{'ObjectID' : '2487', 'ObjectCode' : 'N-6274-00', 'ObjectNumber' : 'NG6274', 'ObjectDateBegin' : '1600-01-01', 'ObjectDateEnd' : '1699-12-31', 'ObjectDisplayDate' : '17th century', 'ObjectDimensions' : '111 x 88 cm', 'ObjectMedium' : 'Oil on canvas', 'ObjectAlphaSort' : 'Rembrandt', 'ObjectAuthor' : 'Follower of Rembrandt, 1606 - 1669', 'ObjectTitle' : 'An Old Man in an Armchair', 'ObjectShortTitle' : 'An Old Man in an Armchair', 'ObjectCreditLine' : 'Bought, 1957', 'ObjectString' : 'NG6274: Follower of Rembrandt, 1606 - 1669, An Old Man in an Armchair, 17th century, Oil on canvas, (111 x 88 cm), Bought, 1957.', 'ObjectLocation' : 'Room A Screen 25', 'ObjectPrivateLocation' : 'Gallery A Screen 25', 'ObjectPublicLocation' : 'Room A Screen 25', 'ObjectSchool' : 'Dutch', 'ObjectCurator' : 'Betsy Wieseman', 'ObjectDescription' : 'Signed and dated falsely top right: Rembrandt.f. /1652
This painting entered the Collection as a Rembrandt. Subsequently it was noted that the overall structure, and in particular the loose treatment of the beard, fur coat and right hand, was weak. Such a lack of stylistic coherence is not found in Rembrandt\'s autograph portraits of the early 1650s, which is an outstanding period for his portraiture (e.g. Nicolaes Bruyningh, 1652, Cassel; Jan Six, 1654, Amsterdam, Six Foundation).
NG 6274, which displays a debt to Venetian, and in particular Tintorettesque portraiture (e.g. Tintoretto NG 4004), is now attributed to an unidentified pupil or early follower of Rembrandt.
Almost certainly among the pictures at Chiswick House collected by the 3rd Earl of Burlington (died 1753); bought from the Duke of Devonshire, 1957.
Bredius 1969, p. 570, no. 267
MacLaren/Brown 1991, pp. 376-7', 'ObjectStatusID' : '1', 'PublicAccess' : '1', 'GroupNumber' : '', 'GroupTitle' : '', 'GroupArtist' : '', 'GroupDate' : '', 'GroupParts' : '', 'ImageID' : '2429', 'ImageFile' : 'N-6274-00-000038-WZ-PYR.tif', 'ImageCode' : 'N-6274-00-000038-WZ', 'ImagePath' : '/pics/tmp/websiteimages/Website_Collection_Online/Web Zoom Images/WZ web NG Fronts/', 'ImageLevels' : '6', 'ImageXsize' : '4747', 'ImageYsize' : '6000', 'FileGroup_ID' : '14', 'impos' : '2006'} /* Array ( [0] => 
Array
(
    [what] => details
    [val] => 2429
    [crop] => false
    [sqllimit] =>  AND FileGroup_id in (14) 
    [whichdb] => externalIIP
    [whichtable] => Image
    [sortby] => ObjectAlphaSort
)
[1] =>

SELECT * FROM Object, Image WHERE Object.ObjectID = Image.ObjectID AND ImageID = '2429'

[2] =>
SELECT * FROM Object, Image WHERE Object.ObjectID = Image.ObjectID AND FileGroup_id in (14) ORDER BY Object.ObjectAlphaSort
[3] =>
2006 --> 2429 N-6274-00 Follower of Rembrandt, 1606 - 1669
[4] => 
Array
(
    [ObjectID] => 2487
    [ObjectCode] => N-6274-00
    [ObjectNumber] => NG6274
    [ObjectDateBegin] => 1600-01-01
    [ObjectDateEnd] => 1699-12-31
    [ObjectDisplayDate] => 17th century
    [ObjectDimensions] => 111 x 88 cm
    [ObjectMedium] => Oil on canvas
    [ObjectAlphaSort] => Rembrandt
    [ObjectAuthor] => Follower of Rembrandt, 1606 - 1669
    [ObjectTitle] => An Old Man in an Armchair
    [ObjectShortTitle] => An Old Man in an Armchair
    [ObjectCreditLine] => Bought, 1957
    [ObjectString] => NG6274: Follower of Rembrandt, 1606 - 1669, An Old Man in an Armchair, 17th century, Oil on canvas, (111 x 88 cm), Bought, 1957.
    [ObjectLocation] => Room A Screen 25
    [ObjectPrivateLocation] => Gallery A  Screen 25
    [ObjectPublicLocation] => Room A Screen 25
    [ObjectSchool] => Dutch
    [ObjectCurator] => Betsy Wieseman
    [ObjectDescription] => Signed and dated falsely top right: Rembrandt.f. /1652
This painting entered the Collection as a Rembrandt. Subsequently it was noted that the overall structure, and in particular the loose treatment of the beard, fur coat and right hand, was weak. Such a lack of stylistic coherence is not found in Rembrandt\'s autograph portraits of the early 1650s, which is an outstanding period for his portraiture (e.g. Nicolaes Bruyningh, 1652, Cassel; Jan Six, 1654, Amsterdam, Six Foundation).
NG 6274, which displays a debt to Venetian, and in particular Tintorettesque portraiture (e.g. Tintoretto NG 4004), is now attributed to an unidentified pupil or early follower of Rembrandt.
Almost certainly among the pictures at Chiswick House collected by the 3rd Earl of Burlington (died 1753); bought from the Duke of Devonshire, 1957.
Bredius 1969, p. 570, no. 267
MacLaren/Brown 1991, pp. 376-7
    [ObjectStatusID] => 1
    [PublicAccess] => 1
    [GroupNumber] => 
    [GroupTitle] => 
    [GroupArtist] => 
    [GroupDate] => 
    [GroupParts] => 
    [ImageID] => 2429
    [ImageFile] => N-6274-00-000038-WZ-PYR.tif
    [ImageCode] => N-6274-00-000038-WZ
    [ImagePath] => /pics/tmp/websiteimages/Website_Collection_Online/Web Zoom Images/WZ web NG Fronts/
    [ImageLevels] => 6
    [ImageXsize] => 4747
    [ImageYsize] => 6000
    [FileGroup_ID] => 14
    [impos] => 2006
)
) */