The Hundred Guilder Print
Rembrandt van Rijn
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The Story
Shah Jahan, c. 1656–61. Rembrandt van Rijn (Dutch, 1606–1669). Pen and brown ink and brush and brown wash; sheet: 22.5 x 17.1 cm (8 7/8 x 6 3/4 in.); secondary support: 27.6 x 22.4 cm (10 7/8 x 8 13/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1978.38
Created in 1656 during the Baroque period, this work belongs firmly within the daily life tradition. Rembrandt van Rijn worked at a moment when the rivalry between Catholic Baroque drama and Protestant restraint reshaped what a painting could mean. Every gesture, fabric, and gleam of light was decoded by contemporary viewers like a private language.
The physical object — pen and brown ink and brush and brown wash, Sheet: 22.5 x 17.1 cm (8 7/8 x 6 3/4 in.); Secondary Support: 27.6 x 22.4 cm (10 7/8 x 8 13/16 in.) — carries its own history of handling and restoration. Rembrandt van Rijn's brushwork here moves between exacting description and looser, more suggestive passages, a balance typical of Baroque studio practice.
Look closely and the painting opens up. Objects you might pass over — a folded letter, a half-drawn curtain, the angle of a glance — were placed to be read. Even the everyday is loaded: a basin, a candle, a worn shoe become small monuments to a vanished daily world.
Cleveland Museum of Art in Cleveland now holds the work, where conservators and historians continue to revisit its condition and attribution. Each generation of scholarship adds a layer to how Rembrandt van Rijn's output from this period is understood.
“A silence so complete it becomes its own witness.”
