{'ObjectID' : '1878', 'ObjectCode' : 'N-0047-00', 'ObjectNumber' : 'NG47', 'ObjectDateBegin' : '1646-01-01', 'ObjectDateEnd' : '1646-12-31', 'ObjectDisplayDate' : '1646', 'ObjectDimensions' : '65.5 x 55 cm', 'ObjectMedium' : 'Oil on canvas', 'ObjectAlphaSort' : 'Rembrandt', 'ObjectAuthor' : 'Rembrandt, 1606 - 1669', 'ObjectTitle' : 'The Adoration of the Shepherds', 'ObjectShortTitle' : 'The Adoration of the Shepherds', 'ObjectCreditLine' : 'Bought, 1824', 'ObjectString' : 'NG47: Rembrandt, 1606 - 1669, The Adoration of the Shepherds, 1646, Oil on canvas, (65.5 x 55 cm), Bought, 1824.', 'ObjectLocation' : 'Not on display', 'ObjectPrivateLocation' : 'Conservation - Mr Wyld\'s Studio', 'ObjectPublicLocation' : 'Not on display', 'ObjectSchool' : 'Dutch', 'ObjectCurator' : 'Betsy Wieseman', 'ObjectDescription' : 'Signed and dated bottom left: Rembrandt.f.1646.
Joseph stands behind the Virgin. Two shepherds kneel before the crib. Behind, two women hold up a small child so that it can see Jesus. In the shadows at the right stand a group of five other figures, among them a boy with a dog. New Testament (Luke 2: 16).
There is another, larger version of this subject by Rembrandt, which is also dated 1646 (Munich, Alte Pinakothek). That picture was painted for the Stadholder Frederik Hendrik, Prince of Orange, and hung as part of a series showing the Life and Passion of Christ in his palace in The Hague. The commission is documented in a series of letters between Rembrandt and the prince\'s secretary, Constantijn Huygens. Comparison of that painting with NG 47 suggests that the London painting is later. In the Munich picture the Holy Family is on the right, but the composition is not simply reversed in NG 47. There are numerous differences which make it clear that it is a variation on the same theme. An attribution to Nicolaes Maes has been suggested for NG 47 but there are few stylistic analogies with Maes\'s early work.
Maréchal de Noailles sale, Paris, 1767; collection of J.J. Angerstein by 1807; bought with the J.J. Angerstein collection, 1824.
Bredius 1969, p. 608, no. 575
Bomford 1988, pp. 92-5, no. 10
MacLaren/Brown 1991, pp. 330-2', 'ObjectStatusID' : '1', 'PublicAccess' : '1', 'GroupNumber' : '', 'GroupTitle' : '', 'GroupArtist' : '', 'GroupDate' : '', 'GroupParts' : '', 'ImageID' : '1832', 'ImageFile' : 'N-0047-00-000024-WZ-PYR.tif', 'ImageCode' : 'N-0047-00-000024-WZ', 'ImagePath' : '/pics/tmp/websiteimages/Website_Collection_Online/Web Zoom Images/WZ web NG Fronts/', 'ImageLevels' : '6', 'ImageXsize' : '5046', 'ImageYsize' : '6000', 'FileGroup_ID' : '14', 'impos' : '2014'} /* Array ( [0] =>
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SELECT * FROM Object, Image WHERE Object.ObjectID = Image.ObjectID AND ImageID = '1832'

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2014 --> 1832 N-0047-00 Rembrandt, 1606 - 1669
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    [ObjectID] => 1878
    [ObjectCode] => N-0047-00
    [ObjectNumber] => NG47
    [ObjectDateBegin] => 1646-01-01
    [ObjectDateEnd] => 1646-12-31
    [ObjectDisplayDate] => 1646
    [ObjectDimensions] => 65.5 x 55 cm
    [ObjectMedium] => Oil on canvas
    [ObjectAlphaSort] => Rembrandt
    [ObjectAuthor] => Rembrandt, 1606 - 1669
    [ObjectTitle] => The Adoration of the Shepherds
    [ObjectShortTitle] => The Adoration of the Shepherds
    [ObjectCreditLine] => Bought, 1824
    [ObjectString] => NG47: Rembrandt, 1606 - 1669, The Adoration of the Shepherds, 1646, Oil on canvas, (65.5 x 55 cm), Bought, 1824.
    [ObjectLocation] => Not on display
    [ObjectPrivateLocation] => Conservation - Mr Wyld\'s Studio
    [ObjectPublicLocation] => Not on display
    [ObjectSchool] => Dutch
    [ObjectCurator] => Betsy Wieseman
    [ObjectDescription] => Signed and dated bottom left: Rembrandt.f.1646.
Joseph stands behind the Virgin. Two shepherds kneel before the crib. Behind, two women hold up a small child so that it can see Jesus. In the shadows at the right stand a group of five other figures, among them a boy with a dog. New Testament (Luke 2: 16).
There is another, larger version of this subject by Rembrandt, which is also dated 1646 (Munich, Alte Pinakothek). That picture was painted for the Stadholder Frederik Hendrik, Prince of Orange, and hung as part of a series showing the Life and Passion of Christ in his palace in The Hague. The commission is documented in a series of letters between Rembrandt and the prince\'s secretary, Constantijn Huygens. Comparison of that painting with NG 47 suggests that the London painting is later. In the Munich picture the Holy Family is on the right, but the composition is not simply reversed in NG 47. There are numerous differences which make it clear that it is a variation on the same theme. An attribution to Nicolaes Maes has been suggested for NG 47 but there are few stylistic analogies with Maes\'s early work.
Maréchal de Noailles sale, Paris, 1767; collection of J.J. Angerstein by 1807; bought with the J.J. Angerstein collection, 1824.
Bredius 1969, p. 608, no. 575
Bomford 1988, pp. 92-5, no. 10
MacLaren/Brown 1991, pp. 330-2 [ObjectStatusID] => 1 [PublicAccess] => 1 [GroupNumber] => [GroupTitle] => [GroupArtist] => [GroupDate] => [GroupParts] => [ImageID] => 1832 [ImageFile] => N-0047-00-000024-WZ-PYR.tif [ImageCode] => N-0047-00-000024-WZ [ImagePath] => /pics/tmp/websiteimages/Website_Collection_Online/Web Zoom Images/WZ web NG Fronts/ [ImageLevels] => 6 [ImageXsize] => 5046 [ImageYsize] => 6000 [FileGroup_ID] => 14 [impos] => 2014 )
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