Lot and His Daughters, Jan Georg van Vliet (Dutch, c. 1610–1635); Rembrandt van Rijn (Dutch, 1606–1669)

Seen

Not described yet.

Of

No subject recorded yet.

Means

No reading yet.

Rights

Credit
L. E. Holden Fund
Licence
CC0-1.0
Evidence
openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 149090 (read 2026-08-27)
Record
https://clevelandart.org/art/1977.24
Lot and His Daughters, Jan Georg van Vliet (Dutch, c. 1610–1635); Rembrandt van Rijn (Dutch, 1606–1669)
Lot and His Daughters — Jan Georg van Vliet (Dutch, c. 1610–1635); Rembrandt van Rijn (Dutch, 1606–1669)1631

Within fifty years of 1631

942
D. Aurelii Augustini Hipponensis episcopi liber de haeresibus, ad Quodvultdeum : accessit operi quadruplex index ... In calce operis addita est arbor hæreseon ... ; additus est præterea tractatus de ecclesia ..., Augustinus, Aurelius
D. Aurelii Augustini Hipponensis episcopi liber de haeresibus, ad Quodvultdeum : accessit operi quadruplex index ... In calce operis addita est arbor hæreseon ... ; additus est præterea tractatus de ecclesia ...Augustinus, Aurelius1576Stiftung der Werke von C.G.Jung, Zürich
The Lamentation, Ludovico Carracci
The LamentationLudovico Carraccica. 1582Metropolitan Museum of Art, New York, NY
Tribute Money, after Sir Peter Paul Rubens
Tribute Moneyafter Sir Peter Paul RubensNational Gallery of Art
Design for the Stucco Decoration of a Ceiling, Unknown
Design for the Stucco Decoration of a CeilingUnknown1578–1600Cooper Hewitt, Smithsonian Design Museum
The Annunciation, Alessandro Vittoria
The AnnunciationAlessandro Vittoriac. 1583The Art Institute of Chicago
Boy Drinking, Annibale Carracci (Italian, c. 1560–1609)
Boy DrinkingAnnibale Carracci (Italian, c. 1560–1609)1582–83Cleveland Museum of Art
Abduction of a Sabine Woman, Giambologna
Abduction of a Sabine WomanGiambolognamodel ca. 1579; cast possibly late 16th centuryMetropolitan Museum of Art, New York, NY
Seated Male Nude, Michelangelo Buonarroti
Seated Male NudeMichelangelo Buonarrotin.d.The Art Institute of Chicago

Also at Cleveland Museum of Art

580
Relief of Nyankhnesut Seated, Unknown
Relief of Nyankhnesut SeatedUnknownc. 2311–2281 BCECleveland Museum of Art
Stele of Shemai, Unknown
Stele of ShemaiUnknownc. 1960–1916 BCECleveland Museum of Art
Relief of Hatshepsut or Tuthmosis III, Unknown
Relief of Hatshepsut or Tuthmosis IIIUnknown1479–1425 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art
Talatat: Nefertiti Offers to the Aten, Unknown
Talatat: Nefertiti Offers to the AtenUnknown1353–1347 BCECleveland Museum of Art
Tomb Relief of the Chief Physician Amenhotep and Family, Unknown
Tomb Relief of the Chief Physician Amenhotep and FamilyUnknownc. 1279–1257 BCECleveland Museum of Art
Stele of the High Priest of Ptah, Shedsunefertem, Unknown
Stele of the High Priest of Ptah, ShedsunefertemUnknown945–924 BCECleveland Museum of Art

Similar picturesFound by visual likeness

8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E), Goya (Francisco de Goya y Lucientes)
God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E)Goya (Francisco de Goya y Lucientes)ca. 1816–20Metropolitan Museum of Art, New York, NY
0.88
Eight Boys, Hans Sebald Beham
Eight BoysHans Sebald Beham1520/50The Art Institute of Chicago
0.87
The Proverbs: Two Heads are Better than One or Poor Folly, Francisco de Goya (Spanish, 1746–1828)
The Proverbs: Two Heads are Better than One or Poor FollyFrancisco de Goya (Spanish, 1746–1828)1816–1823 (printed c. 1863)Cleveland Museum of Art
0.87
Heavenly Ganymede, from Specimens of Polyautography, Henry Fuseli
Heavenly Ganymede, from Specimens of PolyautographyHenry Fuseli1804 (published 1806-07)The Art Institute of Chicago
0.87
Minerva Teaching a Young Artist, illustration for the Catalogue historique du Cabinet by Mariette, Ange Laurent de Lalive de Jully
Minerva Teaching a Young Artist, illustration for the Catalogue historique du Cabinet by MarietteAnge Laurent de Lalive de Jullyn.d.The Art Institute of Chicago
0.87
Drawing, François Verdier, French, 1651 - 1730
DrawingFrançois Verdier, French, 1651 - 1730ca. 1700Cooper Hewitt, Smithsonian Design Museum
0.86
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–1823About 1801Cooper Hewitt, Smithsonian Design Museum
0.86
Samson Overcome by the Philistines, Johan Joseph Zoffany
Samson Overcome by the PhilistinesJohan Joseph Zoffanyca. 1758Yale Center for British Art
0.86

In the stacks

Not yet checked2

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. Seven Discourses on Art · Joshua, Sir Reynolds

    By this mode of reasoning Rembrandt has a higher place than Raffaelle. But a very little reflection will serve to show us that these particularities cannot be nature: for how can that be the nature of man, in which no two individuals are the same? It plainly appears that as a work is conducted under the influence of general ideas or partial it is principally to be considered as the effect of a good or a bad taste. As beauty therefore does not consist in taking what lies immediately before
    0.69

  2. principles of art history · heinrich wolfflin

    PAINTING 95 Rembrandt The great Ecce Homo (etching of 1650) is an analogous case. As is known, the schema of the composition dates back to a Cinquecentist, Lucas van Leyden. A house wall and a terrace before it, seen frontally; people who have taken up their stand side by side in rows on and in front of the terrace—how are we to get a baroque picture out of all that? We learn with Rembrandt that it is not the subject but the treatment which matters. While Lucas van Leyden exhausts
    0.68

Next

Made in the seventeenth century, like Lot and His Daughters.

0:00–0:00