REMBRANDT Harmensz. van Rijn,Two old men disputing (1628), oil on wood panel, 72.4 x 59.7 cm. National Gallery of Victoria, Melbourne. Felton Bequest, 1936 (349-4).

MELBOURNE.- Rembrandt: True to Life is the most comprehensive exhibition of the prolific seventeenth century Dutch artist’s work held in Australia in more than 25 years. Tracing Rembrandt’s extraordinary four decades-long career, the exhibition emphasises the artist’s innovations in printmaking through more than 100 etchings drawn from the NGV Collection, alongside important loans of paintings from public collections worldwide.

The exhibition follows the evolution of Rembrandt’s work from his early years in Leiden in the 1620s through to his final years in Amsterdam in the 1660s. This significant breadth of work allows audiences to appreciate the inventive ways in which Rembrandt approached his subject matter, his brilliant re- imagining of biblical subjects, his profoundly expressive style, and the development of psychological complexity in narrative scenes and portraits.

Rembrandt Harmensz. van Rijn, Tobit and Anna with the kid, 1626, oil on canvas, 39.5 × 30.0 cm. Rijksmuseum, Amsterdam. Purchased with the support of the Vereniging Rembrandt of Rijksmusuem-Stichting, the Prins Bernhard Fonds and an additional government funding (SK-A-4717). Photo: Rijksmuseum, Amsterdam

The centrepiece of the exhibition is Rembrandt’s printmaking. Rembrandt was the first artist to comprehensively explore the possibilities of etching and it is through his prints that audiences can fully appreciate the breadth and depth of his work.

The exhibition contextualises Rembrandt’s prints through important loans from the Rijksmuseum in Amsterdam, the National Gallery of Art in Washington DC, the Louvre Museum in Paris, the Kunsthistorisches Museum in Vienna, and the Teylers Museum in Haarlem. Displayed in thematic groups of portraits, religious motifs, landscapes, nudes, and scenes of everyday life, the prints and paintings tell the story of a remarkable artist and his creative skills.

REMBRANDT Harmensz. van Rijn, The artist's mother: head and bust, three-quarters right, 1628, etching
6.6 x 6.4 cm (plate) 11.3 x 10.2 cm (sheet), 2nd of 4 states. National Gallery of Victoria, Melbourne. Purchased, 1891 (p.185.4-1).

One of the highlights is the iconic painting, Self-Portrait, 1659, which comes exclusively to Melbourne from the National Gallery of Art in Washington DC. Painted three years after Rembrandt declared bankruptcy, the painting shows the artist at the age of fifty-three. At this difficult time in Rembrandt’s life, he depicts himself with unrelenting honesty and profound psychological insight. Throughout his life Rembrandt made around eighty self-portraits, and ten of his etched self-portraits are shown throughout the exhibition, tracing the artist’s self-image over a thirty-year period, culminating in this masterpiece of Rembrandt’s expressive late painting style.

REMBRANDT Harmensz. van Rijn, Self-portrait, 1659, oil on canvas, 84.5 × 66.0 cm, National Gallery of Art, Washington, DC. Andrew W. Mellon Collection (1937.1.72). Photo: National Gallery of Art, Washington DC.

REMBRANDT Harmensz. van Rijn, Self-portrait in a cap, wide-eyed and open-mouthed, 1630, etching, 2nd state, 5.0 × 4.5 cm, Bartsch 320; Hind 32; White & Boon 320; NHD ii/ii. Rijksmuseum, Amsterdam. Transfer, 1816 (RP-P-OB-697). Photo: Rijksmuseum, Amsterdam.

REMBRANDT Harmensz. van Rijn, Self-portrait wearing a soft cap: full-face, head only (c. 1634), etching, 5.0 x 4.4 cm (plate) 5.5 x 4.8 cm (sheet), only state. National Gallery of Victoria, Melbourne. Everard Studley Miller Bequest, 1961 (1239-5).

REMBRANDT Harmensz. van Rijn, Self-portrait in a velvet cap with plume, 1638, etching, 13.5 x 10.5 cm (plate), 13.9 x 10.8 cm (sheet), 2nd of 4 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1933 (19-4).

