Kárpáti Zoltán - Liptay Éva - Varga Ágota szerk.: A Szépművészeti Múzeum közleményei 101. (Budapest, 2004)

JÚLIA TÁTRAI: The Return of Barent Fabritius's Sacrifice of Manoah to Hungary

and has little doubt as to its authorship. However, because Fabritius worked in Leiden and Rembrandt in Amsterdam in the latter part of the 1650s, in his mind the nature of the two painters' collaboration still remained an open question.

8 In his monograph on Rembrandt, Wilhelm R. Valentiner lists the angel fragment among the disputed works from Rembrandt's oeuvre, presuming it to have been cut from Aert de Gelder's Sacrifice of Manoah

9 In Hoofstede de Groot's ten-volume critical catalogue of seventeenth-century Dutch painters, the painting appears among Rembrandt's works, and a detailed provenance and the following description are given: "The archangel Raphael, almost to the knees, with eyes cast downward, turning slightly to the right. A halo of many shining stars above his head. Supposedly cut from a painting by Barent Fabritius depicting the sacrifice of Manoah, which most recently appeared at the Gebhardt [sic!] auction in Berlin, 10 November 1911, no. 92."

10 He gives the original size of the panel (24.5 x 18.5 cm) as well as the actual size, lengthened on three sides (26 x 23.5 cm). In 1908 the painting belonged to the Schloss Collection, Paris, where it remained until the spring of 1943, when German soldiers seized and confiscated the extraordinarily valuable collection of more than 300 pieces. Since then a portion of the works have been recovered, but the whereabouts of the angel panel remains unknown.

11 x C. Hofstede de Groot, "Die Rembrandt-Ausstellungen zu Amsterdam (September-October 1898) und zu London (Januar-März 1899)," Repertórium fur Kunstwissenschaft 22, no. 2 (1899), 161-62. 9 Rembrandt. Des Meisters Gemälde in 643 Abbildungen, Klassiker der Kunst, ed. W. R. Valentiner, Stuttgart and Berlin 1908, 566, ill. 543: Angel Study, 1655-60, Adolf Schloss Collection, Paris. Valentiner refers to Hofstede de Groot, but the given citation {Repertórium fiir Kunstwissenschaft, 1905, 575) is incorrect: the author's 1904 criticism of the Dutch material in the Düsseldorf exhibition appears in an issue of the journal from a year earlier, on pages 573-78. However there is no mention of the Angel or Aert de Gelder here. Possibly a typographical error led to the painting's listing as a work of Aert de Gelder. 10 Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, comp. C. Hofstede de Groot, vol. 6, Rembrandt, Nicolaes Maes, Esslingen and Paris 1915. 20-21, no. 28. Provenance: owned by Martin Colnaghi, London art dealer; owned by David P. Sellar, London art dealer, until 6 June 1889; Adolph Schloss Collection, Paris; owned by Charles Scdelmeyer, Paris art dealer (see: Illustrated Catalogue of

300 Paintings by Old Masters of the Dutch, Flemish, Italian, French and English Schools being some of the principal pictures which have at various times formed part of the Sedelmeyer Gallery, Paris 1898, no. 146: "Small half-length figure of an angel with an aureole. He is draped in a white tunic, which leaves only his right hand visible. His fair hair falls in curls on his shoulders."); Alfred Strasser Collection, Vienna, 1898-99; owned by François Kleinberger, Paris art dealer; Collection of Adolph Schloss and Heirs, Paris, 1908^43, after which fate unknown. On auction: from David P. Sellar's Collection, Paris, 6 June 1889 (see: Catalogue de Tableaux Anciens composant l

'importante collection de M. Sellar de Londres, Paris, Galerie Georges Petit, no. 57: "The archangel Raphael. In three-quarter figure, he is draped in a white tunic, which leaves only his right hand visible. His face, highlighted by an aureole, is enframed by blond hair tumbling onto his shoulders. This study, painted in bright colours and full of life, seems to be a first thought for the tableau: The Angel Departing from the Family of Tobias."). Exhibited: Royal Academy, London, 1885 (see the presumably incorrect data with respect to this in the Sellar catalogue, ibid.); Royal Academy, London, 1887, Winter Exhibition, with no. 57; Stedelijk Museum, Amsterdam, Rembrandt: Collection of Reunited Masterpieces on the occasion of the Inauguration of HRH Queen Wilhelmina, with no. 86. 11 In the catalogue from the former Schloss Collection that had lain hidden until 1 July 1998, the painting can be found under the listing as a Rembrandt work: Un Ange sous les traits de Titus. See <www.francc.diplomatie.fr/archives/dossiers/schloss/indcx_ang.html>