to the Salon of
Norman W. Kingsley (1829–1913)
and his 1901 Portrait Panel

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Portrait Detail after Rembrandt's "The Prodigal Son in the Tavern" By Norman W. Kingsley, June 1901 Pyrography on wood panel, 12 in. wide by 17 in. tall (30.2 cm. by 43.2 cm.) in its original Arts and Crafts frame, measuring 18-7/8 in. by 23-5/8 in. After Rembrandt's painting of "The Prodigal Son in the Tavern" Image courtesy of S. Peck

The Prodigal Son in the Tavern By Rembrandt van Rijn, 1635 Oil on canvas Image courtesy of S. Peck

Portrait Detail from Rembrandt's "The Prodigal Son in the Tavern" By Rembrandt van Rijn, 1635 Image courtesy of S. Peck

Portrait Detail after Rembrandt's "The Prodigal Son in the Tavern" partial view, verso, showing dedication and signature By Norman W. Kingsley, June 3rd, 1901 Pyrography on framed wood panel, inscribed verso, as follows: "Presented to Miss Louise B. Draper. by the ARTIST In remembrance of a delightful companionship June 3rd 1901 After REMBRANDT by Norman W. Kingsley" Image courtesy of S. Peck

Portrait Detail after Rembrandt's "The Prodigal Son in the Tavern" By Norman W. Kingsley, June 1901 Pyrography on wood panel, 12 in. wide by 17 in. tall After the 1635painting of Rembrandt's "The Prodigal Son in the Tavern" Image courtesy of S. Peck

American collector Dr. Sheldon Peck in Massachusetts, acquired the flamboyant portrait (above)
by Dr. Norman W. Kingsley (1829–1913) that is after a detail from Rembrandt's painting "The Prodigal Son
in the Tavern." Rembrandt himself, we are told, often used himself as a model in his paintings,
even when not intended as self-portraits per se, and this work is no exception. However—in
addition to himself—it is said that the model for the female subject in his Prodigal Son painting
was his wife Saskia. The ostensibly 'fun-loving' Prodigal Son here was not intended to represent
the Biblical character but a parallel 17th Century Prodigal Son dressed in the fashion of
Rembrandt van Rijn's own time.

Because Kingsley was such an acclaimed dentist—known in his profession as the Father of Modern Orthodontics—it is amusing in comparing his pyrographic work with Rembrandt's painting
to observe that he could not resist fixing the teeth of his Prodigal Son, while Rembrandt's own teeth
were not quite so good.

Visit the 1909 Norman W. Kingsley Salon here in the E-Museum for the story of Norman Kingsley's
fascinating life and myriad accomplishments. The pyrographic part begins on page 555. Note that
his Prodigal Son detail portrait is shown there in the lower left corner of page 558.

Because he is an art enthusiast and antiques collector, and because he is also an orthodontist,
Sheldon Peck has become very interested in studying Norman Kingsley and acquiring his
pyrographic works. In addition to the 1901 work here, he also owns the 1899 work
exhibited here in the E-Museum.

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If you have either any questions or any information regarding the artist or this turn-of-the-century
pyrographic portrait or others by this artist, please e-mail Dr. Sheldon Peck and the E-Museum Curator.