FEATURES ARCHIVE

From the technical virtuosity and the iconography to the composition as a whole – the best Old Master prints are multifaceted creations which can be viewed and appreciated on many levels, aesthetically and intellectually. This month’s Prints sale presents a choice selection of exquisitely detailed, highly innovative and intriguing works by some of the most revered names in art history, including Rembrandt and Dürer.

All of these qualities are fully illustrated by Rembrandt’s Saint Jerome reading in an Italianate Landscape, a truly exceptional work by the Dutch master which exemplifies the sophisticated art of printmaking.

An old man sits in a pastoral landscape underneath a tree. His slippers have fallen off his feet and he is completely immersed in a book. We can only identify him as Saint Jerome by the lion standing behind him on a rocky outcrop, overlooking the landscape and guarding the saint’s secluded spot. Rembrandt has omitted the saint’s other attributes – the skull and the crucifix – and instead of the usual cardinal’s hat has given him a broad-brimmed sunhat. This is not an image of the saint doing penance in the wilderness, but of the old scholar enjoying a bit of sunshine and quiet. By straying far from the traditional iconography, Rembrandt has in fact created an almost entirely secular image. The little bird on the tree-stump may still be a subtle reference to the Holy Ghost, but it is not the saint but the landscape and the light which are the true protagonists of this scene.

From the sketchily etched saint, bathed in sunlight, across the similarly cursory yet wonderfully vivid lion in the shade, the eye is drawn once more into the light, towards the large farmhouse in the background. This meticulously described building gave this print its customary name, and is immediately recognisable to connoisseurs of Venetian 16th century art, evocative of the landscapes of Giorgione, Titian and their followers. Rembrandt’s deliberate, masterful use of blank paper contrasted with heavy drypoint creates a wonderful interplay of light and darkness, and gives the composition rhythm and depth, bringing the scene to life. With a brilliant, early impression such as the present one, it becomes apparent why this work is one of Rembrandt’smost desirable and charming etchings.

Over the next four sections, we will explore further highlights from the sale and look at the fascinating detail in each of these masterful creations.

Schongauer

This exquisite work is a great example of Schongauer’s style, which stood at the threshold of the new era of humanism and the Renaissance. The Virgin and Child on a grassy Bench beautifully combines the simple elegance and humble sentiment of ‘gothic’ art with the technical brilliance and understanding of perspective and anatomy of the Renaissance. This piece is all the more remarkable for its profound humanity – few scenes in western printmaking are as touching, simple and delicate as Schongauer’s Virgin, offering an apple for the Child to play.

Dürer

The Ravisher is at once sinister and tantalizing – it depicts a young lady’s rendezvous with Death. She tries to break away, but we know she won’t escape. The irregular, nervous lines that cut into the metal printing plate are perfectly suited to the violent subject of this very rare, early print by the artist. In fact, it is the first known engraving by Dürer and the only one which does not yet bear his famous monogram AD.

Rembrandt

Rembrandt was one of the most prolific and interesting self-portraitists in western art. He portrayed himself countless times – in paintings and prints, in different formats, attires and attitudes. Here, in this fine impression of the Self Portrait in a Velvet Cap with Plume, we see him aged thirty-two, curiously dressed in costume from the century before, possibly in order to place himself in the tradition of the great masters of the early 16th century, such as Albrecht Dürer. If so, he foresaw his place in history as one of the greatest artists and printmakers of all time.

Canaletto

Canaletto turned to the medium of prints at the height of his career, and produced a small oeuvre of 35 astonishing etchings, of which The Portico with the Lantern is one of the finest and most loved. Although not an actual view of Venice, rather a capriccio with the ruins of an antique triumphal arch and a classical temple, it is still quintessentially Venetian in character and Canaletto’s quivering, undulating lines perfectly capture the oscillating light of this city in the sea.