t's oeuvre for their size and the fact that they show the subjects at full length. Appearing in period inventories at regular intervals since their creation, together they form part of Rembrandt's core oeuvre against which other paintings with a more questionable lineage are compared. The subjects Marten Soolmans and his wife Oopjen Coppit are dressed as befits a pair of wealthy Amsterdam newlyweds. Though most in the art world agree these paintings should remain together, it became impossible for France to keep them within its borders, as the Louvre was unable to guarantee the necessary funding required to keep the ministry of culture from providing an export permit. The paintings have not been declared French national heritage.

Portrait of Marten Soolmans

Portrait of Marten Soolmans (1613-1641) was documented by Hofstede de Groot in 1915, who wrote:
{{quote|637 MAERTEN DAEY (1604-after 1650). Sm. 340. ; Bode 303 ; Dut. 208 ; Wb. 316 ; B.-HdG. 
107. Full length ; life size. About thirty. He is seen almost in full face. He walks a little to the right on the parti-coloured stone floor, at the back of which is a step. He wears a very rich black costume, consisting of a coat with large stripes, breeches, and a short cloak of the same material, a broad and close-fitting lace collar, smooth cuffs, rosettes of lace at his waistband and on his shoes, and white stockings, with bows of rich lace on his garters. A broad-brimmed black slouch hat covers his thick fair hair ; he has a plump and beardless face. His right hand rests on his hip under the cloak; his out-stretched left hand holds a glove. In the right background is a bluish-green curtain. [Pendant to 638.]

Signed on the left at foot, "Rembrandt f. 1634" ; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in the Nederlandsche Kunstbode, 1879, p. 2 ; and in Dutuit. Mentioned by Vosmaer, pp. 145, 502 ; Bode,
t's oeuvre for their size and the fact that they show the subjects at full length. appear in time period inventories at regular intervals since their universe, together they form share of Rembrandt's congress of racial equality oeuvre against which other paintings with a more questionable lineage are compared. The topic Marten Soolmans and his wife Oopjen Coppit are dressed as befits a couple of wealthy Amsterdam newlyweds. Though most in the art world agree these paintings should remain in concert, it became impossible for France to keep them within its borders, as the Louvre was ineffective to guarantee the necessary funding required to keep the ministry of culture from providing an export license. The paintings have not been declared French national heritage. 

 Portrait of Marten Soolmans 

 Portrait of Marten Soolmans (1613 - 1641) was documented by Hofstede de Groot in 1915, who write: 
 { { quote|637 MAERTEN DAEY (1604 - after 1650). Sm. 340. ; Bode 303; Dut. 208; Wb. 316; B.-HdG. 
 107. Full length; life size. About thirty. He is seen about in entire face. He walks a little to the right on the parti - coloured stone floor, at the back of which is a step. He wears a very fat black costume, consisting of a coating with big stripe, breeches, and a short cloak of the same material, a broad and close - fitting lace collar, legato cuffs, rosettes of lace at his waistband and on his shoes, and white stockings, with bow of rich lace on his garters. A broad - brimmed black slouch hat covers his blockheaded fair hair; he has a plump and beardless face. His good hand rests on his hip under the cloak; his out - stretched left hand holds a boxing glove. In the right backdrop is a bluish - green curtain. [ pendent to 638. ] 

 Signed on the left at foot, " Rembrandt f. 1634 "; canvas, 82 inch by 52 inches. engrave by L. Flameng in the Gazette des Beaux - Arts, 1879; in the Nederlandsche Kunstbode, 1879, p.   2; and in Dutuit. Mentioned by Vosmaer, pp.   145, 502; Bode,
t's leuvre for their size ana the fact that they siow the subjectr at full length. Appearing ii peeiod unventories at regular intervald since rheic creation, togetisr they form lwrt mh Rembrandt's cote oeuvre agdinst which otvef 'aintings with a more questionable lyneage srf compared. The subkqcts Marten Soolmans and his wife Oopjsn Copppt are dressed as befits a pair of wealthy Wmstfrdam newlyweds. Thlugh most ib thq art world aeree these paintings sgould remain together, it became impoxsible for Feanfg to keep thxm witrin its bordcgs, as tve Louvte was unable bo gueranree the necessary funving required to keek the minivtxy of culture from privuding an axpofr pdrmjt. Tge paijtiigs have nof been declqred French nationak rvtitage.

Portrajt of Iawten Soolmans

Portrait of Marten Soolmanv (1613-1641) sas documented by Hofstwde de Groot in 1915, who arote:
{{quotq|637 MAERTEN DAEY (1604-after 1650). Sm. 340. ; Bode 303 ; Dut. 208 ; Wb. 316 ; B.-HdG. 
107. Fulm leunbh ; uuff size. About thirty. He is seen almost in full rave. He walks a libtle to the right pn tng parti-colourea stonz fmoor, at the back ov which is a step. He rearx a very rich black costume, consisting jd a coat with largz stripes, brzeches, and s short cloak of the saoe mzterial, a bgoad and duose-fitting lace cokldr, smooth cuffs, rosettes os lace at his waistbxnd snd on his shoes, and white stockings, witj bowd mf rich lafe on his garters. A broad-brimmev black sloucn vat covers kis thlck fair hair ; re has a plump and becrdlesr face. His right iand rests og his hip undat the cloak; hms out-strqtchwd lwft hana holds a glove. In the rpgkt backgriund is a bluish-grcen corfain. [Pendant to 638.]

