The Standard-Bearer, after Rembrandt; HL to r, looking to front, wearing a soft feathered cap, his l arm raised supporting the standard, his r hand on his hip Brush drawing in grey wash, with some pen and black ink


© The Trustees of the British Museum

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Department: Prints & Drawings

Registration number: Oo,10.132

Bibliographic reference
Sumowski 1979 continuing 128x
Hind 1915-31 140 (as School of Rembrandt)
Royalton-Kisch 2010 Bol.2
Corpus of Rembrandt Paintings 1982-2005 III.A.120 (copy 1)

Dutch Roy XVIIc

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Object types
drawing (scope note | all objects)

paper (all objects)
drawn (scope note | all objects)
Production person
Drawn by Ferdinand Bol (biographical details | all objects)
After Rembrandt (biographical details | all objects)
Schools /Styles
Dutch (scope note | all objects)

The Standard-Bearer; a standing man, half-length in profile to right but looking to front, wearing a soft feathered cap, his left arm raised supporting the standard, his right hand on his hip; after Rembrandt
Brush in shades of grey and touched with white.
Verso: see Inscriptions.
Watermark: Basel staff in a crowned shield (see Tschudin 226 [1637] and Laurentius p.129, no. 282 [1636]). See also Bol cat. no.1; Oo,10.133.

Inscription Content: Verso inscribed in pen and brown ink, lower left (much abraded): 'Rembrant'.

Height: 220 millimetres ((chain lines vertical, 26mm apart))
Width: 171 millimetres

Good condition, apart from a few minor scuffs; possibly cut (see further in Curatorial Comment; Royalton-Kisch draught entry).

Curator's comments
An early copy after the 1635 painting by Rembrandt in the private collection of Baron Gustave de Rothschild, Paris (Bredius 433).

Entry from Martin Royalton-Kisch, 'Catalogue of drawings by Rembrandt and his school', 2010, Ferdinand Bol, cat. no.2:

For the attribution and date, see cat. no.1 (Oo,10.133), where other drawings made after Rembrandt's paintings are enumerated. The present work is copied from the picture in the Rothschild collection, Paris, which is signed and dated 1636.[1] The copy was probably made soon after the oil and may have been cut: the composition of the painting is larger on all sides, particularly at the top and left. The correct proportions were retained in another, equally faithful copy in a similar technique, formerly in Dresden and now known only through an old photograph.[2] Other, painted copies are known or recorded.[3]
The painting has sometimes been considered to be a self-portrait of the artist, but the resemblance is no more than general.[4] It may be that Rembrandt used his face as the starting-point for a fanciful portrait.

[1] Corpus A120; Bredius-Gerson 433.
[2] According to Corpus, 1989 (see Lit. below), the drawing is now missing. The photograph, of which there is a copy in the Department, was produced by Adolphe Braun, 'Musée de Dresde. Catalogue des dessins reproduits en fac-simile', 1872, p.16, no.256.
[3] See Corpus, III, pp.230-31. Another copy, of the head and shoulders only, was sold New York, Sotheby's, 14 October, 1998, lot 84, repr.
[4] See Exh. Berlin-Amsterdam-London, 1991-2, p.202, for a discussion of this point.


London, 1915, no.140 (after the painting in Paris; a comparable copy of the picture is in Dresden); Van Dyke, 1927, p.89 (tentatively given to Horst, like the Dresden drawing and the Rothschild painting); Exh. Chicago-Minneapolis-Detroit, 1969-70, p.23 (by Doomer after Rembrandt; the Rijksmuseum 'Minerva' copy by Bol); Sumowski, I, 1979, no.128x, repr. (Bol; dates from about the same time as the painting); Bruyn, 1984, p.160, n.20 (superior to Rijksmuseum 'Minerva', 1975:85, Sumowski 126x, and therefore not by Bol); Corpus, III, 1989, pp.10, 14, 15, 156, 229-30, repr. fig.4 (copy after the painting; attribution uncertain, but not same hand as Amsterdam 'Minerva'; not a companion to cat. no.1 (Oo,10.133); Dresden copy mentioned in London, 1915, now missing); Exh. Berlin-Amsterdam-London, 1991-2, p.75 (attribution of this group of drawings, which were probably made for sale, uncertain and perhaps more than one hand involved; Rembrandt's notes include mention of a 'floora' and a standard-bearer; otherwise as Corpus, 1989); Dudok van Heel, 1993, p.17, repr.p.18, fig.4 (the painting not a commission but kept in the studio to be copied and perhaps to gain commissions from militia companies; unusual for its 'antique' style of dress; seen as developing Rembrandt's ideas for the 'portrait historié'); Windsor, 1994, under no.317 (compares type of drawing with Bol's 'Standing Oriental in a Turban', Windsor inv.6515, Sumowski 138x); Exh. Dresden, 2004, p.109, under no.42 (compares school drawings of standard bearers in Dresden which have affinities with the painting in Paris).

standard-bearer (all objects)

Acquisition date

Acquisition name
Bequeathed by Richard Payne Knight (biographical details | all objects)

Exhibition History
1992, BM, Drawings by Rembrandt and his Circle (not in catalogue).

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