ishmael, 1637
  • B. 30, I/I (White & Boon only state); H. 149
  • Etching and drypoint on laid paper
  • 5 x 3 7/8 in.
  • Signed and dated upper right: Rembrandt / ƒ 1637
  • 水印:碎片、傻瓜(未确定的变体)
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 3.  Rembrandt
  • Abraham and Isaac, 1645
  • B. 34, I/II (White & Boon only state); H. 214
  • Etching and drypoint on laid paper
  • 6 1/8 x 5 1/8 in.
  • Signed and dated lower left: Rembrant. / 1645
  • Watermark: none
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 4. Rembrandt
  • Abraham’s Sacrifice, 1655
  • B. 35, I/I (White & Boon only state); H. 283
  • 用钢笔和墨水在纸上蚀刻
  • 6 1/8 x 5 ¼ in.
  • Signed and dated lower right: Rembrandt ƒ 1655
  • Watermark: none
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 5. Rembrandt
  • Jacob Caressing Benjamin (Abraham Caressing Isaac), c. 1637
  • B. 33, I/III (White & Boon state I); H. 148
  • Etching on laid paper
  • 4 5/8 x 3 9/16 in.
  • Signed lower left: Rembrandt. ƒ.
  • Watermark: none
  • Verso: three collectors’ stamps
  • Provenance: Königliches Museum of Berlin (now the Altes Museum); Kupferstichkabinett der Staatlichen Museen (LUGT 2398); K.F.F. von Nagler (b. 1770–d.1846) (LUGT 2529); Kupferstichkabinett der Staatlichen Museen (LUGT 1606); Howard and Fran Berger; to WRTMA, 2014
  • 6. Rembrandt
  • Joseph Telling His Dreams, 1638
  • B. 37, II/VI (White & Boon state II); H. 160
  • Etching on laid paper
  • 4 ¼ x 3 ¼ in.
  • Signed and dated lower left: Rembrant ƒ 1638
  • Watermark: none
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 7. Rembrandt
  • Joseph and Potiphar’s Wife, 1634
  • B. 39, IV/IV (Basan workshop); H. 118
  • Etching on laid paper
  • 3 ¾ x 4 ½ in. (paper: 8 ¼ x 11 11/16 in.)
  • Signed and date lower left: Rembrandt ƒ 1634
  • Watermark: none
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 8. Rembrandt
  • David in Prayer, 1652
  • B. 41, II/III (White & Boon state III; likely a posthumous impression); H. 258
  • Etching on laid paper
  • 5 5/8 x 3 ¾ in.
  • Signed and dated lower center: Rembrandt ƒ. 1652
  • Watermark: none
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 9. Rembrandt
  • 米拿西的四幅插图是以色列的“Piedra Gloriosa”, 1655
  • (a) The Image Seen by Nebuchadezzar
  • B. 36, III/V (White & Boon state III); H. 284
  • 3 ¾ x 2 ½ in.
  • Signed and dated lower left in the margin: Rembrandt ƒ 1655
  • (b) Jacob’s Ladder
  • B. 36, II/IV (White & Boon state II); H. 284
  • 4 1/8 x 2 11/16 in.
  • Signed and dated lower left in the margin: Rembrandt ƒ 1655.
  • (c) David and Goliath
  • B. 36, II/V (White & Boon state II); H. 284
  • 4 ¼ x 2 ¾ in.
  • Signed and dated lower left in the margin: Rembrandt. ƒ. 1655.
  • (d) Daniel’s Vision of Four Beasts
  • B. 36, II/IV (White & Boon state II); H. 284
  • 3 1/6 x 2 ¾ in.
  • Signed and dated lower left: Rembrandt 1655
  • Etching, engraving, drypoint on vellum
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 10. Rembrandt
  • The Return of the Prodigal Son, 1636
  • B. 91, I/III (White & Boon only state); H. 147
  • Etching on laid paper
  • 6 ¼ x 5 7/16 in.
  • Signed and date lower center: Rembrandt ƒ 1636
  • 水印:大碎片，布里斯托尔之臂(未确定变体)
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 11. Rembrandt
  • The Triumph of Mordecai, c. 1641
  • B. 40, III/IV (White & Boon only state); H. 172
  • Etching and drypoint on laid paper
  • 6 7/8 x 8 1/2 in.
  • No signature
  • 水印:大碎片，拉文斯堡之臂(未确定变体)
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 12. Rembrandt
  • Jews in the Synagogue (Pharisees in the Temple), 1648     
  • B. 126, II/IX (White & Boon state II); H. 234
  • Etching and drypoint on laid paper
  • 2 13/16 x 5 1/8 in.
  • Signed and dated on the left wall: Rembrandt. ƒ. / 1648
  • Watermark: none
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 13. Rembrandt
  • The Blindness of Tobit: The Larger Plate, 1651
  • B. 42, II/II (White & Boon state II; likely a posthumous impression); H. 252
  • Etching and drypoint on laid paper
  • 6 ¼ x 5 1/8 in.