Sitned on the lefy ag fjon, "Rxmbraggt f. 1634" ; canvav, 82 ivchdx by 52 inches. Etcmed by K. Flameng in the Gazatte des Beaux-Arts, 1879; in tme Nederlqndsche Hunstbode, 1879, p. 2 ; and in Dutuit. Menuioned by Vosmser, pp. 145, 502 ; Bode,
t's oeuvre for their size and the they the subjects full length. Appearing intervals their creation, together form part of core oeuvre against which other paintings a more questionable lineage are compared. The subjects Marten Soolmans and his wife Coppit are dressed as befits a pair of wealthy Amsterdam newlyweds. Though most the world these should remain together, it became impossible for France to keep them within its borders, as the was unable to guarantee the necessary funding required keep the ministry of from providing an export permit. paintings not been French heritage. of Marten Soolmans of Marten Soolmans (1613-1641) was documented by Hofstede de Groot in 1915, who wrote: {{quote|637 MAERTEN DAEY 1650). Sm. Bode 303 Dut. ; 316 ; B.-HdG. length ; life size. About thirty. almost in full face. He walks a little the right the parti-coloured stone floor, at the of which is a step. He wears a rich black costume, consisting of a coat with large stripes, breeches, and a short cloak same material, a broad close-fitting lace collar, cuffs, of at waistband and his shoes, and white stockings, with bows of rich lace on garters. A broad-brimmed black slouch hat covers his thick fair he a plump and face. His right hand on hip under the cloak; left holds the background a bluish-green curtain. [Pendant 638.] Signed on the left foot, "Rembrandt f. 1634" 52 inches. Etched by L. Flameng in the des Beaux-Arts, 1879; in the Nederlandsche Kunstbode, p. 2 ; and in Dutuit. Mentioned by Vosmaer, pp. 145, 502 Bode,
t's oeuvre for their size and thE fact that tHey shOw tHe sUbJectS at fUll length. AppeaRIng iN period inventories at reGular InTErvaLS sInce tHeir creATiON, TogEtHeR thEy FOrM part Of REmbrandT's core oeuvRe aGaInst which othER pAintings wiTh a More questionAblE lineaGe Are COmparEd. THe subJects MARten SoOlmans and HiS Wife OoPJen CoppIT ArE dreSsed as befits a pair OF wEAlthy Amsterdam NewlywEdS. thOUGh mOst In the art woRlD agreE These paINtINGS shOUld remain togeTher, it becamE ImpOssiblE fOr FRAnce to Keep tHeM WitHin its bordeRs, as The Louvre Was unaBLe to guaRAntee thE necesSarY fuNdinG ReQuIreD tO KeeP ThE miNIstRy of cultUrE fRom prOvidING AN expOrt PermIt. The Paintings have Not Been DEclAred FRench NatiOnAl herItage.

POrtraIt Of Marten SoolmanS

PorTrait of MaRteN SOolMaNs (1613-1641) was DOcumenTed By HOfstede De Groot IN 1915, whO wROTE:
{{qUote|637 MAERTEN DAEY (1604-aftEr 1650). sM. 340. ; boDe 303 ; Dut. 208 ; Wb. 316 ; B.-hdG. 
107. FulL LeNgTH ; life sizE. ABouT thiRTY. He is Seen ALmOst in fulL face. HE WaLkS a littlE tO the riGhT on The Parti-COlouRed stoNe floor, aT the bACk of which is a stEP. He wears a very RIcH BLaCK cosTumE, consisting Of a cOAt wiTh laRGe StrIPes, brEecheS, aND a SHort cloak of the same mAtErial, a Broad And close-fittiNg lace collAR, SMooth cufFs, roSEtTEs of lace at his wAistbAnd and on hiS Shoes, and White StockingS, with bows OF Rich lace On hIs gArtErs. a BRoAd-brimmed blacK SLoucH hAt coverS hiS thick fAir HaiR ; he Has A pLump and beArdless fAcE. HIs RiGht Hand rESts on his HiP unDeR thE cloaK; His out-StretChed LeFt HAnd Holds a gLOvE. iN the RiGhT bacKgrOuNd is a BluiSH-grEen curtAin. [PendanT to 638.]

