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Stamped: OFFICE OF H.C. FRICK RECEIVED JAN 16 1912 Underlined: COPY Durbins, Guildford. York, Oct. 30, 1911.

Dear Mr. Frick: I am on my way back from Helmsley which is in the Yorkshire wolds, where I have been to examine the Rembrandt. You will know its general appearance by the reproduction in Bode's book. The color is very rich and showy, the general tone dark and transparent, to the left is a vague suggestion of a harbour with ships at anchor. This is not at all realistic and being very dark and subdued might be taken for a picture, but I think is certainly intended for a view out of a window at twilight. At one time the panes of the casement were put in but Rembrandt afterwards painted them over. The table at which he sits has a dull reddish cloth which harmonizes with the rich red browns of the window frame. The man's dress is a very deep greyish green, almost black, the flesh very warm and golden.

As to condition, – at present the sleeve is covered with old varnish which has bloomed to a cold unpleasant blueish colour but a wash with a damp sponge brought it back to its original colour so that all that is needed is revarnishing. The face is in superb condition showing every touch of the brilliant, decisive and extremely sensitive handling. The picture has been relined and in doing this the hands have been flattened. They are not I think repainted but the ironing has unfortunately flattened out the original imparts with the result that though they are perfectly right in general effect they are not strongly characteristic nor is the painting incisive or expressive. The same has happened to some extent to the paper which he holds in his hands. On the other hand the white scarf is in perfect and brilliant condition.

The signature is beyond cavil and the date 1658 very distinct. Above the head the words "Diligentia et Patientia," is just discernible but fortunately was put in but faintly by Rembrandt so as not to interfere with the general effect.

There is a certain amount of old and dried bitumen varnish over the right hard part of the picture i.e. the darker shadows, but with the revarnishing this would not show badly. On the whole, the condition though not absolutely impeccable is good. The flattening of the hands is the only serious damage.

Now you may want my general impression about the picture and its value though perhaps this is not so important. Well it is not so fine as your Ilchester portrait – it has not the great elevation of mood of that – it is more realistic immediately like life. It is not so fine as the Youssupoff portraits in execution. But it comes about next to these in its extraordinary vividness and intensity and it certainly is a picture that