REMBRANDT Harmensz. van Rijn, Self-portrait leaning on a stone sill, 1639, etching, touched with black chalk, 20.5 x 16.4 cm (plate) 20.8 x 16.6 cm (sheet), 1st of 2 states. National Gallery of Victoria, Melbourne. Purchased, 1891 (p.186.5-1).

REMBRANDT Harmensz. van Rijn, Self-portrait in a flat cap and embroidered dress (c. 1642), etching, 6.6 x 5.4 cm (sheet, trimmed within platemark), 1st of 3 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1933 (20-4).

REMBRANDT Harmensz. van Rijn, Self-portrait etching at a window, 1648, etching and drypoint, 16.0 x 13.0 cm (plate) 16.8 x 13.7 cm (sheet), 6th of 9 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1958 (3829-4).

Another section of the exhibition examines the nude, the study of which was part of every artist’s training during the period. Rembrandt did not idealise figures according to classical proportions; instead, he placed primary importance on working naer het leven (from life). In the etching Diana at the bath, c. 1631, he challenges the conventional representation of mythological goddesses. In this work, Diana, goddess of the hunt, is not a distant classical beauty, but an unidealised figure drawn from everyday life. A later critic described Rembrandt as ‘the first heretic of art’ because of his uncompromising realism. 

REMBRANDT Harmensz. van Rijn, Woman with the arrow, 1661, etching, drypoint and plate-tone, 20.5 x 12.5 cm (sheet, trimmed to platemark), 2nd of 3 states. National Gallery of Victoria, Melbourne. Purchased through The Art Foundation of Victoria with the assistance of Dame Elisabeth Murdoch, AC DBE, Founder Benefactor, 1998
(1998.284).

REMBRANDT Harmensz. van Rijn Diana at the bath (c. 1631), etching, 17.8 x 15.9 cm (plate) 18.0 x 16.1 cm (sheet), only state. National Gallery of Victoria, Melbourne. Presented through The Art Foundation of Victoria by the National Gallery Society of Victoria, Governor, in celebration of their 50th Anniversary Year, 1997 (1997.324).

REMBRANDT Harmensz. van Rijn, Nude man seated before a curtain, 1646, etching, 16.7 x 9.8 cm (sheet, trimmed to platemark), only state. National Gallery of Victoria, Melbourne. Felton Bequest, 1972 (P6-1973).

REMBRANDT Harmensz. van Rijn, Woman sitting half-dressed beside a stove, 1658, etching, engraving and drypoint, 22.8 x 18.7 cm (sheet, trimmed to platemark), 6th of 7 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1958 (3835-4).

The exhibition also features Rembrandt’s landscapes. His ability to capture the transitory qualities of light and air is unprecedented in the medium of etching. The three trees, 1643, is Rembrandt’s largest and most evocative landscape etching. The sky, with its massed clouds, diagonal passages of rain and bursts of light, creates a sense of drama. The heroic presence of the three trees carries moral overtones, and an analogy has been drawn with the three crosses of Calvary, where Christ was crucified between the two thieves.

REMBRANDT Harmensz. van Rijn, The mill, 1645-48, oil on canvas, 87.6 × 105.6 cm, not in Bredius/Gerson; RRP VI 206. National Gallery of Art, Washington, DC. Widener Collection (1942.9.62). Photo: National Gallery of Art.

REMBRANDT Harmensz. van Rijn, The three trees, 1643, etching, drypoint and engraving, 21.3 x 28.0 cm (plate) 21.6 x 28.4 cm (sheet), only state. National Gallery of Victoria, Melbourne. Purchased, 1891 (p.185.7-1).

REMBRANDT Harmensz. van Rijn, The Omval, 1645, etching, drypoint and etched tone, 18.6 x 22.7 cm (plate), 19.0 x 23.0 cm (sheet), 2nd of 3 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1958 (3828-4).

REMBRANDT Harmensz. van Rijn, Panorama near Bloemendael showing the Saxenburg estate ('The goldweigher's field'), 1651, etching and drypoint and plate-tone, 12.2 x 32.2 cm (plate) 12.6 x 32.4 cm (sheet), only state, National Gallery of Victoria, Melbourne. Purchased, 1891 (p.186.2-1).

