From The Wallace Collection website:

Pendant to P82. Jean Pellicorne, a wealthy Amsterdam merchant, married Susanna van Collen in 1626, and their children, Anna and Caspar, were born in December 1626 and June 1628 respectively. Anna Pellicorne is shown receiving money from her mother in anticipation of the dowry she will later be given by her parents on her marriage. Her social role is further defined by the basket of grapes, implying her future fecundity within marriage. 

The pendant portraits of the family are dated on stylistic grounds and on the basis of the spelling of the signature (‘Rembrant’) to c. 1632 (the date was lost when the canvas was later cropped). They are therefore among the early commissions for portraits that Rembrandt received following his move to Amsterdam at the end of 1631, when he was working for the dealer Hendrick van Uylenburgh. The full-length portrait was much more expensive than the half- or bust-length format. The fact that Rembrandt painted so few of them further attests to the importance of this commission. It has been suggested that despite this fact, Rembrandt delegated areas of the composition to studio assistants. In any event, this pendant pair is certainly a forerunner to the famous ‘speaking portraits’ of the Shipbuilder Jan Rijcksen and his Wife Griet Jans (1633, Royal Collection) and the Preacher Anslo and his Wife Aeltje Schouten (1641, Berlin Gemäldegalerie).

Object description
Type: Easel painting
Location: The Wallace Collection, London
Material: Oil on canvas
Artist: Rembrandt (1606 – 1669), and Studio
Date: about 1632

Image details
Date: 8 December 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/25s
ISO: 400
Licensing: Image of a Wallace Collection asset. This image cannot be licensed.

From The Wallace Collection website:

Titus van Rijn (1641-68) was the only one of Rembrandt’s four children by his first wife Saskia to survive infancy. A portrait of Titus looking up from his desk, dated 1655, is in the Boijmans-van-Beuningen Museum, Rotterdam. In the present painting, Titus appears to be about two years older, so it may be dated to c.1657. The year 1657 was a troubled one for Rembrandt and his family. The previous year the artist had been declared bankrupt and the fifteen-year-old Titus and his stepmother Hendrickje Stoffels were forced to administer the sale of Rembrandt’s pictures and the production of his etchings following the legal constraints imposed upon the painter by the Guild. Rembrandt sympathetically captures the young man’s serious gaze, a look very different in feeling from the childlike glance seen in the Rotterdam picture. Titus went on to study painting with his father, but sadly died in the year of his marriage, 1668, before the birth of his own daughter, Titia. Rembrandt himself died the following year and was buried in the Westerkerk, Amsterdam. 

The portrait of Titus was acquired by the 4th Marquess of Hertford at the Willem II of Holland sale in the Hague in 1850 for 6,000 florins. Of the twelve Rembrandts thought to be in the Collection when it was bequeathed to the Nation in 1897, this is the only work to retain its full attribution to Rembrandt unchallenged.

Object description
Type: Easel painting
Location: The Wallace Collection, London
Material: Oil on canvas
Artist: Rembrandt (1606 – 1669)
Date: about 1657

Image details
Date: 8 December 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/25s
ISO: 320
Licensing: Image of a Wallace Collection asset. This image cannot be licensed.