When this panel was in the Kann and Havemeyer collections, it was highly regarded as a Rembrandt. The picture held its place in Rembrandt catalogues through Valentiner’s unreliable corpus of 1931, after which the work was dropped from scholarly discussions for fifty years
collection/search/435597 https://www.metmuseum.org/art/collection/search/435597 Link
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(see Lugt suppl. 2141b)Lower center of mount in ink: 133Marking: Lower right collector’s
collection/search/334653 https://www.metmuseum.org/art/collection/search/334653 Link
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collection/search/464077 https://www.metmuseum.org/art/collection/search/464077 Link
Saint Matthew is shown seated in a dark interior lit by an oil lamp and assisted by an angel in his writing of the gospel. The diminutive scenes in the background, whose subjects have been debated, relate to his life as presented in the Golden Legend
collection/search/437630 https://www.metmuseum.org/art/collection/search/437630 Link
Saint Matthew is shown seated in a dark interior lit by an oil lamp and assisted by an angel in his writing of the gospel. The diminutive scenes in the background, whose subjects have been debated, relate to his life as presented in the Golden Legend
collection/search/437630 https://www.metmuseum.org/art/collection/search/437630 Link
Margaret was the eldest child and favorite daughter of Sir Thomas More. She married William Roper (50.69.1) in 1521. She was born about October 1505, and the age assigned to her in the artist’s inscription indicates that this miniature was painted in 1535–36, shortly after her father’s execution
collection/search/436662 https://www.metmuseum.org/art/collection/search/436662 Link
Marking: Arms (central panel, left window): D’or au chevron de sable charge sur sa pointe d’une chaine de quatre chainons d’argent elle meme placee en chevron. For Ingelbrechts (Ingelbrechts or Ymbrechts) of Malines and Spain
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