REMBRANDT Harmensz. van Rijn, Landscape with a cow drinking (c. 1650), etching and drypoint, 10.5 x 13.0 cm (plate) 11.6 x 14.4 cm (sheet), 2nd of 5 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1958 (3830-4).

REMBRANDT Harmensz. van Rijn, Landscape with cottage and haybarn, 1641, etching with touches of drypoint , 13.3 x 32.3 cm (image, plate and sheet) , only state. National Gallery of Victoria, Melbourne. Collection of James O Fairfax AC. Presented by Bridgestar Pty Ltd through the Australian Government’s Cultural Gifts Program, 2020 (2020.472).

REMBRANDT Harmensz. van Rijn, St Francis beneath a tree, praying, 1657, drypoint and etching, 17.9 x 24.4 cm (sheet, trimmed to platemark), 2nd of 2 states. National Gallery of Victoria, Melbourne. From the collection of James O. Fairfax AO, Honorary Life Benefactor - Presented through the NGV Foundation by Bridgestar Pty Ltd, 2003 (2003.442).

The Hundred Guilder Print, c. 1648, is one of Rembrandt’s best known and most ambitious etchings. It combines several passages from the Gospel of St Matthew, bringing together a diverse group of people who gather around Christ, including the rich and the poor, young and old. The work is a technical masterpiece in its detailed rendering of figures, space and atmosphere. It is the culmination of the artist’s longstanding fascination with light and shade, which he explored in print and paint. In 1649, an impression of the print was sold for the exorbitant sum of 100 guilders, the price of a quality painting, which gave the etching its name.

REMBRANDT Harmensz. van Rijn, The Hundred Guilder print (c. 1648), etching, drypoint and engraving on Japanese paper, 28.1 x 39.4 cm (plate) 28.5 x 39.7 cm (sheet), 2nd of 4 states. National Gallery of Victoria, Melbourne. Purchased, 1891 (p.186.1-1).

The exhibition includes Rembrandt’s two largest prints, The three crosses, 1653, and Christ presented to the people: oblong plate, 1655 - each of these is presented in two different ‘states’. Rembrandt made continuous adjustments to take this image through a number of ‘states’ or changes. These works were completely transformed in the process, as Rembrandt added new elements that give the later impressions a different emphasis and mood. Seeing early and late states of these large-scale works side by side shows the artist’s ambition and his restless creative spirit.

REMBRANDT Harmensz. van Rijn, Christ crucified between the two thieves: ‘The three crosses’, 1653, drypoint, 3rd state, 38.7 × 45.5 cm, Bartsch 78; Hind 270 iiii/v; White & Boon 78 iii/v; NHD 274 iii/v. Rijksmuseum, Amsterdam. Mr and Mrs De Bruijn-van der Leeuw. Bequest, Muri, Switzerland (RP-P-1962-39). Photo: Rijksmuseum, Amsterdam.

REMBRANDT Harmensz. van Rijn, Christ crucified between the two thieves: 'The Three Crosses' (c. 1653-1655), drypoint and plate-tone, 38.6 x 45.3 cm (sheet, trimmed to platemark), 4th of 5 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1949 (1971-4).

REMBRANDT Harmensz. van Rijn, Christ presented to the people: oblong plate 1655, drypoint with plate tone and pen in black, printed on Japanese paper, 7th state, 36.0 × 45.0 cm (plate), Bartsch 76 vii/viii; Hind 271; White & Boon 76 vii/viii; NHD 290 vii/viii, Rijksmuseum, Amsterdam. Transfer, 1816 (RP-P-OB-611). Photo: Rijksmuseum, Amsterdam

REMBRANDT Harmensz. van Rijn, Christ Presented to the People: oblong plate, 1655, drypoint and plate-tone, 35.8 x 45.6 cm (plate) 36.1 x 45.9 cm (sheet), 5th of 8 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1940 (1082-4).

The exhibition also features a small recreation of the artist’s Wunderkammer – or cabinet of curiosities – inspired by Rembrandt’s own collection of prints and drawings, shells and rare natural objects, musical instruments, weapons and exotic artefacts. Rembrandt often drew creative and artistic inspiration from the items in his collection, in particular for his biblical subjects, which are set in far-away places. Drawn from the NGV Collection, as well as the Melbourne Museum and the State Library of Victoria, the objects represent the exotic imports and luxury items that were traded in Amsterdam during the mid-seventeenth century.

