Rembrandt Harmensz. van Rijn
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Rembrandt Harmensz. van Rijn

Self-portrait with plumed cap and lowered sabre (B., Holl. 23; H. 110)

Details
Rembrandt Harmensz. van Rijn
Self-portrait with plumed cap and lowered sabre (B., Holl. 23; H. 110)
etching, 1634, a fine impression of the third (final) state, after the plate had been reduced to an oval, with little wear to the densely hatched areas, with wide margins, the Thomas Wilson catalogue raisonné number inscribed in pen and ink in the margin towards the lower left corner, a minor defect (paper flaw?) in the margin towards the lower right corner, very minor defects on the reverse at the upper sheet corners where previously mounted, an old unidentified pencil initial/collector's mark on the reverse, otherwise in very good condition
Foundation for Paper Research No. 43
P. 130 x 107 mm., S. 156 x 121 mm.
Provenance
Dr. J. von Elischer (?) (Lugt 807; suppl. 824)
Special notice
No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

Few other artists depicted themselves as regularly and with such variety and psychological insight as Rembrandt. He etched more than two dozen likenesses in a printmaking career that stretched over three decades, in addition to the painted works for which he is justly famous.
His features offered a convenient model with which to enact a narrative or try on a costume, or to train his students in the art of representing physiognomy and character. They could also act as a demonstration of personal style and virtuosity that could be given or sold to patrons or prospective buyers. Quite apart from these practical uses he was also clearly interested in the outward manifestations of the human psyche.
Although the likeness is not immediately evident, and other sitters have been suggested, the current consensus is that this is a self-portrait. The exotic clothes and props are of the type that filled Rembrandt's large house on the Breerstraat, and which were listed in the inventory of 1656. The small number of impressions (there are only four known in the first state) mean that it is unlikely to be a commissioned portrait.
Reproduced actual size

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