Portrait Of A Rabbi Or A Bearded Man After Rembrandt

The phrase “Portrait of a Rabbi” or simply “Bearded Man” appears constantly in Old Master sales, often followed by the all-important qualifier: “after Rembrandt.” For appraisers and collectors, that small word is the difference between a six-figure masterpiece and a modest decorative work—or a valuable, scholarly print and a late photogravure. This guide focuses on how to identify, categorize, and value portraits in this subject category across oils and prints, with practical diagnostics and market context.

Why So Many “Rabbis” After Rembrandt?

Rembrandt repeatedly portrayed elderly, bearded sitters—some Jewish, some not—often wearing caps, turbans, fur-trimmed coats, or “Oriental” dress. In the 18th and 19th centuries, the art market romanticized these figures as rabbis, whether or not the original work intended that identity. The label stuck and was widely applied to:

• Original Rembrandt etchings showing bearded men.
• Studio and follower paintings from the 17th century.
• Reproductive prints (mezzotints, etchings) made in the 18th–19th centuries.
• Later oil copies and pastiches “in the manner of” Rembrandt.
• Photomechanical reproductions from the late 19th–early 20th century.

In cataloging language, “after Rembrandt” indicates a work made by another hand, at any date, based on a known Rembrandt composition. It does not imply deception—many reproductive works were expressly titled “Rembrandt pinx.” (Rembrandt painted it) or “after Rembrandt.” But ambiguous labels, trimmed inscriptions, and the visual closeness of some techniques can make appraisal tricky.

Medium-by-Medium Diagnostics

Correctly identifying the medium is the fastest path to a credible valuation. Start here.

Oils on canvas or panel

• Support:
  • 17th-century Dutch panels are usually oak; end-grain and saw-marks may be visible on the panel edges. Older panels may show beveled backs. Dendrochronology can place a not-earlier-than date for the wood.
  • 19th-century copies often appear on mahogany or on canvases with machine-woven regular weaves; earlier canvases show irregular thread counts.
• Grounds and paint:
  • Period Dutch paintings often use a pale or warm ground; Rembrandt’s studio employed lead white, earth pigments, and, at times, smalt. Bitumen-rich, syrupy browns suggest 19th-century habits and can cause alligatoring.
  • Natural age craquelure is fine, irregular, and follows the weave or wood movement. Artificial craquelure tends to be uniform or looks “baked on.”
• Surface and varnish:
  • Heavy, glossy, amber varnish may be 19th-century. Under UV light, original passages show mixed fluorescence; broad, dark patches can indicate overpaint.
• Signatures:
  • Rembrandt’s authentic painted signatures vary; he signed “Rembrandt” from the 1630s onward. Many copies bear a later “Rembrandt” signature applied over varnish—look for fresh, uncracked, glossy strokes sitting atop the surface.
• Presentation:
  • Oval formats and cabinet sizes (roughly 25–45 cm high) are common for 19th-century copies and follower works. Grand-format portraits are less common as pastiches in this subject.

Value implication: A competently executed 19th-century oil “after Rembrandt” might bring low four figures; a 17th- or early 18th-century follower with quality and good condition can achieve mid-five figures. Direct attributions to Rembrandt or studio require advanced technical and scholarly review.

Etchings (and drypoint)

• Plate mark:
  • True intaglio impressions show a crisp, indented plate mark around the image. The platemark should be measurable and consistent with known plate sizes from catalogues.
• Paper:
  • Laid paper with visible chain lines (widely spaced vertical lines) and watermarks suggests 17th–18th-century printing. Wove paper appears mid-18th century onward; a Rembrandt “lifetime” impression on wove paper is anachronistic.
• Inking and line quality:
  • Rembrandt’s etchings can show plate tone (a thin veil of ink left on the plate) and warm, rich blacks in earlier states. Drypoint burr creates a velvety line that wears down with subsequent printings.
  • Posthumous restrikes (for example, from plates later owned by Basan and his heirs) often look lighter, with worn lines and less bite.
• Signatures and inscriptions:
  • Rembrandt did not pencil-sign his prints. Any graphite “Rembrandt” is a later collector’s inscription. Titles in English or French in the lower margin often indicate a reproductive print after Rembrandt rather than a Rembrandt plate.
• Cataloguing:
  • Cross-reference compositions to standard catalogues (Bartsch/B., Hind/H., New Hollstein). Matching a known Rembrandt plate differs from identifying a later reproductive print “after Rembrandt.”