REMBRANDT Harmensz. van Rijn, The shell, 1650, etching, engraving and drypoint, 8.4 x 13.2 cm (image) 9.7 x 13.3 cm (plate) 10.0 x 13.4 cm (sheet), 2nd of 3 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1973 (P5-1973).

During the exhibition, the NGV will seek to deepen its acclaimed Rembrandt collection through an appeal to acquire the important print Abraham Francen, Apothecary c. 1657. The work is an etched portrait from late in the artist’s career of his close friend Abraham Francen, a stalwart supporter of Rembrandt during his financial difficulties.

Francen was also a passionate collector, like Rembrandt, and is shown in his chamber surrounded by objects in his collection. This etching provides a rare glimpse into the environment of the cultivated collector in 17th century Amsterdam. The work will also be included in the exhibition.

REMBRANDT Harmensz. van Rijn, Dutch 1606–69, Abraham Francen, Apothecary, c. 1657, etching, engraving and drypoint on Japanese paper, 4th state, 15.8 × 20.9 cm (plate), 15.9 × 21.0 cm (sheet). Bartsch 273; Hind 291 iv/ix; White & Boon 273 iv/x; NHD 301 iv/xii. Proposed acquisition with the support of David Tunick and donors to the Rembrandt Appeal, 2023

 As part of the NGV Scholars Series, an exclusive talk by world-leading Dutch art expert Dr Marjorie E. (Betsy) Wieseman, Curator and Head of the Department of Northern European Paintings at the National Gallery of Art, Washington, D.C. will be held on 31 July. Dr Wieseman will use examples from the NGV’s extensive holdings of Rembrandt work to contextualise the most recent scholarship on the seventeenth-century Dutch master.

Tony Ellwood AM, Director, NGV, said: ‘The NGV is home to the most important collection of works by Rembrandt in the Southern Hemisphere and this NGV-exclusive exhibition celebrates one of our major strengths: our outstanding print collection. Rembrandt was a master printmaker and his experimentation in the medium reveals his insatiable curiosity and sheer versatility as an artist.’

Rembrandt: True to Life is on display 2 June – 10 September 2023 at NGV International, St Kilda Road, Melbourne. Admission fees apply. For tickets and information, please visit the NGV website: NGV.MELBOURNE

Rembrandt van Rijn, Old man seated (Oude man zittend), 1631, red and black chalk, Schatborn 221, Teylers Museum, Haarlem (O+ 050). Photo © Teylers Museum

REMBRANDT Harmensz. van Rijn, The Raising of Lazarus: the larger plate (c. 1632), etching and engraving, 36.3 x 25.8 cm (plate and sheet, arched), 5th of 9 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1961 (1001-5).

REMBRANDT Harmensz. van Rijn, Saint Jerome under the pollard willow, 1648, etching and drypoint, 18.0 x 13.3 cm (image and plate) 18.5 x 13.8 cm (sheet), 4th of 4 states. National Gallery of Victoria, Melbourne. Collection of James O Fairfax AC. Presented by Bridgestar Pty Ltd through the Australian Government’s Cultural Gifts Program, 2020 (2020.471).

REMBRANDT Harmensz. van Rijn, The Death of the Virgin, 1639, etching and drypoint, 39.3 x 31.2 cm (image), 40.1 x 31.7 cm (sheet, trimmed within platemark at lower edge), 4th of 5 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1933 (23-4).

REMBRANDT Harmensz. van Rijn, Saint Jerome reading in an Italian landscape (c. 1653), etching and drypoint, 26.1 x 21.0 cm (plate) 26.8 x 21.6 cm (sheet), 2nd of 2 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1977 (P157-1976).

REMBRANDT Harmensz. van Rijn, Christ at Emmaus: the larger plate, 1654, etching, touched with pen and brown ink and black chalk, brush and grey ink on Japanese paper, 20.6 x 16.0 cm (plate) 20.8 x 16.2 cm (sheet), 1st of 5 states. National Gallery of Victoria, Melbourne. Purchased, 1891 (p.186.4-1). 

