Exhibition Summary:

The Westmont Ridley-Tree Museum of Art received a gift of twenty-two Rembrandt etchings and a drawing by Pieter Lastman, Rembrandt’s teacher. We have organized an exhibition with an 83 page catalog on the collection, which includes an essay by Dr. Lisa DeBoer.

The relationship Rembrandt had with the Jews of Amsterdam is a remarkable story. Most were Sephardic Jews – refugees from the Inquisition in Spain and Portugal. For many generations these Jews had been forced to deny their religious legacy, but in Amsterdam they were free to reclaim traditions and return to their Judaism.

Rembrandt lived in Amsterdam’s prosperous Jewish neighborhood. In Rembrandt’s interpretation of Protestant Old Testament narratives, Rembrandt consulted Jewish theologians for a nuanced perspective of these familiar subjects. He also painted and etched portraits of prominent Jews.

Number of Works:

Twenty-Two Etchings by Rembrandt (in nineteen frames)

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 page full color exhibition catalogs available for sale. Each venue will receive 10 catalogs free of charge. Additional catalogs are available for $20 each.

- Exhibition didactics, extended labels, time line, title wall text, are available as digital files that can be modified to suit each venue.

- Our essayist, Dr. Lisa DeBoer can be engaged for speaking engagements.

Facility Requirements:

Facility must have climate and humidity controls with the ability to keep the work at 68 degrees  (+/- 5 degrees) and 50% humidity (+/- 4%). Lighting must be regulated down to no more than 10 foot-candles and space must be free of natural light strikes.

Security:

Facility must have an active functional security system, including motion detectors and door and window sensors. During open exhibition hours the gallery must have a trained security guard or attendant present. All works must be installed using security hardware.

Preservation:

Condition Reports are required weekly at each venue and emailed to the Westmont Ridley-Tree Museum of Art’s Collections Manager upon arrival and departure. Framed works cannot be opened under any circumstances without the direct written consent of the Westmont Ridley-Tree Museum of Art’s Collections Manager.

Transportation and Insurance:

Exhibitor to supply all prorated transportation and insurance costs. Transport is to be arranged by the exhibitor through Westmont Ridley-Tree Museum of Art approved carriers: USArt, Artex, or Los Angeles Packing, Shipping, and Crating. Works will arrive in two slotted crates designed to fit through a standard 36” doorway. Each work is individually wrapped and wrappings are reused for return shipment. Works must acclimatize on site for 24 hours prior to unpacking. A Certificate of Insurance listing each work in the exhibition must be supplied to the Westmont Ridley-Tree Museum of Art prior to transportation.

Media/Credit:

Media credit “Gift of Dr. Howard Berger and Fran Berger. Organized by the Westmont Ridley-Tree Museum of Art.” All media coverage should be presented to the Westmont Ridley-Tree Museum of Art at the conclusion of each venue. High resolution images are available for each work in the exhibition upon request.

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
  • Watermark: fragment, Strasbourg Lily (undetermined variant)
  • 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
  • Watermark: fragment, Foolscap (undetermined variant)
  • 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
  • Etching on laid paper with pen and ink ruled lines
  • 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
  • Four Illustrations to Menasseh ben Israel’s ‘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
  • Watermark: large fragment, Arms of Bristol (undetermined variant)
  • 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
  • Watermark: large fragment, Arms of Ravensburg (undetermined variant)
  • 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)
  • Watermark: large fragment, Arms of Amsterdam (undetermined variant)
  • 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)
  • Watermark: fragment, Fleur-de-lis (undetermined variant)
  • Verso: one collector’s stamp (unidentifiable red stamp “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
  • Watermark: large fragment, Basilisk (undetermined variant)
  • 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
  • Drawing in pen, brown ink, and wash over red and black chalk on paper
  • 7 ½ x 11 ¾ in.
  • No signature
  • Provenance: Howard and Fran Berger; to WRTMA, 2014

All objects are by Rembrandt, except for the last object (no. 20), which is by Pieter Lastman. The identifying numbers for Rembrandt works in standard catalogues are abbreviated as follows for all objects: B. (Bartsch, 1797) and H. (Hind, 1923). States of prints are indicated with roman numerals following the Bartsch number. States were determined using Erik Hinterding and Jaco Rutgers’ The New Hollstein: Dutch & Flemish Etchings, Engravings, and Woodcuts, 1450-1700, 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. If margins are significant, the measurement of the paper or margins is indicated. Erik Hinterding’s Rembrandt as an Etcher, volumes 1-3 were consulted for watermark research. The identifying numbers for collector’s marks are those of Frits Lugt, Les Marques de Collections de Dessins & d’Estampes, Fondation Custodia (1921, 1956, 2010) <http://www.marquesdecollections.fr/index.cfm>. In each provenance section WRTMA refers to the Westmont Ridley-Tree Museum of Art.

Contact: Chris Rupp | Collections Manager | crupp@westmont.edu | 805-565-7109