Open Content Program
The Birmingham Museum of art makes available digital images of works in the Museum’s collection believed to be in the public domain. Images are available free of charge for any use, commercial or non-commercial. Users do not need to contact the Museum for authorization to use these images. They are available through the Online Collection at artsbma.org/collection. See detailed instructions for specific work types below.
Identifying Open Content Images
The mission of the Birmingham Museum of Art is to spark the creativity, imagination, and liveliness of Birmingham by connecting all its citizens to the experience, meaning, and joy of art. The Museum understands that by sharing images of works online without restrictions, the BMA collection becomes more accessible to a larger audience.
For objects with images the rights status is displayed in the “credit line” section of the object information. The rights status or rights holder will be indicated. If the work is in the public domain and/or the image may be downloaded, the download icon will appear in the bottom right corner of the image area. To search the collection click here.
Works With Restrictions
For copyright-protected images that have been approved by copyright holders, a presentation-sized image is available, but can not be downloaded. A copyright statement clearly listing the name of the copyright holder is visible in the credit line area when the image is displayed. Thumbnail-sized images of copyrighted works are displayed under fair use.
When the owner of a work is impossible to determine or contact, the work is deemed an orphan work. The Museum will make thumbnails of orphan works available. If you are the representative or rights holder of an orphan work, please contact Rights and Reproductions.
Please use the following source credit when reproducing an Open Content image: Courtesy Birmingham Museum of Art, followed by the credit line provided in the object description.
Although there are no restrictions or conditions of the use of an Open Content image, the BMA would appreciate a gratis copy of any scholarly publication(s) in which the images are reproduced in order to maintain collection bibliography. Copies may be sent to the attention of:
Open Content Program
Digital Media Department
The Birmingham Museum of Art
2000 Rev. Abraham Woods Jr. Blvd
Birmingham, AL 35203
- If an image is not available under Open Content it may be because the work is still under copyright, the work is not owned by the museum, or the work has not yet been photographed to BMA standards.
- Request Images: If an image of a work is not available online or is under copyright, you may submit a request through our online request form. You may also request files in additional sizes or formats. A fee will be charged for this service.
- Our determination of public domain is made in good faith.
- Electronic records are based on historical information and may not be the Museum’s complete or current knowledge about an object. Research is ongoing.
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- Titles Christ and the Woman of Samaria: Among the Ruins (Proper)
- Artist Rembrandt van Rijn, Dutch, Leiden 1606/1607 - 1669 Amsterdam
- Medium etching
- Dimensions sheet (irregular): 4 7/8 × 4 1/8 in. (12.4 × 10.5 cm) plate: 4 5/8 × 4 in. (11.7 × 10.2 cm) mat: 13 1/2 × 11 1/2 in. (34.3 × 29.2 cm) frame: 16 1/4 × 14 1/8 × 1 in. (41.3 × 35.9 × 2.5 cm)
- Credit Line Gift of the Junior League of Birmingham, 1952.1
- Work Type print
- Classification Prints
- Signature Collector's stamp, verso, bottom left corner, in black ink: H.W. [Lugt 1383] Collector's stamp, verso, bottom left corner, in black ink: C H [Lugt 551] Collector's stamp, verso, bottom left corner, in black ink: F [crowned, inside circle, Lugt 968] Collector's stamp, verso, bottom right corner, in red ink: J P M [topped with deer head, Lugt 1509]
- Marks Collector's stamp, verso, bottom left corner, in black ink: H.W. [Lugt 1383] Collector's stamp, verso, bottom left corner, in black ink: C H [Lugt 551] Collector's stamp, verso, bottom left corner, in black ink: F [crowned, inside circle, Lugt 968] Collector's stamp, verso, bottom right corner, in red ink: J P M [topped with deer head, Lugt 1509]
- Inscription Recto, bottom left corner, in black ink, collector's mark: EP [Lugt 891] Verso, upper center, in pencil: C [or U?] Upper right, in pencil: W. Lower center, in pencil: C. 75 Lower right, in pencil: 3102 Bottom left, in pencil, in different hand: C 15485 / A 88315 Bottom right, below collector's stamp, in pencil, in different hand: 192
- Provenance Dr. Edward Peart (either 1756 or 1758-1824), London and Butterwick [see note 1]; probably auctioned at his sale, Christie’s, London, April 12, 1822 [see note 2]. Chambers Hall (1786-1855), Southampton and London, England [see note 3]; probably by exchange to Hermann Weber (1817-1854), Bonn, Germany [see note 4]; auctioned at his posthumous sale, Rudolph Weigel, Leipzig, April 28, 1856, lot 161; purchased by “Albendorf” [see note 5]; Ferdinand of Portugal (1816-1885) [see note 6]; probably auctioned at his posthumous sale, J. M. Heberle, Cologne, November 29, 1893. Dealer Colnaghi, London [see note 7]; purchased by J. Pierpont Morgan (1837-1913), New York, between 1900 and 1913 [see note 8]; inherited by his son, J. P. Morgan, Jr. (1867-1943); auctioned at J. P. Morgan, Jr.’s posthumous sale, Parke and Bernet, New York, March 22, 1944, lot 88. Junior League of Birmingham, Alabama; gift to the Birmingham Museum of Art, Alabama, 1952
1. Lugt 891
2. According to Lugt 891, Peart’s Rembrandt prints were sold at this sale.
3. Lugt 551
4. Lugt 1383. According to Lugt 1383, Hall and Weber exchanged works from their collections shortly before Weber passed away.
5. “Albendorf” is listed as the buyer in an annotated catalog at the Metropolitan Museum of Art of the 1856 sale. The annotator records that anything purchased under this name was purchased for the King of Portugal.
6. Lugt 968
7. According to the auction catalog from J. P. Morgan’s posthumous sale held at the Morgan Library & Museum, this print is listed with the provenance “purchased from Colnaghi of London.”
8. Lugt 1509. According to the Morgan Library & Museum's Rembrandt collection web portal, Morgan purchased his first Rembrandt prints in 1900.