REMBRANDT Harmensz. van Rijn, Christ returning from the temple with his parents, 1654, etching and drypoint, 9.4 x 14.4 cm (plate) 10.5 x 14.8 cm (sheet), only state. National Gallery of Victoria, Melbourne. Purchased through The Art Foundation of Victoria with the assistance of Miss Flora MacDonald Anderson and Mrs Ethel Elizabeth Ogilvy Lumsden, Founder Benefactors, 1987 (P74-1987).

REMBRANDT Harmensz. van Rijn, Landscape with sportsman and dogs (‘Het jagertje’) (c. 1648), etching and drypoint on Japanese paper, 12.9 x 15.6 cm (image and plate) 13.3 x 16.6 cm (sheet), 1st of 2 states. National Gallery of Victoria, Melbourne. Collection of James O Fairfax AC. Presented by Bridgestar Pty Ltd through the Australian Government’s Cultural Gifts Program, 2020 (2020.475).

REMBRANDT Harmensz. van Rijn, Man in oriental clothing, 1635, oil on panel, 72.0 × 54.5 cm. Bredius/Gerson 206; RRP VI 141. Rijksmuseum, Amsterdam. Gift of Mr and Mrs Kessler-Hülsmann, Kapelle op den Bosch (SK-A-3340). Photo: Rijksmuseum, Amsterdam.

REMBRANDT Harmensz. van Rijn, Self-portrait (?) with plumed cap and lowered sabre, 1634, etching and engraving, 13.0 x 10.7 cm (plate) (oval) 13.3 x 10.9 cm (sheet), 3rd of 3 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1958 (3816-4).

REMBRANDT Harmensz. van Rijn, The second oriental head (c. 1635), etching, 15.2 x 12.6 cm (plate) 15.2 x 12.8 cm (sheet), only state. National Gallery of Victoria, Melbourne. Felton Bequest, 1958 (3821-4).

REMBRANDT Harmensz. van Rijn, Old man in a turban (Study for an Elder) (c. 1638), pen and iron-gall ink on paper tinted with a pale yellow wash, 17.3 x 13.5 cm (sheet). National Gallery of Victoria, Melbourne. Felton Bequest, 1936 (357-4).

REMBRANDT Harmensz. van Rijn, The Triumph of Mordecai (c. 1641), etching and drypoint, 17.4 x 21.5 cm (plate) 19.3 x 22.2 cm (sheet), 3rd state of 4. National Gallery of Victoria, Melbourne. Felton Bequest, 1933 (29-4).

REMBRANDT Harmensz. van Rijn, Portrait of Hendrickje Stoffels with velvet beret, c. 1654, oil on canvas, 74.0 × 61.0 cm. Musée du Louvre, Paris (INV 1751). Photo © RMN-Grand Palais (Musée du Louvre) / Tony Querrec.

REMBRANDT Harmensz. van Rijn, Titus van Rijn (?), the artist’s son, reading, c. 1656–57, oil on canvas, 71.5 × 64.5 cm. Bredius/Gerson 122; RRP VI 307. Kunsthistorisches Museum Wien, Gemäldegalerie (GG 410). Photo: KHM-Museumsverband.

REMBRANDT Harmensz. van Rijn, Young man in a velvet cap (Petrus Sylvius?),  1637, etching, 9.5 x 8.2 cm (plate) 10.4 x 9.1 cm (sheet), 2nd of 2 states. National Gallery of Victoria, Melbourne. Purchased, 1891 (p.185.5-1).

REMBRANDT Harmensz. van Rijn, Young man in a velvet cap (Petrus Sylvius?), 1637, etching, 9.5 x 8.2 cm (plate) 10.4 x 9.1 cm (sheet), 2nd of 2 states. National Gallery of Victoria, Melbourne. Purchased, 1891 (p.185.5-1).

REMBRANDT Harmensz. van Rijn, Cornelis Claesz. Anslo, preacher, 1641, etching and drypoint on imitation oriental paper, 18.0 x 15.8 cm (image) 18.8 x 15.8 cm (plate) 19.0 x 16.5 cm (sheet), 4th of 5 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1958 (3824-4).

