Word: rembrandt
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Dates: during 1920-1929
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Lord Melchett, onetime Sir Alfred Mond, paid $200,000 for a servant who can do no work. But the servant is pleasant to look at-for it is a painting by Rembrandt of his own servant, Hendrickje Stoffels. Sir Joseph Duveen, the seller, said that he was glad an Englishman got the painting, though an American would have paid him a higher price...
...Washington approaches, not even the redecorated White House. His apartment on Massachusetts Avenue is hung, not with an Art Collection, but with pictures of lovely women, unmistakable gentlemen, young girls, old ladies, painted because they were fit subjects for fine art by Vermeer, Van Dyck, Gainsborough, Romney, Lawrence, Hals, Rembrandt, and bought by Andrew Mellon because life is a fine art and such things belong to it naturally when you can afford them. Something of the same instinct that acquired the Mellon paintings is also seen in the Mellon motor car, which was specially designed and constructed entirely of aluminum...
...England, and American bidders, most powerful of all, who were only eager to buy the pictures and sell them for gain. When the sale began these rival groups sent prices up at the rate of $15,000 a minute. The first 60 paintings went for $1,800,000; Rembrandt's Man with a Cleft Chin, probably a portrait of his son, brought $200,000; his picture of a Man holding the Torah...
...auction, far less extravagant than the first, had run up the total to $2,032,575, observers took note that the Holland bidders had won back but few of their native glories and that England's representatives had been able to keep only two pictures of primary importance-Rembrandt's Portrait of Maurice Huygens, and Francis Cotes' surprisingly fine Portrait of a Guardsman, which went to the National Gallery. The rest, with the exception of a few that French dealers netted, will probably reach...
Each figure expressed an individual passionate sorrow, yet there was swaying and swooning in groups. It was extraordinarily well done. Responsible for the dramatic composition and the stage direction was Miss Irene Lewisohn.* The voices of invisible singers mingled with the orchestral sounds. The Rembrandt-like picture on the stage was but one more instrument. Conductor Nikolai Sokoloff was at his best; connoisseurs called him great...