  • Signed and dated lower center: Rembrandt ƒ 1651
  • as well as lower right: Rembrandt ƒ 1651 (?)
  • Watermark: none
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 14. Rembrandt
  • The Angel Departing from the Family of Tobias, 1641
  • B. 43, VIII/IX (Basan workshop); H. 185
  • Etching and drypoint on wove paper
  • 4 1/16 x 6 1/16 in. (paper: 5 1/8 x 7 in.)
  • Signed and dated lower center: Rembrandt ƒ 1641
  • Watermark: none
  • Verso: blue collector’s stamp, unidentifiable
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 15. Rembrandt
  • Self-Portrait with Plumed Cap and Lowered Sabre, 1634
  • B. 23, III/III (White & Boon state III); H. 110
  • Etching on laid paper
  • 5 1/8 x 4 3/16 in. (paper: 5 9/16 x 4 ½ in.)
  • Signed and dated lower right: Rembrandt / ƒ. 1634
  • Watermark: none
  • Provenance: Purchased by the WRTMA, 2014
  • 16. Rembrandt
  • The Great Jewish Bride, 1635
  • B. 340, V/V (White & Boon state V); H. 127
  • Etching, engraving, and drypoint on laid paper
  • 8 3/4 x 6 5/8 in.
  • Signed and dated lower left: R / 1635 (in reverse)
  • 水印:大碎片，阿姆斯特丹之臂(未确定变体)
  • Verso: two collectors’ stamps
  • Provenance: King Ferdinand of Portugal (b. 1816–d. 1885) (LUGT 968); E.M. Henn (LUGT 872b); Howard and Fran Berger; to WRTMA, 2014
  • 17. Rembrandt
  • St. Catherine (The Little Jewish Bride), 1638
  • B. 342, I/I (White & Boon only state); H. 154
  • Etching and touches of drypoint on laid paper
  • 4 3/8 x 3 1/8 in.
  • Signed and dated upper left: Rembrandt ƒ. / 1638 (in reverse)
  • 水印:片段，鸢尾花(待定变体)
  • 反面:邮票乙枚(无法辨认的红色邮票“FH”)
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 18. Rembrandt
  • Portrait of a Man in a Broad Brimmed Hat (Menasseh ben Israel), 1636
  • B. 269, III/III (White & Boon state III; likely a posthumous impression); H. 146
  • Etching on laid paper
  • 5 15/16 x 4 ¼ in.
  • Signed and dated center right: Rembrandt ƒ / 1636
  • Watermark: none
  • Provenance: Howard and Fran Berger; to WRTMA, 2014
  • 19. Rembrandt
  • Ephraim Bonus, Jewish Physician, 1647
  • B. 278, II/II (White & Boon state II); H. 226
  • Etching, engraving, and drypoint on laid paper
  • 8 1/8 x 6 15/16 in. (bottom margin: 1 3/8 in.)
  • Signed and dated lower right: Rembrandt ƒ. 1647
  • 水印:大碎片，蛇怪(未确定的变体)
  • Verso: two collectors’ stamps
  • Provenance: Earl of Aylesford (b.1786–d.1859) (LUGT 58); A. Artaria (b.1807–d.1893) of Artaria & Co., Vienne (LUGT 33); Howard and Fran Berger; to WRTMA, 2014
  • 20. Pieter Lastman
  • Abraham’s Sacrifice, 1624
  • 用钢笔，棕色墨水，在纸上用红色和黑色粉笔画
  • 7 ½ x 11 ¾ in.
  • No signature
  • Provenance: Howard and Fran Berger; to WRTMA, 2014

所有的物品都是伦勃朗的作品，除了最后一件(no. 20), which is by Pieter Lastman. 伦勃朗作品在标准目录中的编号缩写如下. (Bartsch, 1797) and H. (Hind, 1923). 印品的状态用罗马数字跟在巴奇号后面表示. 根据Erik Hinterding和Jaco Rutgers的 The New Hollstein: Dutch & 佛兰德蚀刻、雕刻和木刻，1450-1700年, volumes 71-75 on Rembrandt’s etched work (2013). The states from White & Boon (1969) are listed for comparison. Measurements are in inches, height before width. The measurements are those of the platemark. 如果页边距很重要，则指出纸张或页边距的尺寸. Erik Hinterding’s Rembrandt as an Etcher水印研究参考了第1-3卷. 收藏家标志的识别号码是Frits Lugt， Les Marques de Collections de Dessins & d’Estampes, Fondation Custodia (1921, 1956, 2010) . 在每个出处部分，WRTMA都提到了韦斯特蒙特·雷德利-特里艺术博物馆.

Contact: Chris Rupp | Collections Manager | crupp@brandonmchose.com | 805-565-7109