Value implication: A lifetime Rembrandt etching of a bearded man can range from several thousand to well into six figures depending on the plate and state. Posthumous impressions from worn plates may range hundreds to low thousands. Reproductive etchings “after Rembrandt” generally range in the low hundreds.

Mezzotints (and other reproductive intaglios)

• Texture:
  • Mezzotint tones are built from an overall roughened plate; under magnification you see a granular, velvety field rather than etched line work. Transitions are smooth and smoky.
• Margins and lettering:
  • Look for margins with inscriptions such as “Rembrandt pinx.” (painted by Rembrandt) or “Pub. London…”—a clear sign of a reproductive mezzotint. Titles like “A Rabbi” or “The Philosopher” were popular.
• Period:
  • Many high-quality mezzotint reproductions date from the 18th-century British print boom and 19th-century continental revival.

Value implication: Good 18th-century mezzotints after Rembrandt compositions can bring a few hundred to low thousands when in fine condition with wide margins.

Photogravures and halftone prints

• Under magnification:
  • Photogravure shows a reticulated, honeycomb-like pattern; later halftones show a regular dot screen. These lack the incised line or burr of real intaglio.
• Plate mark:
  • Some photogravures have a blind-stamped pseudo-plate mark; the paper won’t be compressed in the same way as intaglio, and the edges can look too perfect.
• Paper and tone:
  • Often on smooth, stiff paper with even, neutral blacks. No plate tone, no wiped edges.

Value implication: Typically decorative; $50–$300. Useful as historical reproductions but not fine prints.

Attribution language decoded (quick reference)

• “Rembrandt van Rijn”: accepted autograph work.
• “Studio of Rembrandt”: made in his workshop, lifetime.
• “Circle of Rembrandt”: by a contemporary closely associated with him.
• “Follower of Rembrandt”: by a later artist working in his style.
• “Manner of Rembrandt”: stylistically reminiscent, date uncertain.
• “After Rembrandt”: copied from an original Rembrandt composition, any later date/hand.

These terms have specific, widely accepted meanings and materially change value.

Market Benchmarks and What Drives Value

Because “after Rembrandt” encompasses several categories, value hinges on matching your object to the right lane.

Key drivers:

• Authorship and date:
  • A 17th-century follower painting with period materials and confidence in attribution commands vastly more than a 19th-century pastiche. For prints, lifetime impressions dominate value; early posthumous impressions are stronger than late, worn restrikes.
• Medium:
  • Oil paintings have wider value bands than reproductive prints. Among prints, original Rembrandt plates (lifetime/posthumous) outrank reproductions (mezzotint after, etching after, photogravure).
• Condition:
  • Oils: stable paint surface, minimal overcleaning, sympathetic varnish, and honest restoration. Prints: wide margins, strong contrasts, no folds, minimal foxing, no laid-down mounting.
• Subject appeal:
  • Engaging, characterful heads with dramatic chiaroscuro and rich costume detail outpace generic copies. Specific, catalogued Rembrandt compositions are more liquid than vague “bearded man” pastiches.
• Provenance:
  • Named collections, early labels, gallery stock numbers, and references in catalogues raisonné add confidence and value. Collector stamps on prints (documented in repertories of marks) can be significant.

