Rembrandt: arms and armor in his work

[Rick]

Do either of you remember that highly decorated ?Venetian? Cabasset that was featured on a very early episode of PBS' Antiques Road Show ?

It looked like the model for this rendition .











Without the ear flaps .

[Jim McDougall]

Thanks for the comments guys!
Chris, I do recall those discussions which were pretty interesting in premise but left me wanting to find more. Thats why I got started on revisiting this topic. While A.V.B. Norman did a phenomenal work in establishing time frames and categoric typology on hilts using portraiture mostly, since these were usually portraits the weapons were typically the subjects.

In the case of these varied theme paintings, it seems there was a good degree of artistic license employed, and painters typically had collections od study objects including weapons and clothing to paint from. Apparantly they often acquired prints of other artists as well, using the material in thier own context to compose thier projects.

Thats a fantastic picture of the Rembrandt museum! From what I can understand however, most, if not all of the original collection was dispersed during his bankruptcy in 1656. There are records of this inventory, and that was the reference I mentioned for the cabasset.

Rick, I didnt see that program, but know that Italian armourers produced this type of high relief armor. They did the same on breastplates and morions in this period. Given the fact that artists often acquired other artists often earlier prints, perhaps this image was used by one of Rembrandts students for this work. It is also suggested that an imitator may have tried to duplicate Rembrandt style with this.
The ear flaps really are not characteristic for cabassets as far as I know, but again, may be license recalling the lobster tail helmets popular for cavalry in Europe at the time this was painted.
The figure also appears to be wearing what is known as a mantle rather than full breast plate, and these were of the latter 16th century, but seems to me they were usually brigandine rather than plate.

I really appreciate the input, it really is an interesting subject and reminds us of the importance of art as we study these weapons and armour.

All the best,
Jim

[Jens Nordlunde]

Hi Jim,
It is good that you are back writing, and it is great to read your posts on this interesting subject.
I have never seen a katar in any of Rembrandt's paintings, do you think that means they were 'invented' after he died? (JUDL).
Jens

[Matchlock]

Hi Jim,

Thank you so much for another learned post on illustrative sources of Antique A&A! Thanks a lot too for pointing out the still widely neglected fact that, according to current knowledge some analysts came up with a coupe of years ago, The Man in the Golden Helmet is not actually the master's own work but that of his school.

From my field of expertise, I wish to contribute Rembrandt's famous work Vigil, in which he satirically portrayed the honorable Amsterdam Town Guild as a bunch of disorderly guys unsuspectingly caught by the artist in 1642

Please note the characteristic long matchlock muskets, the musketeer's bandolier and the other pieces of arms & armor.

Best,
Michael

[fernando]

Originally Posted by Matchlock

... Please note the characteristic long matchlock muskets, the musketeer's bandolier and the other pieces of arms & armor...

Ah, you missed a close up of the guy with the beautiful partizan, Michl .

[Matchlock]

Hi 'Nando, my dear friend,

Guess my editings and your post overlapped here! Just in case I'm wrong, please do post the missing image, OK?

With all my very best wishes,
Michl der Bayer

[Jim McDougall]

Thank you Jens! LOL, on the katar note now that would be some REALLY interesting evidence in that quest!!!

Michael, thank you so much for adding the so called 'Night Watch', and of course this truly is your field, art and weapons. I always look forward to your pointing out key points in the weapons portrayed.
In reading on this painting, it was interesting to find that the event was apparantly actually in daylight, but darkened with age and eventually given the 'night watch' moniker. It seems like these militia groups were pretty much like mens clubs, and there are apparantly a number of other similar themed paintings by some of Rembrandts contemporaries, of these units, I saw I think two others in A.V.B. Normans book.

Do you agree that these kinds of paintings would likely have been using the mens own weapons, as in portraits, rather than studio props?

Fernando, thank you so much for adding this cabasset, and that does seem like a good possibility as well. The scenario of the one you describe being covered in black pitch of course brings to mind the famed "Maltese Falcon" of classic movies, the gold bird painted black. This does present possibilities of course for this very ornate helmet (or one of its type) having been captured by the Dutch, and perhaps whichever individual in Rembrandts circle who painted this may have seen the gold one, and painted from there. Again, possibly a 'dead color' prototype (a formatted image without coloring) might have been embellished with this gold helmet rather than the simple cabasset which was probably in Rembrandt's collection.

It does reveal that these highly decorated and gold colored, if not gold itself, helmets were certainly around even if in limited number.

All best wishes,
Jim

[fernando]

Originally Posted by Matchlock

Hi 'Nando, my dear friend,

Guess my editings and your post overlapped here! Just in case I'm wrong, please do post the missing image, OK?

With all my very best wishes,
Michl der Bayer

.

[fernando]

Hi Jim,
If you allow me, i will pick on the subsidiary topic and post here the so called "Gold cabasset of Goa", a master piece of Indo-Portuguese art.
It is indeed a repousse work in copper, covered with a thick layer of gold.
The motifs depicted are various, namely hunting scenes on horse and foot, with Europeans in rather pronounced "baloon" trousers, and a number of flowers, birds and animals, including monkeys with human faces.
It is presumed that this example was ordered by Vice-Roy Dom Diogo de Menezes. At that time Portuguese Vice-Roys fancied possessing and offering magnanimous gifts, in such extent that their excesses were forbidden by the King.
It is intriguing and not yet figured out why this cabasset arrived in Azores, being found there in the XIX century, deeply covered with pitch, naturaly with the intention to hide its gold covering. It was cleaned only in 1976. The other example known to exist, is the New York Metropolitan Museum, however in a poor condition, namely missing its gold cover and some of the buttons.
Of the same school is naturally the one in the painting you have posted in this thread opening, "The Man in the Golden Helmet", which might have been one captured by the Dutch in one of the several battles engaged in the Indic Ocean. This "Gold cabasset of Goa", was auctioned in Lisbon in 1989 for a non published price. I beleive it now belongs in the collection of Rainer Daehnhardt.

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