Collection Online

Portrait of a white-haired man
1667

Medium
oil on canvas
Measurements
108.9 × 92.7 cm
Inscription
inscribed in brown paint u.c.: Rembrandt f. / 1667
Accession Number
2372-4
Department
International Painting
Credit Line
National Gallery of Victoria, Melbourne
Felton Bequest, 1951
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Ms Carol Grigor through Metal Manufactures Limited
Gallery location
Rembrandt Cabinet
Level 2, NGV International
About

After Rembrandt moved to Amsterdam in late 1631, portraits, both of individuals and of groups, became his financial mainstay. Portraiture represents almost two-thirds of his entire oeuvre. The sitter’s right hand is cropped, a detail that has given rise to speculation that the canvas has been cut. Technical evidence, however, indicates that this has not been the case and that the composition is exactly as Rembrandt intended it to be. This painting is an outstanding example of Rembrandt’s late style and is the second last portrait he made, only two years before his death.

Frame: Reproduction, 1997, based on a Dutch frame from 1665

Frame

REMBRANDT Harmensz. van Rijn
Portrait of a white-haired man 1667
Framemaker
Reproduction - commissioned by the NGV
Date
1997
Materials

Ebonised fruit wood.

REMBRANDT Harmensz. van Rijn
Portrait of a white-haired man 1667 REMBRANDT Harmensz. van Rijn
Portrait of a white-haired man 1667
About

Three frames have been used for Rembrandt Portrait of a white haired man, 1667.
The painting was acquired in 1951 with a nineteenth century gilded, empire style frame (identified in storage in the 1990s). (above right)
In 1954, then Director, Daryl Lindsay had a frame made in London by Frederick Pollak, using a form that made reference to Dutch frames. (above left)
With new reference material, a re-framing of Portrait of a white haired man was proposed in 1996 and the frame ordered in 1997.
The frame was made in London.
The prototype for this frame is from 1665, two years earlier than the painting.