Indicative ranges (broad, condition-dependent):

• Oil, “after Rembrandt,” 19th-century: $800–$8,000; exceptional quality or early dating can exceed.
• Oil, “follower of” or “circle of,” 17th–early 18th century: $10,000–$80,000+ if compelling and well-preserved.
• Original Rembrandt etching, lifetime: $5,000–$250,000+ depending on plate, state, and impression quality.
• Original Rembrandt etching, posthumous (Basan and heirs, etc.): $400–$6,000.
• Mezzotints/etchings “after Rembrandt”: $150–$1,500; scarce, early mezzotints can be higher.
• Photogravures/halftones: $50–$300.

These estimates assume typical sizes in this subject category and mainstream auction settings. Private sales and top-tier venues can differ.

Quick Appraisal Checklist

• Identify the medium:
  • Is it oil on canvas/panel, an intaglio print (with real plate mark), a mezzotint, or a photogravure/halftone?
• Confirm the subject and source:
  • Compare the composition to known Rembrandt images; note titles, inscriptions like “after Rembrandt,” and any publisher lines.
• Inspect supports and materials:
  • For oils: panel wood species, canvas weave, ground color, presence of relining; for prints: paper type (laid vs wove), watermarks, chain lines.
• Evaluate condition:
  • Oils: craquelure type, overpaint under UV, flaking, abrasion, frame rub. Prints: margins integrity, tears, stains, light-burn, backing.
• Look at signatures and inscriptions:
  • Be skeptical of painted “Rembrandt” signatures on browned copies; treat pencil signatures on prints as later annotations.
• Check for plate tone and burr (prints):
  • Richness of blacks, wiped edges, and drypoint burr (if present) can indicate early impressions.
• Note dimensions accurately:
  • Measure image, plate mark, and sheet separately; deviations from known plate sizes can reveal reproductions.
• Record provenance clues:
  • Labels, stamps, inscriptions, old collection numbers; on prints, check for collector’s marks.
• Photograph under raking light and UV:
  • Reveal surface texture, retouching, and condition issues; helpful for remote opinions.
• Align with market lane:
  • Decide: original Rembrandt plate (lifetime/posthumous), reproductive intaglio after Rembrandt, oil follower/copy, or photomechanical. Value accordingly.

FAQ

• How can I tell a real Rembrandt etching from a later reproduction?

  • Start with the plate mark and paper. True intaglio has a pressed platemark; laid paper and watermarks suit 17th–18th-century impressions. Under magnification, etched/drypoint lines are irregular and incised; photogravures show a dot or cell pattern. Compare size to catalogued plate dimensions and look for plate tone and burr in early impressions.

• The title says “Portrait of a Rabbi.” Does that mean the sitter is identified?

  • Not necessarily. “Rabbi” is often a later, market-friendly label for Rembrandt-like bearded men in oriental dress. Unless supported by period documentation, treat it as a subject type, not a biographical identification.

• My print has “Rembrandt” in pencil. Is that a signature?

  • Rembrandt did not pencil-sign his prints. Graphite inscriptions are typically later collector’s notes or spurious signatures and do not confer authenticity. Focus on the plate, paper, and printing characteristics.

• Are 19th-century oils “after Rembrandt” worthless?

  • No. Quality matters. Well-painted 19th-century copies with good color and surface can be collectible and decorative. They usually trade in the low four figures, while period follower works with connoisseurial merit can be far higher.

• Should I clean a dark, yellowed varnish myself?

  • No. Old varnish can mask overpaint and fragile original glazes. Cleaning should be performed by a qualified conservator after testing. For prints, avoid surface cleaning beyond gentle, dry dusting; aqueous or chemical treatments can cause irreversible damage.

By approaching “Portrait of a Rabbi” or “Bearded Man” works systematically—medium first, materials second, and market lane last—you can quickly separate decorative copies from scholarly prints and potentially significant Old Master followers. When evidence points upward in value or complexity, involve specialists early; a few targeted images under good light, precise measurements, and a clear condition summary will let an expert respond efficiently.