Viewing between the frames : Considering the display of Rembrandt's pendant marriage portraits, Deborah Babbage Iorns, p. 185, afb. 8

The pendant portraits are listed as 164 Maerten Soolmans and 165 Oopjen Coppit in Horst Gerson's Rembrandt catalog of 1968 A corpus of Rembrandt paintings, J. Bruyn, D. Cook-Radmore, Karin Groen, L. Peese Binkhorst-Hoffscholte, Ernst van de Wetering, Vol. II, pp. 547-57, cat.nr. A 100, A101 One of the most important tips for winning at Coppit Board Game is to plan your moves ahead of time. Think strategically about how each move will benefit you and try to anticipate your opponent’s next step. Another strategy to keep in mind is to make sure you know how coins move around the board. When planning which pieces to move and when, think about how coins can be traversed between two points more easily or how a movement can help trap a coin that cannot be taken out of play otherwise. Try to make fewer moves with larger impacts, leaving fewer options open for your opponent while increasing yours. Finally, look out for any opportunities presented by your opponent’s moves. If they seem like they are going to set up a good opportunity for scoring, seize it as soon as possible even if it means sacrificing one of your pieces in the process. With careful planning and execution, you will surely have better chances of winning at Coppit Board Game! Final Thoughts on Coppit Board Game and Its Legacy Rijksmuseum acquires painting by Jan Steen (Dutch)". NRC Handelsblad. 16 August 2004 . Retrieved 31 October 2015.I. Groeneweg, 'Regenten in het zwart: vroom en deftig?', Nederlands Kunsthistorisch Jaarboek 46 (1995), pp. 236-37

In that same year, 1661, Rembrandt was also working on a rare public commission that could have made him the darling of the Dutch elite again. He was asked to paint a patriotic history for Amsterdam town hall. But instead of a hearty scene of triumph, he painted The Conspiracy of Claudius Civilis, a desperate, Lear-like scene, drawn from an account of the Batavian rebellion in Tacitus’s Histories. Showing rebels agreeing to what looks like a futile suicide pact in an eerie pale light, the work was hated for its bleak view of Dutch history. It is not hard to imagine that those same disabused eyes, that looked so unsparingly at the past, were also directed at the present, and the most shameful secret of Rembrandt’s time: Europe’s exploitation of Africa. We look forward to welcoming you to our quiet corner of West Dorset, and hope to offer you a unique connection to farming, the landscape, and nature."Bailey, Martin. " Polly wants a Rembrandt". The Art Newspaper, 16 October 2015. Retrieved 17 October 2015. Wilhelm von Bode was impressed enough to include both in his set of 595 photogravures for his eight-volume 1898 treatise on Rembrandt. Fromentin and Bode had identified the paintings as portraits of Mr. and Mrs. Daey, but it was the Amsterdam historian Isabella Henriette van Eeghen who painstakingly traced their ownership to their original inventories and established the identities of the portrayed. [17] The portraits were in the possession of the subjects' heirs until their sale in 1877 to Gustave Samuel de Rothschild, a French banker. [3] They were lent for exhibition once only, to the Rijksmuseum in 1956 for the artist's 350th birthday. [14] Before being sold, they were hung in a large hall in the Van Loon collection, described by Eugène Fromentin in 1877 with the remark that they were examples of Rembrandt at his best and were painted in the same period that Rembrandt painted his Anatomy Lesson of Dr. Nicolaes Tulp, traditionally marking the beginning of his career in Amsterdam. Clearly, the flamboyance of these young newlyweds did more to launch Rembrandt's career as a portrait painter for the Amsterdam upper class than his sober depiction of a class of serious students in Leiden. [15] The entire Van Loon collection was sold to Rothschild for 40,000 pounds, which at the time was over a million francs. [16] Muñoz-Alonso, Lorena (18 March 2015). "Sale of Rembrandt Portraits Owned by Eric De Rothschild Worth €150 Million Sparks Controversy". Artnet . Retrieved 17 October 2015. The current joined ownership is a new arrangement for the Louvre and Rijksmuseum, and it remains to be seen whether this experiment in international art purchasing will fit into exhibition plans of both institutions. Unlike many expensive paintings, these two will not be restricted by location and it is expected that they will be on tour regularly. According to Wim Pijbes, director of the Rijksmuseum, the paintings will not be separated, and each museum will own 50 percent of each painting. [1] Other records [ edit ]

a b c d Agence France-Presse (30 September 2015). "France and Netherlands to joinedly buy rare Rembrandts". The Guardian . Retrieved 15 October 2015. Isle of Man, Isle of Wight, Northern Ireland and the Scottish Highlands) may take longer to reach you.

Getting hold of Coppit today

Signed on the left at foot, "Rembrandt f. 1634"; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in the Nederlandsche Kunstbode, 1879, p.2; and in Dutuit. Mentioned by Vosmaer, pp.145, 502; Bode, p.402; Dutuit, p.52; Michel, p.148 [112-14, 436]; Moes, 1881. Exhibited at Amsterdam 1867, No. 161.