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Michigan. Detroit Institute of Arts. Paintings by Rembrandt, 1930, no. 66.
New York. M. Knoedler. Rembrandt Exhibition, April 1933.
The Art Institute of Chicago. A Century of Progress: Exhibition of Paintings and Sculpture, 1934, no. 106 (as Self–Portrait, signed and dated 1650).
Ohio. Cleveland Museum of Art. Twentieth-Anniversary Exhibition, Official Art Exhibit of the Great Lakes Exposition, June 26 – October 4, 1936, no. 230 (as Self–Portrait dated 1650).
Cincinnati, Ohio. Taft Museum of Art. Fakes, Forgeries, and Followers in the Taft Collection, October 22, 2022–February 5, 2023.

Many paintings by students and followers of Rembrandt were later attributed to the master. The popularity of Rembrandt’s work after his death also spurred a market for imitations and forgeries that landed in public and private collections. Beginning in 1968, the Rembrandt Research Project (RRP), a team of art historians, conservators, and scientists, spent more than 40 years scrutinizing all known works believed to be by Rembrandt, many of which were de-authenticated.

Using radiography, infrared photography, microscopic examination, paint analysis, and close comparisons with paintings documented as genuine, the RRP determined this work is an imitation—or possibly a deliberate forgery indicated by the fake signature applied when the work was painted. In an attempt to recreate the master’s style, the artist combined elements in works by Rembrandt, such as the man’s wide black cap and the windowsill he leans on.

Acquired by Marivaux, Paris; sold, January 27, 1806. Acquired by Count F. W. Rostopchin, Moscow; purchased by P. Norton in London, 1844 [1]; purchased by Th./T. Gurle/Garle in London, after 1854; purchased by J. Smith in London, May 24, 1862. Acquired by John Smith, 1862. Acquired by Sir John Poynder Dickson-Poynder [born 1866], Lord Islington, Rushbrook Hall near Bury St. Edmunds and London [2]. (Acquired by Lewis and Simmons, London, 1922) [3]. Acquired by Nils B. Hersloff, West Orange, NJ, before 1922. (Acquired by M. Knoedler & Co., New York, NY); purchased by William Tunstall Semple [1881-1962] and Anna Louise Taft Semple [1879-1961], Cincinnati, OH, 1934; bequest to the Cincinnati Institute of Fine Arts, Cincinnati, OH [4], 1962; transferred to the Taft Museum of Art, Cincinnati, OH, September 1, 2006 [5].

Notes:

[1]. According to Hofstede de Groot. See Catalogue of the Taft Museum, 1995. [2]. According to Knoedler's. See Catalogue of the Taft Museum, 1995. [3]. According to Hofstede de Groot. See Catalogue of the Taft Museum, 1995. [4]. The Cincinnati Institute of Fine Arts (CIFA) was formed by Charles Phelps Taft and Anna Sinton Taft on March 22, 1927 as a non-profit corporation to stimulate the development of art and music in the City of Cincinnati and run the Taft Museum of Art, which opened in 1932. The Tafts offered $1 million for a permanent endowment fund, on the condition that the community raise $2.5 million in matching funds, which was achieved by December 3, 1928. [5]. Until August 31, 2006, the Museum was owned by CIFA, administered by CIFA’s Board of Trustees, and governed by the Taft Museum Board of Overseers. On September 1, 2006, the Museum legally separated from CIFA and began operations as its own incorporated 501(c)(3) entity. This separate incorporation led to the transfer to the separate entity after August 31, 2006 of all tangible assets comprising the Taft collection.

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