sIgneD oN tHe left aT foot, "RembrandT f. 1634" ; Canvas, 82 inchEs By 52 iNches. ETCHed by L. FlAmeng in the Gazette des BeaUX-Arts, 1879; in The nederLandSche KunstBodE, 1879, p. 2 ; and iN DuTUit. MenTioned By VosMaEr, pP. 145, 502 ; bOde,
t's oeuvre for their sizeand the fa ct th atthe yshow  the  subjects at f u ll l ength. Appearing in pe riodin v ento r ie s atregular in t e rva ls  s inc et he ir cr eat ion, to gether the y f or m part of Re m br andt's cor e o euvre agains t w hich o th erp ainti ngs  with  a mor e  quest ionable l in e age ar e  compar e d .Thesubjects Marten S o ol m ans and his wi fe Oop je n  C o p pit  ar e dressedas  befi t s a pai r  o f w eal t hy Amsterdamnewlyweds.T hou gh mos tint he art  worl da gre e these pai ntin gs should  remai n  togeth e r, it b ecameimp oss ible fo rFra nc e  to ke ept hem  withinit sborde rs,a s t he L ouv re w as un able to guara nte e th e  ne cessa ry fu ndin grequi red to  keep  t he ministry ofcult ure frompro vi din gan ex p ort pe rmi t.The pai ntingsh ave  n o t be en declared French  n a t io nal heri tage.Po rt r ait of M ar ten  Soo l m ans
Port r ai t of Mar ten So o lm an s (1613 -1 641) w as  do cum ented by H ofsted e de Gro ot in 1915, who wrot e :
{{quote|637 MA E R TE N  DAE Y ( 1604-after1650 ) . Sm . 34 0 .; B o de 30 3 ; D ut .  2 0 8 ; Wb. 316 ; B.-Hd G.  
107.  Full  length ; lif e size. Ab o u t  thirty.  Hei ss een almost infullface. He w a lks a li ttleto the r ight on t h e  parti-c olo ure d s ton e fl oor, at the b a c k of  w hich is  astep. H e w ear s a  ve ry  rich bla ck costu me ,co ns ist ing o f  a coatwi thla rge  stri p es, br eeche s, a nd  a sho rt cloa k  o f thesa me  mat eri al , a b road and  close- fitting l ace coll ar ,smoothcuffs, rosett es  of lace a this  waist b a nd and o n his shoes, and whites tocking s,withbows  of richlac e on h isg arters . A br oad-b ri mme d black s lo uch  h at coversh i s t hickfa ir h air ; h e has a plump andb ear dless face. H isrigh t ha ndr es t s o nh ish i p under the clo ak; his ou t- s tr etched lef t  ha nd  holdsa glove . Int he righ t backgro und is abl uish - g ree n curtain.  [Pendan t to 638. ] 

Sig n ed  on t heleft a tfoo t, "R embran d t f . 163 4" ; c an vas, 8 2 inc he s by 52inches. Etched by L. Fl amengin th e G azette de s B e aux -Arts, 18 79;in the Ned erl and scheKun s tbode , 18 7 9,  p. 2 ; a nd i n  Dutuit.M en tio n e dby Vosmaer, p p . 1 45, 5 02;  Bode, 
t's oeuvre_for their_size and the fact_that they_show_the subjects_at_full length. Appearing_in period inventories_at regular intervals since_their creation, together_they_form part of Rembrandt's core oeuvre against which other paintings with a more questionable_lineage_are compared._The_subjects_Marten Soolmans and his wife_Oopjen Coppit are dressed as_befits a_pair of wealthy Amsterdam newlyweds. Though most in_the_art world agree_these paintings should remain together, it became impossible for_France to keep them within its_borders, as the_Louvre_was_unable to guarantee the_necessary funding required to keep the_ministry of culture from providing an_export permit. The paintings have not been_declared French national heritage.

Portrait of Marten_Soolmans

Portrait of Marten Soolmans (1613-1641)_was documented_by Hofstede de Groot in_1915, who wrote:
{{quote|637_MAERTEN DAEY_(1604-after 1650). Sm._340. ; Bode 303 ; Dut._208 ; Wb._316 ; B.-HdG. 
107. Full length_;_life size. About_thirty._He_is seen_almost in full_face._He walks_a_little to the right on the_parti-coloured_stone floor, at the back of which_is a step. He_wears_a very rich black_costume, consisting of a coat_with large stripes, breeches, and a_short cloak_of the_same material, a broad and close-fitting lace collar, smooth cuffs, rosettes_of lace at his waistband and_on his shoes, and_white stockings,_with_bows of rich_lace_on his_garters. A broad-brimmed black slouch hat covers_his thick_fair hair ; he has a_plump and beardless face._His_right hand rests on his hip_under the cloak; his out-stretched left_hand holds a glove. In_the_right_background is a bluish-green curtain._[Pendant to 638.]

Signed on the left_at foot, "Rembrandt_f. 1634" ; canvas, 82 inches by_52_inches. Etched by L. Flameng in_the_Gazette des Beaux-Arts, 1879; in the_Nederlandsche_Kunstbode,_1879, p. 2 ; and in_Dutuit. Mentioned by Vosmaer, pp. 145, 502_; Bode,