Man in a Fur-Lined Coat

Artist Rembrandt Harmensz. van Rijn (Dutch, 1606-1669)

Place of OriginNetherlands

Dateabout 1655-1660

DimensionsPainting: 45 1/4 × 34 3/4 in. (114.9 × 88.3 cm)
Frame: 56 1/4 × 47 × 5 1/2 in. (142.9 × 119.4 × 14 cm)

Mediumoil on canvas

ClassificationPaintings

Credit LineClarence Brown Fund

Object number

1977.50

On View

Toledo Museum of Art (2445 Monroe Street), Gallery, 24

Collections

Paintings

Published ReferencesBode, W., Studien zur Geschichte der holländischen Malerei Braunschweig, 1883, pp. 535-536, 560, no. 22.

Dutuit, R., L'oeuvre complet de Rembrandt Paris, 1883-1885, p. 50.

Michel, E., Rembrandt, Paris, 1893, pp. 451, 461 (English ed., London and New York, 1903, pp. 350, 443).

Bode, W. von and C. Hofstede de Groot, The Complete Work of Rembrandt, Paris, 1897-1906, VI, no. 448.

Valentiner, W.R., Rembrandt's Gemälde (Klassiker der Kunst), 3rd ed., Stuttgart, 1909, no. 433.

Würzbach, A., Niederländisches Künstler-Lexikon, Vienna and Leipzig, 1910, II, p. 405.

Hofstede de Groot, C., A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on the Work of John Smith, London, 1916, VI, no. 750.

Valentiner, W.R., "Rediscovered Rembrandt Paintings," Burlington Magazine, LVII, 1930, p. 266, (no. l), pl. ID (detail).

Heil, W., "Die Rembrandt Ausstellung in Detroit," Pantheon, VI, 1930, p. 383, repr. (detail).

Hind, A. M., Rembrandt, 1932, pp. 17, 89, pl. LXV.

Bredius, A., The Paintings of Rembrandt, 1937, no. 278, repr.

Rosenberg, J., Rembrandt, Cambridge (MA), 1948, I, p. 244, no. 278.

Bauch, K., Rembrändt Gemälde, Berlin, 1966, no. 409.

Agnew, Geoffrey, Agnew's 1817-1967, London, 1967, repr.

Gerson, H., Rembrandt Paintings, Amsterdam, 1968, no. 316, p. 501.

Arpino, G., and Lecaldano, P., L'opera pittorica completa di Rembrandt Milan, 1969, no. 362.

Bredius, A., (rev. H. Gerson), Rembrandt, The Complete Edition of the Paintings, 4th ed., London, 1971, no. 278, repr.

d'Iberville-Moreau, Luc, Lost Montreal, Toronto, 1975, repr. p. 98.

Bolton, Jaap, The Hidden Rembrandt, Chicago, 1977, repr. p. 197, no. 446.

"For the Record," Art Gallery, vol. 21, no. 2, Dec. 1977-Jan. 1978, p. 20.

"Art Market," Umbrella, vol. 1, no. 1, Jan. 1978, p. 15.

Gustafson, Eleanor, "Museum Accessions," Antiques, vol. 113, no. 3, Mar. 1978, repr. p. 556.

"La Chronique des arts," Gazette des Beaux-Arts, vol. 91, no. 1310, Mar. 1978, repr. p. 47.

"Rembrandt's Back in Toledo," Ohio Magazine, vol. 1, no. 1, Apr. 1978, pp. 83-84.

"Acquisitions," Art Journal, vol. 37, no. 3, Spring 1978, p. 271.

"1978 Annual Report," The Toledo Museum of Art Museum News, vol. 21, no. 1, 1979, p. 6, repr. p. 10.

Morse, John D., Old Master Paintings in North America, New York, 1979, p. 232.

Wilson, Janet, "The Richness of Rembrandt," Realities, no. 8, Nov.-Dec. 1979, repr. (col.) p. 8.

