Herman Doomer (ca. 1595–1650), Rembrandt (Rembrandt van Rijn)

Seen

Not described yet.

Of

These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.

Iconclass
31A2422head turned to the right61B:31A2212(+1)61B:31D1441D221(HAT)61B(+52)61B(+2)
Holder's headings
Men, Portraits
Wikidata depicts
man, portrait, Herman Doomer

Means

No reading yet.

Rights

Credit
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
Licence
CC0-1.0
Evidence
metmuseum.org collection api v1: isPublicDomain=true on object 437392 (read 2026-08-27)
Record
https://www.metmuseum.org/art/collection/search/437392
Herman Doomer (ca. 1595–1650), Rembrandt (Rembrandt van Rijn)
Herman Doomer (ca. 1595–1650) — Rembrandt (Rembrandt van Rijn)1640

Also by Rembrandt (Rembrandt van Rijn)

8
Portrait of a Young Woman with a Fan, Rembrandt (Rembrandt van Rijn)
Portrait of a Young Woman with a FanRembrandt (Rembrandt van Rijn)1633Metropolitan Museum of Art, New York, NY
The Last Supper, after Leonardo da Vinci, Rembrandt (Rembrandt van Rijn)
The Last Supper, after Leonardo da VinciRembrandt (Rembrandt van Rijn)1634–35Metropolitan Museum of Art, New York, NY
The Toilet of Bathsheba, Rembrandt (Rembrandt van Rijn)
The Toilet of BathshebaRembrandt (Rembrandt van Rijn)1643Metropolitan Museum of Art, New York, NY
Cottage near the Entrance to a Wood, Rembrandt (Rembrandt van Rijn)
Cottage near the Entrance to a WoodRembrandt (Rembrandt van Rijn)1644Metropolitan Museum of Art, New York, NY
Cottage among Trees, Rembrandt (Rembrandt van Rijn)
Cottage among TreesRembrandt (Rembrandt van Rijn)ca. 1650Metropolitan Museum of Art, New York, NY
Flora, Rembrandt (Rembrandt van Rijn)
FloraRembrandt (Rembrandt van Rijn)ca. 1654Metropolitan Museum of Art, New York, NY
Aristotle with a Bust of Homer, Rembrandt (Rembrandt van Rijn)
Aristotle with a Bust of HomerRembrandt (Rembrandt van Rijn)1653Metropolitan Museum of Art, New York, NY
Reclining Female Nude, Rembrandt (Rembrandt van Rijn)
Reclining Female NudeRembrandt (Rembrandt van Rijn)1658Metropolitan Museum of Art, New York, NY

Within fifty years of 1640

1064
Sacrifice of Isaac, Caravaggio
Sacrifice of IsaacCaravaggio1590Princeton University
Page of a drawing book; Elderly man in classical attire, Unknown
Page of a drawing book; Elderly man in classical attireUnknownca. 1590Cooper Hewitt, Smithsonian Design Museum
Projects for Decorations of Panels, Unknown
Projects for Decorations of PanelsUnknownca. 1590Cooper Hewitt, Smithsonian Design Museum
Judith, from the series "Heroes of the Old Testament", Jacob Matham, Netherlandish, 1571–1631
Judith, from the series "Heroes of the Old Testament"Jacob Matham, Netherlandish, 1571–1631ca. 1590Cooper Hewitt, Smithsonian Design Museum
An Escutcheon, Unknown
An EscutcheonUnknownca. 1590Cooper Hewitt, Smithsonian Design Museum
Mercury, Italian
MercuryItalianc. 1600The Art Institute of Chicago
Fragment, Italy
FragmentItalyc. 1600The Art Institute of Chicago
Drawing: A) Rhea and the infant Jupiter. B) St. Francis of Assisi, Unknown
Drawing: A) Rhea and the infant Jupiter. B) St. Francis of AssisiUnknown1590–1620Cooper Hewitt, Smithsonian Design Museum

Also at Metropolitan Museum of Art, New York, NY

672
Marble female figure, Bastis Master
Marble female figureBastis Master2600–2400 BCEMetropolitan Museum of Art, New York, NY
Relief Fragment with a Ship Under Sail, Unknown
Relief Fragment with a Ship Under SailUnknownca. 2465–2458 BCEMetropolitan Museum of Art, New York, NY
Tomb Chapel of Raemkai: South Wall, Unknown
Tomb Chapel of Raemkai: South WallUnknownca. 2446–2389 BCEMetropolitan Museum of Art, New York, NY
West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and Werdjedptah, Unknown
West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and WerdjedptahUnknownca. 2420–2250 BCEMetropolitan Museum of Art, New York, NY
Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching Lion, Unknown
Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh Sign, Unknown
Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh SignUnknownca. 2150–2010 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a Lion, Unknown
Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tail, Unknown
Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tailUnknownca. 2100–2080 B.C.Metropolitan Museum of Art, New York, NY

Similar picturesFound by visual likeness

3 pictures

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

A Civic Guardsman Holding a Berkemeier, known as 'The Merry Drinker', Unknown
A Civic Guardsman Holding a Berkemeier, known as 'The Merry Drinker'Unknownc. 1628 - c. 1630Rijksmuseum
0.87
Juan de Pareja (ca. 1608–1670), Velázquez (Diego Rodríguez de Silva y Velázquez)
Juan de Pareja (ca. 1608–1670)Velázquez (Diego Rodríguez de Silva y Velázquez)1650Metropolitan Museum of Art, New York, NY
0.84
Old Man with a Gold Chain, Rembrandt van Rijn
Old Man with a Gold ChainRembrandt van Rijn1631The Art Institute of Chicago
0.83

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 Herman Doomer (ca. 1595–1650).

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