Nadat Rembrandt in de jaren 50 in financiële problemen was geraakt, verhuisde hij naar een huurhuis aan de Rozengracht. De Amsterdamse elite klopte niet meer zo veelvuldig bij hem aan als voorheen. Toch bleef hij populair: dit belangrijke gilde vroeg hem voor hun portret. Rembrandt maakte er een levendige scène van, door te doen alsof ze – gestoord door onze binnenkomst – even opkijken van hun werk.

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   It is as if we just distracted the wardens of the Amsterdam drapers' guild from their work, so realistically Rembrandt has portrayed them. The servant in the background is the only person without a hat. To avoid having all the heads on exactly the same level, one of the officials is standing, just about to seat himself. This clever solution, the loose brushstrokes and the subtle light make this one of the most lively group portraits of the 17th century. The syndics monitored the quality of dyed 'laken', a feltlike woollen fabric. Their portrait was intended over the fireplace of the conference room of the laken guild. Rembrandt has adjusted his perspective to take this into account: we are looking at the table as if from below. Painted for the Staalhof, the headquarters of the laken guild in the Staalstraat in Amsterdam. In 1771 it was transferred to the townhall.

   On loan from the City of Amsterdam, 1808

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