Pieter Haringh, reworked after Rembrandt

An image of Pieter Haringh. Young Haringh. Jacob Thomasz. Haringh. Unknown printmaker. Reworked after Rembrandt Harmensz. van Rijn (Dutch, 1606-1669). Etching, drypoint, engraving, pen and ink, black carbon ink on laid paper, borderline drawn around the edge of the oval, height 117 mm, width 91 mm, 1655. Production Note: V/V. The plate showing the original seated portrait cut down to show only the bust of the sitter. Notes: The sitter was the second cousin of Thomas Jacobsz. Haringh, and worked as a Receiver in the Amsterdam Orphan's court and regulated voluntary auctions. This probably brought him into contact with Rembrandt in 1655, when the artist attempted to stave off bankruptcy by holding a voluntary sale. This portrait was long thought to represent Jacob Thomasz. Haringh, the lawyer son of Thomas Jacobsz. Haringh who was portrayed by Rembrandt around the same time as Pieter Haringh (see 23.K.5-359), and who was also involved in the sale of the artist's possessions. Alternative Number(s): Hollstein (Dutch/Flemish); B275 V/V; 1969. Biörklund/Barnard; BB55-E V/V; 1955.

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Pieter Haringh. Young Haringh. Jacob Thomasz. Haringh. Unknown printmaker. Reworked after Rembrandt Harmensz. van Rijn (Dutch, 1606-1669). Etching, drypoint, engraving, pen and ink, black carbon ink on laid paper, borderline drawn around the edge of the oval, height 117 mm, width 91 mm, 1655. Production Note: V/V. The plate showing the original seated portrait cut down to show only the bust of the sitter. Notes: The sitter was the second cousin of Thomas Jacobsz. Haringh, and worked as a Receiver in the Amsterdam Orphan's court and regulated voluntary auctions. This probably brought him into contact with Rembrandt in 1655, when the artist attempted to stave off bankruptcy by holding a voluntary sale. This portrait was long thought to represent Jacob Thomasz. Haringh, the lawyer son of Thomas Jacobsz. Haringh who was portrayed by Rembrandt around the same time as Pieter Haringh (see 23.K.5-359), and who was also involved in the sale of the artist's possessions. Alternative Number(s): Hollstein (Dutch/Flemish); B275 V/V; 1969. Biörklund/Barnard; BB55-E V/V; 1955.

Image data

Accession Number: AD.12.39-280
Photograph copyright © The Fitzwilliam Museum, Cambridge.
Aperture: f/22.0
Focal length: 120
Camera: Hasselblad H4D-31
Photographer name: Sam Cole
Image height: 1025 pixels
Image width: 818 pixels
Processed with: Adobe Photoshop Lightroom 5.0 (Windows)
Filesize: 858.88kB
Exposure time: 1/125
ISO Speed: 100
Fnumber: 22/1
Captured: 2018:02:06 10:23:18

Key words

17th Century collar doublet drypoint Dutch engraving etching fashion Fitz_PDP interior legal profession male man official oval Pieter Haringh portraits print receiver Receiver General Rembrandt Rembrandt Harmensz. van Rijn reworked window window bars windows young man

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            The Fitzwilliam Museum (2024)
            "Pieter Haringh, reworked after Rembrandt"
            Web page available at: https://collection.beta.fitz.ms/id/image/media-213310 Accessed: 2024-11-22 13:40:03

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            {{cite web|url=https://collection.beta.fitz.ms/id/image/media-213310
            |title=Pieter Haringh, reworked after Rembrandt
            |author=The Fitzwilliam Museum|accessdate=2024-11-22 13:40:03|publisher=The
            University of Cambridge}}

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        <img src="https://data.fitzmuseum.cam.ac.uk/imagestore/pdp/pdp81/AD_12_39_280_1_201801_sjc288_dc2.jpg"
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        <figcaption class="figure-caption text-info">Pieter Haringh, reworked after Rembrandt</figcaption>
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