REMBRANDT Harmensz. van Rijn, Jan Cornelis Sylvius, preacher, 1646, etching, engraving and drypoint with etched tone, 27.8 x 18.8 cm (plate) 28.0 x 19.0 cm (sheet), 2nd of 2 states. National Gallery of Victoria, Melbourne. Purchased, 1891 (p.185.8-1).

REMBRANDT Harmensz. van Rijn, Jan Lutma, goldsmith, 1656, etching, engraving and drypoint on oatmeal paper, 19.6 x 15.0 cm (image, plate and sheet), 2nd of 5 states. National Gallery of Victoria, Melbourne. Collection of James O Fairfax AC. Presented by Bridgestar Pty Ltd through the Australian Government’s Cultural Gifts Program, 2020 (2020.477).

REMBRANDT Harmensz. van Rijn, Portrait of a white-haired man, 1667, oil on canvas, 108.9 x 92.7 cm. National Gallery of Victoria, Melbourne. Felton Bequest, 1951 (2372-4).

REMBRANDT Harmensz. van Rijn, Woman in North Holland dress, seen from the back (‘Geertje Dircx’) (Vrouw in Noordhollands kostuum, op de rug gezien [‘Geertje Dircx’]), c. 1640–45,pen and brush, 22.2 × 15.4 cm (sheet). Schatborn 294. Teylers Museum, Haarlem (O+ 051). Photo © Teylers Museum.

REMBRANDT Harmensz. van Rijn, The pancake woman, 1635, etching, 10.0 x 7.6 cm (image) 10.8 x 7.7 cm (plate) 11.2 x 8.1 cm (sheet), 2nd of 7 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1933 (13-4).

REMBRANDT Harmensz. van Rijn, Two seated women, another standing with a child in her arms (c. 1635), recto, pen and iron-gall ink, 20.9 x 13.7 cm (sheet). National Gallery of Victoria, Melbourne. Felton Bequest, 1936 (356-4).

REMBRANDT Harmensz. van Rijn, A blind hurdy-gurdy player and family receiving alms, 1648, etching and drypoint, 16.6 x 13.0 cm (sheet, trimmed to platemark), 1st of 5 states. National Gallery of Victoria, Melbourne. Purchased, 1891 (p.185.9-1).

Rembrandt van Rijn, Two men talking (Twee pratende mannen), c. 1640–50, black chalk, 9.7 × 8.4 cm (sheet). Schatborn 406. Teylers Museum, Haarlem (O+ 070). Photo © Teylers Museum.

REMBRANDT Harmensz. van Rijn, Jews in the Synagogue, 1648, etching and drypoint, 7.0 x 12.9 cm (image and plate) 7.3 x 13.3 cm (sheet), 5th of 9 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1933 (44-4).

Rembrandt van Rijn, Monk in the cornfield (Het monnikje in het Koren), c. 1646, etching and drypoing, 4.8 × 6.7 cm (plate), 5.1 × 6.8 cm (sheet). Teylers Museum, Haarlem (KG 03750). Photo © M. Zegel / Teylers Museum.

REMBRANDT Harmensz. van Rijn, The goldsmith, 1655, etching and drypoint, 7.8 x 5.8 cm (sheet, trimmed to platemark), 1st of 3 states. National Gallery of Victoria, Melbourne. Felton Bequest, 1958 (3832-4).

REMBRANDT Harmensz. van Rijn, REMBRANDT Harmensz. van Rijn (studio of), Rembrandt (1660s), oil on canvas, 76.5 x 61.6 cm. National Gallery of Victoria, Melbourne. Felton Bequest, 1933 (104-4).

Jan LIEVENS, Landscape with shepherd and cattle (c. 1650), pen and brown ink, 30.2 x 50.4 cm. National Gallery of Victoria, Melbourne. Felton Bequest, 1936 (355-4).

Arent de GELDER, King Ahasuerus condemning Haman (c. 1680), oil on canvas, 80.5 x 96.5 cm. National Gallery of Victoria, Melbourne. Felton Bequest, 1934 (216-4).

Arent de GELDER (attributed to), David taking leave of Jonathan, or The reconciliation of David and Absalom (c. 1700), pen and brush and brown ink with coloured washes over traces of black chalk, touched with white bodycolour, 19.2 x 30.5 cm (sheet). National Gallery of Victoria, Melbourne. Felton Bequest, 1936 (354-4).