A Dealer's Record: Agnew's 1967-1981, London, Barrie & Jenkins, 1981, pp. 9, 12, repr. (col.) p. 94.

Walker, John, Portraits: 5000 Years, New York, 1983, repr. p. 160.

Schwartz, Gary, Rembrandt, His Life, His Paintings, New York, 1985, repr. (col.) p. 264.

Wright, Christopher, Rembrandt, Paris, 2000, fig. 216 (col.).

Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 175, repr. (col.).

Keyes George S., Tom Rassieur and Dennis P. Weller, Rembrandt in America: Collecting and Connoisseurship, New York, Rizzoli, 2011, no. 32, p. 134, plate 34 (col.) p. 130.

Manuth, Volker, Marieke de Winkel, and Rudie van Leeuwen, Rembrandt: The Complete Paintings, Cologne, Germany, Taschen, 2019, p. 694, repr. (col.) no. 298.

Coutre, Jacquelyn N., Leiden circa 1630: Rembrandt Emerges, Kingston, ON, Agnes Etherington Art Centre, 2019, p.104-105, fig. 47 (col.) p. 105.

Exhibition HistoryMontreal, Montreal Art Association, Dutch Masters, 1906, no. 2.

New York, Metropolitan Museum of Art, Hudson-Fulton Celebration, 1909, no. 99, repr.

Boston, Boston Art Club, Fuller Collection, 1928, no. 2.

London, Royal Academy, Dutch Art, 1929, no. 89, pl. XLVII.

Worcester, Art Museum, Rembrandt, 1935, no. 9.

Boston, Museum of Fine Arts, Paintings, Drawings and Prints from Private Collections in New England, 1939, no. 99, pl. 50.

Boston, Museum of Fine Arts, Alvan T. Fuller Memorial Exhibition, 1959, p. 11, no. 3, repr.

London, Agnew, The 17th Century -- Pictures by European Masters, 1960, no. 21, repr.

Toledo, The Toledo Museum of Art; Boston, Museum of Fine Arts; San Francisco, California Palace of the Legion of Honor, The Age of Rembrandt, 1966, no. 39, repr.

Montreal, Inaugural Loan Exhibition Held in Connection with the Opening of the New Building, 1912, no. 132, repr.

Montreal, Montreal Museum of Fine Arts, Canada Collects: European Painting 1860-1960, January 19-February 21, 1960, p. 42, no. 80, repr. p. 32.

Amsterdam, Museum Het Rembrandthuis; Berlin, Gemäldegalerie, Rembrandt: Quest of a Genius, Nov. 15, 2005 - Nov. 5, 2006, pp. 52, 56, repr. (col.) fig. 55, p. 53 (Note: this painting was on loan to the Rembrandt House Museum, Amsterdam, for five months, November 2005-March 2006, prior to the opening of the exhibition Rembrandt: Quest of a Genius).

Raleigh, North Carolina Museum of Art; Cleveland, Cleveland Museum of Art; Minneapolis, Minneapolis Institute of Arts, Rembrandt in America: Collecting and Connoisseurship, Oct. 2011- Sept. 2012, no. 32, p. 134, plate 34 (col.) p. 130

Label TextRembrandt’s reputation as one of the greatest artists of the Western world rests largely on his uncanny ability to convey the psychological depths and nuances of the human condition. The introspection of this image—possibly a portrait, possibly a character study—gives it a compelling presence. In addition to his empathy and mastery of observation, Rembrandt is also remarkable for his extraordinary painting style. His late works in particular, like this painting, feature rich, glowing color and powerful brushwork of great variety—he used the end of the bristles at times for texture and even employed the handle of his brush to trail lines through the paint in the gold-embroidered collar above the red tunic. See also the Museum’s other painting by Rembrandt, Young Man with a Plumed Hat, in Gallery 23, painted about 25 years earlier.