George IV’s inventory of 1819 describes this panel as ‘one of [Rembrandt’s] finest historical pictures’ and valued it at 1,800 guineas. More recently it has been dismissed as the work of one of Rembrandt’s pupils, though none of the names suggested – Gerbrand van de Eeckhout, Aert de Gelder or Constantijn Renesse – has gained widespread acceptance. The signature on this painting, reading ‘Rembrandt. F./ 1657’ cannot be trusted, but there are other high quality versions of this composition in existence with similar inscriptions and dates, which implies that a work (this panel or another lost painting) emerged from the immediate circle of Rembrandt at this time of sufficient quality to bear his name and to be admired and imitated. Gerbrand van de Eeckhout’s treatment of the same subject, signed and dated 1665 (Pushkin Museum, Moscow) is unquestionably dependent upon this work. The issue depends upon an assessment of the quality of the handling here. In some areas there is an effective build up of impasto, describing form and light with great richness and sensuality; other areas seem smudged and messy. The narrative is treated ambiguously: put simply there seem to be too many kings. It is possible that donors have requested the insertion of their own portraits into the scene. The moral of the presentation would seem to hang upon the way in which the kings (or donors) by stages overcome their hauteur and become genuinely suppliant as they approach nearer to the Christ Child.